Tales and Novels of J. de La Fontaine — Volume 11

From the opening

These are the last works of this style that will come from the pen of the Author, and consequently this is the last opportunity he has of vindicating the boldness and privilege which he has assumed. We make no mention of villainous rhymes, of lines that run into the next, of two vowels without elision, nor, in general, of such kinds of carelessness as he would not allow himself in another style of poetry, but which are part and parcel, so to say, of this style. Too anxious a care in avoiding such would force a tale-writer into a labyrinth of shifts, into narratives as dull as they are grand, into straits that are utterly useless, and would make him disregard the pleasure of the heart in order to labour for the gratification of the ear. We must leave studied narrative for lofty subjects, and not compose an epic poem of the Adventures of Renaud d'Ast. Suppose the Author, who has put these tales into rhyme, had brought to bear on them all the care and preciseness required of him; not only would this care be observed, especially as it is unnecessary, but it would also transgress the precept lain down by Ouintilian, still the Author would not have attained the main object, which is to interest the reader, to charm him, to rivet his attention in spite of himself,--in a word, to please him. As everybody knows, the secret of pleasing the reader is not always based on regulation, nor even on symmetry; there is need of smartness and tastefulness, if we would strike home. How many of those perfect types of beauty do we see which never strike home, and of which nobody feels enamoured! We do not wish to rob Modern Authors of the praise that is due to them. Nicely turned lines, fine language, accuracy, elegance of rhyme are accomplishments in a poet.

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