versión On-line ISSN 0718-0462
The fascinating world of nymphs has contaminated literature since the beginning of time and not only in Greece, for the myth of the nymphs is an extended one. We assume, and will try to prove that the brilliant novel of the master García Márquez can not escape from this contamination, for Cien años de soledad is full of nymphs. So, we can name the alseide Remedios Moscote, who provokes the madness of young Aureliano Buendía. We can also mention the náyade Remedios la Bella, whose favorite place is the pool at the end of the backyard of the Buendia house. Remedios' potency is such that the narrator has to send her flying away from Macondo, since the novel itself is in danger of suffering the same destiny as any man who might see her face: to be able to think of nothing else. The presence of the nymphs is marked in the last of the Buendías: Amaranta Úrsula. She attracts the jungle itself towards the house. She is then a hamandriade or nymph of the woods. The text that follows will show, apart from the presence of such unique figures, some of the meanings that derive from their presence in the novel.
Palabras llave : Nymphs; literature; narrator; thought; Latin American difference; orality.