Summary Of La De Abajo

The depictions of key historical events in the nineteenth century have been prominent in literary works, with The Mexican Revolution in 1910 highlighting the relationship between political movement and Latin-American fiction. The profound changes in social structure and the inability to unify the country gave birth to new artistic currents in literature, like that of Mariano Azuela who’s direct experience of the Revolution gave way for his masterpiece Los de abajo in 1915 “Desde que se inicio el movimiento con Madero, sentí un gran deseo de convivir con auténticos revolucionarios-no de discursos, sino de rifles- como material humano inestimable para componer un libro, de suerte que esa sola circunstancia bastaba para sentir placer y satisfacción
Rulfo not only uses repetition to continue a close relationship with the reader, but also uses it to affirm a neutral confirmation that something happened “Justo Brambila dejo a su sobrina Margarita sobre la cama, cuidando de no hacer ruido. En la pieza contigua dormía su Hermana, tullida desde hacia dos años, inmóvil”(Rulfo, p51). The repetition of section three in section five, only enhances the significance of this occurrence and also helps develop the fragment of the story even further; the reader is left with questions at the end of the third section as the author delays any explanation of the occurrence. Section five presents the reader with a different perspective on the incidence “Despertaba al salir el sol, ahora. Cuando Justo Brambila dejaba el cuerpo dormido de Margarita sobre la cama, el comenzaba a abrir los ojos. Oyó la respiración de su hija y pregunto “Donde has estado anoche, Margarita” Y antes que comenzaran los gritos que acabarían por despertarla. Justo Brambila abandonó el cuarto, en silencio” (Rulfo, p51). Following this repetition, it is important to note the other significant repetitions and their corresponding sections; the beating of the calf (sections 3, 4 and 5), Esteban in his room after the death of Don Justo (sections 4 and 6), descriptions of San Gabriel (1 and 8) and Esteban in prison (sections 4 and 7). Although the reader is presented with coinciding versions of
We see the representation of these dates through the rise and fall of Demtrio Macias. Similarly to Rulfo’s short story in question, the use of repetition follows the first and last chapters corresponding to one another, linking Demetrio’s escape from the federales to the final chapter of the first section where the reader is presented with his victorious contribution to the Revolution. The author creates an optimistic perception of the Revolution for the reader in the first section, with the development into the second section constituting in the victory as well as the on going battle to maintain Mexican revolutionary ideologies. The reader is later presented with the third section, defining the defeat firstly mentioned in the first fragment of the novel (Cervantes letter addressed to Venancio). The novel ends with another repetition of death with Demetrio’s death. The development of the narrative in conjunction with the realities of the