It only remains to speak of the life of Æsop, whose biography by Planudes is almost universally regarded as fabulous. It is supposed that this writer formed the design of attributing a character and adventures to his hero which should bear some resemblance to his fables. This criticism, at first glance, appeared to me sufficiently specious, but I have since found that it has no solid basis. It is partly founded on what took place between Xantus and Æsop, and the quantities of nonsense there contrasted. To which I reply, Who is the sage to whom such things have not happened? The whole of the life even of Socrates was not serious; and what confirms me in my favourable opinion is, that the character which Planudes gives to Æsop is similar to that which Plutarch gives him in his Banquet of the Seven Wise Men--that is, the character of a keen and all-observant man. It may be objected, I know, that the Banquet of the Seven Wise Men is in itself a fiction; and I admit that it is possible to be doubtful about everything. For my own part, I cannot well see why Plutarch should have desired to deceive posterity on this subject, when he has professed to be truthful on every other, and to give to each of his personages his real character. But however this may be, I would ask, Shall I be less likely to be believed if I endorse another man's falsehoods than if I invented some of my own? I might certainly fabricate a tissue of conjectures, and entitle them the "Life of Æsop;" but whatever air of genuineness it might wear, no one could rely upon such a work, and, if he must put up with fiction, the reader would always prefer that of Planudes to mine. [1] Before the year 1668, when the present collection of fables was first published. Fontaine had already published a few separately, and others had circulated in manuscript. [2] Patru, a celebrated lawyer, a member of the French Academy, and one of La Fontaine's friends, who made a strange mistake in trying to divert him from a species of composition which has immortalised him. [3] These fables had long been known when Socrates came into the world, and the Father of Philosophy only took the trouble to render them into verse during the imprisonment which preceded his death. [4] The word Μουσιχὴ implied amongst the Greeks all the arts to which the Muses devote themselves. It comprises the employments of the mind in opposition to γυμναστιχὴ, which means the exercises of the body. La Fontaine does not give Plato's meaning quite correctly. The philosopher, at the commencement of the "Phædo," makes Socrates say that, having been several times warned in dreams by the gods to study music, he had only regarded it as an encouragement to persevere in the pursuit of truth; but that, since his imprisonment, he had given another interpretation to those warnings, and had decided that he should better obey the wishes of the gods by making verses.