WNW-O LYNCH: THE NEW iNT-ERPRETER OF THE -PAMPA~-..

Thesis for the Dogma a? M. A.
M‘ICHEGoAN STATE UNIVERSITY
Richard Dwight Pawers
E964

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LIBRARY

Michigan State
University

 

 

BENITO LYNCH: THE NEW INTERPRETER OF THE PAMPA

I

By

Richard Dwight Powers

A THESIS
Submitted to
Michigan State University

in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Foreign Languages
Spanish

196“

Chrmter

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INTECDUCTION

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INTRODUCTION

many epithets have been placed after the name of Benito Lynch.
Montiel Ballesteros called him "un clésico criollo”;1 Enrique Anderson
Imbert, ”la voz del nuevo gaucho";2 Ernesto maria Barreda, ”el novelis-
ta de la pampa";3 Javier Naya Dimitri, ”e1 gran escritor que huia a la
fama”;u Valentin de Pedro, "Benito Lynch, lejos del mundanal ruido”;5
Cesar Porcio, ”hombre hurafio y'cordial”;6 Roberto Oscar Quiroga, ”e1
'diffcil' Benito Lynch";7 All this surrounds the memory of Benito
Lynch with an aura of mystery which almost makes one believe that he

never really existed at all. It seems strange that this most realistic

 

lMontiel Ballesteros, "Escritores de America, Benito Lynch, un
clésico criollo," Revista Nacional (Mentevideo), afio 42, no. 12, abril

1949. p. 54-60.

2Enrique Anderson Imbert, "La voz del nuevo gaucho,” Americas,
ano 4, no. 7, julio 1953, p. 9-11, 31.

3Ernesto Mario Barreda, "Benito Lynch: el novelista de la pampa,"
Carasgy Caretas (Buenos Aires), afio 28, no. 1392, 6 julio 1925.

“Javier Naya Dimitri, ”Benito lynch; e1 gran escritor que hufa
a la fama," Esto es (Buenos Aires), afio 2, no. 56, dic. 1954, p.28-29.

5Valentin de Pedro ”Benito Lynch, lejos del mundanal ruido,'
éguf Esta (Buenos Airess, 5 junio 1948.

6Cesar Porcio, "Benito lynch, hombre hurafio y cordial," La Nacion
(Buenos Aires), afio 1, no. 2, 15 set. 1929.

7Roberto Oscar Quiroga, “El 'dificil' Benito Lynch," El Mundo
(Buenos Aires), 16 dic. 1958.

of all Argentine writers should have become a living legend in his own
time, that this most ingenuous creator of unforgettable novelistic
personages should be slowly fading away into literary oblivion.

What is there in the writings of Benito Lynch to cause this
neglect?

It is understandable to concede the fact that his writings not
be known outside Latin America. This also has been the fate of many
of the literary giants there. This does not explain the indifference
shown his writings by Latin American scholars; and indeed, scholars
of his native Argentina.

One might surmise that Lynch's predilection for the gaucho as the
principal character in his novels and short stories precluded their
acceptance throughout the Spanish-speaking world. Going a step farther,
he heavily larded his writings with gaucho jargon, making them difficult
to read for the ordinary classical Hispanist and virtually impossible
for a casual student of Spanish. Here again, it was not the rustic
subject matter of his novels that displeased his readers. The affection
in which the gaucho is held in the hearts of readers as a romantic
figure demonstrates that Lynch's choice of the gaucho in no way'hin-
dered the acceptance of his writings. The cultured readers received
with unabashed embraces Ricardo Gfiiraldes' novel Don Segundo Sombra,
whose pages are laced with gaucho slang as abstruse as any written and

whose subject matter is just as rustic as Lynch's.8

 

8Anderson Imbert, ”La voz del nuevo gaucho," p. 31.

'Wherein lies the difficulty of Lynch's acceptance as one of the
literary greats of Latin American Literature?

Certainly nobody can deny the skill Lynch showed as a creator of
plots rich in basic human conflicts. Certainly no critic, paying strict
attention to mechanics and plot develoPment, can quarrel with Lynch's
craftmanship and careful detail as to plot develOpment and climax which
grows naturally'out of the psychological makeup of his characters.

Lynch's oblivion is due to five major factors, only two of which
reflect upon his literary skill. Firstly, Lynch did not rely upon
writing for his livelihood and showed no great interest in editing or
re-editing his works.9

Secondly, Lynch preferred to live the solitary life in the family
home in La Plata, rejecting all contact with his literary contemporaries,
with all literary societies and groups.10

Thirdly, his heirs, either because of respect for his admonition
against republication, or because of the legal disposition of royalty
payments, have not seen fit to have his novels reprinted or his many
short stories collected, edited and published for the first time in an
anthology.11 Many of these short stories appeared but once in news-

papers and magazines of limited circulation.

 

9Horacio varela, "Benito Lynch y sus novelas," El Hogar (Buenos
Aires), no. 25, 25 marzo 1955.

loArturo Torres-Rioseco, Grandes novelistas de la America Hispana
(Berkeley, Calif., l9h9), vol. I, p. 112.

11Varela, ”Benito Lynch y sus novelas".

1+

Fourthly, Lynch's books were written for the masses. The reason
his books never penetrated the literary circles of the cultured minority,
and on the other hand sold by the thousands, is that his style seems at
first sight to be primitive, elementary, direct. He does not embellish
his works or delve deeply into sociological evils. He takes a slice of
the country, fills it with extremely believable men and women, invents
a plot rich in vital and psychological conflicts, and then makes the
reader believe that what he is describing is real. The characters speak
naturally in the slang of the unlettered gaucho or, if they are foreigners,
in broken Spanish. The force of the dialogue is such that it must seem
to the ordinary reader that the novel is writing itself. The ease with
which the plots unfold is deceptively effortless, and these are not, as
they may sound, mere transcripts of life, but calculated art. His
subtle approach is his own worst enemy. Critics should study the skill
with which he hides his artistry and creates the illusion of reality.
Lynch never succumbed to the temptation to titillate the reader with his
ability as a landscape painter, with photographic realism, or to expound
social theories or decry evils--things that all too often seduced writers
in the past, writers such as William Henry Hudson, Eugenio Cambaceres,
Jose Hernandez and Eduardo Acevedo Diaz.12
The fifth, and perhaps most novel theory, is put forth by Estela

Canto:

 

12Anderson Imbert, "La voz del nuevo gaucho", p. 10.

. . . Benito lynch cometid e1 pecado imperdonable

de herir nuestra vanidad y nuestro complejo de es-
critores. La vanidad de los escritores argentinos
consists en cultivar la complejidad, en evitar cui-
dadosamente lo libre y lo espontaneo. Se busca la
profundidad en las palabras, en la oscuridad, en el
retorcimiento de la forma. Nada mas lejos, por ejem-
plo, de la simplicidad de un Chékov, 0 de un Dostoievski.
En los escritores rusos la sencillez de la forma parece
proyectada sobre el fondo insondable de la estepa; los
escritores argentinos (a los que la llanura podria con-
ferir también profundidad) prefieren ser, como Buenos
Aires, una cabeza hipertrofiada a1 borde de la costa.

Benito Lynch se atrevid a desafiar esta ley, este eddi-

go nuestro. Supongo que lo pagd bastante caro: con un

olvido inmerecido en vida y con un oculto, aunque no

menos dafioso, desdén. 13

Benito Lynch, then, for these various reasons, has fallen into
virtual oblivion. many a would-be scholar of Latin American literature
will answer in the affirmative when asked if he has heard of Benito
Lynch: "Why, yes, he wrote gaucho stories". Or, perhaps, one may run
across a scholar who has read El inglés de losggfiesos or Los caranchos
de la Florida-- maybe even one who has read El romance de un gaucho
despite its difficult gaucho jargon. But who has been able to find a
copy of some of his shorter novels?--all of which bear the unmistakable
stamp of this master creator of the story, all of which are written
with the same precision and meticulous craftsmanship as his famous
trilogy.

For the above-stated reasons, the purpose of this paper is to

 

13Estela Canto, ”Benito Lynch 0 la inocencia", S35 (Buenos Aires),
no. 215-216, set.-oct. 1952, p. 110.

6

create an insight into the life of this unique writer, scrutinize his
technique, analyze his principal works as well as many minor ones, and
place Benito Lynch in proper perspective in the history of Argentine
writers. In order to do this an attempt will be made to survey brief-
ly the treatment of the gaucho in literature previous to Lynch's time,
maintaining a constant contrast between lynch's"new" technique and the
techniques of the other writers. Major emphasis will be placed on his
famous trilogy: Los caranchos de la Florida, El inglés de los gfiesos,
and El romance de unggaucho. A chapter will be devoted especially to

the biography and another to the technique and style of Benito Lynch.

CHAPTER I

A HISTORI'OF THE GAUCHO

Benito Lynch selected the gaucho as the principal figure in all
except one of his novels (Las mal calladas, 1923) and in the majority
of his short stories. It is reasonable to assume his special interest
for the gaucho was due to the fact that he lived among the gauchos as
a boy and, later, as a man. These rustic nomads of the Argentine plains
had, by the time lynch started to write, become nearly a legend of the
past. In a personal intervieW'with Ernesto Mario Barreda in 1925,
Lynch stated with his own lips the reason for choosing the gaucho: "Ele—
gi e1 gaucho, como el personaje esencial de mis obras, porque ya es un
tipo hecho, completo . . . E1 hombre de la ciudad, es todavia transito-
rio. Pero, e1 gaucho, da poco . . .l /

By the close of the 19th century, the gaucho as a distinct social
and economic entity had ceased to exist. His existence had not depended
so much upon an ethnic cohesion as on his way of life: the pastoral tasks
of the endless fertile grasslands of the pampas. His traditions did not
evolve from.a racial similarity, but from his necessity of wresting a
living from the savage environment in Which fate had placed him.

When the Spanish conquistador first mounted his horse and began to
hunt a wild cow upon the Latin American plains, a very important class

of Hispanic society commenced to evolve. The new environment in America

 

1Barreda, ”Benito Lynch; e1 novelista de la pampa."

7

8
molded these herders into a distinctly different type of persons. The
way these pastoral people developed depended upon the characteristics of
the land over which they rode, the groups of other peeple with which
they associated, and the type of work exacted from them.

The appearance of the gaucho occurred somewhat late in the colonial
period. The first Argentine cowboys were given the Spanish name va ueros,
but since their manner of living was quite different from that in other
areas, a new type of drover was produced, and therefore, a new name.
Between the years 1750 and 1775 the vaquero was transformed into the
gaucho.2 No one seems sure how or why this happened. The appearance of
the gaucho took place in a very important period in Argentine history.
The Pampa Indians were making their raids on the southern frontier in an
enthusiastic search for horses, cows and.women. Many Spaniards and
mestizos, dissatisfied with their low positions on the ladder of colonial
society, had decided to join the Indian camps where their social status
and prestige would be greater and where they might live a carefree
existence married to many wives. To the north, in the Banda Oriental,
the trade in cattle hides had become a brisk and advantageous business
for this class of mestizos. At the same time, on the western frontier
of Argentina there also developed a trade in hides--a legal trade and
not one of a clandestine nature as that in the Banda Oriental. Long

trains of high-wheeled carts traversed the plains laden with tons of

 

2Madaline W} Nichols, ”El gaucho argentino," Revista Iberoamericana
no. 1, mayo de 1939’ P. 1530

9
hides. Pack trains of mules wound up and over the mountains, linking
Buenos Aires with Potosi and Lima in the north and Santiago in the
south.3

Two things seem of basic importance in this confused picture of
‘Argentine society. The first is the appearance of a contemptible,
nomadic type of horseman. The gaucho was descended as much from the
aborigine as from the Spaniard; his very name serves as proof of his
origin. There is a general belief that the term ”gaucho” refers to an
Indian word which means "illegitimate,” "abandoned,” "vagrant.” The
gaucho was considered a pariah of society until he converted himself
into a fierce defender of that society during the war of independence.u

The second basic element is the gaucho hunter. The Spanish vaquero
was not a hunter, but a herdsman. After the gaucho's conversion into a
hunter, he continued to ride the Spanish horse, but with the purpose not
of guarding cattle, but of stripping them of their hides. The gaucho,h
then appeared as a half-breed hunter of skins.

With the passing of time, hides became scarce. The cow and the
horse had.been the foundation of Argentine society. Besides being an
indispensable material for local manufacture, hides were the principal
export. The intense search for hides resulted in the disappearance of
the wild cattle of the pampas. Hunting of skins ceased to be a pro-

fitable business and the gaucho, previously a disreputable person but

 

3Ibid., p. 15h.

“Ibid., p. 155.

10
tolerated because of his utility, was out of a job.

Fortunately for the gaucho, Spanish America declared its war for
independence against Spain. These former hunters of hides were trans-
formed into soldiers. Gaucho cavalry units were directed to Chile with
San Martin, to the interior provinces with Belgrano, and to Uruguay with
Artigas. These same armies squelched an attempted invasion from Peru.
Under the direction of General Gfiemes, they surrounded and routed the
invaders, securing forever Argentina's independence from Spain. As a
triumphant soldier, the Argentine gaucho achieved social acceptability.
During the long war between the Unitarios and the Federales, the gaucho
had risen to his maximum power and prestige; but, during the brief
intervals of peace in this period and the twenty years after the war,
the gaucho returned to his primitive occupation as hunter of cattle.
'Without a doubt, the gaucho played an important role in the development
of basic industries in Argentina: cattle, hides, transportation of
goods. This economic co-operation was effected in a purely uncons-
cious and accidental way.

When there were no longer combats, the gaucho's service as a
contributing member of Argentine society terminated. The nature of the
cattle business had changed. The scientific raising of cattle was too
complicated and important to be intrusted to the ordinary gaucho.
Animals were sent to market by rail. Nothing remained for the gaucho
but to become an inept and melancholy‘pgég in place of the carefree

5

wanderer of the plains or to take refuge on the disappearing frontier.

 

5Ibid., p. 157.

11

The gaucho had appeared around 1775; as a distinct social class he
had disappeared by 1875. These one hundred years were of vital importance
in the Argentine: they brought independence, solution of the conflict
between Unitarianismo and Federalismo, extension of the frontiers by
routing the Indians and populating the desert, and left the foundation
of the economic life of Argentina. The gaucho precipitated the conflict
between the rural and urban, between barbarism and civilization, which

still is one of the basic problems of Argentina today.

A SURNEY'OF GAUCHO LITERATURE: FORERUNNERS OF LYNCH

Though the gaucho was unlettered and never integrated into a
society, his one hundred years of deeds so important in the formation
of the Argentine nation, have been recorded and perpetuated in the
national memory by a complete cycle of gaucho literature: an oral tradi-
tion of songs and romances, epic poetry of the first order, the novel,
and a well-developed theater. Despdte the fact that, by the beginning
of the 20th century, the gaucho as a physical entity had largely disap-
peared, the vitality of this romantic figure lived on the literary pro-
duction and the consciousness of the Argentine peOple. Gaucho litera-
ture is probably the most powerful and original literature ever created
in Latin America. As in the case of most national literatures the gaucho
genre developed along the usual lines, i. e., from an oral tradition of
folklore through an epic phase to the more SOphisticated forms of the
novel and the drama. It is not.the intent of this paper to delve deeply
into the develOpment of gaucho literature. I feel it necessary to review
the evolution of the gaucho's appearance in literature in order to

create a background, a means to contrast and to place Benito Lynch in

12

the milieu of a long tradition of writers whose primary preoccupation

was the gaucho. In view of this survey of gaucho literature it is

hoped that I may prove Lynch's creation of an original and distinct

class of literature worthy of being placed alongside that composed of

Martin Fierro by Hernandez and Don Segundo Sombra by Gfiiraldes.

The chronology of gaucho literature, citing only the principal

milestones, is as follows:

1.

2.

3.
4.

11.
12.

13.

14.

Anonymous popular lyrics: co las, decimas, cielos and
other dance forms, romances and dramas.

The romances of Pantaleén Rivarola (1754-1821).

The dialogues of Bartolomé Hidalgo (1788-1823).

Some of the verse of Juan Godoy (1793-1864).

La cautiva of Esteban Echeverria (1809-1851).

The works of Hilario Ascasubi (1807-1875).

The gaggig of Estanislao del Campo (1835-1880).

The Martin Fierro of Jose Hernandez (1834-1886).

The Santos Vega of Rafael Obligado (1851-1920).

The gaucho novels by Eduardo Gutierrez (1853-1890).

The picaresque novels of Roberto Payr6 (1867-1928).

The Don Segundo Sombra of Ricardo Gfiiraldes (1882-1927).
Gaucho plays, not isolated as in the case of the dramas

mentioned under No. l, but a regularly evolved and fully

developed genre.

The 20th century gaucho as represented in the works of
Benito Lynch (1880-1951).

The roots of gaucho literature can be found in the folklore of the

rustic people of the pampas. The gaucho bard, the a ador, in whose

13
veins ran the blood of the Spanish jgglgg and whose heritage consisted of
a long tradition of romances and other lyric forms, came by his ele-
mentary poetic skill by right of birth. The gaucho's innate skill
coupled with the carefree, wandering existence, often lonely, accompanied
only by his horse and guitar, with the limitless horizon of the flat
land to fire his imagination manifested itself in humble and useful
narratives. The number of old lyrics which gradually acquired epic
characteristics, is well nigh infinite. The songs, often sung as
accompaniment to popular dances, told of love affairs, of battles with
Indians, and of everyday tasks around a particular part of the country.
Wherever the rustic peeple of the pampas gathered these popular songs
were sung, usually to the strains of the guitar or some other instru-
ment.

The gaucho, at that time a social outcast and of only economic
importance, was brought into the political picture for the first time
when the British occupied Buenos Aires in 1806. The deeds of the con-
flict brought about a significant change in the flavor of popular
poetry. Panta1e6n Rivarola, only one of many poets, most of whom were
anonymous, is considered the master of this heroic new verse. Rivarola's
work aroused the patriotic fervor of the masses by amplifying the role
of the ragtag soldiers who consisted of gauchos and lower class city
dwellers.

The merit of Rivarola's poetry in the evolution of gaucho

 

6
Henry A.Holmes, Martin Fierro (New York, 1923), pp. 26-27.

l4
literature lies in his reference to the gauche as a defender of the na-
tion and the consequent awakening of the educated writer to the pos-
sibilities which the rural masses afford as a source of inspiration for
poetry.

The war for independence brought to the gauchos the ideals of
liberty. These ideals, which they felt as deeply as love, inspired them
to create new songs of a heroic flavor. This new conflict found its
bard in Bartoloné Hidalgo. After 1810 many of these heroic songs (_c_i_e,-
Lijgg), written in a variety of metrical schanes, appeared as the gau-
chos congregated to do battle. This form of poetry can be considered a
lyric creation of the great anonymous and collective mass of the pepulace
in its spontaneous exuberance over the prospects of an Argentine nation.
Hidalgo did not invent this popular genre, but utilized the «dating
fora, composing more ambitious and polished works.7

Hidalgo's fame does not lie in his creation of cielitos, an already
existing poetic form, but in his digoggs where he shows real creative
talent and left the seeds of gaucho poetry. Hidalgo supplied in the
newly-liberated nation a literary expression thich would reflect the
life of the glorious campaigns of the amiss of liberation, the
aboriginal and creole backgrounds, and an enthusiasm for the future of
the nascent republic.

Juan Godoy, (hiring the dictatorship of Roses, was forced to flee to
Chile along with the other greater figures, mch as Sermiento, Mitre,

 

7Ricardo Rojas, La literature meantime (Buenos Aires, 1924), tome
IX, pe 507e

15
Alberdi, Tejedor, Juan Carlos Gémez, and Juan Maria Gutierrez. There
Godoy added his vitriolic pen to those of the others, writing political
diatribes against Roses and the other caudillos, eventually aiding in
Rosas' defeat in 1852. His specialty was poetry 5 thESe.

Godoy, who has sometimes been likened to Hidalgo, can be thought
of as an Hidalgo in reverse. Hidalgo was a cultured writer who first
tried his skill at classical poetic forms and turned to the gaucho genre
at a later date; while Godoy, a known writer of songs for payadores and
a payador himself in his younger years, forsook the gaucho style in his
old age in favor of a more cultured poetry.8 Unfortunately, most of
Godoy's gaucho poetry has been lost.

Aside from a nebulous contribution to the poetry of the payador in
his early years and the doubtful composition of‘ggrrg, a diélo o, Godoy's
most original gift to Argentine literature was his descriptions of the
countryside. This literary device was to be used by nearly every gau-
cho writer until its inclusion.became a foregone fact and its style and
allusions almost hackneyed. Godoy surpasses Hidalgo and Echeverria in
his description of the land. He seems closer to the heart of the gau-
cho; he treats him with fondness because he was one of’them.9

With the advent of Esteban Echeverria on the scene of Argentine
literature, gaucho poetry took on a different form. He returned from
France steeped in the literary romanticism of Chateaubriand and

Lamartine and saw in his native Argentina with its mysterious jungles,

 

8Ibid., p. 582.

9Ibid., p. 595.

16

its lofty Andes, and its limitless wilderness of plains scourged con-
stantly by fierce Indian raids, a fecund untilled soil well-suited for
the seeds of his newly-espoused romantic theories.lo

Echeverria saw in the popular poetry, not only a mere pastime
for inventive gauchos, but the reflection of "La vida interior de la
nacidn", and was enchanted by the pristine spirit of the payadores as
the incarnation of the spirit of the people. Using the same literary
substance as the adores, but a new technique, he created a fork in
the road of gaucho literature: one path, shown by Hidalgo and followed
by Ascasubi and Hernandez; and the other created by Echeverria and
followed by Juan Maria Gutierrez and Rafael Obligado. The school of
Hidalgo accentuated creolism, gaucho dialect and the style of the
payador. Echeverria's school strove to use urban, cultured, French
forms to express the same gaucho themes. Both schools endeavored to
achieve a pure American expression--neither taken alone, ever quite
reached this goal.11

Ia cautiva which was included in the poetic collection'fiimgg
(1837) is Echeverria's only true gaucho work. The plot is simple and
powerful. Brian and Maria are captured by Indians on one of their
malones: they escape and try to cross the vast desert, both perishing.
The composition of the poem consists of a rather slow narration of the

tribulations of the pair. The poet's main intent in La cautiva was to

 

1°Ibid., p. 689.

llIbide , pe 6990

l7
paint some of the poetic physiognonw of the wilderness.12

Echeverrfa using a style in keeping with his personal philosophy,
imbues the work with the fervor of patriotism. Without the patriotic ideal
such a work would degenerate into a simple bandit romance.13 He Justifies
his application of this high epic note to the “desert these” by saying:

El. desierto es nuestro m‘s pingtie patrimonio, y debuos po-

ner nuestra esfuerao en sacar de su smo, no 3610 riqueza

para nuestro engrandeciniento y bienestar, sino tanbién poe-

szfa para nuestro deleite y fomento de nuestra literature.“

Echeverrfa' s main contribution to gaucho literature lies in his
inclusion of the Indian in the national literature and the romantic
and epic conflicts with him along the periphery of the vast frontier.
This, linked to Echeverria's personal prestige as a national figure,
left a lasting influence on succeding writers. His influence was power-
ful in showing the way to the currents of creolism and Americanism. The
work of Echeverrfa acted as a catalyst in the evolution from fragmentary
gaucho literature to the great dramatic works that followed: to the
epic and the novel.

Hilario Ascasubi, who was the first of the previously mentioned
disciples of Hidalgo and advocate of the unadulterated payadoresque
style in his poetry, belonged to the same generation of young intel-
lectuals who had to seek safety in exile and retaliation in their pens

against the Federalist dictatorship of Roam.15 Ascasubi published,

 

lthid. ’ pe 692e
13lfide 9 De me
luIMd. ’ p. 713

lSHolmes, Martin Fierro, pp. “2.153.

18
under the pseudonym Aniceto el Gallo, a series of gaucho trgzgg (rgman-
‘£g§) in pamphlet form.entitled Paulino Lucero (1839-1851), in.which he
proved himself a true follower of Hidalgo by adopting his mentor'sldié-
1252 form and even using some of the same character names.16 If Ascasu-
bi had written only Paulino Lucero, he would not have had a very direct
influence upon Hernandez. These poems are so political, so narrowly
contemporary, that only by a strong effort of imagination can they be
made to live again today.

Ascasubi's real contribution to the gaucho genre lies in the long
poem Santos Vega o 105 mellizos de la flor (1870). The story offers
little. Santos Vega, a legendary gaucho ador, enjoys the hospitality
of Rufo Tolosa and his wife, and to repay them he relates the story of
twin boys (mellizos). One of them, a wicked and crafty prototype of
the gaucho outlaw, repents at the close of the book and dies in the
bosom of the church.17

Santos Vega was a well-known gaucho figure who kept crepping up
from time to time in Argentine literature. Surely such a majestic
gaucho protagonist, the epitome of the lyric vein and gaucho valor,
would have been a natural choice for the center of the action. Ascasubi
narrates in octosyllabic verse, spoken by Santos Vega all of the pampean
life: rodeos, storms, malones, assaults, loves, births and deaths.

Here is the essence of gaucho life at the beginning of the 19th century.

Santos Vega remains outside the action. Had Ascasubi not chosen this

 

l6Arturo Torres-Rioseco, la_gran literatura iberoamericana (Buenos
Aires, 1951), p. 179.

17Rojas, La literatura argentina, tomo IX, pp. 715-716.

19
exact form for his poem, he, and not Hernandez, might have written the
national epic poem.

Though the Santos Vega of Ascasubi is rife with weaknesses, it well
deserves a prominent place in the formation of definitive gaucho litera-
ture. Ascasubi made possible the arrival of the gaucho genre in all
its pristine vigor, and.was the first to attempt so ambitious a poem
completely in gaucho jargon. Having taken a clue from Echeverria, he
used and developed the Indian as an integral part of his work. Ascasubi
bequeathed to his literary successors the example and stimulus of a
lengthy romance on gaucho life, and his expert use of gaucho termino-
logy. MOreover, Ascasubi, reinforced by Mitre and Obligado, made San-
tos Vega a sort of tutelar deity of the gaucho bards. Ascasubi helped
to fix the type of the gaucho outlaw. He wrote excellent descriptions
of the pampa and the customs of its people; herein lies the greatest
single merit of the poem. He can be satiric, dramatic, even romantic,
but he seems unable to achieve a lyric quality in Santos Vega.18
Although there are many faults in the poem, it is evident that the
technique of gaucho poetry has improved since the days of Hidalgo. The
field of gaucho poetry has been enriched by Ascasubi, and Hernandez
will fall heir to all these accretions.

Before considering Martin Fierro, which is the culmination of the
payador's art, one other gaucho poem deserves mention. The'figustg

(1870) by Estanislao del Campo is a kind of hybrid, a poem of transition

 

l8Holmes, Martin Fierro, p. 1+8.

20
between the two schools of gaucho poetry, between native gaucho poetry
and cultured poetry dealing with gaucho themes. Its position is inter-
mediate between the Santos Vega of Ascasubi, and La cautiva of Echeve-
rria.

The EEEEEQ has an especial appeal because of its novel plot. The
plot is new, but the way it is developed is nothing more than the time-
honored dialogo. Anastasio el Pollo meets the gaucho Laguna and the
former relates his impressions of Gounod'sngggt'which he has just seen
in Buenos Aires. However intense and unique the plot may be, the poem
is weak in form and not really the verse of the gaucho payador but a
refreshing imitation contrived on the caprice of the poet's impressions
after having himself seen the famous opera. Del Campo had the happy
inspiration of recording his impressions in the language and within the
framework of gaucho philoSOphy, thus allowing the natural sagacity and
naivete of the gaucho to play on the profound theme of‘Egggt. The poem
is a tour de force: its author was not a gaucho, but a versatile, cultured
poet showing off his ingenuity at imitating the payador's art. Much of
the‘figggtg is good poetry and.may even have had some influence on Her-
nandez.l9

Jose Hernandez, a strong federalista and a gaucho himself, was not
against progress, but lamented the injustices done the gaucho in the
name of progress. He admired the gaucho and his desire to live free;
he despised the nefarious tactics of unscrupulous city politicians; he

protested the passing of the gaucho way of life, but realized that the

 

191bid., p. 50.

21
gaucho, through his indolence and sense of honor would be the instrument
of his own destruction. If the gaucho were to adapt himself to the new

way of life he would cease to be a gaucho and degenerate into a simple

Beane 20

Hernandez eXpressed his protest in the finest example of payadoresque
literature, the Martin Fierro (1872, 1878), the only Argentine poetic
'work worthy of the name "epic". The protagonist, Martin Fierro, is a
simple but accomplished gaucho who, pressed into the army suffers great
hardships at a lonely outpost on the frontier. He escapes, returns home
to find his faithful wife dead and his sons gone, the house destroyed,
and the cattle and sheep sold by the government. Swearing revenge, he
becomes an outlaw. Then follow various episodes with fights, escapes,
and encounters with the police. He befriends Cruz, his counterpart in
misery, and the two seek refuge among the Indians. Cruz dies and Martin
returns and is reunited with his lost sons who relate the stories of
their own sufferings at the hands of corrupt justice. With his viola-
tions forgotten, Martin returns to civilization, thus reconciling him-
self with the society at whose hands he had suffered so grievously.

The Martin Fierro is infinitely more then a social document. In
the forlorn and melancholy figure of the protagonist is seen the incarna-
tion of the psychological truth of a society.21 Because of the obvious
social protest in the poem, the readers of Hernandez' day tended to

overlook the esthetic value of the poem. LeOpoldo Lugones in his book

 

20Jorge Luis Borges, El martin Fierro (Buenos Aires, 1953), pp. 21-
24.

21Rojas, La literatura argentina, p. 759.

22

Elgpayador (1916) was the first critic to extol the merit of the flggtip
[£12532 as a national work, analyzing its epic qualities in the framework
of a long tradition of gaucho poetry. He said that each nationality has
its ”book" and the Martin Fierro is the Argentines'. 22

Hernandez was gifted with artistic vision, natural talent as a
poet, the sense of the a ador, his own gaucho experiences, and his
natural sympathy for the events in the poem. Despite his natural talent,
Hernandez owed much to those who had written before him, paving the way.
His poem assimilates and assembles the various fragmentary forms of the
payador's tradition molding them and elevating gaucho poetry to a level
never achieved by his predecessors. He added a strong psychological
content and expressed it in authentic gaucho language. Hernandez did
not introduce anything novel in technique. In the work we see the form
of the dialogo of Hidalgo, the vivid description of Echeverria, the
costumbrismo of Ascasubi, and the wit of Del Campo. The features he
did originate are: the epic feature of an archetype struggling against
an entirely hostile environment; the unity consequent upon the intro-
duction of only one hero; the amazing concreteness and swiftness with
which large expanses of time and space are treated, and the rapidity
in general; fecundity of comparisons; the depth of suffering and
delicacy of feeling which transform the experience of one humble gaucho

2
into something abiding and universal. 3

 

22Borges, E1 martin Fierro, p. 69.

23Holmes, Martin Fierro, p. 148.

23

The epic may be considered a precursor of the novel and, except
for the accident of its versification, the Martin Fierro might have
been a novel.2u The success of the Santos Vega, the Egggtg, and
especially the Martin Fierro was so great that writers soon began to
see the possibilities of exploiting the gaucho theme in prose. Using
the basic plot of the persecuted gaucho, Eduardo Gutierrez wrote a
whole series of novels whose trademark was the gaucho bandit. The
most famous of these novelistic bandits was Juan Moreira, a gaucho who
lived outside the law committing crimes in an unbelievably melodramatic
and brutal fashion. In an effort to gain wide readership, Gutierrez
concentrated on the shocking incident in cheap imitation of gaucho
dialect. With the crude and cheap novel thriller, Gutierrez initiated
a movement which was to last for more than fifty years, numbering
among its authors some of the most outstanding writers in gaucho
prose: Roberto Payrd, Eduardo Acevedo Diaz, Justine Zavala Mufiiz, Ja-
vier de Viana, and Ricardo Gfiiraldes. Few of these writers stOOped to
the crass sensationalism which typified the works of Gutierrez, and in
fact, though the same general theme of the afflictions of the "good
outlaw” run through their works, many achieved a high level of
novelistic quality and showed great variety in conceiving plots and
characters.

As Echeverria saw in his native Argentina an environment ready

for romantic interpretation, so then did many novelists, imbued with

 

2H
Borges, E1 Martin Fierro, p. 74.

24
other literary philosophies, find in their nascent republic an infinite
variety of social conflicts that lent themselves to interpretation and
analysis under the lenses of realism, costumbrismo, and naturalism. Ro-
berto Payrd, among others, attempted to portray this new pampean society.
The pampa in Payrd's time experienced an influx of many new ethnic
groups. He saw in this agglomeration of different nationalities the
transformation which was to change the social and physical face of the
country.

The gaucho of Hernandez' day was a synthesis of the indigenous and
Hispanic races; likewise, the gaucho of Payrd's era became a product of
the attrition of Basques, Italians and Englishmen upon the creole base
of ”pure” gaucho blood. By this acculturation was developed the modern-
day gaucho, forever changed but retaining much of the philosophy that
typified his existence in the free-roaming days of the early and pre-
independence periods.

Argentina at that time was afflicted with growing pains and replete
with political and social corruption. Payr6 chose the picaresque novel,
a time-honored Spanish literary form, to satirize the customs and peOple
of the new society. His journalistic experience made him a narrator, a
chronicler. What interested him most was the presentation of the
reality of Argentine life. As Hernandez depicted the gaucho, Payrd
created the picaro criollo, replica of the Spanish piggrg. Payrd's
picaresque work is seen mainly in the trilogy Pago Chico, E1 casamiento
de Laucha, and Las divertidas aventuras de un nieto de Juan Moreira.
These novels do not conform to a strict definition of gaucho literature.

They do, however, paint the ambiente in which the gaucho found himself

25
as he was being overrun by civilization.

The gaucho and his life on the pampa fell under the scrutiny of
other novelists. Acevedo Diaz, in his novel Soledad (1894), portrayed
the gaucho in a most realistic way. The pampa of Soledad is an untamed
"jungle" full of violent and crude people driven by savage impulses.
Such natural spectacles as the violent pampean storm and the fearsome
grassfire, features that were to be utilized by later rural novelists,
'were first introduced by Acevedo Diaz, and rural tasks, such as the
sheep shearing took on a new vigor under his realistic pen.

The naturalistic literary philOSOphy of Emile Zola, so much in
vogue at the turn of the 20th century, found an advocate in the
Uruguayan gaucho writer Javier de Viana whose novels ShOW’the unhappy
combination of minute attention to descriptive detail and the pseudo-
scientific theories of his literary mentor. Viana seems to show sympathy
for his gauchos, gauchos no longer rustic horsemen of the plains, but
physical and spiritual degenerates, victims of poverty, indolence and
drink.

Another Uruguayan, Zavala Mufiiz, in his three Cr6nicas perpetuated
the novelists' fascination for the gaucho of the past--especially in
the second, Crdnica de un crimen (1926), in which we see a slightly
more believable Juan Moreira, "E1 Halcdn", whose brutalities run through
the pages of the book in a nightmarish bloodbath, giving the novel a
morbid sort of vigor.

The gaucho of the past found his best novelistic expression in
Ricardo Gfiiraldes"pon Segundo Sombra, the eclectic repository of the

most noble features of the gaucho, already written into the pages of

26
more than a century of gaucho literature. Martin Fierro saw the close
of the cycle of gaucho poetry; Don Segundo closed the novelistic cycle.

In the novel, Don Segundo befriends a young orphaned boy who rides
away with his mentor to be initiated into the esoteric life of the gau-
cho. The episodic story follows the pair through the rigors of life on
the cpen plains, and touches on practically every facet of rural life:
the roundup, horsebreaking, rural entertainments, nights of storytelling
around the campfire, fights, riding with the bite of the dust-laden wind
on the face, the terror of the spectacular pampean storms. One day the
youth, who narrates the story, emerges a full-fledged rustic knight of
the plains and assumes his birthright as heir to a ranch. Don Segundo,
seeing his mission accomplished, feels the pull of the wide-cpen plains
which nurture his indomitable spirit and impel his wanderlust. He rides
off into the wilderness leaving to the young man the legacy of his gau-
cho spirit. The youth, saturated with the pristine wisdom gained as the
apprentice of the legendary Don Segundo, embraces the sedentary life of
the estancia.

Don Segundo is a symbol, the epitome of all that was gaucho. Gfiiral-
des endowed his character with all the skills and virtues. He made of
him the embodiment--albeit symbolic and shadowy--of the perfect gaucho.

The life of the pampas is described as full of majesty and beauty,
of danger and adventure, as in the legendary days of Martin Fierro. In
the character of Don Segundo is seen the idealized and romantic gaucho
of the past; and in the youth, imbued with the gaucho tradition, the
gaucho of the future in whom the spirit of Don Segundo will achieve im-

m0 rtali ty e

27

The immigrants that came to peeple the pampas were of many and
varied nationalities: Basques, Italians, Jews, Germans, and Englishmen.
Added to this group was a large number of portefios who did not share the
gaucho's love of the cpen pampas, but saw in the newly-tamed plains a busi-
ness-opportunity. These capitalistic classes brought with them blooded
cattle, seed and the plow. The pampas were to be converted from a
pastoral economy into an agricultural one. The gaucho who clung to the
old ways of life clearly did not fit into this new scheme of things.

Out on the sparsely settled pampa, when the first colonizers
appeared, the local governmental authorities soon realized that it would
pay them better to cultivate favor with these more provident and
affluent groups. The local judge, often in league with the ul ero,
who was likely to be a Basque or an Italian, saw fit to look the other
way when a simple gaucho was being defrauded of what little he owned:
his horses, his gear and his unpretentious home. The gaucho, lacking
the initiative and business acumen necessary to survive, degenerated
into a wage slave, a edn, or, if lucky, into a puestero completely
dependent on the largesse of some atrdn. The patrég himself would
likely prefer to live in Buenos Aires and to leave the management
of his estancia to an overseer.

This is the stage setting at the beginning of the 20th century.
Though the frontier had been tamed, Benito Lynch, who had been raised
in the pampean environment, found in this new ambiente sufficient color,
drama, and inspiration to create an entire new and unique gaucho

literature.

CHAPTER.II

LIFE AND EARLY WORKS

Because of his Irish surname, Benito Lynch might be suspect as a
writer of authentic creole literature. Many non-Latins, indeed, had
written histories and travel stories about the land of the gaucho. In
the 19th century the Argentine countryside had been described by
EngliSh visitors. The list of their names is long and includes many
famous men of letters and science: Darwin, Andrews, Head, Gillespie,
Robertson, Miller, Burton, Proctor, King, Hall, NacCann, Beck-Bernard,
Cunninghame Graham, and foremost, William Henry Hudson. In their way
these Englishmen, usually writing in English, can be considered to
have been creators of Argentine literature. These distinguished
travellers scrutinized the pampean scene with the keen and objective
eye of the studied observer. They wrote with some degree of understand-
ing and, in the case of Hudson's Far Away and Long Ago, with a great
deal of yearning and nostalgia.1

Does the name ”Lynch" belong in this long list of Anglo-Saxon
names? No. He was son, grandson and greabgrandson of Argentines. The
Lynches of Galway, Ireland, are believed to have come to Argentina
around the middle of the 18th century and figured among the oligarchy
of estancieros at the time of the dictator Rosas (1835-1852). The name

of Lynch was prominent in the public life of the nation long before

 

1Anderson Imbert, ”La voz del nuevo gaucho", p. 10.
28

29
Benito became a famous literary figure.2

Benito's grandfather married a member of the Andrade family,which
figured among the influential ranching and commercial class of Argentina.
From this union were born two sons: Benito (our author's father) and
Ventura. The elder Benito married Juana Beaulieu, daughter of a rich
French-Uruguayan family. The couple soon moved to Buenos Aires where
young Benito was born on July 25, 1880. While he was still an infant,
the family moved to the estancia El Deseado in the province of Buenos
Aires. His father became a legislator in the provincial assembly.3

Young Benito was a quiet child, who seems to have inherited his
mother's reticence. It is believed that his desire to write was
awakened in his early years on the estancia. At seven years of age,
he wrote and published a handawritten sheet full of news and stories.“

Benito and his younger brothers were raised in the rural atmosphere,
mingling with the gauchos, until their father noticed that the boys were
becoming wild and unruly like their rustic companions, a situation not
long to be tolerated by his father. Lynch himself tells us:

Alli nos criamos. Pero, un dia mi padre empezd a notar que

corriamos el peligro de hacernos unos gauchos. Yo, sobre to-

do, que no salia del lado de los paisanos, a caballo, enlazan-

do, boleando . . . Se vino, pues, la familia a Buenos Aires y
entre a estudiar.

 

2Marshall R. Nason, "Benito Lynch totro Hudson?" Revista Iberoame-
ricana, v. 23, no. 45, p. 70.

3Angel Flores, Historiapy antolggia del cuent61y'la novela en His-
panoamérica (New York, 1959), p. 374.

“Germin Garcia, Benito Lynchgy su mundo campero,(Bahia Blanca,

5Barreda, "Benito Lynch: el novelista de la pampa."

30

Because of the father's fear that the boys might become gauchos,
he took the family to Buenos Aires where they could live among cultured
people and get a good education. At ten years of age, Benito was sent
very much against his will to study at the Colegio Nacional in La Plata.
He did not take to city life, always desiring to return to the carefree
life of the estancia and to lead the gaucho life. Often, studies were
neglected in favor of sports such as boxing, fencing and riding. While
in school, Benito did not neglect his studies entirely. He read heavi-
ly of Daudet and Zola whose influence is evident in his later writings.
Lynch passed his summers in his early life, and later, on the estancia
Las Barrancas Coloradas in the province of Buenos Aires. In these
stays in the country he gathered the experiences and memories that were
to serve as springs of inspirations for his writings.

As Benito grew to young manhood, he was a good athlete, tall,
slender and moved with the agility natural for an accomplished fencer.
He was cordial without effusion, modest and simple in his tastes.

In 1902 Lynch's father died and Benito had had to abandon his
studies. Though the family still had sufficient income from various
interests, he became a writer for the newspaper.§l_di§ in La Plata, in
which his father had stock and for which the elder Lynch had been an
editor.7

Lynch became an accomplished journalist and used the newspaper as
an organ for many of his writings. Soon followed a series of short

stories and cuadros: E1 vaso de agua (1903), Art nouveau (1903),

 

6Flores, Historiay antologia, p. 374.

7Arrieta, Historia de la literatura, v. IV, p. 1%.

31
Modern Style (1904), Coups de ciseaux (1904), Origen de un mal (1904),
Madres futures (1904), Don Severe (1904), Horas de charla (1904), LEE
caracoles (1904), Redondelitas (1906), E1 Doctor Perez (1906), 1232
(1907), many of which were signed with the pseudonym E. Thynon Lebic
or E. Thynon. After he began to write for'ggigig, the biography of his
life was his books. From time to time he returned to the pampas to
soak up observations.

As no criticism of this early literary period exists and these
stories appeared but once in §l_gi§, it is difficult to say how they
were received by the readers or to divine their literary merit. The
only evidence available--at least to this writer-~regarding the degree
of Lynch's literary development in his early period is his first ambi-
tious attempt at writing: the novel, Plata dorada (1909). This novel
did not receive favorable notice and, as so often happens with a
writer's first effort, only became known to the public after many
years when Lynch had become a recognized novelist.

Plata dorada shows the foreshadowing of the technique that was to
make Lynch an accomplished author of rural novels and short stories.

By no stretch of the imagination, can Plata dorada be considered a

first rate novel, yet it has most of the solid ingredients that comprise
a good novel: believable situations, psychological development of
characters and their conflicts, and above all a faithful picture,

though often sketchy, of Argentine life in that period. Lynch shows in
this first novel the writing principle that was to be his trademark.
Whatever else in the way of faults his writings have, it cannot be

said that they lack a substantial foundation of versimilitude. Plata

 

8Garcia, Benito Lynchgygsu mundo campere, p. 2

32
‘gggggg is no exception. As is the case of many young writers in creating
their first novel, autobiographical data abound. The protagonist is
forcibly torn away from the carefree and peaceful life in the pampas
while still a boy by a father who aspires to emulate the substantial
English element present in Argentina.

The youth is forced to attend an English school and is taught to
abandon his gaucho ways. After achieving a nominal gentlemanly polish,
the young man finds employment in one of the respectable English business
houses in the city. Though he may associate with the English, ad0pt
their customs and master their language, the young man is Latin in
temperament, a fact the author emphasizes constantly by creating situa-
tions in which the differences between the two cultures are made to
stand out in contrast. He lacks the stoic calm of his British mentors
and is emotional, a characteristic unseemly to an Englishman. He falls
hopelessly in love with a provocative Argentine girl who is the ward of
an elderly, rich "gentleman". Having a love for the country, he
accepts a position of manager on the scientifically-run estancia of an
Englishman. During an ”outing” the young peOple go swimming in the
river. The girl, one of those "liberated and modern young ladies,”
decides to swim across the river. The youth follows her and succumbs
to his ”fiery" Latin passions. The English rancher surprises the couple,
and the girl, mortified to the point of desperation, strikes out swim-
ming wildly across the river. She is caught in mid-stream by the excur-
sion boat and is cut to pieces by its prOpeller. The young man in a
state of grief and shock is handed a telegram informing him of the
death of his mother. In an insane frenzy he plunges his knife into the

chest of the messenger, who had been a rival suitor for the girl's

33

affections, and races wildly away raving like a madman.

The extremely melodramatic climax defies credibility and does not
grow naturally out of the psychological material built into the plot.

The first half of the novel with its strongly autobiographical
flavor is the only worthwhile feature of the book. Had Lynch based the
novel on the solid foundation of that which he knew and understood and
had the ending develop naturally and meaningfully out of the personality
of his characters, Plata dorada might have retained a much higher
literary value. Plainly, Lynch violated the cardinal principle of good
'writing, that an author write about things that fall reasonably within
the scope of his knowledge and understanding. Therefore, the novel
transcended the realm of credibility and failed, and the almost infantile
freshness and spontaneity of the early chapters became empty novelistic
sham beside the fantastic climax.

Other weaknesses of the novel consist of Lynch's misuse of English
when attempting to imitate the speech of British-Argentine colonists.
Because of this technical failing and his almost burlesque comic-Opera
characterization of the English, we see Lynch as a true son of the
Argentine. His pro-Latin prejudice is obvious in his treatment of
foreigners.

Seven years passed before Lynch again attempted another novel of
any magnitude. If one were to look at a superficial bibliography of his
works, he would notice this lapse in literary production between‘filgtg
'gggggg (1909) and Los caranchos de la Florida (1916). During this
”dry” period Lynch wrote no less than eighteen short stories among which
figure E1 hombre-buey (1909) and La cola del zorro (1916), two of his

best, and one three-act play, Como los hombres (1911).

34
After the abortive launching of his literary career with Plata do-

'§§d§, Lynch must have learned one lesson: his novelistic environment was
not the city but the country and, indeed, the greatest portion of his
works drew on his vast insight into rural life and the mind of the rural
people.

Lynch's literary technique is revealed in one of the rare personal
interviews granted in his lifetime. Juan José de Soiza Reilly in 1927
put this question to the enigmatic novelist: ”thmo hace sus novelas?”

Lynch defined in his typically humble and simple manner the formula
for the creation of his novels:

Trato de no escribir nunca, ”por escribir". Conservo mental-
mente anotadas, las observaciones interesantes que me ofre-
cieron 0 me ofrecen en la vida los hombres, los animales y
las cosas, hasta que un dia se me ocurre, por ejemplo: lQué
conflicto podria estallar entre un hombre del temperamento

de aquel don Fulano que conoci en tal parte, y un su hijo que
tuviera un caricter semejante! (the plot of Los caranchos de
la Florida) . . . O bien: LDarwin, Musters, Haigh, los
Robertson? . . . tSeri posible que esos simpéticos e ilustra-
dos y andariegos mozos ingleses, que tan a conciencia reco-
rrieron nuestras pampas y que tan largamente convivieron con
sus habitantes, no tuvieran con alguna muchachilla del campo
su aventura de amor? . . . LLa protagonists? . . . lQ’uién po-
dria ser? . . . Esta o aquella o la de mfis allé. . .; cuales-
quiera de esas interesantes ”chinitas" que conoci 0 vi alguna
vez en alguna parte hace afios, y . . . adornindola como es de
imaginar un poquito, ya que arte es belleza. (the plot of El
inglés de los gfiesos)

Lynch took the material garnered from his own experience, never
reaching into some exotic land across the sea, and put it together in a
very prosaic way:

Después ya es cuestidn de prictica y de técnica del "oficio":
plantar los tres jalones: exposicidn, nudo y desenlace, y . .

. . en orden desde el primer capitulo hasta el filtimo, aunque,
como es de imaginar, con los naturales tropiezos y vacilaciones,
y hasta a veces esa desagradable sensacidn que se experiments
a1 querer abarcar lo hecho, y que compare con la que deberia

 

9Juan José de Soiza Reilly, "ECdmo se hace una novela?”, El Ho ar
afio 23, no. 941. oct. 27, p. 11.

35

sentir e1 pintor que tuviese que mirar un cuadro grande, in-
concluso, sin tener espacio para retirarse.

Lynch also commented specifically on his first major literary suc-
cess, Los caranchos de la Florida:
Es 1a novela que menos esfuerzo me ha costado. La escribi
en tres meses, y la tuve guardada cuatro afios, sin volver
a leerla, hasta el dia en que se me ofrecid 1a oportunidad
de publicarla. Ubiqué su accidn en el partido de Dolores,
pero es el fruto de observaciones recogidas en cien lugares
distintos, salvo, naturalmente, lo que a1 paisaje se refiere.
Without a doubt Lynch was oversimplifying the effort put into such
a carefully planned piece of literature. His words do, however, tend
to set the tone of his attitude toward his profession as a novelist.
Los caranchos de la Florida, written when Lynch was 31, attracted
the immediate attention of the critics and of other novelists who
praised the novel highly. Horacio Quiroga, surprised and delighted
when he first read this tragedy of violence and passion, publicly saluted
lynch, a hitherto unknown writer, and embraced him figuratively in an
open criticism and acknowledgement of the novel, a significant honor
because Quiroga never had made a profession of criticism. 'With most
cordial effusion he stated:
En primer término debo confesarle que muy pocas veces
hallé en relatos de la vida de campo cosa alguna que
me satisficiera. No es, como usted sabe, porque se
nos hubiera martillado los oidos con venganzas de j6-
venes, rencores de viejos, idilios de una y otra edad,
todo sobre un fondo de siestas, inundaciones y sequias.
Bien sé que quisiera extenderme sobre estas cosas,

pues no impunemente se pasan los afios esperando un
libro como el suyo. Acaso muy pronto lo haga. Vaya,

 

101bid., p. 11.

11Ibid., p. 11.

36
entre tanto, mi homenaje a su talento, inequivoca-
mente de vardn, con la seguridad en mi de que si
algfin dia hemos de tener un gran novelista, ése va
a ser usted.l
Another literary giant of that time, Manuel Gilvez, was no less
liberal with his enthusiasm and praise of Lynch's novel:
Gilvez consideraba a Los caranchos como reflejo
exacto y admirable de nuestras costumbres, de nues-
tros hombres y de nuestros paisajes y parangonaba
sus personajes con "aquellas almas que ha creado
Gogol en Taras Bulba."13
On the basis of Los caranchos, Lynch was rocketed to a success he
well deserved but did not desire. He seemed to show little interest in
the fate of his writings. In those days before the advent of promo-
tional campaigns and racy paperback covers, his subsequent novels and
short stories were devoured by an eager and waiting reading public.
Frequently the editions were exhausted almost immediately upon publica-
tion and enterprising book dealers sold copies of his books surreptitious-
ly at greatly elevated prices--such was the demand for his books.
Somehow Lynch's literary career does not fit the stereotyped "Holly-
wood" version of a struggling young author. He never suffered the
trials and tribulations, the rebuffs and poverty of a neOphyte literary
genius; he was independently wealthy and came by his writing skill almost
naturally by birthright. Horacio Varela tells of the ease with which

Lynch entered the literary arena and reigned as the eccentric master of

 

12Horacio Quiroga, "Carta abierta a1 sefior Benito Lynch,” Nosotros,
afio 10, no. 89, set. 1916, pp. 316-318.

13Flores, Historia ygantologia, p. 374.

37

the rural genre for many years:

Jamés, ni siquiera en sus comienzos--cuando toda lucha es

dura y la juvenil vanidad apremia--tendi6 lynch e1 manus-

crito mendicante para obtener, come otros, mendrugos de

espacio en revistas o editoriales, por recomendaciones de

figures influyentes o por simpatias personales. Entrd

Lynch en la literatura castellana, ocupd lugar preponde-

rante y rebalsd con su jerarquia las fronteras de la pa-

tria, por la sola fuerza de su talento creador. Y es es-

to lo que algunos seudofigurones de las letras no han po-

dido perdonarle.l

After a resounding triumph with Los caranchos, there followed from
the pen of Lynch an almost uninterrupted flow of novels: Raquela (1918),
La evasidn (1918), Las mal calladas (1923), E1 inglés de los gfiesos
(1924), E1 antojo de la patrona and Palo verde (1925), E1 romance de
un gaucho (1930), and De los camposgportefios (1931), all of which, though
not necessarily of the quality of Los caranchos, received the enthusiastic
welcome of the Argentine reader. Interspersed among these publications
dates is a fairly steady production of shorter works: short novels,
short stories, philOSOphical pieces, a couple of dramatic pieces and some
works which might be called cuadros de costumbres. The span of his pro-
duction bridges the years from 1903, when he published the short E1 vaso
de agua, to 1941, when appeared Cartas y cartas. After publishing.§l
romance de unggaucho in 1930, perhaps Lynch felt that he had written
"his” books. He did not make the same mistake that so many writers have

made. He probably realized that he had exhausted the possibilities of

the rural scene, at least as far as he was concerned.

 

ll"Varela, "Benito Lynch y sus novelas".

38

The last ten years of his life are completely barren of literary
output. He became more and more of a recluse, living in seclusion with
his aged mother in the ancient family home in La Plata. Throughout his
entire life Lynch had preferred the solitary existence, having very few
personal friends. He rejected with horror all identification with
literary societies and consistently refused honors and honorary positions.
When called upon to engage in literary discussion, he would conveniently
leave on the pretext of a pressing appointment. The closest he ever
came to a public position was when the University of La Plata conferred
on him a doctorate honoris causa.15 To Lynch, the city was a club where
one takes his leisure among frivolous friends, not a Bohemian café where
writers gather, much less an academy of scholars.16

Perhaps the aura of silence and mystery brought about by his ”pecu-
liar" ways lent itself to the fomenting of the legend of Benito Lynch.
One might intimate his being a testy and irascible hermit, bitter and
cynical. The evidence about the personality of Lynch is mostly indirect
as he was known intimately by very few, and when, on the rare occasion
of a personal interview he might condescend to comment on himself, he
would reply in an equivocal manner that made him seem all the more
enigmatic. For instance, in an interview with a family friend, Ernesto
Mario Barreda, he was asked whether he were a bachelor. He replied:
"Soltero, si . . . {Me he quedado solterdn! . . . He admirado tanto a

la mujer, que tal vez por 950 no me he casado."l7

 

15Flores, Historia y antologia, p. 374.

16Anderson Imbert, "La voz del nuevo gaucho", p. 11.

l7Barreda, "Benito Lynch, e1 novelista de la pampa.“

39

There was definitely a consensus that Lynch was some kind of ogre
because he refused the camaraderie of his fellow writers. Every account
of a personal interview finds the interviewer approaching his task with
certain misgivings as to the reception he might expect, and each one
expresses his delight and relief to find a Lynch quite different from
his preconceived mental image, a Lynch cordial, co-operative, warm and
friendly, with even a touch of jovial mischief. In appearance he was
tall, thin, with thick eyebrows, broad high forehead, and ample ears
which protruded from both sides of a narrow, bony face. He displayed
an orderly personal appearance since he was always impeccably dressed
in a conservative suit. He was an incessant smoker but a man of dis-
ciplined nature and regular habits, devoting a regular time each day to
his writing. Lynch comments on his writing routine: "Escribo todos los
dias. Escribo por disciplina, porque muchas veces rompo a1 dia siguien-
te todo lo producido en la jornada de la vispera."18

Perhaps the most positive source of information about Lynch's
personality is his writings. In the age of naturalism in which Lynch
wrote, one is first impressed by the almost complete lack of erotic allu-
sions in his works. His attitude toward human nature may be surmised by
the absence of loathsome characters in his books. ‘We see violent men,
cruel men, proud men, simple and ignorant men, but no matter how brutal
the personage may be, nearly all show a spark of human decency in some
facet of their personality. He presents the rural life as it really was
with a very minimum of value judgment as to good or bad. Probably the

most paradoxical revelation of Lynch's character in his writings is his

 

18Nicola’s Cdcaro, Benito_Lynch (Buenos Aires, 1954), p. 13.

ho
profound and penetrating analyses of the psychological nature of women,
children and animals. How was it possible for "an old bachelor" who
never travelled extensively outside the province of Buenos Aires to
have an intimate insight into the esoteric world of the Opposite sex?
With a few exceptions, the female characters in his writings are more
sharply drawn and developed than the male characters. Just as startling
is Lynch's treatment of children and animals. One can only posit from
his demonstrated psychological understanding of people a man who was
kind and compassionate, well aware of the stream of human life that
surrounded him, yet unwilling or unable to swim in it.

It has been satisfactorily established that Lynch was not anti-
social at heart. All that remains is to account for his mania for
silence and solitude, a trait that became increasingly acute in his
final years. In his mature years he ceased to write. Perhaps, in
accordance with his temperance and unerring good judgment, he realized
he had exhausted his literary creation. He did not, as so many
literary sinners, plagiarize himself.

Lynch's father, Benito the elder, was the direct antithesis of his
son. The father was gregarious, a politician, a model estanciero, very
much part of the dynamic Argentina of his day. However much credence
one can place in heredity, young Benito seemed to have inherited his
propensity for letters from his "strange" Uncle Ventura Lynch. Ventura
was an aggressive writer of articles, like La gran canalla, which
exposed the pecadillos of influential and prominent persons. Probably
because of his exposes, he was found in the street one morning unconscious,

a victim of an unknown assailant.

41

Ventura had a rare talent for music, as well as being a painter and
a poet. His greatest work is a collection of folklore and pepular songs
to which he wrote the lyrics and arranged the music. Some selections
from this work are still sung today in Argentina.

Uncle Ventura was called el loco by the family as he would sit for
hours alone in his darkened study refusing to leave or to speak to any-
one. He seemed to have been afflicted with neurasthenia in his declin-
ing years and saddened the family greatly when he took his own life.19

Benito seemed to have inherited, along with the literary bent, some
of his uncle's tendencies toward shyness and misanthropy. In his last
years the similarity in temperament between nephew and uncle became
more pronounced. Benito resembled, emotionally and physically, the
strange Uncle Ventura and showed this "emotional sickness" as a skillful
portrayer of neuropathetic types in his novels.

Some critics have tried to attribute Lynch's shyness and sensi-
bility to an undeserved literary oblivion. Taking as evidence the
enthusiastic acceptance of his novels on the part of the common reader
and the almost complete absence of harsh detraction on the part of the
critics, the cause of his literary "oblivion" seems to lie more in the
area of self-infliction than with lack of interest in his works. Lynch
was a confident literary artist of the highest order. It seems unlikely
that even a large amount of adverse comment about his works would have
caused his supersensitivity. Had he been preoccupied with public Opinion,
he would not have written as he did. He did not try to please the great

anonymous reading public with the ”traditional" gaucho thriller like

 

19Ernesto Mario Barreda, "En un lejano dia con Benito Lynch", E1 Ho-
'ggr, afio #9, no. 2263, 27 marzo 1953, p. 8.

U2
those of Eduardo Gutierrez, nor did he lard the pages of his books with
eroticism and violence for violence's sake.

He wrote the way he did because it pleased his esthetic sense of
sincerity to represent life as he saw it. He observed, analyzed and
created his works within the framework of his own conscience. It is un-
reasonable to believe such a man capable of discouragement over the
whims of a reading public. The oblivion, whatever its causes, did come
and it was so complete that even men whose profession is literature were
not aware of his existence until their memories were jogged by Lynch's
death on December 23, 1951. His very death made him live again, prompt-
ing a revival of interest in his trilogy: Los caranchos de la Florida,
El inglés de los gfiesos, and El romance de un gaucho.

In the following chapters, each of these three novels will be
analyzed. Each presents a separate and distinct facet of Lynch's

novelistic pampa.

CHAPTER III
LOS CARANCHOS DE LA FLORIDA

The success of Lynch's novels seems to establish that he found his
literary environment in the pampas, and in the scrutiny of his pen the
vast Argentine plains found their most discerning expression. As might
be expected, when one keeps in mind Lynch's innately humble and simple
manner of living, his was a realistic style of writing. Lynch often
made the statement that he had never put in any of his novels or stories
a single detail referring to types of peOple, customs or situations that
he had not seen with his own eyes. As a journalist, he was a trained
observer who made frequent excursions to the country expressly in
search of grist for his writing mill.1 How much his journalistic train-
ing affected his literary style and philOSOphy can only be conjectured,
but true to the ethics of this breed of writer he observed and wrote,
interpreting his observations with a minimum of complexity and distor-
tion. Being a sensitive person, he must have seen the evils of the
Argentine country life: the loneliness, the lack of creature comforts,
the capricious violence of the elements, the lack of cultural and educa-
tional advantages in comparison with those of the city, and the economic
exploitation of the uneducated rural peOples at the hands of shrewd and

ruthless entrepreneurs from the city.

 

Osvaldo Vargas Molteni, "Benito Lynch y la novela del campo,"
Hundo Argentino, 16 enero 1952.

43

 

44

Realism can manifest itself in many ways. William Henry Hudson had
written of the pampas with acute realism. Under his pen unfolded a
minutely detailed description of each species of flora and fauna, the
appearance of the earth during its seasonal transformations, episodes of
childhood encounters with the gaucho, the patrép, the soldier. Hudson
always painted the pampa as a pastoral paradise frozen in the moment of
history of his idylic youth. His was a photographic realism somewhat
idealized, destined to be read by Englishmen far across the sea; Lynch
wrote for a native audience that knew the pampa like the palm of its
hand. Both were realistic. To draw an analogy one might compare two
opposing schools in the plastic arts: the traditional lifelike rep-

resentation of nature and the impressionistic representation. The

former would typify the detailed descriptions of Hudson while the lat-
ter is representative of Lynch's realism in which nature and man are
painted for the reader in swift, vivid, evocative allusions written in
all their simplicity in a language well understood by his public.

Lynch's realism differs in yet another way from that of Hudson's.
When he was in his formative years Lynch read avidly from Zola, probably
the most pOpular author of that time among Latin American youth. Thus,
in Lynch's early works is seen the touch of naturalism of such novels
as La debacle, Lourdes, Paris, Roma and Egpg, making Lynch much more a
literary son of Cambaceres and Julian Hartel than of José Hernandez and
Hudson. As Lynch matured, the pseudo-scientific approach was mitigated
until El romance de unggaucho (1930) is almost completely devoid of the

naturalistic touch.

45

The work in which Lynch best portrays the pampa and its people is
Los caranchos de la Florida. What, then, was the pampa like in Lynch's
time?

Though dates are not mentioned in his novels, allusions to daily
tasks on the estancia tell us that we are seeing the pampas somewhere
between 1900 and 1920. Barbed wire had already partitioned the land into
large grazing areas. The plow and the tractor had not yet transformed
the fertile plains into the agricultural area they would become. Life
was still pastoral with each estanciero a feudal lord over his subjects,
the gaucho turned‘pgég. On the unyielding pampa, where the horizon
blends with the seemingly limitless flatness of the land, the law and
justice of the city had not yet arrived. Officially it was there, but
because of the political influence of the pgtgég and the lack of scruples
of the self-seeking, underpaid law enforcement official in league with
the nulnero and the rural oligarchy, justice was perverted and twisted
to the needs and whims of the landowner. The gaucho, once a freedom-lov-
ing nomad, was the victim of his environment. Lacking the ability
(environmental adaptability) and inclination to rise above the role of a
brutish, inarticulate non-entity, he submitted his pride to the indignities
of the pgtgég and bared his back to the sting of the rebengue. Surely,

not all of the estancieros were tyrants, any more than all southern

 

plantation owners were like the ones depicted in Uncle Tom's Cabin.
Violence was the order of the day and, as in Darwin's animal kingdom,
the stronger preycd on the weaker; the pgtgép subjected the pgép to his
will, and the pgép'used his family as a release for his own pent-up
hatreds and violence. Thus, the stage is set for Ios caranchos de la

Florida: a compact rural society of violent people living out a

46
desperate existence in a hostile land that gives up its natural treasures
only after a prolonged protest of heat, dust, storms and floods; all
this added to the purgatory of tormenting insects.

In Los caranchos de la Florida is seen the rural social system in
its stark malevolence. In true naturalistic fashion Lynch takes a piece
of the Argentine pampa, fills it with believable people and invents a
plot rich in psychological conflicts. The theme is universal in scope
and deals with the basic conflict of personality between father and son,
both of whom are proud, arrogant and authoritarian. From the very begin-
ning the reader is aware of a feeling of lugubrious foreboding which
must culminate in the ultimate head-on clash between these two indomitable
spirits.

Lynch observes this drama of pampean life with the objectivity of
a laboratory scientist. ‘We know from some of his essays that he deplored
the social and economic plight of his beloved pampas, but he portrays in
this novel the places and events without the show of OpprObTium of a
moralist or social reformer. He says to the reader, "Look, this is what
happened when father and son, driven by animal impulses, came into con-
flict in a rural environment where differences of Opinion were resolved
by force. I know it is true because I saw it with my own eyes." With
a slight qualification of this hypothetical statement, we may believe his
plot construction. Los caranchos de la Florida is not a narrative Of an
historical event. He had never seen such a drama actually unfold before
his eyes. The characters are composites of real peOple known to Lynch
from his travels through the pampa. They are not stereotypes of their
particular station in life. Each is intensely believable, each is

portrayed showing a complex psychological personality.

1+7

Seldom has a novel been so aptly named. Carancho is the name of a
bird of prey indigenous to the Argentine plains. Hudson described the
bird as half hawk and half vulture, victimizing small animals such as rab—
bits, as well as devouring carcasses Of animals. The bird is perfectly
suited to his environment in that the pampas abound with small, helpless
creatures and carrion, and his natural enemies are few. Lynch never lets

us forget that father and son symbolize the caranchos of the estancia La

 

Florida. 'When the reader has the key to the author's symbolism he
begins to view the characters of the novel as animals, an impression that
Lynch reinforces and encourages by using animal allusions to describe
them.

Lynch wastes no time in describing the character of the older.gg£gp-
gag, don Pancho. Though the psychological character development is
subtly and skillfully done, he hits the reader right between the eyes

with a word picture of the patrdn in the first paragraphs of the book:

Don Francisco Suarez Oroho abre la contrapuerta del
alambre de tejido que protege el comedor contra la
invasidn de las moscas, da un puntapié al perro pi-
cazo que dormita junto al umbral, y saliendo a la
amplia galeria embaldosada va a sentarse en su vie-
jo silldn de mimbre, en aquel viejo silldn desvenci-
jado por el uso y al cual, no obstante, todos miran
en la Estancia con el respeto mas profundo.

ILa silla del patrdn! ICuantos gauchos comnadres
habran palidecido en el espacio de treinta afios an-
te aquel mueble modesto, ante aquel mueble casi mi-
sero, que muestra mil refacciones antiestéticas, y
cuantos retos y cuantos insultos, y cuantas cacheta-
das habran resonado bajo el gran comedor que lo al-
berga!

 

 

zBenito Lynch, Los caranchos de la Florida (Madrid, 1931), p. 5.
Subsequent references to this work will be taken from the same edition.

48
As the novel breaks into the continuum of the Suarez family, don
Pancho is awaiting daily the arrival of his son, Panchito, who has been
studying for six years in Germany. Briefly we are given the dosier of
the Suarez family. Some three decades earlier, the elder Francisco came
to the pampa with his two brothers, Eduardo and Julian. The trio
developed and divided up a large expanse of pampa and proceeded to
create an empire. These men were not gauchos but city dwellers who,
endowed with the benefits of ambition, money and education, descended
like some superior form of creature to impose their will on the indolent
and ignorant gauchos.
Francisco, bored with country life, travelled to EurOpe and
returned with a fair, frail English lady. For a short time the English
wife, Lady Clara, had brought a ray of sweetness and light to the estancia,
but soon this delicate English flower had atrOphied and died under the
rigors of sun, wind and loneliness, leaving only a fond memory in the

minds of the oeones who knew her, and an infant son who, as the novel

 

begins, is a grown man away at school in Europe.

Eduardito, nephew Of don Pancho, had also been sent away to school
in Buenos Aires and had become a libertine. Returned to the pampas, he
soon fell under the influence of gaucho life. Don Pancho, disgusted at
his nephew's ways, turned over to him the share of land that had come
to him by birthright from the late don Eduardo, sending him away with
the admonition: "iAnda y hacete un animal!" Eduardito, not disappoint-
ing don Pancho's prophecy, took over the estancia el Carddn and became
caught up in a life of sloth, drinking and parties, making of his run-

down ranch a haven for every wandering gaucho and wanton woman in the

49
territory. Eduardito's fate only lent crdence to don Pancho's conten-
tion that gauchos were no better than beasts and, left to their own
devices, would become animals no better than the semi-domesticated cat-
tle raised on the ranch. Lynch does not let us forget don Pancho's at—
titude, for he constantly hurls the epithet: "IToma, gaucho animal, pa
que aprendasl", often accompanied by the crack of his rebengue or the
heel of his boot. The source of don Pancho's power over the inhabitants
of the territory stemmed from some mysterious political influence in
Buenos Aires. He not only was able to enforce his will on his own 2E“
$32213, but neighboring caudillos bowed before his omnipotence because
of the threat of his diabolical influence over the law officers in the
territory. The simple threat of his name struck terror into the heart
of the gauchos. His legendary whistle, similar to that of the caranchg,
was sufficient to stop the bravest in his tracks, or cow the most rebel-
lious colt.

Panchito returns to take up life on the estancia. The young man,
remembered as "el angelito'e Dies” by the old housekeeper, Laura, who
saw him born, is almost the mirrored image of his father, both in
temperament and appearance: the same close-set, bird-like eyes and
beak nose. Except for the blonde hair and blue eyes inherited from his
mother, he resembled his father in every way. Six years of loneliness
had taken its toll on both father and son. Yet neither showed the

slightest sign of emotion at the moment of reunion:

--&Por que te has afeitado el bigote?

--&El bigote? . . . ICaramba! . . . Ni sabria explicartelo.
Me lo he afeitado porque todo el mundo se lo afeita. En Eu-
ropa esta de moda. Es mucho mas cdmodo.

5O
--Parecés un fraile.
Don Panchito aumenta en un milimetro la eterna contraccidn
de su entrecejo, pero luego, encogiéndose de hombros, dice

a su padre muy risuefio:

--Es cuestidn de costumbre.3

Given the factors of heredity, the father's strict discipline and
harsh punishment when Panchito was a boy, and a son's natural tendency
to identify with his father and adopt his system of values, the son
could not help but resemble the father.

The father, thinking himself master over all he surveys, and the
son, returned from EurOpe full of progressive ideas about ranching,
from their first encounter begin to lock horns like a pair of angry
stags. Obviously, there is room for but one pgtgép on la Florida.

Don Pancho forbids his son to visit the'pgggtg Of Sandalio L6pez,
the Old gaucho Panchito had known as a boy. This causes immediate
resentment in the young man. His curiosity is piqued when he finds
out that his father makes daily visits to the pgggtg and wants to know
more or the Ma's "la nidada", the daughter of Ldpez. Panchito is
restless after so many years of sedentary life at college and feels the
attraction of the pampa and takes frequent rides into the pampas,
eventurally stumbling upon the small ranch of Ldpez'. There he meets
Marcelina, the beautiful and pristine daughter of the old gaucho, and he
immediately falls deeply in love with her. Though he is a man of the
world and far above her in education, Panchito, for the first time in
his life, feels the debilitating effects Of true love. After several
meetings with the girl, Panchito confesses his love for her and she re-

ciprocates the feeling.

51

From various sources, little by little, Panchito learns of his
father's interest in Marcelina upon whom the Old man showers gifts and
the only kindness and affection he has ever been known to demonstrate.
Don Pancho, by way of his various informers, learns of his son's
interest in the girl and, first subtly and later forcefully, tries to
prevent his seeing her. Panchito, just as determined as his father, dis-
regards the warnings to stay away from Marcelina. Eventually, there is
a showdown between father and son that ends with Panchito's drawing his
revolver and menacing don Pancho.

The filial tie has been broken and Panchito goes to stay with
Eduardito, where he spends his days drinking incessantly. Meanwhile,
the father repents his action and decides to let the L6pez family move
away since he realizes the continued presence of Harcelina will cause a
permanent break in his relations with his son. As the enormity of the
argument with his son strikes him, don Pancho is overcome with loneli-
ness, and for the first time we are told that this cruel and proud‘pg-
.EZEE loves his son dearly:

Después de mirar por un instante la llama amarillenta, e1

patrdn aparta de ella los Ojos, los gira por todos los si-

tiOs, por todos los rincones, come si estuviese buscando

alguna cosa; y, por ultimo, inclinada la cabeza sobre el

brazo, que mantiene apoyado en la repisa de la chimenea,

solloza sobre el marmol su tremenda congoja . . .

Panchito has sunken into a bacchanalian existence on Eduardito's
ranch, passing his days in a drunken stupor. On the night the Ldpez

family is moving, Panchito rides Off to see Marcelina, only to find the

door locked and his father there with Cosme, the foreman of the ranch.

 

“Ibid., p. 263.

52

Don Pancho, seeing his son approach the door, shouts an order for him to
stay away. Panchito is in such a state of drunkenness that he is hardly
aware of anyone else's presence. The father, forgetting his love for
his son and acting automatically, begins to whip the boy with his'ggbgp-
332, The anger of both caranchos at fever pitch, Panchito lashes out
with a wrench he has in his hands and strikes the father dead. Panchito
wanders away in a trance until he realizes the gravity of his sin and
returns. As he bends over the body of his father begging forgiveness,
Cosme, who harbors a hatred for the young pgtgép and love for the father
because the latter had secured his release from jail, unsheathes his
knife. With thirty years of grievances to peOple of his kind adding
impetus to his arm, he plunges his flashing blade into the young man's
back. Hertally'wounded, Panchito falls upon the body of his father, and
again and again Cosme's steel sinks into the quivering flesh. Cosme
sheathes the knife and calmly rides away. Hosea, the half-witted mulatto
who observed the scene and had been waiting in the shadows to deliver a
letter from Marcelina to Panchito, approaches the scene in dumb fascina-
tion. Though reason would tell him otherwise, Hosea, accustomed to
obeying orders, carefully places the envelOpe upon the body of Panchito:

iAhi esta--dice, y torna a contemplar a la Muerte

pensativo y cehudo.

De pronto, una sonrisa mala y burlona ilumina su

cara negra, su cara de mulato; y entonces, menean-

do la cabeza, vase a través del patio bafiado por

la luna, murmurando entre dientes:

--3Los caranchos! . . . iLos caranchos de la Flo-
rida!

 

51bid., p. 276.

53

Often this novel has been criticized for its melodramatic ending.
One cannot deny the brutality of the climax, but it does not seem that
there is a lack of verisimilitude in that step by step Lynch carefully
put the volatile ingredients into his test tube, mixed the antagonistic
elements Of father and son, both dedicated to violence as a way of life,
added the catalyst of the sweetness and innocence of Marcelina, heated
the mixture to a critical point and ignited the mass with the spark of
human impulse. Given.thoseexaet psychological factors, a violent end to
the novel was inevitable. Putting the lines that sum up the essence of
the novel in the mouth of a fool might likewise seem to be straining for
dramatic effect, except that Lynch had carefully foreshadowed the tragic
ending. Earlier, Hosea had been discussing the newly-arrived son and he
burst out laughing without provocation:

--he rio . . . me rio . . . iDon Panchito gfieno! IEs mueho

pior quel patrdn! Al patrdn lo apodan El Carancho en el

pueblo, y el hijo es otro carancho; tenemos aura deg caran-

chos en la Florida. ISe van a sacar 105 0305! . . .

Thus, the precedent had been set; the disaster had been predicted.
Hosea had, by accident, made a clever statement, the peOple laughed and
he remembered and repeated as a child would. At the moment of the
ultimate tragedy which he witnessed, he remembered in his confused mind
his moment of sagaeity. With that the novel ended.

Julio Caillet-Bois calls los caranchos de la Florida "la novela de

n 7

105 impulses . Indeed, like the animals they were meant to represent

 

61bido, p. 570

7Julic Caillet-Bois, Ia novela rural de Benito Lynch (La Plata, 1960),
p. 38.

54

the principal characters of the book are driven by pasions which Lynch
does not see fit to explain; none are rational at the moment of crisis.
Don Pancho, when confronted with an obstacle, solved the problem by
lashing out with brute force. Panchito, who had been given the advantage
of a EurOpean education, demonstrated no inclination to curb his
impulses. Even at the sweet moment of realiZation of his love for
Mareelina his emotions are described as almost psychopathic:

Una emocidn entre angustiosa y dulce ha venido a

invadir todos sus centres y a entregarle sojuzga-

do, inerte, a aquello que es para él como un de-

lito enorme, pero que lo atrae y lo fascina con
el poder de un encanto irresistible.O

 

8Les caranchos, p. 160.

CHAPTER IV
EL IHGLES DE LOS GUESOS

On one level, Benito Lynch may be said to be the fulfillment of
Sarmiento's Faeundo. Few writers since Sarmiento have denounced and
defined the basic conflict confronting the republic of Argentina bet—
ter than Lynch. This is the same conflict that faced, and still faces,
nearly every nation in Latin America: civilization versus barbarism.
Though this theme is the most ubiquitous of all in the novelistic
genre, each author, in his own way, treated it according to his
particular literary philosophy. Sarmiento, an intellectual from the
city, looked on the rural element as a threat to progress. Jose Her-
nandez, though not a novelist, took the Opposite point of view, decry-
ing the plight of his people, the gauchos, under the government from
Buenos Aires. Lynch adepted a point of view somewhere between these
two extremes. In all except one of his rural novels (El romance de un
gaucho) and in many of his short stories he set up a literary contrast
between characters from outside the pampas: portehos, forcigners such
as Englishmen, Basques and Italians, and sons of the pampas that have
been educated in the "civilized" world, and the gauche:

LUsted ha visto que yo siempre le pongo un
"ladero"?

En Los caranchos de la Florida, en El inglés
dc lOSAgfiesos, hay siempre un hombre de otro

ambiente, de otra cultura, un "ladero", en
fin, para que "cinche", porque el gaucho solo

55

56

da muy poco . . .

Lynch was a man from both worlds. In his own life he had lived
among the gauchos and came to love them. He had spent most of his
adult life in the city where he enjoyed the ease of living and civilized
atmosphere. The gaucho, he admired for his spontaneous show of emotion,
his natural reticence and his lack Of affectation; the city life he
liked for its obvious advantages of culture and enlightenment.

In Los caranchos de la Florida we see both elements with the weight
of sympathy in favor of the rural element. Lynch had great Optimism
about the future of Argentina, but in this novel he does not appear to
be concerned with the "right" and "wrong" of the situation. He is pre-
occupied only with the artistic possibilities of this simple and force-
ful drama of the pampas.

In El inglés de losggfiesos (1924) Lynch sets up the perfect
contrast between civilization and barbarism. On one side is e1 in lés,
Mr. James Grey, product of Eton, Oxford and Cambridge whose eloistered
halls had instilled in him an unshakable belief in the perfection of
man. Hr. Grey is an anthrOpologist who comes on a scientific mission,
sent to the pampa in search of fossils of primitive American man. With
this motive he comes to the Estancia Grande in whose lake, "una hermosa
laguna azul, grands como un mar," abounds this type of skeletal

remains.

 

lBarreda, "En un lejano dia eon Benito Lynch," p. 8.

2Benito Lynch, El inglés de losggfiesos (Mexico, 1955), p. 123.
Subsequent references to this work will be taken from the same edition.

57

The natrdn, a "playboy” from Buenos Aires, has authorized his lodging
in La Estaca, ranch of Juan Fuentes; not because of his love of science
and knowledge but as a favor to the British minister who is a fellow
member in one of the exclusive clubs in Buenos Aires.

On the other side is Juan Fuentes; his wife, Casiana; the boy,
Bartolo, and the eighteen-year-old daughter, Balbina, nicknamed La Ne—
.gpg because of her raven tresses. Grey is the epitome of the phleg-
matic, imperturbable English gentleman, while the Fuentes family and
their rustic neighbors are all that is gaucho: ingenuous, illiterate,
generous to guests, hard-working and impulsive.

At least one writer sees the accounts of the travels of Darwin and
Humboldt as Lynch's inspiration for E1 inglés de los gifesos.3 Indeed,
Lynch himself had confirmed this source for his novelistic material.LL
Comparing some of the situations in Darwin's Journal of Researches
with Lynch's E1 inglés, we see strong similarities between some basic
facts.

Firstly, Er. Grey resembled Darwin in appearance: " . . . aquel
hombre raro que tanto sabia de unas cosas y tan poco de otras; que
cuando se sonreia parecia tener veinte afios y cuando se ponia serio mas
de cincuenta."5

Secondly, Darwin, though not an anthrOpologist but a naturalist,

relates his "ransacking an old Indian grave" in Patagonia, the object

 

3Eunice J. Gates, "Charles Darwin and Benito Lynch's El inglés de
losggfiesos," Hispania, v. #4, Kay 1961, p. 250.

”Soiza Reilly, "éCdmo se hace una novela?", p. 11.

531 inclés, p. 8.

Kn
C0

of Mr. Grey's expedition.

Thirdly, Darwin related having lodged with a don Juan Fuentes, the
same name as Er. Grey's host.

Fourthly, Lynch referred on several occasions to Darwin's impres-
sions of the malicious but good-natured humor of the gaucho, a victim
of which Mr. Grey becomes as the Fuentes' children see the foreigner as
a source of honest diversion. In Avachadas, one Of Lynch's short
stories, he alludes to this particular type of gaucho maliciousness:

Pues que yo soy un convencido de que estos diablos de

gauchos portefios "se lo farrearon" hasta a1 propio Darwin,

hasta a1 prepio e ilustre autor Del orinen de las especies.

Escucha. Lo "farrearon" en una forma tan alevosa, que el

pobre sabio registré la broma inocentemente en su libro, en

donde ha pasado hasta hoy tan inadvertida como estén pasan-

, o o o

do al traves de algunas ed1c10nes de la obra toda esa multi-

tud de "avestrfis petise", "carranchas" y "viscaches" que la

infestan, sin que haya mano caritativa capaz de corregirlos . .

Lynch places the cultured Mr. Grey in this semi-civilized pampean
environment whose day-to-day routine is devoid of novelty, where the
slightest deviation from the ordinary creates a sensation. The English-
man's arrival could not have been more startling had he landed by rocket

from Ears. The author paints a vivid word picture of the foreigner in

the first chapter:

. . . aparecid de repente, alla por el bajo de la laguna,
jinete en el petiso de los mandados de la "Estancia", mas
cargado de bartulos que el imperial de una diligencia y
desplegando al tope de su alta silueta, nitidamente recor-
tado sobre el fondo gris de la tarde lluviosa, un paraguas

rojo. . .

 

61bid, pp. 9-12.

7Benito Lynch, "Agachadas", Caras y caretas, ano 32, no. 1599, p. 2.

8

31 inrlés, p. 1.

59

Not only in his appearance enough to precipitate peals of laughter,
but his proposed project of searching for ”gfiesos de dijuntos" is the
most inconceivable possible to his hosts. As is the gaucho custom, he
is offered what meager accommodations are available. 'With traditional
British "stiff upper lip" el inglés acclimates himself admirably to his
crude surroundings and sets about his task of digging near la laguna de
Los Toros. Because of his peculiar ways and appearance and ”su languaje
enrevesado”, the Englishman is a never-ending source of merriment for
Balbina and Bartolo and later the butt of their increasingly malicious
pranks. Finally, Balbina, purely on a contrary impulse, comes to harbor
an intense hatred for Mr. Grey, who, completely absorbed in his work,
seems not to notice this change in attitude. When Mr. Grey cures Balbina
of an intense earache, her attitude changes to one of gratitude and fascina-
tion for the blonde stranger.

Santos Telmo, a young gaucho desperately infatuated with Balbina
and whose professions of love she consistently scorns, is spurred on by
gossip about Balbina and Grey to believe the latter the source of his
frustration. Fired by the passion of jealousy, he stabs Mr. Grey. The
Englishman, close to death, is brought to the house where he slowly
begins to recuperate.

This act of treachery by Santos Telmo and her pity for Mr. Grey‘s
suffering have tipped the balance. Balbina becomes his nurse, attending
him constantly, gradually becoming his sole protector, to the jealous
exclusion of all others.

Through the many hours of his convalescence Balbina becomes more
and more possessive of the Englishman, her one-time deep hatred reversing

its polarity to a love just as unreasoning and desperate. One day a

60

letter comes from Mr. Grey's university ordering his return. Balbina
should have realized that e1 inglés was not going to remain forever;

but being young and not possessed of the provident temperament of the
English, she refuses to face the prospect of losing her love. She re-
acts violently to Mr. Grey's determination to leave. Despite all the
patience and words of advice of her mother's, Balbina falls into a state
of nervous sickness. The Englishman realizes that he is somehow the
source of her anguish but, because of his inculcated self-discipline
and outward restraint, he cannot conceive of any lasting damage result-
ing from the girl's torment.

Hr. Grey is chaste, educated, veracious and self-sacrificing, and
his conduct is directed by Kantian imperative of duty. All this permits
him to resist the tremendous temptation that is Balbina's pristine beauty,
effected by an instinctive honesty and an inexhaustible wealth of tender-
ness. Mr. Grey is not a romantic. He is an intellectual, a cold and
severe scientist, dedicated heart and soul to his discipline, anthrOpo-
logy. Despite the fact that he is a scientist and English, he doubts
like Hamlet and vacillates. Why not? The attraction of this girl, the
magnetism of her youthful beauty and pure heart without artifice are
very impelling. But more than once his defensive egotism and the iron-
clad discipline of his spirit had faltered, feeling the impulse to burst
the bonds of his ingrained prejudices and inhibitions and savor the
fruit that he has so near. In a rebellious instant he thought to him-
self: "iAl diablo con esa disciplina estfipida! £Toda su vida habia de

ser asi, inhumana degollacidn de deseos y un eterno aplastar de flores?"9

 

9Carmelo M. Bonet, ”Benito Lynch, El inglés de los guesos, obra psi—
coldgica y pampeana," El Ho ar, 26 mayo 1950, p. 28.

61

But after savoring the titillating prospect of a carefree life with
this unspoiled child of nature, his English good sense overcomes his
whim. The possibility of a chair at the university had been the ulti-
mate goal of his life. He would return to his museum, to his books and
university cloister, to the conquest of academic honors.

Balbina is unable to dissuade Mr. Gray. Her grief becomes a
physical sickness. Doha Casiana seeks the aid of dofia Maria, the octo—
genarian curandera. Dona Maria, who has tended to the ailments of the
vicinity for longer than anyone can remember, immediately diagnoses the
problem. She assures Balbina that she can cast a spell on the English-
man and prevent his leaving. The girl undergoes a complete emotional
transformation; being superstitious, she has confidence in dofia Maria's
incantations. All concern over losing e1 inglés seems to have left the
girl's mind as he prepares his boxes of specimens and packs his equip-
ment. As Mr. Grey mounts the carriage, Balbina (also the reader) awaits
the miracle of the spell, the occurrence from the blue that will deter
his departure. As the coach starts to move, dofia Casiana hails the
driver to wait because a rider is approaching. The coach steps. Surely,
thinks the reader, now dofia Maria's spell is working. Who is the
mysterious rider? Santos Telmo? No, it is Pantaledn, the nephew of dofia
Maria, carrying the news of her death. Balbina realizes that her cause
is lost. That night, in a fit of desperation, she hangs herself with
the lggg the Englishman had braided for her.

Lynch, as if in novelistic reverence to the memory of this fragile
wildflower of the pampas, does not defile her mortal shell by his usually
vivid description. In a subtle, low-key climax the author uses Bartolo's

dog, Diamela, to reveal to the reader Balbina's suicide. Here again,

62
Lynch with his deceptively simple but SOphisticated technique, takes the
potentially most dramatic scene—-Balbina's suicide--out of the reader's
sight and relates the occurrence through the brutish eyes of the dog,
thus heightening the dramatic tragedy. The dog, symbolic of the unfeel-
ing world, observes, registers momentary concern in a dumb manner, and

continues on about its daily search for food:

Diamela que dormia hecha un ovillo junto a la
puerta de la cocina, desperté con sobresalto

. . . Quiza oyd algfin ruido quiza creyd que 10
0313....

Pero lo cierto es que ya no volvid a acostarse, y
que, sentada sobre los cuartos traseros, palpitan-
te la lustrosa nariz y muy erguidas las largas ore-
. ’ I O
jas, que el r0010 habia jaspeado de plata, se puso
a observar con cierta inquietud aquella gran inva-
si6n de niebla pesada y densa que casi llenaba por
completo e1 patio del puesto, que esfumaba las si-
luetas de los arboles humedecidos y goteantes, que
o o n I
por todos los Sitios se 1ntroduc1a, y que hasta a
ella misma, y como con un vaporizador invisible, le
habia trocado en gris aquel terciOpelo retinto de su
lomo . . .

Pero como aparte de ciertos y familiares rumores pro-
venientes del corral de las ovejas y de uno que otro
timido pio de ensayo entre el frondoso follaje de los
sauces inméviles y amustiados bajo su enorme carga de
agua, no oyera Diamela otro ruido ni sospechoso ni in-
teresante, no tardé en abandonar aquella contemplacién
para entregarse de lleno a la intima tarea de combatir,
en diversos sitios de su cuerpo, otros focos de comezén,
que la humedad sin duda exacerbaba.

Y como siempre como llegaba a hacerlo a veces, hasta

en las circunstancias menos adecuadas o mas comprome-
tidas del pastoreo 0 de la caza, la perra de Bartolo

se rascé con ufias y dientes, hasta la exageracidn, hasta
el infinito, adOptando las posturas mas extravagantes y
grotescas y empleando en ello tanto tiempo que cuando se
dio al fin por satisfecha y un tenue rosicler de aurora
comenzaba a tehir la niebla por el lado del corral de
los caballos, piaban pajarillos per todas partes y el
gallo mas viejo del gallinero, con su voz engolada,
alzaba su grave canto . . .

63

Entonces Diamela se quedd un instante inmdvil y
como sorprendida. Se hubiera dicho que pensaba

Pero en seguida nomas, y recuperando toda su
animalidad con un ruidoso bostezo en el que

mostrd groseramente hasta el fondo de la garganta,

se puso a andar lentrmente por debajo del alero y

a 10 large del muro de barro de la cocina, muy ar-
queado e1 lomo y oliendo con aire entendido hasta
las mas minusculas e insignificantes basurillas . . .

DeSpués, y como una bandada de "mixtos" madrugadores
viniera a posarse, vibrante de vida y de gorjeos, en
aquel trozo de patio negro que dejaba libre 1a inva-
sidn de niebla, Diamela los espantd con una zurda ca-
briola de cachorro que juega, y en seguida se metid
muy despacio, y siempre olfateando, por el corredor-
cito cubierto aquel que llevaba a1 otro lado de la
casa, es decir, hacia el corral de las gallinas, ha-
cia e1 lavadero de dofia Casiana, hacia el jardin de
La Negra y hacia donde e1 sol salia . . .

Y fue el momento en que surgia a1 pie mismo del gran
sauce en donde estaba la batea de la puestera, que

la perra, distraida como iba y con la luz del amanecer
de cara, experimentd un sobresalto que la hizo engara-
batarse toda y recoger nerviosamente una pata . . .

Le parecid sin duda una vibora aquel extreme del lazo

. I
mal trenzado que, descendiendo del arbol, se tendia
sinuosamente delante de la puerta . . .

mg- . o ' o 'g ’ ‘
has Diamela reacc1ono en seguida, y despues de comprooar
su error por medio de un minucioso olisqueo de aquella
. I c I
larga y despareja trenza que trascendia a jabon, fue y
examind también una silla de enea tumbada a1 pie del
~ ’ o
sauce y un pequeno zapato de La Negra, y por ultimo,
levantando los ojos hacia la copa del arbol, mened fes-
tivamente 1a cola e hizo con su afilado hocico algunos
O C O O C O ’
Visajes expreSivos de reconoc1miento y Simpatia . . .

Pero como nadie respondid a su halago, sino que, por el
contrario, una gran bandada de "mixtos" que alli estaba
se alz6 del arbol y se perdid volando entre la niebla,
en larga guirnalda de flores amarillas, Diamela, despues
de detenerse un momento para rascarse una vez mas el
pescuezo, se puso a andar lentamente en direccidn a1
gallinero, siempre observandolo todo, siempre olfateando
las cosas . . . O

 

1°E1 inglés, pp. 202-204.

61+

In the most exacting definition of the word, El inglés de losggfie-

 

222 is a tragedy; Roberto Giusti defines tragedy:
No hay verdadera tragedia sino alli donde el hombre lucha
con el destino. Cuando el hombre lucha consigo mismo 0
con otros hombres, su causa puede despertar nuestra simpa—
tia o nuestra compasidn; pero sdlo ante lo ineluctable,
cuando 1e vemos revolverse infitilmente en la red del Sino,
sentimos e1 verdadero 50plo tragico.ll

Fate brought e1 inglés to the one small isolated spot on this globe
where he would meet Balbina. An unlikely set of circumstances threw
these two persons--as unlike as any could be--together for one short
moment in eternity. Hr. Grey, "hombre de marcha", caught up in the
intellectual tradition of the western world, dedicated to the perfection
of man (and of himself), is torn away from Balbina's side by a power
stronger than his animal impulse for self-gratification. Balbina is on
the periphery of the civilized world. She talks about "Gfienos Aires"
as though it were at the farthest end of the earth. In the novel Balbi-
na is the very essence of barbarism; she is the living incarnation of
impulse as opposed to rational thinking:

LQué virtud tiene Balbina? Es una bestezuela salvaje, capri-

chosa, arbitraria, grosera, deslenguada . . . En su arisca

inocencia, es el instinto aun en capullo; es la virgen natu-

raleza. Aborrece y ama con igual violencia apasionada e im-

pulsiva. Si sospechara una rival, la mataria sin piedad como

Santos Telmo intentd asesinar a James. Y asi como primero se

burld de él de un modo primitivo y arbitrario, y en seguida

1e odid, hasta desear su muerte--cuando sus sentimientos

‘ U O O I 1 O ’
cambian, por gratitud, por cur1051dac, por secreta atracc10n
O O ’ 0
del instinto, desde ese dia 1e conSidera cosa suya, para

 

llRoberto Giusti, "Letras argentinas; Benito Lynch," Nosotros,
ano 18, no. 184, p. 98.

65

siempre, "el hombre de su destino". Cuando 1e busco a
Balbina una hermana, pienso, saltando por encima de todas
las diferencias de raza, de ambiente, de sentimiento--en

Sotileza.

The drama of Balbina, the poor "chinita", victim of her environ-

ment and the capricious wheel of fate, is the eternal drama of love

and death.

 

12mm” p. 96.

CHAPTER V

EL ROHANCE DE UN GAUCHO

The third novel of Lynch's trilogy, El Romance de un gaucho, seems

 

to resuscitate once again the question of Argentine literary nationalism.
It is an ultimate attempt to create the truly Argentine novel. The
means and the vehicle for such a literary undertaking are the use of
unadulterated native speech faithfully and skillfully presented and
Lynch's evocation of pure gaucho types acting out this pampean drama in
some isolated corner of the vast plains. Apparently reaching back to

the tradition of hartin Fierro and its prose twin Don Segundo Sombra,

 

lynch sought to strike the responsive chords of a latent native senti-
mentality and to recreate the environment of the past without deviating
from his prOposition of costumbrismo.

Without actually stating his intent, Lynch seemed to have placed

great hOpes in E1 romance as the culmination of his previous works.

 

This novel is unique among all his more ambitious works in that he
abandoned a device he had wielded so skillfully. In Los caranchos de
la Florida, El inglés de los guesos, Raouela, Plata dorada, La evasidn
and in many of his short novels he had included a foreigner as contrast
in order to add emphasis to the gaucho theme.

In El romance, Lynch avoids any element of foreign intrusion that
might disturb the scene of life on the cpen plains with houses scattered
at great distances from each other, and even the smallest centers of
pOpulation. Known places are mentioned in passing, but the author

seems to have made a conscious attempt to make his novelistic environ-

66

67

ment as ambiguous and nebulous as possible in order to avoid giving the
reader a familiar point of reference.

E1 romance is unique in its presentation because every passage,
be it dialogue or description, is related through the mouth of an old
gaucho. Lynch tells us in the introduction to the novel:

Esta novela es obra de un viejo gaucho portefio, fallecido

hace muchos ahos, y a quien conoci alla, en los dorados

dias de mi nifiez campera.

Recuerdo que era muy alto, flaco, feo sobra toda pondera-

ci6n, y que se llamaba Sixto, "E1 viejo Sixto", para mis

padres y para toda la gente seria de "La Estancia", y,

"El viejo perro", para algunos j6venes peones que querian

vengarse groseramente de su adusta y despectiva misantrOpia.

Undoubtedly, Lynch must have known such a gaucho in his youth, but
as the reader proceeds through the novel, he soon becomes aware that
the old gaucho narrator is merely a device concocted by the author in
an effort to create the illusion of verisimilitude. As the plot unfolds
the reader is able to see the almost tantalizingly slow psychological
develOpment of the characters, definitely the mark of Lynch's pen.
Furthermore, though the description could apply to an old gaucho, the
terms, "alto", "flaco", "fee" could easily depict Lynch himself with
his "misantropia".

The direct narration, without rhetorical flowers or visible
artifice, begins by presenting the protagonist, Pantaledn Reyes:

Era muy agraciao de cara, educao y fino; por lo que
todos sus conocidos lo apreciaban. Tocaba la guitarra

 

lBenito Lynch, E1 romance de un gaucho (Buenos Aires, 1933), p. 5.
Subsequent references to this work will be taken from the same edition.

68

bastante bien, trenzaba que era un primor y . . . la

madre se miraba en sus ojos, como quien dice . . .2

This passage typifies the authentic gaucho pronunciation and syn-
tax as well as setting the tone and.story;tclling style of the author-
narrator.

Pantaledn, only son of dofia Cruz, a widow, lives with his mother
on their small estancia in a remote spot on Lynch's nebulous pampa.
Their life is tranquil; the youth dutifully performs his tasks, seem-
ingly satisfied with his lot, completely obedient to his doting mother.
One day a family comes to live in a nearby ranch. With this apparently
innocuous event the die is cast and the boy begins a slow plunge to his
ultimate human tragedy. Dona Julia, the new neighbor, hardly older
than Pantaledn, is he wife of Pedro Fuentes, an indolent, drunken,
cruel man some ten years older than she. The girl, accustomed to the
livelier social life, soon strikes up an intimate friendship with Panta-
ledn and his mother, and visits their ranch during her husband's many
absences. Nothing extraordinary would have happened if the youth and
loneliness of the girl, abandoned frequently by her husband, and the
nascent virility of the boy had not placed them in a potentially
dangerous situation. It was thus that a timid sympathy grew out of the
natural affinity of the two. Pantaledn begins to feel a strange, un-
explainable yearning, avoidable perhaps at its onset; it was encouraged
by Julia who, though married, had the instinct of the coquette. The
awakening of love in this shy gaucho, as related in the rustic speech
of the old narrator, is one of the finest, yet simplest pieces of psycho—

logical analysis to come from Lynch's pen:

 

2E1 romance, p. 9.

O\
\O

A 105 principios, Pantalidn sabia atenderla de

callao mientras ella conversaba con la madre.

Habia algo e curiosida y de sorpresa en sus ojos
limpios de mozo inocente y chficaro . . . iAquellos
modales tan finos y raros de la forastera, aquellos
dientitos menudos y apretaos como el grano del cho-
clo tierno, aquellas manos tan blancas! . . . Pero,
despues, Pantaledn comenzd a sentir las fieras ansias
de la angurria, de los locos deseos que trastornan al
hombre, que empiezan por incendiarle e1 corazdn y
acaban por redetirle el celebro. Ansina, cuando qui-
so acordar, ya el agua le levaba el anca.’

Also in this passage appears powerful rustic figurative language:
"dientitos menudos como elggrano del choclo tierno", and the allusion to
a perilous river to be crossed on horseback, where necessity and human
will confront the unrelenting current, is a superb personification of
inevitable destinr: "cuando quiso acordar ya el agua le lavaba el anca."

The awakening of love in the youth is the most delicate and meaning-
ful part of the novel. The descriptions of Julia bring to mind Balbina
in El inglés de los gfiesos. The gaucho narrator proceeds with psycho-
logical sketches of the protagonist, ever delving deeper and deeper into
the profound changes taking place in Pantaledn--a doubtful skill for an
old gaucho, however sage he may be. Certainly, Lynch is speaking through
the mouth of the gaucho:

El mozo en su inocencia, no sabia bien lo que le pasa—
ba, pero si se daba cuenta clara de que ya no se halla-
ha a gusto mas que al lao de la forastera, de que no po-
dia vivir ya sin ella y de que cuando mas fuerza hacia
por desprenderse de aquella suerte de embeleso, tan lindo

y desconocido que lo envolvia, mas se en"edaba como el
animal cuando cocea las boliadoras . . .

 

31bid., p. 11.

4Ibid., p. 11

7O
Dona Cruz, seeing her son with all the symptoms of love-sickness,
questions him:

--Mira, Pantalidn: éNo sera que te aburris tanto porque dende
hace tiempo no hacés nada y te estas volviendo medio haragan?

--£YO? . . . IYo hago lo de siempre, me parece!

--No, m'hijo--le replied la madre--, no hacés lo de siempre.5

Pantaledn is so smitten that he is hardly aware of the reality of
everyday life around him. The narrator goes beyond simple psychological
presentation as he attempts to rationalize the young gaucho's actions:

LPero que culpa tenia él? . . . Por mas que quisiese, no tenia

ni voluntad ni juerza para otra cosa que pa ella, la forastera,

que pa estar pensando en ella todito el dia, que pa estarse en-

loqueciendo la cabeza, con las mas raras y lindas fantasias. . .

lynch, with his innately simple style, clearly and succintly defines
and presents all the essential content and dominant characters in this
pampean tragedy: Pantaledn is already the devoted lover, consecrated
body and soul forever to Julia, and the latter, the discreet object of
his affections, faithful beyond reproach to her brutish husband. Pedro
Fuentes and Doha Cruz play similar roles in that their actions and mere
presence constitute obstacles for the young lovers.

Dona Cruz, who finally realizes the reason for her son's distress,
forbids him to see Julia. Pantaledn is unable to return to the life he
had led before and leaves his home to wander the pampas, visiting neigh-
boring estancias, the nulberias and reunions of gamblers--in an ap-

prenticeship of manhood. In an attempt to prove his manhood, he drinks

heavily, squandering Cruz's money with reckless abandon. Even this life

 

5Ibid., p. 12.

61bid., p. 13.

71
of sloth and dissipation in her eyes was preferable to the taboo path
down which he had been heading. She indulges his whims by providing
money for his gambling, for which he shows little talent.

One day, in an argument over money, Pantaledn is injured and taken
to the Fuentes' house. The youth awakes to find himself under the lov-
ing care of Julia. If he were ever to escape the fatal attraction of the
young woman, fate had seen fit to place him again in her presence. He
is lost forever. Julia cares for him during his recovery. There
develOps between them a platonic love which neither seeks to break be-
cause of mutual respect for her marital status.

The mother, meanwhile, completely forgotten by her son, learns of
his whereabouts by way of gossip. Pantaledn does not want to return to
the Blagqpiaia, estancia of his mother, and confides in his protector,
Pedro Fuentes, who does not suspect the situation between the youth and
his wife. The boy has contracted heavy gambling debts and is ashamed
to face his mother. Finally, he decides to go out in search of work in
order to pay back FUentes who has loaned him the money. At this point
Pantaledn seems to have finally made the transition from adolescence
into manhood.

In his wanderings it seems as if fate has again misguided his steps
as he comes to the estancia of the Rosales brothers who operate a
dilapidated ranch more as a hideout for their nefarious activities than
as an economic enterprise. Their run-down ranch, gambling, drunkenness
and sloth bring to mind the clan of Eduardito Suarez in Los caranchos.
Pantaledn, the same as Panchito, becomes caught up in this irresponsible
life. Perhaps his love for Julia and respect for his mother avert his

falling even further into a degraded condition. He returns to the

maternal home.

Dona Cruz pardons him with the stipulation that he never see Julia
again, and life takes up again where it left off before the initial
conflict. It seems as though his madness has subsided and his impos-
sible infatuation for the married woman is to pass, but Pantaledn is no
longer a boy but a man well-tested by the rigors of life. His desire to
see Julia becomes too strong and he yields to the temptation to visit
her. The visit is far from satisfying for him as he is received with
polite coolness. Julia, like each of Lynch's female characters, shows
more strength and good sense than her lover in recognizing the impos-
sibility of continuing their relationship. She is well aware of the
young man's affections because, in his naiveté, he has confessed his
love for her often.

Reacting to this new frustration, he heads for the pulperia to
drown his sorrows in gifiebra. Pantaledn returns in a drunken state,
and dofia Cruz, who has had his actions watched for weeks, ties him in
his bed and whips him mercilessly. This almost senile woman who would
freely sacrifice her own life for her son becomes a perfect demon to
the principal meaning for her existence when disobeyed. What a paradox!
‘What a powerful scene this incident would make for the theater!

Pantaledn answers this ultimate affront in his characteristic
fashion: he runs away. As he prepares to leave forever, a messenger
arrives from Venero Aguirre, a rich estanciero, requesting Pantaledn to
come and work for him. Dona Cruz grasps at this Opportunity. He leaves

without reconciliation with his mother and, for the first time in his

life, without asking--nor receiving--her blessing.

73

When the youth arrives, Aguirre requires that he procure emplicit
permission from his mother before being hired. But Pantaledn, as the old
narrator relates, "el corazdn mas negro que pozo en la noche, y mas amar-
go que la carqueja", never will submit to the indignity of begging permis-
sion.

At this point in the story the reader becomes aware that Pantaledn
will never return to his home, and remembering the tragic climaxes of
Lynch‘s other novels, one is almost certain that the young gaucho is
doomed. The character of the youth begins to decompose visibly. Kany
factors, not the least of which is his insane love for Julia, have
converged to lead him to self-destruction. All that remains is how
this is to be realized.

While Pantaledn is absent, dofia Cruz becomes ill and Julia nurses
her back to health. The two women, despite the elder's former resent-
ment, become fast friends. Fate holds out one last hOpe to Pantaledn.
Pedro Fuentes dies unexpectedly, leaving his wife free to marry. With
this obstacle removed, dona Cruz sends a messanger to find her son and
tell him the news. Pantaledn, wild with joy, strikes out alone on a
desperate journey to arrive at Julia's side as soon as possible. He
rides wildly through the night pushing his faitthI horse beyond
endurance. When the horse falters and cannot continue he punishes the
animal cruelly, and finally in a frenzy of rage and frustration, plunges
his knife into the exhausted animal's heart. Undaunted, he continues on
foot babbling: "iHe de llegar! She de llegar!" After travelling a

few hundred yards, he hears, or rather senses, hoof beats behind him:

 

71bid., p. M94.

74

El hijo e la viuda escuchd, devisd, pero . . . ifiada!
. . . En el campo no se movia una paja y la luna alum-
braba tan claro que en fija, se hubiera podido ver una
hormiga andando por los suelos . . .

But, reality or hallucination, the unrelenting sound of hooves draws
ever closer. The novel ends with this passage:

Hi media cuadra tendria andada esta vez cuando de pron-
to y sintiendo como un frio en las paletas, tuvo que
pararse y darse gfielta e nuevo . . . Ahura no habia du-
da ninguna: Un caballo, un caballo suelto se le venia

e galOpe por detras haciendo retumbar el campo y largan-
do un resuello que enllenaba la noche con su ruido . . .

3Virgen santa!—-pens6 Pantaledn——. 3Ese tiene que ser mi
malacara que me sigue por castigo! Y en seguida, craindo
ver, 0 viendo quiza nomas, a la luz de la luna, el bulto
de un caballo inmenso, que echando juego por los ojos y
~ I
largando sangre a borbotones por una punalada que tenia
en el pecho, se le venia encima, en toda juria; ahi no-
t r . g I o
mas largo el recao y perdiendo el sombrero, agarro a dis-
parar a los gritos, como loco, hasta que no pudo mas y se
jué al suelo redondito.
. . . y dicen que a la mafiana siguiente unos que pasaban
con trOpilla, lo hallaron muerto ya, durito, a un costao
del camino, entre unas pajas . . .
Where should such a novel be placed within the production of Benito
lynch, within the entire novelistic production of Latin America? Thisis
'fficult to answer because of the novel's unique nature. Oncwould look
far before finding a book in any literature with which to compare it.
At least one critic, Juan B. Gonzalez, writing in 1930, the year of its
first publication in serial form in a newspaper, had mixed feelings

about the novel. He comments about its merit in relation to Lynch's

other works:

 

81bid., p. 5u1.

9Ibid., p. 541-5u2.

Hay en él una atmdsfera de estatismo, de quietud’

y deliberada tardanza que no atrae la colaboracion
viva y entusiasmo del lector. Los dialogos prolijos
y tan abundantes que absorben casi toda la obra, re—
tardan el fluir de los sucesos y Van como seccionan—
do el relato. Falta un interés centrali fuerte y
comunicativo, que oriente la narraCion.

This criticism was written shortly after the publication of §l_§g-
22232 in eighty-nine installments. The novel had not yet been read
widely by the public. When Gonzalez refers to "la colaboracidn viva
y entusiasmo del lector," he means himself. Criticism of such an un-
seasoned work is, at best, uncertain.

All in all, El romance is an important novel. The figure of Panta-
ledn, whose travels and misadventures constitute the backbone of the
story, in accord with the title, proves that there is unity to this
lengthy novel. The action revolves around him and the other personages
complete the small novelistic world of this work. Pantaledn falls in
love and believes his love corresponded by Julia, but an insurmountable
obstacle separates him from his goal. His contumacy in the face of its
impossibility creates the drama. He fights with himself and against
forces which he does not understand and cannot overcome--true tragedy.
The incorruptible honesty of the young married woman adds fuel to the
conflagration of his torment. What can he do alone against such impedi-
ments? Force his attentions on the girl? Confront the husband in an
attempt to eliminate him? Though his own heart is burning with passion,
he cannot be sure of the girl's affection for him. She has given him

little encouragement. The greatest obstacle is the conquest of Julia's

will. Since she is perfectly honorable and stable, he young woman

 

loJuan B. Gonzalez, "El novelista Benito Lynch," Nosotros, afio 2h,
no. 256, set. 1930, p. 260.

76
would never consider an act that might violate her sacred married state.
Pantaledn, though puerile and impulsive, never once considers violence
as a possible solution. Julia accepts the path of letting time and
forgetfulness heal the wounds of infatuation, an alternative that the

oung gaucho refuses to accept. Society says to him: "The world is

K’!

large and there are many pretty girls elsewhere. Why not be reasonable
and forget the forbidden fruit and seek a love without impossibilities?"
Pantaledn cannot even comprehend such words of wisdom and prudence. In
his obstinacy of the youth we encounter the true novelistic value of
the story. Gonzalez analyzes it:
I
No es el de Pantaleon uno de esos amores vulgares
que con poco esfuerzo pueden variar de rumbo y ob-
jeto. Es un amer finico, extraordinario. Julia es
la elegida, ella o ninguna. En el canine de Damas-
co del muchacho habiase producido el deslumbramiento
o o ’ s C ‘l
que marca la orientaCion de una Vida. La voz del des-
tino habia sonado para su corazdn.
I o o q .

Though Pantaleon is the protagonist, he does not dominate the scene.
lynch, with his skill at creating characters, does not disappoint the
reader in this novel. His lesser characters often deserve as much
attention as the protagonist. Doha Cruz and Julia, as much as Pantaledn,
posses traits that transcend the restricted space and time of this
regional work. Doha Cruz is the epitome of the Latin mother: she loves
her son above all things, she would be capable of immolating herself in
order to spare him pain, she is mistress of the home and indisputable
patrona of her estancia. In her widowhood she had gained in maternal
authority. t might seem as if the brutal punishment she meted out to

1 0

her son, in an attempt to scourge him of his impurities, would imply a

 

llIbid., pp. 261-262.

77

hard heart. She menaced him with he threat of the police if he continued
to disobey her, but when the godfather, Venero Aguirre, advocated the
same corrective measure, she rejected the plan, almost offended by the
suggestion. As the old gaucho narrator expresses it:

. . . como gfiena madre que era, pensando, era capaz

de agarrar las mas rigurosas determinaciones contra

el hijo de sus entrafias, pero encuantito se trataba

de dir "a los papeles" como quien dice, ya su cora-

zon se ponia blandito como manteca y ya aquel grando-

te e muchacho, se la hacia tiernito, como pa carecer

de envolverlo entre pafialos.

And what of Julia, the heroine? She and Balbina are the master crea-
tions of the feminine soul that Lynch has contributed to enrich Argentine
letters. Here again, one must wonder at Lynch's insight into the psycho-
logical make-up of women--bachelor that he was. Julia is genteel and
delicate, somewhat sentimental. On the other hand, she is a practical
creole wife; with her malicious and coquettish exterior and honesty
beyond reproach she is a novelistic personage develOped with rare mastery.
The passion she finally begins to feel for Pantaleén offers a gamut of
rich psychological tonality. She, as well as the youth, was experiencing
for the first time true love. At no time does she appear ingenuous--a
trait that would be psychologically false-—; she knows how to wield her
feminine wiles without contradicting the reality of her marital state.
Julia possesses the same child—of—nature spontaneity that characterizes

the figure of Balbina. Balbina solicits more reader sympathy and

interest, but the character of Julia is more subtly drawn and more

 

2
1 El romance, p. 389.

78
artistically depicted. Balbina loves with the candour of a newly opened
flower; she spreads her perfume prodigiously and wilts with the same
inscrutable fatality. Balbina is able to achieve a discreet intelligence
within the framework of her love. The only certainty she is able to re-
cognize is that of her love. If it should fail her, she would die.
This moving tragedy, developed with a skill that overpowers the reader to
the point that his sensibility is subjected to the emotion of the moment,
is different from the case of Julia. The latter is young and pretty,
has a keen sense of her wifely obligations, and is irreparably disil-
lusioned with her marriage. With stoic resignation she is pledged by
her marriage vows to respect her insensitive, drunken husband. Such a
character is much more complicated, much more difficult to depict.

Around the central figures revolve other characters of excellently
drawn gaucho types: dona Casildra, the curandera; Aguirre, the epitome
of all the traits of the rich natrdn; the Rosales, gaucho outlaws, and a
myriad of .ul eros, pggggg and estancieros. Herein lies one of the
charms, as well as one of the faults, of the book. The inclusion of so

many elements of costumbrismo--gaucho types always speaking through

 

mouth of the narrator in gaucho idiom, and using sayings, proverbs,
rustic smiles and native humor--serves to underline the novel's authenti—
city; such prolixity, however, tends to detract from the train of plot,
which, is, in its basic presentation of action and psychology, a
universal theme. The first love, the maternal concern over her erring
and inexperienced son, the sensitive young woman tied to a brutish
husband, the frustration placed in the path of the lovers' happiness by
the quirks of fate, all could just as easily have occurred in EurOpe,

America or Asia--past or present. This is a paradox in the novel.

79
On one hand, there is the purest expression of Argentine creole life in

Lynch's masterful costumbrista style, presented in a faithful graphic

 

representation of gaucho speech; on the other, an intensely human con-
flict that transcends space and time, linking the gaucho characters with
the great faceless mass of humanity.

Another apparent weak point of the novel might be its complete devo—
tion to gaucho jargon. This poses the question: Is it artistically
licit to write an entire lengthy novel in a dialectical variation such
as that peculiar to the Rio de la Plata region? For a reader of Spanish
accustomed to the precise syntax and graphic presentation of Castilian,
El romance de un gaucho might, at first glance, tend to be disturbing.
The peculiar speech of the pampas has received more attention than any
other dialectical variation in latin America. One of the definitions of
a language is that it possesses a distinct, well-developed literature of
its own. A full cycle of literature; folk-songs in the oral tradition,
romances, epic poetry of the first order, the novel and theater, have
all developed out of gaucho life, much of it written in the quaint dialect
of the rural element of Argentina. If this were the only consideration,
gaucho speech with its vestiges of 16th century archaisms, vocabulary
larded with indigenous works, and colorful use of idioms and expressions
that spring from the life of the pampas, it should constitute a distinct
language within the various Romance dialects that have risen to the
position of a separate language. But possession of a characteristic

0 o o o o o 1" I
literature is not the only criterion in this case. Juan D. Gonzalez

Exceptuados algunos modismos o giros pintorescos y el
I . o I .
comun tono sentenCioso en las ideas y eliptico en la

80

forma, el lenguaje de los gauchos no se aparta en
nada esencial del buen espahel. Su misma sobrie—
. 4 O ‘0’ L ".
dad y campesina preCision lo nacen de faCil tras-
lado en correcto castellane. Nucho mas laboriose
es el trabajo inverse, reproducirlo fielmente en
. I.

sus deformaCiones prosodicas, come Lynch lo ha
hecho.1

The language of the novel is not an obstacle to its artistic merit

for, once the reader is accustomed to the rather logical variations of

the graphic representation of standard Spanish, he may become intrigued

by these differences.

For
language
aspects:

ment and

the ordinary reader who has only a mild interest in gaucho

and customs, the greatest fault of the novel lies in other

too many printed pages, a general languor in the plot develop-

action, and an annoyingly minute attention to details. As Gen—

zalez expresses it:

Dijérase que en El romance la elaboracidn minuciosa,
un tanto fria per ese dominio de los efectos, mas
"técnica" que vital, sin trepiezos de impericia pero

tampoco sin élan creador, en definitiva dafia mas que
beneficia al conjunte.l

 

In the above mentioned aspect El romance de un gaucho contrasts

sharply with the hard—hitting and relatively succint plot development of

O I '
Ies caranchos de la Florida and El ingles d

e

O.
105 giesos.

LYNCH‘S STYLE AND LITM‘QY PHILOSOPHY

The scepe of this paper does not permit a detailed analysis of the

 

13Gonzalez, "El novelista Benito Lynch," p. 266.

la

Ibido, p. 2660

81
many short stories of Benito lynch. In synthesizing the essence of the
author's novelistic creation, let suffice some generalizations that
encompass his style, his technique and literary philOSOphy. The trilogy
contains ample and typical examples of the most outstanding character—
istics common to all his works. Statements made in reference to the
three novels under scrutiny may apply to all his works. In this sense
Lynch is an "honest" writer. Early in his career, after some initial
grepings, he found his novelistic environment in rural Argentina and he
adhered to this preposition with only minor aberrations, all of which
realized little success.

Probably the most outstanding characteristic of Iynch's work is his
realism. Though his characters were not real people and his situations
not representations of actual events, he makes the reader feel what he
is reading actually occurred. This realism manifests itself in various
aspects of his writing. In his characters we see real people. The
gaucho in Lynch's barbed wire-enclosed pampas possessed the human fail—
ings common to all men. The idealized gaucho had been depicted in hartin
Fierro and Don Segundo Sombra. Surely no gaucho could possibly have been
endowed with all the skills and virtues of these symbolic figures. They
could ride faster and farther, sing and play the guitar better, vanquish
the most formidable enemy, and endure suffering that would overcome the
normal human. Lynch's gauchos were inexpert: they had human flaws:

doubts, fears, jealousies and anxieties.

lynch rempid los moldes de la pampa tradicional--de la
pampa de Ascasubi y de Hernandez. Dejd de lado las pul-
perias, los bailes, las payadas, las faenas pastoriles
con resonancias épicas. Fue el primer escritor que, no
dejandose seducir per la figura familiar en las evocacio—
nes de fin de sigle—-llev6 a sus relatos paisanos autén-

ticos, hombres de carne y hueso que él habia tenido
O ’ I O
ocaSion de cenocer en su Vida de estanCia. Se atuve
O I r
a la realidad. Eludid les simbolos.1J

Though Lynch's plots showed careful planning, his forte was
characterization:
Es Benito Lynch, ante todo, un psiceloge. Gusta de
hondar en caracteres. No presta mayor atencidn a la
naturaleza; lo indispensable, para dar la sensacidn
de un ambiente, para situar un personaje. 5610 se de-
tiene a describir-—pero entonces si con verdadero de-
leite--en contadas ocasiones; cuando adquiere Vises de
protagonista el paisaje, cuando llega éste a formar
parte inseparable de la accien misma, come ocurre, per
ejemplo, con el cuadre de la tormenta en los caranchos
de la Florida, 0 en el de la quemazdn en Baguela. No
0 . I . . . -
obstante su escasa afiCion al descripCionismo, palpita,
y de modo intense, el campo argentino en todas sus obras.
Esta en el alma de los protagonistas: esta e2 sus actos,
en sus pensamientos, en sus conversaciones.l
An important feature of Lynch's literary creation is his vivid and
detailed description of the countryside. To enhance the ambiente he was
trying to create for his characters, and not merely for esthetic or
stylistic digressions to satisfy his own ego as a writer, he could conjure
up a precise and intense word picture. His method of creating descriptive
passages is the most interesting of all his writing devices. First of
all, he used such passages sparingly, including them just often enough
to keep the reader orientated to the surroundings and environment

through which his characters walked. Secondly, his diction aims to com-

municate creole ideas to a creole audience. Not once does he use a

 

l5Enrique Williams Alzaga, Ia pampa en la novela apgentina (Buenos
Aires, 1953), pp. 216-217.

161%

,id.,

0. 216.

L

83
classical allusion or a figure of speech that would not be understood by
an Argentine reader; every figure of speech falls easily within the
framework of pampean life.

His descriptions of persons and places might be classified as
follows: the nature of the pampa, descriptions of people and their ac-
tions on a relatively superficial level, physical and psychological
descriptions that evoke the mental attitude of the person described, and
short, swift, often exaggerated and disagreeable, alusions to things and
persons.

This description of the pampa gives the impression of its desola-
tion and endless expanse:

El eampo abre ante sus ojos inconmensurable, apenas

ondulado y del color de la piel de los pumas. El
gris de los duraznillos y el verde casi negro de los

juncos senalan el paso de las canadas a lo lejos, y
aqui y alli levanta el fachinal sus altos e impenetra-
bles murallones: un alambre corre del sur hacia el
norte, perdido entre el oleaje de la maciega, y sus
postes desaparecen bajo verdaderos colchones de paja
voladora. las arboledas aparecen azules a la distan-
o I o 0 ~ I
eia, y alla, en la tersa planiCie de un canadon, el

agua relumbra como la hoja brunida de un arma nueva.

Or this less complicated description from the short story El sacrificio

de Blas:

 

El horizonte esta todo rejo y las finas y largas

ramillas del sauce, penden verticales sobre nues-

tras cabezas, come si fueran 103 mil hiles de agua,

de una gran lluvia verde, que no alcanza a llegar al
1 18

81160...

 

l7Les caranchos, p. 219.

Q o 3 ~ '
1”Benito Iyncn, Be 105 camposjportenos (Buenos Aires, lQQO), pp.219-

220.

814-
The greater part of Lynch's figures of speech are similes that
compare some person or thing to an animal, an insect, a bird or an
Argentine plant. Tho se that are lL i ted to some physical aspect of a
character are usually the most conventional, the least original and
suggestive. Both father and son in Ice caranchos de la Florida have as
one would expect, a "nariz aguilefia y aguda cono el pico de los caran—
chos" (p. 10). James Grey is "seco y largo como una tacuara" I nizles,
10). Don Panchito as a ooy was "des garoado y feo como los potros
estizos de la Quinua" Caranch s, p. 22). Especially conventional are
those that describe the young women. Julia had "las cejas negras y ar-
Rozn

quiadas cone el ala de la golondrina" :nce, p. *3), and "sus manos

   

tan del icadas parse] an al movers e dos de esas nariposas blancas que por

primavera jueg an revolotiando sobre los pastes" (Povance, p. 10b). 1any

 

times the expressions are exaggerated; for instance, 1r. Grey' 5 hands
are described as "dedazos largos y encorvados como pinzas de cangrejo"
(In : 16s, p. 97); and don Pacomio's "mane corta y arrugada come pata de
peludo viejo" (30 cranes, p. 77). Another typical exaggeration is seen in
the description of one personage: "una boca desdentada y rala, que se
escuendia entre las barbas, m smamente come vizcachera vieja entre un
matorral de paja seca" (homance, p. 37).

Frequently lynch uses similes in order to crea.te purely humoristic
effects, as the only polished fingernail of the protagonist, disguised
as a gaucho, en Ra uela, "contrastaba con mi mane rugosa y ennegrecida,

.L ‘I

0 ~ 0 o C,
como una amatista engarzada en la pata ee un nandfi v1e30".1/ One of the

 

19 EenitoI ;*nch, Raouela (Buenos Aires, 1931), p. 10.

85

most colorful and quaint descriptions occurred in El antojo de la patro—
pa when he describes the old cook:

Y su voz apagada, que parece surgir de las profun-

didades de su estdnago no puede armonizar mejor con

sus lentos ademanes y con aquella sombria vest'nen-

ta que envolviéndola de pies a cabeza, cone una mo-

mia, remata en un pafiuelo en pico, donde su vieja faz

se recata y esconde come alinaha asustada en el fondo

de una cucva.‘

lynch's similes, though at times repulsive, often show great
ingenuity and originality, as when Pantaledn is described: "juera por
vergfienza de hombre, por efecto e la mucha bebida que tomd 0 per cual-
quier otro fildmeno, un redepente se me 1e puso verde cono escupida de
mate" (Romance, p. 288), or when the curandera " . . . se riyd con
esos labios gruesos y colorados que tenia y que parecian rinones de ca-
p6n arrebatados por el juego" (Romance, p. 48). These expressions,
faithful reflection of the vulgar speech of he rural peOple, occur in
the dialogues; for instance, the last two are spoken by Sixto, he
illiterate narrator and do not seem at all strange.
ther figures can be truly poetic. They evoke the reserve of the

gauchos when they are gathered in the kitchen, awaiting the evening
meal: "Tuy pocos son los que hablan, y los que lo hacen tienen pala-
bras lentas, palabras que vuelan a flor de tierra, como péjaros noctur-
nos que tuvieran las alas hfinedas" (Caranchos, p. QQ). Or thus: "a1

0 I ’ I a O O
01rla él volv1o a sentenc1arle con ese medo e dec1r pesadote y despa01o-

’ O —I—
so que tenia, come p1sadas de caballo en la noche" (nomance, p. 196).

 

20Benito Lynch, Pale verde y El antojo de la patrona, (Santiago de
Chile, 1931), p. 101.

L

6

Frequently the similes serve to describe gestures or movements of
persons: "Con una agilidad imprOpia de sus anos, la anciana desmontd
en el palenque, y . . . se dirigid resuelta hacia las casas con troteci-
llo menudo de zorrino" (Inglés, p. 226). The three sisters of Deolindo
deez in the same novel are described: "1e rodeaban y se apretujaban ya
contra él, como apifia en los jagfieles e1 ganado sediento en el punto
aquel del bebedero en donde vuelca 1a manca" (p. 219). The rapid move-
ments of a person are compared to those of a snake: "Doha Cruz 58 ende-
rez6 como culebra que va a pegar e1 salto" (Romance, p. 6%); "e1 se me-
vi6 un poco en el banco, como vibora que se retuerce a1 calorcito e1
sol . . ." (Romance, p. 201). Another rather gross description is of
the fat dofia Casiana: "Doha Casiana, tan seria y malhumorada de ordina-
rio, se reia con esa risa nerviosa, incontenible, que hacia sacudir toda
su carre a la manera como sacude e1 trote e1 flaccido ijar de los vacu-
nos" (Ingles, p. 10). Th action of rising suddenly brings forth another
allusion to animals: "Ni 1a perdiz cuando medio 1a trompieza e1 caba-
llo, ni e1 novillo mahero a1 que la quiebran la cola, se alzan tan de
z0pet5n Como se levantd Pantaledn" Romance, p. #03). Or at another
time: " . . . aquel pronto repugnante de celoso cobarddn que lo agarrd
redepente . . . me lo hizo salir de la cocina ciego como el terncro que-
mao por la marca, cuando lo dejan levantarse, sacandole e1 pie del cogo-
te" (Romance, p. 328). Various allusions to repose result in description
equally as graphic and suggestive. A'pgég, who has climbed the ladder
of a windmill, " . . . aparece a115, a1 extreme de la escalera galvani-
zada, como un insecto negro adherido a la punta de una paja" (Caranchos,

p. 103). In a moment of sadness Pantaledn presents this aspect: ". . .

I
cada vez mas agachao en su banco, lo mesmo que esas velas de sebo, que

87
ablanda la gran calor en el candelero y las hace dueblarse para abajo"
(Romance, p. 1&3). Sounds also are suggested in the same way: "Ronca-
ba mesmamente que yeguarizo chucaro enlazao del cogote" (Romance, p. 143);
"Y 105 ojos extraviados. . . e1 mozo aguardaba, jadeando como una yegua
enlazada" (Ingles, p. 50).

In more complicated situations, lynch uses similes to indicate human
emotions and psychological states of the person or to point out emotional
relationships between one person and another. This technique evokes in
a very graphic fashion the precise feelings of an individual at a given
moment. Pantaledn, in the presence of dofia Julia, is in a state of care-
free bliss:

Gfieno, pero sucedid también que aquella tarde, a1 igual
que en otras ocasiones, en cuantito dona Julia 10 volvi6
a hablar, todos los tristes pensamientos que 1e enllena—
ban la cabeza se alzaron y juyeron en bandada como paja-
ritos que se asientan en los limpios alambres y vuelan de
golpe, todos juntos, cuando pasa alguna gente. Romance,
pp. 131-132)

When Santos Telmo is confronted with the anger of his father, his
mental attitude is described thus: "Cuando su padre 1e hizo conocer es-
ta resolucidn en duras frases, y estremecida 1a hispida pera por la vi-
bracidn de su contenida célera, e1 mozo no dijo una palabra, pero levan-
tandose de donde estaba sentado, fuése esquivo como un perro enfermo a
apoyarse en un poste del corral de las ovejas" (Ingles, p. 113). Dis-
couragement and sadness are painted this way: " . . . yo siempre con es-
te dolor del cuadril que en ocasiones no me deja ni dormir y este m'hijo
siempre trist6n y sin animos como carnero abichao" (Romance, p. 32).

And anxiety: " . . . la pobre, que sentia en su ansieda como 1e andaban

hormigas en el cuerpo . . ." (Romance, p. 165). Doubt suggests the

88
image of a dog gnawing the carcass of an armadillo: "1 sin embargo, la
duda atroz, la duda inaguantable, seguia clavandole los dientes en la en-

trafia, con ese encono casi sadico con que los perros hacen crujir e1 ca-

parazén de las mulitas (Ingles, p. 265). Thoughts usually group in the

 

mind of a person like clouds gathering for a storm, or like animals
crowding around a watering trough or like horses milling around a corral:
"Se la empezaron a amontonar en el celebro las mas tristes y piores ca—
vilaciones lo mesmito que alla, en el cielo, se amontaban aquellos nuba-
rrones negros que el ventarrdn enloquecia" (RomanCE, p. 328); "El pobre
mozo forcejeaba por decir algo dine, pero los pensanientos se la atrOpe-
llaban come yeguas chficaras en la puerta ajuera de un corral" Romance,
10- 23).

Likewise, Lynch often reveals the character of his personages. The
moral and emotional degeneration of Panchito is depicted in these words:
"El muchacho, --que pudo ser gfieno en otras manos--por causa e la falta
e carauter de la madre, por la mucha regaloneria con que se crid, y por
no habersemé querido escuchar cuando aeonsejé como padrino y hombre de ex-
periencia que soy; poco a poco se ha ido alzando come viznaga en tape-
ra y torciéndose todito, como poste e desecho" (Penance, p. 236). Ju-
lia is described as becoming calm after her husband brings her a gift:
"Ansina, dona Julia, en cuantito 1e oy6 hablar al eSposo e regalo, y

' 1

enconenzo a aolandarse, mesmamente que la grasa puesta a1 sol en vera-

no" (Forance, p. 223). Two evil brothers are described: " . . . como

sucede, poco a poco se jueron largando a lo hondo y mas cuando encomen-
26 a faltarles la platita en rama pa satisfacer sus vieios, que eran

nos que tabanos en verano" Penance, p. 210). The character of

o oq h o o ’
a pulnero lS descrioed thusly: "ese también es eierto——contesto e1

 

 

 

89
pnlpero, que com ya. so dijo tonic. 1a costumbre no slogar nnncs con los
clientes, o. menos que so tratsra do cuistiones e so. negocio en los que
ssbds pelier y dofendorso eono gate panes srribs" (Romance, p. 313).
A character describes himself: ”Cuando yo no entiendo also, no vuolvo
deseonfiado oomo um cobra tnorte" .21
Rehtions between one person and another, and the human reactions
in 0. determined situation are presented in 0. similar way. Balbina is
implacable when confronted with the professions of love by Santos Telno:
"Ls pasi‘n do aquel hombre babis rosbalsdo ton inocusnente sobre so. oo-
resén y sus sentidos eono resbsls In lieu do he panes secss sobre los
postes do quebrscho" (Inglis, p. 11+). In the heart-reading scene when
Mr. Grey is leaving Bolling forever, moments before his deperlmro, he
thinks:
who podis cellarse Ls Negro? 1.06m podis ester sat,
inmévil y nirsndo las cosas eon ojos vagabundos e inex-
presivos, cuando sebda que o1 cocho ibs s. partir do on
segundo para otro, cuando ssbdo que en aquel instante
ibs s romporso do un tirdn brutal y para siempre todo.
aquello prodigiose nrdimbro invisible do hiles do anor
y osporsnza. con que el ciego Dostino babis vineulndo sus
video tan distintos, con la. mime udtrsriodsd con que

o1 nonto virgen nne ls telo. del fisndnt: las in!“ do nno.
nosquote con las espdnas do uno. talla'. (Egg, p. 29?).

Again in El. romance do an ggucho, don Pocomio is talldng to dofis
Cruz, but allows no interruptions to his conversation: " . . .siguid

como el gfioy chaosrero que no hace csso e los perros, cuando so vs go.-
nsndo a1 maissl" (Romance, p. 239). To insinuate the patience and non-
ners of Julie, Lynch writes: ”Ls stejd Pantelién pero la sefiors siempre

 

2113mm Lynch, Les m1 calladas (Buenos Aires, 1933), p. 38.

sonriyéndose, siguid suavecita como el cuero e la nutria a favor del pe—
lo" (Romance, p. 35M).

Finally, Lynch uses similes to express philoSOphical ideas relative
to the meaning of life, recalling to mind epic passages from Eartin Fie-
rro: "Haides es gfieno ni male; lo que hay es que todo cristiano tiene
mas o menos su parte e desperdicio, como el animal que se carnea, o co—
mo el zapallo que se elige pa echar en el puchero" (Romance, p. 110);

" . . . como remordimiento e picaro no dura lo que una bolida e perdiz,

, a . . 1
e1 homore acabo por conformarse y por crairse cumplieo . . ." (Romance,

p. 267). The Basque in Palo verde expressed his observations about Pau-

 

’ e e
la, the helpless woman: ” . . . vos sabes que muJer solo y agra01o

(sic): no te camina mucho por el campo limpio, sin que te 1a agarre al—

I

mun perro" (Pale verde, p. MO). Doha Cruz, on the other hand, reflects

U .L

3

upon the nature of men:

Tonga paciencia, hijita—-1e decia--que 5510 con pacien-
cia se puede sacar algo gfieno de los hombres . . . 1ire
que el vardn es, mala comparancia, tan cosquilloso como
el caballo arisco . . . No almite modales bruscos y de
ahi que no sean las mas corajudas las que se salen con
la suya, sino aquellas que tienen mis mafia y mas pacien—
cia pa lidiarlos . . . Los mejores domadores son 105 me-
nos jinetes, saben decir siempre los hombres . . . LY
por que? iPor lo mesmo! . . . Porque e1 domador que le
tiene miedo a1 animal que esta amansando, se 1e atraca y
lo trata con una delicadeza que no emplean los que lo
fian a la juerza e sus piernas. (Romance, pp. 19—20)

3 though the use of such similes and metaphors is characteristic of
all works of Lynch's E1 romance de un gaucho is a veritable treasure
trove of rural Argentine speech. Its faithful graphic representation
and figlrative language originate in the daily life of the pampean peo-

ple. This novel records the dialect of the province of Buenos Aires in

91
the words of the imaginary gauche who relates the story. This tech-
nique of na1 ration con+ rioutes certain esthetic merits to the style: a
delightful humor and a refreshing vigor. By this use of authentic gau-
cho speech, Lynch creates in his readers a sense of proximity to the

paniean ancients. Before an author and characters who think and express

 

themselves in this way, the reader does not have the impression that he
is observing an a:r biente and individuals described and analyzed from

without but that he himself has enetrated this anbiente and these
, —.————.—.—

. . . 22
characters, 1n order to know them intlnately.

One must not be deluded into believing that Lynch wrote such homely

1

fi1gures of speech because he was incapable of more sephisticated prose.
Should the occasion arise,T mch could paint word pictures with almost
poetic clarity, showing an intimate knowledge of the scene-~a familiarity
born of first—hand observation of the scene and its accompanying
emotional impact. The falnous euer W61 from P""uela marks the zenith of

such description:

El espectaculo inconia; el incendie rugia en los certa—
derales como un fuelleg ° gantesco, y la serda crepita-
cien de lasv erdes canuelas , al estallar reuedaban un
fucgo graneade de fusileria a la distancia. Lire el sol
y era un sol de eclipse, un disco ruin y de co or pardus-

co, siniestramente enclavade en la inmensa boveda de hu:1o

El grave m1"ir de las vacas arrea adas per 01 fuego, el
plaiidere balar de las evejas y las locas carreras de
los ye"1-arizes estreneciendo el suelo, aumentaea la hon-
da enocien del espectacule.

Or he could create a scene of terror from the same incident:

 

22John K. Leslie, "Similes carapestres en la obra de Benito Lynch,"
Revista Ibereamericana, no. 3U, enero 1952, p. 33°.

3 v1noel dra.na espantese, la herrenda
tra-eei» mas bie en Josieciara ue vista oreue la
’

~o 3:
violencia del fuege y la intensidad del huno no me per-
r1tieren ver y quedw calli, sino breve31ns1qntes
Reces siniestros del pajenal rezqevido, serdos eataneos
de patas, teses ah das, relinchos a3ud_os cone alari—

- esa

dos, intensas Vibraciones de les alanb1es empujados

- r, a '1 _. - 1 ‘ _ ,_ {-11.3

per 100 lecuiones violentes de las ancas, y, per hubi-

me, ese acre oler ca racter1stico de la cerda quenada,
. I 3 ‘ -

esparc1eneese en el mente. (p. 39

‘ICLUSIOHS

Had Benito Lynch never written his trilogy of pampean novels, still
he would have made his mark in the annals of Argentine literature. His
more than one hundred short works: ievels, short stories, plays and

T
l

essays would have immortalized his name. Iarlly a Latin American antho-

logy fails to include El no ot1.illo roano, a naive and bitter-sweet tale

4

taken from his childhood memories. This autobiographical tale and

twelve others--sene previously published separately--are included in

Be 105 cazoos per tefies. This book, the most energetic collection of

 

T A‘A“
nun

his short ste~ies, parallels William Henry Hudson's Far iray and
.£33 in its nostalgic reniniscences of lost childhood hours spent on the
pampas. The protagonist, harie, is Lynch himself. The series of stories,
rather loosely held together by a single central figure, follows the
life of the son of an estanciere from infancy to maturity in which Ka-
rio demonstrates the same characteristics of confirmed be chelorhood
hat the author adepted.

Such eminent critics as Arturo Te1Tes-Rioseee, Enrique Andersen
Imbert, Juan B. Gonzalez and harshall” n. hason, to mention a few, have
dealt with Lynch's important novels, their unforgettable characters and

intense conflicts, but little if any attention has been shown to Lynch's

93

many short stories. If this giant of Argentine prose is ever to occupy
the place he deserves among other important writers a collection of his
short works must be made and published.

In order to promulgate an appreciation of Lynch's works, several

4.

obstacles and prejudices must first be overcome.

First, his innocence stands in the path of wide acceptance. Lynch
wrote about the gaucho through foreign eyes. That is not to say he was
not a bonafide Argentine. Though he was a native and his favorite sub—
ject, the gaucho, was the same entity about whom so many authors wrote,
Lynch was a unique figure in Argentine literature. Estela Canto, with

daring introspection, states the case clearly:

Quisiera senalar, brevemente, en que consisten las
difereneias que hacen de Benito Lynch un case espe-
cial dentro de nuestra literatura. En primer ter—
mino ocurre algo paradojico en apariencia: Benito
Lynch, que escribie casi exclusivamente sobre nues-
tro campo y sobre sus gauchos, es el unico escritor
que ha tenido una vision eurOpea sobre su pais.
Quiero decir que su approach, su manera de encarar
las cosas, de ver sus personajes, de plantear sus
libros, era eninentemente eurOpea, y no argentina.

Benito Lynch mire sencillamente, con inocencia, la
campafia argentina. Vio formas en esa desolacion,
percibio problemas y tipos humanos. En ese campo cha-
to y desposeido, que nos avergfienza, vio colores, hom-
bres. No exigio condicion previa para atreverse a
tratar al gaucho—~el coraje sin sentido. Sus gauchos,
en la estancia 0 en el puesto, fueron hombres con pro—
blemas de hombres. Y‘no cometio el burdo error de
creer que la virilidad estaba irremisiblenente unida
al coraje. Sus hombres tienen valor, o miedo, segfin
sea su situacidn. El "coraje"--palabra de SOSpechosas
reminiscencias-—qued6 para los gauchos falsos de otros
libros o relatos, donde se deforre la figure del hombre
de campo.23

 

23 . . . .
”Canto, "Benito Lynch 0 la inocen01a", pp.llO-112.

9a

lynch violated the national vanity and made a real human being out
o? the gaucho; not a larger-than-life firure like hartin Fierro or Don
Segundo Sonbra. It is my contention that Lynch's works were read by the
Argentines for their masterfUl narrative and psychological vigor, and
that they were subconsciously offended by the pathetic-—albeit complete-
ly human--figure of the gaucho as seen in his works.

In an age of realism and naturali.a Lynch chose to emit a device
that never fails to titillate the fancy of the reader. He almost entire—
ly neglected to exploit the novelistic possibility of se.. He made
literary fodder of practically every other human emotion: envy, greed,
brutality, pride, falsehood, loyalty and covetousness. A man of seem-
ingly irreproachable norals in his personal life, he must have felt
that the sensual aspect of relations between man and wonan was offensive;
and, indeed he achieved a great deal of passion without its use. Torres

Rioseco comments on this point:

1, sin ser moralista, siente un gran desdén por
cierta clase de literatura escabrosa, de malsano ero—
tismo, de anornalidad sexual e de sensibilidad deca-
dente, y cree que el mester de gaucheria posee la vi-
rilidad y el interes suficiente para ser considerado
como la mas alta contribucidn argentina al americanis-
mo literario.2a

Lync?

lynch, himself, emphasizes the same point:

. . . y es ribo sdlamente sobre lo que conozco bien,

y el campo de la provineia de Buenos Aires es lo que

domino mas. literariamente, me he ajustado siempre

a la mayor honestidad posible. Por eso, entre otras
muchas cosas, me he apartado casi siempre ex—profeso

del sefiuelo sexual, aunque este enpefio hace mas diff-
cil la tarea de produeir la emocidn del lector y

 

u . -
Torres-Rioseco, Grandes novel1stas, p. 115.

95
aunque yo ya he visto y vivido lgrbastante como para
poder explotarlo literariamente.
All of the literary production of Benito Lynch, despite certain
shortcomings already cited, as snares a worthy and elevated rank. Los ca-
ranchos de la Florida, with its robust descriptive force and deep

dramatic quality; Pa uela, somewhat i‘oreign to Lynch' 5 habitual thematic

   

treatment because of its humor, but with its unsurpassed description

of the gpemazdn; El inglés de los gfiesos, notable psychological study
and his most polished work; and El romance de un gaucho, even with its
defects and e}:cessive len3th, are literary accomplishments of the first
order. In additio the numerous stor:m es and various Slort novels he

wrote, always about pampeah scenes and peeples, like El antqjo de la pa-

trona, Pale verde and El potrillo roano, remain as literary models,

 

 

 

worthy of inclusion in any anthology of universal masters of the genre.
Placing lynch in perspective in Argentine literature, Horacio Vare—

la evaluates hin:

Benito lynch fue el intérprete fidedigno del canpo
bonaerense. Lo reflejd en toda su dramatica inmen-
sidad con hondura analitica, fuerza y sentido poeti-
co. Ho en vano habiase consubstaneiado con él desde
nine. Paisaje, hombres, situaciones, clina, faenas,
todo lo revivio con gent uina substancia. Sin exage—

raciones, sin innrinirle ese false nativis 0 de fac
tura declamatpria que con harta frecuencia encontra:
mos per ah1.2“

Lynch, unlim: Guiraldes and other portrayers of the roxrantic gaucho,
does not let the awe-inspiring pampa govern the movement and the destiny

of the creatures that inhabit it. Instead, it is they in their domestic

 

13

r H‘ .
QVarela, "senito Lynch y sus novelas"

ricolas Cdcaro, Benito Lvnch,

*d
O

 

Cfx

/‘v

daily life on the estancia that reflect in outline the awbiente rural.

Easter of the dialogue, lynch achieved in novels and stories a

spontaneity and natural ease seldom equalled in Ar3entine
Though cultured and sephisticated detractors have scorned
their seemingly puerile style and literary xpression, in
of lynch is heard the voice of he true gaucho in all its

A

nobility.

letters.
his books for
the dialogues

rustic

EIEIIOGRAPHY

Works of the author consulted for this thesis:

13m ch, Benito. "lgachadas", Ctris y "fretés, Buenos Aires, ano 32,

no. 1:;? 25 Ital-TO 194:9), 1-20

 

. he los C9npos p1r+ CEO: (Buenos aires, la Faeultad,

 

 

-. o l O. .. ‘ o . I o _ _
. Ll inalis d9 les :uesos nex1co, Ed. El libro pepular,

 

. El romance de un gaucho (Buenos Aires, librerias Ana—
COHda, 1933) , 5-sz p0

 

 

 

 

 

o o I
. las Mal calladas (Buenos Aires, Librerias Anaconda,
ood\ Q ,
1/JJ/, 197 P0
. Ins C9ranchos de la Florida (Hadrid, Espass—Calpe,
1931), 276—p.
. Pale verde y El 9ntoj e de la patrons (Santiago de Chile,

 

 

Proneteo, 1931), 1+3 p.

I. e . o ’ A. l"\
. Plats dorada (Buenos Aires, Rodriguez uiles, 1909/,
JOB p0

 

“ . ~ ’ /
. re gu ela (Buenos Aires, librerias Anaconda, l93l), 106 p.

 

Secondary sources consulted for this thesis:

w I . at
Anderson Imbert, OEnrique. "la. voz del nuevo gaucho", Apericas, ano e,
.7 (julio 1952), 9- ll, 31..

Arrieta, Rafael A. Historia de la literatura ar

(Buenos Aires, 195C e- -1959).

entina. t. IV, V

15,0 o 1—1 0 ’ o c ’ o
Ballesteros, rentiel. "ascr1tores de America, Benito lynch, un cla51co
crioll.o". “ev1st9 Iacional (Lentevideo), ano L2, no. 12
(abrll 19L?), ELL-CO.

 

Barreda, Ernesto Mario. "Benito Lyncln el novelista de la pampa," Ca-

 

ras v Caretas (Buenos Aires), ano 23, no. 1392 (6 julio
19255.

v: I)

A
LA
I

. "En un lejano dia con Eenito Lynch," El Ho:ar (Buenos
' ~ I“ / l r‘
Aires), ano 49, no. 2-03 (27 marzo 1953 , 8.

 

7t

. . . ’
Bonet, Carmelo h. "Benlto Lynch, El iqgles do 105 gaesos; o 1
a . T, T .
colo31ca y pampeana", 11 hogar (Buenos Aires), 26 na-
yo 1950, 28-29.

 

O ’ I O
Borges, Jorge Luis. 141 Martin Fierro (Buenos Aires, 1953).

 

Caillet-Bois, Julio. La novela rural de Benito Lynch (La Plata, 1960).

 

Canto, Estela. "Benito Lynch 0 la inocencia," Sur (Buenos Aires),
n0. 215-216 (Saba-00v. 1(352),109-1_-:30

’ o o 0 v I
Cocaro, Nicolas. Benito 1*nch (Buenos Aires, Ed. Oeste, 1959).

Hi 9toriaxantolo {a 6.91 cuentogy la novela en Pisgano-
’ o
e 1

an 9 ca (New Yerk, Las Americas, 1959).

3

w, I
Garc1a Gernan. Benito Iyncngy st mnnfio cannero (Banla Blanca, 1959).

o o o 1'. o I
Gates, Eunice J. "Charles Darw1n and Benito Lynch's ml ingles de los
gfiesos," Hispania (Nallingford, Conn), v. 99, no. 2
(mayo 19619, 250-253.

 

Giusti, Roberto. "Letras argentinas; Benito Lynch," Nosotros (Buenos
Aires), afio 18, no. 189 (set. 1929), 92-102.

Gonzalez, Juan E. "El novelista Benito Lynch," Nosotros (Buenos Ai-
res), no. 256 (set. 1930), 252-267.

1‘ ’ . f“.
H01m 5, Henry A. hartln Fierro (New YOrk, 1923),
leslie, John K. "similes campestres, en la obra de Benito Lynch," Re-

vista Ioeroamericana (Iowa), no. 3” (enero 1952): 331'
’30
BJL).

 

Nason, Farshall R. "Benito Lynch Lotro Hudson?" Revista Ibe 9roam meri-
cana (Iowa), v. 23, no. 45 (enero-fehrero 195’), 5-82.

7 I O O O O ’
haya Dimitri, Jav1er. "Benito Iynch; e1 gran escritor que hula a la
fama," Esto es (Buenos Aires), afio 2, no. 56 (diciem—

bre 1959), 28-29.

Nichols, Madeline W} "El gaucho argentino," P.evista Iboroanericana
(Iowa), no. 1 (mayo 1939), 153-130.

 

Pedro, Valentin de. "Benito lynch, lejos del mundanal ruido, " A-ui
Esta Buenos Aires unio 19L8.

. ’ o
Por01o, Cesar. "Benito Lynch, hombre hurano y cordial, " La fia016n
(Buenos Aires), ano 1, no. 2 (15 set. 1929).

Q9

Quiroga, Horacio. "Carta abierta a1 senor Benito Lynch", Nosotros
0 ~ ‘
(Buenos Alres), ano 10, no. 89 (set. 1916), 310-318.

Quiroga, Rober co Oscar. "£1 'difi

cil' Be 'to Lynch," E1 Tundo
(Buenos Aires), 16 dic

ie:1brel;58.
Rojas, Ricardo. 11 11+ ratura argexl tiqa (9 Jenos Aires, 1917-lc22),
t. IX.

Soiza Reilly, Juan José de. "acéno se hace una novela?" El Hover
(9uenos Aires), ano 23, no. 9H1 (oct. 1927), 11.

O W O ’ O I
Torres-Riosoco, Arturo. Grandes nove11stas de 11 Averica Hisnnna
(Berkeley, Calif. , 19b?) , V. I o

‘l—lo

. 11 “ran literatht a boroamerican? (Buenos Aires, 1951)°

 

Varela, Horacio. "Benito Lynch y sus novelas," E1 Hogar (Buenos A1-
res), no. 25 (25 marzo 1955).

Vargas Tolteni, Osvaldo. ”Benito Lynch y la novela del campo," {un-
do Argentino (Buenos Aires), 16 enero 1952.

W1lliams Alzaga, Enrique. I1 pampa en 11 novela arg-n n+1 na (Buenos Ai-

r r’r’\ "11 f Afi’l

res, Estrada, 1, 5,, clo—¢ww.

nttfiu‘rr‘ 1r
‘-§'H 1L

1

For the benefit of those who may want to investigate the works of

Benito Lynch further, an erlm stiv we bibliogra 7 is here included.
’ o

LIERCS (en orden cronologlco)

. ~ \
Lynch, Benito (1?80—1§51)

Plata dorada (Buenos Aires, Rodriguez Giles, 1909), 382 p.

 

'
ecrf1111 (Ihierzo

: E as fixires ), ano 3, no. 34 (29 abril 1936),
7-133. Con notici la prelixinar soore e1 autor.

+4

105 c3r1nch\8 do 1-1 ”1O“19"17*O” no C C1“;er0 (Buenos Air‘s, 1316),
301 n. Biolioteca de 11 Z.aci.on, no. 691.

J.

 

1nt1c10160 oajo e1 t;tulo: Cap:'
(La P1.9ta), no. 1“ (w d1 41

 

 

 

 

 

Los c1ranchos (0 la Flori.h (Buenos Aires, 1917), 301 p. Biblio-
teca de La Nacion, no. 691.

Los caranchos 0 1a Florida (“uenos Aires, E . Patria,1§20). 31-
oliotcca d1.ove-1stas afiorrcano 7, no. 1 Dir. 3 anuel Ca1ve7.

v o - 17‘1 0 /

LOS mrnnchos de 19 F1or161 (BUenos Aires, 1d. Iberica, 1920),
220 3. Ta;:a11us. por A1cj9ndro Sirio. Se tir1ron 3.000
ejemplarese npapel plume Verge J25 ejeuplares nun merados
cel 1 a1 25, fuera de comercio.

los carnnchos de 19 Florida (Iadrid, Espasa—Calge, 1331), 276 1°

 

Ios caranchos de la Florida (Iadrid, Espasa—Calpe, 1936), 276 p.

t q ' ‘ o o 0
Log caran ho do la Florian. En: Icotlan (Buenos Aires , L3 JUnlO
A
L

 

. o . - - i . 1
10¢ car"nchos co 11 Flor151 (Buenos Aires-“crico, Espasa-Calpe Ar-
gentina, 1338), 177 p. Colec. Austral, no. 50.

lo: c1r7nchos 6c 11 V1 ( Uenos Aires—IEXico, Sapas a-Calpe Ar—

0 M L
gentina, 1,33), 187 p. Colec. Austral, no. 50.

14
O
(1

c9: rcizos dc la Florida (Zuenos fi‘ras, Ed. Troquel, 1953), 220 o.

.L

 

 

fifi ‘ " fl .A. w .V-r A‘ .w. j
110' e19 (31e enos a1re:,ucnos . res Cooger9t1=11rc1tor1al 11L1tama
-1- 4 . I , , ~10
J a5cncia :e1er31 de 11bcerla y pLLbji cecionos, lyno), 17?
H W. ,'- 1 n..L°. h m = _ . , hp”.
P101050: 13 zof 1.1 t9 an Pnb1u0, 501 £9nuo1 Galacz. flaLh-
11.0 (705109.30 a LOP? CoE‘VT-"srrhafita 11¢“: 13 F1,,01'j_:1"_.
1'1 , -‘1 1'3. . “n .-, .. h ’r *3 a :1: ~
-9“1: 9. 1;. -- :O.C1w del did (1u01.7. alres , ano 1, no. 7
*—

 

o1c. 1913, fr1.pra we“ 7), 127-1W 30 1, no. 7 (23- dicl

2’7

r
~ 4- ‘ ~71
I by Una.

‘—~ 1 n f: F 4 ‘\

w: 1 lo, sc5unfla p9 to), 1&9-171.

 

H. u’ _’ o 8 ~ 0‘ o
Penne11. an: 11 novn1a o1 oi? Buen s n1res), ano 1, no. 7 (Junio
*—

Pednoln (Buenos Aires, Ed. Ibérica, 1926), lbl p.

 

' V 0 on I ,‘lq
Raoue1a no. corregng. Buenos Alres, Librerias Anaconda, 1931),

leon1‘n (Buenos Aires), 350 2, no. 19 (18 set. 1935),

 

 

 

O
O
—*_
7M Q
lJfl-lu?.
D u ‘ 1| ' n . " 1" ‘ ‘L . 1‘ r‘ - ' rA ,~o - L . .
“ qUo.9, 1 €7~71on v u1- enoo;o 1o 1?4§3trf£1 nonelas 3? engines .
‘ .' ‘ . " 72m") ooh t. ’1 1.. . 13-. 44., N
(4131.13,.1—1, {-4.2 (3 Cl"'~.as~.~r)(a, Ll)» , (.11 ' I). A L‘OLU OO 0 15111.; ”x? 1-311111,

 

cnte A. Salavc:rri.

5
W
P'
(T)

In eV7716n. En: .7 novela SPWZHTl (Buenos Aires), 150 2, no. 11
rv" \ A, _ 7'1 I .
(nu enero 1919), -2 n sotOJrafia on 13 tapn, retrzto do
I

a impresa.

 

 

 

 

 

 

 

A", I 7‘ ,1 . 7x roo\ N1 .°
.1 1o~ (sarco1oqg, s1. Cervanto;, la 2,, ;9 p. Incl. L05 -1-
"1181935 cuentos: 30? '“ mfld‘O, Ia Vega ewnantqnngg, _[L‘::_
C ’ I ‘ I
110 o“7 V01V1o do 19: tnincnavas V La 0013 101 ZD'TC. F; 0-
U
7": ' -L

logo: :on1to Ténox, por Vicente A. Salaverri.

 

 

 

- 1-" v“ a, u a la 0? mp

12 717 101. um: 7113 :7o_o \EUJNOS Air es ), ano 17, no. a a; (l 3

1 n" .00 _ :m - 1 -1 l ?

n9r10 192 , or1 era dflfbe), W—7; ano 7, no. 830 (20 me. no

' .g A
FOO - q] - -1 s /

1:,LJJ, 36:}.11Cc’l £111.? 7.10) , L -‘3 O

T '1 r" ‘ .1.

 

11 #71 c llcoqs (Buenos Aires, Ed. Babel
teca Ar*ent1na do buenas eeicione 1

Glusberr.

las n11 oallefies (Tuenos Aires, Ed. Bahol, 1927), lfih f.

 

‘4
n
I
3
n
[4

callao73 (9nenos.€1res, Anacozzda , 1933), 197

 

. 0 ’ 0 0 - . I 7 f'\

71 1n~1os de 10: "nesos (“adr1d, Esoasn-Calpe, l92fl), 307 p.
I ’ '. .

El 1n7les de los vfiesos (-qdrid, Esoasa-Calpe, ”30) 311 o.

o ’ 7 - I) A
El 1nfiles de los gfissos (Laurid, 13p351—Calpe, 9 C), 311 p.

 

 

. ’ .0 ~ I ,
E1 13;?03 Ho 19? “;::o9 (“adr1d, Espaot-C91p0, 1933 , 311 p.
~- 0 ’ O. - o 1 '
£1 19g1os 0: 1034530303 (Puenos A1ros, L9 Facultad, 1937), 30: p.
1- ’ ~

 

109105 00 105 "H0503 Eh: 1900150 L‘13nos
*—
or

[Live
b A n
-A . u ’
0 1737), 100-152. Retrato del 91.t; por R90 Valen-

 

 

o ’ 1 1- o 1 [-11 ‘ _ -\ _‘

E1 103103 :0 Iosggfiosos (99dr1o, gspasa-391p0,1,39 , 3”? y.

. o I O o 7-, 1

37 1r9103'V31osggfi020: Clmwms A1ros,Ia.:9cu1taa,1H~0), 305 p.
, I an ! o o o o
P3010 o eo1cor191 con frafrentos do 3u101os do A1fredo L.
P9190105, Lanuel Eachado y R. Pa1lestoros de Partos. Ilus.
do tapa por lino P919010. (“Leu99 una tirada 031*? 0191 do
150 ojorplnres nunerados on papel h1101’ m1t9010:;1 pluma).

31 irj1é: 60 103 330305 Iéxico, Efl. E1 libro p00u19r, 1955). Pro—

 

1 ‘F ' 1" " ‘ ' ’
logo 00 1av1er 09091. (9110;0n clandestin9

 

 

 

 

 

. I o -- . . .
E1 12:1:3 no 103 gfiasos :ontov1doo, Ed. Ellte, 1957), 217 p. Ed —
. T .. .
c1on o1anocst1n95.
- ' “:1 C. 1 ‘1 -3! ° N 10:0 207 0!
Q1 1r;_03 re ‘03 Loocos (Buenos Alres, Troflue1,1~,o , .3, p. 110-
10” : 19 rove19 rural 30 .enito Tvno“, por Julio Caillot-Eois.
Ilus. do Kali. 2031. fot. 001 xdpvscrloo or1r1n91.
. I o
EU 10:103 30 108 330305 (Buenos Alres, Ed. Troquel, 1960), 232 p.
Introd. y notes de Julio Caillet-Bois.
. I . . .
:1 103103 09 103 930303 (Bu-nos Alros, jl. Troquol, 1C60), 236 p.
I1us. do tapa do Silvio Baldess1ri.

 

 

 

 

 

 

 

E1 DnLojo do 19419tron9 I P910 verde (Buenos Aires, Ed. latina, 1925),
f _- . . U-
10/ 0. 1001. 01 cooato 31 none.
El antojL de 19 ostron9 2 P910 verde (2301105 Aires, E”. Anaconda,
1531), 159 g. Ilus. do P91901. Incl. 01 cuento 31 more.
31 awtojo de 19 patronq 1 P910 verfie (53.nt'm ago do Chile, Pronotoo,,
Rf - . .0 a 1'.
199 u. 11rs. we Laps d: L9r011no. (3&10101 clanopst11a).

P910 verde 1 otras Jovelas cortas (Buenos Aires, Espasa-Calpe Argen-

tina 1940) 17 . Coleo. Austral no. 127 Incl: Looura
9 9 9 : ______.
do honor, E1,pafl uetito y E1 09590 SH 0939 quiera.

 

P910 verde‘x otras novelas aortas (BuenosA ALreS, Ed. Troque1, 1960),

1

212 p. Ilus. do tapa de Silvio Baldessari. Incl: Ioourq 00
honor, E1_paquetito y El 09990 SH 0959 quiera.

 

103
Be 103 namoos ports 5os (Buenos Aires, xnaconda, 1931), 276 p. Con-
tiene: 13 650? 53 de junco, Un andelitq_gnuvho, El poirillo
roano, Un 5239010 on picles, T r.. fitSS, A la fuer21, 11m ;,
la esqu11qdora, La chn5é, E1 58 crificio de Blas, hombre§4y
teros, Covitas.

 

 

 

 

(W

Be 105 cqmgos_por+e 05o 5 (Buenos Aires, La Facultad, 1939, 292 p.

I

 

Do 105 camposgporte5os (Buenos Aires, la Facultad, l9bO), 292 p.

El romance de unflgpucho (Buenos Aires, Anaconda, l933), 501 p.

 

T1- 7.- 7:; ‘
lads. Qt: J. locum.

(D
' o

fitrrio (la Plata ), a101, no. 2,
, f ’Ment1r111ehug , 1N1—151.I1us. retrato
111 1110 do Iettoruti.

E1 romance de un Lauoho. En:
Tjul,-a3. 1925
de 1m mh, de E

'1"! 7 o ’ f .
1250. an: In 113105 (Puenos Alres), l5 d1c. 1929
\ f * ’
9JO. En forma de fol1et15, con 89 n£;neros.

xucko (Buer nos Aires, Guillermo Kraft, 1961), 592 p.

 

 

 

 

 

1'1 0 o 1 9’

:1 C:tgnc1e:0 (Buenos A1res,Ed. Selecc1on, 1931), 31 p. oaader—
nos . nsnales de cu1_tura, no. 3, dlr. Atilio Garc1a Kellid.
Ilus.e letr. de laugh, do Enilio Pettoruti.

o . 1’

El estano1ero. En: Ia Nac1on (31m nos Aires), 23 set.19%o. Ilus.
por Juan Carlos Huergo. (Titlllacm Narrqcion do 013+?”“re
103 argentinos vistos por los an;05tinos.

Cuento c 01105 (Buenos Aires, Ed. Atahualpa,l 990), 32 p. Pro-

 

7‘.
0 yo Bonito Lynch por Julio Echegaray. Contiene: Pedro
Amy 13; su perro. Favor aago, Ia 11mm r... Pagan-E L1
radon on.

F4 U)

 

Cortas y cartos. En: Nuestra novela (Buenos Aires, Tall. gréf.
Guillermo Kraft, 20 julio 1931). Incl. noticia sobre Benito
14710110 111150 de R. de Lafrlo

 

 

LIBHDS (traducciones)

0h, Benito

CD

11 so oarvieri d9 19. Florida (romanzo). Tr. por A. A. Guffanti. (11—
lano, El. Delta, 19 29), 3 20 p. Colec. Scrittori italiani e
stranieri, no. 17. Tltulo original espa5ol: Ios caranchos de
la Florida.

 

101;
D1_eC e1_er von 12 TTnv~1- (rorzan). Tr. por Hedwig Ollerich (Yfinchen,
C. H. Becks cche MYGIJEES bunchhan61ung,1935), 281 p. Titulo
original esp2n01:Ios cnrfirchos dc 12 Flcrifln.

 

 

In: caranchos de la F10rid2.aTr.p0r P. Kata (Buenos Aires, Ed.
Argentina, 19k67. Eni isch.

CUB TOS Y RELATOS (en orden cronol6gico)

El vaso de 2A12. T1: E1 653 (La Plata), 20 julio 190°.

 

"nd'

I
.u nouveau. En: E? €12 (La Plata), 30 ag. 1903.

 

Lodern sty10. En: E1 dia (La Plata), 22 enero 190k.
0 o I
Coups de c1svaux (dlalogo). En: El dfa (La Plata), 27 enero 1900.

o «1 ’ o 1—. 1_’
0r1gen de Un Wfil (cuadro uonest1co). En: :1 012 La Plata), 29
1 "__‘r' —-
enero 1y02.

 

quweq futurns (cua dro dome stico). En: 41 312 (La Plata), 23
marzo 1905.

 

’ C ’
Don Severo (CU2dro domestlco). En: E1 612 (La Plata), 30 marzo
1301: .

Hor2s 60 Ch2r1a. En: E1 dia (La Plata), 2h abril 190M.

-r-1 1 ’ "
Les csrecoles. an: :1 dis (1a Plata>g 2“ Oct. 150”.

 

 

ofiondeliués. in: L1 d 2 (k 1 P1312), 15 oct. 1906. Firnado con
el mudonimo: L. T yn0111ebic.

‘ ’ . 1 ’ 1
E1 lector PCVOE. En: F1 212 (12 Plata), 22 octucre 1906, E.

 

 

1"} ’ o r-
1022. Ln: T1 6;: (La Plata), 9 abr11 1907. E. Thynon Table.
. . I a , I 0
E1 serv1c*c domestlco. En: El ”1212 P at2 , 9 abr11 1909.
Cuento d131032do, firmado con seudor1no E. Thynon.

. ’3’ A o
E” venenoso. “n: 37 M; (I2.Plata),19 abr11 1909.

 

Fovela corta (para mujeres). En: E1 dia (la Plata), 10 mayo 1309.

‘t "’
£1 hombre-b321. gn: 11 C12 (12 Plat2), 8 nov. 1909. F1.ntad 0 con
seud: E. Thynon.

 

 

TT'IJ-

ora (“Benos Aires), afio b, no. 37, 1919.
Ilus. de Zavattaro.

 

-J

En: ?““*“.or”o Ancricrno (Can Jocé, Costa Rica), afio 19
'11,), 112 -1113.

 

.J—l

‘1‘ . 1'11

_ 311 (1a Plata), afio 75, no. 75, 28 dicienbre 1959

‘fificliia. En: E1 d5? (La P13 ta), ]2 rov, 1910,

 

 

. ’ . O
F? erorzoo 1ot3fio. En: 31 H10 (Ia Plat m), 1’L nov. 1910. F1“wado
T‘n

con seud: L. TPynon.

“i rorro. En: E1 65: (la Plata), 19 nayo 1211. Firmado con send.

I q ~ I '\
En: Teoo1¢n (Buenos 11res), ano 3, no. ”U (16 set1enbre 1936).

En: E1din (Ia P1ata), 26 iulio 195k.

U

 

1 I '
Como 10$ Foaoros. En: E1 d1: (La Plata), 25 mayo 1911. Acto pr1—
' . *
lorr, ebtpna unloa.

 

 

1 «.0 7'1 ’
Co 0 10¢ honoree. (comeola en tres aotos). on: E1 613 (1a Plato),
23 Layo 1911. Actos so;1nco y torcero.

 

 

Comm 103 houhres. (drama en el Callinero). En: Plus 31t ra (Zuenos
Aires), ano 3, no. 20 (dicienbre 1917). I1us. d6 A1 varez.
En: rtl JnH d3 (Buenos Aires), 2& marzo 1937-

\ . ’ " J.’
En e1 zoo (recuordos de una f1esta). En: El Q13 La Plata),
agosto 1912. Firmado con send: 3. Thynon Lobic.

3c m.~rucho. Ex: 31 dia (:2 P1ats),1- set. 1912.

Cave no csdfls. En: E1 611 (La Plata), 23 set. 1912.

 

 

 

 

- ’ 7-! \
Con S1xon. Ln: E1 die (La Plata), 2h set. 1912.
B1csforin. 2 : £1 "a (la Plate), 30 set. 1912.
103 an pas. En: §l_§£g (La Plata), 7 oct. 1912.

 

. I .1 ,
Don Fav1an. A : 21 dia (La Plate), 28 oct. 1912.

 

Cura ICX. En: E1 d1a (la Plata), 23 abril 1913.

 

ins cosas truncns. En: E1 G13 (Ia Plata),10mayo 1313. Puede
consider rarse cor LO el primer dhtGCCLL to de: El ing1és do 103

 

.0
9' [.19 30 S o
b

/
1.0L)

' ‘1 1") I T
Ia 1oou1t3. An: 51 €12 (13 P1eta), 25 mayo 1913.

 

En: Plus Ulirq (Buenos Aires), 950 3, no. 27 (junio
1912). Ilus. de Pela gez.

 

13 v1ot172. En: E1 Q11 (Ia Flata), 1 junio 1913.

 

 

\
A

3: A1 L. U1tr1 (Buenos Aires), ano 3, no. 30 (oct.1912).
Ilus . de 1SJi‘a‘.1'v’.:.-u;'ez.

 

 

 

T7 c019 do1 zonro. En: Voraos y Prosas (La Plata), no. u (enero
I‘ {W
1>'1{J / Q
'1'"- - - ~
Ln: P1um JTtra LUODOS Alres), ano 2, no. 13 (:7 33 o 1917).

 

En: 17 evasion (Barcelona, Ed. Cervantes, 1922), 35-9b.

Fray Nocho (Buenos Aires), afio 17, no. 322 (2b enero
: Iooo15n (Buenos Aires), afio 3, no. 51 (23 diciembre
1936). Ilus. de Yanucl Olivas.

“onito T"nch (Ta Plata, Ed. de lomenaj e de Amigos do
3. (3311167), 23 C110. 1-2):1'6, p. 1-5.

 

Ias Josoriort7flzs. En: E16317 (Ia Plata), 9 jnlio 19‘16

 

En: Plus Ultra (2ueros Aires), ano 1, no. 13 (enero 1919).
Ilus. do E'elas

 

31 bnrual. En: P1vn U1tr1 (:ueno s Aires), afio 2. n0- 15 (fiulio
_- ,1 I
1917 . Ilus. do Pclaez.

 

En: Frangocno (Buenos Aires), afio 17, no. 8&3 (19 junio
1029).

En: T‘on1n7 (Buenos Ai res), ano 3, no. 33 (15 abril 1935)-

Ilus. do Lario Icon.

 

 

12.:p113 que volvio do 175 *"7n7hrn7". En: Pl‘s ”1*?7 (Luenos
Aire31, ano 2, no. 17 (Set. 1017),11us. do Pelaez.

' ’ 'fi . h
on: I7 evas:on (barcelona, Ed. Corva ntes, 1922), 6 ~8h.

 

En: Frgy1 ocho (Ever 05 Aires), ano 17, no. 319 (3 enero

1928), p. 5.

 

ToL 17117

 

 

. En P1ns Ulfira (2uenos Aires), 750 3, no. 22 (fob re—
1

19 8). Ilus. de Centurion.

 

 

 

Io: oorfleros do "17 7:11t7". En: C'r77 y anotas ‘cnos A1rco),

W ”i { . .. ("A

ano 23, no. 11o0 (2: one. 1,20).

'V‘i \ o I ’ o .
Efl_nofio. 1n: Liwciones So1eofre 716-107 (1donos Alrer), no a,
*
fir“ r'\f‘) hr fl
to LL, 1‘10. )3 (1;7:;]_§’ )J-UTL.

Tocvrn de honor. In: Ta Nove17 Univenrituria Bueno.

 

 

 

'3
_ ’
f‘ ‘IF‘ " ._ C‘ -_ .- 3.7.7, \‘-r l I ‘ . . ‘ P' ' 1'
1, no. it (134i), 2/ 1'). at; lilpviHD-‘L’i C3 la 65.1010?! he}: .s .0
fl ‘ .
ficrfo T ofnws rovel7s corffis :UEI1OS ll 73, qfasfl'cnlxd 1r-

 

”‘10 111111.19, ,1“) 3.

 

En: Ito 7n (Buenos A1161”), ano 3, no. 90 (22 julio 1926).
Ilus. do -211on7do.

m: .77 (:1. P.-ata), 19 (310- 19"1. p- 22-

 

:] notrillo r07ro. 1n: C9777 y c7rot7s (Buenos Aires), eno 29,
no. 11321723 A720 1921).

 

o 1 o ,
En: (:Lonfis Alres, Le. esoec1a1 1e L . Lntlna), set. 1924,
n

31: Pevfis+7s Iofn7s 1-17tenres (T7 Plata), t. 1, no. 3 2‘

1m

junio 193:)9251-50. L1 po_ r71_1o r07no y Tn7ve777 30.

 

 

 

 

7-1 ~ 7“ - - n q
Ln: C: 107 c7jgos_portonos (Buenos .51.ro;7 , Ar7condu, 1931),
[7'1 Cr)

cal--Jl...

 

 

 

 

 

- o 1 0 ’ 2 '
En: 2cv1ghq 6e Fouc7oion (.iploronto). (La P11t3), 19L9.
:"\
1 . _. . 7: . 1
in: Anronfliz7;e (Buenos *7ros ano 1, no. 1 (ab; 11 1952;,
'2’)
p. J‘V.
v- I, 0
En: E1_ To~7r (“1enos1iros), 9no 3w, no. K 70 (5 br1l
1-957). N3. do BruvorLs.
To wrnrnz {xi-“27137477970371. 7:1“: 72:1‘h1, 9713 l, 710. ('1 (21.11.1310 1-021).
1 . . . t -. - _ ._ ---- -~ -~ u -
. I ~—-, . 1
3:: I7 9737107 (‘arcelon7, Ed. CerJantcs, 1922), 65-67.
' ‘7 "\“'—.‘ r— ' Q . r- a? ’ r I“ f)
En: Noostra ?w911t& (Buenos Aera), fine 4, no. 39 (get. 1923),
147 In
\J- 7-1-.

 

En. Frfii, echo (Enema: kircw), uno 17, no. 97“ (17 abril
." O _
l/‘?‘.J), 1.). 1?.
Ia worca Verde En: Plus U1tr7 (Euenos Aires), aio 6, no. 66

 

 

 

 

 

 

For

("11 \wqrqvun
1.2 ~ -. '— ~40

 

14—1/1

 

o1 Ciroo. En: 13 Nqofion (Bueno Aires), 17 sot.1f22.

m

 

fl

’ WW 0 ~ I“ f“
In: __-T“1____"'31"._?1 (me-nos arcs), ano 4, no. 22 (13 P0151935).
Ilus. de Fantasio.

 

 

 

 

 

o o a o I A
EH sac2151c1o do 9133. Eu: 1? V301014 (Buenos Aires), 19 nov. 1922.
I1us. de Juan Carlos Huzrgo.
En: To 105 camoos<porto§os (Euenos Aires, Anaconda, 1931),
(‘1 {"l.
197-ILL.
In 310353 do1 :11ocorq. En: 11 Vaci‘ m1 (Buel1os Aires),14 enero
1923.
. I . ~
En: Tooo1an (Cuenos Aires), ano 3, no. 27 (22 ne1o 1936),
58—:Jl.
F1 Gosh“i+o €01 oosfio. En: T; 7 ion (Buenos Aircs),110 junLo
1‘23.11us. o.e Juan Carlos Ider o.
’ 0 ~ / /
En: Tooz1tn (Fuenos.11res), ano ,, no. 20 (8 enero 193o).
W
I1us. do Ca1voz E1orza.
~ .‘I o r‘
Th oFrno. s.: La Niels; (Buenos Alres), 41 oct. 1913. Ilus. do
Juan Carlos Huergo.

C Q Q ’
Ia Vlvgen de1 Ca1nen. En: La fusion

En: Pooortowio Amerlo no (San Jos ca de Costa Rica), 350 8
(1036 ) Goo
, J4, J’-3.o ’5.

 

En: -1 pof 111 ano (Buenos Aires, Ed. Iatina, 1929) 9
p.

 

En: Do 105 camoosgportefios (Puenos Aires, quCOIA,, 1931),
179-197-

(Eue1os Aires), 17 feb. 1929,
. 7 n ’ ‘w ‘

contlnua como 1011et1n hasta 01 20 us feb. 1929. Ilus. de
Juan Carlos Huergo.

El: Frgg {echo (Buenos Aires), afio 17 (7 fob. 1929), U-u.
Conc1usioh: ano 17, no. 825 (1% feb.1928).

109

v,

. ’ .
unq vez, ar‘orz. an: In Vac1on Buenos Alres), 21 marzo 1926.
Ilus. de Alejar1dro Sirio.

 

C O ’ O
Tango ml moro. En: Ia Nac1on (Buenos Alres), 22 a3. 1926. Ilus.
do Alejandro Sirio.

 

E : E1 Arcentino (La Plata), 10 oct. 1999. Ilus. de Francis-

. 0 ‘v I ’ 0
Un ne~oc1o en n19193.2n: 1a :ac1on (Buenos Alres), 9 enero 1927.
I1us. de Ale andro Siriu.

 

 

{3'1

\ln 0.
CD

D 103 c Inos oortefim (Bum1os Aires, Anaconda, 1931),
1

An
2

N

2

1‘)

, \ .o .
hombres Y +eros. E:: In V1c1on (Euenos Alres), 1 m33ro 192 . Ilus.

dc Juan Ca rlos Huergo.

 

 

 

 

En. Be 10: cnggossportefios (Buenos Aires ,Anaconda, 1931),
2rd _904
L‘J/ -91 V.
Ccn1*"s. En: IA 93015? (Buenos Aires), 29 die. 192 . Ilus. de
M
Juan Pelaez.
En: D? 102 C?:p0§_fig“1311%(BUODOSAiTGS, Anaconda, 1931),
276-7311...
Poof t nobros. 9n 32F95Ay CQTCt.3 (9uenos Aires), ano 21, no. 15h0

 

 

‘ '1
I o s
). Ilus. de Arlst11es Rechain.

En: Ieot1_5A (Buenos Aires), a11oA, no. 55 (17 febr. 1937).

*—

T"

’ ‘ .
Un rhinon ence"erns. An c15n (9uenos fi.1ros), 3jun10 1-928.

r—4
,1.)
c.)

 

0! En: - do Argentino (Buenos Aires), alO 18, no.

iChuge, m1
set. 192 E).
I . ’
Un 9n5911to,gauc%o. En: Ia Nac1on (Sue enos Aires), 21 oct.19,3.
, I
I1us. cs Juan Pelacz.

 

 

EL: De 1os ontposggortefios (Buenos Aires, Anaconda, 1931),

21-39.

as 0‘1”"“*P11 3. En: In E:c‘.n (Buenos Ajres),2 2 ole. 19a .
Ilus. do Ernesto Ar9n011_11a.

 

 

‘ - C 0 ~
”notos us 13 Vooo. E : Lunfio Arcont1no (Buenos Alrcs), ano
O . ‘ _o -’\“ O
1‘), 1’10. 935 (19 die. lQBK/J , [4"._,-

 

 

 

 

 

”on “11A:. 32: :ooncn‘ta (Bu onos Aires , 1929).
En: Do 1os CZfiDOSAEOF1033S (Buenos Aires, Anaconda, 1931),
or on
UJ‘I}'.

9m

 

 

110

 

O I ’ O
Trav031ando. an: 11 Yeolon (Buenos Alres), 20 enero 1929. Ilus.
do luis I '3

En: 99 1os C9LEC84§OTffififis (Buenos Aires, Anaconfia, 1931),

 

 

 

. /
En: 31 90 A? (Ruenos Aires O), azqo 32, no. 1393 So junio
1936), 18-19. Ilus. do Rod f0 C1aro.
Ia fovta. En: Carasgx onrotns (1 enos Aires), ano 32, no. 158,
116 93b. 1929). 11u5. do Recha1n.
la cabeza do Eu1ogio. En: 1Un10 Argentino (Buenos.a1ros), an o 19,
_\ 1" -3—
no. 3(}D A‘rz 1929,. Ilus. do 11 fluOS Rosas.

En: 10o81'n (Buenos Aires), 350 3, no. 29 (19 feb. 1936).

O O ’ .
11ruv. En: 1a Nac1on (Buenos Alres), 21 abr. 1929. Ilus. de Lui
Lacaya.

 

J9 10$ cwmgos portenos (Buenos Aires, Anaconda, 1931),

11 libncta do Anseln0. En: L“*o 1r;c-n 1no (11L nayo 192;).

 

 

En: LeoE1i n :(Eu enos Aires), afio 3, no. 30 (9 marzo 1936),
‘1 I ’ '
10-13. Ilu oe Raul Valenc1a.

T'.‘.
1

Cuentos cr101105. (Buenos Aires, 1d. Atahua1pa, 1990), 32 p.

I

173cha615. En: Carqs y nnnc s (BAonos Aire )

.. _ C
. 9 “ . - U ’
(25 mayo 1929), 1—2.11us. de Iuis TAca3 a.

En: Ioon1en (9uonos Aires), ano 3, no. 32 (1 abr~11 1936),
22-23. T11-us. de Raul Valencia.

afio 32, no. 1599

on Pajanl 0. En: fiunflo Angentfino (Buenos Aires), afio 19, no.
959 (5 JUD1O 1939), 5-10. Ilus. de Pintos Rosas.

 

 

En: Leoo15n (Rue? os Aires), afio 3, no. 28 (5 feb. 1936),
30-33. I1us. do Raul Valencia.

En: 19o n1an (9uenos Aires), afio 25, .600 (5 agosto 1959 ),

bo-LB.

Ia esmniladora. En: Caras v erre+as (Buenos Aires), afio 32, no.

7 a o .
1605 (0 39110 1929 . Ilus. de Luis Lacaya.

 

 

1: D9 105 canoes portefios (Buenos Aires, Anacon a, 931),
1u5-178.

 

 

 

. w o . '
L3 figfira oeggvnco. En: I? Vac1on (oucnos Aires),1_9 agosto
1929. Ilus. do Inis Lacaya.
En: Co 103 gigosggortezm) (“Donos Aireq, Anacondc 1931),
5- )-
Ifi Shard-4 :3. :n: Ilr1‘1’lM’JA t‘AmNCV‘E 0/

 

 

v.1no (Buenos Aires), ano 19, 9w?
0

(31 julio 192,). Ilns. do 2

’ . . w
En: Ioo olan (9uenos A.res), ano 3, no. 33 (27 mayo 1936)
I1us. do Rau1”valencia

V

C o ’ .
Gcntc n111. En: I: Foc1on (Buenos A1roo), 3 nov. 1929. Ilus. do

 

 

o 1 . , .
En: Ioo;1an (:uenos Alres), 2 oct. 1935. I1us. de Fantas1o.

En: "o*o‘“"r (Ezenos Aires), U oct. 1911

 

 

I ,1 ~
31 conch14o“ do Vikorfis. In: Cgrrs y cohetqg (buonos Aires), ano
n (00 1. 1° ffif‘ . . .1 ,-..’ $-' ..
,2, no. 1p2n 1» -1c. 19 .;). Ilus. co A115o1dos Rochain.

I ~.- 0
9n: Tooo11n (ouonos A1res), and 3, no. 35 (13 mavo 1935.
e Fantasio.

 

 

 

 

P '1 n '.‘ ~ T - a n O ’3
A 1a fnoroo. En: C;“ao y carotos Q w1€uo Ailos), culo 31, no. 1519
A 1 o o 1“ r“ f“ ‘ r n , _‘

(Vi-1| C lClCVTL‘re 1 23“) 0 1111.5. 119 1.7.1169111130

T7“ “fl A '< F'~‘v‘1r\ 0‘ v‘ ‘I‘J' "\I’A «a - , ~ 11h

524:1: . "7 .1 ' '..'- C". 1 ;. ‘J D 4:211(-~J‘11JS ALI—1.10 v S, 1&11110011C.8 2] ),

_,
1‘41-11_C -
~a -uu ‘n-LA n T- TT an... .. , ‘r ’2’."
IJ»S+K.Can: 1-: :1 1¢_»¢ (Buenos A1res), ano 25, no. lQoA (7
—*

~ - ‘ r! n’) 1‘ r- . .\ ‘ - c- ‘-

uarno 1;30 . 1110. do Rooo1fo 01110.
' t‘ .. ‘R w . "V ‘H T‘.‘ 'A r-\ .. (- ::
EH 7 -u; on v1rl1duto 11: E1 (LdenOo A1reo), 210 26,

 

'3 1 7V _ . 7‘0
fl
‘ o o f- a o -’
no. 10?? (a wur1o 1730), p. 5.11us. de 1 r10 Lopez Osorno.

En: {1:1bo1 (Buenos Aires), 21 aori1 1930.

’

r, . .r . . .
in: In T“CZCD (E uenos Alrcs), 6 3u11o 1930. Ilus

'
A

 

.— ~ ’ 0 ~
1 1.1,. ,- . “a h._ f} \ (‘0
L11: I_(:C"~-_Lc_i:1 (1311; “1K“: MAE-.25), 11110 2’ 1’10. (0 (:16! OCt. 13/3),
*
' ‘ P1-n~'\“ pw’.‘
57-f?. 11148. do 1‘111p8c4100

.0

‘IT' ._ .. '. _ l 1 ~ ~

6190 o; til.oto! En: Laon12n (-kenos Aires) ano 2, no. 23 (27 nov.
r‘ / , o

1930) ER-o'..11us. Go Fantfi.'10.

 

 

o a _ . cg ' 0 ~ /
To d1o91"o1acflé1q_pohrma. 11H E.lfl”9? C1wnoa;b1~s),:no 2:,
“Inh—
/ “ 1 A, f n -‘: r. ‘ a ‘ - r -i 3 Q
no. 11o4 (12 o1o. 1930), p. 5. Ilus. oo ROQOl1O Claco.

 

E? 19 noche. En: El “9999 (mncnos.3. 1368), goo 27 , no. 1119 (27
9 Rodolfo C1190.

- .., ’3 . 7
1.13.1310 1.?’)-1-)’ 7). 5'. 1.11.15. (4.;

14 1 '- I“ 0
C1 reqoron. An.

. . 0
3u11o 1931),

 

 

 

 

 

 

 

 

 

111: C": 91:1,
3? ~-
Fq'zfrwfi “C raj-111': r-‘fi.
(20 nov. 19
Eu: *1 Y1o15“ (31
. I . . ~
En: 1999199 (Fuenos A1res), ano 2, no. 17 (H sot. 1935),
‘ I
6?_/,. Ilus. :0 Galvoz o_orza.
En: C“?Wn03 owiol1os (“L1cnos Aires, 1o. Atahualpa, 13%0),
"0
1"" 1;".
T1 91“o116o. Fa: Sara: E carats: (Buenos Aires), ano 3%, no.
' / I) 1 so o
1?10 (22 9;. 19311.11us. oe Valolv1a.
q ’ I ~
A1 lzoo 69 um n?%91. En: £1 Voosr (:Iehos Alros), 930 28, no.
_ o3‘f17 1 quo 19° 2 1o-1,. I1us. 69 Rodolfo Claro.
1—11/ aw J 9
I
BE: Iooo19n (?uenos Aire s), ano 3, no. 31 (18 marzo 1936),
2o-23. Ilus. do Scotti.
. . . r-:._’ ‘l- q C 0
E1 “91vo111- En: E1 ,3 (19 P19ta), 11, 12, 3 Junlo 933. I1us.

 

de Rodolfo C1910.

7'31. .

LL: . P310 VGI‘CEG‘ ‘1 01:3???)- ZQO‘.T(-:l'5s C0?t"-S (21.181105 Aires, 42538.38.-
Calpe Argentina, 1310 , 175 o.

 

31 C9990 su 09:9 quiere. Ex: 11 £13 (19 Plato), 22 cot. 1933,
‘ o I ’
p. 3. Ilus. de Rodolfo Claro. Cont1nu9 come foIhtln hasta
el 2 nov. 1933. Cuento anpliado y con variantes: E1 9939-

mafia,

 

 

En: P910 ver6o X otra: novelas oortas Buenos A_les, 3909-
SEE-C31 PC 11113811111; 192$on 175’ i).

__. En: E1 611 (la Plata), 5, 16 aoosto 193%. I1us. do
iodolfo ClarO.

 

 

 

6091 9110. En: In I: 01631 (Buenos Aires), 26 agoato 19°“
’ f‘. ' _‘ O \h'
9;: loot1'n (Buenos Ai-res), 9r 0 3, no. 38 (2h Juojo 193;),

13-15. 11us. do 39:10 Ieon.

113

 

 

 

u " I"; *7 o ’ a . o f‘, o
Foorx k*1§;: r? :Frwo. Ln: 13 *“Cion (fiuonos Alros), L2 Lhrll
193;. Ilus. do Alej andro Sirio.
En: T’“EU - 1(E“enos Aires), 350 A, no. 53 30 enero 1T37),
lo-17. Ilus. 6e Ar gas a.
El: Cuortos criollos (Buenos Aires, Ed. whua-;9,1050),
17 n
J“ .L' ‘

I o
as toros. An: vaLlCa (Buenos Alres), 3 nov. 1;; .

 

n1 - ,_ Tn 7, q.- !.,. ,' . .h .
EL nixao ; 15 film in. Ln: 1° Tyglul (Eucnos Aires), A “0‘. 1939.

Ilus; 60 Alejandro Sirio.

 

 

.- n -, f. _' . _‘E' -: -/
En: Too”? a (Euonos Achs , auo 3, no. ‘0 (9 ch. l~“o):
p. “l. Ilus. de Paul Valencia.
o _ ‘1'“. ’ T‘~.fl‘ .' ‘ .
To 0 atrnritn. En: La L.191011 (Euunos Aires), 2N feb. 1935. Ilus.
do Alejandro Sirio.

 

'1". _ ' ~ A . . ,'\ /
L (Euenos A1168), ano ;, no. AG (1h oct. ly:g),
t1 1 1'3”". X' 1 .‘
VHS. 00 figul JtLencLa.

 

 

O C T O ’ O .

::*111*ws. En: I? “go? 3 (J7CHOS A1363), 28 abr11;-35. IlUuo

de Juan Carlos Hourgo.

’ - 0 ~ 0 1
En: IoooWow (Suenos Aires), ano N, no. 65 (7 Julio 1937),
_ I

19-22. ilus. de Juan Jose.

('1

 

o 7-1 ‘ ’ ~-s ‘ o
crfiaturqs. an: L9 ;.?ofion (:Lenos ALrec5,
.

O l
5. Ilus. 6e A10 andwo SLrio.

#3
n: :c0773o (E "cnos Aire s)
at

,
p. 6, 7, 51. 11‘s. do Fa: 3

50 b, no. 71 29 set. 1937),
O

3
o
.51 0

En: 1cofi?to (Buenos A1235), CLO 25, no. 599 (l julio 19f9),
1,4 '3'
./ ' E'd“; .
o n ’ '9" 0
EiSErquflo 69 towo. Eh: Tq ”goion (guanos Ajros),13 oct.193§.

 

 

Ilus. do Juan Carlos Eucrgo.

— ' j 0 '-

LN: Teof‘vn ( so: 03 Aires), ano b, no. 60 (28 abr. 1937),
~ . f o .

I) o 6 , 7 , ,J 0 I111 S o d ‘3 Paul Vii]- (3.1-1 C1 3. o

'31 L."."'1-“‘,-1r“~;, '1' .‘E -‘ q :
‘ o

-m n. W.LJ, LL 6% {Eucnos Li es), afio 2, no. ?1 (30 Cot.
1535), ?“-30. Llus. do Fantacio.

 

 

 

 

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(18 agosto L939), Po 97- ins. de Corvalan.

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Ilus. de Juan

.._‘_

(15 oct. 1?:9), 9-11. Ilus. 69 V: 1dili-.

'1 ' ~ A
Ioo 11nv09. En: Cgrao " cnrflfas (oneoos 5‘res>, 340 Ml, no. 2o

 

 

\v 0’ a o o
:1 fqlervzo. En: 19 “asioo (?ucnos L1rar), U gnnlo 1919.

_._J

 

 

do L10 j"‘dro a1rio.

 

 

 

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.. r. ' .1 1 .2, . 1- r: '. “,3
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Azove9, Angtl Héctor. "Ajunm1;ssobrc 13 obra do Ecnito Lynch", F1 dfa

12 Elata), 26 jn1io 1961.

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,3r2223, Ennegto lario. "Ecnito Lynch: e1 novelis ta de la pynp"", C3-
ras y caretas Puenos 11res), 2:0 2:, no. 1392 (C juni
1925).

 

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. "3. un 12 mj .no 611 can For Ate Lbnch", E1 Horar (Buenos
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Aires), ano M9, no. 2243 (? 7 WQFZO 19,,)

2. "Benito lynch", 1T 0113119 “22:1338 (Buenos Aires), 25 ju—
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Fonito Lgnch (12 Plata, Ed. .1222uerte, 10:6). "E-ici5n do hbmrnnje a:
Arigos de 12 C311e 7".Contr1buciones de J2i_me Sureday ‘
*onio Herroro,1 213112—11m rigo Vier3, Daniel I’r112211murd y no
do1fo Oyhanarte. Dos fotor3~2fias , dos retratos de Benito y

Besouchet, 3 :32f- v su :2ejor 01“2~302 liter:-
nos Aires), no. 6 (mayo—junio 1936),

3
E
.1n portngues.

 

H I 0’ ‘. .2 ...‘,1
Sonat, 22:“e10211t0n. " 3 cre2c1on de personages en Een1to 1;};K"
PCIO13 (Buenos “1re ), ano 1, no. 1 (set. 1937), 92-25.

 

 

. Gente fie 12 novels (Buenos Airer 1‘
4--«-— ’ _: -_ _ ~ - n 9-... o
buLO de L1gux2bur1 Arbcntlna Facultad

 

 

 

., 3'
. film
5.10.1953“; 2")”,

"I ovelistas arrentinos : Benito Lgach, E1 ing1ns 59
109 :U2 909, obra psicologi.ca y 033poan3", El :ognr (Sue 305
AilmeZ),q L‘kZ} .Lr “JO 1.050

 

 

.17 q *r3r

-2 iaovela 3r; 62 ina en 91 siglo AA. Benito Lynch,
novelis 21 de 12 panpa", CVr233 V C3n?““r“n339 BUCIIOS Aires),
220 21, no. 2’11—?h3 (abr. —j1nio 1952

 

 

"T 1,. n 7.. an .2 ’ ._ , K -
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"Ia novalz", En: Hitfori9 fie 19 Iif9r9t0r9 99;CC 599

 

 

 

 

 

 

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Calllet-3013, JHIII Cesar. "Tamas y perspectlvas en la novela rura II de
3cnito lynch. El impulse, el instinto 3 103 a-ectos", Levia—
t9 99 19 Univorrifl9fl A9 “wens: iir93 (Cuenos lire; ), Quinta
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epoca, ano 3, no. 2 {aCrIl—Juon ICES), 20C—2IU.

 

. "Taras y perspectives en la nOJeIa rurzl de Bonito
o I .
3.3nch SI 1;;79: de 105 539333 (3 lenos Aire: , Troqt 61 195?

 

3
I1 novela r3191 :3 :enito Inn01 cono luggen CorC1C9nt 9.] del

ITiuanO .

. 39 novela W r91 69 “emits Ivmnh (Ia Plats, 1960),
r’flfl

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Caste In

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nos Aires), lb junio 1953-

. "Ios novelistas de la oligarquia criolla", I9 P9Cfi39

 

(Buenos Ai es), 23 junio 1O 53.

 

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T1 1 -, n1 -- 7.1,. 1 ’ T1“! 1 \ "1 -. $2
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