Against The Hard To Suit

By Jean de La Fontaine

[1]      Were I a pet of fair Calliope,      I would devote the gifts conferr'd on me      To dress in verse old Aesop's lies divine;      For verse, and they, and truth, do well combine;      But, not a favourite on the Muses' hill,      I dare not arrogate the magic skill,      To ornament these charming stories.      A bard might brighten up their glories,      No doubt. I try, - what one more wise must do.      Thus much I have accomplish'd hitherto: -      By help of my translation,      The beasts hold conversation,      In French, as ne'er they did before.      Indeed, to claim a little more,      The plants and trees,[2] with smiling features,      Are turn'd by me to talking creatures.      Who says, that this is not enchanting?      'Ah,' says the critics, 'hear what vaunting!      From one whose work, all told, no more is      Than half-a-dozen baby stories.'[3]      Would you a theme more credible, my censors,      In graver tone, and style which now and then soars?      Then list! For ten long years the men of Troy,      By means that only heroes can employ,      Had held the allied hosts of Greece at bay, -      Their minings, batterings, stormings day by day,      Their hundred battles on the crimson plain,      Their blood of thousand heroes, all in vain, -      When, by Minerva's art, a horse of wood,      Of lofty size before their city stood,      Whose flanks immense the sage Ulysses hold,      Brave Diomed, and Ajax fierce and bold,      Whom, with their myrmidons, the huge machine      Would bear within the fated town unseen,      To wreak upon its very gods their rage -      Unheard-of stratagem, in any age.      Which well its crafty authors did repay....      'Enough, enough,' our critic folks will say;      'Your period excites alarm,      Lest you should do your lungs some harm;      And then your monstrous wooden horse,      With squadrons in it at their ease,      Is even harder to endorse      Than Renard cheating Raven of his cheese.      And, more than that, it fits you ill      To wield the old heroic quill.'      Well, then, a humbler tone, if such your will is: -      Long sigh'd and pined the jealous Amaryllis      For her Alcippus, in the sad belief,      None, save her sheep and dog, would know her grief.      Thyrsis, who knows, among the willows slips,      And hears the gentle shepherdess's lips      Beseech the kind and gentle zephyr      To bear these accents to her lover....      'Stop!' says my censor:      'To laws of rhyme quite irreducible,      That couplet needs again the crucible;      Poetic men, sir,      Must nicely shun the shocks      Of rhymes unorthodox.'      A curse on critics! hold your tongue!      Know I not how to end my song?      Of time and strength what greater waste      Than my attempt to suit your taste?      Some men, more nice than wise,      There's nought that satisfies.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem features a playful and self-aware exploration of the poet’s relationship with their own craft and their audience, embodying a meta-poetic commentary. The most prevalent theme is the tension between the poet's creative freedom and the expectations of critics. The tone fluctuates between defensive, self-deprecating, and defiant, as the poet grapples with their perceived inadequacies and external criticisms.

Structurally, the poem is a continuous narrative with no clear stanza breaks, maintaining a relentless pace that mirrors the poet's internal struggle. It presents various poetic styles—epic, fable, and pastoral—to illustrate the poet's diverse skills and underscore the critics' hard-to-please nature. Literary devices such as personification are used effectively, transforming beasts and plants into talking entities, adding a whimsical layer to the narrative.

The poem also employs humor and irony to critique the often uncompromising nature of critics. The use of direct dialogue with the imagined critics creates a dynamic back-and-forth, further emphasizing the poet's struggle between self-expression and critical validation. Overall, the piece leverages a mix of self-deprecation, defiance, and humor to offer an insightful lens into the often complex dynamics between the creative process, the final artistic product, and its reception.

Understanding Fables

A fable is a timeless form of storytelling, typically featuring animals as characters that embody human traits, all while conveying a moral lesson. These short narratives have been used throughout history to impart wisdom, offering insights that remain relevant across generations.


Fables stand out for their simplicity and clarity, often concluding with a lesson that is easy to understand and remember. Here are some defining characteristics:

  • Animal Characters: The main characters are often animals that represent human behaviors and characteristics, making the stories both engaging and relatable.
  • Concise Narrative: Fables are brief and focused, with each story centering around a single event or interaction that leads to a moral conclusion.
  • Moral Lesson: The purpose of a fable is to teach a lesson, which is usually stated clearly at the end, offering practical advice or ethical guidance.

From Aesop's ancient tales to modern adaptations, fables continue to be a powerful tool for education and moral reflection, resonating with audiences of all ages.