Gabriel Garcia Marquezs A Very Old Man with Enormous locomote is a fairy tale in which realistic, earthy verbalism is engagementd to plug in a mystical event. The roots flair for describing the furious in a casual, understated way creates an atmosphere of credibility in which anything is practical and believable. Using a South American village for context of use and an assortment of descriptive images for flavor, Marquez shows how superstitious ignorance and spiritual trailma can counteract the realization of true spirituality. Â Â Â Â Â Â Â Â The use of literal error besides imaginative descriptions is not only in force(p) in planning a realistic touch to a magical story, only also enhances the theme by establishing a reliance on concrete meanings. In a childlike, wide manner, Marquez describes the opening prognosis in terms one of his functions dexterity use when he says, The world had been sad since Tuesday (348), and the sands of the sluggish beach h ad run a stew of mud and decayed shellfish (348). The author creates vivid images by making comparisons to things that ar common, everyday sights in the rustic village: a dog who had no illusions (352), a huge decrepit hen among the fascinated chickens (134), huge buzzard wings, dirty and half plucked (348). These graphic, literal descriptions offer more to the story than simply defining a setting--they define the mentality of the characters.
By reflecting the perceptions of the villagers through this realistic imagery, Marquez exposes the comfort and baseness, which makes them susceptible to an tenacious trus t in traditional beliefs and plastered reli! gious doctrine. Â Â Â Â Â Â Â Â The lie of the church is expressed through the character of the village priest, novice Gonzaga, who assumes the role of authority in relations with the angel. His pompous military posture and superficiality are exposed when afterward examining the old soul, he assumes that he found nothing... If you want to get to a encompassing essay, order it on our website: BestEssayCheap.com
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