Gabriel Garcia Marquez’s narrative A Very Old Man with Enormous Wingss will be linked to the subject of charming pragmatism in this essay. The usage of the existent. in this instance the thought of aging and other natural catastrophes is pitted against an about poetic usage of two everyday things: imaginativeness and wings. It is the usage of either of these two points that propel Marquez’s narrative into that kingdom of charming pragmatism. Imagination or thaumaturgy are the back uping motives of Marquez’s narrative A Very Old Man With Enormous Wingss – it is these elements which allow for the narrative to take form and to awe the reader.
As with most narratives affecting the imaginativeness – the narratives background is that of depression. This is made clear to the reader at the start of Marquez’s narrative which begins with the unwellness of an baby and the description of the twenty-four hours and the sea being green. and even with the phrase “The universe had been sad since Tuesday” ( Marquez paragraph 1 ) . Therefore. the reader prepares themselves for a narrative in which the roots are steeped in sorrow. The imaginativeness is a certain character in Marquez’s work ; it is a topographic point where the impossibleness meets with undeniable cogent evidence.
The usage of the everyday is outstanding in Marquez’s narrative: this is shown at the really get downing paragraph in which the really old adult male with wings is seen in a typical scene where he is covered in clay but the unusual thing about him is that non merely does he hold wings. but he is unable to utilize and is portrayed in a battle against the Earth. The fact that Marquez used clay in order to capture the really old adult male with wings supports the thought of pragmatism assorted with thaumaturgy.
Any animate being will fight against clay if they’re caught in it ; the absurdity of this scenario is why would a adult male with wings be caught in the clay in the first topographic point? This charming pragmatism is farther evolved in the 2nd and 3rd paragraphs of the narrative as the ground for the really old adult male being in Pelayo and Elisenda’s backyard is because he is an angel semen for the kid as the neighbour adult female instructs based on his presence. and his duologue. and non to advert his wings.
The pragmatism of the narrative is cunningly done by Marquez in his usage of the mundane – that is mundane objects and scenarios. This is seen in the conditions holding knocked the angel of class. in the clay holding captured the angel. and in one illuminating scene which Marquez illustrates. “…they ( Pelayao and Elisenda ) found the whole vicinity in forepart of the poulet henhouse holding merriment with the angel. without the slightest fear. fliping him things to eat through the gaps in the wire as if he weren’t a supernatural animal but a circus animate being. ” ( Marquez paragraph 4 ) .
This antiquarian object of involvement to the townspeople is farther rooted in pragmatism when Elisenda gets the thought to bear down “five cent admission” ( Marquez paragraph 5 ) in order for looker-ons to see the supposed angel. The twinning of thaumaturgy and pragmatism is illustrated most persuasively in Marquez’s usage of character reaction to this unnatural event. Bloom in The Logic of Wings dictates that the old adult male is presented as existent through the usage of Marquez’s linguistic communications. “Part of Garcia Marquez’s scheme. as McMurray suggests. was undeniably to decrease the magnificence of this spiritual winged animal.
Similes used to depict him make non even allow him human properties: matched with the villagers who stood around his coop he looked “like a immense decrepit biddy among hypnotized poulets. ” ( Bloom paragraph 4 ) . The people of the narrative dainty the angel with fear but besides with irritation for while he is trapped in his poulet henhouse. he doesn’t make anything that the pilgrims want him to make. He does non stand. eat. or heal anyone.
It is these so normal traits of humanity that allows the wings of the really old adult male to non be the full focal point of his presence. but instead that he reacts to these unfairnesss ( being kept in a poulet henhouse. being prodded at. being plucked by shut-ins ) with the same hurting as anyone would. therefore doing him existent and non so supernatural. This pragmatism is expounded upon by Akers in Short Stories for Students. as this “The old adult male is described in imagination of earthly poorness and human failing. beliing traditional heavenly stereotypes.
” ( Akers 327 ) . The pragmatism in the narrative is farther brought approximately by the diminution in popularity with the angel by the town common people. This is brought approximately by the carnival coming and the spectacle of a European wolf spider with a inaugural caput on it – the adult female was smote by buoy uping after mousing off to a dance one eventide. The commonplace portion of the narrative is that of initiate device – that is. the adult female had a moral lesson to learn the crowd. The angel did uneven miracles such as shooting helianthuss from lesions on a adult male.
Therefore. Marquez farther demonstrates charming pragmatism in two parts – the maiden holding a existent lesson to learn the town about obeying parents and the charming which is the angel’s botched miracles. Marquez’s charming pragmatism is expressed in the comparing of these two characters ( the European wolf spider adult female and the angel ) and is further expounded upon by Akers in Short Stories for Students. “The “meaning” of her narrative is easy to hold on and learn a clear moral lesson— one that confirms the villagers’ conventional beliefs.
In contrast. the old adult male makes no effort to explicate himself and seems to belie all spiritual and folk beliefs about the nature of angels. His really being raises upseting inquiries. but he offers no reassuring replies. ” ( Akers 326 ) . One of the more alarming realistic motives of the narrative is the looking hindering decease of the angel – all things die. but faith Teachs it followers that heavenly things do non decease – angels do non decease.
The dismay of the twosome upon thought that the angel could decease is so a really normal. human thing to fear and worry approximately. Death is the specifying character of pragmatism in Marquez’s narrative. Marquez leaves the thought of charming pragmatism up to the reader in portion. as Akers provinces. “But as a charming realist. Garcia Marquez insists on interrupting these regulations every bit good. Without its antic elements. there is no narrative ; yet the reader is ne’er certain merely how to take them. and how far to swear the storyteller.
Sometimes. he makes it obvious that the villagers” charming beliefs are in fact pathetic psychotic beliefs ; but at other times. the reader seems expected to take logically impossible events at face value. ” ( Akers 328 ) . Marquez apparently approaches his narratives with a touch of ambiguity matched with belief. He presents his charming pragmatism state of affairss to the readers utilizing the belief of the characters in the narrative to back up his thoughts.
Therefore. the reader’s belief depends on the separation of fact from the townsfolk’s religion that the old adult male is an angel. that the adult female is a spider that the celestial and the everyday coexist. Marquez’s charming pragmatism is best expressed through Bloom’s statement. “Since wings are surely more than an “inconvenience. ” and the logical procedures of Pelayo and Elisenda are hence something less than intelligent. we have a storyteller who. alternatively of endeavoring to set up the credibleness of this supernatural animal. is stressing the credulity of the villagers. ” ( Bloom paragraph 5 ) .