INTRODUCCIÓN
by Félix María Samaniego · from Fábulas
Adapted Version
Mr. Leo was a kind teacher. He loved stories very much. The writer wrote many good stories. These stories were called Fables. Many children liked these Fables. They read them in school. The Fables helped children learn. These books were much loved. All knew these stories. Many hands held them.
But Mr. Leo saw a problem. Some books were hard to read. They did not explain new words. Children did not know these words. The books did not help them learn. Mr. Leo felt sad about this. He thought, "This is not good." He wanted to help.
Mr. Leo watched the children read. They read the Fables aloud. They said big, new words from the stories. The children did not know these words. They just said them. They did not know what they meant. The stories were not clear to them. Mr. Leo saw their trouble. He wanted them to know.
The children read about the god. Who was the god? They read about Ulysses. Who was Ulysses? They read about Asia. What was Asia? These were big names from old times. The god was an old
Original Story
INTRODUCCIÓN
Uno de los más recientes biógrafos de Samaniego decía no hace mucho (agosto de 1901), hablando de sus obras: «Sus Fábulas, que han alcanzado cientos de ediciones, corren de mano en mano, siendo obligado libro de lectura en todas las escuelas de primera enseñanza.»
Pues bien, no obstante la popularidad de estas fábulas, es tal la fuerza de la rutina, la mezquindad de ciertos editores y hasta, si se quiere, la indiferencia de los autores, que nadie ha pensado en hacer ediciones convenientemente anotadas, como las hay en Francia, muy numerosas y esmeradas, de las Fábulas de La Fontaine. Y sin embargo, pocos libros habrá que tanto lo necesiten. Los niños repiten como papagayos multitud de nombres de personas y cosas de que no se dan cuenta. He aquí en prueba de ello algunos pasajes escogidos entre mil:
¡Oh jóvenes amables
Que en vuestros tiernos años
Al templo de Minerva...
. . . . . . . . . . . . . . . .
De doradas espigas
Como Ceres rodeado.
. . . . . . . . . . . . . . . .
Pues, escuchad á Esopo,
Mis jóvenes amados.
. . . . . . . . . . . . . . . .
Júpiter que se vió con tal basura...
. . . . . . . . . . . . . . . .
No á pares, á docenas encontraba
Las monas en Tetuán....
. . . . . . . . . . . . . . . .
Simónides en Asia se enriquece....
. . . . . . . . . . . . . . . .
Ó tal vez como Ulises has corrido...
. . . . . . . . . . . . . . . .
Si con sus serenatas
El mismo Farinello....
. . . . . . . . . . . . . . . .
Que perdió las suyas
Allá en Campo Santo....
¿Qué sabe el niño quiénes fueron ó qué significan las palabras Minerva, Ceres, Esopo, Júpiter, Tetuán, Simónides, Asia, Ulises, Farinello y Campo Santo?
Y esto, dado caso que la edición sea correcta; pues tenemos á la vista dos ediciones de estas Fábulas, hechas por una de las librerías más antiguas de París (en materia de libros españoles) y en ellas faltan hasta versos enteros, lo cual hace incomprensible el texto.
Á esto se agrega la necesidad de explicar ciertas formas y palabras, ya arcaicas, ya neológicas, y ciertos giros poco usuales ó que contravienen, en parte, á las leyes corrientes del lenguaje.
Hemos creído, pues, prestar un servicio, lo mismo á los alumnos que á los profesores, ofreciéndoles una edición correcta y cuidadosamente anotada, á la que hemos agregado un Vocabulario completo de nombres mitológicos, geográficos é históricos. No dudamos que la ilustrada clase de Profesores y Directores de colegios se apresurará á adoptarla, desterrando de las aulas esas ediciones cojas, incorrectas, descuidadas, que son una afrenta para los libreros que las dan á luz, una falta de consideración á los profesores, y un ultraje á la memoria del insigne Samaniego.
M. de T. G.
Paris, 1º de diciembre de 1901.
Story DNA
Moral
It is essential to provide high-quality, annotated educational materials to ensure proper understanding and respect for classic works.
Plot Summary
The author begins by acknowledging the widespread popularity and use of Samaniego's Fables in schools. However, they lament the lack of properly annotated editions, leading children to parrot names and concepts without understanding them, unlike the well-annotated French editions of La Fontaine. The author provides numerous examples of obscure mythological, geographical, and historical references from the Fables that would be incomprehensible to young readers, further noting that many existing editions are also incorrect or contain archaic language. To remedy this, the author presents a new, carefully annotated edition with a comprehensive vocabulary, expressing confidence that enlightened educators will adopt it to replace the inferior versions and honor Samaniego's legacy.
Themes
Emotional Arc
concern to hopeful resolution
Writing Style
Narrative Elements
Cultural Context
Published in 1901, this introduction reflects early 20th-century concerns about educational material quality and the preservation of literary heritage. It also highlights the importance of classical knowledge in education at the time.
Plot Beats (11)
- A recent biographer highlights the widespread popularity and educational use of Samaniego's Fables.
- The author laments the lack of properly annotated editions of the Fables, unlike those available for La Fontaine in France.
- The author states that children often repeat names and concepts from the Fables without understanding them.
- Specific examples of unannotated names (Minerva, Ceres, Aesop, Jupiter, Tetuan, Simonides, Asia, Ulysses, Farinello, Campo Santo) are provided from the Fables.
- The author questions what children can possibly know about these uncontextualized references.
- Beyond lack of annotations, the author notes that many existing editions are incorrect, even missing entire verses.
- The author also points out the need to explain archaic or unusual words and linguistic constructions.
- The author announces the creation of a new, correct, and carefully annotated edition, including a complete mythological, geographical, and historical vocabulary.
- The author expresses belief that this new edition will serve both students and teachers.
- The author confidently expects professors and school directors to adopt this improved edition.
- The author concludes by stating that adopting the new edition will banish flawed ones, which are an insult to publishers, professors, and Samaniego's memory.
Characters
M. de T. G.
A man of average height and build, likely in his late 30s to early 50s, with a scholarly demeanor. His posture suggests long hours spent in study and writing, possibly with a slight stoop.
Attire: Dressed in the formal attire of a Parisian intellectual from 1901: a dark wool suit, likely a three-piece with a waistcoat, a crisp white collared shirt, and a dark silk cravat or tie. His clothing would be well-maintained but practical for a scholar.
Wants: To improve the quality and accessibility of Samaniego's Fables for children and educators, ensuring proper understanding and respect for the author's work.
Flaw: Potentially overly critical of existing editions, which might alienate some publishers or educators resistant to change.
The story is an introduction, so his arc is just beginning; he is presenting his solution to a perceived problem, aiming to initiate a positive change in educational publishing.
Meticulous, critical, dedicated, scholarly, reform-minded.
Félix María Samaniego
Though deceased by the time of the story, his presence is felt as the esteemed author. He would have been a man of the Spanish Enlightenment (18th century), likely of noble or educated background, suggesting a refined appearance.
Attire: Formal attire of an 18th-century Spanish intellectual or nobleman: a velvet or silk coat (justaucorps) in a rich color like deep blue or maroon, an embroidered waistcoat, lace jabot and cuffs, knee breeches, silk stockings, and buckled shoes.
Wants: To impart moral lessons and wisdom through accessible fables, entertaining and educating his readers.
Flaw: Not applicable, as he is a historical figure whose work is being discussed.
Not applicable, as he is a historical figure.
Wise, moralistic (as implied by his fables), observant, influential.
Locations
School Classroom
A typical early 20th-century Spanish or French classroom, likely with wooden desks, a blackboard, and perhaps maps or educational charts on the walls. The atmosphere is one of routine learning, where children are reciting texts.
Mood: Formal, academic, somewhat monotonous due to rote learning.
Children are forced to read and repeat fables without understanding the references, highlighting the need for annotated editions.
Parisian Bookstore/Publisher's Office
An old, established bookstore or publishing house in Paris, likely with tall shelves filled with books, a counter, and perhaps a back office where editions are reviewed. The environment suggests a place of commerce and literary production.
Mood: Professional, somewhat cluttered, reflecting the business of publishing and the oversight of literary works.
The author reviews incorrect editions of Samaniego's Fábulas, leading to the decision to create a new, annotated version. The location is where the problem of poor editions originates and where the solution is conceived.