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One hundred years of solitude literary analysis
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31.03.2005
ONE HUNDRED YEARS OF SOLITUDE
There are times when surreal is so naturally expressed that it becomes real. In One Hundred Years of Solitude, Garcia Marquez perfectly combines extraordinary events with everyday life. The magic realism in Marquez’s novel transforms the extraordinary into reality by the use of religion, myth and belief systems. Although these themes make the novel magical, the story is a representation of the reality of Latin America before industrialism with a Civil War going on and the reactions of the people to modernization. The novel also clearly expresses how magic and religion overcome the realities of life – magic becomes more real than reality itself.
The theme of religion and different perspectives on issue are introduced by different characters. The indigenous members of the Buendia family are very flexible toward religion. For example, Jose Arcadio Buendia teases the priest. Most of the Buendias have incestuous relationships. Most of the Buendia men have affairs with prostitutes. These examples do not prove that the Buendias are nonreligious but on the contrary they believe that religion is an institution between God and man itself and no mediators are needed. As a counter-example on the issue of flexibility on religion in the Buendia family is the newcomer member, Fernanda del Carpio, is strictly religious and an inflexible follower of Catholism. She gains the control of the Buendia house by imposing her vain religious discipline. Fernanda’s nonflexible religious side reaches its climax where she forces her daughter Amaranta Ursula to become a nun because of her relationship with Mauricio Babilonia which Fernanda disapproves and Mauricio is shot and becomes paralyzed in Fernanda’s command and their illegitimate son Aureliano is locked into a room. Remedios the Beauty, the daughter of Santa Sofia and Arcadio, floats to heaven and Amaranta, the daughter of Ursula Iguaran and Jose Arcadio Buendia, dies as a virgin. These characters can be also counted as biblical symbols of heaven and Mary the Virgin.
One Hundred Years of Solitude can be perceived as the Bible of Macondo since it outlines the genesis and apocalypse of Macondo in which the biblical myths are fulfilled. Initially, Macondo is an uncivilized, innocent settlement and Jose Arcadio Buendia and Ursula Iguaran populates Macondo as Adam and Eve did the world. Besides, Jose Arcadio Buendia surely represents Adam since he is tied up to a tree because of insanity caused by his quest for knowledge similar to Adam and Eve being exiled from Eden after eating from the Tree of Knowledge.
Doña Guadalupe is a woman of great strength and power, power and strength which she draws from her devout faith and her deep and loving compassion for her family, and power and strength which is passed down to her children. “‘Well, then, come in,’ she said, deciding that she could be handle this innocent-girl-stealing coyote inside. On going into the long tent, Salvador felt like he’d entered the web of a spider, the old woman was eyeing him so deliberately” (360). Doña Guadalupe is a very protective woman, which is extremely speculative when it comes to her children, this is especially true when it comes to boys, because she has not gone this far only for all of her hard work to be ruined by a no good boy. This shows how protective she is, she loves her family, and especially her kids so much that they themselves must pass her test before being able to pass on to her children. “The newborns were moving, squirming, reaching out for life. It was truly a sign from God” (58). Doña Guadalupe is also a very devout and faithful person. She sees God in everything and in everyone and by that fact, what she sees and who she sees is true, and she tries to be a model of clairvoyance for the family. “Doña Guadalupe put the baby’s little feet in a bowel of warm water, and the child clinging to his mother. He never cried, listening to her heartbeat, the same music that he’d heard from inside the womb” (57). Finally, Doña Guadalupe is very passionate which allows for a great model upon which her children follow. This further shows how she is clearly th...
Gabriel García Márquez, 1982 Nobel Laureate, is well known for using el realismo magical, magical realism, in his novels and short stories. In García Márquez’s cuento “Un Señor Muy Viejo con Alas Enormes,” García Márquez tactfully conflates fairytale and folklore with el realismo magical. García Márquez couples his mastery of magical realism with satire to construct a comprehensive narrative that unites the supernatural with the mundane. García Márquez’s not only criticizes the Catholic Church and the fickleness of human nature, but he also subliminally relates his themes—suffering is impartial, religion is faulty by practice, and filial piety—through the third-person omniscient narration of “Un Señor Muy Viejo con Alas Enormes.” In addition to García Márquez’s narrative style, the author employs the use of literary devices such as irony, anthropomorphism, and a melancholic tone to condense his narrative into a common plane. García Márquez’s narrative style and techniques combine to create a linear plot that connects holy with homely.
In the South American storytelling tradition it is said that humans are possessed of a hearing that goes beyond the ordinary. This special form is the soul’s way of paying attention and learning. The story makers or cantadoras of old spun tales of mystery and symbolism in order to wake the sleeping soul. They wished to cause it to prick up its ears and listen to the wisdom contained within the telling. These ancient methods evolved naturally into the writings of contemporary Latin American authors. The blending of fantasy with reality to evoke a mood or emphasize elements of importance became known as magical realism, and was employed to great effect by Latin authors such as Gabriel Garcia Marquez in his novel, One Hundred Years of Solitude, and Rudolfo Anaya, in his work, Bless Me Ultima.
Marquez used Magical Realism elements to showcase supernatural beings, and to teach valuable lessons. Within the themes of both stories, a strong moral component is found. To get the point across, Marquez uses distinct writing techniques. He paints the picture of his setting through his descriptive language, but, not all of his stories are exactly the same! This is what makes them such a delight to read; the different workings that make up each individual story are beautiful on their own, but can be compared to each other.
The appearance of biblical allusions in One Hundred Years of Solitude by Gabriel Garcia Marquez has been noted by numerous critics. These allusions are not merely additional literary devices, but rather form much of the structure of the novel. Renowned critic Harold Bloom has even called the book “the Bible of Macondo” (Bloom 1), an apt characterization considering that the novel, throughout its course, contains sections that closely parallel the Book of Genesis. - going to add more to this
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 109-116.
In Gabriel Garcia Marquez's book “One Hundred Years of Solitude”, the characteristics of each family member resemble another. They may start differently, but their fates follow the same tragic conclusion. The Buendia men suffer from their own macho pride and recklessness. The women are subjected to the will of the men, and are burdened with tragedy that follows them. This book is locked in a time circle for 100 years, doomed to repeat the mistakes of their ancestors. The Buendia family all share unifying facts that tie them together creating their own solitude. Marquez describes the life and fate of the Buendia's struggle with madness, incest, and 100 years of solitude that is wiped out in he end of the book.
When a person becomes trapped in a situation that stems from an individual with greater authority, being manipulative can be a very promising method to escape. The Thousand and One Nights does a very good job of being a good example of someone in this situation that uses stories within a story to capture encapsulate the attention of the reader. Despite the many little stories that go into the text, the main story behind it all is about a king named King Shahrayar and how he goes insane after catching his wife having sexual relations with a slave. After he sees this happen, he realizes that he can never trust any woman again and none of them are trustworthy. By expressing his views on women, he decides to marry a different woman every night, then the next morning have them killed by beheading. This is an ongoing event that brings death to most of the women in the village. Soon after, the king’s Vizier’s daughter, Shahrazad, came up with a brilliant idea that will end up saving her fellow countrywomen and hopefully keep the king from murdering so many innocent people. Her method behind all this is by telling the kind a different story every night that leaves him on a cliffhanger, making him curious enough to keep her alive for another day to continue her story. Shahrazad keeps herself spared from the king because of her cunning, and compassionate personality.
The novel begins with geographic isolation. Jose Arcadio Buendia shouts, "God damn it! Macondo is surrounded by water on all sides!" Whether it is, in truth, an island is irrelevant. The town believed itself to be cut off from the rest of the world. In addition, Jose Arcadio Buendia and Ursula are looking for solitude. The founding of Macondo was a result of escaping Jose Arcadio Buendia's murder of Prudencio Aguilar. Aguilar's ghost haunted them, eventually forcing them to retreat.
A. In North Carolina, Noah is haunted by images of the girl he loved and lost along time ago.
The controversy surrounding Magical Realism makes the classification of what is and what is not Magical Realism very difficult. Gabriel Garcia Marquez, a famous Latin American author, has written many pieces of what is generally conceived to be Magical Realism. Marqez's "A Very Old Man with Enormous Wings" fulfills every characteristic of Magical Realism..
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995. 109-116.
A frame tale is a smaller tale inside of a larger story. In the Prologue of The Thousand and One Nights, The King named Shahrayar witnessed his very unfaithful wife by making love with another man. Because of this eventful tragedy, Shahrayar decides to have his wife killed because of her unfaithful acts. The man that killed his wife, named Vizer, once the dead was done by killing his wife, Vizer had a new job which was to find a new women to sleep with each night. Every morning the woman is killed after she sleeps with the king by Vizer. He did this so he would not have to deal it the pain of having an unfaithful woman in his presents and feel that pain ever again. One day Vizer’s daughter, named Shahrazad, came to her father and told him that she was sick of all the death and it was time for him to settle down and marry her. Vizer decides to give his daughter to Shahrayar to marry him. This is when the frame tale begins, each night Vizer is forced to tell a story to her husband, the king, if she wants to stay alive. One of the stories that were told it called “The Porter an...
Magical realism is clearly present throughout Gabriel-Garcia Marquez's novel Chronicle of a Death Foretold. Magical realism is the juxtaposition of realism with fantastic, mythic, and magical elements. A secondary trait was the characteristic attitude of narrators toward the subject matter: they frequently appeared to accept events contrary to the usual operating laws of the universe as natural, even unremarkable. Though the tellers of astonishing tales, they themselves expressed little or no surprise.
Cien Anos de Soledad Style in Gabriel Garcia Marquez's One Hundred Years of Solitude is closely linked to myth. Marquez chooses magic realism over the literal, thereby placing the novel's emphasis on the surreal. To complement this style, time in One Hundred Years of Solitude is also mythical, simultaneously incorporating circular and linear structure (McMurray 76).