在中国,寓言这种文体似乎越来越变成了一种为“天真无邪的小读者”而创作的故事。因此,寓言作家也变得也越来越喜欢虚构出一个阳光撒满草地、到处盛开鲜花的乌托邦,对于伊索这样的人,则非常担心他的作品会不会“腐蚀”了我们青少年洁白的心灵。就这样,也不知道是从什么时候开始,我们的寓言就再也不能够面对简单但却残酷的现实(里面当然也有美),而充满了“廉价”的爱心,变成了不折不扣的“儿童文学”,把一门活生生的艺术变成了一个小摆设。为了那些假想中的小天使,寓言付出了沉重的代价:拉·封丹寓言里的市侩 In China, the genre of fables seems to be increasingly becoming a story for “innocent little readers.” As a result, fable writers have become more and more inclined to fictionalize a sunshine of utopia full of flowers, and to those like Aesop, he is very worried that his works will not “erode” the whiteness of our youth soul. In this way, we do not know when our parable will no longer be able to face the simple but cruel reality (which of course there is beauty), but full of “cheap” love has become a Buckle “children’s literature”, a living art into a small display. For those hypothetical cherubs, the allegory paid a heavy price: the city of La Fontaine’s fable