Aesop's Fables

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Aesop’s Fables

Age 5 - 9

Aesop’s Fables online: Credits:

Further information about these Stories adapted by: Nicky Grischotti, resources is available at the School Tracey Hammett, Rob John, Sharri Radio website. Log on to: McGarry, Lavinia Murray, Jan Payne, Tony Payne, Sue Reid and Kate Stonham www.bbc.co.uk/schoolradio Stories read by: Brenda Blethyn, Richard and follow the links to Aesop’s fables. Briers, Lindsay Duncan, Richard E Grant, Jane Horrocks, Jonathan Pryce, and Alison You’ll ﬁ nd a transcript of each story, Steadman notes to accompany each story and an image to display. Teacher’s Notes: Louise Glasspoole

Producer: Mark Macey

Editor: Andrew Barnes

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Aesop’s Fables

Contents: 19: The Fox and the Goat 24

Introduction 2 20: The Lion and the Elephant 25

Assessment focuses 3 21: The Crow and the Pitcher 26

Primary literacy framework links 7 22: The Fox and the Stork 26

Drama techniques 8 23: Two Travellers and a Bear 27

Generic activites for use with fables 9 24: The Goose that Laid the Golden Eggs 28

1: The Hare and the Tortoise 11 25: The Kid and the Wolf 29

2: The Frogs and the Ox 12 26: The Old Lion and the Fox 29

3: The Fox and the Crow 13 27: The Eagle and the Jackdaw 30

4: The Monkey as King 14 28: The Wolf in Sheep’s Clothing 31

5: The Bundle of Sticks 14 29: The Goatherd and the Wild Goats 32

6: The Gnat and the Lion 15 30: The Dog in the Manger 33

7: The North Wind and the Sun 16 31: Androcles and the Lion 33

8: The Fox and the Grapes 16 32: The Dog and his Reﬂ ection 34

9: The Dog, the Cockerel and the Fox 17 33: The Heron and the Fish 35

10: The Miller, his Son and the Donkey 18 34: The Eagle and the Tortoise 36

11: The Wolf and the Heron 19 35: Town Mouse and Country Mouse 36

12: The Donkey in the Lion’s Skin 19 36: Belling the Cat 37

13: The Ant and the Grasshopper 20 37: The Too Fat Fox 38

14: Should this be The Vain Jackdaw? 21 38: The Rat and the Elephant 39

15: The Frogs who wanted a King 22 39: The Ant and the Dove 39

16: The Cat and the Mice 22 40: The Boy Who Cried Wolf 40

17:The Lion and the Mouse 23

18: The Caged Bird and the Bat 24

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Aesop’s Fables

Introduction Plot and structure:

Aesop c. 620-564 BC Plot is overtly fi ctitious as the point of the story is its message, rather than an attempt Aesop was a writer from Ancient Greece, who to convince the reader of a real setting or is thought to have lived around 600 years BC, characters. There is a shared understanding and is credited with having written a number between storyteller and audience that the of well-known fables. Accounts of his life events told did not actually happen. They are often refer to him having been a slave, who used as a means to an end, a narrative meta- gains his freedom through the strength of the phor for the ethical truth being promoted. advice he gives to his masters. For this reason, fables do not carry any non- However, it is not certain whether he actually essential narrative baggage. There are usually existed at all, or whether he is simply a few characters and often only two who are legendary fi gure to whom a group of themati- portrayed as simple stereotypes rather than cally similar folk tales were attributed. Some multidimensional heroes or villains. Narrative of the tales are known to have been told structure is short (sometimes just a few sen- before Aesop is thought to have lived, whilst tences) and simple and there is limited use of others are not recorded until many years description. Action and dialogue are used to after his supposed death. move the story on because the all-important moral is most clearly evident in what the The fables generally communicate some kind main characters do and say. of moral message, often through the depic- tion of animals, who speak or otherwise take Character: on human characteristics. The main characters are often named in The features of fables the title (The Town Mouse and the Country Mouse, The North Wind and the Sun, etc) Theme: and they are also frequently animals, another subtle way of signalling the fi ctional, ‘fabu- Although they use many of the typical lous’ nature of the story and its serious pur- themes, characters and settings of traditional pose. Animal characters speak and behave stories, fables have a very specifi c purpose like human beings, allowing the storyteller to that strongly infl uences their content. A make cautionary points about human behav- fable sets out to teach the reader or listener a iour without pointing the fi nger at real people. lesson they should learn about life. The narrative drives towards the closing moral state- Style: ment, the fable’s theme: the early bird gets the worm, where there’s a will there’s a way, Many fables use the rich vocabulary, imagery work hard and always plan ahead for lean and patterned language common in traditional times, charity is a virtue. The clear presence tales but generally speaking, the shorter the of a moral distinguishes fables from other folk fable, the more simple its use of language. In tales. these short texts, use of vocabulary is often pared down and concise.

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Aesop’s Fables

Fables tend to use: Use connectives when characters talk to one • formulaic beginnings that establish setting another to explain or show cause and effect and character very quickly - e.g. ‘One day - e.g. ‘ “If you will give me your hand, I will a farmer was going to market...’ ‘A hun- help you over the river,” said the Wolf.’ Or ‘ “I gry fox was sitting by the roadside...’ ‘In a can’t possibly eat you because I’m a vegetar- fi eld, one spring morning...’ ian,” lied the bear.’ • connectives to explain or show cause and effect - e.g. ‘If you will give me...’ ‘So the Connectives are used to show the reader wolf...’ quickly and easily when things happen and • temporal connectives that hold the narra- how time passes - e.g ‘One morning...as he tive together and give it a chronological was...fi rst he saw...then he saw...’ or ‘When shape - e.g. ‘One morning...as he was... winter came...’ or ‘And then the grasshopper fi rst he saw...then he saw...’ ‘When winter understood...’ came...’ ‘And then the grasshopper understood...’ Use questions when one character introduces • simple dialogue between two main char- themself to another - e.g ‘Why do you howl acters, often questions and answers - e.g. so loudly?’ or ‘What are you writing so busily ‘Why do you howl so loudly?’; or state- in your book, little bird?’ ments that refl ect on a situation - e.g. ‘You seem to have a wonderful life here in the Assessment focuses for speaking and town.’ ‘My feathers may not be beautiful listening Levels 1-5, selected for rel- but they keep me warm in winter.’ evance to the texts:

Tips for writing your own fables: AF3 – Talking within role-play and drama Create and sustain different roles and sce- Create characters that are simple stereotypes narios, adapting techniques in a range of rather than multidimensional heroes or vil- dramatic activities to explore texts, ideas and lains. Make the main characters animals, and issues. have them behave like human stereotypes: a brave little ant, a wise old turtle, a cunning Level 1 fox, a lazy donkey. In some contexts • engage in imaginative play enacting sim- Use the names of the main characters to give ple characters and situations using every- the fable a title: The Ant and the Elephant. day speech, gesture, or movement Level 2 State the moral of the fable clearly at the In some contexts end: a wise person always plans ahead. • extend experience and ideas, adapting speech, gesture, or movement to simple Establish the setting in the ﬁ rst line and intro- roles and different scenarios duce the main characters as soon as possible. Level 3 In most contexts Give clues to the reader about what might • show understanding of characters or situ- happen: a greedy but impatient fox was ations by adapting speech, gesture, and watching the chickens from behind a tree. movement, helping to create roles and scenarios Keep description to a minimum and use dia- Level 4 logue only to help tell what happens. • convey straightforward ideas about char-

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Aesop’s Fables

acters and situations, making deliberate • comments generally supported by relevant choices of speech, gesture, and movement textual reference or quotation, even when in different roles and scenarios points made are not always accurate Level 5 • show insight into texts and issues through AF3 - deduce, infer or interpret informa- deliberate choices of speech, gesture, and tion, events or ideas from texts movement, beginning to sustain and adapt different roles and scenarios Level 1 In some reading, usually with support: AF2 – understand, describe, select or re- • reasonable inference at a basic level, e.g. trieve information, events or ideas from identifying who is speaking in a story texts and use quotation and reference to • comments/questions about meaning of text parts of text, e.g. details of illustrations, diagrams, changes in font style Level 1 Level 2 In some reading, usually with support: In some reading: • some simple points from familiar texts • simple, plausible inference about events recalled and information, using evidence from Level 2 text e.g. how a character is feeling, what In some reading: makes a plant grow • some specifi c, straightforward information • comments based on textual cues, some- recalled, e.g. names of characters, main times misunderstood ingredients Level 3 Level 3 In most reading: In most reading: • straightforward inference based on a sin- • simple, most obvious points identifi ed, gle point of reference in the text, e.g. ‘he though there may also be some misun- was upset because it says “he was crying”’ derstanding, e.g. about information from • responses to text show meaning es- different places in the text tablished at a literal level e.g. “walking • some comments include quotations from good” means ‘walking carefully”’ or based or references to text, but not always rel- on personal speculation e.g. a response evant, e.g. often retelling or paraphrasing based on what they personally would be sections of the text rather than using it to feeling rather than feelings of character in support comment the text Level 4 Level 4 Across a range of reading: Across a range of reading: • some relevant points identifi ed • comments make inferences based on • comments supported by some generally evidence from different points in the text, relevant textual reference or quotation, e.g. interpreting a character’s motive from e.g. reference is made to appropriate sec- their actions at different points tion of text but is unselective and lacks • inferences often correct, but comments focus are not always rooted securely in the text Level 5 or repeat narrative or content Across a range of reading: Level 5 • most relevant points clearly identifi ed, Across a range of reading: including those selected from different • comments develop explanation of inferred places in the text meanings drawing on evidence across the

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Aesop’s Fables

text, e.g. ‘you know her dad was lying be- Level 1 cause earlier she saw him take the letter’ In some reading, usually with support: • comments make inferences and deduc- • comments on obvious features of lan- tions based on textual evidence, e.g. in guage, e.g. rhyme and refrains, signifi cant drawing conclusions about a character’s words and phrases feelings on the basis of their speech and Level 2 actions In some reading: • some effective language choices noted, AF4 - identify and comment on the struc- e.g. ‘”slimy” is a good word there’ ture and organisation of texts, including • some familiar patterns of language identi- grammatical and presentational features fi ed, e.g. once upon a time; fi rst, next, at text level last Level 3 Level 1 In most reading: In some reading, usually with support: • a few basic features of writer’s use of lan- • some awareness of meaning of simple text guage identifi ed, but with little or no com- features, e.g. font style, labels, titles ment, e.g. ‘there are lots of adjectives’ or Level 2 ‘he uses speech marks to show there are In some reading: lots of people there’ • some awareness of use of features of or- Level 4 ganisation, e.g. beginning and ending of Across a range of reading: story, types of punctuation • some basic features of writer’s use of Level 3 language identifi ed, e.g. ‘all the questions In most reading: make you want to fi nd out what happens • a few basic features of organisation at next’ text level identifi ed, with little or no linked • simple comments on writer’s choices, e.g. comment, e.g. ‘it tells about all the differ- ‘“disgraceful” is a good word to use to ent things you can do at the zoo’ show he is upset’ Level 4 Level 5 Across a range of reading: Across a range of reading: • some structural choices identifi ed with • various features of writer’s use of lan- simple comment, e.g. ‘he describes the guage identifi ed, with some explanation, accident fi rst and then goes back to tell e.g. ‘when it gets to the climax they speak you why the child was in the road’ in short sentences and quickly which Level 5 makes it more tense’ Across a range of reading: • comments show some awareness of the • comments on structural choices show effect of writer’s language choices, e.g. some general awareness of author’s craft, ‘“inked up” is a good way of describing e.g. ‘it tells you all things burglars can do how the blackberries go a bluey black col- to your house and then the last section our as they ripen’ explains how the alarm protects you’ AF6 - identify and comment on writers’ AF5 - explain and comment on writers’ purposes and viewpoints, and the overall use of language, including grammatical effect of the text on the reader and literary features at word and sentence level Level 1 In some reading, usually with support:

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Aesop’s Fables

• some simple comments about preferences, AF7 – relate texts to their social, cultural mostly linked to own experience and historical traditions Level 2 In some reading: Level 1 • some awareness that writers have view- In some reading, usually with support: points and purposes, e.g. ‘it tells you how • a few basic features of well-known story to do something’, ‘she thinks it’s not fair’ and information texts distinguished, e.g. • simple statements about likes and dislikes what typically happens to good and bad in reading, sometimes with reasons characters, differences between type of Level 3 text in which photos or drawing used In most reading: Level 2 • comments identify main purpose, e.g. ‘the In some reading: writer doesn’t like violence’ • general features of a few text types identi- • express personal response but with little fi ed, e.g. information books, stories, print awareness of writer’s viewpoint or effect media on reader, e.g. ‘she was just horrible like Level 3 my nan is sometimes’ In most reading: Level 4 • some simple connections between texts Across a range of reading: identifi ed, e.g. similarities in plot, topic, or • main purpose identifi ed, e.g. ‘it’s all about books by same author, about same char- why going to the dentist is important and acters how you should look after your teeth’ • recognition of some features of the con- • simple comments show some awareness text of texts, e.g. historical setting, social of writer’s viewpoint, e.g. ‘he only tells you or cultural background good things about the farm and makes the Level 4 shop sound boring’ Across a range of reading: • simple comment on overall effect on • features common to different texts or reader, e.g. ‘the way she describes him as versions of the same text identifi ed, with “ratlike” and “shifty” makes you think he’s simple comment, e.g. characters, settings, disgusting’ presentational features Level 5 • simple comment on the effect that the Across a range of reading: reader’s or writer’s context has on the • main purpose clearly identifi ed, often meaning of texts, e.g. historical context, through general overview, e.g. ‘the writer place, social relationships is strongly against war and wants to per- Level 5 suade the reader to agree’ Across a range of reading: • viewpoint in texts clearly identifi ed, with • comments identify similarities and differ- some, often limited, explanation, e.g. ‘at ences between texts, or versions, with the end he knows he’s done wrong and some explanation, e.g. narrative conven- makes the snake sound attractive and tions in traditional tales or stories from dif- mysterious’ ferent cultures, ballads, newspaper reports • general awareness of effect on the reader, • some explanation of how the contexts in with some, often limited, explanation, e.g. which texts are written and read contrib- ‘you’d be persuaded to sign up because ute to meaning, e.g. how historical context 25p a week doesn’t seem that much to infl uenced adverts or war reports from dif- help someone see’ ferent times/places; or how a novel relates to when/where it was written

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Aesop’s Fables

Primary Literacy Framework Links pression, tone, volume and use of voices and other sounds These tales can be listened to and enjoyed in Y4 their own right and/or integrated into a unit • Tell stories effectively and convey detailed of literacy. information coherently for listeners Y5 As part of an ongoing unit of literacy, these • Tell a story using notes designed to cue tales could be used to support the following techniques, such as repetition, recap and Primary Literacy Framework units of work: humour

Year 1 Narrative Unit 3 – Traditional and fairy 4 Drama stories Y1 Year 2 Narrative Unit 3 – Different stories by • Explore familiar themes and characters the same author through improvisation and role-play Year 3 Narrative Unit 3 – Myths, legends, • Act out their own and well-known stories, fables, traditional tales using voices for characters Year 4 Narrative Unit 4 – Stories which raise • Discuss why they like a performance issues/dilemmas Y2 Year 5 Narrative Unit 2 – Traditional stories, • Adopt appropriate roles in small or large fables, myths, legends groups and consider alternative courses of action Primary Framework for Literacy - Learning • Present part of traditional stories, their Objectives for Years 1-5, selected for rel- own stories or work drawn from different evance to the texts parts of the curriculum for members of their own class The following learning objectives could be • Consider how mood and atmosphere are delivered through use of this audio series of created in live or recorded performance Aesop’s Fables. These tales could be used in Y3 whole or in part across the whole primary • Present events and characters through range, but the following strands are relevant dialogue to engage the interest of an audi- to using the recordings. Other strands could ence be delivered through a unit of literacy work, • Use some drama strategies to explore further developed from the text, available in stories or issues the episode transcripts. • Identify and discuss qualities of others’ performances, including gesture, action 1 Speaking and costume Y1 Y4 • Retell stories, ordering events using story • Create roles showing how behaviour can language be interpreted from different viewpoints • Tell stories and describe incidents from • Comment constructively on plays and their own experience in an audible voice performances, discussing effects and how Y2 they are achieved • Tell real and imagined stories using the Y5 conventions of familiar story language • Perform a scripted scene making use of Y3 dramatic conventions • Choose and prepare poems or stories for • Use and recognise the impact of theatrical performance, identifying appropriate ex- effects in drama

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Aesop’s Fables

7 Understanding and interpreting texts understanding and response Y5 Y1 • Compare how a common theme is pre- • Identify the main events and characters sented in poetry, prose and other media in stories, and fi nd specifi c information in simple texts Drama techniques to support activi- • Make predictions showing an understand- ties for Aesop’s Fables ing of ideas, events and characters • Recognise the main elements that shape Hot seating: different texts Y2 A character is questioned by the group about • Draw together ideas and information from his or her background, behaviour and motiva- across a whole text, using simple sign- tion. Even done without preparation, it is an posts in the text excellent way of fleshing out a character. • Give some reasons why things happen or characters change Characters may be hot-seated individually, in Y3 pairs or small groups. The technique is ad- • Infer characters’ feelings in fi ction and ditionally useful for developing questioning consequences in logical explanations skills with the rest of the group. The tradition- • Identify and make notes of the main al approach is for the pupil playing the char- points of section(s) of text acter to sit on a chair in front of the group Y4 (arranged in a semi-circle), although charac- • Deduce characters’ reasons for behaviour ters may be hot-seated in pairs or groups. from their actions and explain how ideas are developed in non-fi ction texts It is helpful if the teacher takes on the role • Explain how writers use fi gurative and of facilitator to guide the questioning in con- expressive language to create images and structive directions however the teacher could atmosphere take on the role of the character themselves. Y5 • Make notes on and use evidence from Freeze-frame: across a text to explain events or ideas • Explore how writers use language for Working in small groups or a whole class, comic and dramatic effects the children create a moment that shows the action in a narrative frozen in time, as if the 8 Engaging and responding to texts pause button has been pressed. This allows Y1 them to think about what is going on for each • Visualise and comment on events, charac- of the characters in the frame, or to consider ters and ideas, making imaginative links to what is happening from different points of their own experiences view. The moment itself may be the inter- Y2 esting thing, or they may be asked to think • Explain their reactions to texts, comment- about what has just happened or is about to ing on important aspects happen. Y3 • Empathise with characters and debate Make sure children have sufficient background moral dilemmas portrayed in texts knowledge of the context for the freeze-frame Y4 to understand their own role in the action or • Interrogate texts to deepen and clarify to discuss it.

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Aesop’s Fables

Thought tapping: shape such as a stick person is drawn. The character may already be partly developed, When the freeze-frame has been created, the for example through reading the ﬁrst chapter teacher moves quietly and slowly between of a class novel (What do we already know the characters in the scene. At the teacher’s about this person?), or the children may be given signal to an individual child, that child creating the character from scratch (What do – in character – voices their thoughts aloud we want this character to be like?). As chil- in a few words. This allows all the children to dren contribute their own ideas, the teacher hear what some or all of the characters are adds brief notes to the visual in an appropri- thinking at that very moment. It gives clues ate position. Encourage children to talk and about the role each child has chosen and can think about different dimensions of the char- raise issues about different viewpoints. It acter. For example, if they focus on physical also deepens children’s engagement with the description ask them what kind of person this learning context being established. might be.

Slow motion: Collective voice:

Select one of the characters in the freeze- The class sits in a circle and the teacher takes frame and ask the child to begin the action on the role of one speaker in a conversation. again, showing what happened next for that The whole class takes on the role of a single, person, but moving slowly so that the rest of second speaker. The teacher begins the con- the class, still ‘frozen’, has time to think not versation, talking to the ‘other person’ (the only about what is happening but why. An- class) and any child can speak to continue the other option is for the teacher or a child to dialogue. A common purpose is for the chil- narrate the slow-motion action that is taking dren to ﬁ nd out some information from the place for one character. ﬁ rst speaker or for them to give advice.

Thought tracking: This sounds complicated but is a powerful teaching convention and most children quickly Similar to thought tapping, this approach al- adopt the strategy to take turns at speaking. lows the class to follow one character’s train If more than one child speaks at once, the of thought through the action for longer. For teacher decides how to answer one or both. example, one or two children move through the freeze-frame in slow motion, speak- Children usually manage the ‘corporate role’ ing their thoughts aloud as they continue to well because they are focused on what the reveal their feelings, viewpoints and/or moti- fi rst character (the teacher) has to say and vation. Alternatively, other children track the they want to fi nd out more. Once children are freeze-frame players’ thinking by speaking familiar with this convention, the class can their thoughts aloud for them. take on the more responsible role of the character with information to pass on. Role on the wall: Overheard conversations: A character is depicted and developed in a visual way using a large format note mak- The children hear a conversation that they ing strategy. The teacher can use a flipchart, would not usually have access to and can use whiteboard, large screen or a big piece of pa- this extra information to consider its impact per displayed ‘on the wall’. A simple character on a narrative or a situation. For example,

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Aesop’s Fables they have been using conscience alley to ex- • Identify features common to the different plore two different sides of an argument. The fables, or versions of the same fable. teacher introduces two or more characters • Take on the role of ‘Theatre Critics’ and who are in some way connected with whatev- comment constructively on performances er the situation is, and the class is able to lis- of the fables. ten to a conversation they have. For example, • In pairs, create a dialogue for some or all when the main character reaches the end of of a fable. the conscience alley, the children all sit down and ‘accidentally overhear’ the conversation Drama: between two people walking along the road. • Use drama as a ‘talk for writing’ strategy. An overheard conversation often needs to Drama activities can be used to support include speciﬁ c information that impacts on discussion and oral/written outcomes of a the situation. The teacher can ensure that the unit of work. right information is included, by taking part in • Use drama techniques to promote discus- the dialogue. sion about the fables and/or to prepare for the writing of these/your own fables. Conversations can also be overheard to pro- • Hot seat the characters. Video Conferenc- vide a range of different viewpoints about the ing may be used to hot seat characters same issue. across, or between, schools. • Prepare and present a monologue in role. Generic activities for use with any of • Play ‘Author’s Chair’. Take on the role of the fables Aesop and answer questions in role.

Speaking and listening: Reading:

• Orally tell and retell the story using props, • Make multiple copies of the transcript and puppets, masks etc. use as a whole-class/guided reading text. • In pairs/small groups, retell the story as • Additional suggestions for using the tran- fast as you can. scripts include: • Orally retell the story from the point of - Listen to the audio version alongside the view of a different character, e.g. a minor transcript character. - Read part of the story and predict what • Play ‘Word Tennis’ – in pairs, retell the might happen next. story one word at a time, each child say- - Chop up the text and rearrange in cor ing the next word in the sentence. rect order • Play ‘Who Am I?’ – take turns to provide - Compare and contrast the tales: settings clues about one of the characters in a and characters, and investigate the lan- story; the others have to guess who it is. guage used • Listen to a fable and make brief notes - Take on the role of one or more of the of the main events. Use as the basis for characters and write about them using orally retelling or reinventing the story. infor mation that you have gathered • Retell the story around a circle, each from reading the story. member of the group adding the next • Find the real fable – note the differences part. – why do you think the original fable has • Research a fable and present the informa- been changed in this way? tion to a speciﬁ ed audience.

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Aesop’s Fables

Writing: 1: The Hare and the Tortoise

• Use the fables as the basis of a unit of lit- Synopsis: eracy work. Outcomes may include: - creating a class anthology of fables (re- A hare boasts to the other animals about how told or reinvented); fast he can run. When none of them responds - developing your own class/school radio initially to his challenge for a race, he taunts station, record your fables and enjoy; them that they are too scared even to try. - constructing multimedia/interactive When the tortoise then speaks up, the hare fables using multimedia presentation scoffs that he won’t even waste his time rac- software such as PowerPoint or similar. ing the slowest creature in the world. The tor- • Rewrite a fable using different types of toise returns the taunt, claiming that the hare animals. must be scared of being beaten. When some • Rewrite the story as a playscript and act of the animals laugh at this, the hare agrees out in groups. Alternatively, create theatre to a race, to take place a week later. programmes, tickets, posters etc. and put on a show. The tortoise spends the week in training, but • Produce animated fables using simple continues to move very slowly, and the other stop-frame animation software. animals wonder if the race is a good idea. • Create contemporary adaptations of the Nevertheless, there is a large crowd of ani- fables. mals on the day of the race. • Create character profi les. • Create a cartoon depicting one of the As the race starts, the hare roars off. When tales. he stops to look back, the tortoise has barely • Create ‘mixed-up’ fables, selecting ele- crossed the starting line. The hare taunts the ments from across the tales to create a tortoise that he will be able to stop for a rest ‘new’ fable. and still beat him. However, when the hare • Re-write a fable in the fi rst person – from goes to sleep in the sun, he sleeps for so long the point of view of one character, then that the tortoise is able to overtake him. As the other. the tortoise nears the fi nishing line, the ani- • Write in role: postcards, letters, emails, mals cheer. This wakes up the hare, who runs notes, messages in bottles, songs. as fast as he can to catch up again, but the • Write poems around a tale. tortoise just makes it to the fi nish in time. • Write a non-chronological report/biog- raphy/fi rst-person autobiography about Sequence of events: Aesop. • Summarise the tale. Extend to summaris- Suggestions for use include: cues for oral ing in 100 words. storytelling, support for storyboarding, story • Write other anthropomorphic tales. planning/writing etc.

• Hare challenges animals to a race • Tortoise responds to challenge • Tortoise spends a week in training • Race starts, hare is so far ahead that he stops for a rest and falls asleep • Tortoise overtakes the hare whilst he sleeps

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Aesop’s Fables

• Cheering wakes up the hare, who races to 2: The Frogs and the Ox catch up • Tortoise ﬁ nishes just in time Synopsis:

Characters: A young frog sees an ox by the pond. Ex- cited, he calls for his mother to come and see • Hare; Tortoise; Fox; Badger; Crow; Rabbit the ‘monster’. The mother frog, who is very fat, does not believe that any creature in the Theme(s): pond can be bigger than she is, but agrees to come and see it. • Doing things quickly doesn’t necessarily mean doing them well Being so fat, she is unable to move very • Defeat of arrogance and over-confi dence far without breathing heavily. This extra air • Courageous underdog makes her blow up like a beach ball. Still not wanting to admit that any creature in the Moral: pond could be bigger than her, she asks the young frog whether the monster is as big as • Don’t be over-confi dent – even if you think this. When she hears that it is still bigger, she you should succeed, you may not if you do sucks in more and more air, until fl ying off not put in suffi cient effort like a balloon does when you let go of it. • Even if you do not think you can succeed, it is still good to put in the best effort that Sequence of events: you can • Doing things quickly does not necessarily Suggestions for use include: cues for oral mean doing them well storytelling, support for storyboarding, story planning/writing etc. Understanding, interpreting and responding to texts: • Young frog tells his mother about ‘monster’ • Why do you think the hare was showing • Mother complains about her son being the other animals how fast it could run? over-excited • Why didn’t most of the animals want to • Mother expresses disbelief that any crea- race the hare? ture in the pond is bigger than her • How do you think the tortoise felt when • Mother agrees to come and see ‘monster’ the hare laughed at him? • Mother struggles to move, and wheezing, • How do you think the hare felt when the starts to infl ate tortoise suggested that he was scared of • Mother infl ates so far that she fl ies off like being beaten? an escaped balloon • What makes it possible for the tortoise to win the race, despite being very slow? Characters: • Why does the hare stop for a rest in the middle of the race? • Stanley Frog; Mother Frog; Ox • What makes the hare wake up? • Why won’t the animals listen to the com- Theme(s): plaints of the hare at the end of the race? • Pride • Laziness

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Aesop’s Fables

Moral: Sequence of events:

• Don’t try to pretend to be something you Suggestions for use include: cues for oral are not storytelling, support for storyboarding, story • Don’t let pride blind you to reality planning/writing etc. • If you are too big-headed it may be your downfall • Fox smells cheese, and sees crow sitting in the tree with it Understanding, interpreting and • Fox tries, unsuccessfully, to get the crow responding to texts: to come down from the tree • Fox tries, unsuccessfully, to get the crow • Why is the little frog so excited about see- to drop the cheese ing the ‘monster’? • Fox ﬂ atters crow about its appearance • Why does the little frog think the ox is a • Fox asks crow to sing, and crow does so, monster? thereby dropping the cheese • How does the mother frog forget her son’s • Fox eats the cheese name? • Why doesn’t the mother frog like to see Characters: her son jiggling around? • Why is it so difﬁ cult for the mother frog to • Fox; Crow go to see the ‘monster’? • What makes the mother frog blow up like Theme(s): a balloon? • What is the lesson that is the mother’s • Flattery rather than Stanley’s? • Cunning • Pride

3: The Fox and the Crow Moral:

Synopsis: • Don’t trust people who fl atter you, particularly if you have something that they want A crow is sitting in a tree with a piece of • Pride comes before a fall cheese in its beak. A passing fox would like to eat the cheese and tries to persuade - and Understanding, interpreting and then trick - the crow to bring the cheese responding to texts: down or drop it. The crow does not fall for this, so the fox tries fl attery instead. • How does the fox know that there is some cheese around? He tells the crow how lovely his feathers are, • Why doesn’t the crow come down from the and how fi ne-looking his head. Then, the fox tree when asked to by the fox? says how much he would like to hear the crow • Why does the fox say that the cheese is sing. Tricked by the fl attery, the crow opens mouldy? his beak to sing, dropping the cheese to the • How does the crow know that the fox is ly- ground, where the fox gobbles it up. ing about the cheese being mouldy? • What makes the crow drop the cheese? • Why doesn’t the fox want the crow to sing after all?

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Aesop’s Fables

4: The Monkey as King Theme(s):

Synopsis: • Pride • Cunning There is a great competition amongst the animals to be named King of the Beasts. Moral: Each animal gets a chance to explain why they should be King. Fox says that he should • Don’t take on a task without ﬁ rst thinking be King because he is clever enough to about whether you can do it properly know how to avoid traps laid by Man, but his speech is boring. Monkey is chosen, because Understanding, interpreting and he dances around and makes funny faces. responding to texts:

Fox does not like it that the silly Monkey has • Why don’t the animals choose the Fox to been chosen as King ahead of him, so plays a be King? trick. He takes Monkey into the forest, say- • What makes the animals choose Monkey? ing that he wants to show him a present fi t • Why does the Fox decide to give the Mon- for a king. Fox shows Monkey beautiful, ripe key a present? banana on the forest fl oor, and when Monkey • Why can’t the animals fi nd their king? runs to pick it up, he falls into a trap. • How does the Fox get the Monkey to give up his crown? Fox can help Monkey escape from the trap, • How does the Fox show that being clever but will only do so if the Monkey agrees not is useful? to be King. The other animals agree that the King of Beasts should be clever enough not to fall into traps. 5: The Bundle of Sticks

Sequence of events: Synopsis:

Suggestions for use include: cues for oral Mrs McKenzie has six sons, but they are storytelling, support for storyboarding, story always ﬁ ghting amongst themselves, which planning/writing etc. makes it hard to get any work done.

• Fox speaks – his speech is clever but bor- She shows them the error of their ways by ing asking each one in turn to snap a bundle of • Monkey dances around and pulls faces – sticks in two. It is too difﬁ cult for any of them he is chosen as King to snap the whole bundle, but when she un- • Fox takes Monkey into the forest to give ties the bundle and gives them one stick each him a present to snap, it is easy. The sons realise the value • Monkey goes to grab the present, but falls of working together, and by doing so, win the in a trap top prize in a building competition. • Fox agrees to free Monkey if he agrees not to be King Sequence of events:

Characters: Suggestions for use include: cues for oral storytelling, support for storyboarding, story • Fox; Monkey; other animals planning/writing etc.

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Aesop’s Fables

• Sons argue about where to dig a hole 6: The Gnat and the Lion • Sons argue about the direction in which to row a boat Synopsis: • Sons argue about who will win the competition A gnat claims that he can outwit a lion, de- • Each son in turn fails to snap the bundle of spite the disparity in their size and strength. sticks When the lion attacks, the gnat jumps out of • Each son snaps an individual stick when the way, buzzes around, and the ﬂ ies up the mother unties the bundle lion’s nose, where he begins to bite. The gnat • Sons agree to enter the competition to- only stops biting when the lion agrees to call gether it the King of the Beasts.

Characters: The gnat is very pleased with itself, and looks for somewhere suitably soft and comfortable • Mrs McKenzie; Peter McKenzie; Paul Mc- to make a new home. It wraps itself in what Kenzie; Patrick McKenzie; Philip McKenzie; looks like a lacy shawl, realising too late that Frankie McKenzie; Fred McKenzie it is a spider’s web. Despite the gnat’s com- plaint that it is the King of the Beasts, the Theme(s): spider eats it for supper.

• You can achieve more by working together Sequence of events: than by ﬁ ghting • You are stronger as a team than as indi- Suggestions for use include: cues for oral viduals storytelling, support for storyboarding, story planning/writing etc. Moral: • Lion’s roar wakes gnat • Unity is strength • Gnat challenges lion • Lion attacks gnat, but gnat evades him by Understanding, interpreting and buzzing around responding to texts: • Gnat ﬂ ies up the lion’s nose and bites • Lion agrees to call the gnat ‘King of the • Why can’t the six brothers dig a well? Beasts’ • Why can’t the six brothers row their moth- • Gnat looks for new home er across the river? • Gnat gets caught in spider’s web, and • What makes the six brothers stop arguing? eaten by spider • How do the brothers break the bundle of sticks? Characters: • What helps the brothers to win the competition? Gnat; Lion; Spider

Theme(s):

• Pride comes before a fall • Defeat of arrogance and over-conﬁ dence • Courageous underdog

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Aesop’s Fables

Moral: Characters:

• Don’t be over-conﬁ dent – even if you think • Sun; North Wind; Young Man you should succeed, you may not if you do not put in sufﬁ cient effort Theme(s):

Understanding, interpreting and • A gentle approach can be more effective responding to texts: than a forceful one • Pride comes before a fall • What wakes up the gnat? • Why isn’t the gnat afraid of the lion? Moral: • How does the gnat defeat the lion? • Why does the gnat look for a new home? • Don’t make empty boasts • How does the gnat get caught? • How does the gnat try to stop the spider Understanding, interpreting and from eating him? responding to texts:

• Why does the sun want to take its time 7: The North Wind and the Sun travelling across the sky? • Why does the wind want to blow the ships Synopsis: off course? • What challenge does the sun put to the The Sun is annoyed to see the North Wind wind? causing chaos with its icy blasts, so chal- • How does the wind try to get the coat off lenges it to a contest to see which of them is the young man? Why does it fail? strong enough to take the coat off a young • How does the sun try to get the coat off man who is walking through the mountains. the young man? Why does it succeed?

The Wind thinks this will be easy, so blows with all its might, but this only serves to 8: The Fox and the Grapes make the man pull his coat on more tightly. When the Sun has its turn, it shines so warm- Synopsis: ly that the man wants to take off his coat. The fox is very fond of itself, knowing itself to Sequence of events: be both clever and handsome. Although the farmer chases it with a gun, the fox knows Suggestions for use include: cues for oral how to avoid it. Although the farmer locks up storytelling, support for storyboarding, story the hens and ducks each night, the fox al- planning/writing etc. ways ﬁ nds something else to eat.

• Sun watches ships sailing One night the fox ﬁ nds a bunch of juicy • North wind rips up the sails of the ships grapes, which are just out of its reach. Even • Sun challenges wind to contest of strength though the fox can normally get what it • Wind tries, unsuccessfully, to blow the wants, on this occasion the grapes remain out winter coat off young man of its reach. So, it pretends that it didn’t want • By shining warmly, the sun gets the man them anyway, claiming that they would be to remove his coat sour.

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Aesop’s Fables

Sequence of events: 9: The Dog, the Cockerel and the Fox

Suggestions for use include: cues for oral Synopsis: storytelling, support for storyboarding, story planning/writing etc. A cockerel and a dog live on a farm, where they are very good at their respective jobs – • Fox waits for farmer go in for tea waking everyone up in the morning, and let- • Fox thinks about how clever and hand- ting everyone know when there was someone some it is at the gate. One day they decide to go on an • Fox tries to reach grapes adventure, although the cockerel needs some • Fox goes away disappointing, pretending reassurance from the dog that it will be pro- that it didn’t want the grapes anyway tected against foxes. At sunset they come to a wood, and ﬁ nd a hollow tree. The dog can Characters: sleep inside the tree, and the cockerel can roost in the branches. • Fox; Farmer The dog reassures the cockerel that no fox Theme(s): will ﬁ nd him in the tree unless he crows. However, in the morning the cockerel forgets • Pride himself and crows, attracting a fox, who tries • Narcissism to trick the cockerel into letting him up onto • Boastfulness the branch. The cockerel tricks the fox in his turn, by saying that his porter will let him in Moral: at the bottom of the tree. The porter is, of course, the dog, who scares the fox away. • Sometimes, when we can’t get what we want, we pretend we never wanted it any- Sequence of events: way Suggestions for use include: cues for oral Understanding, interpreting and storytelling, support for storyboarding, story responding to texts: planning/writing etc.

• Why is the end of the day the fox’s favour- • Dog proposes adventure ite time of day? • Dog reassures cockerel about foxes • Which part of its appearance does the fox • Journey begins like best, and why? • Friends ﬁ nd hollow tree as a place to sleep • Why does the farmer shoo his ducks onto • Cockerel crows, attracting a fox an island? • Fox tries to trick its way up the tree • How do the geese make life difﬁ cult for the • Cockerel tricks fox into stumbling onto the fox? dog • Why can’t the fox eat the grapes? • Friends return home • Why does the fox pretend it doesn’t want the grapes? Characters:

• Dog; Cockerel; Fox

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Aesop’s Fables

Theme(s): load and they really ought to be carrying the donkey themselves. So they tie its legs to a • Friendship and mutual assistance pole and carry it between them. When they • The importance of good preparation do this they are laughed at, which causes the donkey to free itself but fall into a river in Moral: doing so, and get swept away. So, the miller and his son have nothing to sell. • Be prepared Sequence of events: Understanding, interpreting and responding to texts: Suggestions for use include: cues for oral storytelling, support for storyboarding, story • What jobs do the dog and cockerel do in planning/writing etc. the farmyard? • Why is the cockerel reluctant to go on an • Miller and son lead the donkey to market adventure? • They are criticised for not riding the don- • How does the dog persuade the cockerel key – son climbs on to go on an adventure? • The son is criticised for not letting his • Why is the hollow tree a particularly good master ride – they swap places place for the two friends to sleep? • Girls criticise the master for not letting his • How does the fox know that the cockerel is son ride – they both climb on in the branches? • Woman criticises them for giving the • Why does the fox want to be invited up donkey too heavy a load – they tie up the the tree? donkey and carry it themselves • Why does the fox run away? • They are laughed at, which causes the donkey to loosen its bonds • Donkey falls into the river and is swept 10: The Miller, His Son and the away Donkey Characters: Synopsis: • Miller; Son; Donkey; Man; Merchant; Girl A miller and his son are taking their grumpy at town gates; Townswoman donkey to sell at the market. They decide to lead it, rather than riding it, so that it might Theme(s): arrive not tired, and thereby fetch a higher price. Some people laugh at them for not • Differing opinions riding the donkey – after all, that is what a • Conﬂ icting advice donkey is for. So the son rides the donkey for • The difﬁ culty of pleasing everyone while, until some merchants criticise him for not allowing his master to ride. So, they swap Moral: places, and the miller rides the donkey. • You can’t please all of the people all of the When they arrive at the town, a group of girls time – stick to what you think is right criticise the miller for not letting his son ride as well, so they both ride the donkey, but then a woman says that this is too heavy a

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Aesop’s Fables

Understanding, interpreting and Characters: responding to texts: • Wolf; Heron • Why are the miller and his son taking the donkey to market? Theme(s): • Why do they decide not to ride the donkey? • Trust • What causes the son to start riding the • Flattery donkey? • Cunning • What causes the miller to swap places with his son, and start riding the donkey? Moral: • What causes the miller and his son to ride the donkey together? • Do not expect someone who you know to • What causes the miller and his son to start be untrustworthy to keep their promises carrying the donkey themselves? • Do not expect any reward if you do fa- • How does the donkey come to fall in the vours for evil people river? Understanding, interpreting and responding to texts: 11: The Wolf and the Heron • What words would you use to describe the Synopsis: wolf? • How does the wolf come to have a bone A greedy wolf gets a ﬁ sh bone stuck in his stuck in its throat? throat. Seeing the long beak of the heron, • Why does the wolf think the heron will be he asks for help. The heron is reluctant, but able to help? agrees to help on being promised a reward. • Why do you think the heron is reluctant to Having safely removed the bone, the heron help? requests its reward, but the wolf states • How does the wolf persuade the heron to that not having its head bitten off is reward help? enough. • What reward does the wolf give the heron?

Sequence of events: 12: The Donkey in the Lion’s Skin Suggestions for use include: cues for oral storytelling, support for storyboarding, story Synopsis: planning/writing etc. Tired of being laughed at by the other ani- • Wolf fi nds and eats fi sh mals, a donkey wishes it was something else. • Bone sticks in wolf’s throat, wolf is unable Its wish seems to be granted when it fi nds a to dislodge it lion costume. When it puts it on, it starts to • Wolf asks heron for help in removing bone inspire respect in the other animals. When • Heron agrees to help on being promised it comes across a fox it becomes over-con- reward fi dent, thinking it will sound like a lion of it • Heron removes bone tries to roar. The resulting bray gives it away, • Wolf states that not biting the heron’s and the fox pulls off its costume, making the head off was its reward other animals laugh at the donkey again.

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Aesop’s Fables

Sequence of events: 13: The Ant and the Grasshopper

Suggestions for use include: cues for oral Synopsis: storytelling, support for storyboarding, story planning/writing etc. A grasshopper lazes around in the sunshine, eating and playing music with its wings. It • Donkey ﬁ nds lion costume makes fun of a passing ant for working so • Giraffe runs away from donkey, mistaking hard, dragging food back to its nest. The ant it for a lion is preparing for winter, but the grasshopper • Hippo sinks away from donkey, mistaking can’t be bothered to do that kind of work. it for a lion • Crocodile slips away from donkey, mistak- When the winter comes, the grasshopper is ing it for a lion starving. Coming across the ant, he asks for • Donkey decides to try and roar at the fox something to eat. Remembering the grass- • Fox recognises donkey’s bray and tears off hopper’s jibes during the summer, the ant the costume refuses and hurries back to its nest.

Characters: Sequence of events:

• Donkey; Giraffe; Hippo; Crocodile; Fox Suggestions for use include: cues for oral storytelling, support for storyboarding, story Theme(s): planning/writing etc.

• Beware of over-conﬁ dence • Grasshopper enjoys food and sunshine • You may look the part, but if you can’t do • Ant is working hard, storing food for win- the job properly you will be found out ter • Grasshopper makes fun of ant for working Moral: hard • Winter comes, grasshopper is cold and • A fool’s words will give him away starving • Be conﬁ dent in yourself • Grasshopper asks ant for some of its • Be happy with what you are stored food • Ant refuses Understanding, interpreting and responding to texts: Characters:

• Why does the donkey wish it was some- • Ant; Grasshopper thing else? • How does the donkey suddenly start get- Theme(s): ting respect from the other animals? • Why is the donkey pleased that the other • Preparation animals don’t agree to stroll with him? • Balancing work and leisure time • What gives the donkey away when he meets the fox? Moral: • Why does the fox laugh at the donkey? • Plan carefully for the future • Complete your work before you play

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Aesop’s Fables

• Don’t complain if you later need some- • Chief Jackdaw decides not to enter thing you haven’t prepared • Young Jackdaw dresses up in other birds’ feathers Understanding, interpreting and • Jackdaw’s borrowed feathers fall off, or are responding to texts: ripped off • Jackdaw is scorned by other Jackdaws • Why doesn’t the grasshopper want to work, like the ant is working? Characters: • Why doesn’t the ant want to laze around, like the grasshopper is doing? • King; Queen; Chief Jackdaw; Young Jack- • Why is the ant dragging food to its nest? daw; Swan; ParrotPeacock • When winter comes, how come the ant is not starving like the grasshopper? Theme(s): • Why won’t the ant share its food with the grasshopper? • Pretending to be something you are not • What do you think will happen to the • Appearances being deceptive grasshopper next? • Vanity

Moral: 14: The Vain Jackdaw • Don’t pretend to be something that you Synopsis: are not • Be conﬁ dent in who you are A king and queen cannot agree on which bird is more beautiful, the peacock or the swan, Understanding, interpreting and so they decide to hold a beauty competi- responding to texts: tion. Unlike the other birds, the jackdaws are not bothering to enter, because they know • Why is the bird beauty contest taking they are not beautiful. However, one jackdaw place? thinks he might be able to win by borrowing • For what reason does the Chief Jackdaw feathers discarded by all the other birds. decide not to take part in the contest? • How does the young Jackdaw manage to When the competition comes, the strange but win the competition? beautiful new bird does indeed win, but when • How is the Jackdaw’s identity revealed? the feathers start to fall off, the jackdaw is • Why is the young Jackdaw ignored by the recognised for who he is, and has the other other jackdaws? feathers pulled off by the other birds. He is humiliated, and subsequently ignored by the other jackdaws.

Sequence of events:

Suggestions for use include: cues for oral storytelling, support for storyboarding, story planning/writing etc.

• King and Queen order beauty contest

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Aesop’s Fables

15: The Frogs who wanted a King Moral:

Synopsis: • Be careful what you wish for • Be thankful for what you have Even though they have good reason to be happy and content, the frogs decide that they Understanding, interpreting and need a king. They ask Jupiter, the King of all responding to texts: the Gods, for a king, and to keep them quiet he sends down a log. For a while the frogs • What makes the frogs believe that they are in awe of their king, but after a while need a king? they decide he is too quiet, and doesn’t move • Why does Jupiter send down a log to be a enough, to be a king. king for the frogs? • What makes the frogs think that the log is Hearing the frogs complaining, and think- not a good king? ing them ungrateful, Jupiter decides to teach • Why is the Jupiter angry with the frogs? them a lesson, and sends down a stork, which • Why is the stork not a good king for the starts to eat them. The frogs ask again for frogs? help, but have to live with the consequences of their actions. 16: The Cat and the Mice Sequence of events: Synopsis: Suggestions for use include: cues for oral storytelling, support for storyboarding, story Three mice are hiding under the kitchen skirt- planning/writing etc. ing board, wondering how to steal the cheese from under the nose of the cat that guards it. • Frogs discuss their need for a king Their ﬁ rst plan, to simply rush out and steal • Bullfrog petitions Jupiter for a king it, had failed miserably. • Jupiter sends down a log • Frogs wait for the king to do something The cat, bored with waiting for them to try • Frogs complain about the king again, notices that its fur resembles the • Jupiter, angry, sends a stork material of a sack hanging on the wall. So, • Frogs plead for help, but Jupiter refuses the cat hangs itself on the wall, hoping that the mice will think it is a sack, and venture Characters: out again. They are tempted initially, but the mice notice that the sack has eyes, and • Bullfrog; Little Frog; Other frogs; Jupiter; speaks – so stay where they are! Stork Sequence of events: Theme(s): Suggestions for use include: cues for oral • Freedom storytelling, support for storyboarding, story • Gratitude planning/writing etc. • Being content with what you have • Lusting after more than you have, unnec- • Mice try to steal cheese, cat chases them essarily back • Mice decide to stay in their hole

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Aesop’s Fables

• Cat hangs itself on the wall, pretending to The mouse pleads for its life by claiming that be a sack one day it will be able to help the lion. The • Mice are tempted to try again lion, ﬁ nding this ridiculous thought very fun- • Mice notice that the sack is not what it ny, lets the mouse go. seems The next day, the mouse is indeed able to Characters: help the lion, who is trapped in a hunter’s net. The mouse gnaws through the rope to • Cat; Mighty Mouse; Mildred Mouse; Mini- save the lion, who thanks him and praises his Mouse bravery.

Theme(s): Sequence of events:

• Temptation Suggestions for use include: cues for oral • Deceit through disguise storytelling, support for storyboarding, story • Discretion being the better part of valour planning/writing etc.

Moral: • Mouse climbs onto lion, and boasts • Lion catches mouse • ‘Once bitten, twice shy’ • Mouse pleads for its life, claiming it will be able to help the lion one day Understanding, interpreting and • Lion, amused, releases mouse responding to texts: • Mouse ﬁ nds lion trapped in hunter’s net • Mouse gnaws through net to free lion • What is the cat guarding from the mice? • Lion thanks and praises mouse • Why does Mighty Mouse’s ﬁ rst plan fail? • Why is Mini Mouse so keen to get the Characters: cheese? • Why is Mildred Mouse not as keen as the • Mouse; Lion other mice to get the cheese? • Why does the cat hang itself on the wall? Theme(s): • What gives the cat away as it hangs on the wall? • Bravery • What do you think would have happened if • Mutual kindness and favours the mice hadn’t noticed the cat? • Size not necessarily equating to effective- ness

17: The Lion and the Mouse Moral:

Synopsis: • Friends can be very useful, even if they are very small A mouse happens upon a sleeping lion in the forest. Unwisely, he climbs up onto the Understanding, interpreting and lion and boasts about how mice need not responding to texts: be scared of lazy lions. The lion, by now not asleep, grabs the mouse and prepares to eat • Why does the mouse climb onto the lion? it. • How does the mouse persuade the lion not

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Aesop’s Fables

to eat him? Theme(s): • Why does the lion choose not to eat the mouse? • Taking precautions • Why is it such an amusing thought for the lion that the mouse could ever help him? Moral: • How does the lion end up needing the mouse’s help? • There’s no point locking the stable door • How is the mouse able to help? after the horse has bolted – (i.e. no point taking precautions against something which has already happened). 18: The Caged Bird and the Bat Understanding, interpreting and Synopsis: responding to texts:

A songbird lives trapped in a cage outside the • Why does the hunter keep the bird caged? cottage window of a hunter. The bird can sing • Why does the songbird only sing at night? beautifully but never does so during daylight • For what reason is Fergus described as a hours, having been caught by the hunter be- ‘really terrible hunter’? cause of her song. The hunter wants the bird • What causes the bat to come and speak to to sing for him, but during the day she pre- the songbird? tends to be asleep, only singing at night. • What does the bat think is wrong with the songbird’s plan? One night a bat ﬂ ies past and asks the bird why she only sings at night. She explains that this is her plan not to get caught by a hunter 19: The Fox and the Goat again. The bat responds that there’s no use following this plan now that she’s already Synopsis: been caught. A fox is running along one day. Not looking Sequence of events: where it is going, it falls down a well, and cannot climb out. When a goat sticks its head Suggestions for use include: cues for oral over the side of the well, and asks the fox storytelling, support for storyboarding, story what it is doing, the fox realises this is its planning/writing etc. chance to escape.

• Bird refuses to sing during the day Claiming that the water is the best in the • Hunter complains to bird about lack of world, the fox invites the goat to come down song and share it. The goat, feeling thirsty, does • Bird sings sweetly at night so, and enjoys a drink, but then realises that • Conversation between bat and bird she too can’t climb out. The fox climbs on the goat’s back and manages to get out. Characters: Sequence of events: • Songbird; Hunter (Fergus Fowler); Bat Suggestions for use include: cues for oral storytelling, support for storyboarding, story planning/writing etc.

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Aesop’s Fables

• Fox runs along The lion canvasses opinion amongst other • Fox falls down the well animals, but none confess to being afraid of • Fox fails to climb out of the well the cock’s crow. However, the elephant does • Goat asks Fox what he’s doing down the admit to being afraid of a small insect – it well fears that it will be done for if the insect ﬂ ies • Fox persuades Goat to join him down the inside its ears. For this reason, the elephant is well constantly shaking its head around. • Fox climbs on Goat’s back to get out – Goat is now stuck down the well The lion ﬁ nds it hard to believe that such a large animal should be afraid of such a small Characters: one, and thereby realises its own fear is irrational. • Fox; Goat Sequence of events: Theme(s): Suggestions for use include: cues for oral • Cunning storytelling, support for storyboarding, story • Carelessness planning/writing etc.

Moral: • Lion develops fear of cock’s crow • Lion asks other animals about whether • Think ﬁ rst before you do something you they share the fear regret • Lion speaks to elephant • Elephant explains its fear of the insect ﬂ y- Understanding, interpreting and ing inside its ears responding to texts: • Hearing about the elephant’s feat, the lion realises its own is irrational • How does the fox come to be trapped down the well? Characters: • Why can’t the fox escape from the well, to begin with? • Lion; Monkeys; Hippo; Crocodile; Elephant • How does the fox persuade the goat to come down into the well? Theme(s): • Why does the goat let the fox climb on to its back? • Small things can be very powerful • What should the goat have done before • Irrational fears going down into the well? Moral:

20: The Lion and the Elephant • Don’t let yourself be afraid of something for no good reason Synopsis: Understanding, interpreting and A lion is awoken each morning by the crowing responding to texts: of a cockerel. The lion comes to be afraid of the noise of the cock’s crow, and is ashamed • How does the lion come to be afraid of the of himself for this, given that he is so big. cock’s crow?

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Aesop’s Fables

• Why is the lion ashamed of its fear? Characters: • What does the crocodile claim to be afraid of? • Crow; Sparrow Sisters • Why does the elephant shake its head so much? Theme(s): • Why is the elephant afraid of the insect? • How does the lion realise that there is no • Problem solving need to be afraid of the cock’s crow? • Patience

Moral: 21: The Crow and the Pitcher • Take the time to think through a problem Synopsis: and you might ﬁ nd a solution

An old crow is known to be clever at solv- Understanding, interpreting and ing problems – for example breaking open responding to texts: shellfi sh by dropping them from a height, and opening nuts by getting cars to drive • How does the clever old crow break open over them. The Sparrow Sisters sing about a tightly shut shellfi sh? how clever he is. One day, after a spell of hot • How does the crow break open walnuts? weather which has dried up all the streams • Why has all the water dried up in the and ponds, the crow fears it will die of thirst. ponds and streams? • Why can’t the crow drink the water from Coming upon a pitcher of water left in a the pitcher, to begin with? garden, the crow tries to drink from it, but • How does dropping pebbles into the pitch- there is only a little water left in the bottom, er help the crow get something to drink? and his beak can’t reach it. Having thought for a while, the crow hits upon the solution of dropping in pebbles until the water level rises 22: The Fox and the Stork suffi ciently for him to drink. Synopsis: Sequence of events: A stork arrives in the forest, and is looking to Suggestions for use include: cues for oral make new friends. The small birds advise him storytelling, support for storyboarding, story not to make friends with the fox, but the fox planning/writing etc. is charming, showing him round the woods and then inviting him round for supper. • Crow introduced as being a clever problem-solver At supper, the fox plays a cruel trick. He • Crow dying of thirst, unable to fi nd water serves soup on a shallow dish, which the • Crow fi nds pitcher containing a small stork cannot eat from using his long beak. amount of water The stork gets its revenge by inviting the fox • Crow cannot reach the water inside the for supper in return, and serving it inside a pitcher tall, thin jar into which the fox cannot get its • Crows drops pebbles into the pitcher so snout. Eventually the fox gets the jar stuck on that the water level rises, and he can drink its snout. The stork pulls it off...and the fox apologises for having played the original trick.

Aesop’s Fables

Sequence of events: • Why is the stork unable to eat the soup? • How does the stork play the fox’s own Suggestions for use include: cues for oral trick back on him? storytelling, support for storyboarding, story • Why does the fox end up with a jar stuck planning/writing etc. to his face?

• Stork arrives in forest • Stork meets fox 23: Two Travellers and a Bear • Stork is advised against befriending fox, but does so anyway Synopsis: • Fox invites Stork to supper • Fox serves soup on shallow plate. Stork Two men are travelling on foot together. En- cannot eat it tering a forest as night falls, one of the men • Stork invites Fox to supper in return expresses concern about the danger of en- • Stork serves meal in long, narrow jar. Fox countering a bear. The other laughs at this, cannot eat it and gets the jar stuck on its claiming to have successfully fought off bears nose in the past. The fi rst man is reassured by this, • Stork removes jar – fox apologises so they continue into the forest, where they do indeed encounter a bear. Characters: The man who claimed to be able to fi ght • Fox; Stork; Small birds bears climbs into a tree to escape, but refuses to help his friend climb up too. So, the fi rst Theme(s): man pretends to be dead. The bear does not eat him, as he does not want to eat prey that • Trickery is already dead. As the bear bends over him, • Contrition (of the fox having had his own it appears to whisper in his ear, (although trick played back on him) in fact it is sniffi ng). When the coward who • Getting a taste of ones own medicine climbed the tree comes down, he asks what • Mutual forgiveness the bear said. The fi rst man, angry, says that • Friendship the bear warned of supposed friends who desert you in times of danger. Moral: Sequence of events: • If you are going to play tricks on people, expect them to be played on you in return Suggestions for use include: cues for oral storytelling, support for storyboarding, story Understanding, interpreting and planning/writing etc. responding to texts: • Two friends, travelling together, enter for- • Why is the stork looking for new friends? est at nightfall • For what reason do the little birds advise • One is concerned about danger of bears, the stork against befriending the fox? but the other claims to be able to fi ght • Why do the little birds boo and hiss the them fox? • They encounter a bear • What trick does the fox play on the stork • Boastful man climbs tree over supper? • Boastful man refuses to help his friend

Aesop’s Fables

into the tree 24: The Goose that Laid the Golden • Man on the ground plays dead Eggs • Bear refuses to eat supposedly dead meat • Man on the ground expresses anger at Synopsis: boastful man who climbed tree A farmer has fallen into poverty and is starv- Characters: ing. He had been rich, having inherited the farm and many possessions, but sold them all • Friend #1 - the man who is worried about to avoid having to work. Now he only has one meeting a bear; Friend #2 - the man who goose, which he plans also to sell. However, claims to be able to ﬁ ght them; Bear the goose lays a golden egg, which the farmer is able to sell for a lot of money. Theme(s): Further golden eggs follow, and the farmer • Friendship becomes rich again. Consumed with greed, • Cowardice the farmer wants to get all the golden eggs • Empty boasting at once, and cuts the goose open to get at them. There are no eggs there, and now that Moral: the goose is dead, no more eggs to come. The farmer is soon poor again. • A friend who does not help you when you are in trouble is not a true friend Sequence of events:

Understanding, interpreting and Suggestions for use include: cues for oral responding to texts: storytelling, support for storyboarding, story planning/writing etc. • Why is one of the travellers reluctant to go into the forest? • Farmer sells off all possessions except • How does the second traveller persuade goose his friend that there is no need to be • Goose lays golden egg scared of bears? • Farmer regains wealth thanks to golden • Why don’t both men climb the tree to es- eggs cape the bear? • Farmer cuts open goose in an unsuccess- • Why doesn’t the bear eat the man on the ful attempt to have all the golden eggs at ground? once • How is it that the bear appears to whisper • Farmer ends up with nothing, having killed in the man’s ear? the goose • What gives one friend cause to be angry at the other? Characters:

• Farmer (Atticus Greeb); Goose

Theme(s):

• Greed / avarice • Being thankful for what you have

Aesop’s Fables

Moral: • Kid persuades wolf to sing • Wolf’s howling attracts attention of dogs • If you are greedy for too much you risk • Dogs scare off wolf, which curses itself losing what you already have Characters: Understanding, interpreting and responding to texts: • Kid; Mother goat; Other goats; Wolf; Guard dogs • Why is Atticus Greeb so poor? • Why doesn’t Atticus sell his goose? Theme(s): • How does Atticus become rich? How does he end up being poor again? • Taking advantage of opportunities • What makes Atticus cut open his goose? • Being wary of ﬂ attery • The importance of heeding good advice

25: The Kid and the Wolf Moral:

Synopsis: • Take advantage of opportunities when they arise, they may not arise again A kid (young goat) is warned to avoid the • ‘Make hay while the sun shines’ edge of the fi eld near the forest, because of the danger posed by a wolf. As it grows older, Understanding, interpreting and the kid thinks that it need not heed the responding to texts: advice. One day it goes to eat the grass there, which is particularly sweet. It does • Why is the kid advised against eating at not notice the rest of the herd, with its guard the edge of the fi eld? dogs, leaving. • Why does the kid ignore the advice and eat at the edge of the fi eld? Left alone in the fi eld, the kid is cornered by • How does the kid come to be left alone in the wolf. The kid fl atters the wolf into thinking the fi eld with the wolf? it has a beautiful singing voice. In fact, the • What stops the wolf from eating the kid wolf makes a terrible noise when it sings, and straight away? attracts the attention of the guard dogs, who • What causes the dogs to return and save return to save the kid. The wolf curses itself the kid? for not eating the kid when it had the chance. • Why does the wolf curse itself for being daft? Sequence of events:

Suggestions for use include: cues for oral 26: The Old Lion and the Fox storytelling, support for storyboarding, story planning/writing etc. Synopsis:

• Mother goat warns kid not to eat at the A lion has grown so old that it can no longer edge of the fi eld catch its prey. It comes up with the idea of • Kid eats at edge of fi eld anyway using trickery, claiming to be sick, then catch- • Kid left along in fi eld ing animals that show sympathy and come to • Kid encounters wolf help, and putting them in a sack to eat later.

Aesop’s Fables

A fox does not fall for the lion’s trick, notic- • What trick does the fox play on the lion? ing that tracks lead into the lion’s den but not out again. Instead, it gets the lion to close its eyes, then steals the sack. The fox frees 27: The Eagle and the Jackdaw the animals that were caught in the sack, and advises them to be more careful in future. Synopsis:

Sequence of events: A jackdaw is impressed by a soaring eagle. Her husband thinks that he is just as good Suggestions for use include: cues for oral as the eagle, but she complains that he only storytelling, support for storyboarding, story ever brings back trinkets to the nest, rather planning/writing etc. than anything useful.

• Lion is old and unable to catch its prey The male jackdaw then watches an eagle fl y • Lion catches a bird by claiming to be sick, off with a lamb which had become separated putting it in a sack from a nearby fl ock. He thinks he will prove • Lion tries same trick with a monkey, and his worth to his wife by doing something puts this in the sack similar, but tries to fl y off with the prize ram • Lion tries same trick with fox, but fox runs rather than a lamb. Unable to lift the ram, away with sack his talons get tangled in the wool, and he is • Fox frees the trapped animals caught by the shepherd, who clips his wings to stop him causing more trouble. Both the Characters: shepherd and the jackdaw’s wife ridicule it for trying to behave like an eagle. • Old Lion; Bird; Monkey; Fox Sequence of events: Theme(s): Suggestions for use include: cues for oral • Trickery storytelling, support for storyboarding, story • Cunning planning/writing etc.

Moral: • Female Jackdaw is impressed by eagle • Female Jackdaw complains that male Jack- • Be wary of things that you know to be daw does not do anything useful dangerous, even if they appear not to be • Eagle swoops and ﬂ ies off with a lamb • Male Jackdaw tries to copy the eagle, by Understanding, interpreting and swooping down on a ram responding to texts: • Male Jackdaw gets tangled in ram’s wool • Male Jackdaw caught by shepherd and has • Why can’t the lion hunt for prey? wings clipped • Why does the lion pretend to be sick? • How does the lion catch the bird? Characters: • How does the lion catch the monkey? • Why does the lion put the animals it catch- • Mr Jackdaw; Mrs Jackdaw; Eagle; Ram; es in a sack? Shepherd; Shepherd’s children • How does the fox realise that the lion is playing a trick?

Aesop’s Fables

Theme(s) One lamb notices a funny smell about the disguised wolf but is told not to be rude by its • Pretending to be something you are not mother. • Pride / vanity However, before the wolf can snatch the Moral: lamb, he gets hooked by the shepherd, who is looking for the biggest and juiciest sheep for • Don’t try to pretend that you are some- his own supper. The wolf wriggles out of the thing that you are not rug and escapes, but does not get a sheep for • Do not try to take on a task which you supper. know you will not be able to complete Sequence of events: Understanding, interpreting and responding to texts: Suggestions for use include: cues for oral storytelling, support for storyboarding, story • Why is the female jackdaw impressed by planning/writing etc. the eagle • Why does the male jackdaw think that • Wolf struggles to catch sheep the female should consider herself a lucky • Wolf visits his aunt and borrows sheepskin bird? rug • What does the eagle do that the jackdaw • Wolf disguises himself in the rug, and decides to copy? practices sheep noises • What is the difference between the sheep • Wolf inﬁ ltrates sheep that the eagle catches, and the sheep that • Wolf is herded into sheep pen the jackdaw tries to catch? • Lamb notices wolf smell • Why does the jackdaw try to catch the • Farmer extracts wolf ram? • Wolf escapes but without catching a sheep • How is the shepherd able to catch the jackdaw? Characters: • Why does the shepherd clip the jackdaw’s wings? • Wolf; Farmer Foggarty; Lamb; Mother Sheep

28: The Wolf in Sheep’s Clothing Theme(s):

Synopsis: • Things are not always what they seem • Danger of judging by fi rst appearances A wolf would like to catch a sheep for its • Having the courage of your convictions supper but is fi nding it diffi cult to do so. It (e.g. the lamb was right about the smell) tries to disguise itself by wrapping itself in a sheepskin rug and making noises like a Moral: sheep. • Appearances can be deceptive To begin with the plan works well – the sheep • Do not judge by appearances don’t seem to notice the difference, and nor do the farmer and his dog when the sheep are herded into their pen in the evening.

Aesop’s Fables

Understanding, interpreting and • Sherpa observes tame goats being looked responding to texts: after • Sherpa explains his plan for the wild goats • Where does the wolf fi nd the sheepskin to join the tame ones rug? • Goatherd looks after the wild goats, treat- • For what reason does the wolf disguise ing them more kindly than the tame ones itself? • Sherpa explains his concerns that they will • What makes the lamb suspect the wolf? be neglected too in due course • Why does the wolf decide to eat the lamb • Wild goats leave in spring fi rst? • Goatherd is angry, Sherpa explains his • Why does the farmer hook the wolf out mistake from the fl ock? Characters:

29: The Goatherd and the Wild Goats • Sherpa; Other wild goats; Goatherd; Tame goats Synopsis: Theme(s): A herd of wild goats, with a wise leader called Sherpa, are often hungry and cold. Sherpa • Fair and equal treatment observes a fl ock of tame goats being tended • Friendship by a goatherd, and provided with food and a warm sleeping place. Following Sherpa’s plan, Moral: the wild goats join the fl ock so that they too can have food and warmth. • Don’t neglect your old friends in favour of new ones The goatherd notices that the wild goats have joined the fl ock, but is pleased because he Understanding, interpreting and will have more milk and cheese to sell. He responding to texts: looks after the new goats to try and ensure that they stay with him, but in doing so ne- • How is the life of a wild goat different from glects the goats he had already. Sherpa is that of a tame one? concerned that he will neglect the wild goats • Why does Sherpa suggest that the wild similarly, should more new goats come along, goats should join the tame ones? so when spring arrives, the wild goats leave. • Why does the goatherd not mind having the wild goats in the fl ock? The goatherd is angry, but Sherpa points out • Why does the goatherd treat the wild that he should have treated all of his goats goats more kindly than the tame ones? fairly. • Why does Sherpa think that the wild goats should not stay with the tame ones? Sequence of events: • How do the wild goats escape? • Why is the goatherd angry? Does he have Suggestions for use include: cues for oral any right to be angry? storytelling, support for storyboarding, story planning/writing etc.

Aesop’s Fables

30: The dog in the manger Understanding, interpreting and responding to texts: Synopsis: • Why does the dog go into the barn? A dog is tired on a hot day. He ﬁ nds a com- • Why does the dog climb into the manger? fortable, cool spot in a manger full of hay, • Why do the cattle need the dog to get out inside a cattle barn. Before he can go to of the manger? sleep, the cattle come in, wanting to eat the • What causes Queeny Cow to be offended? hay. When they ask him to get out of the • Where does the bull go to hide, and why? manger, he is ﬁ rst rude, then threatening, • Why is the farmer angry? even though he does not want to eat the hay himself. The cattle leave the barn again, and end up wandering around the farm. This 31: Androcles and the Lion causes the farmer to storm in angrily, rousing the dog from the manger. Synopsis:

Sequence of events: Androcles, a slave, is mistreated by his master, so attempts to escape by running away Suggestions for use include: cues for oral into a forest. After a while, he stops to rest, storytelling, support for storyboarding, story but encounters a fi ercely roaring lion. Andro- planning/writing etc. cles fears that he will be eaten, but in fact the lion is roaring from the pain of a thorn in its • Dog is hot and tired paw. Androcles helps the lion by pulling out • Dog fi nds cool spot to sleep, in manger of the thorn and washing the wound. hay • Cattle enter barn and fi nd dog Soon afterwards, Androcles is recaptured by • Cattle ask dog to vacate manger, he his master, and imprisoned. His punishment refuses will be to be fed to a lion in the big arena, • Dog threatens Bull watched by the Emperor and a large crowd. • Cattle leave barn However, the lion turns out to be the same • Farmer enters and rouses dog one that Androcles had helped, and therefore greets the slave in a friendly way. The Emper- Characters: or, impressed by the power of their friendship, frees both Androcles and the lion. • Dog; Bull; Queeny Cow; Farmer John Sequence of events: Theme(s): Suggestions for use include: cues for oral • Selfi shness storytelling, support for storyboarding, story • Spitefulness planning/writing etc. • Greed • Androcles escapes into the forest Moral: • Androcles stops to rest and encounters a wounded lion • Don’t begrudge others what you do not • Androcles removes thorn from the lion’s want for yourself paw; the lion is grateful • Androcles is recaptured and imprisoned

Aesop’s Fables

• Androcles is thrown into arena, to be Coming to a bridge across a river, he stops to eaten by a lion eat the meat. He spots his own refl ection in • Lion, helped previously by Androcles, the water. Thinking that this is another dog, greets him with another piece of meat, he decides that • Emperor frees both Androcles and the lion he wants both pieces of meat. However, in opening his mouth to growl at his refl ection, Characters: he drops the meat in the river and it is swept away. He loses the meat but realises that • Androcles; Master; Lion; Emperor he would be better off not being so nasty in future. Theme(s): Sequence of events: • Slavery and the desire to escape from cruelty Suggestions for use include: cues for oral • The power of friendship storytelling, support for storyboarding, story planning/writing etc. Moral: • Patch behaves nicely as a puppy • Do someone a good turn and they may do • Patch misbehaves as a grown-up dog, and the same for you in returnOne good turn becomes known as Bad Dog deserves another • Bad Dog bullies other dogs for their food • Bad Dog steals meat from the farm kitch- Understanding, interpreting and en and runs away with it responding to texts: • Bad Dog sees his refl ection in the water, and thinks it is another dog • Why does Androcles run away into the for- • Bad Dog drops the meat into the water est? and loses it • Why is the lion roaring when Androcles meets it? Characters: • How does Androcles help the lion? • What do you think would have happened if • Patch / Bad Dog; Farmer and family; the lion hadn’t had a thorn in its paw? Other farm dogs • Why does Androcles end up in prison? • How is Androcles to be punished? Theme(s): • Why does the Emperor free Androcles? • Greed • Bullying 32: The Dog and his Refl ection • Realising the error of one’s ways

Synopsis: Moral:

Patch the dog lives on a farm. He is cute as a • Be thankful for what you have puppy, but grows up into a ﬁ erce and badly- • If you are too greedy you risk losing what behaved dog. He bullies the other dogs and you already have steals their food. One day he steals the joint of meat from the farmer’s table and runs away with it.

Aesop’s Fables

Understanding, interpreting and any ﬁ sh, thinking those that come not to responding to texts: be good enough for him • Heron ends up with nothing to eat • How does Patch come to be known simply as Bad Dog? Characters: • In what ways is Bad Dog bad? • How does Bad Dog bully the other dogs on • Heron; Otter; Water vole; Kingﬁ sher the farm? • Why does Bad Dog run away from the Theme(s): farm? • Why is Bad Dog wrong to think he has met • Thinking yourself better than you are another dog on the bridge? • Pride coming before a fall • How does Bad Dog lose the piece of meat? • Greed • Fussiness

33: The Heron and the Fish Moral:

Synopsis: • Be thankful for what you have, or you may end up with nothing A heron walks along a riverbank, behaving as • If you are too fussy about what you eat if he is a king. The other animals and birds you may end up being hungry feign respect but laugh at him behind his back. Understanding, interpreting and responding to texts: The heron hunts fi sh by standing very still in the water, on one leg, and waiting for fi sh to • Why do the other creatures pretend to swim past. He cannot hunt when the other show respect to the heron? animals are there, making a noise and splash- • Why does the heron think it is better than ing around. He waits until they have fi nished, the other creatures? then wades out into the river. However, he • How do herons hunt for fi sh, and how is refuses to catch the various small and medi- this different to how other animals do so? um-sized fi sh that swim past, thinking that • Why does the heron refuse to catch the only a great salmon is good enough for him small fi sh? No salmon comes, so he ends up with nothing • How does the heron end up being hungry? to eat.

Sequence of events: 34: The Eagle and the Tortoise

Suggestions for use include: cues for oral Synopsis: storytelling, support for storyboarding, story planning/writing etc. Tod the tortoise struggles to get his share of scraps that are thrown into the garden where • Heron acts like a king, other creatures it lives – he is too slow. His friend Milly Mouse feign respect brings some back for him. Seeing an eagle • Heron waits for the other creatures to stop ﬂ ying in the sky, Tod expresses top Milly his making noise, so that he can hunt wish to be able to ﬂ y. • Heron starts to hunt, but refuses to catch

Aesop’s Fables

The eagle comes down and offers to teach • Do not promise what you can’t deliver Tod to fl y. Tod promises the eagle anything it wants in return. Up in the sky, the Eagle Understanding, interpreting and demands Milly Mouse, who it wants to eat. responding to texts: When Tod is unwilling to betray his friend, the Eagle drops him. However, Tod lands in a pile • Why does Tod struggle to get any food in of lettuce leaves which his friends in the gar- the garden? den had stacked up to save him. Tod realises • Why does Tod think he would like to fl y? that he is happy as himself. • Why does the Eagle offer to help Tod to fl y? Sequence of events: • What does the Eagle ask for in return from Tod, and why? Suggestions for use include: cues for oral • Why does the Eagle drop Tod? storytelling, support for storyboarding, story • How does Tod manage to survive his fall? planning/writing etc.

• Tod struggles to get any scraps in the gar- 35: The Town Mouse and the Country den Mouse • Milly brings him some lettuce • Tod expresses desire to fl y Synopsis: • Eagle offers to teach Tod to fl y • Tod offers eagle anything it wants in re- Town Mouse visits his cousin in the coun- turn try. Country Mouse has collected lots of food • Eagle takes Tod up into the air ready for the visit, but Town Mouse turns his • Eagle demands Milly Mouse in return for nose up at it. Town Mouse claims that the the fl ying lesson food and lifestyle in town is much better, so • Eagle drops Tod when he refuses to give Country Mouse agrees to travel back with Milly away him. • Tod lands in pile of lettuce leaves and is saved Country Mouse fi nds out that the house where Town Mouse lives is indeed warm and com- Characters: fortable and full of beautiful food. However, it is also full of people, one of whom wants to • Tod Tortoise; Milly Mouse; Racy Rabbit; suck the mice up in a vacuum cleaner. De- Old Mrs Mumbles; Eagle spite the luxurious food, Country Mouse runs back to his home, where he can eat in safety. Theme(s): Sequence of events: • Friendship • Being content with the simple things in life Suggestions for use include: cues for oral • Unrealistic aspiration storytelling, support for storyboarding, story planning/writing etc. Moral: • Town Mouse travels to the country • Learn to love yourself for what you are • Country Mouse prepares for his cousin’s • Be content with what you have visit • Be careful what you wish for • Town Mouse scorns the surroundings and

Aesop’s Fables

the food 36: Belling the Cat • Town Mouse persuades Country Mouse to come back to town Synopsis: • Country Mouse enjoys the surroundings and the food in town A group of mice live happily on a farm, since • People arrive and try to suck up the mice the farm’s cat is too old and lazy to bother in a vacuum cleaner trying to catch them. Things change for the • Country Mouse returns to the country worse when a new cat arrives – she is young and a keen hunter, and as a result mice start Characters: disappearing.

• Town Mouse; Country Mouse; Chef and The mice have a meeting to discuss the mat- Servants ter. They agree that the problem is that cat’s ability to sneak up on them unheard. A young Theme(s): mouse proposes a plan to tie a bell around the cat’s neck. All the mice agree that this is • Simplicity and safety as preferable to a great plan, until they ﬁ nd that none of them luxury and danger wants to take on the task of placing the bell • The simple things in life can be the best on the cat. • Putting on airs and graces • Happiness and security as preferable to Sequence of events: material possessions Suggestions for use include: cues for oral Moral: storytelling, support for storyboarding, story planning/writing etc. • Be thankful for what you have • Be careful what you wish for • Mice live happily, unmolested by old cat • Material possessions are not everything • New cat arrives • Mice start disappearing, caught by the Understanding, interpreting and new cat responding to texts: • Mice hold a meeting to discuss the cat • Solution of ‘belling the cat’ is proposed • How would you summarise the differences • A suitable bell is found between Town Mouse and Country Mouse? • No mouse volunteers to place the bell on • Why does Town Mouse not want the food the cat that Country Mouse offers? • Why does Country Mouse travel into town? Characters: • How come all the nice food is available to the mice in town? • Old Cat; Young Cat; Old Mouse; Young • What is the noise that scares Country Mouse; Other Mice Mouse? • Why do the mice have to run away under Theme(s): the ﬂ oorboards? • Why does Country Mouse choose to go • Unrealistic aspirations home? • Bravery

Aesop’s Fables

Moral: • Fox, starving, searching in vain for food • Farmer leaves food inside hollow tree • Don’t suggest a solution which is impos- • Fox, being very thin, is able to squeeze sible into the tree • Don’t ask others to do something which • Fox eats the food you’re not prepared to do yourself • Fox, now fat, is unable to squeeze out again Understanding, interpreting and • Fox has to wait until he has become thin responding to texts: again before escaping

• Why is life so good for the mice to begin Characters: with? • How and why does the arrival of the new • Fox; Farmer Tom Cobbler; Mrs Cobbler cat change life for the mice? • What makes the new cat such a good Theme(s) hunter? • What solution does the young mouse pro- • Starvation pose? • Forgetfulness • From where do the mice ﬁ nd a bell? • Patience, (fox needing to wait until he is • What is the problem with the young thin again) mouse’s plan? Moral:

37: The Too Fat Fox • Problems can disappear by themselves if you wait for a while Synopsis: Understanding, interpreting and In the course of a harsh winter, a fox be- responding to texts: comes thinner and thinner until he fears that he will starve. One day he comes across a • Why is the fox so hungry? Why can’t he large amount of food inside a hollow tree, this fi nd anything to eat? having been hidden there a short while previ- • How come the fox fi nds food inside a hol- ously by a man who believes the hole in the low tree? trunk to be too small for any animal to get • Why is the fox unable to get out of the through. hollow tree? • How is the fox able to get out of the tree The fox can get through the whole having in the end? become so thin. He eats all the food, but fi nds himself too fat to get out. He has to wait for a few days until he is thin again before he can get out again.

Sequence of events:

Suggestions for use include: cues for oral storytelling, support for storyboarding, story planning/writing etc.

Aesop’s Fables

38: The Rat and the Elephant Theme(s):

Synopsis: • Pride coming before a fall • Contrasts in size A rat is used to people reacting with fear • Humility when they see him, and is rather pleased with this effect. One day he comes across a crowd Moral: of people, and is upset when they seem to ignore him. They are too busy admiring a great • Just because you might look like some- elephant, on which a king is riding, carrying a thing in some ways does not mean you are cat. like that thing in all ways • Being a bit like someone really great does The rat says the people shouldn’t be so im- not make you great as well pressed with an elephant, seeing as how it is only an animal with four legs, two eyes and Understanding, interpreting and a nose, just like him. The king’s cat jumps responding to texts: down from the elephant and demonstrates how the rat is not as impressive as the el- • What makes the rat believe himself to be ephant, since the cat could not pin down or so frightening? threaten to eat the elephant. The people, now • Why does the crowd of people ignore the noticing the rat having been caught by the rat? cat, are no longer frightened of him. • What do the people ﬁ nd so impressive about the elephant? Sequence of events: • What similarities does the rat point out between himself and the elephant? Suggestions for use include: cues for oral • How does the cat demonstrate differences storytelling, support for storyboarding, story between the rat and the elephant? planning/writing etc. • Why are the people no longer as frightened of the rat as they used to be? • Rat encounters crowd of people • People do not react to the rat with fear, as they would normally do 39: The Ant and the Dove • Rat sees the elephant being ridden by the king Synopsis: • Rat draws comparisons between the elephant and himself An ant is dying of thirst, due to all the wa- • Cat pins down the rat and threatens to eat ter in the forest having been dried up in hot it, thereby demonstrating that the rat is weather. The only source of water is the river, nothing like the elephant so the ant decides to drink from that, despite • People are no longer frightened of the rat knowing how dangerous it is. Sure enough, the river sweeps him away, and he cries des- Characters: perately for help.

• Rat; Cat; Elephant; Townspeople; King A dove helps the ant to safety by helping him climb on to a leaf, and disappears before the ant can thank her. However, the ant is able to return the favour when two hunters come

Aesop’s Fables with the aim of catching the dove. He bites • Why does the ant bite the feet of the hunt- the feet of the hunters, preventing them from ers? catching the doves and causing them to run away. 40: The Boy who Cried Wolf Sequence of events: Synopsis: Suggestions for use include: cues for oral storytelling, support for storyboarding, story A boy has the job of protecting a ﬂ ock of planning/writing etc. sheep from wolves. If a wolf comes, he is to ring a bell and cry out “wolf”, so that the men • Ant, dying of thirst, decides to risk drink- from the village will come with their guns. Af- ing from the river ter a few days with no wolf, the boy is getting • Ant swept away by water bored, so he pretends that a wolf is attack- • Ant is saved by a dove, who helps it climb ing. The men come running, and praise the on to a leaf boy even when they ﬁ nd no wolf, believing his • Ant sees hunters preparing to catch the story of the wolf having run off. dove • Ant bites the hunters’ feet to save the The boy enjoys the attention, so repeats the dove trick. This time he is not praised – the men do not believe that there was a wolf. When a Characters: wolf really does attack, and the boy rings his bell and cries “wolf”, the men do not come, • Dove; Ant; Hunters thinking that he is playing the trick again. The wolf takes one of the fattest sheep. Theme(s): Sequence of events: • Mutual kindness and favours • Size not necessarily equating to effective- Suggestions for use include: cues for oral ness storytelling, support for storyboarding, story planning/writing etc. Moral: • Boy takes job watching over sheep • Do someone a good turn and they may do • Boy becomes bored, and pretends a wolf the same for you in return is attacking • One good turn deserves another • The villagers come, and the boy is praised for saving the sheep Understanding, interpreting and • Boy pretends a wolf is attacking again responding to texts: • The villagers come, but do not believe that a wolf was attacking • Why is it dangerous for the ant to drink • A wolf really does attack from the river? • The villagers do not come, so a sheep is • Why does the ant need to drink from the eaten river? • How does the ant manage to get out of Characters: the river? • Why are hunters trying to catch the dove? • Boy; Shepherd; Villagers