"La Fontaine" redirects here. For other uses, see La Fontaine (disambiguation).
Jean de La Fontaine (July 8, 1621, Château-Thierry – April 13, 1695) was the most famous French fabulist and one of the most widely read French poets of the 17th century.
According to Flaubert, he was the only French poet to understand and master the texture of the French language before Hugo. A set of postage stamps celebrating La Fontaine and the Fables was issued by France in 1995. A film of his life was released in France in April 2007 (Jean de La Fontaine - le défi starring Laurent Deutsch).
Early years
La Fontaine was born at Château-Thierry in Champagne. His father was Charles de La Fontaine, maître des eaux et forêts - a kind of deputy-ranger - of the duchy of Château-Thierry; his mother was Françoise Pidoux. Both sides of his family were of the highest provincial middle class; though they were not noble, his father was fairly wealthy.
Jean, the eldest child, was educated at the collège (grammar school) of Reims, and at the end of his school days he entered the Oratory in May 1641, and the seminary of Saint-Magloire in October of the same year; but a very short sojourn proved to him that he had mistaken his vocation. He then apparently studied law, and is said to have been admitted as avocat (lawyer).
Career in Paris
Even in the earlier years of his marriage La Fontaine seems to have been much in Paris, but it was not until about 1656 that he became a regular visitor to the capital. The duties of his office, which were only occasional, were compatible with this non-residence. It was not until he was past thirty that his literary career began. The reading of Malherbe, it is said, first awoke poetical fancies in him, but for some time he attempted nothing but trifles in the fashion of the time - epigrams, ballades, rondeaux, etc.
His first serious work was a translation or adaptation of the Eunuchus of Terence (1654). At this time the Maecenas of French letters was the Superintendent Fouquet, to whom La Fontaine was introduced by Jacques Jannart, a connection of his wife's. Few people who paid their court to Fouquet went away empty-handed, and La Fontaine soon received a pension of 1000 livres (1659), on the easy terms of a copy of verses for each quarters receipt. He also began a medley of prose and poetry, entitled Le Songe de Vaux, on Fouquet's famous country house.
It was about this time that his wife's property had to be separately secured to her, and he seems by degrees to have had to sell everything that he owned; but, as he never lacked powerful and generous patrons, this was of small importance to him. In the same year he wrote a ballad, Les Rieurs du Beau-Richard, and this was followed by many small pieces of occasional poetry addressed to various personages from the king downwards.
Fouquet soon incurred the royal displeasure, but La Fontaine, like most of his literary proteges, was not unfaithful to him, the well-known elegy Pleurez, Nymphes de Vaux, being by no means the only proof of his devotion. Indeed it is thought not improbable that a journey to Limoges in 1663 in company with Jannart, and of which we have an account written to his wife, was not wholly spontaneous, as it certainly was not on Jannart's part.
Just at this time his affairs did not look promising. His father and he had assumed the title of esquire, to which they were not strictly entitled, and, some old edicts on the subject having been put in force, an informer procured a sentence against the poet fining him 2000 livres. He found, however, a new protector in the duke and still more in the Duchess of Bouillon, his feudal superiors at Chateau Thierry, and nothing more is heard of the fine.
Some of La Fontaine's liveliest verses are addressed to the duchess, Marie Anne Mancini, the youngest of Mazarin's nieces, and it is even probable that the taste of the duke and duchess for Ariosto had something to do with the writing of his first work of real importance, the first book of the Contes, which appeared in 1664. He was then forty-three years old, and his previous printed productions had been comparatively trivial, though much of his work was handed about in manuscript long before it was regularly published
La Fontaine's works
The numerous works of La Fontaine fall into three traditional divisions: the Fables, the Contes and the miscellaneous works. Of these the first may be said to be known universally, the second to be known to all lovers of French literature, the third to be with a few exceptions practically forgotten.
18th-century illustration to La Fontaine's fable The Sculptor and the Statue of Jupiter by Charles-Nicolas CochinThe Fables exhibit the versatility and fecundity of the author's talent more fully than any of his other work. La Fontaine had many predecessors in the fable, especially in the beast fable. The poet took inspiration from Aesop, Horace, Boccaccio and Ariosto and Tasso, Machiavelli's comedies and ancient Indian literature, such as the Panchatantra:
"This is the second book of fables that I present to the public... I must acknowledge that the greatest part is inspired from Pilpay, the Indian sage." ("Je dirai par reconnaissance que j’en dois la plus grande partie à Pilpay sage indien.") — Jean de La Fontaine, Avertissement to the Second Compilation of Fables (1678).
The first collection of 124 Fables Choisies had appeared March 31, 1668, wisely dedicated to "Monseigneur" Louis, le Grand Dauphin, the six-year-old son of Louis XIV of France and his Queen consort Maria Theresa of Spain. In this first issue, comprising what are now called the first six books, La Fontaine adhered to the path of his predecessors with some closeness; but in the later collections he allowed himself far more liberty, and it is in these parts that his genius is most fully manifested.
The boldness of the politics is as much to be considered as the ingenuity of the moralizing, as the intimate knowledge of human nature displayed in the substance of the narratives, or as the artistic mastery shown in their form. It has sometimes been objected that the view of human character which La Fontaine expresses is unduly dark, and resembles too much that of La Rochefoucauld, for whom the poet certainly had a profound admiration. It may only be said that satire (and La Fontaine is eminently a satirist) necessarily concerns itself with the darker rather than with the lighter shades.
Perhaps the best criticism ever passed upon La Fontaine's Fables is that of Silvestre de Sacy, to the effect that they supply delights to three different ages: the child rejoices in the freshness and vividness of the story, the eager student of literature in the consummate art with which it is told, the experienced man of the world in the subtle reflections on character and life which it conveys. Nor has any one, with the exception of a few paradoxers like Rousseau and a few sentimentalists like Lamartine, denied that the moral tone of the whole is as fresh and healthy as its literary interest is vivid. The book has therefore naturally become a standard French reader both at home and abroad. It is no small testimony to its merit that not even this use (or misuse) has interfered with its popularity.
La Fontaine's Fables provided a model for subsequent fabulists, including Poland's Ignacy Krasicki and Russia's Ivan Krylov.
Jean de La Fontaine (July 8, 1621, Château-Thierry – April 13, 1695) was the most famous French fabulist and one of the most widely read French poets of the 17th century.
According to Flaubert, he was the only French poet to understand and master the texture of the French language before Hugo. A set of postage stamps celebrating La Fontaine and the Fables was issued by France in 1995. A film of his life was released in France in April 2007 (Jean de La Fontaine - le défi starring Laurent Deutsch).
Early years
La Fontaine was born at Château-Thierry in Champagne. His father was Charles de La Fontaine, maître des eaux et forêts - a kind of deputy-ranger - of the duchy of Château-Thierry; his mother was Françoise Pidoux. Both sides of his family were of the highest provincial middle class; though they were not noble, his father was fairly wealthy.
Jean, the eldest child, was educated at the collège (grammar school) of Reims, and at the end of his school days he entered the Oratory in May 1641, and the seminary of Saint-Magloire in October of the same year; but a very short sojourn proved to him that he had mistaken his vocation. He then apparently studied law, and is said to have been admitted as avocat (lawyer).
Career in Paris
Even in the earlier years of his marriage La Fontaine seems to have been much in Paris, but it was not until about 1656 that he became a regular visitor to the capital. The duties of his office, which were only occasional, were compatible with this non-residence. It was not until he was past thirty that his literary career began. The reading of Malherbe, it is said, first awoke poetical fancies in him, but for some time he attempted nothing but trifles in the fashion of the time - epigrams, ballades, rondeaux, etc.
His first serious work was a translation or adaptation of the Eunuchus of Terence (1654). At this time the Maecenas of French letters was the Superintendent Fouquet, to whom La Fontaine was introduced by Jacques Jannart, a connection of his wife's. Few people who paid their court to Fouquet went away empty-handed, and La Fontaine soon received a pension of 1000 livres (1659), on the easy terms of a copy of verses for each quarters receipt. He also began a medley of prose and poetry, entitled Le Songe de Vaux, on Fouquet's famous country house.
It was about this time that his wife's property had to be separately secured to her, and he seems by degrees to have had to sell everything that he owned; but, as he never lacked powerful and generous patrons, this was of small importance to him. In the same year he wrote a ballad, Les Rieurs du Beau-Richard, and this was followed by many small pieces of occasional poetry addressed to various personages from the king downwards.
Fouquet soon incurred the royal displeasure, but La Fontaine, like most of his literary proteges, was not unfaithful to him, the well-known elegy Pleurez, Nymphes de Vaux, being by no means the only proof of his devotion. Indeed it is thought not improbable that a journey to Limoges in 1663 in company with Jannart, and of which we have an account written to his wife, was not wholly spontaneous, as it certainly was not on Jannart's part.
Just at this time his affairs did not look promising. His father and he had assumed the title of esquire, to which they were not strictly entitled, and, some old edicts on the subject having been put in force, an informer procured a sentence against the poet fining him 2000 livres. He found, however, a new protector in the duke and still more in the Duchess of Bouillon, his feudal superiors at Chateau Thierry, and nothing more is heard of the fine.
Some of La Fontaine's liveliest verses are addressed to the duchess, Marie Anne Mancini, the youngest of Mazarin's nieces, and it is even probable that the taste of the duke and duchess for Ariosto had something to do with the writing of his first work of real importance, the first book of the Contes, which appeared in 1664. He was then forty-three years old, and his previous printed productions had been comparatively trivial, though much of his work was handed about in manuscript long before it was regularly published
La Fontaine's works
The numerous works of La Fontaine fall into three traditional divisions: the Fables, the Contes and the miscellaneous works. Of these the first may be said to be known universally, the second to be known to all lovers of French literature, the third to be with a few exceptions practically forgotten.
18th-century illustration to La Fontaine's fable The Sculptor and the Statue of Jupiter by Charles-Nicolas CochinThe Fables exhibit the versatility and fecundity of the author's talent more fully than any of his other work. La Fontaine had many predecessors in the fable, especially in the beast fable. The poet took inspiration from Aesop, Horace, Boccaccio and Ariosto and Tasso, Machiavelli's comedies and ancient Indian literature, such as the Panchatantra:
"This is the second book of fables that I present to the public... I must acknowledge that the greatest part is inspired from Pilpay, the Indian sage." ("Je dirai par reconnaissance que j’en dois la plus grande partie à Pilpay sage indien.") — Jean de La Fontaine, Avertissement to the Second Compilation of Fables (1678).
The first collection of 124 Fables Choisies had appeared March 31, 1668, wisely dedicated to "Monseigneur" Louis, le Grand Dauphin, the six-year-old son of Louis XIV of France and his Queen consort Maria Theresa of Spain. In this first issue, comprising what are now called the first six books, La Fontaine adhered to the path of his predecessors with some closeness; but in the later collections he allowed himself far more liberty, and it is in these parts that his genius is most fully manifested.
The boldness of the politics is as much to be considered as the ingenuity of the moralizing, as the intimate knowledge of human nature displayed in the substance of the narratives, or as the artistic mastery shown in their form. It has sometimes been objected that the view of human character which La Fontaine expresses is unduly dark, and resembles too much that of La Rochefoucauld, for whom the poet certainly had a profound admiration. It may only be said that satire (and La Fontaine is eminently a satirist) necessarily concerns itself with the darker rather than with the lighter shades.
Perhaps the best criticism ever passed upon La Fontaine's Fables is that of Silvestre de Sacy, to the effect that they supply delights to three different ages: the child rejoices in the freshness and vividness of the story, the eager student of literature in the consummate art with which it is told, the experienced man of the world in the subtle reflections on character and life which it conveys. Nor has any one, with the exception of a few paradoxers like Rousseau and a few sentimentalists like Lamartine, denied that the moral tone of the whole is as fresh and healthy as its literary interest is vivid. The book has therefore naturally become a standard French reader both at home and abroad. It is no small testimony to its merit that not even this use (or misuse) has interfered with its popularity.
La Fontaine's Fables provided a model for subsequent fabulists, including Poland's Ignacy Krasicki and Russia's Ivan Krylov.
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