One Hundred Years of Solitude: Linear and Circular Time :: One Hundred Years of Solitude

superstar Hundred eld of Solitude Linear and Circular Time         Cien Anos de Soledad Style in Gabriel Garcia Marquezs genius Hundred historic period of Solitude is closely linked to myth. Marquez chooses magic reality over the literal, thereby placing the romances emphasis on the surreal. To complement this style, time in One Hundred historic period of Solitude is alike mythical, simultaneously incorporating flier and linear structure (McMurray 76). Most unfermenteds are structured linearly. Events come on chronologically, and integrity can map the novels exposition, rising action, climax, falling action, and denouement. One Hundred Years of Solitude is also linear in its broad outlines (Bell-Villida 98). The plot of the novel is simple Jose Arcadio Buendia marries his cousin Ursula, they found Macondo, the family grows, declines, and is eventually blown off the facial expression of the earth by a hurricane. There is a beginning, and tim e moves the level to a total, apocalyptic conclusion (117). Within this linear background, the structure of One Hundred Years of Solitude is circular (McMurray 77). Events throughout the entire novel repeat themselves in cycles. The names Aureliano and Jose Arcadio are repeated in distributively generation, resulting in a total of five Jose Arcadios and 22 Aurelianos. The mens personalities also seem to be repeated the Jose Arcadios are impulsive and enterprising, and the Aurelianos are crystal clear and withdrawn (77). The cyclic rhythm is reinforced by six instances of incest that occur over five of the familys six generations. One of the most striking instances of cyclical structure is found in the novels opening line Many geezerhood later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice (Garcia Marquez 1). Two generations later, chapter eleven opens the equal carriage Years later on his death bed, Aureliano Segundo would remember the rainy afternoon in June when he went into the bedroom to meet his first son (186). These 2 sentences are grammatically parallel . They open with an adverbial phrase (Years later), followed by the subject and then the predicate in merely the same verb tense. The sentences begin with an event in the distant future and argue with an allusion to a future event that, in both cases, occurs within the same chapter. As critic Barroa notes, the words many years later appear so very much they become the heartbeat of the novel (104).