Fable Teacher Sample

Total Page:16

File Type:pdf, Size:1020Kb

Fable Teacher Sample Teaching Guidelines ..................................4 Lesson 11 .................................................................50 The Dog in the Manger Introduction to the Fable Stage ............................7 Lesson 12 .................................................................54 Definition of Terms ................................................9 The Mountain in Labor Lesson 13 .................................................................58 Lessons The Sick Lion Lesson 1 ...................................................................10 Lesson 14 .................................................................62 The Ant and the Chrysalis The Ass and the Lapdog Lesson 2 ...................................................................14 Lesson 15 .................................................................66 The Ant and the Grasshopper The Wolf in Sheep’s Clothing Lesson 3 ...................................................................18 Lesson 16 .................................................................70 The Fox and the Grapes The Ass and the Mule Lesson 4 ...................................................................22 Lesson 17 .................................................................74 The Hare and the Tortoise The Frogs Asking for a King Lesson 5 ...................................................................26 Lesson 18 .................................................................78 The Fisherman Piping The Mischievous Dog Lesson 6 ...................................................................30 Lesson 19 .................................................................82 The Flies and the Honey-Pot The Old Woman and the Physician Lesson 7 ...................................................................34 Lesson 20 .................................................................86 The Bear and the Two Travelers The Fighting Cocks and the Eagle Lesson 8 ...................................................................38 The Dove and the Ant Appendix Lesson 9 ...................................................................42 The Thirsty Pigeon Figures of Description with Examples ................92 Lesson 10 .................................................................46 Introduction to the Progymnasmata The Dog and the Shadow by James A. Selby ...................................................97 3 The Ant and the Chrysalis Read the fable aloud. An Ant nimbly running about in the sunshine in search of food came across a Chrysalis that was very near its time of change. The Chrysalis moved its tail, and thus att racted the 1. THE FABLE att ention of the Ant, who then saw for the fi rst time that it was alive. “Poor, pitiable animal!” cried the Ant disdainfully. “What a sad fate is yours! While I can 1. Read the fable aloud to the class. run hither and thither, at my pleasure, and, if I wish, ascend the tallest tree, you lie imprisoned here in your shell, with power only to move a joint or two of your scaly tail.” 2. Say the following words aloud The Chrysalis heard all this, but did not try to make any reply. A few days after, when the Ant and ask for students to define. passed that way again, nothing but the shell remained. Wondering what had become of its contents, he felt himself suddenly shaded and fanned by the gorgeous wings of a beautiful Butt erfl y. Guide them towards the proper “Behold in me,” said the Butt erfl y, “your much-pitied friend! Boast now of your powers definition. to run and climb as long as you can get me to listen.” So saying, the Butt erfl y rose in the air, and, borne along and aloft on the summer breeze, » — the hard-shelled pupa of a chrysalis was soon lost to the sight of the Ant forever. moth or butterfly » pitiable — pitiful or producing pity “Appearances are deceptive.” Æ “the pitiable homeless children” » disdainfully — showing scorn or contempt Three Plot Components Æ “The judge looked disdainfully at the criminal.” Give examples of recognition, reversal, and suffering (if applicable). » ascend — to climb, to move higher “An Ant nimbly running about in the sunshine in search of food”; “The Chrysalis Æ “ascend the mountain” 1. Recognition: ____________________________________________________________________________ _______________________________________________________________________________________moved its tail”; “ nothing but the shell remained.” » boast — to speak pridefully about oneself 2. Reversal: _______________________________________________________________________________“ he felt himself suddenly shaded and fanned by the gorgeous wings of a beautiful Æ “He boasts about winning the race.” _______________________________________________________________________________________Butterfl y. “Behold in me,” said the Butterfl y, “your much-pitied friend!” » borne — carried, held up, supported 3. Suffering: _______________________________________________________________________________“soon lost to the sight of the ant forever” Æ “The rider was borne by the horse to town.” _______________________________________________________________________________________ » aloft — high up, in the air Æ “sleeping aloft on the top bunk” Variations: Part 1 Give at least two synonyms for the selected words in each sentence. 3. Say: “How does knowing these Then vary the sentence in three ways. words help you better understand 1. “I can ascend the tallest tree.” the story?” I: _________________________________________________________________________________myself, athlete (I, athlete), person, adult, child can: ______________________________________________________________________________am able, am empowered, have the ability to, may, have the skills to, am allowed 4. Tell students to highlight examples ascend: ___________________________________________________________________________climb, scale, crawl up, pull myself up, negotiate, zoom to the top of recognition and reversal as you tallest: _____________________________________________________________________________highest, biggest, most massive, most impressive, loftiest, largest or selected students read the fable tree: ______________________________________________________________________________vine, plant, sapling, oak, pine, maple, birch aloud once or twice more. 1. _________________________________________________________________________________The tallest tree I, myself, can ascend. Recognition occurs in either of two ways: 2. _________________________________________________________________________________I, an athlete, am able to climb the highest oak. A. a truth, event, or character is described in 3. _________________________________________________________________________________I, a person, have the ability to scale the most massive plant. such a way that the reader identifies with or remembers a similar experience (e.g., the fable may remind us of a time when Lesson 1 we saw an ant look for food); 10 B. the audience discovers a truth not realized previously in the story (e.g., realizing that Joseph’s sufferings in Egypt were intended » We may have seen an empty chrysalis shell. for good - God meant to save people from famine through Joseph’s leadership). 6. Ask the students for the reversal, and point it out: Reversal occurs when either: Æ … he felt himself suddenly shaded and fanned by the gorgeous wings of a A. the high and mighty are brought low (e.g., beautiful Butterfly. “Behold in me,” said the Butterfly, “your much-pitied the Ant) friend!” B. the low and humble are elevated (e.g., » The Ant, who before assumed his superiority over the Chrysalis, is brought the Chrysalis). low because the Chrysalis has become a Butterfly, who can soar high 5. Ask the students for examples of above the Ant. We can also say, therefore, that the lowly Chrysalis has recognition in the fable and point been elevated to a Butterfly. out the following instances: 7. Ask the students for examples of Suffering in the narrative and point the following example: Æ An Ant nimbly running about in the sunshine for food. Æ … soon lost to the sight of the ant forever … » We have probably all seen an ant on the » When the ant is left behind he realizes that he is the one to be pitied; the ground. butterfly is freer than he is. Æ The Chrysalis moved its tail … 8. Choose students to narrate the fable in their own words » We may have seen a caterpillar or chrysalis from memory. before it became a butterfly. Æ … nothing but the shell remained. 10 • The Ant and the Chrysalis 2. “He was stuck in the thick boughs of a great terebinth tree …” 2 Samuel 18:9 (NKJV) stuck: _____________________________________________________________________________caught, held fast, detained against his will, trapped LESSON 1 thick boughs: ______________________________________________________________________substantial limbs, beefy arms, hefty branches, enormous appendages terebinth tree: ______________________________________________________________________turpentine-producing tree, variety of tree or tree from the Mediterranean » Ensure that students are keeping the 1. _________________________________________________________________________________He was held fast in the substantial limbs of a great turpentine-producing tree. meaning of the sentences intact, while also 2. _________________________________________________________________________________He was detained in the beefy arms of a great Mediterranean variety of tree. encouraging them to use variety in their 3. _________________________________________________________________________________He
Recommended publications
  • Aesop's Fables
    AESOP’S FABLES ILLUSTRATED BY HAROLD YATES THE OLDEG N GALLEY SERIES OF JUNIOR CLASSICS AESOP’S FABLES Retold, by ARTHUR B. ALLEN Illustrated by Harold Yates LONDON GOLDEN GALLEY PRESS LIMITED First Published in this Edition 1948 R.8022 PRINTED IN GREAT BRITAIN Text by Adelphi Associated Press, London, 17.1. Colour Plates by Perry Colourprint Ltd., London, S.17.15. CONTENTS Introduction I. The Cock and the Jewel II. The Wolf and the Lamb III. The Frogs who wanted a King IV. The Vain Jackdaw V. The Dog and the Shadow VI. The Lion and the Other Beasts VII. The Wolf and the Crane VIII. The Stag and the Water IX. The Fox and the Crow X. The Two Bitches XL The Proud Frog XII. The Fox and the Stork XIII. The Eagle and the Fox XIV. The Boar and the Ass XV. The Frogs and the Fighting Bulls XVI. The Kite and the Pigeons XVII. The Lark and Her Young Ones XVIII. The Stag in the Ox-stall XIX. The Dog and the Wolf XX. The Lamb brought up by a Goat XXL The Peacock’s Complaint XXII. The Fox and the Grapes XXIII. The Viper and the File XXIV. The Fox and the Goat XXV. The Countryman and the Snake XXVI. The Mountains in Labour XXVII. The Ant and the Fly XXVIII. The Old Hound XXIX. The Sick Kite XXX. The Hares and the Frogs XXXI. The Lion and the Mouse XXXII. The Fatal Marriage XXXIII. The Wood and the Clown XXXIV. The Horse and the Stag XXXV.
    [Show full text]
  • Download Lesson
    EPISODE 9 LESSON PLAN TEACHER SYNOPSIS Since ancient times, people around the world have used fairy tales, fables, and folktales to capture the imagination of and entertain an audience. However, these tales were meant to do more than entertain: they were used to teach morals. Fairy tales, fables, and folktales share other elements, such as talking animals, mythical creatures, and/or inanimate objects that think or feel emotions. Such tales are still being written and enjoyed today. Listen to hear how a professional writer transformed one boy’s story seed into a fantastic fable, complete with three edible houses and one hungry wolf. WHIP UP A FAIRYTALE with Bil Lepp STUDENT SYNOPSIS Want more resources? Download our activity- Do you have a favorite fairy tale, fable, or folktale? You might packed companion kits remember the characters and plot, but do you recall what you for Episode 9 Look Before learned from the story? A lesson you could apply to your every- You Eat! on our website. day life? Fairy tales, fables, and folktales are some of the oldest types of stories known, and while the stories may differ, all share common elements. Listen to hear a modern fable created by a professional writer and an eleven-year-old boy. LITERATURE CONNECTIONS Aesop’s Fables: The Classic Edition - Aesop Fairy Tales, Fables, Legends, and Myths - Bette Bosma Grimm’s Fairy Tales - Jacob and Wilhelm Grimm How to Tell a Folktale - Carol Alexander The Illustrated Anansi: Four Caribbean Folk Tales - Philip M. Sherlock Weblinks are EXTERNAL WEB MATERIALS embedded into this PDF.
    [Show full text]
  • 42 the Fox and the Sick Lion -- 43 the Young Thief and His Mother - 44 the Travelers and the Bear - - 45 the Thrush and the Swallow - - 47 the Lioness and the Fox
    Æ S OP’S AB LES 'HE HOME LIBRARY ■f BURT COMPANY. N V CONTENTS. pm Editor’s Preface - - 3 Life of Æsop - • 9 The Fox And the Crow . • - 13 The Man and His Two Wives - 14 The Two Frogs - - - 16 The Stag Looking into the Pool - - 16 Jupiter and the Camel - - - 16 The Lion Hunting with other Beasts - 16 The Cock and the Jewel - - - 17 The Dog and his Shadow - 17 The Wolf and the Lamb - - - 18 The Peacock and Juno - - 18 The Ant and the Fly - - - 20 The Stag in the Ox-Stall - 21 The Cat and the Mice - - - 22 The Hawk and the Nightingale - 23 The Belly and the Members - - 23 The Bald Knight - - 24 The Kite and the Pigeons - - 24 The Mischievous Dog - - 25 The Frog who Wished to be as Big as an Ox - 25 The Fatal Courtship - - 27 The Bald Man and the Fly - - 27 The Frogs and the Fighting Bulls - - 28 The Man and the Lion - - - 28 The Brother and Sister - - 29 The Countryman and the Snake - - 30 The Wind and the Sun - - 31 iv CONTENTS. PAQE The Boasting Traveler • -•- 31 The Spendthrift and the Swallow ---- 32 The Leopard and the Fox - -- 32 The Jackdaw and the Pigeons - -• 33 The Sick Kite - 33 The Lion and the Monse - - 34 The Wolf and the Crane - - - • 35 The Lion in Love - - - 35 Caesar and the Slave - - 37 The Collier and the Fuller - - 37 The Hares and the Frogs - - • 38 The Wanton Calf - - 39 The Eagle, the Cat, and the Sow -- 40 The Sow and the Cat - 41 The Wolf, the Fox, and the Ape -- 41 The Lion, the Ass, and the Fox - 42 The Fox and the Sick Lion -- 43 The Young Thief and his Mother - 44 The Travelers and the Bear - - 45 The Thrush and the Swallow - - 47 The Lioness and the Fox .
    [Show full text]
  • Henryson's Fables: "The Subtell Dyte of Poetry" Gregory Kratzmann
    Studies in Scottish Literature Volume 20 | Issue 1 Article 6 1985 Henryson's Fables: "the subtell dyte of poetry" Gregory Kratzmann Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Kratzmann, Gregory (1985) "Henryson's Fables: "the subtell dyte of poetry"," Studies in Scottish Literature: Vol. 20: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol20/iss1/6 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Gregory Kratzmann Henryson's Fables: "the subtell dyte of poetry" Henryson's Fables were once discussed almost exclusively as documents of social realism, or as humorous poems which at their best might be designated "Chaucerian." In an important article in 1962, Denton Fox urged "that it might be helpful to look at the Fables from a more severely literary viewpoint, and to examine them as poems"; further, he pleaded the necessity to examine the poems "as wholes," that is, as fables consisting of two carefully related parts, story and moralization.1 Although there has been some stimulating criticism of the Fables during the past twenty years, commentary has been neither as prolific nor as wide-ranging as that directed at The Testament of Cresseid, and there is room for more discussion of those two closely-related critical issues raised in Fox's article. This essay has two concerns.
    [Show full text]
  • Chinese Fables and Folk Stories
    .s;^ '^ "It--::;'*-' =^-^^^H > STC) yi^n^rnit-^,; ^r^-'-,. i-^*:;- ;v^ r:| '|r rra!rg; iiHSZuBs.;:^::^: >» y>| «^ Tif" ^..^..,... Jj AMERICMJ V:B00lt> eOMI^^NY"' ;y:»T:ii;TOiriai5ia5ty..>:y:uy4»r^x<aiiua^^ nu,S i ;:;ti! !fii!i i! !!ir:i!;^ | iM,,TOwnt;;ar NY PUBLIC LIBRARY THE BRANCH LIBRARIES 3 3333 08102 9908 G258034 Digitized by the Internet Arciiive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/chinesefablesfolOOdavi CHINESE FABLES AND FOLK STORIES MARY HAYES DAVIS AND CHOW-LEUNG WITH AN INTRODUCTION BY YIN-CHWANG WANG TSEN-ZAN NEW YORK •:• CINCINNATI •: CHICAGO AMERICAN BOOKCOMPANY Copyright, 1908, by AMERICAN BOOK COMPANY Entered at Stationers' Hall, London Copyright, 1908, Tokyo Chinese Fables W. p. 13 y\9^^ PROPERTY OF THE ^ CITY OF MW YOBK G^X£y:>^c^ TO MY FRIEND MARY F. NIXON-ROULET PREFACE It requires much study of the Oriental mind to catch even brief glimpses of the secret of its mysterious charm. An open mind and the wisdom of great sympathy are conditions essential to making it at all possible. Contemplative, gentle, and metaphysical in their habit of thought, the Chinese have reflected profoundly and worked out many riddles of the universe in ways peculiarly their own. Realization of the value and need to us of a more definite knowledge of the mental processes of our Oriental brothers, increases wonder- fully as one begins to comprehend the richness, depth, and beauty of their thought, ripened as it is by the hidden processes of evolution throughout the ages. To obtain literal translations from the mental store- house of the Chinese has not been found easy of accom- plishment; but it is a more difficult, and a most elusive task to attempt to translate their fancies, to see life itself as it appears from the Chinese point of view, and to retell these impressions without losing quite all of their color and charm.
    [Show full text]
  • Genre and Subgenre
    Genre and Subgenre Categories of Writing Genre = Category All writing falls into a category or genre. We will use 5 main genres and 15 subgenres. Fiction Drama Nonfiction Folklore Poetry Realistic Comedy Informational Fiction Writing Fairy Tale Tragedy Historical Persuasive Legend Fiction Writing Tall Tale Science Biography Fiction Myth Fantasy Autobiography Fable 5 Main Genres 1. Nonfiction: writing that is true 2. Fiction: imaginative or made up writing 3. Folklore: stories once passed down orally 4. Drama: a play or script 5. Poetry: writing concerned with the beauty of language Nonfiction Subgenres • Persuasive Writing: tries to influence the reader • Informational Writing: explains something • Autobiography: life story written by oneself • Biography: Writing about someone else’s life Latin Roots Auto = Self Bio = Life Graphy = Writing Fiction Subgenres • Historical Fiction: set in the past and based on real people and/or events • Science Fiction: has aliens, robots, futuristic technology and/or space ships • Realistic Fiction: has no elements of fantasy; could be true but isn’t • Fantasy: has monsters, magic, or characters with superpowers Folklore Subgenres Folklore/Folktales usually has an “unknown” author or will be “retold” or “adapted” by the author. • Fable: short story with personified animals and a moral Personified: given the traits of people Moral: lesson or message of a fable • Myth: has gods/goddesses and usually accounts for the creation of something Folklore Subgenres (continued) Tall Tale • Set in the Wild West, the American frontier • Main characters skills/size/strength is greatly exaggerated • Exaggeration is humorous Legend • Based on a real person or place • Facts are stretched beyond nonfiction • Exaggerated in a serious way Folklore Subgenres (continued) Fairytale: has magic and/or talking animals.
    [Show full text]
  • Aesop's Fables
    Masterpiece Library U) 13-444/52.95 AESOP’S FABLES COMPLETE AND UNABRIDGED AFABLESESOP’S Masterpiece Library MAGNUM BOOKS NEW YORK masterpiece library AESOP’S FABLES Special contents of this edition copyright © 1968 by Lancer Books, Inc. All rights reserved Printed in the U.SA. CONTENTS The Fox and the Crow 11 The Gardener and His Dog 13 The Milkmaid and Her Pail 14 The Ant and the Grasshopper 16 The Mice in Council 17 The Fox and the Grapes 18 The Fox and the Goat 19 The Ass Carrying Salt 20 The Gnat and the Bull 22 The Hare with Many Friends 24 The Hare and the Hound 25 The House Dog and the Wolf 26 The Goose with the Golden Eggs 28 The Fox and the Hedgehog 29 The Horse and the Stag 31 The Lion and the Bulls 32 The Goatherd and the Goats 33 5 Androcles and the Lion 34 The Hare and the Tortoise 36 The Ant and the Dove 38 The One-Eyed Doe 39 The Ass and His Masters 40 The Lion and the Dolphin 42 The Ass’s Shadow 43 The Ass Eating Thistles 44 The Hawk and the Pigeons 45 The Belly and the Other Members 47 The Frogs Desiring a King 49 The Cat and the Mice 51 The Miller, His Son, and Their Donkey 53 The Ass, the Cock, and the Lion 55 The Hen and the Fox 57 The Lion and the Goat 58 The Fox and the Lion 59 The Crow and the Pitcher 60 The Boasting Traveler 61 The Eagle, the Wildcat, and the Sow 62 The Ass and the Grasshopper 64 The Heifer and the Ox 65 The Fox and the Stork 67 The Farmer and the Nightingale 69 The Ass and the Lap Dog 71 Jupiter and the Bee 73 The Horse and the Groom 75 The Mischievous Dog 76 The Blind Man and the Whelp 77 The
    [Show full text]
  • In the Afternoon
    AESOP In the Afternoon ALBERT CULLUM AESOP In the Afternoon Albert Cullum CITATION PRESS N EW Y O R K 1972 Other Citation Press Books by Albert Cullurn PUSH BACK THE DESKS SHAKE HANDS WITH SHAKESPEARE: Eight Plays for Elementary Schools GREEK TEARS AND ROMAN LAUGHTER: Len I ragedies and hive Comedies for Schools To a back porch of summer memories... G r a t e f u l acknowledgment is m ade to N o rm a M il l a y E l l is fo r p e r ­ m ission to r e p r in t “ S econd F ig ” by E dna St . V in c e n t M i i .l a y fro m COLLECTED POEMS, H a r p e r & R ow . C o p y r ig h t 1922, 1950 by E dna St . V in c e n t M i l l a y . C o p y r ig h t © 1972 b y Sc h o la stic M a g a z in e s, I n c . A l l rig h ts reser v ed . P u blish ed by C ita tio n P ress, L ib r a r y and T rade D iv isio n , Sc h o la stic M a g a z in e s, I n c ., E d ito ria l O f f ic e : 50 W est 44 St r e e t , N ew Y o r k , N ew Y ork 10036.
    [Show full text]
  • History As Rhetoric, Fable, and Literary Genre
    International Journal of Literature and Arts 2014; 2(1): 16-23 Published online February 20, 2014 (http://www.sciencepublishinggroup.com/j/ijla) doi: 10.11648/j.ijla.20140201.14 History as rhetoric, fable, and literary genre Alejandro Cheirif Wolosky Museum of natural history, Luxemburg, Luxembourg Email address: [email protected] To cite this article: Alejandro Cheirif Wolosky. History as Rhetoric, Fable, and Literary Genre. International Journal of Literature and arts . Vol. 2, No. 1, 2014, pp. 16-23. doi: 10.11648/j.ijla.20140201.14 Abstract: This article provides an insight into the notion of history as a literary genre. It argues that in the sixteenth and seventeenth centuries the concept of “history” was mostly employed in its plural form: “the stories” and not “history” were the predominant form of the concept of history. These “stories” were related to the ancient Ciceronian rhetorical and moral tradition of history as Magistra Vitae (history as life's teacher) and were considered part of the so-called belles-lettres or “literature”. Keywords: History, Literature, Rhetoric, Fable designated the “subjective” aspect of history with the word 1. Introduction Historie -- the account or narration of what has happened -- In the fifth edition of the Dictionary of the French and with the word Geschichte its objective aspect: the Academy ( Dictionnaire de l'Académie Française ), events of the past themselves. Towards the end of the published in 1798, in the entry for the word histoire, written eighteenth-century, the word Geschichte , derived from the in the singular and feminine form, we find the following verb geschehen (to occur), merged both meanings into one definition: “Narrative of actions and events worth of single word (Geschichte).
    [Show full text]
  • Banned and Challenged Adult Fiction Books
    Banned and Challenged Adult Fiction Books Author Title First Details Published Margaret Atw ood The Handmaid’s Tale 1985 Story: Set in a future America that has turned into an anti-feminist fascist state, Kate is a handmaid w ho lives a life of sexual servitude but falls in love w ith a man w ho is not her assigned partner. Reasons: Profanity, sexually explicit, religious view point Author comment: “I made a rule for myself: I w ould not include anything that human beings had not already done in some other place or time, or for w hich the technology did not already exist."[ Dan Brow n The Da Vinci Code 2003 Story: A mystery-detective novel that explores an alternative religious history. Reason: Religious view point Review er comment: “The most flagrant aspect... is not that Dan Brow n disagrees with Christianity but that he utterly w arps it in order to disagree w ith it.” Mikhail Bulgakov The Master and 1967 Story: Satan appears at the Patriarch Ponds in Moscow in the guise of "Professor" Woland, a mysterious Margarita gentleman "magician" of uncertain origin. Reason: Political Review er comment: “...a lovely, hysterical, and amazing story." Bret Easton Ellis American Psycho 1991 Story: Set in Manhattan during the Wall Street boom of the late 1980s, American Psycho follow s the life of w ealthy young investment banker and serial killer Patrick Bateman. Reason: Violence Author comment: “During the years I w orked on the book, I did not know how violent it w ould become.” Nadine Gordimer July’s People 1981 Story: In an apocalyptic, futuristic South Africa where racial tension has developed into full civil w ar, a white family is forced to seek sanctuary in the home of their black former servant.
    [Show full text]
  • Wolf Folklore Cartoon Animals Are a Good Example of Anthropomorphism; They Look Like Ani- Popular European Folk Tales Were Mals, but They Act Like People
    KIDS The wolf thanked her warmly and was turning away when she cried, “What about that fee of mine?” “Well, what about it?” snapped the wolf, baring his teeth as he spoke. “You can go about boasting that you once put your head into a wolf’s mouth and didn’t get it bitten off. What more do you want?” European Fairy Tales and the Brothers Grimm Wolf Folklore Cartoon animals are a good example of anthropomorphism; they look like ani- Popular European folk tales were mals, but they act like people. written down during the 19th century. By Connor Hager Over time, most people and cultures In 1812, a number of them were pub- have changed their attitudes toward lished by two brothers with the last name wolves because of human activities like of Grimm, under a title still familiar to Folklore, Folk Tales, agriculture (farming), wildlife man- many young readers: Grimm’s Fairy Tales. Legends and Myths agement and environmental studies. The brothers Grimm were lawyers olklore is the word for the tradi- Changing attitudes can alter the way who became interested in folklore as a tions, customs and beliefs found wolves are depicted by humans—and way to study the German culture and within a culture. Folklore is passed that can affect human tolerance for system of laws. They collected these sto- F ries from people they knew, friends of on by telling stories, sharing supersti- wolves, depending on whether the depic- tions, creating music and art, and teach- tions are positive or negative. ing by word-of-mouth.
    [Show full text]
  • The Fables of La Fontaine [Book
    ftnnk >E 3^ ^ By bequest of / C? ^ William Lukens Shoemaker PART VII. i ^ POETRY—Vol. I., Part 2 ' A D I CO ) A / 3j^ \ THE FABLES OF LA FONTAINE TRANSLATED FROM THE FRENCH BY E. WRIGHT. The Dairy Woman. LONDON i INGRAM, COOKE, AND CO. 227, STRAND. 1853. \\ ^S>\\> ^^v>V Gift. W. L. Shoemaker 7 S '06 \ THE FABLES ©F LA FONTAINE TRANSLATED FROM THE FRENCH, By ELIZUR WRIGHT, June. VOL. I. 119 INTKODTJCTION. This elegant translation of the most famous fabulist of modern times (if we may- be allowed to call tbe seventeenth century modern), is the work of an American author, who has admirably succeeded in embodying both the spirit, the grace, and the vivacity of the original in the translation. As Fables have interested and instructed mankind in every age, and as the Fables of La Fontaine may be said to be the standard collection of modern times, this translation has been considered as a most appropriate addition to the Universal Library. London, February, 1853.- 120 A PREFACE ON FABLE, THE FABULISTS, AND LA FONTAINE, BY THE TRANSLATOR. Human nature, when fresh from the hand of God, Himerians on their guard against the tyranny of was full of poetry. Its sociality could not be pent Phalaris by the fable of the Horse and the Stag. within the bounds of the actual. To the lower Cyrus, for the instruction of kings, told the story inhabitants of air, earth, and water,—and even to of the fisher obliged to use his nets to take the- those elements themselves, in all their parts and fish that turned a deaf ear to the sound of his flute.
    [Show full text]