Forthcoming in Classical Receptions Journal, 2015. "Aesop Said So: Ancient Wisdom and Radical Politics in 1930s New York" S. Sara Monoson* *Correspondence: Department of Political Science, 601 University Place, Northwestern University, Evanston IL 60208 USA.
[email protected] Abstract. This study explores a mode of political activism on the cultural front that engaged a viewpoint we might call Aesopic. It focuses on American ‘proletarian artist’ Hugo Gellert’s publication, Aesop Said So (1936), an illustrated volume of a select number of Aesop’s fables that uses satirical cartoons to assert a parallel between the fables’ unassailable lessons and a critique of industrial capitalism and fascist sentiments. This article details how Gellert's work presents a subversive Aesop that resonates with current scholarship in classics that highlights the disruptive features of Aesopic wisdom as it surfaces in ancient prose writing. This essay also compares Gellert’s identification in antiquity of a politically useful voice from below with other examples of the presence of ancient models in 1930s politically charged art, such as Paul Manship's gilded statue of Prometheus for Rockefeller Center, NY (1933) and Diego Rivera's mural 'Man at the Crossroads' for the lobby of Rockefeller Plaza’s signature skyscraper (1932/33) that was destroyed amid a political controversy. This essay explores a single point of contact between an ancient source and modern creative adaptation—visual artist Hugo Gellert’s publication, Aesop Said So (1936).1 Gellert approaches Aesop in translation and unaided by scholarly study, yet breaks from the long tradition of finding in the Aesopica some gentle moral lessons suitable for children just learning to read and think.