“Le Chêne et le Roseau” (The Oak and the Reed): the Moral

In an earlier post on the “The Oak and the Reed,” I commented on this line, the moral of the “The Oak and Reed:” ‘Je plie, et ne romps pas.’ (‘I bend, and do not break.’) This line illustrates La Fontaine’s uncanny ability to tell what he is not telling (dire-sans-dire). In fact, it was long believed that this fable expounded the importance of humility and little else:

“Written in the autocratic time of Louis XIV of France, this was so successfully achieved that it appeared to teach the value of humility at the same time as suggesting that rulers may not be as powerful as they think themselves.” (“The Oak and the Reed” [I.22], Wikipedia)

La Fontaine as a Protégé of Nicolas Fouquet

La Fontaine had been a protégé of Nicolas Fouquet/Foucquet (January 27, 1615 – March 23, 1680), the Superintendant of Finances, from 1653 until 1661, the year Louis XIV became King of France. After 17 August 1661, the day Louis XIV attended a fête at Vaux-le-Vicomte, Fouquet’s magnificent castle, Louis XIV accused Fouquet of embezzlement. Fouquet was convicted and condemned to banishment, a sentence Louis XIV himself, then aged 22, commuted to life imprisonment, at Pignerol (now Pinerolo, Italy), a sadder fate than banishment. La Fontaine had written his “Élégie aux Nymphes de Vaux,” in the vain hope of obtaining a degree of clemency towards his former patron, Nicolas Fouquet. He also wrote “Le Songe de Vaux.”

The Oak and the Reed

(Photo credit: oldbookillustrations.com)

The Moral of “The Oak and the Reed”

As a university teacher, I often taught La Fontaine’s “Chêne et Roseau” and would ask my students to provide a moral for La Fontaine’s fable. What did “Je plie, et ne romps pas” (I bend, and do not break) mean?

At first, they saw a fable about “the value of humility.”
They also said that it was about the mighty. They could break.
Third, they commented on the underlying structure of fables and farcical comic texts, the formulaic “deceiver deceived” (“le trompeur trompé”). People who allow themselves to boast, even moderately, are punished.

However, they did not see that “The Oak and the Reed” was about human behaviour and, in particular, about the importance of flexibility. He who bends does not break. The meaning of La Fontaine’s fables does not jump off the page.

“Je plie, et ne romps pas.” (I bend, and do not break)

Earlier in the history of this fable, this moral, “I bend but do not break,” was expressed more explicitly. According to Wikipedia, such was the moral of Avianus‘ (400 CE) telling of this fable, and the moral of earlier Greek retellings. It is the moral expressed in Geoffrey Chaucer‘s (c. 1343 – 25 October 1400) Troilus and Criseyde, (II.1387-9) [EBook #257].

A reed before the wind lives on, while mighty oaks do fall.

In footnote 28 of Gutenberg’s version of La Fontaine’s Fables, classified as [EBook #7241], American translator Elizur Wright and J. W. M. Gibbs, editor, state that “[t]he groundwork of this fable is in Æsop, and also in the Fables of Avianus.” Flavius Avianus lived in the 5th century CE (the 400s) and translated 42 Æsopic fables. Famous translator and printer William Caxton (ca. 1415~1422 – ca. March 1492), translated “The Fables of Avian” into “Englyshe.”[i]

Two Traditions: Phædrus and Babrius

Phædrus (Latin) and Babrius (Greek)

Yet, it should be pointed out that, although Flavius Avianus‘ translation was in Latin verse, his main source had been Babrius who translated Æsop’s Fables into Greek. It could be, therefore, that Babrius’ moral was more explicit. European sources of Æsopic fables were either the Latin translation by Phædrus‘ (c. 15 BCE – c. 50 CE) or Babrius‘ Æsop’s Fables. In fact, Avianus became a source to fable writers as did Névelet, whose Latin translation of Æsopic fables La Fontaine used, the Mythologia Æsopica Isaaci Nicolai Neveleti, Frankfurt, 1610. (See lafontaine.net.)

According to Wikipedia’s entry on “The Oak and the Reed,” flexibility was the teaching of the Rabbinic Talmud and the moral of earlier versions of “The Oak and the Reed,” all of which are rooted in “Near Eastern dispute poems.” The Talmud‘s “Be pliable like a reed, not rigid like a cedar” is attributed to Rabbi Simeon ben Eleazar. The same moral is expressed in a Chinese proverb “A tree that is unbending is easily broken,” and the saying goes back to the Tao Te Ching. (See The Oak and the Reed, Wikipedia.)

(Photo credit: Gutenberg (EBook #25357]

Percy J. Billinghurst)

“L’Honnête Homme”

Moreover, this moral, “[h]e who bends does not break,” could be associated with a French seventeenth-century ideal, that of l’honnête homme. “L’honnête homme” or the concept of “honnêteté” was first described in Baldassare Castiglione‘s Il Cortegiano (1528), The Book of the Courtier, but Castiglione’s courtier underwent changes in Paris salons and in the works of the Chevalier de Méré, Nicolas Faret and Guez de Balzac.

In France, l’honnête homme is the perfect gentleman and courtier and he is, furthermore, as he seems. There is very little, if any, sprezzatura, a form of studied carelessness, about “l’honnête homme.” “Honnêteté,” in its literal sense, that of “honesty,” militates against the idea of a mere façade. I should think there were exceptions, but, in theory, l’honnête homme was well-educated (but not pedantic), had fine manners, dressed well, spoke well, never boasted and avoided all extremes, favouring modération.[ii]

Bernard Salomon‘s woodcut of “The olive tree and the reed” from a French collection of Æsop’s Fables in rhyme (Lyon 1547)

(Photo credit: Wikipedia)

The Oak, the Cedar and the Olive tree

Trees have been rigid for a very long time, but they have not been oak trees consistently. The Talmud features a cedar and fabulists Gilles Corrozet (1547), Gabriele Faerno (1564) Giovanni Maria Verdizotti used an olive tree. As for Swabian translator Heinrich Steinhöwel, he also used an olive tree. His 1480 translation of Æsopic fables is rooted in Avianus, Babrius (Greek) and Romulus (a 5th-century Latin-language fabulist). Romulus may be a legendary figure, which may also be the case with respect to Æsop himself.

Conclusion

I must close, but the above illustrates the depth of “The Oak and the Reed,” its age, not to mention its universality. It is not only about the doomed pride of the mighty, but also about the flexibility humans require to function in society, under Louis XIV especially. As for the ambiguity of its moral, it illustrates La Fontaine’s mute eloquence and may point to the Latin source of this fable. However talkative animals, trees and willows can be in literature, they do not speak. La Fontaine himself gave everyone the impression he was absent-minded and he was often referred to as a “bonhomme.” After Vaux-le-Vicomte, the fall of Nicolas Fouquet, he let animals, trees, willows and, at times, humans retell a fable that had been told for centuries and, perhaps, millennia.

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[i] [EBook #7241], Elizur Wright (translator), J. W. M. Gibbs (editor)

28. The groundwork of this fable is in Æsop, and also in the Fables of Avianus. Flavius Avianus lived in the 5th century. His Æsopic Fables were written in Latin verse. Caxton printed “The Fables of Avian, translated into Englyshe” at the end of his edition of Æsop.
29. This fable and “The Animals Sick of the Plague” [I.7] are generally deemed La Fontaine’s two best fables. “The Oak and the Reed” is held to be the perfection of classical fable, while “The Animals Sick of the Plague” is esteemed for its fine poetic feeling conjoined with its excellent moral teaching. [EBook #7241]

[ii] If you can read French, you may wish to visit Larousse’s site: honnête homme.

Sources

Recent studies

Patrick Dandrey, (2nd edition) La Fabrique des Fables (FR) (Paris: Klincksieck, 1992).

Marc Fumaroli, Le Poète et le Roi. Jean de La Fontaine en son siècle (FR) (Paris: Le Fallois, 1997).

Jürgen Grimm (various articles)

Texts

MythFolklore.Æsopica

etc.

Translations (Gutenberg)

La Fontaine’s Fables

1. A Hundred Fables of La Fontaine, Percy J. Billinghurst

http://www.gutenberg.org/files/25357/25357-h/25357-h.htm

http://www.gutenberg.org/files/25357/25357-h/25357-h.htm#Page_60

[EBook #25357]

2. The Fables of La Fontaine, Elizur Wright, J. W. M. Gibbs, 1882 [1841]

http://www.gutenberg.org/dirs/etext05/8ffab10h.htm

[EBook #7241]

3. The Fables of La Fontaine, Walter Thornbury, Gustave Doré

http://www.gutenberg.org/files/50316/50316-h/50316-h.htm

[EBook #50316]

4. Fables in Rhyme for Little Folks, From the French of La Fontaine

John Rae & W.T. (William Trowbridge) Larned

http://www.gutenberg.org/files/24108/24108-h/24108-h.htm

Æsop’s Fables

1. V. S. Vernon Jones, (tr) G. K. Chesterton, Arthur Rackham (ill)

http://www.gutenberg.org/files/11339/11339-h/11339-h.htm

http://www.gutenberg.org/files/11339/11339-h/11339-h.htm#030-2

http://www.gutenberg.org/files/11339/11339-h/11339-h.htm#THE_OAK_AND_THE_REEDS

[EBook #11339]

2. George Fyler Townsend, translator

http://www.gutenberg.org/files/21/21-h/21-h.htm#link2H_4_0210

http://www.gutenberg.org/files/21/21-h/21-h.htm#link2H_4_0128 (The Oak and the Reeds)

[EBook #21]

3. Harrison Weir, John Tenniel and Ernest Griset, illustrators

http://www.gutenberg.org/files/18732/18732-h/18732-h.htm

http://www.gutenberg.org/files/18732/18732-h/18732-h.htm (The Oak and the Reeds)

[EBook #18732]

4. Milo Winter (illustrator)

The Æsop for Children

http://www.gutenberg.org/files/19994/19994-h/19994-h.htm

[EBook #19994]

5. The Baldwin Project: The Tree and the Reeds

http://www.mainlesson.com/display.php?author=baldwin&book=fables&story=tree

The Reed and the Oak Tree

Maëlle Doliveux

28 September 2013

WordPress

Vaux-le-Vicomte: Fouquet’s Rise and Fall

20 Tuesday Aug 2013

Posted by michelinewalker in France, History, Literature

≈ 14 Comments

Tags

Alexandre Dumas, Colbert, Jean de La Fontaine, Jean-Baptiste Lully, Louis XIV, Nicolas Fouquet, The Man with the Iron Mask, The Three Musketeers, Vaux-le-Vicomte

Vaux-le-Vicomte: Nicolas Fouquet’s Castle

Nicolas Fouquet, by Sébastien Bourdon (Musée national du château de Versailles) (Photo credit: Larousse)

Nicolas Fouquet

The story of the “City Rat and the Country Rat,” or “Town Mouse and Country Mouse” is not insignificant. Our country mouse is as poor as the peasants who paid the astronomical bill Louis XIV ran up building Versailles. But Louis had seen Vaux-le-Vicomte, the castle Nicolas Fouquet, the “Superintendent of Finances,” had built for himself and Louis XIV was not about to be housed in humbler dwellings than the magnificent château owned by his “surintendant des Finances,” a patron of Jean de La Fontaine, and various authors and artists.

Nicolas Fouquet,[i] marquis de Belle-Île, vicomte de Melun et Vaux (27 January 1615 – 23 March 1680) was “Superintendent of Finances” in France between 1653 and 1661. A lawyer by training, he had risen to prominence rapidly and had been named “Superintendant of Finances,” a position Italian-born Cardinal Jules Mazarin (14 July 1602 – 9 March 1661), who ruled France, could not deny him. Fouquet knew that Mazarin was using his own position as “Prime Minister” to amass wealth, while the “country mice” of France lived in abject poverty.

Le chancelier Séguier, by Charles Le Brun (1655)

(Photo credit: Larousse)

Vaux-le-Vicomte

Nicolas Fouquet’s château, Vaux-le-Vicomte,[ii] had been built by the future architect of Versailles: Louis Le Vau, and was decorated by Versailles’ future painter Charles Le Brun, who owed his training as an artist to a powerful individual, le chancelier Séguier.[iii] As for the grounds, they were designed by landscape artist André Le Nôtre. Fouquet had therefore assembled the team that would later build Louis XIV’s castle at Versailles, a community where his father, King Louis XIII, a composer, had a hunting lodge he used as his main residence. Fouquet also owned Belle-Île-sur-Mer, a fortified island where he could live if ever he needed a safe haven. As well, Fouquet had bought several private properties in Paris, “hôtels” or “hôtels particuliers,” and, in 1651, a widower, Fouquet married a very wealthy Spanish woman, Marie de Castille.

A Feast

In 1661, shortly after Louis XIV ascended the throne, Fouquet hosted a fête that could not be rivalled and that convinced Louis XIV, first, that Fouquet was using public funds for private purposes and, second, that he, the King, needed a castle that would be more beautiful than the castle of a mere “subject,” at any cost.

François Vatel, maître d’Hôtel

The fête was a great success. François Vatel, Louis II de Bourbon-Condé‘s future maître d’hôtel served the finest of foods, including tropical fruit grown in Fouquet’s green house, an orangerie, located on his estate. Louis XIV would ask architect Jules-Hardouin Mansart (16 April 1646 – 11 May 1708) to build an orangerie at Versailles.

Molière and Lully

Moreover, on 17 August 1661, dramatist Molière premièred Les Fâcheux, a comedy and a ballet, at Vaux-le-Vicomte. The king loved to dance and had discovered a composer who could provide the appropriate music, Italian-born Giovanni Battista Lulli, renamed Jean-Baptiste Lully (28 November 1632 – 22 March 1687). Molière was one of Fouquet’s protégés, but he was also a friend of Louis XIV.

Louis XIV in Lully‘s Ballet de la nuit, 1653 (Photo credit: Wikipedia)

Louis XIV, by Hyacinthe Rigaud, 1701 (Photo credit: Wikipedia)

Fouquet Arrested and Jailed

Louis quickly suspected embezzlement (malversation de fonds publics) on the part of Nicolas Fouquet, abolished the position of Superintendant of Finances, arranged for Fouquet to accompany him to Nantes where D’Artagnan, whose full name was Charles Ogier de Batz de Castelmore, Comte d’Artagnan (c. 1611 – 25 June 1673), one of his Musketeers (les mousquetaires de la maison militaire du roi de France), took the very wealthy Fouquet into custody. Famed and prolific novelist Alexandre Dumas, père (24 July 1802 – 5 December 1870) used D’Artagnan as the leading figure in his Trois Mousquetaires (1844).

This festive event sealed Fouquet’s fate.Whether or not justice was served, we may never know, but in December 1664, after a three-year trial, Nicolas Fouquet was found guilty of embezzlement and sentenced to banishment, a sentence commuted to life imprisonment. (See Fouquet, Wikipedia.) Fouquet died at Pignerol (now Pinerolo), in 1680. Jean-Baptiste Colbert, who coveted a place as a member of the Conseil du Roi, assembled the material that would serve to destroy Fouquet, a possible rival. Unlike Louis XIII, who let France be governed by prime ministers: Cardinal Richelieu, replaced, in 1642, by Cardinal Jules Mazarin, Louis XIV did not want a prime minister.

The Three Musketeers , by Maurice Leloir, 1894 (Photo credit: Wikipedia)

“Athos, Porthos, Aramis & D’Artagnan”

The Man with the Iron Mask, c. 1872 (Photo credit: Wikipedia)

Interestingly, Fouquet served his sentence in the same prison as the man with the iron mask (l’homme au masque de fer), whose identity has yet to be determined, but who was Fouquet’s man-servant for a short period. Rumour has it that the man in the iron mask may have been Louis XIV’s father. Louis XIII is unlikely to have fathered a son. As noted above, he preferred to live with friends in his hunting lodge at Versailles, where Louis XIV, would have his castle built.

Fouquet as patron of the Arts: Jean de La Fontaine

Jean de La Fontaine, the author of Le Songe de Vaux, tried to help his patron and, as a result, he was not “elected” to the Académie française until 1682. In fact, under Louis XIV, a candidate was not “elected” to one of the forty seats of the Académie, les quarante immortels; one was appointed by the King himself. The Académie française was established by Cardinal Richelieu (9 September 1585 – 4 December 1642) in 1635. It perished in 1793, during the French Revolution, but was reestablished by Napoléon Bonaparte in 1803.

Vaux-le-Vicomte had been a lesson to La Fontaine who set about writing fables that he called “a comedy immense,” cultivating a discreet form of congeniality with his peers and hosts. I believe he was the rustic rather than the city rat. Between the lines of his fables, he painted a fresco of his era. However, he did so using anthropomorphism. His animals, the elements, the trees, all were humans in disguise and stereotypes, which protected the fabulist. The Lion may be king, but the King is not a lion and would not want to be. Imagine the ridicule Louis XIV would have brought unto himself, if he had allowed anyone to think that he was an animal, La Fontaine’s lion. La Fontaine therefore wrote

Une ample comédie à cent actes divers

Et dont la scène est l’univers.

Le Bûcheron et Mercure (V.i; V.1)

Thus swells my work—a comedy immense

Its acts unnumbered and diverse,

Its scene the boundless universe.

The Woodman and Mercury (V.i; V.1)

Conclusion

Fouquet’s story is well-known. Absolutism would not allow transgressions. Not only was Fouquet jailed for the remainder of his life, but the possessions he cherished were seized. Under Louis XIV, the only person who could keep a king humble was Jacques-Bénigne Bossuet, whose sermons are famous and who emphasized that all of us are mere mortals: memento mori.

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[i] Nicolas Fouquet

http://www.larousse.fr/encyclopedie/personnage/Nicolas_Fouquet/187131 (FR)

http://en.wikipedia.org/wiki/Nicolas_Fouquet

[ii] “Vaux-le-Vicomte”. Encyclopædia Britannica. Encyclopædia Britannica Online.
Encyclopædia Britannica Inc., 2013. Web. 20 Aug. 2013

<http://www.britannica.com/EBchecked/topic/624201/Vaux-le-Vicomte>.

[iii] Portrait du chancelier Séguier

http://www.larousse.fr/encyclopedie/oeuvre/Portrait_du_chancelier_S%C3%A9guier/181324 (FR)

http://en.wikipedia.org/wiki/Pierre_S%C3%A9guier