Comparing Choice in One Hundred Years of Solitude and Thousand Cranes :: comparison compare contrast essays

Decision in One Hundred Years of Solitude and Thousand Cranes   The issue of decision emerges when looking at Gabriel Marquez's One Hundred Years of Solitude and Yasunari Kawabata's Thousand Cranes. The men in every novel perpetually appear to rehash the lives of their male predecessors. These cycles uncover that man as a being, much the same as the legendary saints, has no evident decision in a definitive course his life will take. The male characters' self-improvement is eclipsed by the personality of their predecessors.  â â â â â â â â â â Since the very beginning, man has clung to the thought that there exists some outer power that decides his predetermination. In Grecian occasions, the epic artist Hesoid composed of a triumvirate of legendary Fates that as far as anyone knows gave to men during childbirth shrewd and great to have. As it were, these three conceded man his fate. Clotho spun the string of life, Lacheis circulated the parts, and Atropos with his despised shears would cut the string at death(Hamilton-43). All endeavors to maintain a strategic distance from the Fates were futile. For each situation their sentence would in the long run be conveyed. Also, it creates the impression that once the Fates' voting form had been thrown, the characters in Greek legends got no opportunity for reclamation. One must think about whether man, similar to the Greeks depicted, has any genuine decision in deciding how he lives. That issue of decision emerges when looking at Gabriel Marquez's One Hundred Years of Solitude and Yasunari Kawabata's Thousand Cranes. The men in Yasunari Kawabata's Thousand Cranes and Gabriel Garcia Marquez's One Hundred Years of Solitude always appear to rehash the lives of their male precursors. These cycles uncover that man as a being, much the same as the legendary saints, has no obvious decision in a definitive course his life will take. The male characters' self-improvement is dominated by the personality of their precursors. Clotho, it shows up, has reused a portion of her turning string. The new male ages, hastily, are seen to be woven of like plan. Kikuji Mitani and the male Buendia's face networks that recall their progenitors. Subsequently, their extraordinary networks coincidentally contrast the activities of the children with their individual dads', having perceived the obvious similitudes. Obscured by his dad's atmosphere, inside his town, Kikuji's character has no d ifferent definition. To most townsfolk, similar to those at Chikako's tea function, Kikuji exists as Old Mr. Mitani's son(16). He and his dad are in this manner saw as basically a similar individual.