Oxford University Press's
Academic Insights for the Thinking World

Selected fables about wolves and fishermen

Jean de La Fontaine’s verse fables turned traditional folktales into some of the greatest, and best-loved, poetic works in the French language. His versions of stories such as ‘The Wolf in Shepherd’s Clothing’ and ‘The Lion and the Fly’ are witty and sophisticated, satirizing human nature in miniature dramas in which the outcome is unpredictable. The behaviour of both animals and humans is usually centred on deception and cooperation (or the lack of it), as they cheat and fight each other, arguing about life and death, in an astonishing variety of narrative styles. To get a flavour of the fables, here are two taken from Selected Fables by Jean de La Fontaine, translated by Christopher Betts.

The Wolf in Shepherd’s Clothing
A wolf had hunted sheep from local fields,
but found the hunt was giving lower yields.
He thought to take a leaf from Reynard’s book:
disguise himself by changing what he wore.
He donned a smock, and took a stick for crook;
the shepherd’s bagpipes too he bore.
The better to accomplish his design,
he would have wished, had he been able,
to place upon his hat this label:
‘My name is Billy and these sheep are mine.’
His alterations now complete,
he held the stick with two front feet;
then pseudo-Billy gently stepped
towards the flock, and while he crept,
upon the grass the real Billy slept.
His dog as well was sound asleep,
his bagpipes too, and almost all the sheep.
The fraudster let them slumber where they lay.
By altering his voice to suit his dress,
he meant to lure the sheep away
and take them to his stronghold in the wood,
which seemed to him essential to success.
It didn’t do him any good.
He couldn’t imitate the shepherd’s speech;
the forest echoed with his wolfish screech.
His secret was at once undone:
his howling woke them, every one,
the lad, his dog, and all his flock.
The wolf was in a sorry plight:
amidst the uproar, hampered by his smock,
he could not run away, nor could he fight.
Some detail always catches rascals out.
He who is a wolf in fact
like a wolf is bound to act:
of that there ’s not the slightest doubt.

The Fisherman and the Little Fish
A little fish will bigger grow
if Heaven lets it live; but even so
to set one free, and wait until it’s fat,
then try again: I see no sense in that;
I doubt that it will let itself be caught.
An angler at the river’s edge one day
had hooked a carp. ‘A tiddler still,’ he thought,
but then reflected, looking at his prey:
‘Well, every little helps to make a meal,
perhaps a banquet; in the creel
is where you’ll go, to start my store.’
As best it could, the fish replied:
‘What kind of meal d’you think that I’ll provide?
I’d make you half a mouthful, not much more.
I’ll grow much bigger if you throw me back;
then catch me later on; I’d fill a sack.
A full-grown carp’s a fish that you can sell;
some greedy businessman will pay you well.
But now, you’d need a hundred fish
the size that I am now, to fill a single dish.
Besides, what sort of dish? Hardly a feast.’
‘No feast? quite so,’ replied the man;
‘it’s something, though, at least.
You prate as well as parsons can,
my little friend; but though you talk a lot
this evening it’s the frying-pan for you.’
A bird in the hand, as they say, is worth two
in the bush; the first one is certain, the others are not.

Jean de La Fontaine (1621-95) followed a career as a poet after early training for the law and the Church. He came under the wing of Louis XIV’s Finance Minister, Nicolas Fouquet, and later enjoyed the patronage of the Duchess of Orléans and Mme de La Sablière. His Fables were widely admired, and he was already regarded in his lifetime as one of the greatest poets of his age. Christopher Betts was Senior Lecturer in the French Department at Warwick University. In 2009 he published an acclaimed translation of Perrault’s The Complete Fairy Tales with OUP.

Subscribe to the OUPblog via email or RSS.
Subscribe to only literature articles on the OUPblog via email or RSS.
Image credit: Both images are from Gustave Doré’s engravings, which are included in the edition, and are in the public domain.

Recent Comments

There are currently no comments.

Leave a Comment

Your email address will not be published. Required fields are marked *