Fate, by definition, is the universal principle by which the order of things is presumably prescribed [i] . That is, inevitable events that we have no power to alter. It is arguable that fate exists within everybody; however we are subject to make our own choices, free will. Whatever our choices are, they do not change our fate, but merely take a different path towards it. Fate plays an important role in "The House of The Spirits" by Isabel Allende and "Chronicle of a Death Foretold" by Gabriel Garcia Marquez. Looking closely into the books, one can see that the characters experience the twists and turns of fate which results directly from their own actions. A deeper look shows us how the two books are connected to fate by clairvoyance, past experiences, and by way of love.
In "The House of the Spirits", Clara possesses the ability to see and predict the future due to her clairvoyance. Although her clairvoyance makes it possible for her to be preeminent, she chooses to follow her fate as she sees it. Clara chooses to marry Esteban Trueba not because of love, but because she sees it in her future. Clara also prepares herself for her death, stating that "dying is like being born, just a change" [ii] , thus recognising that there is no possibility to escape death, as it one's fate to die. Clara, however, does have the ability and the opportunity to change what she sees but chooses to accept it and act accordingly. On the other hand, Placida Linero is an expert at interpreting dreams, but fails to recognize the augury in Santiago Nassar's dreams. If Placida Linero was to realize this indication, we can assume that Santiago Nassar would have not left the house, and if he was, he would leave armed. Maybe then he would have not been murdered by the Vicario brothers. Both cases are different, but they point to the fact that there is no escaping fate. Clara therefore chooses to follow her fate, while it was Placida Linero's fate not to realize the augury in her son's dream and protect him from a brutal murder.
In "Chronicle of a Death Foretold" the narrator tells us that for years after Santiago's murder, "he couldn't talk about anything else, because none of us could go on living without an exact knowledge of the place and the mission assigned to us by fate" [iii] , and therefore suggests that the whole town felt guilty about the murder as much as they felt part of it. Calling it 'fate' or 'destiny' would make it easier for the townspeople to accept the murder as it was, although it was preventable. The narrator proves this by telling us "most of those who could have done something to prevent the crime and still didn't do it consoled themselves with the pretext that affairs of honour are sacred monopolies" [iv] . And thus, the people who were directly and indirectly contributing to the murder suffered the consequences of it. Don Regalio De la Flor, who at first abandoned the thought of the Vicario twins after he was told they were going to kill him, dies of pure shock after looking at Santiago's body. The Vicario brothers' personal health deteriorates as they seem to understand what they did was wrong. Placida Linero closed the door on an incoming Santiago because Divina Flor had lied about Santiago's whereabouts. Cristo Bedoya, Santiago's friend, was on a mission to warn Santiago but was held up at his own house. These people had acted in free will, in the name of fear, honour, or respect, but had not changed the outcome. It can be inferred that it was Santiago Nassar's fate to die and he did. Likewise in "The House of the Spirits", Esteban Trueba suffers from his past wrong doings. His grand-daughter Alba is raped, just as he raped Pancha Garcia in Tres Marias 70 years before. His son Jaime is killed amidst the coup which Esteban was the mastermind behind it. Eventually, Esteban becomes lonely and isolated, just like his sister Ferula had said he would be. Esteban by his free will decided to do what he did and thus suffers the fate of his actions.
The love stories in both novels have two distinct connections to fate which both result in a similar outcome. In "The House of the Spirits", Pedro Tercero and Blanca meet in their childhood where they progressively fall in love with each other. However, they separate later on as Esteban Trueba refuses to accept Pedro Tercero and marries Blanca to the French count, Jean de Satigny. However, they reunite again but Blanca refuses to marry Pedro Tercero. Thus Blanca is acting on free will this time, and not by force. Still, they do finally unite and leave the country with the help of Esteban Trueba who has forgiven them. Thus in the end it was their fate to reunite. On the other hand, in "Chronicle of a Death Foretold", the love story between Angelo Vicario and Bayardo San Roman is completely opposite. Angela Vicario married without love to Bayardo, seeming as "love can be learned too" [v] . However, when Bayardo gave her back, feelings toward him evolved. Her love for him became so passionate that over the next 17 years she would write over 2000 letters for him. This was done out of free will also. Consequently, Bayardo returned to her, and thus it was their fate to reunite.
Thus, in summary, it is clearly shown that fate is linked to the lives of the characters in both novels. However fate can be determined by one's actions, or perhaps one's actions are also determined by fate. These two novels strongly suggest that fate is determined by free will, and not the other way. Jaime Trueba lived a life of good deeds but when faced with the decision to lie, he put his life on the line by refusing and thus received a death he did not deserve. Similarly, Santiago Nassar came to know about the Vicario brothers plan to kill him, and although "there has never been a death more foretold", Santiago is confused and leaves the house unarmed and meets his fate soon thereafter. Thus, each character's fate is the result of all of their actions, great and small. Thus you can expect what your fate will be by the actions you do, or like what the narrator of "Chronicle of a Death Foretold" said, "a falcon who chases a warlike crane can only hope for a life of pain" [vi] .