Its punctuality and plenty,
Its viands, cut in mouthfuls dainty,
Its fragrant smell, were powerful to excite,
Had there been need, his foxish appetite.
But now the dame, to torture him,
Such wit was in her,
Served up her dinner
In vases made so tall and slim,
They let their owner's beak pass in and out,
But not, by any means, the fox's snout!
All arts without avail,
With drooping head and tail,
As ought a fox a fowl had cheated,
The hungry guest at last retreated.
Ye knaves, for you is this recital,
You'll often meet Dame Stork's requital.
XIX. THE BOY AND THE SCHOOLMASTER.1
WISE Counsel is not always wise,
As this my tale exemplifies.
A boy, that frolick'd on the banks of Seine,
Fell in, and would have found a watery grave,
Had not that hand that planteth ne'er in vain
A willow planted there, his life to save.
While hanging by its branches as he might,
A certain sage preceptor came in sight;
To whom the urchin cried, 'Save, or I'm drown'd!'
The master, turning gravely at the sound,
Thought proper for a while to stand aloof,
And give the boy some seasonable reproof.
1 A fable telling this story is in the collection of Arabic fables which bear the name of Locman, or Lokman, a personage some identify with Æsop himself. Lokman is said to have flourished about 1050 B.C.; and even as the "Phrygian slave" Æsop was said to have been very ugly, so Lokman is described as "an ugly black slave." See Translator's Preface. Rabelais also has a version of the story of this fable, vide Gargantua, Book I. ch. xlii.
'You little wretch! this comes of foolish playing, Commands and precepts disobeying.
A naughty rogue, no doubt, you are,
Who thus requite your parents' care.
Alas! their lot I pity much,
Whom fate condemns to watch o'er such.'
This having coolly said, and more,
He pull'd the drowning lad ashore.
This story hits more marks than you suppose.
All critics, pedants, men of endless prose,-
Three sorts, so richly bless'd with progeny,
The house is bless'd that doth not lodge any,—
May in it see themselves from head to toes.
No matter what the task,
Their precious tongues must teach;
Their help in need you ask,
You first must hear them preach.
XX. THE COCK AND THE PEARL.'
A cock scratch'd up, one day,
A pearl of purest ray,
Which to a jeweller he bore.
'I think it fine,' he said,
'But yet a crumb of bread
To me were worth a great deal more.'
So did a dunce inherit
A manuscript of merit,
Which to a publisher he bore.
"'Tis good,' said he, 'I'm told,
Yet any coin of gold
To me were worth a great deal more.'
XXI. THE HORNETS AND THE BEES.'
“THE artist by his work is known.”-
A piece of honey-comb, one day,
Discover'd as a waif and stray,
The hornets treated as their own.
Their title did the bees dispute,
And brought before a wasp the suit.
The judge was puzzled to decide,
For nothing could be testified
Save that around this honey-comb
There had been seen, as if at home,
Some longish, brownish, buzzing creatures,
Much like the bees in wings and features.
But what of that? for marks the same,
The hornets, too, could truly claim.
Between assertion, and denial,
The wasp, in doubt, proclaim'd new trial;
And, hearing what an ant-hill swore,
Could see no clearer than before.
'What use, I pray, of this expense ? '
At last exclaim'd a bee of sense.
'We've labour'd months in this affair,
And now are only where we were.
Meanwhile the honey runs to waste:
"Tis time the judge should show some haste.
The parties, sure, have had sufficient bleeding,
Without more fuss of scrawls and pleading.
Let's set ourselves at work, these drones and we,
And then all eyes the truth may plainly see,
Whose art it is that can produce
The magic cells, the nectar juice.'
The hornets, flinching on their part,
Show that the work transcends their art.
The wasp at length their title sees,
And gives the honey to the bees.
Would God that suits at laws with us
Might all be managed thus!
That we might, in the Turkish mode,
Have simple common sense for code!
They then were short and cheap affairs,
Instead of stretching on like ditches,
Ingulfing in their course all riches,-
The parties leaving for their shares,
The shells (and shells there might be moister)
From which the court has suck'd the oyster.1
XXII. THE OAK AND THE REED.2
THE oak one day address'd the reed :-
'To you ungenerous indeed
Has nature been, my humble friend,
With weakness aye obliged to bend.
The smallest bird that flits in air
Is quite too much for you to bear;
The slightest wind that wreathes the lake
Your ever-trembling head doth shake.
The while, my towering form
Dares with the mountain top
The solar blaze to stop,
And wrestle with the storm.
What seems to you the blast of death,
To me is but a zephyr's breath.
Beneath my branches had you grown,
That spread far round their friendly bower,
Less suffering would your life have known,
Defended from the tempest's power.
1 The court has suck'd the oyster.-The humorous idea of the lawyers, the litigants, and the oyster, is more fully treated in Fable IX., Book IX.
2 The groundwork of this fable is in Æsop, and also in the Fables of Avianus. Flavius Avianus lived in the fifth century. His Esopian Fables were written in Latin verse. Caxton printed "The Fables of Avian, translated into Englyshe" at the end of his edition of Æsop.
Unhappily you oftenest show
In open air your slender form,
Along the marshes wet and low,
That fringe the kingdom of the storm.
To you, declare I must,
Dame Nature seems unjust.'
Then modestly replied the reed:
'Your pity, sir, is kind indeed,
But wholly needless for my sake.
The wildest wind that ever blew
Is safe to me compared with you.
I bend, indeed, but never break.
Thus far,
I own, the hurricane
Has beat your sturdy back in vain;
But wait the end.' Just at the word,
The tempest's hollow voice was heard.
The North sent forth her fiercest child,
Dark, jagged, pitiless, and wild.
The oak, erect, endured the blow;
The reed bow'd gracefully and low.
But, gathering up its strength once more,
In greater fury than before,
The savage blast
O'erthrew, at last,
That proud, old, sky-encircled head,
Whose feet entwined the empire of the dead!1
This fable and "The Animals Sick of the Plague" (Fable I., Book VII.), are generally deemed La Fontaine's two best fables. "The Oak and the Reed" is held to be the perfection of classical fable, while "The Animals Sick of the Plague" is esteemed for its fine poetic feeling conjoined with its excellent moral teaching. See Translator's Preface.
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