• The first extensive translation of Aesop into Latin iambic trimeters was performed by Phaedrus, a freedman of Augustus in the 1st century CE, although at least one fable had
  already been translated by the poet Ennius two centuries before, and others are referred to in the work of Horace.

• One of those who did this in English was Sir Roger L’Estrange, who translated the fables into the racy urban slang of his day and further underlined their purpose by including
  in his collection many of the subversive Latin fables of Laurentius Abstemius.

• The main impetus behind the translation of large collections of fables attributed to Aesop and translated into European languages came from an early printed publication in
  Germany.

• Loeb editor Ben E. Perry took the extreme position in his book Babrius and Phaedrus (1965) that: in the entire Greek tradition there is not, so far as I can see, a single
  fable that can be said to come either directly or indirectly from an Indian source; but many fables or fable-motifs that first appear in Greek or Near Eastern literature are found later in the Panchatantra and other Indian story-books, including
  the Buddhist Jatakas.

• It contains 83 fables, dates from the 10th century and seems to have been based on an earlier prose version which, under the name of “Aesop” and addressed to one Rufus, may
  have been written in the Carolingian period or even earlier.

• This was among a collection of poems and stories (with facing translations) in a book that also included a short history of the territory and an essay on creole grammar.

• [25] • Eustache Deschamps included several of Aesop’s fables among his moral ballades, written in Mediaeval French towards the end of the 14th century,[26] in one of which
  there is mention of what ‘Aesop tells in his book’.

• A version of the first three books of Romulus in elegiac verse, possibly made around the 12th century, was one of the most highly influential texts in medieval Europe.

• Most of the fables in Hecatomythium were later translated in the second half of Roger L’Estrange’s Fables of Aesop and other eminent mythologists (1692);[17] some also appeared
  among the 102 in H. Clarke’s Latin reader, Select fables of Aesop: with an English translation (1787), of which there were both English and American editions.

• There had been many small selections in various languages during the Middle Ages but the first attempt at an exhaustive edition was made by Heinrich Steinhőwel in his Esopus,
  published c. 1476.

• [49] Versions in regional languages Minority expression [edit] The 18th to 19th centuries saw a vast quantity of fables in verse being written in all European languages.

• The collection became the source from which, during the second half of the Middle Ages, almost all the collections of Latin fables in prose and verse were wholly or partially
  drawn.

• Aesop in other languages Europe [edit] For many centuries the main transmission of Aesop’s fables across Europe remained in Latin or else orally in various vernaculars, where
  they mixed with folk tales derived from other sources.

• [31] Some fables were later treated creatively in collections of their own by authors in such a way that they became associated with their names rather than Aesop’s.

• This was followed two centuries later by Yishi Yuyan (Esop’s Fables: written in Chinese by the Learned Mun Mooy Seen-Shang, and compiled in their present form with a free
  and a literal translation) in 1840 by Robert Thom[41] and apparently based on the version by Roger L’Estrange.

• Such adaptations to Caribbean French-based creole languages from the middle of the 19th century onward – initially as part of the colonialist project but later as an assertion
  of love for and pride in the dialect.

• This included many animal tales passing under the name of Aesop, as well as several more derived from Marie de France and others.

• The Spanish version of 1489, was equally successful and often reprinted in both the Old and New World through three centuries.

• Of varied and unclear origins, the stories associated with his name have descended to modern times through a number of sources and continue to be reinterpreted in different
  verbal registers and in popular as well as artistic media.

• There are also Mediaeval tales such as The Mice in Council (195) and stories created to support popular proverbs such as ‘Still Waters Run Deep’ (5) and ‘A woman, an ass and
  a walnut tree’ (65), where the latter refers back to Aesop’s fable of The Walnut Tree.

• Even in the hands of less skilled dialect adaptations, La Fontaine’s polished versions of the fables are returned to the folkloristic roots by which they often came to him
  in the first places.

• With the revival of literary Latin during the Renaissance, authors began compiling collections of fables in which those traditionally by Aesop and those from other sources
  appeared side by side.

• Nonetheless, for two main reasons – because numerous morals within Aesop’s attributed fables contradict each other, and because ancient accounts of Aesop’s life contradict
  each other – the modern view is that Aesop was not the originator of all those fables attributed to him.

• [57] During the 19th century renaissance of Belgian dialect literature in Walloon, several authors adapted versions of the fables to the racy speech (and subject matter) of
  Liège.

• One of the earliest examples of these urban slang translations was the series of individual fables contained in a single folded sheet, appearing under the title of Les Fables
  de Gibbs in 1929.

• [20] The 152 poems there were grouped by subject, with sometimes more than one devoted to the same fable, although presenting alternative versions of it, as in the case of
  The Hawk and the Nightingale (133–5).

• By that time, a variety of other stories, jokes and proverbs were being ascribed to him, although some of that material was from sources earlier than him or came from beyond
  the Greek cultural sphere.

• [9] Although Aesop and the Buddha were near contemporaries, the stories of neither were recorded in writing until some centuries after their death.

• Inspired by the brevity and simplicity of Aesop’s,[32] those in the first six books were heavily dependent on traditional Aesopic material; fables in the next six were more
  diffuse and diverse in origin.

• [38] This was the sole Western work to survive in later publication after the expulsion of Westerners from Japan, since by that time the figure of Aesop had been acculturated
  and presented as if he were Japanese.

• Regional languages and dialects in the Romance area made use of versions adapted particularly from La Fontaine’s recreations of ancient material.

• One of the earliest was by Lorenzo Bevilaqua, also known as Laurentius Abstemius, who wrote 197 fables,[16] the first hundred of which were published as Hecatomythium in 1495.

• In fitting the narration of the story to their local idiom, in appealing to the folk proverbs derived from such tales, and in adapting the story to local conditions and circumstances,
  the fables were so transposed as to go beyond bare equivalence, becoming independent works in their own right.

• In any case, although the work of Demetrius was mentioned frequently for the next twelve centuries, and was considered the official Aesop, no copy now survives.

• A little later the poet Ausonius handed down some of these fables in verse, which the writer Julianus Titianus translated into prose, and in the early 5th century Avianus
  put 42 of these fables into Latin elegiacs.

• At the end of the following century, Brother Denis-Joseph Sibler (1920–2002) published a collection of adaptations (first recorded in 1983) that has gone through several impressions
  since 1995.

• Fictions that point to the truth Fable as a genre [edit] Apollonius of Tyana, a 1st-century CE philosopher, is recorded as having said about Aesop: like those who dine well
  off the plainest dishes, he made use of humble incidents to teach great truths, and after serving up a story he adds to it the advice to do a thing or not to do it.

• A follower of Aristotle, he simply catalogued all the fables that earlier Greek writers had used in isolation as exempla, putting them into prose.

• The process is continuous and new stories are still being added to the Aesop corpus, even when they are demonstrably more recent work and sometimes from known authors.

• Then the start of the new century saw the publication of Georges Sylvain’s (La Fontaine’s fables told by a Haiti highlander and written in creole verse, 1901).

• More recently still there has been Ezop Pou Zanfan Lekol (2017),[76] free adaptations of 125 fables into Mauritian Creole by Dev Virahsawmy, accompanied by English texts drawn
  from The Aesop for Children (1919).

• This contained both Latin versions and German translations and also included a translation of Rinuccio da Castiglione (or d’Arezzo)’s version from the Greek of a life of Aesop
  (1448).

• Manuscripts in Latin and Greek were important avenues of transmission, although poetical treatments in European vernaculars eventually formed another.

• [21] The bulk of the 237 fables there are prefaced by the text in Greek, while there are also a handful in Hebrew and in Arabic; the final fables, only attested from Latin
  sources, are without other versions.

• [81] Slang versions by others continue to be produced in various parts of France, both in printed and recorded form.

• Asia and America [edit] Translations into Asian languages at a very early date derive originally from Greek sources.

• In fact some fables, such as The Young Man and the Swallow, appear to have been invented as illustrations of already existing proverbs.

• [40] The first translations of Aesop’s Fables into the Chinese languages were made at the start of the 17th century, the first substantial collection being of 38 conveyed
  orally by a Jesuit missionary named Nicolas Trigault and written down by a Chinese academic named Zhang Geng (Chinese: pinyin: Zhāng Gēng) in 1625.

• Origins [edit] The contradictions between fables already mentioned and alternative versions of much the same fable, as in the case of The Woodcutter and the Trees, are best
  explained by the ascription to Aesop of all examples of the genre.

• [36] After the Middle Ages, fables largely deriving from Latin sources were passed on by Europeans as part of their colonial or missionary enterprises.

• [53] Many translations were made into languages contiguous to or within the French borders.

• [42] This work was initially very popular until someone realised the fables were anti-authoritarian and the book was banned for a while.

• Modern scholarship reveals fables and proverbs of Aesopic form existing in both ancient Sumer and Akkad, as early as the third millennium BCE.

• As well as two later editions in Martinique, there were two more published in France in 1870 and 1885 and others in the 20th century.

• Ipui onak (1805) was the first translation of 50 fables of Aesop by the writer Bizenta Mogel Elgezabal into the Basque language spoken on the Spanish side of the Pyrenees.

• It also includes the earliest instance of The Lion, the Bear and the Fox (60) in a language other than Greek.

• Referred to variously (among other titles) as the verse Romulus or elegiac Romulus, and ascribed to Gualterus Anglicus, it was a common Latin teaching text and was popular
  well into the Renaissance.

• [68] Later dialect fables by Paul Baudot (1801–1870) from neighbouring Guadeloupe owed nothing to La Fontaine, but in 1869 some translated examples did appear in a grammar
  of Trinidadian French creole written by John Jacob Thomas.

• Through the means of later collections, and translations or adaptations of them, Aesop’s reputation as a fabulist was transmitted throughout the world.

• One theorist, indeed, went so far as to define fables as extended proverbs.

• On the arrival of printing, collections of Aesop’s fables were among the earliest books in a variety of languages.

• [14] The largest, oldest known and most influential of the prose versions of Phaedrus bears the name of an otherwise unknown fabulist named Romulus.

• Some cannot be dated any earlier than Babrius and Phaedrus, several centuries after Aesop, and yet others even later.

• Included there were several other tales of possibly West Asian origin.

• The earliest mentioned collection was by Demetrius of Phalerum, an Athenian orator and statesman of the 4th century BCE, who compiled the fables into a set of ten books for
  the use of orators.

• Others written during the period were eventually anthologised as (Étoile sur Rhône, 1989).

• Among the earliest was one in the 11th century by Ademar of Chabannes, which includes some new material.

• It was followed in mid-century by two translations on the French side: 50 fables in J-B.

• Present-day collections evolved from the later Greek version of Babrius, of which there now exists an incomplete manuscript of some 160 fables in choliambic verse.

• They were also put to use as ethical guides and from the Renaissance onwards were particularly used for the education of children.

• Surveying its literary manifestations, commentators have noted that the point of departure of the individual tales is not as important as what they become in the process.

• [28] In the accepted text it consists of thirteen versions of fables, seven modelled on stories from “Aesop” expanded from the Latin Romulus manuscripts.

• Teachers of philosophy and rhetoric often set the fables of Aesop as an exercise for their scholars, inviting them not only to discuss the moral of the tale, but also to practise
  style and the rules of grammar by making new versions of their own.

 

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43. ^ Tao Ching
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118. ^
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125. ^ Le corbeau
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131. ^ PDF in Toronto Public Library
132. ^ The Musical Times, 1 December 1879, p.659
133. ^ The score can be downloaded here
134. ^ World Cat fable list
135. ^ Jason Scott Ladd,
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136. ^ A performance on YouTube
137. ^ Joachim Draheim, p.10
138. ^ The piano score is available online
139. ^ Archivegrid
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142. ^ “Alfred Music Player”.
143. ^ Jon Coghill, “Blindness fails to stop producer’s
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Photo credit: https://www.flickr.com/photos/51456203@N00/1540738662/’]