ලව් ඉන් ද ටයිම් ඔෆ් කොලරා
2007 චිත්රපටය සඳහා Love in the Time of Cholera (චිත්රපටය) බලන්න
|කර්තෘ||ගබ්රියෙල් ගර්සියා මාර්කස්|
|මුල් මාතෘකාව||එල් අමෝර් එන් ලොස් ටියෙම්පෝස් ඩෙල් කොලරා|
|ප්රකාශකයා||ඇල්ෆ්රෙඩ් ඒ. ක්ටොක්ප්ෆ්|
|1985 (ඉංග්රීසි පරිවර්තනය 1988)|
|මාධ්ය වර්ගය||මුද්රණය (Hardback & Paperback)|
|පිටු||348 පිටු (First English hardback edition)|
ලව් ඉන් ද ටයිම් ඔෆ් කොලරා (ස්පාඤ්ඤ බසින් එල් අමෝර් එන් ලොස් ටියෙම්පෝස් ඩෙල් කොලරා) යනු 1985දි ස්පාඤ්ඤ බසින් පලමු වරට ප්රකාශිත, නොබෙල් ත්යාගලාභීකොළොම්බියානු කර්තෘ ගබ්රියෙල් ගර්සියා මාර්කස්ගේ නවකතාවකි. මේ සඳහා 1988දී ඇල්ෆ්රඩ් ඒ. ක්නොෆ් විසින් ඉංග්රීසි බසින් පරිවර්තනයක් සිදු කරන ලදී. 2007දී ඉංග්රීසි බසින් චිත්රපට අනුවාදය නිකුත් කරන ලදී.
ෆර්මිනා දාසා, නවකතාවේ ප්රධාන කාන්තා චරිතය, කතාව පෙල ගැසෙනා ප්රධාන අරටුවයි. තරුණ වියේදී ඔවුන්ගේ ප්රථම ආලයේ naïveté අවබෝධ කර ගන්නා පසු ෆර්මිනා පහසුවෙන්ම ෆ්ලෝරෙන්තීනෝ අරීසාව අතහැර දමා, ඔහුට ඇය වෙත ආරක්ෂාව හා ආදරය ප්රධානය කල හැකි වෙතැයි පෙනෙන, හුවෙනාල් උර්බිනෝ සමඟ, ඇයම ඇයට පනවා ගන්නා "නියමිත කාලයේ", වයස අවුරුදු 21දී විවාහ වේ. උර්බිනෝ, විද්යාවට, නවීනත්වයට හා "පිලිවෙළ සහ දියුණුව සඳහා" කැපවුණු වෛද්යවරයෙකි. කොලරා රෝගය මුලිනුපුටා දැමීමටත් පොදු කර්තව්යයන් ප්රවර්ධනයටත් ඇප කැප වී සිටී. ඔහු තම ජීවිතය මැනවින් සංවිධානය කරගත්, හැකිතාක් සමාජය තුල තම වැදගත්කම හා කීර්තිනාමය අගය කොට සලකන හේතුවාදී පුද්ගලයෙකු වේ. ඔහු දියුණුවේ හා නවීකරණයේ පෙරගමන්කරුවෙකි.
Urbino's function in the novel is to provide the counterpoint to Florentino Ariza’s archaic, baldly romantic love. Urbino proves in the end not to have been an entirely faithful husband, confessing one affair to Fermina some years into their marriage, and leaving another to be apparently uncovered by Fermina after his death. Though the novel seems to suggest that Urbino's love for Fermina was never as spiritually chaste as Florentino Ariza's was, it also complicates Florentino's devotion by cataloging his many trysts and apparently a few, possibly genuine, loves. By the end of the book, Fermina has recognized a change in Ariza and their love is allowed to blossom in their old age. For most of the novel, their communication is limited to occasional public niceties or uncertain correspondence by letter; not until the end of the book do Fermina and Florentino converse at length.
- Lorenzo Daza – Fermina Daza’s father, a greedy mule driver; he despised Florentino and forced them to break up
- Jeremiah de Saint-Amour – The man whose suicide is introduced as the opening to the novel; a photographer and chess-player
- Aunt Escolástica – The woman who attempts to aid Fermina in her early romance with Florentino by delivering their letters for them. She is ultimately sent away by Lorenzo Daza for this.
- Tránsito Ariza – Florentino’s mother
- Hildebranda Sánchez – Fermina’s cousin
- Miss Barbara Lynch – The woman with whom Urbino confesses having an affair
- The Captain – The captain of the riverboat on which Fermina and Florentino ride at the end of the novel
- Leona Cassiani - She starts out as the "personal assistant" to Uncle Leo XII at the R.C.C., the company which Florentino eventually controls. At one point, it is revealed that the two share a deep respect, possibly even love, for each other, but will never actually be together. She has a maternal love for him as a result of his "charity" in rescuing her from the streets and giving her a job
- América Vicuña - The fourteen-year-old girl who towards the end of the novel is sent to live with Florentino; he is her guardian while she is in school. They have a sexual relationship, and upon failing her exams after her rejection by Florentino, she kills herself. Her suicide illustrates the selfish nature of Florentino's love for Fermina.
The story takes place in an unnamed port city somewhere in the Caribbean, near the Magdalena River. While the city remains unnamed throughout the novel, descriptions of it lead one to the conclusion that it must be Cartagena, in Bolívar, Colombia, where García Márquez spent his early years. The city is divided into such sections as "The District of the Viceroys" and "The Arcade of the Scribes." The novel encompasses the half century roughly between 1880 and 1930. The city’s "steamy and sleepy streets, rat-infested sewers, old slave quarter, decaying colonial architecture, and multifarious inhabitants" dot the text and mingle amid the lives of the characters. Locations within the story include:
- The house Fermina shares with her husband, Dr. Juvenal Urbino
- The "transient hotel" where Florentino Ariza stays for a short time
- Ariza’s office at the river company
- The Arcade of the Scribes
- The Magdalena River
Narrative as seductionසංස්කරණය
Some critics choose to view Love in the Time of Cholera as a heart-warming story about the enduring power of true love. Others criticize this view as simple, contending that the author has woven a story so dense that the reader risks falling into its trap of sweetness and simplicity if they do not pay close attention to what is happening. García Márquez himself said in an interview, "you have to be careful not to fall into my trap."
This is manifested in Ariza’s excessively romantic attitude toward life, an attitude which shapes his obsession with Fermina, and his gullibility in trying to retrieve the sunken treasure of a shipwreck. It is also made evident by the fact that society in the story believes that Fermina and Juvenal Urbino are perfectly happy in their marriage, while the reality of the situation is not so ideal. Critic Keith Booker compares Ariza’s position to that of Humbert Humbert in Vladimir Nabokov’s Lolita, saying that just as Humbert is able to charm the reader into sympathizing with his situation, even though he is a "pervert, a rapist, and a murderer," Ariza is able to garner the reader’s sympathy, even though the reader is persistently reminded of his more sinister exploits.
Narrative as deconstructionසංස්කරණය
The notion that García Márquez's "trap" refers to our temptation to oversimplify and reduce his narrative to an elementary love story is further supported by the fact that the novel holds up and examines romantic love in myriad forms, both "ideal" and "depraved", and continually forces the reader to question such ready-made characterizations by introducing elements antithetical to these facile judgments.
Love as an emotional and physical diseaseසංස්කරණය
García Márquez's main notion is that lovesickness is a literal illness, a disease comparable to cholera. Ariza suffers from this just as he might suffer from any malady. At one point, he conflates his physical agony with his amorous agony when he vomits after eating flowers in order to imbibe Fermina's scent. In the final chapter, the Captain's declaration of metaphorical plague is another manifestation of this. The term cholera as it is used in Spanish, cólera, can also denote human rage and ire. (The English adjective choleric has the same meaning.) It is this second meaning to the title that manifests itself in Ariza's hatred for Urbino's marriage to Fermina, as well as in the social strife and warfare that serves as a backdrop to the entire story.
Aging and deathසංස්කරණය
Jeremiah Saint-Amour's death inspires Urbino to meditate on his own death, and especially on the infirmities that precede it. It is necessary for Fermina and Florentino to transcend not only the difficulties of love, but also the societal view that love is a young person's prerogative (not to mention the physical obstacles that old age brings to physical love).
Suffering for loveසංස්කරණය
Florentino's penchant for high drama as a poet and a lover is portrayed as both ridiculous and serious. He may go to outlandish lengths for love, but in the end the absurdity is ennobling and his suffering has a kind of dignity. He also endures physical pains.
Stone Village Pictures bought the film rights from the author for US$3 million, and Mike Newell was chosen to direct it, with Ronald Harwood writing the script. Filming started in Cartagena, Colombia, in September 2006.
The $50 million film, the first major foreign production shot in the scenic walled city in twenty years, was released on November 16, 2007, by New Line Cinema. On his own initiative, García Márquez convinced singer Shakira, who hails from the nearby city of Barranquilla, to provide two songs for the film.
- 1985, Colombia, Spanish edition, Oveja Negra, 1985, hardback ISBN 958-06-0000-7 and paperback ISBN 958-06-0001-5(first edition)
- 1985, Mexico DF, Spanish edition, Editorial Diana, 1985, paperback ISBN 968-13-1547-2 (first edition: 100,000 copies)
- 1988, USA, Alfred A Knopf ISBN 0-394-57108-8, Pub date 1 January 1988, hardback (Eng trans. first edition)
- 1989, USA, Penguin Books ISBN 0-14-011990-6, Pub date 7 September 1989, paperback
- 2003, USA, Vintage International ISBN 1-4000-3468-X, paperback
- Morana, Mabel (winter, 1990) “Modernity and Marginality in Love in the Time of Cholera". Studies in Twentieth Century Literature 14:27-43
- Simpson, Mona (September 1, 1988) "Love Letters". London Review of Books 10:22-24
- Taylor, Anna-Marie (1995). Reference Guide to World Literature, 2nd ed. St. James Press.
- Booker, M. Keith (summer, 1993) “The Dangers of Gullible Reading: Narrative as Seduction in García Márquez's Love in the Time of Cholera". Studies in Twentieth Century Literature 17:181-95
- A.R. Lakshmanan, Indira. "Love in the Time of Cholera: On location, out on a limb". December 11, 2006. Accessed May 26, 2007.