《百年孤獨(dú)》經(jīng)典段落摘抄閱讀
《百年孤獨(dú)》，是哥倫比亞作家加西亞·馬爾克斯的代表作，被譽(yù)為“再現(xiàn)拉丁美洲歷史社會圖景的鴻篇巨著”。下面學(xué)習(xí)啦小編為大家?guī)怼栋倌旯陋?dú)》經(jīng)典段落摘抄閱讀，歡迎大家閱讀!
《百年孤獨(dú)》經(jīng)典英語段落摘抄篇一
Active, small, and indomitable like ?rsula, and almost as pretty and provocative as Remedios the Beauty, she was endowed with a rare instinct for anticipating fashion. When she received pictures of the most recent fashions in the mail, they only proved that she had not been wrong about the models that she designed herself and sewed on Amaranta’s primitive pedal machine. She subscribed to every fashion magazine, art publication. and popular music review published in Europe, and she had only to glance at them to realize that things in the world were going just as she imagined they were. It was incomprehensible why a woman with that spirit would have returned to a dead town burdened by dust and heat, and much less with a husband who had more than enough money to live anywhere in the world and who loved her so much that he let himself be led around by her on a silk leash. As time passed, however, her intention to stay was more obvious, because she did not make any plans that were not a long way off, nor did shedo anything that did not have as an aim the search for a comfortable life and a peaceful old age in Macondo. The canary cage showed that those aims were made up on the spur of the moment. Remembering that her mother had told her in a letter about the extermination of the birds, she had delayed her trip several months until she found a ship that stopped at the Fortunate Isles and there she chose the finest twenty-five pairs of canaries so that she could repopulate the skies of Macondo. That was the most lamentable of her numerous frustrated undertakings. As the birds reproduced Amaranta ?rsula would release them in pairs, and no sooner did they feel themselves free than they fled the town. She tried in vain to awaken love in them by means of the bird cage that ?rsula had built during the first reconstruction of the house. Also in vain were the artificial nests built of esparto grass in the almond trees and the birdseed strewn about the roofs, and arousing the captives so that their songs would dissuade the deserters, because they would take flights on their first attempts and make a turn in the sky, just the time needed to find the direction to the Fortunate Isles.
她象烏蘇娜一樣活潑、纖小、難以駕馭，并且?guī)缀跬喂媚锢滣旖z同樣漂亮和誘人。她有一種能夠預(yù)測時(shí)尚的罕見本能。當(dāng)她從郵件里收到最新式的時(shí)裝圖片時(shí)，旁人不得不贊賞她親自設(shè)計(jì)的式樣：她用阿瑪蘭塔的老式腳踏縫紉機(jī)縫制的衣服和圖片上的完全一樣。她訂閱了歐洲出版的所有時(shí)裝雜志、美術(shù)刊物、大眾音樂評論，她經(jīng)常只要瞟上一眼，便知道世界萬物正按照她的想象發(fā)展變化，具有這種氣質(zhì)的女人，居然要回到這個(gè)滿是灰塵、熱得要命的死鎮(zhèn)上來，真是不可理解，何況她有一個(gè)殷實(shí)的丈夫，錢多得足以在世界上任何地方生活，而且他對她很有感情，甘心讓她牽著絲帶到處走。隨著時(shí)光的流逝，她準(zhǔn)備久居的意思更加明顯，因?yàn)樗挠?jì)劃是長遠(yuǎn)的，她的打算就是在馬孔多尋求舒適的生活以安度晚年。金絲雀籠子表明她的決定不是突然的。她想起了母親在一封信里告訴過她關(guān)于捕殺鳥類的事情，就把動身的時(shí)間推遲了幾個(gè)月，直到發(fā)現(xiàn)了停泊在幸福島的一只輪船。她在島上挑選了二十五對最好的金絲雀，這樣她就可以使馬孔多的天空又有飛鳥生存了。這是她無數(shù)次失敗中最可悲的一次。鳥兒繁殖以后，阿瑪蘭塔·烏蘇娜卻把它們一對對地放出去;鳥兒們獲得了自由，便立即從小鎮(zhèn)飛走了。她想用烏蘇娜第一次重建房子時(shí)所做的鳥籠來喚起鳥兒們的感情，可是沒有成功。她又在杏樹上用蘆草編織了鳥巢，在巢頂撒上鳥食，引誘籠中的鳥兒唱歌，想借它們的歌聲勸阻那些飛出籠子的鳥兒不要遠(yuǎn)走高飛，但也失敗了，因?yàn)轼B兒一有機(jī)會展開翅膀，便在空中兜一個(gè)圈子，辨別了一下幸福島的方向，飛去了。
《百年孤獨(dú)》經(jīng)典英語段落摘抄篇二
One hot dawn they both woke up in alarm at an urgent knocking on the street door. It was a dark old man with large green eyes that gave his face a ghostly phosphorescence and with a cross of ashes on his forehead. His clothing in tatters, his shoes cracked, the old knapsack on his shoulder his only luggage, he looked like a beggar, but his bearing had a dignity that was in frank contradiction to his appearance. It was only necessary to look at him once, even in the shadows of the parlor, to realize that the secret strength that allowed him to live was not the instinct of self-preservation but the habit of fear. It was Aureliano Amador, the only survivor of Colonel Aureliano Buendía’s seventeen sons, searching for a respite in his long and hazardous existence as a fugitive. He identified himself, begged them to give him refuge in that house which during his nights as a pariah he had remembered as the last redoubt of safety left for him in life. But Jos?Arcadio and Aureliano did not remember him. Thinking that he was a tramp, they pushed him into the street. They both saw from the doorway the end of a drama that had began before Jos?Arcadio had reached the age of reason. Two policemen who had been chasing Aureliano Amador for years, who had tracked him like bloodhounds across half the world, came out from among the almond trees on the opposite sidewalk and took two shots with their Mausers which neatly penetrated the cross of ashes.
一個(gè)炎熱的早晨，他們被一陣急促的敲門聲驚醒。敲門的是一個(gè)陌生老頭兒。一對綠瑩瑩的大眼睛閃著幽靈似的光芒。老頭兒有一副嚴(yán)峻的面孔，額上現(xiàn)出一個(gè)灰十字。那件襤褸的衣服，那雙破舊不堪的皮鞋，那只搭在肩上的舊麻袋——這是他唯一的財(cái)產(chǎn)——使他顯出一副窮漢的模樣，但是他的舉止依然顯得尊嚴(yán)，跟他的外貌形成鮮明的對比。在半明不暗的客廳中，甚至一眼就能看出，支持這個(gè)人生存的內(nèi)在力量，并不是自衛(wèi)的本能，而是經(jīng)常的恐懼。原來，這是奧雷連諾·阿馬多。在奧雷連諾上校的十六個(gè)兒子當(dāng)中，他是唯一幸存的人。一種完全意外的逃犯生活，把他弄得精疲力竭，他渴望休息。他說出自己的名字，懇求他倆讓他在房子里住下來，因?yàn)樵谀切┎幻咧估?，他曾把這座房子看作是他在大地上的最后一個(gè)避難所。誰知霍。 阿卡蒂奧和奧雷連諾·布恩蒂亞一點(diǎn)也不知道這個(gè)親戚，他倆把他錯(cuò)當(dāng)成一個(gè)流浪漢，把他猛地推到街上。他倆站在門口，目睹了早在霍·阿卡蒂奧出世之前就開始的一場戲劇的結(jié)局。在街道對面的幾棵杏樹下，忽然出現(xiàn)警察局的兩個(gè)密探——他們在過去的許多年中，一直在追捕奧雷連諾·阿馬多，——他們象兩條獵犬似的順著他的蹤跡從門前跑過，只聽到“砰砰”兩聲槍響，奧雷連諾·阿馬多一頭栽倒在地上，兩顆子彈正好打中他額上的那個(gè)十字。
《百年孤獨(dú)》經(jīng)典英語段落摘抄篇三
Almost a year after his return home, having sold the silver candlesticks and the heraldic chamberpot—which at the moment of truth turned out to have only a little gold plating on the crest—in order to eat, the only distraction of Jos?Arcadio was to pick up children in town so that they could play in the house. He would appear with them at siesta time and have them skip rope in the garden, sing on the porch, and do acrobatics on the furniture in the living room while he would go among the groups giving lessons in good manners. At that time he had finished with the tight pants and the silk shirts and was wearing an ordinary suit of clothing that he had bought in the Arab stores, but he still maintained his languid dignity and his papal air. The children took over the house just as Meme’s schoolmates had done in the past. Until well into the night they could be heard chattering and singing and tap-dancing, so that the house resembled a boarding school where there was no discipline. Aureliano did not worry about the invasion as long as they did not bother him in Melquíades?room. One morning two children pushed open the door and were startled at the sight of a filthy and hairy man who was still deciphering the parchments on the worktable. They did not dare go in, but they kept on watching the room. They would peep in through the cracks, whispering, they threw live animals in through the transom, and on one occasion they nailed up the door and the window and it took Aureliano half a day to force them open. Amused at their unpunished mischief, four of the children went into the room one morning while Aureliano was in the kitchen, preparing to destroy the parchments. But as soon as they laid hands on the yellowed sheets an angelic force lifted them off the ground and held them suspended in the air until Aureliano returned and took the parchments away from them. From then on they did not bother him.
霍·阿卡蒂奧回到父母家里差不多只過了一年，就變賣了銀制的枝形燭臺和一只裝飾著徽記的便盆——老實(shí)說，這便盆上只有徽記才是金的，——他唯一的消遣就是在房子里集合起一些野男孩，并給他們充分的自由，在最熱的晌午時(shí)刻，他讓他們在花園里跳繩，在長廊上大聲唱歌，在安樂椅和沙發(fā)上翻筋斗，他自己卻在這一伙跟那一伙之間轉(zhuǎn)來轉(zhuǎn)去，教他們各種禮節(jié)。這時(shí)，他已經(jīng)脫掉牛仔褲和真絲襯衫，穿了一套從阿拉伯人小店里買來的普通西服，不過還繼續(xù)保持著倦怠的神態(tài)和教皇的風(fēng)度。孩子們象從前梅梅的女伴們一樣，很快就熟悉了整座房子。每到深夜，都能聽到他們的饒舌聲、唱歌聲、打紅雀聲——整座房子好象一所寄宿學(xué)校，住著一群放蕩不羈的孩子。奧雷連諾·布恩蒂亞并沒發(fā)現(xiàn)這一點(diǎn)，可是小客人們不久就闖到梅爾加德斯的房間前面。有一天早晨，兩個(gè)野男孩猛地拉開房門，不由得嚇了一大跳，只見一個(gè)骯里骯臟、頭發(fā)蓬亂的人坐在桌子旁邊鉆研羊皮紙手稿。男孩們不放貿(mào)然進(jìn)去，但從此卻對這個(gè)古怪的陌生人發(fā)生了興趣。他們在門外唧唧咕咕，不時(shí)往鎖孔里窺視，把各種臟東西從氣窗扔進(jìn)房間，有一次還拿洋釘從外面把門窗釘死，奧雷連諾。 布恩蒂亞只好花上整整半天工夫給自己開辟一條出路。由于沒有懲罰孩子們玩的把戲，姑息了他們，他們的膽子更大了。有一次，趁奧雷連諾。布恩蒂亞在廚房的時(shí)候，四個(gè)男孩鉆進(jìn)他的房間，企圖毀掉羊皮紙手稿。不想他們剛一抓起發(fā)黃的稿卷，一股無形的力量一下子把他們提了起來，把他們一個(gè)個(gè)懸在空中，直到奧雷連諾·布恩蒂亞回來，從他們手里奪回了羊皮紙手稿。從那天起，他們再也沒有打擾過他了。
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《百年孤獨(dú)》經(jīng)典段落摘抄閱讀
