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the folktale and fable IN GREECE

1. EL CUENTO POPULAR EN GRECIA
2. DEFINICIÓN DE LA FÁBULA COMO GÉNERO LITERARIO
3. EVOLUCIÓN DE LA FÁBULA EN GRECIA: LA COLECCIÓN DE ESOPO: BABRIO
4. SUERTE DE LA FÁBULA In later tradition


1. TELL THE PEOPLE IN GREECE

The fable is a brief narrative style, typical of oral cultural traditions.
In that sense the story can be read in conjunction with the popular story, narrative and genre also own the same traditions.
In fact, as we shall see little later, the same terms are used in Greek sources to refer to myths or folk tales logos / mythos.
therefore understand that it may be functional starting this exhibition remembering how little we know about folk tale (Märchen ) in Greece (or Roma), to then focus on the specific topic of the story. According
indicate Mensching (1969) and (with shades) Käppel (1999), the story of Greece and Rome is virtually unknown to us because

• codes have not been preserved Greek stories (such as of myths and fables).
• also does not appear that there has been.
• The only story with a tale from antiquity is retained as fable of Psyche and Apuleius Cupid: The story character can see p. eg. at the beginning: in quadam erat rex et regina ciuitate. three number filias hi ... habuere: no resemblance to the introductory formulas of the stories in other traditions.

Whilst it is clear that Apuleius wanted to give this story looks like a traditional story, do not know if the story is his own invention or whether it really has become (and refining) a folktale.

So, what evidence we have to assume that in Greece there was a growing popular story? There is evidence of two types:

1. Testimony on stories in Greece.
2. The motives of the story found in works of other genres.

1. As regards the testimonies , it must be said first that they are difficult to interpret.

• happens that the sources do not differentiate between story / fable / legend / myth.
• therefore identical formulas used to refer all these genres and do not have total security when we're talking about stories, the formulas to which I refer are, in Greek mythos (graôn) / mytheúo / logos
• And in Latin: fable / Fabella (anilis).

2. In almost all genres of Greece appear occasionally reasons the story. There are examples in

• Herodotus and logographers
• Old Comedy
• coral Lyric Tragedy
• But above all, in the epic, and especially in the Odyssey.

In fact, the plot of the whole poem can be analyzed as a typical plot of the story, said Hölscher (1988), is the story of the hero (Odysseus) who must overcome various tests until finally reaching the hand of the princess (Penelope). See more at the entrance 04. The Odyssey as an epic novel .
In another textual level, in the Odyssey are attested p. eg. the following reasons the folktale:

• the reason for the monster that devours human flesh, which the protagonist kills (or blinded) at IX 350 ff. (Cf. the story of Little Red Riding Hood, the wolf and the hunter);
• the reason the container is opened against what had been commanded (in X 44 et seq.): Subject uses within the archaic Greek, in the history of Pandora
• the reason for the transformation of men into animals (X 325 ff.).

In all these cases is documented folk motifs in other traditions (cf. Aarne-Thompson 1964, 2 nd ed.).

But despite the above, it should be emphasized that everything we know about the story in Greece, only we know by analogy with other traditions.
Therefore, the Greek folk tale can only be known in an indirect way and it is not possible to determine the specific characteristics of that story.

2. DEFINITION OF GENDER AS A LITERARY FABLE

In the absence of folktales, the only short story genre as we know Greece is fable.
Certainly, the story can be viewed as a special kind of story, the "animal story" according to the type of Aarne-Thompson (1964, 2nd ed.).
However, the fact that these scholars differentiate between folktale

"animal tales"
"humorous stories"
and " stories in the proper sense " (emphasis mine),

and is telling us that seems more functional distinction between fable and story. Moreover
be taken in mind that, while not as common, can also be figures of fable, animals endowed with speech,

• men (eg., "the farmer's children")
• plants (also able to speak: see eg. "spruce and the bush", there are also a fable of its kind in Callimachus, fr. 194 Pfeiffer)
• and even the gods, which sometimes lead protests animals (Callimachus, fr. 192 Pfeiffer).

Indeed, in this fable of Callimachus discussed an event that explains the fact that animals of the fables follow guidelines of human behavior, contrary to our experience:

• at an early stage the animals were equipped with word as the men;
• annoying for various reasons, the animals sent embassies to Zeus;
• until, finally, Zeus, upset turn by the impertinence of the animals, the reduced punishment to the condition we know them.

The Greek fable , as the Latin or Eastern, is characterized by brevity its length and the In submitting three main features and unchanging, as already noted in antiquity Elio Theon ( progymnasmata 72, 27 et seq.)

• narrative form;
• an argument expressed in a fictitious contained a moral lesson;
• and makes explicit the moral lesson.

arguably also in the synthetic formulation of Theon, the fable is "a fictional story that plays the truth."
Indeed, contrary to what we tend to think, the moral need not appear at the end: it can also appear preceding the story (see eg. The fable of Phaedrus IV Simonides 23), in this case is called of promýthion, against the most common epimýthion .

The three items listed above (narrative / fictional plot / moral) are already in the first Greek fable preserved: the Ainu the hawk and the nightingale that tells Hesiod in Works and Days ( vv. 202-212).

(I stress, of course, that the first Greek author conveys a story is Hesiod: in Homer no fables, possibly because of the inherent trend of this kind - remember Homer marginalized for the same reason also the two most popular divinities, Demeter and Dionysus).

Now'll tell a tale of kings, that they too are wise. / Thus said the hawk to the nightingale of colorful neck / while carrying far above the clouds, captured with the claws; / him so piteously, pierced by the curved claws / she lamented. At this the other addressed him with arrogance these words: / "Unhappy, why scream? Now you're at the mercy of a lot stronger than you. / You'll go wherever I take you, however you are singing. / And if I'll make you my lunch, or let you go. / Fool anyone who wants to compete with those who are stronger: / of victory is deprived and, together with such shame, suffers calamities. " / So said the swiftly flying hawk, broad winged bird.

The fable of the hawk and the nightingale seems to fit poorly to its context in Jobs ... : it plays at least West (in his commentary on the passage), although other (Van Dijk) are of a different opinion.

It should be noted that compounding Hesiod Works and Days following a dispute with his brother Perses.

When presenting the case before the judges, they failed in an unfair manner against the interests of Hesiod, who took and walk to compose a poem about justice among humans.

Actually the fable told in these verses seems to give them a powerful reason that in his opinion, they use their positions to violate the law.

might even say that the story should not habérsela Hesiod directed to the kings: on the contrary, they may habérsela proposed to him. The problem stems
possibly adaptation unfortunate in this context, a preexisting story.
is quite possible that at this point, as in his other works, Hesiod dependent on the influx of East . The inflow due to play a role in the development of the fable in Greece:

• know, p. eg., that the India played an important role animal fables.
• We also know that this type of fables existed in Mesopotamia.
• We expect that the Ionians of Asia Minor have made pathway of these fables, facilitating the transit of the Middle East to Greece.
• P. eg., Aesop's fable of "the fly and the elephant" is correlated to an Akkadian tale with the same characters / / Sumerian fable of "the dog and the fig tree" is a history of Aesop's fable "the fox and the grapes. "

What matters here is assumed to note that Hesiod's fable of the three elements unchanged given that he wished (the way narrative, fiction and the moral argument ), even though it may give the impression that the outcome is detrimental to its interests. Import
also indicate that, in the text of Hesiod, the story has an element of social criticism and protest of the powerless against the powerful. That
element of social criticism, which must belong to the genre from its origins, also appears in most fables of archaic and classical period (eg. in Archilochus).

• social complaints in these appeals is the concept of justice, which is to put each one in its place;
• but avoids direct complaint through the artifice of the dummy argument, so often starred by animals.

3. FABLE DEVELOPMENTS IN GREECE: THE COLLECTION OF AESOP: Babri

Greek fables of those times have come down to us embedded major literary works, as already mentioned by Hesiod and Archilochus as they write, Herodotus and Aristophanes; look

• Archilochus, fr. 174-181 (revenge of the fox against perjured eagle) and 185-187 West (the fox and the monkey);
• Herodotus I 141, 1-2 (flutist and fish);
• Aristophanes, Wasps 1399-1405 (Aesop and the dog).

retain In later times collections of fables in which they appear as autonomous texts, we might even say, as models of short stories.
Of these the most famous collections Aesop Library, which takes its name from the legendary Aesop.

assume that the historical Aesop must have been born in Thrace at the beginning of S. VI a. C. and lived in Samos. The S.
VI should be dated the Novel Aesop, which is only preserved in subsequent elaborations that precede it in some manuscripts to the collection of fables.
This novel Aesop must have and our first collection of fables, linked to the fanciful story of life character. Herodotus (II 134) and knew a version of the novel Aesop.

This text precedent in the East, as the Novel of Ahiqar, appears to have been known in Athens in S. V a. C.

• Such works are, in general, texts in which such varied stories are enshrined in the narrative of the life of a character famous for his wisdom.
• this kind of writing, typical of popular literature, also belong in the Greek tradition, some Lives of Homer, Certamen or Homer and Hesiod.

In S. V the Greeks associated the fable in genere the Thracian logopoiós Aesop.
Aesop's original work, more or less coincident with that included in its Novel must constitute the original nucleus of the posterior corpus of fables, Aesop.
The difference is that, at a time later, be forfeited to the artifice of the character's life as a structural element of all kinds of stories. Aesop
The collection has reached us was prepared, in origin, the Hellenistic period (around 300 to . C.) by Demetrius Falero (according to Diogenes Laertius V 80-81). Demetrius
Falero is the peripatetic writer, author of the Sayings of the Seven Sages ; texts gave the name of logoi Aisópeioi .

• Obviously, this name suggests that Demetrius did not consider all texts as the work of Aesop.
• Very possibly (if the order is similar to that shown in Rylands papyrus century AD, our oldest collection of fables), within this collection of fables should be grouped together based on the identity of the protagonists.
• And some critic (Luzzato) suggests groups like fables of plant / animal / animal and men / heroes and gods ", etc ...
• Demetrio The library should pursue a practical purpose and be something like a "book text ", a repertoire of tales similar to the repertoire of proverbs or statements that could have practical applications in the field of rhetoric.
• Remember, of course, that the old theory of the fable is that of a rhetorician, Elio Theon.

However, the logoi Aisópeioi not known to us directly by the collection of Demetrius: We are known primarily by the Collectio Augustana , that

• located in the SS Perry. I / II d. C.
• Adrados (1979, 78-79) attributes it to a later date: Late Antiquity.
• Luzzato (1983) places the collection in the SS. IX / X, he considers this as part of a Byzantine encyclopedic project: its interpretation of the consideration that Aes. T 1 contains the original preface of the compiler.

We have

also other collection, as

• The Collectio Vindobonensis , which includes colorful stories and presents a language little care, it contains fables in verse.
• The Collectio Accursiana was the most publicized until the discovery of the Augustana. was edited by Acursio in 1479 / 1480. This collection merges the tradition of the Vindobonensis and the Augustana.

Aesop in the collection, we can read, thanks to Demetrius Falero and collection, back, of course, to find the story of the hawk and the nightingale ( Aes. 4a), s nly now is retrofitted and moralized in another sense:

A nightingale was perched on a lofty oak sang as their custom. But a hawk who saw him as walking short of food, swooped upon him and caught him. The nightingale, seeing that he was dying, begged him to let go, saying he was not enough to fill the belly of the falcon and it should, if needed food, attack larger birds. The hawk replied saying: "But I would be stupid if I threw away the piece that I have in my grasp prey to go after those who have not yet been presented." The fable shows that, similarly, are the most foolish of men who left to escape what they have in hand by the hope of greater goods.

Under this text would like to draw attention to three issues:

1. The story itself is called as logos: in the case of Hesiod's version of the term employee had been the Ainu (term used only in archaic: it emphasizes the aspect of the fable parenthetical).
2. The term logos, however, highlights the narrative element, sometimes within the corpus Aesop, the term logos Is replaced by mythos, turn underlining the fictional aspect of the argument.
3. version In Aesop's fable lacks the dimension of social criticism present in Works and Days.
   

Aesop's collection, although the most famous heritage has left us in the ancient world, is not the only one that has come down to us complete.

In Greek literature we retain, above all, the Babri fables in verse (second century AD "?), Its Mythíamboi, 144 metric compositions grouped into two books.
In the manuscripts, these Mythíamboi appear in alphabetical order (by alphabetical order of the first word of every story). Babri
had to live and work in the court of a ruler of the Greek world. From internal evidence it has been assumed (Perry is the theory of) their native language was Latin and then Hellenized.
dedicated his collection Branco his student. This dedication serves to remind the school application that was taking at the time the study of fables.

But at the time the Babri fable transcends the practical application, since in it the story is intended as a piece of art and personal reading.

In fact, the Babri fable fable is a type of more elaborate than the ESOP, and so he now proclaims in the preface to the collection.
In that land is that it aims to recreate for fables Branco Aesop: "every one of them I am going to make flourish in my memory, recreating" (trad. López Facal).
This aspect of virtuosity of the Mythíamboi appreciated until the appearance Metric: Babri escazontes iambs writes, Hiponacte meter.


4. LUCK OF THE FABLE in later tradition.

Although what we talk is from Greece and its literature, it seems that our discussion would take if we did not at least a brief reference to the collections of fables of Rome.
Note that the same text easily jump of traditions others, because of the fables can be said that Northrop Frye said the way the genre of folk tale related tales have

"a nomadic existence peoples, languages \u200b\u200band cultures."

This is the passage of the fables of the East to Greece, and so in the passage of the fables of Greece to Rome.
However, in this second case (apparently not the first), the role it should play written transmission, school culture, which is written culture.

will point at least, in Rome, he wrote:

• 's library Phaedrus (first third century AD), in verse, as the fables of Babri;
• the repertoire of Aviano (S. V aC)
• and composed under the pseudonym of Romulus (SS. IV / V AD).

seems that the success of the fable in the tradition derives from the place which was assigned to the Hellenistic education system.

• This system was later copied in Late Antiquity Greek and medieval Byzantine .
• In the case of the fables in Latin, something similar happened in the Middle Ages West.

Note that the tales could easily be considered a very suitable reading for children in their learning phase.
Furthermore we know from the manuals of rhetoric, that the composition of fables was established rhetorical exercise for older students (at the stage of progymnasmata or "preparatory exercises" entry looks 44. The circumstances of Greece during the Empire: its cultural reflection ).
These conditions explain the subsequent proliferation of collections of fables, as well as consideration of Aesop as a school book collections to the Renaissance and even later date.
Then, the charges preferred stricter than classic, the work of "Aesop" disgraced. Today
value and explore these fables for what they can reveal about popular traditions.

Joseph B. Torres Guerra

SOME REFERENCES:

* About the folktale:
Aarne, A. and THOMPSON, S., The Types of the Folktale, Helsinki , 1964 (2 nd ed.).
HÖLSCHER, U., Die Odyssee. Ein Epos zwischen Märchen und Roman, Munich, 1988.
Kappel, L., "Märchen. I. Begriff und Gattung. III. Griechenland, DNP 7 (1999), cols. 643-645.
Mensching, E., "Märchen (Griech.-ROM.)" KP 3 (1969), cols. 866-868.
THOMPSON, S., Motif-Index of Folk-Literature, Copenhagen, 1955-1958 (2nd ed.).
* About the fable in general:
ADRADOS, FR, History of Graeco-Latin fable, Madrid, 1979-86.
ADRADOS, FR, "The fable as a literary genre," in AA.VV., studies of form and content of Greek literary genres, Cáceres, 1982, pp. 33-46.
ADRADOS, FR, "Collections of fables in Greek Literature Hellenistic and Roman period", in JA Lopez Ferez (ed.), History of Greek Literature, Madrid 1988, pp. 1153-59.
Carne, P., Fable Scholarship: An Annotated Bibliography, New York-London, 1985.
Crusius, O., "Aus der Geschichte der Fabel" in Kleukens CH (ed.), Das Buch der Fabeln, Leipzig, 1913, I-LXI.
Dijk, G.-J. GO, Ahinoam logoi mythoi. Fables in Archaic, Classical and Hellenistic Greek Literature, Leiden, 1997.
Dijk, G.-J. GO, "Supplement to the inventory of the fable grecolatina. Times archaic, classical and Hellenistic " Emerita 66 (1998), pp. 15-22.
HASUBEK, P. (Ed.), Die Fabel . Theorie, Geschichte und Rezeption einer Gattung, Berlin, 1982.
Holzberg, N., Die antike Fabel . Eine Einführung, Darmstadt , 2001 (2 nd ed.).
KARADAGLI, T., Fabel und Ainos, Königstein, 1981.
Luzzato, MJ, "Fabel. II. Griechische Literatur " DNP 4 (1998), cols. 356-360.
NOJGAARD, M., La fable antique, Copenhagen, 1964-67.
PERRY, BE, "The origin of the epimythion " ASCT 71 (1940), pp. 391-419.
PERRY, BE, "Fable," Studium Generale 12 (1959), 17-37. * On Aesop
Babri:
Baden LA PEÑA, P., and LOPEZ Facal, J. (trads.) Fabulas de Esopo. Vida de Esopo. Fabulas de Babrio, Madrid, 1978.
García Gual, C., "Esopo y sus como género literario Fabulas griegas", en helénicas Figuras y géneros literarios, Madrid, 1991, pp. 158-170.
Grubmüller, K., Meister Esopus . Studies on the history and function of the fable in the Middle Ages, Múnich, 1977.
JEDRKIEWICZ, S., Sapere e paradosso nell'antichità: Esopo e la favola, Roma, 1989.
Luzzato, MJ, "La de la datazione Collectio Augustana Tues Esopo" Yearbook of Austrian Byzantinisk 33 (1983), pp. 137-177.
Luzzato, MJ, "Aisopos" DNP 1 (1996), cols. 360-365.
Luzzato, MJ, "Babri" DNP 2 (1997), cols. 383-384.
PERRY, BE, "Demetrius of Phalerum and the Aesopic Fables" ASCT 93 (1962), pp. 287-346.