ion of a thousand livres and made him a
member of his literary household. Here La Fontaine began to write. At
the downfall of Fouquet he was constant to his friend, and produced the
best-known of his miscellaneous poems, the 'Pleurez, Nymphes de
Vaux[230].' The misfortune unsettled him for a time, and he travelled
about. But returning to his native place, he was taken into favour by
the Duchess of Bouillon, and this was the beginning of a series of
patronages which lasted till the end of his life. Once more visiting
Paris, he became a favourite with many men and women of rank, and began
his serious literary work by producing the first part of his _Contes_.
The remaining parts and the _Fables_ appeared at intervals during the
remainder of his life. His second visit to Paris brought about his
traditional association with Boileau, Moliere, and Racine, the four
meeting at regular intervals, either in taverns or at lodgings in the
Rue Vieux Colombier. During the later years of his life La Fontaine was
a confirmed Parisian. His office at Chateau Thierry had been sold, and
he was the guest of various hospitable persons, the chief of whom was
Madame de la Sabliere. In 1668 appeared the first part of the _Fables_
with universal approval. But the free character of the _Contes_, and
still more the association of La Fontaine with some of the freethinkers
who were in ill-repute with the king's spiritual advisers, retarded his
admission to the Academy. When Colbert died, La Fontaine and Boileau
were the two candidates; an awkward accident, considering their
friendship, and the fact that the court was as decidedly for Boileau as
the Academy itself for La Fontaine. The latter was elected, but the king
delayed his assent, and even seemed likely to exercise a veto, when
fortunately a second vacancy occurred, and Boileau being elected, both
were approved by the king, Boileau warmly, La Fontaine with the
grudging terms 'Vous pouvez recevoir La Fontaine; il a promis d'etre
sage.' A curious warning of a similar tenor was contained in the
'Discours de Reception.'

La Fontaine's work is considerable, including many miscellaneous poems,
the romance of _Psyche_, and various dramatic attempts which were more
or less failures. But the _Contes_ and the _Fables_ are the only works
which have held their ground with posterity, and it is upon them that
his reputation is justly based. The first part of the _Contes_ appeared
at the extreme end of 1664[23