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. [1] The story is used as a warning against listening to flattery.
In the fable a crow has found a piece of cheese and retired to a branch to eat it. A fox, wanting it for himself, flatters the crow, calling it beautiful and wondering whether its voice is as sweet to match. When it lets out a caw, the cheese falls and is devoured by the fox.
The earliest surviving versions of the fable, in both Greek and Latin, date from the 1st century of the Common Era. Evidence that it was well known before then comes in the poems of the Latin poet Horace, who alludes to it twice. Addressing a maladroit sponger called Scaeva in his Epistles, the poet counsels guarded speech for "if the crow could have fed in silence, he would have had better fare, and much less of quarreling and of envy". [2] The second reference to the fable appears in Horace's satire on legacy hunting (II.5):
The poem has generally been taken as a caution against listening to flatterers. Phaedrus prefaces his Latin poem with the warning that the one 'who takes delight in treacherous flattery usually pays the penalty by repentance and disgrace'. One of the few who gives it a different interpretation is Odo of Cheriton, whose lesson is that virtue is forgotten in the pursuit of ambition. [4] Babrius has the fox end with a joke at the crow's credulity in his Greek version of the story: 'You were not dumb, it seems, you have indeed a voice; you have everything, Sir Crow, except brains.' [5] In La Fontaine's Fables (I.2), the fox delivers the moral by way of recompense for the tidbit. In Norman Shapiro's translation:
As was the case with several others of La Fontaine's fables, there was dissatisfaction in Christian circles, where it was felt that morality was offended by allowing the fox to go unpunished for its theft. Therefore, a sequel was provided in the form of a popular song of which a version is recorded in Saskatchewan. In this the fox's funeral is dolefully described but ends with the crow cawing from its branch,
The German writer Gotthold Ephraim Lessing, who had decided views on how fables should be written, gave Aesop's Der Rabe und der Fuchs an ironic twist. In his rewritten version, a gardener has left poisoned meat out to kill invading rats. It is this that the raven picks up but is flattered out of it by the fox, which then dies in agony. To emphasise the moral he is drawing, Lessing concludes with the curse, ‘Abominable flatterers, may you all be so rewarded with one poison for another!’. [8]
An Eastern story of flattery rewarded exists in the Buddhist scriptures as the Jambhu-Khadaka-Jataka . [9] In this a jackal praises the crow's voice as it is feeding in a rose-apple tree. The crow replies that it requires nobility to discover the same in others and shakes down some fruit for the jackal to share.
What seems to be a depiction of the tale on a painted vase discovered in excavations at Lothal from the Indus Valley civilisation suggests that the story may have been known there at least a thousand years earlier than any other source. [10] In this scene, the bird is depicted perched on a tree holding a fish, while a fox-looking animal is underneath. [11]
Since the fable stands at the beginning of La Fontaine's fables, generations of French children commonly learned it by heart. This will explain the many settings by French composers. They include:
There was also a setting of the French words by the Dutch composer Rudolf Koumans in Vijf fabels van La Fontaine (op. 25, 1968) for school chorus and orchestra. In 1995 Xavier Benguerel i Godó set a Catalan translation of the fable for recitation with orchestra in his 7 Fábulas de la Fontaine. [22]
Isabelle Aboulker included the fable among the seven in her children's 'fabl'opera' La Fontaine et le Corbeau (1977) for mezzo-soprano, baritone, children's voices and small chamber orchestra. [23] Jean-Marie Morel (b. 1934) also exploits its dramatic possibilities in what he describes as his small cantata, La Fontaine en chantant (1999), for children's choir and string quartet. David Edgar Walther prefers the term ‘short operatic drama’ for his Aesop's Fables (2009), a 12-minute cycle with libretto by the composer in which "The Fox and The Raven" appears as the first of three pieces. The fable was also choreographed by Dominique Hervieu in 2003 for Annie Sellem's composite ballet project, Les Fables à la Fontaine. In it two dancers perform to a sound fusion score accompanied by video affects. [24] [25]
Other composers went directly to Aesop for their inspiration. In English these include the eleventh item in A Selection of Aesop's Fables Versified and Set to Music with Symphonies and Accompaniments for the Piano Forte (London 1847) and the fifth in Mabel Wood Hill's Aesop's Fables Interpreted Through Music (New York 1920). [26] An English version by Peter Westmore was set for children's voices and piano by Edward Hughes as the second of his ten Songs from Aesop's Fables (1965) and Greg Smith included it in his "Aesop's Fables" for four-part chorus of mixed voices and piano accompaniment (New York/London 1979). In Germany, under the title Der Fuchs und der Rabe, Werner Egk set the fable for children's performance in 1932 and the Swiss composer Bertrand Gay wrote a setting for 2 trumpets, narrator and piano. [27] It was Martin Luther's verse translation that Hans Poser included as the third piece in his Die Fabeln des Äsop for accompanied men's choir (0p.28, 1956). Ancient Greek is used in Lefteris Kordis' setting for octet and voice (2010) [28] among his Songs for Aesop's Fables, which has now been recorded under the title "Oh Raven, If You Only Had Brains!"
The fable is depicted no less than three times in the border of the Bayeux Tapestry and it has been speculated that a political commentary is intended. The picture is that of an ungainly bird sitting in a tree under which an animal is lying. They are looking at each other with their mouths open, and there is some object in the air between them. The reason for pointing to this particular fable is quite clear. Harold's vanity has led him to overreach himself and so lose everything. [29] A later tapestry on which the story is portrayed came from the Gobelins Manufactory and was designed by Jean-Baptiste Oudry. [30]
The fable also figured in church architecture, most notably on a column in the Romanesque church of San Martín de Tours in Spain. In later centuries the fable was used on household china, [31] on tiles, [32] on vases, [33] and figured in the series of La Fontaine medals cast in France by Jean Vernon. [34] A less conventional use was the hydraulic statue built for the Versailles Labyrinth that was constructed for Louis XIV, one of thirty nine sets of statues in the maze illustrating Aesop's fables. [35] [36] The fox and the crow eventually figured, among many other beasts, on the grandiose monument to La Fontaine designed by Achille Dumilâtre in 1891. [37] This stood at the angle of the Jardins de Ranelagh between the Avenue Ingres and Avenue du Ranelagh in Paris XVI and was melted down during World War II. It was replaced by Charles Correia's present monument in 1983. This portrays the fabulist standing and looking down at the cheese-bearing crow at his feet, while the fox gazes up at it from the steps to the pedestal. [38] In Russia, too, there was an adaptation of La Fontaine's fable by Ivan Krylov, "The Crow and the Fox" (in this case little different from the French original), [39] which figures among several others on panels around Andrey Drevin's monument beside the Patriarch Ponds in Moscow.
In Germany the fable was popular, not simply because of Lessing's adaptation but from Martin Luther's versified translation. Several zoos there have sculptures based on the story, of which Stefan Horota has been responsible for two. In Rostock Zoo the fox looks up at a tree in which the bird is supposed to be perched. It is based on his 1965 bronze sculpture now beside a woodland path in the zoo at Gera. There a stylised crow stands with its head twisted sideways holding the cheese, while the fox sits looking upward with its snout just below the bird's beak. [40] [41] Then on the wall at the entrance of the small zoo at Weißwasser there is a ceramic plaque of the fable created by the local Culture-house some time before 1990. Another bronze group was made by Karlheinz Goedtke for the grounds of an apartment block in Lübeck (1974). [42] There is also a sandstone stele in the grounds of the Lessing Museum in Kamenz. This takes the form of a rounded trunk with a leafy canopy, beneath which the crow perches on a shorn branch with the fox looking up at it below.
In the United States the fable figured at one time as one of six bronze gate panels commissioned for the William Church Osborne Memorial Playground in Manhattan's Central Park in 1952. [43] The work of sculptor Paul Manship, it is now in the Smithsonian American Art Museum. The seated fox looks up at the crow in an attractive piece that makes the most of the decorative possibilities of the reeds and oak-leaves that play a prominent part in the overall design. The challenge with this subject is always to avoid the limitations imposed by a fable that has more dialogue than action. André Deluol also manages to vary the formula in the stone sculpture he created outside the La Fontaine infant school in the Croix-de-Vernailles quarter of Etampes in 1972. There the fox look back over its shoulder at the crow in a design held together by the large leaves of a stylised tree. An article is dedicated to the statue and versions of the fable. [44]
Possibilities are more restricted in the two dimensional plane of a picture: whether printed or painted, these have presented an almost uniform monotony of design over whole centuries. [45] One of the rare variations is the painted panel by Léon Rousseau (fl.1849-81) which pictures the fox crouching with one paw on the fallen cheese and bending his head directly upwards to taunt the agitated crow. [46] There is also the 1961 print by the German artist Horst Janssen of a large striped fox looking up at a minute bird on a twig. Here it is the differences in size and the admiring prominence given the wily flatterer that constitutes its originality. [47]
The fable has been a favourite with stamp designers. Among the countries that have featured it are the following:
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.
Ivan Andreyevich Krylov is Russia's best-known fabulist and probably the most epigrammatic of all Russian authors. Formerly a dramatist and journalist, he only discovered his true genre at the age of 40. While many of his earlier fables were loosely based on Aesop's and La Fontaine's, later fables were original work, often with a satirical bent.
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 diverse 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 Tortoise and the Hare" is one of Aesop's Fables and is numbered 226 in the Perry Index. The account of a race between unequal partners has attracted conflicting interpretations. The fable itself is a variant of a common folktale theme in which ingenuity and trickery are employed to overcome a stronger opponent.
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 Frog and the Ox appears among Aesop's Fables and is numbered 376 in the Perry Index. The story concerns a frog that tries to inflate itself to the size of an ox, but bursts in the attempt. It has usually been applied to socio-economic relations.
The Ant and the Grasshopper, alternatively titled The Grasshopper and the Ant, is one of Aesop's Fables, numbered 373 in the Perry Index. The fable describes how a hungry grasshopper begs for food from an ant when winter comes and is refused. The situation sums up moral lessons about the virtues of hard work and planning for the future.
The North Wind and the Sun is one of Aesop's Fables. It is type 298 in the Aarne–Thompson folktale classification. The moral it teaches about the superiority of persuasion over force has made the story widely known. It has also become a chosen text for phonetic transcriptions.
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 Milkmaid and Her Pail is a folktale of Aarne-Thompson-Uther type 1430 about interrupted daydreams of wealth and fame. Ancient tales of this type exist in the East but Western variants are not found before the Middle Ages. It was only in the 18th century that the story about the daydreaming milkmaid began to be attributed to Aesop, although it was included in none of the main collections and does not appear in the Perry Index. In more recent times, the fable has been variously treated by artists and set by musicians.
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 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 Fox and the Stork, also known as The Fox and the Crane, is one of Aesop's fables and is first recorded in the collection of Phaedrus. It is numbered 426 in the Perry Index.
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 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. 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 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.
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 Man with Two Mistresses is one of Aesop's Fables that deals directly with human foibles. It is numbered 31 in the Perry Index.
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 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.
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