The House Of The Spirits And Chronicle Of A Death Foretold Comparison Term paper
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When analyzing Isabel Allende's and Gabriel Garcia Marquez's lives, parallels between them become increasingly obvious, thus the rationalization for some of the similarities that are observed between their historically fictional novels The House of the Spirits and Chronicle of a Death Foretold, respectively. One of the most obvious parallels is the influence of women on both of them. Allende dedicates The House of the Spirits "to my mother, my grandmother and all the other extraordinary women of this story," showing feminine influence, and Marquez grew up in a household with his grandmother and numerous aunts, therefore he would also show the influence of women; also, both novelists are from Latin and South America, thus they both would most likely show literary elements that are characteristic of that geographic area. Because of their similar influences, the theme of 'the great mental, and sometimes physical, strength of women' is prominent in both of their works. When analyzing this theme in both novels, the two most distinct semblances are: in both novels at least one female character has the sagacity to possess some kind of preternatural ability, and women have the strength to endure a marriage without loving their suitor. Although the works are very similar, there are some differences. Two differences between the works are that in Allende's novel, when they are children, women are not taught domestic, not taught about the sacrifices of marriage, whereas in Marquez's novel, they are; and how each author portrays some of these similarities and differences contrast.
Characteristically, Latin American fictional novels exhibit elements of magical realism; these two novels are no different. One of the most prominent characters in Allende's work, Clara, is an example of a character who Allende uses magical realism to characterize. Clara "could interpret dreams….could predict the future and recognize people's intentions, [and] abilities….[could] move objects without touching them" (Allende 66-67) and other things that are beyond the abilities of most other characters. Other female characters exhibit characteristics like Clara in the novel, but none as pronounced or developed as hers. In Marquez's novel, Placida "had a well-earned reputation of an accurate interpreter of other people's dreams," (Marquez 4) and many other female characters get premonitions and omens before Nassar is killed. Both of these authors use magical realism to give the reader the feeling that there is something beyond that physical world, something important contained in our dreams, and they use it especially with the female characters to emphasize the fact that sometimes females may be physically weaker than males but they are not as mentally weak. They also use it to invoke a certain respect for women and they parts that they play in the story itself, but also in the family and the world as a whole.
In both novels, set in the same time period and in similar societies, the notion that the females must marry a man without loving him and nearly independently withstand the union is prevalent. In The House of the Spirits, Blanca does not want to marry Jean and protests:
"I'm not getting married, Papa," [Blanca] said. "Be quiet!" [Trueba] roared. "You're getting married….Don't talk back to me! I want you to know that Pedro Tercero Garcia is dead. I killed him with my own hands, so you might as well forget about him and try to be a good wife to the man who's going to lead you to the altar." (Allende 215)
Blanca does not love Jean and does not want to marry him, but nonetheless she must. Even more, children know, from a very young age, that they will be forced to marry and endure a marriage that typically lasted for the rest of the couples' lives. Clara "had already made up her mind to marry without love" (Allende 90). That shows extreme strength of character and will-power. Marriage without love is also evident in Chronicle of a Death Foretold when Angela will marry,
Angela Vicario never forgot the horror of the night on which her parents and older sisters with their husbands, gathered together in the parlor, imposed the obligation to marry a man whom she had barely ever seen…her mother demolished [her objection] with a single phrase: "Love can be learned too." (Marquez 38)
This citation explains it all; Angela Vicario is forced to marry without love and endure the marriage while trying to learn to love someone. "It was Angela Vicario who didn't want to marry him. 'He seemed too much or a man for me,' she...
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