《莊子》、《呂氏春秋》之寓言多尚未獨立成篇，而是夾在散文論述之中，作為例證之用，以利其理易為人知，易為人行，可謂從孟荀式之「比喻」逐漸發展為獨立成篇韓非式之「寓言」過程。 今考察二家寓言題材之比較，就神話而言，有異質化與歷史化、改裝式與鑲嵌式、融和式與評論式之不同；就歷史傳說而言，有記述與轉錄、揶揄與褒揚、借重與寄寓之不同；就民間故事而言，有藉論與轉化、虛構與轉引；就文人創作而言，有奇詭詼諧與嚴正平實之不同。 既明二家寓言題材之異同及其異同之所以然，則確可釐清二家風格之迴異與得失之定奪矣。

The fables of "Chuang Tz" and " Liu Sh Chuen Chiou" are not formed articles separately yet. But they are mixed between proses for making examples, the ideas of which is easily accepted and done by people. What we called "a simile or a metaphor" of Meng-Shyun's simple style is developing gradually to become individual articles which are the procedures of the "fables" of the complicated style of Han-Fei. Today, we have an insight into the comparison of the fables' materials of these two books. As to myth, there are the differences of heterogeneity and historicity, revision and modification, mixture and criticism. with regard to the historical legend, the statements and adaptation, jeer and praise, quoting authorities and moral are different. In regard to folk stories, indirect reference and appropriation, fiction and quotation plus commentary are didciminated. Regarding the creation of the writer, weird, light-hearted mockery and austerity and matter-of-factness are differentiated. Since we realize that these two books have different materials and what the discrimination is. Thus, we are sure that we can clearly distinguish the discrepancy of the styles of these two books and make certain their merits and weak points.