Grande Sertao Pages Through Guimarães Rosa, João The Third Bank of the River, And Other Stories. Grande Sertao Pages Through The Devil to Pay in the Backlands EPUB Free Download. The Devil to Pay in the Backlands PDF. your message here. SUBMIT. Tags. Categories. COPY RIGHT. Grande Sertão: Veredas (Portuguese for "Great Backlands: Paths"; English translation: The Devil to Pay in the Backlands) is a novel published in by the.
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Grande Sertão: Veredas is a novel published in by the Brazilian writer João Guimarães . Create a book · Download as PDF · Printable version. The Devil To Pay In The Backlands. Naomi Lebowitz 19 Jun Download citation · cicenorthlare.tk Buy, download and read Sagarana (ePub) by João Guimarães Rosa today! novel Grande Serto: Veredas (translated as The Devil to Pay in the Backlands).
When Vaz dies of illness, Ze Bebelo returns from exile and takes ownership of the band this is actually where the book begins; the previous part is told in a very lengthy retrospective.
They survive a lengthy siege by Hermogenes' men, but Ze Bebelo loses the taste for fighting, and the band is idled for nearly a month in a plague-ridden village.
When this happens, Riobaldo mounts a challenge and takes command of the band, sending Ze Bebelo away. Riobaldo, who has mused on the nature of the devil intermittently since the beginning of the book, tries to make a pact with the devil.
He goes to a crossroads at midnight, but is uncertain as to whether the deal has been made or not, and he remains unsure for the rest of the story. He then moves against Hermogenes but is surprised; with difficulty and heavy casualties, his army defeats Hermogenes.
The climax of the book is a knife fight between the two opposing armies. In the fight, Diadorim kills Hermogenes, but is in turn killed. When Diadorim's body is washed, Riobaldo discovers that Diadorim is in fact a woman, and the mystery of their love is cleared up.
The final musings of the book are regarded as some of the most beautiful fragments of Portuguese language literature. And yet the man described by Riobaldo is also different to most human beings in his attitude toward life because in his recklessness he acknowledges that there is no escaping death, and he confronts, whether consciously or unconsciously, its possibility.
Not just once—every time. In this way I put a stop to the thing that was burning me up, the tittle-tattle.
But let them do it behind my back. I can tell when a man only appears to have been killed, when he doubles up from a wound, or when he falls because he has been slaughtered. Did I feel pity?
Is one going to feel sorry for a wild cat, or have compassion for a scorpion? Fear would not let me. My head was in a fog, my brain was spinning. My heart changed position.
And our journey through the night continued. While I suffered the tortures of fear.
This episode, and the idea that Riobaldo exists at this point between two violent alternatives within his life—the violence of nature and exposure, and the violence of mankind—is also important in what it has to say about how human culture creates outcasts, and the hopeless existence such a state involves. The human being or animal cast out of society exists, as it were, in a very real hell from which there is almost no escape. It is one thing to support a war, for example, from the winning side; quite another to be against that side.
Thus, Riobaldo believes, if the devil exists he is damned; however, if he can reassure himself by the telling of his narrative that the devil is merely an absurd concept, then he is saved. How could he be forgiven?
It is as though Rosa is exploring whether or not human beings can come to terms with the state of ignorance into which they are born, and how such a coming to terms must be accomplished. He tries to dimly outline a concept of what we cannot know in our limited human perception. It would thus be through the mystic outlook on the part of Riobaldo that Rosa completes a literary metaphor for the way in which we apprehend the world around us: as human beings we are unable to perceive the nature of our lives, and we live in an uncertain state in which truth is obscure, but is a concept of which we can conceive the existence.
Conscious thought creates the idea of evil, and yet what if, the novel seems to ask, evil does not have any intrinsic meaning, for at least in the concept of the selling of a soul there lies the inverse idea that the soul at one time belonged to the seller, and is thus meaningful at representative of the possibility of salvation, an original point of goodness to which human beings can return.
It is as though Rosa is asking which is the worse scenario: that we have a soul that is possible to be sold, or have no soul at all?
I tell you, sir: the devil does not exist, there is no devil, yet I sold him my soul.
That is what I am afraid of, my dear sir: we sell our souls, only there is no buyer. Perhaps also in becoming conscious we have given away some part of ourselves that is irreplaceable and unknowable. In The Seventh Seal, the knight asks Death if, at the hour of his own passing, Death will reveal his secrets to him.
Three scenes within the novel in particular are striking symbols of the limits of what we can know as human beings. The horses cry out against the slaughter and are left suffering on the ground as their masters—who cannot leave the house because they will themselves be shot—can only listen. Riobaldo and the other men passionately desire to go out of the building to kill the horses out of mercy, but they know that they will also be killed. The horses, like the butterfly, are profound symbols of what it means to perceive the world as a human being; they do not understand why destruction occurs on all sides of them, or causes them pain, or comes down on them at random; something that is so meaningful and perversely rooted in reason to men as a battle is for the animals something bringing death with no explanation and no meaning.