Aesops Fables - Book 3: 78 More Short Stories for Children - Illustrated

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The hare falls asleep, and the slow but steady tortoise continues to plod his way pass the sleeping hare, and eventually to the finish line, beating the hare in the race. This fable uses a trickster tale motif to convey wisdom and to help explain human nature and human behavior. Persistence is key to winning a race. Steadiness and persistence wins over ego and boastfulness. The mouse begins to climb the Lion and wakes the Lion up.

Angry that he has being woken up from his slumber, the Lion catches the Mouse. The Lion, tickled by this offer, agrees to let the mouse go. Time passes and the Lion is walking through the jungle. The hunter ties the Lion to a tree to find something to carry the large creature away. The Lion thought he was doomed. Then the Mouse, whom the Lion let live, sees the Lion in trouble and begins to chew at the ropes.

He chews and chews and chews. After a while, the Mouse is able to free the Lion. The Lion thanks the Mouse for helping him. This fable uses a trickster tale motif to explain a moral for human nature. No good deed is ever overlooked, no matter how small and small things are capable of doing big things. He passed by an ant working hard and carrying corn to take back to his nest. The ant declined and said that he was working on getting food for the winter and suggested the grasshopper do the same.

The ant continued to toil his food back to his nest. The winter came, and grasshopper had no food. He soon died of hunger but saw the ant distributing the corn and grains that were stored from the summer. This fable uses a trickster tale motif to explain the moral of the story. Planning for the future is always a good idea. Sometimes living for immediate gratification can bring dire consequences.

There are many versions for Aesop's fables. This version concentrated on fables involving animals to tell stories and show morals. What separates this book from some other Aesop's fables books are the illustrations used throughout the book. The pictures filled the whole page and you can really tell what the story was about based on some of the pictures.

This is a great children's book. I would recommend it for 3rd to 5th grade readers. This collection of folklore is intended for children ages Each fable is a paragraph or two long with a moral written at the end of it. The moral is generally one to two sentences long, and all of the morals still make sense in today's world. Each fable is accompanied by an illustration, and the illustrations are bright and vibrant and go well with the fable they are illustrating.

I believe that these fables would be very appealing to young readers because they are quick and fun to read. The This collection of folklore is intended for children ages The language is simple without being simplistic, with a few words here and there to challenge younger readers and to help them grow their vocabulary. The messages within the book are very important, even if they aren't always good. Other messages, like "No act of kindness, no matter how small, is ever wasted," provide a more positive message for young children and a reminder that even small kindnesses are incredibly important.

I think that this book would be particularly useful in a classroom of young students because the morals at the end of each story could be discussed among the students. It would be a great way to encourage debate among younger students. Feb 05, Dr. I read the two - this one and the other very similar, but not at the plot level, old book from another old culture - Panchatantra, around the same time, give or take a few years, many decades ago.

Both teach lessons of dealing with the world, how people play games, and so forth. Every child should read them. Especially those that need the skills to defend themselves socially, from those that would play various games to cheat or attack or worse. It might help, for some that can grow out of naivet I read the two - this one and the other very similar, but not at the plot level, old book from another old culture - Panchatantra, around the same time, give or take a few years, many decades ago.

It might help, for some that can grow out of naivete to defend themselves. Then again there might be those that never lose hope that the world is good and noble principles of justice are not to be given up, only to be taken a bite out of by someone who came pretending to be young and innocent and in need, and then bit the hand proffered to feed and help. But of course, one should not lose hope, and perhaps other children might learn to be less naive and better able to defend themselves by learning to understand social games, by reading this book. Sep 23, Mekenna Price rated it it was amazing Shelves: Aesop's fables have been told in many different stories and illustrated in many ways, but some would argue that this version collected by Charles Santore is one of the most impressive and most inspirational.

The lessons are clearly stated at the end of each fable. Even the fables are easily understood. They are perfect for getting children to understand them. They are written in a dialogue that does not have difficult words to pronounce or words that a child might not understand. The story about Aesop's fables have been told in many different stories and illustrated in many ways, but some would argue that this version collected by Charles Santore is one of the most impressive and most inspirational.

The story about the tortoise and the hare is a classic fable that most people will hear of. It reminds people that "slow and steady wins the race". The illustrations for this particular story were incredible. They portrayed the lesson and the story extremely well. This is just one example of the many lessons that they have included in this amazing book. Charles Santore does a great job providing attention-grabbing artwork to go with these children's stories. The short stories teach lessons about positive and negative character traits such as hypocrisy, kindness, conceit, contentment, and idleness.

Each story ends with a moral. For example, The Wolf and the Crane ends with "In serving the wicked, expect no reward, and be thankful if you escape injury for your pains. I read it to my three-year-old son and it kept his attention throughout. The art work in this book were really amazing. I enjoyed how the illustrated betrayed the fables. I like that under each story it tells you the moral of the story. That is very helpful because sometimes I could not catch the lesson myself. However, some of the moral I could not think of a way to apply that lesson to real life but there were that it was easy to think of real life situation.

It definitely made me think. I feel that this would be great book to read to children. I think a lot of tim The art work in this book were really amazing. I think a lot of time that children can learn lessons even better from a story like the tortoise and the hare. We all know that story and taught me a valuable lesson as a child. I think the other fables can do the same for children. Sep 16, Emily Mckinnon rated it it was amazing Shelves: What a fantastic set of fables! I thoroughly enjoyed reading these.

The illustrations are uniquely beautiful and really add to the life of the fables. What I like best is that each fable had an important life lesson embedded that children, teens, and adults all can learn from. One of my favorite lessons was from "The Bear and the Bees," which was, "It is better to bear a single injury in silence than to bring about a thousand by reacting in anger. I gave this collection 5 stars because I believe it is an extremely valuable resource due to the lessons that can be learned through the stories. Sep 17, Alexis Priestley rated it it was ok Shelves: I was familiar with some on the stories told in here, as I'm sure most people are.

The illustrations I thought were beautiful. Although some of the stories were entertaining, funny or had some redeeming messages, it wasn't my favorite. Some stories I thought were a little odd or too vague. I don't think I would have liked this book very much as a child. It wouldn't have been able to keep my attention for very long.

As a child I liked a whole story as opposed to a book full of little stories. Wit I was familiar with some on the stories told in here, as I'm sure most people are. With all that being said, it's definitely not my favorite ever, but it is a classic and the book cannot be denied that. Charles Santore does a magnificent job of bringing the animals to life and capturing the essence of each fable. Although I do not like all of the fables, and feel that some of them are not promoting the best morals, the gorgeous illustrations make this book worthwhile every time.

I really enjoyed this book and the way it was set up because there were multiple fables in the story and they were all short so they didn't lose my attention. This is always good for kids who may not like reading because they tend to lose focus really quickly if they aren't interested in what they are reading so this book gives them the chance to read a lot of fables without taking a long time to get to the point. I also loved that they put the moral of the story at the end of each fable because I really enjoyed this book and the way it was set up because there were multiple fables in the story and they were all short so they didn't lose my attention.

I also loved that they put the moral of the story at the end of each fable because it tells the children what they should have learned by reading the fables. The artwork was also amazing! Overall, this was a really great book. Jan 04, Abraham rated it really liked it. This book has many different stories inside of it and all of them have a good moral. Many of them might apply to you. Some of them are "Persuasion is better than force" and "There are two sides to every question. The bag in front contains his neighbors' faults, the one behind his own.

Hence it is that men do not see their own faults, but never fail to see those of others. Mar 23, Jen Wehage-Barrera rated it it was amazing Shelves: He offers a reward to a crane if she takes it out. She retrieves the bone and requests her compensation. This copy has the same cream-colored material throughout the cover and spine. That copy had green end-papers with a two-page panorama of fable figures. This copy has blank end-papers.

Aesop's Fables

There the pre-title-page had "Fables" near its center. The "Tout droits" and copyright statements facing the title-page are differently typeset, as is all of the information on the title-page itself. Might its paper also be of different quality? This copy has instead " I can find no evidence that either of the copies belongs to the numbered sets announced at the books' beginnings. Illustrated by Nahum Gutman. This is a more substantial book than I am used to seeing from Israel. It has the familiar embossed silhouette of Krylov on its front cover.

Apparently each fable receives one of Gutman's cartoon line-drawing illustrations. A good example, though larger than most, is the full-page illustration of "The Cook and the Cat" It is nice to meet old friends in new and strange surroundings, like "Quartet" on or "The Gardener and the Bear" on The first edition was done in and the second in This is the third edition, also in A strange collection of thirty-three original, contemporary fables.

Very few are about animals. The best are "Two Mice" and "Pidgin. Prete," "Jonquil," and "Chartin. With illustrations by Hubert Whatley. Fifteen Aesopic fables are mixed in here with various folktales. There is a good black-and-white-and-green illustration of a broken bridge and the fallen donkey 53 ; other illustrations are of LM 61 and WC Also included in the fifteen is what is identified as an old Hebrew fable: There is a T of C at the front. I suspect that this book's fable materials are virtually identical with those in Hart's publication of a year later, A Treasury of the World's Great Myths and Legends for Boys and Girls.

This edition may add color that is lacking there. Retold by Mildred L. Kerr and Frances Ross. Here is a book that one would not easily find in circulation! Paperbound books from Warsaw in might not have had a long life expectancy! This book contains some of Krylov's fables on pages, followed by a T of C. There is an assortment of illustrations, not very well printed; many are modeled after well-known illustrations of Krylov's work.

Since they may be difficult to find, I will list the illustrations here: His Representation in Russian Folk Illustration. Limited edition of This is a wonderful treasure. It is a canvas-bound book of some eighty pages with a wealth of black-and-white photoreproductions of illustrations of Krilov's work. A foreword includes several illustrations of fables from Russian books--or more likely manuscripts--before Krilov's time: Then comes an extensive bibliography, apparently of thirty-one individual fables and their illustrations.

The dates here for the illustrations seem to range from to ; the fables themselves are dated chronologically from to Those dates fit with all that I have learned from Quinnam, Stepanov, and Ralston. There follow in the next chapter thirty-six pages of photoreproductions. As far as I can tell, these are a selection of the items listed in the preceding chapter. Thus the first illustration here, FC on 37, relates to the one listing under Item II on 14 in the bibliography chapter. After these photoreproductions, there follow an AI of fables, an AI of proper names, a list of illustrations, and a T of C.

Decorations by Richard E. Inscribed by John Lyth. The title continues "being ventures in story and verse together with 14 paraphrases by permission of James Thurber's Fables for Our Time. It was frankly not easy to find the Thurber paraphrases as I paged through this book of pages. On perhaps the third try, I began to catch on that "Hands across the Atlantic" is the appropriate section, beginning with a "decoration" picturing an elderly man seated among flowers and flanked by a bird and a rabbit.

The titles of these fourteen poems do not match Thurber's. They are the kind of poetry that thrives on rhyme and irregular word order. An example might be the last stanza of the story of a hen who preferred to walk across the road, rejecting the duck who flew hens to the other side: However, my prize goes to "Dignity and Impudence" Young turkey and old come to blows, but before they can settle their deeply felt dispute, the farmer kills both for Christmas dinner! The moral here for TH is "Book-writers don't know everything!

Little Red Riding Hood again shoots the wolf in granny's bed. Lyth is true to Thurber's fresh insight couched in story form. The last Thurberesque poem, "Apocalypse" 61 , hits as hard as ever! No author or illustrator acknowledged. An oversized book on cheap paper with some very nice colored illustrations. These vary from section to section of the book, from black-and-white through monochrome and duotone to five-color images. Five fables occur in a black-and-white section, from Now, here is a surprise: Ives" are interspersed in both cases.

The images for the former are changed here. Otherwise what we have here is a nice collection of kids' material of all sorts. Some crayoning on the title page. Gravures sur Cuivre Originales de Lucien Boucher. Here is a new star in the collection! The engravings on copper are lovely, if sometimes a little risque. This first volume of three covers Books 1 through 5. I count sixteen illustrations here, as one might expect. I am so happy to have found this little book! Strangely, it is not in Bodemann. Jean de La Fontaine. This second volume of three covers the rest of Book 5 through the first part of Book Might the printer have mistaken this horse and wolf for the characters in "The Ass and the Dog"?

Again, is the illustration on here not appropriate to either one of the two fables about death and the woodman from Book 1? Here it is near the middle of Book This third volume of three covers the rest of Book 10 through the end of La Fontaine's fables. Mentioned 30 by Hobbs. One of the stars of this collection! For each fable, there is a large lithograph on the third or right-inside page of a four-page folio made by folding a large sheet once; the back of the lithograph-page is always blank. The exception to this rule comes in the frontispiece, OF, which is on the fourth page of its folio and thus faces the title-page, first in its folio.

There is a slip-sheet for each lithograph. The fable text precedes and if necessary follows the illustration. Bodemann's succinct criticism is helpful: Bassy lists the twenty subjects. There are some wild creations here!

In this last illustration the vine grows directly out of a mountain-top. The best of the illustrations for me are: There are also ornamental black-and-white vignettes after eight of the fable texts. There is a T of C at the beginning. Illustrations by Jacob Schwerin. Joshua Chachik Publishing House. This is described by Mr. Biezunski as a collection of about eighty biblical fables, arranged by periods. I find only two illustrations: This book apparently presents bible stories.

I would love to pursue the question of whether these stories are fables. Illustrated by Eirenes Tzougkrou. Modern Greek, with English vocabulary. By contrast with it, this thinner book lacks the Greek-English vocabulary at the end. This title page shows several curious differences. This edition does not add a parenthetical "Aesop's Fables" to the title.

It speaks of being for the second and third grades of schools in America , where the later edition will speak of those in the diaspora. Once one arrives at the T of C on 3, the books are the same, though this edition shows page numbers four digits lower for each story. The binding identifies this as the " new second edition," whereas the later book is listed simply as "second edition. Here are some verse fables on pages. This book is remarkable for its simple but lovely colored front and back cover. The spine has deteriorated.

Each fable gets a clever black-and-white cartoon. Perez Perozo was a proficient creator of fables. His books mentioned at the end of this book include Fabulillas and Nuevas Fabulillas. I notice online that he also published Fabulillas in ! This copy is inscribed "To Mr. Hill, in remembrace of the trip we made together, cordially, V. Perez Perozo, New York, May 3, I need to think now about ordering those other books of his online. What a lovely find! Here is Herrmann's book of Phaedrus. Herrmann's text is of course in French and includes prose translations of the Latin fables.

Bound in light grey cloth with green lettering on the front and side.

The cover is lightly soiled and worn. The binding is strong. Textblock is solid, tinted green on top. The pages are clean and intact. This copy was owned by Ohio State but apparently never taken out; it was apparently their second copy. A first half of the book covers the life and genius of Phaedrus.

The second half is a careful presentation of Phaedrus' text and related texts. The last two appendices present the traditional numbering of Phaedrus' fables and Herrmann's reconstruction of Phaedrus' four books with forty fables in each. A large-format pamphlet picking up on many of the stories contained in Merrill's Tuck-in Tales Students of book history will be interested to compare the job that this book's editor has done on the text in Tuck-in Tales. The story may be half as long! The illustration is the same, but has been cropped on both sides and has lost its extension down around the text.

Tommy wears a big hat with a feather and says "Yoo hoo" unprovoked when he sees some children below. Volume 2 of twelve volumes. The Book House for Children. Pictures by Corinne Malvern. A Big Golden Book. A pleasing large-format children's book including five fables: The book is in surprisingly good condition, and its colored illustration work on thirsty paper is well controlled. A very nice find in the country! As so often, the page of acknowledgements here 2 accounts for every story in the book except the fables. Now here is a surprise.

I thought I was picking up an extra copy of this pleasing book that I first found a month ago in Gretna. It turns out to be an alternate version that stops flat at where the fuller version goes on to Of the fuller version's five fables, four thus survive the cut: This copy is also in surprisingly good condition, and its colored illustration work on thirsty paper is well controlled. Selected, told anew and their history traced by Joseph Jacobs. Illustrated by Kurt Wiese.

A handy volume in great shape. There are two aquatints per story in the familiar Jacobs version: There is a slightly different version and picture for "Venus and the Cat" on Text from William Caxton. Illustrations from the Antwerp edition by Gerard Leeu. This is an eight-page brochure presenting four fables, each with an illustration.

The texts come from Caxton in Was this brochure a trial or prospectus for a projected but never accomplished work of the Grabhorn Press? Or perhaps just a little project of Jane Grabhorn's? Serendipity's helpful people seemed to suggest the latter. Newly rendered into modern English by Nevill Coghill. Wood engravings by Lynton Lamb. Limited edition of copies.

Allen and Richard Lane. This is a beautiful limited edition book. It impresses me particularly for its title-page art: The flutter of feathers around the title is perfect for this story. There is also a good presentation, in black-and-white, of the fox lying in wait on A sampling of the rhyming verse of the translation finds it tight and accurate. It is a pleasure to be able to include a book like this one in the collection! The picture cook and drink book for men. Illustrated by Jim Newhall. This book has almost no redeeming Aesopic value except for the delightful title and the nice picture facing the title page: Quick and easy picture-recipes for the man who has never cooked.

Typical of the 50's and very sexist. Gift of Linda Schlafer from P. This revision reduces page size and changes some of the colors. Outdoor cooking and drinks get more attention now. Oatmeal, farina, pancakes, and casserole chien chaud franks and beans are dropped. A revolution of rising expectations? The same great picture is there facing the title page. I have an apparent first printing in the collection. Here is an eighth printing twelve years later.

I have an apparent first printing in the collection and an eighth. Here is a ninth printing one year later than the eighth. The aquatints have changed color from the eighth to this ninth printing! Edited by Philip A. Southern Illinois University Press. A college textbook for Americans with a representative sampling of LaFontaine in several genres. About forty fables are included, with helpful brief notes under the texts and a short glossary of unusual words at the back.

There are good short introductions to each section. Here is a book worth consulting when I look at any fable LaFontaine has done. Favorite stories and poems for children with original illustrations from famous editions. Selected and edited by Betty O'Connor.

There are fascinating changes in this later printing. The paper is shinier. A poem from Belloc is added on dedicating a gift to a child hint! The pieces dropped are: Illustrated by Romain Simon.

See a Problem?

Translated by Constance Hirsch. The delightful story of Prudence and Flash. Apparently a direct copy of Bravo Tortue, published by Flammarion in France and listed here under The Greek makes for fun reading, and the verse morals are cute, but I am afraid there is not much here more than evidence that Greeks still relish the stories and that they are good for teaching! The illustrations are quite simple. T of C with indications of illustrations. Now you can also use a workbook together with this reader: Biblion Askeseon by Helen Kardamakis Dorizas. Better Homes and Gardens Books.

I commented earlier on the ninth printing of this book that first appeared in Now here is a fourteenth printing. The acknowledgements on the last page have dropped. Otherwise the book seems identical with the ninth printing. A Book of Fables. Adapted from Aesop by Sheila Hawkins. A sideways pamphlet of fifteen fables alternating black-and-white and colored pairs of pages. Some fascinating and different details: A boy scout chides the son for riding the donkey.

The old man tips the donkey into a duck pond and goes home without it. The happy donkey has a good splash and trots away to the fields. The cow swallows the frog by accident. The hedgehog's arrival forces the fox to declare the grapes sour. The good copy has some crayoning on the cover and some painting inside; the extra copy has some creases in its first and last pages.

Juvenile Productions, Ltd This page pamphlet combines four lovely full-page colored illustrations with two identical colored covers and six pages of text with black-and-white illustrations. The definition of "fable" may be stretched in the telling of this tale. A lonely cobbler frog accepts a pair of worn shoes from an old frog and repairs them as requested, but the wearer never returns to pick them up. So the cobbler frog wears them and not only has some luck, but he also makes contact with people. I enjoy the colored pictures especially, like the final picture of the frog cobbler with his new friend on the way to "rambling" together.

Based on the texts of L'Estrange and Croxall. This book is nearly identical with the hardbound "The Fables of Aesop" which I have listed under "? Test for example the chip off of the "9" on See my comments there. This cover depicts a camel dancing in the midst of the animals. The good copy is in very good condition. This must among the early paperback editions! As has happened so often, I had not known of this book's existence for years, and then I found two copies in very short order.

No author, illustrator, or publisher acknowledged. Extra copy from an unknown source at an unknown time. I do not remember when I have had to fill in so many "not acknowledged" answers about a book! Perhaps its most interesting feature is the variety of spacing and even fonts that the printer used on the various fables. The moral for TMCM is unusual: The moral here--not enclosed in quotation marks as the others are--is "An ounce of help is worth a pound of pity. Aesop's Fables for Young People. Illustrated in line by R. And with five colour plates by Gil Dyer.

Foulsham's Boy and Girl Fiction Library. Extra copy with missing first blank page a gift of Bonnie Schuman from Pageturners, Jan. The text is identical with that in Foulsham's ? This edition adds five colored illustrations, several of which occur rarely: I find "The Fox and the Mask" illustration 48 particularly successful. The story of "The Boy and the Thief" 22 misses the ironic turn found elsewhere. The boy is at first perplexed: Then the idea occurs to him to outfox the fox This edition adds lists of the two kinds of illustrations.

There is some internal foxing. And someone put a staple or a fork through the front cover and the first twenty pages! The Wolf and the Dog. From William Caxton's Translation of the French. Illustrations by Anyon Cook. A simple sixteen-page pamphlet with spined paper wraps. The telling of the fable is straightforward and very effective. The illustrations, colored and black-and-white, are simple and serve the story well.

Might there be others in a series with this booklet? Children's Favourite Stories in Pictures. This large-format book is unusual in a number of respects. First, it is one of the very few books I have from Australia. Second, it includes an unusually broad range of material, from Greek myths to Australian aboriginal folklore.

Aesop is given two three-page sections: Three fables are presented on each page with text and illustration equal in size and alternating columns with each other. On 89, the fables switch finally to color. The illustrations of the second set seem to me superior in their artistry; they remind one of Boris Artzybasheff.

The ultimate in cheap books! TH is the last story, with a nice one-colored picture of the hare sleeping in his overalls. Aesop shows up when people put together a simple book for kids. The title on the page tops is Favorite Story Book. Choix de Fables de la Fontaine 1. This is a memorable squarish book, just over 8" and just less than 8" wide. Mallet's work is unique, and that quality makes the book memorable. The illustrations are full-page and in color. Both covers also present full-page colored illustrations. Maybe the best of all these is the back cover's meeting at the doorway of cicada and ant.

Of course I notice that there are three other members of the series that this booklet belongs to! Choix de Fables de la Fontaine 2. This second booklet in the series of four is another memorable squarish book, just over 8" and just less than 8" wide. In its 24 pages, five fables are illustrated: The back cover is a bonus illustration of the milkmaid dreaming of cows and pigs.

The cover seems to be a melange of fables, including some beyond this book's contents. The illustrations are again full-page and in color. Maybe the best of all these are the climactic scene of FS 15 and the last scene of "The Fox and the Goat" Is the fox thumbing his nose at the goat as he walks away and leaves him stranded? The frog here seems to have the rat caught with a fishing pole's line, not with a line tied to the legs of both characters. Choix de Fables de la Fontaine 3.

This third booklet in the series of four is another memorable squarish book, just over 8" and just less than 8" wide. In its 24 pages, seven fables are illustrated: The first and last views in DW balance each other beautifully to show the turning of tables in this fable. The back cover is a fine bonus illustration of the fox at the top of a ladder salivating and smelling the grapes which he cannot reach.

The cover has the wolf confronting a crying lamb. Choix de Fables de la Fontaine 4. This fourth booklet in the series of four is another memorable squarish book, just over 8" and just less than 8" wide. In its 24 pages, six fables are illustrated: The front cover's illustration may be the best defined. The two illustrations for TMCM work very well together: Damals Sprachen die Tiere. Colored fifteen and black-and-white fourteen woodcuts alternate as the text works through twelve major fables.

I think the colored woodcuts are wonderful! Why should the deer be wounded in the woodcut on 51 for the story "The Friendship of the Animals" 42? Illustrations taken from Buch der Weisheit. DM 29 from Berlin? I will repeat what I wrote there. Deutsche Fabeln aus dem Jahrhundert von Luther und Lessing. Bearbeitet und Herausgegeben von Dr. Mit Bildern von Max Teschemacher. Here is one of three books in uniform format from Alfo. All have a canvas binding, colored paper covers with a colored illustration at the center, and 32 pages.

Here a T of C at the beginning announces fourteen fables. Each fable has a two-page spread. On the left page is a fable from either Luther or Lessing, with a separate, highlighted moral at the end. For Lessing, this highlighted moral is a part of the fable itself. On the right is a frame of black-and-white designs above and below a colored illustration of the fable.

The frames here play with the story in the manner of Rabier, as they do in the La Fontaine volume. I cannot understand the application under FM 7 ; is one man being invited in two different directions? For LS 8 , Luther uses the proverb "Don't eat cherries with your masters; they throw the pits at you. I only now become aware of Lessing's development of the fable of the dying lion.

The horse refuses to take revenge on an enemy that can no longer hurt him I am also delighted with Lessing's development of the fable of the robbed miser. It is not just that he is poorer, but that someone else is that much richer 24! The image for this fable is particularly well done. Here is a curiosity. This book is exactly identical with another in the collection except for three differences. First, this copy has no title -- and in fact no words at all -- on its cover.

Secondly, its title-page does not mention a publisher. The volume to which it is so similar is in a series, and this book shares the characterisics of that series: I thought I recognized this booklet when I found it. The last illustration may be among the best. Douze Fables de la Fontaine Cover: Fables de la Fontaine. Collection du Jeune Age No. I am tempted to date this book ten years earlier because of the French-German connection of a French publisher printing books in Germany.

The cover presents an engaging image of smiling animals grouped around King Lion. Every other page is a strong colored illustration with a line or two of moral. This is one of very few prose editions of La Fontaine's fables that I have seen. Among the best illustrations are those showing the plaid sox of the fox in FC 7. WL 9 sets the contrast well between the big hunter with pistol and knife in his belt and the skirted lamb with a bouquet in her hands. The tuxedo in fine jacket and vest in FG 21 only stands and looks up. The book was originally sold by Joseph Gibert on the Boulevard St.

A high price for a pamphlet book, but the illustrations make it worth it. They are lovely and well preserved. Von der Antike bus zur Gegenwart. This page pamphlet is a jewel. It focusses very well on presenting one hundred fable texts for classroom study. Pages give a bit of information about each fabulist, and offer a very brief overview of fable.

Other than the beginning T of C, this booklet then is all fables. They are very well chosen! They come from around the world but especially from Germany. I enjoyed trying five new fables. Poggio's 36 tells of a man who wanted to get out of the custom that, when one slaughters a pig in winter, he holds a feast for the whole town. He goes to an old man and asks him how to do it. The man answers "Just claim tomorrow morning that your pig has been stolen.

The next morning, the robbed man comes to the old man and tells him that he has been robbed. The old man congratulates him on making the claim well. The more urgently the fellow tries to tell the truth, the more the old fellow congratulates him on lying well. Greed and lying punish themselves. Lessing's 58 asks what one should say to poets whose texts seem to fly way over the heads of most of their readers. Perhaps we should say what the nightingale once said to the lark: The gnat, proud to be so feared, pursues the stag but does not notice the lion behind him pursuing the stag too.

When the stag finally is caught in the branches of the forest and the lion pounces on him, the gnat tells the lion that he has the gnat to thank for this booty. The lion does not even glance at him. In Kafka's 85, a mouse has run into walls and then complains about the walls coming together in a corner where there is a trap. Do not miss the seventeen versions of GA in This book is uniform in series with several others I have but they seem to have different bibliographical data, including publisher: Alfo Kunstdruck Verlag in Kaiserslautern. This book has the same canvas binding and the same striped cover format with a picture at the center.

Like them, it has 32 pages. There is a beginning T of C with titles for the fourteen fables. Sources are given on the book's last page. The color work for the fables here is simple and pleasing. Each fable's text is on the left-hand page with a colored illustration on the right-hand page. Above and below the colored illustration are engaging and even humorous sketches of different phases of the fable. The illustration for the latter is typically well done: When the former gets the latter to shut his eyes, he flies away. Fabeln aus Spanien-Italien und Russland. Mit Bildern von Elsa Schnell-Dittmann.

This book belongs to one series that seems a variation of another series. This series is published by Klinke and I now have volumes 6 through This series includes Neuere Deutsche Fabeln and others. Jahrhundert von Luther und Lessing and others. There is even a third series of two books identical with Alfo editions but lacking notice of a publisher.

All three types have the same canvas binding and the same striped cover format with a picture at the center. Volumes in all have 32 pages and fourteen fables. The editor remains the same for all, but illustrators vary within and among the series. In fact, this copy has a gray band apparently pasted on its pink cover; the band announces "Mit Bildern von Elsa Schnell-Dittmann. Might this band be covering indication of a different illustrator? The color work for the fourteen fables here is simple and pleasing. Below each colored illustration is a simple sketch of a different phase of the fable.

The cover illustration, repeated on 21, may be among the best. It presents Leonardo's "The Rock. There it gets stepped upon and ridden over -- and begins to long to be back where it was. Thus many leave the pleasant life of the countryside to live in the city. A table at the book's end reveals the authors of each fable. Rossi's "The Horse and the Fox" is new to me. The horse beats the bull in a race, and everyone except the fox praises the horse. Bearbeitet und herausgegeben von Dr. Sources are given on the book's last page: Lokman's fables are standard Aesopic tales.

Here a Black, named "Ein Mohr," tries to make himself white with snow The illustration interprets this expression more broadly than the text would demand, I believe. Do not miss the sketch below of the dead ape being carried away by weeping Red Cross apes. The story of the lion, cat, and mouse 12 illustrates well that the servant should not remove the issues that bother his master.

For the cat kept the mane-eating mouse away from the lion; once the mouse died, the lion let the cat die too. Both of Saadi's stories condemn the pursuit of wealth. On the left page is a prose fable after Aesop, with a separate, highlighted moral at the end. The frames here play less than they do in "Fabeln von La Fontaine," but they are still engaging and delightful. Often they present "before or after" material, as on 19, where an eagle carries off a lamb above and children play with a crow below. This page also presents an excellent coordination of the black-and-white mountain tops with their lower sections in the colored picture.

The colored pictures here may be more engaging than those in the La Fontaine volume. The distressed owner being "charmed" by the ass on 5 is well depicted. The illustration for "The Lion and the Man" here shows a drastic result.

The lion invited the man to an open place to show him the answer to the tombstone depicting a man overcoming a lion. What we see is the lion standing over a dead and bloody man The full complement of three pictures is well done for the "Chanticleer" story on This book is perfectly identical with another in the collection except for two differences. First, this copy does not stipulate "Alfo Kunstdruck Verlag" on its title-page. That is particularly curious because no publisher is stipulated anywhere. Like the books in the Alfo Kunstdruck Verlag, this book has a canvas binding, colored paper covers with a colored illustration at the center, and 32 pages.

Secondly, this copy lacks pagination. From here on, I will repeat my description of that book. A T of C at the beginning announces fourteen fables. Fabeln von La Fontaine. On the left page is a verse rendition of La Fontaine. The frame material above and below is like the work of Benjamin Rabier: Thus for the "acorn and pumpkin" philosopher of the first fable, we find a huge pumpkin virtually burying his face. We find rain coming down on the dog forced out of his home, but no rain coming down on the bitch who dispossessed him with her brood For SS, we find two beasts and their owner all streaming water down onto the ground The ox laughing at the frog on 31 looks like he has been copied straight out of Rabier.

The colored pictures insides the frames are good but less spirited. Perhaps the best of them shows the horse kicking the "doctor" wolf who was going to heal his hoof Devised by Powell Perry. Illustrated by Robert P. A Perry Colour Book: The cover image of two mice walking along gives a good example. The images seem to work with four colors: Notice how they work in the title on the cover. Only TMCM gets more than a page. It is at the centerfold, in fact, and it offers several good images of the contrasting mice first pictured on the cover.

I find almost no information about the background of this book. Izrael Publishing House Ltd.. Karlinsky, Jerusalem, through eBay, Sept. This book has pages that seem close to mimeograph quality in their mix of cartoon characters and contemporary Hebrew texts. Interspersed with these numbered pages are full-page sepia illustrations. The covers are marbled brown boards, with a canvas spine.

I count some one-hundred-and-ten fables. In fact, there are only a few fables here that are not readily recognizable. I enjoy particularly the figure that retrieves the woodcutter's axe from the river on Another good set of illustrations shows the malicious cat gossiping with the eagle on 42 and with the pig on Again here, as in another recent book of Jewish fables, the stork or crane is matched not with a wolf but with a lion Fables choisies de Florian et d'Esope. This book is largely internally identical with another, which I have listed under "?

This copy has a fox and a dog on its cover, and it acknowledges both Florian and Aesop on the cover. This is a puzzling publication because it combines two books with minimal integration. That minimum lies in the cover that announces both. One opens to "Fables de Florian. The titles of the fables are done in a a kind of script that seems partially italic and partially handwritten. It also has something against capital letters. Every few pages there is a full-page illustration that uses several colors. I am increasingly sure that I have seen these illustrations before.

Most dramatic of the colored illustrations for Florian is the monkey hawking his circus act before the animals. The act will be with the magic lantern. One of the most pleasing illustrations is the full-page polychrome illustration of Renard preaching, with spectacles and all. The title-page for "Fables d'Esope" has a hedgehog playing something like a clarinet as he is carried on the back of a rooster.

It sometimes happens in either book that an illustration will just precede its story. The book has a canvas binding. Fables Choisies de La Fontaine. Illustrations apparently by F.

This is a brochure of ten pages, starting from the front inside-cover and reaching to the back inside-cover. Here the cover presents a good compilation of stories, including MM, TH, OF; the whole is marred slightly by some white crayoning. Is this the same composite picture I noted in that other edition? The first full-color illustration goes to TH and features pictures of a seated bunny pulling petals off of a flower and of a tortoise standing expectantly with an arm around the finishing pole marked by two radishes. Further full-color illustrations include a two-page spread for MM and one page for OF.

There is one last smaller image of MM on the back cover. I think I will be finding more of these heavy-paper, large-format pamphlets of La Fontaine every time I get back to Paris. A number of them seem to have been done by Touret. This one has a small mark at the lower left on the front cover: This is actually two page books put together, each with its own pagination. The binding seems to be staples and canvas.

The fables of Florian are presented in a surprising manner, in that a reader is never quite sure what is coming next; it may be a simple text, a full-page illustration, or a design. Pagination begins with the title-page, which includes a simple illustration of a rabbit and a duck. One of the first full-page illustrations, which includes several colors, occurs before its story, so that one needs to turn the page to find the story. This is "The Blind Man and the Paralytic" Next comes a two-page illustration for "Magic Lantern," followed by its text.

The first volume ends with "The Cat and the Rats," first text and then, on a new page facing the beginning of Volume II, a full-page illustration of several colors. The two-page illustration at the center of the second volume is "The Two Lions. If I were more excited about the fables of Florian, I might be more excited about the simple illustrations here. The best of them is perhaps the cover's scene of handing out bags of money. The back cover labels this as "Editions Bias No.

Fables de La Fontaine. Avec des gravures sur bois de Virgil Solis.

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