《百年孤獨(dú)》經(jīng)典英語段落摘抄
《百年孤獨(dú)》經(jīng)典英語段落摘抄
《百年孤獨(dú)》，是哥倫比亞作家加西亞·馬爾克斯的代表作，反映了拉丁美洲一個(gè)世紀(jì)以來風(fēng)云變幻的歷史。下面學(xué)習(xí)啦小編為大家?guī)怼栋倌旯陋?dú)》經(jīng)典英語段落摘抄，歡迎大家閱讀!
《百年孤獨(dú)》經(jīng)典英語段落摘抄篇一
Aureliano, had never been more lucid in any act of his life as when he forgot about his dead ones and the pain of his dead ones and nailed up the doors and windows again with Fernanda’s crossed boards so as not to be disturbed by any temptations of the world, for he knew then that his fate was written in Melquíades?parchments. He found them intact among the prehistoric plants and steaming puddles and luminous insects that had removed all trace of man’s passage on earth from the room, and he did not have the calmness to bring them out into the light, but right there, standing, without the slightest difficulty, as if they had been written in Spanish and were being read under the dazzling splendor of high noon, he began to decipher them aloud. It was the history of the family, written by Melquíades, down to the most trivial details, one hundred years ahead of time. He had written it in Sanskrit, which was his mother tongue, and he had encoded the even lines in the private cipher of the Emperor Augustus and the odd ones in a Lacedemonian military code. The final protection, which Aureliano had begun to glimpse when he let himself be confused by the love of Amaranta ?rsula, was based on the fact that Melquíades had not put events in the order of man’s conventional time, but had concentrated a century of daily episodes in such a way that they coexisted in one instant. Fascinated by the discovery, Aureliano, read aloud without skipping the chanted encyclicals that Melquíades himself had made Arcadio listen to and that were in reality the prediction of his execution, and he found the announcement of the birth of the most beautiful woman in the world who was rising up to heaven in body and soul, and he found the origin of the posthumous twins who gave up deciphering the parchments, not simply through incapacity and lack of drive, but also because their attempts were premature. At that point, impatient to know his own origin, Aureliano skipped ahead. Then the wind began, warm, incipient, full of voices from the past, the murmurs of ancient geraniums, sighs of disenchantment that preceded the most tenacious nostalgia.
在自己的一生中，奧雷連諾·布恩蒂亞的行為從來不象這天早晨如此理智：他忘記了死去的親人，忘記了對(duì)死者的悲痛，重新把菲蘭達(dá)的那些木十字架釘在所有的門窗上，不讓人世間的任何一種誘惑擾亂他。奧雷連諾·布恩蒂亞已經(jīng)知道，梅爾加德斯的羊皮紙手稿也指明了他的命運(yùn);在遠(yuǎn)古的植物、冒氣的水塘以及光閃閃的昆蟲(這些昆蟲消滅了菲蘭達(dá)房間里人的足跡)中間，他找到了這些依然完整無損的羊皮紙手稿;他無法克制自己迫不及待的心情，還沒把它們拿到光亮的地方，就仁立在那兒嘀嘀咕咕地破譯起來——他沒有碰到任何困難，仿佛這些手稿是用西班牙文寫的，仿佛他是在晌午令人目眩的陽光下閱讀的。這是布恩蒂亞的一部家族史，在這部家族史中，梅爾加德斯對(duì)這個(gè)家族里的事件提前一百年作了預(yù)言，并且陳述了一切最平常的細(xì)節(jié)。梅爾加德斯先用他本族的文字——梵文——記下這個(gè)家族的歷史，然后把這些梵文譯成密碼詩(shī)，詩(shī)的偶數(shù)行列用的是奧古斯都皇帝(奧古斯都(公元前63年——公元14年)，羅馬第一位皇帝。)的私人密碼，奇數(shù)行列用的是古斯巴達(dá)的軍用密碼。至于梅爾加德斯采取的最后一個(gè)防范措施，奧雷連諾·布恩蒂亞早在自己迷戀阿瑪蘭塔·烏蘇娜的時(shí)候就已經(jīng)開始思索了，那就是老頭兒并沒有按照人們一般采用的時(shí)間順序來排列事件，而是把整整一個(gè)世紀(jì)里每一天的事情集中在一起，讓它們同時(shí)存在于一瞬之間。奧雷連諾·布恩蒂亞對(duì)這個(gè)發(fā)現(xiàn)入了迷，一口氣地讀完了改成樂譜的“教皇通諭”——這些通諭是梅爾加德斯從前打算念給阿卡蒂奧聽的，實(shí)際上是預(yù)言阿卡蒂奧將被處死;接著，奧雷連諾·布恩蒂亞發(fā)現(xiàn)了世上最美的一個(gè)女人誕生的預(yù)言，她的軀體和靈魂都將升天;然后，奧雷連諾。 布恩蒂亞還查明了一對(duì)孿生兄弟的誕生，他們是在自己的父親死后出世的，他們未能破譯羊皮紙手稿，不僅是由于他們?nèi)狈δ芰晚g勁，也是因?yàn)樗麄兊膰L試為時(shí)過早。讀到這兒，奧雷連諾·布恩蒂亞急于想知道自己的出身，不由得把羊皮紙手稿翻過去幾頁。剎那間吹來一陣微風(fēng)，在這剛剛開始的微風(fēng)中，夾雜著往日的聲響——老天竺葵發(fā)出的沙沙聲和頑固的懷舊病之前失望的嘆息聲。.
《百年孤獨(dú)》經(jīng)典英語段落摘抄篇一
Aureliano did not understand until then how much he loved his friends, how much he missed them, and how much he would have given to be with them at that moment. He put the child in the basket that his mother had prepared for him, covered the face of the corpse with a blanket, and wandered aimlessly through the town, searching for an entrance that went back to the past. He knocked at the door of the pharmacy, where he had not visited lately, and he found a carpenter shop. The old woman who opened the door with a lamp in her hand took pity on his delirium and insisted that, no, there had never been a pharmacy there, nor had she ever known a woman with a thin neck and sleepy eyes named Mercedes. He wept, leaning his brow against the door of the wise Catalonian’s former bookstore, conscious that he was paying with his tardy sobs for a death that he had refused to weep for on time so as not to break the spell of love. He smashed his fists against the cement wall of The Golden Child, calling for Pilar Ternera, indifferent to the luminous orange disks that were crossing the sky and that so many times on holiday nights he had contemplated with childish fascination from the courtyard of the curlews. In the last open salon of the tumbledown red-light district an accordion group was playing the songs of Rafael Escalona, the bishop’s nephew, heir to the secrets of Francisco the Man. The bartender, who had a withered and somewhat crumpled arm because he had raised it against his mother, invited Aureliano to have a bottle of cane liquor, and Aureliano then bought him one. The bartender spoke to him about the misfortune of his arm. Aureliano spoke to him about the misfortune of his heart, withered and somewhat crumpled for having been raised against his sister. They ended up weeping together and Aureliano felt for a moment that the pain was over.
直到此刻，奧雷連諾·布恩蒂亞才感到自己多么熱愛自已的朋友們，多么需要他們，為了在這一瞬間能和他們相處一起，他是愿意付出任何代價(jià)的。他把嬰兒安放在阿瑪蘭塔·烏蘇娜生前準(zhǔn)備的搖籃里，又用被子蒙住死者的臉，然后就獨(dú)自在空曠的小鎮(zhèn)上躑躅，尋找通往昔日的小徑，他先是敲那家藥房的門。他已經(jīng)好久沒來這兒了，發(fā)現(xiàn)藥房所在地變成了木器作坊，給他開門的是一個(gè)老太婆，手里提著一盞燈。她深表同情地原諒他敲錯(cuò)了門，但執(zhí)拗地肯定說，這兒不是藥房，從來不曾有過藥居，她有生以來從沒見過一個(gè)名叫梅爾塞德斯的、脖子纖細(xì)、睡眠惺怪的女人。當(dāng)他把額頭靠在博學(xué)的加泰隆尼亞人昔日的書店門上時(shí)，禁不住啜泣起來，他懊悔自己當(dāng)初不愿擺脫愛情的迷惑，沒能及時(shí)為博學(xué)的加泰隆尼亞人的逝世哀悼，如今只能獻(xiàn)上一串串悔恨的眼淚。他又揮動(dòng)拳頭猛擊“金童”的水泥圍墻，不住地呼喚著皮拉·苔列娜。此時(shí)，他根本沒有注意到天上掠過一長(zhǎng)列閃閃發(fā)光的橙黃色小圓盤，而他過去曾在院子里懷著兒童的天真，不知多少次觀看過這種小圓盤。在荒蕪的妓院區(qū)里，在最后一個(gè)完好無損的沙龍里，幾個(gè)拉手風(fēng)琴的正在演奏弗蘭西斯科人的秘密繼承者———個(gè)主教的侄女——拉法埃爾·埃斯卡洛娜的歌曲。沙龍主人的一只手枯萎了，仿佛被燒過了，原來有一次他竟敢舉手揍他的母親。他邀奧雷連諾·布恩蒂亞共飲一瓶酒，奧雷連諾。 布恩蒂亞也請(qǐng)他喝了一瓶。沙龍主人向他講了講他那只手遭到的不幸，奧雷連諾·布恩蒂亞也向沙龍主人談了談他心靈的創(chuàng)傷，他的心也枯萎了，仿佛也被燒過了，因?yàn)樗垢覑凵狭俗约旱墓霉?。臨了，他們兩人都撲籟簌地掉下了眼淚，奧雷連諾。 布恩蒂亞感到自己的痛苦霎那間消失了。
《百年孤獨(dú)》作者信息相關(guān)閱讀
Famed novelist Gabriel García Márquez passed away on Thursday, according to a family member cited by the Associated Press. He was 87 years old.
據(jù)美聯(lián)社報(bào)道，著名小說家加夫列爾·加西亞·馬爾克斯在周四逝世，享年87歲。
The Colombian Nobel Prize winning author was hospitalized for nine days in late March for an infection in his lungs and urinary tract. He had been recovering in his home in Mexico City since April 8.
在今年三月份，這位哥倫比亞籍的諾貝爾獎(jiǎng)得主因肺部和尿道感染住院9天，從4月8號(hào)開始，他就一直在墨西哥的家中休養(yǎng)。
García Márquez was born in Aracataca, Colombia on March 6, 1927. The northern Colombian town inspired the setting for his 1967 novel One Hundred Years of Solitude, which earned international critical acclaim and tens of millions of readers. García Márquez earned even more fans with his 1985 book, Love in the Time of Cholera. He was considered by many to be the most popular Spanish-language writer since Miguel de Cervantes, who wrote Don Quixote in the 17th century.
加西亞·馬爾克斯于1927年3月6日出生于哥倫比亞的阿拉卡塔卡，這座哥倫比亞北部的小鎮(zhèn)曾是馬爾克斯寫于1967年的《百年孤獨(dú)》里的故事背景，這部《百年孤獨(dú)》贏得了國(guó)際評(píng)論界與萬千讀者的廣泛贊譽(yù)。加西亞·馬爾克斯出版于1985年的小說《霍亂時(shí)期的愛情》，吸引了更多的讀者。他被認(rèn)為是自米格爾·德·塞萬提斯(他在17世紀(jì)時(shí)期創(chuàng)作了《唐吉訶德》)以來，最受歡迎的西班牙語作家。
García Márquez won the Nobel Prize for literature in 1982 for his novels and short stories. When he won the award, he called Latin America 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.” He is credited with helping to invent the literary genre of magical realism.
加西亞·馬爾克斯憑借他的長(zhǎng)篇小說和短篇小說獲得了1982年的諾貝爾文學(xué)獎(jiǎng)。他在領(lǐng)獎(jiǎng)時(shí)，表示拉丁美洲是一個(gè)“永不枯竭的、充滿不幸與美好事物的創(chuàng)作源泉，而我這個(gè)游浪和思鄉(xiāng)的哥倫比亞人，只不過是一個(gè)被命運(yùn)圈定的字碼而已。詩(shī)人和乞丐、音樂家和預(yù)言家、武士和惡棍，總之，我們，一切隸屬于這個(gè)非同尋常的現(xiàn)實(shí)的人，很少需要求助于想象力。因?yàn)閷?duì)我們最大的挑戰(zhàn)，是我們沒有足夠的常規(guī)手段來讓人們相信我們生活的現(xiàn)實(shí)。”他被視為文學(xué)魔幻現(xiàn)實(shí)主義的創(chuàng)始人。
猜你喜歡：