Octavio Paz, through this essay
Introduction
Octavio Paz, through this essay, tells us about the masks that Mexicans use, which are changing, since they are used to refer to the mechanisms of defense, resignation and irony that hide reality. He continues to refer to the branch, where he reflects that in our culture by saying he refers to showing himself, exhibiting, which is visualized as a weakness; This is where another Mexican mask enters: machism Good wife and mother.
Developing
Another mask of the Mexican is the lie, where his deficiencies are reflected, what he is and what he wants to be. And despite the postures and lies it ends up being what was simulated to be, which leads to live in a fictitious reality, out of reality. Love is present through the mask of the lover, when we fall in love we open, we show our intimacy, since, according to the author, an old tradition wants the one who suffers from love to exhibit his wounds before the person he loves.
Appearances are the most diverse masks, the Mexican is both afraid of them, as he has love. That is why he hides, he disguises himself with what he finds until he is confused and evading. It appears to be something else and even prefers the appearance of death or not being rather than to open its intimacy and change. Not only does it appear, but it also hides, hides itself and becomes almost ghostly transparent, and in turn. Hide the existence of those around him, we must not confuse him with denying the existence of someone, or making him less, but according to the author we ningguane. The none is an operation that consists in making someone, none. Nothing is suddenly individualized, body and eyes are made, none.
The Mexican is known worldwide for being a true party, every occasion is good to meet, any pretext works so that the march of time is interrupted and thus celebrate as possible. As is embodied by the author we are a ritual people, and this makes a well -developed and refined imagination. The party becomes an art. Only in some parts of the world you can live a show that is lived in the religious festivities of Mexico where all with its colors, its dances, ceremonies, typical costumes, sweets and objects that are sold those days in squares and markets.
Even in the most hidden and poor corner of Mexico, there will be the perfect pretext to celebrate something, it attracts attention as the author mentions that our poverty can be measured by the number and sumptuousness of the popular festivals, since there is nothing more important for the inhabitants of these places, to celebrate their patrons saints.
These celebrations are the pretext for the Mexican to open abroad, give him chance to reveal himself, to dialogue, with friends and relatives. During the party the soul is downloaded, the cry resonates, the friendship resurfaces, and those friends who revive get drunk, make confidences, they cry penalties, the lovers carry serenade, the bad words and the jokes do not wait. The unknown arises from what if all this makes them forget about themselves, which nobody knows. The most important is to enjoy the party and the benefits that it will bring.
One of the celebrations that most attracts attention is the infallible day of the dead. The natives already celebrated it since before the arrival of the Spaniards. They had the belief that life continued after death. Death had an important connotation, which was lost over the years, today, it is only a process that passes by man, it is no longer a celebration, because there was a change in the paradigm and now it is believed that nothing happens, that with the last sigh all ends.
This essay is considered one of the best known, in which Paz makes a deep reflection on the loss of identity to which the capitalist system takes, where the worker becomes a number, it is only the labor and does not represent plus. What they manufacture become consumers.
conclusion
Sometimes the Mexican is demarcated from what he is, and this due to what he has gone through the length of history, such as colonization, wars, which made him believe that he had been forgotten by his gods. In the search for that lost identity, the shout of liberation was created, evoked in independence: Long live Mexico, children of the fuck!, But who is the chingada? From this expression, it is where the rise of this essay is considered. The fuck is used with different connotations, according to the moment in which it is said, to the person that is told, its meaning is changing.
Paz points out that the fuck is that indigenous woman who with the arrival of the Spaniards was desecrated. She is the mother open, raped or that she was mocked by force, that she was fucking. The role of that violent indigenous woman falls to Malinche, which is said was Cortés’ lover, and engendered children are the product of rape. Thus, the children of the chingada are all those born from which I collaborate with the invasion of the conqueror, they are not the Mexicans, they are the others, the enemies, the foreigners, the outside of Mexico. And from there the phrase full of sarcasm and humiliation flows, the shout of rebellion. Mexicans become orphaned as a mother and live their loneliness.
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