New Releases by Jean de La Fontaine

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In ''A Hundred Fables of La Fontaine'', readers are treated to a rich tapestry of moral tales elegantly woven by Jean de La Fontaine, whose work remains a cornerstone of French literature. This collection, expertly curated by DigiCat Publishing, encapsulates the timeless wisdom and wit that have made La Fontaine''s fables an integral part of cultural discourse. The literary style is characteristic of the golden age of French fable, with each piece delivering its unique blend of entertainment and edification through the anthropomorphic antics of its characters. The echo of Aesop is clear yet distinctly transformed through La Fontaine''s poetic finesse and the distinct cultural milieu of 17th-century France. Jean de La Fontaine, a poet and fabulist of remarkable repute, was deeply influenced by the classical fables of antiquity, yet imbued his work with a distinctly modern sensibility that has captured the imagination of readers for centuries. His ability to distill complex human behaviors and societal norms into concise, engaging stories is a testament to his profound understanding of both literature and the human condition. This edition''s thoughtful reproduction by DigiCat Publishing underscores the enduring significance of La Fontaine''s legacy, bringing the sharp insight and moral complexity of his fables to a new generation of readers. ''A Hundred Fables of La Fontaine'' is an essential collection for anyone interested in the intersection of literature, philosophy, and cultural history. The practical morals, couched in charming verse, make this work suitable for a diverse readership, from the casual lover of poetry to the serious student of classical literature. DigiCat''s commitment to preserving and presenting such works with the respect they deserve ensures that this edition will not only delight and instruct but also serve as a cherished volume within any literary connoisseur''s library.

DigiCat Publishing presents to you this special edition of "Tales and Novels of J. de La Fontaine — Complete" by Jean de La Fontaine. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Differentiated book- It has a historical context with research of the time-Fables of La Fontaine Translator by Elizur Wright. Elizur Wright (Elizur Wright III, February 12, 1804 - November 22, 1885) was an American mathematician and abolitionist. He is sometimes described in the United States as "the father of life insurance" or "the father of insurance regulation", as he campaigned for life insurance companies to hold reserves and provide salvage values . Wright served as the insurance commissioner for the state of Massachusetts.Wright was born in South Canaan, Connecticut, to a devout Christian family, who had anti-slavery beliefs and instilled in him a strict moral character. He was the first son of Elizur Wright (1762-1845), whose father was also called Elizur Wright, and his second wife, Clarissa Richards (1771-1843). Wright was one of 10 children; six were half-brothers of their father''s first wife. His father was a 1781 Phi Beta Kappa graduate of Yale College, and was known for his mathematical learning and devotion to the Calvinist faith. In 1810 the family moved to Tallmadge, Ohio., And young Elizur worked on the farm and attended an Academy that was run by his father. The famous abolitionist John Brown attended the Academy in Tallmadge with Elizur. Their home often served as a refuge for runaway slaves.

ONCE more permit me, nuns, and this the last; I can’t resist, whatever may have passed, But must relate, what often I’ve been told; Your tales of convent pranks are seldom cold; They have a grace that no where else we find, And, somehow, better seem to please designed. Another then we’ll have, which three will make:— Three did I say?-‘tis four, or I mistake; Let’s count them well:-The GARD’NER first, we’ll name; Then comes the ABBESS, whose declining frame Required a youth, her malady to cure A story thought, perhaps, not over pure; And, as to SISTER JANE, who’d got a brat, I cannot fancy we should alter that. These are the whole, and four’s a number round; You’ll probably remark, ‘tis strange I’ve found Such pleasure in detailing convent scenes:— ‘Tis not my whim, but TASTE, that thither leans: And, if you’d kept your breviary in view, ‘Tis clear, you’d nothing had with this to do; We know, howe’er, ‘tis not your fondest care; So, quickly to our hist’ry let’s repair. A CHARMING youth would frequent visits pay, To nuns, whose convent near his dwelling lay; And, ‘mong the sisters, one his person saw, Who, by her eyes, would fain attention draw; Smiles she bestowed, and other complaisance, But not a single step would he advance; By old and young he greatly was admired; Sighs burst around, but none his bosom fired.

Book 1. Here is the first book of Fables by Jean de La Fontaine published by the fabulous at the age of 47. Inspired by the work of the Greek fabulous Aesop, Jean de La Fontaine stages animals to better describe eternal human behaviour. Eternal? Yes ! For more than three centuries after their first publication, readers recognise contemporary society there.(by Jean Lambert)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this wonderful, vigorously contemporary translation, Craig Hill has captured the liveliness, satiric wit, and poetic beauty that made Jean de la Fontaine famous during his lifetime and his Fables celebrated as a masterwork of world literature ever since. Despite la Fontaine’s deceptively modest claim that all he intended was to put the moral tales of Aesop and other ancient fabulists into poetry for the pleasure of Louis XIV’s young son, his real accomplishment, as later generations have understood, was holding a mirror up to the society of his day and, in the process, fashioning a work that has become a classic. Borrowing from a variety of sources, la Fontaine gave the hitherto mute animals in ancient fables the power of speech. Backstabbing politicians, brainless nincompoops, charlatans, clueless heads of state, egomaniacs, empty-headed celebrities, foolish investors, gluttons, liars, penny–pinchers, self-important blowhards, and wastrels—these are the targets of la Fontaine’s pen. In this beautifully bound collector’s edition, Craig Hill has given us a rare treat: both the irreverent spirit and the vivid poetry that have made la Fontaine’s fables beloved through the ages, continuing to amuse and inspire centuries after they ?rst appeared in print.

Though they were first written over 300 years ago, this is the first complete English translation of Jean de La Fontaine''s comedic classic Contes et nouvelles en vers. Both sexually charged and wickedly funny, La Fontaine''s Tales will surprise readers who know him only from his work on fables for children. Though the writing is more suggestive than vulgar, it still has the power to shock readers unprepared for the darkness that inhabits these poems. Included are nearly seventy illustrations dating from the 18th and 19th centuries, many of them rare, as well as extensive commentary by the editor.

Jean de La Fontaine was the most famous French fabulist and probably the most widely read French poet 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. The works of La Fontaine, the total bulk of which is considerable, fall no less naturally than traditionally into three 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. La Fontaine''s Fables, first published in 1668, are choice in every sense: utterly correct, balanced, exquisite in rhyme, natural and easy, droll, witty, knowing, sage. They were an immediate success and many generations of French students have learned them by heart at school.

Dans Folioplus classiques, le texte intégral, enrichi d''une lecture d''image, écho pictural de l''œuvre, est suivi de sa mise en perspective organisée en six points : Vie littéraire : Ecrire au temps de Louis XIV ; L''écrivain à sa table de travail : La Fontaine, ou l''incarnation de la fable ; Groupement de textes thématique :L''animal héros romanesque ; Groupement de textes stylistique : La Fontaine en amont et en aval ; Chronologie : La Fontaine et son temps ; Fiche : Des pistes pour rendre compte de sa lecture.

With their unique blend of wit and poetic mastery, the verse interpretations of Aesop’s Fables by 17th-century author Jean de La Fontaine have enchanted readers of all ages for over three centuries. 70 popular and oft-quoted fables appear here, including "The Grasshopper and the Ant," "The Town Rat and the Country Rat," "The Fox and the Grapes," "The Hare and the Tortoise," and dozens more. A classic of French literature; brilliantly translated by Walter Thornbury into English verse.

The Contes et nouvelles en vers of Jean de La Fontaine (1621-1695) were published at various times throughout his life, both before and after his celebrated Fables, between 1664 and 1685, and even posthumously. In quite a different key from the more innocent Fables, the Contes often threatened to get him in trouble with both Church and Acadmie. It was, indeed, the bawdy tales of Boccaccio, Rabelais, and other medieval and renaissance masters of ribaldry that inspired La Fontaine''s Contes, presented here in a chronologically and stylistically diverse selection translated by Norman R. Shapiro. This spirited recent translation, spanning the entire corpus, offers about half the tales, from early to late, in all their variety of lengths and poetic narrative forms. The mildly suggestive mingle with the frankly bawdy, while others would hardly raise a vicar''s eyebrow. Yet all these gems from one of France''s truly great poets, scrupulously faithful to the originals, are rendered with the spirit of his style, his subtle rhythms, cadences, rhymes, and delectable wit left intact.

Recounts the famous tale of the race between the persevering turtle and the boastful rabbit.

Jean de La Fontaine, hem Batı hem de Doğu''da çok çeşitli kaynaklardan fabllar topladı ve bunları Fransız serbest nazımına uyarladı. Bunlar, 1668''den 1694''e kadar çeşitli ciltlerde Fabllar başlığı altında yayımlandı ve Fransız edebiyatının klasikleri hâline geldi. Esprili, nüanslı ve ironik olan fabllar başlangıçta yetişkinlere yönelikken daha sonraları eğitim sistemine girmesiyle öğrencilerin eğitiminde kullanılır hâle geldi.