Tuesday, January 21, 2020
Uses of Archetype, Foreshadow, and Symbolism in One Hundred Years of So
Uses of Archetype, Foreshadow, and Symbolism in One Hundred Years of Solitude Throughout all works of world literature, certain passages will have special significance to the plot progression of that novel. This key passage must provide insight upon the overall theme of that work through characterization, symbolism, and imagery. In Gabriel García Márquez's novel One Hundred Years of Solitude, the passage selected for commentary uses the literary techniques of archetype, foreshadow, and symbolism to inform characterization. The concept of consanguineous love affairs is also reinforced in this passage along with the idea of the necessity of outside influence on a family. These concepts inform the characterization of all of the characters presented and provides insight on the cyclic nature of the Buendía family history. From the beginning of the passage, García Márquez demonstrates that outside influences are beginning to impact the Buendía family lineage. The newborn son of Aureliano Segundo by Fernanda del Carpio, José Arcadio, is described as having "no mark of a Buendía." This shows the family's shift from repeated love affairs involving family members, such as that of the first José Arcadio and Rebeca. Also, the newborn's lack of a mark eludes to Fernanda's gaining power within the family; no mark of the traditional Buendía, Úrsula, is to be found. This idea is further suggested when Fernanda does not hesitate in naming him José Arcadio, despite Úrsula's doubts. This shows Úrsula's ability, having been the supreme matron of the Buendía family over... ...ir respective names and dressed them in different colored clothing marked with each one's initials, but when they began to go to school they decided to exchange clothing and bracelets and call each other by opposite names. The teacher, Melchor Escalona, used to knowing José Arcadio Segundo by his green shirt, went out of his mind when he discovered the latter was wearing Aureliano Segundo's bracelet and that the other one said, nevertheless, that his name was Aureliano Segundo in spite of the fact that he was wearing the white shirt and the bracelet with José Arcadio Segundo's name. From then on he was never sure who was who. Even when they grew up and life made them different, Úrsula still wondered if they themselves might not have made a mistake in some moment of their intricate game of confusion and had become changed forever.