Gabriel Garcia Marquez and Edogawa Ranpo Comparison

It will also encompass an analytical outlook on the literary devices used in both texts and the effects that they draw out as aimed by each of the authors. The paper shall reveal that authors can use similar literary aspects to create different results and get similar creations from different literary devices. Despite the fact that both authors use third person perspective to narrate the story, each excerpt utilizes a different literary devices as the main aspects of illustration. The course of The Human Chair by Edogawa Ranpo uses ‘a story within a story’ which is a distinct literary aspect that encompasses a character telling a story within the actual plotline. Its elaboration is clear in instances like “…she continued to read: Dear Madam: I do hope you will forgive this presumptuous letter from a complete stranger” (Edogawa Ranpo, 5).

Marquez employs different variations of vivid description in a bid to stimulate the various senses of reader throughout the course of the text. For example, he describes the belief that the characters have in their viewing of the crabs’ stench as the cause of the child’s ailment. Following the account of the innumerable crabs killed, one can almost smell their drenching stench. The extent of description that Marquez uses in this and other instances makes it easier to formulate images of the scene in a reader’s mind. The explanation of the location that Pelayo and his family lives in plays a major role in their perceptions. Contrary to this perception, Edogawa Ranpo’s portrayal of perception remains almost entirely on one character’s view; the cabinetmaker. It only draws in a public viewpoint at the beginning of the story where the description of Yoshiko’s prowess in writing where she is described in comparison to her husband “She was a versatile writer with high literary talent and a smooth- following style.

Even her husband’s popularity as a diplomat was overshadowed by hers as an authoress” (Edogawa Ranpo, 5) Nevertheless, the distinct manner through which Ranpo illustrates his characters and their plot remains a more private perception for it is being told from a singular individual, the cabinetmaker’s, perspective. There are disparities as well as similarities in the tones that the two authors use in their texts. Edogawa Ranpo utilizes a solemn tone in his description of the flow of events in The Human Chair. This uniqueness as well as the difference in writing styles serves to give each author a niche of their own; all of which functions to maintain the attention of their readership. In hindsight, according to the analytical evidence of this text, it is clear that reaching the conclusion that writers can use the same literary aspects in their works and end up with different perspectives is apt.

Edogawa’s use of private perception to illustrate Maria’s lack of self-understanding even to the end points of his story when she becomes free, metaphorically, bares a similarity to the use of public perception by Marquez in portraying the angel’s freedom at his story’s end. It is also clear from aspects of literature, such as ‘dialogue’ and ‘a story within a story’, that the different literary devices can create closely related story characteristics. Further study into the two stories by Edogawa and Marquez will reveal more information that in turn will enable a reader to understand that literature is malleable and one literary aspect can create various results.