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A frog leaves his native swamp and proclaims himself a wonder-working doctor. He is then asked by a sceptical fox how it is that he cannot cure his own lameness and sickly complexion. The fox's taunt echoes the Greek proverb, " Physician, heal thyself ", which was current in Aesop's time (and was later quoted in the Christian scriptures).
A tile design by William de Morgan, 1872 (Victoria & Albert Museum). The majority of literary allusions to the fable have contrasted the passivity of King Log with the energetic policy of King Stork, but it was pressed into the service of political commentary in the title "King Stork and King Log: at the dawn of a new reign", a study of Russia written in 1895 by the political assassin Sergey ...
The Deer without a Heart; The Dog and Its Reflection; The Dog and the Sheep; The Dog and the Wolf; The Dogs and the Lion's Skin; The Dove and the Ant; The Eagle and the Beetle; The Eagle and the Fox; The Eagle Wounded by an Arrow; The Farmer and his Sons; The Farmer and the Sea; The Farmer and the Stork; The Farmer and the Viper; The Fir and ...
Takeda's study began as an attempt to find the origin of a more recent hybrid tale with elements of both Aesop's fable and the Eastern analogue. In this, it is a frog that is asked by the scorpion to carry it across the water. To allay the frog's suspicions, the scorpion argues that this would be safe since, if he stung the frog, both would drown.
The poem was also issued as a propaganda pamphlet under the title of The Frog, or the Low Countrey Nightingale during the Second Anglo-Dutch War. A similar claim was made, using the same fable, during the Franco-Dutch War of 1672-8 in a European pamphlet war encompassing publications in Latin, French, Spanish and Italian. [ 8 ]
The Fable of Fox and Heron is an oil painting by Frans Snyders depicting the story from Aesop's Fable. It was created in Antwerp sometime between 1630 and 1640, [ 1 ] the painting is a composite of two stories, "The Fable of the Fox and Heron (or stork)" and "The Frogs who asked for a King". [ 2 ]
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The fable was a favourite in England and was put to popular use on 18th century china by the Fenton pottery [13] and in the 19th century by the Wedgwood pottery. This was on its Aesop series of coloured plates, signed by Emile Lessore in the 1860s. [14] Minton's pottery also used the fable on a series of Aesop tiles a little later.