This celebrated inventor of fables was a native of Phrygia, in Asia Minor, and flourished in the time of Solon, about 560 B. C. A life of him was written by a Greek monk, named Planudes, about the middle of the fourteenth century, which passed into circulation as a genuine work, but which is proved to have been a mere fiction. In that work, Æsop is represented as being hunch-backed, and an object of disgust from his deformity. There appears to be no foundation whatever for this story. This invention of the monk, no doubt, had for its object, to give eclat to the beauties of Æsop's mind, by the contrast of bodily deformity.

Throwing aside the work of Planudes, we are left to grope in obscurity for the real history of the great fabulist. After the most diligent researches, we can do little more than trace the leading incidents of his life. The place of his birth, like that of Homer, is matter of question; Samos, Sardis, CotiÆum in Phrygia, and Mesembria in Thrace, laying claim alike to that honor. The early part of his life was spent in slavery, and the names of three of his masters have been preserved: Dinarchus, an Athenian, in whose service he is said to have acquired a correct and pure knowledge of Greek; Xanthus, a Samian, who figures in Planudes as a philosopher, in order that the capacity of the slave may be set off by the incapacity of the master; and Iadmon or Idmon, another Samian, by whom he was enfranchised.

He acquired a high reputation in Greece for that species of composition, which, after him, was called Æsopian, and, in consequence, was solicited by Croesus to take up his abode at the Lydian court. Here he is said to have met Solon, and to have rebuked the sage for his uncourtly way of inculcating moral lessons. He is said to have visited Athens during the usurpation of Pisistratus, and to have then composed the fable of Jupiter and the Frogs[13] for the instruction of the citizens.

Being charged by Croesus with an embassy to Delphi, in the course of which he was to distribute a sum of money to every Delphian, a quarrel arose between him and the citizens, in consequence of which he returned the money to his patron, alleging that those for whom it was meant were unworthy of it. The disappointed party, in return, got up the charge of sacrilege, upon which they put him to death. A pestilence which ensued was attributed to this crime, and in consequence they made proclamation, at all the public assemblies of the Grecian nation, of their willingness to make compensation for Æsop's death to any one who should appear to claim it. A grandson of his master, Iadmon, at length claimed and received it, no person more closely connected with the sufferer having appeared.

It is a question of some doubt, whether Æsop was the inventor of that species of fable which endows the inferior animals, and even inanimate objects, with speech and reason, and thus, under the cover of humorous conceit, conveys lessons of wisdom; and which, from their pleasant guise, are often well received where the plain truth would be rejected. The probability is, that, if not the originator of such fables, Æsop was the first who composed them of such point as to bring them into use as a powerful vehicle for the inculcation of truth. At all events, there is abundant proof that fables, passing under his name, were current and popular in Athens, during the most brilliant period of its literary history, and not much more than a century after the death of the supposed author. The drolleries of Æsop are mentioned by Aristophanes in terms which lead us to suppose that they were commonly repeated at convivial parties. Socrates, in prison, turned into verse 'those that he knew;' and Plato, who banishes the fictions of Homer from his ideal republic, speaks with high praise of the tendency of those of Æsop.

Many of the fables in circulation among us, under the name of Æsop, are not his;—indeed, it is probable that but a small portion of them can trace their origin back to the Phrygian. A good fable, as well as a good story, however it may originate, is apt to be attributed to one whose character it may suit—and thus it happens that the same smart sayings are credited, in different countries, to different individuals; and thus, also, we see that many of the fables which we assign to Æsop, are credited, by the Mohammedans, to their fabulist, Lokman.

The value of fables, as instruments of instruction, is attested by Addison, in the following words. "They were," says he, "the first pieces of wit that made their appearance in the world; and have been still highly valued, not only in times of the greatest simplicity, but among the most polite ages of mankind. Jotham's fable of the Trees is the oldest that is extant, and as beautiful as any which have been made since that time. Nathan's fable of the Poor Man and his Lamb is likewise more ancient than any that is extant, excepting the above mentioned, and had so good an effect as to convey instruction to the ear of a king, without offending it, and to bring the 'man after God's own heart' to a right sense of his guilt and his duty. We find Æsop in the most distant ages of Greece. And, if we look into the very beginning of the commonwealth of Rome, we see a mutiny among the common people appeased by the fable of the Belly and the Members; which was indeed very proper to gain the attention of an incensed rabble, at a time when perhaps they would have torn to pieces any man who had preached the same doctrine to them in an open and direct manner. As fables took their birth in the very infancy of learning, they never flourished more than when learning was at its greatest height. To justify this assertion, I shall put my reader in mind of Horace, the greatest wit and critic in the Augustan age; and of Boileau, the most correct poet among the moderns; not to mention La Fontaine, who, by this way of writing, is come more into vogue than any other author of our times."

"Reading is to the mind," continues the writer, "what exercise is to the body: as, by the one, health is preserved, strengthened, and invigorated, by the other, virtue, (which is the health of the mind,) is kept alive, cherished and confirmed. But, as exercise becomes tedious and painful when we make use of it only as the means of health, so reading is too apt to grow uneasy and burdensome, when we apply ourselves to it only for our improvement in virtue. For this reason, the virtue which we gather from a fable or an allegory, is like the health we get by hunting, as we are engaged in an agreeable pursuit that draws us on with pleasure, and makes us insensible of the fatigues that accompany it."

In modern times, La Fontaine has given us an admirable collection of fables, and the artist Grandville has added a new charm to them, by a very happy conceit. With infinite wit, he has dressed up the wolves, foxes, and other animals which figure in the fables, in human attire, yet so skilfully as to seem natural—thus aiding the imagination, in conceiving of the actors and speakers in the fables, as performing their several parts. By the aid of his magical pencil, even trees, kettles and kegs assume an appearance of life, and seem to justify the wit and wisdom which they are imagined to utter. The humor of these designs is inimitable; and thus not only is greater effect given to the particular fables illustrated, but greater scope, to the fable generally. We are indebted, in this country, for a most excellent translation of La Fontaine, with many of Grandville's designs, to Professor Wright.