Tales and Novels of J. de La Fontaine

In Short

These verses are a collection of narrative poems—often bawdy, always sophisticated—that explore the intersection of human frailty, ecclesiastical hypocrisy, and domestic life. Through stories like those of the Catalan monks or a young innkeeper’s daughter, the writing exposes the gap between what people profess and how they actually behave. They have lasted for centuries not merely for their risqué subject matter, but for their rhythmic, conversational grace and their cynical, knowing look at the complex games of attraction and deception that people play.

The Story

The collection begins with a sharp, satirical look at the "Monks of Catalonia," a group of friars who establish themselves in a town with a surplus of aging husbands and a dearth of young gallants. Under the guise of piety, they instruct the local women that "Paradise" is barred to those who keep their charms exclusively for their spouses. They introduce the concept of a "tithe"—a tax of intimacy paid to the clergy—and convince the townswomen that this transaction is a holy duty. The women, earnest in their religious zeal, flock to the chapel to pay these debts. The system operates with such efficiency and enthusiasm that the friars are eventually overwhelmed by the sheer volume of "donations." The ruse is only uncovered when a woman, wishing to be particularly punctual, attempts to settle her account in the middle of the night, prompting her husband to demand an explanation. Once the truth is out, the town’s collective fury is swift; the husbands, finding no justice in the courts, trap the monks in a barn and set it ablaze, effectively ending the friars' reign over the town.

The narrative tone shifts to a lighter, more intimate scale in "The Cradle," set at a humble inn near the road to Rome. Here, the drama is driven not by religious exploitation, but by the frantic, comic mechanics of a secret romance. A young man named Pinucio has long pursued the innkeeper’s daughter, Coletta, but finds the girl’s parents a constant barrier. During a storm, Pinucio and a friend secure a room at the inn, where the family and guests all sleep in close quarters. Through a series of misadventures involving the movement of a child’s cradle—which serves as a guide for who is sleeping where—the characters end up in the wrong beds. In the dark, the innkeeper’s wife mistakes the friend for her husband, while Pinucio steals into the daughter’s bed. The farce reaches its peak when the friend rises in the night, shifts the cradle, and accidentally creates a map that leads the confused participants into the wrong arms. When the husband wakes to find the visitors talking about their romantic "conquests" in the dark, he is ready to commit murder, until the quick-witted friend pretends that Pinucio is merely a sleepwalker prone to drunken delusions. The ruse works, the family is pacified, and the secret remains, allowing the characters to move on with their lives in a state of carefully maintained ignorance.

How It Unfolds

The clerical deception The monks arrive in a small town and establish a theology based on the idea that romantic neglect of one's husband is a sin, while sharing one's favors with the clergy is a holy tithe. They successfully weaponize the local women’s religious insecurity to create a system of systematic exploitation.

The inevitable exposure A husband is startled when his wife insists on leaving the house at midnight to pay a "tithe" to the friars. His confusion quickly turns to rage as he realizes the entire town is participating in the same arrangement.

The swift resolution The community turns on the monks with lethal intent, opting for vigilante justice over a legal process. They incinerate the convent, ensuring the friars pay for their hypocrisy in the most final way possible.

The accidental encounter Two travelers arrive at an inn during a storm, setting the stage for a comedy of errors. The arrangement of the room, centered around a cradle, becomes the pivot point for the night’s confusion.

The nocturnal mix-up As the inhabitants of the room shift positions in the dark, they mistake their partners, leading to a series of unintended romantic entanglements. The movement of the cradle acts as a silent, misleading guide that keeps everyone in the wrong place.

The narrow escape When the innkeeper discovers the betrayal, the friend invents a story about a sleepwalking, drunken companion to deflect suspicion. The lie is just flimsy enough to be believed by an innkeeper who prefers to avoid public scandal, and the crisis dissolves as quickly as it began.

The People

The monks, led by figures like Andrew, are the primary architects of the deception. They are calculating and eloquent, using the language of salvation to mask their own appetites. They view their position in the town as a "holy vineyard," manipulating the innocence of the women for their own comfort.

The wives, including the nameless wife who inadvertently exposes the plot, are characterized by a strange blend of piety and pragmatism. They are not victims so much as participants who have been convinced that their actions are a form of spiritual service. They are the ones who drive the monks' success, often arguing over who gets to pay their "due" first.

The innkeeper is a man who values his peace and his reputation above all else. He is a simple figure, easily fooled by the ruse of the sleepwalker because he lacks the imagination to suspect the depth of the deception. His rage is authentic, but it is ultimately silenced by his desire to keep the shame of the encounter behind closed doors.

Pinucio and his friend are the catalysts for the comedy. Pinucio is a devoted, if slightly foolish, lover, while his friend acts as the strategic mind of the duo. The friend’s ability to think quickly under pressure—transforming a near-death experience into a misunderstanding about sleepwalking—is what ultimately saves them. They are not necessarily malicious, but they are opportunistic, taking advantage of the chaotic environment of the inn to pursue their own desires.

In Its Own Voice

The beauteous FAIR encircle with their net, And, of the feeling heart, possession get: Work in the holy vineyard, you may guess.

The monks use this metaphor to describe their calculated strategy of seducing the women under the guise of religious instruction.

'Tis right, however, that I now suggest, Whatever passes must not be expressed; But naught to husbands, parents, friends, reveal.

The monks mandate secrecy to ensure that their "tithes" remain an unspoken arrangement between themselves and the town's wives.

Pinucio took the hint, pretended sleep, And carried on so artfully the wile, The husband no suspicion had of guile.

After being caught, the friend maneuvers the innkeeper into believing a lie, allowing the travelers to escape the consequences of their night in the inn.

What It's Really About

At its core, the writing explores the tension between human nature and the strictures of social and religious morality. The stories argue that when you create a system that ignores the fundamental desires of the human heart, you invite corruption. The monks and the lovers alike show that people will find ways to satisfy their appetites, whether through elaborate theological justifications or the frantic improvisation of a night at an inn. There is a deep, cynical awareness here that people are easily led when their own desires are framed as moral imperatives or hidden behind the cloak of "prudence." The work asks how much of our public virtue is merely a lack of opportunity to be otherwise, and whether the "truth" is something we actually want to uncover when it threatens our peace.

Why Read It Today

Readers who enjoy a dry, observational wit and are not easily shocked by the bawdiness of pre-modern literature will find much to admire here. The reading experience is like listening to a clever, slightly scandalous gossip who has a keen eye for human hypocrisy. It is a brisk, rhythmic journey that prioritizes sharp irony over long-winded moralizing.

However, the reader should be prepared for the period’s attitudes toward women and the clergy, which are presented with a frankness that can feel jarring. The women, in particular, are often depicted as either easily duped or entirely focused on the mechanics of their own desires, reflecting the limited social roles available to them at the time. The language, while translated into a polished English verse, retains a certain formality that demands a steady, patient pace. The humor is not subtle, yet it possesses a sophistication that rewards the reader who values a well-turned phrase and a cynical, "seen it all" perspective. If you are looking for a book that treats the absurdity of human behavior as something to be laughed at rather than judged, this collection provides a timeless, if biting, mirror. It is a reminder that the messy, often foolish ways we navigate love and power have changed very little over the centuries.