Most Of These Stories Were Probably Inventions And Need Not Be Told Here; But There Was One Which I Must Say Something About Because It Is A Bird Story And Greatly Excited My Boyish Interest.

I was often asked by our gaucho neighbours when I talked with them about birds - and they all knew that that subject interested me above all others - if I had ever heard _el canto_, or _el cuento del Bien-te- veo_.

That is to say, the ballad or tale of the _Bien-te-veo_ - a species of tyrant-bird quite common in the country, with a brown back and sulphur-yellow under parts, a crest on its head, and face barred with black and white. It is a little larger than our butcher-bird and, like it, is partly rapacious in its habits. The barred face and long kingfisher-like beak give it a peculiarly knowing or cunning look, and the effect is heightened by the long trisyllabic call constantly uttered by the bird, from which it derives its name of Bien-te-veo, which means I-can-see-you. He is always letting you know that he is there, that he has got his eye on you, so that you had better be careful about your actions.

The Bien-te-veo, I need hardly say, was one of my feathered favourites, and I begged my gaucho friends to tell me this _cuento_, but although I met scores of men who had heard it, not one remembered it: they could only say that it was very long - very few persons could remember such a long story; and I further gathered that it was a sort of history of the bird's life and his adventures among the other birds; that the Bien-te-veo was always doing clever naughty things and getting into trouble, but invariably escaping the penalty. From all I could hear it was a tale of the Reynard the Fox order, or like the tales told by the gauchos of the armadillo and how that quaint little beast always managed to fool his fellow-animals, especially the fox, who regarded himself as the cleverest of all the beasts and who looked on his honest, dull-witted neighbour the armadillo as a born fool. Old gauchos used to tell me that twenty or more years ago one often met with a reciter of ballads who could relate the whole story of the Bien-te-veo. Good reciters were common enough in my time: at dances it was always possible to find one or two to amuse the company with long poems and ballads in the intervals of dancing, and first and last I questioned many who had this talent, but failed to find one who knew the famous bird-ballad, and in the end I gave up the quest.

The story invariably told was that a man convicted of some serious crime and condemned to suffer the last penalty, and left, as the custom then was, for long months in the gaol in Buenos Ayres, amused himself by composing the story of the Bien-te-veo, and thinking well of it he made a present of the manuscript to the gaoler in acknowledgment of some kindness he had received from that person. The condemned man had no money and no friends to interest themselves on his behalf; but it was not the custom at that time to execute a criminal as soon as he was condemned. The prison authorities preferred to wait until there were a dozen or so to execute; these would then be taken out, ranged against a wall of the prison, opposite a file of soldiers with muskets in their hands, and shot, the soldiers after the first discharge reloading their weapons and going up to the fallen men to finish off those who were still kicking. This was the prospect our prisoner had to look forward to. Meanwhile his ballad was being circulated and read with immense delight by various persons in authority, and one of these who was privileged to approach the Dictator, thinking it would afford him a little amusement, took the ballad and read it to him. Rosas was so pleased with it that he pardoned the condemned man and ordered his liberation.

All this, I conjectured, must have happened at least twenty years before I was born. I also concluded that the ballad had never been printed, otherwise I would most probably have found it; but some copies in writing had evidently been made and it had become a favourite composition with the reciters at festive gatherings, but had now gone out and was hopelessly lost.

These, as I have already intimated, were but the little things that touched a child's fancy; there was another romantic circumstance in the life of Rosas which appealed to everybody, adult as well as child.

He was the father of Dona Manuela, known by the affectionate diminutive, Manuelita, throughout the land, and loved and admired by all, even by her father's enemies, for her compassionate disposition. Perhaps she was the one being in the world for whom he, a widower and lonely man, cherished a great tenderness. It is certain that her power over him was very great and that many lives that would have been taken for State reasons were saved by her interposition. It was a beautiful and fearful part that she, a girl, was called on to play on that dreadful stage; and very naturally it was said that she, who was the very spirit of mercy incarnate, could not have acted as the loving, devoted daughter to one who was the monster of cruelty his enemies proclaimed him to be.

Here, in conclusion to this chapter, I had intended to introduce a few sober reflections on the character of Rosas - certainly the greatest and most interesting of all the South America Caudillos, or leaders, who rose to absolute power during the long stormy period that followed on the war of independence - reflections which came to me later, in my teens, when I began to think for myself and form my own judgments. This I now perceive would be a mistake, if not an impertinence, since I have not the temper of mind for such exercises and should give too much importance to certain singular acts on the Dictator's part which others would perhaps regard as political errors, or due to sudden fits of passion or petulance rather than as crimes.

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