La Fontaine added considerably to the number of his fables and tales, and wrote several dramatic pieces, whilst he lived under the roof of madame de la Sablière. His dramas, chiefly operas and light comedies, with an attempt or two at tragedy, are below mediocrity. He wanted the dramatic instinct. There are scenes of easy graceful dialogue, but strung together without art or interest. Some were written by him in partnership with the comedian Champmélé, husband of the celebrated actress of that name, who played in the tragedies and figures in the life of Racine, and in the letters of madame de Sévigné. It is told of him that, whilst sitting in the pit, during the first performance of one of his own operas, he fell asleep! But this is too much, even for La Fontaine; and it should not be forgotten, that an opera was the cause of the only satire he ever wrote, and of one of the only two quarrels he ever had. The celebrated Lulli obtained his easy promise to write him an opera on the story of Daphne, teased him until it was completed, and then capriciously adopted the "Proserpine" of Quinault. La Fontaine, now an old man, or, as he called himself, "un enfant à barbe grise," a child with a grey beard, knew, for the first time, what it was to feel personal resentment, and wrote the satire entitled "Le Florentin." It is merely a narrative of the affair between him and Lulli, in the manner of his tales. But he was soon and easily reconciled; and he complained afterwards that the little gall in him was stirred by others on the occasion.
The only symptom of literary ambition ever shown by La Fontaine was his desire to become a member of the French academy. A vacancy having occurred in 1683, he became a candidate. The devotees at court opposed and denounced him as a mere writer of frivolous and licentious tales, fit only to rank with Clement Marot and Rabelais, and unworthy of a place in that grave and learned body. Yet was he elected the successor of the great Colbert, whose death had caused the vacancy, and in opposition to Boileau, by a majority of sixteen to seven. Louis XIV. never interfered in the elections; but his sanction was necessary before the elected candidate could be received. He withheld his approbation for several months, from his dislike of La Fontaine, and his pique at the rejection of Boileau, then his chief eulogist and historiographer. So anxious was La Fontaine during the interval, that he solicited the interest of the royal mistress, madame de Montespan, through her sister, madame de Thiars, and addressed a supplicatory ballad to Louis XIV. Another vacancy soon occurred; Boileau was elected; and a deputation of the academy waited on Louis to acquaint him. His reply was, "Your choice of M. Boileau will be universally approved, and you may now receive La Fontaine. He has promised to be good—(il a promise d'être sage").
He certainly wrote fewer tales henceforth; but it is doubtful whether this did not proceed more from indolence than the promise of reformation. The private sittings of the academy, also, "diverted" him, as he expressed it, during those hours which he before consumed in diverting himself with writing verse. His becoming a member of the academy led to his second and last quarrel, and in a manner truly worthy of La Fontaine. This authentic fact goes a great way in establishing the credit of other anecdotes deemed untrue or exaggerated from their improbability. The French academy was at this time engaged in its great undertaking of a dictionary which should fix the French language. The abbé Furetière, then a popular writer, and one of "the forty," announced a dictionary of the French language in his own name. He was immediately charged with pirating the common stock. A ferment was excited in the academy, and throughout the republic of letters in France. Furetière, publicly arraigned, defended himself with keen and virulent personalities, and, after several discussions, was expelled. La Fontaine was one of the minority in his favour, and meant to give him his vote; but unluckily, in one of his usual distractions, dropped his ball, by mistake, in the rejecting compartment of the balloting-box. Furetière would not pardon the blunder, and attacked him bitterly. After an exchange of epigrams, which did credit to neither. La Fontaine thought of the affair no more; but was never reconciled.
Furetière, in his vengeance, revealed the secrets of the learned assembly. If his account maybe relied on, the process by which the academy proposed its famous dictionary was truly laughable. "He only is right," says Furetière, "who talks loudest: one makes a long speech upon some trifle; another echoes the nonsense of his predecessor; sometimes three or four talk at the same time. When five or six are in close committee, one reads, another delivers his opinion, two are chatting together, a fifth looks over some dictionary which may happen to be on the table, and the sixth is sleeping." The treachery of the disclosure was condemned, but its truth generally admitted; and the private sittings of the academy were the theme of public ridicule and amusement, like the consultations of physicians, so pleasantly treated by Molière.
Whatever excuse there may have been for Furetière's bitterness against his adversaries and the academy, there was none for his attack on La Fontaine. The blunder was provoking, but committed most innocently. La Fontaine's character placed his good faith beyond all doubt. His singularities were so well known that his mistakes and eccentricities were chartered in society, and excused even by Louis XIV. Having been introduced to the royal presence to present one of his works, he searched, and searched in vain, for the votive volume, and then frankly told the king that he had forgotten it! "Let it be another time, M. de la Fontaine," said the monarch, with a graciousness and good humour which did him honour, and dismissing the poet with a purse of gold. This misadventure did not quicken his attention even for the moment: he left his purse of gold behind him in the carriage.
The stories of his careless apathy, and absences of mind, are numberless. Meeting, at a large dinner party, a young man with whose conversation he seemed pleased, somebody asked his opinion of him. "He is a young man of sense and promise," said La Fontaine. "Why, it is your own son," said the questioner. "Ah! I am very glad of it," rejoined the father, with the utmost indifference. He had forgotten that he even had a son; who fortunately had been taken charge of and educated by others. La Fontaine treated religion with the same indifference as all other subjects, however serious. Racine took him one day to an extraordinary service, on one of the festivals of the Roman catholic church. Knowing that the service would be long, and apprehending the effect upon La Fontaine, he gave him a small bible to read, as a preventative against sleeping, or some other indecorum. The book happening to open before him at the lesser prophets, his attention soon became wholly absorbed by the prayer of the Jews in Baruch. It took the same possession of his imagination in his advanced age as the ode of Malherbe in his youth. His first question to everybody was, "Have you read Baruch? Do you know he was a man of genius?" This was his common expression for some time to all whom he met, without distinction of persons, from a buffoon to a bishop.
It was one of his singularities, that, when anything took his fancy, he could think of nothing else for the time; and he introduced his favourite topic, or favourite author, in a manner at once unseasonable and comic. One day, whilst in company with the abbé Boileau, his head full of Rabelais, whom he had just been reading, he abruptly asked the grave ecclesiastic which he thought had more wit, Rabelais or St. Austin. Some were shocked, others laughed; and the abbé, when recovered from his surprise, replied, "M. de la Fontaine, you have put on your stocking the wrong side out," which was really the fact. Wishing to testify his respect for the celebrated Arnaud, he proposed dedicating to him one of the least scrupulous of his tales, in which a monk is made to cite scripture in a manner far from edifying. Boileau and Racine had the utmost difficulty in making him comprehend that such an offering would be an outrage to the respected and rigid Jansenist. He was nearly as absent as the man who forgot in the evening that he had been married in the morning. It occurred to him one day to go and dine with a friend. On his knocking at the door, a servant in mourning informed him that his friend had been buried ten days before, and reminded him that he had himself assisted at the funeral.
The humour and fancy which abound in his tales, and his reputation among the men of genius of his time, made him an object of curiosity. He was sought and shown in company as "a lion," if one may use that ephemeral term. A farmer-general invited a large party "to meet the celebrated La Fontaine." They came prepared to hear him talk like "Joconde," or tell such stories as "The Matron of Ephesus." Poor La Fontaine eat, drank, never opened his mouth for any other purpose, and soon rose, to attend, he said, a meeting of the academy. "The distance is short: you will be too early," said the host. "I'll take the longest way," replied La Fontaine. Madame de la Sablière at one time discharged her whole establishment whilst La Fontaine was residing in her house. "What!" said somebody, "have you kept none?" "None," replied the lady, "except mes trois bêtes[50],—my cat, my dog, and La Fontaine." Such was her idea of his thoughtless and more than childish simplicity. It will hardly cause surprise that such a man never had a study or a library. He read and wrote when and where he felt disposed; and never thought of being provided with any other books than those he was immediately using.
After twenty years of unwearied kindness, he was deprived of the society and care of his benefactress, and soon after of the home which he had enjoyed in her house. The circumstances present one of the most curious views of French manners and character at the time. Madame de la Sablière, a married woman, with an independent fortune, lived on terms of civility with her husband, who scarcely merited even this, and maintained with the anacreontic poet. La Fare, that ambiguous but recognised relation of tender friendship, into which no one looked beyond its decorous exterior, and which created neither scandal nor surprise. La Fare, after an attachment of some years, deserted his "friend" for the gaming table and the actress Champmélé, who turned so many heads in her day. This desertion so preyed upon the mind of madame de la Sablière that she sought refuge in devotion and a convent. Her husband, a rhyming marquis, who passed his life in writing madrigals upon his frivolous amours, was deserted about the same time by a mistress, and took it so to heart that he poisoned himself—at the romantic age of sixty-five! This event had such an effect upon madame de la Sablière, joined with her own private sorrows, that she did not long survive him, and La Fontaine was once more thrown helpless and homeless upon the world.
The duchess of Bouillon was at this time in England with her sister, the duchess of Mazarin, who had taken up her residence there to avoid breathing the same air with her husband, when tormenting him had ceased to be an amusement to her. The poet St. Evremond, her friend, had, also, been long established in England. Learning the melancholy state in which La Fontaine was left by the death of madame de la Sablière, the three invited him over to England, with an assurance of being well provided for. Some English persons of distinction, who had known La Fontaine at Paris, and admired his genius, among them lords Godolphin and Danby, and lady Hervey, joined in the invitation. La Fontaine, now infirm and old, and at all times the most indolent of men, could not bring himself to make the effort. He, however, rather hesitated than declined. An opportune present of fifty louis from the duke of Burgundy, or rather in his name, for he was then but a child, decided his refusal.