1345:, and after seeing the bad omens that align the planets with unfitting constellations, Lawrence comes to realize that unless he or one of his descendants could repent and amend himself or wrongdoings, he and his family (as the fate of all foxes, but worse to compare) will be shamed forever with the "cursed life of a thief", which is said to be so horrible that it orphans each new generation as the last one is sentenced to death for a crime he didn't commit. Thinking himself a lost cause, Lawrence the fox, in the light of dawn, sees Friar Wolf Waitskaith and assumes that admitting sin in the presence of this assumingly holy man would help free himself. The friar Wolf is pleased as the fox admits to lying, stealing, adultery, and even exaggerates by mentioning murder (few as his successful hunting-and-killings may be). After that, Lawrence the fox, believing himself cleansed of his wrongs, fears doing so again, as he is from a
1350:
week. Lawrence takes the advice gracefully, but then finds the new practice difficult as he has no net, pole, or boat to fish with properly, and so has to keep swiping at the water and missing his catch. Upon one of these unsuccessful fishing trips, the fox sees a fat lamb had strayed from the flock, and driven by hunger, he cannot resist pouncing on it. While the lamb survived the incident, the shepherd caught
Lawrence the fox in the act of attempting to kill it, and although he said that he was "only kidding" and pleads he'd never do it again, the fox meets his end by a single, unmerciful blow from the shepherd. (the next story is the official beginning of Reynard's tale, as he faces trial for his father's sins.)
1423:
806:
Others have preferred to defend individual readings of various fabillis viewed as self-sufficient entities which they argue question the coherence or completeness of that scheme. Finally John MacQueen cites fragmentation in surviving textual witnesses for the poem before 1570 as grounds for caution in asserting with certainty that the overall structure represents
Henryson's intention. Nevertheless, the above outline describes the structure as received from the 16th century prints and manuscripts which give what the literary scholar
1775:
1473:) is not at all straightforward. Henryson's version portrays the relationship between the two figures in terms of a trial. The sheep is required to submit to a long, complex, unethically convened judicial process so that the dog may procure recompense for "stolen" bread. The sheep loses the case, is stripped of his fleece and left to face the winter elements unprotected. The action of the fabill carries over into the moralitas in which the sheep questions whether God's justice is detectable on earth.
1545:
819:
33:
176:
1686:, although the outcome is essentially the same. Because it is the well-meaning sheep that is destroyed at the end of the fabill (rather than the wolf, as happens in the source) the moralitas, which is short and focusses all the condemnation on the sheep, does not feel like a fair or complete account of the action. The surface message is a profoundly conservative warning to stick to one's station in life.
1292:
2146:
2174:
1103:
1349:
family, and is too proud to work or beg for his meals, but upon Friar Wolf suggesting he fast and eat nothing with flesh until Easter, Lawrence resorts to begging to be an exception to the custom. The friar granted it, but suggested that it would be only fish from the stream at least once or twice a
805:
Various literary scholars have noted the apparent symmetry in the architecture, citing it as evidence of an organising principle
Henryson employed to "lock" the structure of the poem, aesthetically beautiful in its own right and holding important clues for interpreting his larger meaning or purpose.
163:
conventions to blend human characteristics with animal observation both worked within, and pushed the bounds of, standard practice in the common medieval art of fable re-telling. Henryson fully exploited the fluid aspects of the tradition to produce an unusually sophisticated moral narrative, unique
1605:
taillis in the poem. It presents the wolf for the first time in his true fabill colours as a ruthless and lordly predator demanding obeisance. The tod similarly manifests as a wily trickster who (in contrast to the first half of the cycle) completely succeeds in outwitting his victims. The business
1510:
in which the lion who reprieves the mouse he has captured is, in return, rescued by the mouse after himself becoming ensnared. Some commentators have noted that the section which describes the imprisonment of the lion is described in terms which plausibly evokes identifiable political events during
782:
in which the rest of the cycle is written (without further exception). This means, in effect, the poem has an "extra" seven lines (or the equivalent of one more "hidden" rhyme royal stanza) distributed across its two-halves – 4 lines in the first, 3 lines in the second. The line count for the three
1093:
text, but even from the start the poet far exceeds his commonplace "commission". He expands the unremarkable classroom material with an unusual degree of refinement, invention and cognisance, establishes a mature and personalised relationship with the reader, highlights Aesop's uncomfortably human
1609:
At the beginning of the taill, the wolf recruits
Lowrence into his service. The fox either is, or pretends to be, reluctant but appears to have no choice. While in service, Lowrence opportunistically plants in his master a desire for the largest and most valuable fish (the mysterious "nekhering")
1340:
The story picks up where the previous fable left off, as the Cock returns safe and happy to his family (it's still unknown what his wives think about it, though it's hinted that they are relieved he survived at all), but the fox, Lawrence, was starving as he waits until nightfall before his next
1276:
The successful conceit of
Chaucer's poem was to create comic drama from a simple act of animal predation. Henryson's version condenses the main action, refines the psychology and introduces many variations, such as for instance its feature of three hens, Pertok, Sprutok and Toppok, each with
1713:
the wolf pitilessly kills his victim. This time, however, the narrator's response in the moralitas (10 stanzas – the longest in the cycle) – is, or seems to be, completely different in terms of sympathies and more impassioned on the theme of social, political and legal injustice.
834:) by the narrator in those stories which are directly based on Aesopian sources. This usually occurs in the opening lines. However, one particularly distinctive feature of the poem is an appearance in person by Aesop himself. This occurs at the heart of the cycle within the
305:
In addition, six of the fabillis in the cycle are tales based on
Reynardian beast epic sources. These are denoted by the lighter colour. It can be noted that the distribution of these (in two groups of three embedded within the seven fabillis from Aesop) is
244:
Readers who were familiar with the genre may have found the tone, range and complexity of
Henryson's attractive, variegated and interlinked fable elaboration unexpected, but the method was not without precedent. A similar "trick" with the genre is found in
1075:
introduces the whole cycle in principle, not merely the first fabill. It begins with a defence of the art of storytelling, argues that humour is a necessary part of life and tells the reader that the intention is to make a translation of Aesop from Latin.
1165:
between the fabill and the moralitas. Longer acquaintance may modify this view, but the impression remains of an opening poem that wants to establish layered modes of narration, introduce complexity and contrive to play with readers' expectations.
1679:
with a human protagonist (the shepherd) but its principal action involves a sheep in a dog skin who believes he is able to guard the rest of the flock from the wolf. The story, in terms of the protagonists, is a complete reversal of Esope's fable
1564:
it has a prolog which introduces the narrator directly into the poem, but this time he remains awake and witnesses the story himself (also reporting it himself) as real-time action in the world. The source for the story he "witnesses" is Esope's
1641:
cattle. The case is presented to the man (who is both surprised and fearful at the development) suddenly while on the road at dusk and he has considerable difficulty in countering the wolf's claim. The tod plays the part of lawyer for both the
1522:
which introduces both the narrator and Esope as protagonists directly into the poem as part of the framing action for the fabill. Secondly, the taill is told directly by Esope within the narrator's dream (the narrator meets Esope as part of a
152:, and similarly appears in five out of the six stories. The wolf then makes a sixth and final appearance towards the end, stepping out of the 'beast epic' section to intrude most brutally in the penultimate poem of the 'Aesopic' sections.
1890:, University Press of Florida, 2000. He argues that license to interpret and adapt fable texts was generally accepted practice for medieval writers and readers, and that strict adherence to those sources was not necessarily expected.
1320:
of the tod after losing his prey. It is also the taill in which the wolf, the major figure of the cycle (in terms of number of times featured) first enters as a protagonist. It is also the second in a linked "mini-cycle" of three
1808:
1418:
who has failed to appear before the lion. There is much brutal action in the subsequent "comic" story. Despite efforts to avoid justice, Lowrence ultimately does not escape standing trial and being sentenced for his crimes.
40:
1575:
in which the wisest of the birds (the owl) counsels all the rest to remove or avoid features in the world which are mortal to their kind. Henryson changes the protagonist to a swallow and the avian danger he selects is
1024:
Henryson's contribution to the fable tradition is such a uniquely developed, subtly crafted and ambiguous example of a commonplace genre that it presents questions as to the poet's ultimate purpose in composition.
1634:), like the fabill before, is the story of a fox who pretends to serve the best interests of a wolf. Again it fully involves a human character in its action and this time even opens with the man as a protagonist.
1015:
goes on to repeat the prologue device of Fabill 7, only this time to show the narrator himself (Henryson) telling the fable – one which has some less ideal and more "realistic" parallels – awake and in real time.
1127:
opens with the same example. Although the fabill has no substantial story as such, Henryson's version quietly keeps the narrative promises made in the prolog by re-imagining the material as a strongly realised
3157:
2139:
1476:
Although
Henryson's sixth fabill is not linked to the previous one in direct narrative terms, it is notable that both involve a trial and feature what seem to be, on the surface, contrasting visions of human
310:, and that the distribution of the prologs – some apparently introductory material embedded in the centre of the poem – may begin to make better sense when these larger structures are taken into account.
42:
1009:
There is no evidence that the portrait stood for
Henryson himself, although the suggestion has sometimes been made. Henryson and Aesop remain quite distinct in the dialogue of the prologue. Moreover,
198:. Many different versions of the stories were created but writers frequently followed understood conventions. One such convention was the inclusion of the didactic moral lesson in a moralitas (plural
1946:
University of Notre Dame Press. 1987. He identifies and discusses three different "conscious arrangements" all of which "point to tales #6-#8 as forming the core of the work". Introduction, pp.17–24.
1136:
and hinting at a fully characterised cockerel. His artfulness subtly foreshadows the more fully fleshed stories yet to come (deferred tactics) but the adaption remains broadly conservative and the
2188:
2153:
2195:
1215:, coupled with close control and subtlety of inference, that will be sustained for the remainder of the larger cycle. At this point the adaptation is conservative, but other tales (e.g.
2488:
1816:
2241:
279:
in composing his works has been increasingly discussed in recent years. Use of number for compositional control was common in medieval poetics and could be intended to have
1200:. Henryson expands upon common versions of the story to create a succinct, fully fleshed narrative rich in incident and characterisation which fairly transcends its known
2262:
2248:
1959:
Rodopi, Amsterdam. 2006. He discusses textual evidence for the ordering in
Appendix B. His book mainly focusses on numerological structures in the individual fabillis.
41:
2255:
2456:
2283:
2083:
1341:
hunt. When it gets dark, Lawrence, though he never been to college, had been gifted with knowledge enough to foresee his own future and that of his descendants by
1617:
The plot of this and the next fabill, which have many parallels and ring many changes, both explore the complex relationship between the wolf, the fox and a man.
1527:). The moralitas is also delivered by Esope. Thirdly, it is the only fabill in the cycle to have an unambiguously ideal outcome in which all parties have gained.
1567:
1469:
2276:
1530:
The plea that the mouse makes for the lion to temper mercy with justice is a long one (10 stanzas) and invokes important civil, legal and spiritual concepts.
1283:
is the first in a sequence of three taillis (3, 4 and 5) which form a continuous narrative within the larger whole, the only section of the cycle to do this.
2389:
209:, partly because fable writing was a common classroom exercise. Students might be asked to learn fable plots to retell them in contracted or expanded form –
3171:
2311:
2304:
2125:
1175:
865:
and immediately described as one of the "fairest" men the narrator has "ever" seen. A two-stanza portrait gives a detailed description of his appearance:
2297:
2290:
2269:
2437:
1006:. It seems unlikely that these "innovations" were not consciously decided, although critics do not agree on how they are to be best interpreted.
3353:
3164:
2132:
1414:. After trying to "hide at the back", Lowrence is called forward and sent, along with a rather incompetent wolf, to serve a summons on a
1228:
1154:
this judgement occurs in only two lines; Henryson, making the same case, states it with an almost unexpected force, taking five stanzas.
2227:
1089:. Henryson's opening argument is, indeed, an expanded and re-orchestrated "translation" of the argument in the opening prologue of the
145:
1204:
while remaining faithful to the story's original elements. It is possibly one of the best known and most anthologised of his poems.
122:
within the dream, and the structure of the poem is contrived so that this fable occupies the precise central position of the work.
144:. The two 'beast epic' sections of the poem (one in each half) also explore a developing relationship between Lowrence and the
1831:
1094:
context and hints at ambiguities. The prolog immediately foreshadows methods that the rest of the cycle will further develop.
1518:
As the central poem in the accepted text of the cycle overall, it has a number of unusual features. Firstly, there is a long
2879:
2181:
1325:
in that poem which follows the fate of a family line of foxes. The principal action of the fabill revolves around rites of
1191:
3116:
3067:
2769:
2609:
2429:
2160:
1490:
733:
for fabill seven (the only one in the narrative of the cycle to be told directly by Aesop himself) is symmetrical, thus:
290:
The table below outlines the stanza count for each of the thirteen Fabillis in order. All thirteen of the fabillis has a
1650:, contriving that the man, in effect, keeps his cattle for a bribe. The wolf is then bought off with a trick similar to
3006:
2624:
2090:
3328:
2981:
2884:
2704:
2345:
2118:
1703:) similarly involves the characters of the wolf and a sheep, but this time it is a more straightforward expansion of
1059:
1046:
1743:
It closes the cycle with a reintroduction of the figure of the mouse which also featured close to the beginning (in
1467:
Of the thirteen poems in the cycle, it is one of the most starkly written and the adaptation of its source (Aesop's
1256:
into the cycle. In various incarnations he is principal figure in the cycle after the wolf. Tod is a Scots word for
1037:. You can also click the heading links to read separate main pages with fuller articles for each individual fabill.
112:
tradition. All the expansions are rich, wry and highly developed. The central poem of the cycle takes the form of a
3109:
2784:
2557:
1780:
1682:
159:
way in which Henryson adapted and juxtaposed material from a diversity of sources in the tradition and exploited
17:
3323:
2794:
2496:
217:
respectively – then give moral conclusions that could be judged or debated either on secular grounds (ethics,
2929:
2649:
2629:
2604:
2413:
1614:) and uses his "demonstration" of how it can be stolen as a single ploy to outwit both the wolf and the man.
831:
2480:
2013:
was the most widely known fable text in Europe at that time and commonly used in primary education to teach
3001:
2924:
2844:
2759:
2714:
2397:
2167:
1539:
1161:
on Aesop's "riddle", most modern critics note the way Henryson nevertheless seems to contrive an effect of
859:, this dream-vision version presents him as able-bodied. He is first met emerging "sturdily" from out of a
3338:
3082:
3057:
2996:
2991:
2904:
2869:
2854:
2799:
2584:
3318:
2961:
2829:
2669:
2614:
3088:
3077:
3021:
2950:
2889:
2874:
2849:
2734:
2619:
2599:
2524:
2220:
2202:
1723:
1271:
250:
1826:
848:. Aesop is also portrayed here as (by request of the narrator) directly telling the seventh fabill (
721:. The precision of this placing in terms of stanza count overall, however, is particularly notable.
302:. The number of stanzas in each of these structural sections, as they apply, is shown in the table.
3343:
3292:
2966:
2909:
2824:
2779:
2709:
2694:
2689:
2664:
2654:
133:
1422:
751:
In the architecture of the poem the precise structural centre of the accepted text is the central
3333:
3180:
3016:
2971:
2814:
2749:
2699:
2589:
1918:: The Aesopic Fables" Studies in Philology 91, University of North Carolina Press, 1994. pp.70–99
1386:
1886:
A general analysis of the literature in its historical context can be found in Edward Wheatley,
3348:
3011:
2945:
2914:
2864:
2819:
2809:
2789:
2744:
2719:
2659:
2644:
2634:
1756:
1506:
1115:
1080:
118:
3227:
3197:
3150:
3072:
2976:
2919:
2839:
2774:
2764:
2739:
2684:
2405:
2338:
1705:
1512:
1326:
1129:
1123:), depicts a cockerel who rejects a valuable gemstone in preference for more precious grain.
844:. This presents the master fabulist meeting and conversing with the narrator (Henryson) in a
3247:
2986:
2834:
2729:
2724:
2679:
2674:
2639:
1162:
896:
775:
58:
8:
3277:
3252:
3202:
2804:
2754:
2594:
2550:
2472:
1841:
1793:
1395:
1133:
1079:
Fable translation was a standard classroom exercise in medieval Europe and the principal
280:
187:
1849:
1150:
the cockerel on the grounds that the jewel represents wisdom rather than wealth. In the
990:
Other Henrysonian variations from the traditional portrait include identifying Aesop as
3217:
2381:
1399:
1085:
183:
101:
3242:
774:
stanzas towards the end of the second half (#417-#419) are composed in the eight-line
2574:
2234:
2076:
807:
2464:
206:
3287:
3262:
3222:
2331:
1637:
This time the interest which the fox purports to defend is the wolf's claim on the
999:
823:
167:
Internal evidence might suggest that the work was composed in or around the 1480s.
2038:
Paris: Firmin Didot 1883–94; reprint, New York: Burt Franklin, 1960. Vol 2, p.316.
3272:
3267:
3257:
3232:
3062:
2955:
2899:
2099:
2021:, University of Florida Press, 2000, Chapter 1, for a full discussion in context.
886:
830:
The figure of Aesop is consistently cited throughout the poem as "my author" (my
218:
160:
108:), interspersed by six others in two groups of three drawn from the more profane
70:
1901:
1381:
Schir Lowrence is dead and his carcase disposed of without ceremony in a bog (a
125:
Five of the six poems in the two 'beast epic' sections of the cycle feature the
89:. As the work progresses, the stories and situations become increasingly dark.
3158:
The Taill of how this forsaid Tod maid his Confessioun to Freir Wolf Waitskaith
2543:
1310:
The Taill of how this forsaid Tod maid his Confessioun to Freir Wolf Waitskaith
1158:
729:
stanzas overall, and the distribution of stanzas on either side of the central
267:
strands of the genre goes much further than Chaucer's largely secular example.
74:
2036:
Les fabulistes latins depuis le siècle d'Auguste jusqu'à la. fin du Moyen-Age.
81:
from the European tradition. The drama of the cycle exploits a set of complex
3312:
2859:
2364:
1751:). The final stanzas of the moralitas also act as a conclusion to the cycle.
1643:
1212:
1197:
890:
263:. However, Henryson's sustained blending and blurring of the secular and the
222:
922:
916:
3237:
3047:
3042:
2894:
1788:
1544:
1524:
1406:
The young tod's hopes are checked by the arrival of the Royal Court of the
991:
902:
845:
264:
202:) inserted after the fable. Henryson follows and develops this convention.
195:
113:
62:
1862:
960:
818:
85:
dilemmas through the figure of animals representing a full range of human
3297:
3282:
3052:
2514:
1201:
779:
259:
148:. The wolf features in a number of different guises, including that of a
1102:
32:
2519:
2373:
1647:
1611:
1337:. These were all standard practice in the Scotland of Henryson's time.
1260:
and the poem interchangeably uses both terms. Henryson's tod is called
276:
191:
109:
86:
1033:
The parts in this section give brief descriptions of each poem in the
3026:
1342:
912:
175:
156:
129:
2323:
257:
in his sequence and is one of the poem's most directly identifiable
1658:
and the wolf ends up stranded at the bottom of a well at midnight.
1581:
1560:) is widely regarded as being one of Henryson's finest poems. Like
1411:
964:
926:
861:
856:
307:
230:
116:
in which the narrator meets Aesop in person. Aesop tells the fable
2068:
3212:
3207:
2355:
1602:
1572:
1478:
1346:
1330:
1243:
970:
952:
906:
246:
164:
of its kind, making high art of an otherwise conventional genre.
126:
1859:
University of Michigan Corpus of Middle English Prose and Verse
1504:) is a straightforward but rich expansion of Esope's well-known
1316:") continues the story from the previous fabill and follows the
1269:
The story in the fabill is an important adaptation of Chaucer's
1063:. It has three parts: a prologue, the tale itself, and a moral.
186:
in medieval and renaissance literature. They were told with the
3136:
1888:
Mastering Aesop: Medieval Education, Chaucer, and his Followers
1655:
1638:
1426:
995:
933:
717:
Many commentators observe the central position of the taill in
226:
104:
manuscripts, medieval Europe's standard fable text, written in
82:
78:
1754:
The fabill is a straightforward and rich expansion of Aesop's
783:
principal divisions of the structure therefore comes out as:
313:
2566:
2014:
1914:
Edward Wheatley "Scholastic Commentary and Robert Henryson's
1458:
1391:
1291:
1003:
942:
870:
149:
105:
97:
66:
2147:
The Parliament of the fourfuttit Beistis haldin be the Lyoun
1410:
and the command that all the animals must appear at a regal
2056:
1577:
1415:
1355:
939:
880:
876:
770:
stanzas near the beginning of the first half (#53-#56) and
96:
is symmetrical, with seven stories modelled on fables from
27:
Fables by fifteenth century Scottish poet, Robert Henryson
1654:
only this time, the planted desire is for a non-existent
1334:
1262:
1253:
946:
287:
indicate that this was elaborately applied in that poem.
137:
2535:
205:
By today's standards most surviving fable literature is
1805:
University of Virginia Library Electronic Text Center:
1606:
also involves a human character as a full protagonist.
813:
275:
The strong likelihood that Henryson employed Christian
855:
In contrast to more traditional portraits of Aesop as
190:
intent of drawing moral lessons which could be either
3172:
The Taill of the Uponlandis Mous and the Burges Mous
2126:
The Taill of the Uponlandis Mous and the Burges Mous
1770:
1176:
The Taill of the Uponlandis Mous and the Burges Mous
1295:
A German depiction of the Cock and the Fox, c. 1498
1219:) will make far less straightforward use of Aesop.
3310:
2052:And to begin, first of ane cok he (Aesop) wrate,
2175:The Taill of the Foxe, the Wolf and the Cadgear
1972:Scottish Academic Press, Edinburgh; 1981. p.64.
237:can be viewed technically as a work of maximal
1610:from the cart of a passing fish merchant (the
1580:production, identified for its role in making
2551:
2339:
2084:
518:
761:
3165:The Taill of Schir Chanticleir and the Foxe
2133:The Taill of Schir Chanticleir and the Foxe
1827:Further reference works for Robert Henryson
1717:
1709:, one of Esope's bleakest "stories". As in
1484:
1229:The Taill of Schir Chanticleir and the Foxe
975:Even quhair I lay he come ane sturdie pace,
283:, and features in the accepted text of the
2558:
2544:
2346:
2332:
2091:
2077:
1601:) is the first of the second set of three
1157:Despite providing the standard "medieval"
957:Ane bag of silk, all at his belt can beir:
3144:The Morall Fabillis of Esope the Phrygian
1358:was still a native creature to Scotland.
221:, etc.) or by following more "spiritual"
136:. Henryson styles the fox – in Scots the
54:The Morall Fabillis of Esope the Phrygian
1421:
1290:
1028:
817:
346:
270:
38:
2034:can be found in LĂ©opold Hervieux, ed.,
1926:
1924:
1863:http://quod.lib.umich.edu/c/cme/henfabl
1838:University of Rochester TEAMS project:
1196:Its purpose is to recommend and praise
800:
14:
3311:
1902:Symbolic Literature of the Renaissance
1823:University of Glasgow STELLA project:
1375:) is the third Reynardian tale in the
1097:
1040:
1019:
170:
73:. It is a cycle of thirteen connected
2539:
2353:
2327:
2203:The Tale of the Paddock and the Mouse
2072:
747:Second half of the cycle: 200 stanzas
2189:The Taill of the Wolf and the Wedder
2182:The Fox, the Wolf and the Husbandman
2154:The Taill of the Scheip and the Doig
1921:
1852:The Morall Fabillis: An Introduction
1632:The Fox, the Wolf and the Husbandman
1389:son who relishes the opportunity to
814:Place of Aesop in the fable sequence
737:First half of the cycle: 200 stanzas
3068:Out of the frying pan into the fire
2958:(also known as The Mice in Council)
2770:The Goose that Laid the Golden Eggs
2610:The Astrologer who Fell into a Well
2305:The Ressoning Betwix Aige and Yowth
2161:The Taill of the Lyoun and the Mous
2098:
1993:To mak ane maner of translatioun...
1942:For instance, George D. Gopen, Ed.
1870:Middle English Text (January 2012)
1491:The Taill of the Lyoun and the Mous
1211:sets a standard for free narrative
850:The Taill of the Lyoun and the Mous
298:. Four of the fabillis also have a
24:
3354:Poetry of the Bannatyne Manuscript
3007:The miller, his son and the donkey
2625:The Bird-catcher and the Blackbird
2196:The Taill of the Wolf and the Lamb
1905:for a short, general introduction.
1543:
1440:is the longest poem in the cycle.
1277:distinctly contrasted characters.
1101:
174:
65:by the fifteenth century Scottish
31:
25:
3365:
2982:The drowned woman and her husband
2885:The Travellers and the Plane Tree
2705:The Fisherman and the Little Fish
2312:The Ressoning Betwix Deth and Man
2119:The Taill of the Cok and the Jasp
1799:
1060:The Taill of the Cok and the Jasp
1047:The Taill of the Cok and the Jasp
253:, which is retold by Henryson as
2430:The Historie of Reynard the Foxe
2059:, quhilk fand ane jolie stane...
1773:
1599:The Fox, the Wolf and the Cadger
978:And said, 'God speid, my sone...
869:His gowne wes of ane claith als
778:form, instead of the seven-line
2785:The Horse that Lost its Liberty
2041:
2024:
2003:
1957:Complete and Full with Numbers.
710:
705:
702:
699:
689:
682:
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677:
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669:
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387:
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377:
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363:
358:
353:
343:
2795:The Lion, the Bear and the Fox
1975:
1962:
1949:
1936:
1930:
1908:
1893:
1880:
1817:Links to the individual fables
969:Of stature large and with ane
955:with ane prettie gilt pennair,
797:Making a total of 2795 lines.
692:
664:
636:
610:
13:
1:
2930:The Young Man and the Swallow
2650:The Cock, the Dog and the Fox
2630:The Bird in Borrowed Feathers
1873:
1011:
840:
582:
550:
488:
460:
434:
408:
380:
254:
92:The overall structure of the
3117:The Grasshopper and the Ants
3002:The Hawk and the Nightingale
2925:The Woodcutter and the Trees
2880:Town Mouse and Country Mouse
2845:The Old Woman and the Doctor
2760:The Frogs Who Desired a King
2168:The Preiching of the Swallow
1986:In mother toung, of Latyng (
1809:Complete online text of the
1781:Children's literature portal
1689:
1683:The Wolf in Sheep's Clothing
1661:
1620:
1558:The Preaching of the Swallow
1540:The Preiching of the Swallow
1192:Town Mouse and Country Mouse
1189:) is a retelling of Aesop's
895:On heikillit wyis until his
852:) within this dream vision.
314:Stanza counts in Henryson's
182:Fable stories were a common
47:The Preiching of the Swallow
7:
3058:The labyrinth of Versailles
2997:The Gourd and the Palm-tree
2905:Washing the Ethiopian White
2870:The Snake in the Thorn Bush
2855:The Satyr and the Traveller
2800:The Man with Two Mistresses
2585:The Ant and the Grasshopper
1766:
1747:) and in the central poem (
1737:) is the final poem in the
1587:
1533:
1443:
1361:
1318:fatal aventure and destinie
1286:
1222:
1169:
810:calls the "accepted text".
10:
3370:
2962:The Blind Man and the Lame
2830:The North Wind and the Sun
2670:The Dog and Its Reflection
2615:The Bear and the Travelers
2605:The Ass in the Lion's Skin
2140:The Confessioun of the Tod
1944:The Moral Fables of Aesop.
1721:
1537:
1488:
1314:The Confessioun of the Tod
1226:
1173:
1146:) comes down unreservedly
1044:
911:His beird wes quhyte, his
3190:
3126:
3099:
3078:The milkmaid and her pail
3035:
3027:The Shepherd and the Lion
3022:The Scorpion and the Frog
2951:The Bear and the Gardener
2938:
2890:The Trees and the Bramble
2875:The Tortoise and the Hare
2850:The Rose and the Amaranth
2735:The Fox and the Sick Lion
2620:The Belly and the Members
2600:The Ass Carrying an Image
2573:
2565:
2525:Willem die Madocke maecte
2507:
2448:
2363:
2263:The Garment of Gud Ladeis
2249:Sum Practysis of Medecyne
2221:The Testament of Cresseid
2212:
2106:
1735:The Paddock and the Mouse
1724:The Paddock and the Mouse
1306:The Confession of the Tod
1066:
1051:The poem which opens the
762:The seven ballade stanzas
3329:Works by Robert Henryson
3083:Wolf in sheep's clothing
2967:The Boy and the Filberts
2910:The Weasel and Aphrodite
2825:The Mouse and the Oyster
2780:The Horse and the Donkey
2710:The Fowler and the Snake
2695:The Farmer and the Viper
2690:The Farmer and the Stork
2665:The Deer without a Heart
2655:The Crow and the Pitcher
2030:A modern edition of the
2017:. See, Edward Wheatley,
1718:Fabill 13 and Conclusion
1485:Core prolog and Fabill 7
1252:and thus introduces the
1109:The first fabill in the
3017:The Priest and the Wolf
2972:Chanticleer and the Fox
2815:The Moon and her Mother
2750:The Fox and the Woodman
2700:The Fir and the Bramble
2590:The Ass and his Masters
2497:Chanticleer and the Fox
2414:The Nun's Priest's Tale
2256:Ane Prayer for the Pest
1673:The Wolf and the Wether
1398:intill his (faitheris)
1354:In Henryson's day, the
1132:, giving it a specific
1083:for this was the Latin
61:literature composed in
3012:The Monkey and the Cat
2946:An ass eating thistles
2915:The Wolf and the Crane
2865:The Snake and the Crab
2820:The Mountain in Labour
2810:The Miser and his Gold
2790:The Lion and the Mouse
2745:The Fox and the Weasel
2720:The Fox and the Grapes
2660:The Crow and the Snake
2645:The Cock and the Jewel
2635:The Boy Who Cried Wolf
2284:Against Hasty Credence
1842:Online edition of the
1757:The Frog and the Mouse
1548:
1507:The Lion and the Mouse
1502:The Lion and the Mouse
1457:) is the third of the
1433:
1296:
1121:The Cock and the Jewel
1106:
981:
905:round and of the auld
827:
822:Aesop, as depicted by
225:principles to do with
179:
119:The Lion and the Mouse
49:
36:
3324:Collections of fables
3198:Demetrius of Phalerum
3151:The Cock and the Jasp
3073:Still waters run deep
2977:The Dog in the Manger
2920:The Wolf and the Lamb
2840:The Old Man and Death
2775:The Honest Woodcutter
2765:The Goat and the Vine
2740:The Fox and the Stork
2685:The Eagle and the Fox
2489:Van den vos Reynaerde
2481:Van den vos Reynaerde
2406:Van den vos Reynaerde
1968:Matthew P McDiarmid:
1706:The Wolf and the Lamb
1701:The Wolf and the Lamb
1568:The Owl and the Birds
1547:
1470:The Sheep and the Dog
1455:The Sheep and the Dog
1425:
1333:and the remission of
1294:
1105:
1029:The Thirteen Fabillis
925:hair quhilk over his
867:
821:
271:Numbers and structure
233:. In this light, the
178:
45:
35:
3248:Laurentius Abstemius
3181:La Fontaine's Fables
2987:The Elm and the Vine
2835:The Oak and the Reed
2730:The Fox and the Mask
2725:The Fox and the Lion
2715:The Fox and the Crow
2680:The Dove and the Ant
2675:The Dog and the Wolf
2640:The Cat and the Mice
2277:The Thre Deid-Pollis
2228:Orpheus and Erudices
1438:The Trial of the Tod
1373:The Trial of the Tod
1240:The Cock and the Fox
936:in his hand he bair,
801:Question of symmetry
59:Northern Renaissance
3278:Jean de La Fontaine
3228:Adémar de Chabannes
3110:Aesop's Film Fables
2992:The Fox and the Cat
2805:The Mischievous Dog
2755:The Frog and the Ox
2595:The Ass and the Pig
2473:The Tale of the Fox
2422:The Morall Fabillis
2390:Del cok e del gupil
2109:The Morall Fabillis
1850:Robert L. Kindrick
1272:Nun's Priest's Tale
1125:The Morall Fabillis
1116:De Gallo et Jaspide
1098:Taill and moralitas
1041:Prolog and Fabill 1
1020:Question of purpose
987:, lines 1347–1363)
723:The Morall Fabillis
281:religious symbolism
251:Nun's Priest's Tale
171:The poem in context
3339:15th-century poems
3218:Dositheus Magister
2382:Le Roman de Renart
1549:
1436:At fifty stanzas,
1434:
1297:
1107:
983:(Robert Henryson,
945:stikand under his
828:
790:Central taill: 168
180:
146:figure of the wolf
50:
37:
3306:
3305:
2533:
2532:
2321:
2320:
2298:The Praise of Age
2235:Robene and Makyne
1832:More about STELLA
808:Matthew McDiarmid
793:Second half: 1403
715:
714:
43:
16:(Redirected from
3361:
3288:Nicolas Trigault
3263:Hieronymus Osius
3253:Roger L'Estrange
3223:Alexander Neckam
2560:
2553:
2546:
2537:
2536:
2348:
2341:
2334:
2325:
2324:
2093:
2086:
2079:
2070:
2069:
2063:
2048:Morall Fabillis:
2045:
2039:
2028:
2022:
2007:
2001:
1982:Morall Fabillis:
1979:
1973:
1970:Robert Henryson.
1966:
1960:
1953:
1947:
1940:
1934:
1928:
1919:
1912:
1906:
1897:
1891:
1884:
1783:
1778:
1777:
1776:
1740:Morall Fabillis.
1464:Morall Fabillis.
1378:Morall Fabillis.
963:graithit in his
893:weill with silk,
824:Hartmann Schedel
787:First half: 1404
321:
320:
285:Morall Fabilliis
44:
21:
3369:
3368:
3364:
3363:
3362:
3360:
3359:
3358:
3344:Narrative poems
3309:
3308:
3307:
3302:
3273:Robert Henryson
3268:Marie de France
3258:Gabriele Faerno
3243:Kawanabe KyĹŤsai
3233:Odo of Cheriton
3186:
3128:
3122:
3101:
3095:
3031:
2956:Belling the Cat
2934:
2900:The Walnut Tree
2576:
2569:
2564:
2534:
2529:
2503:
2457:Reynard the Fox
2444:
2359:
2352:
2322:
2317:
2242:The Annuciation
2208:
2102:
2100:Robert Henryson
2097:
2067:
2066:
2046:
2042:
2032:elegiac Romulus
2029:
2025:
2019:Mastering Aesop
2011:elegiac Romulus
2008:
2004:
1990:), I wald preif
1980:
1976:
1967:
1963:
1955:John MacQueen.
1954:
1950:
1941:
1937:
1931:
1922:
1916:Morall Fabillis
1913:
1909:
1898:
1894:
1885:
1881:
1876:
1844:Morall Fabillis
1811:Morall Fabillis
1802:
1779:
1774:
1772:
1769:
1763:
1726:
1720:
1692:
1664:
1623:
1590:
1542:
1536:
1493:
1487:
1446:
1364:
1353:
1289:
1249:Morall Fabillis
1242:) is the first
1231:
1225:
1178:
1172:
1142:(moral; plural
1100:
1069:
1054:Morall Fabillis
1049:
1043:
1035:Morall Fabillis
1031:
1022:
985:Morall Fabillis
979:
977:
976:
974:
968:
958:
956:
950:
937:
931:
930:
920:
910:
900:
894:
884:
874:
816:
803:
764:
319:
316:Morall Fabillis
273:
235:Morall Fabillis
173:
161:anthropomorphic
155:The subtle and
102:elegiac Romulus
94:Morall Fabillis
75:narrative poems
71:Robert Henryson
39:
28:
23:
22:
18:Morall Fabillis
15:
12:
11:
5:
3367:
3357:
3356:
3351:
3346:
3341:
3336:
3334:Scottish poems
3331:
3326:
3321:
3319:Aesop's Fables
3304:
3303:
3301:
3300:
3295:
3290:
3285:
3280:
3275:
3270:
3265:
3260:
3255:
3250:
3245:
3240:
3235:
3230:
3225:
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3210:
3205:
3200:
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3124:
3123:
3121:
3120:
3113:
3105:
3103:
3097:
3096:
3094:
3093:
3089:Aesop's Fables
3085:
3080:
3075:
3070:
3065:
3060:
3055:
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3045:
3039:
3037:
3033:
3032:
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2469:
2465:RĂ©nert the Fox
2461:
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2446:
2445:
2443:
2442:
2434:
2426:
2418:
2410:
2409:(13th century)
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2398:Reinhard Fuchs
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2393:(12th century)
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2270:The Bludy Serk
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1800:External links
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2860:The Sick Kite
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2813:
2811:
2808:
2806:
2803:
2801:
2798:
2796:
2793:
2791:
2788:
2786:
2783:
2781:
2778:
2776:
2773:
2771:
2768:
2766:
2763:
2761:
2758:
2756:
2753:
2751:
2748:
2746:
2743:
2741:
2738:
2736:
2733:
2731:
2728:
2726:
2723:
2721:
2718:
2716:
2713:
2711:
2708:
2706:
2703:
2701:
2698:
2696:
2693:
2691:
2688:
2686:
2683:
2681:
2678:
2676:
2673:
2671:
2668:
2666:
2663:
2661:
2658:
2656:
2653:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2621:
2618:
2616:
2613:
2611:
2608:
2606:
2603:
2601:
2598:
2596:
2593:
2591:
2588:
2586:
2583:
2582:
2580:
2578:
2572:
2568:
2561:
2556:
2554:
2549:
2547:
2542:
2541:
2538:
2526:
2523:
2521:
2518:
2516:
2513:
2512:
2510:
2506:
2499:
2498:
2494:
2491:
2490:
2486:
2483:
2482:
2478:
2475:
2474:
2470:
2467:
2466:
2462:
2459:
2458:
2454:
2453:
2451:
2447:
2440:
2439:
2438:Reinke de Vos
2435:
2432:
2431:
2427:
2424:
2423:
2419:
2416:
2415:
2411:
2408:
2407:
2403:
2400:
2399:
2395:
2392:
2391:
2387:
2384:
2383:
2379:
2376:
2375:
2371:
2370:
2368:
2366:
2365:Reynard cycle
2362:
2357:
2349:
2344:
2342:
2337:
2335:
2330:
2329:
2326:
2314:
2313:
2309:
2307:
2306:
2302:
2300:
2299:
2295:
2293:
2292:
2288:
2286:
2285:
2281:
2279:
2278:
2274:
2272:
2271:
2267:
2265:
2264:
2260:
2258:
2257:
2253:
2251:
2250:
2246:
2244:
2243:
2239:
2237:
2236:
2232:
2230:
2229:
2225:
2223:
2222:
2218:
2217:
2215:
2211:
2205:
2204:
2200:
2198:
2197:
2193:
2191:
2190:
2186:
2184:
2183:
2179:
2177:
2176:
2172:
2170:
2169:
2165:
2163:
2162:
2158:
2156:
2155:
2151:
2149:
2148:
2144:
2142:
2141:
2137:
2135:
2134:
2130:
2128:
2127:
2123:
2121:
2120:
2116:
2115:
2113:
2111:
2110:
2105:
2101:
2094:
2089:
2087:
2082:
2080:
2075:
2074:
2071:
2058:
2054:
2051:
2050:
2049:
2044:
2037:
2033:
2027:
2020:
2016:
2012:
2006:
1999:
1992:
1989:
1985:
1984:
1983:
1978:
1971:
1965:
1958:
1952:
1945:
1939:
1933:
1927:
1925:
1917:
1911:
1904:
1903:
1896:
1889:
1883:
1879:
1871:
1864:
1861:
1860:
1858:
1854:
1853:
1848:
1846:
1845:
1840:
1839:
1837:
1833:
1830:
1828:
1825:
1824:
1822:
1818:
1815:
1813:
1812:
1807:
1806:
1804:
1803:
1795:
1792:
1790:
1787:
1786:
1782:
1771:
1764:
1761:
1760:
1758:
1752:
1750:
1746:
1742:
1741:
1736:
1732:
1731:
1725:
1715:
1712:
1708:
1707:
1702:
1698:
1697:
1687:
1685:
1684:
1678:
1674:
1670:
1669:
1659:
1657:
1653:
1649:
1645:
1640:
1635:
1633:
1629:
1628:
1618:
1615:
1613:
1607:
1604:
1600:
1596:
1595:
1585:
1583:
1579:
1574:
1570:
1569:
1563:
1559:
1555:
1554:
1546:
1541:
1531:
1528:
1526:
1521:
1516:
1514:
1511:the reign of
1509:
1508:
1503:
1499:
1498:
1492:
1482:
1480:
1474:
1472:
1471:
1466:
1465:
1461:tales in the
1460:
1456:
1452:
1451:
1441:
1439:
1432:
1428:
1424:
1420:
1417:
1413:
1409:
1404:
1403:
1401:
1397:
1393:
1388:
1384:
1380:
1379:
1374:
1370:
1369:
1359:
1357:
1351:
1348:
1344:
1338:
1336:
1332:
1328:
1324:
1319:
1315:
1311:
1307:
1303:
1302:
1293:
1284:
1282:
1278:
1275:
1273:
1267:
1266:
1264:
1259:
1255:
1251:
1250:
1246:story in the
1245:
1241:
1237:
1236:
1230:
1220:
1218:
1214:
1213:improvisation
1210:
1205:
1203:
1199:
1198:simple living
1195:
1193:
1188:
1184:
1183:
1177:
1167:
1164:
1160:
1155:
1153:
1149:
1145:
1141:
1140:
1135:
1131:
1126:
1122:
1118:
1117:
1112:
1104:
1095:
1092:
1088:
1087:
1086:verse Romulus
1082:
1077:
1074:
1064:
1062:
1061:
1056:
1055:
1048:
1038:
1036:
1026:
1017:
1014:
1013:
1007:
1005:
1001:
1000:Christianised
997:
993:
988:
986:
980:
972:
966:
962:
954:
948:
944:
941:
935:
934:roll of paper
928:
924:
918:
914:
908:
904:
898:
892:
888:
882:
878:
872:
866:
864:
863:
858:
853:
851:
847:
843:
842:
837:
833:
825:
820:
811:
809:
798:
792:
789:
786:
785:
784:
781:
777:
773:
769:
766:In addition,
759:
758:
754:
746:
743:
739:
736:
735:
734:
732:
728:
724:
720:
708:
697:
695:
694:
688:
685:
667:
666:
660:
657:
639:
638:
632:
626:
615:
613:
612:
606:
603:
585:
584:
578:
570:
565:
560:
553:
552:
546:
540:
538:
533:
528:
523:
521:
520:
514:
506:
501:
491:
490:
484:
481:
463:
462:
456:
450:
439:
437:
436:
430:
411:
410:
404:
396:
383:
382:
376:
373:
368:
366:
361:
356:
351:
349:
348:
342:
338:
336:
333:
330:
327:
325:
323:
322:
317:
311:
309:
303:
301:
297:
294:(tale) and a
293:
288:
286:
282:
278:
268:
266:
262:
261:
256:
252:
248:
242:
240:
236:
232:
228:
224:
220:
216:
212:
211:modo brevitur
208:
203:
201:
197:
193:
189:
185:
177:
168:
165:
162:
158:
153:
151:
147:
143:
139:
135:
131:
128:
123:
121:
120:
115:
111:
107:
103:
99:
95:
90:
88:
84:
80:
76:
72:
68:
64:
60:
57:is a work of
56:
55:
48:
34:
30:
19:
3238:John Lydgate
3179:
3143:
3142:
3135:
3115:
3108:
3087:
3063:Lion's share
3048:Panchatantra
3043:Jataka tales
2895:The Two Pots
2495:
2487:
2479:
2471:
2463:
2455:
2436:
2428:
2421:
2420:
2412:
2404:
2396:
2388:
2380:
2372:
2310:
2303:
2296:
2289:
2282:
2275:
2268:
2261:
2254:
2247:
2240:
2233:
2226:
2219:
2201:
2194:
2187:
2180:
2173:
2166:
2159:
2152:
2145:
2138:
2131:
2124:
2117:
2108:
2107:
2055:Seikand his
2047:
2043:
2035:
2031:
2026:
2018:
2010:
2005:
1997:
1996:lines 31-2 (
1987:
1981:
1977:
1969:
1964:
1956:
1951:
1943:
1938:
1932:
1915:
1910:
1900:
1895:
1887:
1882:
1869:
1851:
1843:
1810:
1789:Hermeneutics
1762:
1755:
1753:
1748:
1744:
1739:
1738:
1734:
1729:
1728:
1727:
1710:
1704:
1700:
1695:
1694:
1693:
1681:
1676:
1672:
1667:
1666:
1665:
1651:
1639:husbandman's
1636:
1631:
1626:
1625:
1624:
1616:
1608:
1598:
1593:
1592:
1591:
1566:
1561:
1557:
1552:
1551:
1550:
1529:
1525:dream vision
1519:
1517:
1505:
1501:
1496:
1495:
1494:
1475:
1468:
1463:
1462:
1454:
1449:
1448:
1447:
1437:
1435:
1430:
1407:
1405:
1390:
1382:
1377:
1376:
1372:
1367:
1366:
1365:
1352:
1339:
1322:
1317:
1313:
1309:
1305:
1300:
1299:
1298:
1280:
1279:
1270:
1268:
1261:
1257:
1248:
1247:
1239:
1234:
1233:
1232:
1216:
1208:
1207:In context,
1206:
1190:
1187:The Twa Mice
1186:
1181:
1180:
1179:
1156:
1151:
1147:
1143:
1138:
1137:
1124:
1120:
1114:
1110:
1108:
1090:
1084:
1078:
1072:
1070:
1058:
1053:
1052:
1050:
1034:
1032:
1023:
1010:
1008:
1002:rather than
994:rather than
989:
984:
982:
959:Thus wes he
889:of scarlet,
868:
860:
854:
849:
846:dream vision
839:
835:
829:
804:
796:
771:
767:
765:
756:
752:
750:
744:: 24 stanzas
741:
730:
726:
725:consists of
722:
718:
716:
691:
683:
663:
655:
635:
609:
601:
581:
568:
563:
558:
549:
536:
531:
526:
517:
504:
499:
487:
479:
459:
433:
407:
394:
379:
371:
364:
359:
354:
345:
315:
304:
299:
295:
291:
289:
284:
274:
258:
243:
238:
234:
214:
210:
204:
199:
181:
166:
154:
141:
124:
117:
114:dream vision
93:
91:
63:Middle Scots
53:
52:
51:
46:
29:
3298:Zhou Zuoren
3293:Robert Thom
3283:Ivan Krylov
3191:Translators
3129:adaptations
3102:adaptations
3053:Perry Index
2515:Maleperduis
2492:(1943 film)
2449:Adaptations
2213:Other works
2062:lines 61-2.
2000:, Stanza 5)
1648:prosecution
1144:moralitates
857:hunchbacked
780:rhyme royal
308:symmetrical
239:modo latius
215:modo latius
200:moralitates
3313:Categories
2939:Apocryphal
2520:Reynardine
2374:Ysengrimus
1998:The Prolog
1988:from Latin
1874:References
1711:Fabill 11,
1677:Fabill 10,
1603:Reynardian
1327:confession
1244:Reynardian
1163:dissonance
927:schulderis
881:chambelate
334:Moralitas
277:numerology
223:scholastic
207:gey dreich
134:of the fox
127:Reynardian
110:beast epic
100:(from the
87:psychology
2425:(c. 1480)
2377:(c. 1150)
1730:Fabill 13
1696:Fabill 12
1690:Fabill 12
1668:Fabill 11
1662:Fabill 11
1652:Fabill 9,
1627:Fabill 10
1621:Fabill 10
1513:James III
1431:Injustice
1412:tribunall
1385:) by his
1347:povertous
1343:astrology
1265:Lowrence.
1139:moralitas
998:, and as
919:and gray,
891:bordowrit
877:chymmeris
832:authority
296:moralitas
265:spiritual
219:character
196:spiritual
157:ambiguous
130:trickster
77:based on
3203:Phaedrus
1794:Phaedrus
1767:See also
1749:Fabill 7
1745:Fabill 2
1646:and the
1594:Fabill 9
1588:Fabill 9
1584:' nets.
1562:Fabill 7
1553:Fabill 8
1534:Fabill 8
1497:Fabill 7
1459:Aesopian
1450:Fabill 6
1444:Fabill 6
1383:peat pot
1368:Fabill 5
1362:Fabill 5
1301:Fabill 4
1287:Fabill 4
1281:Fabill 3
1235:Fabill 3
1223:Fabill 3
1217:Fabill 6
1209:Fabill 2
1182:Fabill 2
1170:Fabill 2
1130:vignette
1012:Fabill 8
971:feirfull
953:inkhorne
873:as milk,
841:Fabill 7
826:in 1493.
740:Central
719:Fabill 7
255:Fabill 3
231:allegory
188:didactic
142:Lowrence
3213:Avianus
3208:Babrius
3092:(album)
3036:Related
2575:Aesop's
2356:Reynard
1656:kebbuck
1644:defence
1582:fowlers
1573:parable
1479:justice
1387:bastard
1331:penance
1323:taillis
1312:" (or "
1202:sources
1159:closure
1152:Romulus
1148:against
1134:setting
1111:Romulus
1091:Romulus
961:gudelie
940:swannis
907:fassoun
897:girdill
879:wes of
776:ballade
690:Fabill
662:Fabill
634:Fabill
608:Fabill
580:Fabill
548:Fabill
516:Fabill
486:Fabill
458:Fabill
432:Fabill
406:Fabill
378:Fabill
344:Fabill
339:Totals
328:Prolog
260:sources
247:Chaucer
192:secular
132:figure
3137:Ysopet
3100:Screen
2577:Fables
2500:(1958)
2484:(1937)
2476:(1937)
2468:(1872)
2460:(1844)
2441:(1498)
2433:(1481)
2417:(1392)
2401:(1180)
2385:(1175)
1612:cadger
1520:prolog
1427:Giotto
1113:text,
1081:source
1073:Prolog
1067:Prolog
923:lokker
871:quhyte
836:prolog
331:Taill
300:prolog
227:homily
79:fables
3127:Print
2567:Aesop
2508:Other
2358:cycle
2015:Latin
1400:steid
1263:Schir
1004:pagan
996:Greek
992:Roman
973:face.
921:With
903:bonat
899:doun,
862:schaw
753:taill
742:taill
731:taill
292:taill
184:trope
150:Friar
140:– as
106:Latin
98:Aesop
83:moral
67:makar
2354:The
2057:meit
2009:The
1899:See
1578:flax
1571:, a
1416:mare
1408:Lion
1396:raxe
1394:and
1392:ring
1356:wolf
1335:sins
1071:The
965:geir
951:Ane
938:Ane
932:Ane
929:lay.
917:grit
915:wes
901:His
887:hude
885:His
875:His
229:and
213:and
1308:, "
1258:fox
1254:tod
1057:is
947:eir
943:pen
913:ene
838:to
727:424
711:28
703:19
678:10
675:13
647:19
629:32
621:28
593:36
575:47
543:43
511:25
471:43
453:26
445:23
427:31
419:25
401:33
391:29
249:'s
194:or
138:tod
3315::
1923:^
1515:.
1481:.
1429:,
1329:,
1304:,
755::
706:9
700:–
693:13
684:23
672:–
665:12
656:23
650:4
644:–
637:11
624:4
618:–
611:10
602:40
596:4
590:–
564:25
559:13
532:24
527:12
500:16
496:–
480:50
474:7
468:–
448:3
442:–
422:4
416:2
388:–
372:23
241:.
69:,
3174:"
3170:"
3167:"
3163:"
3160:"
3156:"
3153:"
3149:"
2559:e
2552:t
2545:v
2347:e
2340:t
2333:v
2092:e
2085:t
2078:v
1759:.
1733:(
1699:(
1671:(
1630:(
1597:(
1556:(
1500:(
1453:(
1402:.
1371:(
1274:.
1238:(
1194:.
1185:(
1119:(
967:,
949:,
909:,
772:3
768:4
583:9
569:9
551:8
537:7
519:7
505:9
489:6
461:5
435:4
409:3
395:4
381:2
365:5
360:9
355:9
347:1
20:)
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