I, Juan de Pareja, by Elizabeth Borton de Trevino, is about a 17th century Spanish slave named Juan de Pareja who overcomes multiple childhood hardships until becoming property to famous painter Diego Velazquez. De Pareja develops a friendship with Velazquez that leads to a life of happiness other masters never had let him enjoy; inevitably, he begins to notice and tries to reject his rising expectations for life. Soon enough, De Pareja wants to have certain human freedoms that he as a slave is not allowed to possess.
De Pareja gradually develops a desire for basic human rights under the ownership of Velazquez, despite his socioeconomic standing as a slave and his legal inability to have most entitlements. Firstly, de Pareja looks for unconditional,
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Juanico not leave!’”(85); de Pareja reflects on the anecdote and says, “It was an experience I put away to treasure often in my memory”(85). De Pareja’s treasuring of such a family moment undoubtedly shows a natural desire for unconditional love, a major right all are entitled to and free to have, even though slaves are but a tacit exception. Secondly, de Pareja wants to have the right to pursue his dream of painting. For example, one day, after Velazquez explains an intriguing color technique displayed in his famous artwork, de Pareja eagerly asks if he can paint, only to be turned down at the words, “‘Alas, I cannot teach you’”(46), resulting in a relatively depressed reaction from de Pareja: “I pondered this remark [...] these words were a little worm, gnawing at my affection”(46). De Pareja’s negative response to being unable to follow his dream of painting translates into a strong desire to pursue happiness in his choice of profession, a legal freedom and human right de Pareja the slave is not allowed to have. Finally, de Pareja wants to be able to marry and bear free children. For example, after earning full legal freedom from his master through an elaborate setup of sorts, de Pareja tells his master of his desire to marry Lolis,