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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.