百年孤独bèi yù wéi “ zài xiàn lā dīng měi zhōu lì shǐ shè huì tú jǐng de hóng piān jù zhù ” de《 bǎi nián gū dú》， shì jiā xī yà · mǎ 'ěr kè sī de dài biǎo zuò， yě shì lā dīng měi zhōu mó huàn xiàn shí zhù yì wén xué zuò pǐn zhōng de dài biǎo zuò。 zhè bù xiǎo shuō shì zuò zhě gēn jù lā dīng měi zhōu xiělínlín de lì shǐ shì shí , píng jiè zì jǐ fēng fù de xiǎng xiàng , miáo huì 'ér chéng de。《 bǎi nián gū dú》 shì gē lún bǐ yà zhù míng zuò jiā、 nuò bèi 'ěr wén xué jiǎng huò dé zhě mǎ 'ěr kè sī lì shí 18 gè yuè chuàng zuò de yī bù xiǎo shuō， chéng shū yú 1966 nián。 bèi fù 'ēn tè sī yù wéi“ měi zhōu《 shèng jīng》”， duō nián lái nián lái hǎo píng rú cháo， yǐng xiǎng bō jí liǎo zhěng gè shì jiè。
zuì chū lìng shì jiè zhèn jīng de shì tā dú tè de xù shù fāng shì：“ duō nián yǐ hòu， ào léi liáng nuò · bù 'ēn dì yà shàng xiào miàn duì xíng xíng duì， zhǔn huì xiǎng qǐ fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ ……” zhè jù wéi quán shū diàn dìng“ yuán zhōu mó shì” huò yuán xíng xù shì jié gòu de kāi piān yǔ， fǎng fó yī gè yǒng héng 'ér gū jì de yuán xīn， què néng bǎ guò qù hé jiāng lái láo láo dì xī fù zài mǒu gè rén men kě yǐ xiǎng jiàn， shèn zhì gǎn tóng shēn shòu de xiàn zài。 jǐn suí qí hòu de shì zuò zhě lìng rén mù dèng kǒu dāi de mó huàn sè cǎi， hòu xiàn dài zhù yì zhě men duì zhī jìn xíng liǎo xuán zhī yòu xuán de jiě dú。
rán 'ér， zài mǎ 'ěr kè sī kàn lái，《 bǎi nián gū dú》 zhǐ bù guò shì jiè yòng liǎo“ wài zǔ mǔ de kǒu wěn”，“ tā lǎo rén jiā jiǎng gù shì jiù shì zhè zhǒng fāng shì， hǎo xiàng rén wù jiù zài yǎn qián， shì qíng zhèng zài fā shēng…… ér qiě cháng cháng rén guǐ bù fēn、 gǔ jīn lún huí。” rú jīn kàn lái，《 bǎi nián gū dú》 de zuì dà tè diǎn yě xǔ zài yú： yòng wài zǔ mǔ de biǎo shù fāng shì， zhǎn xiàn liǎo měi zhōu rén de lì shǐ jí qí pū shuò mí lí de jí tǐ wú yì shí； tōng guò duì《 shèng jīng》 de xì fǎng hé tuò zhǎn， bìng jiè bù 'ēn dì yà yī jiā jǐ dài， miáo huì liǎo rén lèi de fā zhǎn guǐ jì héng héng cóng chuàng shǐ dào yuán shǐ shè huì、 nú lì shè huì、 fēng jiàn shè huì， zài dào zī běn zhù yì shè huì， nǎi zhì kuà guó zī běn zhù yì shí dài。
《 bǎi nián gū dú》 - zuò zhě jiǎn jiè
mǎ 'ěr kè sī mǎ 'ěr kè sī
mǎ 'ěr kè sī（ GabrielGarclaMarquez， 1928-） gē lún bǐ yà zuò jiā， quán míng： jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī。 shēng yú mǎ gé dá lāi nà de 'ā lā kǎ tǎ kǎ zhèn de yī gè yī shēng jiā tíng。 8 suì qián， yī zhí shēng huó zài wài zǔ fù jiā。 wài zǔ fù shì wèi shòu rén zūn jìng de shàng xiào， cān jiā guò liǎng cì nèi zhàn。 wài zǔ mǔ shì wèi qín láo de zhù fù， hěn huì jiǎng shén huà gù shì。 zhè duàn chōng mǎn huàn xiǎng hé shén qí sè cǎi de tóng nián shēng huó， wèitā hòu lái de wén xué chuàng zuò tí gōng liǎo fēng fù de sù cái。
zài zhōng xiǎo xué xué xí qī jiān， tā yuè dú liǎo dà liàng de jīng diǎn zuò pǐn。 18 suì rù dà xué gōng dú fǎ lǜ， yīn zhèng jú dòng dàng 'ér zhōng tú chuò xué， jìn rù bào jiè， bìng kāi shǐ wén xué chuàng zuò。 1955 nián， dì yī bù cháng piān xiǎo shuō《 kū zhī bài yè》 wèn shì， yǐn qǐ lā měi wén xué jiè zhòng shì， pō shòu hǎo píng。 1962 nián tā fā biǎo liǎo《 è shí chén》， xiǎo shuō huò dé měi guó 'āi suǒ shí yóu gōng sī zài bō gē dà jǔ bàn de 'āi suǒ jiǎng。 1967 nián， tā de《 bǎi nián gū dú》 hōng dòng liǎo xī bān yá yǔ wén xué jiè bìng diàn dìng liǎo tā zài shì jiè wén tán shàng de dì wèi。 yóu yú zhè bù xiǎo shuō de chéng gōng， tā xiān hòu róng huò gē lún bǐ yà wén xué jiǎng、 fǎ guó zuì jiā wài guó zuò pǐn jiǎng hé lā měi zuì gāo wén xué jiǎng héng yī wěi nèi ruì lā“ luó mù luò · jiā liè gē sī” guó jì wén xué jiǎng。 bìng yú 1982 nián huò nuò bèi 'ěr wén xué jiǎng hé gē lún bǐ yà yǔ yán kē xué yuàn míng yù yuàn shì chēng hào。
zhù yào zuò pǐn yòu：《 kū zhī bài yè》、《 è shí chén》、《 bǎi nián gū dú》、《 huò luàn shí qī de 'ài qíng》、《 mí gōng lǐ de jiāng jūn》、《 wǒ de shàng xiào wài zǔ fù de gù shì》、《 yì guó gù shì shí 'èr piān》、《 mǐ gé 'ěr · lì liǎo huí guó lì xiǎn jì》 děng。
《 bǎi nián gū dú》 - zhù shū bèi jǐng
cóng 1830 nián zhì shàng shì jì mò de 70 nián jiān， gē lún bǐ yà bào fā guò jǐ shí cì nèi zhàn， shǐ shù shí wàn rén sàng shēng。 běn shū yǐ hěn dà de piān fú miáo shù liǎo zhè fāng miàn de shǐ shí， bìng qiě tōng guò shū zhōng zhù rén gōng dài yòu chuán qí sè cǎi de shēng yá jí zhōng biǎo xiàn chū lái。 zhèng kè men de xū wěi， tǒng zhì zhě men de cán rěn， mín zhòng de máng cóng hé yú mèi děng děngdōu xiěde lín lí jìn zhì。
zuò jiā yǐ shēng dòng de bǐ chù， kè huà liǎo xìng gé xiān míng de zhòng duō rén wù， miáo huì liǎo zhè gè jiā zú de gū dú jīng shén。 zài zhè gè jiā zú zhōng， fū qī zhī jiān、 fù zǐ zhī jiān、 mǔ nǚ zhī jiān、 xiōng dì jiě mèi zhī jiān， méi yòu gǎn qíng gōu tōng， quē fá xìn rèn hé liǎo jiě。 jìn guǎn hěn duō rén wéi dǎ pò gū dú jìn xíng guò zhǒng zhǒng jiān kǔ de tàn suǒ， dàn yóu yú wú fǎ zhǎo dào yī zhǒng yòu xiào de bàn fǎ bǎ fēn sàn de lì liàng tǒng yī qǐ lái， zuì hòu jūn yǐ shī bài gào zhōng。 zhè zhǒng gū dú bù jǐn mí màn zài bù 'ēn dì yà jiā zú hé mǎ gòng duō zhèn， ér qiě shèn rù liǎo xiá 'ài sī xiǎng， chéng wéi zǔ 'ài mín zú xiàng shàng、 guó jiā jìn bù de yī dà bāo fú。 zuò jiā xiě chū zhè yī diǎn， shì xī wàng lā měi mín zhòng tuán jié qǐ lái， gòng tóng nǔ lì bǎi tuō gū dú。 suǒ yǐ，《 bǎi nián gū dú》 zhōng jìn yín zhe de gū dú gǎn， qí zhù yào nèi hán yīnggāi shì duì zhěng gè kǔ nán de lā dīng měi zhōu bèi pái chì xiàn dài wén míng shì jiè de jìn chéng zhī wài de fèn mèn hé kàng yì， shì zuò jiā zài duì lā dīng měi zhōu jìn bǎi nián de lì shǐ、 yǐ jí zhè kuài dà lù shàng rén mín dú tè de shēng mìng lì、 shēng cún zhuàng tài、 xiǎng xiàng lì jìn xíng dú tè de yán jiū zhī hòu xíng chéng de juéjiàng de zì xìn。
《 bǎi nián gū dú》 - nèi róng gěng gài
《 bǎi nián gū dú》 miáo xiě bù 'ēn dì yà jiā zú 7 dài rén de mìng yùn， miáo huì liǎo gē lún bǐ yà nóng cūn xiǎo zhèn mǎ kǒng duō cóng huāng wú de zhǎo zé zhōng xīng qǐ dào zuì hòu bèi yī zhèn xuán fēng juàn zǒu 'ér wán quán huǐ miè de 100 duō nián de tú jǐng。 mǎ kǒng duō shì gē lún bǐ yà nóng cūn de suō yǐng， yě shì zhěng gè lā dīng měi zhōu de suō yǐng。
hé sài · ā kǎ dí 'ào · bù 'ēn dí yà shì xī bān yá rén de hòu yì， tā yǔ wū sū lā xīn hūn shí， yóu yú hài pà xiàng yí mǔ yǔ shū fù jié hūn nà yàng shēng chū cháng wěi bā de hái zǐ lái， yú shì wū sū lā měi yè dū huì chuān shàng tè zhì de jǐn shēn yī， jù jué yǔ zhàng fū tóng fáng。 hòu lái zhàng fū yīn cǐ 'ér zāo lín jū 'ā jí lā 'ěr de chǐ xiào， shā sǐ liǎo 'ā jí lā 'ěr。 cóng cǐ， sǐ zhě de guǐ hún jīng cháng chū xiàn zài tā yǎn qián， guǐ hún nà tòng kǔ 'ér qī liáng de yǎn shén， shǐ tā rì yè bù dé 'ān níng。 yú shì tā men zhǐ hǎo lí kāi cūn zǐ， wài chū móu 'ān shēn zhī suǒ。 tā men bá shè liǎo liǎng nián duō， yóu cǐ shòu dào mèng de qǐ shì， tā men lái dào yī piàn tān dì shàng， dìng jū xià lái。 hòu lái yòu yòu xǔ duō rén qiān yí zhì cǐ， zhè dì fāng bèi mìng míng wéi mǎ kǒng duō。 bù 'ēn dí yà jiā zú zài mǎ kǒng duō de bǎi nián xīng fèi shǐ yóu cǐ kāi shǐ。
hé sài · ā kǎ dí 'ào · bù 'ēn dí yà shì gè fù yú chuàng zào jīng shén de rén， tā cóng jí bǔ sài rén nà lǐ kàn dào cí tiě， biàn xiǎng yòng tā lái kāi cǎi jīn zǐ。 kàn dào fàng dà jìng kě yǐ jù jiāo tài yáng guāng biàn shì tú yīn cǐ yán zhì yī zhǒng wēi lì wú bǐ de wǔ qì。 tā tōng guò bǔ jí sài rén sòng gěi tā de háng hǎi yòng de guān xiàng yí hé liù fēn yí， biàn tōng guò shí yàn rèn shí dào” dì qiú shì yuán de， xiàng chéng zǐ”。 tā bù mǎn yú zì jǐ suǒ zài de pín qióng 'ér luò hòu de cūn luò shēng huó， yīn wéi mǎ kǒng duō yǐnmò zài kuān guǎng de zhǎo zé dì zhōng， yǔ shì gé jué。 tā jué xīn yào kāipì yī tiáo dào lù， bǎ mǎ kǒng duō yǔ wài jiè de wěi dà fā míng lián jiē qǐ lái。 kě tā dài yī bāng rén pī jīng zhǎn jí gān liǎo liǎng gè duō xīng qī， què yǐ shī bài gào zhōng。 hòu lái tā yòu yán jiū liàn jīn shù， zhěng rì chén mí bù xiū。 yóu yú tā de jīng shén shì jiè yǔ mǎ kǒng duō xiá 'ài de xiàn shí gé gé bù rù， tā xiàn rù gū dú de tiān jǐng zhōng， yǐ zhì yú jīng shén shī cháng， bèi jiā rén bǎng zài yī kē dà shù shàng， jǐ shí nián hòu cái zài nà kē shù shàng sǐ qù。 wū sū lā chéng wèijiā lǐ de dǐng liáng zhù， tā huó liǎo 115 zhì 120 suì。
bù 'ēn dí yà jiā zú de dì 'èr dài yòu liǎng nán yī nǚ。 lǎo dà hé sài · ā kǎ dí 'ào shì zài lái mǎ kǒng duō de lù shàng chū shēng de。 tā zài nà lǐ zhǎngdà， hé yī gè jiào pí lā · tái liè nà de nǚ rén sī tōng， yòu liǎo hái zǐ。 tā shí fēn hài pà， hòu lái yǔ jiā lǐ de yǎng nǚ lěi bèi kǎ jié hūn。 dàn tā yī zhí duì rén men huái zhe jiè xīn， kě wàng làng jì tiān yá。 hòu lái， tā guǒ rán suí jí bǔ sài rén chū zǒu， huí lái hòu biàn dé fàng dàng bù jī， zuì hòu qí guài dì bèi rén 'àn shā liǎo。 lǎo 'èr 'ào léi liáng nuò shēng yú mǎ kǒng duō， zài niàn dù lǐ jiù huì kū， zhēng zhe yǎn jīng chū shì， cóng xiǎo jiù fù yòu yù jiàn shì wù de běn lǐng， zhǎngdà hòu 'ài shàng zhèn cháng qiān jīn léi méi tái sī。 zài cǐ zhī qián； tā yǔ gē gē de qíng rén shēng yòu yī zǐ míng jiào 'ào léi liáng nuò · hé sài。 qī zǐ bào bìng 'ér wáng hòu， tā cān jiā liǎo nèi zhàn， dāng shàng shàng xiào。 tā yī shēng zāo yù guò shí sì cì 'àn shā， qī shí sān cì mái fú hé yī cì qiāng jué， jūn xìng miǎn yú nán。 yǔ 17 gè wài dì nǚ zǐ pīn jū， shēng xià 17 gè nán hái。 zhè xiē nán hái yǐ hòu bù yuē 'ér tóng huí mǎ kǒng duō xún gēn， què zài yī xīng qī nèi quán bèi dǎ sǐ。 ào léi liáng nuò nián lǎo guī jiā， hé fù qīn yī yàng duì liàn jīn shù chī mí bù yǐ， měi rì liàn jīn zǐ zuò xiǎo jīn yú， yī zhí dào sǐ。 tā men de mèi mèi 'ā mǎ lán tǎ 'ài shàng liǎo yì dà lì jì shī， hòu yòu yǔ zhí zǐ luàn lún， ài qíng de bù rú yì shǐ tā zhōng rì bǎ zì jǐ guān zài fáng zhōng féng zhì liàn yī， gū dú wàn zhuàng。
dì sān dài rén zhǐ yòu liǎng gè táng xiōng dì， ā kǎ dí 'ào hé 'ào léi liáng nuò · hé sài。 qián zhě bù zhī shēng mǔ wéi shuí， jìng kuáng rè dì 'ài shàng shēng mǔ， jīhū niàng chéng dà cuò。 hòu zhě chéng wéi mǎ kǒng duō de jūn duì zhǎngguān， tān zāng wǎng fǎ， zuì hòu bèi bǎo shǒu pài jūn duì qiāng bì。 shēng qián tā yǔ yī nǚ rén wèi hūn biàn shēng yī nǚ liǎng nán。 qí táng dì rè liàn gū mā 'ā mǎ lán tǎ， dàn wú fǎ yǔ tā chéng hūn， gù 'ér cān jiā jūn duì， qù zhǎo jì nǚ xún qiú 'ān wèi， zuì zhōng yě sǐ yú luàn jūn zhī zhōng。
dì sì dài jí shì 'ā kǎ dí 'ào yǔ rén sī tōng shēng xià de yī nǚ liǎng nán。 nǚ 'ér qiào gū niàn léi méi kǔ sī chǔ chǔ dòng rén， tā shēn shàng sàn fā zhe yǐn rén bù 'ān de qì wèi， céng yīn cǐ zhì jǐ gè nán rén yú sǐ dì。 tā zǒng yuàn yì luǒ tǐ， bǎ shí jiān hào fèi zài fǎn fù xǐ zǎo shàng miàn， ér tā yī yàng zài gū dú de shā mò shàng pái huái， hòu lái zài liàng chuáng dān shí， bèi yī zhèn fēng guā shàng tiān bù jiàn liǎo， yǒng yuǎn xiāo shī zài kōng zhōng。 tā de luán shēng zǐ dì dì héng héng 'ā kǎ dí 'ào dì 'èr， zài měi guó rén bàn de xiāng jiāo gōng sī lǐ dāng jiān gōng， gǔ dòng gōng rén bà gōng。 hòu lái， 3000 duō gōng rén quán bèi zhèn yā zāonàn， zhǐ tā yī rén xìng miǎn。 tā mù jī zhèng fǔ yòng huǒ chē bǎ gōng rén men de shī tǐ yùn wǎng hǎi biān diū qì， sì chù sù shuō zhè chǎng dà tú shā， fǎn bèi rèn wéi shén zhì bù qīng。 tā wú bǐ kǒng jù shī wàng， zuì hòu bǎ zì jǐ guān zài fáng zǐ lǐ qián xīn yán jiū jí bǔ sài rén liú xià de yáng pí shǒu gǎo。 lìng yī gè 'ào léi liáng nuò dì 'èr zhōng rì zòng qíng jiǔ sè， qì qī zǐ yú bù gù， zài qíng fù jiā zhōng sī hùn。 qí guài de shì， zhè shǐ tā jiā zhōng de shēng chù xùn sù dì fán zhí， gěi tā dài lái liǎo cái fù。 tā yǔ qī zǐ shēng yòu 'èr nǚ yī nán， hòu zài bìng tòng zhōng sǐ qù。 yīn cǐ， rén men yī zhí méi rèn qīng tā men xiōng dì liǎ 'ér shuí shì shuí。
bù 'ēn dí yà jiā zú de dì wǔ dài shì 'ào léi liáng nuò dì 'èr de yī nán 'èr nǚ， zhǎngzǐ hé sài · ā kǎ dí 'ào xiǎo shí biàn bèi sòng wǎng luó mǎ shén xué yuàn qù xué xí。 mǔ qīn xī wàng tā rì hòu néng dāng zhù jiào， dàn tā duì cǐ háo wú xīng qù， zhǐ shì wèile nà jiǎ xiǎng zhōng de yí chǎn， cái qī piàn mǔ qīn。 mǔ qīn sǐ hòu， tā huí jiā kào biàn mài jiā yè wéi shēng。 hòu wéi bǎo zhù wū sū lā cáng zài dì jiào lǐ de 7000 duō gè jīn bì， bèi dǎi tú shā sǐ。 nǚ 'ér méi · xiāng méi tái sī yǔ xiāng jiāo gōng sī xué tú xiāng hǎo， mǔ qīn jìn zhǐ tā men jiàn miàn， tā men zhǐ hǎo 'àn zhōng zài yù shì xiāng huì， mǔ qīn fā xiàn hòu yǐ tōu jī zéi wéi míng dǎ sǐ liǎo tā。 méi wàn niàn jù huī， huái zhe shēn yùn bèi sòng wǎng xiū dào yuàn。 xiǎo nǚ 'ér 'ā mǎ lán tǎ · wū sū nà zǎo nián zài bù lǔ sài 'ěr shàng xué， zài nà lǐ chéng hūn hòu guī lái， jiàn dào mǎ kǒng duō yī piàn diāo bì， jué xīn zhòng zhěng jiā yuán。 tā zhāoqì péng bó， chōng mǎn huó lì， tā de dào lái， shǐ mǎ kǒng duō chū xiàn liǎo yī gè zuì tè bié de rén。 tā de qíng xù bǐ zhè jiā zú de réndōu hǎo， yě jiù shì shuō， tā xiǎng bǎ yī qiē chén guī lòu xí dǎ rù shí bā céng dì yù。 yīn cǐ， tā dìng chū cháng yuǎn jìhuà， zhǔn bèi dìng jū xià lái， zhěng jiù zhè gè zāinàn shēn zhòng de cūn zhèn。
bù 'ēn dí yà jiā zú de dì liù dài shì méi sòng huí de sī shēng zǐ 'ào léi liáng nuò · bù 'ēn dí yà。 tā chū shēng hòu yī zhí zài gū dú zhōng cháng dà。 tā wéi yī de shì hǎo shì duǒ zài jí bǔ sài rén méi 'ěr jiā dé sī de fáng jiān lǐ yán jiū gè zhǒng shén mì de shū jí hé shǒu gǎo。 tā shèn zhì néng yǔ sǐ qù duō nián de lǎo jí bǔ sài rén duì huà， bìng shòu dào zhǐ shì xué xí fàn wén。 tā yī zhí duì zhōu wéi de shì jiè jì bù guān xīn yě bù guò wèn， dàn duì zhōng shì jì de xué wèn què liǎo rú zhǐ zhǎng。 zì cóng yí mǔ 'ā mǎ lán tǎ · wū sū nà huí xiāng zhī hòu， tā bù zhī bù jué dì duì tā chǎn shēng liǎo nán yǐ kè zhì de liàn qíng， liǎng rén fā shēng liǎo luàn lún guān xì， dàn tā men rèn wéi， jìn guǎn tā men shòu dào gū dú yǔ 'ài qíng de zhé mó， dàn tā men bì jìng shì rén shì jiān wéi yī zuì xìng fú de rén。 hòu lái 'ā mǎ lán tǎ · wū sū nà shēng xià liǎo yī gè jiàn zhuàng de nán hái，“ tā shì bǎi nián lǐ dàn shēng de bù 'ēn dí yà dāng zhōng wéi yī yóu yú 'ài qíng 'ér shòu tāi de yīng 'ér。” rán 'ér， tā shēn shàng jìng cháng zhe yī tiáo zhū wěi bā。 ā mǎ lán tǎ · wū sū nà chǎn hòu dà chū xuè 'ér wáng。
nà gè cháng zhū wěi bā de nán hái jiù shì zhè yán xù bǎi nián de jiā zú de dì qī dài jì chéng rén。 tā bèi yī qún mǎ yǐ wéi gōng bìng bèi chī diào。 jiù zài zhè shí， ào léi liáng nuò · bù 'ēn dí yà zhōng yú pò yì chū liǎo méi 'ěr jiā dé sī de shǒu gǎo。 shǒu gǎo juàn shǒu de tí cí shì：“ jiā zú zhōng de dì yī gè rén jiāng bèi bǎng zài shù shàng， jiā zú zhōng de zuì hòu yī gè rén jiāng bèi mǎ yǐ chī diào。” yuán lái， zhè shǒu gǎo jìzǎi de zhèng shì bù 'ēn dí yà jiā zú de lì shǐ。 zài tā yì wán zuì hòu yī zhāng de shùn jiān， yīcháng tū rú qí lái de jù fēng bǎ zhěng gè 'ér mǎ kǒng duō zhèn cóng dì qiú shàng guā zǒu， cóng cǐ zhè gè zhèn bù fù cún zài liǎo。
《 bǎi nián gū dú》 - píng lùn
jiā xī yà mǎ 'ěr kè sī zūn xún“ biàn xiàn shí wéi huàn xiǎng 'ér yòu bù shī qí zhēn” de mó huàn xiàn shí zhù yì chuàng zuò yuán zé， jīng guò qiǎo miào de gòu sī hé xiǎng xiàng， bǎ chù mù jīng xīn de xiàn shí hé yuán yú shén huà、 chuán shuō de huàn xiǎng jié hé qǐ lái， xíng chéng sè cǎi bān lán、 fēng gé dú tè de tú huà， shǐ dú zhě zài“ sì shì 'ér fēi， sì fēi 'ér shì” de xíng xiàng zhōng， huò dé yī zhǒng sì céng xiāng shí yòu jué mò shēng de gǎn shòu， cóng 'ér jī qǐ xún gēn sù yuán qù zhuī suǒ zuò jiā chuàng zuò zhēn dì de yuàn wàng。 mó huàn xiàn shí zhù yì bì xū yǐ xiàn shí lì jī chǔ， dàn zhè bìng bù fáng 'ài tā cǎi qǔ jí duān kuā zhāng de shǒu fǎ。 rú běn shū xiě wài bù wén míng duì mǎ gòng duō de qīn rù， shì xiàn shí de， dàn yòu mó huàn huà liǎo： jí bǔ sài rén tuō zhe liǎng kuài cí tiě“…… āi jiā chuàn hù dì zǒu zhe…… tiě guō、 tiě pén、 tiě qián、 xiǎo tiě lú fēn fēn cóng yuán dì làxià， mù bǎn yīn tiě dīng hé luó dīng méi mìng dì zhèng tuō chū lái 'ér gā gā zuò xiǎng…… gēn zài nà liǎng kuài mó tiě de hòu miàn luàn gǔn”； yòu rú xiě yè de jì jìng， rén men jū rán néng tīng dào“ mǎ yǐ zài yuè guāng xià de hōng nào shēng、 zhù chóng kěn shí shí de jù xiǎng yǐ jí yě cǎo shēngzhǎng shí chí xù 'ér qīng xī de jiān jiào shēng”； zài rú xiě zhèng fǔ bǎ dà pī bà gōng zhě shā hài hòu， jiāng shī tǐ zhuāng shàng huǒ chē yùn dào hǎi lǐ rēng diào， nà liàng huǒ chē jìng yòu 200 jié chē xiāng， qián、 zhōng、 hòu gòng yòu 3 gè chē tóu qiān yǐn！ zuò jiā sì hū zài bù duàn dì biàn huàn zhe hā hā jìng、 wàng yuǎn jìng、 fàng dà jìng shèn zhì xiǎn wēi jìng， dú dú zhě kàn dào yī fú fú zhēn zhēn jiǎ jiǎ、 xū shí jiāo cuò de huà miàn， cóng 'ér fēng fù liǎo xiǎng xiàng lì， shōu dào qiáng liè de yì shù xiào guǒ。
yìn dì 'ān chuán shuō、 dōng fāng shén huà yǐ jí《 shèng jīng》 diǎn gù de yùn yòng， jìn yī bù jiā qiáng liǎo běn shū de shén mì qì fēn。 rú xiě pǔ luó dēng xiào de guǐ hún rì yè jiū chán bù 'ēn dì yà yī jiā， biàn qǔ cái yú yìn dì 'ān chuán shuō zhōng yuān guǐ zì jǐ bù dé 'ān níng yě bù ràng chóu rén 'ān níng de shuō fǎ； yòu guān fēi tǎn yǐ jí qiào gū niàn léi méi tái sī zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā lā bó shén huà《 tiān fāng yè tán》 de yǐn shēn； ér mǎ gòng duō yī lián xià liǎo sì nián shí yī gè yuè líng liǎng tiān de dà yǔ zé shì《 shèng jīng chuàng shì jì》 zhōng yòu guān hóng shuǐ hào jié jí nuó yà fāng zhōu děng gù shì de yí zhí。 lā dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu mí xìn sè cǎi， zuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shí， yòu shí bǎ tā men zuò wéi xiàn shí lái miáo xiě； rú hǎo hàn fú lǎng xī sī kē“ céng hé mó guǐ duì gē， jī bài liǎo duì shǒu”； ā mǎ lán tǎ zài cháng láng lǐ xiù huā shí yǔ sǐ shén jiāo tán děng děng。 yòu shí zé fǎn qí yì 'ér yòng zhī， rú xiě ní kǎ nuò 'ěr shén fù hē liǎo yī bēi qiǎo kè lì hòu jū rán néng lí dì 12 lí mǐ， yǐ zhèng míng“ shàng dì yòu wú xiàn shén lì” děng děng， xiǎn rán shì duì zōng jiào mí xìn de fěng cì hé cháo xiào。
běn shū zhōng xiàng zhēng zhù yì shǒu fǎ yùn yòng dé bǐ jiào chéng gōng qiě yòu yì yì de， yìng shǒu tuī guān yú bù mián zhèng de miáo xiě。 mǎ gòng duō quán tǐ jū mín zài jiàn cūn hòu bù jiǔ dū chuán rǎn shàng yī zhǒng bù mián zhèng。 yán zhòng de shì， dé liǎo zhè zhǒng bìng， rén huì shī qù jì yì。 wèile shēng huó， tā men bù dé bù zài wù pǐn shàng tiē shàng biāo qiān。 lì rú tā men zài niú shēn shàng tiē biāo qiān dào：“ zhè shì niú， měi tiān yào jǐ tā de nǎi； yào bǎ nǎi zhǔ kāi jiā shàng kā fēi cái néng zuò chéng niú nǎi kā fēi。” zhè lèi lì zǐ shū zhōng bǐ bǐ jiē shì， zuò jiā yì zài tí xǐng gōng zhòng láo jì róng yì bèi rén yí wàng de lì shǐ。
lìng wài， zuò jiā hái dú chuàng liǎo cóng wèi lái de jiǎo dù huí yì guò qù de xīn yíng dàoxù shǒu fǎ。 lì rú xiǎo shuō yī kāi tóu， zuò jiā jiù zhè yàng xiě dào：“ xǔ duō nián zhī hòu， miàn duì xíng xíng duì， ào léi liáng nuò bù 'ēn dì yà shàng xiào jiāng huì huí xiǎng qǐ， tā fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ。” duǎn duǎn de yī jù huà， shí jì shàng róng nà liǎo wèi lái、 guò qù hé xiàn zài sān gè shí jiān céng miàn， ér zuò jiā xiǎn rán yǐn nì zài“ xiàn zài” de xù shì jiǎo dù。 jǐn jiē zhe， zuò jiā bǐ fēng yī zhuǎn， bǎ dú zhě yǐn huí dào mǎ gòng duō de chū chuàng shí qī。 zhè yàng de shí jiān jié gòu， zài xiǎo shuō zhōng yī zài chóngfù chū xiàn， yī huán jiē yī huán， huán huán xiāng kòu， bù duàn dì gěi dú zhě zào chéng xīn de xuán niàn。
zuì hòu， zhí dé zhù yì de shì， běn shū níng zhòng de lì shǐ nèi hán、 xī lì de pī pàn yǎn guāng、 shēn kè de mín zú wén huà fǎnxǐng、 páng dà de shén huà yǐn yù tǐ xì shì yóu yī zhǒng ràng rén 'ěr mù yī xīn de shén mì yǔ yán guàn chuàn shǐ zhōng de。 yòu de píng jiā rèn wéi zhè bù xiǎo shuō chū zì 8 suì 'ér tóng zhī kǒu， jiā xī yà mǎ 'ěr kè sī duì cǐ shuō pō gǎn xīn wèi。 zhè shì hěn shēn kè de píng pàn mù guāng。 yīn wéi zhè zhǒng zhí guān de、 jiǎn yuē de yǔ yán què shí yòu xiào dì fǎn yìng liǎo yī zhǒng xīn de shì jiǎo， yī zhǒng luò hòu mín zú（ rén lèi 'ér tóng） de zì wǒ yì shí。 dāng shì rén de kǔ xiào qǔ dài liǎo bàng guān zhě de yǎn lèi，“ yú zhě” zì wǒ biǎo dá de qièfū zhī tòng qǔ dài liǎo“ zhì zhě” mào sì gōng yǔn de pī pàn hé fēn xī， gèng néng shōu dào huàn qǐ bèi yú nòng zhě qún tǐ shēn kè fǎnxǐng de kè guān xiào guǒ。
《 bǎi nián gū dú》 shì yī bù jí qí fēng fù de、 duō céng cì de xiǎo shuō， tā kě yǐ yòu duō zhòng jiě shì。 tā shì yī bù guān yú huò sài · ā kǎ dí 'ào · bù 'ēn dí yà jǐ dài zǐ sūn de jiā tíng biān nián shǐ； tā miáo xiě liǎo yī gè xiàng zhēng zhe mǎ 'ěr kè sī gù xiāng 'ā lā kǎ tǎ kǎ de xiǎo zhèn mǎ kǒng duō de shí dài biàn qiān； tóng shí yě shì gē lún bǐ yà、 lā dīng měi zhōu hé xiàn dài shì jiè yī gè shì jì yǐ lái fēng yún biàn huàn de shén huà bān de lì shǐ。 cóng gēngshēn yuǎn de yì yì shàng shuō， tā shì xī fāng wén míng de yī gè zǒng jié， cóng tā de yuán tóu gǔ xī là shén huà、 hé mǎ shǐ shī、《 chuàng shì jì》 zhōng de chuàng shì shén huà kāi shǐ， dài zhe duì méng mèi zhuàng tài de yī diàn yuán hé jìng tǔ shì jiè nà zhǒng zhì pǔ hé chún jié de shēn shēn de huái niàn。 dú zhě cóng zuò pǐn zhōng dú dào， zhè bù biān nián shǐ shì yī gè jí bǔ sài zhì zhě yòng fàn wén xiě de shǒu gǎo zhǐ yòu bù 'ēn dí yà jiā zú de zuì hòu de yī gè nán rén cái néng yì jiě， bìng qiě zhǐ yòu zài měi yī gè dú zhě dān dú dú tā shí， cái néng lǐ jiě tā de hán yì。 zhè shì yī gè chōng mǎn shén qí yǔ kuáng huān de gù shì， shì zhè gè shì jiè hé tā de kùn jìng、 mí xìn de yī miàn jìng zǐ。 dàn tā yě shì yī gè chōng mǎn xū gòu de shì jiè， xī yǐn měi yī gè dú zhě bù rù lìng rén fú xiǎng lián piān de huàn jìng。
《 bǎi nián gū dú》 - yì shù chéng jiù
《 bǎi nián gū dú》 zài yì shù shàng yě qǔ dé liǎo jǔ shì gōng rèn de jù dà chéng jiù。
shǒu xiān shì yì shù gòu sī shàng de mó huàn xìng。《 bǎi nián gū dú》 zài xiǎo shuō jié gòu shàng shǐ zhōng guàn chuānzhuó yī tiáo míng xiǎn de xiàn suǒ， zhè jiù shì bù 'ēn dí yà jiā zú hài pà jìn qīn jié hūn huì shēng chū cháng“ zhū wěi bā” de hái zǐ。 zhè zhǒng shēn shēn de kǒng jù zuò wéi xiǎo shuō de nèi zài jīng shén mí màn quán shū， bìng qiě dài dài xiāng chuán， yǐng xiǎng zhe tā men de xíng wéi。
qí cì， gù shì qíng jié de mó huàn xìng。 xiǎo shuō zuì yǐn rén rù shèng de jiù shì gù shì qíng jié de mó huàn xìng。 xǔ duō gù shì qíng jié shén qí guài dàn、 qí miào wú bǐ， kàn dé rén yǎn huā liáo luàn， bǐ rú xiǎo shuō de zhòng yào qíng jié， guān yú jí bǔ sài rén méi 'ěr jiā dé sī de shén qí gù shì。 méi 'ěr jiā dé sī yǔ bù 'ēn dí yà jiā tíng yòu zhe mìqiè de guān xì， méi 'ěr jiā dé sī gěi bù 'ēn dí yà jiā dài lái liǎo qǐ méng zhī shí， hòu lái tā sǐ yú rè bìng， shī tǐ bèi pāo rù dà hǎi。 dàn tā bù kān jì mò， yòu zhòng huí rén jiān， lái dào mǎ kǒng duō， zhì hǎo liǎo quán zhèn rén de jiàn wàng zhèng。 bù jiǔ tā yòu yī cì sǐ liǎo， zhè huí shì yān sǐ zài hé lǐ。 bù 'ēn dí yà jiā mái zàng liǎo tā， dàn tā de yōu líng réng rán yī zhí zài bù 'ēn dí yà jiā gè jiān fáng zǐ lǐ yóu dàng， gěi zhè gè jiā tíng liú xià liǎo nà běn shén mì de yáng pí shū shǒu gǎo。 zhè xiē chōng mǎn“ mó huàn” de gù shì qíng jié， xiān míng dì dài yòu lā dīng měi zhōu běn tǔ chuán tǒng wén huà hé guān niàn yì shí de tè diǎn。
zài cì，“ mó huàn” shì de xiàng zhēng hé kuā zhāng shǒu fǎ。《 bǎi nián gū dú》 zhōng guǎng fàn dì yùn yòng liǎo xiàng zhēng hé kuā zhāng de yì shù shǒu fǎ。 dàn hé qí tā wén xué liú pài bù tóng de shì， zhè zhǒng xiàng zhēng hé kuā zhāng de shǒu fǎ gèng duō dì dài yòu“ mó huàn” de sè cǎi。 bǐ rú， zuò pǐn zhōng huáng sè shì bù xìng hé sǐ wáng de xiàng zhēng， dāng 'ā · bù 'ēn dí yà sǐ wáng shí，“ chuāng wài xià qǐ liǎo xì wēi de huáng huā yǔ。 zhěng zhěng yī yè， huáng sè de huā duǒ xiàng wú shēng de bào yǔ， zài shì zhèn shàng kōng fēn fēn piāo luò…… yì rì zǎo chén， zhěng gè mǎ kǒng duō fǎng fó pū shàng liǎo yī céng mì shí de dì tǎn， suǒ yǐ bù dé bù yòng chǎn zǐ hé pá zǐ wéi sòng zàng duì wǔ qīng lǐ dào lù。”
zuì hòu， zuò zhě wèile biǎo xiàn lā dīng měi zhōu de bǎi nián gū dú de xiàn shí， hái tè yì chuàng zào liǎo xīn de shí jiān guān niàn hé biǎo xiàn fāng fǎ。 tā rèn wéi shí jiān zài lā dīng měi zhōu shì tíng zhì de， shì zài yī gè fēng bì de shí jiān juàn lǐ xún huán de。
《 bǎi nián gū dú》 zhōng de dì yī jù huà shì“ duō nián yǐ hòu， miàn duì zhe xíng xíng duì， ào léi lián nuò shàng xiào jiāng huì xiǎng qǐ nà jiǔ yuǎn de yī tiān xià wǔ， tā fù qīn dài tā qù rèn shí liǎo bīng kuài。” zhè jiù gěi quán shū dìng xià liǎo yī gè jī diào， jí xù shù de kǒu wěn shì zhàn zài mǒu yī gè shí jiān bù míng què de“ xiàn zài” qù jiǎng shù“ duō nián yǐ hòu” de yī gè“ jiāng lái”， rán hòu yòu cóng zhè gè“ jiāng lái” huí gù dào“ nà jiǔ yuǎn de yī tiān” de“ guò qù”。 yī jù huà lǐ bāo hán liǎo xiàn zài、 guò qù、 jiāng lái， xíng chéng liǎo yī gè shí jiān xìng de yuán juàn。 hái yòu， zuò pǐn zhōng xiāng shìde huó dòng、 xiāng sì de mìng yùn， dū sù shuō zhe shí jiān de fēng bì xìng hé tíng zhì xìng。 zhè zhèng shì lā dīng měi zhōu bǎi nián gū dú、 tíng zhì de shè huì lì shǐ de yì shù fǎn yìng。
zǒng 'ér yán zhī，《 bǎi nián gū dú》 de jù dà chéng gōng， shuō míng mǎ 'ěr kè sī zhàn zài xīn de shì jiè pǔ biàn xìng de gāo dù shàng qù rèn shí lā měi zhè kuài tǔ dì、 zhè gè mín zú， cóng bù tóng jiǎo dù bù tóng céng miàn fǎn yìng liǎo mín zú xìng yǔ shì jiè xìng、 chuán tǒng yǔ chuàng xīn de guān xì。 zhèng yīn wéi rú cǐ， mǎ 'ěr kè sī cái néng gòu bǎ tā de yuǎn jiàn zhuó shí hé fēi fán de yì shù cái huá yǔ lā dīng měi zhōu de shè huì xiàn shí wán měi dì jié hé qǐ lái， bǎ mó huàn xiàn shí zhù yì tuī shàng liǎo shì jiè wén xué de gāo fēng。
《 bǎi nián gū dú》 - jià zhí
《 bǎi nián gū dú》 de nèi róng yì cháng fēng fù、 fù zá 'ér shēn guǎng， jù yòu hěn gāo de sī xiǎng rèn shí jià zhí。 zhù yào biǎo xiàn zài liǎng fāng miàn： shǒu xiān，《 bǎi nián gū dú》 zhōng de xiǎo zhèn mǎ kǒng duō suǒ jīng lì de xīng jiàn、 fā zhǎn、 dǐng shèng dào xiāo wáng de bǎi nián cāng sāng， yǐng shè hé nóng suō liǎo gē lún bǐ yà zì 19 shì jì chū dào 20 shì jì shàng bàn yè de lì shǐ。 xiǎo shuō kāi shǐ shí shì 19 shì jì chū， dàn mǎ kǒng duō què xiàng shì shǐ qián shè huì， zhì pǔ 'ér níng jìng， zhè shì gè zhǐ yòu 20 lái hù rén jiā de xiǎo cūn zhuāng， rén men wǎng zài hé biān yòng ní hé lú wěi gài de fáng zǐ lǐ， qǔ shuǐ fēi cháng fāng biàn。 hé shuǐ qīng chè、 míng liàng、 jí sù dì liú guò， kě yǐ kàn jiàn hé chuáng shàng guāng jié de 'é luǎn shí，“ shì jiè， yī qiēdōu shì gāng kāi shǐ， hěn duō dōng xī hái méi yòu míng zì， bì xū yòng shǒu zhǐ zhǐ zhe shuō”。 zhè lǐ， mǎ 'ěr kè sī tè yì yǐn yòng《 shèng jīng》 zhōng de huà“ bì xū yòng shǒu zhǐ zhǐ zhe shuō。”， biǎo shì mǎ kǒng duō zuì chū jiù shì zhè yàng yī gè yǔ shì gé jué de shì wài táo yuán。 zhè shì 16 shì jì yǐ qián gē lún bǐ yà tǔ zhù shēng huó de xiě zhào。 suí hòu xī bān yá zhí mín zhě chuǎng rù， yòng jiàn yǔ huǒ hé shí zì jià zhēng fú liǎo lā dīng měi zhōu， jì 'ér dà pī yí mín yǒng rù zhè kuài dà lù， gē lún bǐ yà cóng shè huì jié gòu、 sī xiǎng xìn yǎng dào xí sú fēng shàng dū fā shēng liǎo shēn kè biàn huà， xíng chéng liǎo gē lún bǐ yà lì shǐ shàng dì yī cì zhòng dà zhuǎn zhé。 xiǎo shuō zhōng yòu guān jí bǔ sài rén dài lái xī tiě shí、 wàng yuǎn jìng děng dōng xī xiàng mó shù hé zá jì yī yàng xī yǐn quán cūn rén qù wéi guān、 wū sū lā fā xiàn yǔ wài jiè de tōng dào yǐ jí yǐn lái dì yī pī yí mín de miáo xiě， jiù shì zhè duàn shǐ shí de zài xiàn。
19 shì jì chū gē lún bǐ yà dú lì hòu， guó jiā zhèng quán bèi tǔ shēng bái rén de dà dì zhù、 dà shāng rén suǒ bǎ chí。 tā men zhōng de zì yóu dǎng、 bǎo shǒu dǎng dǒu zhēng bù duàn， jìn xíng cháng qī nèi zhàn。 zhèng kè men làn yòng zhí quán， yíng sī wǔ bì， cāo zòng xuǎn jǔ， jiàn tà xiàn fǎ， dǎo zhì guó jiā zhèng biàn bù duàn、 nèi zhàn pín réng。 cóng 1830 nián dào 1899 nián， quán guó bào fā liǎo 27 cì nèi zhàn， gěi rén mín dài lái liǎo wú qióng wú jìn de tòng kǔ。 xiǎo shuō yǐ hěn dà de piān fú miáo xiě mǎ kǒng duō yě bèi juàn jìn liǎo zhè chǎng dǒu zhēng。 tōng guò 'ào léi lián nuò · bù 'ēn dí yà shàng xiào de chuán qí shēng yá biǎo xiàn liǎo zhè fāng miàn de shǐ shí。 shàng xiào wéi fǎn duì fǔ bài de bǎo shǒu dǎng zhèng fǔ， yī shēng fā dòng guò 32 cì wǔ zhuāng qǐ yì， dǎ liǎo 20 nián nèi zhàn。 zhè xiē miáo xiě shēng dòng dì gài kuò liǎo gē lún bǐ yà lì shǐ shàng dì 'èr cì zhòng dà zhuǎn zhé shí qī de shè huì shēng huó。
20 shì jì chū qī， gē lún bǐ yà nèi zhàn tíng zhǐ， jīng jì huī fù， dàn jìn zài zhǐ chǐ de měi guó xīn zhí mín zhù yì shì lì yòu yǒng jìn liǎo gē lún bǐ yà。 huǒ chē、 diàn dēng、 diàn huà、 diàn yǐng、 liú shēng jī děng chū xiàn zài mǎ kǒng duō。 xiǎo shuō miáo xiě mǎ kǒng duō rén zhè yàng yíng jiē xīn shì wù：“ mǎ kǒng duō rén duì diàn yǐng shàng huó dòng de rén wù fēi cháng shēng qì， yīn wéi tā men wéi diàn yǐng shàng yī gè sǐ liǎo bèi mái liǎo de rén liú xià tòng kǔ de yǎn lèi， ér tā què zài xià yī gè diàn yǐng zhōng biàn chéng liǎo 'ā lā bó rén chū xiàn liǎo， mǎ kǒng duō rén shòu bù liǎo zhè yàng duì tā men gǎn qíng de cháo nòng， bǎ diàn yǐng yuàn de zuò yǐ dū gěi zá liǎo。 zuì hòu zhèn cháng jiě shì diàn yǐng shì huàn jué de jī qì， bù xū yào guān zhòng zhè yàng dòng gǎn qíng， mǎ kǒng duō rén zhōng yú míng bái liǎo tā men shàng liǎo jí bǔ sài rén xīn wán yì 'ér de dāng liǎo， jué dìng zài yě bù kàn diàn yǐng。” tā men jiù zhè yàng bèi zhè xiē xīn wán yì jīng dé mù dèng kǒu dāi， kàn dé yǎn huā liáo luàn。 jǐn zhe， měi guó rén yòu jiàn lì liǎo hěn duō xiāng jiāo yuán， gè zhǒng rén xiàng cháo shuǐ yī yàng yǒng jìn mǎ kǒng duō， tā men xuān bīn duó zhù， kòng zhì liǎo mǎ kǒng duō lì shǐ shàng zuì zhòng dà de biàn gé。 zhè zhǒng biàn gé cóng biǎo miàn shàng kàn， hǎo xiàng gěi mǎ kǒng duō dài lái liǎo fán róng， dàn shí zhì shàng què shì wài guó zī běn jiā gèng jiā cán kù bō xuē hé lüè duó de kāi shǐ， ér qiě wèile wéi hù jì dé lì yì， dì guó zhù yì zhě yòng yě mán bào lì zhèn yā rén mín de fǎn kàng。 zài xiāng jiāo gōng rén bà gōng yùn dòng zhōng， zhèng fǔ hé dì guó zhù yì“ shòu mìng jūn duì bù xī yòng zǐ dàn dǎ sǐ tā men”，“ jī qiāng cóng liǎng gè fāng miàn sǎo shè rén qún。 hé sài · ā kǎ dí 'ào dì 'èr dǎo zài dì shàng， mǎn liǎn shì xuè。 tā sū xǐng shí cái fā xiàn zì jǐ tǎng zài sài mǎn shī tǐ de huǒ chē chē xiāng shàng。 tā cóng yī gè chē xiāng pá dào lìng yī gè chē xiāng， tòu guò xiē wēi ruò de liàng guāng， biàn kàn chū liǎo sǐ liǎo de nán rén、 nǚ rén hé hái zǐ： tā men xiàng bào fèi de xiāng jiāo gěi rēng dào dà hǎi lǐ…… zhè shì tā jiàn guò de zuì cháng de liè chē héng jīhū yòu 200 jié yùn huò chē xiāng。” xiǎo shuō jiù zhè yàng fèn nù dì jiē lù liǎo dì guó zhù yì、 xīn zhí mín zhù yì de rù qīn gěi gē lún bǐ yà zào chéng de jù dà zāinàn。 zhè yě zhèng shì zào chéng lā dīng měi zhōu pín qióng luò hòu de zhòng yào yuán yīn zhī yī。
qí cì， xiǎo shuō zài duì bù 'ēn dí yà jiā zú zhòng duō rén wù de kè huà zhōng， zhuólì biǎo xiàn liǎo zhè gè jiā tíng chéng yuán gòng tóng de xìng gé tè zhēng， zhè jiù shì mǎ kǒng duō rén de gū dú gǎn， cóng dì yī dài hé sài · ā kǎ dí 'ào · bù 'ēn dí yà dào dì liù dài 'ào léi lián nuò · bù 'ēn dí yà， měi gè réndōu shēng huó zài zì jǐ yíng zào de gū dú zhī zhōng， ér qiě jí lì bǎo chí zhe zhè zhǒng gū dú。 dì yī dài bù 'ēn dí yà hé biǎo mèi jié hūn yǐ hòu jiù zāo shòu dào gū dú de zhé mó， tā yóu yú hài pà shēng xià cháng zhū wěi bā de hái zǐ 'ér bù gǎn hé qī zǐ tóng fáng， shā sǐ cháo xiào zhě hòu yòu shòu dào guǐ hún kùn rǎo， bù dé bù yuǎn zǒu tā xiāng。 wǎn nián， tā jīng shén huǎng hū、 fēng fēng diān diān， zuì hòu bèi bǎng zài lì zǐ shù shàng gū dú dì sǐ qù。 dì 'èr dài 'ào léi lián nuò shàng xiào nián qīng shí shēn jīng bǎi zhàn， què bù zhī wéi shuí mài mìng。 tuì xiū hòu tā bǎ zì jǐ fǎn suǒ zài wū zǐ lǐ zhì zuò xiǎo jīn yú， zuò hǎo huà diào， huà diào zài zuò，“ lián nèi xīn yě shàng liǎo mén shuān”。 dì 'èr dài zhōng de 'ā mǎ lán tǎ yīn xiǎn dì pò huài bié rén de xìng fú， yòu lěng kù dì jù jué zì jǐ de qiú hūn zhě。 tā zhěng tiān wéi zì jǐ zhì zhe shī yī， gū dú dì děng dài zhe sǐ shén zhào huàn。 dì sì dài zhōng qiào gū niàn léi méi tái sī gēn běn jiù“ bù shì zhè gè shì jiè de rén”， tā měi tiān dōuzài yù shì shì chōng xǐ shēn zǐ， jǐ xiǎo shí jǐ xiǎo shí dì dǎ fā shí jiān， zuì hòu tā zhuā zhù yī tiáo chuáng dān fēi shàng liǎo tiān…… zhè zhǒng gū dú de 'è xí zài zhè gè jiā tíng dài dài xiāng chuán， zhōu 'ér fù shǐ， è xìng xún huán， zài xīn rén zhī jiān zhù qǐ yī dào wú xíng de qiáng， shǐ rén yǔ shì gé jué、 bù sī jìn qǔ、 zì wǒ fēng bì、 lí qún suǒ jū。 tā zhì zào liǎo yú wèi luò hòu、 bǎo shǒu jiāng huà de shè huì xiàn zhuàng。 zuò zhě rèn wéi“ gū dú” yǐ jīng shèn rù liǎo lā dīng měi zhōu de mín zú jīng shén， chéng wéi zǔ 'ài mín zú shàng jìn、 guó jiā fā zhǎn de xīn lǐ fù dān。 zhè zhǒng gū dú de běn zhì shì rén mín yīn wéi bù néng zhǎng wò zì jǐ de mìng yùn 'ér chǎn shēng de jué wàng、 lěng mò hé shū lí gǎn。 tā shì jiā zú shuāi bài、 mín zú luò hòu、 guó jiā miè wáng de gēn yuán。 xiǎo shuō zuì hòu miáo xiě bù 'ēn dí yà jiā tíng lián tóng mǎ kǒng duō xiǎo zhèn bèi jù fēng guā zǒu， shēn kè jiē shì liǎo yóu gū dú suǒ chǎn shēng de shè huì bēi jù de bì rán xìng。
《 bǎi nián gū dú》 quán miàn shēn kè dì tí shì liǎo lā dīng měi zhōu jìn bǎi nián lái“ gū dú” de shè huì xiàn shí hé zào chéng zhè zhǒng xiàn zhuàng de shēn kè de lì shǐ、 zhèng zhì、 jīng jì、 wén huà děng zhū duō fāng miàn de yuán yīn， shì yī bù dāng dài lā dīng měi zhōu de bǎi kē quán shū。
《 bǎi nián gū dú》 - shū píng
bèi yù wéi“ zài xiàn lā dīng měi zhōu lì shǐ shè huì tú jǐng de hóng piān jù zhù” de《 bǎi nián gū dú》， shì jiā xī yà mǎ 'ěr kè sī de dài biǎo zuò， yě shì lā dīng měi zhōu mó huàn xiàn shí zhù yì wén xué zuò pǐn de dài biǎo zuò。 quán shū jìn 30 wàn zì， nèi róng páng zá， rén wù zhòng duō， qíng jié qū zhé lí qí， zài jiā shàng shén huà gù shì、 zōng jiào diǎn gù、 mín jiān chuán shuō yǐ jí zuò jiā dú chuàng de cóng wèi lái de jiǎo dù lái huí yì guò qù de xīn yíng dàoxù shǒu fǎ děng děng， lìng rén yǎn huā liáo luàn。 dàn yuè bì quán shū， dú zhě kě yǐ lǐng wù， zuò jiā shì yào tōng guò bù 'ēn dì yà jiā zú 7 dài rén chōng mǎn shén mì sè cǎi de kǎn kě jīng lì lái fǎn yìng gē lún bǐ yà nǎi zhì lā dīng měi zhōu de lì shǐ yǎn biàn hé shè huì xiàn shí， yào qiú dú zhě sī kǎo zào chéng mǎ gòng duō bǎi nián gū dú de yuán yīn， cóng 'ér qù xún zhǎo bǎi tuō mìng yùn kuò nòng de zhèng què tú jìng。
cóng 1830 nián zhì shàng shì jì mò de 70 nián jiān， gē lún bǐ yà bào fā guò jǐ shí cì nèi zhàn， shǐ shù shí wàn rén sàng shēng。 běn shū yǐ hěn dà de piān fú miáo shù liǎo zhè fāng miàn de shǐ shí， bìng qiě tōng guò shū zhōng zhù rén gōng dài yòu chuán qí sè cǎi de shēng yá jí zhōng biǎo xiàn chū lái。 zhèng kè men de xū wěi， tǒng zhì zhě men de cán rěn， mín zhòng de máng cóng hé yú mèi děng děngdōu xiěde lín lí jìn zhì。 zuò jiā yǐ shēng dòng de bǐ chù， kè huà liǎo xìng gé xiān míng de zhòng duō rén wù， miáo huì liǎo zhè gè jiā zú de gū dú jīng shén。 zài zhè gè jiā zú zhōng， fū qī zhī jiān、 fù zǐ zhī jiān、 mǔ nǚ zhī jiān、 xiōng dì jiě mèi zhī jiān， méi yòu gǎn qíng gōu tōng， quē fá xìn rèn hé liǎo jiě。 jìn guǎn hěn duō rén wéi dǎ pò gū dú jìn xíng guò zhǒng zhǒng jiān kǔ de tàn suǒ， dàn yóu yú wú fǎ zhǎo dào yī zhǒng yòu xiào de bàn fǎ bǎ fēn sàn de lì liàng tǒng yī qǐ lái， zuì hòu jūn yǐ shī bài gào zhōng。 zhè zhǒng gū dú bù jǐn mí màn zài bù 'ēn dì yà jiā zú hé mǎ gòng duō zhèn， ér qiě shèn rù liǎo xiá 'ài sī xiǎng， chéng wéi zǔ 'ài mín zú xiàng shàng、 guó jiā jìn bù de yī dà bāo fú。 zuò jiā xiě chū zhè yī diǎn， shì xī wàng lā měi mín zhòng tuán jié qǐ lái， gòng tóng nǔ lì bǎi tuō gū dú。 suǒ yǐ，《 bǎi nián gū dú》 zhōng jìn yín zhe de gū dú gǎn， qí zhù yào nèi hán yīnggāi shì duì zhěng gè kǔ nán de lā dīng měi zhōu bèi pái chì xiàn dài wén míng shì jiè de jìn chéng zhī wài de fèn mèn hé kàng yì， shì zuò jiā zài duì lā dīng měi zhōu jìn bǎi nián de lì shǐ、 yǐ jí zhè kuài dà lù shàng rén mín dú tè de shēng mìng lì、 shēng cún zhuàng tài、 xiǎng xiàng lì jìn xíng dú tè de yán jiū zhī hòu xíng chéng de juéjiàng de zì xìn。
jiā xī yà mǎ 'ěr kè sī zūn xún“ biàn xiàn shí wéi huàn xiǎng 'ér yòu bù shī qí zhēn” de mó huàn xiàn shí zhù yì chuàng zuò yuán zé， jīng guò qiǎo miào de gòu sī hé xiǎng xiàng， bǎ chù mù jīng xīn de xiàn shí hé yuán yú shén huà、 chuán shuō de huàn xiǎng jié hé qǐ lái， xíng chéng sè cǎi bān lán、 fēng gé dú tè de tú huà， shǐ dú zhě zài“ sì shì 'ér fēi， sì fēi 'ér shì” de xíng xiàng zhōng， huò dé yī zhǒng sì céng xiāng shí yòu jué mò shēng de gǎn shòu， cóng 'ér jī qǐ xún gēn sù yuán qù zhuī suǒ zuò jiā chuàng zuò zhēn dì de yuàn wàng。 mó huàn xiàn shí zhù yì bì xū yǐ xiàn shí lì jī chǔ， dàn zhè bìng bù fáng 'ài tā cǎi qǔ jí duān kuā zhāng de shǒu fǎ。 rú běn shū xiě wài bù wén míng duì mǎ gòng duō de qīn rù， shì xiàn shí de， dàn yòu mó huàn huà liǎo： jí bǔ sài rén tuō zhe liǎng kuài cí tiě“…… āi jiā chuàn hù dì zǒu zhe…… tiě guō、 tiě pén、 tiě qián、 xiǎo tiě lú fēn fēn cóng yuán dì làxià， mù bǎn yīn tiě dīng hé luó dīng méi mìng dì zhèng tuō chū lái 'ér gā gā zuò xiǎng…… gēn zài nà liǎng kuài mó tiě de hòu miàn luàn gǔn”； yòu rú xiě yè de jì jìng， rén men jū rán néng tīng dào“ mǎ yǐ zài yuè guāng xià de hōng nào shēng、 zhù chóng kěn shí shí de jù xiǎng yǐ jí yě cǎo shēngzhǎng shí chí xù 'ér qīng xī de jiān jiào shēng”； zài rú xiě zhèng fǔ bǎ dà pī bà gōng zhě shā hài hòu， jiāng shī tǐ zhuāng shàng huǒ chē yùn dào hǎi lǐ rēng diào， nà liàng huǒ chē jìng yòu 200 jié chē xiāng， qián、 zhōng、 hòu gòng yòu 3 gè chē tóu qiān yǐn！ zuò jiā sì hū zài bù duàn dì biàn huàn zhe hā hā jìng、 wàng yuǎn jìng、 fàng dà jìng shèn zhì xiǎn wēi jìng， dú dú zhě kàn dào yī fú fú zhēn zhēn jiǎ jiǎ、 xū shí jiāo cuò de huà miàn， cóng 'ér fēng fù liǎo xiǎng xiàng lì， shōu dào qiáng liè de yì shù xiào guǒ。
yìn dì 'ān chuán shuō、 dōng fāng shén huà yǐ jí《 shèng jīng》 diǎn gù de yùn yòng， jìn yī bù jiā qiáng liǎo běn shū de shén mì qì fēn。 rú xiě pǔ luó dēng xiào de guǐ hún rì yè jiū chán bù 'ēn dì yà yī jiā， biàn qǔ cái yú yìn dì 'ān chuán shuō zhōng yuān guǐ zì jǐ bù dé 'ān níng yě bù ràng chóu rén 'ān níng de shuō fǎ； yòu guān fēi tǎn yǐ jí qiào gū niàn léi méi tái sī zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā lā bó shén huà《 tiān fāng yè tán》 de yǐn shēn； ér mǎ gòng duō yī lián xià liǎo sì nián shí yī gè yuè líng liǎng tiān de dà yǔ zé shì《 shèng jīng chuàng shì jì》 zhōng yòu guān hóng shuǐ hào jié jí nuó yà fāng zhōu děng gù shì de yí zhí。 lā dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu mí xìn sè cǎi， zuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shí， yòu shí bǎ tā men zuò wéi xiàn shí lái miáo xiě； rú hǎo hàn fú lǎng xī sī kē“ céng hé mó guǐ duì gē， jī bài liǎo duì shǒu”； ā mǎ lán tǎ zài cháng láng lǐ xiù huā shí yǔ sǐ shén jiāo tán děng děng。 yòu shí zé fǎn qí yì 'ér yòng zhī， rú xiě ní kǎ nuò 'ěr shén fù hē liǎo yī bēi qiǎo kè lì hòu jū rán néng lí dì 12 lí mǐ， yǐ zhèng míng“ shàng dì yòu wú xiàn shén lì” děng děng， xiǎn rán shì duì zōng jiào mí xìn de fěng cì hé cháo xiào。
běn shū zhōng xiàng zhēng zhù yì shǒu fǎ yùn yòng dé bǐ jiào chéng gōng qiě yòu yì yì de， yìng shǒu tuī guān yú bù mián zhèng de miáo xiě。 mǎ gòng duō quán tǐ jū mín zài jiàn cūn hòu bù jiǔ dū chuán rǎn shàng yī zhǒng bù mián zhèng。 yán zhòng de shì， dé liǎo zhè zhǒng bìng， rén huì shī qù jì yì。 wèile shēng huó， tā men bù dé bù zài wù pǐn shàng tiē shàng biāo qiān。 lì rú tā men zài niú shēn shàng tiē biāo qiān dào：“ zhè shì niú， měi tiān yào jǐ tā de nǎi； yào bǎ nǎi zhǔ kāi jiā shàng kā fēi cái néng zuò chéng niú nǎi kā fēi。” zhè lèi lì zǐ shū zhōng bǐ bǐ jiē shì， zuò jiā yì zài tí xǐng gōng zhòng láo jì róng yì bèi rén yí wàng de lì shǐ。
lìng wài， zuò jiā hái dú chuàng liǎo cóng wèi lái de jiǎo dù huí yì guò qù de xīn yíng dàoxù shǒu fǎ。 lì rú xiǎo shuō yī kāi tóu， zuò jiā jiù zhè yàng xiě dào：“ xǔ duō nián zhī hòu， miàn duì xíng xíng duì， ào léi liáng nuò bù 'ēn dì yà shàng xiào jiāng huì huí xiǎng qǐ， tā fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ。” duǎn duǎn de yī jù huà， shí jì shàng róng nà liǎo wèi lái、 guò qù hé xiàn zài sān gè shí jiān céng miàn， ér zuò jiā xiǎn rán yǐn nì zài“ xiàn zài” de xù shì jiǎo dù。 jǐn jiē zhe， zuò jiā bǐ fēng yī zhuǎn， bǎ dú zhě yǐn huí dào mǎ gòng duō de chū chuàng shí qī。 zhè yàng de shí jiān jié gòu， zài xiǎo shuō zhōng yī zài chóngfù chū xiàn， yī huán jiē yī huán， huán huán xiāng kòu， bù duàn dì gěi dú zhě zào chéng xīn de xuán niàn。
zuì hòu， zhí dé zhù yì de shì， běn shū níng zhòng de lì shǐ nèi hán、 xī lì de pī pàn yǎn guāng、 shēn kè de mín zú wén huà fǎnxǐng、 páng dà de shén huà yǐn yù tǐ xì shì yóu yī zhǒng ràng rén 'ěr mù yī xīn de shén mì yǔ yán guàn chuàn shǐ zhōng de。 yòu de píng jiā rèn wéi zhè bù xiǎo shuō chū zì 8 suì 'ér tóng zhī kǒu， jiā xī yà mǎ 'ěr kè sī duì cǐ shuō pō gǎn xīn wèi。 zhè shì hěn shēn kè de píng pàn mù guāng。 yīn wéi zhè zhǒng zhí guān de、 jiǎn yuē de yǔ yán què shí yòu xiào dì fǎn yìng liǎo yī zhǒng xīn de shì jiǎo， yī zhǒng luò hòu mín zú（ rén lèi 'ér tóng） de zì wǒ yì shí。 dāng shì rén de kǔ xiào qǔ dài liǎo bàng guān zhě de yǎn lèi，“ yú zhě” zì wǒ biǎo dá de qièfū zhī tòng qǔ dài liǎo“ zhì zhě” mào sì gōng yǔn de pī pàn hé fēn xī， gèng néng shōu dào huàn qǐ bèi yú nòng zhě qún tǐ shēn kè fǎnxǐng de kè guān xiào guǒ。
《 bǎi nián gū dú》 - jiā zú rén wù biǎo
huò · ā · bù 'ēn dì yà dì yī dài
wū sū nà huò · ā · bù 'ēn dì yà zhī qī dì yī dài
huò · ā kǎ dì 'ào huò · ā · bù 'ēn dì yà zhī cháng zǐ dì 'èr dài
léi bèi kǎ huò · ā kǎ dì 'ào zhī qī dì 'èr dài
ào léi lián nuò shàng xiào huò · ā · bù 'ēn dì yà zhī cì zǐ dì 'èr dài
léi mài dài sī · mó sī kē tè 'ào léi lián nuò shàng xiào zhī qī dì 'èr dài
ā mǎ lán tǎ huò · ā · bù 'ēn dì yà zhī xiǎo nǚ 'ér dì 'èr dài
pí lā · tái liè nà huò · ā kǎ dì 'ào zhī qíng fù dì 'èr dài
ā kǎ dì 'ào huò · ā kǎ dì 'ào zhī zǐ dì sān dài
shèng suǒ fěi yà · dé lā pèi dé 'ā kǎ dì 'ào zhī qī dì sān dài
ào léi lián nuò · huò sài 'ào léi lián nuò shàng xiào zhī zǐ dì sān dài
shí qī gè 'ào léi lián nuò 'ào léi lián nuò shàng xiào zhī zǐ dì sān dài
qiào gū niàn léi mài dài sī 'ā kǎ dì 'ào zhī cháng nǚ dì sì dài
huò · ā kǎ dì 'ào dì 'èr 'ā kǎ dì 'ào zhī cì zǐ dì sì dài
ào léi lián nuò dì 'èr 'ā kǎ dì 'ào zhī xiǎo 'ér zǐ dì sì dài
fěi lán dá · dé kǎ pí 'ào 'ào léi lián nuò dì 'èr zhī qī dì sì dài
pèi tè nà · kē tè 'ào léi lián nuò dì 'èr zhī qíng fù dì sì dài
huò · ā kǎ dì 'ào（ shén xué yuàn xué shēng） ào léi lián nuò dì 'èr zhī cháng zǐ dì wǔ dài
méi méi（ léi nà tǎ） ào léi lián nuò dì 'èr zhī cì nǚ dì wǔ dài
bā bǐ luò ní yà méi méi zhī fū dì wǔ dài
ā mǎ lán tǎ · wū sū nà 'ào léi lián nuò dì 'èr zhī xiǎo nǚ 'ér dì wǔ dài
jiā sī dōng 'ā mǎ lán tǎ · wū sū nà zhī fū dì wǔ dài
ào léi lián nuò · bù 'ēn dì yà（ pò yì shǒu gǎo zhě） méi méi zhī zǐ dì liù dài
yòu wěi bā de yīng 'ér 'ào léi lián nuò · bù 'ēn dì yà zhī hòu dài dì qī dài
《 bǎi nián gū dú》 - xiě zuò tè diǎn
wǒ jiā xī yà · mǎ 'ěr kè sī zūn xún“ biàn xiàn shí wéi huàn xiǎng 'ér yòu bù shī qí zhēn” de mó huàn xiàn shí zhù yì chuàng zuò yuán zé， jīng guò qiǎo miào de gòu sī hé xiǎng xiàng， bǎ chù mù jīng xīn de xiàn shí hé yuán yú shén huà、 chuán shuō de huàn xiǎng jié hé qǐ lái， xíng chéng sè cǎi bān lán、 fēng gé dú tè de tú huà， shǐ dú zhě zài“ sì shì 'ér fēi， sì fēi 'ér shì” de xíng xiàng zhōng， huò dé yī zhǒng sì céng xiāng shí yòu jué mò shēng de gǎn shòu， cóng 'ér jī qǐ xún gēn sù yuán qù zhuī suǒ zuò jiā chuàng zuò zhēn dì de yuàn wàng。 mó huàn xiàn shí zhù yì bì xū yǐ xiàn shí lì jī chǔ， dàn zhè bìng bù fáng 'ài tā cǎi qǔ jí duān kuā zhāng de shǒu fǎ。 rú běn shū xiě wài bù wén míng duì mǎ gòng duō de qīn rù， shì xiàn shí de， dàn yòu mó huàn huà liǎo： jí bǔ sài rén tuō zhe liǎng kuài cí tiě“…… āi jiā chuàn hù dì zǒu zhe…… tiě guō、 tiě pén、 tiě qián、 xiǎo tiě lú fēn fēn cóng yuán dì làxià， mù bǎn yīn tiě dīng hé luó dīng méi mìng dì zhèng tuō chū lái 'ér gā gā zuò xiǎng…… gēn zài nà liǎng kuài mó tiě de hòu miàn luàn gǔn”； yòu rú xiě yè de jì jìng， rén men jū rán néng tīng dào“ mǎ yǐ zài yuè guāng xià de hōng nào shēng、 zhù chóng kěn shí shí de jù xiǎng yǐ jí yě cǎo shēngzhǎng shí chí xù 'ér qīng xī de jiān jiào shēng”； zài rú xiě zhèng fǔ bǎ dà pī bà gōng zhě shā hài hòu， jiāng shī tǐ zhuāng shàng huǒ chē yùn dào hǎi lǐ rēng diào， nà liàng huǒ chē jìng yòu 200 jié chē xiāng， qián、 zhōng、 hòu gòng yòu 3 gè chē tóu qiān yǐn！ zuò jiā sì hū zài bù duàn dì biàn huàn zhe hā hā jìng、 wàng yuǎn jìng、 fàng dà jìng shèn zhì xiǎn wēi jìng， ràng dú zhě kàn dào yī fú fú zhēn zhēn jiǎ jiǎ、 xū shí jiāo cuò de huà miàn， cóng 'ér fēng fù liǎo xiǎng xiàng lì， shōu dào qiáng liè de yì shù xiào guǒ。
yìn dì 'ān chuán shuō、 dōng fāng shén huà yǐ jí《 shèng jīng》 diǎn gù de yùn yòng， jìn yī bù jiā qiáng liǎo běn shū de shén mì qì fēn。 rú xiě pǔ luó dēng xiào de guǐ hún rì yè jiū chán bù 'ēn dì yà yī jiā， biàn qǔ cái yú yìn dì 'ān chuán shuō zhōng yuān guǐ zì jǐ bù dé 'ān níng yě bù ràng chóu rén 'ān níng de shuō fǎ； yòu guān fēi tǎn yǐ jí qiào gū niàn léi méi tái sī zhuā zhù chuáng dān shēng tiān de miáo xiě shì 'ā lā bó shén huà《 tiān fāng yè tán》 de yǐn shēn； ér mǎ gòng duō yī lián xià liǎo sì nián shí yī gè yuè líng liǎng tiān de dà yǔ zé shì《 shèng jīng · chuàng shì jì》 zhōng yòu guān hóng shuǐ hào jié jí nuó yà fāng zhōu děng gù shì de yí zhí。 lā dīng měi zhōu de mín jiān chuán shuō wǎng wǎng dài yòu mí xìn sè cǎi， zuò jiā zài cǎi yòng zhè xiē mín jiān chuán shuō shí， yòu shí bǎ tā men zuò wéi xiàn shí lái miáo xiě； rú hǎo hàn fú lǎng xī sī kē“ céng hé mó guǐ duì gē， jī bài liǎo duì shǒu”； ā mǎ lán tǎ zài cháng láng lǐ xiù huā shí yǔ sǐ shén jiāo tán děng děng。 yòu shí zé fǎn qí yì 'ér yòng zhī， rú xiě ní kǎ nuò 'ěr shén fù hē liǎo yī bēi qiǎo kè lì hòu jū rán néng lí dì 12 lí mǐ， yǐ zhèng míng“ shàng dì yòu wú xiàn shén lì” děng děng， xiǎn rán shì duì zōng jiào mí xìn de fěng cì hé cháo xiào。
běn shū zhōng xiàng zhēng zhù yì shǒu fǎ yùn yòng dé bǐ jiào chéng gōng qiě yòu yì yì de， yìng shǒu tuī guān yú bù mián zhèng de miáo xiě。 mǎ gòng duō quán tǐ jū mín zài jiàn cūn hòu bù jiǔ dū chuán rǎn shàng yī zhǒng bù mián zhèng。 yán zhòng de shì， dé liǎo zhè zhǒng bìng， rén huì shī qù jì yì。 wèile shēng huó， tā men bù dé bù zài wù pǐn shàng tiē shàng biāo qiān。 lì rú tā men zài niú shēn shàng tiē biāo qiān dào：“ zhè shì niú， měi tiān yào jǐ tā de nǎi； yào bǎ nǎi zhǔ kāi jiā shàng kā fēi cái néng zuò chéng niú nǎi kā fēi。” zhè lèi lì zǐ shū zhōng bǐ bǐ jiē shì， zuò jiā yì zài tí xǐng gōng zhòng láo jì róng yì bèi rén yí wàng de lì shǐ。
lìng wài， zuò jiā hái dú chuàng liǎo cóng wèi lái de jiǎo dù huí yì guò qù de xīn yíng dàoxù shǒu fǎ。 lì rú xiǎo shuō yī kāi tóu， zuò jiā jiù zhè yàng xiě dào：“ xǔ duō nián zhī hòu， miàn duì xíng xíng duì， ào léi liáng nuò · bù 'ēn dì yà shàng xiào jiāng huì huí xiǎng qǐ， tā fù qīn dài tā qù jiàn shí bīng kuài de nà gè yáo yuǎn de xià wǔ。” duǎn duǎn de yī jù huà， shí jì shàng róng nà liǎo wèi lái、 guò qù hé xiàn zài sān gè shí jiān céng miàn， ér zuò jiā xiǎn rán yǐn nì zài“ xiàn zài” de xù shì jiǎo dù。 jǐn jiē zhe， zuò jiā bǐ fēng yī zhuǎn， bǎ dú zhě yǐn huí dào mǎ gòng duō de chū chuàng shí qī。 zhè yàng de shí jiān jié gòu， zài xiǎo shuō zhōng yī zài chóngfù chū xiàn， yī huán jiē yī huán， huán huán xiāng kòu， bù duàn dì gěi dú zhě zào chéng xīn de xuán niàn。
zuì hòu， zhí dé zhù yì de shì， běn shū níng zhòng de lì shǐ nèi hán、 xī lì de pī pàn yǎn guāng、 shēn kè de mín zú wén huà fǎnxǐng、 páng dà de shén huà yǐn yù tǐ xì shì yóu yī zhǒng ràng rén 'ěr mù yī xīn de shén mì yǔ yán guàn chuàn shǐ zhōng de。 yòu de píng jiā rèn wéi zhè bù xiǎo shuō chū zì 8 suì 'ér tóng zhī kǒu， jiā xī yà · mǎ 'ěr kè sī duì cǐ shuō pō gǎn xīn wèi。 zhè shì hěn shēn kè de píng pàn mù guāng。 yīn wéi zhè zhǒng zhí guān de、 jiǎn yuē de yǔ yán què shí yòu xiào dì fǎn yìng liǎo yī zhǒng xīn de shì jiǎo， yī zhǒng luò hòu mín zú（ rén lèi 'ér tóng） de zì wǒ yì shí。 dāng shì rén de kǔ xiào qǔ dài liǎo bàng guān zhě de yǎn lèi，“ yú zhě” zì wǒ biǎo dá de qièfū zhī tòng qǔ dài liǎo“ zhì zhě” mào sì gōng yǔn de pī pàn hé fēn xī， gèng néng shōu dào huàn qǐ bèi yú nòng zhě qún tǐ shēn kè fǎnxǐng de kè guān xiào guǒ。
《 bǎi nián gū dú》 bèi rèn wéi shì lā dīng měi zhōu“ wén xué bào zhà” shí dài de dài biǎo zuò pǐn。 zài shì jiè wén xué shǐ shàng zhàn yòu zhòng yào de dì wèi。 zài lā měi shì jiè zhǐ yòu bó 'ěr hè sī děng shǎo shù zuò jiā kě yǐ pì měi。 ér qiě zài shì jiè gè dì xiān qǐ liǎo lā měi wén xué fēng。 mó huàn xiàn shí zhù yì yě bèi rèn wéi shì zhǐ jù yòu chuàng yì de xiě zuò shǒu fǎ zhī yī。
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.
piàn míng： LoveintheTimeofCholera
yì míng： huò luàn shí qī de 'ài qíng
dǎo yǎn： mài kè · nèi wēi 'ěr MikeNewell
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sà 'ěr wéi tuō · bā sà 'ěr SalvatoreBasile
běn jié míng · bù lā tè BenjaminBratt
lèi xíng： jù qíng / làng màn
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jí bié： měi guó R（ xìng nèi róng， luǒ tǐ jí cū kǒu）
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guān wǎng： http://www.loveinthetime.com
tuī jiàn zhǐ shù： ★★★
《 huò luàn shí qī de 'ài qíng》 - gài shù
《 huò luàn shí qī de 'ài qíng》 jiǎng shù liǎo yī duàn fā shēng zài 19 shì jì mò zhì 20 shì jì chū de nán měi zhōu de 'ài qíng gù shì。 shū zhōng de míng yán shì：“ duì yú sǐ wáng， wǒ gǎn dào de wéi yī tòng kǔ shì méi néng wéi 'ài 'ér sǐ”。
《 huò luàn shí qī de 'ài qíng》 - nèi róng jiǎn jiè
yǐngpiān suǒ jiǎng shù de gù shì fā shēng zài 19 shì jì mò zhì 20 shì jì， zhěng gè héng kuà 50 duō nián de shí jiān lì chéng。 gù shì fā shēng de dì diǎn shì gē lún bǐ yà de kā tā jī nà， nà gè fēn fán fù zá， chōng mǎn mó lì yǔ yòu huò de nán měi xiǎo chéng。 zài zhè lǐ， shàng yǎn zhe yī gè nán rén zhí zhù yī shēng shǒu hòu tā zhōng shēng suǒ 'ài de 'ài qíng shǐ shī。
fěi 'ěr lún tí nuò · ā ruì zhā shì dāng dì de yī gè diàn bào zhí yuán tóng shí tā yě shì yī gè duō chǎn de shī rén， shuài qì de wài biǎo hé làng màn de qì zhì ràng tā bié jù yī zhǒng shī rén de fēng yǎ mèi lì。 hé suǒ yòu shī rén yī yàng， duō chóu shàn gǎn yě shì 'ā ruì zhā zuì xiǎn zhù de xìng gé biāo qiān。
dāng 'ǒu rán tòu guò yī zuò bié shù de xiǎo chuāng wàng dào měi lì de gū niàn fú mǐn nà · dá lā shí， ā ruì zhā zhī dào zì jǐ xiè hòu liǎo zhè yī shēng de suǒ 'ài。 yú shì， tā kāi shǐ yòng shū xìn xiàng fú mǐn nà · dá lā biǎo dá tā xīn zhōng de zhì 'ài。 fú mǐn nà · dá lā yě zhú jiàn de bèi fěi 'ěr lún tí nuò · ā ruì zhā de wén zì suǒ dǎ dòng。 kě jiù zài liǎng rén yào zhuì rù 'ài hé de shí hòu， fú mǐn nà · dá lā de fù qīn zhī dào liǎo tā men liǎng rén de guān xì bìng wéi zhī dà wéi zhèn nù。 tā fā shì yào yǒng yuǎn de ràng tā men fēn kāi。
xǔ duō nián guò qù liǎo， fú mǐn nà · dá lā yǐ jīng chéng wéi liǎo guì zú zǐ dì 'è bì nuò de qī zǐ。 dāng yīcháng tū rú qí lái de huò luàn xí jī kā tā jī nà de shí hòu， è bì nuò chéng wéi liǎo dǐ kàng wēn yì de zhōng jiān lì liàng， wéi chéng shì dài lái liǎo dà liàng de yào pǐn。 wéi duǒ bì huò luàn， è bì nuò jiāng fú mǐn nà · dá lā sòng qù liǎo fǎ guó jū zhù， jǐ nián hòu yòu jiāng tā jiē huí liǎo kā tā jī nà。 zhè gè shí hòu， fú mǐn nà · dá lā yǐ jīng biàn chéng liǎo yī gè yōng yòu róng huá fù guì de guì fù rén， zhì yú tā nà chǎng bàn lù yāo zhé de chū liàn zǎo yǐ bèi tā pāo zài liǎo nǎo hòu。
shī rén zǒng shì gǎn qíng fēng fù de。 shī rén yě yīn cǐ zhāosān mù sì、 qīng tíng diǎn shuǐ bān chù chù liú qíng， ér yòu xiē shī rén yòu shí yě huì jiān zhēn bù yú、 jiāng quán bù qíng gǎn qīng zhù yú yī rén。 fěi 'ěr lún tí nuò · ā ruì zhā hěn bù xìng de chéng wéi liǎo hòu zhě。 duō nián guò qù， tā yǐ jīng bù zài shì dāng chū nà gè náng zhōng xiū sè de xiǎo shuài。 rú jīn de tā yōng yòu zhe zì jǐ de shì yè hé cái fù， hái yòu yī duī yòng yǐ pài qiǎn jì mò de nǚ rén men， dàn tā hái shì duì fú mǐn nà · dá lā niàn niàn bù wàng。 tā yuàn yì děng dài zhōng shēng， zhǐ wèile néng hé fú mǐn nà · dá lā chóngxīn kāi shǐ……
《 huò luàn shí qī de 'ài qíng》 - zuò zhě jiǎn jiè
mǎ 'ěr kè sī céng yú 1982 nián píng cháng piān xiǎo shuō《 bǎi nián gū dú》 huò dé nuò bèi 'ěr wén xué jiǎng。《 huò luàn shí qī de 'ài qíng》 shì tā yú 1985 nián wán chéng de yòu yī bù cháng piān xiǎo shuō。
xiàn nián 63 suì de niǔ 'è 'ěr zài zhí dǎo《 hā 4》 zhī qián， céng zhí dǎo《 sì gè hūn lǐ hé yī gè zàng lǐ》 děng zhù míng yǐngpiān。 tā chēng zàn《 huò luàn shí qī de 'ài qíng》 shì yī bù wěi dà de 'ài qíng xiǎo shuō， jiǎng shù liǎo yī gè“ shì jiè shàng zuì làng màn de 'ài qíng gù shì。”
《 huò luàn shí qī de 'ài qíng》 - mù hòu huā xù
běn piàn jù běn gēn jù nuò bèi 'ěr wén xué jiǎng dé zhù jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī (GabrielGarcíaMárquez)1985 nián chū bǎn de tóng míng xiǎo shuō gǎi biān 'ér chéng。 xiǎo shuō běn shēn shì mǎ 'ěr kè sī de dài biǎo zuò zhī yī，《 bǎi nián gū dú》 zé shì tā lìng wài yī bù jiā yù hù xiǎo de chéng míng zuò pǐn。 jǐ shí nián lái， mǎ 'ěr kè sī de zuò pǐn suī rán yě lǚ cì bèi gè guó de dǎo yǎn fān pāi chéng gè zhǒng yǔ yán de bǎn běn bān shàng yín mù， dàn zhè hái shì tā shǒu cì yǔ hǎo lāi wù jìn xíng hé zuò。 dǎo bù shì hǎo lāi wù dài màn liǎo zhè gè nuò bèi 'ěr wén xué jiǎng dà shī， zhǐ shì hé xǔ duō gǎo wén yì chuàng zuò de rén yī yàng， jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī yě shǔ yú nà zhǒng jí duān yàn 'è shāng yè huà yùn zuò què bù dé bù qī shēn yú zhè gè shāng yè shí dài de máo dùn tǐ。 tā men zhuī qiú gāo yǎ de yì shù， duì yú làn sú de yú lè yuán běn zhǐ shì jīng wèi fēn míng、 jǐng shuǐ bù fàn hé shuǐ， dàn rú jīn yú lè què yuè lái yuè yī fā bù kě shōu shí de dà xíng qí dào， jiāng tā men suǒ jiān chí de yì shù zhèng tǒng fǎn 'ér jǐ yā dào liǎo wén huà de biān yuán dì dài， yú shì cóng mò bù guān xīn dào chī zhī yǐ bí zài dào bù gòng dài tiān， jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī yě shì yī gè shí dài zào jiù de fǎn shāng yè zhù yì。 ér hǎo lāi wù zì rán shì dāng jīn shì jiè shàng zuì dà de shāng yè tiē pái， jīhū suǒ yòu guān yú yì shù shāng yè huà de tǎo lùn zuì hòu dōuyào bǎ hǎo lāi wù qiān chě chū lái shuō shì。 suǒ yǐ， hǎo lāi wù zài lǎo rén nà chī liǎo zhè me duō nián de bì mén gēng yě zài qíng lǐ zhī zhōng。 jù shuō píng jūn měi nián lái zhǎo jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī jiāo shè shū běn yǐngpiān gǎi biān quán de chǎng shāng yòu 50 jiā zhī duō， ér tā men jīhū wú yī dé chěng。 zhè yī cì xīn xiàn yě shì huā liǎo dà lì qì cái cóng lǎo rén shǒu shàng yòng 100 wàn měi yuán mǎi dào liǎo xiǎo shuō de bǎn quán。 jiān nán de gōng jiān wài jiāo guò chéng jīhū chí xù liǎo yī nián， xīn xiàn fāng de zhì zuò rén yòng chéng mén lì xuě bān de zhí zhù hé“ jué duì bù huì jiāng yǐngpiān hǎo lāi wù huà (hollywoodize)” de chéng nuò cái gǎn dòng liǎo jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī rú yuàn yǐ cháng de ná dào liǎo bǎn quán。
rú cǐ fèi jìn xīn jī suǒ qǔ dé de jù běn， xīn xiàn fāng zì rán shì bèi jiā zhēn shì。 shì shí shàng， běn piàn yě shì xīn xiàn jīn nián dǎ zào de shēn 'ào zhǒng zǐ xuǎn shǒu， àn xīn xiàn fāng de rú yì suàn pán， běn piàn hé 12 yuè jí jiāng shàng yìng de《 hēi 'àn wù zhì》 zài 'ào sī kǎ 80 shèng yàn shàng shuāng jiàn hé bì， jiāng shāng yè háo huá jù zhì yǔ wén yì nèi hán liǎng dà dǎo xiàng lèi xíng de fēng tóu jìn shōu náng zhōng。 bù guò， jīn nián de 'ào sī kǎ kě wèi shì fēng qǐ yún yǒng hǎo piàn bù duàn de yī nián， gè lèi xíng piàn zhōng jūn yòu qiāng yǎn zhī zuò。 yǔ běn piàn tóng chǎng jiào jìn de jiù yòu《 ài qíng shèng yàn》，《 shī rù yáng kǒu》，《 hūn lǐ shàng de mǎ gē》 hái yòu huí guī de lǎo kē bō lā suǒ chéng xiàn de《 méi yòu qīng chūn de qīng chūn》 děng děng yī gān míng jiāng jiā zuò。 yú shì， xīn xiàn zài zhì zuò běn piàn shí yě háo bù dài màn de qǐng lái liǎo gè lù yī xiàn hǎo shǒu。
duì yú yī gè gǎi biān fān pāi de yǐngpiān lái shuō， jù běn gǎi biān de zhì liàng shì jué dìng yǐngpiān zhì liàng de shǒu yào yīn sù。 suǒ yǐ， diǎn jiāng shí yī bān juésè gēn běn bù yú yǐ kǎo lǜ。 zuì hòu， xīn xiàn qǐng chū liǎo dāng nián píng jiè《 gāng qín jiā》 (pianist) duó dé 'ào sī kǎ zuì jiā gǎi biān jù běn de qī xún lǎo jiāng luó nà dé · hā wǔ dé (RonaldHarwood) zhù dāo běn piàn jù běn。 luó nà dé · hā wǔ dé zài hǎo lāi wù jiē huó yī xiàng biāo zhǔn jí gāo， ér zhè cì xiāngzhòng《 huò luàn shí qī de 'ài qíng》 xiǎn rán yě shì chòngzhe nuò bèi 'ěr jiǎng dé zhù de míng tóu qù de。 zhè me yī lái liǎng wèi zài gè zì lǐng yù huò guò zuì gāo shū róng de dà shī lián shǒu hé zuò， yǐngpiān jù běn zhì liàng zì rán yě néng bù fù zhòng wàng。 dǎo yǎn fāng miàn， mài kè · nèi wēi 'ěr zé shì yǐ tā qīng sōng dà zǎo《 hā lǐ · bō tè》 xì liè zhōng zuì gāo shuǐ zhǔn de《 huǒ yàn bēi》 ér shēng míng dà zhèn。 běn piàn shì mài kè · nèi wēi 'ěr jì《 huǒ yàn bēi》 zhī hòu shǒu cì zài zhǎng dǎo tǒng。 xiāng xìn rú guǒ tā céng jīng néng gòu hěn hǎo de bǎ wò《 hā lǐ · bō tè》 zhè yàng de xì liè mó huàn xiǎo shuō de gǎi biān fān pāi， nà me tā nà xiē xiáng lüè dé dāng、 qīng zhòng fēn míng de jìng tóu yǔ yán tóng yàng kě yǐ ràng běn piàn shǎn yào guāng cǎi。 zhù yǎn jiǎ wéi 'ěr · bā 'ěr dēng yōng yòu zhe xī bān yá xuè tǒng suǒ gěi fù yú tā de làng màn yǔ xìng gǎn， hái yòu zhe píng jiè《 yè wǎn jiàng lín qián》 (BeforeNightFalls) suǒ huò dé de yī cì 'ào sī kǎ yǐng dì tí míng， yí biǎo bù fán， fēng dù piān piān zài jiā shàng yǔ yǐngpiān juésè tiē qiē de shī rén qì zhì ràng tā chéng wéi piàn zhōng chī qíng shī rén juésè de zuì hǎo dài yán。
《 huò luàn shí qī de 'ài qíng》 - píng lùn
jù shuō běn piàn zài jù qíng shàng fēi cháng zhōng shí yú yuán zhù， ér rú guǒ 'àn zhào yuán shū de xiàn suǒ pāi shè de huà， kǒng pà chǎn chū de diàn yǐng zài shí kōng shàng liáo luàn de chéng dù huì ràng《 21 kè》 dū xiǎn dé zhí bái wú qí。 yǐngpiān de zhōng xīn yī zhí wéi rào zhe fěi 'ěr lún tí nuò · ā ruì zhā hé fú mǐn nà · dá lā de yī fēn yī hé， zhòng diǎn zài yú guān yú 'ài qíng zhōng yǒng héng yǔ dào dé biān jiè de tàn tǎo。 cóng jù běn hé qí tā zhì zuò bèi jǐng lái kàn， běn piàn yīnggāi huì shì jīn nián de yòu yī bù bù sú zhī zuò héng héng yòu yī bù héng héng bù zhī dào shì chòngzhe 80 zhè gè yì yì fēi fán de shù zì hái shì 'ào yùn 'ào sī kǎ shuāng 'ào tóng nián， jīn nián de yǐng rén men yì cháng huó yuè， dǎ zào chū liǎo yī pī zhì liàng shàng chéng de gè zhǒng lèi xíng diàn yǐng。 zhè yě ràng míng nián de 'ào sī kǎ yù fā de pū shuò mí lí。 bù guò， cóng gè fāng miàn běn piàn dū jué duì suàn dé shàng yī gè dà sài de zhǒng zǐ xuǎn shǒu， zhì shǎo zuì jiā jù běn de tí míng yīnggāi bù huì luò kōng。
Plot summary
The main female character in the novel, Fermina Daza, is the strong axis around which the story revolves. Fermina easily rejects Florentino Ariza in their youth when she realizes the naïveté of their first romance, and she weds Juvenal Urbino at the age of 21, the "deadline" she had set for herself, ultimately because he seemed to be able to offer security and love to her. Urbino is a medical doctor devoted to science, modernity, and "order and progress." He is committed to the eradication of cholera and to the promotion of public works. He is a rational man whose life is organized precisely and who values his importance and reputation in society to the utmost. He is a herald of progress and modernization.
Urbino's function in the novel is to provide the counterpoint to Florentino Ariza’s archaic, baldly romantic love. Urbino proves in the end not to have been an entirely faithful husband, confessing one affair to Fermina some years into their marriage, and leaving another to be apparently uncovered by Fermina after his death. Though the novel seems to suggest that Urbino's love for Fermina was never as spiritually chaste as Florentino Ariza's was, it also complicates Florentino's devotion by cataloging his many trysts and apparently a few, possibly genuine, loves. By the end of the book, Fermina has recognized a change in Ariza and their love is allowed to blossom in their old age. For most of the novel, their communication is limited to occasional public niceties or uncertain correspondence by letter; not until the end of the book do Fermina and Florentino converse at length.
Other characters
* Lorenzo Daza – Fermina Daza’s father, a greedy mule driver; he despised Florentino and forced them to break up
* Jeremiah de Saint-Amour – The man whose suicide is introduced as the opening to the novel; a photographer and chess-player
* Aunt Escolástica – The woman who attempts to aid Fermina in her early romance with Florentino by delivering their letters for them. She is ultimately sent away by Lorenzo Daza for this.
* Tránsito Ariza – Florentino’s mother
* Hildebranda Sánchez – Fermina’s cousin
* Miss Barbara Lynch – The woman with whom Urbino confesses having an affair
* The Captain – The captain of the riverboat on which Fermina and Florentino ride at the end of the novel
* Leona Cassiani - She starts out as the "personal assistant" to Uncle Leo XII at the R.C.C., the company which Florentino eventually controls. At one point, it is revealed that the two share a deep respect, possibly even love, for each other, but will never actually be together. She has a maternal love for him as a result of his "charity" in rescuing her from the streets and giving her a job
* América Vicuña - 14-year-old girl, who towards the end of the novel is sent to live with Florentino; he is her guardian while she is in school. They have a sexual relationship, and upon failing her exams because of her love of Florentino, she kills herself. Her suicide illustrates the selfish nature of Florentino's love for Fermina.
Setting
The story takes place in an unnamed port city somewhere in the Caribbean, near the Magdalena River. While the city remains unnamed throughout the novel, descriptions of it led one to the conclusion that it must be Cartagena, in Bolívar, Colombia, where García Márquez spent his early years. The city is divided into such sections as "The District of the Viceroys" and "The Arcade of the Scribes." The novel encompasses the half-century roughly between 1880 and 1930. The city’s "steamy and sleepy streets, rat-infested sewers, old slave quarter, decaying colonial architecture, and multifarious inhabitants" dot the text and mingle amid the lives of the characters. Locations within the story include:
* The house Fermina shares with her husband, Dr. Juvenal Urbino
* The "transient hotel" where Florentino Ariza stays for a short time
* Ariza’s office at the river company
* The Arcade of the Scribes
* The Magdalena River
Major themes
Narrative as seduction
Some critics choose to view Love in the Time of Cholera as a heart-warming story about the enduring power of true love. Others criticize this view as simple, contending that the author has woven a story so dense that the reader risks falling into its trap of sweetness and simplicity if they do not pay close attention to what is happening. García Márquez himself said in an interview, "you have to be careful not to fall into my trap."
This is manifested in Ariza’s excessively romantic attitude toward life, an attitude which shapes his obsession with Fermina, and his gullibility in trying to retrieve the sunken treasure of a shipwreck. It is also made evident by the fact that society in the story believes that Fermina and Juvenal Urbino are perfectly happy in their marriage, while the reality of the situation is not so ideal. Critic Keith Booker compares Ariza’s position to that of Humbert Humbert in Vladimir Nabokov’s Lolita, saying that just as Humbert is able to charm the reader into sympathizing with his situation, even though he is a "pervert, a rapist, and a murderer," Ariza is able to garner the reader’s sympathy, even though the reader is persistently reminded of his more sinister exploits.
Narrative as deconstruction
The notion that Marquez's "trap" refers to our temptation to oversimplify and reduce his narrative to an elementary love story is further strengthened by the fact that the novel holds up and examines romantic love in myriad forms, both "ideal" and "depraved", and continually forces the reader to question such ready-made characterizations by introducing elements antithetical to these facile judgments.
Love as an emotional and physical disease
García Márquez's main notion is that lovesickness is a literal illness, a disease comparable to cholera. Ariza suffers from this just as he might suffer from any malady. At one point, he conflates his physical agony with his amorous agony when he vomits after eating flowers in order to imbibe Fermina's scent. In the final chapter, the Captain's declaration of metaphorical plague is another manifestation of this. The term cholera as it is used in Spanish, cólera, can also denote human rage and ire. (The English adjective choleric has the same meaning.) It is this second meaning to the title that manifests itself both on the level of Ariza's hatred for Urbino's marriage to Fermina, as well as the theme of social strife and warfare that serves as a backdrop to the entire story.
Aging and death
Jeremiah Saint-Amour's death inspires Urbino to meditate on his own death, especially the infirmities that accompany it. It is necessary for Fermina and Florentino to transcend not only the difficulties of love, but also the societal view that love is a young person's prerogative (not to mention the physical obstacles that old age brings to physical love).
Suffering for love
Florentino's penchant for high drama as a poet and a lover is portrayed as both ridiculous and serious. He may go to outlandish lengths for love, but in the end the absurdity is ennobling and his suffering has a kind of dignity. He also endures physical pains.
Film adaptation
Stone Village Pictures bought the film rights from the author for US$3 million, and Mike Newell was chosen to direct it with Ronald Harwood writing the script. Filming started in Cartagena, Colombia, in September 2006.
The $50 million film, the first major foreign production shot in the scenic, walled city in twenty years, was released on November 16, 2007, by New Line Cinema. On his own initiative, García Márquez convinced singer Shakira, who hails from the nearby city of Barranquilla, to provide two songs for the film.
yì míng： huò luàn shí qī de 'ài qíng
dǎo yǎn： mài kè · nèi wēi 'ěr MikeNewell
zhù yǎn： jiǎ wéi 'ěr · bā 'ěr dēng JavierBardem
sà 'ěr wéi tuō · bā sà 'ěr SalvatoreBasile
běn jié míng · bù lā tè BenjaminBratt
lèi xíng： jù qíng / làng màn
piàn cháng： --
jí bié： měi guó R（ xìng nèi róng， luǒ tǐ jí cū kǒu）
fā xíng： xīn xiàn NewLineCinema
shàng yìng rì qī： 2007 nián 11 yuè 16 rì ( měi guó )
IMDB píng fēn： 8.2/10(79votes)
guān wǎng： http://www.loveinthetime.com
tuī jiàn zhǐ shù： ★★★
《 huò luàn shí qī de 'ài qíng》 - gài shù
《 huò luàn shí qī de 'ài qíng》 jiǎng shù liǎo yī duàn fā shēng zài 19 shì jì mò zhì 20 shì jì chū de nán měi zhōu de 'ài qíng gù shì。 shū zhōng de míng yán shì：“ duì yú sǐ wáng， wǒ gǎn dào de wéi yī tòng kǔ shì méi néng wéi 'ài 'ér sǐ”。
《 huò luàn shí qī de 'ài qíng》 - nèi róng jiǎn jiè
yǐngpiān suǒ jiǎng shù de gù shì fā shēng zài 19 shì jì mò zhì 20 shì jì， zhěng gè héng kuà 50 duō nián de shí jiān lì chéng。 gù shì fā shēng de dì diǎn shì gē lún bǐ yà de kā tā jī nà， nà gè fēn fán fù zá， chōng mǎn mó lì yǔ yòu huò de nán měi xiǎo chéng。 zài zhè lǐ， shàng yǎn zhe yī gè nán rén zhí zhù yī shēng shǒu hòu tā zhōng shēng suǒ 'ài de 'ài qíng shǐ shī。
fěi 'ěr lún tí nuò · ā ruì zhā shì dāng dì de yī gè diàn bào zhí yuán tóng shí tā yě shì yī gè duō chǎn de shī rén， shuài qì de wài biǎo hé làng màn de qì zhì ràng tā bié jù yī zhǒng shī rén de fēng yǎ mèi lì。 hé suǒ yòu shī rén yī yàng， duō chóu shàn gǎn yě shì 'ā ruì zhā zuì xiǎn zhù de xìng gé biāo qiān。
dāng 'ǒu rán tòu guò yī zuò bié shù de xiǎo chuāng wàng dào měi lì de gū niàn fú mǐn nà · dá lā shí， ā ruì zhā zhī dào zì jǐ xiè hòu liǎo zhè yī shēng de suǒ 'ài。 yú shì， tā kāi shǐ yòng shū xìn xiàng fú mǐn nà · dá lā biǎo dá tā xīn zhōng de zhì 'ài。 fú mǐn nà · dá lā yě zhú jiàn de bèi fěi 'ěr lún tí nuò · ā ruì zhā de wén zì suǒ dǎ dòng。 kě jiù zài liǎng rén yào zhuì rù 'ài hé de shí hòu， fú mǐn nà · dá lā de fù qīn zhī dào liǎo tā men liǎng rén de guān xì bìng wéi zhī dà wéi zhèn nù。 tā fā shì yào yǒng yuǎn de ràng tā men fēn kāi。
xǔ duō nián guò qù liǎo， fú mǐn nà · dá lā yǐ jīng chéng wéi liǎo guì zú zǐ dì 'è bì nuò de qī zǐ。 dāng yīcháng tū rú qí lái de huò luàn xí jī kā tā jī nà de shí hòu， è bì nuò chéng wéi liǎo dǐ kàng wēn yì de zhōng jiān lì liàng， wéi chéng shì dài lái liǎo dà liàng de yào pǐn。 wéi duǒ bì huò luàn， è bì nuò jiāng fú mǐn nà · dá lā sòng qù liǎo fǎ guó jū zhù， jǐ nián hòu yòu jiāng tā jiē huí liǎo kā tā jī nà。 zhè gè shí hòu， fú mǐn nà · dá lā yǐ jīng biàn chéng liǎo yī gè yōng yòu róng huá fù guì de guì fù rén， zhì yú tā nà chǎng bàn lù yāo zhé de chū liàn zǎo yǐ bèi tā pāo zài liǎo nǎo hòu。
shī rén zǒng shì gǎn qíng fēng fù de。 shī rén yě yīn cǐ zhāosān mù sì、 qīng tíng diǎn shuǐ bān chù chù liú qíng， ér yòu xiē shī rén yòu shí yě huì jiān zhēn bù yú、 jiāng quán bù qíng gǎn qīng zhù yú yī rén。 fěi 'ěr lún tí nuò · ā ruì zhā hěn bù xìng de chéng wéi liǎo hòu zhě。 duō nián guò qù， tā yǐ jīng bù zài shì dāng chū nà gè náng zhōng xiū sè de xiǎo shuài。 rú jīn de tā yōng yòu zhe zì jǐ de shì yè hé cái fù， hái yòu yī duī yòng yǐ pài qiǎn jì mò de nǚ rén men， dàn tā hái shì duì fú mǐn nà · dá lā niàn niàn bù wàng。 tā yuàn yì děng dài zhōng shēng， zhǐ wèile néng hé fú mǐn nà · dá lā chóngxīn kāi shǐ……
《 huò luàn shí qī de 'ài qíng》 - zuò zhě jiǎn jiè
mǎ 'ěr kè sī céng yú 1982 nián píng cháng piān xiǎo shuō《 bǎi nián gū dú》 huò dé nuò bèi 'ěr wén xué jiǎng。《 huò luàn shí qī de 'ài qíng》 shì tā yú 1985 nián wán chéng de yòu yī bù cháng piān xiǎo shuō。
xiàn nián 63 suì de niǔ 'è 'ěr zài zhí dǎo《 hā 4》 zhī qián， céng zhí dǎo《 sì gè hūn lǐ hé yī gè zàng lǐ》 děng zhù míng yǐngpiān。 tā chēng zàn《 huò luàn shí qī de 'ài qíng》 shì yī bù wěi dà de 'ài qíng xiǎo shuō， jiǎng shù liǎo yī gè“ shì jiè shàng zuì làng màn de 'ài qíng gù shì。”
《 huò luàn shí qī de 'ài qíng》 - mù hòu huā xù
běn piàn jù běn gēn jù nuò bèi 'ěr wén xué jiǎng dé zhù jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī (GabrielGarcíaMárquez)1985 nián chū bǎn de tóng míng xiǎo shuō gǎi biān 'ér chéng。 xiǎo shuō běn shēn shì mǎ 'ěr kè sī de dài biǎo zuò zhī yī，《 bǎi nián gū dú》 zé shì tā lìng wài yī bù jiā yù hù xiǎo de chéng míng zuò pǐn。 jǐ shí nián lái， mǎ 'ěr kè sī de zuò pǐn suī rán yě lǚ cì bèi gè guó de dǎo yǎn fān pāi chéng gè zhǒng yǔ yán de bǎn běn bān shàng yín mù， dàn zhè hái shì tā shǒu cì yǔ hǎo lāi wù jìn xíng hé zuò。 dǎo bù shì hǎo lāi wù dài màn liǎo zhè gè nuò bèi 'ěr wén xué jiǎng dà shī， zhǐ shì hé xǔ duō gǎo wén yì chuàng zuò de rén yī yàng， jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī yě shǔ yú nà zhǒng jí duān yàn 'è shāng yè huà yùn zuò què bù dé bù qī shēn yú zhè gè shāng yè shí dài de máo dùn tǐ。 tā men zhuī qiú gāo yǎ de yì shù， duì yú làn sú de yú lè yuán běn zhǐ shì jīng wèi fēn míng、 jǐng shuǐ bù fàn hé shuǐ， dàn rú jīn yú lè què yuè lái yuè yī fā bù kě shōu shí de dà xíng qí dào， jiāng tā men suǒ jiān chí de yì shù zhèng tǒng fǎn 'ér jǐ yā dào liǎo wén huà de biān yuán dì dài， yú shì cóng mò bù guān xīn dào chī zhī yǐ bí zài dào bù gòng dài tiān， jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī yě shì yī gè shí dài zào jiù de fǎn shāng yè zhù yì。 ér hǎo lāi wù zì rán shì dāng jīn shì jiè shàng zuì dà de shāng yè tiē pái， jīhū suǒ yòu guān yú yì shù shāng yè huà de tǎo lùn zuì hòu dōuyào bǎ hǎo lāi wù qiān chě chū lái shuō shì。 suǒ yǐ， hǎo lāi wù zài lǎo rén nà chī liǎo zhè me duō nián de bì mén gēng yě zài qíng lǐ zhī zhōng。 jù shuō píng jūn měi nián lái zhǎo jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī jiāo shè shū běn yǐngpiān gǎi biān quán de chǎng shāng yòu 50 jiā zhī duō， ér tā men jīhū wú yī dé chěng。 zhè yī cì xīn xiàn yě shì huā liǎo dà lì qì cái cóng lǎo rén shǒu shàng yòng 100 wàn měi yuán mǎi dào liǎo xiǎo shuō de bǎn quán。 jiān nán de gōng jiān wài jiāo guò chéng jīhū chí xù liǎo yī nián， xīn xiàn fāng de zhì zuò rén yòng chéng mén lì xuě bān de zhí zhù hé“ jué duì bù huì jiāng yǐngpiān hǎo lāi wù huà (hollywoodize)” de chéng nuò cái gǎn dòng liǎo jiā fū liè 'ěr · jiā xī yà · mǎ 'ěr kè sī rú yuàn yǐ cháng de ná dào liǎo bǎn quán。
rú cǐ fèi jìn xīn jī suǒ qǔ dé de jù běn， xīn xiàn fāng zì rán shì bèi jiā zhēn shì。 shì shí shàng， běn piàn yě shì xīn xiàn jīn nián dǎ zào de shēn 'ào zhǒng zǐ xuǎn shǒu， àn xīn xiàn fāng de rú yì suàn pán， běn piàn hé 12 yuè jí jiāng shàng yìng de《 hēi 'àn wù zhì》 zài 'ào sī kǎ 80 shèng yàn shàng shuāng jiàn hé bì， jiāng shāng yè háo huá jù zhì yǔ wén yì nèi hán liǎng dà dǎo xiàng lèi xíng de fēng tóu jìn shōu náng zhōng。 bù guò， jīn nián de 'ào sī kǎ kě wèi shì fēng qǐ yún yǒng hǎo piàn bù duàn de yī nián， gè lèi xíng piàn zhōng jūn yòu qiāng yǎn zhī zuò。 yǔ běn piàn tóng chǎng jiào jìn de jiù yòu《 ài qíng shèng yàn》，《 shī rù yáng kǒu》，《 hūn lǐ shàng de mǎ gē》 hái yòu huí guī de lǎo kē bō lā suǒ chéng xiàn de《 méi yòu qīng chūn de qīng chūn》 děng děng yī gān míng jiāng jiā zuò。 yú shì， xīn xiàn zài zhì zuò běn piàn shí yě háo bù dài màn de qǐng lái liǎo gè lù yī xiàn hǎo shǒu。
duì yú yī gè gǎi biān fān pāi de yǐngpiān lái shuō， jù běn gǎi biān de zhì liàng shì jué dìng yǐngpiān zhì liàng de shǒu yào yīn sù。 suǒ yǐ， diǎn jiāng shí yī bān juésè gēn běn bù yú yǐ kǎo lǜ。 zuì hòu， xīn xiàn qǐng chū liǎo dāng nián píng jiè《 gāng qín jiā》 (pianist) duó dé 'ào sī kǎ zuì jiā gǎi biān jù běn de qī xún lǎo jiāng luó nà dé · hā wǔ dé (RonaldHarwood) zhù dāo běn piàn jù běn。 luó nà dé · hā wǔ dé zài hǎo lāi wù jiē huó yī xiàng biāo zhǔn jí gāo， ér zhè cì xiāngzhòng《 huò luàn shí qī de 'ài qíng》 xiǎn rán yě shì chòngzhe nuò bèi 'ěr jiǎng dé zhù de míng tóu qù de。 zhè me yī lái liǎng wèi zài gè zì lǐng yù huò guò zuì gāo shū róng de dà shī lián shǒu hé zuò， yǐngpiān jù běn zhì liàng zì rán yě néng bù fù zhòng wàng。 dǎo yǎn fāng miàn， mài kè · nèi wēi 'ěr zé shì yǐ tā qīng sōng dà zǎo《 hā lǐ · bō tè》 xì liè zhōng zuì gāo shuǐ zhǔn de《 huǒ yàn bēi》 ér shēng míng dà zhèn。 běn piàn shì mài kè · nèi wēi 'ěr jì《 huǒ yàn bēi》 zhī hòu shǒu cì zài zhǎng dǎo tǒng。 xiāng xìn rú guǒ tā céng jīng néng gòu hěn hǎo de bǎ wò《 hā lǐ · bō tè》 zhè yàng de xì liè mó huàn xiǎo shuō de gǎi biān fān pāi， nà me tā nà xiē xiáng lüè dé dāng、 qīng zhòng fēn míng de jìng tóu yǔ yán tóng yàng kě yǐ ràng běn piàn shǎn yào guāng cǎi。 zhù yǎn jiǎ wéi 'ěr · bā 'ěr dēng yōng yòu zhe xī bān yá xuè tǒng suǒ gěi fù yú tā de làng màn yǔ xìng gǎn， hái yòu zhe píng jiè《 yè wǎn jiàng lín qián》 (BeforeNightFalls) suǒ huò dé de yī cì 'ào sī kǎ yǐng dì tí míng， yí biǎo bù fán， fēng dù piān piān zài jiā shàng yǔ yǐngpiān juésè tiē qiē de shī rén qì zhì ràng tā chéng wéi piàn zhōng chī qíng shī rén juésè de zuì hǎo dài yán。
《 huò luàn shí qī de 'ài qíng》 - píng lùn
jù shuō běn piàn zài jù qíng shàng fēi cháng zhōng shí yú yuán zhù， ér rú guǒ 'àn zhào yuán shū de xiàn suǒ pāi shè de huà， kǒng pà chǎn chū de diàn yǐng zài shí kōng shàng liáo luàn de chéng dù huì ràng《 21 kè》 dū xiǎn dé zhí bái wú qí。 yǐngpiān de zhōng xīn yī zhí wéi rào zhe fěi 'ěr lún tí nuò · ā ruì zhā hé fú mǐn nà · dá lā de yī fēn yī hé， zhòng diǎn zài yú guān yú 'ài qíng zhōng yǒng héng yǔ dào dé biān jiè de tàn tǎo。 cóng jù běn hé qí tā zhì zuò bèi jǐng lái kàn， běn piàn yīnggāi huì shì jīn nián de yòu yī bù bù sú zhī zuò héng héng yòu yī bù héng héng bù zhī dào shì chòngzhe 80 zhè gè yì yì fēi fán de shù zì hái shì 'ào yùn 'ào sī kǎ shuāng 'ào tóng nián， jīn nián de yǐng rén men yì cháng huó yuè， dǎ zào chū liǎo yī pī zhì liàng shàng chéng de gè zhǒng lèi xíng diàn yǐng。 zhè yě ràng míng nián de 'ào sī kǎ yù fā de pū shuò mí lí。 bù guò， cóng gè fāng miàn běn piàn dū jué duì suàn dé shàng yī gè dà sài de zhǒng zǐ xuǎn shǒu， zhì shǎo zuì jiā jù běn de tí míng yīnggāi bù huì luò kōng。
Plot summary
The main female character in the novel, Fermina Daza, is the strong axis around which the story revolves. Fermina easily rejects Florentino Ariza in their youth when she realizes the naïveté of their first romance, and she weds Juvenal Urbino at the age of 21, the "deadline" she had set for herself, ultimately because he seemed to be able to offer security and love to her. Urbino is a medical doctor devoted to science, modernity, and "order and progress." He is committed to the eradication of cholera and to the promotion of public works. He is a rational man whose life is organized precisely and who values his importance and reputation in society to the utmost. He is a herald of progress and modernization.
Urbino's function in the novel is to provide the counterpoint to Florentino Ariza’s archaic, baldly romantic love. Urbino proves in the end not to have been an entirely faithful husband, confessing one affair to Fermina some years into their marriage, and leaving another to be apparently uncovered by Fermina after his death. Though the novel seems to suggest that Urbino's love for Fermina was never as spiritually chaste as Florentino Ariza's was, it also complicates Florentino's devotion by cataloging his many trysts and apparently a few, possibly genuine, loves. By the end of the book, Fermina has recognized a change in Ariza and their love is allowed to blossom in their old age. For most of the novel, their communication is limited to occasional public niceties or uncertain correspondence by letter; not until the end of the book do Fermina and Florentino converse at length.
Other characters
* Lorenzo Daza – Fermina Daza’s father, a greedy mule driver; he despised Florentino and forced them to break up
* Jeremiah de Saint-Amour – The man whose suicide is introduced as the opening to the novel; a photographer and chess-player
* Aunt Escolástica – The woman who attempts to aid Fermina in her early romance with Florentino by delivering their letters for them. She is ultimately sent away by Lorenzo Daza for this.
* Tránsito Ariza – Florentino’s mother
* Hildebranda Sánchez – Fermina’s cousin
* Miss Barbara Lynch – The woman with whom Urbino confesses having an affair
* The Captain – The captain of the riverboat on which Fermina and Florentino ride at the end of the novel
* Leona Cassiani - She starts out as the "personal assistant" to Uncle Leo XII at the R.C.C., the company which Florentino eventually controls. At one point, it is revealed that the two share a deep respect, possibly even love, for each other, but will never actually be together. She has a maternal love for him as a result of his "charity" in rescuing her from the streets and giving her a job
* América Vicuña - 14-year-old girl, who towards the end of the novel is sent to live with Florentino; he is her guardian while she is in school. They have a sexual relationship, and upon failing her exams because of her love of Florentino, she kills herself. Her suicide illustrates the selfish nature of Florentino's love for Fermina.
Setting
The story takes place in an unnamed port city somewhere in the Caribbean, near the Magdalena River. While the city remains unnamed throughout the novel, descriptions of it led one to the conclusion that it must be Cartagena, in Bolívar, Colombia, where García Márquez spent his early years. The city is divided into such sections as "The District of the Viceroys" and "The Arcade of the Scribes." The novel encompasses the half-century roughly between 1880 and 1930. The city’s "steamy and sleepy streets, rat-infested sewers, old slave quarter, decaying colonial architecture, and multifarious inhabitants" dot the text and mingle amid the lives of the characters. Locations within the story include:
* The house Fermina shares with her husband, Dr. Juvenal Urbino
* The "transient hotel" where Florentino Ariza stays for a short time
* Ariza’s office at the river company
* The Arcade of the Scribes
* The Magdalena River
Major themes
Narrative as seduction
Some critics choose to view Love in the Time of Cholera as a heart-warming story about the enduring power of true love. Others criticize this view as simple, contending that the author has woven a story so dense that the reader risks falling into its trap of sweetness and simplicity if they do not pay close attention to what is happening. García Márquez himself said in an interview, "you have to be careful not to fall into my trap."
This is manifested in Ariza’s excessively romantic attitude toward life, an attitude which shapes his obsession with Fermina, and his gullibility in trying to retrieve the sunken treasure of a shipwreck. It is also made evident by the fact that society in the story believes that Fermina and Juvenal Urbino are perfectly happy in their marriage, while the reality of the situation is not so ideal. Critic Keith Booker compares Ariza’s position to that of Humbert Humbert in Vladimir Nabokov’s Lolita, saying that just as Humbert is able to charm the reader into sympathizing with his situation, even though he is a "pervert, a rapist, and a murderer," Ariza is able to garner the reader’s sympathy, even though the reader is persistently reminded of his more sinister exploits.
Narrative as deconstruction
The notion that Marquez's "trap" refers to our temptation to oversimplify and reduce his narrative to an elementary love story is further strengthened by the fact that the novel holds up and examines romantic love in myriad forms, both "ideal" and "depraved", and continually forces the reader to question such ready-made characterizations by introducing elements antithetical to these facile judgments.
Love as an emotional and physical disease
García Márquez's main notion is that lovesickness is a literal illness, a disease comparable to cholera. Ariza suffers from this just as he might suffer from any malady. At one point, he conflates his physical agony with his amorous agony when he vomits after eating flowers in order to imbibe Fermina's scent. In the final chapter, the Captain's declaration of metaphorical plague is another manifestation of this. The term cholera as it is used in Spanish, cólera, can also denote human rage and ire. (The English adjective choleric has the same meaning.) It is this second meaning to the title that manifests itself both on the level of Ariza's hatred for Urbino's marriage to Fermina, as well as the theme of social strife and warfare that serves as a backdrop to the entire story.
Aging and death
Jeremiah Saint-Amour's death inspires Urbino to meditate on his own death, especially the infirmities that accompany it. It is necessary for Fermina and Florentino to transcend not only the difficulties of love, but also the societal view that love is a young person's prerogative (not to mention the physical obstacles that old age brings to physical love).
Suffering for love
Florentino's penchant for high drama as a poet and a lover is portrayed as both ridiculous and serious. He may go to outlandish lengths for love, but in the end the absurdity is ennobling and his suffering has a kind of dignity. He also endures physical pains.
Film adaptation
Stone Village Pictures bought the film rights from the author for US$3 million, and Mike Newell was chosen to direct it with Ronald Harwood writing the script. Filming started in Cartagena, Colombia, in September 2006.
The $50 million film, the first major foreign production shot in the scenic, walled city in twenty years, was released on November 16, 2007, by New Line Cinema. On his own initiative, García Márquez convinced singer Shakira, who hails from the nearby city of Barranquilla, to provide two songs for the film.