shǒuyè>> >> 外国经典>> jiā · 'ěr Gabriel Garcia Marquez   lún Colombia   gōng yuán   (1927niánsānyuè6rì)
bǎi nián One Hundred Years of Solitude
  《 bǎi nián 》 - jiǎn jiè
  
   bèi wéi zài xiàn dīng měi zhōu shǐ shè huì jǐng de hóng piān zhù debǎi nián 》, shì jiā · 'ěr de dài biǎo zuò shì dīng měi zhōu huàn xiàn shí zhù wén xué zuò pǐn zhōng de dài biǎo zuòzhè xiǎo shuō shì zuò zhě gēn dīng měi zhōu xiělínlín de shǐ shì shí , píng jiè fēng de xiǎng xiàng , miáo huì 'ér chéng de。《 bǎi nián shì lún zhù míng zuò jiānuò bèi 'ěr wén xué jiǎng huò zhě 'ěr shí 18 yuè chuàng zuò de xiǎo shuōchéng shū 1966 niánbèi 'ēn wéiměi zhōushèng jīng》”, duō nián lái nián lái hǎo píng cháoyǐng xiǎng liǎo zhěng shì jiè
  
   zuì chū lìng shì jiè zhèn jīng de shì de shù fāng shì:“ duō nián hòuào léi liáng nuò · 'ēn shàng xiào miàn duì xíng xíng duìzhǔn huì xiǎng qīn dài jiàn shí bīng kuài de yáo yuǎn de xià …” zhè wéi quán shū diàn dìngyuán zhōu shìhuò yuán xíng shì jié gòu de kāi piān fǎng yǒng héng 'ér de yuán xīnquè néng guò jiāng lái láo láo zài mǒu rén men xiǎng jiànshèn zhì gǎn tóng shēn shòu de xiàn zàijǐn suí hòu de shì zuò zhě lìng rén dèng kǒu dāi de huàn cǎihòu xiàn dài zhù zhě men duì zhī jìn xíng liǎo xuán zhī yòu xuán de jiě
  
   rán 'érzài 'ěr kàn lái,《 bǎi nián zhǐ guò shì jiè yòng liǎowài de kǒu wěn”,“ lǎo rén jiā jiǎng shì jiù shì zhè zhǒng fāng shìhǎo xiàng rén jiù zài yǎn qiánshì qíng zhèng zài shēng…… ér qiě cháng cháng rén guǐ fēn jīn lún huí。” jīn kàn lái,《 bǎi nián de zuì diǎn zài yòng wài de biǎo shù fāng shìzhǎn xiàn liǎo měi zhōu rén de shǐ shuò de shítōng guò duìshèng jīngde fǎng tuò zhǎnbìng jiè 'ēn jiā dàimiáo huì liǎo rén lèi de zhǎn guǐ héng héng cóng chuàng shǐ dào yuán shǐ shè huì shè huìfēng jiàn shè huìzài dào běn zhù shè huìnǎi zhì kuà guó běn zhù shí dài
  《 bǎi nián 》 - zuò zhě jiǎn jiè
  
   'ěr 'ěr
  
   'ěr ( GabrielGarclaMarquez, 1928-) lún zuò jiāquán míngjiā liè 'ěr · jiā · 'ěr shēng lāi de 'ā zhèn de shēng jiā tíng。 8 suì qián zhí shēng huó zài wài jiāwài shì wèi shòu rén zūn jìng de shàng xiàocān jiā guò liǎng nèi zhànwài shì wèi qín láo de zhù hěn huì jiǎng shén huà shìzhè duàn chōng mǎn huàn xiǎng shén cǎi de tóng nián shēng huówèitā hòu lái de wén xué chuàng zuò gōng liǎo fēng de cái
  
   zài zhōng xiǎo xué xué jiān yuè liǎo liàng de jīng diǎn zuò pǐn。 18 suì xué gōng yīn zhèng dòng dàng 'ér zhōng chuò xuéjìn bào jièbìng kāi shǐ wén xué chuàng zuò。 1955 nián cháng piān xiǎo shuō zhī bài wèn shìyǐn měi wén xué jiè zhòng shì shòu hǎo píng。 1962 nián biǎo liǎoè shí chén》, xiǎo shuō huò měi guó 'āi suǒ shí yóu gōng zài bàn de 'āi suǒ jiǎng。 1967 nián debǎi nián hōng dòng liǎo bān wén xué jiè bìng diàn dìng liǎo zài shì jiè wén tán shàng de wèiyóu zhè xiǎo shuō de chéng gōng xiān hòu róng huò lún wén xué jiǎng guó zuì jiā wài guó zuò pǐn jiǎng měi zuì gāo wén xué jiǎng héng wěi nèi ruì luó luò · jiā liè guó wén xué jiǎngbìng 1982 nián huò nuò bèi 'ěr wén xué jiǎng lún yán xué yuàn míng yuàn shì chēng hào
  
   zhù yào zuò pǐn yòu:《 zhī bài 》、《 è shí chén》、《 bǎi nián 》、《 huò luàn shí de 'ài qíng》、《 gōng de jiāng jūn》、《 de shàng xiào wài de shì》、《 guó shì shí 'èr piān》、《 'ěr · liǎo huí guó xiǎn děng
  《 bǎi nián 》 - zhù shū bèi jǐng
  
   cóng 1830 nián zhì shàng shì de 70 nián jiān lún bào guò shí nèi zhànshǐ shù shí wàn rén sàng shēngběn shū hěn de piān miáo shù liǎo zhè fāng miàn de shǐ shíbìng qiě tōng guò shū zhōng zhù rén gōng dài yòu chuán cǎi de shēng zhōng biǎo xiàn chū láizhèng men de wěitǒng zhì zhě men de cán rěnmín zhòng de máng cóng mèi děng děngdōu xiěde lín jìn zhì
  
   zuò jiā shēng dòng de chù huà liǎo xìng xiān míng de zhòng duō rén miáo huì liǎo zhè jiā de jīng shénzài zhè jiā zhōng zhī jiān zhī jiān zhī jiānxiōng jiě mèi zhī jiānméi yòu gǎn qíng gōu tōngquē xìn rèn liǎo jiějìn guǎn hěn duō rén wéi jìn xíng guò zhǒng zhǒng jiān de tàn suǒdàn yóu zhǎo dào zhǒng yòu xiào de bàn fēn sàn de liàng tǒng láizuì hòu jūn shī bài gào zhōngzhè zhǒng jǐn màn zài 'ēn jiā gòng duō zhènér qiě shèn liǎo xiá 'ài xiǎngchéng wéi 'ài mín xiàng shàngguó jiā jìn de bāo zuò jiā xiě chū zhè diǎnshì wàng měi mín zhòng tuán jié láigòng tóng bǎi tuō suǒ ,《 bǎi nián zhōng jìn yín zhe de gǎn zhù yào nèi hán yīnggāi shì duì zhěng nán de dīng měi zhōu bèi pái chì xiàn dài wén míng shì jiè de jìn chéng zhī wài de fèn mèn kàng shì zuò jiā zài duì dīng měi zhōu jìn bǎi nián de shǐ zhè kuài shàng rén mín de shēng mìng shēng cún zhuàng tàixiǎng xiàng jìn xíng de yán jiū zhī hòu xíng chéng de juéjiàng de xìn
  《 bǎi nián 》 - nèi róng gěng gài
  
  《 bǎi nián miáo xiě 'ēn jiā 7 dài rén de mìng yùnmiáo huì liǎo lún nóng cūn xiǎo zhèn kǒng duō cóng huāng de zhǎo zhōng xīng dào zuì hòu bèi zhèn xuán fēng juàn zǒu 'ér wán quán huǐ miè de 100 duō nián de jǐng kǒng duō shì lún nóng cūn de suō yǐng shì zhěng dīng měi zhōu de suō yǐng
  
   sài · ā 'ào · 'ēn shì bān rén de hòu xīn hūn shíyóu hài xiàng shū jié hūn yàng shēng chū cháng wěi de hái lái shì měi huì chuān shàng zhì de jǐn shēn jué zhàng tóng fánghòu lái zhàng yīn 'ér zāo lín 'ā 'ěr de chǐ xiàoshā liǎo 'ā 'ěrcóng zhě de guǐ hún jīng cháng chū xiàn zài yǎn qiánguǐ hún tòng 'ér liáng de yǎn shénshǐ 'ān níng shì men zhǐ hǎo kāi cūn wài chū móu 'ān shēn zhī suǒ men shè liǎo liǎng nián duōyóu shòu dào mèng de shì men lái dào piàn tān shàngdìng xià láihòu lái yòu yòu duō rén qiān zhì zhè fāng bèi mìng míng wéi kǒng duō 'ēn jiā zài kǒng duō de bǎi nián xīng fèi shǐ yóu kāi shǐ
  
   sài · ā 'ào · 'ēn shì chuàng zào jīng shén de rén cóng sài rén kàn dào tiěbiàn xiǎng yòng lái kāi cǎi jīn kàn dào fàng jìng jiāo tài yáng guāng biàn shì yīn yán zhì zhǒng wēi de tōng guò sài rén sòng gěi de háng hǎi yòng de guān xiàng liù fēn biàn tōng guò shí yàn rèn shí dào qiú shì yuán dexiàng chéng ”。 mǎn suǒ zài de pín qióng 'ér luò hòu de cūn luò shēng huóyīn wéi kǒng duō yǐnmò zài kuān guǎng de zhǎo zhōng shì jué jué xīn yào kāipì tiáo dào kǒng duō wài jiè de wěi míng lián jiē lái dài bāng rén jīng zhǎn gān liǎo liǎng duō xīng què shī bài gào zhōnghòu lái yòu yán jiū liàn jīn shùzhěng chén xiūyóu de jīng shén shì jiè kǒng duō xiá 'ài de xiàn shí xiàn de tiān jǐng zhōng zhì jīng shén shī chángbèi jiā rén bǎng zài shù shàng shí nián hòu cái zài shù shàng chéng wèijiā de dǐng liáng zhù huó liǎo 115 zhì 120 suì
  
   'ēn jiā de 'èr dài yòu liǎng nán lǎo sài · ā 'ào shì zài lái kǒng duō de shàng chū shēng de zài zhǎngdà jiào · tái liè de rén tōngyòu liǎo hái shí fēn hài hòu lái jiā de yǎng lěi bèi jié hūndàn zhí duì rén men huái zhe jiè xīn wàng làng tiān hòu lái guǒ rán suí sài rén chū zǒuhuí lái hòu biàn fàng dàng zuì hòu guài bèi rén 'àn shā liǎolǎo 'èr 'ào léi liáng nuò shēng kǒng duōzài niàn jiù huì zhēng zhe yǎn jīng chū shìcóng xiǎo jiù yòu jiàn shì de běn lǐngzhǎngdà hòu 'ài shàng zhèn cháng qiān jīn léi méi tái zài zhī qián de qíng rén shēng yòu míng jiào 'ào léi liáng nuò · sài bào bìng 'ér wáng hòu cān jiā liǎo nèi zhàndāng shàng shàng xiào shēng zāo guò shí 'àn shā shí sān mái qiāng juéjūn xìng miǎn nán 17 wài pīn shēng xià 17 nán háizhè xiē nán hái hòu yuē 'ér tóng huí kǒng duō xún gēnquè zài xīng nèi quán bèi ào léi liáng nuò nián lǎo guī jiā qīn yàng duì liàn jīn shù chī měi liàn jīn zuò xiǎo jīn zhí dào men de mèi mèi 'ā lán 'ài shàng liǎo shīhòu yòu zhí luàn lúnài qíng de shǐ zhōng guān zài fáng zhōng féng zhì liàn wàn zhuàng
  
   sān dài rén zhǐ yòu liǎng táng xiōng ā 'ào 'ào léi liáng nuò · sàiqián zhě zhī shēng wéi shuíjìng kuáng 'ài shàng shēng jīhū niàng chéng cuòhòu zhě chéng wéi kǒng duō de jūn duì zhǎngguāntān zāng wǎng zuì hòu bèi bǎo shǒu pài jūn duì qiāng shēng qián rén wèi hūn biàn shēng liǎng nán táng liàn 'ā lán dàn chéng hūn 'ér cān jiā jūn duì zhǎo xún qiú 'ān wèizuì zhōng luàn jūn zhī zhōng
  
   dài shì 'ā 'ào rén tōng shēng xià de liǎng nán 'ér qiào niàn léi méi chǔ chǔ dòng rén shēn shàng sàn zhe yǐn rén 'ān de wèicéng yīn zhì nán rén zǒng yuàn luǒ shí jiān hào fèi zài fǎn zǎo shàng miànér yàng zài de shā shàng pái huáihòu lái zài liàng chuáng dān shíbèi zhèn fēng guā shàng tiān jiàn liǎoyǒng yuǎn xiāo shī zài kōng zhōng de luán shēng héng héng 'ā 'ào 'èrzài měi guó rén bàn de xiāng jiāo gōng dāng jiān gōng dòng gōng rén gōnghòu lái, 3000 duō gōng rén quán bèi zhèn zāonànzhǐ rén xìng miǎn zhèng yòng huǒ chē gōng rén men de shī yùn wǎng hǎi biān diū chù shuō zhè chǎng shāfǎn bèi rèn wéi shén zhì qīng kǒng shī wàngzuì hòu guān zài fáng qián xīn yán jiū sài rén liú xià de yáng shǒu gǎolìng 'ào léi liáng nuò 'èr zhōng zòng qíng jiǔ zài qíng jiā zhōng hùn guài de shìzhè shǐ jiā zhōng de shēng chù xùn fán zhígěi dài lái liǎo cái shēng yòu 'èr nánhòu zài bìng tòng zhōng yīn rén men zhí méi rèn qīng men xiōng liǎ 'ér shuí shì shuí
  
   'ēn jiā de dài shì 'ào léi liáng nuò 'èr de nán 'èr zhǎngzǐ sài · ā 'ào xiǎo shí biàn bèi sòng wǎng luó shén xué yuàn xué qīn wàng hòu néng dāng zhù jiàodàn duì háo xīng zhǐ shì wèile jiǎ xiǎng zhōng de chǎncái piàn qīn qīn hòu huí jiā kào biàn mài jiā wéi shēnghòu wéi bǎo zhù cáng zài jiào de 7000 duō jīn bèi dǎi shā 'ér méi · xiāng méi tái xiāng jiāo gōng xué xiāng hǎo qīn jìn zhǐ men jiàn miàn men zhǐ hǎo 'àn zhōng zài shì xiāng huì qīn xiàn hòu tōu zéi wéi míng liǎo méi wàn niàn huīhuái zhe shēn yùn bèi sòng wǎng xiū dào yuànxiǎo 'ér 'ā lán · zǎo nián zài sài 'ěr shàng xuézài chéng hūn hòu guī láijiàn dào kǒng duō piàn diāo jué xīn zhòng zhěng jiā yuán zhāoqì péng chōng mǎn huó de dào láishǐ kǒng duō chū xiàn liǎo zuì bié de rén de qíng zhè jiā de réndōu hǎo jiù shì shuō xiǎng qiē chén guī lòu shí céng yīn dìng chū cháng yuǎn jìhuàzhǔn bèi dìng xià láizhěng jiù zhè zāinàn shēn zhòng de cūn zhèn
  
   'ēn jiā de liù dài shì méi sòng huí de shēng 'ào léi liáng nuò · 'ēn chū shēng hòu zhí zài zhōng cháng wéi de shì hǎo shì duǒ zài sài rén méi 'ěr jiā de fáng jiān yán jiū zhǒng shén de shū shǒu gǎo shèn zhì néng duō nián de lǎo sài rén duì huàbìng shòu dào zhǐ shì xué fàn wén zhí duì zhōu wéi de shì jiè guān xīn guò wèndàn duì zhōng shì de xué wèn què liǎo zhǐ zhǎng cóng 'ā lán · huí xiāng zhī hòu zhī jué duì chǎn shēng liǎo nán zhì de liàn qíngliǎng rén shēng liǎo luàn lún guān dàn men rèn wéijìn guǎn men shòu dào 'ài qíng de zhé dàn men jìng shì rén shì jiān wéi zuì xìng de rénhòu lái 'ā lán · shēng xià liǎo jiàn zhuàng de nán hái,“ shì bǎi nián dàn shēng de 'ēn dāng zhōng wéi yóu 'ài qíng 'ér shòu tāi de yīng 'ér。” rán 'ér shēn shàng jìng cháng zhe tiáo zhū wěi ā lán · chǎn hòu chū xuè 'ér wáng
  
   cháng zhū wěi de nán hái jiù shì zhè yán bǎi nián de jiā de dài chéng rén bèi qún wéi gōng bìng bèi chī diàojiù zài zhè shíào léi liáng nuò · 'ēn zhōng chū liǎo méi 'ěr jiā de shǒu gǎoshǒu gǎo juàn shǒu de shì:“ jiā zhōng de rén jiāng bèi bǎng zài shù shàngjiā zhōng de zuì hòu rén jiāng bèi chī diào。” yuán láizhè shǒu gǎo jìzǎi de zhèng shì 'ēn jiā de shǐzài wán zuì hòu zhāng de shùn jiānyīcháng lái de fēng zhěng 'ér kǒng duō zhèn cóng qiú shàng guā zǒucóng zhè zhèn cún zài liǎo
  《 bǎi nián 》 - píng lùn
  
   jiā 'ěr zūn xúnbiàn xiàn shí wéi huàn xiǎng 'ér yòu shī zhēnde huàn xiàn shí zhù chuàng zuò yuán jīng guò qiǎo miào de gòu xiǎng xiàng chù jīng xīn de xiàn shí yuán shén huàchuán shuō de huàn xiǎng jié láixíng chéng cǎi bān lánfēng de huàshǐ zhě zài shì 'ér fēi fēi 'ér shìde xíng xiàng zhōnghuò zhǒng céng xiāng shí yòu jué shēng de gǎn shòucóng 'ér xún gēn yuán zhuī suǒ zuò jiā chuàng zuò zhēn de yuàn wàng huàn xiàn shí zhù xiàn shí chǔdàn zhè bìng fáng 'ài cǎi duān kuā zhāng de shǒu běn shū xiě wài wén míng duì gòng duō de qīn shì xiàn shí dedàn yòu huàn huà liǎo sài rén tuō zhe liǎng kuài tiě“…… āi jiā chuàn zǒu zhe…… tiě guōtiě péntiě qiánxiǎo tiě fēn fēn cóng yuán làxià bǎn yīn tiě dīng luó dīng méi mìng zhèng tuō chū lái 'ér zuò xiǎng…… gēn zài liǎng kuài tiě de hòu miàn luàn gǔn”; yòu xiě de jìngrén men rán néng tīng dào zài yuè guāng xià de hōng nào shēngzhù chóng kěn shí shí de xiǎng cǎo shēngzhǎng shí chí 'ér qīng de jiān jiào shēng”; zài xiě zhèng gōng zhě shā hài hòujiāng shī zhuāng shàng huǒ chē yùn dào hǎi rēng diào liàng huǒ chē jìng yòu 200 jié chē xiāngqiánzhōnghòu gòng yòu 3 chē tóu qiān yǐnzuò jiā zài duàn biàn huàn zhe jìngwàng yuǎn jìngfàng jìng shèn zhì xiǎn wēi jìng zhě kàn dào zhēn zhēn jiǎ jiǎ shí jiāo cuò de huà miàncóng 'ér fēng liǎo xiǎng xiàng shōu dào qiáng liè de shù xiào guǒ
  
   yìn 'ān chuán shuōdōng fāng shén huà shèng jīngdiǎn de yùn yòngjìn jiā qiáng liǎo běn shū de shén fēn xiě luó dēng xiào de guǐ hún jiū chán 'ēn jiābiàn cái yìn 'ān chuán shuō zhōng yuān guǐ 'ān níng ràng chóu rén 'ān níng de shuō yòu guān fēi tǎn qiào niàn léi méi tái zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā shén huàtiān fāng tánde yǐn shēnér gòng duō lián xià liǎo nián shí yuè líng liǎng tiān de shìshèng jīng chuàng shì zhōng yòu guān hóng shuǐ hào jié nuó fāng zhōu děng shì de zhí dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu xìn cǎizuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shíyòu shí men zuò wéi xiàn shí lái miáo xiě hǎo hàn lǎng céng guǐ duì bài liǎo duì shǒu”; ā lán zài cháng láng xiù huā shí shén jiāo tán děng děngyòu shí fǎn 'ér yòng zhī xiě nuò 'ěr shén liǎo bēi qiǎo hòu rán néng 12 zhèng míngshàng yòu xiàn shén děng děngxiǎn rán shì duì zōng jiào xìn de fěng cháo xiào
  
   běn shū zhōng xiàng zhēng zhù shǒu yùn yòng jiào chéng gōng qiě yòu deyìng shǒu tuī guān mián zhèng de miáo xiě gòng duō quán mín zài jiàn cūn hòu jiǔ chuán rǎn shàng zhǒng mián zhèngyán zhòng de shì liǎo zhè zhǒng bìngrén huì shī wèile shēng huó men zài pǐn shàng tiē shàng biāo qiān men zài niú shēn shàng tiē biāo qiān dào:“ zhè shì niúměi tiān yào de nǎiyào nǎi zhǔ kāi jiā shàng fēi cái néng zuò chéng niú nǎi fēi。” zhè lèi shū zhōng jiē shìzuò jiā zài xǐng gōng zhòng láo róng bèi rén wàng de shǐ
  
   lìng wàizuò jiā hái chuàng liǎo cóng wèi lái de jiǎo huí guò de xīn yíng dàoxù shǒu xiǎo shuō kāi tóuzuò jiā jiù zhè yàng xiě dào:“ duō nián zhī hòumiàn duì xíng xíng duìào léi liáng nuò 'ēn shàng xiào jiāng huì huí xiǎng qīn dài jiàn shí bīng kuài de yáo yuǎn de xià 。” duǎn duǎn de huàshí shàng róng liǎo wèi láiguò xiàn zài sān shí jiān céng miànér zuò jiā xiǎn rán yǐn zàixiàn zàide shì jiǎo jǐn jiē zhezuò jiā fēng zhuǎn zhě yǐn huí dào gòng duō de chū chuàng shí zhè yàng de shí jiān jié gòuzài xiǎo shuō zhōng zài chóngfù chū xiàn huán jiē huánhuán huán xiāng kòu duàn gěi zhě zào chéng xīn de xuán niàn
  
   zuì hòuzhí zhù de shìběn shū níng zhòng de shǐ nèi hán de pàn yǎn guāngshēn de mín wén huà fǎnxǐngpáng de shén huà yǐn shì yóu zhǒng ràng rén 'ěr xīn de shén yán guàn chuàn shǐ zhōng deyòu de píng jiā rèn wéi zhè xiǎo shuō chū 8 suì 'ér tóng zhī kǒujiā 'ěr duì shuō gǎn xīn wèizhè shì hěn shēn de píng pàn guāngyīn wéi zhè zhǒng zhí guān dejiǎn yuē de yán què shí yòu xiào fǎn yìng liǎo zhǒng xīn de shì jiǎo zhǒng luò hòu mín rén lèi 'ér tóngde shídāng shì rén de xiào dài liǎo bàng guān zhě de yǎn lèi,“ zhě biǎo de qièfū zhī tòng dài liǎozhì zhěmào gōng yǔn de pàn fēn gèng néng shōu dào huàn bèi nòng zhě qún shēn fǎnxǐng de guān xiào guǒ
  
  《 bǎi nián shì fēng deduō céng de xiǎo shuō yòu duō zhòng jiě shì shì guān huò sài · ā 'ào · 'ēn dài sūn de jiā tíng biān nián shǐ miáo xiě liǎo xiàng zhēng zhe 'ěr xiāng 'ā de xiǎo zhèn kǒng duō de shí dài biàn qiāntóng shí shì lún dīng měi zhōu xiàn dài shì jiè shì lái fēng yún biàn huàn de shén huà bān de shǐcóng gēngshēn yuǎn de shàng shuō shì fāng wén míng de zǒng jiécóng de yuán tóu shén huà shǐ shī、《 chuàng shì zhōng de chuàng shì shén huà kāi shǐdài zhe duì méng mèi zhuàng tài de diàn yuán jìng shì jiè zhǒng zhì chún jié de shēn shēn de huái niàn zhě cóng zuò pǐn zhōng dàozhè biān nián shǐ shì sài zhì zhě yòng fàn wén xiě de shǒu gǎo zhǐ yòu 'ēn jiā de zuì hòu de nán rén cái néng jiěbìng qiě zhǐ yòu zài měi zhě dān shícái néng jiě de hán zhè shì chōng mǎn shén kuáng huān de shìshì zhè shì jiè de kùn jìng xìn de miàn jìng dàn shì chōng mǎn gòu de shì jiè yǐn měi zhě lìng rén xiǎng lián piān de huàn jìng
  《 bǎi nián 》 - shù chéng jiù
  
  《 bǎi nián zài shù shàng liǎo shì gōng rèn de chéng jiù
   shǒu xiān shì shù gòu shàng de huàn xìng。《 bǎi nián zài xiǎo shuō jié gòu shàng shǐ zhōng guàn chuānzhuó tiáo míng xiǎn de xiàn suǒzhè jiù shì 'ēn jiā hài jìn qīn jié hūn huì shēng chū chángzhū wěi de hái zhè zhǒng shēn shēn de kǒng zuò wéi xiǎo shuō de nèi zài jīng shén màn quán shūbìng qiě dài dài xiāng chuányǐng xiǎng zhe men de xíng wéi
  
   shì qíng jié de huàn xìngxiǎo shuō zuì yǐn rén shèng de jiù shì shì qíng jié de huàn xìng duō shì qíng jié shén guài dàn miào kàn rén yǎn huā liáo luàn xiǎo shuō de zhòng yào qíng jiéguān sài rén méi 'ěr jiā de shén shìméi 'ěr jiā 'ēn jiā tíng yòu zhe mìqiè de guān méi 'ěr jiā gěi 'ēn jiā dài lái liǎo méng zhī shíhòu lái bìngshī bèi pāo hǎidàn kān yòu zhòng huí rén jiānlái dào kǒng duōzhì hǎo liǎo quán zhèn rén de jiàn wàng zhèng jiǔ yòu liǎozhè huí shì yān zài 'ēn jiā mái zàng liǎo dàn de yōu líng réng rán zhí zài 'ēn jiā jiān fáng yóu dànggěi zhè jiā tíng liú xià liǎo běn shén de yáng shū shǒu gǎozhè xiē chōng mǎn huànde shì qíng jiéxiān míng dài yòu dīng měi zhōu běn chuán tǒng wén huà guān niàn shí de diǎn
  
   zài ,“ huànshì de xiàng zhēng kuā zhāng shǒu 。《 bǎi nián zhōng guǎng fàn yùn yòng liǎo xiàng zhēng kuā zhāng de shù shǒu dàn wén xué liú pài tóng de shìzhè zhǒng xiàng zhēng kuā zhāng de shǒu gèng duō dài yòu huànde cǎi zuò pǐn zhōng huáng shì xìng wáng de xiàng zhēngdāng 'ā · 'ēn wáng shí,“ chuāng wài xià liǎo wēi de huáng huā zhěng zhěng huáng de huā duǒ xiàng shēng de bào zài shì zhèn shàng kōng fēn fēn piāo luò…… zǎo chénzhěng kǒng duō fǎng shàng liǎo céng shí de tǎnsuǒ yòng chǎn wéi sòng zàng duì qīng dào 。”
  
   zuì hòuzuò zhě wèile biǎo xiàn dīng měi zhōu de bǎi nián de xiàn shíhái chuàng zào liǎo xīn de shí jiān guān niàn biǎo xiàn fāng rèn wéi shí jiān zài dīng měi zhōu shì tíng zhì deshì zài fēng de shí jiān juàn xún huán de
  
  《 bǎi nián zhōng de huà shìduō nián hòumiàn duì zhe xíng xíng duìào léi lián nuò shàng xiào jiāng huì xiǎng jiǔ yuǎn de tiān xià qīn dài rèn shí liǎo bīng kuài。” zhè jiù gěi quán shū dìng xià liǎo diào shù de kǒu wěn shì zhàn zài mǒu shí jiān míng què dexiàn zài jiǎng shùduō nián hòude jiāng lái”, rán hòu yòu cóng zhè jiāng láihuí dào jiǔ yuǎn de tiāndeguò ”。 huà bāo hán liǎo xiàn zàiguò jiāng láixíng chéng liǎo shí jiān xìng de yuán juànhái yòuzuò pǐn zhōng xiāng shìde huó dòngxiāng de mìng yùn shuō zhe shí jiān de fēng xìng tíng zhì xìngzhè zhèng shì dīng měi zhōu bǎi nián tíng zhì de shè huì shǐ de shù fǎn yìng
  
   zǒng 'ér yán zhī,《 bǎi nián de chéng gōngshuō míng 'ěr zhàn zài xīn de shì jiè biàn xìng de gāo shàng rèn shí měi zhè kuài zhè mín cóng tóng jiǎo tóng céng miàn fǎn yìng liǎo mín xìng shì jiè xìngchuán tǒng chuàng xīn de guān zhèng yīn wéi 'ěr cái néng gòu de yuǎn jiàn zhuó shí fēi fán de shù cái huá dīng měi zhōu de shè huì xiàn shí wán měi jié lái huàn xiàn shí zhù tuī shàng liǎo shì jiè wén xué de gāo fēng
  《 bǎi nián 》 - jià zhí
  
  《 bǎi nián de nèi róng cháng fēng 'ér shēn guǎng yòu hěn gāo de xiǎng rèn shí jià zhízhù yào biǎo xiàn zài liǎng fāng miànshǒu xiān,《 bǎi nián zhōng de xiǎo zhèn kǒng duō suǒ jīng de xīng jiàn zhǎndǐng shèng dào xiāo wáng de bǎi nián cāng sāngyǐng shè nóng suō liǎo lún 19 shì chū dào 20 shì shàng bàn de shǐxiǎo shuō kāi shǐ shí shì 19 shì chūdàn kǒng duō què xiàng shì shǐ qián shè huìzhì 'ér níng jìngzhè shì zhǐ yòu 20 lái rén jiā de xiǎo cūn zhuāngrén men wǎng zài biān yòng wěi gài de fáng shuǐ fēi cháng fāng biàn shuǐ qīng chèmíng liàng liú guò kàn jiàn chuáng shàng guāng jié de 'é luǎn shí,“ shì jiè qiēdōu shì gāng kāi shǐhěn duō dōng hái méi yòu míng yòng shǒu zhǐ zhǐ zhe shuō”。 zhè 'ěr yǐn yòngshèng jīngzhōng de huà yòng shǒu zhǐ zhǐ zhe shuō。”, biǎo shì kǒng duō zuì chū jiù shì zhè yàng shì jué de shì wài táo yuánzhè shì 16 shì qián lún zhù shēng huó de xiě zhàosuí hòu bān zhí mín zhě chuǎng yòng jiàn huǒ shí jià zhēng liǎo dīng měi zhōu 'ér mín yǒng zhè kuài lún cóng shè huì jié gòu xiǎng xìn yǎng dào fēng shàng shēng liǎo shēn biàn huàxíng chéng liǎo lún shǐ shàng zhòng zhuǎn zhéxiǎo shuō zhōng yòu guān sài rén dài lái tiě shíwàng yuǎn jìng děng dōng xiàng shù yàng yǐn quán cūn rén wéi guān xiàn wài jiè de tōng dào yǐn lái mín de miáo xiějiù shì zhè duàn shǐ shí de zài xiàn
  
  19 shì chū lún hòuguó jiā zhèng quán bèi shēng bái rén de zhù shāng rén suǒ chí men zhōng de yóu dǎngbǎo shǒu dǎng dǒu zhēng duànjìn xíng cháng nèi zhànzhèng men làn yòng zhí quányíng cāo zòng xuǎn jiàn xiàn dǎo zhì guó jiā zhèng biàn duànnèi zhàn pín réngcóng 1830 nián dào 1899 niánquán guó bào liǎo 27 nèi zhàngěi rén mín dài lái liǎo qióng jìn de tòng xiǎo shuō hěn de piān miáo xiě kǒng duō bèi juàn jìn liǎo zhè chǎng dǒu zhēngtōng guò 'ào léi lián nuò · 'ēn shàng xiào de chuán shēng biǎo xiàn liǎo zhè fāng miàn de shǐ shíshàng xiào wéi fǎn duì bài de bǎo shǒu dǎng zhèng shēng dòng guò 32 zhuāng liǎo 20 nián nèi zhànzhè xiē miáo xiě shēng dòng gài kuò liǎo lún shǐ shàng 'èr zhòng zhuǎn zhé shí de shè huì shēng huó
  
  20 shì chū lún nèi zhàn tíng zhǐjīng huī dàn jìn zài zhǐ chǐ de měi guó xīn zhí mín zhù shì yòu yǒng jìn liǎo lún huǒ chēdiàn dēngdiàn huàdiàn yǐngliú shēng děng chū xiàn zài kǒng duōxiǎo shuō miáo xiě kǒng duō rén zhè yàng yíng jiē xīn shì :“ kǒng duō rén duì diàn yǐng shàng huó dòng de rén fēi cháng shēng yīn wéi men wéi diàn yǐng shàng liǎo bèi mái liǎo de rén liú xià tòng de yǎn lèiér què zài xià diàn yǐng zhōng biàn chéng liǎo 'ā rén chū xiàn liǎo kǒng duō rén shòu liǎo zhè yàng duì men gǎn qíng de cháo nòng diàn yǐng yuàn de zuò gěi liǎozuì hòu zhèn cháng jiě shì diàn yǐng shì huàn jué de yào guān zhòng zhè yàng dòng gǎn qíng kǒng duō rén zhōng míng bái liǎo men shàng liǎo sài rén xīn wán 'ér de dāng liǎojué dìng zài kàn diàn yǐng。” men jiù zhè yàng bèi zhè xiē xīn wán jīng dèng kǒu dāikàn yǎn huā liáo luànjǐn zheměi guó rén yòu jiàn liǎo hěn duō xiāng jiāo yuán zhǒng rén xiàng cháo shuǐ yàng yǒng jìn kǒng duō men xuān bīn duó zhùkòng zhì liǎo kǒng duō shǐ shàng zuì zhòng de biàn zhè zhǒng biàn cóng biǎo miàn shàng kànhǎo xiàng gěi kǒng duō dài lái liǎo fán róngdàn shí zhì shàng què shì wài guó běn jiā gèng jiā cán xuē lüè duó de kāi shǐér qiě wèile wéi guó zhù zhě yòng mán bào zhèn rén mín de fǎn kàngzài xiāng jiāo gōng rén gōng yùn dòng zhōngzhèng guó zhù shòu mìng jūn duì yòng dàn men”,“ qiāng cóng liǎng fāng miàn sǎo shè rén qún sài · ā 'ào 'èr dǎo zài shàngmǎn liǎn shì xuè xǐng shí cái xiàn tǎng zài sài mǎn shī de huǒ chē chē xiāng shàng cóng chē xiāng dào lìng chē xiāngtòu guò xiē wēi ruò de liàng guāngbiàn kàn chū liǎo liǎo de nán rén rén hái men xiàng bào fèi de xiāng jiāo gěi rēng dào hǎi …… zhè shì jiàn guò de zuì cháng de liè chē héng jīhū yòu 200 jié yùn huò chē xiāng。” xiǎo shuō jiù zhè yàng fèn jiē liǎo guó zhù xīn zhí mín zhù de qīn gěi lún zào chéng de zāinànzhè zhèng shì zào chéng dīng měi zhōu pín qióng luò hòu de zhòng yào yuán yīn zhī
  
   xiǎo shuō zài duì 'ēn jiā zhòng duō rén de huà zhōngzhuólì biǎo xiàn liǎo zhè jiā tíng chéng yuán gòng tóng de xìng zhēngzhè jiù shì kǒng duō rén de gǎncóng dài sài · ā 'ào · 'ēn dào liù dài 'ào léi lián nuò · 'ēn měi réndōu shēng huó zài yíng zào de zhī zhōngér qiě bǎo chí zhe zhè zhǒng dài 'ēn biǎo mèi jié hūn hòu jiù zāo shòu dào de zhé yóu hài shēng xià cháng zhū wěi de hái 'ér gǎn tóng fángshā cháo xiào zhě hòu yòu shòu dào guǐ hún kùn rǎo yuǎn zǒu xiāngwǎn nián jīng shén huǎng fēng fēng diān diānzuì hòu bèi bǎng zài shù shàng 'èr dài 'ào léi lián nuò shàng xiào nián qīng shí shēn jīng bǎi zhànquè zhī wéi shuí mài mìngtuì xiū hòu fǎn suǒ zài zhì zuò xiǎo jīn zuò hǎo huà diàohuà diào zài zuò,“ lián nèi xīn shàng liǎo mén shuān”。 'èr dài zhōng de 'ā lán yīn xiǎn huài bié rén de xìng yòu lěng jué de qiú hūn zhě zhěng tiān wéi zhì zhe shī děng dài zhe shén zhào huàn dài zhōng qiào niàn léi méi tái gēn běn jiù shì zhè shì jiè de rén”, měi tiān dōuzài shì shì chōng shēn xiǎo shí xiǎo shí shí jiānzuì hòu zhuā zhù tiáo chuáng dān fēi shàng liǎo tiān…… zhè zhǒng de 'è zài zhè jiā tíng dài dài xiāng chuánzhōu 'ér shǐè xìng xún huánzài xīn rén zhī jiān zhù dào xíng de qiángshǐ rén shì jué jìn fēng qún suǒ zhì zào liǎo wèi luò hòubǎo shǒu jiāng huà de shè huì xiàn zhuàngzuò zhě rèn wéi jīng shèn liǎo dīng měi zhōu de mín jīng shénchéng wéi 'ài mín shàng jìnguó jiā zhǎn de xīn dānzhè zhǒng de běn zhì shì rén mín yīn wéi néng zhǎng de mìng yùn 'ér chǎn shēng de jué wànglěng shū gǎn shì jiā shuāi bàimín luò hòuguó jiā miè wáng de gēn yuánxiǎo shuō zuì hòu miáo xiě 'ēn jiā tíng lián tóng kǒng duō xiǎo zhèn bèi fēng guā zǒushēn jiē shì liǎo yóu suǒ chǎn shēng de shè huì bēi de rán xìng
  
  《 bǎi nián quán miàn shēn shì liǎo dīng měi zhōu jìn bǎi nián lái de shè huì xiàn shí zào chéng zhè zhǒng xiàn zhuàng de shēn de shǐzhèng zhìjīng wén huà děng zhū duō fāng miàn de yuán yīnshì dāng dài dīng měi zhōu de bǎi quán shū
  《 bǎi nián 》 - shū píng
  
   bèi wéizài xiàn dīng měi zhōu shǐ shè huì jǐng de hóng piān zhùdebǎi nián 》, shì jiā 'ěr de dài biǎo zuò shì dīng měi zhōu huàn xiàn shí zhù wén xué zuò pǐn de dài biǎo zuòquán shū jìn 30 wàn nèi róng páng rén zhòng duōqíng jié zhé zài jiā shàng shén huà shìzōng jiào diǎn mín jiān chuán shuō zuò jiā chuàng de cóng wèi lái de jiǎo lái huí guò de xīn yíng dàoxù shǒu děng děnglìng rén yǎn huā liáo luàndàn yuè quán shū zhě lǐng zuò jiā shì yào tōng guò 'ēn jiā 7 dài rén chōng mǎn shén cǎi de kǎn jīng lái fǎn yìng lún nǎi zhì dīng měi zhōu de shǐ yǎn biàn shè huì xiàn shíyào qiú zhě kǎo zào chéng gòng duō bǎi nián de yuán yīncóng 'ér xún zhǎo bǎi tuō mìng yùn kuò nòng de zhèng què jìng
  
   cóng 1830 nián zhì shàng shì de 70 nián jiān lún bào guò shí nèi zhànshǐ shù shí wàn rén sàng shēngběn shū hěn de piān miáo shù liǎo zhè fāng miàn de shǐ shíbìng qiě tōng guò shū zhōng zhù rén gōng dài yòu chuán cǎi de shēng zhōng biǎo xiàn chū láizhèng men de wěitǒng zhì zhě men de cán rěnmín zhòng de máng cóng mèi děng děngdōu xiěde lín jìn zhìzuò jiā shēng dòng de chù huà liǎo xìng xiān míng de zhòng duō rén miáo huì liǎo zhè jiā de jīng shénzài zhè jiā zhōng zhī jiān zhī jiān zhī jiānxiōng jiě mèi zhī jiānméi yòu gǎn qíng gōu tōngquē xìn rèn liǎo jiějìn guǎn hěn duō rén wéi jìn xíng guò zhǒng zhǒng jiān de tàn suǒdàn yóu zhǎo dào zhǒng yòu xiào de bàn fēn sàn de liàng tǒng láizuì hòu jūn shī bài gào zhōngzhè zhǒng jǐn màn zài 'ēn jiā gòng duō zhènér qiě shèn liǎo xiá 'ài xiǎngchéng wéi 'ài mín xiàng shàngguó jiā jìn de bāo zuò jiā xiě chū zhè diǎnshì wàng měi mín zhòng tuán jié láigòng tóng bǎi tuō suǒ ,《 bǎi nián zhōng jìn yín zhe de gǎn zhù yào nèi hán yīnggāi shì duì zhěng nán de dīng měi zhōu bèi pái chì xiàn dài wén míng shì jiè de jìn chéng zhī wài de fèn mèn kàng shì zuò jiā zài duì dīng měi zhōu jìn bǎi nián de shǐ zhè kuài shàng rén mín de shēng mìng shēng cún zhuàng tàixiǎng xiàng jìn xíng de yán jiū zhī hòu xíng chéng de juéjiàng de xìn
  
   jiā 'ěr zūn xúnbiàn xiàn shí wéi huàn xiǎng 'ér yòu shī zhēnde huàn xiàn shí zhù chuàng zuò yuán jīng guò qiǎo miào de gòu xiǎng xiàng chù jīng xīn de xiàn shí yuán shén huàchuán shuō de huàn xiǎng jié láixíng chéng cǎi bān lánfēng de huàshǐ zhě zài shì 'ér fēi fēi 'ér shìde xíng xiàng zhōnghuò zhǒng céng xiāng shí yòu jué shēng de gǎn shòucóng 'ér xún gēn yuán zhuī suǒ zuò jiā chuàng zuò zhēn de yuàn wàng huàn xiàn shí zhù xiàn shí chǔdàn zhè bìng fáng 'ài cǎi duān kuā zhāng de shǒu běn shū xiě wài wén míng duì gòng duō de qīn shì xiàn shí dedàn yòu huàn huà liǎo sài rén tuō zhe liǎng kuài tiě“…… āi jiā chuàn zǒu zhe…… tiě guōtiě péntiě qiánxiǎo tiě fēn fēn cóng yuán làxià bǎn yīn tiě dīng luó dīng méi mìng zhèng tuō chū lái 'ér zuò xiǎng…… gēn zài liǎng kuài tiě de hòu miàn luàn gǔn”; yòu xiě de jìngrén men rán néng tīng dào zài yuè guāng xià de hōng nào shēngzhù chóng kěn shí shí de xiǎng cǎo shēngzhǎng shí chí 'ér qīng de jiān jiào shēng”; zài xiě zhèng gōng zhě shā hài hòujiāng shī zhuāng shàng huǒ chē yùn dào hǎi rēng diào liàng huǒ chē jìng yòu 200 jié chē xiāngqiánzhōnghòu gòng yòu 3 chē tóu qiān yǐnzuò jiā zài duàn biàn huàn zhe jìngwàng yuǎn jìngfàng jìng shèn zhì xiǎn wēi jìng zhě kàn dào zhēn zhēn jiǎ jiǎ shí jiāo cuò de huà miàncóng 'ér fēng liǎo xiǎng xiàng shōu dào qiáng liè de shù xiào guǒ
   yìn 'ān chuán shuōdōng fāng shén huà shèng jīngdiǎn de yùn yòngjìn jiā qiáng liǎo běn shū de shén fēn xiě luó dēng xiào de guǐ hún jiū chán 'ēn jiābiàn cái yìn 'ān chuán shuō zhōng yuān guǐ 'ān níng ràng chóu rén 'ān níng de shuō yòu guān fēi tǎn qiào niàn léi méi tái zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā shén huàtiān fāng tánde yǐn shēnér gòng duō lián xià liǎo nián shí yuè líng liǎng tiān de shìshèng jīng chuàng shì zhōng yòu guān hóng shuǐ hào jié nuó fāng zhōu děng shì de zhí dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu xìn cǎizuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shíyòu shí men zuò wéi xiàn shí lái miáo xiě hǎo hàn lǎng céng guǐ duì bài liǎo duì shǒu”; ā lán zài cháng láng xiù huā shí shén jiāo tán děng děngyòu shí fǎn 'ér yòng zhī xiě nuò 'ěr shén liǎo bēi qiǎo hòu rán néng 12 zhèng míngshàng yòu xiàn shén děng děngxiǎn rán shì duì zōng jiào xìn de fěng cháo xiào
  
   běn shū zhōng xiàng zhēng zhù shǒu yùn yòng jiào chéng gōng qiě yòu deyìng shǒu tuī guān mián zhèng de miáo xiě gòng duō quán mín zài jiàn cūn hòu jiǔ chuán rǎn shàng zhǒng mián zhèngyán zhòng de shì liǎo zhè zhǒng bìngrén huì shī wèile shēng huó men zài pǐn shàng tiē shàng biāo qiān men zài niú shēn shàng tiē biāo qiān dào:“ zhè shì niúměi tiān yào de nǎiyào nǎi zhǔ kāi jiā shàng fēi cái néng zuò chéng niú nǎi fēi。” zhè lèi shū zhōng jiē shìzuò jiā zài xǐng gōng zhòng láo róng bèi rén wàng de shǐ
  
   lìng wàizuò jiā hái chuàng liǎo cóng wèi lái de jiǎo huí guò de xīn yíng dàoxù shǒu xiǎo shuō kāi tóuzuò jiā jiù zhè yàng xiě dào:“ duō nián zhī hòumiàn duì xíng xíng duìào léi liáng nuò 'ēn shàng xiào jiāng huì huí xiǎng qīn dài jiàn shí bīng kuài de yáo yuǎn de xià 。” duǎn duǎn de huàshí shàng róng liǎo wèi láiguò xiàn zài sān shí jiān céng miànér zuò jiā xiǎn rán yǐn zàixiàn zàide shì jiǎo jǐn jiē zhezuò jiā fēng zhuǎn zhě yǐn huí dào gòng duō de chū chuàng shí zhè yàng de shí jiān jié gòuzài xiǎo shuō zhōng zài chóngfù chū xiàn huán jiē huánhuán huán xiāng kòu duàn gěi zhě zào chéng xīn de xuán niàn
  
   zuì hòuzhí zhù de shìběn shū níng zhòng de shǐ nèi hán de pàn yǎn guāngshēn de mín wén huà fǎnxǐngpáng de shén huà yǐn shì yóu zhǒng ràng rén 'ěr xīn de shén yán guàn chuàn shǐ zhōng deyòu de píng jiā rèn wéi zhè xiǎo shuō chū 8 suì 'ér tóng zhī kǒujiā 'ěr duì shuō gǎn xīn wèizhè shì hěn shēn de píng pàn guāngyīn wéi zhè zhǒng zhí guān dejiǎn yuē de yán què shí yòu xiào fǎn yìng liǎo zhǒng xīn de shì jiǎo zhǒng luò hòu mín rén lèi 'ér tóngde shídāng shì rén de xiào dài liǎo bàng guān zhě de yǎn lèi,“ zhě biǎo de qièfū zhī tòng dài liǎozhì zhěmào gōng yǔn de pàn fēn gèng néng shōu dào huàn bèi nòng zhě qún shēn fǎnxǐng de guān xiào guǒ
  
  《 bǎi nián 》 - jiā rén biǎo
  
   huò · ā · 'ēn dài
   huò · ā · 'ēn zhī dài
   huò · ā 'ào huò · ā · 'ēn zhī cháng 'èr dài
   léi bèi huò · ā 'ào zhī 'èr dài
   ào léi lián nuò shàng xiào huò · ā · 'ēn zhī 'èr dài
   léi mài dài · 'ào léi lián nuò shàng xiào zhī 'èr dài
   ā lán huò · ā · 'ēn zhī xiǎo 'ér 'èr dài
   · tái liè huò · ā 'ào zhī qíng 'èr dài
   ā 'ào huò · ā 'ào zhī sān dài
   shèng suǒ fěi · pèi 'ā 'ào zhī sān dài
   ào léi lián nuò · huò sài 'ào léi lián nuò shàng xiào zhī sān dài
   shí 'ào léi lián nuò 'ào léi lián nuò shàng xiào zhī sān dài
   qiào niàn léi mài dài 'ā 'ào zhī cháng dài
   huò · ā 'ào 'èr 'ā 'ào zhī dài
   ào léi lián nuò 'èr 'ā 'ào zhī xiǎo 'ér dài
   fěi lán · 'ào 'ào léi lián nuò 'èr zhī dài
   pèi · 'ào léi lián nuò 'èr zhī qíng dài
   huò · ā 'àoshén xué yuàn xué shēngào léi lián nuò 'èr zhī cháng dài
   méi méiléi ào léi lián nuò 'èr zhī dài
   luò méi méi zhī dài
   ā lán · 'ào léi lián nuò 'èr zhī xiǎo 'ér dài
   jiā dōng 'ā lán · zhī dài
   ào léi lián nuò · 'ēn shǒu gǎo zhěméi méi zhī liù dài
   yòu wěi de yīng 'ér 'ào léi lián nuò · 'ēn zhī hòu dài dài
  《 bǎi nián 》 - xiě zuò diǎn
  
   jiā · 'ěr zūn xúnbiàn xiàn shí wéi huàn xiǎng 'ér yòu shī zhēnde huàn xiàn shí zhù chuàng zuò yuán jīng guò qiǎo miào de gòu xiǎng xiàng chù jīng xīn de xiàn shí yuán shén huàchuán shuō de huàn xiǎng jié láixíng chéng cǎi bān lánfēng de huàshǐ zhě zài shì 'ér fēi fēi 'ér shìde xíng xiàng zhōnghuò zhǒng céng xiāng shí yòu jué shēng de gǎn shòucóng 'ér xún gēn yuán zhuī suǒ zuò jiā chuàng zuò zhēn de yuàn wàng huàn xiàn shí zhù xiàn shí chǔdàn zhè bìng fáng 'ài cǎi duān kuā zhāng de shǒu běn shū xiě wài wén míng duì gòng duō de qīn shì xiàn shí dedàn yòu huàn huà liǎo sài rén tuō zhe liǎng kuài tiě“…… āi jiā chuàn zǒu zhe…… tiě guōtiě péntiě qiánxiǎo tiě fēn fēn cóng yuán làxià bǎn yīn tiě dīng luó dīng méi mìng zhèng tuō chū lái 'ér zuò xiǎng…… gēn zài liǎng kuài tiě de hòu miàn luàn gǔn”; yòu xiě de jìngrén men rán néng tīng dào zài yuè guāng xià de hōng nào shēngzhù chóng kěn shí shí de xiǎng cǎo shēngzhǎng shí chí 'ér qīng de jiān jiào shēng”; zài xiě zhèng gōng zhě shā hài hòujiāng shī zhuāng shàng huǒ chē yùn dào hǎi rēng diào liàng huǒ chē jìng yòu 200 jié chē xiāngqiánzhōnghòu gòng yòu 3 chē tóu qiān yǐnzuò jiā zài duàn biàn huàn zhe jìngwàng yuǎn jìngfàng jìng shèn zhì xiǎn wēi jìngràng zhě kàn dào zhēn zhēn jiǎ jiǎ shí jiāo cuò de huà miàncóng 'ér fēng liǎo xiǎng xiàng shōu dào qiáng liè de shù xiào guǒ
     yìn 'ān chuán shuōdōng fāng shén huà shèng jīngdiǎn de yùn yòngjìn jiā qiáng liǎo běn shū de shén fēn xiě luó dēng xiào de guǐ hún jiū chán 'ēn jiābiàn cái yìn 'ān chuán shuō zhōng yuān guǐ 'ān níng ràng chóu rén 'ān níng de shuō yòu guān fēi tǎn qiào niàn léi méi tái zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā shén huàtiān fāng tánde yǐn shēnér gòng duō lián xià liǎo nián shí yuè líng liǎng tiān de shìshèng jīng · chuàng shì zhōng yòu guān hóng shuǐ hào jié nuó fāng zhōu děng shì de zhí dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu xìn cǎizuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shíyòu shí men zuò wéi xiàn shí lái miáo xiě hǎo hàn lǎng céng guǐ duì bài liǎo duì shǒu”; ā lán zài cháng láng xiù huā shí shén jiāo tán děng děngyòu shí fǎn 'ér yòng zhī xiě nuò 'ěr shén liǎo bēi qiǎo hòu rán néng 12 zhèng míngshàng yòu xiàn shén děng děngxiǎn rán shì duì zōng jiào xìn de fěng cháo xiào
     běn shū zhōng xiàng zhēng zhù shǒu yùn yòng jiào chéng gōng qiě yòu deyìng shǒu tuī guān mián zhèng de miáo xiě gòng duō quán mín zài jiàn cūn hòu jiǔ chuán rǎn shàng zhǒng mián zhèngyán zhòng de shì liǎo zhè zhǒng bìngrén huì shī wèile shēng huó men zài pǐn shàng tiē shàng biāo qiān men zài niú shēn shàng tiē biāo qiān dào:“ zhè shì niúměi tiān yào de nǎiyào nǎi zhǔ kāi jiā shàng fēi cái néng zuò chéng niú nǎi fēi。” zhè lèi shū zhōng jiē shìzuò jiā zài xǐng gōng zhòng láo róng bèi rén wàng de shǐ
     lìng wàizuò jiā hái chuàng liǎo cóng wèi lái de jiǎo huí guò de xīn yíng dàoxù shǒu xiǎo shuō kāi tóuzuò jiā jiù zhè yàng xiě dào:“ duō nián zhī hòumiàn duì xíng xíng duìào léi liáng nuò · 'ēn shàng xiào jiāng huì huí xiǎng qīn dài jiàn shí bīng kuài de yáo yuǎn de xià 。” duǎn duǎn de huàshí shàng róng liǎo wèi láiguò xiàn zài sān shí jiān céng miànér zuò jiā xiǎn rán yǐn zàixiàn zàide shì jiǎo jǐn jiē zhezuò jiā fēng zhuǎn zhě yǐn huí dào gòng duō de chū chuàng shí zhè yàng de shí jiān jié gòuzài xiǎo shuō zhōng zài chóngfù chū xiàn huán jiē huánhuán huán xiāng kòu duàn gěi zhě zào chéng xīn de xuán niàn
     zuì hòuzhí zhù de shìběn shū níng zhòng de shǐ nèi hán de pàn yǎn guāngshēn de mín wén huà fǎnxǐngpáng de shén huà yǐn shì yóu zhǒng ràng rén 'ěr xīn de shén yán guàn chuàn shǐ zhōng deyòu de píng jiā rèn wéi zhè xiǎo shuō chū 8 suì 'ér tóng zhī kǒujiā · 'ěr duì shuō gǎn xīn wèizhè shì hěn shēn de píng pàn guāngyīn wéi zhè zhǒng zhí guān dejiǎn yuē de yán què shí yòu xiào fǎn yìng liǎo zhǒng xīn de shì jiǎo zhǒng luò hòu mín rén lèi 'ér tóngde shídāng shì rén de xiào dài liǎo bàng guān zhě de yǎn lèi,“ zhě biǎo de qièfū zhī tòng dài liǎozhì zhěmào gōng yǔn de pàn fēn gèng néng shōu dào huàn bèi nòng zhě qún shēn fǎnxǐng de guān xiào guǒ
    《 bǎi nián bèi rèn wéi shì dīng měi zhōuwén xué bào zhàshí dài de dài biǎo zuò pǐnzài shì jiè wén xué shǐ shàng zhàn yòu zhòng yào de wèizài měi shì jiè zhǐ yòu 'ěr děng shǎo shù zuò jiā měiér qiě zài shì jiè xiān liǎo měi wén xué fēng huàn xiàn shí zhù bèi rèn wéi shì zhǐ yòu chuàng de xiě zuò shǒu zhī


  One Hundred Years of Solitude (Spanish: Cien años de soledad) is a novel written by Colombian Nobel laureate Gabriel García Márquez. It was first published in Spanish in 1967. The book was an instant success worldwide and was translated into over 37 languages. Lauded critically, it is the major work of the Latin American "boom" in literature. It was also an immense commercial success, becoming the best-selling book in Spanish in modern history, after Don Quixote. It is widely considered García Márquez's magnum opus.
  
  The novel chronicles the history of the Buendía family in the town founded by their patriarch, José Arcadio Buendía. It is built on multiple time frames, playing on ideas presented earlier by Jorge Luis Borges in stories such as The Garden of Forking Paths.
  
  Biographical background and publication
  
  Gabriel Garcia Marquez was born on March 6, 1927. García Márquez is a Colombian-born author and journalist, winner of the 1982 Nobel Prize for Literature and a pioneer of the Latin American “Boom.” Affectionately known as “Gabo” to millions of readers, he first won international fame with his masterpiece, One Hundred Years of Solitude, a defining classic of twentieth century literature . His Colombian roots influenced large parts of the novel, as evidenced by the different myths throughout the novel . These myths, along with events in the novel, recount a large portion of Colombian history. For instance, “the arguments over reform in the nineteenth century, the arrival of the railway, the War of the Thousand Days, the American fruit company, the cinema, the automobile, and the massacre of striking plantation workers” are all incorporated in the novel at one point or another".
  Plot summary
  
  The novel chronicles the seven generations of the Buendía family in the town of Macondo. The family patriarch and founder of Macondo, José Arcadio Buendía, and his wife (and first cousin), Úrsula, leave their home in Riohacha, Colombia in hopes of finding a new home. One night on their journey while camping on the banks of a river, José Arcadio Buendía dreams of a city of mirrors named Macondo. Upon awakening, José Arcadio Buendía decides to found this city on the site of their campground. After wandering aimlessly in the jungle for many days, the founding of Macondo can be seen as the founding of UtopiaJosé Arcadio Buendía believes it to be surrounded by water, and from this 'island' he invents the world according to him, naming things at will. After its establishment, Macondo soon becomes a town frequented by unusual and extraordinary events. All the events revolve around the many generations of the Buendía family, who are either unable or unwilling to escape periodic, mostly self-inflicted misfortunes. Ultimately, Macondo is destroyed by a terrible hurricane, which symbolizes the cyclical turmoil inherent in Macondo. At the end of the book one of the Buendía male decendants finally cracks a cipher that the males in his family had been trying to solve for generation. The cipher stated all the events that the Buendía family had gone through. Note that this information was available at the beginning of time, and in possession of the Buendia family, before Macondo was even thought of, just indecipherable.
  Historical Context
  
  Although One Hundred Years of Solitude is considered a work of fiction, Gabriel García Márquez, a Colombian native, drew upon his country’s history to create a world which parallels many of the major events in Colombia’s history, thus establishing the novel as a piece of critical interpretation.
  
  Prior to European conquest, the region now called Colombia had no cultural developments akin to those of the Incas, the Mayas or the Aztecs The region consisted mainly of large families grouped into larger units that served to define local monarchies . The most well defined tribal groups of the area were the Tairona, the Cenu, the Chibcha . The first Spanish settlement was established in 1509 under the direction of Vasco Nunez de Balboa, as a precursor to the conquest of the territory . Marquez uses the founding of the town of Macondo by the Buendia family as a metaphor for the colonization of the region of Colombia.
  
  After Gonzalo Jimenez de Quesada’s conquest of the Chibchas in 1538, Bogotá became the center of Spanish rule . After the collapse of Spanish control in 1810, provincial juntas sprang up almost everywhere to challenge Bogotá’s authority. Eventually though, royalist armies led by Pablo Morillo restored Spanish rule in 1816. Three years later when Simon Bolivar began a second war for independence, he declared the creation of a supranational state-Gran Colombia. With its capital at Bogotá, Gran Colombia survived long enough to witness Spain's final defeat in 1825.
  
  The achievement of Independence in 1819 revealed the further obstacles. Colombia’s geography was a formidable obstacle to modernization. High transportation costs made self-sufficient and disconnected enclaves viable much like the description of the town of Macondo). Colombia had been wrestling with modernity since the eighteenth century. The dynamism of the capitalist revolution gave Colombia’s ruling classes a stark choice: integration with the modern industrial world or perishing in a backwater of barbarism. To incorporate the country with the world, Colombia would have to look to the institutional, political, and economic models of Europe and the United States.
  
  “As nineteenth century Colombians explored, described, and colonized their interior, they mapped racial hierarchy onto an emerging national geography composed of distinct localities and regions. This created a racialized discourse of regional differentiation that assigned greater morality and progress to certain regions that they marked as “white”. Meanwhile, those places defined as “black” and “Indian” were associated with disorder, backwardness, and danger” technology and modernization became associated with race.
  
  In Macondo, with the introduction of technology, a rising population, and modernization came the insomnia plague, which was characterized by forgetfulness. The people of Macondo forgot the words for objects (such as tables and chairs) and eventually forgot the significance or usages of these objects. Not only does this serve as a criticism by Marquez of the modernization of Colombia, but also of the plagues characteristic of the Spanish conquest, which killed many indigenous people throughout the South American continent and the Caribbean. It is estimated that smallpox killed up to 95% of the indigenous population of the Americas during the conquest. The insomnia of the story represents the nostalgia for the better days of the past, which are now lost upon the residents of Macondo (as a metaphor for Colombia): days before the modernization of the town and before the spread of deadly disease.
  
  The history of Colombia is one that has been marked by years of violence, from wars for independence to the modern-day rebel group commonly known as the FARC. The first major violence in Colombia was a product of the Bolivar Liberation from 1810 to 1821. The leader of the revolution, Simon Bolivar, led many battles against the Spanish in an attempt to free the country from Spanish rule. After independence, well-defined socioeconomic regions, divided in a roughly north-south direction by parallel spurs of the Andes mountains, came into being. During the nineteenth century, the existence of several powerful regional centers undoubtedly contributed to civil disorder . Politically, the relative dispersion of the population and its economic resources caused difficulties for the government’s modernizing programs.
  
  In 1934 a reformist wave brought Dr. Alfonso Lopez Pumarejo to the presidency by unanimous Liberal choice. Lopez imposed La Revolución en Marcha, a revolution characterized by labor reform and social legislation, which angered many Conservatives. In August 1946, Mariano Ospina Pérez took office as the first Conservative president of Colombia. This marked the start of a political breakdown that drew the people under increasingly undemocratic rule . On April 9, 1948, influential and celebrated Liberal candidate, Jorge Eliécer Gaitán, was assassinated, sparking the period of Colombia’s history known as “la Violencia”.
  
  By the mid-1960’s, Colombia had witnessed in excess of two hundred thousand politically motivated deaths. La Violencia, from 1946–66, can be broken into five stages: the revival of political violence before and after the presidential election of 1946, the popular urban upheavals generated by Gaitan’s assassination, open guerrilla warfare, first against Conservative government of Ospina Perez, incomplete attempts at pacification and negotiation resulting from the Rojas Pinilla (who had ousted Laureano Gómez), and, finally, disjointed fighting under the Liberal/Conservative coalition of the “National Front,” from 1958 to 1975.
  
  The politically charged violence characteristic of Colombia’s history is paralleled in One Hundred Years of Solitude by the character of Colonel Aureliano Buendia, who wages war against the Conservatives who are facilitating the rise to power of foreign imperialists. The wealthy banana plantation owners (perhaps based on the United Fruit Co.) set up their own dictatorial police force, which brutally attacks citizens for even the slightest offenses.
  
  The use of real events and Colombian history by Garcia Marquez makes One Hundred Years of Solitude an excellent example of magical realism. Not only are the events of the story an interweaving of reality and fiction, but the novel as a whole tells the history of Colombia from a critical perspective using magical realism. In this way, the novel compresses several centuries of Latin American history into a manageable text.
  
  Furthermore, the novel points out that the current state of Latin America is the result of the inability to obtain the confidence required to construct a meaningful sense of direction and progress. The tragedy of Latin America is that it lacks a meaningful and solid identity, causing a lack of self-preservation. This can be attributed to a past highlighted by five hundred years of colonization. Subsequently, there is a seemingly perpetual repetition of violence, repression, and exploitation resulting in a loss of authenticity. The reality of Latin America is presented as a reoccurring fantastical world in One Hundred Years of Solitude. It is a vacuum in which the characters have no chance of survival. The desire for change and forward movement exists in Macondo, just as it does in the countries of Latin America. However, the cyclical nature of time in the novel symbolizes the tendency toward repeating history in reality. Subsequently, meaningful progress is never achieved in Macondo or in Latin America. In this manner, Marquez provides insight into the feeling of solitude in present-day Latin America.
  Symbolism and metaphors
  
  A dominant theme in One Hundred Years of Solitude is the inevitable and inescapable repetition of history in Macondo. The protagonists are controlled by their pasts and the complexity of time. Throughout the novel the characters are visited by ghosts. "The ghosts are symbols of the past and the haunting nature it has over Macondo. The ghosts and the displaced repetition that they evoke are, in fact, firmly grounded in the particular development of Latin American history". "Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions.
  
  The fate of Macondo is both doomed and predetermined from its very existence. "Fatalism is a metaphor for the particular part that ideology has played in maintaining historical dependence, by locking the interpretation of Latin American history into certain patterns that deny alternative possibilities.The narrative seemingly confirms fatalism in order to illustrate the feeling of entrapment that ideology can performatively create.
  
  The Ghosts that haunt the people of Macondo are symbols of an inescapable past."Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions".
  
  Márquez uses colours as symbols. Yellow and gold are the most frequently used colours and they are symbols of imperialism and the Spanish Siglo de Oro. Gold signifies a search for economic wealth, whereas yellow represents death, change, and destruction.
  
  The glass city is an image that comes to José Arcadio Buendía in a dream. It is the reason for the location of the founding of Macondo, but it is also a symbol of the ill fate of Macondo. Higgins writes that, "By the final page, however, the city of mirrors has become a city of mirages. Macondo thus represents the dream of a brave new world that America seemed to promise and that was cruelly proved illusory by the subsequent course of history". Images such as the glass city and the ice factory represent how Latin America already has its history outlined and is, therefore, fated for destruction.
  
  Overall, there is an underlying pattern of Latin American history in One Hundred Years of Solitude. It could be said that the novel is one of a number of texts that "Latin American culture has created to understand itself" . In this sense, the novel can be conceived as a linear archive. This archive narrates the story of a Latin America discovered by European explorers, which had its historical entity developed by the printing press. The Archive is a symbol of the literature that is the foundation of Latin American history and also a decoding instrument. Melquiades, the keeper of the historical archive in the novel, represents both the whimsical and the literary. Finally, “the world of One Hundred Years of Solitude is a place where beliefs and metaphors become forms of fact, and where more ordinary facts become uncertain”
  Characters
  Buendía Family Tree
  First generation
  
  José Arcadio Buendía
  
  Jose Arcadio Buendía is the patriarch of the Buendía family and the founder of Macondo. Buendía leaves Riohacha, Colombia with his wife, Úrsula Iguarán, after murdering Prudencio Aguilar in a duel. One night camping at the side of a river, Buendía dreams of a city of mirrors named Macondo and decides to establish the town in this location. Jose Arcadio is an introspective, inquisitive man of massive strength and energy who spends more time on his scientific pursuits than with his family. He flirts with alchemy and astronomy and becomes increasingly withdrawn from his family and community. Marquez uses carefully chosen diction, imagery and biblical references to portray this wonderfully unique character to the reader .
  
  Úrsula Iguarán
  
  Úrsula Iguarán is one of the two matriarchs of the Buendía family and is wife to José Arcadio Buendía.
  Second generation
  
  José Arcadio
  
  José Arcadio Buendía's firstborn son, José Arcadio seems to have inherited his father's headstrong, impulsive mannerisms. He eventually leaves the family to chase a Gypsy girl and unexpectedly returns many years later as an enormous man covered in tattoos, claiming that he's sailed the seas of the world. He marries his adopted sister Rebeca, causing his banishment from the mansion, and he dies from a mysterious gunshot wound, days after saving his brother from execution.
  
  Colonel Aureliano Buendía
  
  José Arcadio Buendía's second son and the first person to be born in Macondo. He was thought to have premonitions because everything he said came true.He represents not only a warrior figure but also an artist due to his ability to write poetry and create finely crafted golden fish. During the wars he fathered 17 children by unknown women.
  
  Remedios Moscote
  
  Remedios was the youngest daughter of the town's Conservative administrator, Don Apolinar Moscote. Her most striking physical features are her beautiful skin and her emerald-green eyes. The future Colonel Aureliano falls in love with her, despite her extreme youth. She dies shortly after the marriage from a blood poisoning illness during her pregnancy.
  
  Amaranta
  
  The third child of José Arcadio Buendía, Amaranta grows up as a companion of her adopted sister Rebeca. However, her feelings toward Rebeca turn sour over Pietro Crespi, whom both sisters intensely desire in their teenage years. Amaranta dies a lonely and virginal spinster, but comfortable in her existence after having finally accepted what she had become.
  
  Rebeca
  
  Rebeca is the orphaned daughter of Ursula Iguaran's second cousins. At first she is extremely timid, refuses to speak, and has the habits of eating earth and whitewash from the walls of the house, a condition known as pica. She arrives carrying a canvas bag containing her parents' bones and seems not to understand or speak Spanish. However, she responds to questions asked by Visitacion and Cataure in the Guajiro or Wayuu language. She falls in love with and marries her adoptive brother José Arcadio after his return from traveling the world. After his mysterious and untimely death, she lives in seclusion for the rest of her life.
  Third generation
  
  Arcadio
  
  Arcadio is José Arcadio's illegitimate son by Pilar Ternera. He is a schoolteacher who assumes leadership of Macondo after Colonel Aureliano Buendía leaves. He becomes a tyrannical dictator and uses his schoolchildren as his personal army. Macondo soon becomes subject to his whims. When the Liberal forces in Macondo fall, Arcadio is shot by a Conservative firing squad.
  
  Aureliano José
  
  Aureliano José is the illegitimate son of Colonel Aureliano Buendía and Pilar Ternera. He joins his father in several wars before deserting to return to Macondo. He deserted because he is obsessed with his aunt, Amaranta, who raised him since his birth. He is eventually shot to death by a Conservative captain midway through the wars.
  
  Santa Sofía de la Piedad
  
  Santa Sofía is a beautiful virgin girl and the daughter of a shopkeeper. She is hired by Pilar Ternera to have sex with her son Arcadio, her eventual husband. She is taken in along with her children by the Buendías after Arcadio's execution. After Úrsula's death she leaves unexpectedly, not knowing her destination.
  
  17 Aurelianos
  
  During his 32 civil war campaigns, Colonel Aureliano Buendía has 17 sons by 17 different women, each named after their father.. Four of these Aurelianos (A. Triste, A. Serrador, A. Arcaya and A. Centeno) stay in Macondo and become a permanent part of the family. Eventually, as revenge against the Colonel, all are assassinated by the government, which identified them by the mysteriously permanent Ash Wednesday cross on their foreheads. The only survivor of the massacre is A. Amador, who escapes into the jungle only to be assassinated at the doorstep of his father's house many years later.
  Fourth generation
  
  Remedios the Beauty
  
  Remedios the Beauty is Arcadio and Santa Sofía's first child. It is said she is the most beautiful woman ever seen in Macondo, and unintentionally causes the deaths of several men who love or lust over her. She appears to most of the town as naively innocent, and some come to think that she is mentally retarded. However, Colonel Aureliano Buendía believes she has inherited great lucidity: "It is as if she's come back from twenty years of war," he said. She rejects clothing and beauty. Too beautiful and, arguably, too wise for the world, Remedios ascends into the sky one morning, while folding laundry.
  
  José Arcadio Segundo
  
  José Arcadio Segundo is the twin brother of Aureliano Segundo, the children of Arcadio and Santa Sofía. Úrsula believes that the two were switched in their childhood, as José Arcadio begins to show the characteristics of the family's Aurelianos, growing up to be pensive and quiet. He plays a major role in the banana worker strike, and is the only survivor when the company massacres the striking workers. Afterward, he spends the rest of his days studying the parchments of Melquiades, and tutoring the young Aureliano. He dies at the exact instant that his twin does.
  
  Aureliano Segundo
  
  Of the two brothers, Aureliano Segundo is the more boisterous and impulsive, much like the José Arcadios of the family. He takes his first girlfriend Petra Cotes as his mistress during his marriage to the beautiful and bitter Fernanda del Carpio. When living with Petra, his livestock propagate wildly, and he indulges in unrestrained revelry. After the long rains, his fortune dries up, and the Buendías are left almost penniless. He turns to search for a buried treasure, which nearly drives him to insanity. He dies of throat cancer at the same moment as his twin. During the confusion at the funeral, the bodies are switched, and each is buried in the other's grave (highlighting Ursula's earlier comment that they had been switched at birth). Aureliano Segundo represents Colombia's economy: gaining and losing weight according to the situation at the time.
  
  Fernanda del Carpio
  
  Fernanda del Carpio is the only major character (except for Rebeca and the First generation) not from Macondo. She comes from a ruined, aristocratic family that kept her isolated from the world. She was chosen as the most beautiful of 5000 girls. Fernanda is brought to Macondo to compete with Remedios for the title of Queen of the carnival after her father promises her she will be the Queen of Madagascar. After the fiasco, she marries Aureliano Segundo and soon takes the leadership of the family away from the now-frail Úrsula. She manages the Buendía affairs with an iron fist. She has three children by Aureliano Segundo, José Arcadio, Renata Remedios, a.k.a. Meme, and Amaranta Úrsula. She remains in the house after he dies, taking care of the household until her death.
  
  Fernanda is never accepted by anyone in the Buendía household who regard her as an outsider. Although, none of the Buendías rebel against her inflexible conservatism. Her mental and emotional instability is revealed through her paranoia, her correspondence with the 'invisible doctors', and her irrational behavior towards Aureliano, whom she tries to isolate from the whole world.
  Fifth generation
  
  Renata Remedios (a.k.a. Meme)
  
  Renata Remedios, or Meme is the second child and first daughter of Fernanda and Aureliano Segundo. While she doesn't inherit Fernanda's beauty, she does have Aureliano Segundo's love of life and natural charisma. After her mother declares that she is to do nothing but play the clavichord, she is sent to school where she receives her performance degree as well as academic recognition. While she pursues the clavichord with 'an inflexible discipline', to placate Fernanda, she also enjoys partying and exhibits the same tendency towards excess as her father.
  
  Meme meets and falls in love with Mauricio Babilonia, but when Fernanda discovers their affair, she arranges for Mauricio to be shot, claiming that he was a chicken thief. She then takes Meme to a convent. Meme remains mute for the rest of her life, partially because of the trauma, but also as a sign of rebellion. Several months later she gives birth to a son, Aureliano, at the convent. He is sent to live with the Buendías. She dies of old age in a hospital in Krakow.
  
  José Arcadio (II)
  
  José Arcadio II, named after his ancestors in the Buendía tradition, follows the trend of previous Arcadios. He is raised by Úrsula, who intends for him to become Pope. He returns from Rome without having become a priest. Eventually, he discovers buried treasure, which he wastes on lavish parties and escapades with adolescent boys. Later, he begins a tentative friendship with Aureliano Babilonia, his nephew. José Arcadio plans to set Aureliano up in a business and return to Rome, but is murdered in his bath by four of the adolescent boys who ransack his house and steal his gold.
  
  Amaranta Úrsula
  
  Amaranta Úrsula is the third child of Fernanda and Aureliano. She displays the same characteristics as her namesake who dies when she is only a child. She never knows that the child sent to the Buendía home is her nephew, the illegitimate son of Meme. He becomes her best friend in childhood. She returns home from Europe with an elder husband, Gastón, who leaves her when she informs him of her passionate affair with her nephew, Aureliano. She dies of hemorragia, after she has given birth to the last of the Buendía line.
  Sixth generation
  
  Aureliano Babilonia (Aureliano II)
  
  Aureliano Babilonia, or Aureliano II, is the illegitimate child of Meme. He is hidden from everyone by his grandmother, Fernanda. He is strikingly similar to his namesake, the Colonel, and has the same character patterns as well. He is taciturn, silent, and emotionally charged. He barely knows Úrsula, who dies during his childhood. He is a friend of José Arcadio Segundo, who explains to him the true story of the banana worker massacre.
  
  While other members of the family leave and return, Aureliano stays in the Buendía home. He only ventures into the empty town after the death of Fernanda. He works to decipher the parchments of Melquíades but stops to have an affair with his childhood partner and the love of his life, Amaranta Úrsula, not knowing that she is his aunt. When both her and her child die, he is able to decipher the parchments. "...Melquíades' final keys were revealed to him and he saw the epigraph of the parchments perfectly placed in the order of man's time and space: 'The first in line is tied to a tree and the last is being eaten by ants'." It is assumed he dies in the great wind that destroys Macondo the moment he finishes reading Mequiades' parchments.
  Seventh generation
  
  Aureliano (III)
  
  Aureliano III is the child of Aureliano and his aunt, Amaranta Úrsula. He is born with a pig's tail, as the eldest and long dead Úrsula had always feared would happen (the parents of the child had never heard of the omen). His mother dies after giving birth to him, and, due to his grief-stricken father's negligence, he is devoured by ants.
  Others
  
  Melquíades
  
  Melquíades is one of a band of gypsies who visit Macondo every year in March, displaying amazing items from around the world. Melquíades sells José Arcadio Buendía several new inventions including a pair of magnets and an alchemist's lab. Later, the gypsies report that Melquíades died in Singapore, but he, nonetheless, returns to live with the Buendía family, stating he could not bear the solitude of death. He stays with the Buendías and begins to write the mysterious parchments that Aureliano Babilonia eventually translates, before dying a second time. This time he drowns in the river near Macondo. He is buried in a grand ceremony organized by the Buendías.
  
  Pilar Ternera
  
  Pilar is a local woman who sleeps with the brothers Aureliano and José Arcadio. She becomes mother of their sons, Aureliano and José Arcadio. Pilar reads the future with cards, and every so often makes an accurate, though vague, prediction. She has close ties with the Buendias throughout the whole novel, helping them with her card predictions. She dies some time after she turns 145 years old (she had eventually stopped counting), surviving until the very last days of Macondo.
  
  The word "Ternera" in Spanish signifies veal or calf, which is fitting considering the way she is treated by Aureliano, Jose Arcadio, and Arcadio. Also, it could be a play on the word "Ternura", which in Spanish means "Tenderness". Pilar is always presented as a very loving figure, and the author often uses names in a similar fashion.
  
  Pietro Crespi
  
  Pietro is a very handsome and polite Italian musician who runs a music school. He installs the pianola in the Buendía house. He becomes engaged to Rebeca, but Amaranta, who also loves him, manages to delay the wedding for years. When José Arcadio and Rebeca agree to be married, Pietro begins to woo Amaranta, who is so embittered that she cruelly rejects him. Despondent over the loss of both sisters, he kills himself.
  
  Petra Cotes
  
  Petra is a dark-skinned woman with gold-brown eyes similar to those of a panther. She is Aureliano Segundo's mistress and the love of his life. She arrives in Macondo as a teenager with her first husband. She briefly dates both of them before her husband dies. After José Arcadio decides to leave her, Aureliano Segundo gets her forgiveness and remains by her side. He continues to see her, even after his marriage. He eventually lives with her, which greatly embitters his wife, Fernanda del Carpio. When Aureliano and Petra make love, their animals reproduce at an amazing rate, but their livestock is wiped out during the four years of rain. Petra makes money by keeping the lottery alive and provides food baskets for Fernanda and her family after the death of Aureliano Segundo.
  
  Mr. Herbert and Mr. Brown
  
  Mr. Herbert is a gringo who showed up at the Buendía house for lunch one day. After tasting the local bananas for the first time, he arranges for a banana company to set up a plantation in Macondo. The plantation is run by the dictatorial Mr. Brown. When José Arcadio Segundo helps arrange a workers' strike on the plantation, the company traps the more than three thousand strikers and machine guns them down in the town square. The banana company and the government completely cover up the event. José Arcadio is the only one who remembers the slaughter. The company arranges for the army to kill off any resistance, then leaves Macondo for good. That event is likely based on the Banana massacre, that took place in Santa Marta, Colombia in 1928.
  
  Mauricio Babilonia
  
  Mauricio is a brutally honest, generous and handsome mechanic for the banana company. He is said to be a descendant of the gypsies who visit Macondo in the early days. He has the unusual characteristic of being constantly swarmed by yellow butterflies, which follow even his lover for a time. Mauricio begins a romantic affair with Meme until Fernanda discovers them and tries to end it. When Mauricio continues to sneak into the house to see her, Fernanda has him shot, claiming he is a chicken thief. Paralyzed and bedridden, he spends the rest of his long life in solitude.
  
  Gastón
  
  Gastón is Amaranta Úrsula's wealthy, Belgian husband. She marries him in Europe and returns to Macondo leading him on a silk leash. Gastón is about fifteen years older than his wife. He is an aviator and an adventurer. When he moves with Amaranta Ursula to Macondo he thinks it is only a matter of time before she realizes that her European ways out of place, causing her to want to move back to Europe. However, when he realizes his wife intends to stay in Macondo, he arranges for his airplane to be shipped over so he can start an airmail service. The plane is shipped to Africa by mistake. When he travels there to claim it, Amaranta writes him of her love for Aureliano Babilonia Buendía. Gastón takes the news in stride, only asking that they ship him his velocipede.
  
  Gabriel García Márquez
  
  Gabriel García Márquez is only a minor character in the novel but he has the distinction of bearing the same name as the author. He is the great-great-grandson of Colonel Gerineldo Márquez. He and Aureliano Babilonia are close friends because they know the history of the town, which no one else believes. He leaves for Paris after winning a contest and decides to stay there, selling old newspapers and empty bottles. He is one of the few who is able to leave Macondo before the town is wiped out entirely.
  Major themes
  The subjectivity of reality and Magical Realism
  
  Critics often cite certain works by García Márquez, such as A Very Old Man with Enormous Wings and One Hundred Years of Solitude, as exemplary of magical realism, a style of writing in which the supernatural is presented as mundane, and the mundane as supernatural or extraordinary. The term was coined by German art critic Franz Roh in 1925.
  
  The novel presents a fictional story in a fictional setting. The extraordinary events and characteres are fabricated. However the message that Marquez intends to deliver explains a true history. Marquez utilizes his fantastic story as an expression of reality. "In One Hundred Years of Solitude myth and history overlap. The myth acts as a vehicle to transmit history to the reader. Marquez’s novel can furthermore be referred to as anthropology, where truth is found in language and myth. What is real and what is fiction are indistinguishable. There are three main mythical elements of the novel: classical stories alluding to foundations and origins, characters resembling mythical heroes, and supernatural elements" Magical realism is inherent in the novel-achieved by the constant intertwining of the ordinary with the extraordinary. This magical realism strikes at one's traditional sense of naturalistic fiction. There is something clearly magical about the world of Macondo. It is a state of mind as much as, or more than, a geographical place. For example, one learns very little about its actual physical layout. Furthermore, once in it, the reader must be prepared to meet whatever the imagination of the author presents to him or her.
  
  García Márquez achieves a perfect blend of the real with the magical through the masterful use of tone and narration. By maintaining the same tone throughout the novel, Márquez makes the extraordinary blend with the ordinary. His condensation of and lackadaisical manner in describing events causes the extraordinary to seem less remarkable than it actually is, thereby perfectly blending the real with the magical. Reinforcing this effect is the unastonished tone in which the book is written. This tone restricts the ability of the reader to question the events of the novel, however, it also causes the reader to call into question the limits of reality. Furthermore, maintaining the same narrator throughout the novel familiarizes the reader with his voice and causes he or she to become accustomed to the extraordinary events in the novel .
  The fluidity of time
  
  One Hundred Years of Solitude contains several ideas concerning time. Although the story can be read as a linear progression of events, both when considering individual lives and Macondo's history, García Márquez allows room for several other interpretations of time:
  
   * He reiterates the metaphor of history as a circular phenomenon through the repetition of names and characteristics belonging to the Buendía family. Over six generations, all the José Arcadios possess inquisitive and rational dispositions as well as enormous physical strength. The Aurelianos, meanwhile, lean towards insularity and quietude. This repetition of traits reproduces the history of the individual characters and, ultimately, a history of the town as a succession of the same mistakes ad infinitum due to some endogenous hubris in our nature.
  
   * The novel explores the issue of timelessness or eternity even within the framework of mortal existence. A major trope with which it accomplishes this task is the alchemist's laboratory in the Buendía family home. The laboratory was first designed by Melquíades near the start of the story and remains essentially unchanged throughout its course. It is a place where the male Buendía characters can indulge their will to solitude, whether through attempts to deconstruct the world with reason as in the case of José Arcadio Buendía, or by the endless creation and destruction of golden fish as in the case of his son Colonel Aureliano Buendía. Furthermore, a sense of inevitability prevails throughout the text. This is a feeling that regardless of what way one looks at time, its encompassing nature is the one truthful admission.
  
   * On the other hand, it is important to keep in mind that One Hundred Years of Solitude, while basically chronological and "linear" enough in its broad outlines, also shows abundant zigzags in time, both flashbacks of matters past and long leaps towards future events. One example of this is the youthful amour between Meme and Mauricio Babilonia, which is already in full swing before we are informed about the origins of the affair .
  
  Incest
  
  A recurring theme in One Hundred Years of Solitude is the Buendía family's propensity toward incest. The patriarch of the family, Jose Arcadio Buendía, is the first of numerous Buendías to intermarry when he marries his first cousin, Úrsula. It is worth noting that this initial, incestuous act can be viewed as an "original sin", however it will not be the last one. Furthermore, the fact that "throughout the novel the family is haunted by the fear of punishment in the form of the birth of a monstrous child with a pig's tail" can be attributed to this initial, and the recurring acts of incest among the Buendías.
  Solitude
  
  Perhaps the most dominant theme in the book is that of solitude. Macondo was founded in the remote jungles of the Colombian rainforest. The solitude of the town is representative of the colonial period in Latin American history, where outposts and colonies were, for all intents and purposes, not interconnected. Isolated from the rest of the world, the Buendías grow to be increasingly solitary and selfish. With every member of the family living only for him or her self, the Buendías become representative of the aristocratic, land-owning elite who came to dominate Latin America in keeping with the sense of Latin American history symbolized in the novel. This egocentricity is embodied, especially, in the characters of Aureliano, who lives in a private world of his own, and Remedios, who destroys the lives of four men enamored by her beauty. Throughout the novel it seems as if no character can find true love or escape the destructiveness of their own egocentricity.
  
  The selfishness of the Buendía family is eventually broken by the once superficial Aureliano Segundo and Petra Cotes, who discover a sense of mutual solidarity and the joy of helping others in need during Macondo's economic crisis. This pair even finds love, and their pattern is repeated by Aureliano Babilonia and Amaranta Úrsula. Eventually, Aureliano and Amaranta decide to have a child, and the latter is convinced that it will represent a fresh start for the once-conceited Buendía family. However, the child turns out to be the perpetually-feared monster with the pig's tail.
  
  Nonetheless, the appearance of love represents a shift in Macondo, albeit one that leads to its destruction. "The emergence of love in the novel to displace the traditional egoism of the Buendías reflects the emergence of socialist values as a political force in Latin America, a force that will sweep away the Buendías and the order they represent". A well-known socialist, the ending to One Hundred Years of Solitude could be a wishful prediction by García Márquez regarding the future of Latin America.
  Literary significance, reception and recognition
  
  One Hundred Years of Solitude has received universal recognition. The novel has been awarded Italy’s Chianciano Award, France’s Prix de Meilleur Livre Etranger, Venezuela’s Romulo Gallegos Prize, and the Books Abroad/ Neustadt International Prize for Literature. García Márquez also received an honorary LL.D. from Columbia University in New York City. These awards set the stage for García Márquez’s 1982 Nobel Prize for Literature.
  
  García Márquez is said to have a gift for blending the everyday with the miraculous, the historical with the fabulous, and psychological realism with surreal flights of fancy. It is a revolutionary novel that provides a looking glass into the thoughts and beliefs of its author, who chose to give a literary voice to Latin America: "A Latin America which neither wants, nor has any reason, to be a pawn without a will of its own; nor is it merely wishful thinking that its quest for independence and originality should become a Western aspiration." Gabriel García Márquez
  
  In his Nobel Prize acceptance speech Márquez addressed the significance of his writing and proposed its role to be more than just literary expression: "I dare to think that it is this outsized reality, and not just its literary expression, that has deserved the attention of the Swedish Academy of Letters. A reality not of paper, but one that lives within us and determines each instant of our countless daily deaths, and that nourishes a source of insatiable creativity, full of sorrow and beauty, of which this roving and nostalgic Colombian is but one cipher more, singled out by fortune. Poets and beggars, musicians and prophets, warriors and scoundrels, all creatures of that unbridled reality, we have had to ask but little of imagination, for our crucial problem has been a lack of conventional means to render our lives believable. This, my friends, is the crux of our solitude"
  
   * In 1970, reviewing the book in the National Observer, William Kennedy hailed One Hundred Years of Solitude as "the first piece of literature since the Book of Genesis that should be required reading for the entire human race."
   * The novel topped the list of books that have most shaped world literature over the last 25 years, according to a survey of international writers commissioned by the global literary journal Wasafiri as a part of its 25th anniversary.
  
  According to Antonio Sacoto, professor at The City College of the City University of New York, One Hundred Years of Solitude is considered as one of the five key novels in Hispanic American literature. (Together with El señor Presidente, Pedro Páramo, La muerte de Artemio Cruz, y La ciudad los perros). These novels, representative of the boom allowed Hispanic American literature to reach the quality of North American and European literature in terms of technical quality, rich themes, and linguistic innovations, among other attributes.
  
  Although we are faced with a very convoluted narrative, Garcia Marquez is able to define clear themes while maintaining individual character identities, and using different narrative techniques such as third person narrators, specific point of view narrators, and streams of consciousness. Cinematographic techniques are also employed in the novel, with the idea of the montage and the close-up, which effectively combine the comic and grotesque with the dramatic and tragic. Furthermore, political and historical realities are combined with the mythical and magical Latin American world. Lastly, through human comedy the problems of a family, a town, and a country are unveiled. This is all presented through Garcia Marquez’s unique form of narration, which causes the novel to never cease being at its most interesting point.
  
  The characters in the novel are never defined; they are not created from a mold. Instead, they are developed and formed throughout the novel. All characters are individualized, with many characteristics that differentiate them from others.. Ultimately, the novel has a rich imagination achieved by its rhythmic tone, narrative technique, and fascinating character creation, making it a thematic quarry, where the trivial and anecdotal and the historic and political are combined. (260)
  Criticisms
  
  Style
  
  Although One Hundred Years of Solitude has come to be considered one of, if not the, most influential Latin American texts of all time, the novel and Gabriel Garcia Marquez have both received many critical criticisms and reviews. Harold Bloom says “My primary impression, in the act of rereading One Hundred Years of Solitude, is a kind of aesthetic battle fatigue, since every page is rammed full of life beyond the capacity of any single reader to absorb . . . There are no wasted sentences, no mere transitions, in this novel, and you must notice everything at the moment you read it.”
  
  Inspirations
  
  Garcia Marquez has been accused of using many texts as his inspirations for One Hundred Years of Solitude. Of these, the most well-known is Faulkner’s Yoknapatawpha David T. Haberly alleges that “strong cases have been made for Faulkner, Virginia Woolf’s Orlando: A Biography, and Defoe’s A Journal of the Plague Year, and one which has not been mentioned is Chateaubriand’s Atala.” Hopkins backs his statement with evidence that Atala was available for Spanish-speaking audiences before the publication of One Hundred Years of Solitude and makes comparisons between the plot of the two stories and some of the characters.
  
  Reinforcing Gender Stereotypes
  
  Critics have also speculated the potential of Marquez harboring ideals of marianismo, adhering to sexist stereotypes, and reinforcing these stereotypes and sexist attitudes in Cien Anos de Soledad through his portrayal of female characters as domestic housewives. This potentially sexist view also can be viewed as Marquez’s profound reflection on the social and cultural realities that exist in Latin America in terms of how women were viewed, and in particular, in Colombia. “What sort of values does Ursula symbolize? They are these: middle class stinginess, stupidity, superstition, insanity, reactionary activism, etc.” “There are numerous episodes and statements in the book which reinforce the patriarchical values of the story” . “One Hundred Years of Solitude reflects the traditional Latin American role of women as adjuncts to men and implies neither qualitative awareness nor literary criticism of the restrictive political and economic systems and notions (ie marianismo) that perpetuate such notions. As a whole, the women of Macondo are pictured as male-defined, biological reproducers or sexually pleasing objects who are treated thematically as accessories to the men who actually shape and control the world.”
  
  McOndo Movement
  
  The portrayal of Latin American culture and society in One Hundred Years of Solitude has been a point of criticism as well. It has been said that Gabriel Garcia Marquez has created a work in which Western audiences portray popular Latin American culture as a primitive society, lacking in technology, and as a region on the world which has been excluded from the effects of globalization. One group movement that speaks out against this portrayal of Latin America as a primitive society is the McOndo movement. McOndo is a Latin American literary movement that breaks away from the long-dominant magical realist literary tradition by strongly associating itself with mass media culture . McOndo attempts to contextualize being Latin American in a world dominated by American pop culture . The movement challenges the natural or rural, magical world typically depicted by the Magical Realism genre .
  
  The work McOndo, by editors Alberto Fuguet and Sergio Gomez, critiques the re-emphasis of the primitive stereotypes of Latin America in One Hundred Years of Solitude. They say “Nuestro McOndo es tan latinoamericano y magico (exotico) como el Macondo real (que, a todo esto no es real sin virtual). Nuestro pais McOndo es mas grande, sobrepoblado y lleno de contaminacion, con autopistas, metro, TV-cable y barriadas. En McOndo hay McDonald’s, computadores Mac y condominios, amen de hotels cinco estrellas construidos con dinero lavando y malls gigantescos” , roughly translated to say “Our McOndo is just as Latin American as the magic (exotic) as the real Macondo (which isn’t real so much as virtual). Our country McOndo is bigger, densely populated and full on contamination, with highways, public transit, cable TV and neighborhoods. In McOndo there are McDonald’s, Mac computers and condominiums, as well as five-star hotels built with clean money and gigantic malls” . He aims to denounce the primitive nature of Garcia Marquez’s Macondo and contrast it with the new McOndo, the metaphorical Latin America we now know after the effects of globalization and corporatization. “Now, thanks to Fuguet and his peers, there is a new voice south of the Rio Grande. It is savvy, street-smart, sometimes wiseass and un-ashamedly over the top. Fuguet calls this the voice of McOndo--a blend of McDonald's, Macintosh computers and condos. The label is a spoof, of course, not only on Garcia Marquez's fictitious village but also on all the poseurs who have turned these latitudes into a pastel tequila ad. ¡Hola! Fuguet is saying. Latin America is no paradise” .
  Internal references
  
  In the novel's final chapter, Márquez references the novel Hopscotch (Spanish: Rayuela) by Julio Cortázar in the following line: "...in the room that smelled of boiled cauliflower where Rocamadour was to die" (p. 412). Rocamadour is a fictional character in Hopscotch who indeed dies in the room described. He also references two other major works by Latin American writers in the novel: The Death of Artemio Cruz (Spanish: La Muerte de Artemio Cruz) by Carlos Fuentes and Explosion in a Cathedral (Spanish: El siglo de las luces) by Alejo Carpentier.
  Adaptations
  
   * Shuji Terayama's play One Hundred Years of Solitude (百年の孤独, originally performed by the Tenjo Sajiki theater troupe), as well as his film Farewell to the Ark (さらば箱舟) are loose (and not officially authorized) adaptations of the novel by García Marquez transplanted into the realm of Japanese culture and history.
  
  Although One Hundred Years of Solitude has had such a big impact on the literature world, and although this novel is the author's best selling and most translated around the world, there have been no movies produced about it. Gabriel Garcia Marquez has never agreed to sell the rights for producing such film, even though his novel has inspired many to write and has more than enough themes to work on in the film industry.
zhāng
百年孤独 第一章
百年孤独 第一章
百年孤独 第一章
  duō nián hòuào léi lián nuò shàng xiào zhàn zài xíng xíng duì miàn qiánzhǔn huì xiǎng qīn dài cān guān bīng kuài de yáo yuǎn de xià dāng shí kǒng duō shì 'èr shí rén jiā de cūn zhuāng zuò zuò fáng gài zài 'àn shàng shuǐ qīng chèyán zhe biàn shí tóu de chuáng liú de shí tóu guāng huájié báihuó xiàng shǐ qián de dànzhè kuài tiān hái shì xīn kāipì de duō dōng jiào chū míng yòng shǒu zhǐ zhǐ diǎn diǎnměi nián sān yuè shān lán lóu de sài réndōu yào zài cūn biān zhàng péngzài de xuān 'áo shēng zhōngxiàng kǒng duō de mín jiè shào xué jiā de zuì xīn míng men shǒu xiān dài lái de shì tiě shēn gāo de sài rén chēng méi 'ěr jiā mǎn liǎn luò sāi shǒu zhǐ shòu xiàng niǎo de zhuǎzǐxiàng guān zhòng chū biǎo yǎn liǎo suǒ wèi de dùn liàn jīn shù shì chuàng zào de shì jiè shǒu zhe liǎng kuài tiěcóng zuò nóng shè zǒu dào lìng zuò nóng shè jiādōu jīng kàn jiàntiě guōtiě péntiě qiántiě cóng yuán dǎo xià bǎn shàng de dīng luó pīn mìng xiǎng zhèng tuō chū láishèn zhì xiē zǎo jiù diū shī de dōng cóng zhǎo guò duō de fāng rán chū xiànluàn zāo gēn zài méi 'ěr jiā de tiě hòu miàn。“ dōng shì yòu shēng mìng de,” sài rén yòng 'ěr de shēng diào shuō,“ zhǐ xiāo huàn men de líng xìng。” huò · ā · 'ēn kuáng de xiǎng xiàng jīng cháng chāo guò rán de chuàng zào shèn zhì yuè guò de xiàn rèn wéi zhè zhǒng zàn shí yòng de xué míng yòng lái kāi cǎi xià de jīn
   méi 'ěr jiā shì chéng shí de rén gào jiè shuō:“ tiě gān zhè què xíng。” shì huò · ā · 'ēn dāng shí hái xiāng xìn sài rén de chéng shíyīn yòng de luó liǎng zhǐ shān yáng huàn xià liǎo liǎng kuài tiězhè xiē jiā chù shì de suàn yòng lái zhèn xīng bài de jiā de shì zhǐ dàn shì wǎng fèi gōng 。“ zán men hěn kuài jiù huì yòu gòu de jīn yòng lái jiā de yòu 。” -- zhàng huí zài hǎo 'ér yuè huò · ā · 'ēn wán qiáng xíng de nuò yán dài zhě liǎng kuài tiě shēng duàn niàn zhe méi 'ěr jiā jiào de zhòu kān chá liǎo zhōu wéi zhěng de cùn cùn shèn zhì chuángdàn jué chū de wéi de dōng shì shí shì de jiàn kǎi jiá de fēn dōuyǐ xiù lián zài yòng shǒu qiāoái jiá miàn jiù chū kōng dòng de huí shēngfǎng zhǐ sài mǎn shí de
   sān yuè jiān sài rén yòu lái liǎoxiàn zài men dài lái de shì jià wàng yuǎn jìng zhǐ xiǎo de fàng jìngshuō shì 'ā dān yóu tài rén de zuì xīn míng men wàng yuǎn jìng 'ān zài zhàng péng mén kǒuér ràng sài rén zhàn zài cūn jìn tóuhuā 'ěrrèn réndōu cóng wàng yuǎn jìng kàn jiàn fǎng jìn zài chǐ de sài rén。“ xué suō duǎn liǎo 。” méi 'ěr jiā shuō。“ zài duǎn shí nèirén men chū jiù kàn dào shì jiè shàng rèn fāng shēng de shì 'ér。” zài yán de shǎng sài rén yòng fàng jìng zuò liǎo jīng rén de biǎo yǎn men zài jiē dào zhōng jiān fàng liǎo duī gān cǎojiè tài yáng guāng de jiāo diǎn ràng gān cǎo rán liǎo lái tiě de shì yàn shī bài zhī hòuhuò · ā · 'ēn hái gān xīn shàng yòu chǎn shēng liǎo yòng zhè míng zuò wéi zuò zhàn de niàn tóuméi 'ěr jiā yòu xiǎng quàn dàn zhōng tóng yòng liǎng kuài tiě sān méi zhí mín shí de jīn jiāo huàn fàng jìng shāng xīn liú liǎo lèizhè xiē qián shì cóng jīn wèi chū lái de jīn yóu qīn shēng jié suō shí jīzǎn xià lái zhí mái cáng zài 'ér chuáng xiàxiǎng zài shìdàng de shí shǐ yònghuò · ā · 'ēn xīn wèi xué jiā de wàng jīng shénshèn zhì mào zhe shēng mìng wēi xiǎn tóu zhā jìn liǎo zuò zhàn shì yàn xiǎng zhèng míng yòng fàng jìng duì jūn de xiào jiù yáng guāng de jiāo diǎn shè dào shēn shàngyīn shòu dào zhuó shāngshāng chù kuì lànhěn jiǔ dōuméi quán zhè zhǒng wēi xiǎn de míng de xià huài liǎodàn de fǎn duìyòu shèn zhì zhǔn bèi diǎn rán de fáng huò · ā · 'ēn dài zài de fáng jiān zǒng shì lián xiǎo shí suàn xīn shì de zhàn lüè wēi shèn zhì biān xiě liǎo fèn shǐ yòng zhè zhǒng dezhǐ nán》, chǎn shù cháng qīng chǔlùn què záo yòu zhè fènzhǐ nánlián tóng duō shì yàn shuō míng jiěqǐng xìn shǐ sòng gěi zhèng zhè xìn shǐ fān guò shān lǐngshè guò máng máng cāng cāng de zhǎo yóu guò xiōng yǒng péng pài de liúmào zhe shòu bìng de wēi jiēzhōng dào liǎo tiáo dàodāng shí qián wǎng shǒu jìn guǎn shì néng dehuò · ā · 'ēn hái shì dāyìngzhǐ yào zhèng shēng lìng xià jiù xiàng jūn shì zhǎngguān men shí biǎo yǎn de míngshèn zhì qīn xùn liàn men zhǎng tài yáng zhàn de shù děng dài děng liǎo niánzuì hòu děng yàn fán liǎo jiù wéi zhè xīn de shī bài mányuàn méi 'ěr jiā shì sài rén lìng rén xìn zhèng míng liǎo de chéng shí guī hái liǎo jīn huàn huí liǎo fàng jìngbìng qiě gěi liǎo huò · ā · 'ēn táo háng hǎi zhǒng háng hǎi méi 'ěr jiā qīn shǒu xià liǎo xiū dào shì 'ěr màn zhù zuò de jiǎn yào shuō míng liú gěi huò · ā · 'ēn ràng zhī dào shǐ yòng guān xiàng luó pán liù fēn zài de màn cháng yuè fèn huò · ā · 'ēn guān zài zhái shēn chù de xiǎo fáng jiān ràng bié rén rǎo de shì yàn wán quán pāo liǎo jiā zhěng zhěng dāi zài yuàn guān chá xīng xīng de yùn xíngwèile zhǎo dào xiàn díquè dìng fāng chàdiǎn 'ér zhōng liǎo shǔ wán quán zhǎng liǎo de hòujiù shè xiǎng chū liǎo kōng jiān de gài niànjīn hòu zǒu chū de fáng jiānjiù néng zài shēng de hǎi yáng shàng háng xíngkǎo chá huāng rén yān de bìng qiě gēn zhēn qín shòu shàng jiāo dào liǎozhèng shì cóng zhè shí hòu yǎng chéng liǎo yán de guànzài duó lái duó duì shuí dālǐér hái men què zài cài yuán máng chuǎn guò láizhào liào xiāng jiāo hǎi shǔ shān yàonán guā qié shì jiǔhuò · ā · 'ēn jǐn zhāng de gōng zuò rán tíng chuò xiàn zhǒng zhǒng diān dǎo de zhuàng tàihǎo tiān fǎng zhōng liǎo zǒng shì shēng rǎng shénmebìng wéi fǎn zhēn zhuó de zhǒng jiǎ shè gǎn dào chī jīng dōubù xiāng xìnzuì hòuzài shí 'èr yuè de xīng chī fàn de shí hòu rán xià bǎi tuō liǎo nǎo rén de hái men zhì yóu cháng 'áo míng xiǎng 'ér biàn jīng jié de qīn yáng yáng xiàng men xuān de xiàn
  “ qiú shì yuán dexiàng chéng 。”
   shī liǎo nài xīn,“ guǒ xiǎng diān jiù !” rǎng jiào lái,“ bié gěi hái men de nǎo guā guàn shū sài rén de luàn xiǎng。” huò · ā · 'ēn dòng dòng děibǎ guān xiàng shuāi dào shàng méi yòu xià dǎo lìng zuò liǎo guān xiàng bìng qiě cūn de xiē nán rén zhào dào de xiǎo fáng jiān gēn zài chǎng de rén chuí míng bái de lùnxiàng men zhèng míng shuō guǒ zhí wǎng dōng háng xíngjiù néng huí dào chū de diǎn kǒng duō de rén wéi huò · ā · 'ēn fēng liǎo xiōng méi 'ěr jiā huí lái zhī hòu shàng xiāo chú liǎo jiā de shēng zàn yáng huò · ā · 'ēn de zhì huìguāng kào xiàn xiàng de tàn jiù zhèng shí liǎo zhǒng lùnzhè zhǒng lùn suī shì kǒng duō de mín jīn hái zhī dào dedàn shí shàng zǎo jiù zhèng shí liǎoméi 'ěr jiā wèile biǎo shì qīn pèizèng gěi huò · ā · 'ēn tào dōng liàn jīn shì yàn shì shè bèizhè duì quán cūn de wèi lái jiāng huì chǎn shēng shēn yuǎn de yǐng xiǎng
   zhè shíméi 'ěr jiā hěn kuài jiù shuāi lǎo liǎozhè sài rén lái dào cūn de shí hòufǎng gēn huò · ā · tóng yàng nián suì dāng shí réng yòu fēi fán de jiū zhuāng 'ěr duǒ jiù néng dǎoxiàn zài què hǎo xiàng bèi xiē wán de bìng zhé huài liǎoquè shí shuāi lǎo de yuán yīn shì zài shì jiè duàn liú làng shí guò zhǒng hǎn jiàn de bìngbāng zhù huò · ā · 'ēn zhuāng bèi shì yàn shì de shí hòu shuō shén dào chù jǐn jǐn gēn zhe shì shén réng rán méi yòu zuì zhōng jué dìng yào de mìngcóng rén lèi dào de zhǒng wēn zāinàn zhōng xìng cún xià lái liǎo zài huàn guò bìngzài lái qún dǎo huàn guò huài xuè bìngzài shān huàn guò fēng bìngzài běn huàn guò jiǎo bìngzài jiā jiā huàn guò lín xiàn shǔ zài pèng dào guò zhènzài mài zhé lún hǎi xiá dào guò shēng cǎn zhòng de lún chuán shī shìzhè xún cháng de rén shuō zhī dào de jué rén miàn mào yīn chénluò luò guǎ huāndài zhe dǐng mào kuān kuān de hēi mào yán wǎn zhāng kāi de chì bǎngér shēn shàng de róng kǎn jiān què mǎn liǎo duō nián de méirán 'érjìn guǎn cōng míng shén zhōng guī shì yòu xuè ròu de rénbǎi tuō liǎo rén shì jiànrì cháng shēng huó de fán nǎo yōu bào yuàn nián lǎo duō bìng wēi dào de jīng kùn nánzǎo jiù méi yòu xiào róngyīn wéi huài xuè bìng shǐ de chǐ diào guāng liǎohuò · ā · 'ēn rèn wéizhèng shì mèn de shǎng méi 'ěr jiā bái de gào de shí hòu men de wěi yǒu cái kāi liǎo tóu sài rén de shén shì shǐ hái men gǎn dào jīng dāng shí guò suì de 'ào léi lián nuò bèi méi 'ěr jiā zuò zài mínghuǎnghuǎng de chuāng gēn qiánshēn de lún kuò shí fēn qīng fēng qín bān chén de shēng yīn tòu jìn liǎo zuì 'àn de huàn xiǎng de jiǎo luòér de liǎng bìn què liú zhe hàn shuǐfǎng shǔ róng huà liǎo de zhī fángào léi lián nuò de huò · ā 'àojiāng zhè jīng rén de xíng xiàng dāng zuò liú xià de huí chuán gěi suǒ yòu de hòu dàizhì qià qià xiāng fǎn sài rén de lái fǎng gěi liú xià liǎo zuì kuài de yìn xiàngyīn wéi kuà jìn fáng jiān de shí hòuzhèng qiǎo méi 'ěr jiā xiǎo xīn suì liǎo píng shēng gǒng
  “ zhè shì guǐ de wèi,” shuō
  “ gēn běn shì,” méi 'ěr jiā jiū zhèng 。“ bié rén zhèng míng guǐ zhǐ yòu liú huáng wèizhè 'ér guò shì diǎn diǎn shēng gǒng。”
   jiē zhe yòng tóng yàng jiào huì de kǒu wěn tán tán zhū shā de xìng duì de huà méi yòu rèn xīng jiù dài zhe hái dǎo liǎohòu láizhè zhǒng de wèi jīng cháng shǐ xiǎng méi 'ěr jiā
   chú liǎo duō tiě guōlòu dǒu jǐng píngshāi guò jiǎn lòu de shì yàn shì hái yòu tōng róng tiě cháng jǐng shāo píngdiǎn jīn shí fǎng zhì pǐn sān zhēng liú zhǒng zhēng liú shì yóu tài rén céng jīng yòng guò dexiàn yóu sài rén 'àn zhào zuì xīn shuō míng zhì chéng wàiméi 'ěr jiā hái liú xià liǎo zhǒng liù xīng qiú yòu guān de jīn shǔ yàng pǐn suǒ de bèi jīn fāng 'ànliàn jīn shù jiěshuí néng shí bié zhè xiē jiěshuí jiù néng gòu zhì zuò diǎn jīn shíhuò · ā · 'ēn rèn wéi bèi jīn fāng 'àn jiào jiǎn dānjiù liǎo lián xīng chán zhù yāng qiú cóng cáng de xiǎo tāo chū jiù jīn láiràng jīn chéng bèi zēng jiāshuǐ yín néng gòu fēn chéng duō shǎo fènjīn jiù néng zēng jiā duō shǎo bèixiàng wǎng cháng yàngniǎo méi yòu 'ào guò de zhí yào qiú shìhuò · ā · 'ēn sān shí méi jīn diū dào tiě guō men gēn huángtóng xièshuǐ yín qiān róng huàrán hòu yòu zhè qiē dǎo zài yóu guō zài liè huǒ shàng 'áo liǎo zhènzhí dào zuì hòu 'áo chéng guō 'è chòu de nóng jiāng xiàng jiā bèi de jīn dǎo xiàng tōng de jiāo tángjīng guò duō pīn mìng demào jiē de shì yànzhēng liú gēn zhǒng tiān jīn shǔ róng liàn jiā jìn hēi méi shuǐ yín sài liú suān yán zài zhū yóu chóngxīn 'áo zhǔ yīn wéi méi yòu luóbo yóu), de bǎo guì chǎn biàn chéng liǎo kuài jiāo de zhā nián zài guō liǎo
   sài rén huí lái de shí hòu suō shǐ quán cūn de rén fǎn duì men shì hàoqí zhàn shèng liǎo kǒng yīn wéi sài rén zòu zhe shì yàng de yuèqìnào rǎng rǎng jīng guò jiē tóu men de xuān chuán yuán shuō shì yào zhǎn chū 'ān rén zuì de míng jiā dào sài rén de zhàng péng huā fēn qiánjiù kàn dào fǎn lǎo hái tóng de méi 'ěr jiā -- shēn kāng jiànméi yòu zhòu wénmǎn kǒu piào liàng de xīn yòu xiē rén hái huài xuè bìng huǐ diào de chuángāo xiàn de miàn jiázhòu de zuǐ chún jiàn sài rén shén tōng guǎng de zuì xīn zhèng míng jīng dǒujiē zheméi 'ěr jiā cóng zuǐ chū wán hǎo de chǐchà jiān yòu biàn chéng wǎng lǎo xiǔ de rénbìng qiě zhè chǐ gěi guān zhòng kàn liǎo kànrán hòu yòu zhuāng shàng chuángwēi wēi xiào chóngxīn huī liǎo qīng chūnzhè shí jiā de jīng 'ě què biàn chéng liǎo kuáng huānshèn zhì huò · ā · 'ēn běn rén rèn wéiméi 'ěr jiā de zhī shí dào liǎo néng dào de xiàn shì dāng sài rén dān xiàng shuō míng jiǎ de gòu zào shí de xīn jiù qīng kuài liǎogāo xīng fàng shēng xiàohuò · ā · 'ēn jué zhè qiē jiǎn dān yòu miào 'èr tiān jiù wán quán shī liǎo duì liàn jīn shù de xīng xiàn liǎo sàng zhuàng tài zài 'àn shí jìn cāncóng zǎo dào wǎn zài duó lái duó 。“ shì jiè shàng zhèng zài shēng de shì,” xiàng láo dāo。“ zán men bàng biānjiù zài liú duì 'àn yòu duō shì yàng shén de zán men réng zài zhè 'ér xiàng chǔn yàng guò 。” kǒng duō jiàn shí jiù liǎo jiě de réndōu gǎn dào jīng zài méi 'ěr jiā de yǐng xiǎng xià de biàn huà duō 'ā
   cóng qiánhuò · ā · 'ēn hǎo xiàng nián qīng de chángjīng cháng gào jiā bōzhòng jiào yǎng hái yǎng jiā chù gēn huǒ 'ér láo dòngwéi quán cūn zào 'ēn jiā de fáng shì cūn zuì hǎo de de réndōu qiú xiàng yàng jiàn zhù de zhù suǒ de fáng yòu chǎng liàng de xiǎo tīngbǎi liǎo pén pén xiān huā de yáng tái cān shì liǎng jiān shìyuàn zāi liǎo tǐng de shùfáng hòu shì zuò xīn zhào liào de cài yuánhái yòu chù lánzhū shān yáng zài lán xiāng chù jiā jìn yǎng dǒu quán cūn yědōu jìn yǎng dǒu
   xiàng zhàng yàng qín láo shì yán huó yuè 'ǎi xiǎo de rén zhì jiān qiáng gài bèi dōuméi chàng guò měi tiān cóng míng dào shēn chù dōuyòu de zōng yǐngdào chù dōunéng tīng dào jiāng guò de lán qún qīng wēi de shā shā shēngduō kuī qín zhào liàobèn shí de miànwèi céng fěn shuà de shàng qiáng cāo de zhì jīng cháng dōushì qiān gān jìng jìng deér bǎo cún de jiù xiāng hái sàn chū qīng dàn de fāng xiāng
   huò · ā · 'ēn shì cūn zuì yòu shì xīn de rén zhǐ huī jiàn zhù de fáng měi jiā de zhù rén dào biān shuǐ tóng yàng fāng biàn shè de jiē dàoměi zuò zhù fáng bái tiān zuì de shí dōunéng dào tóng yàng de yáng guāngjiàn cūn zhī hòu guò liǎo nián kǒng duō jīng chéng liǎo zuì zhěng jié de cūn zhè shì gēn quán cūn sān bǎi mín guò zhù guò de qiē cūn zhuāng dōubù tóng dezhè shì zhēn zhèng xìng de cūn zài zhè cūn shuí méi yòu chāo guò sān shí suì hái méi yòu guò rén
   jiàn cūn de shí hòuhuò · ā · 'ēn kāi shǐ zhì zuò tào suǒ niǎo lónghěn kuài cūn zhōng de rén jiā yǎng liǎo jīn jiàjīn quèfēng zhī gèng niǎo duō shì yàng de niǎo 'ér duàn zhā zhā shēng zhèn lóngzhǐ hǎo yòng fēng 'ěr duǒ sài shàngméi 'ěr jiā huǒ rén lái dào kǒng duō chū shòu qiú tóu tòng yào shícūn mín men gēn běn jiù míng bái zhè xiē sài rén néng gòu zhǎo dào zhè xiǎo xiǎo de cūn yīn wéi zhè cūn shì yǐn méi zài liáo kuò de zhǎo dài de sài rén shuō men lái dào zhè 'ér shì yóu tīng dào liǎo niǎo de jiào shēng
   shìhuò · ā · 'ēn wéi shè huì zào de jīng shén hěn kuài xiāo shī shàng liǎo tiě tiān wén tàn suǒhuàn xiǎng cǎi dào jīn xiàn shì jiè de jīng chōng pèi zhe zhěng jié de huò · ā · 'ēn zhú jiàn biàn chéng wài biǎo shū lǎn guān zhěng de rénshèn zhì mǎn liǎn fèi liǎo jìn cái yòng fēng de cài dāobà de diàocūn de duō réndōu rèn wéihuò · ā · 'ēn zhōng liǎo xié guò dài zài jiān shàngdài zhe tiě qiāo chú tóuyào qiú bié rén bāng zhù kāipì tiáo dào biàn kǒng duō xiē wěi míng lián jiē lái de shí hòushèn zhì jiān xìn liǎo fēng de rén rēng xià de jiā tíng huó gēn suí mào xiǎn
   huò · ā · 'ēn gēn 'ér liǎo jiě zhōu wéi de zhuàng kuàng zhǐ zhī dàodōng biān sǒng zhe nán pān dēng de shān lǐngshān lǐng hòu miàn shì chéng liè 'ào 'ā chá de -- ào léi lián nuò · 'ēn shuōcóng qián yòu lán · jué shìcéng zài 'ér kāi pào hōng 'ě xiāo qiǎn jiào rén zài hōng de 'ě tián jìn gān cǎo zhuì hǎo liǎo jiù sòng xiàn gěi suō bái wángnián qīng de shí hòuhuò · ā · 'ēn de rén dài zhe hái jiā chù zhǒng shēng huó yòng fān guò zhè shān lǐng wàng dào hǎi biān shì yóu dàng liǎo liǎng nián yòu liǎng yuèjiù fàng liǎo de suànwèile zǒu huí tóu cái jiàn liǎo kǒng xiāng cūnyīn wǎng dōng de shì gǎn xīng de -- zhǐ néng chóngfù wǎng de zāo nán biān shì yǒng yuǎn cǎo cóng shēng de tán zhǎo dài -- sài rén zhèng míng shì biān de shì jiè biān zhǎo biàn chéng liǎo liáo kuò de shuǐ 'ér zhe jīng zhuàng de shēng zhè lèi shēng nèntóu gān xiàng liǎokuān rén de xiōngpú cháng cháng huǐ diào háng hǎi de rén sài rén shuō men dào dào jīng guò de zhī qiánháng xíng liǎo jīhū bàn niánhuò · ā · 'ēn rèn wéigēn wén míng shì jiè jiē chùzhǐ néng wǎng běi qián jìn shì ràng xiē gēn jiàn kǒng duō cūn de rén dài shàng tiě qiāochú tóu shòu liè de dìng xiàng fàng jìn bèi nángjiù cóng shì mǎng de mào xiǎn liǎo
   zuì chū tiān men méi yòu dào shū de kùn nán men shùn zhe biàn shí tóu de 'àn xià dào liǎo nián qián xiàn dài kǎi jiá de fāngbìng qiě yán zhe chéng shù zhī jiān de xiǎo jìng jìn piàn shù líndào zhōu wèi men jiǎo xìng liǎo zhǐ kǎo shú shì jué dìng zhǐ chī bàn shèng xià de chǔ bèi lái men cǎi zhè fáng cuò shīshì xiǎng yán huǎn jīn gāng yīng chōng de shí jiānzhè zhǒng yīng de ròu shì lán deyòu qiáng liè de shè xiāng wèi 'érzài suí hòu de shí tiān zhōng men gēn běn méi yòu jiàn dào yáng guāngjiǎo xià de biàn cháo shīsōng ruǎn láihǎo xiàng huǒ shān huī shìde cǎo yuè lái yuè fēi qín de míng hóu de jiān jiào yuè lái yuè yuǎn -- zhōu fǎng biàn cǎn tán liáng liǎozhè cháo shī liáo de jìng yóu yuán zuì qián de mán huāng shì jièzài zhè 'ér men de xié xiàn jìn liǎo yóu téng téng de shēn kēng men de kǎn dāo luàn zhe xuè hóng de bǎi huā jīn huáng de róng yuányuǎn de huí shǐ men shòu dào zhěng zhěng xīng men jīhū méi yòu shuō huàxiàng mèng yóu rén yàng zài hūn 'ànbēi liáng de jìng xíng jìnzhào míng de zhǐ yòu yíng huǒ chóng shǎn shuò de wēi guāngnán wén de xuè xīng wèi shǐ men de fèi gǎn dào hěn shū huí tóu de shì méi yòu deyīn wéi men kāipì de xiǎo jìng xià liǎo jiù jiàn liǎojīhū jiù zài men yǎn qián cháng chū liǎo xīn de cǎo。“ yào jǐn,” huò · ā · 'ēn shuō。“ zhù yào shì shī fāng xiàng。” duàn dīng zhù luó pán de zhǐ zhēn lǐng zhe huǒ 'ér wǎng kàn jiàn de běi fāng qián jìnzhōng zǒu chū liǎo men zhōu wéi shì méi yòu xīng guāng de hēi dàn shì hēi 'àn chōng mǎn liǎo xīn xiān kōng jīng guò cháng shè men jīng bèi kān shì xuán diào chuángliǎng xīng zhōng 'ān jìng shuì liǎo juéxǐng lái de shí hòutài yáng jīng shēng hěn gāo men yīn jīng dāizài níng jìng de chén guāng jiù zài men qián miànchù zhe sōu bān fān chuánchuán shì bái xiǔ dezhōu wéi cháng mǎn liǎo yáng chǐ zhí zōng fān chuán wēi wēi wǎng yòu qīng xiézài lán huā zhuāng shì de suǒ zhī jiānwéi gān hái hěn wán zhěngchuí zhe 'āng zàng de chuán fān suì piànchuán shēn yòu céng shí huà bèi qīng tái xíng chéng de guāng huá de wàiqiàoláo láo xiàn liǎo jiān shí de rǎngkàn yàng zhěng chuán shēn chǔyú de fāngbèi rén wàng què liǎoméi yòu zāo dào shí guāng de qīn shí méi yòu shòu dào fēi qín de sāo rǎotàn xiǎn duì yuán men xiǎo xīn chá kàn liǎo fān chuán nèi miàn chú liǎo huā huìméi yòu rèn dōng
   fān chuán de xiàn zhèng míng hǎi jiù zài jìn bàng huài liǎo huò · ā · 'ēn de zhàn dǒu jīng shén rèn wéi zhè shì jiǎo zhà de mìng yùn zài zhuō nòng qiān xìng wàn xún zhǎo hǎi de shí hòuméi yòu zhǎo dào xiǎng zhǎo de shí hòuxiàn zài què xiàn liǎo -- xiàng de zhàng 'ài héng zài de shàngduō nián hòuào léi lián nuò shàng xiào lái dào zhè de shí hòu shí zhè 'ér jīng kāipì liǎo dào), zài fān chuán shī shì de fāng zhǐ néng kàn jiàn piàn yīng huā zhōng jiān shāo de chuán shí zhě xiāng xìnzhè zhěng shì bìng shì qīn gòu de shì xiàng chū wèn fān chuán zěn huì shēn zhè me yuǎn shìzài jīng guò tiān de chéngzài fān chuán shí 'èr gōng de fānghuò · ā · 'ēn kàn jiàn hǎi de shí hòubìng méi yòu xiǎng dào zhè lèi wèn zài hǎi miàn qián de qiē huàn xiǎng miè liǎo hǎi fān zhe pào húnzhuó kānhuī máng máng piànzhí huǒ bàn men mào xiǎn shēng
  “ zhēn de!” huò · ā · jiào dào。“ kǒng duō miàn fāng gěi hǎi shuǐ wéi zhù !”
   tàn xiǎn huí lái hòuhuò · ā · 'ēn huì liǎo yóu zhè zhāng zhù guān xiǎng chū de rén men cháng shí wéi kǒng duō shì zài bàn dǎo shàng miàn shì nǎo huà chū zhè zhāng de kuā gēn wài jiè wǎng lái de kùn nánfǎng xiǎng chéng qīng shuài xuǎn liǎo zhè jiàn cūn de diǎn,“ zán men zài xià liǎo rèn fāng ,” xiàng jiào ,“ zán men huì zài zhè 'ér huó huó làn diàoxiǎng shòu dào xué de hǎo chù liǎo。” zài de xiǎo shì yàn shì zhè zhǒng xiǎng fǎn chú shìde jǔjué liǎo yuèjué dìng kǒng duō qiān dào gèng shì de fāng shì jǐng gào huài liǎo huāng táng de jìhuàcūn de nán rén jīng kāi shǐ zhǔn bèi bān jiā què xiàng yàng qiāoqiāo huó dòng zuò suō shǐ cūn zhōng de fǎn duì nán rén de qīng wàng dònghuò · ā · 'ēn shuō qīng chǔ zhī shénme shí hòuyóu shénme duì de liàng de jìhuà zāo dào duī jiè kǒu tuō de náozhōng biàn chéng méi yòu jiēguǒ de huàn xiǎngyòu yāo zǎo chén xiàn miàn shēng dāo bān jiā de jìhuà miàn bái de shì yàn yòng zhuāng jìn xiāng zhǐ zài bàng biān zhuāng shǎ guān chá shèn zhì yòu diǎn 'ér lián mǐn ràng shì 'ér wánzài dīng shàng xiāng zhàn liǎo shuǐ de shuà zài xiāng shàng xiě hǎo de suō xiě xìng míng shí méi bèi jìn guǎn míng báipíng hán de ), zhī dào cūn de nán rén bìng zhī chí de xiǎng zhǐ dāng huò · ā · 'ēn kāi shǐ xiè xià fáng mén shí cái dǎn xiàng yào gànshénme yòu diǎn nán guò huí shuō:“ rán shuí xiǎng zǒuzán men jiù dān zǒu 。” méi yòu huāng
  “ zán men zǒu,” shuō。“ zán men yào liú zài zhè 'ér yīn wéi zán men zài zhè 'ér shēng liǎo 'ér 。”
  “ shìzán men hái méi yòu rén zài zhè 'ér,” huò · ā · 'ēn fǎn shuō,“ rén guǒ méi yòu qīn shǔ mái zài zhè 'ér jiù zhè fāng de rén。”
   wēn 'ér jiān jué shuō
  “ wèile zán men liú zài zhè 'ér guǒ yào jiù 。”
   huò · ā · 'ēn bìng xiāng xìn me jiān dìng shì de huàn xiǎng zhù dāyìng dài kàn měi miào de shì jiè 'érzhǐ yào zài pēn shàng shén de yào shuǐzhí jiù huì 'àn zhào rén de yuàn wàng cháng chū guǒ shí 'ér jiàn jià mǎi dào zhǒng zhì bìng de yào shì de huàn xiǎng bìng méi yòu dòng
  “ yào chéng tiān xiǎng fēi fēizuì hǎo guān xīn guān xīn hái ,” huí 。“ qiáo men xiàng xiǎo gǒu 'ér shìde bèi rēng zài biānméi yòu rén guǎn。”
   huò · ā · 'ēn huì de huà wàng liǎo wàng chuāng wàikàn jiàn liǎng chì de hái zhèng zài liè yán yán de lāi yuán jué men jǐn zài zhè shùn jiān cái kāi shǐ cún zàifǎng shì de zhòu huàn chū lái dezhè shí zhǒng shén 'ér zhòng yào de dōng zài xīn zhōng rán chū xiànshǐ wán quán tuō liǎo xiàn shí yóu zài zhù shì de huí dāng niǎo sǎo jué xīn bèi kāi zhè 'ér shíhuò · ā · 'ēn quán shén guàn zhù wàng zhe liǎng hái zhōng wàng liǎng yǎn shī rùn jiù yòng shǒu bèi liǎo yǎn jīng nài chū shēng shēn chén de tàn
  “ hǎo ,” shuō,“ jiào men lái bāng bān chū xiāng de dōng 。”
   'ér huò · wǎng 'ào mǎn liǎo shí suìcháng zhe fāng fāng de nǎo dài péng sōng de tóu xìng qíng xiàng qīn yàng zhíniù suī yòu qīn yàng de néng cháng xiàng qīn bān kuí wěidàn xiǎn rán quē qīn yàng de xiǎng xiàng shì zài kǒng duō jiàn cūn zhī qián fān shān yuè lǐng de jiān nán chéng zhōng dàn shēng de què xìn hái méi yòu rèn shēng chù de zhēng gǎn xiè shàng ào léi lián nuò shì zài kǒng duō chū shēng de rénsān yuè jiān gāi mǎn liù suì liǎozhè hái xìng qíng chén guǎ yán zài qīn jiù shì zhēng zhe yǎn jīng chū shì derén jiā gěi diào dài de shí hòu nǎo dài niǔ lái niǔ fǎng tàn chá de dōng bìng qiě hàoqí chǒu zhe zhōu wéi de rén diǎn 'ér shān hài suí hòuduì zǒu dào gēn qián lái qiáo de rén jiù gǎn xīng liǎoér de zhù zhōng zài zōng gài de fáng dǐng shàngzài qīng pén xiàfáng dǐng měi fēn zhōng dōuyòu xià de wēi xiǎn hòu lái hái kàn jiàn guò hái de zhè zhǒng jǐn zhāng de shén qíngyòu tiānsān suì de xiǎo hái 'ér 'ào léi lián nuò zǒu jìn chú fáng zhèng qiǎo guō zhǔ fèi de tānɡ cóng zào dào zhuō shànghái yóu jué zhàn zài mén jiàn biānjīng huáng shuō:“ shàng jiù yào shuāi xià 。” tānɡ guō shì wěn wěn fàng zài zhuō zhōng yāng de shì hái gāng shuō chū zhè huà fǎng shòu dào nèi tuī dòng shìdekāi shǐ zhì zhǐ zhù dào zhuō biānrán hòu diào dào shàng shuāi fěn suì 'ān de zhè zhuāng shì qíng gào zhàng zhè zhǒng shì qíng shuō chéng shì rán xiàn xiàngjīng cháng dōushì zhè yànghuò · ā · 'ēn guān xīn hái de shēng huó fāng miàn shì yīn wéi rèn wéi tóng nián shì zhì chéng shú de shí lìng fāng miàn shì yīn wéi tóu zhā jìn liǎo huāng táng de yán jiū
   dàn shìcóng zhāo hái dīng men bāng chū xiāng de shì yàn de yāo xià jiù zuì hǎo de shí jiān yòng zài men shēn shàng liǎozài jìng de xiǎo shì qiáng shàngnán zhì xìn de guài de biǎo yuè lái yuè duōzài zhè jiān xiǎo bǎo jiào hái men shūxiě suàntóng shí jǐn kào zhǎng de zhī shíér guǎng fàn yòng xiàn de xiǎng xiàng xiàng hái men jiè shào shì jiè shàng de hái men yóu zhī dàofēi zhōu nán duān yòu zhǒng cōng míngwēn de rén men de xiāo qiǎn jiù shì zuò zhe jìng ér 'ài qín hǎi shì xíng guò decóng dǎo tiào shàng lìng dǎo zhí dào luò gǎngzhè xiē huāng dàn jīng de tán shēn shēn yìn zài hái men de nǎo hǎi duō nián hòuzhèng jūn de jūn guān mìng lìng xíng xíng duì kāi qiāng zhī qián de piàn jiānào léi lián nuò shàng xiào chóngxīn liǎo nuǎnhuo de sān yuè de xià dāng shí de qīn tīng dào yuǎn chù sài rén de shēngjiù zhōng duàn liǎo liǎng yǎn dòng dòng zhuóshǒu lèng zhù liǎozhè xiē sài rén zài lái dào cūn jiāng xiàng cūn mín jiè shào mèng fěi xué zhě men jīng rén de zuì xīn míng
   zhè shì lìng sài rénnán nán tǐng nián qīngzhǐ shuō běn huàshì qún yóu liàngshuāng shǒu líng qiǎo de piào liàng rén men zài zài xīng gāo cǎi liènào rǎng rǎng jīng guò jiē tóudài lái liǎo yàng dōng huì chàng shū qíng gēqǔ de cǎi yīng 'ésuí zhe shēng zhì shǎo néng xià bǎi zhǐ jīn dàn de néng gòu cāi chū rén de hóu néng féng niǔ kòuyòu néng tuì shāo de duō yòng néng gòu shǐ rén wàng què xīn suān wǎng shì de xiènéng gòu bāng zhù xiāo shí jiān de gāo yào wài hái yòu duō qiǎo miào fēi fán de míng zhì huò · ā · 'ēn suàn míng zhǒng hǎo zhè qiē quándōu zhùshùn jiāncūn de miàn mào jiù wán quán gǎi guān rén rén qún rǎngnào nào xuān xuān kǒng duō de mín zài de jiē dào shàng shī liǎo fāng xiàng
   huò · · 'ēn xiàng fēng yàng dōng cuàn cuàndào chù xún zhǎo méi 'ěr jiā wàng cóng 'ér liǎo jiě zhè zhǒng shén mèng jǐng de duō shǒu qiān zhe liǎng hái liǎoshēng men zài yōng de rén qún zhōng diū shī shí pèng jiàn xiāng zhe jīn de jiāng rén huò zhě liù tiáo gēbo de shù shīrén qún zhōng chū shǐ niào tán xiāng hùn de wèi 'érjiào chuǎn shàng xiàng sài rén tīng méi 'ěr jiā shì men dǒng de yánzuì hòu dào liǎo méi 'ěr jiā wǎng cháng zhàng péng de fāng 'ér zuò zhe liǎn yīn de měi sài rénzhèng zài yòng bān jiào mài zhǒng yǐn shēn táng jiāngdāng zhè sài rén gāng gāng xià wán bēi de míng yǐn liào shíhuò · ā · 'ēn guò qún kàn chū shén de guān zhòngxiàng sài rén chū liǎo de wèn sài rén yòng de yǎn guāng chǒu liǎo chǒu biàn chéng tān 'è chòu demào yān de qīng de huà hái zài qīng shàng chū huí shēng:“ méi 'ěr jiā 。” huò · ā · 'ēn tīng dào zhè xiāo shèng jīng 'ědāi ruò shì kòng zhì de bēi shāngzhí dào guān zhòng bèi de yǐn guò měi sài rén biàn chéng de tān qīng huī dài jìnrán hòulìng sài rén zhèng shíméi 'ěr jiā zài xīn jiā hǎi tān shàng huàn nüè liǎoshī pāo liǎo zhǎo jìn de hǎihái men duì zhè xiāo bìng xīng jiù zhe qīn kàn xiě zài zhàng zhè zhāo pái shàng de mèng fěi xué zhě de xīn míng guǒ xiāng xìn suǒ xiě dezhè nóng péng cóng qián shǔ suǒ luó mén wánghái men jiū chán xiūhuò · ā · 'ēn zhǐ liǎo sān shí 'ěrdài zhe men zǒu jìn zhàng péng 'ér yòu guāng liǎo nǎo dài de rénhún shēn shì máo kǒng chuān liǎo tóng huánjiǎo duǒ shàng shuān liǎo tiáo chén zhòng de tiě liànshǒu zhe zhǐ hǎi dào yòng de xiāng rén jiē kāi gài xiāng jiù mào chū de hán xiāng zhuì zhǐ yòu kuài tòu míng de dōng zhè wán 'ér zhōng jiān yòu shǔbái de zhēnbàng wǎn de xiá guāng zhào dào zhè xiē zhēn zhēn shàng miàn jiù xiàn chū liǎo duō yán liù de xīng xīng
   huò · ā · 'ēn gǎn dào huò jiědàn zhī dào hái men děng zhe jiě shìbiàn dǎn rǎng shuō
  “ zhè shì shì jiè shàng zuì de zuàn shí。”
  “ ,” sài rén jiū zhèng 。“ zhè shì bīng kuài。”
   míng miào de huò · ā · 'ēn xiàng zhè kuài dōng shēn guò shǒu shì rén tuī kāi liǎo de shǒu。“ zài jiāo 'ěr cái néng ,” rén shuōhuò · ā · 'ēn liǎo 'ěr shǒu zhǎng fàng zài bīng kuài shàng dāi liǎo fēn zhōngjiē chù zhè shén de dōng de xīn chōng mǎn liǎo kǒng yuè zhī dào xiàng hái men jiě shì zhè zhǒng tài xún cháng de gǎn juéyòu liǎo shí 'ěrxiǎng ràng men 'ér shì shì 'ér huò · ā 'ào jué xiāng fǎn ào léi lián nuò què dǎn wān xià yāo jiāng shǒu fàng zài bīng shàng shì suō huí shǒu lái。“ zhè dōng tàng shǒu!” xià jiào liǎo shēng qīn méi huì zhè shí duì zhè xiǎn rán de xīn ruò kuángjìng wàng liǎo xiē huàn xiǎng de shī bài wàng liǎo zàng shēn de méi 'ěr jiā huò · ā · 'ēn yòu liǎo 'ěrjiù xiàng chū tíng zuò zhèng de rén shǒu fàng zàishèng jīngshàng yàngzhuāng yán jiāng shǒu fàng zài bīng kuài shàngshuō dào
  “ zhè shì men zhè shí dài zuì wěi de míng。”


  MANY YEARS LATER as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point. Every year during the month of March a family of ragged gypsies would set up their tents near the village, and with a great uproar of pipes and kettledrums they would display new inventions. First they brought the magnet. A heavy gypsy with an untamed beard and sparrow hands, who introduced himself as Melquíades, put on a bold public demonstration of what he himself called the eighth wonder of the learned alchemists of Macedonia. He went from house to house dragging two metal ingots and everybody was amazed to see pots, pans, tongs, and braziers tumble down from their places and beams creak from the desperation of nails and screws trying to emerge, and even objects that had been lost for a long time appeared from where they had been searched for most and went dragging along in turbulent confusion behind Melquíades' magical irons. "Things have a life of their own," the gypsy proclaimed with a harsh accent. "It's simply a matter of waking up their souls." José Arcadio Buendía, whose unbridled imagination always went beyond the genius of nature and even beyond miracles and magic, thought that it would be possible to make use of that useless invention to extract gold from the bowels of the earth. Melquíades, who was an honest man, warned him: "It won't work for that." But José Arcadio Buendía at that time did not believe in the honesty of gypsies, so he traded his mule and a pair of goats for the two magnetized ingots. ?rsula Iguarán, his wife, who relied on those animals to increase their poor domestic holdings, was unable to dissuade him. "Very soon well have gold enough and more to pave the floors of the house," her husband replied. For several months he worked hard to demonstrate the truth of his idea. He explored every inch of the region, even the riverbed, dragging the two iron ingots along and reciting Melquíades' incantation aloud. The only thing he succeeded in doing was to unearth a suit of fifteenth-century armor which had all of its pieces soldered together with rust and inside of which there was the hollow resonance of an enormous stone-filled gourd. When José Arcadio Buendía and the four men of his expedition managed to take the armor apart, they found inside a calcified skeleton with a copper locket containing a woman's hair around its neck.
   In March the gypsies returned. This time they brought a telescope and a magnifying glass the size of a drum, which they exhibited as the latest discovery of the Jews of Amsterdam. They placed a gypsy woman at one end of the village and set up the telescope at the entrance to the tent. For the price of five reales, people could look into the telescope and see the gypsy woman an arm's length away. "Science has eliminated distance," Melquíades proclaimed. "In a short time, man will be able to see what is happening in any place in the world without leaving his own house." A burning noonday sun brought out a startling demonstration with the gigantic magnifying glass: they put a pile of dry hay in the middle of the street and set it on fire by concentrating the sun's rays. José Arcadio Buendía, who had still not been consoled for the failure of big magnets, conceived the idea of using that invention as a weapon of war. Again Melquíades tried to dissuade him, but he finally accepted the two magnetized ingots and three colonial coins in exchange for the magnifying glass. ?rsula wept in consternation. That money was from a chest of gold coins that her father had put together ova an entire life of privation and that she had buried underneath her bed in hopes of a proper occasion to make use of it. José Arcadio Buendía made no at. tempt to console her, completely absorbed in his tactical experiments with the abnegation of a scientist and even at the risk of his own life. In an attempt to show the effects of the glass on enemy troops, he exposed himself to the concentration of the sun's rays and suffered burns which turned into sores that took a long time to heal. Over the protests of his wife, who was alarmed at such a dangerous invention, at one point he was ready to set the house on fire. He would spend hours on end in his room, calculating the strategic possibilities of his novel weapon until he succeeded in putting together a manual of startling instructional clarity and an irresistible power of conviction. He sent it to the government, accompanied by numerous descriptions of his experiments and several pages of explanatory sketches; by a messenger who crossed the mountains, got lost in measureless swamps, forded stormy rivers, and was on the point of perishing under the lash of despair, plague, and wild beasts until he found a route that joined the one used by the mules that carried the mail. In spite of the fact that a trip to the capital was little less than impossible at that time, José Arcadio Buendía promised to undertake it as soon as the government ordered him to so that he could put on some practical demonstrations of his invention for the military authorities and could train them himself in the complicated art of solar war. For several years he waited for an answer. Finally, tired of waiting, he bemoaned to Melquíades the failure of his project and the gypsy then gave him a convincing proof of his honesty: he gave him back the doubloons in exchange for the magnifying glass, and he left him in addition some Portuguese maps and several instruments of navigation. In his own handwriting he set down a concise synthesis of the studies by Monk Hermann. which he left José Arcadio so that he would be able to make use of the astrolabe, the compass, and the sextant. José Arcadio Buendía spent the long months of the rainy season shut up in a small room that he had built in the rear of the house so that no one would disturb his experiments. Having completely abandoned his domestic obligations, he spent entire nights in the courtyard watching the course of the stars and he almost contracted sunstroke from trying to establish an exact method to ascertain noon. When he became an expert in the use and manipulation of his instruments, he conceived a notion of space that allowed him to navigate across unknown seas, to visit uninhabited territories, and to establish relations with splendid beings without having to leave his study. That was the period in which he acquired the habit of talking to himself, of walking through the house without paying attention to anyone, as ?rsula and the children broke their backs in the garden, growing banana and caladium, cassava and yams, ahuyama roots and eggplants. Suddenly, without warning, his feverish activity was interrupted and was replaced by a kind of fascination. He spent several days as if he were bewitched, softly repeating to himself a string of fearful conjectures without giving credit to his own understanding. Finally, one Tuesday in December, at lunchtime, all at once he released the whole weight of his torment. The children would remember for the rest of their lives the august solemnity with which their father, devastated by his prolonged vigil and by the wrath of his imagination, revealed his discovery to them:
   "The earth is round, like an orange."
   ?rsula lost her patience. "If you have to go crazy, please go crazy all by yourself!" she shouted. "But don't try to put your gypsy ideas into the heads of the children." José Arcadio Buendía, impassive, did not let himself be frightened by the desperation of his wife, who, in a seizure of rage, mashed the astrolabe against the floor. He built another one, he gathered the men of the village in his little room, and he demonstrated to them, with theories that none of them could understand, the possibility of returning to where one had set out by consistently sailing east. The whole village was convinced that José Arcadio Buendía had lost his reason, when Melquíades returned to set things straight. He gave public praise to the intelligence of a man who from pure astronomical speculation had evolved a theory that had already been proved in practice, although unknown in Macondo until then, and as a proof of his admiration he made him a gift that was to have a profound influence on the future of the village: the laboratory of an alchemist.
   By then Melquíades had aged with surprising rapidity. On his first trips he seemed to be the same age as José Arcadio Buendía. But while the latter had preserved his extraordinary strength, which permitted him to pull down a horse by grabbing its ears, the gypsy seemed to have been worn dowse by some tenacious illness. It was, in reality, the result of multiple and rare diseases contracted on his innumerable trips around the world. According to what he himself said as he spoke to José Arcadio Buendía while helping him set up the laboratory, death followed him everywhere, sniffing at the cuffs of his pants, but never deciding to give him the final clutch of its claws. He was a fugitive from all the plagues and catastrophes that had ever lashed mankind. He had survived pellagra in Persia, scurvy in the Malayan archipelago, leprosy in Alexandria, beriberi in Japan, bubonic plague in Madagascar, an earthquake in Sicily, and a disastrous shipwreck in the Strait of Magellan. That prodigious creature, said to possess the keys of Nostradamus, was a gloomy man, enveloped in a sad aura, with an Asiatic look that seemed to know what there was on the other side of things. He wore a large black hat that looked like a raven with widespread wings, and a velvet vest across which the patina of the centuries had skated. But in spite of his immense wisdom and his mysterious breadth, he had a human burden, an earthly condition that kept him involved in the small problems of daily life. He would complain of the ailments of old age, he suffered from the most insignificant economic difficulties, and he had stopped laughing a long time back because scurvy had made his teeth drop out. On that suffocating noontime when the gypsy revealed his secrets, José Arcadio Buendía had the certainty that it was the beginning of a great friendship. The children were startled by his fantastic stories. Aureliano, who could not have been more than five at the time, would remember him for the rest of his life as he saw him that afternoon, sitting against the metallic and quivering light from the window, lighting up with his deep organ voice the darkest reaches of the imagination, while down over his temples there flowed the grease that was being melted by the heat. José Arcadio, his older brother, would pass on that wonderful image as a hereditary memory to all of his descendants. ?rsula on the other hand, held a bad memory of that visit, for she had entered the room just as Melquíades had carelessly broken a flask of bichloride of mercury.
   "It's the smell of the devil," she said.
   "Not at all," Melquíades corrected her. "It has been proven that the devil has sulphuric properties and this is just a little corrosive sublimate."
   Always didactic, he went into a learned exposition of the diabolical properties of cinnabar, but ?rsula paid no attention to him, although she took the children off to pray. That biting odor would stay forever in her mind linked to the memory of Melquíades.
   The rudimentary laboratory-in addition to a profusion of pots, funnels, retorts, filters, and sieves-was made up of a primitive water pipe, a glass beaker with a long, thin neck, a reproduction of the philosopher's egg, and a still the gypsies themselves had built in accordance with modern descriptions of the three-armed alembic of Mary the Jew. Along with those items, Melquíades left samples of the seven metals that corresponded to the seven planets, the formulas of Moses and Zosimus for doubling the quantity of gold, and a set of notes and sketches concerning the processes of the Great Teaching that would permit those who could interpret them to undertake the manufacture of the philosopher's stone. Seduced by the simplicity of the formulas to double the quantity of gold, José Arcadio Buendía paid court to ?rsula for several weeks so that she would let him dig up her colonial coins and increase them by as many times as it was possible to subdivide mercury. ?rsula gave in, as always, to her husband's unyielding obstinacy. Then José Arcadio Buendía threw three doubloons into a pan and fused them with copper filings, orpiment, brimstone, and lead. He put it all to boil in a pot of castor oil until he got a thick and pestilential syrup which was more like common caramel than valuable gold. In risky and desperate processes of distillation, melted with the seven planetary metals, mixed with hermetic mercury and vitriol of Cyprus, and put back to cook in hog fat for lack of any radish oil, ?rsula's precious inheritance was reduced to a large piece of burnt hog cracklings that was firmly stuck to the bottom of the pot.
   When the gypsies came back, ?rsula had turned the whole population of the village against them. But curiosity was greater than fear, for that time the gypsies went about the town making a deafening noise with all manner of musical instruments while a hawker announced the exhibition of the most fabulous discovery of the Naciancenes. So that everyone went to the tent and by paying one cent they saw a youthful Melquíades, recovered, unwrinkled, with a new and flashing set of teeth. Those who remembered his gums that had been destroyed by scurvy, his flaccid cheeks, and his withered lips trembled with fear at the final proof of the gypsy's supernatural power. The fear turned into panic when Melquíades took out his teeth, intact, encased in their gums, and showed them to the audience for an instant-a fleeting instant in which he went back to being the same decrepit man of years past-and put them back again and smiled once more with the full control of his restored youth. Even José Arcadio Buendía himself considered that Melquíades' knowledge had reached unbearable extremes, but he felt a healthy excitement when the gypsy explained to him atone the workings of his false teeth. It seemed so simple and so prodigious at the same time that overnight he lost all interest in his experiments in alchemy. He underwent a new crisis of bad humor. He did not go back to eating regularly, and he would spend the day walking through the house. "Incredible things are happening in the world," he said to ?rsula. "Right there across the river there are all kinds of magical instruments while we keep on living like donkeys." Those who had known him since the foundation of Macondo were startled at how much he had changed under Melquíades' influence.
   At first José Arcadio Buendía had been a kind of youthful patriarch who would give instructions for planting and advice for the raising of children and animals, and who collaborated with everyone, even in the physical work, for the welfare of the community. Since his house from the very first had been the best in the village, the others had been built in its image and likeness. It had a small, well-lighted living roost, a dining room in the shape of a terrace with gaily colored flowers, two bedrooms, a courtyard with a gigantic chestnut tree, a well kept garden, and a corral where goats, pigs, and hens lived in peaceful communion. The only animals that were prohibited, not just in his house but in the entire settlement, were fighting cocks.
   ?rsula's capacity for work was the same as that of her husband. Active, small, severe, that woman of unbreakable nerves who at no moment in her life had been heard to sing seemed to be everywhere, from dawn until quite late at night, always pursued by the soft whispering of her stiff, starched petticoats. Thanks to her the floors of tamped earth, the unwhitewashed mud walls, the rustic, wooden furniture they had built themselves were always dean, and the old chests where they kept their clothes exhaled the warm smell of basil.
   José Arcadio Buendía, who was the most enterprising man ever to be seen in the village, had set up the placement of the houses in such a way that from all of them one could reach the river and draw water with the same effort, and he had lined up the streets with such good sense that no house got more sun than another during the hot time of day. Within a few years Macondo was a village that was more orderly and hard working than any known until then by its three hundred inhabitants. It was a truly happy village where no one was over thirty years of age and where no one had died.
   Since the time of its founding, José Arcadio Buendía had built traps and cages. In a short time he filled not only his own house but all of those in the village with troupials, canaries, bee eaters, and redbreasts. The concert of so many different birds became so disturbing that ?rsula would plug her ears with beeswax so as not to lose her sense of reality. The first time that Melquíades' tribe arrived, selling glass balls for headaches, everyone was surprised that they had been able to find that village lost in the drowsiness of the swamp, and the gypsies confessed that they had found their way by the song of the birds.
   That spirit of social initiative disappeared in a short time, pulled away by the fever of the magnets, the astronomical calculations, the dreams of transmutation, and the urge to discover the wonders of the world. From a clean and active man, José Arcadio Buendía changed into a man lazy in appearance, careless in his dress, with a wild beard that ?rsula managed to trim with great effort and a kitchen knife. There were many who considered him the victim of some strange spell. But even those most convinced of his madness left work and family to follow him when he brought out his tools to clear the land and asked the assembled group to open a way that would put Macondo in contact with the great inventions.
   José Arcadio Buendía was completely ignorant of the geography of the region. He knew that to the east there lay an impenetrable mountain chain and that on the other side of the mountains there was the ardent city of Riohacha, where in times past-according to what he had been told by the first Aureliano Buendía, his grandfather-Sir Francis Drake had gone crocodile hunting with cannons and that he repaired hem and stuffed them with straw to bring to Queen Elizabeth. In his youth, José Arcadio Buendía and his men, with wives and children, animals and all kinds of domestic implements, had crossed the mountains in search of an outlet to the sea, and after twenty-six months they gave up the expedition and founded Macondo, so they would not have to go back. It was, therefore, a route that did not interest him, for it could lead only to the past. To the south lay the swamps, covered with an eternal vegetable scum and the whole vast universe of the great swamp, which, according to what the gypsies said, had no limits. The great swamp in the west mingled with a boundless extension of water where there were soft-skinned cetaceans that had the head and torso of a woman, causing the ruination of sailors with the charm of their extraordinary breasts. The gypsies sailed along that route for six months before they reached the strip of land over which the mules that carried the mail passed. According to José Arcadio Buendía's calculations, the only possibility of contact with civilization lay along the northern route. So he handed out clearing tools and hunting weapons to the same men who had been with him during the founding of Macondo. He threw his directional instruments and his maps into a knapsack, and he undertook the reckless adventure.
'èr zhāng
  shí liù shì hǎi dào lán · wéi gōng liè 'ào 'ā chá de shí hòu 'ā lán de zēngzǔ bèi dāng dāng de jǐng zhōng shēng lóng lóng de pào shēng xià huài liǎoyóu shén jīng jǐn zhāngjìng zuò zài shēng liǎo huǒ de shàngyīn zēngzǔ shòu liǎo yán zhòng dídí shāngzài guò shēng huó zhǐ néng yòng bàn zuò zheér qiě zhǐ néng zuò zài ruǎn diàn shàng tài xiǎn rán shì guān desuǒ jiù yuàn zài bàng rén miàn qián zǒu liǎo rèn wéi shēn shàng yòu jiāo wèi 'ér jiù jué gēn rèn rén jiāo wǎng jīng cháng zài yuàn guò zhí dāi dào tiān liàng gǎn zǒu jìn shì shuì juéyīn wéi lǎo shì mèng jiàn yīng guó rén dài zhe 'è gǒu jìn chuāng yòng shāo hóng de tiě chǐ xíng xùn gěi zhàng shēng liǎo liǎng 'ér de zhàng shì gāng de shāng rén de bàn qián cái yòng lái zhì wàng jìn liàng jiǎn qīng de tòng zuì hòu pán diào de diàn dài zhě jiā rén yuǎn yuǎn kāi hǎi bīndào liǎo yìn 'ān rén de cūn zhuāngcūn zhuāng shì zài shān jiǎo xià zài 'ér wéi gài liǎo zuò méi yòu chuāng de zhù fángmiǎn mèng zhōng de hǎi dào zuàn jìn
   zài zhè huāng de cūn zǎo jiù yòu liǎng bān rén de hòu jiào zuò huò sài · ā 'ào · 'ēn shì zāizhòng yān cǎo de de céng jīng yíng zhè zhuāng yòu de shì duǎn shí nèi liǎng réndōu jiàn liǎo hěn hǎo de jiā duō shǎo nián guò liǎo bān hòu de zēngsūn 'ér gāng rén de zēngsūn jié liǎo hūnměi dāng de huāng táng xíng wéi shǐ shēng de shí hòu jiù xià tiào guò shì shì fēn fán de sān bǎi niánzhòu lán · wéi gōng liè 'ào 'ā chá de guò zhè me zuòzhǐ shì wèile jiǎn qīng xīn zhōng de tòng shí shàng gēn zhōng shēng lián jiē zài deshì 'ài qíng gèng láo de guān gòng tóng de liáng xīn qiǎn zhàng shì biǎo xiōng mèi liǎ shì zài lǎo de cūn kuài 'ér zhǎngdà deyóu bèi bèi de kěn zhízhè cūn zhuāng jīng chéng liǎo jīn shěng zuì hǎo de jìn guǎn liǎ zhī jiān de hūn yīn shì liǎ gāng gāng chū shì jiù néng jiàn dào derán 'ér liǎng nián qīng rén biǎo shì jié hūn yuàn wàng de shí hòushuāng fāng de jiā cháng fǎn duì bǎi nián láiliǎng de rén shì pèi de men shēng zhè liǎng jiàn quán de hòu dài néng diū liǎn shēng chū zhǐ zhè yàng de shì jīng niú guò de shěn shěn jià gěi huò · ā · 'ēn de shū shūshēng xià liǎo 'ér zhè 'ér bèi chuānzhuó féi de dēng lóng huó dào shí 'èr suì hái méi jié hūn jiù liúxiě 'ér yīn wéi shēng xià lái jiù cháng zhe tiáo wěi héng héng jiān duān yòu yīzuǒmáo de luó xuán xíng ruǎn zhè zhǒng míng shí de zhū wěi shì yuàn ràng rèn rén kàn jiàn dezuì zhōng yào liǎo de mìngyīn wéi shú shí de 'àn zhào de yào qiúyòng qiē ròu dāo diào liǎoshí jiǔ suì de huò · ā · 'ēn yōu yòng huà jié shù liǎo zhēng lùn:“ zài shēng chū zhū zǎi zhǐ yào men huì shuō huà jiù xíng。” shì liǎ zài huā pào shēng zhòngjǔ xíng liǎo hūn tóng guǎn yuèduì lián nào téng liǎo sān zhòu zài zhè hòunián qīng běn lái xìng shēng huó shì de qīn què duì wèi lái de hòu dài zuò chū de yánjiè xià de 'érshèn zhì sǒng yǒng 'ér jué 'àn zhào zhāng gēn jié zhī dào shì gāng qiáng de réndān xīn zài shuì zhe shí qiǎngpò suǒ zài shàng chuáng zhī qián chuān shàng qīn hòu fān gěi féng chéng de tiáo chèn chèn shì yòng jiāo chā de dài zhù deqián miàn yòng tiě kòu kòu jǐn liǎ jiù zhè yàng guò liǎo ruò gān yuèbái tiān zhào liào de dǒu jiù qīn kuài 'ér zài rǎn shàng xiù huā wǎnnián qīng què xiàn liǎo fán nǎo 'ér liè de dǒu zhēngzhè zhǒng dǒu zhēng zhú jiàn dài liǎo 'ài qíng de 'ān wèi shì líng de lín rén jué qíng kuàng miàoér qiě cūn zhōng chuán shuō chū jià nián hòu rán shì chǔnǚyīn wéi zhàng yòu diǎn 'ér máo bìnghuò · ā · 'ēn shì zuì hòu tīng dào zhè yáo yán de
  “ tīng rén jiā zài shuō shí me ,” xiàng píng jìng shuō
  “ ràng men jiáo shé tóu ,” huí 。“ zán men zhī dào shì zhēn de。”
   men de shēng huó yòu zhè yàng guò liǎo bàn niánzhí dào dǎo méi de xīng tiānhuò · ā · 'ēn de gōng zhàn shèng liǎo dēng 'ào · ā liào 'ěr de gōng shū liǎo de dēng 'ào · ā liào 'ěr jiàn jīxiě jiù fēng kāi huò · ā · 'ēn yuǎn diǎn 'érxiǎng ràng dǒu péng de réndōu néng tīng dào de huà
  “ gōng !” jiào dào。“ de zhè zhǐ gōng néng gòu bāng lǎo de mángzán men qiáo !”
   huò · ā · 'ēn dòng shēng cóng shàng līn de gōng 。“ shàng jiù lái,” duì jiā shuōrán hòu zhuànxiàng dēng 'àoā liào 'ěr
  “ huí zhǔn bèi shā 。”
   guò liǎo shí fēn zhōng jiù zhe zhī de biāo qiāng huí lái liǎozhè biāo qiāng hái shì dedǒu péng mén kǒu yōng liǎo jīhū bàn cūn de rén dēng 'ào · ā liào 'ěr zhèng zài 'ér děng hòu hái lái wèihuò · ā · 'ēn de biāo qiāng jiù zhōng liǎo de yān hóubiāo qiāng shì měng zhì chū defēi cháng zhǔn quèyóu zhè zhǒng zhǐ zhāi de zhǔn quèhuò sài · ào léi lián nuò · 'ēn zhù 'ēn de cóng qián céng xiāo miè liǎo quán suǒ yòu de bào wǎn zài dǒu péng qīn yǒu men shǒu zài zhě guān cái bàng biān de shí hòuhuò · ā · 'ēn zǒu jìn de shìkàn jiàn zhèng zài chuān dezhēn jié ”。 biāo qiāng duì zhǔn mìng lìng dào:“ tuō diào!” bìng huái zhàng de jué xīn。“ chū liǎo shì ,” jǐng gào shuōhuò · ā · 'ēn biāo qiāng chā
  “ shēng xià zán men jiù yǎng ,” shuō。“ shì cūn zài huì yòu rén yóu de guò cuò 'ér bèi shā liǎo。”
   zhè shì měi miào de liù yuè de wǎnyuè guāng jiǎo jiéliáng shuǎng rén liǎ tōng wèi shuìzài chuáng shàng zhēténggēn běn méi huì chuān guò shì de qīng fēngfēng 'ér dài lái liǎo dēng 'ào · ā liào 'ěr qīn rén de shēng
   rén men zhè zhuāng shì qíng shuō chéng shì guāng róng de jué dǒu shì liǎng què gǎn dào liǎo liáng xīn de qiǎn yòu tiān hái méi shuì juéchū shuǐzài yuàn de guàn bàng biān kàn jiàn liǎo dēng 'ào · ā liào 'ěr liǎn báishí fēn bēi shāngshì yòng kuài xiè zhù hóu zhèng zài liúxiě de shāng kǒukàn jiàn rén gǎn dào de shì kǒng ér shì lián mǐn huí dào shì zhè jiàn guài shì gào liǎo zhàng shì zhàng bìng zhòng shì de huà。“ rén shì huì zǒu chū fén de,” shuō。“ zhè guò shì zán men shòu dào liáng xīn de bèi。” guò liǎo liǎng zài shì jiàn dēng 'ào · ā liào 'ěr -- zhèng zài yòng xiè shàng de níng xuèlìng wǎn xiàn zài xià pái huáihuò · ā · 'ēn tǎo yàn de huàn xiàngjiù dài zhe biāo qiāng dào yuàn rén zhào jiù bēi shāng zài 'ér
  “ gǔn kāi!” huò · ā · 'ēn xiàng yāo 。“ huí lái duō shǎo jiù yào duō shǎo 。”
   dēng 'ào méi yòu kāiér huò · ā · 'ēn què gǎn biāo qiāng xiàng zhì cóng shí jiù 'ān wěn shuì jué liǎo lǎo shì tòng xiǎng rén chuān guò wàng zhe de xiàn liáng de yǎn shénxiǎng rén yǎn liú de duì huó rén de shēnqiè huái niànxiǎng dēng 'ào · ā liào 'ěr chù zhāng wàngxún zhǎo shuǐ lái jìn shī kuài xiè de 'ān shén qíng。“ gài hěn tòng ,” huò · ā · 'ēn xiàng shuō。“ kàn lái hěn 。” me lián mǐn rénxià jiàn shí xiàn dīng zhe zào shàng de tiě guō wéi zài xún zhǎo shénme shì jiù zài zhěng fáng dào chù gěi bǎi liǎo guàn guàn shuǐ huò · ā · 'ēn kàn jiàn rén zài de shì shāng kǒu shì jiù liǎo
  “ hǎo dēng 'ào,” shuō。“ men jìn liàng kāi zhè cūn yuǎn xiējué zài huí zhè 'ér lái liǎoxiàn zài jiù 'ān xīn zǒu 。”
   jiù zhè yàng men suàn fān guò shān lǐng dào hǎi biān huò · ā · 'ēn de péng yǒuxiàng yàng nián qīng xiǎng mào xiǎn kāi de jiādài zhe shì 'ér xún zhǎo …… miǎo máng de zài kāi cūn zhī qiánhuòā · 'ēn biāo qiāng mái zài yuàn jiē 'èr lián sān kǎn diào liǎo suǒ yòu dǒu de nǎo dài wàng zhè yàng de shēng gěi dēng 'ào · ā liào 'ěr xiē 'ān wèi dài zǒu de zhǐ shì kǒu fàng zhe jià zhuāng de xiāng diǎn 'ér jiā tíng yòng cáng fàng qīn chǎn -- jīn -- de zhǐ shuí méi yòu xiān xiǎng hǎo dìng de xiàn men jué dìng cháo zhe liè 'ào 'ā chá xiāng fǎn de fāng xiàng qián jìn miǎn jiàn rèn shú réncóng 'ér yǐng zōng xiāo shīzhè shì huāng táng xiào de xíngguò liǎo nián líng liǎng yuè suī rán yòng hóu nèi shé tānɡ huǐ huài liǎo de què zhōng shēng xià liǎo 'ér yīng 'ér shēn wán quán méi yòu shēng chù de zhēng zhuàngyīn jiǎo zhǒngjiǎo shàng de jìng mài zhàng xiàng náng shìdezhěng zhěng bàn de chéng dōubù tǎng zài liǎng nán rén tái zhe de dān jià shàng miànhái men gèng róng rěn shòu jiān nán kùn men fēn shí jiān xiān bèng huó tiàojìn guǎn yàng 'ér lián -- liǎng yǎn shēn xiàn biě biě deyòu tiān zǎo chénzài jīhū liǎng nián de liú làng hòu men chéng liǎo kàn jiàn shān lǐng de réncóng yún zhē de shān lǐng shàng men wàng jiàn liǎo piàn liú zòng héng de liáo kuò dài --- zhí shēn dào tiān biān de zhǎo shì men shǐ zhōng méi yòu dào hǎi biānzài zhǎo liú làng liǎo yuè shàng méi yòu jiàn rényòu tiān wǎn men jiù zài tiáo duō shí de 'àn shàng zhā yíngzhè de shuǐ hěn xiàng níng de duō nián hòuzài 'èr guó nèi zhàn zhēng shí ào léi lián nuò suàn xún zhe zhè tiáo xiàn rán zhàn lǐng liè 'ào 'ā chá shì liù tiān hòu cái míng bái de suàn chún cuì shì fēngrán 'ér yāo wǎn shàngzài biān zhā yíng hòu qīn de bàn men suī rán hěn xiàng dào chuán shī shì de réndàn shì shàng men de rén shù zēng duō liǎo huǒ 'ér zhǔn bèi huó dào lǎozhè diǎn men zuò dào liǎo)。 huò · ā · 'ēn zuò liǎo mèngyíng shàng fǎng chù zuò nào de chéng shìfáng de qiáng yòng jīng yíng duó mùdì tòu míng cái liào chéng tīng zhè shì shénme chéng shìtīng dào de huí shì shēng deháo de míng shì zhè míng zài mèng què cháng xiǎng liàng dòng tīng kǒng duō jiù gào de rén men jué duì zhǎo dào hǎi liǎo jiào huǒ 'ér kǎn dǎo shù zài biān zuì liáng shuǎng de fāng kāipì kuài kōng zài kōng shàng jiàn liǎo zuò cūn zhuāng
   zài kàn jiàn bīng kuài zhī qiánhuò · ā · 'ēn shǐ zhōng cāi mèng jiàn de fáng hòu lái wéi jiě liǎo zhè mèng jìng de shēn rèn wéi jiǔ de jiāng lái men jiù néng yòng shuǐ zhè yàng de tōng cái liào guī zhì zuò bīng zhuānlái gěi quán cūn jiàn zhù xīn de fáng dāng shí kǒng duō hǎo xiàng chì de huǒ mén shuān chuāng de jiǎo liàn dōurè biàn liǎo xíngyòng bīng zhuān xiū gài fáng kǒng duō jiù huì biàn chéng zuò yǒng yuǎn liáng shuǎng de shì zhèn liǎo guǒ huò · ā · 'ēn méi yòu jiān chí jiàn bīng chǎng de suànzhǐ shì yīn wéi dāng shí quán shén guàn zhù jiào liǎng 'ér bié shì 'ào léi lián nuòzhè hái kāi shǐ jiù duì liàn jīn shù biǎo xiàn liǎo hǎn jiàn de cái néngshì yàn shì de gōng zuò yòu jǐn zhāng láixiàn zài liǎ jīng méi yòu bèi xīn shì yǐn de zhǒng dòng xīn qíngzhǐ shì píng píng jìng jìng fǎn yuè méi 'ěr jiā de chí jiǔ 'ér nài xīn shì cóng nián zài guō de kuài dōng miàn de jīn fēn chū lái 'ér huò · ā 'ào jīhū cān jiā zhè gōng zuòdāng qīn shēn xīn chén miǎn róng tiě bàng de gōng zuò shízhè shēn cái guò zǎo chāo guò nián suì de rèn xìng de tóu shēng jīng chéng liǎo kuí de qīng nián de sǎng yīn biàn liǎo · liǎn jiá xià cháng chū liǎo róng máoyòu tiān wǎn shàng zhèng zài shì tuō shuì jué zǒu liǎo jìn láijìng rán chǎn shēng liǎo xiū lián de hùn gǎn juéyīn wéi chú liǎo zhàng kàn jiàn chì shēn de nán rén jiù shì 'ér ér qiě 'ér shēng shàng xiǎn fǎn chángshèn zhì shǐ xià liǎo tiào jīng huái zhe sān hái de chóngxīn gǎn dào liǎo qián zuò xīn niàn shí de zhǒng kǒng
   shíyòu rén cháng lái 'ēn jiā bāng zhù zuò xiē jiā zhè rén kuài qíngzuǐ jiānhuì yòng zhǐ pái zhàn gēn zhè rén tán liǎo tán de yōu jué hái de shì yúnchèn dejiù xiàng de qīn cháng liǎo tiáo zhū wěi rén zhǐ zhù fàng shēng xiàoxiào shēng xiǎng chè liǎo zhěng zuò fǎng shuǐ jīng líng chēng。“ qià qià xiāng fǎn,” shuō。“ huì yòu de。”
  “ guò liǎo tiānwèile zhèng míng de yán zhǔn què dài lái zhǐ pái huò · ā 'ào suǒ zài chú fáng bàng biān de fáng huāng máng zài zhāng jiù de gōng tái shàng bǎi kāi zhǐ páikǒu zhōng niàn niàn yòu zhè shínián qīng rén zhù bàng shuō duì zhè tào gǎn dào xīng shuō jué yàn juàn ránzhàn de rén shēn shǒu liǎo xià。“ de tiān!” zhēn zhèng chī jīng jiào liǎo shēngjiù zài shuō chū shénme huà liǎo
   huò · ā 'ào gǎn dào de tóu biàn xiàng hǎi mián yàng ruǎngǎn dào kùn kǒng hǎo róng cái rěn zhù lèi shuǐ rén diǎn méi yòu zhěng dōuzài zhǎo zhěng jué dào xià chū de wèizhè zhǒng wèi fǎng shèn jìn liǎo de wàng shí shí gēn zài wàng chéng wéi de qīn wàng yǒng yuǎn zǒu chū fáng wàng xiàng shuō:“ de tiān!” chóngxīn chóngxīn shuō:“ de tiān!” yòu zài rěn shòu liǎo zhè zhǒng fán nǎo liǎojiù dào de jiā zhè fǎng wèn shì jié xìng de shì míng miào de -- zài zhěng fǎng wèn zhōnghuò · ā 'ào méi kāi kǒu yào liǎo jué wán quán xiàng de wèi zài xīn zhōng huàn huà de xíng xiàngfǎng zhè gēn běn shì ér shì lìng rén wán fēijiù shí fēn sàng huí jiā fān lái shuì zhe juéyòu gǎn dào de nán shòu wàng de shì gēn zài fáng de rénér shì xià zuò zài miàn qián de rén liǎo
   guò liǎo tiān rén rán huò · ā 'ào dài dào liǎo de jiā zhōngbìng qiě jiè kǒu jiào zhǒng zhǐ pái cóng gēn qīn zuò zài de fáng jiān lǐng jìn jiān zhǎizài zhè 'ér me fàng shǐ hún shēn zhù zhàn dàn gǎn dào de shì kǒng ér shì kuài suí hòu jiào jiān zài wèihuò · ā 'ào kǒu tóu dāyìngxīn què wàng jìn kuài bǎi tuō , -- zhī dào tiān néng lái derán 'ér jiāntǎng zài hōng hōng de bèi jué yīngdāng 'ér shǐ néng zhè me gān zài hēi 'àn zhōng zhe chuān shàng tīng dào píng jìng de shēng fáng jiān qīn de chǎn hāishēngyuàn de shēngwén de wēng wēng shēng de xīn zàng tiào dòng shēng -- shì jiè shàng zhè xiē luàn zāo de shēng yīn qián shì céng yǐn de zhù derán hòu zǒu dào chén mèng xiāng de jiē shàng mǎn xīn wàng fáng mén shì mén shàng deér xià zhǐ shì yǎn shàng de céng zhè yàng gào guò )。 dān jǐng méi yòu shuān shàng yòng zhǐ jiān tuī fáng ménjiǎo liàn jiù qīng chū bēi míngzhè zhǒng bēi míng zài xīn zhōng yǐn de shì bīng liáng de huí xiǎng jìn liàng nòng chū xiǎng shēng zhe shēn zǒu jìn fáng shàng gǎn jué dào liǎo zhǒng wèihuò · ā 'ào hái zài fáng jiān rén de sān tōng cháng shì xuán diào chuáng guò dezhè xiē diào chuáng zài shénme fāng bìng zhī dàozài hēi 'àn zhōng biàn bié qīngyīn zhǐ suǒ zhe zǒu dào shì mén qián mén tuī kāizhǎo zhǔn fāng xiàngmiǎn nòng cuò chuáng wǎng qián guò zhuàng shàng liǎo zhāng diào chuáng de chuáng tóuzhè diào chuáng chū de liào zhèng zài jìng hān de rénmèng zhōng fān liǎo shēnshēng yīn yòu diǎn bēi guān shuō liǎo mèng huà:“ shì xīng sān。” dāng huò · ā 'ào tuī kāi shì mén de shí hòu zhì zhǐ fáng mén guò 'āo píng de miàn chù zài tuán hēi zhōng nǎo yòu huāng luànmíng bái zhōng shī liǎo fāng xiàngshuì zài zhè xiá zhǎi fáng jiān deshì qīn de 'èr 'ér zhàng liǎng hái lìng rénzhè rén xiǎn rán shì děng de píng wèi zhǎo dàorán 'ér dào chù dōushì wèi me wēi yòu me míng xiǎn de wèijiù xiàng xiàn zài jīng cháng liú zài shēn shàng de zhǒng wèihuò · ā 'ào dāi rán dòng zhàn liǎo hǎo jiǔjīng hài wèn liǎo wèn zěn huì xiàn zhè shù shǒu de jìng rán yòu zhǐ shēn kāi zhǐ tóu de shǒu zài hēi 'àn zhōng suǒpèng dào liǎo de miàn kǒng bìng jué guàiyīn wéi xià shí zhèng zài děng zhe bié rén jiāo gěi liǎo zhè zhǐ shǒu zài jīng jìn de zhuàng tài zhōng ràng dào kàn jiàn de chuáng gēn qiánzài zhè 'éryòu rén tuō diào liǎo de xiàng dài dòu shìde liǎo láizài piàn hēi fān lái zài hēi 'àn zhōng de shuāng shǒu yòng liǎozhè 'ér zài wén rén de wèizhǐ yòu 'ā de wèi huí de miàn kǒng de yǎn qián què huǎng xiàn chū de 'ér kǒng jué zhèng zài zuò zǎo jiù xiǎng zuò de shì 'érjìn jué rèn wéi néng zuò zhè zhǒng shì 'ér bìng zhī dào zhè gāi zěn me zuòbìng zhī dào shuāng shǒu fàng zài 'érshuāng jiǎo fàng zài 'érbìng zhī dào zhè shì shuí de nǎo dàishuí de tuǐ jué zài néng xià liǎo wàng táo zǒuyòu wàng yǒng yuǎn liú zài zhè zhǒng de jìng zhōngliú zài zhè zhǒng de zhōng
   zhè rén jiào zuò · tái liè àn zhào de yuàn cān jiā guò zuì zhōng jiàn kǒng duō cūn de cháng zhēng xiǎng ràng de 'ér gēn nán rén fēn kāi shí suì shí rén jiù shǐ shī liǎo zhēn cāo mǎn 'èr shí 'èr suì shí hái gēn shēng zài shì zěn me dìng shǐ hūn yīn huà de zhù yīn wéi shì běn cūn de rén shì shuō yào gēn suí dào yāo hǎi jiǎodàn yào děng de shì qíng gǎo hǎo hòucóng shí jiù zhí děng zhe jīng shī liǎo xiāng jiàn de wàngjìn guǎn zhǐ pái jīng cháng xiàng shìjiāng yòu shì yàng de nán rén lái zhǎo gāo de 'ǎi dejīn hēi deyòu de cóng shàng láiyòu de cóng hǎi shàng láiyòu de guò sān tiān láiyòu de guò sān yuè láiyòu de guò sān nián láiděng pàn de tuǐ jīng shī liǎo jìn tóuxiōngpú jīng shī liǎo tánxìng shū yuǎn liǎo nán rén de 'ài shì xīn hái hěn kuáng xiàn zàihuò · ā 'ào duì xīn yíng 'ér de wán shuǎ liǎo měi tiān dào gōng shì de fáng jiān lái zhǎo yòu huí xiàn fáng mén shì shuān shàng dejiù qiāo mén wéi yòu yǒng qiāo jiù yīngdāng qiāo dào …… děng liǎo jiǔ cái mén kāibái tiān yīn shuì mián tǎng xià liǎohái zài 'àn 'àn huí wèi zuó de shì shì · tái liè lái dào 'ēn jiā de shí hòuxiǎn gāo gāo xīng xīngmǎn zài xiào lián zhūhuò · ā 'ào fèi jìn yǎn shì de jǐn zhāngyīn wéi zhè rén xiǎng liàng de xiào shēng néng gòu xià páo zài yuàn duó lái duó de gēn yòu xíng liàng de rén háo gòng tóng zhī chù rén céng jīng jiào píng zhù kòng zhì xīn tiàobāng zhù liǎo jiě nán rén wèishénme quán shén guàn zhù de huìshèn zhì liǎo jiě zhōu wéi de rén zài gāo xīng shénmezhè shí de qīn shuō men zhōng tòu guò jīn shǔ zhā chū liǎo de jīn zhè xiāo jiǎn zhí zhèn dòng liǎo zhěng zuò fáng
   shì shí shàng men shì jīng guò duō jiān chí xiè de chéng gōng de tǐng gāo xīngshèn zhì gǎn xiè shàng míng liǎo liàn jīn shùcūn de mín jìn shì yàn shìzhù rén jiù shàng fān shí liú jiàng de kǎo bǐng zhāo dài menqìng zhù zhè de chū xiànér huò · ā · 'ēn què ràng men cān guān gān guō miàn fàng zhe yuán de jīn de shén qíng fǎng biǎo shì zhè jīn shì gāng gāng míng de cóng rén zǒu dào lìng rén gēn qiánzuì hòu lái dào 'ér shēn biān 'ér zuì jìn jīhū lái shì yàn shì liǎo 'ēn kuài wēi huáng de gān yìng dōng dào de yǎn qiánwèn dào,“ kàn zhè xiàng shénme?”
   huò · ā 'ào zhí gěng gěng huí
  “ xiàng gǒu shǐ。”
   qīn yòng shǒu bèi zài zuǐ chún shàng pèng liǎo xiàpèng hěn zhònghuò · ā 'ào zuǐ jìng rán liú chū xuè láiyǎn liú chū lèi lái · tái liè zài hēi 'àn zhōng dào xiǎo píng yào mián huā jìn liǎo 'ěr jiā diǎn jiǔ de tiē zài zhǒng chùwéi huò · ā 'ào jìn xīn zuò liǎo qiēér méi yòu shǐ chǎn shēng qiān shū zhī gǎnjié 'ài ér pèng tòng liǎ dào liǎo yàng qīn de chéng guò liǎo huì 'ér liǎ jiù zhī jué zài jiān yōu huì zhōng shēng jiāo tán lái
  “ zhǐ xiǎng gēn zài ,” shuō。“ zuì jìn tiān nèi jiù yào qiē gào rén jiābié zài zhè me zhuō cáng liǎo。”
   · tái liè xiǎng quàn
  “ hěn hǎo ,” shuō。“ guǒ zán liǎ dān zài kuài 'érzán men jiù dēng diǎn shàng dōunéng kàn jiàn xiǎng jiào hǎn jiù néng jiào hǎngēn bié rén xiāng gānér xiǎng shuō shénme chǔn huàjiù zài 'ěr biān shuō shí me chǔn huà。”
   huò · ā 'ào jīng guò zhè chǎng tán huàjiā shàng duì qīn de yuàn ér qiě rèn wéi zuò de 'ài qíng zài qiē qíng kuàng xià dōushì de jiù xīn 'ān yǒng bèi zēng liǎoméi yòu rèn zhǔn bèi dòng gào liǎo
   chūnián yòu de 'ào léi lián nuò zhǐ huò · ā 'ào de yàn kàn zuò shì miàn lín de wēi xiǎn míng bái shénme liàng yǐn liǎo shìhuò · ā 'ào de fán zào 'ān zhú jiàn chuán rǎn liǎo yào tán tán xiē wēi qíng jiégēn gòng tóng gǎn dào hài yòu kuài huóxiàn zài què děng shǒu huò · ā 'ào huí láizhí dào tiān liàng dōuméi yǎnzài dān de chuáng shàng niǎn zhuǎn fǎn fǎng tǎng zài duī shāo hóng de tàn shàngsuí hòuxiōng liǎ zhí tán dào zǎo gāi chuáng de shí hòuhěn kuài xiàn bàn hūn zhuàng tàiliǎng réndōu tóng yàng yàn 'è liàn jīn shù qīn de cōng míng cái zhìbiàn liǎo。“ hái men de yàng 'ér méi yòu diǎn jīng shén,” shuō。“ cháng yòu chóng 。” yòng dǎo suì de měi zhōu jīng jiè zhī xīn huà lái xiàng qián me chéng kěn liǎo cóng tài 'ǎi deróng jiē jìn de rén biàn chéng liǎo huái zhe jiè xīn de de rén tòng hèn zhěng shì jiè wàng shēn chùyòu tiān yòu kāi liǎodàn shì méi yòu · tái liè 'érér gēn yōng zài sài zhàng péng zhōu wéi kàn nào de rén hùn zài duó lái duó kàn liǎo kàn zhǒng jīng cǎi jié duì rèn jié dōubù gǎn xīng què zhù dào liǎo fēi zhǎn lǎn pǐn --- nián qīng de sài rénzhè rén jīhū shì xiǎo niàn shàng dài zhe chuàn tǐng zhòng de zhū yīn wān zhe shēn huò · ā 'ào yòu shēng lái hái méi jiàn guò gèng měi de rén niàn zhàn zài rén qún dāng zhōng kàn cǎn rén yóu tīng de huàbiàn chéng liǎo tiáo shé
   huò · ā 'ào gēn běn méi kàn zhè xìng de réndāng guān zhòng xiàngshé rénxún wèn bēi cǎn de shì jié shínián qīng de huò · ā 'ào jiù dào pái sài niàn 'ér zhàn zài de bèi hòurán hòu jǐn tiē zhe xiǎng nuó kāi xiē tiē gèng jǐn shì gǎn jué dào liǎo lèng zhe méi dòngjīng kǒng chàn xiāng xìn de gǎn juézhōng huí tóu dǎn qiè xiàomiáo liǎo huò · ā 'ào yǎnzhè shíliǎng sài rén shé rénzhuāng jìn liǎo lóng bān jìn zhàng péngzhǐ huī biǎo yǎn de sài rén xuān
  “ xiàn zài shì men xiān shēng men men jiāng gěi men biǎo yǎn de jié -- měi zhè shí hòu dōuyào kǎn diào rén de nǎo dàilián kǎn bǎi shí nián shì chéng yīn wéi kàn liǎo gāi kàn de dōng 。”
   huò · ā 'ào sài niàn méi yòu cān guān kǎn tóu liǎ zǒu jìn liǎo de zhàng péngyóu chōng dòng jiù jiē wěn láibìng qiě tuō diào liǎo sài niàn cóng shēn shàng tuō diào liǎo jiāng guò de huā biān jǐn shēn dōujiù biàn guà liǎozhè shì zhǐ qiān biě de xiǎo qīng xiōng hái méi liǎng tuǐ tǐng shòu huò · ā 'ào de gēbo hái shì de guǒ duàn qíng què liǎo de yíng ruòrán 'érhuò · ā 'ào néng tóng yàng de jìn 'ér huí yīn wéi men shì zài gōng yòng zhàng péng sài rén shí zhe zhǒng shuǎ jìn láizài zhè 'ér gànshìshèn zhì jiù zài chuáng bàng biān de shàng zhì tóu · zhàng péng zhōng jiān de gān shàng guà zhe zhǎn dēngzhào liàng liǎo měi jiǎo luòzài 'ài zhī jiān de duǎn zàn tíng xiē zhōnghuò · ā 'ào chì luǒ luǒ tǎng zài chuáng shàng zhī dào gāi zěn me bànér niàn què zài xiǎng guò liǎo huì shēn yōu měi de sài rén nán rén zǒu jìn zhàng péngzhè nán rén shǔ tuán shì běn cūn de rénliǎng rén jiù zài chuáng biān tuō jiě dài rén 'ǒu rán kàn liǎo huò · ā 'ào yǎn
  “ hái ,” jiào dào,“ shàng bǎo yòu zǒu kāi !”
   huò · ā 'ào de bàn yào qiú duì fāng yào rǎo liǎ shì xīn lái de duì zhǐ hǎo tǎng zài jǐn kào chuáng de shàng
   zhè shì xīng xīng liù wǎn shànghuò · ā 'ào zài tóu shàng zhā liǎo kuài hóng jiù gēn sài rén kāi liǎo kǒng duō
   xiàn 'ér shī zōng zhī hòu jiù zài zhěng cūn dào chù zhǎo zài sài rén xiān qián péng de fāng zhǐ kàn jiàn duī duī hái zài mào yān de gōu huǒ huī jìnyòu xiē cūn mín zài bào duī wàng zhǎo dào chuàn zhū zhōng cūn mín xiàng shuōzuó céng kàn jiàn de 'ér gēn yǎn yuán men zài -- huò · ā 'ào tuī zhe liàng xiǎo chēchē shàng yòu zhǐ zhuāng zheshé rénde lóng 。“ biàn chéng sài rén !” xiàng zhàng chǎo rǎng shì zhàng duì 'ér de shī zōng háo méi yòu biǎo shì jīng huāng
  “ zhè dǎo huài,” huò · ā · 'ēn miàn shuō miàn zài yán dǎo shénme dōng zhè dōng jīng fǎn dǎo guò duō jiā duō xiàn zài hái zài yán 。“ chéng wéi nán hàn liǎo。”
   tīng liǎo sài rén suǒ de fāng xiàngjiù yán zhe tiáo zǒu pèng jiàn měi réndōu yào wèn wèn wàng zhuī shàng qún sài rényīn kāi cūn yuè lái yuè yuǎnzhōng kàn chū zǒude guò yuǎn jiù rèn wéi yòng zhe huí tóu liǎodào liǎo wǎn shàng diǎnhuò · ā · 'ēn cái xiàn shī zōngdāng shí dōng fàng zài duī féi liào shàngjué dìng kàn kàn xiǎo 'ér 'ā lán shì zěn me huí shìyīn wéi dào zhè shí sǎng liǎozài xiǎo shí nèi háo yóu liǎo duì zhuāng bèi hěn hǎo de cūn mín 'ā lán jiāo gěi yuàn chōng dāng nǎi de rénjiù shàng huāng rén de xiǎo dào xún zhǎo liǎo shì 'ào léi lián nuò dài zài shēn biān de xiǎo shí fēn yìn 'ān rén yòng shǒu shì xiàng men biǎo míngshuí céng zǒu guò zhè 'érjīng guò sān tiān háo xiào guǒ de xún zhǎo men huí dào liǎo cūn
   huò · ā · 'ēn nǎo liǎo hǎo jiǔ xiàng qīn yàng zhào xiǎo 'ér 'ā lán gěi zǎohuàn qiǎng bǎo tiān bào nǎi 'érwǎn shàng shèn zhì gěi chàng shì cóng lái huì chàng de)。 yòu · tái liè yuàn lái zhè 'ér zhào liào jiā zhí dào huí láizài xìng zhī zhōngào léi lián nuò shén de dòng chá gèng jiā mǐn ruì liǎo jiàn · tái liè zǒu jìn láijiù hǎo xiàng huǎng rán míng báigēn mǒu zhǒng shuō míng de yuán yīn de táo wáng qīn de shī zōng dōushì zhè rén de guò cuòsuǒ yòng me shēng kēng 'è chóu de tài duì dài jiù zài lái liǎo
   shí jiān guò qiē zhào jiùhuò · ā · 'ēn de 'ér zhī dào men jiū jìng shì shénme shí hòu huí dào shì yàn shì de men sǎo liǎo chén shàngdiǎn rán liǎo huǒyòu zhuān xīn máng bǎi nòng zài duī féi liào shàng fàng liǎo yuè de dōng liǎoā lán tǎng zài zhǐ liǔ tiáo lán fáng jiān zhōng de kōng chōng mǎn liǎo gǒng hàoqí wàng zhe jīng huì shén gōng zuò shī zōng zhī hòu guò liǎo yuèshì yàn shì kāi shǐ shēng guài de shìzǎo jiù rēng zài chú fáng de kōng píng rán zhòng nuó dònggōng zuò tái shàng guō de shuǐ huǒ fèi lái liǎo zhěng zhěng bàn xiǎo shízhí dào wán quán zhēng huò · ā · 'ēn de 'ér duì zhè xiē guài shìdōu hěn jīng dòng zhī jiě shìdàn men kàn chéng shì xīn shì de zhàoyòu tiānā lán de lán rán dòng liǎo láizài fáng jiān rào juàn ào léi lián nuò kàn liǎo fēi cháng chī jīnggǎn máng lán zhù shì huò · ā · 'ēn diǎn jīng lán fàng zài yuán chùshuān zài zhuō tuǐ shàng miànlán de dòng zhōng shǐ xiāng xìn men de wàng kuài yào shí xiàn liǎojiù zài zhè shíào léi lián nuò tīng jiàn shuō
  “ shǐ hài shàng huì hài jīn shǔ。”
   shī zōng zhī hòu jīhū guò liǎo yuè huí lái liǎo xiǎn cháng xīng fènyòu diǎn fǎn lǎo hái tóngchuānzhuó cūn rén shuí méi yòu chuān guò de xīn shì huò · ā · 'ēn gāo xīng chàdiǎn 'ér liǎo fēng,“ yuán lái zhèng xiàng liào de!” jiào liǎo láizhè shì zhēn deyīn wéi dài zài shì yàn shì jìn xíng zhì shì yàn de cháng shí jiān zhōng céng zài nèi xīn shēn chù qiú shàng suǒ dài de shì xiàn diǎn jīn shí shì kǒu ràng jīn shǔ yòu shēng mìnggèng shì míng zhǒng bàn biàn jīn biàn chéng fáng suǒ chuāng de jiǎo liànér shì gāng gāng shēng de shì -- de guī láidàn bìng méi yòu gēn kuáng gāo xīng zhào jiù gěi liǎo zhàng wěnfǎng liǎ guò xiǎo shí qián cái jiàn guò miàn shìdeshuō dào
  “ dào mén wài kàn kàn !”
   huò · ā · 'ēn zǒu dào jiē shàngkàn jiàn fáng qián miàn de qún rén hǎo bàn tiān cái cóng hùn luàn zhuàng tài zhōng qīng xǐng guò láizhè shì sài rénér shì gēn kǒng duō cūn mín yàng de nán rén rénpíng zhí de tóu yǒu hēi de shuō de shì tóng yàng de yánbào yuàn de shì xiāng tóng de tòng zhàn zài men bàng biān de shì duǒ zhe zhǒng shí de luó tào shàng yān niú de chēchē shàng zài zhe jiā jiā tíng yòng -- chén shì shēng huó zhōng quē de jiǎn dān yòng zhè xiē yòng shì shāng rén měi tiān dōuzài chū shòu de
   zhè xiē rén shì cóng zhǎo lìng biān lái dezǒng gòng liǎng tiān jiù néng dào 'ér shì 'ér jiàn liǎo chéng zhèn de rén nián dāng zhōng měi yuè dōunéng shōu dào yóu jiànér qiě shǐ yòng néng gòu gǎi shàn shēng huó de méi yòu zhuī shàng sài réndàn què xiàn liǎo zhàng wǎng rán xún zhǎo wěi míng shí wèi néng xiàn de tiáo dào


  During the first days they did not come across any appreciable obstacle. They went down along the stony bank of the river to the place where years before they had found the soldier's armor, and from there they went into the woods along a path between wild orange trees. At the end of the first week they killed and roasted a deer, but they agreed to eat only half of it and salt the rest for the days that lay ahead. With that precaution they tried to postpone the necessity of having to eat macaws, whose blue flesh had a harsh and musky taste. Then, for more than ten days, they did not see the sun again. The ground became soft and damp, like volcanic ash, and the vegetation was thicker and thicker, and the cries of the birds and the uproar of the monkeys became more and more remote, and the world became eternally sad. The men on the expedition felt overwhelmed by their most ancient memories in that paradise of dampness and silence, going back to before original sin, as their boots sank into pools of steaming oil and their machetes destroyed bloody lilies and golden salamanders. For a week, almost without speaking, they went ahead like sleepwalkers through a universe of grief, lighted only by the tenuous reflection of luminous insects, and their lungs were overwhelmed by a suffocating smell of blood. They could not return because the strip that they were opening as they went along would soon close up with a new vegetation that. almost seemed to grow before their eyes. "It's all right," José Arcadio Buendía would say. "The main thing is not to lose our bearings." Always following his compass, he kept on guiding his men toward the invisible north so that they would be able to get out of that enchanted region. It was a thick night, starless, but the darkness was becoming impregnated with a fresh and clear air. Exhausted by the long crossing, they hung up their hammocks and slept deeply for the first time in two weeks. When they woke up, with the sun already high in the sky, they were speechless with fascination. Before them, surrounded by ferns and palm trees, white and powdery in the silent morning light, was an enormous Spanish galleon. Tilted slightly to the starboard, it had hanging from its intact masts the dirty rags of its sails in the midst of its rigging, which was adorned with orchids. The hull, covered with an armor of petrified barnacles and soft moss, was firmly fastened into a surface of stones. The whole structure seemed to occupy its own space, one of solitude and oblivion, protected from the vices of time and the habits of the birds. Inside, where the expeditionaries explored with careful intent, there was nothing but a thick forest of flowers.
   The discovery of the galleon, an indication of the proximity of the sea, broke José Arcadio Buendía's drive. He considered it a trick of his whimsical fate to have searched for the sea without finding it, at the cost of countless sacrifices and suffering, and to have found it all of a sudden without looking for it, as if it lay across his path like an insurmountable object. Many years later Colonel Aureliano Buendía crossed the region again, when it was already a regular mail route, and the only part of the ship he found was its burned-out frame in the midst of a field of poppies. Only then, convinced that the story had not been some product of his father's imagination, did he wonder how the galleon had been able to get inland to that spot. But José Arcadio Buendía did not concern himself with that when he found the sea after another four days' journey from the galleon. His dreams ended as he faced that ashen, foamy, dirty sea, which had not merited the risks and sacrifices of the adventure.
   "God damn it!" he shouted. "Macondo is surrounded by water on all sides."
   The idea of a peninsular Macondo prevailed for a long time, inspired by the arbitrary map that José Arcadio Buendía sketched on his return from the expedition. He drew it in rage, evilly, exaggerating the difficulties of communication, as if to punish himself for the absolute lack of sense with which he had chosen the place. "We'll never get anywhere," he lamented to ?rsula. "We're going to rot our lives away here without receiving the benefits of science." That certainty, mulled over for several months in the small room he used as his laboratory, brought him to the conception of the plan to move Maeondo to a better place. But that time ?rsula had anticipated his feverish designs. With the secret and implacable labor of a small ant she predisposed the women of the village against the flightiness of their husbands, who were already preparing for the move. José Arcadio Buendía did not know at what moment or because of what adverse forces his plan had become enveloped in a web of pretexts, disappointments, and evasions until it turned into nothing but an illusion. ?rsula watched him with innocent attention and even felt some pity for him on the morning when she found him in the back room muttering about his plans for moving as he placed his laboratory pieces in their original boxes. She let him finish. She let him nail up the boxes and put his initials on them with an inked brush, without reproaching him, but knowing now that he knew (because she had heard him say so in his soft monologues) that the men of the village would not back him up in his undertaking. Only when he began to take down the door of the room did ?rsula dare ask him what he was doing, and he answered with a certain bitterness. "Since no one wants to leave, we'll leave all by ourselves." ?rsula did not become upset.
   "We will not leave," she said. "We will stay here, because we have had a son here."
   "We have still not had a death," he said. "A person does not belong to a place until there is someone dead under the ground."
   ?rsula replied with a soft firmness:
   "If I have to die for the rest of you to stay here, I will die."
   José Arcadio Buendía had not thought that his wife's will was so firm. He tried to seduce her with the charm of his fantasy, with the promise of a prodigious world where all one had to do was sprinkle some magic liquid on the ground and the plants would bear fruit whenever a man wished, and where all manner of instruments against pain were sold at bargain prices. But ?rsula was insensible to his clairvoyance.
   "Instead of going around thinking about your crazy inventions, you should be worrying about your sons," she replied. "Look at the state they're in, running wild just like donkeys."
   José Arcadio Buendía took his wife's words literally. He looked out the window and saw the barefoot children in the sunny garden and he had the impression that only at that instant had they begun to exist, conceived by ?rsula's spell, Something occurred inside of him then, something mysterious and definitive that uprooted him from his own time and carried him adrift through an unexplored region of his memory. While ?rsula continued sweeping the house, which was safe now from being abandoned for the rest of her life, he stood there with an absorbed look, contemplating the children until his eyes became moist and he dried them with the back of his hand, exhaling a deep sigh of resignation.
   "All right," he said. "Tell them to come help me take the things out of the boxes."
   José Arcadio, the older of the children, was fourteen. He had a square head, thick hair, and his father's character. Although he had the same impulse for growth and physical strength, it was early evident that he lacked imagination. He had been conceived and born during the difficult crossing of the mountains, before the founding of Macondo, and his parents gave thanks to heaven when they saw he had no animal features. Aureliano, the first human being to be born in Macondo, would be six years old in March. He was silent and withdrawn. He had wept in his mother's womb and had been born with his eyes open. As they were cutting the umbilical cord, he moved his head from side to side, taking in the things in the room and examining the faces of the people with a fearless curiosity. Then, indifferent to those who came close to look at him, he kept his attention concentrated on the palm roof, which looked as if it were about to collapse under the tremendous pressure of the rain. ?rsula did not remember the intensity of that look again until one day when little Aureliano, at the age of three, went into the kitchen at the moment she was taking a pot of boiling soup from the stove and putting it on the table. The child, Perplexed, said from the doorway, "It's going to spill." The pot was firmly placed in the center of the table, but just as soon as the child made his announcement, it began an unmistakable movement toward the edge, as if impelled by some inner dynamism, and it fell and broke on the floor. ?rsula, alarmed, told her husband about the episode, but he interpreted it as a natural phenomenon. That was the way he always was alien to the existence of his sons, partly because he considered childhood as a period of mental insufficiency, and partly because he was always too absorbed in his fantastic speculations.
   But since the afternoon when he called the children in to help him unpack the things in the laboratory, he gave them his best hours. In the small separate room, where the walls were gradually being covered by strange maps and fabulous drawings, he taught them to read and write and do sums, and he spoke to them about the wonders of the world, not only where his learning had extended, but forcing the limits of his imagination to extremes. It was in that way that the boys ended up learning that in the southern extremes of Africa there were men so intelligent and peaceful that their only pastime was to sit and think, and that it was possible to cross the Aegean Sea on foot by jumping from island to island all the way to the port of Salonika. Those hallucinating sessions remained printed on the memories of the boys in such a way that many years later, a second before the regular army officer gave the firing squad the command to fire, Colonel Aureliano Buendía saw once more that warm March afternoon on which his father had interrupted the lesson in physics and stood fascinated, with his hand in the air and his eyes motionless, listening to the distant pipes, drums, and jingles of the gypsies, who were coming to the village once more, announcing the latest and most startling discovery of the sages of Memphis.
   They were new gypsies, young men and women who knew only their own language, handsome specimens with oily skins and intelligent hands, whose dances and music sowed a panic of uproarious joy through the streets, with parrots painted all colors reciting Italian arias, and a hen who laid a hundred golden eggs to the sound of a tambourine, and a trained monkey who read minds, and the multi-use machine that could be used at the same time to sew on buttons and reduce fevers, and the apparatus to make a person forget his bad memories, and a poultice to lose time, and a thousand more inventions so ingenious and unusual that José Arcadio Buendía must have wanted to invent a memory machine so that he could remember them all. In an instant they transformed the village. The inhabitants of Macondo found themselves lost is their own streets, confused by the crowded fair.
   Holding a child by each hand so as not to lose them in the tumult, bumping into acrobats with gold-capped teeth and jugglers with six arms, suffocated by the mingled breath of manure and sandals that the crowd exhaled, José Arcadio Buendía went about everywhere like a madman, looking for Melquíades so that he could reveal to him the infinite secrets of that fabulous nightmare. He asked several gypsies, who did not understand his language. Finally he reached the place where Melquíades used to set up his tent and he found a taciturn Armenian who in Spanish was hawking a syrup to make oneself invisible. He had drunk down a glass of the amber substance in one gulp as José Arcadio Buendía elbowed his way through the absorbed group that was witnessing the spectacle, and was able to ask his question. The gypsy wrapped him in the frightful climate of his look before he turned into a puddle of pestilential and smoking pitch over which the echo of his reply still floated: "Melquíades is dead." Upset by the news, José Arcadio Buendía stood motionless, trying to rise above his affliction, until the group dispersed, called away by other artifices, and the puddle of the taciturn Armenian evaporated completely. Other gypsies confirmed later on that Melquíades had in fact succumbed to the fever on the beach at Singapore and that his body had been thrown into the deepest part of the Java Sea. The children had no interest in the news. They insisted that their father take them to see the overwhelming novelty of the sages of Memphis that was being advertised at the entrance of a tent that, according to what was said, had belonged to King Solomon. They insisted so much that José Arcadio Buendía paid the thirty reales and led them into the center of the tent, where there was a giant with a hairy torso and a shaved head, with a copper ring in his nose and a heavy iron chain on his ankle, watching over a pirate chest. When it was opened by the giant, the chest gave off a glacial exhalation. Inside there was only an enormous, transparent block with infinite internal needles in which the light of the sunset was broken up into colored stars. Disconcerted, knowing that the children were waiting for an immediate explanation, José Arcadio Buendía ventured a murmur:
   "It's the largest diamond in the world."
   "No," the gypsy countered. "It's ice."
   José Arcadio Buendía, without understanding, stretched out his hand toward the cake, but the giant moved it away. "Five reales more to touch it," he said. José Arcadio Buendía paid them and put his hand on the ice and held it there for several minutes as his heart filled with fear and jubilation at the contact with mystery. Without knowing what to say, he paid ten reales more so that his sons could have that prodigious experience. Little José Arcadio refused to touch it. Aureliano, on the other hand, took a step forward and put his hand on it, withdrawing it immediately. "It's boiling," he exclaimed, startled. But his father paid no attention to him. Intoxicated by the evidence of the miracle, he forgot at that moment about the frustration of his delirious undertakings and Melquíades' body, abandoned to the appetite of the squids. He paid another five reales and with his hand on the cake, as if giving testimony on the holy scriptures, he exclaimed:
   "This is the great invention of our time."
shǒuyè>> >> 外国经典>> jiā · 'ěr Gabriel Garcia Marquez   lún Colombia   gōng yuán   (1927niánsānyuè6rì)