| Research Abstract |
Among various illustrations for Aesop's Fables, we can see some interesting examples like Grenier's <Ant and Cricket> in 1842, illustrated for < Fables> de La Fontaine, where in stead of insects two women are taken place in the seen. This kind of idea, not the image of animals but of the human being are represented, makes reader embarrassed, because in Fables in principle animal behaves as protagonist and under this convention, we understand an allegories that the fable signifies. Grenier's way of illustrate, all the better, deceives the strategy of the Fable and in consequence adduces the rhetorical structure. This way of transfiguration isn't his own patent or other illustrators in 19c in France such as Grandville, Monnier ,etc. We can indicate good examples even in Japan like in <Manji ban Isoho Monogatari> in 17c., without any correlation with such French illustrators, of course. This style of illustration, replacement man for animal, is related the essence of Fable structure. We c
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all sometimes the Fables <Masques>. We can therefore tell that such illustrations only throw off their disguise, and that the illustrators lend a hand to take off the masque and decorticate the personality. The fact is more than that Here the fundamental structure is conceived: that is affinity of Fable with Theater, especially with Comedy. In Fable, the personality should be looked through their guise to show what the fable teils. The strategy of illustration, intentionally displacement of the image of human being, reveals the Fable structure and chisels the type of personality. It makes much more clearer the relative situation of Reader, Narrator and Character, and brings us the idea of Fable as Irony as well.
In this study, investigating H.Taine, A-M. Bassy, G.Couton. A.Thilly, and analyzing individual illustration's style by means of PC, I conclude that the meaning of illustration not only as a complement to text, but also the messenger of the idea of Fable-rhetoric as Theater without fail. Less
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