Lefkowitz, Jeremy B.

English

Works

 Swarthmore College
Works 
 
 
Classics Faculty Works 
 
 
2009 
 
Review Of "Aesop's Fables In Latin: 
Ancient Wit And Wisdom From The 
Animal Kingdom" By L. Gibbs 
 
Jeremy B. Lefkowitz 
Swarthmore College, jlefkow1@swarthmore.edu  
 
Let us know how access to this work benefits you. 
 
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 Part of the Classics Commons 
 
 
Recommended Citation 
Jeremy B. Lefkowitz. (2009). "Review Of "Aesop's Fables In Latin: Ancient Wit And Wisdom From The 
Animal Kingdom" By L. Gibbs". Bryn Mawr Classical Review. 
http://works.swarthmore.edu/fac-classics/5 
 
This work is brought to you for free and open access by the Swarthmore College Libraries. It has 
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more information, please contact myworks@swarthmore.edu. 
Laura Gibbs, Aesop's Fables in Latin: Ancient Wit and Wisdom
from the Animal Kingdom.   Mundelein, Ill.:  Bolchazy-Carducci,
2009.  Pp. xxxi, 366.  ISBN 9780865166950.  $34.00 (pb).
bmcr.brynmawr.edu/2009/2009-12-24.html
Bryn Mawr Classical Review 2009.12.24
Reviewed by Jeremy B. Lefkowitz, Swarthmore College (jlefkow1@swarthmore.edu)
Word count: 2038 words
Aesop's Fables in Latin is a wonderful new resource for second-year Latin courses and for independent
learners who have completed an elementary program. Laura Gibbs, an innovative online instructor (see
below) and author of a noteworthy recent translation of Aesop's fables,1 has taken a collection of Latin fables
from the seventeenth century and repackaged it as a serious and smart intermediate reader. Aesop's Fables
in Latin is made up of 80 of the original 110 Latin fables composed by the writer and translator Robert
Codrington (1602-1665) for a trilingual fable book (Latin, French, and English) that became famous primarily
because of its illustrations (of which Gibbs has included 40) by the English artist Francis Barlow (d. 1704). All
of the fables are presented with extensive notes and instructive commentary (see below), and more than half
of them are also adorned with one or more apposite proverbs in large shadowed textboxes. There is
something refreshingly unfashionable about an intermediate reader that features the work of an author who is
emphatically neither canonical nor ancient, and, moreover, one who is linked rather tenuously to an
essentially anonymous ancient fable tradition. After all, most contemporary Latin programs aim to move
students toward highly-valued and (usually) classical Latin authors as early as possible. But Aesop's Fables
in Latin is anything but a radical break with tradition. Although Codrington's compositions may be of limited
use as literary- or cultural-historical documents, fables (whether or not ascribed to "Aesop") have held a
prominent place in Latin (and Greek) curricula for more than two millennia. As one reads through Gibbs's
meticulous and thoughtful presentation of these fables it is easy to see why they have endured for so long in
the classroom.
It is traditional for Aesop's fables or similar narratiunculae et fabulae to serve as the inaugural steps of the
intermediate level. This is true for Greek as well as Latin, and for antiquity as well as modernity, as reflected
in ancient educational texts such as the Progymnasmata, in which students with a basic knowledge of Greek
grammar were asked to compose original fables and to manipulate known Aesopic fables by expanding or
contracting the animals' speeches and inventing new morals.2 Collections of Aesop's fables remained as one
of the most common first narratives encountered by students until well into the eighteenth century, but in
many popular nineteenth- and twentieth-century Latin readers (e.g., Jacobs or Andrews) they were reduced
to only a few specimens on the opening pages before giving way to historical and mythological narratives
from authors like Caesar and Livy.3 In the twenty-first century they have essentially disappeared from Latin
and Greek classrooms. In general, it seems that fables enjoy curricular success in periods when there is an
emphasis on the acquisition of reading and composition skills as ends in themselves, while they fall out of
favor in times when the primary criterion behind curricular design is the literary value of the selected texts,
either because of the potential of highly-valued texts to promote students' interest in studying Classics or so
that those students who do not continue beyond the intermediate level can be exposed to as many of the
1/3
2/3
best authors as possible before moving on to other pursuits. Because fables are self-contained, complete
units of meaning, they allow teachers and students to work through entire stories in one sitting in a way that
even the most carefully excerpted passages cannot rival; they allow students to appreciate the ways in which
Latin tells stories with a beginning, middle, and end, with no need for contextualization. But because they are
anonymous tales that can be downright vapid (despite their many charms), they may make students better
readers of Latin texts but they do not necessarily make students more interested in learning about the
classical world : thus their current position on the margins of the curriculum.
Gibbs has stripped all of the fables in Aesop's Fables in Latin of their original morals, reformatted them
(punctuation and capitalization have been updated), and reorganized them according to the difficulty of the
Latin. While the simplest fables are not easy to incorporate into a first-year course, anyone who has
completed such a course ought to be able to handle even the most difficult ones. For example, the very first
fable in the book uses indirect statement as well as subjunctives introduced by both cum and quod (topics
some textbooks do not treat until their final chapters), while the last two fables have the gerund, deponent
verbs, indirect questions introduced by uter and quomodo, and a causal subjunctive. The most distinctive
feature of Aesop's Fables in Latin is the way in which Gibbs has constructed a total of 80 discussions of Latin
grammar and style adapted to the 80 fables, so that each fable (e.g., "Fable 48: DE LEONE ET URSO") is
also devoted to a particular mini-lesson (e.g., "Gerunds in the Ablative Case").
Each Latin fable is preceded by a brief Introduction and a Grammar Overview. The Introductions provide
some background information, including references to one or two extant Greek, Roman, or English versions
of the same fable (these citations are not detailed, however, e.g., just "Townsend," "L'Estrange," "Plutarch,"
or "Phaedrus"; and sometimes they are even more vague: "a medieval version" (143) and an "ancient
Roman" (275) version). Gibbs then discusses one item of Latin grammar or style before each fable in the
Grammar Overviews, including topics such as unusual verb forms, points of syntax, "little" words
(postpositive particles, correlatives, and relative pronouns), word formation, and stylistic matters. The issues
covered range from the very specific ("huc and illuc"; "cum + subjunctive"; "Frequentative Verbs") to the more
general ("Adjectives and Adverbs," on the ways in which Latin often uses an adjective where English would
use an adverb; and "Ambiguous Parts of Speech," with reference to the diverse functions of the perfect
passive participle). Each fable nicely demonstrates the lesson of its Grammar Overview, but, because the
fables were not originally composed for this purpose, many of the grammatical features best exemplified in
one fable in fact surface in comparable ways throughout the other fables, and a few of the fables do not have
particularly distinctive grammatical features. Thus, one may have encountered a certain phenomenon a few
times by the time it receives its own Grammar Overview; this is not, however, a major problem because the
goal of Aesop's Fables in Latin is to improve reading skills, not to introduce grammatical concepts. Moreover,
Gibbs has provided cross-references so that one can track where the various topics under discussion will be
illustrated again later or where they may already have been encountered.
For example, in a particularly lucid discussion of the postpositive particle vero before "The Lion, the Donkey,
and the Rooster" (Fable 60), Gibbs is able to refer to earlier overviews of quidem and autem, both of which
function like vero to build meaningful relationships between one sentence and the next. Drawing on these
earlier discussions, she writes: "Like quidem (see Fable 23), vero strongly affirms the statement, but at the
same time, like the postpositive particle autem (see Fable 16), vero also emphasizes a contrast with the
previous statement. If you had to try to express those two functions in a single phrase in English you could
say 'but indeed' or 'but as a matter of fact.' So, pay attention to the use of vero in the fable you are about to
read, and see how it carries out both these affirmative and adversative functions as it connects the two
sentences. (For more postpositive particles in Latin, see the notes to Fable 66)" (p. 239). In the fable, the
word performs its dual function clearly--but, more importantly, it does so at a crucial moment in the story (the
whole of which is only six lines long) to very dramatic effect. The asinus assumes that the leo is intimidated
by him and so he goes on the attack: ut vero procul a gallicino persecutus est, conversus Leo Asinum
devorat. A life-and-death usage of vero: where else other than in Aesop can you get so much out of vero in
so little time?
In addition to a "List of Most Frequently Used Words" in the preliminary pages and a full glossary in the back
of the book, there is also a Vocabulary on the page facing each fable, with an average of about fifteen to
twenty items, including animal names and any words not counted among the most frequent (at the extremes,
Fable 42 has thirty-one glossed words and Fable 67 has nineteen glossed verbs alone). Underneath the text
of each fable are Grammar Notes, which draw attention to whatever phenomenon is discussed in the
Grammar Overview and additionally address any difficult or unusual forms. The things Gibbs most
consistently remarks upon in the Grammar Notes are ablative absolutes; the antecedents (implied or
3/3
expressed) of relative clauses; idiomatic phrases and usages; and uses of either the indicative or subjunctive
mood whenever the other of the two was also grammatically possible. On the rare occasions that
Codrington's Latin reveals its lateness, this is also addressed in the notes (e.g., on p. 209, the use of ut non
is contrasted with ne in Classical Latin). Here, too, Gibbs provides a thorough network of internal references,
carefully tracking and acknowledging everything both already learned and still to-be-learned, so that the
student is continually reminded that what was just observed in a recently-read fable still obtains.
Gibbs has ambitiously joined one of the oldest methods of teaching Latin to some of the newest instructional
tools by partnering Aesop's Fables in Latin with her own expansive online universe of Aesop- and Latin-
related material through LatinViaFables.com (as advertised in the opening paragraph of the book, p. xv). 4
LatinViaFables.com is a social network created by Gibbs on Ning; in addition to its primary function of
providing a forum for people interested in Aesop and in reading Latin more generally, LatinViaFables.com
also has a vast selection of supplemental material, notes, and commentary on the fables in the book under
review, including audio files of Gibbs reading each of the book's 80 fables and video with slideshows of
illustrations from diverse sources. There are also several valuable pedagogical supplements to the book,
including Latin text of the fables with macrons added (macrons are found only in the glossary of the book);
grammar notes on the numerous proverbs accompanying the fables; re-tellings of the fables in simpler,
punchier Latin; the original morals that accompanied each fable in Codrington's Latin from the 1687
publication; facsimile pages of the 1687 book with Barlow's illustrations; and many, many other interactive
applications and games (including crossword puzzles based on the vocabulary of individual fables). The site
is well worth a visit for anyone curious about the latest tools for teaching Latin. In particular, there is an
enlightening variety of testing applications for vocabulary building and grammar review (including flashcards,
games, and innovative online quizzes), each of which Gibbs has posted for everyone's use through Quia,
and several re-usable widgets and javascripts for Latin instructors. An experienced and clearly trailblazing
online instructor, Gibbs also maintains a clear-eyed blog on how to use these technologies  in and out of the
classroom. For those who find themselves in need of still more Latin fables and proverbs after all this, there
are links to daily updates from Gibbs's main blog (as well as a steady stream of Aesopica in the form of
tweets.
Aesop's Fables in Latin also contains an "Introduction" (xv-xxxi), which includes a particularly useful section
entitled "Study Tips and Strategies for Reading Latin" (xviii-xxiii), as well as a full glossary and three indices
(a grammar index, a list of characters, and a general index). All entries in the indices that refer to pages in
the "Introduction" (xv-xxxi) appear to be incorrect.
In short, this experiment has succeeded brilliantly in making the old school new again. I especially
recommend it to students exhausted by a year of elementary Latin, when the accumulation of forms and
rules makes it difficult to believe that one can ever truly enjoy reading Latin for its own sake. Aesop's
menagerie of forceful and memorable fabulae is here to help.
Notes:
1.   Aesop's Fables, translated by Laura Gibbs (Oxford University Press, 2002). Some readers of BMCR will
also be familiar with http://www.mythfolklore.net, the homepage for all of Gibbs's online projects. 
2.   Progymnasmata: Greek Textbooks of Prose Composition and Rhetoric , translated with introductions and
notes by George A. Kennedy (Leiden: Society of Biblical Literature, 2003). 
3.   See Bonnie F. Fisher, A History of the Use of Aesop's Fables as a School Text from the Classical Era
through the Nineteenth Century (Ph.D. Diss. Indiana University 1987). 
4.   This URL actually triggers a redirect to Gibbs's page on Ning, where one notices immediately that Gibbs's
web activities amount to far more than a few bonus features to this book.
BMCR, Bryn Mawr College, 101 N. Merion Ave., Bryn Mawr, PA 19010
HTML generated at 10:22:22, Tuesday, 15 December 2009


Review Of  Aesop\u27s Fables In Latin: Ancient Wit And Wisdom From The Animal Kingdom  By L. Gibbs

 Swarthmore CollegeWorks   Classics Faculty Works   2009  Review Of "Aesop's Fables In Latin: Ancient Wit And Wisdom From The Animal Kingdom" By L. Gibbs  Jeremy B. Lefkowitz Swarthmore College, jlefkow1@swarthmore.edu   Let us know how access to this work benefits you.  Follow this and additional works at: http://works.swarthmore.edu/fac-classics/  Part of the Classics Commons   Recommended Citation Jeremy B. Lefkowitz. (2009). "Review Of "Aesop's Fables In Latin: Ancient Wit And Wisdom From The Animal Kingdom" By L. Gibbs". Bryn Mawr Classical Review. http://works.swarthmore.edu/fac-classics/5  This work is brought to you for free and open access by the Swarthmore College Libraries. It has been accepted for inclusion in Classics Faculty Works by an authorized administrator of Works. For more information, please contact myworks@swarthmore.edu. Laura Gibbs, Aesop's Fables in Latin: Ancient Wit and Wisdomfrom the Animal Kingdom.   Mundelein, Ill.:  Bolchazy-Carducci,2009.  Pp. xxxi, 366.  ISBN 9780865166950.  $34.00 (pb).bmcr.brynmawr.edu/2009/2009-12-24.htmlBryn Mawr Classical Review 2009.12.24Reviewed by Jeremy B. Lefkowitz, Swarthmore College (jlefkow1@swarthmore.edu)Word count: 2038 wordsAesop's Fables in Latin is a wonderful new resource for second-year Latin courses and for independentlearners who have completed an elementary program. Laura Gibbs, an innovative online instructor (seebelow) and author of a noteworthy recent translation of Aesop's fables,1 has taken a collection of Latin fablesfrom the seventeenth century and repackaged it as a serious and smart intermediate reader. Aesop's Fablesin Latin is made up of 80 of the original 110 Latin fables composed by the writer and translator RobertCodrington (1602-1665) for a trilingual fable book (Latin, French, and English) that became famous primarilybecause of its illustrations (of which Gibbs has included 40) by the English artist Francis Barlow (d. 1704). Allof the fables are presented with extensive notes and instructive commentary (see below), and more than halfof them are also adorned with one or more apposite proverbs in large shadowed textboxes. There issomething refreshingly unfashionable about an intermediate reader that features the work of an author who isemphatically neither canonical nor ancient, and, moreover, one who is linked rather tenuously to anessentially anonymous ancient fable tradition. After all, most contemporary Latin programs aim to movestudents toward highly-valued and (usually) classical Latin authors as early as possible. But Aesop's Fablesin Latin is anything but a radical break with tradition. Although Codrington's compositions may be of limiteduse as literary- or cultural-historical documents, fables (whether or not ascribed to "Aesop") have held aprominent place in Latin (and Greek) curricula for more than two millennia. As one reads through Gibbs'smeticulous and thoughtful presentation of these fables it is easy to see why they have endured for so long inthe classroom.It is traditional for Aesop's fables or similar narratiunculae et fabulae to serve as the inaugural steps of theintermediate level. This is true for Greek as well as Latin, and for antiquity as well as modernity, as reflectedin ancient educational texts such as the Progymnasmata, in which students with a basic knowledge of Greekgrammar were asked to compose original fables and to manipulate known Aesopic fables by expanding orcontracting the animals' speeches and inventing new morals.2 Collections of Aesop's fables remained as oneof the most common first narratives encountered by students until well into the eighteenth century, but inmany popular nineteenth- and twentieth-century Latin readers (e.g., Jacobs or Andrews) they were reducedto only a few specimens on the opening pages before giving way to historical and mythological narrativesfrom authors like Caesar and Livy.3 In the twenty-first century they have essentially disappeared from Latinand Greek classrooms. In general, it seems that fables enjoy curricular success in periods when there is anemphasis on the acquisition of reading and composition skills as ends in themselves, while they fall out offavor in times when the primary criterion behind curricular design is the literary value of the selected texts,either because of the potential of highly-valued texts to promote students' interest in studying Classics or sothat those students who do not continue beyond the intermediate level can be exposed to as many of the1/32/3best authors as possible before moving on to other pursuits. Because fables are self-contained, completeunits of meaning, they allow teachers and students to work through entire stories in one sitting in a way thateven the most carefully excerpted passages cannot rival; they allow students to appreciate the ways in whichLatin tells stories with a beginning, middle, and end, with no need for contextualization. But because they areanonymous tales that can be downright vapid (despite their many charms), they may make students betterreaders of Latin texts but they do not necessarily make students more interested in learning about theclassical world : thus their current position on the margins of the curriculum.Gibbs has stripped all of the fables in Aesop's Fables in Latin of their original morals, reformatted them(punctuation and capitalization have been updated), and reorganized them according to the difficulty of theLatin. While the simplest fables are not easy to incorporate into a first-year course, anyone who hascompleted such a course ought to be able to handle even the most difficult ones. For example, the very firstfable in the book uses indirect statement as well as subjunctives introduced by both cum and quod (topicssome textbooks do not treat until their final chapters), while the last two fables have the gerund, deponentverbs, indirect questions introduced by uter and quomodo, and a causal subjunctive. The most distinctivefeature of Aesop's Fables in Latin is the way in which Gibbs has constructed a total of 80 discussions of Latingrammar and style adapted to the 80 fables, so that each fable (e.g., "Fable 48: DE LEONE ET URSO") isalso devoted to a particular mini-lesson (e.g., "Gerunds in the Ablative Case").Each Latin fable is preceded by a brief Introduction and a Grammar Overview. The Introductions providesome background information, including references to one or two extant Greek, Roman, or English versionsof the same fable (these citations are not detailed, however, e.g., just "Townsend," "L'Estrange," "Plutarch,"or "Phaedrus"; and sometimes they are even more vague: "a medieval version" (143) and an "ancientRoman" (275) version). Gibbs then discusses one item of Latin grammar or style before each fable in theGrammar Overviews, including topics such as unusual verb forms, points of syntax, "little" words(postpositive particles, correlatives, and relative pronouns), word formation, and stylistic matters. The issuescovered range from the very specific ("huc and illuc"; "cum + subjunctive"; "Frequentative Verbs") to the moregeneral ("Adjectives and Adverbs," on the ways in which Latin often uses an adjective where English woulduse an adverb; and "Ambiguous Parts of Speech," with reference to the diverse functions of the perfectpassive participle). Each fable nicely demonstrates the lesson of its Grammar Overview, but, because thefables were not originally composed for this purpose, many of the grammatical features best exemplified inone fable in fact surface in comparable ways throughout the other fables, and a few of the fables do not haveparticularly distinctive grammatical features. Thus, one may have encountered a certain phenomenon a fewtimes by the time it receives its own Grammar Overview; this is not, however, a major problem because thegoal of Aesop's Fables in Latin is to improve reading skills, not to introduce grammatical concepts. Moreover,Gibbs has provided cross-references so that one can track where the various topics under discussion will beillustrated again later or where they may already have been encountered.For example, in a particularly lucid discussion of the postpositive particle vero before "The Lion, the Donkey,and the Rooster" (Fable 60), Gibbs is able to refer to earlier overviews of quidem and autem, both of whichfunction like vero to build meaningful relationships between one sentence and the next. Drawing on theseearlier discussions, she writes: "Like quidem (see Fable 23), vero strongly affirms the statement, but at thesame time, like the postpositive particle autem (see Fable 16), vero also emphasizes a contrast with theprevious statement. If you had to try to express those two functions in a single phrase in English you couldsay 'but indeed' or 'but as a matter of fact.' So, pay attention to the use of vero in the fable you are about toread, and see how it carries out both these affirmative and adversative functions as it connects the twosentences. (For more postpositive particles in Latin, see the notes to Fable 66)" (p. 239). In the fable, theword performs its dual function clearly--but, more importantly, it does so at a crucial moment in the story (thewhole of which is only six lines long) to very dramatic effect. The asinus assumes that the leo is intimidatedby him and so he goes on the attack: ut vero procul a gallicino persecutus est, conversus Leo Asinumdevorat. A life-and-death usage of vero: where else other than in Aesop can you get so much out of vero inso little time?In addition to a "List of Most Frequently Used Words" in the preliminary pages and a full glossary in the backof the book, there is also a Vocabulary on the page facing each fable, with an average of about fifteen totwenty items, including animal names and any words not counted among the most frequent (at the extremes,Fable 42 has thirty-one glossed words and Fable 67 has nineteen glossed verbs alone). Underneath the textof each fable are Grammar Notes, which draw attention to whatever phenomenon is discussed in theGrammar Overview and additionally address any difficult or unusual forms. The things Gibbs mostconsistently remarks upon in the Grammar Notes are ablative absolutes; the antecedents (implied or3/3expressed) of relative clauses; idiomatic phrases and usages; and uses of either the indicative or subjunctivemood whenever the other of the two was also grammatically possible. On the rare occasions thatCodrington's Latin reveals its lateness, this is also addressed in the notes (e.g., on p. 209, the use of ut nonis contrasted with ne in Classical Latin). Here, too, Gibbs provides a thorough network of internal references,carefully tracking and acknowledging everything both already learned and still to-be-learned, so that thestudent is continually reminded that what was just observed in a recently-read fable still obtains.Gibbs has ambitiously joined one of the oldest methods of teaching Latin to some of the newest instructionaltools by partnering Aesop's Fables in Latin with her own expansive online universe of Aesop- and Latin-related material through LatinViaFables.com (as advertised in the opening paragraph of the book, p. xv). 4LatinViaFables.com is a social network created by Gibbs on Ning; in addition to its primary function ofproviding a forum for people interested in Aesop and in reading Latin more generally, LatinViaFables.comalso has a vast selection of supplemental material, notes, and commentary on the fables in the book underreview, including audio files of Gibbs reading each of the book's 80 fables and video with slideshows ofillustrations from diverse sources. There are also several valuable pedagogical supplements to the book,including Latin text of the fables with macrons added (macrons are found only in the glossary of the book);grammar notes on the numerous proverbs accompanying the fables; re-tellings of the fables in simpler,punchier Latin; the original morals that accompanied each fable in Codrington's Latin from the 1687publication; facsimile pages of the 1687 book with Barlow's illustrations; and many, many other interactiveapplications and games (including crossword puzzles based on the vocabulary of individual fables). The siteis well worth a visit for anyone curious about the latest tools for teaching Latin. In particular, there is anenlightening variety of testing applications for vocabulary building and grammar review (including flashcards,games, and innovative online quizzes), each of which Gibbs has posted for everyone's use through Quia,and several re-usable widgets and javascripts for Latin instructors. An experienced and clearly trailblazingonline instructor, Gibbs also maintains a clear-eyed blog on how to use these technologies  in and out of theclassroom. For those who find themselves in need of still more Latin fables and proverbs after all this, thereare links to daily updates from Gibbs's main blog (as well as a steady stream of Aesopica in the form oftweets.Aesop's Fables in Latin also contains an "Introduction" (xv-xxxi), which includes a particularly useful sectionentitled "Study Tips and Strategies for Reading Latin" (xviii-xxiii), as well as a full glossary and three indices(a grammar index, a list of characters, and a general index). All entries in the indices that refer to pages inthe "Introduction" (xv-xxxi) appear to be incorrect.In short, this experiment has succeeded brilliantly in making the old school new again. I especiallyrecommend it to students exhausted by a year of elementary Latin, when the accumulation of forms andrules makes it difficult to believe that one can ever truly enjoy reading Latin for its own sake. Aesop'smenagerie of forceful and memorable fabulae is here to help.Notes:1.   Aesop's Fables, translated by Laura Gibbs (Oxford University Press, 2002). Some readers of BMCR willalso be familiar with http://www.mythfolklore.net, the homepage for all of Gibbs's online projects. 2.   Progymnasmata: Greek Textbooks of Prose Composition and Rhetoric , translated with introductions andnotes by George A. Kennedy (Leiden: Society of Biblical Literature, 2003). 3.   See Bonnie F. Fisher, A History of the Use of Aesop's Fables as a School Text from the Classical Erathrough the Nineteenth Century (Ph.D. Diss. Indiana University 1987). 4.   This URL actually triggers a redirect to Gibbs's page on Ning, where one notices immediately that Gibbs'sweb activities amount to far more than a few bonus features to this book.BMCR, Bryn Mawr College, 101 N. Merion Ave., Bryn Mawr, PA 19010HTML generated at 10:22:22, Tuesday, 15 December 2009

https://works.swarthmore.edu/cgi/viewcontent.cgi?article=1004&amp;context=fac-classics

Review Of Aesop\u27s Fables In Latin: Ancient Wit And Wisdom From The Animal Kingdom By L. Gibbs

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