Aesop's Fables
Total Page:16
File Type:pdf, Size:1020Kb
Load more
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. -
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. -
Short Stories
Elements and Characteristics of Short Stories Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral. Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. Of course, as with any art form, the exact characteristics of a short story will vary by author. Length Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846). -
The Power of Short Stories, Novellas and Novels in Today's World
International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts. -
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. -
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. -
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. -
Vicki Lewis Thompson Friend Or Foe?...P8 Congratulations on Receiving the Nora Roberts Lifetime Achievement the New RWA Award! the Ceremony Was Heaps of Fun
Edition #191 April 2009 The official journal of Romance Writers of Australia Brisbane, Qld Craft: Creating Inner Hearts Talk chats to 8-time RITA nominee, RWAmerica’s 2008 Nora Rob- Conflict..............p4 erts Lifetime Achievement Award recipient, and author of more than 90 books... Vicki Lewis Thomp- son Interview (cont) ..................p6 Adverbs: Vicki Lewis Thompson Friend or Foe?...p8 Congratulations on receiving the Nora Roberts Lifetime Achievement The New RWA Award! The ceremony was heaps of fun. Can Website.............p9 you tell us about the night, your theory about authors with three names, and what Agent Profile: Kristen the award means to you? Nelson Agency .p10 It was truly a Cinderella experience, so much so that I have a little gold pumpkin carriage sitting Insights Gained After on the shelf beside my RITA. I knew there was Publication........p11 the potential for being nervous, so I just told myself that nervousness would spoil an amaz- Member ing experience, so I needed to get over myself! Spotlight ..........p12 Voilà , I wasn’t nervous! As for three names, after I got The Call that I was the award recipi- Member News & ent, I naturally went on the website to see the list of previous recipients, and that three-name Releases ...........p13 thing leaped out at me. You truly couldn’t miss it! It made me laugh, so I used it. The award Focus on: Erotic itself is priceless, a tangible representation of Romance ..........p14 25 successful years in the business. I will cher- ish it always, and bequeath it to my children, Events ...............p16 whether they want it or not. -
017 Harvard Classics
THE HARVARD CLASSICS The Five-Foot Shelf of Books soldier could see through the window how the peopL were hurrying out of the town to see him hanged —P«ge 354 THE HARVARD CLASSICS EDITED BY CHARLES W. ELIOT, LL.D. Folk-Lore and Fable iEsop • Grimm Andersen With Introductions and No/« Volume 17 P. F. Collier & Son Corporation NEW YORK Copyright, 1909 BY P. F. COLLIER & SON MANUFACTURED IN U. *. A. CONTENTS ^SOP'S FABLES— PAGE THE COCK AND THE PEARL n THE WOLF AND THE LAMB n THE DOG AND THE SHADOW 12 THE LION'S SHARE 12 THE WOLF AND THE CRANE 12 THE MAN AND THE SERPENT 13 THE TOWN MOUSE AND THE COUNTRY MOUSE 13 THE FOX AND THE CROW 14 THE SICK LION 14 THE ASS AND THE LAPDOG 15 THE LION AND THE MOUSE 15 THE SWALLOW AND THE OTHER BIRDS 16 THE FROGS DESIRING A KING 16 THE MOUNTAINS IN LABOUR 17 THE HARES AND THE FROGS 17 THE WOLF AND THE KID 18 THE WOODMAN AND THE SERPENT 18 THE BALD MAN AND THE FLY 18 THE FOX AND THE STORK 19 THE FOX AND THE MASK 19 THE JAY AND THE PEACOCK 19 THE FROG AND THE OX 20 ANDROCLES 20 THE BAT, THE BIRDS, AND THE BEASTS 21 THE HART AND THE HUNTER 21 THE SERPENT AND THE FILE 22 THE MAN AND THE WOOD 22 THE DOG AND THE WOLF 22 THE BELLY AND THE MEMBERS 23 THE HART IN THE OX-STALL 23 THE FOX AND THE GRAPES 24 THE HORSE, HUNTER, AND STAG 24 THE PEACOCK AND JUNO 24 THE FOX AND THE LION 25 1 2 CONTENTS PAGE THE LION AND THE STATUE 25 THE ANT AND THE GRASSHOPPER 25 THE TREE AND THE REED 26 THE FOX AND THE CAT 26 THE WOLF IN SHEEP'S CLOTHING 27 THE DOG IN THE MANGER 27 THE MAN AND THE WOODEN GOD 27 THE FISHER 27 THE SHEPHERD'S -
THE SHORT STORY and NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr
THE SHORT STORY AND NOVEL “Outsiders” English 132, 002 | Spring, 2014 Instructor: Dr. Elizabeth Juckett Email: [email protected] Office: 339 Colson Web: elizabethjuckett.english.wvu.edu Office hours: MTWR: 1:30 – 2:30 PM; by appointmt. Phone #: 304-293-9723(office); 304-296-8437 (home) Meeting at: MWF from 11:30 – 12:20 PM Meeting in: 104 Clark Hall REQUIRED TEXTS Alexie, Sherman. The Lone Ranger and Tonto Fistfight in Heaven (Grove) Cather, Willa, My Antonia. (Broadview) Oates, Joyce Carol. American Short Stories, 2nd edition. (Oxford). Woodrell, Daniel. Winter’s Bone (Back Bay Books) Wright, Richard. Native Son (Harper Perennial) COURSE DESCRIPTION This course is designed to introduce you to fiction as a broad literary genre distinct from poetry and drama. In it, we will read short stories and novels that exemplify the historical development of these forms, as well as the important differences in voice, style, structure, and effect between stories and novels that treat similar themes. Part of our work will be to define distinctive qualities of the short story and novel within the broad category of prose fiction. But our focus will also be thematic: the three novels and many of the short stories we will read this semester imagine the lives of marginalized people, people who find themselves on the fringes of American life because of their race, gender, ethnicity, age, socio-economic status, or other divergence from the accepted norm. Consequently, as we explore the characteristics and evolution of the forms of American fiction, we will also be exploring, conceptually and practically, how “outsider fiction” influences us, broadly, how literature is powerfully linked to our experience and may help us engage with it. -
Aesop's Fables, However, Includes a Microsoft Word Template File for New Question Pages and for Glos- Sary Pages
1 æsop’s fables Click here to jump to the Table of Contents 2 Copyright 1993 by Adobe Press, Adobe Systems Incorporated. All rights reserved. The text of Aesop’s Fables is public domain. Other text sections of this book are copyrighted. Any reproduction of this electronic work beyond a personal use level, or the display of this work for public or profit consumption or view- ing, requires prior permission from the publisher. This work is furnished for informational use only and should not be construed as a commitment of any kind by Adobe Systems Incorporated. The moral or ethical opinions of this work do not necessarily reflect those of Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibilities for any errors or inaccuracies that may appear in this work. The software and typefaces mentioned on this page are furnished under license and may only be used in accordance with the terms of such license. This work was electronically mastered using Adobe Acrobat software. The original composition of this work was created using FrameMaker. Illustrations were manipulated using Adobe Photoshop. The display text is Herculanum. Adobe, the Adobe Press logo, Adobe Acrobat, and Adobe Photoshop are trade- marks of Adobe Systems Incorporated which may be registered in certain juris- dictions. 3 Contents • Copyright • How to use this book • Introduction • List of fables by title • Aesop’s Fables • Index of titles • Index of morals • How to create your own glossary and question pages • How to print and make your own book • Fable questions Click any line to jump to that section 4 How to use this book This book contains several sections. -
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).