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39602 41223 ┌─────────────────────────────────────────────────┐ │ E-TEXT PUBLISHING SYSTEM - Version 1.00 │ │ (C) Copyright 1994 Philip P. Kapusta │ │ P.O. Box 5423 Falmouth, Va. 22403 │ └─────────────────────────────────────────────────┘ 12 1 1 2 1 0 7 7 0 7 1 20 9 12 40 0 0 0 Aesop's Fables Sampler Preface^15 The Tale, the Parable, and the Fable are all common and popular modes of conveying instruction. Each is distinguished by its own special characteristics. The Tale consists simply in the narration of a story either founded on facts, or created solely by the imagination, and not necessarily associated with the teaching of any moral lesson. The Parable is the designed use of language purposely intended to convey a hidden and secret meaning other than that contained in the words themselves; and which may or may not bear a special reference to the hearer, or reader. The Fable partly agrees with, and partly differs from both of these. It will contain, like the Tale, a short but real narrative; it will seek, like the Parable, to convey a hidden meaning, and that not so much by the use of language, as by the skilful introduction of fictitious characters; and yet unlike to either Tale or Parable, it will ever keep in view, as its high prerogative, and inseparable attribute, the great purpose of instruction, and will necessarily seek to inculcate some moral maxim, social duty, or political truth. The true Fable, if it rise to its high requirements, ever aims at one great end and purpose representation of human motive, and the improvement of human conduct, and yet it so conceals its design under the disguise of fictitious characters, by clothing with speech the animals of the field, the birds of the air, the trees of the wood, or the beasts of the forest, that the reader shall receive advice without perceiving the presence of the adviser. Thus the superiority of the counsellor, which often renders counsel unpalatable, is kept out of view, and the lesson comes with the greater acceptance when the reader is led, unconsciously to himself, to have his sympathies enlisted in behalf of what is pure, honorable, and praiseworthy, and to have his indignation excited against what is low, ignoble, and unworthy. The true fabulist, therefore, discharges a most important function. He is neither a narrator, nor an allegorist. He is a great teacher, a corrector of morals, a censor of vice, and a commender of virtue. In this consists the superiority of the Fable over the Tale or the Parable. The fabulist is to create a laugh, but yet, under a merry guise, to convey instruction. Phaedrus, the great imitator of Aesop, plainly indicates this double purpose to be the true office of the writer of fables. Duplex libelli dos est: quod risum movet, Et quod prudenti vitam consilio monet. The continual observance of this twofold aim creates the charm, and accounts for the universal favor, of the fables of Aesop. "The fable," says Professor K. O. Mueller, "originated in Greece in an intentional travestie of human affairs. The 'ainos,' as its name denotes, is an admonition, or rather a reproof veiled, either from fear of an excess of frankness, or from a love of fun and jest, beneath the fiction of an occurrence happening among beasts; and wherever we have any ancient and authentic account of the Aesopian fables, we find it to be the same." The construction of a fable involves a minute attention to (1) the narration itself; (2) the deduction of the moral; and (3) a careful maintenance of the individual characteristics of the fictitious personages introduced into it. The narration should relate to one simple action, consistent with itself, and neither be overladen with a multiplicity of details, nor distracted by a variety of circumstances. The moral or lesson should be so plain, and so intimately interwoven with, and so necessarily dependent on, the narration, that every reader should be compelled to give to it the same undeniable interpretation. The introduction of the animals or fictitious characters should be marked with an unexceptionable care and attention to their natural attributes, and to the qualities attributed to them by universal popular consent. The Fox should be always cunning, the Hare timid, the Lion bold, the Wolf cruel, the Bull strong, the Horse proud, and the Ass patient. Many of these fables are characterized by the strictest observance of these rules. They are occupied with one short narrative, from which the moral naturally flows, and with which it is intimately associated. "'Tis the simple manner," says Dodsley, "in which the morals of Aesop are interwoven with his fables that distinguishes him, and gives him the preference over all other mythologists. His 'Mountain delivered of a Mouse,' produces the moral of his fable in ridicule of pompous pretenders; and his Crow, when she drops her cheese, lets fall, as it were by accident, the strongest admonition against the power of flattery. There is no need of a separate sentence to explain it; no possibility of impressing it deeper, by that load we too often see of accumulated reflections." An equal amount of praise is due for the consistency with which the characters of the animals, fictitiously introduced, are marked. While they are made to depict the motives and passions of men, they retain, in an eminent degree, their own special features of craft or counsel, of cowardice or courage, of generosity or rapacity. These terms of praise, it must be confessed, cannot be bestowed on all the fables in this collection. Many of them lack that unity of design, that close connection of the moral with the narrative, that wise choice in the introduction of the animals, which constitute the charm and excellency of true Aesopian fable. This inferiority of some to others is sufficiently accounted for in the history of the origin and descent of these fables. The great bulk of them are not the immediate work of Aesop. Many are obtained from ancient authors prior to the time in which he lived. Thus, the fable of the "Hawk and the Nightingale" is related by Hesiod; the "Eagle wounded by an Arrow, winged with its own Feathers," by Aeschylus; the "Fox avenging his wrongs on the Eagle," by Archilochus. Many of them again are of later origin, and are to be traced to the monks of the middle ages: and yet this collection, though thus made up of fables both earlier and later than the era of Aesop, rightfully bears his name, because he composed so large a number (all framed in the same mould, and conformed to the same fashion, and stamped with the same lineaments, image, and superscription) as to secure to himself the right to be considered the father of Greek fables, and the founder of this class of writing, which has ever since borne his name, and has secured for him, through all succeeding ages, the position of the first of moralists. The Eagle, the Cat, and the Wild Sow^15 AN EAGLE made her nest at the top of a lofty oak; a Cat, having found a convenient hole, moved into the middle of the trunk; and a Wild Sow, with her young, took shelter in a hollow at its foot. The Cat cunningly resolved to destroy this chance-made colony. To carry out her design, she climbed to the nest of the Eagle, and said, "Destruction is preparing for you, and for me too, unfortunately. The Wild Sow, whom you see daily digging up the earth, wishes to uproot the oak, so she may on its fall seize our families as food for her young." Having thus frightened the Eagle out of her senses, she crept down to the cave of the Sow, and said, "Your children are in great danger; for as soon as you go out with your litter to find food, the Eagle is prepared to pounce upon one of your little pigs." Having instilled these fears into the Sow, she went and pretended to hide herself in the hollow of the tree. When night came she went forth with silent foot and obtained food for herself and her kittens, but feigning to be afraid, she kept a lookout all through the day. Meanwhile, the Eagle, full of fear of the Sow, sat still on the branches, and the Sow, terrified by the Eagle, did not dare to go out from her cave. And thus they both, along with their families, perished from hunger, and afforded ample provision for the Cat and her kittens. The Two Dogs^15 A man had two dogs: a Hound, trained to assist him in his sports, and a Housedog, taught to watch the house. When he returned home after a good day's sport, he always gave the Housedog a large share of his spoil. The Hound, feeling much aggrieved at this, reproached his companion, saying, "It is very hard to have all this labor, while you, who do not assist in the chase, luxuriate on the fruits of my exertions." The Housedog replied, "Do not blame me, my friend, but find fault with the master, who has not taught me to labor, but to depend for subsistence on the labor of others." Children are not to be blamed for the faults of their parents. The Thief and the Innkeeper^15 A THIEF hired a room in a tavern and stayed a while in the hope of stealing something which should enable him to pay his reckoning. When he had waited some days in vain, he saw the Innkeeper dressed in a new and handsome coat and sitting before his door. The Thief sat down beside him and talked with him. As the conversation began to flag, the Thief yawned terribly and at the same time howled like a wolf. The Innkeeper said, "Why do you howl so fearfully?' "I will tell you," said the Thief, "but first let me ask you to hold my clothes, or I shall tear them to pieces. I know not, sir, when I got this habit of yawning, nor whether these attacks of howling were inflicted on me as a judgment for my crimes, or for any other cause; but this I do know, that when I yawn for the third time, I actually turn into a wolf and attack men." With this speech he commenced a second fit of yawning and again howled like a wolf, as he had at first. The Innkeeper, hearing his tale and believing what he said, became greatly alarmed and, rising from his seat, attempted to run away. The Thief laid hold of his coat and entreated him to stop, saying, "Pray wait, sir, and hold my clothes, or I shall tear them to pieces in my fury, when I turn into a wolf." At the same moment he yawned the third time and set up a terrible howl. The Innkeeper, frightened lest he should be attacked, left his new coat in the Thief's hand and ran as fast as he could into the inn for safety. The Thief made off with the coat and did not return again to the inn. Every tale is not to be believed. The Apes and the Two Travelers^15 TWO MEN, one who always spoke the truth and the other who told nothing but lies, were traveling together and by chance came to the land of Apes. One of the Apes, who had raised himself to be king, commanded them to be seized and brought before him, that he might know what was said of him among men. He ordered at the same time that all the Apes be arranged in a long row on his right hand and on his left, and that a throne be placed for him, as was the custom among men. After these preparations he signified that the two men should be brought before him, and greeted them with this salutation: "What sort of a king do I seem to you to be, O strangers?" The Lying Traveler replied, "You seem to me a most mighty king." "And what is your estimate of those you see around me?' "These," he made answer, "are worthy companions of yourself, fit at least to be ambassadors and leaders of armies." The Ape and all his court, gratified with the lie, commanded that a handsome present be given to the flatterer. On this the truthful Traveler thought to himself, "If so great a reward be given for a lie, with what gift may not I be rewarded, if, according to my custom, I tell the truth?" The Ape quickly turned to him. "And pray how do I and these my friends around me seem to you?" "Thou art," he said, "a most excellent Ape, and all these thy companions after thy example are excellent Apes too." The King of the Apes, enraged at hearing these truths, gave him over to the teeth and claws of his companions. The Miller, His Son, and Their Ass^15 A miller and his son were driving their Ass to a neighboring fair to sell him. They had not gone far when they met with a troop of women collected round a well, talking and laughing. "Look there," cried one of them, "did you ever see such fellows, to be trudging along the road on foot when they might ride?" The old man hearing this, quickly made his son mount the Ass, and continued to walk along merrily by his side. Presently they came up to a group of old men in earnest debate. "There," said one of them, "it proves what I was a-saying. What respect is shown to old age in these days? Do you see that idle lad riding while his old father has to walk? Get down, you young scapegrace, and let the old man rest his weary limbs." Upon this the old man made his son dismount, and got up himself. In this manner they had not proceeded far when they met a company of women and children: "Why, you lazy old fellow," cried several tongues at once, "how can you ride upon the beast, while that poor little lad there can hardly keep pace by the side of you?" The good-natured Miller immediately took up his son behind him. They had now almost reached the town. "Pray, honest friend," said a citizen, "is that Ass your own?" "Yes," replied the old man. "O, one would not have thought so," said the other, "by the way you load him. Why, you two fellows are better able to carry the poor beast than he you." "Anything to please you," said the old man; "we can but try." So, alighting with his son, they tied the legs of the Ass together and with the help of a pole endeavored to carry him on their shoulders over a bridge near the entrance to the town. This entertaining sight brought the people in crowds to laugh at it, till the Ass, not liking the noise nor the strange handling that he was subject to, broke the cords that bound him and, tumbling off the pole, fell into the river. Upon this, the old man, vexed and ashamed, made the best of his way home again, convinced that by endeavoring to please everybody he had pleased nobody, and lost his Ass in the bargain. The Buffoon and the Countryman^15 A rich nobleman once opened the theaters without charge to the people, and gave a public notice that he would handsomely reward any person who invented a new amusement for the occasion. Various public performers contended for the prize. Among them came a Buffoon well known among the populace for his jokes, and said that he had a kind of entertainment which had never been brought out on any stage before. This report being spread about made a great stir, and the theater was crowded in every part. The Buffoon appeared alone upon the platform, without any apparatus or confederates, and the very sense of expectation caused an intense silence. He suddenly bent his head towards his bosom and imitated the squeaking of a little pig so admirably with his voice that the audience declared he had a porker under his cloak, and demanded that it should be shaken out. When that was done and nothing was found, they cheered the actor, and loaded him with the loudest applause. A Countryman in the crowd, observing all that has passed, said, "So help me, Hercules, he shall not beat me at that trick!" and at once proclaimed that he would do the same thing on the next day, though in a much more natural way. On the morrow a still larger crowd assembled in the theater, but now partiality for their favorite actor very generally prevailed, and the audience came rather to ridicule the Countryman than to see the spectacle. Both of the performers appeared on the stage. The Buffoon grunted and squeaked away first, and obtained, as on the preceding day, the applause and cheers of the spectators. Next the Countryman commenced, and pretending that he concealed a little pig beneath his clothes (which in truth he did, but not suspected by the audience ) contrived to take hold of and to pull his ear causing the pig to squeak. The Crowd, however, cried out with one consent that the Buffoon had given a far more exact imitation, and clamored for the Countryman to be kicked out of the theater. On this the rustic produced the little pig from his cloak and showed by the most positive proof the greatness of their mistake. "Look here," he said, "this shows what sort of judges you are." Mercury and the Workmen^15 A workman, felling wood by the side of a river, let his axe drop - by accident into a deep pool. Being thus deprived of the means of his livelihood, he sat down on the bank and lamented his hard fate. Mercury appeared and demanded the cause of his tears. After he told him his misfortune, Mercury plunged into the stream, and, bringing up a golden axe, inquired if that were the one he had lost. On his saying that it was not his, Mercury disappeared beneath the water a second time, returned with a silver axe in his hand, and again asked the Workman if it were his. When the Workman said it was not, he dived into the pool for the third time and brought up the axe that had been lost. The Workman claimed it and expressed his joy at its recovery. Mercury, pleased with his honesty, gave him the golden and silver axes in addition to his own. The Workman, on his return to his house, related to his companions all that had happened. One of them at once resolved to try and secure the same good fortune for himself. He ran to the river and threw his axe on purpose into the pool at the same place, and sat down on the bank to weep. Mercury appeared to him just as he hoped he would; and having learned the cause of his grief, plunged into the stream and brought up a golden axe, inquiring if he had lost it. The Workman seized it greedily, and declared that truly it was the very same axe that he had lost. Mercury, displeased at his knavery, not only took away the golden axe, but refused to recover for him the axe he had thrown into the pool. The Town Mouse and the Country Mouse^14 A Country Mouse invited a Town Mouse, an intimate friend, to pay him a visit and partake of his country fare. As they were on the bare plowlands, eating there wheat-stocks and roots pulled up from the hedgerow, the Town Mouse said to his friend, "You live here the life of the ants, while in my house is the horn of plenty. I am surrounded by every luxury, and if you will come with me, as I wish you would, you shall have an ample share of my dainties." The Country Mouse was easily persuaded, and returned to town with his friend. On his arrival, the Town Mouse placed before him bread, barley, beans, dried figs, honey, raisins, and, last of all, brought a dainty piece of cheese from a basket. The Country Mouse, being much delighted at the sight of such good cheer, expressed his satisfaction in warm terms and lamented his own hard fate. Just as they were beginning to eat, someone opened the door, and they both ran off squeaking, as fast as they could, to a hole so narrow that two could only find room in it by squeezing. They had scarcely begun their repast again when someone else entered to take something out of a cupboard, whereupon the two Mice, more frightened than before, ran away and hid themselves. At last the Country Mouse, almost famished, said to his friend: "Although you have prepared for me so dainty a feast, I must leave you to enjoy it by yourself. It is surrounded by too many dangers to please me. I prefer my bare plowlands and roots from the hedgerow, where I can live in safety, and without fear." The Life of Aesop^15 The life and history of Aesop is involved, like that of Homer, the most famous of Greek poets, in much obscurity. Sardis, the capital of Lydia; Samos, a Greek island; Mesembria, an ancient colony in Thrace; and Cotiaeum, the chief city of a province of Phrygia, contend for the distinction of being the birthplace of Aesop. Although the honor thus claimed cannot be definitely assigned to any one of these places, yet there are a few incidents now generally accepted by scholars as established facts, relating to the birth, life, and death of Aesop. He is, by an almost universal consent, allowed to have been born about the year 620 B.C., and to have been by birth a slave. He was owned by two masters in succession, both inhabitants of Samos, Xanthus and Jadmon, the latter of whom gave him his liberty as a reward for his learning and wit. One of the privileges of a freedman in the ancient republics of Greece, was the permission to take an active interest in public affairs; and Aesop, like the philosophers Phaedo, Menippus, and Epictetus, in later times, raised himself from the indignity of a servile condition to a position of high renown. In his desire alike to instruct and to be instructed, he travelled through many countries, and among others came to Sardis, the capital of the famous king of Lydia, the great patron, in that day, of learning and of learned men. He met at the court of Croesus with Solon, Thales, and other sages, and is related so to have pleased his royal master, by the part he took in the conversations held with these philosophers, that he applied to him an expression which has since passed into a proverb, "The Phrygian has spoken better than all." On the invitation of Croesus he fixed his residence at Sardis, and was employed by that monarch in various difficult and delicate affairs of State. In his discharge of these commissions he visited the different petty republics of Greece. At one time he is found in Corinth, and at another in Athens, endeavouring, by the narration of some of his wise fables, to reconcile the inhabitants of those cities to the administration of their respective rulers Periander and Pisistratus. One of these ambassadorial missions, undertaken at the command of Croesus, was the occasion of his death. Having been sent to Delphi with a large sum of gold for distribution among the citizens, he was so provoked at their covetousness that he refused to divide the money, and sent it back to his master. The Delphians, enraged at this treatment, accused him of impiety, and, in spite of his sacred character as ambassador, executed him as a public criminal. This cruel death of Aesop was not unavenged. The citizens of Delphi were visited with a series of calamities, until they made a public reparation of their crime; and, "The blood of Aesop" became a well-known adage, bearing witness to the truth that deeds of wrong would not pass unpunished. Neither did the great fabulist lack posthumous honors; for a statue was erected to his memory at Athens, the work of Lysippus, one of the most famous of Greek sculptors. Phaedrus thus immortalizes the event: Aesopo ingentem statuam posuere Attici, Servumque collocarunt aeterna in basi: Patere honoris scirent ut cuncti viam; Nec generi tribui sed virtuti gloriam. These few facts are all that can be relied on with any degree of certainty, in reference to the birth, life, and death of Aesop. They were first brought to light, after a patient search and diligent perusal of ancient authors, by a Frenchman, M. Claude Gaspard Bachet de Mezeriac, who declined the honor of being tutor to Louis XIII of France, from his desire to devote himself exclusively to literature. He published his Life of Aesop, Anno Domini 1632. The later investigations of a host of English and German scholars have added very little to the facts given by M. Mezeriac. The substantial truth of his statements has been confirmed by later criticism and inquiry. DIR *.TXT To add some flair to your e-text documents, you can imbed color codes within you .TXT files. Each line can be modified to display any foreground color that you wish. The way that you do this is to place a color code character ^^ (caret) at the end of the line you wish to change, followed by a 1-2 digit number. The number specifies the color you wish to use. The following charts shows you the available colors and example codes: Color 1^1 Color 2^2 Color 3^3 Color 4^4 Color 5^5 Color 6^6 Color 7^7 Color 8^8 Color 9^9 Color 10^10 Color 11^11 Color 12^12 Color 13^13 Color 14^14 Color 15^15 Example: The swift brown fox jumped over the fence^^12 where ^^12 is the color code that will create the following color scheme: The swift brown fox jumped over the fence^12 Another example: The traffic light blinked^^15 yellow^^30 to warn us to slow down!^^15 The result: The traffic light blinked^15 yellow^30 to warn us to slow down!^15 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?┌─────────────────────────────────────────────┐ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ THE ELECTRONIC TEXT PUBLISHING SYSTEM │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ (C) Copyright by │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ Philip P. Kapusta │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ P.O. Box Falmouth, Va. │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ BBS -- │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?│ │ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?└─────────────────────────────────────────────┘ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?P?r?e?s?s? ?a?n?y? ?k?e?y? ?t?o? ?b?e?g?i?n?.?.?.? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0▄ 0 0 ? ? ? ? ? ? ? ? ? ? ? ? ?A?n? ?A?e?s?o?p?'?s? ?F?a?b?l?e?s? ?S?a?m?p?l?e?r? ? ? ? ? ? ? ? ? 0 0 0 0 0 0 0█ 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0█ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ Use keys to move marker bar, then [ENTER], or press [ESC] to quit ▄ ▐▄ ▌▄▄▀▀▀▀█▄ ▄▌ ▄ █▄▀▄▄▀▀▀▀▄▄▀█ ▄ G N G N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N N G G G G G▄ █▀▄▀ ▀▄▀█ ▄ G G G GTNHNEN NENLNENCNTNRNONNNINCN NTNENXNTN NPNUNBNLNINSNHNINNNGN NSNYNSNTNENMN G G G G G G█ ▀▌■ ■▀█ G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G█ ▄█▐ ▌█▄ G G G G G(OCO)O GCOoOpOyOrOiOgOhOtO O1O9O9O4O ObOyO OPOhOiOlOiOpO OKOaOpOuOsOtOaO G G G G G G█ ▌▌ ▄▄▄▄▄▄▄ ▐▐▌ G G G G G GPO.OOO.O OBOoOxO O5O4O2O3O,O OFOaOlOmOoOuOtOhO,O OVOaO.O O2O2O4O0O3O G G G G O O G█ ▄█▌▌▄█▀▀███▀▀█▄ ▌█▄▀ O G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G█ █▐▐▌▄██▄▀▄██▄▐▌▐▀ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ▄ ▌█▐████▐████▌█▐█▀ █▌█▐██ █▐█ ██▌█▐▌▄ ▄▐ ▐ ▄▌ ▄█▌▀▐▄▀██▀▄▀██▀▄▌▀▀▄ ▀▄▄ ██ ▌██▄ ▐▄ █ █▄██ ▄███▄▄██▄█▌█▀ █▀▀▀▀▀▀▀▀▀█▌ ▐▐▌█▀▌█████▐▀██▌▄█▐ ▄ ▀▄▌█.⌠.p.≥■p████▐ ▌ ▐ ▌ █▐█▐▌█▄▀▀▀▄█▌▄█▐█▌█▀ ▌▌─-─▐████▐▄█▄▄██▄█ ▌ ▌██▌▄▀▀▀▀▀▄ ▌███▐█▄ ▄ ▌▌─-─▐█▐ w w w w w w w w w w▄ ▄ ▄▀▄▀▌▌▄▌▄▌▄▌▌▌■▀▄█▀ ▐▄ ▄▌ ▄▌ ▄█ ▄█▌▌ ▐█▐┌─────── p██▄▄ Press ▄▌▌▌█▌█▌█▌▌▌▄▀███▀▀▀▀▀█▄██▀▀▄▀▀▀█▀█▌▌ ▐█▐│C:>_Å p████▄ ▄▌▌▀▄▄▄▄▄▀▐▀██▄ ▄████▌▄▄▄▄▄███▀ █ ▐▌█║p║p║p██▐│ Å Å Å Å Å Å Å p█x████ any key ▄▀█▐██▄▄▄██▌█▄▀▀▐█████▌█████▌██▐▀ ▌▌█║p║p║p██▐│ p█████ ▐▄▀█████▀▄█▌▄█████▄▄ ▄▄▄▄▄▄▄▄█▀ ▌█║p║p║p██▐│ p█████ to exit ▄▀█▄▄▄▄▄▀ █▐█████████]▄▀▄ ▀ ▀▌ ▌▀█▄▌█║p║p║p██▐└─────── p████▀ ▀▌ ▐▀▄ ▐▐█▀▀]████████▄▐ █▌█╚p╩p╝p██▐███████ r∙r p██▀ now! ▌██▄▀▀]███████▌ ████▄▄▄▄▄▄▄▄▄▄▄▄▄ ▀█ ▄▄▐▄▀▀]███▀]▀▐ ▄ ████████ n n n n n n n n n n n n n n n n n███ 1 Preface AESOP1.TXT 1 7 1 5 2 22 75 0 559 7702 1 The Eagle, the Cat, and the Wild Sow AESOP3.TXT 3 15 6 5 2 22 75 0 7702 9235 2 The Two Dogs AESOP2.TXT 2 14 5 5 2 22 75 0 9235 9987 4 The Thief and the Innkeeper AESOP4.TXT 4 7 4 5 2 22 75 0 9987 11740 5 The Apes and the Two Travelers AESOP5.TXT 5 14 4 5 2 22 75 0 11740 13400 6 The Miller, His Son, and Their Ass AESOP6.TXT 6 0 3 5 2 22 75 0 13400 15696 7 The Buffoon and the Countryman AESOP7.TXT 7 9 0 5 2 22 75 0 15696 18105 8 Mercury and the Workmen AESOP8.TXT 8 11 1 5 2 22 75 0 18105 19814 9 The Town Mouse and the Country Mouse AESOP9.TXT 9 15 4 5 2 22 75 0 19814 21533 10 The Life of Aesop AESOP10.TXT 10 7 0 5 2 22 75 0 21533 25912 11 Directory on *.TXT files AESOP11.TXT 1 25912 25923 12 Color codes and chart COLORS.TXT 15 7 0 7 2 22 73 0 25923 27596 ■ AESOP_1.BIN 27596 AESOP_2.BIN 31598 AESOP_3.BIN 35600