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What gives La Fontaine's Fables their rare distinction is the freshness in narration, the deftness of touch, the unconstrained suppleness of metrical structure, the unfailing humor of the pointed moral, the consummate art of their apparent artlessness. Keen insight into the foibles of human nature is found throughout, but in the later books ...
It keeps La Fontaine's title of "The Plague among the Beasts", however, and the socio-economic focus of his moral: "The Fable shews you poor Folk's fate/ Whilst Laws can never reach the Great". [10] The next appearance was the prose version in the Modern Fables section of Robert Dodsley 's Select Fables of Esop and Other Fabulists (1761), in ...
Fables of La Fontaine (TV series) The Farmer and his Sons; The Farmer and the Viper; The Fisherman and his Flute; The Fisherman and the Little Fish; The Fly and the Ant; The Fox and the Cat (fable) The Fox and the Crow (Aesop) The Fox and the Grapes; The Fox and the Mask; The Fox and the Sick Lion; The Fox and the Stork; The Fox and the Weasel
Gustave Doré's illustration of the fable, published in 1880. The vultures and the pigeons is a fable of Jean de la Fontaine [1] adapted from a Latin original by Laurentius Abstemius, [2] where it was titled De acciptribus inter se inimicis quos columbae pacaverant (The warring hawks pacified by doves).
Jean de La Fontaine (UK: / ˌ l æ f ɒ n ˈ t ɛ n,-ˈ t eɪ n /, [1] US: / ˌ l ɑː f ɒ n ˈ t eɪ n, l ə-, ˌ l ɑː f oʊ n ˈ t ɛ n /; [2] [3] French: [ʒɑ̃ d(ə) la fɔ̃tɛn]; 8 July 1621 – 13 April 1695) was a French fabulist and one of the most widely read French poets of the 17th century.
Gustave Doré's 1867 print of the ape astride a sea monster. The Ape (or monkey) and the Dolphin is one of Aesop's Fables and is numbered 73 in the Perry Index. [1] Due to its appearance among La Fontaine's Fables, it has always been popular in France, but in Britain treatment of the story was rarer until the 19th century.
The Acorn and the Pumpkin, in French Le gland et la citrouille, is one of La Fontaine's Fables, published in his second volume (IX.4) in 1679. In English especially, new versions of the story were written to support the teleological argument for creation favoured by English thinkers from the end of the 17th century onwards.
There were also several French composite publications combining the text of La Fontaine’s fable with serial illustrations. These included separate sheets by Hermann Vogel, which could also be combined in an album, [11] and Louis-Maurice Boutet de Monvel’s Jean de La Fontaine, 26 fables, [12] both published in 1888.