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Androcles

October 16, 2023

For other uses, see Androcles (disambiguation).
"Androcles and the Lion" redirects here. For other uses, see Androcles and the Lion (disambiguation).

Androcles (Greek: Ἀνδροκλῆς, alternatively spelled Androclus in Latin) is the main character of a common folk tale about a man befriending a lion.

Androcles and the Lion
The slave Androcles plucks the thorn from the lion's paw. Illustration by John Batten for Europa's Fairy Book (1916).
Folk tale
NameAndrocles and the Lion
Aarne–Thompson groupingATU 156
RegionGreece, Rome, Europe
We used to see Androcles with the lion attached to a slender leash, making the rounds of the city, a pen and wash drawing by Baldassare Peruzzi, 1530s

The tale is included in the Aarne–Thompson classification system as type 156.[1][2] The story reappeared in the Middle Ages as "The Shepherd and the Lion" and was then ascribed to Aesop's Fables. It is numbered 563 in the Perry Index and can be compared to Aesop's The Lion and the Mouse in both its general trend and in its moral of the reciprocal nature of mercy.

Classical tale Edit

The earliest surviving account of the episode is found in Aulus Gellius's 2nd century Attic Nights.[3] The author relates there a story told by Apion in his lost work Aegyptiaca/Αἰγυπτιακά (Wonders of Egypt), the events of which Apion claimed to have personally witnessed in Rome. In this version, Androclus (going by the Latin variation of the name) is a runaway slave of a former Roman consul administering a part of Africa. He takes shelter in a cave, which turns out to be the den of a wounded lion, from whose paw he removes a large thorn. In gratitude, the lion becomes tame towards him and henceforward shares his catch with the slave.

After three years, Androclus craves a return to civilization but is soon imprisoned as a fugitive slave and sent to Rome. There, he is condemned to be devoured by wild animals in the Circus Maximus in the presence of an emperor who is named in the account as Gaius Caesar, presumably Caligula.[4] The most imposing of the beasts turns out to be the same lion, which again displays its affection toward Androclus. After questioning him, the emperor pardons the slave in recognition of this testimony to the power of friendship, and he is left in possession of the lion. Apion, who claimed to have been a spectator on this occasion, is then quoted as relating:

Afterwards we used to see Androclus with the lion attached to a slender leash, making the rounds of the tabernae throughout the city; Androclus was given money, the lion was sprinkled with flowers, and everyone who met them anywhere exclaimed, "This is the lion, a man's friend; this is the man, a lion's doctor".[5]

The story was repeated a century later by Claudius Aelianus in his work On the Nature of Animals.[6]

Later use Edit

 
Poster for the Federal Theatre Project production of Shaw's Androcles and the Lion (1938)
 
Dooley Wilson as Androcles in the Federal Theatre Project production of Androcles and the Lion (1938)

Later versions of the story, sometimes attributed to Aesop, began to appear from the mid-sixth century under the title "The Shepherd and the Lion".[7] In Chrétien de Troyes' 12th-century romance, "Yvain, the Knight of the Lion", the knightly main character helps a lion that is attacked by a serpent. The lion then becomes his companion and helps him during his adventures.[8] A century later, the story of taking a thorn from a lion's paw was related as an act of Saint Jerome in the Golden Legend of Jacobus de Voragine (c. 1260).[9] Afterwards the lion joins him in the monastery and a different set of stories follows.

The later retelling, "Of the Remembrance of Benefits", in the Gesta Romanorum (Deeds of the Romans) of about 1330 in England, has a mediaeval setting and again makes the protagonist a knight.[1] In the earliest English printed collection of Aesop's Fables by William Caxton, the tale appears as The lyon & the pastour or herdman and reverts to the story of a shepherd who cares for the wounded lion. He is later convicted of a crime and taken to Rome to be thrown to the wild beasts, only to be recognised and defended from the other animals by the one that he tended.

A Latin poem by Vincent Bourne dating from 1716–17 is based on the account of Aulus Gellius.[10] Titled Mutua Benevolentia primaria lex naturae est, it was translated by William Cowper as "Reciprocal kindness: the primary law of nature".[11]

George Bernard Shaw's play Androcles and the Lion (1912) makes Androcles a tailor; he is also given Christian beliefs for the purposes of the play, which on the whole takes a sceptical view of religion. The first film adaptation of the story in the US was also made in 1912. Afterwards there were several others for both cinema and TV.[12] Rob Englehart's The Lion, the Slave and the Rodent (2010) was a much later American approach to the fable. A one-act chamber opera for five voices, it combined the story of Androcles with the fable of "The Lion and the Mouse".[13]

Artistic depictions Edit

Prints and paintings Edit

Renaissance prints of the story are based on the Classical accounts. Agostino Veneziano depicts the slave Androcles being freed by the emperor in a work from 1516–17 now in the LACMA collection.[14] There is also an early pen and wash drawing by Baldassare Peruzzi dating from the 1530s in the Hermitage Museum. Dependent on the account by Aulus Gellius, it depicts Androcles walking through a doorway with the lion on a lead at his heel.[15] Other artists have preferred the scene of Androcles pulling the thorn from the lion's paw, as in Bernhard Rode's print of 1784.[16] A later American example is Walter Inglis Anderson's block print scroll of 1950,[17] which was based on his 1935 painting.[18]

Paintings of the subject began in the 18th century. That by Charles Meynier, which was exhibited at the Paris Salon of 1795, is now lost. However, a study for the painting has recently been discovered and shows Androcles as a nearly naked warrior brandishing his sword in the stadium while the lion lies on the ground and is – following the account of Aulus Gellius – "gently licking his feet".[19] There are also studies for an unachieved painting by American artist Henry Ossawa Tanner dating from his student years in 1885-6.[20] They include a lion licking its paw and a kneeling and grey-bearded Androcles.[21] At mid-century in 1856 comes “Androcles and the Lion” by the English artist Alexander Davis Cooper (1820–95). There a young man in Arab dress looks towards the viewer as he walks across a desert landscape with his hand in the lion’s mane.[22]

In the 20th century, Jean-Léon Gérôme depicted Androcles in a painting tentatively dated 1902 and now in the Museo Nacional de Bellas Artes (Buenos Aires).[23] There Androcles is sitting cross-legged on the floor of the cave as he draws the thorn from the lion's paw while it roars in agony.[24] Briton Riviere's 1908 painting of him standing to perform the same task is in the Auckland Art Gallery.[25] Another approach was to show the earlier incident of Androcles surprised in the cave by the lion's entrance. This was the subject chosen by Vassily Rotschev (d.1803) soon after returning to Russia from training in Rome.[26] It was also the choice of the Chinese painter Xu Beihong. His "Slave and Lion" dates from a stay in Berlin during the early 1920s and shows the lion entering the mouth of a cave while Androcles cowers against the wall.[27]

Sculptures Edit

Androcles also became a sculptural subject. Jan Pieter van Baurscheit the Elder's sandstone statue, executed between 1700 and 1725, is now at the Rijksmuseum in Amsterdam and shows a triumphant figure bestriding a very small lion that rears up to look at him.[28] Its frisky behaviour brings to mind Aulus Gellius’ description of the lion “wagging his tail in a mild and caressing way, after the manner and fashion of fawning dogs”.[29] In 1751 the English monumental sculptor Henry Cheere created two white marble chimneypieces showing the slave bending over the lion's paw to draw out the thorn. One is in the Saloon at West Wycombe Park, and the other is now in the Lady Lever Art Gallery. A continental example by Jean-Baptiste Stouf was sculpted in 1789 and is now only known through the modern bronze reproduction at the Ashmolean Museum.[30] Formerly it was in the Louvre and showed Androcles tending the lion's paw.[31]

In the 19th century Androcles became a subject for French table ornaments. One from 1820 shows him sword in hand in the arena as the lion crouches at his feet,[32] while another from 1825 has him tending the injured paw.[33] About 1898, Jean-Léon Gérôme, who was soon to paint that scene too, produced a sculpture of Androcles leading the lion about on his tour of the Roman taverns. Titled Le Mendiant (the beggar), it is made of bronze gilt and shows the former slave standing with one hand on the lion's mane and a begging bowl at his feet. On its stand is the inscription Date obolum Androcli (spare a penny for Androclus).[34] In the 20th century the American sculptor Frederick Charles Shrady incorporated the theme of removing the thorn from the paw into a modernistic design.[35]

Medals Edit

 
Gioacchino Francesco Travani's medal in honour of Pope Alexander VII

The legend has figured on medals for various reasons over the course of four centuries. One attributed to Gioacchino Francesco Travani, using a design by Gian Lorenzo Bernini, was struck in 1659. It depicts on one side a relief bust of Pope Alexander VII surrounded by an acanthus leaf border. On the reverse a lion prostrates itself at the feet of an armed Androcles. The complimentary Latin inscription reads 'Domenico Jacobacci to the generous prince: Even a wild animal remembers a favor'. Jacobacci was the donor of the medal, which commemorates a pope who had been generous in rebuilding parts of Rome. The lion represents the grateful city paying homage at the feet of the 'warrior' on its behalf.[36]

The image of the grateful beast was a natural choice for the medals awarded in yearly recognition of prize-winners at the Royal Dick Veterinary College in Edinburgh. Struck in copper and silver during the 1890s, they picture Androcles kneeling to relieve the suffering lion. In the background are a cliff on the left and palm trees on the right; Androcles is depicted with African features.[37] A more schematic representation now forms the logo of the Faculty of Veterinary Medicine at Utrecht University.[38]

In the 20th century, the Dutch Medal of Recognition 1940–1945 also pictured the scene of relieving the lion and was awarded to those who aided the Dutch during the period of World War II, or afterwards helped those who had suffered from the German occupation. The subject was chosen because a lion was the national symbol. The theme of gratitude is reinforced by the inscription about the edge: Sibi benefacit qui benefacit amico (He benefits himself who benefits a friend).

Notes Edit

  1. ^ a b Ashliman, D.L. "Androcles and the Lion and other folktales of Aarne-Thompson-Uther type 156". Pitt.edu.
  2. ^ Aarne, Antti; Thompson, Stith. The types of the folktale: a classification and bibliography. Third Printing. Folklore Fellows Communications FFC no. 184. Helsinki: Academia Scientiarum Fennica, 1973 [1961]. pp. 56-57.
  3. ^ Aulus Gellius, Noctes Atticae, Book V. xiv
  4. ^ Based on the dates of Apion's tenure in Rome, see Hazel, John (2002). Who's who in the Roman World. Psychology Press. ISBN 9780415291620. Retrieved 2009-04-10.
  5. ^ The Attic Nights of Aulus Gellius, p. 258
  6. ^ Claudius Aelianus, Περὶ Ζῴων Ἰδιότητος, Book VII.xlviii
  7. ^ "Mythfolklore.net". Mythfolklore.net. Retrieved 2014-06-08.
  8. ^ "Yvain, Or, the Knight With the Lion". mcllibrary.org. 2004-12-01. Retrieved 2014-06-08.
  9. ^ The story is included in the fourth and fifth paragraphs of this translation February 12, 2011, at the Wayback Machine
  10. ^ Estelle Haan, Classical Romantic: Identity in the Latin Poetry of Vincent Bourne, American Philosophical Society 2007, pp.52–4
  11. ^ The poetical works, Latin and English, of Vincent Bourne, London 1838, pp.128–31
  12. ^ IMDb.com
  13. ^ Lake Superior Theater
  14. ^ LACMA site
  15. ^ Gallery site
  16. ^ Mentioned in Michel Huber, Catalogue raisonné du cabinet d'estampes par feu m. Winckler: L'école allemande, Leipzig 1801, Vol.2, p.684
  17. ^ See online August 8, 2014, at the Wayback Machine
  18. ^ Walter Inglis Anderson, The Art of Walter Anderson, University of Mississippi, 2003, pp.25, 253
  19. ^ Bonhams Auction site
  20. ^ Anna O. Marley, Henry Ossawa Tanner: Modern Spirit, University of California 2012, pp.19–20
  21. ^ Wikiart
  22. ^ The Saleroom
  23. ^ Maria Isabel Baldasare, Sobre los inicios del coleccionismo y los museos de arte en la Argentina, Anais do Museu Paulista: História e Cultura Material, São Paulo, vol.14.1, 2006, p.305
  24. ^ Wikimedia
  25. ^ Gallery site
  26. ^ “Biographical notes of Russian artists”, The monthly magazine and British register, Volume 21 (1806) p.399
  27. ^ Christies site
  28. ^ Rijksmuseum
  29. ^ The Attic Nights of Aulus Gellius, p.256
  30. ^ Cultural Property Advice: Ashmolean 2015-09-23 at the Wayback Machine
  31. ^ Charles Othon Frédéric Jean Baptiste de Clarac, Description du Musée Royal des Antiques du Louvre, Paris 1830, p.249
  32. ^ Christies site
  33. ^ 1st dibs site
  34. ^ Wikimedia
  35. ^ Shrady site
  36. ^ Delbeke, Maarten (2012). The Art of Religion: Sforza Pallavicino and Art Theory in Bernini's Rome. Ashgate Publishing, Ltd. ISBN 978-1-4094-5885-2.[page needed]
  37. ^ British school medals, Neocollect August 8, 2014, at the Wayback Machine
  38. ^ . Archived from the original on 2014-08-08. Retrieved 2014-08-06.

References Edit

  • The Attic Nights of Aulus Gellius, with An English Translation by John C. Rolfe. London 1927, Book I, section XIV, p. 255ff

Further reading Edit

  • Bell, Michael M. (May 1998). "The Dialogue of Solidarities, or why the Lion Spared Androcles". Sociological Focus. 31 (2): 181–199. CiteSeerX 10.1.1.510.211. doi:10.1080/00380237.1998.10571100. JSTOR 20831986. ProQuest 1312103553.
  • Brodeur, Arthur Gilchrist (September 1924). "XXII. The Grateful Lion". Publications of the Modern Language Association of America. 39 (3): 485–524. doi:10.2307/457117. JSTOR 457117. S2CID 163981514.
  • Dorwick, Keith (1 June 2018). "Joined Together as One: The Animal Dances in Androcles and the Lion". Shaw. 38 (1): 66–87. doi:10.5325/shaw.38.1.0066. S2CID 187081482.
  • Kalinke, Marianne E. (1994). "The Cowherd and the Saint: The Grateful Lion in Icelandic Folklore and Legend". Scandinavian Studies. 66 (1): 1–22. JSTOR 40919618.
  • Perozo, V. M. Pérez (1946). "Fables and Fable-Writers". Books Abroad. 20 (4): 363–367. doi:10.2307/40088489. JSTOR 40088489.

External links Edit

  •   Media related to Androcles at Wikimedia Commons
  •   Works related to Androcles and the Lion at Wikisource
  • Folktales of tale type ATU 156, "Androcles and the Lion", by D. L. Ashliman

October 16, 2023
androcles, other, uses, disambiguation, lion, redirects, here, other, uses, lion, disambiguation, greek, Ἀνδροκλῆς, alternatively, spelled, androclus, latin, main, character, common, folk, tale, about, befriending, lion, lionthe, slave, plucks, thorn, from, li. For other uses see Androcles disambiguation Androcles and the Lion redirects here For other uses see Androcles and the Lion disambiguation Androcles Greek Ἀndroklῆs alternatively spelled Androclus in Latin is the main character of a common folk tale about a man befriending a lion Androcles and the LionThe slave Androcles plucks the thorn from the lion s paw Illustration by John Batten for Europa s Fairy Book 1916 Folk taleNameAndrocles and the LionAarne Thompson groupingATU 156RegionGreece Rome EuropeWe used to see Androcles with the lion attached to a slender leash making the rounds of the city a pen and wash drawing by Baldassare Peruzzi 1530sThe tale is included in the Aarne Thompson classification system as type 156 1 2 The story reappeared in the Middle Ages as The Shepherd and the Lion and was then ascribed to Aesop s Fables It is numbered 563 in the Perry Index and can be compared to Aesop s The Lion and the Mouse in both its general trend and in its moral of the reciprocal nature of mercy Contents 1 Classical tale 2 Later use 3 Artistic depictions 3 1 Prints and paintings 3 2 Sculptures 3 3 Medals 4 Notes 5 References 6 Further reading 7 External linksClassical tale EditThe earliest surviving account of the episode is found in Aulus Gellius s 2nd century Attic Nights 3 The author relates there a story told by Apion in his lost work Aegyptiaca Aἰgyptiaka Wonders of Egypt the events of which Apion claimed to have personally witnessed in Rome In this version Androclus going by the Latin variation of the name is a runaway slave of a former Roman consul administering a part of Africa He takes shelter in a cave which turns out to be the den of a wounded lion from whose paw he removes a large thorn In gratitude the lion becomes tame towards him and henceforward shares his catch with the slave After three years Androclus craves a return to civilization but is soon imprisoned as a fugitive slave and sent to Rome There he is condemned to be devoured by wild animals in the Circus Maximus in the presence of an emperor who is named in the account as Gaius Caesar presumably Caligula 4 The most imposing of the beasts turns out to be the same lion which again displays its affection toward Androclus After questioning him the emperor pardons the slave in recognition of this testimony to the power of friendship and he is left in possession of the lion Apion who claimed to have been a spectator on this occasion is then quoted as relating Afterwards we used to see Androclus with the lion attached to a slender leash making the rounds of the tabernae throughout the city Androclus was given money the lion was sprinkled with flowers and everyone who met them anywhere exclaimed This is the lion a man s friend this is the man a lion s doctor 5 The story was repeated a century later by Claudius Aelianus in his work On the Nature of Animals 6 Later use Edit nbsp Poster for the Federal Theatre Project production of Shaw s Androcles and the Lion 1938 nbsp Dooley Wilson as Androcles in the Federal Theatre Project production of Androcles and the Lion 1938 Later versions of the story sometimes attributed to Aesop began to appear from the mid sixth century under the title The Shepherd and the Lion 7 In Chretien de Troyes 12th century romance Yvain the Knight of the Lion the knightly main character helps a lion that is attacked by a serpent The lion then becomes his companion and helps him during his adventures 8 A century later the story of taking a thorn from a lion s paw was related as an act of Saint Jerome in the Golden Legend of Jacobus de Voragine c 1260 9 Afterwards the lion joins him in the monastery and a different set of stories follows The later retelling Of the Remembrance of Benefits in the Gesta Romanorum Deeds of the Romans of about 1330 in England has a mediaeval setting and again makes the protagonist a knight 1 In the earliest English printed collection of Aesop s Fables by William Caxton the tale appears as The lyon amp the pastour or herdman and reverts to the story of a shepherd who cares for the wounded lion He is later convicted of a crime and taken to Rome to be thrown to the wild beasts only to be recognised and defended from the other animals by the one that he tended A Latin poem by Vincent Bourne dating from 1716 17 is based on the account of Aulus Gellius 10 Titled Mutua Benevolentia primaria lex naturae est it was translated by William Cowper as Reciprocal kindness the primary law of nature 11 George Bernard Shaw s play Androcles and the Lion 1912 makes Androcles a tailor he is also given Christian beliefs for the purposes of the play which on the whole takes a sceptical view of religion The first film adaptation of the story in the US was also made in 1912 Afterwards there were several others for both cinema and TV 12 Rob Englehart s The Lion the Slave and the Rodent 2010 was a much later American approach to the fable A one act chamber opera for five voices it combined the story of Androcles with the fable of The Lion and the Mouse 13 Artistic depictions EditPrints and paintings Edit Renaissance prints of the story are based on the Classical accounts Agostino Veneziano depicts the slave Androcles being freed by the emperor in a work from 1516 17 now in the LACMA collection 14 There is also an early pen and wash drawing by Baldassare Peruzzi dating from the 1530s in the Hermitage Museum Dependent on the account by Aulus Gellius it depicts Androcles walking through a doorway with the lion on a lead at his heel 15 Other artists have preferred the scene of Androcles pulling the thorn from the lion s paw as in Bernhard Rode s print of 1784 16 A later American example is Walter Inglis Anderson s block print scroll of 1950 17 which was based on his 1935 painting 18 Paintings of the subject began in the 18th century That by Charles Meynier which was exhibited at the Paris Salon of 1795 is now lost However a study for the painting has recently been discovered and shows Androcles as a nearly naked warrior brandishing his sword in the stadium while the lion lies on the ground and is following the account of Aulus Gellius gently licking his feet 19 There are also studies for an unachieved painting by American artist Henry Ossawa Tanner dating from his student years in 1885 6 20 They include a lion licking its paw and a kneeling and grey bearded Androcles 21 At mid century in 1856 comes Androcles and the Lion by the English artist Alexander Davis Cooper 1820 95 There a young man in Arab dress looks towards the viewer as he walks across a desert landscape with his hand in the lion s mane 22 In the 20th century Jean Leon Gerome depicted Androcles in a painting tentatively dated 1902 and now in the Museo Nacional de Bellas Artes Buenos Aires 23 There Androcles is sitting cross legged on the floor of the cave as he draws the thorn from the lion s paw while it roars in agony 24 Briton Riviere s 1908 painting of him standing to perform the same task is in the Auckland Art Gallery 25 Another approach was to show the earlier incident of Androcles surprised in the cave by the lion s entrance This was the subject chosen by Vassily Rotschev d 1803 soon after returning to Russia from training in Rome 26 It was also the choice of the Chinese painter Xu Beihong His Slave and Lion dates from a stay in Berlin during the early 1920s and shows the lion entering the mouth of a cave while Androcles cowers against the wall 27 Sculptures Edit Androcles also became a sculptural subject Jan Pieter van Baurscheit the Elder s sandstone statue executed between 1700 and 1725 is now at the Rijksmuseum in Amsterdam and shows a triumphant figure bestriding a very small lion that rears up to look at him 28 Its frisky behaviour brings to mind Aulus Gellius description of the lion wagging his tail in a mild and caressing way after the manner and fashion of fawning dogs 29 In 1751 the English monumental sculptor Henry Cheere created two white marble chimneypieces showing the slave bending over the lion s paw to draw out the thorn One is in the Saloon at West Wycombe Park and the other is now in the Lady Lever Art Gallery A continental example by Jean Baptiste Stouf was sculpted in 1789 and is now only known through the modern bronze reproduction at the Ashmolean Museum 30 Formerly it was in the Louvre and showed Androcles tending the lion s paw 31 In the 19th century Androcles became a subject for French table ornaments One from 1820 shows him sword in hand in the arena as the lion crouches at his feet 32 while another from 1825 has him tending the injured paw 33 About 1898 Jean Leon Gerome who was soon to paint that scene too produced a sculpture of Androcles leading the lion about on his tour of the Roman taverns Titled Le Mendiant the beggar it is made of bronze gilt and shows the former slave standing with one hand on the lion s mane and a begging bowl at his feet On its stand is the inscription Date obolum Androcli spare a penny for Androclus 34 In the 20th century the American sculptor Frederick Charles Shrady incorporated the theme of removing the thorn from the paw into a modernistic design 35 Medals Edit nbsp Gioacchino Francesco Travani s medal in honour of Pope Alexander VIIThe legend has figured on medals for various reasons over the course of four centuries One attributed to Gioacchino Francesco Travani using a design by Gian Lorenzo Bernini was struck in 1659 It depicts on one side a relief bust of Pope Alexander VII surrounded by an acanthus leaf border On the reverse a lion prostrates itself at the feet of an armed Androcles The complimentary Latin inscription reads Domenico Jacobacci to the generous prince Even a wild animal remembers a favor Jacobacci was the donor of the medal which commemorates a pope who had been generous in rebuilding parts of Rome The lion represents the grateful city paying homage at the feet of the warrior on its behalf 36 The image of the grateful beast was a natural choice for the medals awarded in yearly recognition of prize winners at the Royal Dick Veterinary College in Edinburgh Struck in copper and silver during the 1890s they picture Androcles kneeling to relieve the suffering lion In the background are a cliff on the left and palm trees on the right Androcles is depicted with African features 37 A more schematic representation now forms the logo of the Faculty of Veterinary Medicine at Utrecht University 38 In the 20th century the Dutch Medal of Recognition 1940 1945 also pictured the scene of relieving the lion and was awarded to those who aided the Dutch during the period of World War II or afterwards helped those who had suffered from the German occupation The subject was chosen because a lion was the national symbol The theme of gratitude is reinforced by the inscription about the edge Sibi benefacit qui benefacit amico He benefits himself who benefits a friend Notes Edit a b Ashliman D L Androcles and the Lion and other folktales of Aarne Thompson Uther type 156 Pitt edu Aarne Antti Thompson Stith The types of the folktale a classification and bibliography Third Printing Folklore Fellows Communications FFC no 184 Helsinki Academia Scientiarum Fennica 1973 1961 pp 56 57 Aulus Gellius Noctes Atticae Book V xiv Based on the dates of Apion s tenure in Rome see Hazel John 2002 Who s who in the Roman World Psychology Press ISBN 9780415291620 Retrieved 2009 04 10 The Attic Nights of Aulus Gellius p 258 Claudius Aelianus Perὶ Zῴwn Ἰdiothtos Book VII xlviii Mythfolklore net Mythfolklore net Retrieved 2014 06 08 Yvain Or the Knight With the Lion mcllibrary org 2004 12 01 Retrieved 2014 06 08 The story is included in the fourth and fifth paragraphs of this translation Archived February 12 2011 at the Wayback Machine Estelle Haan Classical Romantic Identity in the Latin Poetry of Vincent Bourne American Philosophical Society 2007 pp 52 4 The poetical works Latin and English of Vincent Bourne London 1838 pp 128 31 IMDb com Lake Superior Theater LACMA site Gallery site Mentioned in Michel Huber Catalogue raisonne du cabinet d estampes par feu m Winckler L ecole allemande Leipzig 1801 Vol 2 p 684 See online Archived August 8 2014 at the Wayback Machine Walter Inglis Anderson The Art of Walter Anderson University of Mississippi 2003 pp 25 253 Bonhams Auction site Anna O Marley Henry Ossawa Tanner Modern Spirit University of California 2012 pp 19 20 Wikiart The Saleroom Maria Isabel Baldasare Sobre los inicios del coleccionismo y los museos de arte en la Argentina Anais do Museu Paulista Historia e Cultura Material Sao Paulo vol 14 1 2006 p 305 Wikimedia Gallery site Biographical notes of Russian artists The monthly magazine and British register Volume 21 1806 p 399 Christies site Rijksmuseum The Attic Nights of Aulus Gellius p 256 Cultural Property Advice Ashmolean Archived 2015 09 23 at the Wayback Machine Charles Othon Frederic Jean Baptiste de Clarac Description du Musee Royal des Antiques du Louvre Paris 1830 p 249 Christies site 1st dibs site Wikimedia Shrady site Delbeke Maarten 2012 The Art of Religion Sforza Pallavicino and Art Theory in Bernini s Rome Ashgate Publishing Ltd ISBN 978 1 4094 5885 2 page needed British school medals Neocollect Archived August 8 2014 at the Wayback Machine Faculty site Archived from the original on 2014 08 08 Retrieved 2014 08 06 References EditThe Attic Nights of Aulus Gellius with An English Translation by John C Rolfe London 1927 Book I section XIV p 255ffFurther reading EditBell Michael M May 1998 The Dialogue of Solidarities or why the Lion Spared Androcles Sociological Focus 31 2 181 199 CiteSeerX 10 1 1 510 211 doi 10 1080 00380237 1998 10571100 JSTOR 20831986 ProQuest 1312103553 Brodeur Arthur Gilchrist September 1924 XXII The Grateful Lion Publications of the Modern Language Association of America 39 3 485 524 doi 10 2307 457117 JSTOR 457117 S2CID 163981514 Dorwick Keith 1 June 2018 Joined Together as One The Animal Dances in Androcles and the Lion Shaw 38 1 66 87 doi 10 5325 shaw 38 1 0066 S2CID 187081482 Kalinke Marianne E 1994 The Cowherd and the Saint The Grateful Lion in Icelandic Folklore and Legend Scandinavian Studies 66 1 1 22 JSTOR 40919618 Perozo V M Perez 1946 Fables and Fable Writers Books Abroad 20 4 363 367 doi 10 2307 40088489 JSTOR 40088489 External links Edit nbsp Media related to Androcles at Wikimedia Commons nbsp Works related to Androcles and the Lion at Wikisource Folktales of tale type ATU 156 Androcles and the Lion by D L Ashliman Retrieved from https en wikipedia org w index php title Androcles amp oldid 1178385609, wikipedia, wiki, book, books, library,

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