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"Involuntary Humorist," Margarito Ledesma
Poetic San Miguel

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June 1, 2025

by Catherine Marenghi

 
This article is the second in a series on poets and poetry, both past and present, with roots in San Miguel.
 

Among the many historic street signs in San Miguel is one in colonia Guadalupe named "Margarito Ledezma." Unfortunately misspelled with a "z" instead of an "s," it is one of the many city streets named in honor of literary luminaries.

The renown poet and writer Margarito Ledesma lived many years in San Miguel, dying here in 1974. He is the author of works such as Poesías (Poems) and Tradiciones y Leyendas de Sanmiguelenses (San Miguel Traditions and Legends).

Others among the many literary street names include:

• Calle Ignacio Ramírez. Known as "El Nigromante," Ramírez was a prominent 19th-century poet, journalist, and liberal politician. His legacy is celebrated at the Centro Cultural Ignacio Ramirez "El Nigromante," also known as Bellas Artes, located in the former convent of La Concepción. He was known as the Necromancer for his daring views that challenged political and religious norms.

• Calle Juan de Dios Peza. Named for the prominent 19th-century Mexican poet, journalist, playwright, and politician, Peza was known as "the poet of the home" for his lyrical and accessible style focused on family life and everyday values. Many of his poems were made into popular songs.

• Calle Francisco González Bocanegra. Bocanegra was a lyric poet, playwright, theater critic, orator, and columnist, best known as author of the verses of the National Anthem of Mexico, whose music was written by Jaime Nunó — another artist with a San Miguel street named for him.

Still other street signs that honor the arts more generally, paying visible tribute to those who have enriched our city's cultural heritage, include:

• Calle Padre Mojica, named for the renown Mexican tenor and actor, who retired in San Miguel de Allende and contributed generously to the city's cultural development. His former residence became the Hotel Villa Santa Mónica, on the street that bears his name.

• Calle Stirling Dickinson (we cannot forget), named for the American artist and cultural promoter, and a key figure in establishing San Miguel de Allende as a vibrant artistic community.


Margarito Ledesma

Margarito Ledesma (1887-1974): Involuntary Humorist

Margarito Ledesma was the literary pseudonym of Leobino Zavala Camarena, a Mexican lawyer, notary public, and politician. Born on June 28, 1887 in Comonfort (formerly Chamacuero), Guanajuato, Zavala adopted this alias to develop a unique poetic voice that combines humor, social criticism and satire, earning him the self-proclaimed title of "involuntary humorist."

Leobino Zavala studied law at the State College in Guanajuato, graduating in 1910. He practiced law as a notary public in San Miguel, where he also founded the Commercial, Nursing, and Midwifery Secondary School in 1930, serving as its first director. He was also a federal deputy in the 27th Legislature and a state deputy in the 36th Legislature of Guanajuato.

Zavala created the character of Margarito Ledesma as a fictional figure, presenting him as a naive, provincial poet who sent him his verses for review and publication. It began as a way to entertain his ailing mother, who enjoyed the humorous verses he wrote. After his mother's death in 1932, Zavala vowed to publish these poems in her memory. The pseudonym also served the purpose of separating his public and professional life from his poetic pursuits.

The main work attributed to Ledesma is the book Poesías de Margarito Ledesma: Humorista Involuntario (Poetry of Margarito Ledesma: Involuntary Humorist), first published in 1950. It is his only published work of poetry and combines humor, satire, and social critique. Due to its popularity, this collection has been reissued several times, including in an anthology titled Su inútil servidor (Your Useless Servant) by Margarito Ledesma, published in 1999 by the University of Guanajuato and the State Congress.

Among his most recognized poems is "Orillejos," a piece that plays with the traditional ovillejo form, a 10-line Spanish poetic form popularized by Cervantes, using wordplay and local references to create a lighthearted and nostalgic effect. This poem is notable for its wit and its portrayal of life in the towns of Guanajuato. Here are some of its verses, presented here in Spanish – the playful rhyme is unfortunately lost in translation:

 
¿Qué como cuando hago rimas?
-Unas limas.
¿Qué pueblo es el que más quiero?
-Chamacuero.
¿Y quién murió alrededor?
-Comonfort.

Por eso con gran sabrosor
seguiré haciendo mis rimas
y gustando de las limas
de Chamacuero de Comonfort.
 

Perhaps his best-known poem is "Para una ingrata" (To an Ingrate), where Ledesma expresses heartbreak in an ironic and colloquial tone, showcasing his signature style as an "involuntary humorist."

That there are two very different published versions of this poem, has been attributed to the numerous reprintings of Ledesma's work, and that versions changed over time in many oral renditions. The first of these has a somewhat childish, sing-song quality:

 
To an Ungrateful Woman

I gave you my love, sincere and true,
You took it all, then bid adieu.
Now you return, with tears anew,
But my heart's closed, no room for you.

You played your games, you had your fun,
Left me alone, my world undone.
Now you claim you've seen the light,
But darling, it's too late tonight.

Go seek another, spin your tale,
Find someone else you can derail.
For me, the lesson's clear and stark:
I won't rekindle a snuffed-out spark.
 

The above verse has a somewhat amateurish quality when compared with the following version:

 
For an Ungrateful Woman

Those moonlit mercuries that gleam,
But only in the dead of night,
Remind me of a silent dream—
A stone that skips, then fades from sight.

And the bright glimmers of that sphere
That shines up in the firmament
Seem to me like the lament
Of some mortal who died here.

Ungrateful woman, importunate,
You heed not this love of mine!
As if you had the shine
That reflects from the moon's gate!

As if you were that globe so bright
That glows up in the firmament,
And I stood there, a fool in sight,
Just gazing at the monument!

As if you were a star so fair,
As radiant as the sun's own light,
One that leaves a trail in air
Of green nacre and crimson bright.

You must explain, and cease this game,
And think not that I fear your name,
For easy is to bring you shame
If you persist in causing blame.

For if you keep on importune
And start with perjuries anew,
Just think upon the mercuries
That fall at night from off the moon.
 

This version is clearly more consistent with that of an educated writer, while the former is more consistent with an unintentional humorist. Researching the provenance of these poems to determine which is authentically that of Ledesma is beyond the scope of this writing, but these two vastly different versions show the challenges of capturing popular verse with any accuracy.

Precisely because Ledesma's poems are characterized by their colloquial tone, and were ostensibly attributed to a fictional writer, we may never know the original forms of these works, but his works are consistent in addressing themes such as politics, local customs, and daily life in rural Mexico.

Another notable example is his poem "Romero y Julieta" (Romeo and Juliet), a parody of Shakespeare's work, adapted to a provincial context and using popular and even coarse language. In this poem, the narrator complains of the challenges of reaching Juliet's balcony. Here is a fragment:

 
Y de arrimarme a tu balcón no hay modos,
ni pisando quedito y sin botines,
pues sale tu mamá y avienta orines
y grita cosas para que oigan todos
 

Translation:

 
And there's no way I can get close to your balcony,
not even tiptoeing quietly and without boots,
because your mom comes out and throws urine
and shouts things so everyone can hear.
 

Other popular Ledesma poems showing a reverence for everyday things are "¿Por qué te tapas?" (Why Do You Cover Yourself?) and "Los limpiones" (The Dishcloths).

Although often dismissed by literary critics as merely a popular poet, Margarito Ledesma has been increasingly re-evaluated as a "cult poet" due to the originality and depth of his work. His unique style continues to be appreciated by readers interested in 20th-century Mexican literature.

Ledesma died on December 27, 1974, in San Miguel de Allende.


Hotel Casa Blanca 7
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A familiar sight in the San Miguel's Centro district on Calle Juárez 7 (currently known as the Hotel Casa Blanca 7) was once Ledesma's home. This 300-year-old estate that overlooks the exquisite Templo de San Francisco served as a place of inspiration for Ledesma and is now considered a historical landmark.



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Catherine Marenghi is a local poet, novelist and memoirist who has been active in the San Miguel literary scene for more than a decade. She has published three poetry books, a memoir, and a historic novel. A native of Massachusetts, she has made San Miguel her permanent home.

www.marenghi.com

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