Choice in One Hundred Years of Solitude and Thousand Cranes
The issue of choice arises when comparing Gabriel Marquez's One Hundred Years of Solitude and Yasunari Kawabata's Thousand Cranes. The men in each novel forever seem to be repeating the lives of their male ancestors. These cycles reveal that man as a being, just like the mythological heros, has no true choice in the ultimate course his life will take. The male characters' personal development is overshadowed by the identity of their ancestors.
Since the beginning of time, man has clung to the notion that there exists some external force that determines his destiny. In Grecian times, the epic poet Hesoid wrote of a triumvirate of mythological Fates that supposedly
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Later, when Kikuji takes Fumiko, this patterned love affair cycles once again. He is doing the same thing as his father had done before him, but with the next generation. Though Kikuji does not feel guilt about the association (93), he cannot explain why he chose Fumiko over a near perfect Inamura girl. In the Buendia family, too, sexual relationships provide evidence for a continuing predestined cycle. Only in One Hundred Years of Solitude, these relations exist in the form of incest. From the beginning of the novel the Buendia family is aware of the dangers of interbreeding. A preoccupied Ursula is apprehensious about consummating her love with Jose Arcadio Buendia because of the family legend of the an incestual Pig's tail(20). Nevertheless, she abandons her fears of a mutant offspring under the heavy persuasion of Jose Arcadio Buendia, and succumbs to the marriage. In the years to follow, the pattern of incest continues when Jose Arcadio sleeps with Pilar Ternera(30-31). Jose and Pilar are not related through blood, but Jose Arcadio had come to look at Pilar as a comforting mother. In that scope, the phenomenon becomes based on a sense of safety that rests in the family not just on lust. Once again, their relationship
...and they have no choice, but to follow it or else they can be put into the “Combine” as Bromden sees it. Near the end of the novel “she turned and walked into the Nurses’ Station and closed the door behind her”. When the nurse “walked” away, it shows how she no longer cares and Bromden will then start having a sense of feeling that he should do something because she just let Billy kill himself. The moment when Nurse Ratched “close[s] the door” is a sign for Bromden to gather his courage and help everyone to get out of this ward.
The choices we make define the destiny of our lives. Since the beginning of time, man has always been an imperfect being full of flaws. Man is faced with different situations that can end up bringing disgrace to himself and his family if the situations are not well handled. In the texts Book II of the Aeneid by Virgil, Antigone by Sophocles, Oedipus the king by Sophocles, and Book XXII from the Iliad by Homer; Creon, the Trojan people, Hector, Achilles, and Oedipus embody what can lead to a man’s downfall through their own choices. Through these texts we are able to learn from the mistakes people made in the past and lead good moral lives. The texts illustrate how pride, lack of empathy, and ignorance lead to the destruction of man.
...op a Navajo code. The Navajo language seemed to be the perfect option as a code because it is not written and very few people who aren’t of Navajo origin can speak it. However, the Marine Corps took the code to the next level and made it virtually unbreakable by further encoding the language with word substitution. During the course of the war, about 400 Navajos participated in the code talker program. The navajo helped end the second world war.
The Makah’s seemingly domestic issue of whaling has and is taking on a larger international problem. The United States plays a large part in policing the hunting of whales, one of the most recent examples being the U.S.’s ...
Arison, Lindsey. "The Herbicidal Warfare Program in Vietnam." Executive Summary 1 (June 1997). 3 Mar. 1999 <http://www.gslink.com/arison/orange.html>.
As we go through the stories in the Glass Castle we see the relationships and independence Jeanette builds starting very early in the book when she depicts herself as a little child making hotdogs. When Jeannette was three, her parents allowed her to cook for herself over hot stoves and all. This showed how much her parents put in to developing their independence. “I was wearing the dress to cook hotdogs… then all of a sudden my dress caught fire.”(3) Marie, Jeannette’s mother, completely refuses to take care of her own children. She doesn’t care for her children as any mother should. Any child even at the age of three should not be making hotdogs over a hot oven. This act shows how much independence her father has instilled in her.
Roy A. Rappaport and Ruth Benedict both held very strong opinions regarding the subject of culture and ritual. They lived in slightly different overlapping historical time periods, Benedict being influenced by WWII in the 18th century and Rappaport growing up during the Great Depression in the early 19th century. Influences of Franz Boas carried through the theories of both of these anthropologists. Although Benedict never succeeded in conducting her own fieldwork, she wrote ethnographies based on fieldwork done by Boas, this particular case focusing on the Kwakiutl of the Northwestern Coast of America. The focus of Rappaport’s fieldwork in this context is the Tsembaga of New Guinea. Benedict displays a more idealistic view of culture and ritual as opposed to Rappaport’s exceedingly materialistic perspective.
Credibility: The day I saw in the news that a man was wrongly convicted to death row and was killed by lethal injection I started thinking what would have been if that was my father. The case has been stuck in my head because a man was wrongly convicted and there was nothing else they could have done because what was done was done.
One of the most important questions that society has been asking since the ancient times is to what extent man rules over his own destiny. For some people, destiny is entirely a matter of choice—that the purpose of and events in life are the consequences of conscious decisions. On the other hand, some people assert that destiny is preordained, which means that the events in life are inevitable and hence man is essentially powerless to stop them. Like many other questions relating to life, human control over destiny has found its way into becoming themes in great works of literature. Two of these works are Sophocles’ Oedipus Rex, written in the 5th century B.C., and Dante Alighieri’s The Inferno, which comes from his greater work, The Divine Comedy, published in the 14th century A.D. Apart from being separated by many centuries, these two works offer differing views on the question of destiny. Whereas Oedipus Rex advances the predetermined and therefore inevitable nature of destiny, Inferno asserts that destiny is a matter of choice.
In Oedipus The King, Sophocles presents a view of life fixed by fate. This fate, predetermined by the gods, is the sole factor in deciding human destiny. Tiresias expresses his understanding of the unchangeable fate of Oedipus, laid out by the gods, as he argues with the King about revealing the truth of all the Theban troubles. When Oedipus, frustrated by the lack of cooperation, insults Tiresias, he responds "I pity you, flinging at me the very insults / each man here will fling at you so soon."(322) Even more telling of the fated existence of Sophocles' characters is Jocasta's revelation of prophecies given before Oedipus' birth which foretold all that the gods had in store, which had indeed come to pass (332).
In Greek mythology as a whole, fate does have a sizeable role in most tales. However, the definition of fate for the ancient Greeks extends from the common definition. The definition of fate that is familiar to us is anything that happens for an unknown reason and is out of our control. But in Greek mythology fate also involves divine intervention from the gods of Olympus. They are able to change outcomes and alter situations to the point where what occurs might not have happened without them. In The Odyssey, gods have a very prominent role. But you cannot just discuss fate by itself. Free will is also a factor. Free will is mankind’s ability to make decisions control the aspects of one’s life. In The Odyssey life is the individual’s responsibility.
In Sophocles ' Oedipus the King, the themes of fate and free will are very strong throughout the play. Only one, however, brought about Oedipus ' downfall and death. Both points could be argued to great effect. In ancient Greece, fate was considered to be a rudimentary part of daily life. Every aspect of life depended and was based upon fate (Nagle 100). It is common belief to assume that mankind does indeed have free will and each individual can decide the outcome of his or her life. Fate and free will both decide the fate of Oedipus the King.
Matthaei, Louise E. “The Fates, the Gods, and the Freedom of Man's Will in the Aeneid.” The
Cien Anos de Soledad Style in Gabriel Garcia Marquez's One Hundred Years of Solitude is closely linked to myth. Marquez chooses magic realism over the literal, thereby placing the novel's emphasis on the surreal. To complement this style, time in One Hundred Years of Solitude is also mythical, simultaneously incorporating circular and linear structure (McMurray 76).
Words like destiny, fate, and predestination have a much meaning to people today, as countless people believe in it. On the other hand, the belief that a person controls his life has been established as an opposing belief. The book Oedipus the King, a Greek tragedy, written by Sophocles, examines this debate between fate and choice. Although some people argue that the tragedies that took place in Oedipus' life were destined to happen, the grim circumstances that surrounded Oedipus' life were the result of his own free will and the decisions he made about many of these circumstances.