Copyright by Laura Mareike Sager 2006 - The University of Texas at ...

interpretation also points to Buero’s use of dramatic ekphrasis as a tool for
portraying the author’s dominance over the painter.
At the beginning of the scene, when we see Goya sitting at his table, a
large version of the Viejos comiendo sopas (Old Men Eating Gruel) is projected
in the background. A little further on, with the painting still looming behind the
action, Goya explicitly refers to the painting when he defends himself saying “Yo
sólo quiero comer sopas” (195; “I only want to eat soup,” my transl. 136). Thus
attempting to demonstrate his innocence and defenselessness, he seeks to identify
with one of his Pinturas negras while being forced into representing one of his
Caprichos. Not only does this mis-identification show the artist in conflict with
his work, but also with his own identity. Classified by John Dowling as one of the
Pinturas negras used by Buero to comment on Goya’s personality rather than on
Spain or Goya’s destiny, 137 the Viejos comiendo sopas functions here as direct
contrast to the political interpretation Buero gives to El Sueño de la razón. While
Buero’s Goya is trying to avoid any political implications of his actions and
paintings, his involuntary enactment of El sueño de la razón will force him to
realizing his blindness and the impossibility of a retreat into privacy.
As the beasts from the first Sueño disappear and the Royal Volunteers take
over, three of the Pinturas negras are projected at once: Saturno (Saturn
devouring his son), Aquelarre (Witches’ Sabbath), and Judith (Judith and
136 Marion Peter Holt translates this phrase as “I only want to live my life” (51), thus foregoing
the allusion to the painting.
137 John Dowling has identified three different uses of the Pinturas negras in Buero’s drama: five
paintings comment on Goya’s personality and his relationship with his mistress Leocadia; seven
express the artist’s vision of Spain of his day; and two affirm Goya’s own destiny and integrate the
meaning of the collection as a whole (450).
103