 | ||
The Trumpeter Taken Captive is one of Aesop's Fables and is numbered 270 in the Perry Index. One of the rare tales in which only human beings figure, it teaches that association with wrongdoers makes one equally culpable.
Sharing the guilt
The fable concerns a trumpeter who is taken by the enemy in battle and pleads to be spared on the grounds that he bears no weapons. His captors tell him that encouraging others to fight by means of his trumpet is even worse. In the Latin version by Avianus, an old soldier is disposing of his weapons in a fire and the trumpet asks to be spared but is disposed of in the same way.
In the Renaissance, Andrea Alciato included the story among his Emblemata under the heading Parem delinquentis et suasoris culpam esse (The fault belongs alike to the wrongdoer and the persuader) and was followed by the English emblematist Geoffrey Whitney in asserting that those who encourage a crime are equally guilty. The Neo-Latin poets Hieronymus Osius and Pantaleon Candidus also follow Alciato in stating that, though the trumpeter is equally at fault, he causes greater harm.
Most illustrators of the fables pictured ancient battle scenes, but Thomas Bewick updates it by dressing the trumpeter in the uniform of his times. Brooke Boothby also modernised the fable in his poetic version, which ends with the line ‘The poor Trumpeter was shot’. Most other poems of the time reserve their final lines for enforcing the moral. A school edition of 1773 concludes
Boothby's contemporary, H.Steers, goes further:
Another poet of that decade, the moralistic Fortescue Hitchins, devotes no less than fourteen lines to drawing the fable's lesson, applying it in addition to grumblers and gossips.
It was appreciation of the arguments employed in the fable and the belief that ‘musical elements lurk in gifted oratorical arguments’ that later inspired the composer Jerzy Sapieyevski to use it as the fifth piece in his Aesop Suite for brass quintet and narrator (1984), where great use is made of counterpointing.