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螣 谓维谓慰蟼
芦螆蠂蠅 蠉蠄慰蟼 蔚尉萎谓蟿伪 苇尉喂 蔚魏伪蟿慰蟽蟿维, 蟽蠋渭伪 蟽蠀渭渭蔚蟿蟻喂魏蠈, 蟿伪 渭伪位位喂维 渭慰蠀 蔚委谓伪喂 魏蠈魏魏喂谓伪 魏伪喂 蟽魏位畏蟻维, 蟿伪 蠁蟻蠉未喂伪 渭慰蠀 蟽渭委纬慰蠀谓路 蟿慰 蟺蟻蠈蟽蠅蟺蠈 渭慰蠀 蔚委谓伪喂 伪纬苇谓蔚喂慰 伪位位维 魏伪蟿维 蟿鈥� 维位位伪 蟽伪谓 蟿蠅谓 维位位蠅谓 伪谓胃蟻蠋蟺蠅谓. 螖蔚谓 蔚委渭伪喂 纬蔚位蠅蟿慰蟺慰喂蠈蟼. 螘纬蠋 蔚委渭伪喂 苇谓伪蟼 谓维谓慰蟼 魏伪喂 渭蠈谓慰 谓维谓慰蟼路 伪位位维 苇蠂蠅 蠁伪蟻渭伪魏蔚蟻萎 纬位蠋蟽蟽伪 蟺慰蠀 渭蟺慰蟻蔚委 蟺蠈蟿蔚 蟺蠈蟿蔚 谓伪 蟺蟻慰蟽蠁苇蟻蔚喂 蟿苇蟻蠄畏 蟽蟿慰蠀蟼 纬蠉蟻蠅. 螒蠀蟿蠈 未蔚 蟽畏渭伪委谓蔚喂 蠈蟿喂 蔚委渭伪喂 魏伪喂 纬蔚位蠅蟿慰蟺慰喂蠈蟼 蟿慰蠀蟼. 韦鈥� 伪蠁蔚谓蟿喂魏维 渭慰蠀, 喂未委蠅蟼 慰 螤蟻委纬魏喂蟺伪蟼, 渭慰蠀 蠁苇蟻慰谓蟿伪喂 蟺慰位蠉 魏伪位维. 螝喂 蔚纬蠋 蟿慰蠀蟼 蠀蟺畏蟻蔚蟿蠋 蠈蟽慰 渭蟺慰蟻蠋 魏伪位蠉蟿蔚蟻伪. 螁位位蠅蟽蟿蔚, 渭蠈谓慰 蔚纬蠋 尉苇蟻蠅 蠈位伪 蟿伪 渭蠀蟽蟿喂魏维 蟿慰蠀蟼. 螆蠂蠅 蟺维蔚喂 魏伪喂 蟽蟿慰谓 蟺蠈位蔚渭慰. 螆蠂蠅 魏喂 蔚纬蠋 渭蟺萎尉蔚喂 蟿慰 蟽蟺伪胃委 渭慰蠀 蟽蟿畏 蟽维蟻魏伪 蟿慰蠀 蔚蠂胃蟻慰蠉. 螒位位维 慰 蟺蠈位蔚渭慰蟼 未蔚 渭鈥� 蔚谓蟿蠀蟺蠅蟽喂维味蔚喂. 螤蟻慰蟿喂渭蠋 蟿畏 味蠅萎 蔚未蠋 蟽蟿畏谓 螒蠀位萎: 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 未慰位慰蠁慰谓委蔚蟼, 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 未慰位慰蟺位慰魏委蔚蟼, 蟺喂慰 苇尉蠀蟺谓慰喂 维谓胃蟻蠅蟺慰喂...禄
韦慰 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰 苇蟻纬慰 蟿慰蠀 螤蔚蟻 螞维纬魏蔚蟻魏尾喂蟽蟿 蟺蔚蟻喂魏位蔚委蔚喂 蠈位畏 蟿畏 渭慰谓伪尉喂维, 蟿畏谓 伪纬蟻喂蠈蟿畏蟿伪, 蟿畏谓 伪谓蔚位苇畏蟿畏 伪蟺伪谓胃蟻蠅蟺喂维 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 未蠋蟽蔚喂 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪.
韦慰 蟽畏渭伪谓蟿喂魏蠈蟿蔚蟻慰 苇蟻纬慰 蟿慰蠀 螤蔚蟻 螞维纬魏蔚蟻魏尾喂蟽蟿 蟺蔚蟻喂魏位蔚委蔚喂 蠈位畏 蟿畏 渭慰谓伪尉喂维, 蟿畏谓 伪纬蟻喂蠈蟿畏蟿伪, 蟿畏谓 伪谓蔚位苇畏蟿畏 伪蟺伪谓胃蟻蠅蟺喂维 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 未蠋蟽蔚喂 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪.
160 pages, Hardcover
First published January 1, 1944
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About the author
P盲r Lagerkvist
172听books310听followersLagerkvist was born in 1891 in southern Sweden. In 1910 he went to Uppsala as a student and in 1913 he left for Paris, where he was exposed to the work of Pablo Picasso. He studied Middle Age Art, as well as Indian and Chinese literature, to prepare himself for becoming a poet. His first collection of poetry was published in 1916. In 1940 Lagerkvist was chosen as one of the "aderton" (the eighteen) of the Swedish Academy.
Lagerkvist wrote poetry, novels, plays, short stories and essays. He was awarded the Nobel Prize in Literature in 1951 "for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind."
Lagerkvist wrote poetry, novels, plays, short stories and essays. He was awarded the Nobel Prize in Literature in 1951 "for the artistic vigour and true independence of mind with which he endeavours in his poetry to find answers to the eternal questions confronting mankind."
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April 13, 2017
螒谓蠋谓蠀渭蔚 螤蟻委纬魏喂蟺伪- 谓维谓蔚 位蠀蟺维渭伪喂 蔚喂位喂魏蟻喂谓维 蟺慰蠀 伪谓萎魏蔚喂蟼 蟽蔚 伪蠀蟿萎 蟿畏 未喂伪魏蔚魏伪蠀渭苇谓畏 味蠋谓畏 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼 畏 慰蟺慰委伪 未蔚谓 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 渭慰蠀 蔚纬蔚委蟻蔚喂 魏伪谓苇谓伪 蟽蠀谓伪委蟽胃畏渭伪,魏伪谓苇谓伪 蟺蟻慰尾位畏渭伪蟿喂蟽渭蠈,魏伪谓苇谓伪 蔚谓未喂伪蠁苇蟻慰谓. 螠慰蠀 谓苇魏蟻蠅蟽蔚蟼 魏伪喂 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 喂魏渭维未伪 蔚位蟺委未伪蟼 纬喂伪 渭喂伪 蠀蟺伪蟻尉喂伪魏萎 伪谓伪味萎蟿畏蟽畏 蟽蟿慰 蔚蠀蟻蠉蟿蔚蟻慰 伪谓胃蟻蠋蟺喂谓慰 蟺蔚未委慰.
螖喂伪尾维味慰谓蟿伪蟼 蟿慰 畏渭蔚蟻慰位蠈纬喂慰 蟽慰蠀,蟿慰 慰蟺慰委慰 渭维位位慰谓 蠁喂位慰未慰尉慰蠉蟽蔚 谓伪 伪谓伪渭蔚蟿蟻畏胃蔚委 渭蔚 蟿畏 谓蠉蠂蟿伪 蟿慰蠀 蠄蠀蠂喂蟽渭慰蠉,魏伪蟿苇蟻蟻蔚蠀蟽蔚 魏伪喂 伪魏蠀蟻蠋胃畏魏蔚 魏维胃蔚 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蟻萎纬渭伪,魏维胃蔚 位伪蟿蟻蔚蠀蟿萎 渭慰谓伪未喂魏蠈蟿畏蟿伪 蟺慰蠀 蟽蠀谓萎胃蠅蟼 伪谓蟿喂渭蔚蟿蠅蟺委味蠅 未喂伪尾维味慰谓蟿伪蟼.
螝伪蟿蠈蟻胃蠅蟽蔚蟼 尾苇尾伪喂伪 谓伪 渭慰蠀 蟺蟻慰魏伪位苇蟽蔚喂蟼 魏维蟿喂 蟺慰蠀 蟽蟺维谓喂伪 伪喂蟽胃维谓慰渭伪喂 蠈蟿伪谓 未喂伪尾维味蠅 纬喂伪 蟺位维蟽渭伪蟿伪 胃伪蠀渭维蟽喂伪 萎 蠁蟻喂蠂蟿维 蟿伪 慰蟺慰委伪 魏伪蟿维纬慰谓蟿伪喂 伪蟺慰 蟿慰 渭蠉胃慰. 螝伪蟿苇魏蟿畏蟽蔚蟼 蔚蟺维尉喂伪 蟿畏谓 蟺位萎蟻畏 伪未喂伪蠁慰蟻委伪 渭慰蠀.
螖蔚谓 蟽蔚 伪纬维蟺畏蟽伪, 未蔚谓 蟽蔚 渭委蟽畏蟽伪, 未蔚谓 苇谓喂蠅蟽伪 蟿委蟺慰蟿伪 维位位慰 蟺苇蟻伪 伪蟺慰 蟺位萎蟻畏,蟿苇位蔚喂伪 魏伪喂 蟺伪谓蟿蔚位蠋蟼 蠄蠀蠂蟻萎 伪未喂伪蠁慰蟻委伪.
危蔚 伪蟺伪尉委蠅蟽伪 纬喂伪 蠈位伪 蟿伪 蟺伪蟻蠅蠂畏渭苇谓伪 喂蟽蟿慰蟻喂魏维-魏慰喂谓蠅谓喂魏维-蟺慰位喂蟿喂魏维-蟺慰位蔚渭喂魏维 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 伪蠁畏纬蔚委蟽伪喂 渭蔚 蟺蔚蟻喂蟽蟽萎 魏伪魏委伪 魏伪喂 渭委蟽慰蟼.
螘委蟽伪喂 苇谓伪 伪谓胃蟻蠅蟺慰蔚喂未苇蟼 蟿蔚蟻伪蟿慰蠉蟻纬畏渭伪. 螆谓伪蟼 未喂蠁慰蟻慰蠉渭蔚谓慰蟼 魏伪喂 伪谓伪尉喂蠈蟺喂蟽蟿慰蟼 伪蠁畏纬畏蟿萎蟼 蟺慰蠀 蟽畏魏蠋谓蔚喂 魏蔚蠁维位喂 纬喂伪 谓伪 蠁慰尾委蟽蔚喂,纬喂伪 谓伪 尾纬蔚喂 伪蟺慰 蟿畏谓 伪蠁维谓蔚喂伪,纬喂伪 谓伪 魏伪蟿伪蟽蟿蟻苇蠄蔚喂 蠈,蟿喂 畏 魏慰蟽渭喂魏萎 谓慰渭慰蟿苇位蔚喂伪 苇蠂蔚喂 蠂伪蟻委蟽蔚喂 蟽蟿慰谓 维谓胃蟻蠅蟺慰. 螒蟺慰 蟿慰谓 螆蟻蠅蟿伪 渭苇蠂蟻喂 蟿慰 胃维谓伪蟿慰. 螒蟺苇蟿蠀蠂蔚蟼.
螤蟻慰蟽蟺维胃畏蟽蔚蟼 谓伪 蟿伪蠀蟿喂蟽蟿蔚委蟼 渭蔚 蟿畏谓 伪位位畏纬慰蟻喂魏萎 渭蔚蟿伪蠁慰蟻维 蟿慰蠀 螝伪魏慰蠉 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 魏伪喂 蟺伪蟻伪渭慰谓蔚蠉蔚喂 蟿畏谓 魏伪蟿维位位畏位畏 蟽蟿喂纬渭萎 纬喂伪 谓伪 未蟻维蟽蔚喂 魏伪喂 谓伪 蟿蟻伪蠁蔚委 渭蔚 蟿畏 蟽伪蟺委位伪 蟽蟿慰谓 蔚魏维蟽蟿慰蟿蔚 蠄蠀蠂喂魏蠈 蟽魏慰蠀蟺喂未蠈蟿慰蟺慰.
螣蠉蟿蔚 伪蠀蟿蠈 魏伪蟿维蠁蔚蟻蔚蟼.
螒蟺蠅胃蔚委蟼 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟺慰蠀 蟽蠀谓蔚蠂委味蔚喂 谓伪 蟽蔚 未喂伪尾维味蔚喂 渭苇蠂蟻喂 蟿苇位慰蠀蟼 伪蟺位维 魏伪喂 渭蠈谓慰 蔚蟺蔚喂未萎 畏 蔚蟺委魏位畏蟽畏 纬喂伪 蔚蟺喂尾委蠅蟽畏 蟿慰蠀 螘纬蠋 危慰蠀 蔚委谓伪喂 渭伪谓喂伪魏萎,伪蟻蟻蠅蟽蟿畏渭苇谓畏,
蔚蟽魏蔚渭渭苇谓伪 未喂蟿蟿萎 渭苇蟽伪 伪蟺慰 蟿畏谓 渭慰蠂胃畏蟻委伪 魏伪喂 蠀蟺蔚蟻尾慰位喂魏维 蟺伪胃喂伪蟽渭苇谓畏. 韦蠈蟽慰 蟺慰位蠉 蟺慰蠀 魏伪蟿伪谓蟿维蔚喂 伪未喂维蠁慰蟻畏.
危蔚 魏维蟺慰喂慰 蟺蟻喂纬魏喂蟺维蟿慰 蟿畏蟼 螜蟿伪位委伪蟼 蟿慰蠀 16慰蠀 伪喂蠋谓伪 慰 谓维谓慰蟼 蟿畏蟼 伪位伪味慰谓蔚委伪蟼,蟿畏蟼 蠂伪喂蟻蔚魏伪魏委伪蟼,蟿畏蟼 伪蟺伪谓胃蟻蠅蟺喂维蟼 魏伪喂 蟿慰蠀 魏蠀谓喂魏慰蠉 渭委蟽慰蠀蟼 纬喂伪 蟿伪 蟺维谓蟿伪, 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟺委蟽蠅 蠂蟻慰谓喂魏维,胃苇位慰谓蟿伪蟼 渭伪蟼 慰未畏纬萎蟽蔚喂 蟽蟿慰 渭苇位位慰谓 萎 蟽蟿畏 未喂畏谓蔚魏萎 蔚蟺伪谓维位畏蠄畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏慰蟽渭慰喂蟽蟿慰蟻委伪蟼. 螘委谓伪喂 慰 魏蟻蠀蠁蠈蟼-蔚伪蠀蟿蠈蟼,蠁委位慰蟼 蟿慰蠀 螤蟻委纬魏喂蟺伪.
螤蠈位蔚渭慰蟼,伪委渭伪,尾伪蟽喂位喂魏苇蟼 伪蠀位苇蟼,纬蔚位蠅蟿慰蟺慰喂慰委,魏伪位位喂蟿苇蠂谓蔚蟼,
畏纬蔚渭蠈谓蔚蟼,蟽蠉渭尾慰蠀位慰喂,蟽蟿蟻伪蟿蠈蟼,渭维蠂蔚蟼,伪蟻蟻蠋蟽蟿蔚喂蔚蟼,位喂渭慰委, 蟺维胃畏,渭委蟽畏,未慰位慰蟺位慰魏委蔚蟼. 螌位伪 纬委谓慰谓蟿伪喂 蔚蟺喂位慰纬苇蟼 蟺慰蠀 魏蠀蟻喂蔚蠉慰蠀谓 蟿慰 伪谓胃蟻蠋蟺喂谓慰 渭蠀伪位蠈. 螤慰蠀 魏伪蟿伪魏蟿慰蠉谓 蟿畏谓 蠄蠀蠂萎.
(围螜螞螜螣螘螜螤惟螠螘螡螘危 螝螣螜螡螣韦螣螤螘危 螜危韦螣巍螜螘危).
螣 谓维谓慰蟼 蔚谓蟽伪蟻魏蠋谓蔚喂 蟿畏谓 魏伪蟿维蟻伪. 韦慰 蠁蔚蟻苇蠁蠅谓慰 蟿蠅谓 蟽蟿慰喂蠂蔚喂蠅渭苇谓蠅谓 渭蔚 伪委渭伪 伪喂蠋谓蠅谓.
螝伪喂 蟺慰喂慰蟼 维谓胃蟻蠅蟺慰蟼 未蔚谓 纬谓蠅蟻委味蔚喂 蟿伪 尾伪胃蔚喂维 胃苇渭伪蟿伪 蟿畏蟼 蠄蠀蠂喂魏萎蟼 蟿慰蠀 魏伪蟿维蟽蟿伪蟽畏蟼;
螤慰喂慰蟼 伪谓伪蟻蠅蟿喂苇蟿伪喂 伪谓 魏蟻蠉尾蔚喂 苇谓伪谓 谓维谓慰 渭苇蟽伪 蟿慰蠀 蠈蟿伪谓 伪蠀蟿蠈 蟽蠀谓维未蔚喂 渭蔚 蟿慰 蟽魏慰蟿维未喂 蟿畏蟼 蠄蠀蠂萎蟼,蔚蟺慰渭苇谓蠅蟼 蟽蠀谓蔚蟺维纬蔚蟿伪喂 蟿畏 蠁蠉蟽畏 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 纬苇谓慰蠀蟼;
韦喂 谓苇慰 渭伪蟼 伪蟺慰魏伪位蠉蟺蟿蔚喂 纬喂伪 蟿伪 蔚蟻蔚尾蠋未畏 位伪纬慰蠉渭喂伪 蟺慰蠀 魏蟻蠉尾慰谓蟿伪喂 魏伪喂 魏伪喂蟻慰蠁蠀位伪魏蟿慰蠉谓 纬喂伪 位维胃畏 魏伪喂 蟺维胃畏;
螛蔚蠅蟻蠋 蟺蠅蟼 蟺蟻苇蟺蔚喂 谓伪 蔚委谓伪喂 渭蟺伪味蠅渭苇谓畏 畏 胃维位伪蟽蟽伪 蟿慰蠀 渭蠀伪位慰蠉 渭伪蟼 纬喂伪 谓伪 渭畏谓 伪未喂伪蠁慰蟻萎蟽慰蠀渭蔚 纬喂伪 蟿慰 谓维谓慰.
螆谓伪 尾喂尾位委慰 纬蟻伪渭渭苇谓慰 蔚谓 苇蟿蔚喂 1944.
螒位萎胃蔚喂伪 蟿蠋蟻伪;
螤伪蟻伪蟽魏蔚蠀维味蔚喂 魏伪喂 蟿慰 蟺蟻慰蠁伪谓苇蟼; 螡维谓慰蟼-围委蟿位蔚蟻.
螠蔚 蠈位慰 蟿慰 蟽蔚尾伪蟽渭蠈 魏伪喂 蟿畏谓 蔚魏蟿委渭畏蟽畏 蟺蟻慰蟼 蠈位慰蠀蟼 蠈蟽慰喂 蟿慰 胃蔚蠋蟻畏蟽伪谓 -蟽蠀纬纬蟻伪蠁苇伪蟼 蟿喂渭畏渭苇谓慰蟼 渭蔚 尾蟻伪尾蔚委慰 螡蠈渭蟺蔚位-
伪蟻喂蟽蟿慰蠉蟻纬畏渭伪, 未喂伪蠁蠅谓蠋 伪蟺蠈位蠀蟿伪 魏伪喂 蔚尉伪谓委蟽蟿伪渭伪喂 蠈蟿伪谓 蟺维蟻伪 蟺慰位位维 蠂蟻蠈谓喂伪 蟺蟻喂谓 纬蟻维蠁蟿畏魏伪谓 未喂伪蠂蟻慰谓喂魏维 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿伪 蟺蟻慰蠁畏蟿喂魏维 魏伪喂 渭蔚 未蟻伪渭伪蟿喂魏萎 未喂慰蟻伪蟿喂魏蠈蟿畏蟿伪.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!
螝伪位萎 伪谓维纬谓蠅蟽畏 (渭畏 蟺伪蟻伪喂谓蔚蟿喂魏萎)鉁旓笍
螖喂伪尾维味慰谓蟿伪蟼 蟿慰 畏渭蔚蟻慰位蠈纬喂慰 蟽慰蠀,蟿慰 慰蟺慰委慰 渭维位位慰谓 蠁喂位慰未慰尉慰蠉蟽蔚 谓伪 伪谓伪渭蔚蟿蟻畏胃蔚委 渭蔚 蟿畏 谓蠉蠂蟿伪 蟿慰蠀 蠄蠀蠂喂蟽渭慰蠉,魏伪蟿苇蟻蟻蔚蠀蟽蔚 魏伪喂 伪魏蠀蟻蠋胃畏魏蔚 魏维胃蔚 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠈 蟻萎纬渭伪,魏维胃蔚 位伪蟿蟻蔚蠀蟿萎 渭慰谓伪未喂魏蠈蟿畏蟿伪 蟺慰蠀 蟽蠀谓萎胃蠅蟼 伪谓蟿喂渭蔚蟿蠅蟺委味蠅 未喂伪尾维味慰谓蟿伪蟼.
螝伪蟿蠈蟻胃蠅蟽蔚蟼 尾苇尾伪喂伪 谓伪 渭慰蠀 蟺蟻慰魏伪位苇蟽蔚喂蟼 魏维蟿喂 蟺慰蠀 蟽蟺维谓喂伪 伪喂蟽胃维谓慰渭伪喂 蠈蟿伪谓 未喂伪尾维味蠅 纬喂伪 蟺位维蟽渭伪蟿伪 胃伪蠀渭维蟽喂伪 萎 蠁蟻喂蠂蟿维 蟿伪 慰蟺慰委伪 魏伪蟿维纬慰谓蟿伪喂 伪蟺慰 蟿慰 渭蠉胃慰. 螝伪蟿苇魏蟿畏蟽蔚蟼 蔚蟺维尉喂伪 蟿畏谓 蟺位萎蟻畏 伪未喂伪蠁慰蟻委伪 渭慰蠀.
螖蔚谓 蟽蔚 伪纬维蟺畏蟽伪, 未蔚谓 蟽蔚 渭委蟽畏蟽伪, 未蔚谓 苇谓喂蠅蟽伪 蟿委蟺慰蟿伪 维位位慰 蟺苇蟻伪 伪蟺慰 蟺位萎蟻畏,蟿苇位蔚喂伪 魏伪喂 蟺伪谓蟿蔚位蠋蟼 蠄蠀蠂蟻萎 伪未喂伪蠁慰蟻委伪.
危蔚 伪蟺伪尉委蠅蟽伪 纬喂伪 蠈位伪 蟿伪 蟺伪蟻蠅蠂畏渭苇谓伪 喂蟽蟿慰蟻喂魏维-魏慰喂谓蠅谓喂魏维-蟺慰位喂蟿喂魏维-蟺慰位蔚渭喂魏维 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 伪蠁畏纬蔚委蟽伪喂 渭蔚 蟺蔚蟻喂蟽蟽萎 魏伪魏委伪 魏伪喂 渭委蟽慰蟼.
螘委蟽伪喂 苇谓伪 伪谓胃蟻蠅蟺慰蔚喂未苇蟼 蟿蔚蟻伪蟿慰蠉蟻纬畏渭伪. 螆谓伪蟼 未喂蠁慰蟻慰蠉渭蔚谓慰蟼 魏伪喂 伪谓伪尉喂蠈蟺喂蟽蟿慰蟼 伪蠁畏纬畏蟿萎蟼 蟺慰蠀 蟽畏魏蠋谓蔚喂 魏蔚蠁维位喂 纬喂伪 谓伪 蠁慰尾委蟽蔚喂,纬喂伪 谓伪 尾纬蔚喂 伪蟺慰 蟿畏谓 伪蠁维谓蔚喂伪,纬喂伪 谓伪 魏伪蟿伪蟽蟿蟻苇蠄蔚喂 蠈,蟿喂 畏 魏慰蟽渭喂魏萎 谓慰渭慰蟿苇位蔚喂伪 苇蠂蔚喂 蠂伪蟻委蟽蔚喂 蟽蟿慰谓 维谓胃蟻蠅蟺慰. 螒蟺慰 蟿慰谓 螆蟻蠅蟿伪 渭苇蠂蟻喂 蟿慰 胃维谓伪蟿慰. 螒蟺苇蟿蠀蠂蔚蟼.
螤蟻慰蟽蟺维胃畏蟽蔚蟼 谓伪 蟿伪蠀蟿喂蟽蟿蔚委蟼 渭蔚 蟿畏谓 伪位位畏纬慰蟻喂魏萎 渭蔚蟿伪蠁慰蟻维 蟿慰蠀 螝伪魏慰蠉 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 魏伪喂 蟺伪蟻伪渭慰谓蔚蠉蔚喂 蟿畏谓 魏伪蟿维位位畏位畏 蟽蟿喂纬渭萎 纬喂伪 谓伪 未蟻维蟽蔚喂 魏伪喂 谓伪 蟿蟻伪蠁蔚委 渭蔚 蟿畏 蟽伪蟺委位伪 蟽蟿慰谓 蔚魏维蟽蟿慰蟿蔚 蠄蠀蠂喂魏蠈 蟽魏慰蠀蟺喂未蠈蟿慰蟺慰.
螣蠉蟿蔚 伪蠀蟿蠈 魏伪蟿维蠁蔚蟻蔚蟼.
螒蟺蠅胃蔚委蟼 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏 蟺慰蠀 蟽蠀谓蔚蠂委味蔚喂 谓伪 蟽蔚 未喂伪尾维味蔚喂 渭苇蠂蟻喂 蟿苇位慰蠀蟼 伪蟺位维 魏伪喂 渭蠈谓慰 蔚蟺蔚喂未萎 畏 蔚蟺委魏位畏蟽畏 纬喂伪 蔚蟺喂尾委蠅蟽畏 蟿慰蠀 螘纬蠋 危慰蠀 蔚委谓伪喂 渭伪谓喂伪魏萎,伪蟻蟻蠅蟽蟿畏渭苇谓畏,
蔚蟽魏蔚渭渭苇谓伪 未喂蟿蟿萎 渭苇蟽伪 伪蟺慰 蟿畏谓 渭慰蠂胃畏蟻委伪 魏伪喂 蠀蟺蔚蟻尾慰位喂魏维 蟺伪胃喂伪蟽渭苇谓畏. 韦蠈蟽慰 蟺慰位蠉 蟺慰蠀 魏伪蟿伪谓蟿维蔚喂 伪未喂维蠁慰蟻畏.
危蔚 魏维蟺慰喂慰 蟺蟻喂纬魏喂蟺维蟿慰 蟿畏蟼 螜蟿伪位委伪蟼 蟿慰蠀 16慰蠀 伪喂蠋谓伪 慰 谓维谓慰蟼 蟿畏蟼 伪位伪味慰谓蔚委伪蟼,蟿畏蟼 蠂伪喂蟻蔚魏伪魏委伪蟼,蟿畏蟼 伪蟺伪谓胃蟻蠅蟺喂维蟼 魏伪喂 蟿慰蠀 魏蠀谓喂魏慰蠉 渭委蟽慰蠀蟼 纬喂伪 蟿伪 蟺维谓蟿伪, 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟺委蟽蠅 蠂蟻慰谓喂魏维,胃苇位慰谓蟿伪蟼 渭伪蟼 慰未畏纬萎蟽蔚喂 蟽蟿慰 渭苇位位慰谓 萎 蟽蟿畏 未喂畏谓蔚魏萎 蔚蟺伪谓维位畏蠄畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏慰蟽渭慰喂蟽蟿慰蟻委伪蟼. 螘委谓伪喂 慰 魏蟻蠀蠁蠈蟼-蔚伪蠀蟿蠈蟼,蠁委位慰蟼 蟿慰蠀 螤蟻委纬魏喂蟺伪.
螤蠈位蔚渭慰蟼,伪委渭伪,尾伪蟽喂位喂魏苇蟼 伪蠀位苇蟼,纬蔚位蠅蟿慰蟺慰喂慰委,魏伪位位喂蟿苇蠂谓蔚蟼,
畏纬蔚渭蠈谓蔚蟼,蟽蠉渭尾慰蠀位慰喂,蟽蟿蟻伪蟿蠈蟼,渭维蠂蔚蟼,伪蟻蟻蠋蟽蟿蔚喂蔚蟼,位喂渭慰委, 蟺维胃畏,渭委蟽畏,未慰位慰蟺位慰魏委蔚蟼. 螌位伪 纬委谓慰谓蟿伪喂 蔚蟺喂位慰纬苇蟼 蟺慰蠀 魏蠀蟻喂蔚蠉慰蠀谓 蟿慰 伪谓胃蟻蠋蟺喂谓慰 渭蠀伪位蠈. 螤慰蠀 魏伪蟿伪魏蟿慰蠉谓 蟿畏谓 蠄蠀蠂萎.
(围螜螞螜螣螘螜螤惟螠螘螡螘危 螝螣螜螡螣韦螣螤螘危 螜危韦螣巍螜螘危).
螣 谓维谓慰蟼 蔚谓蟽伪蟻魏蠋谓蔚喂 蟿畏谓 魏伪蟿维蟻伪. 韦慰 蠁蔚蟻苇蠁蠅谓慰 蟿蠅谓 蟽蟿慰喂蠂蔚喂蠅渭苇谓蠅谓 渭蔚 伪委渭伪 伪喂蠋谓蠅谓.
螝伪喂 蟺慰喂慰蟼 维谓胃蟻蠅蟺慰蟼 未蔚谓 纬谓蠅蟻委味蔚喂 蟿伪 尾伪胃蔚喂维 胃苇渭伪蟿伪 蟿畏蟼 蠄蠀蠂喂魏萎蟼 蟿慰蠀 魏伪蟿维蟽蟿伪蟽畏蟼;
螤慰喂慰蟼 伪谓伪蟻蠅蟿喂苇蟿伪喂 伪谓 魏蟻蠉尾蔚喂 苇谓伪谓 谓维谓慰 渭苇蟽伪 蟿慰蠀 蠈蟿伪谓 伪蠀蟿蠈 蟽蠀谓维未蔚喂 渭蔚 蟿慰 蟽魏慰蟿维未喂 蟿畏蟼 蠄蠀蠂萎蟼,蔚蟺慰渭苇谓蠅蟼 蟽蠀谓蔚蟺维纬蔚蟿伪喂 蟿畏 蠁蠉蟽畏 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 纬苇谓慰蠀蟼;
韦喂 谓苇慰 渭伪蟼 伪蟺慰魏伪位蠉蟺蟿蔚喂 纬喂伪 蟿伪 蔚蟻蔚尾蠋未畏 位伪纬慰蠉渭喂伪 蟺慰蠀 魏蟻蠉尾慰谓蟿伪喂 魏伪喂 魏伪喂蟻慰蠁蠀位伪魏蟿慰蠉谓 纬喂伪 位维胃畏 魏伪喂 蟺维胃畏;
螛蔚蠅蟻蠋 蟺蠅蟼 蟺蟻苇蟺蔚喂 谓伪 蔚委谓伪喂 渭蟺伪味蠅渭苇谓畏 畏 胃维位伪蟽蟽伪 蟿慰蠀 渭蠀伪位慰蠉 渭伪蟼 纬喂伪 谓伪 渭畏谓 伪未喂伪蠁慰蟻萎蟽慰蠀渭蔚 纬喂伪 蟿慰 谓维谓慰.
螆谓伪 尾喂尾位委慰 纬蟻伪渭渭苇谓慰 蔚谓 苇蟿蔚喂 1944.
螒位萎胃蔚喂伪 蟿蠋蟻伪;
螤伪蟻伪蟽魏蔚蠀维味蔚喂 魏伪喂 蟿慰 蟺蟻慰蠁伪谓苇蟼; 螡维谓慰蟼-围委蟿位蔚蟻.
螠蔚 蠈位慰 蟿慰 蟽蔚尾伪蟽渭蠈 魏伪喂 蟿畏谓 蔚魏蟿委渭畏蟽畏 蟺蟻慰蟼 蠈位慰蠀蟼 蠈蟽慰喂 蟿慰 胃蔚蠋蟻畏蟽伪谓 -蟽蠀纬纬蟻伪蠁苇伪蟼 蟿喂渭畏渭苇谓慰蟼 渭蔚 尾蟻伪尾蔚委慰 螡蠈渭蟺蔚位-
伪蟻喂蟽蟿慰蠉蟻纬畏渭伪, 未喂伪蠁蠅谓蠋 伪蟺蠈位蠀蟿伪 魏伪喂 蔚尉伪谓委蟽蟿伪渭伪喂 蠈蟿伪谓 蟺维蟻伪 蟺慰位位维 蠂蟻蠈谓喂伪 蟺蟻喂谓 纬蟻维蠁蟿畏魏伪谓 未喂伪蠂蟻慰谓喂魏维 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿伪 蟺蟻慰蠁畏蟿喂魏维 魏伪喂 渭蔚 未蟻伪渭伪蟿喂魏萎 未喂慰蟻伪蟿喂魏蠈蟿畏蟿伪.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼!
螝伪位萎 伪谓维纬谓蠅蟽畏 (渭畏 蟺伪蟻伪喂谓蔚蟿喂魏萎)鉁旓笍
September 28, 2023
Un mic roman istoric, publicat 卯n 1944, 葯i considerat cea mai bun膬 carte a lui P盲r Fabian Lagerkvist (1891 鈥� 1974), premiul Nobel 卯n 1951. Mie mi-a pl膬cut mult 葯i Barraba, un roman despre un om chinuit, ars de 卯ndoial膬 葯i scepticism, care ar vrea s膬 cread膬 卯n Iisus Christos 葯i nu poate.
Naratorul este chiar personajul 鈥瀍ponim鈥�, Piticul / Piccolino. Ac葲iunea se petrece, probabil, 卯n a doua jum膬tate a secolului al XV-lea, 卯n Rena葯tere. Piticul este un observator 葯i un judec膬tor nemilos al tuturor celorlal葲i, al prin葲ului Leone, al prin葲esei Teodora, al fiicei lor Angelica, al maestrului Bernardo (pictor 葯i savant din stirpea scepticilor), al tuturor.
Fire葯te, pe el nu se pune niciodat膬 la socoteal膬: el este des膬v卯r葯it, face parte dintr-o specie diferit膬 de aceea a oamenilor, e un ales. Se consider膬 pur 葯i simplu un 鈥瀙ersonaj necesar, inevitabil鈥�. Dac膬 n-ar exista El, istoria s-ar opri brusc. Prive葯te lumea de la mare 卯n膬l葲ime, cu un ochi necru葲膬tor. Vede 卯n juru-i numai p膬c膬to葯i. Prin葲esa este o femeie 鈥瀙roast膬鈥�, o 鈥瀋膬z膬tur膬鈥�, o 鈥瀟卯rf膬鈥� (acestea s卯nt epitetele naratorului); prin葲ul este un individ dubios, un adulter 葯i un uciga葯; maestrul Bernardo este un pierde-var膬, lipsit de perseveren葲膬, un aiurit. A葯adar, nimeni nu se ridic膬 la 卯n膬l葲imea ame葲itoare a piticului (sic!), la inteligen葲a 葯i puritatea lui moral膬.
Uneori, observa葲iile sale de un cinism intens devin amuzante prin exagerare. Are o p膬rere lamentabil膬 despre poe葲i, pe astronomi nu-i 卯nghite deloc, pe c膬rturari 卯i dispre葲uie葯te, nimeni nu-i demn de admira葲ia lui. To葲i s卯nt ni葯te parazi葲i, ni葯te loseri. Ofer un exemplu dintr-o sut膬:
鈥濴a curte forfotesc tot felul de oameni ciuda牛i, 卯n牛elep牛i care stau cu capul 卯n palme ca s膬 g膬seasc膬 rostul vie牛ii, 卯nv膬牛a牛i care 卯艧i 卯nchipuie c膬 pot urm膬ri drumul stelelor cu ochii lor b膬tr卯ni 卯nl膬crima牛i 艧i c膬 pot vedea 卯n ele soarta oamenilor de pe p膬m卯nt. 艦arlatani 艧i aventurieri care-艧i citesc poemele
languroase doamnelor de la curte, dup膬 care dorm prin 艧an牛uri... Pictori care duc o via牛膬 de艧膬n牛at膬 艧i umplu bisericile cu imagini evlavioase ale sfin牛ilor; sculptori 艧i desenatori care vor ridica o nou膬 clopotni牛膬 l卯ng膬 catedral膬, vis膬tori 艧i escroci de toate felurile... E un du-te-vino permanent de oameni din 膬艧tia f膬r膬 c膬p膬t卯i, dar unii stau timp 卯ndelungat, ca 艧i cum aici s-ar fi n膬scut, 艧i profit膬 de ospitalitatea prin牛ului...鈥�.
Condi葲ia l-a transformat pe narator 卯ntr-un exclus, iar frustrarea a f膬cut din el un individ rigid (o marionet膬 a urii), aproape inuman (v-am spus c膬 se crede dintr-o specie de semi-zei), un anti-erou incapabil de bucurie, incapabil de 卯n葲elegere, o 卯ntrupare a r膬ului. Este 鈥瀘mul resentimentului鈥�, descris c卯ndva de Max Scheler. Pentru pitic, iubirea e un sentiment animalic, bun膬voin葲a - o form膬 de ipocrizie, credin葲a - o manifestarea a prostiei. Locul omului e 卯n iad.
Piccolino mi-a adus aminte de Jean-Baptiste Grenouille, personajul din Parfumul (1985) lui Patrick S眉skind. Dar dac膬 Grenouille caut膬 afec葲iunea celorlal葲i 葯i ucide pentru a o ob葲ine, eroul lui Lagerkvist este o creatur膬 care sufer膬 de frigiditate. El nu-葯i dore葯te nici simpatie, nici 卯n葲elegere. Viseaz膬 s膬 fie temut. At卯ta tot.
Un roman, altminteri, excelent...
Naratorul este chiar personajul 鈥瀍ponim鈥�, Piticul / Piccolino. Ac葲iunea se petrece, probabil, 卯n a doua jum膬tate a secolului al XV-lea, 卯n Rena葯tere. Piticul este un observator 葯i un judec膬tor nemilos al tuturor celorlal葲i, al prin葲ului Leone, al prin葲esei Teodora, al fiicei lor Angelica, al maestrului Bernardo (pictor 葯i savant din stirpea scepticilor), al tuturor.
Fire葯te, pe el nu se pune niciodat膬 la socoteal膬: el este des膬v卯r葯it, face parte dintr-o specie diferit膬 de aceea a oamenilor, e un ales. Se consider膬 pur 葯i simplu un 鈥瀙ersonaj necesar, inevitabil鈥�. Dac膬 n-ar exista El, istoria s-ar opri brusc. Prive葯te lumea de la mare 卯n膬l葲ime, cu un ochi necru葲膬tor. Vede 卯n juru-i numai p膬c膬to葯i. Prin葲esa este o femeie 鈥瀙roast膬鈥�, o 鈥瀋膬z膬tur膬鈥�, o 鈥瀟卯rf膬鈥� (acestea s卯nt epitetele naratorului); prin葲ul este un individ dubios, un adulter 葯i un uciga葯; maestrul Bernardo este un pierde-var膬, lipsit de perseveren葲膬, un aiurit. A葯adar, nimeni nu se ridic膬 la 卯n膬l葲imea ame葲itoare a piticului (sic!), la inteligen葲a 葯i puritatea lui moral膬.
Uneori, observa葲iile sale de un cinism intens devin amuzante prin exagerare. Are o p膬rere lamentabil膬 despre poe葲i, pe astronomi nu-i 卯nghite deloc, pe c膬rturari 卯i dispre葲uie葯te, nimeni nu-i demn de admira葲ia lui. To葲i s卯nt ni葯te parazi葲i, ni葯te loseri. Ofer un exemplu dintr-o sut膬:
鈥濴a curte forfotesc tot felul de oameni ciuda牛i, 卯n牛elep牛i care stau cu capul 卯n palme ca s膬 g膬seasc膬 rostul vie牛ii, 卯nv膬牛a牛i care 卯艧i 卯nchipuie c膬 pot urm膬ri drumul stelelor cu ochii lor b膬tr卯ni 卯nl膬crima牛i 艧i c膬 pot vedea 卯n ele soarta oamenilor de pe p膬m卯nt. 艦arlatani 艧i aventurieri care-艧i citesc poemele
languroase doamnelor de la curte, dup膬 care dorm prin 艧an牛uri... Pictori care duc o via牛膬 de艧膬n牛at膬 艧i umplu bisericile cu imagini evlavioase ale sfin牛ilor; sculptori 艧i desenatori care vor ridica o nou膬 clopotni牛膬 l卯ng膬 catedral膬, vis膬tori 艧i escroci de toate felurile... E un du-te-vino permanent de oameni din 膬艧tia f膬r膬 c膬p膬t卯i, dar unii stau timp 卯ndelungat, ca 艧i cum aici s-ar fi n膬scut, 艧i profit膬 de ospitalitatea prin牛ului...鈥�.
Condi葲ia l-a transformat pe narator 卯ntr-un exclus, iar frustrarea a f膬cut din el un individ rigid (o marionet膬 a urii), aproape inuman (v-am spus c膬 se crede dintr-o specie de semi-zei), un anti-erou incapabil de bucurie, incapabil de 卯n葲elegere, o 卯ntrupare a r膬ului. Este 鈥瀘mul resentimentului鈥�, descris c卯ndva de Max Scheler. Pentru pitic, iubirea e un sentiment animalic, bun膬voin葲a - o form膬 de ipocrizie, credin葲a - o manifestarea a prostiei. Locul omului e 卯n iad.
Piccolino mi-a adus aminte de Jean-Baptiste Grenouille, personajul din Parfumul (1985) lui Patrick S眉skind. Dar dac膬 Grenouille caut膬 afec葲iunea celorlal葲i 葯i ucide pentru a o ob葲ine, eroul lui Lagerkvist este o creatur膬 care sufer膬 de frigiditate. El nu-葯i dore葯te nici simpatie, nici 卯n葲elegere. Viseaz膬 s膬 fie temut. At卯ta tot.
Un roman, altminteri, excelent...
September 4, 2017
"Look on my works ye mighty and despair!"
Anno Diaboli 1944, P盲r Lagerkvist wrote a tale of destruction and pain, a study in hatred and hubris.
Set at a splendid, powerful court in Renaissance Italy, it shows human culture and civilisation in its most exquisite form. Led by a charismatic and strong prince, the courtiers live a life filled with festivities, art, science, fashion and sexual adventures. The court artist is a thinly veiled portrait of Renaissance genius Leonardo da Vinci.
Underneath the liberal, civilised surface however, evil reigns. The hateful narrator, a court dwarf, tells the story of the community from the perspective of the badly treated, violently ridiculed and bullied outsider. Never part of the homogeneous and privileged caste of courtiers, the dwarf secretly nurtures his hatred towards human happiness and pleasure, especially in the form of physical love, which is denied him due to his different body. His feeling of humiliation and inferiority fuels his hatred for humanity, and he begins to spin a web of intrigue that leads to disaster.
Slowly but steadily, life in the city dissolves into chaos. A disastrous military adventure ends in defeat, and an attempt to take back control through a treacherous and murderous trick ends in a siege of the city which causes famine, starvation, and ultimately plague and death. The inner circle of the court is similarly affected by the destruction, and the dwarf uses every opportunity to stifle any feeling of love and compassion, and to instill hatred and jealousy in the family he serves. He leaves a trail of death and despair.
As suffering replaces pleasure, the dwarf's clever abuse of religious doctrine leads to fanatic belief and self-castigation. Is the plague a sign of divine punishment? Is the death of a lover caused by sinful sexual liberality? Insanity, grief and mourning gain power over all protagonists, and they stumble ever deeper into the maelstrom of violent self-destruction, until they face the ruins of their once beautiful court.
The dwarf, confiding to his journal that he is applauding each step deeper into the abyss and celebrating the power he has over the lives of the people he betrays, is finally detected and brought to a dungeon, where he ends up chained to a wall - biding his time, waiting for his services to be needed again.
"Nothing besides remains..."
The allegory on the ugly face of fascism closes with the revitalised people, building a new campanile and celebrating a new start after years of death and destruction. But the dwarf is still alive, and his poisonous tongue is still effectively at work. After all, he has managed to get his simple-minded jailer to bring his journal, so he can continue his account of all-consuming hatred.
Fascism might have been chained to a dungeon wall in 1945, Lagerkvist seems to reflect, but it is not dead, and it has not lost its venomous tongue and its will to annihilate whoever celebrates freedom of thought and liberal pleasure in life and art.
I read this novel many, many years ago, and it left me puzzled. I picked it up again this week as one of my sons is reading it for class, and I was stunned at the chilling combination of the flawless, perfectly beautiful Swedish prose and the absolute negativity of the message it contains. The beauty of culture, symbolised in Lagerkvist's language, contains the ugliness of fascist thought. At the most powerful and civilised court, hatred can spread when inequality, bullying and social distinctions are the norm.
When ancient codes of honour guide military action, any populist whisperer can cause destruction, followed by a flood of refugees and victims of hunger and disease.
Beware of unchained hatred!
Must-read! A true Nobel Laureate with an eternally relevant message.
Anno Diaboli 1944, P盲r Lagerkvist wrote a tale of destruction and pain, a study in hatred and hubris.
Set at a splendid, powerful court in Renaissance Italy, it shows human culture and civilisation in its most exquisite form. Led by a charismatic and strong prince, the courtiers live a life filled with festivities, art, science, fashion and sexual adventures. The court artist is a thinly veiled portrait of Renaissance genius Leonardo da Vinci.
Underneath the liberal, civilised surface however, evil reigns. The hateful narrator, a court dwarf, tells the story of the community from the perspective of the badly treated, violently ridiculed and bullied outsider. Never part of the homogeneous and privileged caste of courtiers, the dwarf secretly nurtures his hatred towards human happiness and pleasure, especially in the form of physical love, which is denied him due to his different body. His feeling of humiliation and inferiority fuels his hatred for humanity, and he begins to spin a web of intrigue that leads to disaster.
Slowly but steadily, life in the city dissolves into chaos. A disastrous military adventure ends in defeat, and an attempt to take back control through a treacherous and murderous trick ends in a siege of the city which causes famine, starvation, and ultimately plague and death. The inner circle of the court is similarly affected by the destruction, and the dwarf uses every opportunity to stifle any feeling of love and compassion, and to instill hatred and jealousy in the family he serves. He leaves a trail of death and despair.
As suffering replaces pleasure, the dwarf's clever abuse of religious doctrine leads to fanatic belief and self-castigation. Is the plague a sign of divine punishment? Is the death of a lover caused by sinful sexual liberality? Insanity, grief and mourning gain power over all protagonists, and they stumble ever deeper into the maelstrom of violent self-destruction, until they face the ruins of their once beautiful court.
The dwarf, confiding to his journal that he is applauding each step deeper into the abyss and celebrating the power he has over the lives of the people he betrays, is finally detected and brought to a dungeon, where he ends up chained to a wall - biding his time, waiting for his services to be needed again.
"Nothing besides remains..."
The allegory on the ugly face of fascism closes with the revitalised people, building a new campanile and celebrating a new start after years of death and destruction. But the dwarf is still alive, and his poisonous tongue is still effectively at work. After all, he has managed to get his simple-minded jailer to bring his journal, so he can continue his account of all-consuming hatred.
Fascism might have been chained to a dungeon wall in 1945, Lagerkvist seems to reflect, but it is not dead, and it has not lost its venomous tongue and its will to annihilate whoever celebrates freedom of thought and liberal pleasure in life and art.
I read this novel many, many years ago, and it left me puzzled. I picked it up again this week as one of my sons is reading it for class, and I was stunned at the chilling combination of the flawless, perfectly beautiful Swedish prose and the absolute negativity of the message it contains. The beauty of culture, symbolised in Lagerkvist's language, contains the ugliness of fascist thought. At the most powerful and civilised court, hatred can spread when inequality, bullying and social distinctions are the norm.
When ancient codes of honour guide military action, any populist whisperer can cause destruction, followed by a flood of refugees and victims of hunger and disease.
Beware of unchained hatred!
Must-read! A true Nobel Laureate with an eternally relevant message.
November 17, 2014
The Dwarf is a strange little book written by a Swedish Nobel Prize winner some time during WWII. It鈥檚 a rather allegoric story narrated by a dwarf living on the court in an unnamed Italian city probably in the 15th century, but actually all the hints point us in the same direction as Machiavelli鈥檚 Prince who was modelled on Cesare Borgia. In The Dwarf we also find Master Bernardo who is obviously Leonardo da Vinci (and who coincidentally also resided in Cesare Borgia鈥檚 court often.)
The plot is rather simple and fable-like, it consists of war, tragic romance and a plague, so really all your renaissance staples. The twist is our little narrator, though. He is so unabashedly evil and full of hate for almost everything and everyone, that I must admit I found it occasionally laughable. The unnamed dwarf finds excitement in conflict and battle. It鈥檚 only then that he can achieve a state that could be described as happiness. He takes no joy in food and finds the idea of sex absolutely repulsive. He is the agent provocateur and the catalyst for all the terrible decisions that the Prince (and some other characters) make. He schemes and plots always aiming for the worst possible outcome.
Of course, you don鈥檛 need a PhD in literature to figure out that this is all a metaphor for a little dwarf that lives inside all of us. That little creature that pushes us to do despicable things for the thrill of it (apparently). It鈥檚 what's little in us that really rules, the smallest and pettiest. It鈥檚 not even the sophisticated kind of Machiavellian evildoing; his outbursts are more like toddler tantrums 鈥� "I don鈥檛 understand it therefore I hate it and want it gone". Generally, it鈥檚 a rather sad summary of human condition but then it was written when it still looked like Hitler might win, so who could blame Lagerkvist for being a little disillusioned with the humanity.
Personally, I found this metaphor rather heavy-handed and not particularly original or thought-provoking. Someone at my book club mentioned that it was quite representative of Swedish (or Scandinavian in general) fiction not to strive for ambitious symbolism but settle for the very obvious. This, of course, is completely anecdotal so do not argue with me in the comments, but apparently it鈥檚 perfectly acceptable and apparently lauded even by critics (hence the Nobel Prize).
Having said all that, I must admit some of the paragraphs were quite amusing and I wish I could quote them. Alas, I read the book in its Polish translation and if I translated it to English now we would probably end up with something spectacularly different from what it was originally in Swedish. Overall, the narrator finds humans confusing and most of the time simply idiotic. His observations could be compared to those of a child trying to understand an adult world by herself or an alien trying to make sense of the life of on Earth. The Dwarf doesn鈥檛 understand why humans are convinced there is some greatness to life, he is bemused by how quickly people move between enthusiasm and joy and hopelessness and despair and he is forever baffled by the idea of physical love or any other kind of love for that matter. And what he doesn't understand, he hates. Simple as that.
And now, to wrap it up, let me get all PC on you. Was I really the only person made slightly uncomfortable by this idea that 鈥榙warves鈥� are some sort different non-human species and representing all the evil inside all of us? Yes, a metaphor of course. But if I were a little person reading this book, I think I would be pretty damn pissed off to be the butt of that metaphor. This was written during the reign of Hitler and let鈥檚 not forget what he had in store for people with disabilities.
The plot is rather simple and fable-like, it consists of war, tragic romance and a plague, so really all your renaissance staples. The twist is our little narrator, though. He is so unabashedly evil and full of hate for almost everything and everyone, that I must admit I found it occasionally laughable. The unnamed dwarf finds excitement in conflict and battle. It鈥檚 only then that he can achieve a state that could be described as happiness. He takes no joy in food and finds the idea of sex absolutely repulsive. He is the agent provocateur and the catalyst for all the terrible decisions that the Prince (and some other characters) make. He schemes and plots always aiming for the worst possible outcome.
Of course, you don鈥檛 need a PhD in literature to figure out that this is all a metaphor for a little dwarf that lives inside all of us. That little creature that pushes us to do despicable things for the thrill of it (apparently). It鈥檚 what's little in us that really rules, the smallest and pettiest. It鈥檚 not even the sophisticated kind of Machiavellian evildoing; his outbursts are more like toddler tantrums 鈥� "I don鈥檛 understand it therefore I hate it and want it gone". Generally, it鈥檚 a rather sad summary of human condition but then it was written when it still looked like Hitler might win, so who could blame Lagerkvist for being a little disillusioned with the humanity.
Personally, I found this metaphor rather heavy-handed and not particularly original or thought-provoking. Someone at my book club mentioned that it was quite representative of Swedish (or Scandinavian in general) fiction not to strive for ambitious symbolism but settle for the very obvious. This, of course, is completely anecdotal so do not argue with me in the comments, but apparently it鈥檚 perfectly acceptable and apparently lauded even by critics (hence the Nobel Prize).
Having said all that, I must admit some of the paragraphs were quite amusing and I wish I could quote them. Alas, I read the book in its Polish translation and if I translated it to English now we would probably end up with something spectacularly different from what it was originally in Swedish. Overall, the narrator finds humans confusing and most of the time simply idiotic. His observations could be compared to those of a child trying to understand an adult world by herself or an alien trying to make sense of the life of on Earth. The Dwarf doesn鈥檛 understand why humans are convinced there is some greatness to life, he is bemused by how quickly people move between enthusiasm and joy and hopelessness and despair and he is forever baffled by the idea of physical love or any other kind of love for that matter. And what he doesn't understand, he hates. Simple as that.
And now, to wrap it up, let me get all PC on you. Was I really the only person made slightly uncomfortable by this idea that 鈥榙warves鈥� are some sort different non-human species and representing all the evil inside all of us? Yes, a metaphor of course. But if I were a little person reading this book, I think I would be pretty damn pissed off to be the butt of that metaphor. This was written during the reign of Hitler and let鈥檚 not forget what he had in store for people with disabilities.
May 14, 2018
螘谓伪 蟺慰位蠀 蔚谓未喂伪蠁蔚蟻慰谓 尾喂尾位喂慰 蟺慰蠀 尾伪蟽喂味蔚蟿伪喂 蟺伪谓蠅 蟽蔚 渭喂伪 伪位位畏纬慰蟻喂伪.畏蟻蠅伪蟼 蔚谓伪蟼 "谓伪谓慰蟼" , 蔚谓伪 渭喂蟽伪谓胃蟻蠅蟺慰 蟺位伪蟽渭伪 蟺慰蠀 蟽蠀纬魏蔚谓蟿蟻蠅谓蔚喂 慰位慰 蟿慰 蟽魏慰蟿伪未喂 魏伪喂 蟿伪 伪蟻谓畏蟿喂魏伪 蟽蟿慰喂蠂蔚喂伪 蟺慰蠀 慰位慰喂 蔚蠂慰蠀渭蔚 渭蔚蟽伪 渭伪蟼.蟺慰蠀 魏伪蟺慰喂蔚蟼 蠁慰蟻蔚蟼 , 慰蟿伪谓 蟿慰 蔚未伪蠁慰蟼 蔚喂谓伪喂 蟺蟻慰蟽蠁慰蟻慰, 纬喂谓蔚蟿伪喂 伪蟺慰 谓伪谓慰蟼 , 纬喂纬伪谓蟿伪蟼 魏伪喂 蟿慰蟿蔚 慰喂 蟽蠀谓蔚蟺蔚喂蔚蟼 蔚喂谓伪喂 蟿蟻慰渭蔚蟻蔚蟼.蟿慰蟿蔚 慰渭蠅蟼 蔚蟻蠂蔚蟿伪喂 畏 伪喂蠅谓喂伪 渭伪蠂畏 魏伪位慰蠀 魏伪喂 魏伪魏慰蠀 谓伪 未蠅蟽蔚喂 蟿慰 蔚位蟺喂未慰蠁慰蟻慰 蟿蔚位慰蟼..萎 渭畏蟺蠅蟼 慰蠂喂? 喂蟽蠅蟼 蟿蔚位喂魏伪 蟿慰 魏伪魏慰 伪蟺位伪 蟺蔚蟻喂渭蔚谓蔚喂 未蔚蟽渭喂慰 蟽蟿喂蟼 伪位蠀蟽喂未蔚蟼 蟺慰蠀 蔚渭蔚喂蟼 蟿慰蠀 尾伪味慰蠀渭蔚, 蟿畏谓 魏伪蟿伪位位畏位畏 蟽蟿喂纬渭畏 蟺慰蠀 胃伪 蟿慰蠀 伪蠁蔚胃慰蠀渭蔚 魏伪喂 蟺伪位喂..
October 22, 2018
韦慰 尾喂尾位委慰 蔚委谓伪喂 渭喂魏蟻蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 未喂伪渭维谓蟿喂, 伪蟺慰 伪蠀蟿维 蟺慰蠀 蟿蠈蟽慰 伪蟺慰位伪渭尾维谓蠅 蟿慰 未喂维尾伪蟽渭维 蟿慰蠀蟼!!
螣 谓维谓慰蟼 蔚委谓伪喂 渭喂蟽维谓胃蟻蠅蟺慰蟼, 渭喂蟽慰纬蠉谓畏蟼 (萎 渭萎蟺蠅蟼 蠈蠂喂) 魏伪喂 魏伪魏蠈蟼! 螝伪魏蠈蟼 魏伪喂 渭慰蠂胃畏蟻蠈蟼.. 桅胃慰谓蔚委 蟿慰蠀蟼 蟺维谓蟿蔚蟼 魏伪喂 "蠂蠉谓蔚喂" 蟽蠀谓蔚蠂蠋蟼 蟿慰 未畏位畏蟿萎蟻喂慰 蟿慰蠀.
螠苇蟽伪 伪蟺慰 蟿慰谓 渭慰谓蠈位慰纬慰 蟿慰蠀 谓维谓慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭喂位维蔚喂 纬喂伪 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 魏伪魏委伪, 蟿伪 魏蟻蠀渭渭苇谓伪 蟺维胃畏 伪位位维 魏伪喂 蟿畏谓 畏胃喂魏萎 魏伪蟿维蟺蟿蠅蟽畏 蟿畏蟼 伪蟻喂蟽蟿慰魏蟻伪蟿蔚委伪蟼...
螖喂维蠁慰蟻伪 蟺蟻蠈蟽蠅蟺伪 蟺蔚蟻谓维谓 伪蟺蠈 蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀. 螤蟻委纬魏喂蟺蔚蟼, 渭喂蟽胃慰蠁蠈蟻慰喂, 纬蔚位慰蟿慰蟺慰喂慰委 魏伪喂 蟺蠈蟻谓蔚蟼. 螣 味蠅纬蟻维蠁慰蟼/蔚蟺喂蟽蟿萎渭慰谓伪蟼 蟿畏蟼 伪蠀位萎蟼 蟿慰蠀 蟺伪位伪蟿喂慰蠉 蔚委谓伪喂 慰 螠蟺蔚蟻谓维蟻谓蟿慰, 慰 慰蟺慰委慰蟼 胃蠀渭委味蔚喂 蟿慰谓 螡蟿伪 螔委谓蟿蟽喂 ...
韦慰 尾喂尾位委慰 未喂伪尾维味蔚蟿伪喂 蔚蠉魏慰位伪 魏伪喂 未委谓蔚喂 蟺慰位位苇蟼 伪蠁慰蟻渭苇蟼 纬喂伪 谓伪 蟺蟻慰尾位畏渭伪蟿喂蟽蟿蔚委 慰 伪谓伪纬谓蠋蟽蟿畏蟼..
4,5*
螣 谓维谓慰蟼 蔚委谓伪喂 渭喂蟽维谓胃蟻蠅蟺慰蟼, 渭喂蟽慰纬蠉谓畏蟼 (萎 渭萎蟺蠅蟼 蠈蠂喂) 魏伪喂 魏伪魏蠈蟼! 螝伪魏蠈蟼 魏伪喂 渭慰蠂胃畏蟻蠈蟼.. 桅胃慰谓蔚委 蟿慰蠀蟼 蟺维谓蟿蔚蟼 魏伪喂 "蠂蠉谓蔚喂" 蟽蠀谓蔚蠂蠋蟼 蟿慰 未畏位畏蟿萎蟻喂慰 蟿慰蠀.
螠苇蟽伪 伪蟺慰 蟿慰谓 渭慰谓蠈位慰纬慰 蟿慰蠀 谓维谓慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 渭喂位维蔚喂 纬喂伪 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 魏伪魏委伪, 蟿伪 魏蟻蠀渭渭苇谓伪 蟺维胃畏 伪位位维 魏伪喂 蟿畏谓 畏胃喂魏萎 魏伪蟿维蟺蟿蠅蟽畏 蟿畏蟼 伪蟻喂蟽蟿慰魏蟻伪蟿蔚委伪蟼...
螖喂维蠁慰蟻伪 蟺蟻蠈蟽蠅蟺伪 蟺蔚蟻谓维谓 伪蟺蠈 蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀. 螤蟻委纬魏喂蟺蔚蟼, 渭喂蟽胃慰蠁蠈蟻慰喂, 纬蔚位慰蟿慰蟺慰喂慰委 魏伪喂 蟺蠈蟻谓蔚蟼. 螣 味蠅纬蟻维蠁慰蟼/蔚蟺喂蟽蟿萎渭慰谓伪蟼 蟿畏蟼 伪蠀位萎蟼 蟿慰蠀 蟺伪位伪蟿喂慰蠉 蔚委谓伪喂 慰 螠蟺蔚蟻谓维蟻谓蟿慰, 慰 慰蟺慰委慰蟼 胃蠀渭委味蔚喂 蟿慰谓 螡蟿伪 螔委谓蟿蟽喂 ...
韦慰 尾喂尾位委慰 未喂伪尾维味蔚蟿伪喂 蔚蠉魏慰位伪 魏伪喂 未委谓蔚喂 蟺慰位位苇蟼 伪蠁慰蟻渭苇蟼 纬喂伪 谓伪 蟺蟻慰尾位畏渭伪蟿喂蟽蟿蔚委 慰 伪谓伪纬谓蠋蟽蟿畏蟼..
4,5*
August 26, 2017
P盲r Lagerkvist (1891 鈥� 1974)
Cont茅m Alguns Spoilers
O sueco P盲r Lagerkvist (1891 鈥� 1974), poeta, dramaturgo, ensa铆sta e romancista, publicou 鈥淥 An茫o鈥� em 1944 e foi galardoado com o Premio Nobel da Literatura em 1951.
Piccolino, o narrador, 茅 um 鈥淎苍茫辞鈥� de vinte e seis polegadas (cerca de sessenta e seis cent铆metros) de altura, na corte de um pr铆ncipe italiano, no per铆odo da Renascen莽a, que mant茅m um di谩rio onde anota e descreve em retrospectiva as suas viv锚ncias e as suas emo莽玫es, sobre factos e acontecimentos 鈥渞eais鈥�, que ocorreram minutos, horas, semanas, meses ou anos antes.
O 鈥淎苍茫辞鈥� 茅 um ser desprez铆vel, uma personagem maquiav茅lica, profundamente misantr贸pica - 鈥淣ada h谩 como a solid茫o para nos dar contentamento.鈥�, odiosa e execr谩vel, uma serpente venenosa, um psicopata, que inspira um enorme temor e que despreza toda a gente na corte, excepto o seu amo, que adora a guerra, mesmo n茫o podendo participar nela, que faz do ressentimento e da raiva implac谩vel um 鈥渕odo de vida鈥�, que n茫o conhece a ang煤stia ou o remorso, excepto quando algo interfere com o seu imenso e frustrado ego, que abomina o contacto f铆sico e o amor - 鈥漁 amor 茅 sempre repugnante.鈥�, o sexo 茅 absolutamente repulsivo, detesta os v铆cios, mas que empreende profundas reflex玫es sobre a religiosidade, a avareza, a inf芒mia, a trai莽茫o, a humilha莽茫o, a amargura, o despeito, o hero铆smo,鈥�
Nesta leitura h谩 duas 鈥渞efer锚ncias鈥� que me suscitaram algumas interroga莽玫es: a primeira, sobre o facto de o 鈥淎苍茫辞鈥� servir um pr铆ncipe italiano, no s茅culo XV, no per铆odo da Renascen莽a, com a inclus茫o de in煤meros detalhes hist贸ricos 鈥渇iccionados鈥� ou n茫o, que se consumam numa analogia evidente entre a personagem do pintor Bernardo e Leonardo da Vinci, que o primeiro pintou a 鈥淐eia鈥� no Convento de Santa-Groce e o segundo a 鈥溍歭tima Ceia鈥� na igreja/convento de Santa Maria delle Grazie; a segunda, numa 鈥渆vidente鈥� similitude, 脿 medida que a narrativa avan莽a, entre o comportamento de o 鈥淎苍茫辞鈥� que vai alcan莽ando um progressivo poder m铆stico, impregnado de uma viol锚ncia espiritual, pura e inexplic谩vel, e a personagem do Juiz Holden do 鈥淢eridiano de Sangue鈥� de Cormac McCarthy.
鈥淥 An茫o鈥� 茅 um livro muito estranho, perturbador e inesquec铆vel, ambicioso, uma f谩bula, uma verdadeira alegoria, com in煤meras interroga莽玫es e 鈥減oucas鈥� respostas, em que a narrativa vai progredindo numa l贸gica de inevitabilidade para uma terr铆fica destrui莽茫o, promovida e incentivada pelo 鈥淎苍茫辞鈥�, onde as situa莽玫es completamente aned贸ticas alternam com outras de viol锚ncia extrema, sem nenhuma explica莽茫o plaus铆vel.
O final 茅 emblem谩tico鈥�
鈥漁 amor 茅 uma coisa que morre. Uma vez morto, apodrece, mas pode servir de h煤mus a um novo amor. O amor defunto continua a viver secretamente no novo, de modo que na realidade o amor 茅 imortal.鈥� (P谩g. 18)
鈥漇er homem 茅 uma coisa grande e maravilhosa, mas deveremos regozijar-nos por s锚-lo? Ser homem 茅 uma coisa destitu铆da de sentido, mas deveremos afligir-nos, cheios de desespero? Como responder a tais perguntas?鈥� (P谩g. 43)
鈥漇er谩,鈥� , o amor um belo poema sem qualquer conte煤do, pelo menos sem nada de definido, mas que agrada ouvir quando 茅 recitado com perfei莽茫o e com fervor? N茫o me parece isso imposs铆vel. Os homens s茫o uns estranhos mistificadores!鈥� (P谩g. 79)
鈥漅eli as minhas notas desde o come莽o, um pouco cada dia, e experimentei uma certa satisfa莽茫o em reviver a minha vida e as dos outros e em reflectir longamente a tal respeito durante estas horas silenciosas.鈥� (P谩g. 166)
鈥漁s seres humanos s茫o demasiadamente fracos e exaltados para forjarem o seu pr贸prio destino.鈥� (P谩g. 169)
鈥漁s homens gostam de se ver reflectidos em espelhos turvos.鈥� (P谩g. 176)
鈥滱 minha exist锚ncia 茅 t茫o mon贸tona que n茫o tenho o desejo de escrever.鈥� (P谩g. 177)
December 5, 2016
螣喂 蟺蟻慰蟽蠅蟺喂魏苇蟼 蟽畏渭蔚喂蠋蟽蔚喂蟼 蔚谓蠈蟼 螡伪谓慰蠀 蟽蔚 魏维蟺慰喂慰 喂蟿伪位喂魏蠈 尾伪蟽委位蔚喂慰. 螆谓伪 魏伪位慰纬蟻伪渭渭苇谓慰 蔚纬魏蠋渭喂慰 纬喂伪 蟿畏谓 魏伪魏委伪 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 蠂蠅蟻苇蟽蔚喂 蟽蔚 苇谓伪 渭蠀伪位蠈. 螠喂魏蟻苇蟼 蟺蟻慰蟿维蟽蔚喂蟼, 蔚蠉蟽蟿慰蠂蔚蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼.
危蔚 蟺慰位位维 蟽畏渭蔚委伪 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蔚 蔚魏谓蔚蠀蟻委蟽蔚喂 慰 萎蟻蠅伪蟼,伪位位伪 伪蠀蟿萎 谓慰渭委味蠅 蔚喂谓伪喂 畏 纬慰畏蟿蔚委伪 蟿慰蠀 尾喂尾位委慰蠀:螡伪 蔚蟻蔚胃委蟽蔚喂 蟿慰 渭蠀伪位蠈 蟽慰蠀 魏伪喂 委蟽蠅蟼 谓伪 蠂维蟽蔚喂蟼 蟿畏谓 畏蟻蔚渭委伪 蟽慰蠀.
螛蔚蟼 谓伪 未蔚喂蟼 蟺蠈蟽畏 伪魏蠈渭畏 魏伪魏喂伪 蠂蠅蟻维蔚喂 蟽麓伪蠀蟿蠈 蟿慰 渭喂魏蟻蠈 魏慰蟻渭委 渭蔚 蟿慰 蟺伪谓慰蠉蟻纬慰 渭蠀伪位蠈.
危蔚 蟺慰位位维 蟽畏渭蔚委伪 魏伪蟿维蠁蔚蟻蔚 谓伪 渭蔚 蔚魏谓蔚蠀蟻委蟽蔚喂 慰 萎蟻蠅伪蟼,伪位位伪 伪蠀蟿萎 谓慰渭委味蠅 蔚喂谓伪喂 畏 纬慰畏蟿蔚委伪 蟿慰蠀 尾喂尾位委慰蠀:螡伪 蔚蟻蔚胃委蟽蔚喂 蟿慰 渭蠀伪位蠈 蟽慰蠀 魏伪喂 委蟽蠅蟼 谓伪 蠂维蟽蔚喂蟼 蟿畏谓 畏蟻蔚渭委伪 蟽慰蠀.
螛蔚蟼 谓伪 未蔚喂蟼 蟺蠈蟽畏 伪魏蠈渭畏 魏伪魏喂伪 蠂蠅蟻维蔚喂 蟽麓伪蠀蟿蠈 蟿慰 渭喂魏蟻蠈 魏慰蟻渭委 渭蔚 蟿慰 蟺伪谓慰蠉蟻纬慰 渭蠀伪位蠈.
June 20, 2021
讴賵鬲賵賱賴 丌蹖蹖賳賴 鬲賲丕賲 賳賲丕蹖 禺賵丿 賲丕爻鬲貙 丕蹖賳 丕賵賱蹖賳 噩賲賱賴 丕蹖 亘賵丿 讴賴 亘毓丿 丕夭 禺賵丕賳丿賳 讴鬲丕亘 亘賴 匕賴賳賲 丌賲丿貙 丿乇 丕亘鬲丿丕 卮丕蹖丿 乇賮鬲丕乇 讴賵鬲賵賱賴 毓噩蹖亘 賵 睾蹖乇 丕賳爻丕賳蹖 亘賵丿 賵賱蹖 亘毓丿 丕夭 讴賲蹖 丿賯鬲 賵 鬲賱胤蹖賮 賲丕噩乇丕 賴丕 亘賴 丕蹖賳 賳鬲蹖噩賴 賲蹖鈥屫必驰屫� 讴賴 丕蹖賳 禺賵丿 丕賳爻丕賳 丕爻鬲 亘丕 賴賲丕賳 倬爻鬲蹖 賴丕 賵 賱卅丕賲鬲鈥屬囏й� 賵噩賵丿卮.
讴鬲丕亘 亘賴 卮丿鬲 禺賵丕賳丿賳蹖爻鬲 賵 倬丕蹖丕賳 亘賳丿蹖 賲丨讴賲蹖 丿丕乇丿 倬乇賱丕诏乇讴賵蹖爻鬲 亘賴 丨賯 丕夭 倬爻 賳賲丕蹖卮 賮乇賵賲丕蹖诏蹖 丕賳爻丕賳 亘乇 丌賲丿賴 丕爻鬲
讴鬲丕亘 亘賴 卮丿鬲 禺賵丕賳丿賳蹖爻鬲 賵 倬丕蹖丕賳 亘賳丿蹖 賲丨讴賲蹖 丿丕乇丿 倬乇賱丕诏乇讴賵蹖爻鬲 亘賴 丨賯 丕夭 倬爻 賳賲丕蹖卮 賮乇賵賲丕蹖诏蹖 丕賳爻丕賳 亘乇 丌賲丿賴 丕爻鬲
August 9, 2017
螒蠀蟿蠈 蟿慰 尾喂尾位委慰 蟿慰 位维蟿蟻蔚蠄伪. 螠苇蟽伪 伪蟺蠈 蟿伪 渭维蟿喂伪 蔚谓蠈蟼 蟺蔚蟻喂胃蠅蟻喂伪魏慰蠉 伪蟿蠈渭慰蠀, 尾位苇蟺慰蠀渭蔚 尾伪胃喂维 渭苇蟽伪 蟽蟿喂蟼 蠄蠀蠂苇蟼 蟿蠅谓 伪谓胃蟻蠋蟺蠅谓 (纬喂伪蟿委 渭蟺蟻慰蟽蟿维 蟽蔚 魏维蟺慰喂慰谓 蟺慰蠀 未蔚谓 蠀蟺维蟻蠂蔚喂, 蠈位慰喂 纬未蠉谓慰谓蟿伪喂 蔚蠉魏慰位伪).
February 13, 2016
May be 4 and half stars.
I can speak much about this novel. That itself is a warning I give to myself. For I will be tending to blabber and bore the hell out of the reader. So instead, let me try to be precise with my observations and impressions by ordering them in neat points.
1. This is my fifth book by Lagerkvist. And unlike the other books, the theme of religion is not extensively treated in this one. I love Lagerkvist for his thoughts on religion. This novel bears some jottings on religion. But then when compared with his other works, the jottings are bare minimum.
2. This is a book that contains many allusions.
3. For instance, this book was written when the World War II was at its peak. This novel can be seen as an allegory of the World Wars.
Here is an excerpt on the war by the dwarf, who also likes to record everything. In fact, the whole novel is in the form of dwarf's recording of events. Here it goes: "And so, the plague has put an end to the war as nothing else could have done. Both countries are pillaged, particularly our own. The populations are probably too exhausted after two wars to be able to go on." Though simple in its observation, at the end of this novel reading such comment invariably reminds the reader of the two World Wars in quick succession and its horrific effects.
4. As it is said in the spoiler, the king of the place is always addressed as the Prince with the capital P. That is another important allusion to Niccolo Machiavelli's . It seems to be a political book that alludes to Hitler in Nazi Germany. This allusion lends the work all the more historically important.
5. It is at this stage important to note that the dwarf who is the servant of the Prince is also alluded to be the dark side of the Prince. The dwarf stands for the dark secret of any human being in general. What is the dark secret? Or that which every human being harbours in his inner most self? Lagerkvist states that it is the hatred for one's own race and love of violence. Now, once again connect the figure of Hitler with the Prince and Hitler's desire to rule over the world with the Prince's waging war to destroy his enemy. The picture is complete. On war, the following is the dwarf's opinion: "Enemy country is enemy country and must be treated as such. That is the law of war. It may be cruel, but war and cruelty go together; there is no getting away from it. One must exterminate the people against whom one is fighting and ravage the land so that it cannot rise again. It can be very dangerous t leave a few opposition centres in the rear; one must know that one's back is free."
It is also to be noted that whenever the dwarf records the events of war, he records it with such ecstasy.
6. This is also a novel about the psychological id - the base desire. The base desire is the desire to kill the other, especially the one belonging to your race. The Id is present in everyone. Only that everyone likes to hide it at the innermost dungeons of his/her soul. That is what happens at last to the dwarf in the novel. He is feared by everyone and held to be responsible for all the events in the city. So he is arrested and taken to the deepest cell in the dungeon of the castle and is fastened to the wall by chains. Here is the best ever monologue of the dwarf at this time:
"What does it matter if I sit here in the dungeon? What good does it do if they clap me in irons? I still belong to the castle just as much as before! To prove it they have even welded me to it! We are forged together, it and I! We cannot escape from each other, my master and I! If I am imprisoned, then he is imprisoned too! If I am linked to him, then he too is linked to me! Here I am in my hole, living my obscure mole life, while he goes about in his fine handsome halls. But my life is also his, and his noble highly respectable life up there really belongs to me."
Final Statement: A powerful novel with many number of allusions. Let the reader also be aware that I have left unsaid many other aspects of this book. For instance, the dwarf's sarcastic take on love and peace; and religion and faith.
I can speak much about this novel. That itself is a warning I give to myself. For I will be tending to blabber and bore the hell out of the reader. So instead, let me try to be precise with my observations and impressions by ordering them in neat points.
1. This is my fifth book by Lagerkvist. And unlike the other books, the theme of religion is not extensively treated in this one. I love Lagerkvist for his thoughts on religion. This novel bears some jottings on religion. But then when compared with his other works, the jottings are bare minimum.
2. This is a book that contains many allusions.
3. For instance, this book was written when the World War II was at its peak. This novel can be seen as an allegory of the World Wars.
Here is an excerpt on the war by the dwarf, who also likes to record everything. In fact, the whole novel is in the form of dwarf's recording of events. Here it goes: "And so, the plague has put an end to the war as nothing else could have done. Both countries are pillaged, particularly our own. The populations are probably too exhausted after two wars to be able to go on." Though simple in its observation, at the end of this novel reading such comment invariably reminds the reader of the two World Wars in quick succession and its horrific effects.
4. As it is said in the spoiler, the king of the place is always addressed as the Prince with the capital P. That is another important allusion to Niccolo Machiavelli's . It seems to be a political book that alludes to Hitler in Nazi Germany. This allusion lends the work all the more historically important.
5. It is at this stage important to note that the dwarf who is the servant of the Prince is also alluded to be the dark side of the Prince. The dwarf stands for the dark secret of any human being in general. What is the dark secret? Or that which every human being harbours in his inner most self? Lagerkvist states that it is the hatred for one's own race and love of violence. Now, once again connect the figure of Hitler with the Prince and Hitler's desire to rule over the world with the Prince's waging war to destroy his enemy. The picture is complete. On war, the following is the dwarf's opinion: "Enemy country is enemy country and must be treated as such. That is the law of war. It may be cruel, but war and cruelty go together; there is no getting away from it. One must exterminate the people against whom one is fighting and ravage the land so that it cannot rise again. It can be very dangerous t leave a few opposition centres in the rear; one must know that one's back is free."
It is also to be noted that whenever the dwarf records the events of war, he records it with such ecstasy.
6. This is also a novel about the psychological id - the base desire. The base desire is the desire to kill the other, especially the one belonging to your race. The Id is present in everyone. Only that everyone likes to hide it at the innermost dungeons of his/her soul. That is what happens at last to the dwarf in the novel. He is feared by everyone and held to be responsible for all the events in the city. So he is arrested and taken to the deepest cell in the dungeon of the castle and is fastened to the wall by chains. Here is the best ever monologue of the dwarf at this time:
"What does it matter if I sit here in the dungeon? What good does it do if they clap me in irons? I still belong to the castle just as much as before! To prove it they have even welded me to it! We are forged together, it and I! We cannot escape from each other, my master and I! If I am imprisoned, then he is imprisoned too! If I am linked to him, then he too is linked to me! Here I am in my hole, living my obscure mole life, while he goes about in his fine handsome halls. But my life is also his, and his noble highly respectable life up there really belongs to me."
Final Statement: A powerful novel with many number of allusions. Let the reader also be aware that I have left unsaid many other aspects of this book. For instance, the dwarf's sarcastic take on love and peace; and religion and faith.
May 3, 2018
螘委谓伪喂 蟿慰 蟻喂味喂魏蠈 渭慰蠀 谓伪 渭喂蟽蠋 蟿慰蠀蟼 未喂魏慰蠉蟼 渭慰蠀 伪谓胃蟻蠋蟺慰蠀蟼. 韦畏 蟻维蟿蟽伪 渭慰蠀 蟿畏 尾蟻委蟽魏蠅 蟽喂蠂伪渭蔚蟻萎. 螒位位维 魏伪喂 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀 蟿慰谓 渭喂蟽蠋. 韦蟻蠋蠅 蟿喂蟼 蠂慰位蔚蟻喂伪蟽渭苇谓蔚蟼 蟽维蟻魏蔚蟼 渭慰蠀. 巍慰蠀蠁维蠅 蟿慰 未畏位畏蟿畏蟻喂伪蟽渭苇谓慰 伪委渭伪 渭慰蠀. 螝维胃蔚 渭苇蟻伪 魏慰喂谓蠅谓蠋 渭蠈谓慰蟼 渭慰蠀 伪蟺蠈 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀, 蟽伪谓 蟽魏位畏蟻蠈蟼 渭苇纬伪蟼 喂蔚蟻苇伪蟼 蟿慰蠀 位伪慰蠉 渭慰蠀.
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螛苇位蠅 谓伪 蟺慰位蔚渭萎蟽蠅, 胃苇位蠅 谓伪 蟽魏慰蟿蠋蟽蠅! 螌蠂喂 纬喂伪 蟿畏谓 未蠈尉伪, 伪位位维 纬喂伪 蟿畏谓 委未喂伪 蟿畏谓 蟺蟻维尉畏! 螛苇位蠅 谓伪 未蠅 蟿慰谓 胃维谓伪蟿慰 魏伪喂 蟿慰谓 伪蠁伪谓喂蟽渭蠈 纬蠉蟻蠅 渭慰蠀.螖喂蠄维蠅 纬喂伪 伪委渭伪!
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螤慰喂慰蟼 尉苇蟻蔚喂 蟿喂 蔚纬蠋, 慰 谓维谓慰蟼 魏蟻蠉尾蠅 蟽蟿伪 魏伪蟿维尾伪胃伪 蟿畏蟼 蠄蠀蠂萎蟼 渭慰蠀, 蠈蟺慰蠀 伪蟺慰位蠉蟿蠅蟼 魏伪谓苇谓伪蟼 未蔚谓 苇蠂蔚喂 蟿畏谓 蟺伪蟻伪渭喂魏蟻萎 蟺蟻蠈蟽尾伪蟽畏. 螤慰喂慰蟼 尉苇蟻蔚喂 蟿喂 魏蟻蠉尾蔚喂 畏 蠄蠀蠂萎 蟿慰蠀 谓维谓慰蠀, 畏 蟺喂慰 魏位蔚喂未蠅渭苇谓畏 伪蟺鈥� 蠈位蔚蟼 蟿喂蟼 蠄蠀蠂苇蟼; 螤慰喂慰蟼 渭蟺慰蟻蔚委 谓伪 渭伪谓蟿苇蠄蔚喂 蟿畏谓 伪位畏胃喂谓萎 渭慰蠀 蟿伪蠀蟿蠈蟿畏蟿伪; 螝伪位蠉蟿蔚蟻伪 纬喂鈥� 伪蠀蟿慰蠉蟼 蟺慰蠀 未蔚谓 蟿慰 渭蟺慰蟻慰蠉谓, 纬喂伪蟿委 伪谓 渭维胃伪喂谓伪谓, 胃伪 蟺苇胃伪喂谓伪谓 伪蟺蠈 蟿慰谓 蟿蟻蠈渭慰 蟿慰蠀蟼. 螒谓 渭维胃伪喂谓伪谓, 蟿慰 蠂伪渭蠈纬蔚位慰 胃伪 苇蟽尾畏谓蔚 纬喂伪 蟺维谓蟿伪 伪蟺蠈 蟿伪 蟺蟻蠈蟽蠅蟺伪 魏伪喂 蟿伪 蠂蔚委位畏 蟿慰蠀蟼, 胃伪 渭伪蟻伪味蠋谓伪谓蔚 纬喂伪 蟺维谓蟿伪鈥�
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螣 螤蔚蟻 螞维纬魏蔚蟻魏尾喂蟽蟿 (1891-1974) [螡蠈渭蟺蔚位 1951] 未畏渭慰蟽喂蔚蠉蔚喂 蟿慰 1944 蟿畏 谓慰蠀尾苇位伪 芦螣 螡维谓慰蟼禄 (Dv盲rgen) 魏伪喂 渭伪蟼 蟽蠀蟽蟿萎谓蔚喂 苇谓伪谓 蠂伪蟻伪魏蟿萎蟻伪 蟺慰蠀 胃伪 位苇纬伪渭蔚 蟺蠅蟼 蔚委谓伪喂 畏 魏伪胃伪蟻萎 慰蠀蟽委伪 蟿慰蠀 魏伪魏慰蠉 蟺慰蠀 蠀蟺维蟻蠂蔚喂 蟽蔚 魏维胃蔚 维谓胃蟻蠅蟺慰. 危蔚 苇谓伪 蟺蟻喂纬魏喂蟺维蟿慰 蟿畏蟼 螜蟿伪位委伪蟼 蟿畏谓 蟺蔚蟻委慰未慰 蟿畏蟼 螒谓伪纬苇谓谓畏蟽畏蟼 味蔚喂 苇谓伪蟼 螡维谓慰蟼, 蟺慰蠀 苇蠂蔚喂 蠉蠄慰蟼 渭蠈位喂蟼 66 蔚魏伪蟿慰蟽蟿维, 魏蠈魏魏喂谓伪 渭伪位位喂维 魏伪喂 蠁蟻蠉未喂伪 蟺慰蠀 蟽渭委纬慰蠀谓, 蠈蟺蠅蟼 渭伪蟼 伪蟺慰魏伪位蠉蟺蟿蔚喂 慰 委未喂慰蟼. 螠喂蟽蔚委 蟿慰蠀蟼 蟺维谓蟿蔚蟼 魏伪喂 蟿伪 蟺维谓蟿伪, 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蟻维蟿蟽伪 伪位位维 魏伪喂 蟿畏 未喂魏萎 蟿慰蠀, 蟿慰谓 苇蟻蠅蟿伪, 蟿慰 纬苇位喂慰 魏伪喂 慰蟿喂未萎蟺慰蟿蔚 渭蟺慰蟻蔚委 谓伪 未蠋蟽蔚喂 蠂伪蟻维 蟽蔚 魏维蟺慰喂慰谓, 魏伪胃蠋蟼 慰 委未喂慰蟼 未蔚 纬谓蠅蟻委味蔚喂 蟿慰 伪委蟽胃畏渭伪. 螣蠀蟽喂伪蟽蟿喂魏维, 蟿慰 尾喂尾位委慰 蔚委谓伪喂 慰喂 蟽畏渭蔚喂蠋蟽蔚喂蟼 蟿慰蠀, 蟿慰 蟺蟻慰蟽蠅蟺喂魏蠈 蟿慰蠀 畏渭蔚蟻慰位蠈纬喂慰, 畏 味蠅萎 蟿慰蠀 蟽蟿畏谓 螒蠀位萎 蟿慰蠀 螤蟻委纬魏喂蟺伪. 螘魏蔚委 味蔚喂 渭蠈谓慰蟼 蟿慰蠀 伪蠁慰蠉 蟽蟿蟻伪纬纬维位喂蟽蔚 蟿慰谓 螜蠅伪蟽伪蠁维蟿, 蟿慰谓 苇蟿蔚蟻慰 谓维谓慰.
螣 蠂伪蟻伪魏蟿萎蟻伪蟼 蟿慰蠀 谓维谓慰蠀 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蔚谓未喂伪蠁苇蟻蠅谓 魏伪胃蠋蟼 蔚谓蟽伪蟻魏蠋谓蔚喂 蟿慰 魏伪胃伪蟻蠈 魏伪魏蠈. 螘委谓伪喂 畏 伪蟺蠈位蠀蟿畏 渭谓畏蟽喂魏伪魏委伪, 畏 未委蠄伪 纬喂伪 伪委渭伪, 畏 伪蟺苇蠂胃蔚喂伪 魏伪喂 魏维胃蔚 伪蟻谓畏蟿喂魏蠈 魏伪喂 胃伪谓维蟽喂渭慰 蟽蠀谓伪委蟽胃畏渭伪. 螤伪蟻维位位畏位伪, 蔚蟺喂未蔚喂魏谓蠉蔚喂 魏伪喂 渭喂伪 蟺伪纬蔚蟻萎 伪未喂伪蠁慰蟻委伪, 苇位位蔚喂蠄畏 蔚谓蟽蠀谓伪委蟽胃畏蟽畏蟼, 魏伪喂 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏伪蟿伪位维尾蔚喂 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 慰蟿喂未萎蟺慰蟿蔚 蔚委谓伪喂 蔚魏蟿蠈蟼 蟿慰蠀 喂慰尾蠈位慰蠀 蟿慰蠀 魏蠈蟽渭慰蠀.
螚 未委蠄伪 纬喂伪 蟺蠈位蔚渭慰 蟺蟻慰未委未蔚喂 尾苇尾伪喂伪 魏伪喂 蟿畏谓 蟿伪蠉蟿喂蟽畏 蟿慰蠀 谓维谓慰蠀 渭蔚 蟿慰 螡伪味喂蟽渭蠈 魏伪喂 蟿慰 魏伪胃伪蟻蠈 魏伪魏蠈. 螣 螡维谓慰蟼-围委蟿位蔚蟻 未蔚谓 伪谓苇蠂蔚蟿伪喂 蟿慰 未喂伪蠁慰蟻蔚蟿喂魏蠈, 伪蟻苇蟽魏蔚蟿伪喂 蟽蟿慰 伪委渭伪 魏伪喂 位伪蟿蟻蔚蠉蔚喂 -蟿慰 渭蠈谓慰 胃蔚蟿喂魏蠈 伪委蟽胃畏渭伪 蟺慰蠀 苇蠂蔚喂- 蟿慰谓 伪蠁伪谓喂蟽渭蠈 慰蟺慰喂慰蠀未萎蟺慰蟿蔚 伪蟺蔚蠂胃维谓蔚蟿伪喂.
螣 螡维谓慰蟼 蟺慰蠀 苇蟺位伪蟽蔚 慰 螞维纬魏蔚蟻魏尾喂蟽蟿 渭蔚 纬慰萎蟿蔚蠀蟽蔚 蟿蟻慰渭蔚蟻维 纬喂伪蟿委 蔚委未伪 苇谓伪 渭苇蟻慰蟼 蟿慰蠀 蔚伪蠀蟿慰蠉 渭慰蠀 渭苇蟽伪 蟿慰蠀. 韦慰 渭苇蟻慰蟼 蟺慰蠀 蔚委谓伪喂 尾伪胃喂维 魏蟻蠀渭渭苇谓慰 蟽蟿慰谓 维谓胃蟻蠅蟺慰 蟽伪谓 蟽蟺蠈蟻慰蟼 蟺慰蠀 渭蔚 蟿喂蟼 魏伪蟿维位位畏位蔚蟼 蟽蠀谓胃萎魏蔚蟼 蠁蟻委魏畏蟼 魏伪喂 伪蟺伪谓胃蟻蠅蟺喂维蟼 渭蟺慰蟻蔚委 魏伪喂 谓伪 魏伪蟻蟺委蟽蔚喂. 螉蟽蠅蟼 纬喂伪 伪蠀蟿蠈 蟽喂蠂伪喂谓蠈渭伪蟽蟿蔚 魏伪喂, 蟽委纬慰蠀蟻伪, 蠁慰尾蠈渭伪蟽蟿蔚 蟿慰谓 螡维谓慰.
螆蠂蠅 蟺伪蟻伪蟿畏蟻萎蟽蔚喂 蠈蟿喂 渭蔚蟻喂魏苇蟼 蠁慰蟻苇蟼 蟺蟻慰魏伪位蠋 蟿慰 蠁蠈尾慰 蟽蟿慰蠀蟼 维位位慰蠀蟼路 蠈渭蠅蟼 伪蠀蟿蠈 蟺慰蠀 蠁慰尾慰蠉谓蟿伪喂 蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蔚委谓伪喂 慰 委未喂慰蟼 蟿慰蠀蟼 慰 蔚伪蠀蟿蠈蟼. 螡慰渭委味慰蠀谓 蠈蟿喂 蔚纬蠋 蟿慰蠀蟼 蟿蟻慰渭维味蠅, 伪位位维 伪蠀蟿蠈 蟺慰蠀 蟿慰蠀蟼 蟿蟻慰渭维味蔚喂 蔚委谓伪喂 慰 谓维谓慰蟼 渭苇蟽伪 蟿慰蠀蟼, 蟿慰 蟺喂胃畏魏蠈渭慰蟻蠁慰 伪谓胃蟻蠅蟺慰蔚喂未苇蟼 蟺慰蠀 蟽畏魏蠋谓蔚喂 蟿慰 魏蔚蠁维位喂 蟿慰蠀 伪蟺鈥� 蟿伪 尾维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀蟼. 桅慰尾慰蠉谓蟿伪喂 未喂蠈蟿喂 伪纬谓慰慰蠉谓 蠈蟿喂 魏蟻蠉尾慰蠀谓 渭苇蟽伪 蟿慰蠀蟼 魏喂 苇谓伪 维位位慰 慰谓. 韦蟻慰渭维味慰蠀谓 蠈蟿伪谓 魏维蟿喂 伪谓伪未蠉蔚蟿伪喂 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪 伪蟺蠈 渭苇蟽伪 蟿慰蠀蟼, 伪蟺蠈 魏维蟺慰喂慰 尾蠈胃蟻慰 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀蟼, 魏维蟿喂 蟿慰 慰蟺慰委慰 慰蠉蟿蔚 伪谓伪纬谓蠅蟻委味慰蠀谓 慰蠉蟿蔚 蔚委谓伪喂 渭苇蟻慰蟼 蟿畏蟼 蟽蠀谓蔚喂未畏蟿萎蟼 味蠅萎蟼 蟿慰蠀蟼. 螌蟿伪谓 未蔚 尾纬伪委谓蔚喂 蟿委蟺慰蟿伪 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪, 蔚委谓伪喂 蔚谓蟿蔚位蠋蟼 维蠁慰尾慰喂. 韦蟻喂纬蠀蟻委味慰蠀谓 蔚未蠋 魏喂 蔚魏蔚委 蠄畏位慰委 魏喂 伪谓苇渭蔚位慰喂, 渭蔚 蟿伪 位蔚委伪 魏喂 伪谓苇魏蠁蟻伪蟽蟿维 蟿慰蠀蟼 蟺蟻蠈蟽蠅蟺伪. 螒位位维 蟺维谓蟿慰蟿蔚 蠀蟺维蟻蠂蔚喂 魏维蟿喂 渭苇蟽伪 蟿慰蠀蟼 蟺慰蠀 伪纬谓慰慰蠉谓, 纬喂鈥� 伪蠀蟿蠈, 蠂蠅蟻委蟼 谓伪 蟿慰 尉苇蟻慰蠀谓, 味慰蠀谓 蟽蠀谓蔚蠂蠋蟼 蟺慰位位苇蟼 味蠅苇蟼. 螘委谓伪喂 蟿蠈蟽慰 蟺蔚蟻委蔚蟻纬伪 渭蠀蟽蟿喂魏慰蟺伪胃蔚委蟼 魏伪喂 伪谓蔚蟻渭维蟿喂蟽蟿慰喂. 螝伪喂 蔚委谓伪喂 蟺伪蟻伪渭慰蟻蠁蠅渭苇谓慰喂, 维位位慰 伪谓 伪蠀蟿蠈 未蔚谓 蠁伪委谓蔚蟿伪喂 蔚尉蠅蟿蔚蟻喂魏维.
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螛苇位蠅 谓伪 蟺慰位蔚渭萎蟽蠅, 胃苇位蠅 谓伪 蟽魏慰蟿蠋蟽蠅! 螌蠂喂 纬喂伪 蟿畏谓 未蠈尉伪, 伪位位维 纬喂伪 蟿畏谓 委未喂伪 蟿畏谓 蟺蟻维尉畏! 螛苇位蠅 谓伪 未蠅 蟿慰谓 胃维谓伪蟿慰 魏伪喂 蟿慰谓 伪蠁伪谓喂蟽渭蠈 纬蠉蟻蠅 渭慰蠀.螖喂蠄维蠅 纬喂伪 伪委渭伪!
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螤慰喂慰蟼 尉苇蟻蔚喂 蟿喂 蔚纬蠋, 慰 谓维谓慰蟼 魏蟻蠉尾蠅 蟽蟿伪 魏伪蟿维尾伪胃伪 蟿畏蟼 蠄蠀蠂萎蟼 渭慰蠀, 蠈蟺慰蠀 伪蟺慰位蠉蟿蠅蟼 魏伪谓苇谓伪蟼 未蔚谓 苇蠂蔚喂 蟿畏谓 蟺伪蟻伪渭喂魏蟻萎 蟺蟻蠈蟽尾伪蟽畏. 螤慰喂慰蟼 尉苇蟻蔚喂 蟿喂 魏蟻蠉尾蔚喂 畏 蠄蠀蠂萎 蟿慰蠀 谓维谓慰蠀, 畏 蟺喂慰 魏位蔚喂未蠅渭苇谓畏 伪蟺鈥� 蠈位蔚蟼 蟿喂蟼 蠄蠀蠂苇蟼; 螤慰喂慰蟼 渭蟺慰蟻蔚委 谓伪 渭伪谓蟿苇蠄蔚喂 蟿畏谓 伪位畏胃喂谓萎 渭慰蠀 蟿伪蠀蟿蠈蟿畏蟿伪; 螝伪位蠉蟿蔚蟻伪 纬喂鈥� 伪蠀蟿慰蠉蟼 蟺慰蠀 未蔚谓 蟿慰 渭蟺慰蟻慰蠉谓, 纬喂伪蟿委 伪谓 渭维胃伪喂谓伪谓, 胃伪 蟺苇胃伪喂谓伪谓 伪蟺蠈 蟿慰谓 蟿蟻蠈渭慰 蟿慰蠀蟼. 螒谓 渭维胃伪喂谓伪谓, 蟿慰 蠂伪渭蠈纬蔚位慰 胃伪 苇蟽尾畏谓蔚 纬喂伪 蟺维谓蟿伪 伪蟺蠈 蟿伪 蟺蟻蠈蟽蠅蟺伪 魏伪喂 蟿伪 蠂蔚委位畏 蟿慰蠀蟼, 胃伪 渭伪蟻伪味蠋谓伪谓蔚 纬喂伪 蟺维谓蟿伪鈥�
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螣 螤蔚蟻 螞维纬魏蔚蟻魏尾喂蟽蟿 (1891-1974) [螡蠈渭蟺蔚位 1951] 未畏渭慰蟽喂蔚蠉蔚喂 蟿慰 1944 蟿畏 谓慰蠀尾苇位伪 芦螣 螡维谓慰蟼禄 (Dv盲rgen) 魏伪喂 渭伪蟼 蟽蠀蟽蟿萎谓蔚喂 苇谓伪谓 蠂伪蟻伪魏蟿萎蟻伪 蟺慰蠀 胃伪 位苇纬伪渭蔚 蟺蠅蟼 蔚委谓伪喂 畏 魏伪胃伪蟻萎 慰蠀蟽委伪 蟿慰蠀 魏伪魏慰蠉 蟺慰蠀 蠀蟺维蟻蠂蔚喂 蟽蔚 魏维胃蔚 维谓胃蟻蠅蟺慰. 危蔚 苇谓伪 蟺蟻喂纬魏喂蟺维蟿慰 蟿畏蟼 螜蟿伪位委伪蟼 蟿畏谓 蟺蔚蟻委慰未慰 蟿畏蟼 螒谓伪纬苇谓谓畏蟽畏蟼 味蔚喂 苇谓伪蟼 螡维谓慰蟼, 蟺慰蠀 苇蠂蔚喂 蠉蠄慰蟼 渭蠈位喂蟼 66 蔚魏伪蟿慰蟽蟿维, 魏蠈魏魏喂谓伪 渭伪位位喂维 魏伪喂 蠁蟻蠉未喂伪 蟺慰蠀 蟽渭委纬慰蠀谓, 蠈蟺蠅蟼 渭伪蟼 伪蟺慰魏伪位蠉蟺蟿蔚喂 慰 委未喂慰蟼. 螠喂蟽蔚委 蟿慰蠀蟼 蟺维谓蟿蔚蟼 魏伪喂 蟿伪 蟺维谓蟿伪, 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蟻维蟿蟽伪 伪位位维 魏伪喂 蟿畏 未喂魏萎 蟿慰蠀, 蟿慰谓 苇蟻蠅蟿伪, 蟿慰 纬苇位喂慰 魏伪喂 慰蟿喂未萎蟺慰蟿蔚 渭蟺慰蟻蔚委 谓伪 未蠋蟽蔚喂 蠂伪蟻维 蟽蔚 魏维蟺慰喂慰谓, 魏伪胃蠋蟼 慰 委未喂慰蟼 未蔚 纬谓蠅蟻委味蔚喂 蟿慰 伪委蟽胃畏渭伪. 螣蠀蟽喂伪蟽蟿喂魏维, 蟿慰 尾喂尾位委慰 蔚委谓伪喂 慰喂 蟽畏渭蔚喂蠋蟽蔚喂蟼 蟿慰蠀, 蟿慰 蟺蟻慰蟽蠅蟺喂魏蠈 蟿慰蠀 畏渭蔚蟻慰位蠈纬喂慰, 畏 味蠅萎 蟿慰蠀 蟽蟿畏谓 螒蠀位萎 蟿慰蠀 螤蟻委纬魏喂蟺伪. 螘魏蔚委 味蔚喂 渭蠈谓慰蟼 蟿慰蠀 伪蠁慰蠉 蟽蟿蟻伪纬纬维位喂蟽蔚 蟿慰谓 螜蠅伪蟽伪蠁维蟿, 蟿慰谓 苇蟿蔚蟻慰 谓维谓慰.
螣 蠂伪蟻伪魏蟿萎蟻伪蟼 蟿慰蠀 谓维谓慰蠀 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏维 蔚谓未喂伪蠁苇蟻蠅谓 魏伪胃蠋蟼 蔚谓蟽伪蟻魏蠋谓蔚喂 蟿慰 魏伪胃伪蟻蠈 魏伪魏蠈. 螘委谓伪喂 畏 伪蟺蠈位蠀蟿畏 渭谓畏蟽喂魏伪魏委伪, 畏 未委蠄伪 纬喂伪 伪委渭伪, 畏 伪蟺苇蠂胃蔚喂伪 魏伪喂 魏维胃蔚 伪蟻谓畏蟿喂魏蠈 魏伪喂 胃伪谓维蟽喂渭慰 蟽蠀谓伪委蟽胃畏渭伪. 螤伪蟻维位位畏位伪, 蔚蟺喂未蔚喂魏谓蠉蔚喂 魏伪喂 渭喂伪 蟺伪纬蔚蟻萎 伪未喂伪蠁慰蟻委伪, 苇位位蔚喂蠄畏 蔚谓蟽蠀谓伪委蟽胃畏蟽畏蟼, 魏伪喂 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏伪蟿伪位维尾蔚喂 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 慰蟿喂未萎蟺慰蟿蔚 蔚委谓伪喂 蔚魏蟿蠈蟼 蟿慰蠀 喂慰尾蠈位慰蠀 蟿慰蠀 魏蠈蟽渭慰蠀.
螚 未委蠄伪 纬喂伪 蟺蠈位蔚渭慰 蟺蟻慰未委未蔚喂 尾苇尾伪喂伪 魏伪喂 蟿畏谓 蟿伪蠉蟿喂蟽畏 蟿慰蠀 谓维谓慰蠀 渭蔚 蟿慰 螡伪味喂蟽渭蠈 魏伪喂 蟿慰 魏伪胃伪蟻蠈 魏伪魏蠈. 螣 螡维谓慰蟼-围委蟿位蔚蟻 未蔚谓 伪谓苇蠂蔚蟿伪喂 蟿慰 未喂伪蠁慰蟻蔚蟿喂魏蠈, 伪蟻苇蟽魏蔚蟿伪喂 蟽蟿慰 伪委渭伪 魏伪喂 位伪蟿蟻蔚蠉蔚喂 -蟿慰 渭蠈谓慰 胃蔚蟿喂魏蠈 伪委蟽胃畏渭伪 蟺慰蠀 苇蠂蔚喂- 蟿慰谓 伪蠁伪谓喂蟽渭蠈 慰蟺慰喂慰蠀未萎蟺慰蟿蔚 伪蟺蔚蠂胃维谓蔚蟿伪喂.
螣 螡维谓慰蟼 蟺慰蠀 苇蟺位伪蟽蔚 慰 螞维纬魏蔚蟻魏尾喂蟽蟿 渭蔚 纬慰萎蟿蔚蠀蟽蔚 蟿蟻慰渭蔚蟻维 纬喂伪蟿委 蔚委未伪 苇谓伪 渭苇蟻慰蟼 蟿慰蠀 蔚伪蠀蟿慰蠉 渭慰蠀 渭苇蟽伪 蟿慰蠀. 韦慰 渭苇蟻慰蟼 蟺慰蠀 蔚委谓伪喂 尾伪胃喂维 魏蟻蠀渭渭苇谓慰 蟽蟿慰谓 维谓胃蟻蠅蟺慰 蟽伪谓 蟽蟺蠈蟻慰蟼 蟺慰蠀 渭蔚 蟿喂蟼 魏伪蟿维位位畏位蔚蟼 蟽蠀谓胃萎魏蔚蟼 蠁蟻委魏畏蟼 魏伪喂 伪蟺伪谓胃蟻蠅蟺喂维蟼 渭蟺慰蟻蔚委 魏伪喂 谓伪 魏伪蟻蟺委蟽蔚喂. 螉蟽蠅蟼 纬喂伪 伪蠀蟿蠈 蟽喂蠂伪喂谓蠈渭伪蟽蟿蔚 魏伪喂, 蟽委纬慰蠀蟻伪, 蠁慰尾蠈渭伪蟽蟿蔚 蟿慰谓 螡维谓慰.
螆蠂蠅 蟺伪蟻伪蟿畏蟻萎蟽蔚喂 蠈蟿喂 渭蔚蟻喂魏苇蟼 蠁慰蟻苇蟼 蟺蟻慰魏伪位蠋 蟿慰 蠁蠈尾慰 蟽蟿慰蠀蟼 维位位慰蠀蟼路 蠈渭蠅蟼 伪蠀蟿蠈 蟺慰蠀 蠁慰尾慰蠉谓蟿伪喂 蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蔚委谓伪喂 慰 委未喂慰蟼 蟿慰蠀蟼 慰 蔚伪蠀蟿蠈蟼. 螡慰渭委味慰蠀谓 蠈蟿喂 蔚纬蠋 蟿慰蠀蟼 蟿蟻慰渭维味蠅, 伪位位维 伪蠀蟿蠈 蟺慰蠀 蟿慰蠀蟼 蟿蟻慰渭维味蔚喂 蔚委谓伪喂 慰 谓维谓慰蟼 渭苇蟽伪 蟿慰蠀蟼, 蟿慰 蟺喂胃畏魏蠈渭慰蟻蠁慰 伪谓胃蟻蠅蟺慰蔚喂未苇蟼 蟺慰蠀 蟽畏魏蠋谓蔚喂 蟿慰 魏蔚蠁维位喂 蟿慰蠀 伪蟺鈥� 蟿伪 尾维胃畏 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀蟼. 桅慰尾慰蠉谓蟿伪喂 未喂蠈蟿喂 伪纬谓慰慰蠉谓 蠈蟿喂 魏蟻蠉尾慰蠀谓 渭苇蟽伪 蟿慰蠀蟼 魏喂 苇谓伪 维位位慰 慰谓. 韦蟻慰渭维味慰蠀谓 蠈蟿伪谓 魏维蟿喂 伪谓伪未蠉蔚蟿伪喂 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪 伪蟺蠈 渭苇蟽伪 蟿慰蠀蟼, 伪蟺蠈 魏维蟺慰喂慰 尾蠈胃蟻慰 蟿畏蟼 蠄蠀蠂萎蟼 蟿慰蠀蟼, 魏维蟿喂 蟿慰 慰蟺慰委慰 慰蠉蟿蔚 伪谓伪纬谓蠅蟻委味慰蠀谓 慰蠉蟿蔚 蔚委谓伪喂 渭苇蟻慰蟼 蟿畏蟼 蟽蠀谓蔚喂未畏蟿萎蟼 味蠅萎蟼 蟿慰蠀蟼. 螌蟿伪谓 未蔚 尾纬伪委谓蔚喂 蟿委蟺慰蟿伪 蟽蟿畏谓 蔚蟺喂蠁维谓蔚喂伪, 蔚委谓伪喂 蔚谓蟿蔚位蠋蟼 维蠁慰尾慰喂. 韦蟻喂纬蠀蟻委味慰蠀谓 蔚未蠋 魏喂 蔚魏蔚委 蠄畏位慰委 魏喂 伪谓苇渭蔚位慰喂, 渭蔚 蟿伪 位蔚委伪 魏喂 伪谓苇魏蠁蟻伪蟽蟿维 蟿慰蠀蟼 蟺蟻蠈蟽蠅蟺伪. 螒位位维 蟺维谓蟿慰蟿蔚 蠀蟺维蟻蠂蔚喂 魏维蟿喂 渭苇蟽伪 蟿慰蠀蟼 蟺慰蠀 伪纬谓慰慰蠉谓, 纬喂鈥� 伪蠀蟿蠈, 蠂蠅蟻委蟼 谓伪 蟿慰 尉苇蟻慰蠀谓, 味慰蠀谓 蟽蠀谓蔚蠂蠋蟼 蟺慰位位苇蟼 味蠅苇蟼. 螘委谓伪喂 蟿蠈蟽慰 蟺蔚蟻委蔚蟻纬伪 渭蠀蟽蟿喂魏慰蟺伪胃蔚委蟼 魏伪喂 伪谓蔚蟻渭维蟿喂蟽蟿慰喂. 螝伪喂 蔚委谓伪喂 蟺伪蟻伪渭慰蟻蠁蠅渭苇谓慰喂, 维位位慰 伪谓 伪蠀蟿蠈 未蔚谓 蠁伪委谓蔚蟿伪喂 蔚尉蠅蟿蔚蟻喂魏维.
October 10, 2018
Perfido, malvagio, cattivissimo
Romanzo ambientato in una corte rinascimentale italiana, in cui l鈥檌o narrante 鈥� assolutamente inaffidabile 鈥� 猫 il nano di corte.
Il Rinascimento descritto da Lagerkvist 猫, in realt脿, un鈥檈fficace rappresentazione degli orrori del secondo conflitto mondiale e il nano 猫 la personificazione della malvagit脿 umana.
Breve e molto bello.
Romanzo ambientato in una corte rinascimentale italiana, in cui l鈥檌o narrante 鈥� assolutamente inaffidabile 鈥� 猫 il nano di corte.
Il Rinascimento descritto da Lagerkvist 猫, in realt脿, un鈥檈fficace rappresentazione degli orrori del secondo conflitto mondiale e il nano 猫 la personificazione della malvagit脿 umana.
Breve e molto bello.
December 21, 2012
This sure feels like the type of book I would love: incredibly dark, misanthropic, (pseudo)philosophical. The dwarf Piccoline is one of the most miserably hateful characters I have encountered. Yet rather than luxuriating in his own hate, and allowing the reader to do the same, his evil is more a lack of humanity, his motivation as utilitarian as the author鈥檚 prose. Far from the anti-hero Underground Man, or the delicious villain Iago, Piccoline is somehow evil and completely indifferent. And perhaps that鈥檚 why I felt I couldn鈥檛 really sink my teeth into this short novel. Personally, I love characters that kill kittens, commit murders, and talk people into offing themselves, yet somehow the Dwarf just doesn鈥檛 do it for me. But maybe it's just me?
August 19, 2020
鈥滱gli uomini piace specchiarsi in specchi appannati鈥�.
Romanzo ambientato in una corte rinascimentale italiana in cui l鈥檌o narrante 猫 un perfido nano di corte, misogino, razzista, arrogante, cinico, violento, maligno, alla perenne ricerca del male in tutto ci貌 che lo circonda; un personaggio inquietante, estremo, un narratore totalmente inaffidabile. Attraverso il suo sguardo allucinato assistiamo (con angoscia) e partecipiamo (con orrore) alla vita di corte: amori, tradimenti, amicizie, invidie, guerre e strategie di conquista. Un insolito romanzo storico che pu貌 piacere anche a chi non frequenta il genere.
Romanzo ambientato in una corte rinascimentale italiana in cui l鈥檌o narrante 猫 un perfido nano di corte, misogino, razzista, arrogante, cinico, violento, maligno, alla perenne ricerca del male in tutto ci貌 che lo circonda; un personaggio inquietante, estremo, un narratore totalmente inaffidabile. Attraverso il suo sguardo allucinato assistiamo (con angoscia) e partecipiamo (con orrore) alla vita di corte: amori, tradimenti, amicizie, invidie, guerre e strategie di conquista. Un insolito romanzo storico che pu貌 piacere anche a chi non frequenta il genere.
February 24, 2016
"Os homens gostam de se ver reflectidos em espelhos turvos."
Que livro t茫o estranho...
Nem sei se gostei, ou n茫o. Devo ter gostado, porque o li sem qualquer tenta莽茫o de o abandonar ou ler em diagonal.
Picolino 茅 um an茫o que se alimenta do 贸dio que sente por tudo e por todos. Apenas gosta de duas coisas: de guerra e de si pr贸prio. Acha a morte natural e o amor uma aberra莽茫o. "Ouvi em seguida os dois criminosos beijarem-se muitas vezes, afirmando o seu m煤tuo amor duma maneira infantil e um pouco balbuciante. Era de causar calafrios." Atrav茅s de um di谩rio, relata as suas trai莽玫es, conspira莽玫es e os seus crimes; as vidas e amores dos que vivem na corte e que ele abomina e planeia destruir.
Por ser t茫o vil e perverso 茅 uma criatura repelente, no entanto, torna-se fascinante pela sua coragem, coer锚ncia e orgulho em ser quem 茅.
"Os homens sup玫em sem raz茫o que 茅 por minha causa que andam inquietos. O que na realidade os aterroriza 茅 o an茫o que se esconde neles, a caricatura humana de rosto simiesco que ergue por vezes a cabe莽a fora das profundezas do seu ser."
Pensando melhor, gostei deste livro. Gostei do An茫o. N茫o sei 茅 se gosto de me ver reflectida num espelho turvo...
Que livro t茫o estranho...
Nem sei se gostei, ou n茫o. Devo ter gostado, porque o li sem qualquer tenta莽茫o de o abandonar ou ler em diagonal.
Picolino 茅 um an茫o que se alimenta do 贸dio que sente por tudo e por todos. Apenas gosta de duas coisas: de guerra e de si pr贸prio. Acha a morte natural e o amor uma aberra莽茫o. "Ouvi em seguida os dois criminosos beijarem-se muitas vezes, afirmando o seu m煤tuo amor duma maneira infantil e um pouco balbuciante. Era de causar calafrios." Atrav茅s de um di谩rio, relata as suas trai莽玫es, conspira莽玫es e os seus crimes; as vidas e amores dos que vivem na corte e que ele abomina e planeia destruir.
Por ser t茫o vil e perverso 茅 uma criatura repelente, no entanto, torna-se fascinante pela sua coragem, coer锚ncia e orgulho em ser quem 茅.
"Os homens sup玫em sem raz茫o que 茅 por minha causa que andam inquietos. O que na realidade os aterroriza 茅 o an茫o que se esconde neles, a caricatura humana de rosto simiesco que ergue por vezes a cabe莽a fora das profundezas do seu ser."
Pensando melhor, gostei deste livro. Gostei do An茫o. N茫o sei 茅 se gosto de me ver reflectida num espelho turvo...
August 21, 2020
丿乇 賮蹖賱賲 氐賵乇鬲 夭禺賲蹖 爻讴丕賳爻蹖 賵噩賵丿 丿丕乇丿 讴賴 鬲賵賳蹖 賲賵賳鬲丕鬲丕 丿乇 乇爻鬲賵乇丕賳 賳卮爻鬲賴 賵 丿乇 丨丕賱蹖 讴賴 賲爻鬲 亘賵丿賴 亘賴 丿蹖诏乇丕賳 賲蹖诏賵蹖丿 賴賲賴 卮賲丕 丿乇 丿乇賵賳 禺賵丿 亘丿蹖 賴丕蹖 丿丕乇蹖丿 賵 賳蹖丕夭 亘賴 讴爻蹖 賲丕賳賳丿 賲賳 丿丕乇蹖丿 鬲丕 亘丕 丕賳诏卮鬲 丕賵 乇丕 賳卮丕賳 丿賴蹖丿 賵 亘诏賵蹖蹖丿 丕賵 丌丿賲 亘丿賴 丕爻鬲 . 丿乇 乇賲丕賳 讴賵鬲賵賱賴 賴賲 卮禺氐鬲 丕氐賱蹖 蹖毓賳蹖 賴賲丕賳 讴賵鬲賵賱賴 賴賲丕賳 丌丿賲 亘丿賴 丕爻鬲 賴賲丕賳 卮禺氐蹖 讴賴 賴賲賴 賲丕 讴賲蹖 丕夭 丌賳 乇丕 丿乇 賵噩賵丿賲丕賳 丿丕乇蹖賲.
讴賵鬲賵賱賴 賳賲丕丿 卮乇丕乇鬲 賵 亘丿禺賵丕賴蹖爻鬲 讴賴 丿乇 賴賲賴 丕賳爻丕賳 賴丕 賴爻鬲 賵 丕诏乇 讴賳鬲乇賱 賳卮賵丿 蹖丕 丿乇 鬲賯丕亘賱 亘丕 賳蹖賲賴 禺蹖乇 丕賳爻丕賳 倬蹖乇賵夭 賳卮賵丿 賲蹖鬲賵丕賳丿 毓賵丕賯亘 噩亘乇丕賳 賳丕倬匕蹖乇蹖 乇丕 亘賴 賴賲乇丕賴 丿丕卮鬲賴 亘丕卮丿 .
亘賴 卮禺氐賴 鬲氐賵乇 賲蹖讴賳賲 讴賴 丕賵賱 賵 丌禺乇 乇賲丕賳 禺賵亘 丕賲丕 丕賵丕爻胤 丌賳 讴賲蹖 讴賳丿 賵 賲賱丕賱 丌賵乇 亘賵丿 賵 丌賳 賯丿乇 亘乇丕蹖賲 丿賱趩爻亘 賳亘賵丿 讴賴 亘蹖卮鬲乇 丕夭 鄢 爻鬲丕乇賴 亘賴 丌賳 亘丿賴賲 .
讴賵鬲賵賱賴 賳賲丕丿 卮乇丕乇鬲 賵 亘丿禺賵丕賴蹖爻鬲 讴賴 丿乇 賴賲賴 丕賳爻丕賳 賴丕 賴爻鬲 賵 丕诏乇 讴賳鬲乇賱 賳卮賵丿 蹖丕 丿乇 鬲賯丕亘賱 亘丕 賳蹖賲賴 禺蹖乇 丕賳爻丕賳 倬蹖乇賵夭 賳卮賵丿 賲蹖鬲賵丕賳丿 毓賵丕賯亘 噩亘乇丕賳 賳丕倬匕蹖乇蹖 乇丕 亘賴 賴賲乇丕賴 丿丕卮鬲賴 亘丕卮丿 .
亘賴 卮禺氐賴 鬲氐賵乇 賲蹖讴賳賲 讴賴 丕賵賱 賵 丌禺乇 乇賲丕賳 禺賵亘 丕賲丕 丕賵丕爻胤 丌賳 讴賲蹖 讴賳丿 賵 賲賱丕賱 丌賵乇 亘賵丿 賵 丌賳 賯丿乇 亘乇丕蹖賲 丿賱趩爻亘 賳亘賵丿 讴賴 亘蹖卮鬲乇 丕夭 鄢 爻鬲丕乇賴 亘賴 丌賳 亘丿賴賲 .
September 5, 2016
Bleakly narrated by one of the more memorably nihilistic characters in modern literature, The Dwarf is a tale of struggles of an Italian medieval city-state as it withers from within. The plot points, war and intrigue, could come from any number of other works set in this period, and move the story briskly along, but the desolate philosophy underlying the action holds a singular fascination and weight. Filled with memorable epigrams for a doomed humanity. I'm not sure when this was written, but published in 1945, it seems apt that its composition seems to have coincided with WWII.
January 17, 2013
螖喂维尾伪蟽伪 蟿慰谓 "螡维谓慰" 魏伪喂 蔚委谓伪喂, 蟺蟻维纬渭伪蟿喂, 苇谓伪 蟺慰位蠉 魏伪位蠈 尾喂尾位委慰.
螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰谓 渭慰谓蠈位慰纬慰 蔚谓蠈蟼 谓维谓慰蠀, 伪蠀位喂魏慰蠉 魏维蟺慰喂慰蠀 螜蟿伪位慰蠉 蟺蟻委纬魏喂蟺伪 蟽蔚 魏维蟺慰喂伪 蟺伪蟻蔚位胃慰蠉蟽伪 蔚蟺慰蠂萎. 螆谓伪蟼 谓维谓慰蟼 魏伪魏蠈蟼 魏伪喂 魏蠀谓喂魏蠈蟼 蟺慰蠀 渭伪蟼 蔚尉喂蟽蟿慰蟻蔚委 纬喂伪 蟿慰谓 蟺蟻委纬魏喂蟺伪 蟿慰蠀 魏伪喂 纬喂伪 苇谓伪谓 蟺蠈位蔚渭慰 渭蔚 尉蔚魏喂谓维 渭蔚 魏维蟺慰喂慰谓 纬蔚委蟿慰谓伪.
危魏苇蠁蟿慰渭伪喂 蟺蠅蟼 蠈蟿伪谓 畏 蠁蠉蟽畏 苇蠂蔚喂 蠁伪谓蔚委 魏伪魏喂维 渭伪味委 蟽慰蠀 蔚委谓伪喂 伪蟻魏蔚蟿维 位慰纬喂魏蠈 谓伪 魏伪魏喂蠋谓蔚喂蟼 魏喂 蔚蟽蠉 魏伪喂 蟺蟻维纬渭伪蟿喂 伪蠀蟿蠈蟼 慰 谓维谓慰蟼 渭慰喂维味蔚喂 谓伪 渭喂蟽蔚委 蟿伪 蟺维谓蟿伪 魏喂 喂未喂伪委蟿蔚蟻伪 蟿慰蠉蟼 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蠈位伪 蠈蟽伪 伪蠀蟿慰委 蟽蠀谓畏胃委味慰蠀谓 蠈蟺蠅蟼 蟿慰 纬苇位喂慰 魏伪喂 蟿慰谓 苇蟻蠅蟿伪.
螣 魏蠀谓喂蟽渭蠈蟼 蟿慰蠉 谓维谓慰蠀 蔚委谓伪喂 伪谓蔚魏未喂萎纬畏蟿慰蟼, 纬喂伪 蟺伪蟻维未蔚喂纬渭伪:
芦螣 苇蟻蠅蟿伪蟼 蔚委谓伪喂 蟺维谓蟿慰蟿蔚 伪畏未喂伪蟽蟿喂魏蠈蟼, 伪位位维 慰 苇蟻蠅蟿伪蟼 渭蔚蟿伪尉蠉 伪蠀蟿蠋谓 蟿蠅谓 未蠉慰, 蟺慰蠀 蔚委谓伪喂 伪魏蠈渭畏 伪胃蠋伪 蟺伪喂未维蟻喂伪, 渭慰蠀 蠁维谓畏魏蔚 蟿慰 蟺喂慰 伪谓蟿喂蟺伪胃畏蟿喂魏蠈 胃苇伪渭伪 蟺慰蠀 苇蠂蠅 伪谓蟿喂魏蟻委蟽蔚喂 蟽蟿畏 味蠅萎 渭慰蠀. 螠蠈谓慰 蟺慰蠀 蟿慰蠀蟼 苇尾位蔚蟺伪, 蠁位蔚纬蠈渭慰蠀谓 伪蟺蠈 慰蟻纬萎 魏伪喂 伪纬伪谓维魏蟿畏蟽畏.禄
螠苇蟽伪 蟽蟿慰蠀蟼 萎蟻蠅蔚蟼 蠀蟺维蟻蠂蔚喂 魏喂 慰 螠蟺蔚蟻谓维蟻谓蟿慰, 蟺慰蠀 蟺伪蟻伪蟺苇渭蟺蔚喂 尉蔚魏维胃伪蟻伪 蟽蟿慰谓 螞蔚慰谓维蟻谓蟿慰 谓蟿伪 螔委谓蟿蟽畏: 蔚委谓伪喂 魏伪位蠈蟼 味蠅纬蟻维蠁慰蟼 魏伪喂 蟺伪蟻维位位畏位伪 渭畏蠂伪谓喂魏蠈蟼 蟺慰蠀 蟽蠂蔚未喂维味蔚喂 蟺慰位蔚渭喂魏苇蟼 渭畏蠂伪谓苇蟼 魏伪喂 苇蠂蔚喂 魏伪喂 苇谓伪 味蠅畏蟻蠈 蔚谓未喂伪蠁苇蟻慰谓 纬喂伪 蟿畏谓 伪谓伪蟿慰渭委伪. 螙蠅纬蟻伪蠁委味蔚喂 苇谓伪谓 螠蠀蟽蟿喂魏蠈 螖蔚委蟺谓慰 魏伪喂 苇谓伪 纬蠀谓伪喂魏蔚委慰 蟺慰蟻蟿蟻伪委蟿慰 蟿慰蠀 苇蠂蔚喂 苇谓伪 渭蠀蟽蟿畏蟻喂蠋未蔚蟼 蠂伪渭蠈纬蔚位慰 魏蟿位. 螆蟿蟽喂 委蟽蠅蟼 渭蟺慰蟻苇蟽慰蠀渭蔚 谓伪 蟿慰蟺慰胃蔚蟿萎蟽慰蠀渭蔚 蟿畏谓 喂蟽蟿慰蟻委伪 魏伪位蠉蟿蔚蟻伪 魏维蟺慰蠀 蟽蟿畏谓 螜蟿伪位委伪 蟿慰蠉 15慰 伪喂.
芦螌位伪 苇蠂慰蠀谓 蟿畏 未喂魏萎 蟿慰蠀蟼 蟽畏渭伪蟽委伪, 蠈位伪 蠈蟽伪 蟽蠀渭尾伪委谓慰蠀谓 魏伪喂 伪蟺伪蟽蠂慰位慰蠉谓 蟿慰 伪谓胃蟻蠋蟺喂谓慰 蔚委未慰蟼. 螒位位维 畏 委未喂伪 畏 味蠅萎 未蔚谓 蔚委谓伪喂 未蠀谓伪蟿蠈 谓伪 苇蠂蔚喂 蟽畏渭伪蟽委伪. 螒蠀蟿萎 蔚委谓伪喂 畏 未喂魏萎 渭慰蠀 维蟺慰蠄畏.禄
螖蔚谓 尉苇蟻蠅 魏伪蟿维 蟺蠈蟽慰 魏维蟺慰喂慰蟼 胃伪 胃蔚位萎蟽蔚喂 谓伪 尾蟻蔚喂 伪位位畏纬慰蟻委蔚蟼 魏蟿位. 渭苇蟽伪 蟽蟿慰 尾喂尾位委慰, 纬喂伪 蔚渭苇谓伪 蔚委谓伪喂 伪蟺位维 苇谓伪蟼 魏伪魏蠈蟼, 渭喂蟽维谓胃蟻蠅蟺慰蟼 谓维谓慰蟼, 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿慰谓 魏蠈蟽渭慰 渭苇蟽伪 伪蟺鈥� 蟿伪 渭维蟿喂伪 蟿慰蠀.
芦韦委 胃伪 萎蟿伪谓 畏 味蠅萎 伪谓 蟿慰 魏伪胃蔚蟿委 未蔚谓 萎蟿伪谓 渭维蟿伪喂慰; 螚 渭伪蟿伪喂蠈蟿畏蟿伪 蔚委谓伪喂 蟿慰 胃蔚渭苇位喂慰 蟿畏蟼 味蠅萎蟼.禄
韦慰 未喂维尾伪蟽伪 蠈蟺蠅蟼 蔚魏未蠈胃畏魏蔚 伪蟺蠈 蟿畏谓 蟽蔚喂蟻维 "危蠀位位慰纬萎 螔蟻伪尾蔚委伪 螡蠈渭蟺蔚位" 蟿慰蠉 螝伪蟽蟿伪谓喂蠋蟿畏. 螚 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠉 螘蟻蟻委魏慰蠀 螠蟺蔚位喂苇 未喂伪尾维味蔚蟿伪喂 蟽蟿蟻蠅蟿维 伪谓 魏伪喂, 未蠀蟽蟿蠀蠂蠋蟼, 蔚委谓伪喂 伪蟺蠈 蟿伪 螒纬纬位喂魏维 魏伪喂 蠈蠂喂 伪蟺蠈 蟿慰 蟽慰蠀畏未喂魏蠈 蟺蟻蠅蟿蠈蟿蠀蟺慰, 蟺蟻维纬渭伪 魏维蟺蠅蟼 蟺伪蟻维尉蔚谓慰 纬喂伪 苇谓伪 蟿苇蟿慰喂慰 苇蟻纬慰 伪蟺蠈 苇谓伪谓 渭蔚纬维位慰 慰委魏慰 蠈蟺蠅蟼 蔚委谓伪喂 慰 螝伪蟽蟿伪谓喂蠋蟿畏蟼. 螠蔚蟿维蠁蟻伪蟽畏 魏维蟺蠅蟼 纬蠀伪位喂蟽渭苇谓畏 魏喂 苇蟿蟽喂 渭慰蠀 苇魏伪谓蔚 蔚蠀蠂维蟻喂蟽蟿畏 蔚谓蟿蠉蟺蠅蟽畏 蟽伪谓 苇蟿蠀蠂伪 伪蟺蟻蠈蟽渭蔚谓伪 苇谓伪 尾慰蟻蔚喂慰蔚位位伪未委蟿喂魏慰 "谓伪 蟿畏谓 魏维谓蔚喂 蟺伪蟻苇伪" (蟽. 86).
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螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰谓 渭慰谓蠈位慰纬慰 蔚谓蠈蟼 谓维谓慰蠀, 伪蠀位喂魏慰蠉 魏维蟺慰喂慰蠀 螜蟿伪位慰蠉 蟺蟻委纬魏喂蟺伪 蟽蔚 魏维蟺慰喂伪 蟺伪蟻蔚位胃慰蠉蟽伪 蔚蟺慰蠂萎. 螆谓伪蟼 谓维谓慰蟼 魏伪魏蠈蟼 魏伪喂 魏蠀谓喂魏蠈蟼 蟺慰蠀 渭伪蟼 蔚尉喂蟽蟿慰蟻蔚委 纬喂伪 蟿慰谓 蟺蟻委纬魏喂蟺伪 蟿慰蠀 魏伪喂 纬喂伪 苇谓伪谓 蟺蠈位蔚渭慰 渭蔚 尉蔚魏喂谓维 渭蔚 魏维蟺慰喂慰谓 纬蔚委蟿慰谓伪.
危魏苇蠁蟿慰渭伪喂 蟺蠅蟼 蠈蟿伪谓 畏 蠁蠉蟽畏 苇蠂蔚喂 蠁伪谓蔚委 魏伪魏喂维 渭伪味委 蟽慰蠀 蔚委谓伪喂 伪蟻魏蔚蟿维 位慰纬喂魏蠈 谓伪 魏伪魏喂蠋谓蔚喂蟼 魏喂 蔚蟽蠉 魏伪喂 蟺蟻维纬渭伪蟿喂 伪蠀蟿蠈蟼 慰 谓维谓慰蟼 渭慰喂维味蔚喂 谓伪 渭喂蟽蔚委 蟿伪 蟺维谓蟿伪 魏喂 喂未喂伪委蟿蔚蟻伪 蟿慰蠉蟼 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蠈位伪 蠈蟽伪 伪蠀蟿慰委 蟽蠀谓畏胃委味慰蠀谓 蠈蟺蠅蟼 蟿慰 纬苇位喂慰 魏伪喂 蟿慰谓 苇蟻蠅蟿伪.
螣 魏蠀谓喂蟽渭蠈蟼 蟿慰蠉 谓维谓慰蠀 蔚委谓伪喂 伪谓蔚魏未喂萎纬畏蟿慰蟼, 纬喂伪 蟺伪蟻维未蔚喂纬渭伪:
芦螣 苇蟻蠅蟿伪蟼 蔚委谓伪喂 蟺维谓蟿慰蟿蔚 伪畏未喂伪蟽蟿喂魏蠈蟼, 伪位位维 慰 苇蟻蠅蟿伪蟼 渭蔚蟿伪尉蠉 伪蠀蟿蠋谓 蟿蠅谓 未蠉慰, 蟺慰蠀 蔚委谓伪喂 伪魏蠈渭畏 伪胃蠋伪 蟺伪喂未维蟻喂伪, 渭慰蠀 蠁维谓畏魏蔚 蟿慰 蟺喂慰 伪谓蟿喂蟺伪胃畏蟿喂魏蠈 胃苇伪渭伪 蟺慰蠀 苇蠂蠅 伪谓蟿喂魏蟻委蟽蔚喂 蟽蟿畏 味蠅萎 渭慰蠀. 螠蠈谓慰 蟺慰蠀 蟿慰蠀蟼 苇尾位蔚蟺伪, 蠁位蔚纬蠈渭慰蠀谓 伪蟺蠈 慰蟻纬萎 魏伪喂 伪纬伪谓维魏蟿畏蟽畏.禄
螠苇蟽伪 蟽蟿慰蠀蟼 萎蟻蠅蔚蟼 蠀蟺维蟻蠂蔚喂 魏喂 慰 螠蟺蔚蟻谓维蟻谓蟿慰, 蟺慰蠀 蟺伪蟻伪蟺苇渭蟺蔚喂 尉蔚魏维胃伪蟻伪 蟽蟿慰谓 螞蔚慰谓维蟻谓蟿慰 谓蟿伪 螔委谓蟿蟽畏: 蔚委谓伪喂 魏伪位蠈蟼 味蠅纬蟻维蠁慰蟼 魏伪喂 蟺伪蟻维位位畏位伪 渭畏蠂伪谓喂魏蠈蟼 蟺慰蠀 蟽蠂蔚未喂维味蔚喂 蟺慰位蔚渭喂魏苇蟼 渭畏蠂伪谓苇蟼 魏伪喂 苇蠂蔚喂 魏伪喂 苇谓伪 味蠅畏蟻蠈 蔚谓未喂伪蠁苇蟻慰谓 纬喂伪 蟿畏谓 伪谓伪蟿慰渭委伪. 螙蠅纬蟻伪蠁委味蔚喂 苇谓伪谓 螠蠀蟽蟿喂魏蠈 螖蔚委蟺谓慰 魏伪喂 苇谓伪 纬蠀谓伪喂魏蔚委慰 蟺慰蟻蟿蟻伪委蟿慰 蟿慰蠀 苇蠂蔚喂 苇谓伪 渭蠀蟽蟿畏蟻喂蠋未蔚蟼 蠂伪渭蠈纬蔚位慰 魏蟿位. 螆蟿蟽喂 委蟽蠅蟼 渭蟺慰蟻苇蟽慰蠀渭蔚 谓伪 蟿慰蟺慰胃蔚蟿萎蟽慰蠀渭蔚 蟿畏谓 喂蟽蟿慰蟻委伪 魏伪位蠉蟿蔚蟻伪 魏维蟺慰蠀 蟽蟿畏谓 螜蟿伪位委伪 蟿慰蠉 15慰 伪喂.
芦螌位伪 苇蠂慰蠀谓 蟿畏 未喂魏萎 蟿慰蠀蟼 蟽畏渭伪蟽委伪, 蠈位伪 蠈蟽伪 蟽蠀渭尾伪委谓慰蠀谓 魏伪喂 伪蟺伪蟽蠂慰位慰蠉谓 蟿慰 伪谓胃蟻蠋蟺喂谓慰 蔚委未慰蟼. 螒位位维 畏 委未喂伪 畏 味蠅萎 未蔚谓 蔚委谓伪喂 未蠀谓伪蟿蠈 谓伪 苇蠂蔚喂 蟽畏渭伪蟽委伪. 螒蠀蟿萎 蔚委谓伪喂 畏 未喂魏萎 渭慰蠀 维蟺慰蠄畏.禄
螖蔚谓 尉苇蟻蠅 魏伪蟿维 蟺蠈蟽慰 魏维蟺慰喂慰蟼 胃伪 胃蔚位萎蟽蔚喂 谓伪 尾蟻蔚喂 伪位位畏纬慰蟻委蔚蟼 魏蟿位. 渭苇蟽伪 蟽蟿慰 尾喂尾位委慰, 纬喂伪 蔚渭苇谓伪 蔚委谓伪喂 伪蟺位维 苇谓伪蟼 魏伪魏蠈蟼, 渭喂蟽维谓胃蟻蠅蟺慰蟼 谓维谓慰蟼, 蟺慰蠀 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿慰谓 魏蠈蟽渭慰 渭苇蟽伪 伪蟺鈥� 蟿伪 渭维蟿喂伪 蟿慰蠀.
芦韦委 胃伪 萎蟿伪谓 畏 味蠅萎 伪谓 蟿慰 魏伪胃蔚蟿委 未蔚谓 萎蟿伪谓 渭维蟿伪喂慰; 螚 渭伪蟿伪喂蠈蟿畏蟿伪 蔚委谓伪喂 蟿慰 胃蔚渭苇位喂慰 蟿畏蟼 味蠅萎蟼.禄
韦慰 未喂维尾伪蟽伪 蠈蟺蠅蟼 蔚魏未蠈胃畏魏蔚 伪蟺蠈 蟿畏谓 蟽蔚喂蟻维 "危蠀位位慰纬萎 螔蟻伪尾蔚委伪 螡蠈渭蟺蔚位" 蟿慰蠉 螝伪蟽蟿伪谓喂蠋蟿畏. 螚 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠉 螘蟻蟻委魏慰蠀 螠蟺蔚位喂苇 未喂伪尾维味蔚蟿伪喂 蟽蟿蟻蠅蟿维 伪谓 魏伪喂, 未蠀蟽蟿蠀蠂蠋蟼, 蔚委谓伪喂 伪蟺蠈 蟿伪 螒纬纬位喂魏维 魏伪喂 蠈蠂喂 伪蟺蠈 蟿慰 蟽慰蠀畏未喂魏蠈 蟺蟻蠅蟿蠈蟿蠀蟺慰, 蟺蟻维纬渭伪 魏维蟺蠅蟼 蟺伪蟻维尉蔚谓慰 纬喂伪 苇谓伪 蟿苇蟿慰喂慰 苇蟻纬慰 伪蟺蠈 苇谓伪谓 渭蔚纬维位慰 慰委魏慰 蠈蟺蠅蟼 蔚委谓伪喂 慰 螝伪蟽蟿伪谓喂蠋蟿畏蟼. 螠蔚蟿维蠁蟻伪蟽畏 魏维蟺蠅蟼 纬蠀伪位喂蟽渭苇谓畏 魏喂 苇蟿蟽喂 渭慰蠀 苇魏伪谓蔚 蔚蠀蠂维蟻喂蟽蟿畏 蔚谓蟿蠉蟺蠅蟽畏 蟽伪谓 苇蟿蠀蠂伪 伪蟺蟻蠈蟽渭蔚谓伪 苇谓伪 尾慰蟻蔚喂慰蔚位位伪未委蟿喂魏慰 "谓伪 蟿畏谓 魏维谓蔚喂 蟺伪蟻苇伪" (蟽. 86).
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March 6, 2019
Vinte e seis polegadas de altura , rosto imberbe , for莽a f铆sica consider谩vel sobretudo quando encolerizado. Voz profunda e taciturna . L铆ngua mordaz. Sem p谩tria, sem pai, nem m茫e , nascido secretamente entre os mais miser谩veis. Nutre 贸dio por si mesmo. Devora a sua " carne embebida em fel", bebe o seu " sangue envenenado". Guarda segredos no fundo do seu ser , onde ningu茅m nunca penetrou. Excita-se com a guerra , sente nojo dos homens , repugna-o o amor , n茫o se deixa influenciar pelo horror
"O que 茅 na realidade"? Mefist贸feles no meio de cortes茫os ou um misantropo na corte. Outras vezes, a nossa faceta mais negra e inconfess谩vel ou, n贸s, naqueles dias em que n茫o dev铆amos ter acordado.
Ri-me do princ铆pio ao fim com este 鈥榣ittle devil 鈥� presun莽oso. Inesquec铆vel!
"O que 茅 na realidade"? Mefist贸feles no meio de cortes茫os ou um misantropo na corte. Outras vezes, a nossa faceta mais negra e inconfess谩vel ou, n贸s, naqueles dias em que n茫o dev铆amos ter acordado.
Ri-me do princ铆pio ao fim com este 鈥榣ittle devil 鈥� presun莽oso. Inesquec铆vel!
July 9, 2015
螆谓伪 伪位位畏纬慰蟻喂魏蠈 魏蔚委渭蔚谓慰 蟺维谓蠅 蟽蟿伪 蠈蟻喂伪 蟿畏蟼 魏伪魏委伪蟼, 蟿慰蠀 谓维谓慰蠀, 蟺慰蠀 蔚谓蠀蟺维蟻蠂蔚喂 蟽蔚 蠈位慰蠀蟼 渭伪蟼, 渭喂伪 尾慰蠀蟿喂维 蟽蟿慰 维未蠀蟿慰 蟿畏蟼 渭喂蟽伪谓胃蟻蠅蟺委伪蟼 魏伪喂 蟿慰蠀 渭畏未蔚谓喂蟽渭慰蠉.
An allegorical text on the borders of malice, on the dwarf, which is inherent in all of us, a dip in the sanctuary of human misanthropy and nihilism.
An allegorical text on the borders of malice, on the dwarf, which is inherent in all of us, a dip in the sanctuary of human misanthropy and nihilism.
August 12, 2022
3,5 estrellas en realidad.
Buena novela de ficci贸n hist贸rica de P盲r Langerkvist, ganador del premio nobel de literatura del siglo pasado.
La trama escrita en primera persona relata las vivencias de un enano extremadamente despreciable y malvado al servicio de un pr铆ncipe en una corte italiana que de a poco ir谩 manejando los hilos para hacer valer su retorcido juicio y puntos de vista.
Esta novela la le铆 durante mi adolescencia y la verdad es que me result贸 bastante chocante, al menos para esa edad. Nunca hab铆a le铆do ni he vuelto a leer sobre un personaje tan malvado y despreciable como Piccolino que vali茅ndose de artima帽as busca satisfacer sus propios objetivos y hacer valer sus propios puntos de vista o hacer prevalecer lo que 茅l erradamente cree que es correcto. El gran problema es que el personaje tiene un alma tan corrupta y torcida que por supuesto termina haciendo que las cosas no salgan muy bien para 茅l lo que podr铆a hacernos pensar que aquello le dar谩 una lecci贸n o le har谩 cambiar de parecer de alguna forma, hacerlo mejor persona... pero no. Su forma de ver la vida es tan peculiar qu茅 sigue convencido que todo es un simple impase y que pronto lo necesitar谩n de nuevo. Lo que nos hace cuestionarnos seriamente cu谩n mal tiene que estar una persona para terminar viendo las cosas de aquella manera.
En fin, una novela cruda, descarnada, que nos mete en la piel de un ser feo y despreciable por dentro y por fuera, pero que pese a ello logra mantenernos interesados haci茅ndonos preguntar hasta d贸nde puede llegar la maldad de un ser humano, o de un enano en este caso.
Libro no para cualquiera. Recomiendo leerlo m谩s en la adultez cu谩ndo busques una lectura corta en paginas, pero densa en contenido.
Buena novela de ficci贸n hist贸rica de P盲r Langerkvist, ganador del premio nobel de literatura del siglo pasado.
La trama escrita en primera persona relata las vivencias de un enano extremadamente despreciable y malvado al servicio de un pr铆ncipe en una corte italiana que de a poco ir谩 manejando los hilos para hacer valer su retorcido juicio y puntos de vista.
Esta novela la le铆 durante mi adolescencia y la verdad es que me result贸 bastante chocante, al menos para esa edad. Nunca hab铆a le铆do ni he vuelto a leer sobre un personaje tan malvado y despreciable como Piccolino que vali茅ndose de artima帽as busca satisfacer sus propios objetivos y hacer valer sus propios puntos de vista o hacer prevalecer lo que 茅l erradamente cree que es correcto. El gran problema es que el personaje tiene un alma tan corrupta y torcida que por supuesto termina haciendo que las cosas no salgan muy bien para 茅l lo que podr铆a hacernos pensar que aquello le dar谩 una lecci贸n o le har谩 cambiar de parecer de alguna forma, hacerlo mejor persona... pero no. Su forma de ver la vida es tan peculiar qu茅 sigue convencido que todo es un simple impase y que pronto lo necesitar谩n de nuevo. Lo que nos hace cuestionarnos seriamente cu谩n mal tiene que estar una persona para terminar viendo las cosas de aquella manera.
En fin, una novela cruda, descarnada, que nos mete en la piel de un ser feo y despreciable por dentro y por fuera, pero que pese a ello logra mantenernos interesados haci茅ndonos preguntar hasta d贸nde puede llegar la maldad de un ser humano, o de un enano en este caso.
Libro no para cualquiera. Recomiendo leerlo m谩s en la adultez cu谩ndo busques una lectura corta en paginas, pero densa en contenido.
August 28, 2022
鈥溞⌒残� 褌邪 褋胁芯褉械褮邪 泻芯褬邪 褋械 蟹芯胁褍 褭褍写懈 懈 泻芯褬邪 屑械 懈褋锌褍褮邪胁邪褬褍 谐薪褍褕邪褮械屑 懈 芯写胁褉邪褌薪芯褕褯褍! 楔褌邪 褯械 芯薪懈 薪邪 芯胁芯褬 蟹械屑褭懈?鈥�
袣褉胁芯卸械写薪懈, 薪懈泻邪写 薪邪褋屑械褬邪薪, 邪褋械泻褋褍邪谢薪懈 屑懈蟹邪薪褌褉芯锌, 蟹谢芯褋褌邪胁褭邪薪懈 蟹谢芯褋褌邪胁褭邪褔. 小褌懈谐屑邪褌懈蟹芯胁邪薪邪 写褉褍谐芯褋褌 泻邪芯 斜褍屑械褉邪薪谐. 笑褉薪芯-斜械谢邪 斜邪褬泻邪 蟹邪 芯写褉邪褋谢械 褋褍锌褌懈谢薪芯 褋屑械褕邪薪邪 褍 褋懈胁懈谢芯 鈥� 褔芯胁械泻 薪懈褋泻芯谐 褉邪褋褌邪 锌芯褌懈褋泻褍褬械 泻褉懈胁懈褑褍, 邪谢懈 屑褍 谐褉懈卸邪 褋邪胁械褋褌 懈蟹斜懈褬邪 褍 褏邪谢褍褑懈薪邪褑懈褬懈 卸褉褌胁械. 鈥溞⊙傃€邪褕薪邪 屑芯褯鈥� 泻芯褬褍 褬械 锌芯褋褌懈谐邪芯 屑褍 鈥溞叫秆樞� 褔懈薪懈谢邪 蟹邪写芯胁芯褭褋褌胁芯鈥�, 胁械褯 褬械 芯褋褌邪胁懈谢邪 鈥溠傃冃逞� 懈 锌褉邪蟹薪懈薪褍鈥�. 袠邪泻芯 屑邪褬泻械 胁懈褕械 薪械 锌褉芯写邪褬褍 写械褑褍 懈薪胁邪谢懈写械 写邪 斜懈 泻褍锌懈谢械 锌褋邪, 邪 褕懈褕泻械 懈褋锌芯写 屑懈褕泻械 懈 褬褍褉芯写懈胁芯褋褌 薪懈褋褍 褍 褌褉械薪写褍, 蟹谢芯写褍褏 屑褉邪褔薪芯谐 褋褉械写褮械谐 胁械泻邪 懈 写邪褭械 谢械斜写懈. 袟邪褌芯 芯胁邪 锌邪褉邪斜芯谢邪 褋邪 (褌懈锌褋泻懈屑) 谢懈泻芯胁懈屑邪 芯写褍褉薪懈褏 泻邪褉邪泻褌械褉薪懈褏 褑褉褌邪 芯褋褌邪褬械 邪泻褌褍械谢薪邪.
鈥溞熝€懈屑械褌懈芯 褋邪屑 写邪 泻邪褌泻邪写 褍谢懈胁邪屑 褋褌褉邪褏. 袗谢懈 褋械 褭褍写懈 锌谢邪褕械 褋邪屑懈褏 褋械斜械. 袨薪懈 蟹邪屑懈褕褭邪褬褍 写邪 懈褏 褬邪 锌谢邪褕懈屑, 屑械褣褍褌懈屑, 褮懈褏 锌谢邪褕懈 泻械锌械褑 泻芯褬懈 褋械 泻褉懈褬械 褍 褮懈屑邪 鈥� 褭褍写褋泻邪 泻邪褉懈泻邪褌褍褉邪 屑邪褬屑褍薪褋泻芯谐 谢懈褑邪 泻芯褬邪 锌褉芯屑邪褭邪 谐谢邪胁褍 懈蟹 写褍斜懈薪械 褮懈褏芯胁械 写褍褕械.鈥�
鈥溞澬狙浶把� 褋褍 褋械写械谢懈 芯斜芯褬懈褑邪 写芯 锌芯褋谢械 锌芯薪芯褯懈 懈 褉邪蟹谐芯胁邪褉邪谢懈, 褉邪蟹谐芯胁邪褉邪谢懈 写褍卸械 薪械谐芯 懈泻邪写 写芯褋邪写. 袪邪蟹谐芯胁芯褉 懈褏 褬械 褋胁械 胁懈褕械 褉邪褋锌邪褭懈胁邪芯. 袚芯胁芯褉懈谢懈 褋褍 芯 锌褉懈褉芯写懈, 芯 褮械薪芯褬 胁械谢懈褔懈薪懈, 芯 褮械薪芯屑 斜械褋泻褉邪褬薪芯屑 斜芯谐邪褌褋褌胁褍. 袨 褋邪胁褉褕械薪芯褬 褋泻谢邪写薪芯褋褌懈 泻芯褬邪 胁谢邪写邪 褍 锌褉懈褉芯写懈, 芯 褮械薪芯褬 斜械褋泻芯薪邪褔薪芯褬 谢械锌芯褌懈. 袣褉芯蟹 卸懈谢械 褌械褔械 泻褉胁 泻邪芯 胁芯写邪 泻褉芯蟹 锌芯写蟹械屑薪械 褑械胁懈; 锌谢褍褯邪 写懈褕褍 泻邪芯 芯泻械邪薪, 褋邪 褮械谐芯胁芯屑 锌谢懈屑芯屑 懈 芯褋械泻芯屑; 泻芯褋褌褍褉 写褉卸懈 褌械谢芯 懈褋褌芯 泻邪芯 褕褌芯 褋谢芯褬 褋褌械薪邪 芯写褉卸邪胁邪 褌谢械, 褔懈褬邪 谐谢懈薪邪 锌褉械写褋褌邪胁褭邪 屑械褋芯. (鈥�) [袙]邪褌褉邪, 锌褉芯懈褋褌械泻谢邪 懈蟹 褋褍薪褑邪 (鈥�), 褌芯谐 懈蟹胁芯褉邪 褋胁械泻芯谢懈泻芯谐 卸懈胁芯褌邪 懈 褋胁械褌谢芯褋褌懈 泻芯褬邪 芯斜邪褋褬邪胁邪 褋胁邪 薪械斜械褋泻邪 褌械谢邪 胁邪褋懈芯薪械. 袌械褉 薪邪褕 褋胁械褌 褬械 褋邪屑芯 褬械写邪薪 芯写 褏懈褭邪写褍 写褉褍谐懈褏 褍 胁邪褋懈芯薪懈.鈥�
袩芯褋褌-邪薪褌褉芯锌芯褑械薪褌褉懈蟹邪屑: 鈥溞熝€芯写褉械褌懈 褍 褋褍褕褌懈薪褍 锌褉懈褉芯写械! 袣邪泻胁芯 褬械 蟹邪写芯胁芯褭褋褌胁芯 褍 褌芯屑械? 袣邪写 斜懈 褌芯 蟹邪懈褋褌邪 斜懈谢芯 屑芯谐褍褯械! 孝邪泻邪胁 锌褉懈蟹芯褉 斜懈 懈屑 薪邪褌械褉邪芯 褋褌褉邪褏 褍 泻芯褋褌懈. 袎褍写懈 褍芯斜褉邪卸邪胁邪褬褍 写邪 褬械 锌褉懈褉芯写邪 褋褌胁芯褉械薪邪 蟹邪 褮懈褏, 蟹邪屑懈褕褭邪褬褍 写邪 褬械 褋胁械 褌芯 蟹斜芯谐 褮懈褏, 褉邪写懈 褮懈褏芯胁芯谐 斜谢邪谐芯褋褌邪褮邪 懈 褮懈褏芯胁械 褋褉械褯械, 泻邪泻芯 斜懈 懈屑 卸懈胁芯褌 斜懈芯 胁械谢懈泻 懈 谢械锌. 楔褌邪 芯薪懈 蟹薪邪褬褍 芯 褌芯屑械? 袣邪泻芯 蟹薪邪褬褍 写邪 芯薪邪 斜褉懈薪械 芯 褮懈屑邪 懈 褮懈褏芯胁懈屑 褌邪泻芯 褋屑械褕薪懈屑 懈 褔褍写薪懈屑 卸械褭邪屑邪? // 袨薪懈 屑懈褋谢械 写邪 泻褮懈谐邪 锌褉懈褉芯写械 褋褌芯褬懈 芯褌胁芯褉械薪邪 锌褉械写 褮懈褏芯胁懈屑 芯褔懈屑邪 懈 写邪 屑芯谐褍 写邪 锌褉械胁褉褯褍 褮械薪械 谢懈褋褌芯胁械 锌芯 褋胁芯褬芯褬 胁芯褭懈, 褔邪泻 懈 芯薪写械 谐写械 薪械屑邪 薪懈褕褌邪 薪邪锌懈褋邪薪芯 懈 谐写械 褋械 薪邪谢邪蟹械 褋邪屑芯 褔懈褋褌械 褋褌褉邪薪懈褑械. 袘邪褕 褋褍 谢褍写懈 懈 褍芯斜褉邪卸械薪懈! 袏懈褏芯胁邪 褌邪褕褌懈薪邪 褬械 蟹斜懈褭邪 斜械褋泻褉邪褬薪邪. (鈥�) [袏懈褏芯胁邪] 屑懈褋邪芯 褏褌械谢邪 斜懈 薪械芯谐褉邪薪懈褔械薪芯 写邪 胁谢邪写邪 褬械写薪懈屑 褋胁械褌芯屑 泻芯褬懈 [懈屑] 薪械 锌褉懈锌邪写邪.鈥�
鈥溞⑿靶盒� 褬械 褑械谢邪 褭褍写褋泻邪 泻褍谢褌褍褉邪 褋邪屑芯 褬械写邪薪 锌芯泻褍褕邪褬. 小胁械 褋褌芯褬懈 芯褋邪泻邪褯械薪芯, 褌褉邪谐懈褔薪芯, 泻邪芯 褌芯褉蟹芯. 袟邪褉 薪懈褬械 懈 褋邪屑 褭褍写褋泻懈 写褍褏 褬械写邪薪 褌芯褉蟹芯?鈥�
袗锌褋褍褉写懈蟹邪屑: 鈥淸袦]芯卸械 褋械 褉械褯懈 写邪 褬械 卸懈胁芯褌 屑邪谢懈. 袛邪 褬械 斜械蟹薪邪褔邪褬邪薪, 斜械褋屑懈褋谢械薪 鈥� 斜褍斜懈褑邪 泻芯褬褍 屑芯卸械褕 薪芯泻褌芯屑 褋屑褉胁懈褌懈, 邪 写邪 懈 薪械 锌芯屑懈褋谢懈 写邪 褋械 褌芯屑械 褍褋锌褉芯褌懈胁懈. (鈥�) 小 懈蟹胁械褋薪芯谐 谐谢械写懈褕褌邪 屑芯卸写邪 褋胁械 懈屑邪 褋胁芯褬 褋屑懈褋邪芯, 褋胁械 褕褌芯 褋械 写芯谐邪褣邪 懈 褕褌芯 蟹邪薪懈屑邪 褭褍写械. 袗谢懈 褋邪屑 卸懈胁芯褌 薪械屑邪 薪懈泻邪泻胁芯谐 褋屑懈褋谢邪 懈 薪械 屑芯卸械 谐邪 懈屑邪褌懈.鈥�
袠薪写懈胁懈写褍邪谢懈蟹邪屑: 鈥溞椥把€ 屑芯谐褍 写褉褍谐懈 褭褍写懈 写邪 锌芯褋械写褍褬褍 屑芯褬械 褌械谢芯? 袨写胁褉邪褌薪芯 屑懈 褬械 懈 写邪 锌芯屑懈褋谢懈屑 薪邪 褌芯. (鈥�) [袌]邪 懈褋泻褭褍褔懈胁芯 锌芯褋械写褍褬械屑 芯薪芯 褕褌芯 褬械 屑芯褬械 懈 褕褌芯 褋邪褔懈褮邪胁邪 屑芯褬褍 谢懈褔薪芯褋褌.鈥�
鈥溞熜笛佇叫秆喰� 锌褉械 褋胁械谐邪 芯锌械胁邪褬褍 褭褍斜邪胁, 邪 褌芯 褬械 懈 锌褉邪胁芯, 褬械褉 薪懈褔械屑褍 薪懈褬械 褌邪泻芯 锌芯褌褉械斜薪芯 泻邪芯 褭褍斜邪胁懈 写邪 斜褍写械 芯薪芯 褕褌芯 褍褋褌胁邪褉懈 薪懈褬械. (鈥�) 袎褍斜邪胁 褬械 薪械褕褌芯 褕褌芯 褍屑懈褉械. 袠 泻邪写 褍屑褉械, 芯薪邪 褋械 锌褉械褌胁芯褉懈 褍 褌褉褍谢械卸 泻芯褬邪 屑芯卸械 写邪 锌芯褋谢褍卸懈 泻邪芯 锌谢芯写薪芯 褌谢械 蟹邪 褬械写薪褍 薪芯胁褍 褭褍斜邪胁. 袧邪 褌邪褬 薪邪褔懈薪 屑褉褌胁邪 褭褍斜邪胁 薪邪褋褌邪胁褭邪 褋胁芯褬 褌邪褬邪薪褋褌胁械薪懈 卸懈胁芯褌 褍 褭褍斜邪胁懈 泻芯褬邪 褋械 褉邪褣邪, 褌邪泻芯 褭褍斜邪胁 褍褋褌胁邪褉懈 锌芯褋褌邪褬械 斜械褋屑褉褌薪邪. (鈥�) 袎褍斜邪胁 褬械 褍胁械泻 薪械褕褌芯 芯写褍褉薪芯.鈥�
袎褍写懈 卸械谢械 写邪 斜褍写褍 胁芯褭械薪懈. 袧械泻芯谢懈泻芯 锌褍褌邪 褉邪褋锌谢邪泻邪褏 褌邪泻胁械 蟹邪谢褍褣械薪懈泻械 泻芯褬懈 屑懈褋谢械 写邪 褋械 褋胁械褌 胁褉褌懈 芯泻芯 褮懈褏. 袧械! 小胁械褌 褋械 胁褉褌懈 芯泻芯 褋胁邪泻芯谐 锌芯薪邪芯褋芯斜, 蟹邪 褋胁邪泻芯谐 锌芯薪邪芯褋芯斜. 鈥溞⌒残笛� 薪懈褬械 芯薪芯 芯泻芯 屑械薪械, 褋胁械褌 褋邪屑 褬邪,鈥� 褉械褔械 褬械写薪邪 芯褋芯斜邪. 袠谢懈 鈥溠佇残靶衡€� 蟹邪 褋械斜械,鈥� 泻邪卸械 褬械写邪薪 泻懈薪械褋泻懈 褎懈谢芯蟹芯褎.
鈥溞� 泻邪写 褋胁械褌懈薪邪 泻芯褬邪 胁械褉褍褬械 懈屑邪 写邪 斜懈褉邪 懈蟹屑械褣褍 懈褋褌懈薪械 懈 谢邪卸懈, 芯薪邪 褍胁械泻 懈蟹邪斜械褉械 芯胁芯 写褉褍谐芯.鈥�
(鈻篲冲鈼�)
袣褉胁芯卸械写薪懈, 薪懈泻邪写 薪邪褋屑械褬邪薪, 邪褋械泻褋褍邪谢薪懈 屑懈蟹邪薪褌褉芯锌, 蟹谢芯褋褌邪胁褭邪薪懈 蟹谢芯褋褌邪胁褭邪褔. 小褌懈谐屑邪褌懈蟹芯胁邪薪邪 写褉褍谐芯褋褌 泻邪芯 斜褍屑械褉邪薪谐. 笑褉薪芯-斜械谢邪 斜邪褬泻邪 蟹邪 芯写褉邪褋谢械 褋褍锌褌懈谢薪芯 褋屑械褕邪薪邪 褍 褋懈胁懈谢芯 鈥� 褔芯胁械泻 薪懈褋泻芯谐 褉邪褋褌邪 锌芯褌懈褋泻褍褬械 泻褉懈胁懈褑褍, 邪谢懈 屑褍 谐褉懈卸邪 褋邪胁械褋褌 懈蟹斜懈褬邪 褍 褏邪谢褍褑懈薪邪褑懈褬懈 卸褉褌胁械. 鈥溞⊙傃€邪褕薪邪 屑芯褯鈥� 泻芯褬褍 褬械 锌芯褋褌懈谐邪芯 屑褍 鈥溞叫秆樞� 褔懈薪懈谢邪 蟹邪写芯胁芯褭褋褌胁芯鈥�, 胁械褯 褬械 芯褋褌邪胁懈谢邪 鈥溠傃冃逞� 懈 锌褉邪蟹薪懈薪褍鈥�. 袠邪泻芯 屑邪褬泻械 胁懈褕械 薪械 锌褉芯写邪褬褍 写械褑褍 懈薪胁邪谢懈写械 写邪 斜懈 泻褍锌懈谢械 锌褋邪, 邪 褕懈褕泻械 懈褋锌芯写 屑懈褕泻械 懈 褬褍褉芯写懈胁芯褋褌 薪懈褋褍 褍 褌褉械薪写褍, 蟹谢芯写褍褏 屑褉邪褔薪芯谐 褋褉械写褮械谐 胁械泻邪 懈 写邪褭械 谢械斜写懈. 袟邪褌芯 芯胁邪 锌邪褉邪斜芯谢邪 褋邪 (褌懈锌褋泻懈屑) 谢懈泻芯胁懈屑邪 芯写褍褉薪懈褏 泻邪褉邪泻褌械褉薪懈褏 褑褉褌邪 芯褋褌邪褬械 邪泻褌褍械谢薪邪.
鈥溞熝€懈屑械褌懈芯 褋邪屑 写邪 泻邪褌泻邪写 褍谢懈胁邪屑 褋褌褉邪褏. 袗谢懈 褋械 褭褍写懈 锌谢邪褕械 褋邪屑懈褏 褋械斜械. 袨薪懈 蟹邪屑懈褕褭邪褬褍 写邪 懈褏 褬邪 锌谢邪褕懈屑, 屑械褣褍褌懈屑, 褮懈褏 锌谢邪褕懈 泻械锌械褑 泻芯褬懈 褋械 泻褉懈褬械 褍 褮懈屑邪 鈥� 褭褍写褋泻邪 泻邪褉懈泻邪褌褍褉邪 屑邪褬屑褍薪褋泻芯谐 谢懈褑邪 泻芯褬邪 锌褉芯屑邪褭邪 谐谢邪胁褍 懈蟹 写褍斜懈薪械 褮懈褏芯胁械 写褍褕械.鈥�
鈥溞澬狙浶把� 褋褍 褋械写械谢懈 芯斜芯褬懈褑邪 写芯 锌芯褋谢械 锌芯薪芯褯懈 懈 褉邪蟹谐芯胁邪褉邪谢懈, 褉邪蟹谐芯胁邪褉邪谢懈 写褍卸械 薪械谐芯 懈泻邪写 写芯褋邪写. 袪邪蟹谐芯胁芯褉 懈褏 褬械 褋胁械 胁懈褕械 褉邪褋锌邪褭懈胁邪芯. 袚芯胁芯褉懈谢懈 褋褍 芯 锌褉懈褉芯写懈, 芯 褮械薪芯褬 胁械谢懈褔懈薪懈, 芯 褮械薪芯屑 斜械褋泻褉邪褬薪芯屑 斜芯谐邪褌褋褌胁褍. 袨 褋邪胁褉褕械薪芯褬 褋泻谢邪写薪芯褋褌懈 泻芯褬邪 胁谢邪写邪 褍 锌褉懈褉芯写懈, 芯 褮械薪芯褬 斜械褋泻芯薪邪褔薪芯褬 谢械锌芯褌懈. 袣褉芯蟹 卸懈谢械 褌械褔械 泻褉胁 泻邪芯 胁芯写邪 泻褉芯蟹 锌芯写蟹械屑薪械 褑械胁懈; 锌谢褍褯邪 写懈褕褍 泻邪芯 芯泻械邪薪, 褋邪 褮械谐芯胁芯屑 锌谢懈屑芯屑 懈 芯褋械泻芯屑; 泻芯褋褌褍褉 写褉卸懈 褌械谢芯 懈褋褌芯 泻邪芯 褕褌芯 褋谢芯褬 褋褌械薪邪 芯写褉卸邪胁邪 褌谢械, 褔懈褬邪 谐谢懈薪邪 锌褉械写褋褌邪胁褭邪 屑械褋芯. (鈥�) [袙]邪褌褉邪, 锌褉芯懈褋褌械泻谢邪 懈蟹 褋褍薪褑邪 (鈥�), 褌芯谐 懈蟹胁芯褉邪 褋胁械泻芯谢懈泻芯谐 卸懈胁芯褌邪 懈 褋胁械褌谢芯褋褌懈 泻芯褬邪 芯斜邪褋褬邪胁邪 褋胁邪 薪械斜械褋泻邪 褌械谢邪 胁邪褋懈芯薪械. 袌械褉 薪邪褕 褋胁械褌 褬械 褋邪屑芯 褬械写邪薪 芯写 褏懈褭邪写褍 写褉褍谐懈褏 褍 胁邪褋懈芯薪懈.鈥�
袩芯褋褌-邪薪褌褉芯锌芯褑械薪褌褉懈蟹邪屑: 鈥溞熝€芯写褉械褌懈 褍 褋褍褕褌懈薪褍 锌褉懈褉芯写械! 袣邪泻胁芯 褬械 蟹邪写芯胁芯褭褋褌胁芯 褍 褌芯屑械? 袣邪写 斜懈 褌芯 蟹邪懈褋褌邪 斜懈谢芯 屑芯谐褍褯械! 孝邪泻邪胁 锌褉懈蟹芯褉 斜懈 懈屑 薪邪褌械褉邪芯 褋褌褉邪褏 褍 泻芯褋褌懈. 袎褍写懈 褍芯斜褉邪卸邪胁邪褬褍 写邪 褬械 锌褉懈褉芯写邪 褋褌胁芯褉械薪邪 蟹邪 褮懈褏, 蟹邪屑懈褕褭邪褬褍 写邪 褬械 褋胁械 褌芯 蟹斜芯谐 褮懈褏, 褉邪写懈 褮懈褏芯胁芯谐 斜谢邪谐芯褋褌邪褮邪 懈 褮懈褏芯胁械 褋褉械褯械, 泻邪泻芯 斜懈 懈屑 卸懈胁芯褌 斜懈芯 胁械谢懈泻 懈 谢械锌. 楔褌邪 芯薪懈 蟹薪邪褬褍 芯 褌芯屑械? 袣邪泻芯 蟹薪邪褬褍 写邪 芯薪邪 斜褉懈薪械 芯 褮懈屑邪 懈 褮懈褏芯胁懈屑 褌邪泻芯 褋屑械褕薪懈屑 懈 褔褍写薪懈屑 卸械褭邪屑邪? // 袨薪懈 屑懈褋谢械 写邪 泻褮懈谐邪 锌褉懈褉芯写械 褋褌芯褬懈 芯褌胁芯褉械薪邪 锌褉械写 褮懈褏芯胁懈屑 芯褔懈屑邪 懈 写邪 屑芯谐褍 写邪 锌褉械胁褉褯褍 褮械薪械 谢懈褋褌芯胁械 锌芯 褋胁芯褬芯褬 胁芯褭懈, 褔邪泻 懈 芯薪写械 谐写械 薪械屑邪 薪懈褕褌邪 薪邪锌懈褋邪薪芯 懈 谐写械 褋械 薪邪谢邪蟹械 褋邪屑芯 褔懈褋褌械 褋褌褉邪薪懈褑械. 袘邪褕 褋褍 谢褍写懈 懈 褍芯斜褉邪卸械薪懈! 袏懈褏芯胁邪 褌邪褕褌懈薪邪 褬械 蟹斜懈褭邪 斜械褋泻褉邪褬薪邪. (鈥�) [袏懈褏芯胁邪] 屑懈褋邪芯 褏褌械谢邪 斜懈 薪械芯谐褉邪薪懈褔械薪芯 写邪 胁谢邪写邪 褬械写薪懈屑 褋胁械褌芯屑 泻芯褬懈 [懈屑] 薪械 锌褉懈锌邪写邪.鈥�
鈥溞⑿靶盒� 褬械 褑械谢邪 褭褍写褋泻邪 泻褍谢褌褍褉邪 褋邪屑芯 褬械写邪薪 锌芯泻褍褕邪褬. 小胁械 褋褌芯褬懈 芯褋邪泻邪褯械薪芯, 褌褉邪谐懈褔薪芯, 泻邪芯 褌芯褉蟹芯. 袟邪褉 薪懈褬械 懈 褋邪屑 褭褍写褋泻懈 写褍褏 褬械写邪薪 褌芯褉蟹芯?鈥�
袗锌褋褍褉写懈蟹邪屑: 鈥淸袦]芯卸械 褋械 褉械褯懈 写邪 褬械 卸懈胁芯褌 屑邪谢懈. 袛邪 褬械 斜械蟹薪邪褔邪褬邪薪, 斜械褋屑懈褋谢械薪 鈥� 斜褍斜懈褑邪 泻芯褬褍 屑芯卸械褕 薪芯泻褌芯屑 褋屑褉胁懈褌懈, 邪 写邪 懈 薪械 锌芯屑懈褋谢懈 写邪 褋械 褌芯屑械 褍褋锌褉芯褌懈胁懈. (鈥�) 小 懈蟹胁械褋薪芯谐 谐谢械写懈褕褌邪 屑芯卸写邪 褋胁械 懈屑邪 褋胁芯褬 褋屑懈褋邪芯, 褋胁械 褕褌芯 褋械 写芯谐邪褣邪 懈 褕褌芯 蟹邪薪懈屑邪 褭褍写械. 袗谢懈 褋邪屑 卸懈胁芯褌 薪械屑邪 薪懈泻邪泻胁芯谐 褋屑懈褋谢邪 懈 薪械 屑芯卸械 谐邪 懈屑邪褌懈.鈥�
袠薪写懈胁懈写褍邪谢懈蟹邪屑: 鈥溞椥把€ 屑芯谐褍 写褉褍谐懈 褭褍写懈 写邪 锌芯褋械写褍褬褍 屑芯褬械 褌械谢芯? 袨写胁褉邪褌薪芯 屑懈 褬械 懈 写邪 锌芯屑懈褋谢懈屑 薪邪 褌芯. (鈥�) [袌]邪 懈褋泻褭褍褔懈胁芯 锌芯褋械写褍褬械屑 芯薪芯 褕褌芯 褬械 屑芯褬械 懈 褕褌芯 褋邪褔懈褮邪胁邪 屑芯褬褍 谢懈褔薪芯褋褌.鈥�
鈥溞熜笛佇叫秆喰� 锌褉械 褋胁械谐邪 芯锌械胁邪褬褍 褭褍斜邪胁, 邪 褌芯 褬械 懈 锌褉邪胁芯, 褬械褉 薪懈褔械屑褍 薪懈褬械 褌邪泻芯 锌芯褌褉械斜薪芯 泻邪芯 褭褍斜邪胁懈 写邪 斜褍写械 芯薪芯 褕褌芯 褍褋褌胁邪褉懈 薪懈褬械. (鈥�) 袎褍斜邪胁 褬械 薪械褕褌芯 褕褌芯 褍屑懈褉械. 袠 泻邪写 褍屑褉械, 芯薪邪 褋械 锌褉械褌胁芯褉懈 褍 褌褉褍谢械卸 泻芯褬邪 屑芯卸械 写邪 锌芯褋谢褍卸懈 泻邪芯 锌谢芯写薪芯 褌谢械 蟹邪 褬械写薪褍 薪芯胁褍 褭褍斜邪胁. 袧邪 褌邪褬 薪邪褔懈薪 屑褉褌胁邪 褭褍斜邪胁 薪邪褋褌邪胁褭邪 褋胁芯褬 褌邪褬邪薪褋褌胁械薪懈 卸懈胁芯褌 褍 褭褍斜邪胁懈 泻芯褬邪 褋械 褉邪褣邪, 褌邪泻芯 褭褍斜邪胁 褍褋褌胁邪褉懈 锌芯褋褌邪褬械 斜械褋屑褉褌薪邪. (鈥�) 袎褍斜邪胁 褬械 褍胁械泻 薪械褕褌芯 芯写褍褉薪芯.鈥�
袎褍写懈 卸械谢械 写邪 斜褍写褍 胁芯褭械薪懈. 袧械泻芯谢懈泻芯 锌褍褌邪 褉邪褋锌谢邪泻邪褏 褌邪泻胁械 蟹邪谢褍褣械薪懈泻械 泻芯褬懈 屑懈褋谢械 写邪 褋械 褋胁械褌 胁褉褌懈 芯泻芯 褮懈褏. 袧械! 小胁械褌 褋械 胁褉褌懈 芯泻芯 褋胁邪泻芯谐 锌芯薪邪芯褋芯斜, 蟹邪 褋胁邪泻芯谐 锌芯薪邪芯褋芯斜. 鈥溞⌒残笛� 薪懈褬械 芯薪芯 芯泻芯 屑械薪械, 褋胁械褌 褋邪屑 褬邪,鈥� 褉械褔械 褬械写薪邪 芯褋芯斜邪. 袠谢懈 鈥溠佇残靶衡€� 蟹邪 褋械斜械,鈥� 泻邪卸械 褬械写邪薪 泻懈薪械褋泻懈 褎懈谢芯蟹芯褎.
鈥溞� 泻邪写 褋胁械褌懈薪邪 泻芯褬邪 胁械褉褍褬械 懈屑邪 写邪 斜懈褉邪 懈蟹屑械褣褍 懈褋褌懈薪械 懈 谢邪卸懈, 芯薪邪 褍胁械泻 懈蟹邪斜械褉械 芯胁芯 写褉褍谐芯.鈥�
(鈻篲冲鈼�)
August 12, 2019
Ljudi su odve膰 slabi i ta拧ti, da bi mogli sami biti kova膷i svoje sre膰e.
Kepec predstavlja portret saka膰enja i zavjeru civilizacije na svim nivoima u kojoj obitava. Ko 膰e omra啪eniji i ogor膷eniji pogled na svijet da ima do kepeca. Ismijavan i izrabljivan u svrhe dvorskih ludorija, gegavih kretnji i mrkog pogleda, kepec i sam mora da drugome nadomjesti muke koje on sam zadobija. Kepeci kada do膽u na svijet oni su ve膰 prili膷no stari, kao da su ve膰 jednom 啪ivjeli, kao da su imali jednu davno zaboravljenu pro拧lost. Duh Kasija i Brutusa le啪i unutar kepeca. Princ italijanskog dvora mora 膰e biti na oprezu, te 膰e da uo膷ava nepravilnosti kod samog kepeca i porodice. Lagerkvistov kepec svoju razboritost 啪ivljenja jedino vidi u ratu. Rat je ne拧to gdje 膰e on mo膰i da iskali svu svoju mr啪nju kako prema obi膷nim ljudima tako i prema poglavicama. U tom ratu nasta膰e primirje. Primirje 膰e biti zatrovano. Kepec je mra膷nija strana zbivanja na rasko拧nim mjestima, strepnja u zavjeri, izdaja, i banalnost na svim nivoima postojanja.
April 6, 2020
"When I saw the Prince looking at me I met his eyes with serenity. They were strange. Human eyes are sometimes like that -a dwarf鈥檚 never. It was as though everything in his soul had floated to the surface and was watching me and my actions with mingled fear, anxiety, and desire; as though strange monsters had emerged from the depths, twisting and turning with their slimy bodies. An ancient being like myself never looks like that."
Very intriguing, unique and at times even scandalous. There were times when the descriptions of war or certain happenings were a bit too long and made me almost lose my pacing while reading, but it was always the dwarf's thoughts, so raw and ominous, at times even naive, that lured me right back in.
July 20, 2018
賵賯鬲蹖 讴賴 蹖讴 亘賴 蹖讴 賲丕 賲蹖 卮賵蹖賲 讴賵鬲賵賱賴 賴丕蹖 亘蹖 賯賵丕乇賴 蹖 乇賵夭诏丕乇. 孬賳丕诏賵蹖 爻賱胤丕賳 毓丕賱賲 噩丕賴賽 噩賱丕賱鬲 賲丌亘貙 丿蹖诏乇 趩賴 賲蹖 賮賴賲蹖賲 丿乇 诏賳丿丕亘 夭蹖爻鬲 賲蹖 讴賳蹖賲 蹖丕 丿乇 亘賵爻鬲丕賳 賲氐賮丕責 賲賱讴賴 乇丕 鬲賯丿蹖爻 賲蹖 讴賳蹖賲 讴賴 乇賵爻倬蹖 蹖 亘夭乇诏賵丕乇蹖 爻鬲 丿乇 乇讴丕亘 蹖讴丕賳 蹖讴丕賳 爻乇丿丕乇丕賳賽 爻賱胤丕賳 讴賴 賴賲禺賵丕亘賴 蹖 丕賵蹖賳丿 賵 丌賳 爻賵蹖 鬲乇讴 卮賱丕賯 亘乇 诏乇丿賴 蹖 賲丕 賲蹖 夭賳賳丿 讴賴 讴賵鬲賵賱賴 賴丕蹖蹖 賲鬲賳賮乇蹖賲 丕夭 賴賲賴 趩蹖夭 賵 賴賲賴 讴爻 賵 趩賴 禺賵卮 賲蹖 诏匕乇丕賳蹖賲 讴賴 丿蹖诏乇 讴賵鬲賵賱賴 賴丕 乇丕 丕夭 亘丕賱丕蹖 亘丕乇賵賴丕蹖 賯氐乇 亘賴 夭蹖乇 丕賳丿丕禺鬲賴 丕蹖賲
卮讴賳噩賴 賲蹖 卮賵蹖賲 賵 鬲亘丕賴 賲蹖 卮賵蹖賲 賵 丿乇 胤丕毓賵賳 賵 亘賱丕 賲乇丿賴 賴丕 賲蹖 爻賵夭丕賳蹖賲 賵 賴賲 趩賳丕賳 爻乇禺賵卮蹖賲 讴賴 爻賱胤丕賳 讴賴 爻丕蹖賴 丕卮 賲爻鬲丿丕賲 亘丕丿 亘賳丿诏蹖 蹖 賲丕 乇丕 賮乇丕賲賵卮 賳禺賵丕賴丿 讴乇丿. 賲丕 亘賳丿诏丕賳賽 賲夭丿賵乇賽 賲鬲馗丕賴乇賽 賮乇蹖亘 爻丕夭... 賲丕 讴賵鬲賵賱賴 賴丕蹖 乇賵卮賳賮讴乇
1397/04/28 讴賱丕乇丿卮鬲
卮讴賳噩賴 賲蹖 卮賵蹖賲 賵 鬲亘丕賴 賲蹖 卮賵蹖賲 賵 丿乇 胤丕毓賵賳 賵 亘賱丕 賲乇丿賴 賴丕 賲蹖 爻賵夭丕賳蹖賲 賵 賴賲 趩賳丕賳 爻乇禺賵卮蹖賲 讴賴 爻賱胤丕賳 讴賴 爻丕蹖賴 丕卮 賲爻鬲丿丕賲 亘丕丿 亘賳丿诏蹖 蹖 賲丕 乇丕 賮乇丕賲賵卮 賳禺賵丕賴丿 讴乇丿. 賲丕 亘賳丿诏丕賳賽 賲夭丿賵乇賽 賲鬲馗丕賴乇賽 賮乇蹖亘 爻丕夭... 賲丕 讴賵鬲賵賱賴 賴丕蹖 乇賵卮賳賮讴乇
1397/04/28 讴賱丕乇丿卮鬲
May 26, 2020
乇賲丕賳蹖 賮賱爻賮蹖 讴賴 賲賵囟賵毓 丕氐賱蹖 丌賳 倬乇丿丕禺鬲 亘賴 賲賵囟賵毓 賴賵蹖鬲 卮禺氐蹖 賵 丕噩鬲賲丕毓蹖 丕爻鬲. 賳丕賲 讴鬲丕亘 亘賴 诏賲丕賳賲 鬲丕 丕賳丿丕夭賴 丕蹖 賲卮禺氐 賳賲賵丿賴 丕爻鬲 讴賴 丿丕爻鬲丕賳 丨賵賱 賲丨賵乇 讴賵鬲賵賱賴 丕蹖 賲蹖 诏乇丿丿.
September 16, 2011
En v盲ldigt fin och v盲lskriven, m枚rk, dyster och k盲nslosam ber盲ttelse. Orden kommer fr氓n titelns dv盲rgs egen mun och best氓r av dennes cyniska, bittra betraktelser av h盲ndelserna, intrigerna, l枚gnerna och prestigen inom det hov d盲r denne tj盲nar samt mellan detta hov och det n盲rliggande, rivaliserande fursted枚me detta av och till ligger i krig med.
Historien lyckas p氓 ganska f氓 sidor f氓 in alla m枚jliga aspekter: krig, heder, d枚dsl盲ngtan, f枚rbjuden k盲rlek, pest och o盲rlighet, utan att f枚r den sakens skull k盲nnas plottrig och 枚verfull av 盲mnen. Mitt i allt 氓terfinns ocks氓 en vetenskapsman och konstn盲r, en sann ren盲ssansman som uppenbarligen 盲r en anspelning p氓 Leonardo da Vinci, vid namn Bernardo. Bernardo samtalar med fursten och hj盲lper denne med utveckling av uppfinningar f枚r krigf枚ring.
Genom hela ber盲ttelsen 氓terspeglas hovlivets depraverade dekadens med otrogenhet, prestige och andra v盲rldsliga ting. Dv盲rgen ser p氓 allt detta med allra starkaste f枚rakt. Det enda som verkar egga denne 盲r strid, blodigt bek盲mpande av fienden. Inget utrymme f枚r empati, kompromiss, fred eller f枚rl氓telse finns hos honom. Det religi枚sa spelar en st枚rre roll senare i boken d氓 mis盲ren tr盲nger sig p氓 mer och mer och bl.a. furstinnan tvingas konfronteras med sina enligt den kristna l盲rans syns盲tt tidigare beg氓ngna synder. Synder vilka hon f枚rs枚ker f氓 f枚rl氓telse f枚r, med den st盲ndiga misstanken om att just f枚rl氓telse 盲r vad hon inte f枚rtj盲nar, en misstanke som dv盲rgen mer en villigt inst盲mmer i och f枚rst盲rker i sitt slutliga uttryck f枚r det f枚rakt mot furstinnan han s氓 l盲nge har burit p氓 i tystnad.
Trots denna mis盲r och och cynism visar dv盲rgen 盲nd氓 tecken p氓 ett 枚verm盲nskligt stoiskt sinnelag vilket till氓ter honom att uth盲rda pl氓gor f氓 skulle klara samtidigt som hans v盲gran att vika sig motiveras av n氓gon slags grundl盲ggande trohet till sina herrar samt vissa ideal, en trohet han sj盲lv uttrycker f枚rv氓ning inf枚r.
H盲r finns inga lyckliga slut eller (氓tminstone inga 枚vertydliga s氓dana) budskap, endast en k盲nslosam, m枚rk ber盲ttelse om liv spenderade antingen i lidande eller med all kraft fokuserad p氓 trivialiteter i stunder av f枚rh氓llandevis h枚gre grad av v盲lm氓ende.
Historien lyckas p氓 ganska f氓 sidor f氓 in alla m枚jliga aspekter: krig, heder, d枚dsl盲ngtan, f枚rbjuden k盲rlek, pest och o盲rlighet, utan att f枚r den sakens skull k盲nnas plottrig och 枚verfull av 盲mnen. Mitt i allt 氓terfinns ocks氓 en vetenskapsman och konstn盲r, en sann ren盲ssansman som uppenbarligen 盲r en anspelning p氓 Leonardo da Vinci, vid namn Bernardo. Bernardo samtalar med fursten och hj盲lper denne med utveckling av uppfinningar f枚r krigf枚ring.
Genom hela ber盲ttelsen 氓terspeglas hovlivets depraverade dekadens med otrogenhet, prestige och andra v盲rldsliga ting. Dv盲rgen ser p氓 allt detta med allra starkaste f枚rakt. Det enda som verkar egga denne 盲r strid, blodigt bek盲mpande av fienden. Inget utrymme f枚r empati, kompromiss, fred eller f枚rl氓telse finns hos honom. Det religi枚sa spelar en st枚rre roll senare i boken d氓 mis盲ren tr盲nger sig p氓 mer och mer och bl.a. furstinnan tvingas konfronteras med sina enligt den kristna l盲rans syns盲tt tidigare beg氓ngna synder. Synder vilka hon f枚rs枚ker f氓 f枚rl氓telse f枚r, med den st盲ndiga misstanken om att just f枚rl氓telse 盲r vad hon inte f枚rtj盲nar, en misstanke som dv盲rgen mer en villigt inst盲mmer i och f枚rst盲rker i sitt slutliga uttryck f枚r det f枚rakt mot furstinnan han s氓 l盲nge har burit p氓 i tystnad.
Trots denna mis盲r och och cynism visar dv盲rgen 盲nd氓 tecken p氓 ett 枚verm盲nskligt stoiskt sinnelag vilket till氓ter honom att uth盲rda pl氓gor f氓 skulle klara samtidigt som hans v盲gran att vika sig motiveras av n氓gon slags grundl盲ggande trohet till sina herrar samt vissa ideal, en trohet han sj盲lv uttrycker f枚rv氓ning inf枚r.
H盲r finns inga lyckliga slut eller (氓tminstone inga 枚vertydliga s氓dana) budskap, endast en k盲nslosam, m枚rk ber盲ttelse om liv spenderade antingen i lidande eller med all kraft fokuserad p氓 trivialiteter i stunder av f枚rh氓llandevis h枚gre grad av v盲lm氓ende.
July 25, 2011
亘賷賰賵賱賷賳 賯夭賲 賷毓賷卮 賮賷 亘賱丕胤 兀賲賷乇 夭賲賳 丕賱賯乇賵賳 丕賱賵爻胤賶 丨賷孬 賰丕賳鬲 丕賱毓丕丿丞 丕賱賲鬲亘毓丞 丕鬲禺丕匕 兀賯夭丕賲 賱賱鬲爻賱賷丞... 賱賰賳 賯夭賲賳丕 賱賲 賷賰賳 亘賴賱賵賱丕 賲賴乇噩丕 賵 賱賲 賷賰賳 賷賲賱賰 乇賵丨丕 賲乇丨丞 兀氐賱丕 亘賱 賴賵 賯夭賲 亘賵噩賴 賲鬲睾囟賳 賱丕 賷毓乇賮 丕賱丕亘鬲爻丕賲貙 賵丨賷丿 亘丕乇丿 毓賲賷賯 丕賱鬲賮賰賷乇... 丕賱乇賵丕賷丞 毓亘丕乇丞 毓賳 賲匕賰乇丕鬲賴 丨賷孬 賳爻賲毓 兀丨丕丿賷孬 賳賮爻賴 賵 賲卮丕毓乇賴 賵 乇賵丕賷鬲賴 賱賱兀丨丿丕孬 賲賳 賵噩賴丞 賳馗乇賴... 丕賱丨賯丿 賵 丕賱卮乇 賵 丕賱亘睾囟 賵 丕賱賯乇賮 賲賳 丕賱噩賳爻 丕賱亘卮乇賷 亘賰賱 賲丕 賮賷賴貙 賵 丕賱賱丕賲亘丕賱丕丞 賵 丕賱毓丿賲賷丞 賵 丨亘 丕賱丿賲丕乇 賴賷 賲丕 鬲丿賵乇 丨賵賱賴 兀賮賰丕乇賴 賵 兀丨丕爻賷爻賴... 乇賵丕賷丞 賲賳賯賵毓丞 丨鬲賶 丕賱孬賲丕賱丞 睾囟亘丕 賵 賰乇賴丕 賵 丕丨鬲賯丕乇丕 賵 丕卮賲卅夭丕夭丕... 賵 鬲乇賮毓丕 毓賳 丕賱亘卮乇 丕賱毓丕丿賷賷賳 亘丨賷賵丕鬲賴賲 丕賱賲鬲賳丕賯囟丞... 0
賵 賱賰賳 賱賱丨賯賷賯丞 賮廿賳 卮禺氐賷鬲賴 丕賱賳丕賯賲丞 賱丕 鬲禺賱賵 賲賳 馗乇賮 賵 氐丿賯貙 鬲匕賰乇賳賷 亘丕賱丨丕乇爻 賮賷 丨賯賱 丕賱卮賵賮丕賳 賱賭 爻丕賱賳噩乇 兀賵 亘乇爻丕卅賱 賲賳 鬲丨鬲 丕賱兀乇囟 (賮賷 賯亘賵賷) 賱丿賵爻鬲賵賷賮爻賰賷
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賴賳丕 賲賯丕賱 賲胤賵賱 毓賳 丕賱賰鬲丕亘
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賴賳丕 賲賯丕賱 賲胤賵賱 毓賳 丕賱賰鬲丕亘
December 4, 2021
Nu 葯tiam nimic despre P盲r Fabian Lagerkvist 卯nainte de a citi Piticul, nici c膬 a fost un autor suedez de poezie, proz膬 葯i teatru, nici c膬 a primit premiul Nobel pentru literatur膬 卯n 1951.
A葯adar, nu pot dec卯t s膬-i mul葲umesc domnului Valeriu Gherghel c膬 mi-a atras aten葲ia, cu excelenta lui recenzie, asupra acestei mici bijuterii care, 卯n mai pu葲in de 200 de pagini, izbute葯te s膬 fie 卯n acela葯i timp roman istoric, filosofic, psihologic, 葯i s膬 construiasc膬 un narator necreditabil cu o tehnic膬 literar膬 des膬v芒r葯it膬 (f膬c卯ndu-m膬 s膬 m膬 g卯ndesc nu o dat膬 la Humbert Humbert), narator care e 卯n acela葯i timp un misogin inveterat, o 卯ntruchipare a r膬ului 卯n stare pur膬 葯i un doppelganger mohor卯t 卯ntr-o epoc膬 卯n care majoritatea piticilor nu erau dec卯t bufoni:
Autorul folose葯te cu succes aceast膬 tehnic膬 a ambiguit膬葲ii at卯t 卯n evocarea istoric膬, l膬s卯nd cititorul cu o mul葲ime de 卯ntreb膬ri f膬r膬 r膬spuns precis (o fi Bernardo Leonardo da Vinci, o fi prin葲ul Cesare Borgia, o fi prin葲esa Mona Lisa etc.), c卯t 葯i 卯n realizarea personajului principal, a c膬rui 鈥漴ealitate鈥� 卯ns膬葯i este pus膬 la 卯ndoial膬: este piticul dublul prin葲ului sau o alegorie a r膬ului care s膬l膬葯luie葯te 卯n fiecare dintre noi?
A葯adar, nu pot dec卯t s膬-i mul葲umesc domnului Valeriu Gherghel c膬 mi-a atras aten葲ia, cu excelenta lui recenzie, asupra acestei mici bijuterii care, 卯n mai pu葲in de 200 de pagini, izbute葯te s膬 fie 卯n acela葯i timp roman istoric, filosofic, psihologic, 葯i s膬 construiasc膬 un narator necreditabil cu o tehnic膬 literar膬 des膬v芒r葯it膬 (f膬c卯ndu-m膬 s膬 m膬 g卯ndesc nu o dat膬 la Humbert Humbert), narator care e 卯n acela葯i timp un misogin inveterat, o 卯ntruchipare a r膬ului 卯n stare pur膬 葯i un doppelganger mohor卯t 卯ntr-o epoc膬 卯n care majoritatea piticilor nu erau dec卯t bufoni:
Nu sc膬p膬m unul de altul 鈥� st膬p芒nul meu 葯i cu mine! Sunt eu 卯ntemni葲at, e 葯i el 卯ntemni葲at! Sunt legat cu lan葲ul de el, e 葯i el legat cu lan葲ul de mine!
脦mi duc via葲a 卯n v膬g膬una mea, 卯mi tr膬iesc via葲a de c芒rti葲膬 卯n timp ce el se plimb膬 prin superbele lui s膬li impun膬toare. Numai c膬 via葲a mea este 葯i a lui. Iar distinsa, prearespectabila lui via葲膬 卯mi apar葲ine de fapt mie.
Autorul folose葯te cu succes aceast膬 tehnic膬 a ambiguit膬葲ii at卯t 卯n evocarea istoric膬, l膬s卯nd cititorul cu o mul葲ime de 卯ntreb膬ri f膬r膬 r膬spuns precis (o fi Bernardo Leonardo da Vinci, o fi prin葲ul Cesare Borgia, o fi prin葲esa Mona Lisa etc.), c卯t 葯i 卯n realizarea personajului principal, a c膬rui 鈥漴ealitate鈥� 卯ns膬葯i este pus膬 la 卯ndoial膬: este piticul dublul prin葲ului sau o alegorie a r膬ului care s膬l膬葯luie葯te 卯n fiecare dintre noi?
Am observat uneori c膬 卯i sperii pe oameni. Dar ceea ce 卯i sperie sunt ei 卯n葯i葯i. 脦葯i 卯nchipuie c膬 frica le vine de la mine, dar de fapt 卯i sperie piticul din ei, fiin葲a aceea asem膬n膬toare omului, cu chip de maimu葲膬, care 卯葯i ridic膬 uneori capul din str膬fundurile sufletului lor. Li se face fric膬 pentru c膬 nu 葯tiu c膬 poart膬 卯n ei 卯nc膬 o fiin葲膬. Se 卯nsp膬im芒nt膬 ori de c芒te ori iese ceva la suprafa葲膬, ceva dinl膬untrul lor, din sm芒rcurile sufletului, pe care nu-l recunosc 葯i care nu seam膬n膬 cu via葲a lor din realitate. At芒ta timp c芒t nu se vede nimic la suprafa葲膬, nu le este fric膬, nu se alarmeaz膬 c膬 ar putea s膬 apar膬 ceva. Se 葲in drep葲i, se mi葯c膬 impasibili, cu pielea fe葲ei 卯ntins膬 pe care nu se cite葯te absolut nimic. Dar 卯nl膬untrul lor exist膬 卯ntotdeauna altceva, ceva ce ei pretind c膬 nu exist膬, 葯i astfel tr膬iesc, f膬r膬 s膬 bage de seam膬, mai multe vie葲i diferite 卯n acela葯i timp 鈥� ciudat de secrete 葯i incoerente.
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