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dc.contributor.authorBiard, J. Den_US
dc.date.accessioned2016-01-25T20:15:37Z
dc.date.available2016-01-25T20:15:37Z
dc.date.issued1966en_US
dc.identifier.other8169 (Access ID)en_US
dc.identifier.urihttp://hdl.handle.net/10504/83411
dc.description.abstractThis is, in one respect, a strange book. It is on the one hand immensely helpful to someone like me. It will be a rich resource on any number of stylistic questions about La Fontaine's fables the next time I can teach them. It is unusual to have such a helpful book published in English. That is the other side of the conundrum here. A reader of this book needs good French; that is not an unusual demand, since the reader will need good French to understand La Fontaine's style in the fables in the first place. Why, then, was this book written in English? Any number of stylistic devices are considered here. Biard's introduction puts the case for the book well: the almost unanimous acknowledgment of La Fontaine's stylistic merits has given rise to a relatively small number of serious studies of his style (xi). His conclusion has this simple affirmation: The rich and intriguing style of the 'Fables' constitutes their most durable merit (184). For Biard, what others have seen as stylistic failures in La Fontaine are often, even regularly, misunderstandings where the fault lies with the critic's ignorance of seventeenth-century language and syntax, or his lack of appreciation of imagery, or his rigid conformity to the letter of the rules of composition. The flyleaf's overview of the book is not bad: The aim of this study is to give a general and comprehensive assessment of La Fontaine's style in the Fables. Chapters are devoted to each of the most striking aspects of this style: richness, vigour and freedom; familiarity; humour; elegance; poetry. Reconstruction of seventeenth-century stylistic values has been attempted with reference to the theorists of the time. This method has proved rewarding since it reveals, in the language of the Fables, implications and ambiguities, sometimes lost for the modern reader but probably obvious to the poet's contemporaries, and used for a variety of effects: humour, poetry, etc. These implications and ambiguities fit in well with what is known of La Fontaine's taste and skill, and represent yet another aspect of his tendency to combine fullness and diversity of meaning with exacting relevance, which is one of the most pleasurable features of his style.en_US
dc.description.statementofresponsibilityJean Dominique Biarden_US
dc.languageengen_US
dc.publisherBasil Blackwellen_US
dc.subject.lccPQ1808.B5 1966en_US
dc.titleThe Style of La Fontaine's Fablesen_US
dc.typeBook, Whole
dc.publisher.locationOxforden_US
dc.url.link1http://creighton-primo.hosted.exlibrisgroup.com/primo_library/libweb/action/search.do?fn=search&ct=search&initialSearch=true&mode=Basic&tab=default_tab&indx=1&dum=true&srt=rank&vid=01CRU&frbg=&tb=t&vl%28freeText0%29=991001036419702656&scp.scps=scope%3A%2801CRU%29%2Cscope%3A%2801CRU_ALMA
dc.acquired.locationUnknown sourceen_US
dc.cost.usCost: $12.50en_US
dc.date.acquired1989-05en_US
dc.date.printed1966en_US
dc.description.bindingThis is a hardbound book (hard cover)en_US
dc.description.note3First printingen_US
dc.fables.otherExtra copy: 8170en_US
dc.printer.locationGreat Britainen_US
dc.subject.local1Jean de La Fontaineen_US
dc.subject.local4Title Page Scanneden_US
dc.title.seriesLanguage and Style Seriesen_US
dc.time.yr1966


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