THE NARRATOR The narrator here is in the third person limited omniscient point of view.

It may seem that the perspective is from an omniscient point of view because we can observe that the narration gets into the heads of different villagers at many different times, but it·s not because the information we get is from their own perspectives. We are still limited to only what they know as opposed to an omniscient point of view. For the instance that the children thought of the drowned man as an enemy·s ship or a whale. We would never knew it was a man, until they realized that he is. The villagers never knew where he came from, so neither us would know about that. They thought he has the face of someone called Esteban. Some of them thought maybe he can be called Lautaro, but they see something in him that makes them decide that he should be named Esteban, and so for the purpose of the story, he is Esteban. THE TONE OF THE STORY The tone of this story is the paying respects to the dead which is shown near the end of the story more strongly that in the rest of the story. This last part contributes to the theme of the story of being transformed. The evidence of the tone of the story is the discussion of the changes of the views of the villagers, and the sincerity of their new found dreams. They discuss how things will be different from here on out, and us as the readers believe that they are being sincere. There·s also this sort of reverent tone that can be seen in the story, from the description of the women's tears to the moment the drowned man's body falls off the cliff. THE WRITING STYLE The style the author uses in this story is precise sentence structure, and getting right to the point of the story. The sentence constructions are straightforward; most of the sentences are short. Words are clear and chosen carefully, and the sentences are constructed with specific intention. Consider the description of the drowned man's funeral. Marquez wrote ´They let him go without an anchor so that he could come back if he wished, and whenever he wished , and they all held their breath for the ´fraction of centuriesµ the body took to fall into the abyss. ´ In this line he could have used seconds, hours, or any other time increment but the author decided that the word ´centuriesµ would hold more value. It gives that event a sense of being timeless of the village, of the mythological implications of the drowned man·s arrival and of the importance his presence holds for the village. In this way it shows how precise his wording is. TITLE ANALYSIS The main part of the title is fairly direct to the point. This is the story of a handsome drowned man and the impact he has on this certain village. The drowned man is the focus of the tale; so he gets the focus of the title. The subtitle, however, is not so direct. Some say it is just a tale for children. They thought Márquez wrote it for parents to read to their kids before bedtime, and that's that. But the themes in "The Handsomest Drowned Man" are by no means childish or simple, and there are big ideas to be considered by all ages. So it could be that the title is a little ironic; it may seem on the surface like a tale for children, but it's really not for children at all. Another way to approach the title is to think about what the story has to say on the topic of mythology. On the one hand, myths are bedtime stories for children. All throughout history, it can be observed that adults have embraced myths as ways to explain the unexplainable. In "The Handsomest Drowned Man in the World," the adults of the village speculate that the drowned man is any number of ancient mythological figures that transformed them into hopeful individuals. Myths force us to suspend our cynicism, and to believe in the fantastic; so maybe myths make children of us all.

ANALYSIS ON THE ENDING OF THE STORY The flower as a symbol in the story can be noticed in four different points in the story. First, we hear that the village is flowerless, almost a desertlike cape. Next, the women imagined that the drowned man would have planted flowers everywhere if he were alive. At the funeral, the village is filled with flowers the women brought from neighboring villages. And finally, there is the vision the locals have of their future, where their homes and courtyards are filled with flowers, springs, and bright colors. This shows us is that the villagers have been completely transformed by the arrival of the drowned man. Before he showed up, they were content. They didn't think about digging springs or planting flowers or painting their houses with gay colors. They were an arid, desert-like village, and they were fine with being the way they were. The drowned man is, on his own, an extraordinary thing, being "the tallest, strongest, more virile, and best built" man they've ever seen. But that doesn't have anything to do with the ordinary village ² not, that is, until they claim him for their own. He named him which is an act of personalizing someone or something. And when the men return to announce that no one can claim the drowned man, the women exclaim: "Praise the Lord [«]. He's ours". This is why, at the funeral, the women weep when they look upon "the splendor and beauty of their drowned man". He belongs to them and by belonging to the village, the extraordinary drowned man makes that village extraordinary. Or rather, he gives them the possibility of being extraordinary. He makes them look at their own lives in the light of his greatness. What they find when they look is "the desolation of their streets, the dryness of their courtyards, the narrowness of their dreams". This new possibility of greatness takes root in the villagers. Notice that the end the story is not with the funeral of the dead man, but with the rebirth of the village. It ends with a vision of the future: ´They did not need to look at one another to realize that they were no longer all present, that they would never be. But they also knew that everything would be different from then on, that their houses would have wider doors, higher ceilings, and stronger floors so that Esteban's memory could go everywhere [«], because they were going to paint their house fronts gay colors to make Esteban's memory eternal and they were going to break their backs digging for springs among the stones and planting flowers on the cliffsµ. It's also worth taking a look at the final few sentences, where it is seen that it is indeed this sense of being worthy of Esteban that has so inspired the villagers: ´In future years at dawn the passengers on great liners would awaken, suffocated by the smell of gardens on the high seas, and the captain would have to come down [«] and, pointing to the promontory of roses on the horizon, he would say in fourteen languages, look there, where the wind is so peaceful now that it's gone to sleep beneath the beds, over there, where the sun's so bright that the sunflowers don't know which way to turn, yes, that's Esteban's villageµ. From the narrator point of view, the story is told in a limited omniscience. The readers are stuck in the minds of the villagers, though we do get to jump from villager to villager (the children, the women, the men, etc). This final paragraph is not something that actually happens in the text; it's what the villagers are imagining will happen sometime in the future. Notice that this vision doesn't come from any one local in particular; it·s the villagers in a unison thought. Esteban unites the villagers, who now share this common vision for their common future. Together, they are going to make themselves extraordinary.

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