Aesop
FABLES
language
(Norman Publishing Feb. 3, 2009)
PREFACE
Introduction
THE TALE, the Parable, and the Fable are all common and popular modes of
conveying instruction. Each is distinguished by its own special characteristics.
The Tale consists simply in the narration of a story either founded on facts, or cre-
ated solely by the imagination, and not necessarily associated with the teaching of
any moral lesson. The Parable is the designed use of language purposely intended
to convey a hidden and secret meaning other than that contained in the words
themselves; and which may or may not bear a special reference to the hearer, or
reader. The Fable partly agrees with, and partly differs from both of these. It will
contain, like the Tale, a short but real narrative; it will seek, like the Parable, to
convey a hidden meaning, and that not so much by the use of language, as by the
skilful introduction of fictitious characters; and yet unlike to either Tale or Par-
able, it will ever keep in view, as its high prerogative, and inseparable attribute,
the great purpose of instruction, and will necessarily seek to inculcate some moral
maxim, social duty, or political truth. The true Fable, if it rise to its high require-
ments, ever aims at one great end and purpose representation of human motive,
and the improvement of human conduct, and yet it so conceals its design under
the disguise of fictitious characters, by clothing with speech the animals of the
field, the birds of the air, the trees of the wood, or the beasts of the forest, that the
reader shall receive advice without perceiving the presence of the adviser. Thus
the superiority of the counsellor, which often renders counsel unpalatable, is kept
out of view, and the lesson comes with the greater acceptance when the reader is
led, unconsciously to himself, to have his sympathies enlisted in behalf of what
is pure, honorable, and praiseworthy, and to have his indignation excited against
what is low, ignoble, and unworthy. The true fabulist, therefore, discharges a
most important function. He is neither a narrator, nor an allegorist. He is a great
teacher, a corrector of morals, a censor of vice, and a commender of virtue. In this
consists the superiority of the Fable over the Tale or the Parable. The fabulist is to
create a laugh, but yet, under a merry guise, to convey instruction. Phaedrus, the
great imitator of Aesop, plainly indicates this double purpose to be the true office
of the writer of fables.
Duplex libelli dos est: quod risum movet,
Et quod prudenti vitam consilio monet.
Introduction
THE TALE, the Parable, and the Fable are all common and popular modes of
conveying instruction. Each is distinguished by its own special characteristics.
The Tale consists simply in the narration of a story either founded on facts, or cre-
ated solely by the imagination, and not necessarily associated with the teaching of
any moral lesson. The Parable is the designed use of language purposely intended
to convey a hidden and secret meaning other than that contained in the words
themselves; and which may or may not bear a special reference to the hearer, or
reader. The Fable partly agrees with, and partly differs from both of these. It will
contain, like the Tale, a short but real narrative; it will seek, like the Parable, to
convey a hidden meaning, and that not so much by the use of language, as by the
skilful introduction of fictitious characters; and yet unlike to either Tale or Par-
able, it will ever keep in view, as its high prerogative, and inseparable attribute,
the great purpose of instruction, and will necessarily seek to inculcate some moral
maxim, social duty, or political truth. The true Fable, if it rise to its high require-
ments, ever aims at one great end and purpose representation of human motive,
and the improvement of human conduct, and yet it so conceals its design under
the disguise of fictitious characters, by clothing with speech the animals of the
field, the birds of the air, the trees of the wood, or the beasts of the forest, that the
reader shall receive advice without perceiving the presence of the adviser. Thus
the superiority of the counsellor, which often renders counsel unpalatable, is kept
out of view, and the lesson comes with the greater acceptance when the reader is
led, unconsciously to himself, to have his sympathies enlisted in behalf of what
is pure, honorable, and praiseworthy, and to have his indignation excited against
what is low, ignoble, and unworthy. The true fabulist, therefore, discharges a
most important function. He is neither a narrator, nor an allegorist. He is a great
teacher, a corrector of morals, a censor of vice, and a commender of virtue. In this
consists the superiority of the Fable over the Tale or the Parable. The fabulist is to
create a laugh, but yet, under a merry guise, to convey instruction. Phaedrus, the
great imitator of Aesop, plainly indicates this double purpose to be the true office
of the writer of fables.
Duplex libelli dos est: quod risum movet,
Et quod prudenti vitam consilio monet.
- Pages
- 85
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