Last updated: March 24, 2019
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Throughout all works of world literature, certain passages will have exceptional meaning to the plot progression of the novel. This key passage essentially provides insight upon the overall theme of that work through characterization, symbolism, and imagery. In Gabriel Garcia Marquez’s novel One Hundred Years of Solitude, the passage selected for interpretation uses the literary techniques of archetype, foreshadow, and symbolism to inform characterization. The concept of consanguineous love relationships is also reinforced in this part alongside with the suggestion of the necessity of outside authority on a family.

These concepts enlighten the characterization of each and every one of the characters presented and provide insight on the cyclical nature of the Buendia family history. Passage selected from One Hundred Years of Solitude: “Years later on his deathbed Aureliano Segundo would remember the rainy afternoon in June when he went into the bedroom to meet his first son. Even though the child was languid and weepy, with no mark of a Buendia, he did not have to think twice about naming him. ” We’ll call him Jose Arcadio,” he said. ” (181) “Fernanda del Carpio, the beautiful woman that had married Aureliano Segundo the year before, agreed. On the other hand, Ursula could not conceal a vague feeling of doubt. Throughout the lengthy history of the family the persistent replication of names had made her depict some conclusions that seemed to be clear. While the Aurelianos were withdrawn, with lucid minds, the Jose Arcadios were rash and enterprising, but they were marked with a tragic sign.

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The only cases that were impractical to classify were those of Jose Arcadio Segundo and Aureliano Segundo. They were so identical and so mischievous all through childhood that not even Santa Sofia de la Piedad could tell them apart. On the day of their christening Amaranta put bracelets on them with their 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 Jose 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 malice of the fact that he was wearing the white shirt and the bracelet with Jose Arcadio Segundo’s name. From then on he was never sure who was who. Even when they grew up and life made them different, Ursula still wondered if they themselves might not have made an error in several moments of their elaborate game of confusion and had grown to be misrepresented forever. (182) From the beginning of the passage, Gabriel Garcia Marquez demonstrates that outside influences are beginning to collide with the Buendia family ancestry. The newborn son of Aureliano Segundo by Fernanda del Carpio, Jose Arcadio, is described as having “no mark of a Buendia. ” This shows the family’s alteration from repeated love interactions involving relative members, such as that of the first Jose Arcadio and Rebeca. Also, the newborn’s lack of a mark alludes to Fernanda’s gaining rule within the family; no mark of the traditional Buendia, Ursula, is to be found.

This idea is further suggested when Fernanda does not dawdle in naming him Jose Arcadio, despite Ursula’s doubts. This lets somebody see Ursula’s ability, having been the highest matron of the Buendia family over many generations, to recognize the essentially circular pattern of their olden times. Since Fernanda is an outside influence on the family, she is incapable to identify the simple fact that all Jose Arcadios and all Aurelianos seem to behave in a similar manner. This passage reveals additional information upon the thesis of cyclic occurrences throughout the tale. The name Jose Arcadio also holds much symbolic importance.

The text describes previous Jose Arcadios as impulsive and outgoing, while they liked to maintain much control over their domestic state of affairs. Jose Arcadio Segundo, on the other hand, bears a resemblance to past Aurelianos. He was a rebel, as he led the strike against the Banana Company. Likewise, Colonel Aureliano Buendia commanded the civil war many years earlier. He also endeavored to decode Melquiades’ documents in his later years, to flee the pains of the slaughter that he witnessed; Aureliano Buendia did the same in order to stop thinking about his association in the wars.

Furthermore, at his death Jose Arcadio Segundo dies with his eyes open; Aureliano Buendia was born in the same way. During his entire life, he shows little signs of representing the cliched Jose Arcadio. This exchange of characterization is rather symbolic in that one anticipates Jose Arcadio Segundo to act like his namesakes; instead his manners more closely resemble that of Aureliano Buendia. Aureliano Segundo also behaves in an unrelated style to that of his namesakes. The text illustrate past Aurelianos as solitary yet pensive, however they appear always to have revolutionary inclinations.

Aureliano Segundo is distinguished as a man who takes a large amount pride in the happiness of his household; therefore the justification for his concubinary relationship with Petra Cotes. He takes delight in being a key figure in local society as opposed to state-run affairs; this is where he fluctuates from Aureliano Buendia. Jose Arcadio Buendia and Jose Arcadio were content spending their days focusing on the wellbeing of their family and the betterment of the pressing community.

Aureliano Segundo carried out the same task, in that he ran raffles with Petra Cotes and had a relationship with her to preserve the fertility of his and Fernanda del Carpio’s matrimony. Once again, he acts nothing like his namesakes. The symbol of the surname becomes more critical in the switching game described in the section. All through their childhood, the twins would switch their attire in order to bamboozle the adults around them as to their true individuality. They would even respond to each other’s names.

This exchanging game enlightens the characterization of the twins and is also a harbinger of their livelihood of opposite lives than what was to be anticipated. Ursula hypothesize in the passage that the twins became everlastingly switched in their own mentality and that Aureliano Segundo was Jose Arcadio and vice-versa. This also foreshadows to their deaths, when their graves are swapped but in realism they were placed in their appropriate graves. The notion of the matriarch is also somewhat established in this passage. Amaranta Buendia is recognized as the present nurturer of the

Buendia family. As soon as Jose Arcadio Segundo and his twin brother Aureliano were born, she provided them naming bracelets in order to be capable of telling them apart. It is ironic that she, not their mother, Santa Sofia de la Piedad, did not take this initiative. In addition, Amaranta symbolizes the true motherly character of the two because the passage describes Santa Sofia de la Piedad’s lack of ability to tell between between the pair. Finally, difference between Ursula, the first matron, and the outside manipulation of Fernanda del Carpio becomes apparent in this part as well. rsula, through her gift to identify the recurring nature of her family’s history, has a reaction of suspicion about naming the new offspring the identical names as past members of the Buendia ancestors. She believes that they ought to go against ritual with the initiation of new names. In spite of this, opposing to what one would think, Fernanda had no indecision in naming the latest child Jose Arcadio. One could assume that the outside power would hope to introduce new names; nonetheless Fernanda keeps with tradition. In conclusion, the rejection to accept outside influences can produce the collapse of everything.

By meticulously examining this passage, one comes across this claim to be true with the Buendia family in One Hundred Years of Solitude. From beginning to end the symbolic use of names, Garcia Marquez illustrates the cyclic nature of the family’s history and that new things ought to be introduced. Also, the dominance of the matriarch is exemplified through the characterization and trials of the Buendia women. This passage supplies much apprehension on the theme of degeneration that is manifested all the way through the novel.