Despite some act of defiance from most women, there are still a lot of cultures who practice the tradition of arranged marriage. As a trade-off, women sacrifice their personal feelings and emotions for the sake of pleasing their family and following what tradition dictates. Love is deeply compromised in an effort to bridge the gap between an aging custom and family pride and dignity. Cleófilas is no exception to this rule when she agreed to marry Juan Pedro, a man whom she hardly knew but nonetheless has a decent disposition.
Just like most Latin, Asian, and European women, Cleófilas is also agog with telenovelas and soap operas as it acts as an outlet over one’s frustrations in real life. This imaginative imagery also serves as their emotional outlet and standard for the meaning of true love. Betrayal, acts of deceit, and broken heartedness are only a few of the events that are being taught in these telenovelas towards the conquest of true and eternal love. This had made Cleófilas believe and accept that love is not always perfect, and that to suffer for love is good; that a woman must sacrifice her freedom, endure physical abuse, and emotional battery – all in the name of love.
Such connection, between true love and telenovelas, may sound absurd, but this is the reality for most women. Mexican women for one can attest to this, hence the powerful presence of soap operas that has continued to dominate television screens since time immemorial. All the pain, grief, shame, rage, and joy being portrayed in these “soaps” have made Cleófilas realize that “to suffer for love is good. The pain all sweet somehow. In the end…” (45).
Before, she had always thought of fighting back if and when a man would strike her. But when this moment came, “he slapped her once, and then again, and again…but she didn’t fight back…as she imagined she might when she saw such things in the telenovelas” (47). The inability to