The Cock, the Dog and the Fox is one of Aesop's Fables and appears as number 252 in the Perry Index. Although it has similarities with other fables where a predator flatters a bird, such as The Fox and the Crow and Chanticleer and the Fox, in this one the cock is the victor rather than victim. There are also Eastern variants of this story.
In the Greek story, a cock and a dog go on a journey together. At night, the cock roosts in a tree while the dog curls up at its roots. When the cock crowed in the morning, it attracted a fox that made friendly overtures and tried to lure the bird down. The cock agrees, telling it to ask the porter to open the door so that it can come out. The fox stumbles on the sleeping dog and is killed. [1]
An ancient Indian variant of the theme appeared in the Buddhist scriptures as the Kukuta-Jataka . [2] Here a predatory cat, having killed all the other fowls, tries to woo the cock down with a promise of marriage, but he is not to be deceived and denounces the cat for its former slaughter. In its journey westwards, the tale was eventually included in The Thousand and One Nights and was translated by Richard F. Burton as The Pleasant History of the Cock and the Fox. [3] This version, enlarged by the fox's many flights of rhetoric, recounts how the beast tries to lure the cock down from a wall with the news that universal friendship has been declared between the hunters and the hunted. The cock refuses even to acknowledge the fox's fine words but finally announces that he is convinced for he can see greyhounds running towards them who must be messengers from the King of the Beasts. When the agitated fox starts to leave, the cock asks him the reason; the fox replies that he fears the dogs were not present when the peace was announced.
This version of the story was an influence on the fable's retelling in Europe. It is to be found early among the humorous tales of Poggio Bracciolini's Facetiae (1450), where the fleeing fox explains only that the dogs have not yet heard that peace has been declared. [4] In France the story reappeared in the first book of emblems of Guillaume Gueroult (1550). There the fable is told at length and it is explained that the suspicious cock has invented his report of the approaching hounds because he distrusts the fox. The telling is prefaced with the summary of the fable's meaning: "To the trickster comes a trickster and a half" (A trompeur, trompeur et demi). [5] When Jean de la Fontaine retold the story as Le coq et le renard (II.15), [6] he underlined his use of Geroult by concluding with a moral that echoed his source: "Pleasure is doubled in tricking the trickster" (c'est double plaisir de tromper le trompeur).
The Greek and the Oriental versions of the fable were soon to be confounded together. In Francis Barlow's illustrated edition of the fables (1687), Aphra Behn's English verse summary tells the Eastern tale with the cock concluding that "I'le not my strength forgoe, If true today, tomorrow 'twill be so." The accompanying Latin prose summary, on the other hand, follows Aesop's account but concludes that treachery is to be met with treachery. [7]
There is a carving of "The Cock and the Cat" from the Bharhut stupa, dating from 150 BCE, which is now displayed in the Indian Museum in Calcutta. Aesop's fable can be found on household china in Europe, but it is not always clear whether the story of "Chanticleer and the Fox" is meant instead without the appearance of the dog as well. The dog occupies the foreground on an 18th-century ornamental dessert dish from the Chelsea porcelain factory, [8] while in Marc Chagall's 1952 series of etchings, which are of La Fontaine's fables, the dog is shown running in from the distance. [9]
La Fontaine's version of the fable has also been set by several composers:
Fable is a literary genre defined as a succinct fictional story, in prose or verse, that features animals, legendary creatures, plants, inanimate objects, or forces of nature that are anthropomorphized, and that illustrates or leads to a particular moral lesson, which may at the end be added explicitly as a concise maxim or saying.
Aesop's Fables, or the Aesopica, is a collection of fables credited to Aesop, a slave and storyteller who lived in ancient Greece between 620 and 564 BCE. 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.
Ysopet refers to a medieval collection of fables in French literature, specifically to versions of Aesop's Fables. Alternatively the term Isopet-Avionnet indicates that the fables are drawn from both Aesop and Avianus.
The lion's share is an idiomatic expression which now refers to the major share of something. The phrase derives from the plot of a number of fables ascribed to Aesop and is used here as their generic title. There are two main types of story, which exist in several different versions. Other fables exist in the East that feature division of prey in such a way that the divider gains the greater part - or even the whole. In English the phrase used in the sense of nearly all only appeared at the end of the 18th century; the French equivalent, le partage du lion, is recorded from the start of that century, following La Fontaine's version of the fable.
The Monkey and the Cat is best known as a fable adapted by Jean de La Fontaine under the title Le Singe et le Chat that appeared in the second collection of his Fables in 1679 (IX.17). It is the source of popular idioms in both English and French, with the general meaning of being the dupe of another.
The Dog and Its Reflection is one of Aesop's Fables and is numbered 133 in the Perry Index. The Greek language original was retold in Latin and in this way was spread across Europe, teaching the lesson to be contented with what one has and not to relinquish substance for shadow. There also exist Indian variants of the story. The morals at the end of the fable have provided both English and French with proverbs and the story has been applied to a variety of social situations.
Chanticleer and the Fox is a fable that dates from the Middle Ages. Though it can be compared to Aesop's fable of The Fox and the Crow, it is of more recent origin. The story became well known in Europe because of its connection with several popular literary works and was eventually recorded in collections of Aesop's Fables from the time of Heinrich Steinhowel and William Caxton onwards. It is numbered 562 in the Perry Index.
The Fox and the Crow is one of Aesop's Fables, numbered 124 in the Perry Index. There are early Latin and Greek versions and the fable may even have been portrayed on an ancient Greek vase. The story is used as a warning against listening to flattery.
The Tortoise and the Birds is a fable of probable folk origin, early versions of which are found in both India and Greece. There are also African variants. The moral lessons to be learned from these differ and depend on the context in which they are told.
The Cock and the Jewel is a fable attributed to Aesop and is numbered 503 in the Perry Index. As a trope in literature, the fable is reminiscent of stories used in Zen such as the kōan. It presents, in effect, a riddle on relative values and is capable of different interpretations, depending on the point of view from which it is regarded.
The Lion, the Bear and the Fox is one of Aesop's Fables that is numbered 147 in the Perry Index. There are similar story types of both eastern and western origin in which two disputants lose the object of their dispute to a third.
The Wolf and the Crane is a fable attributed to Aesop that has several eastern analogues. Similar stories have a lion instead of a wolf, and a stork, heron or partridge takes the place of the crane.
The Ass in the Lion's Skin is one of Aesop's Fables, of which there are two distinct versions. There are also several Eastern variants, and the story's interpretation varies accordingly.
The Wolf and the Lamb is a well-known fable of Aesop and is numbered 155 in the Perry Index. There are several variant stories of tyrannical injustice in which a victim is falsely accused and killed despite a reasonable defence.
The labyrinth of Versailles was a hedge maze in the Gardens of Versailles with groups of fountains and sculptures depicting Aesop's Fables. André Le Nôtre initially planned a maze of unadorned paths in 1665, but in 1669, Charles Perrault advised Louis XIV to include thirty-nine fountains, each representing one of the fables of Aesop. Labyrinth The work was carried out between 1672 and 1677. Water jets spurting from the animals mouths were conceived to give the impression of speech between the creatures. There was a plaque with a caption and a quatrain written by the poet Isaac de Benserade next to each fountain. A detailed description of the labyrinth, its fables and sculptures is given in Perrault's Labyrinte de Versailles, illustrated with engravings by Sébastien Leclerc.
The miller, his son and the donkey is a widely dispersed fable, number 721 in the Perry Index and number 1215 in the Aarne–Thompson classification systems of folklore narratives. Though it may have ancient analogues, the earliest extant version is in the work of the 13th-century Arab writer Ibn Said. There are many eastern versions of the tale and in Europe it was included in a number of Mediaeval collections. Since then it has been frequently included in collections of Aesop's fables as well as the influential Fables of Jean de la Fontaine.
The Fox and the Cat is an ancient fable, with both Eastern and Western analogues involving different animals, that addresses the difference between resourceful expediency and a master stratagem. Included in collections of Aesop's fables since the start of printing in Europe, it is number 605 in the Perry Index. In the basic story a cat and a fox discuss how many tricks and dodges they have. The fox boasts that he has many; the cat confesses to having only one. When hunters arrive with their dogs, the cat climbs a tree, but the fox thinks of many ways without acting and is caught by the hounds. Many morals have been drawn from the fable's presentations through history and, as Isaiah Berlin's use of it in his essay "The Hedgehog and the Fox" shows, it continues to be interpreted anew.
The drowned woman and her husband is a story found in Mediaeval jest-books that entered the fable tradition in the 16th century. It was occasionally included in collections of Aesop's Fables but never became established as such and has no number in the Perry Index. Folk variants in which a contrary wife is sought upstream by her husband after she drowns are catalogued under the Aarne-Thompson classification system as type 1365A.
Jean de La Fontaine collected fables from a wide variety of sources, both Western and Eastern, and adapted them into French free verse. They were issued under the general title of Fables in several volumes from 1668 to 1694 and are considered classics of French literature. Humorous, nuanced and ironical, they were originally aimed at adults but then entered the educational system and were required learning for school children.
The Frog and the Mouse is one of Aesop's Fables and exists in several versions. It is numbered 384 in the Perry Index. There are also Eastern versions of uncertain origin which are classified as Aarne-Thompson type 278, concerning unnatural relationships. The stories make the point that the treacherous are destroyed by their own actions.
