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,
Et quod prudenti vitam consilio monet.
The continual observance of this twofold aim creates the charm, and accounts for the universal favour, of the fables of Æsop. "The fable," says Professor K. O. Mueller, "originated in Greece in an intentional travestie
