Manual Tales and Novels of J. de La Fontaine — Volume 06

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Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. The French poet and man of letters Jean de La Fontaine was one of the great French classical authors.

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He preferred to work in relatively minor and unexploited genres, such as the fable and the verse tale. While he did not hesitate to borrow freely from other writers, both ancient and modern, Jean de La Fontaine nevertheless created a style and a poetic universe at once personal and universal, peculiarly his own and thus inimitable, but also accessible to all.

He is perhaps the greatest lyric poet of the 17th century in France. Though he is best known for the Fables, they are but a small part of his writings. He also wrote a number of licentious tales in verse, many occasional pieces, and a long romance; he tried his hand at elegy and fantasy, at epigram and comedy. Almost everything he wrote is shot through with personal reflections and graceful ironies. He purchased a post or sinecure as master of waters and forests in ; his son Charles was born a year later. In appeared his first publication, an imitation of Terence's Eunuch.

Fouquet, known for his support of the arts and of artists, soon became La Fontaine's admirer and protector. La Fontaine wrote numerous poems for his patron; among the more interesting are the fragments of Le Songe de Vaux, a dream in verse written to celebrate the many marvels of Fouquet's estate, Vaux-le-Vicomte. During the years of the "poetic pension" at Vaux, La Fontaine met Charles Perrault , Racine, and many other writers and artists.

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The arrest of Fouquet in September put an end to the Vaux dream, but La Fontaine remained loyal to his friend. In the poet—who may have been in trouble because of his obvious sympathy for Fouquet—accompanied his uncle to Limoges; the voyage is recounted in six interesting letters to his wife. The post was rather badly paid, but it made few claims on the poet's time. In he published the collection Contes et Nouvelles en vers; these tales were followed by a second collection a year later.

Both volumes were enthusiastically received despite or perhaps because of their licentious tone and matter. In La Fontaine published six books of Fables, in verse. Dedicated to the Dauphin, these poems were extraordinarily successful, and La Fontaine's fame was secure at last. The fables cover a vast range of human experience; formally they are remarkably varied and free. In an age of linguistic constraint and purification, he uses all manner of archaic words, colloquialisms, outmoded constructions; in an age of overwhelming concern with the great serious genres epic and tragedy, for instance , he deliberately chooses to exploit the considerable resources of a minor genre.

And if the fables seem at first to be children's literature, a careful examination reveals their sophisticated satire of conventional wisdom and morality. But La Fontaine's work, despite its bantering tone and its contemporary allusions, is an intensely personal meditation on love and beauty and art—things which, as the work suggests, escape definition and so must be felt if they are to be known at all. A third collection of Contes appeared in , along with eight new fables.

In he wrote a long poem in praise of the powers of quinine. As he said, "Diversity is my motto.

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After many maneuvers La Fontaine was finally elected to the French Academy in He renounced the Contes and promised to devote the rest of his days to the composition of pious works. An excellent account of La Fontaine before the publication of the first collection of fables is in Philip A. Lewis, The Splendid Century A restless dilettante as a youth, he settled at last in Paris. La Fontaine's masterpiece is the collection of Fables choisies, mises en vers [selected fables versified] —94 , comprising 12 books of some fables drawn largely from Aesop.

Each fable is a short tale of beasts behaving like men; each serves as a comment on human behavior. Although their charm and simple facade have made them popular with children, many are sophisticated satires and serious commentaries on French society. Their wit, acumen, and brilliance of verse and narrative have assured their worldwide success; they ran into 37 editions before La Fontaine's death.

Among his other works are Contes et nouvelles en vers 4 vol. Tales and Novels in Verse, , humorous and often ribald verse tales drawn from Boccaccio, Ariosto, and others. See English translations of the fables by J. Auslander and J.

  • Fables by Jean de La Fontaine.
  • Tales and Novels Of J De La Fontaine.
  • Aesop's Fables.

Le Clercq , E. Marsh , M.

  1. Tales and Novels of J. de La Fontaine — Volume 06 by Jean de La Fontaine - Free Ebook.
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  4. Moore , and J. Mitchie ; biography by A. Mackay ; study by P. Wadsworth , repr. Flemish alchemist and poet who lived at Valenciennes toward the close of the thirteenth century.

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    Two books are ascribed to him, La Fontaine des Amoureux de Science and La Fontaine Perilleuse, both of which were written in French and published in Paris , the first in and the second in Fontaine's claims to the authorship of the latter work have frequently been disputed, but the former is almost certainly his, and is a curious production. At the outset the author professes himself an expert in hermetic philosophy, and thereafter he proceeds, in poetry of an allegorical style that recalls The Roman of the Rose, to describe the different processes involved in achieving a transmutation.

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    There is little in this metrical treatise that indicates that the writer was an alchemist of any great ability, but he certainly possessed a distinct gift for writing pleasant verse. La Fontaine Perilleuse.

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    Paris, La Fontaine, Jean de —95 French poet noted for his fables, which are considered among the masterpieces of French literature. La Fontaine's Fables choisies, mises en vers —94 consists of 12 books featuring some fables. We have specific messages for Canada's three largest parties:. This would be an action worthy of the party that created Canada's Charter of Rights.

    The Conservative Party successfully fought back when the European Union sought to impose longer copyrights on Canada as part of their free trade agreement. They earned their nation's thanks, and can earn these thanks again. It would be ridiculous for the New Democratic Party to attack Canada's public domain by extending copyrights. That would be favouring foreign corporations over the people of Canada, and the rich over the poor. We thank the Greens for their explicit opposition to copyright extensions.

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