Among all the members of the Buentia family, the first generation, Huo A. Buentia, and the sixth generation, Aureliano Buentia, are the most intelligent and outstanding. Both were good men who fell innocently into human solitude. The former, whose genius of imagination transcended the creativity of nature and the limits of human scientific understanding, stepped into the mysterious and mysterious no man's land; the latter, whose destiny made him the last survivor of his family, and at the same time an undesirable person, suffered from loneliness. Huo a Buentia founded the town of Macondo, while Aureliano Buentia declared and witnessed the destruction of Macondo, the town with which he had died, in his dilapidated and lonely house.
For Ho-a-Buentia, scientific inquiry used to take precedence over all else; to prove the gold-mining power of magnets, he traded all his family's possessions (a mule and two goats) for two magnets from the gypsy Melgadês; and to prove the strategic salutary power of the magnifying glass, "he shot the focus of the sunlight on himself, and suffered burns because of it! ". He "envisioned the concept of space" on the basis of charts and navigational instruments, and from then on, without going out of his room, "he was able to navigate unfamiliar oceans and examine uninhabited lands ...... ". He even proved that "the earth is round, like an orange" with the aid of an observatory alone. He was once frightened by the camera, but quickly mastered the technique and tried to use it to obtain "scientific proof of the existence of God", because, in his opinion, since photography can capture the image of man, the image of God can certainly be captured, but he finally failed to capture the image of God, so he had to "believe in the existence of God". He was forced to "believe that God does not exist".
Ho a Buentia's second creative achievement for the town of Macondo, which can be read as a microcosm of human society, was the introduction of clocks into the town, which chimed with birdsong, and the substitution of mechanical time for natural time marked Macondo's passage from a primitive utopia to the modern world. Huo a Buentia even "attached the clock's clockwork to an automated ballerina, and the toy danced non-stop for three days to its own musical accompaniment." His passion for perpetual motion, however, meant that he had gone beyond science and entered the eternal moment. Finally, he loses his sense of time altogether and is trapped in a perpetual, maniacal solitude. In short, the loneliness of the first Buentia was the loneliness of a genius, a man who thought beyond the limits of the ordinary, and thus stepped into his own personal world of magical and undeliverable solitude.
In contrast, the sixth Aureliano Buentia is the wretch chosen by fate to bear the burden of loneliness. He lives in a time of decay and decline, destined to represent a dying family and endure the loneliness that fate has bestowed upon him. Aureliano Buentia is an illegitimate child with no right to appear before the world. He had been hidden by his grandmother in the room of Melgadês, and had "spanned his boyhood by memorizing fanciful stories from the ragged books, by reading a brief account of the doctrines of Friar Hermann Crippel, by looking at short commentaries on demonology, by learning about the method of finding the point of gold, by perusing the Centuries of Nostradamus, and by studying essays on the plague; and he had no conception of his own time , but mastered the most important scientific knowledge of medieval mankind." He confirmed that Melgadês's book of prophecies was written in Sanskrit, inspired by the Encyclopedia Britannica. And, again prompted by Melgadês' prophetic book, Aureliano Buentia bought back a Sanskrit grammar book and mastered this mysterious language. But fate did not give him the chance to save himself. He inevitably falls in love with his aunt, Amaranta Usuna, and thus abandons further interpretation of the prophecy. The "lovers lost their sense of reality and time" and fell into an eroticism that "made Philander in his grave tremble with fear". Eventually, "they grow accustomed to a life of solitude in a house that needs only a phoenix to collapse."
In summary, the two outstanding representatives of the Buentia family, Ho-a-Buentia and Aureliano Buentia, symbolize the stage of scientific exploration and the period of civilization's fall, respectively. Neither of them is a real person, but a voice of some kind. Their loneliness is inevitable, and their pairing signals a realm and a destiny.
Additionally, one of the characters in the novel that the author has devoted most attention to is Colonel Orellano, who endures the loneliness of power and arouses the author's great sympathy and ****ing. In Colonel Orellano's life, vanity, pride, and honor mark his trail to loneliness. Youth, Orellano due to thin, in front of his tall and stout brother, ashamed of himself, by psychological depression, so refused to associate with all women, hiding all day in his father's laboratory, making small jewelry. Colonel Orellano was guided by pride, "out of pride he went into battle", and he knew: "by giving up his pride he could put an end to the vicious circle of war". However, it is the growing sense of honor that prevents him from taking this step. The sense of honor is the clearest recognition and desire for power. Colonel Orellano is driven by his sense of honor towards his journey to become a tyrant and a dictator. He shot the conservative mayor of the town, brutally murdered his wife, and instigated his men to assassinate the rebellious General Tefero ...... And when his intoxicating power came into his hands, he felt nothing but "bone-chilling coldness," boundless fear, deathly indifference, and inescapable disillusionment. He finally rediscovered in a long dark night that "the life of the common man is precious". He declares "the burlesque is over", and then suppresses the uprising he had led with even more brutality in order to achieve defeat and end the war. But after being freed from the loneliness of power, he was immediately plunged into the deathly loneliness of spiritual emptiness. In anticipation of his hard-won death, he returns to his father's laboratory to make little goldfish. "He exchanged the goldfish for gold coins, then turned the gold coins into goldfish, and so on endlessly, and the more he sold, the more work he did." Colonel Orellano was also special in that he had the power of prophecy. This superhuman talent of his was both paramount to his acquisition of power and a major reason why he was able to have an epiphany about the vanity of power and move into emptiness. Orellano began to cry while still in the womb of his mother, Ursuna, as if foreseeing the pain that awaited him in the world; he gazed with horror at the rickety ceiling of his home as soon as he was born, as if sensitive to the family's downfall from the very beginning; and he was aware of everything that happened in his home while he was away at war. He famously said that everything could be known in advance. Perhaps it was this superhuman foresight that doomed him to move beyond power, honor, the inertia of goodness and all the pleasures of life to deathlike boredom, indifference and solitude.
Amaranta, Rebecca and the saucy girl Remedes are three of the more important women in the novel, who show the richness and complexity of the female emotional world through hate, love and purity respectively. Amaranta and Rebecca's loneliness is the result of wild lust. They were originally a pair of good sisters, but unfortunately fell in love with an Italian pianist at the same time. Rebecca's triumph in love aroused Amaranta's jealousy and hatred, and she therefore firmly believed that "love is dangerous and does not have a good outcome". When the Italian pianist is abandoned by Rebecca and turns to Amaranta, she rejects his proposal of marriage out of hand, although she still loves him; her feelings for Colonel Max are mixed with sympathy and abuse; and her incestuous play with her nephew is motivated by instinctive desires and a certain feeling of self-pity. Psychoanalytically, Amaranta's behavior is symptomatic of a pathology known as "engulfment anxiety": "In order to relate to others, one needs a solid and reliable sense of autonomous identity. However, any connection in life exposes the individual to a loss of identity, and the resulting anxiety is known as engulfment anxiety". ...... Individuals wounded by engulfment anxiety have isolation as their primary means of preserving their identity." For such a person, being loved is more frightening than being hated, because to be loved means to be overwhelmed, to be swallowed up, because "to be loved by another person is tantamount to being under an obligatory commitment." It is in this morbid "swallowing anxiety" that Amaranta is driven to despair and loneliness. In contrast to Amaranta, Rebecca is crazy about love and sexuality, wanting to be surrounded and suffocated. ...... Her first relationship as a teenager was motivated by the desire for love, and it didn't matter who she fell in love with. After marrying Huo Arcatio, who was as crazy as she was, she lived a life of extreme indulgence. Rebecca's loneliness is caused by the death of her husband, but who killed him? Perhaps to dispel our suspicions (or perhaps just to remind us)? The author preemptively retorts in the novel, '"Why would Rebecca beat to death the one man who made her happy"'? But the reader is still left with the suspicion that she, like Faulkner's Emily, would rather kill her lover in order to possess him forever. In any case, after her husband's mysterious death, Rebecca lives a life of complete isolation, like a living dead person, and seems to savor a certain peace in such solitude. Completely different from Amaranta and Rebecca, the pretty girl Remedes is perfection personified. She had stunning looks and the purest of hearts. However, her beauty seemed to be too extreme; her mind transcended all the universal inertia of human beings such as love, hate, jealousy, sympathy, melancholy and pain, and tended towards a deathly serenity. All this predetermined that she would not be able to stay on earth for long, and moreover prescribed her lonely destiny. Her flight to heaven symbolizes that perfection cannot survive on earth, and that the pursuit of perfection is fatal and, of course, accompanied by loneliness.
In One Hundred Years of Solitude, the individual's destiny and experience of loneliness are woven into a family history, which at the same time represents a national history. The loneliness of this nation is mainly reflected in the fact that the conflict between local and foreign cultures reproduces the spiritual situation of the people of Latin America who are at a loss as to what to do: they are strangers in their own homeland. Under Spanish colonization, Western culture became the discourse of power in Latin American culture. Spanish-style education signaled poise, cultivation, and orthodoxy, while the free and happy life that the people of Macondo (a fictional town in the novel, but one that can be read as a symbol of Latin America as a whole) had originally lived was considered to be full of sin. Ursuna, the matriarch of the family, is plunged into the "bleak loneliness of twilight" when her daughter-in-law, Firanda, the archetype of Western civilization and upbringing, arrives in the family. The cultural differences caused Usuliu, a good representative of the Latin American people, to lose her original judgment: "What was clear by intuition, she tried to see with her eyes and blundered." She had to "completely change her views about future generations".
Even after independence from Spanish colonial rule, the human invasion of Western culture did not stop. With the introduction of the advanced scientific culture of the West, various Western cultural discourses invaded Macondo: "the first and last ship anchored in the town of Macondo" was in fact only a "raft made of barrio wood", the second "failed creation" of José Arcántio, and the second "failed creation" of the "first" of the "second" of the "second" of the "second" of the "second" of the "second" of the "second" of the "second" of the "second" of the "second". He was the second "failed creation" of José Arcántio. This raft was not the realization of his grandfather's dream, but a great irony, because it was not a great invention, but a so-called "new breath of life": the French prostitutes, "whose skill changed the traditional ways of love", "initiated a bloodbath". They "initiated a bloody carnival that plunged Macondo into a state of madness for three days in a row." Carnival brought to the people of Macondo not joy and liberation, but deception, terror, chaos, and carnage. In Macondo's Carnival, "the flash of gunfire drowned out the luster of the fireworks," and the square was littered with corpses after the revelry. Not only that, but Carnival plunges Macondo into a mood of incomprehensible revelry. Orellano II is a prominent representative of this mood. He cries out, "Breed, life is short!" He has a mistress with an extreme sexual appetite, a woman whose proximity to any livestock causes them to multiply wildly; he feasts every day at his home, entertaining friends and foreigners who continue to flock to Macondo. ...... His madness, however, is just another form of loneliness, as is evidenced by the bleakness of his later years and his agonizing death. this.
When the train first rolled into Macondo, "for a few moments Macondo shuddered at the terrible sound of the whistle and the puffing, puffing jet." "The good-looking yellow train was destined to bring so much doubt and certainty, so much good and bad, so much change, disaster and sorrow to Macondo." The train brought electric lights, telephones and movies to the Makondo people, enabling them to enjoy the comforts of modern civilization and the party make; the train also brought banana companies to the Makondo people, causing their lives to deviate from the routine and heading towards destruction. In García Márquez, the "banana fever" created by the banana companies was "somehow related to the war", but it was a real peaceful evolution. The foreigners who flocked to Macondo turned Macondo upside down. "By the power of God, they changed the state of the rains, shortened the period of ripening of the crops, and relocated the rivers. ......" But what they brought was not only a scientific miracle, but also a socio-cultural prejudice. However, they brought not only scientific miracles, but more importantly, social and cultural prejudices. They brought with them hierarchies of superiority and inferiority and racial discrimination. "They built another town on the other side of the tracks," and "the whole neighborhood was fenced with high metal fences, like a huge electrified chicken farm." "Arbitrary and arrogant foreigners replaced the local officials." The soldiers representing the government seemed to be "suffering from the lymphatic plague of blind obedience." They brutally killed more than 3,000 workers in a general strike to suppress workers' resistance to foreign oppression, and shamelessly denied the fact, declaring, "Not a single person died, and the workers went home safely."
In short, everything that came with the ships and trains symbolized the suffering of the Latin American people under the control of the hegemonic forces of the West: they did not recognize their own municipalities, they killed each other, they lost their original self-respect and the minimum of their personality, all their struggles and efforts failed, and in despair they went to the deepest loneliness -- death. -Death. In the end, the town of Macondo flew into the sky in a wild phoenix and disappeared without a trace.