The Argentine peon inherits much of the ready wit and extraordinary gift of repartee of his immediate ancestor the GAUCHO; of whom he is the modern representative. With whom, however, a concertina has most unfortunately taken the place of the guitar. But as a bachelor he is the same flirtatious, lady-killing scamp; loving often and riding away from, most frequently instead of with, the lady of his ephemeral choice. His wit, and hers, most frequently take the form of double entente. An interchange of chaff has always one perfectly innocent superficial meaning and another the realization of which would redden the ears of a British bargee. Both parties to this skilled contest of phrases keep perfectly immobile countenances and neither gives a sign, except by his or her, always latent, reply, of any perception of the underlying significance of the conversation. This exchange of wit is a form of art derived from the gaucho _Payadores_ or minstrels, who improvised their songs in verses which, on the face of them, were hymns to Nature in its purer forms, and contrived simultaneously to either hugely amuse ribald company or else to convey insult to a present rival payador who answered in like manner in his turn; hidden insult being thus intentionally heaped on insult till a fight with knives succeeded singing. A fight in which all present took sides and joined. Thus were Sundays enjoyed in the PULPERIAS (canteens) of the older times, over a quarter of a century ago. A now almost lost art of those days was the knife play in which the gaucho was then an extraordinary adept. Even now gauchos may be found, in the distant northern Provinces, who in a duel, according as it be a serious or a playful one, can kill or just draw a pin-prick’s show of blood at will from their adversary. In these duels the knife is kept in constant rapid, dazzling movement, while the _poncho_ or gaucho shawl, with a slit through which the head is passed when wearing, is wrapped round the left arm which is used as a guard. The gaucho was a picturesque figure in his _chiripá_[4] or festal, wide-bottomed, lace-frilled trousers, a broad leathern girdle studded with silver coins and his silver-mounted, high-pommelled saddle. The _chiripá_ and girdle remain; and one may still see a camp dandy glorious on feast-days in a saddle adorned with silver mountings.