The idea of ​​gender equality in Latin America is a relatively new phenomenon. Until the end of the 19th century and the beginning of the 20th century, the Age of Love and the Time of Cholera, women were mainly treated as the inferior sex. As a result, women were often excluded from public life like their male counterparts in fields such as politics, economics and education. Although women of the time did not enjoy the same social freedom as their male counterparts, Gabriel García Márquez, in his novel Love in the Time of Cholera, did not portray women as oppressed. Instead, Márquez depicts many of his female characters as strong, resourceful, and independent individuals. This is particularly evident in the way the novel presents Fermina Daza in her marriage to Dr. Juvénal Urbino as a strong, independent woman who is the intellectual equal of her husband. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay Although she did not receive the same level of education as her husband, Fermina demonstrates that she is still l the intellectual equal of her husband by outwitting her husband. rules. Unlike Fermina, who never completed his studies and never obtained his baccalaureate, Urbino "had advanced studies in medicine and surgery" to the point that "none of his contemporaries seemed as rigorous and as educated as he in his science” (Márquez 105). . Yet Urbino comes to appreciate his wife's abundant domestic knowledge and skills after she becomes "tired of his lack of understanding" and "asks him for an unusual birthday present: that for one day he would take care of the domestic chores” (Márquez 222). During her birthday, Urbino proves completely powerless in the face of domestic knowledge and skills, so Fermina must take over command of the household before lunch. Regardless of her claims that Fermina would also struggle to heal the sick, Urbino and Fermina learn from this experience that each must appreciate the other's unique knowledge and skills. Likewise, after discovering a contradiction in Urbino's proclamation that "nothing that does not speak shall enter [their] house," Fermina ingeniously discovers and purchases a Paramaribo king parrot, which speaks with a voice apparently human (Márquez 23). Thus, Urbino “bowed before the ingenuity of his wife” and recognizes that she is capable of outsmarting him and his rules (Márquez 23). Therefore, by foiling Urbino's rules, Fermina demonstrates that despite her lack of tutelage as advanced as that received by her husband, she is still his intellectual equal and he should appreciate her as such. Fermina's strong character and determination are particularly evident in her determination and refusal to let others, especially her husband, influence her choices or make decisions for her. This is clearly seen when she decides to leave and go live with her cousin Hildebranda after learning that Urbino is having an affair. As Urbino “knew very well the strength of his character,” he “simply accepted his decision with humility” (Márquez 235). However, this does not prevent Urbino from seeking to convince Fermina in her decisions, in particular by resorting to the intervention of religious figures. However, instead of convincing her in favor of Urbino and his ideas, the involvement of religious authority figures in Urbino and Fermina's relationship makes her even more adamant in her own opinions and choices. This is particularly evidentbefore their courtship, when Urbino's last resort to woo Fermina "was the mediation of Sister Franca de la Luz, superior of the Academy" (Márquez 125). As Fermina hates her, she becomes indignant and becomes more and more vehement in her refusal to speak with Urbino. This also happens when Urbino sends the Bishop of Riohacha "on a pastoral visit" to Fermina while she is living with Hildebranda in order to convince her to return home (Márquez 236). Rather than giving Urbino the satisfaction of having given in to his request, Fermina "refused in a kind but firm manner" when the bishop asked her to hear him in confession "with the explicit argument that she does not had nothing to repent of” (Márquez 236). She does not allow herself to be influenced by the bishop in her decision, but leaves with Urbino during his visit only because “she would be happy to leave with him” (Márquez 254). This is also seen during their honeymoon when, even though Fermina wanted to turn on the lights in their suite, "she wanted to be the one to do it, without anyone ordering her to do it, and she did what she wanted." she wanted” (Márquez 158). . Overall, Fermina is a strong character who does not allow others, especially her husband, to persuade her or make decisions for her, instead choosing what she wants or what is most beneficial to her . Although Fermina Daza was dependent on her husband like most women of her time, her husband was equally, if not more, dependent on her. This is particularly evident after their golden wedding anniversary, when both “were not capable of living a moment without the other...and this capacity diminished as they grew older” (Márquez 26). However, neither Fermina nor Urbino “could have said whether their mutual dependence was based on love or convenience” (Márquez 26). Urbino's dependence on Fermina is best illustrated by his need for her to care for him in his old age. As Urbino is ten years older than Fermina, as he grows he becomes weaker and weaker, leaving Fermina as the stronger of the couple. At first, Fermina simply assists her husband with tasks such as washing and dressing out of love, but for the last five years of Urbino's life, "she was obliged to do it for whatever reason." , because he could not dress himself” (Márquez 26). As Urbino declines in health with age, he comes more and more to depend on Fermina for his livelihood. Basically, Urbino depends on Fermina more than Fermina depends on him. Despite Fermina's apparent dependence on Urbino for stability and companionship, she remains very independent-minded. Unlike many other women of her time, she was independent to the extent that she did not necessarily depend on her husband for housing. This can be seen in the way Fermina "threatened to return to her father's old house, which still belonged to him" during the growing argument between her and Urbino over whether or not there was any soap in the bath (Márquez 29). This is also manifested when she goes to live with her cousin Hildebranda after learning that Urbino is having an affair. However, her independence is most clearly illustrated in the way Fermina continues to live after Urbino's sudden death. Despite his fear of possible pain associated with death, “what worried Dr. Urbino most about death was the lonely life Fermina Daza would lead without him” (Márquez 45). However, Urbino's fear is unfounded because "from her first moment as a widow, it was evident that Fermina Daza was not as helpless as her husband had feared" (Márquez 46). When Fermina's son suggests that his wife accompany him on his riverboat trip, Fermina says that she is "too big for someone.