世紀文學經典:《百年孤獨》第4章Part 4

The following Saturday José Arcadio Buendía put on his dark suit, his celluloid collar, and the deerskin boots that he had worn for the first time the night of the party, and went to ask for the hand of Remedios Moscote. The magistrate and his wife received him, pleased and worried at the same time, for they did not know the reason for the unexpected visit, and then they thought that he was confused about the name of the intended bride. In order to remove the mistake, the mother woke Remedios up and carried her into the living room, still drowsy from sleep. They asked her if it was true that she had decided to get married, and she answered, whimpering, that she only wanted them to let her sleep. José Arcadio Buendía, understanding the distress of the Moscotes, went to clear things up with Aureliano. When he returned, the Moscotes had put on formal clothing, had rearranged the furniture and put fresh flowers in the vases, and were waiting in the company of their older daughters. Overwhelmed by the unpleasantness of the occasion and the bothersome hard collar, José Arcadio Buendía confirmed the fact that Remedios, indeed, was the chosen one. "It doesn't make sense," Don Apolinar Moscote said with consternation. "We have six other daughters, all unmarried, and at an age where they deserve it, who would be delighted to be the honorable wife of a gentleman as serious and hardworking as your son, and Aurelito lays his eyes precisely on the one who still wets her bed." His wife, a well-preserved woman with afflicted eyelids and expression, scolded his mistake. When they finished the fruit punch, they willingly accepted Aureliano's decision. Except that Se?ora Moscote begged the favor of speaking to úrsula alone. Intrigued, protesting that they were involving her in men's affairs, but really feeling deep emotion, úrsula went to visit her the next day. A half hour later she returned with the news that Remedios had not reached puberty. Aureliano did not consider that a serious barrier. He had waited so long that hecould wait as long as was necessary until his bride reached the age of conception.
The newfound harmony was interrupted by the death of Melquíades. Although it was a foreseeable event, the circumstances were not. A few months after his return, a process of aging had taken place in him that was so rapid and critical that soon he was treated as one of those useless great-grandfathers who wander about the bedrooms like shades, dragging their feet, remembering better times aloud, and whom no one bothers about or remembers really until the morning they find them dead in their bed. At first José Arcadio Buendía helped him in his work, enthusiastic over the novelty of the daguerreotypes and the predictions of Nostradamus. But little by little he began abandoning him to his solitude, for communication was becoming Increasingly difficult. He was losing his sight and his hearing, he seemed to confuse the people he was speaking to with others he had known in remote epochs of mankind, and he would answer questions with a complex hodgepodge of languages. He would walk along groping in the air, although he passed between objects with an inexplicable fluidity, as if be were endowed with some instinct of direction based on an immediate prescience. One day he forgot to put in his false teeth, which at night he left in a glass of water beside his bed, and he never put them in again. When úrsula undertook the enlargement of the house, she had them build him a special room next to Aureliano's workshop, far from the noise and bustle of the house, with a window flooded with light and a bookcase where she herself put in order the books that were almost destroyed by dust and moths, the flaky stacks of paper covered with indecipherable signs, and the glass with his false teeth, where some aquatic plants with tiny yellow flowers had taken root. The new place seemed to please Melquíades, because he was never seen any more, not even in the dining room, He only went to Aureliano's workshop, where he would spend hours on end scribbling his enigmatic literature on the parchments that he had brought with him and that seemed to have been made out of some dry material that crumpled like puff paste. There he ate the meals that Visitación brought him twice a day, although in the last days he lost his appetite and fed only on vegetables. He soon acquired the forlorn look that one sees in vegetarians. His skin became covered with a thin moss, similar to that which flourished on the antique vest that he never took off, and his breath exhaled the odor of a sleeping animal. Aureliano ended up forgetting about him, absorbed in the composition of his poems, but on one occasion he thought he understood something of what Melquíades was saying in his groping monologues, and he paid attention. In reality, the only thing that could be isolated in the rocky paragraphs was the insistent hammering on the word equinox, equinox, equinox, and the name of Alexander von Humboldt. Arcadio got a little closer to him when he began to help Aureliano in his silverwork. Melquíades answered that effort at communication at times by giving forth with phrases in Spanish that had very little to do with reality. One afternoon, however, he seemed to be illuminated by a sudden emotion. Years later, facing the firing squad, Arcadio would remember the trembling with which Melquíades made him listen to several pages of his impenetrable writing, which of course he did not understand, but which when read aloud were like encyclicals being chanted. Then he smiled for the first time in a long while and said in Spanish: "When I die, burn mercury in my room for three days." Arcadio told that to José Arcadio Buendía and the latter tried to get more explicit information, but he received only one answer: "I have found immortality." When Melquíades' breathing began to smell, Arcadio took him to bathe in the river on Thursday mornings. He seemed to get better. He would undress and get into the water with the boys, and his mysterious sense of orientation would allow him to avoid the deep and dangerous spots. "We come from the water," he said on a certain occasion. Much timepassed in that way without anyone's seeing him in the house except on the night when he made a pathetic effort to fix the pianola, and when he would go to the river with Arcadio, carrying under his arm a gourd and a bar of palm oil soap wrapped in a towel. One Thursday before they called him to go to the river, Aureliano heard him say: "I have died of fever on the dunes of Singapore." That day he went into the water at a bad spot and they did not find him until the following day, a few miles downstream, washed up on a bright bend in the river and with a solitary vulture sitting on his stomach. Over the scandalized protests of úrsula, who wept with more grief than she had had for her own father, José Arcadio Buendía was opposed to their burying him. "He is immortal," he said, "and he himself revealed the formula of his resurrection." He brought out the forgotten water pipe and put a kettle of mercury to boil next to the body, which little by little was filling with blue bubbles. Don Apolinar Moscote venturedto remind him that an unburied drowned man was a danger to public health. "None of that, because he's alive," was the answer of José Arcadio Buendía, who finished the seventy-two hours with the mercurial incense as the body was already beginning to burst with a livid fluorescence, the soft whistles of which impregnated the house with a pestilential vapor. Only then did he permit them to bury him, not in any ordinary way, but with the honors reserved for Macondo's greatest benefactor. It was the first burial and the best-attended one that was ever seen in the town, only surpassed, a century later, by Big Mama's funeral carnival. They buried him in a grave dug in the center of the plot destined for the cemetery, with a stone on which they wrote the only thing they knew about him: MELQUíADES. They gave him his nine nights of wake. In the tumult that gathered in the courtyard to drink coffee, tell jokes, and play cards. Amaranta found a chance to confess her love to Pietro Crespi, who a few weeks before had formalized his promise to Rebeca and had set up a store for musical instruments and mechanical toys in the same section where the Arabs had lingered in other times swapping knickknacks for macaws, and which the people called the Street of the Turks. The Italian, whose head covered with patent leather curls aroused in women an irrepressible need to sigh, dealt with Amaranta as with a capricious little girl who was not worth taking seriously.
"I have a younger brother," he told her. "He's coming to help me in the store."
Amaranta felt humiliated and told Pietro Crespi with a virulent anger that she was prepared to stop her sister's wedding even if her own dead body had to lie across the door. The Italian was so impressed by the dramatics of the threat that he could not resist the temptation to mention it to Rebeca. That was how Amaranta's trip, always put off by úrsula's work, was arranged in less than a week. Amaranta put up no resistance, but when she kissed Rebeca goodbye she whispered in her ear:
"Don't get your hopes up. Even if they send me to the ends of the earth I'll find some way of stopping you from getting married, even if I have to kill you."
With the absence of úrsula, with the invisible presence of Melquíades, who continued his stealthy shuffling through the rooms, the house seemed enormous and empty. Rebeca took charge of domestic order, while the Indian woman took care of the bakery. At dusk, when Pietro Crespi would arrive, preceded by a cool breath of lavender and always bringing a toy as a gift, his fiancée would receive the visitor in the main parlor with doors and windows open to be safe from any suspicion. It was an unnecessary precaution, for the Italian had shown himself to be so respectful that he did not even touch the hand of the woman who was going to be his wife within the year. Those visits were filling the house with remarkable toys. Mechanical ballerinas, music boxes, acrobatic monkeys, trotting horses, clowns who played the tambourine: the rich and startling mechanical fauna that Pietro Crespi brought dissipated José Arcadio Buendía's affliction over the death of Melquíades and carried him back to his old days as an alchemist. He lived at that time in a paradise of disemboweled animals, of mechanisms that had been taken apart in an attempt to perfect them with a system of perpetual motion based upon the principles of the pendulum. Aureliano, for his part, had neglected the workshop in order to teach little Remedios to read and write. At first the child preferred her dolls to the man who would come every afternoon and who was responsi-ble for her being separated from her toys in order to be bathed and dressed and seated in the parlor to receive the visitor. But Aureliano's patience and devotion final-ly won her over, up to the point where she would spend many hours with him studying the meaning of the letters and sketching in a notebook with colored pencils little houses with cows in the corral and round suns with yellow rays that hid behind the hills.
Only Rebeca was unhappy, because of Amaranta's threat. She knew her sister's character, the haughtiness of her spirit, and she was frightened by the virulence of her anger. She would spend whole hours sucking her finger in the bathroom, holding herself back with an exhausting iron will so as not to eat earth. In search of some relief for her uncertainty, she called Pilar Ternera to read her future. After a string of conventional vagaries, Pilar Ternera predicted:
"You will not be happy as long as your parents remain unburied."

下一個星期六，霍·阿·布恩蒂亞象舞會那天嶄新的打扮一樣，穿上黑呢衣服，戴上賽璐珞領子，蹬上鹿皮鞋，去雷麥黛絲·摩斯柯特家爲兒子求婚。對於這次突然的訪問，鎮長夫婦不僅覺得榮幸，而且感到不安，因爲不瞭解來訪的原因；他們知道原因之後，又以爲霍·阿·布因恩蒂亞把對象的名字弄錯了。爲了消除誤會，母親從牀上抱起雷麥黛絲，抱進了客廳——小姑娘還沒完全醒來。父母問她是不是真想嫁人，可她哭着說，她只要他們別打攪她睡覺。霍·阿·布恩蒂亞明白了摩斯柯特夫婦懷疑的緣由，就去要奧雷連諾澄清事實。當他回來的時候，夫婦倆已經改穿了合乎禮節的衣服，把客廳裏的傢俱重新佈置了一下，在花瓶以插滿了鮮花，跟幾個大女兒一起正在等候他。霍·阿·布恩蒂亞顯得有點尷尬，而且被硬領弄得相當難受，肯定他說明兒子選中的對象真是雷麥黛絲。“可這是不合情理的，”懊喪的阿·摩斯柯特先生說。“除了她，我們還有六個女兒，她們全是待嫁的姑娘；象您公子這樣穩重、勤勞的先生，她們每一個都會高興地同意成爲他的妻子的，可奧雷連諾選中的偏偏是還在尿牀的一個。“他的妻子是個保養得很好的女人，神色不爽地責備丈夫說話粗魯。在喝完果汁之後，夫婦倆被奧雷連諾堅貞不渝的精神感動了，終於表示同意。不過摩斯柯特太太要求跟烏蘇娜單獨談談。烏蘇娜埋怨人家不該把她捲入男人的事情，其實很想知道個究竟，第二天就激動而畏怯地到了摩斯柯特家裏。半小時後她回來說，雷麥黛絲還沒達到成熟的時期。奧雷連諾並不認爲這是重要障礙。他已經等了那麼久，現在準備再等，要等多久都行，一直等候未婚妻到達能夠生育的年齡。
梅爾加德斯之死破壞了剛剛恢復的平靜生活。這件事本身是可以預料到的，然而發生這件事的情況卻很突然。梅爾加德斯回來之後過了幾個月，他身上就出現了衰老的現象；這種衰老現象發展極快，這吉卜賽人很快就成了一個誰也不需要的老頭兒了，這類老頭兒總象幽靈似的，在房間裏拖着腿子盪來盪去，大聲地叨唸過去的美好時光；誰也不理睬他們，甚至把他們拋到腦後，直到哪一天早上忽然發現他們死在牀上。起初，霍·阿·布恩蒂亞醉心於照相術，並且佩服納斯特拉達馬斯的預言，所以幫助梅爾加德斯干事。可是後來霍·阿·布恩蒂亞就逐漸讓他孤獨地生活了，因爲跟他接觸越來越難。梅爾加德斯變得又瞎又聾，糊里糊塗，似乎把跟他談話的人當成他知道的古人；回答問題時，他用的是稀奇古怪的混雜語言。他在屋子裏行走的時候，總是東摸西摸的，儘管他在傢俱之間移動異常敏捷，彷彿有一種辨別方向的本能，這種本能的基礎就是直覺。有一天夜裏，他把假牙放在牀邊的一隻水杯裏，忘了把它們戴上，以後就再也沒戴了。烏蘇娜打算擴充房屋時，叫人給梅爾加德斯蓋了一間單獨的屋子，這間屋子靠近奧雷連諾的作坊，距離擁擠、嘈雜的主宅稍遠一些，安了一扇敞亮的大窗子，還有一個書架，烏蘇娜親手把一些東西放在書架上，其中有：老頭兒的一些佈滿塵土、蟲子蛀壞的書籍；寫滿了神祕符號的易碎的紙頁；放着假牙的水杯，水杯裏已經長出了開着小黃花的水生植物。新的住所顯然符合梅爾加德斯的心意，因爲他連飯廳都不去了。能夠碰見他的地方只有奧雷連諾的作坊，他在那兒一待就是幾個小時，在以前帶來的羊皮紙上潦草地寫滿了令人不解的符號；這類羊皮紙彷彿是用一種結實、乾燥的材料製成的，象奶油松餅似的分作幾層。他是在這作坊裏吃飯的——維希塔香每天給他送兩次飯——，然而最近以來他胃口不好，只吃蔬菜，所以很快就象素食者那樣形容憔悴了。他的皮膚佈滿了黴斑，很象他從不脫下的那件破舊坎肩上的黴點。他象睡着的牲畜一樣，呼出的氣有一股臭味。埋頭寫詩的奧雷連諾，終於不再留意這吉卜賽人在不在旁邊，可是有一次梅爾加德斯嘰哩咕嚕的時候，奧雷連諾覺得自己聽懂了什麼。他仔細傾聽起來。在含混不清的話語中，他唯一能夠聽出的是象槌子敲擊一樣不斷重複的字兒：“二分點”和一個人名——亞歷山大·馮·洪波爾特。阿卡蒂奧幫助奧雷連諾千金銀首飾活兒時，比較接近老頭兒。阿卡蒂奧試圖跟梅爾加德斯聊聊，老頭兒有時也用西班牙語說上幾句，然而這些話語跟周圍的現實沒有任何關係。但是有一天下午，吉卜賽人忽然激動起來。若干年以後，阿卡蒂奧站在行刑隊面前的時候將會想起，梅爾加德斯渾身戰慄，給他念了幾頁他無法理解的著作；阿卡蒂奧當然不明白這是什麼東西，但他覺得吉卜賽人拖長聲音朗誦的，似乎是改成了音樂的羅馬教皇通諭。梅爾加德斯唸完之後，長久以來第一次笑了笑，並且用西班牙語說：“等我死的時候，讓人家在我的房間裏燒三天水銀吧。”阿卡蒂奧把這句話轉告了霍·阿·布恩蒂亞，後者試圖從老頭兒那裏得到進一步的解釋，可是僅僅得到簡短的回答：“我是永生的。”梅爾加德斯呼出的氣開始發臭時，阿卡蒂奧每個星期四早上都帶他到小河裏去洗澡，情況有了好轉，梅爾加德斯脫掉衣服，跟孩子們一起走到水裏，辨別方向的神祕感覺幫助他繞過了最深、最危險的地方。“我們都是從水裏出來的，”有一次他說。這樣過了許久，老頭兒似乎不在家裏了；大家見過他的只是那天晚上，他很熱心地想把鋼琴修好；還有就是那個星期四，他腋下夾着一個絲瓜瓤和毛巾裹着的一塊棕櫚肥皂，跟阿卡蒂奧到河邊去。在那個星期四，阿卡蒂奧叫梅爾加德斯去洗澡之前，奧雷連諾聽到老頭兒叨咕說：“我在新加坡沙灘上患熱病死啦。”這一次，梅爾加德斯走到水裏的時候，到了不該去的地方；次日早晨，在下游幾公里的地方纔找到了他；他躺在明晃晃的河灣淺灘上，一隻孤零零的禿鷲站在他的肚子上。烏蘇娜哀悼這個吉卜賽人超過了自己的親父，霍·阿·布恩蒂亞卻不顧她的憤然反對，禁止掩埋屍體。“梅爾加德斯是不朽的，他自己就說過復活的奧祕。”說着，他點燃廢棄了的熔鐵爐，把盛着水銀的鐵鍋放在爐子上，讓鐵鍋在屍體旁邊沸騰起來，屍體就逐漸佈滿了藍色氣泡。阿·摩斯柯特先生大膽地提醒霍·阿·布恩蒂亞說，淹死的人不埋掉是危害公共衛生的。“絕對不會，因爲他是活的，”霍·阿·布恩蒂亞反駁，並且繼續用水銀熱氣薰了整整七十二小時；到這個時候，屍體已經開始象藍白色的蓓蕾一樣裂開，發出細微的噝噝聲，屋子裏瀰漫了腐臭的氣味。這時，霍·阿·布恩蒂亞才允許掩埋屍體，但是不能馬馬虎虎地埋掉，而要用對待馬孔多最大的恩人的禮儀下葬。這是全鎮第一次人數最多的葬禮，只有一百年後格蘭德大娘的葬禮才勉強超過了它。在劃作墳場的空地中間挖了個坑，人們把吉卜賽人放入坑內，並且立了一塊石碑，上面刻着人們唯一知道的名字：梅爾加德斯。然後，人們連續幾夜爲他守靈。左鄰右舍的人聚在院子裏喝咖啡、玩紙牌、說笑話，一直鬧嘈嘈的，阿瑪蘭塔趁機向皮埃特羅·克列斯比表白了愛情；在這以前幾個星期，他已經跟雷貝卡訂了婚；在從前阿拉伯人用小玩意兒交換鸚鵡的地方，如今他開了一家樂器和自動玩具店，這地方就是大家知道的“土耳其人街”，這意大利人滿頭油光閃亮的容發，總要引起娘兒們難以遏止的讚歎，但他把阿瑪蘭塔看成一個淘氣的小姑娘，對她並不認真。
“我有個弟弟，”他向她說，“他就要來店裏幫我的忙了。”
阿瑪蘭塔覺得自己受了屈辱，氣虎虎地回答他說，她決定不管怎樣都要阻撓姐姐的婚姻，即使她自己的屍體不得不躺在房門跟前。皮埃特羅·克列斯比被這威脅嚇了一跳，忍不住把它告訴了雷貝卡。結果，由於烏蘇娜太忙而一直推遲的旅行，不到一個星期就準備好了。阿瑪蘭塔沒有抗拒，可是跟雷貝卡分手時，卻在她耳邊說：
“你別做夢！哪怕他們把我發配到天涯海角，我也要想方設法使你結不了婚，即使我不得不殺死你。”
由於烏蘇娜不在，而無影無蹤的梅爾加德斯仍在各個房間裏神祕地遊蕩，這座房子就顯得又大又空了。雷貝卡負責料理家務，印第安女人經管麪包房。傍晚，皮埃特羅·克列斯比帶着熏衣草的清香來到的時候，手裏總要拿着一件自動玩具當做禮物，未婚妻就在大客廳裏接待他；爲了避免流言蜚語，她把門窗全都敞開。這種預防措施是多餘的，因爲意大利人舉止謙恭，雖然這個姑娘不過一年就要成爲他的妻子，可他連她的手都不碰一下。這座房子逐漸擺滿了各種稀奇古怪的玩具。自動芭蕾舞女演員，八音盒，雜耍猴子，跑馬，鈴鼓小丑——皮埃特羅·克列斯比帶來的這些豐富多采的自動玩具，驅除了霍·阿·布恩蒂亞自從梅爾加德斯去世以來的悲傷，使他回到了自己研究鍊金術的時代。這時，他又生活在一個樂園裏了，這兒滿是開了膛的動物和拆散的機械；他想改進它們，讓它們按照鐘擺的原理不停地動。奧雷連諾卻把作坊拋在一邊，開始教小姑娘雷麥黛絲讀讀寫寫。起初，小姑娘寧願要自己的小囡囡，而不願要每天下午都來的這個陌生男人；他一來到，家裏的人就讓她放下玩具，給她洗澡、穿上衣服，叫她坐在客廳裏接待客人。可是，奧雷連諾的耐心和誠摯終於博得了她的歡心，以致她一連幾小時跟他呆在一起，學習寫字，用彩色鉛筆在小本兒上描畫房子和牛欄，畫出金光四射的落日。
感到不幸的只有雷貝卡一個人，她忘不了妹妹的威嚇。雷貝卡知道阿瑪蘭塔的性格和傲慢脾氣，害怕兇狠的報復。她一連幾小時坐在浴室裏咂吮指頭，拼命剋制重新吃土的慾望。爲了擺脫憂慮，她把皮拉·苔列娜叫來，請皮拉·苔列娜用紙牌給她占卜。皮拉·苔列娜照舊含糊不清地說了一通之後，預言說：
“只要你的父母還沒埋葬，你就不會幸福。”