4 THREE HUNDRED AND FIFTY Z ’ z E S O P S F B L E S A , L ITERALLY Tunsmm momm GREEK. B Y TH E (7 R EV G E FY E . T D M A . O. R WN S E N L O , . WIT H ON E HUN D ED AN D F U EEN ILLU ST RAD ONs D ESIGN ED BY R O RT , H RISON Wem AN D ENG AVE av J . G EEN Y AR , R D R AWA . C H I C A G O O C O . B E L F R D , C L A R K E , 1 8 8 2 . P R E F A C E . T HE A L th e the e T E , Parable , and Fabl are all common e and popular mod s of conveying instruction . Each ow n is distinguished by its special characteristics . The Tale consists simply in the narration of a story im either founded on facts , or created solely by the ain ation e g , and not necessarily associat d with the n P teaching of ay moral lesson . The arable is the designed use of language purposely intended to con vey a hidden and secret meaning other than that contai n ed in th e words themselves ; and which may s bearer or may not bear a pecial reference to the , or e Th e read r . Fable partly agrees With , and partly f e e n di f rs from both of th se . It will co tain , like the e Tal , a short but real narrative ; it will seek , like the P e an d arable , to convey a hidden m aning , that not so much by the use of language , as by the skilful i n troduction of fictitious characte rs ; and yet unlike e P l ee in i to ither Tale or arable , it wi l ever k p V ew, P r e ace vi f . as its high prerogative , and inseparable attribute , the great purpose of instruction , and will necessarily n seek to i culcate some moral maxim , social duty , or political truth . The true Fable , if it rise to its high on e en d requirements , ever aims at great and purpose - im the representation of human motive , and the n n provement of huma co duct , and yet it so conceals its design under the disguise of fictitious characters , e by clothing with sp ech the animals of the field , the th e birds of the air, trees of the wood , or the beasts of the forest , that the reader shall receive advice n without perceivi g the presence of the adviser . Thus the superiority of the counselor , which often e n e renders couns l u palatable , is kept out of vi w . and th e l esson comes with the greater acceptan ce when s m e the reader is led . unconsciou ly to hi s lf , to have his sympathies enlisted in behalf of what is pure , in di honorable , and praiseworthy , and to have his g e l ow un nation excit d against what is , ignoble , and T h e worthy . true fabulist , therefore , discharges a os n is e e m t important functio . He n ith r a narrator, n o r e s He e an all gori t . is a great teach r, a corrector o f morals , a censor of vice , and a commender of s c s s th e vi rtue . In thi on ists the uperiority of Fable e h e P e T he s ove r the Tal or t arabl . fabuli t is to c e e et e e to c o r at a laugh , but y , und r a merry guis , n r ace P ef . vii a a vey instruction . Ph edrus , the gre t imitator of jE so to be p , plainly indicates this double purpose the e true office of the writ r of fables . D u e e d oe est: uo sum movet pl x lib lli q d ri . flio mo o Etquod pruden t"vitam oon s n t. The continual observanc e of this twofold aim e e c f o r the ve cr at s the charm , and a counts uni rsal ” o f e Afi so favor, the fabl s of p . The fable , says P . e e rofessor K O Mueller , originated in Gre c in an ‘ ’ n ff a intentio al travestie of human a airs . The ines , as its name denotes , is an admoni tion , or rather a o e e an repr of, v iled , ither from fear of excess of n e e e fra kn ss , or from a love of fun and j st , b neath the fiction of an occurrence happening among beasts ; . and wherever w e have any ancient and authentic E so ian account of the p fables , we find it to be the The construction of a fable involves a minute attention to th e narration itself ; the deduc tion of the moral ; and a careful mainten ance of the individual characteristics of the fictitious person e ages introduced into it . The narration should relat l an d to one simple action , consistent with itse f, neither be overladen with a multiplicity of details , h o V s o t e aure A n c en G K . u ol . L A of e L f eece 0 e le . Hi t ry it r t i t r , by M l r , . 9 o on ar e 18 8 1 1. L n 5 p d , P k r, , P r e ace viii f . i nor d stracted by a variety of circumstances . The moral or lesson should be so plain , and so intimately an d interwoven with , so necessarily dependent on , the narration , that every reader should be compelled to give to it the same undeniable interpretation . The introduction of the animals or fictitious charac ters should be marked with an unexceptionable care h th e and attention to t eir natural attributes , and to qualities attributed to them by u n iversal popular u consent . The Fox sho ld be always cunning , the m Hare ti id , the Lion hold , the Wolf cruel , the Bull n strong , the Horse proud , and the Ass patient . Ma y of these fables are characterized by the strictest u e . observance of these r les . Th y are occupied with one short narrative , from which the moral naturally m flows , and with which it is inti ately associated . i ' * ‘ ‘ D odsl e in which Tis the simple manner , says y, the morals of ZE sop are interwov en with his fabl es n e e that disti guishes him , and gives him the pref r nce ‘ e e n e ov r all oth r mythologists . His Mountai deliv red ’ e e th e e of a Mous , produc s moral of his fabl in ridi e en cule of pompous pr t ders ; and his Crow , when her eese e s e e she drops ch , l t fall , as it w r by accident , th e strongest admonition against the power of f 0 0 aes o f fE-m an d o t e Ful m l lnl n I th e e oo 3 1001 h . n b ks t an s ate F bl p . r r , r l d b tul wrt Ih n l ul o n et'n m l m l m l wl l h u sc l c c l l o uo f h o es uml a y l . n Essa y p l , y o n v ham m 00 n m . ub . B m r l ir i g , P r ace ef . ix e r e flattery . There is no need of a s pa at sentence to n explain it ; no possibility of impressi g it deeper, by that load we too often see of accumulated reflec ise tions . i An equal amount of pra is due for the consistency with which the characters of the ani i io l are fi ct t us . mals , y introduced , marked While they are made to depict the motives and passions of e men , th y retain , in an eminent degree , their own special features of craft or counsel , of cowardice or e courag , of generosity or rapacity . These terms of praise, it must be confessed , can l c not be bestowed on all the fables in this col e tion . i Many of them lack that unity of des gn , that close n co nection of the moral with the narrative , that d wise choice in the intro uction of the animals , which constitute the charm and excellency of true E sop ian t om e of h ese aes h ad n o ou in th e fi rs n s an ce arima an d S t f bl , d bt, t i t , p ry e n o n th e fi s occas on of h e co m privat i terpretati n . O r t i t ir be in g pose d th ey we e n en e to e e to so me ass n e en or to some n d uaac s of r i t d d r f r p i g v t, i ivid l t “ wro - n an d o aes of th e E ae the Fox .