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Leyendas de Guatemala

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Leyendas de Guatemala ("Legends of Guatemala," 1930) was the first book to be published by Nobel-prizewinning author Miguel Ángel Asturias. The book is a re-telling of Maya stories from Asturias's homeland of Guatemala, and reflects the author's study of anthropology, and Central American indigenous civilizations, undertaken in France, at the Sorbonne.

In critic Jean Franco's description, the book "gave lyrical recreations of Guatemalan folklore many of which drew their inspiration from pre-Columbian and colonial sources."[1]


Plot Summary

Guatemala

Presents Guatemala as a palimpsest, in which the duality of past vs. present and the Mayan-Quiché vs. the Spanish becomes prominent. [2] This story serves as a first introduction [3] to the country of Guatemala, in order to situate the reader in the geographical setting of the leyendas (Sáenz, 1974, p.58). The story begins, with winding road and a cart approaching an unnamed city; and focuses on a pair of goitered elders, the owners of a shop and who are laden with the countries heritage. The character, “Cuco de los Sueños,” is introduced to stitch together the legends that compose the rest of the book, told by these elders. In this section, Asturias refers to the main cities and sites of Guatemala. He presents cities such as Guatemala City and Antigua, which were formed during the colonial era of Guatemala. Asturias also mentions the Guatemalan sites of Quiriguá, Tikal, as well as Palenque and Copán, which although they are not part of modern-day Guatemala, were part of the "Maya Empire" (Sáenz, 1974, p.62). It is explained in this leyenda that the modern cities of Guatemala have been built upon other colonial and indigenous cities that have since been buried, creating an image of Guatemala as "a house of several levels" and giving legitimacy to the "unity of the Hispanic and Maya races"(Sáenz, 1974, p. 61). Asturias emphasizes that ancient cultures are preserved within this these layers. The narrator then tells two anecdotes, one about Brother Pedro de Betancourt and another about Fray Payo Enriquez de Rivera, the stress in both stories is on transformation and contrasting elements. Asturias main argument that he presents in “Guatemala” is, that Guatemala is a nation built on nations and that change is possible (Prieto) . Prieto interprets this first introduction to be about the reinstitution of the past culture and lost traditions (Prieto, 51).

Asturias presents himself at the end of the story. Upon arriving to the capital he exlaims, “Mi pueblo! Mi pueblo!” (Leyendas de Guatemala, 45). Thus it is argued that this first story is nostalgic and reveals Asturias' feeling (Prieto, 45).

Ahora que me acuerdo

Introduces creation as an inseparable element of destruction. [4] This story serves as a second introduction. [5] This is the first of seven legends that the figure Cuero de Oro will tell (Sáenz, 1974, p. 66). Cuero de Oro is a mysterious character who has become the author of the legend (Sáenz, 1974, p. 66). Cuero de Oro recounts the experiences of two elders, don Chepe and doña Tina, who are also mysterious figures (Sáenz, 1974, p. 67). These elders speak of a tree that destroys the notion of time (Sáenz, 1974, p. 67).

Leyenda del Volcán

Teaches that destruction is always followed by rebirth. [6]And this being true, the Mayan-quiche culture can be reborn. (Prieto, 57). This section relates the origin of the people in Guatemala in "one day that lasted many centuries" (Asturias, 1957, p 31). It begins with six men, three of whom appeared from out of water and three of whom appeared from the wind (Sáenz, 1974, p. 69). Asturias emphasis on the number three continuously through the legend is in reference to the numbers importance in the nahual (Prieto, 55). The men from the water nourish themselves with stars and those from the wind walk through the forest like bird-men (Sáenz, 1974, p. 69). In addition to these men there are two gods, Cabrakán, who provokes earthquakes, and Hurakán, who is the giant of the winds and the spirit of the sky (Sáenz, 1974, p. 70). Hurakán produces a tremor and all of the animals flee from the forest (Sáenz, 1974, p. 70). One of the six men, who is named Nido (the word for "nest" in Spanish), is the only being that remains and is ordered by a trinity, consisting of a saint, white lily, and a child to build a temple (Prieto, 54). Then the trees begin to fill with nests. Therefore the story exemplifies the process of renewal.

This legend narrates a clear struggle between religions. It contrast Catholicism, with references to "little crosses" and the trinity, to the forces of Cabrakán and Hurakán, representing the Maya-quiche religion.

Leyenda del Cadejo

Illustrates how humanity is capable of overcoming oppression.[7]

Leyenda de la Tatuana

Describes ways in which humanity can and will regain its freedom. [8]

Leyenda del Sombreron

In this legend, Asturias takes the idea of the child/ demon and explores it through a lens of magic; he creates a ball which appears and disappears, in which he encloses a Sombreron/ devil. [9]

Leyenda del tesoro del Lugar Florido

This legend takes place at the time when the Spanish conquistadors arrive to Guatemala, while the natives celebrate the end of a war. [10]

Literary Analysis

Rene Prieto classifies Asturias fiction as neo-Indigenista. His work is an evolution from Indigenista literature; literature defined by its critical stance against the European domination of Indians however literature that is still bound to an exotic, stereotypical portrayal of Indians that either leaves the Indians hopeless and dependent on Europeans or advocates change by becoming culturally mestizo (Prieto, 38). In contrast, Asturias rethinks his stance and depicts native culture as an continuing, and integral facet of Guatemala (Prieto, 42). To do this, Asturia tries to provide an accurate representation of Indian culture and thus bases his work on traditions and legends of his ancestors (Prieto, 40). Prieto argues that Asturias takes elements from the traditional Indian culture “to demonstrate that the future of his country depends on the recognition and validation of the indigenous heritage” (Prieto, 34). His writing style is unique because he incorporates both Western techniques with thematic and stylistic elements from naïve American literature (Prieto, 40).

Asturias bases his work on traditions and legends of his ancestors tries to provide an accurate representation of Indian culture (Prieto, 40). Prieto argues that Asturias takes elements from the traditional Indian culture “to demonstrate that the future of his country depends on the recognition and validation of the indigenous heritage” (Prieto, 34). His writing style is unique because he incorporates both Western techniques with thematic and stylistic elements from indigenous literature (Prieto, 40).

Themes

Influences

Asturias studied in Paris from 1924 until 1933, which enabled him to observe Guatemala, his home country, from a distance. [11] Here he also studied Mayan culture with Georges Raynaud, who, as his director, had a significant influence over his literary development. [12] Equally important was Asturias’ involvement with the French based Latin Press Agency, or Prensa Latina, an activist group which fought for the “revitalization of ‘Latin’ power” (Prieto, 28). Both influences introduce him to significant contacts and enable Asturias to rethinks the origins and the identity of his country and Mayan-quiche culture. Consequently, Asturias begins to revise his opinion drastically of the indigenous culture. A rapid transformation in his works is seen when comparing Asturia’s dissertation, “El problema social del indio,” written in the 1920’s and “focused on “mestizaje’ or the support of foreign immigration to regenerate the Indian, and reeks with prejudices” (Prieto, 26) to Leyendas de Guatemala, in the 1930’s, where Asturias values and admires the culture. Asturias goes so far to “cast himself the role of spokesman for the Indians” (Prieto, 34).

His time in Paris introduced Asturias to the surrealist movement. Asturias writings is deeply influenced by the surrealist movement, and is most evident in his use of opposing and incongruous objects. Prieto contends that “surrealist use opposites to gain an openness to the world that will allow them to perceive the marvelous…, here the marvelous is that “this” is also “that.” In other words Guatemala cannot deny its roots even if the class in power refuses to recognize it” (Prieto, 40). The book “La tierra del faisán y del venado” (in English: The Land of the Pheasant and the Deer) by Antonio Mediz Bolio is considered to be the most direct antecedent of Leyendas de Guatemala. Bolio fabricated an imagined country using fictive literature in which he mixed Mayan folk tales with elements of Hispanic modernism, much like what Asturias did later in 1930. [13]

Leyendas de Guatemala is largely based on Popol Vuh, an ancient text containing Mayan folklore tales. [14] In 1927, Asturias, in collaboration with José María Gonzáles de Mendoza, worked on the translation of Popol Vuh, and as such became immersed in its legends. [15] For example, “La leyenda de Tatuana” is based on the Quiché legend of Chimalmat, but re-written to incorporate the pre-Hispanic myth with the new anecdotes and characters of the Colonial era. [16]

However some scholars argue that what really inspired Asturias is the evolvement of a hybrid, mixed-race nation, which needed a set of new and revised creation stories. [17] This can be supported by the fact that he dedicated the book to his mother, who was also of mixed ancestry. [18]

Criticism and Reception

Asturias received much criticism for his earlier essay "El problema social del indio" (1923), which saw no future for a Guatemalan identity based on its Mayan heritage, and encouraged a progressive ideology to take over. [19] The criticism comes from the complete change of attitude which Leyendas de Guatemala seems to convey. Martin Lienhard argues that this former essay has become a dark spot in Asturias' past, which everyone seems to have forgotten once the author received the Nobel Prize for Literature in 1967. [20] He goes on to argue that the young Asturias made undeniably racist claims in this essay, which cannot be deleted, and Leyendas de Guatemala does not entirely break from such an attitude either. [21] Lienhard compares the way in which Asturias re-wrote the creation myths of Guatemala to Soviet educational propaganda, claiming that he progressively manipulated the culture and the collective memory of a people to serve the interest of a State. [22]

Notes

  1. ^ Jean Franco, 1994, p. 250.
  2. ^ Rene Prieto, 2000, p. 623)
  3. ^ José Mejia, 2000, p.710
  4. ^ Rene Prieto, 2000, p. 624)
  5. ^ José Mejia, 2000, p.710
  6. ^ Rene Prieto, 2000, p. 624)
  7. ^ Rene Prieto, 2000, p. 624)
  8. ^ Rene Prieto, 2000, p. 624)
  9. ^ Isabel Arredondo, 2000, p. 645)
  10. ^ Rene Prieto, 2000, p. 830)
  11. ^ Gordon Brotherson, 2000, p. 512
  12. ^ Martin Lienhard, 2000, p. 534
  13. ^ Martin Lienhard, 2000, p. 533
  14. ^ Martin Lienhard, 2000, p. 542
  15. ^ Rene Prieto, 2000, p. 611)
  16. ^ José Mejia, 2000, p.710
  17. ^ José Mejia, 2000, p.708
  18. ^ Gordon Brotherson, 2000, p.513
  19. ^ Gordon Brotherson, 2000, p.511
  20. ^ Martin Lienhard, 2000, p. 525
  21. ^ Martin Lienhard, 2000, p. 526
  22. ^ Martin Lienhard, 2000, p. 530

References

  • Franco, Jean (1994). An Introduction to Spanish-American Literature (third ed. ed.). Cambridge: Cambridge University Press. {{cite book}}: |edition= has extra text (help); Cite has empty unknown parameters: |origmonth=, |month=, and |origdate= (help)
  • Brotherson, Gordon (2000). "La herencia maya y mesoamericana en Leyendas de Guatemala." In Cuentos y leyendas. Barcelona: Coleccion Archivos. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Lienhard, Martin (2000). "Nacionalismo, modernismo y primitivismo tropical en las Leyendas de 1930." In Cuentos y leyendas. Barcelona: Coleccion Archivos. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Prieto, Rene (2000). "La figuracion del surrealismo en las Leyendas de Guatemala." In Cuentos y leyendas. Barcelona: Coleccion Archivos. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Mejía, José (2000). . "Complejidad y riqueza cultural del mundo mestizo en la obra de Asturias." In Cuentos y leyendas. Barcelona: Coleccion Archivos. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Arredondo, Isabel (2000). . "¡Abróchense los cinturones!: el viaje inconsciente en las Leyendas de Migues Angel Asturias." In Cuentos y leyendas. Barcelona: Coleccion Archivos. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  • Prieto, Rene (2000). . "The tales that now no one believes: Leyendas de Guatemala." In Cuentos y leyendas. Barcelona: Coleccion Archivos. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)

Sáenz, Jimena. Genio y Figura de Miguel Angel Asturias. Buenos Aires : Editorial Universitaria de Buenos Aires. 1974



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