Fables de La Fontaine (Illustré) (French Edition)

Les Illustrations des Fables de La Fontaine
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A strategy for reclaiming them is therefore to exploit the gap between the written and the spoken language. By this time, La Fontaine was 47 and known to readers chiefly as the author of Contes , lively stories in verse, grazing and sometimes transgressing the bounds of contemporary moral standards. William Russo 's approach to popularising his Aesop's Fables was to make of it a rock opera. The list of Fables is also quite lengthy. Printed at the Westminster Press. Showing best matches Show all copies.

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In the 20th century there have also been translations into regional dialects of English. The latter were in Aberdeenshire dialect also known as Doric. Glasgow University has also been responsible for R. Caribbean creole also saw a flowering of such adaptations from the middle of the 19th century onwards — initially as part of the colonialist project but later as an assertion of love for and pride in the dialect. As well as two later editions in Martinique, there were two more published in France in and and others in the 20th century.

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La totalité des Fables de la Fontaine sont présentes dans ce volume. Édition en orthographe modernisée, conservant la ponctuation d'origine (pour une lecture. Les Fables de la Fontaine - edition illustre [ Illustrated ] (French Edition) [Jean de La Fontaine, Jean-Joseph JULAUD, Chaunu (illustrations), First] on.

Then the start of the new century saw the publication of Georges Sylvain 's Cric? This was among a collection of poems and stories with facing translations in a book that also included a short history of the territory and an essay on creole grammar. Versions in the French creole of the islands in the Indian Ocean began somewhat earlier than in the Caribbean. This was published in and went through three editions. Fables began as an expression of the slave culture and their background is in the simplicity of agrarian life.

Creole transmits this experience with greater purity than the urbane language of the slave-owner. Fables belong essentially to the oral tradition; they survive by being remembered and then retold in one's own words. When they are written down, particularly in the dominant language of instruction, they lose something of their essence. A strategy for reclaiming them is therefore to exploit the gap between the written and the spoken language. One of those who did this in English was Sir Roger L'Estrange , who translated the fables into the racy urban slang of his day and further underlined their purpose by including in his collection many of the subversive Latin fables of Laurentius Abstemius.

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In the centuries that followed there were further reinterpretations through the medium of regional languages, which to those at the centre were regarded as little better than slang. Eventually, however, the demotic tongue of the cities themselves began to be appreciated as a literary medium. One of the earliest examples of these urban slang translations was the series of individual fables contained in a single folded sheet, appearing under the title of Les Fables de Gibbs in This followed the genre's growth in popularity after World War II.

The majority of such printings were privately produced leaflets and pamphlets, often sold by entertainers at their performances, and are difficult to date. In the 20th century Ben E. Perry edited the Aesopic fables of Babrius and Phaedrus for the Loeb Classical Library and compiled a numbered index by type in This book includes and has selections from all the major Greek and Latin sources.

Until the 18th century the fables were largely put to adult use by teachers, preachers, speech-makers and moralists. It was the philosopher John Locke who first seems to have advocated targeting children as a special audience in Some Thoughts Concerning Education Aesop's fables, in his opinion are. And if his memory retain them all his life after, he will not repent to find them there, amongst his manly thoughts and serious business. If his Aesop has pictures in it, it will entertain him much better, and encourage him to read when it carries the increase of knowledge with it For such visible objects children hear talked of in vain, and without any satisfaction, whilst they have no ideas of them; those ideas being not to be had from sounds, but from the things themselves, or their pictures.

That young people are a special target for the fables was not a particularly new idea and a number of ingenious schemes for catering to that audience had already been put into practice in Europe. The Centum Fabulae of Gabriele Faerno was commissioned by Pope Pius IV in the 16th century 'so that children might learn, at the same time and from the same book, both moral and linguistic purity'. When King Louis XIV of France wanted to instruct his six-year-old son, he incorporated the series of hydraulic statues representing 38 chosen fables in the labyrinth of Versailles in the s.

In this he had been advised by Charles Perrault , who was later to translate Faerno's widely published Latin poems into French verse and so bring them to a wider audience. In this the fables of La Fontaine were rewritten to fit popular airs of the day and arranged for simple performance. The preface to this work comments that 'we consider ourselves happy if, in giving them an attraction to useful lessons which are suited to their age, we have given them an aversion to the profane songs which are often put into their mouths and which only serve to corrupt their innocence.

In Great Britain various authors began to develop this new market in the 18th century, giving a brief outline of the story and what was usually a longer commentary on its moral and practical meaning. First published in , with engravings for each fable by Elisha Kirkall , it was continually reprinted into the second half of the 19th century.

First that it was printed in Birmingham by John Baskerville in ; second that it appealed to children by having the animals speak in character, the Lion in regal style, the Owl with 'pomp of phrase'; [79] thirdly because it gathers into three sections fables from ancient sources, those that are more recent including some borrowed from Jean de la Fontaine , and new stories of his own invention. Thomas Bewick 's editions from Newcastle upon Tyne are equally distinguished for the quality of his woodcuts. The first of those under his name was the Select Fables in Three Parts published in The work is divided into three sections: the first has some of Dodsley's fables prefaced by a short prose moral; the second has 'Fables with Reflections', in which each story is followed by a prose and a verse moral and then a lengthy prose reflection; the third, 'Fables in Verse', includes fables from other sources in poems by several unnamed authors; in these the moral is incorporated into the body of the poem.

In the early 19th century authors turned to writing verse specifically for children and included fables in their output. One of the most popular was the writer of nonsense verse, Richard Scrafton Sharpe died , whose Old Friends in a New Dress: familiar fables in verse first appeared in and went through five steadily augmented editions until The versions are lively but Taylor takes considerable liberties with the story line.

Both authors were alive to the over serious nature of the 18th century collections and tried to remedy this. Sharpe in particular discussed the dilemma they presented and recommended a way round it, tilting at the same time at the format in Croxall's fable collection:. It has been the accustomed method in printing fables to divide the moral from the subject; and children, whose minds are alive to the entertainment of an amusing story, too often turn from one fable to another, rather than peruse the less interesting lines that come under the term "Application". It is with this conviction that the author of the present selection has endeavoured to interweave the moral with the subject, that the story shall not be obtained without the benefit arising from it; and that amusement and instruction may go hand in hand.

Sharpe was also the originator of the limerick, but his versions of Aesop are in popular song measures and it was not until that the limerick form was ingeniously applied to the fables. This was in a magnificently hand-produced Arts and Crafts Movement edition, The Baby's Own Aesop: being the fables condensed in rhyme with portable morals pictorially pointed by Walter Crane.

Some later prose editions were particularly notable for their illustrations. Among these was Aesop's fables: a new version, chiefly from original sources by Thomas James, 'with more than one hundred illustrations designed by John Tenniel '. Notable early 20th century editions include V. The illustrations from Croxall's editions were an early inspiration for other artefacts aimed at children. In the 18th century they appear on tableware from the Chelsea , Wedgwood and Fenton potteries, for example.

Fables were used equally early in the design of tiles to surround the nursery fireplace. In France too, well-known illustrations of La Fontaine's fables were often used on china. In Classical times there was an overlap between fable and myth, especially where they had an aetiological function. According to the first, humans are distinguished by their rationality. Such early philosophical speculation was also extended to the ethical problems connected with divine justice. For example, it was perceived as disproportionate for an evil man to be punished by dying in a shipwreck when it involved many other innocent people.

Fables de La Fontaine : illustrations de Grandville

The god Hermes explained this to an objector by the human analogy of a man bitten by an ant and in consequence stamping on all those about his feet. Hermes was involved here too, since he records men's acts on pot sherds and takes them to Zeus piled in a box. The god of justice, however, goes through them in reverse order and the penalty may therefore be delayed. Some fables may express open scepticism, as in the story of the man marketing a statue of Hermes who boasted of its effectiveness. Asked why he was disposing of such an asset, the huckster explains that the god takes his time in granting favours while he himself needs immediate cash.

In another example, a farmer whose mattock has been stolen goes to a temple to see if the culprit can be found by divination. On his arrival he hears an announcement asking for information about a robbery at the temple and concludes that a god who cannot look after his own must be useless. The story was also to become a favourite centuries later in Protestant England, where one commentator took the extreme position that to neglect the necessity of self-help is "blasphemy" and that it is "a great sin for a man to fail in his trade or occupation by running often to prayers".

As the fables moved out of the Greek-speaking world and were adapted to different times and religions, it is notable how radically some fables were reinterpreted. Thus one of the fables collected under the title of the Lion's share and originally directed against tyranny became in the hands of Rumi a parable of oneness with the God of Islam and obedience to divine authority. In Mediaeval times too, fables were collected for use in sermons, of which Odo of Cheriton 's Parobolae is just one example.

At the start of the Reformation , Martin Luther followed his example in the work now known as the Coburg Fables. In Georgette de Montenay 's Emblemes ou devises chrestiennes , for example, the fable of The Oak and the Reed was depicted in the context of the lines from the Magnificat , "He hath put down the mighty from their seats and exalted them of low degree" Luke 1.

Once the fables were perceived as primarily for the instruction of children, a new generation of Christian writers began putting their own construction on them, often at odds with their original interpretation. An extreme example occurs in a compilation called Christian Fables from the Victorian era, where The North Wind and the Sun is referred to Biblical passages in which religion is compared to a cloak.

Therefore, says the author, one should beware of abandoning one's beliefs under the sun of prosperity. Beginning two and a half millennia ago with aetiological solutions to philosophical problems, fresh religious applications were continuing into the present. The success of La Fontaine's fables in France started a European fashion for creating plays around them. Such was its popularity that a rival theatre produced Eustache Le Noble 's Arlaquin-Esope in the following year.

One of the problems is personal to Aesop, since he is betrothed to the governor's daughter, who detests him and has a young admirer with whom she is in love.

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There is very little action, the play serving as a platform for the recitation of free verse fables at frequent intervals. After a modest few performances, the piece later grew in popularity and remained in the repertory until In the 20th century individual fables by Aesop began to be adapted to animated cartoons , most notably in France and the United States. Cartoonist Paul Terry began his own series, called Aesop's Film Fables , in but by the time this was taken over by Van Beuren Studios in the story lines had little connection with any fable of Aesop's.

In the early s, animator Jay Ward created a television series of short cartoons called Aesop and Son which were first aired as part of The Rocky and Bullwinkle Show. Actual fables were spoofed to result in a pun based on the original moral. Here Aesop is a black story teller who relates two turtle fables, The Tortoise and the Eagle and the Tortoise and the Hare to a couple of children who wander into an enchanted grove. The fables themselves are shown as cartoons. These featured a cartoon in which the characters appeared as an assembly of animated geometric shapes, accompanied by Pierre Perret 's slang versions of La Fontaine's original poem.

There have also been several dramatic productions for children based on elements of Aesop's life and including the telling of some fables, although most were written as purely local entertainments. While musical settings of La Fontaine's Fables began appearing in France within a few decades of their publication, it was not until the 19th century that composers began to take their inspiration directly from Aesop. It was a large selection containing 28 versified fables. There have also been song-settings, including Bob Chilcott 's five Aesop's Fables , [] and some works have been used to interest young people in music.

Edward Hughes set his Songs from Aesop's fables for children's voices and piano [] while Arwel Hughes 's similarly titled work is for unison voices. More recently, the American composer Robert J. Bradshaw b. A programme note explained that "the purpose of this work is to excite young musicians and audiences to take an interest in art music".

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Werner Egk 's early settings in Germany were aimed at children too. The commonest approach in building a musical bridge to children has involved using a narrator with musical backing. William Russo 's approach to popularising his Aesop's Fables was to make of it a rock opera. Instead of following the wording of one of the more standard fable collections, as other composers do, the performer speaks in character. His teachers are the animal characters he meets on his journeys.

The fables they suggest include the Tortoise and the Hare , the Lion and the Goat, the Wolf and the Crane , the Frogs Who Desired a King and three others, brought to life through a musical score featuring mostly marimbas, vocals and percussion. After an English recitation by male narrator, a female singer's rendition of the Greek wording was accompanied by an octet.

From Wikipedia, the free encyclopedia. Collection of fables credited to Aesop. For other uses, see Aesop's Fables disambiguation. George Rawlinson, Book I, p. Ashliman, New York , pp. Zafiropoulos Ethics in Aesop's Fables , Leiden, pp. Van Dijk Ainoi, Logoi, Mythoi , Leiden, p. History of the Graeco-Latin Fable vol. Retrieved 4 October Retrieved 22 March Ha-Nakdan , Berechiah ben Natronai A limited preview is available at Google Books.

A translation is available at Google Books. The Politics of Language in Chinese Education, — Shway Too Sandays.

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Fables ". William Caxton: a biography. The edition is available on Google Books. The edition of this is available on Google Books. London: Bickers. Retrieved 22 March — via Google Books. Google Books. Animal Symbolism in Ecclesiastical Architecture , London, , p. Samuel Lysons, Christian Fables, or the fables of Aesop, and other writers, Christianized and adapted with Christian morals for the use of young people , London , p. A history of French Dramatic Literature in the 17th Century.