 and his gullibility in trying to retrieve the sunken treasure of a shipwreck. It is also made evident by the fact that society in the story believes that Fermina  and  Juvenal Urbino are perfectly happy in their marriage, while the reality of the situation is not so ideal. Critic Keith Booker compares Ariza’s position to that of Humbert Humbert in Vladimir Nabokov’s Lolita, saying that just as Humbert is able to charm the reader into sympathizing with his situation, even though he is a "pervert, a rapist, and a murderer," Ariza is able to garner the reader’s sympathy, even though the reader is persistently reminded of his more sinister exploits.[4]Narrative as deconstruction[සංස්කරණය]The notion that García Márquez's "trap" refers to our temptation to oversimplify and reduce his narrative to an elementary love story is further supported by the fact that the novel holds up and examines romantic love in myriad forms, both "ideal" and "depraved", and continually forces the reader to qu