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ral, while combining the most controversial things. As the writer acknowledges, “the key to writing One Hundred Years of Solitude was the idea of saying incredible things with a completely unperturbed face”13.

Marquez masterfully treats mystical elements, presenting them as an uncompromising truth. For instance, the priest, one of the novel’s characters, demonstrates the phenomenon of levitation that he performs with the help of chocolate; however, the protagonist regards this phenomenon as a normal act of God, claiming that “now we shall witness an undeniable proof of the infinite power of God”14. Thus, Marquez introduces the bizarre elements into his fantastic realm so unnoticeably that the readers accept them as natural things of their world. Introducing such supernatural elements as flying objects, carnivalesque and levitation, Marquez also applies to irony, symbolism and narrative distance. But the atmosphere of domesticity provides Marquez with an opportunity to gradually turn from fantasy to reality; in this regard, the introduction of Ursula into the narration serves this particular purpose.

As Ricardo Gullon points out, “Ursula’s function is to impregnate the fictional space with everybody realities so that the marvellous may enter it smoothly”15. Other episodes of Marquez narration also demonstrate the writer’s skilful ability to switch from the supernatural to the real portrayal. This is especially vivid in the episode that describes Jose Arcadio’s death: “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… and went through the pantry and came out in the kitchen, where Ursula was getting ready to crack thirty-six eggs to make bread”16.

Despite its unusual and mystical portrayal, the death of Arcadio is perceived as real due to the precise style of expression and the description of daily life. As in the real world, some people in Marquez’s novel die, while other characters continue to lead their usual existence. Maintaining the similar tone for the portrayal of real and unreal things, Marquez “never allows it to become evident, by interjection or amazement, that there may be a substantial difference between the extraordinary and the commonplace”17. The writer makes no attempt to question any supernatural elements or events; instead Marquez treats mysterious and real things in the similar way, revealing their mutual coexistence. For instance, a flying carpet is a normal phenomenon for the citizens of Macondo, it is the reality that evokes no doubts.

As Marquez claims, “this time, along with many other artifices, they [the gypsies] brought a flying carpet. But they did not offer it as a fundamental contribution to the development of transport, rather as an object of recreation”18. Applying to such exaggerated portrayals of people and things, Marquez creates an atmosphere of reality that seems logical and natural. On the other hand, such portrayals allow Marquez to introduce the comic elements into the narration; utilising certain hyperboles, the writer at the same time presents them as reasonable.

In his portrayal of Melquiades, Marquez states that “He was a fugitive from all the plagues本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。