Fate in Literature: Film and Fiction Compared
This essay examines the role of fate in literature across three distinct works: the 1986 film The Mission, the 2005 film Tsotsi, and Chinua Achebe's 1958 novel Things Fall Apart. Drawing on a broad definition of fate as a supernatural or superior force that predetermines events in a character's journey, the paper traces how the determining forces behind fate shift across literary periods — from divine will in Christian-influenced narratives to social, economic, and political systems in modern works. Through close analysis of Rodrigo Mendoza, Tsotsi, and Okonkwo, the essay argues that despite exercising free will, each protagonist is ultimately unable to escape a destiny shaped by forces beyond their control.
- Introduction: Defining Fate in Literature: Defines fate and its evolution across literary periods
- Spiritual and Political Fate in The Mission: Rodrigo Mendoza's fate shaped by God and politics
- Social and Economic Fate in Tsotsi: Tsotsi's destiny determined by poverty and broken systems
- Destiny and Pride in Things Fall Apart: Okonkwo's pride and cultural forces seal his fate
- Conclusion: Free Will Versus Predetermined Destiny: All three protagonists fail to overcome predetermined destiny
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What makes this paper effective
- The paper establishes a clear working definition of fate at the outset and consistently applies it across three different works, giving the analysis a unified framework.
- It demonstrates awareness of how the determining forces behind fate evolve historically — from divine/supernatural in ancient and medieval literature to social and political in modern works — adding depth beyond simple plot summary.
- The comparison of three very different protagonists (a colonial-era slave trader, a South African gang leader, and an Igbo warrior) strengthens the argument by showing fate operating across radically different cultural and narrative contexts.
Key academic technique demonstrated
The paper uses comparative textual analysis to build a cumulative argument. Rather than treating each work in isolation, it draws explicit thematic connections between Rodrigo Mendoza, Tsotsi, and Okonkwo, showing how all three characters attempt to exercise free will yet are overcome by forces — spiritual, social, or political — that have predetermined their outcomes. The integration of a secondary scholarly source (Bangert) to reinforce the Okonkwo analysis models the use of critical support alongside primary-text evidence.
Structure breakdown
The essay opens with a theoretical introduction defining fate and tracing its literary evolution across periods. It then moves through three case studies in chronological order of analysis: The Mission, Tsotsi, and Things Fall Apart. Each case study identifies the specific force (divine, socioeconomic, or cultural-political) driving fate for that work's protagonist. A brief concluding paragraph ties all three characters together, reinforcing the central thesis that free will cannot overcome predetermined destiny.
Introduction: Defining Fate in Literature
Stories — whether presented in film, print, or oral tradition — share important commonalities. One of the most significant shared elements in stories that have persisted for hundreds, perhaps thousands, of years is the role of fate. Fate in literature can be broadly defined as the power, influence, or will of a superior or supernatural force that stages and predetermines events in the journey of a story's main character.
A classic example is the tragedy of Oedipus Rex, the infamous tale of a king who desperately seeks to outrun, challenge, and contradict fate, yet is unable to do so because the supernatural forces above him — the Gods — have predetermined and staged inevitable events in his life. Fate is a compelling topic to explore in relation to storytelling because it challenges the notion of free will. This is important because in many adventures or epics, free will is closely associated with concepts of uncertainty and adventure, both of which generate excitement. If fate is inevitable, it diminishes the excitement of a story by removing meaning and value from the decisions characters make.
On the other hand, fate can also be considered a blessing or a source of comfort, because both readers and characters can release themselves from guilt and disappointment by placing responsibility for the final outcome on supernatural forces beyond their control. Analyzing fate in literature requires accepting that there are forces beyond any character's control. It can be compared to a puppet show, where a puppeteer controls all the characters while simultaneously providing the audience with the illusion that those characters possess free will.
In earlier works of literature, especially those of ancient Greek origin, the supernatural forces that determine fate are easy to identify. The same can be said for Medieval and Renaissance literature, which was heavily influenced by Christianity; in both periods, God appears as the determining supernatural force behind fate. In more contemporary and modern forms of literature — including film — the factors behind fate are more diversified and complex. Beginning primarily in the Victorian Era, social and cultural issues came to the forefront of literary exploration, and less emphasis was placed on supernatural or spiritual forces. Instead, social, economic, cultural, and governmental systems became the determining forces of fate.
Works Cited
Bangert, Andrea. "Epictetus and Oedipus." Diss. UCSC, 2001. Web. 21 Feb. 2011.
Bloom, Harold. Sophocles' Oedipus Rex. New York: Chelsea House, 2007. Print.
Booker, M. Keith. Things Fall Apart, by Chinua Achebe. Pasadena, CA: Salem, 2011. Print.
"Defining Fate." Fate. Princeton University, 15 Sept. 2003. Web. 15 Feb. 2011.
The Mission. Dir. Roland Joffé. Perf. Robert De Niro. Warner Brothers, 1986. DVD.
Tsotsi. Dir. Gavin Hood. Perf. Presley Chweneyagae. Miramax Films, 2005. DVD.
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