First, she tries legalistic disputation: all right, it was our hero's name, but the voice that pronounced it belonged to the Hunk. John, that pagan fertility festival newly clad in Christian garb, is (gasp!) that of the Regular Guy! The lady, it seems, has a quarrel with destiny. The name that she hears, however, just after midnight on the feast of St. Whom will the lady choose? She believes it will be the Hunk she is determined that it shall be. He is, however, intelligent, gallant, sincere, and generous of heart. That he likewise lacks an impressive fortune. Both he and the lady tell us that he is plain of face, that his body is unlikely to light anyone's fire, and He understands perfectly that his attractions pale beside those of the Hunk. The lady, it goes without saying, is in love, so she finds it difficult to pay much attention to the other contender: our hero, the Regular Guy. The lady does not know that he also strings women along for the sense of power it gives him she is also unaware that he is a compulsive prevaricator and that an ugly streak of brutality runs through his character. The odds-on favorite of the moment is a studmuffin: abs and buns of steel, flashy dresser, flashy talker. She has, of course, many suitors but although a duke eventually tosses his hat into the ring, only two of the others stand out. Picture this: a lady, beautiful (of course), young (probably mid-twenties, although she clearly believes that time is running out on her chance to carpe that diem), wealthy, noble, and a widow. El proceso se revela con gran claridad en Persiles, donde el autor hasta contradice el desarrollo orgánico del género de la obra para cumplir con sus ideas sociales. Si analizamos las situaciones de estas mujeres con cuidado, sin embargo, vemos que las posibilidades suyas quedan bien limitadas por ideas corrientes sobre el papel correcto de la mujer, a pesar de la insistencia en su libertad absoluta a tomar las decisiones. Vez tras vez, sus personajes femeninas se juzgan según la manera en que deciden con respecto a su propia sexualidad. A Cervantes parece preocuparle en particular el problema de la libre decisión femenina en cuanto al matrimonio. La cuestión del libre albedrío es una que surge en muchas de las obras literarias del Siglo de Oro, y quizás la mayoría de las cervantinas.
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