Gabriel Garcia Marquez Research Paper
Notes Essay based on Nature Motifs Topic sentence Gabriel Garcia Marquez presages a thickening plot of a coldblooded manslaughter through the use of nature motifs. Thesis
Potential Quotes 1. “He’d dreamed he was going through a grove of timber trees where a gentle drizzle was falling, and for an instant he was happy in his dream, but when he awoke he felt completely spattered with bird shit.” (Page 3)
2. “No one was certain if he was referring to the state of the weather. Many people coincided in recalling that it was a radiant morning with a sea breeze coming through the banana groves, as was to be expected in a fine February of that period. But most agreed that the weather was funereal, with a cloudy, low sky and the thick smell of still waters, …show more content…
and that at the moment of the misfortune a thin drizzle was falling like the one Santiago
Nasar had seen in his dream grove.” (Page 4)
3. “She drew away to let him go out, and through the halfopen door she saw the almond trees on the square, snowy in the light of dawn, but she didn’t have the courage to look at anything else. ‘Then the boat stopped tooting and the cocks began to grow,’ she told.”
(Page 13)
4. “It was on a windswept hill, and from the terrace you could see the limitless paradise of the marshes covered with purple anemones, and on clear summer days you could make out the neat horizon of the Caribbean and the tourist ships from the Cartagena de Indias.”
(Page 35)
5.
“On the other side you could make out the groves of blue banana trees in the moonlight, the sad swamps, and the phosphorescent line of the Caribbean on the horizon. Santiago
Nasar pointed to an intermittent light at sea and told us that it was the soul in the torment of a slave ship that had sunk with a cargo of blacks from Senegal across from the main harbor mouth at Cartagena de Indias.” (Page 6667)
6. “Nevertheless, in the afternoon a syrupcolored liquid began to flow from the wounds, drawing flies, and a purple blotch appeared on the upper lip and spread out very slowly, like the shadow of a cloud on water, up to the hairline.” (Page 74)
7. “On the other hand, she never forgave herself for having mixed up the magnificent augury of trees with the unlucky one of birds, and she succumbed to the pernicious habit of her time of chewing pepper across seeds.” (Page 98)
8. “The ground floor would be flooded by high tides and the unbound volumes floated about the deserted offices. I searched many times with the water up to my ankles in that lagoon of lost causes, and after five years rummaging around only chance let me rescue some
322 pages filched from the more than 500 that the brief must have contained.” (Page
9899)
Tiffany Yang
Mrs. Bolle
Hour 3
13 February 2015
Shit Out Of Luck Within
Chronicle of a Death Foretold, by Gabriel García Márquez, this intriguing novel includes a sort of metaphysical murder mystery in which the detective,
Gabriel García Márquez himself, reconstructs events associated with the murder 27 years earlier of Santiago Nasar, a rich, handsome fellow who lived in the Caribbean town where the author grew up.
Márquez
plays himself in the novel, interviewing people who remember the murder and studies documents assembled by the court.
He gathers various kinds of data—dreams, gossip, philosophical speculation, weather reports—and creates a chronological record of what occurred. Márquez repeatedly uses strange, surreal details to highlight otherwise ordinary events. These surreal details are referred to as magical realism.
Márquez uses magical realism in
Chronicle of a Death
Foretold
to presage the thickening plot of a coolblooded manslaughter and illustrates anecdotal acumen of details about Santiago Nasar giving the audience an experience of a different reality from what the audience would refer to as objective.
The first instance of magical realism occurs when Santiago Nasar had dream the night before his death that he was flying:
“He’d dreamed he was going through a grove of timber trees where a gentle drizzle was falling, and for an instant he was happy in his dream, but when he awoke he felt completely spattered with bird shit” (3). Flying symbolizes moving to the next level of spirituality, foreshadowing his abrupt death. Bird excrement symbolizes good luck.
Several superstitions exist in which say if bird excrement lands on an individual, an individual’s car or property, they will receive good luck and riches. This adds to the dramatic irony that bird excrement was spattered into the face of Santiago Nasar, yet, he was savagely mutilated. In analyzing the setting, Nasar was passing by timber trees which are evergreens. Evergreens represent immortality, everlasting life or an undying spirit. This validates the reeking stench of
Santiago Nasar in which the entire village confessed haunted them after his death: “The entire village smelled of Santiago Nasar.” (98) Death at an adolescent age grants immortality to the dead one. Santiago Nasar is portrayed as a Jesus figure. Santiago Nasar was stabbed “at least three times and there wasn’t a drop of blood” (118). Realistically, any human being would have bled the instant the blade impaled their body, but Santiago Nasar symbolizes a Godlike figure, like how Jesus was a descendent from God. He cannot die. The diction of three symbolizes a crucial biblical reference. Jesus resurrected from the grave after three days and there are three components to The Trinity (The Father, The Son, and The Holy Spirit). “The knife went through the palm of [Santiago Nasar’s] right hand”. Jesus had been nailed to the cross, with one nail going through each of his palms representing that Santiago Nasar and Jesus are the same person,
destined to return back to the eternal world they came from. Even after all the “alternate and easy stabs” (118), Santiago Nasar had “walked more than a hundred yards, completely around the house” (119) while “holding his hanging intestines in his hands” (119) and eventually “fell on his face in the kitchen”. (120) This act of crucification shows similarities with the death of Jesus.
Santiago Nasar carried his intestines like how Jesus carried the ten foot wooden cross on his back. He even walked around the house similar to how Jesus had to walk all the way ontop of the hill where he was crucified. Santiago Nasar dramatically falls to the ground similar as to how
Jesus could no longer continue his walk of death due to exhaustion.
Magical realism endeavors to show others the world through a different pair of eyes. It adds a different reality from what the audience would refer to as objective. Gabriel García
Márquez incorporates magical realism to presage the thickening plot of a coolblooded manslaughter and illustrates anecdotal acumen of details about Santiago Nasar
Potential Quotes 1. “He’d dreamed he was going through a grove of timber trees where a gentle drizzle was falling, and for an instant he was happy in his dream, but when he awoke he felt completely spattered with bird shit.” (Page 3)
2. “No one was certain if he was referring to the state of the weather. Many people coincided in recalling that it was a radiant morning with a sea breeze coming through the banana groves, as was to be expected in a fine February of that period. But most agreed that the weather was funereal, with a cloudy, low sky and the thick smell of still waters, …show more content…
and that at the moment of the misfortune a thin drizzle was falling like the one Santiago
Nasar had seen in his dream grove.” (Page 4)
3. “She drew away to let him go out, and through the halfopen door she saw the almond trees on the square, snowy in the light of dawn, but she didn’t have the courage to look at anything else. ‘Then the boat stopped tooting and the cocks began to grow,’ she told.”
(Page 13)
4. “It was on a windswept hill, and from the terrace you could see the limitless paradise of the marshes covered with purple anemones, and on clear summer days you could make out the neat horizon of the Caribbean and the tourist ships from the Cartagena de Indias.”
(Page 35)
5.
“On the other side you could make out the groves of blue banana trees in the moonlight, the sad swamps, and the phosphorescent line of the Caribbean on the horizon. Santiago
Nasar pointed to an intermittent light at sea and told us that it was the soul in the torment of a slave ship that had sunk with a cargo of blacks from Senegal across from the main harbor mouth at Cartagena de Indias.” (Page 6667)
6. “Nevertheless, in the afternoon a syrupcolored liquid began to flow from the wounds, drawing flies, and a purple blotch appeared on the upper lip and spread out very slowly, like the shadow of a cloud on water, up to the hairline.” (Page 74)
7. “On the other hand, she never forgave herself for having mixed up the magnificent augury of trees with the unlucky one of birds, and she succumbed to the pernicious habit of her time of chewing pepper across seeds.” (Page 98)
8. “The ground floor would be flooded by high tides and the unbound volumes floated about the deserted offices. I searched many times with the water up to my ankles in that lagoon of lost causes, and after five years rummaging around only chance let me rescue some
322 pages filched from the more than 500 that the brief must have contained.” (Page
9899)
Tiffany Yang
Mrs. Bolle
Hour 3
13 February 2015
Shit Out Of Luck Within
Chronicle of a Death Foretold, by Gabriel García Márquez, this intriguing novel includes a sort of metaphysical murder mystery in which the detective,
Gabriel García Márquez himself, reconstructs events associated with the murder 27 years earlier of Santiago Nasar, a rich, handsome fellow who lived in the Caribbean town where the author grew up.
Márquez
plays himself in the novel, interviewing people who remember the murder and studies documents assembled by the court.
He gathers various kinds of data—dreams, gossip, philosophical speculation, weather reports—and creates a chronological record of what occurred. Márquez repeatedly uses strange, surreal details to highlight otherwise ordinary events. These surreal details are referred to as magical realism.
Márquez uses magical realism in
Chronicle of a Death
Foretold
to presage the thickening plot of a coolblooded manslaughter and illustrates anecdotal acumen of details about Santiago Nasar giving the audience an experience of a different reality from what the audience would refer to as objective.
The first instance of magical realism occurs when Santiago Nasar had dream the night before his death that he was flying:
“He’d dreamed he was going through a grove of timber trees where a gentle drizzle was falling, and for an instant he was happy in his dream, but when he awoke he felt completely spattered with bird shit” (3). Flying symbolizes moving to the next level of spirituality, foreshadowing his abrupt death. Bird excrement symbolizes good luck.
Several superstitions exist in which say if bird excrement lands on an individual, an individual’s car or property, they will receive good luck and riches. This adds to the dramatic irony that bird excrement was spattered into the face of Santiago Nasar, yet, he was savagely mutilated. In analyzing the setting, Nasar was passing by timber trees which are evergreens. Evergreens represent immortality, everlasting life or an undying spirit. This validates the reeking stench of
Santiago Nasar in which the entire village confessed haunted them after his death: “The entire village smelled of Santiago Nasar.” (98) Death at an adolescent age grants immortality to the dead one. Santiago Nasar is portrayed as a Jesus figure. Santiago Nasar was stabbed “at least three times and there wasn’t a drop of blood” (118). Realistically, any human being would have bled the instant the blade impaled their body, but Santiago Nasar symbolizes a Godlike figure, like how Jesus was a descendent from God. He cannot die. The diction of three symbolizes a crucial biblical reference. Jesus resurrected from the grave after three days and there are three components to The Trinity (The Father, The Son, and The Holy Spirit). “The knife went through the palm of [Santiago Nasar’s] right hand”. Jesus had been nailed to the cross, with one nail going through each of his palms representing that Santiago Nasar and Jesus are the same person,
destined to return back to the eternal world they came from. Even after all the “alternate and easy stabs” (118), Santiago Nasar had “walked more than a hundred yards, completely around the house” (119) while “holding his hanging intestines in his hands” (119) and eventually “fell on his face in the kitchen”. (120) This act of crucification shows similarities with the death of Jesus.
Santiago Nasar carried his intestines like how Jesus carried the ten foot wooden cross on his back. He even walked around the house similar to how Jesus had to walk all the way ontop of the hill where he was crucified. Santiago Nasar dramatically falls to the ground similar as to how
Jesus could no longer continue his walk of death due to exhaustion.
Magical realism endeavors to show others the world through a different pair of eyes. It adds a different reality from what the audience would refer to as objective. Gabriel García
Márquez incorporates magical realism to presage the thickening plot of a coolblooded manslaughter and illustrates anecdotal acumen of details about Santiago Nasar