the cliff overlooking the Tequendama Falls

When Boussingault recalls Sáenz's death-defying approach to the cliff overlooking the Tequendama Falls, he tiffany cuff Links familiar nineteenth-century Western notions of femininity. Describing how he and Dr Cheyne tried to save 'esta loca y bebida mujer', he writes, '[Cheyne] se prendió a un árbol mientras enrollaba a su brazo izquierdo las largas y magníficas trenzas de la imprudente que parecía resuelta a saltar al vacío. Así pasamos Cheyne y yo un terrible cuarto de hora, hasta que al fin, con intervención de los amigos, se pudo llevar a la muchacha a un sitio seguro' (112).

Noteworthy here is the condescending use of the word 'muchacha'; once identified as 'jinete', Tiffany Cuff Links superior' and 'coronel', Sáenz is now identified as 'mujer', 'Manuelita', 'coronela', and finally 'muchacha'. What is more, this 'muchacha' must be kept in her place (understood as her 'safe' and 'protected' place) by the narrator and the other men present at the waterfall. Typical of nineteenth-century notions of femininity, this gender representation resonates with what Catherine Davies (2005: 7) finds in her analysis of Simón Bolívar's discourse in tiffany cuff links Manifiesto: 'The "son" will need to restore masculine values to this lamentable situation: that is, strength, unity and force. The feminine is presented therefore as both in need of protection and as a threat to order'.

Manuela in Domestic Space: Eccentricity Bordering on InsanityWhen Boussingault's narrative moves from the tiffany cuff links and open (masculine) space of the Tequendama Falls expedition to the safe and enclosed (feminine) space of Sáenz's home, it represents its subject as more feminine and more highly sexualized.9 Repositioning Sáenz within domestic space, Boussingault writes, 'Por la tarde los excursionistas del Tequendama estábamos reunidos en los salones de Manuelita, quien parecía fresca y adornados sus tiffany cuff links con flores naturales.