"Sons of La Malinche"
|In this chapter, Octavio Paz discusses the fact that machismo is an offshoot of Mexican historical patterns. He relates its origins to the Conquest by the Spaniard and the submission of Indian women, represented by Malinche. He describes the macho in behavioral patterns that relate to sexuality and explains the Mexicans' concept of the hero, with the juxtaposed figures of Cortés, the conqueror, and Cuauhtémoc, the conquered. The following selections come from pages 80-88 of the Grove Press translation by Lysander Kemp.|
In all civilizations, God the Father becomes an ambivalent figure once he has dethroned the feminine deities. On the one hand, the Father embodies the generative power, the origin of life, ... On the other hand, he is the first principle, the One, from whom all is born and to whom all must return. But he is also the lord of the lightning bolt and the whip; he is the tyrant, the ogre who devours life. This angry Jehovah, God of wrath, or Saturn, or Zeus the violator of women is the one that appears almost exclusively in Mexican representations of manly power.
The macho represents the masculine pole of life. The phrase "I am your father" has no paternal flavor and is not said in order to protect or to guide another, but rather to impose one's superiority, that is, to humiliate. Its real meaning is no different from that of the verb chingar and its derivatives. The macho is the gran chingon. One word sums up the aggressiveness, insensitivity, invulnerability and other attributes of the macho: power. It is force without the discipline of any notion of order: arbitrary power, the will without reins and without a set course.
Unpredictability adds another element to the character of the macho. He is a humorist. His jokes are huge and individual, and they always end in absurdity. The anecdote about the man who "cured" the headache of a drinking companion by emptying his pistol into his head is well known. True or not, the incident reveals the inexorable rigor with which the logic of the absurd is introduced into life. The macho commits chingaderas, that is, unforeseen acts that produce confusion, horror and destruction. He opens the world; in doing so, he rips and tears it, and this violence provokes a great, sinister laugh. And in its own way, it is just: it reestablishes the equilibrium and puts things in their places, by reducing them to dust, to misery, to nothingness. The humor of the macho is an act of revenge.
A psychologist would say that resentment is the basis of his character. It would not be difficult to perceive certain homosexual inclinations also, such as the use and abuse of the pistol, a phallic symbol which discharges death rather than life, and the fondness for exclusively masculine guilds. But whatever may be the origin of these attitudes, the fact is that the essential attribute of the macho power almost always reveals itself as a capacity for wounding, humiliating, annihilating. Nothing is more natural, therefore, than his indifference toward the offspring he engenders. He is not the founder of a people; he is not a patriarch who exercises patria potestas; he is not a king or a judge or the chieftain of a clan. He is power isolated in its own potency, without relationship or compromise with the outside world. He is pure incommunication, a solitude that devours itself and everything it touches. He does not pertain to our world; he is not from our city; he does not live in our neighborhood. He comes from far away: he is always far away. He is the Stranger. It is impossible not to notice the resemblance between the figure of the macho and that of the Spanish conquistador. This is the model more mythical than real that determines the images the Mexican people form of men in power: caciques, feudal lords, hacienda owners, politicians, generals, captains of industry. They are all machos, chingones. The macho has no heroic or divine counterpart. Hidalgo, the "father of the fatherland is a defenseless old man, more an incarnation of the people's helplessness against force than an image of the wrath and power of an awe- inspiring father. ... Finally, there is no especial veneration for God the Father in the Trinity. He is a dim figure at best. On the other hand, there is profound devotion to Christ as the Son of God, as the youthful God, above all as the victimized Redeemer. The Mexican venerates a bleeding and humiliated Christ, a Christ who has been beaten by the soldiers and condemned by the judges, because he sees in him a transfigured image of his own identity. And this brings to mind Cuauhtémoc, the young Aztec emperor who was dethroned, tortured and murdered by Cortés. Cuauhtémoc means "Falling Eagle." The Mexican chieftain rose to power at the beginning of the siege of Mexico, Tenochtitlan, when the Aztecs had been abandoned by their gods, their vassals and their allies. Even his relationship with a woman fits the archetype of the young hero, at one and the same time the lover and the son of the goddess. Ö He is a warrior but he is also a child. The exception is that the heroic cycle does not end with his death: the fallen hero awaits resurrection. It is not surprising that for the majority of Mexicans, Cuauhtémoc should be the "young grandfather," the origin of Mexico: the hero's tomb is the cradle of the people.
If we ask about the third figure of the triad, the Mother, we hear a double answer. It is no secret to anyone that Mexican Catholicism is centered about the cult of the Virgin of Guadalupe. In the first place, she is an Indian Virgin; in the second place, the scene of her appearance to the Indian Juan Diego was a hill that formerly contained a sanctuary dedicated to Tonantzin, "Our Mother," the Aztec goddess of fertility. We know that the Conquest coincided with the apogee of the cult of two masculine divinities: Quetzalcoatl, the self-sacrificing god, and Huitzilopochtli, the young warrior god. The defeat of these gods which is what the Conquest meant to the Indian world, because it was the end of a cosmic cycle and the inauguration of a new divine kingdom caused the faithful to return to the ancient feminine deities. This phenomenon of a return to the maternal womb, so well known to the psychologist, is without doubt one of the determining causes of the swift popularity of the cult of the Virgin. The Indian goddesses were goddesses of fecundity, linked to the cosmic rhythms, the vegetative processes and agrarian rites. The Catholic Virgin is also the Mother. Ö The Virgin is the consolation of the poor, the shield of the weak, the help of the oppressed. In sum, she is the Mother of orphans. Ö The cult of the Virgin reflects not only the general condition of man but also a concrete, historical situation, in both the spiritual and material realms. In addition, the Virgin the universal Mother, is also the intermediary, the messenger, between disinherited man and the unknown, inscrutable power: the Strange.
In contrast to Guadalupe, who is the Virgin Mother, the Chingada is the violated Mother. Guadalupe is pure receptivity, and the benefits she bestows are of the same order: she consoles, quiets, dries tears, calms passions. The Chingada is even more passive. Her passivity is abject: she does not resist violence, but is an inert heap of bones, blood and dust. Her taint is constitutional and resides, as we said earlier, in her sex. This passivity, open to the outside world, causes her to lose her identity: she is the Chingada. She loses her name; she is no one; she disappears into nothingness; she is Nothingness. And yet she is the cruel incarnation of the feminine condition.
If the Chingada is a representation of the violated Mother, it is appropriate to associate her with the Conquest, which was also a violation, not only in the historical sense but also in the very flesh of Indian women. The symbol of this violation is doña Malinche, the mistress of Cortés. It is true that she gave herself voluntarily to the conquistador, but he forgot her as soon as her usefulness was over. Doña Marina becomes a figure representing the Indian women who were fascinated, violated or seduced by the Spaniards. And as a small boy will not forgive his mother if she abandons him to search for his father, the Mexican people have not forgiven La Malinche for her betrayal. She embodies the open, the chingado, to our closed, stoic, impassive Indians. Cuauhtémoc and Doña Marina are thus two antagonistic and complementary figures. There is nothing surprising about our cult of the young emperor," the only hero at the summit of art, "an image of the sacrificed son and there is also nothing surprising about the curse that weighs against La Malinche. This explains the success of the contemptuous adjective malinchista recently put into circulation by the newspapers to denounce all those who have been corrupted by foreign influences. The malinchistas are those who want Mexico to open itself to the outside world: the true sons of La Malinche, who is the Chingada in person. Once again we see the opposition of the closed and the open.
When we shout "¡Viva México, hijos de la chingada!" we express our desire to live closed off from the outside world and, above all, from the past. In this shout we condemn our origins and deny our hybridism. The strange permanence of Cortés and La Malinche in the Mexican's imagination and sensibilities reveals that they are something more than historical figures: they are symbols of a secret conflict that we have still not resolved. When he repudiates La Malinche, the Mexican Eve, as she was represented by José Clemente Orozco in his mural in the National Preparatory School, the Mexican breaks his ties with the past, renounces his origins, and lives in isolation and solitude.
The Mexican condemns all his traditions at once, the whole set of gestures, attitudes and tendencies in which it is now difficult to distinguish the Spanish from the Indian. For that reason the Hispanic thesis, which would have us descend from Cortés to the exclusion of La Malinche, is the patrimony of a few extremists who are not even pure whites. The same can be said of indigenist propaganda, which is also supported by fanatical criollos and mestizos, while the Indians have never paid it the slightest attention. The Mexican does not want to be either an Indian or a Spaniard. Nor does he want to be descended from them. He denies them. And he does not affirm himself as a mixture, but rather as an abstraction: he is a man. He becomes the son of Nothingness. His beginnings are in his own self.
This attitude is revealed not only in our daily life but also in the course of our history, which at certain moments has been the embodiment of a will to eradicate all that has gone before. It is astonishing that a country with such a vivid past, a country so profoundly traditional, so close to its roots, so rich in ancient legends even if poor in modern history should conceive of itself only as a negation of its origins.
Our shout strips us naked and discloses the wound that we alternately flaunt and conceal, but it does not show us the causes of this separation from, and negation of, the Mother, not even when we recognize that such a rupture has occurred.
The Mexican and his Mexicanism must be defined as separation and negation. And, at the same time, as a search, a desire to transcend this state of exile. In sum, as a vivid awareness of solitude, both historical and personal. History, which could not tell us anything about the nature of our feelings and conflicts, can now show us how that break came about and how we have attempted to transcend our solitude.
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