The following Saturday Jose Arcadio Buendia put on his dark suit, his celluloid collar, and the deerskin boots that he had worn for the first time the night of the party, and went to ask for the hand of Remedios Moscote. The magistrate and his wife received him, pleased and worried at the same time, for they did not know the reason for the unexpected visit, and then they thought that he was confused about the name of the intended bride. In order to remove the mistake, the mother woke Remedios up and carried her into the living room, still drowsy from sleep. They asked her if it was true that she had decided to get married, and she answered, whimpering, that she only wanted them to let her sleep. Jose Arcadio Buendia, understanding the distress of the Moscotes, went to clear things up with Aureliano. When he returned, the Moscotes had put on formal clothing, had rearranged the furniture and put fresh flowers in the vases, and were waiting in the company of their older daughters. Overwhelmed by the unpleasantness of the occasion and the bothersome hard collar, Jose Arcadio Buendia confirmed the fact that Remedios, indeed, was the chosen one. "It doesn't make sense," Don Apolinar Moscote said with consternation. "We have six other daughters, all unmarried, and at an age where they deserve it, who would be delighted to be the honorable wife of a gentleman as serious and hard-working as your son, and Aurelito lays his eyes precisely on the one who still wets her bed." His wife, a well-preserved woman with afflicted eyelids and expression, scolded his mistake. When they finished the fruit punch, they willingly accepted Aureliano's decision. Except that Senora Moscote begged the favor of speaking to Ursula alone. Intrigued, protesting that they were involving her in men's affairs, but really feeling deep emotion, Ursula went to visit her the next day. A half hour later she returned with the news that Remedios had not reached puberty. Aureliano did not consider that a serious barrier. He had waited so long that he could wait as long as was necessary until his bride reached the age of conception.
The newfound harmony was interrupted by the death of Melquiades. Although it was a foreseeable event, the circumstances were not. A few months after his return, a process of aging had taken place in him that was so rapid and critical that soon he was treated as one of those useless great-grandfathers who wander about the bedrooms like shades, dragging their feet, remembering better times aloud, and whom no one bothers about or remembers really until the morning they find them dead in their bed. At first Jose Arcadio Buendia helped him in his work, enthusiastic over the novelty of the daguerreotypes and the predictions of Nostradamus. But little by little he began abandoning him to his solitude, for communication was becoming increasingly difficult. He was losing his sight and his hearing, he seemed to confuse the people he was speaking to with others he had known in remote epochs of mankind, and he would answer questions with a complex hodgepodge of languages. He would walk along groping in the air, although he passed between objects with an inexplicable fluidity, as if he were endowed with some instinct of direction based on an immediate prescience. One day he forgot to put in his false teeth, which at night he left in a glass of water beside his bed, and he never put them in again. When Ursula undertook the enlargement of the house, she had them build him a special room next to Aureliano's workshop, far from the noise and bustle of the house, with a window flooded with light and a bookcase where she herself put in order the books that were almost destroyed by dust and moths, the flaky stacks of paper covered with indecipherable signs, and the glass with his false teeth, where some aquatic plants with tiny yellow flowers had taken root. The new place seemed to please Melquiades, because he was never seen any more, not even in the dining room. He only went to Aureliano's workshop, where he would spend hours on end scribbling his enigmatic literature on the parchments that he had brought with him and that seemed to have been made out of some dry material that crumpled like puff paste. There he ate the meals that Visitacion brought him twice a day, although in the last days he lost his appetite and fed only on vegetables. He soon acquired the forlorn look that one sees in vegetarians. His skin became covered with a thin moss, similar to that which flourished on the antique vest that he never took off, and his breath exhaled the odor of a sleeping animal. Aureliano ended up forgetting about him, absorbed in the composition of his poems, but on one occasion he thought he understood something of what Melquiades was saying in his groping monologues, and he paid attention. In reality, the only thing that could be isolated in the rocky paragraphs was the insistent hammering on the word equinox, equinox, equinox, and the name of Alexander von Humboldt. Arcadio got a little closer to him when he began to help Aureliano in his silverwork. Melquiades answered that effort at communication at times by giving forth with phrases in Spanish that had very little to do with reality. One afternoon, however, he seemed to be illuminated by a sudden emotion. Years later, facing the firing squad, Arcadio would remember the trembling with which Melquiades made him listen to several pages of his impenetrable writing, which of course he did not understand, but which when read aloud were like encyclicals being chanted. Then he smiled for the first time in a long while and said in Spanish: "When I die, burn mercury in my room for three days." Arcadio told that to Jose Arcadio Buendia and the latter tried to get more explicit information, but he received only one answer: "I have found immortality." When Melquiades' breathing began to smell, Arcadio took him to bathe in the river on Thursday mornings. He seemed to get better. He would undress and get into the water with the boys, and his mysterious sense of orientation would allow him to avoid the deep and dangerous spots. "We come from the water," he said on a certain occasion. Much time passed in that way without anyone's seeing him in the house except on the night when he made a pathetic effort to fix the pianola, and when he would go to the river with Arcadio, carrying under his arm a gourd and a bar of palm oil soap wrapped in a towel. One Thursday, before they called him to go to the river, Aureliano heard him say: "I have died of fever on the dunes of Singapore." That day he went into the water at a bad spot and they did not find him until the following day, a few miles downstream, washed up on a bright bend in the river and with a solitary vulture sitting on his stomach. Over the scandalized protests of Ursula, who wept with more grief than she had had for her own father, Jose Arcadio Buendia was opposed to their burying him. "He is immortal," he said, "and he himself revealed the formula of his resurrection." He brought out the forgotten water pipe and put a kettle of mercury to boil next to the body, which little by little was filling with blue bubbles. Don Apolinar Moscote ventured to remind him that an unburied drowned man was a danger to public health. "None of that, because he's alive," was the answer of Jose Arcadio Buendia, who finished the seventy-two hours with the mercurial incense as the body was already beginning to burst with a livid fluorescence, the soft whistles of which impregnated the house with a pestilential vapor. Only then did he permit them to bury him, not in any ordinary way, but with the honors reserved for Macondo's greatest benefactor. It was the first burial and the best-attended one that was ever seen in the town, only surpassed, a century later, by Big Mama's funeral carnival. They buried him in a grave dug in the center of the plot destined for the cemetery, with a stone on which they wrote the only thing they knew about him: MELQUIADES. They gave him his nine nights of wake. In the tumult that gathered in the courtyard to drink coffee, tell jokes, and play cards, Amaranta found a chance to confess her love to Pietro Crespi, who a few weeks before had formalized his promise to Rebeca and had set up a store for musical instruments and mechanical toys in the same section where the Arabs had lingered in other times swapping knick-knacks for macaws, and which the people called the Street of the Turks. The Italian, whose head covered with patent leather curls aroused in women an irrepressible need to sigh, dealt with Amaranta as with a capricious little girl who was not worth taking seriously.
"I have a younger brother," he told her. "He's coming to help me in the store."
Amaranta felt humiliated and told Pietro Crespi with a virulent anger that she was prepared to stop her sister's wedding even if her own dead bod
y had to lie across the door. The Italian was so impressed by the dramatics of the threat that he could not resist the temptation to mention it to Rebeca. That was how Amaranta's trip, always put off by Ursula's work, was arranged in less than a week. Amaranta put up no resistance, but when she kissed Rebeca good-bye she whispered in her ear:
"Don't get your hopes up. Even if they send me to the ends of the earth I'll find some way of stopping you from getting married, even if I have to kill you."
With the absence of Ursula, with the invisible presence of Melquiades, who continued his stealthy shuffling through the rooms, the house seemed enormous and empty. Rebeca took charge of domestic order, while the Indian woman took care of the bakery. At dusk, when Pietro Crespi would arrive, preceded by a cool breath of lavender and always bringing a toy as a gift, his fiancee would receive the visitor in the main parlor with doors and windows open to be safe from any suspicion. It was an unnecessary precaution, for the Italian had shown himself to be so respectful that he did not even touch the hand of the woman who was going to be his wife within the year. Those visits were filling the house with remarkable toys. Mechanical ballerinas, music boxes, acrobatic monkeys, trotting horses, clowns who played the tambourine: the rich and startling mechanical fauna that Pietro Crespi brought dissipated Jose Arcadio Buendia's affliction over the death of Melquiades and carried him back to his old days as an alchemist. He lived at that time in a paradise of disemboweled animals, of mechanisms that had been taken apart in an attempt to perfect them with a system of perpetual motion based upon the principles of the pendulum. Aureliano, for his part, had neglected the workshop in order to teach little Remedios to read and write. At first the child preferred her dolls to the man who would come every afternoon and who was responsible for her being separated from her toys in order to be bathed and dressed and seated in the parlor to receive the visitor. But Aureliano's patience and devotion finally won her over, up to the point where she would spend many hours with him studying the meaning of the letters and sketching in a notebook with colored pencils little houses with cows in the corral and round suns with yellow rays that hid behind the hills.
Only Rebeca was unhappy, because of Amaranta's threat. She knew her sister's character, the haughtiness of her spirit, and she was frightened by the virulence of her anger. She would spend whole hours sucking her finger in the bathroom, holding herself back with an exhausting iron will so as not to eat earth. In search of some relief for her uncertainty, she called Pilar Ternera to read her future. After a string of conventional vagaries, Pilar Ternera predicted:
"You will not be happy as long as your parents remain unburied."
Rebeca shuddered. As in the memory of a dream she saw herself entering the house as a very small girl, with the trunk and the little rocker, and a bag whose contents she had never known. She remembered a bald gentleman dressed in linen and with his collar closed by a gold button, who had nothing to do with the king of hearts. She remembered a very young and beautiful woman with warm and perfumed hands, who had nothing in common with the jack of diamonds and his rheumatic hands, and who used to put flowers in her hair and take her out walking in the afternoon through a town with green streets.
"I don't understand," she said.
Pilar Ternera seemed disconcerted:
"I don't either, but that's what the cards say."
Rebeca was so preoccupied with the enigma that she told it to Jose Arcadio Buendia, and he scolded her for believing in the predictions of the cards, but he undertook the silent task of searching closets and trunks, moving furniture and turning over beds and floorboards looking for the bag of bones. He remembered that he had not seen it since the time of the rebuilding. He secretly summoned the masons and one of them revealed that he had walled up the bag in some bedroom because it bothered him in his work. After several days of listening, with their ears against the walls, they perceived the deep cloc-cloc. They penetrated the wall and there were the bones in the intact bag. They buried it the same day in a grave without a stone next to that of Melquiades, and Jose Arcadio Buendia returned home free of a burden that for a moment had weighed on his conscience as much as the memory of Prudencio Aguilar. When he went through the kitchen he kissed Rebeca on the forehead.
"Get those bad thoughts out of your head," he told her. "You're going to be happy."
The friendship with Rebeca opened up to Pilar Ternera the doors of the house, closed by Ursula since the birth of Arcadio. She would arrive at any hour of the day, like a flock of goats, and would unleash her feverish energy in the hardest tasks. Sometimes she would go into the workshop and help Arcadio sensitize the daguerreotype plates with an efficiency and a tenderness that ended up by confusing him. That woman bothered him. The tan of her skin, her smell of smoke, the disorder of her laughter in the darkroom distracted his attention and made him bump into things.
On a certain occasion Aureliano was there working on his silver, and Pilar Ternera leaned over the table to admire his laborious patience. Suddenly it happened. Aureliano made sure that Arcadio was in the darkroom before raising his eyes and meeting those of Pilar Ternera, whose thought was perfectly visible, as if exposed to the light of noon.
"Well," Aureliano said. "Tell me what it is."
Pilar Ternera bit her lips with a sad smile.
"That you'd be good in a war," she said. "Where you put your eye, you put your bullet."
Aureliano relaxed with the proof of the omen. He went back to concentrate on his work as if nothing had happened, and his voice took on a restful strength.
"I will recognize him," he said. "He'll bear my name."
Jose Arcadio Buendia finally got what he was looking for: he connected the mechanism of the clock to a mechanical ballerina, and the toy danced uninterruptedly to the rhythm of her own music for three days. That discovery excited him much more than any of his other harebrained undertakings. He stopped eating. He stopped sleeping. Only the vigilance and care of Rebeca kept him from being dragged off by his imagination into a state of perpetual delirium from which he would not recover. He would spend the nights walking around the room thinking aloud, searching for a way to apply the principles of the pendulum to oxcarts, to harrows, to everything that was useful when put into motion. The fever of insomnia fatigued him so much that one dawn he could not recognize the old man with white hair and uncertain gestures who came into his bedroom. It was Prudencio Aguilar. When he finally identified him, startled that the dead also aged, Jose Arcadio Buendia felt himself shaken by nostalgia. "Prudencio," he exclaimed. "You've come from a long way off!" After many years of death the yearning for the living was so intense, the need for company so pressing, so terrifying the nearness of that other death which exists within death, that Prudencio Aguilar had ended up loving his worst enemy. He had spent a great deal of time looking for him. He asked the dead from Riohacha about him, the dead who came from the Upar Valley, those who came from the swamp, and no one could tell him because Macondo was a town that was unknown to the dead until Melquiades arrived and marked it with a small black dot on the motley maps of death. Jose Arcadio Buendia conversed with Prudencio Aguilar until dawn. A few hours later, worn out by the vigil, he went into Aureliano's workshop and asked him: "What day is today?" Aureliano told him that it was Tuesday. "I was thinking the same thing," Jose Arcadio Buendia said, "but suddenly I realized that it's still Monday, like yesterday. Look at the sky, look at the walls, look at the begonias. Today is Monday too." Used to his manias, Aureliano paid no attention to him. On the next day, Wednesday, Jose Arcadio Buendia went back to the workshop. "This is a disaster," he said. "Look at the air, listen to the buzzing of the sun, the same as yesterday and the day before. Today is Monday too." That night Pietro Crespi found him on the porch, weeping for Prudencio Aguilar, for Melquiades, for Rebeca's parents, for his mother and father, for all of those he could remember and who were now alone in death. He gave him a mechanical bear that walked on its hind legs on a tightrope, but he could not distract him from his
obsession. He asked him what had happened to the project he had explained to him a few days before about the possibility of building a pendulum machine that would help men to fly and he answered that it was impossible because a pendulum could lift anything into the air but it could not lift itself. On Thursday he appeared in the workshop again with the painful look of plowed ground. "The time machine has broken," he almost sobbed, "and Ursula and Amaranta so far away!" Aureliano scolded him like a child and he adopted a contrite air. He spent six hours examining things, trying to find a difference from their appearance on the previous day in the hope of discovering in them some change that would reveal the passage of time. He spent the whole night in bed with his eyes open, calling to Prudencio Aguilar, to Melquiades, to all the dead, so that they would share his distress. But no one came. On Friday, before anyone arose, he watched the appearance of nature again until he did not have the slightest doubt but that it was Monday. Then he grabbed the bar from a door and with the savage violence of his uncommon strength he smashed to dust the equipment in the alchemy laboratory, the daguerreotype room, the silver workshop, shouting like a man possessed in some high-sounding and fluent but completely incomprehensible language. He was about to finish off the rest of the house when Aureliano asked the neighbors for help. Ten men were needed to get him down, fourteen to tie him up, twenty to drag him to the chestnut tree in the courtyard, where they left him tied up, barking in the strange language and giving off a green froth at the mouth. When Ursula and Amaranta returned he was still tied to the trunk of the chestnut 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.