This work intends to discuss the linguistic- literary mechanisms which lead parables to exert its didactic function. From both literary and linguistic point of view, I can define parable as a narrative form, which is short, non-mimetic and alegorical. As for its form, I suppose it is better to declare that parable is meta-narrative as it is placed whithin a larger context od speech in the vast majority of its occurrences. Its non- mimetism at time, space and character's categories gives it a non-chronological, non-geographic and universal dimension. Regarding the parable as an alegorical modality, it presents a plural view of the world in which, through analogical relations, it makes connections between two realms, at least. Presenting this structure, parables have, among others, the pragmatic finality of comunicating investigations, transfering principles, influencing intelectually the audience, that is, teaching someting. Nevertheless, this didactic objetive of parables is fulfilled as they install a favourable atmosphere into teaching process and reach, in a subtile way, the emotions of audience. This work intends to discuss the linguistic- literary mechanisms which lead parables to exert its didactic function. From both literary and linguistic point of view, I can define parable as a narrative form, which is short, non-mimetic and alegorical. As for its form, I suppose it is better to declare that parable is a meta-narrative as it is placed whithin a larger context of speech in the vast majority of its occurrences. Its non- mimetism at time, space and character's categories gives it a non-chronological, non-geographic and universal dimension. Regarding the parable as an alegorical modality, it presents a plural view of the world in which, through analogical relations, it makes connections between two realms, at least. Presenting this structure, parables have, among others, the pragmatic finality of comunicating investigations, transfering principles, influencing intelectually the audience, that is, teaching someting. Nevertheless, this didactic objetive of parables is fulfilled as they install a favourable atmosphere into teaching process and reach the emotions of audience. Developing this subject in Anatomy of Criticism, Northrop Frye demonstrates that the major elements which are responsible to embody any specific teaching are, in fact, the rhethorical mechanisms, the shape how things are presented, the organization of themes in itself. According to the author, the teaching process requires what is called by him of dissociative rhethoric, whose basis is to destroy usual reactions. Actually, what this sort of short narratives of parables do is to dissociate learners from the teaching in itself, putting him/her far from the topic which is being taught. By doing so, the possibilities of emerging of usual reactions such as rejection, misunderstanding, difficulties for assimilation are momentaneously suspended to give a way to an atmosphere of distension in the teaching-learning process, which is allowed by a narrative. At first, this narrative seems to be unpretensious but, anyway, it is attractive and pleasant, beginning with its shape of expression. It is exactly at this point that I think the function of delectare is started inside the speech, which is described as "the affective influence, that is intended and exerced by the orator over the judge of situation, with the objective of exciting tender affections." (LAUSBERG, 1972, p. 105). Seeming to turn momentaneously from the strictly intellectual influence which is intended by the docere (the informative communication, the teaching), the orator looks for a more affective influence, in order to excite more tender affections in the audience. According to Lausberg, this sort of affective level is particularly recommended to the exordium (the initial part of speech), in order to obtain a favourable spirit to what one wants to transmit. This being so, having the pragmatic objective of communicating informations, transfering principles, influencing intellectually the audience, that is, teaching something, the docere starts the delectare and, through this more affective strategie, offers the aesthetic pleasure. It is exactly at this point that the genre of parable comes in. As an allegorical construction, the parable installs a favourable atmosphere inside the teaching process, meeting the need for beauty of expressions, which is inherent to the whole mankind.