Jean De La Fontaine

Jean de La Fontaine: Fabeln Lesefreundlicher Gro druck in 16-pt-Schrift Gro format, 210 x 297 mm Berliner Ausgabe, 2019 Durchgesehener Neusatz mit einer Biographie des Autors bearbeitet und eingerichtet von Theodor Borken Erstdruck von Buch 1-6: Paris (Barbin) 1668. Buch 1-12: Paris (Thierry, Barbin) 1678-1694. Hier in der bers. v. Theodor Etzel. Textgrundlage ist die Ausgabe: Lafontaine, Jean de: Fabeln. bers. v. Theodor Etzel, Berlin: Propyl en-Verlag, 1923. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: Abraham van Strij, Zwei Ziegen im Hof, um 1800. Gesetzt aus der Minion Pro, 16 pt. Henricus Edition Deutsche Klassik UG (haftungsbeschr nkt)

"Der Fuchs, der dem Raben hinterh ltig schmeichelt und sich so den K se verdient - Jean de La Fontaine ist auch 300 Jahre nach seinem Tod noch jedem franz sischen Schulkind ein Begriff. Seine Fabeln geh ren heute zum festen Kernbestand der franz sischen Literatur." Redaktion Gr ls-Verlag (Edition Werke der Weltliteratur)

This edition of Jean de La Fontaine’s fables includes an English translation published alongside the French text. Norman Spector adapted the French text from the 1883-85 edition by Henri Régnier, adding four tales from the 1962 edition by Georges Couton. Spector’s translation is in rhymed verse, and remains faithful to the original not only in metrical patterns and rhyme schemes but also in tone: wit and le mot juste are skillfully and wonderfully combined. This translation gives the reader of English a chance to enjoy the grace, wit, and versatility of La Fontaine.

Jean de La Fontaine collected fables from a wide variety of sources, both Western and Eastern, and adapted them into French free verse. They were issued under the general title of Fables in several volumes from 1668 to 1694 and are considered classics of French literature. Humorous, nuanced and ironical, they were originally aimed at adults but then entered the educational system and were required learning for school children.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT063323With a half-title and a final advertisement leaf. Pp.359-364 misnumbered 363-368; text and register are continuous. With an additional titlepage before the translation of La Fontaine's version. London: printed for H. Chapelle, 1744. 22],88, 2],368 i.e. 364], 2]p.; 8

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Bodleian Library (Oxford)T179692London: printed for J. Nourse, 1762. xxiv,156p.; 8

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT217857Londres: aux depens de Paul & Isaak Vaillant, 1708. 6],379, 9]p., plate; 12

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT076261With the French text at the foot of each page and an errata slip pasted to p.xxiv. London: printed for J. Walter, 1784. xxiv,128p.; 8

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT154423The ornaments are those used by William Bowyer. Parallel French and English texts. Pp. 175-176 are repeated in pagination. London: printed for A. Bettsworth sic] and C. Hitch, and C. Davis, 1734. 10], iii-xxvi, 6],293 i.e.295], 1]p.; 8

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT146694On p.252: "The end of the first volume." No more published. Includes translations from other authors. London: printed in the year, 1735. 2], xii, vii, 1],252p., plate: ill.; 8

Le classicisme libertin en forme d'historiettes en vers POUR UN PUBLIC AVERTI. Gaillards et subtilement provocateurs, les Contes de La Fontaine sont la marque d'un esprit licencieux et r v lent un talent de libertin raffin . L'auteur y ajoute en pr face une plaidoirie en faveur de ses contes, craignant que ses contemporains ne soient choqu s par la libert de ces petites histoires galantes. D couvrez le premier volet des Contes de La Fontaine qui, jadis frapp s par la censure, se distinguent des Fables par leurs penchants grivois. EXTRAIT *Conte d'une chose arriv e Ch teau-Thierry* Un savetier, que nous nommerons Blaise, Prit belle femme; et fut tr s avis Les bonnes gens qui n' taient leur aise, S'en vont prier un marchand peu rus , Qu'il leur pr t t dessous bonne promesseMi-muid de grain; ce que le marchand fait. Le terme chu, ce cr ancier les presse. Dieu sait pourquoi: le galant, en effet, Crut que par l baiserait la comm re. PROPOS DE L'AUTEUR On connait davantage Jean de La Fontaine pour ses Fables moralisatrices, grands chefs-d'oeuvre de la litt rature fran aise, que pour ses crits grivois, peu propices l' dification de la jeunesse. L'influence de l'Eglise, la fin du r gne de Louis XIV, et la pudibonderie jans niste du XVIIIe si cle ont jet le voile sur les contes licencieux que le moraliste a publi en cinq recueils (1664, 1665, 1666, 1671 et 1674). Sa prouesse a t de ne jamais tre explicite ou de nommer la sexualit mais de la sugg rer, de la dire demi-mot. Cependant, la r putation coquine des historiettes provient en partie des illustrations ornant les premi res ditions de l'ouvrage. lu l'Acad mie fran aise, La Fontaine a d renier ses contes licencieux qui lui ont valu de nombreuses critiques. PROPOS DE LA COLLECTION Retrouvez les plus grands noms de la litt rature rotique dans notre collec

Le classicisme libertin en forme d'historiettes en vers POUR UN PUBLIC AVERTI. Gaillards et subtilement provocateurs, les Contes de La Fontaine sont la marque d'un esprit licencieux et r v lent un talent de libertin raffin . L'auteur y ajoute en pr face une plaidoirie en faveur de ses contes, craignant que ses contemporains ne soient choqu s par la libert de ces petites histoires galantes. D couvrez le cinqui me volet des Contes de La Fontaine qui, jadis frapp s par la censure, se distinguent des Fables par leurs penchants grivois. EXTRAIT *La confidente sans le savoir ou le stratag me* ...]La jeune Aminte G ronte donn e, M ritait mieux qu'un si triste hym n e;Elle avait pris en cet homme un pouxMalgracieux, incommode et jaloux. Il tait vieux; elle peine en cet geO quand un coeur n'a point encore aim D'un doux objet il est bient t charm . Celui d'Aminte ayant sur son passageTrouv Cl on, beau, bien fait, jeune et sage, Il s'acquitta de ce premier tribut, Trop bien peut- tre, et mieux qu'il ne fallut ...] PROPOS DE L'AUTEUR On connait davantage Jean de La Fontaine pour ses Fables moralisatrices, grands chefs-d'oeuvre de la litt rature fran aise, que pour ses crits grivois, peu propices l' dification de la jeunesse. L'influence de l'Eglise, la fin du r gne de Louis XIV, et la pudibonderie jans niste du XVIIIe si cle ont jet le voile sur les contes licencieux que le moraliste a publi en cinq recueils (1664, 1665, 1666, 1671 et 1674). Sa prouesse a t de ne jamais tre explicite ou de nommer la sexualit mais de la sugg rer, de la dire demi-mot. Cependant, la r putation coquine des historiettes provient en partie des illustrations ornant les premi res ditions de l'ouvrage. lu l'Acad mie fran aise, La Fontaine a d renier ses contes licencieux qui lui ont valu de nombreuses critiques. PROPOS DE

Le classicisme libertin en forme d'historiettes en vers POUR UN PUBLIC AVERTI. Gaillards et subtilement provocateurs, les Contes de La Fontaine sont la marque d'un esprit licencieux et r v lent un talent de libertin raffin . L'auteur y ajoute en pr face une plaidoirie en faveur de ses contes, craignant que ses contemporains ne soient choqu s par la libert de ces petites histoires galantes. D couvrez le quatri me volet des Contes de La Fontaine qui, jadis frapp s par la censure, se distinguent des Fables par leurs penchants grivois. EXTRAIT *Le roi Candaule et le ma tre en droit* Force gens ont t l'instrument de leur mal;Candaule en est un t moignage. Ce roi fut en sottise un tr s grandpersonnage. Il fit pour Gyg s son vassalUne galanterie imprudente et peu sage. Vous voyez, lui dit-il, le visage charmant, Et les traits d licats dont la reine est pourvueJe vous jure ma foi que l'accompagnementEst d'un tout autre prix et passe infiniment;Ce n'est rien qui ne l'a vueToute nue. ...] PROPOS DE L'AUTEUR On connait davantage Jean de La Fontaine pour ses Fables moralisatrices, grands chefs-d'oeuvre de la litt rature fran aise, que pour ses crits grivois, peu propices l' dification de la jeunesse. L'influence de l'Eglise, la fin du r gne de Louis XIV, et la pudibonderie jans niste du XVIIIe si cle ont jet le voile sur les contes licencieux que le moraliste a publi en cinq recueils (1664, 1665, 1666, 1671 et 1674). Sa prouesse a t de ne jamais tre explicite ou de nommer la sexualit mais de la sugg rer, de la dire demi-mot. Cependant, la r putation coquine des historiettes provient en partie des illustrations ornant les premi res ditions de l'ouvrage. lu l'Acad mie fran aise, La Fontaine a d renier ses contes licencieux qui lui ont valu de nombreuses critiques. PROPOS DE LA COLLECTION Retrouvez l