RAYUELA de JULIO CORTAZAR - Resumen completo

Of course, they make me waste time and I guess you too.

So let's get to the point.

You can go to the end of this video, which is divided here below

and look at the simple and general version of this book,

still being summarized, but many things are lost.

What I recommend is that you watch the whole video

and then compare it with this final summary,

you will realize the amount of details you would be missing.

Now, the time has come to put ourselves in this huge work

of Argentina's literature.

I've come to talk about Ralluela from Julio Cortazar.

But before we start, let's clarify something.

Ralluela is a very long book, so prepare for a long video.

Ralluela is divided in three parts,

from the side of the side of the side and from the other side.

This last division in theory can be altered if you want,

but we'll summarize it equally.

Last Ralluela has several ways to read.

One is the suggested by the author and the one I'm going to summarize here.

So don't be surprised if I'm jumping from the computer to the 12 and vice versa.

But in fact, I'm going to send a greeting to Lucas,

who I have been watching this channel for a long time,

so let's start with the chapter 73.

The protagonist of the story is the Horacio Oliveira,

who will reflect a little about the writing and literature in general

through the questions that seem not in the sense

and try to make a fire without color,

which also relates to the night in the street of the Joujet,

if you don't know, this is a traditional street in Paris.

We're going to know Morelli,

an important character for the novel.

Morelli is a writer whose Oliveira read and speaks about her novel,

in which a man looks at a tournament for many hours.

This all seems not in a sense,

but in reality, it was to reach the point of this chapter,

where he returns to that fire and the invention of anything

thanks to the literature.

Therefore, Oliveira ends up saying that it's a kind of fire,

which makes the chest of all those who send things through literature

and that fire cannot heal.

Oliveira itself feels incredible,

and this means to choose her own truth and her own reality.

We're going to the chapter 1.

This chapter is where the famous sentence of this book

we went without looking for,

but knowing that we were going to find.

And that's where the character of Oliveira introduces us.

Oliveira is looking for the mags in places where they usually go,

but it's not there anymore.

We also tell you that Oliveira lives in Paris,

where he was to live to study,

but he really isn't studying.

He's looking for the mag in the point of the art,

where they were going to live, but it's not there anymore.

Oliveira also mentions a lady named Leonie,

who usually reads her luck through the palm of her hand,

but this time she remembers her in relation to the mag,

since she never introduced her to this kind of Leonie.

Oliveira also remembers when she met the mag,

when she had been to Paris.

She talks about how she shared her stories and passed through Montparnasse

or how she formed a couple of close-ups,

where the intellectuals were together to talk.

The relationship with the mag is apparently amorous.

Before finishing the chapter,

Oliveira mentions that they spoke of the pathophysics.

This was a study of imaginary solutions and laws that lie in the exceptions.

Oliveira reflects a little about the mag and thinks it must be

somewhere in Paris, looking for something specific, but she doesn't know what.

She also leaves us to know that Oliveira is superstitious.

For example, she can't leave her objects to the ground without lifting them up.

Immediately.

In another way, a misfortune will happen to some known

initial knowledge of the object that fell to her.

Let's move on to the chapter 2.

This is a chapter where Oliveira will continue to talk about the mag.

In this occasion, some things are revealed.

First, it is clear to us that they are not in love,

only in love.

Second, it is named to the son of the mag, Roca Madur,

which he does not want to talk about.

Third, Oliveira tells us that it feels so proud to be a conscious vag.

In fourth place,

then he continues to talk about the mag, the feelings between them

and the relationship with the son.

He also tells us that there is another reason why she doesn't want to talk about Roca Madur.

And that's because that is also the name of the father of the boy,

which he never did a load apparently.

Finally, Oliveira tells us that in the club of the Serpent,

he appreciates a lot when the mag is singing.

They also tell us to talk about Roca Madur,

and would implicate a lot of effort and prefer not to do it.

Let's move on to chapter 126.

This is a more reflective chapter,

but in a way that,

well, Oliveira makes notes around the work of Morelli,

the writer we already know.

He talks about a novelist, observatory and a novelist,

the original distinction is in French,

voyant and voyeur,

respectively.

The important thing is that we know that both are witnesses of something

and who they communicate, but the difference is the way.

The observatory is the one who seeks the depth,

while the spectator is the one who narrates it superficial.

For Morelli, the artist must connect time,

be a character that helps transition between a time and the next,

something like that as it should always innovate.

Let's move on to chapter 3.

In this chapter, we will have Oliveira drawn in the bed with the mag.

He reflects a lot and makes comparisons between his life,

good airs and his quality in France.

Among all his thoughts, he knows that in a few hours he has to move

to the old Truille.

His boss, to organize all the correspondence he has with Latin America.

He lost reflections at the end, he decides to share them with the mag,

which is simply the answer.

You think you are in this piece, but no, you are looking at the piece,

you are not in the piece.

Making the reference clear, he has the head totally on the other side.

We move on to chapter 84.

In this chapter, Oliveira returns to give a walk where he draws a few leaves

and takes one to his room.

He puts it on a lamp and he observes.

It turns out that we were also friends, Osip and Etienne.

It turns out that Etienne is more analytical,

but the style is flying,

in change Osip is not so much.

This is suggested by the way that Osip and Etienne look at the eye,

one makes it more superficial and the other one more profound.

But there is a difference and Osip seems to be a little more receptive

because not only Oliveira is badly hurt by the skin,

we will see that it is a lover of Oliveira.

But Etienne, neither all this.

Oliveira makes a comparison then and says that humans are like the ants.

They have pseudopods.

Obviously I hope that everyone knows that,

which is a time-telling of organisms like cells or ants,

is to move and eat.

Now, it doesn't matter.

Oliveira is trying to say that there are people who can move a lot

and there are others who can move a little.

That is, there are people who can see more there

and others who see a little less.

But the difference for him is that the bee,

sometimes it can't see what he has in front of his eyes

to see if he has the bee.

Nothing, a comparison to continue reflecting,

something that happens a lot in this book.

This by the way, the sociatant of what he said

is how the imagination of being human

that some have more and others have less.

Let's move on to the chapter 4.

In this chapter we know a little more of the magic

and its relation with Oliveira.

The magic is her guava and tells us that Roca Madur,

the son of her, is a product of a board that did not want to practice.

Oliveira is not very interested in what he tells her,

but it would be very interested.

He recognizes her that she needs a lot of courage to live in Paris,

but she wants to be in Uruguay.

She talks a little about the members of the Serpent Club,

Ronald, Perico, Etian and Gregorovius.

If you come to Oliveira, go to the magic many times,

it seems like a torpe, even in the club of the Serpent,

everyone has to explain what they are talking about.

That's why Oliveira likes to be alone, without her.

Oliveira considers that without using the magic things, she doesn't understand.

She, on the other hand, admire Oliveira and Etian,

especially when she talks about the moral writer,

she wants to know more about this, but Etian tells her that she would not understand.

Which she is sad and Etian feels guilty after all.

Let's move on to the chapter 2.71.

This is a reflexive chapter, as many others,

but the moral writer says that she talks about how everything is worth

being read, is oriented to nostalgia.

We move on to chapter 5.

Here we realize the first time that Oliveira and Oliveira had relationships.

The chapter is loaded with sexual references,

and it also tells us that the magic wanted to be

instrued to be able to belong to the Serpent Club.

We move on to chapter 81.

Here it reflects on the new passions,

the old and on the superstition and the libertarian.

It doesn't happen much more.

We move on to chapter 74.

Here it speaks about the moral and the reflexion of the person in conformist.

It says that the person who is like this

does not move through the intermediate spheres,

but it goes up or down.

Everything else prevents it.

We move on to chapter 6.

It is not about that Oliveira and the magic always were to find each other,

but not to find each other.

How is this?

They were in a neighborhood and had to run away.

They were there and they were going to have a little bit to say it,

and they should pass the rest of the day alone.

In addition to this, this chapter does not allow the most analytical spirit of Oliveira

while the magic is more flying, so to speak.

We move on to chapter 7.

One of the most painful moments and sexual moments in Oliveira and the magic

but not much more.

We move on to chapter 8.

Here there is something of love, but while the magic and Oliveira

observe pieces and the reflexion of how a piece

only in a piece feels sad,

even if it is his reflection.

We move on to chapter 93.

Here it is believed that Oliveira is talking about itself.

First they are not passionate and terco or risk in love.

Also, they talk about how to turn the magic, but at the same time the love of her

is tormenting.

It is the mind for not loving her as she does it.

It says that for many love is to choose someone and marry,

but in love you cannot choose.

Reflecting a little more about love and hide love from her thoughts.

We move on to chapter 68.

This is one of those famous moments in Ralluela.

Here the Greek present is presented.

The language is invented by Cortazar for describing quite erotic situations.

As famous as she barely loved the new Emma.

We move on to chapter 9.

Here we can see how Etyan, Oliveira, Perico and the magic walk

together under the rain, while they reflect on the art and what it is to show.

The magic only participates, the others move on paintings.

Later, it appears in Gregorovius and Wong,

then a kind of hypnotic club of the serpent and get together.

We move on to chapter 104.

It is talked about the meaning of life through the evocation of images.

We move on to chapter 10.

They are all gathered in the Ronal Department,

the whole group of the serpent.

The place is half-dehated, obviously it is in the jazz and the song about music and art.

We move on to chapter 65.

It is described as Gregorovius,

a patriot who has always been a black and black man and who says he is intellectual,

maintained by his day and night and is with three mothers.

We move on to chapter 11.

Gregorovius and the magic begin to talk.

He asks her if the other mount is known in a lot of videos.

She does not know, but she says yes,

to what he says is Uruguayo, although it does not seem.

She continues talking about Montevideo while listening to music.

He also thinks that Oliveira is prepping him a while for him to play.

We move on to chapter 126.

It is talked about poetry through a quote from the French writer George Batal.

We move on to chapter 12.

Oliveira knows that Gregorovius is in love with the magic,

but he just doesn't know it.

On the other hand, Gregorovius feels good in the club of the serpent

and finds Oliveira pleasant and unpleasant at the same time.

The magic and Gregorovius keep talking.

She tells Uruguay and his trauma with her parents

until he finishes consoling and Oliveira gets a bit jealous.

Meanwhile, Oliveira speaks and consoles the buffs.

No way.

We move on to chapter 106.

It is talked about songs, not much more.

We move on to chapter 13.

Oliveira is drunk.

Babs see it while he is sitting with Ronald,

he enjoys music and thinks that Oliveira will never be able to understand the jazz as they understand them.

He speaks in a bit of Argentina.

We move on to chapter 115.

Another of the chapters where Morel and Reflecciona

call Moreliana,

and this occasion makes it on the characters of the literary and the situations where they meet.

We move on to chapter 14.

It appears Wong, the member of the serpent's club and speaks with Oliveira,

shows a series of photos about tortures that he always brings with him

and then he lies on the bed of the show.

We move on to chapter 114.

It is talked about the execution of Louis Cent,

in the decade of the 50.

We move on to chapter 117.

It is talked about the death penalty, citing the call in darrow.

We move on to chapter 15.

Oliveira remembers once they offered him to go see a movie about an orc.

He takes the conversation with Babs,

who was on the side of Ronald because he wanted to hear music quiet.

Oliveira is very angry, look at the magic.

Gregorobius tells the magic that he asked for the most important video

to give him the biggest identity and depth to the character of her.

The magic tells a very ugly and ugly girl's memory.

Gregorobius understands the situation, but Oliveira asks more details

to what Gregorobius says to him that with a general idea is enough.

We move on to chapter 120.

The story of Ireneo tells the story,

a child who sees how the ants eat in the bushes.

We move on to chapter 16.

He continues with the situation of the magic,

only that Oliveira Borracho says the black that the violence was a valiant.

Gregorobius is molested with Oliveira.

Gregorobius is limited to be there for the magic.

He has been punished.

We move on to chapter 137.

Another model is reflected on literary works.

We move on to chapter 17.

Here there is a discussion about music that involves Ethean and Ronald.

Also Gregorobius says Oliveira suffers from cosy.

And does not support things that he surrounds.

He continues to talk about jazz in a philosophical and reflective way.

We move on to chapter 97.

Gregorobius reflects on Morely,

about absurd and coerence.

We move on to chapter 18.

Oliveira is drunk and goes away a little.

Imagine that the meeting goes with the magic,

but in reality the magic looks sad to Gregorobius.

He goes up and the scene does not seem very happy.

Oliveira wants to take out the borrachera.

The magic now ends with a reflection of what is being presented.

Literature.

We move on to chapter 153.

He talks about a dialogue taken from a novel of eugenio Cambaceres.

We move on to chapter 19.

Charlan Oliveira and the magic.

Oliveira takes it in charge of the magic that can not understand concepts,

abstracts and then asks him if his life is a unity.

The magic says no, that his life is pieces of things that they were passing through.

He also understands that she has a collar that Gregorobius gives him.

He assumes that the magic and Oliveira live together to save costs,

but she has her son, Roca Madur and the sick.

All this new reality affects Oliveira.

At the time Roca Madur has fever, but Oliveira only tells the magic

that he knew that he would be kidnapped with Gregorobius.

She does not answer this.

She is very focused on having her son while Oliveira continues to reflect.

We move on to chapter 90.

Oliveira reflects about love and how all his relationships were false

because he always hoped to return from some form of these relationships

and not just love, but not to wait for anything else that love.

We move on to chapter 20.

Oliveira brings Gregorobius and the magic back, but she continues with her son.

He says that now he must go, look for an invitation and receive when she costs his son,

he says that he must say and imagine the sick that he never kidnapped Gregorobius.

He says that he does not get caught, but he says that in reality he does not get caught

Roca Madur.

Oliveira also approaches the magic in a way that he is already told him that he would be kidnapped.

Oliveira says he does not go because what his friends think about abandoned her.

She says that he did not get caught with Gregorobius, but if he does it all, he surely does.

Because he even seems that Oliveira wants that.

The magic now reminds his first steps and asks Oliveira to go that he does not go.

They appear to be caught.

We move on to chapter 26.

This chapter is a reflection on the work and wisdom of the poet Aleman Lubevic Akinbon Arnim.

We move on to chapter 21.

Oliveira reflects on the old and the past of time.

It feels that no one lives today, that everyone lives in the past.

Sometimes, strange to the magic now that it was, he says that she does not realize the

information that his son is. He also says that he wants to be more connected with the

living things and far away from the intellectual world.

We move on to chapter 79.

Morily analyzes things related to literature, the language, the message that

the readers owe to be given.

We move on to chapter 22.

A old man made by a car.

Oliveira presences the accident and discusses with a boy who also saw it.

The discussion is not about the old man.

He is also about the writers and how these are solitary.

He also says that people are surrounded by people to not be alone,

but they are alone among all.

We move on to chapter 62.

Morily talks about a book of a dream that works on the chemical theory of thought.

This is discussed in this part and not much more.

We move on to chapter 23.

Oliveira reflects on the street while his old man is an accident.

Later, he enters a piano concert that cost him a lot of money.

The artist that plays is Darte Trepat, but this is so boring that everyone goes to

Salvo Oliveira, who when he finishes the concert in a loud voice and

he lies saying that he hears everything with enthusiasm, that if he does not have anyone,

that the company will do it.

She cries because everyone is left and she invites him to drink something.

Oliveira says that he feels pity for her, that's why the company.

But in reality, he is very sad because she has no autocratic after the concert

very much that he just gave.

Later, when she can not enter her house because her partner must be

enjoying himself with someone, Oliveira offers to take her to a hotel and start

insulting her and treat her for a party.

Oliveira goes and wants to find a hotel to sleep.

We move on to chapter 124.

This is another chapter where Morily reflects on literature.

We move on to chapter 128.

He talks about the French art.

We move on to chapter 24.

In this reveal that Gregor Obius smells to be waiting for the people.

Once he left the town and the maga, but not more details.

He also says that he is madurzy and confident and that probably Oliveira does not return.

At least that creates the maga.

Gregor Obius wants to know more about Oliveira's relationship with the maga.

We move on to chapter 134.

In this chapter he talks about gardenería, quite full.

We move on to chapter 25.

Gregor Obius tells the maga a situation where a lover of his mother took him to a

party and there it was quite ugly for him.

Then they have an exchange where Gregor Obius makes a story reference.

The maga doesn't understand it and it's inspired by the ignorance of it.

We move on to chapter 141.

Morily says to hate literature and nobody understands why the hate is from literature.

It seems to feel irritated by its way of writing.

We move on to chapter 60.

Here is simply a list of the thanks that Morily gives to the writers who are happy.

We move on to chapter 26.

Gregor Obius finds himself with the maga who is taking care of Roca Madur until he sleeps.

Gregor Obius suggests to spend the night with him since he will not return.

Of course before Oliveira appeared to him an intellectual.

Now he seems a brother.

He starts questioning the maga as saying that he is a person who has no

a boyfriend but the maga does not like this so they change the subject.

We move on to chapter 109.

It is another of those Morilys where this question is about the life of the others

and how this is presented to the film or how it will be a movie.

We move on to chapter 27.

In this chapter we talk about Pola, the lover of Oliveira and how this does not know what it is.

The maga tells us about the return that made a doll of Pola because she felt that she

put her room through Oliveira and this did not like anything.

We move on to chapter 28.

The maga and Gregor Obius thinks that Oliveira comes by some steps that listen,

but does not know if yes or no, it is in doubt.

It has a conversation moment and also a little more intimate but does not conclude anything.

The result that was out of the room if this is Oliveira and begins to discuss with the neighbor.

In the end, it enters the maga.

It thinks that both have been married but do not know.

Bebe, look at Rockamadur and thinks that he is too cold.

The neighbor again bothers and the maga will be in charge of that.

At that moment Oliveira signs the bed, making note that Rockamadur is dead

and that he can easily blame him for letting them die.

At that time, Ronald and Buffs, saying that Guy tried to suicide and that Tian took him to the hospital.

Do not know what to do with Rockamadur's situation.

Tian comes to tell that Guy has saved.

Oliveira tells the news of Rockamadur, but everyone loses in conversations about the reality

and the words.

While listening, the maga says that it is time to give the average to Rockamadur.

Buffs insists Ronald to go.

The maga will give him medication and he will tell.

They call the police and most of them go.

Oliveira, even knowing that the maga looks at him, it is also fine.

And his identity, in a way, surrealistic and absurd, culminating in a conflict of identity.

We pass to the chapter 143.

Traveller, Italian friends of Oliveira share their dreams.

Traveller hopes that one day both dreams the same, but never happens.

What leaves him in hell.

We pass to the chapter 100.

Oliveira calls Tian and tells him a dream about cutting bread.

During the conversation, he discusses about the people waiting to use the cabin

and the nature of dreams while they are interrupted by people without patients.

We pass to the chapter 76.

Breve describes the encounter between Oliveira and Pola in a coffee.

Oliveira feels betrayed by Pola's hands and has an impulse to touch them and explore them.

We pass to the chapter 101.

Pola carries to Oliveira on the bed, but when she mentions the maga, Oliveira prefers to fall.

He does not enjoy the same thing as Pola, since he only adapts his capricious.

We pass to the chapter 144.

Oliveira remembers the colors of the body of the maga, using the giggly,

he has been invented.

The description is chaotic and terrifying, as the story ends.

We pass to the chapter 92.

The narrator explains how Oliveira passed to the maga, Pola,

taking it to the same hotel that had visited the maga.

Pola criticizes the place and shows herself to see her in front of her meetings,

while Oliveira adapts to her new body and habits.

We pass to the chapter 103.

Oliveira enjoys listening to Pola sleeping, writing the sounds of her body with astronomical terms

and considering Pola as the summary of the universal night.

We pass to the chapter 108.

The maga and Oliveira expect a maga named Emmanuel.

The maga asks about Pola, what Oliveira responds to her relationship is pure pornography.

She finds out who is in love with another maga.

The maga comments about love between them, while Oliveira shows interest

and suggests to take something to avoid seeing the interaction of Emmanuel with a police.

We pass to chapter 64.

Oliveira finds Pola in the Latin neighborhood, observing street artists,

they comment that the drawings of teas will be erased by the barrens.

Pola confesses to be afraid, Oliveira, comparing it with a wish that made everything she looks at.

In Pola's house, she asks Oliveira to touch the bolt in her scene,

indicating that she is worse and she sees the scene where the bolt is.

We pass to chapter 255.

Oliveira visits Etian to the morning, together to a hospital,

visited a old named Morel and that suffered an accident.

During the journey, she has a conversation about fantasies and masturbation.

In the hospital, Etian notices that Oliveira is sad and this tells him that she is worried about the maga,

although she signs that she has many distractions, including agregorobius.

We pass to chapter 123.

In a dream Oliveira mixes places in Paris with a house in Bursaco, Buenos Aires.

He wakes up when the maga passes a leg between the sun,

he wakes up to the bathroom and is a face that is in the garden of his house in Bursaco.

Murmura maga, Paris, today, and returns to bed, looking for his place

and his house after a long walk.

We pass to chapter 145.

This is a novel site in which the narrator confesses to build his work

from the ground, similar to the conception of man,

that this technique can appear a burla art and has a reason.

We pass to chapter 222.

Etian waits for Oliveira to go in the hospital.

Oliveira is brought talking to a dream and remembers the dream of the punk mentioned before.

Etian suggests that the dream is related to rock and metal,

but Oliveira does not feel guilty about it.

Finally, they decide to enter the old man,

when Oliveira is suggesting to give him a drawing,

although Etian says that his drawings sell to us.

We pass to chapter 122.

Murmura and reveals one of his relatives,

saying that he is at least literary possible,

with sentences and reflections about his repulsion for literary language,

looking for a beauty that is a finite and simple,

and that reflects human and artistic condition.

We pass to chapter 154.

Oliveira and Etian discover that the old man in the hospital is Morelli,

the sculptor of the art club.

Morelli talks about his fallen golden and his little admirers.

During the conversation, Morelli mentions that the existence precedes the essence

and asks Oliveira and Etian to take his paintings to his house and then to a editor,

ensuring that there is no problem if they organize the material

since his book can read in any way.

Before going, Morelli asks for his drawing to be drawn to the next day.

At the hospital, Oliveira asks Etian to go to Rome and Perico

about the meeting at the house of Morelli at 10.

We pass to chapter 85.

Reflection brief about how some life ends in a similar way

to literary articles of magazines,

begins to promise but ends up being poor and without grace.

We pass to chapter 250.

A brief comment from the Sunday Times,

from the others who mentions that the education of the tomb

interned by a lost road,

has happened a good day.

We pass to chapter 95.

Reflection about the notes of Morelli in the words of the language

as an exclamation of an interior experience.

It is mentioned in the book and the story that is written a novel

without the logical articulations of the discourse

and as Morelli reads the narration for not narrative.

We pass to chapter 146.

The letter of Washpoon to the observer who mentions the case of Mariposa

this year and asks the cause of this phenomenon.

We pass to chapter 29.

Oliveira enters the room of the grave and finds Gregorobius.

He tells the grave has been there and gives details

about how they took the body of the rocker.

Oliveira suspects that Gregorobius was with the grave,

but he does not arrive.

Gregorobius mentions that the grave was obsessed with the doll

and thought that Paul was dying for his guilt.

Then he prepares coffee and Oliveira read the diary.

We pass to chapter 207.

A note from Morelli in the hospital where he expresses that

the best quality of his past is that he is dead

and hopes to inherit this quality.

We pass to chapter 113.

Conversation between two people, probably between Oliveira and Etian.

He speaks of Morelli, the use of the word,

a rachel and the possibility of seeing Paul, Paris,

and making love with her.

We pass to chapter 30.

Oliveira and Gregorobius take coffee and talk about the

smell of rocker.

Gregorobius describes how they left the box

and mentions that his mother,

he would be interested in living there.

Oliveira asks Gregorobius to explain why his mother is so receptive.

We pass to chapter 57.

Gregorobius says he wants to take his mother to the club of the

Serpent.

He finds that Oliveira has a bad face and this tells him that he has been

in another part of the world.

His dream, a situation with Paul,

the description of that rocker's fight and a response to

Traveler in Buenos Aires.

Gregorobius calls this a typical existential experience.

We pass to chapter 70.

Extracted from the German Beatty Pauperes Spiritus

of Master Eckhart.

Eckhart describes a moment in which his cousin was in his first

without God and was in the same mood without having anything else,

free of all.

We pass to chapter 147.

Reflection 5.

Apparente's appearance that defines the man as the animal that asks

what is not left of the answers.

He talks about a radical change where everything must be taken out of the

street including the windows and other corners.

We pass to chapter 31.

Oliveira takes a mate and talks to Gregorobius.

Who tries to understand his amuletistic.

Gregorobius comments that Horacios specialises in

lost causes and accuses him of looking for what he already has,

stopping the life of others.

Oliveira confesses that what he wants to say is indecisible

and that he tries to do things that he denies to him.

Gregorobius suggests that the man is better away from Horacios

and accuses him of not insisting on the entire rocker's road.

Oliveira receives farm actions and brings the exit of

Gregorobius to buy a garden that is contemplating the

papeles of the table of light, noting that the man has taken everything.

We pass to chapter 32.

The man's card to his son, Rocamadur, in which he tells him

that he burned the sofa that he prepared for Oliveira and explains who Horacios is.

The man manages to change the structure of Rocamadur and reflects

on time, describing it as a bitch that goes and goes.

He mentions Oliveira and his indecision about if he let him read the card.

The man admits that he is not able to keep Rocamadur all the time

with her, describes Paris and his inhabitants and concludes

admitting that perhaps he is a bad mother, but he hopes that Rocamadur

understands that he was worth it as it is.

We pass to chapter 32.

The narrator, in first person, probably Oliveira,

enumerates several cafes in the world and respects how the dreams

remember these places.

Describe the feeling of being expelled from dreams as if a

door was closed behind him, comparing it with the expulsion

of Alan from paradise.

We pass to chapter 61.

It is not even in Moreli's conclusion that he reflects

on time and his influence in life.

Moreli sees himself as a poor body in the future, suggesting that he

truly access to being given through the negation of the body,

allowing a state outside him.

We pass to chapter 33.

Oliveira alone in the room of the manga cannot focus on reading

and thinks about it, although it says that the manga will be fine without him

and Rocamadur feels guilty for not having been good with her,

ending with a poor face.

We pass to chapter 67.

A relationship of dream in which the narrator, probably Oliveira,

is happy by being in the shoes, but it really feels like

happiness, hoping with the light of the human being,

feeling relaxed before the indifference of the new day,

before returning to sleep, imagine a universe full of wonderful weapons.

We pass to chapter 83.

Reflections about the existence of the soul.

The narrator describes how the idea of the soul

emerged when he felt his body as a parasite.

When touching his stomach full of soup, the soul says no,

I'm not that.

The physical pain, evidence, the divorce between the show and the body,

but also closes it to his body, putting himself as pain.

We pass to chapter 242.

Conversation between Ronald and Etian about the manga.

Ronald says that the manga cannot be explained,

while Etian calls him a tonta.

Ronald explains that his tone would be too much for mysterious things.

Etian says that the manga is capable of happiness infinite

and mentions the face of a painting.

Ronald says that the story is not proven and is better

not trying to explain what Etian agrees with.

We pass to chapter 34.

This chapter is one of the most complex and transgressors of Ralluela.

Two stories are born in parallel.

In the Paris lines, Olivera criticizes the manga by his lectures

and disqualifies the novel, the forbidden one of Benito Perega II.

While the Paris lines are textually the beginning of the novel.

Olivera has taken the book of the manga's table and read it

can not reprimand his indignation for the bad writing that appears

and the specific decisions of the reading that the manga takes.

The alternation of lines contributes to a visual effect of simultaneity

between the two actions.

We pass to chapter 87.

In this chapter, the recording of Baby, When You Ain't There,

the Duke Elintone in 1932.

The narrator explains that although it is one of the few pieces

less than the lead of Elintone, he likes it a lot.

He reflects that in the end two moments he needed to say

to me this as a way of fighting against the nothing that will save us.

We pass to chapter 105.

This chapter is a new Moreliana.

Morelie reflects about the forgotten gestures and the words lost in the grandparents.

He relates to a time when protecting the name of a star with his hand

he understood that this was universal.

He reflects about the words heard by the last time

the old Moribundos and concludes that he has been hurt

or thought that we understand the works of time.

Morelie is considered a guardian of the objects and words lost.

We pass to chapter 96.

Ethean, Ronald, Bavs, Perico and Wong go to the house of Morelie

to meet the club of the Serpent.

After several attempts, they manage to enter the department of Morelie

and start the meeting.

Ronald asks for Oliveira and Ethean finds out that there are other members like Gai,

Gregorobius and the Maga.

He offers to drink until the rest comes,

bringing him back to Morelie.

Ronald says that he will never have another session like that,

comparing the experience with the rest of the mountain.

We pass to chapter 94.

In this Moreliana, Morelie offers her sermetic reflections on her own writing.

She talks about the power of her prose and how this process helps

eliminate the impure of the compuests.

Attributes her prose a advance towards simplicity as it is directly untouched.

Finally, Morelie suggests that when the composition reaches her extreme limit,

the element's territory opens.

We pass to chapter 91.

Oliveira and Gregorobius arrive at the department of Morelie,

where the rest of the club of the Serpent is immersed in the reading of one of their notes.

Ethean opens the portfolio with the text of Morelie

and tells him that they were waiting for him to classify them.

He agrees that Bavs has drawn a beautiful egg,

believing that he was able to.

In the department of Morelie, he reigns a mystical and solemn atmosphere.

We pass to chapter 82.

In this Moreliana, Morelie uses metaphors to express her relationship with the writing,

describing her as a cat's loom under the caricature.

For her, writing does not prevent the thought,

but impulses that seek a form.

This importance of the rhythm in her creative process,

considering the most essential that the thought itself.

We pass to chapter 99.

The members of the club debate on a notation of Morelie

and about the impure language of the language as purification.

Morelie evokes a use of a true and pragmatic word

in a creative or common place.

Morelie claims that Morelie knows that the writing is not aesthetic,

it is a lie that produces co-workers.

Ethean compares to Morelie with his own lists,

dedicating that while they were fanatized by the verb in the pure state,

Morelie seeks to separately in the words.

Morelie's mind is to destroy the literature

to revitalize the language, not simply re-animate it.

Morelie acts with a rhetorical question,

to be a writer, but to destroy literature.

Ethean adds that Morelie wants to break the mental habits of the reader

by re-reaching the traditional novel.

While listening, Buffs mentions that he has dream and wants to go,

but nobody preaches attention.

We pass to chapter 35.

Buffs, completely bored,

still defending his decision to take the blue egg.

Suddenly he begins to cry and talk about the smell of rock-a-roll.

Wong tries to take it, but Oliver hears that Buffs calls him in a kiss

and insults him with a list of extremely offensive pit-a-tots.

While the rest of the club is expecting,

Oliver only forces a smile, which causes Buffs to hit him in the face.

The club surrounds Horacio not to protect him, but as a judge.

Horacio decides to beat the club.

We pass to chapter 121.

This chapter concludes with a poem by Lawrence Farlingetti

that Morelie has copied in his book,

the verses result in the experience of having slept

with a beautiful beauty.

We pass to the chapter 36.

Oliver is sure that the manga will visit Apola,

so he can walk through the streets of Paris,

thinking of the possibility of accompanying her to complete a three-story figure.

He approaches the scene and seeks refuge under a bridge to reflect.

There, he meets Manuel, a clown,

who realizes that he is foreigner and talks about how he knows the manga.

Oliver, in the state of Embraegues, allows Manuel to practice sex.

However, he is interrupted by the police and both are detained.

While he is taken into a police station,

Oliver reflects on the game of the school and asks Manuel to sing.

We pass to chapter 37.

This chapter introduces him to Traveller,

a friend of Oliver and his wife Talita.

Despite his name, Traveller has not traveled much outside Argentina

which he has been doing in the field.

Talita is an important poet for him,

taking care of him during his depression times.

Despite the lack of travel, Traveller has had several experiences in his life,

from football to the apiculture.

We pass to chapter 98.

Oliver reflects on the influence of the manga in his life,

although she has not always shown him something new,

even the small actions of the manga had a profound meaning for him.

Oliver concludes that sometimes they are the people who seem to be old,

those who do not illuminate, really.

We pass to chapter 38.

Traveller and Talita receive Oliver in the door,

although the reception of Talita is something cold.

After a brief meeting Talita will go with the cat,

he is sad for the situation.

Oliver and Traveller enjoy a meal in a bar,

where they talk about life in Argentina

and the changes that Oliver will face in the real life of the country.

We pass to chapter 39.

Oliver reflects on his search,

an impressive manga in a video

during a scale in his journey of return to Buenos Aires.

Meanwhile, Traveller talks about various topics

from the circus to the Argentine politician,

while Oliver will remember his time in Paris.

We pass to chapter 86.

The difficulty of understanding Morelia

through her own reflections

is obtained by understanding it through the quotes she noted.

Two reflections are needed about the perception of reality

and the limitation of the language to capture her.

We pass to chapter 78.

Oliver will reflect on his personal situation

after returning to Buenos Aires,

considering the possibility of working

or keeping a relationship with Ghek Rappten,

a girl who shows her deep devotion to the Leverair,

who has expected her from her existence in Paris.

Expresse her desire to stay close to Traveller and Talita,

although she has her presence

she can affect the tranquility of her friends.

We pass to chapter 40.

Oliver is installed in a hotel with Ghek Rappten

and near the tension where he lives in Traveller and Talita.

He reflects on his relationship with Buenos Aires

and the perception of distance he feels towards the city.

The discussion between Oliver and Talita

about art and culture are in relation

although sometimes it is urgent

especially when Traveller wishes Oliver to talk more about his time in Paris.

We pass to chapter 59.

A fragment of tropical saddening

of Cloth Levy Stroz

where it reflects on the fishing of fish

not as possible to spend time

that the egg must be buried in the sand.

We pass to chapter 41.

Oliver and Traveller

ask for a ingenious plan to pass the key

and serve Oliver from the window of Traveller to the Oliver.

They decide to build a good improvised table with wood table

that runs into their windows.

Talita, according to the plan,

but when they put the table,

they feel weird and end up crying.

The scene causes shadow in the benches.

We pass to chapter 148.

A fragment of night-takes of Aulogelio

where the etymology of the word person

who comes from the character tree

which means to retain

also the function of the most expensive in relation to the voice.

We pass to chapter 42.

Oliver begins to work in the circle along Traveller and Talita.

His task includes keeping the children away from the fishing

and helping with the animals and the necessary.

Oliver and Traveller are celebrating

working with a beer in the bar of the corner.

We pass to chapter 75.

Oliver goes into the fragment of the mirror

remembering sensations passed in Buenos Aires

when he denomines the capital of fear.

At a moment of distraction, he draws a heart in the mirror

with his innocent speech until he is interrupted by a game-prap-ten.

We pass to chapter 43.

The first night-takes of Oliver and the circus

where Talita reveals why Traveller got the job now.

A discussion of Talita and Oliver

about the presence of this last circus

has been discussed by both and an incomodied sensation

of the Orazio part.

Later, while the current of the vocalist's record

Oliver looks at the sky through the neck in the carpe.

We pass to chapter 125.

A reflection appears on the search of the man

illustrated with the image of a man

smoking a bridge and observing a girl.

It observes the idea of the individuality

and the search of the feeling,

with references to the man as a letter P

in the place of alpha or omega.

It is planted in the idea of the constellation

as an antidote to the absurdity of life.

We pass to chapter 44.

The three-way-takes are the Parsepses of Traveller and Talita,

as well as the Olibeira routine in the circus.

The concern of Traveller is revealed by Orazio

and a discussion between him and Talita about the subject

where the feelings of each one

are explored and the dynamic of their relationship with Talita.

We pass to chapter 102.

Two sites are presented by Wong and Ronald

in the books of the Morally Library.

The first, the Robert Musil,

is reflected on the perception of the world's narrator

full of silent voices and his doubt

between being a victim or to train the stars.

The second, of Hugo Bon,

Hough's Manstal, describes a person

in the vision of men and his actions have been fragmented

and can't be captured anything through a defined notion.

We pass to chapter 45.

Traveller is raised during the night,

hoping to see the Olibeira in his window,

but he does not find it.

By tomorrow, Talita is awake,

sobrily jumped over a dream

on a pan-toso museum where Traveller took it.

To question his wife about why he got up,

he discovered his worry by prayer,

both express their discomfort by the situation.

We pass to chapter 80.

Olibeira and Traveller have a long conversation

about the madness,

where they reflect on how certain

sounds are common in the madness

and how it can be a dream that is fixed.

We pass to chapter 46.

In the Patio, Talita, the Lord Gatuso, Traveller, Olibeira,

and Don Crespo are reunited.

Traveller and Olibeira discusses about their return of Europe

and the lack of communication between them,

expressing their frustrations and confusion,

ending up recognizing that their discussion seems inutile

and Traveller begins to play the guitar

after the Lord Gatuso.

We pass to chapter 47.

Talita experiences a monologue

inside while listening to his voice recordings,

observed Olibeira from the window

and reflects on his relationship with him,

feeling a connection that contradicts

what he said about Traveller about the lack of interest in Horacio,

together they decide to teach at the house of Traveller.

We pass to chapter 110.

It is a fragment of the Winter of Artifice,

of Anaheus Nin, where the narrator describes a dream in which

it falls into a spiral that represents a deep, deep, deep,

wall.

We pass to chapter 48.

Olibeira recalls the streets of Buenos Aires,

reflecting on his love for the rain and his resignation

before the future.

He recognizes that his attitude could be the one to the Talita's team,

but instead of leaving him, Traveller considers him to work in the circus.

We pass to chapter 11.

The history of Ivone Dittri,

Anikolas Díaz,

entered his life after the first World War,

his marriage and his relationship

made a bridge with Carlos Gardel in Paris,

who was his first love.

We pass to chapter 49.

Traveller and Talita are excited to leave the circus

and start working in Manicomio,

although the political atmosphere is loaded due to

revolution and military actions in the field of magic.

While they wait for the call to start in the new work,

they continue the circus under the orders of Mr. Suarez Meilan,

one night, the news of the beginning of the imminent beginning of Manicomio.

We pass to chapter 118.

A brief talk about Andre Volcano,

from Malcolm Loewe,

who asked the question of how could a person

be murdered as a murderer who does not appear?

We pass to chapter 50.

Talita and Traveller accompany an informed firm

of the contract in Manicomio,

while Olibeira arrives late.

He was told when Olibeira leaves the room

and is confused by an informed patient as an patient in Manicomio.

Later, during the firm of the authorisation of the latter,

they were debating about the need for the patients to sign in the consent

with the intervention of the co-author,

director's wife.

We pass to chapter 119.

A brief talk about an article that relates to the case of a man

being a very short, Australian-born,

in a small, too small cage.

We pass to chapter 51.

During the contract in Manicomio,

the patients express some claims or conditions before signing,

but at the end, they all do.

After leaving the room, Traveller confesses to Olibeira

who accepted to work in Manicomio to avoid

that Talita thought she wanted to leave the room for her life.

Olibeira suggests that she can still accept

not accepting the work and disappear from her life,

but Traveller asks him not to do it after this conversation.

While they smoke in the garden,

the use of the Manicomio pays,

indicating the final sign of the contract.

We pass to chapter 69.

It is informed about the suicide of the coronel Adolfo Abilas-Sanes,

narrated from the point of view of a historian who uses numerous

grammatical errors in purpose

as a way to get the exercise of the style.

We pass to chapter 52.

It reflects the inability of Olibeira to share

his experiences in Europe against the fear

of that remorse.

The first nine days in the clinic are quiet,

although he cures a terrible, super-pressed,

extremely personal, especially Traveller and Olibeira.

Horacio and Traveller are trying to friendship

with a doctor in a place and play poker in his consultancy.

We pass to chapter 89.

It refers to two secret letters by a license called Juan Cuevas.

In the first letter, it exposes a poetic vision of what denomines

the world's sovereignty,

while the second critic strongly supports the governments of the world

to the members of the UN and the Church.

We pass to chapter 53.

Traveller, Talita and Olibeira adapt to their new responsibilities in the clinic,

Horacio works with Remorino, helping him

manage the clothes of the patients and keep the order.

One day Remorino calls him to inform him about the death of the patient 56.

Together, the body takes the death and in a peculiar gesture,

Remorino takes a beer from the era of death

and all share a drink and some rice.

We pass to chapter 66.

It refers to briefly about the points of Remoriel and that contain

marginal drawings that the narrator considers very.

It is mentioned in a fragment of one of the final and even of his books

that projects the idea of impossibility of going beyond.

We pass to chapter 149.

It is a famous poem by the Mexican writer Octavio Paz,

titled My Passos in this street.

We pass to chapter 54.

Olibeira observes the drawing of the drawing in the path of his window

and notices that the patient plays all day and always wants.

Meanwhile, Horacio receives a letter from Geck-Raptem

expressing his desire to not limit himself to the Sundays.

Olibeira responds to saying that it is temporary until he establishes in the clinic.

Later, Olibeira confuses briefly with the maga

to play the rachel.

But then he realizes his mistake.

Olibeira and Horacio intercoms some words before she gets out of the path.

At night, Olibeira reveals, travels in the water,

and then goes to Remorino over different topics.

Later, he finds out the passage and is headed to the wall.

Meanwhile, Horacio remembers the maga and then narrates the letter

where the patient's body is 56 and invites the man to take a beer to the wall.

Although she initially shows up, Horacio convinces her

and ends up sharing a intimate and a kiss moment.

We pass to chapter 129.

Traveler wakes up after a nightmare and discovers that the girl is not in bed.

While studying a text from Severino Pyris,

a patient who has started the novel of Cortazar,

hears steps in the room but nobody sees.

Suppose the girl must have returned to her pharmacy.

We pass to chapter 139.

This chapter contains a commentary on an anonymous piece of classical music

of the composer Alban Berg.

We pass to chapter 133.

Traveler continues to examine the text from Severino Pyris

while she drinks several glasses of coffee.

Despite her state of embryo, she continues to fascinate the content of the text.

Talita returns to the room and while Traveler continues to talk about the text,

she reveals that Olibeira has been accused of death.

Despite the surprise, she travels to the room and sobrily.

Talita takes care of her in bed.

We pass to chapter 140.

The activities that are performed in the pharmacy

after the dog's dog was born to sleep.

Talita takes care of the label and consults the index pharmacist Gautinga.

Olibeira and Traveler translate into a sonnet and discuss ideas about the homosexuality of Christ.

We pass to chapter 138.

Olibeira narrates a habit that Oli is having

and the magic when he was first in Paris.

Talk about his family members in South America.

We pass to chapter 127.

Olibeira travels to the room and tries to get out of the pharmacy to work quietly.

They discuss about the system of Severino Pyris and the ideas of Moreli.

They discover the interest of the memory by Rodardo Alt

and spend a week discussing this written Argentine.

At least they are surprised by looking at the complicity as they were playing cards.

We pass to chapter 56.

This emerges in the attention and complicity of Olibeira.

Who is trapped in a kind of mental and emotional chaos?

From his fourth in the clinic, Olibeira displays a series of defensive actions,

like hitting and hitting the door and putting traps in the floor, apparently to protect themselves from the Traveler's air.

The situation reaches a critical point when Traveler enters in the room and falls in several traps deported by Olibeira.

Along with the chapter, Olibeira shows a radical attitude and in a certain way an destructive self.

Despite the worry of Traveler being there, Olibeira seems to understand the consequences of his actions.

The attention intensifies when he reaches the window, even when he is a little girl and Traveler is the way he does it.

The presence of the girl and Traveler outside the room adds an additional additional additional layer of emotional complexity.

While Olibeira faces her own internal demons, she has forced herself to deal with the worry and expectations of those who are surrounded.

The situation reaches a critical point when Traveler opens the door, which seems to be a series of emotions found in Olibeira.

The chapter concludes with an invading and symbolic image.

Olibeira is a locked door in the 3rd of the Ralluela, while Traveler has a foot in the 6th.

This image, in charge, means that the feeling of being trapped between the two worlds is unable to decide where to go.

We pass the chapter 135, Gaprepten and Olibeira have a brief conversation while sleeping in the cold and taking a mate.

It is mentioned that Oracio has a company of free water in his eyes and she offers to change in the before taking the other mate.

We pass the chapter 63.

Olibeira and Talita have a short charlatan where she puts the company of free water in his eyes, which seems to be free.

He tries to change her face but he says that the problem is not in her face, but in the surgery she feels.

We pass the chapter 88.

During a brief conversation between Olibeira and Traveler, this last attempt to drag Oracio into the chair with a needle, while he asks for it to move to avoid the atmosphere.

Olibeira asks Traveler to explain something while he applies water in his eyes.

We pass the chapter 72.

Gaprepten and Olibeira have another brief conversation where she offers a mate and changes the company of free water in his eyes.

Oracio mentions that with the eyes closed, the mate seems more bitter and he turns around when he is up, but Gaprepten suggests to put it to rest.

We pass the chapter 77.

Olibeira and Sir Ferraguto are in the last details of Oracio's speech.

After remembering the corresponding answer, Ferraguto asks Olibeira to sign the contract and he mentions that his wife Cucca was disgusted by what Olibeira did.

The narrator suggests that this conversation could be imagined by Oracio and Ferraguto.

We pass the chapter 58.

This chapter presents a series of dialogues that represent different realities possible for Olibeira after the event.

He begins with a conversation between Olibeira and Gaprepten where she approves her return to her house and advises to eat too much cold.

Then Ovihero suggests Olibeira that he has a mate and is adequate while the girl asks for it to move to him.

And the man Ferraguto mentions that he says that his wife is right.

Ovihero then orders Ovihero to leave the room of Oracio to avoid mollettes from the late 18th.

Gaprepten offers to leave the party so that Ovihero can sleep quietly without listening to the press radio.

Traveller comes up with a small table that changes the coldness of Oracio.

Finally, Ovihero and Ovihero say that Traveller comes up with a small table and Olibeira were good people,

suggesting that they were disbanded by Ferraguto.

We pass the chapter 131.

Traveller proposes to Olibeira to join the national corporation of the Monges of the Santicuament's laboration,

suggesting that they rest and Santicuar would be fabulous obligations.

Olibeira, signaled that Ferino was Uruguayo,

or to go to Interrump for the use of Olibeira, who compared the idea of conserving Monges that combat the most spiritual

to what Ovihero responds affirmatively to not to get away.

And that's all, Ralluela. It was long, but we finish it.

Now, if you only have three versions of a general summary and not so detailed,

here I leave you a simple summary that marks the great defeat of what is happening in this story.

Ralluela transfers it in the 50s.

Oracio Olibeira is the protagonist of this story.

It's a man who now lives in Paris.

He likes to call himself an intellectual who runs the Paris streets without a single rumble

and is the head of discussion with an intellectual group.

In theory, Olibeira goes to Paris to study but he doesn't.

He meets the Maga, a woman who wants to become a singer and she has a son,

called Roca Madur.

Both Olibeira and the Maga have a little bit of a relationship that goes well,

compassion and cold at times.

For a while, they live together, but Olibeira bothers a lot that the Maga

is not a person who hides an intellectual.

He considers it inferior to this and the maltrates in several occasions,

intellectually, we could say.

However, there are times when Olibeira would like to do it like she,

and see things in a simpler way.

These intellectual groups that name them are the ones that are called the Serpiente Club.

In this club, we can find important members for this story,

like the ocean, Etienne, Gregorobius, Ronald, Bavs, Wong and some more.

The atmosphere of the Serpiente Club is super pretentious.

Listen to jazz, drink alcohol and each of them even listen to classical music and they

constantly smoke.

It also sounds a lot of discussion about the notes of a writer,

which everyone reads.

Morelli.

In the novel, these chapters are known as Morelian.

Who is criticizing the traditional literature?

The Maga never feels very comfortable in this club,

because she knows she doesn't have the intellectual level of the rest,

but they are not too much to include.

We will find out that Olibeira has a lover.

Paula, the Maga is jealous and wants to come.

And for this, she creates a doll to be evil,

but when she feels that Paula has cancer, the Maga feels guilty.

Continuing with the story, we find that Roca Madurza is sick,

and the Maga is constantly taking care of it,

because she is sick.

She is sick so much that she goes and when she comes back,

she finds the Maga talking to Gregorobius.

Everyone is talking until the time the Roca Madur is dead.

She is far away from being jealous,

and the mother is still talking to the members of the Serpiente Club

and slowly the charlotte becomes something intellectual,

new and totally banal for the gravity of the situation.

This produces a rock between all the members and clearly between the Maga and Olibeira.

After that, the Olibeira informs the Maga is gone and she knows where she is.

Racine is there, Olibeira thinks that the Maga is really there

and that now she finds herself alone.

She spends time and the members of the club are trying to know

how to see Olibeira that everyone is in agreement

on how the Maga was handled in the behavior she had with her.

So, Olibeira decides to go to the club.

Shortly after, she decides to go back to Buenos Aires.

She is in Argentina, now she is met with a friend of all her life.

Traveler, who is married with Talita.

They are also something intellectuals and they spend time talking about signs and writers.

Olibeira changes to be close to the Traveler together with her girlfriend, Guep Rappten.

Traveler considers her work in the psychiatric clinic that Mr. Ferraguto has bought.

Ferraguto is the owner of the circus where they worked with Talita.

However, the Olibeira's health is deteriorating,

so much so that she starts to confuse Talita with the Maga in different occasions.

A night comes to a halt thinking that the Maga was the one that puts her in a lot of time.

In the end, now she thinks that Traveler will come and feel desperate.

So, she runs in an room with an window and the novel leaves us to the end of the ambiguous.

Olibeira will soon retire from the window,

during her hard time and of life and of death.

And this is the story of Ralluela.

I hope this video has been helpful and it's never too late to ask for a like,

a subscription, a comment or a share of the video.

I hope you are well and see you in the next one.

My name is Walter and this is from Arte.

See you next time.