It might also very well happen that men naturally liking8 images and tales, ingenious persons amused themselves with composing them, without any other motive9. However that may be, fable2 is more ancient than history.
Among the Jews, who are quite a modern people in comparison with the Chald?ans and Tyrians, their neighbors, but very ancient by their own accounts, fables similar to those of ?sop existed in the time of the Judges, 1233 years before our era, if we may depend upon received computations.
It is said in the Book of Judges that Gideon had seventy sons born of his many wives; and that, by a concubine, he had another son named Abimelech.
Now, this Abimelech slew10 sixty-nine of his brethren upon one stone, according to Jewish custom, and in consequence the Jews, full of respect and admiration11, went to crown him king, under an oak near Millo, a city which is but little known in history.
Jotham alone, the youngest of the brothers, escaped the carnage — as it always happens in ancient histories — and harangued12 the Israelites, telling them that the trees went one day to choose a king; we do not well see how they could march, but if they were able to speak, they might just as well be able to walk. They first addressed themselves to the olive, saying, “Reign thou over us.” The olive replied, “I will not quit the care of my oil to be promoted over you.” The fig-tree said that he liked his figs13 better than the trouble of the supreme14 power. The vine gave the preference to its grapes. At last the trees addressed themselves to the bramble, which answered: “If in truth ye anoint one king over you, then come and put your trust in my shadow; and if not, let fire come out of the bramble and devour15 the cedars16 of Lebanon.”
It is true that this fable falsifies throughout, because fire cannot come from a bramble, but it shows the antiquity17 of the use of fables.
That of the belly18 and the members, which calmed a tumult19 in Rome about two thousand three hundred years ago, is ingenious and without fault. The more ancient the fables the more allegorical they were.
Is not the ancient fable of Venus, as related by Hesiod, entirely20 a fable of nature? This Venus is the goddess of beauty. Beauty ceases to be lovely if unaccompanied by the graces. Beauty produces love. Love has features which pierce all hearts; he wears a bandage, which conceals21 the faults of those beloved. He has wings; he comes quickly and flies away the same.
Wisdom is conceived in the brain of the chief of the gods, under the name of Minerva. The soul of man is a divine fire, which Minerva shows to Prometheus, who makes use of this divine fire to animate22 mankind.
It is impossible, in these fables, not to recognize a lively picture of pure nature. Most other fables are either corruptions23 of ancient histories or the caprices of the imagination. It is with ancient fables as with our modern tales; some convey charming morals, and others very insipid24 ones.
The ingenious fables of the ancients have been grossly imitated by an unenlightened race — witness those of Bacchus, Hercules, Prometheus, Pandora, and many others, which were the amusement of the ancient world. The barbarians25, who confusedly heard them spoken of, adopted them into their own savage26 mythology27, and afterwards it is pretended that they invented them. Alas28! poor unknown and ignorant people, who knew no art either useful or agreeable — to whom even the name of geometry was unknown — dare you say that you have invented anything? You have not known either how to discover truth, or to lie adroitly29.
The most elegant Greek fable was that of Psyche30; the most pleasant, that of the Ephesian matron. The prettiest among the moderns is that of Folly31, who, having put out Love’s eyes, is condemned32 to be his guide.
The fables attributed to ?sop are all emblems34; instructions to the weak, to guard them as much as possible against the snares35 of the strong. All nations, possessing a little wisdom, have adopted them. La Fontaine has treated them with the most elegance36. About eighty of them are masterpieces of simplicity37, grace, finesse38, and sometimes even of poetry. It is one of the advantages of the age of Louis XIV. to have produced a La Fontaine. He has so well discovered, almost without seeking it, the art of making one read, that he has had a greater reputation in France than genius itself.
Boileau has never reckoned him among those who did honor to the great age of Louis XIV.; his reason or his pretext39 was that he had never invented anything. What will better bear out Boileau is the great number of errors in language and the incorrectness of style; faults which La Fontaine might have avoided, and which this severe critic could not pardon. His grasshopper40, for instance, having sung all the summer, went to beg from the ant, her neighbor, in the winter, telling her, on the word of an animal, that she would pay her principal and interest before midsummer. The ant replies: “You sang, did you? I am glad of it; then now dance.”
His astrologer, again, who falling into a ditch while gazing at the stars, was asked: “Poor wretch41! do you expect to be able to read things so much above you?” Yet Copernicus, Galileo, Cassini, and Halley have read the heavens very well; and the best astronomer42 that ever existed might fall into a ditch without being a poor wretch.
Judicial43 astrology is indeed ridiculous charlatanism44, but the ridiculousness does not consist in regarding the heavens; it consists in believing, or in making believe, that you read what is not there. Several of these fables, either ill chosen or badly written, certainly merit the censure45 of Boileau.
Nothing is more insipid than the fable of the drowned woman, whose corpse46 was sought contrary to the course of the river, because in her lifetime she had always been contrary.
The tribute sent by the animals to King Alexander is a fable, which is not the better for being ancient. The animals sent no money, neither did the lion advise them to steal it.
The satyr who received a peasant into his hut should not have turned him out on seeing that he blew his fingers because he was cold; and afterwards, on taking the dish between his teeth, that he blew his pottage because it was hot. The man was quite right, and the satyr was a fool. Besides, we do not take hold of dishes with our teeth.
The crab-mother, who reproached her daughter with not walking straight; and the daughter, who answered that her mother walked crooked47, is not an agreeable fable.
The bush and the duck, in commercial partnership48 with the bat, having counters, factors, agents, paying principal and interest, etc., has neither truth, nature, nor any kind of merit.
A bush which goes with a bat into foreign countries to trade is one of those cold and unnatural49 inventions which La Fontaine should not have adopted. A house full of dogs and cats, living together like cousins and quarrelling for a dish of pottage, seems also very unworthy of a man of taste.
The chattering50 magpie51 is still worse. The eagle tells her that he declines her company because she talks too much. On which La Fontaine remarks that it is necessary at court to wear two faces.
Where is the merit of the fable of the kite presented by a bird-catcher to a king, whose nose he had seized with his claws? The ape who married a Parisian girl and beat her is an unfortunate story presented to La Fontaine, and which he has been so unfortunate as to put into verse.
Such fables as these, and some others, may doubtless justify52 Boileau; it might even happen that La Fontaine could not distinguish the bad fables from the good.
Madame de la Sablière called La Fontaine a fabulist, who bore fables as naturally as a plum-tree bears plums. It is true that he had only one style, and that he wrote an opera in the style of his fables.
Notwithstanding all this, Boileau should have rendered justice to the singular merit of the good man, as he calls him, and to the public, who are right in being enchanted53 with the style of many of his fables.
La Fontaine was not an original or a sublime54 writer, a man of established taste, or one of the first geniuses of a brilliant era; and it is a very remarkable55 fault in him that he speaks not his own language correctly. He is in this respect very inferior to Ph?drus, but he was a man unique in the excellent pieces that he has left us. They are very numerous, and are in the mouths of all those who have been respectably brought up; they contribute even to their education. They will descend56 to posterity57; they are adapted for all men and for all times, while those of Boileau suit only men of letters.
Of Those Fanatics58 Who Would Suppress the Ancient Fables.
There is among those whom we call Jansenists a little sect59 of hard and empty heads, who would suppress the beautiful fables of antiquity, to substitute St. Prosper60 in the place of Ovid, and Santeuil in that of Horace. If they were attended to, our pictures would no longer represent Iris61 on the rainbow, or Minerva with her ?gis; but instead of them, we should have Nicholas and Arnauld fighting against the Jesuits and Protestants; Mademoiselle Perrier cured of sore eyes by a thorn from the crown of Jesus Christ, brought from Jerusalem to Port Royal; Counsellor Carré de Montgeron presenting the account of St. Medard to Louis XV.; and St. Ovid resuscitating62 little boys.
In the eyes of these austere63 sages64, Fénelon was only an idolater, who, following the example of the impious poem of the “?neid,” introduced the child Cupid with the nymph Eucharis.
Pluche, at the end of his fable of the Heavens, entitled “Their History,” writes a long dissertation66 to prove that it is shameful67 to have tapestry68 worked in figures taken from Ovid’s “Metamorphoses”; and that Zephyrus and Flora69, Vertumnus and Pomona, should be banished70 from the gardens of Versailles. He exhorts71 the school of belles-lettres to oppose itself to this bad taste; which reform alone, he says, is capable of re-establishing the belles-lettres.
Other puritans, more severe than sage65 a little time ago, would have proscribed72 the ancient mythology as a collection of puerile73 tales, unworthy the acknowledged gravity of our manners. It would, however, be a pity to burn Ovid, Horace, Hesiod, our fine tapestry pictures and our opera. If we were spared the familiar stories of ?sop, why lay hands on those sublime fables, which have been respected by mankind, whom they have instructed? They are mingled74 with many insipidities, no doubt, but what good is without an alloy75? All ages will adopt Pandora’s box, at the bottom of which was found man’s only consolation76 — hope; Jupiter’s two vessels77, which unceasingly poured forth78 good and evil; the cloud embraced by Ixion, which is the emblem33 and punishment of an ambitious man; and the death of Narcissus, which is the punishment of self-love. What is more sublime than the image of Minerva, the goddess of wisdom, formed in the head of the master of the gods? What is more true and agreeable than the goddess of beauty, always accompanied by the graces? The goddesses of the arts, all daughters of memory — do they not teach us, as well as Locke, that without memory we cannot possess either judgment79 or wit? The arrows of Love, his fillet, and his childhood; Flora, caressed80 by Zephyrus, etc. — are they not all sensible personifications of pure nature? These fables have survived the religions which consecrated81 them. The temples of the gods of Egypt, Greece, and Rome are no more, but Ovid still exists. Objects of credulity may be destroyed, but not those of pleasure; we shall forever love these true and lively images. Lucretius did not believe in these fabulous82 gods, but he celebrated83 nature under the name of Venus.
Alma Venus c?li subter labentia signa
Qu? mare84 navigerum, qu? terras frugiferentes
Concelebras, per te quoniam genus omne animantum
Concipitur, visitque exortum lumina solis, etc.
Kind Venus, glory of the blest abodes85,
Parent of Rome, and joy of men and gods;
Delight of all, comfort of sea and earth,
To whose kind power all creatures owe their birth, etc.
— Creech.
If antiquity in its obscurity was led to acknowledge divinity in its images, how is it to be blamed? The productive soul of the world was adored by the sages; it governed the sea under the name of Neptune86, the air under the image of Juno, and the country under that of Pan. It was the divinity of armies under the name of Mars; all these attributes were animated87 personifications. Jupiter was the only god. The golden chain with which he bound the inferior gods and men was a striking image of the unity88 of a sovereign being. The people were deceived, but what are the people to us?
It is continually asked why the Greek and Roman magistrates89 permitted the divinities whom they adored in their temples to be ridiculed90 on their stage? This is a false supposition. The gods were not mocked in their theatres, but the follies91 attributed to these gods by those who had corrupted92 the ancient mythology. The consuls93 and pr?tors found it good to treat the adventure of the two Sosias wittily94, but they would not have suffered the worship of Jupiter and Mercury to be attacked before the people. It is thus that a thousand things which appear contradictory95 are not so in reality. I have seen, in the theatre of a learned and witty96 nation, pieces taken from the Golden Legend; will it, on that account, be said that this nation permits its objects of religion to be insulted? It need not be feared we shall become Pagans for having heard the opera of Proserpine at Paris, or for having seen the nuptials97 of Psyche, painted by Raphael, in the pope’s palace at Rome. Fable forms the taste, but renders no person idolatrous.
The beautiful fables of antiquity have also this great advantage over history: they are lessons of virtue98, while almost all history narrates99 the success of vice100. Jupiter in the fable descends101 upon earth to punish Tantalus and Lycaon; but in history our Tantaluses and Lycaons are the gods of the earth. Baucis and Philemon had their cabin changed into a temple; our Baucises and Philemons are obliged to sell, for the collector of the taxes, those kettles which, in Ovid, the gods changed into vases of gold.
I know how much history can instruct us and how necessary it is to know it; but it requires much ingenuity102 to be able to draw from it any rules for individual conduct. Those who know politics only through books will be often reminded of those lines of Corneille, which observe that examples will seldom suffice for our guidance, as it often happens that one person perishes by the very expedient103 which has proved the salvation104 of another.
Les exemples recens suffiraient pour m’instruire
Si par6 l’exemple seul on devait se conduire;
Mais souvent l’un se perd où l’autre s’est sauvé,
Et par où l’un périt, un autre est conservé.
Henry VIII., the tyrant of his parliament, his ministers and his wives, of consciences and purses, lived and died peaceably. Charles I. perished on the scaffold. Margaret of Anjou in vain waged war in person a dozen times with the English, the subjects of her husband, while William III. drove James II. from England without a battle. In our days we have seen the royal family of Persia murdered, and strangers upon the throne.
To look at events only, history seems to accuse Providence105, and fine moral fables justify it. It is clear that both the useful and agreeable may be discovered in them, however exclaimed against by those who are neither the one nor the other. Let them talk on, and let us read Homer and Ovid, as well as Titus Livius and Rapin de Thoyras. Taste induces preferences and fanaticism106 exclusions107. The arts are united, and those who would separate them know nothing about them. History teaches us what we are — fable what we ought to be.
Tous les arts sont amis, ainsi qu ils sont divins;
?Qui veut les séparer est loin de les connaltre.
L’histoire nous apprend ce que sont les humains,
?La fable ce qu ils doivent être.
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fables
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| n.寓言( fable的名词复数 )；神话，传说 | |
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fable
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| n.寓言；童话；神话 | |
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sop
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| n.湿透的东西，懦夫；v.浸，泡，浸湿 | |
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subjugated
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| v.征服，降伏( subjugate的过去式和过去分词 ) | |
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tyrant
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| n.暴君，专制的君主，残暴的人 | |
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par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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parables
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| n.（圣经中的）寓言故事( parable的名词复数 ) | |
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liking
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| n.爱好；嗜好；喜欢 | |
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motive
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| n.动机，目的；adv.发动的，运动的 | |
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slew
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| v.（使）旋转；n.大量，许多 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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harangued
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| v.高谈阔论( harangue的过去式和过去分词 ) | |
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figs
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| figures 数字，图形，外形 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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devour
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| v.吞没；贪婪地注视或谛听，贪读；使着迷 | |
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cedars
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| 雪松，西洋杉( cedar的名词复数 ) | |
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antiquity
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| n.古老；高龄；古物，古迹 | |
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belly
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| n.肚子，腹部；(像肚子一样)鼓起的部分，膛 | |
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tumult
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| n.喧哗；激动，混乱；吵闹 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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conceals
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| v.隐藏，隐瞒，遮住( conceal的第三人称单数 ) | |
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animate
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| v.赋于生命，鼓励；adj.有生命的，有生气的 | |
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corruptions
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| n.堕落( corruption的名词复数 )；腐化；腐败；贿赂 | |
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insipid
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| adj.无味的，枯燥乏味的，单调的 | |
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barbarians
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| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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mythology
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| n.神话，神话学，神话集 | |
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alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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adroitly
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| adv.熟练地，敏捷地 | |
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psyche
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| n.精神；灵魂 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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emblem
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| n.象征，标志；徽章 | |
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emblems
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| n.象征，标记( emblem的名词复数 ) | |
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snares
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| n.陷阱( snare的名词复数 )；圈套；诱人遭受失败（丢脸、损失等）的东西；诱惑物v.用罗网捕捉，诱陷，陷害( snare的第三人称单数 ) | |
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elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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finesse
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| n.精密技巧，灵巧，手腕 | |
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pretext
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| n.借口，托词 | |
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grasshopper
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| n.蚱蜢，蝗虫，蚂蚱 | |
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wretch
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| n.可怜的人，不幸的人；卑鄙的人 | |
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astronomer
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| n.天文学家 | |
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judicial
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| adj.司法的，法庭的，审判的，明断的，公正的 | |
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charlatanism
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| n.庸医术，庸医的行为 | |
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censure
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| v./n.责备；非难；责难 | |
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corpse
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| n.尸体，死尸 | |
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crooked
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| adj.弯曲的；不诚实的，狡猾的，不正当的 | |
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partnership
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| n.合作关系，伙伴关系 | |
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unnatural
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| adj.不自然的；反常的 | |
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chattering
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| n. （机器振动发出的）咔嗒声，(鸟等)鸣，啁啾 adj. 喋喋不休的，啾啾声的 动词chatter的现在分词形式 | |
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magpie
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| n.喜欢收藏物品的人，喜鹊，饶舌者 | |
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justify
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| vt.证明…正当(或有理)，为…辩护 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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descend
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| vt./vi.传下来，下来，下降 | |
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posterity
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| n.后裔，子孙，后代 | |
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fanatics
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| 狂热者，入迷者( fanatic的名词复数 ) | |
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sect
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| n.派别，宗教，学派，派系 | |
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prosper
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| v.成功，兴隆，昌盛；使成功，使昌隆，繁荣 | |
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iris
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| n.虹膜，彩虹 | |
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resuscitating
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| v.使（某人或某物）恢复知觉，苏醒( resuscitate的现在分词 ) | |
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austere
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| adj.艰苦的；朴素的，朴实无华的；严峻的 | |
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sages
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| n.圣人( sage的名词复数 )；智者；哲人；鼠尾草（可用作调料） | |
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sage
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| n.圣人，哲人；adj.贤明的，明智的 | |
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dissertation
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| n.（博士学位）论文，学术演讲，专题论文 | |
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shameful
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| adj.可耻的，不道德的 | |
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tapestry
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| n.挂毯，丰富多采的画面 | |
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flora
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| n.(某一地区的)植物群 | |
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banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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exhorts
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| n.劝勉者，告诫者，提倡者( exhort的名词复数 )v.劝告，劝说( exhort的第三人称单数 ) | |
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proscribed
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| v.正式宣布（某事物）有危险或被禁止( proscribe的过去式和过去分词 ) | |
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puerile
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| adj.幼稚的，儿童的 | |
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mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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alloy
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| n.合金，(金属的)成色 | |
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consolation
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| n.安慰，慰问 | |
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vessels
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| n.血管( vessel的名词复数 )；船；容器；（具有特殊品质或接受特殊品质的）人 | |
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forth
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| adv.向前；向外，往外 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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caressed
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| 爱抚或抚摸…( caress的过去式和过去分词 ) | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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fabulous
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| adj.极好的；极为巨大的；寓言中的，传说中的 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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mare
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| n.母马，母驴 | |
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abodes
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| 住所( abode的名词复数 )； 公寓； （在某地的）暂住； 逗留 | |
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Neptune
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| n.海王星 | |
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animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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unity
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| n.团结，联合，统一；和睦，协调 | |
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magistrates
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| 地方法官，治安官( magistrate的名词复数 ) | |
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ridiculed
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| v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 ) | |
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follies
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| 罪恶，时事讽刺剧； 愚蠢，蠢笨，愚蠢的行为、思想或做法( folly的名词复数 ) | |
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corrupted
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| （使）败坏( corrupt的过去式和过去分词 )； （使）腐化； 引起（计算机文件等的）错误； 破坏 | |
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consuls
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| 领事( consul的名词复数 )； （古罗马共和国时期）执政官 （古罗马共和国及其军队的最高首长，同时共有两位，每年选举一次） | |
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wittily
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| 机智地，机敏地 | |
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contradictory
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| adj.反驳的，反对的，抗辩的；n.正反对，矛盾对立 | |
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witty
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| adj.机智的，风趣的 | |
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nuptials
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| n.婚礼；婚礼( nuptial的名词复数 ) | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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narrates
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| v.故事( narrate的第三人称单数 ) | |
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vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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descends
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| v.下来( descend的第三人称单数 )；下去；下降；下斜 | |
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ingenuity
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| n.别出心裁；善于发明创造 | |
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expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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104
salvation
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| n.（尤指基督）救世，超度，拯救，解困 | |
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providence
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| n.深谋远虑，天道，天意；远见；节约；上帝 | |
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fanaticism
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| n.狂热，盲信 | |
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107
exclusions
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| n.不包括的项目：如接受服务项目是由投保以前已患有的疾病或伤害引致的，保险公司有权拒绝支付。；拒绝( exclusion的名词复数 )；排除；被排斥在外的人（或事物）；排外主义 | |
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