The Satyr and the Traveler (or Peasant ) is one of the Aesop Fables and is numbered 35 in the Perry Index. The popular idiom 'blowing hot and cold' is attributed to it.
Video The Satyr and the Traveller
The Fable
There is a Greek version and a late Latin version of the fairy tale by Avianus. In its usual form, the satyr or faun meets a traveler wandering in the woods in the deep winter. Pity to him, satyr invited him home. When the man blows his fingers, the satyr asks him what he does and is impressed when told that he can warm them like that. But when the man blows his soup and tells the satyr that it is to cool it, the honest forest man is surprised by the double way and encourages the traveler from his cave. There is an alternative version where the friendship between the two is terminated by this behavior.
The idioms 'for blowing heat and cold (with the same breath)' mentioned by fable are recorded as Ex eodem ore calidum et frigidum efflare by Erasmus in Adagia (730, 1.8.30). Its meaning is further defined by the books of the Renaissance emblem, especially those that focus on fairy tales as providing lessons for moral behavior. While Hieronymus Osius tells the story of the travelers and draws the morale that one should avoid those who are impermanent, Gabriele Faerno puts it in the context of friendship and counsel that this should be avoided by 'double tongue' ( bilingue ). In this case he was followed by Giovanni Maria Verdizotti, Marcus Gheeraerts the Elder and Geoffrey Whitney. However, in Francis Barlow's edition of the tale (1687), the Latin text warns against those whose hearts and tongues are out of sync, while Aphra Behn comments in the English verse that
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- Binders with the same breath can praise
- Every faction and what is most important obeys,
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following the example of John Ogilby who slightly earlier gave a political interpretation. The Wenceslas Hollar print in the edition emphasizes the lesson by showing battles in heaven and the fall of Lucifer takes place outside the mouth of the cave where the traveler blows his cock.
The fable was included as Le satyre et le passant between the fairy tales of Jean de la Fontaine (V.7) but without a moral change. However, this version must also be reinterpreted in the political sense of the nineteenth century. In a very free version, John Matthews expanded the text to comment on the 1819 election in Westminster and advised voters to adopt a satyr view of blowing heat and cold. In France the satirical cartoonist J.J. Grandville also renewed its meaning by showing a group of people reading and commenting on newspapers in a public park next to a statue depicting fairy tales (see in Gallery 4 below).
The Age of Enlightenment has intervened and leading thinkers then attack the logic of this fable in particular. In the article on "Fable" in his book Dictionnaire Philosophique (1764), Voltaire says that the man is right in the way he warms his fingers and cools the soup, and the satyr is stupid to take exception. German philosopher Gotthold Ephraim Lessing confirms in one of his essays on fairy tales that his error 'does not lie in allegory inaccuracy, but it is only an allegory', may reach the conclusion that the fable has been framed poorly around the already existing maxim. 'The man should really be acting contradictory; but in this fairy tale he should just do it. 'By using fables to focus on political behavior, therefore, the authors and artists give it a justification not embedded in its narrative.
Maps The Satyr and the Traveller
Fable in art
For various reasons, the tale of "The Satyr and the Peasant" is specifically one of the most popular subjects in Europe and by some artists painted in many versions. It is very popular in the Netherlands, where it unifies contemporary flavors for Classical mythology and local fondness for the subject of farmers. At the beginning of the 17th century, poet Joost van den Vondel published his popular collection on the basis of Marcus Gheeraerts prints, Vorstelijke Warande der Dieren (The basics of animal pleasures, 1617), where the poem of Satyr en Boer appears. This seems to have drawn young Jacob Jacob's imagination, which then produced several dozen versions of the subject and performed more than any other painter to popularize it. He was followed in Antwerp by others like Willem van Herp and Jan Cossiers, while in the North of Holland it was taken by a group of disciples and followers of Rembrandt, Gerbrand van den Eeckhout, Barent Fabritius and Claes Corneliszoon Moeyaert, as well as by genre artists such as Benjamin Gerritsz Cuyp , Younger Jan Steen and David Ryckaert.
Although the Italians of Faerno and Verdizotti were before them in literary care, the subject was applied to large-scale oil paintings by German and Dutch artists working in Italy such as Johann Liss and Matthias Stom, and later taken by Sebastiano Ricci and Gaspare Diziani. Since the southern Netherlands then came under Spanish rule and the paintings from there found their way to Spain, the young Diego Velázquez also made one of his people a fable. French care was largely confined to the La Fontaine fable and included the work of Pierre Marie Gault de St Germain, painted for King Stanislas of Poland and exhibited at Salon 1790, and one by Jules Joseph Meynier (1826-1903), exhibited at Salon 1872 and purchased by country. There is also English treatment by E.H.Wehnert shown in 1833 at the New Society of Painters in Watercolors exhibition.
The fable scene depends on the version you follow. Travelers are invited to the satyr house, which is often featured as a cave - and is specified as in the La Fontaine version. In the initial illustration, guests may be displayed, illogically, as entertained outside the dwelling, rather than shelter inside. During the 17th century, the interior of the farm served as an opportunity to pack the picture with small details and fill the space with the animals and (where the theme is the friendship between satyrs and humans) male family members. Alternatively, members of the satyr family are shown where La Fontaine's fairy tale is followed, culminating in the charming little satyrs that circle the travelers in the illustration of Gustave Dorà ©. The Dutch painter also showed a special interest in light, especially those close to Caravaggio and the effects he achieved. Often light enters from the door, although in some paintings the source is more ambiguous and creates a dramatic effect as it takes the group either at the center or on one side of the painting. Where the main interest is the moral of the fable, the image space is unencumbered and serves only as a companion for the story. But as interest shifts away from such stories, detail and composition become the main focus and the degraded tale becomes the reason for the artist's art practice.
Gallery 1: Collection of fables and symbols
Gallery 2a: Painting from South Holland
Gallery 2b: Painting from the North Holland
Gallery 3: Painting from Italy
Gallery 4: La Fontaine's Fable Illustration
References
External links
- Illustrations from the 15th to the 20th century
Source of the article : Wikipedia
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