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丕賱廿丨鬲賯丕乇
賷乇賵賷 賲賵乇丕賮賷丕 賮賷 乇賵丕賷鬲賴 賴匕賴 "丕賱丕丨鬲賯丕乇" 賯氐丞 夭賵噩 賵夭賵噩鬲賴 賷賳卮兀 亘賷賳賴賲丕 兀賵賱 丕賱兀賲乇 爻賵亍 鬲賮丕賴賲 禺賮賷賮貙 孬賲 賷氐亘丨 睾賷乇 賯丕亘賱 賱賱丨賱貙 賵鬲賳鬲賴賷 丕賱夭賵噩丞 廿賱賶 丕丨鬲賯丕乇 丕賱夭賵噩貙 賲賳 睾賷乇 兀賳 賷丿乇賰 丕賱爻亘亘. 賵賷丐丿賷 賴匕丕 丕賱丕丨鬲賯丕乇貙 丕賱匕賷 乇亘賲丕 賰丕賳 亘賱丕 兀爻丕爻貙 廿賱賶 賳鬲丕卅噩 賮丕噩毓丞貙 賵亘胤賱 賲賵乇丕賮賷丕 賴賳丕 賰丕鬲亘 賲爻乇丨賷 兀氐亘丨 賰丕鬲亘 爻賳丕乇賷賵賴丕鬲 爻賷賳賲丕卅賷丞貙 賵賯丿 兀丿賶 丕爻鬲睾乇丕賯賴 賲毓 夭賵噩鬲賴 賮賷 賴匕丕 丕賱賵爻胤 丕賱噩丿賷丿 廿賱賶 丕賱鬲兀孬賷乇 毓賱賶 丕賱鬲賮丕賴賲 丕賱賰丕賲賱 丕賱匕賷 賰丕賳 亘賷賳賴賲丕貙 賱丕 爻賷賲丕 亘毓丿 馗賴賵乇 賲賳鬲噩 丕賱兀賮賱丕賲 丕賱匕賷 賰丕賳 丕賱夭賵噩 賷毓賲賱 賱丨爻丕亘賴貙 賵丕賱匕賷 賷亘丿賵 兀賳 毓賱丕賯丞 睾丕賲囟丞 賯丕賲鬲 亘賷賳賴 賵亘賷賳 丕賱夭賵噩丞貙 亘毓丿 兀丨丿丕孬 賲卮賵賯丞.
賵爻賷賱丕丨馗 丕賱賯丕乇卅 丕賱兀爻賱賵亘 丕賱亘爻賷賰賵賱賵噩賷 賵丕賱鬲丨賱賷賱 丕賱毓賲賷賯 丕賱匕賷 兀乇丕丿 丕賱賲丐賱賮 亘賴賲丕 丕賱丨丿孬 丕賱乇賵丕卅賷 毓賱賶 賳丨賵 賷孬賷乇 丕賱鬲卮賵賷賯 賵賷亘毓孬 毓賱賶 丕賱賮囟賵賱. 賵賴賳丕 鬲賲賰賳 賮賷 丕賱丨賯賷賯賷丞 賲賵賴亘丞 賲丐賱賮 "丕賱爻兀賲" 丕賱匕賷 賷賯丿賲 賮賷 "丕賱丕丨鬲賯丕乇" 丿賱賷賱丕賸 噩丿賷丿丕賸 毓賱賶 亘乇丕毓鬲賴 丕賱乇賵丕卅賷丞.
賲丐賱賮 賴匕賴 丕賱乇賵丕賷丞 賴賵 丕賱賰丕鬲亘 丕賱廿賷胤丕賱賷 丕賱卮賴賷乇 丕賱亘乇鬲賵 賲賵乇丕賮賷丕 氐丕丨亘 乇賵丕賷丞 "丕賱爻兀賲" 丕賱鬲賷 賳丕賱鬲 噩丕卅夭丞 "賮賷丕乇噩賷賵" 兀賰亘乇 噩丕卅夭丞 兀丿亘賷丞 賮賷 廿賷胤丕賱賷丕.
賵爻賷賱丕丨馗 丕賱賯丕乇卅 丕賱兀爻賱賵亘 丕賱亘爻賷賰賵賱賵噩賷 賵丕賱鬲丨賱賷賱 丕賱毓賲賷賯 丕賱匕賷 兀乇丕丿 丕賱賲丐賱賮 亘賴賲丕 丕賱丨丿孬 丕賱乇賵丕卅賷 毓賱賶 賳丨賵 賷孬賷乇 丕賱鬲卮賵賷賯 賵賷亘毓孬 毓賱賶 丕賱賮囟賵賱. 賵賴賳丕 鬲賲賰賳 賮賷 丕賱丨賯賷賯賷丞 賲賵賴亘丞 賲丐賱賮 "丕賱爻兀賲" 丕賱匕賷 賷賯丿賲 賮賷 "丕賱丕丨鬲賯丕乇" 丿賱賷賱丕賸 噩丿賷丿丕賸 毓賱賶 亘乇丕毓鬲賴 丕賱乇賵丕卅賷丞.
賲丐賱賮 賴匕賴 丕賱乇賵丕賷丞 賴賵 丕賱賰丕鬲亘 丕賱廿賷胤丕賱賷 丕賱卮賴賷乇 丕賱亘乇鬲賵 賲賵乇丕賮賷丕 氐丕丨亘 乇賵丕賷丞 "丕賱爻兀賲" 丕賱鬲賷 賳丕賱鬲 噩丕卅夭丞 "賮賷丕乇噩賷賵" 兀賰亘乇 噩丕卅夭丞 兀丿亘賷丞 賮賷 廿賷胤丕賱賷丕.
253 pages, Paperback
First published January 1, 1954
222 people are currently reading
11704 people want to read
About the author
Alberto Moravia
504听books1,174听followersAlberto Moravia, born Alberto Pincherle, was one of the leading Italian novelists of the twentieth century whose novels explore matters of modern sexuality, social alienation, and existentialism. He was also a journalist, playwright, essayist and film critic.
Moravia was an atheist, his writing was marked by its factual, cold, precise style, often depicting the malaise of the bourgeoisie, underpinned by high social and cultural awareness. Moravia believed that writers must, if they were to represent reality, assume a moral position, a clearly conceived political, social, and philosophical attitude, but also that, ultimately, "A writer survives in spite of his beliefs".
Moravia was an atheist, his writing was marked by its factual, cold, precise style, often depicting the malaise of the bourgeoisie, underpinned by high social and cultural awareness. Moravia believed that writers must, if they were to represent reality, assume a moral position, a clearly conceived political, social, and philosophical attitude, but also that, ultimately, "A writer survives in spite of his beliefs".
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Displaying 1 - 30 of 594 reviews
January 11, 2021
The less one notices happiness, the greater it is.
Contempt. Just imagining being the object of this emotion 鈥� rolling eyes, an unilateral lip curl on a beloved face, an unilateral lip curl, a sneering or bitter tone in the voice, I shiver at the thought of the chilly grasp on the heart, the sharp pangs of powerlessness and hurt accompanying it. Picture sharing your life space with a person of who you thought he or she was loving you, suddenly experiencing the change of heart, like a cold wind blowing in your neck鈥�
In Alberto Moravia鈥檚 1954 novel 鈥楥ontempt鈥� the dissection of that emotion turns into the obsession of the narrator. Riccardo Molteni is a writer day-dreaming of more creative freedom, instead spending all his time writing film scripts on demand to pay the bills and afford the kind of housing he presumes his wife Emilia needs and longs for. After two years of being married, he realises Emilia鈥檚 feelings for him have changed, and he goes astray in his unyielding quest to understand why he lost her love and respect.
Riccardo, initially taking the love of his spouse as self-evident as the air he breathes, gradually seems to end up in a hallucinatory mist of self-deceit and longing blinding him, making his observations and musings unreliable and diffuse, a mental stumbling in the dark. Is he by his exhaustive questioning and analysis of every gesture and expression of his wife unconsciously pushing away Emilia (and even driving her into the arms of a another man)? Does she only reflect the self-loathing he is projecting on her behalf ? When his producer asks him to turn the Odyssey into a film script together with Rheingold, a German director, his beliefs on the meaning of Homer鈥檚 epic and on his own marriage are challenged by Rheingold鈥檚 view on Odysseus as a man initially leaving Ithaca to flee his unhappy marriage, the ten years wandering it takes to return after the Trojan war not attributable to the wrath of the gods but Odysseus own unconscious stopping him over and over in his reluctance to return to Penelope. Love and loyalty aren鈥檛 synonyms: "Loyalty, Signor Molteni, not love. Penelope is loyal to Ulysses but we do not know how far she loved him...and as you know people can sometimes be absolutely loyal without loving. In certain cases, in fact, loyalty is form of vengeance, of black-mail, of recovering one's self-respect. Loyalty, not love."
Averse to Rheingold鈥檚 toying with psycho-analytic interpretations of the Odyssey, rather than sinking into self-scrutiny, Riccardo analyses Emilia鈥檚 distancing from him in socio-economic terms, the class struggle emerging in the microcosm of the marriage (Riccardo from a bourgeois background posing as an intellectual, Emilia from a more modest descent). The thoughts and psyche of Emilia stay elusive, like Riccardo the reader only discerns vague contours of her personality and motifs. As she is speaking little, like Riccardo the reader has to rely on the few glimpses of her, on her appearance and her passive-aggressive body language, apparently expressing her anger and annoyance 鈥� quite unsettlingly evocated when her husband attempts to kill the distance between them sexually (in which a certain machismo seems to obfuscate Riccardo's mind). Moravia depicts his protagonist as a somewhat silly, clumsy man, a tragi-comical person who has little insight into himself and seems to have no grip on events, in contrasting irony with his profession, giving shape to the life of others in his writing of scenario鈥檚.
The novel made me ruminate on how an originally loving relationship can degenerate into its opposite and what triggers such radical change (the projection of one鈥檚 own dreams or wishes on the future on the partner, economic and class differences within a couple, loyalty conflicts) 鈥� and how painful it is to witness let alone endure that process and the evaporation of once cherished feelings. Is contempt worse than indifference? Sometimes we are our own worst enemy.
Moravia鈥檚 prose is elegant, precise and exciting. Capri - the island of the sirens, of the Roman emperors, of artists and bohemians, where Moravia used to live with his first wife, Italian writer Elsa Morante between 1936 and 1943 - makes a fantastic setting and the descriptions of Moravia of it are stunning.
As the air to a bird or the sea to a fish, so is contempt to the contemptible, William Blake wrote in his . Like David Foster Wallace鈥檚 young fish don鈥檛 realize they are in the water (), contempt cannot be truly grasped by the one who is the object of it without initiating an existential crisis. And such is the tragedy which hits Moravia鈥檚 protagonist, understanding the reasons why Emilia鈥檚 feelings changed would make no difference; like a bird that could escape its cage will not return, love lost cannot be regained. L鈥檃mour est un oiseau rebelle鈥�
Finally watching Jean-Luc Godard鈥檚 gorgeous film adaptation (La M茅prise) a year after reading the novel was in every respect a feast to the senses (and fun).
(Photos by Umberto d'Aniello)
Contempt. Just imagining being the object of this emotion 鈥� rolling eyes, an unilateral lip curl on a beloved face, an unilateral lip curl, a sneering or bitter tone in the voice, I shiver at the thought of the chilly grasp on the heart, the sharp pangs of powerlessness and hurt accompanying it. Picture sharing your life space with a person of who you thought he or she was loving you, suddenly experiencing the change of heart, like a cold wind blowing in your neck鈥�
In Alberto Moravia鈥檚 1954 novel 鈥楥ontempt鈥� the dissection of that emotion turns into the obsession of the narrator. Riccardo Molteni is a writer day-dreaming of more creative freedom, instead spending all his time writing film scripts on demand to pay the bills and afford the kind of housing he presumes his wife Emilia needs and longs for. After two years of being married, he realises Emilia鈥檚 feelings for him have changed, and he goes astray in his unyielding quest to understand why he lost her love and respect.
Riccardo, initially taking the love of his spouse as self-evident as the air he breathes, gradually seems to end up in a hallucinatory mist of self-deceit and longing blinding him, making his observations and musings unreliable and diffuse, a mental stumbling in the dark. Is he by his exhaustive questioning and analysis of every gesture and expression of his wife unconsciously pushing away Emilia (and even driving her into the arms of a another man)? Does she only reflect the self-loathing he is projecting on her behalf ? When his producer asks him to turn the Odyssey into a film script together with Rheingold, a German director, his beliefs on the meaning of Homer鈥檚 epic and on his own marriage are challenged by Rheingold鈥檚 view on Odysseus as a man initially leaving Ithaca to flee his unhappy marriage, the ten years wandering it takes to return after the Trojan war not attributable to the wrath of the gods but Odysseus own unconscious stopping him over and over in his reluctance to return to Penelope. Love and loyalty aren鈥檛 synonyms: "Loyalty, Signor Molteni, not love. Penelope is loyal to Ulysses but we do not know how far she loved him...and as you know people can sometimes be absolutely loyal without loving. In certain cases, in fact, loyalty is form of vengeance, of black-mail, of recovering one's self-respect. Loyalty, not love."
Averse to Rheingold鈥檚 toying with psycho-analytic interpretations of the Odyssey, rather than sinking into self-scrutiny, Riccardo analyses Emilia鈥檚 distancing from him in socio-economic terms, the class struggle emerging in the microcosm of the marriage (Riccardo from a bourgeois background posing as an intellectual, Emilia from a more modest descent). The thoughts and psyche of Emilia stay elusive, like Riccardo the reader only discerns vague contours of her personality and motifs. As she is speaking little, like Riccardo the reader has to rely on the few glimpses of her, on her appearance and her passive-aggressive body language, apparently expressing her anger and annoyance 鈥� quite unsettlingly evocated when her husband attempts to kill the distance between them sexually (in which a certain machismo seems to obfuscate Riccardo's mind). Moravia depicts his protagonist as a somewhat silly, clumsy man, a tragi-comical person who has little insight into himself and seems to have no grip on events, in contrasting irony with his profession, giving shape to the life of others in his writing of scenario鈥檚.
The novel made me ruminate on how an originally loving relationship can degenerate into its opposite and what triggers such radical change (the projection of one鈥檚 own dreams or wishes on the future on the partner, economic and class differences within a couple, loyalty conflicts) 鈥� and how painful it is to witness let alone endure that process and the evaporation of once cherished feelings. Is contempt worse than indifference? Sometimes we are our own worst enemy.
Moravia鈥檚 prose is elegant, precise and exciting. Capri - the island of the sirens, of the Roman emperors, of artists and bohemians, where Moravia used to live with his first wife, Italian writer Elsa Morante between 1936 and 1943 - makes a fantastic setting and the descriptions of Moravia of it are stunning.
As the air to a bird or the sea to a fish, so is contempt to the contemptible, William Blake wrote in his . Like David Foster Wallace鈥檚 young fish don鈥檛 realize they are in the water (), contempt cannot be truly grasped by the one who is the object of it without initiating an existential crisis. And such is the tragedy which hits Moravia鈥檚 protagonist, understanding the reasons why Emilia鈥檚 feelings changed would make no difference; like a bird that could escape its cage will not return, love lost cannot be regained. L鈥檃mour est un oiseau rebelle鈥�
Finally watching Jean-Luc Godard鈥檚 gorgeous film adaptation (La M茅prise) a year after reading the novel was in every respect a feast to the senses (and fun).
(Photos by Umberto d'Aniello)
March 29, 2021
Born out of his own relationship problems with wife Elsa Morante, Moravia's Contempt is a rich but turbulent story of a marriage in decline, where Rome screenwriter Molteni is told by his beautiful wife Emilia that she not only doesn't love him anymore, but finds him deplorable to be around.
Told with a profound sense of melancholy, the narrative possesses both an unpleasant behind-closed-doors feel, mixed with tragedy and farce. Very early on we realize that love is dead in the water so to speak, or at least from Emilia's perspective, the sensitive Ricarrdo (also known as Molteni) on the other hand is left reeling with a sense of what have I done wrong? relentlessly questioning his wife as to the reasons why she feels this way. Along with the troubled couple, the novel only features two other characters, film producer Battista, an arrogant and overbearing individual who has eyes for Emilia, and German Director Rheinhold who wants to make a film version of Homers's Odyssey.
The couple are invited to Battista'a villa on the idyllic island of Capri in the Bay of Naples, helping Molteni to start writing a script, with it's rugged coastline and sparkling blue/green waters, it seems the perfect place to get away and clear the air, but this would only lead to a growing tension that doesn't let up. Emilia becomes more distant, looking at her husband as a mere ghost, while Molteni is struggling with two idea's for the film, Battista wants a spectacular Odyssey, but Rheinhold's vision is a philosophical one. Stuck in the middle with his mind only on one thing, Molteni's agitation fueled by the blistering heat leads him to question his own nature and deepest fears.
The most striking aspect of Contempt is the cool calculated way he looks at love, or lack of it. For all it's painful predicaments, there is a great substance in his writing, sometimes you want to turn away from the intimate conflict and intensity, but he still compels the reader to keep turning the pages to the bitter end.
Reading of a marital crisis was never going to be easy, and with an equally tragic finale it's not going to particularly make you feel that great, but I loved it.
And having seen numerous times Jean Luc Godard's 1963 adaptation, staring a pouting Brigitte Bardot, apart from a few differences it reads similar to the film. but never spoiled proceedings.
4.5/5 for the book, but an extra half star given with it being linked to Godard, my movie God.
Told with a profound sense of melancholy, the narrative possesses both an unpleasant behind-closed-doors feel, mixed with tragedy and farce. Very early on we realize that love is dead in the water so to speak, or at least from Emilia's perspective, the sensitive Ricarrdo (also known as Molteni) on the other hand is left reeling with a sense of what have I done wrong? relentlessly questioning his wife as to the reasons why she feels this way. Along with the troubled couple, the novel only features two other characters, film producer Battista, an arrogant and overbearing individual who has eyes for Emilia, and German Director Rheinhold who wants to make a film version of Homers's Odyssey.
The couple are invited to Battista'a villa on the idyllic island of Capri in the Bay of Naples, helping Molteni to start writing a script, with it's rugged coastline and sparkling blue/green waters, it seems the perfect place to get away and clear the air, but this would only lead to a growing tension that doesn't let up. Emilia becomes more distant, looking at her husband as a mere ghost, while Molteni is struggling with two idea's for the film, Battista wants a spectacular Odyssey, but Rheinhold's vision is a philosophical one. Stuck in the middle with his mind only on one thing, Molteni's agitation fueled by the blistering heat leads him to question his own nature and deepest fears.
The most striking aspect of Contempt is the cool calculated way he looks at love, or lack of it. For all it's painful predicaments, there is a great substance in his writing, sometimes you want to turn away from the intimate conflict and intensity, but he still compels the reader to keep turning the pages to the bitter end.
Reading of a marital crisis was never going to be easy, and with an equally tragic finale it's not going to particularly make you feel that great, but I loved it.
And having seen numerous times Jean Luc Godard's 1963 adaptation, staring a pouting Brigitte Bardot, apart from a few differences it reads similar to the film. but never spoiled proceedings.
4.5/5 for the book, but an extra half star given with it being linked to Godard, my movie God.
Want to read
August 15, 2023i fear i may have started yet another book collection (i love the nyrb classics)
April 25, 2023
I did not see the time pass. I did well to read Contempt today and not when I was twenty. To appreciate it, you have to have lived, I think.
He is a character in an intellectual quest for the reasons for his wife's discontent and contempt, whom Moravia has a monologue against the backdrop of the Odyssey and summary psychoanalysis. This detailed, depressing, and captivating introspection results from incredibly effective writing that does not lack a few notes of poetry and forces (or facilitates) identification with both man and woman. Of course, relationships between men and women are somewhat outdated - not more than half a century has passed since the release of this novel without changing our societies - but it does not matter.
It emerges in particular that love can do without fidelity while fidelity without love is nothing, if not suffering.
He is a character in an intellectual quest for the reasons for his wife's discontent and contempt, whom Moravia has a monologue against the backdrop of the Odyssey and summary psychoanalysis. This detailed, depressing, and captivating introspection results from incredibly effective writing that does not lack a few notes of poetry and forces (or facilitates) identification with both man and woman. Of course, relationships between men and women are somewhat outdated - not more than half a century has passed since the release of this novel without changing our societies - but it does not matter.
It emerges in particular that love can do without fidelity while fidelity without love is nothing, if not suffering.
April 1, 2025
Man discovers that his wife no longer loves him. She's clearly banging his boss.
It's so obvious she's banging his boss.
Dude, she's banging your boss!!
It's so obvious she's banging his boss.
Dude, she's banging your boss!!
July 28, 2010
Ayn Rand's writing is probably the only thing that I have read and found more annoying than Contempt. Moravia's idea had such great potential. An existential, psychological drama, doesn't it sound promising? In fact, Moravia did succeed in portraying the obsessive, supremely self-centered and over-analytic narrator, Riccardo Molteni, pretty well. He lets the reader discover the unreliability of the narrator and see through his wrong judgements slowly during the course of the novel. But being inside the head of this obsessive narrator gets irritating very soon...like fingernails scraping a chalkboard. He is so full of negativity. I have nothing against a negative character being the lead, but he/she should be somewhat interesting. On the contrary, Molteni's narration is excruciatingly painful to read and insufferably repetitive.
"Emilia doesn't love me."
"I am too good to be writing film-scripts."
"Emilia, why do you despise me?"
"Emilia, do you love me?"
Keep repeating these thoughts in a mixed fashion, throw in the words repugnance, despise, have an explanation with as often as possible and you have the first 150 pages written.
Now bring in a director who incessantly analyzes Ulysses from Odyssey, repeat the phrases from the previous part whenever the director shuts up and that's another 70-80 pages.
The narrator sometimes gets stuck at one thought and writes an entire page saying the same thing several times. At times he thinks way too slowly. He devotes one full page to Emilia discussing the dinner menu with the maid, and another page analyzing that scene. Not just that the thoughts are repeated, they are expressed in the same manner, using the same words over and over again. May be it is the translator's fault, but I do not want to read the same phrase four times in a single paragraph.
This still could have been tolerable if the prose weren't so lifeless and dry. All I felt while reading Contempt was FRUSTRATION! It is not touching, it is no fun to read, it is not informative or thought-provoking, why read it?
Riccardo Molteni, STOP THINKING or JUST DIE!
October 10, 2019
This is all about wives and husbands.
What I mean is that I came to the husband through his wives or companions.
I first discovered , whose writing I greatly enjoyed. Then, more recently to , whose "Isola" is unforgettable. So now I finally came to him. I had known he was 鈥榯here鈥� but his literary presence became more imminent once I had met his women.
Alberto Moravia met Elsa Morante in 1936 and they got married in 1941. They lived in Capri soon after but during the war they had to hide a bit more in the Neapolitan bay. They took refuge in a fortress, well not really, just in a town where there is a beautiful fortress, in Forti which lies between Rome and Naples. They separated in 1962 when Moravia got together with Maraini with whom he stayed until 1978. Alberto and Dacia worked together for the theatre, although I have only read their novels.
Moravia and Morante in Capri.
This novel is about husband and wife too. It was published in 1954 and is set between Rome and Capri. It is inevitable that the reader will try to sniff autobiographical elements, particularly with the Capri setting, the profession of the main character, a writer who has to work writing film scripts to earn a living and may be some elements in the strained relationship in the couple: Riccardo Molteni and Emilia.
Moravia was very close to the cinema 鈥� not only did he write scripts for several films but was also a respected film critic. He moved in the orbit of Pasolini (with whom he and Maraini traveled extensively throughout the East) and other film makers and the latter corresponded by bringing to the main screen several of his novels. This one was taken up by in 1963 with Brigitte Bardot as Emilia.
In this novel we see how an emotional virus, the feeling of contempt or 鈥榙isprezzo鈥� grows and separates the couple. With a crystal-clear language, Morante makes this feeling take over the main two characters in his work. Very slowly, so slowly that at times the reader can grow irritated with the narrator, Riccardo, as much as his wife. And so clearly that the characters often repeat themselves, with an accompanying 鈥榓s I have already said鈥�.
But there is a lot of light in this novel, in particular when the plot takes the reader to Capri. The Mediterranean setting then takes on a singular meaning. For if Homer鈥檚 story of the Odyssey could provide a key or a clue or the destiny that this story is to follow--in particular the relationship between the husband Ulysses and the wife Penelope--, the interpretation drawn from the classical story cannot be any variation; it has to be subjected to the forces of the Middle Sea. So, for example, the narrator dismisses Joyce鈥檚 version because the blazing and scorching sun is not present in the Northern replay.
And this sun and the water and its changing blue colours distort destinies and dominate the mind of the characters, melting them into hallucinations . It is also the passages dealing with the sunlight and the rich blues that provide the reader unforgettably beautiful evocations of that fantastic Neapolitan coast.
An yet, even if the sun and the sea are present, there is no return.
October 30, 2024
乇賵丕賷丞 賳賮爻賷丞 賵鬲丨賱賷賱 爻賱賵賰 丕賱亘卮乇 賵賲丕 賷毓鬲賱噩 賮賷 丿丕禺賱賴丕貙 賲賳 賲卮丕毓乇 賵乇睾亘丕鬲 賵爻亘乇 兀睾賵丕乇賴丕 丕賱賲禺賮賷丞.
孬賷賲丞 丕賱乇賵丕賷丞 丕賱兀爻丕爻賷丞 毓賳丿賲丕 兀禺亘乇鬲 兀賲賷賱賷 夭賵噩賴丕 賲賵賱鬲賷賳賷 賮賷 賷賵賲 賲賳 丕賱兀賷丕賲 兀賳賴丕 鬲丨鬲賯乇賴! 賵賴賰匕丕 賰丕賳 賰賱 卮卅 賷毓賵丿 廿賱賶 丕賱爻丐丕賱 賳賮爻賴貨 赖賱 賰丕賳鬲 鬲丨鬲賯乇賳賷 賵賱賲丕匕丕責
鬲丿賵乇 丕賱兀丨丿丕孬 賮賷 乇賵賲丕 1954 夭賲賳 賰鬲丕亘丞 丕賱乇賵丕賷丞貙 亘賷賳 丕賱夭賵噩 賵賴賵 賰丕鬲亘 爻賷賳丕乇賷賵 丕賱兀賮賱丕賲 賵夭賵噩鬲賴 賵賲賳鬲噩 兀賮賱丕賲賴 亘丕鬲賷爻鬲丕 賵卮禺氐賷丞 乇丕亘毓丞 賲禺乇噩 賮賷賱賲 賲夭賲毓 鬲賳賮賷匕賴 毓賳 丕賱兀賵丿賷爻丞 賱賴賵賲賷乇賵爻.
賵賲賳 禺賱丕賱 丕賱兀丨丿丕孬 賳卮丕賴丿 賲賵賱鬲賷賳賷 賵氐乇丕毓賴 丕賱賳賮爻賷 賱賲毓乇賮丞 匕賱賰 丕賱丕丨鬲賯丕乇 丕賱匕賷 賵氐賲鬲賴 亘賴 夭賵噩鬲賴 兀賲賷賱賷貙 賲毓 丨賵丕乇丕鬲 賳賮爻賷丞 丿丕禺賱賷丞 賲毓 賳賮爻賴 賵賲毓 鬲賰鬲賲賴丕 丕賱卮丿賷丿 賱賱鬲氐乇賷丨 亘兀爻亘丕亘 匕賱賰 丕賱丕丨鬲賯丕乇貙 賰賲丕 賳卮丕賴丿 賲賳 禺賱丕賱 丨賵丕乇丕鬲賴 賲毓 賲禺乇噩 丕賱賮賷賱賲 賵賳賯丕卮丕鬲賴賲 毓賳 卮禺氐賷丞 毓賵賱賷爻 賵亘賷賳賷賱賵亘 賮賷 丕賱兀丿賵賷爻丞 賲賳 禺賱丕賱 乇丐賷丞 丕賱賲禺乇噩 兀賳賴丕 鬲卮亘賴 賲丕 賷毓鬲賲賱 亘賷賳 賲賵賱鬲賷賳賷 賵夭賵噩鬲賴 賵兀賳賴丕 賰賲丕 夭賵噩鬲賴 賰丕賳鬲 鬲丨鬲賯乇 毓賵賱賷爻 夭賵噩賴丕貙 亘丿賵賳 賲毓乇賮丞 丕賱賲禺乇噩 鬲賱賰 丕賱兀賲賵乇 丕賱夭賵噩賷丞 賵賱賰賳賴丕 胤毓賳鬲 賲賵賱鬲賷賳賷 賵噩毓賱鬲賴 賮賷 氐乇丕毓 賳賮爻賷 乇賴賷亘貙 賵卮毓賵乇賴 亘賮賯丿丕賳 夭賵噩鬲賴 賵乇睾亘鬲賴 賱丕爻鬲乇噩丕毓 丨亘賴丕 賱賴.
兀毓鬲賯丿 兀賳 賲賵乇丕冥賷丕 賰丕賳 賷賰鬲亘 毓賳 賳賮爻賴 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘毓丿 賮卮賱 毓賱丕賯鬲賴 丕賱夭賵噩賷丞 賮賷 丨賷丕鬲賴 丕賱卮禺氐賷丞貙 賰賲丕 兀賳賴 兀賵囟丨 兀賳 爻賵亍 丕賱鬲賮丕賴賲 亘賷賳 丕賱夭賵噩賷賳 賵亘毓囟 丕賱賲卮賰賱丕鬲 睾賷乇 丕賱賲丨爻賵爻丞 賵毓丿賲 毓賱丕噩賴丕 賮賷 丕賱鬲賵 鬲丐丿賷 廿賱賶 鬲賮丕賯賲賴丕 賵賴賵 丕賱丿乇爻 丕賱賲爻鬲賮丕丿.
"兀賳 賷鬲亘毓 丕賱賲乇亍 丕賱氐賮 賮賷 丕賱丨賷丕丞貙 賰賲丕 賷鬲亘毓 丕賱氐賮 兀賲丕賲 賳丕賮匕丞 賯胤毓 丕賱鬲匕丕賰乇 賮賷 丕賱賲丨胤丞貙 廿賳 丿賵乇賳丕 賷氐賱 丿丕卅賲賸丕 廿匕丕 賰賳丕 賳賲賱賰 氐亘乇賸丕貙 賵丕匕丕 賱賲 賳睾賷乇 氐賮賳丕貨 廿賳 丿賵乇賳丕 賷兀鬲賷 賱兀賳 賲賵馗賮 丕賱鬲匕丕賰乇 賷毓胤賷 賰賱賸丕 鬲匕賰乇鬲賴貙 賵賱賰賱 丨爻亘 丕爻鬲丨賯丕賯賴
胤亘毓賸丕".
(賲賵乇丕冥賷丕 1954)
孬賷賲丞 丕賱乇賵丕賷丞 丕賱兀爻丕爻賷丞 毓賳丿賲丕 兀禺亘乇鬲 兀賲賷賱賷 夭賵噩賴丕 賲賵賱鬲賷賳賷 賮賷 賷賵賲 賲賳 丕賱兀賷丕賲 兀賳賴丕 鬲丨鬲賯乇賴! 賵賴賰匕丕 賰丕賳 賰賱 卮卅 賷毓賵丿 廿賱賶 丕賱爻丐丕賱 賳賮爻賴貨 赖賱 賰丕賳鬲 鬲丨鬲賯乇賳賷 賵賱賲丕匕丕責
鬲丿賵乇 丕賱兀丨丿丕孬 賮賷 乇賵賲丕 1954 夭賲賳 賰鬲丕亘丞 丕賱乇賵丕賷丞貙 亘賷賳 丕賱夭賵噩 賵賴賵 賰丕鬲亘 爻賷賳丕乇賷賵 丕賱兀賮賱丕賲 賵夭賵噩鬲賴 賵賲賳鬲噩 兀賮賱丕賲賴 亘丕鬲賷爻鬲丕 賵卮禺氐賷丞 乇丕亘毓丞 賲禺乇噩 賮賷賱賲 賲夭賲毓 鬲賳賮賷匕賴 毓賳 丕賱兀賵丿賷爻丞 賱賴賵賲賷乇賵爻.
賵賲賳 禺賱丕賱 丕賱兀丨丿丕孬 賳卮丕賴丿 賲賵賱鬲賷賳賷 賵氐乇丕毓賴 丕賱賳賮爻賷 賱賲毓乇賮丞 匕賱賰 丕賱丕丨鬲賯丕乇 丕賱匕賷 賵氐賲鬲賴 亘賴 夭賵噩鬲賴 兀賲賷賱賷貙 賲毓 丨賵丕乇丕鬲 賳賮爻賷丞 丿丕禺賱賷丞 賲毓 賳賮爻賴 賵賲毓 鬲賰鬲賲賴丕 丕賱卮丿賷丿 賱賱鬲氐乇賷丨 亘兀爻亘丕亘 匕賱賰 丕賱丕丨鬲賯丕乇貙 賰賲丕 賳卮丕賴丿 賲賳 禺賱丕賱 丨賵丕乇丕鬲賴 賲毓 賲禺乇噩 丕賱賮賷賱賲 賵賳賯丕卮丕鬲賴賲 毓賳 卮禺氐賷丞 毓賵賱賷爻 賵亘賷賳賷賱賵亘 賮賷 丕賱兀丿賵賷爻丞 賲賳 禺賱丕賱 乇丐賷丞 丕賱賲禺乇噩 兀賳賴丕 鬲卮亘賴 賲丕 賷毓鬲賲賱 亘賷賳 賲賵賱鬲賷賳賷 賵夭賵噩鬲賴 賵兀賳賴丕 賰賲丕 夭賵噩鬲賴 賰丕賳鬲 鬲丨鬲賯乇 毓賵賱賷爻 夭賵噩賴丕貙 亘丿賵賳 賲毓乇賮丞 丕賱賲禺乇噩 鬲賱賰 丕賱兀賲賵乇 丕賱夭賵噩賷丞 賵賱賰賳賴丕 胤毓賳鬲 賲賵賱鬲賷賳賷 賵噩毓賱鬲賴 賮賷 氐乇丕毓 賳賮爻賷 乇賴賷亘貙 賵卮毓賵乇賴 亘賮賯丿丕賳 夭賵噩鬲賴 賵乇睾亘鬲賴 賱丕爻鬲乇噩丕毓 丨亘賴丕 賱賴.
兀毓鬲賯丿 兀賳 賲賵乇丕冥賷丕 賰丕賳 賷賰鬲亘 毓賳 賳賮爻賴 賮賷 賴匕賴 丕賱乇賵丕賷丞 亘毓丿 賮卮賱 毓賱丕賯鬲賴 丕賱夭賵噩賷丞 賮賷 丨賷丕鬲賴 丕賱卮禺氐賷丞貙 賰賲丕 兀賳賴 兀賵囟丨 兀賳 爻賵亍 丕賱鬲賮丕賴賲 亘賷賳 丕賱夭賵噩賷賳 賵亘毓囟 丕賱賲卮賰賱丕鬲 睾賷乇 丕賱賲丨爻賵爻丞 賵毓丿賲 毓賱丕噩賴丕 賮賷 丕賱鬲賵 鬲丐丿賷 廿賱賶 鬲賮丕賯賲賴丕 賵賴賵 丕賱丿乇爻 丕賱賲爻鬲賮丕丿.
"兀賳 賷鬲亘毓 丕賱賲乇亍 丕賱氐賮 賮賷 丕賱丨賷丕丞貙 賰賲丕 賷鬲亘毓 丕賱氐賮 兀賲丕賲 賳丕賮匕丞 賯胤毓 丕賱鬲匕丕賰乇 賮賷 丕賱賲丨胤丞貙 廿賳 丿賵乇賳丕 賷氐賱 丿丕卅賲賸丕 廿匕丕 賰賳丕 賳賲賱賰 氐亘乇賸丕貙 賵丕匕丕 賱賲 賳睾賷乇 氐賮賳丕貨 廿賳 丿賵乇賳丕 賷兀鬲賷 賱兀賳 賲賵馗賮 丕賱鬲匕丕賰乇 賷毓胤賷 賰賱賸丕 鬲匕賰乇鬲賴貙 賵賱賰賱 丨爻亘 丕爻鬲丨賯丕賯賴
胤亘毓賸丕".
(賲賵乇丕冥賷丕 1954)
November 9, 2013
赖賱
賲賳 丕賱賲賲賰賳
兀賳
鬲賯乇兀 乇賵丕賷丞
賮鬲賰乇賴 賰賱 卮禺氐賷丕鬲賴丕
賵賲毓 匕賱賰
鬲丨亘 丕賱乇賵丕賷丞 賰賰賱責責
毓噩賷亘 兀賲乇 賴匕賴 丕賱乇賵丕賷丞... 賲爻鬲賮夭丞 賱兀賯氐賶 丿乇噩丞
賰乇賴鬲 賰賱 丕賱卮禺氐賷丕鬲 ... 賵鬲毓丕胤賮鬲 賲毓賴賲 噩賲賷毓丕
兀毓胤賷鬲賴賲 兀毓匕丕乇丕 ... 賵睾囟亘鬲 賱匕賱賰
丨夭乇鬲 爻亘亘 丕丨鬲賯丕乇 丕賱夭賵噩丞 賱夭賵噩賴丕 丨鬲賶 賵廿賳 賰丕賳鬲 賱賲 鬲賯乇 爻亘亘丕 賱賱廿丨鬲賯丕乇
賵鬲毓噩亘鬲 兀賳 鬲賲鬲賱賰 丕賱兀噩賳亘賷丕鬲 鬲賱賰 丕賱賳夭毓丞 丕賱卮乇賯賷丞 賮賷 賲鬲胤賱亘丕鬲 丕賱賲乇兀丞 賲賳 夭賵噩賴丕
乇賵丕賷丞 毓噩賷亘丞 ... 乇亘賲丕 鬲鬲賰乇乇 賮賷 丕賱丨賷丕丞 丕賱丨賯賷賯賷丞
賰賲 賲賳 賲賳夭賱 賷睾賱賯 亘丕亘賴 毓賱賶 夭賵噩丞 鬲丨鬲賯乇 夭賵噩賴丕 賵夭賵噩 賱丕賴 睾賷乇 賲丿乇賰 兀賵 賲丿乇賰 鬲賲丕賲丕 賵賱賰賳賴 乇丕睾亘 賮賷 丕賱廿丨鬲賮丕馗 亘夭賵噩鬲賴 廿賲丕 兀賲賱丕 賮賷 鬲睾賷賷乇 卮毓賵乇賴丕 鬲噩丕賴賴 賵 丨亘丕 賱賴丕 兀賵 賱賲噩乇丿 丕賱廿賲鬲賱丕賰 賱賱孬兀乇 賲爻鬲睾賱丕 丨丕噩丕鬲 賳賮爻賷丞 賵賲丕丿賷丞 賯丿 鬲鬲睾賷乇 丨爻亘 鬲睾賷乇 丕賱賲噩鬲賲毓丕鬲 賵丕賱孬賯丕賮丕鬲
賰賲 賲賳 丕賲乇兀丞 鬲乇賶 夭賵噩賴丕 賱賷爻 乇噩賱丕 賵賱丕 賷鬲氐乇賮 鬲氐乇賮丕鬲 乇噩丕賱 ... 賵賯丿 鬲鬲毓丿丿 丕賱兀爻亘丕亘 賵鬲禺鬲賱賮 毓賲丕 賵乇丿 亘丕賱乇賵丕賷丞
賵亘丕賱鬲兀賰賷丿 賮賴賵 卮毓賵乇 賯丕鬲賱 賱賱夭賵噩丞 ... 賮丕賱賲卮丕毓乇 丕賱爻賱亘賷丞 噩賲賷毓賴丕 爻賷卅丞 賵鬲孬賯賱 毓賱賶 丕賱賯賱亘 ... 賵賲賳 丕賱氐毓亘 兀賳 鬲卮毓乇 兀賳賰 賲噩亘賵乇 毓賱賶 丕賱鬲毓丕賲賱 賲毓 卮禺氐 鬲丨鬲賯乇賴 亘卮賰賱 賷賵賲賷
賯丿 賷賰賵賳 賲賳 丕賱兀爻赖賱 兀賳 鬲鬲毓丕賲賱 賲毓 卮禺氐 賱丕 鬲丨亘賴 賵賱賰賳賰 鬲丨鬲乇賲賴 毓賱賶 兀賳 鬲鬲毓丕賲賱 賲毓 卮禺氐 兀丨亘亘鬲賴 賷賵賲丕 賵丕乇鬲亘胤 丕爻賲賰 亘賴 賵賱賰賳賴 爻賯胤 賲賳 賳馗乇賰 賵丕爻鬲丨賯 丕爻亘丕亘 丕賱丕丨鬲賯丕乇
賰丕賳鬲 賲賲賱丞 賯賱賷賱丕 賵賰賳鬲 兀丨丕賵賱 兀賳 兀禺鬲氐乇 丕賱氐賮丨丕鬲 賮賱丕 兀爻鬲胤賷毓 鬲賮賵賷鬲 兀賷 賰賱賲丞 賵賰兀賳賴 賰丕賳 賷賯賷丿賳賷 亘氐賮丨丕鬲 丕賱賰鬲丕亘 賰丕賲賱丞
賵丕賱賳賴丕賷丞 賰丕賳鬲 賲亘丕睾鬲丞 賵睾乇賷亘丞
鬲噩乇亘鬲賷 丕賱兀賵賱賶 賲毓 賲賵乇丕賮賷丕 賵賱賳 鬲賰賵賳 丕賱兀禺賷乇丞
賵鬲噩乇亘鬲賷 丕賱兀賵賱賶 賲毓 丕賱兀丿亘 丕賱廿賷胤丕賱賷 賵兀鬲賲賳賶 丕賳 賷賰賵賳 丕賱賯丕丿賲 兀賰孬乇 鬲卮賵賷賯丕
September 12, 2021
鬲鬲囟賲賳 卮禺氐賷丕鬲 賲賵乇丕賮賷丕 丿丕卅賲丕賸 卮禺氐賷丕鬲 鬲毓噩 亘丕賱賵爻賵丕爻貙 丕賱爻兀賲貙 丕賱賯賱賯 貙 賴匕賴 丕賱爻賲丕鬲 丕賱賲賲賷夭丞 丕賱鬲賷 鬲氐賷亘 丕賱丨亘 賮賷 丌禺乇 賲乇丕丨賱賴貙 鬲鬲氐丕乇毓 丕賱卮禺氐賷丕鬲 賱丕 毓賳 賯賳丕毓丞 亘賱 賷鬲丿禺賱 丿丕亍 丕賱賵爻賵爻丞 賮賷 賰賱 卮賷亍貙 賷丨賵賱 丨賷丕丞 丕賱兀卮禺丕氐 廿賱賶 噩丨賷賲 丨賯賷賯賷 賲賳賮乇貙 廿賳 賰丕卅賳丕鬲 賲賵乇丕賮賷丕 賵丕賱丨賯 賷賯丕賱 兀賳賴丕 賲賳賮乇丞 噩丿丕賸貙 賲賴夭賵夭丞 亘賱 賵賮賷 亘毓囟 丕賱兀丨賷丕賳 - 爻丕賲丨賵賳賷 毓賱賶 賯賵賱 匕賱賰 - 賲孬賷乇丞 賱賱鬲賯夭夭 貙 賷賲賱丐賴丕 丕賱賳賮丕賯 賵丕賱鬲丿賱賱 賵丕賱鬲賲丕賷毓 貙 鬲馗賱 鬲爻兀賱 丕賱爻丐丕賱 賳賮爻賴貙 鬲賰乇乇 匕丕鬲賴丕 賵鬲囟噩乇 丕賱賯丕乇卅 兀丨賷丕賳丕貙 賵賱賰賳 賲丕 賷賲賷夭 賲賵乇丕賮賷丕 賴賵 丿禺賵賱賴 賮賷 氐賲賷賲 丕賱兀卮賷丕亍貙 賮賷 賯賱亘 丕賱毓賱丕賯丕鬲貙 賷毓乇賷賴丕 賵賷氐賵乇 賱賳丕 賰賱 賲丕 賴賵 賵丕賯毓 鬲丨鬲 丕賱賯賳丕毓 丕賱匕賷 賱丕 賳乇賷丿 兀賳 賳乇丕賴 賮賷 兀賷 毓賱丕賯丞貙 廿賳 賲賵乇丕賮賷丕 賰丕鬲亘 禺亘賷孬 賵賱卅賷賲貙 賱丕 賷禺噩賱 賲賳 毓乇囟 兀賮賰丕乇 丕賱丕賳丨胤丕胤 賮賷 卮禺氐賷丕鬲賴 賵囟毓賮賴丕 賵丕賳賯賷丕丿賴丕 丕賱睾賷乇 賲亘乇乇 賳丨賵 丕賱毓丕胤賮丞貙 賷噩爻丿 賲賵乇丕賮賷丕 丕賱毓丕胤賮丞 賰賱睾丞 噩爻丿賷丞 賵乇賵丨賷丞 賵賰賵爻賵丕爻 賯爻乇賷 賷氐賷亘 卮禺氐賷丕鬲賴 丕賱乇卅賷爻賷丞貙 丕賱毓丕胤賮丞 賴賳丕 賵賰毓丕丿丞 丕賱胤賱賷丕賳 賱賷爻鬲 賲爻兀賱丞 孬丕賳賵賷丞 亘賱 賴賷 氐賱亘 丕賱丨賷丕丞 賵賯賷賲鬲賴丕 丕賱毓馗賲賶 賵鬲賱賰 丕賱丌賱丞 丕賱鬲賷 鬲賮鬲賰 亘丕賱毓賱丕賯丞 賮賷 賳賴丕賷丞 丕賱兀賲乇 賵鬲噩毓賱 丕賱噩賲賷毓 賮賷 丨丕賱丞 亘丐爻 賲夭乇賺貙 噩賲賷賱 丨賷賳 賷賰鬲亘 賴匕丕 丕賱乇噩賱 毓賳 兀毓賲丕賯 丕賱賳賮爻貙 丨賷賳 賷乇爻賲 匕賱賰 丕賱賲乇亘毓 丕賱賵丕囟丨 賱賰賱 毓賱丕賯丞貙 丕賱兀卮賷丕亍 丕賱賲禺夭賷丞 亘丨賯貙 丕賱禺賷丕賳丞 賵丕賱囟毓賮 賵丕賱丨亘 丕賱兀毓賲賶 丕賱禺丕卅亘 丿丕卅賲丕賸貙 丕賱鬲丨賵賱丕鬲 丕賱賮噩丕卅賷丞貙 賵賰賲 賴賵 亘丕乇毓 賮賷 乇氐賮 亘毓囟 丕賱丨賯丕卅賯 丕賱賱毓賷賳丞 賵丕賱鬲賷 賷賰乇賴 賲毓馗賲賳丕 兀賳 賷胤賱毓 毓賱賷賴丕 ..
賵賴賳丕 賷亘乇夭 亘丕賱賮毓賱 賲賵囟賵毓 丕賱丕丨鬲賯丕乇 貙 賱賳爻兀賱 賴匕丕 丕賱爻丐丕賱 丕賱氐毓亘貙 賲鬲賶 賷丨鬲賯乇 丕賱丕賳爻丕賳 卮乇賷賰 丨賷丕鬲賴 賵賴賵 丕賱匕賷 兀賲囟賶 毓賲乇賴 亘丕丨孬丕賸 毓賳賴貙 匕賱賰 丕賱丕丨鬲賯丕乇 丕賱鬲乇丕賰賲賷 丕賱匕賷 鬲賰賳賴 丕賱賲乇兀丞 賱賱乇噩賱 丕賱賲丨亘賵亘 丕賱賶 賯賱亘賴丕貙 賮賱丕 賷毓賵丿 賷睾賷乇賴丕 賮賷賴 卮賷亍 亘亘爻丕胤丞貙 丕賱賳夭賵丞 丕賱鬲賷 鬲氐賷亘 丕賱賲乇兀丞 賮鬲鬲乇賰 夭賵噩賴丕 賵賲丕囟賷賴丕貙 賲賵乇丕賮賷丕 賴賳丕 賱丕 賷丨賰賷 亘卮賰賱 毓丕賲 亘賱 賷丨賱賱 亘丿賯丞 賰賱 鬲賮丕氐賷賱 賳賮爻賷丞 丕賱乇噩賱 賴賳丕貙 賵賱賰賲 兀賳 鬲鬲氐賵乇賵丕 賰賷賮 賷鬲匕賱賱 丕賱乇噩賱 丕賱賲爻賰賷賳 賴賳丕 亘丕丨孬丕賸 毓賳 禺胤賵丕鬲 亘丕卅爻丞 賱廿毓丕丿丞 丕賱孬賯丞 賮賷 丕賱毓賱丕賯丞 賵鬲乇賲賷賲 賲丕 賰丕賳 賯丿 賰爻乇 賱賱鬲賵 兀賵 毓賱賶 賲丿賶 爻賳賵丕鬲貙 賵賱賰賳 丕賱丨馗 賱賱兀爻賮 賱丕 賷賰賮賷 賴賳丕 賵賱丕 丕賱鬲賳丕夭賱丕鬲 貙 賷鬲鬲亘毓 賲賵乇丕賮賷丕 禺胤賵丕鬲 丕賱鬲睾賷賷乇 賴匕丕 貙 賷賰鬲亘 毓賳 賲丕賴賷丞 丕賱毓賱丕賯丕鬲 賵賰賷賮 兀賳賴丕 賯丿 鬲賰賵賳 賯丕卅賲丞 毓賱賶 鬲賵丕夭賳丕鬲 賲乇賷囟丞 賲賳 賯亘賱 乇噩賱 兀賵 丕賲乇兀丞 毓賱賶 毓賱丕賯丞 丕賱夭賵丕噩 亘賷賳賴賲丕 賵丕賱鬲賷 賯丿 鬲賲鬲丿 賱爻賳賵丕鬲貙
賵賰賲丕 賯賱鬲 賲乇丞 毓賳 乇賵丕賷丞 賱 鬲賵賱爻鬲賵賷 兀賳賴丕 賱丕 鬲氐賱丨 賱賱賯乇丕亍丞 賱賲賳 賷丨亘 兀賵 賷亘丨孬 毓賳 丕賱夭賵丕噩貙 賴匕賴 丕賱乇賵丕賷丞 兀賷囟丕賸 鬲賳囟賲 廿賱賶 鬲賱賰 丕賱賯丕卅賲丞 丕賱爻賵丿丕亍貙 賱兀賳賴丕 鬲丨胤賲 丕賱賰孬賷乇 賲賳 丕賱兀氐賳丕賲 賵丕賱兀賮賰丕乇貙 爻賵丕亍 賰丕賳鬲 氐丨賷丨丞 兀賲 禺丕胤卅丞 賵賱賰賳賴丕 乇賵丕賷丕鬲 禺胤賷乇丞 鬲賳丿爻 賮賷 毓賯賱 丕賱賯丕乇卅 賵鬲賱賮鬲 丕賱丕賳鬲亘丕賴 賱兀卮賷丕亍 乇亘賲丕 賲丕 賷賰賵賳 毓賱賶 丕賱廿賳爻丕賳 兀賳 賷賮賰乇 賮賷賴丕 兀氐賱丕賸 ..
亘丕賱賲丨氐賱丞 丕賱乇賵丕賷丞 噩乇賷卅丞 賵氐丕丿賲丞 賵匕賰賷丞 賱賱睾丕賷丞貙 兀亘丿毓 賮賷賴丕 賲賵乇丕賮賷丕 賮賷 乇爻賲 兀丨丿 禺乇丕卅胤 丕賱毓賱丕賯丕鬲 丕賱賲毓賯丿丞 亘丿賯丞 賲丿賴卮丞 貙 丕賱鬲乇噩賲丞 賰丕賳鬲 爻賱爻丞 賵賱胤賷賮丞 賲毓 賵噩賵丿 亘毓囟 丕賱賲賱丕丨馗丕鬲 毓賱賷賴丕 賵丕賱鬲賷 禺賮賮鬲 賯賱賷賱丕 噩丿丕賸 賲賳 賲鬲毓丞 丕賱乇賵丕賷丞貙 廿賱丕 兀賳賴丕 鬲乇噩賲丞 鬲爻鬲丨賯 丕賱廿卮丕丿丞 亘賵噩賴 毓丕賲 ..
賵賴賳丕 賷亘乇夭 亘丕賱賮毓賱 賲賵囟賵毓 丕賱丕丨鬲賯丕乇 貙 賱賳爻兀賱 賴匕丕 丕賱爻丐丕賱 丕賱氐毓亘貙 賲鬲賶 賷丨鬲賯乇 丕賱丕賳爻丕賳 卮乇賷賰 丨賷丕鬲賴 賵賴賵 丕賱匕賷 兀賲囟賶 毓賲乇賴 亘丕丨孬丕賸 毓賳賴貙 匕賱賰 丕賱丕丨鬲賯丕乇 丕賱鬲乇丕賰賲賷 丕賱匕賷 鬲賰賳賴 丕賱賲乇兀丞 賱賱乇噩賱 丕賱賲丨亘賵亘 丕賱賶 賯賱亘賴丕貙 賮賱丕 賷毓賵丿 賷睾賷乇賴丕 賮賷賴 卮賷亍 亘亘爻丕胤丞貙 丕賱賳夭賵丞 丕賱鬲賷 鬲氐賷亘 丕賱賲乇兀丞 賮鬲鬲乇賰 夭賵噩賴丕 賵賲丕囟賷賴丕貙 賲賵乇丕賮賷丕 賴賳丕 賱丕 賷丨賰賷 亘卮賰賱 毓丕賲 亘賱 賷丨賱賱 亘丿賯丞 賰賱 鬲賮丕氐賷賱 賳賮爻賷丞 丕賱乇噩賱 賴賳丕貙 賵賱賰賲 兀賳 鬲鬲氐賵乇賵丕 賰賷賮 賷鬲匕賱賱 丕賱乇噩賱 丕賱賲爻賰賷賳 賴賳丕 亘丕丨孬丕賸 毓賳 禺胤賵丕鬲 亘丕卅爻丞 賱廿毓丕丿丞 丕賱孬賯丞 賮賷 丕賱毓賱丕賯丞 賵鬲乇賲賷賲 賲丕 賰丕賳 賯丿 賰爻乇 賱賱鬲賵 兀賵 毓賱賶 賲丿賶 爻賳賵丕鬲貙 賵賱賰賳 丕賱丨馗 賱賱兀爻賮 賱丕 賷賰賮賷 賴賳丕 賵賱丕 丕賱鬲賳丕夭賱丕鬲 貙 賷鬲鬲亘毓 賲賵乇丕賮賷丕 禺胤賵丕鬲 丕賱鬲睾賷賷乇 賴匕丕 貙 賷賰鬲亘 毓賳 賲丕賴賷丞 丕賱毓賱丕賯丕鬲 賵賰賷賮 兀賳賴丕 賯丿 鬲賰賵賳 賯丕卅賲丞 毓賱賶 鬲賵丕夭賳丕鬲 賲乇賷囟丞 賲賳 賯亘賱 乇噩賱 兀賵 丕賲乇兀丞 毓賱賶 毓賱丕賯丞 丕賱夭賵丕噩 亘賷賳賴賲丕 賵丕賱鬲賷 賯丿 鬲賲鬲丿 賱爻賳賵丕鬲貙
賵賰賲丕 賯賱鬲 賲乇丞 毓賳 乇賵丕賷丞 賱 鬲賵賱爻鬲賵賷 兀賳賴丕 賱丕 鬲氐賱丨 賱賱賯乇丕亍丞 賱賲賳 賷丨亘 兀賵 賷亘丨孬 毓賳 丕賱夭賵丕噩貙 賴匕賴 丕賱乇賵丕賷丞 兀賷囟丕賸 鬲賳囟賲 廿賱賶 鬲賱賰 丕賱賯丕卅賲丞 丕賱爻賵丿丕亍貙 賱兀賳賴丕 鬲丨胤賲 丕賱賰孬賷乇 賲賳 丕賱兀氐賳丕賲 賵丕賱兀賮賰丕乇貙 爻賵丕亍 賰丕賳鬲 氐丨賷丨丞 兀賲 禺丕胤卅丞 賵賱賰賳賴丕 乇賵丕賷丕鬲 禺胤賷乇丞 鬲賳丿爻 賮賷 毓賯賱 丕賱賯丕乇卅 賵鬲賱賮鬲 丕賱丕賳鬲亘丕賴 賱兀卮賷丕亍 乇亘賲丕 賲丕 賷賰賵賳 毓賱賶 丕賱廿賳爻丕賳 兀賳 賷賮賰乇 賮賷賴丕 兀氐賱丕賸 ..
亘丕賱賲丨氐賱丞 丕賱乇賵丕賷丞 噩乇賷卅丞 賵氐丕丿賲丞 賵匕賰賷丞 賱賱睾丕賷丞貙 兀亘丿毓 賮賷賴丕 賲賵乇丕賮賷丕 賮賷 乇爻賲 兀丨丿 禺乇丕卅胤 丕賱毓賱丕賯丕鬲 丕賱賲毓賯丿丞 亘丿賯丞 賲丿賴卮丞 貙 丕賱鬲乇噩賲丞 賰丕賳鬲 爻賱爻丞 賵賱胤賷賮丞 賲毓 賵噩賵丿 亘毓囟 丕賱賲賱丕丨馗丕鬲 毓賱賷賴丕 賵丕賱鬲賷 禺賮賮鬲 賯賱賷賱丕 噩丿丕賸 賲賳 賲鬲毓丞 丕賱乇賵丕賷丞貙 廿賱丕 兀賳賴丕 鬲乇噩賲丞 鬲爻鬲丨賯 丕賱廿卮丕丿丞 亘賵噩賴 毓丕賲 ..
February 17, 2019
This is superb. Use of first-person narration a perfect match to content. There are many ways to render insanity on the page, this and Elena Ferrante鈥檚 are among my favorites.
January 29, 2020
Capri ancora Capri
Questo romanzo del '54, se non 猫 il pi霉 bel libro di Moravia, sicuramente 猫 quello di maggior leggibilit脿.
Viene rappresentata la crisi del rapporto fra uno sceneggiatore cinematografico (per ripiego economico) e l'amatissima moglie.
Sullo sfondo un film riguardante l'Odissea, l'ambiguo mondo del cinema e Capri, ammaliante in tutta la sua bellezza.
Lo scrittore, osservatore sempre attento del connubio tra fattori socio-economici e meccanismi psicologici, entra nei meandri dei sentimenti della giovane coppia e ne analizza, con precisione quasi chirurgica, le dinamiche palesi e recondite, catturando il lettore fin dalle prime pagine e tenendolo ancorato per l'intera narrazione.
S'inizia dai tempi del primo innamoramento, quando "...non ci giudicavamo: ci amavamo" , con la constatazione che "la felicit脿 猫 tanto pi霉 grande quanto meno la si avverte". Ma la passione non si 猫 trasformata in amore duraturo : l'analisi delle cause 猫 impietosa ; le conseguenze formano un dramma che trova rispecchiamento nella tesi fel regista, col quale il nostro protagonista dovrebbe collaborarae, secondo cui "Ulisse non voleva tornarsene a casa, non voleva riunirsi a Penelope" , anzi era partito proprio per allontanarsi da lei che non lo amava pi霉. Pertanto "Il suo spirito di avventura (...) in realt脿 non 猫 che un desiderio inconscio di rallentare il viaggio" .
Moravia conosceva bene il mondo del cinema, nel ricorrente conflitto fra arte e pressioni economiche di spettacolarit脿 convenzionale, un tema che viene mirabilmente integrato nell'apporto delle sue esperienze letterarie precedenti.
La scrittura, rigorosa e analitica, ben si adatta all'indagine intrapresa.
Questo romanzo del '54, se non 猫 il pi霉 bel libro di Moravia, sicuramente 猫 quello di maggior leggibilit脿.
Viene rappresentata la crisi del rapporto fra uno sceneggiatore cinematografico (per ripiego economico) e l'amatissima moglie.
Sullo sfondo un film riguardante l'Odissea, l'ambiguo mondo del cinema e Capri, ammaliante in tutta la sua bellezza.
Lo scrittore, osservatore sempre attento del connubio tra fattori socio-economici e meccanismi psicologici, entra nei meandri dei sentimenti della giovane coppia e ne analizza, con precisione quasi chirurgica, le dinamiche palesi e recondite, catturando il lettore fin dalle prime pagine e tenendolo ancorato per l'intera narrazione.
S'inizia dai tempi del primo innamoramento, quando "...non ci giudicavamo: ci amavamo" , con la constatazione che "la felicit脿 猫 tanto pi霉 grande quanto meno la si avverte". Ma la passione non si 猫 trasformata in amore duraturo : l'analisi delle cause 猫 impietosa ; le conseguenze formano un dramma che trova rispecchiamento nella tesi fel regista, col quale il nostro protagonista dovrebbe collaborarae, secondo cui "Ulisse non voleva tornarsene a casa, non voleva riunirsi a Penelope" , anzi era partito proprio per allontanarsi da lei che non lo amava pi霉. Pertanto "Il suo spirito di avventura (...) in realt脿 non 猫 che un desiderio inconscio di rallentare il viaggio" .
Moravia conosceva bene il mondo del cinema, nel ricorrente conflitto fra arte e pressioni economiche di spettacolarit脿 convenzionale, un tema che viene mirabilmente integrato nell'apporto delle sue esperienze letterarie precedenti.
La scrittura, rigorosa e analitica, ben si adatta all'indagine intrapresa.
April 26, 2025
Inhaltlich atmosph盲rische Odyssee durch ein Ehedrama, leider sprachlich unterkomplex
Inhalt: 5/5 Sterne (鈥瀌enn sie wissen nicht, was sie tun鈥�)
Form: 2/5 Sterne (einfallslos, meist fl眉ssig)
贰谤锄盲丑濒蝉迟颈尘尘别: 5/5 Sterne (reflektiert, situiertes Ich)
Komposition: 4/5 Sterne (klare Dynamik, wenig Beliebiges)
Leseerlebnis: 4/5 Sterne (spannend, sprachlich unterkomplex)
Moravia ver枚ffentlichte Il disprezzo 1954 und geh枚rt eher in die mittlere Schaffensphase. Untreue, Sexualit盲t und L眉gen geh枚ren zum Standardrepertoire Moravias. Im Gegensatz zu sp盲teren Romane wird er in Die Verachtung nicht explizit. In diesem Roman herrscht eher ein intellektualisierter Ton vor, der noch in symbolischen Bezugnahme eine Standortbestimmung versucht, die bspw. La noia oder Der Zuschauer v枚llig aufgegeben wird. Gerade dieses Suchen nach einer Stimme, nach einem Versuch, das Klassische im Tagtraum zu erretten, l盲sst Die Verachtung im Gesamtwerk von Moravia herausstechen. Hier spielt er mit gleitenden, schwebenden, sich 眉berlagernden Wirklichkeitssph盲ren:
Gerade ein Meer wie dieses wollte Homer in seinem Gedicht darstellen, einen Himmel wie diesen, einen K眉stenstrich wie diesen, und Menschen, die dieser Natur glichen, die die liebenswerte Einfachheit und das Ma脽 der Alten besa脽en. Genau das wollte er darstellen, das und nichts anderes. Rheingold aber wollte aus dieser bunten und leuchtenden Welt mit ihren beseelenden Winden und ihrer strahlenden Sonne, mit ihren gewitzten und lebensvollen Gesch枚pfen einfach eine Art Schlangengrube machen, in der es weder Sonne noch Luft gab: das Unbewu脽te des Odysseus.
Der Grundkonflikt des Romans dreht sich deckungsgleich wie in Der Zuschauer um das Haben und Nicht-Haben einer Eigentumswohnung in Rom. Dem Protagonisten, ein Ich-Erz盲hler, Riccardo, 27 Jahre alt, will seiner Ehefrau im dritten Jahr seiner Ehe, endlich eine Wohnung bieten und verschuldet sich. Um die Raten und Schulen abzubezahlen, verdingt er sich einem Produzenten namens Battista und schreibt f眉r ihn Drehb眉cher. Leider deprimiert ihn das Drehbuchschreiben, zumal die Ideen, wie das Zitat zeigt, zwischen Regisseur, Produzent und Drehbuchautor divergieren und im Drehbuch seine authentische Stimme nicht zu h枚ren ist.
Gewi脽 kann der Drehbuchautor, wie dies auch wiederholt der Fall ist, in seiner untergeordneten T盲tigkeit viel erreichen und viel Geld verdienen, niemals aber kann er sagen: 芦Diesen Film habe ich gemacht, dieser Film bin ich.禄 Dies kann nur der Regisseur von sich sagen, der ja auch als einziger f眉r den Film verantwortlich zeichnet. Der Drehbuchautor hat von seiner Arbeit nichts als das Geld, das er f眉r sie bekommt; und das Geld wird, ob er will oder nicht, zum einzigen wirklichen Ziel seiner T盲tigkeit. Es bleibt ihm nichts 眉brig, als mit dem Geld, dem einzigen Lohn seiner M眉hen, das Leben zu genie脽en, so gut er es vermag.
Moravias Schreiben dreht sich in allen Romanen um die Entfremdung in einer funktional-differenzierten Gesellschaft, die durch Arbeitsteilung, durch Geld und Warenzirkulation, Reichtum erzeugt, aber die einzelnen vor die Herausforderung stellt, im verquasten, schwebenden Chaos sinnstiftende Prozesse und Handlungen zu finden. Seinen Hauptfiguren gelingt es nicht. Sie bleiben in einem Abw盲rtsstrudel des ungekonnten Hedonismus gefangen und ertrinken zumeist. Was Die Verdacht auszeichnet, ist sein optimistischer Ton, der sogar Tagtr盲ume und klassizistische H枚henfl眉ge erlaubt:
Emilia war zur gleichen Zeit die Frau meiner Tr盲ume und die Frau, die mich auf Grund elender Gemeinpl盲tze einsch盲tzte und verachtete [鈥 Um jene Emilia zu besitzen, die ich liebte, und um zu erreichen, da脽 sie mich so einsch盲tzte, wie ich tats盲chlich war, h盲tte ich sie aus der Welt herausf眉hren m眉ssen, die sie umgab, und in eine Welt versetzen, die so einfach und echt war wie sie, in der das Geld nicht z盲hlte und die Worte unverf盲lscht geblieben waren, in eine Welt, nach der ich, wie Rheingold mir entgegengehalten hatte, wohl streben konnte, die es aber nicht gab.
Moravias Held durchschreitet aber nicht das Besitzen-Wollen. Er will besitzen, ohne zu besitzen, und in diesem teuflisch-d盲monischen unendlichen Regress verliert er alles, was ihm lieb und sprichw枚rtlich teuer ist. Die Verachtung handelt von Selbstl眉gen, die sich als Ideale tarnen, aber auch von Tr盲umen, die wahr werden k枚nnten. Die 盲u脽erst verschachtelte Ideenf眉hrung geht bei der Verfilmung von Jean-Luc Godard Le M茅pris (1963) verloren und hat eigentlich mit dem Roman nur oberfl盲chlich zu tun.
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Details 鈥� ab hier Spoilergefahr (zur Erinnerung f眉r mich):
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Inhalt:
鈼廐auptfigur(en): Riccardo Molteni (R), 27 Jahre alt, Schriftsteller, tr盲umt davon, Theaterst眉cke zu schreiben, sein Geld mit k眉nstlerisch wertvollen St眉cken zu verdienen, arm. Nebenfiguren: Emilia Molteni (E), Riccardos Frau, aus einfachen Verh盲ltnissen, Stenotypisten, keine akademische Bildung. Battista (B), Produzent, Arbeitgeber von Riccardo. Rheingold (RG), deutscher Regisseur, der mit Battista und Riccardo einen Film 眉ber Homers Odyssee drehen will.
鈼廧耻蝉补尘尘别苍蹿补蝉蝉耻苍驳/滨苍丑补濒迟蝉补苍驳补产别:
1.) R denkt, E m枚chte eine eigene Wohnung, spart f眉r die erste Rate, kratzt alles zusammen und kauft eine Wohnung, hat aber Sorge, dass er die zweite und alle anderen Raten nicht aufzubringen vermag. Er nimmt daher das Jobangebot von B an, der beim ersten Treffen E zwingt, mit ihm zu fahren, R willigt ein, f盲hrt mit einem Taxi hinterher, das einen Unfall baut. Er trifft viel sp盲ter bei B ein.
2.) E scheint etwas ver盲ndert daraufhin zu sein. E will mit B nichts zu tun haben. Sie befinden sich im dritten Ehejahr.
3.) R f眉hlt sich von seinem Job als Drehbuchautor beschmutzt, von den Geldn枚ten geplagt und tritt der Kommunistischen Partei ein.
4.) Eine Woche nach dem ersten Treffen mit B will E nicht mehr mit R in einem Bett schlafen. Sie ertr盲gt sein Schnarchen nicht und auch nicht das offene Fenster, das er zum Schlafen ben枚tigt.
5.) R empfindet seinen Beruf des Drehbuchschreibens als Sklaverei.
6.) Szene nach dem ersten Drehbuch im Hause von Pasetti, der von seiner Frau angehimmelt wird und R noch das Abschlusshonorar vorenth盲lt.
7.) Als R nach Hause zur眉ckkehrt, findet er E vor, die doch nicht zu ihrer Mutter gegangen ist. R misstrauisch, stellt der Mutter, die anruft, eine Falle. E bekommt sein Misstrauen mit. R beklagt sich, dass E ihn nicht mehr liebe, zweifelt an seinem Drehbuchjob, wird aber von E 眉berzeugt, Bs Angebot, ein weiteres Drehbuch f眉r ihn zu schreiben, anzunehmen.
8.) Das neue Projekt soll mit einem deutschen Regisseur namens Rheingold (RG) durchgef眉hrt werden und handelt von einer Neuverfilmung der Odyssee. B schwebt etwas Bombastisches vor, RG etwas Psychologisches. B r盲soniert 眉ber den neorealistischen Film, der zu pessimistisch sei. B will, dass RG, R und E nach Capri in seine Villa fahren, um dort an dem Drehbuch zu arbeiten. R erinnert sich an seine Episode mit der Stenotypistin, die er 鈥瀡ersehentlich鈥� gek眉sst hat.
9.) E und R streiten sich. Sie gibt zu, dass sie ihn nicht mehr liebe, ihn sogar verachte, nennt aber keinen Grund. R w眉rgt sie, h盲lt sich gerade zur眉ck, sie mit einem schweren Aschenbecher zu schlagen.
10.) R denkt 眉ber E nach, wei脽, dass sie aufrichtig und ehrlich ist, und stellt sich infrage. Er dr盲ngt darauf, ausw盲rts essen zu gehen, dorthin, wo sie sich kennenlernt haben, in ein Restaurant an der Via Appia. E will sich aber nicht erkl盲ren. Er wird ungeduldig. Im Regen streiten sie sich wieder. E wehrt seine Zudringlichkeit im Regen ab.
11.) E versucht zu ihrer Mutter zu ziehen, die hat aber kein Zimmer mehr frei. Obwohl sie sich treffen will, bleibt sie vorerst bei R. Er setzt seine Hoffnung in den Urlaub auf Capri.
12.) Sie fahren los, und B besteht wieder darauf, dass E in seinem Wagen mitf盲hrt, da RG und R auf der Fahrt bereits 眉ber das Drehbuch reden sollen. Sie reden 眉ber das Klassische, und 眉ber RGs Deutung, dass Penelope und Odysseus Eheprobleme gehabt h盲tten und Odysseus deshalb in den Krieg gezogen sei. Nach einem Fastunfall mit einem Ochsenkarren, legen sie eine Pause ein und gehen zum Strand, B und E sto脽en zu ihnen, E bedr眉ckt, will nicht mit B weiterfahren. B aber setzt sich durch. R schaut voller Sehnsucht ihr nach, bedr眉ckt, sich gegen B nicht durchsetzen zu k枚nnen.
13.) Ankunft auf Capri. B spricht sich mit R aus, dass er keinen psychologischen Odysseusfilm drehen wolle, ihn interessierten Eheprobleme nicht. R f眉hlt sich B unterworfen, wie ein Diener seinem Herrn.
14.) Nach einem n盲chtlichen Spaziergang kehrt R zur眉ck zur Villa und beobachtet aus dem Verborgenen, wie B E das schwarze 盲rmellose Abendkleid von der Schulter rei脽t und sie k眉sst. E emp枚rt, ohne zu protestieren, geht. Nachher begreift R, dass E ihn gesehen hat, wie er sie beobachtete, auch vermeint er auf Es Gesicht einen 盲hnlichen Ausdruck der Ergebenheit zu sehen, wie ihn Pasettis Frau ihrem Regisseursgatten gegen眉ber zeigte. R, auf seine schlechte Laune hin, befragt, faselt etwas von k眉nstlerischen Ambition, statt seine Eifersucht zuzugeben.
16.) R und E sprechen sich aus. E schl盲gt R vor, in Capri zu bleiben und weiter f眉r B zu arbeiten.
17.) Treffen zwischen R und RG, ausf眉hrliche Deutung RGs von der Eheproblematik Odysseus鈥�. Penelope sei entt盲uscht von ihm gewesen, wie er das Buhlen der Freier um sie akzeptiert hat, statt sie zu erschlagen. Er ben枚tigt den Krieg und die Heimkehr, um als zivilisierter Mann zum Entschluss zu kommen, die Freier zu erschlagen, was eigentlich nicht in seinem Sinne steht, aber der Erwartung Penelopes, einer Barbarin, entspreche.
18.) R wandert umher, 眉berlegt sich in den Tod zu st眉rzen, um E ihren Irrtum zu beweisen. Auf der Wanderung erblickt er sie am Strand. Sie hat einen m盲chtigen Eindruck auf ihn. Sie h盲lt ihn auf Distanz. Sie gibt zu, dass sie wei脽, dass R sie und B gesehen habe. Er tr盲umt davon, wie er sie k眉sst.
19.) R beschlie脽t das Projekt abzusagen, redet mit RG 眉ber Joyce, 眉ber Verfremdung, 眉ber das Klassische an Odysseus, das Erhabene. RG wirft R vor, nur an den Kommerz zu denken; R zitiert Dante (Inferno: 26. Gesang: 鈥濶icht geboren seid ihr, um zu leben wie Vieh, sondern um Tugend und Erkenntnis zu suchen.鈥� 鈥� oder: 鈥濭edenkt, aus welchem Samen ihr entsprossen, geschaffen ward ihr nicht, wie Tiere hinzuleben, doch T眉chtigkeit euch zu erringen und Erkenntnis.鈥�) und geht.
20.) In der Villa von B zur眉ck, kommt es erneut zur Aussprache. E gesteht R, dass sie ihn nicht m盲nnlich genug finde und deshalb verachte. R erkennt, dass E sich nicht umk盲mpft genug empfand, dass sie von seiner Passivit盲t entt盲uscht ist, dass er B freie Bahn gelassen habe. R will sofort los, nach Rom, aber B will bleiben, denn sie hat in Rom keine Wohnung.
21.) R, entsetzt, fl眉chtet sich in den Schlaf, wacht auf und h枚rt, dass B und E essen gegangen sind. R begreift, dass er in einer idealen Welt liebt, in einem Tagtraum, der nichts mit der Wirklichkeit zu tun hat, dass E ihn und nicht seine M枚glichkeit sieht. Die verschiedenen Weisen Odysseus zu betrachten. Als er B und E wiederkommen h枚rt, nimmt er schnell ein Schlafmittel.
22.) Am Morgen findet er einen Brief von E, wo sie ihn mitteilt, dass sie zur眉ck nach Rom kehrt und alleine zu leben versucht, aber die M枚glichkeit, Bs Geliebte zu werden, nicht ausschlie脽t. R f眉hlt sich wie ein entwurzelter Baum, geht auf Capri umher, leiht sich ein Ruderboot und halluziniert ein Gespr盲ch mit E, in welchem sie zu ihm zur眉ckkehrt.
23.) Er kehrt zur眉ck in die Villa, wo ihn die Nachricht ereilt, dass E bei einem Unfall gestorben ist. B musste zu scharf bremsen, um einem Ochsenkarren auszuweichen, wobei E sich das Genick gebrochen hat.
鈼廗urzfassung: Um f眉r sich und seine Frau eine Wohnung zu finanzieren und Geld f眉r ein angenehmes Leben zu verdienen, beschlie脽t ein junger Theaterschriftsteller Drehb眉cher f眉r einen Produzenten zu schreiben. Tats盲chlich verdient er nun Geld, aber sein Leben entgleitet ihm. Seine Frau wird von dem Produzenten umschw盲rmt, und er k眉sst die ihm zur Verf眉gung gestellte Stenotypistin. Das Ehepaar entfremdet sich. Auch ein Aufenthalt auf Capri 盲ndert daran nichts, wo er sich entschlie脽t, die Zusammenarbeit mit dem Produzenten zu beenden, als er Zeuge von einer Szene zwischen diesem und seiner Frau wird, in der der Produzent sie k眉sst. Es ist aber zu sp盲t. Die beiden reisen ohne ihn ab, und sie kommt auf dem R眉ckweg nach Rom ums Leben.
鈥� typisches Themen bei Moravia: Untreue, L眉ge, konkreter: Wagenvergleich, sinnloses Herumfahren mit dem Wagen, Selbstmord, eine geistig-tr盲ge Frau, Eifersucht, der Wunsch nach Nest und Eigentumswohnung, Geldmangel.
鈥� psychologisches Drama: Protagonist unterstellt seiner Frau materielle W眉nsche, die er nicht befriedigen kann 鈥� deshalb prostituiert er sich, und indem er nun ihre materiellen W眉nsche erf眉llt, 眉berkommt ihn das Gef眉hl, die Frau verhalte sich ebenfalls wie eine Prostituierte. Hieraus entsteht das Ungl眉ck. Am Ende prostituieren sich beide und beide sind ungl眉cklich. Im Gegensatz zu anderen Romanen besitzt Moravia hier eine gr枚脽ere intellektuelle Spannweite: der Konflikt zwischen dem Monumentalen (Battista), dem Psychologischen (Rheingold) und dem Klassischen (Riccardo).
鈥� Beziehung auf Rheingold von Wagner nur oberfl盲chlich: Schatz der Rheint枚chter wird von Alberich gestohlen, nachdem sie ihn verschm盲ht haben. Aus diesem Schatz l盲sst er einen Ring schmieden, mit welchem er das Nibelungenvolk unterwirft. Also ohne Liebe grenzenlose Macht und Reichtum.
鈥� Rahmenwirkungen: das schwarze, 盲rmellose Kleid beim ersten Treffen und in der Szene, in der R sieht, wie B E k眉sst; zudem die Szene mit dem Ochsenkarren: R und RG fahren, R kann gerade so ausweichen; am Ende passiert dasselbe B, der bremsen muss, wobei B sich das Genick bricht (der draufg盲ngerische Fahrstil wird mehrfach erw盲hnt, das, was B m盲nnlich erscheinen l盲sst, kostet E das Leben).
鈥� die Atmosph盲re auf Capri, die hintergr眉ndige Gewalt, die Schw盲che, die Deutung, das Ausspielen dieser Deutung, die Multiperspektivit盲t in der Odysseusgestalt bei Homer und Dante, der Verweis auf Wagner, auf den Film, die Debatten um Kunst, Film und Kommerz, heben den Roman 眉ber die anderen Machwerke von Moravia weit hinweg.
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Form: Der Stil von Moravia erscheint hier runder, austarierter, aber immer noch nicht interessant, nicht divers, langweilige W枚rter, langweilige Adjektive, viele Wiederholungen, langweilige S盲tze, langweilige Dialogformen. Die Form selbst erscheint zu flach, zu wenig originell im Schreibstil.
--> 2 Sterne
贰谤锄盲丑濒蝉迟颈尘尘别: Die 贰谤锄盲丑濒蝉迟颈尘尘别 ist durchweg Ich-Erz盲hlung, und zwar aus dem Pr盲sens heraus, in welchem Emilia tot ist, und er sich die letzten Monaten vor Augen f眉hrt, wie es dazukommen konnte. Durchweg plausibel, ungebrochen, und situiert, wie konsequent ausgef眉hrt. Die Ich-Erz盲hlung geschieht verl盲sslich. Das Pr盲teritum ist weitestgehend eingehalten, bis auf den Anfang, der Anfang des ganzen Problems, der szenisch pr盲sentisch erz盲hlt wird.
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Komposition: Die meisten Motive werden aufgenommen: Blick Pasettis Frau auf Gatten, Blick Emilias auf Battista; Fastunfall Ochsenkarren von Riccardo, Unfall mit Todesfolge mit Ochsenkarre von Battista; roter Faden die Wohnung, die Villa, das Eigentum; roter Faden das schnelle Auto, das langsame Auto; Rahmenwirkung des schwarzen 盲rmellosen Kleides am Anfang und dann in der Villa am Ende auf Capri, als Emilia nun Battistas Geliebte wird. Die drei Deutungen Odysseus als drei M盲nnlichkeitsfiguren: der Draufg盲nger, der Intellektuelle, der Tr盲umer. Insgesamt wohl komponiert auf die Erkenntnis hin, dass Emilia ihn betr眉gt oder betr眉gen k枚nnte. Sehr dicht. Einziges loses Moment Riccardos Begeisterung f眉r die kommunistische Partei, und die Episode mit der Stenotypisten, die w盲re auch nicht n枚tig gewesen und schw盲cht den Plot, da es eine Racheaktion Emilias nahelegt, daher:
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Leseerlebnis: Vielleicht wegen des Films im Hinterkopf fiel die Lekt眉re sehr leicht, sehr atmosph盲risch, spannend, verwirrend, verwickelt, sehr lange in Schwebe gehalten. Keine Entt盲uschung. Inhaltlich stark, sprachlich schwach.
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Inhalt: 5/5 Sterne (鈥瀌enn sie wissen nicht, was sie tun鈥�)
Form: 2/5 Sterne (einfallslos, meist fl眉ssig)
贰谤锄盲丑濒蝉迟颈尘尘别: 5/5 Sterne (reflektiert, situiertes Ich)
Komposition: 4/5 Sterne (klare Dynamik, wenig Beliebiges)
Leseerlebnis: 4/5 Sterne (spannend, sprachlich unterkomplex)
Moravia ver枚ffentlichte Il disprezzo 1954 und geh枚rt eher in die mittlere Schaffensphase. Untreue, Sexualit盲t und L眉gen geh枚ren zum Standardrepertoire Moravias. Im Gegensatz zu sp盲teren Romane wird er in Die Verachtung nicht explizit. In diesem Roman herrscht eher ein intellektualisierter Ton vor, der noch in symbolischen Bezugnahme eine Standortbestimmung versucht, die bspw. La noia oder Der Zuschauer v枚llig aufgegeben wird. Gerade dieses Suchen nach einer Stimme, nach einem Versuch, das Klassische im Tagtraum zu erretten, l盲sst Die Verachtung im Gesamtwerk von Moravia herausstechen. Hier spielt er mit gleitenden, schwebenden, sich 眉berlagernden Wirklichkeitssph盲ren:
Gerade ein Meer wie dieses wollte Homer in seinem Gedicht darstellen, einen Himmel wie diesen, einen K眉stenstrich wie diesen, und Menschen, die dieser Natur glichen, die die liebenswerte Einfachheit und das Ma脽 der Alten besa脽en. Genau das wollte er darstellen, das und nichts anderes. Rheingold aber wollte aus dieser bunten und leuchtenden Welt mit ihren beseelenden Winden und ihrer strahlenden Sonne, mit ihren gewitzten und lebensvollen Gesch枚pfen einfach eine Art Schlangengrube machen, in der es weder Sonne noch Luft gab: das Unbewu脽te des Odysseus.
Der Grundkonflikt des Romans dreht sich deckungsgleich wie in Der Zuschauer um das Haben und Nicht-Haben einer Eigentumswohnung in Rom. Dem Protagonisten, ein Ich-Erz盲hler, Riccardo, 27 Jahre alt, will seiner Ehefrau im dritten Jahr seiner Ehe, endlich eine Wohnung bieten und verschuldet sich. Um die Raten und Schulen abzubezahlen, verdingt er sich einem Produzenten namens Battista und schreibt f眉r ihn Drehb眉cher. Leider deprimiert ihn das Drehbuchschreiben, zumal die Ideen, wie das Zitat zeigt, zwischen Regisseur, Produzent und Drehbuchautor divergieren und im Drehbuch seine authentische Stimme nicht zu h枚ren ist.
Gewi脽 kann der Drehbuchautor, wie dies auch wiederholt der Fall ist, in seiner untergeordneten T盲tigkeit viel erreichen und viel Geld verdienen, niemals aber kann er sagen: 芦Diesen Film habe ich gemacht, dieser Film bin ich.禄 Dies kann nur der Regisseur von sich sagen, der ja auch als einziger f眉r den Film verantwortlich zeichnet. Der Drehbuchautor hat von seiner Arbeit nichts als das Geld, das er f眉r sie bekommt; und das Geld wird, ob er will oder nicht, zum einzigen wirklichen Ziel seiner T盲tigkeit. Es bleibt ihm nichts 眉brig, als mit dem Geld, dem einzigen Lohn seiner M眉hen, das Leben zu genie脽en, so gut er es vermag.
Moravias Schreiben dreht sich in allen Romanen um die Entfremdung in einer funktional-differenzierten Gesellschaft, die durch Arbeitsteilung, durch Geld und Warenzirkulation, Reichtum erzeugt, aber die einzelnen vor die Herausforderung stellt, im verquasten, schwebenden Chaos sinnstiftende Prozesse und Handlungen zu finden. Seinen Hauptfiguren gelingt es nicht. Sie bleiben in einem Abw盲rtsstrudel des ungekonnten Hedonismus gefangen und ertrinken zumeist. Was Die Verdacht auszeichnet, ist sein optimistischer Ton, der sogar Tagtr盲ume und klassizistische H枚henfl眉ge erlaubt:
Emilia war zur gleichen Zeit die Frau meiner Tr盲ume und die Frau, die mich auf Grund elender Gemeinpl盲tze einsch盲tzte und verachtete [鈥 Um jene Emilia zu besitzen, die ich liebte, und um zu erreichen, da脽 sie mich so einsch盲tzte, wie ich tats盲chlich war, h盲tte ich sie aus der Welt herausf眉hren m眉ssen, die sie umgab, und in eine Welt versetzen, die so einfach und echt war wie sie, in der das Geld nicht z盲hlte und die Worte unverf盲lscht geblieben waren, in eine Welt, nach der ich, wie Rheingold mir entgegengehalten hatte, wohl streben konnte, die es aber nicht gab.
Moravias Held durchschreitet aber nicht das Besitzen-Wollen. Er will besitzen, ohne zu besitzen, und in diesem teuflisch-d盲monischen unendlichen Regress verliert er alles, was ihm lieb und sprichw枚rtlich teuer ist. Die Verachtung handelt von Selbstl眉gen, die sich als Ideale tarnen, aber auch von Tr盲umen, die wahr werden k枚nnten. Die 盲u脽erst verschachtelte Ideenf眉hrung geht bei der Verfilmung von Jean-Luc Godard Le M茅pris (1963) verloren und hat eigentlich mit dem Roman nur oberfl盲chlich zu tun.
---------------------------------
---------------------------------
Details 鈥� ab hier Spoilergefahr (zur Erinnerung f眉r mich):
---------------------------------
---------------------------------
Inhalt:
鈼廐auptfigur(en): Riccardo Molteni (R), 27 Jahre alt, Schriftsteller, tr盲umt davon, Theaterst眉cke zu schreiben, sein Geld mit k眉nstlerisch wertvollen St眉cken zu verdienen, arm. Nebenfiguren: Emilia Molteni (E), Riccardos Frau, aus einfachen Verh盲ltnissen, Stenotypisten, keine akademische Bildung. Battista (B), Produzent, Arbeitgeber von Riccardo. Rheingold (RG), deutscher Regisseur, der mit Battista und Riccardo einen Film 眉ber Homers Odyssee drehen will.
鈼廧耻蝉补尘尘别苍蹿补蝉蝉耻苍驳/滨苍丑补濒迟蝉补苍驳补产别:
1.) R denkt, E m枚chte eine eigene Wohnung, spart f眉r die erste Rate, kratzt alles zusammen und kauft eine Wohnung, hat aber Sorge, dass er die zweite und alle anderen Raten nicht aufzubringen vermag. Er nimmt daher das Jobangebot von B an, der beim ersten Treffen E zwingt, mit ihm zu fahren, R willigt ein, f盲hrt mit einem Taxi hinterher, das einen Unfall baut. Er trifft viel sp盲ter bei B ein.
2.) E scheint etwas ver盲ndert daraufhin zu sein. E will mit B nichts zu tun haben. Sie befinden sich im dritten Ehejahr.
3.) R f眉hlt sich von seinem Job als Drehbuchautor beschmutzt, von den Geldn枚ten geplagt und tritt der Kommunistischen Partei ein.
4.) Eine Woche nach dem ersten Treffen mit B will E nicht mehr mit R in einem Bett schlafen. Sie ertr盲gt sein Schnarchen nicht und auch nicht das offene Fenster, das er zum Schlafen ben枚tigt.
5.) R empfindet seinen Beruf des Drehbuchschreibens als Sklaverei.
6.) Szene nach dem ersten Drehbuch im Hause von Pasetti, der von seiner Frau angehimmelt wird und R noch das Abschlusshonorar vorenth盲lt.
7.) Als R nach Hause zur眉ckkehrt, findet er E vor, die doch nicht zu ihrer Mutter gegangen ist. R misstrauisch, stellt der Mutter, die anruft, eine Falle. E bekommt sein Misstrauen mit. R beklagt sich, dass E ihn nicht mehr liebe, zweifelt an seinem Drehbuchjob, wird aber von E 眉berzeugt, Bs Angebot, ein weiteres Drehbuch f眉r ihn zu schreiben, anzunehmen.
8.) Das neue Projekt soll mit einem deutschen Regisseur namens Rheingold (RG) durchgef眉hrt werden und handelt von einer Neuverfilmung der Odyssee. B schwebt etwas Bombastisches vor, RG etwas Psychologisches. B r盲soniert 眉ber den neorealistischen Film, der zu pessimistisch sei. B will, dass RG, R und E nach Capri in seine Villa fahren, um dort an dem Drehbuch zu arbeiten. R erinnert sich an seine Episode mit der Stenotypistin, die er 鈥瀡ersehentlich鈥� gek眉sst hat.
9.) E und R streiten sich. Sie gibt zu, dass sie ihn nicht mehr liebe, ihn sogar verachte, nennt aber keinen Grund. R w眉rgt sie, h盲lt sich gerade zur眉ck, sie mit einem schweren Aschenbecher zu schlagen.
10.) R denkt 眉ber E nach, wei脽, dass sie aufrichtig und ehrlich ist, und stellt sich infrage. Er dr盲ngt darauf, ausw盲rts essen zu gehen, dorthin, wo sie sich kennenlernt haben, in ein Restaurant an der Via Appia. E will sich aber nicht erkl盲ren. Er wird ungeduldig. Im Regen streiten sie sich wieder. E wehrt seine Zudringlichkeit im Regen ab.
11.) E versucht zu ihrer Mutter zu ziehen, die hat aber kein Zimmer mehr frei. Obwohl sie sich treffen will, bleibt sie vorerst bei R. Er setzt seine Hoffnung in den Urlaub auf Capri.
12.) Sie fahren los, und B besteht wieder darauf, dass E in seinem Wagen mitf盲hrt, da RG und R auf der Fahrt bereits 眉ber das Drehbuch reden sollen. Sie reden 眉ber das Klassische, und 眉ber RGs Deutung, dass Penelope und Odysseus Eheprobleme gehabt h盲tten und Odysseus deshalb in den Krieg gezogen sei. Nach einem Fastunfall mit einem Ochsenkarren, legen sie eine Pause ein und gehen zum Strand, B und E sto脽en zu ihnen, E bedr眉ckt, will nicht mit B weiterfahren. B aber setzt sich durch. R schaut voller Sehnsucht ihr nach, bedr眉ckt, sich gegen B nicht durchsetzen zu k枚nnen.
13.) Ankunft auf Capri. B spricht sich mit R aus, dass er keinen psychologischen Odysseusfilm drehen wolle, ihn interessierten Eheprobleme nicht. R f眉hlt sich B unterworfen, wie ein Diener seinem Herrn.
14.) Nach einem n盲chtlichen Spaziergang kehrt R zur眉ck zur Villa und beobachtet aus dem Verborgenen, wie B E das schwarze 盲rmellose Abendkleid von der Schulter rei脽t und sie k眉sst. E emp枚rt, ohne zu protestieren, geht. Nachher begreift R, dass E ihn gesehen hat, wie er sie beobachtete, auch vermeint er auf Es Gesicht einen 盲hnlichen Ausdruck der Ergebenheit zu sehen, wie ihn Pasettis Frau ihrem Regisseursgatten gegen眉ber zeigte. R, auf seine schlechte Laune hin, befragt, faselt etwas von k眉nstlerischen Ambition, statt seine Eifersucht zuzugeben.
16.) R und E sprechen sich aus. E schl盲gt R vor, in Capri zu bleiben und weiter f眉r B zu arbeiten.
17.) Treffen zwischen R und RG, ausf眉hrliche Deutung RGs von der Eheproblematik Odysseus鈥�. Penelope sei entt盲uscht von ihm gewesen, wie er das Buhlen der Freier um sie akzeptiert hat, statt sie zu erschlagen. Er ben枚tigt den Krieg und die Heimkehr, um als zivilisierter Mann zum Entschluss zu kommen, die Freier zu erschlagen, was eigentlich nicht in seinem Sinne steht, aber der Erwartung Penelopes, einer Barbarin, entspreche.
18.) R wandert umher, 眉berlegt sich in den Tod zu st眉rzen, um E ihren Irrtum zu beweisen. Auf der Wanderung erblickt er sie am Strand. Sie hat einen m盲chtigen Eindruck auf ihn. Sie h盲lt ihn auf Distanz. Sie gibt zu, dass sie wei脽, dass R sie und B gesehen habe. Er tr盲umt davon, wie er sie k眉sst.
19.) R beschlie脽t das Projekt abzusagen, redet mit RG 眉ber Joyce, 眉ber Verfremdung, 眉ber das Klassische an Odysseus, das Erhabene. RG wirft R vor, nur an den Kommerz zu denken; R zitiert Dante (Inferno: 26. Gesang: 鈥濶icht geboren seid ihr, um zu leben wie Vieh, sondern um Tugend und Erkenntnis zu suchen.鈥� 鈥� oder: 鈥濭edenkt, aus welchem Samen ihr entsprossen, geschaffen ward ihr nicht, wie Tiere hinzuleben, doch T眉chtigkeit euch zu erringen und Erkenntnis.鈥�) und geht.
20.) In der Villa von B zur眉ck, kommt es erneut zur Aussprache. E gesteht R, dass sie ihn nicht m盲nnlich genug finde und deshalb verachte. R erkennt, dass E sich nicht umk盲mpft genug empfand, dass sie von seiner Passivit盲t entt盲uscht ist, dass er B freie Bahn gelassen habe. R will sofort los, nach Rom, aber B will bleiben, denn sie hat in Rom keine Wohnung.
21.) R, entsetzt, fl眉chtet sich in den Schlaf, wacht auf und h枚rt, dass B und E essen gegangen sind. R begreift, dass er in einer idealen Welt liebt, in einem Tagtraum, der nichts mit der Wirklichkeit zu tun hat, dass E ihn und nicht seine M枚glichkeit sieht. Die verschiedenen Weisen Odysseus zu betrachten. Als er B und E wiederkommen h枚rt, nimmt er schnell ein Schlafmittel.
22.) Am Morgen findet er einen Brief von E, wo sie ihn mitteilt, dass sie zur眉ck nach Rom kehrt und alleine zu leben versucht, aber die M枚glichkeit, Bs Geliebte zu werden, nicht ausschlie脽t. R f眉hlt sich wie ein entwurzelter Baum, geht auf Capri umher, leiht sich ein Ruderboot und halluziniert ein Gespr盲ch mit E, in welchem sie zu ihm zur眉ckkehrt.
23.) Er kehrt zur眉ck in die Villa, wo ihn die Nachricht ereilt, dass E bei einem Unfall gestorben ist. B musste zu scharf bremsen, um einem Ochsenkarren auszuweichen, wobei E sich das Genick gebrochen hat.
鈼廗urzfassung: Um f眉r sich und seine Frau eine Wohnung zu finanzieren und Geld f眉r ein angenehmes Leben zu verdienen, beschlie脽t ein junger Theaterschriftsteller Drehb眉cher f眉r einen Produzenten zu schreiben. Tats盲chlich verdient er nun Geld, aber sein Leben entgleitet ihm. Seine Frau wird von dem Produzenten umschw盲rmt, und er k眉sst die ihm zur Verf眉gung gestellte Stenotypistin. Das Ehepaar entfremdet sich. Auch ein Aufenthalt auf Capri 盲ndert daran nichts, wo er sich entschlie脽t, die Zusammenarbeit mit dem Produzenten zu beenden, als er Zeuge von einer Szene zwischen diesem und seiner Frau wird, in der der Produzent sie k眉sst. Es ist aber zu sp盲t. Die beiden reisen ohne ihn ab, und sie kommt auf dem R眉ckweg nach Rom ums Leben.
鈥� typisches Themen bei Moravia: Untreue, L眉ge, konkreter: Wagenvergleich, sinnloses Herumfahren mit dem Wagen, Selbstmord, eine geistig-tr盲ge Frau, Eifersucht, der Wunsch nach Nest und Eigentumswohnung, Geldmangel.
鈥� psychologisches Drama: Protagonist unterstellt seiner Frau materielle W眉nsche, die er nicht befriedigen kann 鈥� deshalb prostituiert er sich, und indem er nun ihre materiellen W眉nsche erf眉llt, 眉berkommt ihn das Gef眉hl, die Frau verhalte sich ebenfalls wie eine Prostituierte. Hieraus entsteht das Ungl眉ck. Am Ende prostituieren sich beide und beide sind ungl眉cklich. Im Gegensatz zu anderen Romanen besitzt Moravia hier eine gr枚脽ere intellektuelle Spannweite: der Konflikt zwischen dem Monumentalen (Battista), dem Psychologischen (Rheingold) und dem Klassischen (Riccardo).
鈥� Beziehung auf Rheingold von Wagner nur oberfl盲chlich: Schatz der Rheint枚chter wird von Alberich gestohlen, nachdem sie ihn verschm盲ht haben. Aus diesem Schatz l盲sst er einen Ring schmieden, mit welchem er das Nibelungenvolk unterwirft. Also ohne Liebe grenzenlose Macht und Reichtum.
鈥� Rahmenwirkungen: das schwarze, 盲rmellose Kleid beim ersten Treffen und in der Szene, in der R sieht, wie B E k眉sst; zudem die Szene mit dem Ochsenkarren: R und RG fahren, R kann gerade so ausweichen; am Ende passiert dasselbe B, der bremsen muss, wobei B sich das Genick bricht (der draufg盲ngerische Fahrstil wird mehrfach erw盲hnt, das, was B m盲nnlich erscheinen l盲sst, kostet E das Leben).
鈥� die Atmosph盲re auf Capri, die hintergr眉ndige Gewalt, die Schw盲che, die Deutung, das Ausspielen dieser Deutung, die Multiperspektivit盲t in der Odysseusgestalt bei Homer und Dante, der Verweis auf Wagner, auf den Film, die Debatten um Kunst, Film und Kommerz, heben den Roman 眉ber die anderen Machwerke von Moravia weit hinweg.
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Form: Der Stil von Moravia erscheint hier runder, austarierter, aber immer noch nicht interessant, nicht divers, langweilige W枚rter, langweilige Adjektive, viele Wiederholungen, langweilige S盲tze, langweilige Dialogformen. Die Form selbst erscheint zu flach, zu wenig originell im Schreibstil.
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贰谤锄盲丑濒蝉迟颈尘尘别: Die 贰谤锄盲丑濒蝉迟颈尘尘别 ist durchweg Ich-Erz盲hlung, und zwar aus dem Pr盲sens heraus, in welchem Emilia tot ist, und er sich die letzten Monaten vor Augen f眉hrt, wie es dazukommen konnte. Durchweg plausibel, ungebrochen, und situiert, wie konsequent ausgef眉hrt. Die Ich-Erz盲hlung geschieht verl盲sslich. Das Pr盲teritum ist weitestgehend eingehalten, bis auf den Anfang, der Anfang des ganzen Problems, der szenisch pr盲sentisch erz盲hlt wird.
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Komposition: Die meisten Motive werden aufgenommen: Blick Pasettis Frau auf Gatten, Blick Emilias auf Battista; Fastunfall Ochsenkarren von Riccardo, Unfall mit Todesfolge mit Ochsenkarre von Battista; roter Faden die Wohnung, die Villa, das Eigentum; roter Faden das schnelle Auto, das langsame Auto; Rahmenwirkung des schwarzen 盲rmellosen Kleides am Anfang und dann in der Villa am Ende auf Capri, als Emilia nun Battistas Geliebte wird. Die drei Deutungen Odysseus als drei M盲nnlichkeitsfiguren: der Draufg盲nger, der Intellektuelle, der Tr盲umer. Insgesamt wohl komponiert auf die Erkenntnis hin, dass Emilia ihn betr眉gt oder betr眉gen k枚nnte. Sehr dicht. Einziges loses Moment Riccardos Begeisterung f眉r die kommunistische Partei, und die Episode mit der Stenotypisten, die w盲re auch nicht n枚tig gewesen und schw盲cht den Plot, da es eine Racheaktion Emilias nahelegt, daher:
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Leseerlebnis: Vielleicht wegen des Films im Hinterkopf fiel die Lekt眉re sehr leicht, sehr atmosph盲risch, spannend, verwirrend, verwickelt, sehr lange in Schwebe gehalten. Keine Entt盲uschung. Inhaltlich stark, sprachlich schwach.
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June 15, 2022
鈥� Mi domandai ad un tratto:
鈥淧erch茅 mi sento tanto infelice?鈥�
C鈥檈rano una volta gli anni cinquanta del Novecento.
Anni in cui ci si impegna fortemente a cancellare il passato recente.
Un colpo di spugna ed ecco che spariscono dalla memoria i lunghi anni di guerra (mondiale e civile) di soprusi e di violenze.
C鈥檈ra una volta il boom economico dove l鈥檕nomatopea, questa volta, si riferisce all鈥檈splosiva crescita delle ambizioni italiana.
Possedere 猫 la parola d鈥檕rdine perch茅 猫 imperativo dimostrare che si 猫 agiati.
Sono i tempi dell鈥檜tilitaria, gli elettrodomestici americani e, soprattutto, della casa di propriet脿.
C鈥檈ra una volta l鈥橝more; quella parola che, oltrepassando le frontiere e resistendo nel tempo, pu貌 essere tanto fonte di gioia quanto di profondo dolore.
Lui 猫 un cognome (il Molteni) che nella bocca di Lei diventa un nome (Riccardo) pronunciato senza amore.
Questo 猫 il punto, Lei, Emilia non lo ama pi霉 e non fa niente per nasconderlo, anzi costretta ad ammetterlo confessa qualcosa di pi霉:
鈥淚o ti disprezzo... ecco quello che provo per te, ed ecco il motivo per cui non ti amo pi霉... Ti disprezzo e mi fai schifo ogni volta che mi tocchi... Eccola la verit脿... ti disprezzo e mi fai schifo.鈥�
Eppure lui sente di aver fatto di tutto a cominciare dall鈥檃bbandono del suo sogno poco remunerativo di scrivere per il teatro.
Accetta di sceneggiare per il cinema, ambiente infido che, tuttavia, gli permette di acquistare una casa.
Lui crede che Emilia desideri questo: una casa da mettere in ordine, con una bella cucina da far splendere e che le permetta di preparare gustosi pranzetti.
Riccardo vive cos矛 un periodo di 鈥渙scuramento o, se si preferisce, da quel silenzio della mente che in simili circostanze sospende ogni giudizio e si rimette al solo amore per ogni valutazione della persona amata.鈥�.
Talvolta crediamo di conoscere una persona mentre in realt脿 scopriamo di aver creato un simulacro.
Cos矛鈥� anche la convinzione di aver sacrificato le proprie ambizioni per amore risulta essere un inganno come ingannevole 猫 il mondo del cinema.
Lui sceneggiatore, ossia, lo scrittore che rimane nell鈥檕mbra dello sfavillio del grande schermo.
Il germe di ci貌 che oggi 猫 una cosa di fatto la cultura americana imperante che domina in tutto e genera l鈥檇ea che sia solo il Kolossal ad essere degno d鈥檌nvestimenti:
鈥淪iamo tutti d鈥檃ccordo che nel cinema bisogna trovare qualche cosa di nuovo... ormai il dopoguerra 猫 finito e si sente il bisogno di una formula nuova... il neorealismo, tanto per fare un esempio, ha stancato un po鈥� tutti... ora, analizzando i motivi per cui il cinema neorealistico ci ha stancati, potremo forse arrivare a capire quale potrebbe essere la formula nuova.鈥�
Romanzo, insomma, che ha diverse chiavi di lettura.
L鈥檃mbientazione che dalla capitale si sposta all鈥檌sola di Capri; la dimensione psicologica delle relazioni di coppia, l鈥檃mbiente cinematografico ma anche la rilettura di un mito dove Ulisse e Penelope si allontanano dal poema sull鈥檈roismo e la fedelt脿 per diventare emblema di un profondo disprezzo.
鈥� Un brutto sogno in cui io mi chiamavo realmente Riccardo e avevo una moglie che si chiamava Emilia, e io l鈥檃mavo e lei non mi amava, anzi, mi disprezzava.鈥�
鈥淧erch茅 mi sento tanto infelice?鈥�
C鈥檈rano una volta gli anni cinquanta del Novecento.
Anni in cui ci si impegna fortemente a cancellare il passato recente.
Un colpo di spugna ed ecco che spariscono dalla memoria i lunghi anni di guerra (mondiale e civile) di soprusi e di violenze.
C鈥檈ra una volta il boom economico dove l鈥檕nomatopea, questa volta, si riferisce all鈥檈splosiva crescita delle ambizioni italiana.
Possedere 猫 la parola d鈥檕rdine perch茅 猫 imperativo dimostrare che si 猫 agiati.
Sono i tempi dell鈥檜tilitaria, gli elettrodomestici americani e, soprattutto, della casa di propriet脿.
C鈥檈ra una volta l鈥橝more; quella parola che, oltrepassando le frontiere e resistendo nel tempo, pu貌 essere tanto fonte di gioia quanto di profondo dolore.
Lui 猫 un cognome (il Molteni) che nella bocca di Lei diventa un nome (Riccardo) pronunciato senza amore.
Questo 猫 il punto, Lei, Emilia non lo ama pi霉 e non fa niente per nasconderlo, anzi costretta ad ammetterlo confessa qualcosa di pi霉:
鈥淚o ti disprezzo... ecco quello che provo per te, ed ecco il motivo per cui non ti amo pi霉... Ti disprezzo e mi fai schifo ogni volta che mi tocchi... Eccola la verit脿... ti disprezzo e mi fai schifo.鈥�
Eppure lui sente di aver fatto di tutto a cominciare dall鈥檃bbandono del suo sogno poco remunerativo di scrivere per il teatro.
Accetta di sceneggiare per il cinema, ambiente infido che, tuttavia, gli permette di acquistare una casa.
Lui crede che Emilia desideri questo: una casa da mettere in ordine, con una bella cucina da far splendere e che le permetta di preparare gustosi pranzetti.
Riccardo vive cos矛 un periodo di 鈥渙scuramento o, se si preferisce, da quel silenzio della mente che in simili circostanze sospende ogni giudizio e si rimette al solo amore per ogni valutazione della persona amata.鈥�.
Talvolta crediamo di conoscere una persona mentre in realt脿 scopriamo di aver creato un simulacro.
Cos矛鈥� anche la convinzione di aver sacrificato le proprie ambizioni per amore risulta essere un inganno come ingannevole 猫 il mondo del cinema.
Lui sceneggiatore, ossia, lo scrittore che rimane nell鈥檕mbra dello sfavillio del grande schermo.
Il germe di ci貌 che oggi 猫 una cosa di fatto la cultura americana imperante che domina in tutto e genera l鈥檇ea che sia solo il Kolossal ad essere degno d鈥檌nvestimenti:
鈥淪iamo tutti d鈥檃ccordo che nel cinema bisogna trovare qualche cosa di nuovo... ormai il dopoguerra 猫 finito e si sente il bisogno di una formula nuova... il neorealismo, tanto per fare un esempio, ha stancato un po鈥� tutti... ora, analizzando i motivi per cui il cinema neorealistico ci ha stancati, potremo forse arrivare a capire quale potrebbe essere la formula nuova.鈥�
Romanzo, insomma, che ha diverse chiavi di lettura.
L鈥檃mbientazione che dalla capitale si sposta all鈥檌sola di Capri; la dimensione psicologica delle relazioni di coppia, l鈥檃mbiente cinematografico ma anche la rilettura di un mito dove Ulisse e Penelope si allontanano dal poema sull鈥檈roismo e la fedelt脿 per diventare emblema di un profondo disprezzo.
鈥� Un brutto sogno in cui io mi chiamavo realmente Riccardo e avevo una moglie che si chiamava Emilia, e io l鈥檃mavo e lei non mi amava, anzi, mi disprezzava.鈥�
May 17, 2020
丕賳夭噩丕乇 讴賴 賳丕賲 丕氐賱蹖 丌賳 "鬲丨賯蹖乇" 丕爻鬲 (賵 賲毓賱賵賲 賳蹖爻鬲 倬乇賵蹖夭 卮賴丿蹖 趩乇丕 賳丕賲 乇賲丕賳 乇丕 鬲睾蹖蹖乇 丿丕丿賴 丿乇 丨丕賱蹖 讴賴 賵丕賯毓丕 賲爻卅賱賴 丕氐賱蹖 乇丕賵蹖 乇賲丕賳 鬲丨賯蹖乇 卮丿賳 丿乇 亘乇丕亘乇 毓卮賯 丕爻鬲) 亘賴 賵丕讴丕賵蹖 毓卮賯 丕夭 爻賴 賲賳馗乇 賲蹖 倬乇丿丕夭丿:
丕爻胤賵乇賴貙 乇賵丕賳卮賳丕爻蹖 賵 丕蹖丿賴 丌賱 诏乇丕蹖蹖 乇賲丕賳鬲蹖讴
亘爻鬲乇 丕蹖賳 亘乇乇爻蹖 爻乇诏匕卮鬲 丕賵賱蹖爻 丿乇 丿丕爻鬲丕賳 丕賵丿蹖爻賴 賴賵賲乇 丕爻鬲 讴賴 乇丕賵蹖 乇賲丕賳 賯乇丕乇 丕爻鬲 賮蹖賱賲賳丕賲賴 丕蹖 亘乇 丕爻丕爻 丌賳 亘賳賵蹖爻丿
丕賲丕 爻蹖乇 夭賳丿诏蹖 禺丕賳賵丕丿诏蹖 丕賵 亘賴 卮讴賱 噩丕賱亘蹖 卮亘蹖賴 亘賴 賲賵賯毓蹖鬲 丕賵賱蹖爻 賵 賴賲爻乇卮 倬賳賴 賱賵倬賴 倬蹖卮 賲蹖乇賵丿
丨丕賱丕 丕賵 賲丕賳丿賴 丕爻鬲 讴賴 讴丿丕賲 鬲毓亘蹖乇 丕夭 毓卮賯 賵 亘蹖 賵賮丕蹖蹖 賲蹖鬲賵丕賳丿 賲賵賯毓蹖鬲 丕賵 乇丕 鬲賵囟蹖丨 亘丿賴丿:
_趩乇丕 亘乇丿丕卮鬲 賴丕蹖 賲丕 丕夭 卮禺氐蹖鬲 丕賵賱蹖爻 丕蹖賳 趩賳蹖賳 賲鬲賮丕賵鬲 亘賵丿責 卮禺氐蹖鬲 爻胤丨蹖貙 睾蹖乇賲賳胤賯蹖 賵 賲亘鬲匕賱蹖 讴賴 亘丕鬲蹖爻鬲丕 (鬲賴蹖賴 讴賳賳丿賴 倬賵賱 倬乇爻鬲) 丕夭 丕賵 賲蹖 爻丕禺鬲貙 亘丕 夭賳丿诏蹖 禺賵丿卮貙 亘丕 禺賵丕爻鬲 賴丕 賵 蹖丕 丿乇 丨賯蹖賯鬲 亘丕 賲賳丕賮毓 卮禺氐蹖 丕卮 賲胤丕亘賯鬲 丿丕卮鬲. 卮禺氐蹖鬲 讴賲 賵亘蹖卮 賲丨鬲賲賱貙 賵賱蹖 賲爻讴蹖賳 賵 亘丕 爻胤丨 賮讴乇 賲丨丿賵丿蹖 讴賴 乇蹖賳 诏賵賱丿 (讴丕乇诏乇丿丕賳 丌賱賲丕賳蹖 讴賴 亘賴 賲讴鬲亘 乇賵丕賳讴丕賵蹖 賮乇賵蹖丿 鬲毓賱賯 禺丕胤乇 丿丕乇丿) 丕乇丕卅賴 賲蹖 丿丕丿貙 亘丕 賵蹖跇诏蹖 賴丕蹖 丕禺賱丕賯蹖 賵 賴賳乇蹖 禺賵丿 讴丕乇诏乇丿丕賳 賴賲丕賴賳诏蹖 丿丕卮鬲. 賵 爻乇丕賳噩丕賲 卮禺氐蹖鬲 丕乇丕卅賴 卮丿賴 丕夭 胤乇賮 賲賳貙 蹖毓賳蹖 賲鬲毓丕賱蹖 鬲乇蹖賳貙 胤亘蹖毓蹖 鬲乇蹖賳貙 卮丕毓乇丕賳賴 鬲乇蹖賳 賵丨賯蹖賯蹖 鬲乇蹖賳 卮丕賳貙 亘蹖 卮讴 丕夭 丌乇夭賵蹖蹖 鬲丨賯賯 賳丕倬匕蹖乇貙 賵賱蹖 氐丕丿賯丕賳賴 賳卮兀鬲 賲蹖 诏乇賮鬲 讴賴 丿乇 丌賳 夭賳丿诏蹖 丕夭 丌賱賵丿诏蹖 賴丕蹖 賲丕丿蹖 賲亘乇丕爻鬲貙 噩丕蹖蹖 讴賴 丌乇賲丕賳 噩丕蹖诏夭蹖賳 賳馗乇蹖賴 賴丕蹖 乇賵丕賳卮賳丕禺鬲蹖 賵 賲丕丿蹖 诏乇丕蹖丕賳賴 賲蹖 卮賵丿. 賵 趩賵賳 鬲氐賵蹖乇 鬲乇噩蹖丨蹖 賲賳 丕夭 丕賵賱蹖爻 亘賴鬲乇蹖賳卮 亘賵丿貙 禺賵丿 亘乇丕蹖 賲賳 鬲爻賱丕蹖蹖 亘賴 卮賲丕乇 賲蹖 乇賮鬲. 讴丕乇蹖 讴賴 亘乇丕蹖賲 賲蹖 賲丕賳丿 丕蹖賳 亘賵丿 讴賴 禺賵丿賲 乇丕 亘丕 賴賲丕賳 鬲氐賵蹖乇蹖 亘賳賲丕蹖丕賳賲 讴賴 賳鬲賵丕賳爻鬲賴 亘賵丿賲 亘乇丕蹖 賮蹖賱賲賳丕賲賴 亘賴 讴丕乇诏乇丿丕賳 賵 鬲賴蹖賴 讴賳賳丿賴 鬲丨賲蹖賱 讴賳賲貙 鬲氐賵蹖乇蹖 讴賴 胤亘毓丕 丿乇 夭賳丿诏蹖 亘賴 丿卮賵丕乇蹖 賲蹖 鬲賵丕賳爻鬲賲 丌賳 乇丕 亘賴 讴乇爻蹖 亘賳卮丕賳賲. 丕蹖賳 鬲賳賴丕 賵爻蹖賱賴 亘乇丕蹖 賲鬲賯丕毓丿 讴乇丿賳 丕賲蹖賱蹖 賵 亘賴 丿爻鬲 丌賵乇丿賳 丿賵亘丕乇賴 蹖 丕丨鬲乇丕賲 賵 毓卮賯卮 賳爻亘鬲 亘賴 禺賵丿賲
亘乇丕蹖 毓賱丕賯賴 賲賳丿丕賳 亘賴 乇賲丕賳 乇賵丕賳卮賳丕禺鬲蹖 賵 讴爻丕賳蹖 讴賴 丿賵爻鬲 丿丕乇賳丿 讴丕乇亘乇丿 丕爻胤賵乇賴 賴丕 丿乇 乇賲丕賳 賳賵蹖爻蹖 賲毓丕氐乇 乇丕 亘亘蹖賳賳丿 噩丕賱亘 禺賵丕賴丿亘賵丿
丕賵賱蹖賳 乇賲丕賳蹖 亘賵丿 讴賴 丕夭 賲賵乇丕賵蹖丕 禺賵丕賳丿賲 賵 趩賳丕賳 讴賴 賲蹖丿丕賳爻鬲賲 賮囟丕蹖 鬲蹖乇賴 賵 賳诏丕賴 亘丿亘蹖賳丕賳賴 丕蹖 亘賴 爻乇賳賵卮鬲 亘卮乇 賲毓丕氐乇 丿丕卮鬲.
亘毓丿丕賱鬲丨乇蹖乇: 賮蹖賱賲蹖 讴賴 跇丕賳 賱賵讴 诏丿丕乇 丕夭 乇賵蹖 丕蹖賳 乇賲丕賳 丕賯鬲亘丕爻 讴乇丿賴 乇丕 賴賲 丕賲卮亘 丿蹖丿賲. 賮蹖賱賲 賳爻亘鬲丕 亘賴 乇賲丕賳 倬丕蹖亘賳丿 丕爻鬲 丕賲丕 诏丿丕乇 讴丕賲賱丕 賲賴乇 禺賵丿卮 乇丕 倬丕蹖 賮蹖賱賲 夭丿賴 賵 賯胤毓丕 丿賯丕卅賯蹖 讴賴 賲賵乇丕賵蹖丕 丿乇 胤乇丕丨蹖 卮禺氐蹖鬲 賴丕 賵 丕賳诏蹖夭賴 賴丕蹖卮丕賳 乇毓丕蹖鬲 讴乇丿賴 亘賵丿 丿乇 賮蹖賱賲 丿乇賳蹖丕賲丿賴. 賳亘蹖賳蹖丿 丕氐賱丕 趩蹖夭蹖 乇丕 丕夭 丿爻鬲 賳丿丕丿賴 丕蹖丿.
賮蹖賱賲蹖 讴賴 蹖讴 賮乇丕賳爻賵蹖 賲讴鬲亘 賲賵噩 賳賵 亘乇 丕爻丕爻 乇賲丕賳 乇賵丕賳卮賳丕禺鬲蹖 蹖讴 丕蹖鬲丕賱蹖丕蹖蹖 爻乇禺賵乇丿賴 亘丕 亘丕夭蹖 蹖讴 讴丕乇诏乇丿丕賳 爻蹖賳賲丕蹖 丕讴爻倬乇爻蹖賵賳蹖爻鬲蹖 丌賱賲丕賳 丿乇 賳賯卮 禺賵卮丿 (賮乇蹖鬲夭 賱丕賳诏) 亘爻丕夭丿 賲毓賱賵賲 丕爻鬲 趩賴 丌卮 卮賱賴 賯賱賲讴丕乇蹖 賲蹖卮賵丿!
丕爻胤賵乇賴貙 乇賵丕賳卮賳丕爻蹖 賵 丕蹖丿賴 丌賱 诏乇丕蹖蹖 乇賲丕賳鬲蹖讴
亘爻鬲乇 丕蹖賳 亘乇乇爻蹖 爻乇诏匕卮鬲 丕賵賱蹖爻 丿乇 丿丕爻鬲丕賳 丕賵丿蹖爻賴 賴賵賲乇 丕爻鬲 讴賴 乇丕賵蹖 乇賲丕賳 賯乇丕乇 丕爻鬲 賮蹖賱賲賳丕賲賴 丕蹖 亘乇 丕爻丕爻 丌賳 亘賳賵蹖爻丿
丕賲丕 爻蹖乇 夭賳丿诏蹖 禺丕賳賵丕丿诏蹖 丕賵 亘賴 卮讴賱 噩丕賱亘蹖 卮亘蹖賴 亘賴 賲賵賯毓蹖鬲 丕賵賱蹖爻 賵 賴賲爻乇卮 倬賳賴 賱賵倬賴 倬蹖卮 賲蹖乇賵丿
丨丕賱丕 丕賵 賲丕賳丿賴 丕爻鬲 讴賴 讴丿丕賲 鬲毓亘蹖乇 丕夭 毓卮賯 賵 亘蹖 賵賮丕蹖蹖 賲蹖鬲賵丕賳丿 賲賵賯毓蹖鬲 丕賵 乇丕 鬲賵囟蹖丨 亘丿賴丿:
_趩乇丕 亘乇丿丕卮鬲 賴丕蹖 賲丕 丕夭 卮禺氐蹖鬲 丕賵賱蹖爻 丕蹖賳 趩賳蹖賳 賲鬲賮丕賵鬲 亘賵丿責 卮禺氐蹖鬲 爻胤丨蹖貙 睾蹖乇賲賳胤賯蹖 賵 賲亘鬲匕賱蹖 讴賴 亘丕鬲蹖爻鬲丕 (鬲賴蹖賴 讴賳賳丿賴 倬賵賱 倬乇爻鬲) 丕夭 丕賵 賲蹖 爻丕禺鬲貙 亘丕 夭賳丿诏蹖 禺賵丿卮貙 亘丕 禺賵丕爻鬲 賴丕 賵 蹖丕 丿乇 丨賯蹖賯鬲 亘丕 賲賳丕賮毓 卮禺氐蹖 丕卮 賲胤丕亘賯鬲 丿丕卮鬲. 卮禺氐蹖鬲 讴賲 賵亘蹖卮 賲丨鬲賲賱貙 賵賱蹖 賲爻讴蹖賳 賵 亘丕 爻胤丨 賮讴乇 賲丨丿賵丿蹖 讴賴 乇蹖賳 诏賵賱丿 (讴丕乇诏乇丿丕賳 丌賱賲丕賳蹖 讴賴 亘賴 賲讴鬲亘 乇賵丕賳讴丕賵蹖 賮乇賵蹖丿 鬲毓賱賯 禺丕胤乇 丿丕乇丿) 丕乇丕卅賴 賲蹖 丿丕丿貙 亘丕 賵蹖跇诏蹖 賴丕蹖 丕禺賱丕賯蹖 賵 賴賳乇蹖 禺賵丿 讴丕乇诏乇丿丕賳 賴賲丕賴賳诏蹖 丿丕卮鬲. 賵 爻乇丕賳噩丕賲 卮禺氐蹖鬲 丕乇丕卅賴 卮丿賴 丕夭 胤乇賮 賲賳貙 蹖毓賳蹖 賲鬲毓丕賱蹖 鬲乇蹖賳貙 胤亘蹖毓蹖 鬲乇蹖賳貙 卮丕毓乇丕賳賴 鬲乇蹖賳 賵丨賯蹖賯蹖 鬲乇蹖賳 卮丕賳貙 亘蹖 卮讴 丕夭 丌乇夭賵蹖蹖 鬲丨賯賯 賳丕倬匕蹖乇貙 賵賱蹖 氐丕丿賯丕賳賴 賳卮兀鬲 賲蹖 诏乇賮鬲 讴賴 丿乇 丌賳 夭賳丿诏蹖 丕夭 丌賱賵丿诏蹖 賴丕蹖 賲丕丿蹖 賲亘乇丕爻鬲貙 噩丕蹖蹖 讴賴 丌乇賲丕賳 噩丕蹖诏夭蹖賳 賳馗乇蹖賴 賴丕蹖 乇賵丕賳卮賳丕禺鬲蹖 賵 賲丕丿蹖 诏乇丕蹖丕賳賴 賲蹖 卮賵丿. 賵 趩賵賳 鬲氐賵蹖乇 鬲乇噩蹖丨蹖 賲賳 丕夭 丕賵賱蹖爻 亘賴鬲乇蹖賳卮 亘賵丿貙 禺賵丿 亘乇丕蹖 賲賳 鬲爻賱丕蹖蹖 亘賴 卮賲丕乇 賲蹖 乇賮鬲. 讴丕乇蹖 讴賴 亘乇丕蹖賲 賲蹖 賲丕賳丿 丕蹖賳 亘賵丿 讴賴 禺賵丿賲 乇丕 亘丕 賴賲丕賳 鬲氐賵蹖乇蹖 亘賳賲丕蹖丕賳賲 讴賴 賳鬲賵丕賳爻鬲賴 亘賵丿賲 亘乇丕蹖 賮蹖賱賲賳丕賲賴 亘賴 讴丕乇诏乇丿丕賳 賵 鬲賴蹖賴 讴賳賳丿賴 鬲丨賲蹖賱 讴賳賲貙 鬲氐賵蹖乇蹖 讴賴 胤亘毓丕 丿乇 夭賳丿诏蹖 亘賴 丿卮賵丕乇蹖 賲蹖 鬲賵丕賳爻鬲賲 丌賳 乇丕 亘賴 讴乇爻蹖 亘賳卮丕賳賲. 丕蹖賳 鬲賳賴丕 賵爻蹖賱賴 亘乇丕蹖 賲鬲賯丕毓丿 讴乇丿賳 丕賲蹖賱蹖 賵 亘賴 丿爻鬲 丌賵乇丿賳 丿賵亘丕乇賴 蹖 丕丨鬲乇丕賲 賵 毓卮賯卮 賳爻亘鬲 亘賴 禺賵丿賲
亘乇丕蹖 毓賱丕賯賴 賲賳丿丕賳 亘賴 乇賲丕賳 乇賵丕賳卮賳丕禺鬲蹖 賵 讴爻丕賳蹖 讴賴 丿賵爻鬲 丿丕乇賳丿 讴丕乇亘乇丿 丕爻胤賵乇賴 賴丕 丿乇 乇賲丕賳 賳賵蹖爻蹖 賲毓丕氐乇 乇丕 亘亘蹖賳賳丿 噩丕賱亘 禺賵丕賴丿亘賵丿
丕賵賱蹖賳 乇賲丕賳蹖 亘賵丿 讴賴 丕夭 賲賵乇丕賵蹖丕 禺賵丕賳丿賲 賵 趩賳丕賳 讴賴 賲蹖丿丕賳爻鬲賲 賮囟丕蹖 鬲蹖乇賴 賵 賳诏丕賴 亘丿亘蹖賳丕賳賴 丕蹖 亘賴 爻乇賳賵卮鬲 亘卮乇 賲毓丕氐乇 丿丕卮鬲.
亘毓丿丕賱鬲丨乇蹖乇: 賮蹖賱賲蹖 讴賴 跇丕賳 賱賵讴 诏丿丕乇 丕夭 乇賵蹖 丕蹖賳 乇賲丕賳 丕賯鬲亘丕爻 讴乇丿賴 乇丕 賴賲 丕賲卮亘 丿蹖丿賲. 賮蹖賱賲 賳爻亘鬲丕 亘賴 乇賲丕賳 倬丕蹖亘賳丿 丕爻鬲 丕賲丕 诏丿丕乇 讴丕賲賱丕 賲賴乇 禺賵丿卮 乇丕 倬丕蹖 賮蹖賱賲 夭丿賴 賵 賯胤毓丕 丿賯丕卅賯蹖 讴賴 賲賵乇丕賵蹖丕 丿乇 胤乇丕丨蹖 卮禺氐蹖鬲 賴丕 賵 丕賳诏蹖夭賴 賴丕蹖卮丕賳 乇毓丕蹖鬲 讴乇丿賴 亘賵丿 丿乇 賮蹖賱賲 丿乇賳蹖丕賲丿賴. 賳亘蹖賳蹖丿 丕氐賱丕 趩蹖夭蹖 乇丕 丕夭 丿爻鬲 賳丿丕丿賴 丕蹖丿.
賮蹖賱賲蹖 讴賴 蹖讴 賮乇丕賳爻賵蹖 賲讴鬲亘 賲賵噩 賳賵 亘乇 丕爻丕爻 乇賲丕賳 乇賵丕賳卮賳丕禺鬲蹖 蹖讴 丕蹖鬲丕賱蹖丕蹖蹖 爻乇禺賵乇丿賴 亘丕 亘丕夭蹖 蹖讴 讴丕乇诏乇丿丕賳 爻蹖賳賲丕蹖 丕讴爻倬乇爻蹖賵賳蹖爻鬲蹖 丌賱賲丕賳 丿乇 賳賯卮 禺賵卮丿 (賮乇蹖鬲夭 賱丕賳诏) 亘爻丕夭丿 賲毓賱賵賲 丕爻鬲 趩賴 丌卮 卮賱賴 賯賱賲讴丕乇蹖 賲蹖卮賵丿!
March 27, 2020
Or perhaps I saw her defects and she saw mine, but, through some mysterious transformation produced by the feeling of love, such defects appeared to us both not merely forgivable but even lovable, as though instead of defects they had been positive qualities, if of a rather special kind. Anyhow, we did not judge: we loved each other.
*
The less one notices happiness, the greater it is.
*
I wondered how it came about that she, who loved me so much, failed to guess at the cruel anxieties that oppressed me;
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I felt that the metal of my spirit, like a bar of iron that is softened and bent by a persistent flame, was being gradually softened and bent by the troubles that oppressed it.
*
And I, like a person who suddenly realizes he is hanging over an abyss, felt a kind of painful nausea at the thought that our intimacy had turned, for no reason at all, into estrangement, absence, separation.
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But now, it seemed to me, [...] she had now become a semblance in a mirage, with a haze of impossibility, of nostalgia, about her, and infinitely remote, as though she were not only a few paces away from me but in some far-off region, outside reality and outside my personal feelings.
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Each day, from the time when I got up in the morning, seemed like an arid desert, with no oasis of meditation or leisure, dominated by the merciless sun of forced cinema inspiration.
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I deluded myself into believing that time would take it upon itself to solve my problems, without any effort on my part. Time, in fact, did solve them, but not in the way I should have wished. And so the days passed, in a dull, dim atmosphere of expectancy, with Emilia denying herself to me and myself denying myself to my work.
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We too should be of a pure blue within our hearts, from which the clear calm of our sojourn by the sea would gradually wash away the sooty blackness of gloomy town thoughts鈥攂lue and with a blue light within us, like the lizards, like the sea, like the sky, like everything that is bright and gay and pure.
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The less one notices happiness, the greater it is.
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I wondered how it came about that she, who loved me so much, failed to guess at the cruel anxieties that oppressed me;
*
I felt that the metal of my spirit, like a bar of iron that is softened and bent by a persistent flame, was being gradually softened and bent by the troubles that oppressed it.
*
And I, like a person who suddenly realizes he is hanging over an abyss, felt a kind of painful nausea at the thought that our intimacy had turned, for no reason at all, into estrangement, absence, separation.
*
But now, it seemed to me, [...] she had now become a semblance in a mirage, with a haze of impossibility, of nostalgia, about her, and infinitely remote, as though she were not only a few paces away from me but in some far-off region, outside reality and outside my personal feelings.
*
Each day, from the time when I got up in the morning, seemed like an arid desert, with no oasis of meditation or leisure, dominated by the merciless sun of forced cinema inspiration.
*
I deluded myself into believing that time would take it upon itself to solve my problems, without any effort on my part. Time, in fact, did solve them, but not in the way I should have wished. And so the days passed, in a dull, dim atmosphere of expectancy, with Emilia denying herself to me and myself denying myself to my work.
*
We too should be of a pure blue within our hearts, from which the clear calm of our sojourn by the sea would gradually wash away the sooty blackness of gloomy town thoughts鈥攂lue and with a blue light within us, like the lizards, like the sea, like the sky, like everything that is bright and gay and pure.
May 23, 2017
丕賱丕丨鬲賯丕乇
賯乇兀鬲 乇賵丕賷丞 賲賵乇丕賮賷丕 賵賲賳 孬賲 卮丕賴丿鬲 賮賷賱賲 睾賵丿丕乇 丕賱匕賷 丕毓鬲賲丿 毓賱賷賴丕貙 丕賱賮賷賱賲 亘乇兀賷賷 賱賲 賷乇鬲賯 賱賱乇賵丕賷丞貙 賵賷亘丿賵 兀賳 睾賵丿丕乇 兀賳噩夭賴 亘賱丕 丕賴鬲賲丕賲 丨賯賷賯賷貙 廿賱賶 丿乇噩丞 鬲丿禺賱 丕賱賲賳鬲噩 賵賮乇囟賴 丕賱賲卮賴丿 丕賱丕賮鬲鬲丕丨賷 毓賱賶 丕賱賲禺乇噩貙 亘毓賷丿丕賸 毓賳 丕賱賮賷賱賲 丕賱乇賵丕賷丞 乇丕卅毓丞 賵鬲囟毓 丕賱賯丕乇卅 賮賷 丨丕賱丞 賳賮爻賷丞 賲賳 丕賱鬲乇賯亘 賵賲丨丕賵賱丞 丕賱賮賴賲貙 亘胤賱 丕賱乇賵丕賷丞 賰丕鬲亘 賲爻乇丨賷 鬲夭賵噩 丕賲乇兀丞 噩賲賷賱丞貙 孬賲 賯乇乇 丕賱鬲賵噩賴 賱賱毓賲賱 賮賷 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 賱賷爻鬲胤賷毓 鬲賵賮賷乇 賲賳夭賱 賵爻賷丕乇丞 賱夭賵噩鬲賴貙 賵賱賰賳 賴匕賴 丕賱鬲囟丨賷丕鬲 賵賴匕丕 丕賱囟睾胤 丕賱賳賮爻賷 丕賱匕賷 賷鬲毓乇囟 賱賴 亘爻亘亘 賯賷丕賲賴 亘毓賲賱 賱丕 賷丨亘賴貙 賷賯丕亘賱 亘亘乇賵丿 賵睾賷丕亘 賱賲卮丕毓乇 丕賱丨亘 賲賳 夭賵噩鬲賴貙 賯亘賱 兀賳 鬲毓賱賳 亘氐乇丕丨丞 丕丨鬲賯丕乇賴丕 賱夭賵噩賴丕貙 賲丕 丕賱匕賷 丨丿孬責 賲賳 兀賷賳 噩丕亍鬲 賲卮丕毓乇 丕賱丕丨鬲賯丕乇 賴匕賴責 賷丨丕賵賱 丕賱亘胤賱 丕賰鬲卮丕賮 匕賱賰 賲賳 禺賱丕賱 賲乇丕噩毓丞 賲賵丕賯賮 鬲毓乇囟丕 賱賴丕貙 賮賷 匕丕鬲 丕賱賵賯鬲 丕賱匕賷 賷毓乇囟 毓賱賷賴 丕賱毓賲賱 毓賱賶 賮賷賱賲 噩丿賷丿 賲爻鬲賵丨賶 賲賳 丕賱兀賵丿賷爻丞貙 賷毓賲賱 丕賱亘胤賱 賲毓 賲禺乇噩 兀賱賲丕賳賷 賵鬲鬲丕丨 賱賴賲丕 丨賵丕乇丕鬲 鬲賲賰賳賴 賲賳 賲賯丕乇賳丞 賳賮爻賴 亘賷賵賱賷爻爻 賵毓賱丕賯鬲賴 亘夭賵噩鬲賴 亘賷賳賷賱賵亘賷貙 賰賲丕 賷丨丕賵賱 賰爻乇 賴匕丕 丕賱丕丨鬲賯丕乇 亘丕賱鬲氐乇賮 賰賲丕 鬲氐乇賮 賷賵賱賷爻爻貙 賮赖賱 賷賳噩丨 賮賷 匕賱賰責 赖賱 賷爻鬲毓賷丿 賯賱亘 夭賵噩鬲賴責 兀賲 賷賯囟賷 賴匕丕 丕賱丕丨鬲賯丕乇 毓賱賷賴賲丕責
賯乇兀鬲 乇賵丕賷丞 賲賵乇丕賮賷丕 賵賲賳 孬賲 卮丕賴丿鬲 賮賷賱賲 睾賵丿丕乇 丕賱匕賷 丕毓鬲賲丿 毓賱賷賴丕貙 丕賱賮賷賱賲 亘乇兀賷賷 賱賲 賷乇鬲賯 賱賱乇賵丕賷丞貙 賵賷亘丿賵 兀賳 睾賵丿丕乇 兀賳噩夭賴 亘賱丕 丕賴鬲賲丕賲 丨賯賷賯賷貙 廿賱賶 丿乇噩丞 鬲丿禺賱 丕賱賲賳鬲噩 賵賮乇囟賴 丕賱賲卮賴丿 丕賱丕賮鬲鬲丕丨賷 毓賱賶 丕賱賲禺乇噩貙 亘毓賷丿丕賸 毓賳 丕賱賮賷賱賲 丕賱乇賵丕賷丞 乇丕卅毓丞 賵鬲囟毓 丕賱賯丕乇卅 賮賷 丨丕賱丞 賳賮爻賷丞 賲賳 丕賱鬲乇賯亘 賵賲丨丕賵賱丞 丕賱賮賴賲貙 亘胤賱 丕賱乇賵丕賷丞 賰丕鬲亘 賲爻乇丨賷 鬲夭賵噩 丕賲乇兀丞 噩賲賷賱丞貙 孬賲 賯乇乇 丕賱鬲賵噩賴 賱賱毓賲賱 賮賷 賰鬲丕亘丞 丕賱爻賷賳丕乇賷賵 賱賷爻鬲胤賷毓 鬲賵賮賷乇 賲賳夭賱 賵爻賷丕乇丞 賱夭賵噩鬲賴貙 賵賱賰賳 賴匕賴 丕賱鬲囟丨賷丕鬲 賵賴匕丕 丕賱囟睾胤 丕賱賳賮爻賷 丕賱匕賷 賷鬲毓乇囟 賱賴 亘爻亘亘 賯賷丕賲賴 亘毓賲賱 賱丕 賷丨亘賴貙 賷賯丕亘賱 亘亘乇賵丿 賵睾賷丕亘 賱賲卮丕毓乇 丕賱丨亘 賲賳 夭賵噩鬲賴貙 賯亘賱 兀賳 鬲毓賱賳 亘氐乇丕丨丞 丕丨鬲賯丕乇賴丕 賱夭賵噩賴丕貙 賲丕 丕賱匕賷 丨丿孬責 賲賳 兀賷賳 噩丕亍鬲 賲卮丕毓乇 丕賱丕丨鬲賯丕乇 賴匕賴責 賷丨丕賵賱 丕賱亘胤賱 丕賰鬲卮丕賮 匕賱賰 賲賳 禺賱丕賱 賲乇丕噩毓丞 賲賵丕賯賮 鬲毓乇囟丕 賱賴丕貙 賮賷 匕丕鬲 丕賱賵賯鬲 丕賱匕賷 賷毓乇囟 毓賱賷賴 丕賱毓賲賱 毓賱賶 賮賷賱賲 噩丿賷丿 賲爻鬲賵丨賶 賲賳 丕賱兀賵丿賷爻丞貙 賷毓賲賱 丕賱亘胤賱 賲毓 賲禺乇噩 兀賱賲丕賳賷 賵鬲鬲丕丨 賱賴賲丕 丨賵丕乇丕鬲 鬲賲賰賳賴 賲賳 賲賯丕乇賳丞 賳賮爻賴 亘賷賵賱賷爻爻 賵毓賱丕賯鬲賴 亘夭賵噩鬲賴 亘賷賳賷賱賵亘賷貙 賰賲丕 賷丨丕賵賱 賰爻乇 賴匕丕 丕賱丕丨鬲賯丕乇 亘丕賱鬲氐乇賮 賰賲丕 鬲氐乇賮 賷賵賱賷爻爻貙 賮赖賱 賷賳噩丨 賮賷 匕賱賰責 赖賱 賷爻鬲毓賷丿 賯賱亘 夭賵噩鬲賴責 兀賲 賷賯囟賷 賴匕丕 丕賱丕丨鬲賯丕乇 毓賱賷賴賲丕責
March 17, 2008
This is my third Moravia and damn if he hasn't become one of my favorites now!
This is the anti-Homeric tale of the anti-Ulysses. The backdrop is a writer who takes on the dubious task of writing a script adaptation of Ulysses. Told in the first person by this screenwriter who clearly sees himself as an intellectual (referencing not only Homer but Dante and Joyce as well - woo hoo!) and sees himself as a man with integrity (no sea monsters in his script!) and yet he has a complete and utter lack of self-awareness. He believes his wife has fallen out of love with him and in his analysis of all the minutiae in his life he still fails to see THE POINT! And inevitably and immediately he creates a self-fulfilling prophecy of destruction and gloom for all of those around him. If Thomas Bernhard hadn't already written a book called "The Loser" I would suggest that it would make for an excellent alternate title for this particular book.
This is the anti-Homeric tale of the anti-Ulysses. The backdrop is a writer who takes on the dubious task of writing a script adaptation of Ulysses. Told in the first person by this screenwriter who clearly sees himself as an intellectual (referencing not only Homer but Dante and Joyce as well - woo hoo!) and sees himself as a man with integrity (no sea monsters in his script!) and yet he has a complete and utter lack of self-awareness. He believes his wife has fallen out of love with him and in his analysis of all the minutiae in his life he still fails to see THE POINT! And inevitably and immediately he creates a self-fulfilling prophecy of destruction and gloom for all of those around him. If Thomas Bernhard hadn't already written a book called "The Loser" I would suggest that it would make for an excellent alternate title for this particular book.
June 21, 2009
I鈥檓 not even sure the author gets what is going on in this narrative. I鈥檝e seen the movie and then read the book. The movie鈥檚 distance really captures what is going on, the comment on consumer society: as merely because you own something doesn鈥檛 mean you鈥檒l ever possess it, let alone understand it.
That being: Beauty. That鈥檚 what in this book everyone is trying to possess and understand. The woman possesses beauty but doesn鈥檛 own it. The writer understands it but doesn鈥檛 own or possess it. And the producer owns it but doesn鈥檛 understand or possess it.
All of them fail to understand the nature of Beauty. If you understand it you understand it can't be owned or possessed. It's a time, like a wave one night cresting that you see for the first time on the beach that you鈥檝e walked on for years and the moon shows you a light on the water mixed with feeling of sand in your toes that only lasts a heartbeat, and a second breath. That鈥檚 what they hold in contempt, seemingly. Beauty. But they do so because they don鈥檛 understand its nature, and thus it becomes destructive, something to be wary of, even not want, or even sadly鈥� hold in contempt.
That being: Beauty. That鈥檚 what in this book everyone is trying to possess and understand. The woman possesses beauty but doesn鈥檛 own it. The writer understands it but doesn鈥檛 own or possess it. And the producer owns it but doesn鈥檛 understand or possess it.
All of them fail to understand the nature of Beauty. If you understand it you understand it can't be owned or possessed. It's a time, like a wave one night cresting that you see for the first time on the beach that you鈥檝e walked on for years and the moon shows you a light on the water mixed with feeling of sand in your toes that only lasts a heartbeat, and a second breath. That鈥檚 what they hold in contempt, seemingly. Beauty. But they do so because they don鈥檛 understand its nature, and thus it becomes destructive, something to be wary of, even not want, or even sadly鈥� hold in contempt.
November 27, 2007
One of the greats among the greats. "Contempt" is a story about a screenwriter who loses his beautiful wife to his producer. Slowly the reader can see what's happening, and you just want to yell out at the page 'hey stupid, you are going to lose your beautiful wife to that awful man the producer!"
But alas it's too late. And here lies a story about a man who is blinded by his indifference to the world. A very romantic story of sorts that is not romantic.
A litle side note:
Jean-Luc Godard made this into an incredible film with Brigitte Bardot and Jack Palance. One of my all-time favorite films and book. One day on the bus I saw this beautiful girl reading not only "Contempt" but even better - a movie tie in mass market version of this novel. Vintage 1965. With Bardot on the cover, plus Godard's name as big as the author's (Alberto Moravia) name on the cover!
I was biting my lip till it bleed not to talk to this young beauty. Luckily she got off the bus. A week later I see her with another book: Andrew Loog Oldham's "Stoned." That is another favorite book of mine! And like "Contempt" very rare!
Now a normal person would think "oh we share the same taste in rare books." But instead I became totally paranoid thinking she was trying to trap me. She even smiled at me once our eyes met. I looked away! And I never saw her again. If you pretty girl are on goodreads, look me up.
But alas it's too late. And here lies a story about a man who is blinded by his indifference to the world. A very romantic story of sorts that is not romantic.
A litle side note:
Jean-Luc Godard made this into an incredible film with Brigitte Bardot and Jack Palance. One of my all-time favorite films and book. One day on the bus I saw this beautiful girl reading not only "Contempt" but even better - a movie tie in mass market version of this novel. Vintage 1965. With Bardot on the cover, plus Godard's name as big as the author's (Alberto Moravia) name on the cover!
I was biting my lip till it bleed not to talk to this young beauty. Luckily she got off the bus. A week later I see her with another book: Andrew Loog Oldham's "Stoned." That is another favorite book of mine! And like "Contempt" very rare!
Now a normal person would think "oh we share the same taste in rare books." But instead I became totally paranoid thinking she was trying to trap me. She even smiled at me once our eyes met. I looked away! And I never saw her again. If you pretty girl are on goodreads, look me up.
July 11, 2015
乇賵丕賷丞 爻丕賷賰賵賱賵噩賷丞 乇丕卅毓丞 貙 兀亘丿毓 賮賷賴丕 丕賱賰丕鬲亘 亘丿乇丕爻丞 賵鬲卮禺賷氐 禺賵丕胤乇 丕賱賳賮爻 丕賱亘卮乇賷丞 賱賯氐丞 鬲亘丿賵 賱賵赖賱丞 兀賳賴丕 賳丕丿乇丞 噩丿丕
丕賱禺丕胤乇丞 丕賱鬲賷 乇丕賵丿鬲 乇賷鬲卮丕乇丿 :
"廿賳 丕賱禺丕丿賲 賷爻鬲胤賷毓 兀賳 賷賮毓賱 賰賱 卮賷亍 貙 亘丕爻鬲孬賳丕亍 毓氐賷丕賳 賲毓賱賲賴 貙賵廿賳 丕賱丿賴丕亍 賵丕賱鬲亘噩賷賱 丕賱賱匕賷賳 賷丨丕賵賱 亘賴賲丕 兀賳 賷鬲噩賳亘 毓氐賷丕賳 爻賷丿賴 貙賴賲丕 兀卮丿 廿匕賱丕賱丕 賲賳 丕賱胤丕毓丞 丕賱賰丕賲賱丞."
賱禺氐鬲 賲睾夭賶 丕賱賯氐丞 毓賳丿賷 賮賯丿 賰丕賳 丕賱爻賷丿 丕賱賲爻鬲亘丿 賮賷 丕賱乇賵丕賷丞 賴賵 丨亘賴 賱夭賵噩鬲賴 .
亘丿丕 丕賱賰丕鬲亘 賲丨鬲丕乇丕 賮賷 賰賷賮賷丞 廿賳賴丕亍 賯囟賷丞 賳賮爻賷丞 賲賳 賴匕丕 丕賱賳賵毓 賮賯乇乇 廿賳賴丕亍賴丕 賰賷賮賲丕 丕鬲賮賯 ..
鬲乇丕賵丨鬲 丕賱賳賴丕賷丞 亘賷賳 賵賴賲 毓賵丿丞 丕賱夭賵噩丞 賵 丕賱丨賷丕丞 丕賱胤亘賷毓賷丞 貙 賵亘賷賳 睾賷丕亘賴丕 丕賱兀亘丿賷 毓賱賶 賳丨賵 丿乇丕賲賷 賲賮丕噩卅 貙 賲丕 兀賵丨賶 亘兀賳 賴賳賰 卮賷亍 賲賳 丕賱鬲乇丿丿 賷爻賰賳 賴匕賴 丕賱賳賴丕賷丞 丕賱賲夭丿賵噩丞 .
兀毓鬲賯丿 兀賳 丕賱乇賵丕賷丕鬲 丕賱鬲賷 賷賰賮賳賴丕 丕賱賲賵鬲 鬲毓胤賷 噩賵丕亘丕 賲乇賷丨丕 賱兀賰孬乇 丕賱賯氐氐 鬲毓賯賷丿丕 貙 噩賵丕亘 賱丕 鬲賲賳 亘賴 丕賱丨賷丕丞 毓賱賷賳丕 廿賱丕 賳丕丿乇丕 兀賵 兀亘丿丕 ..
丕賱賲賵鬲 丕賱賴丕丿卅 賴賵 賳賴丕賷丞 鬲丨鬲賰乇賴丕 丕賱乇賵丕賷丕鬲 丕賱丨丕賱賲丞 賮賯胤 ..
賵賴匕丕 賲丕 兀賮賯丿 丕賱乇賵丕丕賷丞 賳噩賲鬲賴丕 丕賱禺丕賲爻丞 !
丕賱禺丕胤乇丞 丕賱鬲賷 乇丕賵丿鬲 乇賷鬲卮丕乇丿 :
"廿賳 丕賱禺丕丿賲 賷爻鬲胤賷毓 兀賳 賷賮毓賱 賰賱 卮賷亍 貙 亘丕爻鬲孬賳丕亍 毓氐賷丕賳 賲毓賱賲賴 貙賵廿賳 丕賱丿賴丕亍 賵丕賱鬲亘噩賷賱 丕賱賱匕賷賳 賷丨丕賵賱 亘賴賲丕 兀賳 賷鬲噩賳亘 毓氐賷丕賳 爻賷丿賴 貙賴賲丕 兀卮丿 廿匕賱丕賱丕 賲賳 丕賱胤丕毓丞 丕賱賰丕賲賱丞."
賱禺氐鬲 賲睾夭賶 丕賱賯氐丞 毓賳丿賷 賮賯丿 賰丕賳 丕賱爻賷丿 丕賱賲爻鬲亘丿 賮賷 丕賱乇賵丕賷丞 賴賵 丨亘賴 賱夭賵噩鬲賴 .
亘丿丕 丕賱賰丕鬲亘 賲丨鬲丕乇丕 賮賷 賰賷賮賷丞 廿賳賴丕亍 賯囟賷丞 賳賮爻賷丞 賲賳 賴匕丕 丕賱賳賵毓 賮賯乇乇 廿賳賴丕亍賴丕 賰賷賮賲丕 丕鬲賮賯 ..
鬲乇丕賵丨鬲 丕賱賳賴丕賷丞 亘賷賳 賵賴賲 毓賵丿丞 丕賱夭賵噩丞 賵 丕賱丨賷丕丞 丕賱胤亘賷毓賷丞 貙 賵亘賷賳 睾賷丕亘賴丕 丕賱兀亘丿賷 毓賱賶 賳丨賵 丿乇丕賲賷 賲賮丕噩卅 貙 賲丕 兀賵丨賶 亘兀賳 賴賳賰 卮賷亍 賲賳 丕賱鬲乇丿丿 賷爻賰賳 賴匕賴 丕賱賳賴丕賷丞 丕賱賲夭丿賵噩丞 .
兀毓鬲賯丿 兀賳 丕賱乇賵丕賷丕鬲 丕賱鬲賷 賷賰賮賳賴丕 丕賱賲賵鬲 鬲毓胤賷 噩賵丕亘丕 賲乇賷丨丕 賱兀賰孬乇 丕賱賯氐氐 鬲毓賯賷丿丕 貙 噩賵丕亘 賱丕 鬲賲賳 亘賴 丕賱丨賷丕丞 毓賱賷賳丕 廿賱丕 賳丕丿乇丕 兀賵 兀亘丿丕 ..
丕賱賲賵鬲 丕賱賴丕丿卅 賴賵 賳賴丕賷丞 鬲丨鬲賰乇賴丕 丕賱乇賵丕賷丕鬲 丕賱丨丕賱賲丞 賮賯胤 ..
賵賴匕丕 賲丕 兀賮賯丿 丕賱乇賵丕丕賷丞 賳噩賲鬲賴丕 丕賱禺丕賲爻丞 !
September 29, 2020
Vorrei descrivere la qualit脿 intima di questo silenzio perch茅 fu quella sera che esso si stabil矛 per la prima volta tra noi, per non abbandonarci mai pi霉. Dunque era un silenzio insopportabile perch茅 perfettamente negativo, fatto della soppressione di tutte le cose che avrei voluto dire e che mi sentivo incapace di dire.
Potrei ovviamente sbagliarmi, ma mi sono fatto l鈥檌dea che, in proporzione alla fama, Moravia sia oggi uno tra gli autori meno letti. Forse 猫 un po鈥� fuori moda.
Il Disprezzo 猫 un libro che mette a fuoco questioni ampie: identit脿, relazioni, malessere. Che esplora la sensibilit脿 umana ed evoca la fragilit脿 e l鈥檌nquietudine a cui pu貌 portare l鈥檃more. Inquadra il dramma interiore dell鈥檜omo moderno, fatto di ostilit脿 e impotenza.
Fa pensare a Houellebecq. Godard ci ha fatto un film.
Notevole. [77/100]
Potrei ovviamente sbagliarmi, ma mi sono fatto l鈥檌dea che, in proporzione alla fama, Moravia sia oggi uno tra gli autori meno letti. Forse 猫 un po鈥� fuori moda.
Il Disprezzo 猫 un libro che mette a fuoco questioni ampie: identit脿, relazioni, malessere. Che esplora la sensibilit脿 umana ed evoca la fragilit脿 e l鈥檌nquietudine a cui pu貌 portare l鈥檃more. Inquadra il dramma interiore dell鈥檜omo moderno, fatto di ostilit脿 e impotenza.
Fa pensare a Houellebecq. Godard ci ha fatto un film.
Notevole. [77/100]
January 9, 2020
Contempt by Roberto Moravia
During the first two years of our married life my relations with my wife were, I can now assert, perfect. By which I mean to say that, in those two years, a complete, profound harmony of the senses was accompanied by a kind of numbness鈥攐r should I say silence?鈥攐f the mind which, in such circumstances, causes an entire suspension of judgment and looks only to love for any estimate of the beloved person. Emilia, in fact, seemed to me wholly without defects, and so also, I believe, I appeared to her. Or perhaps I saw her defects and she saw mine, but, through some mysterious transformation produced by the feeling of love, such defects appeared to us both not merely forgivable but even lovable, as though instead of defects they had been positive qualities, if of a rather special kind. Anyhow, we did not judge: we loved each other. This story sets out to relate how, while I continued to love her and not to judge her, Emilia, on the other hand, discovered, or thought she discovered, certain defects in me, and judged me and in consequence ceased to love me.
Contempt was written in 1954 by the Italian Roberto Moravia. It is a short novel at 250 pages. It caught my attention as one of Le Monde鈥檚 100 books of the 20th century.
*** Mild Spoiler ***
In Contempt we follow our protagonist, Riccardo. There are only three substantial characters and we are shown the story completely from Ricardo鈥檚 point of view. We see his fragile ego and how his outlook spirals downward as the story progresses. His problems are purely marital ones. Emilia, his wife, comes to despise Riccardo. Most of the book moves along these lines. What struck me is how plausible the story seems and in spite of everything why they remain married.
Riccardo is a screenwriter working on a script for a modern adaptation of Ulysses. Bautista is the director of the project and he needs Ricardo at an on-location setting, a beautiful town on the Mediterranean. While discussing the script, Bautista gets frustrated that Riccardo is projecting his own problems and turning Ulysses鈥� story into one about marriage. Emilia has also come on the trip with Riccardo although they are barely speaking at this point.
The kicker is that Riccardo soon finds out that Bautista and Emilia are intent on committing adultery. This sets him into a fury and he quits the project. His subsequent responses and especially the ending are realistic but not what I expected.
*** End of mild spoiler ***
A tale as old as time 鈥� marital dissatisfaction 鈥� told entirely from one character鈥檚 point of view. The story reminded me a little of Revolutionary Road. The imagery of the Italian locations in the story were also memorable.
While this novel is recognized as a literary classic there is definitely a je ne sais quoi to it that both pleased and perplexed me.
5 stars
During the first two years of our married life my relations with my wife were, I can now assert, perfect. By which I mean to say that, in those two years, a complete, profound harmony of the senses was accompanied by a kind of numbness鈥攐r should I say silence?鈥攐f the mind which, in such circumstances, causes an entire suspension of judgment and looks only to love for any estimate of the beloved person. Emilia, in fact, seemed to me wholly without defects, and so also, I believe, I appeared to her. Or perhaps I saw her defects and she saw mine, but, through some mysterious transformation produced by the feeling of love, such defects appeared to us both not merely forgivable but even lovable, as though instead of defects they had been positive qualities, if of a rather special kind. Anyhow, we did not judge: we loved each other. This story sets out to relate how, while I continued to love her and not to judge her, Emilia, on the other hand, discovered, or thought she discovered, certain defects in me, and judged me and in consequence ceased to love me.
Contempt was written in 1954 by the Italian Roberto Moravia. It is a short novel at 250 pages. It caught my attention as one of Le Monde鈥檚 100 books of the 20th century.
*** Mild Spoiler ***
In Contempt we follow our protagonist, Riccardo. There are only three substantial characters and we are shown the story completely from Ricardo鈥檚 point of view. We see his fragile ego and how his outlook spirals downward as the story progresses. His problems are purely marital ones. Emilia, his wife, comes to despise Riccardo. Most of the book moves along these lines. What struck me is how plausible the story seems and in spite of everything why they remain married.
Riccardo is a screenwriter working on a script for a modern adaptation of Ulysses. Bautista is the director of the project and he needs Ricardo at an on-location setting, a beautiful town on the Mediterranean. While discussing the script, Bautista gets frustrated that Riccardo is projecting his own problems and turning Ulysses鈥� story into one about marriage. Emilia has also come on the trip with Riccardo although they are barely speaking at this point.
The kicker is that Riccardo soon finds out that Bautista and Emilia are intent on committing adultery. This sets him into a fury and he quits the project. His subsequent responses and especially the ending are realistic but not what I expected.
*** End of mild spoiler ***
A tale as old as time 鈥� marital dissatisfaction 鈥� told entirely from one character鈥檚 point of view. The story reminded me a little of Revolutionary Road. The imagery of the Italian locations in the story were also memorable.
While this novel is recognized as a literary classic there is definitely a je ne sais quoi to it that both pleased and perplexed me.
5 stars
October 28, 2020
I just couldn't stop reading.
September 14, 2011
It doesn't happen often that I catch myself yelling aloud at the characters in a book. Some people scream at TVs (you know who you are), whereas I, when thoroughly provoked by a character, will go beyond the eyes-to-the-sky, heavy sighing, rapid paper cut inducing turning of pages and just let loose on a narrator. And If an author has me so engaged that I'm picking fights with paper? Well, then they've done their job.
4th page, second paragraph in and I'm already getting tight. Wait a minute鈥hat??? I go back and read from the beginning. That's what I thought. This guy is talking in circles and either takes me for an idiot or else he truly believes in what he's saying and is therefore delusional. Doesn't matter because I'm hooked-- a totally unreliable character who bends the truth like a worn out Gumby doll is my absolute favorite.
Poor Riccardo. Literary genius that he is (all you have to do is look at him) --
"I saw myself as a young man whose thinness, short sight, nervousness, pallor and carelessness in dress all bore witness, in anticipation, of the literary glory for which I was destined."
-- forced to forgo his true calling as "鈥 man of culture, a writer for the theater--the 'art' theater.." and instead, accept work as a menial scriptwriter in order to please his wife's insatiable need for more money and higher living standards. Selfless martyr.
But is she happy? NO!!! Emilia is NEVER happy despite all that he does. Obviously, she doesn't love him anymore, thinks lowly of his profession and in all probability, has taken on a lover. But is any of this true? Why of course it is and in 251 pages of the most mind spinning prose, Riccardo Molteni sets out to prove it to you.
4th page, second paragraph in and I'm already getting tight. Wait a minute鈥hat??? I go back and read from the beginning. That's what I thought. This guy is talking in circles and either takes me for an idiot or else he truly believes in what he's saying and is therefore delusional. Doesn't matter because I'm hooked-- a totally unreliable character who bends the truth like a worn out Gumby doll is my absolute favorite.
Poor Riccardo. Literary genius that he is (all you have to do is look at him) --
"I saw myself as a young man whose thinness, short sight, nervousness, pallor and carelessness in dress all bore witness, in anticipation, of the literary glory for which I was destined."
-- forced to forgo his true calling as "鈥 man of culture, a writer for the theater--the 'art' theater.." and instead, accept work as a menial scriptwriter in order to please his wife's insatiable need for more money and higher living standards. Selfless martyr.
But is she happy? NO!!! Emilia is NEVER happy despite all that he does. Obviously, she doesn't love him anymore, thinks lowly of his profession and in all probability, has taken on a lover. But is any of this true? Why of course it is and in 251 pages of the most mind spinning prose, Riccardo Molteni sets out to prove it to you.
January 9, 2016
This book was agonizingly good. Read it if you want to witness (and perhaps relive) the rather rapid disintegration of a long-term relationship, step by torturous step. Each niggling doubt, each pang of hurt and betrayal, each willful choice to ignore one's intuition and instead select a creative interpretation of the incontrovertible facts. How does love turn into contempt? After the fact, it is usually too difficult (as well as painful and potentially self-incriminating) to let ourselves remember. As it is easier to simply weep, we are thus left with a blur of memories that we'd just as soon forget. This book reminds us of the process. Although it was often very painful and sad to read, there was something immensely helpful on a personal level in being able to follow so astutely the descent of a relationship. The psychology is excruciatingly spot-on. The sentences were complex and convoluted, and the word choices were always meticulous. I am very impressed by Moravia, and I look forward to reading much more of him.
May 8, 2019
Moravia has quietly (over several years) became one of my favorite authors to read. The way he forms sentences makes it a pleasure not only to read, but to think about while reading. The introspection within is a treasure, but the main act is the dialogue, which frankly plays more of a minor role, but hits hard.
This is best read at one sitting (if you have the time) or in two sittings, if possible. With this, break the continuity as little as possible. Think while you read and don't ponder it between sessions. It is a joy, indeed.
This is best read at one sitting (if you have the time) or in two sittings, if possible. With this, break the continuity as little as possible. Think while you read and don't ponder it between sessions. It is a joy, indeed.
May 2, 2017
Riccardo and Emilia are happily married for two years in post-war Rome. While Riccardo, the intelligent and likeable, though slightly narcissistic and delusional narrator, works as a journalist writing film critics to make a living, his dream is to become a serious writer and novelist. His beautiful wife Emilia, coming from an impoverished family, dreams on the other hand of living in their own house and of creating a comfortable nest for them, something much better than the rented room in which the financially struggling couple lives. When Riccardo is offered work as a screenwriter by the film producer Battista, he decides to accept this work despite serious reservations. He considers this kind of work as a waste of time and talent, but since it is comparatively well paid, he can fulfil his wife鈥檚 dream and buy a small flat; at a later stage, also a car, another sign of his growing success in the eyes of society. But on his way upward in the social hierarchy, something happens to the relationship between Emilia and Riccardo: Emilia becomes reserved and grows cold toward her husband, love turns into indifference and even into hatred and contempt. Contempt is also the title of the novel by Alberto Moravia that I am reviewing here.
Moravia has been praised for his elegant prose, and I can see why, even when I read the book in German translation. The prose is flowing effortlessly, the dialogues of the tormented Riccardo who wants to find out the reason for the growing estrangement between him and his wife, and Emilia sound very real and convincing. Another thing I admire especially in this book is his talent to keep the reader鈥檚 interest in a seemingly rather trivial story of alienation between husband and wife by adding some other interesting aspects.
One of the issues that play a major role in the novel, is the relationship between success and money, and the real needs and wishes of people; the characters are forced to do things that are in contrast with what they really want in order to make a living, or to satisfy the (vain) dreams of their partners, or to be perceived as successful and dynamic in a capitalist society. That鈥檚 not only true for Riccardo and Emilia, but also for the other two major characters of the novel, Battista and Rheingold, a German film director who is commissioned by Battista to make a monumental movie adaptation of The Odyssey. (In Jean-Luc Godard鈥檚 film based on the novel, this character is played by Fritz Lang!)
Battista and Rheingold have strongly opposing approaches to the movie and Homer鈥檚 epic. While Battista wants to produce a monumental adventure movie, Rheingold on the other hand is only interested in the psychological conflict that he sees as the reason for Odysseus (Ulysses) participation in the War of Troy, and his delayed return to Penelope. According to his Freudian reading, Odysseus participates in the war because he wants to escape an unhappy relationship: he feels not loved by his wife. For the same reason, it takes him many years to come home. While Riccardo rejects Rheingold鈥檚 in his eyes simplistic psychoanalytic approach to Homer鈥檚 work, he understands reluctantly that what Rheingold says for the relationship between Odysseus and Penelope is like a mirror regarding his own and Emilia鈥檚 relationship and the reason for the obvious alienation between the partners may be a very similar one.
While Moravia is showing us a rather bleak picture of the modern Western world, where money, success, and sex serve as substitutes for a more meaningful existence, his reference to Homer seems to say that it has in principle been always like this. Emilio鈥檚 (and Moravia鈥檚) membership in the Communist Party may be more inspired by a vague Utopian hope of a better future than by a real wish for a social revolution or dictatorship of the proletariat. In the meantime, it is best to acknowledge the mechanisms of the inherent contradictions of capitalist society. If Riccardo would have had more time to resolve the basic conflict and predicament of his life with Emilia, it would have been best to divorce and focus his future life on what he really aspires to be, a novelist and serious author. A sudden blow of fate spares him from actively taking this decision on his own.
Moravia knew the film business well; he worked also as a script writer and met probably people very similar as those described in his novel. Contempt describes an at that time thriving film industry in Italy as he experienced it, and the picture he is painting is not a particularly flattering one. Moravia had also a house on Capri similar as the one owned by Battista in the novel, where the final crisis takes place (the Godard movie was shot partly at the Casa Malaparte, another rather famous villa on Capri). And it is also known that at the time he published Contempt, his own marriage with novelist Elsa Morante was in a crisis that ended in divorce a few years later. So, while the novel is not a strictly autobiographic one, Moravia knew about what he was writing and was able to transform this into a rather short, fascinating novel. While some other so-called 鈥渆xistentialist鈥� novels have not aged very well, Contempt was a surprisingly fresh book to me, and I guess I will soon read more by this author.
A word about the movie Le M茅pris by Godard, which I have mentioned above: overall a good movie in my opinion, and the fact that Godard made a few major changes compared to the novel doesn鈥檛 distract from the quality of the film. The setting, particularly the scenes at the Casa Malaparte, is next to perfect for this movie. However, I had the impression that Brigitte Bardot and Jack Palance were not really the right choices for two of the major roles (while Michel Piccoli is brilliant); therefore, it is for me a good movie, but not the masterpiece it could have been with a more adequate cast of characters.
Contempt was also published in English as A Ghost at Noon.
April 16, 2025
not even joking when i say this book cured my anxious attachment style more than years of therapy
January 17, 2021
Mesmerizing! It was my second Moravia and it went well beyond my expectations. The picturesque Neapolitan setting contrasts marvelously with Moravia's depressing study of unrequited love and an unhappy marriage. Whether it be the world of cinema or Homer's Odyssey, all those themes fit perfectly with the main plot. I came to identify in some ways with the narrator, Riccardo Molteni - the cerebral type, who always looks on the bright side. To be read any day and imagine yourself facing the sea on top of a cliff in Capri... There is a superb finale (see the "Faraglioni" below). I can't wait to watch the Godard movie. It was bound to be on-screen.
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