Article #21-2 | Gutenberg Articles

Excerpt

Excerpt from Three hundred Aesop’s fables, by Aesop

PREFACE

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 created 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 Parable, 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 requirements,
ever aims at one great end and purpose—the 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, honourable, 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. Phædrus, the great imitator
of Æsop, plainly indicates this double purpose to be the true office of
the writer of fables.

Duplex libelli dos est: quod risum movet,<br />
Et quod prudenti vitam consilio monet.

Explanation

Detailed Explanation of the Preface to Three Hundred Aesop’s Fables

This preface serves as an introduction to Aesop’s fables, distinguishing the fable from other forms of didactic storytelling—namely, the tale and the parable—while emphasizing its unique moral and rhetorical power. Below is a breakdown of its key ideas, themes, literary devices, and significance, with a focus on the text itself.

1. Context & Source

Aesop’s Fables (traditionally attributed to the ancient Greek storyteller Aesop, c. 6th century BCE) are short, allegorical narratives featuring animals, plants, or inanimate objects that behave like humans to illustrate moral lessons. This preface likely comes from a 19th-century compilation (such as those by George Fyler Townsend or Joseph Jacobs), which sought to codify the structure and purpose of fables for a broader audience.

The preface is meta-literary—it explains how fables function as a genre, distinguishing them from tales and parables while justifying their educational value.

2. Key Themes & Arguments

A. The Three Modes of Instruction: Tale, Parable, Fable

The preface establishes a tripartite classification of didactic storytelling:

The Tale
- A simple narrative, either factual or fictional, without an inherent moral lesson.
- Example: A folktale like Cinderella may entertain but doesn’t necessarily teach a direct moral.
- Key trait: "Not necessarily associated with the teaching of any moral lesson."
The Parable
- Uses allegorical language to convey a hidden meaning beyond the literal words.
- Often religious or philosophical (e.g., Jesus’ Parable of the Good Samaritan).
- Key trait: "Purposely intended to convey a hidden and secret meaning... which may or may not bear a special reference to the hearer."
The Fable
- Hybrid of tale and parable: It has a narrative structure (like a tale) but embeds a moral lesson (like a parable).
- Unique trait: Uses fictitious characters (animals, objects, etc.) to disguise instruction, making the lesson more palatable.
- Primary goal: "The great purpose of instruction... to inculcate some moral maxim, social duty, or political truth."

B. The Superiority of the Fable

The preface argues that the fable is superior to tales and parables because:

It conceals its didactic intent under entertainment, avoiding the preachiness of direct moralizing.
It engages emotions—readers sympathize with virtue and despise vice unconsciously.
It universalizes lessons by using non-human characters, making criticism less personal.

Key quote:

"The reader shall receive advice without perceiving the presence of the adviser... 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, honourable, and praiseworthy."

C. The Fabulist as a Moral Teacher

The preface elevates the fabulist (writer of fables) to a moral authority:

Not just a storyteller (narrator) or an allegorist, but a "corrector of morals," "censor of vice," and "commender of virtue."
Uses humor to make lessons memorable ("to create a laugh, but yet... convey instruction").
Follows the dual purpose outlined by Phædrus (a Roman fabulist who adapted Aesop):
"Duplex libelli dos est: quod risum movet, / Et quod prudenti vitam consilio monet." ("The book has a twofold gift: it moves laughter, and it advises life with prudent counsel.")

3. Literary Devices & Rhetorical Strategies

Comparison & Contrast
- The preface juxtaposes the tale, parable, and fable to highlight the fable’s uniqueness.
- Example: "The Fable partly agrees with, and partly differs from both of these."
Metaphor & Personification
- The fable is described as clothing animals with speech, a form of anthropomorphism that makes abstract lessons tangible.
- The fabulist is a "censor of vice", framing morality as a judicial process.
Parallelism & Repetition
- "The Tale consists simply in... The Parable is the designed use of... The Fable partly agrees with..." → Creates a structured, pedagogical rhythm.
- "Pure, honourable, and praiseworthy" vs. "low, ignoble, and unworthy" → Antithesis to emphasize moral binaries.
Appeal to Authority
- Cites Phædrus (a respected Roman fabulist) to lend credibility to the argument about the fable’s dual purpose.
Didactic Tone
- The preface itself models the fable’s method: it teaches about teaching, using clear, persuasive language to instruct the reader on how fables work.

4. Significance & Why It Matters

A. Justification of the Fable as a Literary Form

The preface defends fables against critics who might dismiss them as childish or simplistic.
It argues that their apparent simplicity is deceptive—they are sophisticated tools for moral education.

B. Psychological Insight into Persuasion

The idea that lessons are best received when disguised reflects an understanding of human resistance to direct moralizing.
This aligns with modern rhetorical theory (e.g., indirect persuasion in advertising or political speech).

C. Influence on Later Literature & Pedagogy

Aesop’s fables became a foundation for Western moral education, influencing:
- Medieval bestiaries (animal allegories).
- Renaissance emblem books (symbolic moral lessons).
- Children’s literature (e.g., Beatrix Potter, George Orwell’s Animal Farm*).
The preface’s distinction between tale, parable, and fable remains a standard framework in literary studies.

Fables often critique power structures (e.g., The Wolf and the Lamb as a commentary on tyranny).
The preface implies that fables can challenge vice safely because their satire is veiled.

5. Close Reading of Key Passages

Passage 1: The Fable’s "High Prerogative"

"The true Fable... 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."

"High prerogative" → Suggests the fable has a noble, almost royal duty to teach.
"Inseparable attribute" → Moral instruction is essential, not optional.
"Moral maxim, social duty, or political truth" → The fable’s lessons are broad, applying to personal ethics, civic behavior, and governance.

Passage 2: The Fabulist’s Role

"The true fabulist... is a great teacher, a corrector of morals, a censor of vice, and a commender of virtue."

"Corrector of morals" → Implies society needs adjustment, and the fabulist is the mechanism for reform.
"Censor of vice" → The fabulist acts like a judge, condemning wrongdoing.
"Commender of virtue" → Not just critical, but also affirmative, reinforcing positive behavior.

Passage 3: The Power of Disguise

"The superiority of the counsellor... 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..."

"Superiority... kept out of view" → Avoids the resentment that comes with explicit moralizing (e.g., a preacher’s sermon).
"Unconsciously to himself" → The fable bypasses resistance by making the reader internalize the lesson as their own idea.
"Sympathies enlisted" → The fable manipulates emotion to align the reader with virtue.

6. Conclusion: The Fable as a Mirror & a Weapon

This preface presents the fable as a deliberately crafted tool—one that entertains, persuades, and reforms without the reader realizing they are being taught. Its genius lies in:

Universal appeal (animals as stand-ins for human flaws).
Psychological subtlety (lessons absorbed through emotion, not lecture).
Social utility (a way to critique power without direct confrontation).

In essence, Aesop’s fables are not just stories but moral technologies, designed to shape behavior by making virtue attractive and vice repulsive—all while the reader thinks they’re just enjoying a tale about a fox and some grapes.

Final Thought:

The preface itself enacts what it describes—it teaches about fables in a way that is clear, structured, and persuasive, much like the fables it introduces. It invites the reader to see beyond the surface, to recognize that even a simple story about a tortoise and a hare is, at its core, a lesson in humility and perseverance.

Questions

Question 1

The preface’s distinction between the fable and the parable hinges most critically on the idea that the fable:

A. employs a narrative structure that is inherently more engaging than the parable’s abstract language.
B. relies on a fixed moral lesson, whereas the parable’s meaning is fluid and context-dependent.
C. embeds its instruction in fictitious characters rather than linguistic ambiguity or allegorical phrasing.
D. is primarily concerned with political truths, while the parable addresses personal or spiritual dilemmas.
E. avoids the use of metaphor entirely, opting instead for literal representations of human behavior.

Question 2

The preface’s claim that the fabulist is "a corrector of morals" (line 25) is most strongly supported by which of the following textual strategies?

A. The repeated emphasis on the fable’s capacity to enlist the reader’s sympathies "unconsciously" toward virtue.
B. The explicit contrast between the fable’s "merry guise" and the parable’s solemn, religious overtones.
C. The assertion that the fable’s moral maxims are derived from observable political truths rather than abstract ideals.
D. The description of the fabulist as an allegorist who prioritizes symbolic depth over narrative coherence.
E. The citation of Phædrus, which frames the fable’s primary purpose as the provocation of laughter rather than instruction.

Question 3

The preface’s argument that the fable’s "lesson comes with the greater acceptance" (line 18) when the reader’s sympathies are unconsciously enlisted implies which of the following about human psychology?

A. Readers are inherently resistant to moral instruction unless it is framed as a command from an authority figure.
B. The effectiveness of moral persuasion is heightened when the audience believes they have arrived at the lesson independently.
C. Emotional engagement with a narrative is inversely proportional to the reader’s ability to discern its underlying didactic intent.
D. Fables succeed because they exploit the human tendency to anthropomorphize non-human entities as a cognitive shortcut.
E. The primary obstacle to moral improvement is the reader’s awareness of being manipulated by the text.

Question 4

Which of the following best describes the rhetorical function of the Latin couplet by Phædrus ("Duplex libelli dos est...") in the preface?

A. It serves as a historical anecdote to illustrate the ancient origins of the fable tradition.
B. It undermines the preface’s earlier claims by suggesting that laughter, not instruction, is the fable’s primary purpose.
C. It introduces a contradictory perspective to provoke the reader into reconsidering the fabulist’s role.
D. It encapsulates the preface’s central thesis by distilling the fable’s dual purpose into a concise, authoritative formulation.
E. It shifts the focus from moral instruction to aesthetic pleasure, thereby broadening the fable’s appeal to a wider audience.

Question 5

The preface’s characterization of the fable as a form that "so conceals its design under the disguise of fictitious characters" (lines 12–13) is most analogous to which of the following pedagogical or rhetorical strategies?

A. The Socratic method, in which questions are used to guide a student toward self-discovered truths.
B. A political satire that uses exaggerated caricatures to critique public figures without naming them directly.
C. A scientific model that simplifies complex systems to make abstract principles more intuitively graspable.
D. A religious homily that employs allegorical stories to illustrate doctrinal points for a lay audience.
E. A legal argument that relies on precedent to lend authority to a contentious claim without explicit justification.

Solutions and Explanations

1) Correct answer: C

Why C is most correct: The passage explicitly states that the fable "will seek... to convey a hidden meaning, and that not so much by the use of language, as by the skilful introduction of fictitious characters" (lines 7–9). This contrasts with the parable, which relies on "language purposely intended to convey a hidden and secret meaning" (lines 4–5). The fable’s defining feature is its use of anthropomorphized characters (e.g., talking animals) to embed instruction, whereas the parable’s power lies in linguistic ambiguity or allegorical phrasing. Option C captures this critical distinction.