One Hundred Years of Solitude

ut tree by his hands and feet, soaked with rain and in a state of total innocence. They spoke to him and he looked at them without recognizing them, saying things they did not understand. Ursula untied his wrists and ankles, lacerated by the pressure of the rope, and left him tied only by the waist. Later on they built him a shelter of palm branches to protect him from the sun and the rain.





AURELIANO BUENDIA and Remedios Moscote were married one Sunday in March before the altar Father Nicanor Reyna had set up in the parlor. It was the culmination of four weeks of shocks in the Moscote household because little Remedios had reached puberty before getting over the habits of childhood. In spite of the fact that her mother had taught her about the changes of adolescence, one February afternoon she burst shouting into the living room, where her sisters were chatting with Aureliano, and showed them her panties, smeared with a chocolate-colored paste. A month for the wedding was agreed upon. There was barely enough time to teach her how to wash herself, get dressed by herself, and understand the fundamental business of a home. They made her urinate over hot bricks in order to cure her of the habit of wetting her bed. It took a good deal of work to convince her of the inviolability of the marital secret, for Remedios was so confused and at the same time so amazed at the revelation that she wanted to talk to everybody about the details of the wedding night. It was a fatiguing effort, but on the date set for the ceremony the child was as adept in the ways of the world as any of her sisters. Don Apolinar Moscote escorted her by the arm down the street that was decorated with flowers and wreaths amidst the explosion of rockets and the music of several bands, and she waved with her hand and gave her thanks with a smile to those who wished her good luck from the windows. Aureliano, dressed in black, wearing the same patent leather boots with metal fasteners that he would have on a few years later as he faced the firing squad, had an intense paleness and a hard lump in his throat when he met the bride at the door of the house and led her to the altar. She behaved so naturally, with such discretion, that she did not lose her composure, not even when Aureliano dropped the ring as he tried to put it on her finger. In the midst of the murmurs and confusion of the guests, she kept her arm with the fingerless lace glove held up and remained like that with her ring finger ready until the bridegroom managed to stop the ring with his foot before it rolled to the door, and came back blushing to the altar. Her mother and sisters suffered so much from the fear that the child would do something wrong during the ceremony that in the end they were the ones who committed the impertinence of picking her up to kiss her. From that day on the sense of responsibility, the natural grace, the calm control that Remedios would have in the face of adverse circumstances was revealed. It was she who, on her own initiative, put aside the largest piece that she had cut from the wedding cake and took it on a plate with a fork to Jose Arcadio Buendia. Tied to the trunk of the chestnut tree, huddled on a wooden stool underneath the palm shelter, the enormous old man, discolored by the sun and rain, made a vague smile of gratitude and ate the piece of cake with his fingers, mumbling an unintelligible psalm. The only unhappy person in that noisy celebration, which lasted until dawn on Monday, was Rebeca Buendia. It was her own frustrated party. By an arrangement of Ursula's, her marriage was to be celebrated on the same day, but that Friday Pietro Crespi received a letter with the news of his mother's imminent death. The wedding was postponed. Pietro Crespi left for the capital of the province an hour after receiving the letter, and on the road he missed his mother, who arrived punctually Saturday night and at Aureliano's wedding sang the sad aria that she had prepared for the wedding of her son. Pietro Crespi returned on Sunday midnight to sweep up the ashes of the party, after having worn out five horses on the road in an attempt to be in time for his wedding. It was never discovered who wrote the letter. Tormented by Ursula, Amaranta wept with indignation and swore her innocence in front of the altar, which the carpenters had not finished dismantling.

Father Nicanor Reyna--whom Don Apolinar Moscote had brought from the swamp to officiate at the wedding--was an old man hardened by the ingratitude of his ministry. His skin was sad, with the bones almost exposed, and he had a pronounced round stomach and the expression of an old angel, which came more from simplicity than from goodness. He had planned to return to his parish after the wedding, but he was appalled at the hardness of the inhabitants of Macondo, who were prospering in the midst of scandal, subject to the natural law, without baptizing their children or sanctifying their festivals. Thinking that no land needed the seed of God so much, he decided to stay on for another week to Christianize both circumcised and gentile, legalize concubinage, and give the sacraments to the dying. But no one paid any attention to him. They would answer him that they had been many years without a priest, arranging the business of their souls directly with God, and that they had lost the evil of original sin. Tired of preaching in the open, Father Nicanor decided to undertake the building of a church, the largest in the world, with life-size saints and stained-glass windows on the sides, so that people would come from Rome to honor God in the center of impiety. He went everywhere begging alms with a copper dish. They gave him a large amount, but he wanted more, because the church had to have a bell that would raise the drowned up to the surface of the water. He pleaded so much that he lost his voice. His bones began to fill with sounds. One Saturday, not even having collected the price of the doors, he fell into a desperate confusion. He improvised an altar in the square and on Sunday he went through the town with a small bell, as in the days of insomnia, calling people to an open-air mass. Many went out of curiosity. Others from nostalgia. Others so that God would not take the disdain for His intermediary as a personal insult. So that at eight in the morning half the town was in the square, where Father Nicanor chanted the gospels in a voice that had been lacerated by his pleading. At the end, when the congregation began to break up, he raised his arms signaling for attention.

"Just a moment," he said. "Now we shall witness an undeniable proof of the infinite power of God."

The boy who had helped him with the mass brought him a cup of thick and steaming chocolate, which he drank without pausing to breathe. Then he wiped his lips with a handkerchief that he drew from his sleeve, extended his arms, and closed his eyes. Thereupon Father Nicanor rose six inches above the level of the ground. It was a convincing measure. He went among the houses for several days repeating the demonstration of levitation by means of chocolate while the acolyte collected so much money in a bag that in less than a month he began the construction of the church. No one doubted the divine origin of the demonstration except Jose Arcadio Buendia, who without changing expression watched the troop of people who gathered around the chestnut tree one morning to witness the revelation once more. He merely stretched on his stool a little and shrugged his shoulders when Father Nicanor began to rise up from the ground along with the chair he was sitting on.

"Hoc est simplicissimus," Jose Arcadio Buendia said. "Homo iste statum quartum materiae invenit."

Father Nicanor raised his hands and the four legs of the chair all landed on the ground at the same time.

"Nego," he said. "Factum hoc existentiam Dei probat sine dubio."

Thus it was discovered that Jose Arcadio Buendia's devilish jargon was Latin. Father Nicanor took advantage of the circumstance of his being the only person who had been able to communicate with him to try to inject the faith into his twisted mind. Every afternoon he would sit by the chestnut tree preaching in Latin, but Jose Arcadio Buendia insisted on rejecting rhetorical tricks and the transmutation of chocolate, and he demanded the daguerreotype of God as the only proof. Father Nicanor then brought him medals and pictures and even a reproduction of the Veronica, but Jose Arcadio Buendia rejected them as artistic objects without any scientific basis. He was so stubborn that Father Nicanor gave up his attempts at evangelization and continued visiting him out of humanitarian feelings. But then it was Jose Arcadio Buendia who took the lead and tried to break down the priest's faith with rationalist tricks. On a certain occasion when Father Nicanor brought a checker set to the chestnut tree and invited him to a game, Jose Arcadio Buendia would not accept, because according to him he could never understand the sense of a contest in which the two adversaries have agreed upon the rules. Father Nicanor, who had never seen checkers played that way, could not play it again. Ever more startled at Jose Arcadio Buendia's lucidity, he asked him how it was possible that they had him tied to a tree.

"Hoc est simplicissimus," he replied. "Because I'm crazy."

From then on, concerned about his own faith, the priest did not come back to visit him and dedicated himself to hurrying along the building of the church. Rebeca felt her hopes being reborn. Her future was predicated on the completion of the work, for one Sunday when Father Nicanor was lunching at the house and the whole family sitting at the table spoke of the solemnity and splendor that religious ceremonies would acquire when the church was built, Amaranta said: "The luckiest one will be Rebeca." And since Rebeca did not understand what she meant, she explained it to her with an innocent smile:

"You're going to be the one who will inaugurate the church with your wedding."

Rebeca tried to forestall any comments. The way the construction was going the church would not be built before another ten years. Father Nicanor did not agree: the growing generosity of the faithful permitted him to make more optimistic calculations. To the mute indignation of Rebeca, who could not finish her lunch, Ursula celebrated Amaranta's idea and contributed a considerable sum for the work to move faster. Father Nicanor felt that with another contribution like that the church would be ready within three years. From then on Rebeca did not say another word to Amaranta, convinced that her initiative had not the innocence that she attempted to give it. "That was the least serious thing I could have done," Amaranta answered her during the violent argument they had that night. "In that way I won't have to kill you for three years." Rebeca accepted the challenge.

When Pietro Crespi found out about the new postponement, he went through a crisis of disappointment, but Rebeca gave him a final proof of her loyalty. "We'll elope whenever you say," she told him. Pietro Crespi, however, was not a man of adventure. He lacked the impulsive character of his fiancee, and he considered respect for one's given word as a wealth that should not be squandered. Then Rebeca turned to more audacious methods. A mysterious wind blew out the lamps in the parlor and Ursula surprised the lovers kissing in the dark. Pietro Crespi gave her some confused explanations about the poor quality of modern pitch lamps and he even helped her install a more secure system of illumination for the room. But the fuel failed again or the wicks became clogged and Ursula found Rebeca sitting on her fiance's lap. This time she would accept no explanation. She turned the responsibility of the bakery over to the Indian woman and sat in a rocking chair to watch over the young people during the visits, ready to win out over maneuvers that had already been old when she was a girl. "Poor Mama," Rebeca would say with mock indignation, seeing Ursula yawn during the boredom of the visits. "When she dies she'll go off to her reward in that rocking chair." After three months of supervised love, fatigued by the slow progress of the construction, which he went to inspect every day, Pietro Crespi decided to give Father Nicanor the money he needed to finish the church. Amaranta did not grow impatient. As she conversed with her girl friends every afternoon when they came to embroider on the porch, she tried to think of new subterfuges. A mistake in calculation spoiled the one she considered the most effective: removing the mothballs that Rebeca had put in her wedding dress before she put it away in the bedroom dresser. She did it when two months were left for the completion of the church. But Rebeca was so impatient with the approach of the wedding that she wanted to get the dress ready earlier than Amaranta had foreseen. When she opened the dresser and unfolded first the papers and then the protective cloth, she found the fabric of the dress and the stitches of the veil and even the crown of orange blossoms perforated by moths. Although she was sure that she had put a handful of mothballs in the wrappings, the disaster seemed so natural that she did not dare blame Amaranta. There was less than a month until the wedding, but Amparo Moscote promised to sew a new dress within a week. Amaranta felt faint that rainy noontime when Amparo came to the house wrapped in the froth of needlework for Rebeca to have the final fitting of the dress. She lost her voice and a thread of cold sweat ran down the path of her spine. For long months she had trembled with fright waiting for that hour, because if she had not been able to conceive the ultimate obstacle to Rebeca's wedding, she was sure that at the last moment, when all the resources of her imagination had failed, she would have the courage to poison her. That afternoon, while Rebeca was suffocating with heat inside the armor of thread that Amparo Moscote was putting about her body with thousands of pins and infinite patience, Amaranta made several mistakes in her crocheting and pricked her finger with the needle, but she decided with frightful coldness that the date would be the last Friday before the wedding and the method would be a dose of laudanum in her coffee.

A greater obstacle, as impassable as it was unforeseen, obliged a new and indefinite postponement. One week before the date set for the wedding, little Remedios woke up in the middle of the night soaked in a hot broth which had exploded in her insides with a kind of tearing belch, and she died three days later, poisoned by her own blood, with a pair of twins crossed in her stomach. Amaranta suffered a crisis of conscience. She had begged God with such fervor for something fearful to happen so that she would not have to poison Rebeca that she felt guilty of Remedios' death. That was not the obstacle that she had begged for so much. Remedios had brought a breath of merriment to the house. She had settled down with her husband in a room near the workshop, which she decorated with the dolls and toys of her recent childhood, and her merry vitality overflowed the four walls of the bedroom and went like a whirlwind of good health along the porch with the begonias. She would start singing at dawn. She was the only person who dared intervene in the arguments between Rebeca and Amaranta. She plunged into the fatiguing chore of taking care of Jose Arcadio Buendia. She would bring him his food, she would help him with his daily necessities, wash him with soap and a scrubbing brush, keep his hair and beard free of lice and nits, keep the palm shelter in good condition and reinforce it with waterproof canvas in stormy weather. In her last months she had succeeded in communicating with him in phrases of rudimentary Latin. When the son of Aureliano and Pilar Ternera was born and brought to the house and baptized in an intimate ceremony with the name Aureliano Jose, Remedios decided that he would be considered their oldest child. Her maternal instinct surprised Ursula. Aureliano, for his part, found in her the justification that he needed to live. He worked all day in his workshop and Remedios would bring him a cup of black coffee in the middle of the morning. They would both visit the Moscotes every night. Aureliano would play endless games of dominoes with his father-in-law while Remedios chatted with her sisters or talked to her mother about more important things. The link with the Buendias consolidated Don Apolinar Moscote's authority in the town. On frequent trips to the capital of the province he succeeded in getting the government to build a school so that Arcadio, who had inherited the educational enthusiasm of his grandfather, could take charge of it. Through persuasion he managed to get the majority of houses painted blue in time for the date of national independence. At the urging of Father Nicanor, he arranged for the transfer of Catarino's store to a back street and he closed down several scandalous establishments that prospered in the center of town. Once he returned with six policemen armed with rifles to whom he entrusted the maintenance of order, and no one remembered the original agreement not to have armed men in the town. Aureliano enjoyed his father-in-law's efficiency. "You're going to get as fat as he is," his friends would say to him. But his sedentary life, which accentuated his cheekbones and concentrated the sparkle of his eyes, did not increase his weight or alter the parsimony of his character, but, on the contrary, it hardened on his lips the straight line of solitary meditation and implacable decision. So deep was the affection that he and his wife had succeeded in arousing in both their families that when Remedios announced that she was going to have a child, even Rebeca and Amaranta declared a truce in order to knit items in blue wool if it was to be a boy and in pink wool in case it was a girl. She was the last person Arcadio thought about a few years later when he faced the firing squad.

Ursula ordered a mourning period of closed doors and windows, with no one entering or leaving except on matters of utmost necessity. She prohibited any talking aloud for a year and she put Remedios' daguerreotype in the place where her body had been laid out, with a black ribbon around it and an oil lamp that was always kept lighted. Future generations, who never let the lamp go out, would be puzzled at that girl in a pleated skirt, white boots, and with an organdy band around her head, and they were never able to connect her with the standard image of a great-grandmother. Amaranta took charge of Aureliano Jose. She adopted him as a son who would share her solitude and relieve her from the involuntary laudanum that her mad beseeching had thrown into Remedios' coffee. Pietro Crespi would tiptoe in at dusk, with a black ribbon on his hat, and he would pay a silent visit to Rebeca, who seemed to be bleeding to death inside the black dress with sleeves down to her wrists. Just the idea of thinking about a new date for the wedding would have been so irreverent that the engagement turned into an eternal relationship, a fatigued love that no one worried about again, as if the lovers, who in other days had sabotaged the lamps in order to kiss, had been abandoned to the free will of death. Having lost her bearings, completely demoralized, Rebeca began eating earth again.

Suddenly--when the mourning had gone on so long that the needlepoint sessions began again--someone pushed open the street door at two in the afternoon in the mortal silence of the heat and the bra