This book replicates in Finnish the English book Aesop: The Fox and the Stork from Pelham in London. See my comments there. As in the English, there are twenty fables. Each gets a two-page spread with a full-page colored illustration on the right. Some also have a black-and-white illustration on the left. The figure of death on 9 as he speaks with the wood-gatherer is well done. A skeleton's foot emerges from beneath his robes, as the terrified old man looks up into his face. I enjoy the illustration for FM There is a great fat fox on Otherwise I still do not find the illustrations particularly well done.
Illustrations de Marie Hugo. Numbered Tome II of Robin, San Nicolao, France, Oct. Marie Hugo's illustrations seem very familiar, but I cannot find them elsewhere in this collection. The comments in Bodemann are, as often, illuminating. There are fourteen full-page colored illustrations, namely a frontispiece for each volume and an illustration for each of the twelve books in the two volumes.
Besides, there are some 53 endpieces that are "scherenschnittartig. Like many others, this is a nicely suggestive "fable-sketch. Another excellent piece in this group shows a side view of the fox using the goat to get out of the well Another excellent work shows the mother goat talking to her young goat still inside the house The volumes are beautifully bound in full leather with a plasticene dust-jacket. Each has two ribbons for marking one's place!
At the back, one finds first notes , then an anthology of judgements , and an iconography offering some portraits and a photocopy of the title-page. Finally, there is a T of C for this volume on The colophon-page at the end notes that only the second volume is numbered. Despite my best efforts, these two volumes smell like an old bookstore! They are still a treasure! Numbered of One of my favorites shows the bear about to crash the rock down on the fly on his sleeping friend's cheek Another good silhouette shows the cat up a tree while the fox rushes madly by Avec les Gravures de J.
Le Livre de Poche. Eighteen months after I picked up this book, I discover that it has the Oudry illustrations! From all I can tell, they are all there. There are also over two hundred pages of notes in the back. I am afraid that this book may get used heavily! This book fills the need for simple English prose versions of LaFontaine for children. About one-half of LaFontaine's fables are represented, with simple illustrations about every ten pages.
The beginning "Brief Outline" has a very nice quotation from Silvestre de Sacy on the differing delights at different ages of reading LaFontaine. I believe from my reading of the book's first twenty fables that its adaptation will raise some questions. The animal coming upon the two companions is here a wolf , not a bear 4. GA 5 misses the point by having the singer proclaim that he was entertaining his friends.
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The liar by the end of the next day is reputed to have produced one hundred eggs the size of a watermelon 8! A good change happens in FS, where the stork's container is transparent The salt-bearing donkey jumps from a bridge 19 , and the sponge-bearing one drowns. The approach to the stories is cute. Thus the cover picture's ass repeated on 4 looks cuddly. The set includes eight volumes. Illustrated by Stathes Stauropoulos. Gift of Elizabeth Willems, Nov. A very nice contemporary Greek paperbound version.
The cover features Aesop sailing along with some animal friends. There are fables, many of them surprisingly long. The illustrations include cartoons, some smaller designs that are repeated along the way, and some full-page depictions. Among the best of the ten full-page illustrations are those of the snake inside the man and of "The Bull and the Lion" T of C at the end. For ages eight and up! How nice to get something that came from a bookshop named after Nestor!
Illustrated by Benton Mahan. The book includes two fables. GGE 12 is told in clever verse that identifies the farmer as from Kalamazoo; it is identified as a German tale. The hawk spares the nightingale so that the latter can let him know when squirrels' houses are filled with walnuts. If you hear a nightingale, look out for a hawk.
The illustrations throughout are in a romantic contemporary style. A Dell Yearling Book: Here is a paperback copy of a book I had found in a hardbound version twelve years ago. I believe that some changes in the publishing firm took place between the printing of that hardbound and this fourth printing of the paperback. As I wrote there, the book includes two fables.
A Norton Professional Book: Here are nineteen stories offered by an experienced hypnotherapist. Each is labelled for its specific use, e. The story works then because it is metaphor, and rapport makes the metaphor available to the client. The metaphor defuses resistance, since the story is once removed and offers not commands but suggestions. These stories are spontaneous spoken stories born within the therapy situation. So Wallas will regularly write at the end of the introduction to these stories "the following story told itself.
These stories, perhaps four or five pages in length or shorter, are simple, but not as simple as Aesopic fables. I find the stories engaging, though beyond fable length and complexity. Thus Porky the Porcupine learns through a friendly turtle that people are afraid of him just as he is of them. A child afraid of the Green Dragon in his play room learns that the dragon is zippered, and that there is a little boy inside that has been playing frightening tricks on him.
The overwound alarm clock thrown into the trash is rescued by a little girl who finds it beautiful and takes it to the clockmaker for repair. Written to Be Read Aloud. As told to James Gregory. Illustrations Adam Christianson and Greg Goggin. Creative Arts Book Company. Eighteen stories, of which DS 4 is the third, told in a lively version. Though it is not a fable, do not miss "The Bear at Its Best" 17 , a great story! By Wilfrid Dyson Hambly. Illustrated by James A.
The Associated Publishers, Inc.. Told and illustrated by Val Biro.
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There are four fables among the fifteen stories in this collection, notable for the cuddly and "stringy" figures in its illustrations. The versions are good, simple, and careful. DS, for example, closes with this good lapidary remark: My prize for the book's best illustration goes to "The History of an Apple Pie" A magnificent book for many cold evenings in Januaries!
Aesop's fables are found principally on colored pages of the tapestry, with commentary according to the corresponding black-and-white plates on Good footnotes indicate the controversies around identification of the fables. Look, Listen and Read Bedtime Stories. Edited by Richard Widdows and Nigel Flynn. Illustrated by Malcolm Livingstone et al. For use with an accompanying tape with the same title. The illustrations are delightful, witty, colorful, and alive. Illustrated by Victor G Ambrus.
First published in by Oxford University Press. This book helps students contextualize and visualize the stories of this great work. The picture shared on the upper half of these two pages helps. The story itself is well titled: Chanticleer telling Pertelote of his dream has this kind of imagination: I was strolling between the ornamental lake and the maze, taking the air and viewing our estates. What Pertelote here recommends is, very nicely, prunes. Made passionate by their argument, Chanticleer tries to embrace her but tumbles off the perch. The illustrations do this good telling of the tale justice.
For example, the fox on 32 is all red. The "chase" on is particularly well done. When Chanticleer has got free and the fox asks him to jump down and sing again, Chanticleer, in Latin I have never heard, answers "Semel insanivimus omnes. He translates for Renard "What kind of a dumb-cluck do you take me for? There is one more level of engagement here.
At the end of his tale, Brother John asks Chaucer if he did not do well. Chaucer is riding with the group too. A Pudgy Pal Board Book. Illustrated by Jody Wheeler. A cute and very sturdy little book. I find nothing that stands out for use in a lecture. Fables from Aesop 8: London and Dover, NH: This has been a favorite book of mine, but one I have had to labor with.
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Blackham treats the fable genre seriously and has an excellent sense of what fable is. Thus Blackham insists correctly that a summary statement never gets all the meaning of a fable: The metaphor is open; the comparison invites exploratory reflection" xiii. He presents a wealth of valuable material for the student of fable to ponder. His descriptions of fable are wonderfully suggestive. For Blackham, fable "gets past the garrison of resident assumptions"; it is a "tactical manoevre to prompt new thinking" xi. Fable says more than it seems to say xi ; it never says "Think this" but always says "Think about this" ; it does not state anything but only shows These suggestive expressions give a strong sense of fable.
But for me Blackham's work fails to go beyond description of Aesopic fable to achieve satisfying definition. Blackham's project is to extrapolate from Aesopic fable to all sorts of other literary works: Stripped and focused as it must always be, fable is then, like any work of art, dense enough to abide repeated examination, and to abound in stimulus. It is this development, with the achievements that have marked it, which the present study sets out to describe" xiii. My fear is that in the project, the very sense of fable itself can be lost, including the sense of Aesopic fable, "stripped and focused as it must always be.
My problem lies not with his descriptions of Aesopic fables, which are helpful, but with his attempts to apply "fable" to all sorts of works quite distinct from Aesopic fable. I know what it means to talk of Aesopic texts as fables; I am not sure I know what it means to call these works fables. For all that, this is a stimulating and insightful book!
Illustrated by Edward J. Original by Hodder and Stoughton, England. View Productions, Pty Ltd. There was a spate of reprintings of Detmold's "The Fables of Aesop" about the time that copyright on his edition ran out. This has a larger page format than those others, and it does not paste in his colorful illustrations. They are however well rendered. The big surprise for me in this fancy book is that it steals from elsewhere the picture of fox and wolf on the cover!
I cannot identify the source, though I believe I have seen it before. A fox is laughing at a wolf who uses a cane and has suffered an injury. Did the horse kick him? There is blood on the ground. I do not think that the picture is even in Detmold's style. The dust jacket's back cover copies one of Detmold's illustrations inside the book, "The Oxen and the Axle Trees" The pages here use heavy paper.
This book is valuable for its frontispiece of TMCM, missing in my good copies of the original printing. Translated and Edited, with an Introduction, by John C. Drawings by Villard de Honnecourt. Odo died in This work is a curious and engaging congeries of scripture, Aesop, Reynard and other typical sources of medieval literature.
The focus seems more on allegory than on fable or even on story. Are these fables aimed particularly against the clergy? The illustrations, contemporary with Odo, were originally done without reference to fables. There is a long introduction and an excellent bibliography.
A Modern and More or Less moral-less Fable. With woodcuts reproduced from a Spanish edition of Isop's Fables dated With additional illumination or "Gorp" by Rez' Lingen. Wonderful and well executed marriage of lovely woodcuts with a crazy modern story revolving around interplanetary agents, a farmer, a fox, and some grapes. The fun starts with a stream of gorp engraved on the cover. The gorp is printer's doodles commenting on the story; a food chain becomes a literal chain with food and knives hanging from it.
Here is one way to have fun with beautiful old fable art. At the end there is a kind of map of gorp including all sorts of objects arranged without contemporary perspective. This may turn out to be an outstanding treasure in the collection. For now it is fun. Adapted by Mark C. Illustrated by Kim Bog-tae. Korean Folk Tales A very pleasing book. Dokbo lives in a village tucked away in the mountains.
The artist misses, I believe, that Dokbo lost the head of his axe. Yunbo does not hear the whole story and so proceeds falsely with the old man water spirit. Yunbo falls in trying to grasp the spirit--and gets nothing but a cold. Retold by Caroline Castle. Illustrated by Peter Weevers. Dial Books for Young Readers: An enchanting book, with lovely colored plates matched on opposite pages by sketches. The story adds a badger and a mole. Maybe the best picture for a slide lecture has the hare dreaming of a kind of Chariots of Fire victory. If I had to choose one of my books for some bedside reading with kids looking on, this book would be a candidate.
Retold by Shirley-Anne Carver. Illustrations by Caterpillar Capers. This eight-page pamphlet combines rhyming quatrains with illustrations that look as though they include stained glass. They are quite attractive! The back cover offers a number of good hints to parents about how to read with their children. Parents are cautioned, for example, to leave the child time after a mistake for self-correction. One should also not force ideas or expectations on a beginning reader.
Based on the fable by La Fontaine. Hardbound first published Pictures by Eugen Sopko. Illustrated by Alexander Kurkin. This book is identical in format and close in substance to another book in the collection from the same publisher and representing the same art collection: This book contains thirty-four stories. I see several early stories as fables: So does "The Wolf and the Goat" FS 20 is wonderfully pictured with a two-scene full-page illustration.
The black-background Russian art is again lovely; the best of them, I believe, is that double-presentation of FS on This copy is missing its title-page; I have had to find some of its information on the web. The texts of this book's stories are online. This copy once belonged to an elementary school. Story adapted by Lucy Kincaid. Illustrated by Eric Kincaid.
This book uses short words written large for beginning readers. The illustrations are well done and well printed. I will try to use a couple of them. They contrast the two mice nicely. There is even a set of pictures at the back with the right words beneath them. No intruders are pictured; the mice have to scamper twice. The country mouse does not like having his eating of dates interrupted. The two have met at a wedding. Published for an exhibition of the same title, 15 February through 24 May, Text apparently by Gloria-Gilda Deak.
Section 13 is "Aesop and the Illustrated Book.
The New York Public Library. A wonderfully documented work including about ten fine but small black-and-white illustrations. Section 13 touches some high points in the tradition of Aesop illustration. Formerly titled Bedtime Stories in Spanish. Notice that Hermes has become a water-sprite. Retold by Noor Inayat Khan. Inner Traditions International, Ltd. See my extensive comments under for the same title.
A number of things are different in this copy: How can this be the "first U. Illustrated by Basil W. This is a good retelling of the old Japanese story of two frogs that meet on a mountain midway between their cities, get turned around, see their own cities, and proclaim that the mistaken destination city is not worth the trip.
The rhyming couplets are only adequate to the story, I would say. The chief virtue of this little book is the six colored illustrations, including the title-page and the "finis" page. Also helpful is the moral: The author offered the first version of this versification in a teen-age poetry co m petition in a South African newspaper sixty years earlier. He resurrected and polished it in "at the urging of his family and friends, to rescue it perhaps from pending oblivion. Consider Osaka frog's put-down, supposedly of Kyoto: Are we meant to think of those whose conversation says something like "I know what you are saying.
Here is what I experienced.. Collages de Gilles Chapacou. Here is a worthy subtitle: It contains fifty verse fables on some 86 pages, followed by a distancing epilogue and a postface. From what I can tell, the fables do a very clever job of taking La Fontaine's relationships, struggles, and characters and transposing them reflectively and humorously into the different world of today. The five collages seem highly surrealist.
They put together some strange components, as in the picture of the old photographer in a moonscape 29 or the two gentlemen flying with a court-worthy woman above peasants in a replay of TT This book must be a trip! Prepared by the Bank Street College of Education. Written by Seymour V. Hooks, and Betty D. Illustrated by Lynn Munsinger.
A Random House Pictureback. A rebus book based on Aesop and delightfully illustrated. The pictures are sharp, well reproduced, and have a bit of wit. A Bantam Begin-to-Learn Book. Donald spills the milk, Pluto loses the bone, and three pigs dig up the farm. Though not named, the hare beaten by the tortoise sure looks like Bugs Bunny! Uitgeverij De Bezige Bij. Druk Van Boekhoven-Bosch bv. Gift in trade from Gert-Jan van Dijk, Feb. It is really a pity that I cannot read this book, since it is in Dutch. The illustrations are racy! The first of them seems to feature a sexy lobster with well-developed breasts out of her shell Later there is something about a frog queen, and again 76 the illustration seems to be sexually quite explicit.
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With "Walkman" in one of the titles and "Made in Hong Kong" on a birdnest in one illustration, these stories will prove to be fun when I can understand them. Edited by Kyung Hee Yun. Tiergeschichten in vier Zeilen. Mit Bildern von Jean Effel. DM 8 from Dresdener Antiquariat, July, ' This book is fun!
The back cover of the dust-jacket explains the book in terms of the genre of fable. Mostly, the humor here works the way a fable works. Several times the connection with fables surfaces even more clearly. A cartoon on 6 shows La Fontaine walking through the woods. The crow declares to other animals: He feels himself to be human since he heard the latest reports of human inventions for mass murder.
Again on 46, the wolf proclaims "Freedom everywhere! The fly who wants to commit suicide on 49 has to hope that the sugar cube to which he has tied himself will keep him from returning to life when he jumps into the cup of coffee. On 76 an epigram declares that the fact that mountains labor and bear only a mouse is explainable: The individual fables are not marked, but book beginnings are, and the books are listed in the T of C at the end.
There is also a short prologue. DM 7 from Dresdener Antiquariat, August, ' I have been surprised at how many fables -- and how many known traditional fables -- there are here. Published and printed in Hong Kong. A fine little bilingual paperback collection of one hundred fables. The preface sets up good criteria for selection. Fables are selected here that are comprehensible in translation and do not hinge on customs strange to us.
When two fables have more or less the same lesson, this anthology includes only one. Fables with currently used morals are preferred. Fables were once a weapon in wars of political ideology. Many of these originally formed a part of a larger text. My favorites here include 8, 12, 14, 17, 23, 29, 32, 43, 44, 51, 52, 57, 58, 61, 67, 68, 70, 72, 74, 76, 80, 86, and Folktales from Around the World.
Told by George Shannon. Illustrated by Peter Sis. An ingenious and well-written book which tells the puzzle-tales just right, from "How can you get the wolf, goat, and cabbage across the river unharmed? Aesop's CP fits right in. Another surprising place where Aesop is right at home! This book is identical with a version printed by the same publisher in , with the following changes.
It has a new cover showing the detail of the faces of the two mice against a white background. The front cover no longer proclaims "Large Type for First Readers. See the original for my further comments. Extra copy a gift from Wesley Harris, S. Straightforward presentation of of Aesop's fables with primitive but engaging "dot" drawings. The collection is preceded by a prologue and followed by a T of C. A length of pages there has been reduced to here, largely by putting more than one fable on a page and by using the reverse of illustration pages for more print. My two copies of this edition were both in the run of two thousand printed in February of , but they have distinct kinds of paper!
Extra copy for A straightforward presentation of seventy-five of Iriarte's fables, preceded by a prologue and followed by a T of C. Extra copy a gift of Linda Schlafer, Jan. A straightforward presentation of of Samaniego's fables, preceded by a prologue and followed by a T of C. Here is a copy of the printing of this paperbound book first published in As I wrote of our copy of that first printing, "La Lechera" and "El Espiritu de las aguas y el Lenador" are Aesop's two contributions to this nice bi-lingual book, which puts Spanish stories--and two colored illustrations--at the front and translations and questions at the back.
Apparently third in a series of ten books: Here is the Japanese version of a book I have liked in its Korean incarnation. Part of the fun is that the books are mirror opposites: GA is pictured on the cover. Where that Korean book was 5 in its series, this Japanese version is 3 in its series. As I mention there, I like this book, principally for its vivid color reproductions. It is still true that the back cover presents 15, but now it is not reversed. Originally purchased in BookTown for Yen.
Like its original, the book begins with Page 2, which is the inside front cover. Aesop's Fables in Verse. Verse by Gordon Kibler. Illustrations by Dell Hall. Paul Cave Publications Ltd.. Here are twenty-four lively verse retellings of familiar Aesopic fables, each on an unnumbered left-hand page. On the right pages are corresponding full-page colored illustrations. The paper used here is about as slick and heavy as I have seen. There is a nice black-and-white artist's design after each text. The dog in DS leans over a hand-railing. This good choice allows the artist to overcome some usual awkwardness in the dog's posture as he contemplates himself.
FWT displays not only the fox without the tail but the tail without the fox! In BW, the design showing townspeople running out to help at the end of the text is a good foil to the colored picture of the people not responding to the boy's urgent pleas. The trees' faces and bodies are well executed in "The Trees and the Axe. The dust-jacket reproduces the GGE illustration. Illustrations by Domingo Rubies. It is difficult to place this book geographically. I believe that Editorial Quinto Centenario is in Argentina, but this book seems to have publishers in Spain and Uruguay.
This hardbound book in fair condition has pages with perhaps a dozen black-and-white full page illustrations. Regularly one sees a picture on the right-hand page and then has to turn the page to find the matching text. There is a T of C at the back but no introduction at the front or back of the book. The verso of the title-page already faces the first fable, GA. Several illustrations but none in the two fables are apparently signed "Magda.
This curious, large-format, stiff-covered book contains two eight-paged fables, with one illustration and a few lines of text for each page. The illustrated figures are regularly childlike and even childish. GGE 61 varies the story more than I have ever seen before. A girl Joanna was poor but generous. A magician gave her a beautiful white hen , which delivered golden eggs.
Joanna became rich and disagreeable. Soon the hen began giving not gold but big fried eggs. She began to beat the hen with a broom. Then the magician appeared to tell her that it was Joanna's fault, not the hen's. She had a conversion and distributed to poor children the now continuous supply of golden eggs. In TH A proud hare suggested the race to a female tortoise, who seems to wear a basket of flowers on her head. Collection One, mentioned on , includes MM.
The figures here seem to remind me of work I have seen before, particularly the sweating tortoise and the blue bunnies on the end-papers; but I cannot locate them elsewhere. This book is internally almost completely identical with another in the collection, found at Second Hand Rose in Evanston. The two noteworthy differences are that this book was printed in Hungary, not Russia, and that its covers not show a green background and lively cartoon characters: The other book had featured a traditional presentation of various story characters -- particularly Red Riding Hood and Puss in Boots -- against a blue background, with a smaller version of the same on the back cover.
The two books have the same ISBN number. This copy has a crimped title-page and a page without writing half torn at the end. As I wrote of that other book, it is a curious, large-format, stiff-covered book containing two eight-paged fables, with one illustration and a few lines of text for each page. The cover is Page 1 of this large-format stiff-paged book of five fables. Each receives two double-pages. The frog shows great positions and poses on the way to bursting. An apron helps to show how she is expanding.
The grasshopper in GA has a great face; he plays an accordion. Page 2 is marked slightly. Illustrations by Maya Filip. The versions of the two fables here are faithful to La Fontaine; FC is as faithful as I have ever seen a version in English! On the back cover one finds "Children's Books Ltd - Stafford. Now I have four of them. Illustrations by Ileana Ceausu Pandele. The poetry starts with a rhyme but does not have a clear scheme that I can see. The versions of the two fables here are faithful to La Fontaine.
Illustrations by Carlos Busquets. The texts are arranged in sense lines. Notice the looks on the two donkeys' faces throughout the second fable. Two down and sixteen to go! Illustrations by Violayne Hulne. My prize goes to the kid's view of the wolf's eye through the peephole. The second fable has a lovely turn when it says that Aesop has stories that show that you should not make fun of sad people.
Then comes the surprise: The Tall Book of Nursery Tales. Pictures by Feodor Rojankovsky. Treasured Tales of Childhood: Put together by Barbara Simons and Ruth Rooney. With pictures by Jessie Willcox Smith. The ultimate in cheapo knockoffs for the price. About twelve fables are mixed in. The eighty-six stories seem to have no special order. AI at the beginning. The original publication date was The illustrations none on Aesop seem to stop at A delightful, crazy alphabet with fables and morals, described by the dust jacket as a "kind of intellectual hit and run.
I enjoy this book. This children's book is composed of seven thick boards bound together. On the cover a grasshopper with moustache sits on a mushroom playing his fiddle as a row of ants marches by carrying or rolling food and an ant-baby. The next pages expand on their labors. They include a cut-out portion that looks past their hill to the flowers. On the following pages ants continue their workline while, I believe, young grasshoppers dance about and the older grasshopper continues to fiddle.
Succeeding pages show more ant work, including carrying off a dead or exhausted ant on a stretcher. And we see lots of grasshopper fiddlers while other ants push carts full of food, both by day and by night. Soon there are rains and snows, and an ant finds the grasshopper lying next to his fiddle on the ground. The ants take him in, feed him, and dance to his music. I believe it is typical of the East Block countries that a Hungarian book was executed in Czechoslovakia. Might there have been a Czech original? Written by Barbara Hayes. Illustrated by Phillip Mendoza. Extra copy for the same price at the same time.
Here is one of the four books in the series on the TMCM. Like Up, Up and Away, this one has little to do with the originating fable. It describes a river-crossing trip by Annabel and Jeremy to visit Flora and Fred. The best illustrations are the two scenes at the shore: Annabel in her much-admired motor car 19 and being photographed at the beach Again, I find the illustrations delightful.
Fortalt af Soren Christensen. Med tegninger af Svend Otto S. Here is the original publication behind the English "Aesop: The Donkey and the Dog. As I mentioned in my comment on the English version, the illustrations in this sequel may be better than those in the original. If anything, the illustrations here are even better than there. Inscribed to Dennis by Gary G. This book has been a major surprise. I have had it on my want list for some time. It turns out to have almost nothing to do with Aesop.
The back cover says that the book "is a book of short stories and poems so designed to deliver the Aesop punch. I did find some bothersome typos and mistakes. The poetry is not my kind of poetry. The poetry is heavy on rhyme and the prose on sets of four dots. Retold by Robert Mathias. Color illustrations by David Frankland. Line illustrations by Meg Rutherford. The line drawings impress me as more successful than the colored illustrations, which seem a nostalgic attempt.
The best of the line drawings is of "The Stag and the Pool. First published in by Hamlyn in England. Silver Burdett adapted and published it in the USA in This is a later reprinting of Troubador's 2 coloring album, with about fifteen splendiferous psychedelic pictures to color in. As I mention there, generally the art has lost sight of the story. Troubador found a new owner in the meantime: The changes in the booklet occur on the front cover, title-page, verso of the title-page, last page, and back cover. The cover has taken on a new border. The verso of the title-page shifts the publisher and place from San Francisco to Los Angeles.
The last page presents the ads for Troubador books differently. The back cover changes the ISBN number and again adds the new publisher and place. This later edition squares the binding, which under Troubador in the original edition had been two staples. These are thirty-three of the most biting pages I know about fables. The book makes a good antidote for the presumption that fables are saccharinely cute and for children.
The old lion is dying, with the fox nearby. Aesop the fabler is also facing his final hour as he goes deep into the forest to the lion's cave and then eventually runs from it, presumably into the arms of the outraged citizens of Delphi. The eye-illustration on 18 may be the best of a stimulating and appropriately weird lot. See 20 for a sample of the action: Aesop makes his way to the old lion's cave past the fox eating the heart of the stupid deer. The animals have turned on Aesop--perhaps for taunting fools? Aesop continues to examine their excrement. In the midst of ruminations and fears and preparations, a turtle trying to master flying plummets through the sky Mentioned earlier on 20, he finally hits the ground next to the lion on The lion tells Aesop 29 pointedly "Wit will not get the better of strength.
Aesop becomes another Socrates as victim of the state and unleasher of revenge The final scene is the death of the lion, who fights back and loves it! Coover must touch on a hundred fables in this work of novella-length. My hat is off to him for a great work. I discovered it first in the L of C and was delighted later to find a copy on the Internet. The Old Man and Death. Retold by Peter, cuts by Donna Thomas. Handset, printed on Peter's paper and bound in an edition of copies. This is copy No place of publication named. The Good Book Press. A beautifully made little book that tells this Aesopic story very well.
The size seems to me to work against the two cuts. There is an exquisite design of hatchet and wood on the cover. Retold by Catherine Storr. Illustrated by Philip Hood. Great Tales from Long Ago. The appealing version offered here includes elements sometimes not found: Androcles has a wife, Numia, and a little son; they live in North Africa; when he is finally freed and reunited, he lives with the lion in Rome. The visual art is not to my taste. Here is something new: The illustration and elaboration are delightful; the characterization of the sophisticated city mouse is good.
The funniest moments include "changing" after dinner, "going out" the next morning, and Jeremy's repairing of the city car. Justin Wilson with Jay Hadley. Illustrated by Errol Troxclair. Le belle e le bestie a cura di Francesco Saba Sardi. A big book in every way! There are six thematic groups of between seven and fourteen stories each, every group starting with one Perrault story and finishing with the rest from Aesop.
The introduction speaks of offering cotolette of Perrault along with many contorni of Aesop! The art is big and bold in several styles. Should the lion's skin 79 have eyes of its own? Illustrated by Val Biro. Companion of Aesop's Fables cassette tape, sold in the same set. Gift of Helen McGuire, Nov. One of the best renditions I have seen lately. The pictures are excellent, well produced, and witty. Some stories besides SW miss, as when the dolphin does not use a proper name with the monkey. Amazon downloads audio books Spencer's Synthetic Philosophy, Vol. Free downloads from amazon books Habilitation, Health, and Agency: Free download books textile Postnationalism Prefigured: Ebook for bank exam free download Truth, Beauty, and Goodness Reframed: Ebook download gratis epub The moral ideal: Pdf ebooks free downloads Quo Vadis Quantum Mechanics?
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