page_title: Jean de La Fontaine
section_title: Works
hierarchical_section_title: Jean de La Fontaine / Works
caption_attribution_description: illustration for Jean de La Fontaine's fables by Gustave Doré
context_page_description: Jean de La Fontaine was a French fabulist and one of the most widely read French poets of the 17th century. He is known above all for his Fables, which provided a model for subsequent fabulists across Europe and numerous alternative versions in France, as well as in French regional languages.
  After a long period of royal suspicion, he was admitted to the French Academy and his reputation in France has never faded since. Evidence of this is found in the many pictures and statues of the writer, later depictions on medals, coins and postage stamps.
context_section_description: The numerous works of La Fontaine fall into three traditional divisions: the Fables, the Tales and the miscellaneous (including dramatic) works. He is best known for the first of these, in which a tradition of fable collecting in French verse reaching back to the Middle Ages was brought to a peak. Although these earlier works refer to Aesop in their title, they collected many fables from more recent sources. Among the foremost were Marie de France's Ysopet (1190) and Gilles Corrozet’s Les Fables du très ancien Esope, mises en rithme françoise (1542).
  The publication of the twelve books of La Fontaine's Fables extended from 1668 to 1694. The stories in the first six of these derive for the most part from Aesop and Horace and are pithily told in free verse. Those in the later editions are often taken from more recent sources or from translations of Eastern stories and are told at greater length. The deceptively simple verses are easily memorised, yet display deep insights into human nature. Many of the lines have entered the French language as standard phrases, often proverbial. The fables are also distinguished by their occasionally ironical ambivalence. The fable of "The Sculptor and the Statue of Jupiter" (IX.6), for example, reads like a satire on superstition, but its moralising conclusion that "All men, as far as in them lies,/Create realities of dreams" might equally be applied to religion as a whole.
  The second division of his work, the tales (Contes et nouvelles en vers), were at one time almost equally as popular and their writing extended over a longer period. The first were published in 1664 and the last appeared posthumously. They were particularly marked by their archly licentious tone.
caption: An illustration of " Les Médecins " (Fable V.12) by Gustave Doré, 1866
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