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The theme of "Love being recognized as fast as it is released"…

- - - - Toad's Mouth places a heavy emphasis on obsession, whether it be the men obsessed with courting or Hermelinda's viewpoint of her job. If it were not for obsession in the story, El Asturano would have never had the drive to love Hermelinda, nor would the word of mouth of Hermelinda's risqué events that her job encompasses.
    - - Theme is represented comprehensively by the quickness of the end, wherein Hermalinda recognizes the love of El Asturiano and releases her love for her work, her saloon, and her laborers.
    - - As described in Toad's Mouth; El Asturiano recognizes Hermalinda as a true love at first sight, based on his point of view that, “...after such a long journey life would not be worth living without her,” (Allende 47). As stated by the theme, his love is recognized immediately, at the sight of Hermalinda, for whom he traveled great distances to see. The emphasis of love is the drive for both Hermelinda and El Asturano, as they end with the cliche of riding into the sunset together.
    - - Toad's mouth has a setting that can be best described as "normal' with sheep roaming the plains and nothing particularly out of the ordinary. The setting Hermalinda and El Asturiano leave town with Hermalinda described as “satisfied” and the setting described as “desolate.”
- - - - The overall theme of setting love free is seen with the Walimai suffering to let the woman’s spirit go, however, he persisted and did everything he needed to in order to set her free. As Walimai said, “During the time we had walked together the woman and I had come to love one another so much that we did not want to part; but man does not control life… so I had to fulfill my obligation,” (Allende 109) which describes how quickly they fell in love yet acknowledged how he needs to let go.
    - - The setting takes place during a time of increased settling by the white colonizers onto the native land, and Walimai’s tribe is caught up in it. The dense jungle also sets up the deep but quick struggle accompanying the letting go of his new love. The setting of Walimai creates the outline for how this love connection is made and what the belief systems are that allow for it to be set free.
    - - Walimai’s and the Ila woman’s characterization allow for the feelings of love to be evident, through their interactions after her spirit entered his body, and the struggle of Walimai to let her go was also evident of this struggle to let love go, which inevitably must be let go.
- - - - Our secret aligns with our interpretation of magical realism by showing a substantial focus on the love between the couple. While the literal event of them having sex is a sign of love, it is only when both reveal their most deep secret when they truly can express their love for each other.
    - - Our Secret once again fits with our definition of Allende's magical realism, with the story carrying a deep emphasis on obsession. Unlike her other stories, this obsession is not on a particular person, but rather the man's obsession with his traumatic past. This obsession is the conflict of the story, as it prevents him from showing his love to the fullest, and is a catalyst for the reveal near the conclusion.
    - - Our interpretation of the theme is that of memories, as the main conflict of the short story is the man fighting with his memories of the past. The resolution of when the woman reciprocates his memories is also a result of memories of the past.
        
        This theme of memories is shown especially when he wants to “leave the curtain open... because he did not dare confide his night terrors to her...” (p. 134). He wishes the curtains open as the darkness brings back his experiences with his imprisonment, and he doesn’t want her to know about his inner pains.
- - - - Fitting in with the rest of Allende's magical realism, Revenge has a heavy emphasis on the Obsession of two people: this being between Dulce and Tadeo. While initially their motives for this obsession were drastically different, with Tadeo feeling love after he raped Dulce and Dulce with her drive to have revenge, they shared a common path, and when they finally met, they fell in love suddenly.
    - - Love can be seen initially in Tadeo, who felt this yearning as he truly fell in love with the girl he had raped, but this love was soon reciprocated, however briefly, when Dulce fell for Tadeo when they met. But before their marriage, Dulce commits suicide from guilt and Tadeo, without the love of is life, lives the rest of his life in pain.
      - Despite finally staring into the person she hated most’s eyes, she, “... searched deep in her own heart for the hatred she had nurtured and could not find it… She reviewed the perfect plan of revenge, but she did not find the expected happiness” (Allende 224-225).
    - - The eventual love between Dulce and Tadeo came with a sudden realization: the moment Dulce saw Tadeo for the first time in all of those years. This quick realization of this love later was juxtaposed with Dulce’s suicide, as she released herself from the pain caused by this love, letting go of their love in a moment, as quickly as it was realized; directly correlating with our overarching thematic pattern.
- - - - As with Allende's other works, Maurizia's story is pushed along due to her obsession with living her life out exactly as shown by the romance and drama of the opera. This unhealthy and fantastical obsession leads her to completely altering her life, immediately abandoning her loving family for a man named Leonardo Gómez she finds on the subway who she made the hero of her personal Opera.
    - - Love can be found throughout Tosca with Maurizia's love of the opera Tosca, the love from her husband and newborn child, and her eventual and sudden love of Leonardo Gómez, who she met on the subway.
    - - Maurizia clearly shows the theme of releasing her loving husband and newborn son as quickly as she recognizes a new, potentially manufactured out of her fantasy, love with Leonardo. She leaves her entire life behind to join Leonardo in his medical duties to live in a bizarre, malaria-stricken camp. She needs no time to adjust, nor express complaints, as she has released all expectations and has accepted the “mosquitos, poisonous insects...the hellish heat...the breathless nights, and the fact that she could not venture alone beyond the gate,” as what she recognizes in her new love (Allende 96).
      - Setting
        
        Primarily, the setting change further pushes the theme of “Love being recognized as fast as it is released” because it shows the rashness of Maurizia’s love, wherein she completely releases her old life and love to recognize and fully dive in to a new life and love.