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El Lunarejo, despite his Indian blood, was above all an admirer of Gongora.
Lima has no roots in an autochthonous past. Let us harden ourselves. In Authors, Poets, and Playwrights. The revolutionary feeling of Melgar, like that slbujar Pumacahua, was fed by our own blood and our own history.
While the sun shakes its tinsel in cuento mist, they kiss white death in the cruel Saharas. Gary Lopez has written: I number Deucalion among the books that most nobly and purely represent the Peruvian lyricism of the early century.
The criollo or, rather, demos of Lima was neither consistent nor original. Homer and Cervantes are democratic geniuses: His pasadismo was therefore less localized in time than that of the rest of his generation; it was a total pasadismo. Evaristo, employed in a village pharmacy and twin brother to a bilious, unhappy weeping willow tree, is one of those melancholy caricatures that Valdelomar liked to draw.
El Cuento en San Marcos
It proceeds, rather, from cities of a temperate and even autumnal climate. He is a mystic of poverty who removes his shoes so that his bare feet will know the hardness and cruelty of his road. This is typical of the poetry of Los heraldos negros. Even when the republic reached maturity, our writers never thought of Peru as anything but a Spanish colony. I can ejrique that he delighted in the first books of Gomez de la Serna to reach Lima.
He is a spiritual descendant of the conquest rather than of the viceroyalty.
Seven Interpretative Essays on Peruvian Reality
Colonida was not a group or a school, but an attitude and a mood; and colonidismo was produced by writers both within and outside the circle of Valdelomar. Valde- lomar da para mucho. Eguren, however, thanks to his exceptional influence, is a factor in the setting of trends.
The Indian race is alive in his jovial art.
I do andjnos pretend to be an impartial or agnostic critic, which in any event I do not believe is possible. The feudal caste has no titles other than those of colonial tradition, nothing that advances its interests llopez than a traditionalist literary current.
But this literature of the sierra which More describes so vehemently, contrasting it with colonial or Lima literature, has only just begun to exist. The hot afternoon is finished; your great bay and your shouting; finished, your chats with your mother, who offered us a tea filled with afternoon. This attitude is peculiar to the modern literature of his time.
The work of Garcilaso falls between epic and history. Life hides germinating worlds not yet discovered: On the other hand, Valdelomar still did not suspect in Gomez de la Serna the discoverer of the dawn.
The first and only number gives the impression of a more eclectic, less representative journal than Contempordneos. One of the essential ingredients of the art of Valdelomar is his humor. Here, for once, it has maneuvered adroitly and Palma officially appears as the foremost representative of colonialism. Without roots, our colonial literature was meager, sickly, and weak.
His grandiloquent poetry betrays its Spanish origins. From his home, which was deeply, chentos Christian and of great andinod rectitude, he obtained his purity of soul and adninos dreaminess. Chocano, in any case, has not been nourished on its soil. He is totally familiar with the vanguardist experience. Basic information for referencing this web page.
The journal Colonida was written for the Palais Concert and the Union. Ricardo Palma is a criollo of Lopezz El Tunante is a criollo of the sierra.
This prose, which could have been more refined and enduring if Valdelomar had had time to polish it, was improvised and journalistic. And the bride gazes with ardor at the porticoes and open spaces; her eyes cuenhos two gleaming topazes.
The accusations against colonialism, or limenismo as More prefers to call it, have originated in Lima. Rafael Lopez Olea has written: Valdelomar always looked for happiness andinps pleasure and, on the rare occasions when he found them, he knew how to enjoy them fully.
The two exceptions, the first much more than the second, are indisputable. Whereas his argument gains emphasis, it loses flexibility, and it gives us a very static image of Peruvian literature. Ruben Dario believed that he thought more easily in French than in Spanish, and he was probably right. Hidalgo, perhaps because of a rough provincialism unsoftened by urban life, brought to our literary reform a virile taste for the machine, mechanics, skyscrapers, speed, et cetera.
He participated in Nerique protest with genuine devotion to its revolutionary patriotism. It should not be wondered at that this penetrating analysis of the meaning and affiliation of Tradiciones comes from a writer who has never practiced literary criticism. But as a whole, his work is literary in style and structure. The Hellenic myths are never glimpsed in his Wagnerian and grotesque landscapes.
All his satire, second rate at best, reflects the mentality of a magistrate or encomendero who resents a revolution that, at least in theory, declares the mestizo and Indian to be his equals. But before the appearance of the first issue, the codirectors fought and Cultura was published without Valdelomar. The Spanish, Italian, and French literatures began with the first ballads and tales, artistic works of enduring value written in those languages.