them understood by the people. Thus, then, amidst the rudeness of the national customs, two arts which embellish civilized life and give vent to many generous passions, are honored and favored, even by the lowest classes, who exercise their uncultured genius in lyrical and poetic composition.
In 1840, Echevarria, then a young man, lived some months in the country, where the fame of his verses upon the pampa had already preceded him; the gauchos surrounded him with respect and affection, and when a new-comer showed symptoms of the scorn he felt for the little minstrel,[1] some one whispered, "He is a poet," and that word dispelled every prejudice.
It is well known that the guitar is the popular instrument of the Spanish race; it is also common in South America. The majo or troubadour, the type of a large class of Spaniards, is still found there, and in Buenos Ayres especially. He is discoverable in the gaucho of the country, and in the townsman of the same class. The cielito, the dance of the pampas, is animated by the same spirit as the Spanish jaleo, the dance of Andalusia; the dancer makes castanets of his fingers; all his movements disclose the majo; the action of his shoulders, his gestures, all his ways, from that in which he puts on his hat, to his style of spitting through his teeth, all are of the pure Andalusian type.
From these general customs and tastes are developed remarkable peculiarities, which will hereafter embellish the national dramas and romances, and give them an original shade of color. I propose at present only to notice a few of these special developments, in order to
- ↑ Cajeteija, little musical box.
