ESSAY

Hamayel 1

Ahmad Hamayel

Professor Holod

English 1B

21 March 2021

Introduction

Groupthink is a natural process associated with a group random consensus-building

tendency, which seeks to balance individual and group desires. The group's mutual self-interest

can be considered an intersection between the individual and group interests and plays the bond's

role that connects the members and reinforces it (Ruggiero 1990). This self-interest is also a vital

bonding factor tangled in the dialog and slang used to amplify the party's identity. Groupthink is

more connected to social strain problems within social classes, while the word conformism is

more linked to people's propensity to succumb to group pressure. While in minimum dozes,

group operations are essential, groupthink is a double-edged sword that usually puts both the

group and the member at risk.

Only after reading the whole story is the cultural and moral complexity of the characters

is evident. Marquez uses the old man with the wings to demonstrate the ignorance of the many

famous wonders of creation. Marquez has developed an anonymous attitude towards what has

taken place through Marquez's very human and authentic town and the specifics he wrote. While

Pelayo is kind to the old man, he is not a symbol of mercy and charity. He does not club the old

man as said by his neighbor, but he strokes in his chicken coop the alleged angel and charges the

crowds of sightseers. Pelayo only concerns his family and his ill child and is happy to leave

Father Gonzaga with metaphysical and religious speculations.

Lack of intellectual Traits

Pelayo displays a lack of intellectual traits when he misjudges the old man with wings in

the first instance. For her husband, Pelayo Elisenda is the ideal fit, just as natural and realistic.

Elisenda is the more convenient of all if she recommends admitting the angel to see. The old man

in the eyes of Elisenda seems so commonplace that she doesn't appear to see him for the marvel

that he is until he eventually flies away. Elisenda watches him breathlessly fly away as if he

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knows that something special has forever left her world. The priest concludes that "nothing about

him was measured by the proud reputation of the angels" when he saw that the elderly person

was smelly, decrepit, his battered wings infested with flies, and he had little understanding of the

etiquette. While he is skeptical, he declines to grant the old man a permanent ruling, instead

preferring to write his superiors' letters and wait for a formal judgment from the Vatican

scholars. Meanwhile, he warns villagers that the villagers can draw no hasty decisions.

Groupthink

The villagers view the old man like a circus animal, tossing food at him and speculating

on what to do with him. Some believe that he is to be the world's major, some will like him to be

a five-star general to fight all battles, and some want him to father a super race of winged wise

men who will take over the cosmos. The village priest comes to examine the prisoner and

hopefully judges his nature more reasonably. Father Gonzaga immediately assumes an impostor

and considers the old man's pathetic presence in stark contrast to the church's typical portrayal of

celestial messengers.

Confirmation Bias

The reader sees the old guy sitting down in the dungeon who could not get up, impeded

by his massive wings, notwithstanding his enormous efforts. Right now, without a biography, we

are exposed to this dubious character except that it is in the yard of Pelayo, which is entirely

appropriate. This acceptance scene leads to denying and exploiting what this guy is rather than

just granting him rights.

Since his wings transform him into a heavenly being, and he obviously is not home on

earth, the old man still has a connection with the sea. His first efforts to flight are followed by a

breeze that seems to be coming from the high seas. He is from the ocean or the sea, swept with a

wave of crabs by a three-day storm; Pelayo and Elisenda took him first to be an overseas navy

man and early planned a raft of provisions set sail for him. When his wings heal, he dances

beneath the star sea chanteys. In its meanings and its judgments on their significance, critics

dispute. In Garcia Marquez's other works, they also consider the sea to be an essential emblem,

both as a natural force of tremendous strength and as a force synonymous with spiritual power,

which can equally carry wealthy gifts or a terrible loss (Marquez et al., 2007). Several of his

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stories contain episodes where unusual outsiders come and substantially impact their inhabitants

in a small town. These outstanding tourists come to the sea very frequently.

Conclusion

In a picture of world poverty and human weaknesses, the old man contradicts

conventional celestial stereotypes. And his birds were vile to them. Yet despite his unexplained

wings and elusive roots, there is something mystical about him. Overall, he does wonders — but

they too do not meet demands. The eyesight of the blind man is not recovered, but it

unexpectedly develops three new teeth; the sores of the leper are not healed, but the sunflowers

start from them. These are comfort wonders which expose a specific disease of the mind as if

senility had set on his magic to fail. They might otherwise be practical jokes, a mocking, fun

type, to avenge the crowd's violence. When Pelayo and Elisenda take the old person in, their ill

kid survives, but this may be a coincidence or a flaw in magic. And he has a remarkable internal

resilience considering his evident infirmities. His health appears to have deteriorated throughout;

a doctor's test could not help him survive, and his death seems inevitable quite late in the plot.

With the advent of spring, his wings cultivate new fathers and develop power after years of

uselessness, enabling him to flee forever.

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Works cited

Marquez, Gabriel Garcia, and Nicholas Tornaritis. A very old man with enormous wings.

GradeSaver LLC, 2007.

Ruggiero, Vincent Ryan. Beyond feelings. Mayfield Pub., 1990.