The Fisherman and his Flute appears among Aesop's Fables and is numbered 11 in the Perry Index. [1] Wide variations on the theme have existed over the centuries.
In Classical times the fable only appears in Greek sources, most notably in the Histories of Herodotus, where Cyrus the Younger applies it to Greek envoys who submit to him too late. It tells of a fisherman piping to the fish to make them dance. When they will not oblige, he catches them in a net and mocks their death agonies: "Silly creatures, you would not dance for me before and now that I am no longer playing you do so." In this context the fable is given the political meaning that those who refuse a benefit when it is first offered will gain nothing by acting as asked when constrained to. [2]
The instrument played by the fisherman varies over the ages in the telling. In the Greek it is a reeded pipe (αὐλός), rather like the chanter of a bagpipe. In William Caxton's collection of fables it is indeed rendered as a bagpipe, [3] while in the Neo-Latin of Pantaleon Candidus and Hieronymus Osius it is a tibia, which the illustrator to the latter author makes a trumpet. [4] In La Fontaine's French version the instrument is referred to as a 'musette' which, since his fable is titled "The Fishes and the Shepherd who Played the Flute" (Les poissons et le berger qui joue de la flûte, X.10), must refer to the old piccolo oboe. Nevertheless, it was translated as bagpipe by Anne Finch, Countess of Winchilsea, in her rendering of his poem. [5]
La Fontaine had made of the story an artificial pastoral in which Tircis tried to charm the fishes to the hook of the shepherdess Annette but did not succeed until he used a net to catch them. It ended with the cynical reflection that force accomplishes more than charm in the context of statecraft, which echoes the conclusion in Herodotus. [6] However, different morals were drawn by other writers. According to Babrius, only when one succeeds is it time to rejoice. [7] For William Caxton and Roger L'Estrange, the lesson to be learned is that there is a proper time and place for everything. [8]
Other allusions to or analogues of the fable have varied widely over the centuries. Commentators have seen a likeness to the story, although only in the detail of dancing to the pipe, in Jesus's parable of the children playing in the market-place who cry to each other, "We piped for you and you would not dance; we wept and wailed and you would not mourn" (Matthew 11.16–17, Luke 7.31–2). [9] There is an echo here too of the criticism of unresponsive behaviour found in Herodotus.
In Mediaeval times a story about a peasant who really had the power to charm fishes to the shore with his harp-playing appeared in the Gesta Romanorum , [10] while dancing fishes figure in a fable by Ivan Krylov. There the king of the beasts has given the fox guardianship of the rivers but, when he comes on a tour of inspection, discovers the fox cooking the fish. Asked for an explanation, the fox explains that the fish in the boiling water are dancing for joy at the lion's visit. [11]
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.
The Fox and the Grapes is one of Aesop's Fables, numbered 15 in the Perry Index. The narration is concise and subsequent retellings have often been equally so. The story concerns a fox that tries to eat grapes from a vine but cannot reach them. Rather than admit defeat, he states they are undesirable. The expression "sour grapes" originated from this fable.
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 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.
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.
Aesop was a Greek fabulist and storyteller credited with a number of fables now collectively known as Aesop's Fables. Although his existence remains unclear and no writings by him survive, numerous tales credited to him were gathered across the centuries and in many languages in a storytelling tradition that continues to this day. Many of the tales associated with him are characterized by anthropomorphic animal characters.
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 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.
The Hawk and the Nightingale is one of the earliest fables recorded in Greek and there have been many variations on the story since Classical times. The original version is numbered 4 in the Perry Index and the later Aesop version, sometimes going under the title "The Hawk, the Nightingale and the Birdcatcher", is numbered 567. The stories began as a reflection on the arbitrary use of power and eventually shifted to being a lesson in the wise use of resources.
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.
Speaking of The Snake and the Crab in Ancient Greece was the equivalent of the modern idiom, 'Pot calling the kettle black'. A fable attributed to Aesop was eventually created about the two creatures and later still yet another fable concerning a crab and its offspring was developed to make the same point.
The Fox and the Weasel is a title used to cover a complex of fables in which a number of other animals figure in a story with the same basic situation involving the unfortunate effects of greed. Of Greek origin, it is counted as one of Aesop's Fables and is numbered 24 in the Perry Index.
The Fox and the Woodman is a cautionary story against hypocrisy included among Aesop's Fables and is numbered 22 in the Perry Index. Although the same basic plot recurs, different versions have included a variety of participants.
The Dove and the Ant is a story about the reward of compassionate behaviour. Included among Aesop's Fables, it is numbered 235 in the Perry Index.
The Fox and the Mask is one of Aesop's Fables, of which there are both Greek and Latin variants. It is numbered 27 in the Perry Index.
The Ape and the Fox is a fable credited to Aesop and is numbered 81 in the Perry Index. However, the story goes back before Aesop's time and an alternative variant may even be of Asian origin.
The Heron and the Fish is a situational fable constructed to illustrate the moral that one should not be over-fastidious in making choices since, as the ancient proverb proposes, 'He that will not when he may, when he will he shall have nay'. Of ancient but uncertain origin, it gained popularity after appearing among La Fontaine's Fables.
The Farmer and his Sons is a story of Greek origin that is included among Aesop's Fables and is listed as 42 in the Perry Index. It illustrates both the value of hard work and the need to temper parental advice with practicality.
"The Lion Grown Old" is counted among Aesop's Fables and is numbered 481 in the Perry Index. It is used in illustration of the insults given those who have fallen from power and has a similar moral to the fable of The dogs and the lion's skin. Parallel proverbs of similar meaning were later associated with it.
The Weasel and Aphrodite, also known as Venus and the Cat is one of Aesop's Fables, numbered 50 in the Perry Index. A fable on the cynic theme of the constancy of one's nature, it serves as a cautionary tale against trusting those with evil temper, for even if they might change their body, they will not change their mind.