LIBRO SÉPTIMO
by Félix María Samaniego
Short Animal Stories for Little Learners
Hello, little friends! Today, we have stories about animals and people. Each story has a special lesson. Let's begin!
A quiet Owl lives in a big barn. He sits very still on a beam. He thinks he is very smart. He feels very clever. He does not talk much. A kind Man sees the Owl. The Man asks, "Why are you quiet?" The Owl says, "I am wise. Other birds like me. They watch me. They look at me." The Man smiles. He says, "No, Owl. They do not like you. They think you are silly." The Owl is surprised. The Man says, "Being quiet is good. But listening to others is better." It is good to listen to others.
A hungry Monkey finds a green nut. He wants to eat it now. He is very eager. He tries to open it with his hands. It is very hard. His hands hurt. He bites it with his teeth. It tastes very bad. He makes a face. The Monkey throws the nut away. He is still hungry. He feels sad. He did not wait for the nut to ripen. He did not try to open it with a strong stone. He gave up too fast. He should be patient. It is good to try again!
Aesop is a wise man. He knows many things. He plays with children. He laughs and runs with them. They have much fun. A man sees Aesop. The man looks puzzled. The man asks, "Why do you play?" Aesop holds a bow. He says, "This bow needs rest." It cannot be tight always. "If I pull it always, it will break." "Our minds need rest too." "We need to play and rest." It is good to rest and play.
Many animals live in the forest. They live in peace. They wish they were different. They look at others. A Fox says, "I wish I had wings." He wants to fly high. A Bird says, "I wish I could swim." She wants to dive deep. A Fish says, "I wish I could run." He wants to run fast. The Wise Leader calls them. He gathers them all. He says, "You are all special." "You are good just as you are." You are perfect. "Each one is unique." "Be happy with yourself." It is good to be yourself.
A Goat has a long beard. It is soft and white. He wants to look special. He wants a new style. He shaves his beard off. Now he looks very different. His chin is bare. He walks around the farm. Other animals look at him. They stare and stare. They do not know him. The Goat feels a bit silly. He misses his long beard. He feels a bit sad. He learns to love his beard. It is good to be happy with how you look.
Original Story
LIBRO SÉPTIMO
FÁBULA PRIMERA
El Raposo enfermo.
El tiempo, que consume de hora en hora Los fuertes murallones elevados, Y lo mismo devora Montes agigantados, Á un Raposo quitó de día en día Dientes, fuerza, valor, salud, de suerte Que él mismo conocía Que se hallaba en las garras de la muerte. Cercado de parientes y de amigos, Dijo en trémula voz y lastimera: —¡Oh vosotros, testigos De mi hora postrera, Atentos escuchad un desengaño! Mis ya pasadas culpas me atormentan, Ahora conjuradas en mi daño. ¿No véis cómo á mi lado se presentan? Mirad, mirad los gansos inocentes, Con su sangre teñidos, Y los pavos en partes diferentes Al furor de[\[351\]](#Footnote_351_351) mis garras divididos. Apartad esas aves que aquí veo, Y me piden sus pollos devorados; Su infernal cacareo[\[352\]](#Footnote_352_352) Me tiene los oídos penetrados.— Los Raposos le afirman con tristeza (No sin lamerse labios y narices) —Tienes debilitada la cabeza, Ni una pluma se ve de cuanto dices. Y bien lo puedes creer que si se viese... —¡Oh glotones! callad: ya os entiendo, El enfermo exclamó: ¡si yo pudiese Corregir las costumbres cual pretendo! ¿No sentís que los gustos, Si son contra la paz de la conciencia, Se cambian en disgustos? Tengo de esta verdad gran experiencia. Expuestos á las trampas y á los perros, Matáis y perseguís á todo trapo[\[353\]](#Footnote_353_353) En la aldea gallinas, y en los cerros Los inocentes lomos del gazapo[\[354\]](#Footnote_354_354). Moderad, hijos míos, las pasiones, Observad vida quieta y arreglada, Y con buenas acciones Ganaréis opinión muy estimada. —Aunque nos convirtamos en corderos, Le respondió un oyente sentencioso, Otros han de robar los gallineros[\[355\]](#Footnote_355_355) Á costa de la fama del Raposo. Jamás se cobra la opinión perdida: Esto es lo uno; á más, ¿usted pretende Que mudemos de vida? Quien malas mañas ha... ya usted me entiende. —Sin embargo, hermanito, crea, crea... El enfermo le dijo. ¡Mas qué siento!... ¿No oís que una gallina cacarea? Esto sí que no es cuento.— Á Dios, sermón; escápase la gente. El enfermo orador esfuerza el grito: —¿Os váis, hermanos? Pues tened presente Que no me haría daño algún pollito.
FÁBULA II
Las Exequias de la Leona.
En su regia caverna, inconsolable, El rey León yacía[\[356\]](#Footnote_356_356), Porque en el mismo día Murió (¡cruel dolor!) su esposa amable. Á palacio la corte toda llega, Y en fúnebre aparato se congrega. En la cóncava gruta resonaba Del triste rey el doloroso llanto. Allí los cortesanos entre tanto También gemían, porque el rey lloraba; Que si el viudo monarca se riera, La corte lisonjera Trocara en risa el lamentable paso. Perdone la difunta, voy al caso. Entre tanto sollozo El Ciervo no lloraba (yo lo creo), Porque lleno de gozo Miraba ya cumplido su deseo. La tal reina le había devorado Un hijo y la mujer al desdichado. El Ciervo, en fin, no llora; El concurso lo advierte, El monarca lo sabe, y en la hora Ordena con furor darle la muerte. —¿Cómo podré llorar, el Ciervo dijo, Si apenas puedo hablar de regocijo? Ya disfruta, gran rey, más venturosa Los elíseos campos vuestra esposa: Me lo ha revelado á la venida, Muy cerca de la gruta, aparecida: Me mandó lo callase algún momento[\[357\]](#Footnote_357_357), Porque gusta mostréis el sentimiento.— Dijo así, y el concurso cortesano Aclamó por milagro la patraña[\[358\]](#Footnote_358_358). El Ciervo consiguió que el soberano Cambiase en amistad su fiera saña. *Los que en la indignación han incurrido* *De los grandes señores,* *Á veces su favor han conseguido* *Con ser aduladores.* *Mas no por esto advierto* *Que el medio sea justo; pues es cierto* *Que á más príncipes vicia* *La adulación servil, que la malicia.*
FÁBULA III
El Poeta y la Rosa.
Una fresca mañana En el florido campo Un Poeta buscaba Las delicias de mayo. Al peso de las flores Se inclinaban los ramos, Como para ofrecerse Al huésped solitario. Una Rosa lozana, Movida al aire blando, Le llama, y él se acerca; La toma, y dice ufano: —Quiero, Rosa, que vayas No más que por un rato Á que la hermosa Clori[\[359\]](#Footnote_359_359) Te reciba en su mano. Mas no, no, pobrecita[\[360\]](#Footnote_360_360), Que si vas á su lado, Tendrás de su hermosura Unos celos amargos. Tu süave fragancia, Tu color delicado, El verdor de tus hojas, Y tus pimpollos caros Entre estas florecillas Pueden ser alabados; Mas junto á Clori bella Es locura pensarlo. Marchita, cabizbaja Te irías deshojando, Hasta parar tu vida En un desnudo cabo. La Rosa, que hasta entonces No despegó sus labios, Le dijo resentida: —Poeta chabacano, Cuando á un héroe quieras Coronar con el lauro, Del jardín de sus hechos Has de cortar los ramos. *Por labrar su corona*,[\[361\]](#Footnote_361_361)
*No es justo que tus manos* *Desnuden otras sienes* *Que la virtud y el mérito adornaron.*
FÁBULA IV
El Buho y el Hombre.
Vivía en un granero retirado Un reverendo Buho, dedicado Á sus meditaciones, Sin olvidar la caza de ratones. Se dejaba ver poco, mas con arte: Al Gran Turco imitaba en esta parte. El dueño del granero Por azar advirtió que en un madero El pájaro nocturno Con gravedad estaba taciturno. El Hombre le miraba, se reía: —¡Qué carita de pascua! le decía. ¿Puede haber más ridículo visaje? Vaya, que eres un raro personaje. ¿Por qué no has de vivir alegremente Con la pájara gente[\[362\]](#Footnote_362_362), Seguir desde la aurora Á la turba canora De jilgueros, calandrias, ruiseñores, Por valles, fuentes, árboles y flores? —Piensas á lo vulgar: eres un necio, Dijo el solemne Buho con desprecio: —Mira, mira ignorante, Á la sabiduría en mi semblante; Mi aspecto, mi silencio, mi retiro Aun yo mismo lo admiro. Si rara vez me digno, como sabes, De visitar la luz, todas las aves Me siguen y rodean; desde luego Mi mérito conocen: no lo niego. —¡Ah, tonto, presumido! (El hombre dijo así) ten entendido Que las aves, muy lejos de admirarte, Te siguen y rodean por burlarte. De ignorante orgulloso te motejan, Como yo á aquellos hombres que se alejan Del trato de las gentes, Y con extravagancias diferentes Han llegado á doctores en la ciencia De ser sabios no más que en la apariencia. *De esta suerte de locos* *Hay hombres como buhos, y no pocos.*
FÁBULA V
La Mona.
Subió una Mona á un nogal Y cogiendo una nuez verde, En la cáscara la muerde; Con que la[\[363\]](#Footnote_363_363) supo muy mal. Arrojóla el animal, Y se quedó sin comer. *Así suele suceder* *Á quien su empresa abandona,* *Porque halla, como la Mona,* *Al principio que vencer.*
FÁBULA VI
Esopo y un Ateniense.
Cercado de muchachos, Y jugando á las nueces, Estaba el viejo Esopo Más que todos alegre. —¡Ah pobre! ¡ya chochea! Le dijo un Ateniense. En respuesta el Anciano Coge un arco que tiene La cuerda floja, y dice: —Ea, si es que lo entiendes, Dime, ¿qué significa El arco de esta suerte?— Lo examina el de Atenas, Piensa, cavila, vuelve, Y se fatiga en vano, Pues que no lo comprende. El Frigio[\[364\]](#Footnote_364_364) victorioso Le dijo:—Amigo, advierte, Que romperás el arco Si está tirante siempre: Si flojo, ha de servirte, Cuando tú lo quisieres. *Si al ánimo estudioso* *Algún recreo dieren,* *Volverá á sus tareas* *Mucho más útilmente.*
FÁBULA VII
Demetrio y Menandro.
*Si te falta el buen nombre,* *Fabio en vano presumes* *Que en el mundo te tengan por grande[\[365\]](#Footnote_365_365) hombre* *Si más que por tus galas y perfumes.* Demetrio el faleriano[\[366\]](#Footnote_366_366) se apodera De Atenas; y aunque fué con tiranía, De agradable manera Los del vulgo le aclaman á porfía. Los grandes y los nobles distinguidos Con fingido placer la mano besan Que los tiene oprimidos. Aun á los que en el ocio se embelesan, Y á la poltrona gente Los arrastra el temor al cumplimiento: Con ellos va Menandro juntamente, Dramático escritor de gran talento, Cuyas obras leyó, sin conocerle, Demetrio. Con perfumes olorosos Y pasos afectados entra: al verle Llegar entre los tardos perezosos, El nuevo arconte[\[367\]](#Footnote_367_367) prorrumpió enojado: —¿Con qué valor se pone en mi presencia Ese hombre afeminado? —Señor, le respondió la concurrencia, Es Menandro, el autor.—Al punto muda De semblante el tirano: Al escritor saluda, Y con grata expresión le da la mano.
FÁBULA VIII
Las Hormigas.
Lo que hoy las hormigas son, Eran los hombres antaño: De lo propio y de lo extraño Hacían su provisión. Júpiter, que tal pasión Notó de siglos atrás, No pudiendo aguantar más, En Hormigas los transforma. *Ellos mudaron de forma. ¿Y de costumbres? Jamás.*
FÁBULA IX
Los Gatos escrupulosos.
Á las once, y aun más de la mañana, La cocinera Juana, Con pretexto de hablar á la vecina, Se sale, cierra, y deja en la cocina *Á Micifuf* y *Zapirón* hambrientos. Al punto (pues no gastan cumplimientos Gatos enhambrecidos) Se avanzan á probar de los cocidos. —¡Fú, dijo *Zapirón*, maldita olla! ¡Cómo abrasa! Veamos esa polla Que está en el asador lejos del fuego.— Ya también escaldado, desde luego Se arrima *Micifuf*, y en un instante Muestra cada trinchante[\[368\]](#Footnote_368_368) Que en el arte cisoria[\[369\]](#Footnote_369_369), sin gran pena, Pudiera dar lecciones á Villena. Concluído el asunto, El señor *Micifuf* tocó este punto: *Utrum*[\[370\]](#Footnote_370_370), si se podía ó no en conciencia Comer el asador.—¡Oh qué demencia! (Exclamó *Zapirón* en altos gritos) ¡Cometer el mayor de los delitos! ¿No sabes que el herrero Ha llevado por él mucho dinero, Y que, si bien la cosa se examina, Entre la batería de cocina[\[371\]](#Footnote_371_371) No hay un mueble más serio y respetable? Tu pasión te ha engañado, miserable.— *Micifuf* en efecto Abandonó el proyecto; Pues eran los dos Gatos De suerte timoratos Que si el diablo, tentando sus pasiones, Les pusiese asadores á millones, (No hablo yo de las pollas) ó me engaño, Ó no comieran uno en todo el año.
De otro modo.
¡Qué dolor! por un descuido *Micifuf* y *Zapirón* Se comieron un capón En un asador metido. Después de haberse lamido, Trataron en conferencia Si obrarían con prudencia En comerse el asador. *¿Lo comieron? No señor; Era caso de conciencia.*
FÁBULA X
El Águila y la Asamblea de los animales.
Todos los Animales cada instante Se quejaban á Júpiter tonante De la misma manera Que si fuese un alcalde de montera[\[372\]](#Footnote_372_372). El dios (y con razón) amostazado, Viéndose importunado, Por dar fin de una vez á las querellas, En lugar de sus rayos y centellas, De recetor[\[373\]](#Footnote_373_373) envia desde el cielo Al águila rapante, que de un vuelo En la tierra juntó los animales, Y expusieron en suma cosas tales[\[374\]](#Footnote_374_374): Pidió el León la astucia del Raposo, Éste de aquél lo fuerte y valeroso; Envidia la Paloma al Gallo fiero; El Gallo á la Paloma en lo ligero; Quiere el Sabueso patas más felices, Y cuenta como nada sus narices. El Galgo lo contrario solicita; Y en fin (¡cosa inaudita!) Los peces, de las ondas ya cansados, Quieren poblar los bosques y los prados; Y las bestias, dejando sus lugares, Surcar las olas de los anchos mares. Después de oírlo todo, El Águila concluye de este modo: —«¿Ves, maldita caterva impertinente, Que entre tanto viviente De uno y otro elemento, Pues nadie está contento, No se encuentra feliz ningún destino? ¿Pues para qué envidiar el del vecino[\[375\]](#Footnote_375_375)?» Con solo este discurso Aun el bruto mayor de aquel concurso Se dió por convencido. *De modo que es sabido* *Que ya sólo se matan los humanos* *En*[\[376\]](#Footnote_376_376) *envidiar la suerte á sus hermanos.*
FÁBULA XI
La Paloma.
Un pozo pintado vió Una paloma sedienta[\[377\]](#Footnote_377_377): Tiróse á él tan violenta, Que contra la tabla dió: Del golpe al suelo cayó, Y allí muere de contado. *De su apetito guiado.* *Por no consultar al juicio,* *Así vuela al precipicio* *El hombre desenfrenado.*
FÁBULA XII
El Chivo afeitado.
—Vaya una quisicosa: Si aciertas, Juana hermosa, Cuál es el animal más presumido, Que rabia por hacerse distinguido Entre sus semejantes, Te he de regalar un par de guantes. No es el pavón[\[378\]](#Footnote_378_378), ni el gallo, Ni el león, ni el caballo, Y así no me fatigues con demandas.— ¿Será tal vez... el mono?—Cerca le andas.— ¿El mico?—Que te quemas: Pero no acertarás; no, no lo temas: Déjalo, no te canses el caletre Yo te diré cuál es: el *Petimetre*[\[379\]](#Footnote_379_379). Este vano orgulloso Pierde tiempo, doblones y reposo En hacer distinguida su figura. No para en los adornos su locura: Hace estudio de gestos y de acciones Á costa de violentas *contorsiones*. De perfumes va siempre prevenido: No quiere oler á hombre ni en descuido[\[380\]](#Footnote_380_380). Que mire, marche ó hable, En todo busca hacerse *remarcable*.[\[381\]](#Footnote_381_381) Y ¿qué consigue? Lo que todo necio: Cuanto más se distingue, más desprecio. En la historia siguiente yo me fundo: Un Chivo, como muchos en el mundo, Vano extremadamente, Se miraba al espejo de una fuente. —«¡Qué lástima, decía, Que esté mi juventud y lozanía Por siempre disfrazada Debajo de esta barba tan poblada! Y ¿cuándo? cuando en todas las naciones No tienen ni aun bigotes los varones; Pues ya cuentan que son los moscovitas[\[382\]](#Footnote_382_382), Si barbones ayer, hoy señoritas. ¡Qué cabrunos estilos tan groseros! Á bien que estoy en tierra de barberos.»— La historia fué en Tetuán, y todo el día La barberil guitarra se sentía. El Chivo fué guiado de su tono[\[383\]](#Footnote_383_383) Á la tienda de un mono, Barberillo afamado, Que afeitó al señorito de contado. Sale barbilampiño[\[384\]](#Footnote_384_384) á la campaña; Al ver una figura tan extraña, No hubo perro ni gato Que no le hiciera burla al mentecato. Los chivos le desprecian, de manera Que no hay más que decir (¡quién lo creyera!) Un respetable Macho Dicen que se rió como un muchacho.
Moral of the Story
True character and wisdom are not found in outward appearance or flattery, but in genuine actions and self-reflection.
Characters
El Raposo enfermo ★ protagonist
A gaunt, emaciated fox, visibly weakened by age and illness. His once strong frame is now frail, and his fur, likely reddish-brown, is dull and possibly matted in places. He moves with difficulty, indicating a loss of strength and agility.
Attire: None, as he is an animal.
Wants: Initially, to seek absolution and perhaps impart wisdom, but ultimately, his base instincts for food override any moral awakening.
Flaw: His insatiable gluttony and inherent predatory nature, which he cannot overcome even on his deathbed.
He attempts a deathbed repentance, confessing his 'sins' and advising his relatives to live a virtuous life. However, his true nature re-emerges when he hears a chicken, showing no real change.
Reflective, remorseful (initially), hypocritical, self-pitying, gluttonous (inherently). He expresses regret for past actions but quickly reverts to his true nature.
El León ◆ supporting
A powerful and regal lion, though currently showing signs of grief. His mane is full and majestic, but his posture is slumped in sorrow.
Attire: None, as he is an animal, but his presence exudes royalty.
Wants: To mourn his deceased wife and maintain his royal authority.
Flaw: His susceptibility to flattery and his quick temper, which can be exploited by cunning individuals.
He starts in deep grief, becomes enraged by the Deer's apparent lack of sorrow, but is then appeased and won over by the Deer's clever flattery.
Grieving, powerful, easily swayed by flattery, prone to anger, majestic.
El Ciervo ◆ supporting
A graceful and slender deer, with elegant antlers. His coat is likely a dappled brown, allowing him to blend into forest environments.
Attire: None, as he is an animal.
Wants: To avenge the death of his wife and son, and to save his own life from the Lion's wrath.
Flaw: His vengeful nature, which could have led to his demise if not for his quick thinking.
He begins as a silent, joyful observer of the Lion's grief, then faces imminent death, and finally uses his wit to escape punishment and gain the Lion's favor.
Cunning, vengeful, intelligent, quick-witted, opportunistic, a master of flattery.
El Poeta ★ protagonist
A man of artistic sensibility, likely slender or of average build, with an appreciative eye for beauty. He is out in nature, suggesting a simple yet refined appearance.
Attire: Clothing typical of an 18th-century Spanish intellectual or gentleman taking a stroll: a simple, well-fitted coat (perhaps dark blue or brown wool), a waistcoat, a white linen shirt with a cravat, and breeches. His shoes would be practical for walking, such as leather buckled shoes.
Wants: To find inspiration in nature and to praise the beauty of his beloved Clori.
Flaw: His vanity and tendency to diminish others' beauty in comparison to his beloved, leading to a rude remark.
He begins by admiring a rose and then diminishes its beauty in comparison to Clori, only to be rebuked by the Rose, learning a lesson about true praise and respect.
Romantic, appreciative of beauty, somewhat vain, prone to flattery, a bit conceited, ultimately humble.
La Rosa ◆ supporting
A fresh, lush rose in full bloom, with delicate petals and vibrant color. It is still attached to its stem with green leaves.
Attire: None, as it is a flower.
Wants: To be appreciated for its own inherent beauty and to teach the Poet a lesson about true praise.
Flaw: Its physical fragility as a flower, but this is contrasted by its strong spirit.
Initially a passive object of the Poet's admiration, it becomes an active participant, challenging his vanity and delivering a moral lesson.
Proud, sensitive, wise, articulate, resentful when insulted.
El Buho ★ protagonist
A large, solemn owl, with a dignified and somewhat portly appearance. Its feathers are likely mottled brown and grey, providing camouflage.
Attire: None, as he is an animal.
Wants: To maintain his perceived image of wisdom and importance, and to be left alone in his meditations.
Flaw: His extreme vanity and inability to see that others are mocking him, not admiring him.
He begins as a self-important, reclusive figure who believes he is admired, only to be rudely awakened by the Man's explanation that he is actually being mocked.
Solemn, meditative, proud, presumptuous, arrogant, self-important, reclusive.
El Hombre (del Buho) ◆ supporting
A practical, down-to-earth man, likely the owner of the granary. His build would be sturdy, reflecting a life of work.
Attire: Simple, functional 18th-century Spanish peasant or farmer attire: a coarse linen shirt, practical breeches, a simple vest, and sturdy leather boots. Perhaps a wide-brimmed hat if he's just come from outdoors.
Wants: To understand the owl's behavior and to correct its presumptuousness.
Flaw: His bluntness, which can come across as rude.
He observes the Owl, questions its behavior, and then delivers a harsh truth, puncturing the Owl's ego.
Observant, practical, blunt, cynical, realistic, unafraid to speak his mind.
Menandro ★ protagonist
A man of delicate and refined appearance, almost effeminate, contrasting sharply with the robust soldiers around him. He is likely slender and well-groomed.
Attire: Richly perfumed and affected clothing, likely a fine tunic or chiton of silk or fine linen, possibly in light, elegant colors, draped artfully. He might wear delicate sandals and subtle jewelry, emphasizing his refined nature.
Wants: To present himself at court, likely for recognition or to fulfill an obligation.
Flaw: His delicate appearance makes him initially misjudged and scorned by those who value martial prowess.
Initially scorned for his effeminate appearance by the new ruler, he is quickly recognized and honored once his identity as a great author is revealed, demonstrating the power of intellect over superficial judgment.
Refined, artistic, sensitive, perhaps a bit vain about his appearance, but ultimately respected for his talent.
El Chivo ★ protagonist
A young, vain goat, initially with a full beard, which he later shaves. He is likely of average goat build, but his focus is on his appearance.
Attire: None, as he is an animal, but his 'adornments' are his groomed appearance.
Wants: To be distinguished and admired among his peers by conforming to human fashion trends.
Flaw: His extreme vanity and lack of self-awareness, leading him to make a ridiculous decision that earns him scorn.
He begins as a vain goat who shaves his beard to appear more fashionable, only to become an object of ridicule among all animals, including his own kind.
Extremely vain, presumptuous, foolish, obsessed with appearance, easily influenced by trends.
Locations
Fox's Den
A secluded, dark den, likely carved into the earth or under roots, where the ailing fox lies surrounded by his kin. The air is heavy with the scent of earth and perhaps a faint, lingering smell of prey.
Mood: Somber, reflective, but with an underlying tension of hypocrisy and self-interest among the 'mourners'.
The dying fox delivers a hypocritical sermon to his kin about moderation and good living, only to be distracted by the sound of a hen.
Royal Cavern of the Lion King
A grand, concave cavern serving as the palace of the Lion King, filled with the echoes of his sorrowful roars. The space is large enough to accommodate many animal courtiers gathered in a somber assembly.
Mood: Mournful and solemn, but also tense and politically charged due to the king's grief and the courtiers' sycophancy.
The Lion King mourns his deceased queen, and the court gathers. The Deer, who secretly rejoices, cleverly flatters the king to save his own life.
Flowery Field in Spring
A vibrant, open field bursting with spring flowers, their branches bending under the weight of blossoms. The air is soft and gentle, with a light breeze.
Mood: Idyllic, peaceful, initially inspiring, but then becomes a setting for a sharp, critical exchange.
A Poet admires a Rose, but then dismisses its beauty in comparison to his beloved Clori, leading to the Rose's sharp rebuke.
Spanish Kitchen
A bustling, traditional Spanish kitchen, likely in a modest home, with a large, open hearth or stove. Cooking utensils hang from walls, and food is prepared or left out. The air is warm and smells of recent cooking.
Mood: Initially quiet and tempting, then chaotic with the cats' feast, and finally a scene of comical, pseudo-philosophical debate.
Two hungry cats, left alone by the cook, feast on a chicken and then engage in a 'scrupulous' debate about whether it's morally permissible to eat the spit itself.
Tetuán Barber Shop
A lively barber shop in Tetuán, Morocco, filled with the sounds of a 'barberil guitarra' (barber's guitar) and the scent of perfumes. It's run by a monkey, suggesting a whimsical, bustling, and perhaps slightly chaotic atmosphere.
Mood: Whimsical, bustling, slightly absurd, and focused on vanity.
A vain goat, seeking to distinguish himself, gets his beard shaved by a monkey barber in Tetuán, only to be ridiculed by all the other animals.
Story DNA
Moral
True character and wisdom are not found in outward appearance or flattery, but in genuine actions and self-reflection.
Plot Summary
This collection, 'LIBRO SÉPTIMO,' presents twelve fables by Félix María Samaniego, each illustrating a distinct moral lesson through the actions of animals or mythological figures. From a dying fox whose true nature resurfaces to a vain goat ridiculed for shaving its beard, and from a stag's clever flattery saving its life to a man exposing an owl's false wisdom, the fables consistently expose human vices like hypocrisy, pride, envy, and impulsiveness. Each story culminates in a concise, often italicized, moral statement, reinforcing the didactic purpose of the collection.
Themes
Emotional Arc
ignorance to mild ridicule
Writing Style
Narrative Elements
Cultural Context
Félix María Samaniego was an 18th-century Spanish fabulist, part of the Enlightenment movement, who used fables to critique society and impart moral lessons, often drawing inspiration from classical sources like Aesop and La Fontaine.
Plot Beats (12)
- Fable 1: A dying fox feigns repentance for its past misdeeds, but when it hears a hen, its true predatory nature resurfaces, revealing that old habits die hard.
- Fable 2: The Lion mourns his deceased Queen, and the court feigns sorrow. A joyous Stag, whose family was eaten by the Queen, is nearly killed for not weeping, but saves himself by claiming the Queen appeared to him in Elysium, demonstrating how flattery can sway the powerful.
- Fable 3: A Poet picks a Rose to give to his beloved Clori, but then decides against it, fearing the Rose's beauty would be overshadowed. The Rose rebukes him, stating that true praise should elevate, not diminish, others.
- Fable 4: A man mocks a reclusive, solemn Owl for its lack of joy. The Owl boasts of its wisdom and how other birds admire it, but the man reveals that the birds actually mock the Owl's pretentious ignorance, comparing it to humans who feign wisdom.
- Fable 5: A Monkey tries to eat a green, unripe walnut, finds it bitter, and throws it away, thus going hungry. This illustrates the folly of abandoning a task at the first sign of difficulty.
- Fable 6: Aesop, playing with children, is criticized by an Athenian for his childishness. Aesop uses a slack bow as an analogy, explaining that constant tension will break it, just as the mind needs rest to function effectively.
- Fable 7: Demetrius, a tyrant, takes over Athens. When the renowned playwright Menander, known for his effeminate appearance, approaches, Demetrius initially scorns him but quickly changes his demeanor upon learning his identity, showing that reputation can override prejudice.
- Fable 8: Humans, once hoarders, are transformed into ants by Jupiter due to their greed. Despite changing form, their hoarding habits remain, illustrating that changing appearance doesn't change fundamental nature.
- Fable 9: Two hungry cats, Micifuf and Zapirón, eat a roasted capon. Afterwards, they debate whether it would be morally permissible to eat the spit itself, highlighting their misplaced scruples and hypocrisy.
- Fable 10: Animals complain to Jupiter about their lots in life. Jupiter sends an Eagle to gather them, and they all express envy for others' traits. The Eagle concludes that since no one is content, envy is pointless, as true happiness comes from accepting one's own destiny.
- Fable 11: A thirsty Dove sees a painted well, dives in violently, hits the board, and dies. This warns against acting impulsively on desires without consulting judgment.
- Fable 12: A vain Goat, wanting to be distinguished, shaves his beard in Tetuan. He is then mocked by all the other animals, including his own kind, demonstrating that excessive vanity leads to ridicule rather than admiration.
