Chronicle of a Death Foretold Questions and Answers
by Gabriel García Márquez

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I need help with an analysis of a particular passage in Chronicle of a Death Foretold: Note: Passage takes place on the night of the wedding, and Angela confesses that Santiago Nasar was her "secret" lover. The twins returned home a short time before three, urgently summoned by their mother. They found Angela Vicario lying face down on the dining room couch, her face all bruised, but she’d stopped crying. "I was no longer frightened," she told me. "On the contrary: I felt as if the drowsiness of death had finally been lifted from me, and the only thing I wanted was for it all to be over quickly so I could flop down and go to sleep." Pedro Vicario, the more forceful of the brothers, picked her up by the waist and sat her on the dining room table. "All right, girl," he said to her, trembling with rage, "tell us who it was." She only took the time necessary to say the name. She looked for it in the shadows, she found it at first sight among the many, many easily confused names from this world and the other, and she nailed it to the wall with her well-aimed dart, like a butterfly with no will whose sentence has always been written. "Santiago Nasar," she said. How do language imagery, organization of ideas, and stylistic and thematic aspects work in the passage?

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In this passage, Angela Vicario tells her brothers that Santiago Nasar was the person who violated her before her wedding. The passage presents the revelation of Nasar's name almost as if it causes Angela's resurrection from the dead. 

At the beginning of the passage, Angela is badly beaten, and she is lying on the couch. She later says that "the drowsiness of death had finally been lifted from me," an image that creates the idea that she has reached or almost reached the point of death and is then reborn when she gives her brothers Nasar's name. 

To find the name, she "looked for it in the shadows," conveying the image of her searching the darkness of her own soul to find a name that will satisfy her incensed brothers. Using metaphorical language, Angela's production of Nasar's name is compared to a "well-aimed dart," conveying the idea that she knows that Nasar's name will satisfy her brothers and also inflict damage on Nasar. However, she is also a victim, like...

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