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The Honest Woodcutter
The Honest Woodcutter
The Honest Woodcutter
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The Honest Woodcutter
Grandville's illustration to La Fontaine's fable
Folk tale
NameThe Honest Woodcutter
Also known asMercury and the Woodman; The Golden Axe
Aarne–Thompson groupingATU 729 (The Axe falls into the Stream)[1]
RegionGreece; Worldwide

The Honest Woodcutter, also known as Mercury and the Woodman and The Golden Axe, is one of Aesop's Fables, numbered 173 in the Perry Index. It serves as a cautionary tale on the need for cultivating honesty, even at the price of self-interest. It is also classified as Aarne-Thompson 729: The Axe falls into the Stream.[2]

The story

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The Greek version of the story tells of a woodcutter who accidentally dropped his axe into a river and, because this was his only means of livelihood, sat down and wept. Taking pity on him, the god Hermes (also known as Mercury) dived into the water and returned with a golden axe. "Was this what you had lost?", Hermes asked, but the woodcutter said it was not, and returned the same answer when a silver axe was brought to the surface. Only when his own tool is produced does he claim it. Impressed by his honesty, the god allows him to keep all three. Hearing of the man's good fortune, an envious neighbor threw his own axe into the river and wailed for its return. When Hermes appeared and offered him a golden axe, the man greedily claimed it but was denied both that and the return of his own axe.

Though the tale's moral is that 'Honesty is the best policy', as the English proverb has it, there existed a medieval Byzantine proverb apparently alluding to the fable, which stated that 'A river does not always bring axes'. But since this was glossed to mean that no person always acts consistently, it is obviously at a considerable remove from the story's application.[3]

A burlesque retelling of the fable occurs in François Rabelais's 16th-century novel Gargantua and Pantagruel. It takes up most of the author's prologue to the 4th Book and is considerably extended in his typically prolix and circuitous style. The woodcutter's cries disturb the chief of the gods as he deliberates the world's business and he sends Mercury down with instructions to test the man with the three axes and cut off his head if he chooses wrongly. Although he survives the test and returns a rich man, the entire countryside decides to follow his example and gets decapitated. So, Rabelais concludes, it is better to be moderate in our desires. Much the same story is told in La Fontaine's Fables (V.1) but in more concentrated form.[4] However, rather than beheading the woodman's imitators, Mercury merely administers a heavy blow.

The fable in the arts

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A Victorian etching of Salvator Rosa's Mercury and the dishonest woodman

Some paintings named from the fable have been broad landscapes with small figures added in the middle plane. Salvator Rosa's Mercury and the Dishonest Woodman in the National Gallery, London, dates from about 1650.[5] An 18th-century watercolour by George Robertson (1748–88) seems to derive from this.[6] Charles-André van Loo gives greater prominence to the figures in his Mercure présentant des haches au bûcheron in the Hôtel de Soubise.[7] In this the god hovers in mid-air and presents the axes to the surprised and kneeling woodman.

Illustrations of the fable on English chinaware draw on the woodcut in Samuel Croxall's edition of Aesop. A Wedgwood plate of about 1775 displays a red picture in a square, garlanded frame. The rim has a wavy edge printed with detached sprays of flowers. Much the same picture as there, printed in green, is used on a contemporary Liverpool tile.[8] In the left foreground, Mercury is presenting an axe to the seated woodman. In the distance, on the opposite bank, his dishonest neighbour has raised his axe before throwing it into the river.

In 1987 the story was included on the 40 drachma value of the eight-stamp set of Aesop's fables issued by Greece and features the naked god seated on a rock in the river and offering the three axes to the bearded woodman on the bank.[9]

Other versions

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Though there are other tellings of the story, with local variations, from Nigeria,[10] Thailand,[11] Tibet[12] and Japan,[13] the main plot line in all of them is the same as in the Aesopic version, which suggests their European derivation. A certain kinship has also been observed between the fable and the account of the miraculous recovery of an axe from a river in the Jewish Bible.[14] There the prophet Elisha caused an axe blade lost in a river to float to the surface.[15]

References

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The Honest Woodcutter

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The Honest Woodcutter is a moral fable from the tradition, in which a poor woodcutter accidentally drops his iron axe into a river while working. The god Hermes (known as Mercury in ) appears, dives into the water, and first offers the woodcutter a , which he honestly refuses, claiming it is not his. Hermes then retrieves a silver axe, which the woodcutter also denies, and finally brings up the woodcutter's own plain iron axe, which he accepts. Impressed by the man's integrity, Hermes rewards him by giving him all three axes. The story contrasts this with dishonest woodcutters who greedily claim the and are punished by having their tools confiscated, emphasizing the fable's central moral that honesty is the best policy. Attributed to the legendary storyteller (circa 6th century BCE), the tale is cataloged as fable number 173 in the , a standard compilation of Greek and Latin sources for Aesop's works published in 1952. Originating in oral traditions of , it draws on mythological elements involving Hermes, the messenger god associated with , travelers, and boundaries, who tests human character. The fable has endured through centuries of retellings, appearing in early collections like those by Babrius in Greek during the 2nd century CE and later in medieval European manuscripts. The story has influenced and worldwide, including adaptations in Eastern traditions such as Korean folktales where it promotes ethical values. In 17th-century , incorporated a version into his renowned Fables (Books I–XII, 1668–1694), transforming it into verse to satirize human greed while preserving the core lesson on . Modern interpretations often appear in children's educational materials, reinforcing themes of and the rewards of truthfulness across cultures.

Background and Origins

Attribution to Aesop

The Honest Woodcutter is traditionally attributed to , a semi-legendary Greek storyteller believed to have lived in the BCE on the island of , where he was reportedly a Thracian slave who gained his freedom through his wit. Ancient sources describe Aesop as deformed and initially mute, with his storytelling abilities granting him favor among rulers and common folk alike, though these biographical details appear in later compilations like the 3rd-century CE Vita Aesopi and may blend legend with history. No writings from Aesop himself survive, and his fables were compiled posthumously by later authors, reflecting a broader of moral tales that likely predated him by generations. Scholars debate Aesop's historical existence, with some viewing him as a composite figure embodying the anonymous wisdom of folk narratives rather than a single individual. The fables credited to him emerged from an that circulated across the Greek world, evolving through retellings before being committed to writing centuries later; this process allowed for variations and additions, making precise authorship impossible to verify. Evidence for Aesop as a real person stems primarily from references in and , but these are brief and potentially legendary, fueling ongoing discussions about whether he served as a symbolic originator for a corpus of didactic stories. The appears in early collections of 's works that form part of the Aesopica, a vast anthology numbering over 700 fables by the time of their compilation. This includes verse adaptations like the Latin versions by Phaedrus in the 1st century CE, who versified many Greek tales for Roman audiences, and the Greek versions by Babrius in the 2nd century CE, which preserved and elaborated on the oral heritage in choliambic meter, highlighting how the story of the woodcutter fit into the established tradition of attributing moral anecdotes to Aesop.

Historical Sources and Manuscripts

The fable of the Honest Woodcutter, cataloged as Perry Index 173 (Hermes and the Woodcutter), first appears in ancient Greek prose collections attributed to Aesop, with the earliest known compilation dating to the late 4th century BCE by Demetrius of Phalerum, who assembled approximately 300 fables. This recension forms the basis of the core Aesopic tradition, though no manuscripts from this period survive, as the oral and early written forms were likely disseminated through rhetorical and educational use in classical Greece. The principal surviving source is the Collectio Augustana (also known as Recension I), a compilation of 231 prose fables in Greek, including Perry 173, which represents the oldest extant organized body of Aesopic material. Named after the key manuscript Codex Augustanus Monacensis Graecus 564, housed in the , this recension's textual tradition originates from a prototype dated between the 1st century BCE and CE, with the primary manuscript itself from the 10th century CE. Variants of the fable appear in later Greek manuscripts, such as those in the 15th-century Vatican collections, including Codex Vaticanus Graecus 123, which preserve expanded or altered versions of the Augustana text. Transmission continued through Byzantine compilations, where the fables were copied, edited, and integrated into moral and literary anthologies for educational purposes. A notable example is the 13th–14th century collection by the monk Maximus Planudes, who assembled around 150 fables, including elements of Perry 173, in a prose format that influenced subsequent Eastern Mediterranean scholarship. These Byzantine versions bridged ancient texts to the medieval West, with Greek manuscripts circulating in monastic libraries. In the Latin tradition, the anonymous Romulus collection from the 11th–12th centuries, a prose adaptation of Greek fables, included versions of Perry 173 and facilitated its spread in medieval Europe. In medieval Europe, the fable reached vernacular audiences via Latin translations, such as those by Phaedrus (1st century CE) and later adaptations, leading to widespread dissemination. The key milestone was William Caxton's 1484 printing in Westminster, the first English edition of , translated by Caxton from a French version derived from Heinrich Steinhöwel's 1476 German compilation; this edition includes the Honest Woodcutter and marked the fable's entry into printed English literature.

Synopsis and Themes

Plot Summary

A poor woodcutter, relying on his simple iron axe for his livelihood, was felling trees at the edge of a deep river pool in the . One day, as he swung his axe, the head slipped from the handle and fell into the water, sinking out of reach; overcome with despair, he sat down and wept, knowing he could no longer support himself or his family without it. Suddenly, the god Hermes appeared before him, disguised as a benevolent figure, and dove into the pool to retrieve the lost tool. Emerging first with a gleaming golden axe, Hermes asked if it belonged to the woodcutter, who honestly replied that it did not. Undeterred, Hermes submerged again and returned with a silver axe, posing the same question; again, the woodcutter refused it, insisting it was not his. On his third dive, Hermes brought up the plain iron axe, which the woodcutter immediately recognized and claimed as his own. Impressed by the woodcutter's unwavering , Hermes rewarded him by granting ownership of all three axes—the gold, silver, and iron—as a boon for his .

Moral and Interpretations

The fable of The Honest Woodcutter conveys the explicit moral that " is the best policy," a principle directly rewarded through the divine intervention of Mercury, who grants the woodcutter all three axes for refusing the illusory gold and silver ones. This lesson is appended in various collections, notably in Jean de La Fontaine's 17th-century Fables, where the woodman's triumphs over temptation, emphasizing that truthfulness yields greater long-term benefits than deceit. Interpretations of often highlight the symbolism of the axes as representations of and , with the iron axe embodying honest labor and the gold and silver variants signifying and unattainable . In the context of society, the narrative critiques by illustrating how the pursuit of unearned riches undermines personal , positioning the woodcutter's as a against societal pressures for excess. Classified under Aarne-Thompson tale type 729 ("The Axe Falls into the Water"), the story underscores as a universal ethical test, where leads to abundance. From a modern psychological perspective, the fable reinforces ethical behavior by depicting divine reward as positive reinforcement for , aiding children's development of and through narrative comprehension of characters' intentions. Studies on fable understanding show that such tales help young readers internalize virtues like truthfulness, associating with social and personal gains while deterring through observed consequences.

Variations

Classical Greek and Roman Versions

In the Roman tradition, Phaedrus presents in his Fabulae Aesopiae (Book 1, Fable 8), written in iambic senarii during the early 1st century AD. The narrative centers on a poor woodcutter who, while felling a tree near a river, accidentally drops his iron axe into the water. Despairing over his loss—as the tool is his sole means of livelihood—he prays to Mercury for aid. The god appears, dives into the river, and emerges with a , asking if it is the woodcutter's. The man honestly denies it. Mercury then retrieves a silver axe, which the woodcutter also rejects. Finally, Mercury brings up the iron axe, which the man claims as his own. Impressed by this , Mercury returns the iron axe and, as a reward, grants the golden and silver ones as well. To illustrate the moral, Phaedrus adds a second episode: another woodcutter, envious of the tale, intentionally drops his axe and lies to Mercury by claiming the golden one as his. The god, discerning the deceit, leaves the man with nothing, emphasizing that alone merits reward. In the Greek tradition, Babrius adapts in choliambic verse, likely in the AD, infusing it with poetic flair through vivid and rhythmic language. Here, the divine figure is Hermes, who appears to test the woodcutter's . The core plot follows the loss of the iron axe during tree-felling, with Hermes offering golden and silver alternatives that the honest woodcutter rejects before accepting his own. Impressed, Hermes rewards him with all three axes. This version maintains a mythological tone, portraying Hermes as the intervener responsive to human virtue. Key textual differences between the two versions highlight adaptations across linguistic and cultural boundaries. Both identify the god as Mercury (Hermes in Greek contexts), aligning with Greco-Roman mythological conventions and emphasizing divine intervention. Both consistently depict the full reward of all three axes to reinforce through . These variations reflect Phaedrus' courtly, didactic style for a Roman audience and Babrius' more lyrical, Hellenistic approach.

International Adaptations

In Asian cultures, the fable of the honest woodcutter has been adapted with local supernatural entities replacing the classical Greek deity, while retaining the core moral of honesty rewarded. These variants often integrate cultural values such as and . In Korea, the story is known as "The Gold Axe and the Silver Axe" (Geumdokkaeumdokkae), a popular folktale where a poor woodcutter loses his iron axe while chopping wood near a . A benevolent or mountain spirit emerges from the water, offering a gold axe and then a silver one to test his ; the woodcutter refuses both until his own axe is presented, earning all three as a reward. This version emphasizes the woodcutter's devotion to supporting his aging parents, blending honesty with Confucian ideals of . A Japanese variant, documented in traditional collections, features an honest woodcutter who drops his hatchet into a . A beautiful rises from the water—representing a local —and presents golden and silver s for identification; the woodcutter's truthful denial leads to the return of his tool and additional rewards. This adaptation highlights themes of humility and respect for natural spirits, common in Japanese yokai lore. During the 19th and 20th centuries, European missionaries in India incorporated the fable into educational materials and moral tracts, localizing it with indigenous storytelling styles to teach virtues of integrity.

Cultural Depictions

In Literature and Folklore

The fable of the Honest Woodcutter has exerted significant influence in European literature since the Renaissance, particularly through poetic retellings that amplified its moral dimensions. Jean de La Fontaine, in his Fables choisies mises en vers, included a verse adaptation titled "Le Bûcheron et Mercure" as the opening fable of Book V, published in 1678. In this version, La Fontaine portrays the woodcutter's encounter with the god Mercury, who tests his integrity by offering a golden axe before returning the iron one, emphasizing themes of virtue rewarded through elegant alexandrine couplets that made the story accessible to French court audiences. In 19th-century England, the tale appeared frequently in illustrated children's anthologies, adapting Aesop's narrative for young readers to instill ethical lessons. Charles H. Bennett's The Fables of Æsop (1857), a popular edition with wood-engraved illustrations, featured "Mercury and the Woodman" as a concise prose retelling, highlighting the woodcutter's refusal of the gilded axes to underscore honesty as a path to prosperity. Such collections, including similar versions in works by other editors like Thomas James in Aesop's Fables (1848), integrated the story into Victorian moral education, often simplifying the divine intervention while preserving the core test of character. Beyond , the Honest Woodcutter motif permeates global as a tool for moral instruction, appearing in oral traditions and written compilations worldwide. In Indian , parallels emerge in stories within the Panchatantra tradition, where humble laborers face trials of , such as a woodcutter rewarded by a deity for truthfulness amid temptation by illusory treasures; modern adaptations in children's editions, like those published by Dreamland Publications (2017), explicitly frame it as a tale to teach ethical values across cultures. This widespread use in educational storytelling, from European primers to Asian didactic narratives, demonstrates the fable's enduring role in fostering virtues like through relatable archetypes of labor and divine .

In Visual Arts and Media

The fable of The Honest Woodcutter has been depicted in visual arts primarily through illustrations in 19th-century editions of Aesop's and Jean de La Fontaine's works, emphasizing moral symbolism with detailed engravings of the woodcutter, the river spirit, and the axes. French artist Gustave Doré created a notable wood engraving for La Fontaine's version, "Le Bûcheron et Mercure," in the 1868 publication Fables de La Fontaine, portraying the woodcutter's humble integrity amid a supernatural encounter by the riverbank. Similarly, J.J. Grandville provided satirical yet evocative illustrations for an 1838-1839 edition of La Fontaine's fables, depicting the scene with anthropomorphic elements that highlight themes of honesty versus greed. In the realm of animation, the story has appeared in Japanese media as educational moral tales. The 1995-1996 anime series , produced by , features episode 26, "Wooden Nickels," where the characters enter a world based on the fable to restore a distorted , blending action with the core lesson of truthfulness. More recently, the 2020 anime shorts Gekidan Nanatsu no Taizai include an adaptation of The Honest Woodcutter among its fable-based episodes, presented in a theatrical style to teach ethical values to young audiences. Contemporary media representations extend to digital formats, particularly interactive storytelling for children. The iOS application The Story Book features an illustrated and narrated version of , allowing users to engage with the through touch-based interactions that reinforce the of honesty. Additionally, adaptations like the 2023 Meta VR experience "An Honest Woodcutter" immerse users in the woodcutter's , promoting in a 3D environment. These modern tools integrate into educational apps and platforms, making it accessible for in the .

References

  1. https://read.gov/aesop/102.html
  2. http://www.mythfolklore.net/aesopica/perry/173.htm
  3. https://www.korea.net/NewsFocus/Culture/view?articleId=123012
  4. https://www.littlefox.com/en/supplement/org/C0000327
  5. https://iep.utm.edu/aesop/
  6. https://chs.harvard.edu/curated-article/classics9-gregory-nagy-diachrony-and-the-case-of-aesop/
  7. https://vridar.org/2017/08/08/did-aesop-exist/
  8. https://townsendcenter.berkeley.edu/publications/new-look-aesop
  9. https://www.loebclassics.com/view/LCL436/1965/volume.xml
  10. https://works.swarthmore.edu/cgi/viewcontent.cgi?article=1035&context=fac-classics
  11. https://core.ac.uk/download/pdf/162630656.pdf
  12. https://www.academia.edu/116682269/Ethics_in_Aesops_Fables_The_Augustana_Collection
  13. https://referenceworks.brill.com/display/entries/PSE2/COM-0007.xml?language=en
  14. https://www.gutenberg.org/files/21/21-h/21-h.htm
  15. https://web.english.upenn.edu/~cavitch/pdf-library/Aesop_Caxton_s_Aesop.pdf
  16. https://fablesofaesop.com/perry-index
  17. https://www.gutenberg.org/files/7241/7241-h/7241-h.htm
  18. https://www.journals.uchicago.edu/doi/pdf/10.2307/497743
  19. https://www.jstor.org/stable/497743
  20. https://pmc.ncbi.nlm.nih.gov/articles/PMC4593939/
  21. https://www.gutenberg.org/files/25512/25512-h/25512-h.htm
  22. https://folklore.usc.edu/korean-story-the-woodcutter-and-the-axes/
  23. http://workingfable.blogspot.com/2016/02/more-korean-fairy-tales.html
  24. https://publish.iupress.indiana.edu/read/the-yanagita-kunio-guide-to-the-japanese-folk-tale/section/f39e5a59-6076-4fe7-8359-9fb9e2f117a7
  25. https://www.amazon.com/Honest-Woodcutter-Famous-Stories-Panchtantra/dp/9350893665
  26. https://www.famsf.org/artworks/le-bucheron-et-mercure-illustration-on-unnumbered-page-265-for-fable-no-1-in-book-no-5-in-the-book-fables-de-la-fontaine-avec-les-dessins-de-gustave-dore-paris-l-hachette-1868
  27. https://www.la-fontaine-ch-thierry.net/buchmerc.htm
  28. https://tvtropes.org/pmwiki/pmwiki.php/Anime/JuuniSenshiBakuretsuEtoRanger
  29. https://myanimelist.net/anime/45567/Gekidan_Nanatsu_no_Taizai
  30. https://www.facebook.com/groups/applevisionprocommunity/posts/841714553552292/
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