Study on the Plasticity and Transfiguration of Aesop's Fables from the viewpoint of the illustration's Deviation

在《伊索寓言》的各种插图中，我们可以看到一些有趣的例子，比如格雷尼尔在1842年为拉封丹创作的《蚂蚁和蟋蟀》，画中出现的不是昆虫，而是两个女人。这种想法，不是动物的形象而是人的形象，让读者感到尴尬，因为在寓言中，原则上动物是主角，在这种惯例下，我们理解寓言所代表的寓言。格雷尼尔的说明方式更好地掩盖了《寓言》的策略，从而引出了修辞结构。这种变形的方式不是他自己的专利也不是19世纪法国其他插画家的专利比如Grandville， Monnier等。我们甚至可以在日本找到很好的例子，比如17c年的《Manji ban Isoho Monogatari>》。当然，与这些法国插画家没有任何关系。这种以人代兽的插画风格，与寓言结构的本质有关。我们有时更喜欢《寓言》<《假面舞会》。因此，我们可以说，这样的插图只是揭开了他们的伪装，插图画家帮助他们摘下了面具，美化了个性。事实还不止于此，在这里，我们可以构想出《寓言》的基本结构，即《寓言》与戏剧，特别是与喜剧的密切关系。在《寓言》中，人物应该透过他们的伪装来展现故事的本质。插图策略有意地置换了人物形象，揭示了寓言结构，凿出了人格类型。它使读者、叙述者和人物三者之间的关系更加清晰，同时也给我们带来了寓言作为反讽的概念。在这项研究中，调查了H.Taine, a . m .；低音加重,G.Couton。通过对个人插画风格的分析，我认为插画的意义不仅是对文本的补充，而且是寓言修辞作为戏剧思想的使者。少

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 … More 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