Aesop's Fables - Aesop (accelerated reader books TXT) 📗

Antioch, A.D. 315, wrote a treatise on, and converted into Latin prose, some of these fables. This translation is the more worthy of notice, as it illustrates a custom of common use, both in these and in later times. The rhetoricians and philosophers were accustomed to give the Fables of Aesop as an exercise to their scholars, not only inviting them to discuss the moral of the tale, but also to practice and to perfect themselves thereby in style and rules of grammar, by making for themselves new and various versions of the fables. Ausonius, 9 the friend of the Emperor Valentinian, and the latest poet of eminence in the Western Empire, has handed down some of these fables in verse, which Julianus Titianus, a contemporary writer of no great name, translated into prose. Avienus, also a contemporary of Ausonius, put some of these fables into Latin elegiacs, which are given by Nevelet (in a book we shall refer to hereafter), and are occasionally incorporated with the editions of Phaedrus.

Seven centuries elapsed before the next notice is found of the Fables of Aesop. During this long period these fables seem to have suffered an eclipse, to have disappeared and to have been forgotten; and it is at the commencement of the fourteenth century, when the Byzantine emperors were the great patrons of learning, and amidst the splendors of an Asiatic court, that we next find honors paid to the name and memory of Aesop. Maximus Planudes, a learned monk of Constantinople, made a collection of about a hundred and fifty of these fables. Little is known of his history. Planudes, however, was no mere recluse, shut up in his monastery. He took an active part in public affairs. In 1327 A.D. he was sent on a diplomatic mission to Venice by the Emperor Andronicus the Elder. This brought him into immediate contact with the Western Patriarch, whose interests he henceforth advocated with so much zeal as to bring on him suspicion and persecution from the rulers of the Eastern Church. Planudes has been exposed to a twofold accusation. He is charged on the one hand with having had before him a copy of Babrias (to whom we shall have occasion to refer at greater length in the end of this Preface), and to have had the bad taste “to transpose,” or to turn his poetical version into prose: and he is asserted, on the other hand, never to have seen the Fables of Aesop at all, but to have himself invented and made the fables which he palmed off under the name of the famous Greek fabulist. The truth lies between these two extremes. Planudes may have invented some few fables, or have inserted some that were current in his day; but there is an abundance of unanswerable internal evidence to prove that he had an acquaintance with the veritable fables of Aesop, although the versions he had access to were probably corrupt, as contained in the various translations and disquisitional exercises of the rhetoricians and philosophers. His collection is interesting and important, not only as the parent source or foundation of the earlier printed versions of Aesop, but as the direct channel of attracting to these fables the attention of the learned.

The eventual re-introduction, however, of these Fables of Aesop to their high place in the general literature of Christendom, is to be looked for in the West rather than in the East. The calamities gradually thickening round the Eastern Empire, and the fall of Constantinople, 1453 A.D. combined with other events to promote the rapid restoration of learning in Italy; and with that recovery of learning the revival of an interest in the Fables of Aesop is closely identified. These fables, indeed, were among the first writings of an earlier antiquity that attracted attention. They took their place beside the Holy Scriptures and the ancient classic authors, in the minds of the great students of that day. Lorenzo Valla, one of the most famous promoters of Italian learning, not only translated into Latin the Iliad of Homer and the Histories of Herodotus and Thucydides, but also the Fables of Aesop.

These fables, again, were among the books brought into an extended circulation by the agency of the printing press. Bonus Accursius, as early as 1475-1480, printed the collection of these fables, made by Planudes, which, within five years afterwards, Caxton translated into English, and printed at his press in West-minster Abbey, 1485. 10 It must be mentioned also that the learning of this age has left permanent traces of its influence on these fables, ll by causing the interpolation with them of some of those amusing stories which were so frequently introduced into the public discourses of the great preachers of those days, and of which specimens are yet to be found in the extant sermons of Jean Raulin, Meffreth, and Gabriel Barlette. 12 The publication of this era which most probably has influenced these fables, is the “Liber Facetiarum,” l3 a book consisting of a hundred jests and stories, by the celebrated Poggio Bracciolini, published A.D. 1471, from which the two fables of the “Miller, his Son, and the Ass,” and the “Fox and the Woodcutter,” are undoubtedly selected.

The knowledge of these fables rapidly spread from Italy into Germany, and their popularity was increased by the favor and sanction given to them by the great fathers of the Reformation, who frequently used them as vehicles for satire and protest against the tricks and abuses of the Romish ecclesiastics. The zealous and renowned Camerarius, who took an active part in the preparation of the Confession of Augsburgh, found time, amidst his numerous avocations, to prepare a version for the students in the university of Tubingen, in which he was a professor. Martin Luther translated twenty of these fables, and was urged by Melancthon to complete the whole; while Gottfried Arnold, the celebrated Lutheran theologian, and librarian to Frederick I, king of Prussia, mentions that the great Reformer valued the Fables of Aesop next after the Holy Scriptures. In 1546 A.D. the second printed edition of the collection of the Fables made by Planudes, was issued from the printing-press of Robert Stephens, in which were inserted some additional fables from a MS. in the Bibliotheque du Roy at Paris.

The greatest advance, however, towards a re-introduction of the Fables of Aesop to a place in the literature of the world, was made in the early part of the seventeenth century. In the year 1610, a learned Swiss, Isaac Nicholas Nevelet, sent forth the third printed edition of these fables, in a work entitled “Mythologia Aesopica.” This was a noble effort to do honor to the great fabulist, and was the most perfect collection of Aesopian fables ever yet published. It consisted, in addition to the collection of fables given by Planudes and reprinted in the various earlier editions, of one hundred and thirty-six new fables (never before published) from MSS. in the Library of the Vatican, of forty fables attributed to Aphthonius, and of forty-three from Babrias. It also contained the Latin versions of the same fables by Phaedrus, Avienus, and other authors. This volume of Nevelet forms a complete “Corpus Fabularum Aesopicarum;” and to his labors Aesop owes his restoration to universal favor as one of the wise moralists and great teachers of mankind. During the interval of three centuries which has elapsed since the publication of this volume of Nevelet’s, no book, with the exception of the Holy Scriptures, has had a wider circulation than Aesop’s Fables. They have been translated into the greater number of the languages both of Europe and of the East, and have been read, and will be read, for generations, alike by Jew, Heathen, Mohammedan, and Christian. They are, at the present time, not only engrafted into the literature of the civilized world, but are familiar as household words in the common intercourse and daily conversation of the inhabitants of all countries.

This collection of Nevelet’s is the great culminating point in the history of the revival of the fame and reputation of Aesopian Fables. It is remarkable, also, as containing in its preface the germ of an idea, which has been since proved to have been correct by a strange chain of circumstances. Nevelet intimates an opinion, that a writer named Babrias would be found to be the veritable author of the existing form of Aesopian Fables. This intimation has since given rise to a series of inquiries, the knowledge of which is necessary, in the present day, to a full understanding of the true position of Aesop in connection with the writings that bear his name.

The history of Babrias is so strange and interesting, that it might not unfitly be enumerated among the curiosities of literature. He is generally supposed to have been a Greek of Asia Minor, of one of the Ionic Colonies, but the exact period in which he lived and wrote is yet unsettled. He is placed, by one critic, l4 as far back as the institution of the Achaian League, B.C. 250; by another as late as the Emperor Severus, who died A.D. 235; while others make him a contemporary with Phaedrus in the time of Augustus. At whatever time he wrote his version of Aesop, by some strange accident it seems to have entirely disappeared, and to have been lost sight of. His name is mentioned by Avienus; by Suidas, a celebrated critic, at the close of the eleventh century, who gives in his lexicon several isolated verses of his version of the fables; and by John Tzetzes, a grammarian and poet of Constantinople, who lived during the latter half of the twelfth century. Nevelet, in the preface to the volume which we have described, points out that the Fables of Planudes could not be the work of Aesop, as they contain a reference in two places to “Holy monks,” and give a verse from the Epistle of St. James as an “Epimith” to one of the fables, and suggests Babrias as their author. Francis Vavassor, 15 a learned French jesuit, entered at greater length on this subject, and produced further proofs from internal evidence, from the use of the word Piraeus in describing the harbour of Athens, a name which was not given till two hundred years after Aesop, and from the introduction of other modern words, that many of these fables must have been at least committed to writing posterior to the time of Aesop, and more boldly suggests Babrias as their author or collector. 16 These various references to Babrias induced Dr. Plichard Bentley, at the close of the seventeenth century, to examine more minutely the existing versions of Aesop’s Fables, and he maintained that many of them could, with a slight change of words, be resolved into the Scazonic l7 iambics, in which Babrias is known to have written: and, with a greater freedom than the evidence then justified, he put forth, in behalf of Babrias, a claim to the exclusive authorship of these fables. Such a seemingly extravagant theory, thus roundly asserted, excited much opposition. Dr. Bentley l8 met with an able antagonist in a member of the University of Oxford, the Hon. Mr. Charles Boyle, 19 afterwards Earl of Orrery. Their letters and disputations on this subject, enlivened on both sides with much wit and learning, will ever bear a conspicuous place in the literary history of the seventeenth century. The arguments of Dr. Bentley were yet further defended a few years later by Mr. Thomas Tyrwhitt, a well-read scholar, who gave up high civil distinctions that he might devote himself the more unreservedly to literary pursuits. Mr. Tyrwhitt published, A.D. 1776, a Dissertation on Babrias, and a collection of his fables in choliambic meter found in a MS. in the Bodleian Library at Oxford. Francesco de Furia, a learned Italian, contributed further testimony to the correctness of the supposition that Babrias had made a