It ceases to be possible to append it, in a tag, to the bottom of the piece, as one might write the name below a caricature; and the fable begins to take rank with all other forms of creative literature, as something too ambitious, in spite of its miniature dimensions, to be resumed in any succinct formula without the loss of all that is deepest and most suggestive in it.

Now it is in this widest sense that Lord Lytton understands the term; there are examples in his two pleasant volumes of all the forms already mentioned, and even of another which can only be admitted among fables by the utmost possible leniency of construction. 'Composure,' 'Et Caetera,' and several more, are merely similes poetically elaborated. So, too, is the pathetic story of the grandfather and grandchild: the child, having treasured away an icicle and forgotten it for ten minutes, comes back to find it already nearly melted, and no longer beautiful: at the same time, the grandfather has just remembered and taken out a bundle of love-letters, which he too had stored away in years gone by, and then long neglected; and, behold! the letters are as faded and sorrowfully disappointing as the icicle. This is merely a simile poetically worked out; and yet it is in such as these, and some others, to be mentioned further on, that the author seems at his best. Wherever he has really written after the old model, there is something to be deprecated: in spite of all the spirit and freshness, in spite of his happy assumption of that cheerful acceptation of things as they are, which, rightly or wrongly, we come to attribute to the ideal fabulist, there is ever a sense as of something a little out of place. A form of literature so very innocent and primitive looks a little over-written in Lord Lytton's conscious and highly-coloured style. It may be bad taste, but sometimes we should prefer a few sentences of plain prose narration, and a little Bewick by way of tail-piece. So that it is not among those fables that conform most nearly to the old model, but one had nearly said among those that most widely differ from it, that we find the most satisfactory examples of the author's manner.

In the mere matter of ingenuity, the metaphysical fables are the most remarkable; such as that of the windmill who imagined that it was he who raised the wind; or that of the grocer's balance ('Cogito ergo sum') who considered himself endowed with free-will, reason, and an infallible practical judgment; until, one fine day, the police made a descent upon the shop, and find the weights false and the scales unequal; and the whole thing is broken up for old iron. Capital fables, also, in the same ironical spirit, are 'Prometheus Unbound,' the tale of the vainglorying of a champagne- cork, and 'Teleology,' where a nettle justifies the ways of God to nettles while all goes well with it, and, upon a change of luck, promptly changes its divinity.

In all these there is still plenty of the fabulous if you will, although, even here, there may be two opinions possible; but there is another group, of an order of merit perhaps still higher, where we look in vain for any such playful liberties with Nature. Thus we have 'Conservation of Force'; where a musician, thinking of a certain picture, improvises in the twilight; a poet, hearing the music, goes home inspired, and writes a poem; and then a painter, under the influence of this poem, paints another picture, thus lineally descended from the first. This is fiction, but not what we have been used to call fable. We miss the incredible element, the point of audacity with which the fabulist was wont to mock at his readers. And still more so is this the case with others. 'The Horse and the Fly' states one of the unanswerable problems of life in quite a realistic and straightforward way. A fly startles a cab-horse, the coach is overset; a newly-married pair within and the driver, a man with a wife and family, are all killed. The horse continues to gallop off in the loose traces, and ends the tragedy by running over an only child; and there is some little pathetic detail here introduced in the telling, that makes the reader's indignation very white-hot against some one.

Robert Louis Stevenson
Classic Literature Library

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