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# The Original Fables of La Fontaine/The League of Rats

XLVII
THE LEAGUE OF RATS
(Book XII.—No. 26)
There was once a mouse who lived in terrible fear of a cat that had lain in wait watching for her. She was in great anxiety to know what she could do to escape the threatening danger.
Being prudent and wise she consulted her neighbour, a large and important rat. His lordship the rat had taken up his abode in a very good inn, and had boasted a hundred times that he had no fear for either tom-cat or she-cat. Neither teeth nor claws caused him any anxious thought.
"Dame Mouse," said this boaster, "whatever I do, I cannot, upon my word, chase away this cat that threatens you without some help. But let me call together all the rats hereabouts and I'll play him a sorry trick or two."
The mouse curtsied humbly her thanks and the rat ran with speed to the head-quarters; that is to say to the larder, where the rats were in the habit of assembling. Arriving out of breath and perturbed in mind he found them making a great feast at the expense of their host.
"What ails you?" asked one of the feasters. "Speak!"
"In two words," answered he, "the reason for my ​coming among you in this way is simply that it has become absolutely necessary to help the mice; for Grimalkin is abroad making terrible slaughter among them. This, the most devilish of cats, will, when she has no mice left, turn her attention to the eating of rats."
"He says what is true," cried they all. "To arms, to arms!" Nothing could stem the tide of their impetuosity; although, it is said, a few she-rats shed tears. It was no matter. Every one overhauled his equipment, and filled his wallet with cheese. To risk life was the determination of all. They set off, as if to a fête, with happy minds and joyful hearts.
Alas, for the mouse! These warriors were a moment too late. The cat had her already by the head. Advancing at the double the rats ran to the succour of their good little friend; but the cat swore, and stalked away in front of the enemy, having no intention of surrendering her prey.
At the sound of the cat's defiance, the prudent rats, fearing ill fate, beat a safe retreat without carrying any further their intended onslaught. Each one ran to his hole, and whenever any ventured out again it was always with the utmost caution to avoid the cat.
# The Original Fables of La Fontaine/The Gods wishing to instruct a Son of Jupiter

XXXIV
THE GODS WISHING TO INSTRUCT A SON OF JUPITER
(Book XI.—No. 2)
Jupiter had a son, who, sensible of his lofty origin, showed always a god-like spirit. Childhood is not much concerned with loving; yet to the childhood of this young god, loving and wishing to be loved was the chief concern. In him, love and reason which grow with years, outraced Time, that light- winged bearer of the seasons which come, alas! only too quickly.
Flora, with laughing looks and winning airs, was the first to touch the heart of the youthful Olympian. Everything that passion could inspire—delicate sentiments full of tenderness, tears, and sighs—all were there: he forgot nothing. As a son of Jupiter he would by right of birth be dowered with greater gifts than the sons of other gods; and it seemed as though all his behaviour were prompted by the reminiscence that he had indeed already been a lover in some former state, so well did he play the part.
Nevertheless, it was Jupiter's wish that the boy should be taught, and assembling the gods in council he said, "So far, I have never been at fault in the ​conduct of the universe which I have ruled unaided; but there are various charges which I now have decided to distribute amongst the younger gods. This beloved child of mine I have already counted upon. He is of my own blood and many an altar already flames in his honour. Yet to merit his rank among the immortals it is necessary that he should possess all knowledge."
As the god of the thunders ceased the whole assembly applauded. As for the boy himself, he did not appear to be above the wish to learn everything.
"I undertake," said Mars, the god of war, to teach him the art by which so many heroes have won the glories of Olympus and extended the empire."
"I will be his master in the art of the lyre." promised the fair and learned Apollo.
"And I," said Hercules with the lion's-skin, "will teach him how to overcome Vice and quell evil passions, those poisonous monsters which like Hydras are ever reborn in the heart. A foe to effeminate pleasures, he shall learn from me those too seldom trodden paths that lead to honour along the tracks of virtue."
When it came to Cupid, the god of love, to speak he simply said, "I can show him everything."
And Cupid was right; for what cannot be achieved with wit and the desire to please?
* ↑ The Goddess of Spring and of Flowers, was also regarded by the Greeks as the Goddess of Youth and its pleasures.
* ↑ The Hydra was a monster with one hundred heads. If one was cut off two grew in its place unless the wound was stopped by fire.
# The Original Fables of La Fontaine/The Fortune-Tellers

XIV
THE FORTUNE-TELLERS
(Book VII.—No. 15)
Reputations may be made by the merest chances, and yet reputations control the fashions. That is a little prologue that would fit the case of all sorts of people. Everywhere around one sees prejudices, scheming, and obtuseness; but little or no justice. Nothing can be done to stem this torrent of evil. It must run its course. It always has been and always will be.
A woman in Paris once made it her profession to tell fortunes. She became very popular and had great success. Did anybody lose a bit of finery; had any one a sweetheart; had any wife a husband she was tired of; any husband a jealous wife, to the prophetess such would run simply to be told the thing that it was comforting to hear.
The stock-in-trade of this fortune-teller consisted ​merely of a convincing manner, a few words of scientific jargon, a great deal of impudence, and much good luck. All these things together so impressed the people that as often as not they would cry, "Miraculous!" In short, although the woman's ignorance was quite twenty-three carat she passed for a veritable oracle.
Notwithstanding the fact that this oracle only lived in a garret, she found so many ready to pay her well for her shams that she soon grew rich enough to improve the position of her husband, to rent an office, and buy a house.
The garret being left empty was shortly tenanted by another woman to whom all the town—women, girls, valets, fine gentlemen—everybody in fact swarmed, as before, to consult their destiny. The former tenant had built up such a reputation that the garret was still a sibyl's den, in spite of the fact that quite a different creature dwelt in it. "I tell fortunes? Surely you're joking! Why, gentlemen, I cannot read, and as for writing, I never learnt more than to make my mark." But these disclaimers were useless. People insisted on having their fortunes told, and she had to do it. In consequence, she put by plenty of money, being able to earn, in spite of herself, quite as much as two lawyers could. The poverty of her home was a help rather than a hindrance. Four broken chairs and a broom-handle savoured of a witch's frolic.
If this woman had told the truth in a room well-furnished she would have been scorned. The fashion for a garret had set in, and garret it must be.
In her new chambers the first fortune-teller waited ​in vain; for it was the outward sign alone that brought customers, and the sign was poverty.
I have seen in a palace a robe worn awry win much distinction and success, such crowds of followers and adherents did it draw. You may well ask me why!
The garret was still a sybil's den
# The Original Fables of La Fontaine/The Fox and the Young Turkeys

XLIIII
THE FOX AND THE YOUNG TURKEYS
(Book XII.—No. 18)
Some young turkeys were lucky enough to find a tree which served them as a citadel against the assaults of a certain fox. He, one night, having made the round of the rampart and seen each turkey watching like a sentinel, exclaimed, "What! These people laugh at me, do they? And do they think that they alone are exempt from the common rule? No! by all the gods! no!"
He accomplished his design.
The moon shining brilliantly seemed to favour the turkey folk against the fox. But he was no novice in the laying of sieges, and had recourse to his bag of rascally tricks. He pretended to climb the tree; stood upon his hind legs; counterfeited death; then came to life again. Harlequin himself could not have acted so many parts. He reared his tail and made it gleam in the moonshine, and practised a hundred other pleasantries, during which no turkey could have dared to go to sleep. The enemy tired them out at last by keeping their eyes fixed upon him. The poor birds became dazed. One lost its balance and fell. Reynard ​put it by. Then another fell and was caught and laid on one side. Nearly half of them at length succumbed and were taken off to the fox's larder.
To concentrate too much attention upon a danger may cause us to tumble into it.
# The Original Fables of La Fontaine/The Hare and the Partridge

II
THE HARE AND THE PARTRIDGE
(Book V.—No. 17)
Never mock at other people's misfortune; for you cannot tell how soon you yourself may be unhappy. Æsop the sage has given us one or two examples of this truth, and I am going to tell you of a similar one now.
A hare and a partridge were living as fellow-citizens very peacefully in a field, when a pack of hounds making an onset obliged the hare to seek refuge. He rushed into his form and succeeded in putting the hounds at fault. But here the scent from his over-heated body betrayed him. Towler, philosophising, concluded that this scent came from his hare, and with admirable zeal routed him out. Then old Trusty, who never is at fault, proclaimed that the hare was gone away. The poor unfortunate creature at last died in his form.
The partridge, his companion, thought fit to soothe his last moments with some scoffing remarks upon his ​fate. "You boasted of being so swift" she said, "What has come to your feet, then?"
But even as she was chuckling her own turn came. Secure in the belief that her wings would save her whatever happened, she did not reckon upon the cruel talons of the hawk.
You boasted of being so swift.
# The Original Fables of La Fontaine/The Forest and the Woodcutter

XLIII
THE FOREST AND THE WOODCUTTER
(Book XII.—No. 16)
A woodcutter had broken or lost the handle of his hatchet and found it not easy to get it repaired at once. During the time, therefore, that it was out of use, the woods enjoyed a respite from further damage. At last the man came humbly and begged of the forest to allow him gently to take just one branch wherewith to make him a new haft, and promised that then he would go elsewhere to ply his trade and get his living. That would leave unthreatened many an oak and many a fir that now won universal respect on account of its age and beauty.
The innocent forest acquiesced and furnished him with a new handle. This he fixed to his blade and, as soon as it was finished, fell at once upon the trees, despoiling his benefactress, the forest, of her most cherished ornaments. There was no end to her bewailings: her own gift had caused her grief.
Here you see the way of the world and of those who ​follow it. They use the benefit against the benefactors, I weary of talking about it. Yet who would not complain that sweet and shady spots should suffer such outrage, Alas! it is useless to cry out and be thought a nuisance: ingratitude and abuses will remain the fashion none the less.
# The Original Fables of La Fontaine/The Lioness and the She-Bear

XXXII
THE LIONESS AND THE SHE-BEAR
(Book X.—No. 13)
"Mamma lioness had lost one of her cubs. Some hunter had made away with it, and the poor unfortunate mother roared out her wailings to such an extent that all the inhabitants of the forest were seriously disturbed. The spells of the night, its darkness and its silence, were powerless to hush the tumult of the queen of the forest. Sleep was driven from every animal within hearing.
At last the she-bear rose up and coming to the wailing lioness said, "Good Gossip, just one word with you. All those little ones that have passed between your teeth, had they neither fathers nor mothers?"
"To be sure they had."
"Then if that be so, and as none have come to mourn their dead in cries which would split our heads: if so many mothers have borne their loss silently, why cannot you be silent also?"
"I? I be silent? Unhappy!? Ah! I have lost my son! There is nought for me but to drag out a miserable old age."
"But pray tell me what obliges you to do so."
"Alas! Destiny. It is Destiny that hates me."
​Those are the words that are for ever in the mouths of us all.
Unhappy human kind, let this address itself to you, I hear nothing but the echoing murmur of trifling complaints. Whoever, in like case, believes himself the hated of the gods, let him consider Hecuba, and he will render thanks for their clemency.
Why cannot you be silent also?
# The Princess Pourquoi

1902
* The Princess Pourquoi, Scribner's Magazine, Vol. 33, with illustrations by Sarah S. Stilwell (1902) IA
* The Princess Pourquoi, illustrations by Sarah S. Stilwell, in a collection of works, (1907)
This work is in the public domain in the United States because it was published before January 1, 1929.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The Princess Mayblossom

This French literary fairy tale was written by Madame d'Aulnoy in 1697.
English-language translations of La Princesse Printanière include:
* "Princess Printaniere" in Fairy Tales by the Countess d'Aulnoy, 1856
* "The Princess Mayblossom" in The Red Fairy Book, 1890.
* "The Princess Pourquoi" by Margaret Sherwood (1902)
# The Ramayana/Book II/Canto LXXIX: Bharat's Commands

Now when the sun's returning ray Had ushered in the fourteenth day, The gathered peers of state addressed To Bharat's ear their new request: 'Our lord to heaven has parted hence, Long served with deepest reverence; Ráma, the eldest, far from home, And Lakshman, in the forest roam. O Prince, of mighty fame, be thou Our guardian and our monarch now, Lest secret plot or foeman's hate Assail our unprotected state With longing eyes, O Lord of men, To thee look friend and citizen, And ready is each sacred thing To consecrate our chosen king. Come, Bharat, and accept thine own Ancient hereditary throne. Thee let the priests this day install As monarch to preserve us all.'  Around the sacred gear he bent His circling footsteps reverent, And, firm to vows he would not break, Thus to the gathered people spake: 'The eldest son is ever king: So rules the house from which we spring: Nor should ye, Lords, like men unwise, With words like these to wrong advise. Ráma is eldest born, and he The ruler of the land shall be. Now to the woods will I repair, Five years and nine to lodge me there. Assemble straight a mighty force, Cars, elephants, and foot and horse, For I will follow on his track And bring my eldest brother back. Whate'er the rites of throning need Placed on a car the way shall lead: The sacred vessels I will take To the wild wood for Ráma's sake, I o'er the lion prince's head The sanctifying balm will shed, And bring him, as the fire they bring Forth from the shrine, with triumphing. Nor will I let my mother's greed In this her cherished aim succeed: In pathless wilds will I remain, And Ráma here as king shall reign. To make the rough ways smooth and clear Send workman out and pioneer: Let skilful men attend beside Our way through pathless spots to guide.' As thus the royal Bharat spake, Ordaining all for Ráma's sake, The audience gave with one accord Auspicious answer to their lord: 'Be royal Fortune aye benign To thee for this good speech of thine, Who wishest still thine elder's hand To rule with kingly sway the land.'  Their glorious speech, their favouring cries  Made his proud bosom swell:  And from the prince's noble eyes  The tears of rapture fell.
# The Rock-cut Temples of India/The Caves of Ajunta/Choultrie Attached to Chaitya No. 19—Ajunta

CHOULTRIE ATTACHED TO CHAITYA No. 19.—AJUNTA.
ON the right-hand side, as you enter, is a small porch, extending at right angles to the main façade. This is not a Vihara, or residence, but a Choultrie, or place of refuge or repose for pilgrims or attendants.
The front consists of two pillars of very graceful design, and the whole composition is pleasing and appropriate to its purposes.
It may be of the same age as the Chaitya to which it belongs, and form a part of its original arrangements, but there is a certain character about the sculpture of its capitals which would lead us to suspect that it was added afterwards at some more modern date.
If this is not so, it may be considered as one of the very earliest examples of a mode of changing a circular form into a square one, by a leaf falling over at the angles. It is somewhat clumsily used here, but afterwards became universal in Indian architecture.
# The Rock-cut Temples of India/The Caves of Ajunta/Aisle in Hall of Vihara No. 17—Ajunta

AISLE IN HALL OF VIHARA No. 17.—AJUNTA.
A VIEW in the interior of Vihara No. 17, representing the first row of pillars internally from the entrance.
The two immediately in front of the doorway are as elegant as any pillars at Ajunta. The corresponding pair facing them opposite the sanctuary are richer but less graceful. The remaining sixteen are plain octagons with bracket capitals and no bases, but all richly painted. The figures of fat boys who do duty as transverse brackets supporting the beams of the roof, are peculiar to this Cave, though the wooden construction of the roof itself is the same in all, and is identical with that now used throughout India. In this instance it is of course repeated in the rock.
The great interest of this Cave is centered in the frescoes which cover every part of its interior; those of the roof in geometrical patterns like those of the verandah, and those of the walls representing legendary scenes from the life of Buddha and other celebrated Buddhist worthies.
# The Rock-cut Temples of India/The Caves of Ajunta/Bridge and Town of Ajunta

BRIDGE AND TOWN OF AJUNTA.
AT the head of the ravine in which the Caves are situated stands Ajunta, a picturesque but thinly inhabited town, at one time well known in our annals in consequence of its being situated near the field of battle of Assaye. The Bara Durree or Palace was then used as a field hospital, and the graves of the officers who fell are still to be seen on the plateau opposite it, on the right of the picture.
At this point the stream is crossed by a bridge of ten arches, which serves also to dam back the waters of the river so as to form a reservoir above the bridge. A little farther down a second obstruction forms an artificial lake in front of the Bara Durree, as shown in the photograph, and adds at the same time to the height of the first of a series of falls, by which the river descends to that part of the ravine where the Caves are situated.
# The Rock-cut Temples of India/The Caves of Ajunta/Chaitya Cave No. 10—Ajunta

CHAITYA CAVE No. 10.—AJUNTA.
INTERIOR view of the Chaitya Cave No. 10, rather more than twice the dimensions of the last, being 94 ft. 6 in. in depth, by 41 ft. 3 in. in width. There are twenty-nine pillars surrounding the nave, all plain octagons without bases or capitals, but covered with chunam and painted. Above these is the triforium belt, which was also painted, but very few traces of this remain. On the roof is still seen the markings of the timber framing that once adorned it. Being actually of wood they have perished, but having been copied in stone in the side aisles, they still remain there. The dagopa also shows marks of the wooden and plaster decorations that once ornamented it. The tee, or square relic casket, on its summit, being cut in the rock, still retains its original form, but the umbrella which once crowned it, being of wood, has perished, and nothing remains to tell of its existence here but the mortice into which it was originally stepped.
# The Rock-cut Temples of India/The Caves of Ajunta/Cave No. 20—Ajunta 2

CAVE No. 20.—AJUNTA.
THE paintings that once adorned this Cave are now almost entirely obliterated, except those on the roof. Those which exist consist of frets and flowers, but do not possess any particular interest beyond showing the connexion of this Cave with the Viharas 16 and 17, whose paintings are identical in style.
This Cave has been used as a workshop and occasional residence by Major Gill during the twenty years he has remained at Ajunta, and were it not for the difficulty of procuring sufficient light in the interior, there can be no doubt but that their dryness and equable temperature would render these caves very pleasant places to live in.
With this Cave the great central group terminates in this direction; and it will now be necessary to describe the third group, consisting of the first seven Caves in the north, and then to take up the fourth, though probably cotemporary group, consisting of the last six at the southern end.
# The Rock-cut Temples of India/The Caves of Ajunta/Cave No. 6—Ajunta

CAVE No. 6.—AJUNTA
NUMBER 6 is the only two-storied Cave at Ajunta, but has unfortunately been excavated in a spot where the rock is not so sound as in other places. In consequence of this the verandah of the upper storey has fallen down, and the interior has a damp and ruined aspect, not common in Cave architecture.
The halls of both stories are of the same dimensions, 53 ft. square, the upper having twelve pillars. In the lower, four more are introduced in the centre.
The pillars in front of the sanctuary are of the same Elephanta order as in the last described Cave, with cushion capitals, and fluted.
It will be observed in the above view of the façade there was a figure standing in the nook shaft on each side of the doorway, but it has fallen away, its absence giving an awkward appearance to the design.
# The Rock-cut Temples of India/The Caves of Ajunta/Caves No. 1 to No. 14.—Ajunta

CAVES No. 1 TO No. 14.—AJUNTA.
THIS view represents the principal and oldest group of the Ajunta Caves. The two Chaitya Caves, with their great semicircular windows, seen in the centre of the view, are Nos. 9 and 10. The two oldest Viharas, Nos. 11 and 12, are those on the left of these two, and the view extends on the right nearly to No. 1, which terminates the series in this direction.
The demarcation of the two strata of trap is very clearly shown in this view, as also the nature of the scrub jungle, which covers the hills in every direction in this country, forming an immense forest, but without a single tree of anything like magnificent dimensions.
# The Rock-cut Temples of India/The Caves of Ajunta/Cave No. 20—Ajunta

CAVE No. 20.—AJUNTA.
THE last of this group is a small Vihara of somewhat singular plan. Its dimensions are twenty-eight feet two inches wide, by twenty-five feet six inches deep. It possesses four cells for monks, two on each side. There is no internal colonnade, but the roof is supported by advancing the sanctuary about seven feet into the hall and making its front consist of two columns in antis.
There is also a verandah in front, supported by two pillars with bracket capitals. The sculpture of these is bold and free, resembling that of the capitals in the interior of Cave No. 19, though somewhat better executed. Unfortunately, like everything in this Cave, the façade is a good deal ruined from flaws and faults in the rock.