Arabian Nights) (in 1704; another translation appeared in 1710–12), which would influence the 18th-century short stories of Voltaire, Diderot and many others. The period also saw several novels with voyages and utopian descriptions of foreign cultures (in imitation of Cyrano de Bergerac, Thomas More and Francis Bacon): Denis Vairasse – Histoire de Sévarambes (1677) Gabriel de Foigny – Les Avantures de Jacques Sadeur dans la découverte et le voyage de la Terre australe (or la Terre australe connue (1676) Tyssot de Patot – Voyages et Aventures de Jacques Massé (1710) Of similar didactic aim was Fénelon's Les Aventures de Télémaque (1694—96), which represents a classicist's attempt to overcome the excesses of the baroque novel; using a structure of travels and adventures (grafted onto Telemachus—the son of Ulysses), Fénelon exposes his moral philosophy. This novel would be emulated by other didactic novels during the 18th century. Poetry Because of the new conception of l'honnête homme (the honest or upright man), poetry became one of the principal genres of literary production of noble gentlemen and the non-noble professional writers in their patronage during the 17th century. Poetry was used for all purposes. A great deal of 17th- and 18th-century poetry was "occasional", meaning that it was written to celebrate a particular event (a marriage, birth or a military victory) or to solemnize a tragic occurrence (a death or a military defeat); this type of poetry was favored by gentlemen in the service of a noble or the king. Poetry was the chief form of 17th-century theater; the vast majority of scripted plays were written in verse (see "Theater" below). Poetry was used in satires (Nicolas Boileau-Despréaux is famous for his Satires (1666)) and epics (inspired by the Renaissance epic tradition and by Tasso) like Jean Chapelain's La Pucelle. Although French poetry during the reign of Henri IV and Louis XIII was still largely inspired by the poets of the late Valois court, some of their excesses and poetic liberties found censure—especially in the work of François de Malherbe, who criticized La Pléiade's and Philippe Desportes's irregularities of meter or form (the suppression of the cesura by a hiatus, sentence clauses spilling over into the next line—enjambement—neologisms constructed from Greek words, etc.). The later 17th century would see Malherbe as the grandfather of poetic classicism. The Pléiade poems of the natural world (fields and streams) were continued in the first half of the