时间:2020-01-26 来源:文都网校 浏览: 分享:


      经典名句-英文:people are lazy, but the forgotten but increasingly greedy, mercilessly devour bit by bit memory.



      The following Saturday José Arcadio Buendía put on his dark suit, his celluloid collar, and the deerskin boots that he had worn for the first time the night of the party, and went to ask for the hand of Remedios Moscote. The magistrate and his wife received him, pleased and worried at the same time, for they did not know the reason for the unexpected visit, and then they thought that he was confused about the name of the intended bride. In order to remove the mistake, the mother woke Remedios up and carried her into the living room, still drowsy from sleep. They asked her if it was true that she had decided to get married, and she answered, whimpering, that she only wanted them to let her sleep. José Arcadio Buendía, understanding the distress of the Moscotes, went to clear things up with Aureliano. When he returned, the Moscotes had put on formal clothing, had rearranged the furniture and put fresh flowers in the vases, and were waiting in the company of their older daughters. Overwhelmed by the unpleasantness of the occasion and the bothersome hard collar, José Arcadio Buendía confirmed the fact that Remedios, indeed, was the chosen one. "It doesn't make sense," Don Apolinar Moscote said with consternation. "We have six other daughters, all unmarried, and at an age where they deserve it, who would be delighted to be the honorable wife of a gentleman as serious and hardworking as your son, and Aurelito lays his eyes precisely on the one who still wets her bed." His wife, a well-preserved woman with afflicted eyelids and expression, scolded his mistake. When they finished the fruit punch, they willingly accepted Aureliano's decision. Except that Se?ora Moscote begged the favor of speaking to úrsula alone. Intrigued, protesting that they were involving her in men's affairs, but really feeling deep emotion, úrsula went to visit her the next day. A half hour later she returned with the news that Remedios had not reached puberty. Aureliano did not consider that a serious barrier. He had waited so long that hecould wait as long as was necessary until his bride reached the age of conception.


      The newfound harmony was interrupted by the death of Melquíades. Although it was a foreseeable event, the circumstances were not. A few months after his return, a process of aging had taken place in him that was so rapid and critical that soon he was treated as one of those useless great-grandfathers who wander about the bedrooms like shades, dragging their feet, remembering better times aloud, and whom no one bothers about or remembers really until the morning they find them dead in their bed. At first José Arcadio Buendía helped him in his work, enthusiastic over the novelty of the daguerreotypes and the predictions of Nostradamus. But little by little he began abandoning him to his solitude, for communication was becoming Increasingly difficult. He was losing his sight and his hearing, he seemed to confuse the people he was speaking to with others he had known in remote epochs of mankind, and he would answer questions with a complex hodgepodge of languages. He would walk along groping in the air, although he passed between objects with an inexplicable fluidity, as if be were endowed with some instinct of direction based on an immediate prescience. One day he forgot to put in his false teeth, which at night he left in a glass of water beside his bed, and he never put them in again. When úrsula undertook the enlargement of the house, she had them build him a special room next to Aureliano's workshop, far from the noise and bustle of the house, with a window flooded with light and a bookcase where she herself put in order the books that were almost destroyed by dust and moths, the flaky stacks of paper covered with indecipherable signs, and the glass with his false teeth, where some aquatic plants with tiny yellow flowers had taken root. The new place seemed to please Melquíades, because he was never seen any more, not even in the dining room, He only went to Aureliano's workshop, where he would spend hours on end scribbling his enigmatic literature on the parchments that he had brought with him and that seemed to have been made out of some dry material that crumpled like puff paste. There he ate the meals that Visitación brought him twice a day, although in the last days he lost his appetite and fed only on vegetables. He soon acquired the forlorn look that one sees in vegetarians. His skin became covered with a thin moss, similar to that which flourished on the antique vest that he never took off, and his breath exhaled the odor of a sleeping animal. Aureliano ended up forgetting about him, absorbed in the composition of his poems, but on one occasion he thought he understood something of what Melquíades was saying in his groping monologues, and he paid attention. In reality, the only thing that could be isolated in the rocky paragraphs was the insistent hammering on the word equinox, equinox, equinox, and the name of Alexander von Humboldt. Arcadio got a little closer to him when he began to help Aureliano in his silverwork. Melquíades answered that effort at communication at times by giving forth with phrases in Spanish that had very little to do with reality. One afternoon, however, he seemed to be illuminated by a sudden emotion. Years later, facing the firing squad, Arcadio would remember the trembling with which Melquíades made him listen to several pages of his impenetrable writing, which of course he did not understand, but which when read aloud were like encyclicals being chanted. Then he smiled for the first time in a long while and said in Spanish: "When I die, burn mercury in my room for three days." Arcadio told that to José Arcadio Buendía and the latter tried to get more explicit information, but he received only one answer: "I have found immortality." When Melquíades' breathing began to smell, Arcadio took him to bathe in the river on Thursday mornings. He seemed to get better. He would undress and get into the water with the boys, and his mysterious sense of orientation would allow him to avoid the deep and dangerous spots. "We come from the water," he said on a certain occasion. Much timepassed in that way without anyone's seeing him in the house except on the night when he made a pathetic effort to fix the pianola, and when he would go to the river with Arcadio, carrying under his arm a gourd and a bar of palm oil soap wrapped in a towel. One Thursday before they called him to go to the river, Aureliano heard him say: "I have died of fever on the dunes of Singapore." That day he went into the water at a bad spot and they did not find him until the following day, a few miles downstream, washed up on a bright bend in the river and with a solitary vulture sitting on his stomach. Over the scandalized protests of úrsula, who wept with more grief than she had had for her own father, José Arcadio Buendía was opposed to their burying him. "He is immortal," he said, "and he himself revealed the formula of his resurrection." He brought out the forgotten water pipe and put a kettle of mercury to boil next to the body, which little by little was filling with blue bubbles. Don Apolinar Moscote venturedto remind him that an unburied drowned man was a danger to public health. "None of that, because he's alive," was the answer of José Arcadio Buendía, who finished the seventy-two hours with the mercurial incense as the body was already beginning to burst with a livid fluorescence, the soft whistles of which impregnated the house with a pestilential vapor. Only then did he permit them to bury him, not in any ordinary way, but with the honors reserved for Macondo's greatest benefactor. It was the first burial and the best-attended one that was ever seen in the town, only surpassed, a century later, by Big Mama's funeral carnival. They buried him in a grave dug in the center of the plot destined for the cemetery, with a stone on which they wrote the only thing they knew about him: MELQUíADES. They gave him his nine nights of wake. In the tumult that gathered in the courtyard to drink coffee, tell jokes, and play cards. Amaranta found a chance to confess her love to Pietro Crespi, who a few weeks before had formalized his promise to Rebeca and had set up a store for musical instruments and mechanical toys in the same section where the Arabs had lingered in other times swapping knickknacks for macaws, and which the people called the Street of the Turks. The Italian, whose head covered with patent leather curls aroused in women an irrepressible need to sigh, dealt with Amaranta as with a capricious little girl who was not worth taking seriously.

      梅尔加德斯之死破坏了刚刚恢复的平静生活。这件事本身是可以预料到的,然而发生这件事的情况却很突然。梅尔加德斯回来之后过了几个月,他身上就出现了衰老的现象;这种衰老现象发展极快,这吉卜赛人很快就成了一个谁也不需要的老头儿了,这类老头儿总象幽灵似的,在房间里拖着腿子荡来荡去,大声地叨念过去的美好时光;谁也不理睬他们,甚至把他们抛到脑后,直到哪一天早上忽然发现他们死在床上。起初,霍·阿·布恩蒂亚醉心于照相术,并且佩服纳斯特拉达马斯的预言,所以帮助梅尔加德斯干事。可是后来霍·阿·布恩蒂亚就逐渐让他孤独地生活了,因为跟他接触越来越难。梅尔加德斯变得又瞎又聋,糊里糊涂,似乎把跟他谈话的人当成他知道的古人;回答问题时,他用的是稀奇古怪的混杂语言。他在屋子里行走的时候,总是东摸西摸的,尽管他在家具之间移动异常敏捷,仿佛有一种辨别方向的本能,这种本能的基础就是直觉。有一天夜里,他把假牙放在床边的一只水杯里,忘了把它们戴上,以后就再也没戴了。乌苏娜打算扩充房屋时,叫人给梅尔加德斯盖了一间单独的屋子,这间屋子靠近奥雷连诺的作坊,距离拥挤、嘈杂的主宅稍远一些,安了一扇敞亮的大窗子,还有一个书架,乌苏娜亲手把一些东西放在书架上,其中有:老头儿的一些布满尘土、虫子蛀坏的书籍;写满了神秘符号的易碎的纸页;放着假牙的水杯,水杯里已经长出了开着小黄花的水生植物。新的住所显然符合梅尔加德斯的心意,因为他连饭厅都不去了。能够碰见他的地方只有奥雷连诺的作坊,他在那儿一待就是几个小时,在以前带来的羊皮纸上潦草地写满了令人不解的符号;这类羊皮纸仿佛是用一种结实、干燥的材料制成的,象奶油松饼似的分作几层。他是在这作坊里吃饭的——维希塔香每天给他送两次饭——,然而最近以来他胃口不好,只吃蔬菜,所以很快就象素食者那样形容憔悴了。他的皮肤布满了霉斑,很象他从不脱下的那件破旧坎肩上的霉点。他象睡着的牲畜一样,呼出的气有一股臭味。埋头写诗的奥雷连诺,终于不再留意这吉卜赛人在不在旁边,可是有一次梅尔加德斯叽哩咕噜的时候,奥雷连诺觉得自己听懂了什么。他仔细倾听起来。在含混不清的话语中,他唯一能够听出的是象槌子敲击一样不断重复的字儿:“二分点”和一个人名——亚历山大·冯·洪波尔特。阿卡蒂奥帮助奥雷连诺千金银首饰活儿时,比较接近老头儿。阿卡蒂奥试图跟梅尔加德斯聊聊,老头儿有时也用西班牙语说上几句,然而这些话语跟周围的现实没有任何关系。但是有一天下午,吉卜赛人忽然激动起来。若干年以后,阿卡蒂奥站在行刑队面前的时候将会想起,梅尔加德斯浑身战栗,给他念了几页他无法理解的著作;阿卡蒂奥当然不明白这是什么东西,但他觉得吉卜赛人拖长声音朗诵的,似乎是改成了音乐的罗马教皇通谕。梅尔加德斯念完之后,长久以来第一次笑了笑,并且用西班牙语说:“等我死的时候,让人家在我的房间里烧三天水银吧。”阿卡蒂奥把这句话转告了霍·阿·布恩蒂亚,后者试图从老头儿那里得到进一步的解释,可是仅仅得到简短的回答:“我是永生的。”梅尔加德斯呼出的气开始发臭时,阿卡蒂奥每个星期四早上都带他到小河里去洗澡,情况有了好转,梅尔加德斯脱掉衣服,跟孩子们一起走到水里,辨别方向的神秘感觉帮助他绕过了最 深、最危险的地方。“我们都是从水里出来的,”有一次他说。这样过了许久,老头儿似乎不在家里了;大家见过他的只是那天晚上,他很热心地想把钢琴修好;还有就是那个星期四,他腋下夹着一个丝瓜瓤和毛巾裹着的一块棕榈肥皂,跟阿卡蒂奥到河边去。在那个星期四,阿卡蒂奥叫梅尔加德斯去洗澡之前,奥雷连诺听到老头儿叨咕说:“我在新加坡沙滩上患热病死啦。”这一次,梅尔加德斯走到水里的时候,到了不该去的地方;次日早晨,在下游几公里的地方才找到了他;他躺在明晃晃的河湾浅滩上,一只孤零零的秃鹫站在他的肚子上。乌苏娜哀悼这个吉卜赛人超过了自己的亲父,霍·阿·布恩蒂亚却不顾她的愤然反对,禁止掩埋尸体。“梅尔加德斯是不朽的,他自己就说过复活的奥秘。”说着,他点燃废弃了的熔铁炉,把盛着水银的铁锅放在炉子上,让铁锅在尸体旁边沸腾起来,尸体就逐渐布满了蓝色气泡。阿·摩斯柯特先生大胆地提醒霍·阿·布恩蒂亚说,淹死的人不埋掉是危害公共卫生的。“绝对不会,因为他是活的,”霍·阿·布恩蒂亚反驳,并且继续用水银热气熏了整整七十二小时;到这个时候,尸体已经开始象蓝白色的蓓蕾一样裂开,发出细微的咝咝声,屋子里弥漫了腐臭的气味。这时,霍·阿·布恩蒂亚才允许掩埋尸体,但是不能马马虎虎地埋掉,而要用对待马孔多最大的恩人的礼仪下葬。这是全镇第一次人数最多的葬礼,只有一百年后格兰德大娘的葬礼才勉强超过了它。在划作坟场的空地中间挖了个坑,人们把吉卜赛人放入坑内,并且立了一块石碑,上面刻着人们唯一知道的名字:梅尔加德斯。然后,人们连续几夜为他守灵。左邻右舍的人聚在院子里喝咖啡、玩纸牌、说笑话,一直闹嘈嘈的,阿玛兰塔趁机向皮埃特罗·克列斯比表白了爱情;在这以前几个星期,他已经跟雷贝卡订了婚;在从前阿拉伯人用小玩意儿交换鹦鹉的地方,如今他开了一家乐器和自动玩具店,这地方就是大家知道的“土耳其人街”,这意大利人满头油光闪亮的容发,总要引起娘儿们难以遏止的赞叹,但他把阿玛兰塔看成一个淘气的小姑娘,对她并不认真。

      "I have a younger brother," he told her. "He's coming to help me in the store."


      Amaranta felt humiliated and told Pietro Crespi with a virulent anger that she was prepared to stop her sister's wedding even if her own dead body had to lie across the door. The Italian was so impressed by the dramatics of the threat that he could not resist the temptation to mention it to Rebeca. That was how Amaranta's trip, always put off by úrsula's work, was arranged in less than a week. Amaranta put up no resistance, but when she kissed Rebeca goodbye she whispered in her ear:


      "Don't get your hopes up. Even if they send me to the ends of the earth I'll find some way of stopping you from getting married, even if I have to kill you."


      With the absence of úrsula, with the invisible presence of Melquíades, who continued his stealthy shuffling through the rooms, the house seemed enormous and empty. Rebeca took charge of domestic order, while the Indian woman took care of the bakery. At dusk, when Pietro Crespi would arrive, preceded by a cool breath of lavender and always bringing a toy as a gift, his fiancée would receive the visitor in the main parlor with doors and windows open to be safe from any suspicion. It was an unnecessary precaution, for the Italian had shown himself to be so respectful that he did not even touch the hand of the woman who was going to be his wife within the year. Those visits were filling the house with remarkable toys. Mechanical ballerinas, music boxes, acrobatic m&111nkeys, trotting horses, clowns who played the tambourine: the rich and startling mechanical fauna that Pietro Crespi brought dissipated José Arcadio Buendía's affliction over the death of Melquíades and carried him back to his old days as an alchemist. He lived at that time in a paradise of disemboweled animals, of mechanisms that had been taken apart in an attempt to perfect them with a system of perpetual motion based upon the principles of the pendulum. Aureliano, for his part, had neglected the workshop in order to teach little Remedios to read and write. At first the child preferred her dolls to the man who would come every afternoon and who was responsi-ble for her being separated from her toys in order to be bathed and dressed and seated in the parlor to receive the visitor. But Aureliano's patience and devotion final-ly won her over, up to the point where she would spend many hours with him studying the meaning of the letters and sketching in a notebook with colored pencils little houses with cows in the corral and round suns with yellow rays that hid behind the hills.


      Only Rebeca was unhappy, because of Amaranta's threat. She knew her sister's character, the haughtiness of her spirit, and she was frightened by the virulence of her anger. She would spend whole hours sucking her finger in the bathroom, holding herself back with an exhausting iron will so as not to eat earth. In search of some relief for her uncertainty, she called Pilar Ternera to read her future. After a string of conventional vagaries, Pilar Ternera predicted:


      "You will not be happy as long as your parents remain unburied."


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