4TOB-LEE

COMMUNICATION
It refers to the literary manifestations that occurred
PERUVIAN in Peruvian territory. It includes
LITERATURE
literature in oral artistic form from Amerindian poetry (various regional ethnic groups
existing at the time of the conquest, such as Quechua, Aymara or Chanka) to the
present.
YO. Pre-Hispanic Andean literature
The artistic production of this period (linked to the Inca empire) had poetic
manifestations (in the Quechua language or runa simi) called harawais (lyrical poetry)
and hayllis (epic poetry). These manifestations were part of daily activities expressed
through literature.
Characteristic

- Anonymous : There is no defined author.

- Oral : Phonetic writing did not exist.
- Collective agrarian : Agricultural activities and livestock were the source of
inspiration for the compositions.
- Musicality and dance : During the ceremonies, the choreography was varied and
was accompanied by various instruments of the time.
- Religious-cosmogonic pantheism : The congenital pantheism of the Indian adheres
strongly to the earth, which makes it impossible to separate them.
- Animistic spirit : The Incas gave the earth human qualities.

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-classist : two trends developed:
a) court literature
The epic songs stand out, compositions about the Incas, the origins of the Incas and the
deeds of the Incas. Like the mythical cycles of Wiracocha and the Ayar Brothers, etc.
b) popular literature
It expressed the feelings of the people. The lyrical forms were accompanied by music
and dance. We can mention the arawi or harawi (any genre of song that later became a
love song), the haylli (similar to the European anthem), the wawaki (dialogue song), etc.

Drama: The Apu Ollantay

Drama originally composed in Quechua, considered the oldest. The first manuscript of
the work belonged to the priest Antonio Valdés.
Argument
The general of the Inca armies, Ollantay, has fallen in love with Alegre or Estrella),
daughter of the Inca Pachacutec (The restorer of the world).
Cusi Coyllur (Lucero
No one, except another Inca, can marry her, but the general
exposes himself and, despite omens to the contrary, decides
to ask for Cusi Coyllur's hand. The princess's mother hides her
loves, her secret wedding. The high priest Willka-Uma
discovers Ollanta and the dangers of the Inca's wrath. This is
the introduction.
From here on, the lovers, now separated, are forced to take
refuge. Cusi Coyllur is locked up in the women's house,
Acllahuasi, and Ollantay flees to the city that bears her name,
Ollantaytambo, and entrenches herself there.
The Inca has his assistants, generals like Rumi Ñawi (Eye of
Stone); Ollanta with his own, like Urqu Waranqa (Thousand
Mountains). In the first battle Rumi Ñawi was defeated. Some time later, Inca
Pachacutec died without having managed to defeat Ollantay; Túpac Yupanqui (The one
esteemed by royalty) succeeded him. Rumi Ñawi, through a trap, manages to capture
Ollantay.
The outcome comes when Ima Sumaq (Bella Niña), ten years old, meets her mother and

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goes to the presence of the new Inca, her uncle, who has Ollantay and his generals
imprisoned. Ollantay is forgiven by the High Priest, who always acts as a peacemaker.
The Inca later becomes interested in the chained woman, recognizing her as his sister
and hears her painful story from her lips. Then the Inca forgives everyone, reconciles the
spouses before everyone and wishes them a long life together.
Characters
· Pachacutec: Inca, father of Cusi Coyllur · Ollantay: General of Antisuyu, beloved of Cusi
Coyllur · Cusi Coyllur: Estrella Alegre, daughter of Inca Pachacutec, beloved of Ollanta ·
Piki Chaki (Pata Pulga, servant of Ollanta, is characterized by giving humor to drama) ·
Rumi Ñawi: Ojo de Piedra, general of the Hanansuyu · Chaski: Messenger · Hanqu Wallu:
Olla Blanda, an elderly nobleman, named general after Ollanta's self-coronation as Inca
of the Antis, or settlers of the Antisuyo · Ima Sumaq: Beautiful Girl, daughter of Cusi
Coyllur and Ollanta · Mama Qaqa: Mother Rock, ruler of Acllahuasi · Pitu Salla:
Courtesan, tutor of Ima Sumaq · Túpac Yupanqui: son of Pachacutec and new Inca after
the death of his father · Urqu Waranqa : Thousand Mountains, general of Ollanta · Willka
Uma: Great Witch · Runes: Indians · Llapankuna: Choir of Yaravíes
Main topic:
- Conflict between social classes: Ollantay made the mistake of asking for the hand of
Cusi Coyllur, the Inca's favorite daughter, since he was a simple man without high social
rank, which angered the Inca. From that moment, Ollantay earned the enmity of the
Inca. This shows as a thematic axis: The authoritarianism and intransigence of the Inca.
Secondary themes:
- Love: Ollantay and Cusi-Coyllur loved each other madly and nothing, not even Inca
himself, could stop that great and true feeling.
- Loyalty: In Inca times, loyalty was very important since subordinates were loyal to
their boss, as Piqui-Chaqui demonstrates well with his boss Ollantay.

Style-Resources
It is not known what the original work was like, but the one we have in our hands, the
reproduced one, is written in verse. The work is Inca-Spanish, the history clearly Inca and
the stylistic resources Hispanic.

II. Colonial Literature

The period of conquest in Peru begins with
the capture of Atahualpa in Cajamarca.
The Spanish imposed their rules on the
lives of the Peruvian settlers.
In the cultural area, 2 important events
occur: ·The invention of the printing press,
by Juan Gutenberg
· The creation of the National University of
San Marcos.
Colonial Literature
The Spanish influence marked the dependent nature of our literary production, but
some authors contributed to building our national identity. The most notable were the
Inca Garcilaso de la Vega, Amarilis, Juan de Espinoza Medrano and Juan del Valle y
Caviedes.

Characteristics
-Dependency on Spain : We echoed Spanish literature.
-High historical value : Literature collected testimonies of the colonialism that was
implemented.

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He was baptized Gómez Suárez de Figueroa, in memory of one of his grandfathers, the
Inca Garcilaso de la Vega, who was born in Cusco on April 12, 1539, very few years after
the death of Atahualpa. He was the natural son of the Extremaduran captain Sebastián
Garcilaso de la Vega Vargas, a conqueror of noble lineage from Castile, and Palla Chimpu
Ocllo, baptized Isabel, granddaughter of the Inca Túpac Yupanqui and niece of the Inca
Huayna Cápac.
Ethnohistorical studies show that in the Andean world, values linked to marriage did not
govern as a basis for legitimacy - and its consequence was the condition

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of bastardy - so present in Spanish codes.

PLAYS
The fundamental works:
• Dialogues of love (1589). Written by León de Hebreo, it was translated into
Spanish by Garcilaso. It is the most lucid and concrete translation in which the
author wanted to convey his message of love and sincere affection in the face of
the ambition and violence of others.
• The Florida of the Inca (1605). This epic short work narrates the adventures of the
Spanish who, under the command of Hernando de Soto, conquered the Florida
Peninsula.
• The real comments. It consists of two parts. In the first (1609) he narrates
everything related to the Inca empire: origin, government, laws and customs,
among other aspects, in memory of his ancestors. The second part (1617) the year
after his death. It is titled General History of Peru and narrates the discovery and
conquest of Peru in an orderly and detailed manner, in memory of his father.
• THE REAL COMMENTS
Based on the stories of his indigenous relatives, the
passages he himself experienced and the news from
witnesses of the conquest of Peru, he wrote his
immortal work The Royal Commentaries. This work
comprises two parts: in the first part it refers to the
Incas and their civilization; in the second, to the
conquest and the civil wars between the conquerors
and the civil wars between the conquerors. In this
work he describes the Inca Empire as an ideal model in
the light of Western culture.
Finally, Garcilaso died in Córdoba (Spain) on April 24,
1616. His life and work was a reflection of a colonial
era in which two totally different cultures coexisted
where he could not feel completely identified with any
of them, because he was mestizo.

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 111. EMANCIPATION LITERATURE
Colored in the political reality of the time. It is expressed through three main themes:
- La Patria: this word at the beginning of the 19th century had a clear anti-Spanish
and separatist connotation.
- Freedom: it was everyone's priority objective at that time.
- The indigenous feeling: emancipation underlined our Inca tradition.

CHARACTERISTICS
- They spread clandestinity.
- Peruvian patriotism emerges with a sense of solidarity and unity.
- They are used as a means of expression: patriotic odes, songs, pamphlets and
epigrams of love.
- The style is under the canons of Neoclassicism (as a remnant of colonial literature).
MARIANO MELGAR
He was born in Arequipa on August 10, 1790. His parents were Don Juan de Dios
Melgar and Doña Andrea de Valdivieso, members of a distinguished family and a
comfortable position. He was a poet, musician,
painter, warrior, astronomer, mystic and, above all,
a patriot.
He discovers his vocation: when he meets the
beautiful Manuelita Paredes, daughter of the Fiscal
Treasurer of Arequipa, who becomes the first
inspiration of his first Yaravíes, a lyrical poetic form
where he expresses his bitterness and sadness.
Silvia, his great love: When Mariano was 16 years
old, he met María Santos Corrales, the "Silvia" of his
loves, a beautiful nine-year-old girl, who would
inspire the greatest notes of his lyre.
(...) for Silvia I love my country with care and for my
beloved country I love Silvia."

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His trip to Lima: the oratorial ardor of Baquíjano and Carrillo strengthened his liberal
conviction and prepared him for the fight for the freedom of the homeland.
The translation of "The Art of Forgetting" by Ovid dates back to that time.
The pain of losing Silvia: back in Arequipa, Melgar asks for his mistress's hand, but
she rejects him. Saddened, he wandered through the loneliness of Majes. This is the
determining period of the peak of the yaraví in Melgar's work.
"The Yaraví says F. García Calderón is the oh! ...It is not the burning accent of hatred,
nor the devouring expression of revenge; it is the moan of one who sees his love lost
and continues to love."
Melgar and the liberating cause: Melgar adheres to the great libertarian cause and
marches to the fight for national independence. That terrible scene of farewell to his
parents would later inspire painters and artists.
The sacrifice of the Hero:
In the battle of Humachiri (Puno), Melgar fought as the bravest directing the artillery
and handled the cannon with Olympic courage, offering his precious life to the
freedom of his country.
He was shot on the morning of March 12, 1815. The father of the martyred poet died
upon hearing the news.
The glory of Mariano Melgar is the glory of America, the glory of those who believe
and fight for love and freedom.
With what finally tyrant owner, I will try to forget you And I
So much love, so many loves, will die under the weight of
So many fatigues, Have not my misfortunes.
managed to get into your chest But don't think that Heaven
More reward than a hard blow.
Of tyranny? Stop making you feel
You tell me not to love you His righteous wrath
Saying that you don't love me Dead I you will cry
Oh, my life, The mistake of having lost a
And that such a tyrannical law fine soul.
must be observed, losing, My And even dead he will know
sad life! how to take revenge This
miserable living being
That today you tyrannize.

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 YARAVI VII

Fables
The theme of his fables reaffirms his commitment to the independence cause.
Furthermore, they have been written for a very specific situation: the stage of
emancipation, with its social conflicts, ideological confrontations, political, moral,
governmental anarchy, etc. Among his fables are:
· The stonemason and the donkey
· The bees
· The parrots and the fox
· domestic birds
· The horned ass

The stonemason and the donkey

The stonemason and the donkey is the best known of Mariano Melgar's fables. It is a
painful protest against the discrimination of the Indians by the power groups
represented by the stonemason. Melgar denounces that this situation is not the fault of
the Indians, but of those who govern them. This fable confirms that the themes
developed in Melgarian fables are still very current.

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 Certain people tell us that the Indian is incapable; I am going to answer them
with this little story.
One morning a plump stonemason comes down, distributing and shouting whips
at his unhappy troop of loaded Thus the man cried; but
donkeys. "What a devil of turning his nose, the most
brutes! What a joke! ...I am martagon of them in good
outraged! The horses are peace said to him: "behind
different, they have liveliness the horns! Oh! You always
and verve; but these are not have us under the load, and
moved by even the most active you demand brio like that?
rigor." And with a whip and a stick
It is a literary current, which comes from you intend to lead us? And
Spain, which was expressed in Peru, in you still blame us for being
the first stage of republican life (1828- stupid when the reason is
1852). Literature reflects the discrepancy in you?
and debate between liberals and conservatives in the definition of our destiny as
a nation.
Poetry, theater and journalism were cultivated with clear, simple and biting
language. Through the critical, mocking, satirical and ironic tone, two positions
are manifested: one that seeks a new democratic society and one that longs for
the past, rejecting change.
The greatest representatives of this current are Felipe Pardo y Aliaga and
Manuel Ascencio Segura.

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Manuel Ascencio Segura
He was born in Lima in the year 1805. His father belonged to the
Spanish army and made him pursue a military career as a cadet
in the royalist army.
He fought as part of the royalist army in the Battle of Ayacucho.
Afterwards, he continued in our army until 1841. He married
María Josefa Fernández de
Vienna.
He began his literary activities with El Sargento Canuto and the
novel Gonzalo
Pizarro published in El Comercio (1839). Founded the newspaper
"La
Bolsa", also in 1841 and published his articles and poetry of manners. Later, he created
"El Moscón", a weekly newspaper in which satire and mockery predominated. He also
directed "The Comet."
He died in 1871.

Literary production
Segura cultivated three genres in his works: lyrical, epic and dramatic.
· Lyrical:
He writes satirical verses such as To the Girls and La pelimuertada , directed against
Santa Cruz and Felipe Pardo y Aliaga.
· Dramatic:
He produced skits and comedies. They are farces Lances de Amancaes and El Cacharpari
and we consider El Sergeant Canuto as a comedy. The skirt and the mantle (1842). We
also have Ña Catita (1845)

ÑA CATITA

CHARACTERS
Ña Catita (Close friend of Doña Rufina), Doña Rufina (Mother of Juliana), Don Jesús
(Father of Juliana), Juliana, Manuel (In love with Juliana), Don Alejo (Suitor of Juliana),
Juan (Friend of the family) , Mercedes (Family Maid) and the Servant.

ARGUMENT

Ña Catita is an old woman who cannot live without gossip. Ña Catita always visits Doña
Rufina, to convince her that her daughter Juliana gets married
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with the old Don Alejo. Don Jesús wishes with all his heart that his beloved daughter
Juliana marries the handsome young Manuel, whom he raises and protects.
Ña Catita brought discord to Juliana's family. Don Jesús and Doña Rufina argue heatedly
about their daughter's future.
Ña Catita continues to encourage Doña Rufina to impose her will and not her husband's.
Ña Catita, on the other hand, puts the idea in the heads of both young people that they
should run away and defend their love. He advises Doña Rufina to abandon her husband,
in complicity with Don Alejo. When they are ready to leave the house, Doña Rufina on
her side, and the loving couple, Manuel and Juliana on theirs, Don Jesús appears and
notices the escape attempts. Don Jesús becomes angry and the highly agitated
discussions begin again.
At that moment a friend of the family arrives, seeing Don Alejo, gives him a message and
tells him: “I bring a letter from your wife.” Doña Rufina, saddened, throws Don Alejo out
of her house; Don Jesús did the same with Ña Catita and tells him to never set foot in her
house again. Rufina asks her husband for forgiveness and they both accept the marriage
of Manuel and Juliana.

FELIPE PARDO Y ALIAGA (Lima, 18061868)

He was a satirical poet, playwright, lawyer and Peruvian politician. Belonging to
the aristocratic elite of Lima, was, together with Manuel Ascencio Segura, the
most important representative of costumbrismo in
the beginnings of literature
republican peruvian He examined and severely judged
the Peruvian reality
through his comedies and traditional articles; among
the latter, it is more
celebrated and remembered the titled A trip (more
known as "The Journey of the
Goyito child"). His criticism of Peruvian society is
usually seen as foreignizing and anti-Creole.
· Comedies:
Fruits of education (1828): It is a criticism of liberal customs.
He attacks the zamacueca dance for considering its movements as sinful.
Don Leocardio and the anniversary of Ayacucho (1833): Criticizes the liberal customs of
the young republic. It makes a balance with colonial aristocratic customs.
An Orphan in Chorrillos (1833): Its characters are typical of the time. Pardo praises
aristocratic uses and customs.

· Customary articles:

They appear published above all in The Mirror of My Land (1840 and 1859), a newspaper
of customs that promoted sharp controversy. His criticism is political and social against
institutions and characters of the time, but full of biting and satirical spark. Highlights
include El Paseo de Amancaes and Un Viaje.

· Lyrics and satirical poems:

Bullfight, What a handsome boy, The Minister and the aspirant, The nose (1834), The
Jeta (1835).

4.2. PERUVIAN ROMANTICISM

It is a literary movement from Europe. The initiation of the Peruvian romantics occurred
when Castilla came to power and economic stability occurred. The essence of Peruvian
romanticism does not have the same intensity and passion of the European school.
Romanticism is characterized by the predominance of feeling over reason. The intimate,
spontaneous, loving and grandiloquent
tone stands out. This

literature still maintains the imitation of but it is already true

Spain,

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nationalist sentiment, which is achieved with the appearance of a new literary genre:
traditions.
Among the exponents of romanticism in Peru, Carlos Augusto Salaverry stands out, who
emerges as an exponent of a singular lyrical voice, and Ricardo Palma, who inaugurates a
national literature through his famous Traditions.

Ricardo Palma (Lima, 1833 Miraflores, 1919)

Peruvian writer. Liberal by conviction, he intervened in the
political struggles of his
country, which earned him exile in Chile (1860).
Ricardo Palma began as a romantic poet, although his true
literary path was found in historical narration, a genre in which
he mixes history and fiction, and which gave rise to his most
important and transcendental work: Peruvian Traditions (1872-
1918).
Ricardo Palma's style, somewhat archaizing, is based on humor
and the use of the popular language of his time, which is why he
is considered the most prominent representative of his country's
literary customs.
In addition, he wrote three important philological essays: Cachivaches (1890),
Neologisms and Americanisms (1895) and Lexicographic Ballots (1903), which testify to
Palma's adherence to the linguistic concern of his time.

Peruvian Traditions
They are the joint work of the writings that Ricardo Palma wrote over several years,
published since 1863 in newspapers and magazines. They are short stories that narrate
in an entertaining way and with the language of the time, events based on historical
facts of greater or less importance, typical of the life of the different stages that the
history of Peru passed through, whether legend or explaining existing customs.

The traditions of Palma have their own characteristics:

• Use a language full of sayings, proverbs, songs, couplets, among others.

• It is based on a historical event that is supported by archives or documents.

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Palma was the librarian of the National Library of Peru.
•Oral tone, on many occasions dialogues with the reader.

Traditions have great value since, although it was not Palma's invention, with it there is a
revitalization of the genre of tradition, at the same time it creates a Peruvian literary
product specific to its characteristics, where the historical event touched upon is full of
customs of the country and where the history of Peru serves as an environment and
storehouse of the collective memory of a people since Palma uses it to connect the story
to the reader.
There are 453 traditions, chronologically, within Peruvian history, 6 refer to the Inca
empire, 339 refer to the viceroyalty, 43 refer to emancipation, 49 refer to the republic
and 16, which are not located in a precise time. Among them stand out:

- Take off your pants in the corner

- The Canterac bugle
- Bolívar's last phrase
-History of a little cannon
- Santa Rosa mosquitoes

4.3. PERUVIAN REALISM

It is a literary movement that originated in France. It begins in Peru, when we were

immersed in the pain caused by the war with Chile.
Realist literature, in our country, raised spirits from the rubble, made analysis and
political-doctrinary approaches, questioned the prevailing system and criticized the
behavior of the military leaders. The essay and the novel come out more.
Nationalist thought and a desire for renewal characterize this school. Conspicuous
representatives of this trend were Mercedes Cabello de Carbonera (Sacrifice and
Reward, The Conspirator), Manuel González Prada (Pájinas Libres, Horas de Lucha),
Clorinda Matto de Turner (Aves sin Nido), Teresa Gonzáles de Fanning, Abelardo
Gamarra (The Pelagatos City) and others. At this time, women played a very important
role.
Manuel González Prada (1848 1918)

He was born in Lima on January 5, 1844 into an aristocratic

family.
with which he did not identify himself. He studied at the
English School of Valparaíso during
After his father's exile, there he came into contact with
English and German culture, and began to renounce his
class.
Upon returning to Peru, in 1857, he studied at the Colegio
Santo Toribio. He then entered the Universidad Nacional
Mayor de San Marcos to study jurisprudence.
He met Adriana Vernenuill, whom he married in 1887.
In 1886 the Literary Circle was founded, which later
became the ephemeral
National Union Party with a radical tendency. He traveled to France where he planned
the publication of his works.
In 1912 he was appointed director of the National Library, replacing Ricardo Palma. It
expands the service of that institution to broad social sectors. His last years were
dedicated to private life. He died on June 22, 1948.

Characteristics of his literary production

IN VERSE: His verses are soft, delicate and suggestive, without mannerism. It is elegiac,
because his poetry is the product of his hours of anguish, of deep sadness, of intense
anguish. His favorite theme is love.

IN PROSE: His prose is sonorous, hammering, accusatory, vigorous. Its themes cover the
analysis of disasters, national vices and characters, the revaluation of the Indian, the
province and youth.
In this work González Prada analyzes the debacle of the Pacific War, in which our country
was plunged into serious economic and moral misery.
Through the Literary Circle, an institution that is more artistic than political, Prada calls
on Peruvian intellectuals to reflect on the serious moments that Peru is going through
after the crushing defeat in the military conflict of 1879. Few writers like Gonzáles Prada
have delved so deeply into the bowels of our national identity with such spirited arrests
and singular prophetic accents.
- The situation of Peruvian writers, compared to those of the world.
- The sociopolitical situation of Peru and Chile during the republican era of the 20th
century. XIX.
- Primary education in the 19th century and the Catholic religion of Peru.

MESSAGE

All of us who finish reading the work “PÁJINAS LIBRES” by Manuel Gonzáles Prada,
receive the message that we should not be complacent in the face of defeat, but rather
seek revenge and win a battle in our own lives. It also teaches us to be critical of
ourselves and our reality and to be part of the solution and development of our society
and Peru.

4.4. PERUVIAN MODERNISM

It emerged in America at the end of the 19th century. Its highest exponent was Rubén
Darío. It is considered a literary movement of an eminently poetic nature. He sought to
exalt beauty, using the word in its highest expression of color, sonority of the feeling
expressed in verses. In Peru it took hold at the beginning of the 20th century and did not
last long. The main figure of Modernism was José Santos Chocano among other authors
such as José Gálvez Barrenechea, Leónidas Yerovi, Percy Gibson, Alberto Ureta, etc.
As a branch of Modernism, the so-called Arielist generation emerged at the beginning of
the century, an aristocratic and elitist group led by José de la Riva Agüero y Osma.

JOSÉ SANTOS CHOCANO

He was born in Lima on May 14, 1875. He studied at the

Lima Institute and at the Faculty of Letters of the
Universidad Nacional Mayor de San Marcos.
He did journalistic work in "La Tunda" and founded the
magazines "La Neblina".
In 1905, he met Rubén Darío and they became friends.
He travels to Chile, where a mentally ill man stabs him in
the back on a tram.

Literary production

His poetic production was the most significant of modernism in Peru.

His poetry is sensual, full of color, music and images. His verses were grandiloquent,
descriptive, sonorous, rhythmic and sometimes vain and with an air of grandeur. All of
them were nourished by American themes and landscapes. His passionate work created

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controversy: sometimes it was praised and sometimes it was censored. His main books
of poetry are "Holy Angers", "In the Village", "Orange Blossoms", "The Song of the
Century", "Fiat Lux", "Alma Americana", "Oro de Indias", and "Poems of Suffering Love".
"
Next, the most representative poem of Peruvian Modernism.

Blazon
I am the native and wild singer of America:
my lyre has a soul, my song an ideal.
My verse does not swing hanging from a branch
with the slow swing of a tropical hammock…
When I feel Inca, I give vassalage to him
to the Sun, who gives me the scepter of his royal power;
when I feel Hispanic and I evoke colonialism
My stanzas look like crystal trumpets.
My fantasy comes from a Moorish ancestry:
The Andes are silver, but the lion is gold,
and the two castes founded with epic roar.

At the formal level, this poem shows the typical sonnet strophic form, however, like
Darío, Chocano uses the Alexandrian verse (14 metric syllables = tetradecasyllable)
unusual in Spanish poetry since the Mester Clerecía of the Spanish Middle Ages. Thus
Darío and Chocano emerge as innovators of the meter of poetry in Spanish.
At the thematic level, the individualistic and epic sense combines the Peruvian identity:
Inca and Hispanic, demonstrating the typical modernist themes: idealism, aestheticism
and use of exclusivist lexicon. In this way, an emblematic poem of the cultural syncretism
of the Peruvian and Spanish American is achieved.

4.5. POSMODERNISM

It emerged as a movement contrary to the Arielist generation, created new poetic

expressions and highlighted provincialism. One of its manifestations was the magazine
called Colónida directed by Abraham Valdelomar and animated by a group of poets and
writers, among whom Federico More stands out.
CHARACTERISTICS

· The return to immediate reality . Postmodernist writers disowned the exoticism and
fantastic themes of modernist literature. They sought to recover the emotion for the
humble and simple things of everyday life.
· The very simplicity and purification of the forms of artistic expression .
Faced with the refinement of modernist language, writers
Postmodernists opt for an increasingly clear and simple form of expression. However,
the taste for musicality in verse and the use of sensory images was preserved for a long
time.

COLONID MOVEMENT

Literary movement that emerged in Peru between 1915 and 1916, as a response to the
elitist and colonial spirit in Peruvian literature. He advocated a break with Hispanic
academicism and the free renewal of themes and styles, sympathetically eyeing the new
Italian and French literary trends.
The promoter of this movement was the Peruvian writer Abraham Valdelomar, recently
returned from Europe, with the founding of the magazine Colónida, and in which he
brought together the youngest writers of that time, such as Pablo Abril de Vivero,
Augusto Aguirre Morales, Hernan C. Bellido, Enrique A. Carrillo, Alfredo González Prada,
Félix del Valle, Antonio Garland, Percy Gibson, José Carlos Mariátegui, Federico More
and Alberto Ulloa Sotomayor. Several of them published a poetic anthology titled The
Multiple Voices, (Lima, 1916), which represented the culminating moment of the
movement.
The influence of the new ideas of the European avant-garde and the socio-economic
changes experienced by the society of the time caused the poets and writers to initiate a
renewal. Carlos Oquendo de Amat, from Puno, in his work 5 meters of poems, captures
the principles of avant-garde writing. There are also César Vallejo with Trilce, Alberto
Hidalgo, Juan Parra del Riego, etc. A group of authors enriched by European avant-garde
experiences, made their works known through the magazine Amauta. They are César
More, Xavier Abril, Emilio Adolfo Westphalen, Rafael
The influence of the new ideas of the European avant-garde and the socio-economic
changes experienced by the society of the time caused the poets and writers to initiate a
renewal. Carlos Oquendo de Amat, from Puno, in his work 5 meters of poems, captures
the principles of avant-garde writing. There are also César Vallejo with Trilce, Alberto
Hidalgo, Juan Parra del Riego, etc. A group of authors enriched by European avant-garde
experiences, made their works known through the magazine Amauta. They are César
More, Xavier Abril, Emilio Adolfo Westphalen, Rafael
Benavides de la Fuente (Martín Adán), etc.

César Abraham Vallejo Mendoza

He is one of the representatives of Avant-garde in Peru.

He was born in Santiago de Chuco (La Libertad) on March
16, 1892. His parents were Don Francisco Vallejo and
Doña Santos Mendoza.
He studies Literature at the National University of Trujillo.
In addition, he teaches at the "San Juan" school, where
he was the teacher of the later literary man Ciro Alegría.
He traveled to Lima in 1918, the year in which he
published his first book of poems: Los heraldos negra.
In 1922 he published Trilce; a year later, he published
some prose.
In 1923 he traveled to Paris, where he intensified his
literary and journalistic production.
Collaborate, from there, with national magazines
"Present", "Varieties" and "Amauta". He edits the magazine "Favorables" in France and
collaborates in "Journal" in Paris. That same year he married Geofette Philipard, a French
national, in Paris.
In 1931 he published his novel Tugsteno. Shortly afterwards he returned to Spain, where
the civil war broke out. This fact moves the poet and inspires his beautiful third book:
Spain remove this chalice from me.
Some years later he returned to Paris, where he died (as predicted in one of his poems)
on a rainy Friday, April 15, 1938. In 1939, the Human Poems were published
posthumously.

Literary production:

· Poetry: Black Heralds (1918), Trilce (1922), Spain apart from me

this chalice (1938) and Human Poems (1939).
· Stories: Melographed Scales and Paco Yunque.
· Novel: Wild story, Tungsten.
· Essay: Russia in 1931, Against professional secrecy, Art and the revolution.
· Theater: Between two shores the river runs, The Colacho brothers, Lockout, The tired
stone.

- INDIGENOUSNESS

It was the most coherent and significant cultural movement of that time. It highlighted
the indigenous world and the regime of injustice under which they lived. The central
figure of indigenism was Luis E. Valcárcel who encouraged an exalted indigenism to a
certain utopian extent as seen in Tempest in the Andes. Valcárcel's attitude and thought
generated an indigenous mystique. Other representatives were José Carlos Mariátegui,
Uriel
García, Hildebrando Castro Pozo, Ciro Alegría, José María Arguedas, etc.

Ciro Alegría Bazan

He was born on November 4, 1909 on the Quilca estate, province of Sánchez Carrión,
department of La Libertad. He studied at the "Instituto Moderno" of Cajamarca and at
the National University of Trujillo. In this city he dedicated himself to"Life, like thewriting
journalism, river,
always has bends
in the newspapers "El Norte" and "La Industria". In 1941, his novel The andWorld is Wide
difficult steps."
and Foreign - his masterpiece - was declared

Ciro Alegría
04.11.1909-02.17.1967 |
winner of a Latin American contest organized by a New York publishing house. For this
reason he traveled to the United States, where he lived throughout the 1940s.
He was incorporated into the Peruvian Academy of La Lengua in 1960. Three years later
he was elected Deputy for the department of La Libertad.
He later assumed the position of president of the National Association of Writers and
Artists. It was precisely while exercising this position that he died in 1967.
Avant-garde writer, among his main novels we include:
- The golden snake
- The hungry dogs

Literary production
- The World is wide and distant
- Duel of knights (Collection of stories).
Analysis of The world is wide and foreign
Main: the life and destruction of Rumi's people in the struggle for land ownership.

Secondary: injustices; violence; death. In all these secondary themes the feudal appetite

· Topics

of the landowner Álvaro Amenábar is manifested.

- Characters
- Rosendo Maqui, mayor of the community of Rumi, who is concerned about building
roads and schools, and who, under the ambition of the gamonal Álvaro Amenábar, from
the Umay estate, champions the defense of his "ayllu" until succumbing in prison, vexed.
by the authorities.
- Benito Castro is another character from the community, who leaves his land to go
from town to town, knowing up close the pain of his Indian brothers.
- Demetrio Sumallacta, a young musician.
- Nasha Suro, a "fortune teller" woman, who predicts the misfortunes of the
community.
- El Fiero Vásquez, bandit hero who serves the cause of the Indians with great passion.
- Amadeo Illas, through whom we can learn what exploitation means
- of the indigenous people in the coca fields, where they go in search of a better luck
and future.
- Augusto Maqui, son of Rosendo, who goes into the rubber fields where exploitation is
similar.
- The Indian Valencio, lieutenant of the Fiero Vásquez and who performs singular feats.
- Julio Contreras, a character known as a "hustler", who falls for Rumi, serving - in the
middle of criminal businesses - as a false witness in favor of the insatiable Amenábar and
who ends up in the clutches of Doroteo Quispe, who sentences him to die. in a swamp
- Jacinto Prieto, a well-intentioned upstart, who serves the cause of Rosendo Maqui.
- Álvaro Amenábar, Umay's gallows and knife landowner, who, using forged documents,
bribing various authorities and corrupting consciences, expands his domain until he
devours Rumi's lands.
- Zenobio García, unscrupulous governor, who only lives to get rich.
- Bismark Ruiz, an unscrupulous little man who begins by serving the community and
then prevaricates and dedicates himself to the service of the gamonal Amenábar.

In the novel, the white man represents the usurper, the prevailing capitalist system. He
Indian, on the other hand, represents the possessor of the land, its legitimate owner, but
who is cruelly exploited.

· Argument

Rumi, the forgotten community in the ridge of the Andes, lived in peace and
contentment: its lovingly worked fields produced enough.
One day the Montoneros arrived, some shouting, "Long live Cáceres!" —they were the
Colorados—, and others, "Long live Iglesias!" -the Blues-. These Montoneros left Rumi
unpleasant memories and bastard children like Benito Castro. CIRO JOY
With all this there was peace and contentment in Rumi. But,THE WORLD
one day, IS of
the presence
the powerful landowner Álvaro Amenábar darkened theWIDE AND
limpid sky DISTANT
of the region. The
gamonal threatened Rosendo, the mayor, demanding the communal lands. Iniguez

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He filed a lawsuit against the community who, to defend their rights, hired the services
of lawyer Bismark Ruiz. Amenábar bought witnesses: from "Mágico", Governor García
and other authorities.
Everyone feared the landowner. Only Jacinto Prieto was loyal to Rumi, but he had been
annulled because of a mess caused by "El Zurdo", a vagabond lackey of the gamonal. To
whom to turn? Dispossession was a fact.
The assembly convened by Rosendo Maqui agreed on the exodus: they would go to the
foothills of the Yanañahui hill. Many went to try their luck; some, like Quispe, Cahua and
Condorumi, became bandits. Later, Rosendo Maqui was imprisoned accused of cattle
rustling, attempted murder and being an accomplice of Fiero Vásquez. Beaten by the
gendarmes, good old Rosendo died in prison.
Years later Benito Castro returns, who tried to redeem his people. But Amenábar now
wants and needs people to work his mines or his coca plantations. And there is no one to
protect the Indians!
The rulers used to tell them: "Go somewhere else, the world is wide." True, the world is
wide, but alien. Benito Castro and his people die defending their land and their lives,
their hills and their animals. There was no other alternative: live or die dejected like the
condors:
"All the roads are bloody." Where to go? Where to?...

José María Arguedas

He was born in Andahuaylas in 1911. His

childhood, due to the premature death of
I am not an his mother and the fact that his father
acculturated Indian; remarried, was spent with his stepmother,
Ab, I am a Peruvian and among indigenous people, since his
who proudly, like a father traveled a lot to Apurímac, Cusco
happy demon, speaks and Ayacucho.
in Christian and It was linked to the Universidad Nacional
Indian, in Spanish and Mayor de San Marcos since 1931. In this
Quechua. study house he taught Quechua and
• José Alar 14 > Ethnology.
2 •e, g
}* Arguedas' work exposes
A52MM
indigenism from its core. His
Peruvian
Literdrid

work
It is full of authenticity and expresses its
awareness of the social situation of the indigenous people. In it he pours all his emotion
and anguish to present to us the life and spirit of the Andean man.

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Furthermore, for a time he was imprisoned for his ideas and sent to El Sexto prison.
Some time after being released he would write his work El Sexto, where he recounts life
in prison, and which became his most popular novel.
Dramatically, he ended his life in 1969. In 2004, his remains were taken to his
hometown.

Literary production

· Stories: Water (1935), Runa Yupay (1939), Deep love and all the stories (1967).
· Novels: Yawar Fiesta (1941). Diamonds and flints (1954). The deep rivers (1958). The
Sixth (1961). The agony of Rosa Ñiti (1962). All Bloods (1964). The fox above and the fox
below (posthumous work published in 1971).

• GENERATION OF 50

It was formed by a group of writers who carried out important reforms with respect to
previous currents. Indigenism no longer exerts as much influence. The country issues are
changed for those of the city, especially Lima and the problems that this great city has as
a consequence of centralism. Representatives of this generation are Julio
Ramón Ribeyro, Enrique Congrains, Sebastián Salazar Bondy, Carlos Zavaleta, etc.

Julio Ramón Ribeyro

Julio Ramón Ribeyro was born in 1929

in a typical middle class family.
In 1958 he published his first book: Cuentos de Circunstancias; in 1960, Cuentos
from San Gabriel, where he already expressed his inclination towards stories; and in
1964 he published Las Botellas y Los Hombr es. The special character of Julio Ramón
Ribeyro, like the characters in his writings, distances him from the prominence
accustomed to a somewhat marginal existence;

“A person without
friends runs the risk of
never getting to know
each other”
in a certain way it privileges. That is why he makes the decision to separate himself from
Lima's literary circles and shake off what he hates most: Popularity, fame.
In 1971 he was appointed Cultural Advisor of Peru to UNESCO.
An eminently urban narrator, he achieved a wide-ranging work, with fluid and direct
language. He wrote novels and stories.
In 1974, cancer was detected, a disease clearly caused by his addiction to cigarettes. The
last two years are, however, the happiest of his life, which ended on December 4, 1994,
days after obtaining the Juan Rulfo award, for many the most important in Spanish, a
distinction that reaffirms the resonance of his work. Not only
for Peruvians but for every speaker of the Spanish language.

Literary production

Tales of Circumstances" (1958).

Chronicle of San Gabriel" (1960).
The Sunday Genies" (1965).
The Word of the Mute" (1973).
Changing of the guard."
"The subtle hunt."
"Separate Proses".
Sayings of Luder".
"The temptation of failure."

• GENERATION OF 60

It emerged with a new Latin American narrative, with the writer Mario Vargas Llosa
being the first to situate himself within this context.
Other notable writers of this time are Manuel Scorza, Oswaldo Reynoso, Alfredo Bryce,
etc. In poetry there was also a revolution in form. The main representatives are: Javier
Heraud, Cesar Calvo, Antonio Cisneros, Raúl Bueno, Luis Hernández, etc.
Mario Vargas Llosa was born in Peru in 1936. He graduated in Literature from
Mario Vargas Llosa
University of San Marcos in Lima and received his
doctorate from the University of Madrid.
His career gained notoriety with the publication of The City
and the Dogs, which
It won the Brief Library Prize in 1963 and the Critics' Prize
in 1963, and has been translated into more than thirty
languages.
He published, among other works, The Green House (1966,
Critics' Prize and Rómulo Gallegos International Prize),
Conversation in the Cathedral, Pantaleón and the Visitors,
In Praise of the Stepmother, Lituma in the Andes (1993
Planeta Award), The Fish in the Water and The Notebooks
of Don Rigoberto. The Goat Festival (Alfaguara, 2000)

Narrative characteristics: Vargas Llosa is characterized by

· Absolute freedom to express yourself.

· Total dedication to literary achievement (specialty: narrative, technique: increasingly
perfect).
· Creation of a critical fiction that is within the limits of realism and where the added
"My salvation was reading, reading good books,
element is precisely the literary transfiguration of reality into a refuge
taking new,in recreated and
those worlds where living was
confused one. exalting, intense, one adventure after another
where I could feel free and return to ger Peliz"

His thinking is neoliberalist, he attacks terrorist action and dictatorships, establishing a

closed defense of democracy and the statist tendency of societies.
It praises freedom and cultural pluralism, fights for access to education and information
for all, but without impositions of doctrines, theories or ideologies. Mario Vargas Llosa
Book Dome

Literary Production · "The bosses."

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 "The city and the Dogs".
"The green House".
"The puppies".
"Conversation in the cathedral."
"Pantaleon and the visitors".
"Aunt Julia and the writer."
"The War of the End of the World".
"History of Mayta".
"Who killed Palomino Molero?"

Analysis of the work: The city and the dogs

It is a novel that fits within the BOOM movement of Latin

American literature, which became strong in the 1960s.
The Latin American Boom is a phenomenon that was
characterized by the first works of a generation that
denounces a common reality for the first time, breaks
continental borders and reaches global dissemination.
Vargas Llosa is a master of interweaving narration, the
characters' thoughts, cross-talk and gesture and even the
descriptive vision of the medium in his novel. With this
novel, he contributes the following to contemporary
narrative: · Application of cinematographic technique.
· Multiple narrative planes.
· Neorealism endowed however with inner poetry
· Customs wrapped in a dynamic that distances it from all
regionalism.

Characters and role they play

Main characters:

· Jaguar: Head of the group “the Circle”, he had a strong character and was respected,
he did not like traitors or the fearful.
· Cava: They called him “serrano”, they expelled him from school for stealing an exam
of chemistry. He does not betray those of the “Circle”.
· Boa: He was part of the Jaguar group, and did everything he told him to do. He sold
cigarettes and liquor inside the School.

- Curls: Another member of the Circle and executor of the Jaguar's mandates.
- Poet: Alberto Fernández, is the narrator of the story.

NZNZNNZNZNZNZNZNZNZNZ5
He liked to write poems and novels, he had the pose of a “cool” and brave boy who
could face everyone.
- Slave: Ricardo Arana. He was a shy and fearful young man, very quiet, he did not like
to make trouble with others.
- Lieutenant Gamboa: Instructor at the Military School, he was very upright and strict,
he did not believe in anything or anyone. In the novel it represents honesty.

Secondary characters:

- Teresa: She was in love with the poet for a while.

- Marcela: Girl who belongs to a wealthy family, falls in love with the poet with whom
she has a stable relationship.
- Lieutenant Remigio Huarina: School Instructor, he represents the bureaucrat in the
novel.
- Flaco Higueras: Jaguar's neighborhood friend, he is going to become his closest friend
when he leaves school.
- Negro Vallano: Classmate from the Military School, he was the point of ridicule and
irony because of his color.
- Pluto, Helena, Tico, Molly, Emilio: Alberto's neighborhood friends. He reunites with
them after 3 years.

Analysis of the work

Argument:

The work tells the story of a group of young people admitted to a Military College. It
highlights the friendship that arises between two young people, the Poet and the Slave,
in the midst of conflicts and differences that appear between the boys of the block to
which they belong.
The trafficking of cigarettes and alcohol, card games at night, the theft of clothing or
exams turn the block into a corrupt place. The authorities seem to be oblivious to
everything that happens in the stables, it is like a world apart, a place where injustices
prevail, where the strongest impose their own rules, forcing the weak to comply with
them.
In the play, a cadet ardently wants to see his girlfriend and how they have been
punished without leaving until the culprit of the theft of a chemistry exam appears, he
cannot stand it and in his desperation, he denounces the culprit.
The thief is expelled and the snitch (Slave) is later murdered.
The poet accuses his friend's murderer, great confusion occurs in the
School management since they had said that the death was an accident. The poet is
pressured to withdraw the accusation with some very racy novels that he wrote for
friends, he relents.
Jaguar feels desperate and decides to tell his superiors that he was the author of the
crime. The School Management does not accept his statement since the difference
between an accident and a murder would harm the School.

Thematic analysis

The novel tells the life of the students at the Leoncio Military School
Meadow.
The authoritarian discipline of the school creates many tensions, since many young
people come to it, coming from different social classes, often institutionalized there to
correct their delinquent behavior.
In this world, young people have a circle and their codes are much more rigorous than
those of the official structure.
In the work, VIOLENCE is present throughout the novel, not as a particularity of young
people, but as something common to the entire society.
The murder of the Slave and the inner doubts of the cadets are important themes as
well.

• GENERATION OF THE 70'S

Alfredo Bryce Echenique (Lima, February 19, 1939) Peruvian writer who became a
Spanish citizen. In 1968 he began his literary activity with the publication of the book of
"IT SEEMS A LIE eet
stories Huerto
THAT A MAN WHO cerca. Since then he has developed a narrative very close to the oral
story,
DREAMS where the boundaries between reality and fiction are blurred. He resorts to irony
SO MUCH
toSLEEP
achieve a humor that aims to provoke, according to the author himself, "a lucid
SO LITTLE..."
smile." He is the creator of the Latin American antihero in Europe, characterized by his
personal contradictions and a constant
ALFREDO BRYCE ECHENIQUE IN
'NOCTURNITY INMATE'

V7V7V7V7V7V7V7V7 XZXZXZX / X / X/X

evocation of his distant country. In 1998 he was awarded the National Narrative Prize in
Spain. His main works include A World for Julius (1970), The Exaggerated Life of Martín
Romaña (1981), The Moving of Felipe Carrillo (1988), Don't Wait for Me in April (1994)
and Tarzán's Tonsillitis (1999).

A world for Julius

It is the most popular and emblematic novel by the Peruvian writer Alfredo Bryce
Echenique, considered one of the most important writers of the so-called "post boom"
of Latin American literature.
A world for Julius participated in the 1970 Brief
Library Award, without obtaining any mention. The
novel is a critical, scathing and even, occasionally,
mocking look at the Lima upper class and highlights
its various social characteristics of the aristocratic
Lima of that time, such as snobbery, hypocrisy,
racism and the division of social classes, among
Other themes.
"Due to the intelligence of its workmanship, the
science of its language, the subtle mix of irony,
nostalgia and humor, and the keen vision of reality
that make up its essence, this book by Bryce
Echenique is one of the best novels written by a Latin
American author" (Gabriel García Márquez).

Argument

The novel is about the life of Julius, a lonely, curiously intuitive and fragrant boy,
belonging to a family in Lima, focusing on his childhood (between his palace house, the
English school where he goes, his long vacations in a lavish Country Club hotel). of Lima
and the relationship with family and friends) and the beginning of his adolescence
(where he will wake up to painfully learn about the "cruel" world of adults that he could
never understand.
Julius's life takes place among the servants of the palace-house and does not escape this
superficiality. Julius's father, Santiago, a representative of the old aristocracy, died (at
the beginning of the novel) early, of cancer.

His mother, an elegant and "delicately frivolous" woman, remarried

Juan Lucas, who radically changes the family's lifestyle and collides with Julius, whom
finds it childish and completely opposite to him. This causes Juan Lucas to constantly
refer to the boy as an effeminate and an "asshole." Thus, Julius will grow up between the
love and understanding of butlers, nannies, cooks and gardeners and the lavish world,
full of frivolity and, sometimes, hypocrisy, of his family.
However, Julius would suffer the loss of Cinthia, his sister, who was the only person in
the family who showed him true affection, and when she died, Julius believed that life
was bad for him. Thus Julius grows between confusion and true loneliness.

Characters of the work.

· Julius. Protagonist child.
· Susan. Julius's mother.
· Juan Lucas. Julius's stepfather.
· Cynthia. Sister who died in Julius' early childhood.
· Santiago and Bobby. Julius' older brothers.
· Celso and Daniel. Butlers.
· Carlos. Julius's house driver.
· Vilma. Julius's first nanny.
· Nilda. First cook in Julius's house.

Topics

The novel is a critical, scathing and even, occasionally, mocking look at the Lima upper
class and highlights its various social characteristics of the aristocratic Lima of that time,
such as snobbery, hypocrisy, racism and the division of social classes, among Other
themes.

MY POLITICAL EXPERIENCE DOES NOT

IT WAS PLEASANT, BUT VERY INSTRUCTIVE.
I LEARNED A LOT
ABOUT MY COUNTRY, ABOUT THE
POLITICS AND ABOUT MYSELF.
I DO NOT REGRET THAT ADVENTURE.

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