"Like Water For Chocolate", understanind Pedro's death.
Not to downplay or critize Esquivel, but the way she fashioned her text was done so in a way that certain things were evident from the very beginning. One such instance is the fate of Pedro, the divine love to Tita. The reader understands very early on that he is predestined to parish in a glories tragic display of their eternal love. While this act may be labeled predictable, the author still managed to throw in a few twists. The manor in which Tita's love wavers, for example, with the good doctor. During that brief section of the story, she overrates and glorifies the relationship while underplaying Pedro's character and his significance entirely. This causes the reader to 'change gears', questioning the very foundation of the stereotypical 'cheesy romance novel'. Even with such aspects taken into consideration, the novelty is not dwelled on for a direly extensive interval of time, and the story
As such, in the cruel world we've come to live in a simple understand of homeostasis hinders all of our outlooks. Shouldn't foreshadowing play a larger, more important role in influencing our predictions, not simple stereotypes? The only logical answer one can soundly draw from is that of another cliche, "If it's too good to be true, then it usually is. Taking all of these actions into account, one simply cannot help but to wonder why certain writings are like this, how such things have become to be expected, even when not entirely obvious. quickly reverts back to it's primary scheme, bringing back all of the same expectations and previous predictions. The pretty people must be flawed, the innocent must be oppressed, and life goes on. "Those who live the by sword--die by the sword". Case in point, when a story seems to be following a traditional, sometimes even mundane template, strive to digest the material in another perspective. While the precedent may be set, There is no such rule carved in stone that states it must be completely upheld. By creating as aspect of forbidden pleasure, the element of danger is introduced. As a climax to the ecstasy, death simply must be introduced. So bring on the danger, welcome the passion, laugh for the joy, beam for the love, and cry for the tragedy! I plead insanity for attempting to rationalize that without logic or purpose, I am a reader, it's what I do. In dull and bland existences, this may be welcomed with much appreciation. Pedro does die, tradition upheld, stereotypes bought into; but his death did not limit any of his lifetime expectancies in the manor of love, for he was an old man when he died. " Pedro was nearly perfect; Tita was the poster-child for perfection. It would only seem appear to be a worthy ending for the wild and forbidden true love, no substitutes accepted.
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Tita Predo,
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Acceptance Essays
