It is needless to say that La Fontaine was beloved by Boileau, the all-loving. That kindly ascetic was moved to attempt the amendment of his friend's laxity of life, and to this blameless end dragged him to prayers sometimes, where La Fontaine was bored and would take up any book at hand to beguile the time. In this way he made acquaintance with the Apocrypha, and became intensely interested in Baruch, and asked Boileau if he knew Baruch, and urged him to read Baruch, as a hitherto undiscovered genius. During his last illness, he told the attendant priest that he had been reading the New Testament, and that he regarded it as a good, a very good book.
In truth, his soul was the soul of a child, and, childlike, he lived in a world of his own—a world peopled with the animals and the plants and the inanimate objects, made alive by him and almost human. He loved them all, and painted them with swift, telling strokes of his facile pen. The acute Taine points out that the brute creations of this poet are prototypes of every class and every profession of his country and his time. His dumb favorites attracted him especially by their unspoiled simplicity, for he loathed the artificial existence of his fellow-creatures. With "a sullen irony and a desperate resignation" he let himself be led into society, and he was bored beyond bearing by its high-heeled decorum. It is said that he cherished, all his life long, a speechless exasperation with the King, that incarnation of pomposity and pretence to his untamed Gallic spirit. Yet this malcontent had to put on the livery of his fellow-flunkies, and his dedication, to the Dauphin, of his "Fables," is as fulsome and servile as any specimen of sycophancy of that toad-eating age.
Yet, able to make trees and stones talk, he himself could not talk, La Bruyère tells us; coloring his portraiture strongly, as was his way, and rendering La Fontaine much too heavy and dull, with none of the skill in description with his tongue that he had with his pen. He may be likened to Goldsmith, who "wrote like an angel and talked like poor Poll." Madame de Sablière said to him: "Mon bon ami, que vous seriez bête, si vous n'aviez pas tant d'esprit!" Louis Racine, owning to the lovable nature of the man, has to own, too, that he gave poor account of himself in society, and adds that his sisters, who in their youth had seen the poet frequently at their father's table in Rue Visconti, recalled him only as a man untidy in dress and stupid in talk. He gave this impression mainly because he was forever dreaming, even in company, and so seemed distant and dull; but, when drawn out of his dreams, no man could be more animated and more delightful.
La Fontaine.
(From the portrait by Rigaud-y-Ros.)
So he was found by congenial men, and so especially by approving women. These took to him on the spot, women of beauty and of wit, and women commonplace enough. To them all his prattle was captivating, devoid as it was of the grossness so conspicuous in his poems. He depended on women in every way all through his life; they catered to his daily needs, and they provided for his higher wants; they helped him in his money troubles, they helped him in all his troubles. And he requited each one's care with a genuine affection, not only at the time, but for all time, in the record he has left of his gratitude and his devotion to these ministering women. His verse is an unconscious chronicle of his loves, his caprices, his inconstancies, and his loyalties. Nor did a woman need to be clever and cultivated to be bewitched by his inborn, simple sweetness. A matter-of-fact nurse, hired to attend him during an illness which came near being fatal, said to the attending priest: "Surely, God could not have the courage to damn a man like that."
This memory he has left is brought pleasantly home to the passer-by in Rue de Grenelle by the sign of a hotel, a quiet clerical house, frequented by churchmen and church-loving provincials visiting Paris. The sign bears the name "Au bon La Fontaine," in striking proof of the permanent place in the common heart won by this lovable man.
He was content to drift through life, his days spent, as he put it in his epitaph on "Jean," one-half in doing nothing, the other half in sleeping. He had no library or study or workroom, like other pen-workers; he lived out of doors in the open air, and wandered vaguely, tasting blameless epicurean delights. Some of us seem to see, always in going along Cours la Reine, that quaint figure, comical and pathetic, as he was seen by the Duchesse de Bouillon on a rainy morning, when she drove to Versailles. He was standing under a tree on this wooded water-side, and on her return on that rainy evening he was standing under the same tree. He had dreamed away the long day there, not knowing or not caring that he was wet. He explained, once when he came late—inexcusably late—to a dinner, that he had been watching a procession of ants in a field, and had found that it was a funeral; he had accompanied the cortége to the grave in the garden, and had then escorted the bereaved family back to its home, as bound by courtesy.
This genuine poet, of dry, sly humor and of unequalled suppleness of phrase, was by nature a gentle, wild creature, and by habit a docile, domesticated pet, attaching himself to any amiable woman who was willing to give him a warm corner in her heart and her house. And how such women looked on him was prettily and wittily put by one of them: "He isn't a man, he is a fablier"—a natural product of her own sudden inspiration—"who blossoms out into fables as a tree blossoms out with leaves."