Others become descriptions from the perspective of the ruling classes, as in the resounding theme of the opposition civilization and barbarity. And this was so because the European romance, to Paul and Virginia, Bernardin de Saint-Pierre, where the romantic idyll was the driving force of the action novel, was continued faithfully in our own, land in works such as The Captive, Esteban Echeverria and Maria, Jorge Isaacs. Similarly, by Venezuelan Manuel Vicente Romero Garcia, with peony, but this protest and with hints. Born in Europe as realistic opposition to this speech, of course should be continued in America. Thus, Creole and naturalism, as the Venezuelan native poetry are forms of expression of the new European wave.
We would add the Indian concern, unfortunately analyzed from two angles contradictory and irreconcilable, given the presence of the class struggle, on an aesthetic level. On this point, the Venezuelan leading researcher, Professor Italo Tedesco (2004: 130), tells us that: In the Indian narrative converge sociological positions. The alienation and subjugation of man to iracional documented the factors that give rise to: religion, capital and labor. Together with the priests and landowners, the magistrate, the governor or prefect, are the power that works on the community, seen as character-mass and their individualities. The trinity brutalizing reported by Gonzalez Prada not only contributed to the complaint. It outlined a narrative syntax that works for irreversibly as obstaculoa fate of the native. Since the conquest, religion was used as a weapon of domination. Replaced and created myths.