Conclusion

The generic “Man” of recent versions, or the simple “Peasant” of the paintings, was originally a traveler in the Greek and Roman. The archetype of the traveler, still present in our literature today, is hybrid by nature, being both inside and outside of society. The first English version has the Man as a Pilgrim or Palmer, a traveler who has gone on a holy journey. The story bears a strong resemblance to folklore about meeting Beelzebub in the forest. It was Christian demonization of sensuality that resulted in the Satyr becoming a representation of Satan.

Fables, like all art, are changed significantly by the societal contexts they are found in. Translations sometimes improve upon older versions and gain more meaning, other times I feel we let ourselves down. By not exploring the original context, artists are unable to create better versions within their own contexts. Recreating ethics, instead of blindly following what previous generations have passed down, involves exploration of exactly what those ethics are and were about.

Fables are dangerous not only because of their glossy morals handed down to us from the Victorian era, but because of their deceptive simplicity that makes us forget that retelling them is participation in making deep statements on ethics and reality. Simplicity is also a gift, if we return to the original context of creating snapshots of the world’s complexity in order to inspire ethical debates. In other words, I think we could learn from the Ancient Greek’s serious handling of fables.

Since a fable is capable of adaptation and of exciting the imagination, it is no wonder the histories of fable and poetry have been so intertwined. I believe the most amazing aspect of a fable is its dual ability to be a simple children’s story while also containing a serious ethical debate. Writing a fable, brushing past characters, setting, and events, and honing in on the agon (or conflict) of the story is a treasure trove for any poet.