Simultaneously, however, the novel offers a much more nuanced view, equating romantic obsessions to sickness. Spanning the decades between the 1880s and the 1930s in an unnamed city in Colombia, the threat of infection is pervasive throughout the story and is baked into the very environment. Márquez describes “steamy and sleepy streets, rat-infested sewers, old slave quarters, decaying colonial architecture, and multifarious inhabitants.” Márquez argues that in the same way that cholera is dangerous and highly contagious, so too is romantic obsession.
While Fermina succumbs to the pressure of her father and marries the wealthy doctor Juvenal Urbino, Florentino remains emotionally devoted to her. He pines after her throughout their years apart, while also having hundreds of affairs with other women, who he moves through and discards like a violent illness. Márquez’s writing is so exquisite that it is easy to see Florentino’s devotion as romantic and noble, but in reality, he is the disease. When he and Fermina are finally reunited, he lies and says that he has never been with anyone but her. His passion is a sickness that he is unable to recover from.
Perhaps the true love story of the novel is actually between Fermina and Dr. Urbino. Although she initially dislikes him and marries him for pragmatic reasons, they build a long-lasting and meaningful relationship. Florentino and Dr. Urbino are fascinating parallels to one another, causing us to investigate our conceptions of love, happiness, and health. Dr. Urbino is the logic and reason to Florentino’s unbridled passion. While Florentino spreads the novel’s metaphoric disease, Dr. Urbino is committed to stopping the literal spread of cholera and bringing “order and progress” to the Colombian health system. Florentino claims to be devoted to Fermina while lying about the many women he has been with. Dr. Urbino is at one point unfaithful to his wife, but he confesses and they are able to move forward. Florentino is obsessed with a romanticized ideal, while Dr. Urbino experiences the realities and challenges of married life with Fermina.
Márquez argues that Florentino is sick and contagious. Unable to recover from his unrealistic ideals, he harms himself and others. In the end, it is Fermina and Urbino’s relationship that is both physically and emotionally healing, because they are able to build a real love rather than an imagined one.