Don't shout, silly

A young woman richly attired in a sumptuous dress pretends to be frightened by the unexpected visit of two peculiar goblins who have flown into her room. The young woman smiles mischievously as she looks at the viewer.

The Aragonese painter has applied only an aquatint that contrasts with the reserves of varnish on the woman's face and clothes. The lower part of the woman's dress is described in detail with a profuse use of etching.

The manuscript in the National Library describes the scene as follows: "The friars enter the ugly women of distinction through the windows in pairs: they pretend to be frightened, but they have nothing else and welcome them with open arms". This interpretation is quite similar to the one given by the National Library: "Poor Paquilla, who, going to look for the footman, meets the goblin, but there is no need to be afraid: it is known that Martinico is in a good mood and will do him no harm".

Edith Helman notes that in the second half of the 18th century, the word " goblin " was frequently used to refer to the friars. In fact, it is not the first time that Goya depicted goblins in the habits of friars, as he had already done so in Capricho no. 49 Goblins. Judging by the woman's pleased expression, Goya was thus criticising the carnal relationship the friars might have with the young woman, in violation of the vow of chastity. The painter takes up the theme of engraving no. 13, They Are Hot, in which a veiled allusion is made to the carnal appetites of certain sectors of the Church.