20
Don Segundo Son
By Terrie Nichols,
Argentine gaucho and cattle.
Copyrighl Jack Child, ariisl Jennifer While
American cowboys branding a calf in fenced area. South Dakota, 1888.
t
In a nation well knov
its distinctive music, and
the gaucho, the Argentim
lowly beginnings as an oul
to national icon, the gam
through literature.
When the Spaniards,
land that would become A
forces did: they set up hOl
years, mixed European-na
playing in every village. ""
and horses to roam the va
from the Atlantic Ocean
gauchos were the mixed b
and the local Indians, the;
by the Spanish colonizers;
How then was this
national icon? It was no
Spanish elite who did no
reminder of "Argentina'5
efforts of leaders of the
Sarmiento, President of )
of anti gaucho sentiments
the gaucho as backward.
making the gaucho an in
led to the retardation of b
the publication of Jose HI
that started to rehabilitatl
Terrie Nichols received a Mast
Joyce Njau received a Master (
Cheryl Robinson is an undecla
\
21
Don Segundo Sombra and Argentina's Iconic Gaucho
By Terrie Nichols, Joyce W. Njau, and Cheryl Robinson
White
uth Dakota, 1888.
In a nation well known for its cattle industry, its great metropolis,
its distinctive music, and its stunning natural beauty, Argentina reveres
the gaucho, the Argentine equivalent of the American cowboy. From
lowly beginnings as an outcast to indispensable worker on cattle ranches
to national icon, the gaucho's rise to fame and mythic persona came
through literature.
When the Spaniards, early in the sixteenth century, colonized the
land that would become Argentina, they did what almost all colonizing
forces did: they set up household with native inhabitants. Within a few
years, mixed European-native children, called mestizos in Spanish, were
playing in every village. The Spanish also brought herds of both cattle
and horses to roam the vast grasslands of the pampas, which stretched
from the Atlantic Ocean to the Andes Mountains. Although most
gauchos were the mixed blood descendants of the early Spanish settlers
and the local Indians, they were spurned by both groups, made outlaw
by the Spanish colonizers, welcomed by no one but each other.
How then was this class of "lowlifes" elevated to the level of
national icon? It was not from the effort of the nineteenth century
Spanish elite who did not favor the gauchos, the illiterate, backward
reminder of "Argentina's negative heritage." Nor was it due to the
efforts of leaders of the early Argentine Republic such as Domingo
Sarmiento, President of Argentina from 1868 to 1874, a strong voice
of anti gaucho sentiments and author of Facundo, a book representing
the gaucho as backward. Sarmiento stated that the pampas, instead of
making the gaucho an independent and admirable character, actually
led to the retardation of both his intellectual and moral abilities. It was
the publication of Jose Hernandez' epic poem, Martin Fierro, in 1872,
that started to rehabilitate the gaucho image. The poem portrays the
Terrie Nichols received a Master ofArts in English in May, 2007.
Joyce Njau received a Master ofArts in English in May, 2007.
Cheryl Robinson is an undeclared junior at Emporia State University.
22
rural spaces of Argentina, especially the pampas, and is acknowledged
as the pinnacle of "gauchesque" poetry by Argentine authors Leopoldo
Lugones and Jorge Luis Borges. Martin Fierro started the iconization
of the gaucho, but it was Ricardo Gtiiraldes' Don Segundo Sombra that
firmly established the gaucho as a national icon (Delaney 434-459).
Ricardo Gtiiraldes was born in Buenos Aires, Argentina, February
13, 1886, second son of Manuel Gtiiraldes, a wealthy landowner, and
Delores Goni, an aristocrat whose family had founded the village of
San Antonio de Areco, the location of the Gtiiraldes family ranch, La
Portena. Gtiiraldes' early years spent in Europe, particularly France,
would later influence his literary style. Nevertheless, it would be his
years on La Portena that would form a fertile field for his most famous
work, Don Segundo Sombra. Here is where Gtiiraldes would meet with
the real Don Segundo, a man who sparked the admiration of the young
Gtiiraldes and whose memory helped him create a novel focused on one
of Argentina's iconic heroes - the gaucho.
At fifteen, Gtiiraldes' parents sent him to Buenos Aires for formal
education. This apparently was a difficult change for the young Gtiiraldes.
Steiner quotes him as saying he found "the classrooms dark and silent,
like prisons" (Steiner 275). This was not surprising; Ricardo had been
living in the country on his family ranch where the rhythms of ranch life
and the open freedom of the pampas didn't prepare him for the more
rigid schedule of the city school he attended.
In 1910, at the age of twenty-four, his parents sent him to Paris,
where he was "caught up in the dissolute pleasures of oat-sowing and
was seduced by the lure of alcohol, drugs, and women" (Steiner 276).
During this period, Ricardo had a vision of Argentina. He recorded
the experience, saying that he saw an Argentina that was imitation
and apprenticeship and submission, lacking in personality, save for
the gaucho, standing tall, strong, and dignified (Steiner 276). Here we
begin to see the nostalgic image of the gaucho materialize for Gtiiraldes
through his memories of his early life at his beloved home, La Portena.
Serious about writing, Gtiiraldes returned to Argentina in 1912.
He began publishing short stories and in 1915 paid to have his book
of poetry, EI Cencerro de
book, Cuentos de Sangre.
was publicly successful. G
multiple disaster. .. because
Cuentos, so that at the end
277). Though discouraged,
few books, including RaucJ
of an inferior side of himse
278).
Early in 1920, Gliirall
On a return trip to Europe
new project. However, bac
Segundo Sombra for five y'
published two novels, Ro~
neither did well.
Following this latest
the novel Don Segundo So
published in 1926. He kne
Hodgkin's disease, and so 1
accepted work (Steiner 283)
book than he had received f,
wrote, "I'm waiting for my
me with their usual bray of]
was surprised at the novel'!
did well, it exceeded all of (
two thousand copies sold Ol
Gtiiraldes earlier work5
many of his poems and sho
been about gauchos or ranc
first emerges,"as a literary
[where he] appears very mu,
strong, and usually silent.
calm, he had no fear, but is
tell a story, he suddenly be
story teller" (Steiner 280).
23
lpas, and is acknowledged
.rgentine authors Leopoldo
~rro started the iconization
Don Segundo Sombra that
:on (Delaney 434-459).
Aires, Argentina, February
a wealthy landowner, and
lad founded the village of
]iiiraides family ranch, La
lrope, particularly France,
vertheless, it would be his
e field for his most famous
Giiiraides would meet with
ile admiration of the young
~ate a novel focused on one
to Buenos Aires for formal
1ge for the young Giiiraides.
~lassrooms dark and silent,
rprising; Ricardo had been
re the rhythms of ranch life
. prepare him for the more
parents sent him to Paris,
leasures of oat-sowing and
md women" (Steiner 276).
)f Argentina. He recorded
~entina that was imitation
g in personality, save for
led (Steiner 276). Here we
o materialize for Guiraldes
beloved home, La Portena.
tIed to Argentina in 1912.
)15 paid to have his book
of poetry, El Cencerro de Crystal, published. This same year another
book, Cuentos de Sangre y de Muerte, was published; neither book
was publicly successful. Guiraldes would later say, "An absolute and
multiple disaster ... because of poking fun at El Cencerro no one bought
Cuentos, so that at the end of a year I had sold seven copies" (Steiner
277). Though discouraged, Guiraldes continued to write and published a
few books, including Raucho, which he described as "an autobiography
of an inferior side of himself that had made him act foolishly" (Steiner
278).
Early in 1920, Giiiraldesbegan work on Don Segundo Sombra.
On a return trip to Europe, in 1922, he wrote nine chapters for this
new project. However, back in Argentina he suspended work on Don
Segundo Sombra for five years while he worked on other projects. He
published two novels, Rosaura and Xaimaca, in 1922-1923; again,
neither did well.
Following this latest disappointment, Guiraldes returned to
the novel Don Segundo Sombra intent on finishing it. The book was
published in 1926. He knew at this time that he was fatally ill with
Hodgkin's disease, and so this might be his last chance to produce an
accepted work (Steiner 283). He did not expect a better reception for this
book than he had received for his other works. In a letter to Larbaud, he
wrote, "I'm waiting for my enemies, enemies for no reason to gratify
me with their usual bray of hostility" (Steiner 284). This time Guiraldes
was surprised at the novel's reception. Don Segundo Sombra not only
did well, it exceeded all of Guiraldes' expectations, "The first edition of
two thousand copies sold out in twenty days" (Steiner 284).
Giiiraides earlier works were a rehearsal for Don Segundo Sombra;
many of his poems and short stories, as well as the novel Raucho, had
been about gauchos or ranch life. According to Steiner, Don Segundos
first emerges,"as a literary figure ... in a short story, 'AI rescoldo' ...
[where he] appears very much as he is later described in the novel: huge,
strong, and usually silent. Stoic, self-confident, with a deep sense of
calm, he had no fear, but is opposed to violence. And when he starts to
tell a story, he suddenly becomes fluent and shows that he is a master
story teller" (Steiner 280).
24
His heroic portrayal of the gaucho directly reflects Gliiraldes' early
years that exposed him to gauchos and their way of life. The stories,
legends, superstitions, dances, and work skills of the gaucho fascinated
the young Gliiraldes. Steiner says Gliiraldes "had ridden with them,
had listened to them and had absorbed their ways" (Steiner 279). Even
the gaucho's love for the pampas would become his love, indelibly
marked upon his senses. "He identified with ... its immensity and sense
of freedom, and when he was there he felt he was an integral part of
the world around him" (Steiner 280). The novel's vivid details of the
pampas life and the different aspects of the gaucho led to its unanimous
acceptance by both the intellectuals and the masses of Argentina as
representative of the real gaucho. This could not have been possible
without the experience at La Portena.
Ricardo Gliiraldes lived long enough to realize his dream. Steiner
writes that Gliiraldes acknowledged freely that Don Segundo Sombra
was his attempt to "reclaim for [himself] the title of literary disciple of
the gaucho" (Steiner 279). He received the National Prize for Literature
just days before his death. In a letter to his friend Larbaud, Gliiraldes
wrote: "They are applauding me constantly. I see nothing but smiles,
which are so much a part of me that they are almost me. We have all
written Don Segundo Sombra. It was in us and we feel happy that it's
in print" (Steiner 284). On October 8, 1927, Ricardo Gliiraldes died at
the age of forty-one. His legacy lives on in the heroic image he gave the
gaucho, an Argentine iconic image recognized worldwide.
In the first two decades of the twentieth century Argentina was
in upheaval. The cities, especially Buenos Aires, were bulging with
new immigrant populations. The leisurely provincialism that had
characterized Argentina's century of independence was gone and
an ardent nationalism was rising in its place. The vast spaces of the
pampas were fenced and cattle ranching was no longer a matter of range
round-ups but pastured herds raised for foreign markets; industrialism's
market economy had overtaken the old Spanish feudal system of
gentrified privilege. A new European literary bent for utopian literature
was finding favor among the Argentine literati, and the gaucho, once a
reviled breed of individuals considered worthless thieves and vagrants,
was emerging as the Arger
of all that was being lost tc
economic systems.
Don Segundo Sombra i:
to all Argentines, one that 1
and solidify national iden1
described in many ways.
Don Segundo Sombra
episodes on the pampas whi
space of the land. Francilll
describes Gliiraldes' strong
panorama [to displace] tim
relocating the forces of tc
Descriptive passages such
sleeping fields. The darkne
roaring blaze, gladdened it.
for it, and larger. ...Somew
the teros.. Single details ofe'
(49), richly paint the pamp:
story as though he were wit
throughout the novel, Don,
Don Segundo may be
orphan, the novel's hero, ru
a ranch and turns his life ov
Jeremiah (26). The farmha
him, instruct him and final
quest for self-knowledge, f
He accepts the challenges, ]
a "don" himself. Masiello,
organizes his text around
Fabio" (Masiello 232). Fo'
again, Masiello asserts tt
focus brings order to dispel
principal quest for self-kno
tly reflects GUiraldes' early
ir way of life. The stories,
lIs of the gaucho fascinated
.es "had ridden with them,
ways" (Steiner 279). Even
)ecome his love, indelibly
1. • .its immensity and sense
he was an integral part of
novel's vivid details of the
~aucho led to its unanimous
he masses of Argentina as
lId not have been possible
realize his dream. Steiner
that Don Segundo Sombra
e title of literary disciple of
~ational Prize for Literature
; friend Larbaud, GUiraldes
y. I see nothing but smiles,
ire almost me. We have all
and we feel happy that it's
" Ricardo GUiraldes died at
he heroic image he gave the
:ed worldwide.
.eth century Argentina was
; Aires, were bulging with
ly provincialism that had
ependence was gone and
lce. The vast spaces of the
:no longer a matter of range
ign markets; industrialism's
Spanish feudal system of
y bent for utopian literature
rati, and the gaucho, once a
thless thieves and vagrants,
:J
25
was emerging as the Argentine mythic icon, the heroic representative
of all that was being lost to the rapidly changing social, political, and
economic systems.
Don Segundo Sombra is a story ofa popular hero, one understandable
to all Argentines, one that relies on the heroized gaucho to freeze time
and solidify national identity (Jitrik 214). It is a story that may be
described in many ways.
Don Segundo Sombra may be called a visual narrative, a series of
episodes on the pampas where time is displaced in favor of the immense
space of the land. Francine Masiello, a scholar of Spanish literature,
describes GUiraldes' strong visual elements in the novel as using "the
panorama [to displace] time with its multiple and wondrous imagery,
relocating the forces of history within a visual experience" (233).
Descriptive passages such as, "Deeply I breathed the breath of the
sleeping fields. The darkness lay serene; the Fireflies, like sparks of a
roaring blaze, gladdened it. I let the silence enter me, And was stronger
for it, and larger....Somewhere a cock crowed, awakening the reply of
the teros; Single details of every day that showed the world's immensity"
(49), richly paint the pampas so that the reader "sees" and "senses" the
story as though he were with Fabio. With this level of poetic description
throughout the novel, Don Segundo Sombra is powerfully visual.
Don Segundo may be called of a coming-of-age story: Fabio, the
orphan, the novel's hero, runs away from his unsatisfying village life to
a ranch and turns his life over to the "gone-native Britisher" squire, Don
Jeremiah (26). The farmhands on the ranch tease and insult him, lead
him, instruct him and finally befriend him. The young orphan is on a
quest for self-knowledge, for attainment of equality, and for adulthood.
He accepts the challenges, learns the lessons, and succeeds in becoming
a "don" himself. Masiello views the novel similarly, stating, "GUiraldes
organizes his text around the adventures of the adolescent runaway,
Fabio" (Masiello 232). Focusing on the episodic style of the narrative
again, Masiello asserts that "throughout the story, a hero-centered
focus brings order to dispersed narration ....reuniting adventures by one
principal quest for self-knowledge" (Masiello 232).
26
Don Segundo might also be called a fable: poor orphan boy makes
good through hard work and determination. Throughout the novel as
Fabio acquires each new gaucho skill, he increases his moral fiber,
he learns a lesson, and he moves forward to his next task. He gets in
trouble, overcomes each obstacle, and remains loyal to his mentor and
friend, Don Segundo. Fabio's path is nearly always forward, lessons are
nearly always learned the first time; the novel presents Fabio's story in
fable form.
Don Segundo may be called an allegory: Fabio stands for the
best in all gauchos, Don Segundo stands for the best kind of patron or
mentor, and the many men of the ranches suggest the best and worst of
the types of men working on the pampas, perhaps of all men. Masiello
also sees the allegorical thread running through the story. She observes
that not only does Gtiiraldes present a "catalogue of Argentine 'types'
who inhabit the pampas in a remote tum-of-the-century setting, but also
he proposes to recreate the logic belonging to that age" (Masiello 23 I).
It is in understanding Don Segundo Sombra as a rural utopian novel
that all of these classifications come together: the visual narrative, the
coming-of-age story, the fable, the allegory. The rural utopian novel
depicts the simple economy of rural life and work as a moral framework
for the harmonious relationships of man with nature and man with man
(Stempel 115); and this "simple economy" resides in an idealized past.
In the case of Argentina and Ricardo Gtiiraldes, the idealized past is the
time before the large-scale social upheaval of agrarian reform and the
entry ofArgentina in the world market. This is a time within the author's
memory lost to the trample of social and political changes.
Utopian narratives feature a symbolic golden age: Don Segundo
Sombra is Gtiiraldes' response to the Argentine nostalgia for a simpler
past and an "imagined past where the old values and ways of life still
exist" (Sarlo 245). A novel written about this "imagined past" may
incorporate the textual strategies of visually presenting a landscape as
unchanging. As in a fable or an allegory, the people and places in the
story present an indeterminate moral high point that has irrevocably
passed. Gtiiraldes has nestled all these strategies into his novel of
egalitarian pastoral harmony about the rhythms of a gaucho's work and
leisure. He then added the
bygone life worked.
Don Segundo Sombra
with little linking them toget
on a quest to reinvent his lif(
his past, only intermitten
memories (Masiello 235).
His reflections through mo
events. Gtiiraldes has portra
and tied him to the earth 11
author cannot leave the telli
illiterate, character of Fabio
emotional, and intellectual'
is the voice of one who se
symbolically; that voice is
language into many of Fa'
Gtiiraldes is the "perceiving
"shifting control of the disc
(Masiello 237).
The following passag(
narrator's "perceiving con
narrator's expressions are it
"Above us the starred J
shining sands ofsleep. But
each muscle of my body..
herd was one animal trying
one. The disjointed movem
stomach; and if I looked do'
the earth seemed to heave I
the least attention to me. T
sure none strayed.. .. The tf.
owls began to play hide a
velvety throats .. .All of a s
was the broad dark outline (
flowing into a lake" (Gtiira
\
,Ie: poor orphan boy makes
. Throughout the novel as
increases his moral fiber,
o his next task. He gets in
ins loyal to his mentor and
llways forward, lessons are
el presents Fabio's story in
:ory: Fabio stands for the
. the best kind of patron or
ggest the best and worst of
~rhaps of all men. Masiello
19h the story. She observes
dogue of Argentine 'types'
he-century setting, but also
o that age" (Masiello 231).
bra as a rural utopian novel
~r: the visual narrative, the
y. The rural utopian novel
work as a moral framework
1 nature and man with man
'esides in an idealized past.
les, the idealized past is the
of agrarian reform and the
s a time within the author's
itical changes.
golden age: Don Segundo
:ine nostalgia for a simpler
alues and ways of life still
this "imagined past" may
presenting a landscape as
e people and places in the
point that has irrevocably
rategies into his novel of
ms of a gaucho's work and
27
leisure. He then added the coming-of-age theme to illustrate how this
bygone life worked.
Don Segundo Sombra is a novel of discrete adventures and events
with little linking them together except the steady voice ofFabio. Fabio is
on a quest to reinvent his life. After leaving his aunt's home, he represses
his past, only intermittently recalling fragmentary or momentary
memories (Masiello 235). He is fully immersed in his experiences.
His reflections through most of the novel are tied to present-moment
events. Giiiraides has portrayed Fabio as a part ofthe pampa's landscape
and tied him to the earth the way a gaucho would have been. But the
author cannot leave the telling of his story to this earthbound, itinerant,
illiterate, character of Fabio. For the story to take on the utopian moral,
emotional, and intellectual worthiness there must be another voice. This
is the voice of one who sees the life of the pampas aesthetically and
symbolically; that voice is Giiiraldes'. The author weaves his poetic
language into many of Fabio's exploits. Masiello has observed that
Giiiraides is the "perceiving consciousness" in the novel, demonstrating
"shifting control of the discourse between Fabio and the natural world"
(Masiello 237).
The following passage illustrates Giiiraides' interviewing of the
narrator's "perceiving consciousness" and Fabio's experience (the
narrator's expressions are italicized):
"Above us the s tarred heaven was a single immense eye full ofthe
shining sands ofsleep. But every step drove a herd of agonies through
each muscle of my body ....By this time I could not tell whether the
herd was one animal trying to be many, or many animals wanting to be
one. The disjointed movement of the huge whole made me sick at my
stomach; and if! looked down when my pony veered or turned its head,
the earth seemed to heave like a shapeless fleshy mass .... Nobody paid
the least attention to me. They were all watching the animals to make
sure none strayed .. .. The teros whispered as we passed and the little
owls began to play hide and seek, calling to one another from their
velvety throats .. .All of a sudden I realized that we were there! Close
was the broad dark outline of buildings, and the trail swelled like a river
flowing into a lake" (Giiiraldes 69-70).
28
Guiraldes pulls the reader's mental eye to the huge vault of the
night sky, then abruptly turns the reader's gaze to the ground and one
physically exhausted gaucho following the herd, then lifts the reader's
view to the treetops to watch the night birds' activities, and finally returns
the reader to the ground and the end of the trail. Fabio is portrayed as
one small living thing among the many on the pampas, but he does so in
words that the character Fabio cannot speak.
The weaving of the narrative between the voice of Fabio and the
voice ofthe narrator creates depth and texture in the novel. Fabio's voice
is limited by lack of experience and lack of education, and is rooted in
the concrete and material plane. The narrator's voice, Guiraldes' voice,
depicts a region broader, richer, and more utopian than a gaucho would
be able to describe. Guiraldes as narrator observes what Fabio cannot.
He sweeps a metaphoric eye across the pampas and describes for the
reader the world beyond Fabio's narrow vision.
The climb of the gaucho from his humble origins came through
skillful, artful storytelling: first Jose Hernandez' Martin Fierro, then
Ricardo Guiraldes' Don Segundo Sombra. In the process of telling
the gaucho's story, the authors and the stories became as legendary
as the heroic gaucho; of these two stories, Don Segundo Sombra, has
achieved the wider international recognition. Ricardo Guiraldes' story
of a young gaucho gave the Argentine people three national heroes: the
simple gaucho, made heroic through literature, Ricardo Guiraldes, the
author for whom the gaucho was the inspiration for his finest work, and
Don Segundo Sombra, the novel in whose pages the gaucho was firmly
established as a national icon.
Works Cited
Blasi, Alberto. "Guiraldes: Hi
Ricardo Giiiraides, Patricia 0\1
Coordinator. Pittsburgh: Univl
Delaney, Jeanne. "Making Se
Immigrant and the Gaucho in
Studies in Society and History
Geisler, Michael E., ed., introd
They Do to Us?" National Sy,
Narrative. London: UP New E
Guiraldes, Ricardo. Don Segt
Onis, trans. New York: Farrar
Jitrik, Noe. "Don Segundo S,
Sombra by Ricardo Giiirah
Gwen Kirkpatrick, Coordinatl
209-214.
Masiello, Francine. "Guiral(
Sombra by Ricardo Giiiralc
Gwen Kirkpatrick, Coordinatl
231-244.
Nichols, Wallis Madaline. ThE
Sarlo, Beatriz. "Responses, In
and Rural Utopias." Don Seg
Steiner, trans. Critical Edit
University of Pittsburgh Press
Slatta, Richard W. Gauchos (
1983.
Steiner, Patricia Owen. "Don ~
Sombra by Ricardo Giiiraid
Gwen Kirkpatrick, Coordinat
273-287.
Steiner, Patricia Owen. "The'
Giiiraides, Patricia Owen S
Coordinator. Pittsburgh: Univ
Stempel, Daniel. "The Econo
28. 115-120.
\\
'e to the huge vault of the
~aze to the ground and one
herd, then lifts the reader's
lctivities, and finally returns
trail. Fabio is portrayed as
Ie pampas, but he does so in
the voice of Fabio and the
e in the novel. Fabio's voice
.education, and is rooted in
)r's voice, GUiraldes' voice,
topian than a gaucho would
bserves what Fabio cannot.
mpas and describes for the
Ion.
mble origins came through
illdez' Martin Fierro, then
. In the process of telling
aries became as legendary
Don Segundo Sombra, has
n. Ricardo GUiraldes' story
Ie three national heroes: the
ure, Ricardo GUiraldes, the
tion for his finest work, and
'ages the gaucho was firmly
_...",,,_ ..
29
Works Cited
Blasi, Alberto. "Guiraldes: His Life and His Writing." Don Segundo Sombra by
Ricardo GUiraldes, Patricia Owen Steiner, trans. Critical Edition, Gwen Kirkpatrick,
Coordinator. Pittsburgh: University of Pittsburgh Press. 1995. 257-271.
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Immigrant and the Gaucho in Turn- Of- The- Century Argentina." Comparative
Studies in Society and HistOlY (1996) 38.3.
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Onis, trans. New York: Farrar & Rinehart, 1935.
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231-244.
Nichols, Wallis Madaline. The Gaucho. Durham, NC: UP Duke, 1942.
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Steiner, Patricia Owen. "Don Segundo Sombra: The Life of a Novel." Don Segundo
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