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57 pages 1 hour read

Love in the Time of Cholera

Fiction | Novel | Adult | Published in 1985

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Section 3Chapter Summaries & Analyses

Pages 101-125 Summary

Dr. Juvenal Urbino returns home from Paris after years in Europe. While abroad, he recalled his city with fond nostalgia, but when he comes home, he finds his city is a ruin: “Everything seemed smaller to him than when he left, poorer, and sadder…” (102). He lives in his deceased father’s mansion in the old part of town with his widowed mother and aging sisters. Urbino is terrified of cholera and so he has become an expert in the field—his father died trying to fight cholera, and Urbino is dedicated to making improvements to city infrastructure in order to fight cholera. He suggests water treatment, closed sewers, and teaching the poor to build latrines. The people mock him and his ideas, but when cholera disappears from his city, the people thank him.

During this period, Urbino meets Fermina Daza. He treats her for a suspected case of cholera, which turns out to be a mild stomach ailment. After the treatment, the doctor is unable to forget her. He finds ways to return to her house, and he befriends Lorenzo Daza, who wants the doctor to marry Fermina though Fermina hates Urbino and refuses to reply to his many letters. Change only comes with Fermina’s lovesick cousin Hildebranda Sánchez visits from the provinces. She has been sent away to break her attachment to a married lover, and Hildebranda soon encounters Florentino at the telegraph office. He rewrites her love notes and sends them to her lover for her. Hildebranda is disgusted by Fermina’s spurning of Florentino, whom Fermina had loved for so many years from afar.

Pages 126-158 Summary

Hildebranda brings Fermina out of her cell. One day they dress up in old gowns to get their picture taken in the market, and men walking by mock them. Urbino drives by in his carriage and drives them home. Along the way, he jokes with Hildebranda, and Fermina grows furious at their antics. Hildebranda cannot contain her delight with Urbino that night, and the next day, Fermina finally replies to Urbino’s letter.

Florentino hears news of Fermina’s wedding to a man of prestige, and he weeps uncontrollably for a week. His mother secures him a telegraph operator’s position in a faraway city in the mountains and sends him away on a river boat. Before he goes, he plays Fermina a love song one last time: “At midnight, he put on his Sunday suit and went to stand alone under Fermina Daza’s balcony […]” (133).

An outbreak of war and the threat of cholera on the banks of the river imprison Florentino on the river boat. He loses his virginity to a woman who pulls him into a cabin one night, and this act enables him to feel some relief from his suffering over Fermina Daza. Once he arrives at his destination, however, he cannot endure the thought of living apart from his true love. He returns on the next passage to his city and vows never to leave. Florentino is relieved to hear that Fermina is honeymooning in Europe, and he begins a relationship with a grieving war widow, the Widow Nazaret, who also finds solace from her unhappiness in sex. After a siege in the city ends, the Widow Nazaret becomes an unpaid prostitute, calling herself “the only free woman in the province” (146). From that casual affair, Florentino goes on to fill twenty-five notebooks with the names of his conquests, more than six hundred women in total.

Meanwhile, Fermina dreads the night of her first sexual encounter with her husband. After the wedding, which is one of the most illustrious affairs of the century, Fermina Daza and Urbino enjoy lovemaking, primarily because Urbino is patient with and attentive to his nervous wife. They spend many months in Paris, making love each day, and Fermina Daza adapts to life there with ease. But when she returns to her city, she is dismissive of their time away, claiming that Europe is not as impressive as it seems. 

Section 3 Analysis

In this section, García Márquez introduces the ideas of nostalgia and freedom for women to drive the plot forward and enhance the reader’s understanding of various characters in the novel. The narrator’s descriptions of Urbino’s longing for a time long past and his decision to resurrect the city hint at Urbino’s great confidence. This characteristic is one he shares with Florentino Ariza, suggesting that Fermina Daza, for all of her independence and desire for freedom, is happiest and most comfortable with men of similar strength.

Urbino returns from Europe and struggles with the nostalgia of his memory compared to the dirty, backwards city. He contemplates the flawed perception of people in the city, whose pride and nostalgia stop them from seeing the truth of their economic downturn and parochial attitudes:

That is how they were: they spent their lives proclaiming their proud origins, the historic merits of the city, the value of its relics, its heroism, its beauty, but they were blind to the decay of the years. Dr. Juvenal Urbino, on the other hand, loved it enough to see it with the eyes of truth (106).

Urbino’s struggle with nostalgia drives him to manifest a city that he loves. He takes on hundreds of civic projects so that the city of his dreams can match the city of reality. Here, the notions of illusion and fantasy again intersect with reality and recognition, demonstrating the complexity of García Márquez’s perceptions of human nature.

García Márquez also introduces the idea of freedom for women, specifically sexual freedom. The Widow Nazaret is described as “the only free woman in the province” (146) because she can have a sexual relationship with whomever she likes. Her freedom to love as she pleases, because of her widowhood, speaks to the limited freedoms of women at this particular time and place. The setting is an ironic location in which to place a novel about enduring love; here, only death or rejection by men provide women with opportunities to follow their own hearts; otherwise, they are servants to their husbands. The widow’s liberated attitude towards sex are a foil to Fermina’s nerves and anxiety as she prepares for her wedding night with Urbino, just as the widow’s husbandless state is an ironic contrast to Fermina’s newlywed status.

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