The gaucho Buenos Aires, within his limited means, is a complete type of a man according to Ricardo Guiraldes.

 

He has moral principles, which he proves when he praises someone as “a gaucho of law”.

He has an almost religious philosophy in which he admits the existence of superior forces embodied in “destiny”, “lick”, and “fate”.

 

The notion of God amounts to an uncontrastable force to which he submits.

He also admits that there exists an “individual law”, a sort of destiny that leads every man along a unique path.

“He died in his law” are the words used to describe the idea that a person has died in the manner predetermined for him by his own peculiar destiny.

 

gaucho Buenos Aires

 

There are many artistic expressions associated with the gaucho buenos aires: the silverwork on his saddle gear with its typical shapes and ornaments, his woven garments, his chifle or horn used s a flask to carry water, his braided leather work and objects crafted in cow horn, bone, leather, etc.

 

 

victorino nogueira gaucho buenos aires estancia ricardo guiraldes

 

Gaucho campfire stories range from magical tales to narrations taken from direct sources, including their own personal experiences.

Gaucho Buenos Aires poetry stems from the improvised compositions recited at gatherings.

 

A gaucho´s love relations are brief and his contact with women takes place normally on the dance floor while performing traditional dances marked by extraordinary charm and gallantry.

 

 

gaucho buenos aires province areco

 

 

The gaucho attaches importance to his attire, ornaments and luxuries.

Moreover, a gaucho has something that only a few have: a unique manner of moving that involves aesthetics, education and respect for his own attitudes.

estancias gaucho buenos aires

 

Güiraldes, based on the real stories of Don Segundo Ramírez, wrote the main novel about Gaucho Buenos Aires : “Don Segundo Sombra”, firstly published in 1926 in the gaucho town San Antonio de Areco.

In the book, the author describes “don Segundo” the same as the real character:

“I looked the man over. He was not really so huge. What made him seem as he appears to me, even today, was the sense of power flowing from his body. His chest was enormous, and his joints big-boned like those of a horse. His feet were short and high-arched; the hands thick and leathery like the scales of an armadillo. His skin was copper-hued and the small eyes slanted slightly upward.

Talking, he pushed his narrowbrimmed hat from his forehead showing bangs cut like a horse’s, just above his eyebrows. He was dressed like any poor gaucho. A plain pigskin belt girded his waist.

The short blouse fell over the bone-handled knife from which swung a rouge plaited quirt, dark with much use. His chiripá was long and coarse, and a black kerchief was knotted round his neck with the ends across his shoulders. He had split his alpargatas at the instep to make room for the fleshy foot.”

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