AGUSTIN YANEZ
{NTERPRETER OF THE MODERN MEXICAN NOVEL *

Thesis for the Degree cf M. A.
MmHiGAN STATE UNEVERSWY
LIRDA M. VAN CQNANT
1967

   
     

  

LIBRA R Y
Michigan °taw
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1 is attexg'tin; to raise the (311133111 :11

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llle of Lexlco LO t.e level sees in otqec were

The Revolution of l?lO broafifit aoowt refonrs
which raised the li es of Lexico's inhabitants to a
deount level. Now a new phase is occnfirififi. In the

1330's, no lon er satisfied with a mere comfortable

1 pro;ress nus maie toxsrs a
future in unis: Lexico would rank as one of the great
naticns of the western HemisoLene. This new way of

life is r~1lr(tJi in literature as well as in OtlQP
czltur"l fields. Ken cu”rents exi st in meiting,
criticism and ideas. We shall mention here ‘ evelopmi an
in the novel as it is in that field that the suoject

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of tois pa: ?, Agustin Eases, mazes

Ho
Ho

fflie r1 1;1:1 no‘r 1 if; t5? :NESilj; o1 5&1 evcig1tioru
not a revolw i‘h, in literatnac. Griiaallj ‘“e
"SIP:?PG onalis ” of to; early Iexican novel has
chanjei to "neorroalisoo", characteri'ed by an equili‘

‘nreezi enii

,“15171

tie Revolat ion, tynified by descr3.r tie a and
c artuyter asufiLfsis, inis L 1iualfl azaszmi
psycnological, tnungsces’entsl, eri£H3H11 ial
with an emphasis 0L the artistic approach.
As the good points of the sxper-re;io

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ifilc

landscape.

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were lost through exa¢goration a reaction
mhis 3 action placed aryc influence on the

team on tre laidsca_
wi‘1 the croolens if

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was psycholo:ical

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iiv=j~a_son fa d.rajfi1 co:”lict
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enel Of lOPGILH iniluenco, arts

Vast and present, a marl; oi sue] r1rii Chan aii
snob crest diversifj“'fim1t the atte ed: t- co‘rrehe1
it caused crises both rsycholo‘ical and sociol ‘ical.
In enecal, the novelist of this periol does
not just picture the surface, but the undercurrents
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Yexrcan no v3list of those an began writing around

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ly33, a1t1on i L1sre are represenuaui¢es in 031»: Latin

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best novel, on; finds the best exahn e. Althea h its

setting in Vexico at 'se time of the Revolution, it

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1111e1 iron the ’oriis of the writers 01 the hevolutionary
period. Alefirfe com ares the others to muralists,
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a reitrait in depth of a town.

 

 

 

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QL lack of resbrath, theie Jelotionsflir prefiresees to u

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oegins to miss classes, their behavior in public is talked

and moves further and :vrtuer into *oe depths of ie ru.uulon.
She, having lost :nc respeci of her mother, cont
she irons olflor anl 33-5ually more insane, to await no
return of her lover, refusinfi to oelieve the stiries which
she heors about hie. iove wiuiout toe accompanine t of
religion is presentei as fruitless.

Frute £3 loving: etain disn1.ys a yount woman who has
on unhanpv exwerience in lo e. ifie third daughter 0; a
wealthy familfi, she is bro"“L 1p unable to perform any
useful task. Sne is hath red by her two older sister? aid
pa:~q._>.-or-3d ”or; her pare; 1133. Upon {are deuto. oi" the 5:11:13: and
the loss of the family's fortune, sne and .191? two sis tors
are forced. to ;_;o to L As cond’tuns :z;‘..~uc3=‘;1ll*~* worsen,
she loses confidence in herself. Her loss 0 -csteen
leads to a love affair with a former suitor and to no

unwanted nregnency. The love? advises an an ortio..

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' ."I . .3 .. . 3 . ’ - 3‘ ~ ‘ '

Reli1ious holieis 314 u 'rcuin, lovo lC“ nor un osn C111d

vi with fear For t5? oninion oi two toolic in general one

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y el Iruto quc no llo 6 a madurer.2

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e sola, a media munana, E
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him as only a child. iaus o c1"s sis first great dis-
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the loved one as 1.9 desigcs to sin; t‘ee little rhyme about
the Yprenchzzsn to his aint's face.

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husband for his wife anfi unborn child.

50

'ivc trars:l€ ntin of amorous heroines of

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l"(mtg-139 V pPOYGCCJ on as una SOM?Ta entre sorbras.
bsca as de AdOie scencia.01

no oi monta;e, corirn in the film
ind stry, he will troject the person about whom 16nico
Del adillo is fires in; a aisst tie backgronnd of the
1 he has been ne’”in' These stories, in
whisk the settin; is lexico, but the characters are

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shaoo 3 iron tnc paSL, late: y? SChuS tee acoles en in

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each ster of his eweticnal development.

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.51489, .irCng»iela,53, p. 3,

 

11713., p. X':i.

By placing these stories in the realm of the sub-
conscious he uses a favorite technique which enafiles aim
to give a more complete picture )f the Mn * L? He '3 rsac ion

to his experiences in love than would a mole relation of

the events. 5; relating them to “ell-nioun literarr o .3
they achieve a univ ersaliW whicn they mi ht not otherwise

“ l 0 fl _-". ‘ _
ootain. As Alexria has sale, all 0: us 2193 oeen Rolands

or Tristans, Aldas or Isoldes.

I o o 1 I .
The first story is entitled "Aida, o la ruSica."

"\

It begins with the words of Roland: "Yo conoc a mi primer
1 - / _ .4 -3 . - 4. "62m -
amor. Deoio ser una nina uulce y triate. leis Jirs t love,

(3

whose name was Alda, was the sister 0. a school friend,

0 D / n O O W
Oliverio. Roldan iell in love Wltn her from what her

‘.r

orother told him about her. He was to To to visit he:

fam‘ly, but before he could do so, her fatder died. lee

~

letters which he wrote were not ans..rto, his frienr did
not retm n to sc1ool, and he lost track of the fivilg.
During the .ext few months ne became an international
swimming champion. 10'.: 3V tired of that life, he left
and the neuseao~ns re} ortei that he hal oee n kills; in

he jungle. Remembering his love for Alda, he decided he

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should a; sin atten13t to visi‘ family of nis friend.

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al'lm m1gh at first he couldn't find then, he eventwally

succeeded in 61in 3 flowerer, he found that Alda, who

.1...

had loved bin also from what her 1“rs/1,4331" had written
about him, had died of a br3 ken heart when she had heard

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hi snpposei flea; .
At the end of the story the reader le3rns that the

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drea:s 01 honieo Delgadillo is oaSea on tne romance of

Rolanfl and Alda.

. . .., , V I. ,
Tne title of tn= Story "Alas, o la HUSJL " su res:

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one important theme. Alia is equated throughout tee story
with oeziuti inl music. T38 first time her 3nne is rentienei
it is in connection mitt music as her brother sags, ”A113,
mi hermana toca ese coral e3 e1 clavicordio de la casa."5

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ine music was of particular sweetness and we are told,

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. / -. 1/ /
"...la ascensie; se la melo'xia...‘.ne to'no cono per 08

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ca3ellos, me levante nacia desconOCiios aires v fu

l I / g .,
nos:randone alma reT73n luc1ente,gredes e3 biend13za.

—.-.—— -—~—-‘.a.i.-—

4‘!
Una pala3ra leve: Alia, volaha p3ralela,..."“4 Fro”

this Pnifit en, music ani Alia are unitel in 31s t*nW”nts.

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Hombre, un espfcitn lacien en ni.'35

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ROiauJ desccioes n)? as lufilows:

s1lailenients, junto a1 clavicnrdio,
entre venados y iais anes, impasible a mis 011;s,
a mis gritos, a ris llamaias tras del canela c1ne
la cuajdeba, y donle 133 vibraciones del mar parecf
531110: anra;t aios a1 ole vicordio;...T

Alda, serene, re

2111

In the section of the story written entirely in
itaTics the mini on the pretajonist, lost in Jvea 3, fight:
his wav tovavi this Aida filo nlafei tn: clavicsnu ‘dron
tee lonfi silent evenings Full of stars. Var home was
Tweetan and it is afiainst the ancient monstees anu jais of

1

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;-— «Alfie es“ rawe, dejare ver tlS
ego {1'18 sal' a el sol... (<37
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transii ITOS carnos (P1'r11na“, ‘vfijo la lnurr, r
entie pirfmides: -*«les siete r5 ‘<ies de la sa raia
o 1 -. ~ ’ yfiv.
Ciuuad (.1173 1 m 10 13a :15; . . . ~ 1’

In this same drean Alda's death 18 foretold as sic
is thrown into the abyss as a sacrifice by the orie sts
. Such an augury of death will become more
prominent in later works, particularly in Al filo del agua.

9’3
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Bes'des the equating of a young girl with music and ti

(7.)

t is irteresting to ex lore th use of

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dreaos anl the que3tion of W a is real t3 in his story.
Absolute reality must be ionico Delgaiillo who has been
reeling the Ptt‘f 0i nclanfl and Alda and ha31allen asleer.
In this state is lrears c? the story 0? Rolanl anJ Alfie
transplanted to a Nexican setting. However, within this
dreazc, Roland has a iream in woich he is traosrlanted from
his collefie environment to the mysterious land of Yucatan.
This placin_ of dream within dream is an interesting
technique. It allows Z§%EZ to mhve his prota;onist finest
in space while he is still act ally asleep. It also allows

the telescoginfi Of time as characters Irom tn; past

are brought to a settiu; in the present.

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b7’anez, wi°c 17191322, r. 1?.

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space and reality will he discussed to a larger ettent in

the chatter about the thewes which are founl

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”Alia, o la maelca' 3a; cajfled LOHLCO Del alilio

hrouéh the first sta e of love, hero-worship. The second

/_ 1!

story of éiflfiifliélfilfl g2 lQiEZE§’ ”Lelibea, o la reaelacion,
carries him throu h the second step of his loxe life.

New he is Calixto, lover of Helibea. The; are t1o rair
united by Celestina in the play, La gelestgga. As a
stident on vacation from school, Calixto meets Iclihea
while searching for a lost pigeon. The sadde: meetinj
takes him by surprise. A childLood companion, she has
grown uo in his abseoce. He is tongue-tiofi. Ob returnin”

.,., ._ -/ .
how he cannot eat one fllS meteor says: ”Tu has veniio

enferWo y no has oucriCe cecirlo. Ya me inafiinaha que los
. . , ‘ .' 7 - / . : X ! '2} 1 ~ 9 a . .-
CStuleS y el emolerro te oariao asho. ~' Sic toin s .t

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non met his love, but i

istic rela'ionshir. “e has, however, Natured a tit more.
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. , .. )
-. ,_ - J- t ._ j ' 1" 1
una muerse en gonte Escoseeo;.../l
fl ' 1 l.“ 'I‘ - " - l I I' ~- ‘ A ' ‘ - _\ J ‘ '. J- . 1 A " ‘ 1
sue a tee oi a ‘incdl reflionsl su\c:Ati ijn gulps b0 us
... .0. _w s L‘ 4-“ \ _- § . _’| _ V_ . u_ 0 ‘ I
more real to tee res or tie atdosrLeje oi tee set Ln oi
t" ":"“'1“' P" _\.. "'.. fl A‘jfi',‘ 'C‘ ' r "- “\‘-“4 Am". 3- J" ‘bfifi “LAW“; A
1.18 obvi J o l 9.3.40.1“; ed- 02 ..J _ .114.“ ;'L.‘.-'. --». g, lul but/0'; .9 ...L 1.1;
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1A.) lg ‘1'...“C ‘..L.‘ J 0.: L). _L (AC1 U x) ' .LJ.1 01.x; 21:3;1 0"; ___,1.-,k, Q'v U LngJ {.1
1'1 . . '1‘. r r '\ c' '1“.‘\ ‘ q '1". J‘ : ' 'E- '3" ‘7, . ‘ ‘. ‘ I‘. '.‘, '_‘l.\
slit 1“): at L5 JyJC oi tae location Lad Lit in .lL; L-O
4- A. —.A u, ‘ J- .1 .9. 1 r - J. an. 1.. - ... 2
eul3b tuis cn. tie (IIQPQCAMLBS 441 ortxn) to lain” a [UllllCLL"1O
.7 - .- ,‘ .2 . 4: - . H-r , ,- .-, 1
we certalrflfirsucceeus in unis purpose iu iso he e la ucl
'1'- 4.1 ...-s - - . ,- rt .1.1 , . ‘ .. H ‘12-. I H , .
:11 Lil? Lgxfiil 3.x13 0. tie .« :1” 'D:.¢1 .1ezbce el .13
q ’ "‘ " g V _ t x- 1 s v ' -'- —- — 1 J“! \ . ’I‘ ~ 9-! -~
*3 n s .u1ullr :eacse\ MJb 3 ~;. ~¥o' t1; Ululg .e L \
" ' 4.1 - - . . .1 J- ‘, n '1 . 1 1 - 1 A
tAat [axe hf0u3 on em use LCfliu coil love.

/
1,.7l “-. H5 , ’3
.Lv'.“ ‘. li’ . (all.
“.-.-QM

 

.. -_0_, i .
inc st ry be3ins 'Don Jaag vs a

As it mMNAHaes we find that he is no longs

‘ .1 ll .1 4 ~ , ...-, 7 4. 4-7 .. ' . . "3. -£
;uu1 the. ac once 3 o, out Patna? sas seut 31 13”“ out

bec me 3 vood twat133 . flis new attitude toward life is
illustrated by the folloaing; quotation.

éPudo antes ins 'nar
siquiera ste conce to? La nefisevera1c a dc su
. . 1 J I
anor -aoora- 1e consegu: a el doxle milafiro he fe
y es3ewanza en la tringdad de un hog ga;3: su hogar,

e1 ho3 _ap ie ion Tlan.

Fntnro rvnrfec cto.

He doesn't understand how he .vas c:au3ht, b1t soinowindces
that he is. His wife is exnecting a child, one on which

he had not planned. His thoughts 1P8 now f3cqsei on the
child to C3me. He worries about what it gill tfink of its
father. In his dreags the fathers of the women he deceived

er if the child is a girl.

:‘3‘
Cf‘

will rctvrn to deceive his da331
Dreaminfi again, he sees the baby as a boy and a monS‘

Iiis description tgpifies the type of hallucinatian the
o _ -_1 w .. _w o 1_ --’~ .
subconscious c.n conjure mp 1n the areans NfllCn ianca
130? 1:33.: ‘3 ys .

labios lcnorinos

”’3
‘D
}..J
U
{‘4
C.)

I
. . .ho33r'iole t1a :aloce.
y acondanlas tico.

Og‘trl‘V 5 0 0/
’ ianez, Arcsggieiaso, p. 201.

5933mm, 1.3. 207.

73

In hischwam also a pear the frimaoing women awose innocence

ne-fimmd. He sees Tlsbea, Aminta, Isabela, dofia Ana, “oaa

C nstanza ani Jilieta, new cortesans.

'TP 4. 4 3 4— - , '2.— :_ 3 ,\ .1 v _‘ -
“13 meluéll state Is ureauly aflitatea ans as oes to

doctors for myriafls of tests. dis wife too is swbjeofied

to numerous examinations in order to make sure there is no

reason for too baby to be less t“an per feet.

Finally, the Ian War' 11—.ne of‘tfiue story, reikymetion

c 1'
{D

, - Au .
1" maue clear. W’ an3 z writes:

through love, s

Ha maerto don Juan; pero hasta la muerte -n0j-
es jubilosa: pasa e1 entierro del necador entre
serenatas de catpanas. Ha naoido Juan a otra Vida
qae 1e bnsco el EJEOP de do:na Ines.”i '

In this woman the prota;onist finds what has not been there

in anv of “he other stories, a true love so strozb that
it change him, bin ds him to its object, and makes his

I o w v ~ 1 3 ~-‘
Yanez has carriea tne reader tnrougn all the "ssoalas

" In Solo? so he has mafle of cash stony

, - - -- - «I 5 42-133“. 4
a nunatafie of‘elemeits, paSL anl present, pro.‘ alil*:en:

nt a veneral ratner than a sneoifio

~_)

locales, in order to prese

*‘b

nicfruue, a port aval oI the exoeriences o a typical yo”n*

tuna and 1.}Mt s of all youaf men as they move tnroayb the

13

varicmus stages 01 eaotional development.

‘31:: v'lgov 5?! ° 3'. ’1‘ “33
2' ‘.Lalxvu, $14.0 ILLG 1‘0, ‘0. C‘, o

 

 

 

 

3 Al file 331 aiua
Al fi l.3_131 a333 mas a tore awnitiens fictional CinPt
‘1’” I _ . 1 T _o 1 n0 0+.
liaizanOI Lanes 3 nseceding 'orjs. -t 18 aeiiniuely an
1 I o o I ‘ ... .,
actual novel Willa \"c111131313 13 ”Ll?9¢S ana Flor oe
jaegos ant13333 might be considered collections of short
stories or short novels.
Preceding the first c..aum'=‘1 of Al file 3el aiua is
17/ , . n o n l ’.1.
lanes's exniar at 1c n 01 the meaning 01 tne novel's tlble
plus a brief resume of his purpose in JPltlfl it and the
methods usei in atte:.tin to achieve that purpose.
. fl 0 I 0
Al nfilo eel a 33 es una expreSIOn camp331na
q'e Si; ifica el mezngnto de inic1arse la lluvia
y - en sentido fir uraao, may coman - la inminencia
0 el principle do an snee so.
QL1ie nes prefie.an, puelen intitnlar este libro
*1 I '2
an an la: r del Ar zobi 3333c, El anti 1e re 33a, 0
de cualQIier node se‘reqande. Sus ginas no tienen
argumento previo; se trata ae vidas - canieas las
- one r11edan, que son

llama
dejaflas rodar en
en un lugs; de Ar

{1

V

une de los preta:onistas
strecho limite de
vo>1sraar

tiemoo y esne cio,
cayo nombre no imnorta

1"e'-3eorda‘m.r'b
. . . .4 .
NGItTM%? the exact sett1n395 nor the plot of the novel 13
, /~ . .

:Lwnortmuat. Rather, fanez 13 trying to evoke the atmosphere
found. in any small, tra iiti on-bonn‘z Ie‘-<.': can town inane} ately
gorecmuiin; a.rmjor chanfie such as the Revolution of 1913.

QSV/N .

1'.1anez, l f1lo, p. 2.

04 . . . .

/tCPt 13 prooael, aiualica.

33 filo del atua is not a conventional novel

 

tOE VHN'QT a plot a1icn contin es throwfibout the work, a

G.)

rflot to fibidn all the actions of 1c claractc- contribute.

Nor is t are any one person who is tie ”main character,

Viv...

the prota3cnist of the novel. i1e ordinary process is

reversed as the plot and characters are re legated to a
the town's atrr':ospher becomes its

'.J

secondary position and

primary concern. The town itself is the protagonist ani all

tiie

1n cidents WliCh occur conzribute to the portrayal 01

atmosphere or p<rsonclitv of this protagonist. The novel

called the "psychological analysis of a to=:.:n"‘7

(D
:5

has be

The unitv of the work which makes it possible to

call it a novel is provided by two factors. The first is

this atmosphere toward which all incidents contribute. It
an aura of frustr Hon.

is characterized by a monotony and
aura is the

.L

The primary inf uence in tile developr1ent of t1is

<fi1urch, tflue strongest re sur11n1n- influence of the town's
ixfluabitants. 'heir lives are built around its rituals. Its

iniflx1e 1108 on tiie people, esivecially the women, leads to con-

jplexes, Iinuflnuuaon and nLibition.

QVEEIaine Eaddafl, "The StPUCtJPG of Al filo 3el a ua,”

ffisrarmxa. September, 196%, Vol. XLVII, N0 ~39* 527- 11:33.

Because the church resists nej ideas it comes into
’

' ‘.
~.—

' . V' '. ‘ ‘ 1 ‘ ‘ “ 1 . ‘... '. ‘ < " 1‘ “£- "1 ‘ -v 77 '\
conflict ”its tne secono UHILYLfld element 0i tee more, tie

- r. q . . 1 J""V ' ‘9" ' ' '7' 4‘ ‘E I- x '
approachinz revolution. It IS toe at oshnece oi nonateng

214 frustration existing not onlr in this toyn, but throw h-

out the nation which causes the desire for revolution. It

is the existence of an onnosition to ideas of reform which

makes the revolwtion eeessary. All incidents of the work

not only helm to define the atmosnhere of the tovn, bat

also lead toward the inevitable revolt against the frost—

ratin; influences which make at that atKOSfihere.

rd"

ling revolution provides

'.

In the sense that the impen

the mood oL expectation, unrest and dissatisfaction whfcs

pervaies the worn, Al f‘lo el a~na is con ectei wit: the

 

'novels of the Revolution. These earlier works were charac-

by the straieht narrstion of tie events

's-I .
x- .

."4

terized, lowever,

ifdidh occurred and by the description of

their surroundinfis. In Al filo §_l g"

deerflgi into his cqaracters than a mere phtsical description.

J \J
...-r! IV rn‘ - r‘ 'l -' - ' . - I' . - -
LflrOuttl the use OJ stress ti conseionsness, inierinc and

catterior monologue 33% other conternorarv techniqnes tvnical

of‘Irue ex1stentialist writers, of some of whose methods 20

'I V. ’ w _? , _ ,..._ .- ‘
;e fives a peg IOlOZLCQl inSi Ht into tiC

liwnes CI‘lsis characters. Lot only what each character Joes,

3.. :3 ’1} 1.11 .l

77

Twit why he does it and how he feels about it is ex ressed
by means of a portrayal of what is going on in all lOJEIS
of his ment :11 processes.

Not only does Eases give his novel a psychological
twist throajh a presentation of the reactions within each
character's mind, but he also provides a sociolonical slant
as its characters do not operate only as indivii; als, has

n
L

'\ r’; 1' ’, "V 1
as Hammers O.

society, each having an effect on eVewr

other ember of the society which the; co :nnrise. They are,
as one of his cnarac te rs says, ”canicas," marbles, rebounding
against each other within a closed circle of time and space.

It is this inter action among the characters chic?

makes a, what there is of a plot in Al lilo del a Ju.a. fie

 

plot does not follow consecutively through the novel. The
reader must piece it togetier by considering the senarate
chapters of the work, each a part of the life of one or
more of the characters. "in events in a late? chapter may
actaally have occur we] heiowe t ose treated in an earlier
one.

There are reall two plot lines in the story, the one
on a national scale which finds its climax in the Revolution
of 1910, t:1e other on the local scale which reaches its hirh
point wit: fine murder by Danian Liven of his father, don

I '0
Tiroteo Linen, and 1%1 S'eetheart iicaela Rodriguez.

78

A brief sn..rr1r1';;;"i' f the main events 111:7.th t be if? ve1 as
follows. In a Stall, traditional, charch-dominatei tan at
the time of Kadero when the country is about to era t into
revolution, various characters are thrown together in an

atmosphere of impending cataclysm.

As the work begins, don Timoteo Linen, thoth Oppressea
by guilt because of his thoughts, wishes for the death of
his sickly wife so that he may marry one of the young women
whom he has can about the village. On the night of the
return of their son, Pariah, who has been working in the
north the mother does die of the shock of his return.

The lont-awaited reunion wit“1 his son does not provide
the harniness eXpected by don Timoteo. ?oth father and son

. / .
r1, Alcaela Roariguez, wno,

f‘?‘

OJ
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O
2
S
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(I)
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like Damian, Las been to the north and been infected by the
more modern life there. Damian's dissatisfaction with life
in his small town home is evident in a violent temper which
becomes aprarent when he kills his father's dog. mic ela's
attitude is characterized iv a wish to escape to the big
city if only to attend school away from this small, dead

town, or if that is not possible, to defy the rules which

make an the frameyerk of the lives of the town's inhabitawts.

' O O O V" /
Purposely she plays father against son until finally Danian's

temper takes control and two murders are the resnlt.

It is the influence of northern ideas which caused
the disr ption just discussed. Another purveyor of swch
disturbance is Victoria Branciforie wfio comes as an innocent

Visitor dwrin; Los D as Santos and stave in the Home oi the

’..
U

I . o -~| o a I
Perez family. “er provocative JPGSS and City wars, lore‘
to tPis provincial town, excite the imaginaticns of all the

m=n and turn their minds to thonfinfis which a hall the rriests.

1

El pensariento en Victsria, la sombre de Victoria

invade las conciencias de viejos, hombres maluros 7

mancebos, pegajosamente, que ni el confesionario,
rrsiqsrla sifiuiera en los

donde se revels, lflgre deset
casados.7”

1 two men is or particular

<1

ictoria's relationship wit

immortance. lie first, Luis 9on2; a 4rez, is tqe youn_

'1 w n I 0 ‘ ‘. 1 W ' I
son 01 tne lamily witn wicm SL0 stays curin" Los Dias

‘x

1

Santos. The eifect of ner pre ence as a guest in the
household, coupled with the strict religious at osphere of
he own and the arbitign to do great ti ngs withowt the

....‘J

eversnce to stick to one thing and carr7 it out leads

K

0)

per

to ewotional conflict and sadness in the life of this

3’0 L111}: man 0

0‘,” .
/8{snez, A1 fllO, p. 165.

Her presence in the life of a second adolescent,
Gabriel Eartfnez, the bellringer, leads to his confusion,
disgrace and eventual expulsion from the town. He develOps
a crush on Victoria which causes his music on the day of
her departure to be so bad that he is expelled from the
bell-tower. The playing of the bells has been his life.
His attitude deteriorates and he is sent away to school
before a romance with Paris, the niece of the priest, don
Dionisio, has a chance to flower. As a consequence, Var a's
frustrations continue to mount until finally she escapes
with the revolutionary arnv.

One other important faction plays its part in the
development of this complicated net of circwnstances. Ede
priests, padre Islas, padre Abundio Reyes and don Dionisio
compose the three facets of church influence on the town.
Padre Isles is overly strict, stoic in philosophy and devoid
of personal friends among his parishioners. He is the
leader of the Hijas de Maria, comoosed of most of the young
girls of the town. Under his influence they are shaped
into a mold of such strictness that a happy relationship
with a young man becones almost impossible. The case of
Nerceditas Toledo is an example of this as she loses her
chance with Julian because she is afraid to accept even his

1

love notes. ne turns to and marries a girl from another town.

Bl

Padre Abundio Reyes presents a contrast to padre Islas
as he dedicates his life to initiating modern ideas through
the institution of trade unions and chances in church ritual.
Padre Reyes' ideas are not carried out, but serve to point

out how the traditional society is failing the develon

‘r-"

T10.

country with its wish for a better li

fe.

Padre Dionisio is important primarily because of his
two nieces, Larta and Maria, in whose lives are evident
the conflicts which occur in the lives of (ll the young
women of the town. Karta turns to excessive maternal
feelinps toward the children of the town w ile Haria loses
herself in dreans of escape as she reads the forbidden
sensationalistic newspapers which are her link to the life
of the cities. Their uncle agonizes in dream and halluci-
nation over what is happening to tee lives of the young

people under his care, but is powerless to act effectively

against the forces which have bHth an. With the conin_

n . ‘ I fi,, 0 1 ‘ a
o; tee revolutionaries, iaria goes 011 with tee soldier“

-~. ‘ '1- ‘, . 1 ,,w - . 1.. -, -,_V ,f_
and tius realizes her cred» of seein: other PJGCdH.

fl /\
\,.' L-

 

 

 

 

, M . o . u I , 9 . _

:anfiz's SOTlG oi WPIEID) Al leo lcl.sggu1 is 'ni u;
It has been cs led t e Werentlsta style. my the perctitlco

- ~ ‘ 11"?“ 1. _ .. 4. .L ..

of certain words ano.fwruuux3, is cz atte.gts ix) cess on
the min] of 1“is PGiL°“S s cc? sin atmosphere which he wis cs
to convey. F e;e rejestel whrsses ice uswall? co “033d of
elevents o? CHE“CW ritual one serve to *“hlsuze in the *nd
of the reader the rominssicn of the csn.ch ovos the to".

1rl~ 4— _o o _ _ .."'| 4- 'I

won Z's stylistic no: ravsl o- atmosroere is l o
chmrscterizei by the ‘escri: tion of sounds and of colors.
Eis style is possic sod metaphoric. It his evzo been said
tfiiat;1ie 11ses; te ~1qi11ue.. bc.:tcr* s.:1teci to yv‘etm'r ttuin Axe
sovsl.“3 These ItCtS of his sthe vill ce trusts; to s

reater e: ter t later in this chap er.

Skis is unquestionsbly a psychological novel. Ioscver
it does not foll w the me hod usually en; eyed in such a
won- or). focusln on one Ifo'S’l. and "3.1110. all ctions coa-
vewre o“ tke Isrsop fiai 0?, all :ctions servo t3 portly"
the zfluwvsphsne of the town in which ““ese people live.

\lr4V- a A I o .

x.-a uel Pecro uonzalez, Tfia *n storia do ls revels

7'/ - v/--_- mr’ --- ~~~—---

or: .CJCLCO ( (a- co, :byjl), 1‘. 33:4

f.
If)“
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“1 '-‘ “ ‘. ‘.- s‘ ' ' ‘I‘: '~ '-\ \ v ’ . (u
.dvxs, as LGLulCfleh SQCLLGT, tne Havel nqut

9 0 *5 1CD ...
"psychological analys;s Ci a tcsn." ‘&

a
H.
O .
(D
m
[—1.
U)

'1‘ s . ,_ ',_,' I, 23-“ .. ‘. -
supporteo OJ tne "Acto preparatoric WJJUI pPGCGucS t.e

IV
R .-
.l ,rj \
“a.

' ‘ - - . ' - a ‘ —. ... ’.L. «'- . -
;fyrst charter of the Hqul. In lb nez, tflfiuiug ugh use

’..

of descrirtive nhrsses, creates the atmosphere in WQiCfl nis

a ._ u a n: m- 2 w - - m L.
chatsCLers Hill act. It is a iueolo o; Hugcres euluts-

nl‘i‘l n n

'5 . . .
ass a rush”: sin LGS

_ fi .0 J. I H. 0 - _0 _~ '0 '_ 1 _A _ g _f. _ .'l O _
trsoition in wticb a VOLCo is no er oes;d liituu in
-..... .- . . f. "' . L, ‘ .. ° v A .2 .,
SpunLahnOLS son». .Csntqran 13s nugnresl so, nunoa, s.qc
'1 '7 " mm . r a . '.. ... ‘ 0 Jr ‘ 31¢ .1 I - v ’° I
en is iLl;.1a 00 v c,os coros Lg penei c on eh seneraCLon

The tolling of the bells sets tfie atmostnere and

J
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:m 1. .‘ ‘.. '1 . . -.. 3 °
sicss quc chanco clamorcs; ias CQKFQJJS, pPOFlClaS

fl
a - - . g -- . ‘s ‘!l 1,1.
‘wls: pop anQKSLlnS,... ‘t

" " -1 {'.- .1- '-- V" ’31
lOOhcciuo, "flue Structure , fp. JLY-Egb.

. ..IN .
lo-LlQflEZ, Al fiT-IO, po 3

I

 

 

Cgaudo
dcce, las

los honcre
la Can? a
en
tose
de
secs,
oscwros

'1
ul'.‘

C
u

. 5"
A;

voz bostez .ando,
ron
TC)

..—

ls

’\ ‘r‘
przlga

Cflwnsns
J- H . 1..
(18135811-,

3 CELL

leves
sonoras cuerdss
mnjeres
1 ’..I 01W ()8 ,

oscuras alcobss

transaas lentss, lentisimas, toca lus
incasj' l; cu3a<i§*, 3e finiuam cl sorwrero
Q, en las callcs 3 en la plaza. Cu ale
Lager, yesads lentisiman—n“:, toca el slfis,
a: toses fie ancianidso y nicoci na3,
y viriles, cos rczcs largo , profsndos,
" a wedio aps;ar; vie ecitcs de noes
y csrpesinos nadrugsoore POCllluUCS
C'.‘ .

v: stiendose,
entre palaoras 33

cs 33 e1 alba

r9

com solerno

." O C? L'o 0]

All desires s'e re -ossod “" fcar.
I. /.

Los deseos, los av1dos doseos, los deseos talidos
y el miedo, los miedos, rechinsn en las cerradgrss
do lss oucrtas, en los goznes re ecos do 133 venignns;
y hey un olor suyo, in‘Jnlnn’3)le, olor sndorose,
saoor salioo, en los rincones 1e los confesionsri3s,
en lss carillss oscurccidas, en a pila bsutisval,
en las pilas del agns bendita en lo strrdeceres, en
lss cal a tods cor del dis, er 1: lOPde psuss del
rediodia, po; to3o cl ‘uebio, a to as hares, un ssbcr
a ssl, um olor a ha.cdsd, uns invisible presencis
'errosa, an; stiosa, que nunca es 1113, gas nuns;
satay que oprime la gsrganta Cel Iorsstero 3 sec
quizarplac>r del veciu3 ario, core placer 3e yen m_i
cia.l‘0
Zionor is all i p rtaus.
Ho hay dole ncis en el ueolo co la del honor
nsncillado: prefcrib les to dss la: a onfas, tooss -.,
las miseries y cnalqnizr otro género oe t<3wcrcs.10/
lo/"srez, é; filo, 3. G.
1C)61biti.r3. .

(1'5)
3L3 :Jz'xir'ie sirite :is Clio (A: '13131; iniwss.
'Le cclvario dol matrL onio bajo 138hostil oeyra a
extraneza colectiva, trauioional.lo
ijfsic al corziort is uninporturt.
" o _ A. . _
a c nouiflsd es un concepto extrano. L; Vkfla no
nwrece regalos. .
The scenied phflhxumfir 0: life igz'fltls town is
oonL “orr=’ ““.
La onformidsfl es la mejor virtnd en esfins gentes
one, n01 lo genera l,no awhicionsn “as one ir viviondo,
“3on2133 11033 13 Hora de uma hues? muerte.110
The yonn; ginl is exrocted by the ass of fiftssr to
- ~3 ”"..: a I H .
belont Lo t3; 31st Q3 -orla, which:

. '1 ’ E, " . '1 0 l j ’ o 1
conlonxa el 03339;er qel pre3lo imponienoo rigioa
discijlina, may rigida disciolina, en el vesti“ en
andar, en el hablag en el fen333 y en 31 ssntir de
las doncellas, traiiss a nns esrecio do vii; con-
ventual, one he as del pue blo un monsstorio. 11

ins .. ‘..“.21 " a tremitioan C7321? ”.3 in
Ava t t G 13309" 1 id or

. - 0 4.2 3. . 0 .‘ "'- L‘- h -, 1 ,J-.: 3.7"?" .- -
conflict Liuq tue tluC o1 DLC no olubion iauoz presents one
bf CHM: the inhanitaLts of “JC town in interaction ‘it‘
thoil° societv ind-r Lhis stifling at osphz*o ui”Ch allows
:- , fi’IQ .* .h-1" +‘ny y: m ‘n r\{‘ - . 5 ‘. 4*91- an 11p] '3 ’3 -- ':. {-‘
Ct p~-J. “(‘71 C.. u V FM. 00 ICU k/ ijlxs.\.r. ..LLIJ ,4. rebu .J- Lin s .u}
whim rv3iness +Lo nesult no matter 333t th3 cHoics.

11.

llOIbifi.,

rm ~ -? o 4-: - , , , .5
i_c analfsis c; toe ctnés ,cc Cl L
-1 Jo ._ . 1. . ° q A ’ \ T :
’xt- ;J1cy kl tic ‘WfiflSCflrllllr: 0; runs irt‘iv
‘ . °— 1 ~. 1 ' 4-1 A ..-. ' '1 n
ccvaCLcr CF tno Jor: is two t0:n LLseii.
' ‘ v‘ - 1 -\ /g (“I t V' "\ (-1 .
atvos w:rc cad bccn 1810; s rur ose Lu:
1,- - . ., °, ,. ° .- ' . ° ‘1 .'"T‘,
and ware areiu lb ass a ragor rcic. _,9
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athSPQoPC unu it in twin QfLCCbS tag 11%
‘.. ’3 ‘ “at a“: ‘
tnc cuuiactsis.
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i4 Lhn: 0i zauoura léeljus to cruxi,e a

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arm. 1rgpeLUii,\J Cuéout

all events

‘-fiw
lane

Revolution toward w ich

I"

te tecflniiquc 01‘ a,

 

del a;fia. in tfiis novel Lucas lac
as Ff tellin' stories c? the i-st,
the ffijturc.
I Is. _ / ' l 1 V
Luis gonzuga Perez 8 fate 33

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lorrstion O;

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tic

actions

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another pcrfcrver previews that of Ticaela. “our
of the book Lucas Iucias' deatubel invocation of
of the book "i3stavos as filo dcl ai”"l"1l“ colst
most important au;ur; of all -s it forctclls t”3

to ccmuz.

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of trouble to

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tlo us rcoo e of

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and SWP‘PStlthDS also serve as nu u 16
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out evil even;s

i‘ne barking; Cl (legs ; circaV‘s of vui
also serve as a gzries Oi evil events. Fte
Orion foretells the fleet o; Bis .jster, cu
Tarfa's firzzrirurtlicts nor rxxz;fl1te :18 tFLL
T? at of‘Cknl Di_cri o 18 :31 orer1<>" the c

of Tarts,

All these

at the climax

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everts felotolil in auguries

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07‘191‘.

national rev:lution have ferrented in the minds of t
tonnuméeo“l( to the point of xywlo io and as c trc
tfluagselves arrive are carry Turf: u q*
supers stfitu ion is also used in order to heiéht
alrrosrfliar ot the \ork. Jktgjst is portrayed h;re (S
of l’gficz's otter “Horus, as s deaLl;r route. “Fe coff
helm: collected svpplies ahead of time for ‘he incv1t
fhuaeralgs The bells of St. Pascual ~fiilcu announce

pro:{irujfi*of

:worc: scxérce,

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of the twentieth centui 3;. l" Clo so he alternated episoC-fm

..’_.._3
from the lives of his char' tens. An episode from the life
of

one character might be only a paragraph long with several

episodes includefl in one chapter. In Al filQ.fiE‘.§;flE each

.J—

 

charter deals with one main character in relationshin uith

others, but the eff

-.-

(D

(3

Cr
Cr

is tLe save. Ry por rayinr the

. )

emotional conflicts and social relations‘ips of sin'le

representatives of the various groups of people in either
the large city r the small town, each author produces an
exceptionally clear and movinc picture of life in the
atmosphere which he has chosen.

I“!

ihere are major uifferences between the two ...t.

‘0'», V l‘_b) .

w/ v‘ 1 "i l' '1
lafiez's novel does not cover the lengta 01 0 me o:

tiat of
Dos Passes. Dealing with only a two year ‘eriod, it cannot
portray the entire life of each of its characters. Dos

Passes treats the lives of the main characters of his HOPk
from childhood to adulthood and thus is able to portray
contrasts between each one's ideals anfl his accomplishments
and between the parent' hopes and the children's fulfill—
rmnt or lack of fulfillment of the”. Vahez does

later novels to cover more of each character's life and

development through the use of flashback while still keeping

‘.I-« .

the scope of time to only a few years In Al filo del a:ua,

 

however, the limited period of tire is a part of his purpose

as he state at the beginning of the work. It is the

b)

‘ I
I

reactions DGQJGGJ his characters ”en estrecho lirite de
tierpo y especicNQJE} ZWELQJ it is his purpose to portraju

J

,~ 0 O O W . . .. .
Yanez Trites in slat is called the f€w€nt18t8
style. By the repetition of Latin and Snanisa nhrases and

excerpts fr m church ritual he attempts to portr :13, for the

w

reader the mood and atrosphere o the setting of ais novel.

1

-- - .1 .1." o 4-.- .2 r, 0 H:-
he finu an exauyle Ol Ulla in t1 .9

eicwter entit led a

(D

/ A
dia de la Santa cruz."

Ca da Trase cone si fuera varcada cen hierres
encendidos, se rennia en la exclaracien: iqué calor!
-3Qué oniow:

-;Qué calorl
-iQué insoportahle calorllgg

a. o 1 $0 1 0/ ‘0
T313 18 the Chapter in Whica Dar-ian murders iicaela. The

1‘0

heat is represented as resnonsihle lor the e otien al state
of each of thee vhich makes her murder inevitable. The
repetition of the nerds "iiue calorl" emphasizes the effect

of the great heat on all heaters of the community.

C-.. .
llxianez, i; file, y. 2.

fl 1’ O 1 [w n
12k)IOlio , ‘0 lb.

I11

ine monotony of the life of the town symbolized by
reliQious ritual is e.. p21asized by a similar method in a

epetition of religions ritual.

.35..

as...

as...

--Stg'. .- . . ..r . ./

non tOnaMCan. Loriras, pasaras, encentras,
.0...

as...
as...

as...
Caesta arriha. Pants de ”mu eres enlntadas.

y 1’
I

Hombres de rentdn comrrimido. 1001achitos de ojos
dGSflesnrados.ldl

Phe rec der feels the monotony of the town's atmosphere when
he reads the same soinds over and over aéain. He senses
the drowsiness which.nun.t<3ceir and realizes the reason
for the rebellion of some of the people in this town weere
nothing new ever happens

The Latin words from the ritual sung; for the dead,

"dies illa, dies irae"122 also s3moolize the mood of the
town. Tne3 refer to the two climaxes of the story, the
murder of Iicaela and the arrival of the revelatiina.ies and
the flight of Naria. Repeated several times, they warn the
reafler that a climax is coming and prefare him for it. They
create in the reader a receptivity for he events w*en they
occur.

lleégez, é; fllq, p. 203°

.9 .1 ,
l LIblGo, “V- 207-208°

1 .f‘. 1 1

1’] 111151 e 01 LL18

u)
(’0

Various adverse criticisms have 0'
work. Gonzalez criticised Yafiez's repetition of concepts
and words in Spanish and Latin which he feels are only
used artistically and stylistically rather than because of

o o q. o 1 y 2 w /
any necess1tfi in delininj cnaracters.1 3 In oonzalez's

t

C1”
Ho

opinion the quotations are used a tea to produce in
the mine of the reader, throurh the repetion of concerts,
sentences and words, a sensation of somnolence, ouietude,
senor, and inertia typical of the town, and at others a
sensation which intends to provoke a nhilosorhic and
metaphysical indolence. However, he feels that the most
frequent object is mere form and style in the manner of
Fee. After careful consideration, however, it seems that
Yahez's purpose is not merely that of dewonstrating style,
but rather he is again attempting to portray atmosphere.

Style is important to this portrayal, but style is not the
o n ~r \ ’ It a 0 o -
obgect oz ianez's endeavor. oonzalez Leels tnis repetitive

technique is more appropriate to poetry than to prose

1 o '\ ,v ‘I 0 ‘
wnere 1t tenes to produce monotony and iat1;ue.la+

:5 ’ °
12,Gonzalez, Trayectoria, r. 33%-

-.-.4---—.-.-.. ... ..-

lghlbid., pp. 327-338-

\Q
\v—l

It seems, however, that this repetition of concerts and

words in Spanish and Latin, esnecially when com osed of
church ritual, serves to heijhten the imnression in the

‘

wind of the reader a: the church domination of the town and

to point out the all infiortant part nnich the church plays

in the lives of the town's inhabitants. If in Ianhattnn

 

Transfer what one hears is the noise of the bustlin; city,

o'Lo

in Al filo del agua what is heard is the repetition of

 

prayers and the rinying of bells which hclv to wake up the
atmosphere of the town.

Yahez's concentration on a two year period is advan-
tageous for he is interested not in followin; the characters'
actions over a long period of time, but rath r, in probinfi
their nersonalities. The compactness of the work and the
depth to which he is able to probe make tnis a powerful
work.125 In his "Acto preparatorio" he stated that his
characters's actions would occur "en estrecho limite de

. .. ' ' ' ° . ,. . " 0 ' 0 n O o
tiemno y espa01o.' He 18 interested in this time o; CPlSlS,

not in the events which led up to it.

l253addad, "The Structure", p. 528.

0‘

Another possible deficiency in the novel has been
pointed out. There is an omnipresent, omniscient author
who reflects about setti “s, the emotional states of
characters and tells the reader what he characters are
sayinf or doing. This use of the omnipresent, omniscient
author makes less intimate the contact of the reader with
the characters of the work. On the other hand, the omnis-
cient author must by definition be all-kioning and is
therefore apprOpriate in a novel where the purpose is to
present accurately all the characters of the nsrk and their
reactions wits each other. It seems that it is worthwhile

to sacrifice a little intimacy for a great deal of accuracy.

. H l . . Q N
In Al filo eel a;pa Yanez succeeds in accomplishing tne

 

purnose which he stated at the beginning of the verb,
presenting the reactions of the charicters within a narrow
period of time and space. It is unfair to judee him by
standards which do not apply to the purpose which he set

out to accompli sh .

As recent work we shall treat Las tierras Ilacas

 

_)_(

La tierra prodifa and £3 creaeiLQ. liey are character—
ized by rore experimental techniques. The pTOts are even
less evident than in the works of the major period. Rather
than plot, the most in ortunt aspect of each is the psycho-
logical presentation of the characters in reaction uitW
society. It is this interaetien of chaeagters which holds
each novel together. In the oresentation various modern
techniques are used. Counterpoint is common, particularly

. . l . , . . .
in La tierra proeifa. fne use of italics to distin ulSh
...—o-- “..—...“...— ‘-

“..—-

 

between thought and spoken word 13 used to a great extent

in the written cormunication of this countery01nt.

 

of Lexico. Jith two of his sons, Jesusito and Felipe, wdom

- - .- .- ‘ . -- w . - 7—, m2,“
he has Wicked as Li lieutenants, as controls the entire

0)

area and i s inhabitants. These include latiana, the

‘

sootn rer and herbhealer who is blinded by don Epifauio‘s

sa:
I 1 1 1 w o ‘
men, Romulo Wio can never no tne man his grandfatne was,

.11

terced, his Jaie, who is not satisfied

'1

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husband provides, and toeir daughte

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ed cation to the younj girls 0: the area. Don Enifanio
loved her and wished to Farr? her. At 39? death She became
a saint in the eyes of her nei hoors and her sewinfi naetine
a sacred relic wWose possession W43 fought over ”* various
factions among the inhabitants.

Into this atmosohere of controversy and suspicion

r q . - I .
returns Jacob dailo, also called Liguel Arcangel, another

‘5 I

son Oi opifaaio Trujillo wfio had denounced Pis father and

taken his fanil+ to the north. Before he left he hzd been

'
i.

',.J

Li: f'ther's choice of a successor. Through promises of
a briyht future Eifi'Uie weln od‘iflns ncdern ideas, such

the support of rest of the people away fron his father.

P
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ul“u ago an cvii orcn. ulCCbPlCLLJ 18 a f09b uir ole

 

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yerso‘ f Pout rower.

The clasb betueen rcdornitv and sinerstiticn ‘ich
occvrs Egszilso LHTLQaQ, lnxifiaril¢rinzczuse if'zoccurs 9:;sm1cfi
a dellP‘te contrast. 93; in Al filo cel asua does a si ilar
S}. at on occur in the clash oetvcen traditional ioeas, as

1‘ . n ’.. ‘ " -‘ I1 |, r - r ~' \ -‘-‘ o n- . ‘
anfiollued my toe caurcl, aai rcaern LJOQ' t .lth too
1 0
Revolution as its bearer.

101

o I 0
La tierra prodlda

1 ‘. -‘ y’,. {‘- . t e: I l y ‘ '0 1- 0,-1‘
ai,z1 a aljl involsts a ..Ll Jno “43 use

\d'

, I
La tierra o

——-— ——..—-—-——

5”) I".

I-
.L

ual ruler of the area in nhicz he lives. 3h;s rule

'71
J.

H.
(’1'

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0’1

[—10
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{D
H.

eved primarily through the lOPCB of his personality.

alled "31 Amarillo" because of the yellos flash of

4
r *4
(D
Ho

S

O

.‘

his gold teeth when he smiles. His land is on tne western
coast of Texico ani He has dreans of flakinfi it and the

surrounding area into a resort as important as Acapulco.

J
.aJ

It is his beli ‘ that he ias succeeded in nersuadinj the

C7.)
,_

government to back him in tflis project. However, when the

.l.fl
11

xovernment envoys arrive, Joey b;pass him in favor of

neighooring landowners. Completely )ro;31 in spirit by
the loss of his dreai, he turns to a young girl, the

da2;nter of one of his enemies, rather than to the wife

who has supported him through all 1is previous disappoint-
ment.. The wife commit Slicide.
The characters, el Amarillo and his niie, Elena, are

_ __o‘ o |_ '_ 1‘ ‘~
."ief description. lne readee's £10”-

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41
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ledge of then is then allowed to pros through the 'se of

flashback and other techniques used in the presentation

of their reactions, both past and present, to various

situations. El Amarillo is first described as follows:

102

fists e el AHarillo faxes , Jieardo raerra
Victoria, dueno de La Encarnac 6n - veinte kiloiet.o
de literal asenbroso - v de mi hectareas, ticrra

l medic 81:10 y parecc

adentro. fab loso. Ya dobla
I . o
n 1nco afios: 4311,

tener veinte, no mas *e vei-‘

ti
5 I o o o o
parlancn1n, risueflo, sanfire 11 1ana, parece 1nca as
de matar 8.1uv11nosca y su le'cxnh1 es de do.“onio.
Hasdfioso. La :ente lo vgval miswo tierp'o en sitios
l

entre 31 way distantes .1
Wis wife is presented as she was when they met.

La muchacha Elena era la was oonita de todos esos
rumhos. Habia silo reina de las fiestas ratrias
del carnaval. Grandes ojos negros de Dolorosa,
iluminados as pasi n. Encrjico el porte, sin blan-
duras costefias. Precosmente flesarrolloda. a voz
ieliciosamente quebrada. Alto el empeine. Ca“.eras
musicales. Cahellera frondasahde suaves onflulacicnes.
La niel apifibnada, ca"aiie.l~5

flheir relationshif at the time of the story has cooled and

their first years together.
the tec}1niques used more often in this work

than in others is the description of beaut Mfll surroz 1nain s.

'..—l

The area waico e Amarillo hoped to ma he a tourist paradise

 

103

Playas dilatadas, vistas aesde las alturas
come vastos ahanicos 11”“1rv3nte endilantes, dilatauos

abanicos de naear, tendiuos, rematalos en filigraras
espumosas, lentamente onaulantes s; braves, grac1osas
plavas tenues, enca ouui1s on granites escaryaios;
rumoros as tlajas a1 son as guijas, caracoles ; COL-
chas; aoiertos raros embrav ecidos, branantcs; colera
de olas en vano conte ni:ias per hOSU iles rocas olas

.9
mu 5ientes, hinchadas, abatidas en estr/nito 3e perlas;
epifanlas de colors 3: azol profundo, ver'e, turquesa,
azul celeste, re leiadOS en crestas, dilatados en
faldas, en holanes, en flecos e blancura burbujeante,
esnesada morosamente come limos de 3430 sobre los
ocres y los oros arenosos, o sobre las fortalezas do
pieira, donde oueda so huella, la marca do sns

. . l . A,_ .
niveles, pronto borrados nor cl rapido embate inces-n-
te' canines (lo sol sabre las olas, orofundos a mediia

3 1

de la tarde, cuando los escarlatas, bermellones,
sclferinos, morad os, lilas, rosas, g:rises, has ta la
solenne caida en la oscuridad, baio el velo neero

de la noc :e; nurallas del literal, el use 0 contra la
furia inzer itente, a veces rotas en senos ieleitosos,
mansos; murallas de altas torres, carbiantes los
colores de punta en can a: negro hierro, brav1o
bronce, rojo vivo, rosa tierno, verde seco, grises
recios, distintos ue punts en nunta, y la trepa fie
accidentes en avanzada sohvwe la mar, enhiestos contra
las mzr ejalas ioeerosas: morros, alfile o simrles
peones al jaque de las a5uas; del3adisimas agujas

de piedra, victoriosas una y otra vez, al ener5er de

' 4'

los turbiones.127

(D

Interesting in the above quotation is the len t‘i of th

.r‘:
.1.

O

sentence. Ignaz does no -1 to interrupt the train
thou_ ;1t b3 the use of a teriod. Rather, the description
flows on as if the scenery were heing pa nnej by a vot1on
picture camera '1tl a sm00t i passage fr m one point of
interest to anothe". Tifi lS sale trpe ot descr 1&1 ion was

12) Av /
Ianez, La tie rra nroai A, rp. 51-52.

---o_——

10k

l 4.1

seen in "Isolda,e la muerte,’ one of tee parts 31 Ar

[—0
CD\
I

vfig‘ _
.110

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laxo de ggjcres wricn dealt with the same geographical er a,

the rot lands of the coast which are especially anprepriate

'I

as tne s

C

bject of beautiful description.

5?

YA

ez's basic theme for this storjr, that of a #112171

*

M10 turns to a younxer woman, is universe . Jack 0: his
novels has some universal theme which makes it more inbor-
tant tnan if it were merely an amusing story biilt around

a. plOt o

. I
La creaCion

‘ .. I . 7 , .'1 '-1. .
Toe novel La creagion continues tno story Oi Lne

. , . . . / . . . .
life of eaoriel ka°tinez, tne bellringer in Al "iug del

 

afiaa. As the story begins he is returning from Eurove
i , _
where he has been comnleting his Musical eiqcation.
By means of flashoacks it is revealed that his education
wee financed a; the two women who w re important to his
0 f1 9 N «no / 1 o "0 ._~ 0
liie in Al filo del §;ua, ;aria toe niece 0i tne priest

don Dionisio and Victoria who hai turned the heaos of so

many of the men of the village with her cit

v wave and
dress. As the narration continues, he takes part in all
segments of the musical life of fiexico Citt as well as

travelling throvgh tne provinces as a teacher of rusic

and associating with people in other fielis of ‘ne arts

inclvdin; “he dance and painting. This survey of the
artistic life of the city is aide? by the various
"Diotinas"l30wno are his inspiration during different

periods of his experience. These women include Lar

130Diotima anpears in tne dialogues of Plato as tee
woman who explains L13 nature of true love.

 

loo

 

and Victoria between when there is a continuing con?lict
in his hind as Jell as a model, a ballet dancer, an actress,
an opera singer and others.

Yaner originally intended to entitle the work Ea
sinfonfa erotiggl3l This title is derived from the naior
symnoony which Gabriel Martines connoses as .ell as from
the life which he lives raving from one woman to another.
The title which was the final choice, £a_creacion, is a
more general title. As such, it refers n“t only to the
life of Gabriel, bvt to the creative process in general.

Rather than tvinf the work together by a stronj nlot,

’x.
Yanez uses the structure of

of the titles of the main secti

standing of his method.

 

a musical composition.

OHS

will aid in an under-

Primer movimieato: andante
Segunao movimiento: creoiéqt_
Tercer movimiento: palqugte
Cuarto movimiento: vehemente

- -.~_- ‘.-...

S

The action which takes place i

the psychological conditicn

[—3-

n

faster and faster, strufifilin

... f
14‘)

"I
01

against the aha

al involvexnnb in rhyt‘m with the

in his search for true beauty and
*7- / 1

131iahez, "Suefib 0e Veranofi

t physical, but occurs

Gabriel as he moves

ns of

_.
I
'5-

]301" S 01'1-

l

f:

0.1;

t tles the chasters,

freedom.

0

s

i

At the climax ofi the wo‘a it 18 his decision tha
chains of involvment are the price paid for fame and
must be acceptei.

Other asne cts oi a musical composition are also
evident. Counterpoint, the art of a plural melody wher
there is one melody moving in accompaniment with one or
more others related to it, but inde ependent, is used exten—
sively. The best example of this technique is found in the
relationswip between Eerie and Victoria. An exawple of

0 /~ 0 0
its use Wlll serve to illustrate Yanez's utilization

of tie technique. It consists of two narafraphs, the first
0 c a g . ‘ . ‘.. /
dealing Wltfi Victoria, toe second with iaria. Tecause of

their length, only a portion of each naragraph will be
quoted.

En ella -la esnlcnaiaa mujer ue lo condujo esas
doce horas y no se lo aparto hasta dcjarlo a borde-
se condensazx los a5 iles recuerdos do Veracruz.

Ella es Veracruz, para 61. En ella, en sus fulgides
ojos, descubrid el mar; en sus nanes confio el
aturdimiento de tanta sorpresa; en su serenidad se
paralizaha el miedo, aunque recrecfa la verguenza
insonortable de aquellos dies, de aquellas horas
terribles ' dichosas. Cuando asomen las luc es del
fare, seran las miradas misnas que lo dcs;idieron con
brillos de gracia y de resignacion; las miradas de
la nadre que al principio de el canine ha esperado la
vuelta del prd‘i‘o y se di ispone a colon" Tale can

sue nejores dones ; el regazo tenildo y querido.

The co
in som
tee co
and a”

life of

Plato.

. 1. . .I .I . ~.
receipt 01 a copy 01 "Les dialoges platonicos ecitados

Vasccncelos." In these dialogues Plato secs love fro:

sides

Dio tima.

Pero Lla otra? La otra es el munco, la in:

tud del muzdo, la prine- a rebeldia contra la rutir a

del vivir y la ultima revelacie n del pode::io is la
voluntad en lucha con el destino;SON1raLora de
ansias tempran as per huir de la COL f0“fi‘d d, y
eciiarse a los ca inos, y ag- star las enocioies;
in-ClI)iO

comparti 5 con ella la tr iste iniancia y el pr
1e la aiilgscencia e1 el confinamiento pueole-
rino;...

nnterpoint in this work is not as clearly defined as

e of his VJorLs, wee °e itali s are used to distinguis

Intranuncal 1”" 10d.“/’- It CWBS, hovever, occur afain

xx 1 _: -,- l . -. ‘-
uaoriel Lartinez are compares.
An important theme of the wor: is the dialotues

It is first introdiced when Gabriel mentions

-nain as the influences of Victoria and Virfa on the

and Socrates speaks of he love that he learned frou

proceed correctly should first love beautiful forms,

a person. Then is has to love neai mt ful rainds, then

51-.
Ill."

1.

r‘Nf.)
I-.U./

beauty of laws, institutions, the ciences, and finally,

havin"

love the Inca of Bea-t . In connection with this tie”

perceived all beauty as of the same favilv, he

the wom,n in fiabriel's life are referred to as Diot1

for a

. Iv .
1322(anez, .13.? CPO£1010_1_, pp.

[1

tire, teachinfi Win some aspect 0: love.

’ 1

 

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From her he 1 arned that the person who nishes to

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espect

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are the
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CQDSC OIISHBSS. iflCSC UUthLLULQ L

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“aracter are prese'tei in italics in oreer to e

. L n .- 1, . .u . r .-- .., -1 .4-. 5 .p 5 .51- .
then from too sheaes chd and from the autior's narration.

J- 3 .‘1 ...- ' 4.. -
,as Liorras 11 can illustrates

’..

sentences. An excerpt from

 

 

Hocne dc Luci

>1, - I "L“, Vk‘ , g. - C3.
1 '. ' " .7 I ' n q C‘ I I" A ‘1 " 1 "1: '\ ’3 (‘1 ‘V ("V

QJLHCC’thS, fui a l‘ 113 :13 1enucrles sus velqs

O O _ N’ ., : I ' I ' 5 F Q
a mis Aniras v 3111 re encerre alli csa n;c e

, h , ’

r‘ . “a 1' ~- '1 ’7 I \ ‘E I" ' L n“ " "
dc Prlurfo al use us noviernrc cwmv tea 0 costumore,

' ! ( ... x ' I ‘ ‘ rw " ' r1 ‘ I 1c n ‘\ ' ~ ' ‘
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$5992 als' wrote ozlo “a1. of important peogle 01
history. These works also deal with men, tne 39019 t: in
which they lived and tne interaction bet w9en th9 two. It
is in his bio: rap1i9s that the influence of Ianez's WUTKS
on the altho' himself appears most clearly. His th most

. ., a 7.‘ . /
important biograonies are: Erav sartolome 39 las Cas9s

 

el congpistaior concuistaio and Don Justo Sierra su Vida,

 

 

_8 us a: 99.9 i as .932 La-

/ .
In Fray Bartolome de 193 Cases 91 conquistaflor

-——~

 

 

 

 

 

‘2212113 tajo Yafiez presents the priest as "uno de los

gra JHJGS crea dores del 'ethos' americ:ru‘ro."15d He was 9
.Dominican priest who had great influence in the drafting
or laws to force the conquistadores to treat the Inelans
as hum=n oein;; .s. Bitterlb Opposed by others, partioularly
the Franciscans, he attempted to evangelize the Indians
anfl to make them more Spanish. Parajnxically he did favor
trade in Legro slaves, apparently consijerinn them the
stronger of the two races and choosing the lesser of tne

two evils.

133 / / .., , /
Agustin Yafiez, Fray sartolome has 9393 el

’9
conqgistador conquistai§_‘tM€fi56, I942}, p.184. “—

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The coublo reli3ious haritagc, pre-Cortcz and Catholic,
also montionel in V1 contenido social do la literatura
ibergume rics;1 a, is discove113d in the works of Lizardi.

/~ . , . . .
Yanez rci crs to it as ”uaa doole neren01a reli3io'u
"1‘ 2 n v
orecortesia a y catolica. 4 This idea of the vostiZJjo'
r1 1 —2 . o -1 , 7-». . , .9 1"?" Y
01 the -ex1ca1 people is a Lners Olten soon in ianez 3
works.
. .3 ,1 .. . . .
notner 01 1aXo~7~ Iavcrite tqcmos, scnools and
o _ 1 Lo wVv-IN . o t .
education, is also rentionnd. -3193 writes.
Con frecucncia el Pensaior reficée cl teiq a1
aspecto escolnr y 81D lormula iniciativas concretas
bars 13 ”ultiolicsci on de pla1tclss silcstivo y

We30“1W~“ b0 do los estudios; no memos frecueite es

la insistcfici a CPlthfl sobre la’calio dui de los

m?estros; oero la cuostion es mas anolia, rebasn los

l1mites do la sscollridad y, princ iralmsnts en las
ooras La,oros, s plantea cowo concurso,fis fucrsas
ambiestales ox: dooen sor con rolal ms.1¢3

- r/N o 1 o c 1 q

inns we see lsnez prsoccuoisq again ‘Ltfl the tfleio
so promiscntlv displayed in Don Jnsto Sierra, su vid.,
sus idoa ‘1 SD obrg as Hell as in others of n1311un—11c, 1;
.orks and in many of 113 fict'onal works as 1011. The
interest in education which is so evident 11 his 1119 is
also clearly displayed in 113 literary production.

’1
lu‘Lizardi,E lpensa

1.113301%” p. 83'

lap mexicano,

p. 67.

so

'1

The life and works 0‘ Justo Sierra are discussed in

Don Justo Sierra, su zidg, sus ideas I su obra as well as

 

 

\ I” _‘ _ _ o
in others of Yanez's works. The numoer of works which

*

H.

I' a o 1 o ‘
afez wrote about tois man suggests the influence whicn
1 - 4. 1,“ - 17"" ° 4. :‘Y‘ ' '
nls life must have had on ianez iimsell. 1313 is also
attested to by the similarities in heir lives, particular-

y in the field of education. Justo Sierra was a poet,

news.enernan dinlomat and a major figure in the governncnt
’ I V _. ‘3

O
W
Ho
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of lexico. His greatest achievements were in th
of education. He considered Education one of the "Belles
Artes." It was his belief that school should consist of
not just instruction, but education. The best teachers
should be recruited and a degree should not be accented as
the only proof of a person's ability to teach. School
should be national, integral, secular, free and required.
After extensive travels in Europe and the Ullth
States as well as throughout his own country he saw taut
the nations of the worli could learn a great deal from each
other. Therefore he initiated an exchange program between

the teacners of the various countries.

Strongly nationslis tic , he saw ed on tie as the only
defense against Amcri icsn imperialism and industrial
expansion. A national unive r sity with an integrater
prejram would be ahle to provide people with the skills

.0
.L

to conpete a ainst oreign intervention in iexicen industry.
Justo Sierra was a men of intuition regardinm eldes-
tional decisions. He cannot be designated a philosonher

I

for he had no set plan regarding the nature of life. Y

(D

tncre were certain essentials to the conduct of his life.
He believed in his country, liberty, human digni 3, did
justice. These beliefs are evident also in the works of
fir l"" _
.Lalrlcz o
. ,/~ g o o o 0

At times lanez's purpose is p'irarily to give a pic-
turc of a certain place and the atmosphere which surrounds
it. Such a work is "Genie y Mi

A/ o u o /

W”lCfl Yénez himself characterizes as a "descripc10n del

ambiente intelectual."ll-LS It describes the Cit? Of

”uaiqlagura in the yes 3 0p 1029-1930.
\
14LA“ust1n Yanez, "ISuadala j-rs," Revista Abside, V. S,

lQ’ll, 10" -37 o

liSPersonal correspondence.

It is the first of a series of articles of various types

by difnerent authors with whicw the mafiazine, Revista

-.....

 

bside comwenorates L'w four,h centenary of the foundinr

ez's home at the time he \(aejote
this work. He was a professor at the normal school for

’rls there from 1923-1929. It was published in Revigta

---o——

m
}._4

Abside ten yeavs later in lth at which tire he state he

looked back on it anu found nothing which he wished to

The structure of the work is simple. It is divided
into sections, each of which gives a picture of a certain
asrect of the city. The titles 0; these sections give an

idea of what they contain.

1. Panorawa

N
o

Postales

"3

Figures - Bar ios. Eilas. For ellas, ellos.

Senas

¥T \p

'Horizonte

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°itten in poetic language. In few, but arvrorriatc worn
Yafiez gives portraits of the sifinificant £90116, planes and
things which :‘riake u?“ the city. Added togijet-
up a complete and animateu photo¢raph of a prov1nciu1
Hexican city which the author knew well and presents with
artistry.

n

The wajor tbewe found in the non-fiction vorks Oi

'ril
O

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Yénes is the emphasis on the dignity of the ind

,. o 0 *5 w ' "t 9 ' ' /
The best rendition OI tmis theme is Iouud 1n "Inno3101o:

\ .
de la paz."1+0 Here Yanez discusses the prevalence of war.

1

{is belief is that war exists because man does not dare

{a

hope for peace. He does not rebuild ior fear of eeinj
that which he has rebuilt torn down in the inevitable war
v/s
to come.1anez states:
i e gue1ra ofre ce pues dos aspect 3:
el apetito di igido de unos cuantos y la pasividafi
3

comnle a de Gran rrunos exvoliadcs, desilusianaios
- "‘ é- ‘ ‘
y uesesperauos en neuio de distintas CLPCUHStaQClaS

La psicos
Y.

- . __ o _/ 1 _ _. o ‘ O 1 / o
a~versas; t1ranias locales, restr1cc1ones 1ueolog1cas
v materiale dafibs irreparalos, condiciones de Vida
tanto o massd duras que en el tien 0 de la guerra, y

una tarea de reconstruccion que no nav anino pa: a
evaren er oajo las a enazas do nueva daSTrlcciKu

de in eerinable d1racidn de las circunstaucias ailic-
tivas.1+7

‘ K / .
143Agust1n Yanez, "Twnos1ei n de la pas," Cua er os
Americanos, nov-o 0, 19h?, 18-2h.

-—~ -

 

1H7Ibid., p. 22

. . . I a .
Destaquemes en esoa aetituu la nets mas proiwnua,
que es la ren1 110ia 03 la diqnidad h1mana, renwncia n

l/\

que 63 la tonic: antihamanista de hues‘re tier10.1'

Conquistar la nag en nosetros Y“13;” 3 es hallar el
canine fie imnenerla en ei :o1n110. '

Tiiis emrhasis on the dignity and importance 01 the
individual is also found in other works. In his prelofl1e

. / a ‘ . w '
to Fro: Barteleme ee las Cases, beetrina we 11nd Fray

..

 

Bar teleme saviaé:

V

. I

’fodas las cuales 5e -te es son animas racionel .

criades v IorIa es a la ima en v semejanza d
u 15 O J J

Altfsima Trinidaa.‘

9
la

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Later appears a quotation from Pepe Paul III
”Les iniies son verdaderes henb;es.... ’

Yahez's choice of these quotations which stress the

person is important. lot only does each p ”so qave 1“is
resoensihilities, but each also must he looked anon as a

fellow human being and treatefl as s1ch.

 

15123§E1., ;. 13;.

 

[K

In ;.1c._g_ ll’l(;l_;;'f;_fl__13_ he states:
1- 3 1 _ _ ' _ , / 1
ha lle son a narecerse on eierte genoro de aoS': a
verjfieaza per le indivena, si no de una de n'esu as
mayeres miseries y do ijnirancia en cuanto lo
/ — I - 1.‘ 0 ,. . _ ,. n.
indi ena fee " es en cuan a su231ste dentre del a1.a
naC1enal. 49¢
Here we 'ee that lie consi der 3 the Inili in 's centrioutiun
to society an irportant one '1ich Slould rot e ignorei.
F“; , .V- .' ’ ‘ ‘ F/V ..1, .1 0 ‘ ' 1 I {1 _0 f. - v “I. r
13a» n Lea 1a1ez OIJOSCJ 1s tie acL 01 1nu1v1uual
decision ba:3ed on the orhiig o1 an individaal conscience.
Action by the group without t oa5ht is seen as wrong and

detrinental to sec ciet 0y as a @1010.

In "El hombre providencial de

romarticis e"1)3 it is

because of the universal groan imare of a romantic here
that Santa Ana is able to gain and hold control. The

individual conscience does not function i1 perceiving his
lack of real aptitude for the job. He projects the irate
of a flawnovan romantic here. The era of Na noleon Kai
just passed and Santa Ana took his place in the eyes of
the iexican peonle. setter men existei but lccked the
flamboyant personal1u' .-ici kept Santa Ana before the egos
of the people.

1523a5e2,.gigha§, p. 21.

153A5ustin ianez, "E- hombre providencial, 2-213.

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Another theme r;ceiving a great deal oi attention is

that of 1tie cultural mixture existin3 in South Amor1ca

fect on South American literature The ramifi-
cations f this combLn ation oi old and new World cultures

are eXplored in various of Yanez's non-fictic L31 works.

H I
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“l conte ride soaial d; 19

 

 

literature iaenoq 0°1c.ua. Vere

...—o. —-——-—4 --..

 

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iberoameric na es mestiza, cnando es autent1ca,..."ifl+

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1.7“”, s51: :32 '2; T
Eict linsl works he-
in tire add 3 see in wni
true 111 th ammierrltusrRJ

flouever, tnere nas been

cal time an; Space. 'l'he

ending is abandoned. Clock time loses its

lower levels of the cons
as seen by txe ch reater
lower levels of their CD
tire-srsce is a relative
iences of the character

exnerience. RelationSIi

- - r , : .-
Cleesent elderiences in

seem to last a longer t?

owner of a store than to

. - 1%

to burn mo re rM idly. ,
15601171103 10 [17:1 PCs/I J,

lltocatrie," The loqern
Decenber, 1901.

vfivvflw a
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.... .‘_‘Jl JD

1 1
C Hl‘fu'ii. ,8 11.10.

7"“1 ‘177 ’. 'r t“ 1"
C-l LII-19!} 1. (10.;

A physical

.‘

a fled the air

closed plot

ciousness.
s, or as the

DSCl‘7‘"Sl’l€S So

thins; depemiin,_-_f on tie

1h ich sffe c t

p to an event may
14:. Ilnis, a

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the pest w.ll nave unrl

t at later e
:e. A fire

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tne c>dier

rlsc.. TE?

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setting still exists.

aension of

with a begi

EVGlfthlflé

TWC‘
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is

T

gcho -lCfii-
nning and
validity at the

-- . J
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31. U oeI-LLL-.

f nerceive it in the

III‘n

his View

also

person w%o has

ncounters

.7\0
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and

seems ‘7178 . HOP

L

spectatorr

3.
an 1,1.

"31 concepts d.el especio
Lc.jl e Journ al, Vol.

6,”-..-

XLV,

sis psrc ole al

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__ I

8801113

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3-18Z 'S FOPtI‘fl"8.1 (7 7‘18 O] 17.70 C(’ ‘.)‘ :‘WSC .1. ()I‘r; 1 CSS

is “1st eer;1nlv achieved thren h the tresentaiien of

.L 'Y '

hallucinations, flelirium or dreams. These tec1n1UQIesare
yartienlarlf eoaLcn inrini the mildle periefl of Vis Jerks,
{1111 4— 0ch . 1 °-~: / r». ' S .

.ror115lg3 b0 13)). fiuwr1igiela o ee 11je:re ane 11 file

‘
I

del 213'11a are esneeiall'r c:1_arae"eri:zed a"; 8.1.0:: 1~i101°traf.1'als.
———-- M ' . _

J ' (I

A Liore recent \1‘132'11, La rea- ’11, also rrtalzes seue use of

-- 1 o o / a O - - o
in Arcqigiela”_ ujeres tnere ex1sts tee settixg

 

‘

of Lenice Delgadillo's none wsere he e" eriences his
dreams. This setting constitutes the aasie reality of
'H1e w r1; 1X§1ieo Del xuiillo‘s cmwxnws compose line next
lave as Yérez uses this method to rrobe and per tra" the

n

lower levels Cl his cons c11nsness. At this level a neJ
scheme of tine and space are in trod1cee. The location
beeones that part sf Lexieo host approrriate to the le end
beinf trar planted in His dreaw to lexxehn soil. THe tine
altrengh seenin 1y tWe present, eCntai 3 elements 01 tre
past as enaraetess aha situations borro ed fret elessical
sources are introduced. Alea, Lelibea, Iso da, Kiyena,

O ' W I I 0
Calixto, Rola so and T“l$o. as well as 0:3313 live again

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I11fltzre what is seemingly'rea litr'

. a o I ~ o r) ~ / o q .
actually XlStS only in t3e MlnC Oi Lonico Delgadillo.

131

Still, the situatic-s do possess a certain avcwnt c1 rea -

..J

it? in the univ,rsalitv of the ewotions exrerienced b" tte
young Wan who is the hero of each. Zhey are sitwations

WFicH CEULM me real even if they are not in these narticw—

/ . c
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lar insta .As Alebria sas Eu.u1, iOCOS he 03 s1;a;

O
C 1)
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Calixtos, flolandos y Tristanes en un momento dado o

~-1rf
sonaco." )7

Auguries of the future are anothe' instance oi the
_ o. . ._ .- .1“ .t ‘1 ,_.. A ., .1 - ., .. .-.-
telescogin, of Line 1n;cn are lounu, altno._h nOL LO an“
I“ 4- ‘L‘ ‘ ' ~: "- ‘ " . ‘ra . [(1 r r‘ 1 “.1 . '3") 'Hfi‘ “'1 ‘\ J" \ '
breat CXteclt in APC L]. :10... L. ,O ce n-7,. Li GS. 1.16 no.3 b (3011-

—.—--.—'—‘-. '-- --~- — *- a

, / .
"Aloe, o la DUSlCa." As

l—a
, .
’.J

spicuous example occurs

3

Rolando dreays he foresee— the coats of Aida, althongV

L)

in nis dream she is thrswn into a well as a sacrifice

1 "A '\

. 1-» ~
oecause o; a DPOHQH heart.

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6

while her actwal death vi

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In :1 filo del area the portrayal

Int—...— —-—. ~—

 

hall?)

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Us afaifi plays its part in the rrcsentation

O

:40

the subconscious of var ens persons. Toe dream of ion
Dionisio is a good exafple. Tri“gered by the sounfis of a

catfifht, his subconscious imagines the cries and protest-

)J

ii

0]

ations of all tic sullerin;, confused mew?;rs oR
con;re;ation, as the as an a;onise in chilubirth and the
n1qi confess their nuirv sins. The rfi.?fl;:yaans to stretch

out into eternity.

/ 1') 1 0 _ o _ f"
157Alefiria, sreve nistoria, p. 239.

\m

 

En la eternidad del cesmafo continnaban los/{r s
insufrioles, por magnas horas, por muc¥os dies, per
toda la eternicad.* U

On awakening comes the question of stat reality is:

a 1 N w . ., Fl ( 'l
"-v s1 toao lo sonano era la realinad portal.”19-

d

3

Alt owgn all the occurences of the dream could not actually

0 .v w ‘1 ,j
..L'J

lla we liayqaerMBd; a];tfitrz‘fi time ‘Jcn_e1) _:iv311§ lvil°chx CCNI twat 1>e

three wonen at once, nor the was making confession be two
diffcstnt ren, wet the t“oq fits extressed could be tree,

P.1—

a realistic nor‘rafal 0? he si: ation in the town.

Adjuries nlav a much larger part in Al tilo cel afiua

-. o o 1 o a / 0
than taey did in Arcninielano de VHJC?CS. They are rre-

—-—————-—a-———-.c—. ..

. . H z , n ,
sented pritarily by anrs Lac1as as he loretells tae

future by use of stories from the past. This method is

H-

consonant with Yanez's v as of time as everchanging yet

cyclical. These ideas are found in the yrolocne to Los

 

. .. . . .r/ . -
sentlaos al aire entitled "unaica celestial.”

Vida del homore. Los acolitos del zodiaco la esgrimcn;
el sesgo del sol, en cada res. en cada dfa, la
colora de modo diferente:...

...........

Pero cnando vuelve el sol a la misma posada, los
colores devorados reaparecen con la puntwal veraci-
dad qae Jonas en la hoca del monstruo: el alma ore
mdsicas de antano,1vive emociones transcnrridas,
recrea escenas....*‘W

 

133

The same s;rt of incidem1t caypen a;;in alt envn the

I ..0 _ v,,,.,-, 1 ._ -.1 ,. , ,
character and settinfi n3; na1e cnan:ec.

/ '1 u 1 0 ”I - -
“fafiez's 138 e; nvtwelefiical and cla331cal alle.s ions

also centriew as to .is idea of c clical ti e. lee icea of

the possibilitf of tee recwarence of suck ligares as ssnbel‘

or of their reanrearcnce as characters in His wcrk illus-
trates this belief. As Celibea, Isolde, Alia,
Ximena and -ena In 3 Have their place in a mode n settitj,
so the three graces and t*e nine muses find teeir counter-
rarts in the presentation of La_gr§§ciéh, In his nrelerue

to Los sent3. dos al aire lanez states:

 

Alma del dnivers , talladera de ilnsienes (
Buter1e, Talia, urate, Tere31cere, Ieln‘fiene, 1-.
Urania, Eelimnia): ¢cu£’nle sera qne pueda OlVLdafi
las invalidas cartas de Beatriz, Leli be;—, Laar
Carlota, Ificenia, Isolda, Bets‘s b—? -Bllas s.
sola rujer y ésta vive en nosetres, r53 acfi del
zodia ce, eniuilLa en la ina 1dible rwfi ica d l s
esferas,...

So we see Yanez's View of tile as ever-c112 fining, Tet
cyclical. fhe sane attri3rtcs rea pear but no verson is

seen as the exact reproduction of another. This idea is

o J *1 ‘ :1 1 . T -J.
illn3‘zn1ced :rr tce CKHNJISIOH ei‘ Taleri el.14n?tinez zmslte

::J

attempts to ascertain tne identit 7 of t 1e Muses sew by the

inability of don Dienisio to decide cenCIQSIVCIf ufio tne

presnant wenan and the na11 desiring confession 1? tie

Janet, Los en11de” n. :2

 

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to be, v’;le actually no is Still 11 nis fled.

reality, tse wrota;crist as 33 llCS in HIS nee an
- .. s - ~. . ~°. ? 1 :T' r .- y 3 -'
or CaperlCuCCo sis axllJCInatucns ine seCwnd is
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The iixyfie of‘7133 conflixflzixitjaen the cflfjrz77d tHc

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J."

O I 1 I
. In Pa3ion 1 conval3 so 701a tne first co:yaris 7n

 

en the txo 000143. Dhe city 13 described as:

ééia red de alawbres, rieles y callos, a este tran—
sitar' cle a'onfa conta {fjenzt'3s que no so roman su
concaniscez7cia de adelantar so a este circo de todos
los dfas en que el homoim e, ens>ra ecido, 7a de lachar
contra ma:1uinas, poseidas por ol flemonio de la
velocidnd; la altura de los edif cios que ostro 7am
y oscureccn las calles....3ran c I C. Los HBPJIOS
so distiendeu, se enredan, se rombea. Babilonia.l71

In contrast to the lag L-"UV1“” citr life, tie pro-

- w . 7‘ "' \ . r- ‘ '.| -‘ M . \' ‘ Qu‘Q 'fi: fl - .7
Lagonist, 370 is reCoverInv from an 1117 So, iihfis b 9

ccuuitry'ivwa7 to 7fl7icw imaiaas ""7t”°7mwi unolian ed 737 the

yeacs

sinca he lc'u.
an las calles, las isras fa:h(7as, id€nticgc
restroo, casi iJUald; los vestiflcs as as transcuatea
de 70y Que son los eacontrafcg, en puntual sitio,

-T/Iv A
171 ianez, Los seztidos p. 114.

c —- .4..-

 

He f

. a ‘ . -~¢v Pu. ‘4 -. ‘- ' ' ‘fl‘ ,‘ . . - f ‘r~,. .\
lHLS tee 01L ca11 n ”1m, wo.e.23, 7mm sis LMQMS

-. ‘. - ‘ , '
08:73-17 LO 071371.59 .

oooSHSCiti{ 2'1 1:108. «:3 la Ci”: (1 (307-30 “nil thwaflCfLO/Il
leiana irwwyiisi717me”tc rmnN171a...loe rincones afimfifibas
de babiloni a, las eras orosicias, c1 ii irulo, la
agrlitad,1a iaci iia» v vswieiaa fig aqu-l hunCc , e1

3

1 o
r7-o i 1t11'7177r >1e cle 177.11 ifjal‘iila era
1 7“7 3

cs ible a leans-1117
Inns, each is see n as having advantages an& 01 isadvanta es
and in the czd he chooses to retwrn to the city. "Y

o q o -- 1 1!
Vi01enta17.cnte disguso 1a vuelta a la Ciuaaa.”l7+

(—I'

In "Ielibea o la revelacion,” as he “rota onist

"t

comes Tome "or vacation, he

i—o
:a
C
C"!
CD
(
Ho
(‘1‘
”‘1
{1'}
} a
O
'1.
’D
d“

Ya entonces la ciudad con sus dies lar“as 7.7eses, 1a
ciu ad en que anache misso dormi, era vn 1ejano fan-
tasxa que perifa todo perfi1,ah0"a”o en la plenittfl
estival de la nataraleza, r00713aoo por tantos
arroyos en crecisnte rumorosos, tumultuosos, qae
habfafios cruzado a paso do Victoria. 172

\—J

’17e city's siren 0311 is not presented in tfiis storv

In "130163, 0 1a TUcrte," however, we again find tke

‘.V

wr/” ° ’
1731aiez, Los sentidos, p. 13v.

 

l741b1 7., p. 169.

EJ_1 0 I I -
l7 ane:,Arcaip1e1aho, pr. 29-30.

‘ u!
.

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11100710,
Sf:“ad0
dgyonsidn es la jPaDQCLfl - Fuss yo:
6 5‘13“?le C o l{

in

. L. . .
a tlecra pPOuL a tress

‘Ib _‘

 

7"“

distant and untrustwortkg

 

and rmnuint vs

:uaster

tax? :3 .

1r.’__\_1 1 A .n. “s D
J. \z L}. U L]-;'1

I “ 1" )5.) 1' I
accepue . en

necessary,

y.- ‘.. - "'
co JOPbab e.

177yé%,3 -.

....V

" "‘ “x 5
t3 .asm

’

on
\1 .- ,

 

the poorer peopls

t "1 C;

-1 I
t-I :xfi . 1'? " ‘C‘
s. pug. .. JL.-D
' G
v- H‘l" -1- ;:.
-, , LIVS
I. \J
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r' I ‘. ".
tflflu immsa

1+1

COflbosiCie

.
z- 2- '1 Y
Op 3;"; ”Lu; L. ‘1; CAL‘: :S
. ‘ .', - ' 1 ‘ -
)5 "a w (j ’ (\ ~ (‘V
.LJ. -luW J--ue. *l ‘-..3 Mug)

“..», ..° , n , -- .9 ,_ - .1,‘ _
hymlLCHCGS o; eloc CL; llvgb

J.“ o- -‘ 0 . ’1 ‘ ”v _ O
buCL‘ a leglance an“ r1“ ‘Jelr
“3CS€-u3 nest ed 1T9 slo -

-1 .< .. ‘.
Lsra COLHItrg'.:1th

lc;t over

. r1
1. a; G:

La

 

”‘..‘afi‘ "i
1.3. (3.71 L-

(1 a :13.

r- ,1 ....
OJ. l‘xAgas I.:. '

a“ to express

.,, 'V
3.3 amp.

tli iI‘

. F .' s ‘. .2- -, . 4
1“ Ifbllg!11 Cllltxlrre rysL' Lg1o

»;ode

.l_
creaCLsn,

J.» .
UIHW1137‘10-u;PL

0i

rnizstion

‘I'I' Q.“ S t ’

p.

1°n n .'w :r‘
.“LLG 0: [J13 cs.‘, as
w _ YV-T‘ w —. '
‘L;?. ;¢c: L-;3, 110‘ C. 2;”,

inevipsble and

ill’ ‘3

at least wake a run mor:

30?-

:'___ :“_tt'_'f

.wm.—-. 1-“-__. . . _
. . . ~ ~ . . _ .

S '3'” {" C‘ L

Agustin Yéfiez hrs deli man? ”ositiens in ,he field
of educatian. At presemt he is Secretsrg of Public Ejacu-
tion. Probably bocsqse it has he} TPCJb meorounce in His
own life, one finds that 31 cation plays an LMbOPtcut QIPC

° ." fl “3 ' -- - -— -r xv 5‘ -‘~ ‘sr '. c '3 w 3 -fi .
1n Léhez's LLCthHal dsrhs. nan 0; the chucaetems Ln 113

‘warks are st;

9 -. :1 ,- , - I" .L' ,‘\ -: H |'
40? seveaal o; 313 81095 uquLUSo

 

-1—\ r-- . 'z ‘ 'I ‘) '_‘-‘ I' '\ r1 ‘.” "I 1 . 3 . .’ 0
Near Lxe be¢1nn;s; 0; ASL; es Ma‘s suecne IS a
1 o _ _‘ f A J". 1' _' a . \
“escrlrtisn of tle :nm w; a scrool Jar as tne stu&eats are

DJ
0
H-
:3

I .1 0 le . '
Salon de 11“”30 pletecicc de %?1818 v aeseéz.
€.t?a 31 prefect) 1c aliens ” orde;1 file se *nurden
[#0 fl . -1 _ fi 1 t“ -
los uualss. suenc La vegla seer e1 asi-re, ans,
fie reseuidas veces. Serio, slope, 1Wfiszente, 033m
cuanfln va nor la calle sin sa‘wdsr a 33410, e1 maestfio
o o 1 ~ -. .
i d1h910 se 3003 con el banneWO los algofies, saawfie
los faI-onss 1e “1 levitn, euucrera 31 JHPO C”3110

0 ~ _ ' J
-De 1e -oraene 01 hre;ecto-, nunol imOS!
Yno, dos Pdilfli. hi tan finiferflzs. Rastreo Ce
1 disci‘liwz:

bava qua asflendqs la
1 ,

U10

6.:

w

'.9A‘A:”h"u"lTW n... . ... _ .. ...

TV"

In Tifig s32::;~§3 a 67111 is on ““is may to school as
t‘ne story he i113 and it is his tries hark and forth which
regila te the action of the w rk. EJTere and after
school the protagonist passes the home of the sick wirl,

:1

Esperanza, and has Ills irst ex erier ice With death.

In El tercer enenigo

,{D

lma the main character is

J

 

a good stddent who fails because of too inch attenticn to

a girl

CT"

\__0

es. The narrator is a

l...»-

d

'4
u
...;
‘I

not enou;h to his 3 T

professor who has known the young man as a student and

describes ii pro ression into iegradation.

I O 1.“) 1 'I o v.
In Pas ion X convalesce :Qifi is iOdne e QeSC?lDElOn

of what many schools were like. This is pr cos :1? the trre

o s ‘7

o 1 IN N o 0-, _ o
of school With WHlCfl lanez was iamilisr as 3 Chile.

Aquella escuela a coro...Aquel mas tro sapersticiosc
y cruel, rec eta como la re la: tanbor, hatuts Y cas—
tigo... Aquellos lioros antiguos, comrlicados y, en
el recuerdo, amables...1 V '

1?

This is the ricture which iahez gives of the provincial
school in all of these early works. The rules were hard,
the teacher cruel, the e0 dissent poor, the methods anti-
quated, but in memory its associations are haoyy. It is
not the lessons which are ememoered 3, however, but the love
noagwritten in drawing class, the day of hooky at the beach,

the friends on the streetcorne and .rJatch M1 H the girls no

‘_:

q

Dy.

179"a5ez, Los sentid_s rp. 133.

 

 

 

‘--. .. . . 1,! Y - - ‘ ... '. 1‘ 3°} ‘ 1:-11‘13 4 .1“: 1f
lflie Iiozfi s ()f :118 .nauyar Igcg°1otl Iinid one 1? iaafsi

A.

shifted from the school to the stszclents on vacation.

0 ' . .— , .' 4‘ 1- L -\ - -.
de lufi;es antifiaos 13 cos oscd 01 the ex e;_enccs 01

.5

° ‘ - 1,. ~. a ...° --= . —' :1 .' - -1
grota nudist as 5x3 olags Izruas xlzfilziib irlexnus, as

ill and home from school, and on a vacation trip to

raich of a friend.

02

 

" .

t l S
-+v.s
'J ,_

Archiniélaso de nn’gres when it me W1 ions education

w..- b-r- fl.- 4—..- -~-¢..

also mentions it 13 a thing of the past. In "Melissa, o

la revelac ion," one of the pa r :s of arcfl: Iriu

—.~—.

' "I

n ,, I. .1 - , ‘-- . 1. . ,fl,‘ - I - m ,. ..
Isolda,o la nuerte, he is trjia3 to forge h1s defis

school.

1" .1 'Q‘ hr '.1

Yo era an belle, rec io an 3a1. 1 la.a serlo
una nochc de insomnio que“c los pocos libros

filosofia y poetas.180

1

VG

‘\ :3“

the rrotagonist is a s,adent on gacati on. In anoins

2* 1:

LA

.01,

12.30 (:13 i1? 9 S ,

(1 L10? 1 Ogil-
/ , _
tadores qle haoia traido de la ciudad: libros

de

1 l C . C
The story of "Alaa, o la mus1ca" begins 1n school,

but the main part of it takes plate af'cr school has

The student on vacation is presented in each
a problem to the adult world. In Al filo del arna

ion. As the7~* arrive wita tiei r

Cl‘

DO eX-i, ‘ (33')

I o 1 . o ‘ ‘ ‘
lex1co pedantc, vestidos agustacos'fl81 tne parents

that the time has cone to keep a closer eye on their

ters and to defend the ideas which tra iiifl on his ta“

190Y5332, Arc>iniefia :0, p. 62.

*-O 0—1-0.” Own—nu.

1811a Iez, 9:1 filo, p. 103.

ended.

se as

51.51337;

“ht

‘1—

5‘. film.“

 

.521"

:11
E
5‘!
if}:

‘x'.-':-

l. a'uia. tiie

mm”

 

 

students with their ideas about modernization,
and chanfe, uith their little yrours blotting
are one of '19 major Lactwrs in the buildup of
toward 1ts clincx. Their ideas 1ave the tow:
just as do one sane idet" in hundreds of citie
throuthOJt the country.

In the recent works the student has not playv

important part. Las tigiRifi flacas and La tie

deal with uneducated :en in a stru'51e for

'!

l O ‘ O 't V O
creacion has a its pretagon1st “aoriel, part

...-and.”-

educational life is presented. it LS, new” as
experi noes in the w rld in which he makes his
are immortant. 1e other recent works make no

formal education. One reason that education n

vacation

rra nrcfdi a

1303791.. 0

in;

n F \
ireedon

revolution

’3 "1
'J \4

an

 

- ~—a "-..

I251

of whose

, his
livinc which
mention of

0 longer

plays as innortant a part in Yaficz's works is that the
Trotafionists in the recent novels are alalts rVile in two
early short stories and in the novels of ?is eager periol

they SGPG most often children and adolescents.

understandably played a more important role in
and therefore when Yéie; portraged them he did
this imrortait aspect. School becomes a ajer

settin,.

School

H.
1%

I— n :
l

 

Yénez lesls that music is a basic part of Yexicqn
life and as suck it has an important nlnce in runy of
1is works. xe stresses esnecisll: the rin ing of tqe
church tells an
{Emey Sljflhll the chlJn.

u. 0 / 9 0
La voz oe una ca1ns s romolo suexos hecnizos.

‘r‘uu—l—A—‘n —_.. gnu—...-.. ._ 1
‘1-

1311111121 mayor del Rue )le one

A lentos intervalos la cs
recordd dend“ est: t»a...

tocaba el alba le

IDesi rtsdlol-ce1t aroz1 todas las campunes del pueblo

Ya cantan los gallos. la suena la campane de la
parroquia. Ya comienza a escla1e er.lU§

1-

The bells also are presented as retresentative of the

town. Tho7 are part of the renemnered atmosphere of

..A‘J

Habfa Venido la nines ul lento confuro de laqcarrlns,
de los tri nos e p5 anos y el olor de anis.3 3

18 2I'anez, Los sentiflgg, p. 132.
1831313., p. 1
1511.321, 133.
lfiSyéfiez, 5}... filo p. 23:.

’.‘~?’ a. w
18‘J48‘fgez, LOS SGHtlJQfi, p. 1330

 

n,- ., 7 .7 . J 1' . . "». .~ . ‘~
In Al ‘110 del atna teen: pervalln. C'JPROLB?

receives s ecial ewrnasis. The" cal to Chanel for

meditatifin, are heard in the sacred silence of the "Pas-

are soticiahle for their silence on the flhursdsy and

13‘ ’..l.)~,
grl‘dgttl
:1 4-1

echoes the atmespnehe 01 use town.

A. w o .. -. . -1. ’ ,, q ‘ -
manniel, rector de ,ozos, agonias y ouelos; lengu

comun, que ha sabido arrancar a los timbres de la”

campanas e1 acento, los acentos con que hablaflel
1 J . 0 - _ . . ‘. ’1'7
pueolo ue mugeres enlntadas, el pueolo sceo.lbt

'F

Dells even have the power to affect the state

m4

16

the c 'i ens of the tO’i-fl’l.

Ho
(—1.

N

mind of

Desconpuesto el ritmo de las canpanas, todo el
pueblo marchaba rial."100

”hey were badly disconcerted, even fearing the end of t

world, whgn Gabriel wildly rang the bells at the time oi

Victoria's departure.

The bells, then, are symbolic of the atnosphere o;

the town and even helo to form it.

187Ya’3ez, A; mo, 1». 177-

188I‘Oigo, p. 1860

, v .1. ‘ ’ npr‘ A ‘— o ..‘1 a 1 , J ‘ A 7- 7- . ' .— . -
of £013 seen. lne nu31c Oi uaoriel, tle oellrin er,

a

D

of

he

H":

 

LIusic in ;'_';e;1oral also plays an import-1 1t part,

)

primarily in the noqeld I£‘:£LILZ£L3° In this york

the bellrin er of Al filo del a.1a no» educated and able
., _. . m__:

to exorc as himself in more than one musical medium, searcles

for inspiration for his work. He visits the prov Vince s

organizin: orc estras a1i cho rs. A part of the cultural

 

U I '
‘._L"'J'

‘.‘Y‘1

4.5

M

ssion of Vasconcelos, tois projeci

\— J
0'.)
U)
C)
O
C.)
u
H)
1:.
:3

 

-1-
.._ .,

O
:3
1

awakenint a1 interest in a music which is a combi11a
of c assicnl ani folk themes. Los combina Ton in the
backjrounfl of Gabriel's life 1aralle Is the ccrbination

. . , , 1 ., . - /»_
w icn mares ur the culture o1 exi c: ltSGll. As Yanez

Luabriel seek fur an aut11entical lr Hexican music.
Thus, we see that in Yafies's w rks the m sical t e1e,
as well as the others used, are employed in order to p0;-

J-

tic nexican culture which is a combination

:3

re the authe

<4

of may; factors. Although 15392 sees tee Hexicans as a
basically musical people and many types of music ads preses—
ted, partic1larly in E3 znna_133, 'tie one most often men-
tioned is the of the church bells. These bells which
regulate the lives of the pcorle and symbolize flee ccurce

which they represent are a rajor factor in the at osnhere

of every Mexican comnunity and thus have an important place

H0

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