The Underdog is a novel by Mariano Azuela that reflects on the experiences and historical background of the Mexican Revolution. It also focuses on the political and personal devastation of people who took part in the rebellions and struggles against the established order. The military conflict has been brightly illustrated and criticized in the book; it also provides details of the greatest upheaval that occurred in the past century. Criticism of Revolution also premises on the overt displays of injustices and cruelties that gave rise to the new movements of peasants in Mexico. Through active use of narrative style, particularly informal speech, the author strives to emphasize the reality of the Mexican Revolutionary Scene.
The use of Mexican terms and informal speech appeals to the social, political, and intellectual context, in which the Revolution took place, which is among the most evident features that Azuela employs. In particular, the author gives simple Christian names to his protagonists, such as Parnacracio, Agapita, Camila, and Marfa Antonia, although Demetrio’s wife is left without a name. Interestingly, none of the enumerated characters has nicknames, except for Luis Cervantes who is addressed as Curro in the novel, which means “tenderfoot”.
Similarly, Margarito Arando is also called El Guero, which stands for a blond person in English. Such nicknames are usually given to people of non-Mexican origin yet speaking the Spanish language. Therefore, various meanings assigned to names and nicknames shape the moral and cultural framework for analyzing other aspects and elements of the novel.
In the novel, Azuela highlights his disappointment with the corrupted government and society, which lead to the upheaval of the revolutionary movement. In the pursuit of dominance and power, people start expressing their ambition to gain control over their lands and overthrow the existing government. By presenting the bright and notable characters, the author attempts to deliver an emotionally colored meaning of the revolution, as well as release new dimensions in representing Mexican society.
The use of vernacular language, therefore, is one of the leading techniques that seek to convey the spirits of the time. As an example, the author makes of numerous authentic words, such as senior, amigo, aguardiente, cacique, etc. Even the English speech is also informally represented in dialogues: “I gonna give the one riding on the edge of the trail a bath…I’ll dunk you in the river, damn mocho!”1. Therefore, the story focuses on the analysis of humble peasants who strive to receive freedom.
The hero’s cultural and socio-political backgrounds are highlighted through their speech patterns. About the above-described characteristics, Mariano Azuela has become the pioneer in establishing the standards for the modern Mexican language. It fully grasps the realities of the Mexican Revolution through the depiction of the fates of people being under the political and social pressure of the governmental regime.
In conclusion, Azuela’s The Underdogs focuses on the hard experiences of the Mexican society in their fight for freedom from the established order. The use of Mexican terms in calling the government, the military power, and peasants contributes to the mood and spirit of the novel. Apart from the real historical representation of the revolution, the novel is also a personal outlook of the author on the events that happened in the twentieth century. Although the majority of the protagonists are given nicknames, the main heroes of the story are signified with real names. In such a manner, the author strives to emphasize their authentic origin.
Bibliography
Azuela Mariano. The Underdogs: Pictures and Scenes from the Present Revolution: A Translation of Mariano Azuela’s Los De Abajo with Related Texts. Indianapolis: Hackett Publishing, 2006.
Footnotes
Mariano Azuela. The Underdogs: Pictures and Scenes from the Present Revolution: A Translation of Mariano Azuela’s Los De Abajo with Related Texts. (Indianapolis: Hackett Publishing, 2006).6.