ms: mm {N THE NOVELS a; cam ALEGRIA‘

Thesis for the Degree of M. A.
MtCfiiGAN STAKE UNEVERSiTY‘
Huge Sah‘azsr

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LIBRARY
Michigan State '
University

 

 

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by

Hugo Salazar

L MSIS
Submitted to
Michigan State Uninrsity
in partial fulfillment of the roquirennta

for the dngroo of
EASIER OF ARTS

Deptrtmont of Romeo Languages
1965

TABLE OF CONTENTS

CHAP'IERS

I.
II.
III.
IV .

Introduction
The Author

The Revels

Ihe General Approach to the Indian
Personality ani Beliefs

Folklore

Social Problems

Summary 11111 Conclusions
Bibliography 4.

PAGE

16
32
55

97
104

119
123

CHAP‘IER I
INTRODUCTION

Justification

Ciro Alegria's name has been familiar in literary circles
since the late 1930's and early 1940's when he became a prize-
winning novelist three times. A host of critics have acclaimed
his literary merit. In _T_h_e_ Epic g_f_ Latin American Literature,
Arturo Torres Rioseco has called him '. . . the leading con-
temporary novelist of Peru."1 Avis weir, in the introduction
to her translation of _19_§_ m hambrientos, has agreed and
added that Alegria is the outstanding writer of novelas
indianistas today.2

Alberto Escobar, a scholar of Spanish literature, has said
this of the writer's El largo _e_s_ 993132 I 519995

This book lifted the name of its author
from the list of good Latin-American'writera
and placgd him among the masters of Spanish
fiction.
More specifically, Edith Isaccs has compared him.with the

great Spanish novelist Pie BaroJa.

 

tArturo Torres Rioseco ghg_Epichg Latin American Literature
(Berkeley, California, 1959 , p. 109.

2Avis Weir, ”Ciro Alegria's ng_Perros Hambrientos, A
Translation, With Summaries, Notes and Introduction," Unpublished
thesis (Austin, Texas, l9h7), p. xvi.

3Alberto Escobar, ”Ciro Alegrih's worlds,” Americas, Vol.
15, No. 2 (February, 1963), p, 7,

no picmm mmmmgnmm
[English translation of E m g; 29!! I
aggpol unroll like a great social diorama,

e way BaroJa's do, against a beautiful
natural background, and they narrow down
frontinetotime, ashis do, intofinesin-
gle scenes distinctly dramatic in their
speech, their dialogue, their human conflicts.“

Jefferson Rea Spell, on the other hand, has called at-
tention to Alegria's tinely topics and his deeply felt sense of
right and mng, as well as his artistry as a Iriter.

. . . he is interested in certain groups of
people the generally on account of social in-
Justiee, are in a tragic situation; and . '. .
he is, perti in the manner of style,
a literary artist.

. . . andthe strengthefitsmmg
£12192] 1mm- 11.. principdlrin th-
high quality of the mental and moral fiber of
the author himself, who in his defense of the
downtrodden, has set forth a fundamental and
vital problem of the people of Peru and t-
ed it both energetically and fearlessly.

Therefore, considering these critical opinions, it can be
cenchded that Ciro Alegrie is artistically and philosophically
worthy of the attention of the Master's degree candidate in a
thesis of this nature.

 

“mm .1. a. Isaccs, "Sohre: Ciro neg-1., % m m
3.2mm." mammals. “L m 1 2): 231»

5Jeffersen Bee Spell to ”an Em
(mp1 m1, North Carolina, , p. *2 . '

68pe11 , Pe 268e

In addition to discussing the ”it of the writer, it is
inportant quickly to review what studies have been nade about
Alegria to date. Of course new reviews of his novels exist,
and there is nentien nade ef Alegria in nest of the histories
of 1:113 Alene“ uteri”. Short critical and analytical
articles. such as Alberto Eseebar's 'Oire Alegrfe's Worlds'7
and Hubert Nate's eonparison of nap-1. and 13;». y Fuentes,8
are to I). found. 1981’. of these, due te their Mt}, fail to
sever the author's new aspects adequately.

been dealing with Alegrta are nere eenplete. Patricia
I. Hull's 'Oire Alec-1a, novelists pernane'9 is a very CI!-
tensive study of Alec-(a. She states her purpose as follows:

Md- prepengo haeer'aneetudiebrevedel
anbiente peruano de donde sali‘ Ciro Alegriaz
de su personalidad, caricter y vida; y de su

ebra. Adonis, quiero analiser, de la nanera
nls complete que paeda, los elenentos peruanos

du ens tree novelass Q segiente d._e 213, la

fiszMan

AvieWeirinherH.A. thesishasnadeafinetranslatien

 

7Ilsoobar, pp. 7-10.

aflubert a. mu, "Seedal Aspects ef 11.7.1. by up» y
Passages 3nd Ciro Alegrfa,’ km, Vel. 39 (Septedaer,
19 9 2 7.

9Patricia lay Hull, “Ciro , novelists peruse,"
Unpublished thesis (Columbia, 19316 .

103.11, pp. 1.2.

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of m 2.1.29.9. m.“ Her introduction 1- . general
criticisn of Alegria's work with enphasis on the novel she

translates.

V1111“! Archer has written a literary 0111:1318! of
Alegria for his II. A. thesis. “he Novelistic Art of Ciro
Alon-is," his thesis, is particularily fine as an ennple of
cenparative literature.”

A. 8. Villa has node a study of the 'Aspectos linguistic“
a. las nevolas a. Ciro Alegria' for his 11. Lam-1..”

Jessie Taylor O'Bannien's work, A Comparative Study of
four South American novelists of this Generation (Gallegos,
Rivera, sun-an... on. inguinal“ 1. anether u. A. thesie.15
Since it is a comparative study, however, one would assune that
itisnotdevotedto theIndianintheworks efAlegria asis
this paper. Also it was written in 1939, two years before
Alegria's most important book concerning the Indian was published.

 

ufloir.

' lawman n. Archer, In. lovelietio Art .r Ciro Alegrie,"
Unpublished thesis (Knoxville, Tenn" 1908).

13A. s. vm... 'Aspectos linglistioos a. 1.. novelas a.
on. A1ogria,‘ Unpublished thesis (Loo m1... can" 191?).

1“Jam. Hey mm- O'Bannion, u Conparative Shady of
four South Anerican Novelists of this Generation (Gall s,
lives-a, Gliraldos, Ciro Alogria) ," Unpublished thesis Chicago,
1939 .

1511:1- thesis is not available through inter-library lean,
sethiewriterhasbeenunablotoanalyeeit.

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Because of its enphasis and date it is doubtful that the above
thesis would invalidate this study.

Byfarthenoet mus. analysiswaspublishodinl955in
Santandor. Lg magnum is the result of seven
years 1 work on the part of latildo vumso 4. 0131.21.15 She
earlier had written her I. A. thesis on Giro Alegria, and the
expanded volune is her published PhD dissertation. Its enphasis,
howovor, idnetonthelndianinthenovelsasisthis study.

Works about Alegria, therefore, fall into three categories:
(1) reviews of his works: (2) general criticisn; (3) schol-
arly research, nanoly, four theses and one dissertation.

law of these works have been of great help; their hib-
liegraphies wore particularily valuable. This thesis' purpose
istebuildonthesoworksandteaddnewoeleranddinensien
tothekaleidesoope analysis thatiswarrantedatalentsuehas
Giro negris.

Itiso‘ovions thatAlegriahasnotbeenexhauetedasa
subject forliteraryenalysis. lerestuflofthensnandhis
works oertainlyis Justified. Inadditien, thorehasbeonne
workwhiohisdovotedtotholndianasapereonslityasheap-
peers in Alogria's novels. It therefore soons that a stw of
theIndianinfireAlegris'snevelsnightaddtothoeentinuun
of knowledge in the discipline of Spanish Anerioam literature.

 

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In order to explain the significance of the Indian as an
element in contemporary Latin American literature, it is neces-
sary to examine the movement called indianista, and the position
Ciro Alegria holds in relationship to this school of writing.
Herman Hespelt in his book g Outline Histog g; m Amerigg
Literature explains the beginnings of the movement as follows :

The period opens with the Mexican Revolution
of 1910, the first significant movement for
social and economic reform in America—all oth-
er revolutionary attempts of the past having
been ftmdamentally and almost exclusively pol-
itical, the attempt of the ousted to regain GOD!-
trol. The submerged masses—the Indian, the
laborer, "los do abajo' in general—soon became
the theme of these writers who sought to document
and to give impetus to the conflict that spread in
varying degrees throughout most of Spanish
America; Literati everywhere took up the fight
for reform, exposing and denouncing injustice
and tyranny and championing the cause of the
”forgotten man," regardless of his race-
Indian, Negro, or mestizo-u-or of his origin-
Amazon Jungle, Venezuelan "llama,” Andean pla-
teau, or festering urban center. literature
was brought down out of the ”ivory tower“ of
the modernists to record the social trends of
the day. Even the so-called “novels. indianista"
cast off the romantic coloring of its past to
join the family of the starkly realistii’ pro-
letarian-type novel of the last decade.

Although that critic sees the movement as a direct result
of political revolution in Mexico, Hem-iques Urofia traces the
beginnings to the poem of 1913, 'LQui‘n saber“ by the Peruvian,

 

l7Herman E. Hespelt, ed. Ag 00. History 9; M
American 1.111an (New York, 1 l , p. 120.

7

Santos anceno.18 Urefie recognises the later writers clear
Vallejo, Carrera Andrade, and Jacinta Penbona mm.”
He agrees, however, with Hespelt as to emphasis.

but of the literature eeneerning the men

took the shape of fiction. be neat famous nov-
el of this type, and one~ of the earliest, is m

%§8%"281916) of the lesion: Mariano Asuela

Thenhegeosontolistthebestknewnofthemtg
”who

he best-known authors are the Peruvians
Vallejo, Pelcln, and Alegria, and the
Ecuadorians Jorge Icasa, Fernando Chaves,
and Enrique Gil Gilbert, the Bolivian Aleidos
Arguodasuand the lesioan Gregorio Ilpes y
MHuCo

It is evident that eons of the finest scholars in the field
of latin American literature have recognised the literature oomp-
eerningthelndienandtho signifieanoeAlegriaplaysin the
movement. ‘fo father elaborate, II. J. Bernadbiu I'A level of
Peru“ (which appeared in m m, 19“) has listed the fol-
lowingleedorsinthohistoryofthestruggleferludianrights.

1) lather Lee Cases
2; nubi- Dario
meoano
(b) Gabriela men

(5; Manuel Gonsilos Prada
Jose Carlos lariitegui

 

m (émmpgm.o’1 5,?01 e a
”Hardness-Urea, p. 197.

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(7) Haya de la Torre
(8) Ciro Alegriazz

Although the theme or purpose of the movement may be super-
ficiously self-explanatory, it is interesting to see what the
critics have said in this regard. Escobar says,

In addition to its political cast, Indianism
includes artistic expression in painting, sculp-
ture, and literature, but especially in the nov-
el. Taking the human problems of the Iuiian as
its main theme, among the difficulties that

face the gladian it has emphasized the theme of
the land. 3

Harriet do Onis in her "Afterward” to LI'_h_e_ Mien Segggnt
(the English title for g seguiegte g; 232) in reference to the
new Peruvian writers of the 1930's states the purpose thusly,
"Their artistic purpose was to discover and give expression to
the reality of their own land and people.”2u

Most valuable to this study is the purpose as soon by Ciro
Alegria himself. In an article he calls 'Aprismo" which appeared
in 29315.: A_b_r_9_a_d_, he has said that the new literature met be of

the soul of the new lani.

There must be created, then a litera‘lmre rooted
in the very soul, in the very flesh, in the very
soil of America.

Is it then a social literature? Yes, nat-
urally, if "9 consider Wt ‘11 hummus e e

 

22M. J. Bernadete, "A Novel of Peru," Nation, Vol. 153
(Nov. 29, 19341), 9+2.

23E8 60b” 9 p e 7e

“Harriet do 0111:, ”Afterward” in 3113 Golden m by
Ciro nogl'i‘ (New York, 1%3)’ Po 187.

C",

has a social influence. But since that adjec-
tive social is particularly liable to misunder-
standings, we must make it clear that it does
not pursue the immediate objects of cheap prop-2-
aganda. Its objectives are higher and deeper. 5
In summary, it is evident that the indianista novel is
a type worthy of study because of its history, its purpose,
and its political relationship to the dynamic quality of South

American life and literature.

Before the justification can be drawn to a close, it is
essential to examine briefly the importance the Indian has
played in Alegria's novels and in his life. Is he someone who
knows Indians, their customs and life well enough to even war-
rant a consideration of the topic?

When the experts are consulted regarding this question
there seems to be a resounding affirmative. As was noted be-
fore, Alegria has been called an "Outstanding writer of novelas
indianistas."26 As further proof, various critics have recog-
nized Alegria's treatment of the Indian. (Gerald wade, for in-
stance, notes that the first novel, La; sogpiente .d_e_ 932 (193 ,
is a treasury of c_h9_l_o_ and Indian custome.27 In addition, Avis

 

25c1ro Alegria, "Aprismo and Literature," Books Abroad,
Vol. 12, No. 1 (Winter, 1938), 9. """"'

26Torres Rioseco, p. 189.

27Gerald E. Wade, ”Introduction," _E_l mundo gs ancho y adeno
by cm Alegria (New York, 19115), p. xiv.

10

Weir says, ”lilo book is a storehouse of legends, customs, ani
superstitions of the _c_h_o_2_|._o_§_ and Indians of the upper Marai‘icin.”28
The same critic says this of Leg m hambrientos (1938):
"An excellent feature of the novel is the picblre of the life of
the native in the Peruvian highlands ."29

Because 3; M 93 m ‘1 51313 (1911) deals directly with
the Indian problem, it is much more concerned with the everyday
life of the Indian. Spell has recognised and commented on this

aspect of the novel;

In regard to the medium in which those numerous
srrl varied characters move, there is a great store
of information, treating not only their physical
backgrouni, but their beliefs, their love, their
way of life, and their amusements and diversions.
In fact, it is very doubtful whether there exists
in all Peruvian literature any other book so rich
in this respect.30

The critic and scholar Fernando Alegria clarifies the author's
importance in the relm of indianists novels.

*. . . Ciro Alegria consigue una perfects iden-
tificaci‘n del ser humane con el paisajo, un
equilibrio do valores pictdricos y psicol‘qioos
que alsa la narracidn a un plane do clisica
bellesa. En su lenguaje so acen‘bis la tendencia
lirica. Is on sets obra 1a critics ve claramente
que la novels indianista hispanoamoricans tiene
on Ciro Alegria un int‘rprote origiml,’
marcadamento distinto do los ecuatorianos y
mexicanos. Mientras squfllos, con loses a la
cabeca, oxplotan ls violencia, ol primitivisno

 

28%”, Po xxii.
29Weir, p. mo

30Spell, pp. 266.267.

IQ

 

ll

psicoldgico y cl dialectismo local, Ciro
Alcgria describe liricamento y narra sin
prisa, acumulando riqueza folkldrica,
tradiciones, cuentos, sbrid'ndose con
termra hacia el alma de los indies,
alumbrando sus gestos, sus acciones y

sus palabras con una dimensidn filosd—
fioa inesperada. Ios ecuatorianos 1e
superan en fuerza expresiva, Cl les supera
en profandidad, en simpatia humans, on
lirismo, cualidades todas de significacidn
universal;31

Alegria had firsthand knowledge of the Indian and $192.2.
As a child he played with them.32 Later he worked and lived
among them.33 For these reasons, (1) wealth of material in the
novels, and (2) personal contact with the Irdian; it would seem
that the Indian is represented in detail in these novels, and in
a kini of detail that only can be £01131 through intimate know-
ledge of the Indian.

In summary then,“ there are four reasons for making this
study.

(1) Alegria is recognised as a master writer.

(2) Comparatively little scholarly research and criticism

 

31mm negria‘ _.r_9__B v0 ___:i_n.histo 29. .12 ___h W.
(Berkeley, Calif., 19595, p. 2 .

32M W. vol. II (1941). 16.

33Inis Alberto Sinches‘ ”The mth of the gloom Forrest,"
apples Abggad, Vol. 1 (1936), 273.

12

has been ndo on nogrfa, and nothing has been written
emphasising the Indian personality he depicts.

(3) Thoma-evennthashoonaninpertantonein
contemporary Latin American literature and deserves
emphasis and continual study.

(11») Alogria is considered an outstanding writer in regard
to Indian lore and personality, therefore an important
writer of the M moment.

mm

Because it is evident fro. the above mentioned proof that
Alegrhisthochalpdcnottholndian, itvss fcwndthatauro
dotailodonninationefthoIndianassoeninGiroAlegrh's
novels was needed. Following this conclusion, ad farther ro-
soarch, itboeane evident thatAlogrfa sawthoIdianas anin-
diwidaal with a couple: personality and a dignity stemming from
his ancient culture. the Indian as an individual with human
rights and desires therefore boeane the focus of interest of this
thesis. From the above general statement, the following thesis
wasdiwiseds Inhisnswels mononfadopictstholndianasa
worthy newer ef human society. A detailed discussion of. this
statement follows.

The unmm further explanation. newerdsnggests
a picture. Indeed, all creative artists not be selective,
giving details to support their points of View. Therefore , it
is nugnisodthatmronepiahaspaintedapdctare thatom-

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13

presses a point of View. ‘Ihis study is not concerned with the
truth of the point of View, but rather in describing arrl analysing
the picture Llegria paints.

The M hero shall be of three types: (1) the communal
Indian, (2) the Indian of the river Marai'idn, and (3) the
Indian of the Andes. These have one distinctive thing in common;
they exist outside the white culture. Since the M some-
times moves from white to Indian culture, his case presents some
problems of limitation for this study. is closely as possible he
will be discussed only when living as a member of the Indian
society. Otherwise he will be considered an outsider, one who
relates to the Indian, but is not an Indian.

This stuck is interested only in the Indian as an irriiwidual.
General statements will be made at the close of the thesis concern-
ing the Indian as a group, but basically the question to be an-
swered here is not what contributions can the Indian commity as
a whole make to civilization, but what is the worth of the Indian
as a person.

W_<_>_;t_h1_hilg suggests that there is no drain on society from
this member, anditwouldbe expected thathemuldmaloe contrib-
utions to better mankind. To be specific, he can govern himself
and care for himself without being a burden to others. What is
more, he contributes to the knowledge azrl sensitivity of man-
kini through all or some of the fields of science, government,

philosophy, and art.

1h

figmgg_society is of course a reference to an anthropological
and sociological view of mankind. The Indian will not be judged
against the standards of the "civilised” Spanish culture (as he
has been to his great disadvantage for four centuries). Rather,
the Indian will be evaluated with a wider view of civilization
in mind.

Recapping these definitions then, the thesis statement
could read: In his novels which have Indian theme and realism,
Ciro Alegria has pictured the primitive Andean as a member of
.the long chain of civilized men who are self sufficient and

active in endeavors which enrich all mankind.

Limitations
Ciro Alegria has done considerable writing as may be seen
by turning to the bibliography of this thesis. Those works
which are omitted include poems, short stories, essays, and
children's books. There are several reasons for their omission.
In the first place, the poems are not well known. Alegrih him_
self has dismissed them as better not read.34 The essays were

studied for elements concerning the Indian, but on the whole

 

3“‘wmm, p. xii.

15

they deal with subjects unrelated to the thesis topic. The
newest book, a collection of short stories, does not concern it-
..1: with the m1...”

no earlier short stories were not included because they
wouldprovidomuehmerematorialthanoeuldbohandledinami.
thesis. hey do not lack merit as literature, nor do they lack
insight into the character of the Indian. Instead they are nu-
mereusandcemplem, andarowertlwcfaseparate stdy.

IheIndimudiscussedhorewillnetbethoIflianinovory
setting and environment in Peru. Alegris concerned hinolf with
theIrmlianenlyasseeninthehighlandsofthoAndos Mm
W), the amenities of the lower slopes (gm 2
assassins), mmmrmmmwuwnnr
Marsala (Lg ”mute g: 93:2). Therefore this study seeks only
to discuss these specific groups.

Ihetwelimitatiens thenareinregardtothoameuntcf
writing of Alogrfa and the Indian he discusses.

 

35cm. nogrfa, Reels. .4; 2131132; (1.1... 1963).

 

 

 

 

 

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cums II
THE ADM].

Mesh:

he modern concept of literary criticism has adopted the
practice of psycholog, contending that in order to understand
onophaseofamanorhiswerks, thewhelomanmustbe studied.
fiisisamajorreasonferanalysingthelifoofCiroLlegria
in a paper such as this. here are other Justificatiens, but
these soomteboonlyamerespecificwordingofthesamereascn.
One suchwerdingis givenbyflilliamirchorwhonho states that
Llogriausodhisownbackgreundinhisnevels.1 Ifthisistaken
to be true, Aloyfa's background must be studied in order to ob-
tain a more mature view of his works. Therefore , the attention
of this stub new turns to Ciro Llegria's biography.
11:. outstanding character in the ancestry of Ciro nap-ta
is his great-grandfather. m; M says of him,
. . . his great-grandfather on both sides was
an Irishman named Diego (James) lynch who a-
massed a fortune and settled down among his
mines in Peru. He was known as a generous and

convivial neighbor, and the lunches lived in
confortuntilafleoddostreyedthemines and

 

1mm. a. Archer, '11.. Novelistic m .r on. nous..-
Unpublished thesis (Knoxville, Tenn" 19%), p. 53.

16

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1?

ruined Diego lynch. “He left his heirs a fine

memory and a doson silver spoons."2
as. quoted sentonce 1. m. non-t. mar) no can. element
in Ciro Alegrfa's writing is sometimes mamtioned, and Edith Isaccs
cempareshimtothemodernIrishplaywrightJohnlillingtenBynge.‘
In addition to the Irish-Spanish stock, the Alogrfa family has a
mixture of mestiso blood.5 the Indian blood 1. of particular note
to this study with its emphasis on Alogrfa's sympathetic attitude
toward the Andean.

The writer's parents, Herminia Basin lynch and Jest Alogrfa
lynch were cousins. Jcs‘ Alegrfa Lynch was a Journalist in
Trujillo. Among his writings is a criticism of his son's novel
kmgm, whichAngoll'loros terms anexoellent ori-

Moé

 

z'flnsrh. are." M m. II (19m. 16-

311; is interesting to note that two important characters of

fig?_ _o__s gm ; gag are benevolent, wealth people named
Ale The whole chapter can be studied to show similarities

between this fictional family and the Alogrias themselves. This
can be found in the following reference. Ciro Alegria, Q m

as m I am (Baths- do 0-11.. 19M). pp. 99-131.

“Edith J. a. Isaccs, ”Bobres Ciro Alegrfa, 2;!“
2mm" mLm. m: (19”.

5Gerald E. was, "Introduction," 51 m gm I aim
by Ciro Alegrfa (New York, 1945), p.11.

6Angel Flores, "Four Latin American writers: Ciro Alegrfa,‘
Zahara-.5 (January. 19%). p- 1-

,.v,’

- »..
a"

hm

A.\

18

Ciro Alegrih was bern.the oldest in.a family-which later osm-
sisted of five boys and one girl, on November II, 1909.7 The «11.1..
disagree as to the sunset birthplace of the mm. v.1:- has found
four different sitos given.8 lest biographors , m, give
Irujille as his birthplace.9 tieres, on the other hand, spec-
1r1.. that the‘birthplace was the 'romete country estate of his
maternal grandfather in.nerthern Peru,“ in the district of
Sartibamba in the province of laamuehuoe.1° the significance .1
this birthplace is that this very'distriet appears as the setting
for his novel;L§Hgg:pign&guggug:g. Ilrem.availahle sources it
seems aocurato to Judge that as a bey'yeung Ciro disided his thee
between the city and the country.

no nuns rm attendedtolememtary school at mama.“
where the poet Clhar Vhllojo was one of’his early teachers.
lleres relates that Alegrih still harbors warm admiration for the
.11.:- poot.12 or the relationship Harriet a. enf- has written:

 

7:219... p. 1.

”on Iron. «are mow- In mm mm. 1
translation,'with Summaries letos and.Imtreduotion,' Unpublished
mm “um, M3, 1’75, ppo V-ue

“IL-Inn American level Prise Awardod,” We. m,
cum (19m, 1126.

1°Flores, p. 1.
11Wade, p. it.
1211ores, p. 1o

19

. . .cneefhisteacherswasO‘sarValleJe,
thatgifted, termemtodpoetwhomayhaveoom-

micatedtohisequallygiftedpupilsome-

thing of his owbimpassiened thirst for
8001‘]. ”flue

Pellewinghisolemamtaryeducationthebeyspentuchtime
at the estate of his paternal grandfather, which was also in the

Huamachucc region. Flores evaluated the stay in the following

manner.

the period in Harcabal served to familiarise
the impressionable boy with Home, farm
husbandry, and the speech characteristic of
that region especially of the Indians. be
young Alecia camped with then by the fringe
of the forest where they were clearing trees,
and listened to their yarns and conversations.
Ciro slept in a cabin made of palm leaves and
inthedayroamedaboutinthefields,watch-
ing with inquisitive eyes the habits of the
“and picking fruit under the tropical
skies.

m M also oo-ents on Alegrfa's education,
which was so largely gained from the experiences of living.

Surrounded by Indian and chele. . . workers,
Alegria and his brothers and sisters [sic.]
were attached to the peens , an attachment
whichworriedhisuther, whowas still
haunted by the family's former grandeur-.15

 

”Harriet de Onfs, 'Lftorword,“ 22mm: by Ciro

Alegrfa

(low York; 1963). p. 188.

“flares, p. 1.
1m m. 11. 16.

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20

Shelton hos odd this of tho uporionoo:

noghlivodtorolongtanointhoooono
ofhis novol, ontho'bmofthomtdn'
ntorodbythofiorofi‘n. Homoohoroctorin
its dunno and took port in its footinlo.
honithodrowthoporomgoo, thoin nto

mphtormmmgm. . .1
Incas oloo rotoro to noglo'o olooonooo with notoro and
anti".

...ho1oornodto£onndfod11orioodhdn-
oo11' with tho lilo of tho notivo Indians. Ho

onjoyod liotoning to tho. and working with
thon,rou1ngoboutthof1oldoondomnonn-

:32; wrmmtw °‘ "-

In ”condor: oohool, Cologio locionol do San M of
mama, nag-1. ma tho old Porn-don III-1t»: and hogan 1m
0m moor, tuning a: uotnor mp», m mg.”
no ooonbooono oroportor for tho nonpoporgm; Wodo up
that this m in 1%6,” um. noroo gum up doto u 1928.20

Atthiothooohortntorlodooomodhmamrouoph

 

161:1- morto Slnchoo, ”no nth of tho Glow Forest,“
m m. 1 (1936). 273.

IMO“, p. 28]»

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21

sort-d ta'ths capacity at tars-an and.tisn&sspar with a rsad.o¢n-
Imam and hridphuilding m.” his position gum nap-1a
ansthsr opportunity to bass-s aoqnaintsd.firsthasd'sith.ths cal-an
man, his prsblsls, plsasarss, and.drsals.

A1though.11s¢ria navar did graduats tram ths Uhirsrsity of
trujillo, ha attsndsd.c1assss thsrs tbr ssvaral ysars‘uhils con-
tinuing his triting tbr’ggiygzgg, It‘uas at this tins, 1930,
that Ciro Alsgrih boom-s iuvslvsd in ths ssrk of ths idsolsgical
ARIA (Popular nsvslntisnary'lllianos). Alsgria has col-antsd.an
ths Aprista luvs-ant. Ears is his idea ot’that.APRA‘basically
stood far at that tins.

. . . Aprisno asserts tha rsality'st ths ass
Alarioan.nan, a nan of’ditfbrant spiritual
nold.fr¢n.his anosstors,'lhatsvsr ho ths raos 22
tram which ha sprang: Ehrspsan.sr indizsnsus.

lisrss statss that.11sgrih‘s'uork in ths Aprisns:nsvslsnt
was antiring. 1h.Daosibur, 1931, as a naibsr of ths «tauntivs
sallittss st ths lirst.lorthsrn.800tor, ha was throw-.13ts Jail.

It I'm not until a» mum of July, 1932, that ho m and.”

 

Zlilarss, p. 2.

22cm» mp1s um and Iitsraturs,’ mg mg, 1:1
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22

Aftor this ho ms condo-nod 1n shsont‘lo to ton yosrs in prison.
Shortly thorofltor ho ms ought {loom through tho Horsfi‘n
Rimrogion,hopingtorosohloudor. thistiIoAlop-hmh-
primodforonorsllyosr. mhdlhospontolosototlo
yosrsinjsfl,sndthorosoonstoho11ttlodouhtthsth1sox-
porionooisdrrorodhthooxporiomoosofthohoroofflm
umzum- .
Itisnmolythstthoontrs‘oottoroodm
mount could hsvo boon so um oonvoyod
hodnotthosntggroxporionoodsnhtorvslh
prisonhilsolr.

For tho following yosrs, 1933-193“, Alon-{s sorhod for s
dulynmpspor,gm,bntfinsllytho¢mrmt,hsn
sot to rid itsolf of his without rosortiu to Mount, do-
portodhintoChilo. Pstrioishyhllhsssdotsflodsooount
orhisflighttronPornsttorvhiohhou-rivodinmflouthonly
s for! oontsvos in his robot.”

Duringthosovonyosrsmrollophminwohoprodnood
sono of his nost homo work. no hogs: by with; s short story

s truth for s Bnonos Liros nonpopor.26 By tho til-o his first
novol, gmgm, Iss hogan, tho mu: hsd oomplotod

 

2hunk», pp. #3.“.

25Pstr1ou by Bull, "Ciro flog-1s, mollsts porosno, "
Unpublishod thosis (IOU Iork, Colt-bio Univorsity, 19%), p. 18-20.

25m», p. n.

 

 

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23

an storios and fifty puns." up first and ovolvod nu .
short story. Hoping to sorioliso his sssign-ont of ono story por
month, or s oortsin nubor of words por loath, Llogrfo wroto ”Ls
Bolss' in fifty pogos. Editors thought it too long snd roJootod
it. II'llo suthor thon onlorgod tho nmsoript to 120 pogos, coiling
it 'Hsrsfi‘n.‘ his wss rojootoi by throo sopsrsto oditors. htor
Alogrio rood of s postponod novol oontost, and ho onlsrgod his
storytothoprosontnovollongth, ronuingthohookgmntg
gm. Whontho sponsors ottho oontostrosdthonovolthoy
mrdod tho hook s first pu-‘.1.so.28

Intor ho dovolopod tuborollosis, snd his doctors snggostod
writing so oportothis thorspy. Iskingsnold storyhis grud-
nothorhsdtoldhin,thopstiontspwnthotslootthogrootfsn~
ino, 13; m M. In 1938, hosring of snothor post-
pononontofsoontost, Cinnogrhhnrriodtoflnishhisnsnn-
script. m 3on1 won sooofi priso out of s fiold of somty-
two in tho oontost sponsorod by Zig-ng of Ssntiogo.29

Alogrfs‘s thirdpriso-winningnovol, gmgm;
sJono, wos writton in 1911. As Alogrh wss siokly, slono, with

 

27‘33hCr, Po 2o
28’1”... Do 3o

29I'lepros, pp. 34.

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24

swifo ondtwo ohildron to supporthylfll, it is littlo wondor
thothonoododfinsnoinloidsothsthooonlddontohinsolfto
thonovol. Aftndwosroisodbyfrionisondodnirors,inolnding
hisdootorssndnwrsos.” um- um; o1osotosyosrtowriting
thonovo1,nogr£ofinishoditsflontoroditinsnowoontost
sponsorodjointlybyhrrorondunohort,§o_d_h_gg§,sndthohn
AnorioonUnion.31 gmggglmmmmotmu.
nisindoodwsssgrosthonorforthoywungwritor. m
mmothosnnonnoonontinthofolluhgtornswhiohsoon

quto mum-13¢.

Mummmmmmkm
hovo ohoooncironogrfossthowinnoroftho

$2,500 sword in tho Lstin Alorioon Priso
Gontost. no oontost wss Judgod by on intor-
notionol jury oonsisting of Ernosto
Hontonogro, Blsir lilos, and John Dos Psssos.
It is intorooting to noto thot ovory Lotin
Anoriosn oountry, with tho oxooption of
Urugnsy, took port in tho oontost, totsling
ovorlOOnmls. . . housrdwillbopro-
sontod by Lrohibsld Hookah st s dinnor on
Pon-Lnoriosn dos: April 111, givon in tho
winnor's honor.

Mthu-ibos tho honorsrydinnor as follows.
Thoprisownsswordodstodinnorsttho

Holdorf Astoria, April 1‘, 19b1, Pon-
Anorioon Day. A lottor from Boorotsry of

 

Bolobort Von Goldor, u: Intoniow with 3.5» Ciro Llogrlo,‘
mmmmumm (Jun- 22. 19m. 1» 2.
31m M. II. 16.

azflh‘d. MO Pogo Go Mall “8061‘“; m m
g um, um (lsroh 29, 19:1). 21-

25

State Cordell Hull was read by Archibald
Macleish, Librarian of Congress, who pre-
sided. . . . A dramatization of a scene
from the book was written by Stephan Vincent
Bengt and produced for the assembled not-
ables by Lowell Thomas and Henry Hull.33
This dramatization was broadcast by short wave to LatinAmerica.31+
During world war II Alegria lived in the United States where
he wrote Spanish dialogue for the movies. Later he worked fer the
Co-ordinator of Inter-American.Affairs, Office of war Information.35
In l9fl8 he broke his relations with the Aprista party. For
the next four years he remained at the University of Puerto Rico
where he taught courses in Spanish American literature and conp
temporary problems.36
From 1953 until 1957 he resided in.Havana, Cuba. During this
time he devoted himself to literature and Journalism. In 1957
he visited Peru after twenty-three years of absence from his home-
land. He was acclaimed.by his countrymen for his renown gained.by’
his novelistio art. A Special assembly in his honor was held in
the Estadio de Lima.37

deay Ciro Alegrih is continuing his writing. Recent works

 

33Current Biography, II, p. 16.
3“Publisher's‘W’eefly, p. 1658.
35wade, p. xii.

36Arturo del Hoyo 'Prélogo," Nevelas Cogpletas, by Ciro
Alegria, (Madrid, 1963 , pp. xvinxviii.

26

have included a book of short stories, Duelo 93 Caballeros (1963)
and numerous short stories and articles which have appeared in

POflOdiuls o

g; Peru-ulggo-lflg
In connection with the diacussion of Ciro Alegria's life,

it is important to survey his Peru. As has been pointed out
earlier, Alegria lived intimately in tho Indian environment, was
active in APRA, and is considered enough of a product of his cul-
ture for Patricia Hull to devote an entire thesis to the Peruvian
elements in his writing.38 Considering these reasons it is well
to turn to the country of Alegria, Peru, as it appeared during the
second and third decade of this cenimry.39

Geographically, Peru is a nation with great diversity. The
coast is low and dry with great portal“) 'Ihere is little agri-
culture, and most of the coast people are white.

The heart of the nation is the Sierra. Wedge shaped, it is
250mileswideinthemuth, aninarrowstolSOmilesinthe
north.“1 Dividing this rich interior are three spirw fingers of

 

3831111.

3911” authority on this subject appears to be Carleton Beals.
His Fire on the; Andes (Philadelphia, 1931+), an! America South (Now
York, 193.87 have been invaluable as works on the social condition
of Peru in the 1930's. Also of considerable help was Frances Toor's
travel book about Peru, Three Worlds 2; Peru (New York, l9llv9).

“Whom,” @gchpgedia W xvn, (Chicago, 196th). 619.

“1D”.

{'3

p.‘-

a)

 

27

theAndesrunningpsrallolnerthsndsouth. Inthevslloystho
tributaries of the Anson flow north. The plateaus and river

valleys are the house of the m.
be Sierra is Indian. It swallows the whites.
. . . Iovertholoss, these few matis doninato the
Sierra. They own the land, cattle, nines and big
business, and dominate the professions. he
Cholos are the artisans and snall Iorchants, the
Indians, laborers.

The nountains tho-selves are the land of the Indian. Here
he continues to live in his comity society, herding his sheep
ashehasdono sinooIncantines. noroedssndbridgossrefow,
andtheweathorsoverelyceld: scuntilrocontlytheIndisnof
theAfieswasonoofthefowisolatodnsnloftonthoearth.

no third distinct region of Peru is the Jungle area. Here
savage head-hunters threaten the few whites, m. and Andean
Indianswhoseekthoirfortmesinthorubborindustry. Other
hardshipsofthisaroaaretheretandinseots.

lewitisilportsntteturnbacktethePeruefthe first
one thirdofthis century, ferthis is thoPoruefwhiohAlonge
wrote. Peru was three worlds, the white world of the coast,
the Indian-M world of the plateau, and the prinitive world
of the Jungle. Iot Peru was somewhat united by its can» re-
ligion. The Catholic had been a state church, and an of its
people were devout to the point of fanaticisn. the festivals of

the saints provided recreation for the entire country. Moreover,

 

“zmr’ pp. 69-70.

28

the Church was rich and influential. Sons Protestant missionaries
did work in Peru, but their numbers were few, and they were often
persecuted. The Indian nixed his heritage of sun worship and su-
perstition with Christianity, but this personal interpretation
offered no threat to the established Church. Therefore, Peru was
one of the real strongholds of Catholicisn in the world.

The three cultures of Peru were not equal in numbers.

Carleton Deals estimated in 193“ that Peru was a country of
6,000,000 people, with 63% living in the Sierra, 29$ living in
the Jungles, and 9% living on the oust.“3 In the 19% census the
Indian comprised 16$ of the population, the _c_h3_l_.o_ and white 53%,
and the Oriental 1%.“

Atthattinethe coastalculturewas Judgedas sinilarto
that of nest European capitals during the sixteenth to the eight-
eenth cen‘hiries . The highlander lived in a culture associated with
the tenth to sixteenth centuries, and in the Jungle, life was
punitive.“

no cities of the coast, principally line, ruled the rest of
the country. Therefore, 9% of the population decided what was

good for 91% of the population. Host writers found the people of

 

“3mm, Egg, p. 21.

“Britannica, p. 621}.

h
shoals, Fire, p. 22.

29

the cities colonial, fanatic, reactionary and dictatorial. They
were hypocritical and pompous , and they exploited the Sierra for
their own interest. With the exception of this exploitation, the
whites caredlittle ferthe ccuntryleoatodawsyfrculina. In
fact, the typical Hansen‘s knowledge of the vast areas and native
peoples of his own country was negligible. To the city dweller,
a trip to the Sierras constituted a daring adventure )6

Down the social, economic, political, artistic, and educa-
tionallsdderonerungfrcnthewhitewastheghglg. Sonatinoshe
livodinthc city, butnore oftenhewasfoundintheruralareas
andsnalltowns, livingmchastheferrynonofgmgg
m. Althoughtheylivodancngthelndisnsthoyworenottolerant
of then.

theIndianwasthensnefthethirdPoravienworld. Inse-e
aspects his Incan ancestry was evident. a. still spoke the lan-
guage ofthoAndes, Quechua, sndhis‘lifowas ruledbysoue an-
cient superstitions and rites handed down from the elder culture.
theInoarulerswore slowtoanger, anithsyworenoteasilyin-
cited to war. First they would try every peaceful nouns}?
his was true of the Indian of the 1920's and 1930's as woll:
hewouldwithstsndnanyhsrdshipsinthenanoofpoaeo.

Drinkingsoonedtobeaoheractoristicofthelndianofthis

 

“Beale, EL... Po 210

”Beds. on. p. 32.

 

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30

period, and as a rule he chewed coca. There are arguments for and
against this use of alcohol and narcotics. Some critics seem to
think that only through the use of these sense-numbing devices

could the Irdian tolerate himself; others felt that this was an
evil habit, for it undermines the Indian personality and ambition.“8

Ihe Indians appeared to many critics to be a hard working
group and, on the whole, admirable. Frances Toor found then in-
telligent, great singers, story tellers, and dancers. To her they
were basically a happy group who found most joy during their
courting years, as the rest of their life was burdened by back-
breaking work. She found them often Jailed and abused by the whites.l"9

Ihe Indian's great passion was his land. Eighty per cent
of Peru's population lived directly off the land, so it is an
important phase of Peruvian culture. The Indian farmers of this
period are pictured as an industrious group.

At the time of Llegria's novels, the people of Peru were as
varied as the terrain. 'mey fell into three groups: white rulers,
931.2 artisans, and Indian laborers; the masses of people were
in the last two groups. Considering the vast cultural gap, there
is little wonder that the conditions which Llegria describes were
permitted to exist.

In 193“. while Alegrfa was a member of the APRL, some saw
this movement as one solution to all of the problems of Peru.

 

“Tear, pp. 97-98.
”rear, p. 125.

31

hepartyhadhighprinciplesandcfforedneretePernthanany
other political group ever had. It was hard to classify APRL into
the western concepts of left and right and, as a moment, it could
not be compared to other political movements of the time“. It
see-ed a combination of liberal, socialist, and bourgeois philos-
ophies.

The APRL sought to be distinctly Peruvian. It therefore
shaped itself to basic Peruvian preblens and ethnic coups; 1PM.
especiallyappealedtothelndian. he specialappealstothe
Indianareinportanttothis study, fortheirilpactnodoobtin-
monoed Alegria's sympathies for the Indian. The party creed
stated that, mm. Indian's m 1. the Aprista elm-5° The
Indian's cry became Ciro Llegnta's cry.

these, then were the problems that faced Peru as neg-(a
wrote his m novels. Here was a country of diverse
culture, race, language, and interest, little geographic unity,
and no synpatlv for the downtrodden masses. he Indians were
uneducated, but hard working and devoted to their lands. he
problems ofPeruandthePeravianloonedlargo. Thisisthe
stage where the novels of neg-1a unfold.

 

$80.18, M, Po 3190

 

CHAP‘IERIEI
IKEMWELS

I; serpiente g_e_ as;

g serpiente Q 933 is the first of Ciro Alenga's novels.
It deals with the balseros of northern Peru whose lives are con-
tered around the river Harafi‘n, or “1a serpiente de ore.” Their
hearts and voices cry, unceasingly to the river to let them pass.

Rio Marafidn, ddjame pasar:
ores dnro y morte,

no tienes pardon.

Bio Marar‘idn, tengo que pasar:
ti tienes tus aguas,

yo mi corasdn.

The Marafi‘n River, a tributary of the Amazon, meanders
through the mountains of northern Peru. It is the river that is
the protaganist of this novel. Throughout the story, Ciro Llegrfa
gives a vivid description of the river in all of its varied moods.
l‘ne ms of the Calemar region must face these in order to sun-
vive. ‘lhe constant struggle of man against nature is the theme of
the work.

The ferrymon of Calemar consider the Mara‘r‘idn a living crea-
ture andpayhomage to itinanalmostpaganwayinthattheyare
very careful not to anger the river god.

the daily activities of the balseros and their way of life

along the banks and in the river itself provides the min thread

 

1 ;
Ciro Alegria _I:a_ semente g; 0 2nd. ed. (Santiago de
Chile, 1936). p. 1i. 4:2. ’

32

 

33

of the story. here seems to be little or no plot in this novel.
he book is rather than a novel a series of accounts which are held
together by the characters involved in each chapter. The only
white manwho has venturedintotheworld ofthoharafi‘nregien
isDenOsvalde, anengineerfrcmlimawhoisprinarilycurious
abouttheworld of them. he story is narratedbyDon
Incas, one of the old ferry-em of this district. His tales hold
the reader's interest, and treat him to some chapters which will
aJmsro-inedneddedinhismind. Fonreftheseoutstanding
chapters are su-arised below.

Inonetwebrothersarestrandedintheweofthetreaohp
erous rapids between steep cliffs, making it inpossible to reach
the shore. Without food or water, their raft is caught on a
sharp Jutting reek. they have two choices for saving themselves:
wait for highwater, or challenge the Downrafi‘n. In the end
one is saved, and the other is claimed by the river for his fool-
hardiness.

In another chapter two pathetic $92.9; come to the ferry-en
to be transported across the river. nose men are suffering from
an inarable disease called gt_a_; parts of their bodies are rotting,
ad the smell of death hovers about then. Hopelessly afflicted,
theywiehonlytoreachtheirhomledtodie. Theirfinelme-
ments of life are pathetic and almost heroic.

Bat not all of the novel is filled with bitterness and death.
therearevarions incidentswhichshowtheother side ofthemy

-wa

 

 

 

 

 

 

 

 

 

 

3"

character. The most significant episode is the chapter een-
eernedwiththeqsteryoftheblne puns, whichisheth humorous
and exciting. A pans has been plnndering a widow's sheepfold.
bonanofthevillagebeccmeafraidtochallengethebeast's
prowessbecaneeonemanwhohasseenitolainsthatthepemais
blne, and therefore bowitched and i-ortal. After being ter-
rorised for months, the widow tabs matters into her own hands,
ontamarting the pans and the men.

The finalchaptorinthebeokinvolvesthe struggle ofthe
city-bred engineer, Don Osvaldo, as he attenpts to conquer the
natural elements of the Andes. Socially he fits in with the
mull,andhehasgreatplanstobringwealthtethevalley.
While relating his plans he is bitten by a deadly golden viper.
How ironical that moments before he dies he has said, ”Men!
1. naturalesa es .1 destinol'z and then it 1. the golden ser-
pent itself which kills him.

The descriptive power Alec-ta has as a writer is evident in
thisnevel. His strongthliesinhisabilitytopdnpointvaried
detailswhichmalne forapanoranicviswofa socieleventora
geographical setting. The opening paragraphs of this novel
are a fine maple.

Pcrdonde elnarafilnrompelas oordi‘lleras
on an voluntarioso afin do avanoe, la sierra

 

2Alegrzfa, p. 200*.

1“

 

n
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.

35

poruana tiene una bravura do puma acosado.

Oonellaontorno,noos cosadeostaral

dosouide.

Glands o1 rio carga, brana contra las

poflas invadiondelaanplituddolas playas

y oabriendo .1 pedrerio. Oorro burbujeaslle,

rugionde en las torrontoras y recedes,

ondnlando en los ospacios llanos, wntueso y

ocrodelinefocundeoncnyoacrohoder

descubro o1 instinto rnd'as potencialidados

gorminalos. Un rumor profnndo que palpdta

on todos los lmbitos, denuncia la crocionto

mdzina que courre on febroro. Entonces one

siento respoto hacia la oorrontada y en ondo

su ragido come nna advertencia personal.

his and other descriptions result in the conclnsion that

thesettingisaveryinportantpartofthisnovol. belles-M
itselfisnotonlyahugolivinganimal, butagodandadomon.
Alogriainstillsinhieroadorsagroataweforthopowerofthe
river and a deep app-oeiation for the beauty of this ragged soo-

tionofl’oru. nomeodofthe storyaswellasthepletdoponds
heavilyuponthoisolationofthevillage. hummus
micrenism—a little world which is regulated by the river and its
whims. no theme of the story is concerned with the forces of
natnro, those both mot and bitter.

he charaotors do little or nothing to enhance the theme.
Thoyaronevoranalysodinthepsychologicalsonsowhiohisde-
msndedofthemedernwritor. heir conflicts arealltoo simple.
Hanan relations and complex situations seem not to exist; rather

 

3mg“, PP. 7-8o

36

the only conflictis thatbotween the riverandthonon. his
gives the characters a strange, paper-doll effect. Alogria has
written about symbols , not non. Don Osvaldo represents youthful
idoalisn which is crushed under the raw forces of nature. Incas,
the narrator, is a watery character who never feels an deep pas-
siens. a. seems to syfloolise the golden mean. n1. most lively
moments are those in which he describes his beloved and lustful
Florinda. Io doubt Incas represents man totally in harmony with
hisenvirernont. Iotthereadordemandsmerethanthisinaman.
Incas remains unbelievable, for he has found complete satisfaction
inaroutine lifowhichtho anthorhinselfwouldhavo fennddnll.
Alegria's style is direct, and his language is sinple. Figh-
nres ofspoechaboundinhiswriting,andsomecfhisfignresaro
quite fresh and exciting. One such similo is as follows: 'luostras
risas son eomogilgasporlabajadadolaironfa.“ Othersare
quite trite. Sons of this trite description is detrimental to
characterisatien. l1'on onnplos fellow: I'deiia Rosarie, soficra
w doveta,"5 and I21 Arturo, en el oolma a. 1. felicidad."6
he style of the book is not consistently good or bad.
Alegriabetrayshistrainingasareportorinthoextromely

 

““9”, Po 21o
5mfl'hs Po “’7.
611.94.. p. #8.

37

carofulwaythatho has rooordodninuto details efovorydaylifo
in the village. He is obviously an excellent observer.

the plot of the story is its great weakness. It appears
Jerky because of its construction. be whole “novel” is really
a series of tales about the Harafiln. Each short tale, two or
three pages long, is exciting or merry. For this short space
Alegria is able to sustain suspense and interest, but a sense
of total stnchro to the novel is lacking. the four outstand-
ing chapters mentioned on pages 33 to 311' reveal this weakness.
Each one of these chapters is a story in itself. Although
forced to write novels, Alogrfia remains a short story writer.
mmggmoentains a complete storyofabluepuna,
a complete story of a flood, a complete story of isolation on a
raft, a complete story of a capture of a beautiful girl; the
only new factors .1. the setting and the teller. one book,
therefore , night better have been an excellent collection of short
stories rather than a tho-close novel with little direction to
its development.

To maloe nattors worse, there is a definite antiolinax in
thelasttwochaptors. Iherealclinaxefthonovolcomeswhere
DonOsvaldo dies andAlegria nabs his point aboutthe Golden
Serpent: however, Alogrfia writes on for many pages. negrta
wishestogivothofoelingthatlifowillgoonasthollarafil’n
flentotho sea, buthodoos itattheoxponsoofreaderin-
torest.

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38

But the book is not all bad. In it.Alegria shows his
strengths to lie in his poetic descriptive powers and his abil-
ity to build and sustain mood in each episode. This is an exp
citing tale and one that must be judged excellent as a first

novel. It seems to promise greater things.

Igg§.pgggg§ hamggigntos

The plot of ng'pggggg hambrientos is set in motion by
the drought and famine that occur in the uplands of the Peruvian
Andes. Here, as the story opens, men and their faithful dogs
live together peacefully tending the flocks of sheep.

It is the dogs who play the prominent role in the story.
A special breed, these dogs are taken from their mothers as
sucklings to be nursed by ewes; thus they are reared as brothers
to the sheep. As puppies they are family pets, and their gen-
tleness and loyalty make them a prized animal of the summits.

Soon after the opening description, the peaceful pastoral
scene is shattered by drought and famine. Both man and dog feel
the awful pinch of hunger. A parallel is drawn'between the dogs
and their masters, for just when the dogs turn on their masters,
the Indians revolt against the landowners. The Indians in des-
peration.request more wheat from the hacendados. They are de-
nied. Angered and made wild by the cries of their hungry child-
ren, they storm the granary, and several men are killed.

At the same time the dogs are forced to go without their

39

daily rations, and to compensate their hunger they attach the
sheep in gory delight. The bond between man and dog broken,
the master met retaliate by destroying the killer dogs, so one
by one the animals are poisoned.

he dogs, however, are innocent victims. i‘hoir nobility
and faithfulness is continually demonstrated. In one delicate
episode a small boy (whose father has been forced into the any)
dies of hunger. His faithful dog remains by his side to protect
him, andatthoondtho dogwards offthobirds ofproy. Another
instance of fidelity occurs when one of the dogs, stolen by an
outlaw who brutalisod him into submission, defends his now master
with his life.

The bitter period is broken momentarily by relief from the
drought. Small plants sprout and flourish, bringing hope to the
Indians. But their hopes are short-lived as nature again with-
draws its life-giving waters. Famine takes its tell as more men
and animals die.

Ciro Alecia does not end his novel on a bitter note. Both
men and beast are torn down by the disaster, but there is premise
ofnowlifo. fhonoveldraws toaclesowith the thundorrolling
inthodistanoe, theraindrops fallingabundantly, andthowhim-
poring old mother dog crawling back to her master. She is ready
totaheherplaeo alongwithmenandthewholo scope ofnature
inthe rebuildingthatmustbodono.

 

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The language of this novel is simple and direct. Told by
an omnipresent observer, this tale is seen from several points of
view. In some cases the story seems to be told from the dogs'
eye view. When Antmca‘s dog is stolen by rustlors the story is
told in the way that the dog reacts to the situation that follows.

As in the other novels of Ciro Alogria, little songs and
folk tales are common. Proverbs are intersperced as well. One
common saying is "A gran seca, gran nojada, "'7 and another des-
cribes the landlord as having "en una mane la miel y an otra la
hi.1o"‘8

the language itself can best be shown through examples. This
is an instance of the simplicity.

I as! pasaban cl die, viendo la convulsionada
cresteria andina, e1 rebafio balante, el cielo, ora
azul, ora nublado y amenasador. La Antmca hilaba
charlando, gritando o cantando a rates, y a ratos
en silencio, come unimismada con el vasto y pro-
fundo silencio de la cordillera,‘ hecho do piedra
e inconmensurables distancias soledosas. Zambo
la acompafiaba, atentamente, irguiendo las oreJas
ante el menor gesto suyo, pronto a obedecer,
aunque tambi‘n so permitia recliner la cabesa y
dormir, pero con suefio ligero, sobre la suave
bayeta do la pollera.9

Alegrfa is usually direct as well as simple. He never uses

 

7Ciro Ale ria, Log 29mg hambmntos, 2rd. ed. (Santiago
de Chile, 19% , p. 115.

8Alcgria, _I_D_§_ mrros, p. 118.
gnaw, LO!- EH03, Po 14.

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#1

the subtle or obscure when the plain word can be used. Often he
reveals the situation by using a character's account rather than
the author's cement.
IdiJolaAmtucaunatardoonquosinti‘mds
que nunca 1a negaeidn do la naturalesa, on pre-
pio dolor y su solodad y los del gonado,
rosumiondo todas las ponuriess 1
-Volay ol hambre, animalitos. . . O
In this novel Alecia experiments with the flashback to some
considerable degree of success. The outstanding example ooars
wherehateoiscalledtosorvioe. Theroaetienofthewifeand
thewayshebreaksthomowetohorsonarooxplorodbeforothe
cruel fact is revealed to the reader. his section is one of
the more powerful ones of the book.
Not only is Alogrfa direct, but he is a master of realism.
His respect for, and his ability to describe, oven the most min-
utedotailofanaotionaddscoatlytotheimpactofthonovel.
This is how the author describes the dogs' delight in eating the
floshoftho sheepwhewere onoelihebrothers tothom.
Era terriblomento aleco ompapar en la sanco
e1 hoeioo y aJustar los colmillos rompiondo
huosos, domefiando la olasticidad do los ton-
denos y ablandande la macs carno, y tragar,
tragar haste sontir posada 1a barriga y que

unnuovooalorreco laolcuerpoyunanuova
energialoontomaba. '

 

Often Ciro Alogria's prose borders on poetry. Soveral ox-
amplos illustrate this characteristic.

 

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#2

Es bella 1a ticrra, y mds si est! arada.
Muelle y tierna, propicia, sa 8. fecundidad
y despide una vaharada sexual.

Trodavfa era tiempo de que germinara c1
grano, y mds si 10 mojaba la esperanza del
hOMbreo 3

Entonces la ticrra csponjosa y feraz seria
abierta Rare guardar 1a semilla hurtada a1
hmmol

Dialogue is effectively used several times. This is not
as common as in the later book, §l_ mundo 93 ancho z ajeno, but
the reader can see the development of a technique which is to
become excellent in the third novel. A fine example is founi
where the Indians beg for food from Don Cipriano and Don Edmulo.
The conversation will not be repeated here because it appears in
its entirety on pages 70-71 of this thesis.

The plot of this novel is by far superior to the other two
novels written by Alegria. It is a shorter story, and. in its
space Alegria is able to tell one story, the story of the great
drought. Although he sometimes digresscs as he does in a chapter
called ”Histories dc perros,” this digression serves to add
much for the reader in regard to appreciation for the faithful-

ness and characteristics of the sheep dog bred in the Andes.

 

12Alegria, Log pgrros, p. 112.

13Alegrfa, 1.93 p_erros, p. 127.

1L‘Alegria, 1235 p_erros, p. 178.

“3

he dogs themselves show a careful study on the part of
the author. Ho ovidontally is very familiar with the habits and
the actions of this breed of dogs. Ho discusses their ancestry
and and explains how the dogs are trained for various life roles.

Alecia is appreciative of their sensitivity and often
shows them to be intelligent. he omphasisu the fact that the
droughtisveryhardonthoanimalswhocannotfindasubstituto
foodduringthedryyearsas the shoopandcattlo can. He shows
thomtobecunninginthoirsuspdoionofawthingunfamilinrthat
smells ofman. Hanks appears almosthumanwhon she is temptedto
kill the sheep.

mud fiobro sdbita lo caldod ol cuorpo y la
aventd sobro o1 doscuido y la inoconcia do on
victims? Olvidd las vioJas y maternales totes.
Deunapochadatumb‘alaovejay‘stano‘tuvo
tiompo ni do balar, pass on feros merdisoo 1e
rompid el cuollo. Wanka procodid come si
hubiora estado acostumbrada a hacerlo y I; so
sorprondil do su poricia ni do on kite.

Characterisation in the novel is generally thin. Sim‘n
Robles is the strongest character in the story. He is an ideal-
ised figurewho is hardworking and sympathetic. He is humanised
by his happy nature and his love for people, which causes him to
be a coat story teller.

This novel is the richest of all of Alogria's in regard to

symbolism. After one of the mamr deaths in the story the author

 

15mm!» lea m. p. 139.

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tells of how all the world seems to be decomposing;16 with
this symbol he pictures life in all of the highlands at the time.

A foreshadowing is found in the storming of Don Cipriano's
dinner table by the hungry dogs. In the following chapter the
Indians themselves storm the granary in much the same manner.
Don Cipriano reacts similarily in both instances; he has the
dogs poisoned and the men shot. By the term ”perros hambrientos"
the author is referring to more than the canine world.

The very name Wanka is symbolic. It is the name of an old
Incan tribe which was regarded as very strong and courageous.

The dog Wanka is strong and courageous too, for she is the one
dog who survives the terrible drought. She is hope; through
her the reader knows that the breed of dogs will rise again. On
a more abstract plain, perhaps Llegria has meant for the reader
to see the dog as a symbol for the Incan race which has suffered
through the drought of the white man's oppression and will be
able to replenish itself again so that in the future the race
may once more flourish.

Moving away from the scenes of beauty of the Marion. Alegria
has shown in this novel his ability to capture character and sit-
uation through a short paragraph or less. Here are some samples
of Alegria's powerful words.

Pore seguian resistiordo el hombre. Con los

 

léflegria. Leg mrros, p. 169.

“5

ijares pcgados a1 espinaso y el pecho conver-
tido en una jaula, persistian en vivir como

si los hubiora alimentado el vionto. Este mIs
bien trataba do llov‘rselos o do enterrarlos
ontre nubes do polvo, pero ellos salian do los
terrales semiasfixiados, grufiondo y aullsndo.
los menos de'biles echaban a correr un trecho,
con lo que les restaba do morsas, y luogo
volvian al grupo. Se reunion come para defen-
dersc do algo extrafio, do una fuerna onvolvente
y amplia a lal$ue resistirian major estando on
mayor r0.

Ella era todavfa bucna nosa. Su cara lucia
una frescura juvenil que el dolor no marchitaba
min. Las curvas do sus sonos y sus cadoras mal
so escondian bajo una blusa holgada y la gruesa
bayota. Si e1 viento 1e alsaba el polleron,
dcjaba ver sus piernas suaves y ccresiaccmo
hechas do morons arcilla pulimentada.

Dosdefiando 1a limpidcs agostadora de los cielos,
los plantios del hacendado so alzaban ufanos del
agua que bafiaba sus raices y mostraban una lo:
que, en medio del atraso general, adquiria un sire
provocador. E1 misal, sobre todo, alto, firms y
rumoroso como un basque, abria a1 sol sue ponachos
amarillontos y sus hojas do un verde jocundo. En
las cafias, do dos en dos, go henchia la gravides
fomonina do las mascrcas.1

This novel, then, is the strongest in two areas, plot and
symbolism. Its very simplicity is its greatest asset.

Emgsmzm
This is the story of a peaceful Indian 31313.}; (comnity)

 

17flogrfa, Leg Ems, p. 163.
lsilegria, Lag mrros, pp. #041.
. lgnogrfl, ‘92-! firms, PP. 81.820

(H

46

governed by its wise mayor, Rosendo Maqui, who is the most ad-
mirable character Ciro Alegria has created. The idyllic existence
in Band is destroyed when the Indians are forced to give up their
land and commity. Don Alvaro Amenibar, the white landowner,
has only one motive for forcing the Indian off his land; this is
greed, a desire to expand an already vast empire. Under such
circumstances the reader cannot help but be moved to deep sym-
pathy for the Indian. Carlos Hamilton has said this of the novel.
Juan Montalvo habia oscrito: Si mi plums
tuviera el don do llgrimas, yo escribiria un
libro titulado ”E1 iniio" y haria llorar a1
mundo. Alegria escribo sobre el indie
andina, y hace al mundo temblar do rabiaezo
The Indian is indeed downtrodden. He is forced to bear the
burden of losing his land, his loved ones, and his dignity. Don
Alvaro claims that the position of the boundary lines gives him
legal ownership of Rumi. lhe elders of the village decide to
appeal the case, which is lost before it is begun, because the
white has all the power of the law, the church, ani money working
for him. Through intricate maneuvers the villagers are made to
lookliketheyare criminalsiftheyshouldsteyintheirbelmd
comnity. ‘Ihoy can either go to work for Don Alvaro or move Buni.
meydeeide to concede the landto the white man, andtheymeve the

village to a rocky barren plateau.

 

20Gnu-1m: Hamilton, Historia 93 _1,_ literam W
(NOW Iark, 1961), Po 129s

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47

Life is hard here, but the Indians begin to find some sat-
isfaction. The older men are more content than some of the younger
Indians who did not like the decision to move. These youths go
into other parts of Peru to earn their livelihoods. One of these
Indians chooses to work in the coca fields; another goes to the
jungle to the rubber plantations. Both of these two meet bitter
fates when deprived of the protection of their community.

But conditions worsen in the new village. When some of the
cattle stray back to their old pastures, Rosendo Maqui goes after
them. He is caught by Don Alvaro's men and told that he is steal-
ing cattle, and so is thrown into jail. Years pass, and at last
the old man dies awaiting trial. Despite the hardships the
Iniians doggedly work on, hoping the courts will side with them
when their case comes up before the judge.

In the midst of its worst troubles the Indian community is
befriended by the outlaw band led by Fierrc Visquez. This is of
course a fatal mistake, for now the friends of Don Alvaro can
claim that they were the lawless ones, not he. At first the
criminals try tricks and minor crimes to combat the injustices,
but after all legal means of retaining even their new land have
been exhausted, and it is evident that the lardowner wants slaves
for his mines, not the pitiful land at all, the Imiians and their
defenders resort to open warfare with the white man. Because
he has the strength and money, and machine guns, Don Alvaro is

successful in thwarting their defense even when they are led by

as

the ex-arnw officer, and foster son of Rosendo Haqui, Benito
Castro.

VhenBemiteiskilledthevilJagehasneetherhepe,“
can only ask itself what lies ahead. no women and children cry
alone. The noble Indian has been beaten into a permissive beast.

Euggghgzmiswrittenasifviowedbyanmi-
present observer. this nkes a great contrast in style with L;

«monk 51333, which is told by a 993;; in M dialect.
Sentence struchtre therefore is more complex, and the whole novel
has a loss personal tone. In his latest novel Alegria uses loss
description, and often it is more subtle. This paragraph will
illustrate the point.

Es o1 son hecho trigo y es el trigo hecho
gavillas. Es la siega. Neil y dulce siege
sobre el manto pardo do la tierra. Las hooes
fueron sacadas del alero, dende estaban
prendidas, y llevadas al trigal. Ahora
oortan produciendo on love ruler, y las rectas
pajas so rinden y las espigas tienblan y
tremelan con todas sus brianas nientras son
eonducidas a la parva. Les heflares desaparooen
bajo los innensos cargamentos do haces, que se
uneven dando 1a inpresi‘n do que andan solos.
Has so converse y so rte bajo ellos. h la
era e1 pil‘n creee y los reciin salides
eargadores beben un poco do chicha y tornan
hacia donde los sogadoros nerman y nernan la
alturadeunmrequenosoderrmbasineque
va rotrocediendo. Ia ostl todo el trigal en
la parva. Un pilin circular, alto y do rubia
consistencia es la to do los campesines que

so curvaron e1 afio sobro la tierra con un
gestozgue so han olvidado do atribuirselo a
Dios.

 

ZlCireAle .131 m 192' 2nd. ed.
(Santiago de ohfif: 131i, 133%. z ‘ ’

 

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In addition to the sophistication of the description, these
passages are lucid and sometimes serve to move the plot. Hero is
an example.

El agua do rate on rate, parecia crecer, parecia
abultarse e hincharse, parocia volvorse inmonsa.
Sin duda estaba lloviendo mts arriba. Una avo-
nida comensaba a llegar. Podia traor inclusive
pales. Entonces ostarian perdidos. ”:Ballol,
{Ballol' Sus voces sonaban dura y en‘rgicae-
monte en la noche. Salieren una ves mls do

otra parts honda. I estuvieron de arriba para
abajo, con bastanto fortune, eludiendo males
pasos gzvencidndolos ouanio no habia otro re-

medic

Dialogue is used by the author with great ease. An example
occurs on the highway where Resondo meets some Imlian shepherds
while riding about looking for markers. This passage is quoted
in full on page 65 of this thesis. Through the conversations bo-
tweon Rosendo and the men from the village Alegria is able to tell
much of the life of the highland Indians without really resorting
to narrative or forced dialogue. Short little songs are inter-
woven into the plot to add color and realism. Very often they
relate to the dialogue.

Sometimes in his writing Alogria is quite poetic. When Haqui
is in prison he thinks about the growth of his soul and Alogria
“ya.

:81 pudiera llerar! Pore no puedo llerar,
puos adentro so 1o ha secado,‘ come a los tronoes
viejos, e1 oerasdn. Ies tronoes tambi‘n tienen

corasdn y niontras I’l resiste hay posibilidad do
que retofien y vivan. [Ceresdn do hombre!

 

22Alogrifa, _E_l_ mundo, p. 122.

50

:Corazdn do tronco!23
Alegria's writing is quite realistic. He has the ability to
place the reader in the character's situation giving a sense of
vitality to the novel. Through a series of questions he is able
to help the reader fool the pain and suffering born by Casiana as
she searches for her bandit lover.

Continu‘ per una falda, al parecer muy escarpsda,
aunque ella no lograba ver el fondo. Las tinioblas
so apretaban abajo formandc un 16brego abisme. I
Casisna tenia un instintivo miedo oquilibradc por
un valor hecho do fuerss y oxporiencia. En las
sense may inclinadss so cogia de las salientes do
las rocas 0 las ramas do los arbustos. Algunas
ospinas 1e punzaron las manos. Ios pies cemen-
zaron a dolerle do move, y todo ol cuerpo lo
posaba ertrafiamonte, y tenis miedo. Ya termi-
naba la falda felizmonte . Se abrid una nuevs
planicie y mls all! habria do seguro otra cadena
do recas. {Podria gauzarlas? Desespersba do
onccntrar al Fioro.

In true realistic fashion Alegria spares none of the details
of horror when he describes a horrible scene. His description
of Flore Vasques's decapitated head is an example.

‘l’orva, tumefacta, 1a piel so habis aneratade
y distendido dilatando las huellss do la viruela
y del escopetaso. Les ojos so entrecerraban
debido a la hinchasdn do los plrpados, pore
todsvia miraban por las rayas viscosas, con
durs fijesa, la pupils parda y la pupils do
podernal. La naris crecia hacia la disgre-
gsci‘n, y la gran sonrisa do otrora estaba

 

23negria, _E;1_ mundo, p. #19.

zuAlegria, _E;L_ mundo, p. 230.

 

I

III}

51

reducidaaunsnueea queno so sabfs si ersde
dolor e do desprecie. Entro les labios abul-
todos y viol‘cees se filtraba e1 reflejo do les
diontes nivoes, el cabollo desgrefiado cafe sobre
la frento y las sienes y en el cuello negeabs

la sangre oosgulsds. Dabs asco y pavor.
Alegrfa has interspersed many short tales throughout the

novel; these help to enrich the story. let in some sections
the short stories ten! to weahen the plot. Alegrfa's develop-
nontisclearerthanthatofhisfirstnovel, butthero stillis
a lack of focus. He tries to tell too many tales, too new stories.
He goes into the kindliness of the Alegrlas who helped liero
V‘sques; he tells of all the adventures of Benito Gastro as an
an sergeant. He tells the long tale of one of Fiero's gang,
Ellance,andhowhocanotelosehisarn. Hetells talesof
crookednessandcrinessnosendohearstheninjail. Inshert,
he tells too-Ichunrelsteddetail. henterialingmg
”Imam thanenoughforonebook; these tales
might better have been saved for another novel or two. Iot
they are not totally bad literature. Ilhey are interesting and
doservethoplotinsway. broughtellinganunrolstedtale
Alon-{sissblotoshowthepsssingeftinewithoatsayingseno-
thing so oo-on as '1ster," or ”after a short time.” The lapse
of time is therefore recognised without being announced.

In the plot Alegria is able to handle total suspense. Ho
builds false hopes slowly. Just as the new eo-unity appears to

 

2513.015?!» E m. p. #39.

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52

be succeeding it is crushed into the very rocks. his nabs for

a dramatic climax. As the plot begins to move faster toward the
last third of the book Alogrfs uses the technique of skipping from
scene to scene showing first one person and then another, one side
of the war and then the other, much as the movies use this technique.
His subchapters are sometimes as short as one paragraph, and they
move the plot at racing speed.

he characterisation in Q E; _e_g m x 2.129.! is the most
complex that the writer has developed. Rosendo is certainly
believable and three dimensional. Even though Bismark his is the
epitome of evil, the 9;:ng lawyer is also sympathetic; for he is
cnlyscft, andhislcvoformcneyandwcmenhavedrivenhimte
this softness. Surely his weaknesses can be understood if not
forgiven.

Of all the characters ever created by Ciro Alegrfa, perhaps
Herc Vlsques is the most interesting. His personality is as
divided as his face. Vlsquos was the victim of some violence
which left one side of his face ugly; the other remained hand-
some. His personality has an ugly and handsome side as well. Here
issmanwhccanrebandkillincoldblocd, butunderhisbaser
motives he loves the poor and weak. He develops into a serious,
tough and tender Peruvian Robin hood.

Alegria's women are never strongly drawn. hey are gced
products of the earth who are essential, life giving, and com-
forting; but they never appear as real people. In this book as

 

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53

in other of Alegrts's novels, this is a men‘s-eye view of a man's
“rue
Character revelation is handled quite skillfully throughout
the novel. One particularly outstanding example is the long sec-
tionwhoreDonAlvarooxplains his feelings regardingth
to his white lawyer, Ifligues.26 Alegrfs is also able to reveal
characterthroughovonts. hereheshowshowsyoungIndianis
wen over to Don Alvaro's camp.
Rsm‘n oogi‘ slegre y angustisdamente la
earabins. lie so pedie docir que then may
liviana; antes bien, tonic e1 peso que
hsbfs calculado, e1 nocosaric a la mores.
Cogi‘ tambih las balsa, frfss, brillantes,
con su fulminanto rode, on essquillo lurec
suplomo possdoynoto. Unsauns, lasts}
metiendoporls vllvuls de la cha. Era uns
llminademotalque oediaalapresilnydos-
pu‘s so leventaba sols pars quedar en su sitio.

redo so prescntabs ssbio y exacto.
tents y anhelabs.27

Again Alogrfs has reported carefully concerning folk life
andfolkways. hedotsiloddosoription ofthe Indianburialis
a fine example.28 Page after page of the novel is devoted to he
everydsylife cftheIndisns showingsllthevariousphssos of
that life.

Although this novel cannot be called rich in symbolism, what
syfiolism there is does serve to enrich the story. he symbolic

simifioance of Vlsquos 's physical appearance has already been

 

26Alogr‘s, g 5*, pp. 173-178.
27mm: 11. me P0 183-
2811091» E. m. pp. “7-53-

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’4

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9*

cited, andtheresreother symbols. Earlyinthenovelssmahe
crosses Rosendo's path. his bed sip or forewarning is referred
totineandsgsininthenovel. Motherearthisssymbolthst
hovers over all the book. She seems to be the spirit of the
We
Undfaamanoci‘lanevodadde queuna'mjer
vier habis pssado per la Cello Real, a media
noel», llerando. Bu llantc era any large y
triste, doscladc, y so 1e oy‘ dosspsrecer en
la leJanis como un laments. . . La ticrra so
velvi‘ mjcr para llerar, deplorando sin duds
lssuerte desushiJes,desucomnidsd .
lfiorrs, medre ticrra, dulce medre muse!”
fowurdthe close ofthebooktholndiansshcctandkillsev-
oral bucks in a herd of deer. After the loader is killed the
frightened boasts scatter, and confusion reigns among the pathetic
creatures. Shortly thereafter Benito Castro is killed; and the
Indinns, like the deer, scatter crying 'ud‘ndet" “udlndet'
he theme of the novel is never obscure. It is clearly
social protest and clearly the Aprismo cry for Justice for the
Indian. For the white man there is sarcasm, for the Indian pathos.
heIndian'sdodicationtorightisdeminant,andthewhclooon-
flictsppearstobethelove cftholsndversusthelcveofmcney.
Alegris's weaknesses lie in his hailing cf the amount of
material he has, and in his inability to develop women characters.

His strengths in his novel are in theme, folklore, and style.

 

29Alogrfs, _E_l_ Egg, p. 206.

 

 

.‘.‘..»r

._.

CHAPTER Iv
THE GENERAL APPROACH TO THE INDIAN
IN ALEGRfA's NOVELS

There can be no doubt that Ciro Alegria is greatly moved by
the plight of the Indian in Peru. His sympathies for him cry out
on page after page of his novels. Although other white men may
have felt the same way, few, if any, have contributed so much
to the dignity of the Indian. Alegria has written more than novels
of social protest. [Earriet do Onis considers his work to be art
as well as propaganda. She is sure that the novels will live long
after the situations that they protest have been resolvedg]

/’. . . Alegria's books will stand as a visionx“
of the tribute to the courage, endurance, ard
rectitudo of his countrymen when the circumn ,?
stances W’iCh elicited his protests have dis;
appearedo u A

The white man of Peru historically has had no respect for
the Indian. As was pointed out in Chapter II, the Indian has
been both ignored and insulted; he has been considered the lowest
type of beast. During natural disasters such as drought, the
ferces of society seem to have compounded his problems. In

§;,mundo gslancho y;ajeno a minor character, Honorio, loses his

family; and as if that were not enough, he is taken off to Jail.

 

1Harriet do Onis, "Afterword," _Th_e_ Golden Sermnt by
Ciro Alegria (New York, 1963), p. 189.

55

56

he reason his jailors give for his imprisonment is that he mist
haveboon guiltysincohecannctprovewherohowssferanuber
of months. In reality he was searching for his family. Of course
the real reason he is soisod is fear. he white officials fear
an Indian wondering about aimlessly; there is too much an Indian
can do when he is not watched. So in this incident natural ca-
lamity combines with social pressures to make the Indian's life
one of Idsery. When Homeric is arrested, he is deeply insulted.
He was only looking for his wife and parents. When he explains
the reasons for his absence the whites reply, '(wn indie va
a toner escs sontimientcs?) 8o quedabs tan tranquilo do no dedi-
carse a1 cuats~ors;!e>."2

CircAlogris certainlydidnotpicture the Indianwithout
feelings. In fact, the Indian he presents is an extremely sen-
sitive individual. his is the result, no doubt, of the personal
contacts Alecia made with the Indian. Few other white writers
have had this experience. Alecia had lived with then, worked
withthom, playedwiththem. Sineohisbcyhoedhehadthosght
of the Indian as his fellow man, his equal. Alecia understands
both the Indian mind and character.3

 

ZCireAl El? m m 2nd.ed.
(sumad. 311%: m1 ’ peg-g-ZSe 1‘ ’ ’

3mm.- H. Archer, ”he levelistic Art of Ciro Alecia,”
Unpublished H. A. hosis (University of Tennessee), 19%, p. b.

57

he novels of Alecia not only praise the Indian, but they
condemn the white nan of Peru. Alecia states that the Indian

problem is a white problem, for it was created by the white no.“
Bofcrothewhitomancamototheocuntrythelndionhadameaning-
fuloultmre. hishohasdestroyed, andthouglyIndianofPoru
is a result of white suprency. herefore, Alecia shows the
Indianss he exists free frcmwhite allure whorehe 1! complete,
happy, and useful.

Alogr£e is not totally involved with masses. Iris is interested
in the Indians he wrote about as imividnals. heir personality
traits: courage, love, and nobility are subjects of his explora-
tion. 'nle inherent characteristics of the Mill are also studied.
hose includealovefortholandandco-mnity,sdeepfeeling
for their fellow men, and a joy in achieving the simple needs of
life. Alecia dole more deeply into the mm personalities
in his novels than most writers of the w movement/.1

Roitorsting, Alecia appears to show the Indian in s nnner
far from the typical white man's stereotype. his chapter
seeks to illustrate that point.

 

”Gerald E. weds, "Introduction,“ _E_l_ m g m r am

by Ciro Alecia (Now Iork, 1916), p. h».

 

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Physical Characteris tics

Onevhitenaninflgnggggghgzajgchomtsuth
scorn that all Indians look eiike.5 or course this is not true;
yet flop-1a does net hide some er the predominant Indian charao-
teristios. He netes that the m has cheekbones not so high,
a snaller mouth, and longer nose than the Indian;6 so he sees
theIndianashavinghighcheekbones,a1ergenenth, andavide
nose. A fourth characteristic he mentions is the predefinent
Indian steam."

In regard to dress, the Indian sense present a colorful
sight. Their multicolored cost-nee are described in I; m
9.2 23:2-

1.11! las indias con las chfllenas polleras
roJas, verdes, anarflJes ma griterfa es
atemado nn tanto por los bajos tones oores de
les ponchos varoniles; les togados con los

vestides de 91-11 alnidonado que craJen al
m‘eee

 

Silegria, a m, p. 328.

6L1-o-h. Lee. m We 2nd «1.. (Sumac 6»
ml." 1W2), Po 27o

mach. Lil. m. p- 35.

3cm negro. Lime-.22. and-d" (antima-
m’ 1936), Po 36o

 

 

59

Physically intuos, the shepherd girl in Lag Ems hambrientos,
is still a little girl, small and immature at age twelve.9
Martians, the mother in the some novel is both sensual and god-

dess-like. At middle age she is described as still physically
attractive.10

The men in this novel are described as dark, strong, muscular,
with s trotting mlk.ll

negrfa's outstanding physical description is made of his
strongest character, Rosendo Haqui. In the Indian he sees all the
giant forces of nature so fandliar to the Indian in his native Peru.

Tonia e1 cuerpo nudoso y ostrino oono el
lloque—palo contorsionado y durisno—,
porque era un pooo vegetal, un poco hombre,
un pooo piedra. Su naris quebradn sefialaba
una boca do gruesos labios plegados con‘un
gesto de serenidad y firmesa. has las
duras colinss de los pdmulos brillaban los
ojos, oscuros 1a os quietos. Les cejas
eran um create . Podria afirmarse que
el Ad‘n emericano ml plasmado seg‘n su
geografia; que las fuersas de la tierra,
do tan en‘rgicas, eolosionaron en un hombre
con rasgos do montafias. En sus sienes nevaba
oomo en las del UrpilJnu.12

In summary, Ciro Alegria paints the ptvsioal portrait of the

 

9A19Sr£hseéeéufl2222§e PP- 12-130

loflegria,’ Log m, pp. tho-41. See page 1&5 of this thesis
for the quotation.

unem’ Eel-$- Ema, pe 31o
uflegria, _E_l nundo, p. 11.

60

Indian using general traits, but taking into account and empha-
sising individaul differences. Very often the personalities of
the characters are reflected in their physical characteristics.

Surroundings

In E; m Menus Ciro Llegria lists the objects the
Indianfindsfanfliartohisdaflylife. lheyare(1)thegourd
, for food, (2) the hoe, (3) the white hat, (4) the plow. and
(5) the bed.13 From birth to death these constitute his material
wealth and his plvsical surroundings. The house he lives in is
small, usually clay or edobe.” host of the Indian's activities
center out of doors; so the house do not have to movich nore
than roon to sleep and eat, and a little shelter fro: the stern.

heIndiandelightsinhisuork. netehes greatpridein
his animals: sheep, dogs, horses, and cattle.” i1egr£a sees
the Indianas adaitious andhardworking, showingwisdoeinthe
ways ef farming.16 The Indian is seen to be inventive and able
to solve nest of his problems. For instance, he has developed a

 

”hearts. .122. ms. p. 36.
“mph. 19.9. m. p. 11.
15mm. item. I» 12.
16that-IE» .129. 23229.. pp. 12-13.

 

 

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61

simple systen of mathematics which goes up to the number two
hundred. Calculation is done by counting by pairs. Further
figuring is unnecessary, the Indian believes.

Center es faena de atesoradores ,y un pueblo
que desconooi‘ la noneda y se atuvo solanente
a la sinplicidad del trueque, es l‘gico que

no engendre descendientes do nachos nineros}?

The Indian women are of interest as a category by thenselves.
Alegrie extols their natural sinplicity and hearty.

Vestian polleras roJa y verde. Se habian
quitado e1 reboso para realisar su faena y
veiase que la sencilla blusa blanca ornada
de grecas, dejande a1 descubierto los
redondos brasos, co" la intacta bellesa
de los senos nihiles.

Sextothe Indianwonanis asnaturalasbreathing. Alegria sees
her as a segment of nature acting in a mural nanner when she gives

of “1‘ We

Ias indias que se entregan en los csnpos no
lo hacen por plata. 3e acuestan sobre la
ancha ticrra y, nirando el cielo asul 0 las
estrcllas, reciben al honbre nohlenente y
una rude g pura voluptuosidad les alnnbra
la vids.1

In their work experiences Alegnfia describes the wenen as
silent, often bun-ing happily, and never idle; for they are con-

 

17A1°zrhe .122 me p. 12.
18Alegria, 3; nundo, p. 614.

”nestle. 1.0.9. m. p. 11'1-

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62

stantly spinning the wool which hes been shorn iron their sheep.20
Despite their silent nature, they are not slaves. hey speak their
minds, and sonetines they give their opinions at the oo-nnal
neetings. he opinions are not ignored by the men of the village.
One such incident occurs ianMggggzm“ Chabela
defends old Bosendo‘a neyorship when that position is threatened.21

For anusenent in daily life, the Indians rely heavily on re-
lazing to the music of the pipes.22 hey also sing and whistle,”
and hen as mentioned before. One amsenent mentioned in g m
_e_s_ 335113 l m is a horse race. his constitutes one of the
nest exciting chapters of the novel, and shows the Indians at
one of their nest lighthearted ”rents?“

Ritual is inportant in acne aspects of daily life. One such
ritual is the one perforned at death. his is very carefully re-
ported inflMgggghgszwhen Rosendo's belovedwife
dies. he body is laid in its best clothes on a blanket within
thohut. Candles placedaroundthebcdyarelighted. hefood
thatthedeadlovedonelikedbestislaidattheheadofthebed

 

”new. Les 2122;. p. 12.
21liege-ts, a m, p. 228.
22110311» in. 5.033.222. p- 53.
”new“. IL'. 22mg. 9- 53-
alley-(a, a me, pp. 157-159.

63

to provide food for the Journey to the other world. he mourners
take turns chanting praises for the dead wonan. Since this is the
mayor's wife, the Me; governor cones to neurn with a group of
dignitaries. All kneel, renoving their hats, and reciting the
Lord'sPrayer,HailHal-yandtho0roedferthewahewhichlasts
allnight. Atdawnthebedyis berninaprooessienthroughthe
village to the little cenetery where it is buried.25

his, then, is everyday life. he rhythns of nature reflected
in the sinplo works of a humble people who have found a neaning-
n1 way of life and death. But these peaceful incidents are not
the bulk of the novels, for Alegria concerns hinself with the in-
terruption of the natural rhythnss the drought, the flood, and
white nan ' s intervention. without these interruptions Alogria
pictures the Indian's daily life as serene and beautiful.

 

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CHAPHER.V
PERSONALITY.AND BELIEFS

Personally

What kind of a personality does the Indian have? Luis E.

Valcircel, the author of Indians ¢_5_f_ Peru, says that the Andean
is resigned, a man.of fairs and fiestas who seldon.is‘wrathful
or rebellious. He calls his life one of silence and acceptance.1
To some extent.Alegrih agrees. But he adds another dimension to
the Andean which makes him a more believable person. More specif-
ically, he explains the motivations for these characteristics.
Consider the characteristic of acceptance. Patience is a virtue
to the harder, and Alegria says that he must develop this trait if
it is not natural to him.

51 carecen de ella, han do adquirirla, y niche,

para conducir la recua o la trope y no desosperar

de los trajines que impenen en ticrras sin posadas,

sin.difensas, sin canines o con.ma1os canines que

no tienen ni puentes ni cercas y van sienpre por

sonas desoladas o por otras llenas de bosque,

males vados y riscos. . .2

This deeply engrained patience, no doubt influences the Indian in

 

111113 E. Valclrcel, m 2; Peru, (New York, 1950). p. 1.

2Ciro Alegrih, E1 mundo gs ancho‘zygjggg, 2nd. ed.,
(Santiago de Chile, 15515, p. 83.

61+

A.

 

65

his other dealings, and nakes his seen docile by white standards.

In regard to his quietness, the Indian can also be forgiven.
heIndianthinksnerothanhetalks. GornInArciniegas says
thatho carriosthetruthinhisheartalthoughhonsynetspeak
the truth all of the tine.3 when the Indian speaks, he is laconic.
he following, according to Alegria, characterises the Mian
speech.

uwe dlnde vienost

-Ba.nbanarcas, taita.

-;Vas al Marafion!

-Si, taita.

uiAtraer coca o plitanos!

~31 taita.

unloved hey?

El indie contoupla o1 cielo velviendo la
cabosa a todos lados.

-Nuay ser, taita.

El ingonioro espolea su saino y aleansa a1
guia, que so he adolantedo, pensardo si
oonseguirl que hable un pooo Ila.

-—¢Por qu‘ no hablan los banbanarquines?

«Asios su ser, taita.

-;I tit

-'£a.ni‘n pu‘, taita.‘

Despite his quietness and patience, the Indian is aflaitious.
hedroanofthevillagersiaahordofonehundredcowsanda
school so that the bright children nay becene doctors or lawyers.5
let to characterise the Indian as only anbitious, patient, and

 

m3oers£n Arciniogas, ed. a m my” (new test. 19W.
Po o

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Ci” L1 ' g h t. d. ’ 2“. do, 3 ‘0
’ 1 Loggia com __ oro ( antiago

5msrhs El. am. pp- 37-1“.

 

 

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66

silent is wrong according to Alegria. He shows his characters
to be more complex men with all the weaknesses and strengths of
other non. he selectmen from EL undo _e_g_ ancho z adeno, for in-
stanco, bear similarities to politicians world-wide. Some are
vain, some prideful, some sensible.6
In the sane novel mischief is called typical for the young
village men.7 Certainly there needs to be no documentation to
the statement that youth is the tine of mischief for all men.
Alegria does not overomphasiao patience and subservience.
When Bismark Ruis, the crooked lawyer, is in need, one Indian finds
satisfaction in revenge. Bismark demands a donkey from the Indian.
-Has osa caridad. La sefierita no puede
caminar, estl onforme. les hen robado les
caballos y ella no puede seminar. . .
El indie los miraba come diciondo: (Nod
no imports? Fri‘guenso alguna ves, futros
malditos. {tienen ustedes pena do nosotrost)
Eso era lo que peneaba realmente. Di‘ un
para que el asne egotinuara y diJes
-No es flo o1 burro.
In another incident iron the book, Dorotee, the most militant
of the villagers, Joins Fiero Vlsques' band of criminals for,

'e..elpecholequomaccmounallagaquehayquecurareon

 

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sangro."9 his is hardly a petient, servile attitude. Ciro

Alogrfa's Indian characters are men first, and Indians second.

Fiero needs: is termed powerful and dynamic,” end Benito

Castro holds the belief that man must be free, strong, and happy.11
hose are some characteristics of the Indians. Others are

simplicity, wisdom, sensitivity, humor, bravery, end dignity.

Each one will be considered below.

Simplicity
he Indian in some senses is a very simple creature. His
world is simple: his wants are simple. When he is confronted by
the complexities ofthelawasoutlinedbythewhitemanheisat
a loss. Alogria describes the Indian simplicity this way.
Hombres do campo, adoctrinades en la by de
la tierra, dosenvolvian su vida seg‘n ella o
ignoraban las desis, que antes les eran
inneoesarias y p35 otra parte no habfan
podido apronder.
Simplicity manifests itself in other ways. Often the Indian
knows only one occupation such as weaving;13 his life is built
around his only skill. Alegria does not ignore the fact that

Indiansarenotallnoblesavages; hoovencallsonemanoftho

 

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68

village dull}!+ Others are made to look ridiculous because of
their lack of information. When the war with Chile is discussed
they believe that the adversary is a man named Chile.l5 In the
novel _I.._o__§_ mrros hambgientgs, Martina has no idea where her hus-
band has gone when he is drafted. All she knows is that he has
gone far away, probably never to return. 16
Even the intelligent Rosendo Haqui finds himself too poorly

informed to combat the complexities of the white courts. His re-
action to the legal prodeduro is emotional rather than logical.

De pronto so sintid' pordido on ose unmido do

papeles, olor do tobaco y aire male. En un

momento tive la sospecha de que todos los

legajos y expedientes que blanquoaban en los

cstantes y sobre la mesa del juon terminarian

por ahogario, por ahogarlos, por perder a la
comunidad. 7

Wisdom
Yet Alegria emphasises the Indian's wisdom. He pictures the
Indian as an enormously practical man. In the final analysis wis-

dom usually wins over superstition as it does in the case of the

blue puma from Lg segments 91; 212.18

 

14itlegrie, _E_l_ mundo,’ pp. 182.183.
l5A1egr2fa, _E_1_ mundo,r p. 21%.

léilegria, Ios ms hambrientos, 2nd. ed. (Santiago do
Chi-1°: 191mb Pe—gge

171L1egrie, a mundo, p. 196.
mflegria, I; semieng, pp. 167-171.

69

Hosendo Hequi, Alegria's greatest character, is noted for

his wisdom in difficult situations. His methods of group control
show that he truly understands men and the psychology of the masses.
Hero is one instance of his clever use of mneuvers to win the rest
of the village over to his point of view.

Rosendo sentdse con calma. Esa actitud confundid

ales adversaries. Heallique‘limponiala

ccmpostura aun a su propio hide y por otro lado,

so mostraba firms, sin que lo importers un
insulto, dispuesto a encarar solo todos los

ataques.19

As a Judge Rosendo is considered dependable, fair, and pendent.20
Hoscndo had first been chosen a solectmen boomse of the foresight
he showedwhenho savedthewheat crop fromrottingbyhavingthe
rankgrowthcut. Inthatway,anowcrophadtimetegrowandma-
ture. he section that the older men insisted should be left
standinggrowtopheavyandbenttotho ground, ruiningallthe
section.21 This foresight established Hosendo as a wise man.

Laterwhenone ofthovillagersboughtagunandbeganto
hunt deer nary Indians grumbled; To save the situation, select-
man Maqui pointed out the fairness of hunting deer, and the right
of the hunter to hoop his kill. his decision won the mayorship
for Rosendo.22 In the role of mayor, his reputation as a Judge

 

”Ales?!“ E m; Po 2250
2°ilegrie, a m, p. 11.
21megs-lie, a m, pp. ll-lu.
22elegraie, p; M, p. 11.12.

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grew. In a dispute over the ownership of a colt, Hosendo had
themares ofthefoudingmenbroughttoanoponarea. hecolt
was let loose, and he trotted to his mother. herefere the owner
of the mother was the owner of the colt. When this case was re-
ferred to a higher court, the white Judge upheld the decision,

saying that this Judgment was worthy of Solomon. Knowing Solomon
to be the most revered wise man of all time, Rosendo felt the

deepest kind of happiness.23

nommrimmnsmmmum-
gent. hoyaroverycarefultoccnserveasmenyprovisionsas

theyareabloduringthedrought, forintheirwiademtheyhow

2‘!

that they must save for even worse times. 81min Robles, the

hero offlmha—mbgientos, shows a greatdeal ofwisdemin
his eloquent, yet simple, plea for some grain from the wealth land-

mQr o

“Patrice, god-o que nuay nada? Bus mules
y caballos fines tan oomiendo cobada. we vale
alsquiunanimalunoristiano! Itami‘n tan
sus vacas, punta grands, patrdn. Bienes que
haga pastiar, que no lo robon. . . Pore boy as
ol caso que debs natar pa que coma su gents.
Poyor que perros tanos. . . Hosotrus si que
semos comic perros hambrientos. . . Io tuav‘a,
gracias a Dios, tengun pooo, perotros pobros,
escs huairinos, botaos po les campos buseando,
llorando, suplicando.p‘.w‘.l , y nunca hallan
nada. . . , ni robar on. I tenomos fljores
y tamid'n hides. . . Piensen les diust‘, pate-In.

 

”were. u and. pp. 13-1».
”new. Ins m. p. 28.

71

Higalo po su mujer y su hijos. . . Si tie-

nesto' corazdn en el pecho, patrdn, condué'laso

. . . I si tiene pensar e hombre derecho,

piense, patrdn. . . Con nustro trabajo, con

mistra vida sian abierta tuesas chacras, sia

sembrao y cosechao to lo que ustd come y

tamién lo que comen sus animales. . . Algo

deso denos, siquiera ends 105 mis noccsitaos.

No nos deje botaos come meros perros ham-

brientos, patron. o e25

The wisdom of the Indian reaches beyord the practical. He

can also think in the abstract, and his thoughts are comparable to
the great thoughts of all ages. Here are some examples. One is
Rosendo‘s comment at one point that it takes more courage to refrain
from giving a blow than to give one.26 Simdn Robles is a great
storyteller, and when his daughter cements on the implausibility
of a story he tells, he makes a literary criticism which is worthy
of ary theorist. "Cuento es oucnto."27

His wife is also clever. When explaining a certain difficult
situation, she likens it to her weaving.
-Todues enredao y no so ve, como la pints.
e1 hilo en la madeja, pero ay ta. . . 36%0
quia voces la madeja ta may grands. . .2
Finally, Simdn, the master storyteller, makes a most poetic

comparison of the foxes and the rich whites in order to comfort the

 

25Alegria, _19_§ Erros, p. 173.
26negrfa, _El m0, po 2%.
27Alegria, _Ig_s_ mrros, p. 27.

28Alegria, .I_e;_§_ pgrros, p. 28.

72

Indians when they see the injustice of the Indian starving while
the white man hoards food.
--Yaura pongamos el caso, 1a sequia nos
fregara onde nosotrus y tamién onde don
Cipriano y don Juvencio, y onde chicos y onde
grandes. Solo questos zorros caen sin lluvia
. . . Pero ellos tienen noma sequia e 103
cielos. . . Nosotrus, los pobres, tenemos
siempre sequia e justicia, sequia e corazon. . .29
In summary, Alegrfa shows the Indian to be wise in a number

of ways: practically, judicially, and philosophically.

I

Sensitivity

As was pointed out before, Alegria sees the Indian as a most
sensitive individual. Robles, for instance, has a great feeling for
life. He loves to play the flute and‘drums, and one of his most
enjoyable pastimes is naming animals and people.30

A love and respect for animals is common to most of the Indians.
From the tiniest boy feeding a puppy, to the weathered old Rosendo
mourning his lost oxen, the Indians alike show their love for the
beasts. This is most evident in the story of the great drought.
Simon looks at his beloved sheep, who he knows will starve, and he
speaks.

{Tendrfan que comerselas todas? {Se

quedarian sin lana para las bayetas? Le
dieron pena las pobres ovejas tiradas allf,

 

29Alegrfa, Egg perros, p. 120.

3OAlegria, L g perros, p. 26.

73

sobre el suele, duloe y sencillanente,
ignorantes de su snorte.

{Howard the close of the story, SimSn's daughter is found still
toleve herpetwhohastnrnedrebelduringthehardtines; andas

the dog dies she cradles him in her arms.32
At the end of the long drought, when the nether dog returns,
Sink cries with happiness.

-Wanka, Wankita, ves sabes lo ques cuandnel
pobre yel animal ne tienen tierra ni agua. . .
Sabes, y pueso has guelto. . . , Hanks, 'vlankita
e e .Hasgfleltooomlalhflsgflons. ee

IparaWankalasllgz-inssylavosylss
pal-ad” del Sindn eran talbi‘n buenas some
1. lluvia.”

Just as moving are Resendo thui's feelings as he views the
corpse of his faithful black at.
Maqui lo queris. . . . Parecis un eristiane
inteligente y bondadese. E1 vieje alcslde
reeerdaba eon pens la visi‘n de las earnes
sangrientas y huefactas , del asta tronehads
y el ojo enJuto. El llor‘, 1101-5 sobre el
cadlver de ese buen eelpafiere labor,
animal de Dios y de la tierra.‘
be human feeling for fellow creatures is not limited to
beasts. heIndisnis oftenldndandtendertehisfellawnsn,
even when he is an outsider. Resende's heart is almost broken by

the suffering he sees when imprisoned. He befriends the lonely,

 

3J'Alegrtts, 1.9; m, p. 128.
”nag-a, 1;; m, pp. 161.162.
Ban-'81“: 149.! ms: Po 179-
351.943, 21 m. pp. 3940.

 

7a

friendless, and hungry.35 Here is one such incident.

Una tarde, un indio angustiado me a mirarse
en 103 0306 de Rosendo come si quisiera preguntarles
per 81 mismo. Parecia loco. . . . (Taita, me quiere
matar por mi ovejita negra>>. «E1 muerto, e1 muerto>>
. . . El angustiado se peg6 a1 pecho de Rosendo
y este 1e abr16 los brasos y lo protegié del muerto
estre chfindolo contra su pecho. 15% pobre indio
lloraba y Rosendo tambi‘n 110M.3

Benito Castro, man of the world and etc-army officer, who
would seem hardened to most of life, is tremerdously touched by
the plight of the villagers. He returns to Rani to find it deserted.

De pronto, se sintfo humeda la cara. Lloraba,
quieto y callado come esas viejas Biedras de
las montafias que rezuman humedad.3'

Benito is one of the foster children raised by Rosendo and his
wife. ‘Ihe other is Anselmo, the crippled harp player. Benito was
rejected by his natural parents, and Anselmo was left an orphan by
a plague. The compassionate Haqui family took pity on them and
reared them as their own.38

Family ties are very close among the Iniians. At one place
Rosendo is said to have an overflowing heart for his grandson.39
Rosendo's family has much tenderness of feeling and loyalty to one
another. In one sensitive act his son, the spoon maker, gives

his father a delicately carved orangewood spoon as a symbol of his

 

35‘1031'11, E MD, Pp. 323-324.
36Llegria, §l_ mundo, pp. 336-337.
37A.1egr£a, _EI_I._ mundo, p. l+76.

 

38Alegria, _E_1_ mundo, pp. 16.17.
39flegrifi’ EEO, Fe 57.

IE4

J",

75

love during his father's most difficult experience."O Later, when
Bosendo is Jailed, his family mm him as often as they are able."1
Martina of Le; Ems hambriegtos displays an overpowering
emotion for family. When her husband is drafted, she knows she
must tell her son; but she does not know how to do it. At last
both the child and the mother comfort each other in a loving em-
brace.
Pienss es necessrio explicarle s1 hide
loquepas ,peronossbec‘mehscerloyse
queda silencioss. E1 silencio es tense, pues
e1 Damiln la mire con ojos llenos do preguntas.

Sflaitamente ambos rompen a llorar. Es un
llanto rcnco y entrecertado, somb o y mdo,

pero que les liga, que los junta.

Llegrfs always depicts a tender relationship between man and
woman. He discusses love in all phases: youth, middle age, and
old ago. more is the teen-ager's first ideal love. One incident
involves Pancho, syoungboyinmmm, who tells
Antics, his girl friend, that he is saddened by a tale of unrequited
love. ”Gino sort e1 querer, cusndo llora asi. . ”11.3 Antuca is
equallymcvedbythe story ofspriestinlovewithsbemtiful

young girl who dies.

 

“new, §1_ m, p. 222.
“111.311., a; m, p. 322.
“21106118: .12; 2.21:2» p. 36.
“3116811“. 1.9.: m. p. 15-

76

,Pere en el fondo de s1 misma desesba oirlo,
eenth que el desgarrade lamento del Hanchiapuito
1e recerria todo el cuerpo proporcionlndole un
dolor gasoso, un sufrimiento cruel y dulce. La
cauds tembloross de la misica 1e penetraba come
una espada a herirle rudamente, pore estremci‘n-
dole con un tremor rec‘ndito las entrafias.

A more complex sense of love is found in most of the characters
who have reached nturity. Even the bandit V‘sques has a sense of
tenderness. This is his feeling for his youthful mistress.

El basdolero no habl‘ nada per temr de que

le temblara 1s vos. tin 1e quedabs coras‘m pars

sentir el dolor de les pobres, que habia side e1

snyc en etre tiempe. Eatendi.‘ todo lo que

significabs ‘1 misme come integrsciin dz la vida

de Casiana, y la estrech‘ ameresamente. 5
Yet when he discovers that his old wife is still alive and wants
to come back to him, he is touched by strong emotions for her as
well. it last he sends her away, for he knows their life together

can not be happy again.“6

The Indians feel a great kinship to all of nature. they are
romanticists in the literary sense of the term. Here are some
samples of this feeling.

Dabs gusto e1 colorido losano de les campos de
siesbrs. Les babies grises humeaban en medio

de las mlticelores chacrss. Un frondose bes-
que de eucaliptos rcdeaba la casa hacienda de

 

“Aloe-h. Lea 29.1.21. 1» 15.
“snow, E m, Po 109e
Mflom, E.- m, Pp. ”ll-#120

 

 

77

Plucar. Las quobradas cortabsn e1 paissje can
sue vordinegras lineas do monte, descendiondo
a la encafiada llena do vallos fermada per o1
rte Ians. Hombres y mujeres do trajos
coloresdos transitaban per les condoms
amarillos. Alguion onsillaba su caballo a

la puorta de una casa. Canine do la altura4
as cendian lentamente otres blancos rebafios. 7

No era sole e1 cuerpo del hombre, entences.

Era vida orginica lo que so necesitaba. Sf ,
ciertamente, puosto que ol hombre prefer! vivir
en un canpo arbolado y no en un desierte.

Muchos connneres tenian pens do las tercaces
y otres afiorabsn su canto. Quien sis 1e sfioraba
ora Demotrie Sumallacts, e1 flautists. Se habis
encarifiado con la dulce moledia y la esporbs,
sobro todo, a la hers del crepdscule‘. Le parec‘a
que o1 molanc‘lice canto era necesarie a1 v‘spere
cone un tinte mic. Digams nosotres, con nuestre
sedge e1 flautists, que el canto do las tercaces
en la hora del ocaso nos ha preducide un original
ombrujo. Es come 31 les celeros y las notas
llegaran a confundirse. A rates pareco que el
creptfsculo est‘ Mgicamente coloresdo de aflsics
y s rates que el canto est‘ musicalisado do color.
El hombre no despiorta ya sine con la sombrs.

Dometrio,’ a voces, Gretta escuchar un lloreso y
ahogado Rants lejano. Era el de su propie
corssen. 9

Humor
The Indian is not Just a gloom bundle of emotions. He has
a real sense of Joy in life, and loves to laugh and joke; illus-

 

u7flogria, Log perros, p. 52.
“8‘19“: Ln. we Po 313.
lwilegris, EM: pp. 83-81%.

78

trative of this joy is the description of the fiesta found in L;

cements 9.3 _e_r_g.

Fiesta, alegre fiesta do todos los sfios!
levlntonse voces cantoras; giman flautas,
bramon bombes, sollocen antarss, trinon
guitsrras, que nuestras privacionos y
nuestras harturss, nuestras voncimiontes
y nuestros esporansas, nuestras dolores y
nuestras alogrias giran ahera hochas una
sols ouforia do ebriodaiy do clause!

The Indian children havs a natural enthusiasm for life as
childreneverywhore‘. Theylaughmdcalltethomoongailyinfl
mundo gg ancho y; ajenevfl

Some of the jokes that delight the Indian are quite simple
and display not humor so much as an appreciation for living.
Anmca, Simln Robles ' daughter, has such an appreciation for life.
She loves to call to the wind while she is tending her sheep".

Ella, si estaba un perre a su lads—siempre
tenis uno scompahlmola-, 1e dec‘a en tone
do broma:

._.;‘Vest Vino el vionto. Hace case. . *.

I reefs con una risa do corriente agua
clara. El perro, cemprenii‘ndols, movie la
cola copess y refs tambi‘n con los vivsoos
ojos que gillaban tras o1 agudo hoeioo re-
luciento.

The same happy girl is soon to be a bit of an actress, enjoying
playing a role.

 

5°11ografs,‘ ;_a_ among, p. 137.
fillegr‘s, gm, pp. all-32o
5211-811!» .122 22:22:. P- 13.

 

 

in. A.

79

Imitd o1 silbido de la viscacha do manera
my comics, y per ese, y tambiJn porque deseaban
reir, ostallaron ambas en una cantarina carca-
jada.53
Her father shows his sense of humor in the names he bestowa

on the creatures ho contacts.

A una china aficionado. a les lancos galantes

lo puso "Pastors sin manada", y a un chelo do

renca vos y feble talante, "‘k‘ueno en ayunas";

a un magro caballo, "Cortaviento", y a una

gallina ostt‘ril, 'Poniaire". Per darse o1

gusto do nombrarlos, so las ochaba do moralista

y forsudo, ensillaba con frecuencia a Dertavie to

y se oponia a que su mjer matara 1a gallina.
In fact, Simdn Robles is probably Alogria's wittiost character. His
stories are full of humor which he uses to make life more bearable.
Ono pokes fun at women, arrl he tells it to tease his wife. The
story is able to restore good feelings and happiness to the family
circle even during the hard times.55 Sinwfn always has an answer.
When his witty daughter asks how the old woman in a story could
anticipate that she should name her dogs Gfloso y Pollejo, in order
to save herself, he replies,

-Se les puso y dispuds did la casualidl
que v oran esos nombres. . . Asios en

todo.

One clever comment comes out when the Indians are holding a

 

53A10gr1a. .129. 29__rr°ss p. 53-
91199-13, has 2.122s. p- 26-
55flegrh. 1.9.12 mm. p. 80.

56111631111. las. ms. 1» 27.

80

horse race in §3_l_ mundo g_s_ ancho I ajego. A rider is found to have
only one spur, and someone quips, “Come to vss con una espuola
noml, sdle un lao del potre vs a querer andar."57
the Indians love riddles. Here is one they often tell.
En el monte monterano
hay un hombre my anciano:
tiene dientes y no come,

tiene barbas no es hombre. . .
{Qu‘ serfl

he answer is m.

Often the natives are able to see the humorous side of a bad
situation. ‘Ihe health commissioner in E; m g; m 1 sign.
when the Indians see as amthing but health himself, is seen
through humorous eyes. When he demands a hygenic school, one
Man says,

mule es un Jutrecito e1 oomisienae? Io
cenosco,leconosco. . .Enlatiermladefie
Albino pass bebiende copes. {Cree que temar
tardeymafiansesgfienepalasali? Elsi
no es higi‘nico. . .

I entonces rieron ashes mascullando la
dichesa brer entre giIetsda y risetada.
So as w felioes.5

As seen in this quotation, the Indian can be quite satiric.
Another instance occurs when the poet of Rumi composes a clever

rig-me about the villain, Alvaro.

 

57“.“, E].- m, Po 1&3.
58“,“, 5.1.. m: P0 1360
59”.”, 3.1. me P0 590

81

A unos los mata e1 susto,

a otros la onfermedi.

Dicen que va a morér uno

do comer comunida. O

The humor of the Indian, therefore, is seen to range from

a simple joy of life to clever satire. This is no doubt one of the
aspects that.Alogria treats which makes his view of the Indian more
complex and less stereotyped than other literary Indians. Behind

that stoical face and bearing Alegria sees a heart full of joy.

Bravery and Perseverance
The writer gives emphasis to the Indians' bravery and persever-
ance. In the face of'emineus odds, they fight on as best they are
able. Jerdnimo Cahua from El,mundo g§.anche y;ajene is one such
man. He says:
-Sobre irse, creo que no nos vayamos, y
est! pa no entregar la comunidi. Est! pa
defendela. Nadie nos podri quitar si todos
le defendemos con.machetes, con piedras, con
pales, més que sea arafiando. Yo pgidi'mi
escopeta, pere tengo mi honda. . .
Even the children are bravo. Augusto, Rosendo's toonpago grand-
son, makes a most daring spy mission for the village.62 The women

are as strong as the men. The pregnant Casiana, mistress of Fiore

Vésquez, makes the hard and dangerous trip up the steep, rough

 

6OAlegria, §l_mundo, p. 325.
6lAlegri'a, El mundo, p. 224.

62Alegria, §l_mundo, p. 210.

82

mountains barefoot and in cold weather to her bandit to tell him
that the village needs 1:13.63
Despite century-old superstitions that warn about the mtories
of the high areas, the villagers move to the mountain when they are
forced off their land.6u And in this desolate mountain they per-
severe and seem to win over the ' adverse forces of natare.
I e1 indie, con sencilles y tes‘n, dom‘ do

nuovo la resistencis do la materia, y en la

desolaci‘n do los pajenales y las recas, bajo

ol asoto porsistente del viento, bretaron las

habitacionos , mantoniondo sus paredes cembas

y su toghe filudo con un gesto vigoroso y

91811330 5
Dignity

These hardships add to the dignity of the Indian. negr‘a

shows him as a most respectable and respected man. Resende epit-
omises this respect.

E1 vieje alcslde les inspirabs respete primere

y luego, cuanigélo trataban, veneraci‘n. (Eros

gHeno, taita>>.

Rosendo eallabs con tranquilidad. les caporales,

medic borrachos, no sabign qu‘ actibzd tomar ante
ose despectivo silencio. 7

 

63mm» 211. man 1». 227.
“nee-1a. a1. minds. p. 253.
65mm. 31. m. p. 29».
66nd?!” E M: Po 327-

6'IAlogz-fa, 3;. mndo, p. 219.

 

33

Sunsry
Ciro Alegria sees the Iniian with a complex personality.

More importantly, he shows each character to be an individual. A
complete range of personality traits are shown by the author. He
writes about the very stupid and the very wise, the honest and
dishonest. Universally, however, every Indian is seen to be un-
usually sensitive to nature and his fellow man.

Bogota

Philosophy and Religion

he Indian as seen by Alegris has definite philosophical st-
tihsdes. As mentioned before , he has a great sense of brotherhood
for all men. He puts his love for fellow man to practice, and he
lives very peacefully. It is not surprising that Doroteo, the
faithful mini villager turned criminal, finds killing such a dif-
ficult task to perform.68

filo Indians believe in compensation in the hersenian sense.
hey say, "Todo so page en la vida y el mal tiene immediatamente,
o a la larga, su castige."69 Resende has a mature view of the
meaning oflife. He seosthe ebbandfloweflifointhe sameway
poets and philosophers have for all ages.

Homes viste que la misma consideraoi‘n
consolaba a Rosendo. En la vida del hombre y

 

68u0gm, E1- mo, Po 275e
69‘198’1" £1- mo, Fe 19*.

 

84

la mujer habih tiompe do todo. También, pues,
debis llogar el tiempo do morir. Le deplorable
era una mnerte promaturs que frustra, pere no
la ecurrida en la ancianidad, que es una
cenclusidn ldgica. .Asi ponsaba sintidndose may
corca do la tierra. Observaba que todo lo Vin
vionte 96cia, crecii y merit para volvor a la
tierra.

Rosendo also has a great sense of self and a sensitivity to time.
Often he seeks confert from.nature.

. . . ‘l, Rosendo, gustaba on ciertss horas de

la solodad. Per ese tropaba cumbres. Bion

mirade, habih on su.vol tad.de altura un afin

do mls grands compafiii.
His deepest thoughts he hoped to share with someone, so he went to
the priest for a philosophical discussion. The white man was as-
tounded by Rosendo‘s ability to grasp'deop subjects.

Rosendo considerabs‘lhicamento 1a solodad que

lo cerrospondie. Cierta ves, planted o1

asunto do la co his silenciosa a1 curs y

‘sto 1e dijo: Cdmo so to ocurren osas cosss

sionde un.indio?> tal si s un.indio no so lo

pudieran ocurrir cesas. Dggge sentencid. <3s

la cemunidn.do las almss.>

The Indians, as seen'by.A1ogr£h, retain some of their pagan

beliefs, finding God in the tallest tree and largest river.73
they take on the elements of Catholicism that appeal to them, and

reject these that are not appealing. Rosendo, for instance, does

 

70A1egria, E_l_ M. p. 57.
71mm!» .3; m. p. 313.
72Alegria, 3; made. 1:. 313.
73Alogr1h,‘§§ so ion , p. 75.

 

85

not think he really believes in Hell.W
Because saints are an appealing aspect of Catholicism, each
village has its patron saint, usually one connected with the
soil. The Indians of kg m hambrientos worship Our Lady of
Carmen, the supreme rain giver. 75 In Rumi the Indians pray to
Saint mdere, patron saint of the farmer.76 They believe that he
hasthopowertomovoofhisewnwill,andthathodoesmove; they
tell tales of how he moved to a certain spot even when placed else-
where seversl times. this determined the place their church was
to be built.77 It is he whom they expect to save them from the
threat of Don Alvaro.78
Doroteo believes in the power of a prayer which is part
Scripture, and part pagan. It has been the charm of his life, so
he teaches it to the banditleader, who saves him in retum. This
is the advice regarding the Prayer of the Righteous Judge which
Dorotoo gives Fiere‘.
Ia perfecci‘n era m impertante, pues si o1
resader so oquivecaba, 1a oraci‘n perdis teda

o gran parte de su oficacia. En cambie, si
la decia bien, con fe y Justesa, ora tan

 

Wiley!» El m. p. 66.
”Alon-h. .1122. m. pp- 121-126.

76am. 3.1. male. 1». 29-
77Alegr£s, p; mnde, pp. 133-13».
78Alegris, El undo, p. 197.

 

.r,’

I"!

 

86

podorosa que Dies, sunquo no quisiera, tonic
que oirla.
Superstition
In addition to those beliefs, the Indians have mam supersti-
tions. Resondo, early in E; Lndg gg _a_:r_1_c_l_1_e_ 1 mug, is frightened
by a snake, a bad omen.8° The Idians believe that the bell in the
village chapolismadopartlyofhumanbleed, giving itahnman
tone.81 In order to encourage the growth of the cattle, Inoceneie,
the border, buries a little stone self in the barn yard. He pours
milk over the spot ad often leaves a little cake for the calf.82
Nasha, anoldwomanintho samenovelwhois reputedtobes
witch, is said to do many supernatural things. She can make peo-
plehmbypichngupthedirttheywalkon; she csnmslseadell
in the likeness of a person ad injure him by sticking pins into
it; she can cause people to waste away, ad to become insane:
she can drive people's eyes out and bowitch them. In addition,
she is said to be able to turn herself into an animal; ad she
looks intothe futurowiththe aids efoeca, the flightofbirds,
ad the sun.83 Using salt she can break an spell cast by another

 

79Alegria, s; M, p. 101+.
8°Alogrfa, E Lode, pp. 7-8.
81mm. 3.; mos. pp. 3:..35.
821103145. .E_l_ Eli-£12: p. 38.

Ban-981419 2. £229 P- 191.

 

lllslIlVrI‘sI-ll

87

witchfiu Not all of the Indians believe in her powers, yet
they are not sure what to believe. When she puts a spell on Don
Alvaro, Rosedo is hesitant.

RosendoMaquicreiayno crois. {Ersquelas

fuersss secretes de Dios, les santos y la

ticrra podian ser addnistradas per o1 hom-

bre, en este case per uns mier feble y

extrsfia? Ademls, la coca habia respendido

fiefaversblomente a la misms Hasha. Salvo

que ella penssra que uns cosg era don Alvaro

y otra el inmutable destine. 5

However, Rosedo is superstitious in his own way. He goes
totho topochuntRumitomakeofferingstothegedofthemoun-
tsin, Father Rumi. He takes coca, loaves of dark bread, and a
gourd full of M. With the help of the coca he hopes to get
a ”sponge" from the god of the mountain.86
Ibo villagers believe strongly that there is a bad spirit of

the lake. When some progressive men suggest that the lake be drained
they are extremely upset.87 Ihe lake is drained anyway, ad ne-
thing happens. In fact, the village grows ad pzrospers.88 So

the superstitions seem to be fading away in some cases.

Medicine
Superstition plays a large role in the practice of medicine.

 

annoy-h, g nude, p. 193.

Bjnegrh’ a Mo, Po 191%
86Alegria,’ a made, pp. 255-257.
8.510311» E Esme. pp. 251-252-

88Alogria, E; nude, pp. #95Jt97.

 

 

88

The Indians believe the grippe to be a woman dressed in white who
gallops through the high lads spreading disease.89 They also be-
lieve that the rainbow causes illness, ad that the unwinding of a
ball of many colored yarn will cure illness.9O Iet Rosedo blesses
small pox, which had ravaged the village mam times, on fate, not
on wickedness nor a woman.91

Nasha, the good witch, has many cures for various illnesses.
With a special broth ad cook's comb she can ward off the "evil
eye.“ To cure fright, she makes faces at the spot where a ghost
was soon. In another cure for the same thing, she takes a guinea
pig ad rubs him over the patient until the pig dies. Then she
dissects the pig, removing a diseased organ.92 In order to cure
animals the natives string lemons about the necks of the beasts.93

Some superstitions Alegria sees to be dying. the belief that
water in which steel has been tempered makes a good tonic is being
sbadoned.9l+

Despite all the witchcraft, the Idians are masters of some
operations, considering their scant scientific knowledge. When a

badit is injured, his arm is amputated with a razor blade. Selves

 

89Alogria, g m, p. 480.

90A1egr1a, _E_1_ m. pp. 15—16.
91Alogrfa, _ M, pp. 21-22.
9zAlogrtfa,
93Alogria,
9“sleigh-is,

IE5 5

m, Po 190e

 

E

09 Po 1"30

 

IE IS

M. p. 199.

L)

89

are applied to the stump, and the man recovers.95 A skull fracture
is repaired successfully with the use of the old Incan operatien.
These are the steps followed. First, a brew is given the victim in
order to deaden the pain. men everything is sterilised; the
Indian calls this doing the operation with M. Next the pieces
or the fracture are cut away. A squash skin is used to cover the
opening, ad the whole skull is covered with a poultice. The
operation is successiul.96
Modern science is seen te be changing these ways. The priest
has openedadrugstore, tellingtheIdiansthatitisasinto
believe in superstitious healing.97 The resulting use of quinine
for malaria ad other pills for various ailnents has cut the witch

doctor's hrusiness.98

Wonen ad Sex
What do the Indians believe the role of women should be? Al-
though they are usually subservient ad reticent, they senetimes
speak out at village councils as Chabela does.
nmui‘n lo harl neJer que Rosedo? Desde

que tengo nenoria, lo veo cumpliedo 1o bueno
y evitade lo male. So he glelte vieJe en el

 

95negr£a, g; m, pp. 2314—236.
96uogrh, _E_1_ £1.33, pp. 188—139.
97A1egrfa, _m_ m, p. 480.
98A1egrfa, ;n_ m, p. 190.

90

service de la conmnidad. Aura en estos tiempos,
ha luchao, ha padecido mfis que todos po ser
viejo, po ser alcalde, po ser autoridl, po ser
gfleno. Los otros viejos estln sentaos en sus
casas. El jineted un viaje tras otro. (A uiJn
iba a hacer declarar si no querian? {A qui n lo
iba a obligar a defeder si no querian? leguas
de leguas ha caminao po maestro bien; desaires
y males modos ha padecido po el bien de todos.
Aura mesmo, vé'anlo ahi, sentao y tranquilo,
empufiado su borddn, esperado con paciencia y
bien serene que lo boten, porque ‘1 es gfleno
tamién cuado se trata de perdonar la ingratit'lf
. . . . Pero naide 1o botar‘. {Quidn es el
hombre de coraan cobarde que quiera desconocer
y ofeder? {Quie'n es la mujer que no lo mire
como a un padre? Se quedarl, se quedarl en

su puest99nuestro querido, nuestro gtien viejo
Rosedo.

But the basic purpose of the women of §l_ mundo g_s_ ancho y ajeno
is the same as the purpose of the soil, fecundity. Ithis is how a
young girl is seen to be growing into the ideal of womanhood.
Marguicha m5 creciedo como una plants losana
. . -. . En el tiempo debido floreci‘ en labios
y mejillas y echd frutos de senos. Sus firmes
caderas presagiabanla feoudidad de la gleba
honda. . . Ella, en buenas ouentas, era la
vida que llegaba a multiplicarse y perennizarsed’
porque la mujer tiene el destino de la tierra.1 O
Rosendo's daughters are the ideal Idian women. They can do
everything eXpected of a female of their race: spin, weave, cook,
ad bear strong children.101 hose women are good mothers ad

teach their children respect for their elders."102

 

99Alegrzfa, _E_1_ mundo, p. 228.
looflegrfa, E m0, Po Me
lolilegria, _E_l mudo, p. 16.

lozklesrfa. .13.; m. pp. 93-94.

91

Sex is something as natural to the Idian as the spring.

One adolescent Alegria describes is Augusto, the gradson of
Rosedo. is he reaches the early teens he fids himself crasy
about every girl he sees.103 the next phase in love-making is
demonstrated by Juan ad Simona, friends of Augusto. During the
corn harvest they flirt, then wrestle.

Simona descubri‘ la alegria de su cuerpo y

del hombre, y Juan, que ya habia derribado

muchas chinasalolargodelos caminosya

1o ancho de las chaoras y las parves, sin-

ti! ese oscuro llamsdo, ese reclamo poderese

que ride alguna ves al var‘noaaci‘dole

tomar una mujer entre tedas.1
In the act of love the woman gives herself completely. There is no
frigid Indian woman.

Every man rust fulfill himself through a woman. The brother

of Doroteo's wife and Vlsques's mistress has lived a life ef a
hermit, seeming more like a beast than a man. let in the village
of Rumi. he fids desire ad love.

... y una tarde, ya bien oscuro, v18 que

Tadea iba con una calabasa emarilla per

agua a una aoequia que entraba a las vieJas

casas tumbadas, y ella did una vuelta para

nopasarporlas casuy‘lladerrib‘en
una hodonada y ella se resistid, pero des-

pu‘s quiso y CI. supo que era saliente y
tierna la muJer, y su cuerpo tuvo gusto...1°5

 

103L1egrfa, g undo, pp. 80-81.
10“Llegria, 3; made, p. 139.

“5111mm 3.1. m. p. 3&7.

92

Rosedo had loved his wife with a great passion as a young
man, ad this was one of the great comforts of his life.
Ensumocedadseamarondeigualmodoqueama
a1 agua la tierra (vida. E1 la buscaba, noche
anoche, cemeaundnlce frutode lasombra,y
ella, a veces, se le redia bag: el sol y en
nedio compo, cual una gacela.l
Idianwomenareusuallytruetoone man. mewife efimadee,
the coca picker, is raped by an overseer, ad she weeps bitterly over
11.1- humiliation.1°7 Despite her .11.... ad the evident shame of
other Indian women, Rosedo views rape and promiscuity with a hu-
manitarian eye. He begs for forgiveness for the women who had been
unfaithful with the soldiers during the war.108 One may assune that
faithfulness is encouraged, but violated women are not totally cs-

tracised.

Community and Lad

n1. worldngs of the government are quite interesting ad show
the conscientious thought which has been given to self-rule by the
Idians. ihe important pests in the connity are given only to
married men. Usually they have deseedants, for this gives the men
a certain amount of added responsibility ad insures that the select-
man is involved with the fixture of the conunity.1°9 no comniw

 

10611eg1I-fa, _E_1_ undo, p. 16.
lo7Llegrfa, E undo, pp. 298-299.

1083,94,, 11.1. m. PP- 30-31-
109L103!!!” El— m, Pe 137e

93

is a fine example of democracy at work. Freedom of speech is em-
ployed as well as the freedom of assembly ad equality for all.
Youth takes a part in the decisions, ad representatives are
chosen duh as they would be at a New Englad Town Meeting.110
he community is almost sacred to the Idian. When the com-

munity dispersed in IQ: undo g_s_ ancho y ejeno Alegrfa says that
Rosedo is deeply affected, even though he realises that the com-
mnity can only offer slavery ad hunger.m In keeping with the
Idian's feelings, Llegrfa portrays the comnity as a personality.
hisishowhecomparesittoalivingthing.

La ticrra parecfa merta. El pueblo, el buen

pueblo comnero, trepaba lenta y penosamente,

llevlndose sobre las espaldas, curvadas de

pens y de cuesta, una historia trenchada y

reacia a morir come los grades lrboles

talados cuyas hojas ignfl-En durante un tiempo

los estragos del hacha.

he landis asdeartetheIdiansasthecomnityisdear.

Alegria says that it is the lad which can give complete meaning
for the Idian's existencmua It is during working hours that
these people are the happiest. his description of the harvest
ofthe cornis afine example oftheir Joyinwcrkonthe lad.

Las notas del arpa, las risas, las voces, el

rumor de las hoJas secas y el chasquido de
las masorcas el desgajarse, confudianse

 

30mph, §1_ M, pp. 207-250.
muesrh. 3.1. 5210;. p. 287.
muogrh, g m, p. 2114.
113mm, E; m. p. 98.

 

9h

formando e1 himnc felis de la cosecha.ul"
Much joy is also derived from the tasks of the roudup,115 ad the
threshing.116 In connection with the love of the lad, the Idian
is shown to be a good farmer, keeping ahead of the weeds ad using
his ancestral knowledge to make the most productive harvest.117

Alegria says that the Indian can be most accurately portrayed

as a farmer. He says in an essay which discusses his writing that
those who attempt to show the Idian as amthing but a farmer present
a warped view of him.

Enrique Mpes Albtfjar, well known as a short-

story writer, is faintly praised by the com-

ment that he has only succeeded in cleverly

presenting the Idian as a criminal (a result,

no doubt, of his professional experience as a

judge) ad not as a tiller of the soil ad a

herdsman, which precisely where the Idian

is most himself. 8

If the community is sacred, the lad is a god to Llegria's

Idians. heir suffering is a direct result of their love of the
lend.119 Deep within him, Rosedo Haqui believes that the lad, the

ides, holds the secret of life.120 he lad does not change, ad

 

l1I'I'Alegria, El mundo, p. 138.

115A1egria, _E_l mudo, pp. 139-148.
néAlegria, §l_ mundo, pp. llI-8—llb9.

 

 

n7flegrfa. has. 22m. Po 32-

118(lire Llegria, "Aprismo and Litera‘lmre," Books Abroad,

Vol. 12, NOe 1 (Winter, 1938), Po lOe
119nm!» E}. m. p. 1.33,

 

95

its strength causes men to flourish.121 Rosedo loves to climb his
mountains ad absorb the strength ad beauty of them.

En realidad, subi‘ tambi‘n porque le gustaba

prebar la gososa mores de sus unisoulos en la

lucha con las escarpadas cumbres y luego, a1

dominarlas, llenarse los cjos de horizontes.

Amaba los amplios espacios y la magnifies

gradesa de los ides.

His love is so strong that he has great difficulty deciding
which in him is stronger, the love for his wife, or the love of
his lad. Alegria hints at the answer.

I Rosedo Maqui acaso pensaba e is bien

sentia: «Es la tierra mejor que la Junior?)

Nunca se hable explicado nada en definitiBB

pere ‘1 quarts y amaba mucho a la tierra.
Freedom

In addition to these loves, the Idian believes fiercely in
his medom. Mention is made of the pride felt by all the Idians
in discussing the revolution of 188 5.12“ Working for himself, the
Idian is most happy; as a ranch had his life is sad, ad his
work slow ad lifeless. It is as if his strength is not enough
without the heart which he has left on the lad that was his.125

is a prisoner, Rosedo is most discouraged because he fids

 

121119”, E1 Me P0 “‘0
122mm, E1 m0, Pe 9e

njnegria ,

 

 

E1- mo, Pe 10o
Runegrta, §l_ mudo, pp. 168-169.
125mm, 3;; undo, p. 168.

96

himself ad his life there sterile, without amr kid of creativity,
very far removed from the vitality of life that he derived from
growing the plants on the land he loves.]"?'6

Without his freedom the Indian is an incomplete man. Benito
Castro's cry to the villagers to defed themselves is a fine
example of the relationship of the community, lad, ad freedom.
His appeal is to the Idian's love of each.

Defedamos nuestra tiene, nuestro sitio en

el mudo, que as! defederemos nuestra libert‘
y nuestra vida. La suerte de los pobres es una
y pediremos a todos los pobres que nos acompafien.
is! ganaremos. . . Muchos, muchcs, desde hace
afioa, siglos, se rebelaron y perdieron. Que
nadie so acobarde pensado en la derrota por-
que es poor ser esclavo sin pelear. Qni‘n
sabe los gobernantes comiencen a compreder
que a la nacidn no le conviene la injusticia.
Pa permitir la muerte de la comunid‘ idigena
se justifican diciedo que hay que despertar
en el idic el espiritu de propiedl y as!
empiezan quitlndcle la {nice que tiene.
Defendamos nuestra vida, co ros.

tDefedamos nuestra ticrra!

Summary
What, then, does Alegrfia show to be the beliefs of the Indian?

In the first place this varies from idividnel to idividual.
Basically, life centers aroud the community, the lad, ad the
family. His particular beliefs in regard to religion ad medicine
are sometimes tempered with superstition. But the Indian's real
religion is his worship of the lad.

 

126uegria, fl mudo, p. 1109.
127mm, El mudo, pp. 500—501.

 

..O.

 

 

CELP'IER VI
FOLEDE

m

The Indian is an artistic craftmman in several wsys. The
women are constantly weaving ad spinning. Carving is also a
craft. In L; segpiente gg,ggg, a gourd holding line used to aid
in the chewing of coca is described as having a carved horn rim ad
a grinning monkey on the cover.1 .Mat making and rug weaving is
also practiced by these people.2 Although there appears to be no
fine art, some characters seem.attuned.to the symbolism.ef’art.
Fiero'VIhques, for instance, dresses totally in.black. ‘When.told
he should stop dressing in this manner'because it gives his idenp
tity away, he gives an artistic reaction to the color. '(I’qu‘?
Negra es mi vida, negras mis penas, negra mi. suerte."3

Eggs;

Dance is one of the folk arts. _One such.dance is described
in.Eggggggghg§_gpghg;y;giggg, This folk dance is called the gilglg.
.Ln odd.number of people are necessary for the dance. 'While the
couples dance, the odd male dancer takes a few swings with.an ame

 

1Ciro Ale , La serpiente‘gguggg, 2nd. ed. (Santiago
de Chile, 1936 , p. '56.

2C1rollegrih, El;mnndoIgg,anghp‘y;ajegg, 2nd. ed. (Santiago
de Chile, 19h1 , p. 328.

ailegrih, Elkmundo, p. 100.

97

98

at a tree. hen the partners change and the odd male takes a

swing at the tree. he dance stops when the tree falls.“ Another
dance performed to the accompaniment of a guitar is also described.
Inthisdancethecouplesmalcenoturnsadmevewithasimple stop.

his Alegria calls the Peruvian version of the walts.5

M
Far more important than the above art forms is music. Since
this is the favorite art of the ides,6 those who do not sing, play
an instrument.7 it the harvest time the thresher with the clearest
voice gives a high full msical shout which is answered by a lower
chant ms the other threshers.8 Even the littlest shepherdess
sings songs. Alegrfa sees these tunes ad the habit of singing as
a direct result of the lonely life of the wilds. He says,
Cantos que son hides del hambre y el lltige,
delarocaylafiera, delanieve la
niebla, de la soledad y del vionto.
Music is so ingrained into the Indian wey of life, that Rosedo

finds that there is singing and playing of msieal instruments in

 

“nae-h. E_1. mail-.... pp. 155-156.
51mph. n gin-n. p. 78.
611$?ro 53-. m: P. 269.
7mg!” El 511$. p. 1W.

Bilegrfa, 3; made, p. 139.
9A1egria, g serpiente, p. 83.

99

the prison}0

he Indian instruments are the harp, violin, drums ad flute.11
Anselmo, the adopted son of Rosedo Haqui, is a cripple. To com-
pensate for his handicap, he has learned how to be a master of the

harp. Of this instrument's value Alegria says,

E1 111110 ha dado ll instrumento extranjerc su
rural simplicidad,su matinal ternura y su
hode quebranto, toda la codici‘n de un
ptjaro cautivo, y as! se la ha apropi.ado.12

his is the way Alegrfa describes Anselme's talent.

Antes, hubi‘rase dicho que ‘1 y su instruments
formaban una sola entidad mel‘diea a trav‘s de
la cual articulaba sus secretes voces la vida
comnitaria. Hodulaba el pecho, ayudadocz:
la ringlera de cuerdas tenses y la caja ca,
un himno de surcos, de maisales ebrios de
verdor y trigales derados, de distancias
celumbradas desde 1a cima de roquedales
enhiestcs, de fiestas de amor, de faenas hechas
fiesta, do untiples ritmos y esperansas.13

Music is such a part of the life of the Adean's well-being,
ad his talents range from the ability to sing simple tunes to the
artistry of the community musician.

W
he Andean loves to tell. stories. Alegria himself shares the

talent Id love , for his novels contain new short stories ad folk

 

loAlegria, a nude, p. 165.

nAlegrfa, _E_l_ nude, pp. 1&9-150.

lelegria, E_l_ mudo, p. 268.

13Alegrfa, §1_ mdo, p. 266.

100

tales which he puts into the mouths of his characters. Some of
his books are old legeds told for children.

Rosedo Maqui, Sindn Robles, ad others are fed of telling
tales. Another storyteller is the peddler-magician who figures in
the plotofglgrggggmym. Villagersliketohavohim
visit, for then they know they will be entertained.

E1 Magico conocia a palmos la extensa scna
dode negociaba y tenfa mcho que contar do

pueblos 1eJanos, do haciodas, do idios
colonos, de commerce, do fiestas. . . Sue

propias peripecias oran pintorescas y las
relatdba dlndclos carlcter’de extreerdinsries.l“
Storytelling has in some instances reached such an artistic
level that not all Idians feel capable of telling a story well.
In Log m hambgontos Hashe wishes to tell the story of the
toad who was such chagrined when the lagoon he boasted of dried
up, but Hashe is afraid he will not tell the story well enough, so
he holds his tongue.15
In the hands of Sindn Robles, storytelling is a kid of
therapy.16 To others it is a ritual of greeting. When two men
meet, they exchange tales.17 to Rosedo nsqni, storytelling serves
another purpose. He feels that stories are history ad culture,

ad he vows to tell all the village tales before he dies, so that

 

lhflcgria, .E.1. we Po 920

15Ciro Alogrfa, Lg; m hambgigntos, 2d. ed. (Santiago
do Chile, 19%), p. 120.

16mm!» Ina 22:59.9 1» 39.
"Al-gm. 5.1. Ms. P- 291-

101

they will not die with him. Unlilce music, which is with the Idian
ingoodadbadtines, talesarerarelytoldwhenthoIdianisse-
verely oppressed.18

Mary of those stories are beast fables. Five of them are par-
ticularily outstanding. One explains the death of the birds. Since
no one hasever seenadeadbird, itis assunedthatwhenthebirds
die they go straight up to Heaven.19 Another tale tells of a fool-
ish toad ad a foolish katydid. Both, boasting of their fine voices,
ask a heron to judge which sings better. Instead of judging their
singing, he judges their flavor by eating them both.20 here are
tales concerning the bird called the W One goes like
this. Acityfellowcanetothemountains, adwhonheheardthe
cry g_u_i§_n_, flip, he answered the bird saying, ”Io, Fulano de fal,
el de sombrero negro." his trick amses the Idian greatly.21

hammatdeistoldinwhichawhite fox
covers himself with flour in order to be achitted into the sheep-
fold. Only a sudden rain, which washes off the flour, saves the
flock.22

One of the most delightful tales concerns the dogs called

 

lsAlegrfa, _El_ m, pp. lit-15.
19Alegi-fa, E; M, pp. 168-169.
”need-ts Q we no 151.
flung-is, El. m, pp. 291-292.
zzAlegria, 99; m, pp. 119-120.

...—W

     

102

Gfleso y Pellejo. It is told by Sidn Robles, ad is probably one
of the best examples of his story telling art. It follows in its
.nwwe

Al bautisar a los perros, dijc en o1 ruodo de
la merienda:

-Que so llamen asi, puo hay una historia
yesta es quiuna viojita tenta dos perros: e1
one so llamaba GHeso yel otro Pellejo. I ju‘
quiun dis la vieja sali‘ e su casa con los
perros, yent‘n lleg‘ an ladrdn y so meti‘
bajo e la cams. Golvi‘ la sefiora po la noche
y so puso a acostarse. E1 ladrdn tabs calla-
dito ay, esperado quella so dumiera pa au-
gala silencito sin que lo sintieran los perros
y pescar las llaves diun cajdn con plate. I
velay que la vieja, a1 agacharso pa pescar 1a
vacenica, 1e vi‘ las patas odel ladr‘n. I
come tcda vieja es sabida, ‘sa tami‘n era‘.
Iontdn se puso a lamentarse, como quien no

quiere la coca: 'Iastoy muy vieja; ay, yastoy
my vieja y w flaca; gfleso y pellejo no m‘s
ostey.” I repetia cada ves mls juerte, cone
almiradax 'zguoso y pellojol, tgfleso y
pellejot" Ieneso, puo, oyoron les perros y
vinioron corriedc. Ella les hiso una
sefiita y hos perros so juera control ladr‘n
haci‘dolo lefia. . . Velay que pueso ta gleno
questos so llamen tami‘n Gloso y Pellojo.23
here are other types of tales. One short fable tells how the
devil spreads the worst trait of all, aberrant-est.”
According to an old leged told in I_9_s_ perros hambgegtos,
men used to fear night the way that they fear the shadow puma. has
Godgavo manwomaninordorto take the fearfromthe night. he

moral of the tale is this. I"Iasi jm‘ c‘mo la mujer lo perdi‘, po

23Alogrfa, 12; m, pp. 26-27.
Zia-“81"” Q. m» PP- 229-2316

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103

que vino conel miedo y la noche."2-5

hero is a tale about a young priest who loved a girl so
much that, when she died, he dug up her bones to make into a flute.
he priest's tune is often played in the hills.26

Here is the tale that managed to restore good feeling in the
home of Robles. Once there was a widow who complained so mlch to
her soccd husband that he asked King Soloman what to do about her.
he wise king sent him to the burro man who had the perfect solution:
for a complaining woman ad stubborn donkey there is one cure—a

stick.27
To the Indian, tale telling is great entertainment, but it is

more; it is practical, for it is a method of greeting, an escape
mechanics, ad therapy for saddened hearts as is all great literature.
In addition, it is a form of history, the only history books the
Adeans have.

m
he folklore of the Indians is varied. Dance ad crafts are

mentioned, but hardly emphasised. Music ad storytelling are. their

great arts. All of the Andeans are piotm'ed as possessing some kid
of musical talent. Certain members of the connni'ty are pointed out
as great storytellers ad msicians.

 

zsnegrft, h8- EmS, pe “9e

26‘10814‘9 14%. 22:22. P0 150

27Alogria, L9; Ems, pp. 77-80.

mm
SOCIAL PROBIEMB

he man of mixed blood in Peru is called a £1919. His social
status is lower than that of the white, but considerably higher
than that of the Idian. He is often a small shopkeeper in the
provinces, ad sometimes he has the opportunity, through education,
to become a petty professional man. he 9.15112 world is thoroughly
explored in Alegria's I; segionte 93 2:3. ‘

In Alogria's estimation, the phyla is quite different from
theIdian. He callstheph_gl_gvainadhavingatedencyto
swagger a hit.:L He is a little less naive in regard to govern-
mental regulations such as arny registration.2 One 29k in a
M 93 5.1.1.029. I mpg expresses the philosophy of most M
when he says that the world is for the shrewd ad that people who
let themselves be fooled are responsible for this fault.3

Somahglggarepictnredas lesshumane thantheIndian. he

Condoms. tflkfafihinlesmmtes. m «tu-

 

lcu-e negris,‘ y; serpiente g; 9_r_o_, 2d. ed. (Santiago do
Chile, 1936), p. 37.

Zahara. la sad-.92. p. #5.

361-0 Ale , El mg gnoho y ejem, 2d. ed. (Santiago
de Chile, 191a , p. 56.

10h

105

rustlers. hey steal one of the Robles' dogs ad are very cruel
to the beast.“
Cholo lawyers ad judges are picimred as a ruthless lot.5
The arch type of these is Bismark Ruiz, the lawyer the commity
of Rumi hires to defed them against Don Alvaro.
El tinterillo vestfa un terno verdoso y
lucia gruesos anillos’ en las manos, y sobro
o1 vientro, yedo do un bolsillo a otro del
chaleco, una curvada cadena de oro. Sue
ojuelos estaban nublados por el alcohol y
todo ‘1 olia a aguardiente come si do 81”
a cabeza ostuviera sudado borraehera.
he cholo has little respect for tho Idian, ad considers him
to be a drunken waderer.7 So the Idian end gholo differ in, the
estimation of the author; basically they differ because the Idian

is free of the meanness ad greed attributed to the M.

Ills. Ill-9.19;. 2.119. Lbs H.113... Es
hereisasharper clashbotweontheIndianadthewhite man.
he Idiandoes notenvythewhite man's life. He has wisdom
enough to see that despite his progress, the white is still un-
happy’.8 Iet some of the Idians, Benito Castro, for instance, see

 

l"Ciro Alogria, lg; Erros W, 2d. ed. (Santiago de
Chile, 19%), p. 56.

William H. Archer, “he Novelistic Art of Ciro Alogr£a,"
Unpublished thesis (Knoxville, ‘1‘enn., 1916), p.“ #7.

éflosrh. El. m. p. 79.
7mm. Lam. p. 30-
amsrhs E1. ms P- “9“-

106

that it is only through the white man's kid of progress that the
Idian can free himself from slavery.9
he white man isusuallyavillaininAlegrfa's novels. He
is the perpetuator of the compary-store systom,1° ad all other
methods he can use to keep the Idian a slave. he shepherd, for
instance, must pay for any sheep he loses. he sheep need not be
lost as a result of the Idian's negligence. Even those lost
through natural causes are charged to the shepherd‘s account. his
moans thatheisalways atthemercyofthewhiteman; tomaloe
matters worse , debts are passed down from father to semen
Anarticlo whichallegedlyappearodimgzggjginldmais

a perfect example of the white man's view of the Idian. he article
calls the people of Rumi. rebels, usurpors, ad accomplices to a ban-
dit. he paper praises the work of the local authorities ad claims
that they are victims of a savage uprising.12 Later the paper
prints the following item.

Goticias enviadas per tel‘grafo a la prefecture

del departamento informan de la capmra del

famoso agitador y cabecilla idic Rosedo .

Se sabe que las fuorsas do gedarmeria dos ‘

do tenas persecuci‘n, lograron apresarlo sin
derramamiento de sangro, lo que prueba e1 tine

 

9&3?!» E m. p- #95.
1°A1egrfe, §1_ m, p. 290.
11mph, 3_l_ m, p. 109.
12Alegria, g m, pp. 281-282.

I.

107

y la sagacidad con que las auteridades afrontan
e1 problema del apaciguamiento do las idiadas.
Come recordar‘n nuestros lectores, Maqui en-
cabesd el movimionto sedicioso en el oual murid
el cenecido caballoro Roque Ifiigues y tfltimamente
ha estado moredeando per la regidn, siedo muchas
las depredaciones que ha ocasionade a les
ganaderes.

@i bien la captura del subversive Rosedo Maqui
es una victoria legitima de las auteridades, ella
no dart todos sus frutos mientras otros peligresos
incitaderes y secuaces centimIen en la impunidad.
Insistimes en la necesidad do que se envie un
batalldn e coeperade con las fuerzas do
gendarme a, libre a la prdspera regidn azetada
per o1 badolerisme y la revuelta de tan males
elementes. Le reclaman es! el pregrese de 11
patria y la tranquilidad de les ciudadanose>> 3

Yet not all white men are bad. here is Arimro Correa

Zavala, a member of the Aseciacidn Pre-Idigena, who tries to

provide justice for the people of the villages“ There is also

the Alegrfa family, which befriods Fiere V‘sques when he is a boy.

Don Teodoro Alenga is well respected for his justico,15 end his

wife Elena lynch is exceptionally kid to the young Indien.16

he white ladewners in Log perros hambrientos, Don

Cipriane ad Don Rdmulo, seem almost fair at the beginning of the book.

he Idians respect their authority, but they are not particularily

oppressed.17 The landlords are haughty, however: they distribute

 

13Alegrzfa, _E_l_ munde, p. 311.

Alegria, _E_1_ munde, p. 258.

 

15A1egrfa, _El_ hairdo, pp. ll9-120.

 

16negr1a, g; nude, pp. 115-ll6.

1711103111. .128. m: p. 112-

108

food to the starving people in a most patronizing manner, almost
as if the Idians were children or animals.18 Alegria says of
Don Cipriane:

Pore era evidente que osos hombres necositaban

y, siedo do hecho sus celones, estaba en o1

deber do protegerlos. Perteneda a esa clase

do sefiores feudales que supervive en la sierra

del Perv! y tiene para sus siervos, segdn su

prepia oxpresi.‘n,l ”en una mane 1a miel y en 1

otra 1e hiol", es decir, la comida y el weird. 9
As the drought continues, the white man continues to dole out small
sacks of barley for the starving people.2° Another set of kindli-
ness is seen when Den Rdmulo finds the body of Sim‘n's starved
gradson and returns it with tedornoss ad son-emu

But the drought becomes too mch for the nerves of the white

men. When the dogs storm the house in search of food the men poison
then.22 Ad when the starving Indians storm the full granary, the
white men are forced to use guns to protect their supplies.23 Al.-
theugh the white men in this story are not pictund as kidly, they
are not inhumane, only selfish.

Don Alvaro Amendbar has no sympathy for the Idian. Even

 

lsuesrh. .193 ms Pp- Ill-1.13.
”metric. .129. sen-.02. p. 118.
20mm. .192. 2.1223. In 133.
21mm. les m. pp. 152-153.
22Alegrie, Log m, p. 168.
23‘1081‘55 .1195}. 2.12.23, PP- 171-176s

109

in good times ad when he is in a good humor the wealthy man is a
despicable person. Many years before the story opens, Rosedo
hhqui had suggested that the community and the white man'build a
read together. Alvaro refused saying he used the road rarely;
and at arm rate the path was good enough, for it kept one from
falling?"4 His whole philosophy seems to be summed up in the
following declaration:

“Io pienso, igualmonto, que escs idios

ignorantes no sirven para nada a1 pals, que

§Zb§2.°§3§ 33.22%: 22.3233"; 33.2333?

One method this white man had of exploitation concerned the
grazing animals. He never paid a sol for his animals that graced
the Rumi conmmnity property. It was his belief that the commnity's
business was to see that strange animals kept off its lads, yet he
did not apply the same theory to himself. He charged the Idians
five soles per head of cattle feud grasing his lads.26

When the Indians decide to move their village further up the
mountain, Den Alvaro is furious; for he feels that the Idians
should have given up ad become slaves in his mines. Here is what
he says to them just before the transfer of property is made.

e-Ia estaba on conocimionto do su fuga al
pedregal (so, dejado la tierra buena per no

 

2“'Alegria, El nude, p. 66.

25Alegrid, _EJ._ made, p. 175.

26Alegria, _E_l_. mdo, pp. llt6—ll+7.

 

 

110

trabajar. sHolgasanes, cretines! A ver,

sefior jues, terminemes de una ves porque se

me descompone la sangre. . .27

The white man is never so repugnant as when he is grouped
against the Idian. his is most evident in governmental proceed-
ings. his unethical use of the law has caused Rosedo Maqui to
respond to courts ad legal dealings in the following way.
Rosedo Maqui no lograba explicarse clara-

mente la ley. Se 1e ante jaba una meniobra

oscura y culpable. Un dia, sin saberse per

qud ni cdmo, habia salidc la ley de contribucidn

idigena, segdn la cual les idios, per o1 mere

hecho gg ser idios, tenian que pagar una sums

anual.
When Rosedo wanted to erect a building to comply with the com-
pulsory-school law, he ran into serious problems. Even after he
got the building a teacher could not be acquired, for the Idians
could not pay an attractive salary. hen he could not get the
pencils, books, slates, and tablets necessary. At last he ever-
heard in the town that the whites ad chelos really did not want
them to become literate; so Rosedo gave up, knowing that the law
was a mockery.29

Other unfairnesses are noted by the wise mayor.

Ahi estaban les impuestos a la sal, a la coca,
a les fdsferes, a la chicha, a la chancaca, que

 

27A1egrie, _E_l mudo, p. 215.
28Alegrtfa, _E; mude, p. 18.

29Alegrie, EL mine, pp. 18-19.

4|

111

no significaban nada para les rices y of mucho

para les pobres. Ah! estaban les estancos. La

ley do servicio militar no so aplicaba per

parejo. Un batalldn en marcha era un batalldn

do idios on marcha. De cuado on ouado, a

la cabesa de las celumnas, on ol caballo do

oficial y lnciendo 1a rolampagueante ospada do

made, pasaban algunos hombres de la clase do

les patrones. A osos les pagaban. As! era

la ley. Rosedo Maqui despreciaba la 1ey.3°
In a word, as Rosedo remids his people when they are defeated, the
law is a plague.31

he officers of the law are no better than the law itself.
Once a reformer, a cholo, is shot while making a speech about how
the masses must fight injustice. Not only is the gh_o;|._e_ killed, but
all of the crowd is jailed.32
he police are notbrave. heywillgundownarunningldian

if they wish. In _Igg mg hambgentos this almost happens. Mateo
isvery frightenedbythe soldiers who come to talnehiminto the
military service. He turns tail ad runs, ad the soldiers follow
him on their horses. He hears their huge rifles being cooked, and
herunsharder, butfinallyhegivesup. heofficers slaphisbe-
wilderod wife when she cries ad begs for mercy. I-ediately they
tie Mateo, slap him in the mouth, ad drag him off behind one of

the horses.33 Mateo observes that soldiers appear only for evil

 

3011-811!» E1 was 13- 18-
31mm» m m. p. 208.
32Alegria, §l_ M, pp. 162-161}.

33mm: .142; m. PP- 37-38.

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purpose. They take men, horses, cows, sheep, ad hens, ad
all for no reason discernible to the Indianfiu'

Political candidates are as bad. When Rosedo is imprisoned,
Amenlbar ad Cdrdeva are running for office. heir cadidacy is an
interesting subject.

Se armaren grades disousiones sobro cull do

les candidates era mis male. El recuente de

tropelias m: largo y bastanto confuse. Ca-

nine do las celdas y cuadras, llegaren a la

cenclusidn de que Amenlbar era e1 peer, pues

les Cdrdeva hacia come echo afios que no

despojaban a nadie en tante que estaba fresco

e1 reouerdo de lo ccurrido on Rumi y ahI,

entre elles, tenian al buen viejo Rosedo '

come un ejomplo. 5
Low methods are constantly used by politicians. The subprefect
in _E_l_ mundo p_s_ ancho y ajone tries every measure possible to
prove he is efficient. In one case, he takes a poor Idian who has
no frieds and tries to make a case against him so that he can at

least had over one malefacter to the law.36

he Church

he white man of the church is no help. Don Gorvasio Mestas,
the priest for Rumi, is an example. He is a Spaniard, about thirty
years old, fat, talkative, ad eloquent. Despite the fact that he
is considered very wise, his advice to the community is nothing that

 

31“].081’1‘, LD-g EH08, pe 37o
35Alegrfa, E nude, p. #16.
36‘1981‘1‘, _E_l_"mrfio, Po 219e

 

sill!“
I'll" ill

113

will help the Indian.
Si den Alvaro peca, Dies 1e tomar! cuentas
a su tiempe. . . Ides en pas, buena gente,
y que la fe es ilumine y haga que sepertéis
la prueba ggn resignacidn y espiritu
cristiane.
And after all their problems the priest scelds the people because
they did not paint the statue of San Isidro, ad they did not build
him a big house where they all could assemble for services.38
The priests of the past were no better. One was a ravisher of
young girls. Another was a drunkard; another had a disagreeable
voice; and all the rest were careless.39
In £5 serpiente $2.222 the visiting priest drinks rum freely,
dances with the prettiest girls, and performs mass baptisms and
marriages without much dignity.“o
Far more shocking is the demand on the Indians for a burial fee
for their dead. 'Without the fee the dead cannot be buried in the
sacred ground of the cemetery, so that the soul is condemned to
Hell. In Lg§_pgggg§ hambrientos the starving Indians are forced to
pay the fee out of their meager savings.“1 Sometimes the Indians

are able to pay, and sometimes the Indians are not dble to pay.

 

37Alegrfe, §1_ munde, p. 213.

38Alegria, El,munde, p. 3&1.

39.Alegrih, El.munde, pp. 211-212.

uQAlegria, Lg serpiente, pp. 122-123.

ulAlegria, Leg. rres, pp. 152-153.

114

Alegrfa notes the dead rest as well outside the fence as inside the

fence .1+2

Sumary
he Indian seems almost unable to cope with the outside

world. According to Alegria, this is not the fault of the Indian.
He is held subservient by every social institution, particularly
the government and the Church. Also individual greedy ghplgg ad
whites are able to use the law to their advantage to suppress the
Idian even further.

Weaknesses

Despite Alegria's love ad admiration for the Idian, he is
capable of seeing ad uderstading the weaknesses of the Idian.
his makes his novels more realistic ad more believable to the
social critic.

Alegria pic‘lmres some Idians as fearful ad cowardly. he
guides for a hat seller in L; ”monte _dg 9_r_o_ desert the man they
are guiding when the nerehen floods.“3 One M mentions in the
same novel that the cooking of rifles is done by troopers to
frighten Idians, not w.“ he Idians are else pictured as
weak whimpering creatures constantly fearful of snakes.u5

 

“Zuegrie, _19_s_ m, p. 158.
u3Alegr1a, .I_e._ semente, p. 69.
“new. is semen. P- #9.
“5Alegrie, ;e_ «mate, p. 10.

115

Alegrfa speaks in more detail concerning the Idian's super-
stitions ad stubbornness in El nude 2; ancho y ajgno.

De Artemic no podria decirse que more my
ssbio. Arisce, corril, descenfiadc, trataba

de responder al prestigio do an antecesor,
openiddeso sistemlticamento a todo,
fiscalisldelo todo. No siempre tenIa

‘xite, y ese lo amargaba. Se croft injusta-
monte postergado. Naturalmonte, come ya homes
visto, ere enomigo implacable de les rcrlnees.“6

And Alegrfa also pictures some Idians as out-ad-out immoral
thieves. One is the magician, ad another is Fioro Vlsques, yet
Alogrfa gives both a psychological motivation for the life they
loam“?

Alcohol is sometimes detrimental to the Idian's efficiency.

As he threshes wheat he passes the jug aroud ad all become slightly
tipsy.“8 The same thing happens during the corn harvest. Here is
Alogrfa's dos cription.

Algunas mohachas, provistas do calabasas,

iban y venian del sitio do labor a la vera do
la chacra dode estaban los clntaros do chicha,

para provoorse y repartir e1 rojo lioor cele-
bratorio. No se lo predigaba mucho, y ('1

oorrfa per las venas cantado su origen de
mais formentado, fi° 123.9. embriagada para com-
placer a1 hombre. 9

Following the festival described in ;_a_ serpiente d; m the

 

uéflegrfa, E1 mundo, p. 315.

“menu. 121.1. m. pp. 326-329. 336-339. and ant-378.
“megs-is, g; m, pp. 1148.150.

wAlogria, E me P- 138.

116

Idians become completely inobriatod, ad on that evening they sleep
where they fall in a drunken empor.5o
Alogl-Ia excuses the Idian, however, saying that the alcohol
helps him over some of the bumps of his hard life.
No as rare, pues, que a les 'chuquis' les
gustara ol cafiaso; tenia sod. Tambi‘n are
my necesario para pasar ol mal rate de las

pedonoias o oncorajinarso antes de ellas.
I si a todo esto so agrega que nunca faltan

penas que aplacar y alegrfas que celebrar,
nos explicaromos que les vocinos do umcha
tenfan sus buenas rasones para dedicarso al

trage.51

Far more serious is the Idian's addiction to coca, the drug
grown in Peru. he Idian shows the leaves of the plant with a
little lime tobring outthe drug. Sinoethelimomakeshimvery
thirsty, he continually sips gm alcohol from a little gourd he
carries with him. he white man has fostered this habit by on-
couraging the growth of coca, for it is a most profitable crop.
During the Incan times coca was a government monopoly, ad it was
used only for religious purposes, soldiers campaigning, ad for
strenuous tasks; so that at thet time there was no coca problem.52

WhonDonOsvaldo comes tethefllgcomnityingm
c_l_e_g_r_qho says thatitistheoocahabitthathebelievesissap-
ping the Idian's vitality, causing him to be listless.53 Iet he

 

”more. a omega. 1:» 3n.
51A1egrfa, _E_l mudo, p. 51.

98 52m1eton Boals, gin as 3h; m (Philadelphia, 193M. p.
2 .

53‘1081‘“, _I: ”Emu“, Po 78o

«ii i

 

117

becomes addicted to the drug when faced by the difficulties of the
altitude of the Adam}.

Although Alogrta can see the wrong in using coca, he also calls
it, "La coca, que consuola siempre. ‘. .‘55 later he says of it:

Les comunoros, naturalmente, conocian la
dulce coca. Compraban coca. Compraban las
fragantos hojas de color vordo claro en las
tiedas do les pueblos o alguno incursionaba
para adquirirla a los cflidos valles dodo so
cultivan. Al macerarlas con cal, so edul-
san y producen un sutil enorvamiento o una
grata excitaci‘n. La coca es buona para el
hambre, para la sod, para la fatiga, para el
calor, para el frio, para el dolor, para la
alegrta, para todo es buona. Es buona para
la vida. A la coca preguntan les brujos y
quien doseo eating; con la coca so obsequia
a les corros, lagunas y r£os oncantados; con
la coca sanan los enformes; con la coca
viven les vivos; llovado coca entre las
names so va les muertos. La coca es sabia

y bon‘fica.

Alogria's Idians say that coca is better than the corn or
other nourishment.57 And they say that they feel the drug increases
one's strength. The coca is reputed to help against the cold,58 the
altitude, ad other sicknesses. In _13; m m the coca
increases Sifln Robles' desire to talk.”

 

shuegrie, I-._a. somegte, p. 189.
55Alogria, .I_e_ semiogte, p. 211.
56mm. .El. m. p. 289.
”more. is. me. p. 107.
53negrte, 1:; m, p. 261.
”more. has 2.13.02. p. #6-

 

I‘ll-II;
1!...

118

Some of the religious uses of the drug are maintained.
With it the witch Nasha is able to tell the futuro.60 Rosedo
Maqui uses coca to help him communicate with the god Rumi.

Rosedo echaba a la bola, para que so macerara,
calquoextraia cenunalambrohdmedodeuna
pequefia calabasa. La coca centinuaba amarga o
mis bien insipida. No tonia esa amargura do la
nogacidn, pere tampeco estaba dulce. @Coca,
coca, {debo proguntar» I la coca proseguia sin
hablar. Per macho que Rosedo la humedecia con
saliva y daba al belle sabias vuoltas con la
longua. Mas a1 fin la fan del viejo so in!
adormeciodo sutilmente y o1 cuerpo entoro
sintid un goso love y tranquilo. La logua
probd dulce la coca y el mismo saber invadi‘

1a boca entera. Rosedo ontodi‘. La coca 6
hehie hablade con su dulsure y podfe preguntar. 1

he sweetness of the coca is sometimes compared to the
62

sweetness of a woman. Ad why should this not be true? As
Archer points out, drug addiction can hardly be a vice in a

world as alien to the Indian as the one that Alogrda pictures.63

 

6oAlogrfa, E mudo, p. 81+.
“more. .31. m. p. 256.

62Alogrfa, _L_a_ segpionto, p. 61.
63Archer, p. 71+.

CHEER VIII
SUMMARY AND CDNCIIJSIONS

Alegria sees the Indian as a complete, admirable personality.
He is sensitive, loving, and faithful. He has a strong attach-
ment to his land and community. He has developed some arts, par-
ticularily nusic and oral literature. The arts and. his religious
beliefs enhance his simple life. His life patterns are greatly in-
fluenced by his native intelligence. Itflividual Irrlians have a
variety of personality characteristics. A general problem of all
natives is found in alcohol and nore so in the coca introduced by
the white man. Tho white an, in fact, is the destructive force
in the life of the Indian. His ambitions, habits, and greed have.
driven the Indian to a subservient position, so that the native
is merely a pawn at his disposal in many cases. left in his
native onviromont, the 1mm, in Llogrh's ostination, appears
to be similar to the eighteenth-century concept of the noble savage.

his thesis set out to prove that Ciro Alegrfa sees the
Indian as an individual with a complex personality an! dignity
stoning from his ancient culture, and that he also sees the
Indian as an individual with hunan rights and desires. In short,
the Indian is a worthy nonber of hnnan society. In general, this
was found to be true.

more can be no doubt that Llegria gives his great characters
complex personalities. One needs only to be reninied of Here

119

120

V‘sques, Benito Castro, Simdn Robles, and Rosendo Maqui; their Joy
of life, sympathy for mankinl, and varied talents illustrate this
point perfectly. To be more specific, one might refer to Rosendo's
talent and wisdom as a judge, and Simdn's talent in the art of
storytelling. Other Indians are less complex personalities; but
on an over-all view they are similar to men everywhere combining the
traits of laziness, cowardliness, grossness, and ignorance with
ambition, bravery, sensitivity, and wisdom.

left in his native culture, the Indian has dignity. He takes
great pride in his community, and as a member of the community his
life is very meaningful. In addition, the Iniian has dignity in
his work, his love of the land, and his various rites. He is
notsbipidandknowswhonthewhiteandfllgmakeafoolofhin.
He tries to remain aloof despite relentless harassment. A good
example of this is shown in Rosendo Haqui's humane, humble ac-
tivities as a prisoner. It is the white man who has disrupted
the balanced life; the result is a mltitude of conflicts for
the Inlian.

Ihe Indian's great love for his fellow creatures shows his:
to be most humane". his sensitivity can lead to no other con--
clusion than that the Indian is certainly far above a beast in a
moral sense. The Indian is sensitive to the needs of his fellow
monandthe needs ofhisbelovedanimals. Heiswillingtoshare
with those in need and mourn with those in sorrow. On the other
hand, he is happy to celebrate and laugh with the Joyful. Because
of his sensitivity, he is worthy of all these rights free men

In

war
.-

 

._-

 

 

 

121

call inalienable.

no Indian is found. to be a worthy member of society. He
not only is capable of preserving himself, but he is a contri-
buting member. His contributions are in the fields of the arts
and human relations. Here again it is necessary to refer to
Rosendo Maqui. His ability to hanile the people of his village
and keep their hopes alive is indicative of tho Indian's capacity
for creative and worthwhile contributions to mankind. Much can be
learned from the Indian in regard to comImnity life and the
brotherhood of man.

Iheroforo, the Indiancannot onlybe Judgodbyhis owncul-
ture, but by western culture as well. mat is, the Indian measures
up to the goals set by the western world. He is able to govern
himself and has developed a method of life which is not only man-
ingful but enriching. His simple desires and Joy in achieving the
basic drives of mankind make his existence—when undis‘lmrhed by out-
side forces—close to Utopian. In his Judgment, Alogria shows the
Indian to be a respectable person; westerners might do well to
emulate nary of his fine qualities.

As a writer Ciro Alegria is seen to be weak in regard to plot
handling and characterisation. Despite this, his stories are com-
pelling, and through his picture of Indian character a most sym-
pathetic and noble race is described. Although Ciro Alegria will
be remembered for his fine reporting and powerful descriptions, his

122

real contribution to the literature of Spanish America is his per-
trayal of the Indian as a sensitive human who holds much in common
with his white brother.

BIBLIOGRAPHY: mans B! one AIEGRIA

Alogria, Ciro. "Aprismo and Literature ," Books Abroad, III,
1, (Winter, 1938), 9.11.

. Bread and Alien is the World. Trans., Harriett do

Oni's. New York; Farrar and Rinehart, Inc., 19141.

 

 

. "Calixto Garmerriia," Cuadernos, vii (July and
August, 1951+), 144-45.

.. "Democracy in Latin-America VI: Wths versus Facts,”
Nation, CLXX, 1: (March ll, 1950), 226-229.

. Duolo do caballoros. Lima; Populibros poruanes, 1963.

 

. _F=1_ munde gs angho I ajeno. 2rd. ed. Santiago do Chile;
Ercilla, 1941.

 

. "Encuontro y breve oxpleracidn dol cholo ," Universigg
93 lg Habana, VI, xvi, (Jewry-February, 1938), 173-178.

. ”Improssienos do Jos‘ Carlos Hariltogui,” Babel, II,
xiii, (1%), “8-53.

. "La desconocida," Atonea, um, clxxi, (September,
1939), 375-385.

. _Ig lemma do; 2231.- Santiago do Chile; Zig-Zag,

 

 

 

 

19M.

 

. La segionto .d_e_ g_r_9_. 2rd. ed. Santiago de Chile;
Nascimente, 193 .

. _19_s_ m hambrientos. 2nd. ed. Santiago do Chile;
213-238, 194'20

 

 

. "Novola de mis nevelas, (L; serpiente do 9&9 y _lgg
m2 Wk" m. Lin. II. 1.11, 71937).
105.110.

e Noun. Mleu’o 21d. Odo W; W, 1963e

. ”The Stone ani the Cross," We XII, ix,
(Sep‘bmber, 1958), 27.

 

 

123

 

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GENERAL BIBLIOGRAPHY

BOOKS

Alegria, Fernando. Breve Historia de la novela hispanoamericafing.

Berkeley; University of California Press, 1959.

Arciniegas, Germin, od. Eh; Green Continent. New York; Alfred
Ac Knopf, 1941+.

Boals, Carleton. America South. New York; J. B. Lippincott, 00.,
1938.

. Fire 933 th_e_ Andes. Philadelphia; J. B. Lippincott,
00., 1931+.

 

Cometta Masoni, Aida. _E; indie 2n lg mseia d_e_ _lga; America Esmfiola.
Buenos Aires, 1939.

do Onis, Harriet. afterward. _‘131_e_ Golden Serpent by Ciro Alogrfa,
trans. Harriet do Onis. New York; The New American Library
of World Literature, Inc., 1963.

Dulsoy, Bernard M. introduction. _'.'[_'h_e_ Villagers by Jorge Icaza.
trans. Bernard M. Dulsey. Carbondale, Illinois; Southern
Illinois University Press, 196“.

”Peru,” Engclegedia Britannica. XVII. Chicago; Encyclopaedia
Britannica, Inc., 1929-1961:.

Hamilton, Carlos. Historia _d_o_ _l; literature hispgnoamerigag.
Part II. New York; Las Americas, 1%1.

Henriques-Urefia, Pedro. Literary Currents Q His ni America.
Cambridge, Mass.; Harvard University Press, 1 5.

Hespelt, Herman E., od. g Outline History 9_f_ Swsh Astoria};
Literature. New York; F. S. Crofts and Comparw, 19M.

Rippy, Fred J. Latin America. Ann Arbor; The University of
Michigan Press, 1958.

Spell, Jefferson Rea. Contemrgm Smishdmeriggg Fi tion.
Chapel Hill; The University of North Carolina, 133%.

Toor, Frances. 1193-2 Worlds 9_f_ Peru. New York; Crown Publishers,
1949.

121+

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III-Ill".

ll! I1

ul; 1:}hll‘ll'.‘

an..."

 

 

125

Torres Rioseco, Arturo. _‘L’gg Epic 21; Leg m Literature.
Berkeley; University of California Press, 1959.

Valc‘rcel, Inis E. Indians 9; Peg. Photography by Pierre
Vorgor. New York; Pechantas Press, 1950.

Vilarifie do Oliviori, Matilde. _ng nevelas £13 Ciro A‘Legria.
Santandor; Taller do Artes Graficas de les Hormanes Bodia,

1956.
Wade, Gerald E. introduction. E1 undo es ancho I ajono by
Ciro Alegria. New York; Appleton-Century-Crofts, Inc., 1916.

PERIODICAIS

Adams, Mildred. ”River in Peru," Log Yogk Times Book Review.
(06130“? 39 1W3)s6 0

'Alogii;17Cire,' anon. biegraplv, Current M, II. (19“1).

Arias-Larrota, Abrahlm. "Realidad lirica perusna,” Bevisg
Iboroamericana, 1v, vii, (November, 19.1), 53-87.

BOW“, Me Jo " N070]. .f P01“... N‘EOg’ am, (W1.
29, 19in), 542.

”Ciro Alogria. E1 M... es ancho y a one," anon., m (La
EM), 1,—1 m 11,-(JUJJ_-;11 ’ 91-920

"Ciro Alogria of Peru Wins Novel Contest,” anon. New York m,
(March 1, 19“), 13o

Dem. Hugo- "Elmasmxmfl items. (My.
19M). 173-173—

Escobar, Alberto. ”Ciro Alegria's Worlds." m. IV. 11:
(February, 1963) , 7-10.

Fadiman, Clifton. "Fitsge rald McFee, and Others ," E Yorker,
1m, (Novomber 15.5.19u15, 87-88.

Flores, Angel. ”Four Latin American Writers: Ciro A1egria,”
Panergg, xviii, (January, 1942), M.

Franklin, Albert B. ”Book Reviews: E1 m_ es my 1.1.7929 "
9‘51 .

54‘. WM! HI, 1'9 (09159130339 1
108-110.

126

"The Golden Serpent” anon. rev. Librer Journal, LY, xvi,
(September 15, 19113), 725.

Hewett, Isabelle. "Bread and Alien is the World,” National

sociatien of Seconds School Princigls, XIX, cxii,
(December, 19% 9 71-7“.

”Int. in Miami on route to N Y," g2! York .T_i_me;s_ (April 17.
1941), 8:5.

Isaccs, Edith J. R. 'Sobre: Ciro Alogria, Bread 9; Alien is
WC 1d,. ma‘tro Arts MonggZ, m, (19’25’ 281-2820

Jack, Peter Monro. "Ciro Alogria's Story of Peru," 161 York
lines Book Review, (November 16, 19141), 1:30.

"Latin American Novel Prise Awarded," anon. Publisher's Woogy,
CZXXIX, 1:, (March 8, 19141), 1126.

"Latindmerican Novel Winners Honored at Dinner," anon. Publisher's
Woog, mom, xvi, (April 19, 1941), 1658.

"Latin Writer Wins $2,600 Novel Prise," E York gag; (April 15,
19%), 142».

Ieavitt, S. E. "_I_e_s_ rros hambrientos,“ 11: Interquerican
Energy, II, iv, October, 13-75), 101-102.

"Leg pgrres hambrientos per Ciro A1ogria,” anon. Homta 313 3g
Indias, XVI, rxxiii, (December, 1942), 37-38.

Martinez, Jos‘ Inis. "Un concuso sin novela," letras 9; $3211.29,
III, ix, (19M), 1, 2:6.

Mate, Hubert E. ”Social Aspects of Novels by Ilpos y Fuentes and
258-3; “981‘“, Ell-2&2: ms 1119 (“Pam’s 1956)s

McSorley, Rev. Joseph. "New Books: Bread 5; A§££ is Q3 32319.9"
1h; Cathogg World, chv, (December, 19% s 36.9:-

Mejia Baoa, Jos‘. "Apuntes sobre la civilisaci‘n costefia,‘ m,
(November and December, 1937), 51-59.

Mol‘ndos, Concha. "E munde g m y anus,“ mt. berg-
m. V. 1x. (1&2). 33-37.

. 'Sobre; Ciro Alegria les s hambrio s,‘
Revista Iboroanogcana, III, vT'II9u15, 226:228.

 

127

”§1_ munde 93 angho y a one per Ciro A1ogria,“ anon. Rovistg _d_o_
l9}. Indies, 1, xxx, June, 1991), 143-145.

Norman Sparks, Enrique. 'Una observacidn sobro Le__s_
hambrientos.“ Mercurio Pomane, mVI, cccmv, (1 1955),
1.28-1.35.

Owre, J. Riis. ”Bread and Alien is the W_o___rld," Rovista Ibo—33-
americana, VI, xi.,-('Eobruary, 196). lilo-1&5.

Rossel Milton. "E1 mundo _o_s an__c___ho ajono per Ciro Alegria
Libres," Aten_____e_a, EV,_ cxcv,51§1.% ’

Slnchos, Inis Alberto. “The Myth of the Gloom Forrest,” Books

Thompson, Stitch. ”Folklore ani Literature ," PMLA LV, iii,
(September, l9'+0),866 .

”trade Winds, P.E.G. Querous Associates,“ anon. Saturda
Review 9; Literature, XIIIII, xxiii, (March 29, 13:1), 21.

Van Golder, Robert. ”An Interview with Segr Ciro Alegrfa,"
£13 Neg York Times Book ME...“ figs: ins, (June 22, 19%), 6:2.

IHESES

Archer, William H. “The Novelistio Art of Ciro A1egr£a," Un-
published M.A. Thesis. University of lbnnessee, 1998.

Hull, Patricia Kay. ”Ciro Alegria, novelists poruano,‘ Unpub-
lished 14.1. ‘Ihesis. Columbia University, 19%.

Villa, A. S. "Aspectos linguistic» de las nevelas do Ciro negate,"
Unfiublishod H.A. Thesis. University of Southern California,
1 7.

Weir, Avis. ”Ciro Alegria's 12g pgrros hambrientos, a translation,
with Summaries, Notes and Introduction," Unpublished ILA.
‘L'aosis. University of Texas, 199,7.

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