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Juvencio is begging his son to ask the sergeant who has him tied to a post to spare him, to tell his captor that tying him up and scaring him has been enough punishment. Finally Justino relents and goes to the corral, turning on the way to ask his father what will happen to his wife and kids if he too is shot.
You go there now and see what you can do for me. The narrator tells us that the father was brought in at dawn and had been tied to the post all morning long. He recalls that he he killed Don Lupe because he would not share his pasture with Juvencio's animals. This became a pattern where at night the fence would be broken and in the morning it would be mended. During the daytime the livestock would stay right next to the fence, waiting for nighttime when Juvencio would cut the hole so they could eat.
Juvencio and Don Lupe would constantly argue but could not come to an agreement. Finally Don Lupe said that he would kill any animal that came into his pasture. Juvencio replied that the fact that the animals were breaking through was not his fault and that if Don Lupe killed one of them, he would have to pay for it. The conflict happened thirty-five years ago in March, because by April Juvencio was already on the run, living in the mountains.
Finally he and his son began living on another of his plots of land, Palo de Venado, before his son married Ignacia, and had eight children. All this shows that the fateful event took place years ago and should be forgotten. Around that time Juvencio figured that everything should be fixed with around a hundred pesos. Don Lupe had left his wife and two young kids behind, and then his widow died shortly after from grief.
Every time someone would enter the village he would have to run up into the mountains like an animal, and this happened for thirty-five years. At this point in the story the narration then switches back to third person. He had hoped with all his heart that they would never find him. This is what made it so hard to believe that he would die like this after fighting off death for so long. The narrator tells us about Juvencio's capture. He had seen the men at nightfall walking through his tender corn crop and he had told them to stop.
At this point the narration jumps forward in time to a meeting between the Colonel and Juvencio. The Colonel, who is hidden, says that Don Lupe was his father and that he died when he was young. As a result he had no male role model to follow as a boy.
He goes on to say that later he learned his father had been killed by being hacked with a machete and then having an ox goad stuck in his belly. The Colonel found it particularly terrible that Juvencio, the murderer, remained free. The narration then shifts to a more recent past, as Justino disposes of his father's corpse, which has been hooded to hide a disfigured face.
Justino spurs the burro forward in the hopes that they can reach Palo de Venado in time to arrange the wake. Freudian theory could support the speculation that for the Colonel the killer of his father Juvencio has come to replaced Don Lupe as the target of an Oedipal death wish.
By killing Juvencio, the Colonel is able to achieve manhood. Intriguing as this interpretation may be however, it tells us little about the reality of the Mexican context in which this story takes place. In this story the reader is again subtly exposed to the problem of land reform in the post-revolutionary period. Although Juvencio appears to own more than one piece of land the property near Puerta de Piedra and Palo de Venado, where his son lives , apparently this land is not irrigated and when droughts come his animals begin to die.
Between the lines one can tell that this lack of access to irrigated land is what drives a wedge into the friendship between Juvencio and Don Lupe. Paradoxically, Juvencio might almost be considered innocent despite murdering his friend, since the only way he can feed his family is by killing his neighbor. In this tale the violence experienced by the colonel at an early age results in an implacable obsession and anticipation of revenge.
What happens in line 59 that affects how you perceive the characters what new information is presented in lines 59 through What impression of the main character and his situation is created by the opening dialogue in which he begs his son to mediate? He is tied to a post and facing death. Based upon his son's response to his pleas for intervention, we can also infer that he Significant literary devices. Which specific title are you referring to?
What types of literary devices are you looking to identify? The Burning Plain and Other Stories study guide contains a biography of author Juan Rulfo, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis of Rulfo's short stories, including No Oyes Ladrar los Perros.
The Burning Plain and Other Stories literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of several short stories written by Juan Rulfo. Remember me. Forgot your password? Buy Study Guide. Please provide the text in question.
Diles que no me maten!
¡Diles que no me maten! (Clásicos ilustrados latinoamericanos)
Rulfo was born in in Apulco, Jalisco although he was registered at Sayula , in the home of his paternal grandfather. After his father was killed in and his mother died in , Rulfo's grandmother raised him in Guadalajara, Jalisco. Rulfo was sent to study in the Luis Silva School, where he lived from to Rulfo moved to Mexico City , where he entered the National Military Academy, which he left after three months. In , Rulfo was able to audit courses in literature at the University, because he obtained a job as an immigration file clerk through his uncle. In , Rulfo had co-founded the literary journal Pan. In , he started as a foreman for Goodrich-Euzkadi , but his mild temperament led him to prefer working as a wholesale traveling sales agent.