| A dominant theme in One Hundred Years of Solitude is the inevitable and inescapable repetition of history in Macondo. |
《百年孤独》的情节及故事旋律是发生在马孔多的历史的必然和不可避免的重复 |
| The protagonists are controlled by their pasts and the complexity of time. |
故事的主人公收到他们的过去及时间的复杂性而控制。 |
| Throughout the novel the characters are visited by ghosts. |
鬼魂造访及困扰着小说里的人们。 |
| "The ghosts are symbols of the past and the haunting nature it has over Macondo. The ghosts and the displaced repetition that they evoke are, in fact, firmly grounded in the particular development of Latin American history". |
“鬼魂是过去的象征，是它笼罩马孔多的阴魂不散的本性的象征。事实上，它们所唤起的幽灵和流离失所的重复，牢固地扎根于拉丁美洲历史的特殊发展之中”。 |
| "Ideological transfiguration ensured that Macondo and the Buendías always were ghosts to some extent, alienated and estranged from their own history, not only victims of the harsh reality of dependence and underdevelopment but also of the ideological illusions that haunt and reinforce such social conditions." |
“意识形态的变形在某种程度上确保了马孔多和布恩蒂亚始终是幽灵，与他们自己的历史疏远和疏远，他们不仅是依赖和不发达这一严酷现实的受害者，而且是困扰和加强这种社会条件的意识形态幻觉的受害者。” |
| The fate of Macondo is both doomed and predetermined from its very existence. |
马孔多的命运既是注定的，又是预先注定的。 |
| "Fatalism is a metaphor for the particular part that ideology has played in maintaining historical dependence, by locking the interpretation of Latin American history into certain patterns that deny alternative possibilities. The narrative seemingly confirms fatalism in order to illustrate the feeling of entrapment that ideology can performatively create." |
宿命论是意识形态在维持历史独立性方面发挥的特殊作用的隐喻，它将对拉美历史的解释锁定在某些模式中，这些模式否定了其他可能性。这个故事似乎证实了宿命论，以说明意识形态可以有效地创造出一种被困住的感觉。” |
| García Márquez uses colours as symbols. |
加西亚·马尔克斯使用颜色作为象征。 |
| Yellow and gold are the most frequently used colors and they are symbols of imperialism and the Spanish Siglo de Oro. |
黄色和金色是最常用的颜色，它们是帝国主义和西班牙语Siglo de Oro的象征 |
| Gold signifies a search for economic wealth, whereas yellow represents death, change, and destruction. |
黄金象征着对经济财富的追求，而黄色象征着死亡、变化和毁灭。 |
| The glass city is an image that comes to José Arcadio Buendía in a dream. |
玻璃城是霍·阿·布恩蒂亚在梦中看到的一个形象。 |
| It is the reason for the location of the founding of Macondo, but it is also a symbol of the ill fate of Macondo. |
这是马孔多成立的原因，也是马孔多厄运的象征。 |
| Higgins writes that, "By the final page, however, the city of mirrors has become a city of mirages. Macondo thus represents the dream of a brave new world that America seemed to promise and that was cruelly proved illusory by the subsequent course of history." |
希金斯写道:“然而，到了最后一页，镜子之城已经变成了海市蜃楼。因此，马孔多代表了一个美丽新世界的梦想，美国似乎承诺了这个梦想，但后来的历史进程残酷地证明，这个梦想是虚幻的。” |
| Images such as the glass city and the ice factory represent how Latin America already has its history outlined and is, therefore, fated for destruction. |
玻璃城和冰厂等形象代表着拉丁美洲已经有了自己的历史轮廓，因此注定要毁灭。 |
