April 17 passed away Gabriel García Márquez- a writer who became a classic during his lifetime. The novel "One Hundred Years of Solitude" brought worldwide fame to the writer - a book that was written in such an unusual manner that many publishers refused to publish it. Only one risk took - and the work became an international bestseller. To date, more than 30 million copies of the book have been sold worldwide.

Gabriel Garcia Marxes. Photo: flickr.com / Carlos Botelho II

Background

Nobel laureate in literature and one of the most famous Colombian writers (if not the most famous), Gabriel García Márquez was born in 1927 in the small town of Aracataca. The boy spent all his childhood together with his grandparents (retired colonel), listening to folk tales and legends. Years later, they will be reflected in his works, and the city itself will become the prototype of Macondo - the fictional place where the novel "One Hundred Years of Solitude" takes place. A few decades later, the mayor of Aracataka will propose to rename the city to Macondo and even hold a vote - however, the residents will not support his idea. And yet all of Colombia will be proud of Marquez - and on the day of the writer's death, the President of the country will write in his microblog: "A thousand years of loneliness and sadness over the death of the greatest Colombian of all time, I express my solidarity and condolences to the family."

Machine, hairdryer and mixer - for the novel

When Marquez conceived One Hundred Years of Solitude, he was almost 40. By that time, he had traveled half the world as a correspondent for Latin American newspapers and published several novels and stories, on the pages of which readers met the future heroes of Loneliness Aureliano Buendía and Rebeca.

In the 1960s, the writer made his living working as a PR manager and editing other people's screenplays. Despite the fact that he had to support a family - a wife and two children, he took a chance and decided to embody the grandiose plan of a new novel. Marquez refused to work and pledged his car, and gave the proceeds to his wife so that she would provide him with paper, cigarettes and everything he needed every day. The author himself was completely immersed in the work. For 18 months he went into "voluntary confinement" - the result of his work was the novel "One Hundred Years of Solitude".

When Marquez finished the book, he learned that the family was mired in debt. For example, they owed the butcher 5,000 pesos - a huge amount at that time. As the writer said, he did not even have enough funds to send the manuscript to the publisher - it required 160 pesos, and the author had only half the money. Then he laid down the mixer and his wife. The wife reacted with the words: "It was not enough only that the novel was bad."

Soldiers during the Colombian Civil War. 1900 year. Photo: Commons.wikimedia.org / Desconocido

Magical realism "One hundred years of solitude"

The novel was not “bad”. However, before getting into the hands of the right person, the text was rejected by several different publishers - apparently, they were "frightened" by the unusual manner of writing Marquez. In his work, real everyday life and fantastic elements are mixed - for example, dead characters appear in the novel, the gypsy Melquíades predicts the future, and one of the heroines is taken into the sky.

Despite the fact that such an artistic method as magical realism (namely, it was adopted by the writer) existed even before Marquez, writers did not often resort to it. But the novel “One Hundred Years of Solitude” changed the attitude towards magical realism - now it is considered one of the “summit” works of this method.

Chronicle of one family

The author describes the history of seven generations of the Buendía family - the lives of heroes, whose lot has become loneliness. So, the first representative of Buendía, the founder of the city of Macondo, spent many years alone under a tree, someone spent the rest of his life locked in an office, someone died in a monastery.

The "starting point" for Marquez was incest, as a result of which a child with a "pig's tail" was born in the family. The legend about him is passed down by Buendía from generation to generation, however, love relationships arise between relatives again and again and incest occurs. In the end, the circle closes - after 100 years, another child with a "pig's tail" is born. On it the Buendía clan is interrupted.

Fifteen years after the publication of One Hundred Years of Solitude, Gabriel García Márquez became the first Colombian to receive the Nobel Prize in Literature. The award was presented with the wording "For novels and stories in which fantasy and reality, combined, reflect the life and conflicts of an entire continent."

Fragment of the cover of the novel by Gabriel Garcia Marxes "One Hundred Years of Solitude". Photo: flickr.com / Alan Parkinson

One Hundred Years of Solitude was written by Marquez between 1965 and 1966 in Mexico City. The original idea for this piece appeared in 1952, when the author visited his native village of Aracataka in the company of his mother.

Almost all of the events in the novel take place in the fictional town of Macondo, but relate to historical events in Colombia. The city was founded by José Arcadio Buendía, a strong-willed and impulsive leader, deeply interested in the mysteries of the universe, which were periodically revealed to him by visiting gypsies, led by Melquíades. The city is gradually growing, and the government of the country is showing interest in Macondo, but José Arcadio Buendía leaves the leadership of the city behind him, luring the sent alcalde (mayor) to his side.

A civil war begins in the country, and soon the inhabitants of Macondo are drawn into it. Colonel Aureliano Buendía, son of José Arcadio Buendía, gathers a group of volunteers and sets out to fight against the conservative regime. While the colonel is involved in hostilities, Arcadio, his nephew, takes over the leadership of the city, but becomes a brutal dictator. After 8 months of his reign, the conservatives seize the city and shoot Arcadio.

The war has been going on for several decades, now dying down, then flaring up with renewed vigor. Colonel Aureliano Buendía, weary of a senseless struggle, concludes a peace treaty. After the contract is signed, Aureliano returns home. At this time, a banana company arrives in Macondo along with thousands of migrants and foreigners. The city begins to flourish, and one of the representatives of the Buendía clan, Aureliano Segundo, quickly grows rich, raising cattle, which, thanks to the connection of Aureliano Segundo with his mistress, magically multiplies quickly. Later, during one of the workers' strikes, the National Army shoots at the demonstration and, loading the bodies into wagons, dumps them into the sea.

After the banana slaughter, the city has been hit by continuous rains for almost five years. At this time, the penultimate representative of the Buendía clan is born - Aureliano Babilonia (originally called Aureliano Buendía, before he discovers in the parchments of Melquíades that Babilonia is his father's surname). And when the rains stop, Ursula, wife of José Arcadio Buendía, founder of the city and family, dies at the age of more than 120 years. Macondo, on the other hand, becomes an abandoned and desolate place where no livestock will be born, and buildings are destroyed and overgrown.

The whole novel is imbued with some kind of deep warmth and sympathy of the writer for everything depicted: the town, its inhabitants, their usual everyday worries. Yes, and Marquez himself has repeatedly admitted that the novel is dedicated to his childhood memories.

From the pages of the work came to the reader the tales of the writer's grandmother, legends and stories of his grandfather. Often the reader does not leave the feeling that the story is being told on behalf of a child who notices all the little things in the life of the town, closely observes its inhabitants and tells us about it in a completely childish way: simply, sincerely, without any embellishment.

And yet “One Hundred Years of Solitude” is not just a fairy tale novel about Macondo through the eyes of its little inhabitant. The novel clearly reflects almost a hundred-year history of all Colombia (40s of the 19th century - 3 years of the 20th century). It was a time of significant social upheaval in the country: a series of civil wars, interference in the measured life of Colombia by a banana company from North America. Little Gabriel once learned about all this from his grandfather.

The book does not show the entire history of the country, but only its most acute moments, characteristic not only of Colombia, but also of other states of Latin America. Gabriel García Márquez does not aim to depict in an artistic form the history of the civil wars of his homeland. The tragic loneliness inherent in members of the Buendía family is a historically developed national trait, a feature of the people living in a country with frequent and abrupt changes in climatic conditions, where semi-feudal forms of human exploitation are combined with forms of developed capitalism.

Loneliness is a hereditary trait, a generic trait of the Buendía family, but we see that, although the members of this family are endowed with a “lonely appearance” from the cradle, they nevertheless become isolated in their loneliness not immediately, but as a result of various life circumstances. The heroes of the novel, with rare exceptions, are strong personalities, endowed with vital will, violent passions and remarkable energy.

All the variety of characters in the novel, each of which has its own face, is connected by the artist into a single knot. So, the life force of Ursula Iguaran a century later flares up in her great-granddaughter Amarante Ursula, bringing together the images of these two women, one of whom begins the Buendia family, and the other completes it.

"One Hundred Years of Solitude" is a kind of encyclopedia of love feelings, which describes all its varieties. In the novel, the boundaries between the fantastic and the real are erased. There is also a utopia in it, attributed by the author to prehistoric, semi-fabulous times. Miracles, predictions, ghosts, in a word, all kinds of fiction are one of the main components of the novel's content. This is the true nationality of the novel One Hundred Years of Solitude, its life-affirming strength.

The novel is a multi-layered work, it can be viewed from different angles. The simplest is the traditional family chronicle.

Another perspective: the history of the family can be presented as the history of the whole of Colombia. Another, deeper perspective is the history of the family as the history of all of Latin America.

Finally, the next perspective is the history of the family as the history of human consciousness from the Renaissance (the moment of emergence of private interest, bourgeois relations) to the 20th century.

The last layer is the deepest, from which Marquez begins his story. 30s 19th century, but through this date another era appears - the 16th century, the later Renaissance, the era of the conquest of America.

A community is being created in the virgin forests. Complete equality reigns in it, even the houses are built so that the same amount of sunlight falls on them.

But Marquez destroys this idyll. Various cataclysms begin in the settlement, which the author considers inevitable, because the settlement arose under the influence of a wrong, sinful act. The founder of the clan - Jose Arcadio Buendia - married his relative - Ursula. According to local beliefs, children with pigtails could be born as a result of incest. Ursula tried her best to avoid this. In the village, this became known, and a neighbor accused Jose Arcadio of male failure. Jose Arcadio killed him. It was impossible to stay in the village any longer, and they set off in search of a new place of residence. This is how the settlement of Macondo was founded.

An isolated existence is the lot of Macondo. Here the theme of Robinsonade arises, but the author solves it in a fundamentally different way than the literature of the 18-19 centuries. Earlier, the desire of a person to leave society was perceived as a positive phenomenon, even a noble deed, for artists, philosophers, solitude was the norm. Marquez is categorically against this state of affairs. He believes that isolation is unnatural, it contradicts the social nature of man.

In the Robinsonades of the past, loneliness was an external circumstance, and in Marquez's novel, loneliness is a congenital, incurable disease, it is a progressive disease that erodes the world from within.

A fairy tale novel, a metaphoric novel, an allegory novel, a saga novel - as soon as critics did not name the work of Gabriel Garcia Marquez. The novel, published just over half a century ago, has become one of the most widely read works of the twentieth century.

Throughout the novel, Marquez describes the history of the small town of Macondo. As it turned out later, such a village actually exists - in the wilderness of tropical Colombia, not far from the homeland of the writer himself. And yet, at the suggestion of Marquez, this name will forever become associated not with a geographical object, but with the symbol of a fairy tale city, a myth city, a city where traditions, customs, stories from the writer's distant childhood will forever remain alive.

This is how six generations of the Buendía clan are woven into the fabric of history. Each character is a separate character of particular interest to the reader. Personally, I didn't like giving heroes hereditary names. Despite the fact that this is indeed the accepted practice in Colombia, the resulting confusion is very annoying.

The novel is rich in lyrical digressions, internal monologues of the heroes. The life of each of them, being an integral part of the life of the town, is at the same time maximally individualized. The canvas of the novel is saturated with all sorts of fairy-tale and mythical plots, the spirit of poetry, irony of all kinds (from good humor to corrosive sarcasm). A characteristic feature of the work is the practical absence of large dialogues, which, in my opinion, significantly complicates its perception and makes it somewhat lifeless.

Márquez pays special attention to describing how historical events change the human essence, worldview, disrupt the usual peaceful course of life in the small town of Macondo.

The founder of Macondo feels the ruin of an isolated existence, but Ursula finds a way out to civilization, and Macondo turns into a small town, which is already visited by strangers. But immediately a terrible epidemic begins in the city - memory loss: people forget about the purpose of the most elementary things.

Soon, the epidemic miraculously ends, and Macondo returns to the outside world. But the exit is very painful.

The city joined the big world, but this involvement did not bring either great discoveries or progress. All that the city has learned from civilization is a dating house, gambling, a wind-up toys shop, etc. And, most importantly, the city has not ceased to be closed. Marquez has a question about the isolation of this space.

The author uses a huge variety of means to show how strong the craving for loneliness is in Macondo and especially in the Buendía family. One example is the image of Ursula and José Arcadio's great-granddaughter, Remedios the Beautiful. The girl had a charming appearance, she had no other virtues. She did not have the qualities that the most ordinary people are awarded: she did not know what the daily routine, day and night, had no idea about the basic rules of behavior, had absolutely no interest in men and did not even imagine that this interest could be ... Her appearance reflected all the strangeness of her character: she would like to go naked, because she was too lazy to take care of clothes and dress. Since this was not possible, she sewed herself a robe almost from burlap and put it on her naked body.

Ursula put a lot of effort into raising Remedios, but one day she realized that it was useless. To avoid hearing comments about her hair, Remedios cut her hair baldly. Men who, naturally, fell in love with her, died one after another. To brighten up her life, to pass the time, she bathed.

So she lived until the moment that alarmed Buendía's life. Once women were stripping dried clothes from the ropes. A sudden gust of wind grabbed the linen and Remedios and carried them into the sky. (The reason for such an unusual death of the heroine is that she could not perceive the generally accepted norms of behavior. Marquez's attitude to the behavior of Remedios, to her loneliness is negative, it is not harmless: because of him men died). Many critics say that the mythological traditions of many peoples are strong in the novel, in particular, in the scene of the ascension of Remedios, the influence of Christian legends is clearly felt.

From time to time, Márquez remarks that the existence in Macondo was idyllic, but where there is no death, there is no birth, no development.

The Macondo era sets in motion the gypsies of Melquiades. His death sets time in motion, a generational change begins, young members of the Buendía family grow up; the bad omen did not come true: no one (except for the very last representative of the Buendia genus) was born with pigtails.

The characters and fates of the representatives of the Buendía clan are individual, but they have one common hereditary trait - a predisposition to loneliness. Everyone's life develops according to its own laws, but the result is the same - loneliness.

Even the feeling of family ties does not save the characters from loneliness. According to Marquez, this is purely biological solidarity: there is no spiritual closeness between the members of the clan, therefore strong family ties in the Buendia clan lead to incest - an incestuous marriage. The motive of incest appears more than once in the novel. Rod starts with incest, and incest occurs from time to time. Márquez shows how active those centripetal forces are that drive the genus inward. Gradually, not only internal, but also external forces are driven into the depths of the family. The outside world brings them only violence, lies, greed, bad inclinations. The progress that was outlined in the history of the settlement is disappearing again: destinies, names, phrases that once sounded are repeated, and people are experiencing their misfortune more and more dramatic and dramatic.

Macondo is overtaken by another misfortune - a downpour - 4 years, 11 months, 2 days, which again separates the town from the big world. Marquez notices that births have stopped in Macondo. Even the animals were overcome by sterility.

The latest disaster is a monstrous whirlwind that sweeps away the city.

At the end of the novel, Aureliano reads manuscripts written by a gypsy, where the fate of the clan and the fate of the city is determined, and in parallel with reading, these events take place in reality. In this whirlwind, the last representative of the Buendia clan, a newborn child, perishes.

Three lines of plot development lead to the final point - the death of Macondo.

The first line is associated with the relationship between man and nature. At one time, people pressed nature and ruled over it for a long time, but gradually the strength of people was diminishing. The main idea is that nature retreats only for a while, but then it will definitely take revenge. As the Buendía clan weakened, nature gradually advanced on people. Heavy rain and hurricane were the maximum manifestations of this revenge. In the end, in the last moments of its existence, the house of Buendía sprouts before our eyes with grass, the ants take with them the last of the genus, a newborn child.

The second line is social. Isolation always leads to death. A society focused on itself does not have an influx of new energy and begins to decay.

The third line is associated with a specific Macondo time. Time should flow freely, according to the speed set by nature. This was not the case in Macondo. There were two types of pathology:

• 1) time stopped in some periods;
• 2) time went back - names, fates, words, incest were repeated.

All three lines converge at the end of the novel.

Before the execution, standing against the wall, Colonel Aureliano Buendía recalls his childhood, the evening when his father took him with him to look at the ice.

Exactly the village of Macondo was then a remote corner of the country.

Jose Arcadio Buendía is a big dreamer who is interested in objects unusual for him and his fellow villagers - a magnet, dandruff or a telescope, or even ice. These things are "supplied" to him by the wandering gypsy Melquiades.

An irresistible desire to invent, to discover, prevents Jose from living the ordinary life of a layman.

Armed with navigational aids and nautical charts Melquiades had given him, José Arcadio locked himself in a small room. After frantically working, he came to the discovery: the Earth is round like an orange.

In Macondo, everyone decided that Jose had gone crazy, but Melquiades, unexpectedly appeared in the village, assured the inhabitants of Macondo: an unprecedented and unheard-of discovery by them had long been confirmed by practice.

As a sign of admiration for his mind, José Arcadio Melquiades gives him accessories for an alchemical laboratory, completely captures the dreamer.

He wants to break out of the wilderness of Macondo and find a more suitable place, but Ursula persuades the inhabitants of the village not to go anywhere. The second trip to the “inhabited land” does not take place: Jose remains and all his passion and fuse switches to raising his sons, Jose Arcadio Jr. and Aureliano.

José learns of the death of Melquiades' friend from malaria from the gypsies Iovopribulikh.

Ursula had a bond stronger than love with her husband: a shared remorse. They were a cousin and a sister.

The family already had black stripes: from the mixing of native blood, a boy with a tail was born. Therefore, Ursula was afraid of an intimate relationship with her brother-husband.

When a neighbor of the newlyweds scoffed at the long-term integrity of Jose Arcadio's wife, the humiliated man killed the abuser with his grandfather's spear.

After that, on pain of death, Ursula surrendered herself to Jose.

After some time, the spirit of the murdered Prudencio Aguilar began to appear to the spouses, and through remorse they left the old village and, together with other adventurers, set out on a journey to found the village of Macondo after 2 years and 2 months of wandering.

The eldest son Jose grew up and became a young man. He had his first sexual experience with a woman who was much older than him, Pilar Ternera, but when she became pregnant, Jose Arcadio Jr. was a police officer and left the village with a young gypsy.

His mother, Urusula, came to look for her son in the footsteps of the gypsy camp, leaving even a little amaranth.

After 5 months she returned: not having caught up with the gypsies, she found a road that connected the village with the civilized world.

The child José Arcadio Jr. and Pilar Kerner Ursula and her husband took into their family, also named José Arcadio.

Aureliano, who also matured, predicted the arrival of a new man. It was the orphan Rebecca, a relative of both parents, who brought with her a legacy of a bag of bones: these were the skeletons of her mother and father.

After a while, the whole family fell ill with insomnia. All residents of the village of Macondo became infected from the candy that was produced in the family. In addition to insomnia, everyone began to forget what they knew, so they began to fight forgetfulness with the help of signs like: "This is a cow, she needs to be milked every morning to get milk, and milk needs to be boiled to mix with coffee and get coffee with milk." ...

The whole city of Macondo was saved from oblivion by a certain man who brought bottles of memory medicine. It was Melquiades returning from the afterlife.

As always, he brought with him something unusual - daguerreotype records and a camera.

Adreliano meets a girl whom her grandmother sells to 70 men every day in order to reimburse the money for the burned down house, which the girl accidentally set on fire.

Aureliano felt sorry for the girl, and he decided to marry her in order to save his grandmother from despotism, but in the morning he did not find the girl - she and her grandmother left the city.

After a while, Aureliano fell in love with the young Remedios, the daughter of the city corehidor, but left his chastity to Pilar Turner, his brother's first mistress.

Named sisters - Rebecca and Amaranta - were also struck by the thorns of love.

Rebecca's love was mutual, Pietro Crespi was preparing to become her husband, but Amaranta was ready to do anything to upset this marriage, because she also loved Pietro.

Aureliano Buendía and young Remedios Moscow got married. Before that, the gypsy Melkaides died, whose death was hard on José Arcadio Buendía Sr.

To prevent him from destroying everything around him, he was tied to a chestnut tree. After the madness, he calmed down, but remained attached. Later, a palm canopy was built over it to protect it from the sun and rain.

Young Remedios Moscow took care of old Jose, tied to a tree, considered her eldest son of her husband's child from Pilar Turner, but not for long: she died before the birth of her twins - the opium extract that Amaranta prepared for her rival Rebecca got into Remedios coffee ...

After a long absence, José Arcadio, Ursula's eldest son, returned, who had left home with the gypsies.

The sea wolf, got into different adventures, found refuge in Macondo, marrying Rebecca, which changed her attitude towards men: she was now attracted by the courage of the "super-self" Jose Arcadio, and not by the respect of "Kaschei" Pietro Crespi.

Amaranta now had a clear path to the heart of Pietro Crespi.

Ursula, Amaranta's mother, was stunned by Amaranta and Crespi's decision to marry, and the head of the family, Aureliano, was not happy about it, saying, "Now is not the time to think about getting married."

For Aureliano himself, the Moscow family offered any of the six unmarried girls from the family instead of their deceased daughter Remedios.

Father-in-law, macondo corehidor, Apolinar Moscow explained to Aureliano who the liberals and conservatives are.

From his explanations it followed that the liberals were “freemasons, base people who stood up for sending priests to the gallows, introducing civil marriage and divorce, establishing equality of rights for lawful natives and illegitimate children, and, having thrown off the supreme government, sprayed the country - to proclaim it a federation ... In contrast, conservatives are those who have received government directly from the Lord God himself, who defend a stable social and family morality, defend Christ, the foundations of power and do not want to allow the country to be torn apart. "

Elections were held in Macondo, during which the population voted 50-50 for liberals and conservatives, but the corehidor Apolinar Moscow falsified the results, not hiding from his son-in-law Aureliano, which changed his attitude towards the authorities and conservatives.

By pure coincidence, Aureliano goes to see the doctor Alirio Noguera, who was a conspiratorial federalist terrorist who escaped from hard labor. There is a dispute between the doctor and Aureliano, in which Aureliano calls the doctor a butcher for his penchant for terror.

The war had been going on in the country for 3 months, but in Macondo only the Korejidor Apolinar Moscow knew about it. Then a garrison arrived in the town, led by a captain. It became clear to Aureliano that now the authorities of the Korejidor Apolinar Moscow are fictitious, everything is led by a captain who commits violent actions and extortions from the population. Without trial or investigation, Dr. Noguera was killed, an innocent woman died.

Aureliano, together with friends, makes a coup, avenging the woman and Noguera. Since then, Aureliano becomes Colonel Aureliano Buendía. Leaving the town, he passes the government into the hands of Arcadio Jr.

But Arcadio establishes a brutal order in the city.

According to Apolinar Moscow, "Here it is - their liberal paradise," Arcadio smashed the house of the Korejidor, whipped his daughters, and Apolinar was going to shoot him.

During the preparation for the execution, the angry mother Ursula came running, who cut off her son with a whip, freed Apolinar Moscow and all the prisoners.

Since then, Ursula has been in control of the city. Amaranta, who so sought Pietro Crespi, refused him. The upset groom cut his veins. Amaranta to wear a black ribbon on her burnt hand for the rest of her life in memory of the deceased.

the rebels are defeated by government troops. Macondo was taken by storm. Arcadio is shot. In the last minutes, he thinks about his pregnant wife and little daughter.

Colonel Aureliano Buendía is captured. Before being shot, he is rescued by José Arcadio, Rebecca's husband. Aureliano Buendía is joined by soldiers from the firing squad and join the ranks of the rebels.

At this time, who kills Jose Arcadio, and Rebecca, after the death of her husband, withdraws into herself.

Many women came to Ursula and asked to baptize their boys, whose father was Aureliano Buendía. In total there were 17.

Aureliano Buendía returns to his city victorious. General Moncada is sentenced to death by the Revolutionary Tribunal, who before the execution says Colonel Aureliano Buendía:

“It upsets me,” continued General Moncada, “that you, you who hated professional warriors so much, fought them so much, cursed them so much, have now become like them. And no idea in the world can serve as an excuse for such baseness. "

Liberal politicians who came to Aureliano Buendía asked for an agreement to abandon the basic principles of their program, to which Aureliano replied:

“It means,” the colonel smiled when the reading ended, “we are only fighting for power.

“We made these amendments to our program for tactical reasons,” said one of the delegates. - Now the main thing is to expand our electorate among the people. And there it will be seen.

After some time, Aureliano Buendía signed this document, sentenced his friend Gerineldo Márquez to death, which he dared to challenge the colonel and consider him a traitor to revolutionary ideals.

And yet Aureliano Buendía does not execute Gerineldo Márquez, but shoots himself, but remains alive.

This act partially justified Aureliano Buendía in the eyes of the people.

Ursula's grandchildren are growing up: Aureliano II and José Arcadio II.

In Aureliano II - the wife of Fernando and the mistress of Peter Cotes. Wherever Aureliano II and Petra Cotes appear, first their rabbits and then their cattle begin to multiply incredibly.

Thus, Aureliano II became rich, in spite of the probabzi Ursule pasted over the house with money, and when the walls were cleaned and whitewashed after this wasteful outrage, they smashed the sculpture of St. Joseph, in the middle of which they found a whole heap of gold coins.

Colonel Aureliano Buendía is not interested in anything: he retired from politics, lives by producing goldfish in his laboratory workshop, helping out money - gold coins, from which he again produces fish. There is no substance in his actions, but he remains a sign of rebellion.

In honor of the next anniversary of the Neerlandsky truce, the President of the country announces a celebration of the anniversary of Colonel Aureliano Buendía. On his father's birthday, 17 sons of Aureliano come from 17 different women. During the mass, the padre marks each of them with ashes on a cross on their foreheads, which is not washed off.

With the light hand of one of Aureliano's sons, a railway station came to the city along with trains and a railway. Gringo foreigners began to rebuild "their" city, planted banana plantations.

An attractive smell comes from Remedios the Beautiful, which leads to the crazy actions of any man: they began to say that Remedios is endowed with the ability to bring death.

"But in order to subdue Remedios the Beautiful and even make oneself invulnerable to the dangers associated with her, a primitive and simple feeling, like love, would have been enough, but this is exactly what nobody thought."

Remedios was not capable of any house, and ... "she began to wander in the desert of solitude."

- I've never felt so good.

only Remedios the Beautiful uttered these words, when Fernanda felt that the gentle, shining breeze was tearing the sheets from her hands, and saw how he straightened them in the air ... ascend, clung to her end of the sheet so as not to fall. Only Ursula, almost completely blind, retained her clarity of spirit and was able to recognize the nature of this irresistible wind - she left the sheets at the mercy of his radiant streams and watched as Remedios the Beautiful waving her hand goodbye ... "

The city was changing, more and more foreigners flooded it. Once all 16 of Aureliano's sons, marked with the sign of the cross, were killed. The father wants to avenge them, is looking for money, hid the mother with the broken sculpture of St. Joseph.

Fernanda Meme's daughter fell in love with the simple artisan Mauricio Babilone. When he was supposed to appear, everyone was captivated by the yellow butterflies. On the way to a secret meeting with Meme, Mauricio is wounded in the back, he becomes a cripple, but does not betray his beloved. Meme is sent away from home. After a while, the nun brings a basket for Fernanda: in it is Meme's little son.

A series of strikes and riots began in the banana campaign. Leading the fight against the owners Jose Arcadio II.

Ursula thinks, "It looks like everything in the world is going in circles."

The military came to arrest José Arcadio II, but in the laboratory where José was sitting, they did not see him, although they looked at the place where the rebel was sitting.

José Arcadio II begins to study the parchments - the records of the gypsy Melquíades, who lived in this room before his death.

In the city after the execution of three thousand workers-strikers, it began to rain. Old Ursula foreshadows that this rain will end endlessly only after her death.

Jose Arcadio II is considered insane, but he was able to compile a table of cryptographic drawings.

Aureliano Segundo and Arcadio II die almost at the same time, they are hidden, confusing the graves.

Aureliano, son of Meme, continues to decipher the parchments. The house of Buendía is in decline, and even red ants begin to sharpen it.

Gradually, numerous members of the Buendía clan leave, not by death.

What remains is Aureliano, son of Meme, who deciphers Melquiades' secret script. He did not even notice that the guys drowned his relative Jose Arcadio and stole 3 bags of gold coins from the treasure hidden from the sculpture of St. Joseph.

After a while, Aureliano's cousin and at the same time Aureliano's aunt, Amaranta Ursula, returns home, along with her husband Gaston, whom she brought on a thin leash tied around the neck of the chosen one.

Amaranta Ursula and Aureliano become lovers, Gaston leaves his wife, leaves for Brussels.

Amaranta Ursula gives birth to a child from Aureliano: a boy with a pig's tail - the history of the family repeats itself.

After giving birth and bleeding Amaranth, Ursula dies.

When Aureliano regains consciousness after suffering, he begins to look for the child. In the basket, he finds only the shell of a baby that has been seized by ants.

“Aureliano seems to be hooked. But not from surprise and horror, but because in a supernatural moment the last keys of Melquiades' ciphers were revealed to him, and he saw the epigraph to the parchments, which were brought into full conformity with the time and space of the human world: “The first in the family will be brought to the tree. bound, the last in the family will be eaten by ants.

“He realized that he would not be able to leave the premises: according to the prophecy of the parchment, the ghost town would be swept off the face of the earth by a hurricane at the very moment when Aureliano Babilonia finished deciphering the parchment, and what was written would never be repeated, for those human species that are for a hundred years of solitude, not destined to appear on Earth twice. "

Gabriel García Márquez

One Hundred Years of Solitude

Dedicated to Homi Garcia Ascot and Maria Luisa Elio

Many years later, just before the execution, Colonel Aureliano Buendia will recall that distant day when his father took him to look at the ice.

Macondo was then a small village of twenty adobe houses with reed roofs, standing on the banks of the river, which carried its clear waters over a bed of white, smooth and huge boulders like prehistoric eggs. The world was so pristine that many things did not have a name and they just pointed fingers at them. Every year in March, a ragged gypsy tribe set up their tent near the village, and under the ringing rattling of tambourines and squealing of whistles, the newcomers showed the residents the latest inventions. First they brought a magnet. A stocky gypsy with a curly beard and sparrow hands-paws called his name - Melquíades - and began to demonstrate to the stunned spectators nothing more than the eighth wonder of the world, created, according to him, by alchemist scientists from Macedonia. The gypsy walked from house to house, shaking two bars of iron, and people trembled in horror, seeing how the pots, pots, braziers and grabs jump in place, how the boards creak, with difficulty holding the nails and bolts tearing from them, and the little things, - long disappeared, are announced exactly where everything was dug in their search, and rush en masse to the magic gland of Melquíades. “Every thing is alive,” the gypsy declared categorically and sternly. “You just need to be able to awaken her soul.” José Arcadio Buendía, whose unbridled imagination surpassed the miraculous genius of nature itself and even the power of magic and sorcery, thought it would be nice to adapt this generally useless discovery to fish gold from the earth. Melquiades, being a decent man, warned: "It won't work." But José Arcadio Buendía still did not believe in the decency of the gypsies and exchanged his mule and several kids for two magnetized glands. Ursula Iguaran, his wife, wanted to increase the family's modest wealth at the expense of livestock, but all her persuasions were in vain. “Soon we will fill up the house with gold, there will be nowhere to put it,” the husband answered. For several months in a row, he zealously defended the irrefutability of his words. Step by step he combed the terrain, even the riverbed, dragging two iron bars along a rope and repeating Melquiades' spell in a loud voice. The only thing that he managed to find in the bowels of the earth was the corroded military armor of the fifteenth century, which dully tinkled when tapped, like a dry pumpkin stuffed with stones. When José Arcadio Buendía and his four assistants dismantled the find to pieces, a whitish skeleton was found under the armor, on the dark vertebrae of which dangled an incense with a female curl.

In March, the gypsies came again. This time they brought a telescope and a magnifying glass the size of a tambourine and passed them off as the latest invention of the Jews from Amsterdam. They planted their gypsy woman at the other end of the village, and put a pipe at the entrance to the tent. After paying five reais, people stuck their eyes to the pipe and saw the gypsy in front of them in great detail. “There is no distance for science,” Melquiades announced. - Soon a person, without leaving his home, will see everything that is happening in any corner of the earth. One hot afternoon, the gypsies, manipulating their huge magnifying glass, staged a stunning spectacle: they directed a beam of sunlight onto an armful of hay thrown in the middle of the street, and the hay blazed with fire. José Arcadio Buendía, who could not calm down after the failure of his venture with magnets, immediately realized that this glass could be used as a military weapon. Melquiades tried again to dissuade him. But in the end, the gypsy agreed to give him a magnifying glass in exchange for two magnets and three gold colonial coins. Ursula sobbed with grief. This money had to be pulled out of a chest with gold doubloons, which her father had saved all his life, denying himself an extra piece, and which she kept in the far corner under the bed in the hope that a lucky chance would turn up for their successful use. Jose Arcadio Buendía did not even deign to console his wife, giving himself up to his endless experiments with the fervor of a true researcher and even at the risk of his own life. In an effort to prove the destructive effect of the magnifying glass on the enemy's manpower, he focused the sun's rays on himself and received severe burns that turned into ulcers that healed with difficulty. Why, he would not have regretted his own house, if not for the stormy protests of his wife, frightened by his dangerous stunts. José Arcadio spent long hours in his room, calculating the strategic combat capability of the newest weapons, and even wrote instructions on how to use them. He sent this surprisingly intelligible and compellingly substantiated instruction to the authorities, along with numerous descriptions of his experiences and several rolls of explanatory drawings. His messenger climbed over the mountains, miraculously crawled out of the endless quagmire, swam across the stormy rivers, barely escaped from wild animals and almost died from despair and any infection before he reached the road where the mail was carried on mules. Although a trip to the capital was an almost unrealistic undertaking at that time, José Arcadio Buendía promised to come at the first order of the Government to demonstrate his invention to the military authorities in practice and personally teach them the complex art of solar wars. For several years he waited for an answer. Finally, desperate to wait for something, he shared his grief with Melquíades, and here the gypsy presented an indisputable proof of his decency: he took back the magnifying glass, returned him the golden doubloons, and even gave him several Portuguese nautical charts and some navigational instruments. Gypsy personally wrote for him a short synopsis of the teachings of the monk Herman on how to use the astrolabe, compass and sextant. José Arcadio Buendía spent the long months of the rainy season, locked in a barn specially attached to the house so that no one interfered with his research. In dry weather, completely abandoning household chores, he spent nights on the patio, watching the movement of celestial bodies, and almost received a sunstroke, trying to accurately determine the zenith. When he perfectly mastered knowledge and tools, he had a blissful sense of the immensity of space, which allowed him to sail on unfamiliar seas and oceans, visit uninhabited lands and enter into intercourse with amazing creatures, without leaving his scientific office. It was at this time that he acquired the habit of talking to himself, walking around the house and not noticing anyone, while Ursula in the sweat of her brow worked with children on the ground, growing cassava, yams and malanga, pumpkins and eggplants, tending bananas. However, for no apparent reason, José Arcadio Buendía's feverish activity suddenly ceased, giving way to a strange stupor. For several days he sat spellbound and continuously moved his lips, as if repeating some amazing truth and could not believe himself. Finally, one Tuesday in December, over lunch, he immediately shed the burden of secret experiences. Until the end of their lives, his children will remember the majestic solemnity with which their father took his place at the head of the table, shaking as if in a fever, exhausted by insomnia and frenzied brain work, and announced his discovery: "Our earth is round like an orange." Ursula's patience snapped: “If you want to completely go crazy, it's up to you. But don't bother your children with gypsy bullshit. José Arcadio Buendía, however, did not blink an eye when his wife, in anger, slammed the astrolabe on the floor. He made another, gathered his fellow villagers in a shed and, relying on a theory in which none of them understood anything, said that if you sail east all the time, you could again be at the starting point.

The village of Macondo was already inclined to believe that José Arcadio Buendía had gone mad, but then Melquiades appeared and put everything in its place. He publicly paid tribute to the mind of a man who, observing the course of the heavenly bodies, theoretically proved what has been practically proven long ago, although it is not yet known to the inhabitants of Macondo, and as a sign of his admiration presented José Arcadio Buendía with a gift that was destined to determine the future village: a complete set of alchemical utensils.

By this time, Melquiades had grown noticeably older. During his first visits to Macondo, he looked the same age as José Arcadio Buendía. But if he had not yet lost his strength, which allowed him to bring down the horse by grabbing it by the ears, then the gypsy seemed to be fatigued from some insurmountable disease. In fact, these were the consequences of many exotic ailments, caught by him in countless wanderings around the world. He himself told, helping José Arcadio Buendía set up his alchemical laboratory, that death threatened him at every step, grabbed him by the leg, but did not dare to finish off. He managed to evade many troubles and catastrophes that executed the human race. He escaped from pellagra in Persia, from scurvy in Malaysia, from leprosy in Alexandria, from beriberi in Japan, from bubonic plague in Madagascar, survived an earthquake in Sicily and during a terrible shipwreck in the Strait of Magellan. This miracle worker, who said that he knew the origins of the magic of Nostradamus, was a sad man who brought sadness; his gypsy eyes seemed to see right through both things and people. He wore a large black hat, the wide brim of which flapped like the wings of a raven, and a velvet vest, green with the patina of centuries. But for all his deep wisdom and incomprehensible essence, he was flesh of the flesh of earthly creatures stuck in the networks of problems of everyday life. He was plagued by senile ailments, his mood was spoiled by petty monetary spending, he could not laugh for a long time because scurvy pulled out all his teeth. José Arcadio Buendía was sure that it was on that sultry noon, when the gypsy told him his secrets, that their close friendship was born. The children opened their mouths and listened to wonderful stories. Aureliano - at that time a five-year-old baby - will remember Melquíades for the rest of his life, who sat by the window under the streams of the molten sun and with his low, sonorous voice, like an organ, spoke clearly and understandably about the darkest and incomprehensible phenomena of nature, and crawled down his temples hot drops of greasy sweat. Jose Arcadio, Aureliano's older brother, bequeaths the lasting impression left by this man to all his offspring. Ursula, on the other hand, will long recall with disgust the visit of the gypsy, because she entered the room just as Melquiades, with a wave of his hand, broke a bottle of mercury chloride.

The cosmos is embodied in certain images and various components in the perception of man - a creature capable of thinking, feeling, interpreting and realizing the essence of the phenomena of the surrounding world. The cosmos invariably exists by itself and within itself, but it acquires form and specific properties only in interaction with a person.

Consider a person as part of a single circle of Being. We will try to describe and analyze the character of a person, his inner essence, basic values, attitudes and life path using the example of the novel “ One Hundred Years of Solitude"(" Cien años dé soledad "), in which all the features of a person are most fully represented, his inner essence is clearly and clearly outlined.

At the character level, we will characterize and analyze different “ faces of loneliness”, Which are embodied in several“ key ”characters of the novel“ One Hundred Years of Solitude ”. We will take their nature (inner essence) as a basis for our analysis. There is no need to describe the images of absolutely all heroes, because many fates and characters are based on mutual repetition. Let's start with Jose Arcadio Buendía - the founder of Macondo and the Buendia clan. Initially, the hero had no goal of founding a village. José Arcadio Buendía sought to find the sea, for this, having gathered a small group of people, he decided on a long and risky journey. But even his plans were not destined to come true - the sea was not found and "in order not to return back", José Arcadio Buendía decided to found Macondo. Only later, wishing to connect the village with "great geographical discoveries", he will come out to sea. The sea, contrary to the hero's expectations, turned out to be not at all what he imagined: "All his dreams died away near this sea, foamy, dirty, gray as ash, not worth the suffering and dangers to which he exposed himself and his companions." Based on this, José Arcadio Buendía will conclude: "Macondo is surrounded by water on all sides."

The arrival of the Roma in Macondo becomes a very important moment in the life of José Arcadio Buendía. If it were not for the singing of various birds, which he had inhabited all the houses "already in the days of the founding of Macondo," the Melquiades tribe would not have found their way to the small village.

José Arcadio Buendía's passion for physics, alchemy and ice making deserves special attention. All these things are an attempt to understand the world in its entirety, to realize the unity of the miraculous and the real, the illusory and the real. José Arcadio Buendía strives to master these "miracles", find a rational explanation for them and learn how to put them into practice. Subsequently, the founder of Macondo and the Buendía clan will sit on a bench under a palm canopy, tied to a chestnut tree in the courtyard of the house. According to the general version, José Arcadio Buendía was moved by his mind, but the meaning of this change is much deeper.

José Arcadio Buendía's constant, unchanging striving under the tree symbolizes a return to the origins, to their roots. The old chestnut in this context can be compared to the world tree - the center of the Universe. The return to the natural, natural, originally given, symbolizes the return to oneself - self-determination.

José Arcadio Buendía is able to comprehend knowledge that the other inhabitants of the Buendía house cannot reach. For example, he found that the earth is "round like an orange." Ursula thought this discovery was another delusional idea; only he knew that in the mysterious room of Melquíades, time does not move - there is always Monday; spoke in Latin - a language that seemed to those around him "devilish gibberish." In this case, a person is endowed with only the present - he is always here and now, not knowing who he really is, strives for knowledge and discoveries, learning new things, comprehending the miraculous. The loneliness of José Arcadio Buendía embodies the essence of the loneliness of all of Latin America. The desire to understand the surrounding world, to inscribe oneself in it, to find one's place in a single circle of Being is one of the main components of the inner essence of a Latin American person, and, possibly, of a person in general. Man is looking for the sea - he is looking for himself, strives to find his true essence.

Ursula Iguaran.

Its real prototype is the grandmother G.G. Marquez, Tranquilina Iguaran Cotes. The writer believes that this heroine is "holding on to" the entire novel.

The basis of the characters of Ursula and José Arcadio Buendía in synthesis represent the essence of the Latin American mentality. On the one hand - impetuosity, irrationality, the desire for discoveries, knowledge of the new, the desire to penetrate into the essence of phenomena (Jose Arcadio Buendia). On the other hand - rationality, calmness, prudence and at the same time the most powerful vital energy aimed at preserving traditions and memory of their origins (Ursula). Two oppositely directed forces, acting simultaneously, merge into a single harmonious whole. G.G. himself Marquez notes that when he conceived the image of Ursula, he deliberately did not deliberately seek to endow her with these features. Meanwhile, similar qualities are inherent not only in Ursula, but also in other women in the world of Marquez.

The dominant characteristic of the “face of loneliness” of Ursula, the keeper of the hearth of the Buendía house, is the vision of time and the attitude towards it, refracted through the prism of individual perception. This perception, perhaps, reflects the essence of the property of time inherent in the structure of the work. Here we are talking about the cyclical nature and recurrence of time, which entails the recurrence of names, destinies, major life events, various situations that determine the further course of the development of life and the fate of the Buendia clan. In Ursula's perception, the past and the present merge in a single stream, they are lived and understood as one and the same. Ursula notes that "time goes in a circle." Indeed, everything repeats itself - people, destinies, paths. Even when she becomes almost blind, Ursula continues to freely navigate the entire space of the large house. Thus, it becomes clear that the heroine continues to live in the past, being in the present. The past is a guide to her present reality. It is the knowledge of the past, obtained many years ago, that helps Ursula to know and feel perfectly the entire fabric of everyday life at Buendía's home at the age of 100. In this case, a deformation of the harmonious distribution and combination of three existential components (present, past, future) occurs, since the model of the future is completely absent when the past and present are combined.

Before us is the next hero - the colonel Aureliano Buendía.

This hero can be called the embodiment of loneliness, in his heart he carries the extract of loneliness throughout his life. In contrast to his parents, Aureliano lives only for the future. This existential component becomes the dominant feature of the narrative about him. Everything that happens is described through the prism of the future. Here are some examples.

1) “Many years will pass, and Colonel Aureliano Buendía, standing at the wall awaiting execution, will remember that distant evening when his father took him with him to look at the ice”.

2) “Aureliano, who was then no more than five years old, will remember for the rest of his life how Melquiades sat in front of them, sharply standing out against the background of the light square of the window; his low voice, like the sounds of an organ, penetrated into the darkest corners of the imagination, and sweat streamed down his temples, like fat melted by the heat. "

3) “Many years will pass, and Colonel Aureliano Buendía, in turn, will be in these parts ... in the place of the galleon, he will see only a charred skeleton among a whole field of poppies.”

4) “... Colonel Aureliano Buendía, standing by the wall, will again relive in his soul that warm March evening when his father interrupted his physics lesson, and he froze with his hand raised and his gaze fixed, hearing flutes, drums and tambourines in the distance gypsy camp ... ".

These quotes confirm the idea that all the key moments of Colonel Aureliano's life are presented in the future tense, which is woven into the fabric of the real present. Such an observation may serve as a reason to assume that the model of the world into which Aureliano would have been inscribed does not exist. The hero is reflected only in the mirror of the future - any event connected with his life is represented by the future tense in the narrative about the present.

From a very early age, Aureliano had the gift of foresight. Moreover, one gets the impression that not predictions were determined by events, but events were predicted. Let's recall the episode in the kitchen. The pot of soup was in the middle of the table, but after the words of the three-year-old baby Aureliano: "Now it will fall!" "Began to move uncontrollably to the edge, as if pushed by an internal force, then fell to the floor and shattered."

Let us emphasize that Aureliano is “the first human being born in Macondo”. If we take into account the loneliness that was initially stored in his soul and heart, we can state that life in Macondo began with loneliness, which, being a property of the soul of one person, became the basis of life as a whole.

Using the image of Colonel Aureliano Buendía as an example, let us designate the properties of loneliness that are characteristic of the Buendía clan (thus, the whole clan will be reflected in one person).

1) close connection with the things of the material world (for example, Aureliano makes goldfish and in this occupation, locked in a workshop, leaves everything and everyone);

2) The need for compulsory self-realization (both constructive and destructive), contrary to the opinion and attitude of other people. Aureliano started a war and won no battle; feeling himself in power, he did not acquire purpose and meaning, did not receive moral satisfaction. Examples of other members of the Buendía family can be cited: Amaranta, deliberately shutting herself up in a cell of solitude, weaves a shroud and dies as soon as she finishes her work. Ursula always, in spite of everything, maintains order in the house (realizes herself in everyday life). José Arcadio Buendía strives for the mysterious, the unknown;

3) lack of love

It can hardly be argued that Aureliano loved little Remedios, rather it was an attempt to escape, to hide from himself; the desire to be responsible for a very young girl (still almost a girl playing with dolls) is a way to escape from the captivity of your own lonely nature;

4) existence only in one of the three planes of being: José Arcadio Buendía - in the present; Ursula in the past, Aureliano in the future.

Perception through the prism of the future is the cause of a special vision and "invisibility" of the surrounding world. Aureliano does not see Jose Arcadio Buendía under an old spreading chestnut tree, he is the only one who sees only an empty space on a bench under a tree. Everyone sees Melquiades' room clean and tidy, as if time has no power over this space, while Aureliano seems dusty, dirty, with spiders and remnants of books that have decayed from time to time - the room will really be like that, but in the distant future.

Absolute harmony (a combination of three planes of existence) is carried only by the sea. In the novel, it, losing its harmony, turns into a gray sea of \u200b\u200bloneliness. This is a sign that having committed a crime and “living in death”, Buendía will not be able to approach the deity, they are not given the opportunity to comprehend the divine mystery, the marker of which in the author's mythology G.G. Marquez becomes the sea.

Amaranta Buendía has a prototype - G. García Márquez's aunt. Márquez himself in his “Dialogue on the Romance in Latin America” describes her as follows: “She was a very energetic woman, she did something around the house all day, and once she sat down to weave a shroud. I asked her: "Why are you weaving a shroud?" “Because I'm going to die soon, son,” she replied. Aunt finished her shroud, summer and died. She was wrapped in this shroud. "

The story with the shroud was transferred into a novel without any fiction, Marquez describes everything as it was in life. There is only an increment of meaning in the form of a fusion of the real and the miraculous, characteristic of the artistic method of magical realism. Death appears to Amarante in physical form, warning the heroine of what will come for her in a few years. Death was "so real, so like a man," she did not give the exact date of Amaranta's death, "but only ordered her to start weaving a shroud for herself from the sixth day of the coming April." For the modern reader, this is fiction, fantasy, but for the Latin American reality, it is an integral part of everyday life. As well as the fact that Amaranta took on her last journey a box with all sorts of letters and messages that the living passed on to their deceased relatives. And this is not a farce at all, but an attempt to unite the world on both sides, based on the belief that there is no death.

The image of Amaranta gives an idea of \u200b\u200bthe voluntary loneliness caused by unrequited love and subsequent disappointment in all human passions. Amaranta lives only in her closed, isolated world that exists within the limits of her soul and thoughts: "The external world was now limited only to the surface of her body, and the internal one was beyond the reach of any grief." After a failed love for Pietro Crespi, the heroine's heart turned to stone, and loneliness became her only refuge. This means that in order to become a salvation from loneliness, love must be mutual, and unrequited love, on the contrary, provokes its appearance and turns loneliness into a constant component of human being.

The only person Amaranta really loved was Colonel Aureliano Buendía. She only realized this when he was found dead under the chestnut. If we figuratively represent Aureliano as a synonym for loneliness, Amaranta's love for her brother once again confirms the conclusion about the conscious choice of loneliness as a life path along which she voluntarily goes.

So, using the example of the “face of loneliness” by Amaranta Buendia, we can talk about the voluntary renunciation of love, spiritual and sensual manifestations of human nature, in the name of constantly maintained loneliness, on the path of which a person deliberately sets himself up for this test. Until the end of her life, Amaranta remained a virgin and left the world as she came into it: "Tall, straight, haughty ... Amaranta ... seemed to wear her own cross from ashes on her forehead - the cross of virginity." The symbol of her purity, the pristine secret, carried away by Amaranta to the grave, is a black bandage on her arm, "Amaranta did not take it off even at night and washed and ironed it herself." Here we see a parallel with the image of the "virgin selva", which is always surrounded by a halo of mystery and, possessing a special energy of sacredness of the unknown space, almost does not allow a person to approach. Selva lives on her own, inside herself, obeying her own laws, known only to her. Such a comparison of the human soul with a natural phenomenon gives grounds for affirming the idea that voluntary loneliness leads a person along the path of life that he chooses, while returning to his origins. Man is a part of nature, and together they are parts of a single circle of being.

Now let's try to look closely at the face of loneliness Renata Remedios (Meme), which can be described as the "earthly" version of Remedios the Beautiful.

The fate of Meme, on the one hand, is very similar to the fate of all Buendías, but on the other hand, it is very different from it. In Meme's life, the starting point for diving into the depths of loneliness was love for Mauricio Babilonier. Before us is another new property of love - it can give rise to loneliness, moreover, it is through love that it can be overcome. The image of Renata Remedios becomes significant for the further development of the fate of the Buendia clan. She will give birth to Aureliano Babilone, whose capacity for true love will put an end to the total loneliness of Buendía and Macondo. Aureliano will be able to read and decipher the Melquiades manuscripts written in Sanskrit.

The yellow butterflies, always appearing where Mauricio Babilonia appears, become Meme's constant companions. Perhaps, in this case, butterflies symbolize the presence of divine energy in the space of its microcosm. In the image of yellow butterflies, the component of solarity is read - they are "woven from sunlight." Consequently, the presence of God, accompanying the loneliness of Meme, testifies to the harmonious nature of this state of soul and spirit, to its necessity for the further advancement of the Buendia clan in the circle of being.

At the same time, Meme's loneliness undergoes an internal transformation throughout her life. Let's highlight several stages:

Until the love of Mauricio

Loneliness is invisibly present in Meme's life, but at this stage it “slumbers” - it is not manifested in its pure form.

The stronger the feeling, the more Meme goes into her loneliness. Now it becomes her everyday reality.

Departure to the monastery

Internal loneliness takes on external expression. Meme stops talking, hiding inside her soul, she is quite calm. Loneliness turns into a certain level of neutral existence: there is no anger and bitterness, no joy, surprise or dissatisfaction with something - all feelings and emotions disappear, drowning in the ocean of loneliness, which became Meme's abode for the rest of her life.

One important point should be noted: loneliness as a desire to go your own way... This formula becomes not only the essential pathos of Meme's life, but can be applied to the spiritual path of all Latin America. If Remedios the Beautiful is free from loneliness, then Renata Remedios is free in solitude. Only in loneliness is love possible for her, giving complete self-sufficiency and freedom.

Aureliano Babilonia and Amaranta Ursula stand apart in the register of the destinies of different representatives of the Buendía clan: "Aureliano and Amaranta Ursula, imprisoned by loneliness and love and loneliness of love in a house where the noise raised by termites did not let you close your eyes, were the only happy human beings and the happiest creatures on earth." They lived in a "realm of happy unconsciousness", "in a deserted world, the only everyday reality of which was love." Thanks to the loneliness of Aureliano and Amaranta, Ursula had the opportunity to find each other and live in mutual passionate love.

Note that this is not the love of Petra Cotes and Aureliano Segundo, who possessed a powerful energy of animal passion and catalyzed the rapid reproduction of all domestic cattle. Aureliano and Amaranta Ursula loved each other not only physically, there was also an invisible spiritual connection that allowed them to be one, even when they were satiated with physical love. Interest in each other was not lost, the lovers lived a natural life - the one they chose for themselves, and most importantly - they were together. Only double. The complete loss of reality, this "loneliness of love" allowed two people to rid the whole of Macondo from loneliness. Everything in the world is interconnected, life as a chain of events invariably following each other in accordance with the endless movement of the circle of Being, allows Melquiades to focus " the whole mass of everyday episodes over a century in such a way that they all coexisted in one single moment» .

Parts of a huge mosaic of "faces of loneliness" - Aureliano and Amaranta Ursula are the only ones from Buendía who truly loved and were truly happy. Their love was destined to break the cycle of endlessly repeating destinies in order to end loneliness and enable Macondo to be reborn in the future to a new life. By their fate, they "insured" all other destinies, because "those human species that are doomed to a hundred years of loneliness are not destined to appear on earth twice."

Loneliness and love are two absolute opposites in the artistic world of G.G. Marquez, now interact and pave a new path to excellence and happiness. But we must not forget that in order to escape loneliness, love is sacrificed. The ants eat the newborn son of Aureliano and Amaranta Ursula, the heroine herself dies from loss of blood, and Aureliano is the victim of a natural disaster - a tornado that took Macondo away.

The death of Amaranta Ursula can be compared to the death of Nana Daconte in the story "Following your blood in the snow." That which was deliberately harmonious and beautiful goes back where it came from. The cause of Nana Daconte's wound is different, but the result is the same - death from blood loss. It can be assumed that souls who have already comprehended and retained the harmony of the world leave in a similar way. On this basis, you can unite Nena and Amaranta Ursula.

The fate of the Buendía family, Macondo and, more broadly, the whole of Latin America, is marked with the seal of loneliness not by chance. Loneliness, being a natural stage in the evolution of the human spirit and further development, leads a person to gain an inner essence, allows him to find his own path, determine his place in the circle of Being, ensure the mapping of the Universe of life and the fate of an entire nation.

For representatives of the Buendía clan, loneliness becomes an image of the world, that is, it is a prism through which Buendía perceive all life phenomena. This "map of fate" (the basic quality, on the basis of which they live, think, feel) is inscribed from above. The prophecies of Melquíades have been exactly fulfilled for a hundred years.

Everything that happens goes outside a specific temporal reality and chronological sequence - all lives and destinies appear in one moment of Eternity. Thus, in the epigraph to the Melquíades manuscripts, one can catch a pronounced cross-temporal, cross-spatial and cross-individual component: "The first in the genus will be tied to a tree, the last in the genus will be eaten by ants."

José Arcadio Buendía is tied to the chestnut - the embodiment of the world tree, and little Aureliano (son of Amaranta Ursula) was eaten by ants. The prophecy is literally given - before us source and the outcome the fate of Buendía (the purpose and outcome of the life of the whole family)

Source serves as the world tree, to which José Arcadio Buendía always returns. Consequently, the life of many generations of Buendía is a natural stage in the harmonious development of mankind as a whole.

At the end of the novel, ants appear - a symbol of the end of life, the exodus of the Buendía family. Ants are some of the most unusual insects on the planet. They are considered the most powerful, perfectly organized in terms of interaction with each other and the implementation of natural functions; moreover, they have an amazing property: they carry away the corpses of various insects and small animals, often exceeding their size, into the anthill.

IN the end result Buendía's loneliness undergoes the same decay process as the fallen leaves in the story of the same name by Marquez. Carried away by ants, loneliness combines with particles of the earth and naturally passes into a different form of existence, anticipating a new round of the spiral of life development. Thus, a baby with a pork tail - a "mythological monster", embodying fear that appeared before the first child in the Buendía family was born, personifies loneliness, carried away by ants and became part of the earth.

It is necessary to separate the meaning and specifics of the loneliness of the Buendia clan and the loneliness of other heroes who do not belong to this clan (Fernanda, Rebeca). What is the peculiarity of the other, "non-Buendian" loneliness? Using the example of Fernanda and Rebeca, we can talk about what is created in life - constructed loneliness... Rebeca voluntarily closes herself in her world and retreats into her home after the death of Jose Arcadio. She lives alone, regardless of the surrounding reality, not wanting to change anything; the heroine deliberately builds her life according to the model of complete loneliness. Fernanda, herself being an autonomous entity, is secretive and internally lonely, not because it is written in the register of destinies. It is much more convenient and fruitful to correspond with “invisible healers”, to build fantastic plans, being in solitude.

Only Remedios the Beautiful is completely free from loneliness, although she is Buendía. In her perfect beauty and absolutely harmonious essence, the threat of death is hidden. Here not only the duality of the world is manifested, where there is day and night, life and death, loneliness and love; but also a blessing for all Buendía: there is love, beauty and freedom in their family, which, despite the final death of Macondo, will not allow him to go into oblivion - this is a harbinger of a future rebirth.

Salvation from loneliness is seen only in love, but not carnal, but completely different. Only love based on mutual understanding, on heart and soul affection, and not only on physical attraction, can become salvation. Such is the love of Aureliano Babilogna and Amaranta Ursula - they were the last and only Buendía to truly love. In his Nobel lecture “The Loneliness of Latin America”, Marquez suggested “... to start creating ... a utopia of life, where no one will decide for others how to die, where true love will reign and happiness will be possible and where generations condemned from birth for a hundred years of loneliness, once and for all they will acquire a new earthly destiny ”.

Each person is individual, therefore, it is quite natural that loneliness can take various forms, refracted through the prism of the soul and spirit of a particular person. This allows us to conclude: loneliness is multifaceted, its image and embodiment is multifaceted. Indeed, love destroys the matrix of loneliness and frees Macondo from it, opening the way for the creation of another model of the world, built on love and mutual understanding. For Macondo, this strong feeling becomes "the gathering beginning of life, opening the way to the second birth."

In the novel's finale, the life cycle of Macondo reaches the point "when the world spirit itself finishes the great poem conceived by it and turns the successive succession of the phenomena of the new world into a one-time occurrence." (VF Schelling) Everything that Melquiades wrote in relation to the future is now deciphered by Aureliano and takes place in one instant, simultaneously containing three planes of Being - the present, the past and the future. In the past - all the lives and fates he reads about, sitting in Melquiades' room; in the present - Aureliano Babilonia himself, he “began to decipher the verses related to himself, predicting his own fate for himself, as if he was looking into a talking mirror”; in the future - "the transparent (or ghostly) city will be swept off the face of the earth by a hurricane and erased from the memory of people at the very moment when Aureliano Babilonia finishes deciphering the parchments ...".

The cosmos acquires its essential meaning in the comprehension of man, and man realizes himself only in interaction with the Cosmos. The highest manifestation of the human spirit is possible only against the background of contact, the connection of man with the essential principle (spirit) of the Cosmos.

To illustrate this thesis, let us turn to the novels of G.G. Marquez " One Hundred Years of Solitude», « Autumn of the Patriarch», « General in his labyrinth"- in order to reveal the nature, essence of the process and the result of interaction between man and the Cosmos.

When characterizing the interaction between man and the Cosmos in the novel One Hundred Years of Solitude, let us pay attention to four key episodes.

1. Appearance and constant presence of yellow butterflies in Meme's life.

The symbolism of yellow butterflies contains a complex complex consisting of the sun, heart, freedom, loneliness and love. Love for Mauricio contributed to the transition of Meme's inner loneliness from a state of sleep to an active phase. Appearing, yellow butterflies continued to pursue the heroine relentlessly. They cannot be positioned as an element of the chronotope, but these insects are part of the Cosmos, the physical embodiment of its energy.

Butterflies, together with loneliness, bring serious changes in Meme's life. Thanks to them, loneliness ceases to be an all-consuming destructive force, it becomes a guide to Meme on the path of life.

2. On the life map of Colonel Aureliano Buendía, only the coordinates of the future are marked. Aureliano's soul and heart are completely absorbed in loneliness.

Aureliano not only does not see his father on a bench under a chestnut tree, he relieves a small need under this tree. This fact can be assessed from two points of view:

A) the inner essence of Aureliano is burned out by loneliness, therefore he lives in himself and for himself, completely ignoring the surrounding space.

B) his systematic walking to the chestnut tree may indicate an unconscious attempt to return to his origins, to know the natural, original essence of life.

It is possible that both of these characteristics coexist in the image of Aureliano.

3. "The sea of \u200b\u200bloneliness." A symbol of disappointed expectations, destruction of illusions and the collapse of dreams. For the heroes of the novel, it is a mirror reflecting the life of Macondo in the present, his fate in the future and the spiritual state of the inhabitants of the city. “The sea of \u200b\u200bloneliness” permeates the entire fabric of the novel with its energy, although it is described in the work in just a few lines.

The sea lies at the heart of the birth of Macondo and, at the same time, his death. The fact that the Spanish galleon was far from the sea is not fictional: in the first half of the seventeenth century, a huge Spanish ship loaded with treasures was carried away by a tornado many kilometers from the sea. The same fate awaits Macondo. Such a coincidence cannot be accidental.

"The sea of \u200b\u200bloneliness" is gray; gray in the mythology of Marquez symbolizes loneliness, this color fulfills the most important meaning-forming function when characterizing Macondo as a doomed space that is destined to disappear from the face of the earth, taking with it the loneliness defeated by love. This is necessary for rebirth to a new life, in which there will be no place for loneliness, a person will find his inner essence, which means he will return to a state of harmony.

4. Remedios the Beautiful, designated in the prophecies of Melquíades as a girl who will ascend to heaven in body and soul, indeed, will ascend to heaven ... on sheets. It is not by chance that Márquez draws attention to this detail, because, in his words, “... the reality of Latin America is a writer more talented than us (Latin American prose writers - K.K.). This phantasmagoric, "wonderful" reality is tightly woven into the fabric of the novel. What may seem implausible and even absurd to a Russian person is quite natural and normal for a Latin American. The heroine ascends not on wings or on clouds, but on sheets. This speaks of the possibility and commonality of any strangeness in the world of Latin American reality and raises such strangeness to the rank of everyday phenomena.

Consider the novel “ Autumn of the Patriarch"(" El otoño del patriarca ") - a book" about the power of loneliness and the loneliness of power. " In the center of the narrative is the figure of a tyrant, the supreme ruler who has absolute power. The whole novel is imbued with the energy of a phytomorphic myth, in other words, plants, flowers and trees are so intertwined with the fabric of the plot that they accompany all the characters in any life manifestations. Here one more feature of Marquez's cosmos is revealed - with a physical, tangible presence in human life, the cosmos is and acts in the very depths, between the lines. For example, if there is no direct description of the sea, rain or any vegetation, these cosmic elements are invisibly present in the text. Even the Caribbean Sea sold for debts in memories, associations continues to roll its waves under the windows of the House of Power, it is present where, in objective reality, instead of the sea, only a sea of \u200b\u200bdust remains. The sea becomes not only a semantic center, it is the general's life reference point in the kingdom of his illusions, a beacon in the sea of \u200b\u200bloneliness that fills to the brim with the House of Power and the very essence of the supreme ruler.

The Patriarch can be considered a shining example of the classic prose hero Marquez. He is lonely, because in his life there is no and never was love. True love cannot be compared to visiting numerous women living in a "chicken coop" and giving birth to "misbegotten". In this way, the supreme ruler satisfies only a physiological need that is completely natural for a person, without experiencing any feelings.

The loneliness of the hero is the deeper and stronger, the further and longer he goes into the world of illusions, saturated with fluids of total power, which completely absorbs his being, destroys everything human, burns his soul and heart.

The patriarch sees and hears only what he wants. Objective reality as such does not exist for him - the general is completely immersed in the world of his own illusions. For a long time, the window to the real world remains the sea, which he can see at any time of the day in all twenty-three windows of the House of Power: “... passing along a long corridor past the windows, he saw in each window the Caribbean Sea of \u200b\u200bApril, - he saw him twenty three times ... it was the same as it always happens in April - like a swamp covered with golden duckweed ... ". Until the last moment, despite the fact that the country lives in debt, and all the ambassadors vied with each other about the need to sell the sea (this is possible only in the world of magical realism and only in Latin American reality), the ruler is adamant: “I would rather die than give up the sea ! " ... You can sacrifice anything, but give up the sea - never: “How can I stay without the sea under my windows? What am I going to do alone, without him, in this huge house? What will become of me if tomorrow I do not see it at the same hour of sunset, when it looks like a blazing swamp? How will I live without the December winds that howl burst into broken windows, without the green flashes of the lighthouse - I, who left the fogs of my plateau and, dying of fever, rushed into the heat of the civil war ... solely in order to see the sea ! " ... Note that already twice in the general's discourse, the sea is compared to a swamp. This brings us to a direct relationship between the image of the sea and the life of a great dictator, which resembles a swamp - rotten, stagnant water. The conclusion made earlier is obvious: the sea, being a mirror of God, reflects the inner world and the true essence of any person who is near its waters.

In the final, the ruler still concedes to the sea: “There was no other way out, mother, they took the Caribbean Sea for themselves! Ambassador Ewing's engineers took the sea apart, numbered it to reassemble it under the Arizona sky, far from our hurricanes, and took it away ... with all its riches, with the reflections of our cities, with our crazy floods and our drowned people. "

The patriarch himself, contrary to popular opinion, is not at all immortal, by the end of his life he clearly realizes that power is not absolute, does not have superpower, as the ruler thought, being in captivity of illusions. Power is powerless before the power of the natural elements: it will not be able to order the sea, wind or hurricane: “... however, nothing resisted the cyclone: \u200b\u200brevolving madly, the blades of its wind cut through the armored steel of the main gate with one blow, destroyed the main entrance, cows were raised in air; he, stunned by this blow, ceased to understand what was happening, a roaring downpour fell upon him, whose jets did not fall from the sky, but rushed horizontally ... "; the general was pierced for a moment by the thought that he had never been and never will be omnipotent in his power, that "there is something beyond his control ...". It is during the rain that all phenomena acquire clarity and appear in their true essence. The human soul is freed from illusions and returns its owner to himself; to the originally given, but during the life of the extinguished essence.

Not only life is illusory - without love it was wasted, but also the ruler, who even has no clear idea of \u200b\u200bhimself: “... it turned out that he had three different names, that he was conceived three times under different circumstances, three times born in different premature terms ... ".

The only goal of this man was to gain supreme power, to achieve absolute domination over everything and everyone. Perhaps this power for some time fed his pride, but at a certain moment the ruler realized that he himself was "in the grip of his undivided power." Power seized him, never allowing him to find freedom, self-determination, realize himself and truly love.

His Excellency found himself locked in a vicious circle; there is no way out of the prison of power - the ruler endlessly walked along the solid wall: “In the years of yellow leaves of his autumn, he was convinced that he would never be the master of all his power, he would never embrace his whole life, for he was doomed to know only one of its rear sides, he was doomed to looking at the seams, at untangling the threads of the warp and untiing the knots of the tapestry of illusion, the tapestry of imaginary reality ... ". The great, powerful tyrant with all his power was afraid to learn that life is difficult and fleeting, but that there is no other ... ".

In an interview for the magazine "Personal Development" G.G. Marquez said: "Only now I understand why people die - they stop loving, or get tired." Based on the artist's philosophy of life, we can conclude: life is impossible without true love. If a person did not love, then he did not live.

Now the essence of loneliness and its result (result) become apparent. It was initially, barely conceived, doomed to death, as Macondo in his very birth kept the harbinger of imminent death. This is exactly what happened to the general: he did not live, but only existed, therefore, the only deliverance for him was death: “... knocked down by one blow of the fatal guest, torn out of life by her roots; in the rustle of the dark stream of the last frozen leaves of his autumn, he rushed into the gloomy land of oblivion, clutching in horror at the rotten rags of the sail on the boat of death, alien to life, deaf to the frantic joy of the crowds that poured into the streets and sang with happiness, deaf to the drums of freedom and the fireworks of the holiday, deaf to the bells of exultation, bringing the good news to people and the world that the countless time of eternity is finally over. "

The basis of the novel " General in his labyrinth"(" El general en su laberinto ") were the last months of Simon Bolivar's life. G.G. Marquez relies on the real facts of the biography of the fighter for the unification of the South American continent. “Unification means freedom” - this idea, which sounds like the life credo of Bolivar, contains the energy of the deep meaning of all Latin America - a continent striving for social, moral and human freedom. In this respect, the intention of the protagonist is consonant with the voice of G.G. Marquez. We will quote several excerpts from the writer’s Nobel lecture: "If they try to interpret our reality according to other people's templates, we become even more incomprehensible, even less free, even more lonely." Latin America strives for independence and identity: “...

the rational minds of Europe, bewitched by the contemplation of their own culture, are unable to understand us correctly. Of course, they try to approach us with their own yardstick, forgetting that everyone makes a sacrifice in life, and that we find ourselves with the same efforts and blood that they once found themselves. " They reinforce the thought of G.G. Marquez says Bolivar's words in the novel: “So please don't tell us what we should do. Do not try to show us what we should be, do not try to make us like you and do not demand that we do in twenty years what you did so badly for two millennia ... Do mercy, ... let us pass our Middle Ages!" ...

All the heroes of G.G. Marquez are alone, and General Bolivar is no exception. But his loneliness is significantly different from the similar state experienced by most other characters. In this case, the hero's loneliness is cosmic in nature. The general is a prisoner of a labyrinth of his own illusions - on the one hand, there is an obvious resemblance to "Autumn of the Patriarch", but on the other, everything is completely different, exactly the opposite. Simon Bolivar is the bearer of the coordinate system laid down in space by G.G. Marquez. He is a product of the Cosmos, in this man all the characteristic features of the Cosmos are reflected.

Loneliness is not only a natural part of human nature, it becomes a part of G.G. Marquez and, more broadly, throughout Latin America. Moreover, the entire surrounding reality is just a labyrinth, an illusion. It is ghostly and unsteady, like fog over the sea. Bolivar's labyrinth of illusions can be defined as a set of surrounding phenomena, events, ideas, situations passed through the prism of individual perception. Only death can destroy the endless walls of the labyrinth and free the prisoner.

In the novel “ General in his labyrinth»All mythologemes of the world by G.G. Marquez are present at the same time. The individual pieces are now a whole. The sea, river, ship, rain, gray color, mirror - this is the basis, the core of the Cosmos G.G. Marquez. Let's concretize the meaning of each mythologeme. The Magdalena River in the novel symbolizes the path of life and, at the same time, the path to death. The river becomes Bolivar's guide to the Caribbean. The hero feels uncomfortable, not seeing the sea in his dream: “I dreamed that I was in Santa Marta. The city is clean, the houses are white and the same, but the mountain blocks the sea. " The sea in an explicitly expressed form is practically not present in the novel, but it reminds of itself, calls out to the hero: “Once the sea breeze, filled with the scent of roses, snatched the cards from his hands and moved the window latches”. The sea "brings the breath of freedom, the power of dreams, the charm of mystery into people's lives."

The image of the river anticipates the sea, its waters carry Bolivar to the originally given essence, the mirror of God, the focus of three times, three layers of Being. Again, the sea, like a mirror, reflects the inner world of a person and the ashen manifests itself as the color of loneliness: when the general sailed along the river flowing into the sea, "the waters of Magdalena painted the sea ashen."

It often rains in the novel, periodically starting and ending. Towards the end of the work, it seems that it is raining incessantly. Rain is a synonym for death in the artistic world of G.G. Marquez and an indispensable attribute of the "fateful guest" - gradually leads Bolivar to the logical conclusion of his path. The presence of rain reduces the fear of physical death; he brings death as a deliverance from the outside world, surrounding vanity for subsequent rebirth. The general himself knows that "life does not end with death", that "there are different ways to live, sometimes more worthy."

This brings us to the understanding that the hero of G.G. Marquez is endowed with one of the characteristic features of mythological thinking: the absence of fear of death and the perception of death as a transition to a different level of further spiritual development.

In the finale of the work, the general is as close to death as possible. In his room, next to the washstand, we see a cloudy mirror, which is a marker of meeting oneself, finding one's true inner essence.

Perhaps the muddy mirror, in its very turbidity, enclosing the utopianism of Bolivar's ideas, takes away all the hero's illusions and delusions and takes the general out of the labyrinth.

Space is no longer a background against which a person acts, not only and not so much the surrounding nature and everyday reality. Man and Space are parts of a single whole, they complement each other and act together.

The essential increment of meaning lies in the fact that the Cosmos is part of man, the person becomes microcosm... At the same time, Bolivar's actions are not so important, and it does not matter whether he achieves his goal. In our case, the thesis that a person (part of the Cosmos) finds its continuation: a person contains the Cosmos in miniature, the meaning of the true essence of a person now prevails over his actions. The main thing is that he is just that.

The interaction of space and man in the artistic world of G.G. Marquez is carried out in several aspects:

A person comes into contact with the Cosmos most often unconsciously. This interaction allows you to get closer to the origins, to reveal the deep universal meaning, to know the essence of phenomena, to reveal the secret of Being ("One Hundred Years of Solitude").

Space becomes an obstacle to the development of human pride. The force of the elements destroys false values, intentions, the desire for absolute power ("Autumn of the Patriarch").

Space and man are one whole. As a part of man, the Cosmos is inseparable from him. The ideal is embodied in the real ("The General in His Labyrinth").

Notes

Galion (galleon) is a large three-masted vessel equipped with heavy artillery. Such ships in the XV-XVIII centuries. served for transportation to Spain from its American colonies of various goods, gold, silver.