The hexametric poem On the Unicorn by Michael Choniates is a poetic rewriting of the parable The Man in the Well. This chapter analyses the text in comparison to the versions of the story as preserved by Barlaam and Josaphat and Stephanites and Ichnelates, and other Byzantine and early modern poems on the same subject. Next, the Byzantine imagery of the tale is described on the basis of the preserved medieval depictions. Finally, the chapter offers some reflections on Choniates, his source (Barlaam and Josaphat) and the interconnections between this poem and another hexametric one by the same author entitled On the Ladder Described in John the Ascetic.

Paul-Alain Beaulieu examines Mesopotamian Wisdom. While acknowledging that there is no native category of ‘Wisdom Literature’ in Mesopotamia, Beaulieu nonetheless finds it a helpful classification. Within this category are texts of several genres: we find disputations, which begin with a mythological introduction, progress to a verbal contest between non-human combatants, and conclude with the victor pronounced by a god. There are proverbs, found in collections and quoted in letters, as well as fables, often about animals. Instructions and admonitions transmit antediluvian wisdom to postdiluvian generations. Some texts reflect on the problem of theodicy, ruminating on the human-divine relationship and individual divine retribution, while others lament the futility of life and advocate a carpe diem attitude. School debates centralise learning and the scribal arts. These texts are linked by intertextual references and shared features, such as their frequent ascription to individual wise figures, assumption of the absolute and inscrutable power of the gods, and reflection on the human predicament.

This chapter focuses on an important work of Angelo Poliziano, called Lamia. In it, Poliziano does two things relevant to the humanities today: he offers a new way of thinking about the enterprise of philosophy as it was understood since antiquity – the search for human wisdom and a wise style of life. In doing so, he suggests that academic philosophy as practiced in universities is not enough in the project of gaining wisdom and living wisely. Second, he suggests that philology – the deep, borderless reading of texts – represents a master discipline and one that is in fact more in line with philosophy’s authentic mission. Poliziano makes his most trenchant points by using narratives and fables, rather than syllogistic argumentation. In so doing, he makes a case for philology as an overarching discipline of disciplines and sets forth a new way of looking at philosophy

This chapter explores the various responses of enslaved individuals to slavery, ranging from accommodation to full scale rebellion and everything in-between. It also examines the ways that slave-owners attempted to control their slaves, including brutal mistreatment (whipping) and positive incentives to loyal service such as the promise of liberation.

Aristotle’s biological treatises are full of explicit commitments to empiricism, expressing both his own views about how one should conduct biological investigations while using observation and sharp critiques of his predecessors for failing to see the facts. This chapter examines some of the most prominent features of Aristotle’s commitments to empirical methods as they can be observed to be at work at the most basic level of his science of biology, that is, at the level of establishing the facts about the parts, activities, lives, and characters of animals as collected in his History of Animals (HA). Specifically, the chapter discusses Aristotle’s methods for establishing and evaluating facts as well as the sometimes all too important role played by folklore, fables, and hearsay in Aristotle’s collection of zoological facts.

Borges came to know Buddhism from a European perspective filtered through Schopenhauer and other philosophers, and his interest in it was ultimately concerned with the extent to which it coincided with Western ways of thinking. Together with Alicia Jurado, he co-authored What is Buddhism?, and he wrote with clarity of understanding about karma, nirvana, suffering, and nothingness, concepts that find their way into stories and essays such as ’The Garden of Forking Paths’, ’The Library of Babel’, ’The Cult of the Phoenix’, and ’The Writing of the God’. Borges showed greater enthusiasm for the fables and legends of Buddhism than for the spiritual truths of its doctrine. The chapter proposes a Buddhist-inflected reading of ’Tlon, Uqbar, Orbis Tertius’ and a more fully developed one of ’The Circular Ruins’, which it concludes is Borges’s consummate ’Buddhist fiction’.

The October Revolution in 1917 profoundly shocked the cultural ecosystem. The new authorities recast notions of freedom, of the arts, and of the public. Links between and among audiences at different levels that had thrived in the prerevolutionary cultural market were dismantled. Over time the government imposed strictures on culture requiring alignment with political directives. By 1934, the official policy of Socialist Realism was mandatory and compliance enforced by rewards and terror. The early years of revolutionary ferment yielded aesthetic innovation of the highest order, yet the mounting pressures took their toll on creativity. Writers, artists, and performers responded variously. Some took cover in works employing irony and in the (somewhat) safer terrain of children’s literature. By seeding children’s literature with values counter to those practiced by Soviet officialdom, selected writers and artists spread counter-values to a new generation. They worked with the guile of the fox, the flight of the firebird, and, perhaps, the recklessness of the Fool. By keeping alive Russian stories of wise Fools, sentient animals, and magical powers, their creators carried forward folkloric traditions barred from the reigning Socialist Realism. In doing so, they protected limited public space for artistic innovation.

The fox or vixen, a trickster of fable and folklore, is a sly survivor of life’s vicissitudes and the natural alter-ego of the Fool. Within the Russian fox ménage, it is usually the female, or vixen, who stars. After a period of relative quietude during the last decades of the old regime, the fox came into her own in the Soviet era. The animals from Russia’s rich tradition of fables resurfaced as prominent voices in early Soviet literature. Works intended for children offered stories and pictures of foxes. Authors and illustrators exhibited wiles in their lives as well as their works. Alexei Tolstoy featured foxes in his work, but more to the point, managed to stay in Stalin’s good graces when many of his peers fell. Both Tolstoy and A. M. Volkov, the author of the strange 1939 Wizard of the Emerald City, cleverly adapted already well-established foreign works. And the fox was not just for children. Ilya Ilf and Yevgeny Petrov let loose a fox in the person of their Ostap Bender. Readers could celebrate his wit and guile, as Russian émigré Andrei Sinyavsky noted in 1989 when he added Bender the Anti-Hero to his roster of Soviet foxes.