Eine Insel im Meer (CarlsenTaschenBücher) (German Edition)
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Introductory Remarks. Pages Currently Discussed Theoretical Perspectives on Landscape. Aesthetic Approaches to Landscape. The Differentiated Socialization of Landscape. Back Matter Pages About this book Introduction In the past decades, the discussion about theoretical approaches to the topic of 'landscape' has increased. This book presents the currently discussed theoretical approaches to landscape and shows its potentials and limits. A new translation by V. Vernon Jones with an introduction by G. Chesterton and illustrations by Arthur Rackham.
A Piccolo Book. London: Pan Books. Translated by John Warrington. Illustrated by Joan Kiddell-Monroe. Dust jacket. London: J. Retold by Marie Stuart. Illustrated by Robert Ayton. Printed in England. Twenty-two fables. The illustrations are straightforward popular presentations. The book is valuable for introducing a subject. The morals are also straightforward. Illustrated by J. Pavlin and G. Printed in Czechoslovakia. No place given: Brown Watson. I wish they also had a pop-up of the cover picture of FC. Illustrationen von Loni Roehricht. Second edition. Berlin: Der Kinderbuchverlag Berlin.
DM 2 at Zentralantiquariat Leipzig, July, ' This book seems to me to exemplify the way a given culture sees particular things in a story. In this case, Androclus' story is about the slave finding freedom. The book dwells at length on the plight of the slave, once it has gone to the trouble of communicating what a slave is. The story is well told. Much is either new to me or is heard for the first time because of its good presentation.
Thus I read here for the first time of the fisherman from whom Androclus stole a boat. After a year with the lion, one of the first things Androclus wanted was a haircut. After Androclus was captured, the lion followed the soldiers willingly. He thought they were going to lead him to Androclus! A Roman gladiator inside the circus preached some good Marxism when the fisherman attacked Androclus in their circus cell. Titus challenged all gladiators and slaves to refuse to kill each other.
Once Androclus met the friendly lion in the circus, the circus audience wanted to let a panther attack this too-peaceful lion. When he finished with the now-friendly lion, Androclus demanded freedom for all this circus' slaves and gladiators. Good, primitive full-page colored illustrations.
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Augusto Monterroso. First edition. Archivo del Fundo. Apparently of 20, copies. Gift of Larry Huck, S. I only wish my Spanish was good enough to take on some of the other items! T of C at the back. How nice of Larry to seek out books for me!
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Edited by David Larkin. Introduction by Leo John De Freitas. Printed in Italy by Mondadori, Verona. Illustrated with Photographs and Drawings by the Author. This is a book about making animal forms out of common vegetables. This book is in this collection because of "Fox and Crane" on , "Hare and Tortoise" on , and "Fox and Crow" on For the former scene, normal gourds were used to create the crane and the vase.
For the fox an immature gourd was used; some clay was added, into which ears and eyes were stuck. The fox's ears are feather-shaft ends" Did Aesop ever think that he would be getting into scenes made up of vegetables? The second scene is set in a forest whose trees are carrots.
The rabbit is formed from a peanut, and the tortoise from a horse chestnut. The third scene represents some confusion or syncretism between FG and FC. The crow, which might be difficult to create, is cleverly left out of the scene. Prizes in the book go to the camel and leader on 36 also on the front cover of the dust jacket , the resting sea lions on 53, and the sleeping student on I would say that R. Eshmeyer was as crazy as I am, and that probably fits. He was also a man of the cloth. Sergei Michalkov.
Illustrations by E vgeni Rachev. Moscow: Detskaya Literatura. Rachev has been a favorite artist of mine for a long time. So far I have a German translation or two of their work. Till I get that opportunity with that Russian reader, I will be content to enjoy the excellent art. Betty O'Connor. Fourteenth printing. Joachim Heinrich Campe. Nachwort von Dietrich Leube.
Erste Auflage. Campe was a leading Enlightenment teacher and preacher. The fables themselves range from clever stories to something more like Speckter and Hey, as when 14 the daughter wants to go with the son to school, where, as he says, he learns "nothing but fine things. Clever fox invites bat to come closer. Bat responds that its mother taught it not to believe flatterers. The fable on 30 surprises me. Lamb and lion meet. Lion challenges lamb to defend itself. Lamb answers that its only defense is innocence.
The colored pictures are excellent, accompanied as they are by other objects whose names begin with the appropriate letter of the alphabet. Why 23? No "I" and no "V" and no "X" and no "Y. Nikolaus Plump. Freiburg im Breisgau: Verlag Herder. Twelve traditional fables are listed on the back cover of this large-format hardbound book for children. The fables are told, says an early note, following old sources like Aesop, La Fontaine, Lessing, and others. In each of the twelve cases, a prose text on the left page faces a full-page colored illustration on the right.
Each of the rather standard illustrations includes the "n.
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The stork standing over the wolf to remove the bone has a cap and pouch of the Red Cross. In other collections, one seldom finds the good Lessing fable "Der Elefant un der Mops. An older dog tells the little dog that the elephant is not paying him the least attention. A pig cries desperately and tells an inquiring ass that people use his name terribly and only in negative situations. The ass answers consoling the pig that "that really is a Schweinerei"!
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Herausgegeben von Hans Marquardt. Mit Tusch- und Federzeichnungen von Josef Hegenbarth. Wiesbaden: VMA Verlag. This version is newly printed by a new publisher from the version done by Buchverlag der Morgen in Eastern Germany. This edition is apparently a collaborative effort between Western and Eastern Germany. Let me repeat my comments from the edition. The format is generous; there is never more than one fable on a page, and there are many full-page illustrations.
There are ninety fables in all, presented here on pages. There is a first selection, "Der Dichter," that I think needs to be considered separately from the fables. I think it probably communicates more about Marquardt than about Aesop or Phaedrus. After the fables, there are comments ; a "Nachwort" from the publisher, including his remarks on Hegebarth ; and a colophon on the printing of the book. The texts are sometimes prose and sometimes verse.
There is a good moral to the fable on the hog and the dog 58 : Smart speakers cleverly turn insults from enemies into praise. A number of the fine illustrations are taken from the earlier book, among them those showing the thief and the watchdog 49 ; the bald man and the fly 68 ; and the caught weasel Some are newly done, like WC here 79, there 12 ; LM here 95, there 22 ; and the old hunting dog well done here on and less well done there on Among the best illustrations here are those of the fox and the mask 21 , WL 45 , and the thieves and the rooster dust jacket and I do not understand the illustration for "The Old Shepherd and the Ass" This story is about sacks, not riders.
Leipzig: Verlag Philipp Reclam Jun. This is the third version I have of this book. The present copy seems to come from a parallel -- and even cooperative -- second edition at the same time in East Germany, this time from Reclam in Leipzig. Elisabeth Herbrand. This book, done one year after my dissertation, reminds me so much of it and of the 70's!
It is published from a typewritten manuscript, including capital letters that do not quite get down to the line of type. Slightly larger in format than my dissertation, it has the same look. The "Studienreihe Humanitas" is a series of books explicitly dedicated to works like dissertations and books-based-on-dissertations of young academics. The other feature that makes me think of the 70's is the somewhat heavy-handed insistence on socio-economic and even Marxist analysis. I will not have a chance to get through the book at this point, but for now I find the book's sub-title revealing: "historical-material analysis of this genre in the emancipation of the bourgeois.
I do hope to get to the book because I look forward to the specific comments on all those eighteenth-century German fabulists that led up to Lessing, not least of all Godsched, von Hagedorn, and Gellert. Lessing gets serious attention. There is a T of C at the beginning. A glance through the Literaturverzeichnis turned up not a single book in a language other than German. Vertaald door Paul Biegel. Geillustreerd door Frank Baber. Amsterdam: H. Lively art. There is a long version of "The Young Man and the Cat" New to me: "The Parrot and the Cat" Notice the statue of Mary and Jesus on the donkey's back on 17!
I wish I could check this book against a version published by Eurobook. Text by Gerald Gottlieb. David R. Godine, Publisher, Boston. A magnificent coffee-table book. Very nicely done. Too much of this wonderful book is black-and-white. Marvin Cohen. Latitudes Press Book 7. Printed in USA. Austin, TX: Latitudes Press. My initial suspicions turned out to be true about this book. It has nothing to do with fables in the sense in which I am pursuing them. I find this a singularly unattractive book.
It is generally first-person prose in titled sections of one to three pages. There are four chapters. This book confirms my interest in story by counter-example. It proclaimed the same aggressive narcissism I found elsewhere in the book. I tried again on "The Singer Who Lost Her Shape" 78 and did not fare much better, though this piece is at least narrated in the third person.
Play, that can yield so much in fables, does not yield much here. The best thing I can say about this book is that its distributors were my good friends at Serendipity in Berkeley. Printed in Italy. Twenty-six fables, sixteen of them illustrated by Effel's brilliant colors and simple, telling designs. I love his work more every time I see it! This book also keeps some but not all of the good line-cartoons that adorn other works I have with Effel's art. This is my first Effel in French. Originally sold by Galignani, Rue de Rivoli, Paris. Aedo series. Lisbona, Caracas, May, ' At last a handy and apparently complete edition of Samaniego's fables in nine books.
The earlier books seem to contain round numbers 20, 20, 15, 25, 25 ; the last four have 12, 12, 9, and A helpful short introduction characterizes Samaniego's fables as practical and pointed. It details the rivalry with Iriarte, who published his fables one year later T of C on , with a glossary just preceding. I cannot believe that this book is not already in the collection. This book has about half the pages of that book. However, by contrast with it, this edition has only colored pages, while that offered a number of pictures only in black-and-white.
This edition has no T of C. The last page is in fact the inside back-cover. The best illustrations are the two for FS near the end of the book. The editors were wise to use it again on the front cover. How nice to run into an old friend in a new language while I was travelling through Scandinavia!
It was not easy for me to figure out whether this book was in Swedish or Danish, especially because it was published by a Danish publisher in Copenhagen. Gordon C. Atlanta: John Knox Press. Here are sixteen short plays for two, three, and four voices. Each has morality to teach, with several questions to highlight the possible lessons.
They are all, as far as I can tell, original stories. The morality, as well as the tone, may be typical of the 70's, when the book was published. The Gospel bearing of the "fables" comes through often and clearly enough. I read the first three. In the first, a desperate victim of a mosquito gives in, out of frustration with being mosquito-bitten so frequently, to becoming a turnip. Because "you can't get blood from a turnip.
One of the suggested morals says that it is better to be a person with problems than a turnip without problems. The book nicely repeats a given playlet as often as necessary, so that each of the required voices can have his or her own copy of the play's text. Andres Jaaksoo. Valli Hurt. Talinn: Eesti Raamat. There are thirteen Krylov fables in this pleasant pamphlet of some 28 pages.
The fables are easily recognizable. The art has a touch of the 70's style we knew in this country, with just a touch of the psychedelic. My prize for the best image goes to WC on A close runner-up is "Kvartett" on 3. The T of C at the end seems to suggest for each fable a specific translator from a group of four. First printing. Boston: Houghton Mifflin Company. This book has been on my "want list" for a long time, and now within a few months I have found it in both hardbound and paperback versions.
See my comments on the latter under the same title in The book offers thirty fables of a generally preachy character, usually on two-to-four pages per fable and often with the introductory phrase "Once upon a time when King Brahmadatta was ruler of Benares About the illustrations, I would point out only that the artist cleverly gets all one hundred carts into the illustration on 31! As to texts, many of the standard representatives of Jataka tales are here, including TT 10 , "The Monkey and the Crocodile" 38 , and "Rumors" 80, usually about the end of the world, but here about an earthquake.
Several fables deserve comment. In "The Brave Beetle" 12 an elephant uses his droppings to defeat a drunken, bragging beetle. A good fable on ecology is "Leave Well Enough Alone" Another good fable for a paradigm-shift is "The Most Beautiful of All" 43 , in which turtle, asked which of two fish is prettier, answers that he is! A final good fable is "Decide for Yourself" 78 : the two quarrelling otters get the head and tail of a big fish; the fox invited by them to settle their dispute takes the biggest and best central portion.
One of the weakest stories is "Friends and Neighbors" There are typos on 21 money for monkey and 54 climed for climbed. London: Jupiter Books. The introduction gives a good sense of Elizur Wright's life and translation work. A Program of Interpretive Reading and Discussion. Series Four, Volume One. Edited by Richard P. Dennis and Edwin P. Chicago: The Great Books Foundation. Eighteen fables on in Jacobs' version, not acknowledged. Then four fables from Thurber on I find Thurber a surprising match for Aesop for these young readers.
Included is the companion volume: Series Four, Volume Two. This slim little paperback with its companion volume offers a variety of good helps indicated in the title-page description reproduced above. There are unfortunately only six single-pages of illustrations. The book's strengths may lie in the questions, the vocabulary, and the judicious selection of 66 fables of the in the first six books. Every illustrated booklet like this that I find shows me a new illustrator of La Fontaine of whom I was not aware! Printed in Classiques Garnier. One of copies. Lang, Wiesbaden, Germany, through abe, Sept.
This is a curious little volume. I have long wanted to find a copy of one of several books that illustrate the fountains in the maze-garden at Versailles. Each of the fountains represented a fable. I have come close to finding such a volume. Here is a enhancement of an original from Augsburg around Johann Ulrich Krauss seems to have been the publisher then Bodemann Notice the German back then: "Irr-Garte" for what would now be called "Irrgarten. The second frontispiece is the original map of the maze, complete with a route and the thirty-nine fountains numbered along the way.
Apparently the original book was larger than this 4" x 6" edition. The fountains are listed in both French and German after several prefatory pages. The fables' presentation follows a pattern. On a left-hand page we find in French a short narrative of the fable and then a description of the fountain. Underneath the French is a quatrain, perhaps from Benserade? He created the quatrains found on the fountains themselves. The narrative and description are repeated below in German.
On the facing right-hand page is the black-and-white illustration of the fountain. Underneath the illustration is a German quatrain. Between each fable's two pages is a printed slipsheet, apparently with Eisendle's contribution. Fables 13 and 14 present the two phases of FS; these two fountains are very close to each other on the map. Fable 17 is new to me: a monkey responds to a parrot that he can imitate humans and tries to show it by putting on the clothes of a swimming boy. The monkey gets so tangled up in the clothes that the boy easily catches him.
I am delighted to have found this book! Collected by Peter Beard. Afterword by Jacqueline Bouvier Onassis. NY: Harcourt Brace Jovanovich. A weird and wonderful find! I noticed the book several times and finally took it off the shelf. What a surprise when I found a chapter of fables! What we have here is the product of a complex process. Kamante Gatura related the tales to Beard, who transcribed them and gave them to Kamante's sons to translate and then to write out by hand.
The final chapter claims to be Kamante's versions of some twenty-one fables that Dinesen told. Several, like FG and OF, seem to be heavily dependent on Caxton, but then OF here ends with a bursting frog, whereas Caxton had the ox step on the frog. Are the charming, simple watercolors illustrating them really Kamante's own? Two things are especially charming here: the "scriptos" or whatever handwritten typos are , and the transposition of animals; thus Piraeus becomes Mombasa, and "The Fox and the Eagle" becomes "The Jackal and the Vulture.
Arnoldus Freitag. Illustrations by Marcus Gheeraerts. Illustrations by N. Athens: Angyra Publishing House. Reading books like this would be a great way to learn Greek! The illustrations are simple and the text copious.
Androkles uses a part of his blue clothing to bind up the lion's paw. Watch out: there are fifteen more books in the set! Helena Salichova. Printed in Brno. Are the twenty-four texts on pages perhaps more folktales or fairy tales than fables? There is a T of C listing them at the end.
There are six pleasant colored full-page inserts: frontispiece, 32, 48, 64, 80, and The book was inscribed in Mary Calhoun. Tomie de Paola. NY: Parents' Magazine Press. I am surprised that I had never run into a reference to this book--and delighted to know that an artist as good as de Paola illustrated it.
The story is told in folksy dialect. Whickutt kept talking as they drove the donkey to the mill "so's they'd need him along. In the meantime the sack keeps spilling, and the birds keep eating up the fallen grains. When Granny Pollard suggested that Whickutt ride, he turned out to have such long legs that he walked while he was riding! During this phase, the boy has to carry the sack. Preacher Hawkins chastises Whickutt for making the boy walk and carry a load. Mother Jones then criticized the lazy boy. When he had to carry both persons and the sack, "The donkey, he was king of sagging.
Whickutt then threw each--the sack, the boy, and the donkey--over the creek.
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Then he threw himself across it too! Formerly in the collection of the Racine Public Library. Scriptorum Romanorum Quae Extant Omnia ccxxii-ccxxiii. Fabricius Serra. How straightforward can you get? The book is almost entirely Phaedrus' text. Page 7 gives major editions and lexica. No notes. AI of fables at the end. This book was my one find at Atticus, which everyone in Toronto praised but I found estranging, overwhelming, and crowded. Selected by Gail Peterson. Illustrated with Woodcuts by Fritz Kredel. This small landscape-formatted book is full of wit, in both its proverbs and their illustrations.
There is only one involvement of fable that I can find. Next to a clear illustration of a fox and some suspended grapes, we read this: ""When the fox cannot reach the grapes he says they are not ripe. Mit Stahlstichen nach Zeichnungen von Wilhelm von Kaulbach. Frankfurt: Insel Taschenbuch Insel Verlag.
DM 14,80 from Heidelberg, August, ' Here is a very compact presentation of von Kaulbach and Goethe's work. For a small and relatively inexpensive version, the reproductions of Kaulbach's work are good. One of my favorites is still Hinze the cat's attack on the parish priest Other fable favorites here include depictions of an eagle stealing a lamb 48 ; the fox playing possum 94 ; the horse kicking the wolf ; WS ; the sick lion needing the right cure ; and the mother dog and her litter confronting the home's generous former owner I find it curious that the old title page still has "Zeichnungen von Wilhelm von Kaulbach" while the contemporary cover has "Zeichnungen von Wilhelm Kaulbach.
With cuts, designed and engraved by Thomas and John Bewick, and others, previous to the year together with a Memoir; and a descriptive Catalogue of the works of Messrs. Facsimile of edition printed by S. Hodgson for Emerson Charnley et al. By Mel Ellis. Illustrated by SuZanne.
Signed by Ellis. NY: Holt, Rinehart and Winston. Here are forty-five prose pieces meant to inspire. They seem to me quintessential 70's material. I find several that are good fables. More of them, however, stress either the sentimental or the mystical. The sentimental might be represented best by "The Lonesome Snowflake" about a snowflake that loves a Christmas-tree-light, finally comes to it, and turns into a tear. The mystical might be evoked best by "The Rainbow Trout. He finally escapes the river onto the shore and, in his last few moments, looks down on the stars shining in the water he has just left.
There is often, as in "Little Creek," a nostalgic or regretful turn to the story. There is sometimes a Zen-like conundrum in these stories, as in the statement by the wind to the little white cloud in the story named after it: "You may have joy or power. You can't have both. A kingfisher has attacked everything and loves the power he has so much that he does not think of flying south for the winter. Finally the water beneath him turns to ice, he sees in it the image of a bird, and he attacks.
In spring they find what is left of him after attacking his own reflection. His envy changes fast when he sees them put on the chopping block. The skinny gray squirrel arrives alone and is ostracized by the fat country squirrels. Then he is joined by another hungry gray and another and another.
The fat country squirrels are in no condition to fight well. They soon become the hungry outsiders watching and growing thin. George Clutesi. Illustrations by the author. Sidney: Gray's Publishing Ltd. Edited by Maryjane Hooper Tonn. Milwaukee: Ideals Publishing Corp. One of the kitschiest books I have. Two fables. With TMCM 14 , there is a photo of two mice statuettes with cheese, but the most prominent piece of cheese is a lighted candle! In this version, the town mouse ate a hearty country meal. The two arrived in the city home during dinner and hid.
They were intruded upon by a cat, a cook, and two dogs, all at once! In BW 20 , the boy was so glad to see people after his first shout that they were not very angry at him for having fooled them. The second time, some were quite angry. The next time they heard the boy cry, they ignored it until one cry was cut off in the middle. All they ever found of the boy was his pointed shepherd's hat. These two texts are acknowledged as from Tall Book of Nursery Tales Very simple, varied art.
Ronald Duncan. Illustrated by John Bratby. Cornwall, UK: Elephant Press. Here is a lovely set of ten short stories, each with a colored full-page illustration. This copy is numbered of and signed by both the author and the illustrator. The covers are black morocco, with a spine lettered in gilt and the front cover graced by a gilt version of Bratby's most dramatic design from "The Tale of Tails" on Though the title-page lists as the date of publication, the colophon indicates that the work begun in was concluded in The colophon also declares that the book is printed on handmade paper made by Timothy Powell of Sheepstor, Devon.
The title-page is done attractively in red and black. I read and enjoyed the first two stories. The first presents a monkey and elephant who daydream of going into business but find all their dreams failing. The second describes two flowers who must learn through experience to treasure what they offer.
There is a list of subscribers at the rear; with all those subscribers, I am surprised that I found a copy of the book. Very good condition throughout. Not in Bodemann. Edited by Lawana Trout. Art Editor: Pat Wosczyk. NY: Scholastic Book Services. A wild and varied book meant perhaps for pupils in junior high school. The book contains folktales, songs, tricks, games, crazy pictures and cartoons, and black-and-white illustrations.
Besides two fables from India and one from Japan, the book contains "The Starved Farmer and His Fat Dogs" and FC: "whatever he had remarked of her beauty, he had said nothing yet of her brains. Translated by Mack Singleton. Is this a privately financed book? Done by a group or program at the University of Wisconsin? Its title-page is identical with its cover. The pages throughout are from typewritten originals. After a few pages of introduction v-x , it marches through the text in rhyming quatrains, adding only a single page of notes afterwards Then on we find an introduction to and translation of "Pamphilus," a source and model for Libro de Buen Amor.
I have read the first four or five fables in Ruiz' work to get a sense of this translation. The rhyme seems to bend the syntax and word-order a good deal, and there are frequent apostrophes marking dropped syllables. It would be fascinating to learn the circumstances of this book's coming to be. Retold by Freya Littledale. Pictures by James Marshall. NY: Scholastic Inc. There are two Easter eggs pasted on 30 of the good copy, and there is some water staining on the older extra, but this is a delightful pamphlet. The fable is well told. Tom fools the hunters and the fishermen.
Both unite with the townsfolk in turning against Tom when he needs them. The best illustration 21 recurs on the back cover: the wolf looms over Tom. Tom mistakes the voice at first.
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The wolf eats all the sheep and tells the moral. Tom realizes and changes his behavior. The 5 th printing adds a number to the cover TW and improves the paper stock for the pages. Hans Christian Andersen. The emperor here seems to be a lion or a big cat, though he moves in a mostly human world with human ministers and human subjects. The two weavers seem to be a fox and a cat. Fools cannot. Does this mean I'm a fool?
If so, I must not let anyone know. Then comes the emperor, who repeats verbatim what the prime minister had said. The emperor in this version gives his weavers an extra twenty bags of gold and promises twenty more if he likes the finished work. The artists in this book present this lion in long underwear, with his tail sticking out of the button-flap on the bottom. At the parade, everyone is wondering if he or she would be able to see the new clothes. After a little girl tells the truth, people comment "She's right!
The emperor is in his underwear! And suddenly he knew that they were right. The weavers had already run off with the forty bags of gold. They were no fools! Adequate cartoon illustrations. Diane Wakoski. Title-page drawing by Tom Montag. Milwaukee, WI: Pentagram Press. Wakoski's fable builds off a typical enough fable that she quotes. A scorpion asks a frog for a ride across the pond and promises that he will not sting the frog.
He does sting him in fact in the middle of the pond and to the frog's outraged cry "You promised! I couldn't help it. Everyone in the story who reads the poetry falls in love with the poet. The lady lion has to kill the scorpion and watch the coyote also fall in love with the poet. The moral: "If you are a lion and want the love of other lions, rather than scorpions or coyotes, don't write poetry. The lady poet, of course, is loved by everyone, but married to none. Written and illustrated by Norman Kirk II.
NY: Vantage Press. This is a large-format book of drawings with a short bit of text to accompany each black-and-white drawing. The text always occupies the left-hand page, the drawing the right-hand page.
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The use of the word "fables" for these fifty prose pieces is a stretch. Many of the combinations involve a play on words, either in the title or in the moral. It finishes with this line: "The moral of this fable is that a windsome lass will fire any man's hearth. The text speaks of a giant pitcher containing pancake batter. The story works around to this finish: "The moral of this fable is to watch your pitcher when the batter is up.
Many of the puns are real groaners, far fetched and not worth the fetching. There is some good fun here. Michael Gross. Illustrated by Mila Lazarevich. NY: Henry Z. Walck, Inc. A nice piece of Jewish folklore that is not far from a fable, and could be told as one--in perhaps a fifth of the space that this book takes. The designs, generally half the space of the story, do well with several colors. A poor old man plants a tree, and the king is so encouraged to see him do it that he invites him to bring him some of the fruit when the tree will bear five years later.
The man brings the best of his fruit and is rewarded by having his basket returned full of gold. A neighbor tries to do the same with sometimes questionable figs, and the king's reward is to have him tied to a stake and pelted with them by the passers by.
Selected and Illustrated by David Levine. Translated by Patrick and Justina Gregory. First Printing. Boston: Gambit. This is probably my favorite among all the books I have. Levine approaches the fables with real wit. He plays with them. I have to watch out that I do not use too many of his illustrations. Now in I have done a systematic study of the texts. There are one hundred fables here and fifty illustrations and a frontispiece; there are always two fables on the left page and a full-page illustration for one of them on the right.
They claim justly to have tried to reproduce in English the precision and spareness of the originals. The translations bear out the correctness of their claim that "the fewer words we could get away with, the truer to the original our versions seemed" 2.
They do not include morals and make an excellent case for that decision. In particular, a supplied moral deprives the fable of one of its prime functions, to make the reader think. My study showed that Chambry is indeed the source here. The fable they may change the most from its Chambry original is TB FG 12 shows how they enrich a fable and "The Lion, the Ass, and the Fox" 4 how they strategically shorten a good punch line into an even better one "Who taught you?
Selected and edited by Ruth Spriggs. Introduction by Anne Wood. Illustrated by Frank Baber. Printed in the USA. Chicago: Rand McNally and Company. See my comments there. Pages are slightly folded. You certainly cannot tell a book by its cover! By Thomas Bewick. Introduction by Michael Marqusee. Biographical notes by Margaret Maloney. Second Printing. NY: Ballantine Books. Selected and Retold by Victor Mason. Illustrated by Artists of Pengosekan, Bali. Paul Hamlyn.
This large-format 12" x 12" picture-book contains ten short stories and one last seventeen-page story. Each has one colored, ornate Balinese painting. Several among the first stories are either derived from or very close to fables. He moves away from her and falls asleep; when he awakes, she is proferring him a steel axe. The two geese fly all night and are getting ready to land, when a scrawny, scabby, cunning pyedog sees them and insults the flying turtle. The latter of course immediately snaps back. In this case, the crow had a piece of choice carrion in his beak. When he opened his beak, he "made a noise like the rasp of a saw on a split bamboo.
The attacker in this case was a farmboy with a bamboo blow-pipe and poisoned darts. As for the ant, after she saved the dove, the boy "squashed her flat! Translated from the Russian by Jacob Guralsky. Drawings by Victor Duvidov. Printed in the USSR. Moscow: Progress Publishers. A large-format booklet containing this excellent Tolstoi short-story and his fable "The Eagle. I am not sure that I understand what is going on in "The Eagle. Drawings by Evgeny Rachev.