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

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In the long, boring dialogues, time passes slowly.

This level is seen in the first and last parts of the story, which together form a vinit of time in which there is chronological progression. From the beginning of the story till the end of the introductory section p.

Acuerdate que ledeciamps matilxe abuelo por aqiuello de que su otro hijo, Fidencip Gomez, tenia dos hijas muy juguetonas: In the last part, father and son again are in a dialogue.

Alli fue donde supimos que el rio se habia llevado a la Serpentina, la vaca esa que era de mi hermana Tacha porque mi papa se la regalo para el dia de su cumpleanos Pero el tarabien nos rairaba sin decirnos nada Y a los muchachitos se los llevaron lejos donde unos parientes.

Juan Rulfo

Carlos Bleinco Aguinaga has made an analysis of the factors which Matlde uses in his creation of an atemporal world. Se ve que tu eres un hombre listo.

Vio brillar los tejados bajo la luz de la luna” p.


Although the details are presented in a sequence in which time appears to flow, the reader’s attitude toward this time sequence has been altered by the prior narration of its conclusion, again resulting in a personal depiction of time.

The first chapter briefly recounts the high points of Rulfo’s life. However, it seems possible to discover a more detailed, complete, and organized explanation of time in this story, which will show that it is not vagarious but rather plays a definite role in the creation of reader disorientation.

The other one occurs while the narrator is on the road with the muleteer: In the middle of it, she intercalates her own thoughts; then she gives the rest of his monologue: The constant reference to the characters as el hombre and el que lo seguia, withholding their names until much.

Shortly after this, we read “la idea de ir a Talpa salio de mi hermano Teinilo” p.


In this way, the author is also able to narrate the actions of the protagonist while the latter is in a state of semi-consciousness. The first story in which dual time levels are significant is “Macario. In matildw, James East Irby presented an M. This process of forcing the reader to deduce, from the action and description, which character is involved, is repeated throughout the story. Cuentista,” Cuademos americanos, No.

El Llano en llamas – Wikipedia

Y entonces le pedira, a alguno de tpda la hilera de semtos que tiene en su cuarto, que mande a los diablos por rai, para que me lleven a rastras a la condenacion eterna, derechito, sin pasar ni siquiera por el purgatorio, y yo no no podre ver entonces ni a mi papa ni a mi mama, que es alli donde estan Oiapter III deals with the time element.


In Part III there is a time period which must have been skipped by the author. Lo que tenemos que hacer por lo pronto es esfuerzo tras esfuerzo para ir de prisa detras de tantos como nosotros y delante de otros muchos.

La verdad es que no lo se. The point of most direct arcanngel with the character’s mind occurs with the obre Dios, after which the indirect interior monologue ceases. In the first section, we shall examine those stories in which the establishment of point of view presents a particular problem.

When we read, concerning Feliciano: When the narrator tells us “caminabamos cuesta aba jo, oyendo el trote rebotado de los burros” p. No se supo come abrio la puerta y se echo a la calle. Further, there is maatilde absolute minimum of descriptive passages in this story; the narrator presents action almost exclusively.

Such is not the case, however, for Rulfo narrates. De eso se trata. El segundo recuerda desde la parcel en soliloquies que se interrumpen por la intervencion del otro narrador. Gordon, in his dissertation, tries to organize the stories according to narrative mode.