Huellas del universo guaraní en la memoria escrita del paraguayo Augusto Roa Bastos

Marcel Dominguez (1868-1936) wrote on the history of Paraguay, valuing the traces of the indigenous peoples; Eloy Fariña Núñez (1885-1929) interpreted the poetic dimensions of the Guaraní universe, composing the "Secular Canto"; The anthropologists Kurt Unkel (1883-1945), Leon Cadogan (1899-1973) and Bertomeu Meliá (1932) showed an interest in those same people, exploring their roots and ways of life. In Augusto Roa Bastos’ works, an awareness of historical order, similar poetic dimensions and human reach is once again represented. All this is done through a language where, without "alibis or civilizing betrayals", he tells the good use of myths, allowing us to read the reality, all our reality. The genesis of the Guarani (1948), Son of Man (1960), (1993) confirm Roa’s success, a writer who speaks of his Guaraní legacy, Yo el Supremo (1974) and El Fiscal handles from his writing a colonial heritage and expiate with words of a common language the memory of Miguel Vera, the records of an anonymous compiler and the notes of the outlaw Felix Moral.Marcel Dominguez (1868-1936) escribió sobre la historia del Paraguay, valorando las huellas de los pueblos indígenas; Eloy Fariña Núñez (1885-1929) interpretó las dimensiones poéticas del universo guaraní, componiendo el “Canto Secular”; los antropólogos Kurt Unkel (1883-1945), León Cadogan (1899- 1973) y Bertomeu Meliá (1932) demostraron interés por aquella misma gente, hurgando en sus raíces y formas de vida. En la obra de Augusto Roa Bastos vuelve a representarse una conciencia de orden histórico, dimensiones poéticas y alcance humano similares. Todo ello mediante un lenguaje donde, sin “coartadas ni traiciones civilizadoras”, cuenta el buen uso de los mitos, permitiéndonos leer las realidad, toda nuestra realidad. El génesis de los guaraníes (1948), Hijo de hombre (1960), Yo el Supremo (1974) y El fiscal (1993) confirman los aciertos de Roa, un escritor que habla de su legado guaraní, maneja desde su escritura una herencia colonial y expía con palabras de un lenguaje común la memoria de Miguel Vera, los registros de un compilador anónimo y las notas del proscrito Félix Moral.Marcel Dominguez (1868-1936) wrote on the history of Paraguay, valuing the traces of the indigenous peoples; Eloy Fariña Núñez (1885-1929) interpreted the poetic dimensions of the Guaraní universe, composing the "Secular Canto"; The anthropologists Kurt Unkel (1883-1945), Leon Cadogan (1899-1973) and Bertomeu Meliá (1932) showed an interest in those same people, exploring their roots and ways of life. In Augusto Roa Bastos’ works, an awareness of historical order, similar poetic dimensions and human reach is once again represented. All this is done through a language where, without "alibis or civilizing betrayals", he tells the good use of myths, allowing us to read the reality, all our reality. The genesis of the Guarani (1948), Son of Man (1960), (1993) confirm Roa’s success, a writer who speaks of his Guaraní legacy, Yo el Supremo (1974) and El Fiscal handles from his writing a colonial heritage and expiate with words of a common language the memory of Miguel Vera, the records of an anonymous compiler and the notes of the outlaw Felix Moral.Marcel Dominguez (1868-1936) wrote on the history of Paraguay, valuing the traces of the indigenous peoples; Eloy Fariña Núñez (1885-1929) interpreted the poetic dimensions of the Guaraní universe, composing the "Secular Canto"; The anthropologists Kurt Unkel (1883-1945), Leon Cadogan (1899-1973) and Bertomeu Meliá (1932) showed an interest in those same people, exploring their roots and ways of life. In Augusto Roa Bastos’ works, an awareness of historical order, similar poetic dimensions and human reach is once again represented. All this is done through a language where, without "alibis or civilizing betrayals", he tells the good use of myths, allowing us to read the reality, all our reality. The genesis of the Guarani (1948), Son of Man (1960), (1993) confirm Roa’s success, a writer who speaks of his Guaraní legacy, Yo el Supremo (1974) and El Fiscal handles from his writing a colonial heritage and expiate with words of a common language the memory of Miguel Vera, the records of an anonymous compiler and the notes of the outlaw Felix Moral