Destiny is shown to be a common concept throughout ancient and modern works. From Oedipus Rex to Walt Disney's Brave, the power of destiny is highly recognized in our culture; then whether it is accepted or not is another story. Through the use of memory, repetition, and the concept of destiny, Gabriel Garcia Márquez is able to tell the story of the creation and destruction of the city of Macondo as he struggles through trials of a historical, biblical, and fantastical nature. One Hundred Years of Solitude is a novel of magical realism in which the inhabitants of Macondo follow paths already taken and come to the same conclusions, implying that their destiny was fixed from the beginning of the city's creation. Aureliano even reads a prophecy about the destruction of the city and as time passes, people and places play their assigned roles and vanish, floating into heaven or dragged away by a ghost. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The purpose of One Hundred Years of Solitude is to show that the future may already be predetermined, but it will still be a mystery to those who experience It. The world can “exist in a state of flux; they assign purpose and meaning to some lives and, at the same time, empty the same from other lives” (Isip 133). This allows history and memory to be manipulated to serve the purposes of each of the characters. Repetition is shown throughout the novel and madness is served as a result of this. “I was thinking the same thing, but suddenly I realized that it's still Monday, like yesterday. Look at the sky, look at the walls, look at the begonias. Today is Monday too” (Garcia Márquez 77). This scene is slightly realistic because if one thought that every day was the same, one would probably believe that one was going crazy. This goes to show that time is not always what it seems and that it can easily slip away from you. The idea that the future can be predetermined continues to be shown because “One Hundred Years of Solitude has a circular structure – an enclosed totality – that links the end to the beginning and vice versa” (Stavans 274). The characters also realize that time has repeated itself and the novel continues to link one character to another from previous generations. This creates the illusion that everything is connected by more than just blood, and that each fate has been determined by a previous experience. Another purpose of One Hundred Years of Solitude is to show that Macondo was built with hard work. Garcia Márquez writes: “The primitive edifice of the founders was filled with tools and materials, or workers exhausted by sweat… exasperated by the sack of bones that followed them everywhere with its dull clanking” (Garcia Márquez 55). the city was much more positive and pure than the way it ends, which is within a massive storm, completing the cycle from man-made return to nature. Repentance continues to play an important role as Garcia Márquez distances himself from major historical events as he constructs One Hundred Years of Solitude. Seaman states that “the perspective on the glories and follies of mankind and the perpetual 'truthfulness of nature' are newly interesting and relevant” (Seaman 39). The perspective offers a glimpse into the struggles and highlights of the city's existence and shows its realism. Over time there have been many destructions of towns and cities due to the works of nature and many towns and cities have been built just as Macondo was. Garcia Márquez also makes direct references such as "on the eve of the elections, Don Apolinar Moscote himself read a decree that prohibited the sale of alcoholic beverages and the meeting of more than three people who did not belongto the same family" (Garcia Márquez 95). Here he refers to how in the 1920s and 1930s there was Prohibition, which also prohibited the sale of alcohol. This scene also shows the tight control over the city, which exists as a unhealthy and rigid that prohibits a common way in which people abandon bad memories. Memory turns out to be very powerful because "history and memory are useful only to those who understand the unreliability of the terms 'history' and 'memory' (which... . are interchangeable since both are mere constructions)” (Isip 139). The only choices for a character are to be the victim of a past cycle or to be the one who creates the cycle example, the banana plantation riot that ends with a massacre that no one in the city seems to know about. Here the massacre begins in a surreal way. It is as if the rioters have already experienced it before, which is ironic because the. event really happened. In addition to referencing historical events, Garcia Márquez also references the Bible. “Western familiarity with the Bible would explain why it has been the focal point of research into the novel's mythological sources, even though One Hundred Years is devoid of a Noah-like figure and boat building, and no figure of Mount Ararat in the background where such a boat might land” (Corwin 65). This implies that the reason Macondo may not have been saved is that there was no Noah-like figure who could save some of the inhabitants as Noah did. The novel's conclusion may have allowed the city to survive, or at least be rebuilt just as Noah rebuilt what had been swept away. There is also a time when the city went back to a time similar to the beginning of the creation of the world, when it was said that Adam and Eve had to name all objects. It was then that the city was struck by amnesia and everything was given a new name within the city of Macondo. A sense of purity is shown as everything must be renamed and the world seems to have returned to when it was first created with Adam and Eve. Luckily, however, everyone manages to regain the memory of the objects around them. This is especially fortunate because there is no telling how much the city could have regressed. Even the main labeling of God would one day no longer be understood if the city, for example, lost the ability to read as it regressed. As Stavans says, “The Buendia are defined by the biblical curse of incest from the very beginning of the tale” (Stavans 273). This shows that the curse is known as a generational curse. The names of each of the characters are repeated, making the father literally the same as the son. Just like in the Bible, there is always a punishment for sin, which is shown as Macondo is destroyed. Memory is one of the most powerful themes within this novel, because "neither history nor memory provides an absolute and reliable truth about the past and the future, but are, instead, constructions of the individual" (Isip 133). Even if previous experiences had been recorded, there is no guarantee that the advice would be clear or even followed. There is no guarantee that the past will not repeat itself, but it is likely to do so without any attempt to look back. In the modern era, when history repeats itself it is much easier to The current use of technology allows the past to be easily recorded and then distributed throughout the world more related and do not particularly come from far away, it is less likely that news will come from far away and arrive in a timely manner. On the other hand, one might think that the communication of.