A Very Old Man with Enormous Wings: in Depth Analyzes Between Narrative Structure and Imagery in Prose Fiction

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Question two:
A Very Old Man with Enormous Wings: In depth analyzes between narrative structure and imagery in prose fiction

Imagery means the use of words to describe ideas or situations while narrative means the telling of story from a series of events.[1]By looking at A Very Old Man with Enormous Wings, we can see that there is a strong relation between narrative structure and imagery in prose fiction.

In a prose fiction, there are five common narrative processes. First, there is an equilibrium which forms the setting of a scene. Second, there is a disruption that forms a problem and complication. Third, there is an opposing force which tries to resolve the problem. Fourth, there is a unification where everything seems to resolve. Fifth, there is a disequilibrium which leads to a more complicated problem. Lastly, a new equilibrium is formed where the conflicts are finally solved and it signifies an end. In A Very Old Man with Enormous Wings, a disruption was formed at the beginning of the story. A child was having a temperature and a very old man suddenly took up residence in its house. The story did not give the exact location of the village, nor the purpose of the old man’s sudden arrival nor where he had come from. But the author had used a series of adjectives to describe the old man. He was a mute stupor. He had bald skull, faded hairs, was dirty and had half-plucked wings. He dressed like a rag-picker and he was moving and groaning at the rear of the courtyard. The author gave a vivid description which created a strong image in the reader’s mind and immediately aroused the reader’s interest. It would be common to link the old man with enormous wings as an angel, but the descriptions told us that his appearance and condition was just a common mortal, and his circumstances were even worse than ours. At the beginning of the fiction, the author used a third-person narration of “he”, “she”, “it”, “they” while conveying the introduction of the story. At the middle of the story, there was an opposing force and a unifying attempt. The old man was displayed like a circus animal and was being bullied. People mistreated him and he was observed by a priest that “nothing about him measured up to the proud dignity of the angel”[2]. Facing such disturbance, the old man’s reaction was passive and almost motionless. He ranted a little, burst out some tears and tried to flap his wings. But this small protest was ignored by the villagers. Nevertheless, he became a source of fortune and the child recovered. Its parents earned income from the old man for every villager’s visit, and they became very wealthy. First-person narration was added in the middle of the story which was presented in a dialogue between a woman neighbor and the couple. Then a disequilibrium followed. A spider woman’s occurrence caused the villagers to lose interest in the old man. The old man was no longer an income generator, he began to get sick severely. But at the same time, the couple “began to lose their fear and get used to the smell, and before the child got his second teeth he’d gone inside the chicken coop to play, where the wires were falling apart.”[3] The man had developed a friendship with the child showing a child’s naivety and purity of heart. This description provided readers a sense of relief after a huge diversity of the human’s darker side in the previous part of the story. The author used a sensory word which was “smell” and he also gave a detailed description of the situation where the elder and the little one interacted. A clear image was formed where “The angel went dragging himself about here and there like a straw dying man.”[4] Simile is used here to give a concrete representation to readers so that an image of a dying man could be formed easily. Towards the end of the story, a new equilibrium was formed. The old man started to recover, “some large, stiff feathers began to grow on his wings”[5] and he started to fly...
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