Gabriel Garcia Marquez manipulates the characterisation of lovers in the novella Chronicle Of A Death Foretold to depict the motif and thematic message that honor was important in Colombian culture but should not supercede the value of human life with symbolism, hyperboles, and magical realism. In the novella, Marquez carries a strong message through the characterisation of Bayardo San Roman and Angela Vicario. Marquez leads the way to the thematic message and motif of honor through the characterisation of lovers and symbolism. One of the symbols in the novel is the color gold. Gold ruins the Vicario Family. The Vicario family’s father was a goldsmith. Consequently, the father loses his eyesight by his “fine work in gold in order to maintain
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When Bayardo San Roman was first introduced in the novella, the narrator’s mother describes Bayardo as “everybody says he’s enchanting, but I haven’t even seen him” (26). Later on, the narrator states that Bayardo “had already formalized his contract of love with Angela Vicario” (28). When Bayardo meets Angela, he immediately wants to win her and the family’s acceptance in marrying her. In the novella, Bayardo asks Angela what house she would want to live in. Because Angela responds that the widower Xuis’ house is the prettiest house, Bayardo does anything he can to obtain that house. Bayardo gives the widower loads of cash, resulting in the widower “died because of that” (37). The narrator also says that the widower Xius “‘was healthier than the rest of us, but when you listened with the stethoscope you could hear the tears bubbling inside his heart’” (37). In the novella, many people said that the widower died because of a broken heart. It was also said that the soul of Yolanda Xuis, the widower’s dead wife, was “recovering the knick knacks of her happiness for her house of death” (87). When the widower Xuis found out about this, he was overjoyed that his dead wife was “carrying off what was hers” (87). Xuis’ death is magical realism because no one truly dies of a broken heart. In the novella, Xuis and Yolanda are lovers in which they have a healthy relationship. Their characterisation is important because it helps reader compare and contrast the relationship all the lovers in the novella had. Magical realism is also Marquez’s way of satirizing the Colombian society in a way to demonstrate how their beliefs were unique, but morally
When Bayardo San Roman was first introduced in the novella, the narrator’s mother describes Bayardo as “everybody says he’s enchanting, but I haven’t even seen him” (26). Later on, the narrator states that Bayardo “had already formalized his contract of love with Angela Vicario” (28). When Bayardo meets Angela, he immediately wants to win her and the family’s acceptance in marrying her. In the novella, Bayardo asks Angela what house she would want to live in. Because Angela responds that the widower Xuis’ house is the prettiest house, Bayardo does anything he can to obtain that house. Bayardo gives the widower loads of cash, resulting in the widower “died because of that” (37). The narrator also says that the widower Xius “‘was healthier than the rest of us, but when you listened with the stethoscope you could hear the tears bubbling inside his heart’” (37). In the novella, many people said that the widower died because of a broken heart. It was also said that the soul of Yolanda Xuis, the widower’s dead wife, was “recovering the knick knacks of her happiness for her house of death” (87). When the widower Xuis found out about this, he was overjoyed that his dead wife was “carrying off what was hers” (87). Xuis’ death is magical realism because no one truly dies of a broken heart. In the novella, Xuis and Yolanda are lovers in which they have a healthy relationship. Their characterisation is important because it helps reader compare and contrast the relationship all the lovers in the novella had. Magical realism is also Marquez’s way of satirizing the Colombian society in a way to demonstrate how their beliefs were unique, but morally