The analysis of the two stories will attempt to generalize what elements of real and fantastic are in most, if not all of “lo real maravilloso.” Before we analyse how magical and real elements are used in short stories, we first need to point out the definition of this literary style. Magical realism was first coined by German Franz Roh in 1925 to refer to a style of painting. Later, Alejo Carpentier took the term and expanded on it thanks to his early influences of surrealism. Carpentier was in fact was not satisfied by his poor contribution to surrealism, so he took ideas from the literary approach. The South American termed the new literary style as “lo real maravilloso.” Even up to now, there is still no agreement on a clear definition of what exactly defines a story as magical realism.
The unnamed heroine is objectified first by his treatment like she is just piece of meat or an object taking her virginity in a brutal way and this is associated with her stain. Later, after his death, she keeps being literally stained because of the mark of the key to the bloody chamber on her forehead. In literature, lilies are typical symbols of death. The husband - like the lilacs in the glass vase - is distorted at the sight of the bloody chamber, and his soul is reduced to unequal pieces that can never be
In Shakespeare 's Richard III, divine justice and supernatural elements are utilized in the form of prophetic dreams, curses, and ghosts which highlight Richard III guilt and ultimate demise. As a result of his physical deformity, Richard struggles to create genuine relationships with those around him. He attempts to combat fate by engaging his human agency to manipulate those around him. His position as an outcast in the English court deeply effects his view on fate and divinity. It is evident in the first three acts that Richard is vengeful toward those of "divine right".
“A man will commit almost any wrong—he will heap up an immense pile of wickedness, as hard as granite, and which will weigh heavily upon his soul, to eternal ages—only to build a great, gloomy, dark-chambered mansion, for himself to die in, and for his posterity to be miserable in. He lays his own dead corpse beneath the underpinning, as one may say, and hangs his frowning picture on the wall, and, after thus converting himself into an Evil Destiny, expects his remotest great-grandchildren to be happy there!” (Hawthorne 226). Man’s greed is so inherently engrained in the being that man would be in charge of his own unhappiness. The fall of man is the original sin of greed. In Nathaniel Hawthorne’s The House of the Seven Gables, the American sin of greed is personified in Colonel and Judge Pyncheon.
Hamlet is appalled at the revelation that his father has been murdered, and the alleged spirit of the former king tells him that the only “villain” to blame is Claudius “who now wears his crown”. Hamlet’s worst fears about his uncle are confirmed. The ghost exhorts Hamlet to seek revenge, telling him that Claudius has corrupted Denmark and corrupted Gertrude, having taken her from the pure love of her first marriage and seduced her in their incestuous union. But the ghost urges Hamlet not to act against his mother in any
On the contrary, “The Devil and Tom Walker”, the main character, realized that his deal with the devil was bad for him, he tried to deceive the devil. At the end, he was taken by the devil and everything he had earned became nothing. “On searching his coffers all his bonds and mortgages were found reduced to cinders. In place of gold and silver his iron chest was filled with chips and shavings; two skeletons lay in his stable instead of his half-starved horses, and the very next day his great house took fire and was burnt to the ground”. (Washington,1824, p.10 ) Similarly, they both deserved what they ask for because they desired something more
Hamlet’s father appears to Hamlet as a ghost and tells him that he was murdered by Claudius. The death of his father really weighs Hamlet and it make Hamlet into a spiral of depression in which lead him to contemplate suicide. Basically, death and decay are two words which give an imagery about something that is rotten, become not existing anymore, and smelly. The theme suicides in this play, is symbolize by death and decay in its storyline and most of the action
Their lack of control and and their lack of obedience for rules brings them to savagery and loss of innocence, leading to the tragic deaths of a few of their own. William Golding uses symbolism, similes, and repetition to brilliantly and powerfully illustrate loss of civilization and innocence in the novel. Using these literary devices, Golding makes the read much more descriptive and meaningful. The novel really shows the darkness deep inside every man, and under the right conditions, this darkness can arise, resulting in a loss of innocence and civilization. Golding’s uses of symbolism, similes, and repetition help convey that theme even
William Shakespeare in The Tragedy of Macbeth written in the 17th century dramatizes the tragic hero and Macbeth’s tragic flaw of greed, which ultimately results in his gradual desensitization to murder and death. Even though he begins in the story thinking through his actions, he ends up killing on multiple accounts without second thought. Shakespeare wrote this play to show how avarice can have adverse consequences on the human condition. This tragedy follows the true story of a historical Macbeth, an eleventh century king of Scotland who usurped the throne after killing his predecessor. In The Tragedy of Macbeth, greed is Macbeth’s tragic flaw that permeates through the dramatic structure.
John Fowles’s The French Lieutenant’s Woman came to light in June 1969. It is clear that the novel tackles motifs such as love and intrigue, prototypical themes of the Victorian Novel. However, Fowles’s ultimate motive was not that of writing a conventional Victorian story but that of revealing an experimental narrative in which Victorian elements are explored from a perspective of the late sixties. Fowles presents us with a new reading of 1867, incorporating references of many of the events that took place during that gap of time. Barry Lewis states that “The postmodernist writer distrusts the wholeness and completion associated with traditional stories, and prefers to deal with other ways of structuring narrative.” (Stuart Sim (ed.)