Fable number, form and others

In this section, we will be examining each version’s fable numbers, form and other features in the book. The Croxall version contains 196 fables. Each fable begins with its number in roman numerals and its title. A quaint woodcut is in between the title and the main body of the text. Each fable has an application by Croxall.

Figure 35 Fable No.82 "The Lion and the Frog" from the Croxall version (pp.5-6)

Though there is no moral at the end of the fable, the application does provide guidance as to the lesson conveyed by the story. Take fable 82, the lion and the. The story is about a lion is scared by a sound at the lake. No sooner had he found out that the source of

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the strange sound came from a teeny-tiny frog than he crushed it into pieces with his feet. The application begins with the following sentence “This fable is a pretty image of the vain fears and empty terrors, with which our weak misguided nature is so apt to be alarmed and distracted.” This sentence points out the lesson or say the moral of the fable. Then Croxall continues to explain its meaning and the further application it has to daily life. He says that people should not allow themselves to be defeated by their own imaginary phantoms but recollect themselves and extinguish their delusions just as the lion who killed the frog. There is an index at the end of the fables. The index seems to me to be a feature of the Croxall version. It not only indicates vocabulary and where it appear in the fables. It serves more like a keyword index. Readers can find a word, or words, by which an idea may be most aptly expressed. Let’s take the word friendship as an example. “Friendship” IS as in the index, “necessary to our well-being 94, 248. 294 Insecure till tried.” If readers go to fable number 94, 248, 294, they would find the word friendship in the applications of the fables. They are “the Lion and the Four Bulls” and “the Old Man and His Sons.” Croxall interprets and applies these two stories as being connected to friendships. If readers go to fable 294, they would find the fable “the Travellers.” The story is about two men who find an axe, one of them refuses to share it with the other. After the owner finds out his axe was taken he quickly pursues them with a warrant. The man in possession of the axe then says to the other “we are undone” however, “Nay” says the other, “do not day We, but I and undone; for, as you would not let me share the prize, neither will I share the Danger with you.” That’s why Croxall writes in the index “Insecure till tried.” The index provides readers with a quick way to search for what they might be interested in, once they find a suitable fable and read it, they can continue with Croxall’s application to explore the fable in more depth.

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The Bewick version contains 188 fables. These fables are not numbered. Each fable begins with a wood engraving and the title. The body of the main text is then followed by an application of the fable. Some fables have another smaller tail-piece, they are decorative squibs designed to fill up space at the end of a text. Sometimes rhymes are inserted before or after the applications.

Figure 36 Fable "The Cat and the Mice" from the Bewick version – 1

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Figure 37 Fable "The Cat and the Mice" from the Bewick version - 2

The wood engravings done by Bewick are sophisticated and breathtaking.

Notwithstanding their small size still contain an incredible amount of detail. These modest black and white images are so delicate that readers can actually examine every engraved line. Bewick worked all his life in Newcastle where he had observed nature and animals from which he drew inspiration. Those carefully designed wood engravings were all of his own creation. He was so exacting and faithful to the things he observed around him that we can still appreciate and marvel at his designs. The following examples show a few of his wood engravings.

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Figure 38 The wood engraving of fable "The Eagle, the Cat and the Sow"

Figure 39 The wood engraving of fable "The Porcupine and the Snakes"

Figure 40 The wood engraving of fable "The Hart and the Vine"

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Figure 41 A tail-piece -1 (p.142)

Figure 42 A tail-piece -2 (p.186)

Figure 43 A tail-piece -3 (p.290)

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The James version contains 203 fables. Each fable begins with a number in roman numerals and its title. Most of the Illustrations are placed above the title but some are merged with the text or become the text’s frame. In addition, a few fables are without illustration. Fables are in prose without a reflection or application at the end. However, short morals are placed after the main body of the text. Some fables are without a moral but contain a statement at the end, uttered by the protagonist, which seem to serve as a lesson. The illustrations are simple and yet detailed. These images were first illustrated as pencil drawings and then transferred to a wood-block by using tracing paper. Finally the drawings were engraved to the highest standards. Some seem to be specifically designed to incorporate with the story itself such as fable 22 “the Fighting-Cocks and the Eagle” and fable 52 “the travellers and the bear” as shown below.

Figure 44 Fable No. 22 "The Fighting-cocks and the Eagle" from the James version

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Figure 45 Fable No. 52 "The Travellers and the Bear" from the James version

An index of the fable titles can be found after the fables themselves. At the end of the book, there is a 12 page advertisement for other illustrated books published by the same publisher John Murray.

The next version by Walter Crane contains 56 fables. The fables are not numbered. The title, the content in verse as well as the moral, are all part of the illustrations in the book.

The fables were composed in verse and the morals are succinct and simple. Some

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illustrations are mono-colored while others are very colorful. The fables are exciting to read as each illustration is carefully designed to correspond to its fable. The text sometimes becomes part of the architecture, plants or is framed by the illustrations.

Every fable charms differently, the composition changes and the color varies. The Crane version indeed exhibits extraordinary vigor and dynamism. Walter Crane’s illustrations are always whimsical and fun which his edition of Aesop’s Fables exemplifies. Aside from all the illustrations for the fables, there are also a few supplementary illustrations incorporated in the book.

Figure 46 Fable "the Fox and the Crane" from the Crane version

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Figure 47 Fable "the Lion and the Status" from the Crane version

Figure 48 Fable "The Dog and the Shadow" from the Crane version

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Figure 49 Fable "Neither Beast nor Bird" from the Crane version

Figure 50 An illustration from the Crane version

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The Detmold version contains 25 fables. Before each fable there is a page with the fable’s title. Afterwards we find the fable number in Roman numerals, the main body of text and the moral on a subsequent page. Before each illustration there is also a page containing the image title. The fables are mostly less than a page and have a simple moral. Detmold’s illustrations are beyond description. When he depicts animals and birds the lines and colors are intense and vibrant. When he pictures flowers or nature, he presents readers with a scene of harmony and romance. There is so much to read in his works. His compositions and perspectives are very unique. Subjects are arranged in a way that strengthens their significance. The color palette he chooses accentuates the tension between the illustration and the beholders. If Walter Crane’s illustrations are playful and colorful, then Edward Detmold’s illustrations are delicate and exuberant.

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Figure 51 Fable "The Vain Jackdaw" from the Detmold version

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Figure 52 Fable "The Pomegranate, the Apple Tree and the Bramble"

from the Detmold version

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The last version in discussion is the Jacobs version. The Jacobs version contains 82 fables. The fables are not numbered. Most of the fables begins with the fable name and main body of the text. The moral is located at the end and written in black-letter. The first letter of each fable is specifically designed to echo the illustration. The titles are also designed differently in each case. Some fables have more than one illustration. The Jacobs version was written and illustrated in an old English style. As we previously mention, the artist, Richard Heighway was said to be influenced by Walter Crane. This version, however, is not printed in color it only uses black and white. At the end of the fables, Jacobs includes a set of notes summing up the provenance of each fable listed in his book. Following the notes there is an index of the fable titles. The design and layout of the Jacobs version are very entertaining, Heighway’s style is playful but neat.

Readers can see how much effort was used to perfect this book. The technique is retro and the prints are clean. Some illustrations are so rich in details that readers may examine their book more closely to look at the art work, while others are simpler. As the case may be, the image always manages to represent the fable content. Overall, the Jacobs version is a very pleasing book to read.

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Figure 53 Fable "The Lion and the Mouse" from the Jacobs version

Figure 54 Fable "The Fox and the Grapes" from the Jacobs version

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Figure 55 Fable "The Two Crabs" from the Jacobs version

Figure 56 Fable "The Fisherman and the Little Fish" form the Jacobs version

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All six books come with different designs and looks. Each version is like a treasure for the reader to discover. Fables that include illustrations really enhance the reading pleasure. These illustrations are not only attractive to children but also to adults. For Children, some fables may be too difficult or profound to understand, however their attention may be drawn to the images and keep them reading. Other texts, by contrast, are rather short and straightforward. Adults may immerse themselves image details and colors. These joyful and playful images accompanied by stories may be reminiscent of their childhood. Aesop’s fables also attract numerous illustrators to interpret their visual version of the fables. They uses their talent and imagination to enrich the beauty of the fables. As we can see above, the fables are accompanied by profusely and beautifully illustrated pictures or delicately and intricately engraved woodcuts. Aesop’s Fables can be viewed as a children’s book, but apparently they are more than that. They are more like a playground both for adults and children where they can relax and throw themselves into fancy. The best part about this playground is that, when they leave, they carry with them a souvenir of wisdom and morality.