Lafontaine fables biography

Jean de Lafontaine - biography, news, personal life Jean de la Fontaine. Born on July 8 in Shato Tierry - died on April 13 in Paris. The famous French fabulist. His father served in the forest department, and Lafontaine spent his childhood among forests and fields. At twenty, he entered the Brotherhood of the Oratorians to prepare for a spiritual rank, but was more engaged in philosophy and poetry.

It was the libretto of the opera of Kolass Astrea that turned out to be the last composition of Lafontaine by the setting of the year turned into a complete failure. In the year, Lafontaine's father handed him his position and convinced him to marry a fourteen -year -old girl, Marie Ericar. He reacted very easily to his new duties, both official and family, and soon left for Paris, where he lived all his life among friends, fans and fans of his talent; He forgot about his family for years and only occasionally, at the insistence of friends, he traveled for a short time to his homeland.

His correspondence with his wife, which he made the attorney of his many romantic adventures, has been preserved. He paid attention to his children so little that, having met in the same house with his adult son, he did not recognize him. In Paris, Lafontaine was a brilliant success; Fouke appointed him a large pension. The version that in the years Lafontaine maintained friendly relations with Moliere, Boailo and Racine, looks doubtful.

Among the friends of Lafontainen, Prince Conde, Laroshfuko, Madame de Lafayette and others were definitely slowly. This slowed the election of Lafontaine to the French Academy, of which he became only in the year. During the “dispute about the ancient and new” Lafontaine, not without hesitation, sided with the former. Under the influence of Madame de Sablier Laponfete, in the last years of his life, piety was filled and renounced from his most frivolous works.

The first published work of Lafontaine is the comedy "Eunuch" Eunuque, which was a processing of the same essay Terentia. In the year, Lafontaine presented to his patron foque the poem “Adonis” Adonis, written under the influence of Ovid, Virgil and, possibly, Marino. Having for a while, the “official” poet Fouquet, Lafontaine took up the description of the palace belonging to the Minister of the Palace in thela-Viscount.

Since I had to describe the still not completed architectural-park ensemble, Lafontaine built his poem in the form of a dream of Songe de Vaux.

However, due to Opala Fuck, work on the book was interrupted. This act, apparently, entered the anger of Kolber and the king. The first collection included two fairy tales - Jocondo Joconde and the beaten and contented cuckold; The first of them, based on one of the episodes of Ariosto’s poem, “Frantic Roland”, caused a lively literary polemic. Subsequent issues of "fairy tales" were published in, and years.

Their Lafontaine scooped up their plots from Bokkaccio and the collection "One hundred new short stories." In the view of Lafontaine, the most important feature of the genre was to be stylistic and plot diversity. Of all the tales, the most frivolous nature was “new fairy tales”, which provoked numerous reproaches of obscenity and immediately were banned. It is interesting that simultaneously with fairy tales, Lafontaine worked on the works of a pious character, partly noted by the influence of Jansenism, including the “poem about the captivity of St.

The significance of Lafontaine for the history of literature is that he created a new genre, borrowing the external plot from the ancient authors, first of all, Aesop and Fedra; In addition, Lafontaine scooped up from Panchattra and some Italian and Latin revival authors. It was the first collection that included the famous I. subsequently shifted by I. The second edition, which included eleven books, which was published in the year, and the third, with the inclusion of the twelfth and last book, at the end of the year.

The first two books are more didactic; In the rest, Lafontaine is becoming more and more free, connects didactics with the transfer of personal feeling. Lafontaine is the least moralist and, in any case, his morality is not elevated; He teaches a sober view of life, the skill to use circumstances and people, and constantly draws the triumph of dexterous and cunning over the rustic and kind; There is absolutely no sentimentality in it - its heroes are those who know how to arrange their fate.

Already Rousseau, and behind him, Lamartin expressed doubt: how useful are Lafontaine fables to children, do they accustom the reader to the inevitability of vice in the world unnecessary pity? V. Zhukovsky spoke especially categorically on this subject: “Do not look for his morality in the fables - it is not! Sometimes the moral of the “fables” is compared with the covenants of Epicurus: the need for moderation and a wise-evidence of life.

The most famous Lafontaine fables:.