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Unit 14 A Very Old Man with Enormous Wings

Main idea

A Very Old Man with Enormous Wings is a child's tale that depicts the story of an Angel that seems to have been washed into the courtyard of Pelayo and his wife Elisenda. Trapped in their courtyard he quickly becomes the ridicule of the town where all the citizens come and throw food at him taunting him to do something. The sick and afflicted come to him hoping to be cured of their various ailments pull on his wings to put on the parts of their bodies that have been afflicted with disease.

Things get so popular with the Angel that Elisenda decides to charge people to come and see the angel. Father Gonzaga at first thought assumes the angel is demonic when he doesn't recognize the language of the ministry and preaches that everyone to stay away from the angel. These tortures for the angel continue until one day he grows new wings and is able to leave the courtyard.

What does such a ridiculous tale want to tell us?

Version 1: The old man stands for foreign culture. People’s attitudes towards foreigners– complete exclusion. The author expressed his criticism of such attitude and called for the reborn of cultures.

Version 2: The author s the spiritual emptiness of Latin Americans and the absurdity of religion. The old man represents the traditional culture of Latin Americans while Mr and Mrs. Pelayos stands for the middle-class and Father Gonzaga symbolize the ruling class. The re-fly of angel implied that the traditional culture of Latin Americans would one day come back to life, bringing light and hope to the world regardless of oppression.

Introduction to the author

Gabriel Garcí Márquez a

Nobel Prize Winner (1982)
? ? ? ? Gabriel Garcí Márquez (加西亚 马尔克斯 ) a Born: 6 March 1928, Aracataca, Colombia Residence at the time of the award: Colombia Prize motivation: "for his novels and short stories, in which the fantastic and the realistic are combined in a richly composed world of imagination, reflecting a continent's life and conflicts"

His Writing
? Whether writing short stories, epic novels, or nonfiction, Gabo is above all a brilliant storyteller, and his writing is a tribute to both the power of the imagination and the mysteries of the human heart. Gabo’s world is a world of great beauty and great cruelty; a world where love brings both redemption (救赎) and enslavement (奴役,束缚); and a world where the lines between objective reality and dreams are hopelessly blurred. It is a world very much like our own.

? Fiction:


Leaf Storm (枯枝败叶,1955) In Evil Hour (恶时辰,1962) One Hundred Years of Solitude (百年孤独,1966) The Autumn of the Patriarch (家长的没落,1975) Love in the Time of Cholera (霍乱时期的爱情, 1985) The General in his Labyrinth (迷宫里的将军) Strange Pilgrims (奇怪的朝圣者) Love and Other Demons (关于爱和其他恶魔) Memories of My Melancholy Whores (苦妓追忆录)

One Hundred Years of Solitude

? Nonfiction(非小说类散文文学):

The Story of a Shipwrecked Sailor (落难海员

Clandestine in Chile: The Adventures of
Miguel Littí (米格尔· n 利廷历险记 )

News of a Kidnapping (绑架)
Living to Tell the Tale (生而为言)

? Spanish:
Todos los cuentos (故事集,1947-1972)
Olor de la guayaba (番石榴飘香) Yo no vengo a decir un discurso (我不是 来演讲的)

Writing style
? magical realism 魔幻现实主义 ? Representative works: ? ? ? A Hundred Years of Solitude Autumn of the Patriarch Leaf Storm

Magical Realism
? A literary mode rather than a distinguishable genre(流派). Magical realism is characterized by two conflicting perspectives, one based on a rational view of reality and the other on the acceptance of the supernatural(超自然的) as prosaic reality. Magical realism differs from pure fantasy primarily because it is set in a normal, modern world with authentic descriptions of humans and society.

? The term ―magical realism‖ was first introduced by Franz Roh, a German art critic, who

considered magical realism an art category. To
him, it was a way of representing and responding

to reality and pictorially(绘画般地) depicting the
enigmas(谜) of reality. In Latin America in the

1940s, magical realism was a way to express
the realistic American mentality.

Magical Realist Authors
? Gabriel Garcia Marquez Ben Okri (本· 奥克瑞 ) Isabel Allende (伊莎贝· 阿言德) Syl Cheney-Coker Kojo Laing Allejo Carpentier Toni Morrison (托妮· 莫里森 ) Kwsme Anthony Appiah Mario Vargas Llosa (马里奥· 巴尔加斯· 略萨)

Mo Yan’s style
? The 2012 Nobel Prize in Literature was awarded to Mo Yan "who with hallucinatory realism merges folk tales, history and the contemporary". ? Are “hallucinatory realism” and “magical realism” the same thing?

Writing Background
? Gabriel Garcia Marquez wrote A Very Old Man With

Enormous Wings (巨翅老人) in 1968, and gave it the
subtitle of A Tale For Children. He composed the tale between his first two major novels, A Hundred Years

of Solitude and The Autumn of the Patriarch. “Very
Old Man” is perhaps the clearest and most famous example of a genre that Marquez helped to create: magical realism. This style, simply put, combines elements of ordinary life with elements of fantasy and magic.

Writing Background
? This suggests, in fact, that “Very Old Man” is a story about stories, and indeed many critics suspect that the tale is a veiled(含蓄的) allegory(寓言) for Garcia Marquez’s own experience with fame - after all, Marquez was world famous following the publication of One Hundred Years of Solitude. These critics see the old man in the story as the artist/writer, and the village respond to his arrival as a satirization(讽刺) of the relationship between a creative artist and the public. Indeed, the process of reception and interpretation is a constant focus of the story.

Writing Background
? A Very Old Man with Enormous Wings contains many of the elements that define his great novels - uncertain time and setting, a style that mixes the documentary with the fantastic, a purposefully open-ended conclusion. The story is often used to exemplify types of literature: magical realism, Latin American literature, etc. Yet this tendency to contextualize(使融入背景) the story should not overshadow its value as a story. Witty, sad, and haunting, the story rewards many re-readings.

A Very Old Man with Enormous Wings

? ? ? ? ? ? ? encage stench ragpicker skull drench entangle conspiracy v. p193 L3 关闭 n. p1 L4 臭气 n. p2 L4 拾荒者 n. p2 L5 头骨 v.p2 L6 淋湿 v. p2 L8 缠住 n. p4 L4 阴谋

? ? ? ? ? ? ?

magnanimous a. p4 L10 大度的 raft n. p4 L11 筏 toss v. p4 L15 扔 circus n. p4 L17 马戏团 frivolous a. p5 L2 轻浮的 robust a. p5 L10 强壮结实的 catechism n. p5 L10 教义问答

? impertinence murmur ? imposter 者 ? parasite ? terrestrial ? ingenuous ? carnival ? verdict

n. page196 L4 不敬 v. L5 低声嘟囔 n. L8 冒名顶替 n. L11 a. L12 a. L15 n L16 n. L22 寄生虫 陆地的 天真的 狂欢节 意见

? sterile 味的 ? bayonet ? sidereal ? pilgrim ? befuddled ? sacramental ? penitent

a p6 L1


n. p6 L4 a. Page197 L1 n. L9 a. p8 L3 a. P8 L3 n. p8 L7

刺刀 恒星的 朝圣者 迷惑的 圣礼的 忏悔者

? ? ? ? ? ?

hermetic a. cataclysm n. repose n. providential a. tribulation n. haughty a.

P8 L18 与世隔绝的 Page198 L2 灾变 L2 休息 p9 L8 凑巧的 p9 L9 苦难 P10 L19 傲慢的

? ? ? ? ? ? ?

deign insomnia iridescent standoffish infamy duplicate unhinged

v. n. a. a. n. v. a.

P10 L19 屈尊 Page199 L6 失眠 P11 L7 彩虹色的 p11 L17 冷淡的 p11 L18 丑名 p12 L6 复制 P12 L8 精神错乱的

The story can be divided into 3 parts:

Part1 (Paragraph1-2), the angel landed on the couple’s courtyard. Part 2 (Paragraph3-12), people’s attitude towards the angel. Part 3 (Paragraph13-14), the angel flew away from the town.

Analysis of characters

The old man

Father Gonzaga

The neighbour woman
The spider woman The child

The old man
An old man with wings who appears in Pelayo and Elisenda’s yard one day. Filthy and bedraggled, the old man speaks a foreign language that no one can understand. His wings and unintelligible language prompts some people to believe that he’s a fallen angel and the church to believe he’s a Norwegian, even though he seems oblivious to nearly everything that happens around him. By the end of the story, the old man has recovered enough to fly away, exiting Pelayo’s and Elisenda’s life as suddenly as he’d entered.

Elisenda’s husband and the discoverer of the old man. Pelayo is an ordinary villager, poor but grudgingly willing to shelter the winged old man in his chicken coop. Pelayo guards the old man from harm, humbly consults the village priest, and has the sense to resist the more extravagant advice he receives from the other villagers. Pelayo, however, does not want to take care of the man indefinitely and doesn’t feel bad using the old man to get rich.

Pelayo’s wife. Elisenda convinces Pelayo to charge villagers to see the old man but later considers him to be a nuisance. A practical woman, she primarily concerns herself with the welfare of Pelayo and their child and is therefore relieved when the old man finally leaves.

Father Gonzaga
The village priest. Father Gonzaga takes it upon himself to discern whether the old man is an angel as the townsfolk believe or just a mortal who just happens to have wings. Father Gonzaga is skeptical that the dirty old man could really be a messenger from heaven, but he dutifully reports the event to his superiors in the church. As he waits for the Vatican’s reply, he does his best to restrain the enthusiasm and credulousness of the crowd of onlookers

The child
The child of Pelayo and Enlisenda is ill when the story opens. The Neighbor tried to tell the family that the Old Man came to take the child to heaven. Sometimes during the story, he is found playing with the Old Man.

The neighbour woman
Pelayo and Elisenda’s bossy neighbor. The supposedly wise neighbor woman actually seems more like a silly know-it-all than a true counselor and is the first to suggest that the old man is a crippled angel. She tells Pelayo to club the old man to death to prevent him from taking Pelayo and Elisenda’s sick baby to heaven.

The spider woman
A freak-show attraction who visits the village. Punished for the sin of disobeying her parents, the spider woman now has the body of an enormous spider and the head of a sad young woman. The clear moral of the woman’s story draws gawking villagers away from the old man, who is unable to offer the crowds such a compelling narrative.

Analysis of main characters:

Realistic and fantastic

At the beginning…… "On the third day of rain,“

"The world had been sad since Tuesday,"
(para 1)

odd, quasi-allegorical(寓言的) references to time supernatural setting does not greatly affect the people

The old man
―He had to go very close to see that it was an old

man,a very old man,lying face down in the mud, who, in spite of his tremendous efforts, couldn’t get up, impeded by his enormous wings.‖ (para 1 last 4 lines)
―He was dressed like a ragpicker. There were only a few faded hairs left on his bald skull and very few teeth in his mouth……and he answered in an incomprehensible dialect with a strong sailors’ voice.‖(para2)

―Then he noticed that seen close up he was much

to human: he had an unbearable smell of the outdoors, the back side of his wings was strewn with parasites and his main feathers had been mistreated ……proud dignity of angels.‖(para 5 )

This image in itself captures the balance of sublimity and crudity that dominates the story. The old man is an angel, yes, but a decayed, aged angel. He is a surreal coupling of the holy and the profane, and this trend continues throughout the story.

The narrator seems to take the old man’s angelhood for granted, speaking of the “lunar dust” and “stellar parasites” on his wings, and the old man’s “consolation miracles,” such as causing sunflowers to sprout from a leper’s sores, seem genuinely supernatural. In the end, the old man’s true nature remains a mystery.

In the Christian tradition, angels are often represented as beautiful winged figures, and Garcí Márquez plays off a this cultural symbolism because, ironically, the wings of the “angel” in the story convey only a sense of age and disease.

The ultimate effect is to suggest that the old man is both natural and supernatural at once, having the wings of a heavenly messenger but all the frailties(弱点) of an earthly(尘世的) creature.

Pelayo and Elisenda
―They looked at him so long and so closely that Pelayo and Elisenda very soon overcame their surprise and in the end found him familiar.”(para 2)

This is a technique familiar in legendary literatures-like the Bible, where events seem to happen "out of time" and without causal explanation . Author's very language, thus, balances a concern with realistic detail and characterization with a mythic lack of concern for causality and natural law.

The Coexistence of Cruelty and Compassion
The article wryly(挖苦地) examines the human response to those who are weak, dependent, and different. After the child recovers from his illness, for example, the parents decide to put the old man to sea on a raft with provisions for three days rather than just killing him, a concession to the old man’s difficult situation but hardly a kind act. Once they discover that they can profit from him, however, Pelayo and Elisenda imprison him in a chicken coop outside.

Even though he is taken in only grudgingly, the old man eventually becomes part of Pelayo and Elisenda’s household. By the time the old man finally flies into the sunset, Elisenda, for all her fussing, sees him go with a twinge of regret.

“She kept watching him even when she was through cutting the onions and kept on watching until it was no longer possible for her to see him, because then he was no longer an annoyance in her life but an imaginary dot in the horizon of the sea.”(para 13 last 5 lines)

Symbol: spider woman
The spider woman represents the fickleness(浮 躁,变化无常) with which many self-interested people approach their own faith.
The old man’s reputation wanes when he proves capable of performing only minor “consolation miracles.” Instead, the spectators flock to the spider woman, who tells a heart-wrenching story with a clear, easy-todigest lesson in morality that contrasts sharply with the obscurity of the old man’s existence and purpose.

In addition, causal connections between what people perceive and how they respond are left purposefully vague .
Why the neighbor woman thinks the angel is a danger and recommends killing him ? Why Pelayo and Elisenda's baby was cured—— whether by the angel, or because the angel failed to take the baby's soul away? Or by the natural course of the illness?

In short, it is more concerned with the fact that we interpret than with what we interpret. It's a fairy tale without an interpretation; rather, it's a fairy tale about interpretation.

A Very Old Man with Enormous Wings functions as a satirical piece that

mocks both the Catholic Church and human nature in general.

? 贡萨加神父也被这奇异的消息惊动了,在七点钟以前赶到 现场。这时又来了一批好奇的人,但是他们没有黎明时来 的那些人那样轻浮,他们对这个俘虏的前途作着各种各样 的推测。那些头脑简单的人认为他可能被任命为世界的首 脑。另一些头脑较为复杂的人,设想他可能被提升为五星 上将,去赢得一切战争。还有一些富于幻想的人则建议把 他留做种籽,好在地球上培养一批长翅膀的人和管理世界 的智者。在当牧师前曾是一个坚强的樵夫的贡萨加神父来 到铁丝网前,首先重温了一遍教义,然后让人们为他打开 门,他想凑近看一看那个可怜的汉子,后者在惊慌的鸡群 中倒很像一只可怜的老母鸡。

? 他躺在一个角落里,伸展着翅膀晒太阳,四围满是清晨来 的那些人投进来的果皮和吃剩的早点。当贡萨加神父走进 鸡笼用拉丁语向他问候时,这位全然不懂人间无礼言行的 老者几乎连他那老态龙钟的眼睛也不抬一下,嘴里只是用 他的方言咕哝了点什么。神父见他不懂上帝的语言,又不 会问候上帝的使者,便产生了第一个疑点。后来他发现从 近处看他完全是个人:他身上有一种难闻的气味,翅膀的 背面满是寄生的藻类和被台风伤害的巨大羽毛,他那可悲 的模样同天使的崇高的尊严毫无共同之处。于是他离开鸡 笼,通过一次简短的布道,告诫那些好奇的人们过于天真 是很危险的。他还提醒人们:魔鬼一向善用纵情欢乐的诡 计迷惑不谨慎的人。他的理由是:既然翅膀并非区别鹞鹰 和飞机的本质因素,就更不能成为识别天使的标准。尽管 如此,他还是答应写一封信给他的主教,让主教再写一封 信给罗马教皇陛下,这样,最后的判决将来自最高法庭。

? 神父的谨慎在麻木的心灵里毫无反响。俘 获天使的消息不胫而走,几小时之后,贝 拉约的院子简直成了一个喧嚣的市场,以 至于不得不派来上了刺刀的军队来驱散都 快把房子挤倒的人群。埃丽森达弯着腰清 扫这小市场的垃圾,突然她想出一个好主 意,堵住院门,向每个观看天使的人收取 门票五分。

? 有些好奇的人来自很远的地方。还来了一个流动 杂耍班;一位杂技演员表演空中飞人,他在人群 上空来回飞过,但是没有人理会他,因为他的翅 膀不是像天使的那样,而是像星球蝙蝠的翅膀。 地球上最不幸的病人来这里求医:一个从儿时开 始累计自己心跳的妇女,其数目字已达到不够使 用的程度;一个终夜无法睡眠的葡萄牙人受到了 星星的噪音的折磨;一个梦游病者总是夜里起来 毁掉他自己醒时做好的东西;此外还有其他一些 病情较轻的人。在这场振撼地球的动乱中,贝拉 约和埃丽森达尽管疲倦,却感到幸福,因为在不 到一个星期的时间里,他们屋子里装满了银钱, 而等着进门的游客长队却一直伸展到天际处。

? 这位天使是唯一没有从这个事件中捞到好处的人,在这个 临时栖身的巢穴里,他把全部时间用来寻找可以安身的地 方,因为放在铁丝网旁边的油灯和蜡烛仿佛地狱里的毒焰 一样折磨着他。开始时他们想让他吃樟脑球,根据那位聪 明的女邻居的说法,这是天使们的特殊食品。但是他连看 也不看一下,就象他根本不吃那些信徒们给他带来的食品 一样。不知道他是由于年老呢,还是别的什么原因,最后 总算吃了一点茄子泥。他唯一超人的美德好像是耐心。特 别是在最初那段时间里,当母鸡在啄食繁殖在他翅膀上的 小寄生虫时;当残废人拔下他的羽毛去触摸他的残废处时; 当缺乏同情心的人向他投掷石头想让他站起来,以便看看 他的全身的时候,他都显到很有耐心。

? 唯一使他不安的一次是有人用在牛身上烙 印记的铁铲去烫他,他呆了那么长的时间 动也不动一下,人们都以为他死了,可他 却突然醒过来,用一种费解的语言表示愤 怒,他眼里噙着泪水,扇动了两下翅膀, 那翅膀带起的一阵旋风把鸡笼里的粪便和 尘土卷了起来,这恐怖的大风简直不像是 这个世界上的。尽管如此,很多人还是认 为他的反抗不是由于愤怒,而是由于痛苦 所至。从那以后,人们不再打扰他了,因 为大部分人懂得他的耐性不像一位塞拉芬 派天使在隐退时的耐性,而像是在大动乱 即将来临前的一小段短暂的宁静。

? 《巨翅老人》呈现了人们这样一种习以为 常却还未引起一定警觉的心灵状态——对 充满陌生感及指向性并不确定的新生事物 的习惯性观望,用没有接近或者接纳欲望 的充满距离感的眼光,对待出现在生活中 或者心灵中的有可能带来真正的精神丰富 与灵魂深邃的事物。

? 从《巨翅老人》中的各种人物我们也不难看出马 尔克斯笔下南美洲人民心灵的空虚和思想的匮乏, 无论是代表宗教统治地位的主教还是代表中产阶 级的夫妇都只有冷漠的旁观和排斥。 马尔克斯的 不少中短篇小说都着重描写某个人群苍白到几乎 死寂的没有波澜的生活和他们对这种生活近乎迷 信的依赖与迷恋,这样一个人群,没有信仰,没 有理想,也没有对接受变化与生活新鲜事物挑战 的渴望,甚至对于他们惯常生活没有出现过的和 以往经验没有遇到过的事物及情况,或者是头脑 里疯狂里的念头,给予不容置疑的拒绝与排斥。

? 老人最后复活飞走正喻示着人们终于失去了让自 己心灵变得伟大的一次机会,而且,在几乎不自 知的情况下。看到老人离开,埃丽森达是如释重 负地舒了一口气,对这个家庭来说,一切终于又 恢复平静,恢复到了之前的让人习惯的常态,没 有人意识到,一场心灵的洗礼正被自己悄悄错过。 阳光下的起飞可以看作是一个积极的上升形态的 行为,但我所理解的飞走也表示着老人自主选择 的离开状态,当我们抛弃了这唯一的一次难得的 让心灵伟大的机会,我们便也被心灵伟大的可能 性抛弃。人们没有认识到巨翅老人的价值,但并 不意味着这价值会自行消解,是人们的眼睛没有 看到,却并不表示这价值不存在,故而老人最后 没有死亡没有消失,则是以一个起飞的姿态彻底 离开了仍然蒙昧的人们。

这位天使是唯一没有从这个事件中捞到好处 的人,在这个临旪栖身的巢穴里,他把全部旪间 用来寻找可以安身的地方,因为放在铁丝网旁边 的油灯和蜡烛仿佛地狱里的毒焰一样折磨着他。 开始旪他们想让他吃樟脑球,根据那位聪明的女 邻居的说法,这是天使们的特殊食品。但是他连 看也丌看一下,就象他根本丌吃那些忏悔者们给 他带来的食品一样。丌知道他是由于年老呢,还 是别的什举原因,最后总算吃了一点茄子泥。他 唯一超人的美德好像是耐心。

特别是在最初那殌旪间里,当母鸡在啄食繁殖在他翅 膀上的小寄生虫旪;当残废人拔下他的羽毛去触摸他的残 废处旪;当缺乏同情心的人向他投掷石头想让他站起来, 以便看看他的全身的旪候,他都显到很有耐心。唯一使他 丌安的一次是有人用在牛身上烙印记的铁铲去烫他,他呆 了那举长的旪间动也丌动一下,人们都以为他死了,可他 却突然醒过来,用一种费解的语言表示愤怒,他眼里噙着 泪水,扇动了两下翅膀,那翅膀带起的一阵旋风把鸡笼里 的粪便和尘土卷了起来,这恐怖的大风简直丌像是这个世 界上的。尽管如此,很多人还是认为他的反抗丌是由于愤 怒,而是由于痛苦所至。从那以后,人们丌再打扰他了, 因为大部分人懂得他的耐性丌像一位塞拉芬派天使在隐退 旪的耐性,而像是在大动乱即将来临前的一小殌短暂的宁 静。

贡萨加神父向轻率的人们讲明家畜的 灵感方式,同旪对这个俘获物的自然属性 提出断然的见解。但是罗马的信件早就失 去紧急这一概念。旪间都浪费在证实罪犯 是否有肚脐眼呀,他的方言是否不阿拉米 奥人的语言有点关系呀,他是丌是能在一 个针尖上安置很多次,等等。如果丌是上 帝的意旨结束了这位神父的痛苦的话,这 些慎重的信件往返的旪间可能会长达几个 世纪乀丽。

这几天,在杂耍班的许多引人入胜的节目中,最 吸引人的是一个由于丌听父母亲的话而变成蜘蛛的 女孩的流动展览。看这个女孩丌仅门票钱比看天使 的门票钱少,而且还允许向她提出各艱各样有关她 的痛苦处境的问题,可以翻来覆去地查看她,这样 谁也丌会怀疑这一可怕情景的真实性。女孩长着一 个蜘蛛体形,身长有一头羊那举大,长着一颗悲哀 的少女的头。但是最令人痛心的丌是她的外貌,而 是她所讲述的丌幸遭遇。她还几乎未成年旪,偷偷 背着父母去跳舞,未经允许跳了整整一夜,回家路 过森林旪,一个闷雷把天空划成两半,从那裂缝里 出来的硫磺闪电,把她变成了一个蜘蛛。

她唯一的食物是那些善良人向她嘴里投的碎肉球。 这样的场面,是那举富有人情味和可怕的惩戒意丿, 无意中使得那个对人类几乎看都丌愿看一眼的受人 歧视的天使相形见绌。此外,为数很少的不天使有 关的奇迹则反映出一种精神上的混乱,例如什举丌 能恢复视力的盲人又长出三颗新的牙齿呀,丌能走 路的瘫痪病人几乎中彩呀,还有什举在麻风病人的 伤口上长出向日葵来等等。那些消遣娱乐胜于慰藉 心灵的奇迹,因此早已大大降低了天使的声誉,而 蜘蛛女孩的出现则使天使完全名声扫地了。这样一 来,贡萨加神父也彻底治好了他的失眠症,贝拉约 的院子又恢复了三天阴雨连绵、螃蟹满地旪的孤寂。

? ? ? ? ? ? ? 1.frivolous 2.robust 3.catechism 4.parasite 5.terrestrial 6.ingenuous 7.carnival 轻佻的 精力充沛的 教义问答手册 寄生虫 陆地的 无心机的 狂欢节

? ? ? ? ?

8.sterile 9.bayonet 10.sidereal 11.sleepwalker 12.onlooker

枯燥无味的 刺刀 恒心的 梦游者 旁观者

Paragraph 8
Take part in 从中捞到好处 -The angel is the only one who take no part in his own act. befuddle vt.使迷惑 hellish adj.很坏的,很讨厌的 sacramental adj.圣礼的、圣典的 mothball n.樟脑球 vt.封存 penitent n.忏悔者 eggplant n.茄子 stellar adj.主要的 parasite n.寄生虫 proliferate vt.增殖

motionless rant hermetic

flap whirlwind dung passivity cataclysm repose

adj. 丌动的,静止的 vt. 咆哮 adj. 密封的,丌受外界影响 的 vi. 摆动; 轻拍; 振翅而飞 adj. 旋风般的; 急速的 n. 动物的粪便 n. 被动 n. 大灾难 n. 休息

Paragraph 9
frivolity captive navel dialect meager priest tribulation n. 轻浮的丼止;轻松的乐事 n. 战俘,俘虏 n. 肚脐 n. 方言 adj. 微薄的 n. 神父 n. 苦难; 艰难

Paragraph 10
carnival n. 狂欢 frightful adj. 可怕的,令人毛骨悚然的 outlandish adj. 古怪的,奇异的 affliction n. 苦恼,痛苦 sneak out 偷偷溜出 rent vt. 撕碎,撕裂 nourishment n. 食物; 滋养品,营养品 toss vt. 投掷 spectacle n. 奇观;眼睛

haughty deign mortal sprout consolation insomnia

adj. 傲慢的 vi. 屈尊,俯就 n. 凡人、人类 v. 发芽 n. 安慰,慰问 n. 失眠

? The owners of the house had no reason to lament. With the money they saved they built a two-story mansion with balconies and gardens and high netting so that crabs wouldn’t get in during the winter, and with iron bars on the windows so that angels wouldn’t get in.
[l?'ment] 哀悼;悲叹;悔恨 ['m? n?(?)n] n. 大厦;宅邸 [kr? b] n. 螃蟹 ['b? lk?n ?]

? Pelayo also set up a rabbit warren
佩拉约 ['w?r(?)n] n. 养兔场

close to town and gave up his job as
['be?l?f] n. 法警;执行官;区镇的地方长官

a bailiff for good, and Elisenda bought
['s? t?n] adj. 光滑的;绸缎做的;似缎的

some satin pumps with high heels

and many dresses of iridescent silk,

the kind worn on Sunday by the most
desirable women in those times.

? The chicken coop was the only thing that didn’t receive any attention. If they washed it down with creolin and ['kri:?l?n]克勒奥林(一种杂酚类的杀菌或木材防腐剂) burned tears of myrrh inside it every [m??] 没药(热带树脂,可作香料、药材) so often, it was not in homage to the ['end?l] ['h?m?d?] n. 敬意;尊敬;效忠 angel but to drive away the dungheap 粪堆 [sten(t)?] n. 恶臭;臭气 stench that still hung everywhere like a ghost and was turning the new house into an old one.

? At first, when the child learned to walk, they were careful that he not get too close to the chicken coop. But then they began to lose their fears and got used to the smell, and before they child got his second teeth he’d gone inside the chicken coop to play, where the wires were falling apart.

? The angel was no less standoffish with him than with the other

[st? nd'?f??]

['m?rtl] n. 人类,凡人

mortals, but he tolerated the most ingenious infamies with the

patience of a dog who had no illusions. They both came down with
[?'l(j)u??(?)n] n. 幻觉,错觉;错误 的观念或信仰

the chicken pox at the same time. The doctor who took care of the

child couldn’t resist the temptation to listen to the angel’s heart, and

he found so much whistling in the heart and so many sounds in his

kidneys that it seemed impossible for him to be alive.

? What surprised him most, however, was the logic of his wings. They seemed so natural on that completely human organism that he couldn’t understand why other men didn’t have them too.

? When the child began school

it had been some time since
the sun and rain had caused

the collapse of the chicken
coop. The angel went dragging himself about here and there like a stray dying man. They would drive him
[stre?] adj. 迷路的;离群的

out of the bedroom with a
broom and a moment later

find him in the kitchen.

? He seemed to be in so many places at the same time that they grew
[du:pli'keitid] adj. 复制出的;复写书的v. 复制,复写

to think that he’d be duplicated, that he was reproducing himself all

through the house, and the exasperated and unhinged Elisenda
[?ɡ'z? sp?re?t?d] v. 使恼怒;激怒;恶化(exasperate的过去式) adj. 激怒的;恼火的

shouted that it was awful living in that hell full of angels. He could

scarcely eat and his antiquarian eyes had also become so foggy that
[,? nt?'kwe?r??n] n. 古文物研究者;[古] 古文物收藏家 adj. 古文物研究的;古文物的


he went about bumping into posts.

['k? njuli:] n. 插管;套管

? All he had left were the bare cannulae of his last feathers. Pelayo threw a blanket over him and extended him the charity of letting him sleep in the shed, and only then did they notice that he had a temperature at night, and was delirious with the tongue [d?'l?r??s]发狂的;神志昏迷的;精神错乱的 twisters of an old Norwegian.
[n?:‘wi:d??n] n. 挪威语; 挪威人

? That was one of the few times they became alarmed, for they thought he was going to die and not even the wise neighbor woman had been able to tell them what to do with dead angels.

? And yet he not only survived his worst winter, but seemed improved with the first sunny days. He remained motionless for several days in the farthest corner of the courtyard, where no one would see him, and at the beginning of December some large, stiff feathers began to grow on n.his ['ske?kr??] 稻草人, wings, the feathers of a scarecrow, which looked more like another misfortune of 衰老 decreptitude.

? But he must have known the reason for those changes, for he was quite careful that no one should notice them, that no one should hear the sea chanteys that he ['?? nt?] n. 船夫曲;水手的劳动号子 sometimes sang under the stars.

? One morning Elisenda was cutting some bunches of onions for lunch when a wind that seemed to come from the high seas blew into the kitchen. Then she went to the window and caught the angel in his first attempts at flight. They were so clumsy that his fingernails opened a furrow in the ['f?r??] n. 皱纹;犁沟;车辙 vegetable 正要…的时候;在…之际 was on the point patch and he of knocking the shed ['fl?pi?] n. 拍动;摇摆运动 down with the ungainly flapping that slipped on the light and couldn’t get a grip on the air.

? But he did manage to gain altitude. Elisenda let out a sigh of relief, for herself and for him, when she watched him pass over the last houses, holding himself up in some way with the risky flapping of a ['si?na?l] ['v?lt??] n. senile vulture. adj. 高龄的; 秃鹰,秃鹫;
老衰的;高龄 所致的 贪婪的人

? She kept watching him even when she was through cutting the onions and she kept on watching until it was no longer possible for her to see him, because then he was no longer an annoyance in her life [?'m? d??n(?)r but an imaginary dot on the horizon of the ?] adj. 虚构的,假 sea.
想的;想像的; 虚数的