To become a Spanish speaker, you must practice regularly and, if possible, a little bit every day. This is one of the best tips to improve your Spanish, because in this way, your reading and listening comprehension will advance without you even realizing it. And what better way to improve your Spanish skills than with some of the most popular Spanish folk stories.

Below, you will find a list of the most popular Spanish folk tales known by children and adults in Spain. These stories have different origins, and you probably know some of the tales, but have you read them in Spanish? Discover them here and sign up to learn Spanish in Spain with donQuijote!

You can also read this article in Spanish or in other languages like French, Italian or Dutch.

El cuento de la lechera (The Tale of the Milkmaid)

The first tale on the list is El cuento de la lechera, which has its origins in classical European fables and has been attributed to writers such as Aesop and Jean de La Fontaine. It is found in several variants in cultures such as Spanish, French and German. It goes like this:

“Había una vez una lechera que vivía en una aldea. Todos los días, ella llevaba una jarra de leche sobre su cabeza hacia el mercado de la ciudad para venderla y ganar algo de dinero. Mientras caminaba, comenzó a soñar despierta sobre todo lo que podría hacer con el dinero que ganaría ese día.

Primero, pensó: "Voy a vender esta leche por unos cuantos céntimos. Con ese dinero, compraré unos huevos. Los huevos pronto se convertirán en pollitos, y cuando crezcan, podré venderlos por un buen precio en el mercado. Con ese dinero, compraré un cerdo pequeño y lo engordaré. Cuando el cerdo esté grande, lo venderé y tendré suficiente dinero para comprar una vaca. La vaca me dará leche todos los días, que podré vender y ganar aún más dinero".

Mientras la lechera seguía fantaseando sobre su futuro próspero, la jarra de leche comenzó a balancearse en su cabeza, y debido a su entusiasmo, movió demasiado la cabeza y la jarra se le cayó, rompiéndose y derramando toda la leche. Al darse cuenta de que había perdido todo el dinero que podría haber ganado, la lechera se sintió muy triste y desanimada”.

English version:

"Once upon a time there was a milkmaid who lived in a village. Every day, she carried a jug of milk on her head to the city market to sell it and earn some money. As she walked, she began to daydream about all the things she could do with the money she would earn that day. First, she thought, "I'm going to sell this milk for a few cents. With that money, I'll buy some eggs. The eggs will soon become chicks, and when they grow up, I can sell them for a good price in the market. With that money, I will buy a small pig and fatten it up. When the pig is big, I will sell it and have enough money to buy a cow. The cow will give me milk every day, which I can sell and make even more money." As the milkmaid continued to fantasize about her prosperous future, the milk jug began to sway on her head, and because of her excitement, she moved her head too much and the jug fell off, breaking and spilling all the milk. Realizing that she had lost all the money she could have earned, the milkmaid felt very sad and discouraged."

Los tres cerditos (The three little pigs)

A tale known to many, of European origin and popularized in children's literature: Los tres cerditos. There are thousands of versions of this tale in literature and cinema. Here is a brief summary:

“Había una vez tres cerditos que vivían juntos con su mamá en el bosque. Un día, mamá cerda les dijo que ya eran lo suficientemente mayores para construir sus propias casas y vivir independientes, pero que tenían que protegerse del lobo.

El primer cerdito, que era un poco perezoso, decidió construir su casa rápidamente con paja, pensando que sería suficiente para protegerse. El segundo cerdito trabajó un poco más y construyó su casa con madera, pero solo era un poco más resistente que la casa de paja. Mientras que el tercer cerdito, el más trabajador de todos, decidió construir su casa con ladrillos.

El lobo feroz que vivía en el bosque vio las casas de los cerditos y pensó que serían una buena comida. Primero fue a la casa de paja y sopló con fuerza. La casa se derrumbó y el cerdito tuvo que huir. Luego fue a la casa de madera del segundo cerdito. También sopló con fuerza y la casa se destruyó. El segundo cerdito corrió a refugiarse con su hermano.

Finalmente, el lobo fue a la casa de ladrillos del tercer cerdito. Sopló y sopló, pero la casa no se movió. El lobo no pudo entrar y se marchó frustrado.

Los tres cerditos aprendieron que la casa más segura era la que se había construido con ladrillos. Desde entonces, vivieron en la casa del tercer cerdito trabajando juntos para protegerse de cualquier peligro”.

English version:

"Once upon a time there were three little pigs who lived together with their mother in the forest. One day, mommy pig told them that they were old enough to build their own houses and live independently, but that they had to protect themselves from the wolf. The first little pig, who was a bit lazy, decided to build his house quickly with straw, thinking that it would be enough to protect him. The second little pig worked a little harder and built his house out of wood, but it was only a little stronger than the straw house. While the third little pig, the hardest working of all, decided to build his house out of bricks. The big bad wolf who lived in the forest saw the piglets' houses and thought they would make a good meal. First, he went to the straw house and blew hard. The house collapsed and the little pig had to run away. Then he went to the second piglet's wooden house. He also blew hard, and the house was destroyed. The second little pig ran to take shelter with his brother. Finally, the wolf went to the third little pig's brick house. He blew and blew, but the house did not move. The wolf could not get in and left in frustration. The three little pigs learned that the safest house was the one built with bricks. From then on, they lived in the third little pig's house working together to protect themselves from any danger."

La ratita presumida (The presumptuous little rat)

Let’s continue with La ratita presumida, a popular fable of Spanish origin that has been transmitted orally and compiled in various collections of children's stories. Here is a version of the tale:

“Había una vez una ratita que vivía en un campo y era muy presumida. Todos los días, se pasaba horas arreglándose y admirándose en el espejo. Un día, mientras barría su casa, encontró una moneda de oro. La ratita, emocionada por su hallazgo, decidió comprarse un bonito lazo rojo con la moneda.

En el momento en que se puso el lazo, la ratita presumida llamó la atención de todos los animales del campo. El gallo, el pato y el cerdo, todos ellos se enamoraron de su belleza y comenzaron a cortejarla, intentando ganar su corazón y proponiéndole matrimonio.

Sin embargo, entre todos los pretendientes, había uno que era más astuto que los demás: el gato. El gato era conocido por ingenio y su capacidad para engañar a los demás y, al ver a la ratita presumida con su lazo rojo, el gato decidió cortejarla también.

El gato comenzó a elogiar a la ratita, a hacerle regalos y le preguntó si quería casarse con él. La ratita, halagada por toda la atención y los regalos, se sintió elogiada y aceptó la propuesta del gato, ignorando las advertencias de los demás.

Antes de casarse, el gato invitó a la ratita a un picnic, pero cuando la ratita abrió la cesta, descubrió que estaba vacía. “¿Dónde está la comida?”, preguntó la ratita. “La comida eres tú, ratita”, le contestó el gato e intentó comérsela.

En ese momento, la ratita, que no era tonta, se dio cuenta de las intenciones del gato y logró escapar justo a tiempo. Tras esta experiencia, la ratita presumida se dio cuenta de su error al dejarse llevar por las apariencias y aceptar al gato sin conocer realmente su verdadera naturaleza. Aprendió una valiosa lección y decidió ser más cautelosa en el futuro”.

English version:

"Once upon a time, there was a little rat who lived in a field and was very conceited. Every day, she spent hours grooming herself and admiring herself in the mirror. One day, while sweeping her house, she found a gold coin. The little rat, excited by her find, decided to buy herself a red ribbon with the coin. The moment she put on the ribbon; the smug little rat attracted the attention of all the animals in the field. The rooster, the duck and the pig all fell in love with her beauty and began to court her, trying to win her heart and proposing marriage.
However, among all the suitors, there was one who was more cunning than the others: the cat. The cat was known for his wit and his ability to deceive others and, seeing the boastful little rat with his red bow, the cat decided to court her as well. The cat began to praise the little rat, give her gifts and asked her if she wanted to marry him. The little rat, flattered by all the attention and gifts, felt praised and accepted the cat's proposal, ignoring the warnings of the others. Before getting married, the cat invited the little rat to a picnic, but when the little rat opened the basket, he discovered it was empty. "Where's the food?" the little rat asked. "The food is you, little rat," the cat replied and tried to eat it. At that moment, the little rat, who was no fool, realized the cat's intentions and managed to escape just in time. After this experience, the smug little rat realized her mistake of being carried away by appearances and accepting the cat without really knowing its true nature. She learned a valuable lesson and decided to be more cautious in the future."

Caperucita Roja (Little Red Riding Hood)

Without a doubt, Caperucita roja is one of the popular tales with more versions: in literature, on television, in movies, in popular cultures... But the best known is the one written by the Brothers Grimm.

In short, this tale tells the story of Little Red Riding Hood, and this is a version of this Spanish folk tale:

“Caperucita roja va a casa de su abuela, que está enferma, pero para llegar allí necesita atravesar el bosque. Durante su camino, se cruza con el lobo, que la engaña para tomar un camino más largo a casa de su abuelita. Por lo que, mientras Caperucita va a recoger flores para su abuelita enferma, el lobo aprovecha para llegar antes que ella a casa de la abuelita.

Una vez allí, el lobo engaña también a la abuelita y se la come, para después disfrazarse de ella. Cuando Caperucita llega a casa de su abuela, es el lobo quien la está esperando y se la come.

El final de la historia varía, en algunas versiones, un cazador salva a Caperucita y a la abuela, mientras que en otras consiguen salir ellas solas de las entrañas del lobo. Aunque el desenlace siempre es el mismo: el lobo acaba con el estómago lleno de piedras y en el fondo del río”.

English version:

"Little Red Riding Hood is going to her grandmother's house, who is ill, but to get there she needs to go through the forest. On her way, she crosses paths with the wolf, who tricks her into taking a longer way to her grandmother's house. So, while Little Red Riding Hood goes to pick flowers for her sick grandmother, the wolf takes the opportunity to get to her grandmother's house before she does. Once there, the wolf also tricks the grandmother and eats her, and then disguises himself as her. When Little Red Riding Hood arrives at her grandmother's house, it is the wolf who is waiting for her and eats her. The ending of the story varies, in some versions, a hunter saves Little Red Riding Hood and her grandmother, while in others they manage to get out of the wolf's entrails by themselves. However, the outcome is always the same: the wolf ends up with a stomach full of stones and at the bottom of the river".

El gallo Kirico (The rooster Kirico)

El gallo Kirico is a traditional Spanish tale that is part of folklore and popular narrations. A story that has been transmitted from generation to generation orally, especially in rural areas. This Spanish folk tale, like many others, has multiple versions, but all maintain the same core and moral message:

“Había una vez un gallo llamado Kirico que era muy presumido y le encantaba mostrar sus plumas brillantes y su canto sonoro. Un día, Kirico fue invitado a la boda del tío Perico, un evento muy importante para los animales del corral. Kirico se preparó con gran esmero, deseando impresionar a todos los asistentes.

Camino a la boda, Kirico se encontró con un charco de barro y, preocupado por ensuciarse, buscó la manera de evitarlo. A pesar de sus esfuerzos, no pudo evitar pisarlo y ensuciarse un poco. Más adelante, se encontró con un matorral espinoso que desgarró parte de sus plumas, y luego con un riachuelo que mojó su elegante plumaje.

A lo largo de su camino, Kirico también tuvo varios encuentros con otros animales que le ofrecieron comida. Primero, se encontró con una hormiga que le ofreció un grano de trigo, pero Kirico, despectivo, lo rechazó. Luego, una rana le ofreció una hoja de lechuga, que también rechazó. Finalmente, se encontró con un zorro que le ofreció un pedazo de queso. Kirico, hambriento y agotado por el viaje, aceptó el queso sin pensar en las consecuencias.

El astuto zorro había planeado atrapar a Kirico y se aprovechó de su descuido. En lugar de llevarlo a la boda, lo condujo a su guarida con la intención de devorarlo. Kirico, dándose cuenta de su error, trató de escapar, pero ya era demasiado tarde”.

English version:

"Once upon a time there was a rooster named Kirico who was very conceited and loved to show off his bright feathers and his sonorous crowing. One day, Kirico was invited to Uncle Perico's wedding, a very important event for the barnyard animals. Kirico prepared himself with great care, wanting to impress everyone in attendance. On his way to the wedding, Kirico came across a mud puddle and, worried about getting dirty, he looked for a way to avoid it. Despite his best efforts, he couldn't avoid stepping in it and getting a little dirty. Further on, he encountered a thorny thicket that tore part of his feathers, and then a stream that soaked his elegant plumage.
Along the way, Kirico also had several encounters with other animals that offered him food. First, he encountered an ant that offered him a grain of wheat, but Kirico contemptuously refused. Next, a frog offered him a lettuce leaf, which he also refused. Finally, he met a fox who offered him a piece of cheese. Kirico, hungry and exhausted from the journey, accepted the cheese without thinking of the consequences. The fox, cunning, had planned to trap Kirico and took advantage of his carelessness. Instead of taking him to the wedding, he led him to his den with the intention of devouring him. Kirico, realizing his mistake, tried to escape, but it was too late."

Blancanieves y los siete enanitos (Snow White and the Seven Dwarfs)

The most famous version of Blancanieves y los siete enanitos is that of the Brothers Grimm, although the tale has an older origin. But, for sure, Walt Disney's version in his animated film telling this story is one of the most famous. In Spanish it sounds like:

“Blancanieves es una joven hermosa que se ve obligada a escapar de su castillo debido a la envidia de su madrastra, quién posee un espejo mágico. Cuando la madrastra le pregunta al espejo mágico quién es la más bella del reino, este responde que Blancanieves, por lo que quiere acabar con la vida de la joven y ser ella la más guapa de todo el reino.

Por eso, Blancanieves huye y se adentra en el bosque, tratando de escapar del cazador, enviado por la reina a matarla. En su huida llega a refugiarse en la casa de los siete enanitos, quienes la acogen para que viva con ellos.

Sin embargo, la madrastra encuentra a Blancanieves y trata de matarla con una manzana envenenada. La joven es engañada por la madrastra, que se disfraza de anciana, y cae en un sueño profundo por morder la manzana envenenada. Los enanitos, al enterarse de lo ocurrido, persiguen a la madrastra por el bosque, quien acaba precipitándose por un barranco.

Los enanitos dan por muerta a Blancanieves y la entierran en un ataúd de cristal. Mientras están velando a Blancanieves, aparece un príncipe, quien rompe el sueño de la joven con un beso de amor. Los dos se despiden de los enanitos y juntos parten al castillo del príncipe para vivir felices para siempre”. 

English version:

“Snow White is a beautiful young girl who is forced to escape from her castle due to the envy of her stepmother, who has a magic mirror. When the stepmother asks the magic mirror who is the most beautiful in the kingdom, it answers that Snow White. So, she wants to end the life of the young girl and be the most beautiful of the whole kingdom. Therefore, Snow White flees and goes into the forest, trying to escape from the huntsman, sent by the queen to kill her. In her flight, she takes refuge in the house of the seven dwarfs, who take her in to live with them.
However, the stepmother finds Snow White and tries to kill her with a poisoned apple. The young girl is tricked by the stepmother, who disguises herself as an old woman, and falls into a deep sleep by biting into the poisoned apple. The dwarfs, upon realizing what happened, chase the stepmother through the forest, who ends up falling down a ravine. The seven dwarfs leave Snow White for dead and bury her in a glass coffin. While they are watching over Snow White, a prince appears, who breaks the young girl's sleep with a kiss of love. The two say goodbye to the dwarfs and together they leave for the prince's castle to live happily ever after”.

Juan sin miedo (Juan without fear)

Juan sin miedo is a folk tale of European origin, known in various versions throughout the continent, especially in Spain, Germany and France. The story is part of the rich tradition of Spanish folk tales, passed down from generation to generation. In addition, it has been compiled on numerous occasions by different authors; one of the best-known versions is that of the Brothers Grimm, entitled The Tale of the Boy Who Went Out in Search of Fear.

This story goes like this:

“Había una vez un joven llamado Juan que, desde niño, nunca había sentido miedo. Mientras otros niños se asustaban con historias de fantasmas y monstruos, Juan se mantenía indiferente y curioso sobre qué se sentía al tener miedo.

Un día, Juan decidió emprender un viaje para descubrir lo que era el miedo. Durante su camino, se encontró con varias personas que intentaron asustarlo con historias de terror, criaturas espantosas y pruebas peligrosas, pero Juan nunca tenía miedo.

En una de sus aventuras, Juan llegó a un castillo encantado, del cual se decía que nadie podía pasar la noche allí debido a los espíritus que lo habitaban. Decidido a descubrir el miedo, Juan aceptó el desafío. Durante la noche, fue testigo de extraños y espeluznantes sucesos: fantasmas, esqueletos danzantes y ruidos aterradores. Sin embargo, Juan enfrentó cada situación con valentía y astucia, resolviendo acertijos y enfrentándose a los espectros sin temor alguno.

Finalmente, al amanecer, el encantamiento del castillo se rompió. El dueño del castillo, impresionado por el valor de Juan, le ofreció la mano de su hija en matrimonio y una gran recompensa. Juan aceptó, pero seguía sin comprender qué era el miedo.

Existe una versión particular del cuento en la que cuenta que, una noche, su esposa decidió enseñarle lo que era el miedo de una manera ingeniosa. Mientras Juan dormía, ella vertió un balde de agua fría con peces sobre él. Al despertarse sobresaltado y confundido, Juan exclamó: ¡Ahora sí sé lo que es el miedo!”.

English version:

"Once upon a time there was a young boy named Juan who, as a child, had never felt fear. While other children were frightened by stories of ghosts and monsters, Juan remained indifferent and curious about what it felt like to be afraid. One day, Juan decided to embark on a journey to discover what fear was. Along the way, he encountered several people who tried to scare him with scary stories, frightening creatures and dangerous trials, but Juan was never afraid.
On one of his adventures, Juan arrived at an enchanted castle, which was said that no one could spend the night there because of the spirits that inhabited it. Determined to uncover the fear, Juan accepted the challenge. During the night, he witnessed strange and spooky occurrences: ghosts, dancing skeletons and terrifying noises. However, Juan faced each situation with courage and cunning, solving riddles and confronting the specters without fear. Finally, at dawn, the castle's enchantment was broken. The owner of the castle, impressed by Juan's courage, offered him his daughter's hand in marriage and a great reward. Juan accepted, but still did not understand what fear was. There is a particular version of the story in which he tells that, one night, his wife decided to teach him what fear was in an ingenious way. While Juan slept, she poured a bucket of cold water with fish on him. When he woke up startled and confused, Juan exclaimed: "Now I know what fear is!”.

February 14 is approaching. At don Quijote, we want to wish you a happy Valentine's Day. One of the most tragic love stories of the Spanish culture is the one about “The Legend of Teruel Lovers”. It is a medieval origin story that represents the idea pure love, a love that endures, especially in our artistic and cultural imaginary, beyond death and despite the passing of centuries.

Lovers of Teruel

You may have heard a Spanish saying that says: “Los amantes de Teruel, tonta ella y tonto él” ("Teruel lovers, silly her and silly him"). It is a phrase that comes from the Middle Ages, a saying that was used as a mockery to make fun of tragic love. But ... do you know about the legend that has been transmitted from generation to generation?

Continue reading this article in English or switch to the Spanish version to improve your Spanish skills.

The Legend of the Lovers of Teruel tells the love story between two young turolenses (people from Teruel) - named Isabel de Segura and Diego de Marcilla. This story ended up embedded in our folklore thanks to the many and varied interpretations carried out by important Spanish writers and composers. In addition, since 1996, a theatrical recreation of “Las Bodas de Isabel de Segura” takes place in Teruel, which is represented annually during the month of February in that Aragonese town. This event was declared as a Festival of National Tourist Interest in 2016.

Summary

Once upon a time, a rich merchant named Pedro de Segura who lived in Teruel during the thirteenth century. This merchant had a very beautiful daughter, named Isabel de Segura. Isabel met a humble but honest boy named Diego de Marcilla. Diego was the son of a family that, despite being once important and wealthy, had lost his social and economic position in recent years.

Both fell deeply in love, and, some years later, Diego ended up asking Isabel to marry him. Isabel said yes: she wanted to be his wife but would never do it without her parents' consent. However, despite being Diego Marcilla a handsome young man, he did not own land or wealth. But he was dying of love for her, and was willing to wait and seek fortune where he could. With this idea, he asked his beloved to wait five years, when he would be worthy of his marriage. Isabel promised him to wait, and Don Pedro de Segura also accepted the deal. Demonstrating his arrest and bravery, Diego marches into battle in the hope of getting the necessary wealth. After five years fighting the Arabs in the Reconquest, he returned with great riches, enough to offer his wife a prosperous future.

However, Don Pedro de Segura - father of Isabel de Segura - pressed his daughter to get married as soon as possible. She managed to delay the wedding with the excuse of keeping the promise of maintaining her virginity until she was 20 years old. But after five years, Diego de Marcilla showed no signs of life, and Isabel began to lose hope and think that her beloved had died in combat. Don Pedro hastened the wedding with a rich suitor. But on the same day of the wedding ceremony, Diego de Marcilla, who had suffered all kinds of setbacks, returned from the war.

That night, Diego managed to sneak into the bedroom of the newlyweds while they were sleeping, and woke up his beloved sweetly by saying "Kiss me, I'm dying" to which Isabel de Segura responded painfully “For the love of Christ, I beg you to find another, and forget about me. If our love could not please God, then neither should it please me”. But he was not willing to give up and, vehemently, insisted "Kiss me, I'm dying", and she replied again "I don't want to." At that moment, Diego de Marcilla fell dead before Isabel's eyes.

Isabel, shaken to see Diego dead for not receiving the kiss, woke up her husband and confessed. He replied:  "Oh, you wretched! Why did you not kiss him?" "To not deceive my husband", she replied. " "Of course, you are a woman worthy of praise”. Then, Isabel, feeling guilty for being the cause of the tragic event, went to meet him and kiss him before he was buried, hurrying to the church of San Pedro, where women were having a wake for the deceased. Isabel turned away the shroud to undress Diego de Marcilla's face and kissed him with such love and passion that she died on the body of his beloved. Legend has it that neighbors agreed to bury them in the same place, and there, in the Tomb of The Lovers of Teruel, they are lying together for all eternity.

Latin America’s Top Writers According to Google

Birthdays are always a good reason to celebrate, and commemorating the birth of someone who’s done their part to enrich Hispanic culture is an even better one. Google is no stranger to this fact, which is why it has dedicated Doodles to some of the greatest literary figures of Latin America.

Do you know what a Google Doodle is? Would you like to take a graphics-based trip through the history of Latin American literature? Read on in English or click here to switch to the Spanish version of this article and we’ll tell you all about it.

What is a Doodle?

Google Doodles are the graphic modifications made to the Google logo to commemorate noteworthy holidays, anniversaries, and historical events. When you open Google, one day you might find a doodle announcing the discovery of water on the moon (2009), and another a musical game in honor of Johann Sebastian Bach (10 years later).

Since 1998, when the first Doodle was designed, the American tech giant has dedicated many of its creative logo variations to Spanish language literature. In today’s post, we’ll go chronologically through the brilliant minds that have earned their day in the digital spotlight: the best Latin American writers in history.

10 Doodles for 10 Latin American Authors

1. Rubén Darío

In 2003, Google celebrated the 146^th birthday of this Nicaraguan writer with a Doodle of a white swan, a memorable figure from one of his best-known poems. Swans are also the most representative symbol of the literary Modernist movement, a genre that Rubén Darío embraced so artfully that he became its leading figure.

2. Gabriela Mistral

Chile is a fertile ground for female authors. Along with her compatriot Isabel Allende, Gabriela Mistral is one of the few female writers whose name has gone down in history books. Thanks to poems like Dame la mano (Give Me Your Hand), featured in this 2015 Doodle, Gabriela became the first Ibero-American woman to win a Nobel Prize in Literature.

3. César Vallejo

Journalist, translator, and writer, César Vallejo has a powerful presence in the literary canon of his native Peru. On the 120^th anniversary of his birth, Google decided to celebrate the life and work of this Vanguardist icon with a Doodle. In it, César is sitting on a bench in Paris, a city he loved with all his soul and where he spent his final days.

4. Jorge Luis Borges

In the literature of Argentina, there is a name that shines brighter than all the rest: Jorge Luis Borges. His works, rich in philosophical undertones, are some of the most analyzed pieces of literature of the 20^th century. One of his most famous short stories is La biblioteca de Babel (The Library of Babel), which was the source of inspiration for this Doodle. In it, Borges stands in front of a library that represents the world’s complexity and the mysteries of memory.

5. Pablo Neruda

Once again, an autor from Chile brings us to the next Doodle. For many, Pablo Neruda was the greatest poet of the 20^th century. The Nobel Prize in Literature he won in 1971 and the honorary doctorate he received from the University of Oxford give us no reason to think otherwise. This Google Doodle evokes Pablo Neruda’s close relationship with the sea, a recurring element in much of his work.

6. Ernesto Sábato

It only took Ernesto Sábato three novels to carve out his place in Argentinian literature. One of them, El túnel (The Tunnel), is the story behind this Doodle. In addition to his literary work, Ernesto was a notable essayist, painter, and physicist. Who ever said that art and science can’t go together?

7. Julio Cortázar

The quote in this Doodle comes straight out of Rayuela (Hopscotch), a Spanish language literary classic. The Argentinian author Julio Cortázar was a master of short stories, an artist who knew how to play with the dimension of time, and a participant in one of the biggest literary movements to emerge from Latin America: magical realism.

8. Octavio Paz

Modern Mexican literature was reinvented in the 20^th century thanks to authors like Octavio Paz. One of his greatest contributions was the invention of topoemas, pieces of literature that focus more on the dimension of space than on the traditional perspective of time. This concept introduced by the Mexican author is precisely what Google tried to capture in the cosmic circles of this Doodle.

9. Gabriel García Márquez

The Buendía family poses in front of the jungle of Macondo. To the left, the face of Gabriel García Márquez presides over the scene. Cien años de soledad (A Hundred Years of Solitude) is possibly one of the best novels ever written in Spanish. Its author, a jewel in the crown of Colombian literature, knew better than anyone how to weave together fantasy and reality and was largely responsible for putting Latin American magical realism on the map.

10. José Emilio Pacheco

The last author on our list of Doodles is José Emilio Pacheco, a Mexican poet, essayist, novelist, and translator. Of the objects that appear in the image, the illustrated turtle stands out. It’s from the cover of El viento distante (The Distant Wind), one of his most famous novels.

We hope this list has helped you learn a bit more about the rich literary tradition of the Spanish language. If you’d like to immerse yourself in Hispanic culture and live it firsthand, we recommend you have a look at our multi-destination Spanish programs. They allow you to combine different cities in Spain and Latin America on your magical journey through the Spanish-speaking world.

Today is a very special day for us. as it is the birthday of Miguel de Cervantes, author of  "Don Quijote de la Mancha". So, we want to you join the celebration with ten of his best quotes, to inspire you. Here they are!

Read the Spanish version.

• Trust time; it usually provides a sweet way out of many bitter challenges.
• The truth may be stretched thin, but it never breaks, and it always surfaces above lies, as oil floats on water.
• Who reads much and walks much, goes far and knows much.
• Love and desire are two different things; not everything that is loved is desired.
• Freedom, Sancho, is one of the most precious gifts heaven gave to men; the treasures under the earth and beneath the sea cannot compare to it; for freedom, as well as for honor, one can and should risk one’s life, while captivity, on the other hand, is the greatest evil that can befall men.
• Who does not know to do with happiness should not complain when it passes.
• There is no so bad as not to have something good in it.
• The pen is the tongue of the soul.
• Be brief, for no discourse can please when too long.
• To be prepared is the half of the victory.

Now you know the keys of the "Cervantino" wisdom. Use it wisely.

The dramatic literature of Spanish theatre has a long history, with authors who have marked an era and have influenced Spanish society over the centuries. Moreover, it has provided hundreds of very interesting characters, who belong to the imagination of Spaniards and of many foreign readers and spectators, who have helped generations and generations of people to enjoy and better understand life. Spanish theatre has made a definitive contribution to world literature and is the subject of study in schools and universities all over the world.

Medieval theatre

The theatrical production of the Golden Age was so great and so outstanding that we often forget that there was also theatre before that time. During the Middle Ages, there was religious drama (some plays are still performed today); court theatre, whose plays were performed by the king himself and his court as a pastime; or university theatre, written by students as an exercise in understanding classical plays. Another problem with this type of theatre is that there is no record of authors. Some would say that we would have to wait for the Celestina to know an outstanding author; but we must bear in mind that the name of Fernando de Rojas was not known until 1632.

The Golden Age

The Spanish Golden Age, the period of maximum apogee of Spanish Art and Literature, around the 16th and 17th century, which saw an impressive theatrical production, is especially well known and studied all over the world.

The best-known author of the Spanish theatre developed in the Golden Age is Lope de Vega, surely the most dazzling genius of those times. So much so that he was known in his time as "the phoenix of wits". He wrote thousands of works, novels and poems, including the plays Fuenteovejuna, La dama boba and El Perro del hortelano.

Calderón de la Barca is another of the great examples of that century of cultural flowering. His most outstanding and internationally best-known work is La vida es sueño (Life is a Dream).

One of the most outstanding names in classical Spanish theatre is Tirso de Molina. El burlador de Sevilla - the clear predecessor of the romantic "Don Juan Tenorio" - is his greatest work. The famous Miguel de Cervantes also wrote brilliant plays, such as El cerco de Numancia. Curiously, Cervantes' facet as a playwright is unknown to many.

The Enlightenment

The Golden Age was followed by a certain decline in dramatic art. The great playwrights had passed away and, although their continuators strove to keep the style alive, they did not achieve the greatness of their predecessors. The great renewal was influenced by the French Enlightenment movement. Reason, harmony and sobriety prevailed. The greatest exponent of Enlightenment theatre was Leandro Fernández de Moratín and his play El sí de las niñas. Less well known is the prolific work of the author Ramón de la Cruz, perhaps because of his dedication to more "popular" themes.

Romanticism

Another boom period of Spanish theatre is to be found in the age of Romanticism. A play from this period that has been performed millions of times is Don Juan Tenorio, by José Zorrilla. Another good emblematic example is Don Álvaro o la fuerza del sino, by Ángel de Saavedra. The works of this period are characterised by their high dramatic tone, their passionate themes and even the incorporation of supernatural elements. These works are still very popular today.

20th century

During the 20th century, the theatre of Jacinto Benavente stood out with plays such as Los intereses creados. The versatile writer Federico García Lorca offered some of the great works of this century, such as Yerma, Bodas de sangre or La casa de Bernarda Alba. For his part, Ramón María del Valle Inclán is another of the best exponents with titles such as Luces de bohemia and Divinas palabras. The 20th century also saw a vindication of humour through the theatre of the absurd, as demonstrated by the success of authors such as Miguel Mihura, author of Tres sombreros de copa or Maribel y la extraña familia; or Enrique Jardiel Poncela, author of Usted tiene ojos de mujer fatal or Las cinco advertencias de Satanás.

And with these we have practically reached what the textbooks give about Spanish theatre. What does the future hold for us? Theatre continues to be produced in Spain and of very good quality; but it is still too early to analyse. So the best thing to do is to experience it for yourselves.

Let's talk a little bit about Spanish literature today. The works of Federico García Lorca not only represent masterful writing, but they also play an important role in Spain's cultural history.

Blood Wedding or Bodas de Sangre was written by the famed Spanish writer in 1932, the play is a tragedy and was the first part in the three works making up Lorca’s “rural tragedies”, alongside Yerma and La Casa de Bernarda Alba.

• The play is full of dark symbolism, and deals with themes such as loss, death and transience.
• It is suggested that Bodas de Sangre was inspired by a newspaper article reporting the story of a Bride who ran away with her lover on the night of her wedding.

Bodas de Sangre

The narrative is fairly simple; at the beginning of the play, a neighbor informs the mother of a bridegroom that the girl soon to marry her son was once romantically involved with a man called Leonardo Felix. This deeply unsettles the Mother due to a long standing feud with the Felix family, who were responsible for the premature deaths of her son and husband. On the morning of the wedding, Leonardo reveals his continuing desires to the Bride, and it is clear the Bride reciprocates. Later on the same day, just before the traditional wedding dance, it comes to light that the two have eloped, and the Groom is driven out into the forest to follow them in a fit of incandescence. The Mother of the Groom demands the wedding party follow suit in search of the Bride and Leonardo. Meanwhile, in the forest, three woodcutters appear and warn Leonardo that he will soon be caught if the moon shines. The play then takes a symbolic turn, with the moon itself appearing to foretell that before the night is over, blood will have been shed. A beggar standing as a metaphor for death then appears to predict the same outcome, eerily demanding that the moon shines brightly.  Death, now disguised differently, leads the Groom to Leonardo, despite warnings from the wedding party to turn back. After two screams are heard, the beggar and the moon come back as the scene ends; the Groom and Leonardo have murdered one another. It is assumed that the play ends with the Bride being killed to restore the honor of her family, yet some critics consider the Mother spares the Bride‘s death so that she must live to experience the pain of her loss.

As is the case with much of Lorca’s work, the play explores themes related to the human condition, the notion of time, the natural cycle of life and the idea of choice and inevitability. Such themes are widely considered both universal and pertinent, explaining the contemporary relevance of Lorca’s works. However, it could equally be argued that the play is a disguised critique of the conventions of Spanish society at the time of writing, the gossiping neighbors who gather to discuss the events towards the end of the play perhaps a demonstration of the importance of keeping up appearances in 20^th Century Spain. It is worth noting too, that the characters in Bodas de Sangre are not given names, with the exception of Leonardo himself. The characters are instead referred to by their titles; la madre, el novio, la novia, la vecina.

Romantic Poets

From Juan Arolas to Jose Espronceda, the Spanish literary canon is littered with romantic genius to rival even that of the prolific and widespread Romantic Movement in the United Kingdom with John Keats, William Wordsworth and William Blake. Although the lifespan of the Spanish romantic period was perhaps shorter than elsewhere, it was arguably more intense. The Movement, which took place at the beginning of the 19^th Century, was characterized by a focus on emotion, yet the romantic poets also celebrated the beauty and divinity of the natural universe, the vastness of the imagination, and the liberation of the individual. Art itself became freer, with symbols and myths often used, and value was placed on the marginalized within society. Poetry often dealt with the notion of ‘passionate love’, with its extremes of emotion, introspectiveness and the search for the ‘self’.

The focus on the self is best encapsulated by Jose de Espronceda. In 1839, Espronceda published El Estudiante de Salamanca, a collection comprising of two thousand verses, which narrates the story of the characters of Elvira and don Felix de Montemar. In 1840, Poesías was published, a collection of poems bringing together his most intense romantic pieces, with the neoclassic poems he penned during his youth. Notable poems in this collection include El Verdugo (The Executioner), Canto Del Cosaco (Song of the Cossack) and Cancion Del Pirata (Song of the Pirate). His well known Canto a Teresa was supposedly inspired by an affair, and formed part of his collection El Diablo Mundo, made up of extensive lyric poems which have become emblematic of the Romantic Movement in Spain. Another poet of mention is Gertrudis Gomez de Avellaneda, a Cuban poet who produced a variety of poetry in the Spanish language during the 1830s; she wrote her famous love sonnet ‘Al partir’ on leaving Cuba for Spain, and the poem encapsulates the strength of her love for her country, a diversion from the subject matter typical of most sonnets.

Gustavo Adolfo Bécquer, although writing while the concept of realism took hold in Spain, directly after the romantic period, produced some more commonly known Spanish ‘love’ poetry. Amor Eterno for example deals with the tumultuous literary relationship between love and death, and expresses that even death could not apagarse la llama (extinguish the flame) of the narrator’s love. Bécquer’s Rimas, written from 1859 onwards, were structured in short stanza forms, and were both erotic and musical; they totaled several thousand lines in length and are generally considered to have formed the foundation of contemporary Spanish poetry, expressing internal conflict relating to hopelessness in love, disillusion and solitude. A recurring motif in Bécquer’s collection is that of birds, with las oscuras golandrinas, or the dark swallows, signifying the end of an intense romantic relationship in Rhyme 53. Rhyme 21 is widely considered one of the most famous Spanish language poems, and contains the quotation ‘Poesía... eres tú’, which is perhaps an allusion to the value of art inspired by romance.

Though brief, the romantic period in Spain had a marked influence on the evolution of literature both within Spain itself and across the globe, and while it did not always directly deal with the concept of romance, writers were infatuated by the natural universe, and the beauty in freedom. Their legacy and influence is certainly noticeable, with contemporary Hispanic writers from Lorca to Neruda echoing their focus.  

The world has just lost a woman who knew how to capture in words that sense of shock, that childlike disbelief experienced when you suddenly find yourself in the middle of a war occurring right in your front yard (like she did). Ana María Matute has died, a fundamental figure in the literature of post-civil war Spain. Just months ago she finished her latest novel.

Ana María Matute

Matute was born in 1925 Barcelona to a middle class family. Her Catalan father owned an umbrella factory and her mother, a housekeeper from La Rioja, raised their five children.

At four years of age Ana María became seriously ill. She went to live with her grandparents in the village of Mansilla de la Sierra (La Rioja), where the people and landscape would greatly influence her writing; these early impressions would make up the heart of her 1961 collection of stories Historias de Artámila.  

Civil war broke out just before she turned 11. The horrors of war left an indelible impact on her life. She defined her generation as that of “the astonished children” who had to face a brutal world they didn’t understand: the war and post-war.

Ana María wrote her first novel, Pequeño teatro, at 17. The novel that caught the attention of the literary world was Los Abel (1948), inspired in the generations that followed the Biblical figures Adam and Eve. One year later her Luciérnagas (fireflies) was selected as a runner up for the prestigious literary award the Premio Nadal. The novel did not pass strict censorship in place at the time however and it didn’t even end up getting published until 1993.

This is one of those “Matute matters” (cosas de la Matute) as she would say, referring to herself in third person: either by personal design or by the whims of fate, some of her works remained dormant for extensive periods before reaching the public.  

We see one example of this literary hibernation with one of her most famous novels Olvidando rey Gudú, which sat in a desk drawer for nearly 25 years before its publication in 1996.

Ana María Matute received numerous awards: the Premio Planeta in 1954 for Pequeño teatro, the Premio Miguel de Cervantes in 2010, the Premio Nacional de Narrativa in 1959 and the Premio Nadal that same year for Primera memoria, the Premio Lazarillo de literature infantil in 1965 for El polizón de Ulises, the Premio Ojo Crítico Especial in 1997 awarded by Radio Nacional España for Olvidado rey Gudú, and the Premio Nacional de las Letras Españolas in 2007… and many more.

Matute was an honorary member of the Hispanic Society of America and she became the third woman in history to be accepted to the Royal Spanish Academy.

We’ve lost a female Spanish writer with a timid voice who expressed herself with unique elegance through novels, short stories, and tales for children; a world where she still felt, at the age of 88, like an “astonished child”.  

The Boom Movement in Latin America could be the turning point that lead to an innovation in literature. Between 1960’s and 1970’s, Latin America was suffering from the authoritarian military regimes and most of the writers had to leave their countries. Their literary works became the voice and the protest of their people.

The Boom Movement became widely known in Paris and Barcelona after publishing the works of the exiled Latin American authors like Mario Vargas Llosa and Gabriel García Márquez. Thanks to this movement Latin American literature came into prominence and many books were translated into other languages. Some critics claim that the very finest literary examples of Latin America were written during this period and on the 50^th anniversary of the Boom, let’s remember the authors and their famous novels.

Gabriel García Marquez: Beyond doubt Marquez is one of the most notable novelists along with Llosa among the Latin American writers. One Hundred Years of Solitude (Cien Años de Soledad) has sold more than 20 million copies worldwide and his other works are No one Writes to the Colonel (El Coronel no tiene quien le escriba) and The Autumn of Patriarchy (El Otoño del Patriarcha).

Mario Vargas Llosa:  In his first novel The Time of the Hero (La ciudad y los perros literally must be The City and the Dogs) showed an excellent narrative skill. Later he wrote The Green House (La Casa Verde), Conversation in the Cathedral (Conversación en La Catedral).

Carlos Fuentes: The Mexican writer used to travel a lot because of his diplomat father so he witnessed the difficulties of Latin American people and the experiences of Mexican immigrants in USA. He wrote The Death of Artemio Cruz (La muerte de Artemio Cruz), Where the Air is Clear (La region más transparente), Aura and Terra Nostra during Boom age.

Julio Cortázar: Must be the most famous Argentine writer after Borges and his novel Rayuela(Hopscotch) added a different perspective on literature. There are numerous ways of reading it. The author suggests two options. Either the conventional way and reading from the start to the end of chapter 56 or starting from Chapter 73 and jump to another chapter according to a table of instructions.

Augusto Roa Basto: Some theorists thought that the movement started with Paraguayan writer’s Son of Man (Hijo de hombre).

José Donoso: Chilean writer spent most of his time in exile in Mexico, US and mostly in Spain. The most known works are Hell Has No Limits (El lugar sin limites), The Obscene Bird of Night (El obsceno pájaro de la noche).
 

Spanish writer Miguel de Cervantes (1547 - 1616) is world famous for his novel ´don Quichote de la Mancha´ or "The ingenious nobleman don Quichote of La Mancha. The first part of the book was published in 1605 and the second part in 1615.

By reading many chivalric novels, the ingenious nobleman becomes under the delusion that he is the chosen one to confront evil in the world. He experienced the first failure of his imagined mission after being knighted. After being beaten black and blue at an inn, he was brought back home by a peasant. However, he did not let himself be known and found a farmhand ´Sancho Panza´ willing to go with him, together with his horse ´Rocinant´. Together they experienced many imaginary adventures and became involved in one battle after another, including the fight against windmills. We all know the story of don Quixote mistaking windmills and their sails for soldiers waving weapons in their hands.

Love in a knight's novel cannot be missing, of course, and don Quixote makes the peasant girl ´Dulcinea´ his lover. When the knight and his servant return to their native village after many travels, don Quixote is felled by fever and dies.

This book by Miguel Cervantes is the most widely read book in the world after the Bible. Think before you begin because it has 1117 pages. Not surprisingly, even stamps with the image of don Quijote were issued (1998) and there are many drawings, posters, figurines, etc.

Like many other artists, Miguel Cervantes became famous and loved for his work after his death and you can find his image on the Euro coins of 10, 20 and 50 cents, for example.