Der Rabe und der Fuchs. Lessings Bearbeitung der äsopischen Fabel (German Edition)

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Nine line drawings by Donna Thomas printed from relief engravings. A beautifully executed book. I like the letterpress printing. The print and the versions are very attractive; I find the nine illustrations somewhat disappointing: Though the edition is allegedly limited to fifty, this copy does not admit which number it is. The book is worth exhibiting to show how Aesop continues to be one of the classic authors to whom great bookmakers turn. This book reproduces almost exactly a book I have in English: This edition skips the foreword, but its T of C, which borrows the foreword's illustration and spreads over two pages, then indicates exactly the same stories and page numbers as are in the English T of C and edition.

As I write there, this is one of the best renditions I have seen lately. The pictures are excellent, well produced, and witty. That illustration with the foreword or T of C, respectively, reappears meaningfully later with WC; it pictures a lion, hedgehog, and crow who are smart enough to have nothing to do with the wolf's pained throat Earlier the wolf here is a hunter with a rifle pointing an ominous finger at the victim lamb There is a great facial expression on the cat hanging from a peg while the mice discuss nearby The approach of the envious donkey to sitting on his master's lap is a fine scene of commotion The few words that I can recognize presumably come from borrowings for things that do not exist in Finland, like tyrants "tyranni" on 25 , apes "apina" on 28 , dolphins "delfiini" on 28 , and lions "leijona" on This is my first book in Finnish.

By Katy Keck Arnsteen. Gift of Eleanor Webster, Aug. Three fables appear among the ten stories, in each of which the reader is challenged to find the hidden object, like the fork that the town mouse should be using at the city dinner. The other fables are TH and BW. Except for the search for the hidden object, the illustrations are rather routine. The Loeb Classical Library: Retold in Verse by Tom Paxton. Illustrated by Robert Rayevsky. A wonderful sequel to this pair's Aesop's Fables The verse for the ten fables is sometimes only adequate, but the illustrations are delightful.

And Other Grownup Tales and Fables. Kaellis' definition of fable is slippery, but his sense of morality and his sense of whimsy are both alive and well. I read two of these "essories" a hybrid of "essay" and "story" and enjoyed them both, though they are a long way from fable. DM 12 from an unknown source, August, ' I have been cataloguing German fable collections. Fabeln der Welt by the same publisher. A little examination showed that the plates from that edition were simply magnified to fill a slightly larger page with smaller margins.

The pagination is thus exactly the same in the two editions. There is a reference to the earlier work on the back of the title-page. It is a lovely book, however they dress it up or change it! What I had written there includes this: There are three hundred and fifty-four fables here, beginning with Aesop and ranging across the world.

The main group consists of German fables. They are all rendered in contemporary German idiom. This is a worthy and wide-ranging collection! As the back cover proclaims, "Die fabelhaften Geschichten und Zeichnungen dieses Buches verbinden alte Fabelart mit neuen, abenteuerlich-komischen Ereignissen. The frog who does not even know how lonesome he is encounters the storm one day and is blasted into frog society, where he lives happily. Osko the mouse is captured by a stork and thus starts a sixteen-page adventure centered around a cherry that invades many different animals' lives, only to turn out to be an artificial cherry that fell from a woman's hat!

One of five woodworms argues with the others about whether there is a world outside of their beam. He decides to gnaw straight south to find what is "out there. Reinbek bei Hamburg, Germany: This book is an explicit invitation to wisdom. Its author encounters a cat in the night bringing a message of awakening to human beings. The cat announces four lessons.

The first is a wake-up. The second is about improving the probability of finding the right way. The third is instruction about how to read the stories that make up the fourth. What follows then is a fine collection of fable texts. I plan to use it when I am planning my fable lectures later this summer. Many come straight from Kalila and Dimna. I hope even to try a few a day during that time. It is an impressive effort! Gift of Wilfried Liebchen, June, ' As the opening T of C shows, this book's pages split near the middle.

After a short inroduction the first half of the book presents texts, organized into these groups: In the second half of the book, Liebchen presents his criteria for these categories. Here he presents three principles of the fable, and then in several sections shows the errors and confusions he believes people get into by not using these principles. In the introduction, Liebchen points out that fables give pleasure, that fables introduce the "Aha! We need, then, to attend to the form of fable. My question about Liebchen's good fable texts is: Did he create them all? In the second half of the book, before offering his three principles of fables, Liebchen disagrees with the oft-stated theory that fables are indirect, self-protective speech.

Here are the three principles: First is das Prinzip des Mittels: Their characters are already known: So fable depends on three Verfremdungseffekte: The effect of quick characterization. The second effect is reduction of feelings by creating a distance between us and the characters. We are not taken with pity and fear over the characters; we rather understand the consequences they have prepared for themselves. We have the feeling of being superior to them.

Everyday stuff is pushed into the realm of the special des Besonderen. So we get unusual characters in an unusual place dealing with our everyday issues. Second is das Prinzip des Zweck, which is Verstehen. A good example is Liebchen's fable about good advice. Fable goes beyond simile in wanting not just understanding but also a change in behavior.

Fable changes nothing, but for one who is willing to think, it can help change. Fable has suffered through its misuse for moral doctrine. Simile does not have the Ziel of either fable or parable. It is not there to change behavior. Parable uses only one of the three Effekts: It does not try to create distance by using animals or try to create a sense of superiority. Liebchen uses "The Prodigal Son" as a favorite example of parable. The book uses four illustrations from various sources, listed on Nach einer Fabel von Aesop.

Bilder von Eve Tharlet. This delightfully illustrated large-sized book represents the third language for the same publication.

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See both the English and Japanese editions in As I wrote of the English edition, Tharlet's work is almost Anno-like in its care for detail. This story can be hard to tell well. This teller has the grasshopper realize the folly of her ways at the end and resolve to act differently next summer. At this point a number of versions, like Disney's, soften and provide for the starving grasshopper. Here the ants send her back out into the cold and remind her that she had made fun of their work during the summer.

The harshness of the moral reflects Aesop well. The booklet is again beautifully published. Illustrated by Triunfo Arciniegas. A very nice pocket edition heavy on Roman de Renart material but including entries from Persia, Spain, Africa, and Turkey. The one Aesopic fable is FG, well told.

Edition, Study and Notes by Victoria A. Burrus and Harriet Goldberg. Spanish Series Number Hispanic Seminary of Medieval Studies, Ltd. The scholarly apparatus is helpful and impressive. T of C of the fables on Then variants and emendations, and a glossary where I learned that ystoriado means "illustrated".

Appendix A includes tables matching this Esopete with Romulus and other early collections. B and C are motif indices, while D is a comprehensive fable index by words. Besides a final bibliography, there are included in a pocket inside the back cover microfiches of a computer-generated concordance. The front of the book offers a good history of the Life of Aesop and an accurate short overview of the history of the tales.

The illustrations, generally from the Zaragosa edition, are always labelled. Two illustrations from this edition are on xxxi-xxxii. Volodymyra Zabashtans and Anatolia Cherdakli. Illustrations by Pipina Tsimikale. The brown silhouette on the cloth cover -- of two mounted Greek horsemen and one soldier with a kneeling horse -- gives a sense of the creative blockprints that grace this book. A simple example is FC on Two pages later is a more complex rendition of the fable pitting the bear and the lion, from both of whom the fox slinks off with the prey.

I do not think that I have seen BF done in monochrome presentation in as lively a fashion as it is done here on The cover illustration appears again on 71; I imagine that this is the fable in which the horse says "You have made me a civilian; now please do not ask me to go back to war! I wish I were sure of which of the names above, if any, is the artist. He or she should be congratulated! A Reader Workbook for Latin Students.

Poetry by Constance Carrier. Illustrated from various classical illustrators mostly unacknowledged. As in the first volume , the selection and presentation are both first class. The range of illustrators has broadened to include Kredel and Billinghurst. The format follows that of the previous volume: A beautiful peacock graces the cover! Here is an page children's paperback in very poor condition.

Just enough remains of the title-page to know that it was published in Istanbul in There are no internal illustrations. If there was a T of C, it exists no more! And are missing! The cover shows a happy congregation of animals and a young girl. Reprinting of the first edition. Gift of Anne Pierro, Christmas, ' What a wonderful gift!

This book is a library in itself. I have kept separate notes on the sampling of fables I enjoyed in going through the book and on its good illustrations. Parable does not get the representation one might expect from the title; a few items are included that are labelled as parables. The translations wisely follow the original's choice of prose or verse.

The heart of this book is, appropriately, German fable: The ancients get fifty-seven pages before the Germans, and five other literatures and two continents get seventy-two pages after them. Fables labelled "Aesop" here do not always have the texts which one would find in, say, Perry's Aesopica. I am not sure of Etzel's source for them. Deutsch von Heinz Fischer. Illustrationen von Fulvio Testa. This book, like the English, is derived from the Italian original. The illustrations seem identical with those in the English version. Do not confuse this book with Testa's more recent book of Aesop's fables, done in a German version from Boje Verlag in and a year earlier in English by Andersen Press.

The brightly colored end papers of the English version are not here, but the corresponding picture borders are. As I mentioned a propos of that English version, the hare plays solitaire before falling asleep Lions and cats here have big eyes. This remains a good example of a book well put together. The information on the verso of the title-page confuses me here, since it seems to claim for the first printing erste Auflage for Patmos and also to list as the time of the first printing.

I will go with the year but leave blank whether this copy is from the first printing. Written and illustrated by Paul David Holman. A good and engaging little book of forty-seven fables featuring contemporary animals and raising contemporary questions. The visuals are well done. At their best, these fables invite reflection; often, their rhythm is that of the thought-provoking joke. One of the best specimens is "The Singer" 13 about a frog; its moral: I like this book.

My sense is that it is a feisty challenge. Can "Pour Tous Seulement" mean anything other than "For just everybody"? The French here is at least one degree too subtle for my perception. I may have perceived enough of the very first offering to understand that an oyster spent its life angered by the sand that got into its shell: As the beginning T of C shows, there are 54 fables on 94 pages.

Do not miss the letter from La Fontaine on the back cover. This is an ephemeral little contribution that another will be able to decipher better than I! Bilingual edition using but not acknowledging? This edition resets Handford's translations in apparently excellent English: I cannot find any Konglish goofs! Line numbers make for easy reference to the notes. Selected and edited by Hernando Garcia Mejia. An excellent paperback collection of Spanish fables grouped by the authors' countries.

The T of C is presented in running form on after a brief "Presentacion" on 5. There are perhaps a dozen simple full-page line drawings to complement the fables. This is a stellar gift, the kind one can look forward to enjoying over weeks to come! Consejo Estatal Para la Cultura y las Artes. This tall thin paperback of eighty-three pages offers early sections on the man, the writer, and the fabulist.

They seem to present new plots rather than reproductions of traditional Aesopic fables. The last of them seems to involve Aesop himself as a character No editor or illustrator acknowledged. A straightforward presentation of seventy of Samaniego's fables, with some simple line illustrations.

A short life of Samaniego precedes the fables. The order of fables here seems to bear no relation to the original order. Introduction by Ana M. Recinto Universitario de Mayaguez. Gift of the University of Mayaguez, April, ' Five Spanish stories which I have not read and six English which I have. The latter represent a nice spread of imaginative animal tales.

What a nice gift for the Beast Fable Society! Il-lustrations de Lisbeth Zwerger. This book comes straight from the original Michael Neugebauer Verlag publication in German language of It has the same format and the same art work. That -- at least my copy of the third edition in -- was printed in Italy; this book was printed in Spain.

From the dancing camel on the cover to the laughing monkey on the back cover, the artistry here is lovely -- and only grows lovelier with time. This seems to be my first book in Catalan. Here is the collection of fable writings of an important scholar. The writings span the time from to I look forward especially to the title essay, written in The book was originally published in Suhrkamp treats this as a new publication in , and this is its first "Auflage.

Illustrations by Joseph Cavalieri and Stephen Wilder. This book contains twenty-four case studies, stories meant to provoke questions, discussion, and reflection. They are not fables in the traditional sense I urge. But they are excellent stories for raising questions. Friedman's prologue describes the four illusions these fables aim to shatter: The first two sections are dedicated, respectively, I believe, to 2 and 3. The third section, "Bonds and Binds," has to do with commitment and tolerance for ambiguity, as far as I can tell.

The fourth seems to focus on 4. I find the stories good. The book comes with a pamphlet of discussion questions. Its introduction begins "This is a paean for ambiguity. The pamphlet gives a helpful moral for each fable, though that moral too is up for discussion. Twenty fables presented in two styles, sometimes both used effectively on one fable: I took four of the stories to my neighbor, Rafael Sakurai. It turns out that I focussed on the wrong elements of the art in all four: Boy, was I off! The black-and-whites, including the new set included on the back cover, are often more effective than the colored illustrations.

Would both the cock and the jewel end up on top of a large heap of hay? I am surprised I have not run into the German original, but delighted to run into such nice work here at last! Compiler and writer of endnotes Paula Tkacheva. Here is a good contemporary collection of of Krylov's verse fables in Belorussian, listed in a long T of C at the back. This is preceded by three pages of short notes. Perhaps surprisingly, there is no introduction of any sort before or after the fables.

After the blank front endpaper, we face these elements: What follows next is the two-page spread of a FC image on the left and the FC text on the right. The fables are in Krylov's order, but books and individual numbrs are not marked. There is a nice scattering of simple colored art throughout, varying from full-page illustrations to two-inch headpieces to simple designs, especially as tailpieces.

There are several repeat illustrations among the smaller ones, especially weeping pikes and weeping birds. It is worth searching for the full-page illustrations, since there is so much going on in them. For a starter, enjoy the full-page "Cat and Cook" illustration on It is not easy to find the full-page illustrations here, because they are done on the same cheap paper that is used for the texts.

The best among the small colored symbols at the end of a fable are the "soup" design at the end of "Crow and Fowl" 9 ; the horn-blowing gnat 71 ; wood, saw, nails and axe ; and "Kitten and Starling" The artist works hard to get the two eyes of almost every creature illustrated. Cheap paper hurts the quality of the illustrations. A Selection of the Fables. Printed in Great Britain. A curious book by a translator who is pictured standing with a bear! Forty-five verse fables in rhyming couplets, with the last of them, "Dancing Fish" 77 in two versions, the first of which was originally suppressed by the Censor.

An italicized statement after a fable often points out its political implications. Many of these fables are straight Aesop. Some are slightly modified; e. Several are new to me: The illustrations look like cheap xeroxes. The best is of a sweating monkey There is a photo of Krylov on the back dust jacket and a photo of the Leningrad Krylov monument on Several typographical mistakes, e. This book helps me get ready to teach fable the next time. Some "musts" to be included from Krylov's work include: Der Rabe und der Fuchs. My first find on this trip to Heidelberg, and a wonderful one it is!

I actually got this book cheaper than I got the paperback copy The translation is, as the dust jacket proclaims, "ein wenig frech wirkend. It transposes the setting of FG to Bavaria or Hessen, for example. The color work of the illustrations is outstanding!

And there is humor everywhere in the illustrations, starting with the grasshopper-baby's pacifier in GA 6. Other clever moments include the lion boss at his desk I have never seen mice-commanders so wonderfully decked out 61! It would be easy to go on citing one great illustration after another. One of the best contemporary sets of illustrations I know. Cocuk Klasikleri Dizisi 2: See my Aesop in the same series, now given the number This paperback Turkish book has 93 pages.

One or two pages of the AI at the back are missing. On the colored cover, we find a lion, a fox? Like several other Turkish paperback renditions of the fables, this little book has "Masallar" on its title-page but "Masallari" on its cover. This book has seen serious use! I have seldom seen a book cover as creased as this cover is. The same carrot-eating hare as appears on the back cover is on the title-page. There are a number of full-page colored illustrations along the way in this edition, including an excellent depiction of MSA on Also strong are the two depictions of OF on 84 and A final favorite presents the guitar-playing grasshopper on There are 86 pages in all.

The cover is separating. There is neither a T of C nor an AI. There must be a law about the size of books in Turkey. FF 60 from a bouquiniste along the Seine, Paris, August, ' This is exactly the kind of "weird" book I was looking for on a rainy day with the bouquinistes in Paris. I am still not sure what we have here. I think it is a book made from or parallel to a TV series. There is an ad for a coming video cassette at the back of the book.

I presume that the series, managed by Pierre Perret, presented various stories, and these would have been "The Petite Perret" of this or that or the other thing. Here is their encounter with La Fontaine's fables. Immediately after the preface we meet, on a two-page spread, a set of geometric figures. These are presumably the sorts of characters Perret uses for his presentations. First, then, we meet "L'Orchestre Fou," a musical crowd of geometric shapes introduced in rhyming verse. Are Perret's texts done in a kind of argot? At any rate we soon meet his first poetry, a recasting of La Fontaine's text along with a clever presentation of the fable by figures made out of geometric shapes.

The crow in FC, for example, is a black box with two circular eyes When he perches on a shelf and holds a circle-shaped slice, it is very easy to see the crow with a piece of cheese in his mouth. The moral of this fable is that, thanks to La Fontaine, very few opera singers today sing with their mouths full! Next come tips on how to make the figures and a "lexique. Sometimes there are also recipes connected with particular fables. The milkmaid in MM becomes a black child with short braids riding a tricycle with a colorful pitcher balanced on her head This fable, with its geometric representations of eggs, checks, hens, a rooster, a pig, cows, and a tricycle may be the wildest visually.

Also very clever are the skiing figures of tortoise and hare The two ducks in TT become in shape fighter planes based on an aircraft carrier , and the tortoise grabs onto the landing-gear. This is wonderful stuff! Written by Dianna Sullivan. Illustrated by Nedra L. Teacher Created Materials, Inc. For each of these fables there are several activities: In TH, "the rabbit decides to take a nap. In this version of AD, a bee stings a boy's hand before he can throw a rock at the dove. The stick is the turtle's idea in TT, and he answers the question in the air "Who thought of such a clever idea?

The camel rejects friends' advice that she give up ballet--and gives herself many years of dancing enjoyment. A friend advises the baboon to cut holes in his umbrella to let the sun shine through; some advice of friends is good, and some bad. My favorite pictures are of the dancing camel, e. Fables and Tall Tales. No editor or artist acknowledged. A clever book for the second and third grades. An excellent variety of activities uses nine fables for such tasks as map reading, comparing with Native American folklore, and distinguishing fact from conclusion.

Fables, Tall Tales, Myths. A good book for the fourth through the sixth grades. An excellent variety of activities uses six fables for such tasks as relating animal to human behavior, distinguishing fable from other stories, and comparing fable versions. The illustrations are simple.

The book includes a birth certificate and letter of recommendation for Aesop! The task for MM, which has a good illustration, is to write a fable about a boy with his first paper route. Kamante's Tales from Out of Africa. Collected by Peter Beard. With Photographs and Captions by Isak Dinesen.

Afterword by Jacqueline Bouvier Onassis. I was very surprised to see this out-of-print book available again! See my comments on the original hardbound edition done by Harcourt in This edition sports heavy covers, with folded back flyleaves. The renditions of the colored fable illustrations are excellent! This book is a treasure! First edition, apparently first printing of the Chronicle hardbound version. Earlier I was very surprised to see this out-of-print book available as a paperback.

Now I have been surprised to find it also available hardbound. And the price was right! Let me repeat soime of my comments from the Harcourt original. A weird and wonderful find! What we have here is the product of a complex process. Kamante Gatura related the tales to Beard, who transcribed them and gave them to Kamante's sons to translate and then to write out by hand.

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The final chapter claims to be Kamante's versions of some twenty-one fables that Dinesen told. Several, like FG and OF, seem to be heavily dependent on Caxton, but then OF here ends with a bursting frog, whereas Caxton had the ox step on the frog. Are the charming, simple watercolors illustrating them really Kamante's own? Two things are especially charming here: Again, the renditions of the colored fable illustrations are excellent! This book remains a treasure! Berlin and Paris, At last I have found a full presentation of Chagall's Fables cycle, at least in black-and-white.

Excellent coverage of fables here in four parts of this fine work: The book covers each of the cycles from this period of Chagall, the "foremost exponent of etching in this century. This beautiful book was first done as an exhibit catalogue for a show in Ludwigshafen. This is a pretty book offering Payne's sense of typical patterns of presentation in bestiaries, with good supporting photographs and illustrations.

Aesop is touched on in a number of ways. In the section on "Antelope" there is no reference to Aesop but plenty to drinking and having horns locked in trees. Not from Aesop but too good to pass up is this comment on "Parrot" Illustrations by Shaul Schatz. Here are seventy-two stories on some pages. The stories are taken from various ancient sources, including the bible and Jewish tradition. The stories are arranged by subjects. Schatz' original illustrations are lovely. The extended illustration on front and back cover gives a good sense of the book's strong sense of color.

My favorite illustrations are the cat on 53, the school of fish on 59, and the walking bird on Fifteen Folktales from Around the World. Told by George Shannon. Illustrated and signed by Peter Sis. Another delight, including a last bonus conundrum. Aesop is represented here in 8 by a folktale from his life: King Nactanabo of Egypt challenges Aesop to come up with something he has never seen or heard before.

Well told, solvable riddles. Foreword by Paul Davis. This is a strange, weird, captivating book. I read it all the way through. It is a cartoon parody-history of New York City. The cartoons are full-page landscape black-and-white illustrations; these are large, since the book is 12" x 9". Paul Davis' foreword rightly speaks of a "slyly surreal, overwhelmingly humane imagination. They built the Hut of Man, and ever since then this island has been known as Manhattan. Its first illustration uses maps as the background design from which the chests and heads of two people are formed.

I find it very clever! Czeczot gives a delightful chapter to the birth of the subway. Here one can see a shark using the subway going through the East River. Do not miss the cartoon of the new Adam and Eve in their penthouse. Eve, older but in a bikini, is about to accept the apple from the serpent. These are not fables, but they are fun! This copy includes a small yellow pamphlet with the original Polish texts for each of the chapters. Tasos Apostolides and Kostas Boutsas. Illustrated by Bana Lagopoulou. Nine fables rendered well in comics. The cover illustrations seem to be various out-takes from "The Lion and the Foxes.

There are significant differences from traditional versions in three fables: This volume is unusual for the settings it gives traditional fables: The cover illustrations seem to be various out-takes from "Astronomer. The country mouse is apparently a grandpa. The last page presents a nice lion-man sculpture. The sound effects are again delightful: First edition, first printing.

Dial Books for Young Readers. A wonderfully imaginative book! Simple shapes and colors suggest TH, which is well told. The hare dawdles twice, the first time to enjoy his own reflection in a pond. The mouse thinks it would be fun to hide in the lion's mane and is treated at the end to a ride from that perch.

Hearn, based on a short story by Brooke Hearn.

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This is the script for a play for children, with the play actually being called "Fables" once the show starts. Then the actors break the mold and offer a new fable, "Ooooogy Green. Ooooogy is a caterpillar son born to surprised butterfly parents. Printed in Trowbridge, Wiltshire, England.

Originally published in by St Paul Publications, India. In the foreword, Ribes mentions that the book was prepared at the National Vocation Service Centre in Pune, India, where parables were used during training sessions for teachers and students from seminaries and religious formation houses. The parables here are grouped as religious, personal, and social.

Each of thirty chapters contains a parable text, messages of the parable, ideas and application of the parable, and references to biblical texts in keeping with the parable. At their best, these parables overturn expectations. Here the novice monk who has been chanting the wrong mantra is about to be corrected by a more experienced monk. The more experienced monk turns to row across the water to the novice, when he finds the latter walking across the water to him to ask how to pronounce the mantra correctly!

If the parables have a weakness, it may lie in too much transparency. These probably are more parables than fables. Ribes mentions fables only in passing in the foreword, together with allegories and fairy tales. I am surprised that I have gone all these years and not heard of this Jesuit writer of stories. Erste Ausgabe, Erster Druck. Altsprachliche Textausgaben Sammlung Klett: Here is an excellent piece of work! Eleven fables and a prolog are presented in the body of this pamphlet, with five more fables in an appendix.

Various approaches to the fables work on contrasts and poetic compositional techniques. Good simple illustrations along the way allow the student to work, even before analyzing language, from a concrete picture. Phaedrus' Latin seems to be slightly simplified. I wish we had something like this in English! Erste Auflage, Erster Druck. Altsprachliche Textausgabung Sammlung Klett: Here is the page teacher's handbook to a booklet I have listed in two different printings, i.

I noticed several things about it. First, this work is directed at the "Mittelstufe. Secondly, the author reckons with a beginning and ending lesson and with twenty hours in between 8. The booklet offers methodological and didactic reflections and specific material for the various lessons. I notice that the first page of advertisements after 22, though it has nothing to do with fables, has the title "Fabulam agamus! The Tortoise and the Hare. The first four pages, paginated separately, are the teacher's guide, with answers to questions asked along the way.

The very first page also lists the "concepts and skills" engaged by each of the sixteen fables presented here. The first two are fairly obvious Aesopic fables: The next choice is a surprise: Gesta Romanorum's "The Archer and the Nightingale" 2. This latter story is sometimes told with a rabbit rather than a stag. There follow a number of Aesop's fables, interspersed with several more surprises: Might this be the same man who was Arkin earlier?

The tortoise on the cover raises a wonderful clenched fist in victory! Illustrated by Quentin Blake. The cover, apparently on a trash can, displays this: Unsuitable for Small People. Blake's illustrations live up to the challenge of the verse. For a short sample, try "A Hand in the Bird" on TH is the one fable parodied here. The race here grows out of a plot by the tortoise to get rid of the hare that has been eating in his favorite field.

The tortoise has a rat mechanic install an engine inside his shell. But the rat is of course a rat and immediately informs the hare of the tortoise's scheme. First published by Jonathan Cape in Gift of Margaret Carlson Lytton, Christmas, ' The dust jacket describes the book as a "droll updating of a story from Aesop," and Duke herself dedicates the book "With special thanks to Aesop.

There the pig points out to the other two, when upbraided for complaining, that the farmer is after the pig's life, not his products. Here the pig Roseberry is a great adventurer who decides at last to settle down with some sheep, expecting the same care from the shepherd that they receive. Soon he is put into a cooking pot and makes a narrow escape, learning that home is where you are among friends. The first surprise as I examined this book is that it does not belong to the "Walt Disney Fun-To-Read Library," though the book matches in format and approach the three volumes I have in that series , also done by Bantam.

Scrooge overhears and immediately pays Donald twice the purchase price of the goose. The joke of the book is "Why would Scrooge ever think that this goose would produce golden eggs? He shows him the picture in Jack. He acts like a mean giant. Finally the goose flies away. There are exercises and games at the end. Illustrations by Ron Husband and Karin Williams. Design and Paper Engineering by Wayne Kalama. There is good paper-engineering in this book, and it is in very good condition. My favorites include the second page, which has one man swaying while he holds onto the elephant's ear, which seems to him to be like a fan.

The other is the man who moves up and down as he touches the elephant's leg and finds it like a tree. Snake, wall, rope, and spear are the other conjectures. This book is in the same series with the fine MSA book from the same year. Written and Illustrated by Vincent Torre. Signed; 73 of This is one of three Torre books identical in format that I was able to get in a group from Scottsbooks. Might it mean that I now have all of Torre's fable books? Like the other Torre books I have found, it is beautifully produced, set by hand and bound by hand.

This book has twenty-one offerings on pages. Each of the writings has at least one accompanying full-page colored illustration cut from wood, and these seem to me to be again the strength of the book. Many of the verses here are directed at specific sites in New York City. I am particularly taken with "Why Cats Like to Eat Mice" 93 and "The Months" , in which the author distributes the days of the hated month of August to all the other months and thus creates an eleven-month calendar. Torre marks his moral frequently by using parentheses to surround it.

Wonderful illustrations grace these fables. Some are strange repeaters, like the crazy farmer 72 or the wily fox , often set around pillars. Others play around the book numbers. The best, though often printed too dark, are the full-page illustrations, for example: At the end you will find a life? Illustrated by Helen Siegl. Texas Tech University Press. It has taken me many years to finally attend to this book.

I suspect I believed that it really did not contain fables. I have been pleasantly surprised. There is more fairy tale in here than fable, with lots of jinns escaping from bottles. But there are fables. I will describe the first few I have found. Two caravans meet, and there is quiet time for the camel drivers of one caravan to sleep and their camels to rest. A donkey insists on braying -- and thus waking up the drivers and initiating the next leg of the trip -- because, as he says, he has an uncontrollable desire to bray, and when he has one of those he pays no need to the consequences.

The donkey comes along with that caravan but soon falls behind and is loaded onto a camel. At a narrow pass with a steep cliff, the overloaded camel tells the donkey that he has an irresistible urge to dance. The donkey knows he will fall off and tries to persuade him not to dance. A child afraid of the Green Dragon in his play room learns that the dragon is zippered, and that there is a little boy inside that has been playing frightening tricks on him.

The overwound alarm clock thrown into the trash is rescued by a little girl who finds it beautiful and takes it to the clockmaker for repair. Written to Be Read Aloud. As told to James Gregory. Illustrations Adam Christianson and Greg Goggin.

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Creative Arts Book Company. Eighteen stories, of which DS 4 is the third, told in a lively version. Though it is not a fable, do not miss "The Bear at Its Best" 17 , a great story! By Wilfrid Dyson Hambly. Illustrated by James A. The Associated Publishers, Inc..

Told and illustrated by Val Biro. There are four fables among the fifteen stories in this collection, notable for the cuddly and "stringy" figures in its illustrations. The versions are good, simple, and careful. DS, for example, closes with this good lapidary remark: My prize for the book's best illustration goes to "The History of an Apple Pie" A magnificent book for many cold evenings in Januaries! Aesop's fables are found principally on colored pages of the tapestry, with commentary according to the corresponding black-and-white plates on Good footnotes indicate the controversies around identification of the fables.

Look, Listen and Read Bedtime Stories. Edited by Richard Widdows and Nigel Flynn. Illustrated by Malcolm Livingstone et al. For use with an accompanying tape with the same title. The illustrations are delightful, witty, colorful, and alive. Illustrated by Victor G Ambrus. First published in by Oxford University Press. This book helps students contextualize and visualize the stories of this great work. The picture shared on the upper half of these two pages helps. The story itself is well titled: Chanticleer telling Pertelote of his dream has this kind of imagination: I was strolling between the ornamental lake and the maze, taking the air and viewing our estates.

What Pertelote here recommends is, very nicely, prunes. Made passionate by their argument, Chanticleer tries to embrace her but tumbles off the perch. The illustrations do this good telling of the tale justice. For example, the fox on 32 is all red. The "chase" on is particularly well done. When Chanticleer has got free and the fox asks him to jump down and sing again, Chanticleer, in Latin I have never heard, answers "Semel insanivimus omnes.

He translates for Renard "What kind of a dumb-cluck do you take me for? There is one more level of engagement here. At the end of his tale, Brother John asks Chaucer if he did not do well. Chaucer is riding with the group too. A Pudgy Pal Board Book. Illustrated by Jody Wheeler. A cute and very sturdy little book. I find nothing that stands out for use in a lecture. Fables from Aesop 8: London and Dover, NH: This has been a favorite book of mine, but one I have had to labor with.

Blackham treats the fable genre seriously and has an excellent sense of what fable is. Thus Blackham insists correctly that a summary statement never gets all the meaning of a fable: The metaphor is open; the comparison invites exploratory reflection" xiii. He presents a wealth of valuable material for the student of fable to ponder. His descriptions of fable are wonderfully suggestive.

For Blackham, fable "gets past the garrison of resident assumptions"; it is a "tactical manoevre to prompt new thinking" xi. Fable says more than it seems to say xi ; it never says "Think this" but always says "Think about this" ; it does not state anything but only shows These suggestive expressions give a strong sense of fable. But for me Blackham's work fails to go beyond description of Aesopic fable to achieve satisfying definition.

Blackham's project is to extrapolate from Aesopic fable to all sorts of other literary works: Stripped and focused as it must always be, fable is then, like any work of art, dense enough to abide repeated examination, and to abound in stimulus. It is this development, with the achievements that have marked it, which the present study sets out to describe" xiii. My fear is that in the project, the very sense of fable itself can be lost, including the sense of Aesopic fable, "stripped and focused as it must always be.

My problem lies not with his descriptions of Aesopic fables, which are helpful, but with his attempts to apply "fable" to all sorts of works quite distinct from Aesopic fable. I know what it means to talk of Aesopic texts as fables; I am not sure I know what it means to call these works fables. For all that, this is a stimulating and insightful book!

Illustrated by Edward J. Original by Hodder and Stoughton, England. View Productions, Pty Ltd. There was a spate of reprintings of Detmold's "The Fables of Aesop" about the time that copyright on his edition ran out. This has a larger page format than those others, and it does not paste in his colorful illustrations. They are however well rendered. The big surprise for me in this fancy book is that it steals from elsewhere the picture of fox and wolf on the cover! I cannot identify the source, though I believe I have seen it before. A fox is laughing at a wolf who uses a cane and has suffered an injury.

Did the horse kick him? There is blood on the ground. I do not think that the picture is even in Detmold's style. The dust jacket's back cover copies one of Detmold's illustrations inside the book, "The Oxen and the Axle Trees" The pages here use heavy paper. This book is valuable for its frontispiece of TMCM, missing in my good copies of the original printing. Translated and Edited, with an Introduction, by John C. Drawings by Villard de Honnecourt. Odo died in This work is a curious and engaging congeries of scripture, Aesop, Reynard and other typical sources of medieval literature.

The focus seems more on allegory than on fable or even on story. Are these fables aimed particularly against the clergy? The illustrations, contemporary with Odo, were originally done without reference to fables. There is a long introduction and an excellent bibliography. A Modern and More or Less moral-less Fable. With woodcuts reproduced from a Spanish edition of Isop's Fables dated With additional illumination or "Gorp" by Rez' Lingen. Wonderful and well executed marriage of lovely woodcuts with a crazy modern story revolving around interplanetary agents, a farmer, a fox, and some grapes.

The fun starts with a stream of gorp engraved on the cover. The gorp is printer's doodles commenting on the story; a food chain becomes a literal chain with food and knives hanging from it. Here is one way to have fun with beautiful old fable art. At the end there is a kind of map of gorp including all sorts of objects arranged without contemporary perspective. This may turn out to be an outstanding treasure in the collection. For now it is fun. Adapted by Mark C. Illustrated by Kim Bog-tae.

Korean Folk Tales A very pleasing book. Dokbo lives in a village tucked away in the mountains. The artist misses, I believe, that Dokbo lost the head of his axe. Yunbo does not hear the whole story and so proceeds falsely with the old man water spirit. Yunbo falls in trying to grasp the spirit--and gets nothing but a cold. Retold by Caroline Castle.

Illustrated by Peter Weevers. Dial Books for Young Readers: An enchanting book, with lovely colored plates matched on opposite pages by sketches. The story adds a badger and a mole. Maybe the best picture for a slide lecture has the hare dreaming of a kind of Chariots of Fire victory. If I had to choose one of my books for some bedside reading with kids looking on, this book would be a candidate. Retold by Shirley-Anne Carver. Illustrations by Caterpillar Capers. This eight-page pamphlet combines rhyming quatrains with illustrations that look as though they include stained glass. They are quite attractive!

The back cover offers a number of good hints to parents about how to read with their children. Parents are cautioned, for example, to leave the child time after a mistake for self-correction. One should also not force ideas or expectations on a beginning reader. Based on the fable by La Fontaine. Hardbound first published Pictures by Eugen Sopko. Illustrated by Alexander Kurkin. This book is identical in format and close in substance to another book in the collection from the same publisher and representing the same art collection: This book contains thirty-four stories.

I see several early stories as fables: So does "The Wolf and the Goat" FS 20 is wonderfully pictured with a two-scene full-page illustration. The black-background Russian art is again lovely; the best of them, I believe, is that double-presentation of FS on This copy is missing its title-page; I have had to find some of its information on the web. The texts of this book's stories are online. This copy once belonged to an elementary school. Story adapted by Lucy Kincaid. Illustrated by Eric Kincaid. This book uses short words written large for beginning readers.

The illustrations are well done and well printed. I will try to use a couple of them. They contrast the two mice nicely. There is even a set of pictures at the back with the right words beneath them. No intruders are pictured; the mice have to scamper twice. The country mouse does not like having his eating of dates interrupted. The two have met at a wedding. Published for an exhibition of the same title, 15 February through 24 May, Text apparently by Gloria-Gilda Deak. Section 13 is "Aesop and the Illustrated Book. The New York Public Library. A wonderfully documented work including about ten fine but small black-and-white illustrations.

Section 13 touches some high points in the tradition of Aesop illustration. Formerly titled Bedtime Stories in Spanish. Notice that Hermes has become a water-sprite. Retold by Noor Inayat Khan. Inner Traditions International, Ltd. See my extensive comments under for the same title. A number of things are different in this copy: How can this be the "first U. Illustrated by Basil W. This is a good retelling of the old Japanese story of two frogs that meet on a mountain midway between their cities, get turned around, see their own cities, and proclaim that the mistaken destination city is not worth the trip.

The rhyming couplets are only adequate to the story, I would say. The chief virtue of this little book is the six colored illustrations, including the title-page and the "finis" page. Also helpful is the moral: The author offered the first version of this versification in a teen-age poetry co m petition in a South African newspaper sixty years earlier.

He resurrected and polished it in "at the urging of his family and friends, to rescue it perhaps from pending oblivion. Consider Osaka frog's put-down, supposedly of Kyoto: Are we meant to think of those whose conversation says something like "I know what you are saying. Here is what I experienced..

Collages de Gilles Chapacou. Here is a worthy subtitle: It contains fifty verse fables on some 86 pages, followed by a distancing epilogue and a postface. From what I can tell, the fables do a very clever job of taking La Fontaine's relationships, struggles, and characters and transposing them reflectively and humorously into the different world of today. The five collages seem highly surrealist.

They put together some strange components, as in the picture of the old photographer in a moonscape 29 or the two gentlemen flying with a court-worthy woman above peasants in a replay of TT This book must be a trip! Prepared by the Bank Street College of Education. Written by Seymour V. Hooks, and Betty D. Illustrated by Lynn Munsinger. A Random House Pictureback. A rebus book based on Aesop and delightfully illustrated. The pictures are sharp, well reproduced, and have a bit of wit.

A Bantam Begin-to-Learn Book. Donald spills the milk, Pluto loses the bone, and three pigs dig up the farm. Though not named, the hare beaten by the tortoise sure looks like Bugs Bunny! Uitgeverij De Bezige Bij. Druk Van Boekhoven-Bosch bv. Gift in trade from Gert-Jan van Dijk, Feb. It is really a pity that I cannot read this book, since it is in Dutch. The illustrations are racy! The first of them seems to feature a sexy lobster with well-developed breasts out of her shell Later there is something about a frog queen, and again 76 the illustration seems to be sexually quite explicit.

With "Walkman" in one of the titles and "Made in Hong Kong" on a birdnest in one illustration, these stories will prove to be fun when I can understand them. Edited by Kyung Hee Yun. Tiergeschichten in vier Zeilen. Mit Bildern von Jean Effel. DM 8 from Dresdener Antiquariat, July, ' This book is fun! The back cover of the dust-jacket explains the book in terms of the genre of fable. Mostly, the humor here works the way a fable works.

Several times the connection with fables surfaces even more clearly. A cartoon on 6 shows La Fontaine walking through the woods. The crow declares to other animals: He feels himself to be human since he heard the latest reports of human inventions for mass murder. Again on 46, the wolf proclaims "Freedom everywhere! The fly who wants to commit suicide on 49 has to hope that the sugar cube to which he has tied himself will keep him from returning to life when he jumps into the cup of coffee. On 76 an epigram declares that the fact that mountains labor and bear only a mouse is explainable: The individual fables are not marked, but book beginnings are, and the books are listed in the T of C at the end.

There is also a short prologue. DM 7 from Dresdener Antiquariat, August, ' I have been surprised at how many fables -- and how many known traditional fables -- there are here. Published and printed in Hong Kong. A fine little bilingual paperback collection of one hundred fables. The preface sets up good criteria for selection.

Fables are selected here that are comprehensible in translation and do not hinge on customs strange to us. When two fables have more or less the same lesson, this anthology includes only one. Fables with currently used morals are preferred. Fables were once a weapon in wars of political ideology. Many of these originally formed a part of a larger text. My favorites here include 8, 12, 14, 17, 23, 29, 32, 43, 44, 51, 52, 57, 58, 61, 67, 68, 70, 72, 74, 76, 80, 86, and Folktales from Around the World. Told by George Shannon.

Illustrated by Peter Sis. An ingenious and well-written book which tells the puzzle-tales just right, from "How can you get the wolf, goat, and cabbage across the river unharmed? Aesop's CP fits right in. Another surprising place where Aesop is right at home! This book is identical with a version printed by the same publisher in , with the following changes.

It has a new cover showing the detail of the faces of the two mice against a white background. The front cover no longer proclaims "Large Type for First Readers. See the original for my further comments. Extra copy a gift from Wesley Harris, S. Straightforward presentation of of Aesop's fables with primitive but engaging "dot" drawings.

The collection is preceded by a prologue and followed by a T of C. A length of pages there has been reduced to here, largely by putting more than one fable on a page and by using the reverse of illustration pages for more print. My two copies of this edition were both in the run of two thousand printed in February of , but they have distinct kinds of paper! Extra copy for A straightforward presentation of seventy-five of Iriarte's fables, preceded by a prologue and followed by a T of C. Extra copy a gift of Linda Schlafer, Jan. A straightforward presentation of of Samaniego's fables, preceded by a prologue and followed by a T of C.

Here is a copy of the printing of this paperbound book first published in As I wrote of our copy of that first printing, "La Lechera" and "El Espiritu de las aguas y el Lenador" are Aesop's two contributions to this nice bi-lingual book, which puts Spanish stories--and two colored illustrations--at the front and translations and questions at the back. Apparently third in a series of ten books: Here is the Japanese version of a book I have liked in its Korean incarnation. Part of the fun is that the books are mirror opposites: GA is pictured on the cover. Where that Korean book was 5 in its series, this Japanese version is 3 in its series.

As I mention there, I like this book, principally for its vivid color reproductions. It is still true that the back cover presents 15, but now it is not reversed. Originally purchased in BookTown for Yen. Like its original, the book begins with Page 2, which is the inside front cover. Aesop's Fables in Verse. Verse by Gordon Kibler. Illustrations by Dell Hall. Paul Cave Publications Ltd.. Here are twenty-four lively verse retellings of familiar Aesopic fables, each on an unnumbered left-hand page. On the right pages are corresponding full-page colored illustrations.

The paper used here is about as slick and heavy as I have seen. There is a nice black-and-white artist's design after each text. The dog in DS leans over a hand-railing. This good choice allows the artist to overcome some usual awkwardness in the dog's posture as he contemplates himself. FWT displays not only the fox without the tail but the tail without the fox!

In BW, the design showing townspeople running out to help at the end of the text is a good foil to the colored picture of the people not responding to the boy's urgent pleas. The trees' faces and bodies are well executed in "The Trees and the Axe. The dust-jacket reproduces the GGE illustration. Illustrations by Domingo Rubies. It is difficult to place this book geographically. I believe that Editorial Quinto Centenario is in Argentina, but this book seems to have publishers in Spain and Uruguay. This hardbound book in fair condition has pages with perhaps a dozen black-and-white full page illustrations.

Regularly one sees a picture on the right-hand page and then has to turn the page to find the matching text. There is a T of C at the back but no introduction at the front or back of the book. The verso of the title-page already faces the first fable, GA. Several illustrations but none in the two fables are apparently signed "Magda. This curious, large-format, stiff-covered book contains two eight-paged fables, with one illustration and a few lines of text for each page.

The illustrated figures are regularly childlike and even childish. GGE 61 varies the story more than I have ever seen before. A girl Joanna was poor but generous. A magician gave her a beautiful white hen , which delivered golden eggs. Joanna became rich and disagreeable. Soon the hen began giving not gold but big fried eggs. She began to beat the hen with a broom. Then the magician appeared to tell her that it was Joanna's fault, not the hen's.

She had a conversion and distributed to poor children the now continuous supply of golden eggs. In TH A proud hare suggested the race to a female tortoise, who seems to wear a basket of flowers on her head. Collection One, mentioned on , includes MM. The figures here seem to remind me of work I have seen before, particularly the sweating tortoise and the blue bunnies on the end-papers; but I cannot locate them elsewhere. This book is internally almost completely identical with another in the collection, found at Second Hand Rose in Evanston.

The two noteworthy differences are that this book was printed in Hungary, not Russia, and that its covers not show a green background and lively cartoon characters: The other book had featured a traditional presentation of various story characters -- particularly Red Riding Hood and Puss in Boots -- against a blue background, with a smaller version of the same on the back cover. The two books have the same ISBN number.

This copy has a crimped title-page and a page without writing half torn at the end. As I wrote of that other book, it is a curious, large-format, stiff-covered book containing two eight-paged fables, with one illustration and a few lines of text for each page. The cover is Page 1 of this large-format stiff-paged book of five fables. Each receives two double-pages. The frog shows great positions and poses on the way to bursting. An apron helps to show how she is expanding. The grasshopper in GA has a great face; he plays an accordion. Page 2 is marked slightly.

Illustrations by Maya Filip. The versions of the two fables here are faithful to La Fontaine; FC is as faithful as I have ever seen a version in English! On the back cover one finds "Children's Books Ltd - Stafford. Now I have four of them. Illustrations by Ileana Ceausu Pandele. The poetry starts with a rhyme but does not have a clear scheme that I can see. The versions of the two fables here are faithful to La Fontaine. Illustrations by Carlos Busquets. The texts are arranged in sense lines. Notice the looks on the two donkeys' faces throughout the second fable. Two down and sixteen to go!

Illustrations by Violayne Hulne. My prize goes to the kid's view of the wolf's eye through the peephole. The second fable has a lovely turn when it says that Aesop has stories that show that you should not make fun of sad people. Then comes the surprise: The Tall Book of Nursery Tales.

Pictures by Feodor Rojankovsky. Treasured Tales of Childhood: Put together by Barbara Simons and Ruth Rooney. With pictures by Jessie Willcox Smith. The ultimate in cheapo knockoffs for the price. About twelve fables are mixed in. The eighty-six stories seem to have no special order. AI at the beginning. The original publication date was The illustrations none on Aesop seem to stop at A delightful, crazy alphabet with fables and morals, described by the dust jacket as a "kind of intellectual hit and run.

I enjoy this book. This children's book is composed of seven thick boards bound together. On the cover a grasshopper with moustache sits on a mushroom playing his fiddle as a row of ants marches by carrying or rolling food and an ant-baby. The next pages expand on their labors.

They include a cut-out portion that looks past their hill to the flowers. On the following pages ants continue their workline while, I believe, young grasshoppers dance about and the older grasshopper continues to fiddle. Succeeding pages show more ant work, including carrying off a dead or exhausted ant on a stretcher. And we see lots of grasshopper fiddlers while other ants push carts full of food, both by day and by night.

Soon there are rains and snows, and an ant finds the grasshopper lying next to his fiddle on the ground. The ants take him in, feed him, and dance to his music. I believe it is typical of the East Block countries that a Hungarian book was executed in Czechoslovakia. Might there have been a Czech original? Written by Barbara Hayes. Illustrated by Phillip Mendoza. Extra copy for the same price at the same time. Here is one of the four books in the series on the TMCM.

Like Up, Up and Away, this one has little to do with the originating fable. It describes a river-crossing trip by Annabel and Jeremy to visit Flora and Fred. The best illustrations are the two scenes at the shore: Annabel in her much-admired motor car 19 and being photographed at the beach Again, I find the illustrations delightful. Fortalt af Soren Christensen. Med tegninger af Svend Otto S.

Here is the original publication behind the English "Aesop: The Donkey and the Dog. As I mentioned in my comment on the English version, the illustrations in this sequel may be better than those in the original. If anything, the illustrations here are even better than there. Inscribed to Dennis by Gary G.

This book has been a major surprise. I have had it on my want list for some time. It turns out to have almost nothing to do with Aesop.

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The back cover says that the book "is a book of short stories and poems so designed to deliver the Aesop punch. I did find some bothersome typos and mistakes. The poetry is not my kind of poetry. The poetry is heavy on rhyme and the prose on sets of four dots. Retold by Robert Mathias.

Color illustrations by David Frankland. Line illustrations by Meg Rutherford. The line drawings impress me as more successful than the colored illustrations, which seem a nostalgic attempt. The best of the line drawings is of "The Stag and the Pool. First published in by Hamlyn in England. Silver Burdett adapted and published it in the USA in This is a later reprinting of Troubador's 2 coloring album, with about fifteen splendiferous psychedelic pictures to color in. As I mention there, generally the art has lost sight of the story.

Troubador found a new owner in the meantime: The changes in the booklet occur on the front cover, title-page, verso of the title-page, last page, and back cover. The cover has taken on a new border. The verso of the title-page shifts the publisher and place from San Francisco to Los Angeles. The last page presents the ads for Troubador books differently. The back cover changes the ISBN number and again adds the new publisher and place. This later edition squares the binding, which under Troubador in the original edition had been two staples.

These are thirty-three of the most biting pages I know about fables. The book makes a good antidote for the presumption that fables are saccharinely cute and for children. The old lion is dying, with the fox nearby. Aesop the fabler is also facing his final hour as he goes deep into the forest to the lion's cave and then eventually runs from it, presumably into the arms of the outraged citizens of Delphi.

The eye-illustration on 18 may be the best of a stimulating and appropriately weird lot. See 20 for a sample of the action: Aesop makes his way to the old lion's cave past the fox eating the heart of the stupid deer. The animals have turned on Aesop--perhaps for taunting fools? Aesop continues to examine their excrement.

In the midst of ruminations and fears and preparations, a turtle trying to master flying plummets through the sky Mentioned earlier on 20, he finally hits the ground next to the lion on The lion tells Aesop 29 pointedly "Wit will not get the better of strength. Aesop becomes another Socrates as victim of the state and unleasher of revenge The final scene is the death of the lion, who fights back and loves it! Coover must touch on a hundred fables in this work of novella-length. My hat is off to him for a great work. I discovered it first in the L of C and was delighted later to find a copy on the Internet.

The Old Man and Death. Retold by Peter, cuts by Donna Thomas. Handset, printed on Peter's paper and bound in an edition of copies. This is copy No place of publication named. The Good Book Press. A beautifully made little book that tells this Aesopic story very well. The size seems to me to work against the two cuts. There is an exquisite design of hatchet and wood on the cover. Retold by Catherine Storr. Illustrated by Philip Hood. Great Tales from Long Ago. The appealing version offered here includes elements sometimes not found: Androcles has a wife, Numia, and a little son; they live in North Africa; when he is finally freed and reunited, he lives with the lion in Rome.

The visual art is not to my taste. Here is something new: The illustration and elaboration are delightful; the characterization of the sophisticated city mouse is good. The funniest moments include "changing" after dinner, "going out" the next morning, and Jeremy's repairing of the city car. Justin Wilson with Jay Hadley. Illustrated by Errol Troxclair. Le belle e le bestie a cura di Francesco Saba Sardi. A big book in every way! There are six thematic groups of between seven and fourteen stories each, every group starting with one Perrault story and finishing with the rest from Aesop.

The introduction speaks of offering cotolette of Perrault along with many contorni of Aesop! The art is big and bold in several styles. Should the lion's skin 79 have eyes of its own? Illustrated by Val Biro. Companion of Aesop's Fables cassette tape, sold in the same set. Gift of Helen McGuire, Nov. One of the best renditions I have seen lately.

The pictures are excellent, well produced, and witty. Some stories besides SW miss, as when the dolphin does not use a proper name with the monkey. The best line is "I have seen lots of bags, but this is the only one I have ever seen with a cat's head! That book was printed in Hong Kong. It was printed in Singapore. I continue to think very highly of Biro's illustrations of Aesop. I will add my comments from that volume. The packaging includes a reference also to House of Lloyd, Inc. Might that firm be perhaps a distributor?

Illustriert von Karl-Heinz Appelmann. It has 40 pages. Some of these stories are familiar from the usual Indian sources. The first story is clever. A hat seller stops for a moment's rest in the heat under a palm tree. He falls asleep, and when he wakes up, his basket formerly full of turbans is empty. He looks up to see a tree full of turbaned monkeys. He tries all sorts of ploys to get his turbans back. He tells all sorts of stories. Finally exasperated, he throws his own turban to the ground and says something like "If you won't give me my turbans back, then take this one too!

The story concludes "And here are some of the stories he told them. The ass sings to the full moon and gets beaten and confined 6. There is the sad story of the camel 9 , familiar from "Kalila and Dimna," but here with a different form. The same "bad guys" here -- leopard, jackal, and crow -- get the camel to call the king evil, and the king lion himself responds by eating the camel.

A good illustration shows the camel at king lion's court In what seems a borrowing from the Aesopic tradition, a jackal serves as judge between two monkeys who found a big cheese Here it is the monkeys who keep saying "His part is too big. There is the traditional story of the jackal who urges his cave to speak. The lion in the cave gives himself away This illustration 19 may be the most suggestive in the group. Flamingo and crow do a variation on cat and fox, only this time about how to fly The bear and the gardener become here the monkey and the king, and the monkey kills a bee with his sword Alas, he kills the king too!

Illustrations from Ulm et al. This is one of the nicest books I have seen coming out of the German Democratic Republic. It is not snazzy, but it is well made. If nothing else here is a comprehensive and legible copy of that early and important Aesop. Mickey Mouse and Donald Duck go camping, and Donald is definitely not easy with the experience. He cannot sleep because he is afraid, and he ends up crying "Wolf" note: After checking things out twice, Mickey declares that he simply will not get up and leave the tent again no matter what Donald cries.

Then of course a wolf does come! This adaptation of Aesop is better than the usual for Disney, I would say. Korean introduction, footnotes, and following translations. Edited by Ki Dong Yee. Gedichte, Fabeln und Geschichten von Katze und Maus. Zusammengestellt von Gottfried Herold. Illustriert von Eva Natus-Salamoun.

Here is a later printing of a book already in the collection under This printing changes the date of the Deposito Legale on the obverse of the title-page and adds a second ISBN there for the "Obra completa. As I wrote then, the book has lively illustrations. I wrote then that this oversized book has "about eight stories. The best are of the turtle's expression at the finish, of the proud lion dealing with the girl's father, and of the lion laughing at the mouse. Here is an earlier edition of a book I have listed under It uses a different printer Unigraf in Madrid rather than Ripoli in Valencia , and it lacks an area code to the phone number for the publisher.

Its cover is slightly crimped. The publication date of is found as part of the Deposito Legal on the obverse of the title-page. I notice that the Library of Congress cataloguer used that date of even for the later book published in As I wrote there, this oversized hardbound Volume Two picks right up where the first volume left off. The style of the art is the same: All the fables except the first one "The Laborer and His Sons" have two pages; that first one has three. There are fourteen fables in this book. This third volume, apparently in a series of three, adds a sentence at mid page indicating the authors of the fables here: The book continues the tradition of the first two volumes by supplying lively illustrations in large format.

As in Volume 2, there are fourteen stories. The biggest surprise comes in FK, where the frogs choose a white duck as their first king. The illustration shows the frogs, after some time, using the duck as a diving board, doing gymnastics on him, and spitting water at him.

As they express their wish for a better king, a huge frog appears and offers himself. But as soon as he becomes king, he expects all sorts of service. The frogs return to the duck to ask for help in getting rid of this new king, but he tells them that those who do not want a good king will get a bad one. Por Patricia y Fredrick McKissack. Illustrado por Anne Sikorski. Preparado bajo la direccion de Robert Hillerich.

Apparently an exact duplicate of Country Mouse and City Mouse This book's approach to the common story is distinguished perhaps only by the use of the first person for the narration by the country mouse. The only hassle in the city that is specified comes with a garbage truck! This little volume has twenty-four modern fables on some fifty-nine pages. Grzimek's "Vorwort" separates his work from that of Schnurre, Arnzten and Anders.

His fables are written against the flood of images of today's media. They should awaken understanding for social problems and should lead to critical reading. And they should create fun. The first fable is a reflective consideration of aging in the person of the proud and selfish king lion whose power dwindles. Everyone will die as he has lived.

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