LOPE DE VEGA
by Unknown · from Fábulas y cuentos en verso: Selección
Adapted Version
Here are small stories with big lessons.
Father wrote to Tom. “Eat the cheapest food,” he said. Tom saw one bird. He saw one cow. The bird cost less. Tom ate birds. Hear well, not just fast.
A man asked Careful Farmer, “What do you carry?” “Cups,” said Careful Farmer. Then he looked at Donkey. “If Donkey falls, I have none.” Glass cups need slow hands.
A Foolish Man made a bad deal. He wanted one quiet tap. Stern Guard gave one hard tap. “Ouch!” cried the man. Stern Guard said, “Bad deals sting.” Think before you bargain.
Old Father and Little Son walked. Donkey walked by them. People said, “Ride the donkey.” Old Father rode. People frowned at Little Son. Then Little Son rode. People frowned at Old Father. Then both rode. People cried, “Poor Donkey!” Then they carried Donkey. Donkey slipped free and ran. You cannot please all.
Customer counted the painted guests. “One more guest stands there,” he said. Painter smiled at the feast. “He will go after supper.” Quick thought can save mistakes.
A singer spoke to a crowd. Some children said, “Boo, boo.” Wise Storyteller shook his head. “Making is hard,” he said. “Booing is easy.” Make kindly before you mock.
King gave a quick order. Helper heard the wrong word. He sent ten toy saddles. King wanted ten toy spears. Both looked very surprised. King shared the silly blame. Check words before you act.
Old Woodcutter carried heavy wood. He sighed on the road. “I need help,” he said. A Dark Helper came near. “What do you want?” he asked. Old Woodcutter shook a little. “Please lift this wood.” Mad words can mean little.
A King wrote a fine note. His helper wrote a better one. The King felt small inside. He sent the helper away. Pride can make people unfair.
Donkey carried a bright statue. People bowed as it passed. Donkey felt very grand. Then he stopped and posed. His owner said, “Walk on. They bow to the gift.” Pride can fool a fool.
Dog ran to his owner. He got a warm pat. Donkey saw the happy dog. Donkey wanted a hug too. He jumped with muddy feet. The owner cried, “No, no!” Donkey made a big mess. Do not copy without thinking.
The mice had a smart plan. “Bell the Cat,” they said. “Then we hear her come.” All the mice nodded. Then one asked, “Who goes?” No mouse spoke at all. Ideas are easy. Doing is hard.
Dog carried food by water. He saw food in water. He wanted both bits. He snapped at the shine. Splash. His own food fell. Greedy grabs lose good things.
A small tree stood near. A tall tree wanted more sky. It pushed and bragged each day. Men took the tall tree away. The small tree stayed safe. Be glad with enough.
Oak laughed at the reed. “You bend too much,” he said. Then a strong storm came. Oak fought and fell down. Reed bent low and lived. Bending can be wise.
A mountain spoke to Sky King. “Others change,” it said. “I stay the same.” Sky King looked down kindly. “You stand firm,” he said. “You do not fall.” Do not want each new thing.
The teeth spoke to Sky King. “We work all day,” they said. “One sore day feels bad.” Sky King said, “Wait with calm. Pain can pass.” Hard days do not stay.
Lion, Ass, and Fox shared fruit. Lion said, “Ass, split it.” Ass made same-size piles. Lion roared with anger. Ass ran away fast. Then Fox made new piles. Lion got the biggest one. Fox stayed wise and safe.
Lamb drank low in the stream. Wolf drank high above. “You make my water dirty,” said Wolf. Lamb said, “That cannot be.” Wolf just wanted a fight. A shepherd came near. Lamb ran behind him. Some quarrels are not honest.
A Fairy heard a funny wish. She made Cat a lady. The lady sat very still. Then a mouse ran by. She leaped from her chair. At once, Cat came back. True nature stays inside.
Ass watched Pig all day. Pig ate and slept well. Ass carried wood and sighed. Then men took Pig away. Ass heard loud farm noise. He liked his own work more. Do not want too soon.
A thorn hurt Lion’s paw. A kind man pulled it out. Later they met in town. Lion knew the kind face. He rubbed the man gently. Kind acts come back.
The wise heart listens, learns, and stays kind.
Original Story
LOPE DE VEGA
Madrid, 1592; † 1635.
PERDICES ME MANDA MI PADRE QUE COMA
Un cuento en esta ocasión
te diré muy semejante:
Tenía un viejo estudiante,
a tu traza y condición,
un hidalgo en Salamanca,
y escribióle que comiese
lo más barato que hubiese
en aquella plaza franca.
Preguntaba qué valía
una vaca a sus criados,
y como veinte ducados
el comprador respondía,
replicaba: —¿Y dos perdices?
—Cuatro reales. —Pues comer
perdices y obedecer.
. . . . . . . . . . . . . . . .
(Sembrar en buena tierra, acto 1.º)
SI EL BURRO CAE, NADA
Preguntóle un caminante
a un labrador qué llevaba
en una carga, y él dijo,
previniendo la desgracia:
—Yo, nada, si cae el jumento
(que era de vidrios la carga).
(¡Si no vieran las mujeres!..., acto 2.º, escena IV.)
EL MAL HACE APRECIAR EL BIEN
En mi tierra, un azotado
dió al verdugo cien escudos
por que se los diese mudos,
que era honrado y delicado.
En saliendo por la puerta
así la mano asentó,
que al primero que le dió
le dejó la espalda abierta.
El hombre volvió del yugo
la cabeza al golpe fiero
y díjole: —¿Y el dinero?
Y aquí respondió el verdugo:
—Todos habían de ser
como éste, y así sabrá
en qué obligación me está
por el dinero de ayer;
que si quedo se los diera,
bien sabe que no podía
conocer la cortesía
de los que adelante espera.
(Las cuentas del Gran Capitán, acto 2.º)
EL LABRADOR, SU HIJO Y EL ASNO
Yo no sé cómo ha de ser,
que me sucede, señor,
como al otro labrador
que llevó el asno a vender.
Que él y un hijo que tenía
iban a pie tras la bestia
y la gente con molestia
ver libre el asno sufría.
Subió el viejo, y no faltó
quien dijo: —El mozo lleváis
a pie, y caballero vais.
Luego el viejo se bajó
y subió el mozo; mas luego
hubo quien dijo: —El anciano
va a pie, y el mozo villano
va caballero, ¡oh mal fuego!
El viejo entonces subió
con el mozo, y un lugar
entero empezó a gritar:
—¿Dos en un asno? Eso, no.
Viendo tal desasosiego,
los pies le ató, y en un pino
llevaba al hombro el pollino
de él y del hijo; mas luego
se burlaron de los dos,
diciendo: —¿Desa manera
lleváis, necios, quien pudiera
mejor llevaros a vos?
El viejo entonces, tomando
el asno, le despeñó
a un río, y sospecho yo,
que en estas vísperas ando,
que viendo el ingenio mío,
que no puede contentar
a todos, habrá de dar
con todo el asno en el río.
(Con su pan se lo coma, acto 2.º)
ERROR SALVADO
Mandóle pintar la Cena
a un pintor un bachiller,
y acabada, fuéla a ver,
y hallóla de gente llena.
Trece apóstoles contó,
y dijo muy espantado:
—Todo este lienzo está errado,
no pienso pagarle yo.
Un apóstol aquí está
de más. Y el sabio pintor
dijo: —Llevadla, señor,
que éste, en cenando, se irá.
(Amar sin saber a quién, acto 3.º, escena I.)
CENSURAR ES FÁCIL
Escriben que Cicerón,
oyendo al representante
Galo, que en Roma triunfante
tuvo excelente opinión,
vió silbar y murmurar,
y que comenzó a decir:
—Mancebos, el escribir
es ingenio, y no el silbar.
Y esto al hombre se prohibe,
porque en diferencia igual,
silba cualquier animal,
pero sólo el hombre escribe.
(Lo que ha de ser, acto 1.º, escena VIII.)
NO FIRMES CARTA QUE NO LEAS
Dijo un rey a un secretario
que escribiese a cierto reino
le hiciesen cien alabardas.
Los reyes nunca hablan recio,
y por no le preguntar,
escribió al reino que luego
le enviasen cien albardas.
Despacháronselas presto;
y estando el rey a un balcón
con el secretario mesmo,
vió venir las cien albardas;
y diciéndole: —¿Qué es esto?,
le respondió que traían
lo que él mandó; a quien discreto
replicó el Rey: —Repartamos
desta manera las ciento:
las cincuenta para mí,
que firmo lo que no leo,
y las otras para vos,
pues más ligero que cuerdo
hacéis lo que no entendéis.
[Aplicar podéis el cuento.]
(La llave de la honra, acto 1.º, escena XVI.)
EL LEÑADOR Y LA MUERTE[22]
Escucha el cuento: Un caduco
viejo, con años ochenta,
traía leña de un monte
hasta la ciudad de Atenas;
como era tanto el trabajo,
rogaba a la muerte fiera
que le llevase, diciendo:
—¡Ven, Muerte! Muerte, ¿no llegas?
Oyóle la Muerte un día
y con la armadura seca
se puso al viejo delante;
habló en los huesos sin lengua:
—Dime, ¿qué quieres? —le dijo—.
Y el viejo temblando en verla:
—Que me ayudes a cargar
este hacecillo de leña.
(Quien más no puede, acto 2.º)
NORMA DE PRIVADOS
Pésame, pues no es pequeño
principio de aborrecer
un criado el entender
que sabe más que su dueño.
De cierto rey se contó
que le dijo a un gran privado:
—Un papel me da cuidado,
y si bien le he escrito yo,
quiero ver otro de vos,
y el mejor escoger quiero.
Escribióle el caballero,
y fué el mejor de los dos.
Como vió que el Rey decía
que era su papel mejor,
fuése, y díjole al mayor
hijo, de tres que tenía:
—Vámonos del reino luego,
que en gran peligro estoy yo.
El mozo le preguntó
la causa, turbado y ciego;
Y respondióle: —Ha sabido
el Rey que yo sé más que él;
[y el alto no sufre a aquel
que en algo le haya excedido.]
(El perro del hortelano, acto 1.º, escena XVII.)
EL ASNO Y LA DIOSA
Mendo.
Pues ¿a quién llevan dinero
que reciba mal a quien
se lo lleva?
Tello el viejo.
Dices bien,
y agradecértelo quiero;
que en un librillo he leído
que en un jumento llevaban
una diosa, que adoraban
con el respeto debido
los que la vían pasar,
hincándose de rodillas,
cuyas altas maravillas
pudo el jumento pensar
(como en fin era jumento)
que eran por él, y paróse.
Viéndolo el dueño, enfadóse
del soberbio pensamiento,
y pegándole muy bien,
le dijo con voz furiosa:
—No es a ti, sino a la diosa.
Que es esto mismo también;
y así, pidiendo primero
del compararte perdón,
las honras del Rey no son,
Tello, a ti, sino al dinero.
(Los Tellos de Meneses, 1.ª parte, acto 3.º, escena I.)
EL PERRO Y EL ASNO[23]
Isopo cuenta que había
un hombre en cierta nación
que para su recreación
una perrilla tenía;
ésta, al entrar cada día
en su casa, si tardaba,
le halagaba y retozaba,
por cuya causa a la mesa
con la más segura presa
el señor la regalaba.
Atalayando un jumento
desde su caballeriza
que porque le solemniza
le daba siempre sustento,
con asnal atrevimiento
una mañana salió,
y en dos pies se levantó,
y puso en el pecho todo
las manos llenas de lodo,
y aun dicen que le besó.
Y al punto el señor mandó
que le diesen muchos palos,
en lugar de los regalos
que entre sus piensos pensó.
(El más galán portugués, acto 2.º)
EL CASCABEL AL GATO[24]
Juntáronse los ratones
para librarse del gato,
y después de largo rato
de disputas y opiniones,
dijeron que acertarían
en ponerle un cascabel,
que andando el gato con él
guardarse mejor podían.
Salió un ratón barbicano,
colilargo, hociquirromo,
y encrespando el grueso lomo
dijo al senado romano,
después de hablar culto un rato:
—¿Quién de todos ha de ser
el que se atreva a poner
ese cascabel al gato?
(La esclava de su galán, acto 1.º, escena X.)
PERDER LO CIERTO POR LO DUDOSO[25]
Un perro una vez pasaba
otro río como el Duero,
y un pedazo de carnero
entre los dientes llevaba.
La sombra, que no era poca,
dentro de las aguas vió,
y por cogerla soltó
lo que llevaba en la boca.
Fué a asirla, y su desvarío
el perro al instante vió;
volvió a su carne, y halló
que se la llevó el tal río.
(El milagro por los celos, jornada 3.ª)
EL SOBERBIO Y EL HUMILDE
Se criaba un arbolillo
en una huerta, y rogaba
al que de él más cerca estaba,
que era su muerte y cuchillo,
que le dejase crecer;
y el olmo presuntüoso,
de sus ramas ambicioso,
ni el sol le dejaba ver.
—Arbolillo —le decía—,
conténtate con vivir
donde me puedas servir.
Pero llegó al fin el día
en que la villa intentó
ensanchar el verde suelo,
y el olmo atrevido al cielo
cortado al suelo cayó.
El arbolillo, ya dueño
del sol, dijo: —Estos asaltos
da la fortuna a los altos;
más me quiero ser pequeño.
(El desconfiado, acto 2.º)
EL SOBERBIO ABATIDO
Escribe Esopo que había
hecho burla el roble fuerte
de la débil caña. Advierte
lo que a los dos pasó un día:
Vino un viento, y el altivo
roble, fuerte, resistió
tanto, que el tronco sacó
de su cimiento nativo.
Pero la caña humillada
por encima le dejó
que pasase, y él pasó
sin que la ofendiese en nada.
Y ansí, cesando la guerra,
la caña se alzó como antes,
y el roble las arrogantes
ramas dejó por la tierra.
(Los hidalgos del aldea, acto 3.º)
CONTENTARSE CON SU ESTADO
Cuentan acá los pastores
que a Júpiter se quejó
un monte (presumo yo
que de los montes mayores),
diciéndole: —Gran señor,
cuanto has criado se muda;
si yo estoy firme, es sin duda
que tengo poco valor.
Los que estaban encumbrados
bajan tan bajos que espantan,
y a sus puestos se levantan
los que estaban derribados.
Alguno fué pobre ayer
que hoy tiene suma riqueza,
y otro viene a gran pobreza
que tuvo inmenso poder.
¿Cómo yo nunca soy más
de aquel ser en que nací?
Pero respondióle así:
—¡Oh necio! Engañado estás.
Déjalo todo mudar,
pues firme puedes vivir;
que quien no pudo subir,
tampoco pudo bajar.
(El hijo de los leones, acto 2.º, escena XI.)
LAS MUELAS Y EL HOMBRE
A Júpiter se quejaron
las muelas del hombre un día,
diciendo a su señoría
los años que trabajaron
desde la muela primera,
mascando lo que comía,
y que por dolor de un día
luego las echaban fuera.
Don Júpiter le riñó,
y él respondió: —¿Qué he de hacer,
si no dejan de doler?
A quien luego replicó:
—Hombre, sufre, pues te toca,
el dolor, que bien podrás;
que después te alegrarás
de ver tu muela en tu boca.
(Porfiar hasta morir, acto 3.º, escena XII.)
ESCARMENTAR EN CABEZA AJENA[26]
La zorra, el asno y león,
un día que a caza fueron,
sobre un prado la pusieron
para hacer su partición.
Dijo el león al jumento:
—Parte esa caza. Y el bobo
hizo tres partes del robo:
dió la suya al león hambriento.
Viendo el león que le daba
parte igual, agarró de él
y deshízole cruel
porque con él se igualaba.
Luego a la zorra miró,
y dijo: —Parte esa presa.
La zorra tomó la presa
más pequeñita que halló,
y dió al león lo demás,
que le dijo: —¿Cómo has hecho
tan a gusto de mi pecho
partes, pues tanta me das?
Respondió: —Mi habilidad
y cauta naturaleza
me enseñó que a tu grandeza
rinda mi flaca humildad.
Por cuyas cuerdas razones
me río yo de jumentos
que igualan sus pensamientos
a los soberbios leones.
(Obras son amores, acto 3.º)
EL LOBO Y EL CORDERO[27]
Bebía un cordero humilde
de un arroyo en la corriente
por lo bajo, y en lo alto
un lobo voraz y aleve;
y como matar quería
al corderillo inocente,
—Mira que me enturbias —dijo—
el agua; tan recio bebes.
El cordero respondió:
—Lobo amigo, pleito quieres;
si estoy en bajo y tú en alto,
tú la enturbias, tú me ofendes.
¿Qué tienen que ver mis deudos,
que el agua en lo bajo beben,
contigo, que estás en alto,
si no es que pleito pretendes?
(La hermosura aborrecida, acto 2.º, escena VI.)
LA GATA MUJER[28]
¡Plegue al cielo que no sea
como aquel hombre de Atenas,
que pidió a Venus le hiciese
mujer, con ruegos y ofrendas,
una gata dominica,
quiero decir, blanca y negra!
Estando en su estrado un día
con moño y naguas de tela,
vió pasar un animal
de aquestos, como poetas,
que andan royendo papeles,
y dando un salto ligera
de la tarima al ratón,
mostró que en naturaleza
la que es gata, será gata;
la que es perra, será perra,
in saecula saeculorum.
. . . . . . . . . . . . . . . .
(El castigo sin venganza, acto 3.º)
LA GATA MUJER
Cierta fabulilla trata
que un hombre quiso a una gata,
de suerte que cada día
a Júpiter le pedía
con ofrendas de oro y plata
se la volviese mujer.
Júpiter lo vino a hacer;
y estando el hombre casado,
y ella sentada en su estrado
viendo cantar y tañer,
dicen que un ratón pasó,
y apenas ella le vió
cuando, corriendo tras él,
le dió uñarada cruel
y al primero ser volvió.
(El Príncipe Perfecto, 1.ª parte, acto 2.º, escena XIV.)
LA GATA MUJER
Las fábulas nos cuentan que una gata
de tal manera amaba un hombre rico,
que pidió a Juno, y dió un blandón de plata
que la hiciese mujer, y a mí la aplico.
La diosa, por no ser al dón ingrata,
mudóle en rostro humano el negro hocico,
la piel pelosa en cuerpo deseado,
y fué su casamiento celebrado.
Mas como en el estrado viese un día
pasar unos ratones, como antes
arrojóse tras ellos la que había
tratado en liviandades semejantes[29].
(Ejemplo de casadas, acto 2.º)
EL ASNO Y EL COCHINO[30]
[Al amor de la lumbre], en un librillo,
leía esotra noche mi carillo,
pienso que eran las trápulas de Esopo,
que un asno, viendo a un puerco como un topo
siempre echado a pacer en la pocilga,
con envidia que el ánima pecilga
decía: —Que éste engorde y yo trabaje,
que el mozo el pan, y el amo a veces baje
cáscaras de melón y otros regalos,
y a mí con agua y leña me den palos.
Pero llegado el día de San Lucas,
agarraron al puerco, y al pescuezo
pusieron el cuchillo; y cuando el asno
oyó los gritos, dijo: —Hermano puerco,
si para eso os engordaba el amo,
igual es trabajar; asno me llamo.
(Con su pan se lo coma, acto 1.º)
GRATITUD
Feroz león la planta, fiera en vano,
atravesada de la dura espina,
muestra al esclavo, y a curarle inclina,
humilde el inhumano, al sabio humano.
Vele después salir en el romano
Anfiteatro, y que a morir camina,
y paga la piadosa medicina
rendido al pie que le curó la mano.
Pues si humilla un león tanta fiereza,
¿quién hay que corresponda con mal trato
a quien debe piedad, honra y nobleza?
Siendo un león de la amistad retrato,
corrida puede estar naturaleza
el día que ha formado un hombre ingrato.
(Amar sin saber a quién, acto 2.º, escena III.)
Story DNA
Moral
Many of these short tales illustrate a specific moral lesson, often about human nature, the importance of humility, or the consequences of foolish actions.
Plot Summary
This collection presents numerous short fables, many attributed to Aesop, recounted within the plays of Lope de Vega. Each fable illustrates a distinct moral lesson through the actions of humans and anthropomorphic animals. Themes range from the dangers of trying to please everyone, the persistence of inherent nature, the consequences of pride, the value of humility, and the importance of prudence. The tales often end with a clear outcome that reinforces the moral, serving as a didactic tool for the audience.
Themes
Emotional Arc
ignorance to understanding | folly to consequence | pride to humility
Writing Style
Narrative Elements
Cultural Context
These fables are presented as being recounted by Lope de Vega within his plays, indicating a common practice of incorporating well-known moral tales into dramatic works for didactic or illustrative purposes. The collection itself is a compilation of these fables, not a single narrative by Lope de Vega.
Plot Beats (22)
- A student is told to eat the cheapest food, and chooses partridges because they are cheaper than a whole cow, demonstrating literal obedience.
- A carrier of glass objects states he carries 'nothing' if his donkey falls, highlighting the fragility of his cargo and the potential for total loss.
- A man pays a hangman to be whipped 'silently' but the hangman hits him hard, explaining that the pain makes him appreciate the 'courtesy' of future lighter blows.
- A man and his son try to sell a donkey, but are criticized by everyone for how they travel (walking, one riding, both riding), leading the man to throw the donkey in a river in frustration.
- A painter is commissioned to paint the Last Supper, but includes 13 apostles; he cleverly explains the extra one will leave after supper.
- Cicero observes people hissing at a speaker and remarks that writing requires skill, but anyone can hiss, emphasizing the ease of criticism versus creation.
- A king asks his secretary for 100 'halberds' (alabardas), but the secretary mishears and orders 100 'pack saddles' (albardas); the king divides the blame and the saddles between them for not reading/understanding.
- An old woodcutter, exhausted, calls for Death; when Death appears, he only asks for help loading his bundle of wood, showing fear of the actual end.
- A king's trusted advisor is dismissed after proving he is more skilled than the king, illustrating that superiors often resent those who surpass them.
- A donkey carrying a goddess believes the people kneeling are honoring him, and is beaten by his owner who clarifies the honor is for the goddess, not the beast.
- A man's dog is rewarded for affection, but his donkey, trying to imitate the dog's behavior, is beaten for its muddy embrace.
- Mice decide to put a bell on the cat to know when it's coming, but no one dares to volunteer for the dangerous task.
- A dog carrying meat sees its reflection in the water, drops its real meat to grab the reflection, and loses both.
- A small tree asks a large, ambitious elm for space, but the elm refuses; later, the elm is cut down, while the small tree, content with its size, survives.
- A strong oak mocks a humble reed; a storm comes, the oak resists and is uprooted, while the reed bends and survives.
- A mountain complains to Jupiter about its unchanging nature compared to other mutable things; Jupiter replies that its firmness means it cannot fall, unlike those who rise.
- Human teeth complain to Jupiter about being discarded after a single day of pain despite years of work; Jupiter advises patience, as the pain is temporary.
- A lion, ass, and fox hunt together; the lion asks the ass to divide the prey, and the ass divides it equally, leading the lion to kill him for his presumption; the fox then divides it giving the lion the vast majority, demonstrating humility and self-preservation.
- A wolf tries to pick a fight with a lamb by accusing it of muddying the water, but the lamb points out the wolf is upstream; the wolf's true intention to kill is revealed.
- A man asks Venus to turn his cat into a woman; she does, but when a mouse appears, the woman immediately reverts to her cat nature, showing that true nature cannot be changed.
- An ass envies a pig's easy life of eating and growing fat; but when the pig is taken to be slaughtered, the ass realizes the value of its own hard work.
- A lion with a thorn in its paw is helped by a slave; later, in the amphitheater, the lion recognizes and spares the slave, illustrating gratitude.
Characters
The Old Student
A man of average height and build, likely showing the signs of a life spent in study rather than physical labor. His posture might be slightly stooped from reading, but he is not frail.
Attire: Simple, practical student attire of the late 16th century in Salamanca: a dark wool doublet, plain breeches, and a modest cloak. His clothes would be well-maintained but not luxurious, reflecting his status as a hidalgo (minor noble) but also a student on a budget.
Wants: To follow his father's instructions and manage his finances wisely while studying.
Flaw: His literal interpretation of instructions, which leads to a humorous but perhaps not optimal decision.
He learns to prioritize obedience and frugality, even if it means a diet of partridges.
Obedient, practical, frugal (or at least attempting to be), and somewhat literal-minded.
The Father (of the Old Student)
A man of mature years, likely well-dressed and of a respectable bearing, reflecting his status as a hidalgo.
Attire: Fine, but not ostentatious, Spanish hidalgo attire of the late 16th century: a dark velvet doublet, matching breeches, a ruff, and a well-tailored wool cloak. His clothing would be of good quality, reflecting his social standing.
Wants: To ensure his son is frugal and responsible.
Flaw: His instructions are open to literal interpretation, leading to unexpected outcomes.
Does not appear to change within the brief anecdote.
Authoritative, practical, concerned with his son's finances.
The Traveler
A man of average build, dressed for travel, suggesting a practical and sturdy physique.
Attire: Practical, durable traveling clothes of late 16th-century Spain: a simple wool tunic, sturdy breeches, leather boots, and a wide-brimmed hat to protect from the sun. His clothes would be functional, possibly a bit dusty from the road.
Wants: To inquire about the farmer's load.
Flaw: None explicitly shown.
Does not change.
Curious, direct.
The Farmer (with the glass load)
A sturdy, hardworking man, likely with strong hands and a tanned complexion from working outdoors.
Attire: Typical Spanish peasant attire of the late 16th century: a coarse linen shirt, simple wool breeches, and sturdy leather sandals or clogs. His clothes would be practical and well-worn.
Wants: To protect his fragile cargo and prepare for potential loss.
Flaw: His fatalism, though presented as a practical precaution.
Does not change.
Cautious, pragmatic, somewhat fatalistic.
The Whipped Man
A man who has just endured a public whipping, his back likely showing fresh wounds. He would be of average build, but his posture would be affected by the pain.
Attire: Simple, likely torn or disheveled clothes after the punishment, typical of a common man in 16th-century Spain. Perhaps a plain linen shirt and breeches, now stained or ripped.
Wants: To receive his punishment in a 'honorable' (silent) way, and to get his money's worth from the executioner.
Flaw: His pride and quick temper, which lead him to lash out.
He experiences the 'courtesy' of a silent whipping, which he paid for, only to be reminded of the value of pain in appreciating kindness.
Honorable (in his own way), delicate (sensitive to the manner of his punishment), indignant, quick to anger when provoked.
The Executioner
A robust, strong man, accustomed to his grim work. His build would be muscular and imposing.
Attire: Practical, dark, and sturdy clothing suitable for his profession in 16th-century Spain. Perhaps a dark leather jerkin over a coarse tunic, dark breeches, and heavy boots. His attire would be functional and intimidating.
Wants: To perform his duty and to teach a lesson about the appreciation of kindness through contrast.
Flaw: His methods are harsh, though he justifies them.
He delivers a philosophical justification for his actions.
Pragmatic, philosophical (in a dark way), unyielding, and perhaps a bit cynical.
The Old Farmer (with the Donkey)
An elderly man, likely thin and stooped from years of labor, but with a resilient spirit. His hands would be gnarled from work.
Attire: Simple, patched, and well-worn peasant clothing of 16th-century Spain: a coarse linen tunic, patched wool breeches, and rough leather sandals or clogs. A simple, wide-brimmed straw hat would protect him from the sun.
Wants: To sell his donkey and to avoid public criticism.
Flaw: His inability to ignore public opinion, leading to increasingly absurd actions.
He learns the futility of trying to please everyone, leading him to despair and destroy his asset.
Eager to please, easily swayed by public opinion, ultimately frustrated and desperate.
The Farmer's Son (with the Donkey)
A young boy, likely thin but agile, accustomed to walking and helping his father with farm work.
Attire: Simple, practical peasant clothing of 16th-century Spain: a plain linen tunic, short breeches, and bare feet or simple sandals. His clothes would be functional and well-worn.
Wants: To help his father sell the donkey.
Flaw: Easily influenced by his father's decisions, which are themselves influenced by others.
He experiences the absurdity of trying to please everyone alongside his father.
Obedient, observant, perhaps a bit naive.
The Donkey
A sturdy, grey donkey, well-used but healthy enough to be sold. It would have a patient, long-suffering expression.
Attire: A simple rope halter and possibly a worn saddle blanket, but otherwise unadorned.
Wants: To simply exist and follow its owners.
Flaw: Its inability to speak or defend itself against the whims of humans.
It becomes the object of human folly and ultimately meets a tragic end due to human indecision.
Patient, enduring, uncomplaining.
The Painter
A man of artistic temperament, perhaps lean from long hours at the easel. His hands might be stained with paint.
Attire: Practical but respectable artist's attire of 16th-century Spain: a simple tunic, breeches, and an apron or smock over his clothes to protect them from paint. His clothes would show signs of his profession.
Wants: To complete his commission and to outsmart his critic.
Flaw: None explicitly shown, though his wit is a defense mechanism.
He cleverly defends his artistic choice against a literal-minded critic.
Clever, witty, resourceful, confident in his artistic choices.
The Bachelor (who commissioned the painting)
A man of academic bearing, perhaps a bit stiff or formal. His build would be average.
Attire: Formal academic or respectable citizen's attire of 16th-century Spain: a dark, well-tailored doublet, breeches, and a modest ruff. His clothes would be neat and proper, reflecting his educated status.
Wants: To ensure artistic accuracy and to avoid paying for what he perceives as a mistake.
Flaw: His lack of imagination and literal interpretation, which makes him vulnerable to the painter's wit.
He is outsmarted by the painter's cleverness.
Literal-minded, critical, easily astonished, somewhat pedantic.
The Old Man (Leñador)
A very old man, described as 'caduco' (decrepit), with eighty years. He would be frail, hunched, and thin, but still possessing the strength to carry firewood, albeit with great difficulty. His hands would be gnarled and calloused.
Attire: Extremely simple, patched, and worn peasant clothing of ancient Greece, suitable for a woodcutter: a coarse, undyed chiton (tunic) tied at the waist, perhaps a rough cloak, and simple leather sandals. His clothes would be dirty and frayed from his arduous work.
Wants: To escape his arduous life and find rest, even if it means death.
Flaw: His extreme physical exhaustion and despair.
He confronts Death directly and, in a moment of fear, reconsiders his wish, revealing a primal will to live.
Weary, desperate, resigned to his suffering, but also surprisingly practical when faced with his wish granted.
Death
A skeletal figure, described as having 'dry armor' and 'bones without a tongue.' It would be tall, gaunt, and imposing, radiating an aura of cold finality.
Attire: A dark, flowing, tattered cloak that conceals its skeletal form, but hints at the 'dry armor' beneath. Perhaps a scythe, though not explicitly mentioned, is often associated with this figure.
Wants: To answer the call of the Old Man and fulfill its function.
Flaw: None, as it is an embodiment of a force of nature.
Does not change, merely fulfills its role.
Impassive, literal, fulfilling its role without emotion or judgment.
The King (who signed the letter)
A regal and imposing figure, accustomed to authority. His build would be strong and dignified.
Attire: Rich, formal Spanish royal attire of the late 16th century: a lavishly embroidered velvet doublet, matching breeches, a heavy, fur-lined cloak, and a jeweled ruff. A golden chain of office would be worn. His clothing would be a display of wealth and power.
Wants: To govern his kingdom, to teach his secretary a lesson, and to acknowledge his own mistakes.
Flaw: His tendency to sign documents without reading them thoroughly.
He acknowledges his own mistake and uses it as an opportunity to teach a lesson to his secretary.
Authoritative, wise, witty, capable of self-reflection and admitting fault, but also firm in dispensing justice.
The Secretary
A man of scholarly appearance, perhaps a bit slender from long hours of writing. His build would be average.
Attire: Formal, practical attire for a royal secretary in 16th-century Spain: a dark wool doublet, matching breeches, a modest ruff, and a plain cloak. His clothes would be neat and proper, reflecting his professional role.
Wants: To serve the King efficiently and avoid asking clarifying questions.
Flaw: His eagerness to please and reluctance to ask for clarification, leading to a significant error.
He learns a harsh but valuable lesson about the importance of clarity and understanding in his duties.
Diligent, efficient, but prone to making assumptions and acting without full understanding.
Locations
Salamanca
A 'plaza franca' (free market square) in Salamanca, implying a bustling public space where goods are bought and sold.
Mood: Lively, transactional, everyday.
A student in Salamanca receives advice from his father to eat the cheapest food available, leading to a humorous calculation about partridges versus a cow.
Mountain Path to Athens
A rugged mountain path leading from a forest ('un monte') down to the city of Athens, suggesting a long, arduous journey.
Mood: Strenuous, desolate, weary.
An old woodcutter, exhausted from carrying firewood, calls upon Death, only to ask for help with his burden when Death appears.
Stream in a Meadow
A gentle stream flowing through a meadow, with a lower section where a lamb drinks and an upper section where a wolf stands.
Mood: Peaceful, but with an underlying tension and threat.
A wolf unjustly accuses a lamb of muddying its drinking water, despite the lamb being downstream.
Roman Amphitheater
A grand Roman Amphitheater, a place for public spectacles and gladiatorial contests.
Mood: Dramatic, public, fateful.
A lion, recognizing the slave who once removed a thorn from its paw, refuses to harm him in the amphitheater.