In Estanislao del Campo’s Fausto, a truly and “gauchesca and ” work, the vocabulary, the simplicity of its plot and the nature of it’s metaphores cannot be of a more unencumbered and jocose and “criollo and ” tone, or more camp flavoured. It is known that during the representation of Gounod’s opera Faust at the old Colon theatre in Buenos Aires, Del Campo improvised for the benefit of Ricardo Gutierrez -phisician, poet and friend- some short and “gaucho and ” remarks about what they were seeing. Encouraged by the amused Gutierrez, Del Campo decided to put his and “gauchipoeticas and ” remarks by written, and in little more than a month the book became a huge literary success. Its hilarity lies in the fact that the gaucho is a peasant, and through his point of view the actions take the graphic simplicity of the camp world, blithely distorting the medieval drama. Reading Fausto today is as much fun as it was a hundred and forty years ago, reason enough to do it without the need of considering that it also integrates, along Hilario Ascasubi’s Santos Vega and Jose Hernandez Martin Fierro, the gauchesca poetry ultimate trio. The lexicographic notes included in this edition are the result of a research work based on the following sources: Eleuterio F. Tiscornia and “Edicion critica de Poetas Gauchescos and “, Ed. Losada, Bs. As, 1940; Emilio Solanet and “Pelajes Criollos and “, Ed. Kraft, Bs. As. 1955; Tito Saubidet and “Vocabulario y refranero criollo and “, Ed. Kraft, Bs. As. 1943; Juan Carlos Guarnieri and “El habla del boliche and “, Editorial Florencia and u0026 Lafon, Montevideo 1967; Juan Carlos Guarnieri and “Diccionario del leguaje campesino rioplatense and “, Editorial Florencia and u0026 Lafon, Montevideo 1968; Daniel Granada, and “Vocabulario rioplatense razonado and “, Imprenta Rural, Montevideo 1890; y Ramon R. Capdevila and “1700 refranes, dichos y modismos (region central bonaerense) and “, Ed. Patria, Bs. As. 1955.

Fausto (Spanish Edition) PDF

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