military and Tiffany Rings very masculine

Here Boussingault points to three hallmarks of masculinity identified by Brown: tiffany rings rank, equestrian skills, and facial hair. His first references to this individual are grammatically masculine; all identify the subject according to bodily activities, location, and dress; and all reveal the author's assumption that the individual accompanying him on this outdoor scientific excursion is a man, to whom he refers as 'jinete', 'oficial superior', 'coronel' and 'él'. However, the complexity of this subject's gender performance comes to the forefront at the moment of revelation, when the narrator tiffany rings identifies the rider's body space as female.

The narrator conveys his surprise by establishing a stark contrast between the very military and Tiffany Rings very masculine individual described to this point, and the very beautiful, feminine subject that he is about to represent: 'ví que el oficial era una mujer muy bonita, a pesar de su enorme mostacho' (111). By continuing the use of the masculine article 'el' with 'oficial', until the moment when he identifies the subject as a woman, the author prolongs the suspense and intensifies the reader's surprise at discovering that the figure dressed as a colonel and rather recklessly handling her horse was, in fact, a woman, and a beautiful one at that, a point that is further punctuated and made ironic by the enormous moustache that she wears, particularly at a time when facial hair was associated with virility, military experience and masculinity (Brown 2006: 50-51).

The narrator further feminizes his subject by appending her name with the diminutive suffix -ita, thus tiffany rings Manuela's commonly used nickname and identifying her as Bolívar's lover. In so doing, the author not only disregards the physical symbols of Sáenz's military (read 'masculine') status but he also nullifies the position of authority previously held by this colonel and repositions her in a subordinate social space relative to her male lover. Thus, the narrator's naming of 'Manuelita' is a pivotal moment when representation transitions from that of the male colonel atop the horse to the beautiful lady underneath the male disguise. The image of the military uniform and skilful jockeying that initially marked this subject's body space as masculine have been eclipsed by the rider's tiffany rings face; Sáenz is thus reassigned to her female body space, which, in being identified as 'la amante titular de Bolívar', ceases to be simply her own. It instead becomes the possession of the notoriously virile Liberator and an object of beauty admired by the narrator.