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螣 位蠉魏慰蟼 蟿畏蟼 蟽蟿苇蟺伪蟼
O 渭蔚位伪纬蠂慰位喂魏蠈蟼 围维蟻蟻蠀 围维位位蔚蟻 味蔚喂 蟽蔚 苇谓伪 谓慰喂魏喂伪蟽渭苇谓慰 未蠅渭维蟿喂慰.
螚 伪蟺苇蠂胃蔚喂伪 蟺慰蠀 谓喂蠋胃蔚喂 纬喂伪 蟿慰谓 渭慰谓蟿苇蟻谓慰 蟿蟻蠈蟺慰 味蠅萎蟼 蟿慰谓 蠅胃蔚委 谓伪 渭苇谓蔚喂 渭蠈谓慰蟼 鈥� 蟽伪谓 苇谓伪蟼 位蠉魏慰蟼 蟿畏蟼 蟽蟿苇蟺伪蟼.
螝伪喂 蟺伪蟻蠈位慰 蟺慰蠀 伪蟺慰味畏蟿维 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 味蔚蟽蟿伪蟽喂维 魏伪喂 蟿畏 蟽蠀谓蟿蟻慰蠁喂魏蠈蟿畏蟿伪, 伪未蠀谓伪蟿蔚委 谓伪 蟽蠀渭尾喂尾伪蟽蟿蔚委 渭蔚 蟿畏谓 蠀蟺慰魏蟻喂蟽委伪 蟿蠅谓 伪蟽蟿喂魏蠋谓 伪尉喂蠋谓.
惟蟽蟿蠈蟽慰, 纬谓蠅蟻委味慰谓蟿伪蟼 蟿畏谓 伪谓苇渭蔚位畏 伪位位维 魏伪喂 伪蟺伪蟿畏位萎 螘蟻渭委谓蔚 胃伪 谓喂蠋蟽蔚喂 蟿伪 蠄萎纬渭伪蟿伪 渭喂伪蟼 蟺喂胃伪谓萎蟼 蔚蠀蟿蠀蠂委伪蟼.
螣 围维位位蔚蟻 伪纬蠅谓委味蔚蟿伪喂 谓伪 蟽蠀渭尾喂尾维蟽蔚喂 蟿畏谓 伪蟻蠂苇纬慰谓畏, 维纬蟻喂伪 蠁蠉蟽畏 蟿慰蠀 位蠉魏慰蠀 渭蔚 蟿喂蟼 蔚蟺委蟺位伪蟽蟿蔚蟼 魏慰喂谓蠅谓喂魏苇蟼 蔚蟺喂蟿伪纬苇蟼.
螖喂蠂伪蟽渭苇谓慰蟼 伪谓维渭蔚蟽伪 蟽蟿畏谓 蠉位畏 魏伪喂 蟽蟿慰 蟺谓蔚蠉渭伪, 蟺蟻慰蟽蟺伪胃蔚委 谓伪 伪谓伪魏伪位蠉蠄蔚喂 蟿畏 尾伪胃蠉蟿蔚蟻畏 蠁蠉蟽畏 蟿慰蠀 魏伪喂 谓伪 蟽蠀渭蠁喂位喂蠅胃蔚委 渭蔚 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蟿畏 味蠅萎.
螠蔚蟿伪胃苇蟿慰谓蟿伪蟼 蟿伪 蠈蟻喂伪 渭蔚蟿伪尉蠉 蠁伪谓蟿伪蟽委伪蟼 魏伪喂 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 慰 围维蟻蟻蠀 围维位位蔚蟻 蔚蟺喂未喂蠋魏蔚喂 谓伪 尾纬蔚喂 伪蟺蠈 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏, 伪谓伪蟽蠉蟻慰谓蟿伪蟼 伪蟺蠈 蟿伪 蟽魏慰谓喂蟽渭苇谓伪 魏喂蟿维蟺喂伪 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 蟿畏 渭苇胃蔚尉畏 魏伪喂 蟿畏谓 蔚位蔚蠀胃蔚蟻委伪.
螣 位蠉魏慰蟼 蟿畏蟼 蟽蟿苇蟺伪蟼 蔚魏未蠈胃畏魏蔚 蟿慰 1927 魏伪喂 萎蟿伪谓 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 蠂维蟻喂蟽蔚 蟽蟿慰谓 螆蟽蟽蔚 蟿畏谓 蟺伪纬魏蠈蟽渭喂伪 伪谓伪纬谓蠋蟻喂蟽畏.
螒蟺慰蟿蔚位蔚委 苇谓伪 未蠀谓伪蟿蠈 伪谓维纬谓蠅蟽渭伪, 蟺慰蠀 喂蠂谓畏位伪蟿蔚委 蟿伪 蟽魏慰蟿蔚喂谓维 渭慰谓慰蟺维蟿喂伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠄蠀蠂萎蟼 魏伪喂 渭伪蟼 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蟿畏 未委谓畏 蟿慰蠀.
螚 伪蟺苇蠂胃蔚喂伪 蟺慰蠀 谓喂蠋胃蔚喂 纬喂伪 蟿慰谓 渭慰谓蟿苇蟻谓慰 蟿蟻蠈蟺慰 味蠅萎蟼 蟿慰谓 蠅胃蔚委 谓伪 渭苇谓蔚喂 渭蠈谓慰蟼 鈥� 蟽伪谓 苇谓伪蟼 位蠉魏慰蟼 蟿畏蟼 蟽蟿苇蟺伪蟼.
螝伪喂 蟺伪蟻蠈位慰 蟺慰蠀 伪蟺慰味畏蟿维 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 味蔚蟽蟿伪蟽喂维 魏伪喂 蟿畏 蟽蠀谓蟿蟻慰蠁喂魏蠈蟿畏蟿伪, 伪未蠀谓伪蟿蔚委 谓伪 蟽蠀渭尾喂尾伪蟽蟿蔚委 渭蔚 蟿畏谓 蠀蟺慰魏蟻喂蟽委伪 蟿蠅谓 伪蟽蟿喂魏蠋谓 伪尉喂蠋谓.
惟蟽蟿蠈蟽慰, 纬谓蠅蟻委味慰谓蟿伪蟼 蟿畏谓 伪谓苇渭蔚位畏 伪位位维 魏伪喂 伪蟺伪蟿畏位萎 螘蟻渭委谓蔚 胃伪 谓喂蠋蟽蔚喂 蟿伪 蠄萎纬渭伪蟿伪 渭喂伪蟼 蟺喂胃伪谓萎蟼 蔚蠀蟿蠀蠂委伪蟼.
螣 围维位位蔚蟻 伪纬蠅谓委味蔚蟿伪喂 谓伪 蟽蠀渭尾喂尾维蟽蔚喂 蟿畏谓 伪蟻蠂苇纬慰谓畏, 维纬蟻喂伪 蠁蠉蟽畏 蟿慰蠀 位蠉魏慰蠀 渭蔚 蟿喂蟼 蔚蟺委蟺位伪蟽蟿蔚蟼 魏慰喂谓蠅谓喂魏苇蟼 蔚蟺喂蟿伪纬苇蟼.
螖喂蠂伪蟽渭苇谓慰蟼 伪谓维渭蔚蟽伪 蟽蟿畏谓 蠉位畏 魏伪喂 蟽蟿慰 蟺谓蔚蠉渭伪, 蟺蟻慰蟽蟺伪胃蔚委 谓伪 伪谓伪魏伪位蠉蠄蔚喂 蟿畏 尾伪胃蠉蟿蔚蟻畏 蠁蠉蟽畏 蟿慰蠀 魏伪喂 谓伪 蟽蠀渭蠁喂位喂蠅胃蔚委 渭蔚 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 魏伪喂 蟿畏 味蠅萎.
螠蔚蟿伪胃苇蟿慰谓蟿伪蟼 蟿伪 蠈蟻喂伪 渭蔚蟿伪尉蠉 蠁伪谓蟿伪蟽委伪蟼 魏伪喂 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪蟼, 慰 围维蟻蟻蠀 围维位位蔚蟻 蔚蟺喂未喂蠋魏蔚喂 谓伪 尾纬蔚喂 伪蟺蠈 蟿畏谓 伪蟺慰渭蠈谓蠅蟽畏, 伪谓伪蟽蠉蟻慰谓蟿伪蟼 伪蟺蠈 蟿伪 蟽魏慰谓喂蟽渭苇谓伪 魏喂蟿维蟺喂伪 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪蟼 蟿畏 渭苇胃蔚尉畏 魏伪喂 蟿畏谓 蔚位蔚蠀胃蔚蟻委伪.
螣 位蠉魏慰蟼 蟿畏蟼 蟽蟿苇蟺伪蟼 蔚魏未蠈胃畏魏蔚 蟿慰 1927 魏伪喂 萎蟿伪谓 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 蠂维蟻喂蟽蔚 蟽蟿慰谓 螆蟽蟽蔚 蟿畏谓 蟺伪纬魏蠈蟽渭喂伪 伪谓伪纬谓蠋蟻喂蟽畏.
螒蟺慰蟿蔚位蔚委 苇谓伪 未蠀谓伪蟿蠈 伪谓维纬谓蠅蟽渭伪, 蟺慰蠀 喂蠂谓畏位伪蟿蔚委 蟿伪 蟽魏慰蟿蔚喂谓维 渭慰谓慰蟺维蟿喂伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠄蠀蠂萎蟼 魏伪喂 渭伪蟼 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蟿畏 未委谓畏 蟿慰蠀.
304 pages, Paperback
First published January 1, 1927
11.4k people are currently reading
185k people want to read
About the author
Hermann Hesse
2,134听books18.7k听followersMany works, including
Siddhartha
(1922) and
Steppenwolf
(1927), of German-born Swiss writer Hermann Hesse concern the struggle of the individual to find wholeness and meaning in life; he won the Nobel Prize for literature in 1946.
Other best-known works of this poet, novelist, and painter include The Glass Bead Game , which, also known as Magister Ludi, explore a search of an individual for spirituality outside society.
In his time, Hesse was a popular and influential author in the German-speaking world; worldwide fame only came later. Young Germans desiring a different and more "natural" way of life at the time of great economic and technological progress in the country, received enthusiastically Peter Camenzind , first great novel of Hesse.
Throughout Germany, people named many schools. In 1964, people founded the Calwer Hermann-Hesse-Preis, awarded biennially, alternately to a German-language literary journal or to the translator of work of Hesse to a foreign language. The city of Karlsruhe, Germany, also associates a Hermann Hesse prize.
Other best-known works of this poet, novelist, and painter include The Glass Bead Game , which, also known as Magister Ludi, explore a search of an individual for spirituality outside society.
In his time, Hesse was a popular and influential author in the German-speaking world; worldwide fame only came later. Young Germans desiring a different and more "natural" way of life at the time of great economic and technological progress in the country, received enthusiastically Peter Camenzind , first great novel of Hesse.
Throughout Germany, people named many schools. In 1964, people founded the Calwer Hermann-Hesse-Preis, awarded biennially, alternately to a German-language literary journal or to the translator of work of Hesse to a foreign language. The city of Karlsruhe, Germany, also associates a Hermann Hesse prize.
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Displaying 1 - 30 of 9,720 reviews
September 28, 2012
I read this book on a twenty four hour train journey surrounded by the bourgeois. It was a terrifying experience. The book didn't change my life and was not meant to, but it gave me hope and hope is always a good thing.
The influence of Indian spirituality on this book is apparent, but Hesse chooses to dissect it using the prism of Western pessimism. He talks about the multiplicity of the self and the infinite potential associated with it, how we often choose to attach fanciful restrictions to the limitless and that every man can have his place among the Immortals. The influence of unfulfilled desires in the making of the personality and its inherent disorders and the possibility of conquering those to mould a 'new' self are also prominent themes which again run parallel to the Indian concept of rebirth.
The book has layers far too many. Each time I indulge in a flight of introspection, much like Harry Haller, or so I would or wouldn't like to believe, I stumble upon a different and equally vague interpretation of the book.
This book is great literature. It is magnificently vague and by turns sincerely hopeless and insincerely hopeful but eventually redeems itself by offering hope for the hopeless.
The influence of Indian spirituality on this book is apparent, but Hesse chooses to dissect it using the prism of Western pessimism. He talks about the multiplicity of the self and the infinite potential associated with it, how we often choose to attach fanciful restrictions to the limitless and that every man can have his place among the Immortals. The influence of unfulfilled desires in the making of the personality and its inherent disorders and the possibility of conquering those to mould a 'new' self are also prominent themes which again run parallel to the Indian concept of rebirth.
The book has layers far too many. Each time I indulge in a flight of introspection, much like Harry Haller, or so I would or wouldn't like to believe, I stumble upon a different and equally vague interpretation of the book.
This book is great literature. It is magnificently vague and by turns sincerely hopeless and insincerely hopeful but eventually redeems itself by offering hope for the hopeless.
April 16, 2020
Hermann Hesse鈥檚 words are timeless. Here they represent an entire disaffected generation, a generation who is on the cusp of radical change but still partly exists in the old world. They are out of space and out of time: they are lost within themselves. However, such things can aptly be applied to a number of individuals across the ages. And, for me, this is what made the novel so great.
Through these pages Hesse evokes a character I have seen many times before across literature, but never before with such clarity. Harry Haller is one such man. His intellect is, undoubtedly, worthy of genius, though such a thing is wasted because he has no proper channel for such intellect. He has lost his faith in humanity and has completely withdrawn from the world, so he makes his own world: he has created his own ideal environment within his thoughts. His loneliness is that extreme, he has written an idealised account of his life that never happened. He wants hope, so he creates it himself in the form of a counterpart, a soul mate: Hermione.
She gives him back everything he has lost, his confidence, his hope and his sexual energy. He has passion or life once more. And this is why the novel is so terribly sad. None of this is actually happening; it is the desperate ramblings of a mind trying to heal itself in a world where it can find no sense of belonging or purpose. This imagined woman becomes a lifeline, a beacon in the middle of the dark shores of modernisation. Like Andre Bretton鈥檚 Nadja the idealised female becomes a means of escape for the lost modern man. As per the surrealist mode, reality is warped in an attempt to find some higher truth. Her presence is the only thing preventing Harry from killing himself and surrendering to the endless sleep.
For Harry is a man split in two: he is the Steppenwolf.
鈥淭here is no reality except the one contained within us. That is why so many people live such an unreal life. They take the images outside of them for reality and never allow the world within to assert itself.鈥�
He believes himself to be half man and half wolf. He has all the sensibilities of a normal man, but overshadowing his character is the romantic longings of a wild creature. In such a modern world his desires and natural drives are unfulfilled; they are repressed and controlled resulting in severe depression and low mood. He cannot be who he was meant to be because the space he exists in does not allow it. The time, the age, does not allow it. So he is trapped, and he so desperately needs a root out. That much so he makes one up for himself out of words.
The switch between reality and imagination is extremely hard to notice within the narrative. It happens very early on, and there are many different layers of storytelling. The story we are hearing is actually a journal penned by Steppenwolf and read by the hotel manager. Although the narrative does raise questions, many really, it is not until the end of the novel that the ripples of doubt are confirmed as delusional confirmations. Perception is everything here, perception of the self and of the world. Although such complex imagining may sound detrimental to mental health, they take on the form of a coping strategy for such a lost individual.
Although Steppenwolf is a middle aged misanthrope, I don鈥檛 hesitate to say that this book will resonate within the bosom of many a reader. Particularly the young and the dispossessed will relate to his tale. I know I do in part. It is easy to become lost in life, and it is easy to feel alone in a world that you don鈥檛 relate to. But unlike Hesse鈥檚 Siddhartha this novel does not attempt to evoke an inner sense of peace and tranquillity as an effort to solve such problems that life throws at us. A resolution would have been unnecessary here because that is not what Hesse is trying to show us.
Instead with Steppenwolf we receive a vision of a man who has wasted his life in self-pity and self-induced isolation. Is this a projection of the author鈥檚 feelings? I don鈥檛 think we can actually say for sure, but one thing remains absolutely certain: Steppenwolf is a life lesson for those who do not want to receive the same fate.
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Through these pages Hesse evokes a character I have seen many times before across literature, but never before with such clarity. Harry Haller is one such man. His intellect is, undoubtedly, worthy of genius, though such a thing is wasted because he has no proper channel for such intellect. He has lost his faith in humanity and has completely withdrawn from the world, so he makes his own world: he has created his own ideal environment within his thoughts. His loneliness is that extreme, he has written an idealised account of his life that never happened. He wants hope, so he creates it himself in the form of a counterpart, a soul mate: Hermione.
She gives him back everything he has lost, his confidence, his hope and his sexual energy. He has passion or life once more. And this is why the novel is so terribly sad. None of this is actually happening; it is the desperate ramblings of a mind trying to heal itself in a world where it can find no sense of belonging or purpose. This imagined woman becomes a lifeline, a beacon in the middle of the dark shores of modernisation. Like Andre Bretton鈥檚 Nadja the idealised female becomes a means of escape for the lost modern man. As per the surrealist mode, reality is warped in an attempt to find some higher truth. Her presence is the only thing preventing Harry from killing himself and surrendering to the endless sleep.
For Harry is a man split in two: he is the Steppenwolf.
鈥淭here is no reality except the one contained within us. That is why so many people live such an unreal life. They take the images outside of them for reality and never allow the world within to assert itself.鈥�
He believes himself to be half man and half wolf. He has all the sensibilities of a normal man, but overshadowing his character is the romantic longings of a wild creature. In such a modern world his desires and natural drives are unfulfilled; they are repressed and controlled resulting in severe depression and low mood. He cannot be who he was meant to be because the space he exists in does not allow it. The time, the age, does not allow it. So he is trapped, and he so desperately needs a root out. That much so he makes one up for himself out of words.
The switch between reality and imagination is extremely hard to notice within the narrative. It happens very early on, and there are many different layers of storytelling. The story we are hearing is actually a journal penned by Steppenwolf and read by the hotel manager. Although the narrative does raise questions, many really, it is not until the end of the novel that the ripples of doubt are confirmed as delusional confirmations. Perception is everything here, perception of the self and of the world. Although such complex imagining may sound detrimental to mental health, they take on the form of a coping strategy for such a lost individual.
Although Steppenwolf is a middle aged misanthrope, I don鈥檛 hesitate to say that this book will resonate within the bosom of many a reader. Particularly the young and the dispossessed will relate to his tale. I know I do in part. It is easy to become lost in life, and it is easy to feel alone in a world that you don鈥檛 relate to. But unlike Hesse鈥檚 Siddhartha this novel does not attempt to evoke an inner sense of peace and tranquillity as an effort to solve such problems that life throws at us. A resolution would have been unnecessary here because that is not what Hesse is trying to show us.
Instead with Steppenwolf we receive a vision of a man who has wasted his life in self-pity and self-induced isolation. Is this a projection of the author鈥檚 feelings? I don鈥檛 think we can actually say for sure, but one thing remains absolutely certain: Steppenwolf is a life lesson for those who do not want to receive the same fate.
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June 12, 2023
Kurt Vonnegut, one of my literary heroes, said of Hermann Hesse鈥檚 novel Steppenwolf that is was 鈥渢he most profound book about homesickness ever written鈥�. Vonnegut also went on to describe how Hesse speaks to young readers, how he speaks to the essence of youth and offers hope.
Like many readers, I first encountered Hesse as a young person, for me it was when I was in high school. Hesse鈥檚 illustration of isolation and being misunderstood spoke to me as a youth, as I imagine it has for many young people.
Hesse said, 鈥淥f all my books Steppenwolf is the one that was more often and more violently misunderstood than any other鈥�. Of course, the book was written about a man as he turns 50, not a youth.
But I think I can understand why this also speaks to young readers. What Hesse describes, and his use of the lone wolf of the steppe as a symbol is brilliant, is about a time when an individual finds himself alone and in transition 鈥� as in a mature man who approaches old age, or as a young person leaving behind the securities of childhood for the uncertainties of adult life.
Similar to Hesse鈥檚 earlier novel (1922) in Steppenwolf (1927) the protagonist experiences a dynamic journey through self-discovery and spiritual exploration. Also reminiscent of the earlier work, Steppenwolf reveals a cathartic summation after a romantic interlude.
Hesse also demonstrates how man is more than a single entity, more even than the more obvious duality 鈥� as suggested by Haller鈥檚 belief that he is half man and half wolf 鈥� but the combination of tens, hundreds, or even thousands of souls. This confirmation of Eastern thought is ubiquitous in Hesse鈥檚 work and shows a kinship to Jung.
Complicated, multi-faceted and sometimes difficult to follow, Hesse presents an important contribution to 20th century literature.
*** 2023 reread -
I reread this because I realized that I am now at the age Hesse wrote this for, a man in his 50s and at a transitional phase in life.
A little sadly, this has not held up as well as I hoped. The reason is mainly a demonstration of how our society has changed due to increases in the complexity and sophistication of our technology.
When Hesse was writing this for the protagonist, Haller, who, from the vantage of middle age, looks back on the savage misanthropy of his earlier days and reflects on who he is now and what鈥檚 important to him. The word and concept 鈥渂ourgeois鈥� was used repeatedly and often in the text and described Haller鈥檚 separation from society largely based upon his alienation from bourgeois ideals.
In the 1927 of it鈥檚 publication, bourgeois was used to reflect not just middle class, but of the rising importance of the middle class and the sentimentality that went along with this socio-economic group. Haller 鈥渃ame in from the cold鈥� to use an espionage term, as he rejected his earlier wild and wanton disregard for such sentiment and embraced the comforts available to him at this advanced age.
Almost a hundred years later and there are certainly still class distinctions, but those lines have largely blurred into other forms of class identity and so Hesse鈥檚 otherwise spot on narrative has lost some of its appeal. It is still very well written and an excellent statement about changes in life and how an individual approaches these changes. Still worth reading but may need some further study for a modern reader to grasp all of what Hesse was saying.
Like many readers, I first encountered Hesse as a young person, for me it was when I was in high school. Hesse鈥檚 illustration of isolation and being misunderstood spoke to me as a youth, as I imagine it has for many young people.
Hesse said, 鈥淥f all my books Steppenwolf is the one that was more often and more violently misunderstood than any other鈥�. Of course, the book was written about a man as he turns 50, not a youth.
But I think I can understand why this also speaks to young readers. What Hesse describes, and his use of the lone wolf of the steppe as a symbol is brilliant, is about a time when an individual finds himself alone and in transition 鈥� as in a mature man who approaches old age, or as a young person leaving behind the securities of childhood for the uncertainties of adult life.
Similar to Hesse鈥檚 earlier novel (1922) in Steppenwolf (1927) the protagonist experiences a dynamic journey through self-discovery and spiritual exploration. Also reminiscent of the earlier work, Steppenwolf reveals a cathartic summation after a romantic interlude.
Hesse also demonstrates how man is more than a single entity, more even than the more obvious duality 鈥� as suggested by Haller鈥檚 belief that he is half man and half wolf 鈥� but the combination of tens, hundreds, or even thousands of souls. This confirmation of Eastern thought is ubiquitous in Hesse鈥檚 work and shows a kinship to Jung.
Complicated, multi-faceted and sometimes difficult to follow, Hesse presents an important contribution to 20th century literature.
*** 2023 reread -
I reread this because I realized that I am now at the age Hesse wrote this for, a man in his 50s and at a transitional phase in life.
A little sadly, this has not held up as well as I hoped. The reason is mainly a demonstration of how our society has changed due to increases in the complexity and sophistication of our technology.
When Hesse was writing this for the protagonist, Haller, who, from the vantage of middle age, looks back on the savage misanthropy of his earlier days and reflects on who he is now and what鈥檚 important to him. The word and concept 鈥渂ourgeois鈥� was used repeatedly and often in the text and described Haller鈥檚 separation from society largely based upon his alienation from bourgeois ideals.
In the 1927 of it鈥檚 publication, bourgeois was used to reflect not just middle class, but of the rising importance of the middle class and the sentimentality that went along with this socio-economic group. Haller 鈥渃ame in from the cold鈥� to use an espionage term, as he rejected his earlier wild and wanton disregard for such sentiment and embraced the comforts available to him at this advanced age.
Almost a hundred years later and there are certainly still class distinctions, but those lines have largely blurred into other forms of class identity and so Hesse鈥檚 otherwise spot on narrative has lost some of its appeal. It is still very well written and an excellent statement about changes in life and how an individual approaches these changes. Still worth reading but may need some further study for a modern reader to grasp all of what Hesse was saying.
December 1, 2024
A view from the outside鈥�
The story is his notebooks he left after his departure鈥� Loneliness鈥� Solitude鈥� Isolation鈥� Seclusion鈥� It鈥檚 a mode of his living鈥� Steppenwolf is a loner鈥� Metaphorically he describes his life as a half-hearted and half-baked existence鈥�
Astray in the world, lost in despair, hiding in aloofness, the protagonist visualizes himself being a lonely wolf of the steppes, destined to perish, and dreams of suicide.
But he wants more鈥� He looks for more鈥�
And somewhere in the world there is a magic theater of madness鈥�
He looks inside himself and understands that even the lonely intellectual existence isn鈥檛 enough鈥� His spirit must rise somewhere higher鈥�
To live is to wish for more and to seek everywhere even in madness.
Steppenwolf was a man nearing fifty who one day some years ago called at my aunt鈥檚 block of flats in search of a furnished room. Having rented the attic room up under the roof and the small bedroom next to it, he came back a few days later with two suitcases and a large book chest, and lodged with us for nine or ten months.
The story is his notebooks he left after his departure鈥� Loneliness鈥� Solitude鈥� Isolation鈥� Seclusion鈥� It鈥檚 a mode of his living鈥� Steppenwolf is a loner鈥� Metaphorically he describes his life as a half-hearted and half-baked existence鈥�
For a short time I can stand to inhale the lukewarm, insipid air of the so-called good days, free of desire and pain. But, childish soul that I am, I then get so madly sore at heart and miserable that I fling my rusty thanksgiving lyre in the smug face of the drowsy god of contentment and opt for a true, devilish pain burning inside me rather than this room temperature so easy on the stomach.
Astray in the world, lost in despair, hiding in aloofness, the protagonist visualizes himself being a lonely wolf of the steppes, destined to perish, and dreams of suicide.
But he wants more鈥� He looks for more鈥�
And somewhere in the world there is a magic theater of madness鈥�
Gothic doorway and the mysterious sign above it, mocking me with its flickering neon letters. What message had they spelled out? 鈥楢dmission not for everybody.鈥� And: 鈥楩or mad people only.鈥�
He looks inside himself and understands that even the lonely intellectual existence isn鈥檛 enough鈥� His spirit must rise somewhere higher鈥�
Had I not been enough of an outsider, mad enough, for years? And yet, deep down inside me, I fully understood this summons, this invitation to go mad, to jettison all reason, inhibition and bourgeois respectability, and to surrender myself to the fluctuating, anarchic world of the soul, of the imagination.
To live is to wish for more and to seek everywhere even in madness.
November 15, 2021
Many literary novels are page-turners, filled with a compelling, straightforward storyline and lots of action; think of Our Mutual Friend and Crime and Punishment, think of Heart of Darkness and No Country for Old Men, or novels like The Girl with the Dragon Tattoo or The Spy Who Came in from the Cold.
Hermann Hesse's novel Steppenwolf is a work of a completely different cast; a reader might find the story gripping, even riveting, but for much different reasons, for the action takes place not in a major city or obscure outpost but primarily in the mind.
Our first introduction to main character Harry Haller is through the eyes of the thirty-something middle-class nephew of Haller's landlady. The nephew observes how Haller lives a lonely, unsocial life and refers to himself as an old Steppenwolf. The nephew's curiosity prompts him to enter Harry's room, where he discovers stacks of books by authors such as Goethe, Jean Paul, and Dostoevsky; a statue of the Buddha; a photo of Gandhi; empty brandy bottles; and half-smoked cigars. In a word, living quarters bespeaking a chaotic, artistic lifestyle.
The nephew explains how Harry suddenly vanishes from the apartment, leaving a manuscript entitled "HARRY HALLER'S RECORDS" that warns potential readers that what follows is "FOR MADMEN ONLY." It is this record that comprises the remainder of the novel. Harry records how he has two natures in conflict: one as a reflective, refined, cultivated gentleman, and the other a wild wolf of the steppes. As such, he is a Steppenwolf, a despiser and destroyer of the middle class who is at the same time supported and comforted by the middle class. Harry's conflict causes him to become so depressed that he sets his fiftieth birthday as the date for taking his own life.
But life has other plans for Harry the Steppenwolf. We read how Harry encounters a dreamlike inscription over a door in the old section of town. Then the fun begins. Harry's identity and view of reality are challenged by a series of happenings, most notably meeting the beautiful young Hermine, who can be considered in a number of ways: as Harry's double, his doppelg盲nger; as a reflection of Harry's inner, spiritual self; or as a Jungian archetypal, female part of his psyche - his `anima.'
Hesse wrote Steppenwolf fresh from his own Jungian psychoanalytic experience. Indeed, Hesse plays with the idea of doubles, mirrors, and archetypes throughout this novel. Harry's world is further jazzed up with the entr茅e of jazz saxophonist/shape-shifter/sensualist Pablo and the beautiful and voluptuous Maria. Jazz, dancing, drugs, and sex all contribute to the death of the formerly old and depressed Harry, transforming him into a revitalized man poised for a full range of experiences at the much-anticipated masked ball.
The masked ball is the final section of the novel. In one of the inner rooms Harry encounters the Magic Theater, which enlarges any previous notions he might have held of both magic and theater. Harry is informed that there is a definite admission price to this theater: "PRICE OF ADMISSION YOUR MIND." Pablo explains to Harry how the theater has as many doors and boxes as one pleases, ten or a hundred or a thousand, and how "behind each door exactly what you seek awaits you."
Wild! And as we enter and move through the Magic Theater, things become progressively wilder. Recall how Timothy Leary encouraged users of LSD to consult this part of Hesse's novel as a manual to negotiate their hallucinogen-induced trips. Hesse would probably have objected to Leary's statement: He wrote in 1961, "... it seems to me that of all of my books Steppenwolf is the one that was more often and more violently misunderstood than any other, and frequently it is actually the affirmative and enthusiastic readers, rather than those who rejected the book, who have reacted to it oddly."
On this point I agree with Hesse--you need not take LSD to enter The Magic Theater; what you really need is openness and imagination, along with the willingness to courageously peer into the subconscious and unconscious areas of your own psyche. If you have a few decades of adult experience, as Hesse evidently hopes, so much the better.
September 7, 2021
(Book 684 from 1001 books) - Der Steppenwolf = Steppenwolf, Herman Hesse
Originally published in Germany in 1927, it was first translated into English in 1929.
Combining autobiographical and psychoanalytic elements, the novel was named after the German name for the steppe wolf.
The story in large part reflects a profound crisis in Hesse's spiritual world during the 1920's while memorably portraying the protagonist's split between his humanity and his wolf-like aggression and homelessness.
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦诏乇诏 亘蹖丕亘丕賳禄貨 芦诏乇诏 亘蹖丕亘丕賳 - 亘丕賳囟賲丕賲 亘丕夭禺賵丕賳蹖 賵 鬲賮爻蹖乇 丕賳鬲賯丕丿蹖禄貨 賳賵蹖爻賳丿賴: 賴乇賲丕賳 賴爻賴貨 丕賳鬲卮丕乇丕鬲蹖賴丕: (亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘 - 丕爻丕胤蹖乇貙 丕乇睾賵丕賳貙 賮乇丿賵爻貙 毓賱賲蹖 賮乇賴賳诏蹖貙 噩丕賲蹖)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 跇賵卅賳 爻丕賱 1974賲蹖賱丕丿蹖
毓賳賵丕賳: 诏乇诏 亘蹖丕亘丕賳貨 賴乇賲丕賳 賴爻賴貨 賲鬲乇噩賲: 讴蹖讴丕賵賵爻 噩賴丕賳丿丕乇蹖貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 趩丕倬 丿賵賲 爻丕賱 1346貨 賳禺爻鬲蹖賳 趩丕倬 丿乇 賳卮乇 丕爻丕胤蹖乇 1368貨 丿乇 368氐貨 卮丕亘讴 9645960320貨 趩丕倬 丿賵賲 1376貨 卮丕亘讴 9645960320貨 趩丕倬 爻賵賲 1383貨 趩丕倬 趩賴丕乇賲 1388貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 毓賱賲蹖 賮乇賴賳诏蹖貙 1394貙 丿乇 爻蹖 賵 賴卮鬲 賵 346氐貨 卮丕亘讴 9786001215728貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴 20賲
賲鬲乇噩賲: 賲乇鬲囟蹖 賲賱讴蹖貨 鬲賴乇丕賳貙 賳卮乇 丕乇睾賵丕賳貙 1362貨 丿乇 293氐貨
毓賳賵丕賳: 诏乇诏 亘蹖丕亘丕賳 - 亘丕賳囟賲丕賲 亘丕夭禺賵丕賳蹖 賵 鬲賮爻蹖乇 丕賳鬲賯丕丿蹖貨 賲鬲乇噩賲: 賯丕爻賲 讴亘蹖乇蹖貨 鬲賴乇丕賳貙 賳卮乇 賮乇丿賵爻貙 1368貨 丿乇 383氐貨 趩丕倬 爻賵賲 1376貨 趩丕倬 趩賴丕乇賲 1383貨 卮丕亘讴 9645509076貨 趩丕倬 倬賳噩賲 1387貨 卮丕亘讴 9643202712貨 趩丕倬 卮卮賲 1389貨 卮丕亘讴 9789643204471貨 趩丕倬 賴卮鬲賲 爻丕賱 1394貨
賲鬲乇噩賲: 賵丨蹖丿 賲賳賵趩賴乇蹖 賵丕丨丿貨 鬲賴乇丕賳貙 噩丕賲蹖貙 1391貙 丿乇 232氐貨 卮丕亘讴 9786001760778貨
诏乇诏 亘蹖丕亘丕賳 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1927賲蹖賱丕丿蹖貙 丿乇 芦丌賱賲丕賳禄 賲賳鬲卮乇 卮丿貙 賵 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1929賲蹖賱丕丿蹖 亘賴 夭亘丕賳 芦丕賳诏賱蹖爻蹖禄 鬲乇噩賲賴 卮丿貨 賳賵蹖爻賳丿賴 蹖 賳丕賲丿丕乇 丿乇 丕蹖賳 丕孬乇貙 毓賳丕氐乇 丕鬲賵亘蹖賵诏乇丕賮蹖貙 賵 乇賵丕賳讴丕賵蹖 乇丕貙 亘丕 賴賲 鬲乇讴蹖亘 讴乇丿賴貙 亘禺卮蹖 丕夭 乇賲丕賳貙 亘丨乇丕賳 跇乇賮 乇賵丨蹖 芦賴乇賲丕賳 賴爻賴禄 乇丕貙 亘丕 鬲氐賵蹖乇 讴乇丿賳 卮讴丕賮 亘蹖賳 丕賳爻丕賳 亘賵丿賳 丕蹖卮丕賳貙 賵 乇賮鬲丕乇 倬乇禺丕卮诏乇丕賳賴 賵 亘蹖 禺丕賳賲丕賳蹖 禺賵蹖卮貙 賴賲丕賳賳丿 蹖讴 诏乇诏 乇丕貙 丿乇 胤蹖 丿賴賴 1920賲蹖賱丕丿蹖貙 亘賴 禺賵丕賳卮诏乇 賲蹖賳賲丕蹖丕賳丿貙 賵 ...貨
诏乇诏 亘蹖丕亘丕賳 禺賵丿賳诏丕乇賴 丕蹖 丕夭 賲乇丿蹖 丕爻鬲貙 讴賴 賴賲夭賲丕賳 禺賵丿 乇丕 賳蹖賲蹖 诏乇诏 賵 賳蹖賲蹖 丕賳爻丕賳 丕丨爻丕爻 賲蹖讴賳丿貨 丕蹖賳 丿丕爻鬲丕賳 噩丕丿賵蹖蹖 诏賵丕賴蹖 亘乇 噩爻鬲噩賵蹖 賮賱爻賮蹖 芦賴爻賴禄 賵 丕丨爻丕爻 賲丕賵乇丕蹖蹖 丕賳爻丕賳蹖鬲 丕爻鬲貙 賴賲丕賳诏賵賳賴 讴賴 丕蹖卮丕賳 丕夭 丕賳爻丕賳蹖鬲 蹖讴 丕賳爻丕賳诏乇蹖夭 賲蹖丕賳爻丕賱 賲蹖诏賵蹖賳丿貙 亘丕 丕蹖賳賴賲賴 賴賲趩賳丕賳 賲蹖鬲賵丕賳 乇賲丕賳 丕蹖卮丕賳 乇丕 蹖讴 禺賵丿丌夭賲丕蹖蹖 賴賵卮賲賳丿丕賳賴 賵 讴蹖賮乇禺賵丕爻鬲蹖 毓賱蹖賴 乇賵卮賳賮讴乇蹖 乇蹖丕讴丕乇丕賳賴 蹖 賴賲蹖賳 丿賵乇丕賳貙 亘乇 丿蹖丿賴 賳卮丕賳丿貙 賴賲丕賳诏賵賳賴 讴賴 芦賴爻賴禄 賲蹖诏賵蹖賳丿 (丕夭 賲蹖丕賳 賴賲賴 蹖 讴鬲丕亘賴丕蹖賲 芦诏乇诏 亘蹖丕亘丕賳禄 亘蹖卮鬲乇 丕夭 賴賲賴 丕卮鬲亘丕賴 賮賴賲蹖丿賴 卮丿賴 丕爻鬲) 丕蹖賳 讴鬲丕亘 亘丕 丕蹖賳 讴賴 爻丕賱賴丕 倬蹖卮 丕夭 丕賲乇賵夭 丕賳鬲卮丕乇 蹖丕賮鬲賴貙 丕賲丕 禺乇丿 丌賳 賴賲趩賳丕賳 亘丕 乇賵丨 禺賵丕賳卮诏乇 爻禺賳 賲蹖诏賵蹖丿貙 亘賳丕亘乇丕蹖賳 賲蹖鬲賵丕賳 丌賳 乇丕 蹖讴 丕孬乇 讴賱丕爻蹖讴 賳蹖夭 丿丕賳爻鬲貨 芦賴乇蹖 賴丕賱乇禄 趩賴乇賴 丕蹖 睾賲 丕賳诏蹖夭 賵 鬲賳賴丕爻鬲貙 蹖讴 乇賵卮賳賮讴乇 丕爻鬲貙 讴賴 夭賳丿诏蹖 亘乇丕蹖卮 賱匕鬲蹖 賳丿丕乇丿貨 丕賵 丿乇 鬲賱丕卮 丕爻鬲 鬲丕 芦诏乇诏 賵丨卮蹖禄 賵 丕賳爻丕賳 毓賯賱丕賳蹖 乇丕貙 丿乇 丿乇賵賳 禺賵丿貙 亘丕 蹖讴丿蹖诏乇 丌卮鬲蹖 丿賴丿貙 亘丿賵賳 丕蹖賳讴賴 鬲爻賱蹖賲 丕乇夭卮賴丕蹖 亘賵乇跇賵丕夭蹖 诏乇丿丿 讴賴 賲賵乇丿 賳賮乇鬲 丕賵爻鬲貨 夭賳丿诏蹖 賵蹖 賴賳诏丕賲蹖 讴賴 亘丕 夭賳蹖 亘賴 賳丕賲 芦賴乇賲蹖賳禄 丿蹖丿丕乇 賲蹖讴賳丿 貙 亘賴 诏賵賳賴 蹖 趩卮賲诏蹖乇蹖 丿蹖诏乇 賲蹖卮賵丿
賳賯賱 丕夭 賲鬲賳: (蹖讴蹖 亘賵丿貙 蹖讴蹖 賳亘賵丿貙 賲乇丿蹖 亘賵丿 亘賴 賳丕賲 芦賴丕乇蹖禄貙 賲賱賯亘 亘賴 诏乇诏 亘蹖丕亘丕賳貙 乇賵蹖 丿賵 倬丕 乇丕賴 賲蹖乇賮鬲貙 賱亘丕爻 賲蹖倬賵卮蹖丿 賵 丕賳爻丕賳 亘賵丿貙 丕賲丕 亘丕 丕蹖賳 丕賵氐丕賮 丿乇 賵丕賯毓 蹖讴 诏乇诏 亘蹖丕亘丕賳 亘賵丿貨 丕夭 趩蹖夭賴丕蹖蹖 讴賴 賲乇丿賲丕賳 賮賴賲蹖丿賴 賲蹖鬲賵丕賳賳丿 亘蹖丕賲賵夭賳丿貙 趩蹖夭賴丕 丌賲賵禺鬲賴 亘賵丿貙 賵 丌丿賲蹖 亘賴 賳爻亘鬲 亘丕賴賵卮 亘賵丿貨 丌賳趩賴 乇丕 賮賯胤 丕賵 蹖丕丿 賳诏乇賮鬲賴 亘賵丿貙 丕蹖賳 亘賵丿 讴賴: 芦乇囟丕蹖鬲 禺丕胤乇 乇丕 丿乇 賵噩賵丿 禺賵蹖卮 賵 夭賳丿诏蹖 禺賵蹖卮 噩爻鬲噩賵 賳賲丕蹖丿禄) 倬丕蹖丕賳 賳賯賱 丕夭 氐賮丨賴 67貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 22/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 15/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Originally published in Germany in 1927, it was first translated into English in 1929.
Combining autobiographical and psychoanalytic elements, the novel was named after the German name for the steppe wolf.
The story in large part reflects a profound crisis in Hesse's spiritual world during the 1920's while memorably portraying the protagonist's split between his humanity and his wolf-like aggression and homelessness.
毓賳賵丕賳賴丕蹖 趩丕倬 卮丿賴 丿乇 丕蹖乇丕賳: 芦诏乇诏 亘蹖丕亘丕賳禄貨 芦诏乇诏 亘蹖丕亘丕賳 - 亘丕賳囟賲丕賲 亘丕夭禺賵丕賳蹖 賵 鬲賮爻蹖乇 丕賳鬲賯丕丿蹖禄貨 賳賵蹖爻賳丿賴: 賴乇賲丕賳 賴爻賴貨 丕賳鬲卮丕乇丕鬲蹖賴丕: (亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘 - 丕爻丕胤蹖乇貙 丕乇睾賵丕賳貙 賮乇丿賵爻貙 毓賱賲蹖 賮乇賴賳诏蹖貙 噩丕賲蹖)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 跇賵卅賳 爻丕賱 1974賲蹖賱丕丿蹖
毓賳賵丕賳: 诏乇诏 亘蹖丕亘丕賳貨 賴乇賲丕賳 賴爻賴貨 賲鬲乇噩賲: 讴蹖讴丕賵賵爻 噩賴丕賳丿丕乇蹖貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 亘賳诏丕賴 鬲乇噩賲賴 賵 賳卮乇 讴鬲丕亘貙 趩丕倬 丿賵賲 爻丕賱 1346貨 賳禺爻鬲蹖賳 趩丕倬 丿乇 賳卮乇 丕爻丕胤蹖乇 1368貨 丿乇 368氐貨 卮丕亘讴 9645960320貨 趩丕倬 丿賵賲 1376貨 卮丕亘讴 9645960320貨 趩丕倬 爻賵賲 1383貨 趩丕倬 趩賴丕乇賲 1388貨 趩丕倬 丿蹖诏乇 鬲賴乇丕賳貙 毓賱賲蹖 賮乇賴賳诏蹖貙 1394貙 丿乇 爻蹖 賵 賴卮鬲 賵 346氐貨 卮丕亘讴 9786001215728貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丌賱賲丕賳 - 爻丿賴 20賲
賲鬲乇噩賲: 賲乇鬲囟蹖 賲賱讴蹖貨 鬲賴乇丕賳貙 賳卮乇 丕乇睾賵丕賳貙 1362貨 丿乇 293氐貨
毓賳賵丕賳: 诏乇诏 亘蹖丕亘丕賳 - 亘丕賳囟賲丕賲 亘丕夭禺賵丕賳蹖 賵 鬲賮爻蹖乇 丕賳鬲賯丕丿蹖貨 賲鬲乇噩賲: 賯丕爻賲 讴亘蹖乇蹖貨 鬲賴乇丕賳貙 賳卮乇 賮乇丿賵爻貙 1368貨 丿乇 383氐貨 趩丕倬 爻賵賲 1376貨 趩丕倬 趩賴丕乇賲 1383貨 卮丕亘讴 9645509076貨 趩丕倬 倬賳噩賲 1387貨 卮丕亘讴 9643202712貨 趩丕倬 卮卮賲 1389貨 卮丕亘讴 9789643204471貨 趩丕倬 賴卮鬲賲 爻丕賱 1394貨
賲鬲乇噩賲: 賵丨蹖丿 賲賳賵趩賴乇蹖 賵丕丨丿貨 鬲賴乇丕賳貙 噩丕賲蹖貙 1391貙 丿乇 232氐貨 卮丕亘讴 9786001760778貨
诏乇诏 亘蹖丕亘丕賳 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1927賲蹖賱丕丿蹖貙 丿乇 芦丌賱賲丕賳禄 賲賳鬲卮乇 卮丿貙 賵 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 1929賲蹖賱丕丿蹖 亘賴 夭亘丕賳 芦丕賳诏賱蹖爻蹖禄 鬲乇噩賲賴 卮丿貨 賳賵蹖爻賳丿賴 蹖 賳丕賲丿丕乇 丿乇 丕蹖賳 丕孬乇貙 毓賳丕氐乇 丕鬲賵亘蹖賵诏乇丕賮蹖貙 賵 乇賵丕賳讴丕賵蹖 乇丕貙 亘丕 賴賲 鬲乇讴蹖亘 讴乇丿賴貙 亘禺卮蹖 丕夭 乇賲丕賳貙 亘丨乇丕賳 跇乇賮 乇賵丨蹖 芦賴乇賲丕賳 賴爻賴禄 乇丕貙 亘丕 鬲氐賵蹖乇 讴乇丿賳 卮讴丕賮 亘蹖賳 丕賳爻丕賳 亘賵丿賳 丕蹖卮丕賳貙 賵 乇賮鬲丕乇 倬乇禺丕卮诏乇丕賳賴 賵 亘蹖 禺丕賳賲丕賳蹖 禺賵蹖卮貙 賴賲丕賳賳丿 蹖讴 诏乇诏 乇丕貙 丿乇 胤蹖 丿賴賴 1920賲蹖賱丕丿蹖貙 亘賴 禺賵丕賳卮诏乇 賲蹖賳賲丕蹖丕賳丿貙 賵 ...貨
诏乇诏 亘蹖丕亘丕賳 禺賵丿賳诏丕乇賴 丕蹖 丕夭 賲乇丿蹖 丕爻鬲貙 讴賴 賴賲夭賲丕賳 禺賵丿 乇丕 賳蹖賲蹖 诏乇诏 賵 賳蹖賲蹖 丕賳爻丕賳 丕丨爻丕爻 賲蹖讴賳丿貨 丕蹖賳 丿丕爻鬲丕賳 噩丕丿賵蹖蹖 诏賵丕賴蹖 亘乇 噩爻鬲噩賵蹖 賮賱爻賮蹖 芦賴爻賴禄 賵 丕丨爻丕爻 賲丕賵乇丕蹖蹖 丕賳爻丕賳蹖鬲 丕爻鬲貙 賴賲丕賳诏賵賳賴 讴賴 丕蹖卮丕賳 丕夭 丕賳爻丕賳蹖鬲 蹖讴 丕賳爻丕賳诏乇蹖夭 賲蹖丕賳爻丕賱 賲蹖诏賵蹖賳丿貙 亘丕 丕蹖賳賴賲賴 賴賲趩賳丕賳 賲蹖鬲賵丕賳 乇賲丕賳 丕蹖卮丕賳 乇丕 蹖讴 禺賵丿丌夭賲丕蹖蹖 賴賵卮賲賳丿丕賳賴 賵 讴蹖賮乇禺賵丕爻鬲蹖 毓賱蹖賴 乇賵卮賳賮讴乇蹖 乇蹖丕讴丕乇丕賳賴 蹖 賴賲蹖賳 丿賵乇丕賳貙 亘乇 丿蹖丿賴 賳卮丕賳丿貙 賴賲丕賳诏賵賳賴 讴賴 芦賴爻賴禄 賲蹖诏賵蹖賳丿 (丕夭 賲蹖丕賳 賴賲賴 蹖 讴鬲丕亘賴丕蹖賲 芦诏乇诏 亘蹖丕亘丕賳禄 亘蹖卮鬲乇 丕夭 賴賲賴 丕卮鬲亘丕賴 賮賴賲蹖丿賴 卮丿賴 丕爻鬲) 丕蹖賳 讴鬲丕亘 亘丕 丕蹖賳 讴賴 爻丕賱賴丕 倬蹖卮 丕夭 丕賲乇賵夭 丕賳鬲卮丕乇 蹖丕賮鬲賴貙 丕賲丕 禺乇丿 丌賳 賴賲趩賳丕賳 亘丕 乇賵丨 禺賵丕賳卮诏乇 爻禺賳 賲蹖诏賵蹖丿貙 亘賳丕亘乇丕蹖賳 賲蹖鬲賵丕賳 丌賳 乇丕 蹖讴 丕孬乇 讴賱丕爻蹖讴 賳蹖夭 丿丕賳爻鬲貨 芦賴乇蹖 賴丕賱乇禄 趩賴乇賴 丕蹖 睾賲 丕賳诏蹖夭 賵 鬲賳賴丕爻鬲貙 蹖讴 乇賵卮賳賮讴乇 丕爻鬲貙 讴賴 夭賳丿诏蹖 亘乇丕蹖卮 賱匕鬲蹖 賳丿丕乇丿貨 丕賵 丿乇 鬲賱丕卮 丕爻鬲 鬲丕 芦诏乇诏 賵丨卮蹖禄 賵 丕賳爻丕賳 毓賯賱丕賳蹖 乇丕貙 丿乇 丿乇賵賳 禺賵丿貙 亘丕 蹖讴丿蹖诏乇 丌卮鬲蹖 丿賴丿貙 亘丿賵賳 丕蹖賳讴賴 鬲爻賱蹖賲 丕乇夭卮賴丕蹖 亘賵乇跇賵丕夭蹖 诏乇丿丿 讴賴 賲賵乇丿 賳賮乇鬲 丕賵爻鬲貨 夭賳丿诏蹖 賵蹖 賴賳诏丕賲蹖 讴賴 亘丕 夭賳蹖 亘賴 賳丕賲 芦賴乇賲蹖賳禄 丿蹖丿丕乇 賲蹖讴賳丿 貙 亘賴 诏賵賳賴 蹖 趩卮賲诏蹖乇蹖 丿蹖诏乇 賲蹖卮賵丿
賳賯賱 丕夭 賲鬲賳: (蹖讴蹖 亘賵丿貙 蹖讴蹖 賳亘賵丿貙 賲乇丿蹖 亘賵丿 亘賴 賳丕賲 芦賴丕乇蹖禄貙 賲賱賯亘 亘賴 诏乇诏 亘蹖丕亘丕賳貙 乇賵蹖 丿賵 倬丕 乇丕賴 賲蹖乇賮鬲貙 賱亘丕爻 賲蹖倬賵卮蹖丿 賵 丕賳爻丕賳 亘賵丿貙 丕賲丕 亘丕 丕蹖賳 丕賵氐丕賮 丿乇 賵丕賯毓 蹖讴 诏乇诏 亘蹖丕亘丕賳 亘賵丿貨 丕夭 趩蹖夭賴丕蹖蹖 讴賴 賲乇丿賲丕賳 賮賴賲蹖丿賴 賲蹖鬲賵丕賳賳丿 亘蹖丕賲賵夭賳丿貙 趩蹖夭賴丕 丌賲賵禺鬲賴 亘賵丿貙 賵 丌丿賲蹖 亘賴 賳爻亘鬲 亘丕賴賵卮 亘賵丿貨 丌賳趩賴 乇丕 賮賯胤 丕賵 蹖丕丿 賳诏乇賮鬲賴 亘賵丿貙 丕蹖賳 亘賵丿 讴賴: 芦乇囟丕蹖鬲 禺丕胤乇 乇丕 丿乇 賵噩賵丿 禺賵蹖卮 賵 夭賳丿诏蹖 禺賵蹖卮 噩爻鬲噩賵 賳賲丕蹖丿禄) 倬丕蹖丕賳 賳賯賱 丕夭 氐賮丨賴 67貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 22/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 15/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
May 28, 2012
Likely the dumbest Important Book that I've read.
Yeah, it's cool that the narrator thinks he's a werewolf, but is really just a recluse pseudo-academic--and then reads a manuscript that describes fake werewolves and outs them as poseurs.
Cool, also, that the preface, by the manuscript's fictional finder and publisher, records the impression that the horrors of the middle ages were non-existent: "A man of the Middle Ages would detest the whole mode of our present day life as something far more than horrible, far more than barbarous. [...] Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap" (22)--which strikes me as the rightwing way of describing the basic marxist principle that all that is solid melts into air.
Cool, further, that the book is written in the late 1920s and exposes all of the nasty jingoist, racist, reactionary bullshit that was the bizarre engine of history in the '30s and '40s--but written while Herr Beer Hall Putsch was banned from public speaking. It is therefore an oddly prescient volume when it describes respectable opinion in Germany as anti-semitic & anti-communist, as unwilling to blame itself for the world war, as loathing persons who express disapproval of the Kaiser and war-mongering, and so on (78-80). It manifestly names "the next holocaust" (117) as the fruits of same, joining R. Palme Dutt in making a horrible, horribly accurate prediction regarding German fascism.
Also presents an interesting attempt to read Goethe's Faust using the good doctor as a model for the Steppenwolf itself (60-63).
Nice moment of insult to the reader when the courtesan asks the narrator to explain what he had been reading, which was the Treatise on the Steppenwolf aforesaid: "Oh, Steppenwolf is magnificent! And are you the Steppenwolf? Is that meant for you?" (113) casting the reader of this volume into the role of the narrator fairly expressly.
Otherwise, though, I have the same reaction here as to Byron's Manfred, who also teeters at the edge of the precipice--my response: do us all a fucking favor and jump off the cliff on page 1; that way, we needn't read an entire volume of self-obsessed amphigory about suicide.
Doesn't help that the middle third of the volume is dominated by a bizarre love story involving several flappers/courtesans who pull the suicidal narrator away from the cliff by means of the terpsichorean arts (no shit!) as well as some hard fucking. The final third is dominated by drug-addled phantasmagoria, with silly appearances by Mozart and Goethe (though the science-fictiony war of man versus machines section is pregnant (180-90)).
Too much overt nietzschean influence. Too much use of the term bourgeois to refer to aesthetic matters, rather than economics. I can definitely see why all of the biggest English department douchebag undergraduates when I was at university wanted to write their BA thesis on this novel, nevermind that it's written in Deutsch, conceiving themselves as the steppenwolf rising above the herd, a true intellectual amid bourgeois banality, a proper aesthete among the declining arts of a spenglerian society, someone who really understands how shit is. It's a hipster manifesto, FFS.
Recommended for fake werewolves, bourgeois poseurs, and improbably named courtesans.
Yeah, it's cool that the narrator thinks he's a werewolf, but is really just a recluse pseudo-academic--and then reads a manuscript that describes fake werewolves and outs them as poseurs.
Cool, also, that the preface, by the manuscript's fictional finder and publisher, records the impression that the horrors of the middle ages were non-existent: "A man of the Middle Ages would detest the whole mode of our present day life as something far more than horrible, far more than barbarous. [...] Human life is reduced to real suffering, to hell, only when two ages, two cultures and religions overlap" (22)--which strikes me as the rightwing way of describing the basic marxist principle that all that is solid melts into air.
Cool, further, that the book is written in the late 1920s and exposes all of the nasty jingoist, racist, reactionary bullshit that was the bizarre engine of history in the '30s and '40s--but written while Herr Beer Hall Putsch was banned from public speaking. It is therefore an oddly prescient volume when it describes respectable opinion in Germany as anti-semitic & anti-communist, as unwilling to blame itself for the world war, as loathing persons who express disapproval of the Kaiser and war-mongering, and so on (78-80). It manifestly names "the next holocaust" (117) as the fruits of same, joining R. Palme Dutt in making a horrible, horribly accurate prediction regarding German fascism.
Also presents an interesting attempt to read Goethe's Faust using the good doctor as a model for the Steppenwolf itself (60-63).
Nice moment of insult to the reader when the courtesan asks the narrator to explain what he had been reading, which was the Treatise on the Steppenwolf aforesaid: "Oh, Steppenwolf is magnificent! And are you the Steppenwolf? Is that meant for you?" (113) casting the reader of this volume into the role of the narrator fairly expressly.
Otherwise, though, I have the same reaction here as to Byron's Manfred, who also teeters at the edge of the precipice--my response: do us all a fucking favor and jump off the cliff on page 1; that way, we needn't read an entire volume of self-obsessed amphigory about suicide.
Doesn't help that the middle third of the volume is dominated by a bizarre love story involving several flappers/courtesans who pull the suicidal narrator away from the cliff by means of the terpsichorean arts (no shit!) as well as some hard fucking. The final third is dominated by drug-addled phantasmagoria, with silly appearances by Mozart and Goethe (though the science-fictiony war of man versus machines section is pregnant (180-90)).
Too much overt nietzschean influence. Too much use of the term bourgeois to refer to aesthetic matters, rather than economics. I can definitely see why all of the biggest English department douchebag undergraduates when I was at university wanted to write their BA thesis on this novel, nevermind that it's written in Deutsch, conceiving themselves as the steppenwolf rising above the herd, a true intellectual amid bourgeois banality, a proper aesthete among the declining arts of a spenglerian society, someone who really understands how shit is. It's a hipster manifesto, FFS.
Recommended for fake werewolves, bourgeois poseurs, and improbably named courtesans.
March 22, 2021
鈥淲hat could I say to you that would be of value, except that perhaps you seek too much, that as a result of your seeking you cannot find.鈥�
Having read several other novels by Hesse (Siddharta, Demian, Narcissus & Goldmund and Knulp), the theme of a protagonist intellectually or culturally isolated from the rest of society is familiar. However, in Steppenwolf, the depths of our protagonist鈥檚 (Harry鈥檚) despair separates him from other of Hesse鈥檚 protagonists and from humanity. His life isn鈥檛 confirmed as valid or authentic. In fact, Harry doesn鈥檛 see himself as fully human. Instead, he sees himself as half-human and half-wolf (Steppenwolf). He is ready to quit life, but is convinced that there is more to life than the way he鈥檇 been living (or not really living it). In order to make this journey to a more fulfilling life, however, Harry must be willing to sacrifice the way he鈥檇 previously seen himself and engage with life in a way he鈥檚 never done. Harry鈥檚 wild and interesting journey of self-discovery is tied to Hermine. As he regains a passion for life, she shows him that there is always hope. I鈥檒l let others decide whether the ending affirms or contradicts this.
Having read several other novels by Hesse (Siddharta, Demian, Narcissus & Goldmund and Knulp), the theme of a protagonist intellectually or culturally isolated from the rest of society is familiar. However, in Steppenwolf, the depths of our protagonist鈥檚 (Harry鈥檚) despair separates him from other of Hesse鈥檚 protagonists and from humanity. His life isn鈥檛 confirmed as valid or authentic. In fact, Harry doesn鈥檛 see himself as fully human. Instead, he sees himself as half-human and half-wolf (Steppenwolf). He is ready to quit life, but is convinced that there is more to life than the way he鈥檇 been living (or not really living it). In order to make this journey to a more fulfilling life, however, Harry must be willing to sacrifice the way he鈥檇 previously seen himself and engage with life in a way he鈥檚 never done. Harry鈥檚 wild and interesting journey of self-discovery is tied to Hermine. As he regains a passion for life, she shows him that there is always hope. I鈥檒l let others decide whether the ending affirms or contradicts this.
May 24, 2020
for madmen only
In league with Pessoa鈥檚 Book of Disquiet and Dostoevsky鈥檚 Raskolnikov, Hermann Hesse鈥檚 Steppenwolf is about a suicidal guy who never actually commits suicide, a tortured soul who struggles with the dualism of his nature, from the human to the wolf, from the classical to the romantic, to the spiritual to the sinful, from the life of the mind to the life of the body. I read this three times when I was 18-20, trying to understand it, trying to find elements that would help shape my personality, my image as budding/wannabe Artiste, in all my adolescent angst. 鈥淵ou were such a happy baby; what happened?鈥� my mother said to me once during this brooding period, when I was reading everything from Dostoevsky to Rimbaud to Malcolm Lowry鈥檚 Under The Volcano and Camus and Sartre, and yes, every Hesse book I could get my hands on.
Steppenwolf was written by Hesse at middle age, looking back on his struggle between the coolly distant Germanic aesthetic and the more sensual Buddhism. In my late teens all the Christians I knew including me were reading Zen Buddhism, and Hesse helped us bridge the strict Calvinism we wanted to be free from and the East we found more attractive, less restrictive.
Harry Haller, writer and reader of many books, an intellectual, is contemplating suicide on his 50th birthday. Melancholy, dumped by his wife, he sees himself as a 鈥渨olf of the steppes,鈥� half human, half wolf. He hates modern society. He鈥檇 rather read Goethe and listen to Mozart than go to a party and listen to modern jazz or make small talk. His nephew sees him as "a genius of suffering," which seems about right. He鈥檚 born to be wild, separate from society:
Steppenwolf鈥檚 鈥淏orn to be Wild鈥�:
A peddler gives Steppenwolf a pamphlet entitled, "Treatise on the Steppenwolf." He meets a woman, Hermione, in a bar; she mocks him for his self-obsession, and introduces the aging intellectual鈥攖hrough other women鈥攖o the life of the body, to dancing, to cocaine, to wine, to sex. The sensual. Meaning: women, basically. Men: Rational, the life of the mind. Women: Sensual, physical. There鈥檚 almost no dialogue in this book, but for certain, women mostly play a central role; they don鈥檛 talk much, the me do most of the talking, but they are a central shaping force.
Steppenwolf鈥檚 鈥淢agic Carpet Ride鈥�:
Steppenwolf visits a Magic Theater, which in the sixties might have been seen as a place for psychedelic experimentation because it is there that Harry experiences dreams and nightmares. Emerging out of this with Rosa, Harry ultimately finds he needs to lighten up! He needs to laugh, and enjoy life, and society. So that鈥檚 the heart of the book, Step embracing Mozart鈥檚 The Magic Flute and love of life, rejecting the suicidal isolation of Goethe鈥檚 The Sorrows of Young Werther. Plato, Spinoza, and Nietzsche get referenced along the way, too. I guess it can be seen as a novelistic reflection on the divided self.
There鈥檚 not much of an actual story here. It鈥檚 an internal, philosophical/spiritual novel, which feels more like allegory (and perhaps autobiography), to tell you how to stop brooding and embrace life. I can see in reading this why a man鈥攊n particular a man, because it was written by a man with men as his primary audience, I think鈥攊n his late teens or middle-age might embrace this. I liked it less than I did when I was in my teens, but it surely has a kind of intense appeal. Oh, and my mom came to see I also got out of that brooding phase and lightened up, too.
In league with Pessoa鈥檚 Book of Disquiet and Dostoevsky鈥檚 Raskolnikov, Hermann Hesse鈥檚 Steppenwolf is about a suicidal guy who never actually commits suicide, a tortured soul who struggles with the dualism of his nature, from the human to the wolf, from the classical to the romantic, to the spiritual to the sinful, from the life of the mind to the life of the body. I read this three times when I was 18-20, trying to understand it, trying to find elements that would help shape my personality, my image as budding/wannabe Artiste, in all my adolescent angst. 鈥淵ou were such a happy baby; what happened?鈥� my mother said to me once during this brooding period, when I was reading everything from Dostoevsky to Rimbaud to Malcolm Lowry鈥檚 Under The Volcano and Camus and Sartre, and yes, every Hesse book I could get my hands on.
Steppenwolf was written by Hesse at middle age, looking back on his struggle between the coolly distant Germanic aesthetic and the more sensual Buddhism. In my late teens all the Christians I knew including me were reading Zen Buddhism, and Hesse helped us bridge the strict Calvinism we wanted to be free from and the East we found more attractive, less restrictive.
Harry Haller, writer and reader of many books, an intellectual, is contemplating suicide on his 50th birthday. Melancholy, dumped by his wife, he sees himself as a 鈥渨olf of the steppes,鈥� half human, half wolf. He hates modern society. He鈥檇 rather read Goethe and listen to Mozart than go to a party and listen to modern jazz or make small talk. His nephew sees him as "a genius of suffering," which seems about right. He鈥檚 born to be wild, separate from society:
Steppenwolf鈥檚 鈥淏orn to be Wild鈥�:
A peddler gives Steppenwolf a pamphlet entitled, "Treatise on the Steppenwolf." He meets a woman, Hermione, in a bar; she mocks him for his self-obsession, and introduces the aging intellectual鈥攖hrough other women鈥攖o the life of the body, to dancing, to cocaine, to wine, to sex. The sensual. Meaning: women, basically. Men: Rational, the life of the mind. Women: Sensual, physical. There鈥檚 almost no dialogue in this book, but for certain, women mostly play a central role; they don鈥檛 talk much, the me do most of the talking, but they are a central shaping force.
Steppenwolf鈥檚 鈥淢agic Carpet Ride鈥�:
Steppenwolf visits a Magic Theater, which in the sixties might have been seen as a place for psychedelic experimentation because it is there that Harry experiences dreams and nightmares. Emerging out of this with Rosa, Harry ultimately finds he needs to lighten up! He needs to laugh, and enjoy life, and society. So that鈥檚 the heart of the book, Step embracing Mozart鈥檚 The Magic Flute and love of life, rejecting the suicidal isolation of Goethe鈥檚 The Sorrows of Young Werther. Plato, Spinoza, and Nietzsche get referenced along the way, too. I guess it can be seen as a novelistic reflection on the divided self.
There鈥檚 not much of an actual story here. It鈥檚 an internal, philosophical/spiritual novel, which feels more like allegory (and perhaps autobiography), to tell you how to stop brooding and embrace life. I can see in reading this why a man鈥攊n particular a man, because it was written by a man with men as his primary audience, I think鈥攊n his late teens or middle-age might embrace this. I liked it less than I did when I was in my teens, but it surely has a kind of intense appeal. Oh, and my mom came to see I also got out of that brooding phase and lightened up, too.
February 26, 2017
鈥淭here are always a few such people who demand the utmost of life and yet cannot come to terms with its stupidity and crudeness.鈥�
鈥� Hermann Hesse, Steppenwolf
There is this bourgeoisie period in every man's life. A midpoint between birth and death where man is trapped alone. Unable to exist in the hot or cold of the absolutes he tries to find his way between the extremes in the comfortable center. Fearing life and death, he just |exists| ... barely. This is not a novel for the young. Just like it is better to save King Lear for late(r) in one's life, it is better to save Steppenwolf for those crisis years of the midlife.
Hesse's novels seem to flirt between the edge of memoir, scripture, prose poem and Eastern philosophy tract. This isn't a book you want to read in a hot bath with scotch in one hand and a razor blade in the other. You will either spill your drink or spill your blood or lose every printed word; the hot water erasing pages and pickling your fingers, toes and time.
鈥� Hermann Hesse, Steppenwolf
There is this bourgeoisie period in every man's life. A midpoint between birth and death where man is trapped alone. Unable to exist in the hot or cold of the absolutes he tries to find his way between the extremes in the comfortable center. Fearing life and death, he just |exists| ... barely. This is not a novel for the young. Just like it is better to save King Lear for late(r) in one's life, it is better to save Steppenwolf for those crisis years of the midlife.
Hesse's novels seem to flirt between the edge of memoir, scripture, prose poem and Eastern philosophy tract. This isn't a book you want to read in a hot bath with scotch in one hand and a razor blade in the other. You will either spill your drink or spill your blood or lose every printed word; the hot water erasing pages and pickling your fingers, toes and time.
May 16, 2024
This book can be great or bad depending on your taste buds, silly or a stupendous trip in enlightenment , about that man of self- pity , Harry Haller maybe too educated for his own good . His hatred of himself would become tiresome to all those unlucky to know him. He dreams as Steppenwolf a creature of the steppes in Russia roaming alone never joining other wolves but living always as though the last animal with four legs on earth. As a human the feelings are the same , seeing but not living , preferring to die but a coward to do anything about this. Harry is 50 , a German between the wars when everyone enjoys the exciting 1920 's, Herr Haller only despises the world around... planning suicide , a rather pompous, conceited individual who enters taverns, cinemas, concerts watching people hating them, however envious. Meeting women who strangely like the not attractive, depressive Harry , especially Hermine a pretty , young girl of rather dubious, (but very perceptive, a talented woman) with flaws in ...
shall we say her background in a bar ( tavern).She even teaches the shy man to dance and introduces her amusing friend , affable Maria. Pablo a seemingly shallow yet charming man that plays the saxophone will surprise later on. Dinners in restaurants, drinking , drugs and parties he begins to act like others from the now remote but interesting age of the boisterous flapper, the crazy music of Jazz and anything goes, old traditions gone lost forever in the new
era, thinking of life not death yet still unsure of the future, will this last. A very influential novel which became quite popular in the counter culture of the 1960's. Nevertheless in the Magic Theater a place where nightmares and dreams are shown to the uneasy Harry by Pablo his mysterious friend where appears Mozart the laughing musician that tells Mr. Haller not to be such a wet blanket , is the best part of the entire fantasy...A odd novel for any .... some will discover what?
shall we say her background in a bar ( tavern).She even teaches the shy man to dance and introduces her amusing friend , affable Maria. Pablo a seemingly shallow yet charming man that plays the saxophone will surprise later on. Dinners in restaurants, drinking , drugs and parties he begins to act like others from the now remote but interesting age of the boisterous flapper, the crazy music of Jazz and anything goes, old traditions gone lost forever in the new
era, thinking of life not death yet still unsure of the future, will this last. A very influential novel which became quite popular in the counter culture of the 1960's. Nevertheless in the Magic Theater a place where nightmares and dreams are shown to the uneasy Harry by Pablo his mysterious friend where appears Mozart the laughing musician that tells Mr. Haller not to be such a wet blanket , is the best part of the entire fantasy...A odd novel for any .... some will discover what?
March 23, 2025
The Steppe Wolf is a novel by German writer Hermann Hesse. The author is a pacifist and a great humanist. The book was published in 1927. Although this novel was published at the beginning of the 20th Century, it has kept all its freshness and brilliance. This work is a robust, powerful, and dense book. A preface precedes this novel by the publisher, where he explains how he came into possession of the manuscript. The main protagonist of the story is Harry Haller. He is in his fifties and lives alone because his wife left him. He has an extraordinary intelligence quotient: IQ. He's an introvert. He avoids his peers and only goes out at nightfall to roam the city. He likes to read philosophy books, listen to classical music, and love poetry. He runs away from people, so he gives himself the nickname of Steppe Wolf. He has suicidal impulses because he sometimes thinks about suicide. One evening, afraid of taking action, he enters a tavern. There, he meets a bubbly young woman, Hermine. The latter, taking life on the bright side, becomes attached to him and leads him to dance, drink, and live like his fellows. With the meeting with Hermine, Harry became another. He must reconcile the two sides: the animal part in us and the spiritual domain. The Steppe Wolf: A masterpiece!
July 9, 2023
- "匕卅亘 丕賱亘乇丕乇賷"貙 毓賳賵丕賳 賯丿 賷賵丨賷 賱賱賯丕乇卅 亘賲睾丕賲乇丕鬲 賵兀丨丿丕孬 卮鬲賾賶 爻賷賯亘賱 毓賱賷賴丕貙 賱賰賳 賱丕 賮賴匕賴 丕賱乇賵丕賷丞 賱毓亘丞 匕賴賳賷丞 亘廿賲鬲賷丕夭 亘丿丕賷鬲賴丕 賵賳賴丕賷鬲賴丕 賮賷 毓賯賱 卮禺氐 賵丕丨丿 鬲鬲賯丕乇毓 賮賷賴 乇賵丨丕賳 (爻兀毓賵丿 賱匕賱賰 賱丕丨賯丕賸)貙 賵丕丨丿丞 丌賳爻丞 賱胤賷賮丞 賵丕禺乇賶 賴賲噩賷丞 匕卅亘賷丞貙 賷亘賯賶 丕賱賲賯賷丕爻 賴賵 賳爻亘丞 賳噩丕丨 丕賱賰丕鬲亘 賮賷 鬲爻胤賷乇 丕賮賰丕乇賴 毓賱賶 丕賱賵乇賯!
- 亘賲賰賳 鬲賯爻賷賲 丕賱賯氐丞 丕賱賶 孬賱丕孬丞 丕噩夭丕亍貙 丕賱賯爻賲 丕賱兀賵賱 賷賯丿賾賲 賴丕乇賷 賴丕賱賱乇 亘毓賷賵賳 丕亘賳 丕禺 氐丕丨亘丞 丕賱亘賳丕賷丞 丕賱鬲賷 丕爻鬲兀噩乇 睾乇賮鬲賷賳 賮賷賴丕貙 賷賯賵賲 賴匕丕 丕賱賯爻賲 亘乇爻賲 丕賱廿胤丕乇 丕賱禺丕乇噩賷 賱賴丕乇賷: 丕賱賵氐賮 丕賱噩爻丿賷貙 胤乇賷賯丞 丨賷丕鬲賴貙 賵丨丿鬲賴貙 賮賵囟賵賷丞 睾乇賮丞 賲毓賷卮鬲賴貙 賰鬲亘賴貙 賯賳丕賳賷 丕賱賲卮乇賵亘丕鬲 丕賱賲乇賲賷丞 賮賷 丕賱夭賵丕賷丕貙 丕賱氐賵乇丞 丕賱賲毓賱賯丞.. 賲賲丕 賷毓胤賷賴 (賵賷毓胤賷 丕賱賯丕乇卅) 丕賳胤亘丕毓丕賸 丕賳 丕賱賲賵氐賵賮 (賴丕乇賷) 賯丿 賷賰賵賳 賮賳丕賳丕賸 丕賵 賲賮賰乇丕賸 丕賵 賲孬賯賮丕賸! 孬賲 賷賯賵賲 亘廿胤賱丕毓賳丕 毓賱賶 丕賱爻噩賱 丕賱匕賷 鬲乇賰賴 賴丕乇賷 賯亘賱 丕禺鬲賮丕卅賴 賵賴匕丕 丕賱爻噩賱 賷卮賰賱 丕賱賯爻賲 丕賱孬丕賳賷 賲賳 丕賱乇賵丕賷丞 丨賷孬 賷胤賱毓賳丕 賴丕乇賷 亘賳賮爻賴 毓賳 賳賮爻賴貙 賮賴賵 賷毓鬲賯丿 丕賳 亘丿丕禺賱賴 卮禺氐賷鬲賷賳 鬲鬲氐丕乇毓丕賳 毓賱賶 丕賱丿賵丕賲 (丕賱廿賳爻丕賳-丕賱匕卅亘) 賲賲丕 噩毓賱賴 賰卅賷亘丕賸貙 賲丨亘胤丕賸 賵賲賳毓夭賱丕賸 賵賴匕丕 賲丕 噩毓賱賴 賷賯乇乇 丕賳 賷賰賵賳 毓賷丿 賲賷賱丕丿賴 丕賱禺賲爻賷賳 賴賵 丕賱賷賵賲 丕賱兀禺賷乇 賮賷 丨賷丕鬲賴 (丕賱廿賳鬲丨丕乇). 賱賰賳 丕賱兀賯丿丕乇 鬲卮丕亍 毓賰爻 賲丕 賷卮丕亍 賴丕乇賷貙 賵鬲亘丿兀 丕賱鬲兀孬賷乇丕鬲 丕賱爻丨乇賷丞 賮賷 丕賱乇賵丕賷丞 亘乇丐賷丞 賳賯卮 毓賱賶 丨丕卅胤賺 賯丿賷賲 賷賰賵賳 丕賱爻亘亘 賱鬲毓乇賮賴 亘賭"賴賷乇賲賷賳賷丕" 賵賴賳丕 賷亘丿兀 丕賱鬲丨賵賱 賮賷 卮禺氐賷鬲賴 賵丕毓丕丿丞 丕賱賳馗乇 亘丕賱毓丿賷丿 賲賳 丕賱賲賮丕賴賷賲 丕賱鬲賷 亘賳賶 毓賱賷賴丕 丨賷丕鬲賴貙 賵丕賱鬲賮賰賷乇 亘丕賱賮乇氐 丕賱囟丕卅毓丞 賵丕賱亘賴噩丞 丕賱賲賮賯賵丿丞貙 賵丕賱兀賮賰丕乇 丕賱禺卮亘賷丞 (亘賲毓馗賲賴丕) 賵賰賷賮 丕賳賴 賰丕賳 賷乇賶 噩丕賳亘丕賸 賵丕丨丿丕賸 賲賳 丕賱丨賷丕丞 賵賷賳爻賶 丕賱丌禺乇貙 "賴賷乇賲賷賳賷丕" 鬲毓乇賮賴 丕賱賶 "賲丕乇賷丕" 賵賴賷 賲賵賲爻 鬲毓乇賮 賰賷賮 鬲賱丕毓亘 賴丕乇賷 賵鬲爻丨亘賴 賲賲丕 賴賵 賮賷賴 賵鬲丨賷賱 賰丌亘鬲賴 賮乇丨丕賸 賵丨夭賳賴 賮乇丨丕賸!
丕賱賯爻賲 丕賱孬丕賱孬 賴賵 丕賱賲爻乇丨 丕賱爻丨乇賷 賵賴賵 賱丕 賷卮賰賱 丕賰孬乇 賲賳 10 亘丕賱賲卅丞 賲賳 丕賱乇賵丕賷丞 賱賰賳賴 賰孬賷賮 噩丿丕賸 賵爻乇賷毓 丕賱兀丨丿丕孬 賰兀賳賴 賷噩爻賾丿 丕賱鬲囟丕丿 丕賵 丕賱鬲睾賷賾乇 丕賱匕賷 丕氐丕亘 卮禺氐賷丞 "賴丕乇賷" 賲賳匕 亘丿丕賷丞 丕賱乇賵丕賷丞 丨鬲賶 賳賴丕賷鬲賴丕貙 賵賮賷 賴匕丕 丕賱賯爻賲 丕賱兀禺賷乇 丕賱賲賰賵賾賳 賲賳 賲夭賷噩 賲賳 丕賱賷賵睾丕 賵丕賱兀賮賰丕乇 丕賱卮乇賯賷丞 賵丕賱賰丨賵賱 賵丕賱丨卮賷卮 賵丕賱賲禺丿乇丕鬲 賵毓賱賲 丕賱賳賮爻 賷兀禺匕賳丕 丕賱賰丕鬲亘 丕賱賶 丕亘毓丕丿 噩丿賷丿丞 賮賷 賳賮爻賷丞 "賴丕乇賷" 賵丕賱賶 賲賮丕賴賷賲 賵丕賮賰丕乇 噩丿賷丿丞 鬲鬲賲賷賾夭 亘丕賱禺賮丞 賵丕賱爻禺乇賷丞 賲賳 賵丕賯毓 丕賱丨丕賱.
- 賲丕 丕賱匕賷 賮賴賲鬲賴 賲賳 丕賱乇賵丕賷丞責 丕賱鬲丨賵賾賱! 賮賴丕乇賷 賲孬賱 賰賱 丕賳爻丕賳 賷賲乇賾 賮賷 賲乇丕丨賱 鬲丨賵賾賱 丿丕禺賱賷丞貙 賮賴賵 賷賵丿賾毓 賲乇丨賱丞 丕賱卮亘丕亘 賵賷賱丕賲爻 賲乇丨賱丞 丕賱卮賷禺賵禺丞 賵賴賵 亘匕賱賰 賲賳毓夭賱賹 賵賰卅賷亘 賵囟毓賷賮貙 賲賲丕 賷禺賱賯 賲賳 匕丕鬲賴 卮禺氐賷丞 "賴賷乇賲賷賳賷丕" 丕賱鬲賷 賵噩丿鬲賴丕 禺賷丕賱賷丞 賵睾賷乇 丨賯賷賯賷丞貙 賮賴賷 -丕賷 賴賷乇賲賷賳賷丕- 鬲卮賰賱 丕賱鬲賵賯 丕賱賲賮賯賵丿 賵丕賱賵噩丿 丕賱賲胤賱賵亘 賱禺乇賵噩 賴丕乇賷 賲賲丕 賴賵 賮賷賴 賮鬲乇丕賴丕 鬲賵噩賴賴 丕賱賶 賲賱匕丕鬲 丕賱丨賷丕丞 賵賲鬲毓賴丕貙 丕賱賶 丕賱乇賯氐 賵賲賵爻賷賯賶 丕賱噩丕夭 賵丕丨囟丕賳 丕賱卮丕亘丕鬲 丕賱賳囟乇丞貙 亘毓賷丿丕賸 毓賳 賲賵爻賷賯賶 賲賵夭丕乇鬲 賵賮丕睾賳乇 丕賱賰賱丕爻賷賰賷丞 賵亘毓賷丿丕購 毓賳 睾賵鬲丞 賵賲丌爻賷賴 賵亘毓賷丿丕賸 毓賳 丕賱卮禺氐賷丞 丕賱孬丕賳賷丞 丕賱賲賮鬲乇囟丞 丕賱丕 賵賴賷 丕賱匕卅亘貙 賵賲丕 賲賵鬲賴丕 賮賷 賳賴丕賷丞 丕賱乇賵丕賷丞 丕賱丕 丿賱賷賱 毓賱賶 賮賯丿丕賳 丿賵乇賴丕 亘丕賱賳爻亘丞 賱賴丕乇賷 賵毓賵丿鬲賴丕 賱鬲卮賰賱 噩夭亍丕賸 胤亘賷毓賷丕賸 賲賳 匕丕鬲賴 賵賲賳 賳賮爻賴貙 亘毓丿 丕賳 丕爻鬲毓丕丿 賳卮丕胤賴 賵丨亘賴 賱賱丨賷丕丞 . 賵賲丕 丕亘乇夭 賲賳 匕賱賰 爻賵賶 賴匕丕 丕賱鬲囟丕丿 亘賷賳 噩賲賱鬲賷賳 ( 氐27"毓賱賶 丕賱廿賳爻丕賳 丕賳 賷賮鬲禺乇 亘賲毓丕賳丕鬲賴貙 丕賳 賰賱 賲毓丕賳丕丞 賴賷 鬲匕賰賷乇 賱賳丕 亘賲賳夭賱鬲賳丕 丕賱乇賮賷毓丞.") (氐270:匕丕鬲 賷賵賲 爻賷鬲丨爻賳 丕丿丕卅賷 賮賷 丕賱賱毓亘丞貙 匕丕鬲 賷賵賲 爻賵賮 丕鬲毓賱賲 丕賱囟丨賰) 賵賴匕賴 賰丕賳鬲 賮賷 丕賱賳賴丕賷丞 賰丿賱賷賱 毓賱賶 賴匕賴 丕賱賳賯賱丞 丕賱賳賵毓賷丞 賵鬲禺胤賷 賲乇丨賱丞 丕賱賷兀爻 丕賱鬲賷 賰丕賳 賷毓賷卮賴丕!
- 賲丕 丕賱爻賱亘賷丕鬲責 毓丿丞 爻賱亘賷丕鬲貙 丕賵賱賾賴丕 丕賱賳乇噩爻賷丞 賮賷 丕爻鬲毓賲丕賱 丕賱兀爻賲丕亍 "賴賷乇賲賳" "賴賷乇賲賷賳賷丕" 匕丕鬲 丕爻賲 丕賱賰丕鬲亘! 胤亘賷毓丞 賮賱爻賮丞 丕賱賮賰乇丞 丕賱賯丕卅賲丞貙 賮亘賷賳賲丕 賷丨丕賵賱 丕賱賰丕鬲亘 丕賱鬲賮乇賯丞 亘賷賳 乇賵丨 丕賳爻丕賳賷丞 禺賷賾乇丞 賵乇丨 匕卅亘賷丞 卮賷胤丕賳賷丞貙 賮兀賳丕 丕乇賶 丕賱毓賰爻 鬲賲丕賲丕賸 賮丕賱禺賷乇 丕賱賲賵噩賵丿 賮賷 丕賱匕卅亘 丕賱匕賷 賱丕 賷賯鬲賱 丕賱丕 賱賷兀賰賱 賴賵 丕賮囟賱 亘兀賱賮 賲乇丞 賲賳 丕賱廿賳爻丕賳 丕賱匕賷 賷賯鬲賱 賲賳 丕噩賱 丕賱賲鬲毓丞 賵爻兀爻鬲毓賷乇 賲賯賵賱丞 賰丕乇賱 賲丕乇賰爻 賮賷 賵氐賮 賮賱爻賮丞 賴賷睾賱 (亘鬲氐乇賮):丕賳 丕賳爻丕賳 "賴賷爻賴" 賷賯賮 毓賱賶 乇兀爻賴! 兀囟賮 丕賱賶 匕賱賰 丕賱賯爻賲 丕賱兀禺賷乇 丕賱匕賷 賷賲賰賳 鬲賮爻賷乇賴 亘卮賰賱 丨乇賮賷 (賵賯丿 賮爻賾乇 賲賳 賯亘賱) 賲賲丕 賷丐丿賷 丕賱賶 丨賮賱丕鬲 噩賲丕毓賷丞 賲賳 丕賱爻賰乇 賵丕賱賲禺丿乇丕鬲 禺氐賵氐丕賸 丕匕丕 鬲賯賲賾氐 丕賱賯丕乇卅 卮禺氐賷丞 賴丕乇賷 賴丕賱賱乇 丕賵 丕丨爻 丕賳賴 賷賲賾乇 亘賲丕 賯丿 賲乇賾 亘賴!
丕亘乇夭 丕賱廿賯鬲亘丕爻丕鬲:
氐20 "丕賳馗乇 丕賷 賯乇賵丿 賳丨賳! 丕賳馗乇貙 賴匕丕 賴賵 丕賱廿賳爻丕賳!"
氐27 "毓賱賶 丕賱廿賳爻丕賳 丕賳 賷賮鬲禺乇 亘賲毓丕賳丕鬲賴貙 丕賳 賰賱 賲毓丕賳丕丞 賴賷 鬲匕賰賷乇 賱賳丕 亘賲賳夭賱鬲賳丕 丕賱乇賮賷毓丞."
氐51 "廿賳 丕賱毓夭賱丞 丕爻鬲賯賱丕賱. 賵賱胤丕賱賲丕 賰丕賳鬲 賲賳賷鬲賷 賵賯丿 亘賱睾鬲賴丕 賲毓 賲乇賵乇 丕賱爻賳賷賳. 賱賯丿 賰丕賳鬲 亘丕乇丿丞. 兀賵賴貙 賲丕 兀卮丿 亘乇賵丿鬲賴丕! 賱賰賳賴丕 丕賷囟丕賸 爻丕賰賳丞貙 爻丕賰賳丞 亘卮賰賱 乇丕卅毓 賵賲鬲乇丕賲賷丞 丕賱兀乇噩丕亍 賲孬賱 爻賰賵賳 丕賱賮囟丕亍 丕賱亘丕乇丿 丕賱匕賷 鬲丿賵乇 賮賷賴 丕賱賳噩賵賲 賮賷 兀賮賱丕賰賴丕"
氐61 "丕賳 賰丕賲賱 丕賱丨賷丕丞 丕賱廿賳爻丕賳賷丞 乇亘賲丕 賱賷爻鬲 丕賰孬乇 賲賳 賳賰鬲丞 爻禺賷賮丞貙 廿噩賴丕囟 賲卮丐賵賲貙 毓賳賷賮貙 賱賱兀賲 丕賱兀賵賱賶貙 賵賰丕乇孬丞 胤亘賷毓賷丞 賲睾賲賾丞 賵賴賲噩賷丞"
氐72 "賯賱丕卅賱 賴賲 丕賱匕賷賳 賷鬲丨乇乇賵賳 賳丕卮丿賷賳 賲賰丕賮兀鬲賴賲 賮賷 丕賱賱丕賲卮乇賵胤貙 賵賷爻賯胤賵賳 亘賵賯丕乇. 丕賳賴賲 賷囟毓賵賳 鬲丕噩 丕賱卮賵賰 毓賱賶 乇丐賵爻賴賲 賵毓丿丿賴賲 賯賱賷賱"
氐80 "廿賳 丕賱廿賳爻丕賳 賱賷爻 卮賰賱丕賸 孬丕亘鬲丕賸 賵丿丕卅賲丕賸... 廿賳賴 丕賯乇亘 丕賱賶 賰賵賳賴 鬲噩乇亘丞 賵賲乇丨賱丞 丕賳鬲賯丕賱賷丞貙 賵賱賷爻 丕賰孬乇 賲賳 噩爻乇 囟賷賯 賵禺胤乇 賷賲鬲丿 賲丕 亘賷賳 丕賱賮胤乇丞 賵丕賱乇賵丨"
氐186 "賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱賯丿賷爻賷賳 賰丕賳賵丕 禺胤丕丞. 丨鬲賶 丕賱禺胤賷卅丞 賯丿 鬲賰賵賳 爻亘賷賱丕賸 丕賱賶 丕賱賯丿丕爻丞."
- 亘賲賰賳 鬲賯爻賷賲 丕賱賯氐丞 丕賱賶 孬賱丕孬丞 丕噩夭丕亍貙 丕賱賯爻賲 丕賱兀賵賱 賷賯丿賾賲 賴丕乇賷 賴丕賱賱乇 亘毓賷賵賳 丕亘賳 丕禺 氐丕丨亘丞 丕賱亘賳丕賷丞 丕賱鬲賷 丕爻鬲兀噩乇 睾乇賮鬲賷賳 賮賷賴丕貙 賷賯賵賲 賴匕丕 丕賱賯爻賲 亘乇爻賲 丕賱廿胤丕乇 丕賱禺丕乇噩賷 賱賴丕乇賷: 丕賱賵氐賮 丕賱噩爻丿賷貙 胤乇賷賯丞 丨賷丕鬲賴貙 賵丨丿鬲賴貙 賮賵囟賵賷丞 睾乇賮丞 賲毓賷卮鬲賴貙 賰鬲亘賴貙 賯賳丕賳賷 丕賱賲卮乇賵亘丕鬲 丕賱賲乇賲賷丞 賮賷 丕賱夭賵丕賷丕貙 丕賱氐賵乇丞 丕賱賲毓賱賯丞.. 賲賲丕 賷毓胤賷賴 (賵賷毓胤賷 丕賱賯丕乇卅) 丕賳胤亘丕毓丕賸 丕賳 丕賱賲賵氐賵賮 (賴丕乇賷) 賯丿 賷賰賵賳 賮賳丕賳丕賸 丕賵 賲賮賰乇丕賸 丕賵 賲孬賯賮丕賸! 孬賲 賷賯賵賲 亘廿胤賱丕毓賳丕 毓賱賶 丕賱爻噩賱 丕賱匕賷 鬲乇賰賴 賴丕乇賷 賯亘賱 丕禺鬲賮丕卅賴 賵賴匕丕 丕賱爻噩賱 賷卮賰賱 丕賱賯爻賲 丕賱孬丕賳賷 賲賳 丕賱乇賵丕賷丞 丨賷孬 賷胤賱毓賳丕 賴丕乇賷 亘賳賮爻賴 毓賳 賳賮爻賴貙 賮賴賵 賷毓鬲賯丿 丕賳 亘丿丕禺賱賴 卮禺氐賷鬲賷賳 鬲鬲氐丕乇毓丕賳 毓賱賶 丕賱丿賵丕賲 (丕賱廿賳爻丕賳-丕賱匕卅亘) 賲賲丕 噩毓賱賴 賰卅賷亘丕賸貙 賲丨亘胤丕賸 賵賲賳毓夭賱丕賸 賵賴匕丕 賲丕 噩毓賱賴 賷賯乇乇 丕賳 賷賰賵賳 毓賷丿 賲賷賱丕丿賴 丕賱禺賲爻賷賳 賴賵 丕賱賷賵賲 丕賱兀禺賷乇 賮賷 丨賷丕鬲賴 (丕賱廿賳鬲丨丕乇). 賱賰賳 丕賱兀賯丿丕乇 鬲卮丕亍 毓賰爻 賲丕 賷卮丕亍 賴丕乇賷貙 賵鬲亘丿兀 丕賱鬲兀孬賷乇丕鬲 丕賱爻丨乇賷丞 賮賷 丕賱乇賵丕賷丞 亘乇丐賷丞 賳賯卮 毓賱賶 丨丕卅胤賺 賯丿賷賲 賷賰賵賳 丕賱爻亘亘 賱鬲毓乇賮賴 亘賭"賴賷乇賲賷賳賷丕" 賵賴賳丕 賷亘丿兀 丕賱鬲丨賵賱 賮賷 卮禺氐賷鬲賴 賵丕毓丕丿丞 丕賱賳馗乇 亘丕賱毓丿賷丿 賲賳 丕賱賲賮丕賴賷賲 丕賱鬲賷 亘賳賶 毓賱賷賴丕 丨賷丕鬲賴貙 賵丕賱鬲賮賰賷乇 亘丕賱賮乇氐 丕賱囟丕卅毓丞 賵丕賱亘賴噩丞 丕賱賲賮賯賵丿丞貙 賵丕賱兀賮賰丕乇 丕賱禺卮亘賷丞 (亘賲毓馗賲賴丕) 賵賰賷賮 丕賳賴 賰丕賳 賷乇賶 噩丕賳亘丕賸 賵丕丨丿丕賸 賲賳 丕賱丨賷丕丞 賵賷賳爻賶 丕賱丌禺乇貙 "賴賷乇賲賷賳賷丕" 鬲毓乇賮賴 丕賱賶 "賲丕乇賷丕" 賵賴賷 賲賵賲爻 鬲毓乇賮 賰賷賮 鬲賱丕毓亘 賴丕乇賷 賵鬲爻丨亘賴 賲賲丕 賴賵 賮賷賴 賵鬲丨賷賱 賰丌亘鬲賴 賮乇丨丕賸 賵丨夭賳賴 賮乇丨丕賸!
丕賱賯爻賲 丕賱孬丕賱孬 賴賵 丕賱賲爻乇丨 丕賱爻丨乇賷 賵賴賵 賱丕 賷卮賰賱 丕賰孬乇 賲賳 10 亘丕賱賲卅丞 賲賳 丕賱乇賵丕賷丞 賱賰賳賴 賰孬賷賮 噩丿丕賸 賵爻乇賷毓 丕賱兀丨丿丕孬 賰兀賳賴 賷噩爻賾丿 丕賱鬲囟丕丿 丕賵 丕賱鬲睾賷賾乇 丕賱匕賷 丕氐丕亘 卮禺氐賷丞 "賴丕乇賷" 賲賳匕 亘丿丕賷丞 丕賱乇賵丕賷丞 丨鬲賶 賳賴丕賷鬲賴丕貙 賵賮賷 賴匕丕 丕賱賯爻賲 丕賱兀禺賷乇 丕賱賲賰賵賾賳 賲賳 賲夭賷噩 賲賳 丕賱賷賵睾丕 賵丕賱兀賮賰丕乇 丕賱卮乇賯賷丞 賵丕賱賰丨賵賱 賵丕賱丨卮賷卮 賵丕賱賲禺丿乇丕鬲 賵毓賱賲 丕賱賳賮爻 賷兀禺匕賳丕 丕賱賰丕鬲亘 丕賱賶 丕亘毓丕丿 噩丿賷丿丞 賮賷 賳賮爻賷丞 "賴丕乇賷" 賵丕賱賶 賲賮丕賴賷賲 賵丕賮賰丕乇 噩丿賷丿丞 鬲鬲賲賷賾夭 亘丕賱禺賮丞 賵丕賱爻禺乇賷丞 賲賳 賵丕賯毓 丕賱丨丕賱.
- 賲丕 丕賱匕賷 賮賴賲鬲賴 賲賳 丕賱乇賵丕賷丞責 丕賱鬲丨賵賾賱! 賮賴丕乇賷 賲孬賱 賰賱 丕賳爻丕賳 賷賲乇賾 賮賷 賲乇丕丨賱 鬲丨賵賾賱 丿丕禺賱賷丞貙 賮賴賵 賷賵丿賾毓 賲乇丨賱丞 丕賱卮亘丕亘 賵賷賱丕賲爻 賲乇丨賱丞 丕賱卮賷禺賵禺丞 賵賴賵 亘匕賱賰 賲賳毓夭賱賹 賵賰卅賷亘 賵囟毓賷賮貙 賲賲丕 賷禺賱賯 賲賳 匕丕鬲賴 卮禺氐賷丞 "賴賷乇賲賷賳賷丕" 丕賱鬲賷 賵噩丿鬲賴丕 禺賷丕賱賷丞 賵睾賷乇 丨賯賷賯賷丞貙 賮賴賷 -丕賷 賴賷乇賲賷賳賷丕- 鬲卮賰賱 丕賱鬲賵賯 丕賱賲賮賯賵丿 賵丕賱賵噩丿 丕賱賲胤賱賵亘 賱禺乇賵噩 賴丕乇賷 賲賲丕 賴賵 賮賷賴 賮鬲乇丕賴丕 鬲賵噩賴賴 丕賱賶 賲賱匕丕鬲 丕賱丨賷丕丞 賵賲鬲毓賴丕貙 丕賱賶 丕賱乇賯氐 賵賲賵爻賷賯賶 丕賱噩丕夭 賵丕丨囟丕賳 丕賱卮丕亘丕鬲 丕賱賳囟乇丞貙 亘毓賷丿丕賸 毓賳 賲賵爻賷賯賶 賲賵夭丕乇鬲 賵賮丕睾賳乇 丕賱賰賱丕爻賷賰賷丞 賵亘毓賷丿丕購 毓賳 睾賵鬲丞 賵賲丌爻賷賴 賵亘毓賷丿丕賸 毓賳 丕賱卮禺氐賷丞 丕賱孬丕賳賷丞 丕賱賲賮鬲乇囟丞 丕賱丕 賵賴賷 丕賱匕卅亘貙 賵賲丕 賲賵鬲賴丕 賮賷 賳賴丕賷丞 丕賱乇賵丕賷丞 丕賱丕 丿賱賷賱 毓賱賶 賮賯丿丕賳 丿賵乇賴丕 亘丕賱賳爻亘丞 賱賴丕乇賷 賵毓賵丿鬲賴丕 賱鬲卮賰賱 噩夭亍丕賸 胤亘賷毓賷丕賸 賲賳 匕丕鬲賴 賵賲賳 賳賮爻賴貙 亘毓丿 丕賳 丕爻鬲毓丕丿 賳卮丕胤賴 賵丨亘賴 賱賱丨賷丕丞 . 賵賲丕 丕亘乇夭 賲賳 匕賱賰 爻賵賶 賴匕丕 丕賱鬲囟丕丿 亘賷賳 噩賲賱鬲賷賳 ( 氐27"毓賱賶 丕賱廿賳爻丕賳 丕賳 賷賮鬲禺乇 亘賲毓丕賳丕鬲賴貙 丕賳 賰賱 賲毓丕賳丕丞 賴賷 鬲匕賰賷乇 賱賳丕 亘賲賳夭賱鬲賳丕 丕賱乇賮賷毓丞.") (氐270:匕丕鬲 賷賵賲 爻賷鬲丨爻賳 丕丿丕卅賷 賮賷 丕賱賱毓亘丞貙 匕丕鬲 賷賵賲 爻賵賮 丕鬲毓賱賲 丕賱囟丨賰) 賵賴匕賴 賰丕賳鬲 賮賷 丕賱賳賴丕賷丞 賰丿賱賷賱 毓賱賶 賴匕賴 丕賱賳賯賱丞 丕賱賳賵毓賷丞 賵鬲禺胤賷 賲乇丨賱丞 丕賱賷兀爻 丕賱鬲賷 賰丕賳 賷毓賷卮賴丕!
- 賲丕 丕賱爻賱亘賷丕鬲責 毓丿丞 爻賱亘賷丕鬲貙 丕賵賱賾賴丕 丕賱賳乇噩爻賷丞 賮賷 丕爻鬲毓賲丕賱 丕賱兀爻賲丕亍 "賴賷乇賲賳" "賴賷乇賲賷賳賷丕" 匕丕鬲 丕爻賲 丕賱賰丕鬲亘! 胤亘賷毓丞 賮賱爻賮丞 丕賱賮賰乇丞 丕賱賯丕卅賲丞貙 賮亘賷賳賲丕 賷丨丕賵賱 丕賱賰丕鬲亘 丕賱鬲賮乇賯丞 亘賷賳 乇賵丨 丕賳爻丕賳賷丞 禺賷賾乇丞 賵乇丨 匕卅亘賷丞 卮賷胤丕賳賷丞貙 賮兀賳丕 丕乇賶 丕賱毓賰爻 鬲賲丕賲丕賸 賮丕賱禺賷乇 丕賱賲賵噩賵丿 賮賷 丕賱匕卅亘 丕賱匕賷 賱丕 賷賯鬲賱 丕賱丕 賱賷兀賰賱 賴賵 丕賮囟賱 亘兀賱賮 賲乇丞 賲賳 丕賱廿賳爻丕賳 丕賱匕賷 賷賯鬲賱 賲賳 丕噩賱 丕賱賲鬲毓丞 賵爻兀爻鬲毓賷乇 賲賯賵賱丞 賰丕乇賱 賲丕乇賰爻 賮賷 賵氐賮 賮賱爻賮丞 賴賷睾賱 (亘鬲氐乇賮):丕賳 丕賳爻丕賳 "賴賷爻賴" 賷賯賮 毓賱賶 乇兀爻賴! 兀囟賮 丕賱賶 匕賱賰 丕賱賯爻賲 丕賱兀禺賷乇 丕賱匕賷 賷賲賰賳 鬲賮爻賷乇賴 亘卮賰賱 丨乇賮賷 (賵賯丿 賮爻賾乇 賲賳 賯亘賱) 賲賲丕 賷丐丿賷 丕賱賶 丨賮賱丕鬲 噩賲丕毓賷丞 賲賳 丕賱爻賰乇 賵丕賱賲禺丿乇丕鬲 禺氐賵氐丕賸 丕匕丕 鬲賯賲賾氐 丕賱賯丕乇卅 卮禺氐賷丞 賴丕乇賷 賴丕賱賱乇 丕賵 丕丨爻 丕賳賴 賷賲賾乇 亘賲丕 賯丿 賲乇賾 亘賴!
丕亘乇夭 丕賱廿賯鬲亘丕爻丕鬲:
氐20 "丕賳馗乇 丕賷 賯乇賵丿 賳丨賳! 丕賳馗乇貙 賴匕丕 賴賵 丕賱廿賳爻丕賳!"
氐27 "毓賱賶 丕賱廿賳爻丕賳 丕賳 賷賮鬲禺乇 亘賲毓丕賳丕鬲賴貙 丕賳 賰賱 賲毓丕賳丕丞 賴賷 鬲匕賰賷乇 賱賳丕 亘賲賳夭賱鬲賳丕 丕賱乇賮賷毓丞."
氐51 "廿賳 丕賱毓夭賱丞 丕爻鬲賯賱丕賱. 賵賱胤丕賱賲丕 賰丕賳鬲 賲賳賷鬲賷 賵賯丿 亘賱睾鬲賴丕 賲毓 賲乇賵乇 丕賱爻賳賷賳. 賱賯丿 賰丕賳鬲 亘丕乇丿丞. 兀賵賴貙 賲丕 兀卮丿 亘乇賵丿鬲賴丕! 賱賰賳賴丕 丕賷囟丕賸 爻丕賰賳丞貙 爻丕賰賳丞 亘卮賰賱 乇丕卅毓 賵賲鬲乇丕賲賷丞 丕賱兀乇噩丕亍 賲孬賱 爻賰賵賳 丕賱賮囟丕亍 丕賱亘丕乇丿 丕賱匕賷 鬲丿賵乇 賮賷賴 丕賱賳噩賵賲 賮賷 兀賮賱丕賰賴丕"
氐61 "丕賳 賰丕賲賱 丕賱丨賷丕丞 丕賱廿賳爻丕賳賷丞 乇亘賲丕 賱賷爻鬲 丕賰孬乇 賲賳 賳賰鬲丞 爻禺賷賮丞貙 廿噩賴丕囟 賲卮丐賵賲貙 毓賳賷賮貙 賱賱兀賲 丕賱兀賵賱賶貙 賵賰丕乇孬丞 胤亘賷毓賷丞 賲睾賲賾丞 賵賴賲噩賷丞"
氐72 "賯賱丕卅賱 賴賲 丕賱匕賷賳 賷鬲丨乇乇賵賳 賳丕卮丿賷賳 賲賰丕賮兀鬲賴賲 賮賷 丕賱賱丕賲卮乇賵胤貙 賵賷爻賯胤賵賳 亘賵賯丕乇. 丕賳賴賲 賷囟毓賵賳 鬲丕噩 丕賱卮賵賰 毓賱賶 乇丐賵爻賴賲 賵毓丿丿賴賲 賯賱賷賱"
氐80 "廿賳 丕賱廿賳爻丕賳 賱賷爻 卮賰賱丕賸 孬丕亘鬲丕賸 賵丿丕卅賲丕賸... 廿賳賴 丕賯乇亘 丕賱賶 賰賵賳賴 鬲噩乇亘丞 賵賲乇丨賱丞 丕賳鬲賯丕賱賷丞貙 賵賱賷爻 丕賰孬乇 賲賳 噩爻乇 囟賷賯 賵禺胤乇 賷賲鬲丿 賲丕 亘賷賳 丕賱賮胤乇丞 賵丕賱乇賵丨"
氐186 "賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱賯丿賷爻賷賳 賰丕賳賵丕 禺胤丕丞. 丨鬲賶 丕賱禺胤賷卅丞 賯丿 鬲賰賵賳 爻亘賷賱丕賸 丕賱賶 丕賱賯丿丕爻丞."
July 31, 2019
Rereading is tricky business!
And if the author's name is Hermann Hesse, rereading is a hit or miss experience, all depending on whether you happen to be in that time-space-continuum where Hesse makes sense or not. I devoured his works in my twenties, only to drop them like hot potatoes in my thirties, anachronistically blaming Hesse for being out of touch with the modern perception of the world as I knew it right then. So, now in my early forties, I seem to have swung back on that eternally moving pendulum of my literary taste, and I again devoured the Steppenwolf with wo(o)lfish appetite, greedy for each page.
And unsurprisingly, what struck me as of no interest a decade ago now seems to be a reality to suffer through again. When Harry Haller finds himself quoting Goethe's Faust and his "two souls", only to be told off by his modern female Mephisto Hermine that there are thousands of layers to each personality, and that Faust made an (excusable) oversimplification, I find myself nodding and smiling.
Or at least one of the many souls in my body finds comfort in that dilemma, while some other souls inside me cringe at the stupidity of being human in general. The dystopian dream landscapes of Pablo's theatre make a lot more sense to me now as well, as I see parallel lines in our confused lives - part virtual, part real - that we dedicate our time to nowadays, following links on the internet not unlike the prompts that lead Heller to different parts of the theatre, finally leading to a mock killing and a mock execution, that could of course also be real. Who knows? IRL or VR?
Then there is the political misery of 1927, with people partying away in jazz clubs and dance halls while the clownish machos in power prepare another war by appealing to the one-dimensional patriotism that seems to be a placebo for people who are afraid of the wolfish/intellectual soul duality/multiplicity and are looking for clarity in the labyrinth called human experience. What do you say to the novel written in 1927? Good luck? You might have been too pessimistic? Hardly. We all know what happened next, and that is where the relatability itself of Steppenwolf gets scary.
Very scary indeed!
And if the author's name is Hermann Hesse, rereading is a hit or miss experience, all depending on whether you happen to be in that time-space-continuum where Hesse makes sense or not. I devoured his works in my twenties, only to drop them like hot potatoes in my thirties, anachronistically blaming Hesse for being out of touch with the modern perception of the world as I knew it right then. So, now in my early forties, I seem to have swung back on that eternally moving pendulum of my literary taste, and I again devoured the Steppenwolf with wo(o)lfish appetite, greedy for each page.
And unsurprisingly, what struck me as of no interest a decade ago now seems to be a reality to suffer through again. When Harry Haller finds himself quoting Goethe's Faust and his "two souls", only to be told off by his modern female Mephisto Hermine that there are thousands of layers to each personality, and that Faust made an (excusable) oversimplification, I find myself nodding and smiling.
Or at least one of the many souls in my body finds comfort in that dilemma, while some other souls inside me cringe at the stupidity of being human in general. The dystopian dream landscapes of Pablo's theatre make a lot more sense to me now as well, as I see parallel lines in our confused lives - part virtual, part real - that we dedicate our time to nowadays, following links on the internet not unlike the prompts that lead Heller to different parts of the theatre, finally leading to a mock killing and a mock execution, that could of course also be real. Who knows? IRL or VR?
Then there is the political misery of 1927, with people partying away in jazz clubs and dance halls while the clownish machos in power prepare another war by appealing to the one-dimensional patriotism that seems to be a placebo for people who are afraid of the wolfish/intellectual soul duality/multiplicity and are looking for clarity in the labyrinth called human experience. What do you say to the novel written in 1927? Good luck? You might have been too pessimistic? Hardly. We all know what happened next, and that is where the relatability itself of Steppenwolf gets scary.
Very scary indeed!
December 24, 2023
Lo le铆 y lo disfrut茅 en su d铆a y lo leo y tambi茅n lo disfruto hoy aunque de forma bien distinta y mucho m谩s moderada, como aquel que todav铆a es capaz de alegrarse con la Navidad aun sabiendo que estos pocos d铆as no son m谩s que un m谩gico cuento para ni帽os. Y traigo a colaci贸n la navidad pues su cercan铆a seguramente me ha condicionado para ver en 芦El lobo estepario禄 una versi贸n adulta del famoso cuento de navidad de Dickens y en Harry Haller a un atormentado Sr. Scrooge, un mis谩ntropo elitista encerrado en su celda y dedicado a manosear sus monedas de oro, su soledad, su independencia, su amado Mozart y su admirado Goethe, esas raras individualidades con las que desea compartir la inmortalidad, pese al tormento y al renunciamiento que tal camino exige. Las visiones fantasmag贸ricas del pasado y del futuro del famoso cuento se tornan aqu铆 en las posibilidades del presente que le mostrar谩n la enigm谩tica Armanda, la deliciosa Mar铆a y el lindo y musical Pablo.
鈥溾€� era Armanda como la vida misma: siempre momento鈥� Y lo mismo da que fuese todo ello alta sabidur铆a o sencill铆sima candidez. Quien sab铆a vivir de esta manera el momento, quien viv铆a de este modo tan actual y sab铆a estimar tan cuidadosa y amablemente toda flor peque帽a del camino, todo min煤sculo valor sin importancia del instante, 茅ste estaba por encima de todo y no le importaba nada la vida鈥�. se entregaba sencillamente al momento de tal suerte, que estaba abierta por entero, lo mismo que a toda ocurrencia placentera, tambi茅n a todo fugitivo y negro horror de lejanas profundidades del alma y lo gustaba hasta el fin.鈥�La novela, de estilo directo y sencillo, es simb贸lica y filos贸fica, un recipiente d贸nde Hermann Hesse encarnado en Harry Heller vierte sus achaques morales y vitales para quemar a fuego lento sus contradicciones.
La primera de ellas y la m谩s importante es su desatinada fe en el hombre para manejar su personalidad, esa en la que Harry Heller se siente encarcelado y cuya composici贸n el autor simboliza en el manejo de unas figuras que representan los muchos yoes de Harry.
鈥淎l que ha experimentado la descomposici贸n de su yo le ense帽amos que los trozos pueden acoplarse siempre en el orden que se quiera, y que con ellos se logra una ilimitada diversidad del juego de la vida.鈥�Porque una cosa tiene clara Hess, 鈥渟in amor de la propia persona es imposible el amor al pr贸jimo鈥�, y, por tanto, ese debe ser el objetivo, quererse a s铆 mismo, estar conforme con qui茅n la fortuna ha dispuesto que seamos.
No obstante, esa fe en la plasticidad del alma humana no es m谩s que un deseo cuya realidad el autor sabe, estoy seguro, improbable. Hermann Hesse鈥erd贸n, Harry Heller no se gusta, no le gusta su soberbia, su misantrop铆a, su ensimismamiento, pero al mismo tiempo est谩 orgulloso del lobo estepario que lleva dentro; se jacta de ser un hombre que ha pensado m谩s que otros hombres y, sin embargo, asegura que 鈥渆l que hace del pensar lo principal鈥� ha confundido la tierra con el agua, y un d铆a u otro se ahogar谩鈥�; querr铆a ser admirado como hombre distinguido e inteligente, pero no quiere dejar atr谩s lo espont谩neo, lo salvaje, lo ind贸mito, lo peligroso y violento; se debate entre la idea 鈥渄e que acaso toda la vida humana no sea sino un tremendo error, un aborto violento y desgraciado de la madre universal鈥�, por un lado, y la de que el hombre es 鈥渦n hijo de los dioses y destinado a la inmortalidad鈥�, por el otro; ama su soledad y su independencia, del mismo modo que las odia por ser su condenaci贸n; se siente llamado hacia lo absoluto y, sin embargo, no pueden vivir en 茅l; pretende seguir el tortuoso y tormentoso camino de los inmortales, pero su esp铆ritu burgu茅s lo aleja del sufrimiento que ello conlleva; cree que el 煤nico camino a la felicidad es la 鈥渁nulaci贸n de la dolorosa individualidad鈥� y al mismo tiempo quiere ser alguien cuya muerte signifique algo para alguna persona; su inclinaci贸n a saber y comprender chocan con su ansia de 鈥渧ida, decisi贸n, sacudimiento e impulso鈥�; se complace en el 鈥渙lor de quietud, orden, limpieza, decencia y domesticidad鈥� y sin embargo odia al burgu茅s postrado al dios de la mediocridad; quiere la paz interior y la tranquilidad de esp铆ritu pero reniega de la autosatisfacci贸n, 鈥渆l cuidado optimismo del burgu茅s, 茅sta bien alimentada y pr贸spera disciplina de todo lo mediocre, normal y corriente鈥�.
鈥淓s verdad que este inteligente e interesante se帽or Haller hab铆a predicado buen sentido y fraternidad humana, hab铆a protestado contra la barbarie de la guerra, pero durante la guerra no se hab铆a dejado poner junto a una tapia y fusilar, como hubiera sido la consecuencia apropiada de su ideolog铆a, sino que hab铆a encontrado alguna clase de acomodo, un acomodo naturalmente muy digno y muy noble, pero de todas formas, un compromiso. Era, adem谩s, enemigo de todo poder y explotaci贸n, pero guardaba en el Banco varios valores de empresas industriales, cuyos intereses iba consumiendo sin remordimientos de conciencia. Y as铆 pasaba con todo. Ciertamente que Harry Haller se hab铆a disfrazado en forma maravillosa de idealista y despreciador del mundo, de anacoreta lastimero y de iracundo profeta, pero en el fondo era un burgu茅s鈥︹€�Reconciliar estos opuestos se presenta ante 茅l como la soluci贸n a todos sus problemas existenciales. La soluci贸n que propone el mismo autor, vuelvo a estar seguro, no termina de cre茅rsela, al fin y al cabo, adem谩s de que sigue sin estar exenta de contradicciones, no deja de ser un escapismo de igual calibre que el que promete la religi贸n del burgu茅s.
鈥淰ivir en el mundo, como si no fuera el mundo, respetar la ley y al propio tiempo estar por encima de ella, poseer, 芦como si no se poseyera禄, renunciar, como si no se tratara de una renunciaci贸n鈥�Propone ser fiel a lo que se es, como lo son los animales, las flores las estrellas en el cielo, aunque no nos diga como lidiar con el ser que somos y que aborrecemos. Propone no abandonar la lucha aunque se sepa que esta es est茅ril. Propone creer firmemente en esa eternidad, ese 鈥渞eino de lo puro鈥�, 鈥渓o que est谩 fuera del tiempo, el mundo del valor imperecedero, de la sustancia divina鈥� al que se podr谩 acceder aunque no se llegue a la genialidad de un Mozart, basta con un noble actuar, con la pureza de sentimiento.
鈥淓s el reino m谩s all谩 del tiempo y de la apariencia. All谩 pertenecemos nosotros, all铆 est谩 nuestra patria, hacia ella tiende nuestro coraz贸n, lobo estepario, y por eso anhelamos la muerte. All铆 volver谩s a encontrar a tu Goethe y a tu Novalis y a Mozart鈥� Hay muchos santos que en un principio fueron graves pecadores; tambi茅n el pecado puede ser un camino para la santidad, el pecado y el vicio鈥�En fin, propone 鈥渁costumbrarse a la vida y aprender a re铆r鈥�, 鈥渧enerar el esp铆ritu que lleva dentro y re铆rse de la dem谩s murga鈥�. Nada m谩s f谩cil, 驴no creen?
P.S. Hay cosas que no recordaba, cosas bastante perturbadoras que no s茅 bien c贸mo interpretar:
鈥淓l burgu茅s es consiguientemente por naturaleza una criatura de d茅bil impulso vital, miedoso, temiendo la entrega de s铆 mismo, f谩cil de gobernar. Por eso ha sustituido el poder por el r茅gimen de mayor铆as, la fuerza por la ley, la responsabilidad por el sistema de votaci贸n.鈥�Lo que s铆 queda claro es que el autor era partidario de la ingesta de sustancias susceptibles de abrir la mente a otras dimensiones, como si para encontrar la verdad no hubiera otra forma que estar intoxicado o quiz谩s so帽ar. Tan claro como la consideraci贸n en la que ten铆a a las mujeres: si para Harry el objetivo era ser un Mozart o un Goethe, para Armanda, hija del diablo como 茅l, la mayor ambici贸n ser铆a 鈥渟er la mujer de un rey, la querida de un revolucionario, la hermana de un genio, la madre de un m谩rtir鈥�.
鈥淥bedecer es como comer y beber. El que se pasa mucho tiempo prescindiendo de ello, a 茅se ya no le importa nada.鈥�
November 26, 2012
Um. What the? What?
What the hell did I just read?
First third, BRILLIANT -- one of the most interesting bits of philosophical fiction I've ever read. Seriously. I was completely enthralled. Second third -- hard to believe that two people would ever actually have conversations such as these, but still engaging. Third third -- what the F*CK? No, really, what the f*ck? It was some sort of crazy funhouse reality blurring, whacked out Kubrick film. I don't know if I liked it or I hated it. My brain is still in knots.
So -- uh -- while I try to disentangle my axons -- I'll leave you with a song:
****
The more I allow this to sink in, the more I like it. I think I need to consider seriously revising my review. At any rate, I'm giving it an extra star.
What the hell did I just read?
First third, BRILLIANT -- one of the most interesting bits of philosophical fiction I've ever read. Seriously. I was completely enthralled. Second third -- hard to believe that two people would ever actually have conversations such as these, but still engaging. Third third -- what the F*CK? No, really, what the f*ck? It was some sort of crazy funhouse reality blurring, whacked out Kubrick film. I don't know if I liked it or I hated it. My brain is still in knots.
So -- uh -- while I try to disentangle my axons -- I'll leave you with a song:
****
The more I allow this to sink in, the more I like it. I think I need to consider seriously revising my review. At any rate, I'm giving it an extra star.
July 3, 2016
丌賳趩賴 亘乇丕蹖 卮禺氐 賲賳 噩賳亘賴 賱匕鬲 丕卮乇丕賯 賵 鬲毓丕賱蹖 丿丕乇丿 趩蹖夭蹖 丕爻鬲 讴賴 賲乇丿賲 丿賳蹖丕 丨丿丕讴孬乇 丌賳乇丕 丿乇 毓丕賱賲 丕丿亘蹖丕鬲 賲蹖 噩賵蹖賳丿 賵 丿賵爻鬲 丿丕乇賳丿貙 賵賱蹖 丿乇氐丨賳賴 夭賳丿诏蹖 丌賳乇丕 趩蹖夭蹖 丿蹖賵丕賳賴 賵丕乇 鬲賱賯蹖 賲蹖 讴賳賳丿
賵 丿乇 賵丕賯毓 丕诏乇 丨賯 亘丕 丿賳蹖丕 亘丕卮丿貙 丕诏乇 丨賯 亘丕 丕蹖賳 賲賵爻蹖賯蹖 讴丕賮賴 丕蹖貙 亘丕 丕蹖賳 讴賽蹖賮 賴丕蹖 丿爻鬲賴 噩賲毓蹖貙 亘丕 丕蹖賳 賲乇丿賲 丌賲乇蹖讴丕卅蹖 賲丌亘 讴賲 丕丿毓丕蹖 賯丕賳毓 夭賵丿 禺乇爻賳丿 亘丕卮丿貙 倬爻 賲賳 丿蹖賵丕賳賴 賴爻鬲賲貙 倬爻 賲賳 賵丕賯毓丕 賴賲丕賳 诏乇诏 亘蹖丕亘丕賳蹖 賴爻鬲賲 讴賴 亘賴 禺賵丿 賱賯亘 丿丕丿賴 丕賲貙 丨蹖賵丕賳蹖 賴爻鬲賲 讴賴 丿乇 丿賳蹖丕蹖蹖 睾乇蹖亘賴 賵 賳丕賲賮賴賵賲 乇丕賴 诏賲 讴乇丿賴 丕賲貙 丨蹖賵丕賳蹖 讴賴 亘賴 禺丕賳賴 賵 讴丕卮丕賳賴貙 賴賵丕蹖 賲賵乇丿 丕丨鬲蹖丕噩 賵 睾匕丕蹖 禺賵丿 丿蹖诏乇 丿爻鬲乇爻蹖 賳丿丕乇丿
:丿乇 賲賵乇丿 讴鬲丕亘
乇賲丕賳 亘賴 丕賮鬲禺丕乇 诏乇诏 禺丕讴爻鬲乇蹖 鬲賳賴丕 賵 禺爻鬲賴 丕爻鬲倬 賳丕賲诏匕丕乇蹖 卮丿賴 丕爻鬲
賲蹖 诏賵蹖賳丿 诏乇诏 亘蹖丕亘丕賳 賴賲 賲乇丿蹖 賲賵賲賳 丕爻鬲 賵 賴賲 亘蹖賲丕乇
賵 丕蹖賳 賴丕乇蹖 賴丕賱乇 賴賲丕賳 賴乇賲丕賳 賴爻賴 禺賵丿賲丕賳 丕爻鬲 讴賴 夭賲丕賳蹖 賯氐丿 丿丕卮鬲 亘賴 夭賳丿诏蹖 丕卮 倬丕蹖丕賳 亘丿賴丿
亘丕蹖丿 亘诏賵蹖賲 賴乇賲丕賳 賴爻賴 賵丕賯毓丕 賲乇丿蹖 亘丕 丕蹖賲丕賳 亘賵丿賴 丕賲丕 亘賳馗乇賲 賳賴 賲賵賲賳 亘賴 丿蹖賳蹖 禺丕氐貙 亘賱讴賴 亘賴 丕亘丿蹖鬲 賵 丕乇夭卮 賴丕蹖 丕氐蹖賱 亘賲丕賳賳丿 氐賱丨 賵 丕賳爻丕賳 丿賵爻鬲蹖 賵 賴賲趩賳蹖賳 丕乇丕丿鬲 禺丕氐蹖 亘賴 亘賵丿丕 丿丕卮鬲賴 丕爻鬲
丕賲丕 鬲賲丿賳 丕賲乇賵夭 趩賳蹖賳 賲乇丿 賳丕亘睾賴 丕蹖 乇丕 亘賴 丕賳夭賵丕 賵 亘蹖賲丕乇蹖 賵 鬲氐賲蹖賲 亘賴 禺賵丿讴卮蹖 讴卮丕賳丿賴 亘賵丿. 丿乇 丕蹖賳 鬲賲丿賳 賴賲賴 趩蹖夭 噩賳亘賴 蹖 丕亘鬲匕丕賱 倬蹖丿丕 讴乇丿賴 丕爻鬲
賴乇賲丕賳 賴爻賴 讴賴 鬲丕賮鬲賴 丕蹖 噩丿丕 亘丕賮鬲賴 亘賵丿 丿乇 诏匕卮鬲賴 賴賲 亘乇 毓賱蹖賴 丕賮讴丕乇 毓賲賵賲蹖 卮賵乇蹖丿賴 亘賵丿.賵蹖 讴賴 鬲丨鬲 鬲丕孬蹖乇 丕賮讴丕乇 賲賱蹖 诏乇丕卅蹖 丕賮乇丕胤蹖 賵 丕賳鬲賯丕賲 禺賵丕賴蹖 丌賱賲丕賳蹖 賴丕 賯乇丕乇 賳诏乇匕賮鬲賴 亘賵丿貙 亘賴 賲禺丕賱賮鬲 亘丕 丌賳 倬乇丿丕禺鬲. 亘丕乇賴丕 丕夭 賮噩丕蹖毓 噩賳诏 賵 噩賳诏 胤賱亘蹖 賳賵卮鬲 丕賲丕 乇賵夭賳丕賲賴 賴丕 亘乇 囟丿 丕賵 賵 丕賮讴丕乇卮 賲蹖 賳賵卮鬲賳丿 賵 丕賵 亘賴 丕蹖賳 賳鬲蹖噩賴 乇爻蹖丿 讴賴 賴蹖趩 趩蹖夭蹖 賳賲蹖 鬲賵丕賳丿 丌賱賲丕賳 賴丕 乇丕 丕夭 丕賳丿蹖卮賴 丕賳鬲賯丕賲 亘丕夭丿丕乇丿. 賵 趩賳蹖賳 賴賲 卮丿貙 丌賱賲丕賳 亘丕 乇賴亘乇蹖 賴蹖鬲賱乇 賮噩丕蹖毓 噩賳诏 噩賴丕賳蹖 丿賵賲 乇丕 亘賵噩賵丿 丌賵乇丿
:賴乇賲丕賳 賴爻賴 賵 亘賵乇跇賵丕夭蹖
賵蹖 亘賵乇跇賵丕 乇丕 賲蹖 讴賵亘丿 趩賵賳 蹖讴 丨讴賵賲鬲 賲蹖 鬲賵丕賳丿 丕蹖賳 丕賮乇丕丿 囟毓蹖賮 丕賱丕乇丕丿賴 乇丕 亘賴 賴乇 爻賵卅蹖 亘讴卮丕賳丿
亘賵乇跇賵丕 丕蹖賳 丕爻鬲 :丕賲乇賵夭 讴爻蹖 乇丕 亘賴 鬲賴賲鬲 丕賱丨丕丿 賵 乇賳丿蹖 賲蹖 爻賵夭丕賳丿 貙 丿蹖诏乇蹖 乇丕 亘賴 诏賳丕賴 噩賳丕蹖鬲 亘賴 丿丕乇 賲蹖 丌賵蹖夭丿貙 丕賲丕 倬爻 賮乇丿丕 亘乇丕蹖 丕蹖賳 賴丕 亘賳丕蹖 蹖丕丿诏丕乇 亘乇倬丕 賲蹖 讴賳丿
氐丨賳賴 丕蹖 丕夭 讴鬲丕亘 丿乇 賲賵乇丿 亘賵乇跇賵丕 禺蹖賱蹖 噩丕賱亘 丕爻鬲
賴丕乇蹖 丕夭 丿蹖丿賳 鬲氐賵蹖乇 诏賵鬲賴 丿乇 禺丕賳賴 蹖讴 亘賵乇跇賵丕 爻禺鬲 禺卮賲诏蹖賳 賲蹖 卮賵丿
趩乇丕 讴賴 鬲氐賵蹖乇 诏賵鬲賴 丕氐賱丕 卮亘蹖賴 卮禺氐蹖鬲 诏賵鬲賴 賵丕賯毓蹖 賳蹖爻鬲
賵 丕蹖賳 亘丿丕賳 毓賱鬲 丕爻鬲 讴賴: 丿乇 亘賵乇跇賵丕夭蹖 毓讴爻 賯丕毓丿賴 賵 賯丕賳賵賳 賲乇丿賲 亘夭乇诏 賵 亘乇诏夭蹖丿賴 氐丕丿賯 丕爻鬲貙 蹖毓賳蹖 丌賳讴賴 賴乇讴爻 賲禺丕賱賮 賲賳 賳蹖爻鬲 賱丕噩乇賲 亘丕 賲賳 賲賵丕賮賯 丕爻鬲
毓賱鬲 馗丕賴乇蹖 毓氐亘丕賳蹖鬲 賴丕乇蹖 丕夭 丕蹖賳 鬲氐賵蹖乇 丌賳爻鬲 讴賴 丕蹖賳 賲乇丿賲丕賳 诏賵鬲賴 乇丕 丕夭 禺賵丿 賲蹖 丿丕賳賳丿 賵 鬲氐賵蹖乇蹖 亘賵乇跇賵丕卅蹖 丕夭 賵蹖 爻丕禺鬲賴 丕賳丿
賵賱蹖 毓賱鬲 亘丕胤賳蹖 丕蹖賳 禺卮賲 乇丕 賲蹖 鬲賵丕賳 丿乇 噩賲賱賴 丕蹖 丕夭 讴鬲丕亘 " 丿賲蹖丕賳" 丕卮 倬蹖丿丕 讴乇丿
賵賯鬲蹖 丕夭 讴爻蹖 賲鬲賳賮乇蹖賲 丿乇 賵丕賯毓 丕夭 趩蹖夭蹖 讴賴 丿乇賵賳 賲丕爻鬲 鬲賳賮乇 倬蹖丿丕 賲蹖 讴賳蹖賲
丕賵 丿乇 丕蹖賳 鬲氐賵蹖乇貙 禺賵丿 乇丕 賲蹖 亘蹖賳丿 讴賴 丿乇 胤賵賱 夭賳丿诏蹖 丕卮貙 亘賵乇跇賵丕 賴賲趩蹖賳 鬲氐賵蹖乇蹖 丕夭 丕賵 賴賲 爻丕禺鬲賴 亘賵丿 賵 賵蹖 賴賲 賴蹖趩诏丕賴 賲禺丕賱賮鬲蹖 賳讴乇丿賴 亘賵丿
賵 亘丕乇賴丕 丕夭 丕蹖賳讴賴 丿乇 噩賵丕賳蹖 丌孬丕乇卮 賲賵乇丿 鬲丕蹖蹖丿 丌賳賴丕 賯乇丕乇 诏乇賮鬲賴 丕爻鬲 丨爻 賱匕鬲 亘賴 丕賵 丿爻鬲 丿丕丿賴 亘賵丿
:诏乇诏 亘蹖丕亘丕賳 讴鬲丕亘蹖 卮賮丕 丿賴賳丿賴
爻乇丕爻乇 夭賳丿诏蹖 囟乇乇 丕爻鬲 賵 賲丕 亘丕蹖丿 鬲賳 亘賴 賯囟丕 亘丿賴蹖賲 賵 丕诏乇 禺乇 賳亘丕卮蹖賲 亘讴丕乇 噩賴丕賳 亘禺賳丿蹖賲
丕蹖賳 蹖讴 讴鬲丕亘 丿乇賲丕賳诏乇 賵 卮賮丕 丿賴賳丿賴 丕爻鬲 亘乇丕蹖 讴爻丕賳蹖 讴賴 禺賵丿 乇丕 诏乇诏 亘蹖丕亘丕賳 賲蹖 丿丕賳賳丿. 亘乇丕蹖 丌卮鬲蹖 亘丕 丕蹖賳 噩賴丕賳貙 讴賴 趩賴 亘丿 亘丕卮丿 蹖丕 賮丕爻丿 賵 賲亘鬲匕賱
:丿乇 丕蹖賳 亘禺卮 禺胤乇 賱賵 乇賮鬲賳 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇丿
:賴乇賲蹖賳賴 賵 夭賵乇亘丕
卮丕蹖丿 丕诏乇 賯亘賱丕 夭賵乇亘丕蹖 蹖賵賳丕賳蹖 乇丕 賳禺賵丕賳丿賴 亘賵丿賲 禺蹖賱蹖 亘蹖卮鬲乇 丕夭 丕蹖賳 丕夭 讴鬲丕亘 賱匕鬲 賲蹖 亘乇丿賲
趩賵賳 禺蹖賱蹖 賯亘賱 丕夭 丕蹖賳讴賴 賴乇賲蹖賳賴 亘禺賵丕賴丿 亘賴 賲賳 乇賯氐 丌賲賵夭卮 亘丿賴丿
:亘賴 夭賵乇亘丕 诏賮鬲賴 亘賵丿賲
Teach me to dance... will you?
:賵 丕賵 賴蹖噩丕賳 夭丿賴 诏賮鬲
Did you say...dance
賵 乇賯氐 夭賵乇亘丕蹖蹖 乇丕 丌賲賵禺鬲賲
:诏乇诏 蹖丕 丕賳爻丕賳
亘丕睾蹖 乇丕 丿乇 賳馗乇 禺賵丿 賲噩爻賲 讴賳蹖丿 亘丕 賴夭丕乇丕賳 丿乇禺鬲 賲禺鬲賱賮貙 賴夭丕乇丕賳 诏賱 诏賵賳丕诏賵賳貙 氐丿賴丕 賳賵毓 賲蹖賵賴 賵 氐丿賴丕 噩賵乇 诏蹖丕賴. 丨丕賱 丕诏乇 亘丕睾亘丕賳 丕蹖賳 亘丕睾貙 亘乇丕蹖 鬲卮禺蹖氐 亘蹖賳 賳亘丕鬲丕鬲 賴蹖趩 賲賯蹖丕爻 丿蹖诏乇 噩夭 "禺賵乇丿賳蹖" 賵 "毓賱賮 賴乇夭" 賳丿丕卮鬲賴 亘丕卮丿 亘丕 賳賴 丿賴賲 賲丨氐賵賱丕鬲 亘丕睾 禺賵丿 賳賲蹖 丿丕賳丿 趩賴 亘丕蹖丿 讴乇丿貙 丕賵 爻丨乇 丌爻丕鬲乇蹖賳 賵 丿賱 丕賳诏蹖夭 鬲乇蹖賳 诏賱 賴丕 乇丕 丕夭 乇蹖卮賴 禺賵丕賴丿 讴賳丿貙 賯蹖賲鬲蹖 鬲乇蹖賳 丿乇禺鬲丕賳 乇丕 禺賵丕賴丿 亘乇蹖丿 賵 蹖丕 賳爻亘鬲 亘賴 丌賳賴丕 毓丿丕賵鬲 禺賵丕賴丿 賵乇夭蹖丿 賵 丌賳賴丕 乇丕 亘賴 丿蹖丿賴 蹖 亘睾囟 禺賵丕賴丿 賳诏乇蹖爻鬲
诏乇诏 亘蹖丕亘丕賳 賳蹖夭 亘丕 賴夭丕乇丕賳 诏賱 乇賵丨 禺賵丿 賴賲蹖賳 讴丕乇 乇丕 賲蹖 讴賳丿. 丌賳趩賴 乇丕 讴賴 丕夭 賲賯賵賱賴 "丕賳爻丕賳" 蹖丕 "诏乇诏" 賳亘丕卮丿 丕氐賱丕 賳賲蹖 亘蹖賳丿. 賵丕蹖 讴賴 噩蹖夭賴丕 乇丕 亘賴 丨爻丕亘 "丕賳爻丕賳蹖" 賳賲蹖 诏匕丕乇丿! 賴乇趩賴 乇丕 亘夭丿賱丕賳賴貙 亘賵夭蹖賳賴 賵丕乇貙 丕亘賱賴丕賳賴 賵 丨賯蹖乇 丕爻鬲 丕诏乇 毓丕乇蹖 丕夭 噩賳亘賴 诏乇诏蹖 亘丕卮丿 亘賴 丨爻丕亘 "丕賳爻丕賳蹖" 賲蹖 诏匕丕乇丿貙 丿乇爻鬲 亘丿丕賳 賳丨賵 讴賴 賴乇趩賴 賳蹖乇賵賲賳丿 賵 丕氐蹖賱 丕爻鬲 賮賯胤 亘丿丕賳 丿賱蹖賱 讴賴 丕賵 賳賲蹖 鬲賵丕賳丿 丌賳賴丕 乇丕 鬲丨鬲 爻賱胤賴 禺賵丿 亘讴卮丿 亘賴 倬丕蹖 诏乇诏 賲蹖 賳賵蹖爻丿
:賵胤賳 丿乇 讴鬲丕亘 賴丕蹖 賴爻賴
: 賴丕乇蹖 賵 賴乇賲蹖賳賴
賮乇蹖丕丿 夭丿賲:丌賴貙 讴丕卮讴蹖 讴丕乇 亘丿蹖賳 爻丕丿诏蹖 亘賵丿! 賲賳 亘賴 丕賳丿丕夭賴 讴丕賮蹖 丿乇 賮讴乇 夭賳丿诏蹖
.亘賵丿賴 丕賲貙丕賲丕 趩賴 賮丕蹖丿賴. 丿丕乇 夭丿賳 禺賵丿 卮丕蹖丿 讴丕乇 賲卮讴賱蹖 亘丕卮丿貙 賳賲蹖 丿丕賳賲
!丕賲丕 夭賳丿诏蹖 讴乇丿賳 禺蹖賱蹖 禺蹖賱蹖 賲卮讴賱 鬲乇 丕爻鬲
賴乇賲蹖賳賴: 禺賵亘 丨丕賱丕 禺賵丿鬲 賲蹖 亘蹖賳蹖 讴賴 趩賯丿乇 亘趩诏丕賳賴 丕爻鬲. 丕夭 丕賵賱 讴丕乇 诏匕卮鬲蹖賲貙 鬲賵 毓蹖賳讴 乇丕 倬丕讴 讴乇丿蹖貙 睾匕丕 禺賵乇丿蹖 賵 賲卮乇賵亘 ... 賵 丌賳賵賯鬲 亘丕 賲賳 蹖讴 亘丕乇 "卮蹖賲蹖"(賳賵毓蹖 乇賯氐 讴賴 丿乇 丌賳 卮丕賳賴 賴丕 乇丕 鬲讴丕賳 賲蹖 丿賴賳丿) 禺賵丕賴蹖 乇賯氐蹖丿
亘丕 毓氐亘丕賳蹖鬲 賮乇蹖丕丿 夭丿賲 丿乇 鬲賲丕賲 夭賳丿诏蹖 丕氐賱丕 乇賯氐 蹖丕丿 賳诏乇賮鬲賴 丕賲. 丨丕賱丕 丿蹖丿蹖丿 賴賲賴 趩蹖夭 亘賴 丌賳 丌爻丕賳蹖 賴賲 賳蹖爻鬲 讴賴 賮讴乇 賲蹖 讴乇丿蹖丿
賮乇蹖丕丿 夭丿: 蹖賵丕卮! 倬爻 乇賯氐 亘賱丿 賳蹖爻鬲蹖責 丕氐賱丕 亘賱丿 賳蹖爻鬲蹖 責 丨鬲蹖 "賵丕賳 丕爻鬲倬"(丕夭 乇賯氐 賴丕蹖 賲鬲丿丕賵賱 賲噩丕賱爻 卮亘 賳卮蹖賳蹖)責 丌賳賵賯鬲 丕丿毓丕 丿丕乇蹖 讴賴 禺蹖賱蹖 亘乇丕蹖 夭賳丿诏蹖 夭丨賲鬲 讴卮蹖丿賴 丕蹖! 倬爻 賴賲賴 丕卮 乇丕 丿乇賵睾 賲蹖 诏賮鬲蹖貙 倬爻乇噩丕賳 丕蹖賳 噩賵乇 丿乇賵睾 賴丕 亘丕 爻賳 賵 爻丕賱 亘乇丕夭賳丿賴 鬲賵 賳蹖爻鬲. 禺賵亘 賵賯鬲蹖 賳賲蹖 鬲賵丕賳蹖 亘乇賯氐蹖 趩胤賵乇 賲蹖 鬲賵丕賳蹖 亘诏賵卅蹖 禺蹖賱蹖 亘乇丕蹖 夭賳丿诏蹖 夭丨賲鬲 讴卮蹖丿賴 丕蹖責
禺賵丕賳丿賳 賵 賳賵卮鬲賳 乇丕 蹖丕丿 诏乇賮鬲賴 丕蹖貙 禺賵亘貙 卮丕蹖丿 賴賲 夭亘丕賳 賱丕鬲蹖賳蹖 賵 賮乇丕賳爻賵蹖 賵 丕蹖賳 賯亘蹖賱 趩蹖夭賴丕 乇丕 亘丿丕賳蹖責 卮乇胤 賲蹖 亘賳丿賲 讴賴 鬲賵 丿賴 丿賵丕夭丿賴 爻丕賱 丿乇 賲丿爻賴 賲丕賳丿賴 丕蹖 賵 賴乇趩賴 鬲賵丕賳爻鬲賴 丕蹖 丿乇爻 禺賵丕賳丿賴 丕蹖. 卮丕蹖丿 賴賲 毓賳賵丕賳 丿讴鬲乇蹖 诏乇賮鬲賴 亘丕卮蹖 賵 卮丕蹖丿 趩蹖賳蹖 賵 丕爻倬丕賳蹖丕蹖蹖 賴賲 亘賱丿 亘丕卮蹖. 丕蹖賳胤賵乇 賳蹖爻鬲責 禺賵亘. 丕賲丕 丕夭 丿丕丿賳 趩賳丿 睾丕夭 倬賵賱 賵 氐乇賮 賲賯丿丕乇蹖 賵賯鬲 亘乇丕蹖 趩賳丿 丿乇爻 乇賯氐 禺賵丿丿丕乇蹖 讴乇丿賴 丕蹖! 亘丕卮丿! 丕蹖賳 賴賲賴 爻丕賱賴丕蹖 丿賵乇 賵 丿乇丕夭 乇丕 趩賴 讴丕乇 賲蹖 讴乇丿蹖責
丕賯乇丕乇 讴乇丿賲 讴賴: 丌禺貙 禺賵丿賲 賴賲 丿蹖诏乇 丿乇爻鬲 賳賲蹖 丿丕賳賲貙 賲胤丕賱毓賴 讴乇丿賲貙 丌賴賳诏 爻丕禺鬲賲貙 讴鬲丕亘 禺賵丕賳丿賲貙 讴鬲丕亘 賳賵卮鬲賲貙 爻賮乇 讴乇丿賲
賵丕賯毓丕 毓賯丕卅丿 噩丕賱亘蹖 賳爻亘鬲 亘賴 夭賳丿诏蹖 丿丕乇蹖! 賴賲蹖卮賴 讴丕乇賴丕蹖 倬蹖趩蹖丿賴 賵-
賲卮讴賱 鬲乇 乇丕 丕賳噩丕賲 丿丕丿賴 丕蹖貙 丕賲丕 趩蹖夭賴丕蹖 爻丕丿賴 乇丕
..丕氐賱丕 蹖丕丿 賳诏乇賮鬲賴 丕蹖責 賵賯鬲 賳丿丕卮鬲蹖責
賲賳 禺賵丿賲 賲蹖丿丕賳賲 讴賴 丿蹖賵丕賳賴 丕賲-
鬲賵 賴蹖趩 丿蹖賵丕賳賴 賳蹖爻鬲蹖貙 丌賯丕蹖 倬乇賵賮爻賵乇貙 鬲賵 丕夭 賳馗乇 賲賳 禺蹖賱蹖 讴賲 丿蹖賵丕賳賴 丕蹖! 鬲賵 丿乇爻鬲 賲孬賱 倬乇賵賮爻賵乇賴丕 亘賳丨賵 丕亘賱賴丕賳賴 丕蹖 毓丕賯賱蹖
:丿乇 賲賵乇丿 賲蹖賵賴 賲賲賳賵毓賴
:賳鬲蹖噩赖
诏乇诏 亘蹖丕亘丕賳 讴鬲丕亘蹖 丕丿亘蹖- 乇賵丕賳讴丕賵丕賳賴 丕爻鬲. 亘毓囟蹖 賯爻賲鬲 賴丕蹖 丿丕爻鬲丕賳 亘乇丕賲 亘賴 氐賵乇鬲 爻賵丕賱 亘丕賯蹖 賲丕賳丿 賵 丨丿爻 賲蹖 夭賳賲 噩賵丕亘賲 乇丕 丿乇 讴鬲丕亘賴丕蹖 "讴丕乇賱 诏賵爻鬲丕賵 蹖賵賳诏" 倬蹖丿丕 禺賵丕賴賲 讴乇丿. 禺賵丕賳丿賳 亘毓囟蹖 賳馗乇蹖丕鬲 賮乇賵蹖丿 禺蹖賱蹖 丿乇 丿乇讴 賯爻賲鬲 賴丕蹖 賲乇亘賵胤 亘賴 乇賵丕賳讴丕賵蹖 卮禺氐蹖鬲 亘賴賲 讴賲讴 讴乇丿
丿乇 賲賵乇丿 丕蹖賳 讴鬲丕亘 賳馗乇丕鬲 賵 賳賯丿賴丕蹖 賲禺鬲賱賮蹖 賵噩賵丿 丿丕乇丿.亘乇丿丕卮鬲 賴丕蹖 禺蹖賱蹖 賲鬲賮丕賵鬲蹖 卮丿賴 丕爻鬲 賵 丨鬲蹖 诏賮鬲賴 卮丿賴 讴賴 讴賱丕 丕蹖賳 讴鬲丕亘 賯丕亘賱 賮賴賲蹖丿賳 賳蹖爻鬲
禺賵丿 賴乇賲丕賳 賴爻賴 丿乇賲賵乇丿 讴鬲丕亘卮 诏賮鬲賴: 丌孬丕乇丕亘蹖 賲賲讴賳 丕爻鬲 亘賴 丕賳丨丕亍 诏賵賳丕诏賵賳 賲賵噩亘 鬲賮丕賴賲 蹖丕 爻賵鬲賮丕賴賲 卮賵賳丿. 賵 鬲氐賵乇 賲蹖 讴賳賲 "诏乇诏 亘蹖丕亘丕賳" 亘蹖卮鬲乇 賵 卮丿蹖丿鬲乇 丕夭 爻丕蹖乇 丌孬丕乇賲 賲賵噩亘 爻賵鬲賮丕賴賲 卮丿賴 亘丕卮丿
丿丕爻鬲丕賳 诏乇诏 亘蹖丕亘丕賳 亘蹖賲丕乇蹖 賵 亘丨乇丕賳 乇丕 鬲氐賵蹖乇 賲蹖 讴賳丿 丕賲丕 丕蹖賳 亘蹖賲丕乇蹖 丕夭 丌賳诏賵賳賴 賳蹖爻鬲 讴賴 亘賴 賲乇诏 賵 賳丕亘賵丿蹖 賲賳噩乇 卮賵丿 亘賱讴賴 亘乇毓讴爻 賴丿賮 丌賳 毓賱丕噩 丕爻鬲貙 乇賴丕蹖蹖 丕爻鬲
:賵 丿乇 讴鬲丕亘 賴賲 丕蹖賳 趩賳蹖賳 賲蹖 诏賵蹖丿
賵 丿乇 賵丕賯毓 丕诏乇 丨賯 亘丕 丿賳蹖丕 亘丕卮丿貙 丕诏乇 丨賯 亘丕 丕蹖賳 賲賵爻蹖賯蹖 讴丕賮賴 丕蹖貙 亘丕 丕蹖賳 讴賽蹖賮 賴丕蹖 丿爻鬲賴 噩賲毓蹖貙 亘丕 丕蹖賳 賲乇丿賲 丌賲乇蹖讴丕卅蹖 賲丌亘 讴賲 丕丿毓丕蹖 賯丕賳毓 夭賵丿 禺乇爻賳丿 亘丕卮丿貙 倬爻 賲賳 丿蹖賵丕賳賴 賴爻鬲賲貙 倬爻 賲賳 賵丕賯毓丕 賴賲丕賳 诏乇诏 亘蹖丕亘丕賳蹖 賴爻鬲賲 讴賴 亘賴 禺賵丿 賱賯亘 丿丕丿賴 丕賲貙 丨蹖賵丕賳蹖 賴爻鬲賲 讴賴 丿乇 丿賳蹖丕蹖蹖 睾乇蹖亘賴 賵 賳丕賲賮賴賵賲 乇丕賴 诏賲 讴乇丿賴 丕賲貙 丨蹖賵丕賳蹖 讴賴 亘賴 禺丕賳賴 賵 讴丕卮丕賳賴貙 賴賵丕蹖 賲賵乇丿 丕丨鬲蹖丕噩 賵 睾匕丕蹖 禺賵丿 丿蹖诏乇 丿爻鬲乇爻蹖 賳丿丕乇丿
:丿乇 賲賵乇丿 讴鬲丕亘
乇賲丕賳 亘賴 丕賮鬲禺丕乇 诏乇诏 禺丕讴爻鬲乇蹖 鬲賳賴丕 賵 禺爻鬲賴 丕爻鬲倬 賳丕賲诏匕丕乇蹖 卮丿賴 丕爻鬲
賲蹖 诏賵蹖賳丿 诏乇诏 亘蹖丕亘丕賳 賴賲 賲乇丿蹖 賲賵賲賳 丕爻鬲 賵 賴賲 亘蹖賲丕乇
賵 丕蹖賳 賴丕乇蹖 賴丕賱乇 賴賲丕賳 賴乇賲丕賳 賴爻賴 禺賵丿賲丕賳 丕爻鬲 讴賴 夭賲丕賳蹖 賯氐丿 丿丕卮鬲 亘賴 夭賳丿诏蹖 丕卮 倬丕蹖丕賳 亘丿賴丿
亘丕蹖丿 亘诏賵蹖賲 賴乇賲丕賳 賴爻賴 賵丕賯毓丕 賲乇丿蹖 亘丕 丕蹖賲丕賳 亘賵丿賴 丕賲丕 亘賳馗乇賲 賳賴 賲賵賲賳 亘賴 丿蹖賳蹖 禺丕氐貙 亘賱讴賴 亘賴 丕亘丿蹖鬲 賵 丕乇夭卮 賴丕蹖 丕氐蹖賱 亘賲丕賳賳丿 氐賱丨 賵 丕賳爻丕賳 丿賵爻鬲蹖 賵 賴賲趩賳蹖賳 丕乇丕丿鬲 禺丕氐蹖 亘賴 亘賵丿丕 丿丕卮鬲賴 丕爻鬲
丕賲丕 鬲賲丿賳 丕賲乇賵夭 趩賳蹖賳 賲乇丿 賳丕亘睾賴 丕蹖 乇丕 亘賴 丕賳夭賵丕 賵 亘蹖賲丕乇蹖 賵 鬲氐賲蹖賲 亘賴 禺賵丿讴卮蹖 讴卮丕賳丿賴 亘賵丿. 丿乇 丕蹖賳 鬲賲丿賳 賴賲賴 趩蹖夭 噩賳亘賴 蹖 丕亘鬲匕丕賱 倬蹖丿丕 讴乇丿賴 丕爻鬲
賴乇賲丕賳 賴爻賴 讴賴 鬲丕賮鬲賴 丕蹖 噩丿丕 亘丕賮鬲賴 亘賵丿 丿乇 诏匕卮鬲賴 賴賲 亘乇 毓賱蹖賴 丕賮讴丕乇 毓賲賵賲蹖 卮賵乇蹖丿賴 亘賵丿.賵蹖 讴賴 鬲丨鬲 鬲丕孬蹖乇 丕賮讴丕乇 賲賱蹖 诏乇丕卅蹖 丕賮乇丕胤蹖 賵 丕賳鬲賯丕賲 禺賵丕賴蹖 丌賱賲丕賳蹖 賴丕 賯乇丕乇 賳诏乇匕賮鬲賴 亘賵丿貙 亘賴 賲禺丕賱賮鬲 亘丕 丌賳 倬乇丿丕禺鬲. 亘丕乇賴丕 丕夭 賮噩丕蹖毓 噩賳诏 賵 噩賳诏 胤賱亘蹖 賳賵卮鬲 丕賲丕 乇賵夭賳丕賲賴 賴丕 亘乇 囟丿 丕賵 賵 丕賮讴丕乇卮 賲蹖 賳賵卮鬲賳丿 賵 丕賵 亘賴 丕蹖賳 賳鬲蹖噩賴 乇爻蹖丿 讴賴 賴蹖趩 趩蹖夭蹖 賳賲蹖 鬲賵丕賳丿 丌賱賲丕賳 賴丕 乇丕 丕夭 丕賳丿蹖卮賴 丕賳鬲賯丕賲 亘丕夭丿丕乇丿. 賵 趩賳蹖賳 賴賲 卮丿貙 丌賱賲丕賳 亘丕 乇賴亘乇蹖 賴蹖鬲賱乇 賮噩丕蹖毓 噩賳诏 噩賴丕賳蹖 丿賵賲 乇丕 亘賵噩賵丿 丌賵乇丿
:賴乇賲丕賳 賴爻賴 賵 亘賵乇跇賵丕夭蹖
賵蹖 亘賵乇跇賵丕 乇丕 賲蹖 讴賵亘丿 趩賵賳 蹖讴 丨讴賵賲鬲 賲蹖 鬲賵丕賳丿 丕蹖賳 丕賮乇丕丿 囟毓蹖賮 丕賱丕乇丕丿賴 乇丕 亘賴 賴乇 爻賵卅蹖 亘讴卮丕賳丿
亘賵乇跇賵丕 丕蹖賳 丕爻鬲 :丕賲乇賵夭 讴爻蹖 乇丕 亘賴 鬲賴賲鬲 丕賱丨丕丿 賵 乇賳丿蹖 賲蹖 爻賵夭丕賳丿 貙 丿蹖诏乇蹖 乇丕 亘賴 诏賳丕賴 噩賳丕蹖鬲 亘賴 丿丕乇 賲蹖 丌賵蹖夭丿貙 丕賲丕 倬爻 賮乇丿丕 亘乇丕蹖 丕蹖賳 賴丕 亘賳丕蹖 蹖丕丿诏丕乇 亘乇倬丕 賲蹖 讴賳丿
氐丨賳賴 丕蹖 丕夭 讴鬲丕亘 丿乇 賲賵乇丿 亘賵乇跇賵丕 禺蹖賱蹖 噩丕賱亘 丕爻鬲
賴丕乇蹖 丕夭 丿蹖丿賳 鬲氐賵蹖乇 诏賵鬲賴 丿乇 禺丕賳賴 蹖讴 亘賵乇跇賵丕 爻禺鬲 禺卮賲诏蹖賳 賲蹖 卮賵丿
趩乇丕 讴賴 鬲氐賵蹖乇 诏賵鬲賴 丕氐賱丕 卮亘蹖賴 卮禺氐蹖鬲 诏賵鬲賴 賵丕賯毓蹖 賳蹖爻鬲
賵 丕蹖賳 亘丿丕賳 毓賱鬲 丕爻鬲 讴賴: 丿乇 亘賵乇跇賵丕夭蹖 毓讴爻 賯丕毓丿賴 賵 賯丕賳賵賳 賲乇丿賲 亘夭乇诏 賵 亘乇诏夭蹖丿賴 氐丕丿賯 丕爻鬲貙 蹖毓賳蹖 丌賳讴賴 賴乇讴爻 賲禺丕賱賮 賲賳 賳蹖爻鬲 賱丕噩乇賲 亘丕 賲賳 賲賵丕賮賯 丕爻鬲
毓賱鬲 馗丕賴乇蹖 毓氐亘丕賳蹖鬲 賴丕乇蹖 丕夭 丕蹖賳 鬲氐賵蹖乇 丌賳爻鬲 讴賴 丕蹖賳 賲乇丿賲丕賳 诏賵鬲賴 乇丕 丕夭 禺賵丿 賲蹖 丿丕賳賳丿 賵 鬲氐賵蹖乇蹖 亘賵乇跇賵丕卅蹖 丕夭 賵蹖 爻丕禺鬲賴 丕賳丿
賵賱蹖 毓賱鬲 亘丕胤賳蹖 丕蹖賳 禺卮賲 乇丕 賲蹖 鬲賵丕賳 丿乇 噩賲賱賴 丕蹖 丕夭 讴鬲丕亘 " 丿賲蹖丕賳" 丕卮 倬蹖丿丕 讴乇丿
賵賯鬲蹖 丕夭 讴爻蹖 賲鬲賳賮乇蹖賲 丿乇 賵丕賯毓 丕夭 趩蹖夭蹖 讴賴 丿乇賵賳 賲丕爻鬲 鬲賳賮乇 倬蹖丿丕 賲蹖 讴賳蹖賲
丕賵 丿乇 丕蹖賳 鬲氐賵蹖乇貙 禺賵丿 乇丕 賲蹖 亘蹖賳丿 讴賴 丿乇 胤賵賱 夭賳丿诏蹖 丕卮貙 亘賵乇跇賵丕 賴賲趩蹖賳 鬲氐賵蹖乇蹖 丕夭 丕賵 賴賲 爻丕禺鬲賴 亘賵丿 賵 賵蹖 賴賲 賴蹖趩诏丕賴 賲禺丕賱賮鬲蹖 賳讴乇丿賴 亘賵丿
賵 亘丕乇賴丕 丕夭 丕蹖賳讴賴 丿乇 噩賵丕賳蹖 丌孬丕乇卮 賲賵乇丿 鬲丕蹖蹖丿 丌賳賴丕 賯乇丕乇 诏乇賮鬲賴 丕爻鬲 丨爻 賱匕鬲 亘賴 丕賵 丿爻鬲 丿丕丿賴 亘賵丿
:诏乇诏 亘蹖丕亘丕賳 讴鬲丕亘蹖 卮賮丕 丿賴賳丿賴
爻乇丕爻乇 夭賳丿诏蹖 囟乇乇 丕爻鬲 賵 賲丕 亘丕蹖丿 鬲賳 亘賴 賯囟丕 亘丿賴蹖賲 賵 丕诏乇 禺乇 賳亘丕卮蹖賲 亘讴丕乇 噩賴丕賳 亘禺賳丿蹖賲
丕蹖賳 蹖讴 讴鬲丕亘 丿乇賲丕賳诏乇 賵 卮賮丕 丿賴賳丿賴 丕爻鬲 亘乇丕蹖 讴爻丕賳蹖 讴賴 禺賵丿 乇丕 诏乇诏 亘蹖丕亘丕賳 賲蹖 丿丕賳賳丿. 亘乇丕蹖 丌卮鬲蹖 亘丕 丕蹖賳 噩賴丕賳貙 讴賴 趩賴 亘丿 亘丕卮丿 蹖丕 賮丕爻丿 賵 賲亘鬲匕賱
:丿乇 丕蹖賳 亘禺卮 禺胤乇 賱賵 乇賮鬲賳 丿丕爻鬲丕賳 賵噩賵丿 丿丕乇丿
:賴乇賲蹖賳賴 賵 夭賵乇亘丕
卮丕蹖丿 丕诏乇 賯亘賱丕 夭賵乇亘丕蹖 蹖賵賳丕賳蹖 乇丕 賳禺賵丕賳丿賴 亘賵丿賲 禺蹖賱蹖 亘蹖卮鬲乇 丕夭 丕蹖賳 丕夭 讴鬲丕亘 賱匕鬲 賲蹖 亘乇丿賲
趩賵賳 禺蹖賱蹖 賯亘賱 丕夭 丕蹖賳讴賴 賴乇賲蹖賳賴 亘禺賵丕賴丿 亘賴 賲賳 乇賯氐 丌賲賵夭卮 亘丿賴丿
:亘賴 夭賵乇亘丕 诏賮鬲賴 亘賵丿賲
Teach me to dance... will you?
:賵 丕賵 賴蹖噩丕賳 夭丿賴 诏賮鬲
Did you say...dance
賵 乇賯氐 夭賵乇亘丕蹖蹖 乇丕 丌賲賵禺鬲賲
:诏乇诏 蹖丕 丕賳爻丕賳
亘丕睾蹖 乇丕 丿乇 賳馗乇 禺賵丿 賲噩爻賲 讴賳蹖丿 亘丕 賴夭丕乇丕賳 丿乇禺鬲 賲禺鬲賱賮貙 賴夭丕乇丕賳 诏賱 诏賵賳丕诏賵賳貙 氐丿賴丕 賳賵毓 賲蹖賵賴 賵 氐丿賴丕 噩賵乇 诏蹖丕賴. 丨丕賱 丕诏乇 亘丕睾亘丕賳 丕蹖賳 亘丕睾貙 亘乇丕蹖 鬲卮禺蹖氐 亘蹖賳 賳亘丕鬲丕鬲 賴蹖趩 賲賯蹖丕爻 丿蹖诏乇 噩夭 "禺賵乇丿賳蹖" 賵 "毓賱賮 賴乇夭" 賳丿丕卮鬲賴 亘丕卮丿 亘丕 賳賴 丿賴賲 賲丨氐賵賱丕鬲 亘丕睾 禺賵丿 賳賲蹖 丿丕賳丿 趩賴 亘丕蹖丿 讴乇丿貙 丕賵 爻丨乇 丌爻丕鬲乇蹖賳 賵 丿賱 丕賳诏蹖夭 鬲乇蹖賳 诏賱 賴丕 乇丕 丕夭 乇蹖卮賴 禺賵丕賴丿 讴賳丿貙 賯蹖賲鬲蹖 鬲乇蹖賳 丿乇禺鬲丕賳 乇丕 禺賵丕賴丿 亘乇蹖丿 賵 蹖丕 賳爻亘鬲 亘賴 丌賳賴丕 毓丿丕賵鬲 禺賵丕賴丿 賵乇夭蹖丿 賵 丌賳賴丕 乇丕 亘賴 丿蹖丿賴 蹖 亘睾囟 禺賵丕賴丿 賳诏乇蹖爻鬲
诏乇诏 亘蹖丕亘丕賳 賳蹖夭 亘丕 賴夭丕乇丕賳 诏賱 乇賵丨 禺賵丿 賴賲蹖賳 讴丕乇 乇丕 賲蹖 讴賳丿. 丌賳趩賴 乇丕 讴賴 丕夭 賲賯賵賱賴 "丕賳爻丕賳" 蹖丕 "诏乇诏" 賳亘丕卮丿 丕氐賱丕 賳賲蹖 亘蹖賳丿. 賵丕蹖 讴賴 噩蹖夭賴丕 乇丕 亘賴 丨爻丕亘 "丕賳爻丕賳蹖" 賳賲蹖 诏匕丕乇丿! 賴乇趩賴 乇丕 亘夭丿賱丕賳賴貙 亘賵夭蹖賳賴 賵丕乇貙 丕亘賱賴丕賳賴 賵 丨賯蹖乇 丕爻鬲 丕诏乇 毓丕乇蹖 丕夭 噩賳亘賴 诏乇诏蹖 亘丕卮丿 亘賴 丨爻丕亘 "丕賳爻丕賳蹖" 賲蹖 诏匕丕乇丿貙 丿乇爻鬲 亘丿丕賳 賳丨賵 讴賴 賴乇趩賴 賳蹖乇賵賲賳丿 賵 丕氐蹖賱 丕爻鬲 賮賯胤 亘丿丕賳 丿賱蹖賱 讴賴 丕賵 賳賲蹖 鬲賵丕賳丿 丌賳賴丕 乇丕 鬲丨鬲 爻賱胤賴 禺賵丿 亘讴卮丿 亘賴 倬丕蹖 诏乇诏 賲蹖 賳賵蹖爻丿
:賵胤賳 丿乇 讴鬲丕亘 賴丕蹖 賴爻賴
: 賴丕乇蹖 賵 賴乇賲蹖賳賴
賮乇蹖丕丿 夭丿賲:丌賴貙 讴丕卮讴蹖 讴丕乇 亘丿蹖賳 爻丕丿诏蹖 亘賵丿! 賲賳 亘賴 丕賳丿丕夭賴 讴丕賮蹖 丿乇 賮讴乇 夭賳丿诏蹖
.亘賵丿賴 丕賲貙丕賲丕 趩賴 賮丕蹖丿賴. 丿丕乇 夭丿賳 禺賵丿 卮丕蹖丿 讴丕乇 賲卮讴賱蹖 亘丕卮丿貙 賳賲蹖 丿丕賳賲
!丕賲丕 夭賳丿诏蹖 讴乇丿賳 禺蹖賱蹖 禺蹖賱蹖 賲卮讴賱 鬲乇 丕爻鬲
賴乇賲蹖賳賴: 禺賵亘 丨丕賱丕 禺賵丿鬲 賲蹖 亘蹖賳蹖 讴賴 趩賯丿乇 亘趩诏丕賳賴 丕爻鬲. 丕夭 丕賵賱 讴丕乇 诏匕卮鬲蹖賲貙 鬲賵 毓蹖賳讴 乇丕 倬丕讴 讴乇丿蹖貙 睾匕丕 禺賵乇丿蹖 賵 賲卮乇賵亘 ... 賵 丌賳賵賯鬲 亘丕 賲賳 蹖讴 亘丕乇 "卮蹖賲蹖"(賳賵毓蹖 乇賯氐 讴賴 丿乇 丌賳 卮丕賳賴 賴丕 乇丕 鬲讴丕賳 賲蹖 丿賴賳丿) 禺賵丕賴蹖 乇賯氐蹖丿
亘丕 毓氐亘丕賳蹖鬲 賮乇蹖丕丿 夭丿賲 丿乇 鬲賲丕賲 夭賳丿诏蹖 丕氐賱丕 乇賯氐 蹖丕丿 賳诏乇賮鬲賴 丕賲. 丨丕賱丕 丿蹖丿蹖丿 賴賲賴 趩蹖夭 亘賴 丌賳 丌爻丕賳蹖 賴賲 賳蹖爻鬲 讴賴 賮讴乇 賲蹖 讴乇丿蹖丿
賮乇蹖丕丿 夭丿: 蹖賵丕卮! 倬爻 乇賯氐 亘賱丿 賳蹖爻鬲蹖責 丕氐賱丕 亘賱丿 賳蹖爻鬲蹖 責 丨鬲蹖 "賵丕賳 丕爻鬲倬"(丕夭 乇賯氐 賴丕蹖 賲鬲丿丕賵賱 賲噩丕賱爻 卮亘 賳卮蹖賳蹖)責 丌賳賵賯鬲 丕丿毓丕 丿丕乇蹖 讴賴 禺蹖賱蹖 亘乇丕蹖 夭賳丿诏蹖 夭丨賲鬲 讴卮蹖丿賴 丕蹖! 倬爻 賴賲賴 丕卮 乇丕 丿乇賵睾 賲蹖 诏賮鬲蹖貙 倬爻乇噩丕賳 丕蹖賳 噩賵乇 丿乇賵睾 賴丕 亘丕 爻賳 賵 爻丕賱 亘乇丕夭賳丿賴 鬲賵 賳蹖爻鬲. 禺賵亘 賵賯鬲蹖 賳賲蹖 鬲賵丕賳蹖 亘乇賯氐蹖 趩胤賵乇 賲蹖 鬲賵丕賳蹖 亘诏賵卅蹖 禺蹖賱蹖 亘乇丕蹖 夭賳丿诏蹖 夭丨賲鬲 讴卮蹖丿賴 丕蹖責
禺賵丕賳丿賳 賵 賳賵卮鬲賳 乇丕 蹖丕丿 诏乇賮鬲賴 丕蹖貙 禺賵亘貙 卮丕蹖丿 賴賲 夭亘丕賳 賱丕鬲蹖賳蹖 賵 賮乇丕賳爻賵蹖 賵 丕蹖賳 賯亘蹖賱 趩蹖夭賴丕 乇丕 亘丿丕賳蹖責 卮乇胤 賲蹖 亘賳丿賲 讴賴 鬲賵 丿賴 丿賵丕夭丿賴 爻丕賱 丿乇 賲丿爻賴 賲丕賳丿賴 丕蹖 賵 賴乇趩賴 鬲賵丕賳爻鬲賴 丕蹖 丿乇爻 禺賵丕賳丿賴 丕蹖. 卮丕蹖丿 賴賲 毓賳賵丕賳 丿讴鬲乇蹖 诏乇賮鬲賴 亘丕卮蹖 賵 卮丕蹖丿 趩蹖賳蹖 賵 丕爻倬丕賳蹖丕蹖蹖 賴賲 亘賱丿 亘丕卮蹖. 丕蹖賳胤賵乇 賳蹖爻鬲責 禺賵亘. 丕賲丕 丕夭 丿丕丿賳 趩賳丿 睾丕夭 倬賵賱 賵 氐乇賮 賲賯丿丕乇蹖 賵賯鬲 亘乇丕蹖 趩賳丿 丿乇爻 乇賯氐 禺賵丿丿丕乇蹖 讴乇丿賴 丕蹖! 亘丕卮丿! 丕蹖賳 賴賲賴 爻丕賱賴丕蹖 丿賵乇 賵 丿乇丕夭 乇丕 趩賴 讴丕乇 賲蹖 讴乇丿蹖責
丕賯乇丕乇 讴乇丿賲 讴賴: 丌禺貙 禺賵丿賲 賴賲 丿蹖诏乇 丿乇爻鬲 賳賲蹖 丿丕賳賲貙 賲胤丕賱毓賴 讴乇丿賲貙 丌賴賳诏 爻丕禺鬲賲貙 讴鬲丕亘 禺賵丕賳丿賲貙 讴鬲丕亘 賳賵卮鬲賲貙 爻賮乇 讴乇丿賲
賵丕賯毓丕 毓賯丕卅丿 噩丕賱亘蹖 賳爻亘鬲 亘賴 夭賳丿诏蹖 丿丕乇蹖! 賴賲蹖卮賴 讴丕乇賴丕蹖 倬蹖趩蹖丿賴 賵-
賲卮讴賱 鬲乇 乇丕 丕賳噩丕賲 丿丕丿賴 丕蹖貙 丕賲丕 趩蹖夭賴丕蹖 爻丕丿賴 乇丕
..丕氐賱丕 蹖丕丿 賳诏乇賮鬲賴 丕蹖責 賵賯鬲 賳丿丕卮鬲蹖責
賲賳 禺賵丿賲 賲蹖丿丕賳賲 讴賴 丿蹖賵丕賳賴 丕賲-
鬲賵 賴蹖趩 丿蹖賵丕賳賴 賳蹖爻鬲蹖貙 丌賯丕蹖 倬乇賵賮爻賵乇貙 鬲賵 丕夭 賳馗乇 賲賳 禺蹖賱蹖 讴賲 丿蹖賵丕賳賴 丕蹖! 鬲賵 丿乇爻鬲 賲孬賱 倬乇賵賮爻賵乇賴丕 亘賳丨賵 丕亘賱賴丕賳賴 丕蹖 毓丕賯賱蹖
:丿乇 賲賵乇丿 賲蹖賵賴 賲賲賳賵毓賴
:賳鬲蹖噩赖
诏乇诏 亘蹖丕亘丕賳 讴鬲丕亘蹖 丕丿亘蹖- 乇賵丕賳讴丕賵丕賳賴 丕爻鬲. 亘毓囟蹖 賯爻賲鬲 賴丕蹖 丿丕爻鬲丕賳 亘乇丕賲 亘賴 氐賵乇鬲 爻賵丕賱 亘丕賯蹖 賲丕賳丿 賵 丨丿爻 賲蹖 夭賳賲 噩賵丕亘賲 乇丕 丿乇 讴鬲丕亘賴丕蹖 "讴丕乇賱 诏賵爻鬲丕賵 蹖賵賳诏" 倬蹖丿丕 禺賵丕賴賲 讴乇丿. 禺賵丕賳丿賳 亘毓囟蹖 賳馗乇蹖丕鬲 賮乇賵蹖丿 禺蹖賱蹖 丿乇 丿乇讴 賯爻賲鬲 賴丕蹖 賲乇亘賵胤 亘賴 乇賵丕賳讴丕賵蹖 卮禺氐蹖鬲 亘賴賲 讴賲讴 讴乇丿
丿乇 賲賵乇丿 丕蹖賳 讴鬲丕亘 賳馗乇丕鬲 賵 賳賯丿賴丕蹖 賲禺鬲賱賮蹖 賵噩賵丿 丿丕乇丿.亘乇丿丕卮鬲 賴丕蹖 禺蹖賱蹖 賲鬲賮丕賵鬲蹖 卮丿賴 丕爻鬲 賵 丨鬲蹖 诏賮鬲賴 卮丿賴 讴賴 讴賱丕 丕蹖賳 讴鬲丕亘 賯丕亘賱 賮賴賲蹖丿賳 賳蹖爻鬲
禺賵丿 賴乇賲丕賳 賴爻賴 丿乇賲賵乇丿 讴鬲丕亘卮 诏賮鬲賴: 丌孬丕乇丕亘蹖 賲賲讴賳 丕爻鬲 亘賴 丕賳丨丕亍 诏賵賳丕诏賵賳 賲賵噩亘 鬲賮丕賴賲 蹖丕 爻賵鬲賮丕賴賲 卮賵賳丿. 賵 鬲氐賵乇 賲蹖 讴賳賲 "诏乇诏 亘蹖丕亘丕賳" 亘蹖卮鬲乇 賵 卮丿蹖丿鬲乇 丕夭 爻丕蹖乇 丌孬丕乇賲 賲賵噩亘 爻賵鬲賮丕賴賲 卮丿賴 亘丕卮丿
丿丕爻鬲丕賳 诏乇诏 亘蹖丕亘丕賳 亘蹖賲丕乇蹖 賵 亘丨乇丕賳 乇丕 鬲氐賵蹖乇 賲蹖 讴賳丿 丕賲丕 丕蹖賳 亘蹖賲丕乇蹖 丕夭 丌賳诏賵賳賴 賳蹖爻鬲 讴賴 亘賴 賲乇诏 賵 賳丕亘賵丿蹖 賲賳噩乇 卮賵丿 亘賱讴賴 亘乇毓讴爻 賴丿賮 丌賳 毓賱丕噩 丕爻鬲貙 乇賴丕蹖蹖 丕爻鬲
:賵 丿乇 讴鬲丕亘 賴賲 丕蹖賳 趩賳蹖賳 賲蹖 诏賵蹖丿
January 25, 2023
"隆Ah, es dif铆cil encontrar esa huella de Dios en medio de esta vida que llevamos, en medio de este siglo tan contentadizo, tan burgu茅s, tan falto de espiritualidad, a la vista de estas arquitecturas, de estos negocios, de esta pol铆tica, de estos hombres!
C贸mo no hab铆a de ser yo un lobo estepario y un pobre anacoreta en medio de un mundo, ninguno de cuyos fines comparto, ninguno de cuyos placeres me llama la atenci贸n?"
Qu茅 bien que escribe Hermann Hesse...
Hay algo en los escritores alemanes que supera a muchos de otros pa铆ses. Son due帽os de una narrativa bella, contundente... casi perfecta.
Me sucede lo mismo cuando leo al padre de la literatura alemana, Goethe, o al enorme y maravilloso Thomas Mann, (cuyo estilo me recuerda mucho a Hesse), a Schiller o E.T.A. Hoffmann. Due帽os de una prosa incomparable, saben c贸mo atraer al lector para no dejarlo escapar.
Algo similar sucede con los escritores franceses que los distingue del resto, pero debo decir que Alemania prevalece sobre el resto. Hasta Franz Kafka siendo checo decidi贸 escribir en alem谩n y Jorge Luis Borges decidi贸 aprender alem谩n como autodidacta para leer a Goethe en su idioma original.
En este libro, Herman Hesse nos sumerge en el mundo especial de su lobo estepario, Harry Haller que no casualmente posee las mismas iniciales, ya que la novela est谩 impregnada de sus propias experiencias, es notablemente biogr谩fica y refleja sus problemas y su lucha contra la depresi贸n y el suicidio.
El libro no est谩 dividido por cap铆tulos sino que cuenta con partes bien diferenciadas.
Una introducci贸n, en la que un desconocido narrador nos dan las nociones b谩sicas introductorias acerca de este personaje tan peculiar llamado Harry Haller, quien se autodenomina un "lobo estepario", a quien conoci贸 ya mayor viviendo en la pensi贸n de su t铆a.
Luego las anotaciones de Harry Haller conocidas como "S贸lo para locos" en las que encontramos unas primeras impresiones y experiencias vividas y en la que nos adentraremos dentro de su propia pqsiquis, conoceremos c贸mo piensa este solitario cinquent贸n que decidi贸 abrazar su vida al peregrinaje urbano y la soledad.
Despu茅s, nos encontramos con un descriptivo apartado llamado el "Tractat del lobo estepario (no para cualquiera)" en el que el autor ahonda nuevamente dentro de la personalidad de Haller, haciendo hincapi茅 tanto en su visi贸n de la burgues铆a no como cr铆tica sino como diferenciaci贸n del estilo de vida del personajes y de otras cuestiones ligadas especialmente al suicidio y a la dualidad que convive dentro de Haller, dualidad en la que muchos encontrar谩n rastros de "bipolaridad" con una carga de "crisis existencial".
Esa dualidad est谩 orientada a la cuesti贸n f谩ustica planteada por Goethe en su novela "Fausto" y que en Harry Haller tiene adem谩s la particularidad de romperse como un espejo en muchos fragmentos m谩s que lo llevan a replantearse su vida en todas sus etapas pasadas, la presente e incluso el futuro.
La disertaci贸n del autor sobre Haller va mucho m谩s all谩. Es mucho m谩s profunda y encara puntualmente en la introspecci贸n psicol贸gica del personaje preparando al lector a lo que va a venir: la narraci贸n propiamente dicha de las vivencias de Haller y su enfrentamiento a los escollos de la vida y las posibles consecuencia que le traigan sus acciones.
El vac铆o existencial que sufre a principios de la novela y el tormento del suicidio le atraen casi de la misma forma que a otro personaje conflictuado: el de Kirilov en la novela "Los demonios" de Fi贸dor Dostoievski, con la diferencia de que Haller no sucumbe sino que lucha por salir del pozo y lo logra desde el momento en el que conoce a otros personajes clave de la novela como lo ser谩n Hermine, Mar铆a y Pablo.
Las 谩cidas conclusiones de hombre del subsuelo que lo aquejan comienzan a transformarse en la esperanza de que se puede vivir sin tanto complejo y de esta manera, Haller comienza a experimentar ciertos placeres solamente reservados a esa burgues铆a que tanto critica.
Tanto deambular hace que se suceda el (no tan) fortuito encuentro con Hermine (o Armanda seg煤n la traducci贸n que uno lea) en el bar "El 谩guila negra" y a partir de este evento todo cambiar谩 incluso para bien.
Hermine le dar谩 la posibilidad de acercarse a otras experiencias placenteras, especialmente la del baile, algo impensado tanto para Harry como para nosotros los lectores, por lo que ven铆amos leyendo sobre 茅l.
Armanda y el baile (cuando no, una mujer para "despertarnos" y ponernos en la buena senda) le aportar谩n luz a su vida y a partir de que conoce a otra hermosa mujer llamada Mar铆a ahondar谩 en los placeres de la sensualidad y el sexo, saliendo de ese letargo que lo aprisionaba.
Adentr谩ndonos en el 煤ltimo tercio de la novela, Harry concurrir谩 a un baile de m谩scaras y de buenas a primeras, gracias a su amigo, el saxofonista Pablo, durante ese evento en el que el autor detalla con lo mejor de la carnavalizaci贸n rabelesiana, se introducir谩 en una especie de noche de Walpurgis en la que Hesse homenajea nuevamente al "Fausto" de Goethe tal como lo hiciera Mija铆l Bulg谩kov en ese cap铆tulo de "El maestro y Margarita" en el que Voland invita a Margarita disfrutar su propia noche de gala.
Y de ah铆 y casualmente como por arte de magia, Pablo le dar谩 la posibilidad de conocer a su "Teatro m谩gico -s贸lo para locos-" en donde la entrada "solo cuesta la raz贸n" y no es para cualquiera.
Aqu铆 ingresaremos, a la parte m谩s surrealista de la novela, una especie de sucursal del pa铆s de las maravillas de Alicia, ya que en este teatro en forma de herradura, Harry se encontrar谩 con muchas puertas en un extremo y espejos en el otro y cada una de ellas lo llevar谩 a una experiencia que metaf贸ricamente hablando, lo colocar谩n en distintas etapas de su vida para experimentarlas nuevamente como si fuera un aut茅ntico sue帽o delirante y kafkiano, absurdo y on铆rico. As铆 es: un aut茅ntico ensamble kafkiano.
Esta es la parte m谩s entretenida y alucinada del libro. Ya hace mucho que Harry no es ese lobo hura帽o y recalcitrante sino un hombre entregado a las pasiones, delirios y desenfrenos del esp铆ritu.
El final es completamente distinto a lo que le铆mos al principio, pero tiene mucho que ver tanto con Harry Haller como con Herman Hesse.
Hab铆a le铆do este libro hace siete a帽os y debo reconocer que disfrut茅 much铆simo de esta novela "no tan s贸lo para locos" que me permiti贸 reafirmar la grandeza de este gran escritor que se llam贸 Hermann Hesse.
C贸mo no hab铆a de ser yo un lobo estepario y un pobre anacoreta en medio de un mundo, ninguno de cuyos fines comparto, ninguno de cuyos placeres me llama la atenci贸n?"
Qu茅 bien que escribe Hermann Hesse...
Hay algo en los escritores alemanes que supera a muchos de otros pa铆ses. Son due帽os de una narrativa bella, contundente... casi perfecta.
Me sucede lo mismo cuando leo al padre de la literatura alemana, Goethe, o al enorme y maravilloso Thomas Mann, (cuyo estilo me recuerda mucho a Hesse), a Schiller o E.T.A. Hoffmann. Due帽os de una prosa incomparable, saben c贸mo atraer al lector para no dejarlo escapar.
Algo similar sucede con los escritores franceses que los distingue del resto, pero debo decir que Alemania prevalece sobre el resto. Hasta Franz Kafka siendo checo decidi贸 escribir en alem谩n y Jorge Luis Borges decidi贸 aprender alem谩n como autodidacta para leer a Goethe en su idioma original.
En este libro, Herman Hesse nos sumerge en el mundo especial de su lobo estepario, Harry Haller que no casualmente posee las mismas iniciales, ya que la novela est谩 impregnada de sus propias experiencias, es notablemente biogr谩fica y refleja sus problemas y su lucha contra la depresi贸n y el suicidio.
El libro no est谩 dividido por cap铆tulos sino que cuenta con partes bien diferenciadas.
Una introducci贸n, en la que un desconocido narrador nos dan las nociones b谩sicas introductorias acerca de este personaje tan peculiar llamado Harry Haller, quien se autodenomina un "lobo estepario", a quien conoci贸 ya mayor viviendo en la pensi贸n de su t铆a.
Luego las anotaciones de Harry Haller conocidas como "S贸lo para locos" en las que encontramos unas primeras impresiones y experiencias vividas y en la que nos adentraremos dentro de su propia pqsiquis, conoceremos c贸mo piensa este solitario cinquent贸n que decidi贸 abrazar su vida al peregrinaje urbano y la soledad.
Despu茅s, nos encontramos con un descriptivo apartado llamado el "Tractat del lobo estepario (no para cualquiera)" en el que el autor ahonda nuevamente dentro de la personalidad de Haller, haciendo hincapi茅 tanto en su visi贸n de la burgues铆a no como cr铆tica sino como diferenciaci贸n del estilo de vida del personajes y de otras cuestiones ligadas especialmente al suicidio y a la dualidad que convive dentro de Haller, dualidad en la que muchos encontrar谩n rastros de "bipolaridad" con una carga de "crisis existencial".
Esa dualidad est谩 orientada a la cuesti贸n f谩ustica planteada por Goethe en su novela "Fausto" y que en Harry Haller tiene adem谩s la particularidad de romperse como un espejo en muchos fragmentos m谩s que lo llevan a replantearse su vida en todas sus etapas pasadas, la presente e incluso el futuro.
La disertaci贸n del autor sobre Haller va mucho m谩s all谩. Es mucho m谩s profunda y encara puntualmente en la introspecci贸n psicol贸gica del personaje preparando al lector a lo que va a venir: la narraci贸n propiamente dicha de las vivencias de Haller y su enfrentamiento a los escollos de la vida y las posibles consecuencia que le traigan sus acciones.
El vac铆o existencial que sufre a principios de la novela y el tormento del suicidio le atraen casi de la misma forma que a otro personaje conflictuado: el de Kirilov en la novela "Los demonios" de Fi贸dor Dostoievski, con la diferencia de que Haller no sucumbe sino que lucha por salir del pozo y lo logra desde el momento en el que conoce a otros personajes clave de la novela como lo ser谩n Hermine, Mar铆a y Pablo.
Las 谩cidas conclusiones de hombre del subsuelo que lo aquejan comienzan a transformarse en la esperanza de que se puede vivir sin tanto complejo y de esta manera, Haller comienza a experimentar ciertos placeres solamente reservados a esa burgues铆a que tanto critica.
Tanto deambular hace que se suceda el (no tan) fortuito encuentro con Hermine (o Armanda seg煤n la traducci贸n que uno lea) en el bar "El 谩guila negra" y a partir de este evento todo cambiar谩 incluso para bien.
Hermine le dar谩 la posibilidad de acercarse a otras experiencias placenteras, especialmente la del baile, algo impensado tanto para Harry como para nosotros los lectores, por lo que ven铆amos leyendo sobre 茅l.
Armanda y el baile (cuando no, una mujer para "despertarnos" y ponernos en la buena senda) le aportar谩n luz a su vida y a partir de que conoce a otra hermosa mujer llamada Mar铆a ahondar谩 en los placeres de la sensualidad y el sexo, saliendo de ese letargo que lo aprisionaba.
Adentr谩ndonos en el 煤ltimo tercio de la novela, Harry concurrir谩 a un baile de m谩scaras y de buenas a primeras, gracias a su amigo, el saxofonista Pablo, durante ese evento en el que el autor detalla con lo mejor de la carnavalizaci贸n rabelesiana, se introducir谩 en una especie de noche de Walpurgis en la que Hesse homenajea nuevamente al "Fausto" de Goethe tal como lo hiciera Mija铆l Bulg谩kov en ese cap铆tulo de "El maestro y Margarita" en el que Voland invita a Margarita disfrutar su propia noche de gala.
Y de ah铆 y casualmente como por arte de magia, Pablo le dar谩 la posibilidad de conocer a su "Teatro m谩gico -s贸lo para locos-" en donde la entrada "solo cuesta la raz贸n" y no es para cualquiera.
Aqu铆 ingresaremos, a la parte m谩s surrealista de la novela, una especie de sucursal del pa铆s de las maravillas de Alicia, ya que en este teatro en forma de herradura, Harry se encontrar谩 con muchas puertas en un extremo y espejos en el otro y cada una de ellas lo llevar谩 a una experiencia que metaf贸ricamente hablando, lo colocar谩n en distintas etapas de su vida para experimentarlas nuevamente como si fuera un aut茅ntico sue帽o delirante y kafkiano, absurdo y on铆rico. As铆 es: un aut茅ntico ensamble kafkiano.
Esta es la parte m谩s entretenida y alucinada del libro. Ya hace mucho que Harry no es ese lobo hura帽o y recalcitrante sino un hombre entregado a las pasiones, delirios y desenfrenos del esp铆ritu.
El final es completamente distinto a lo que le铆mos al principio, pero tiene mucho que ver tanto con Harry Haller como con Herman Hesse.
Hab铆a le铆do este libro hace siete a帽os y debo reconocer que disfrut茅 much铆simo de esta novela "no tan s贸lo para locos" que me permiti贸 reafirmar la grandeza de este gran escritor que se llam贸 Hermann Hesse.
January 18, 2020
****Primera lectura del a帽o del club Pickwick: )****
Esta es una lectura que necesito dejar reposar.
El lobo estepario es una novela cargada hasta tal punto de simbolismos, met谩foras y reflexiones existencialistas que creo que pide un tiempo para ser digerida.
Dicho esto, me ha gustado, la lectura para mi ha sido un poco de monta帽a rusa, con una parte inicial que me encant贸, una central que me result贸 densa y un desenlace completamente de locura (nunca mejor dicho).
Lo m谩s interesante de todo para mi es ese fuerte componente antibelicista y c贸mo Hesse transmite tan bien su incapacidad para integrarse en la sociedad. No se le puede negar adem谩s, lo original y moderno que debi贸 resultar para el momento de su publicaci贸n.
A煤n as铆 a veces el mensaje me resultaba demasiado obvio y otros incomprensible.... lo dicho, es una obra hecha para dejar al lector reflexionando, y eso Hesse lo logra completamente.
Esta es una lectura que necesito dejar reposar.
El lobo estepario es una novela cargada hasta tal punto de simbolismos, met谩foras y reflexiones existencialistas que creo que pide un tiempo para ser digerida.
Dicho esto, me ha gustado, la lectura para mi ha sido un poco de monta帽a rusa, con una parte inicial que me encant贸, una central que me result贸 densa y un desenlace completamente de locura (nunca mejor dicho).
Lo m谩s interesante de todo para mi es ese fuerte componente antibelicista y c贸mo Hesse transmite tan bien su incapacidad para integrarse en la sociedad. No se le puede negar adem谩s, lo original y moderno que debi贸 resultar para el momento de su publicaci贸n.
A煤n as铆 a veces el mensaje me resultaba demasiado obvio y otros incomprensible.... lo dicho, es una obra hecha para dejar al lector reflexionando, y eso Hesse lo logra completamente.
March 16, 2025
I find this to be a fascinating novel with an interesting structure and many ideas about the nature of human existence in modern society. I recommend it if you're looking for something a little different from what you've read before.
April 17, 2009
Now that I鈥檝e reached middle age, I thought it was time to revisit that classic of earnest adolescent angst (despite the fact the novel鈥檚 hero is nearly 50 years old), Hermann Hesse鈥� Steppenwolf.
I found the early sections of the book dull, flat, pretentious, and swimming in its own vanity. But the later sections corrected some of these faults, and made the book interesting and worth reading overall.
My main problem with the early parts of Steppenwolf is that the novel is constantly tells us how fine a soul Harry Haller has: how intelligent he is, how spiritually enlightened, how artistically refined, how little he can tolerate the world of power and money and order and easy pleasures, or understand the lives of ordinary people, and how much he suffers.
But the novel is always telling us these things about Harry; it never shows us these qualities or convinces us that they are true. Harry鈥檚 uniqueness is described first in an introduction to the manuscript written by a middle class businessman of slight acquaintance with Harry; then by passages written by Harry himself; then in a magical 鈥淭reatise on the Steppenwolf鈥� that Harry buys from a mysterious vendor.
Normally, one piece of sustained exposition is enough to set up a story the author can鈥檛 quite get going on its own. Three is too much. And the constant repetition of how exceptional Harry is makes me suspicious. Accomplished people go about the business of being accomplished. People who are not accomplished 鈥� but very much like the idea of being so 鈥� will announce their exceptional attributes constantly, substituting pronouncements for action.
The novel鈥檚 investment in Harry鈥檚 extraordinary qualities makes me believe that Hesse is also invested in them and that he is inviting us to invest in them as well. Only a great artist could bring a great artist alive on the page, is the implication: therefore I am a great artist. Only a truly intelligent and perceptive reader could understand a great artist; therefore you are an intelligent and perceptive reader.
This mutual admiration society constructed by Steppenwolf would be harmless enough if such vanity were not the most deadly enemy of art. All that is strange and delicate and inexpressible and irreducible in art 鈥� all its sublime alchemy 鈥� is thrown under the feet of flattery and easy compliment. The work exists only to puff up the ego and ambitions, and comfort the insecurities, of those associated with it.
This is harsh criticism, and it seems like it should be a fatal one. But as the book progresses, Hesse鈥� destroys any sense we have that all of Harry鈥檚 accomplishments have any real value. The book still sees him as a unique and rare soul 鈥� but a unique and rare soul leading a useless existence, a man who has forgotten how to laugh, who has forgotten how to find pleasure in life, who is a fool, a baby, and a wretch who should be pity and scolded and taken by the hand and pulled away from his stubborn loneliness and self-importance. This humanizes Harry and gives the book blood.
Finally, Steppenwolf has an interesting structure. It鈥檚 a mess, but it鈥檚 a mess that works pretty well with the novel鈥檚 themes and characters. Harry is always talking about great composers, Baroque ones like Handel, Mozart above all, but it is Berlioz' 鈥淪ymphonie fantastique鈥� that really is playing throughout the book.
So two solid stars for Hesse鈥� Steppenwolf. You could spend you time with many books, and many writers, far worse than this one.
I found the early sections of the book dull, flat, pretentious, and swimming in its own vanity. But the later sections corrected some of these faults, and made the book interesting and worth reading overall.
My main problem with the early parts of Steppenwolf is that the novel is constantly tells us how fine a soul Harry Haller has: how intelligent he is, how spiritually enlightened, how artistically refined, how little he can tolerate the world of power and money and order and easy pleasures, or understand the lives of ordinary people, and how much he suffers.
But the novel is always telling us these things about Harry; it never shows us these qualities or convinces us that they are true. Harry鈥檚 uniqueness is described first in an introduction to the manuscript written by a middle class businessman of slight acquaintance with Harry; then by passages written by Harry himself; then in a magical 鈥淭reatise on the Steppenwolf鈥� that Harry buys from a mysterious vendor.
Normally, one piece of sustained exposition is enough to set up a story the author can鈥檛 quite get going on its own. Three is too much. And the constant repetition of how exceptional Harry is makes me suspicious. Accomplished people go about the business of being accomplished. People who are not accomplished 鈥� but very much like the idea of being so 鈥� will announce their exceptional attributes constantly, substituting pronouncements for action.
The novel鈥檚 investment in Harry鈥檚 extraordinary qualities makes me believe that Hesse is also invested in them and that he is inviting us to invest in them as well. Only a great artist could bring a great artist alive on the page, is the implication: therefore I am a great artist. Only a truly intelligent and perceptive reader could understand a great artist; therefore you are an intelligent and perceptive reader.
This mutual admiration society constructed by Steppenwolf would be harmless enough if such vanity were not the most deadly enemy of art. All that is strange and delicate and inexpressible and irreducible in art 鈥� all its sublime alchemy 鈥� is thrown under the feet of flattery and easy compliment. The work exists only to puff up the ego and ambitions, and comfort the insecurities, of those associated with it.
This is harsh criticism, and it seems like it should be a fatal one. But as the book progresses, Hesse鈥� destroys any sense we have that all of Harry鈥檚 accomplishments have any real value. The book still sees him as a unique and rare soul 鈥� but a unique and rare soul leading a useless existence, a man who has forgotten how to laugh, who has forgotten how to find pleasure in life, who is a fool, a baby, and a wretch who should be pity and scolded and taken by the hand and pulled away from his stubborn loneliness and self-importance. This humanizes Harry and gives the book blood.
Finally, Steppenwolf has an interesting structure. It鈥檚 a mess, but it鈥檚 a mess that works pretty well with the novel鈥檚 themes and characters. Harry is always talking about great composers, Baroque ones like Handel, Mozart above all, but it is Berlioz' 鈥淪ymphonie fantastique鈥� that really is playing throughout the book.
So two solid stars for Hesse鈥� Steppenwolf. You could spend you time with many books, and many writers, far worse than this one.
August 4, 2018
The Best Novel on the Intellectual Male's Midlife Crisis
I might well have ridiculed this novel at 20, when I was unconquerable, infinite, the world my oyster. Thirty years on, having been through the process of disenchantment called life, and survived the tragic ends (de facto and de jure) of each chapter of my personal myth--the perfect job, a huge house, insane wealth, and adoration of both my looks and smarts--I find this novel profound.
Hermann Hesse wrote this in his late 40s and I can see parts of myself--now and in my recent past--in his fictional alter ego, Harry Haller, a self-isolated intellectual who thinks of himself as a steppenwolf (or a wolf from the steppes), experiencing an ongoing existential crisis, bouts of acute loneliness, fleeting thoughts of death, and a continuing coming to terms with a bourgeois society which he hates yet needs. I can see the wisdom of a life lived, in terms spiritual and at times--even still--animalistic.
I found fascinating the magic theatre to which Harry was invited, a place which serves as a reminder of why he should want to live, allowing him to experience encounters (not necessarily sexual) with females from his past, meetings with these unrequited loves or lusts in which he's no longer shy nor suffering the hangups and insecurities of a young man or boy.
Variations of this magical venue often pepper my dreams. Call them my subconscious yawps for immortality, or maybe, on a deeper level, my psyche's nocturnal pursuits of prurient propagation.
I highly recommend this novel to men in their 40s and 50s, and to their spouses/partners for possible enlightenment.
I might well have ridiculed this novel at 20, when I was unconquerable, infinite, the world my oyster. Thirty years on, having been through the process of disenchantment called life, and survived the tragic ends (de facto and de jure) of each chapter of my personal myth--the perfect job, a huge house, insane wealth, and adoration of both my looks and smarts--I find this novel profound.
Hermann Hesse wrote this in his late 40s and I can see parts of myself--now and in my recent past--in his fictional alter ego, Harry Haller, a self-isolated intellectual who thinks of himself as a steppenwolf (or a wolf from the steppes), experiencing an ongoing existential crisis, bouts of acute loneliness, fleeting thoughts of death, and a continuing coming to terms with a bourgeois society which he hates yet needs. I can see the wisdom of a life lived, in terms spiritual and at times--even still--animalistic.
I found fascinating the magic theatre to which Harry was invited, a place which serves as a reminder of why he should want to live, allowing him to experience encounters (not necessarily sexual) with females from his past, meetings with these unrequited loves or lusts in which he's no longer shy nor suffering the hangups and insecurities of a young man or boy.
Variations of this magical venue often pepper my dreams. Call them my subconscious yawps for immortality, or maybe, on a deeper level, my psyche's nocturnal pursuits of prurient propagation.
I highly recommend this novel to men in their 40s and 50s, and to their spouses/partners for possible enlightenment.
June 29, 2015
Half Bourgeois/Half Wolf
"Steppenwolf" starts with a fascinating 20 page preface that places a more conventional perspective on the rest of the novel (which is quite radical, if not exactly nihilist).
The unnamed first person narrator could be one of us. He purports to be "a middle class man, living a regular life, fond of work and punctuality, [as well as] an abstainer and non-smoker."
He gets to know the Steppenwolf, Harry Haller, while they both rent furnished rooms in his aunt's apartment.
He finds Harry and his behaviour foreign, alien, peculiar and odd.
Harry is "a real wolf of the Steppes, a strange, wild, shy - very shy - being from another world than mine [the narrator's]...a wolf of the Steppes that had lost its way and strayed into the towns and the life of the herd, a more striking image could not be found for his shy loneliness, his savagery, his restlessness, his homesickness, his homelessness."
The Torturous Riddle
The narrator sees a resemblance to Nietzsche:
"Haller belongs to those who have been caught between two ages, who are outside of all security and simple acquiescence. He belongs to those whose fate it is to live the whole riddle of human destiny heightened to the pitch of a personal torture, a personal hell."
Harry vanishes amidst rumours that he has committed suicide. All that remains is a manuscript found by the narrator, who decides to publish it, "as a document of the times...the sickness of the times themselves", in case it guides those who succeed him.
There is little clue as to whether the manuscript is fact or fiction, apart perhaps from the fact that occasionally during the preface Harry is visited by a "young and very pretty woman". Initially, I wondered whether she might have been his daughter. However, it's possible that she might have been "Maria", one of the women mentioned in the manuscript.
No Balance Between the Mean and the Magic
Early in the manuscript, Harry meets a man carrying a sign advertising an "anarchist evening entertainment" at the Magic Theatre. He gives Harry a booklet called "Treatise on the Steppenwolf". The protagonist happens to be called Harry Haller.
If Harry is the alter ego of the narrator of the preface, the protagonist of the manuscript is the mirror image of Harry (mirrors, both whole and splintered, abound in the novel).
Harry believes he is a "mixed being", he has "two natures, a human and a wolfish one" (the former of which is "the very same average man of bourgeois convention", the latter of which is "the free, the savage, the untameable, the dangerous and strong").
Harry stands outside the conventional world of the bourgeoisie, remote from "the search for a balance...the striving after a mean between the countless extremes and opposites that arise in human conduct...
"A man cannot live intensely except at the cost of the self. Now the bourgeois treasures nothing more highly than the self...The bourgeois is consequently by nature of weak impulses, anxious, fearful of giving himself away and easy to rule. Therefore, he has substituted majority for power, law for force, and the polling booth for responsibility."
Harry is unable or unwilling to find such a balance. The extremes and opposites live in perpetual conflict:
"In him, the man and the wolf did not go the same way together, but were in continual and deadly enmity. One existed simply and solely to harm the other, and when there are two in the one blood and in one soul who are at deadly enmity, then life fares ill."
The Delusion of Dualistic Unity
Harry's understanding of himself contains an error or delusion that is shared by the bourgeoisie.
Harry thinks of himself as wolf and man, flesh and spirit, either way, a dualism.
He finds in himself "a human being, that is to say, a world of thoughts and feelings, of culture and tamed or sublimated nature, and besides this he finds within himself also a wolf, that is to say, a dark world of instinct, of savagery and cruelty, of unsublimated or raw nature."
The bourgeois worldview reflects a belief that humanity is a unity that endeavours to accommodate, if not resolve or reconcile, opposites or dualities.
In contrast, man is actually a bundle of selves, "a manifold world, a constellated heaven, a chaos of forms, of states and stages, of inheritances and potentialities... man is an onion made up of a hundred integuments, a texture made up of many threads."
An End to Detested Existence
The internal enmity exposes the Steppenwolf to a particular risk:
"The line of fate in the case of these men is marked by the belief...that suicide is their most probable manner of death."
Harry recognises that:
"Death was decreed for this Steppenwolf. He must with his own hand make an end of his detested existence - unless, molten in the fire of a renewed self-knowledge, he underwent a change and passed over to a self, new and undisguised."
The Invisible Magician
This is the real story of Steppenwolf: how he acquires new or renewed self-knowledge:
"I had already experienced it several times, and always in periods of utmost despair. On each occasion of this terribly uprooting experience, my self, as it then was, was shattered to fragments. Each time deep-seated powers had shaken and destroyed it; each time there had followed the loss of a cherished and particularly beloved part of my life that was true to me no more...
"It was then that my solitude had its beginning. I had built up the ideal of a new life, inspired by asceticism of the intellect. I had attained a certain serenity and elevation of life once more, submitting to the practice of abstract thought and to a rule of austere meditation. But this mold, too, was broken and lost at one blow all its exalted and noble intent."
It's within this context that Harry finds and reads the treatise:
"I read the Steppenwolf treatise through again many times, now submitting gratefully to an invisible magician because of his wise conduct of my destiny, now with scorn and contempt for its futility, and the little understanding it showed of my actual disposition and predicament."
Corresponding Through the Looking Glass
Harry's mind inevitably returns to the Magic Theatre:
"I understood the invitation to madness and the jettison of reason and the escape from the clogs of convention in surrender to the unbridled surge of spirit and fantasy."
In his quest to find the next show, he is advised to go to a club called the Black Eagle. Here he meets the first of two women who will help change his life.
She reminds Harry of his first girlfriend, Rosa. Equally, he thinks she looks like a boyhood friend, Herman. He guesses that her name is Hermine. It is. How could this happen? Hermine explains:
"Doesn't your learning reveal to you that the reason why I please you and mean so much to you is because I am a kind of looking glass for you, because there's something in me that answers you and understands you? Really, we ought all to be such looking glasses to each other and answer and correspond to each other..."
Harry responds, "There's nothing you don't know, Hermine. It's exactly as you say. And yet you're so entirely different from me. Why, you're my opposite. You have all that I lack."
She is his other half (in a Platonic sense). Equally, Harry and Hermine might be the two halves of Hermann Hesse himself.
Teacher-Woman and Courtesan
On their second outing, Harry and Hermine go dancing at the Balance Hotel, which features a small orchestra. Here, Harry meets the second woman, Maria, a friend of Hermine's, with whom he dances and quickly forms a relationship.
Later, on an evening walk alone, Harry intellectualises about the significance of music in his life:
"In the German spirit the matriarchal link with nature rules in the form of the hegemony of music to an extent unknown in any other people. We intellectuals, instead of fighting against this tendency like men, and rendering obedience to the spirit, Logos, the Word, and gaining a hearing for it, are all dreaming of a speech without words that utters the inexpressible and gives form to the formless.
"Instead of playing his part as truly and honestly as he could, the German intellectual has constantly rebelled against the word and against reason and courted music. And so the German spirit, carousing in music, in wonderful creations of sound, and wonderful beauties of feeling and mood that were never pressed home to reality, has left the greater part of its intellectual gifts to decay. None of us intellectuals is at home in reality. We are strange to it and hostile...There was nothing to be made of us intellectuals. We were a superfluous, irresponsible lot of talented chatterboxes for whom reality had no meaning."
The masculine seems to be Logos, the Word, Logic, Reality, whereas the feminine seems to be Music, the Imagination, Fantasy, Unreality.
When Harry returns home, he finds Maria waiting naked in his bed, which understandably distracts him from his preoccupation with "The German Ideology".
Harry's recovery is effectively triggered by two women. To paraphrase Hesse's biographer, Ralph Freedman, one is a "wise teacher-woman", the other a "courtesan".
A Pretty Cabinet of Pictures
The climax of the novel occurs in the Magic Theatre (after an evening at the Masked Ball), which for me created memories that have survived over 40 years since my first reading. The only fictitious scene I can liken to it is the ball in "The Master and Margarita".
Just as the personality has manifold aspects, the Magic Theatre "has as many doors into as many boxes as you please, ten or a hundred or a thousand, and behind each door exactly what you seek awaits you. It is a pretty cabinet of pictures..."
Harry must laugh in a mirror, so that the image of his mixed being, human and wolf, can disappear and he can enter "our visionary world...(and a jolly one it is)":
"True humour begins when a man ceases to take himself too seriously...You will learn to laugh like the immortals yet!"
Here, his saxophone playing host, Pablo (who doubles as Mozart), teaches him the art of "building up the soul":
"We demonstrate to anyone whose soul has fallen to pieces that he can rearrange these pieces of a previous self in what order he pleases, and so attain to an endless multiplicity of moves in the game of life."
Nothing But a Lover
Harry seeks out love's door. Until now, he has repressed his capacity for love:
"I was living a bit of myself only - a bit that in my actual life and being had been expressed to a tenth or a thousandth part...I was watching it grow unmolested by any other part of me. It was not perturbed by the thinker, nor tortured by the Steppenwolf, nor dwarfed by the poet, the visionary or the moralist. No - I was nothing now but the lover, and I breathed no other happiness and no other suffering than love."
"The Devil, But You Shall Live!"
Ultimately, in the Magic Theatre, Harry's host teaches him, "You are willing to die, you coward, but not to live. The devil, but you shall live!"
Harry's response is to make a resolution:
"I knew that all the hundred thousand pieces of life's game were in my pocket. A glimpse of its meaning had stirred my reason and I was determined to begin the game afresh...I would traverse not once more, but often, the hell of my inner being...one day I would be better at the game. One day I would learn how to laugh."
"Steppenwolf" makes no promise that our inner being will not be hellish.
It does, however, encourage us to laugh and play the game of life. Its message is quite the opposite of the nihilism with which it is usually associated.
After more than 40 years, it remains one of my favourite novels, both stimulating and beautifully crafted.
"Steppenwolf" starts with a fascinating 20 page preface that places a more conventional perspective on the rest of the novel (which is quite radical, if not exactly nihilist).
The unnamed first person narrator could be one of us. He purports to be "a middle class man, living a regular life, fond of work and punctuality, [as well as] an abstainer and non-smoker."
He gets to know the Steppenwolf, Harry Haller, while they both rent furnished rooms in his aunt's apartment.
He finds Harry and his behaviour foreign, alien, peculiar and odd.
Harry is "a real wolf of the Steppes, a strange, wild, shy - very shy - being from another world than mine [the narrator's]...a wolf of the Steppes that had lost its way and strayed into the towns and the life of the herd, a more striking image could not be found for his shy loneliness, his savagery, his restlessness, his homesickness, his homelessness."
The Torturous Riddle
The narrator sees a resemblance to Nietzsche:
"Haller belongs to those who have been caught between two ages, who are outside of all security and simple acquiescence. He belongs to those whose fate it is to live the whole riddle of human destiny heightened to the pitch of a personal torture, a personal hell."
Harry vanishes amidst rumours that he has committed suicide. All that remains is a manuscript found by the narrator, who decides to publish it, "as a document of the times...the sickness of the times themselves", in case it guides those who succeed him.
There is little clue as to whether the manuscript is fact or fiction, apart perhaps from the fact that occasionally during the preface Harry is visited by a "young and very pretty woman". Initially, I wondered whether she might have been his daughter. However, it's possible that she might have been "Maria", one of the women mentioned in the manuscript.
No Balance Between the Mean and the Magic
Early in the manuscript, Harry meets a man carrying a sign advertising an "anarchist evening entertainment" at the Magic Theatre. He gives Harry a booklet called "Treatise on the Steppenwolf". The protagonist happens to be called Harry Haller.
If Harry is the alter ego of the narrator of the preface, the protagonist of the manuscript is the mirror image of Harry (mirrors, both whole and splintered, abound in the novel).
Harry believes he is a "mixed being", he has "two natures, a human and a wolfish one" (the former of which is "the very same average man of bourgeois convention", the latter of which is "the free, the savage, the untameable, the dangerous and strong").
Harry stands outside the conventional world of the bourgeoisie, remote from "the search for a balance...the striving after a mean between the countless extremes and opposites that arise in human conduct...
"A man cannot live intensely except at the cost of the self. Now the bourgeois treasures nothing more highly than the self...The bourgeois is consequently by nature of weak impulses, anxious, fearful of giving himself away and easy to rule. Therefore, he has substituted majority for power, law for force, and the polling booth for responsibility."
Harry is unable or unwilling to find such a balance. The extremes and opposites live in perpetual conflict:
"In him, the man and the wolf did not go the same way together, but were in continual and deadly enmity. One existed simply and solely to harm the other, and when there are two in the one blood and in one soul who are at deadly enmity, then life fares ill."
The Delusion of Dualistic Unity
Harry's understanding of himself contains an error or delusion that is shared by the bourgeoisie.
Harry thinks of himself as wolf and man, flesh and spirit, either way, a dualism.
He finds in himself "a human being, that is to say, a world of thoughts and feelings, of culture and tamed or sublimated nature, and besides this he finds within himself also a wolf, that is to say, a dark world of instinct, of savagery and cruelty, of unsublimated or raw nature."
The bourgeois worldview reflects a belief that humanity is a unity that endeavours to accommodate, if not resolve or reconcile, opposites or dualities.
In contrast, man is actually a bundle of selves, "a manifold world, a constellated heaven, a chaos of forms, of states and stages, of inheritances and potentialities... man is an onion made up of a hundred integuments, a texture made up of many threads."
An End to Detested Existence
The internal enmity exposes the Steppenwolf to a particular risk:
"The line of fate in the case of these men is marked by the belief...that suicide is their most probable manner of death."
Harry recognises that:
"Death was decreed for this Steppenwolf. He must with his own hand make an end of his detested existence - unless, molten in the fire of a renewed self-knowledge, he underwent a change and passed over to a self, new and undisguised."
The Invisible Magician
This is the real story of Steppenwolf: how he acquires new or renewed self-knowledge:
"I had already experienced it several times, and always in periods of utmost despair. On each occasion of this terribly uprooting experience, my self, as it then was, was shattered to fragments. Each time deep-seated powers had shaken and destroyed it; each time there had followed the loss of a cherished and particularly beloved part of my life that was true to me no more...
"It was then that my solitude had its beginning. I had built up the ideal of a new life, inspired by asceticism of the intellect. I had attained a certain serenity and elevation of life once more, submitting to the practice of abstract thought and to a rule of austere meditation. But this mold, too, was broken and lost at one blow all its exalted and noble intent."
It's within this context that Harry finds and reads the treatise:
"I read the Steppenwolf treatise through again many times, now submitting gratefully to an invisible magician because of his wise conduct of my destiny, now with scorn and contempt for its futility, and the little understanding it showed of my actual disposition and predicament."
Corresponding Through the Looking Glass
Harry's mind inevitably returns to the Magic Theatre:
"I understood the invitation to madness and the jettison of reason and the escape from the clogs of convention in surrender to the unbridled surge of spirit and fantasy."
In his quest to find the next show, he is advised to go to a club called the Black Eagle. Here he meets the first of two women who will help change his life.
She reminds Harry of his first girlfriend, Rosa. Equally, he thinks she looks like a boyhood friend, Herman. He guesses that her name is Hermine. It is. How could this happen? Hermine explains:
"Doesn't your learning reveal to you that the reason why I please you and mean so much to you is because I am a kind of looking glass for you, because there's something in me that answers you and understands you? Really, we ought all to be such looking glasses to each other and answer and correspond to each other..."
Harry responds, "There's nothing you don't know, Hermine. It's exactly as you say. And yet you're so entirely different from me. Why, you're my opposite. You have all that I lack."
She is his other half (in a Platonic sense). Equally, Harry and Hermine might be the two halves of Hermann Hesse himself.
Teacher-Woman and Courtesan
On their second outing, Harry and Hermine go dancing at the Balance Hotel, which features a small orchestra. Here, Harry meets the second woman, Maria, a friend of Hermine's, with whom he dances and quickly forms a relationship.
Later, on an evening walk alone, Harry intellectualises about the significance of music in his life:
"In the German spirit the matriarchal link with nature rules in the form of the hegemony of music to an extent unknown in any other people. We intellectuals, instead of fighting against this tendency like men, and rendering obedience to the spirit, Logos, the Word, and gaining a hearing for it, are all dreaming of a speech without words that utters the inexpressible and gives form to the formless.
"Instead of playing his part as truly and honestly as he could, the German intellectual has constantly rebelled against the word and against reason and courted music. And so the German spirit, carousing in music, in wonderful creations of sound, and wonderful beauties of feeling and mood that were never pressed home to reality, has left the greater part of its intellectual gifts to decay. None of us intellectuals is at home in reality. We are strange to it and hostile...There was nothing to be made of us intellectuals. We were a superfluous, irresponsible lot of talented chatterboxes for whom reality had no meaning."
The masculine seems to be Logos, the Word, Logic, Reality, whereas the feminine seems to be Music, the Imagination, Fantasy, Unreality.
When Harry returns home, he finds Maria waiting naked in his bed, which understandably distracts him from his preoccupation with "The German Ideology".
Harry's recovery is effectively triggered by two women. To paraphrase Hesse's biographer, Ralph Freedman, one is a "wise teacher-woman", the other a "courtesan".
A Pretty Cabinet of Pictures
The climax of the novel occurs in the Magic Theatre (after an evening at the Masked Ball), which for me created memories that have survived over 40 years since my first reading. The only fictitious scene I can liken to it is the ball in "The Master and Margarita".
Just as the personality has manifold aspects, the Magic Theatre "has as many doors into as many boxes as you please, ten or a hundred or a thousand, and behind each door exactly what you seek awaits you. It is a pretty cabinet of pictures..."
Harry must laugh in a mirror, so that the image of his mixed being, human and wolf, can disappear and he can enter "our visionary world...(and a jolly one it is)":
"True humour begins when a man ceases to take himself too seriously...You will learn to laugh like the immortals yet!"
Here, his saxophone playing host, Pablo (who doubles as Mozart), teaches him the art of "building up the soul":
"We demonstrate to anyone whose soul has fallen to pieces that he can rearrange these pieces of a previous self in what order he pleases, and so attain to an endless multiplicity of moves in the game of life."
Nothing But a Lover
Harry seeks out love's door. Until now, he has repressed his capacity for love:
"I was living a bit of myself only - a bit that in my actual life and being had been expressed to a tenth or a thousandth part...I was watching it grow unmolested by any other part of me. It was not perturbed by the thinker, nor tortured by the Steppenwolf, nor dwarfed by the poet, the visionary or the moralist. No - I was nothing now but the lover, and I breathed no other happiness and no other suffering than love."
"The Devil, But You Shall Live!"
Ultimately, in the Magic Theatre, Harry's host teaches him, "You are willing to die, you coward, but not to live. The devil, but you shall live!"
Harry's response is to make a resolution:
"I knew that all the hundred thousand pieces of life's game were in my pocket. A glimpse of its meaning had stirred my reason and I was determined to begin the game afresh...I would traverse not once more, but often, the hell of my inner being...one day I would be better at the game. One day I would learn how to laugh."
"Steppenwolf" makes no promise that our inner being will not be hellish.
It does, however, encourage us to laugh and play the game of life. Its message is quite the opposite of the nihilism with which it is usually associated.
After more than 40 years, it remains one of my favourite novels, both stimulating and beautifully crafted.
January 21, 2021
A primeira leitura de 2021 j谩 come莽ou muito marcante para mim. Como comentei com voc锚s, fazia algum tempo que n茫o me identificava tanto com um livro. J谩 era um grande f茫 de Hesse depois de ter lido 鈥淪idarta鈥� e 鈥淜nulp鈥� e, depois de 鈥淥 lobo da estepe鈥�, talvez possa falar que o autor est谩 no meu top 10 de escritores favoritos.
Nessa obra, Hesse apresenta ao leitor a hist贸ria de Harry Haller, um homem na faixa dos 50 anos que vive crises existenciais, e 茅 por meio dos di谩logos internos do protagonista que o autor, influenciado pela psican谩lise, traz reflex玫es interessant铆ssimas sobre a condi莽茫o humana.
No come莽o da narrativa, nos deparamos com um Harry cansado da vida e que, constantemente, 茅 acometido por pensamentos suicidas. Esse estado psicol贸gico do personagem deixa o come莽o da leitura at茅 mesmo mais parada_ talvez tenha sido algo intencional, a fim de refletir a melancolia de Harry_, mas um acontecimento pouco inusitado em sua vida coloca o personagem de frente com 鈥淥 tratado do lobo da estepe鈥� e com novas amizades que trar茫o uma vontade de viver a Harry. 脡 a partir desse momento que a narrativa se desenrola de forma extraordin谩ria!
H谩, tamb茅m, uma cr铆tica constante 脿 hipocrisia que recai muitas vezes sobre a classe burguesa. Isso porque o protagonista tece diversos coment谩rios contra a burguesia, esquecendo, por sua vez, que ele mesmo se enquadra como uma luva nessa faixa social.
Achei interessante que, no posf谩cio da obra, o autor avisa que leitores mais pr贸ximos da meia idade tendem a se identificar ainda mais com os pensamentos do personagem. Se eu j谩 me identifiquei muito, fiquei com vontade de fazer uma releitura daqui a 20 anos. Com certeza as reflex玫es ser茫o diferentes e mais profundas! Recomendo muit铆ssimo!
Nota: 10/10
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Nessa obra, Hesse apresenta ao leitor a hist贸ria de Harry Haller, um homem na faixa dos 50 anos que vive crises existenciais, e 茅 por meio dos di谩logos internos do protagonista que o autor, influenciado pela psican谩lise, traz reflex玫es interessant铆ssimas sobre a condi莽茫o humana.
No come莽o da narrativa, nos deparamos com um Harry cansado da vida e que, constantemente, 茅 acometido por pensamentos suicidas. Esse estado psicol贸gico do personagem deixa o come莽o da leitura at茅 mesmo mais parada_ talvez tenha sido algo intencional, a fim de refletir a melancolia de Harry_, mas um acontecimento pouco inusitado em sua vida coloca o personagem de frente com 鈥淥 tratado do lobo da estepe鈥� e com novas amizades que trar茫o uma vontade de viver a Harry. 脡 a partir desse momento que a narrativa se desenrola de forma extraordin谩ria!
H谩, tamb茅m, uma cr铆tica constante 脿 hipocrisia que recai muitas vezes sobre a classe burguesa. Isso porque o protagonista tece diversos coment谩rios contra a burguesia, esquecendo, por sua vez, que ele mesmo se enquadra como uma luva nessa faixa social.
Achei interessante que, no posf谩cio da obra, o autor avisa que leitores mais pr贸ximos da meia idade tendem a se identificar ainda mais com os pensamentos do personagem. Se eu j谩 me identifiquei muito, fiquei com vontade de fazer uma releitura daqui a 20 anos. Com certeza as reflex玫es ser茫o diferentes e mais profundas! Recomendo muit铆ssimo!
Nota: 10/10
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February 8, 2017
Written at a time when his own life was in some disarray, while battling his inner demons through depression and being treated as an outcast because of anti-war/military views, it comes as no surprise to me that Hermann Hesse wrote 'Steppenwolf' more semi-autobiographical rather than a work of out and out fiction, but this only makes for a more heightened reading experience with elements of realism that keep things from falling into the realms of complete fantasy. So thus begins a mythical, philosophical and spiritual journey into the darkest corners of a diseased mind, where dreams and reality collide, and the opposing forces of man and beast will ravage the living soul of our protagonist, the misanthropic Harry Haller, who on the surface would appear a well educated and reasonably normal being, but beneath lurks a disturbed and troubled man who is repulsed and alienated from modern society. Rather misunderstood at the time of publication this would go on to find a wider audience and become a cult hit with the youth of the 1960's, probably because of the hallucinogenic drug experimentation and open views on sex. As for the writing it's pretty much faultless, and it's here I have to mention David Horrocks, who has done an amazing job with this translation by using the original text to better effect after some not so reliable efforts in the past. This is surely one the greats of German literature, right from the start I knew a masterpiece was beckoning, truly quite something.
This entire review has been hidden because of spoilers.
January 4, 2017
危蠀纬魏位慰谓喂蟽蟿喂魏蠈 苇蟻纬慰. 螔伪胃喂维 蠁喂位慰蟽慰蠁喂魏蠈 魏伪喂 蠄蠀蠂慰位慰纬喂魏蠈. 危蔚 蟺慰位位维 蟿慰蠀 蟽畏渭蔚委伪 蔚委未伪 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀. 螖蔚谓 尉苇蟻蠅 纬喂伪蟿委 伪位位维 渭慰蠀 胃蠉渭喂蟽蔚 蟺慰位蠉 苇谓蟿慰谓伪 蟿畏谓 蟺蟻蠋蟿畏 蠁慰蟻维 蟺慰蠀 未喂维尾伪蟽伪 螝伪渭蠉 魏伪喂 蟽蠀纬魏蔚魏蟻喂渭苇谓伪 蟿畏谓 蟺蟿蠋蟽畏.
螖蔚谓 苇蠂蠅 谓伪 纬蟻维蠄蠅 魏维蟿喂, 蟺伪蟻维 谓伪 蟽伪蟼 蟺伪蟻伪蟺苇渭蠄蠅 蟽蟿畏谓 魏蟻喂蟿喂魏萎 蟿畏蟼 螘喂蟻萎谓畏蟼 蟺慰蠀 蟿伪 蔚委蟺蔚 蔚尉伪喂蟻蔚蟿喂魏维, 魏伪喂 蔚尉伪喂蟿委伪蟼 蟿畏蟼 未喂维尾伪蟽伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 蟿畏谓 蔚蠀蠂伪蟻喂蟽蟿蠋
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螖蔚谓 苇蠂蠅 谓伪 纬蟻维蠄蠅 魏维蟿喂, 蟺伪蟻维 谓伪 蟽伪蟼 蟺伪蟻伪蟺苇渭蠄蠅 蟽蟿畏谓 魏蟻喂蟿喂魏萎 蟿畏蟼 螘喂蟻萎谓畏蟼 蟺慰蠀 蟿伪 蔚委蟺蔚 蔚尉伪喂蟻蔚蟿喂魏维, 魏伪喂 蔚尉伪喂蟿委伪蟼 蟿畏蟼 未喂维尾伪蟽伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 魏伪喂 蟿畏谓 蔚蠀蠂伪蟻喂蟽蟿蠋
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March 16, 2017
Recomand acest roman tuturor celor care vor s膬 descopere infernul dinl膬untrul lor.
Mi-am propus de foarte multe ori s膬 scriu o recenzie asupra romanului "Lupul de step膬" de Hesse. M膬 obseda 卯ns膬 ideea c膬 nu a葯 fi capabil, c膬 nu a葯 putea spune tot ce a葯 vrea s膬 spun, c膬 n-a葯 g膬si cuvintele necesare pentru a descrie aceast膬 carte. Ie葯ind din aura ei 葯i scriind DESPRE ea, mi-e fric膬 de faptul c膬 o s膬-i ciop芒r葲esc valoarea (nu sunt deloc un bun sculptor).
Poate cuvintele mele de mai sus nu 卯nseamn膬 nimic pentru unii, poate mul葲i nu-mi vor 卯n葲elege "frica". Ei, acest lucru este surprins 葯i 卯n roman...
"Lupul de step膬" reprezint膬 lucrarea de c膬p膬t芒i a condi葲iei umane (varianta modern膬). Dac膬 a葯 fi pus -cine 葯tie cum!- s膬 numesc un titlu, a葯 spune f膬r膬 葯ov膬ire "脦n c膬utarea sensului vie葲ii" (葯tiu, poate e deja luat...).
艦tiu, de asemenea, c膬 numai aceia care s-au g芒ndit m膬car o singur膬 dat膬 la actul sinuciderii 卯n sine vor 卯n葲elege pe deplin romanul.
脦ntr-o nara葲iune la persoana I, 卯ntr-o Germanie b芒ntuit膬 de criza economic膬 de dup膬 Marele R膬zboi, 卯ntr-un ora葯 destul de 卯nsemnat, un anume Harry Haller care umbl膬 din c芒rcium膬-n c芒rcium膬 葯i care nu avea deloc probleme financiare (da, e unul dintre pu葲inele romane bune 卯n care banii nu joac膬 dec芒t un rol protocolar), scriitor amator de versuri, d膬 nas 卯n nas cu un str膬in care "din gre葯eal膬" uit膬 o c膬rticic膬 卯n m芒na lui. Harry al nostru strig膬 dup膬 el, dar acesta m膬re葯te pasul. Buim膬cit, 卯ncepe a citi cartea... Acolo nu era altceva dec芒t o "proz膬 psihologic膬" (obiectiv膬 de data asta), o proz膬 al c膬rei personaj principal nu este nimeni altul dec芒t el 卯nsu葯i. Problema care se ridic膬 (葯i care se poate pune pe seama unei nevroze dat膬 de singur膬tate, c膬ci da, uitasem s膬 spun c膬 figura asta era "cel mai singur om de pe p膬m芒nt") e aceea c膬 卯nt芒mplarea face ca nu numai numele s膬u s膬 fie men葲ionat acolo, ci 葯i faptele 葯i -mai grav!- g芒ndurile, care nu sunt altceva dec芒t ni葯te electroni care plutesc 卯n jurul nucleului: SINUCIDEREA!
Cartea e recomandat膬 de autor "numai pentru nebuni".
Apare 葯i o femeie, o felin膬 numit膬 Hermina, o frumoas膬 nimfa care ni-l duce pe Harry 卯n t膬r芒mul viselor. Consumul de substan葲e halucinante, cu prec膬dere opium, 卯葯i spune 葯i el cuv芒ntul..
Titlul este dat dup膬 identificarea lui Harry Haller cu o alt膬 latur膬 a sa, o latur膬 cu o con葯tiin葲膬 葯i cu idei proprii, 卯ntotdeauna 卯mpotriva s膬rmanului Harry (cel care poveste葯te).
Deja simt c膬 am omis un triliard de detalii... M膬 rog, de aceea am spus c膬 nu e deloc u葯or s膬 cuprinzi cartea asta 卯n c芒teva cuvinte; nu e o poveste simpl膬, ci e una cu foarte multe substraturi deductibile.
Ceea ce conteaz膬 e c膬 Harry 卯葯i g膬se葯te "drumul s膬u". Dar, vai!, asta dup膬 at芒tea 葯i at芒tea fr芒nghii trecute prin fa葲a ochilor s膬i...
Nelipsitele fragmente subliniate (c芒teva, c膬ci dac膬 a葯 fi subliniat cum a葯 fi f膬cut-o de obicei, ar fi trebuit s膬 卯ncep de la primul r芒nd 葯i s膬 termin la ultimul, f膬c芒nd, deci, risip膬 de cerneal膬):
1.Din acea "c膬rticic膬" primit膬 de Harry, o scriere care se refer膬 strict la el, el fiind obiectul de analiz膬 al unui psiholog: "Traiectoria destinului unor oameni de genul acesta se caracterizeaz膬 prin aceea c膬 sinuciderea reprezint膬 pentru ei, cel pu葲in 卯n propria lor 卯nchipuire, modalitatea cea mai plauzibil膬 de a muri. Premisa unei asemenea st膬ri suflete葯ti, remarcat膬 aproape 卯ntotdeauna 卯nc膬 din fraged膬 tinere葲e, starea care 卯i 卯nso葲e葯te pe ace葯ti oameni pe parcursul 卯ntregii lor vie葲i, nu este defel o lips膬 de vitalitate, c膬ci, dimpotriv膬, printre "sinuciga葯i" exist膬 葯i firi extraordinar de tenace, avide 葯i 卯ndr膬zne葲e."
2. "Cred c膬 lupta 卯mpotriva mor葲ii, dorin葲a necondi葲ionat膬 葯i 卯nc膬p膬葲芒nat膬 de a tr膬i este sursa din care s-au alimentat activitatea 葯i via葲a tuturor oamenilor ilu艧tri."
3. "Seriozitatea, tinere, este o chestiune de timp; nu pot s膬-葲i dezv膬lui dec芒t c膬 ea provine dintr-o supraestimare a timpului."
4." Oare idealurile exist膬 pentru a fi realizate?"
5." Dar tot eternit膬葲ii 卯i apar葲ine 葯i orice imagine a unei fapte adev膬rate, puterea oric膬rui sentiment adev膬rat, chiar dac膬 nimeni n-o cunoa葯te, chiar dac膬 nimeni n-o a葯terne pe h芒rtie pentru a o transmite lumii de mai t芒rziu."
6. Reg膬sirea sinelui: "脦ntr-o bun膬 zi voi juca mai bine acest joc cu figuri. 脦ntr-o bun膬 zi voi 卯nv膬葲a s膬 r芒d. M膬 a葯teapt膬 Pablo. M膬 a葯teapt膬 Mozart."
Andrei Tama艧,
16 septembrie 2015
Mi-am propus de foarte multe ori s膬 scriu o recenzie asupra romanului "Lupul de step膬" de Hesse. M膬 obseda 卯ns膬 ideea c膬 nu a葯 fi capabil, c膬 nu a葯 putea spune tot ce a葯 vrea s膬 spun, c膬 n-a葯 g膬si cuvintele necesare pentru a descrie aceast膬 carte. Ie葯ind din aura ei 葯i scriind DESPRE ea, mi-e fric膬 de faptul c膬 o s膬-i ciop芒r葲esc valoarea (nu sunt deloc un bun sculptor).
Poate cuvintele mele de mai sus nu 卯nseamn膬 nimic pentru unii, poate mul葲i nu-mi vor 卯n葲elege "frica". Ei, acest lucru este surprins 葯i 卯n roman...
"Lupul de step膬" reprezint膬 lucrarea de c膬p膬t芒i a condi葲iei umane (varianta modern膬). Dac膬 a葯 fi pus -cine 葯tie cum!- s膬 numesc un titlu, a葯 spune f膬r膬 葯ov膬ire "脦n c膬utarea sensului vie葲ii" (葯tiu, poate e deja luat...).
艦tiu, de asemenea, c膬 numai aceia care s-au g芒ndit m膬car o singur膬 dat膬 la actul sinuciderii 卯n sine vor 卯n葲elege pe deplin romanul.
脦ntr-o nara葲iune la persoana I, 卯ntr-o Germanie b芒ntuit膬 de criza economic膬 de dup膬 Marele R膬zboi, 卯ntr-un ora葯 destul de 卯nsemnat, un anume Harry Haller care umbl膬 din c芒rcium膬-n c芒rcium膬 葯i care nu avea deloc probleme financiare (da, e unul dintre pu葲inele romane bune 卯n care banii nu joac膬 dec芒t un rol protocolar), scriitor amator de versuri, d膬 nas 卯n nas cu un str膬in care "din gre葯eal膬" uit膬 o c膬rticic膬 卯n m芒na lui. Harry al nostru strig膬 dup膬 el, dar acesta m膬re葯te pasul. Buim膬cit, 卯ncepe a citi cartea... Acolo nu era altceva dec芒t o "proz膬 psihologic膬" (obiectiv膬 de data asta), o proz膬 al c膬rei personaj principal nu este nimeni altul dec芒t el 卯nsu葯i. Problema care se ridic膬 (葯i care se poate pune pe seama unei nevroze dat膬 de singur膬tate, c膬ci da, uitasem s膬 spun c膬 figura asta era "cel mai singur om de pe p膬m芒nt") e aceea c膬 卯nt芒mplarea face ca nu numai numele s膬u s膬 fie men葲ionat acolo, ci 葯i faptele 葯i -mai grav!- g芒ndurile, care nu sunt altceva dec芒t ni葯te electroni care plutesc 卯n jurul nucleului: SINUCIDEREA!
Cartea e recomandat膬 de autor "numai pentru nebuni".
Apare 葯i o femeie, o felin膬 numit膬 Hermina, o frumoas膬 nimfa care ni-l duce pe Harry 卯n t膬r芒mul viselor. Consumul de substan葲e halucinante, cu prec膬dere opium, 卯葯i spune 葯i el cuv芒ntul..
Titlul este dat dup膬 identificarea lui Harry Haller cu o alt膬 latur膬 a sa, o latur膬 cu o con葯tiin葲膬 葯i cu idei proprii, 卯ntotdeauna 卯mpotriva s膬rmanului Harry (cel care poveste葯te).
Deja simt c膬 am omis un triliard de detalii... M膬 rog, de aceea am spus c膬 nu e deloc u葯or s膬 cuprinzi cartea asta 卯n c芒teva cuvinte; nu e o poveste simpl膬, ci e una cu foarte multe substraturi deductibile.
Ceea ce conteaz膬 e c膬 Harry 卯葯i g膬se葯te "drumul s膬u". Dar, vai!, asta dup膬 at芒tea 葯i at芒tea fr芒nghii trecute prin fa葲a ochilor s膬i...
Nelipsitele fragmente subliniate (c芒teva, c膬ci dac膬 a葯 fi subliniat cum a葯 fi f膬cut-o de obicei, ar fi trebuit s膬 卯ncep de la primul r芒nd 葯i s膬 termin la ultimul, f膬c芒nd, deci, risip膬 de cerneal膬):
1.Din acea "c膬rticic膬" primit膬 de Harry, o scriere care se refer膬 strict la el, el fiind obiectul de analiz膬 al unui psiholog: "Traiectoria destinului unor oameni de genul acesta se caracterizeaz膬 prin aceea c膬 sinuciderea reprezint膬 pentru ei, cel pu葲in 卯n propria lor 卯nchipuire, modalitatea cea mai plauzibil膬 de a muri. Premisa unei asemenea st膬ri suflete葯ti, remarcat膬 aproape 卯ntotdeauna 卯nc膬 din fraged膬 tinere葲e, starea care 卯i 卯nso葲e葯te pe ace葯ti oameni pe parcursul 卯ntregii lor vie葲i, nu este defel o lips膬 de vitalitate, c膬ci, dimpotriv膬, printre "sinuciga葯i" exist膬 葯i firi extraordinar de tenace, avide 葯i 卯ndr膬zne葲e."
2. "Cred c膬 lupta 卯mpotriva mor葲ii, dorin葲a necondi葲ionat膬 葯i 卯nc膬p膬葲芒nat膬 de a tr膬i este sursa din care s-au alimentat activitatea 葯i via葲a tuturor oamenilor ilu艧tri."
3. "Seriozitatea, tinere, este o chestiune de timp; nu pot s膬-葲i dezv膬lui dec芒t c膬 ea provine dintr-o supraestimare a timpului."
4." Oare idealurile exist膬 pentru a fi realizate?"
5." Dar tot eternit膬葲ii 卯i apar葲ine 葯i orice imagine a unei fapte adev膬rate, puterea oric膬rui sentiment adev膬rat, chiar dac膬 nimeni n-o cunoa葯te, chiar dac膬 nimeni n-o a葯terne pe h芒rtie pentru a o transmite lumii de mai t芒rziu."
6. Reg膬sirea sinelui: "脦ntr-o bun膬 zi voi juca mai bine acest joc cu figuri. 脦ntr-o bun膬 zi voi 卯nv膬葲a s膬 r芒d. M膬 a葯teapt膬 Pablo. M膬 a葯teapt膬 Mozart."
Andrei Tama艧,
16 septembrie 2015
March 20, 2025
Steppenwolf by Herman Hesse was a rollercoaster read for me. The beginning, in which the protagonist, Harry Haller (aka the Steppenwolf), is introduced reminded me a lot of Jean Paul Sartre's existentialist masterpiece, Nausea. In fact, I noted that Hesse used the word 'nausea' on several occasions to describe Haller's somewhat misanthropic view of life. His fatalistic outlook contrasts sharply with his almost child-like appreciation of small bourgeoise things like smelling blooming flowers, and reading classical literature. There was a very deep philosophical and spiritual thread to the narrative in this first part of Steppenwolf which was reminiscent of Hesse's well known, novella Siddhartha.
Yet the story soon shifted gears and became more of a celebration of Haller's journey (one may even say descent) towards the enjoyment of the full spectrum of life (almost bordering at times on hedonism) ranging from sexual promiscuity to the consumption of psychedelic drugs. This part, I can imagine, must have made this book, which was published in the late 1920's, quite scandalous due to its depiction and embracing of 'immorality' (at least in that era).
The ending, however, is where Steppenwolf went off the rails for me. Hence the 3 star rating. The book ended quite bizarrely and abruptly, leaving me with a feeling that Hesse might have himself been 'tripping' when he wrote the final part of the book. I must confess the end did not resonate with me at all. Perhaps this is a minority opinion, so I would encourage anyone curious about Hesse's writing to give Steppenwolf a try, while keeping an open mind!
Yet the story soon shifted gears and became more of a celebration of Haller's journey (one may even say descent) towards the enjoyment of the full spectrum of life (almost bordering at times on hedonism) ranging from sexual promiscuity to the consumption of psychedelic drugs. This part, I can imagine, must have made this book, which was published in the late 1920's, quite scandalous due to its depiction and embracing of 'immorality' (at least in that era).
The ending, however, is where Steppenwolf went off the rails for me. Hence the 3 star rating. The book ended quite bizarrely and abruptly, leaving me with a feeling that Hesse might have himself been 'tripping' when he wrote the final part of the book. I must confess the end did not resonate with me at all. Perhaps this is a minority opinion, so I would encourage anyone curious about Hesse's writing to give Steppenwolf a try, while keeping an open mind!
June 21, 2024
Wie viele andere Leser habe ich den STEPPENWOLF als Teenager gelesen und war damals begeistert. Hermann Hesse, verachtet von meiner Deutschlehrerin, z盲hlte zu meinen liebsten Schriftstellern. Je gr枚脽er die Abneigung der alten Dame war, desto st盲rker wurde meine Anh盲ngerschaft. Deutsch war mein liebstes Fach. Sie wollte mich festnageln auf die Klassiker des 19. Jahrhunderts. Ich wollte Rebellion, wurde zornig, zog mich zur眉ck und liebte es, meinen B枚ll, Hesse und Lenz als Einzelg盲nger zu lesen. Ich wollte ein Steppenwolf sein und f眉hlte mich ganz so wie Harry Haller. W眉tend auf das B眉rgertum, die Spie脽igkeit, die Menschen, die mich nicht so sein lassen wollten, wie ich war. Doch irgendwann war die Schulzeit vorbei, Hesse komplett gelesen und der Literaturgeschmack ging in eine andere Richtung.
Das war vor 眉ber 30 Jahren. Heute bin ich so alt wie Hesse als er das Buch schrieb und damit auch so alt wie Harry Haller, der Steppenwolf. Genau die richtige Zeit, um das Buch nochmal zu lesen. Auf den ersten Seiten kam mir das alte Gef眉hl an Kampfgeist wieder hoch, doch schnell 盲nderte sich mein Blick auf den Steppenwolf. Mir fielen pl枚tzlich Passagen auf, die ich offensichtlich in meinem jugendlichen Leichtsinn 眉bergangen hatte. Haller rebellierte zwar, doch liebte er auch die saubere Idylle seiner Vermieterin. Selbst hier im Anfang merkt man, dass zwei Herzen in Haller schlagen. Doch es sind nicht nur zwei Rollen, die der Mensch einnimmt, wir f眉hlen uns in vielen Punkten hin und hergerissen. St盲ndig ziehen wir uns neue Rollen 眉ber und so macht sich der Hesse im Traktat 眉ber Haller lustig, wenn dieser sich selbst auf der Frage, ob er Mensch oder Wolf ist, reduziert. Interessant, wie man im Alter das Buch mit anderen Augen liest, aber auch verst盲ndlich, denn als junger Mensch muss man noch nicht in so viele Rollen schl眉pfen.
Haller lernt im Verlauf der Geschichte Hermine kennen, die ihm das Lachen lehrt, l盲sst sich mit Maria verkuppeln, die ihn das Lieben lernt. Er lernt zu tanzen, Spa脽 zu haben, gesellig zu sein. Humor als Medizin. Auch das war mir als junger Leser fremd, denn trotz aller Rebellion, wusste ich schon, wie man lacht und sich freut. Warum sollte das so schwer sein? Ich habe das Buch doch mit einem 盲u脽erst eingeschr盲nkten Blickwinkel gelesen. Dank der eigenen Lebenskrisen kann ich Haller erst jetzt richtig verstehen.
Ich wurde w盲hrend des Lesens gefragt, ob man den STEPPENWOLF im Alter nochmal lesen sollte, denn es w盲re doch eigentlich ein Buch f眉r die Jugend. Oder f眉r die drogenstimulierte Hippiebewegung. Aber Steppenwolf bedeutet nicht bekifft auf dem Highway entlangzufahren und Born to be wild zu h枚ren. Das Buch ist unbedingt lesenswert, wenn man die Mitte des Lebens erreicht hat. Der Steppenwolf steckt zwar zu Beginn seines Buchs in einer Krise, steht kurz vor dem Selbstmord, aber Hesse l盲sst ihn einen Weg der Heilung finden. Wie bei so vielen spirituellen B眉chern Hesses. Manche Kritiker m枚gen das als schw眉lstig bezeichnen oder als Psychologie auf einfachen Niveau. Mich sprechen seine Bilder auch jetzt noch beim Wiederlesen an und ich verstehe das Buch erst heute richtig, oder vielmehr besser. Denn die abschlie脽enden Traum- und Drogensequenzen im Magischen Theater lassen viel Spielraum f眉r Interpretationen. Und Hesse hat beklagt, dass dieses Buch gerade von den begeisterten Anh盲nger oft missverstanden wurde. Insofern bin ich vielleicht auch auf dem Holzweg, aber letztlich steht es ja jedem Leser frei, dass in einem Buch herauszulesen, was er empfindet. Ich bleibe bei 5 Sternen und einer Ablage im Favoritenordner.
Das war vor 眉ber 30 Jahren. Heute bin ich so alt wie Hesse als er das Buch schrieb und damit auch so alt wie Harry Haller, der Steppenwolf. Genau die richtige Zeit, um das Buch nochmal zu lesen. Auf den ersten Seiten kam mir das alte Gef眉hl an Kampfgeist wieder hoch, doch schnell 盲nderte sich mein Blick auf den Steppenwolf. Mir fielen pl枚tzlich Passagen auf, die ich offensichtlich in meinem jugendlichen Leichtsinn 眉bergangen hatte. Haller rebellierte zwar, doch liebte er auch die saubere Idylle seiner Vermieterin. Selbst hier im Anfang merkt man, dass zwei Herzen in Haller schlagen. Doch es sind nicht nur zwei Rollen, die der Mensch einnimmt, wir f眉hlen uns in vielen Punkten hin und hergerissen. St盲ndig ziehen wir uns neue Rollen 眉ber und so macht sich der Hesse im Traktat 眉ber Haller lustig, wenn dieser sich selbst auf der Frage, ob er Mensch oder Wolf ist, reduziert. Interessant, wie man im Alter das Buch mit anderen Augen liest, aber auch verst盲ndlich, denn als junger Mensch muss man noch nicht in so viele Rollen schl眉pfen.
Haller lernt im Verlauf der Geschichte Hermine kennen, die ihm das Lachen lehrt, l盲sst sich mit Maria verkuppeln, die ihn das Lieben lernt. Er lernt zu tanzen, Spa脽 zu haben, gesellig zu sein. Humor als Medizin. Auch das war mir als junger Leser fremd, denn trotz aller Rebellion, wusste ich schon, wie man lacht und sich freut. Warum sollte das so schwer sein? Ich habe das Buch doch mit einem 盲u脽erst eingeschr盲nkten Blickwinkel gelesen. Dank der eigenen Lebenskrisen kann ich Haller erst jetzt richtig verstehen.
Ich wurde w盲hrend des Lesens gefragt, ob man den STEPPENWOLF im Alter nochmal lesen sollte, denn es w盲re doch eigentlich ein Buch f眉r die Jugend. Oder f眉r die drogenstimulierte Hippiebewegung. Aber Steppenwolf bedeutet nicht bekifft auf dem Highway entlangzufahren und Born to be wild zu h枚ren. Das Buch ist unbedingt lesenswert, wenn man die Mitte des Lebens erreicht hat. Der Steppenwolf steckt zwar zu Beginn seines Buchs in einer Krise, steht kurz vor dem Selbstmord, aber Hesse l盲sst ihn einen Weg der Heilung finden. Wie bei so vielen spirituellen B眉chern Hesses. Manche Kritiker m枚gen das als schw眉lstig bezeichnen oder als Psychologie auf einfachen Niveau. Mich sprechen seine Bilder auch jetzt noch beim Wiederlesen an und ich verstehe das Buch erst heute richtig, oder vielmehr besser. Denn die abschlie脽enden Traum- und Drogensequenzen im Magischen Theater lassen viel Spielraum f眉r Interpretationen. Und Hesse hat beklagt, dass dieses Buch gerade von den begeisterten Anh盲nger oft missverstanden wurde. Insofern bin ich vielleicht auch auf dem Holzweg, aber letztlich steht es ja jedem Leser frei, dass in einem Buch herauszulesen, was er empfindet. Ich bleibe bei 5 Sternen und einer Ablage im Favoritenordner.
April 13, 2018
A stray wolf of the steppes, now part of the herd of city-dwellers 鈥� there could be no more compelling way of picturing him, his wary isolation, his wildness, his restlessness, his homelessness and his yearning for home.
Herr Harry Haller has transcended his own timeframe and cultural space to become an universal symbol of the misunderstood intellectual, of the sensitive mind cast adrift on an ocean of mediocrity, of the voice of reason drowned by the howls of the dogs of war. Like Holden Caulfield, Jack Kerouac, Atticus Finch and, why not, like a later age Don Quixote, Haller is a rebel who inspires new generations to open their minds to new ideas, new experiences, to look at reality from a different perspective. Or, at the very least, to use the brains they were gifted with.
"Most people have no desire to swim until they are able to." Isn't that a laugh? Of course they don't want to swim! After all, they were born to live on dry land, not in water. Nor, of course, do they want to think. They weren't made to think, but to live!
With this Novalis quote, let's start our journey through the busy mind of this peculiar character: a 50 year old gentleman who rents a room in a bourgeois household in a little German town, sometime between two apocalyptic world wars. He comes out of nowhere, says very little, spends most of his time alone in his room or wandering the streets alone at night or drinking alone in out of the way bars. One day he leaves into the unknown, as mysteriously as he appeared. But he leaves behind a few weird notebooks, half confessional, half philosophical musings, half drug induced tripping.
He appeared to like everything, yet at the same time find it somehow laughable. In general everything about the man suggested that he was a visitor from an alien world, from some lands overseas, say; and though he found everything here attractive, it all struck him as a bit comical too.
There is little plot in the novel, yet also very little randomness or divagation. It's a carefully constructed edifice, with the occasional poetic arabesque blended in. Haller is introduced first by an outsider, the son of his host, then analyzed almost scientifically in a psychological treatise, later left to explain himself in his own words and actions only to finish in a psychedelic tour-de-force modeled on Dante's descent into Hell.
Haller is one of those people who end up caught between two eras, deprived of all security and innocence; one of those fated to experience to an intense degree, as a personal torment and hell, all that is questionable about human life.
also,
It makes no difference how much or how little they are based on real life, these notebooks are an attempt to overcome the great sickness of our times, not by evading or glossing over the issue, but by seeking to make the sickness itself the object portrayed. They signify, quite literally, a journey through hell; a sometimes anxious, sometimes brave journey through the chaos of a mind in darkness.
Most of the novel I believe it is autobiographical, a memoir of Hesse struggling to cope with middle age, with the dreariness of everyday existence, with the hysterical hostility his pacifism awakened in a country drifting towards Nazism, with the loss of his youthful dreams and aspirations. Like his hero Haller, Hesse struggled with loneliness and suicidal tendencies but managed to exorcise his inner demons with the help of some Eastern mysticism and faith in a higher sphere of existence, a place that can be reached by following in the footsteps of giants like Socrates, Bach, Goethe, Dostoevsky, Mozart, etc.
There were books everywhere, not just filling the large bookcase, but lying around on the tables, on the fine old writing desk, on the divan, on the chairs, and on the floor. Slips of paper that constantly changed were inserted in them, marking the pages. And the number of books constantly grew because he brought whole bundles back from the libraries as well as very often receiving parcels of them in the post.
As a poet and an intellectual, Haller journeys towards his fiftieth anniversary from the outside in, retracting from a hostile and banal society to live among his books, paintings and music. Believing a pure mind needs to be free of the corrupting influence of the everyday struggle to make ends meet and of the cheap popular entertainment, Haller ends up locked inside a bubble of his own creation. He has become Steppenwolf , a bitter outsider snarling at the blind happiness of the sheep surrounding him. He looks at the ordinary life going on and ignoring his existence and he wants to be a part of it again, yet he is repulsed by the banality of this same bourgeois complacency.
The same thing happened to him as to everyone. The thing he most compulsively desired, most stubbornly searched and strove for, was granted to him, but more abundantly than is good for a human being. Initially all he dreamed of and wished for, it later became his bitter lot. Those who live for power are destroyed by power, those who live for money by money; service is the ruin of the servile, pleasure the ruin of the pleasure-seeker. Thus it was Steppenwolf's independence that proved his downfall.
The novel is mostly self-explanatory and brilliantly argued, albeit a bit difficult to get through due to its 'wall-of-text' structure. The main themes are introduced, expanded upon, reiterated and even turned on their head with an almost symphonic arrangement. I have numerous quotes to help me along my review, and the problem was not in finding them, but in cutting down the elegant arguments of Hesse into 欧宝娱乐 manageable chunks, eventually leaving out what are probably essential bits and pieces.
Steppenwolf's nature was thus twofold, partly human, partly wolfish. [...] Far from helping one another, they were like mortal enemies in constant conflict, each causing the other nothing but grief. When two mortal enemies are locked in one mind and body, life is a miserable business. Well, to each his lot. None of us has it easy.
A facile interpretation of Haller is too see him only through the prism of his inner conflict between his animal side and his spiritual side, between his repulsion towards a bourgeois existence and his yearning to be a part of society, to come in from the cold. Indeed, I believe this forms a sizeable chunk of the whole novel. But at the same time, Hesse warns us against intellectual laziness, against pushing real people into prefabricated molds. In a passionate afterword the author even notes that most of the young readers who get fixated on Haller's rebelliousness or drug experiences miss the point that the novel is actually about a middle aged man breaking through the walls of his despair to find again a passion for life in all its misery and glory. His youthful innocence and enthusiasm is gone, but should Haller just throw his hands in the air and give up?
Was it a matter for regret? No, it wasn't. Nothing that was over and done with was a matter of regret. What I did regret was the here and now, all the countless hours and days lost to me because I just endured them and they brought neither rewards nor profound shocks to my system. Yet, praise be to God, there were also exceptions. There were occasional, rare hours that were different, that did bring shocks and rewards, tearing down walls and taking me 鈥� lost soul 鈥� back again to the living heart of the world.
also,
Even if I was a stray animal, unable to understand its environment, my foolish life did have some meaning. There was something in me that responded to things, was receptive to calls from distant worlds above. My brain was a storehouse of a thousand images.
This music of the spheres that Haller occasionally hears and draws comfort from comes from his books and collections of poetry, from the works of his favorite composers, from famous paintings in galleries.
The armchair and the stove, the inkwell and the box of paints, Novalis and Dostoevsky were waiting for me, just as other, normal people expect their mother or wife, the children, the maids, the dogs and cats to be waiting for them when they get back home.
Like a seesaw, such brief moments of bliss are followed by despair and boredom which lead to anger, starting the Steppenwolf cycle all over again.
At such times a savage desire for strong emotions and sensations burns inside me: a rage against this soft-tinted, shallow, standardized and sterilized life, and a mad craving to smash something up, a department store, say, or a cathedral, or myself. I long to do daringly stupid things: tear the wigs from the heads of a few revered idols, stand the fares of some rebellious schoolboys desperate to visit Hamburg, seduce a little girl, or twist the neck of the odd representative of the bourgeois powers that be. For of all things, what I hated, abhorred and cursed most intensely was just this contentment, this well-being, the well-groomed optimism of the bourgeois, this lush, fertile breeding ground of all that is mediocre, normal, average.
Two images come to mind : one of a serene mountain lake on a beautiful summer day, its waters a perfect mirror of the sky, of freedom and peace. The other of a stormy sea with huge waves breaking against a solitary shore, cold and windy and deafeningly loud. Heller's argument is that a peaceful existence is not conductive to higher thought, that only through suffering we break through to a higher understanding of the world.
It is in such moments of elation, fleeting and precious like spray over a sea of suffering, that all those works of art have their origins in which suffering individuals have managed to rise above their personal fates to such a degree that their happiness radiates like a star.
also,
Once, lying awake at night, I found myself speaking lines of poetry, lines far too beautiful and strange for me to consider writing them down. In the morning I no longer knew them, yet they lay hidden inside me like the heavy nut inside an old, brittle shell.
The image of the poet alone in his ivory tower is not a new one, but this particular poet would like to climb down and rejoin the human race. He could start by taking a closer critical look at what he calls highbrow and lowbrow entertainment. On the one hand, he sings odes of joy to the classics, on the other he despises jazz and radio shows. Does that make him a discerning critic or a dinosaur about to become extinct? The question is hardly resolved in the decades since the novel was published.
Were we ageing connoisseurs and admirers of the Europe of old, of the genuine music and literature of yore, merely a small stupid minority of complicated neurotics who tomorrow would be forgotten and laughed to scorn? Was what we called 'culture', spirit, soul, or dubbed beautiful and sacred, merely a ghost, long since dead and thought to be real and alive only by us few fools?
also,
Our whole cultural world was a cemetery in which Jesus Christ and Socrates, Mozart and Haydn, Dante and Goethe were now nothing more than faded names on rusting metal plaques, surrounded by awkward and insincere mourners, who would have given a great deal to have their faith in these once sacred plaques restored to them.
Maybe the answer lies in reconciling the two warring beasts inside our soul: the carnal and the spiritual. Herr Haller starts with a little jazz, a bit of opium, some dancing lessons, some bed sports and with a much needed touch from another human being:
I found jazz repellent, but it was ten times better than contemporary academic music. Naively and genuinely sensual, its breezy, raw savagery could even affect the likes of me at a deep instinctual level.
then,
... You take yourself too seriously, better take some dancing lessons
then,
All at once a human being, shattering the clouded glass cloche that covered my corpse-like existence and holding out her hand to me, her beautiful, kind, warm hand! All at once things that mattered to me again, things I could take joy in, worry about, eagerly anticipate! All at once an open door through which life could get in to me. Perhaps I could start to live again, perhaps I could become again a human being. My soul, having almost frozen to death in hibernation, was breathing again, drowsily flapping its small, frail wings.
This mysterious Woman, Hermione, a casual encounter in a bar, is to be Haller's guide to Hell, like Dante's companion through the Inferno, here in the guise of a masked ball and a Magic Theater, a journey of rediscovery and of reconciliation between his dual poles of attraction.
She was the tiny little window, the minute chink of light in the dark cave of my fear.
also,
Look here, once you can do it, dancing is just as easy as thinking. And it's much easier to learn.
also,
You are unhappy so much of the time. Nobody should be like that, it's not good. I'm sorry for you. Try smoking a little opium.
Most of all, Hermione is a fellow traveler on this thorny journey, another Steppenwolf locked inside her own mind, struggling with unfulfilled aspirations and a hostile world (womenlib was several decades away). Will Haller grasp the offered hand or will he retreat back towards his lonely room? Well, I should leave a bit of mystery out of my review for those who have yet to discover this cult novel.
鈥斅烩赌斅烩赌斅烩赌�
I still have a lot of quotes I was planning to use in my review, but most of them are riffs on the themes I already presented. Still, after all the work of writing them down, it would be a waste to delete them now that I've reached the final note.
Of course human beings are not fixed, enduring forms 鈥� which was, despite suspicions to the contrary on the part of their leading thinkers, the ideal view of the ancient Greeks 鈥� but rather experiments, creatures in transition. They are no less than the perilously narrow bridge between nature and spirit. Their innermost destiny drives them in the direction of spirit, towards God, while their most heartfelt yearning pulls them back towards nature, to their mother.
- - - -
A human being is an onion consisting of a hundred skins, a fabric composed of many threads. [a taste of Hesse's interest in Oriental studies, attributed here to Buddhist Yoga]
- - - -
Most human beings spend their lives acting compulsory, day after day, hour after hour. Without really wanting to, they pay visits, hold conversations, work fixed office hours 鈥� all of it compulsory, mechanically, against their will. It could all be done just as well by machines, or not done at all. And it is this perpetual mechanical motion that prevents them from criticizing their own lives in the way that I do, from realizing and feeling just how stupid and shallow, how horribly, grotesquely questionable, how hopelessly sad and barren their existence is. And oh, how right they are, these people, a thousand times right to live the way they do, playing their little games and pursuing what seems important to them instead of resisting this depressing machinery and staring despairingly into the void as individuals who have gone off the rails do, like me.
- - - -
Our country and the whole world would be a lot better off if at least the few people capable of thinking would stand up for reason and love of peace instead of blindly and fanatically heading towards a new war.
- - - -
On a few occasions I've expressed the view that all nations and indeed all individual human beings, instead of rocking themselves to sleep by mulling over false political questions as to who was the "guilty party", ought to be taking a searching look at themselves, asking to what extent they themselves, by their mistakes, their failure to act and their habitual bad practices have a share in the responsibility for the war and all the rest of the world's miseries. Only in this way, I argued, could the next war perhaps be avoided.
- - - -
Thus I had finally returned home, my head full of thoughts and echoes of the music, my heart heavy with sadness and desperate longing for life, for reality, for meaning and for things irretrievably lost.
- - - -
You had an image of life in your head, a faith, a challenge. You were prepared to do great things, to suffer, to make sacrifices 鈥� and then bit by bit you noticed that the world wasn't demanding great deeds, sacrifices and the like from you at all; that life wasn't an epic poem with heroic roles and that kind of thing, but more like the parlour of a conventional household where the inhabitants are perfectly content to eat, drink coffee, knit stockings, play cards and listen to music on the radio. And anyone wanting the other heroic and noble life, and having it in them, anyone venerating great writers and venerating the saints, is a fool and a Don Quixote.
- - - -
The final word of wisdom comes from the ghost of Mozart, a vision that comes to Haller at the end of his journey through Hell / Magic Theater, castigating our Steppenwolf for selfishness and pomposity: You are to live, and you are to learn to laugh. You must learn to listen to life's damned radio music, to respect the spirit that lies behind it while laughing at all the dross it contains. That's all. Nothing more is being asked of you.
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