Pascal by Alberto Peratoner

By Alberto Peratoner

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Indeed, it is arguable that Argentine and River Plate literature (with close ties to Chilean literature up to 1850) is one history, and that of all the other Spanish American republics another during this period. This is particularly striking because of course what was now Argentina had been a distant outpost, a zone of strictly secondary importance during most of the colonial period. Now, however, Argentina, with less of the heritage of Spanish colonialism and with its political and literary elites most strongly influenced by England and France, became almost inevitably the home of nineteenth-century Spanish American literature until the time of modernismo, which in Argentina 7 Quoted by Putnam, Marvelous journey, 148.

Unlike the theatre of the Spanish American republics, they were the product of a relatively stable society, where veiled criticism was not considered dangerous, and were based on a vigorous representation of all the social classes of Rio. Pena was very successful at giving the public exactly what it appeared to want. '5 There can be little doubt, however, that despite its social importance, the theatre in Mexico, Peru, Brazil, or the rest of Latin America, was the least distinguished of the literary genres.

The Indian question was never couched in such simplistic and dramatic terms as in Argentina, and the redemptionist current was visible rather earlier than in Brazil. Ignacio Ramirez, 'El Nigromante' (1818-79), while not a Literature, music and visual arts, c. 1820—1870 37 novelist, was a seminal literary figure of the era; but the greatest influence of all on Mexican literary life in the Reform period and after was Ignacio Altamirano (1834-93), himself an Indian like Juarez, author of the romantic costumbrist novel Clemencia (1869), the nostalgic and much loved L,a Navidad en las montanas (1871), and the adventure novel, El Zarco (written 1888, published 1901), a tale of banditry set in the early 1860s.

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