FABLE XVIII
by John Gay · from Fables of John Gay (Somewhat Altered)
Adapted Version
Once, there was a painter. The painter liked to paint pictures. He painted pictures of people. His studio was a small, bright room. It had a big window. He had many paints on a table. He had red paint. He had blue paint. And he had yellow paint. He loved to paint all day long.
He painted what he saw. A man came to him. The man had a big nose. The painter painted the big nose. The man looked at his picture. He was sad. A woman came to him. The woman had small ears. The painter painted the small ears. The woman looked at her picture. She was sad too. People looked at their pictures. They frowned. They shook their heads. They did not want the pictures.
The painter was sad too. No one wanted his pictures. His room was quiet and empty. He sat on his chair for many days. He did not touch his paints. "What can I do?" he thought. He thought all day and all night. Then, he had a good idea. A very good idea!
He went to a big toy shop. He found two beautiful dolls. One was a handsome prince doll. The prince had kind, blue eyes. He had a big, warm smile. He looked strong and brave. The other doll was a pretty princess. The princess had long, soft hair. Her dress was pink. Her smile was sweet and gentle. He put the dolls on a special table.
A man came. He looked very tired and plain. The painter said, "Please sit down." The painter looked at the prince doll. Then he looked at the man. He started to paint. He made the man look like the prince. "It is finished," the painter said. He showed him the picture. "You look very handsome!" he said. The man saw his picture. His eyes grew wide. He was not sad. He was very happy! He smiled a big smile. "This is wonderful! Thank you!" he said.
The next day, a lady came. She looked worried and sad. The painter smiled at her. He looked at the princess doll. He started to paint her picture. He made the lady look like the princess. The lady saw her picture. She gasped. She was very happy. Her friend saw the picture later. "Wow!" said the friend. "It is so pretty! You look like a true princess!"
Soon, everyone wanted a picture from the painter. The news traveled fast. Men came and women came. Young people came and old people came. The painter's room was always full of people. They were all excited. The painter made many, many happy pictures. The painter was happy. All the people were happy. They all loved their beautiful, happy pictures.
Original Story
FABLE XVIII.
The Unsatisfactory Painter.
Lest captious men suspect your story,
Speak modestly its history.
The traveller, who overleaps the bounds
Of probability, confounds;
But though men hear your deeds with phlegm,
You may with flattery cram them.
Hyperboles, though ne'er so great,
Will yet come short of self-conceit.
A painter drew his portraits truly,
And marked complexion and mien duly;—
Really a fellow knew the picture,
There was nor flattery nor delicture.
The eyes, and mouth, and faulty nose,
Were all showed up in grim repose;
He marked the dates of youth and age—
But so he lost his clientage:
The which determined to recover,
He turned in mind the matter over.
He bought a pair of busts—one, Venus,
The other was Apollo Phœbus;
Above his subject client placed them,
And for the faulty features traced them.
Chatted the while of Titian's tints,
Of Guido—Raphael—neither stints
To raise him to the empyrëal,
Whilst he is sketching his ideal.
He sketches, utters, "That will do:
Be pleased, my lord, to come and view."
"I thought my mouth a little wider."
"My lord, my lord, you me deride, ah!"
"Such was my nose when I was young."
"My lord, you have a witty tongue."
"Ah well, ah well! you artists flatter."
"That were, my lord, no easy matter."
"Ah well, ah well! you artists see best."
"My lord, I only (aside) earn my fee best."
So with a lady—he, between us,
Borrowed the face and form of Venus.
There was no fear of its rejection—
Her lover voted it perfection.
So on he went to fame and glory,
And raised his price—which ends the story;—
But not the moral,—which, though fainter,
Bids one to scorn an honest painter.
Story DNA
Moral
People often prefer flattering lies over uncomfortable truths, and those who cater to vanity may find more success than those who are honest.
Plot Summary
An honest painter initially loses clients because his portraits accurately depict their flaws. To regain business, he decides to flatter his subjects by idealizing their features, using classical busts as inspiration, and showering them with compliments. This new approach, though dishonest, proves highly successful, leading him to fame and increased prices. The fable concludes by highlighting that people often prefer flattering falsehoods over unvarnished truths, even if it means scorning an honest artist.
Themes
Emotional Arc
frustration to success (for the painter) / truth to delusion (for the clients)
Writing Style
Narrative Elements
Cultural Context
John Gay was known for his satirical fables, often critiquing societal norms and human foibles of his time.
Plot Beats (11)
- The narrator introduces the idea that people prefer flattery to unvarnished truth.
- A painter is introduced who initially paints portraits with unflinching accuracy, capturing all flaws.
- Because of his truthful depictions, the painter loses clients who are displeased with their true likenesses.
- Determined to regain his business, the painter devises a new strategy.
- He buys busts of Venus and Apollo to use as idealized models for his portraits.
- When painting a male client, he places the bust of Apollo above the client and sketches idealized features, while simultaneously flattering the client with compliments about his youth and wit.
- The client, despite noticing discrepancies, accepts the flattering portrait.
- The painter applies the same strategy to a female client, borrowing the face and form of Venus for her portrait.
- The lady's lover praises the idealized portrait as perfection, ensuring its acceptance.
- The painter achieves fame and financial success by consistently flattering his clients, raising his prices.
- The fable concludes by stating the moral: people scorn an honest painter in favor of one who flatters.
Characters
The Painter ★ protagonist
Of average height and build, with hands stained from his craft. His posture likely reflects long hours spent at an easel, perhaps a slight stoop from leaning over his work.
Attire: Practical, durable clothing suitable for an artist in the 18th century, such as a simple linen shirt, a waistcoat, and breeches, possibly covered by a smock or apron to protect his clothes from paint. Colors would be muted and functional.
Wants: To earn a living and gain clientage, which evolves from honest work to financial success through flattery.
Flaw: His initial honesty cost him clients; his later weakness is a willingness to flatter and deceive for financial gain, compromising his artistic integrity.
Transforms from an honest but struggling artist to a successful and wealthy one by abandoning his integrity and embracing flattery.
Initially honest and meticulous, later pragmatic and adaptable, somewhat cynical, and ultimately successful due to his willingness to compromise his artistic integrity for profit.
Image Prompt & Upload
An adult male painter, of average height and lean build, standing upright, facing forward, full body visible from head to toe. He has a pale complexion, a focused expression, and dark brown hair tied back simply. He wears a practical, dark green linen waistcoat over a cream-colored linen shirt, dark breeches, and sturdy leather shoes. A paint-splattered canvas apron is tied over his clothes. He holds a wooden palette in his left hand and a fine paintbrush in his right, with a slight, knowing smirk on his lips. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Lord ◆ supporting
Likely a man of some means, possibly showing signs of age, as he comments on his younger appearance. He would have a comfortable, perhaps slightly portly, build consistent with his social status.
Attire: Rich, fashionable 18th-century aristocratic attire, such as a velvet coat, an embroidered waistcoat, silk breeches, and buckled shoes. Colors would be vibrant and indicative of wealth.
Wants: To have a portrait that flatters his appearance and reflects his idealized self-image.
Flaw: His vanity and susceptibility to flattery.
Remains unchanged, serving as a catalyst for the painter's transformation.
Vain, self-important, enjoys flattery, and has a witty, somewhat self-deprecating sense of humor, but ultimately prefers an idealized image of himself.
Image Prompt & Upload
An elderly nobleman, of medium height and a slightly portly build, standing upright, facing forward, full body visible from head to toe. He has a fair complexion, a slightly wider mouth, and a prominent nose. His hair is a powdered white wig, styled in tight curls. He wears a rich, deep blue velvet frock coat with gold embroidery, a cream silk waistcoat, and matching blue breeches. His posture is confident and slightly self-satisfied. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
The Lady ◆ supporting
Implied to be beautiful, as her portrait is modeled after Venus. She would possess a graceful figure and delicate features.
Attire: An exquisite 18th-century gown made of silk or satin, with a wide skirt supported by panniers, intricate lace details, and possibly a low neckline. Colors would be soft and luxurious, such as pastel pinks, blues, or creams.
Wants: To have a portrait that enhances her beauty and pleases her lover.
Flaw: Her vanity and desire for an idealized image.
Remains unchanged, serving as a further example of the painter's successful new approach.
Vain, desirous of beauty and admiration, and pleased by flattery, especially from her lover.
Image Prompt & Upload
A young aristocratic woman, slender and graceful, standing upright, facing forward, full body visible from head to toe. She has fair skin, delicate features, and large, expressive eyes. Her light brown hair is styled elaborately with soft curls and adorned with a small ribbon. She wears a luxurious pale pink silk gown with a wide skirt, lace trim, and a fitted bodice. Her posture is elegant and poised, with a serene, slightly pleased expression. Plain white background, full body visible head to toe, single figure, no watermark, no text, no signature.
Locations
The Painter's Studio
An artist's studio, likely in a European city, where portraits are created. Initially, it is a place of stark realism, but later transforms to accommodate flattery, with classical busts of Venus and Apollo prominently displayed.
Mood: Initially pragmatic and honest, later shifting to a more artful, flattering, and commercially driven environment.
The painter creates portraits, first with unflinching realism, then with flattering idealization to regain clients and achieve fame.
Image Prompt & Upload
A sunlit artist's studio in a 17th-century European city, perhaps with tall windows letting in soft, diffused light. Canvases lean against walls, and an easel stands center with a partially finished portrait. On a nearby pedestal, a white marble bust of Venus and another of Apollo Phœbus are prominently displayed, catching the light. Paint pots and brushes are neatly arranged on a wooden table. no border, no frame, no watermark, no text, no signature, edge-to-edge illustration.
