Fables of La Fontaine — a New Edition, with Notes by Jean de La Fontaine
page 44 of 549 (08%)
page 44 of 549 (08%)
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Of all his fables, the Oak and the Reed is said to have been the
favourite of La Fontaine. But his critics have almost unanimously given the palm of excellence to the Animals sick of the Plague, the first of the seventh book. Its exquisite poetry, the perfection of its dialogue, and the weight of its moral, well entitle it to the place. That must have been a soul replete with honesty, which could read such a lesson in the ears of a proud and oppressive court. Indeed, we may look in vain through this encyclopaedia of fable for a sentiment which goes to justify the strong in their oppression of the weak. Even in the midst of the fulsome compliments which it was the fashion of his age to pay to royalty, La Fontaine maintains a reserve and decency peculiar to himself. By an examination of his fables, we think, we might fairly establish for him the character of an honest and disinterested lover and respecter of his species. In his fable entitled Death and the Dying, he unites the genius of Pascal and Moliere; in that of the Two Doves is a tenderness quite peculiar to himself, and an insight into the heart worthy of Shakspeare. In his Mogul's Dream are sentiments worthy of the very high-priest of nature, and expressed in his own native tongue with a felicity which makes the translator feel that all his labours are but vanity and vexation of spirit. But it is not the purpose of this brief Preface to criticize the Fables. It is sufficient to say, that the work occupies a position in French literature, which, after all has been said that can be for Gay, Moore, and other English versifiers of fables, is left quite vacant in ours. Our author was elected a member of the French Academy in 1684, and received with the honour of a public session. He read on this occasion a poem of exquisite beauty, addressed to his benefactress, Madame de la Sabliere. In that distinguished body of men he was a universal favourite, and none, perhaps, did more to promote its prime object--the improvement |
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