This kind of evaluation makes me feel novel and interesting.
As we all know, Marquez won the title of Nobel Prize in Literature in 1982, but few people know that it was in the process of writing this novel that he got the news that One Hundred Years of Solitude won the prize. He interrupted the writing of novels and took part in various activities for a year as a Nobel Prize winner.
A year later, Marquez overturned the manuscript and moved the original characters back on the time axis for 50 years, so there was this love in the cholera period.
When talking about love during the cholera period, Marquez said that two things prompted him to write such a long love novel. The first thing is the love history I learned from my long talk with my parents: their love is a realistic replica of the love between Nadassa and Dr. urbino written by Fermin-a combination that began with no love.
Another thing is a newspaper news: a couple of old people who came to their hometown forty years ago to relive their honeymoon trip were killed by boatmen who took them out with paddles-in order to take all their money: 15 dollars. The two old people have a crush on each other. They have spent 40 years on holiday together, but each has a happy and stable marriage, and their children and grandchildren are full.
These two events greatly touched Marquez's desire to rethink love and write love novels.
Just like Marquez's usual method, the story of these four old people was disassembled and reassembled, which became the love story of Florenty Luo Ariza, Fermin Na Dasa and Dr. urbino for half a century.
For such a novel, I personally don't want to use good-looking or superficial evaluation, because the so-called good or bad is only a personal answer related to personal preferences, personal experience and singing skills.
But if we study its content and depth, technique and expressive force more rationally, I think it is a delicate and elegant love epic, with the fragrance of bitter almond, camellia and poppy in the long years.
You can say that this is a confused, true and all-encompassing love ukiyo-e painting, or you can say that this is actually a desire to depict a unique and supreme true love.
The basis of this comment is that Marquez wrote in two ways in this work which spans 50 years. On the one hand, in the hero florentino Ariza's 50-year-long love history, he interprets it with the love of many men and women: sensual love similar to love (the widow of Ariza and Nazareth) and compassionate love based on motherhood and sympathy (Ariza and Rosasaba). Platonic love (Ariza and Leona) that blends with the soul, supports the years but avoids the body and marriage, love that forgets the years induced by children's admiration (Ariza and Amelia Vicunia), love that betrays morality and marriage (the daughter of urbino doctor and priest), and so on, even including some fictional love.
Bottom line: Marquez, with his elegant and gloomy words, almost exhausted the world of love and desire of men and women in this world.
On the other hand, in all these loves, Marquez is only willing to find an endless ending for this love with one throughout, even at the expense of an eternal life on the canal.
And this kind of love is not the love of the immortal couple in the Garden of Eden, but the most humble and fearless love of a dying old man. It originated in April, 9 months and 4 days 5/kloc-0 years ago. The blossoming apricot flowers and boys and girls made eyes at two o'clock in the afternoon sunshine, but it could not be compared with the love on that day and any day in the next 50 years. It represents not a pair of lovers' yearning and watching for half a century, but two ignorant hearts in their lifetime.
This is not only the crowning touch of the whole work, but also the soul, because the love story described in this article is trivial, independent and equal. Without such sublimation, I am afraid that this work will completely become the erotic notes of the sad florentino Ariza.
Marquez once said that his book is not about old-age love in some areas. I agree with this statement, but I think logically, the owner of this ultimate love must be a dying person, or even a pair of poor people who have no chance to be together and meet again in a strange place.
Because Garcí a Má rquez uses the narrative power of erotic history to describe many love stories, one of the purposes is to classify all kinds of love in this world, so as to spy out the pupa body that does not know whether it exists under the cloud of lust.
As Nie Luda said in Time Like Water, "When the gorgeous leaves are gone/the thread of life is vivid/it is our love/when the frost stains the moss/when time passes/when it can be as clear/brave/strong as the branches in the northern winter."
In order to achieve this goal, he took out the sensual desire to seduce each other from the protagonists affret Tino and Fermina, took out the beautiful and romantic appearance, took out the happiness that was almost equal to love in the long company life, and even took out the purest and purest throb at the beginning of love. In the writing of the novel, he denies everything and lists the love-hate entanglements between the protagonists florentino and Fermin Na.
Thus, the protagonists florentino and Fermina are left: a cripple with a donkey's back and a woman who no longer yearns for any kind of happiness except death. They can only use one trip to answer their lifelong puzzles-what can the future bring them?
Therefore, in the plot arrangement, almost the whole novel is filled with a great sense of depression and regret. We have to sigh the misfortune and stubbornness of the protagonist florentino, and at the same time despise him for hunting half his soul at night like a hunter.
We have seen the agreement between Fermina and florentino, and also seen that when Dr. urbino and Fermina almost created love in their loveless marriage for decades, all fate did was let them face the reality.
I have to say that Marquez is braver and more rational than too many writers. He bluntly painted almost all pure, dreamy concepts that were hung in the clouds by people's subjective desires with the inherent gray of life. Such practices abound, just like florentino Ariza's first love letter with the scent of camellia was polluted by bird droppings; Just like the protagonist's emotional poem lost at the flower show; Just like after Dr. urbino died, Ariza made an appointment with Fermina and left because of constipation.
He listed these seriously, and inferred or implied that the fiery agitation at the age of twenty in the book was something noble and beautiful, but it was by no means love. Assuming security, harmony and happiness, once these things are added up, they seem to be love, but they are almost equal to love, but they are not love after all. The destruction of so many beautiful fantasies is one of the reasons why this novel is really difficult to describe. What's more sad is that Marquez gave almost no answers before the ending.
As for the answer, I think the love in that trip may be the answer that Marquez can't explain, a purest state of love, and it is even uncertain whether it can last for a long time. It is so brave that all children can say hell, and it is so fragile that the author can't even imagine whether it can leave the steamboat that sails forever.
Of course, we might as well think that there is no answer to love in this novel, because no matter what kind of love is described, there are regrets and fragility, compromise and betrayal.
I think maybe because of this, every part of this novel can be regarded as a fragment of an answer. Physical lust, maternal pity, spiritual support, happiness, harmony and security, all of which are contained in a series of entanglements, are like fragments of something broader, sad and respectable, paranoid and perfect.
True love may go beyond all this, but it must include all this. It is not only holy and noble, but also full of impure soil in life, just like its owner-human beings.
The happiness it brings is not only the fall of the body, but also the sublimation of the soul, which has both the lovesickness beyond each other and the warmth in each other's hands. And the pain it brings will never be as decent as the poem of acacia. This is more like a cholera, which is unbearable pain and embarrassment for anyone. But if we are lucky enough to spend it, we will understand the essence of love and life better than anyone else: whether we miss our youth, whether we are destined to be associated with companionship and marriage, whether we encapsulate the elegance of a camellia with a letter, or whether it is as complicated as cupping and cleaning false teeth, love will always be love.
I remember Duras once wrote: "For me, love is not a close relative of the skin, not a dish and a meal. It is an immortal desire and a heroic dream in a decadent life. "
At this time a year ago, I finished watching Nocturnal Travel and discussed it with someone with this sentence. Now I think there may be no better answer than Marquez's novels.
In the maze prison of the world, Duras is Icarus flying to the sun and freedom, while Marquez is Daedalus looking up at the sky, the sea and his son.
That's why Marquez wrote such a profound but contradictory sentence: "Unlike the guess of the captain and Ceneda, the feelings between them are not like newlyweds, let alone lovers who hate getting together late. They are like an old couple who have experienced life trials. They transcend the trap of passion, the ruthless mockery of fantasy and the mirage of disillusionment in peace: beyond love. Because they have lived together for a long time, they found that love is always love whenever and wherever, but the closer they are to death, the stronger their love is, which is enough. "
So in the end, Marquez naturally did not set a fantastic voyage for this ship full of love, nor did he have a down-to-earth destination. I think this is not because of the escape from death, but because the ship is like a microcosm of life, with love and hate on it, and the journey can never be endless.
But as long as we can learn to give the confusion of love to life itself, even a steamboat with a yellow flag of cholera will definitely end forever.
Because: "The original life is not dead, and it is endless."