From the pre-Columbian literature of Mexico, individual examples of epic, lyric and hymn poetry have survived to this day, mostly in translations into Spanish. Mexican literature proper begins to take shape in the early colonial period in the chronicles of the conquista. The outstanding creators of this genre were the conquistadors Hernan Cortes (1485-1547) and Bernal Diaz del Castillo (c. 1492-1582), the monks Bernardino de Sahagun (1550-1590), Toribio Motolinia (1495-1569). ) and Juan de Torquemada. At the beginning of the 17th century. the first proper Mexican work of art appeared - the poem "The Splendor of Mexico" (1604) by B. de Valbuena (1568-1627).
Mexican literature of the 17th century, as well as architecture, was dominated by the Baroque style, with its characteristic artificiality, excessive imagery, and metaphor. Three figures stand out in the colonial period: the polymath Carlos Siguenza y Gongora (1645-1700), the great poetess Juana Ines de la Cruz (1648-1695), who earned the honorary title of "Tenth Muse", and Juan Ruiz de Alarcon (1580-1639), who went to Spain, where he became famous as one of the greatest playwrights of the Golden Age of Spanish literature.
Along with the so-called. learned poetry, oral folk poetry developed. The satire inherent in it gained scope at the end of the 18th century, when protests against the colonial regime of Spain ripened in all areas of the country's political and spiritual life. The tendency towards self-affirmation found expression in literature - the poem "Rural Mexico" (1781) by R. Landivara (1731-93), as well as "Ancient History of Mexico" (1780-81) by F. Clavijero (1731-87).
During the period of the struggle for independence (1810-24), journalism and patriotic poetry in the spirit of revolutionary classicism, represented by the poems of A. Quintana Roo (1787-1851), the author of the national anthem "September Sixteenth", reached an upsurge. The first artistic trend that emerged in the literature of independent Mexico was romanticism, represented by the poetry of M. Acuña (1849-73), G. Prieto (1818-1897), and others. The first historical novels were also marked with features of romanticism.
Artistic representation of the national reality of independent M. was given by M. Paino (1810-94) in the novel The Devil's Tricks (1845-46), L. Inclan (1816-75) in the novel Astusia... (1866). In them, as in the cycle of novels by H. T. de Cuellar (1830-94) "The Magic Lantern" (1871-92), there is a so-called. costumbrist (everyday writing) trend, from which realism gradually matured. At the same time, in many novels until the end of the 19th century, including those by I. M. Altamirano (1834-93), the spirit of romanticism was preserved. Altamirano played an important role as a social and literary figure who put forward a program of struggle for the independence of Mexican literature from European.
In the 19th century Enlightenment liberal ideas, which formed the basis of the anti-colonial movement in Spanish America, came to the fore in national literature. These ideas permeate the work of José Joaquin Fernandez de Lisardi (1776-1827), the author of a number of journalistic works and the first Spanish American novel by Periquillo Sarniento (Periquillo Sarniento, 1816). Mexican literature of the 19th century developed mainly in line with romanticism and costumbrism (moral descriptive genre); in the last third of the century, under the influence of positivism, a realistic trend is formed.
In the 1880s, in Mexico, as in many other countries of the continent, the course of Spanish American modernism was born. The modernists updated worn out romantic themes, professed the cult of beauty and strove for elegance and refinement of form. The greatest representatives of this trend in Mexican literature were the poets Salvador Diaz Miron (1853-1928), Manuel Gutierrez Najera (1859-1895), M. H. Oton (1858-1906) and Amado Nervo (1870-1928). ).
At the end of the 19th century, during the period of P. Diaz's dictatorship, realistic tendencies arose in M.'s prose. In the novels of R. Delgado, J. Lopez Portillo y Rojas, in the works of F. Gamboa (1864-1939), a follower of naturalism, the vices and contradictions of the country's socio-political life were critically depicted. Sharp social criticism was also noted in the book by E. Frias (1870-1925) "Tomochik" (1892), which documented the suppression of the peasant uprising, and short stories by A. del Campo (1868-1908, pseudonym - Mikros).
Revolution 1910-1917 gave a powerful impetus to the development of Mexican literature and turned the national prose on the path of realism. The themes of social oppression and the heroes of the peons (peasants), representatives of the masses, came to the fore in it.
In the 1930s, a current developed in Mexican prose known as the "novel of the Mexican revolution". The founder of this trend was Mariano Azuela (1873-1952); his novel Those Below (Los de abajo), created in 1916, became widely known in 1927. It was followed by The Eagle and the Serpent (El aguila y la serpiente, 1928) and The Shadow of the Caudillo (1929) by Martín Luis Guzmán (1887-1976), Military Camp (El Campamento, 1931)," Earth "(1932)," My General "(1934) Gregorio Lopez y Fuentes (1897-1966), My horse, my dog, my gun (Mi caballo, mi perro, mi rifle, 1936 .), "The useless life of Pito Perez" (1938) by Jose Ruben Romero (1880-1952), Before the rain (Al filo del agua, 1947) by Agustín Yañez (1904-1980), works by R. Muñoz (b. 1899), N. Campobello (b. 1909) and many others. The work of the progressive writer M. - H. Mansisidor (1895-1956), the author of the novels Wind Rose (1941), Border by the Sea (1953), Dawn over the Abyss (1955), is partly connected with this trend. R. Usigli (b. 1905) in his plays critically portrayed the social life of the country. In the 1950s, Juan José Arreola (1918-2001), the author of philosophical and humorous miniatures, and Juan Rulfo (1918-1986), one of the pioneers of the "new Latin American novel", entered the literary scene. His collection of short stories The Plain in Flames (La llana en llamas, 1953) and the story of Pedro Paramo (Pedro Paramo, 1955) are created in line with Latin American mythology and magical realism.
Major Mexican poets of the 20th century - R. Lopez Velarde (1888-1921), E. Gonzalez Martinez (1871-1952), C. Pelliser (b. 1899), whose work is characterized by pronounced lyricism, the desire to convey in figurative form the features of the spiritual warehouse of the Mexicans and national life . The avant-garde tendencies were embodied in the work of the Estridentists and the Contemporaneos in different ways. The idea of national self-expression and self-affirmation, which became dominant in the literature of M. in the 1920s and 1930s, was developed in the works of the philosopher J. Vasconcelos (1882-1959), the poet, philosopher-essayist A. Reyes (1889-1959), and others. its study was continued and enriched in the works of the poet O. Paz (b. 1914).
In modern Mexican prose, two world-famous writers who experiment with the form of the novel stand out. One of them is the winner of a number of prestigious literary awards, Carlos Fuentes (b. 1928), author of the famous novels The Death of Artemio Cruz (La muerte de Artemio Cruz, 1962), Skin Change (Cambio de piel, 1967), Terra Nostra (Terra Nostra, 1975), Christopher the Unborn (Cristobal Nonato, 1987) and many others, as well as stories, short stories, essays, journalistic works. The other is Fernando del Paso (b. 1935), who created the sensational novels Jose Trigo (Jose Trigo, 1966), Mexican Palinuro (Palinuro de Mexico, 1975) and News from the Empire (Noticias del imperio, 1987). ).
A radical renewal of the artistic language of Mexican poetry began with the poets of the Contemporaneos group (1928-1931), which included Jaime Torres Bodet (1902-1974), Carlos Pelliser (1899-1977), José Gorostisa (1901-1973 .), Salvador Novo (1904 - 1974), Javier Villaurrutia (1904-1950) and others. Their initiatives were picked up and creatively developed by Ephraim Huerta (b. 1914) and Octavio Paz, Nobel Prize winner in literature for 1990.
An important role in the literary process of Mexico in the 20th century. essayism played with its central theme of the search for a Latin American and Mexican essence. Outstanding works in this genre were created by cultural philosophers José Vasconcelos (1881-1959), Alfonso Reyes (1889-1959), Antonio Caso (1883-1946), Samuel Ramos (1897-1959), Octavio Paz ( 1914 - 1998) and Leopoldo Sea (1912 - 2004).
(1645-1700), Juana Ines de la Cruz (1648-1695), and Juan Ruiz de Alarcón (1580-1639) .
In the first half of the 18th century, Baroque literature entered a period of decline. In the middle of the century, the transition to classicism begins. Among the classical poets, Manuel Martinez de Navarrete, Jose Agustin de Castro, Anastasio de Ochoa, Diego José Abad stand out. The literature of the second half of the 18th century is characterized by criticism of the colonial system and the assertion of the equality of Europe and America.
After gaining independence in 1821 and until the last quarter of the 19th century, two opposing and at the same time interacting trends dominate Mexican poetry. The classicists José Joaquín Pesado, Manuel Carpio, José Maria Roa Barcena and others were guided by the historical and aesthetic past. The romantics Fernando Calderon, Ignacio Rodriguez Galvan and others aimed at free self-expression, the transfer of national specifics. The last trend was continued and developed by representatives of the "second generation" of romantics, whose work is characterized by an increase in psychologism and intimate confessional intonations (Manuel Flores, Manuel Acuña, Juan Dios Pesa and others).
In the last third of the 19th century, there is a transition to realism under the influence of positivism. In the 1880s, Emilio Rabasa (1856-1930) wrote the first works in the spirit of realism. The appearance of his four novels - Bola (Spanish. Bola), Big Science (Spanish. Gran Ciencia), Fourth Force (Spanish. Cuatro poder), Counterfeit coin (Spanish. Moneta false listen)) marked a new period in Mexican prose. These novels are connected by the figure of the protagonist Juan Quiñones - they can be considered parts of a tetralogy. For Rabasa, these novels were an attempt to explore the socio-political life of Mexico; artistic tasks were secondary to him. The depth of public criticism in his novels was exceptional for the literature of that period. While other writers saw the root of evil in human vices, Rabasa was looking for the cause of social trouble in the political system. At the same time, he was not an opponent of the regime, remaining alien to liberal ideas.
Realist tendencies appeared in combination with elements of romanticism, costumbrism and naturalism in the novels of Rafael Delgado, José López Portillo y Rojas, Federico Gamboa, Heriberto Frias, in the stories of Angel de Campo.
In poetry at the turn of the 19th-20th centuries, Spanish American modernism was established, whose representatives strove for the elegance of form. Salvador Diaz Miron (1853-1928), Manuel Gutierrez Najera (1859-1895) and Amado Nervo (1870-1928) were prominent representatives of modernism.
The influence on the public life of the 1910s was exerted by the Atenei youth literary association, whose members strove for a synthesis of national and European cultural traditions.
In modern Mexican prose, two writers stand out: Carlos Fuentes (b. 1928), author of the novels The Death of Artemio Cruz (La muerte de Artemio Cruz, 1962), Skin Change (Cambio de piel, 1967), Terra Nostra (Terra Nostra, 1975), Christopher the Unborn (Cristobal Nonato, 1987); Fernando del Paso (b. 1935), who created the novels Jose Trigo (Jose Trigo, 1966), Mexican Palinuro (Palinuro de Mexico, 1975) and News from the Empire (Noticias del imperio, 1987).
Essay writing, with its search for Mexican identity, occupies a special place in the literature of Mexico in the 20th century. The philosophers José Vasconcelos (1881-1959), Alfonso Reyes (1889-1959), Antonio Caso (1883-1946), Samuel Ramos (1897-1959), Octavio Paz (1914-1998) and Leopoldo Cea (1912-1959) worked in this genre. 2004) .
see also
Write a review on the article "Literature of Mexico"
Notes
Sources
- History of literatures of Latin America: the end of the 19th - the beginning of the 20th century / V. B. Zemskov. - M .: Heritage, 1994. - ISBN 5-201-13203-0.
- // Encyclopedia "Round the World".
- Culture of Latin America: Encyclopedia / otv. ed. P. A. Pichugin. - M .: ROSSPEN, 2000. - ISBN 5-86004-158-6.
An excerpt characterizing the Literature of Mexico
“Denisov, don’t joke about that,” Rostov shouted, “it’s such a high, such a wonderful feeling, such ...- Ve "yu, ve" yu, d "uzhok, and" I share and approve "yayu ...
- No, you don't understand!
And Rostov got up and went to wander between the fires, dreaming about what happiness it would be to die without saving his life (he did not dare to dream about this), but simply to die in the eyes of the sovereign. He really was in love with the tsar, and with the glory of Russian weapons, and with the hope of a future triumph. And he was not the only one who experienced this feeling in those memorable days preceding the battle of Austerlitz: nine-tenths of the people of the Russian army at that time were in love, although less enthusiastically, with their tsar and with the glory of Russian weapons.
The next day the sovereign stopped at Vishau. Life physician Villiers was called to him several times. In the main apartment and in the nearest troops, the news spread that the sovereign was unwell. He did not eat anything and slept badly that night, as the people close to him said. The reason for this ill health was the strong impression made on the sensitive soul of the sovereign by the sight of the wounded and killed.
At dawn on the 17th, a French officer was escorted from the outposts to Vishau, who arrived under a parliamentary flag, demanding a meeting with the Russian emperor. This officer was Savary. The emperor had just fallen asleep, and therefore Savary had to wait. At noon, he was admitted to the sovereign and an hour later went with Prince Dolgorukov to the outposts of the French army.
As was heard, the purpose of sending Savary was to offer a meeting between Emperor Alexander and Napoleon. A personal meeting, to the joy and pride of the whole army, was refused, and instead of the sovereign, Prince Dolgorukov, the winner at Vishau, was sent along with Savary to negotiate with Napoleon, if these negotiations, contrary to expectations, were aimed at a real desire for peace.
In the evening Dolgorukov returned, went straight to the sovereign and spent a long time alone with him.
On November 18 and 19, the troops passed two more marches forward, and the enemy outposts retreated after short skirmishes. In the higher spheres of the army, from noon on the 19th, a strong, troublesomely excited movement began, which continued until the morning of the next day, November 20th, on which the so memorable Battle of Austerlitz was given.
Until noon on the 19th, movement, lively conversations, running around, sending adjutants were limited to one main apartment of the emperors; in the afternoon of the same day, the movement was transferred to Kutuzov's main apartment and to the headquarters of the column commanders. In the evening, this movement spread through the adjutants to all ends and parts of the army, and on the night of 19 to 20, the 80,000-strong mass of the allied troops rose from their lodgings, buzzed with a voice and swayed, and set off with a huge nine-verst canvas.
The concentrated movement that began in the morning in the main apartment of the emperors and gave impetus to all further movement was like the first movement of the middle wheel of a large tower clock. One wheel slowly moved, another, a third turned, and the wheels, blocks, gears began to spin faster and faster, the chimes began to play, figures jumped out, and the arrows began to move measuredly, showing the result of the movement.
As in the mechanism of clocks, so in the mechanism of military affairs, the movement once given is just as unstoppable until the last result, and just as indifferently motionless, a moment before the transfer of movement, parts of the mechanism, to which the matter has not yet reached. The wheels whistle on the axles, clinging to the teeth, the rotating blocks hiss from the speed, and the neighboring wheel is just as calm and motionless, as if it is ready to stand this immobility for hundreds of years; but the moment came - he hooked the lever, and, obeying the movement, the wheel crackles, turning and merges into one action, the result and purpose of which are incomprehensible to him.
As in a watch the result of the complex movement of countless different wheels and blocks is only the slow and even movement of the hand indicating the time, so is the result of all the complex human movements of these 1000 Russians and French - all passions, desires, remorse, humiliation, suffering, outbursts of pride, fear , the delight of these people - there was only the loss of the battle of Austerlitz, the so-called battle of the three emperors, that is, the slow movement of the world historical arrow on the dial of the history of mankind.
Prince Andrei was on duty that day and was inseparable from the commander in chief.
At 6 o'clock in the evening Kutuzov arrived at the main apartment of the emperors and, having stayed with the sovereign for a short time, went to the Chief Marshal Count Tolstoy.
Bolkonsky took advantage of this time to go to Dolgorukov to find out about the details of the case. Prince Andrei felt that Kutuzov was upset and dissatisfied with something, and that they were dissatisfied with him in the main apartment, and that all the faces of the imperial main apartment had with him the tone of people who knew something that others did not know; and therefore he wanted to talk to Dolgorukov.
“Well, hello, mon cher,” said Dolgorukov, who was sitting with Bilibin at tea. - Holiday for tomorrow. What is your old man? not in the mood?
“I won’t say that he was out of sorts, but he seems to want to be listened to.
- Yes, they listened to him at the military council and will listen when he speaks the matter; but to hesitate and wait for something now, when Bonaparte fears most of all a general battle, is impossible.
- Did you see him? - said Prince Andrew. - Well, what about Bonaparte? What impression did he make on you?
“Yes, I saw and became convinced that he was afraid of a general battle more than anything in the world,” repeated Dolgorukov, apparently cherishing this general conclusion, drawn by him from his meeting with Napoleon. - If he were not afraid of battle, why would he demand this meeting, negotiate and, most importantly, retreat, while retreat is so contrary to his whole method of warfare? Believe me: he is afraid, afraid of a general battle, his hour has come. This is what I'm telling you.
“But tell me, how is he?” Prince Andrew also asked.
“He is a man in a gray frock coat, who really wanted me to say “your majesty” to him, but, to his chagrin, he did not receive any title from me. What a man he is, and nothing else,” answered Dolgorukov, looking round at Bilibin with a smile.
“Despite my full respect for old Kutuzov,” he continued, “we would all be good, expecting something and thus giving him a chance to leave or deceive us, while now he is right in our hands. No, one should not forget Suvorov and his rules: do not put yourself in the position of being attacked, but attack yourself. Believe me, in war the energy of young people is often more likely to point the way than all the experience of the old kunktators.
“But in what position do we attack him?” I was at the outposts today, and it’s impossible to decide exactly where he stands with the main forces, ”said Prince Andrei.
He wanted to express to Dolgorukov his plan of attack drawn up by him.
“Ah, it doesn’t matter at all,” Dolgorukov spoke quickly, getting up and opening the card on the table. - All cases are foreseen: if he is standing at Brunn ...
And Prince Dolgorukov quickly and indistinctly told the plan for the flank movement of Weyrother.
Prince Andrei began to object and prove his plan, which could be equally good with Weyrother's plan, but had the drawback that Weyrother's plan had already been approved. As soon as Prince Andrei began to prove the disadvantages of that and the benefits of his own, Prince Dolgorukov stopped listening to him and absently looked not at the map, but at the face of Prince Andrei.
Before the conquest Mexico By the Spaniards, the culture of the tribes and peoples, the indigenous inhabitants of these territories (Maya, Toltecs, Aztecs), was at a high level of development. Their mythology was very rich. Almost all written monuments literature the indigenous population were destroyed by the Spanish. conquerors.
During the Spanish period dominion (since the 16th century) Literature of Mexico was mostly imitative in nature and was imbued with the ideas of the feudal-Catholic. reaction then prevailing in Spain. However, already in the 16th and 17th centuries. the first significant works of literature appear, reflecting
life Mexico: written in Latin prose "Dialogues" (1554) by Francisco Cervantes de Salazar (1514-75), a large descriptive poem "The Greatness of Mexico" (1604) by Bernardo de Valbuena (1568-1627), etc. The work of the native belongs to the same period from Moscow, the great playwright Juan Ruiz de Alarcon (b. c. 1580—d. 1639). Poetry was represented by the poems of the nun Juana Ine de la Cruz (1651-95), imbued with mysticism and written in an extremely pretentious style.
liberation movement Mexican people in the 18th and 19th centuries. caused the rise of folk poetry (lyric-epic ballads with acute social themes, the so-called corrido) and educational journalism, representatives of which were Carlos Maria de Bustamante (1774-1848) and Andrei Quintana Roo (1787-1851) , also known as the author of patriotic. lyrics. Anastasio Maria de Ochoa (1783-1833), author of the collection Poems of a Mexican (1828), became famous for his poetic satires directed against the Spanish colonial order. The picaresque novel of the largest publicist, novelist and pamphleteer of this period, José Joaquín Fernandez de Lisardi (1776-1827), Neriquillo the Mangy (3 vols., 1816, complete ed. 5 vols., 1830) was the first major prose writer. a work imbued with progressive-enlightenment ideas. Romantics were the first to turn to national themes, for example. Ignacio Rodriguez Galván (1816–42), author of poems (Prophecy of Guatemoc, Rebel in Ulua, Vision of Montezuma) and the first dramas from Mexican life. Romantic. the poetry of Guillermo Prieto (1818-97), author of the National Romancero (1885), a collection of songs about the national liberation struggle, and a satirical writer. poems "Street Muse" (1883), poems by Juan Valle (1838-65) "Civil War", etc. are saturated with liberal-patriotic. ideas. But the state of the economic and socio-political. M.'s life was the reason that in the romantic. reactionary tendencies prevailed in literature; they appeared, for example, in the work of the poets Manuel Acuña (1849–1873), Manuel Maria Flores (1840–85), and others.
Florencio Maria del Castillo(1828-63), adjoining the progressive romantics, in his novels and stories from Mexican life, he acted as one of the forerunners of the realist. Literature in Mexico. Acute class struggle in the 19th century. and the Mexican-American War of 1846–48 contributed to the growth of realistic and democratic tendencies in M. literature. ., 1889-91) are still partly connected with the romantic. attraction to the unusual, to the fantastic. plots, but already give realistic. picture of Mexican life. Romantic. The work of Ignacio Manuel Altamirano (1834–93), one of the most prominent figures of the liberal party, poet, publicist, and realist, is also permeated with tendencies. novels "Mercy" (1869), "El Sarco" (1888, published in 1901), etc. The most acute and realistically consistent work of Mexican literature of the 19th century. - social novel "Tomochik!" (1892) Eriverto Frias (1870-1925), which tells about the suppression of the uprising of the Yaqui Indian tribe by the colonialists. Most of the other works are realistic. literature M. 19th century. does not rise to typical. generalizations and bears traces of naturalism. Such are, for example, the historical novels by Vicente Riva Palacio (1832-96), novellas and stories from the life of the people and the urban social lower classes of Angel de Campo (1868-1908) - "Seen" (1894), "Sketches" (1897).
At the end of the 19th century in the countries of Latin America, such as modernism, generated by the crisis of bourgeois culture, became widespread—a trend of a decadent character that preached a retreat into “pure art” and mysticism. Manuel Gutiérrss Najera (1859–95) was the head of “modernist” poetry in Moscow; the poet Amado Nervo (1870–1919), who went from imitating the French, was also the greatest representative of modernism. decadents to Catholic. mysticism, poet, literary critic and publicist Luis G. Urbia (1868-1934), etc.
Bourgeois-democratic revolution of 1910-17, workers' and anti-imerialist. The movement, which gained especially wide scope in Mexico after the Great October Socialist Revolution in Russia, contributed to the fact that Mexican literature took one of the leading places in the progressive literature of Latin American countries. In folk ballads (corridos), the themes of the revolutionary struggle were developed, and social satire developed. bourgeois Literature of Mexico experienced a further decline (“ostridentism” - a kind of futurism, surrealism, etc.); the best writers and poets made a decisive break with decadent bourgeois culture. Enrico González Martinez (1871-1952), the greatest poet of Mexico, who began as a "modernist", became one of the reformers of democratic poetry in Latin America. Until the end of his life, Martinez was an active fighter for peace and democracy (the poem "Babylon", sonnets), headed the National Committee of Peace Supporters. The ardent patriot Rayon Loies Velarde (1888-1921) brought to the fore the national, patriotic poetry. topic.
The theme of the civil war and the bourgeois-democratic revolution in Mexico is addressed by Mariano Azuela (1873-1952), author of the novels "Those who are below" (1916, Russian translation - "Hurricane", 1928), "Caciques" (1917) and dr., Martin Luis Guzmán y Franco (b. 1887), author of the novels The Eagle and the Serpent (1928), The Shadow of the Caudillo (1929), and Rafael F. Muñoz and Jose Ruben Romoro, who went a long way to democracy ( 1890-1952). Under the direct influence of the Communist Party of M., modern progressive and revolutionary literature of M. was born, representatives of which were grouped around the journal Ruta (Ruta, 1933–39). The revolutionary poetry of V. V. Mayakovsky, who visited Moscow in 1925, enjoys great popularity in the country; the works of M. Gorky, F. V. Gladkov, M. A. Sholokhov are translated. In 1935, the League of Revolutionary Writers and Artists was created in Moscow, with the aim of uniting the progressive forces of all the countries of Latin America. José Mansisidor (b. 1891), novelist and publicist, author of a book about the USSR (1937), written after a trip to the Soviet Union, and novels (“Mutiny”, 1931, abbr. Russian translated 1933, "On the Spanish Mother", 1938, abbreviated Russian translation 1941), exposing the imperialist. US expansion and the anti-popular policy of the ruling classes. The social novelists Juanos la Cavoda, Gregorio López y Fuentes (b. 1897), and others describe the hard life of the people. Carlos, Gutierrez Cruz (1897-1930) also turned to the social theme in his poetry (collection "Lyrical Path", "Scarlet Blood", 1924), Miguel Bustos Cereceda continued the traditions of social poetry in the 30s (b. 1914) , Efrain Huerta and other poets close to the Popular Front movement. During the years of World War II (1939–45), the theme of heroism occupied a significant place in the progressive literature of M. struggle and victory of the Soviet people over fascism. During these years, a book of poems by Efrain Huerta “Poems of War and Hope” (1943), “A Poem about a Hero” by M. B. Cereceda, poems by Adolfo Logos and others appeared. Union. Leading Writers Mexico: Jose Mansisidor, Luis Cordova and a number of others are actively involved in the peace movement. Huerta is a member of the World Peace Council.
Juan Yolilistli. Pure poetry
The most celebrated of the Aztec poets was with his intimate philosophical lyrics.
The pre-colonial literature of the indigenous peoples of Mexico continued to exist also in the oral tradition.
Literature of the colonial period
The first literary works are chronicles. The names (1485-1547) and (c. 1492-1582), (1550-1590), (1495-1569) and are highlighted here.
The first major work of Mexican fiction proper is considered to be the great poem “Magnificent Mexico” published in 1604 ( Grandeza Mexicana ) (1568—1627) .
In Mexican literature of the 17th century, the . The most notable here are (1645-1700), (1648-1695), and (1580-1639).
In the first half of the 18th century, Baroque literature entered a period of decline. In the middle of the century, the transition to. Among the classical poets, Manuel Martinez de Navarrete, Jose Agustin de Castro, Anastasio de Ochoa, Diego José Abad stand out. The literature of the second half of the 18th century is characterized by criticism of the colonial system and the assertion of the equality of Europe and America.
Writers of independent Mexico
After the independence of Mexico in 1821 and until the last quarter of the 19th century, two opposing and at the same time interacting trends dominate Mexican poetry. The classicists José Joaquin Pesado, José Maria Roa Barsena and others were guided by the historical and aesthetic past. The romantics Fernando Calderon, Ignacio Rodriguez Galvan and others aimed at free self-expression, the transfer of national specifics. The last trend was continued and developed by representatives of the "second generation" of romantics, whose work is characterized by an increase in psychologism and intimate confessional intonations (Manuel Flores, Manuel Acuña, Juan Dios Pesa and others).
In the last third of the 19th century, a transition to realism is planned under the influence. In the 1880s (1856-1930) he wrote the first works in the spirit of realism. The appearance of his four novels - "Bola" ( Bola), "Big Science" ( Gran Ciencia), "The Fourth Force" ( Cuatro poder), "Fake Coin" ( Moneta false) marked a new period in Mexican prose. These novels are connected by the figure of the protagonist Juan Quiñones - they can be considered parts of a tetralogy. For Rabasa, these novels were an attempt to explore the socio-political life of Mexico; artistic tasks were secondary to him. The depth of public criticism in his novels was exceptional for the literature of that period. While other writers saw the root of evil in human vices, Rabasa looked for the cause of social trouble in the political system. At the same time, he was not an opponent of the regime, remaining alien to liberal ideas.
Realistic tendencies appeared in combination with elements of romanticism and costumbrism in the novels of Rafael Delgado, José López Portillo y Rojas, Heriberto Frias, in the stories of Angel de Campo. In 1903, Santa (1864-1939), the first Mexican novel, was published.
In poetry at the turn of the 19th-20th centuries, Spanish American was established, whose representatives strove for the elegance of form. Salvador Diaz Miron (1853-1928), (1859-1895) and (1870-1928) were prominent representatives of modernism.
The influence on public life in the 1910s was exerted by the literary association, whose members strove for a synthesis of national and European cultural traditions.
Contemporary Mexican Literature
In modern Mexican prose, three writers stand out: (1917-1986), author of the collection of short stories "The Plain of Fire" (El llano en llamas, 1953) and the novel "Pedro Parramo" (Pedro Párramo, 1955), (1928-2012) - author novels The Death of Artemio Cruz (La muerte de Artemio Cruz, 1962), Change of Skin (Cambio de piel, 1967), Terra Nostra (Terra Nostra, 1975), Christopher the Unborn (Cristobal Nonato, 1987), - and (b. 1935), who created the novels Jose Trigo (Jose Trigo, 1966), Mexican Palinur (Palinuro de Mexico, 1975) and News from the Empire (Noticias del imperio, 1987).
Essay writing, with its search for Mexican identity, occupies a special place in the literature of Mexico in the 20th century. Philosophers (1881-1959), (1889-1959), (1883-1946), Samuel Ramos (1897-1959), (1914-1998) and Leopoldo Sea (1912-2004) worked in this genre. In 1990, Octavio Paz was awarded with the wording "for impressive comprehensive writings marked by sensory intelligence and humanistic integrity" .
see also
Notes
- , With. 203.
- Philosophical aspects of Nezahualcoyotl's lyrics// Historical fate of the American Indians: problems of Indian studies / Otv. ed. . - M. :, 1985. - 359 p.- S. 98-107.
