The Mexican Understanding of Realism and Naturalism

Abstract

It has long been understood that the acceptance of Realist and Naturalist principles in Mexican fiction was modified by some objections to these new ideas regarding what the novel should be. These objections established a kinship between Mexican novelists and Spanish writers of the same period. More often than not, when this subject has been discussed, some reference has been made to the Hispanic religious tradition, but I know of no place where the attitude of Mexican literary men is discussed in detail. At the same time, more than one writer has referred to the continuation of certain characteristics of Romanticism within the Mexican novel of Realism. Although the enquirer may find a few references or inferences concerning the congeniality of the Mexican character and Romanticism, I believe that these vague suggestions could hardly be accepted as satisfactory explanations of the mixture of Romanticism and Realism which is evident in the novels of the late nineteenth century. In view of the fact that Realist and Naturalist influences entered Mexican literature at a time when writers were seeking a more national expression in literature, and when accurate and full description of the social milieu would produce politically important commentary, it seems well to give some very serious consideration to the Mexican attitude toward these literary intentions. The earliest obvious place to expect a good deal of attention to Realism would be in Altamirano's Renacimiento. He certainly made it amply clear that foreign works could be properly used as models without requiring imitation. And he was explicit with regard to the suitability of Mexican subject matter. In general, Altamirano's predecessors in the novel had not m de use of the material surrounding them because they believed that Mexican society offered no interesting themes. This b lief continued to exist for many years fter 1869, the period of El Renacimiento. Even near the end of the century, when a greater number of writers expressed the opposit view, they did it cautiously and somewhat defensively. These factors, combined with Altamirano's costumbrista tendency as a creative writer, would seem to direct him toward Flaubert's Realism. But instead, it was Dickens to whom he looked as a proper guide. His reasons are clear enough. Dickens presented an accurate picture of English society. He belabored vice and exalted virtue. He avoided scenes