An analysis of the transformation of betrayers to Christ-like figures in Gabriel Garcia Marquez's "Chronicle of a Death Foretold" and Jorge Luis Borges's "Three Versions of Judas"
Written in 2006; 1,106 words; 0 sources; $ 38.95
Paper Summary:
This paper discusses how, in many cultures Christ is viewed as a symbol of good, morality and love--a man who was able to face the difficult challenges presented to him by his society and continue in his mission to be giving and kind. The paper then looks at how, in Gabriel Garcia Marquez's "Chronicle of a Death Foretold" and Jorge Luis Borges's short story "Three Versions of Judas," the authors create characters that are viewed as betrayers to and by their communities. The paper contends that both authors, through imagery, plot, symbolism, and characterization, transform the betrayers to Christ-like figures, smashing social standards and demonstrating that judgments are not always valid, signifying that even the most despised person can be innately good despite his outward appearance.
From the Paper:
"Nasar, not only through the plot and characters' action, but also through imagery is described as a Christ-like figure throughout the novella. Garcia Marquez opens the book describing Nasar: "Santiago Nasar put on a shirt and pants of white linen;" (3) "his skin was so delicate that it couldn't stand the noise of starch." (5). By dressing Nasar in white and describing him as "delicate," Garcia Marquez immediately begins using Nasar as a symbol for innocence, as white is traditionally associated with purity, despite that Nasar's supposed actions would not be generally coupled with purity and virtue. Later in the novella Garcia Marquez continues using imagery to symbolize Nasar as a Christ-like figure. "He looked like a little wet bird," (136), Garcia Marquez writes, characterizing Nasar as a chaste creature, similar to how Christ, throughout Christianity, is often symbolized as a sacrificial and helpless lamb. "
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