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This was in the context of getting the young people of the family to perform at social gatherings. Eventually the fables were learned by heart for such entertainments and afterwards they were adopted by the education system, not least as linguistic models as well. Reinforcing the work were illustrated editions, trade cards issued with chocolateIn England the bulk of children’s writing concentrated on Aesop’s fables rather than La Fontaine’s adaptations. The boundary lines began to be blurred in compilations that mixed Aesop’s fables with those from other sources. The middle section of “Modern Fables” in Robert Dodsley’s Select Fables of Esop and other fabulists (1764) contains many from La Fontaine. These are in prose but Charles Denis’ earlier collection was in verse and several authors writing poems specifically for children in the early 19th century also included versions of La Fontaine. Although there had been earlier complete translations in verse at the start of that century, the most popular was Elizur Wright’s The Fables of La Fontaine, first published in Boston in 1841 with prints by Grandville. This went through several editions, both in the United States and in Britain.
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Even a cadet branch of the Bourbon line, the Bourbon-Carencys, who were most distantly related to the Dukes of Bourbon, were denied princely rank and excluded from the Conseil du Roi until their extinction in 1530. They descended from Jean, seigneur de Carency (1378–1457), the youngest son of Jean I de Bourbon, Count of La Marche.Since 1733, all legitimate male Capetians were of the House of Bourbon, of the Vendôme branch, descended from Charles, Duke of Vendôme. Charles’ eldest son Antoine, King of Navarre, was the ancestor of the royal dynasties of France and Spain, and of the House of Orléans, while his youngest son Louis, Prince of Condé (1530–1569), was the ancestor of the House of Condé. A cadet branch of the Condés was the House of Conti, who in male line descended of Henri, Prince of Condé (1588–1646).
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