Fables and Fabulists: Ancient and Modern

Fables and Fabulists: Ancient and Modern
Thomas Newbigging

Thomas Newbigging

Fables and Fabulists: Ancient and Modern

CHAPTER I

DEFINITION OF FABLE

'Read my little fable,
He that runs may read.'

    Tennyson: The Flower.
'As clear as a whistle.'

    Byron: The Astrologer.
The term 'fable' is used in two senses, with two distinctive meanings.

First, as fabulæ, it is employed to denote the myths or fictions which, by the aid of imagination and superstition, have clouded, or have become blended with, the history of the remote past. Such are the stories related of Scandinavian and Grecian heroes and gods; beings, some of whom doubtless had an actual human existence, and were wise and valiant and powerful, or the reverse, in their day, but around whose names and persons have clustered all the marvellous legends that are to be found in mythological lore. The better name for these is 'romance.'

Secondly, as fabellæ, it is used to signify a special branch of literature, in which the imagination has full play, altogether unassisted by superstition in any shape or form. The fabulist confers the powers or gifts of reason and speech on the humbler subjects over whom he exercises sway, and so has ample scope for his imaginative faculty; but there is no attempt on his part at any serious make-believe in his inventions. On the contrary, there is a tacit understanding between him and his hearers and readers, that what he narrates is only true in the sense of its application to corresponding circumstances in human life and conduct.

It is with fable as understood in this latter sense that we propose to deal.

The Fable or Apologue has been variously defined by different writers. Mr. Walter Pater, paraphrasing Plato's definition, says that 'fables are medicinable lies or fictions, with a provisional or economized truth in them, set forth under such terms as simple souls can best receive.'[1 - 'Plato and Platonism,' by Walter Pater. London: Macmillan and Co., 1893, p. 225.] The sophist Aphthonius, taking the same view, defines the fable as 'a false discourse resembling truth.'[2 - Aphthonius flourished at Antioch, at what time is uncertain. Forty of his Æsopian fables, with a Latin version by Kimedoncius, were printed from a MS. in the Palatine Library at the beginning of the seventeenth century. 'The Æsopian Fable,' by Sir Brooke Boothby, Bart. Edinburgh: Constable and Co., 1809. Preface, p. xxxi.] The harshness of both these definitions is scarcely relieved by their quaintness. To assert that the fable is a lie or a falsehood does not fairly represent the fact. A lie is spoken with intent to deceive. A fable, in its relation, can bear no such construction, however exaggerated in its terms or fictitious in its characters. The meanest comprehension is capable of grasping the humour of the situation it creates. Even the moral that lurks in the narration is often clear to minds the most obtuse. This is at least true of the best fables.

Dr. Johnson, in his 'Life of Gay,' remarks that 'A fable or epilogue seems to be, in its genuine state, a narrative in which beings irrational, and sometimes inanimate —quod arbores loquantur, non tantum feræ[3 - 'Even trees speak, not only wild beasts.' – Phædrus, Book i., Prologue.]– are, for the purpose of moral instruction, feigned to act and speak with human interests and passions.'

Dodsley says that ''tis the very essence of a fable to convey some moral or useful truth beneath the shadow of an allegory.'[4 - 'Essay on Fable.'] Boothby defines the fable as 'a maxim for the use of common life, exemplified in a short action, in which the inhabitants of the visible world are made the moral agents.' G. Moir Bussey states that 'the object of the author is to convey some moral truth to the reader or auditor, without usurping the province of the professed lecturer or pedant. The lesson must therefore be conveyed in an agreeable form, and so that the moralist himself may be as little prominent as possible.'[5 - 'Fables Original and Selected,' by G. Moir Bussey. London: Willoughby and Co., 1842.] Mr. Joseph Jacobs says that 'the beast fable may be defined as a short humorous allegorical tale, in which animals act in such a way as to illustrate a simple moral truth or inculcate a wise maxim.'[6 - 'The Fables of Æsop,' as first printed by William Caxton in 1484. London: David Nutt, 1889, vol. i., p. 204.]

These various definitions or descriptions apply more especially to the Æsopian fable (and it is with this that we are dealing at present), which is par excellence the model of this class of composition. Steele declares that 'the virtue which we gather from a fable or an allegory is like the health we get by hunting, as we are engaged in an agreeable pursuit that draws us on with pleasure, and makes us insensible of the fatigues that accompany it.'[7 - 'The Tatler,' No. 147, vol. iii., p. 205.] This is applied to the longer fable or epic, such as the 'Iliad' and 'Odyssey' of Homer, or the 'Faerie Queen' of Spenser, rather than to the fable as the term is generally understood, otherwise the simile is somewhat inflated.

One more definition may be attempted:

The Æsopian fable or apologue is a short story, either fictitious or true, generally fictitious, calculated to convey instruction, advice or reproof, in an interesting form, impressing its lesson on the mind more deeply than a mere didactic piece of counsel or admonition is capable of doing. We say a short story, because if the narration is spun out to a considerable length it ceases to be a true fable in the ordinary acceptation of the term, and becomes a tale, such, for example, as a fairy tale. Now, a fairy or other fanciful tale usually or invariably contains some romance and much improbability; it often deals largely in the superstitious, and it is not necessarily the vehicle for conveying a moral. The very opposite holds good of a fable. Although animals are usually the actors in the fable, there is an air of naturalness in their assumed speech and actions. The story may be either highly imaginative or baldly matter-of-fact, but it never wanders beyond the range of intuitive (as opposed to actual or natural) experience, and it always contains a moral. In a word, a fable is, or ought to be, the very quintessence of common sense and wise counsel couched in brief narrative form. It partakes somewhat of the character of a parable, though it can hardly be described as a parable, because this is more sedate in character, has human beings as its actors, and is usually based on an actual occurrence.

Though parables are not fables in the strict and limited meaning of the term, they bear a close family relationship to them. Parables may be defined as stories in allegorical dress. The Scriptures, both old and new, abound with them. The most beautiful example in the Old Testament is that of Nathan and the ewe lamb,[8 - 2 Samuel xii. 1-7.] in which David the King is made his own accuser. This was a favourite mode of conveying instruction and reproof employed by our Lord. Christ often 'spake in parables'; and with what feelings of reverential awe must we regard the parables of the Gospels, coming as they did from the lips of our Saviour!

CHAPTER II

CHARACTERISTICS OF FABLES

'To hold, as 'twere, the mirror up to Nature.'

    Shakespeare: Hamlet.
There is an archness about the best fables that creates interest and awakens curiosity; and it is the quality of such that, whilst simple enough as stories to be understood and enjoyed by the young, they are at the same time calculated to interest, amuse, instruct and admonish those more advanced in years.

A fable should carry its moral without the telling; nevertheless the application is often worth supplying, because it puts, or should put, the lesson taught by the fable in a terse and impressive form. Above and beyond all, a fable should possess the quality of simplicity, and whilst easy to be understood, it should have force and appropriateness.

Fables treat of the follies and weaknesses, and also of the nobler qualities, of humankind, generally through the medium of the lower animals and the members of the vegetable and natural kingdom. These are made to represent the characters we find in human life. Curious, that although it is chiefly the lower animals and inanimate things that are made the vehicle of the instruction or reproof contained in the story, we do not feel that there is any incongruity in these having the power of speech. We willingly accept the circumstance of their faculty of speech and reasoning as Gospel truth for the time being. It is natural that they in the fable should speak as the heroes or actors, and we listen to their words, whether wise or foolish, with deference or contempt as the case may be.

It is a question in casuistry how far justice and injustice are done to the inferior animals and the members of the vegetable kingdom by this liberty that is taken with them in the fable. If they had the knowledge of the fact, and the power of remonstrance, it may be conceived that some of them, at least, would repudiate the characters and propensities which we in our superior conceit so glibly ascribe to them in the fable. And, indeed, there is doubtless a good deal of unfairness in our habit of stigmatizing this one with cunning, that one with cowardice, and the other with cruelty, or stupidity, or dishonesty, as suits our purpose. Possibly if some of the humbler creatures thus branded were gifted with the power of writing fables for the benefit of their fellow creatures and associates, they might be able to point to characteristics in the higher order of beings which it is desirable to hold in reprobation, and this, too, with as much or more reason and justice on their side than we have on ours. But, in truth, the fabulists themselves tacitly admit the force of this argument, inasmuch as the failings and defects and general qualities which they ascribe to the characters in the fable are, of course, those of the human species. A fable of Æsop, The Man and the Lion,[9 - Quoted from James's 'Fables of Æsop.' Murray, 1848.] is very much to the point here:

'Once upon a time a man and a lion were journeying together, and came at length to high words which was the braver and stronger of the two. As the dispute waxed warmer they happened to pass by, on the road-side, a statue of a man strangling a lion. "See there," said the man; "what more undeniable proof can you have of our superiority than that?" "That," said the lion, "is your version of the story; let us be the sculptors, and for one lion under the feet of a man, you shall have twenty men under the paw of a lion!" Men are but sorry witnesses in their own cause.'

A fable is generally a fiction, as has already been said. It is a singular paradox, however, that nothing is truer than a good fable. True to intuition, true to nature, true to fact. The great virtue of fables consists in this quality of truthfulness, and their enduring life and popularity are corroboration of it. If not true in the sense of being reasonable, they are nothing, or foolish, and therefore intolerable. We instinctively feel their truth, and are encouraged, or amused, or conscience-smitten by the narration, for they deal with principles which lie at the very root of our human nature.

It is a remarkable feature of this species of composition that a departure from the natural order of things loses its incongruity in the fable; and although this view has been controverted, the argument against it fails to carry conviction in face of the excellent examples that can be adduced. By way of illustration, take the fable of the man and his goose that laid the golden eggs. We don't remember ever meeting with a goose of this particular breed out of the fable. There are numberless geese in the world – human and other. But the goose that lays a golden egg every morning is a rara avis. Nevertheless, she has a veritable existence in the fable, and we would as soon think of casting a doubt on our own identity as on that of the fabled bird. The story has always been, and will continue to be, Gospel truth to us, and we never recall it without commiserating the untimely end of the poor obliging goose, and thinking, at the same time, what a goose its owner must have been to kill it and cut it up, in expectation of finding in its inside the inexhaustible treasure his impatient greed had pictured as existing there. Semper avarus eget. Had we been the fortunate owner of such an uncommon fowl, one golden egg each day would have contented us!

Certain early authors, with the formalism which characterizes their writings, have attempted an arrangement of fables under three distinct heads or classes, designating them, respectively, Rational, Emblematical, and Mixed. The Rational fable is held to be that in which the actors are either human beings or the gods of mythology; or, if beasts, birds, trees, and inanimate objects are introduced, the former only are the speakers. The Emblematical fable has animals, members of the vegetable kingdom, and even inanimate things for its heroes, and these are accordingly gifted with the power of speech. The Mixed fable, as the name implies, is that in which an association of the two former kinds is to be found. The distinction, though perfectly accurate, serves no useful purpose and need not be observed. As a matter of fact, all fables are rational or reasonable from the fabulist's stand-point; and all are emblematical or typical of moods, conditions, and possible or actual occurrences in daily life, whoever and whatever be the actors and speakers introduced.

CHAPTER III

THE MORAL AND APPLICATION OF FABLES

'Come, sir, lend it your best ear.'

    Ben Jonson: Love Freed.
Thus La Fontaine:[10 - Preface, 'Fables,' 1668.] 'The fable proper is composed of two parts, of which one may be termed the body and the other the soul. The body is the subject-matter of the fable and the soul is the moral.'

On the origin of the added morals to fables, Mr. Joseph Jacobs[11 - 'History of the Æsopic Fable,' p. 148.] has the following appropriate remarks: 'The fable is a species of the allegory, and it seems absurd to give your allegory, and then give in addition the truth which you wish to convey. Either your fable makes its point or it does not. If it does, you need not repeat your point: if it does not, you need not give your fable. To add your point is practically to confess the fear that your fable has not put it with sufficient force. Yet this is practically what the moral does, which has now become part and parcel of a fable. It was not always so; it does not occur in the ancient classical fables. That it is not an organic part of the fable is shown by the curious fact that so many morals miss the point of the fables. How then did this artificial product come to be regarded as an essential part of the fable? Now, we have seen in the Jātakas what an important rôle is played by the gāthas or moral verses which sum up the whole teaching of the Jātakas. In most cases I have been able to give the pith of the Birth-stories by merely giving the gāthas, which are besides the only relics which are now left to us of the original form of the Jātakas. Is it too bold to suggest that any set of fables taken from the Jātakas or their source would adopt the gātha feature, and that the moral would naturally arise in this way? We find the moral fully developed in Babrius and Avian, whom we have seen strong reason for connecting with Kybises' Libyan fables. We may conclude the series of conjectures by suggesting that the morals of fables are an imitation of the gāthas of Jātakas as they passed into the Libyan collection of Kybises.'

Montaigne remarks that 'most of the fables of Æsop have diverse senses and meanings, of which the mythologists chose some one that quadrates well to the fable; but for the most part 'tis but the first face that presents itself and is superficial only; there yet remain others more vivid, essential and profound into which they have not been able to penetrate.'[12 - Essay: 'Of Books.']

If this be so, it is an argument against the common practice of limiting their significance to the one moral that is often given as an appendage to the fable. It is worthy of note that Æsop did not supply, either orally or in writing, the separate moral to any of his fables. They were left to speak for themselves and produce their unaided effect. The moral or application appended to or introducing a fable (for both practices are followed), is an innovation, as appears from what has already been advanced, probably intended to make clear what was obscure in the apologue.

The true moral is contained in the fable itself. The application may, and often does, vary with the idiosyncrasies of the commentator. Besides the moral and application there is in some collections of fables what is designated 'The Remark,' and 'The Reflection,' in which the commentator tries, as it were, to drive home the application of the story with an additional blow. Our own experience as a youth was that all these appendages to the fable were invariably skipped.

From all which it would appear that the moral and the so-called application of a fable are not one and the same thing. In point of fact, the latter may and does vary according to the peculiar views of the commentator. An exemplification of this may be found in the applications of Sir Roger L'Estrange and Dr. Samuel Croxall, the latter taking it upon him to stigmatize in strong language the twist which he asserted the former gave to the morals of the fables in his collection. L'Estrange, who was a Catholic, concerned himself in helping the restoration of Charles II., and was a devoted adherent of his successor, James, from whom he received place and emoluments. In publishing his version of Æsop, his object, as he affirms in his preface, was to influence the minds of the rising generation, 'who being as it were mere blank paper, are ready indifferently for any opinion, good or bad, taking all upon credit.' Whereupon Croxall observes: 'What poor devils would L'Estrange make of the children who should be so unfortunate as to read his book and imbibe his pernicious principles – principles coined and suited to promote the growth and serve the ends of Popery and arbitrary power,' and more to the same purpose.

The question as to whether the moral or application, if any is supplied, should be placed at the beginning or end of a fable has sometimes been discussed. On this head Dodsley has some pertinent remarks that may be quoted. He says: 'It has been matter of dispute whether the moral is better introduced at the end or beginning of a fable. Æsop universally rejected any separate moral. Those we now find at the close of his fables were placed there by other hands. Among the ancients Phædrus, and Gay among the moderns, inserted theirs at the beginning; La Motte prefers them at the conclusion, and La Fontaine disposes them indifferently at the beginning or end, as he sees convenient. If,' he adds, 'amidst the authority of such great names I might venture to mention my own opinion, I should rather prefer them as an introduction than add them as an appendage. For I would neither pay my reader nor myself so bad a compliment as to suppose, after he had read the fable, that he was not able to discover its meaning. Besides, when the moral of a fable is not very prominent and striking, a leading thought at the beginning puts the reader in a proper track. He knows the game which he pursues; and, like a beagle on a warm scent, he follows the sport with alacrity in proportion to his intelligence. On the other hand, if he have no previous intimation of the design, he is puzzled throughout the fable, and cannot determine upon its merit without the trouble of a fresh perusal. A ray of light imparted at first may show him the tendency and propriety of every expression as he goes along; but while he travels in the dark, no wonder if he stumble or mistake his way.' If it be considered necessary or desirable to give the moral separately, or to apply the fable, Dodsley's argument here seems to us to be incontrovertible.

CHAPTER IV

FABULISTS AS CENSORS

'Mark, now, how a plain tale shall put you down.'

    Shakespeare: King Henry IV.
Fabulists as censors have always been not only tolerated, but patronized and encouraged, even in the most despotic countries, and when they have exposed wickedness and folly in high places with an unsparing hand. Æsop among the ancients, and Krilof amongst the moderns, are both striking examples of this. The fables of antiquity may indeed be truly said to have been a natural product of the times in which they were invented. In the early days, when free speech was a perilous exercise, and when to declaim against vice and folly was to court personal risk, the fable was invented, or resorted to, by the moralist as a circuitous method of achieving the end he desired to reach – the lesson he wished to enforce. The entertainment afforded by the fable or apologue took off the keen edge of the reproof; and, whilst the censure conveyed was not less pointed and severe, the device of making the humbler creatures the scapegoat of human weakness or vice mollified its bitterness. The very indirectness of the fable had the effect of making the sinner his own accuser. Whom the cap fitted was at liberty to don it.

Phædrus, in the prologue to his third book, thus gives his view of the origin and purpose of fables:

'Here something shortly I would teach
Of fables' origin. To reach
The potent criminal, a slave
To beasts and birds a language gave.
Wishing to strike, and yet afraid,