El Llano en llamas is a collection of short stories written in Spanish by Mexican author Juan . short stories. La herencia de Matilde Arcángel in Spanish online. A final example that attests once more to the “caciquil” basis of the society that Rulfo portrays: in the story “La herencia de Matilde Arcangel,” one of the main. These are, besides the fifteen published as El llano en llamas, five sueltos: “Un cuento,” “El dia del derrumbe,” “La herencia de Matilde Arcangel,” “Un pedazo.

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Ni siquiera arcangl desperto. The author m dces quick appearances as narrator and then leaves. From the way in which these paragraphs fit together, the reader gets the impression that the second dialogue follows immediately, which cannot be, possible.

Pedro Zamora nos seguia mirando. Third, the omniscient narrator serves to identify the two charac- ters and moves them spatially, a function which gradually is suppressed 19 as the story develops since, as the reader knows more about the two characters, he can identify them himself on the basis of content, and no longer needs to have the identification herrencia made for him.

Normally the desde acawould come from a character-narrator placing himself in a position of proximity to the dialogue. When the shout is repeated a few lines later, a slight change in it communicates vital information: Parece que no lo habitara nadie.

This allows the narrator, at the very end, to slip into the immediate present and objective time levelthus completing the frame around the story. This continued narration tends to keep any thoughts of the murdered mein’s family out of the picture. This is reinforced by the lack of physical description, typical of Rulfo, and the association, es- pecially hetencia the hombre, with animals: There is no listener mentioned or implied.

This is achieved through the process described by Carlos Blanco Aguinaga, of repetition of thoughts and words, thus making all 12 his words seem suspended in a given moment: We now realize that what seemed to be authorial description was not that at all, but rather the voice of some character in the story.

Vio estrellas transparentes en un cielo claro, por encima de las ramas herenia. This method of giving the second part of the dialogue before the first part underscores the atemporal nature of the story. De modo que ora que vengo a decirle lo que se, yo salgo encubridor?

It thus assumes an aura of eternal being, which makes it cut across both time planes.


El Llano en llamas – Wikipedia

The question of time is one which has disturbed men over the ages. However, on closer inspection, it can be seen that the complexity of time in Part I is even greater than it at first seems.

Time jumps are used in the story. It is possible that the shepherd witnessed some of the events of Part I, or that the events he narrates occurred after Part I. In the long, boring dialogues, time passes slowly. Although the details are presented in a sequence in which time appears to flow, the reader’s attitude toward this time sequence has been altered by the prior narra- tion of its conclusion, again resulting in a personal depiction of time.


He organizes his thesis around six modes of narration which he perceives in the stories: The narrator starts telling arcangfl his first trip to Luvina and, with no warning, changes from first person singular to plural.

The narrator spends a great deal of Part I in introducing characters of their common past i. By keeping this information from the reader, even as 86 he tells about burying Tanilo, he misleads the reader as to the nature of the story which he is about to tell.

O tal vez no With the calf, his sister’s last hope, he brings into the story his mother, and two other sisters who became prostitutes through economic necessity. Especially puzzling is arcange statement, after he has narrated Matilde’ s death, that hegencia para entonces no era de nosotros” p.

In “No oyes ladrar los perros,” much more time passes on the exterior level than the reader realizes at first. The author provides background, the most salient and permanent feature of which is the moon.

Juan Rulfo

Perdi la nocion del tiempo desde las fiebres que me lo enrevesaron; pero debio haber si do una eternidad. This fact is not evident at first, but when the narrator says, “Pero no soy adivino, senor licenciado” p, 44 we see from the direct address that we are receiving only one part of the conversation, as Gordon notes: Y a matjlde muchachitos se los llevaron lejos donde unos parientes.

He starts the series with hfrencia manana which, although indefinite, serves to situate the events at a certain time. However, we have no way of knowing what part of the five years is represented by this story.

As can be seen mtilde the preceding pages, the use of indefinite or unidentified elements is greater in some stories than in others. The unexpected change of the point of view from Part I to Part II forces the reader into careful evaluation of all the information he receives in Part II, and to relate it carefully with the facts he has received in Part I in order to establish in his mind the relationship between the two.


Tengo que estar al otro lado, donde no me conocen, donde nunca he estado y nadie sabe de mi, luego caminare derecho, hasta llegar. These are, besides the fifteen published as El llano en llamasfive sueltos: However, the omniscience of the narrator in this arcangek is subject to question. After finishing high school there, he found a job at the Archive de la Secretarla de Gobernacion. He follows 65 their instructions on how to proceed, “aunque no a las mismas horas” p.

According to him, the impression which the reader gets, that about twenty- four hours have passed, is 23 only an impression. In “La noche que lo dejaron solo,” the reasons for the characters’ actions are not stated until after they are needed, preventing the reader from fully understanding the reasons for what is happening. However, it seems possible to discover a more detailed, complete, and organized explanation of time in this story, which will show that it is not vagarious but rather plays a definite acrangel in the creation of reader disorientation.


Except for the fact that she ignores until the end of the article the protagonist’s obvious mental derangement, which is basic to under- standing the story, the matilve is useful in ordering the chaotic series of images which constitute the story.

We have already noted the importance of the story’s external action in the preceding chapter. He is hrencia of waiting; therefore the passage of time must have meaning for fe. It is shown that the difficulty which the reader experiences in establishing and ordering the central facts of the narrative derives from the way in which the author introduces them. El otro iba alia arriba, todo iluminado por la lunsi, con su cara descolorida, sin sangre, reflejando una luz opaca.

He narrates looking back at the events, rather than as they happen. InJames East Irby presented an M. When he 87 reads: