With The Butterfly's Magic, Lorca reminisces about the time he spent in Granada, listening to the poplars around his home singing, joining them with his voice, observing intently the comings and goings of ants, shedding tears as he buries a cricket, and suddenly his tears dry as his astonished gaze rises to follow the fluttering of a white butterfly. The Butterfly's Magic expresses this immediate influence of childhood memories, and the poet, still a teenager, writes a poem—something like a legend or fairy tale—narrating the adventure of a butterfly with broken wings that falls into a beetle's nest. The son of the Beetle falls in love with her, but as soon as the butterfly heals, she flits away, far from that black, dreadful nest, leaving the lovesick Beetle heartbroken and lonely. It is a work that makes an astonishing impression not only for its poetic language and sensitivity but also as a spectacle.

Lorca's tendency to create performances began with the little theater his father once brought him in Granada, and when the theater seemed cramped for his imagination, he built his own puppet theater, the Puppets of Fasulidis, with his own cardboard characters, sets, and new works that he invented. Federico entertained himself by moving these puppets and simultaneously speaking the lines from the comedies he devised in different voices. Later, he would move on to performances where with his puppets he would amuse all kinds of audiences. These Fasulidis and their protagonist, Don Cristobita, were the first to speak to the world with the words of the poet of The Blood Wedding, Yerma, and The House of Bernarda Alba.