The Satyr and the Traveller

The Satyr and the Traveller (or Peasant) is one of Aesop's Fables and is numbered 35 in the Perry Index. The popular idiom 'to blow hot and cold' is associated with it and the fable is read as a warning against duplicity.

The Fable

There are Greek versions and a late Latin version of the fable by Avianus. In its usual form, a satyr or faun comes across a traveller wandering in the forest in deep winter. Taking pity on him, the satyr invites him home. When the man blows on his fingers, the satyr asks him what he is doing and is impressed when told that he can warm them that way. But when the man blows on his soup and tells the satyr that this is to cool it, the honest woodland creature is appalled at such double dealing and drives the traveller from his cave. There is an alternative version in which a friendship between the two is ended by this behaviour.

The idiom 'to blow hot and cold (with the same breath)' to which the fable alludes was recorded as Ex eodem ore calidum et frigidum efflare by Erasmus in his Adagia (730, 1.8.30).^[1] Its meaning was further defined by the emblem books of the Renaissance, particularly those that focused on fables as providing lessons for moral conduct. While Hieronymus Osius tells the tale of the traveller and draws the moral that one should avoid those who are inconstant,^[2] Gabriele Faerno puts it in the context of friendship and counsels that this should be avoided with the 'double-tongued' (bilingues).^[3] In this he is followed by Giovanni Maria Verdizotti,^[4] Marcus Gheeraerts the Elder^[5] and Geoffrey Whitney.^[6]

However, in

The fable was included as Le satyre et le passant among the fables of

During the 18th century new versions of fables were written to fit popular airs. "The Satyr and the Traveller" was set to the tune "I’ll tell thee Dick where I have been" and was collected among 470 other songs in the English compilation titled The Lark (London 1740).[13] But the poem itself, consisting of four six-line stanzas beginning "To his poor Cell a Satyr led/ A Traveller with Cold half dead", was originally written by Tom Brown near the turn of that century and appeared in the posthumous collection of his works.^[14] Thereafter the poem was reprinted in several other compilations for well over a century. It was later joined by a different musical version of the fable beginning "When chilling wind and snow clad tree/ Made Robin seek the Cottage door".^[15]

The same process of fitting new words to old tunes was also happening in France during the 18th century. There the most ambitious compilation was the Receuil de fables choisies dans le goût de M. de la Fontaine sur de petits airs et vaudevilles connus (Imitations of La Fontaine's fables set to popular airs, Paris 1746). In it is to be found the retitled "Le Satire et son Hôte", also comprising four six-line stanzas, subtitled "Duplicity" and sung to the air "Le fameux Diogene".^[16] In 1861 La Fontaine's own words were set to music by Pauline Thys as the second piece in her Six Fables de La Fontaine (1861),^[17] as well as by Théodore Ymbert in the previous year.^[18] Théophile Sourilas (1859-1907) made his setting for three voices in 1900.^[19]

The fable in art

For a variety of reasons the fable of "The Satyr and the Peasant" in particular became one of the most popular genre subjects in Europe and by some artists was painted in many versions. It was particularly popular in the Netherlands, where it brought together the contemporary taste for Classical mythology and a local liking for peasant subjects. At the start of the 17th century the poet

The scene of the fable depends on the version followed. The traveller is invited into the satyr's home, which is often shown as a cave - and is specified as such in La Fontaine's version. In early illustrations the guest may be shown, illogically, as being entertained outside the dwelling, rather than sheltering within it. During the 17th century, peasant interiors served as an opportunity to crowd the picture with small details and fill the space with animals and (where the theme is the friendship between satyr and man) members of the man's family. Alternatively, members of the satyr's family are shown where La Fontaine's fable is followed, culminating in the charming little satyrs who crowd round the traveller in Gustave Doré's illustration. The Netherlands painters also show a particular interest in light, especially those near in time to Caravaggio and the effects he achieved. Most often the light enters from the door, although in some paintings the source is more ambiguous and creates a dramatic effect as it picks out a group either at the centre or to one side of the painting. Where the main interest is in the moral of the fable, the picture space is unencumbered and serves only as an accompaniment to the story. But as interest shifts away from the story as such, detail and composition become the main focus and the fable is relegated to being the excuse for an exercise of the painterly art.

Gallery 1: Fable and emblem collections

• 
  In Hieronymus Osius' Fabulae Aesopi, 1564
• 
  Print by Marcus Gheeraerts the Elder in De warachtighe fabulen der dieren, 1567
• 
  In Geoffrey Whitney's Choice of Emblemes, Leiden, 1586
• 
  From Iohannis Patousas' edition of Aesop's Fables in Greek, Venice, 1644
• 
  Engraving by

  Wenceslas Hollar after Adam Elsheimer

  , 1649
• 
  In Francis Barlow's edition of Aesop's Fables, 1687

Gallery 2a:Paintings from the Southern Netherlands

• 
  Jacob Jordaens, The Satyr and the Peasant, Pushkin Gallery, Moscow, 1620s
• 
  Jacob Jordaens, The Satyr and the Peasant, Staatliche Museen, Kassel, 1620s
• 
  Jacob Jordaens, The Satyr and the Peasant, Royal Museums of Fine Arts of Belgium, Brussels
• 
  Jacob Jordaens, the laughing satyr variant
• 
  David Ryckaert the Younger, The Satyr and the Peasant
• 
  Jan van de Venne, The Satyr in the Peasant's House, Brukenthal National Museum, Sibiu Ro
• 
  Willem van Herp, The Satyr and the Peasant,
• 
  Jan Cossiers, The Satyr and the Peasant Family, National Gallery of Armenia, Yerevan

Gallery 2b:Paintings from the Northern Netherlands

• 
  Benjamin Gerritsz Cuyp

  , The Satyr and the Peasant Family, first half of the 17th century
• 
  Gerbrand van den Eeckhout, The Satyr and the Peasant
• 
  Moeyaert, a chalk drawing of The Satyr and the Peasant
• 
  Barent Fabritius, The Satyr and the Peasant, Musée des Beaux-Arts de Rouen
• 
  Jan van Noordt, The Satyr and the Peasant, Bader Collection, Milwaukee
• 
  Jan Steen, The Satyr and the Peasant, J. Paul Getty Museum, 1660/2
• 
  Jan Steen, The Satyr and the Peasant, Museum Bredius, Den Haag NL, 1660s

Gallery 3: Paintings from Italy

• 
  Jan Lis

  , a Baroque treatment of "The Satyr and the Peasant", Venice, 1623/6
• 
  Sebastiano Ricci, The Satyr and the Peasant, c.1700
• 
  Gaspare Diziani, The Satyr and the Peasant, first half of the 18th century

Gallery 4: Illustrations of La Fontaine's Fable

• 
  Jean-Baptiste Oudry, "Le satyre et le passant" from the 1755 illustrated edition
• 
  Hippolyte Lecomte, "Le satyre et le passant" from the 1818 illustrated edition
• 
  Gustave Doré, "Le satyre et le passant" from the 1867 illustrated edition
• 
  J.J. Grandville

  's reinterpretation of "Le satyre et le passant", 1838

References