Tradition and the Individual Retelling

In the past fifteen years, the noted children's authors Eric Carle, Jack Kent, Eve Rice, and Paul Galdone, and the less familiar writers Heidi Holder, Jack McFarland, Harold Jones and Ruth Spriggs have all published retellings of the ancient works of Aesop. In addition, Joseph Jacobs' and Randolph Caldecott's collections have been republished. The existence of all these collections reaffirms that those writing and publishing for children still value these traditional fables; but as well as transmitting part of our cultural and literary heritage, each of these collections also engages readers in its own world view. Since readers get more from these collections than just a basic knowledge of some fables' storylines, any assessment of them must begin with an examination of the nature of an author's individual stamp on the retelling.

There seem to be three approaches to retelling Aesop. The first has traditionally occurred in a religious approach to fables. Even when stripped of religious overtones and set in a secular context, these instructive fables emphasize the authority of the "truth" shown in the fable's lesson. This approach uses our recognition of moral truth to direct our pursuit of individual betterment. The potential effect of such an approach is for readers to feel chastened, or at least cautioned, against foresaking "the straight and narrow," because of the consequences which the fable shows accompany moral failings.

A second type of retelling is lighter in tone. Fables using this approach convey the humorous side of human foibles. Instead of placing the focus on achieving moral betterment, such fables emphasize the shared nature of our human condition. Ideally, this type of retelling might move readers away from egocentricism, as they begin to feel a part of the larger human community in which we understand and accept our failings.

The third approach seems more akin to the classical Aristotelean vision of fables as they function in the context of "rhetorical argument." Here fables become examples which can clarify deliberations about larger social and political issues. When fables are presented in this manner, readers might be prompted toward an awareness of their own abilities to judge and act.

One qualification to make about dividing the retellings of fables along these lines is that humor is often present not just in the empathetic approach but in the other two also. But in the instructive group of retellings, humor often underscores the message of "just desserts," while in those with the contextualized-example approach it usually takes the form of social or political satire.

Holder, Rice, Spriggs and, to some extent, Jacobs fall into the "instructive" category. Kent, Jones, Lobel, Galdone and McFarland humourously highlight the human condition. As part of the third group of "contextualized" fables, Carle not only follows Caldecott's lead through suggestive illustrations, but also through a text that is somewhat more morally ambiguous than other retellings of fables.

Perhaps the most useful way to see how authors turn their literary choices to different ends is to examine the different treatments given to the same fable. "The Fox and The Crow," included in almost all the books under consideration, is about a fox who uses flattery to trick a crow out of its cheese. The fox's goal is to get the crow to open its beak so that the cheese will drop down to where the fox stands.

In her rendition of this fable, Ruth Spriggs presents a very balanced interchange between the fox and the crow, told equally from both points of view. Beginning with a focus on the crow who has stolen the cheese, it then shifts to the fox who sees the crow, desires the cheese, and acts to get it. The focus continues to shift back and forth, first to the flattering words of the fox, then to the proud reactions of the crow. The shifting perspective stops once the crow opens her mouth to prove she can indeed sing. Then the cheese, itself, becomes the focal point, and we see it falling right into the fox's mouth. The victorious fox then parts with words of instruction. "You may have...