Thematic Motifs of Magical Realism in One Hundred Years of Solitude

The Implication of Magic and Myth:

Typically in a magical realism context, authors install a mythical and explicable item along with the prosaic ordinary complications. and, they hire both of them as a means of endurance in a civilization that prides itself on scientific triumphs and at the same point as a tool for surviving the deterioration of modern life. Besides, assure spirituality vanished in a march toward urban growth and turned into an abstraction of history that no longer remains (Aljohani, Fayzeh M.p 3). For example in the novel 'one hundred years of solitude, the readers notice that father Nicanor Reyna rises about six inches above the earth after sipping a cup of chocolate, and this occurs in the novel when Gabriel García states: 'Father Nicanor rose six inches above the level of the ground ...raised his hands and the four legs of the chair all landed on the ground at the same time.'(82).(Revathi and Selvalakshmi,2018,p4).

The Reconnoitering of Identity:

Identity is commonly in a magical realism atmosphere constructed from the multi-voice of the narrator and cultural hybridity ( Fraris, Wendy B,2004,p25). It is referred to as the voice for self-testimony and paradoxically self-formulation and it is a tool of the hegemony in character’s charisma. As we discern in the novel 'one hundred years of solitude when situations get worse in Macondo town because of the effect of the insomnia plague, families started to lose their memories which are a substantial part of their identity, and simply came as machines who follow an instruction by the colonizer to pass their daily life. Gabriel embodies this idea in this speech: 'Where a father was remembered faintly as a dark man who had arrived at the beginning of April and the mother was remembered only as dark women who wore a gold ring on her left hand.'(Garcia,1978).(Savannah and Ajit,p2) .In this speech, the 'Dark' color is a symbol of no voice, no identity, no principles, and the relinquishment of the sense of nationalism.

The employment of the Term 'Trauma':

The essential rule of magical realism novels is to represent the misery of archaic society and history. through the experiences and memories of its people and how they torture by the colonizer and abused by violence. For example, Monkey Beach by Eden Robinson is a story of the impact of colonization on the Haisla communities in Canada and of the dreadful history which remains to haunt this Aboriginal society. This narrative method calls the reader to pay closer concern to the painful colonial experience of the Haisla individuals(Mrak, Anja,2013,p7). The narrator Castricano portrays this idea when he said:

'For the Haisla, the ‘unspeakable’ consists of the real and material effects of the forced relocation of Aboriginal people by the government of Canada pursuant to the Indian Act; the loss of traditional land and water rights; the pollution of the environment [...], and, perhaps even more insidiously, the psychological and emotional damage to Aboriginal children in residential schools where the suppression of language and culture and the outlawing of First Nations spiritual practices all manifest in emotional and spiritual trauma [...]'. (802).(Mrak, Anja,2013,p7).

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The questing about 'The Rational World':

The innovative language and the astonished tone employed by the narrator in the realm of magical realism where fantasy turns into facts, and more familiar and common facts become vague and extraordinary forge a sense of uncertainty in the notion of reality, beliefs, and tradition. ( Fraris,Wendy B,2004,p17). For instance, in 'one hundred years of solitude, there are many chapters that illustrate Márquez’s manipulation of language and words to synthesize the truth and the mythical details in the same event to form a sense of suspicion, the death of José Arcadiobeing one of them. The Narrator states this idea when he said:

'A trickle of blood came out under the door, crossed the living room went out into the street, continued on in a straight line across the uneven terraces, went down steps and climbed over curbs passed along the Street of the Turks, turned a corner to the right and another to the left, made a right angle at the Buendía house went in under the closed door, crossed through the parlor, hugging the walls so as not to stain the rugs, went on to the other living room, made a wide curve to avoid the dining, room table went along the porch with the begonias, and passed without being seen under Amaranta’s chair, and went through the pantry and came out in the kitchen, where Úrsula was getting ready to crack thirty-six eggs to make bread.' (Márquez,1967/1996, p. 135).(Abu,p3).

The political critique :

The political critic is part of the Magical Realist function because the combination and crashing of the “magic” and the “real” are often represented as a conflict of cultures or civilizations surely, many novelists handle the settlements of Magical Realism to draft instantly about the severe political conditions under which they live. If they cannot smoothly criticize political and civil injustice, their metaphors and rhetoric serve to express their emotions. Such as in One Hundred Years of Solitude, Marquez narrates the abuse in his own way. He says:

It rained for four years, eleven months, and two days. There were periods of drizzle during which everyone put on his full dress and a convalescent look to celebrate the clearing, but the people soon grew accustomed to interpreting the pauses as a sign of redoubled rain. The sky crumbled into a set of destructive storms and out of the north came hurricanes that scattered roofs about and knocked down walls and uprooted every last plant of the banana groves. (249)

Food: food in magical realism novels serves as a space where the inner sentiments of the characters pass on to the readers such as love, hate, pain, sadness, and happiness in a mythical sense. For instance in Like Water of The Chocolate, In the Weeding of Pedro Tita's tiers was mixed with a cake of the wedding and this symbolizes Tita's sadness as the narrator side: “When she finished beating the meringue, it occurred to Nacha to lick some of the icing off her finger to see if Tita’s tears had affected the flavor. (p35).