The treatment and lives of ladies in the Colombian town and the time period of the 1950's, makes the reader alert to the harsh fact of the battling women. The reader can only just sympathise with society's treatment of women; however, feel resentment towards how women were 'reared to get wedded. ' The way in which the Vicario sisters were brought up is stunning to the reader but not shocking, the girls were trained 'screen embroidery, to sew by machine, weave bone lace, wash and flat iron, make artificial blooms and fancy chocolate' (lines 3 and 4), the author's motives of list these skills emphasises the early development of social anticipations on women, education is needless. The passage provides reader an perception into the development of the Vicario siblings, especially the way the Vicario sisters were raised to 'suffer from', something any man would be happy with to have them as wives. The type of Angela Vicario is the central body of the book and of the tragic happenings. As Angela is the only character who knows whether or not Santiago Nasar was guilty of taking her virginity, which still lies in question.
From the beginning of the passing there is an evident divide between the developments of the Vicario siblings because it is acceptable in South American culture, something the audience might not exactly be accustomed to. The usage of short, sharp sentences such as 'The brothers were brought up to be men. The girls have been reared to get wedded' (lines 1 and 2), emphasises in an almost 'matter of reality' way that this was what Colombian culture required and it cannot be questioned. The result that this is wearing the reader is that they notice the Colombian culture that Marquez desires to portray. What is more striking is the utilization of these brief sentences at the start of the passing which lures the audience straight away in to the culture, 'the brothers were raised to be men. Girls have been reared to get hitched' (lines 1 and 2). The audience is launched to the first development of the characterisation of male superiority, and inevitability of the outcome of women in life, due to what they have grown up to believe and respect, this can't be argued against.
The build of the passage becomes poignant halfway through, the narrator considers the wives of the Vicario brothers who are unable to 'break the group', which describes the inevitability of the traditions retaining the females in a constant struggle with their cultural expectations, that they cannot get away unless that circle is damaged. The wives of the brothers 'were predisposed to find hidden motives in the designs of men' (lines 20 and 21), so they were also raised with the practices and worth as the Vicario sisters were raised with. The women were taught to find the intentions men acquired for women, so it can be argued that the Vicario wives were questioning the goals of these culture, and what men really needed from their women, as it appears it was not love; a revelation to the strict Colombian principles that the residents of the city were pursuing, such as honour which lead up to the murder of Santiago Nasar.
Angela is referred to by the narrator's mom to be 'like the fantastic queens of history '(lines 23 and 24) due to the way she was born with the 'umbilical wire around her throat' (lines 24 and 25). This superstition reemphasises the values of the culture, by contrasting Angela to the great queens of history, is merely because she actually is to be wed to the prosperous San Roman, a guy who clearly chose Angela because of her beauty, further making Angela lucky in both marriage proposals and her beauty, roughly it seems for the moment. For the character types of the reserve, the relationship proposal seems just like a royal marriage destined for great things, especially for the Vicario family. The writer's motive of evaluating Angela to such important information is to help make the reader alert to Angela's beauty and importance of this matrimony. As Angela is the 'prettiest of the four' (brand 22), she seems the only women good enough for the wealthy San Roman. This superficial view of beautiful women achieving success and eligible for high status plays a part in the culture of the written text and the controversial function of the alleged infidelity. An intentional irony of the information of the 'umbilical cable wrapped around [Angela's] throat' is shown when the narrator represents Angela as having a 'hopeless air', emphasising the battle to 'breath' due to umbilical cord suffocating her around her throat. However, it may also be argued, the lack of freedom Angela has of her own life and body, also ironic due to the alleged infidelity in which she cannot control her body from showing sign of this. Marquez's objective in using both of these similar explanations but in various contexts is to spell it out the dependence that Angela has upon her life and the lack of control women in Colombian culture have.
The narrator repeats throughout the passing and the whole text Angela's personality as 'poor', however it can be argued that is not necessarily financially but spiritually too. This can be credited to Marquez's intentional method in displaying the 'poor' lives that ladies live without help and the tiny chance that's available to flee this life-style and the results of their purpose for being a woman. Also, the use of what 'destitute' and 'a poverty of nature' emphasise having less emotions and facial expression that Angela exhibits particularly following the murder, years later which is when the narrator fulfills her. With regards to the culture, it indicates having less notion that Angela may have of her culture and religious beliefs, specially when using the word 'heart' which Angela doesn't have a lot of. This emphasises not merely the lack of idea Angela has, but the hopelessness she feels having been brought up with the restrictions she seems with being a female. The narrator represents Angela as using a 'hopeless air and a poverty of spirit that augured an uncertain future for her', which in retrospect for the reader, is appropriate for the narrator to own assumed. The 'hopeless air' that Angela possesses is the loveless life that she leads now; she had not married since the murder and for that reason leads an 'uncertain future' as to her life now. The importance of the quotation is the fact it signifies the hopelessness that women of the Colombian culture endure; the hopeless chance of having freedom and independence from a mostly patriarchal world. This use of metaphors gives the illusion of a female with a lack of belief or wish, leading a life that was already decided for her, an observation cleverly referred to by the narrator to help the audience understand the religious facet of Angela's identity.
The use of recollection and unintentional flashbacks to the Vicario siblings' years as a child propels the reader into thinking about the inevitability of the way the characters was raised in the Colombian culture and the outcome of the upbringing from what is expected of these. What's ironic is the rebellion from this culture which causes the infidelity however the excuse of honour which causes the murder of Santiago Nasar.