Aesop, or Babrius (or whatever his name was), understood that, for a fable, all the persons must be impersonal. They must be like abstractions in algebra, or like pieces in chess. The lion must always be stronger than the wolf, just as four is always double of two. The fox in a fable must move crooked, as the knight in chess must move crooked. The sheep in a fable must march on, as the pawn in chess must march on. The fable must not allow for the crooked captures of the pawn; it must not allow for what Balzac called “the revolt of a sheep.” The fairy tale, on the other hand, absolutely revolves on the pivot of human personality. If no hero were there to fight the dragons, we should not even know that they were dragons. If no adventurer were cast on the undiscovered island—it would remain undiscovered. If the miller’s third son does not find the enchanted garden where the seven princesses stand white and frozen—why, then, they will remain white and frozen and enchanted. If there is no personal prince to find the Sleeping Beauty she will simply sleep. Fables repose upon quite the opposite idea; that everything is itself, and will in any case speak for itself. The wolf will be always wolfish; the fox will be always foxy. Something of the same sort may have been meant by the animal worship, in which Egyptian and Indian and many other great peoples have combined. Men do not, I think, love beetles or cats or crocodiles with a wholly personal love; they salute them as expressions of that abstract and anonymous energy in nature which to anyone is awful, and to an atheist must be frightful. So in all the fables that are or are not Aesop’s all the animal forces drive like inanimate forces, like great rivers or growing trees. It is the limit and the loss of all such things that they cannot be anything but themselves: it is their tragedy that they could not lose their souls.
This is the immortal justification of the Fable: that we could not teach the plainest truths so simply without turning men into chessmen. We cannot talk of such simple things without using animals that do not talk at all. Suppose, for a moment, that you turn the wolf into a wolfish baron, or the fox into a foxy diplomatist. You will at once remember that even barons are human, you will be unable to forget that even diplomatists are men. You will always be looking for that accidental good-humour that should go with the brutality of any brutal man; for that allowance for all delicate things, including virtue, that should exist in any good diplomatist. Once put a thing on two legs instead of four and pluck it of feathers and you cannot help asking for a human being, either heroic, as in the fairy tales, or un-heroic, as in the modern novels.
But by using animals in this austere and arbitrary style as they are used on the shields of heraldry or the hieroglyphics of the ancients, men have really succeeded in handing down those tremendous truths that are called truisms. If the chivalric lion be red and rampant, it is rigidly red and rampant; if the sacred ibis stands anywhere on one leg, it stands on one leg forever. In this language, like a large animal alphabet, are written some of the first philosophic certainties of men. As the child learns A for Ass or B for Bull or C for Cow, so man has learnt here to connect the simpler and stronger creatures with the simpler and stronger truths. That a flowing stream cannot befoul its own fountain, and that anyone who says it does is a tyrant and a liar; that a mouse is too weak to fight a lion, but too strong for the cords that can hold a lion; that a fox who gets most out of a flat dish may easily get least out of a deep dish; that the crow whom the gods forbid to sing, the gods nevertheless provide with cheese; that when the goat insults from a mountaintop it is not the goat that insults, but the mountain: all these are deep truths deeply graven on the rocks wherever men have passed. It matters nothing how old they are, or how new; they are the alphabet of humanity, which like so many forms of primitive picture-writing employs any living symbol in preference to man. These ancient and universal tales are all of animals; as the latest discoveries in the oldest prehistoric