Las Ratas Miguel Delibes Pdf 32
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The 1960s represented the heyday of Delibes' literary career. The period was marked by the birth of his sixth son, Adolfo (later a graduate in biology) and a visit to Germany, where he visited several universities. The literary period opened with the publication of Viejas historias de Castilla la Vieja (Old Tales of Old Castile) in 1960, and Por esos mundos (In these worlds) in 1961.[15] In 1962, Delibes published Las ratas (The Rats), one of his masterpieces. It constructs a story from a series of autobiographical anecdotes which evoke the rural environment of a Castilian village that has disappeared. The book won the Premio de la Crítica (Critics Award for Castilian fiction).[15] In the same year Camino, the last of his seven children, would be born. Camino later graduated in Philosophy and Letters. Also in that year, the film version of El camino, directed by Ana Mariscal, was shot. 1963 was a turbulent year: Delibes resigned on June 8 as director of El Norte de Castilla after several disagreements with Manuel Fraga, Minister of Information and Tourism.[15] In 1964, he spent six months in the United States as a visiting professor in the Department of Foreign Languages and Literature of the University of Maryland. After his return, he wrote and published Cinco horas con Mario (Five Hours with Mario), which is considered his masterpiece. The novel is the monologue of a woman who holds a wake for her late husband while she recounts the memories of him. Other books published upon his return from the US included USA y yo (The United States and I) and La milana. In the following years he visited Czechoslovakia and published Parábola del náufrago (literally: The Parable of the Castaway, translated into English as The Hedge by Frances M. Lopez-Morillas).[16][17] Later in the 1970s, he followed up with several books about hunting, an activity about which he was passionate, and stories. Subsequently, he published Un año de mi vida (A Year of my Life), a personal diary.
En la obra de Miguel Delibes hay un compromiso ético con los valores humanos, con la autenticidad y con la justicia social. Fue un escritor fiel a sus ideas y a su tierra castellana. La preocupación por las consecuencias negativas del progreso para la naturaleza y el hombre, por Castilla y la situación del campo castellano y por la dignidad y la libertad humanas son el eje principal de sus obras. La naturaleza, el campo y el ambiente rural aparecen en primer plano en El camino, Las ratas, Viejas historias de Castilla la Vieja, La caza de la perdiz roja, El libro de la caza menor, Diario de un cazador o El disputado voto del señor Cayo.
Se dio a conocer como novelista con La sombra del ciprés es alargada, Premio Nadal 1947. Entre su vasta obra narrativa destacan Mi idolatrado hijo Sisí, El camino, Las ratas, Cinco horas con Mario, Las guerras de nuestros antepasados, El disputado voto del señor Cayo, Los santos inocentes, Señora de rojo sobre fondo gris o El hereje. Fue galardonado con el Premio Nacional de Literatura (1955), el Premio de la Crítica (1962), el Premio Nacional de las Letras (1991) y el Premio Cervantes de Literatura (1993). Desde 1973 era miembro de la Real Academia Española. Ediciones Destino ha publicado sus Obras completas.
Miguel Delibes'sLas ratas (1962) articulates divergentphilosophies of animality: one zoophilic, the other zoophobic. The former isassociated with a Kropotkinite vision of society based on equality and mutualaid, as well as on concord and interchange between people and theenvironment. The latter, however, is aligned with Social Darwinism,competition, and the advent of modernity; with violence and conflict. In thecourse of the novel Naturalism makes an entrance when traditional ways oflife begin to be threatened by the trammelling effects of progress. The paperexplores these themes by using some arguments drawn from green studies.
At the beginning of Miguel Delibes's Las ratas the reader ispresented with a parliament of crows, 'reunidos en consejo', a boyconversing on equal terms with a dog which makes strong eye contact andresponds with an expressive wag of its docked tail, followed by aconversation in which the title of the novel is given a mysterious twist. (2)Goading Ratero with an account of Mayor Justo Fadrique's self-servingplan to eject the village water-vole catcher from his cave, Malvino, thebarkeeper, calls Justito 'peor que las ratas' (p. 11). However,Ratero is deaf to this figure of speech--one of the most automatic of allzoophobic metaphors. He replies simply: 'Las ratas son buenas' (p.11). Probably he mean good to eat, but the author is hinting at asupplementary reading: namely, that they are morally good. Indeed, the titleof Delibes's novel is itself ingeniously discordant. On the one hand, itis neutral and descriptive, signalling nothing more than a fable about awater-vole catcher. On the other, it alludes, in Malvino-like fashion, tothose scoundrels in authority who, with a mixture of threats and cajoling,are seeking to rob Ratero and his son, Nini, of their freedom and deliverthem, supposedly for their own good, into the modern world. (3) Themayor's nagging wife wishes to leave a place she regards as little morethan a wasteland. For this to happen, Justito must do the bidding of theCivil Governor by removing, la verguenza de las cuevas' (p. 70). TheCivil Governor, meanwhile, is pandering to a government worried that theimage of Spain will become tarnished abroad when tourists discover thatSpaniards are still living in caves. About the actual hardships suffered bythe rural poor the regime cares little.
It is ironic that Ratero's mind should be so impervious toMalvino's subversive metaphor precisely when the author is speaking soloudly on his behalf. Of course, Ratero lives close to the evidence of hissenses, and his sluggish wits are simply incapable of registering many ideas,including Malvino's analogy. And yet, the author is using this characterto express something rather more subtle. So intimate and physical isRatero's knowledge of his prey that he resists understanding themanthropomorphically. For him they exist in a more than human realm, beyondthe plainer kind of humanizations and animalizations for which those livingat a remove from nature have a greater facility. In fact the relationshipbetween many characters and animals in Las ratas is one of reciprocity,mutual intelligence, and shared experience. In this regard, Ratero'srepudiation of Malvino's animal metaphor speaks of a capacity to dwellin harmony with the natural world, the underlying philosophy of which thework as a whole is so eloquent in generating. Indeed, in this special stancebefore nature lies the third and most consequential meaning of thenovel's title.
In Las ratas the spectre of competition is raised in the form ofrival hunters: first Furtivo, then Luis, the water-vole catcher from theneighbouring village. The effects of such competition on the lives of thecharacters are profound, swift, and brutal. The murder of Luis by Ratero isset to consolidate Spain's modernity, for although the water-volecatcher wins the battle, his crime signifies that he has lost the war: therewill be no more cave-dwelling to besmirch the country's image abroad;the barbaric practice of eating rats will be a thing of the past; Nini willbe taken by the regulators and educators, by the likes of Dona Resu and DonAntero; Ratero himself will be claimed by the state; perhaps Nini will cometo learn the definition of Resu's intimidating long word,' lalonganimidad' (p.101), just when its meaning (forbearance: an antonym,perhaps, of competition) is beginning to elude him. In a societal senseRatero and Nini are dodos, a species selected for extinction. However, theirdemise also spells the end of a special kind of social and environmentalreciprocity. The fate of Ratero and Nini thus symbolizes the crumbling of thecommunity as a whole. Its principles of moral unity and kinship with naturelie forfeit, supplanted by a new creed of man at war with himself. This isthe central paradox of the novel: the bloodletting, which is so tragic on apersonal level, apparently augurs well for the doctrine of progress. Nature,moreover, is now set to decay.
This benevolently Kropotkinite concept of human society isexemplified by the community of convecinos in Las ratas. It too unravels'as the result of exceptional scarcity' ; and, when this happens,modernity with its competitive new creed races in like an apocalypse.Ratero's victory in single combat is the very moment when the old waysof mutual aid and solidarity are beaten. New social and biologicalhierarchies are about to emerge. Henceforth, one might say, Malvino'santhropocentric disgust at rats will supersede Ratero's unfussybiocentric acceptance of them as kindred beasts.
Perhaps Kropotkin's animal-centred ideas are a little utopianand selective. However, in his well-regarded study Donald Worster has arguedpersuasively that even Darwin's ideas were skewed according to apersonal agenda: 'Like all of man's intellectual life,' hewrites, 'scientific ideas grow out of specific cultural conditions andare validated by personal as well as social needs.\"' Hence Darwinoveremphasized competition as the dynamo driving evolution and underplayedthe principle of divergence, even though he had himself identified the latteras a primal natural process. In any given ecosystem nature will strive tooccupy every available niche, a tactic which generates an ever-expandingdiversity from finite resources. Thus, in Darwin's own words, 'thegreatest amount of life can be supported by great diversification ofstructure\" (13) The key point is that this process unfolds as a means ofdodging, not inviting, competition., In effect', writes Worster,'diversity was nature's way of getting round the fiercelycompetitive struggle for limited resources. (14) If Social Darwinism tends tousher in a Spartan monoculture, then Darwin's neglected principle ofdivergence might prove better at creating ecological and cultural richness.In Las ratas the versatile Nini, who never succumbs to the virus ofcompetition, and who treats Luis throughout with courteous curiosity, tacklesthe decline in the water-vole population by avoiding confrontation withpotential rivals, by diversifying into hunting crayfish and lizards, byharvesting the bark from holm oaks, and even by selling sun spurgesdoor-to-door (p. 139). (15) While Ratero, ever more fixated upon his rumouredopponent, obsessed with 'la competencia' (p. 89), insistsvehemently on his ownership of the rats, the cave, and his son, Nini explainsthat 'el arroyo era de todos' (p. 89). 153554b96e
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