世纪文学经典:《百年孤独》第5章Part 1
日期:2013-07-11 17:04

(单词翻译:单击)

名著阅读

AURELIANO BUENDíA and Remedios Moscote were married one Sunday in March before the altar Father Nicanor Reyna had set up in the parlor. It was the culmination of four weeks of shocks in the Moscote household because little Remedios had reached puberty before getting over the habits of childhood. In spite of the fact that her mother had taught her about the changes of adolescence, one February afternoon she burst shouting into the living room, where her sisters were chatting with Aureliano, and showed them her panties, smeared with a chocolate-colored paste. A month for the wedding was agreed upon. There was barely enough time to teach her how to wash herself, get dressed by herself, and understand the fundamental business of a home. They made her urinate over hot bricks in order to cure her of the habit of wetting her bed. It took a good deal of work to convince her of the inviolability of the marital secret, for Remedios was so confused and at the same time so amazed at the revelation that she wanted to talk to everybody about the details of the wedding night. It was a fatiguing effort, but on the date set for the ceremony the child was as adept in the ways of the world as any of her sisters. Don Apolinar Moscote escorted her by the arm down the street that was decorated with flowers and wreaths amidst the explosion of rockets and the music of several bands, and she waved with her hand and gave her thanks with a smile to those who wished her good luck from the windows. Aureliano, dressed in black, wearing the same patent leather boots with metal fasteners that he would have on a few years later as he faced the firing squad, had an intense paleness and a hard lump in his throat when he met the bride at the door of the house and led her to the altar. She behaved as naturally, with such discretion, that she did not lose her composure, not even when Aureliano dropped the ring as he tried to put it on her finger. In the midst of the. murmurs and confusion of the guests, she kept her arm with the fingerless lace glove held up and remained like that with her ring finger ready until the bridegroom managed to stop the ring with his foot before it rolled to the door, and came back blushing to the altar. Her mother and sisters suffered so much from the fear that the child would do something wrong during the ceremony that in the end they were the ones who committed the impertinence of picking her up to kiss her. From that day on the sense of responsibility, the natural grace, the calm control that Remedios would have in the face of adverse circumstances was revealed. It was she who, on her own initiative, put aside the largest piece that she had cut from the wedding cake and took it on a plate with a fork to José Arcadio Buendía. Tied to the trunk of the chestnut tree, huddled on a wooden stool underneath the palm shelter, the enormous old man, discolored by the sun and rain, made a vague smile of gratitude and at the piece of cake with his fingers, mumbling an unintelligible psalm. The only unhappy person in that noisy celebration, which lasted until dawn on Monday, was Rebeca Buendía. It was her own frustrated party. By an arrangement of úrsula's, her marriage was to be celebrated on the same day, but that Friday Pietro Crespi received a letter with the news of his mother's imminent death. The wedding was postponed. Pietro Crespi left for the capital of the province an hour after receiving the letter, and on the road he missed his mother, who arrived punctually Saturday night and at Aureliano's wedding sang the sad aria that she had prepared for the wedding of her son. Pietro Crespi returned on Sunday midnight to sweep up the ashes of the party, after having worn out five horses on the road in an attempt to be in time for his wedding. It was never discovered who wrote the letter. Tormented by úrsula, Amaranta wept with indignation and swore her innocence in front of the altar, which the carpenters had not finished dismantling.
Father Nicanor Reyna-whom Don Apolinar Moscote had brought from the swamp to officiate at the wedding--was an old man hardened by the ingratitude of his ministry. His skin was sad, with the bones almost exposed, and he had a pronounced round stomach and the expression of an old angel, which came more from, simplicity than from goodness. He had planned to return to his pariah after the wedding, but he was appalled at the hardness of the inhabitants of Macondo, who were prospering in the midst of scandal, subject to the natural law, without baptizing their children or sanctifying their festivals. Thinking that no land needed the seed of God so much, he decided to stay on for another week to Christianize both circumcised and gentile, legalize concubinage, and give the sacraments to the dying. But no one paid any attention to him. They would answer him that they had been many years without a priest, arranging the business of their souls directly with God, and that they had lost the evil of original sin.
根据尼康诺·莱茵纳神父的指示,客厅里搭了个圣坛;三月里的一个星期天,奥雷连诺和雷麦黛丝·摩斯柯特在圣坛前面举行了婚礼。在摩斯柯特家中,这一天是整整一个月不安的结束,因为小雷麦黛丝到了成熟时期,却还没有抛弃儿童的习惯。母亲及时把青春期的变化告诉了她,但在二月间的一个下午,几个姐姐正在客厅里跟奥雷连诺谈话,雷麦黛丝却尖声怪叫地冲进客厅,让大家瞧她的裤子,这裤子已给粘搭搭的褐色东西弄脏了。婚礼定于一月之后举行。教她学会自己洗脸、穿衣、做些最简单的家务,是费了不少时间的。为了治好她尿床的毛病,家里的人就要她在热砖上撒尿。而且,让她保守合欢床上的秘密,也花了不少工夫,因为她一知道初夜的细节,就那么惊异,同时又那么兴奋,甚至想把自己知道的这些细节告诉每一个人。在她身上是伤了不少脑筋的。但是,到了举行婚礼的一天,这姑娘对日常生活的了解就不亚于她的任何一个姐姐了。在噼哩啪啦的花炮声中,在几个乐队的歌曲声中,阿·摩斯柯特先生牵着女儿,走过彩花烂漫的街头,左邻右舍的人从自家的窗口向雷麦黛丝祝贺,她就挥手含笑地表示感谢。奥雷连诺身穿黑呢服装,脚踩金属扣子的漆皮鞋(几年以后,他站在行刑队面前的时候,穿的也是这双皮鞋),在房门前面迎接新娘,把她领到圣坛前去——他紧张得脸色苍白,喉咙发哽。雷麦黛丝举止自然,大大方方;奥雷连诺给她戴戒指时,即使不慎把它掉到地上,她仍镇定自若。宾客们却惊惶失措,周围响起了一片窃窃私语,可是雷麦黛丝把戴着花边手套的手微微举起,伸出无名指,继续泰然自若地等着,直到未婚夫用脚踩住戒指,阻止它滚向房门,然后满脸通红地回到圣坛跟前。雷麦黛丝的母亲和姐姐们生怕她在婚礼上违反规矩,终于很不恰当地暗示她首先去吻未婚夫。正是从这一天起,在不利的情况下,雷麦黛丝都表现了责任心、天生的温厚态度和自制能力。她自动分出一大块结婚蛋糕,连同叉子一起放在盘子里,拿给霍·阿·布恩蒂亚。这个身躯魁梧的老人,蜷缩在棕榈棚下,捆在栗树上,由于日晒雨淋,已经变得十分萎靡,但却感激地微微一笑,双手抓起蛋糕就吃,鼻子里还哼着什么莫名其妙的圣歌。热闹的婚礼一直延续到星期一早晨,婚礼上唯一不幸的人是雷贝卡。她的婚事遭到了破坏。照乌苏娜的安排,雷贝卡是应当在这同一天结婚的,可是皮埃特罗·克列斯比星期五收到一封信,信中说他母亲病危。婚礼也就推延了。收信之后过了一小时,皮埃特罗·克列斯比就回省城去了。她的母亲却在星期六晚上按时到达,路上没有跟他相遇;她甚至在奥雷连诺的婚礼上唱了一支歌儿,这支歌儿本来是她为儿子的婚礼准备的。皮埃特罗·克列斯比打算回来赶上自己的婚礼,路上把五匹马部累得精疲力尽,可是星期天半夜到达时,别人的婚礼就要结束了。那封倒霉的信究竟是谁写的,始终没弄清楚。阿玛兰塔受到乌苏娜的盘问,气得痛哭流涕,在木匠还没拆除的圣坛前面发誓说她没有过错。
为了举行婚礼,阿·摩斯柯特先生从邻近的城市请来了尼康诺·莱茵纳神父;由于自己的职业得不到奉承,这老头儿总是阴阴沉沉。他的皮肤是浅灰色的,几乎皮包骨,圆鼓鼓的肚子很突出,他那老朽的面孔所显露的与其说是善良,不如说是憨厚。他准备婚礼之后就返回自己的教区,但他见到马孔多居民一切无所顾忌的样子就感到惊愕,因为他们虽然安居乐业,却生活在罪孽之中:他们仅仅服从自然规律,不给孩子们举行洗礼,不承认宗教节日。神父认为这块土地急切需要上帝的种子,就决定在马孔多再留一个星期,以便给行过割礼的人和异教徒举行一次洗礼,让非法的同居合法化,并且给垂死的人一顿圣餐。可是谁也不愿听他的。大家回答他说,他们多年没有教士也过得挺好,可以直接找上帝解决拯救灵魂的问题,而且不会犯不可宽恕之罪。
背景阅读

作者简介:

加西亚·马尔克斯(1927一)哥伦比亚作家,记者。生于马格达莱纳省阿拉卡塔卡镇。父亲是个电报报务员兼顺势疗法医生。他自小在外祖父家中长大。外祖父当过上校军官,性格善良、倔强,思想比较激进;外祖母博古通今,善讲神话传说及鬼怪故事,这对作家日后的文学创作有着重要的影响。

加西亚·马尔克斯作品的主要特色是幻想与现实的巧妙结合,以此来反映社会现实生活,审视人生和世界。重要作品有长篇小说《百年孤独》(1967)《家长的没落》(1975)、《霍乱时期的爱情》(1985)等。

本书简介:

《百年孤独》内容复杂,人物众多,情节离奇,手法新颖。马尔克斯在书中溶汇了南美洲特有的五彩缤纷的文化。他通过描写小镇马孔多的产生、兴盛到衰落、消亡,表现了拉丁美洲令人惊异的疯狂历史。小说以“汇集了不可思议的奇迹和最纯粹的现实生活”荣获1982年诺贝尔文学奖。

创作历程:

从1830年至十九世纪末的70年间,哥伦比亚爆发过几十次内战,使数十万人丧生。本书以很大的篇幅描述了这方面的史实,并且通过书中主人公带有传奇色彩的生涯集中表现出来。政客们的虚伪,统治者们的残忍,民众的盲从和愚昧等等都写得淋漓尽致。作家以生动的笔触,刻画了性格鲜明的众多人物,描绘了这个家族的孤独精神。在这个家族中,夫妻之间、父子之间、母女之间、兄弟姐妹之间,没有感情沟通,缺乏信任和了解。尽管很多人为打破孤独进行过种种艰苦的探索,但由于无法找到一种有效的办法把分散的力量统一起来,最后均以失败告终。这种孤独不仅弥漫在布恩迪亚家族和马孔多镇,而且渗入了狭隘思想,成为阻碍民族向上、国家进步的一大包袱。
作家写出这一点,是希望拉丁美洲民众团结起来,共同努力摆脱孤独。所以,《百年孤独》中浸淫着的孤独感,其主要内涵应该是对整个苦难的拉丁美洲被排斥现代文明世界的进程之外的愤懑[mèn]和抗议,是作家在对拉丁美洲近百年的历史、以及这块大陆上人民独特的生命力、生存状态、想象力进行独特的研究之后形成的倔强的自信。这个古老的家族也曾经在新文明的冲击下,努力的走出去寻找新的世界,尽管有过畏惧和退缩,可是他们还是抛弃了传统的外衣,希望溶入这个世界。可是外来文明以一种侵略的态度来吞噬这个家族,于是他们就在这样一个开放的文明世界中持续着“百年孤独”。作者表达着一种精神状态的孤独来批判外来者对拉美大陆的一种精神层面的侵略,以及西方文明对拉美的歧视与排斥。“羊皮纸手稿所记载的一切将永远不会重现,遭受百年孤独的家族,注定不会在大地上第二次出现了。” 作者用一个毁灭的结尾来表达了自己深深的愤懑。

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重点单词
  • gratituden. 感恩之心
  • sinn. 原罪 v. 犯罪,违反(教规)
  • explosionn. 爆炸,爆发,激增
  • initiativeadj. 创始的,初步的,自发的 n. 第一步,首创精神
  • controln. 克制,控制,管制,操作装置 vt. 控制,掌管,支
  • composuren. 镇静,沉著
  • ceremonyn. 典礼,仪式,礼节,礼仪
  • innocencen. 无罪,无知,天真无邪
  • indignationn. 愤怒,愤慨,义愤
  • sheltern. 庇护所,避难所,庇护 v. 庇护,保护,隐匿