A good novel will have some details that make the reader laugh. For example, in the second chapter of "Love in the Time of Cholera", when Ariza took out his love letter to Fermina saying "Loyalty and love her forever", a bird fell from the branches of the almond tree. The dung, impartially, landed right on the embroidered stretcher that Fermina used to receive letters. On the one hand, this detail dispels the purity of Ariza's love created earlier, and also has a certain symbolic meaning, implying the untrustworthiness of love. This point of view, on the one hand, can be seen from Ariza's decades of pursuit of lust, but in front of Fermina, "I have always kept my virginity for you" can be seen. Of course, the "virginity" that Ariza is talking about here should be spiritual. He had tried to remain physically chaste, which he mentioned when he was seduced by cleaning women. But when he loses his virginity and feels sensual pleasure, he begins to pursue it and take pleasure in it. It cannot be said that he has no love for several other women in his life, but in turn it shows that love is neither pure nor unique. As for Fermina, I suspect she never loved Ariza from beginning to end, nor Dr. Urbino. Her union with Dr. Urbino is a model of secular marriage. And everything Fermina did with Ariza when he was young was nothing more than a love affair, or was driven by romantic thoughts about love. So, when she came back from her trip and met Ariza for the first time, her mind changed so quickly and without hesitation. That means the disillusionment of all romantic ideas of love. After Dr. Urbino's death, when she accepted Ariza again, it was not for love. Here, there are the secular factors that she saw Ariza's rising social status, the motives for seeking solace in the desolate old age, and the nostalgia for her youth. At this time, carnal desire disappeared from the stage of love, and the two old people caressing each other is nothing but a thirst for life. They're too old to have sex and, of course, no love anymore.
The novel is about the love between a man and a woman. They didn't get married when they were twenty because they were too young; after all the twists and turns in their lives, they didn't get married at eighty because they were too old. In the span of fifty years, Marquez showed all the possibilities of love, all the ways of love: happy love, poor love, noble love, vulgar love, rough love, platonic love, Debauchery love, cowardly love...even, "even cholera itself is a love disease".
Fermina in the novel is beautiful, conceited and self-respecting, and is called "the fairy with the crown". Fermina is undoubtedly lucky, because both men Ariza and Urbino pursue and admire her; not only that, but she is also lucky because of the writer's preference for her. This is related to the author's own life experience. Marquez lived in his grandfather's house when he was a child, and there were only two men in the family, he and his grandfather. Marquez was favored by his grandmother, aunt and many other women, and his wife, Mercedes, was in harmony with him. These backgrounds made Marquez form a view of women that respects, understands and sympathizes with women. Márquez once said that women can hold up the world while men can only tear down history. (See "Guava Scoop"); on the other hand, Ariza and Fermina, the first love, still have the shadow of the writer's parents. As a result, the lucky Fermina has become a pivotal character in the novel. Both Ariza and Urbino fell in love with her when they first met. For Ariza, "that accidental glimpse caused a cataclysm of love that lasted half a century and was not over." Under Ariza's frenzied passion, Fermina also became frenzied. But their relationship was hit hard by her father's obstruction. However, the root cause of the failure of the two to combine is not here: it may be due to a long-distance contemplation after Fermina's enthusiasm has cooled, or it may be due to the instinct of life, or it may be due to the weakness of human nature, or it may be due to the temptation of the world. ... In short, the writer did not turn a blind eye to the reefs in the river of love. Fermina easily sent Ariza into the vortex of love for fifty years with only one sentence "No need, forget it". This treatment by Marquez is unexpected and quite real, neat and lingering.
For half a century, Ariza searched and lost in countless female bodies, and although he said in his heart that "there are more atria than rooms in a bitch's hotel", the walls of those atria could easily collapse , so that the vast atrium contains only "the fairy with the crown" Fermina. He stubbornly thought he could finally bond with her. However, for Ariza, that unrealizable love is not a cage. His will plays freely in the bitter sea of love, without even taking into account the danger of sinking. The venerable God created his instincts, but he has nothing to do with his "love" that hangs above his instincts, and even feels threatened.
There is another kind of love between Fermina and Urbino, which is as calm as a stream, slow but occasionally ups and downs. Relative to the love between Fermina and Ariza, perhaps we can find more mundane things in it. But the writer did not deny it; on the contrary, the elder Márquez even used the word "happiness" on it. In the overlapping and interlacing of "love" and "marriage", the writer believes that "the crux of married life is learning to control disgust." Márquez also said: "The union of a man and a woman, like the entire life process, is a An extremely difficult thing to deal with, it has to start every day from the very first moment, and it has to be like this every day for the rest of my life." ("The Fragrance of Guava Scoop", p. 25) This is a kind of restrained love. It takes a lot of hard work and even learning. However, Fermina and Urbino did not take the writer's caution to heart: although the love between the two was arranged in this mode by the writer, it did not enter a state of self-consciousness, and was far from what the writer hoped. kind of boundary.
Obviously, Ariza and Urbino represent two different kinds of love; the former is passionate or rather fantasy; the latter is intellectual or rather secular. . Between the two, there is not much inclination among the writers. In fact, these two kinds of love are precisely the embodiment of the writer's two spiritual levels - the old Márquez is full of passion and vitality (the personality of a writer), and he has a common sense of the world (the commonality of people). In "Love in the Time of Cholera", triviality and nobility, change and eternity, plainness and legend, sensuality and spirituality, reason and passion are perfectly combined, making it difficult for people to give a clear definition and division of "love". This is the charm of love, and it is also the greatness of fiction.
Fermina and Ariza hung the flag of cholera on the boat, and they traveled back and forth on the ruined and polluted river. Human beings encountered a desolate situation - love has no worldly reason for existence, and the cruel laws of life can destroy everything. . When they abandoned the secular world and stood side by side, they were more like a pair of comrades-in-arms. If they insisted that they have love, it would be a compromise of feelings under desperation. The background color of life is desolation, and the background color of human nature is coolness and thinness. This is eternal life.
Marquez finally revealed the truth: love is love in the world. The truth of love is: "There is nothing more difficult in the world than love."
Classic saying:
"The only pain I feel about death is not being able to die for love." The
weak will always love the kingdom of love, the kingdom of love It is ruthless and mean, women are only willing to commit themselves to those men who dare to do it, and it is such men who can give them the sense of security they desire, and enable them to face life squarely.
It never occurred to her that curiosity was also a variant of potential love.
The day a man first meets his father is when he begins to age.
"The crux of social life is to learn to control timidity, and the crux of married life is to learn to control disgust."
It is not easy for her to find out the difference between children and adults, but after analysis, she still prefers Children, because children's ideas are more real.
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