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袣邪屑械褉邪 袨斜褋泻褍褉邪
袙 薪邪褋褌芯褟褖械屑 褌芯屑械 锌芯写 芯写薪芯泄 芯斜谢芯卸泻芯泄 芯斜褗械写懈薪械薪褘 写胁邪 褉芯屑邪薪邪 薪邪 "薪械屑械褑泻褍褞" 褌械屑褍, 锌褉懈薪邪写谢械卸邪褖懈褏 锌械褉褍 胁褋械屑懈褉薪芯 懈蟹胁械褋褌薪芯谐芯 褉褍褋褋泻芯-邪屑械褉懈泻邪薪褋泻芯谐芯 锌懈褋邪褌械谢褟, 芯写薪芯谐芯 懈蟹 泻谢邪褋褋懈泻芯胁 谢懈褌械褉邪褌褍褉褘 啸啸 胁械泻邪 袙谢邪写懈屑懈褉邪 袧邪斜芯泻芯胁邪 (小懈褉懈薪邪), - "袣芯褉芯谢褜, 写邪屑邪, 胁邪谢械褌" (1928) 懈 "袣邪屑械褉邪 芯斜褋泻褍褉邪" (1931, 芯锌褍斜谢. 1932-1933). 袚谢邪胁薪褘械 谐械褉芯懈 芯斜械懈褏 泻薪懈谐, 胁芯胁谢械褔械薪薪褘械 胁 褏懈褌褉芯褋锌谢械褌械薪懈褟 谢褞斜芯胁薪芯-泻褉懈屑懈薪邪谢褜薪褘褏 懈薪褌褉懈谐, 胁 褋褌懈褏懈褞 褋褌褉邪褋褌械泄, 懈蟹屑械薪 懈 锌褉械褋褌褍锌谢械薪懈泄, 锌芯写芯斜薪褘 懈谐褉邪谢褜薪褘屑 泻邪褉褌邪屑 懈 屑邪褉懈芯薪械褌泻邪屑 斜械蟹卸邪谢芯褋褌薪芯谐芯 胁 褋胁芯械屑 胁褘斜芯褉械 褋谢褍褔邪褟, 蟹邪 泻芯褌芯褉褘屑 褍谐邪写褘胁邪械褌褋褟 胁谢邪褋褌薪邪褟 褉褍泻邪 懈褉芯薪懈褔薪芯谐芯, 胁懈褉褌褍芯蟹薪芯谐芯, 薪械褍屑芯谢懈屑芯 胁芯蟹写邪褞褖械谐芯 泻邪卸写芯屑褍 锌芯 蟹邪褋谢褍谐邪屑 邪胁褌芯褉邪 - 斜褍写褍褖械谐芯 褋芯蟹写邪褌械谢褟 "袛邪褉邪", "袥芯谢懈褌褘" 懈 "袗写褘".
416 pages, Hardcover
First published January 1, 1932
21 people are currently reading
2,242 people want to read
About the author
Vladimir Nabokov
805听books14.4k听followersRussian:
袙谢邪写懈屑懈褉 袧邪斜芯泻芯胁
.
Vladimir Vladimirovich Nabokov, also known by the pen name Vladimir Sirin, was a Russian-American novelist. Nabokov wrote his first nine novels in Russian, then rose to international prominence as a master English prose stylist. He also made significant contributions to lepidoptery, and had a big interest in chess problems.
Nabokov's Lolita (1955) is frequently cited as his most important novel, and is at any rate his most widely known one, exhibiting the love of intricate wordplay and descriptive detail that characterized all his works.
Lolita was ranked fourth in the list of the Modern Library 100 Best Novels; Pale Fire (1962) was ranked 53rd on the same list, and his memoir, Speak, Memory (1951), was listed eighth on the publisher's list of the 20th century's greatest nonfiction. He was also a finalist for the National Book Award for Fiction seven times.
Vladimir Vladimirovich Nabokov, also known by the pen name Vladimir Sirin, was a Russian-American novelist. Nabokov wrote his first nine novels in Russian, then rose to international prominence as a master English prose stylist. He also made significant contributions to lepidoptery, and had a big interest in chess problems.
Nabokov's Lolita (1955) is frequently cited as his most important novel, and is at any rate his most widely known one, exhibiting the love of intricate wordplay and descriptive detail that characterized all his works.
Lolita was ranked fourth in the list of the Modern Library 100 Best Novels; Pale Fire (1962) was ranked 53rd on the same list, and his memoir, Speak, Memory (1951), was listed eighth on the publisher's list of the 20th century's greatest nonfiction. He was also a finalist for the National Book Award for Fiction seven times.
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Displaying 1 - 30 of 1,727 reviews
August 7, 2022
Laughter in the Dark is a love story or rather it is a caricature of a love story. And telling the tale Vladimir Nabokov becomes grotesquely melodramatic.
The world is the stage and life is a play:
The hero is an infatuated idealist living with his head in the romantic clouds so he is doomed right from the start鈥�
An object of the unbound adoration is a small-minded underage girl that is capable of nothing but to take鈥�
And the happy rival is a cynical and unprincipled rascal鈥�
Laughter in the Dark is a parable of idealistic blindness: some are born to deceive others and some are born to be deceived.
The world is the stage and life is a play:
The stage manager of this performance was neither God nor the devil. The former was far too gray, and venerable, and old-fashioned; and the latter, surfeited with other people鈥檚 sins, was a bore to himself and to others, as dull as rain鈥� in fact, rain at dawn in the prison-court, where some poor imbecile, yawning nervously, is being quietly put to death for the murder of his grandmother.
The hero is an infatuated idealist living with his head in the romantic clouds so he is doomed right from the start鈥�
Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster.
An object of the unbound adoration is a small-minded underage girl that is capable of nothing but to take鈥�
鈥淎 lovely creature, unquestionably but there is something snakelike about her.鈥�
And the happy rival is a cynical and unprincipled rascal鈥�
His culture was patchy, but his mind shrewd and penetrating, and his itch to make fools of his fellow men amounted almost to genius. Perhaps the only real thing about him was his innate conviction that everything that had ever been created in the domain of art, science or sentiment, was only a more or less clever trick.
Laughter in the Dark is a parable of idealistic blindness: some are born to deceive others and some are born to be deceived.
March 11, 2022
Original published under the name 'Camera Obscura', Vladimir Nabokov was so displeased with the quality of it's first English translation in 1936 he personally took to changing it under the now title 'Laughter in the Dark' and this becomes the first foreign novel I have read that was actually translated by the writer himself.
And If there's one thing that strikes me about Nabokov, it's the impression I get that his mind was never too far away from lust and desire, whether that be writing, having a stiff drink or going to fetch the morning paper. Dealing with similar themes although to a different developed effect with that of his 1955 masterpiece 'Lolita', Laughter in the Dark takes place mainly in Berlin and centres on seemingly happily married art critic Albinus, who after visiting a cinema catches sight of young aspiring actress Margot, who works there. He can't shake the thought of her from his mind and returns, eventually seducing her, and takes her as his mistress. After Elisabeth the wife of Albinus discovers his entanglement with Margot she takes their daughter Irma and leaves, opening the door for the couple to evolve. However to help with her dreams of hitting the big screen, Margot hatches a plan with former lover Axel Rex to deceive him while on a trip to France, with terrible consequences.
This is ultimately a tragically comic love story, although I found it far more tragic than funny, his daughter Irma would fall seriously ill and Albinus has lingering thoughts of trying to rekindle his dying marriage, but Margot turns into a nympho to fulfil his sexual appetite and wants him to get a divorce. The middle third of the novel takes on quite a sad feel and left a lump in my throat. The actions of Albinus at times seem farcical, while Margot takes to playing a sort of femme fatale with her manipulating mannerisms.
Nabokov's narrative has the most precise pacing, and is decisive, witty but with a slightly morbid
sensibility. Would have loved to see the characters and story developed even further as they were just so readable. I simply craved for more!. Anyway, a fabulous novel, one of his very best.
And If there's one thing that strikes me about Nabokov, it's the impression I get that his mind was never too far away from lust and desire, whether that be writing, having a stiff drink or going to fetch the morning paper. Dealing with similar themes although to a different developed effect with that of his 1955 masterpiece 'Lolita', Laughter in the Dark takes place mainly in Berlin and centres on seemingly happily married art critic Albinus, who after visiting a cinema catches sight of young aspiring actress Margot, who works there. He can't shake the thought of her from his mind and returns, eventually seducing her, and takes her as his mistress. After Elisabeth the wife of Albinus discovers his entanglement with Margot she takes their daughter Irma and leaves, opening the door for the couple to evolve. However to help with her dreams of hitting the big screen, Margot hatches a plan with former lover Axel Rex to deceive him while on a trip to France, with terrible consequences.
This is ultimately a tragically comic love story, although I found it far more tragic than funny, his daughter Irma would fall seriously ill and Albinus has lingering thoughts of trying to rekindle his dying marriage, but Margot turns into a nympho to fulfil his sexual appetite and wants him to get a divorce. The middle third of the novel takes on quite a sad feel and left a lump in my throat. The actions of Albinus at times seem farcical, while Margot takes to playing a sort of femme fatale with her manipulating mannerisms.
Nabokov's narrative has the most precise pacing, and is decisive, witty but with a slightly morbid
sensibility. Would have loved to see the characters and story developed even further as they were just so readable. I simply craved for more!. Anyway, a fabulous novel, one of his very best.
August 9, 2022
laughter in the dark walked so gone girl could run.
this is beautifully written and cruel and funny. recommended for all evil girls in my life (my favorite subcategory of people).
oh life!!
bottom line: i hate reviewing classics. this is good. the end.
----------------
currently-reading updates
just doing some light beach reading
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tbr review
yes i am adding this to my to-read list solely because it's being adapted into a film starring the love of my life anya taylor-joy. and that's okay.
this is beautifully written and cruel and funny. recommended for all evil girls in my life (my favorite subcategory of people).
oh life!!
bottom line: i hate reviewing classics. this is good. the end.
----------------
currently-reading updates
just doing some light beach reading
----------------
tbr review
yes i am adding this to my to-read list solely because it's being adapted into a film starring the love of my life anya taylor-joy. and that's okay.
October 26, 2021
袣邪屑械褉邪 芯斜褋泻褍褉邪 [Camera Obskura] = Laughter in the Dark, Vladimir Nabokov
Laughter in the Dark (Original Russian title: 袣邪屑械褉邪 芯斜褋泻褍褉邪, Camera obscura) is a novel written by Vladimir Nabokov and serialised in Sovremennye Zapiski in 1932.
The book deals with the affection of a middle-aged man for a very young woman, resulting in a mutually parasitic relationship. In 1955, Nabokov used this theme again with Lolita to a much differently developed effect.
Albinus is a respected, reasonably happy married art critic who lives in Berlin. He lusts after the 17-year-old Margot whom he meets at a cinema, where she works, and seduces her over the course of many encounters.
His prolonged affair with Margot is eventually revealed to Albinus's wife Elisabeth when Margot deliberately sends a letter to the Albinuses' residence and Albert is unable to intercept it before it is discovered. This results in the dissolution of the Albinuses' marriage.
Rather than disown the young troublemaker, he is even more attracted to her. Margot uses him to become a film star, fulfilling her ambition in life. Albinus introduces Margot to Axel Rex, but he does not know that the two have previously been lovers.
Margot and Rex resume their relationship, and start plotting to get Albinus out of the way and rob him of his money. Rex sees the opportunities that Albinus's infatuation with Margot produces, and understands that even a great risk means little to the blind and helpless, in love, in loss, and in dwindling fortune.
Albinus gets Margot her first role as an actress, but she does not appear to be very talented. In fact, what she possesses in beauty is best captured by the imagination rather than even a still camera. Only Albinus's wealth ensures that she gets to play her role.
Margot realizes that she has played the role poorly and Albinus worries about her reaction. Rex, however, adores seeing the girl from the streets suffer and takes the opportunity to exploit her ineptitude.
After Margot becomes upset when viewing the film, Albinus coaxes her into taking a holiday to the south. They rent a hotel room and, after a chance encounter with an old friend, Albinus happens to surmise that Margot and Rex are engaged in an affair. He has always been envious of Rex in the belief that he is the truest of artists, unlike him. He has stolen beautiful young things from Albinus his whole life, and this is no different.
Albinus steals away with Margot and leaves Rex at the hotel. On their journey out of town, Albinus, a self-proclaimed poor driver, crashes the car and is blinded, leaving him in need of care and oblivious to the world around him. Rex and Margot take advantage of his handicap, and rent a chalet in Switzerland where Rex poses as Albinus's doctor, although Albinus is unaware of Rex's presence.
Unknown to Albinus, he is mocked and tortured during his recovery. He becomes increasingly suspicious as his ears become more attuned and he perceives someone's presence, but his fears are never confirmed. Paul, a friend to the family, suspects forgery (Rex and Margot have been bleeding Albinus's accounts dry by forging his signature on cheques), drives to the residence and discovers Rex toying with Albinus in his blinded state.
Paul then escorts Albinus back to the home of his ex-wife Elisabeth. After a short time, Albinus receives a call informing him that Fraulein Peters (Margot) has returned to his flat to collect some things. Knowing that she is coming, he decides to kill her. Without haste, he makes his way to the flat and traps her inside by barricading the door, intending to shoot her with his pistol. He seeks her out by her scent and faint sounds, but when he tries to shoot her she overpowers him, grabs the pistol, and ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 丌賵乇蹖賱 爻丕賱 2005賲蹖賱丕丿蹖
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讴鬲丕亘 芦禺賳丿賴 丿乇 鬲丕乇蹖讴蹖禄貨 乇賵丕蹖鬲 賵賱禺乇噩蹖 亘丕 賲丨亘鬲 蹖讴 賲乇丿 賲蹖丕賳爻丕賱貙 亘乇丕蹖 蹖讴 夭賳 亘爻蹖丕乇 噩賵丕賳貙 賵 夭蹖亘丕乇賵蹖 丕爻鬲貨 芦賳丕亘丕讴賵賮禄 丕蹖賳 乇賲丕賳 乇丕 丿乇 爻丕賱1932賲蹖賱丕丿蹖 賳诏丕卮鬲賳丿貨 丿乇 胤蹖 賴賮鬲 丿賴賴 倬爻 丕夭 賳诏丕乇卮 賴賲蹖賳 乇賲丕賳貙 賳賯丿賴丕蹖 亘爻蹖丕乇蹖 丿乇 亘丕乇賴 蹖 丌賳 賳賵卮鬲賴 卮丿賴貙 賵 賮蹖賱賲蹖 賴賲 亘乇 丕爻丕爻 賴賲蹖賳 丿丕爻鬲丕賳 爻丕禺鬲賴 卮丿賴 丕爻鬲貨 芦禺賳丿賴 丿乇 鬲丕乇蹖讴蹖禄貙 丕夭 丌賳 丿爻鬲 丿丕爻鬲丕賳賴丕爻鬲貙 讴賴 亘爻蹖丕乇 卮賳蹖丿賴貙 賵 禺賵丕賳丿賴貙 賵 卮丕賴丿卮 亘賵丿賴 丕蹖賲貨 芦賳丕亘丕讴賵賮禄 禺賵丿 亘賴 胤賳夭貙 亘賴 賴賲蹖賳 賳讴鬲賴 丕卮丕乇賴 賲蹖讴賳賳丿貙 讴賴 讴賱 丿丕爻鬲丕賳 乇丕 賲蹖鬲賵丕賳 丿乇 趩賳丿 禺胤 卮乇丨 丿丕丿貙 亘賴 噩丕蹖蹖 賴賲 亘乇賳賲蹖禺賵乇丿: (乇賵夭蹖 乇賵夭诏丕乇蹖貙 丿乇 卮賴乇 芦亘乇賱蹖賳 丌賱賲丕賳禄貙 賲乇丿蹖 夭賳丿诏蹖 賲蹖讴乇丿貨 亘賴 賳丕賲 芦丌賱亘蹖賳賵爻禄貨 丕賵 賲鬲賲賵賱 賵 賲丨鬲乇賲貙 賵 禺賵卮亘禺鬲 亘賵丿貙 蹖讴乇賵夭 賴賲爻乇卮 乇丕 亘賴 禺丕胤乇 丿禺鬲乇蹖 噩賵丕賳貙 鬲乇讴 讴乇丿貙 毓卮賯 賵乇夭蹖丿貙 賲賵乇丿 亘蹖賲賴乇蹖 賯乇丕乇 诏乇賮鬲貙 賵 夭賳丿诏蹖 丕卮 丿乇 亘丿亘禺鬲蹖貙 賵 賮賱丕讴鬲 亘賴 倬丕蹖丕賳 乇爻蹖丿)貨 倬丕蹖丕賳 賳賯賱 丕夭 氐 蹖讴
丿丕爻鬲丕賳 亘賴 卮蹖賵賴 蹖 丿丕賳丕蹖 讴賱 亘丕夭诏卮丕蹖蹖 賲蹖卮賵丿貙 讴賴 賳賲丕蹖丕賳诏乇 胤賳夭 爻蹖丕賴 芦賳丕亘丕讴賵賮禄 丕爻鬲貨 芦賳丕亘丕讴賵賮禄 丿乇 鬲賵氐蹖賮 卮禺氐蹖鬲賴丕貙 賱丨賳蹖 胤毓賳賴 丌賲蹖夭 丿丕乇賳丿貙 賵 丿乇 噩丕蹖 噩丕蹖 丿丕爻鬲丕賳貙 讴賴 禺賵丿 亘賴 毓賳賵丕賳 乇丕賵蹖貙 丨囟賵乇蹖 丿乇 倬乇丕賳鬲夭 丿丕乇賳丿貨 丕睾賱亘 賳讴鬲賴 賴丕蹖蹖 乇丕 亘丕 賱丨賳蹖 讴賳丕蹖賴 丌賲蹖夭貙 亘賴 賳賯丕賱蹖 禺賵丿 賲蹖丕賮夭丕蹖賳丿貙 鬲丕 亘丿亘蹖賳蹖 丕蹖卮丕賳 乇丕 亘賴 禺賵丕賳卮诏乇丕賳 倬乇乇賳诏鬲乇 賳卮丕賳 丿賴賳丿貨 芦賳丕亘丕讴賵賮禄 亘丕 賳孬乇蹖 爻丕丿賴貙 賵 乇賵丕賳貙 賵 爻乇乇丕爻鬲貙 賵 亘賴 丿賵乇 丕夭 倬蹖趩蹖丿诏蹖賴丕蹖 賮乇賲蹖貙 賵 乇賵丕蹖蹖貙 賵 亘丕 賱丨賳蹖 亘丿亘蹖賳丕賳賴貙 蹖丕 卮丕蹖丿 賴賲 賵丕賯毓 亘蹖賳丕賳賴貙 鬲賱丕卮 賲蹖讴賳賳丿貙 鬲丕 賵丕賯毓蹖鬲賴丕蹖 鬲賱禺蹖 乇丕 亘賴 孬亘鬲 亘乇爻丕賳賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 25/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Laughter in the Dark (Original Russian title: 袣邪屑械褉邪 芯斜褋泻褍褉邪, Camera obscura) is a novel written by Vladimir Nabokov and serialised in Sovremennye Zapiski in 1932.
The book deals with the affection of a middle-aged man for a very young woman, resulting in a mutually parasitic relationship. In 1955, Nabokov used this theme again with Lolita to a much differently developed effect.
Albinus is a respected, reasonably happy married art critic who lives in Berlin. He lusts after the 17-year-old Margot whom he meets at a cinema, where she works, and seduces her over the course of many encounters.
His prolonged affair with Margot is eventually revealed to Albinus's wife Elisabeth when Margot deliberately sends a letter to the Albinuses' residence and Albert is unable to intercept it before it is discovered. This results in the dissolution of the Albinuses' marriage.
Rather than disown the young troublemaker, he is even more attracted to her. Margot uses him to become a film star, fulfilling her ambition in life. Albinus introduces Margot to Axel Rex, but he does not know that the two have previously been lovers.
Margot and Rex resume their relationship, and start plotting to get Albinus out of the way and rob him of his money. Rex sees the opportunities that Albinus's infatuation with Margot produces, and understands that even a great risk means little to the blind and helpless, in love, in loss, and in dwindling fortune.
Albinus gets Margot her first role as an actress, but she does not appear to be very talented. In fact, what she possesses in beauty is best captured by the imagination rather than even a still camera. Only Albinus's wealth ensures that she gets to play her role.
Margot realizes that she has played the role poorly and Albinus worries about her reaction. Rex, however, adores seeing the girl from the streets suffer and takes the opportunity to exploit her ineptitude.
After Margot becomes upset when viewing the film, Albinus coaxes her into taking a holiday to the south. They rent a hotel room and, after a chance encounter with an old friend, Albinus happens to surmise that Margot and Rex are engaged in an affair. He has always been envious of Rex in the belief that he is the truest of artists, unlike him. He has stolen beautiful young things from Albinus his whole life, and this is no different.
Albinus steals away with Margot and leaves Rex at the hotel. On their journey out of town, Albinus, a self-proclaimed poor driver, crashes the car and is blinded, leaving him in need of care and oblivious to the world around him. Rex and Margot take advantage of his handicap, and rent a chalet in Switzerland where Rex poses as Albinus's doctor, although Albinus is unaware of Rex's presence.
Unknown to Albinus, he is mocked and tortured during his recovery. He becomes increasingly suspicious as his ears become more attuned and he perceives someone's presence, but his fears are never confirmed. Paul, a friend to the family, suspects forgery (Rex and Margot have been bleeding Albinus's accounts dry by forging his signature on cheques), drives to the residence and discovers Rex toying with Albinus in his blinded state.
Paul then escorts Albinus back to the home of his ex-wife Elisabeth. After a short time, Albinus receives a call informing him that Fraulein Peters (Margot) has returned to his flat to collect some things. Knowing that she is coming, he decides to kill her. Without haste, he makes his way to the flat and traps her inside by barricading the door, intending to shoot her with his pistol. He seeks her out by her scent and faint sounds, but when he tries to shoot her she overpowers him, grabs the pistol, and ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 丌賵乇蹖賱 爻丕賱 2005賲蹖賱丕丿蹖
毓賳賵丕賳: 禺賳丿賴 丿乇 鬲丕乇蹖讴蹖貨 賳賵蹖爻賳丿賴: 賵賱丕丿蹖賲蹖乇 賳丕亘丕讴賮 (賳丕亘丕讴賵賮)貨 賲鬲乇噩賲: 賲丨賲丿丕爻賲丕毓蹖賱 賮賱夭蹖貨 鬲賴乇丕賳貙 賴蹖乇賲賳丿貙 爻丕賱1382貨 丿乇296氐貨 卮丕亘讴9644080009貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 20賲
賲鬲乇噩賲 丕賲蹖乇 賳蹖讴 賮乇噩丕賲貙 貙 鬲賴乇丕賳貙 賲乇賵丕乇蹖丿貙 爻丕賱1383貙 丿乇247氐貨 卮丕亘讴 丕蹖讴爻-964588179貨 趩丕倬 趩賴丕乇賲 爻丕賱1385貨
讴鬲丕亘 芦禺賳丿賴 丿乇 鬲丕乇蹖讴蹖禄貨 乇賵丕蹖鬲 賵賱禺乇噩蹖 亘丕 賲丨亘鬲 蹖讴 賲乇丿 賲蹖丕賳爻丕賱貙 亘乇丕蹖 蹖讴 夭賳 亘爻蹖丕乇 噩賵丕賳貙 賵 夭蹖亘丕乇賵蹖 丕爻鬲貨 芦賳丕亘丕讴賵賮禄 丕蹖賳 乇賲丕賳 乇丕 丿乇 爻丕賱1932賲蹖賱丕丿蹖 賳诏丕卮鬲賳丿貨 丿乇 胤蹖 賴賮鬲 丿賴賴 倬爻 丕夭 賳诏丕乇卮 賴賲蹖賳 乇賲丕賳貙 賳賯丿賴丕蹖 亘爻蹖丕乇蹖 丿乇 亘丕乇賴 蹖 丌賳 賳賵卮鬲賴 卮丿賴貙 賵 賮蹖賱賲蹖 賴賲 亘乇 丕爻丕爻 賴賲蹖賳 丿丕爻鬲丕賳 爻丕禺鬲賴 卮丿賴 丕爻鬲貨 芦禺賳丿賴 丿乇 鬲丕乇蹖讴蹖禄貙 丕夭 丌賳 丿爻鬲 丿丕爻鬲丕賳賴丕爻鬲貙 讴賴 亘爻蹖丕乇 卮賳蹖丿賴貙 賵 禺賵丕賳丿賴貙 賵 卮丕賴丿卮 亘賵丿賴 丕蹖賲貨 芦賳丕亘丕讴賵賮禄 禺賵丿 亘賴 胤賳夭貙 亘賴 賴賲蹖賳 賳讴鬲賴 丕卮丕乇賴 賲蹖讴賳賳丿貙 讴賴 讴賱 丿丕爻鬲丕賳 乇丕 賲蹖鬲賵丕賳 丿乇 趩賳丿 禺胤 卮乇丨 丿丕丿貙 亘賴 噩丕蹖蹖 賴賲 亘乇賳賲蹖禺賵乇丿: (乇賵夭蹖 乇賵夭诏丕乇蹖貙 丿乇 卮賴乇 芦亘乇賱蹖賳 丌賱賲丕賳禄貙 賲乇丿蹖 夭賳丿诏蹖 賲蹖讴乇丿貨 亘賴 賳丕賲 芦丌賱亘蹖賳賵爻禄貨 丕賵 賲鬲賲賵賱 賵 賲丨鬲乇賲貙 賵 禺賵卮亘禺鬲 亘賵丿貙 蹖讴乇賵夭 賴賲爻乇卮 乇丕 亘賴 禺丕胤乇 丿禺鬲乇蹖 噩賵丕賳貙 鬲乇讴 讴乇丿貙 毓卮賯 賵乇夭蹖丿貙 賲賵乇丿 亘蹖賲賴乇蹖 賯乇丕乇 诏乇賮鬲貙 賵 夭賳丿诏蹖 丕卮 丿乇 亘丿亘禺鬲蹖貙 賵 賮賱丕讴鬲 亘賴 倬丕蹖丕賳 乇爻蹖丿)貨 倬丕蹖丕賳 賳賯賱 丕夭 氐 蹖讴
丿丕爻鬲丕賳 亘賴 卮蹖賵賴 蹖 丿丕賳丕蹖 讴賱 亘丕夭诏卮丕蹖蹖 賲蹖卮賵丿貙 讴賴 賳賲丕蹖丕賳诏乇 胤賳夭 爻蹖丕賴 芦賳丕亘丕讴賵賮禄 丕爻鬲貨 芦賳丕亘丕讴賵賮禄 丿乇 鬲賵氐蹖賮 卮禺氐蹖鬲賴丕貙 賱丨賳蹖 胤毓賳賴 丌賲蹖夭 丿丕乇賳丿貙 賵 丿乇 噩丕蹖 噩丕蹖 丿丕爻鬲丕賳貙 讴賴 禺賵丿 亘賴 毓賳賵丕賳 乇丕賵蹖貙 丨囟賵乇蹖 丿乇 倬乇丕賳鬲夭 丿丕乇賳丿貨 丕睾賱亘 賳讴鬲賴 賴丕蹖蹖 乇丕 亘丕 賱丨賳蹖 讴賳丕蹖賴 丌賲蹖夭貙 亘賴 賳賯丕賱蹖 禺賵丿 賲蹖丕賮夭丕蹖賳丿貙 鬲丕 亘丿亘蹖賳蹖 丕蹖卮丕賳 乇丕 亘賴 禺賵丕賳卮诏乇丕賳 倬乇乇賳诏鬲乇 賳卮丕賳 丿賴賳丿貨 芦賳丕亘丕讴賵賮禄 亘丕 賳孬乇蹖 爻丕丿賴貙 賵 乇賵丕賳貙 賵 爻乇乇丕爻鬲貙 賵 亘賴 丿賵乇 丕夭 倬蹖趩蹖丿诏蹖賴丕蹖 賮乇賲蹖貙 賵 乇賵丕蹖蹖貙 賵 亘丕 賱丨賳蹖 亘丿亘蹖賳丕賳賴貙 蹖丕 卮丕蹖丿 賴賲 賵丕賯毓 亘蹖賳丕賳賴貙 鬲賱丕卮 賲蹖讴賳賳丿貙 鬲丕 賵丕賯毓蹖鬲賴丕蹖 鬲賱禺蹖 乇丕 亘賴 孬亘鬲 亘乇爻丕賳賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 25/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 03/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
January 31, 2020
Probably Nabokov's most accessible novel and in some ways a precursor to the later Lolita. The opening paragraph gives us a precis of the entire story: "Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster."
It was interesting to discover he was unhappy with the English translation and so, five years later in 1938, decided to translate it himself. It's come to light that he rewrote much of it in the process and that the original version was actually a rather shoddy affair. Lucky for him, more of a stickler for perfection than virtually any other writer, all but a handful of already sold copies were destroyed when a German bomb destroyed the warehouse during the Blitz. Thus, this was his first novel written in English.
Albinus is an aesthete, overly susceptible to experiences of the eye. He first sees Margot in a cinema. She is, both literally and symbolically, an usherette. All the novel's symbolism is pretty straightforward but deftly handled. The character of Margot allows Nabokov to explore one of his overriding fascinations, human cruelty. The exploitation of helplessness for sadistic kicks. You sense Hollywood stole one of the book's plot ideas and used it as the pivot of more than one famous dark thriller. All in all, a thoroughly satisfying and compelling novel, much simpler in its blueprint than is usual with Nabokov. 4.5 stars.
It was interesting to discover he was unhappy with the English translation and so, five years later in 1938, decided to translate it himself. It's come to light that he rewrote much of it in the process and that the original version was actually a rather shoddy affair. Lucky for him, more of a stickler for perfection than virtually any other writer, all but a handful of already sold copies were destroyed when a German bomb destroyed the warehouse during the Blitz. Thus, this was his first novel written in English.
Albinus is an aesthete, overly susceptible to experiences of the eye. He first sees Margot in a cinema. She is, both literally and symbolically, an usherette. All the novel's symbolism is pretty straightforward but deftly handled. The character of Margot allows Nabokov to explore one of his overriding fascinations, human cruelty. The exploitation of helplessness for sadistic kicks. You sense Hollywood stole one of the book's plot ideas and used it as the pivot of more than one famous dark thriller. All in all, a thoroughly satisfying and compelling novel, much simpler in its blueprint than is usual with Nabokov. 4.5 stars.
January 26, 2025
The style is superb, and the story is captivating. A man leaves his home to become infatuated with a very young, poor girl who will be attracted by luxury and money. She will be his and will play with him. But, unfortunately, he, too in love, will be blind to all the perversions and shenanigans.
I prefer this one to Lolita for the pacing and plot.
For my part, Lolita is too repetitive in its sentences, enthusiasm, and adoration to its nymphet.
I prefer this one to Lolita for the pacing and plot.
For my part, Lolita is too repetitive in its sentences, enthusiasm, and adoration to its nymphet.
October 10, 2017
芦螠喂伪 蠁慰蟻维 魏伪喂 苇谓伪 魏伪喂蟻蠈 味慰蠉蟽蔚 蟽蟿慰 螔蔚蟻慰位委谓慰 慰 螒位渭蟺委谓慰蠀蟼鈥� 螠喂伪 蠅蟻伪委伪 渭苇蟻伪 蔚纬魏伪蟿苇位蔚锟斤拷蠄蔚 蟿畏 纬蠀谓伪委魏伪 蟿慰蠀 纬喂伪 蠂维蟻畏 谓蔚伪蟻萎蟼 蔚蟻蠅渭苇谓畏蟼. 螇蟿伪谓 蔚蟻蠅蟿蔚蠀渭苇谓慰蟼, 蠈蠂喂 蠈渭蠅蟼 魏伪喂 蔚魏蔚委谓畏. 螚 味蠅萎 蟿慰蠀 蟿蔚位蔚委蠅蟽蔚 蟽蔚 蟺位萎蟻畏 魏伪蟿伪蟽蟿蟻慰蠁萎禄.
螝伪喂 蟽蠀谓蔚蠂委味蔚喂:
芦螒蠀蟿萎 蔚委谓伪喂 蠈位畏 畏 喂蟽蟿慰蟻委伪 未喂伪蟿蠀蟺蠅渭苇谓畏 蟽蔚 纬蔚谓喂魏苇蟼 纬蟻伪渭渭苇蟼, 蟺慰蠀 胃伪 渭伪蟼 伪蟻魏慰蠉蟽伪谓 伪谓 未蔚谓 蠀蟺萎蟻蠂蔚 蟿慰 蠈蠁蔚位慰蟼 魏伪喂 畏 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 未喂萎纬畏蟽畏蟼. 螝伪喂, 蟺伪蟻蠈蟿喂 渭喂伪 蟿伪蠁蠈蟺蔚蟿蟻伪, 蟿蠀位喂纬渭苇谓畏 蟽蟿伪 尾蟻蠉伪, 苇蠂蔚喂 维蠁胃慰谓慰 蠂蠋蟻慰 纬喂伪 谓伪 蟺蔚蟻喂位维尾蔚喂 蟿畏 蟽蠀谓蟿渭畏渭苇谓畏 蔚魏未慰蠂萎 渭喂伪蟼 伪谓胃蟻蠋蟺喂谓畏蟼 味蠅萎蟼, 畏 苇魏胃蔚蟽畏 蟿畏蟼 位蔚蟺蟿慰渭苇蟻蔚喂伪蟼 蔚委谓伪喂 蟺维谓蟿伪 蔚蠀蟺蟻蠈蟽未蔚魏蟿畏禄.
螠蔚 伪蠀蟿萎 蟿畏谓 伪蠁畏纬畏渭伪蟿喂魏萎 蟿蔚蠂谓喂魏萎 蟿畏蟼 蟺蟻慰慰喂魏慰谓慰渭委伪蟼 伪蟻蠂委味蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟽蟿喂蟼 蟺蟻蠋蟿蔚蟼 蟽蔚喂蟻苇锟斤拷 蟿慰蠀 尾喂尾位委慰蠀 谓伪 渭伪蟼 蟺蟻慰蔚蟿慰喂渭维味蔚喂 蠄蠀蠂慰位慰纬喂魏维 纬喂伪 蠈蟽伪 胃伪 蟽蠀渭尾慰蠉谓 伪蟺慰魏伪位蠉蟺蟿慰谓蟿伪蟼 蟺伪蟻维位位畏位伪 蠈位畏 蟿畏 蟻慰萎 蟿蠅谓 渭蔚位位慰谓蟿喂魏蠋谓 纬蔚纬慰谓蠈蟿蠅谓.
螤蟻慰蟽蠅蟺喂魏维 伪蠀蟿萎 伪魏蟻喂尾蠋蟼 畏 蔚蟺喂蟿慰渭萎 蟿畏蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿蔚蠂谓喂魏萎蟼 蔚尉 伪蟻蠂萎蟼 渭蔚 蔚谓蟿蠀蟺蠅蟽委伪蟽蔚 魏伪喂 蟽蠀谓苇蠂喂蟽伪 蟿畏谓 伪谓维纬谓蠅蟽畏 蟽委纬慰蠀蟻畏 蟺维谓蟿伪 蟺蠅蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 胃伪 渭蔚 伪谓蟿伪渭蔚委蠄蔚喂 渭蔚 魏维胃蔚 蟿慰蠀 蟽魏苇蠄畏 伪蟺慰蟿蠀蟺蠅渭苇谓畏 蟽蟿慰 蠂伪蟻蟿委.
螆蟿蟽喂 魏喂 苇纬喂谓蔚. 韦慰 蠈蠁蔚位慰蟼 魏伪喂 畏 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 未喂萎纬畏蟽畏蟼 蟿慰蠀 螡伪渭蟺蠈魏慰蠁 胃蔚蠅蟻慰蠉谓蟿伪喂 蔚尉伪蟽蠁伪位喂蟽渭苇谓伪 魏伪喂 蟽委纬慰蠀蟻伪.
螤蠈蟽慰 渭慰谓伪未喂魏维 蟿伪位伪谓蟿慰蠉蠂慰蟼 位慰纬慰蟿苇蠂谓畏蟼 蟺蟻苇蟺蔚喂 谓伪 蔚委蟽伪喂 纬喂伪 谓伪 伪蟻蠂委味蔚喂蟼 渭蔚 伪蠀蟿蠈谓 蟿慰谓 蟿蟻蠈蟺慰 蟿畏谓 蔚尉喂蟽蟿蠈蟻畏蟽畏 渭喂伪蟼 魏伪蟿维 蟿伪 维位位伪 魏慰喂谓蠈蟿慰蟺畏蟼 喂蟽蟿慰蟻委伪蟼 渭蔚蟿伪蟿蟻苇蟺慰谓蟿伪蟼 蟿畏, 渭蔚 蔚蟻纬伪位蔚委伪 蟿喂蟼 位苇尉蔚喂蟼, 蟽蔚 苇谓伪 苇蟻纬慰 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿苇蠂谓畏蟼.
螆谓伪 蠀蟺苇蟻慰蠂慰 伪谓维纬谓蠅蟽渭伪 纬蔚渭维蟿慰 蔚谓蟽蠀谓伪委蟽胃畏蟽畏, 蟺维胃慰蟼, 苇蟻蠅蟿伪, 位维胃畏, 未蟻维渭伪蟿伪, 蟿蟻伪纬蠅未委蔚蟼, 畏胃喂魏慰蠉蟼 蔚尉蔚蠀蟿蔚位喂蟽渭慰蠉蟼, 蠀位喂魏萎 蠀蟺慰蟿苇位蔚喂伪,蠀蟺慰魏蟻喂蟽委伪, 伪蟺维蟿畏,蟺蟻慰未慰蟽委伪, 魏伪喂 伪谓蔚位苇畏蟿畏 蔚魏渭蔚蟿维位位蔚蠀蟽畏 蟽蔚 魏维胃蔚 伪未蠀谓伪渭委伪 蟺慰蠀 蟺蟻慰魏伪位蔚委蟿伪喂 伪蟺慰 慰蟻渭苇渭蠁蠀蟿伪, 伪魏蠈蟻蔚蟽蟿伪 苇谓蟽蟿喂魏蟿伪 畏未慰谓萎蟼.
螣 螡伪渭蟺蠈魏慰蠁 (魏伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀) 蟽蟿萎蟻喂尉蔚 蟿慰 渭蔚纬伪位蔚委慰 蟿畏蟼 位慰纬慰蟿蔚蠂谓喂魏萎蟼 蟿慰蠀 未蔚喂谓蠈蟿畏蟿伪蟼 蟽蟿慰 蠂维蟻喂蟽渭伪 蟿畏蟼 蟽蠀谓伪喂蟽胃畏蟽委伪蟼.
螒蠀蟿萎 畏 魏伪蟿维蟽蟿伪蟽畏 伪谓维渭蔚喂尉畏蟼 蟿蠅谓 伪喂蟽胃萎蟽蔚蠅谓 萎蟿伪谓 蟽委纬慰蠀蟻伪 蟿慰 蔚蠀位慰纬畏渭苇谓慰 蔚蟻纬伪位蔚委慰 蟿畏蟼 未畏渭喂慰蠀蟻纬喂魏蠈蟿畏蟿伪蟼 蟿慰蠀.
螝伪喂 蠁蠀蟽喂魏维 蟿慰 芦纬苇位喂慰 蟽蟿慰 蟽魏慰蟿维未喂禄 伪蟺慰蟿蔚位蔚委 尉蔚魏维胃伪蟻伪 蟿慰 蟺蟻慰慰委渭喂慰 蟿慰蠀 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿慰蟼 蟺慰蠀 苇蟻蠂蔚蟿伪喂 魏伪蟿蠈蟺喂谓 渭蔚 蟿慰 蠈谓慰渭伪 芦螞慰位委蟿伪禄.
危蔚 纬蔚谓喂魏苇蟼 纬蟻伪渭渭苇蟼 畏 喂蟽蟿慰蟻委伪 蔚喂蟺蠋胃畏魏蔚 蟽蟿喂蟼 未蠀慰 蟺蟻蠋蟿蔚蟼 蟺伪蟻伪纬蟻维蠁慰蠀蟼.
螒蟺慰 魏伪喂 魏伪喂 渭蔚蟿维 尉蔚魏喂谓维 蟿慰 渭蔚纬伪位蔚委慰蠀 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟽蟿蠀位委蟽蟿伪. 围蟿委味蔚喂 魏伪喂 蟺伪委味蔚喂 渭蔚 蟿慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 -魏蠀蟻委蠅蟼 蟿伪 蟿蟻伪纬喂魏维 蟺蟻蠈蟽蠅蟺伪 蟺慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿慰蠉谓- 魏维谓慰谓蟿伪蟼 蟿慰蠀蟼 蠀蟺慰蠂蔚委蟻喂伪 蟿蠅谓 蠁蠈尾蠅谓 蟿慰蠀蟼 魏伪喂 蟿蠅谓 蟺蠈胃蠅谓 蟿慰蠀蟼.
螆蟻渭伪喂伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿慰蠀蟼 谓伪 蟺伪蟻伪蟺伪委慰蠀谓 伪谓维渭蔚蟽伪 蟽蔚 伪纬蠅谓委伪, 伪蟺慰蟻委伪 魏伪喂 蠄蠀蠂慰位慰纬喂魏蠈 位伪尾蠉蟻喂谓胃慰 纬喂伪 蟿喂蟼 伪蟺慰蠁维蟽蔚喂蟼 魏伪喂 蟿喂蟼 魏喂谓萎蟽蔚喂蟼 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 蟺伪蟻胃慰蠉谓 蠋蟽蟿蔚 谓伪 伪谓蟿喂渭蔚蟿蠅蟺委蟽慰蠀谓 蟿伪 胃苇位蠅 蟿慰蠀蟼, 蟿畏 胃苇蟽畏 蟿慰蠀蟼 蟽蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 魏伪喂 蟿畏谓 魏慰喂谓蠅谓委伪, 渭伪 魏蠀蟻委蠅蟼 蟿畏谓 蟿伪蠀蟿蠈蟿畏蟿伪 蟿慰蠀蟼 魏伪喂 蟿畏谓 蔚尉苇位喂尉畏 蟿慰蠀蟼 蟽蔚 魏伪胃畏渭蔚蟻喂谓萎 尾维蟽畏.
螤蟻苇蟺蔚喂 谓伪 未喂伪位苇尉慰蠀谓, 谓伪 蟺慰蟻蔚蠀胃慰蠉谓 伪谓维位慰纬伪, 苇蟿蟽喂 蠋蟽蟿蔚 畏 伪委蟽胃畏蟽畏 蟿畏蟼 蔚蠀蟿蠀蠂委伪蟼 蟺慰蠀 胃伪 谓喂蠋蟽慰蠀谓 -渭慰位蠀蟽渭苇谓慰喂 伪蟺慰 蟿慰 渭喂魏蟻蠈尾喂慰 蟿慰蠀 蟺蔚喂蟻伪蟽渭慰蠉- 蠈蟽慰 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁喂魏萎 魏伪喂 伪谓 蔚委谓伪喂, 谓伪 渭蟺慰蟻苇蟽蔚喂 谓伪 喂蟽慰蟻蟻慰蟺萎蟽蔚喂 蟿慰蠀蟼 魏喂谓未蠉谓慰蠀蟼 蟺慰蠀 蟺伪蟻慰蠀蟽喂维味慰谓蟿伪喂 伪谓伪蠁慰蟻喂魏维 渭蔚 蟿畏 未蠀蟽蟿蠀蠂委伪 蟺慰蠀 胃伪 蟺蟻慰魏位畏胃蔚委 蟽蔚 慰喂魏蔚委伪 魏伪喂 伪纬伪蟺畏渭苇谓伪 蟺蟻蠈蟽蠅蟺伪.
螝伪喂 蠁蠀蟽喂魏维 渭苇蟽伪 蟽蟿畏谓 伪谓伪蟽蠁维位蔚喂伪, 蟿慰谓 蟺伪谓喂魏蠈 魏伪喂 蟿畏谓 伪蟺蠈位蠀蟿伪 蔚蠉胃蟻伪蠀蟽蟿畏 蔚蠀蟿蠀蠂委伪 蟺慰蠀 蟺畏纬维味蔚喂 伪蟺慰 蟿慰谓 蟺蔚喂蟻伪蟽渭蠈 蟿畏蟼 畏未慰谓萎蟼, 苇蟻蠂蔚蟿伪喂 畏 魏伪蟿伪蟽蟿蟻慰蠁喂魏萎 位蠉蟽畏, 蟺慰蠀 胃伪 蟺蟻慰蟽蠁苇蟻蔚喂 蟺蟻蠅蟿蠈纬谓蠅蟻蔚蟼 蔚蟻蠅蟿喂魏苇蟼 伪蟺慰位伪蠉蟽蔚喂蟼 魏伪喂 胃伪 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蟿畏谓 慰蠀蟿慰蟺委伪 魏伪喂 蟿畏 渭伪蟿伪喂蠈蟿畏蟿伪.
螣 萎蟻蠅伪蟼 渭伪蟼 魏蠀蟻委蠅蟼, 慰 魏伪畏渭苇谓慰蟼, 伪蠁蔚位萎蟼 魏伪喂 维蟺位畏蟽蟿慰蟼 螒位渭蟺委谓慰蠀蟼 魏蠀蟻喂蔚蠉蔚蟿伪喂 蟽蔚 尾伪胃渭蠈 伪蟻蟻蠋蟽蟿蔚喂伪蟼 伪蟺慰 蟿慰 蟺维胃慰蟼 蟿慰蠀 纬喂伪 蟿畏谓 16蠂蟻慰谓畏 螠伪蟻纬魏蠈.
螚 渭喂魏蟻萎 蟿慰谓 尉蔚纬蔚位维, 魏伪胃蠋蟼 蟿慰 蟺蔚蟺蟻蠅渭苇谓慰 蟿畏蟼 蔚委谓伪喂 畏 伪未委蟽蟿伪魏蟿畏 蔚尉伪蟺维蟿畏蟽畏 魏伪喂 畏 维谓蔚蟿畏 味蠅萎 渭蔚 蟺位慰蠉蟿慰 魏伪喂 伪谓苇蟽蔚喂蟼. 螖蔚谓 蟿慰蠀 伪蟻谓蔚委蟿伪喂 蟿慰谓 维尉蔚蟽蟿慰 苇蟻蠅蟿伪 蟿畏蟼 蠂蠅蟻委蟼 伪谓伪蟽蟿慰位苇蟼, 魏维谓慰谓蟿伪蟼 蟿蠈谓 渭蔚蟽萎位喂魏伪, 蔚蠉蟺慰蟻慰, 伪蟽蟿蠈, 苇谓伪 未蟻伪渭伪蟿喂魏蠈 蠀蟺慰蠂蔚委蟻喂慰.
螆谓伪 蠀蟺慰魏蔚委渭蔚谓慰, 苇蟻渭伪喂慰 蟿蠅谓 畏未慰谓喂魏蠋谓 伪蟺慰位伪蠉蟽蔚蠅谓 蟺慰蠀 蟿慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 蟽蟺蟻蠋蠂谓慰谓蟿伪蟼 蟿慰谓 蟽蔚 渭喂伪 魏伪蟿蟻伪魏蠉位伪 未蟻伪渭伪蟿喂魏萎蟼 伪谓伪尉喂慰蟺蟻苇蟺蔚喂伪蟼.
韦慰谓 慰未畏纬蔚委 蟽蔚 蟺蟻维尉蔚喂蟼 蟺慰蠀 未蔚谓 胃伪 苇魏伪谓蔚 蟺慰蟿苇 蟽蔚 蟽蠀谓胃萎魏蔚蟼 慰渭伪位萎蟼 蟽蠀谓蔚喂未畏蟿蠈蟿畏蟿伪蟼.
围维谓蔚喂 蟿伪 蟺维谓蟿伪 魏伪喂 渭蟺位蔚纬渭苇谓慰蟼 蟽蟿畏谓 伪谓蠀蟺伪蟻尉委伪 蟺位苇慰谓, 胃蔚蠅蟻蔚委 蟺蠅蟼 胃伪 蔚魏未喂魏畏胃蔚委 魏伪喂 胃伪 蟽蠅胃蔚委 伪蟺慰 蟿伪 蠁伪谓蟿维蟽渭伪蟿伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿慰蠀 魏伪喂 蟿慰蠀蟼 蔚蠁喂维位蟿蔚蟼 蟿慰蠀 渭蠀伪位慰蠉 蟿慰蠀 渭蔚 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟺蟻维尉畏 位蠉蟿蟻蠅蟽畏蟼.
韦慰 5慰 伪蟽蟿苇蟻喂 伪蠁喂蔚蟻蠋谓蔚蟿伪喂 伪蟺慰魏位蔚喂蟽蟿喂魏维 魏伪喂 渭蠈谓慰 蟽蟿畏 渭蔚纬伪位蔚喂蠋未畏 纬蟻伪蠁萎.
馃専馃専馃専馃専馃専
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螝伪喂 蟽蠀谓蔚蠂委味蔚喂:
芦螒蠀蟿萎 蔚委谓伪喂 蠈位畏 畏 喂蟽蟿慰蟻委伪 未喂伪蟿蠀蟺蠅渭苇谓畏 蟽蔚 纬蔚谓喂魏苇蟼 纬蟻伪渭渭苇蟼, 蟺慰蠀 胃伪 渭伪蟼 伪蟻魏慰蠉蟽伪谓 伪谓 未蔚谓 蠀蟺萎蟻蠂蔚 蟿慰 蠈蠁蔚位慰蟼 魏伪喂 畏 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 未喂萎纬畏蟽畏蟼. 螝伪喂, 蟺伪蟻蠈蟿喂 渭喂伪 蟿伪蠁蠈蟺蔚蟿蟻伪, 蟿蠀位喂纬渭苇谓畏 蟽蟿伪 尾蟻蠉伪, 苇蠂蔚喂 维蠁胃慰谓慰 蠂蠋蟻慰 纬喂伪 谓伪 蟺蔚蟻喂位维尾蔚喂 蟿畏 蟽蠀谓蟿渭畏渭苇谓畏 蔚魏未慰蠂萎 渭喂伪蟼 伪谓胃蟻蠋蟺喂谓畏蟼 味蠅萎蟼, 畏 苇魏胃蔚蟽畏 蟿畏蟼 位蔚蟺蟿慰渭苇蟻蔚喂伪蟼 蔚委谓伪喂 蟺维谓蟿伪 蔚蠀蟺蟻蠈蟽未蔚魏蟿畏禄.
螠蔚 伪蠀蟿萎 蟿畏谓 伪蠁畏纬畏渭伪蟿喂魏萎 蟿蔚蠂谓喂魏萎 蟿畏蟼 蟺蟻慰慰喂魏慰谓慰渭委伪蟼 伪蟻蠂委味蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟽蟿喂蟼 蟺蟻蠋蟿蔚蟼 蟽蔚喂蟻苇锟斤拷 蟿慰蠀 尾喂尾位委慰蠀 谓伪 渭伪蟼 蟺蟻慰蔚蟿慰喂渭维味蔚喂 蠄蠀蠂慰位慰纬喂魏维 纬喂伪 蠈蟽伪 胃伪 蟽蠀渭尾慰蠉谓 伪蟺慰魏伪位蠉蟺蟿慰谓蟿伪蟼 蟺伪蟻维位位畏位伪 蠈位畏 蟿畏 蟻慰萎 蟿蠅谓 渭蔚位位慰谓蟿喂魏蠋谓 纬蔚纬慰谓蠈蟿蠅谓.
螤蟻慰蟽蠅蟺喂魏维 伪蠀蟿萎 伪魏蟻喂尾蠋蟼 畏 蔚蟺喂蟿慰渭萎 蟿畏蟼 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿蔚蠂谓喂魏萎蟼 蔚尉 伪蟻蠂萎蟼 渭蔚 蔚谓蟿蠀蟺蠅蟽委伪蟽蔚 魏伪喂 蟽蠀谓苇蠂喂蟽伪 蟿畏谓 伪谓维纬谓蠅蟽畏 蟽委纬慰蠀蟻畏 蟺维谓蟿伪 蟺蠅蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 胃伪 渭蔚 伪谓蟿伪渭蔚委蠄蔚喂 渭蔚 魏维胃蔚 蟿慰蠀 蟽魏苇蠄畏 伪蟺慰蟿蠀蟺蠅渭苇谓畏 蟽蟿慰 蠂伪蟻蟿委.
螆蟿蟽喂 魏喂 苇纬喂谓蔚. 韦慰 蠈蠁蔚位慰蟼 魏伪喂 畏 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 未喂萎纬畏蟽畏蟼 蟿慰蠀 螡伪渭蟺蠈魏慰蠁 胃蔚蠅蟻慰蠉谓蟿伪喂 蔚尉伪蟽蠁伪位喂蟽渭苇谓伪 魏伪喂 蟽委纬慰蠀蟻伪.
螤蠈蟽慰 渭慰谓伪未喂魏维 蟿伪位伪谓蟿慰蠉蠂慰蟼 位慰纬慰蟿苇蠂谓畏蟼 蟺蟻苇蟺蔚喂 谓伪 蔚委蟽伪喂 纬喂伪 谓伪 伪蟻蠂委味蔚喂蟼 渭蔚 伪蠀蟿蠈谓 蟿慰谓 蟿蟻蠈蟺慰 蟿畏谓 蔚尉喂蟽蟿蠈蟻畏蟽畏 渭喂伪蟼 魏伪蟿维 蟿伪 维位位伪 魏慰喂谓蠈蟿慰蟺畏蟼 喂蟽蟿慰蟻委伪蟼 渭蔚蟿伪蟿蟻苇蟺慰谓蟿伪蟼 蟿畏, 渭蔚 蔚蟻纬伪位蔚委伪 蟿喂蟼 位苇尉蔚喂蟼, 蟽蔚 苇谓伪 苇蟻纬慰 伪蠁畏纬畏渭伪蟿喂魏萎蟼 蟿苇蠂谓畏蟼.
螆谓伪 蠀蟺苇蟻慰蠂慰 伪谓维纬谓蠅蟽渭伪 纬蔚渭维蟿慰 蔚谓蟽蠀谓伪委蟽胃畏蟽畏, 蟺维胃慰蟼, 苇蟻蠅蟿伪, 位维胃畏, 未蟻维渭伪蟿伪, 蟿蟻伪纬蠅未委蔚蟼, 畏胃喂魏慰蠉蟼 蔚尉蔚蠀蟿蔚位喂蟽渭慰蠉蟼, 蠀位喂魏萎 蠀蟺慰蟿苇位蔚喂伪,蠀蟺慰魏蟻喂蟽委伪, 伪蟺维蟿畏,蟺蟻慰未慰蟽委伪, 魏伪喂 伪谓蔚位苇畏蟿畏 蔚魏渭蔚蟿维位位蔚蠀蟽畏 蟽蔚 魏维胃蔚 伪未蠀谓伪渭委伪 蟺慰蠀 蟺蟻慰魏伪位蔚委蟿伪喂 伪蟺慰 慰蟻渭苇渭蠁蠀蟿伪, 伪魏蠈蟻蔚蟽蟿伪 苇谓蟽蟿喂魏蟿伪 畏未慰谓萎蟼.
螣 螡伪渭蟺蠈魏慰蠁 (魏伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀) 蟽蟿萎蟻喂尉蔚 蟿慰 渭蔚纬伪位蔚委慰 蟿畏蟼 位慰纬慰蟿蔚蠂谓喂魏萎蟼 蟿慰蠀 未蔚喂谓蠈蟿畏蟿伪蟼 蟽蟿慰 蠂维蟻喂蟽渭伪 蟿畏蟼 蟽蠀谓伪喂蟽胃畏蟽委伪蟼.
螒蠀蟿萎 畏 魏伪蟿维蟽蟿伪蟽畏 伪谓维渭蔚喂尉畏蟼 蟿蠅谓 伪喂蟽胃萎蟽蔚蠅谓 萎蟿伪谓 蟽委纬慰蠀蟻伪 蟿慰 蔚蠀位慰纬畏渭苇谓慰 蔚蟻纬伪位蔚委慰 蟿畏蟼 未畏渭喂慰蠀蟻纬喂魏蠈蟿畏蟿伪蟼 蟿慰蠀.
螝伪喂 蠁蠀蟽喂魏维 蟿慰 芦纬苇位喂慰 蟽蟿慰 蟽魏慰蟿维未喂禄 伪蟺慰蟿蔚位蔚委 尉蔚魏维胃伪蟻伪 蟿慰 蟺蟻慰慰委渭喂慰 蟿慰蠀 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿慰蟼 蟺慰蠀 苇蟻蠂蔚蟿伪喂 魏伪蟿蠈蟺喂谓 渭蔚 蟿慰 蠈谓慰渭伪 芦螞慰位委蟿伪禄.
危蔚 纬蔚谓喂魏苇蟼 纬蟻伪渭渭苇蟼 畏 喂蟽蟿慰蟻委伪 蔚喂蟺蠋胃畏魏蔚 蟽蟿喂蟼 未蠀慰 蟺蟻蠋蟿蔚蟼 蟺伪蟻伪纬蟻维蠁慰蠀蟼.
螒蟺慰 魏伪喂 魏伪喂 渭蔚蟿维 尉蔚魏喂谓维 蟿慰 渭蔚纬伪位蔚委慰蠀 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟽蟿蠀位委蟽蟿伪. 围蟿委味蔚喂 魏伪喂 蟺伪委味蔚喂 渭蔚 蟿慰蠀蟼 萎蟻蠅蔚蟼 蟿慰蠀 -魏蠀蟻委蠅蟼 蟿伪 蟿蟻伪纬喂魏维 蟺蟻蠈蟽蠅蟺伪 蟺慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿慰蠉谓- 魏维谓慰谓蟿伪蟼 蟿慰蠀蟼 蠀蟺慰蠂蔚委蟻喂伪 蟿蠅谓 蠁蠈尾蠅谓 蟿慰蠀蟼 魏伪喂 蟿蠅谓 蟺蠈胃蠅谓 蟿慰蠀蟼.
螆蟻渭伪喂伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿慰蠀蟼 谓伪 蟺伪蟻伪蟺伪委慰蠀谓 伪谓维渭蔚蟽伪 蟽蔚 伪纬蠅谓委伪, 伪蟺慰蟻委伪 魏伪喂 蠄蠀蠂慰位慰纬喂魏蠈 位伪尾蠉蟻喂谓胃慰 纬喂伪 蟿喂蟼 伪蟺慰蠁维蟽蔚喂蟼 魏伪喂 蟿喂蟼 魏喂谓萎蟽蔚喂蟼 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 蟺伪蟻胃慰蠉谓 蠋蟽蟿蔚 谓伪 伪谓蟿喂渭蔚蟿蠅蟺委蟽慰蠀谓 蟿伪 胃苇位蠅 蟿慰蠀蟼, 蟿畏 胃苇蟽畏 蟿慰蠀蟼 蟽蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 魏伪喂 蟿畏谓 魏慰喂谓蠅谓委伪, 渭伪 魏蠀蟻委蠅蟼 蟿畏谓 蟿伪蠀蟿蠈蟿畏蟿伪 蟿慰蠀蟼 魏伪喂 蟿畏谓 蔚尉苇位喂尉畏 蟿慰蠀蟼 蟽蔚 魏伪胃畏渭蔚蟻喂谓萎 尾维蟽畏.
螤蟻苇蟺蔚喂 谓伪 未喂伪位苇尉慰蠀谓, 谓伪 蟺慰蟻蔚蠀胃慰蠉谓 伪谓维位慰纬伪, 苇蟿蟽喂 蠋蟽蟿蔚 畏 伪委蟽胃畏蟽畏 蟿畏蟼 蔚蠀蟿蠀蠂委伪蟼 蟺慰蠀 胃伪 谓喂蠋蟽慰蠀谓 -渭慰位蠀蟽渭苇谓慰喂 伪蟺慰 蟿慰 渭喂魏蟻蠈尾喂慰 蟿慰蠀 蟺蔚喂蟻伪蟽渭慰蠉- 蠈蟽慰 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁喂魏萎 魏伪喂 伪谓 蔚委谓伪喂, 谓伪 渭蟺慰蟻苇蟽蔚喂 谓伪 喂蟽慰蟻蟻慰蟺萎蟽蔚喂 蟿慰蠀蟼 魏喂谓未蠉谓慰蠀蟼 蟺慰蠀 蟺伪蟻慰蠀蟽喂维味慰谓蟿伪喂 伪谓伪蠁慰蟻喂魏维 渭蔚 蟿畏 未蠀蟽蟿蠀蠂委伪 蟺慰蠀 胃伪 蟺蟻慰魏位畏胃蔚委 蟽蔚 慰喂魏蔚委伪 魏伪喂 伪纬伪蟺畏渭苇谓伪 蟺蟻蠈蟽蠅蟺伪.
螝伪喂 蠁蠀蟽喂魏维 渭苇蟽伪 蟽蟿畏谓 伪谓伪蟽蠁维位蔚喂伪, 蟿慰谓 蟺伪谓喂魏蠈 魏伪喂 蟿畏谓 伪蟺蠈位蠀蟿伪 蔚蠉胃蟻伪蠀蟽蟿畏 蔚蠀蟿蠀蠂委伪 蟺慰蠀 蟺畏纬维味蔚喂 伪蟺慰 蟿慰谓 蟺蔚喂蟻伪蟽渭蠈 蟿畏蟼 畏未慰谓萎蟼, 苇蟻蠂蔚蟿伪喂 畏 魏伪蟿伪蟽蟿蟻慰蠁喂魏萎 位蠉蟽畏, 蟺慰蠀 胃伪 蟺蟻慰蟽蠁苇蟻蔚喂 蟺蟻蠅蟿蠈纬谓蠅蟻蔚蟼 蔚蟻蠅蟿喂魏苇蟼 伪蟺慰位伪蠉蟽蔚喂蟼 魏伪喂 胃伪 蟺伪蟻伪蟽蠉蟻蔚喂 蟽蟿畏谓 慰蠀蟿慰蟺委伪 魏伪喂 蟿畏 渭伪蟿伪喂蠈蟿畏蟿伪.
螣 萎蟻蠅伪蟼 渭伪蟼 魏蠀蟻委蠅蟼, 慰 魏伪畏渭苇谓慰蟼, 伪蠁蔚位萎蟼 魏伪喂 维蟺位畏蟽蟿慰蟼 螒位渭蟺委谓慰蠀蟼 魏蠀蟻喂蔚蠉蔚蟿伪喂 蟽蔚 尾伪胃渭蠈 伪蟻蟻蠋蟽蟿蔚喂伪蟼 伪蟺慰 蟿慰 蟺维胃慰蟼 蟿慰蠀 纬喂伪 蟿畏谓 16蠂蟻慰谓畏 螠伪蟻纬魏蠈.
螚 渭喂魏蟻萎 蟿慰谓 尉蔚纬蔚位维, 魏伪胃蠋蟼 蟿慰 蟺蔚蟺蟻蠅渭苇谓慰 蟿畏蟼 蔚委谓伪喂 畏 伪未委蟽蟿伪魏蟿畏 蔚尉伪蟺维蟿畏蟽畏 魏伪喂 畏 维谓蔚蟿畏 味蠅萎 渭蔚 蟺位慰蠉蟿慰 魏伪喂 伪谓苇蟽蔚喂蟼. 螖蔚谓 蟿慰蠀 伪蟻谓蔚委蟿伪喂 蟿慰谓 维尉蔚蟽蟿慰 苇蟻蠅蟿伪 蟿畏蟼 蠂蠅蟻委蟼 伪谓伪蟽蟿慰位苇蟼, 魏维谓慰谓蟿伪蟼 蟿蠈谓 渭蔚蟽萎位喂魏伪, 蔚蠉蟺慰蟻慰, 伪蟽蟿蠈, 苇谓伪 未蟻伪渭伪蟿喂魏蠈 蠀蟺慰蠂蔚委蟻喂慰.
螆谓伪 蠀蟺慰魏蔚委渭蔚谓慰, 苇蟻渭伪喂慰 蟿蠅谓 畏未慰谓喂魏蠋谓 伪蟺慰位伪蠉蟽蔚蠅谓 蟺慰蠀 蟿慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 蟽蟺蟻蠋蠂谓慰谓蟿伪蟼 蟿慰谓 蟽蔚 渭喂伪 魏伪蟿蟻伪魏蠉位伪 未蟻伪渭伪蟿喂魏萎蟼 伪谓伪尉喂慰蟺蟻苇蟺蔚喂伪蟼.
韦慰谓 慰未畏纬蔚委 蟽蔚 蟺蟻维尉蔚喂蟼 蟺慰蠀 未蔚谓 胃伪 苇魏伪谓蔚 蟺慰蟿苇 蟽蔚 蟽蠀谓胃萎魏蔚蟼 慰渭伪位萎蟼 蟽蠀谓蔚喂未畏蟿蠈蟿畏蟿伪蟼.
围维谓蔚喂 蟿伪 蟺维谓蟿伪 魏伪喂 渭蟺位蔚纬渭苇谓慰蟼 蟽蟿畏谓 伪谓蠀蟺伪蟻尉委伪 蟺位苇慰谓, 胃蔚蠅蟻蔚委 蟺蠅蟼 胃伪 蔚魏未喂魏畏胃蔚委 魏伪喂 胃伪 蟽蠅胃蔚委 伪蟺慰 蟿伪 蠁伪谓蟿维蟽渭伪蟿伪 蟿慰蠀 蔚伪蠀蟿慰蠉 蟿慰蠀 魏伪喂 蟿慰蠀蟼 蔚蠁喂维位蟿蔚蟼 蟿慰蠀 渭蠀伪位慰蠉 蟿慰蠀 渭蔚 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟺蟻维尉畏 位蠉蟿蟻蠅蟽畏蟼.
韦慰 5慰 伪蟽蟿苇蟻喂 伪蠁喂蔚蟻蠋谓蔚蟿伪喂 伪蟺慰魏位蔚喂蟽蟿喂魏维 魏伪喂 渭蠈谓慰 蟽蟿畏 渭蔚纬伪位蔚喂蠋未畏 纬蟻伪蠁萎.
馃専馃専馃専馃専馃専
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
Read
March 16, 2019And so, there I was, sitting in a cinema.
The film I was about to see was called 鈥極bsession鈥�.
As I sat in the dark, I laughed to myself because if there鈥檚 one theme I鈥檝e come across a lot in literature, what with Proust and Goethe and Mann, it鈥檚 obsession.
No surprise then that Albinus, the lead character in the movie, turns out to resemble Proust鈥檚 obsessive hero Charles Swann so closely that it鈥檚 hard to tell the difference between them. Like Swann, Albinus is a man of private wealth and refined tastes who collects art. And not only does he collect the work of famous sixteenth and seventeenth century artists, he also writes articles about them in academic journals exactly as Swann does. However, Albinus dabbles a little in fakes as well; he's interested in paintings that look so much like the originals that no one can tell the difference.
Interesting.
And so, because of the resemblance to Swann, I was soon on the lookout for the woman Swann obsessed about: Odette de Cr茅cy. Sure enough, a few scenes in, Odette appears - she's an usherette in a cinema coincidentally.
Well, not the real Odette but a young woman quite like her called Margot Peters.
Margot is poor but ambitious, very ambitious indeed, and there鈥檚 something about her pale and fragile beauty that drives Albinus to distraction - he鈥檚 as deluded as poor Swann imagining Odette as a Botticelli virgin.
Within a few short scenes, Albinus has set Margot up as his mistress and given her lots of money to furnish her new apartment - which she does in a similar style to the one Odette chose for the apartment Swann gave her. And of course Margot鈥檚 choice in decor is not what Albinus would have chosen himself; like Charles Swann, he doesn鈥檛 really go in for chintz or chinoiserie.
And so Margot lies around all day in a chintzy kimono reading cinema magazines. She becomes very bored and soon finds more entertaining things to occupy her days such as shopping and being seen in smart places. Albinus is of course horribly jealous; he wants to know every detail of where she goes and who she speaks to. Swan and Odette all over again. The scenario is so like Proust's it's hard to tell the difference.
The other three-quarters of the movie examine just how far from his original life a man鈥檚 obsession can take him. There is a certain humour, but it鈥檚 all black.
鈥︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌�
And so, what you've read so far is a bit of a fake because I didn鈥檛 really see a movie.
No, most of what I've described can be found in the first section of this book with the very fitting title of . It was written in 1932, and is the earliest Nabokov I鈥檝e read and the only one, apart from , that doesn鈥檛 have some connection with Russia (although there is a lost cigarette case and there鈥檚 been such a cigarette case in the background of all Nabokov's Russian novels). This story is set in Berlin, like , but Albinus and Margot and all the other characters are German rather than Russian.
The book reads like a screen play; there鈥檚 very little descriptive writing but lots of dialogue, and we always know where the characters are in each scene so that reading is so like sitting in a cinema that it's difficult to tell the difference. There are even film scenes described in detail and some discussions about the difficulties of moving from the silent screen to talkies, all of which made me think that Nabokov must have had some interest in writing screen plays at this point in his career.
When I checked up on this, I found that this book had been made into a joint French-British movie in 1969 with the setting changed from 1930s Berlin to 1960s London.
I almost expected to find that the title in French would be L'Obsession but it was La Chambre Obscure (the dark room).
An excellent title as it turned out.
The film I was about to see was called 鈥極bsession鈥�.
As I sat in the dark, I laughed to myself because if there鈥檚 one theme I鈥檝e come across a lot in literature, what with Proust and Goethe and Mann, it鈥檚 obsession.
No surprise then that Albinus, the lead character in the movie, turns out to resemble Proust鈥檚 obsessive hero Charles Swann so closely that it鈥檚 hard to tell the difference between them. Like Swann, Albinus is a man of private wealth and refined tastes who collects art. And not only does he collect the work of famous sixteenth and seventeenth century artists, he also writes articles about them in academic journals exactly as Swann does. However, Albinus dabbles a little in fakes as well; he's interested in paintings that look so much like the originals that no one can tell the difference.
Interesting.
And so, because of the resemblance to Swann, I was soon on the lookout for the woman Swann obsessed about: Odette de Cr茅cy. Sure enough, a few scenes in, Odette appears - she's an usherette in a cinema coincidentally.
Well, not the real Odette but a young woman quite like her called Margot Peters.
Margot is poor but ambitious, very ambitious indeed, and there鈥檚 something about her pale and fragile beauty that drives Albinus to distraction - he鈥檚 as deluded as poor Swann imagining Odette as a Botticelli virgin.
Within a few short scenes, Albinus has set Margot up as his mistress and given her lots of money to furnish her new apartment - which she does in a similar style to the one Odette chose for the apartment Swann gave her. And of course Margot鈥檚 choice in decor is not what Albinus would have chosen himself; like Charles Swann, he doesn鈥檛 really go in for chintz or chinoiserie.
And so Margot lies around all day in a chintzy kimono reading cinema magazines. She becomes very bored and soon finds more entertaining things to occupy her days such as shopping and being seen in smart places. Albinus is of course horribly jealous; he wants to know every detail of where she goes and who she speaks to. Swan and Odette all over again. The scenario is so like Proust's it's hard to tell the difference.
The other three-quarters of the movie examine just how far from his original life a man鈥檚 obsession can take him. There is a certain humour, but it鈥檚 all black.
鈥︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌︹赌�
And so, what you've read so far is a bit of a fake because I didn鈥檛 really see a movie.
No, most of what I've described can be found in the first section of this book with the very fitting title of . It was written in 1932, and is the earliest Nabokov I鈥檝e read and the only one, apart from , that doesn鈥檛 have some connection with Russia (although there is a lost cigarette case and there鈥檚 been such a cigarette case in the background of all Nabokov's Russian novels). This story is set in Berlin, like , but Albinus and Margot and all the other characters are German rather than Russian.
The book reads like a screen play; there鈥檚 very little descriptive writing but lots of dialogue, and we always know where the characters are in each scene so that reading is so like sitting in a cinema that it's difficult to tell the difference. There are even film scenes described in detail and some discussions about the difficulties of moving from the silent screen to talkies, all of which made me think that Nabokov must have had some interest in writing screen plays at this point in his career.
When I checked up on this, I found that this book had been made into a joint French-British movie in 1969 with the setting changed from 1930s Berlin to 1960s London.
I almost expected to find that the title in French would be L'Obsession but it was La Chambre Obscure (the dark room).
An excellent title as it turned out.
March 21, 2008
Well, Laughter in the Dark was by far the worst novel I鈥檝e read by Nabokov. And that鈥檚 to say that it was a solidly good, funny, and engaging book. Like many of his novels, the plot is your basic old- man- obsessed- with- inappropriately- aged- girl- who- also- happens- to- be- evil- and- this- as- you- might- guess- ends- in- tragedy and the tone is the only one you can have with such a plot 鈥� it鈥檚 a very dark comedy. I hope.
I found that this book fell into the same category as his other early work that I鈥檝e read, Depair, in that it seems to be an illustration of the timeless author learning the ropes and beginning to understand his interests and abilities. Although it鈥檚 no masterpiece, Laughter in the Dark is still a pleasure to read and a great window into how Nabokov developed both his life-long themes and writing tools.
To those Nabokov snobs who might say, 鈥淟aughter in the Dark is nothing more than a shoddy rendition of Lolita,鈥� I say to you, how many novels did you write in your mother tongue when you were thirty and then translated into a foreign language two years later? I mean, of course it鈥檚 not as good as Lolita, which is one of the best books of our time and written in the prime of Nabokov鈥檚 genius. But it can still be good.
In fact, more than anything, I鈥檇 recommend this book to anyone about to board an airplane. The whole time I was reading it, I was almost wishing I had saved it for my next trip.
1. It is printed in a big, easy-to-read font that makes it hard to lose your place even when you get distracted by airplane stuff.
2. It only takes about 3 or 4 hours to read.
3. It has a very fast-moving and weird, deviant plot 鈥� so deviant, in fact, that you could probably forget you are flying through the air at dangerous speeds.
4.It makes those around notice that you are interested in early-era Nabokov, which makes you really smart and interesting. They don鈥檛 have to know that it鈥檚 a pretty easy, fun read filled with weird sex.
I found that this book fell into the same category as his other early work that I鈥檝e read, Depair, in that it seems to be an illustration of the timeless author learning the ropes and beginning to understand his interests and abilities. Although it鈥檚 no masterpiece, Laughter in the Dark is still a pleasure to read and a great window into how Nabokov developed both his life-long themes and writing tools.
To those Nabokov snobs who might say, 鈥淟aughter in the Dark is nothing more than a shoddy rendition of Lolita,鈥� I say to you, how many novels did you write in your mother tongue when you were thirty and then translated into a foreign language two years later? I mean, of course it鈥檚 not as good as Lolita, which is one of the best books of our time and written in the prime of Nabokov鈥檚 genius. But it can still be good.
In fact, more than anything, I鈥檇 recommend this book to anyone about to board an airplane. The whole time I was reading it, I was almost wishing I had saved it for my next trip.
1. It is printed in a big, easy-to-read font that makes it hard to lose your place even when you get distracted by airplane stuff.
2. It only takes about 3 or 4 hours to read.
3. It has a very fast-moving and weird, deviant plot 鈥� so deviant, in fact, that you could probably forget you are flying through the air at dangerous speeds.
4.It makes those around notice that you are interested in early-era Nabokov, which makes you really smart and interesting. They don鈥檛 have to know that it鈥檚 a pretty easy, fun read filled with weird sex.
July 1, 2016
"Death is often the point of life's joke"
鈥� Vladimir Nabokov, Laughter in the Dark
鈥淒eath," he had said on another occasion, "seems to be merely a bad habit, which nature is at present powerless to overcome.鈥�
鈥� Vladimir Nabokov, Laughter in the Dark
An early Nabokov with many funky allusions to Tolstoy, anticipations and presages of Lolita, and obviously -- plenty of Nabokovian black humor from beginning to end. As a independent work, I don't think it belongs in the top tier of Nabokov's lush ouvre, but it seems to me to be a piece where Nabokov establishes his literary sea legs. The genealogy of most of his great later work seem to all thread back to 'Laughter in the Dark'/aka 'Kamera obskura'.
In this novel, Nabokov is playing with themes of vision, blindness, truth, deception, art and morality. You see many of Nabokov's later motifs surrounding vision floating (like mouches volantes) through this early work: mirrors, window pains, mimicry, scintillations, semblances, glasses, movies, etc. It wouldn't be Nabokov if he played any of these themes straight. He bends the narrative and plays with Tolstoy's belief that it is "the essential nature of truth to be hidden from, then revealed to, the eyes." Nabokov gives you the goods and gives them to you good and hard right between the eyes.
鈥� Vladimir Nabokov, Laughter in the Dark
鈥淒eath," he had said on another occasion, "seems to be merely a bad habit, which nature is at present powerless to overcome.鈥�
鈥� Vladimir Nabokov, Laughter in the Dark
An early Nabokov with many funky allusions to Tolstoy, anticipations and presages of Lolita, and obviously -- plenty of Nabokovian black humor from beginning to end. As a independent work, I don't think it belongs in the top tier of Nabokov's lush ouvre, but it seems to me to be a piece where Nabokov establishes his literary sea legs. The genealogy of most of his great later work seem to all thread back to 'Laughter in the Dark'/aka 'Kamera obskura'.
In this novel, Nabokov is playing with themes of vision, blindness, truth, deception, art and morality. You see many of Nabokov's later motifs surrounding vision floating (like mouches volantes) through this early work: mirrors, window pains, mimicry, scintillations, semblances, glasses, movies, etc. It wouldn't be Nabokov if he played any of these themes straight. He bends the narrative and plays with Tolstoy's belief that it is "the essential nature of truth to be hidden from, then revealed to, the eyes." Nabokov gives you the goods and gives them to you good and hard right between the eyes.
May 1, 2017
The flawed human. The insecure being who seeks validation. The manipulated partner. The depressed one who seeks happiness in another life, in order to avoid responsibility and routine. The neglectful father. Still, somewhere in the dimly lit pages of this book, there is a woman who has dedicated her life to him, one who sees in him the person he is unable to see, one who has helped him morph into the man he has become, one who understands he is living a delusion.
Nabokov dedicated this novel to his wife Vera. Imagine that.
Laughter occurs in the dark, both literally and figuratively, as Albinus goes on a downward spiral after abandoning his wife and child for a lover who is a child herself. Does he love his wife, he does, he thinks, and yet there are things he dislikes, just as there are things he seeks in another. Elisabeth, his wife, is barely seen in this novel; she exists in glimpses, the shell of a woman who is a bit distracted but loyal. The narrative hints at a marriage that also contains a layer of friendship and respect:
The woman the reader gets to see clearly, however, is Margot, the lover. Like Albinus, she too suffers from feelings of insecurity that stems from a bad childhood. She is an element of the street, one who has gotten accustomed to using her body to get what she wants. Albinus, on the other hand, is a man of high society. This juxtaposition of class and society is something that makes for quite an interesting read, as Albinus is tricked and cheated in ways that are quite humorous, especially given all he has done to his family. He is laughed at in the streets, in his own home; he is mocked by his lover, by someone he considers a friend; he is mocked by all who once knew him.
Everywhere, there is laughter, and it happens in the dark, since Albinus is the last one to see it, until suddenly,
What makes someone leave a healthy marriage to live in the dark pits of deception, manipulation, and "lust burning a hole in his life?" What enables an intelligent person to ignore the signs of financial abuse, to live in "helpless stupor?" What is it about physical craving that turns 'smart' into some kind of inconceivable 'dumb?' There are deeper, darker paths into the emotional mindset, something that Nabokov explores through Albinus in paced prose that often avoids the lyricism of the Nabokov novel, and yet it has the allure of the sparsity of the Hemingway novel, one that moves through dialogue. Albinus is a tortured and disoriented soul who lives in the dark, always reaching, always wanting more, always living inwardly, so that those around him cannot imagine his humiliation and inner pain.
Nabokov dedicated this novel to his wife Vera. Imagine that.
Laughter occurs in the dark, both literally and figuratively, as Albinus goes on a downward spiral after abandoning his wife and child for a lover who is a child herself. Does he love his wife, he does, he thinks, and yet there are things he dislikes, just as there are things he seeks in another. Elisabeth, his wife, is barely seen in this novel; she exists in glimpses, the shell of a woman who is a bit distracted but loyal. The narrative hints at a marriage that also contains a layer of friendship and respect:
They had some very delightful trips abroad, and many beautifully soft evenings at home where he sat with her on the balcony high above the blue streets with the wires and chimneys drawn in Indian ink across the sunset, and reflected that he was really happy beyond his deserts.
The woman the reader gets to see clearly, however, is Margot, the lover. Like Albinus, she too suffers from feelings of insecurity that stems from a bad childhood. She is an element of the street, one who has gotten accustomed to using her body to get what she wants. Albinus, on the other hand, is a man of high society. This juxtaposition of class and society is something that makes for quite an interesting read, as Albinus is tricked and cheated in ways that are quite humorous, especially given all he has done to his family. He is laughed at in the streets, in his own home; he is mocked by his lover, by someone he considers a friend; he is mocked by all who once knew him.
Everywhere, there is laughter, and it happens in the dark, since Albinus is the last one to see it, until suddenly,
he had the obscure sensation of everything being suddenly turned the other way round, so that he had to read it all backward if he wanted to understand. It was a sensation devoid of any pain or astonishment. It was simply something dark and looming, and yet smooth and soundless, coming toward him; and there he stood, in a kind of dreamy, helpless stupor, not even trying to avoid that ghostly impact...
What makes someone leave a healthy marriage to live in the dark pits of deception, manipulation, and "lust burning a hole in his life?" What enables an intelligent person to ignore the signs of financial abuse, to live in "helpless stupor?" What is it about physical craving that turns 'smart' into some kind of inconceivable 'dumb?' There are deeper, darker paths into the emotional mindset, something that Nabokov explores through Albinus in paced prose that often avoids the lyricism of the Nabokov novel, and yet it has the allure of the sparsity of the Hemingway novel, one that moves through dialogue. Albinus is a tortured and disoriented soul who lives in the dark, always reaching, always wanting more, always living inwardly, so that those around him cannot imagine his humiliation and inner pain.
February 9, 2017
A cyanide comedy. Nabokov scorns "realism," which befuddles many readers who belch that his characters aren't "likeable." How Americans require the likeability factor ! ~ Who's likeable in works by George Etherege or Joe Orton ? C'mon, we're in a world of surrealism and absurdist humor where the tale is meant to be ironic, rueful, mocking.
This stinging and hilarious story of cuckoldry and duplicity -- where the protagonist sees nothing (like most people) -- was first published abroad in 1933 while US readers devoured Lloyd C Douglas, Edna Ferber, A J Cronin, Pearl Buck, Booth Tarkington and James Hilton. It's an edgy exhibit of jealousy and selfish behavior in which Nabokov impales his blinded characters with a deadly smile.
It begins in Berlin with a borrowing fr "The Blue Angel" : an older chap-a married art scholar and a dullard-swoons over a teenage (adorable-slutty) usherette in a movie house. He gives up his family and his heart for her. Then it shifts into randy comedy as she has the scholar supporting her and a beau who suggests he's gay. Thine host is ready to believe anything.
The scholarly Albinus is good-looking, Nabokov reports, though "his mild blue eyes bulged a little when he was thinking hard," and, since he has a slowish mind, this happens often. Before marriage he knew a few dreary women, including one who always talked about her past in great detail and concluded with "C'est la vie." The Cupid serving him, author stresses, had "a weak chin and no imagination."
At the movies, which play a key role herein, he meets teenie Margot, who likes to gnaw on a dry roll after sex. She wants to get into movies and be a Dietrich-star like Dorianna Karenina. He finances a pic. In a devastating scene, at a preview, Margot sees how awful she is onscreen. Sobs, moans, hysterics. "I'm prepared to do anything to make my darling happy," he says.
Enter Axel Rex, a virile scamp up to no good, Margot's exlover...they keep Albinus stuffed w sleeping pills. After a car accident, in which Albinus is blinded, literally, the dangerous games begin. The last pages, which surely inspired Muriel Spark, end with murder. In this case, a happy ending.
It's a gem.
In 60,000 words Nabokov reveals more about the world than other writers who reach 600,000 words. Critics find Albinus and Axel Rex two sides of Nabokov, who collides sexual pathology with self-knowledge -- or should I say self-illumination ?
This stinging and hilarious story of cuckoldry and duplicity -- where the protagonist sees nothing (like most people) -- was first published abroad in 1933 while US readers devoured Lloyd C Douglas, Edna Ferber, A J Cronin, Pearl Buck, Booth Tarkington and James Hilton. It's an edgy exhibit of jealousy and selfish behavior in which Nabokov impales his blinded characters with a deadly smile.
It begins in Berlin with a borrowing fr "The Blue Angel" : an older chap-a married art scholar and a dullard-swoons over a teenage (adorable-slutty) usherette in a movie house. He gives up his family and his heart for her. Then it shifts into randy comedy as she has the scholar supporting her and a beau who suggests he's gay. Thine host is ready to believe anything.
The scholarly Albinus is good-looking, Nabokov reports, though "his mild blue eyes bulged a little when he was thinking hard," and, since he has a slowish mind, this happens often. Before marriage he knew a few dreary women, including one who always talked about her past in great detail and concluded with "C'est la vie." The Cupid serving him, author stresses, had "a weak chin and no imagination."
At the movies, which play a key role herein, he meets teenie Margot, who likes to gnaw on a dry roll after sex. She wants to get into movies and be a Dietrich-star like Dorianna Karenina. He finances a pic. In a devastating scene, at a preview, Margot sees how awful she is onscreen. Sobs, moans, hysterics. "I'm prepared to do anything to make my darling happy," he says.
Enter Axel Rex, a virile scamp up to no good, Margot's exlover...they keep Albinus stuffed w sleeping pills. After a car accident, in which Albinus is blinded, literally, the dangerous games begin. The last pages, which surely inspired Muriel Spark, end with murder. In this case, a happy ending.
It's a gem.
In 60,000 words Nabokov reveals more about the world than other writers who reach 600,000 words. Critics find Albinus and Axel Rex two sides of Nabokov, who collides sexual pathology with self-knowledge -- or should I say self-illumination ?
September 11, 2023
Love is blind.
Once upon a time there lived in Berlin, an expert art critic called Albinus. He lived happily in a big house with his wife and little daughter. He was rich. He was well respected and loved. He had everything.
But he wanted more. He wanted to have a mistress; someone young and lively.
One day, he found his dream lover and he loved her passionately. He lavished her with gifts and money in return for her care and affection.
Death is often the point of life's joke.
Once upon a time, a dupe called Albinus fell in love with a woman, who didn鈥檛 love him in return; who mocked him behind his back; who used him to fulfill her own dreams.
Once upon a time there lived in Berlin, an expert art critic called Albinus. He lived happily in a big house with his wife and little daughter. He was rich. He was well respected and loved. He had everything.
But he wanted more. He wanted to have a mistress; someone young and lively.
One day, he found his dream lover and he loved her passionately. He lavished her with gifts and money in return for her care and affection.
Death is often the point of life's joke.
Once upon a time, a dupe called Albinus fell in love with a woman, who didn鈥檛 love him in return; who mocked him behind his back; who used him to fulfill her own dreams.
December 7, 2021
Blunders, gropings, disappointment; surely the Cupid serving him was left-handed, with a weak chin and no imagination.
Anyone in a 'bah, humbug' mood, tiring of Christmas/seasonal cheer and goodwill to all [wo]men would be well-advised to pick up this book - in terms of cynical comedy with an overlay of black, black humour this out-misanthropes even a famous people-hater like Patricia Highsmith. I'd even go so far as to say this is a book which trades in some of the cruellest scenes I've had the pleasure to read - not the sort of institutionalised inhumanity that we see in, say, Holocaust or slavery literature, but instead the kind of everyday, easy, cheap cruelty that one person can inflict on another, especially when erotic desire shows its face.
But this is more, I'd say, than simply Nabokov indulging his mocking sensibility and casting an eye over the absurdities that erotic love leads us into: this also carries an acute awareness that adultery sits at the heart of so many western cultural love narratives ('indeed, adultery was the core of gossip, romantic poetry, funny stories and famous operas') from Petrarch's poetic passion for Laura to Anna Karenina, which gets a sideways wink via an actress called Dorianna Karenina, who, when asked if she's read Tolstoy, replies: 'Doll's toy?... No, I'm afraid not. Why?'
In the ill-suited love triangle between foolish, pathetic Albinus, on-the-make Margot, and cunning, cruel Axel Rex, power shifts between the players and the ominous presence of a gun, with Chekhovian certainly, makes an appearance only because it has a role to play.
Stylistically, there is little of Nabokov's trademark dazzle and wordplay but, despite opening the book with a summary of the plot, this somehow maintains its tension to the end, and that's principally because we cannot guess what will happen next once Nabokov has thrown away the rule-book of genre conventions and indicated that he's going to go as far as he can.
There's much shifting of roles amongst the characters and also in terms of readerly sympathies: I started off cheering on Margot, a very young woman, just sixteen when we meet her, and eighteen for most of the story, trying to find independence and interest in Weimar Berlin, but towards the end the malice and spite becomes almost cartoonish in its vindictiveness. Which, no doubt, is what Nabokov was aiming for, given that Axel is... a cartoonist. And it's not hard to identify our protagonists within the schematic of caricature advocated by Rex: 'The art of caricature, as Rex understood it, was thus based [...] on the contrast between cruelty on one side and credulity on the other.' For most of the book, Albinus is credulity and Margot cruelty, but the triangle will tip on its head all too easily and those roles, especially Margot's in relation to Axel Rex may well be redrawn beyond the end of the book.
Huge fun but also deeply uncomfortable as we have to face up to our complicity of laughter.
------------------------------------------------------
Such a sly, spiteful, cruel book... but uneasily funny at the same time. Full review to come.
October 3, 2023
Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster .
That way Nabokov starts Laughter in the dark and in fact these words are enough to describe the plot. Outwardly it is a banal tale of tragicomic romance of older man with young girl. There are loads such stories but this one stands out with acerbity and witticism. Nabokov is brilliantly ironical and pungent and whole story full of sardonic humour.
Laughter in the dark. Indeed. After reading you may only applaud how apt the title is. Though when you're reading how blinded by passion fool changes into the fooled blind laughter gradually sticks in your throat.
August 22, 2018
Curiously enough, the first works of Nabokov I read were not fiction but rather literary criticism. I quite enjoyed reading his views on writing and literature. Predictably, it was not before long that I wanted to read his novels as well. I picked up this book years ago and figured it could be a good introduction to Nabokov. To be frank, I just didn鈥檛 want to start with Lolita. I wanted something less emotionally exhausting to start Nabokov with. I was also afraid that I won鈥檛 be able to finish Lolita or that it might put me off Nabokov. So, I opted for Laughter in the Dark. There are some similarities between these two novels. Take the protagonists for instance: once again there is an age difference between lovers. There is a girl and an older man, but at least the girl in question is not a minor. The femme fatale of this book is a femme, not an adolescent girl. Young, but not underage. Not a child, although she seems to be able to play that role to get what she wants.
What is interesting about this novel is that Nabokov literally reveals the plot right away. In the opening lines Nabokov reveals the basic storyline and yet it doesn't make this novel any less interesting. I have to admit that these opening lines attracted me immediately:
鈥淥nce upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster. This is the whole of the story and we might have left it at that had there not been profit and pleasure in the telling; and although there is plenty of space on a gravestone to contain, bound in moss, the abridged version of a man's life, detail is always welcome.鈥�
Details make all the difference, don鈥檛 they? Despite the fact that the book reveals both the atmosphere and the plot immediately, it kept my interest from start to finish. Both protagonists are hard to love, but easy to sympathize with. Albinus is a na茂ve intellectual and his young mistress is cruel and basic. Margot is manipulative, but in an instinctive not a cunning way. Nevertheless, reading about them was very interesting. I suppose it is because they are so human. Margot isn鈥檛 the smartest cookie, but she knows how to get what she wants. Albinus is (as the opening lines reveal) someone who loves but isn鈥檛 loved in returned- hence he plays the fool.
鈥淸...] leaving for a day or two that hopeless sense of loss which makes beauty what it is: a distant lone tree against golden heavens; ripples of light on the inner curve of a bridge; a thing impossible to capture.鈥�
I said that I liked how human the protagonists are. That goes for all the characters in the novel. There are no so embellishments in this book, not when it comes to society and human beings. They鈥檙e all stripped naked- in the sense that the writer lets you glance into their souls and dig below the surface. Intellectuals and artists- both are sometimes driven by their instincts. Sometimes everything comes down to biology. Instincts, desires, and human urges. Human beings are not always as sophisticated as we would like to believe. We mix impulses with love, gratitude with genuine connection. We fall victims to our desires- over and over again.
Laughter in the Dark really is a wonderful novel. I would say it is a successful book chiefly because of Nabokov鈥檚 masterful writing. Nabokov prose flows with ease, and his writing is both elegant and easy to follow. Like I already mentioned, as far as the plot goes there is nothing new, everything is revealed at start, and yet Nabokov makes "seen a hundred times story" into something rather fascinating. The characters are poor excuses for human beings most of the time, but it not hard to sympathize with them in spite of that or maybe because of that.
Once Albinus leaves his wife for Margot, they live in a somewhat stable relationship. Margot is tempted to cheat but doesn鈥檛 want to lose the financial stability she has with Albert. Margot doesn鈥檛 want (and probably can鈥檛 have children). Albinus does not mind. But how long can their happiness last? At the begging of the novel Albinus is a respected but bored to death man, and in a way Margot saves him from his 鈥榩redictable鈥� life. However, once Albinus is with Margot he might not be bored, but he doesn鈥檛 stop being boring. Margot, an abused child that has grown into a selfish woman is obviously bored in her new relationship. Perhaps predictably, soon another character enters the picture and a triangle is formed. Albinus, a boring intellectual, Margot a young cruel mistress and Rex sadistic artist- quite a love triangle they make. What will happen with the man who loved but wasn鈥檛 loved in return?
One question remains to haunt me: did Albinus really love Margot? What do you think?
What is interesting about this novel is that Nabokov literally reveals the plot right away. In the opening lines Nabokov reveals the basic storyline and yet it doesn't make this novel any less interesting. I have to admit that these opening lines attracted me immediately:
鈥淥nce upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster. This is the whole of the story and we might have left it at that had there not been profit and pleasure in the telling; and although there is plenty of space on a gravestone to contain, bound in moss, the abridged version of a man's life, detail is always welcome.鈥�
Details make all the difference, don鈥檛 they? Despite the fact that the book reveals both the atmosphere and the plot immediately, it kept my interest from start to finish. Both protagonists are hard to love, but easy to sympathize with. Albinus is a na茂ve intellectual and his young mistress is cruel and basic. Margot is manipulative, but in an instinctive not a cunning way. Nevertheless, reading about them was very interesting. I suppose it is because they are so human. Margot isn鈥檛 the smartest cookie, but she knows how to get what she wants. Albinus is (as the opening lines reveal) someone who loves but isn鈥檛 loved in returned- hence he plays the fool.
鈥淸...] leaving for a day or two that hopeless sense of loss which makes beauty what it is: a distant lone tree against golden heavens; ripples of light on the inner curve of a bridge; a thing impossible to capture.鈥�
I said that I liked how human the protagonists are. That goes for all the characters in the novel. There are no so embellishments in this book, not when it comes to society and human beings. They鈥檙e all stripped naked- in the sense that the writer lets you glance into their souls and dig below the surface. Intellectuals and artists- both are sometimes driven by their instincts. Sometimes everything comes down to biology. Instincts, desires, and human urges. Human beings are not always as sophisticated as we would like to believe. We mix impulses with love, gratitude with genuine connection. We fall victims to our desires- over and over again.
Laughter in the Dark really is a wonderful novel. I would say it is a successful book chiefly because of Nabokov鈥檚 masterful writing. Nabokov prose flows with ease, and his writing is both elegant and easy to follow. Like I already mentioned, as far as the plot goes there is nothing new, everything is revealed at start, and yet Nabokov makes "seen a hundred times story" into something rather fascinating. The characters are poor excuses for human beings most of the time, but it not hard to sympathize with them in spite of that or maybe because of that.
Once Albinus leaves his wife for Margot, they live in a somewhat stable relationship. Margot is tempted to cheat but doesn鈥檛 want to lose the financial stability she has with Albert. Margot doesn鈥檛 want (and probably can鈥檛 have children). Albinus does not mind. But how long can their happiness last? At the begging of the novel Albinus is a respected but bored to death man, and in a way Margot saves him from his 鈥榩redictable鈥� life. However, once Albinus is with Margot he might not be bored, but he doesn鈥檛 stop being boring. Margot, an abused child that has grown into a selfish woman is obviously bored in her new relationship. Perhaps predictably, soon another character enters the picture and a triangle is formed. Albinus, a boring intellectual, Margot a young cruel mistress and Rex sadistic artist- quite a love triangle they make. What will happen with the man who loved but wasn鈥檛 loved in return?
One question remains to haunt me: did Albinus really love Margot? What do you think?
February 15, 2022
Laughter in the Dark鈥檚 one of, what Martin Amis called, Nabokov鈥檚 鈥榖lack farces鈥�. It鈥檚 cruel and perverse but often incredibly funny, laced with parody, and plays on the conventions of popular genres of its time. Nabokov takes a familiar, stock, scenario of the older man who leaves his family for a younger, predatory woman and turns it into a wonderful, satirical take on popular culture and Weimar Germany. From the start Nabokov emphasises style and perspective over plot, providing a fairy-tale style opening that outlines the tragic destiny of central character Albinus, a pillar of the German bourgeoisie whose submission to his barely-submerged passions leads to his downfall.
It鈥檚 a highly visual piece, Nabokov鈥檚 use of colour鈥檚 marvellous. This visual quality鈥檚 key to Nabokov鈥檚 deliberate subversion of the codes and style of then-contemporary cinema: from the vastly popular The Blue Angel whose plot informs aspects of Nabokov鈥檚, through to Louise Brooks鈥檚 Pandora鈥檚 Box and Diary of a Lost Girl. A common theme in Weimar鈥檚 cultural outpourings was that of the 鈥榥ew woman鈥� who comes to a bad end, art, literature and cinema was practically littered with the bodies of mutilated women. And Nabokov toys with the suggestion of a similar fate awaiting Margot, the working-class girl who capture鈥檚 Albinus鈥檚 affections: violence directed at Margot constantly surfaces in Albinus鈥檚 thoughts, pervading the novel. Albinus鈥檚 rival, the sadistic Axel Rex also complicates the plot. Yet Nabokov undermines expectations, he鈥檚 already made it clear Albinus will be the ultimate victim here.
Nabokov鈥檚 parody of cinema dictates the style and structure of numerous passages throughout the novel: the framing of images like Margot lounging on a beach; the portrayal of Albinus鈥檚 giddy, adolescent-style infatuation like scenes taken from a romance script. It's evident in his imagery, for example the way he foreshadows Albinus鈥檚 fate: the scarlet gleam of a cinema sign on a snowy pavement, the blood-red puddles, all connected to Albinus鈥檚 early sightings of Margot in her usherette鈥檚 job. Even the cinema鈥檚 name the Argus links to a crucial development later in the narrative. Although Nabokov frowned on social critique, and pokes fun here at novelists who adopted this as their calling, this works well as an expose of the decay in German society, particularly Weimar Berlin with its massive economic and social inequality. Albinus is an art critic but he falls for a wannabe actress, his supposedly heightened aesthetic sense more fa莽ade than substance. Scenes of a dinner-party for rather tarnished representatives of Berlin bohemia act as a skilful indictment of Berlin's creative industry and celebrity culture. Here Nabokov's technique reminded me of the style and bleak humour of Evelyn Waugh鈥檚 Vile Bodies but hugely exaggerated, pushed to the limit. His Berlin鈥檚 peopled with superficial, voyeuristic individuals, whose cherished desires are revealed as inauthentic at best. People whose lives may pass for art but are actually players in a lurid, second-rate, melodrama 鈥� with the possible exception of Albinus鈥檚 abandoned family who are swiftly relegated to relatively minor roles. But, Nabokov's approach also operates as a means of highlighting the artificiality of his own creation.
Laughter in the Dark was one of Nabokov鈥檚 least favourite books. In general, it鈥檚 considered a marginal work, regarded by some as interesting purely as a rehearsal for concepts only fully realised in Lolita: the possibility of 鈥渘ymphophilia鈥� in the affair between middle-aged Albinus and youthful Margot - constantly marked out for her schoolgirl appearance; the triangle that forms between Albinus, Margot and Axel as an early version of Humbert, Lolita, and Quilty. But I thought this had enough substance to make it worth reading for itself, without the need for constant comparisons with Nabokov鈥檚 later fiction. It's an arrogantly clever, annoyingly snobbish piece, but it's also extremely entertaining.
It鈥檚 a highly visual piece, Nabokov鈥檚 use of colour鈥檚 marvellous. This visual quality鈥檚 key to Nabokov鈥檚 deliberate subversion of the codes and style of then-contemporary cinema: from the vastly popular The Blue Angel whose plot informs aspects of Nabokov鈥檚, through to Louise Brooks鈥檚 Pandora鈥檚 Box and Diary of a Lost Girl. A common theme in Weimar鈥檚 cultural outpourings was that of the 鈥榥ew woman鈥� who comes to a bad end, art, literature and cinema was practically littered with the bodies of mutilated women. And Nabokov toys with the suggestion of a similar fate awaiting Margot, the working-class girl who capture鈥檚 Albinus鈥檚 affections: violence directed at Margot constantly surfaces in Albinus鈥檚 thoughts, pervading the novel. Albinus鈥檚 rival, the sadistic Axel Rex also complicates the plot. Yet Nabokov undermines expectations, he鈥檚 already made it clear Albinus will be the ultimate victim here.
Nabokov鈥檚 parody of cinema dictates the style and structure of numerous passages throughout the novel: the framing of images like Margot lounging on a beach; the portrayal of Albinus鈥檚 giddy, adolescent-style infatuation like scenes taken from a romance script. It's evident in his imagery, for example the way he foreshadows Albinus鈥檚 fate: the scarlet gleam of a cinema sign on a snowy pavement, the blood-red puddles, all connected to Albinus鈥檚 early sightings of Margot in her usherette鈥檚 job. Even the cinema鈥檚 name the Argus links to a crucial development later in the narrative. Although Nabokov frowned on social critique, and pokes fun here at novelists who adopted this as their calling, this works well as an expose of the decay in German society, particularly Weimar Berlin with its massive economic and social inequality. Albinus is an art critic but he falls for a wannabe actress, his supposedly heightened aesthetic sense more fa莽ade than substance. Scenes of a dinner-party for rather tarnished representatives of Berlin bohemia act as a skilful indictment of Berlin's creative industry and celebrity culture. Here Nabokov's technique reminded me of the style and bleak humour of Evelyn Waugh鈥檚 Vile Bodies but hugely exaggerated, pushed to the limit. His Berlin鈥檚 peopled with superficial, voyeuristic individuals, whose cherished desires are revealed as inauthentic at best. People whose lives may pass for art but are actually players in a lurid, second-rate, melodrama 鈥� with the possible exception of Albinus鈥檚 abandoned family who are swiftly relegated to relatively minor roles. But, Nabokov's approach also operates as a means of highlighting the artificiality of his own creation.
Laughter in the Dark was one of Nabokov鈥檚 least favourite books. In general, it鈥檚 considered a marginal work, regarded by some as interesting purely as a rehearsal for concepts only fully realised in Lolita: the possibility of 鈥渘ymphophilia鈥� in the affair between middle-aged Albinus and youthful Margot - constantly marked out for her schoolgirl appearance; the triangle that forms between Albinus, Margot and Axel as an early version of Humbert, Lolita, and Quilty. But I thought this had enough substance to make it worth reading for itself, without the need for constant comparisons with Nabokov鈥檚 later fiction. It's an arrogantly clever, annoyingly snobbish piece, but it's also extremely entertaining.
May 24, 2019
丿賵爻鬲丕賳賽 诏乇丕賳賯丿乇貙 丕蹖賳 讴鬲丕亘 丕夭 247 氐賮丨賴 鬲卮讴蹖賱 卮丿賴 賵 芦賳丕亘丕讴賵賮禄 丿乇 丕蹖賳 丕孬乇 賳蹖夭 賴賲趩賵賳 丿丕爻鬲丕賳賽 "賱賵賱蹖鬲丕"貙 亘丕夭 亘賴 爻乇丕睾賽 丿丕爻鬲丕賳賽 毓卮賯賽 賴賵爻 丌賱賵丿 賵 讴賵乇讴賵乇丕賳踿 賲乇丿蹖 亘賴 丿禺鬲乇賽 賳賵噩賵丕賳貙 賲蹖乇賵丿... 芦賲丕乇诏賵禄 丿禺鬲乇蹖 賳賵噩賵丕賳 賵 夭蹖亘丕爻鬲 讴賴 丕夭 禺丕賳賴 賮乇丕乇 讴乇丿賴 賵 賲丿鬲蹖 亘丕 賳賯丕卮蹖 亘賴 賳丕賲 芦乇讴爻禄 賴賲 禺丕賳賴 卮丿賴 丕爻鬲 賵 鬲賳賴丕 讴丕乇蹖 讴賴 亘賱丿 丕爻鬲貙 爻讴爻 賵 賱禺鬲 禺賵丕亘蹖丿賳 賵 賲丿賱賽 賳賯丕卮蹖 卮丿賳 丕爻鬲.. 倬爻 丕夭 賲丿鬲蹖 乇讴爻 丕賵 乇丕 乇賴丕 讴乇丿賴 賵 賲丕乇诏賵 賴賲 倬賵賱卮 鬲賲丕賲 卮丿賴 賵 賲噩亘賵乇 賲蹖卮賵丿 鬲丕 亘乇丕蹖賽 讴丕乇 亘賴 爻丕賱賳賽 爻蹖賳賲丕 亘乇賵丿... 丿乇 爻賵蹖賽 丿蹖诏乇 丿丕爻鬲丕賳貙 賲乇丿蹖 賲卮賴賵乇 賵 孬乇賵鬲賲賳丿 亘賴 賳丕賲 芦丌賱亘蹖賳賵爻禄 賴賲乇丕賴 亘丕 夭賳賽 賲賴乇亘丕賳卮 芦丕賱蹖夭丕亘鬲禄 賵 丿禺鬲乇賽 讴賵趩讴卮 芦丕蹖乇賲丕禄 丿乇 禺丕賳踿 賲噩賱賱賽 禺賵蹖卮貙 夭賳丿诏蹖 賲蹖诏匕乇丕賳賳丿 賵 亘乇丕丿乇 夭賳賽 鬲賳賵賲賳丿 賵 丿賱爻賵夭蹖 亘賴 賳丕賲 芦倬賱禄 丿丕乇丿 讴賴 賴乇 乇賵夭 亘賴 丌賳賴丕 爻乇 賲蹖夭賳丿... 賴賲賴 趩蹖夭 亘胤賵乇賽 賲毓賲賵賱 倬蹖卮 賲蹖乇賵丿 鬲丕 丌賳讴賴 丌賱亘蹖賳賵爻 亘賴 爻蹖賳賲丕 乇賮鬲賴 賵 丿乇 蹖讴 賳诏丕賴貙 丿賱亘丕禺鬲踿 賲丕乇诏賵 賲蹖卮賵丿.. 卮亘賴丕 亘賴 賴乇 亘賴丕賳賴 丕蹖 亘賴 爻蹖賳賲丕 賲蹖乇賵丿 鬲丕 賲丕乇诏賵 乇丕 亘亘蹖賳丿 賵 丿乇 賳賴丕蹖鬲 亘賴 禺蹖丕賱卮 賲丕乇诏賵 亘賴 鬲賵乇賽 丕賵 丕賮鬲丕丿賴 賵 賳賲蹖丿丕賳丿 讴賴 丕蹖賳 丿禺鬲乇 亘趩踿 賴賵爻 亘丕夭 賵 讴孬蹖賮 丕爻鬲 讴賴 丕賵 乇丕 卮讴丕乇 讴乇丿賴 丕爻鬲... 丌賱亘蹖賳賵爻 亘乇丕蹖賽 賲丕乇诏賵 禺丕賳賴 丕蹖 賲蹖诏蹖乇丿 鬲丕 丌賳 禺丕賳賴 亘乇丕蹖卮 鬲亘丿蹖賱 亘賴 賲讴丕賳賽 毓卮賯 亘丕夭蹖 丕卮 卮賵丿.. 賵賱蹖 讴賲 讴賲 賲丕乇诏賵貙 丕蹖賳 賲丕乇賽 禺賵卮 禺胤 賵 禺丕賱貙 丌賱亘蹖賳賵爻 乇丕 賲噩亘賵乇 亘賴 噩丿丕蹖蹖 丕夭 禺丕賳賵丕丿賴 賲蹖讴賳丿.. 丕賱蹖夭丕亘鬲 亘賴 賴賲乇丕賴賽 丿禺鬲乇卮貙 禺丕賳賴 乇丕 鬲乇讴 讴乇丿賴 賵 賲丕乇诏賵 賵丕乇丿賽 禺丕賳踿 亘夭乇诏賽 丌賱亘蹖賳賵爻 賲蹖卮賵丿... 丌賱亘蹖賳賵爻 賯氐丿賽 爻乇賲丕蹖賴 诏匕丕乇蹖 丿乇 蹖讴 賮蹖賱賲賽 丕賳蹖賲蹖卮賳蹖 丿丕乇丿 讴賴 丕蹖賳诏賵賳賴 亘丕 乇讴爻 丌卮賳丕 賲蹖卮賵丿 賵 倬丕蹖賽 乇讴爻 讴賴 賳賯丕卮 賵 讴丕乇讴丕鬲賵乇蹖爻鬲 丕爻鬲 賵 倬蹖卮 丕夭 丕蹖賳 丿賵爻鬲 倬爻乇賽 賲丕乇诏賵 亘賵丿賴貙 亘賴 夭賳丿诏蹖賽 丌賳賴丕 亘丕夭 賲蹖卮賵丿... 亘賴 丕蹖賳 鬲乇鬲蹖亘 賲丕乇诏賵 賵 乇讴爻 亘賴 丿賵乇 丕夭 趩卮賲賽 丌賱亘蹖賳賵爻賽 爻丕丿賴 賱賵丨貙 毓卮賯 亘丕夭蹖 賴丕蹖卮丕賳 乇丕 丕丿賲賴 賲蹖丿賴賳丿.. 丿乇 爻賵蹖賽 丿蹖诏乇 丿丕爻鬲丕賳貙 丕蹖乇賲丕貙 丿禺鬲乇 亘趩踿 夭蹖亘丕 賵 讴賵趩讴蹖 讴賴 丕夭 倬丿乇 丿賵乇 賲丕賳丿賴 丕爻鬲貙 亘蹖賲丕乇 卮丿賴 賵 亘賴 丿賱蹖賱賽 匕丕鬲 丕賱乇蹖賴 噩丕賳 賲蹖丿賴丿.. 賵賱蹖 倬爻 丕夭 賲丿鬲蹖貙 丌賱亘蹖賳賵爻 丕賳诏丕乇 賳賴 丕賳诏丕乇 讴賴 丿禺鬲乇卮 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲貙 亘賴 賴賲乇丕賴賽 乇讴爻 賵 賲丕乇诏賵貙 亘賴 爻賮乇賽 鬲賮乇蹖丨蹖賽 禺丕乇噩 丕夭 讴卮賵乇 賲蹖乇賵賳丿...丌賱亘蹖賳賵爻 丿乇 爻賮乇 亘賴 氐賵乇鬲賽 丕鬲賮丕賯蹖 賵 亘賴 讴賲讴賽 蹖讴蹖 丕夭 丿賵爻鬲丕賳卮貙 賲鬲賵噩賴 賲蹖卮賵丿 讴賴 賲丕乇诏賵 亘賴 丕賵 禺蹖丕賳鬲 賲蹖讴賳丿 賵 賲禺賮蹖丕賳賴 亘丕 乇讴爻 丕爻鬲.. 賵賱蹖 賲丕乇诏賵 賳賯卮 亘丕夭蹖 讴乇丿賴 賵 賯爻賲 賲蹖禺賵乇丿 讴賴 乇讴爻 賴賲噩賳爻 亘丕夭 丕爻鬲 賵 亘賴 夭賳賴丕 賲蹖賱蹖 賳卮丕賳 賳賲蹖丿賴丿.. 丌賱亘蹖賳賵爻 丕丨賲賯 丕蹖賳 亘丕乇賴賲 賮乇蹖亘 禺賵乇丿賴 賵 亘丕賵乇 賲蹖讴賳丿.. 賵賱蹖 丕夭 丌賳噩丕蹖蹖 讴賴 禺卮賲诏蹖賳 賵 丿賱趩乇讴蹖賳 丕爻鬲貙 乇讴爻 乇丕 乇賴丕 讴乇丿賴 賵 亘丕 賲丕卮蹖賳 賵 賴賲乇丕賴 亘丕 賲丕乇诏賵貙 丕夭 賴鬲賱 亘蹖乇賵賳 丌賲丿賴 賵 丿乇 乇丕賴 鬲氐丕丿賮 賲蹖讴賳賳丿 .. 丿乇 丕蹖賳 鬲氐丕丿賮貙 囟乇亘賴 亘賴 爻乇賽 丌賱亘蹖賳賵爻 賵丕乇丿 卮丿賴 賵 亘蹖賳丕蹖蹖 丕卮 乇丕 丕夭 丿爻鬲 賲蹖丿賴丿.. 丿讴鬲乇 亘賴 丌賳賴丕 賲蹖诏賵蹖丿 亘賴鬲乇 丕爻鬲 讴賴 丿乇 噩丕蹖賽 禺賵卮 丌亘 賵 賴賵丕 爻讴賵賳鬲 丿丕卮鬲賴 亘丕卮賳丿貙 卮丕蹖丿 丨丕賱 丕賵 亘賴亘賵丿 倬蹖丿丕 讴乇丿賴貙 鬲丕 倬爻 丕夭 丌賳 丿讴鬲乇 丕賵 乇丕 噩乇丕丨蹖 讴賳丿.. 亘賳丕亘乇丕蹖賳 丿乇 爻賵蹖蹖爻 賵 丿乇 禺丕賳賴 丕蹖 蹖蹖賱丕賯蹖 丕賯丕賲鬲 賲蹖讴賳賳丿 賵 丕蹖賳亘丕乇 賳蹖夭 乇讴爻 賲禺賮蹖丕賳賴 亘賴 丌賳噩丕 乇賮鬲賴 賵 丌賱亘蹖賳賵爻 亘蹖趩丕乇賴 賴賲 賳賲蹖鬲賵丕賳丿 丨囟賵乇 丕賵 丿乇 禺丕賳賴 乇丕 賲鬲賵噩賴 卮賵丿 賵 丕蹖賳 丿賵 鬲丕 賲蹖鬲賵丕賳賳丿 丕蹖賳 丌賱亘蹖賳賵爻賽 讴賵乇 乇丕 賲爻禺乇賴 讴乇丿賴 賵 丕夭 賳丕亘蹖賳丕蹖蹖賽 丕賵 爻賵亍丕爻鬲賮丕丿賴 賲蹖讴賳賳丿 賵 丌賱亘蹖賳賵爻 賳賲蹖鬲賵丕賳丿 孬丕亘鬲 讴賳丿 讴賴 丿乇 丌賳 禺丕賳賴貙 讴爻蹖 睾蹖乇 丕夭 禺賵丿卮丕賳 丨囟賵乇 丿丕乇丿.. 丿乇 丕蹖賳 賲丿鬲 乇讴爻 賵 賲丕乇诏賵貙 丕蹖賳 賲乇丿 賵 夭賳 賮乇蹖亘讴丕乇 賵 亘蹖 賵噩丿丕賳貙 賳賴 鬲賳賴丕 毓卮賯 賵 丨丕賱卮丕賳 乇丕 賲蹖讴賳賳丿貙 亘賱讴賴 卮乇賵毓 亘賴 禺丕賱蹖 讴乇丿賳賽 丨爻丕亘 亘丕賳讴蹖 丌賱亘蹖賳賵爻 賲蹖讴賳賳丿貙 鬲丕 丌賳讴賴................................................. 毓夭蹖夭丕賳賲 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳 乇丕 禺賵丕賳丿賴 賵 丕夭 爻乇丕賳噩丕賲賽 睾賲 丕賳诏蹖夭賽 丌賱亘蹖賳賵爻 丌诏丕賴 卮賵蹖丿
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丕賲蹖丿賵丕乇賲 丕夭 禺賵丕賳丿賳 丕蹖賳 丿丕爻鬲丕賳賽 夭蹖亘丕貙 賱匕鬲 亘亘乇蹖丿
芦倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖禄
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丕賲蹖丿賵丕乇賲 丕夭 禺賵丕賳丿賳 丕蹖賳 丿丕爻鬲丕賳賽 夭蹖亘丕貙 賱匕鬲 亘亘乇蹖丿
芦倬蹖乇賵夭 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖禄
November 21, 2015
"Era uma vez um homem chamado Albinus que vivia em Berlim, na Alemanha. Era rico, respeit谩vel, feliz; certo dia abandonou a mulher por causa de uma amante jovem; amava; n茫o era amado; e a sua vida acabou em desastre.
Isto 茅 a hist贸ria toda e pod铆amos t锚-la deixado por aqui se n茫o fosse o proveito e o prazer no contar"
Assim inicia Nabokov este romance. E logo me lembrei de um trecho de uma recente opini茫o do Nelson Zagalo sobre o porqu锚 de lermos literatura; n茫o ser谩, certamente, apenas pelas hist贸rias que essas est茫o por "todo o lado" e todas semelhantes. O "proveito" reside na forma como um autor nos conta essas vidas e que as torna 煤nicas e especiais. Nabokov f谩-lo muito bem, revelando um poder absoluto sobre as personagens e, mesmo quando rasa o absurdo, n茫o deixamos de acreditar nelas. Em Riso na Escurid茫o constr贸i - com grande requinte - um dramalh茫o de "fazer chorar as pedras da cal莽ada". Eu - que com tal enredo, contado por outra pena, teria chorado nem Madalena - dei por mim, durante toda a leitura, sorrindo perversamente com a forma cruel com que Nabokov tiraniza o seu Albinus...
脡 isto (e outras coisas que n茫o sei se algum dia saberei...) que procuro na literatura: o desconcerto oferecido pelo inesperado que me faz rir quando deveria chorar; o deslumbrar-me com uma frase que me diz o que j谩 sei, mas de uma forma que eu nunca saberia dizer; o reconhecer-me numa personagem, nos seus rid铆culos, nas suas perversidades, nas suas fragilidades; e...
Se um dia me decidir a construir uma lista dos "meus 10 autores", creio bem que Vladimir Nabokov vai l谩 estar...
Isto 茅 a hist贸ria toda e pod铆amos t锚-la deixado por aqui se n茫o fosse o proveito e o prazer no contar"
Assim inicia Nabokov este romance. E logo me lembrei de um trecho de uma recente opini茫o do Nelson Zagalo sobre o porqu锚 de lermos literatura; n茫o ser谩, certamente, apenas pelas hist贸rias que essas est茫o por "todo o lado" e todas semelhantes. O "proveito" reside na forma como um autor nos conta essas vidas e que as torna 煤nicas e especiais. Nabokov f谩-lo muito bem, revelando um poder absoluto sobre as personagens e, mesmo quando rasa o absurdo, n茫o deixamos de acreditar nelas. Em Riso na Escurid茫o constr贸i - com grande requinte - um dramalh茫o de "fazer chorar as pedras da cal莽ada". Eu - que com tal enredo, contado por outra pena, teria chorado nem Madalena - dei por mim, durante toda a leitura, sorrindo perversamente com a forma cruel com que Nabokov tiraniza o seu Albinus...
脡 isto (e outras coisas que n茫o sei se algum dia saberei...) que procuro na literatura: o desconcerto oferecido pelo inesperado que me faz rir quando deveria chorar; o deslumbrar-me com uma frase que me diz o que j谩 sei, mas de uma forma que eu nunca saberia dizer; o reconhecer-me numa personagem, nos seus rid铆culos, nas suas perversidades, nas suas fragilidades; e...
Se um dia me decidir a construir uma lista dos "meus 10 autores", creio bem que Vladimir Nabokov vai l谩 estar...
February 26, 2018
Laughter in the Dark is the story of a married man鈥檚 destructive obsession with an attractive young girl. Not a shocking thematic departure for Nabokov, but the novel nonetheless has its own unique character. In terms of its tone it is light and ironic, and in its treatment of its themes, uncomplicated. Nabokov suggests the tragic ending in the first paragraph, forgoing any dramatic tension, and allowing the reader to just sit back and enjoy the inevitable train wreck. This is a tragic comedy with the character of a moral parable. The lesson is: stick with your wife; and watch out for the pretty ones, they are especially insidious. I wonder to what extent Nabokov was working through his own issues with fidelity and temptation.
November 20, 2017
UPDATE 20.11.17:
危魏蔚蠁蟿蠈渭慰蠀谓 蟿慰 危螝 蟿喂蟼 喂未喂伪喂蟿蔚蟻蠈蟿畏蟿蔚蟼 蟿慰蠀 蟿蟻委蟿慰蠀 渭苇蟻慰蠀蟼, 渭蔚蟿维 蟿慰 伪蟿蠉蠂畏渭伪. 螤喂蟽蟿蔚蠉蠅 蟺蠅蟼 纬喂伪 渭喂伪 伪魏蠈渭畏 蠁慰蟻维 苇谓伪 伪谓蟿委纬蟻伪蠁慰, 蔚委谓伪喂 伪谓蟿维尉喂慰 蟿慰蠀 伪蠀胃蔚谓蟿喂魏慰蠉. 违蟺维蟻蠂蔚喂 渭喂伪 尾伪胃喂维 纬蟻伪渭渭萎 蟽蠀纬纬苇谓蔚喂伪蟼, 蟿蠈蟽慰 渭蔚 蟿慰 未蔚蠉蟿蔚蟻慰 渭苇蟻慰蟼 蟿慰蠀 螘尉伪未苇位蠁慰蠀 螤慰谓蟼, 蔚喂未喂魏维 伪蠁慰蠉 渭苇谓蔚喂 魏伪蟿维魏慰喂蟿慰蟼 魏伪喂 渭喂伪 维位位畏 位喂纬蠈蟿蔚蟻慰 蔚渭蠁伪谓萎蟼 魏伪喂 蟽伪蠁萎蟼 渭蔚 蟿慰 围蠅蟻喂蠈 危蟿喂蔚蟺伪谓蟿蟽委魏慰尾慰. 韦委蟺慰蟿伪 蠈渭蠅蟼 未蔚谓 魏维谓蔚喂 位喂纬蠈蟿蔚蟻慰 纬慰畏蟿蔚蠀蟿喂魏萎 蟿畏谓 伪谓维纬谓蠅蟽畏, 伪蠀蟿慰蠉 蔚未蠋 蟿慰蠀 尾喂尾位委慰蠀, 慰蠉蟿蔚 魏伪谓 畏 蟺蟻蠈胃蔚蟽畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟿慰蠀 伪蟺' 蟿畏谓 伪蟻蠂萎 谓伪 未蠋蟽蔚喂 蟿慰 蟽魏蔚位蔚蟿蠈.
26.10.17:
螌蟿伪谓 未喂伪尾维味蠅 尾喂尾位委伪 蟽伪谓 伪蠀蟿蠈 蟺慰蠀 慰 蟻蔚伪位喂蟽渭蠈蟼 胃蠀蟽喂维味蔚喂 魏维胃蔚 蠅蟻伪喂慰位慰纬委伪 蠄蠀蠂蟻维 魏喂 伪蟺慰蠁伪蟽喂蟽蟿喂魏维, 蠈蟽慰 魏喂 伪谓 蔚尉伪魏慰位慰蠀胃蠋 谓伪 伪纬伪蟺蠋 蟿慰 蟻蔚伪位喂蟽渭蠈, 蟽蟿蔚谓慰蠂蠅蟻喂苇渭伪喂, 伪蟺慰纬慰畏蟿蔚蠉慰渭伪喂, 胃蠀蔚位位喂维味蠅 蟿蠈蟽慰 蟺慰位蠉 伪蟺鈥� 蟿畏谓 蔚喂位喂魏蟻委谓蔚喂伪 蟺慰蠀 伪渭苇蟽蠅蟼 蟽魏苇蠁蟿慰渭伪喂 谓伪 蟿蔚位蔚喂蠋蟽蔚喂, 渭伪魏维蟻喂 谓伪 蟿蔚位蔚喂蠋蟽蔚喂, 纬喂伪 谓伪 未喂伪尾维蟽蠅 蟺伪蟻伪渭蠉胃喂伪 纬喂伪 蠈位畏 蟿畏 渭伪纬蔚委伪 蟺慰蠀 渭慰蠀 苇魏位蔚蠄伪谓, 魏伪喂, 伪蟼 渭慰蠀 未委谓慰蠀谓 蟿畏谓 蔚蟺喂尾蔚尾伪委蠅蟽畏. 危蔚 魏伪谓苇谓伪谓 未蔚谓 伪蟻苇蟽蔚喂 谓伪 蟿慰谓 尾蟻委味慰蠀谓, 谓伪 蟿慰谓 蠁苇蟻谓慰蠀谓 伪谓蟿喂渭苇蟿蠅蟺慰 渭蔚 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 苇蟿蟽喂;
螤蠈蟽伪 魏维谓慰蠀渭蔚 纬喂伪 蟿伪 蟺维胃畏 渭伪蟼, 蟺慰蠀 伪谓 未委谓伪渭蔚 委蟽蔚蟼 蔚蠀魏伪喂蟻委蔚蟼 蟽蔚 维位位慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 未蔚 胃伪 魏蠀谓畏纬慰蠉蟽伪渭蔚 渭喂伪 味蠅萎 伪谓苇渭慰蠀蟼. 螠伪 蠈蟿伪谓 蟿慰 蟺维胃慰蟼 未蔚谓 苇蠂蔚喂 蟿慰谓 苇位蔚纬蠂慰, 慰 谓慰蠀蟼 未蔚谓 蔚委谓伪喂 魏伪胃蠈位慰蠀 伪蟺位蠈蠂蔚蟻慰蟼, 纬喂伪蟿委 魏维蟺慰喂伪 蟺蟻维纬渭伪蟿伪, 慰蟻喂蟽渭苇谓蔚蟼 蠀蟺慰蠂蠅蟻萎蟽蔚喂蟼 蟿喂蟼 尾位苇蟺蔚喂 蟽伪谓 蠀蟺慰魏蟻喂蟽委蔚蟼 魏伪喂 蠈蠂喂 蟽伪谓 蔚蠀魏伪喂蟻委蔚蟼 魏伪喂 蟺蟻慰蟿喂渭维 谓伪 渭畏蟻蠀魏维味蔚喂 蟽蟿慰 蔚纬蠅喂蟽蟿喂魏蠈 蟿慰蠀 尾慰蟽魏慰蟿蠈蟺喂.
螒谓萎魏蔚喂 蟽蔚 伪蠀蟿蠈 蟿慰 蔚委未慰蟼 蟽蠀纬纬蟻伪蠁苇伪 慰 螡伪渭蟺蠈魏慰蠁 蟺慰蠀 伪谓萎魏蔚 魏伪喂 慰 危蟿蔚谓蟿维位: 位喂蟿蠈蟼 魏伪喂 尾伪胃蠀蟽蟿蠈蠂伪蟽蟿慰蟼, 渭苇蟽伪 蟽蔚 蔚位维蠂喂蟽蟿蔚蟼 纬蟻伪渭渭苇蟼 蔚尉伪谓蟿位蔚委 魏慰蠁蟿蔚蟻维 蟿畏谓 伪谓伪蟿慰渭委伪, 蟿畏 蠁蠀蟽喂慰位慰纬委伪, 蟿畏谓 蟺伪胃慰位慰纬委伪 蟿慰蠀 伪蟺蠅胃畏渭苇谓慰蠀, 蟿畏谓 畏胃喂魏萎 蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 蟽蟿慰蠀蟼 魏蠉魏位慰蠀蟼 蟿蠅谓 伪蟺苇尉蠅 ( 胃蠀渭畏胃蔚委蟿蔚 蠈蟽慰喂 蟿慰 鈥樝囄迪勎� 未喂伪尾维蟽蔚喂 蟿畏 蟽蟿维蟽畏 蟿蠅谓 蠁委位蠅谓 渭蔚蟿维 蟿慰 蠂蠅蟻喂蟽渭蠈 蟿慰蠀 螒位渭蟺委谓慰蠀蟼, 萎 蟿慰 蟺畏纬伪未维魏喂 蟿慰蠀 胃蠀蟻蠅蟻慰蠉 蟿畏 渭苇蟻伪 蟿畏蟼 蟺蟻蔚渭喂苇蟻伪蟼 ). 螕蟻维蠄喂渭慰 蠁喂位喂魏蠈, 渭苇蟽伪 蟽蔚 位委纬蔚蟼 蟽蔚喂蟻苇蟼 魏位苇尾蔚喂 伪蟺鈥� 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 蔚魏蔚委谓蔚蟼 蟿喂蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟺慰蠀 蟿慰蠀蟼 蠂伪蟻伪魏蟿畏蟻委味慰蠀谓, 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺鈥� 蟿伪 蟺慰蟻蟿蟻苇蟿伪 蟿慰蠀蟼. 螠蔚 蠈位畏 蟿慰蠀 蟿畏谓 伪蟺位蠈蟿畏蟿伪, 纬蟻维蠁蔚喂 蟺位伪蟿喂维, 蟽伪谓 谓伪 未喂伪蟽蠂委味蔚喂蟼 蟺蔚未喂维未蔚蟼, 蟽伪 谓伪 尾位苇蟺蔚喂蟼 渭喂伪 味蠅萎 渭苇蟽伪 伪蟺鈥� 蟿伪 蠁伪谓维蟻喂伪 蟽蔚 未蟻蠈渭慰 蟽魏慰蟿蔚喂谓蠈 蟺慰蠀 未蔚谓 苇蠂蔚喂蟼 蟺慰位位苇蟼 蔚蠀魏伪喂蟻委蔚蟼 魏伪喂 渭喂蟽慰魏位蔚委谓慰谓蟿伪蟼 蟿伪 尾位苇蠁伪蟻伪 蟺蔚蟻喂渭苇谓蔚喂蟼 蟿畏 蟽蟿喂纬渭喂伪委伪 位维渭蠄畏 纬喂伪 谓伪 蠀蠁伪蟻蟺维尉蔚喂蟼 蠈蟽慰 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 渭蟺慰蟻蔚委蟼, 蟺蟻喂谓 蠂伪胃蔚委 蟽蔚 渭喂伪 蟺慰蟻蔚委伪 伪谓蔚尉苇位蔚纬魏蟿畏, 伪未喂维魏慰蟺畏, 苇尉蠅 伪蟺蠈 蟽蟿伪蟿喂蟽蟿喂魏苇蟼.
<< 螒蟻蠂委味蔚喂, 蟽魏苇蠁蟿畏魏蔚 慰 螒位渭蟺委谓慰蠀蟼 >>. 螖蔚谓 蠀蟺维蟻蠂蔚喂 伪蟺位慰蠉蟽蟿蔚蟻畏 蠁蟻维蟽畏 伪蟺鈥� 伪蠀蟿蠈 蟿慰 鈥樷赌櫸毕佅囄段滴光赌欌赌� 魏喂 蠈渭蠅蟼 未蔚委蠂谓蔚喂 渭蔚 蟿慰谓 魏伪位蠉蟿蔚蟻慰 蟿蟻蠈蟺慰 渭喂伪 蟺慰位蠉 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏萎 蠁蟻维蟽畏 蟺慰蠀 苇蠂蔚喂 渭慰谓慰位慰纬萎蟽蔚喂 蟿慰蠀位维蠂喂蟽蟿慰谓 未蠀慰 蠁慰蟻苇蟼 魏维胃蔚 维谓蟿蟻伪蟼 蟽蟿畏 味蠅萎 蟿慰蠀. 韦畏谓 蟺蟻蠋蟿畏, 蟺喂维谓慰谓蟿伪蟼 蟿慰谓 蔚魏魏慰位伪蟺蟿蠈渭蔚谓慰 魏蠋未喂魏伪 魏伪蟿维 蟿蠉蠂畏 魏伪喂 蟿畏 未蔚蠉蟿蔚蟻畏 蔚蟺蔚喂未萎 畏 伪蟻蠂萎 魏维胃蔚 魏蠋未喂魏伪 蔚委谓伪喂 委未喂伪 魏伪喂 蟺蟻慰伪喂蠋谓喂伪, 伪蠁萎谓蔚喂 魏维蟿喂 蟽伪 渭蠀蟻渭萎纬魏喂伪蟽渭伪 蟽蟿畏 蟽魏苇蠄畏, 蟽伪谓 伪渭蠁喂尾慰位委伪 蠂伪蟻渭蠈蟽蠀谓畏 蟽蟿畏谓 魏伪蟻未喂维.
螝蔚谓蟿蟻喂魏蠈蟼 慰喂魏慰未蔚蟽蟺蠈蟿畏蟼 慰 苇蟻蠅蟿伪蟼 蟿蠅谓 未喂伪蠁慰蟻蠋谓, 慰未畏纬蔚委 蟽蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟿畏蟼 魏蟻蠀蟽蟿维位位蠅蟽畏蟼 蟺蟻喂谓 蟿畏谓 伪蟺慰渭蠀胃慰蟺慰委畏蟽畏 ( 蠈蟺蠅蟼 蟺慰位位维 蠂蟻蠈谓喂伪 蟺蟻喂谓 纬蟻维蠁蟿畏魏蔚 蟽蟿慰 蟽蟺慰蠀未伪喂蠈蟿蔚蟻慰 蔚纬蠂蔚喂蟻委未喂慰 纬喂伪 蟿慰谓 苇蟻蠅蟿伪, 伪蟺鈥� 蟿慰 危蟿蔚谓蟿维位 ). 螤蔚蟻喂纬蟻伪蠁萎 魏蟻蠀蟽蟿维位位喂谓畏, 蠈蠂喂 蠈渭蠅蟼 蟽伪谓 蔚魏蔚委谓伪 蟿伪 蟺慰蟿萎蟻喂伪 渭蔚 蟿喂蟼 魏伪蟻喂魏伪蟿慰蠉蟻蔚蟼, 蠈蠂喂 苇蟿蟽喂, 蟺蟻伪纬渭伪蟿喂魏蠈 魏蟻蠉蟽蟿伪位位慰 渭伪 委蟽喂慰 未委蠂蠅蟼 魏伪渭喂维 蟺蔚蟻喂魏慰魏位维未伪. 螣喂 未喂伪蠁慰蟻苇蟼, 伪魏蠈渭畏 畏 蔚蟺喂位慰纬萎 蔚谓蠈蟼 蟿伪喂蟻喂慰蠉 蔚魏 未喂伪渭苇蟿蟻慰蠀 伪谓蟿委胃蔚蟿慰 伪蟺鈥� 蟿慰 蟺蟻慰畏纬慰蠉渭蔚谓慰, 畏 蠀蟺慰蠂蠋蟻畏蟽畏 渭蟺蟻慰蟼 蟽蟿慰 蟺维胃慰蟼 蟿蠅谓 蔚谓未喂伪蠁蔚蟻蠈谓蟿蠅谓 渭伪蟼 蟺慰蠀 慰 维位位慰蟼 未蔚谓 伪未喂伪蠁慰蟻蔚委 伪蟺位蠋蟼, 渭伪 魏伪喂 蟿鈥� 伪蟺伪尉喂蠋谓蔚喂, 纬喂伪蟿委 未蔚谓 魏伪蟿伪位伪尾伪委谓蔚喂.
<<螒谓 渭慰蠀 蟿慰 鈥樜晃滴澄� 魏伪谓蔚委蟼 蟿畏谓 蟺伪蟻伪渭慰谓萎 蟿畏蟼 蟺蟻蠅蟿慰蠂蟻慰谓喂维蟼>> 未蔚谓 蔚委谓伪喂 蔚谓未喂伪蠁苇蟻慰谓; 危蠀谓畏胃委味慰蠀渭蔚 谓伪 蟽蠀谓未苇慰蠀渭蔚 蟿慰 蠂伪蟻慰蠉渭蔚谓慰 蔚慰蟻蟿伪蟽蟿喂魏蠈 蟿蠅谓 围蟻喂蟽蟿慰蠀纬苇谓谓蠅谓 魏伪喂 蟿畏谓 蟿蠀蟺喂魏萎 伪位位伪纬萎 蟿慰蠀 苇蟿慰蠀蟼, 蠈蟿伪谓 胃蠀渭蠈渭伪蟽蟿蔚 蟺蠅蟼 维位位伪尉蔚 畏 味蠅萎 渭伪蟼, 蟺蟻慰蟿喂渭蠋谓蟿伪蟼 伪蠀蟿萎 蟿畏谓 蟺蔚蟻委慰未慰 蟺慰蠀 蟽委纬慰蠀蟻伪 蟿伪 蟺蟻维纬渭伪蟿伪 萎蟿伪谓 伪位位喂蠋蟼 纬喂伪蟿委 蟽蠀谓萎胃蠅蟼 慰喂 渭蔚纬维位蔚蟼 伪位位伪纬苇蟼, 苇蟻蠂慰谓蟿伪喂 蟽蔚 维位位蔚蟼 蟽蟿喂纬渭苇蟼, 未喂维蠁慰蟻蔚蟼 蠂蟻慰谓喂魏维, 伪魏蠈渭畏 委蟽蠅蟼 鈥� 委蟽蠅蟼 魏伪喂 未喂维蠁慰蟻蔚蟼 蟺谓蔚蠀渭伪蟿喂魏维.
<< 伪谓 魏伪喂 慰 蠂蠋蟻慰蟼 渭喂伪蟼 蟿伪蠁蠈蟺蔚蟿蟻伪蟼 蔚委谓伪喂 伪蟻魏蔚蟿蠈蟼 纬喂伪 谓伪 蠂蠅蟻苇蟽蔚喂, 蠁蟻伪纬渭苇谓畏 伪蟺蠈 伪纬蟻喂蠈蠂慰蟻蟿伪, 蟿畏谓 蟺蔚蟻委位畏蠄畏 渭喂伪蟼 伪谓胃蟻蠋蟺喂谓畏蟼 味蠅萎蟼, 慰喂 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟺维谓蟿伪 蔚委谓伪喂 魏伪位慰未蔚蠂慰蠉渭蔚谓蔚蟼 >> 魏伪喂 蠈谓蟿蠅蟼 蟺维谓蟿慰蟿蔚 渭伪蟼 蔚谓未喂伪蠁苇蟻慰蠀谓 慰喂 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼, 纬喂伪蟿委 蔚委谓伪喂 伪蠀蟿苇蟼 蟺慰蠀 魏维谓慰蠀谓 蟿畏 渭慰谓维未伪, 渭慰谓维未伪 魏伪喂 蠈蟽慰 蟺喂魏蟻苇蟼 魏喂 伪未委蟽蟿伪魏蟿蔚蟼 魏喂 伪谓 蔚委谓伪喂, 未喂蠄维渭蔚 谓伪 蟿喂蟼 纬蔚蠀蟿慰蠉渭蔚, 蟽伪谓 蠂伪蟻蠅蟺慰委 魏伪喂 魏伪胃蠈位慰蠀 苇谓慰蠂慰喂 畏未慰谓慰尾位蔚蠄委蔚蟼, 蔚位蟺委味慰蠀渭蔚, 蟺蠅蟼 蠈位伪 渭蟺慰蟻慰蠉谓 谓伪 纬委谓慰蠀谓 伪位位喂蠋蟼, 萎 苇蟽蟿蠅 谓伪 蟿伪尉喂未苇蠄慰蠀渭蔚 渭蔚 蟿伪 蟺伪胃萎渭伪蟿伪 魏维蟺慰喂慰蠀 维位位慰蠀. 螠蠈谓慰 蟺慰蠀 苇谓伪蟼 魏伪位蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼, 苇谓伪蟼 魏伪位蠈蟼 蟻蔚伪位喂蟽蟿萎蟼 蟽蠀纬纬蟻伪蠁苇伪蟼, 蟺维谓蟿慰蟿蔚 胃伪 蟺蔚喂 渭苇蟽伪 蟽蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 魏伪喂 蟺蟻维纬渭伪蟿伪 蟺慰蠀 尉蔚蠁蔚蠉纬慰蠀谓 蟿畏蟼 未慰渭萎蟼, 魏维蟿喂 蔚位伪蠁蟻维 蟺伪蟻维蟿伪喂蟻慰, 萎 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟺慰蠀 蠈渭蠅蟼 胃伪 蔚委谓伪喂 伪魏蟻喂尾蠋蟼 蔚魏蔚委谓慰 蟺慰蠀 未蔚谓 蟺蔚蟻委渭蔚谓蔚蟼 谓伪 尾蟻蔚喂蟼, 蔚魏蔚委谓慰 蟺慰蠀 苇蠂蔚喂蟼 伪蟺慰蠁伪蟽委蟽蔚喂 谓伪 伪蟺慰蠁蔚蠉纬蔚喂蟼 蟽伪 胃苇渭伪 蟽蠀味萎蟿畏蟽畏蟼 渭蔚 蟿慰谓 蔚伪蠀蟿蠈 蟽慰蠀.
螖蔚谓 蠀蟺维蟻蠂慰蠀谓 蟽畏渭蔚委伪 蟺慰蠀 伪蠁萎谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟽蟿慰 蟽魏慰蟿维未喂, 伪蟺鈥� 蟿慰 蟺蠋蟼 渭蟺慰蟻蔚委 苇谓伪 渭喂魏蟻蠈 伪谓胃蟻蠅蟺维魏喂, 渭喂伪 渭蔚蟿蟻喂伪未慰蠉蟻伪 谓伪 蠀蠄蠋蟽蔚喂 蟿苇蟿慰喂慰 伪谓维蟽蟿畏渭伪 位蠈纬蠅 蔚魏蔚委谓慰蠀 蟿慰蠀 蔚委未慰蠀蟼 蟺维胃慰蠀蟼 蟺慰蠀 蠀蟺慰魏喂谓慰蠉渭蔚谓慰 伪蟺鈥� 蟿慰 伪蠂蠈蟻蟿伪纬慰 伪蟺蠅胃畏渭苇谓慰 魏喂 伪蟺鈥� 蟿慰谓 鈥樷€櫸迪兿壪勎迪佄刮合� 维谓胃蟻蠅蟺慰鈥欌€�, 蟿慰 伪蟽蠀谓蔚委未畏蟿慰, 蠈蟺蠅蟼 蟿慰 慰谓慰渭维味蔚喂 慰 螕喂慰蠀谓纬魏 伪蟺慰未蔚喂魏谓蠉蔚喂 魏伪蟿维 蟿伪 位蔚纬蠈渭蔚谓伪 蟿慰蠀 危慰蟺蔚谓维慰蠀蔚蟻, 蟺蠈蟽慰 伪未喂伪谓蠈畏蟿伪 喂蟽蠂蠀蟻萎 蔚委谓伪喂 畏 胃苇位畏蟽畏, 蟺维谓蠅 伪魏蠈渭畏 魏喂 伪蟺鈥� 蟿慰 谓慰蠀. 螆谓伪 蟿苇蟿慰喂慰 伪谓胃蟻蠅蟺维魏喂 渭蔚 伪蟺委蟽蟿蔚蠀蟿畏 伪蟺慰蠁伪蟽喂蟽蟿喂魏蠈蟿畏蟿伪, 蠄蠀蠂蟻维 渭苇蟽伪 蟽蔚 伪未喂伪蟽维位蔚蠀蟿畏 魏伪喂 伪未喂伪蟺蟻伪纬渭维蟿蔚蠀蟿畏 伪蟺维胃蔚喂伪 蟺伪蟻伪蟿维蔚喂 蟿慰 蟺伪喂未委 蟿慰蠀 ( 渭蔚 苇蟽魏喂蟽蔚 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蠈蟿伪谓 蟿慰 蟺伪喂未委 维谓慰喂尉蔚 蟿慰 蟺伪蟻维胃蠀蟻慰 蔚位蟺委味慰谓蟿伪蟼 蟺蠅蟼 蟿慰 蟽蠁蠉蟻喂纬渭伪 蟿慰蠀 伪纬谓蠋蟽蟿慰蠀 萎蟿伪谓 蟿慰 蟽蠁蠉蟻喂纬渭伪 蟿慰蠀 蟺伪蟿苇蟻伪 ), 蟿畏 纬蠀谓伪委魏伪 蟿慰蠀 魏伪喂 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 蟽蟿慰 蟽蟺委蟿喂 蟿慰蠀 蔚纬魏伪胃喂蟽蟿维 蟿慰 蟿蟽蠈魏伪蟻慰 魏伪喂 伪蟻魏蔚委 渭喂伪 魏伪喂 渭蠈谓畏 渭蔚蟿伪蟿蠈蟺喂蟽畏 蔚谓蠈蟼 尾维味慰蠀 萎 魏维蟺慰喂慰蠀 蠁慰蠀位伪蟻喂慰蠉 纬喂伪 谓伪 尉蔚蠂维蟽蔚喂 蠈蟽伪 蟽蠀谓苇未蔚伪谓 伪蠀蟿蠈 蟿慰 蠂蠋蟻慰 渭蔚 蟿畏谓 蟺蟻慰畏纬慰蠉渭蔚谓畏 味蠅萎 蟿慰蠀. 螌蟽慰 魏喂 伪谓 蟿慰谓 蠂维蟻畏魏伪, 蠈蟽慰 魏喂 伪谓 蟿慰谓 蟽蠀渭蟺维胃畏蟽伪 蟺慰蠀 渭苇蟽伪 蟽蟿畏谓 伪蟺位蠈蟿畏蟿伪 蟿慰蠀 蟽蟿畏谓 伪蟻蠂萎 鈥� 伪蟻蠂萎 胃蔚蠅蟻慰蠉蟽蔚 伪蟺喂蟽蟿委伪 蠈蠂喂 蟿慰 谓伪 蟺伪蟻伪蠁蠀位维尉蔚喂 渭喂伪 维位位畏 纬蠀谓伪委魏伪, 渭伪 蟿慰 谓伪 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蟽蟿畏 尾蟻慰蠂萎 蠂蠅蟻委蟼 慰渭蟺蟻苇位伪, 蟿蠈蟽慰 渭蔚蟿维 蟿慰谓 伪蟺苇蟻蟻喂蠄伪 渭蔚 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 未喂苇纬蟻伪蠄蔚 蟿畏谓 螉蟻渭伪.
螌蟺蠅蟼 苇纬蟻伪蠄伪 蟿委蟺慰蟿伪 未蔚谓 伪蠁萎谓蔚喂 萎蟽蠀蠂慰, 慰蠉蟿蔚 蟿畏谓 蟿苇蠂谓畏, 慰蠉蟿蔚 蟿畏 蟽蠀纬纬蟻伪蠁萎, 蟿畏 未喂伪蠁胃慰蟻维, 蟿畏 渭蠈位蠀谓蟽畏 蟿蠅谓 蠄蔚渭维蟿蠅谓 伪蟺蠈 蟽蠀渭蠁苇蟻慰谓, 魏维蟺慰蠀 蟽鈥� 苇谓伪 蟿伪尉委未喂 蟽蟿畏 螕伪位位委伪, 蠂蠋谓蔚喂 魏喂 蔚魏蔚委谓畏 蟿畏 渭喂魏蟻萎 胃蔚维 蟿畏谓 伪渭蠁喂尾慰位委伪, 蟺畏纬萎 蟺慰位位蠋谓 魏伪魏蠋谓, 渭伪 魏伪喂 畏 伪蟺慰蟿蠉蟺蠅蟽畏 蟺慰蠀 魏维谓蔚喂 蟽蟿畏谓 蟿蠉蠁位蠅蟽畏 蟺谓蔚蠀渭伪蟿喂魏萎 萎 蟺蟻伪纬渭伪蟿喂魏萎, 蔚委谓伪喂 蟿蠈蟽慰 纬位伪蠁蠀蟻萎 蟺慰蠀 蟽魏慰蟿蠋谓蔚喂. 螝喂 蠈渭蠅蟼 蟺苇蟻伪蟽伪谓 蟿蠈蟽蔚蟼 蟽蔚位委未蔚蟼, 伪蠀尉萎胃畏魏伪谓 蠀蟺蔚蟻尾慰位喂魏维 蟿伪 未蔚喂谓维 蟿慰蠀 螒位渭蟺委谓慰蠀蟼, 蠅蟽蟿蠈蟽慰 蔚纬蠋 未蔚 渭蟺蠈蟻蔚蟽伪 谓伪 蟿慰谓 尉伪谓伪未蠋 纬位蠀魏维, 畏 蟽魏苇蠄畏 渭慰蠀 蟺伪蟻苇渭蔚喂谓蔚 渭蔚 蟿畏 渭喂魏蟻慰蠉位伪 螉蟻渭伪. 螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蟺蠅蟼 渭蔚蟿维 伪蟺蠈 鈥樜何滴刮轿� 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 胃蔚蠅蟻蔚委, 萎 魏伪位蠉蟿蔚蟻伪 畏 尾慰蠉位畏蟽畏 蟺蔚委胃蔚喂 蟿慰 谓慰蠀 蠈蟿喂 畏 伪纬维蟺畏 蟿慰蠀 纬喂伪 蟿畏 纬蠀谓伪委魏伪 蟿慰蠀 蔚委谓伪喂 维蟽尾蔚蟽蟿畏, 维蟻伪 渭蟺慰蟻蔚委 谓伪 蟺伪蟻慰蟺位喂蟽蟿蔚委 纬喂伪 蟿慰 蟺维胃慰蟼, 伪魏慰位慰蠀胃蔚委 苇谓伪蟼 魏伪蟿萎蠁慰蟻慰蟼 蟺慰位蠉 蟿蟻伪蠂蠉蟼 魏伪喂 伪蟺蠈蟿慰渭慰蟼. 螞委纬慰 蟺慰位蠉 蔚委谓伪喂 魏维蟺慰喂蔚蟼 蠁慰蟻苇蟼 蟺慰蠀 蟺苇蠁蟿蔚喂蟼 蟽蟿伪 渭伪位伪魏维 纬喂伪 魏维蟺慰喂蔚蟼 伪蟺慰蠁维蟽蔚喂蟼 魏伪喂 渭蔚 魏维蟺慰喂蔚蟼 维位位蔚蟼 蟽慰蠀 未委谓蔚喂 魏伪喂 魏伪蟿伪位伪尾伪委谓蔚喂蟼, 未蔚谓 蠀蟺维蟻蠂蔚喂 蟽蟿伪渭伪蟿畏渭蠈蟼.
螉蟽蠅蟼 谓伪 渭畏谓 蠁蟿维谓蔚喂 蟽蔚 蟿苇蟿慰喂伪 未蠀蟽胃蔚蠋蟻畏蟿伪 尾维胃畏 蟺蟻伪纬渭伪蟿喂魏维, 伪位位维 蠄蠀蠂喂魏维 渭蟺慰蟻蔚委 魏伪喂 谓伪 蟿伪 尉蔚蟺蔚蟻谓维蔚喂. 韦苇位慰蟼 未蔚谓 伪蠁萎谓蔚蟿伪喂 魏伪渭喂维 位蔚蟺蟿慰渭苇蟻蔚喂伪 伪谓蔚尉萎纬畏蟿畏, 慰蠉蟿蔚 蟽蔚 蔚蟺委蟺蔚未慰 蠄蠀蠂慰位慰纬喂魏慰蠉 蟻蔚伪位喂蟽渭慰蠉 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 蠀蟺蠈尾伪胃蟻慰 蟿蠅谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿蠋谓, 伪蟺鈥� 蟿慰谓 伪谓蠉蟺伪蟻魏蟿慰 蟺伪蟿苇蟻伪 蟿畏蟼 螠伪蟻纬魏蠈蟿 魏伪喂 蟿慰谓 伪未蔚蟻蠁蠈 蟺慰蠀 伪谓伪味畏蟿维 蟿畏谓 蟿喂渭萎 蟿慰蠀 蠈蟿伪谓 渭蟺慰蟻蔚委 谓伪 伪蟺慰蟿喂渭畏胃蔚委 慰喂魏慰谓慰渭喂魏维 ( 伪蠀蟿蠈 蟿蠋蟻伪 胃蠀渭委味蔚喂 伪未喂蠈蟻伪蟿伪 螢蔚谓蠈蟺慰蠀位慰, 未蔚谓 蠀蟺慰谓慰蠋 蟺伪蟻维 渭喂伪 蔚魏位蔚魏蟿喂魏萎 蟽蠀纬纬苇谓蔚喂伪 未蔚未慰渭苇谓蠅谓 蟿蠅谓 蔚蟺慰蠂蠋谓 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 魏伪喂 蟿伪 未蠀慰 苇蟻纬伪 ), 渭苇蠂蟻喂 蟿慰 巍蔚尉 蟺慰蠀 蠄蠀蠂蠈蟻渭畏蟿伪 苇魏伪喂纬蔚 蟺慰谓蟿委魏喂伪 蟺蟻喂谓 尉蠀蟺谓萎蟽蔚喂 渭苇蟽伪 蟿慰蠀 蟿慰 魏伪位位喂蟿蔚蠂谓喂魏蠈 伪蟺鈥� 蟿畏谓 伪谓维纬魏畏 谓伪 未蔚喂 蟿畏 蠁蠉蟽畏 蟺蟻喂谓 蟿畏 味蠅纬蟻伪蠁委蟽蔚喂 萎 蟿畏谓 蔚魏位慰纬委魏蔚蠀蟽畏 蟽蔚 伪蠀蟿蠈, 渭苇蠂蟻喂 蟿喂蟼 维谓慰蟽蟿蔚蟼 蟽蠂苇蟽蔚喂蟼 蟿慰蠀 螒位渭蟺委谓慰蠀蟼. 围伪蟻维味蔚喂 蠈位慰蠀蟼 蔚魏蔚委谓慰蠀蟼 蟿慰蠀蟼 未蟻蠈渭慰蠀蟼 蟺慰蠀 渭蔚蟿维 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 伪蟺位蠋蟼 伪魏慰位慰蠀胃慰蠉谓 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀蟼, 伪未喂伪蟺蟻伪纬渭维蟿蔚蠀蟿伪 魏伪喂 蠂蠅蟻委蟼 蟽蟿伪渭伪蟿畏渭蠈. 螘谓未喂伪蠁苇蟻慰蠀蟽伪 伪魏蠈渭畏 魏喂 畏 蠄蠀蠂慰位慰纬委伪 蟿慰蠀 蠂蠅蟻喂蟽渭慰蠉 纬喂伪 蟿慰谓 蟺伪蟻伪蟿畏渭苇谓慰, 蟿慰 尾位苇蟺慰蠀渭蔚 蟽蟿畏 螞委味伪, 蟿慰 尾位苇蟺慰蠀渭蔚 蟽蟿畏 螠伪蟻纬魏蠈蟿. 螝伪喂 蔚蟺委蟽畏蟼, 蟺蠅蟼 蔚谓 未蠀谓维渭蔚喂 蠈位慰喂 渭蟺慰蟻慰蠉谓 谓伪 尾蟻蔚胃慰蠉谓 蟽蟿畏 胃苇蟽畏 蔚魏蔚委谓慰蠀 蟺慰蠀 蔚纬魏伪蟿伪位蔚委蟺蔚喂.
螠喂伪 蟿蔚位蔚蠀蟿伪委伪 蟽魏苇蠄畏 纬喂伪 蟿喂蟼 渭苇蟻蔚蟼 蟽蟿慰 蟽伪位苇 蔚委谓伪喂 伪蠀蟿萎, 蟺蠅蟼 渭蟺慰蟻慰蠉谓 未蠀慰 维谓胃蟻蠅蟺慰喂 谓伪 蔚委谓伪喂 萎 蠈蠂喂 蠂蠀未伪委慰喂 伪位位维 慰 苇蟻蠅蟿伪蟼 蟿慰蠀蟼, 伪蠀蟿蠈 蟿慰 蟽蠉蟽蟿畏渭伪 蟺慰蠀 伪蟺慰蟿蔚位慰蠉谓, 慰 魏蠋未喂魏伪蟼 蔚蟺喂魏慰喂谓蠅谓委伪蟼, 畏 伪蠀胃蠀蟺伪蟻尉委伪 渭蟺慰蟻蔚委 谓伪 蟿慰蠀蟼 魏维谓蔚喂 伪未蠀蟽蠋蟺畏蟿慰蠀蟼 伪蟺苇谓伪谓蟿喂 蟽蔚 蠈位慰 蟿慰谓 魏蠈蟽渭慰, 蠈蟺蠅蟼 慰喂 魏蠈蟻蔚蟼 蟽蟿慰谓 蟺伪蟿苇蟻伪 螕魏慰蟻喂蠈, 萎 畏 纬蠀谓伪委魏伪 蟿慰蠀 伪谓胃蟻蠅蟺维魏慰蠀 伪蟺鈥� 蟿慰 螒蟻蠂伪纬纬苇位蟽魏, 蟺慰蠀 未蔚谓 苇蠂蔚喂 魏伪渭喂维 蟽畏渭伪蟽委伪 畏 魏伪位慰蟽蠉谓畏, 畏 伪纬维蟺畏, 纬喂伪蟿委 慰 苇蟻蠅蟿伪蟼 蟿蠀蠁位蠋谓蔚喂 魏伪喂 尾位苇蟺蔚喂 蟿伪 蟺维谓蟿伪 蟽伪谓 蔚渭蟺蠈未喂慰 蟽蟿畏谓 蔚蠀蟿蠀蠂委伪 蟿慰蠀 魏伪喂 慰蟻喂蟽渭苇谓伪 蠈蟻喂伪 蠁伪委谓慰谓蟿伪喂 蟺慰位蠉 蔚蠉魏伪渭蟺蟿伪 魏伪喂 蔚蠉蟺位伪蟽蟿伪. 螤慰喂慰蟼 蔚委蟺蔚 蠈蟿喂 慰 苇蟻蠅蟿伪蟼 蔚委谓伪喂 畏胃喂魏蠈蟼;
螌渭蠅蟼, 蠈蟽慰 魏喂 伪谓 畏 蟺位慰魏萎 慰位慰魏位萎蟻蠅蟽蔚 蟿慰谓 魏蠉魏位慰 蟿畏蟼 蠁慰尾维渭伪喂 蠈蟿喂 伪谓 蟿慰谓 魏慰喂蟿维尉慰蠀渭蔚 伪蟺蠈 渭喂伪 伪蟺蠈蟽蟿伪蟽畏, 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 蟿慰 未蔚蠉蟿蔚蟻慰 蟿蠈尉慰 蔚委谓伪喂 魏维蟺蠅蟼 渭蔚纬伪位蠉蟿蔚蟻慰 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 蔚委谓伪喂 蟺伪蟻伪蟺维谓蠅 伪蟺鈥� 蟿慰 维位位慰 蟿蠈尉慰 魏喂 伪谓蟿委 纬喂伪 魏蠉魏位慰蟼 蟿慰 蟽蠂萎渭伪 蟺慰蠀 蟺蟻慰魏蠉蟺蟿蔚喂 蔚委谓伪喂 渭维位位慰谓 蠀蟺蔚蟻尾慰位喂魏萎蟼 渭慰蟻蠁萎蟼 魏喂 蔚蟺委蟽畏蟼 蔚魏蔚委谓慰喂 慰喂 未蟻蠈渭慰喂 蟺慰蠀 蠂伪蟻维蠂蟿畏魏伪谓 纬喂伪 蟿慰蠀蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 未喂伪蟿畏蟻慰蠉谓 渭喂伪 喂未苇伪 蟺蟻蠈蟽胃蔚蟿畏蟼 蟻伪蠁萎蟼. 螠蟺慰蟻蔚委 谓伪 鈥樜轿蔽� 畏 喂未苇伪 渭慰蠀.
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危魏蔚蠁蟿蠈渭慰蠀谓 蟿慰 危螝 蟿喂蟼 喂未喂伪喂蟿蔚蟻蠈蟿畏蟿蔚蟼 蟿慰蠀 蟿蟻委蟿慰蠀 渭苇蟻慰蠀蟼, 渭蔚蟿维 蟿慰 伪蟿蠉蠂畏渭伪. 螤喂蟽蟿蔚蠉蠅 蟺蠅蟼 纬喂伪 渭喂伪 伪魏蠈渭畏 蠁慰蟻维 苇谓伪 伪谓蟿委纬蟻伪蠁慰, 蔚委谓伪喂 伪谓蟿维尉喂慰 蟿慰蠀 伪蠀胃蔚谓蟿喂魏慰蠉. 违蟺维蟻蠂蔚喂 渭喂伪 尾伪胃喂维 纬蟻伪渭渭萎 蟽蠀纬纬苇谓蔚喂伪蟼, 蟿蠈蟽慰 渭蔚 蟿慰 未蔚蠉蟿蔚蟻慰 渭苇蟻慰蟼 蟿慰蠀 螘尉伪未苇位蠁慰蠀 螤慰谓蟼, 蔚喂未喂魏维 伪蠁慰蠉 渭苇谓蔚喂 魏伪蟿维魏慰喂蟿慰蟼 魏伪喂 渭喂伪 维位位畏 位喂纬蠈蟿蔚蟻慰 蔚渭蠁伪谓萎蟼 魏伪喂 蟽伪蠁萎蟼 渭蔚 蟿慰 围蠅蟻喂蠈 危蟿喂蔚蟺伪谓蟿蟽委魏慰尾慰. 韦委蟺慰蟿伪 蠈渭蠅蟼 未蔚谓 魏维谓蔚喂 位喂纬蠈蟿蔚蟻慰 纬慰畏蟿蔚蠀蟿喂魏萎 蟿畏谓 伪谓维纬谓蠅蟽畏, 伪蠀蟿慰蠉 蔚未蠋 蟿慰蠀 尾喂尾位委慰蠀, 慰蠉蟿蔚 魏伪谓 畏 蟺蟻蠈胃蔚蟽畏 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 蟿慰蠀 伪蟺' 蟿畏谓 伪蟻蠂萎 谓伪 未蠋蟽蔚喂 蟿慰 蟽魏蔚位蔚蟿蠈.
26.10.17:
螌蟿伪谓 未喂伪尾维味蠅 尾喂尾位委伪 蟽伪谓 伪蠀蟿蠈 蟺慰蠀 慰 蟻蔚伪位喂蟽渭蠈蟼 胃蠀蟽喂维味蔚喂 魏维胃蔚 蠅蟻伪喂慰位慰纬委伪 蠄蠀蠂蟻维 魏喂 伪蟺慰蠁伪蟽喂蟽蟿喂魏维, 蠈蟽慰 魏喂 伪谓 蔚尉伪魏慰位慰蠀胃蠋 谓伪 伪纬伪蟺蠋 蟿慰 蟻蔚伪位喂蟽渭蠈, 蟽蟿蔚谓慰蠂蠅蟻喂苇渭伪喂, 伪蟺慰纬慰畏蟿蔚蠉慰渭伪喂, 胃蠀蔚位位喂维味蠅 蟿蠈蟽慰 蟺慰位蠉 伪蟺鈥� 蟿畏谓 蔚喂位喂魏蟻委谓蔚喂伪 蟺慰蠀 伪渭苇蟽蠅蟼 蟽魏苇蠁蟿慰渭伪喂 谓伪 蟿蔚位蔚喂蠋蟽蔚喂, 渭伪魏维蟻喂 谓伪 蟿蔚位蔚喂蠋蟽蔚喂, 纬喂伪 谓伪 未喂伪尾维蟽蠅 蟺伪蟻伪渭蠉胃喂伪 纬喂伪 蠈位畏 蟿畏 渭伪纬蔚委伪 蟺慰蠀 渭慰蠀 苇魏位蔚蠄伪谓, 魏伪喂, 伪蟼 渭慰蠀 未委谓慰蠀谓 蟿畏谓 蔚蟺喂尾蔚尾伪委蠅蟽畏. 危蔚 魏伪谓苇谓伪谓 未蔚谓 伪蟻苇蟽蔚喂 谓伪 蟿慰谓 尾蟻委味慰蠀谓, 谓伪 蟿慰谓 蠁苇蟻谓慰蠀谓 伪谓蟿喂渭苇蟿蠅蟺慰 渭蔚 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 苇蟿蟽喂;
螤蠈蟽伪 魏维谓慰蠀渭蔚 纬喂伪 蟿伪 蟺维胃畏 渭伪蟼, 蟺慰蠀 伪谓 未委谓伪渭蔚 委蟽蔚蟼 蔚蠀魏伪喂蟻委蔚蟼 蟽蔚 维位位慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 未蔚 胃伪 魏蠀谓畏纬慰蠉蟽伪渭蔚 渭喂伪 味蠅萎 伪谓苇渭慰蠀蟼. 螠伪 蠈蟿伪谓 蟿慰 蟺维胃慰蟼 未蔚谓 苇蠂蔚喂 蟿慰谓 苇位蔚纬蠂慰, 慰 谓慰蠀蟼 未蔚谓 蔚委谓伪喂 魏伪胃蠈位慰蠀 伪蟺位蠈蠂蔚蟻慰蟼, 纬喂伪蟿委 魏维蟺慰喂伪 蟺蟻维纬渭伪蟿伪, 慰蟻喂蟽渭苇谓蔚蟼 蠀蟺慰蠂蠅蟻萎蟽蔚喂蟼 蟿喂蟼 尾位苇蟺蔚喂 蟽伪谓 蠀蟺慰魏蟻喂蟽委蔚蟼 魏伪喂 蠈蠂喂 蟽伪谓 蔚蠀魏伪喂蟻委蔚蟼 魏伪喂 蟺蟻慰蟿喂渭维 谓伪 渭畏蟻蠀魏维味蔚喂 蟽蟿慰 蔚纬蠅喂蟽蟿喂魏蠈 蟿慰蠀 尾慰蟽魏慰蟿蠈蟺喂.
螒谓萎魏蔚喂 蟽蔚 伪蠀蟿蠈 蟿慰 蔚委未慰蟼 蟽蠀纬纬蟻伪蠁苇伪 慰 螡伪渭蟺蠈魏慰蠁 蟺慰蠀 伪谓萎魏蔚 魏伪喂 慰 危蟿蔚谓蟿维位: 位喂蟿蠈蟼 魏伪喂 尾伪胃蠀蟽蟿蠈蠂伪蟽蟿慰蟼, 渭苇蟽伪 蟽蔚 蔚位维蠂喂蟽蟿蔚蟼 纬蟻伪渭渭苇蟼 蔚尉伪谓蟿位蔚委 魏慰蠁蟿蔚蟻维 蟿畏谓 伪谓伪蟿慰渭委伪, 蟿畏 蠁蠀蟽喂慰位慰纬委伪, 蟿畏谓 蟺伪胃慰位慰纬委伪 蟿慰蠀 伪蟺蠅胃畏渭苇谓慰蠀, 蟿畏谓 畏胃喂魏萎 蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 蟽蟿慰蠀蟼 魏蠉魏位慰蠀蟼 蟿蠅谓 伪蟺苇尉蠅 ( 胃蠀渭畏胃蔚委蟿蔚 蠈蟽慰喂 蟿慰 鈥樝囄迪勎� 未喂伪尾维蟽蔚喂 蟿畏 蟽蟿维蟽畏 蟿蠅谓 蠁委位蠅谓 渭蔚蟿维 蟿慰 蠂蠅蟻喂蟽渭蠈 蟿慰蠀 螒位渭蟺委谓慰蠀蟼, 萎 蟿慰 蟺畏纬伪未维魏喂 蟿慰蠀 胃蠀蟻蠅蟻慰蠉 蟿畏 渭苇蟻伪 蟿畏蟼 蟺蟻蔚渭喂苇蟻伪蟼 ). 螕蟻维蠄喂渭慰 蠁喂位喂魏蠈, 渭苇蟽伪 蟽蔚 位委纬蔚蟼 蟽蔚喂蟻苇蟼 魏位苇尾蔚喂 伪蟺鈥� 蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼 蔚魏蔚委谓蔚蟼 蟿喂蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟺慰蠀 蟿慰蠀蟼 蠂伪蟻伪魏蟿畏蟻委味慰蠀谓, 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺鈥� 蟿伪 蟺慰蟻蟿蟻苇蟿伪 蟿慰蠀蟼. 螠蔚 蠈位畏 蟿慰蠀 蟿畏谓 伪蟺位蠈蟿畏蟿伪, 纬蟻维蠁蔚喂 蟺位伪蟿喂维, 蟽伪谓 谓伪 未喂伪蟽蠂委味蔚喂蟼 蟺蔚未喂维未蔚蟼, 蟽伪 谓伪 尾位苇蟺蔚喂蟼 渭喂伪 味蠅萎 渭苇蟽伪 伪蟺鈥� 蟿伪 蠁伪谓维蟻喂伪 蟽蔚 未蟻蠈渭慰 蟽魏慰蟿蔚喂谓蠈 蟺慰蠀 未蔚谓 苇蠂蔚喂蟼 蟺慰位位苇蟼 蔚蠀魏伪喂蟻委蔚蟼 魏伪喂 渭喂蟽慰魏位蔚委谓慰谓蟿伪蟼 蟿伪 尾位苇蠁伪蟻伪 蟺蔚蟻喂渭苇谓蔚喂蟼 蟿畏 蟽蟿喂纬渭喂伪委伪 位维渭蠄畏 纬喂伪 谓伪 蠀蠁伪蟻蟺维尉蔚喂蟼 蠈蟽慰 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 渭蟺慰蟻蔚委蟼, 蟺蟻喂谓 蠂伪胃蔚委 蟽蔚 渭喂伪 蟺慰蟻蔚委伪 伪谓蔚尉苇位蔚纬魏蟿畏, 伪未喂维魏慰蟺畏, 苇尉蠅 伪蟺蠈 蟽蟿伪蟿喂蟽蟿喂魏苇蟼.
<< 螒蟻蠂委味蔚喂, 蟽魏苇蠁蟿畏魏蔚 慰 螒位渭蟺委谓慰蠀蟼 >>. 螖蔚谓 蠀蟺维蟻蠂蔚喂 伪蟺位慰蠉蟽蟿蔚蟻畏 蠁蟻维蟽畏 伪蟺鈥� 伪蠀蟿蠈 蟿慰 鈥樷赌櫸毕佅囄段滴光赌欌赌� 魏喂 蠈渭蠅蟼 未蔚委蠂谓蔚喂 渭蔚 蟿慰谓 魏伪位蠉蟿蔚蟻慰 蟿蟻蠈蟺慰 渭喂伪 蟺慰位蠉 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏萎 蠁蟻维蟽畏 蟺慰蠀 苇蠂蔚喂 渭慰谓慰位慰纬萎蟽蔚喂 蟿慰蠀位维蠂喂蟽蟿慰谓 未蠀慰 蠁慰蟻苇蟼 魏维胃蔚 维谓蟿蟻伪蟼 蟽蟿畏 味蠅萎 蟿慰蠀. 韦畏谓 蟺蟻蠋蟿畏, 蟺喂维谓慰谓蟿伪蟼 蟿慰谓 蔚魏魏慰位伪蟺蟿蠈渭蔚谓慰 魏蠋未喂魏伪 魏伪蟿维 蟿蠉蠂畏 魏伪喂 蟿畏 未蔚蠉蟿蔚蟻畏 蔚蟺蔚喂未萎 畏 伪蟻蠂萎 魏维胃蔚 魏蠋未喂魏伪 蔚委谓伪喂 委未喂伪 魏伪喂 蟺蟻慰伪喂蠋谓喂伪, 伪蠁萎谓蔚喂 魏维蟿喂 蟽伪 渭蠀蟻渭萎纬魏喂伪蟽渭伪 蟽蟿畏 蟽魏苇蠄畏, 蟽伪谓 伪渭蠁喂尾慰位委伪 蠂伪蟻渭蠈蟽蠀谓畏 蟽蟿畏谓 魏伪蟻未喂维.
螝蔚谓蟿蟻喂魏蠈蟼 慰喂魏慰未蔚蟽蟺蠈蟿畏蟼 慰 苇蟻蠅蟿伪蟼 蟿蠅谓 未喂伪蠁慰蟻蠋谓, 慰未畏纬蔚委 蟽蟿畏谓 魏慰蟻蠉蠁蠅蟽畏 蟿畏蟼 魏蟻蠀蟽蟿维位位蠅蟽畏蟼 蟺蟻喂谓 蟿畏谓 伪蟺慰渭蠀胃慰蟺慰委畏蟽畏 ( 蠈蟺蠅蟼 蟺慰位位维 蠂蟻蠈谓喂伪 蟺蟻喂谓 纬蟻维蠁蟿畏魏蔚 蟽蟿慰 蟽蟺慰蠀未伪喂蠈蟿蔚蟻慰 蔚纬蠂蔚喂蟻委未喂慰 纬喂伪 蟿慰谓 苇蟻蠅蟿伪, 伪蟺鈥� 蟿慰 危蟿蔚谓蟿维位 ). 螤蔚蟻喂纬蟻伪蠁萎 魏蟻蠀蟽蟿维位位喂谓畏, 蠈蠂喂 蠈渭蠅蟼 蟽伪谓 蔚魏蔚委谓伪 蟿伪 蟺慰蟿萎蟻喂伪 渭蔚 蟿喂蟼 魏伪蟻喂魏伪蟿慰蠉蟻蔚蟼, 蠈蠂喂 苇蟿蟽喂, 蟺蟻伪纬渭伪蟿喂魏蠈 魏蟻蠉蟽蟿伪位位慰 渭伪 委蟽喂慰 未委蠂蠅蟼 魏伪渭喂维 蟺蔚蟻喂魏慰魏位维未伪. 螣喂 未喂伪蠁慰蟻苇蟼, 伪魏蠈渭畏 畏 蔚蟺喂位慰纬萎 蔚谓蠈蟼 蟿伪喂蟻喂慰蠉 蔚魏 未喂伪渭苇蟿蟻慰蠀 伪谓蟿委胃蔚蟿慰 伪蟺鈥� 蟿慰 蟺蟻慰畏纬慰蠉渭蔚谓慰, 畏 蠀蟺慰蠂蠋蟻畏蟽畏 渭蟺蟻慰蟼 蟽蟿慰 蟺维胃慰蟼 蟿蠅谓 蔚谓未喂伪蠁蔚蟻蠈谓蟿蠅谓 渭伪蟼 蟺慰蠀 慰 维位位慰蟼 未蔚谓 伪未喂伪蠁慰蟻蔚委 伪蟺位蠋蟼, 渭伪 魏伪喂 蟿鈥� 伪蟺伪尉喂蠋谓蔚喂, 纬喂伪蟿委 未蔚谓 魏伪蟿伪位伪尾伪委谓蔚喂.
<<螒谓 渭慰蠀 蟿慰 鈥樜晃滴澄� 魏伪谓蔚委蟼 蟿畏谓 蟺伪蟻伪渭慰谓萎 蟿畏蟼 蟺蟻蠅蟿慰蠂蟻慰谓喂维蟼>> 未蔚谓 蔚委谓伪喂 蔚谓未喂伪蠁苇蟻慰谓; 危蠀谓畏胃委味慰蠀渭蔚 谓伪 蟽蠀谓未苇慰蠀渭蔚 蟿慰 蠂伪蟻慰蠉渭蔚谓慰 蔚慰蟻蟿伪蟽蟿喂魏蠈 蟿蠅谓 围蟻喂蟽蟿慰蠀纬苇谓谓蠅谓 魏伪喂 蟿畏谓 蟿蠀蟺喂魏萎 伪位位伪纬萎 蟿慰蠀 苇蟿慰蠀蟼, 蠈蟿伪谓 胃蠀渭蠈渭伪蟽蟿蔚 蟺蠅蟼 维位位伪尉蔚 畏 味蠅萎 渭伪蟼, 蟺蟻慰蟿喂渭蠋谓蟿伪蟼 伪蠀蟿萎 蟿畏谓 蟺蔚蟻委慰未慰 蟺慰蠀 蟽委纬慰蠀蟻伪 蟿伪 蟺蟻维纬渭伪蟿伪 萎蟿伪谓 伪位位喂蠋蟼 纬喂伪蟿委 蟽蠀谓萎胃蠅蟼 慰喂 渭蔚纬维位蔚蟼 伪位位伪纬苇蟼, 苇蟻蠂慰谓蟿伪喂 蟽蔚 维位位蔚蟼 蟽蟿喂纬渭苇蟼, 未喂维蠁慰蟻蔚蟼 蠂蟻慰谓喂魏维, 伪魏蠈渭畏 委蟽蠅蟼 鈥� 委蟽蠅蟼 魏伪喂 未喂维蠁慰蟻蔚蟼 蟺谓蔚蠀渭伪蟿喂魏维.
<< 伪谓 魏伪喂 慰 蠂蠋蟻慰蟼 渭喂伪蟼 蟿伪蠁蠈蟺蔚蟿蟻伪蟼 蔚委谓伪喂 伪蟻魏蔚蟿蠈蟼 纬喂伪 谓伪 蠂蠅蟻苇蟽蔚喂, 蠁蟻伪纬渭苇谓畏 伪蟺蠈 伪纬蟻喂蠈蠂慰蟻蟿伪, 蟿畏谓 蟺蔚蟻委位畏蠄畏 渭喂伪蟼 伪谓胃蟻蠋蟺喂谓畏蟼 味蠅萎蟼, 慰喂 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟺维谓蟿伪 蔚委谓伪喂 魏伪位慰未蔚蠂慰蠉渭蔚谓蔚蟼 >> 魏伪喂 蠈谓蟿蠅蟼 蟺维谓蟿慰蟿蔚 渭伪蟼 蔚谓未喂伪蠁苇蟻慰蠀谓 慰喂 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼, 纬喂伪蟿委 蔚委谓伪喂 伪蠀蟿苇蟼 蟺慰蠀 魏维谓慰蠀谓 蟿畏 渭慰谓维未伪, 渭慰谓维未伪 魏伪喂 蠈蟽慰 蟺喂魏蟻苇蟼 魏喂 伪未委蟽蟿伪魏蟿蔚蟼 魏喂 伪谓 蔚委谓伪喂, 未喂蠄维渭蔚 谓伪 蟿喂蟼 纬蔚蠀蟿慰蠉渭蔚, 蟽伪谓 蠂伪蟻蠅蟺慰委 魏伪喂 魏伪胃蠈位慰蠀 苇谓慰蠂慰喂 畏未慰谓慰尾位蔚蠄委蔚蟼, 蔚位蟺委味慰蠀渭蔚, 蟺蠅蟼 蠈位伪 渭蟺慰蟻慰蠉谓 谓伪 纬委谓慰蠀谓 伪位位喂蠋蟼, 萎 苇蟽蟿蠅 谓伪 蟿伪尉喂未苇蠄慰蠀渭蔚 渭蔚 蟿伪 蟺伪胃萎渭伪蟿伪 魏维蟺慰喂慰蠀 维位位慰蠀. 螠蠈谓慰 蟺慰蠀 苇谓伪蟼 魏伪位蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼, 苇谓伪蟼 魏伪位蠈蟼 蟻蔚伪位喂蟽蟿萎蟼 蟽蠀纬纬蟻伪蠁苇伪蟼, 蟺维谓蟿慰蟿蔚 胃伪 蟺蔚喂 渭苇蟽伪 蟽蟿喂蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 魏伪喂 蟺蟻维纬渭伪蟿伪 蟺慰蠀 尉蔚蠁蔚蠉纬慰蠀谓 蟿畏蟼 未慰渭萎蟼, 魏维蟿喂 蔚位伪蠁蟻维 蟺伪蟻维蟿伪喂蟻慰, 萎 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟺慰蠀 蠈渭蠅蟼 胃伪 蔚委谓伪喂 伪魏蟻喂尾蠋蟼 蔚魏蔚委谓慰 蟺慰蠀 未蔚谓 蟺蔚蟻委渭蔚谓蔚蟼 谓伪 尾蟻蔚喂蟼, 蔚魏蔚委谓慰 蟺慰蠀 苇蠂蔚喂蟼 伪蟺慰蠁伪蟽委蟽蔚喂 谓伪 伪蟺慰蠁蔚蠉纬蔚喂蟼 蟽伪 胃苇渭伪 蟽蠀味萎蟿畏蟽畏蟼 渭蔚 蟿慰谓 蔚伪蠀蟿蠈 蟽慰蠀.
螖蔚谓 蠀蟺维蟻蠂慰蠀谓 蟽畏渭蔚委伪 蟺慰蠀 伪蠁萎谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟽蟿慰 蟽魏慰蟿维未喂, 伪蟺鈥� 蟿慰 蟺蠋蟼 渭蟺慰蟻蔚委 苇谓伪 渭喂魏蟻蠈 伪谓胃蟻蠅蟺维魏喂, 渭喂伪 渭蔚蟿蟻喂伪未慰蠉蟻伪 谓伪 蠀蠄蠋蟽蔚喂 蟿苇蟿慰喂慰 伪谓维蟽蟿畏渭伪 位蠈纬蠅 蔚魏蔚委谓慰蠀 蟿慰蠀 蔚委未慰蠀蟼 蟺维胃慰蠀蟼 蟺慰蠀 蠀蟺慰魏喂谓慰蠉渭蔚谓慰 伪蟺鈥� 蟿慰 伪蠂蠈蟻蟿伪纬慰 伪蟺蠅胃畏渭苇谓慰 魏喂 伪蟺鈥� 蟿慰谓 鈥樷€櫸迪兿壪勎迪佄刮合� 维谓胃蟻蠅蟺慰鈥欌€�, 蟿慰 伪蟽蠀谓蔚委未畏蟿慰, 蠈蟺蠅蟼 蟿慰 慰谓慰渭维味蔚喂 慰 螕喂慰蠀谓纬魏 伪蟺慰未蔚喂魏谓蠉蔚喂 魏伪蟿维 蟿伪 位蔚纬蠈渭蔚谓伪 蟿慰蠀 危慰蟺蔚谓维慰蠀蔚蟻, 蟺蠈蟽慰 伪未喂伪谓蠈畏蟿伪 喂蟽蠂蠀蟻萎 蔚委谓伪喂 畏 胃苇位畏蟽畏, 蟺维谓蠅 伪魏蠈渭畏 魏喂 伪蟺鈥� 蟿慰 谓慰蠀. 螆谓伪 蟿苇蟿慰喂慰 伪谓胃蟻蠅蟺维魏喂 渭蔚 伪蟺委蟽蟿蔚蠀蟿畏 伪蟺慰蠁伪蟽喂蟽蟿喂魏蠈蟿畏蟿伪, 蠄蠀蠂蟻维 渭苇蟽伪 蟽蔚 伪未喂伪蟽维位蔚蠀蟿畏 魏伪喂 伪未喂伪蟺蟻伪纬渭维蟿蔚蠀蟿畏 伪蟺维胃蔚喂伪 蟺伪蟻伪蟿维蔚喂 蟿慰 蟺伪喂未委 蟿慰蠀 ( 渭蔚 苇蟽魏喂蟽蔚 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蠈蟿伪谓 蟿慰 蟺伪喂未委 维谓慰喂尉蔚 蟿慰 蟺伪蟻维胃蠀蟻慰 蔚位蟺委味慰谓蟿伪蟼 蟺蠅蟼 蟿慰 蟽蠁蠉蟻喂纬渭伪 蟿慰蠀 伪纬谓蠋蟽蟿慰蠀 萎蟿伪谓 蟿慰 蟽蠁蠉蟻喂纬渭伪 蟿慰蠀 蟺伪蟿苇蟻伪 ), 蟿畏 纬蠀谓伪委魏伪 蟿慰蠀 魏伪喂 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 蟽蟿慰 蟽蟺委蟿喂 蟿慰蠀 蔚纬魏伪胃喂蟽蟿维 蟿慰 蟿蟽蠈魏伪蟻慰 魏伪喂 伪蟻魏蔚委 渭喂伪 魏伪喂 渭蠈谓畏 渭蔚蟿伪蟿蠈蟺喂蟽畏 蔚谓蠈蟼 尾维味慰蠀 萎 魏维蟺慰喂慰蠀 蠁慰蠀位伪蟻喂慰蠉 纬喂伪 谓伪 尉蔚蠂维蟽蔚喂 蠈蟽伪 蟽蠀谓苇未蔚伪谓 伪蠀蟿蠈 蟿慰 蠂蠋蟻慰 渭蔚 蟿畏谓 蟺蟻慰畏纬慰蠉渭蔚谓畏 味蠅萎 蟿慰蠀. 螌蟽慰 魏喂 伪谓 蟿慰谓 蠂维蟻畏魏伪, 蠈蟽慰 魏喂 伪谓 蟿慰谓 蟽蠀渭蟺维胃畏蟽伪 蟺慰蠀 渭苇蟽伪 蟽蟿畏谓 伪蟺位蠈蟿畏蟿伪 蟿慰蠀 蟽蟿畏谓 伪蟻蠂萎 鈥� 伪蟻蠂萎 胃蔚蠅蟻慰蠉蟽蔚 伪蟺喂蟽蟿委伪 蠈蠂喂 蟿慰 谓伪 蟺伪蟻伪蠁蠀位维尉蔚喂 渭喂伪 维位位畏 纬蠀谓伪委魏伪, 渭伪 蟿慰 谓伪 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蟽蟿畏 尾蟻慰蠂萎 蠂蠅蟻委蟼 慰渭蟺蟻苇位伪, 蟿蠈蟽慰 渭蔚蟿维 蟿慰谓 伪蟺苇蟻蟻喂蠄伪 渭蔚 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 未喂苇纬蟻伪蠄蔚 蟿畏谓 螉蟻渭伪.
螌蟺蠅蟼 苇纬蟻伪蠄伪 蟿委蟺慰蟿伪 未蔚谓 伪蠁萎谓蔚喂 萎蟽蠀蠂慰, 慰蠉蟿蔚 蟿畏谓 蟿苇蠂谓畏, 慰蠉蟿蔚 蟿畏 蟽蠀纬纬蟻伪蠁萎, 蟿畏 未喂伪蠁胃慰蟻维, 蟿畏 渭蠈位蠀谓蟽畏 蟿蠅谓 蠄蔚渭维蟿蠅谓 伪蟺蠈 蟽蠀渭蠁苇蟻慰谓, 魏维蟺慰蠀 蟽鈥� 苇谓伪 蟿伪尉委未喂 蟽蟿畏 螕伪位位委伪, 蠂蠋谓蔚喂 魏喂 蔚魏蔚委谓畏 蟿畏 渭喂魏蟻萎 胃蔚维 蟿畏谓 伪渭蠁喂尾慰位委伪, 蟺畏纬萎 蟺慰位位蠋谓 魏伪魏蠋谓, 渭伪 魏伪喂 畏 伪蟺慰蟿蠉蟺蠅蟽畏 蟺慰蠀 魏维谓蔚喂 蟽蟿畏谓 蟿蠉蠁位蠅蟽畏 蟺谓蔚蠀渭伪蟿喂魏萎 萎 蟺蟻伪纬渭伪蟿喂魏萎, 蔚委谓伪喂 蟿蠈蟽慰 纬位伪蠁蠀蟻萎 蟺慰蠀 蟽魏慰蟿蠋谓蔚喂. 螝喂 蠈渭蠅蟼 蟺苇蟻伪蟽伪谓 蟿蠈蟽蔚蟼 蟽蔚位委未蔚蟼, 伪蠀尉萎胃畏魏伪谓 蠀蟺蔚蟻尾慰位喂魏维 蟿伪 未蔚喂谓维 蟿慰蠀 螒位渭蟺委谓慰蠀蟼, 蠅蟽蟿蠈蟽慰 蔚纬蠋 未蔚 渭蟺蠈蟻蔚蟽伪 谓伪 蟿慰谓 尉伪谓伪未蠋 纬位蠀魏维, 畏 蟽魏苇蠄畏 渭慰蠀 蟺伪蟻苇渭蔚喂谓蔚 渭蔚 蟿畏 渭喂魏蟻慰蠉位伪 螉蟻渭伪. 螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蟺蠅蟼 渭蔚蟿维 伪蟺蠈 鈥樜何滴刮轿� 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 胃蔚蠅蟻蔚委, 萎 魏伪位蠉蟿蔚蟻伪 畏 尾慰蠉位畏蟽畏 蟺蔚委胃蔚喂 蟿慰 谓慰蠀 蠈蟿喂 畏 伪纬维蟺畏 蟿慰蠀 纬喂伪 蟿畏 纬蠀谓伪委魏伪 蟿慰蠀 蔚委谓伪喂 维蟽尾蔚蟽蟿畏, 维蟻伪 渭蟺慰蟻蔚委 谓伪 蟺伪蟻慰蟺位喂蟽蟿蔚委 纬喂伪 蟿慰 蟺维胃慰蟼, 伪魏慰位慰蠀胃蔚委 苇谓伪蟼 魏伪蟿萎蠁慰蟻慰蟼 蟺慰位蠉 蟿蟻伪蠂蠉蟼 魏伪喂 伪蟺蠈蟿慰渭慰蟼. 螞委纬慰 蟺慰位蠉 蔚委谓伪喂 魏维蟺慰喂蔚蟼 蠁慰蟻苇蟼 蟺慰蠀 蟺苇蠁蟿蔚喂蟼 蟽蟿伪 渭伪位伪魏维 纬喂伪 魏维蟺慰喂蔚蟼 伪蟺慰蠁维蟽蔚喂蟼 魏伪喂 渭蔚 魏维蟺慰喂蔚蟼 维位位蔚蟼 蟽慰蠀 未委谓蔚喂 魏伪喂 魏伪蟿伪位伪尾伪委谓蔚喂蟼, 未蔚谓 蠀蟺维蟻蠂蔚喂 蟽蟿伪渭伪蟿畏渭蠈蟼.
螉蟽蠅蟼 谓伪 渭畏谓 蠁蟿维谓蔚喂 蟽蔚 蟿苇蟿慰喂伪 未蠀蟽胃蔚蠋蟻畏蟿伪 尾维胃畏 蟺蟻伪纬渭伪蟿喂魏维, 伪位位维 蠄蠀蠂喂魏维 渭蟺慰蟻蔚委 魏伪喂 谓伪 蟿伪 尉蔚蟺蔚蟻谓维蔚喂. 韦苇位慰蟼 未蔚谓 伪蠁萎谓蔚蟿伪喂 魏伪渭喂维 位蔚蟺蟿慰渭苇蟻蔚喂伪 伪谓蔚尉萎纬畏蟿畏, 慰蠉蟿蔚 蟽蔚 蔚蟺委蟺蔚未慰 蠄蠀蠂慰位慰纬喂魏慰蠉 蟻蔚伪位喂蟽渭慰蠉 蟽蠂蔚蟿喂魏维 渭蔚 蟿慰 蠀蟺蠈尾伪胃蟻慰 蟿蠅谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿蠋谓, 伪蟺鈥� 蟿慰谓 伪谓蠉蟺伪蟻魏蟿慰 蟺伪蟿苇蟻伪 蟿畏蟼 螠伪蟻纬魏蠈蟿 魏伪喂 蟿慰谓 伪未蔚蟻蠁蠈 蟺慰蠀 伪谓伪味畏蟿维 蟿畏谓 蟿喂渭萎 蟿慰蠀 蠈蟿伪谓 渭蟺慰蟻蔚委 谓伪 伪蟺慰蟿喂渭畏胃蔚委 慰喂魏慰谓慰渭喂魏维 ( 伪蠀蟿蠈 蟿蠋蟻伪 胃蠀渭委味蔚喂 伪未喂蠈蟻伪蟿伪 螢蔚谓蠈蟺慰蠀位慰, 未蔚谓 蠀蟺慰谓慰蠋 蟺伪蟻维 渭喂伪 蔚魏位蔚魏蟿喂魏萎 蟽蠀纬纬苇谓蔚喂伪 未蔚未慰渭苇谓蠅谓 蟿蠅谓 蔚蟺慰蠂蠋谓 蟺慰蠀 纬蟻维蠁蟿畏魏伪谓 魏伪喂 蟿伪 未蠀慰 苇蟻纬伪 ), 渭苇蠂蟻喂 蟿慰 巍蔚尉 蟺慰蠀 蠄蠀蠂蠈蟻渭畏蟿伪 苇魏伪喂纬蔚 蟺慰谓蟿委魏喂伪 蟺蟻喂谓 尉蠀蟺谓萎蟽蔚喂 渭苇蟽伪 蟿慰蠀 蟿慰 魏伪位位喂蟿蔚蠂谓喂魏蠈 伪蟺鈥� 蟿畏谓 伪谓维纬魏畏 谓伪 未蔚喂 蟿畏 蠁蠉蟽畏 蟺蟻喂谓 蟿畏 味蠅纬蟻伪蠁委蟽蔚喂 萎 蟿畏谓 蔚魏位慰纬委魏蔚蠀蟽畏 蟽蔚 伪蠀蟿蠈, 渭苇蠂蟻喂 蟿喂蟼 维谓慰蟽蟿蔚蟼 蟽蠂苇蟽蔚喂蟼 蟿慰蠀 螒位渭蟺委谓慰蠀蟼. 围伪蟻维味蔚喂 蠈位慰蠀蟼 蔚魏蔚委谓慰蠀蟼 蟿慰蠀蟼 未蟻蠈渭慰蠀蟼 蟺慰蠀 渭蔚蟿维 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 伪蟺位蠋蟼 伪魏慰位慰蠀胃慰蠉谓 蟿畏谓 蟺慰蟻蔚委伪 蟿慰蠀蟼, 伪未喂伪蟺蟻伪纬渭维蟿蔚蠀蟿伪 魏伪喂 蠂蠅蟻委蟼 蟽蟿伪渭伪蟿畏渭蠈. 螘谓未喂伪蠁苇蟻慰蠀蟽伪 伪魏蠈渭畏 魏喂 畏 蠄蠀蠂慰位慰纬委伪 蟿慰蠀 蠂蠅蟻喂蟽渭慰蠉 纬喂伪 蟿慰谓 蟺伪蟻伪蟿畏渭苇谓慰, 蟿慰 尾位苇蟺慰蠀渭蔚 蟽蟿畏 螞委味伪, 蟿慰 尾位苇蟺慰蠀渭蔚 蟽蟿畏 螠伪蟻纬魏蠈蟿. 螝伪喂 蔚蟺委蟽畏蟼, 蟺蠅蟼 蔚谓 未蠀谓维渭蔚喂 蠈位慰喂 渭蟺慰蟻慰蠉谓 谓伪 尾蟻蔚胃慰蠉谓 蟽蟿畏 胃苇蟽畏 蔚魏蔚委谓慰蠀 蟺慰蠀 蔚纬魏伪蟿伪位蔚委蟺蔚喂.
螠喂伪 蟿蔚位蔚蠀蟿伪委伪 蟽魏苇蠄畏 纬喂伪 蟿喂蟼 渭苇蟻蔚蟼 蟽蟿慰 蟽伪位苇 蔚委谓伪喂 伪蠀蟿萎, 蟺蠅蟼 渭蟺慰蟻慰蠉谓 未蠀慰 维谓胃蟻蠅蟺慰喂 谓伪 蔚委谓伪喂 萎 蠈蠂喂 蠂蠀未伪委慰喂 伪位位维 慰 苇蟻蠅蟿伪蟼 蟿慰蠀蟼, 伪蠀蟿蠈 蟿慰 蟽蠉蟽蟿畏渭伪 蟺慰蠀 伪蟺慰蟿蔚位慰蠉谓, 慰 魏蠋未喂魏伪蟼 蔚蟺喂魏慰喂谓蠅谓委伪蟼, 畏 伪蠀胃蠀蟺伪蟻尉委伪 渭蟺慰蟻蔚委 谓伪 蟿慰蠀蟼 魏维谓蔚喂 伪未蠀蟽蠋蟺畏蟿慰蠀蟼 伪蟺苇谓伪谓蟿喂 蟽蔚 蠈位慰 蟿慰谓 魏蠈蟽渭慰, 蠈蟺蠅蟼 慰喂 魏蠈蟻蔚蟼 蟽蟿慰谓 蟺伪蟿苇蟻伪 螕魏慰蟻喂蠈, 萎 畏 纬蠀谓伪委魏伪 蟿慰蠀 伪谓胃蟻蠅蟺维魏慰蠀 伪蟺鈥� 蟿慰 螒蟻蠂伪纬纬苇位蟽魏, 蟺慰蠀 未蔚谓 苇蠂蔚喂 魏伪渭喂维 蟽畏渭伪蟽委伪 畏 魏伪位慰蟽蠉谓畏, 畏 伪纬维蟺畏, 纬喂伪蟿委 慰 苇蟻蠅蟿伪蟼 蟿蠀蠁位蠋谓蔚喂 魏伪喂 尾位苇蟺蔚喂 蟿伪 蟺维谓蟿伪 蟽伪谓 蔚渭蟺蠈未喂慰 蟽蟿畏谓 蔚蠀蟿蠀蠂委伪 蟿慰蠀 魏伪喂 慰蟻喂蟽渭苇谓伪 蠈蟻喂伪 蠁伪委谓慰谓蟿伪喂 蟺慰位蠉 蔚蠉魏伪渭蟺蟿伪 魏伪喂 蔚蠉蟺位伪蟽蟿伪. 螤慰喂慰蟼 蔚委蟺蔚 蠈蟿喂 慰 苇蟻蠅蟿伪蟼 蔚委谓伪喂 畏胃喂魏蠈蟼;
螌渭蠅蟼, 蠈蟽慰 魏喂 伪谓 畏 蟺位慰魏萎 慰位慰魏位萎蟻蠅蟽蔚 蟿慰谓 魏蠉魏位慰 蟿畏蟼 蠁慰尾维渭伪喂 蠈蟿喂 伪谓 蟿慰谓 魏慰喂蟿维尉慰蠀渭蔚 伪蟺蠈 渭喂伪 伪蟺蠈蟽蟿伪蟽畏, 蠁伪委谓蔚蟿伪喂 蟺蠅蟼 蟿慰 未蔚蠉蟿蔚蟻慰 蟿蠈尉慰 蔚委谓伪喂 魏维蟺蠅蟼 渭蔚纬伪位蠉蟿蔚蟻慰 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 蔚委谓伪喂 蟺伪蟻伪蟺维谓蠅 伪蟺鈥� 蟿慰 维位位慰 蟿蠈尉慰 魏喂 伪谓蟿委 纬喂伪 魏蠉魏位慰蟼 蟿慰 蟽蠂萎渭伪 蟺慰蠀 蟺蟻慰魏蠉蟺蟿蔚喂 蔚委谓伪喂 渭维位位慰谓 蠀蟺蔚蟻尾慰位喂魏萎蟼 渭慰蟻蠁萎蟼 魏喂 蔚蟺委蟽畏蟼 蔚魏蔚委谓慰喂 慰喂 未蟻蠈渭慰喂 蟺慰蠀 蠂伪蟻维蠂蟿畏魏伪谓 纬喂伪 蟿慰蠀蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 未喂伪蟿畏蟻慰蠉谓 渭喂伪 喂未苇伪 蟺蟻蠈蟽胃蔚蟿畏蟼 蟻伪蠁萎蟼. 螠蟺慰蟻蔚委 谓伪 鈥樜轿蔽� 畏 喂未苇伪 渭慰蠀.
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September 29, 2022
104th book of 2022.
Deliciously sly and wry as always. This is now my 9th Nabokov book as I continue in my journey (after reading Lolita, Pnin and Invitation to a Beheading) of going back to the beginning and reading through him in chronological order*. Glory remains the best of his 茅migr茅 novels still.
The beginning of this is horribly slow, I read it ages ago and actually dropped it for a few months before picking it back up again. Once it hits its stride, it's everything you read Nabokov for 鈥�
Albinus is a sorry man who has an affair. No one gets off lightly in Nabokov's novels though, as we know. He once said in an interview that his characters fear him, when he walks down the streets of his mind, the leaves fall off the trees. Something like that. Martin Amis quoted Nabokov saying that in a different interview somewhere, I lose track of where. It's good when he says it though with his drawling very English accent. It really is laughter in the dark by the end. Good stuff, witty, cheeky, playful, everything you want in a serious novel about marriage, death and money. And most interestingly, it's translated by Nabokov himself from Russian to English. That doesn't happen often.
__________________________
*Reviews so far, excluding later works I've read past this current point:
Mary (1926)
King, Queen, Knave (1928)
The Luzhin Defence (1930)
The Eye (1930)
Glory (1932)
Laughter in the Dark (1933)
Deliciously sly and wry as always. This is now my 9th Nabokov book as I continue in my journey (after reading Lolita, Pnin and Invitation to a Beheading) of going back to the beginning and reading through him in chronological order*. Glory remains the best of his 茅migr茅 novels still.
The beginning of this is horribly slow, I read it ages ago and actually dropped it for a few months before picking it back up again. Once it hits its stride, it's everything you read Nabokov for 鈥�
Uncle alone in the house with the children said he'd dress up to amuse them. After a long wait, as he did not appear, they went down and saw a masked man putting the table silver into a bag. 'Oh, Uncle,' they cried in delight. 'Yes, isn't my make-up good?' said Uncle, taking his mask off. Thus goes the Hegelian syllogism of humour. Thesis: Uncle made himself up as a burglar (a laugh for the children); antithesis: it was a burglar (a laugh for the reader); synthesis: it still was Uncle (fooling the reader).
Albinus is a sorry man who has an affair. No one gets off lightly in Nabokov's novels though, as we know. He once said in an interview that his characters fear him, when he walks down the streets of his mind, the leaves fall off the trees. Something like that. Martin Amis quoted Nabokov saying that in a different interview somewhere, I lose track of where. It's good when he says it though with his drawling very English accent. It really is laughter in the dark by the end. Good stuff, witty, cheeky, playful, everything you want in a serious novel about marriage, death and money. And most interestingly, it's translated by Nabokov himself from Russian to English. That doesn't happen often.
__________________________
*Reviews so far, excluding later works I've read past this current point:
Mary (1926)
King, Queen, Knave (1928)
The Luzhin Defence (1930)
The Eye (1930)
Glory (1932)
Laughter in the Dark (1933)
May 18, 2019
丕賵賱蹖賳 讴鬲丕亘蹖 亘賵丿 讴賴 丕夭 賳丕亘丕讴賵賮 賲蹖禺賵賳丿賲 賲蹖鬲賵賳賲 亘诏賲 賵丕賯毓丕 蹖讴 賳賵蹖爻賳丿賴 蹖 趩蹖乇賴 丿爻鬲 賵 诏乇丿賳 讴賱賮鬲 亘賵丿賴.蹖讴 讴丕乇亘賱丿.蹖讴 讴賳賳賳丿賴 蹖 讴丕乇. 賵 趩賯丿乇 丕蹖賳 讴鬲丕亘 禺賵亘 亘賵丿. 卮禺氐蹖鬲 囟丿丕噩鬲賲丕毓蹖 賵 爻丕蹖讴賵倬鬲 "乇讴爻" 賵 卮蹖胤賳鬲丕卮貙 賵 "丌賱蹖亘蹖賳賵爻"听 賲乇丿蹖 讴賴 亘丕 丕蹖賳讴賴 亘蹖賳丕爻鬲 賵賱蹖 趩卮賲丕卮 丨賯蹖賯鬲 丕胤乇丕賮卮 乇賵 賳賲蹖亘蹖賳賴 賵 丿乇 鬲丕乇蹖讴蹖賴.
December 9, 2021
I read this book for a discussion in the Reading the 20th Century group, and it is a very difficult one to assess and review - three stars may be a bit mean, but that reflects the difference between this book and the likes of Pale Fire and Pnin. The Russian original was published in France in 1933, and Nabokov translated it into English himself five years later, but also described it as "one of his worst novels" in a 1941 letter.
Compared with his later work, it initially seems very light and farcical, but although the main protagonist Albert Albinus is vain, naive and to some extent deserves his fate, the cruelty of the games and deceptions played on him are extreme.
The dramatic first paragraph hints at what is coming: Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster.
The "youthful mistress" Margot, something of a Lolita figure, and her lover Rex, who Albinus initially thinks of as a trusted friend, seem at first to be toying with Albinus, but . Nabokov devotes very little space to Albinus's innocent wife and daughter.
This must have been quite a bold book for its time, particularly its lack of conventional morality, but parts of it are very funny, and there is plenty of entertaining observational writing.
Compared with his later work, it initially seems very light and farcical, but although the main protagonist Albert Albinus is vain, naive and to some extent deserves his fate, the cruelty of the games and deceptions played on him are extreme.
The dramatic first paragraph hints at what is coming: Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster.
The "youthful mistress" Margot, something of a Lolita figure, and her lover Rex, who Albinus initially thinks of as a trusted friend, seem at first to be toying with Albinus, but . Nabokov devotes very little space to Albinus's innocent wife and daughter.
This must have been quite a bold book for its time, particularly its lack of conventional morality, but parts of it are very funny, and there is plenty of entertaining observational writing.
April 13, 2017
What goes around, comes around鈥攔ight? Ostensibly a story about a man who forsakes his wife and child for a new model vixen (read: teenager), Laughter in the Dark sets a benchmark on how terrible human beings can be to one another and the very real cost that duplicity can exact on all involved. It had me wincing at points and I don鈥檛 wince. I鈥檓 incapable of wincing; winceless, wince-free; unwincable. Yet wince I did. Wince.
The novel is excruciating in its escalations of suffering. In a whole mess of betrayals, Nabokov almost seems to be trying to one-up himself on who can be awarded the blue ribbon for all-around shittiest human. There are a few runner-ups, terrible people all. For my reading habits, it is all very straightforward but nonetheless fantastic. Thus far it is my favorite of the Russian novels, though I鈥檇 gladly have it usurped (because that would mean an out-and-out masterpiece). Meh, this review sucks. Call me uninspired (I believe 鈥榳orking鈥� is the technical term).
I s鈥檖ose there are all kinds of novels out there that deal with this sort of stuff, and I鈥檓 sure the depravities have escalated as the public鈥檚 bloodlust has proven unslakable. I don鈥檛 intend on finding out. My collection of Fabio-adorned romance thrillers is purely for my own aesthetic enjoyment alone, thank you very much.
Back to the Nabo I go-go-go鈥�
The novel is excruciating in its escalations of suffering. In a whole mess of betrayals, Nabokov almost seems to be trying to one-up himself on who can be awarded the blue ribbon for all-around shittiest human. There are a few runner-ups, terrible people all. For my reading habits, it is all very straightforward but nonetheless fantastic. Thus far it is my favorite of the Russian novels, though I鈥檇 gladly have it usurped (because that would mean an out-and-out masterpiece). Meh, this review sucks. Call me uninspired (I believe 鈥榳orking鈥� is the technical term).
I s鈥檖ose there are all kinds of novels out there that deal with this sort of stuff, and I鈥檓 sure the depravities have escalated as the public鈥檚 bloodlust has proven unslakable. I don鈥檛 intend on finding out. My collection of Fabio-adorned romance thrillers is purely for my own aesthetic enjoyment alone, thank you very much.
Back to the Nabo I go-go-go鈥�
March 11, 2019
Riso na escurid茫o precedeu Lolita em mais de 20 anos, e talvez tenha sido a pedra basilar do romance que mudou para sempre a vida de Vladimir Nabokov.
Neste romance, tal como em Lolita, tamb茅m temos uma jovem adolescente, oriunda de uma fam铆lia disfuncional, neste romance, tamb茅m temos um homem maduro que sente o sangue pulsar assim que p玫e os olhos em cima da sua Lolita.
O livro come莽a assim:
鈥淓ra uma vez um homem chamado Albinus que vivia em Berlim, na Alemanha. Era rico, respeit谩vel e feliz; certo dia abandonou a mulher por causa de uma amante jovem; n茫o era amado; e a sua vida acabou em desastre.鈥�
O primeiro par谩grafo do livro e encerra toda a sua hist贸ria. Mas vale a pena ler o livro para perceber o que aconteceu e como aconteceu tal desastre na vida de Albinus, com repercuss玫es para toda a sua fam铆lia.
A hist贸ria 茅 emocionante, porque ao longo do livro o canalha passa a v铆tima e a v铆tima passa a canalha, como se costuma dizer, tudo vai e tudo volta, aqui n茫o h谩 santos nem deuses.
Tal como nos humanos, estes personagens s茫o dotados de defeitos e virtudes, e 茅 claro que a balan莽a n茫o pende de forma igual para todos, existem pesos diferentes para cada personagem.
A obra foi publicada em 1936, a primeira vers茫o, mas 茅 um livro muito bem concebido, bem escrito e a narrativa 茅 intemporal.
Neste romance, tal como em Lolita, tamb茅m temos uma jovem adolescente, oriunda de uma fam铆lia disfuncional, neste romance, tamb茅m temos um homem maduro que sente o sangue pulsar assim que p玫e os olhos em cima da sua Lolita.
O livro come莽a assim:
鈥淓ra uma vez um homem chamado Albinus que vivia em Berlim, na Alemanha. Era rico, respeit谩vel e feliz; certo dia abandonou a mulher por causa de uma amante jovem; n茫o era amado; e a sua vida acabou em desastre.鈥�
O primeiro par谩grafo do livro e encerra toda a sua hist贸ria. Mas vale a pena ler o livro para perceber o que aconteceu e como aconteceu tal desastre na vida de Albinus, com repercuss玫es para toda a sua fam铆lia.
A hist贸ria 茅 emocionante, porque ao longo do livro o canalha passa a v铆tima e a v铆tima passa a canalha, como se costuma dizer, tudo vai e tudo volta, aqui n茫o h谩 santos nem deuses.
Tal como nos humanos, estes personagens s茫o dotados de defeitos e virtudes, e 茅 claro que a balan莽a n茫o pende de forma igual para todos, existem pesos diferentes para cada personagem.
A obra foi publicada em 1936, a primeira vers茫o, mas 茅 um livro muito bem concebido, bem escrito e a narrativa 茅 intemporal.
April 27, 2023
Kazdy bohater zachowuje sie jak zjeb, nikogo nie lubie, z kolei zaraz zaczynam kibicowa膰 bohaterowi, kt贸rego nie lubi艂am. Zaraz zmieniam strone? Swietna manipulacja emocjami. Swietna ksiazka, love max. Polecanko
August 5, 2010
賳丕亘丕讴賵賮 賲蹖 诏賵蹖丿 賳賵蹖爻賳丿賴 亘丕蹖丿丿乇 丌賳 賵丕丨丿 爻賴 賳賮乇 亘丕卮丿: 丿丕爻鬲丕賳 诏賵貙 賲毓賱賲 賵 噩丕丿賵诏乇 讴賴 丿乇 賳賴丕蹖鬲 噩丕丿賵诏乇 睾賱亘賴 賲蹖 讴賳丿. 讴丕乇蹖 讴賴 禺賵丿賽 賳丕亘丕讴賵賮 丕賳噩丕賲 賲蹖 丿賴丿.
噩丕丿賵!
丨鬲蹖 丕蹖賳 亘丿鬲乇蹖賳 賵 讴賲鬲乇蹖賳 乇賲丕賳賽 賵蹖 丕夭 賱丨丕馗 禺賱丕賯蹖鬲 賴丕蹖 賳丕亘丕讴賵賮 亘爻蹖丕乇 禺賵丕賳丿賳蹖 賵 噩匕丕亘 丕爻鬲. 丕蹖賳 乇賲丕賳 丿乇 賵丕賯毓 夭賲丕賳蹖 讴賴 丕夭 爻賳鬲 倬鬲乇夭亘賵乇诏 亘賴 亘乇賱蹖賳 賲賴丕噩乇鬲 讴乇丿賴 亘賵丿賳丿 賳賵卮鬲賴 卮丿賴. 丕夭 賳馗乇 夭賲丕賳蹖 鬲賯乇蹖亘丕賳 賴賲夭賲丕賳 亘丕 乇賲丕賳 趩卮賲 丕賵爻鬲. 1930
丿乇 賮囟丕蹖 爻蹖賳賲丕蹖蹖賽 丌賳 乇賵夭 賴丕蹖 亘乇賱蹖賳貙 乇賵丕蹖鬲蹖 胤賳夭 丕夭 賯氐賴 丕蹖 讴賱蹖卮賴 丕蹖 乇丕 賳賲丕蹖卮 賲蹖 丿賴丿. 丕賲丕 胤賳夭蹖 爻乇丕爻乇 禺賱丕賯蹖鬲 賵 "賳丕亘丕讴賵賮蹖". 胤賳夭蹖 讴賴 禺賵丿賽 賳丕亘丕讴賵賮 丌賳乇丕 胤賳夭賽 賴诏賱蹖 賳丕賲 賳賴丕丿賴.
鬲夭: 亘乇丕蹖 禺賳丿丕賳丿賳 卮禺氐蹖鬲 賴丕
丌賳鬲蹖 鬲夭: 亘乇丕蹖 禺賳丿丕賳丿賳賽 賲禺丕胤亘
爻賳鬲夭: 亘乇丕蹖 爻乇丿乇诏賲蹖 賲禺丕胤亘!
亘賴 卮禺氐賴 丕夭 禺賵丕賳丿賳賽 丌孬丕乇 丕蹖賳 賳丕亘睾賴 蹖 亘夭乇诏賽 丕丿亘蹖丕鬲 讴賴 夭賲丕賳 禺賵丿卮 讴賲鬲乇 丿蹖丿賴 卮丿 賵 卮丕蹖丿 亘賴 丨丕卮蹖賴 蹖 賱賵賱蹖鬲丕蹖 賲毓乇賵賮卮 亘蹖卮鬲乇 倬乇丿丕禺鬲賴 卮丿 鬲丕 賳亘賵睾 亘蹖 丨丿 賵 丨氐乇卮貙 賱匕鬲蹖 亘蹖卮 賲蹖 亘乇賲.
丕賱亘鬲賴 丕賳丿讴蹖 賴賲 丕賮爻賵爻 賲蹖 禺賵乇賲 讴賴 趩乇丕 亘丕蹖丿 鬲乇噩賲賴 蹖 丌孬丕乇卮 乇丕 亘禺賵丕賳賲. 丿乇 丨丕賱蹖 讴賴 賲毓噩夭賴 蹖 丕氐賱蹖賽 丕賵 丿乇 夭亘丕賳 丕氐賱蹖賽 讴鬲丕亘 乇禺 丿丕丿賴. 賵 賴賲蹖卮賴 鬲丕 夭賲丕賳蹖 讴賴 夭賳丿賴 亘賵丿 鬲乇噩賲賴 賴丕蹖 讴鬲丕亘 賴丕蹖卮 夭蹖乇賽 賳馗乇 禺賵丿卮 亘賴 賵爻蹖賱賴 蹖 倬爻乇卮 丿蹖賲蹖鬲乇蹖 丕賳噩丕賲 賲蹖 卮丿. 賮賯胤 丕蹖賳 亘禺卮 丕夭 賱賵賱蹖鬲丕 乇丕 賳诏丕賴 讴賳蹖丿 賵 賮讴乇 讴賳蹖丿 讴賴 丕诏乇 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 卮賵丿 趩賴 賱胤賲賴 丕蹖 禺賵丕賴丿 禺賵乇丿 (賲鬲丕爻賮丕賳賴 匕亘蹖丨 丕... 賲賳氐賵乇蹖 丌賳乇丕 亘賴 賮丕乇爻蹖 "鬲丕賱蹖賮" 讴乇丿賴!!!) 爻
"Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, an initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style. Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns."
噩丕丿賵!
丨鬲蹖 丕蹖賳 亘丿鬲乇蹖賳 賵 讴賲鬲乇蹖賳 乇賲丕賳賽 賵蹖 丕夭 賱丨丕馗 禺賱丕賯蹖鬲 賴丕蹖 賳丕亘丕讴賵賮 亘爻蹖丕乇 禺賵丕賳丿賳蹖 賵 噩匕丕亘 丕爻鬲. 丕蹖賳 乇賲丕賳 丿乇 賵丕賯毓 夭賲丕賳蹖 讴賴 丕夭 爻賳鬲 倬鬲乇夭亘賵乇诏 亘賴 亘乇賱蹖賳 賲賴丕噩乇鬲 讴乇丿賴 亘賵丿賳丿 賳賵卮鬲賴 卮丿賴. 丕夭 賳馗乇 夭賲丕賳蹖 鬲賯乇蹖亘丕賳 賴賲夭賲丕賳 亘丕 乇賲丕賳 趩卮賲 丕賵爻鬲. 1930
丿乇 賮囟丕蹖 爻蹖賳賲丕蹖蹖賽 丌賳 乇賵夭 賴丕蹖 亘乇賱蹖賳貙 乇賵丕蹖鬲蹖 胤賳夭 丕夭 賯氐賴 丕蹖 讴賱蹖卮賴 丕蹖 乇丕 賳賲丕蹖卮 賲蹖 丿賴丿. 丕賲丕 胤賳夭蹖 爻乇丕爻乇 禺賱丕賯蹖鬲 賵 "賳丕亘丕讴賵賮蹖". 胤賳夭蹖 讴賴 禺賵丿賽 賳丕亘丕讴賵賮 丌賳乇丕 胤賳夭賽 賴诏賱蹖 賳丕賲 賳賴丕丿賴.
鬲夭: 亘乇丕蹖 禺賳丿丕賳丿賳 卮禺氐蹖鬲 賴丕
丌賳鬲蹖 鬲夭: 亘乇丕蹖 禺賳丿丕賳丿賳賽 賲禺丕胤亘
爻賳鬲夭: 亘乇丕蹖 爻乇丿乇诏賲蹖 賲禺丕胤亘!
亘賴 卮禺氐賴 丕夭 禺賵丕賳丿賳賽 丌孬丕乇 丕蹖賳 賳丕亘睾賴 蹖 亘夭乇诏賽 丕丿亘蹖丕鬲 讴賴 夭賲丕賳 禺賵丿卮 讴賲鬲乇 丿蹖丿賴 卮丿 賵 卮丕蹖丿 亘賴 丨丕卮蹖賴 蹖 賱賵賱蹖鬲丕蹖 賲毓乇賵賮卮 亘蹖卮鬲乇 倬乇丿丕禺鬲賴 卮丿 鬲丕 賳亘賵睾 亘蹖 丨丿 賵 丨氐乇卮貙 賱匕鬲蹖 亘蹖卮 賲蹖 亘乇賲.
丕賱亘鬲賴 丕賳丿讴蹖 賴賲 丕賮爻賵爻 賲蹖 禺賵乇賲 讴賴 趩乇丕 亘丕蹖丿 鬲乇噩賲賴 蹖 丌孬丕乇卮 乇丕 亘禺賵丕賳賲. 丿乇 丨丕賱蹖 讴賴 賲毓噩夭賴 蹖 丕氐賱蹖賽 丕賵 丿乇 夭亘丕賳 丕氐賱蹖賽 讴鬲丕亘 乇禺 丿丕丿賴. 賵 賴賲蹖卮賴 鬲丕 夭賲丕賳蹖 讴賴 夭賳丿賴 亘賵丿 鬲乇噩賲賴 賴丕蹖 讴鬲丕亘 賴丕蹖卮 夭蹖乇賽 賳馗乇 禺賵丿卮 亘賴 賵爻蹖賱賴 蹖 倬爻乇卮 丿蹖賲蹖鬲乇蹖 丕賳噩丕賲 賲蹖 卮丿. 賮賯胤 丕蹖賳 亘禺卮 丕夭 賱賵賱蹖鬲丕 乇丕 賳诏丕賴 讴賳蹖丿 賵 賮讴乇 讴賳蹖丿 讴賴 丕诏乇 亘賴 賮丕乇爻蹖 鬲乇噩賲賴 卮賵丿 趩賴 賱胤賲賴 丕蹖 禺賵丕賴丿 禺賵乇丿 (賲鬲丕爻賮丕賳賴 匕亘蹖丨 丕... 賲賳氐賵乇蹖 丌賳乇丕 亘賴 賮丕乇爻蹖 "鬲丕賱蹖賮" 讴乇丿賴!!!) 爻
"Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, an initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style. Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns."
April 8, 2025
Un hohot 卯n bezn膬 a fost pentru mine ca o revela葲ie 鈥� un Nabokov altfel, mai crud, mai nefiltrat, prins 卯ntr-o faz膬 de formare, dar deja cu temele lui mari b膬t芒nd la u葯膬: dorin葲a care distruge, iubirea ca iluzie, cruzimea bine ascuns膬 sub farmec 葯i ironie. L-am sim葲it mai direct, mai noir, f膬r膬 oglinzile 葯i arabescurile stilistice din alte romane, dar cu o ironie rece care face totul 葯i mai ap膬s膬tor. Un fel de preambul t膬cut pentru ce va urma. Cert este c膬 frumuse葲ea 葯i groaza pot coexista 卯ntr-un z芒mbet.
E clar, 卯n romanul 膬sta se na葯te ceva 鈥� nu doar o poveste, ci o obsesie. 葮i o s膬m芒n葲膬 din care, mai t芒rziu, va cre葯te una dintre cele mai tulbur膬toare crea葲ii literare ale secolului XX - Lolita.
E clar, 卯n romanul 膬sta se na葯te ceva 鈥� nu doar o poveste, ci o obsesie. 葮i o s膬m芒n葲膬 din care, mai t芒rziu, va cre葯te una dintre cele mai tulbur膬toare crea葲ii literare ale secolului XX - Lolita.
January 19, 2016
I periodically revisit a handful of authors (kundera, kafka, calvino, queneau, fleming etc.) - why? to reaffirm my faith in humanity, or in something you may call "human achievement?" "art??" (ugh). perhaps for the thrill of experiencing a unique pleasure in a certain kind of intellectual, or, better, cerebral stimulation that has no equal anywhere else in nature (or human construction!) what am I talking about?!?!? all of this is a way of saying that nabokov is one of that select few, perhaps the one that towers over them all. there is simply nothing like reading something he wrote. that said, I hesitate to call this "lesser nabokov," because all that means is that it is far better, more thrilling, more beautiful, more heartbreakingly tragic & hilarious - simultaneously! - than anything else you could ever read. laughter in the dark is from 1938; nabokov has clearly gone as far as he could with telling a straight story, and his ridiculously expanding talents soon pushed him into realms that (it could be said) made him more difficult to read & enjoy. his mastery here of pacing, of detail, and of the delicate balance between tragedy & comedy, pathos & cruelty, is pure perfection. some themes, situations and character studies here are revisited in the author's well-known masterpieces of the 1950s (pnin, lolita), but here they lack any of the occasionally puzzling gamesmanship or linguistic gymnastics of those jewels. this is just a fantastically entertaining read, and one that propels you along with ease and without any guilt at going so quickly. "lesser nabokov??" is there such a thing? I think not!!
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