In the following essay, Currie examines the literary tone and worldview of Phaedrus and emphasizes the influence of classical Greek literature in his poetry

In the essay that follows, Perry surveys the autobiographical information gleaned from Phaedrus's poetry, as well as major stylistic issues of the fables, particularly the innovations Phaedrus contributed to the Aesopic tradition.

In the following essay, first published in 1927, Duff discusses what is known of Phaedrus's life, reviews the critical consensus on his work, and locates his work in the tradition that spans from Aesop to the medieval French interest in fables.

In the following essay, Henderson examines the possible historical conduits by which Phaedrus's literary work might have been dispersed, and suggests that the parallelism of Phaedrus's narratives and modern "analogues " may be based in archetypal structures.

In the following essay, Widdows reviews the fabulist tradition beginning with the "semilegendary" Aesop and discusses the complex issues involved in translating Phaedrus's poetry.

In the essay that follows, Rubin compares the degrees of subtlety and ambiguity in the fables of Phaedrus and the seventeenth-century French writer de La Fontaine, who used Phaedrus as a source.

In the following excerpt, Becher analyzes Phaedrus's influence on de La Fontaine, a seventeenth-century French fabulist who particularly admired Phaedrus's ironic criticisms of social injustice.

In the essay that follows, Stinton argues that the similarities between Phaedrus's poetry and more modern fables are likely to have resulted from the diffusion of classical culture into Europe.

In the essay that follows, Goodyear highlights Phaedrus's choice of style and attempts to explain his stature as an obscure poet.