Aesopic fables constitute an important case in folk and popular literature. This genre went through various stages of development; its plasticity, pedagogical dimension, and mainly its ability to convey messages through an indirect and pleasant way prompted many to take interest in it, reading, adapting, or even creating new fables. As a result, fables became a favorite topic in literature and, especially, children's literature through many and various adaptations, translations, and metanarratives. In this paper, considering fables (...) as an early form of utopic/dystopic discourse, we aim to demonstrate some cases of such references through examples taken from the corpus of Aesopic fables. (shrink)

Aesop's Fables With the possible exception of the New Testament, no works written in Greek are more widespread and better known than Aesop’s Fables. For at least 2500 years they have been teaching people of all ages and every social status lessons how to choose correct actions and the likely consequences of choosing incorrect actions. … Continue reading Aesop's Fables →.

Two studies examined children’s developing understanding of Aesop’s fables in relation to reading comprehension and to theory of mind. Study 1 included 172 children from Junior Kindergarten through Grade 6 in a school-wide examination of the relation between reading comprehension skills and understanding of Aesop’s fables told orally. Study 2 examined the relation between theory of mind and fables understanding among 186 Junior (4-year-old) and Senior (5-year-old) Kindergarten children. Study 1 results showed a developmental progression (...) in fables understanding with children’s responses becoming increasingly decontextualized as they were able to extract the life lesson. After general vocabulary, passage comprehension predicted fables understanding. Study 2 results showed a relation between young children’s theory of mind development and their understanding of fables. After general vocabulary, second-order theory of mind predicted children’s fables understanding. Findings point to the importance of developing mental state awareness in children’s ability to judge characters’ intentions and to understand the deeper message embedded in fables. (shrink)

A crow sat in a tree holding in his beak a piece of meat that he had stolen. A fox which saw him determined to get the meat. It stood under the tree and began to tell the crow what a beautiful big bird he was. He ought to be king of all the birds, the fox said, and he undoubtedly would have been made king, if only he had a voice as well. The crow was so anxious to prove (...) that he had a voice, that he dropped the meat and croaked for all he was worth. Up ran the fox, snapped up the meat, and said to him: ‘If you added brains to all your other qualifications you would make an ideal king.’. (shrink)

Empathy is essential in story comprehension as it requires understanding of the emotions and intentions of the characters. We evaluated the sensitivity of an emotional perspective-taking task using Aesop’s Fables in relation to empathy. Participants (N = 301) were presented with 15 short fables and were asked to rate the intensity of the emotions they would feel (anger, sadness, disgust, fear, surprise, joy, trust, and anticipation) by adopting the perspective of one of the characters (offender, victim) or (...) the observer’s perspective. A data-driven approach revealed that participants’ responses were aligned with the characters’ intentions, suggesting successful emotional perspective-taking. Participants sympathized with the victim rather than the offender, demonstrating affective sharing processes. Further, participants with higher empathy scores exhibited stronger negative emotions from the victim’s perspective, independently of their level of distress. Our task was not influenced by gender effects. We suggest that the Aesop’s Fables task could provide an indirect instrument to study empathy. (shrink)

『이솝우화』는 그리스의 노예 신분이었던 아이소포스가 만든 우화작품으로 고대 이후 인간들의 행동적 특성을 설명하거나 도덕적 판단이 필요한 상황에서 개인의 심리 상태 등을 예화적으로 보여줄 목적으로 만든 작품이다. 단순히 동화적인 요소뿐만 아니라 도덕적인 딜레마 상황을 묘사하고 있어서 아동들을 대상으로 바람직한 인성 형성에 보조적 수단으로 현대에도 많이 사용하고 있다. 그리고 우화에는 거의 모든 편에서 우화의 마지막 부분에 교훈을 붙여서 이해를 돕고 이기도 하다. 『이솝우화』에서는 인간의 심리 상태나 행동특성을 설명하기 위한 장치로서 Anthropomorphism이 등장한다. Anthropomorphism은 인간중심주의의 입장에서 신과 인간은 같은 형상과 같은 특성을 가지고 있다는 (...) 의미(신인 동형 동성설)와 아울러 동물과 여타의 생명체를 인간으로 유비하여 의인화의 의미를 가진다는 점에서 중의적인 표현이다. 이 논문이 의도하는 것은 『이솝우화』에서 Anthropomorphism의 사용례를 분석하고, 그러한 분석을 바탕으로 『이솝우화』 안에서 Anthropomorphism의 특징을 살피는 것이다. 연구자는 Anthropomorphism의 용례를 분석하여 『이솝우화』의 Anthropomorphism은 신인 동형동성설의 특징보다는 의인화의 특징을 가진다는 사실을 확인하였다. 용례에서 신인 동형동성설보다는 주로 의인화의 특징을 가지면서 동시에 표유류를 의인화하는 경우가 월등하게 많은 점을 확인할 수 있었다. 이러한 현상은 인간의 형상과 더 유사한 대상에의 근친성을 통해서 인간을 잘 표현하리라는 희망에서 출발한 것으로 보이고 있다. (shrink)

Aesop's fables are used to gather HR fables and these fables are told mainly in the words of the protagonists of these moral stories, HR practitioners. Leaving the moral meaning of the fables for the reader to interpret so the reader can ethically connect with the morality of HR work, the personal narratives of practitioners and their humanity, the fables conclude with a critical commentary by the author, the promotion of a human virtue and (...) HR moral maxim. The article, itself, then ends with an explanation of the research methodology adopted to compile the HR fables. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature as Fable, Fable as ArgumentLester H. HuntIIn an ancient Chinese text we find the following exchange between the Confucian sage Mencius and one of his adversaries:Kao Tzu said, "Human nature is like whirling water. Give it an outlet in the east and it will flow east; give an outlet in the west and it will flow west. Human nature does not show any preference for either good or (...) bad, just as water does not show any preference for either east or west.""It certainly is the case," said Mencius, "that water does not show any preference for either east or west, but does it show the same indifference to high and low? Human nature is good just as water seeks low ground. There is no man who is not good; there is no water that does not flow downwards."1The subject of this colloquy is a familiar one in philosophy as we know it in the West. Its form and style are also vaguely familiar: it is a clashing exchange of theories, in which the speakers do not seem to be speaking merely to express themselves, but in order to persuade others that they are right. Yet at the same time it seems quite alien to us. It would be hard to find anything in it that a Western philosopher since the time of Plato would recognize as an argument. The participants seem to be speaking entirely in illustrative analogies and clever aphorisms, not in arguments at all. The style seems to be literary rather than philosophical. Yet what they are doing does look curiously like arguing. There is a rhythm of statement and counter-statement, in which each speaker seems to be answering the claims of the other.A related, though different, sort of ambiguity, in which the author [End Page 369] really does seem to be both arguing and not arguing, can be found in the following text, traditionally attributed to a Westerner of the sixth century B.C.:Between the North Wind and the Sun, they say, a contest of this sort arose, to wit, which of the two would strip the goatskin from a farmer plodding on his way. The North Wind first began to blow as he does when he blows from Thrace, thinking by sheer force to rob the wearer of his cloak. And yet no more on that account did he, the man, relax his hold; instead he shivered, drew the borders of his garment tight about him every way, and rested with his back against a spur of rock. Then the Sun peeped forth, welcome at first, bringing the man relief from the cold, raw wind. Next, changing, he turned the heat on more, and suddenly the farmer felt too hot and of his own accord threw off the cloak, and so was stripped.Thus was the North Wind beaten in the contest. And the story means: "Cultivate gentleness, my son; you will get results oftener by persuasion than by the use of force."2Here Aesop, to use the traditional name for the author of this ancient fable, is plainly doing something "literary": he is telling a story. But narration in the Aesopian mode is never simply telling a story, and in this case what is present in addition to the story seems to have something logical about it. Personally, I read this fable with a certain sense, however faint, that I am being enlightened by it. That of course is Aesop's aim. He is not merely expressing his opinion, but in some way showing us the truth of it. This is the sort of thing that, in philosophy, is done through argument. However, as in the text from the Mencius, it seems there may be no argument here.Clearly, we are dealing with forms of persuasion that are common at certain times in the development of a culture: namely, those periods when the philosophical muse is a mere suckling babe. We are looking, one might think, at a level of development so rudimentary that the distinction between argument as we think of it today and other forms of persuasion has not been made... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Power of “Pliant Stuff”: Fables and Frankness in Seventeenth-Century Dutch RepublicanismArthur WeststeijnIn the preface to his 1609 collection of classical fables entitled De sapientia veterum (On the Wisdom of the Ancients), Francis Bacon vindicated his choice for such a playful genre. Although the writing of fables might seem just an “exercise of pleasure for my own or my reader’s recreation,” Bacon stressed that that was (...) not the case. On the contrary, he argued that “beneath no small number of the fables of the ancient poets there lay from the very beginning a mystery and an allegory.” Therefore, he continued, through such fables, “as sacred relics and light airs breathing out of better times,” hidden meanings can be exposed and made understood to unskilled ears and eyes. Indeed, “the employment of parables as a method of teaching, whereby inventions that are new and abstruse and remote from vulgar opinions may find an easier passage to the understanding,” shows that the fable serves as a very appropriate expedient for instruction and persuasion, the higher goals of rhetoric beyond simple entertainment and delight.1 [End Page 1]Yet, for all these noble purposes, Bacon could not hide his unease with those aspects of the fable which seemed to escape his pen’s command. Embarrassed by the “levity and looseness with which people indulge their fancy in the matter of allegories,” he acknowledged himself to have trod slippery ground. As he asserted: “I know very well what pliant stuff fable is made of, how freely it will follow any way you please to draw it, and how easily with a little dexterity and discourse of wit meanings which it was never meant to bear may be plausibly put upon it.” For Bacon, this intrinsic ambivalence of the fable gave rise to discomfort, and from the start he sought to remove any potential misunderstandings about his intentions. However, not all seventeenth-century writers of fables shared his concerns. Instead, the very nature of the fable as “pliant stuff,” as a genre which necessarily conveys meanings in an ambiguous, suggestive, and indirect manner, made it a particularly useful rhetorical device for those who would not or could not articulate their opinions openly.This article shows that a number of seventeenth-century authors deliberately employed the fable for its political expediency as an opaque prism to diffuse unconventional ideas that could undermine authority. Central in this overview are the Dutch merchants and fervent republican theorists Johan and Pieter de la Court, the main representatives of the radicalization of Dutch republicanism in the decades following the Peace of Westphalia. While most mainstream republicans in the Netherlands emphasized the need of a monarchical figure, a Stadholder, in the ideally balanced republican regime, the brothers De la Court claimed that such a monarchical element would necessarily entail tyranny.2 Their writings employed two different types of fables to substantiate this fundamental claim: the first based on the political allegories of the Italian satirist Traiano Boccalini, the second following the Aesopian tradition as exemplified by the famous [End Page 2] Dutch poet and playwright Joost van den Vondel. Through an analysis of the rhetorical role of these fables, this article attempts to shed more light on the reasons why fables were used in seventeenth-century republican thought. It will argue that the literary aspects of the fable cannot be separated from its political function, a function that eventually can be characterized as highly paradoxical: not in spite but because of its openness to different readings, the fable involved a disguised rhetorical plea for frankness and liberty of speech.Rhetoric and Fables: The Standing of an Emblematic GenreIn classical antiquity, when authors such as Aesop and Phaedrus had created a distinct genre of allegorical tales, the use of such fables had been as much reproved as their particular rhetorical force had been recognized. According to Quintilian, fables should not be a part of the linguistic armory of the truly decent orator, for fables “are specially attractive to rude and uneducated minds, which are less suspicious than others in their receptions of fictions and, when pleased, readily agree with the arguments from which their pleasure is derived... (shrink)

Bernard Mandeville's early work *Typhon* reveals how his *Fable of the Bees* can be understood not only as an extended commentary of an Aesopic fable but also as a form of mythic writing. The appeal to the mythic in discourse provides him with the opportunity to give both a genetic account of the development of language and social practices and a functional account of the the socializing impact of myths (including classical ones). The artificial distinction between treating Mandeville's writings as (...) exclusively philosophy or literature is overcome by means of his identification of the mythic origin of meaning and rationality. (shrink)

In his collection of anecdotes, Lives, Opinions, and Remarkable Sayings of the Most Famous Ancient Philosophers, Diogenes Laertius devotes a chapter to the life of Zeno of Elea. Zeno's reputation is based on his celebrated paradoxes, amply discussed by Aristotle: a moving body will never reach its (pre-defined) telos, since it first has to cover half (or more than half) the remaining distance; the faster will never catch up with the slower, since it first has to get to the point (...) from which the slower has just left. Zeno's style is laconic, like that of an Aesop fable. Maxima e minimis: there is no superfluous word. Everything needed to arrive at the conclusion is explicitly stated. (shrink)

An analysis of this allusive prologue demonstrates the poet’s acquaintance with all of Greek literature. The tone of his choliambic verses is softer and more urbane than that of his iambic predecessors, his message is less obtrusive, ambiguous and can only be grasped by an active interpretative effort. The linguistic and stylistic forming of the fables, which are consciously referring back to the prosaic and more polemic Aesop, is the core of the poet’s interest. With regard to content (...) the poet places himself within the tradition of divine revealed truth when he calls for justice and peaceful coexistence. But, through subtle hints he continues to make evident that a return to the Golden Age of the early days is neither possible nor actually desirable. (shrink)

1. One of Aesop's fables tells of a speech act gone awry: A shepherd-boy, who watched a flock of sheep near a village, brought out the villagers three or four times by crying out, ‘Wolf! Wolf!’ and...

Once upon a time, Aesop says, there was a donkey who wanted to be a pet dog. The pet dog was given many treats by the master and the household servants, and the donkey was envious of him. Hence, the donkey began emulating the pet dog. What happened next? The story ends up with the donkey beaten senseless, chased off to the stables, exhausted and barely alive. Who is to blame for the poor donkey’s unfortunate fate? Well, there could (...) be disagreement upon this, but we think emulation is to blame. And it’s on the kinds of envy-related emulation that we focus in this chapter. More analytically, we aim at vindicating the role of envy for moral exemplars within an exemplarist character educational framework. In the first section, we recall the central tenets of an exemplarist account of moral progress, and highlight how negative emotions, in general, have suffered a bad press within character education, with exemplarism being no exception. Then we provide a brief outline of standard strategies of defending envy by appealing to useful taxonomies of envy (e.g., Taylor 1988; Protasi 2016; Fussi 2018). After that, we put forward our 'Donkey Objection' by recalling Aesop’s fable on "foolish imitation", so as to show that when envy triggers mere emulation, it can bear devastating effects such as conformism and a lack of self-worth and personal integrity. In response to this objection, we bring into play a distinction between two rival forms of imitation—emulation and inspiration—and we coin the label of "inspired envy" for those forms of imitation by inspiration triggered by envy that lead to self-improvement avoiding morally detrimental consequences. (shrink)

We usually consider literary thinking to be peripheral and dispensable, an activity for specialists: poets, prophets, lunatics, and babysitters. Certainly we do not think it is the basis of the mind. We think of stories and parables from Aesop's Fables or The Thousand and One Nights, for example, as exotic tales set in strange lands, with spectacular images, talking animals, and fantastic plots--wonderful entertainments, often insightful, but well removed from logic and science, and entirely foreign to the world (...) of everyday thought. But Mark Turner argues that this common wisdom is wrong. The literary mind--the mind of stories and parables--is not peripheral but basic to thought. Story is the central principle of our experience and knowledge. Parable--the projection of story to give meaning to new encounters--is the indispensable tool of everyday reason. Literary thought makes everyday thought possible. This book makes the revolutionary claim that the basic issue for cognitive science is the nature of literary thinking. In The Literary Mind, Turner ranges from the tools of modern linguistics, to the recent work of neuroscientists such as Antonio Damasio and Gerald Edelman, to literary masterpieces by Homer, Dante, Shakespeare, and Proust, as he explains how story and projection--and their powerful combination in parable--are fundamental to everyday thought. In simple and traditional English, he reveals how we use parable to understand space and time, to grasp what it means to be located in space and time, and to conceive of ourselves, other selves, other lives, and other viewpoints. He explains the role of parable in reasoning, in categorizing, and in solving problems. He develops a powerful model of conceptual construction and, in a far-reaching final chapter, extends it to a new conception of the origin of language that contradicts proposals by such thinkers as Noam Chomsky and Steven Pinker. Turner argues that story, projection, and parable precede grammar, that language follows from these mental capacities as a consequence. Language, he concludes, is the child of the literary mind. Offering major revisions to our understanding of thought, conceptual activity, and the origin and nature of language, The Literary Mind presents a unified theory of central problems in cognitive science, linguistics, neuroscience, psychology, and philosophy. It gives new and unexpected answers to classic questions about knowledge, creativity, understanding, reason, and invention. (shrink)

The following article investigates how Phaedrus' Latin verse fables engage standard Callimachean topoi. When Phaedrus imitates the Hymn to Apollo he fails to banish Envy and when he adopts Callimachus' own polemical allusions to Aesop he turns them upside down. Such texts are essentially Callimachean in spirit and technique and constitute a recusatio: by “mishandling” or “abusing” and thus “rejecting” various Callimachean topoi and the role of the “successful” Callimachean poet, the fabulist demonstrates his skill and versatility within (...) the Callimachean tradition. This sort of recusatio satirizes those poets who unimaginatively rehash Callimachean staples and represents a strategy that gains momentum in the first century AD. It thereby provides a literary context for understanding Phaedrus' engagement with the evolving traditions of Roman Callimacheanism. (shrink)

My title is taken from the frontispiece to Ogilby's translation of Aesop ; since every Renaissance poet believed the statement to be true, let me start with my own example. John Denham's only play, The Sophy, published in August 1642, is a tale about the perils of jealousy. The good prince Mirza, after a miraculous victory over the Turks, returns in glory to his father's court, but leaves it shortly thereafter. In his absense, Haly, the evil courtier, follows a (...) friend's advice to " work on [the king's] fears, till fear hath made him cruel"1 and poisons the king's mind with jealousy against his son. Mirza returns only to be brutally blinded and killed, and the emperor soon dies stricken with remorse. Now it happens that Parliament justified all its actions in the months preceding the civil war on the grounds of the "fears and jealousies" that the king had inspired. Charles was incensed by the slogan and claimed angrily that he, if anyone, had the most cause for fears and jealousies.2 Denham obviously decided that here was the all-consuming topic around which a predominantly royalist drama could be written. He followed what I believe was the standard practice - the method that Fulke Greville said Sidney used and that Congreve repeated at the end of the century when he declared of The Double Dealer that "I design'd the Moral first, and to that Moral I invented the Fable."3 He found a plot in Thomas Herbert's Travels into Diverse Parts of Asia that recorded some terrible cruelties and catastrophes caused by jealousy, and he added the point that the emperor's mind had been wrought upon by his counselor. There is no evidence that the play was ever acted, but the most casual reader would have said to himself, "Yes, history reminds us that states destroy themselves through fears and jealousies, and we should abate our own before it is too late." · 1. Sir John Denham, The Poetical Works, ed. Theodore Howard Banks, 2d ed. , p.245. The references to fear and jealousy are so ubiquitous in the play that they need not be listed here.· 2. On March 1, 1642, in the angriest of his replies to Parliament so far, Charles exclaimed, "You speake of Jealousies and Feares: Lay your hands to your hearts, and aske your selves whether I may not likewise be disturbed with Feares and Jealousies: And if so, I assure you this Message hath nothing lessened them" . Although phrases like "distempers and jealousies" had been used earlier, Clarendon on two occasions is quite specific that "fears and jealousies" were "the new words which served to justify all indispositions and to excuse all disorders" in January 1642 . Taken with other evidence, Clarendon's remarks strongly suggest that The Sophy was written after Coopers Hill, and during seven months preceding its publication in August 1642.· 3. William Congreve, The Complete Plays, ed. Herbert Davis , p. 119. And compare John Donne in Sermons, ed. Evelyn M. Simpson are George R. Potter , 9:274: "All wayes of teaching are Rule and Example: and though ordinarily the Rule be first placed, yet the Rule it selfe is made of Examples...for, Example in matter of Doctrine, is as Assimiliation in matter of Nourishment; The Example makes that that is proposed for our learning and farther instruction, like something which we knew before, as Assimilation makes that meat, which we have received and digested, like those parts which are in our bodies before."John M. Wallace, author of Destiny His Choice: The Loyalism of Andrew Marvell and articles on Milton, Dryden Denham, Traherne, and Arnold, is professor of English at the University of Chicago. (shrink)

Do classical, contemplative philosophies have anything to teach which is relevant to life here and now? In the case of Plotinus, yes. While Platonic metaphysics is most often summarized as dualistic, where one sensible world stands apart from and in tension with an intelligible world, in the case of Plotinus this interpretation is incorrect. He does distinguish between sensibles and sense-experience, on one hand, and intelligibles and intelligible experience, on the other; but the two belong together intimately: both are located (...) in the same space, and the sensible is related to the intelligible as a shadow to its object or a reflection to what it reflects. Plotinus’ world is one. Given this picture, one rightly wonders at the status of the Plotinian exhortation for the soul to flee "alone to the Alone." Does not the journey of the soul to its source require a passing beyond of this world to some other? No, Plotinus exhortation should be understood as a reorientation, a reordering within the world here and now, not a rejection of one reality in favor of some other. This can be likened to Aesop’s fable, "The Dog and the Bone," where the dog had the choice between one real and one illusory bone, not two separate bones. Similarly, Plotinus’ world, though it can be perceived dualistically, is ontologically one; hence his metaphysics, far from otherworldly, offers a means of understanding life as it is to be lived here and now. (shrink)

Resumen: Este trabajo investiga las traducciones realizadas por Aphra Behn a partir de la clasificación tripartita que estableció John Dryden entre metáfrasis, paráfrasis e imitación. Behn cultiva la metáfrasis principalmente en sus traducciones de La Rochefoucauld, la paráfrasis en las versiones de Cowley o Tallemant, entre otros; mientras que aplica la imitación a las Fábulas de Esopo. Se constata que Behn rompe con la tradición de traducir principalmente a los autores clásicos, ensanchando los cauces de entrada de literatura moderna en (...) Inglaterra y ampliando las posibilidades de la traducción literaria. Analizando unas muestras, se infiere la manipulación del texto original que la autora realiza en ocasiones, en consonancia con su ideario creativo, generando un texto meta provisto de nuevas resonancias de género y políticas contextualizadas en su época. Asimismo, se deduce que la escritora profesional de la Restauración cultiva la traducción movida, entre otros motivos, por los gustos del naciente mercado literario en cuanto a las novedades del país galo y, por tanto, motivada por un afán comercial.: This paper examines the translations by Aphra Behn based on the tripartite classification that John Dryden established between metaphrase, paraphrase and imitation. Behn employs mainly metaphrase in her translations of La Rochefoucault; paraphrase in her versions of Cowley and Tallemant, among others; while applying the imitation to Aesop's Fables. It is found that Behn breaks with the tradition of translating principally classical authors, broadening channels for the entrance of modern literature into England and expanding the possibilities of literary translation. Analyzing the samples, the author's occasional manipulation of the original text is identified, consonant with her creative ideas and generating a metatext featuring new political and gender resonances contextualized in her era. It is also concluded that the professional writer of the Restoration employs translation spurred by the tastes of the burgeoning literary market, among other factors, shaped by recent developments in France and, as such, motivated by commercial interests. (shrink)

In this collection of short meditations on various topics, Hans Blumenberg eschews academic ponderousness and writes in a genre evocative of Montaigne's _Essais_, Walter Benjamin's _Denkbilder_, or Adorno's _Minima Moralia_. Drawing upon an intellectual tradition that ranges from Aesop to Wittgenstein and from medieval theology to astrophysics, he works as a detective of ideas scouring the periphery of intellectual and philosophical history for clues—metaphors, gestures, anecdotes—essential to grasping human finitude. Images of shipwrecks, attempts at ordering the world, and questions (...) of foundations are traced through the work of Goethe, Schopenhauer, Simmel, Husserl, Thomas Mann, and others. The book's reflections culminate in a rereading of the fable "Care Crosses the River" that lies at the center of Heidegger's analysis of Dasein in which the fable's elided Gnostic center is recovered: Care creates the human in its own image, as a reflection of its narcissism. At stake throughout are two inextricable elements of Blumenberg's thought: a theory of nonconceptuality as essential to philosophizing and an exploration of culture understood as humanity's unceasing attempts to relieve itself of the weight of the absolutism of reality. (shrink)

In this book, two philosophers use their training in arguments and reasoning to uncover the role of ungrounded beliefs when we fall in love. They illustrate the fallacies of love by drawing on personal experiences, literary characters and two imaginary individuals, providing examples of ungrounded beliefs in Aesop's Fables, Cinderella and Don Giovanni amongst others to illustrate love as an inexhaustible source of misperceptions, misunderstandings and misconceptions.

Carnap famously argued that metaphysics unavoidably involves a confusion between science and poetry. Unlike the lyric poet, who does not attempt to make an argument, the metaphysician attempts to make an argument while simultaneously lacking in musical talent. Carnap’s objection that metaphysics unavoidably involves a blend of philosophy and poetry is not a 20th century insight. Plato, in his beautifully crafted Phaedo, presents us with the imprisoned Socrates, who having been condemned to death for practicing philosophy in the Apology, has (...) a dream in which he realizes that he ought to make music. In this dialogue, however, Plato indicates no hint of the scorn that Carnap has for metaphysics—rather Socrates’ friends find him setting Aesop’s fables to verse. In the modern era, Nietzsche re-introduced the ‘music making Socrates’ in his Birth of Tragedy. But Nietzsche is not the first to revive the concept in modern philosophy. Before Nietzsche’s call for a new music-making Socrates, the early German Romantics, in particular Schlegel, explicitly called for the identification of poetry and science in the concept of Poesie. As Schlegel writes: ‘Alle Kunst soll Wissenschaft werden, und alle Wissenschaft Kunst werden; Poesie und Philosophie sollen vereinigt sein.’ On the one hand, in Ion Socrates is not wrong to critique Ion for not knowing the significance of his own work. On the other hand, Socrates himself recognizes in Phaedo that he is guilty of failing to heed the call to make music. Long misunderstood, the Romantic concept of Poesie is not mere irrationalism, for it offers an aesthetic metaphysics of the Absolute. Romanticism is indeed a philosophy of the Absolute, but one which cannot conceive of any solution to the profound impasses that confront philosophical knowing except by learning to make music. (shrink)

Plato seeks to establish in _Phaedrus_ a close link between poetry and the eidetic sphere to which philosophical knowledge belongs, or which the philosopher accesses through a practiced synoptic-dialectic understanding. This type of philosophical poetry is perfectly illustrated in the Socratic palinode itself, which Socrates –and ultimately Plato – establishes as a paradigm of the poet philosopher, a palinode by necessity must be uttered “with certain poetic terms”. Working from that palinode as a model, Plato seeks to approach the subject (...) of _éros_ with philosophical discourses fed with poetical terms, that is, through an explicit blend of philosophical and poetic elements, the clearest example of which is the _Phaedrus_ as a whole, or, in more general terms, the Platonic dialogical genre in as much as this puts forward an interaction between the philosophical and poetic registers. Taking into account this relationship of compatibility that Plato establishes in _Phaedrus _between the poetic-philosophical paradigm and the traditional paradigm – which in books I, III and X of the _Republic_ clearly appeared in tension–in this paper I’m interested in supporting such a relationship in the dream anecdote as told by Socrates at the start of the _Phaedo_. In this anecdote, the philosopher confesses to Simmias and Cebes that since his time in prison, although he had never done such a thing before before, he has been composing poems based on the versification and musicalization of Aesop’s fables and a hymn to Apollo. (shrink)

The purpose of this paper is to demonstrate how Friedrich Wilhelm Nietzsche’s writing, which is distinguished by a wide variety of forms and ongoing beginnings, bears an unmistakable imprint of Plato’s writing-in-becoming. The work begins with the area of correspondence, primarily from the philologist Erwin Rohde’s recognition of Plato as a model for Nietzsche’s Thus Spoke Zarathustra, but also from Nietzsche’s testimony that his Zarathustra is platonizing, the work points to the motif of death as a place where Plato’s and (...) Nietzsche’s poetics meet, given their transformations of the Homeric idea of the hero’s fate. The illuminating power of the atmosphere of death also points to Aesop’s character as a foundation upon which Plato bases his Socrates, which directs this paper toward demonstrating that Nietzsche’s assessment of Plato’s writing as an “infinitely accentuated Aesopian fable” turns out to be a self-assessment. (shrink)

What role do fables play in Cartesian method and psychology? By looking at Descartes’ use of fables, James Griffith suggests there is a fabular logic that runs to the heart of Descartes’ philosophy. First focusing on The World and the Discourse on Method, this volume shows that by writing in fable form, Descartes allowed his readers to break from Scholastic methods of philosophizing. With this fable-structure or -logic in mind, the book reexamines the relationship between analysis, synthesis, and (...) inexact sciences; between metaphysics and ethico-political life; and between the imagination, the will, and the passions. (shrink)

Certains ont proclamé la " fin de l'Histoire ". Ne serait-ce pas plutôt celle de la philosophie politique moderne qu'il conviendrait de guetter? Depuis cinq siècles, en effet, l'action politique a eu pour objet l'institution et la consolidation de la souveraineté, tandis que la philosophie politique structurait ses principes de gouvernement à partir de ce concept : penser la politique c'était penser la souveraineté. Or la souveraineté, née en Europe, forgée à travers les guerres qui donnèrent aux peuples le sentiment (...) de leur particularité, s'y achève sous nos yeux, en une Union des peuples fondée désormais sur la paix, à la suite d'un génocide suicidaire. Pour penser l'achèvement, la philosophie politique ne saurait plus se contenter de répéter ses affirmations communes sur la volonté du peuple, l'indivisibilité de la république, la dictature du prolétariat et les droits de l'homme. Aucune n'a pu fonder l'existence libre de la multitude : elles ont soit révélé dans l'histoire leur absolue contradiction en allant, parfois, jusqu'au crime, soit permis d'ouvrir le chemin de la vie libre sans être capables, cependant, de le tracer jusqu'au bout. Ces catégories ressortissent à un monde et à sa fable que les temps présents abandonnent au passé. Le problème constitutif de la philosophie politique - les conditions de la vie libre - n'a pas disparu pour autant, mais la solution nouvelle est à inventer. Une double tâche s'impose désormais : montrer en quoi la souveraineté est achevée et ce que cela signifie, jusque dans les chemins divergents qu'empruntent l'Europe et les Etats-Unis ; formuler des propositions sérieuses capables d'orienter le débat politique de notre temps quelle moralité nouvelle, autre que la souveraineté, inventer pour des peuples européens qui, faute de pouvoir encore se faire la guerre, se sont du coup, sans autre projet, abandonnés au marché? (shrink)

It used to be that everyone read the "notorious" Bernard Mandeville (1670-1733). He was a great satirist and come to have a profound impact on economics, ethics and social philosophy. "The Fable of the Bees" begins with a poem and continues with a number of essays and dialogues. It is all tied together by the startling and original idea that "private vices" (self-interest) lead to "publick benefits" (the development and operation of society).

This edition includes, in addition to the most pertinent sections of The Fable's two volumes, a selection from Mandeville's An Enquiry into the Origin of Honor and selections from two of Mandeville's most important sources: Pierre Bayle and the Jansenist Pierre Nicole. Hundert's Introduction places Mandeville in a number of eighteenth-century debates--particularly that of the nature and morality of commercial modernity--and underscores the degree to which his work stood as a central problem, not only for his immediate English contemporaries, but (...) for such philosophers as Hume, Rousseau, and Kant. The selections are substantive enough to faithfully represent Mandeville the social theorist, and compact enough to be used in courses that can afford to spend no more than a week on his work. (shrink)

Fables and the Art of Leadership brings those same values and philosophy to the workplace, where they're now needed more than ever. This unique and timely work is for everyone who aspires to become and be a better leader.

The Life of Aesop the Philosopher, an anonymous Greek literary work, presents one version of the novelistic biography of Aesop, which dates to the fourth to fifth century CE. In this volume, Grammatiki A. Karla offers an extended introduction to the Life of Aesop in general, the history of the textual tradition, and the MORN manuscript family and its relationship to other versions and papyrus fragments. She then presents a new edition of the late antique version (MORN) (...) alongside David Konstan's English translation. A commentary addresses editorial choices and focuses on words and phrases that are of interest for the history of the Greek language. (shrink)

The genre of fable tends to be overlooked in the study of Korean literary history on the ground that the genre seems too archaic to reflect the aesthetic standards established in the modern European novel, in which the focus lies in the realistic representation of the individual or contemporary society. However, the genre was not completely abandoned by modern Korean writers. Few critics have noted the continuing role played by the rich Korean fable tradition, which eventually made the reinvention of (...) the genre in the mass media possible. In particular, it is worth noting that there was the emergence of a new subgenre of fable in the late nineteenth century: that is, fabulous court case fiction, which is quite distinct from the Chinese literary tradition that had underprivileged imaginative narrative texts under the absolute domination of Confucian historiography. The genre of fabulous court case fiction makes us reconsider the plurality of narrative forms and various narrative functions. In this study, I examine how imaginative narrative texts such as fables simultaneously pursue the pleasure of storytelling and the purposes of both moral and specialized education. (shrink)

In A Climate of History Dipesh Chakrabarty locates Kant’s speculative reading of Genesis as “the Enduring Fable” furnishing the background for human domination and earthly destruction. Writing from the fable’s “ruins,” Chakrabarty urges the elaboration of new fables that provide the background ethics and meanings required to recast relations between humans and the natural world. Responding to Chakrabarty’s challenge, we outline two “fables” based first in the oft ignored Genesis 2, and second, in Matauranga Māori. Although marginalised, these (...) extant fables provide the imaginary for radically other ways of being human in a more-than-human world in turmoil. (shrink)

Body metaphors and body fables were frequently used in ancient discourse for social communities and politics. This article will examine a body fable by the Greek fabulist Babrius that has been overlooked in research so far. It shows a remarkable similarity to 1 Corinthians 12 through the use of central terms such as σῶμα and μέλος or personified speaking body parts such as an eye and head. Even if no literary direct dependence is claimed, the text, which was written (...) at about the same time as 1 Corinthians, sheds light on Paul's understanding of the body fable. It becomes apparent, however, that the rhetorical function is fundamentally different in the two texts. Whilst the body fable in Babrius reinforces hierarchical structures, Paul emphasises the equality of the various body parts. The discussion about the 'implicit ethics' of these two texts is hermeneutically embedded in the current Corona crisis and the management of the crisis in different forms of organisation and state. CONTRIBUTION: The contribution makes the overlooked Babrius Fable 134, a body fable in political context, known in New Testament scholarship. A comparison with 1 Corinthians 12 points out that despite close analogies in plot and vocabulary, the message regarding the social structure diverges radically: While Babrius propagates a reinforcement of hierarchical leadership, 1 Corinthians 12 pleads for a community based on equivalence. (shrink)

In the field of theory formation some of the old metaphysical questions attract the attention of philosophers anew. The idea that observational terms refer to objects only in a theoretical mode leads to a comparison of fables and theories. Meinong's concept of incomplete objects is used for linking these two ways of constructing objects. Lessing's theory of fables is then compared with the new anti-positivist theory of science by pointing out some striking similarities.

This article considers a strange, understudied work of eighteenth-century musical theatre, Thomas D’Urfey’s Wonders in the Sun (1706). This highly intertextual, generically heterogeneous comic opera is a pastiche of literary and performative modes and ultimately a machine for generating wonder; it draws on elements from Aristophanes’ The Birds, seventeenth-century masque and semi-opera, as well as the lunar fictions. The article situates this play not only within a history of literary wonder and stage spectacle, but within the English tradition of politicized (...) animal fable. Discussing D’Urfey’s comic opera against selections from John Gay’s Fables, it argues that the utopian/dystopian animal in these imaginative satires reveals the period’s twinned fascinations with discovery and alterity, as well as emergent discomfiture with anthro- and Eurocentric Enlightenment beliefs. (shrink)