La Fontaine's dramatic pieces have a manifest affinity to his genius, but none whatever to the genius of the drama. Some of his elegies, compliments, anacreontics, and other lesser pieces, are worthy of him; others so indifferent as to render their genuineness doubtful. His poem on St. Malch was approved by the lyric poet Rousseau; and this is its highest distinction. His poem on Jesuit's Bark is universally condemned.
It is only in his fables and tales that one is to look for the supremacy of La Fontaine. As a fabulist he has surpassed all who preceded him, and has never been approached by his successors. It is charged upon him that he invented nothing; that he but translated, imitated, or versified Æsop, Phædrus, Petronius, Rabelais, Boccaccio, Ariosto, Machiavelli, the hundred novels of Cinthio, the Heptameron of the queen of Navarre, &c.; but it is justly replied, that this proceeded only from his humble estimate of himself, joined with his indolence. "His considering himself," says Fontenelle, "inferior to Æsop and Phædrus was only another instance of his anomalous stupidity." "It is untrue," says La Harpe, "that La Fontaine invented nothing; he invented his style." The question could not be placed in a happier and truer light. La Fontaine, from humility and indolence, took the materials which others had supplied to his hand; but by his manner of using them, by the magic of his original and unrivalled style, made them his own. So complete is his mastery over them, and so entirely is the merit his, that the palpable difference, in the original, between the genuine tales of Æsop and the forgeries of the Greek monk Planudes, vanish beneath his touch.
France has produced a host of writers of fables and apologues since his time, but none worthy of being named with him. England has produced much fewer fabulists, yet is justly proud of Gay. He had a striking resemblance to La Fontaine in personal character. Pope's verse, in the epitaph on him,
would seem to have been expressly written for La Fontaine. As poets or fabulists they differ widely and essentially. Gay's fables are the nearest in merit; but, instead of resemblance, they present the opposition of wit, satire, and party spirit, in a neat and pointed style, to La Fontaine's universal and ingenious moral, picturesque simplicity, and easy graceful negligence.