Why is the opening chapter of One Hundred Years of Solitude a recognized classic?

Years later, facing the firing squad, Aureliano. Colonel Buendía will recall that distant afternoon when his father took him to see the ice. At that time, Macondo was a village of twenty families, with mud and reed houses lined up along the riverbank, the water was crystal clear, and the pebbles in the riverbed were white and smooth, like a prehistoric dome.

This is the classic opening sentence of "One Hundred Years of Solitude", which has been imitated by countless ** families. The first sentence of the beginning, just 42 words, contains three concepts of time and space: past, present, and future, which creates an almost unprecedented way of narrating: recalling the past from the perspective of the future.

The integration of the three concepts of time and space is so refined and natural, and there are scholars who have not seen it in other authors, which shows the depth of Marquez's skills.

One Hundred Years of Solitude is written by Colombian writer Marquez, a book that combines reality and fantasy to present us with a wonderful world of reverie. Moreover, it presents the past, present and future in different forms, and after reading it, we can think about many questions, feel something, and get some inspiration.

Typical flashback structure, but its power does not lie in the novel flashback structure, but leaves the reader with huge suspense, which makes people have to read on. The master faces the death penalty in public, what causes him to have to face death? The father takes the protagonist to see the ice cubes, does the ice cube have any symbolic meaning?

None of these questions are directly explained by the author, and we can only look for them in the book. And the last sentence, "The pebbles in the riverbed are white and smooth, like a prehistoric dome", suddenly pulls people into a mysterious and magical space.

The classic sense of the opening sentence of the centennial chapter comes from the fact that it combines the three temporal tenses of "future-present-past" together, pulls over, pulls the past, the present colonel, the future in many years, recalls the distant past when it was very young, and the past-present-future, in one sentence, the reader has experienced a variety of time and space transformations in an instant, and suddenly has a sense of history of the vicissitudes of life. At this point, the prosperous end of life suddenly flashes at the end of the distant childhood scene, in the sentence structure, the present, future, past, future past tense and other different tense structures all appear in the mind at this moment, which is the ultimate experience of life.

In the face of death, of course, there is the fear of death and the nostalgia for life. But I'm afraid it's more about reminiscing about the journey of life. García Márquez's classic opening tells us that in the face of death, it is easiest for people to enter the depths of their own memories, and those seemingly ordinary things and experiences in the course of life shine in the distance.

It is these things and experiences that make up the absurd and uninhibited dream of life. García Márquez started with "Ice Cubes" and brought people into a dream life and a magical journey.

Márquez's classic opening has influenced countless writers around the world, and his magical realism has made countless writers keep mentioning and repeating imitations. For China's literary creation in the new era, no work has had such a great impact as "One Hundred Years of Solitude".

Such an opening is extremely challenging and adventurous in writing, like a football game, and the narrator comes up and tells the audience the outcome of the game. Knowing the result, the interest in reading it will be greatly reduced, and if it is not well written, it is easy for the reader to lose the desire to read it, but it is clear that Márquez has done a good job.

Those who can read the original Spanish are undoubtedly the luckiest. I was lucky to be able to understand the English translation. Looking at the Chinese translation, the long snack is enough, because it has nothing to do with the original work.

Is it a classic? I also watched some of it and didn't feel any difference. Forgive us for being too low in culture. Or maybe it's a different culture, I don't like this book.

Returning to the truth, only the call from the bottom of one's heart when facing death is the most real. The change in Macondo is the change of the economic era, and people's lives have changed with it, but is the result of the mutation really what we want? Perhaps asking oneself before death is the most real.

Because its opening has been liked by many people, and it has also condensed the resonance of many people.

I just finished reading "One Hundred Years of Solitude" recently, and I don't like it. And especially dislike "magical realism"! I like the "Unbearable Lightness of Life" that I am reading very much, which shows the helplessness and tragic endings of several characters who seem to have escaped the weight of life, but still can't bear the lightness of life, and goes straight to the depths of the soul and makes people sad.

The opening is not a classic literary work, War and Peace, Waiting Dream, David is not a flyer, Hardy's work,

I don't know how to appreciate, I talk about it, I can't find a central idea, and the title of the book attracts me to buy.

Magical realism is written in a special way, and only South American writers can write in this style.

If I could only watch one ** in my life, it would be "One Hundred Years of Solitude".

History books can let us know an era, but ** can make us understand an era.

The translator has made a lot of contributions, and I like Mr. Fan Ye's version of One Hundred Years of Solitude.

One of my favorite passages in the book is Ursula's remark to Amaranta, "A minute of reconciliation is worth a lifetime of friendship," p. 246.

A work by Nobel laureate Marquez**, a monumental work that reproduces the historical and social picture of Latin America.

1. The blindness or opening chapter reveals one of the most common and non-negligible phenomena encountered by people in the process of understanding, that is, the first nomenclature. Knowing something new for the first time left an indelible impression on my mind. And the first surprise or fear can always come to mind in the form of an indelible memory, and the visual interpretation of the universal phenomenon gives the beginning a permanent and strong vitality.

2. The description of Magondo is a degraded counterpoint to the Bible Genesis, which is a new beginning, and the author uses this counterpoint to convey a sublime beauty that is consistent with the Bible itself, so that the reader can resonate after reading. Thus entering the situation and examining everything that was created in the heavens and the earth in a Godly manner.

3. The reversal of time makes the beginning of the story more rich and confusing. "Years later", "will", "distant afternoon", these words refer to the present, the future and the past. In the author's pen, time is no longer linear, but mixed together, to the original simple narrative, into the connotation of no limit of the mind, let people wander in different time and space at the same time, thus bringing a strong desire to read to the reader.

Because the book depicts the life of seven generations of the Buendia family, the names of the characters in the book are also natural and meaningfulThe title of the book is designed through "One Hundred Years of Solitude", which aims to prove that loneliness is like a spinning wheel, it is a cycle, and the protagonist of the book keeps repeating a strikingly similar fate, which is a curse that the family cannot escape.

The title of the book, "One Hundred Years", is the writer's conception of history and life as a cyclical process when describing the 100-year history of the Buendia family and Macondo. In the past 100 years, starting from zero and back to zero, a big circle has been walked. This cyclical approach is conceived throughout the book's plot structure and character descriptions, and its intention is clearly to show that Latin America's 100-year history has not escaped the predicament of poverty, backwardness, and ignorance.

The second meaning of the title of the book is "loneliness", and Márquez sees that there are external causes of misfortune and disaster in Latin America, as well as internal causes of their own existence, especially spiritual causes. He attributed this pervasive problem in spiritual life to loneliness. The members of his Buendia family, despite their differences in appearance and personality, have a spirit of solitude that has been passed down from generation to generation and governs their actions.