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Fable, parable, and allegory, any form of imaginative literature or spoken utterance constructed in such a way that readers or listeners are encouraged to look for meanings hidden beneath the literal surface of the fiction. A story is told or perhaps enacted whose details—when interpreted—are found to correspond to the details of some other system of relations (its hidden, allegorical sense). The poet, for example, may describe the ascent of a hill in such a way that each physical step corresponds to a new stage in the soul’s progress toward a higher level of existence.

Many forms of literature elicit this kind of searching interpretation, and the generic term for the cluster is allegory; under it may be grouped fables, parables, and other symbolic shapings. Allegory may involve either a creative or an interpretive process: either the act of building up the allegorical structure and giving “body” to the surface narrative or the act of breaking down this structure to see what themes or ideas run parallel to it.

Nature and objectives

Allegory and myth

The fate of allegory, in all its many variations, is tied to the development of myth and mythology. Every culture embodies its basic assumptions in stories whose mythic structures reflect the society’s prevailing attitudes toward life. If the attitudes are disengaged from the structure, then the allegorical meaning implicit in the structure is revealed. The systematic discipline of interpreting the real meaning of a text (called the hermeneutic process) plays a major role in the teaching and defense of sacred wisdom, since religions have traditionally preserved and handed down the old beliefs by telling exemplary stories; these sometimes appear to conflict with a system of morality that has in the meantime developed, and so their “correct” meaning can only be something other than the literal narration of events. Every culture puts pressure on its authors to assert its central beliefs, which are often reflected in literature without the author’s necessarily being aware that he is an allegorist. Equally, determined critics may sometimes find allegorical meaning in texts with less than total justification—instances might include the Hebraic-Christian mystical interpretation of the Old Testament’s Song of Solomon, an erotic marriage poem, or the frequent allegorizing of classical and modern literature in the light of Freud’s psychoanalytic discoveries. Some awareness of the author’s intention seems necessary in order to curb unduly fanciful commentary.

The allegorical mode

The range of allegorical literature is so wide that to consider allegory as a fixed literary genre is less useful than to regard it as a dimension, or mode, of controlled indirectness and double meaning (which, in fact, all literature possesses to some degree). Critics usually reserve the term allegory itself for works of considerable length, complexity, or unique shape. Thus, the following varied works might be called allegories: the biblical parable of the sower; Everyman, the medieval morality play; The Pilgrim’s Progress, by John Bunyan; Jonathan Swift’s Gulliver’s Travels; The Scarlet Letter, by Nathaniel Hawthorne; William Wordsworth’s “Ode: Intimations of Immortality”; Nikolay Gogol’s Dead Souls; The Picture of Dorian Gray, by Oscar Wilde; and the plays Six Characters in Search of an Author, by Luigi Pirandello; Waiting for Godot, by Samuel Beckett; and Who’s Afraid of Virginia Woolf?, by Edward Albee. No one genre can take in such modal range.


Fable and parable are short, simple forms of naive allegory. The fable is usually a tale about animals who are personified and behave as though they were humans (see photograph). The device of personification is also extended to trees, winds, streams, stones, and other natural objects. The earliest of these tales also included humans and gods as characters, but fable tends to concentrate on animating the inanimate. A feature that isolates fable from the ordinary folktale, which it resembles, is that a moral—a rule of behaviour—is woven into the story.


Like fable, the parable also tells a simple story. But, whereas fables tend to personify animal characters—often giving the same impression as does an animated cartoon—the typical parable uses human agents. Parables generally show less interest in the storytelling and more in the analogy they draw between a particular instance of human behaviour (the true neighbourly kindness shown by the good Samaritan in the Bible story, for example) and human behaviour at large. Parable and fable have their roots in preliterate oral cultures, and both are means of handing down traditional folk wisdom. Their styles differ, however. Fables tend toward detailed, sharply observed social realism (which eventually leads to satire), while the simpler narrative surface of parables gives them a mysterious tone and makes them especially useful for teaching spiritual values.

Derivation of the terms

The original meanings of these critical terms themselves suggest the direction of their development. Fable (from the Latin fabula, “a telling”) puts the emphasis on narrative (and in the medieval and Renaissance periods was often used when speaking of “the plot” of a narrative). Parable (from Greek parabolē, a “setting beside”) suggests a juxtaposition that compares and contrasts this story with that idea. Allegory (from Greek allos and agoreuein, an “other-speaking”) suggests a more expanded use of deceptive and oblique language. (In early Greek, though, the term allegory itself was not used. Instead, the idea of a hidden, underlying meaning is indicated by the word hyponoia—literally, “underthought”—and this term is used of the allegorical interpretation of the Greek poet Homer.)

Diverse objectives


Fables teach a general principle of conduct by presenting a specific example of behaviour. Thus, to define the moral that “People who rush into things without using judgment run into strange and unexpected dangers,” Aesop—the traditional “father” of the fable form—told the following story:

There was a dog who was fond of eating eggs. Mistaking a shell-fish for an egg one day, he opened his mouth wide and swallowed it down in one gulp. The weight of it in his stomach caused him intense pain. “Serve me right,” he said, “for thinking that anything round must be an egg.”

By a slight change of emphasis, the fabulist could have been able to draw a moral about the dangerous effects of gluttony.

Because the moral is embodied in the plot of the fable, an explicit statement of the moral need not be given, though it usually is. Many of these moral tag lines have taken on the status of proverb because they so clearly express commonly held social attitudes.

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The Aesopian fables emphasize the social interactions of human beings, and the morals they draw tend to embody advice on the best way to deal with the competitive realities of life. With some irony, fables view the world in terms of its power structures. One of the shortest Aesopian fables says: “A vixen sneered at a lioness because she never bore more than one cub. ‘Only one,’ she replied, ‘but a lion.’ ” Foxes and wolves, which the poet Samuel Taylor Coleridge called “Everyman’s metaphor” for cunning and cruelty, appear often as characters in fables chiefly because, in the human world, such predatory cunning and cruelty are able to get around restraints of justice and authority. The mere fact that fables unmask the “beast in me,” as James Thurber, the 20th-century American humorist and fabulist, put it, suggests their satiric force. Subversive topical satire in tsarist and Soviet Russia is often called “Aesopism”; all comic strips that project a message (such as the Charles Schulz creation “Peanuts” and Walt Kelly’s “Pogo”) have affinities with Aesop’s method.