Aesopian


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Ae·sop

 (ē′səp, -sŏp′) Sixth century bc.
Greek fabulist traditionally considered the author of Aesop's Fables, including "The Tortoise and the Hare" and "The Fox and the Grapes."

Ae·so′pi·an (ē-sō′pē-ən), Ae·sop′ic (-sŏp′ĭk) adj.
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References in classic literature ?
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." l
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.
1610, a learned Swiss, Isaac Nicholas Nevelet, sent forth the third printed edition of these fables, in a work entitled "Mythologia Aesopica." This was a noble effort to do honor to the great fabulist, and was the most perfect collection of Aesopian fables ever yet published.
This collection of Nevelet's is the great culminating point in the history of the revival of the fame and reputation of Aesopian Fables.
This discovery attracted very general attention, not only as confirming, in a singular manner, the conjectures so boldly made by a long chain of critics, but as bringing to light valuable literary treasures tending to establish the reputation, and to confirm the antiquity and authenticity of the great mass of Aesopian Fable.
Further, why would anyone, least of all an artist genuinely concerned with the issues of the war in Iraq or inequalities at home--or the conservatism of the religious Right--have recourse to Aesopian strategies, as if a Polish dissident in the cold-war era?
His public martyrdom in Pravda insured a sympathetic audience, which was long accustomed to extracting Aesopian meanings from the most seemingly innocuous works.
As a result, Orwell's Aesopian fable was lost in the long shadow of Nineteen Eighty-Four.
The last line is obviously ironic, if not Aesopian, language.
Without mentioning the names of Marx or Engels - a kind of Aesopian discourse frequently resorted to by the radical clergy in order to keep down the whiff of heresy - Martin-Baro develops a genuinely Marxian vision of psychology.
The writer himself admitted that he began to write in a code, to apply Aesopian language.
Although the Aesopian and satiric genre is well-documented throughout Soviet literature, film satire was believed to be non-existent in the totalitarian state.