JUAN EUGENIO HARTZENBUSCH
by Unknown · from Fábulas y cuentos en verso: Selección
Adapted Version
In one small field, two stalks stood. One was full, and bent low. The other was empty, and straight. It said, "See me. I stand tall." But the full stalk stayed quiet. It bent softly in the wind. Wise ones stay humble and quiet.
Monkey frowned. "My day feels bad." Donkey sighed. "Mine feels bad too." Mole said, "My day is dark." Then Monkey looked at Mole. Donkey looked at Mole too. They grew quiet for a while. Each heart felt smaller then. Others may have harder days.
In the hot desert, Camel smiled. "I look grand. I look best." Desert Friend walked beside Camel. Desert Friend stayed calm and kind. He said, "Looks do not matter." Silly pride blows like dry sand.
In town, a Country Buyer came. He held one oil bottle. "Fill this jar," he said. City Store Man said, "It is bottle." Country Buyer said, "No, it is jar." They stamped and spoke too loud. But oil was still oil. They forgot the thing itself. Names matter less than truth.
Fox ran to Lion at noon. "Grumbling Donkey says rude things," Fox said in a quick voice. Lion yawned and closed his eyes. "Let him talk," Lion said. "Small words cannot shake me." Calm hearts ignore foolish noise.
A Greedy Man dug near a tree. He hid gold in a clay pot. A very sad Poor Worker came. He carried a rope, but stopped. His foot found the hidden pot. He saw the gold and wept. He went home with new hope. The Greedy Man found the hole. He fell down, holding his rope. Gold without love steals joy.
An Old Leader loved his quiet garden. Many guests came all day. He told Brother Cobos, "Use kind hints." Brother Cobos nodded and smiled. When guests came, he called out. "Noisy guests, go home now." "Idle guests, rest in one place else." The guests left at once. Old Leader sighed, but laughed too. Kind hints should sound kind.
A Far Man slept in a dark room. His Friend woke and sniffed. "Check the air," Far Man said. Friend opened the wrong door. Inside sat round cheese. Friend said, "This room smells strange." Far Man lit a lamp then. They saw the little food shelf. Check first, then speak.
In a square stood a bronze horse. Small birds saw a dark hole. Some rushed inside to look. Then they flapped and got stuck. Other birds stayed near the light. They watched and learned with care. After that, birds stayed slow and sure. Do not rush into dark places.
Ben sat with bread at supper. A Wise Lady came in softly. "Please share one slice each day," she said with a warm smile. They shared the slice gladly. The Wise Lady came daily. A year passed, and she returned. She brought more bread to Ben. Ben's Wife and Little Daughter smiled. "Kind gifts grow," the Wise Lady said. Sharing and saving keep homes safe.
Fox ran fast from a big dog. Above, a lark sang. "Hear my song!" the lark called. Fox said, "Not now. I run." Soon Fox reached a safe hill. Then he heard the song. Fun has its right time. The kind, slow, safe heart is wisest.
Original Story
JUAN EUGENIO HARTZENBUSCH
Madrid, 1806; † 1880.
LAS ESPIGAS
La espiga rica en fruto
se inclina a tierra;
la que no tiene grano
se empina tiesa.
Es en su porte
modesto el hombre sabio
y altivo el zote.
LOS TRES QUEJOSOS
—¡Qué mal —gritó la mona—
que estoy sin rabo!
—¡Qué mal estoy sin astas!
—repuso el asno—.
Y dijo el topo:
—Más debo yo quejarme,
que estoy sin ojos.
No reniegues, Camilo,
de tu fortuna;
que otros podrán dolerse
más de la suya.
Si se repara,
nadie en el mundo tiene
dicha colmada.
EL DROMEDARIO Y EL CAMELLO
El camello le dijo
al dromedario:
—Comparado contigo,
¡cuánto más valgo!
No cabe duda:
yo tengo dos jorobas;
tú tienes una.
EL COMPRADOR Y EL HORTERA
Cuentecillo forjado por deleite
parecerá sin duda la contienda
que se trabó en Madrid en una tienda
de vinagre y aceite.
Despachaba en la calle de Torija
líquidos un muchacho madrileño;
y otro, según la traza, lugareño,
fué por aceite allí con su vasija.
—Tú, cara de lechuza
—dijo sin aprensión el forastero—,
despáchame ligero,
lléname bien la alcuza.
—Cuando sepas hablar en castellano
—le replicó el hortera—
sabrás que lo que tienes en la mano
se llama la aceitera.
—En toda tierra que garbanzos cría
—contestó el provincial enardecido—
alcuza siempre ha sido,
y alcuza la nombramos en el día.
—En tierra —dijo el otro— de garbanzos,
corre por aceitera solamente,
y quien le ponga nombre diferente
ha nacido entre malvas y mastranzos.
El patán en sus trece se mantuvo;
le rechazaba el horterilla listo:
se incomodaron, y hubo,
por consiguiente, la de Dios es Cristo.
A las voces y apodos
cachetina siguió, larga y furiosa:
todo por una cosa
que se puede llamar de entrambos modos.
Pueril extravagancia
es, pero comunísima en el hombre,
no poner en disputa la sustancia
y reñir por el nombre.
EL JUMENTO MURMURADOR
—Señor, es fuerza que la sangre corra
—dijo al león solícita la zorra—;
sin cesar el estúpido jumento
de ti murmura con furor violento.
—¡Bah! —respondió la generosa fiera—,
déjale que rebuzne cuanto quiera.
Pecho se necesita bien mezquino
para sentir injurias de pollino.
EL AVARO Y EL JORNALERO[4]
Todo su caudal guardaba
cierto avariento cuitado
en onzas de oro, metidas
en un puchero de barro.
Por tenerlo más seguro,
fué con su puchero al campo:
al pie de un árbol cavó,
y lo enterró con recato.
Amaneció al otro día
hambriento y desesperado
un jornalero, sin pan
ni esperanza de ganarlo.
Sacudió las faltriqueras,
y hallando en una cuartos,
sale, se compra una soga,
y en seguida, como un rayo,
se va al campo a que le quite
los pesares el esparto.
Trataba de ahorcarse, en fin,
y escogió para ello el árbol
que era del tesoro en onzas,
inmóvil depositario.
Al afianzar de una rama
bien la soga el pobre diablo,
se le hundió en el hoyo un pie
y halló el puchero enterrado.
Cogióle, besóle y fuese,
y corriendo, a corto rato,
sus preciosas amarillas
vino a visitar el amo.
La tierra encontró movida
y el hoyo desocupado;
pero de puchero y onzas
no vió ni sombra ni rastro.
Reparó en la soga entonces,
y haciendo a la punta un lazo,
se ahorcó para no vivir
sin su tesoro adorado.
Así el puchero y la soga
mal o bien se aprovecharon:
él en un hambriento, y ella
en el cuello de un avaro.
LAS INDIRECTAS DEL PADRE COBOS
Célebres entre agudos y entre bobos
las indirectas son del padre Cobos;
mas como habrá sin duda quien aprecie
que le declare alguno lo que fueron
las tales indirectas en su especie,
trasládole el informe que me dieron.
Parece, pues, que había
en cierta población de Andalucía
un convento ejemplar, con un prelado,
siervo de Dios perfecto y acabado,
que de ciencia y paciencia era un portento;
por lo cual, uno a uno,
dió en irle a visitar a su convento,
sin qué ni para qué, tanto importuno,
que siempre andaba el pobre atropellado
para cumplir las reglas de su estado.
Era portero de la casa un lego,
catalán o gallego,
Cobos apellidado,
Bartolomé de nombre, alto, robusto,
de resuelto genial y un poco adusto.
Llamóle el superior, y dijo: —Mire
si puede hacer, por indirecto modo,
que esa gente comprenda
que de tanta visita me incomodo.
—Yo haré que se retire
la tal familia presto
—respondió el motilón—. —Sí, ponga enmienda,
pero indirectamente, por supuesto.
—Fíe, padre, en el tino de Bartolo;
para indirectas, ¡oh!, me pinto solo.
Viene al siguiente día,
madrugando solícito, un molesto.
Llama. Tilín, tilín... —Ave María.
Bartolo, sin abrir la portería,
dice al madrugador: —Hermano, trate
de ir a otro manantial que no se agote:
desde hoy ningún pegote
pruebe de mi prior el chocolate.
Oyendo el hombre la indirecta rara,
se fué, brotando bermellón su cara.
Llega un necio en seguida,
y Cobos dice: —Excuse la venida:
mientras el cargo ejerza de portero,
no entra aquí ni gandul ni majadero.
Despedido el segundo visitante,
cata el número tres. —Coja el portante
—prorrumpe el fiero Cobos— usiría:
no está bien entre monjes un espía.
Con una añadidura semejante,
y en tono proferida nada blando,
Bartolo a cada cual fué despachando;
y desde entonces al prior bendito
no perturbó en su celda ni un mosquito.
Contento el padre, y a la par confuso,
al lego preguntó: —¿De qué manera
con aquella familia se compuso
para que así de verme desistiera?
—Fué cosa muy sencilla,
mi querido prior —Cobos repuso—;
cada quisque llevó su indirectilla,
y huyó de mí la incómoda cuadrilla.
—Cuénteme las discretas expresiones,
cuya virtud a la razón los trajo.
—Les dije la verdad: “Sois un atajo
de tunos, de chismosos y de hambrones.”
—¿A eso llama indirectas, en efecto?
—Yo nunca en ellas fuí más circunspecto.
—Pues, hermano, mentiras o verdades,
sus indirectas son atrocidades.
Dijo bien el prior; mas como hay entes
en grado escandaloso impertinentes,
échaseles también de buena gana
tal cual indirectilla cobosiana.
LA ALACENA
Caminando un relator
del Consejo de Ultramar,
hizo noche en un lugar
en casa de un labrador.
Acompañaba al viajero
un tal Ayerbe de Ruiz,
mozo de experta nariz,
pero insigne majadero.
Cenaron en paz de Dios,
trataron de madrugar
y hubiéronse de acostar
en una alcoba los dos.
Veíanse en los costados
de la estancia, frente a frente,
iguales perfectamente,
cuatro postigos cerrados.
El un par era un balcón,
el otro correspondía
a una alacena en que había
seis quesos de Villalón.
Cogió el sueño tarde y mal
el relator, y durmiendo
soñó sentir el estruendo
de un turbión descomunal.
Cerca de la madrugada
le dijo al Fulano Ayerbe:
—Levántese usted y observe
si huele a tierra mojada.
Saltó Ayerbe de su lecho,
y a tientas de mano y pie,
por ir al balcón, se fué
a la alacena derecho.
Abrió, zampó la cabeza,
y aunque miró y remiró,
tan negro el boquete halló
como el resto de la pieza.
Pero un olor en seguida
percibió en aquel recinto,
que le pareció distinto
del de tierra humedecida.
Y entonces dijo el camueso
con mucha formalidad:
—No hay en el aire humedad;
está oscuro y huele a queso.
Así ciega y tontamente
críticas hacen famosas
los que no miran las cosas
desde el punto conveniente.
Tacha de oscuro y condena
tal concepto Santillana,
y es que huye de la ventana
y se asoma a la alacena.
EL CABALLO DE BRONCE
Niños, que de siete a once,
tarde y noche, alegremente,
jugáis en torno a la fuente
del gran caballo de bronce
que hay en la plaza de Oriente.
Suspended vuestras carreras,
pues hace calor, y oíd
una historia muy de veras,
y de las más lastimeras
que se cuentan por Madrid.
Ese caballo... Yo empleo
esta expresión, algo tonta,
porque en mi conciencia creo
que decir caballo es feo,
no atendiendo a quien le monta.
Felipe cuarto es el tal;
pero el uso general,
que tiene fuerza de ley,
hace que, olvidando al rey,
se nombre al irracional.
La razón yo no la sé;
a muchos la pregunté
y nadie fundarlo supo;
en fin, caballo diré,
mas ha de entenderse grupo.
Ese caballo, años ha
estaba, como quizá
sabréis sin que yo lo indique,
dentro del Retiro, allá
frente a la casa del Dique[5].
Allí da el jardín frescura
con sus aguas y verdor,
y el canoro ruiseñor
tiene morada segura
de enemigo cazador.
Allí al caballo volaban
con fácil y presto arranque
mil pájaros que llegaban
a beber en el estanque,
cuyas ondas le cercaban.
Allí, con reserva poca,
le corría todo entero
la turba intrépida y loca,
y hallábale un agujero
que tuvo el jaco en la boca.
Y tal la disposición
fué del tal, que por afuera
sufría la introducción
de un pajarillo cualquiera
del tamaño de un gorrión.
Por adentro era al revés:
bien que el intruso pasara
cabeza y cuello; después,
no hallando en qué afianzara
ni las alas ni los pies,
ellos no eran de provecho,
y eran ellas el estorbo;
y empujando con despecho
le hería garganta y pecho
el borde cortante y corvo.
Y víctima el animal
de su imprudencia fatal,
que fuga no permitía,
bregaba mientras podía
por la cárcel de metal.
Donde, triste, prisionero,
pidiendo en vano merced,
sobre muchos que primero
tuvieron su paradero,
perece de hambre y de sed.
Mil avecillas, buscando
sombra densa en el estío,
mil en el invierno, cuando
ya lloviendo, ya nevando,
traspasábalas el frío,
embocáronse en la panza
del caballo, que en venganza
debió decir para sí:
—Renunciad a la esperanza,
pájaros que entráis en mí.
Con el tiempo se mudó
del jardín en que habitó,
a la plaza donde está,
y entonces se desarmó
el cuerpo que encima va.
Y los cóncavos secretos
del cuadrúpedo cruel
aparecieron repletos
de plumas y de esqueletos
de aves, tragadas por él.
Mano de piedad movida
cerró, como era razón,
el menudo pozo Airón,
que se sorbió tanta vida
de pajarillo simplón.
Dañosa curiosidad
los condujo a muerte cruda.
¡Ay! ¡Cuántos en nuestra edad
por la brecha de la duda
se abisman en la impiedad!
Abismo donde pedir
favor al mortal discurso
no basta para salir;
él nos deja sin recurso
desesperar y morir.
LA REBANADITA DE PAN[6]
Ya sentado a su mesita
Basilio para cenar,
en su cuarto, sin llamar,
entrósele una visita.
Era una bella señora
la que invadió el domicilio,
diciendo: —Yo soy, Basilio,
una sabia encantadora.
Sé que no eres haragán,
y es escasa tu fortuna:
por tu bien, me has de dar una
rebanadita de pan.
Una onza tan sólo quiero,
y otra pediré mañana:
préstelas de buena gana
el honrado jornalero.
—Nada me sobra, en verdad;
una hija tengo y un hijo
y mujer —el hombre dijo—,
mas no le hace: bien, tomad.
Y con buen talante y fe
la rebanada partió
Basilio; la recibió
la encantadora y se fué.
La esperaba con ahinco
Basilio al siguiente día:
volvió la señora mía
trescientos sesenta y cinco.
Y era en la pobre morada
grande el júbilo y contento
de todos, en el momento
de ofrecer la rebanada.
Cumplido el año, tornó
la mágica pedigüeña
con la cara más risueña
que en el año se le vió;
y de un elegante escriño
roscas empezó a sacar
y en los brazos a ensartar
a padres, a niña y niño;
y díjoles: —Os presento
junto el pan que recibí
de vosotros; eso sí,
viene con algún aumento.
No es magnífico el socorro,
pero él os hace merced;
esta lección aprended
de la maga del ahorro.
Según deis, os volverá
beneficio, grande o chico:
la receta de ser rico
en vuestras manos está.
¿Queréis feliz situación
para los días de anciano?
Sed hormigas en verano,
como enseña Salomón.
A SU TIEMPO CADA COSA
Una zorra iba huyendo
por una loma
de un mastín que llevaba
casi a la cola.
Por encima volando
la ve una alondra,
que en el aire piaba
muy sin zozobra.
—Oye —dice a la que huye—
mi voz sonora.
—¡Para música vamos!
—dijo la zorra—.
Divertir quiere a todos
cierta persona,
y por no ser a tiempo
los incomoda.
Story DNA
Moral
True wisdom lies in humility, understanding different perspectives, and acting appropriately for the situation.
Plot Summary
This collection of fables by Juan Eugenio Hartzenbusch presents various moral lessons through short, illustrative stories. Each fable features characters, often animals or archetypal humans, who demonstrate a particular virtue or vice, leading to a clear moral conclusion. Themes range from the humility of the wise and the arrogance of the foolish, to the dangers of superficial pride, the futility of arguing over semantics, the consequences of avarice, and the value of generosity and prudence. The stories collectively serve as a didactic guide, highlighting common human flaws and offering insights into more virtuous conduct.
Themes
Emotional Arc
ignorance to understanding (for the reader)
Writing Style
Narrative Elements
Cultural Context
Juan Eugenio Hartzenbusch was a prominent Spanish Romantic writer, known for his plays and fables. These fables reflect common moral teachings and social observations of 19th-century Spain.
Plot Beats (11)
- The full ear of grain bows, while the empty one stands tall, illustrating that the wise are modest and the foolish are arrogant.
- A monkey, a donkey, and a mole complain about their misfortunes, with the mole having the most severe, teaching that others may suffer more than oneself and no one has complete happiness.
- A camel boasts to a dromedary about having two humps instead of one, highlighting superficial pride.
- A city shopkeeper and a country customer argue fiercely over whether a container is an 'alcuza' or an 'aceitera', leading to a fight, demonstrating that people often dispute names rather than substance.
- A fox tells a lion that a donkey is slandering him, but the lion dismisses it, stating that only a petty heart would be offended by a donkey's insults.
- An miser buries his gold pot, while a desperate laborer, intending to hang himself, accidentally unearths it; the miser then hangs himself with the same rope, showing how fortune can reverse and avarice leads to ruin.
- Father Cobos is asked to indirectly deter bothersome visitors from a monastery; he directly insults them, calling them 'freeloaders,' 'lazy,' 'fools,' and 'spies,' effectively driving them away, but revealing his 'indirects' are blunt truths.
- A traveler and his companion, Ayerbe, stay at a farmhouse; Ayerbe, looking for a balcony in the dark, opens a cupboard and smells cheese, leading to the moral that critics often judge things from the wrong perspective.
- Birds enter a bronze horse statue through a hole in its mouth, get trapped, and die inside; later, the statue is opened, revealing many bird skeletons, symbolizing how curiosity and doubt can lead to spiritual ruin.
- A wise enchantress visits a poor laborer, Basilio, asking for a slice of bread daily for a year; Basilio generously complies, and after a year, she returns, giving him back the accumulated bread with interest, teaching the value of saving and generosity.
- A fox fleeing a dog ignores a lark's song, stating it's not the time for music, illustrating that one should not bother others with untimely diversions.
Characters
The Monkey
A typical monkey, likely small to medium-sized, with agile limbs and a prehensile tail (which it laments not having). Its fur would be a common monkey color, perhaps brown or grey.
Attire: None, as it is an animal.
Wants: To express its misfortune.
Flaw: Self-pity, inability to see beyond its own problems.
None, a static character used for an allegorical point.
Complaining, self-pitying, focused on its own perceived lack.
The Donkey
A sturdy, grey or brown donkey, with long ears and a typical donkey build. It is missing its horns, which it complains about.
Attire: None, as it is an animal.
Wants: To express its misfortune.
Flaw: Self-pity, inability to see beyond its own problems.
None, a static character used for an allegorical point.
Complaining, self-pitying, focused on its own perceived lack.
The Mole
A small, dark-furred mole, with tiny, almost invisible eyes, adapted for an underground existence. Its paws are broad and strong for digging.
Attire: None, as it is an animal.
Wants: To express its misfortune, asserting its suffering is greater.
Flaw: Blindness, self-pity.
None, a static character used for an allegorical point.
Complaining, self-pitying, focused on its own perceived lack, but with a more profound reason for complaint than the others.
The Camel
A large, sturdy camel with two prominent humps on its back, covered in coarse, sandy-colored fur. It has long legs and a long neck.
Attire: None, as it is an animal.
Wants: To assert its superiority over the dromedary.
Flaw: Pride, superficiality.
None, a static character used for an allegorical point.
Boastful, arrogant, self-important, focused on perceived physical advantages.
The Dromedary
A large, sturdy dromedary with a single prominent hump on its back, covered in coarse, sandy-colored fur. It has long legs and a long neck.
Attire: None, as it is an animal.
Wants: None explicitly stated, serves as the object of comparison.
Flaw: None explicitly shown.
None, a static character used for an allegorical point.
Passive, recipient of the camel's boasting.
The Provincial Buyer
A man from the provinces of Spain, likely of average height and build, perhaps a bit rougher in appearance than a city dweller due to his rural background. His hands might be calloused from work.
Attire: Simple, sturdy clothing typical of a Spanish provincial man in the 19th century. Perhaps a coarse linen shirt, dark trousers, and a vest, possibly with a wide-brimmed hat (though not explicitly stated). His clothes would be practical, not fashionable.
Wants: To buy oil, and to defend his regional terminology.
Flaw: Stubbornness, quick temper, pride in trivial matters.
None, he remains steadfast in his opinion.
Stubborn, proud of his regional dialect, easily angered, traditionalist.
The Hortera (Shop Assistant)
A young Madrileño (from Madrid) man, likely of average height and slender build, as is common for shop assistants. He would have a neat, city-dweller appearance.
Attire: Clean, modest clothing typical of a shop assistant in 19th-century Madrid. Perhaps a white shirt, dark trousers, and a clean apron over it, indicating his work. His clothes would be functional but tidy.
Wants: To sell oil, and to correct the provincial man's terminology.
Flaw: Pride, quick temper, pedantry.
None, he remains steadfast in his opinion.
Quick-witted, proud of his Madrileño dialect, easily provoked, pedantic about language.
The Fox
A sleek, reddish-brown fox, known for its cunning. It would have a bushy tail and pointed ears.
Attire: None, as it is an animal.
Wants: To inform the Lion of the Donkey's murmuring, possibly to gain favor or stir trouble.
Flaw: Potentially manipulative, gossipy.
None, a static character.
Solicitous, perhaps a bit sycophantic towards the powerful (the Lion), eager to report perceived slights.
The Lion
A majestic, powerful lion with a full, impressive mane. Its fur would be golden-brown, and its build muscular.
Attire: None, as it is an animal.
Wants: To maintain its dignity and not be bothered by trivial matters.
Flaw: None shown.
None, a static character.
Generous, magnanimous, unconcerned with petty insults, wise.
The Murmuring Donkey
A typical grey or brown donkey, perhaps with a slightly disheveled appearance, indicating its 'stupid' nature as described by the fox.
Attire: None, as it is an animal.
Wants: To express its discontent, to murmur.
Flaw: Stupidity, inability to control its tongue.
None, a static character.
Stupid, constantly grumbling, disrespectful (towards the Lion).
The Miser
A man described as 'cuitado' (wretched/unfortunate), suggesting a gaunt or worn appearance, despite his wealth. He would likely be thin, with a hunched posture from guarding his treasure.
Attire: Simple, worn, and perhaps slightly dirty clothes, despite his hidden wealth, as a miser would not spend on himself. Likely coarse linen or wool, in muted colors.
Wants: To hoard and protect his gold above all else.
Flaw: Greed, attachment to material wealth, inability to find joy in anything but his gold.
His life ends tragically due to his attachment to his lost treasure.
Miserly, anxious, secretive, possessive, ultimately despairing.
The Day Laborer
A man described as 'hambriento y desesperado' (hungry and desperate), suggesting a lean, perhaps gaunt build from lack of food. He would be of average height.
Attire: Very poor, patched, and dirty clothes, typical of a day laborer with no income. Coarse, faded linen or wool, in muted, earthy tones.
Wants: Initially to end his suffering due to hunger; then to use the found gold for survival.
Flaw: Despair, poverty.
Goes from suicidal despair to unexpected fortune and survival.
Desperate, suicidal due to poverty, but then joyful and practical upon finding wealth.
Father Cobos (Bartolomé Cobos)
A tall, robust lay brother, described as 'de resuelto genial y un poco adusto' (of resolute character and a bit stern). He would have a strong build, typical of a Catalan or Galician man.
Attire: The simple, coarse brown habit of a lay brother in a Spanish convent, tied with a rope cincture. Practical and unadorned.
Wants: To carry out his superior's orders to deter visitors, but in his own direct way.
Flaw: Lack of subtlety, literal interpretation of instructions, bluntness.
Remains consistent in his blunt character, successfully deterring visitors through his directness.
Stern, direct, literal, uncircumspect, confident in his own methods, but misunderstands the concept of 'indirect' communication.
The Prior
A 'perfect and accomplished servant of God,' a 'portent of science and patience.' This suggests a man of serene, perhaps slightly frail appearance due to his scholarly and spiritual life, but with an inner strength. He would be of average height.
Attire: The formal, clean habit of a Prior in a Spanish convent, likely a black or dark brown habit with a scapular, indicating his rank and piety. It would be well-maintained.
Wants: To fulfill his monastic duties without constant interruption from visitors.
Flaw: Naivety regarding blunt communication, perhaps too trusting of others' understanding of 'indirectness'.
Learns that 'indirectness' can be interpreted very differently by others.
Pious, patient, learned, gentle, seeks indirect solutions, but is also somewhat naive about human nature and communication.
The Relator (Council Reporter)
A man of the Council of Ultramar (Overseas Council), suggesting a refined, educated appearance. He would be of average height and build, perhaps a bit weary from travel.
Attire: Formal, well-maintained clothing suitable for a council member traveling in 19th-century Spain. This would include a dark wool frock coat, a waistcoat, a white shirt with a cravat, and dark trousers. His clothes would be practical for travel but still elegant.
Wants: To rest and travel, and to understand the source of a perceived smell.
Flaw: Misinterpretation of sensory input, making assumptions based on dreams.
Remains unaware of his misinterpretation, serving as an example of flawed judgment.
Educated, observant (though his observation is flawed), prone to making assumptions, somewhat impatient.
Ayerbe de Ruiz
Described as 'mozo de experta nariz, pero insigne majadero' (a young man with an expert nose, but a notable blockhead). He would be of average height and build, perhaps a bit clumsy or ungraceful.
Attire: Simple nightclothes, such as a white linen nightshirt, as he is roused from bed. Later, perhaps simple, practical day clothes.
Wants: To follow the Relator's instructions, to identify the smell.
Flaw: Lack of critical thinking, literal-mindedness, inability to connect observations to context.
Remains a 'blockhead', misinterpreting the situation and providing the story's punchline.
Obtuse, literal, easily confused, but confident in his (mis)perceptions, has a good sense of smell.
Basilio
A 'honrado jornalero' (honest day laborer), suggesting a hardworking man of average build, perhaps a bit lean from his modest means. He would be of average height.
Attire: Simple, clean, but modest clothing typical of an honest laborer in 19th-century Spain. Likely a coarse linen shirt, dark trousers, and perhaps a simple jacket or vest, in muted, earthy tones.
Wants: To provide for his family, and to help others even when he has little.
Flaw: None shown, his generosity is rewarded.
His consistent generosity leads to a miraculous increase in his family's fortune.
Honest, generous, kind, hardworking, trusting, family-oriented.
The Enchantress (Maga del Ahorro)
A 'bella señora' (beautiful lady), who appears to be a wise enchantress. She would have an elegant, graceful presence, with a radiant and increasingly joyful face over time.
Attire: Elegant, timeless attire that suggests magic and wisdom, but not ostentation. Perhaps a flowing dress of fine, soft fabric in a rich but not overly bright color, like deep blue or forest green, with subtle, ethereal details. Not specific to a historical period, but rather magical.
Wants: To test Basilio's generosity and teach him the value of saving and giving.
Flaw: None shown.
Reveals her true nature as a benevolent teacher, rewarding Basilio's virtue.
Wise, benevolent, testing, generous, teaches lessons about saving and giving.
Basilio's Wife
A hardworking woman, likely of average height and build, reflecting her modest life as a laborer's wife in 19th-century Spain.
Attire: Simple, clean, and practical clothing typical of a laborer's wife in 19th-century Spain. Likely a plain linen dress, an apron, and perhaps a shawl, in muted, earthy colors.
Wants: To support her family and share in their joy.
Flaw: None shown.
Experiences the family's improved fortune and joy.
Supportive, joyful, appreciative of the family's good fortune.
Basilio's Daughter
A young girl, likely small and perhaps a bit thin, reflecting the family's modest means. She would have a joyful expression.
Attire: Simple, clean, but modest dress typical of a child from a laborer's family in 19th-century Spain. Likely a plain linen or cotton dress in a muted color.
Wants: To share in the family's good fortune.
Flaw: None shown.
Experiences the family's improved fortune and joy.
Joyful, appreciative.
Locations
A Shop on Calle de Torija, Madrid
A bustling shop in Madrid, specifically on Calle de Torija, where vinegar and oil are sold. The atmosphere is likely lively and potentially contentious due to the argument.
Mood: Contentious, lively, mundane.
The setting for the argument between the shop boy and the provincial customer over the name of an oil cruet.
Open Field with a Solitary Tree
A desolate open field, likely on the outskirts of a town, featuring a single, prominent tree. The ground is disturbed where a hole has been dug.
Mood: Desperate, stark, fateful.
The miser buries his gold here, and later, a starving laborer finds it while attempting to hang himself from the same tree. The miser then hangs himself there.
Andalusian Convent Porter's Lodge
The porter's lodge of an exemplary convent in an Andalusian town, likely with a heavy wooden door and a small window or grille for communication. It is a place of entry and exit, where visitors are met.
Mood: Strict, unwelcoming (due to Bartolo's actions), austere.
Brother Bartolo, the porter, delivers his 'indirectas' to various bothersome visitors, turning them away from the prior.
Plaza de Oriente, Madrid
A grand public square in Madrid, featuring a large bronze equestrian statue of King Philip IV. Children play around a fountain near the statue. The square is open and spacious.
Mood: Lively, historical, public, with a hidden, somber secret.
The narrator addresses children playing here, telling the story of the statue's past and the birds trapped within it.
El Retiro Park, Madrid (Old Location of Statue)
A lush, green garden within El Retiro Park, specifically near the 'Dique' (dam/embankment), where the bronze statue once stood. It features fresh water, abundant greenery, and a pond or lake where birds drink.
Mood: Serene, natural, but with a hidden danger.
The original location of the bronze horse, where birds would enter a hole in its mouth, become trapped, and die.