Here, too, it was reserved for Grimm to restore these traditions to their true place in the history of the human mind, and to shew that the poetry which treats of them is neither satirical nor didactic, though it may contain touches of both these artificial kinds of composition, but, on the contrary, purely and intensely natural. It is Epic, in short, springing out of that deep love of nature and close observation of the habits of animals which is only possible in an early and simple stage of society. It used to be the fashion, when these Beast traditions were noticed, to point to Æsop as their original, but Grimm has sufficiently proved[1] that what we see in Æsop is only the remains of a great world-old cycle of such traditions which had already, in Æsop's day, been subjected by the Greek mind to that critical process which a late state of society brings to bear on popular traditions; that they were then already worn and washed out and moralised. He has also? hewn how the same process went on till in Phædrus nothing but the dry bones of the traditions, with a drier moral, are served up to the reader; and he has done justice on La Fontaine, who wrote with all the wanton licentiousness of his day, and frittered away the whole nature of his fables by the frivolity of his allusions to the artificial society of his time. Nor has he spared Lessing, who, though he saw through the poverty of Phædrus as compared with Æsop, and was alive to the weakness of La Fontaine, still wandered about in the classical mist which hung heavy over the learning of the eighteenth century, and saw in the Greek form the perfection of all fable, when in Æsop
- ↑ Reinhart Fuchs, Introduction.
