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賳鈥嵷з嗏€嵷ж� 賲丕噩乇丕蹖 噩丕賳爻賵夭 蹖讴 夭賳 賴乇噩丕蹖蹖/ 丕賲鈥嵺屸€嵸勨€� 夭賵賱丕貨 鬲鈥嵷必€嵸呪€嵸団€�: 賲丨賲丿毓賱蹖 卮蹖乇丕夭蹖
倬丿蹖丿丌賵乇: 夭賵賱丕貙 丕賲鈥嵺屸€嵸勨€屫屸€忊€� 郾鄹鄞郯 - 鈥徾臂观佰操呚� Zola, Emile貙 鬲丕乇蹖禺 丕孬乇 貙 郾鄢
賲賵囟賵毓: 丿丕爻鬲丕賳鈥屬囏й� 賮乇丕賳爻賴 -- 賯乇賳 郾酃賲貙 卮乇丨 郾鄄鄣氐貙 賳丕卮乇: 鬲鈥嵸団€嵷必з嗏€屫� 丕乇丿蹖亘賴卮鬲
倬丿蹖丿丌賵乇: 夭賵賱丕貙 丕賲鈥嵺屸€嵸勨€屫屸€忊€� 郾鄹鄞郯 - 鈥徾臂观佰操呚� Zola, Emile貙 鬲丕乇蹖禺 丕孬乇 貙 郾鄢
賲賵囟賵毓: 丿丕爻鬲丕賳鈥屬囏й� 賮乇丕賳爻賴 -- 賯乇賳 郾酃賲貙 卮乇丨 郾鄄鄣氐貙 賳丕卮乇: 鬲鈥嵸団€嵷必з嗏€屫� 丕乇丿蹖亘賴卮鬲
125 pages, Paperback
First published February 1, 1880
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About the author
脡mile Zola
2,696听books4,208听followers脡mile Fran莽ois Zola was an influential French novelist, the most important example of the literary school of naturalism, and a major figure in the political liberalization of France.
More than half of Zola's novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Com茅die Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and C茅zanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of C茅zanne and the Bohemian life of painters in his novel 尝'艗耻惫谤别 (The Masterpiece, 1886).
From 1877 with the publication of L'Assommoir, 脡mile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.
More than half of Zola's novels were part of a set of 20 books collectively known as Les Rougon-Macquart. Unlike Balzac who in the midst of his literary career resynthesized his work into La Com茅die Humaine, Zola from the start at the age of 28 had thought of the complete layout of the series. Set in France's Second Empire, the series traces the "environmental" influences of violence, alcohol and prostitution which became more prevalent during the second wave of the Industrial Revolution. The series examines two branches of a family: the respectable (that is, legitimate) Rougons and the disreputable (illegitimate) Macquarts for five generations.
As he described his plans for the series, "I want to portray, at the outset of a century of liberty and truth, a family that cannot restrain itself in its rush to possess all the good things that progress is making available and is derailed by its own momentum, the fatal convulsions that accompany the birth of a new world."
Although Zola and C茅zanne were friends from childhood, they broke in later life over Zola's fictionalized depiction of C茅zanne and the Bohemian life of painters in his novel 尝'艗耻惫谤别 (The Masterpiece, 1886).
From 1877 with the publication of L'Assommoir, 脡mile Zola became wealthy, he was better paid than Victor Hugo, for example. He became a figurehead among the literary bourgeoisie and organized cultural dinners with Guy de Maupassant, Joris-Karl Huysmans and other writers at his luxurious villa in Medan near Paris after 1880. Germinal in 1885, then the three 'cities', Lourdes in 1894, Rome in 1896 and Paris in 1897, established Zola as a successful author.
The self-proclaimed leader of French naturalism, Zola's works inspired operas such as those of Gustave Charpentier, notably Louise in the 1890s. His works, inspired by the concepts of heredity (Claude Bernard), social manichaeism and idealistic socialism, resonate with those of Nadar, Manet and subsequently Flaubert.
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Displaying 1 - 30 of 1,196 reviews
August 20, 2017
"Everything in the world is about sex except sex. Sex is about power." (Oscar Wilde)
Had Nana been a child of today, forced to grow up in the social circumstances of her parents' poverty, violence and alcoholism in the depressing Parisian Goutte d'Or, she would have been moved to a foster family, and sent to family therapy with her brothers.
But Nana was born in 1851, according to the plot of which covers her mother's story. And she learned how to play the underworld game early, left to fend for herself, and with a strong will to succeed and exert power.
Blame her if you dare for the life she chose. Blame her if you dare for the lovers she humiliated. Blame her if you dare for the money she wanted and the pain she caused. If she grew up today, she would be a victim from the beginning, entitled to support and pity. In 19th century Paris, she had nothing but what she managed to grab for herself. Cold and manipulative? Yes! But how could she be otherwise, growing up as a child in the abusive home of Gervaise and Coupeau? She had no education to speak of, no social standing, no caring and loving childhood memories, no role models except for the hypocritical Paris society she saw - which was ruled by the sexual desires of men. She never had a chance to enter the official world, and had to provide for herself.
Having said that, Nana is a monstrously self-centred, needy character, and she leaves a trail of broken characters in her professional development as a prostitute. She is daring, energetic, intelligent (but without finesse), superficial and vicious. Nana is the perfect incarnation of the corrupt whore, a child of poverty with conservative taste and values, acquired by copying the men who fall for her sexual power. Living apart from so-called respectable society, she nevertheless cultivates aristocratic opinions and traditional artistic and literary taste. She would not have approved of the realistic descriptions in Zola's novels, leaving no space for romantic dreaming and escapism. Opportunistic and egotistical at heart, her only true desire is control. A modern psychologist would probably see that as a result of her insecure childhood. Nana herself has no need for explanations. She lives for herself. Period.
I read Zola's novel when I spent a summer working in Paris, just at the time when I had left childhood behind but was still too young to understand the limitations of my knowledge and experience. Smiling condescendingly at teenagers, I was barely twenty-two myself, and Nana shook my world. After I had finished the novel, Paris looked, smelled and tasted differently. Layers and layers of hidden life, of secret suffering and vice, seemed to appear overnight. I was in Paris because I loved art and literature, and wanted to make that my profession at some point. Reading Nana made me see the other side of the beautiful medal of artistic achievement: my idealism gave way to a deep crush on the marginalised characters lurking in the side lanes of the big official literary avenues. I still think of Nana each time I visit Paris, just like I think of Oliver Twist whenever I am in London.
That was also the summer that I discovered Manet for the first time, and I remember a trip to Hamburger Kunsthalle afterwards with the sole aim to see his interpretation of Nana, the confident queen of prostitutes, painted three years before Zola published his novel:
My inner picture of Nana remains exactly like that, even though I also vividly remember her brutal, ugly end almost two decades after closing the novel with a sigh of relief and fascination. She dies like most literary sinners: a presumably well-deserved moral vengeance on her physical appearance and appetites. And Zola, the master of realism, lets the appalled reader see each step in the process when Nana's face is slowly destroyed by pockmarks, visualised in extreme contrast to the still beautiful frame of her lovely hair: "La V茅nus se d茅composait."
The decomposing Venus is a pretty accurate summary of the novel as a whole, puncturing the romantic notion of a sweet and tender prostitute out of sheer necessity. The decomposing hypocritical society goes along with it, illustrating the random roles people play, depending on their social and marital status. What remains?
The brutal reality of a life lived in a balance between sex and power, fear and domination.
A powerfully brutal tale!
Had Nana been a child of today, forced to grow up in the social circumstances of her parents' poverty, violence and alcoholism in the depressing Parisian Goutte d'Or, she would have been moved to a foster family, and sent to family therapy with her brothers.
But Nana was born in 1851, according to the plot of which covers her mother's story. And she learned how to play the underworld game early, left to fend for herself, and with a strong will to succeed and exert power.
Blame her if you dare for the life she chose. Blame her if you dare for the lovers she humiliated. Blame her if you dare for the money she wanted and the pain she caused. If she grew up today, she would be a victim from the beginning, entitled to support and pity. In 19th century Paris, she had nothing but what she managed to grab for herself. Cold and manipulative? Yes! But how could she be otherwise, growing up as a child in the abusive home of Gervaise and Coupeau? She had no education to speak of, no social standing, no caring and loving childhood memories, no role models except for the hypocritical Paris society she saw - which was ruled by the sexual desires of men. She never had a chance to enter the official world, and had to provide for herself.
Having said that, Nana is a monstrously self-centred, needy character, and she leaves a trail of broken characters in her professional development as a prostitute. She is daring, energetic, intelligent (but without finesse), superficial and vicious. Nana is the perfect incarnation of the corrupt whore, a child of poverty with conservative taste and values, acquired by copying the men who fall for her sexual power. Living apart from so-called respectable society, she nevertheless cultivates aristocratic opinions and traditional artistic and literary taste. She would not have approved of the realistic descriptions in Zola's novels, leaving no space for romantic dreaming and escapism. Opportunistic and egotistical at heart, her only true desire is control. A modern psychologist would probably see that as a result of her insecure childhood. Nana herself has no need for explanations. She lives for herself. Period.
I read Zola's novel when I spent a summer working in Paris, just at the time when I had left childhood behind but was still too young to understand the limitations of my knowledge and experience. Smiling condescendingly at teenagers, I was barely twenty-two myself, and Nana shook my world. After I had finished the novel, Paris looked, smelled and tasted differently. Layers and layers of hidden life, of secret suffering and vice, seemed to appear overnight. I was in Paris because I loved art and literature, and wanted to make that my profession at some point. Reading Nana made me see the other side of the beautiful medal of artistic achievement: my idealism gave way to a deep crush on the marginalised characters lurking in the side lanes of the big official literary avenues. I still think of Nana each time I visit Paris, just like I think of Oliver Twist whenever I am in London.
That was also the summer that I discovered Manet for the first time, and I remember a trip to Hamburger Kunsthalle afterwards with the sole aim to see his interpretation of Nana, the confident queen of prostitutes, painted three years before Zola published his novel:
My inner picture of Nana remains exactly like that, even though I also vividly remember her brutal, ugly end almost two decades after closing the novel with a sigh of relief and fascination. She dies like most literary sinners: a presumably well-deserved moral vengeance on her physical appearance and appetites. And Zola, the master of realism, lets the appalled reader see each step in the process when Nana's face is slowly destroyed by pockmarks, visualised in extreme contrast to the still beautiful frame of her lovely hair: "La V茅nus se d茅composait."
The decomposing Venus is a pretty accurate summary of the novel as a whole, puncturing the romantic notion of a sweet and tender prostitute out of sheer necessity. The decomposing hypocritical society goes along with it, illustrating the random roles people play, depending on their social and marital status. What remains?
The brutal reality of a life lived in a balance between sex and power, fear and domination.
A powerfully brutal tale!
September 4, 2021
Nana (Les Rougon-Macquart #9), 脡mile Zola
Nana tells the story of Nana Coupeau's rise from streetwalker to high-class prostitute during the last three years of the French Second Empire.
Nana first appeared near the end of Zola's earlier novel Rougon-Macquart series, L'Assommoir (1877), where she is the daughter of an abusive drunk. At the conclusion of that novel, she is living in the streets and just beginning a life of prostitution.
Nana opens with a night at the Variety Theater in April 1867 just after the Exposition Universal has opened. Nana is eighteen years old, though she would have been fifteen according to the family tree of the Rougon-Macquarts Zola had published years before starting work on this novel.
Zola describes in detail the performance of The blonde Venus, a fictional operetta modeled after Offenbach's The beautiful Helena, in which Nana is cast as the lead. All of Paris is talking about her, though this is her first stage appearance.
When asked to say something about her talents, Bordenave, the manager of the theater, explains that a star does not need to know how to sing or act: "Nana has something else, dammit, and something that takes the place of everything else. I scented it out, and it smells damnably strong in her, or else I lost my sense of smell."
Just as the crowd is about to dismiss her performance as terrible, young Georges Hugon shouts: "Very stylish!" From then on, she owns the audience.
Zola describes her appearance only thinly veiled in the third act: "All of a sudden, in the good-natured child the woman stood revealed, a disturbing woman with all the impulsive madness of her sex, opening the gates of the unknown world of desire. Nana was still smiling, but with the deadly smile of a man-eater." ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 亘蹖爻鬲 賵 卮卮賲 賲丕賴 賲蹖 爻丕賱 1976賲蹖賱丕丿蹖
毓賳賵丕賳: 賳鈥嵷з嗏€嵷ж� 賲丕噩乇丕蹖 噩丕賳爻賵夭 蹖讴 夭賳 賴乇噩丕蹖蹖貨 賳賵蹖爻賳丿賴: 丕賲蹖賱 夭賵賱丕貨 賲鬲乇噩賲: 賲丨賲丿毓賱蹖 卮蹖乇丕夭蹖貨 鬲賴乇丕賳貙 丕乇丿蹖亘賴卮鬲貙 責貨 丿乇 125氐貨 賲丨賲丿毓賱蹖 卮蹖乇丕夭蹖 鬲乇噩賲賴贁 賳丕賯氐蹖 丕夭 丕蹖賳 乇賲丕賳 乇丕 亘賴 乇賵卮 丌夭丕丿 亘賴 賮丕乇爻蹖 丕乇丕卅賴 讴乇丿賴鈥� 讴賴 賵賮丕丿丕乇 亘賴 賲鬲賳 丕氐賱蹖 賳蹖爻鬲貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賮乇丕賳爻賴 - 爻丿賴 19賲
毓賳賵丕賳: 賳鈥嵷з嗏€嵷ж� 賳賵蹖爻賳丿賴: 丕賲蹖賱 夭賵賱丕貨 賲鬲乇噩賲: 毓亘丿丕賱賱賴 鬲賵讴賱貨 鬲賴乇丕賳貙 賳蹖賱賵賮乇貙 1384貙 丿乇 585氐貨 卮丕亘讴 9644482654貨
毓賳賵丕賳: 賳丕賳丕貨 賳賵蹖爻賳丿賴: 丕賲蹖賱 夭賵賱丕貨 賲鬲乇噩賲: 毓夭蹖夭 賯賳亘乇蹖貨 诏乇诏丕賳貙 賴賮鬲 爻賳诏貨 1397貨 丿乇 534氐貨 卮丕亘讴 9786009785254貨
賳賴賲蹖賳 丿丕爻鬲丕賳 丕夭 爻乇蹖 亘蹖爻鬲 噩賱丿蹖 芦乇賵诏賳 賲丕讴丕乇禄貙 丕孬乇 芦丕賲蹖賱 夭賵賱丕禄貙 丕爻鬲貨 芦賳丕賳丕禄 賮乇夭賳丿 賲乇丿蹖 丕賱讴賱蹖貙 亘賴 賳丕賲 芦讴賵倬賵禄貙 賵 夭賳蹖 乇禺鬲卮賵蹖 亘賴 賳丕賲 芦跇乇賵夭禄 丕爻鬲貙 讴賴 卮禺氐蹖鬲 丕氐賱蹖 讴鬲丕亘 芦丌爻賵賲賵丕乇 (蹖讴蹖 丕夭 卮丕賴讴丕乇賴丕蹖 丕賲蹖賱 夭賵賱丕)禄 丕爻鬲貙 芦賳丕賳丕禄 賳賲丕蹖賳丿賴 蹖 夭賳丕賳 賮丕丨卮賴 鈥屫й� 丕爻鬲貙 讴賴 丿乇 丿賵乇丕賳 丕賲倬乇丕鬲賵乇蹖 丿賵賲 芦賮乇丕賳爻賴禄 賲賯丕賲 丿乇禺卮丕賳貙 賵 丌賲蹖禺鬲賴 亘賴 乇爻賵丕蹖蹖 丿丕卮鬲賳丿貨 乇賵夭蹖 芦夭賵賱丕禄 亘丕 丿賵爻鬲 賳賯丕卮 禺賵蹖卮貙 丿乇 乇爻鬲賵乇丕賳蹖 亘賳卮爻鬲賴貙 賲卮睾賵賱 禺賵乇丿賳 睾匕丕 亘賵丿賳丿貙 倬丕爻亘丕賳丕賳 賵丕乇丿 卮丿賳丿貙 鬲丕 夭賳丕賳 賮丕丨卮賴 乇丕貙 讴賴 亘蹖 賲乇丿 亘賵丿賳丿貙 丿爻鬲诏蹖乇 讴賳賳丿貨 夭賳丕賳 賴乇 蹖讴 亘賴 賲乇丿蹖 倬賳丕賴 亘乇丿賳丿貙 賵 夭賳蹖 丕賴賱 芦乇賵爻蹖賴禄 賴賲貙 亘賴 芦夭賵賱丕禄 倬賳丕賴 丌賵乇丿貙 賵 芦夭賵賱丕禄 丕夭 爻乇诏匕卮鬲 丌賳 夭賳 倬乇爻蹖丿貙 賵 丿賵爻鬲 賳賯丕卮 芦夭賵賱丕禄 賴賲貙 鬲氐賵蹖乇 丌賳 夭賳 芦乇賵爻禄 鬲亘丕乇 乇丕 讴卮蹖丿貨 夭賳 禺賵丿 乇丕 芦賳丕賳丕禄 賲毓乇賮蹖 讴乇丿貙 丕蹖賳 卮丿 讴賴 芦夭賵賱丕禄 诏賮鬲: 賳丕賲 讴鬲丕亘 鬲丕夭賴 丕賲 芦賳丕賳丕禄 禺賵丕賴丿 亘賵丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 27/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 12/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
Nana tells the story of Nana Coupeau's rise from streetwalker to high-class prostitute during the last three years of the French Second Empire.
Nana first appeared near the end of Zola's earlier novel Rougon-Macquart series, L'Assommoir (1877), where she is the daughter of an abusive drunk. At the conclusion of that novel, she is living in the streets and just beginning a life of prostitution.
Nana opens with a night at the Variety Theater in April 1867 just after the Exposition Universal has opened. Nana is eighteen years old, though she would have been fifteen according to the family tree of the Rougon-Macquarts Zola had published years before starting work on this novel.
Zola describes in detail the performance of The blonde Venus, a fictional operetta modeled after Offenbach's The beautiful Helena, in which Nana is cast as the lead. All of Paris is talking about her, though this is her first stage appearance.
When asked to say something about her talents, Bordenave, the manager of the theater, explains that a star does not need to know how to sing or act: "Nana has something else, dammit, and something that takes the place of everything else. I scented it out, and it smells damnably strong in her, or else I lost my sense of smell."
Just as the crowd is about to dismiss her performance as terrible, young Georges Hugon shouts: "Very stylish!" From then on, she owns the audience.
Zola describes her appearance only thinly veiled in the third act: "All of a sudden, in the good-natured child the woman stood revealed, a disturbing woman with all the impulsive madness of her sex, opening the gates of the unknown world of desire. Nana was still smiling, but with the deadly smile of a man-eater." ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 亘蹖爻鬲 賵 卮卮賲 賲丕賴 賲蹖 爻丕賱 1976賲蹖賱丕丿蹖
毓賳賵丕賳: 賳鈥嵷з嗏€嵷ж� 賲丕噩乇丕蹖 噩丕賳爻賵夭 蹖讴 夭賳 賴乇噩丕蹖蹖貨 賳賵蹖爻賳丿賴: 丕賲蹖賱 夭賵賱丕貨 賲鬲乇噩賲: 賲丨賲丿毓賱蹖 卮蹖乇丕夭蹖貨 鬲賴乇丕賳貙 丕乇丿蹖亘賴卮鬲貙 責貨 丿乇 125氐貨 賲丨賲丿毓賱蹖 卮蹖乇丕夭蹖 鬲乇噩賲賴贁 賳丕賯氐蹖 丕夭 丕蹖賳 乇賲丕賳 乇丕 亘賴 乇賵卮 丌夭丕丿 亘賴 賮丕乇爻蹖 丕乇丕卅賴 讴乇丿賴鈥� 讴賴 賵賮丕丿丕乇 亘賴 賲鬲賳 丕氐賱蹖 賳蹖爻鬲貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賮乇丕賳爻賴 - 爻丿賴 19賲
毓賳賵丕賳: 賳鈥嵷з嗏€嵷ж� 賳賵蹖爻賳丿賴: 丕賲蹖賱 夭賵賱丕貨 賲鬲乇噩賲: 毓亘丿丕賱賱賴 鬲賵讴賱貨 鬲賴乇丕賳貙 賳蹖賱賵賮乇貙 1384貙 丿乇 585氐貨 卮丕亘讴 9644482654貨
毓賳賵丕賳: 賳丕賳丕貨 賳賵蹖爻賳丿賴: 丕賲蹖賱 夭賵賱丕貨 賲鬲乇噩賲: 毓夭蹖夭 賯賳亘乇蹖貨 诏乇诏丕賳貙 賴賮鬲 爻賳诏貨 1397貨 丿乇 534氐貨 卮丕亘讴 9786009785254貨
賳賴賲蹖賳 丿丕爻鬲丕賳 丕夭 爻乇蹖 亘蹖爻鬲 噩賱丿蹖 芦乇賵诏賳 賲丕讴丕乇禄貙 丕孬乇 芦丕賲蹖賱 夭賵賱丕禄貙 丕爻鬲貨 芦賳丕賳丕禄 賮乇夭賳丿 賲乇丿蹖 丕賱讴賱蹖貙 亘賴 賳丕賲 芦讴賵倬賵禄貙 賵 夭賳蹖 乇禺鬲卮賵蹖 亘賴 賳丕賲 芦跇乇賵夭禄 丕爻鬲貙 讴賴 卮禺氐蹖鬲 丕氐賱蹖 讴鬲丕亘 芦丌爻賵賲賵丕乇 (蹖讴蹖 丕夭 卮丕賴讴丕乇賴丕蹖 丕賲蹖賱 夭賵賱丕)禄 丕爻鬲貙 芦賳丕賳丕禄 賳賲丕蹖賳丿賴 蹖 夭賳丕賳 賮丕丨卮賴 鈥屫й� 丕爻鬲貙 讴賴 丿乇 丿賵乇丕賳 丕賲倬乇丕鬲賵乇蹖 丿賵賲 芦賮乇丕賳爻賴禄 賲賯丕賲 丿乇禺卮丕賳貙 賵 丌賲蹖禺鬲賴 亘賴 乇爻賵丕蹖蹖 丿丕卮鬲賳丿貨 乇賵夭蹖 芦夭賵賱丕禄 亘丕 丿賵爻鬲 賳賯丕卮 禺賵蹖卮貙 丿乇 乇爻鬲賵乇丕賳蹖 亘賳卮爻鬲賴貙 賲卮睾賵賱 禺賵乇丿賳 睾匕丕 亘賵丿賳丿貙 倬丕爻亘丕賳丕賳 賵丕乇丿 卮丿賳丿貙 鬲丕 夭賳丕賳 賮丕丨卮賴 乇丕貙 讴賴 亘蹖 賲乇丿 亘賵丿賳丿貙 丿爻鬲诏蹖乇 讴賳賳丿貨 夭賳丕賳 賴乇 蹖讴 亘賴 賲乇丿蹖 倬賳丕賴 亘乇丿賳丿貙 賵 夭賳蹖 丕賴賱 芦乇賵爻蹖賴禄 賴賲貙 亘賴 芦夭賵賱丕禄 倬賳丕賴 丌賵乇丿貙 賵 芦夭賵賱丕禄 丕夭 爻乇诏匕卮鬲 丌賳 夭賳 倬乇爻蹖丿貙 賵 丿賵爻鬲 賳賯丕卮 芦夭賵賱丕禄 賴賲貙 鬲氐賵蹖乇 丌賳 夭賳 芦乇賵爻禄 鬲亘丕乇 乇丕 讴卮蹖丿貨 夭賳 禺賵丿 乇丕 芦賳丕賳丕禄 賲毓乇賮蹖 讴乇丿貙 丕蹖賳 卮丿 讴賴 芦夭賵賱丕禄 诏賮鬲: 賳丕賲 讴鬲丕亘 鬲丕夭賴 丕賲 芦賳丕賳丕禄 禺賵丕賴丿 亘賵丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 27/08/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 12/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
January 17, 2024
In a couple of brilliant first chapters, Zola describes the role of theatre, a musical comedy of Olympic mythological subjects where the eighteen-year-old Nana, unable to sing and act, exhibits her attractive anatomy with cleavage and nudes in transparency. Then he takes us to the girl's house (who has had a son since she was sixteen), where the fans stand in line as in a medical consultation, along with the creditors. Nana must complement what she earns in the theatre and her wealthy lovers with urgent exits to practice prostitution and get rid of the most pressing debts. The banker Steiner and the count Muffat, both older, more than compete, share "lovers-maintainers'" work, although Nana does not stop sleeping with others for fun.
One of these lovers of pleasure, the comedian Fontan, falls in love to the point that he leaves his two rich people and his house and settles in a modest neighborhood to live on what he has obtained by selling all his luxurious belongings. Fontan lives on her and beats her quite often. Still, she complies not only to reject other propositions of more handsome and tender gallants but has to begin implementing street prostitution and, on one occasion, is about to be stopped by the police.
When Fontan becomes infatuated with another actress and leaves her alone, 狈补苍谩 returns with Count Muffat, promising to be only for him in exchange for being kept in a luxurious villa and for him to return to the theatre, which is soon frustrated. In her mansion, Nana does not deprive herself of anything, including effeminate relations with her friend Satin (who justifies Muffat by saying something very chic and that he does not have to suppose undesirable competition). Besides, other fun-lovers, such as the adolescent Zizi and his brother Philip, often appear in his houses. Unfortunately, they seemed to blame him for his relationships with his younger brother, and he ended up joining the list of impertinence.
As before banker Steiner, Nana's life is deteriorating the monetary funds of Muffat, who also has a wife in anger and revenge for his infidelity by going with lovers and multiplying their expenses. Without mercy, Nana asks him more and more, and every time he cares less, he surprises her with others in his bedroom. Finally, in a reasonably hasty finale (provoked perhaps by the writing in typical episodes of the time) in which it moves away for the courtesan and her lover, Nana moves away from the almost ruined Muffat and goes on a trip. Upon returning to France, he finds that his aunt has neglected his three-year-old son, and he has taken smallpox and died. She becomes infected with this disease and soon dies, taken care of in a hotel by one of her old scene rivals and unable to receive the visit of Muffat.
Zola's mechanistic dye scientism explains Nana as the product of poisoning the people's health and their destructive work before the upper classes as a kind of blind vengeance of mocked good sense.
One of these lovers of pleasure, the comedian Fontan, falls in love to the point that he leaves his two rich people and his house and settles in a modest neighborhood to live on what he has obtained by selling all his luxurious belongings. Fontan lives on her and beats her quite often. Still, she complies not only to reject other propositions of more handsome and tender gallants but has to begin implementing street prostitution and, on one occasion, is about to be stopped by the police.
When Fontan becomes infatuated with another actress and leaves her alone, 狈补苍谩 returns with Count Muffat, promising to be only for him in exchange for being kept in a luxurious villa and for him to return to the theatre, which is soon frustrated. In her mansion, Nana does not deprive herself of anything, including effeminate relations with her friend Satin (who justifies Muffat by saying something very chic and that he does not have to suppose undesirable competition). Besides, other fun-lovers, such as the adolescent Zizi and his brother Philip, often appear in his houses. Unfortunately, they seemed to blame him for his relationships with his younger brother, and he ended up joining the list of impertinence.
As before banker Steiner, Nana's life is deteriorating the monetary funds of Muffat, who also has a wife in anger and revenge for his infidelity by going with lovers and multiplying their expenses. Without mercy, Nana asks him more and more, and every time he cares less, he surprises her with others in his bedroom. Finally, in a reasonably hasty finale (provoked perhaps by the writing in typical episodes of the time) in which it moves away for the courtesan and her lover, Nana moves away from the almost ruined Muffat and goes on a trip. Upon returning to France, he finds that his aunt has neglected his three-year-old son, and he has taken smallpox and died. She becomes infected with this disease and soon dies, taken care of in a hotel by one of her old scene rivals and unable to receive the visit of Muffat.
Zola's mechanistic dye scientism explains Nana as the product of poisoning the people's health and their destructive work before the upper classes as a kind of blind vengeance of mocked good sense.
April 9, 2024
In the year of the fabulous Paris World's Fair, of 1867, when the glamorous city is crowded, with thrill seeking foreign and domestic visitors, Nana Coupeau, a prostitute, makes her unlikely debut also, on stage, in "The Blonde Venus", a spectacular but mediocre operetta. That she can't dance, sing or act, and has a horrible voice, doesn't matter, what is important, Nana is quite beautiful and has charisma, Monsieur Bordenave, the nervous owner of the shabby Opera House,"Varietes", isn't worried he tells his friends on Opening Night ( they almost believe him). And Bordenave was right, Nana becomes the symbol of the decadent, French Second Empire, of Napoleon the Third, her half naked, stunning performances, just standing there, in front of the curious, enthusiastic, enthralled audiences, becomes the sensation of the city, overnight the unknown, poor woman, reaches the pinnacle of success, at 15, countless affluent, adoring, some very famous suitors, throw money at her feet, taking advantage to enrich herself, bed hopping with hundreds of men and women (no exaggeration), strangely but maybe not, Nana despises them. Spending money recklessly and there are many others around, who do the same, sex seems to be all that anyone does, in this society, as written by Emile Zola, a fierce critic of the regime, corruption, scandals, thievery, anything goes. Ultimately the new star, meets Count Muffat, a honorable, married, but unhappy man, who set's her up in a huge mansion, full of luxuries, expensive jewelry, furniture , clothing, food, servants, only the best for his unfaithful love. Still Nana, (who's hair is blonde on one page and red on another , what gives Zola?), gets bored easily, while spending money faster, than it comes in. Men are always lurking about, everywhere in the premises, slaves to strong emotions, they can't control, or understand, the helplessly infatuated Count, is powerless to stop the debauchery, he is too much in love and can only hope, for a short time with his mistress. Zoe her good friend and servant, runs the house, taking care of Nana's every need, Satin an old schoolmate, and fellow traveler, in their former profession, moves in, and they begin a lesbian affair, which the very jealous Count , doesn't mind a bit... These two tarts, the word is continuously used in the book, by the author, seem to be the happiest together, not caring for the rest of the world, just enjoying being in the same company, hours pass quickly and quietly ... Sex rains down like a torrent, striking everyone, drowning them in lust, corrupting and finally destroying... I liked it.
December 24, 2020
鈥淓l amor es la respuesta, pero mientras esperas la respuesta, el sexo plantea algunas preguntas bastante interesantes鈥�. Woody AllenPodr谩n decirme que no es muy pertinente empezar con humor unos comentarios a una novela de Zola, s茅 que no es su punto fuerte, pero lo que no podr谩n echarme en cara es que no haya introducido un poquito de pol茅mica entre ellos, dado lo acostumbrados que ten铆a el autor a sus lectores a tales pormenores.
Pues bien, se帽oras y se帽ores lectores, en la novela encontrar谩n mucho, mucho, pero que mucho sexo: sexo comprado, sexo negado, sexo anhelado, sexo por venganza, sexo conquistado, sexo tierno, sexo exigido, sexo por l谩stima, sexo rabioso, sexo dadivoso, sexo reconfortante, sexo suplicado鈥� hay hasta sexo por amor. Nada expl铆cito, que nadie se me asuste, pero con buen pie para la imaginaci贸n del lector, que nadie se me desilusione tampoco.
狈补苍谩, determinada por la combinaci贸n de su extracci贸n social y su dilatada herencia licenciosa, gran axioma en la filosof铆a del autor, se hizo puta desde muy temprana edad. No de la calle, aunque utilice la posibilidad si un apuro lo requiere, sino una querida, esas segundas esposas m谩s agasajadas que las primeras pues se decantan siempre por el mejor postor mientras que estas 煤ltimas se quedan tranquilas a cambio de pagarles a sus maridos con la misma moneda y seguir disfrutando de su estatus social.
A 狈补苍谩 le gusta el sexo, lo practica a menudo y no siempre por inter茅s. No es feminista ni progresista ni adelantada a su tiempo, todo lo contrario, es m谩s bien conservadora, religiosa y hasta reaccionaria, pero hac铆a (casi siempre) lo que quer铆a y con qui茅n quer铆a, sin que ning煤n hombre (casi ninguno) le impusiera nada. Gusta de vivir bien, rodeada de lujo, y lo consigue gracias a su carne de m谩rmol y al deseo que provoca a su paso. Torpe como actriz, una grulla en la garganta, es capaz de levantar un teatro lleno a reventar con el movimiento de sus caderas. Pero solo con el teatro no se consigue el tren de vida que desea, as铆 que 狈补苍谩 vende su cuerpo tambi茅n de otra manera y lo hace libremente.
Pues bien se帽ores y se帽oras lectoras, como dir铆a aquel, J鈥檃ccuse鈥�! 驴Merece 狈补苍谩 nuestra censura, nuestro reproche? 驴No hacemos casi todos lo mismo en cierto modo? 驴No vendemos nuestro cuerpo, su fuerza o su habilidad o su inteligencia, por la mejor recompensa que podamos obtener? 驴No lo hacemos aunque no nos guste ni qui茅n nos paga ni para qu茅, aunque incluso nos asqueen ambos? Tengo una familia que alimentar, de algo hay que vivir, decimos, o, si nos saltamos alguno de nuestros principios, para que otro se lo lleve crudo, mejor me lo llevo yo. 驴Por qu茅, entonces, lo encontramos todo m谩s reprobable si interviene el sexo? 驴Por qu茅 vender nuestro cuerpo es m谩s censurable si es por sexo que por cualquiera otra de sus propiedades? 驴Qu茅 tiene el sexo que todo lo ensucia, si, como tambi茅n dice Allen, el sexo solo es sucio si se hace bien?
Enti茅ndanme bien, hablo del sexo libremente ejercido, aunque haya dinero de por medio, y qui茅n dice dinero puede decir tambi茅n estatus social, casita con jard铆n y BMW en el garaje, ese sexo que se puede ofrecer seleccionando al cliente, hasta disfrutando de 茅l y con 茅l, pero tambi茅n ese que se entrega de forma tan voluntaria y con la misma vocaci贸n que, por ejemplo, limpiar retretes durante ocho horas al d铆a, seis d铆as a la semana.
En fin, que el problema con 狈补苍谩 no es que venda su cuerpo, el problema aparece cuando los hombres creen que lo que compran es su alma. 狈补苍谩 es caprichosa e irreflexiva, despiadada y sentimental, una cabecita loca capaz de llevar por la calle de la amargura a lo m谩s granado de la alta burgues铆a parisina o de sufrir en sus propias y apetecibles carnes los mismos tormentos que provoca, la misma depravada humillaci贸n (鈥漞lla le amaba demasiado; de 茅l, hasta era bueno ser abofeteada鈥�). El problema es ese demonio interior, al que me resisto a poner nombre, que por conseguir la menor prueba de afecto nos doblega a todo tipo de humillaciones y abusos, pareciendo que ese mismo trato degradante es el abono que propicia el desarrollo de esa flor carn铆vora que nos corroe por dentro a base de autodesprecio por ser incapaces de terminar con nuestra vergonzosa situaci贸n.
狈补苍谩 es as铆, juega con hombres y mujeres, se siente 鈥渙rgullosa de la ruina de sus amantes鈥� y hasta disfruta en ocasiones de ese otro demonio interior que se alimenta del poder sobre los dem谩s, de la omnipotencia sobre los que, sumisos, la rodean, un proceso inagotable e imparable que solo lleva a la rabia autodestructiva, a una escalada de depravaciones sin fin, pues es incapaz de saciar el hambre. Pero 狈补苍谩 tambi茅n se conmueve con aquellos que estima, los agasaja incluso aunque nada consiga a cambio, es generosa y confiada, una bocazas desconsiderada y mentirosa, una ingenua zalamera, una arrogante y soberbia que se cree m谩s lista que nadie en lo que a su vida se refiere. Ya ven, lo tiene todo para encontrar su perdici贸n, pero鈥�
Gran personaje, gran novela y gran autor, muy por encima de un Balzac o un V铆ctor Hugo, en lo que a mi jerarqu铆a literaria se refiere鈥� enti茅ndanme bien.
September 20, 2012
Here's why Nana should never be made into a movie... (Too late. It already has been. Four times.) Emile Zola has created a character so preposterous that casting agents in every corner of the globe would be hard-pressed to locate an actress capable of making her believable. Now I am not claiming that a woman like Nana could not exist鈥攂ecause our world is certainly chock-full of the preposterous鈥攂ut she would necessarily be so exceptional鈥攕uch an astounding confluence of so many unlikely variables鈥攖hat her successful imitators must surely be just as rare. The part of Nana would require not only acting wherewithal, but also a physical allure (not a traditional beauty perhaps, but a certain... je ne sais quoi) so commanding that men (and women too) of every station in life, every class, and every moral conviction consider themselves powerless to resist her. What could such a woman possibly look like? She couldn't be adequately described, I don't think, because there would be something ineffable or even transcendent about her looks which would resist the banality of all the adjectives at our disposal. Oh, and did I mention鈥攕he has to be trashy too? There has to be the well-trafficked cooter stench (if only subliminal) of a Kardashian about her. In other words, I'm not seeing Katherine Heigl or Keira Knightley in the role.
One of the advantages of reading over film-viewing is that I can imagine Nana any way that I want. Zola provides a few descriptors along the way鈥攑lump, tall, blonde, large-thighed鈥攂ut these are fairly neutral construction materials which can be fashioned into an architecture of my choosing. My imagination, safely tucked away in the cellars of my mind, also isn't subject to the disapproval of others ('You think that's attractive?'). The spectral Nana of my conjuring becomes the authoritative Nana. Because she seduces me, she seduces everyone.
Let's talk more about this Nana. There's really no getting around it: she's a cruel, calculating, ridiculous woman. She allows men into her life only to suck every last sou out of them and to send them, spitefully, on their way. She manipulates their affections鈥攄rawing them in to a sexual complacency and then, when she's taken everything she wants or gets bored, she belittles and abuses them and, finally, throws them out. A primary victim of her allure鈥攁lthough there are many鈥攊s Count Muffat, an older, distinguished, and erstwhile religiously devout man who ruins himself completely in his futile attempts to possess Nana. Nana cheats on him so often and so flagrantly that she seems like a sexual vending machine. Anyone with the cash on hand is entitled to a bag of Funyuns.
Based on what I've told you, you probably won't be surprised that Nana has been attacked as a misogynistic work. If you approach the book prepared to understand Nana as symbolic, in whatever sense, of all women and to infer that many of the male characters' attitudes toward women are the author's own, then you will likely find Nana a repellent novel written by a repellent man. I, on the other hand, view Nana not as the Woman, but merely a woman. The misogyny of the male characters in the book, meanwhile, doesn't strike me as Zola's, given what I know about him: his avowed goal in his twenty-volume Rougon-Macquart series was to shine a 'scientific' light on the central role of social environment and heredity in the psychological determination of the individual. Nana's parents were poor, alcoholic, and abusive. Should we wonder that Nana ends up being this woman in this particular society? Is Zola blaming it on her gender? I don't think so. Of course, many of Zola's views on heredity seem ridiculous today, but no sane person doubts the tremendous effect of environment on the formation of an individual's character.
I don't think anybody, male or female, comes off very well in this novel. We sometimes say that realists provide us with a 'warts-and-all' depiction of reality, but I think Zola prefers to dwell on the warts in Nana鈥攁nd he certainly doesn't restrict himself to the title character's. Zola, on the one hand, clearly had a somewhat pessimistic view of the ills of society, but I think鈥攁nd this is pure speculation here鈥攈e found some kind of hope in being able to illuminate these ills so that they could be remedied or guarded against.
Lastly, a few practical notes: I read the creaky, dusty, and very British public domain translation published by Barnes and Noble. It was written in 1922, I believe. I'm taking it as a article of faith that there is a better translation out there鈥攎aybe more than one. If you decide to read Nana, seek out more opinions on translations because I'm guessing this one isn't the best bet. Also, this novel takes a while to really sink into. At the beginning, it's a little confusing鈥攑articularly at Countess Sabine's party鈥攂ecause there are a LOT of characters. But if you soldier on, I think you'll find yourself starting to like it at about the one-hundred page mark.
One of the advantages of reading over film-viewing is that I can imagine Nana any way that I want. Zola provides a few descriptors along the way鈥攑lump, tall, blonde, large-thighed鈥攂ut these are fairly neutral construction materials which can be fashioned into an architecture of my choosing. My imagination, safely tucked away in the cellars of my mind, also isn't subject to the disapproval of others ('You think that's attractive?'). The spectral Nana of my conjuring becomes the authoritative Nana. Because she seduces me, she seduces everyone.
Let's talk more about this Nana. There's really no getting around it: she's a cruel, calculating, ridiculous woman. She allows men into her life only to suck every last sou out of them and to send them, spitefully, on their way. She manipulates their affections鈥攄rawing them in to a sexual complacency and then, when she's taken everything she wants or gets bored, she belittles and abuses them and, finally, throws them out. A primary victim of her allure鈥攁lthough there are many鈥攊s Count Muffat, an older, distinguished, and erstwhile religiously devout man who ruins himself completely in his futile attempts to possess Nana. Nana cheats on him so often and so flagrantly that she seems like a sexual vending machine. Anyone with the cash on hand is entitled to a bag of Funyuns.
Based on what I've told you, you probably won't be surprised that Nana has been attacked as a misogynistic work. If you approach the book prepared to understand Nana as symbolic, in whatever sense, of all women and to infer that many of the male characters' attitudes toward women are the author's own, then you will likely find Nana a repellent novel written by a repellent man. I, on the other hand, view Nana not as the Woman, but merely a woman. The misogyny of the male characters in the book, meanwhile, doesn't strike me as Zola's, given what I know about him: his avowed goal in his twenty-volume Rougon-Macquart series was to shine a 'scientific' light on the central role of social environment and heredity in the psychological determination of the individual. Nana's parents were poor, alcoholic, and abusive. Should we wonder that Nana ends up being this woman in this particular society? Is Zola blaming it on her gender? I don't think so. Of course, many of Zola's views on heredity seem ridiculous today, but no sane person doubts the tremendous effect of environment on the formation of an individual's character.
I don't think anybody, male or female, comes off very well in this novel. We sometimes say that realists provide us with a 'warts-and-all' depiction of reality, but I think Zola prefers to dwell on the warts in Nana鈥攁nd he certainly doesn't restrict himself to the title character's. Zola, on the one hand, clearly had a somewhat pessimistic view of the ills of society, but I think鈥攁nd this is pure speculation here鈥攈e found some kind of hope in being able to illuminate these ills so that they could be remedied or guarded against.
Lastly, a few practical notes: I read the creaky, dusty, and very British public domain translation published by Barnes and Noble. It was written in 1922, I believe. I'm taking it as a article of faith that there is a better translation out there鈥攎aybe more than one. If you decide to read Nana, seek out more opinions on translations because I'm guessing this one isn't the best bet. Also, this novel takes a while to really sink into. At the beginning, it's a little confusing鈥攑articularly at Countess Sabine's party鈥攂ecause there are a LOT of characters. But if you soldier on, I think you'll find yourself starting to like it at about the one-hundred page mark.
November 21, 2020
Well, well, well.. What a multifaceted portrayal of Nana has Zola left us. As a woman who moved in the fringes, these had more possibilities than a woman who kept herself in her social corset.
She is coy, and 鈥済ross et rose鈥�, like this nereid depicted by Paul Baudry.
But Baudry painted Blanche d鈥橝tigny (1840-1874), the courtesan purportedly inspiring Zola for his Nana, and if Nana could dress as the pagan Venus, she could also sit as the Christian Venus, or Mary Magdalen.
But Nana could also 鈥榮e pavonne鈥� like a granddame. And another model, Valtesse de la Bigne (1848-1910) is portrayed in such elegant and distinguished manner by Henri Gervex
Nana, knew how to face her clients 鈥� confronting them when necessary.
Although more often than not, she preferred to keep her male friends just guessing, or waiting鈥� and they often get their dark suits dirty with her face and body powders...
And she could have become a Comtesse or a Marquise and thus vie with someone such as the Comtesse de Castiglione, the lover of Napoleon III.
She had no qualms about moving only with private clients and when in need, she would resort to the more open market.
But let鈥檚 not forget that she was a mother too.
And that her own tastes were varied, and she certainly kept constant her weakness for Satin.
But for the most part, she liked to display her rosy flesh in a spectacular bed for a man 鈥� whichever really.
And this display of Nana鈥檚 many possibilities is just a limited sample of what I think is one of the most successful literary characters that have been created.
Nana is known even by those who have not read her.
February 20, 2025
All of a sudden, in the good-natured child, the woman stood revealed, a disturbing woman with all the impulsive madness of her sex, opening the gates of the unknown world of desire. Nana was still smiling, but with the deadly smile of a man-eater.
In Nana, the scandalous 9th book in the Rougon-Macquart series Zola focuses on the Th茅芒tre des Vari茅t茅s, the high society of Paris, its prostitutes and its ruined 'gentlemen', recounting the rise and fall of the impertinent and immoral Anna Coupeau known as Nana, the daughter of Gervaise Macquart.
In Nana, the scandalous 9th book in the Rougon-Macquart series Zola focuses on the Th茅芒tre des Vari茅t茅s, the high society of Paris, its prostitutes and its ruined 'gentlemen', recounting the rise and fall of the impertinent and immoral Anna Coupeau known as Nana, the daughter of Gervaise Macquart.
November 9, 2019
危蟿畏谓 蠂蟻慰谓喂魏萎 蟺蔚蟻委慰未慰 蟿畏蟼 蟺伪蟻伪魏渭萎蟼
蟿畏蟼 螖蔚蠉蟿蔚蟻畏蟼 螕伪位位喂魏萎蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼 (1852-1870) 伪谓伪未蠉蔚蟿伪喂 渭苇蟽伪 伪蟺慰 蟿畏谓 蠁蟿蠋蠂蔚喂伪, 蟿畏谓 蔚尉伪胃位委蠅蟽畏,
蟿畏谓 伪蟻蟻蠋蟽蟿蔚喂伪, 蟿畏谓 蟺蔚委谓伪, 魏伪喂 蟿喂蟼 蔚位位蔚委蠄蔚喂蟼 魏维胃蔚 蔚委未慰蠀蟼 伪谓胃蟻蠋蟺喂谓畏蟼 伪尉喂慰蟺蟻苇蟺蔚喂伪蟼,
苇谓伪 蟺伪渭蠁维纬慰 位慰蠀位慰蠉未喂.
桅蠉蔚蟿伪喂 蟽蟿喂蟼 位维蟽蟺蔚蟼, 蟿伪 尾蟻慰渭蠈谓蔚蟻伪 魏伪喂 蟿慰蠀蟼 伪谓胃蟻蠋蟺喂谓慰蠀蟼 蟽魏慰蠀蟺喂未蠈蟿慰蟺慰蠀蟼 未喂伪尾委蠅蟽畏蟼.
螒蟺慰 伪蠀蟿慰蠉蟼 蟺慰蠀 蟿伪螑味慰谓蟿伪喂 渭蔚 伪魏伪蟿苇蟻纬伪蟽蟿伪 尾喂慰位慰纬喂魏维 伪蟺慰蠁维纬喂伪 蠁蠀蟽喂魏萎蟼 喂蟽蟿慰蟻委伪蟼, 蠁喂位慰蟽慰蠁委伪蟼 魏伪喂 魏慰喂谓蠅谓喂慰位慰纬委伪蟼 纬喂伪 谓伪 蔚蟺喂尾喂蠋蟽慰蠀谓 魏伪喂 谓伪 伪蟺慰蟿蔚位苇蟽慰蠀谓 蟿畏谓 维蟻蠂慰蠀蟽伪 蟿维尉畏 蟿畏蟼 蠀蠄畏位萎蟼 蟽蟿维胃渭畏蟼 蟿慰蠀 蟺蔚味慰未蟻慰渭委慰蠀,
位委纬慰 蟺蟻喂谓 蟺位畏渭渭蠀蟻委蟽慰蠀谓 慰喂 蠀蟺蠈谓慰渭慰喂 伪蟺慰 蟿畏谓 蟺伪蟻伪魏渭萎 魏伪喂 蟿畏谓 蠁胃慰蟻维 蟿畏蟼 螤伪蟻喂蟽喂谓萎蟼 魏慰喂谓蠅谓委伪蟼 蟽蟿伪 蟿苇位畏 蟿慰蠀 19慰蠀 伪喂蠋谓伪.
韦慰 位慰蠀位慰蠉未喂 蟿畏蟼 未喂魏萎蟼 渭伪蟼 喂蟽蟿慰蟻委伪蟼 未蔚谓 伪谓萎魏蔚喂 蟽蟿畏谓 魏伪蟿畏纬慰蟻委伪 蟿蠅谓 蟺慰蟻谓慰位慰蠉位慰蠀未蠅谓
渭蔚 蟿畏谓 蟽蟿蔚蟻慰蟿蠀蟺喂魏萎 魏伪喂 魏慰喂谓蠅谓喂魏萎
蔚蟺喂蟿苇位蔚蟽畏 苇蟻纬蠅谓 畏未慰谓萎蟼.
螖蔚谓 蟺慰蠀位维蔚喂 蟿畏谓 渭蠀蟻蠅未喂维 蟿慰蠀
伪蟺慰 蔚蟺伪纬纬蔚位渭伪蟿喂魏萎 蔚蠀蟽蠀谓蔚喂未畏蟽委伪,
苇蠂蔚喂 苇谓伪 渭蔚胃蠀蟽蟿喂魏蠈, 未伪喂渭慰谓喂蟽渭苇谓慰 维蟻蠅渭伪 胃畏位蠀魏萎蟼 蟽蔚尉慰蠀伪位喂魏萎蟼 蟺伪蟻伪蟺位维谓畏蟽畏蟼,
蔚委谓伪喂 苇谓伪 蟺慰委畏渭伪 纬蠀谓伪喂魏蔚委伪蟼 慰蟻渭萎蟼
蔚蟺喂魏委谓未蠀谓慰 魏伪喂 蟽伪纬畏谓蔚蠀蟿喂魏蠈 蟺慰蠀 渭蟺慰蟻蔚委
未蟻伪渭伪蟿喂魏维 魏伪喂 蟿蔚位蔚蟿慰蠀蟻纬喂魏维 谓伪 渭蔚位慰蟺慰喂萎蟽蔚喂 蟿喂蟼 伪蟻蟽蔚谓喂魏苇蟼 蔚蟺喂胃蠀渭委蔚蟼 蟺慰蠀 蠁胃维谓慰蠀谓 蟽蟿畏谓 蔚蟽蠂伪蟿喂维 蟿畏蟼 蔚渭渭慰谓萎蟼 魏伪喂 蟿畏蟼 魏伪蟿维谓蟿喂伪蟼.
螚 螡伪谓维 苇纬喂谓蔚 蔚委未蠅位慰, 苇谓伪 伪谓萎位喂魏慰 魏慰蟻喂蟿蟽维魏喂 蟺慰蠀 伪谓伪蟺蟿蠉蟽蟽蔚喂 伪谓蟿喂蟽蟿维蟽蔚喂蟼 魏伪喂 魏伪蟿维位慰喂蟺伪 伪蟺慰 渭喂伪 慰喂魏慰纬苇谓蔚喂伪 蠈蟺慰蠀 慰 渭苇胃蠀蟽慰蟼 蟺伪蟿苇蟻伪蟼 未蔚谓 蠀蟺维蟻蠂蔚喂 蟺伪蟻维 渭蠈谓慰 纬喂伪 谓伪 蟿慰谓委蟽蔚喂 蟿畏谓 伪蟺慰蟿蠀蠂委伪 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 纬苇谓慰蠀蟼 魏伪喂 畏 渭畏蟿苇蟻伪, 渭喂伪 蔚蟻纬伪味蠈渭蔚谓畏 蟺位蠉蟽蟿蟻伪 蟺慰蠀 蠂维谓蔚蟿伪喂 伪蟻纬维 魏伪喂 尾伪蟽伪谓喂蟽蟿喂魏维 渭苇蟽伪 蟽蟿伪 伪蟺蠈谓蔚蟻伪 蟿畏蟼 尾喂蠅渭伪蟿喂魏萎蟼 魏伪蟿维蠂蟻畏蟽畏蟼 魏伪喂 蟿慰蠀 尾委伪喂慰蠀 蔚尉蔚蠀蟿蔚位喂蟽渭慰蠉.
危蟿畏谓 蠂蟻蠀蟽萎 蔚蟺慰蠂萎 蟿畏蟼 螕伪位位委伪蟼 魏伪蟿维 蟿畏谓 慰蟺慰委伪 维谓未蟻蔚蟼 魏伪喂 纬蠀谓伪委魏蔚蟼 魏维谓慰蠀谓 蟿伪 蟺维谓蟿伪 纬喂伪 谓伪 蔚谓蟿伪蠂胃慰蠉谓 蟽蟿畏谓 蠀蠄畏位萎 魏慰喂谓蠅谓委伪 伪蟻蠂委味蔚喂 谓伪 魏伪蟿伪魏蟿维蟿伪喂
畏 蟺伪蟻伪魏渭萎 蟿畏蟼 蔚蟺慰蠂萎蟼, 魏伪胃蠋蟼 蔚蟺委蟽畏蟼 畏 伪谓蔚位苇畏蟿畏 蠁蟿蠋蠂蔚喂伪 魏伪喂 畏 蠁胃委谓慰蠀蟽伪 畏胃喂魏萎.
危蔚 伪蠀蟿萎谓 蟿畏谓 蔚蟺慰蠂萎 蔚渭蠁伪谓委味蔚蟿伪喂
蟿慰 蟽蠉渭尾慰位慰 芦螡伪谓维禄,
渭喂伪 纬蠀谓伪委魏伪 蟺慰蠀 蟽蠀纬魏位慰谓委味蔚喂 蟿畏谓 蔚魏蟻畏魏蟿喂魏萎 魏慰喂谓蠅谓委伪
蟿蠅谓 蟽伪位慰谓喂蠋谓 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蔚谓蠋 蔚喂未喂魏维 魏伪喂 蠁伪谓蔚蟻维 蟺蟻慰蟿维蟽蟽蔚喂 蟿喂蟼 胃畏位蠀魏苇蟼 蟿畏蟼 未蠀谓维渭蔚喂蟼 苇谓伪谓蟿喂 蟿蠅谓 魏伪胃慰位喂魏维 蔚蟻蔚胃喂蟽渭苇谓蠅谓 伪谓未蟻蠋谓.
螖委蟺位伪 蟽蟿畏谓 蔚魏未喂魏畏蟿喂魏萎 位伪纬谓蔚委伪 魏伪喂 蟿畏谓 魏慰喂谓蠅谓喂魏萎 蔚蟺喂蟻蟻慰萎 蟿畏蟼 螡伪谓维蟼 蟿慰蠀 螙慰位维 , 畏 渭伪谓蟿维渭 螠蟺慰尾伪蟻蠉 ,蟿慰蠀 桅位蠅渭蟺苇蟻,
渭慰喂维味蔚喂 渭蔚 蟿畏谓 渭畏蟿苇蟻伪 韦蔚蟻苇味伪.
螚 ,螡伪谓维, 纬委谓蔚蟿伪喂 未喂伪蟽畏渭蠈蟿畏蟿伪 蟽蟿慰 胃苇伪蟿蟻慰,
蠂维蟻畏 蟽蟿畏谓 蟺蟻蠈蟽蟿蠀蠂畏 慰渭慰蟻蠁喂维 蟿畏蟼, 伪蟺慰 蔚魏蔚委 魏伪喂 渭蔚蟿维 伪谓慰委纬慰蠀谓 蟿伪 芦尾慰蠀位蔚尾维蟻蟿伪禄 纬喂伪 谓伪 蟿伪 未喂伪蟽蠂委蟽蔚喂 畏 蔚蟻蠅渭苇谓畏 蟿畏蟼 蟺慰位喂蟿喂魏萎蟼 魏伪喂 蠀蠄畏位萎蟼 伪蟻喂蟽蟿慰魏蟻伪蟿委伪蟼 魏伪胃蠅蟼 魏伪喂 蟿畏蟼 伪蟽蟿喂魏萎蟼 蟿维尉畏蟼.
螤蟻慰伪蟺伪喂蟿慰蠉渭蔚谓伪 蟺维谓蟿伪 蟿慰 维蟺位蔚蟿慰 蠂蟻萎渭伪,
蟿伪 蠀位喂魏维 伪纬伪胃维 魏伪喂 魏维胃蔚 蔚委未慰蠀蟼 尾喂蠋蟽喂渭畏 蟺慰位蠀蟿苇位蔚喂伪. 螝维胃蔚 蠂慰蟻畏纬蔚委伪 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 魏伪蟿伪蟽蟺伪位畏胃蔚委
蟺蟻慰蟼 苇谓未蔚喂尉畏 蟿畏蟼 伪谓苇位喂尉畏蟼 渭喂伪蟼 尾蟻蠈渭喂魏畏蟼 伪谓萎位喂魏畏蟼 蟺蠈蟻谓畏蟼 蟽蔚 魏蠀蟻委伪 蟿蠅谓 蟿喂渭蠋谓,
蟺慰蠀 伪谓伪蟿蟻苇蟺慰蠀谓 蟿畏谓 蟺位慰魏萎 魏伪喂 魏蠀蟻喂伪蟻蠂慰蠉谓 蟽蟿畏谓 蔚喂魏蠈谓伪.
螠喂伪 蟺蠈蟻谓畏 蟺慰蠀 蔚魏未喂魏蔚委蟿伪喂 蠅蟼 魏慰喂谓蠅谓喂魏蠈蟼 蔚魏蟿蔚位蔚蟽蟿萎蟼, 渭喂伪 未喂伪蟽畏渭蠈蟿畏蟿伪 畏未慰谓萎蟼 魏伪喂 蟺维胃慰蠀蟼, 蟽蟿畏谓 蔚魏蟿蔚位蔚蟽蟿喂魏萎 蟿畏蟼 蔚蟺喂蟻蟻慰萎 谓伪 未喂伪位蠉蔚喂 魏伪喂 谓伪 魏伪蟿伪蟽蟺伪蟻维味蔚喂 蟿伪 蟺维谓蟿伪, 蔚渭蟺委蟺蟿慰蠀谓 蟺维蟻伪 蟺慰位位慰委 维谓未蟻蔚蟼 纬谓蠅蟻委味慰谓蟿伪蟼 慰喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 蟺蠅蟼 慰未蔚蠉慰蠀谓 蟽蟿畏谓 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁萎.
螝伪喂 畏 螡伪谓维 蟺蟻慰蠂蠅蟻维, 魏蔚蟻未委味蔚喂, 蔚尉蔚位委蟽蟽蔚蟿伪喂,
蟺伪蟿维蔚喂 蟺维谓蠅 蟽蔚 喂蔚蟻苇蟼 伪尉委蔚蟼 魏伪喂 喂未伪谓喂魏维 魏伪喂 蟿伪 渭蔚蟿伪渭慰蟻蠁蠋谓蔚喂 蟽蔚 蟽蔚尉慰蠀伪位喂魏维 蟺伪喂蠂谓委未喂伪.
螛苇位蔚喂 魏伪喂 渭蟺慰蟻蔚委, 谓伪 伪未蔚喂维味蔚喂 蟽蠋渭伪蟿伪 魏伪喂 蠄蠀蠂苇蟼 蟽蟿慰谓 蠀蟺蠈谓慰渭慰 蟿慰蠀 蟺蔚味慰未蟻慰渭委慰蠀 蠈蟺慰蠀 魏维蟺慰蟿蔚 蟺慰蠀位慰蠉蟽蔚 蟿慰 蟺伪喂未喂魏蠈 魏慰蟻渭委 蟿畏蟼 蠂蠅蟻委蟼 谓伪 位蠀蟿蟻蠋谓蔚蟿伪喂 伪蟺慰 蟿畏谓 蟺伪纬蠅谓喂维, 蟿畏谓 伪谓苇蠂蔚喂伪 魏伪喂 蟿畏谓 尾蟻蠈渭喂魏畏 伪谓伪蟺谓慰萎 蟿畏蟼 伪蟿苇位蔚喂蠅蟿畏蟼 渭喂味苇蟻喂伪蟼.
螉蟽蠅蟼 慰 伪蟺蠋蟿蔚蟻慰蟼 蟽魏慰蟺蠈蟼 谓伪 蔚委谓伪喂 畏 蔚魏未喂魏畏蟿喂魏萎 渭伪谓委伪 纬喂伪 蠈蟽伪 未蔚谓 苇味畏蟽蔚 萎 纬喂伪 蠈蟽伪 伪未委魏蠅蟼 苇味畏蟽蔚.
螒谓伪蟽蟿蟻苇蠁蔚喂 渭蔚 渭蔚纬维位畏 蔚蟺喂蟿蠀蠂委伪 蟿慰蠀蟼 蟻蠈位慰蠀蟼 蟿蠅谓 蠁蠉位蠅谓 蟿蠅谓 慰蟺伪未蠋谓 蟿畏蟼, 渭蔚 苇谓伪 未委魏伪喂慰 蟺慰蟽慰蟽蟿蠈 未喂伪蟽蟿伪蠉蟻蠅蟽畏蟼 蟿畏蟼 慰渭慰蠁蠀位慰蠁喂位委伪蟼,
蟿畏蟼 蟽蠅渭伪蟿喂魏萎蟼 魏伪魏慰蟺慰委畏蟽畏蟼 魏伪喂 蟿喂蟼 蟺慰喂魏委位蔚蟼 未喂伪蟽蟿蟻慰蠁苇蟼 魏蠀蟻委蠅蟼 蠈蟿伪谓 蠀蟺慰尾伪胃渭委味慰蠀谓 蟿畏谓 伪谓未蟻喂魏萎 蠀蟺蠈蟽蟿伪蟽畏.
韦慰 魏慰蟻喂蟿蟽维魏喂 蟿慰蠀 未蟻蠈渭慰蠀 纬委谓蔚蟿伪喂 畏 尾伪蟽委位喂蟽蟽伪 蟿畏蟼 蟺慰蟻谓蔚委伪蟼. 韦慰 未喂伪蟽蟿蟻慰蠁喂魏蠈 渭苇谓慰蟼 蟿畏蟼 蔚蟺喂尾慰位萎蟼 魏伪喂 蟿慰蠀 蟺位慰蠉蟿慰蠀 伪蟻蠂委味蔚喂 谓伪 蔚蟺蔚魏蟿蔚委谓蔚蟿伪喂 魏伪喂 蟽蟿慰 渭蠀伪位蠈 蟿畏蟼
蠅蟼 蔚谓伪 喂蟽蠂蠀蟻蠈 魏伪蟿畏纬慰蟻畏蟿萎蟻喂慰 蟻畏蠂蠋谓 伪蟺慰位伪蠉蟽蔚蠅谓 魏伪喂 蟺伪胃喂伪蟽渭苇谓蠅谓 慰蟻纬伪蟽渭蠋谓 蟺维谓蠅 蟽蔚 伪谓未蟻喂魏维 蟺伪谓蟿蔚位蠈谓喂伪 渭蔚 伪尉蠈未蔚蠀蟿蔚蟼 蟿蟽苇蟺蔚蟼.
螣 螙慰位维 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 渭蔚 蟿畏谓 魏伪胃伪蟻蠈伪喂渭畏 蟻蔚伪位喂蟽蟿喂魏萎 蟿慰蠀 蟺苇谓伪 蟽蟿畏谓 魏蟻喂蟿喂魏萎 蟽维蟿喂蟻伪 蟿蠅谓 未伪魏蟻蠉蠅谓 蠈蟺慰蠀 慰喂 渭畏蟿苇蟻蔚蟼 蔚魏未委未慰蠀谓 蟿喂蟼 魏蠈蟻蔚蟼 蟿慰蠀蟼 纬喂伪 谓伪 纬位喂蟿蠋蟽慰蠀谓 蟿畏谓 蠁蟿蠋蠂蔚喂伪 魏伪喂 慰喂 蟽蠉味蠀纬慰喂 魏伪蟺谓委味慰蠀谓 蟺慰蠉蟻伪 魏伪喂 蟽蠀味畏蟿慰蠉谓 伪渭苇蟻喂渭谓伪 渭蔚 蟿慰蠀蟼 蔚蟻伪蟽蟿苇蟼 蟿蠅谓 蟽蠀味蠉纬蠅谓 蟿慰蠀蟼 蟺慰蠀 蟽蠀蠂谓维 蔚喂谓伪喂 魏伪喂 慰喂魏慰纬蔚谓蔚喂伪魏慰委 蠂慰蟻畏纬慰委.
螚 蔚蟺喂蟻蟻慰萎 蟿畏蟼 螡伪谓维蟼 蟺维谓蠅 蟽蟿伪 伪蟻蟽蔚谓喂魏维 魏维胃蔚 魏慰喂谓蠅谓喂魏萎蟼 蟿维尉畏蟼 蔚委谓伪喂 蔚纬魏位畏渭伪蟿喂魏萎 魏伪喂 伪未喂伪渭蠁喂蟽尾萎蟿畏蟿畏, 蠈渭蠅蟼 未蔚谓 魏伪蟿伪蠁苇蟻谓蔚喂 蟺慰蟿苇 谓伪 蟺维蟻蔚喂 伪蠀蟿蠈 蟺慰蠀 蟺慰胃蔚委 未喂伪魏伪蠋蟼,
渭喂伪 胃苇蟽畏 蟽蟿畏谓 伪尉喂慰蟺蟻蔚蟺萎 纬伪位位喂魏萎 魏慰喂谓蠅谓委伪.
螣尉蠉渭蠅蟻慰 魏伪喂 伪谓蟿喂蠁伪蟿喂魏蠈,
蠈蟺蠅蟼 伪魏蟻喂尾蠋蟼 蟿伪 蟺位慰蠉蟽喂伪 蟽伪位蠈谓喂伪 蟽蔚 蟽蠂苇蟽畏 渭蔚 蟿伪 尾蟻蠈渭喂魏伪 蠀蟺谓慰未蠅渭维蟿喂伪 蟿蠅谓 蟺慰蟻谓蔚委蠅谓.
螚 未喂伪蠁慰蟻维 蟿蔚位喂魏维 苇纬魏蔚喂蟿伪喂 蟽蟿慰蠀蟼 蠂蠋蟻慰蠀蟼
蟺慰位蠀蟿蔚位蔚委伪蟼 萎 蔚尉伪胃位委蠅蟽畏蟼, 未喂蠈蟿喂 畏 蟺慰蟻谓蔚委伪 蟺伪蟻伪渭苇谓蔚喂 委未喂伪 魏伪喂 渭蔚 蟿畏谓 蟽伪渭蟺维谓喂伪 魏伪喂 渭蔚 蟿伪 蠁胃畏谓维 魏伪蟿伪蟺蠈蟿喂伪.
螣 蟺蠀蟻萎谓伪蟼 慰位蠈喂未喂慰蟼, 蟿慰 魏蔚谓蠈 蟺慰蠀 蟺蔚蟻喂魏位蔚委蔚蟿伪喂 纬蠉蟻蠅 蟿慰蠀 未喂伪蠁苇蟻蔚喂 , 伪谓伪位蠈纬蠅蟼 渭蔚 蟿喂蟼 纬蔚喂蟿慰谓喂苇蟼 蟿畏蟼 位维蟽蟺畏蟼 魏伪喂 蟿喂蟼 蟽蠀谓慰喂魏蔚委蔚蟼 渭蔚 蟿伪 魏伪蟿维蠁蠅蟿伪, 伪谓胃慰蟽蟿蠈位喂蟽蟿伪 渭苇纬伪蟻伪.
螒蠀蟿蠈 蟺慰蠀 蟺慰胃蔚委 畏 蔚蟻蠅渭苇谓畏 蟿畏蟼 伪未蟻维谓蔚喂伪蟼 魏伪喂 蟿畏蟼 蠂蔚喂蟻喂蟽蟿喂魏萎蟼 尾慰蠉位畏蟽畏蟼 蔚委谓伪喂 谓伪 蟽魏慰蟻蟺维蔚喂 魏伪蟿维谓蟿喂伪 魏伪喂 蟺蟻慰魏位畏蟿喂魏萎 魏伪蟿伪蟽蟿蟻慰蠁萎 蠄蠀蠂蠋谓 魏伪喂 蟺蔚蟻喂慰蠀蟽喂蠋谓.
螝慰喂谓蠈蟼 蟺伪蟻慰谓慰渭伪蟽蟿萎蟼 慰 魏蠀谓喂蟽渭蠈蟼 魏伪喂 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭伪蟼 蟺慰蠀 未蔚谓 纬委谓蔚蟿伪喂 谓伪 蟺蟻慰尉蔚谓萎蟽慰蠀谓 蟽蠀渭蟺维胃蔚喂伪 萎 蟽蠀渭蟺蠈谓慰喂伪.
螚 螡伪谓维 , 蟿慰 蟽蠉渭尾慰位慰, 蟿慰 蔚委未蠅位慰, 畏 蔚蟻蠅蟿喂魏萎 位伪纬谓蔚委伪
蟿畏蟼 蟺慰位喂蟿喂魏萎蟼, 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 魏伪喂 畏胃喂魏萎蟼 蠀蟺慰尾维胃渭喂蟽畏蟼.
螒谓维渭蔚蟽伪 伪蟺慰 蟿伪 蟺蠈未喂伪 蟿畏蟼 蟺蔚蟻谓维蔚喂 蠈位畏 畏 慰喂魏慰谓慰渭委伪 蟿畏蟼 螕伪位位委伪蟼 魏伪喂 蔚魏蔚委谓畏 蟺伪委蟻谓蔚喂 蠀位喂魏维 伪纬伪胃维 魏伪喂 未委谓蔚喂 蟺蠈胃慰蠀蟼, 蟽蟺伪蟽渭慰蠉蟼 蔚蠀蠂伪蟻委蟽蟿畏蟽畏蟼, 蟺维胃慰蟼, 魏伪喂 蟿蟻苇位伪 蔚渭渭慰谓喂魏萎蟼 位维蟿蟻蔚喂伪蟼.
螤伪委味蔚喂 渭蔚 蟿畏 味蠅萎 魏伪喂 魏位伪委蔚喂 尾慰蠀尾维, 蠁慰尾维蟿伪喂 蟿慰谓 胃维谓伪蟿慰 渭伪 蟿慰谓 蔚渭蟺谓苇蔚喂, 蟿蟻苇渭蔚喂 蟿畏谓 蟺伪蟻伪魏渭萎 渭伪 蔚委谓伪喂 畏 蟿蟻慰蠁萎 蟿畏蟼, 伪未喂伪蠁慰蟻蔚委 纬喂伪 蟿伪 纬畏蟻伪蟿蔚喂维 渭伪 蟿伪 伪纬魏伪位喂维味蔚喂 魏伪喂 蟿伪 蟿喂渭维.
螠喂伪 纬蠀谓伪委魏伪 未蠀蟽蟿蠀蠂喂蟽渭苇谓畏 蟺慰蠀 味蔚喂 渭苇蟽伪 蟽蟿畏谓 蔚蠀蟿蠀蠂委伪 魏伪喂 纬委谓蔚蟿伪喂 渭喂伪 伪蟻蠂苇蟿蠀蟺畏 未蠉谓伪渭畏 魏伪胃慰未萎纬畏蟽畏蟼.
螤蠈蟽慰 胃位喂尾蔚蟻蠈 魏伪喂 蟽慰尾伪蟻蠈 魏伪蟿畏纬慰蟻畏蟿萎蟻喂慰 纬喂伪 蠈位畏 蟿畏谓 魏慰喂谓蠅谓委伪 渭蔚 蟿畏谓 蟺伪渭蠁维纬伪 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪 魏伪喂 蔚谓伪 蔚委未慰蟼 位慰纬喂魏萎蟼 伪谓维渭蔚喂魏蟿慰, 渭蔚 尾喂慰位慰纬喂魏萎 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏 魏伪喂 尾伪胃喂维 伪蟺伪喂蟽喂慰未慰尉委伪.
馃挜馃摉
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.
蟿畏蟼 螖蔚蠉蟿蔚蟻畏蟼 螕伪位位喂魏萎蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼 (1852-1870) 伪谓伪未蠉蔚蟿伪喂 渭苇蟽伪 伪蟺慰 蟿畏谓 蠁蟿蠋蠂蔚喂伪, 蟿畏谓 蔚尉伪胃位委蠅蟽畏,
蟿畏谓 伪蟻蟻蠋蟽蟿蔚喂伪, 蟿畏谓 蟺蔚委谓伪, 魏伪喂 蟿喂蟼 蔚位位蔚委蠄蔚喂蟼 魏维胃蔚 蔚委未慰蠀蟼 伪谓胃蟻蠋蟺喂谓畏蟼 伪尉喂慰蟺蟻苇蟺蔚喂伪蟼,
苇谓伪 蟺伪渭蠁维纬慰 位慰蠀位慰蠉未喂.
桅蠉蔚蟿伪喂 蟽蟿喂蟼 位维蟽蟺蔚蟼, 蟿伪 尾蟻慰渭蠈谓蔚蟻伪 魏伪喂 蟿慰蠀蟼 伪谓胃蟻蠋蟺喂谓慰蠀蟼 蟽魏慰蠀蟺喂未蠈蟿慰蟺慰蠀蟼 未喂伪尾委蠅蟽畏蟼.
螒蟺慰 伪蠀蟿慰蠉蟼 蟺慰蠀 蟿伪螑味慰谓蟿伪喂 渭蔚 伪魏伪蟿苇蟻纬伪蟽蟿伪 尾喂慰位慰纬喂魏维 伪蟺慰蠁维纬喂伪 蠁蠀蟽喂魏萎蟼 喂蟽蟿慰蟻委伪蟼, 蠁喂位慰蟽慰蠁委伪蟼 魏伪喂 魏慰喂谓蠅谓喂慰位慰纬委伪蟼 纬喂伪 谓伪 蔚蟺喂尾喂蠋蟽慰蠀谓 魏伪喂 谓伪 伪蟺慰蟿蔚位苇蟽慰蠀谓 蟿畏谓 维蟻蠂慰蠀蟽伪 蟿维尉畏 蟿畏蟼 蠀蠄畏位萎蟼 蟽蟿维胃渭畏蟼 蟿慰蠀 蟺蔚味慰未蟻慰渭委慰蠀,
位委纬慰 蟺蟻喂谓 蟺位畏渭渭蠀蟻委蟽慰蠀谓 慰喂 蠀蟺蠈谓慰渭慰喂 伪蟺慰 蟿畏谓 蟺伪蟻伪魏渭萎 魏伪喂 蟿畏谓 蠁胃慰蟻维 蟿畏蟼 螤伪蟻喂蟽喂谓萎蟼 魏慰喂谓蠅谓委伪蟼 蟽蟿伪 蟿苇位畏 蟿慰蠀 19慰蠀 伪喂蠋谓伪.
韦慰 位慰蠀位慰蠉未喂 蟿畏蟼 未喂魏萎蟼 渭伪蟼 喂蟽蟿慰蟻委伪蟼 未蔚谓 伪谓萎魏蔚喂 蟽蟿畏谓 魏伪蟿畏纬慰蟻委伪 蟿蠅谓 蟺慰蟻谓慰位慰蠉位慰蠀未蠅谓
渭蔚 蟿畏谓 蟽蟿蔚蟻慰蟿蠀蟺喂魏萎 魏伪喂 魏慰喂谓蠅谓喂魏萎
蔚蟺喂蟿苇位蔚蟽畏 苇蟻纬蠅谓 畏未慰谓萎蟼.
螖蔚谓 蟺慰蠀位维蔚喂 蟿畏谓 渭蠀蟻蠅未喂维 蟿慰蠀
伪蟺慰 蔚蟺伪纬纬蔚位渭伪蟿喂魏萎 蔚蠀蟽蠀谓蔚喂未畏蟽委伪,
苇蠂蔚喂 苇谓伪 渭蔚胃蠀蟽蟿喂魏蠈, 未伪喂渭慰谓喂蟽渭苇谓慰 维蟻蠅渭伪 胃畏位蠀魏萎蟼 蟽蔚尉慰蠀伪位喂魏萎蟼 蟺伪蟻伪蟺位维谓畏蟽畏蟼,
蔚委谓伪喂 苇谓伪 蟺慰委畏渭伪 纬蠀谓伪喂魏蔚委伪蟼 慰蟻渭萎蟼
蔚蟺喂魏委谓未蠀谓慰 魏伪喂 蟽伪纬畏谓蔚蠀蟿喂魏蠈 蟺慰蠀 渭蟺慰蟻蔚委
未蟻伪渭伪蟿喂魏维 魏伪喂 蟿蔚位蔚蟿慰蠀蟻纬喂魏维 谓伪 渭蔚位慰蟺慰喂萎蟽蔚喂 蟿喂蟼 伪蟻蟽蔚谓喂魏苇蟼 蔚蟺喂胃蠀渭委蔚蟼 蟺慰蠀 蠁胃维谓慰蠀谓 蟽蟿畏谓 蔚蟽蠂伪蟿喂维 蟿畏蟼 蔚渭渭慰谓萎蟼 魏伪喂 蟿畏蟼 魏伪蟿维谓蟿喂伪蟼.
螚 螡伪谓维 苇纬喂谓蔚 蔚委未蠅位慰, 苇谓伪 伪谓萎位喂魏慰 魏慰蟻喂蟿蟽维魏喂 蟺慰蠀 伪谓伪蟺蟿蠉蟽蟽蔚喂 伪谓蟿喂蟽蟿维蟽蔚喂蟼 魏伪喂 魏伪蟿维位慰喂蟺伪 伪蟺慰 渭喂伪 慰喂魏慰纬苇谓蔚喂伪 蠈蟺慰蠀 慰 渭苇胃蠀蟽慰蟼 蟺伪蟿苇蟻伪蟼 未蔚谓 蠀蟺维蟻蠂蔚喂 蟺伪蟻维 渭蠈谓慰 纬喂伪 谓伪 蟿慰谓委蟽蔚喂 蟿畏谓 伪蟺慰蟿蠀蠂委伪 蟿慰蠀 伪谓胃蟻蠋蟺喂谓慰蠀 纬苇谓慰蠀蟼 魏伪喂 畏 渭畏蟿苇蟻伪, 渭喂伪 蔚蟻纬伪味蠈渭蔚谓畏 蟺位蠉蟽蟿蟻伪 蟺慰蠀 蠂维谓蔚蟿伪喂 伪蟻纬维 魏伪喂 尾伪蟽伪谓喂蟽蟿喂魏维 渭苇蟽伪 蟽蟿伪 伪蟺蠈谓蔚蟻伪 蟿畏蟼 尾喂蠅渭伪蟿喂魏萎蟼 魏伪蟿维蠂蟻畏蟽畏蟼 魏伪喂 蟿慰蠀 尾委伪喂慰蠀 蔚尉蔚蠀蟿蔚位喂蟽渭慰蠉.
危蟿畏谓 蠂蟻蠀蟽萎 蔚蟺慰蠂萎 蟿畏蟼 螕伪位位委伪蟼 魏伪蟿维 蟿畏谓 慰蟺慰委伪 维谓未蟻蔚蟼 魏伪喂 纬蠀谓伪委魏蔚蟼 魏维谓慰蠀谓 蟿伪 蟺维谓蟿伪 纬喂伪 谓伪 蔚谓蟿伪蠂胃慰蠉谓 蟽蟿畏谓 蠀蠄畏位萎 魏慰喂谓蠅谓委伪 伪蟻蠂委味蔚喂 谓伪 魏伪蟿伪魏蟿维蟿伪喂
畏 蟺伪蟻伪魏渭萎 蟿畏蟼 蔚蟺慰蠂萎蟼, 魏伪胃蠋蟼 蔚蟺委蟽畏蟼 畏 伪谓蔚位苇畏蟿畏 蠁蟿蠋蠂蔚喂伪 魏伪喂 畏 蠁胃委谓慰蠀蟽伪 畏胃喂魏萎.
危蔚 伪蠀蟿萎谓 蟿畏谓 蔚蟺慰蠂萎 蔚渭蠁伪谓委味蔚蟿伪喂
蟿慰 蟽蠉渭尾慰位慰 芦螡伪谓维禄,
渭喂伪 纬蠀谓伪委魏伪 蟺慰蠀 蟽蠀纬魏位慰谓委味蔚喂 蟿畏谓 蔚魏蟻畏魏蟿喂魏萎 魏慰喂谓蠅谓委伪
蟿蠅谓 蟽伪位慰谓喂蠋谓 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蔚谓蠋 蔚喂未喂魏维 魏伪喂 蠁伪谓蔚蟻维 蟺蟻慰蟿维蟽蟽蔚喂 蟿喂蟼 胃畏位蠀魏苇蟼 蟿畏蟼 未蠀谓维渭蔚喂蟼 苇谓伪谓蟿喂 蟿蠅谓 魏伪胃慰位喂魏维 蔚蟻蔚胃喂蟽渭苇谓蠅谓 伪谓未蟻蠋谓.
螖委蟺位伪 蟽蟿畏谓 蔚魏未喂魏畏蟿喂魏萎 位伪纬谓蔚委伪 魏伪喂 蟿畏谓 魏慰喂谓蠅谓喂魏萎 蔚蟺喂蟻蟻慰萎 蟿畏蟼 螡伪谓维蟼 蟿慰蠀 螙慰位维 , 畏 渭伪谓蟿维渭 螠蟺慰尾伪蟻蠉 ,蟿慰蠀 桅位蠅渭蟺苇蟻,
渭慰喂维味蔚喂 渭蔚 蟿畏谓 渭畏蟿苇蟻伪 韦蔚蟻苇味伪.
螚 ,螡伪谓维, 纬委谓蔚蟿伪喂 未喂伪蟽畏渭蠈蟿畏蟿伪 蟽蟿慰 胃苇伪蟿蟻慰,
蠂维蟻畏 蟽蟿畏谓 蟺蟻蠈蟽蟿蠀蠂畏 慰渭慰蟻蠁喂维 蟿畏蟼, 伪蟺慰 蔚魏蔚委 魏伪喂 渭蔚蟿维 伪谓慰委纬慰蠀谓 蟿伪 芦尾慰蠀位蔚尾维蟻蟿伪禄 纬喂伪 谓伪 蟿伪 未喂伪蟽蠂委蟽蔚喂 畏 蔚蟻蠅渭苇谓畏 蟿畏蟼 蟺慰位喂蟿喂魏萎蟼 魏伪喂 蠀蠄畏位萎蟼 伪蟻喂蟽蟿慰魏蟻伪蟿委伪蟼 魏伪胃蠅蟼 魏伪喂 蟿畏蟼 伪蟽蟿喂魏萎蟼 蟿维尉畏蟼.
螤蟻慰伪蟺伪喂蟿慰蠉渭蔚谓伪 蟺维谓蟿伪 蟿慰 维蟺位蔚蟿慰 蠂蟻萎渭伪,
蟿伪 蠀位喂魏维 伪纬伪胃维 魏伪喂 魏维胃蔚 蔚委未慰蠀蟼 尾喂蠋蟽喂渭畏 蟺慰位蠀蟿苇位蔚喂伪. 螝维胃蔚 蠂慰蟻畏纬蔚委伪 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 魏伪蟿伪蟽蟺伪位畏胃蔚委
蟺蟻慰蟼 苇谓未蔚喂尉畏 蟿畏蟼 伪谓苇位喂尉畏蟼 渭喂伪蟼 尾蟻蠈渭喂魏畏蟼 伪谓萎位喂魏畏蟼 蟺蠈蟻谓畏蟼 蟽蔚 魏蠀蟻委伪 蟿蠅谓 蟿喂渭蠋谓,
蟺慰蠀 伪谓伪蟿蟻苇蟺慰蠀谓 蟿畏谓 蟺位慰魏萎 魏伪喂 魏蠀蟻喂伪蟻蠂慰蠉谓 蟽蟿畏谓 蔚喂魏蠈谓伪.
螠喂伪 蟺蠈蟻谓畏 蟺慰蠀 蔚魏未喂魏蔚委蟿伪喂 蠅蟼 魏慰喂谓蠅谓喂魏蠈蟼 蔚魏蟿蔚位蔚蟽蟿萎蟼, 渭喂伪 未喂伪蟽畏渭蠈蟿畏蟿伪 畏未慰谓萎蟼 魏伪喂 蟺维胃慰蠀蟼, 蟽蟿畏谓 蔚魏蟿蔚位蔚蟽蟿喂魏萎 蟿畏蟼 蔚蟺喂蟻蟻慰萎 谓伪 未喂伪位蠉蔚喂 魏伪喂 谓伪 魏伪蟿伪蟽蟺伪蟻维味蔚喂 蟿伪 蟺维谓蟿伪, 蔚渭蟺委蟺蟿慰蠀谓 蟺维蟻伪 蟺慰位位慰委 维谓未蟻蔚蟼 纬谓蠅蟻委味慰谓蟿伪蟼 慰喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰喂 蟺蠅蟼 慰未蔚蠉慰蠀谓 蟽蟿畏谓 伪蠀蟿慰魏伪蟿伪蟽蟿蟻慰蠁萎.
螝伪喂 畏 螡伪谓维 蟺蟻慰蠂蠅蟻维, 魏蔚蟻未委味蔚喂, 蔚尉蔚位委蟽蟽蔚蟿伪喂,
蟺伪蟿维蔚喂 蟺维谓蠅 蟽蔚 喂蔚蟻苇蟼 伪尉委蔚蟼 魏伪喂 喂未伪谓喂魏维 魏伪喂 蟿伪 渭蔚蟿伪渭慰蟻蠁蠋谓蔚喂 蟽蔚 蟽蔚尉慰蠀伪位喂魏维 蟺伪喂蠂谓委未喂伪.
螛苇位蔚喂 魏伪喂 渭蟺慰蟻蔚委, 谓伪 伪未蔚喂维味蔚喂 蟽蠋渭伪蟿伪 魏伪喂 蠄蠀蠂苇蟼 蟽蟿慰谓 蠀蟺蠈谓慰渭慰 蟿慰蠀 蟺蔚味慰未蟻慰渭委慰蠀 蠈蟺慰蠀 魏维蟺慰蟿蔚 蟺慰蠀位慰蠉蟽蔚 蟿慰 蟺伪喂未喂魏蠈 魏慰蟻渭委 蟿畏蟼 蠂蠅蟻委蟼 谓伪 位蠀蟿蟻蠋谓蔚蟿伪喂 伪蟺慰 蟿畏谓 蟺伪纬蠅谓喂维, 蟿畏谓 伪谓苇蠂蔚喂伪 魏伪喂 蟿畏谓 尾蟻蠈渭喂魏畏 伪谓伪蟺谓慰萎 蟿畏蟼 伪蟿苇位蔚喂蠅蟿畏蟼 渭喂味苇蟻喂伪蟼.
螉蟽蠅蟼 慰 伪蟺蠋蟿蔚蟻慰蟼 蟽魏慰蟺蠈蟼 谓伪 蔚委谓伪喂 畏 蔚魏未喂魏畏蟿喂魏萎 渭伪谓委伪 纬喂伪 蠈蟽伪 未蔚谓 苇味畏蟽蔚 萎 纬喂伪 蠈蟽伪 伪未委魏蠅蟼 苇味畏蟽蔚.
螒谓伪蟽蟿蟻苇蠁蔚喂 渭蔚 渭蔚纬维位畏 蔚蟺喂蟿蠀蠂委伪 蟿慰蠀蟼 蟻蠈位慰蠀蟼 蟿蠅谓 蠁蠉位蠅谓 蟿蠅谓 慰蟺伪未蠋谓 蟿畏蟼, 渭蔚 苇谓伪 未委魏伪喂慰 蟺慰蟽慰蟽蟿蠈 未喂伪蟽蟿伪蠉蟻蠅蟽畏蟼 蟿畏蟼 慰渭慰蠁蠀位慰蠁喂位委伪蟼,
蟿畏蟼 蟽蠅渭伪蟿喂魏萎蟼 魏伪魏慰蟺慰委畏蟽畏蟼 魏伪喂 蟿喂蟼 蟺慰喂魏委位蔚蟼 未喂伪蟽蟿蟻慰蠁苇蟼 魏蠀蟻委蠅蟼 蠈蟿伪谓 蠀蟺慰尾伪胃渭委味慰蠀谓 蟿畏谓 伪谓未蟻喂魏萎 蠀蟺蠈蟽蟿伪蟽畏.
韦慰 魏慰蟻喂蟿蟽维魏喂 蟿慰蠀 未蟻蠈渭慰蠀 纬委谓蔚蟿伪喂 畏 尾伪蟽委位喂蟽蟽伪 蟿畏蟼 蟺慰蟻谓蔚委伪蟼. 韦慰 未喂伪蟽蟿蟻慰蠁喂魏蠈 渭苇谓慰蟼 蟿畏蟼 蔚蟺喂尾慰位萎蟼 魏伪喂 蟿慰蠀 蟺位慰蠉蟿慰蠀 伪蟻蠂委味蔚喂 谓伪 蔚蟺蔚魏蟿蔚委谓蔚蟿伪喂 魏伪喂 蟽蟿慰 渭蠀伪位蠈 蟿畏蟼
蠅蟼 蔚谓伪 喂蟽蠂蠀蟻蠈 魏伪蟿畏纬慰蟻畏蟿萎蟻喂慰 蟻畏蠂蠋谓 伪蟺慰位伪蠉蟽蔚蠅谓 魏伪喂 蟺伪胃喂伪蟽渭苇谓蠅谓 慰蟻纬伪蟽渭蠋谓 蟺维谓蠅 蟽蔚 伪谓未蟻喂魏维 蟺伪谓蟿蔚位蠈谓喂伪 渭蔚 伪尉蠈未蔚蠀蟿蔚蟼 蟿蟽苇蟺蔚蟼.
螣 螙慰位维 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 渭蔚 蟿畏谓 魏伪胃伪蟻蠈伪喂渭畏 蟻蔚伪位喂蟽蟿喂魏萎 蟿慰蠀 蟺苇谓伪 蟽蟿畏谓 魏蟻喂蟿喂魏萎 蟽维蟿喂蟻伪 蟿蠅谓 未伪魏蟻蠉蠅谓 蠈蟺慰蠀 慰喂 渭畏蟿苇蟻蔚蟼 蔚魏未委未慰蠀谓 蟿喂蟼 魏蠈蟻蔚蟼 蟿慰蠀蟼 纬喂伪 谓伪 纬位喂蟿蠋蟽慰蠀谓 蟿畏谓 蠁蟿蠋蠂蔚喂伪 魏伪喂 慰喂 蟽蠉味蠀纬慰喂 魏伪蟺谓委味慰蠀谓 蟺慰蠉蟻伪 魏伪喂 蟽蠀味畏蟿慰蠉谓 伪渭苇蟻喂渭谓伪 渭蔚 蟿慰蠀蟼 蔚蟻伪蟽蟿苇蟼 蟿蠅谓 蟽蠀味蠉纬蠅谓 蟿慰蠀蟼 蟺慰蠀 蟽蠀蠂谓维 蔚喂谓伪喂 魏伪喂 慰喂魏慰纬蔚谓蔚喂伪魏慰委 蠂慰蟻畏纬慰委.
螚 蔚蟺喂蟻蟻慰萎 蟿畏蟼 螡伪谓维蟼 蟺维谓蠅 蟽蟿伪 伪蟻蟽蔚谓喂魏维 魏维胃蔚 魏慰喂谓蠅谓喂魏萎蟼 蟿维尉畏蟼 蔚委谓伪喂 蔚纬魏位畏渭伪蟿喂魏萎 魏伪喂 伪未喂伪渭蠁喂蟽尾萎蟿畏蟿畏, 蠈渭蠅蟼 未蔚谓 魏伪蟿伪蠁苇蟻谓蔚喂 蟺慰蟿苇 谓伪 蟺维蟻蔚喂 伪蠀蟿蠈 蟺慰蠀 蟺慰胃蔚委 未喂伪魏伪蠋蟼,
渭喂伪 胃苇蟽畏 蟽蟿畏谓 伪尉喂慰蟺蟻蔚蟺萎 纬伪位位喂魏萎 魏慰喂谓蠅谓委伪.
螣尉蠉渭蠅蟻慰 魏伪喂 伪谓蟿喂蠁伪蟿喂魏蠈,
蠈蟺蠅蟼 伪魏蟻喂尾蠋蟼 蟿伪 蟺位慰蠉蟽喂伪 蟽伪位蠈谓喂伪 蟽蔚 蟽蠂苇蟽畏 渭蔚 蟿伪 尾蟻蠈渭喂魏伪 蠀蟺谓慰未蠅渭维蟿喂伪 蟿蠅谓 蟺慰蟻谓蔚委蠅谓.
螚 未喂伪蠁慰蟻维 蟿蔚位喂魏维 苇纬魏蔚喂蟿伪喂 蟽蟿慰蠀蟼 蠂蠋蟻慰蠀蟼
蟺慰位蠀蟿蔚位蔚委伪蟼 萎 蔚尉伪胃位委蠅蟽畏蟼, 未喂蠈蟿喂 畏 蟺慰蟻谓蔚委伪 蟺伪蟻伪渭苇谓蔚喂 委未喂伪 魏伪喂 渭蔚 蟿畏谓 蟽伪渭蟺维谓喂伪 魏伪喂 渭蔚 蟿伪 蠁胃畏谓维 魏伪蟿伪蟺蠈蟿喂伪.
螣 蟺蠀蟻萎谓伪蟼 慰位蠈喂未喂慰蟼, 蟿慰 魏蔚谓蠈 蟺慰蠀 蟺蔚蟻喂魏位蔚委蔚蟿伪喂 纬蠉蟻蠅 蟿慰蠀 未喂伪蠁苇蟻蔚喂 , 伪谓伪位蠈纬蠅蟼 渭蔚 蟿喂蟼 纬蔚喂蟿慰谓喂苇蟼 蟿畏蟼 位维蟽蟺畏蟼 魏伪喂 蟿喂蟼 蟽蠀谓慰喂魏蔚委蔚蟼 渭蔚 蟿伪 魏伪蟿维蠁蠅蟿伪, 伪谓胃慰蟽蟿蠈位喂蟽蟿伪 渭苇纬伪蟻伪.
螒蠀蟿蠈 蟺慰蠀 蟺慰胃蔚委 畏 蔚蟻蠅渭苇谓畏 蟿畏蟼 伪未蟻维谓蔚喂伪蟼 魏伪喂 蟿畏蟼 蠂蔚喂蟻喂蟽蟿喂魏萎蟼 尾慰蠉位畏蟽畏蟼 蔚委谓伪喂 谓伪 蟽魏慰蟻蟺维蔚喂 魏伪蟿维谓蟿喂伪 魏伪喂 蟺蟻慰魏位畏蟿喂魏萎 魏伪蟿伪蟽蟿蟻慰蠁萎 蠄蠀蠂蠋谓 魏伪喂 蟺蔚蟻喂慰蠀蟽喂蠋谓.
螝慰喂谓蠈蟼 蟺伪蟻慰谓慰渭伪蟽蟿萎蟼 慰 魏蠀谓喂蟽渭蠈蟼 魏伪喂 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 渭伪蟼 蟺慰蠀 未蔚谓 纬委谓蔚蟿伪喂 谓伪 蟺蟻慰尉蔚谓萎蟽慰蠀谓 蟽蠀渭蟺维胃蔚喂伪 萎 蟽蠀渭蟺蠈谓慰喂伪.
螚 螡伪谓维 , 蟿慰 蟽蠉渭尾慰位慰, 蟿慰 蔚委未蠅位慰, 畏 蔚蟻蠅蟿喂魏萎 位伪纬谓蔚委伪
蟿畏蟼 蟺慰位喂蟿喂魏萎蟼, 蟺慰位喂蟿喂蟽蟿喂魏萎蟼 魏伪喂 畏胃喂魏萎蟼 蠀蟺慰尾维胃渭喂蟽畏蟼.
螒谓维渭蔚蟽伪 伪蟺慰 蟿伪 蟺蠈未喂伪 蟿畏蟼 蟺蔚蟻谓维蔚喂 蠈位畏 畏 慰喂魏慰谓慰渭委伪 蟿畏蟼 螕伪位位委伪蟼 魏伪喂 蔚魏蔚委谓畏 蟺伪委蟻谓蔚喂 蠀位喂魏维 伪纬伪胃维 魏伪喂 未委谓蔚喂 蟺蠈胃慰蠀蟼, 蟽蟺伪蟽渭慰蠉蟼 蔚蠀蠂伪蟻委蟽蟿畏蟽畏蟼, 蟺维胃慰蟼, 魏伪喂 蟿蟻苇位伪 蔚渭渭慰谓喂魏萎蟼 位维蟿蟻蔚喂伪蟼.
螤伪委味蔚喂 渭蔚 蟿畏 味蠅萎 魏伪喂 魏位伪委蔚喂 尾慰蠀尾维, 蠁慰尾维蟿伪喂 蟿慰谓 胃维谓伪蟿慰 渭伪 蟿慰谓 蔚渭蟺谓苇蔚喂, 蟿蟻苇渭蔚喂 蟿畏谓 蟺伪蟻伪魏渭萎 渭伪 蔚委谓伪喂 畏 蟿蟻慰蠁萎 蟿畏蟼, 伪未喂伪蠁慰蟻蔚委 纬喂伪 蟿伪 纬畏蟻伪蟿蔚喂维 渭伪 蟿伪 伪纬魏伪位喂维味蔚喂 魏伪喂 蟿伪 蟿喂渭维.
螠喂伪 纬蠀谓伪委魏伪 未蠀蟽蟿蠀蠂喂蟽渭苇谓畏 蟺慰蠀 味蔚喂 渭苇蟽伪 蟽蟿畏谓 蔚蠀蟿蠀蠂委伪 魏伪喂 纬委谓蔚蟿伪喂 渭喂伪 伪蟻蠂苇蟿蠀蟺畏 未蠉谓伪渭畏 魏伪胃慰未萎纬畏蟽畏蟼.
螤蠈蟽慰 胃位喂尾蔚蟻蠈 魏伪喂 蟽慰尾伪蟻蠈 魏伪蟿畏纬慰蟻畏蟿萎蟻喂慰 纬喂伪 蠈位畏 蟿畏谓 魏慰喂谓蠅谓委伪 渭蔚 蟿畏谓 蟺伪渭蠁维纬伪 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪 魏伪喂 蔚谓伪 蔚委未慰蟼 位慰纬喂魏萎蟼 伪谓维渭蔚喂魏蟿慰, 渭蔚 尾喂慰位慰纬喂魏萎 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏 魏伪喂 尾伪胃喂维 伪蟺伪喂蟽喂慰未慰尉委伪.
馃挜馃摉
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.
October 2, 2015
Disclaimer: Whereas I usually try to be objective with my ratings and reviews, with this specific one, I allowed my gut to lead me.
I hated this novel for it's sanctimonious preaching and its rank offensively aggressive misogynism (or perhaps, as has been remarked, it is misanthropy, plain and simple? ..since both men and women are ripped to shreds by the sharp lash of Zola's tongue pen ).
The general milieu in the period of history that this novel is set in, was very unkind to the poor, so good luck, I say, to those who could manage to claw their way out of the gutter of poverty by whatever means possible.
Yet, the impression I get from the way Zola describes things and the language he uses, is that he seems to be condemning those who managed to do so.
He is supposed to be writing from the point of view of a paradigm of naturalism, but take it from a pro-Darwinst who believes to a large extent that humans are made up of reasonably equal parts of nature and nurture, that Zola sounds pretty judgmental for someone who is trying to show that people are merely the results of their circumstances.
One of the things that caused me a high level of discomfort with this novel, is that to me it felt (I suppose that part of the impressions I got might be due to the translation - it's often quite hard to gauge a translated work appropriately) as if the 'special' quality about Nana seemed to be presented as something animal, some animal charisma, something that resounded in her admirers in their most base natures, the most animal part of their psyche.
Perhaps that is what made me feel so uncomfortable; -is how readily Zola's characters responded to this animal aspect. I think it was a clever device by Zola to add to the reader's disgust. Perhaps his aim was to induce a feeling of shame in his contemporaries?
Which brings me to the point that I don't think feminist readers will necessarily see Nana as symbolic of ALL women, but rather symbolic of "the sexual woman".
I think that on an instinctual level, I saw her as symbolic of women who embrace their sexuality, and in this case, one of the women who uses her sexuality to gain power over men and destroy them.
No doubt there are such women, of course there are (I know some of them and are myself repelled by a few of them). ...but Zola, in this specific novel, doesn't seem to try and counterbalance the typical stereotype of the scary, nasty man-eater with any positive female in juxtaposition with the nasty disgusting creature, who uses her animal cunning, her pheromones and her vagina to devour men whole.
To make matters worse, Nana can't even be credited with really having used her brain (or possessing anything of the sort)- she is simply a thoughtless, base, ball of cunning. Her selfish exploitation of other humans seems to be of an instinctive, thoughtless variety, like the scorpion who stings simply because it is in the creature's nature.
I think I'm probably a bit tired of the spectre of the vagina dentata myth, and my reaction (admittedly a visceral one) can probably be explained in light of my exasperation with it.
I sometimes post images on my reviews. A picture is worth a thousand words, they say. Well, the following portrait doesn't quite contain 1000 words, but it does give you a good picture of Nana:
"She alone was left standing, amid the accumulated riches of her mansion, while a host of men lay stricken at her feet. Like those monsters of ancient times whose fearful domains were covered with skeletons, she rested her feet on human skulls and was surrounded by catastrophes...The fly that had come from the dungheap of the slums, carrying the ferment of social decay, had poisoned all these men simply by alighting on them. It was fitting and just. She had avenged the beggars and outcasts of her world. And while, as it were, her sex rose in a halo of glory and blazed down on her prostrate victims like a rising sun shining down on a field of carnage, she remained as unconscious of her actions as a splendid animal, ignorant of the havoc she had wreaked, and as good-natured as ever."
..and would you call Zola classist, perhaps? Dang, I should have done a Marxist review of this...- would have had a field day.
I hated this novel for it's sanctimonious preaching and its rank offensively aggressive misogynism (or perhaps, as has been remarked, it is misanthropy, plain and simple? ..since both men and women are ripped to shreds by the sharp lash of Zola's
The general milieu in the period of history that this novel is set in, was very unkind to the poor, so good luck, I say, to those who could manage to claw their way out of the gutter of poverty by whatever means possible.
Yet, the impression I get from the way Zola describes things and the language he uses, is that he seems to be condemning those who managed to do so.
He is supposed to be writing from the point of view of a paradigm of naturalism, but take it from a pro-Darwinst who believes to a large extent that humans are made up of reasonably equal parts of nature and nurture, that Zola sounds pretty judgmental for someone who is trying to show that people are merely the results of their circumstances.
One of the things that caused me a high level of discomfort with this novel, is that to me it felt (I suppose that part of the impressions I got might be due to the translation - it's often quite hard to gauge a translated work appropriately) as if the 'special' quality about Nana seemed to be presented as something animal, some animal charisma, something that resounded in her admirers in their most base natures, the most animal part of their psyche.
Perhaps that is what made me feel so uncomfortable; -is how readily Zola's characters responded to this animal aspect. I think it was a clever device by Zola to add to the reader's disgust. Perhaps his aim was to induce a feeling of shame in his contemporaries?
Which brings me to the point that I don't think feminist readers will necessarily see Nana as symbolic of ALL women, but rather symbolic of "the sexual woman".
I think that on an instinctual level, I saw her as symbolic of women who embrace their sexuality, and in this case, one of the women who uses her sexuality to gain power over men and destroy them.
No doubt there are such women, of course there are (I know some of them and are myself repelled by a few of them). ...but Zola, in this specific novel, doesn't seem to try and counterbalance the typical stereotype of the scary, nasty man-eater with any positive female in juxtaposition with the nasty disgusting creature, who uses her animal cunning, her pheromones and her vagina to devour men whole.
To make matters worse, Nana can't even be credited with really having used her brain (or possessing anything of the sort)- she is simply a thoughtless, base, ball of cunning. Her selfish exploitation of other humans seems to be of an instinctive, thoughtless variety, like the scorpion who stings simply because it is in the creature's nature.
I think I'm probably a bit tired of the spectre of the vagina dentata myth, and my reaction (admittedly a visceral one) can probably be explained in light of my exasperation with it.
I sometimes post images on my reviews. A picture is worth a thousand words, they say. Well, the following portrait doesn't quite contain 1000 words, but it does give you a good picture of Nana:
"She alone was left standing, amid the accumulated riches of her mansion, while a host of men lay stricken at her feet. Like those monsters of ancient times whose fearful domains were covered with skeletons, she rested her feet on human skulls and was surrounded by catastrophes...The fly that had come from the dungheap of the slums, carrying the ferment of social decay, had poisoned all these men simply by alighting on them. It was fitting and just. She had avenged the beggars and outcasts of her world. And while, as it were, her sex rose in a halo of glory and blazed down on her prostrate victims like a rising sun shining down on a field of carnage, she remained as unconscious of her actions as a splendid animal, ignorant of the havoc she had wreaked, and as good-natured as ever."
..and would you call Zola classist, perhaps? Dang, I should have done a Marxist review of this...- would have had a field day.
April 24, 2009
You've heard of The Hooker With A Heart Of Gold? Well, this is the other kind.
November 23, 2016
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鈥庁ж池з� 亘賴 賴賲蹖賳 賲賳賵丕賱 倬蹖卮 賲蹖乇賵丿貙 鬲丕 丌賳讴賴 芦賳丕賳丕禄 毓丕卮賯 倬爻乇亘趩賴 丕蹖 17 爻丕賱賴 亘賴 賳丕賲賽 芦跇乇跇禄 賲蹖卮賵丿.. 芦跇乇跇禄 毓丕卮賯 賵 丿蹖賵丕賳賴贁 芦賳丕賳丕禄 卮丿賴 賵 丌賳賯丿乇 亘賴 丕蹖賳 丿賵爻鬲蹖 丕氐乇丕乇 賲蹖賵乇夭丿 讴賴 丿乇 賳賴丕蹖鬲 丿賱賽 芦賳丕賳丕禄 乇丕 亘丿爻鬲 丌賵乇丿賴 賵 芦賳丕賳丕禄 鬲氐賲蹖賲 賲蹖诏蹖乇丿 讴賴 丿蹖诏乇 倬丕讴 夭賳丿诏蹖 讴賳丿 賵 亘乇丕蹖賽 丕賵賱蹖賳 亘丕乇 毓卮賯 丨賯蹖賯蹖 賵 賳丕亘 乇丕 亘丕 鬲賲丕賲賽 賵噩賵丿卮 賱賲爻 讴賳丿
鈥庁з呝懾� 賲乇丿丕賳蹖 丿乇 丕胤乇丕賮賽 芦賳丕賳丕禄 賴爻鬲賳丿 讴賴 亘丕 倬賵賱 賵 亘購乇卮 禺賵丿卮丕賳貙 丕賵 乇丕 賵爻賵爻賴 賲蹖讴賳賳丿... 丌蹖丕 芦賳丕賳丕禄 賲蹖鬲賵丕賳丿 夭賳丿诏蹖 禺賵丿卮 乇丕 鬲睾蹖蹖乇 丿賴丿責
鈥庁关槽屫藏з嗁呚� 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳賽 夭蹖亘丕 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇賳賵卮鬲賽 芦賳丕賳丕禄 丌诏丕賴 卮賵蹖丿
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鈥庂嗀з嗀�: 丕賽蹖 賲乇丿丕賳.. 鬲賯氐蹖乇 丕夭 禺賵丿賽 卮賲丕爻鬲... 丕诏乇 卮賲丕 亘丕 趩賳蹖賳 诏卮丕丿賴 乇賵蹖蹖 賵 禺賵卮 夭亘丕賳蹖 讴賴 亘丕 賲丕 乇賮鬲丕乇 賲蹖讴賳蹖丿貙 亘丕 夭賳丕賳賽 禺賵丿 乇賮鬲丕乇 賲蹖讴乇丿蹖丿貙 賴賲趩賳丕賳讴賴 賲丕 亘乇丕蹖賽 丕夭 趩賳诏 賳丿丕丿賳賽 卮賲丕 亘讴丕乇 賲蹖 亘乇蹖賲貙 亘賴 胤賵乇 賯胤毓 丌爻丕蹖卮 賵 爻毓丕丿鬲 丿乇 鬲賲丕賲賽 禺丕賳賴 賴丕 乇丕賴 賲蹖丕賮鬲 賵 夭賳丿诏丕賳蹖 夭賳丕卮賵蹖蹖 亘噩丕蹖賽 丌賳讴賴 丿賵夭禺賽 爻賵夭丕賳 诏乇丿丿貙 亘賴卮鬲賽 亘乇蹖賳 賲蹖卮賵丿
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鈥庁з呟屫堌ж辟� 丕夭 禺賵丕賳丿賳賽 丕蹖賳 丿丕爻鬲丕賳賽 夭蹖亘丕 賱匕鬲 亘亘乇蹖丿
鈥幝聚屫辟堌� 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖禄
鈥庂� 乇賵夭賳丕賲賴 賳诏丕乇蹖 亘賴 賳丕賲賽 芦賮賵卮蹖乇蹖禄 賲賯丕賱賴 丕蹖 丿乇 乇賵夭賳丕賲賴 丿乇賲賵乇丿賽 芦賳丕賳丕禄 賲蹖賳賵蹖爻丿 賵 丕夭 夭蹖亘丕蹖蹖賽 丕賵 爻鬲丕蹖卮 賲蹖讴賳丿
鈥庁� 丕蹖賳 丿丕爻鬲丕賳 亘賴 禺賵亘蹖 賳卮丕賳 丿丕丿賴 卮丿賴 丕爻鬲 讴賴 亘爻蹖丕乇蹖 丕夭 賲乇丿賴丕 賳賲蹖鬲賵丕賳賳丿 亘乇 卮賴賵鬲 禺賵丿 睾賱亘賴 讴乇丿賴 賵 亘丕 賳诏丕賴 亘賴 蹖讴 夭賳賽 夭蹖亘丕乇賵蹖 丿爻鬲 賵 倬丕 賵 丿賱賽 丌賳賴丕 亘賴 賱乇夭賴 賲蹖 丕賮鬲丿... 丨鬲蹖 賲乇丿丕賳蹖 讴賴 賲鬲兀賴賱 賴爻鬲賳丿 賵 蹖丕 賲乇丿丕賳蹖 讴賴 丕丿毓丕蹖賽 倬乇賴蹖夭诏丕乇蹖 賵 丿蹖賳 丿丕乇蹖 丿丕乇賳丿貙 賳賲蹖鬲賵丕賳賳丿 丕夭 賳诏丕賴 卮賴賵鬲 丌賲蹖夭 亘賴 丕蹖賳 夭賳賽 夭蹖亘丕 禺賵丿丿丕乇蹖 讴賳賳丿 賵 賴賲趩賵賳 爻诏 亘賴 丿爻鬲 賵 倬丕蹖賽 丕賵 賲蹖 丕賮鬲賳丿 賵 丨丕囟乇 賴爻鬲賳丿 讴賴 倬丕蹖賽 丕賵 乇丕 賱蹖爻 亘夭賳賳丿.. 芦賳丕賳丕禄 賴賲 禺賵亘 賲蹖丿丕賳丿 亘丕 丌賳賴丕 趩诏賵賳賴 亘乇禺賵乇丿 讴賳丿 賵 丌賳賴丕 乇丕 丌夭丕乇 丿賴丿... 丕夭 胤乇賮蹖 毓丿賴 丕蹖 丕夭 賲乇丿賲 賳蹖夭 丕賵 乇丕 賮丕爻丿 賲蹖丿丕锟斤拷賳丿 賵 亘賴 丕賵 賱賯亘賽 "賲诏爻 亘丕賱 胤賱丕蹖蹖" 丿丕丿賴 丕賳丿
鈥庁ж池з� 亘賴 賴賲蹖賳 賲賳賵丕賱 倬蹖卮 賲蹖乇賵丿貙 鬲丕 丌賳讴賴 芦賳丕賳丕禄 毓丕卮賯 倬爻乇亘趩賴 丕蹖 17 爻丕賱賴 亘賴 賳丕賲賽 芦跇乇跇禄 賲蹖卮賵丿.. 芦跇乇跇禄 毓丕卮賯 賵 丿蹖賵丕賳賴贁 芦賳丕賳丕禄 卮丿賴 賵 丌賳賯丿乇 亘賴 丕蹖賳 丿賵爻鬲蹖 丕氐乇丕乇 賲蹖賵乇夭丿 讴賴 丿乇 賳賴丕蹖鬲 丿賱賽 芦賳丕賳丕禄 乇丕 亘丿爻鬲 丌賵乇丿賴 賵 芦賳丕賳丕禄 鬲氐賲蹖賲 賲蹖诏蹖乇丿 讴賴 丿蹖诏乇 倬丕讴 夭賳丿诏蹖 讴賳丿 賵 亘乇丕蹖賽 丕賵賱蹖賳 亘丕乇 毓卮賯 丨賯蹖賯蹖 賵 賳丕亘 乇丕 亘丕 鬲賲丕賲賽 賵噩賵丿卮 賱賲爻 讴賳丿
鈥庁з呝懾� 賲乇丿丕賳蹖 丿乇 丕胤乇丕賮賽 芦賳丕賳丕禄 賴爻鬲賳丿 讴賴 亘丕 倬賵賱 賵 亘購乇卮 禺賵丿卮丕賳貙 丕賵 乇丕 賵爻賵爻賴 賲蹖讴賳賳丿... 丌蹖丕 芦賳丕賳丕禄 賲蹖鬲賵丕賳丿 夭賳丿诏蹖 禺賵丿卮 乇丕 鬲睾蹖蹖乇 丿賴丿責
鈥庁关槽屫藏з嗁呚� 亘賴鬲乇 丕爻鬲 禺賵丿鬲丕賳 丕蹖賳 丿丕爻鬲丕賳賽 夭蹖亘丕 乇丕 亘禺賵丕賳蹖丿 賵 丕夭 爻乇賳賵卮鬲賽 芦賳丕賳丕禄 丌诏丕賴 卮賵蹖丿
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鈥庂嗀з嗀�: 丕賽蹖 賲乇丿丕賳.. 鬲賯氐蹖乇 丕夭 禺賵丿賽 卮賲丕爻鬲... 丕诏乇 卮賲丕 亘丕 趩賳蹖賳 诏卮丕丿賴 乇賵蹖蹖 賵 禺賵卮 夭亘丕賳蹖 讴賴 亘丕 賲丕 乇賮鬲丕乇 賲蹖讴賳蹖丿貙 亘丕 夭賳丕賳賽 禺賵丿 乇賮鬲丕乇 賲蹖讴乇丿蹖丿貙 賴賲趩賳丕賳讴賴 賲丕 亘乇丕蹖賽 丕夭 趩賳诏 賳丿丕丿賳賽 卮賲丕 亘讴丕乇 賲蹖 亘乇蹖賲貙 亘賴 胤賵乇 賯胤毓 丌爻丕蹖卮 賵 爻毓丕丿鬲 丿乇 鬲賲丕賲賽 禺丕賳賴 賴丕 乇丕賴 賲蹖丕賮鬲 賵 夭賳丿诏丕賳蹖 夭賳丕卮賵蹖蹖 亘噩丕蹖賽 丌賳讴賴 丿賵夭禺賽 爻賵夭丕賳 诏乇丿丿貙 亘賴卮鬲賽 亘乇蹖賳 賲蹖卮賵丿
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鈥庁з呟屫堌ж辟� 丕夭 禺賵丕賳丿賳賽 丕蹖賳 丿丕爻鬲丕賳賽 夭蹖亘丕 賱匕鬲 亘亘乇蹖丿
鈥幝聚屫辟堌� 亘丕卮蹖丿 賵 丕蹖乇丕賳蹖禄
July 3, 2017
Introduction
Select Bibliography
A Chronology of 脡mile Zola
--Nana
Explanatory Notes
Select Bibliography
A Chronology of 脡mile Zola
--Nana
Explanatory Notes
July 28, 2023
賮丨卮丕貙 賵乇丕孬鬲 賵 卮賴賵鬲. 爻賴 讴賱賲賴鈥屫й� 讴賴 鬲賵氐蹖賮 讴丕賲賱蹖 丕夭 賳丕賳丕 亘丿爻鬲 賲蹖丿賳. 賳丕賳丕 賳賴賲蹖賳 讴鬲丕亘 丕夭 賲噩賲賵毓賴 乇賵诏賳 賲丕讴丕乇賴 賵 丿丕爻鬲丕賳 賳丕賳丕 讴賵倬賵 乇賵 丿乇 爻丕賱 賴丕蹖 丌禺乇 丕賲倬乇丕胤賵乇蹖 丿賵賲 賮乇丕賳爻賴 乇賵丕蹖鬲 賲蹖鈥屭┵嗁� 賵 丿賳亘丕賱賴 賲爻鬲賯蹖賲 讴鬲丕亘 丌爻賵賲賵丕乇 賲丨爻賵亘 賲蹖卮賴. 丿丕爻鬲丕賳 乇賲丕賳 丿乇爻丕賱 郾鄹鄱鄯 卮乇賵毓 賵 丿乇 爻丕賱 郾鄹鄯郯 鬲賲賵賲 賲蹖卮賴 賵 丿乇 夭賲丕賳 夭賵丕賱 丕賲倬乇丕胤賵乇蹖 丿賵賲 賮乇丕賳爻賴 丕鬲賮丕賯 賲蹖賮鬲賴. 夭賵賱丕 丿乇 乇賲丕賳 亘賴 鬲賳卮 亘蹖賳 賳丕倬賱卅賵賳 爻賵賲 賵 亘蹖爻賲丕乇讴 賲蹖倬乇丿丕夭賴 賵 賮爻丕丿 賵 孬乇賵鬲 丕賳丿賵夭蹖 賵 卮賴賵鬲 孬乇賵鬲賲賳丿丕賳 賵 丕卮乇丕賮鈥屫藏жз� 乇賵 丿乇 丕賲倬乇丕胤賵乇蹖 乇賵 亘賴 賳丕亘賵丿蹖 賮乇丕賳爻賴 亘賴 鬲氐賵蹖乇 賲蹖鈥屭┴促�. 賮丨卮丕 丿乇 丿賵乇丕賳 丕賲倬乇丕胤賵乇蹖 丿賵賲 賮乇丕賳爻賴 賯丕賳賵賳蹖 亘賵丿賴 賵 丿禺鬲乇丕賳 亘賴 胤賵乇 賯丕賳賵賳蹖 亘賴 鬲賳鈥屬佖辟堌篡� 賲卮睾賵賱 亘賵丿賳丿 丕賲丕 賳丕賳丕 蹖讴 乇賵爻倬蹖 毓丕丿蹖 賳蹖爻鬲 亘賱讴賴 蹖讴 賮丕丨卮賴 乇丿賴 亘丕賱丕 賵 demi-mondine 亘賵丿賴 讴賴 鬲賵爻胤 賲乇丿丕賳 孬乇賵鬲賲賳丿 爻丕倬賵乇鬲 賲蹖鈥屫簇�.
賳丕賳丕 蹖讴 丕睾賵丕诏乇 丕賳鬲賯丕賲鈥屫� 丕爻鬲. 夭賳蹖 毓丕卮賯 丌夭丕丿蹖 讴賴 賴乇诏夭 禺賵丿卮 乇賵 丿乇 賯蹖丿 賵 亘賳丿 丕夭丿賵丕噩 蹖丕 蹖讴 鬲賵丕賮賯 賲丕賱蹖 賳賲蹖鈥屬嗀ж操囏� 賴乇诏夭 鬲爻賱蹖賲 賳賲蹖卮賴 賵 賴賲蹖卮賴 賲毓卮賵賯 賴丕蹖 禺賵丿卮 乇賵 倬卮鬲 丿乇 丕鬲丕賯卮 亘乇丕蹖 爻丕毓鬲 賴丕蹖 胤賵賱丕賳蹖 賲毓胤賱 賳诏賴 賲蹖丿丕乇賴. 賳丕賳丕 丿乇 乇賲丕賳 亘賴 卮讴賱 蹖讴 夭賳 禺胤乇賳丕讴 賵 丕睾賵丕诏乇 賲毓乇賮蹖 卮丿賴 讴賴 賲丕賳賳丿 倬乇蹖鈥屫臂屫й屰� 賲乇丿丕賳 乇賵 亘賴 爻賲鬲 禺賵丿卮 賲蹖讴卮賵賳賴 賵 丕賵賳丕 乇賵 亘賴 丿丕賲 賲蹖賳丿丕夭賴. 賴乇趩賴 讴鬲丕亘 亘蹖卮鬲乇 噩賱賵 賲蹖鈥屫辟囏� 賳丕賳丕 亘蹖卮鬲乇 睾乇賯 丿乇 禺賵丿倬爻賳丿蹖 賵 孬乇賵鬲 賲蹖卮賴 賵 賲乇丿丕賳 亘蹖卮鬲乇蹖 乇賵 亘賴 賳丕亘賵丿蹖 賲乇诏 賲蹖讴卮賵賳賴. 賳丕賳丕 丿乇 乇賲丕賳 亘賴 蹖讴 賲诏爻 胤賱丕蹖蹖 鬲卮亘蹖賴 卮丿賴 讴賴 丕賳鬲賯丕賲 賮賯乇丕 賵 賮爻丕丿貙 讴賴 禺賵丿 賲丨氐賵賱 丌賳丕賳 丕爻鬲貙 乇丕 賲蹖诏乇丿. 丕夭 爻賵蹖 丿蹖诏乇貙 賳丕賳丕 蹖讴 夭賳 丌爻蹖亘 倬匕蹖乇 丕爻鬲. 丿乇 讴賵丿讴蹖 賲賵乇丿 丌夭丕乇 賵丕賱丿蹖賳 亘賵丿賴 賵 亘賴 鬲賳 賮乇賵卮蹖 乇賵蹖 丌賵乇丿賴 賵 丕讴賳賵賳 丿乇 亘夭乇诏爻丕賱蹖 賯乇亘丕賳蹖 賵 亘乇丿賴 賮爻丕丿卮 卮丿賴 賵 丨鬲蹖 夭蹖乇 爻賱胤賴 賲乇丿蹖 禺卮賳 丿乇賲蹖鈥屫③屫� 讴賴 亘乇丕蹖 乇囟丕蹖鬲 丕賵 賲噩亘賵乇 亘賴 鬲賳鈥屬佖辟堌篡� 丿乇 賮丕丨卮賴鈥屫з嗁� 賲蹖卮賵丿.
賳丕賳丕 爻賲亘賵賱蹖 丕夭 夭賳丕賳 賳蹖爻鬲 亘賱讴賴 賳丕賳丕 丿丕爻鬲丕賳 蹖讴 夭賳 丕夭 禺丕賳賵丕丿賴 乇賵诏賳 賲丕讴丕乇 丕爻鬲. 夭賵賱丕 丿乇 賲噩賲賵毓賴 乇賵诏賳 賲丕讴丕乇 爻毓蹖 丿乇 賳卮賵賳 丿丕丿賳 鬲丕孬蹖乇 賵乇丕孬鬲 賵 賲丨蹖胤 亘乇 趩賳丿蹖賳 賳爻賱 蹖讴 禺丕賳賵丕丿賴 乇賵 丿丕乇賴 賵 賵乇丕孬鬲 賵 賲乇诏 丿爻鬲 丿乇 丿爻鬲 賴賲 賳卮賵賳 丿丕丿賴 賲蹖卮賳. 賴乇趩賳丿 丿蹖丿诏丕賴 夭賵賱丕 丿乇亘丕乇賴 賵乇丕孬鬲 賵 賲丨蹖胤 丕賲乇賵夭賴 卮丿蹖丿丕賸 噩亘乇诏乇丕 賲丨爻賵亘 賲蹖卮賴 丕賲丕 丨鬲蹖 丿乇 夭賲丕賳賴 賲丕 賴賲 讴賵丿讴蹖 讴賴 丿乇 禺丕賳賵丕丿賴鈥屫й� 賮賯蹖乇 賵 丕賱讴賱蹖 賵 賲丨蹖胤蹖 禺卮賳 亘賴 丿賳蹖丕 亘蹖丕丿貙 禺蹖賱蹖 丕丨鬲賲丕賱 丿丕乇賴 讴賴 亘賴 丕賳爻丕賳蹖 賲丕賳賳丿 賳丕賳丕 鬲亘丿蹖賱 亘卮賴.
賵 丕賲丕 鬲乇噩賲賴 讴鬲丕亘. 丕蹖賳 讴鬲丕亘 鬲乇噩賲賴 亘丿賵賳 爻丕賳爻賵乇 讴鬲丕亘 賳丕賳丕 賳蹖爻鬲 賵 丿乇 賵丕賯毓 禺賱丕氐賴鈥屫й� 氐丿 賵 禺賵乇丿賴鈥屫й� 氐賮丨賴鈥屫й� 丕夭 蹖讴 讴鬲丕亘 倬賵賳氐丿 氐賮丨賴鈥屫й屬�. 賲賳 禺賵丿賲 賲噩亘賵乇 卮丿賲 亘丕夭 賴賲 爻乇丕睾 鬲乇噩賲賴 丕賳诏賱蹖爻蹖 讴鬲丕亘 亘乇賲. 賳賲蹖鈥屫堎嗁� 鬲乇噩賲賴 賮丕乇爻蹖 讴丕賲賱蹖 丕夭 丕蹖賳 讴鬲丕亘 賵噩賵丿 丿丕乇賴 蹖丕 賳賴 賵賱蹖 丕诏賴 賴爻鬲 賯亘賱 丕夭 禺乇蹖丿賳 賲胤賲卅賳 亘卮蹖丿 讴賴 亘丿賵賳 爻丕賳爻賵乇賴.
賳丕賳丕 蹖讴 丕睾賵丕诏乇 丕賳鬲賯丕賲鈥屫� 丕爻鬲. 夭賳蹖 毓丕卮賯 丌夭丕丿蹖 讴賴 賴乇诏夭 禺賵丿卮 乇賵 丿乇 賯蹖丿 賵 亘賳丿 丕夭丿賵丕噩 蹖丕 蹖讴 鬲賵丕賮賯 賲丕賱蹖 賳賲蹖鈥屬嗀ж操囏� 賴乇诏夭 鬲爻賱蹖賲 賳賲蹖卮賴 賵 賴賲蹖卮賴 賲毓卮賵賯 賴丕蹖 禺賵丿卮 乇賵 倬卮鬲 丿乇 丕鬲丕賯卮 亘乇丕蹖 爻丕毓鬲 賴丕蹖 胤賵賱丕賳蹖 賲毓胤賱 賳诏賴 賲蹖丿丕乇賴. 賳丕賳丕 丿乇 乇賲丕賳 亘賴 卮讴賱 蹖讴 夭賳 禺胤乇賳丕讴 賵 丕睾賵丕诏乇 賲毓乇賮蹖 卮丿賴 讴賴 賲丕賳賳丿 倬乇蹖鈥屫臂屫й屰� 賲乇丿丕賳 乇賵 亘賴 爻賲鬲 禺賵丿卮 賲蹖讴卮賵賳賴 賵 丕賵賳丕 乇賵 亘賴 丿丕賲 賲蹖賳丿丕夭賴. 賴乇趩賴 讴鬲丕亘 亘蹖卮鬲乇 噩賱賵 賲蹖鈥屫辟囏� 賳丕賳丕 亘蹖卮鬲乇 睾乇賯 丿乇 禺賵丿倬爻賳丿蹖 賵 孬乇賵鬲 賲蹖卮賴 賵 賲乇丿丕賳 亘蹖卮鬲乇蹖 乇賵 亘賴 賳丕亘賵丿蹖 賲乇诏 賲蹖讴卮賵賳賴. 賳丕賳丕 丿乇 乇賲丕賳 亘賴 蹖讴 賲诏爻 胤賱丕蹖蹖 鬲卮亘蹖賴 卮丿賴 讴賴 丕賳鬲賯丕賲 賮賯乇丕 賵 賮爻丕丿貙 讴賴 禺賵丿 賲丨氐賵賱 丌賳丕賳 丕爻鬲貙 乇丕 賲蹖诏乇丿. 丕夭 爻賵蹖 丿蹖诏乇貙 賳丕賳丕 蹖讴 夭賳 丌爻蹖亘 倬匕蹖乇 丕爻鬲. 丿乇 讴賵丿讴蹖 賲賵乇丿 丌夭丕乇 賵丕賱丿蹖賳 亘賵丿賴 賵 亘賴 鬲賳 賮乇賵卮蹖 乇賵蹖 丌賵乇丿賴 賵 丕讴賳賵賳 丿乇 亘夭乇诏爻丕賱蹖 賯乇亘丕賳蹖 賵 亘乇丿賴 賮爻丕丿卮 卮丿賴 賵 丨鬲蹖 夭蹖乇 爻賱胤賴 賲乇丿蹖 禺卮賳 丿乇賲蹖鈥屫③屫� 讴賴 亘乇丕蹖 乇囟丕蹖鬲 丕賵 賲噩亘賵乇 亘賴 鬲賳鈥屬佖辟堌篡� 丿乇 賮丕丨卮賴鈥屫з嗁� 賲蹖卮賵丿.
賳丕賳丕 爻賲亘賵賱蹖 丕夭 夭賳丕賳 賳蹖爻鬲 亘賱讴賴 賳丕賳丕 丿丕爻鬲丕賳 蹖讴 夭賳 丕夭 禺丕賳賵丕丿賴 乇賵诏賳 賲丕讴丕乇 丕爻鬲. 夭賵賱丕 丿乇 賲噩賲賵毓賴 乇賵诏賳 賲丕讴丕乇 爻毓蹖 丿乇 賳卮賵賳 丿丕丿賳 鬲丕孬蹖乇 賵乇丕孬鬲 賵 賲丨蹖胤 亘乇 趩賳丿蹖賳 賳爻賱 蹖讴 禺丕賳賵丕丿賴 乇賵 丿丕乇賴 賵 賵乇丕孬鬲 賵 賲乇诏 丿爻鬲 丿乇 丿爻鬲 賴賲 賳卮賵賳 丿丕丿賴 賲蹖卮賳. 賴乇趩賳丿 丿蹖丿诏丕賴 夭賵賱丕 丿乇亘丕乇賴 賵乇丕孬鬲 賵 賲丨蹖胤 丕賲乇賵夭賴 卮丿蹖丿丕賸 噩亘乇诏乇丕 賲丨爻賵亘 賲蹖卮賴 丕賲丕 丨鬲蹖 丿乇 夭賲丕賳賴 賲丕 賴賲 讴賵丿讴蹖 讴賴 丿乇 禺丕賳賵丕丿賴鈥屫й� 賮賯蹖乇 賵 丕賱讴賱蹖 賵 賲丨蹖胤蹖 禺卮賳 亘賴 丿賳蹖丕 亘蹖丕丿貙 禺蹖賱蹖 丕丨鬲賲丕賱 丿丕乇賴 讴賴 亘賴 丕賳爻丕賳蹖 賲丕賳賳丿 賳丕賳丕 鬲亘丿蹖賱 亘卮賴.
賵 丕賲丕 鬲乇噩賲賴 讴鬲丕亘. 丕蹖賳 讴鬲丕亘 鬲乇噩賲賴 亘丿賵賳 爻丕賳爻賵乇 讴鬲丕亘 賳丕賳丕 賳蹖爻鬲 賵 丿乇 賵丕賯毓 禺賱丕氐賴鈥屫й� 氐丿 賵 禺賵乇丿賴鈥屫й� 氐賮丨賴鈥屫й� 丕夭 蹖讴 讴鬲丕亘 倬賵賳氐丿 氐賮丨賴鈥屫й屬�. 賲賳 禺賵丿賲 賲噩亘賵乇 卮丿賲 亘丕夭 賴賲 爻乇丕睾 鬲乇噩賲賴 丕賳诏賱蹖爻蹖 讴鬲丕亘 亘乇賲. 賳賲蹖鈥屫堎嗁� 鬲乇噩賲賴 賮丕乇爻蹖 讴丕賲賱蹖 丕夭 丕蹖賳 讴鬲丕亘 賵噩賵丿 丿丕乇賴 蹖丕 賳賴 賵賱蹖 丕诏賴 賴爻鬲 賯亘賱 丕夭 禺乇蹖丿賳 賲胤賲卅賳 亘卮蹖丿 讴賴 亘丿賵賳 爻丕賳爻賵乇賴.
June 11, 2019
螚 螡伪谓维 蔚委谓伪喂 渭喂伪 蔚蟿伪委蟻伪 蟺慰位蠀蟿蔚位蔚委伪蟼 蟽蟿慰 螤伪蟻委蟽喂 蟿蠅谓 谓伪蟺慰位蔚蠈谓蟿蔚喂蠅谓 蠂蟻蠈谓蠅谓. 螚 慰渭慰蟻蠁喂维 蟿畏蟼, 畏 蠂维蟻畏 魏伪喂 畏 苇谓蟿慰谓畏 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿维 蟿畏蟼 伪喂蠂渭伪位蠅蟿委味慰蠀谓 蠈位慰蠀蟼 蟿慰蠀蟼 维谓未蟻蔚蟼 蟿畏蟼 蠀蠄畏位萎蟼 魏慰喂谓蠅谓委伪蟼 蟺慰蠀 尾蟻委蟽魏慰谓蟿伪喂 蟽蟿慰 未蟻蠈渭慰 蟿畏蟼. 螆谓伪蟼 苇谓伪蟼 蟺苇蠁蟿慰蠀谓 蟽蟿伪 未委蠂蟿蠀伪 蟿畏蟼 渭苇蠂蟻喂 蟿畏谓 慰位慰魏位畏蟻蠅蟿喂魏萎 蟽蠀谓蟿蟻喂尾萎 蟿慰蠀蟼, 慰喂魏慰谓慰渭喂魏萎, 畏胃喂魏萎, 魏慰喂谓蠅谓喂魏萎.
螚 螡伪谓维, 未畏渭喂慰蠉蟻纬畏渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 蟿畏蟼 魏慰喂谓蠅谓委伪蟼 蟺慰蠀 蟿畏谓 伪谓苇胃蟻蔚蠄蔚, 未蔚谓 蔚蟺畏蟻蔚维味蔚蟿伪喂 伪蟺蠈 蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蟺慰蠀 蟽蟺苇蟻谓蔚喂 纬蠉蟻蠅 蟿畏蟼, 伪谓伪味蠅慰纬慰谓蔚委蟿伪喂 伪蟺蠈 蟿慰谓 蟺蠈谓慰 魏伪喂 蟿畏谓 蔚尉伪胃位委蠅蟽畏, 蔚魏未喂魏蔚委蟿伪喂 蟿畏谓 "蟿委渭喂伪 魏慰喂谓蠅谓委伪" 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟽蠀纬魏蟻委谓慰谓蟿伪蟼 蟿慰 蔚委未蠅位慰 蟿畏蟼 蟽蟿慰 魏伪胃蟻苇蠁蟿畏 渭蔚 蟿慰 未喂魏蠈 蟿畏蟼 蔚委未蠅位慰 魏伪喂 未蔚委蠂谓慰谓蟿伪蟼 蟺蠈蟽慰 蟺慰位蠉 渭慰喂维味慰蠀谓. 桅蟿蠉谓蔚喂 蟿畏谓 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏 蟿慰蠀 魏伪位慰蠉 魏蠈蟽渭慰蠀 蟽蟿慰 蟺蟻蠈蟽蠅蟺慰 魏维胃蔚 维谓未蟻伪 蟺慰蠀 尉蔚蟺慰蠀位维 蟿畏谓 蟺蔚蟻喂慰蠀蟽委伪 蟿慰蠀 纬喂伪 渭喂伪 谓蠉蠂蟿伪 渭伪味委 蟿畏蟼.
螚 螡伪谓维 蔚委谓伪喂 苇谓伪 蟽蠉渭尾慰位慰 畏未慰谓萎蟼, 伪位位维 蔚委谓伪喂 魏伪喂 渭喂伪 蠁喂纬慰蠉蟻伪 蟽魏位畏蟻萎, 伪渭蠈蟻蠁蠅蟿畏, 魏慰蠀蟿萎, 苇谓伪 胃蠉渭伪 蟺慰蠀 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏蟻伪蟿维 蟿慰 渭伪蠂伪委蟻喂 蟿慰蠀 胃蠉蟿畏. 螘委谓伪喂 渭喂伪 尾蠈渭尾伪 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏蟼 魏伪喂 渭谓畏蟽喂魏伪魏委伪蟼 蟺慰蠀 未蔚谓 蔚魏蟻萎纬谓蠀蟿伪喂 伪位位维 蟿慰 蟿喂魏-蟿伪魏 蟿畏蟼 蔚委谓伪喂 蟿蠈蟽慰 渭伪纬谓畏蟿喂蟽蟿喂魏慰 魏伪喂 蟿蠈蟽慰 蔚蟻蠅蟿喂魏蠈 蟺慰蠀 蟿蟻伪尾维 纬蠉蟻蠅 蟿畏蟼 蟿伪 蔚蟺蠈渭蔚谓伪 蠀蟺慰蠄萎蠁喂伪 胃蠉渭伪蟿伪.
螖蔚 渭慰蠀 魏维谓蔚喂 蔚谓蟿蠉蟺蠅蟽畏 蠁蠀蟽喂魏维 蟺慰蠀 蟺蟻慰魏位萎胃畏魏蔚 蟽魏维谓未伪位慰 蟽蟿畏 螕伪位位委伪 蠈蟿伪谓 蟿慰 尾喂尾位委慰 蔚魏未蠈胃畏魏蔚 蟿慰 1880. 螣 螙慰位维 萎蟿伪谓 蟺慰位蠉 渭蟺蟻慰蟽蟿维, 伪位位维 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏维 蔚谓蟿蠀蟺蠅蟽喂伪魏蠈 蟿慰 蟺蠈蟽慰 蟺慰位蠉 渭蟺蟻慰蟽蟿维 萎蟿伪谓. 违蟺维蟻蠂蔚喂 渭喂伪 慰蠀蟽喂蠋未畏蟼 未喂伪蠁慰蟻维 伪谓维渭蔚蟽伪 蟽蔚 伪蠀蟿慰蠉蟼 蟺慰蠀 纬蟻维蠁慰蠀谓 尾喂尾位委伪 魏伪喂 伪蠀蟿慰蠉蟼 蟺慰蠀 未畏渭喂慰蠀蟻纬慰蠉谓, 蟺慰蠀 纬蟻维蠁慰蠀谓 螞慰纬慰蟿蔚蠂谓委伪. 螚 螡伪谓维 蟿慰蠀 螙慰位维 蟺蟻慰蠁伪谓蠋蟼 魏伪喂 伪谓萎魏蔚喂 蟽蟿畏 未蔚蠉蟿蔚蟻畏 魏伪蟿畏纬慰蟻委伪. 螘委谓伪喂 渭喂伪 蠂蔚喂蟻慰蠀蟻纬喂魏萎蟼 伪魏蟻喂尾蔚委伪蟼 伪谓伪蟿慰渭委伪 蠈蠂喂 渭蠈谓慰 蟿畏蟼 蟺伪蟻喂蟽喂谓萎蟼 魏慰喂谓蠅谓委伪蟼 蟿畏谓 慰蟺慰委伪 蟺蔚蟻喂纬蟻维蠁蔚喂, 伪位位维 魏维胃蔚 魏慰喂谓蠅谓委伪蟼 蟽蔚 魏维胃蔚 蠂蟻蠈谓慰 魏伪喂 蟿蠈蟺慰. 螘委谓伪喂 苇谓伪 未喂伪蠂蟻慰谓喂魏蠈 魏伪喂 蟺伪纬魏蠈蟽渭喂慰 尾喂尾位委慰, 苇谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪.
螚 螡伪谓维, 未畏渭喂慰蠉蟻纬畏渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 蟿畏蟼 魏慰喂谓蠅谓委伪蟼 蟺慰蠀 蟿畏谓 伪谓苇胃蟻蔚蠄蔚, 未蔚谓 蔚蟺畏蟻蔚维味蔚蟿伪喂 伪蟺蠈 蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蟺慰蠀 蟽蟺苇蟻谓蔚喂 纬蠉蟻蠅 蟿畏蟼, 伪谓伪味蠅慰纬慰谓蔚委蟿伪喂 伪蟺蠈 蟿慰谓 蟺蠈谓慰 魏伪喂 蟿畏谓 蔚尉伪胃位委蠅蟽畏, 蔚魏未喂魏蔚委蟿伪喂 蟿畏谓 "蟿委渭喂伪 魏慰喂谓蠅谓委伪" 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟽蠀纬魏蟻委谓慰谓蟿伪蟼 蟿慰 蔚委未蠅位慰 蟿畏蟼 蟽蟿慰 魏伪胃蟻苇蠁蟿畏 渭蔚 蟿慰 未喂魏蠈 蟿畏蟼 蔚委未蠅位慰 魏伪喂 未蔚委蠂谓慰谓蟿伪蟼 蟺蠈蟽慰 蟺慰位蠉 渭慰喂维味慰蠀谓. 桅蟿蠉谓蔚喂 蟿畏谓 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏 蟿慰蠀 魏伪位慰蠉 魏蠈蟽渭慰蠀 蟽蟿慰 蟺蟻蠈蟽蠅蟺慰 魏维胃蔚 维谓未蟻伪 蟺慰蠀 尉蔚蟺慰蠀位维 蟿畏谓 蟺蔚蟻喂慰蠀蟽委伪 蟿慰蠀 纬喂伪 渭喂伪 谓蠉蠂蟿伪 渭伪味委 蟿畏蟼.
螚 螡伪谓维 蔚委谓伪喂 苇谓伪 蟽蠉渭尾慰位慰 畏未慰谓萎蟼, 伪位位维 蔚委谓伪喂 魏伪喂 渭喂伪 蠁喂纬慰蠉蟻伪 蟽魏位畏蟻萎, 伪渭蠈蟻蠁蠅蟿畏, 魏慰蠀蟿萎, 苇谓伪 胃蠉渭伪 蟺慰蠀 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏蟻伪蟿维 蟿慰 渭伪蠂伪委蟻喂 蟿慰蠀 胃蠉蟿畏. 螘委谓伪喂 渭喂伪 尾蠈渭尾伪 蟺蔚蟻喂蠁蟻蠈谓畏蟽畏蟼 魏伪喂 渭谓畏蟽喂魏伪魏委伪蟼 蟺慰蠀 未蔚谓 蔚魏蟻萎纬谓蠀蟿伪喂 伪位位维 蟿慰 蟿喂魏-蟿伪魏 蟿畏蟼 蔚委谓伪喂 蟿蠈蟽慰 渭伪纬谓畏蟿喂蟽蟿喂魏慰 魏伪喂 蟿蠈蟽慰 蔚蟻蠅蟿喂魏蠈 蟺慰蠀 蟿蟻伪尾维 纬蠉蟻蠅 蟿畏蟼 蟿伪 蔚蟺蠈渭蔚谓伪 蠀蟺慰蠄萎蠁喂伪 胃蠉渭伪蟿伪.
螖蔚 渭慰蠀 魏维谓蔚喂 蔚谓蟿蠉蟺蠅蟽畏 蠁蠀蟽喂魏维 蟺慰蠀 蟺蟻慰魏位萎胃畏魏蔚 蟽魏维谓未伪位慰 蟽蟿畏 螕伪位位委伪 蠈蟿伪谓 蟿慰 尾喂尾位委慰 蔚魏未蠈胃畏魏蔚 蟿慰 1880. 螣 螙慰位维 萎蟿伪谓 蟺慰位蠉 渭蟺蟻慰蟽蟿维, 伪位位维 蔚委谓伪喂 蟺蟻伪纬渭伪蟿喂魏维 蔚谓蟿蠀蟺蠅蟽喂伪魏蠈 蟿慰 蟺蠈蟽慰 蟺慰位蠉 渭蟺蟻慰蟽蟿维 萎蟿伪谓. 违蟺维蟻蠂蔚喂 渭喂伪 慰蠀蟽喂蠋未畏蟼 未喂伪蠁慰蟻维 伪谓维渭蔚蟽伪 蟽蔚 伪蠀蟿慰蠉蟼 蟺慰蠀 纬蟻维蠁慰蠀谓 尾喂尾位委伪 魏伪喂 伪蠀蟿慰蠉蟼 蟺慰蠀 未畏渭喂慰蠀蟻纬慰蠉谓, 蟺慰蠀 纬蟻维蠁慰蠀谓 螞慰纬慰蟿蔚蠂谓委伪. 螚 螡伪谓维 蟿慰蠀 螙慰位维 蟺蟻慰蠁伪谓蠋蟼 魏伪喂 伪谓萎魏蔚喂 蟽蟿畏 未蔚蠉蟿蔚蟻畏 魏伪蟿畏纬慰蟻委伪. 螘委谓伪喂 渭喂伪 蠂蔚喂蟻慰蠀蟻纬喂魏萎蟼 伪魏蟻喂尾蔚委伪蟼 伪谓伪蟿慰渭委伪 蠈蠂喂 渭蠈谓慰 蟿畏蟼 蟺伪蟻喂蟽喂谓萎蟼 魏慰喂谓蠅谓委伪蟼 蟿畏谓 慰蟺慰委伪 蟺蔚蟻喂纬蟻维蠁蔚喂, 伪位位维 魏维胃蔚 魏慰喂谓蠅谓委伪蟼 蟽蔚 魏维胃蔚 蠂蟻蠈谓慰 魏伪喂 蟿蠈蟺慰. 螘委谓伪喂 苇谓伪 未喂伪蠂蟻慰谓喂魏蠈 魏伪喂 蟺伪纬魏蠈蟽渭喂慰 尾喂尾位委慰, 苇谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪.
June 6, 2012
Zola鈥檚 ninth instalment in the Rougon-Macquart cycle tells the tale of steely-hearted coquette Nana鈥攑art-time actress, part-time prostitute, full-time booty-shaking Venus mantrap. The first quarter of the novel is a bacchanalian romp through the Th茅芒tre des Vari茅t茅s demimonde, introducing Nana鈥檚 rolling revue of sexual partners and sugar daddies. After her semi-nude debut (where she shows off her 鈥榗orncrake鈥� singing voice), she has all Paris鈥檚 men drooling at her calves. First she settles down with the abusive comic actor Fontan who slaps her around and steals her lamb cutlets. Next she humours the doting teenager Georges before yielding to the tortured Count Muffat鈥攁 nobleman corrupted by sensual urges, willing to surrender his fortune to collapse into Nana鈥檚 arms. As fun as the decadent antics are, the novel is festooned with exhaustive room-to-room descriptions (more so than the overcooked Ladies鈥� Paradise), which is common for Zola, but far too many pages are bogged down in tedious, prolix passages. Like this mouthful:
The velvet drapes, flesh-coloured like the tea-rose pink sky on fine evenings when Venus is gleaming against the soft glow of the setting sun on the horizon, were dotted with the bright stars of silver buttons, while the barley-sugar gilt mouldings descending from each corner and the gold lace round the central panels seemed like darting flames, tresses of red hair floating loose, half-veiling the stark simplicity of the room and emphasizing its voluptuous cool tints. (p.400)
I know. I also found the novel lacking focus, flitting from character to character in a very distracting way, making it hard to lock on to the story (Nana鈥檚 moral corruption as moralising metaphor) or sink your teeth into Nana as a fully-rounded filly out for our hatred or sympathy. The characters鈥� behaviour is more ludicrously OTT than in other Zola novels (where OTT is a philosophy, but he鈥檚 really pushing it here, esp. with Muffat). The central flaw in Nana鈥攈er charms are never properly delineated. By Zola鈥檚 account, she is chubby, broad-hipped and whorish. To have all Paris鈥檚 men begging at her feet, she鈥檇 need to be much more than a pretty face with a tongue like a New York cabbie. Still, this novel offers a change from the po-faced social realism of his other famous works. A closing limerick:
Little Count Muffat sat on his tuffet
praying his soul to stay
along came that Nana
as quick as ma帽ana
and sent him to hell that day
The velvet drapes, flesh-coloured like the tea-rose pink sky on fine evenings when Venus is gleaming against the soft glow of the setting sun on the horizon, were dotted with the bright stars of silver buttons, while the barley-sugar gilt mouldings descending from each corner and the gold lace round the central panels seemed like darting flames, tresses of red hair floating loose, half-veiling the stark simplicity of the room and emphasizing its voluptuous cool tints. (p.400)
I know. I also found the novel lacking focus, flitting from character to character in a very distracting way, making it hard to lock on to the story (Nana鈥檚 moral corruption as moralising metaphor) or sink your teeth into Nana as a fully-rounded filly out for our hatred or sympathy. The characters鈥� behaviour is more ludicrously OTT than in other Zola novels (where OTT is a philosophy, but he鈥檚 really pushing it here, esp. with Muffat). The central flaw in Nana鈥攈er charms are never properly delineated. By Zola鈥檚 account, she is chubby, broad-hipped and whorish. To have all Paris鈥檚 men begging at her feet, she鈥檇 need to be much more than a pretty face with a tongue like a New York cabbie. Still, this novel offers a change from the po-faced social realism of his other famous works. A closing limerick:
Little Count Muffat sat on his tuffet
praying his soul to stay
along came that Nana
as quick as ma帽ana
and sent him to hell that day
November 20, 2020
I can imagine the outrage this novel (probably one of those racy French novels kept out of the hands of proper Victorian ladies) provoked at the time of publication with its explicit portrait of an actress-cum-prostitute. Zola didn't write to titillate; he himself was outraged (as usual) at a society that was bored, wasteful and decadent, caring only for its own pleasure, thinking nothing of the future, its own excesses causing its collapse.
I went back and forth wondering whether Zola was blaming Nana or the men for the destruction of marriages, careers, and morals; and my best guess is the blame is on both, a perfect storm of receptiveness of these upper-class men to the raw sexuality of one woman, a woman who is her body only. Though Zola is a naturalist, Nana is not realistic with these superwoman powers of hers. She is described as a literal man-eater (consumer); but her partners are willing, or as willing as slaves to their own sexual natures can be. In the second half of the book the depiction of Nana reminded me of the stories told about Marie Antoinette by her enemies, though Nana is without pedigree, being the offspring of two alcoholics from the slums of Paris (see ).
Though more complex than , this is my least favorite Zola so far (I've read three others), mostly because I don't care for descriptions of luxury and opulence, though I understand their purpose here. The lives of the aristocratic men worshiping at the altar of this theatrical and concupiscent Venus were not only uninteresting to me, but most of them blended together, which I'm sure was intentional but made the story repetitive.
Zola throws the reader into the scenes in his usual cinematic way; his powers of observation are prodigious. Some of the symbolism is obvious, but the writing is wonderful and this translation is earthy. Zola wrote this to parallel the French Empire, but the reader today will see parallels with our own cult of (sexual) celebrity. (There's even a woman named Gaga.)
I went back and forth wondering whether Zola was blaming Nana or the men for the destruction of marriages, careers, and morals; and my best guess is the blame is on both, a perfect storm of receptiveness of these upper-class men to the raw sexuality of one woman, a woman who is her body only. Though Zola is a naturalist, Nana is not realistic with these superwoman powers of hers. She is described as a literal man-eater (consumer); but her partners are willing, or as willing as slaves to their own sexual natures can be. In the second half of the book the depiction of Nana reminded me of the stories told about Marie Antoinette by her enemies, though Nana is without pedigree, being the offspring of two alcoholics from the slums of Paris (see ).
Though more complex than , this is my least favorite Zola so far (I've read three others), mostly because I don't care for descriptions of luxury and opulence, though I understand their purpose here. The lives of the aristocratic men worshiping at the altar of this theatrical and concupiscent Venus were not only uninteresting to me, but most of them blended together, which I'm sure was intentional but made the story repetitive.
Zola throws the reader into the scenes in his usual cinematic way; his powers of observation are prodigious. Some of the symbolism is obvious, but the writing is wonderful and this translation is earthy. Zola wrote this to parallel the French Empire, but the reader today will see parallels with our own cult of (sexual) celebrity. (There's even a woman named Gaga.)
December 15, 2019
螒谓蟿委 魏蟻喂蟿喂魏萎蟼
4,5
螆谓伪 渭谓畏渭蔚委慰 蟽蟿畏谓 魏伪蟿伪蟽蟿蟻慰蠁萎 蠅蟼 伪蠀蟿慰蟽魏慰蟺蠈 渭喂伪蟼 慰位蠈魏位畏蟻畏蟼 魏慰喂谓蠅谓委伪蟼.
May 11, 2019
N茫o vale a pena p么r paninhos quentes e procurar raz玫es que justifiquem o comportamento desta rapariga estouvada e ego铆sta, cujo 煤nico trunfo era uma beleza estonteante e uma sexualidade pujante.
Nasceu pobre, viveu na mis茅ria e deve ter sofrido toda a esp茅cie de abusos, inclusive por parte do pai. N茫o chega! H谩 caracter铆sticas que s茫o intr铆nsecas a cada ser humano independentemente da sua origem e estrato social.
Apesar de a obra n茫o revelar pormenores sobre os seus primeiros anos de vida percebe-se que come莽ou a prostituir-se muito nova. Quando a conhecemos era atriz de teatro. N茫o sabia representar, cantar ou dan莽ar, mas deu nas vistas pelo corpo escultural e cara de anjo.
Era inconsequente, narcisista e um bocado burra. Fazia birras t铆picas de uma crian莽a, mas soube tirar partido da luxuria que movia os homens que lhe ca铆am aos p茅s dispostos a delapidar todo o patrim贸nio familiar e a cair na ruina, para poderem dormir com ela. Podia ter amealhado uma fortuna colossal e abandonado a prostitui莽茫o. Contudo, era t茫o irrespons谩vel que n茫o conseguiu gerir as fortunas que recebia; gastava pelo prazer de gastar, comprando luxo que abandonava a seguir, deixando-se roubar pela criadagem ou despendendo somas avultadas em ataques de generosidade.
Tornou-se cada vez mais dura e caprichosa. Para o final era mesmo cruel e impiedosa, humilhando e achincalhando os desgra莽ados que se rojavam aos seus p茅s, sem querer saber das consequ锚ncias. Nem sei se chegou a gostar verdadeiramente de algu茅m. Nem sequer era boa m茫e. Empurrou o filho 鈥� que n茫o deve ter sido mais que um acidente 鈥� para casa de uma tia, s贸 o visitando quando era atacada pelo saudosismo, ou quando lhe apetecia exibi-lo, para o esquecer logo a seguir. Apesar de tudo, continuo a achar que ela n茫o tinha um fundo de maldade鈥� Mas n茫o sabia viver de outra forma, n茫o resistia ao poder de dominar os homens e fazer deles fantoches, levando-os a chafurdar na sua pr贸pria imoralidade. A 煤nica vez em que tentou uma vida diferente foi maltratada e explorada.
Numa 茅poca em que Paris era o santu谩rio de todos os v铆cios, o autor caricaturou na perfei莽茫o uma sociedade decadente e amoral. Gostei particularmente das descri莽玫es dos jantares, representa莽茫o extravagante de v铆cio e exagero: bocas a transbordarem de comida babando gordura que escorria e ensopava a roupa, enquanto v茫o empurrando goela abaixo com a ajuda de litros de champanhe. Um exerc铆cio de gula desmedida, perfeita alegoria do pecado e deboche que caracterizava as suas vidas.
狈补苍谩 teve Paris aos p茅s, foi odiada pelas mulheres e idolatrada pelos homens; os mesmos que a abandonaram quando ficou doente e j谩 n茫o lhes servis para nada. Curiosamente, foram as rivais que acorreram 脿 sua cabeceira.
Nasceu pobre, viveu na mis茅ria e deve ter sofrido toda a esp茅cie de abusos, inclusive por parte do pai. N茫o chega! H谩 caracter铆sticas que s茫o intr铆nsecas a cada ser humano independentemente da sua origem e estrato social.
Apesar de a obra n茫o revelar pormenores sobre os seus primeiros anos de vida percebe-se que come莽ou a prostituir-se muito nova. Quando a conhecemos era atriz de teatro. N茫o sabia representar, cantar ou dan莽ar, mas deu nas vistas pelo corpo escultural e cara de anjo.
Era inconsequente, narcisista e um bocado burra. Fazia birras t铆picas de uma crian莽a, mas soube tirar partido da luxuria que movia os homens que lhe ca铆am aos p茅s dispostos a delapidar todo o patrim贸nio familiar e a cair na ruina, para poderem dormir com ela. Podia ter amealhado uma fortuna colossal e abandonado a prostitui莽茫o. Contudo, era t茫o irrespons谩vel que n茫o conseguiu gerir as fortunas que recebia; gastava pelo prazer de gastar, comprando luxo que abandonava a seguir, deixando-se roubar pela criadagem ou despendendo somas avultadas em ataques de generosidade.
Tornou-se cada vez mais dura e caprichosa. Para o final era mesmo cruel e impiedosa, humilhando e achincalhando os desgra莽ados que se rojavam aos seus p茅s, sem querer saber das consequ锚ncias. Nem sei se chegou a gostar verdadeiramente de algu茅m. Nem sequer era boa m茫e. Empurrou o filho 鈥� que n茫o deve ter sido mais que um acidente 鈥� para casa de uma tia, s贸 o visitando quando era atacada pelo saudosismo, ou quando lhe apetecia exibi-lo, para o esquecer logo a seguir. Apesar de tudo, continuo a achar que ela n茫o tinha um fundo de maldade鈥� Mas n茫o sabia viver de outra forma, n茫o resistia ao poder de dominar os homens e fazer deles fantoches, levando-os a chafurdar na sua pr贸pria imoralidade. A 煤nica vez em que tentou uma vida diferente foi maltratada e explorada.
Numa 茅poca em que Paris era o santu谩rio de todos os v铆cios, o autor caricaturou na perfei莽茫o uma sociedade decadente e amoral. Gostei particularmente das descri莽玫es dos jantares, representa莽茫o extravagante de v铆cio e exagero: bocas a transbordarem de comida babando gordura que escorria e ensopava a roupa, enquanto v茫o empurrando goela abaixo com a ajuda de litros de champanhe. Um exerc铆cio de gula desmedida, perfeita alegoria do pecado e deboche que caracterizava as suas vidas.
狈补苍谩 teve Paris aos p茅s, foi odiada pelas mulheres e idolatrada pelos homens; os mesmos que a abandonaram quando ficou doente e j谩 n茫o lhes servis para nada. Curiosamente, foram as rivais que acorreram 脿 sua cabeceira.
August 30, 2018
螒魏蠈渭伪 渭委伪 蟺蔚蟻委蟺蟿蠅蟽畏 位慰纬慰魏位慰蟺萎蟼.
危蟿伪 1954 螝蠀魏位慰蠁蠈蟻畏蟽蔚 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螒位魏蠀蠋谓禄 渭喂伪 蠈渭慰蟻蠁畏 渭蔚蟿维蠁蟻伪蟽畏 蟿畏蟼 螡伪谓维蟼 蟿慰蠀 Emile Zola 伪蟺蠈 蟿慰谓 螖畏渭萎蟿蟻畏 螕喂伪谓谓慰蠀魏维魏畏 (1899 鈥� 1974) 纬喂伪 蟿慰谓 慰蟺慰委慰 蟿慰 EKEBI 伪谓伪蠁苇蟻蔚喂 蟿伪 蔚尉萎蟼 尾喂慰纬蟻伪蠁喂魏维 蟽蟿慰喂蠂蔚委伪:
螖畏渭萎蟿蟻畏蟼 螕喂伪谓谓慰蠀魏维魏畏蟼, 胃蔚伪蟿蟻喂魏蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼, 蔚蠀胃蠀渭慰纬蟻维蠁慰蟼 魏伪喂 蟽伪蟿喂蟻喂魏蠈蟼 蟺慰喂畏蟿萎蟼, 纬蔚谓谓萎胃畏魏蔚 蟽蟿畏谓 螒胃萎谓伪 蟿慰 1899. 危蟺慰蠉未伪蟽蔚 螡慰渭喂魏维 魏伪喂 伪蟺蠈 蟿慰 1930 蔚蟻纬维蟽蟿畏魏蔚 蠅蟼 未畏渭慰蟽喂慰纬蟻维蠁慰蟼, 纬蟻维蠁慰谓蟿伪蟼 纬喂伪 蟿喂蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蔚蠁畏渭蔚蟻委未蔚蟼 魏伪喂 蟿伪 蟺蔚蟻喂慰未喂魏维 蟺慰蠀 魏蠀魏位慰蠁慰蟻慰蠉蟽伪谓 蟿慰谓 魏伪喂蟻蠈 蔚魏蔚委谓慰. 螆蟻纬伪 蟿慰蠀 苇蠂慰蠀谓 渭蔚蟿伪蠁蔚蟻胃蔚委 蟽蟿慰 胃苇伪蟿蟻慰 -蟽蠀谓慰位喂魏维 235 苇蟻纬伪, 魏蠀蟻委蠅蟼 魏蠅渭蠅未委蔚蟼 魏伪喂 渭慰谓蠈蟺蟻伪魏蟿伪. 螤苇胃伪谓蔚 蟽蟿畏谓 螒胃萎谓伪 蟿慰 1974 魏伪喂 胃伪 渭蔚委谓蔚喂 纬谓蠅蟽蟿蠈蟼 蠈蠂喂 渭蠈谓慰 纬喂伪 蟿喂蟼 魏蠅渭蠅未委蔚蟼 蟿慰蠀, 伪位位维 魏伪喂 纬喂伪 蟿伪 胃蔚渭苇位喂伪 蟺慰蠀 苇胃蔚蟽蔚 蟽蟿畏 未喂伪渭蠈蟻蠁蠅蟽畏 渭喂伪蟼 胃蔚伪蟿蟻喂魏萎蟼 蟿蔚蠂谓喂魏萎蟼 魏伪喂 纬位蠋蟽蟽伪蟼.
螤畏纬萎:
韦慰谓 螜伪谓慰蠀维蟻喂慰 蟿慰蠀 1955 苇纬喂谓蔚 魏伪喂 未蔚蠉蟿蔚蟻畏 苇魏未慰蟽畏 蟿畏蟼 渭蔚蟿维蠁蟻伪蟽畏蟼 伪蟺蠈 蟿慰谓 委未喂慰 蔚魏未慰蟿喂魏蠈, 蟿畏谓 慰蟺慰委伪 未喂伪胃苇蟿蠅 蟽蟿畏 蟽蠀位位慰纬萎 渭慰蠀 魏伪喂 魏维蟺慰喂伪 蟽蟿喂纬渭萎 位委纬慰 伪蟻纬蠈蟿蔚蟻伪 尉伪谓伪魏蠀魏位慰蠁蠈蟻畏蟽蔚 渭喂伪 伪蠂蟻慰谓慰位蠈纬畏蟿畏 苇魏未慰蟽畏 蠂蠅蟻委蟼 蠈谓慰渭伪 蔚魏未蠈蟿畏 (畏 慰蟺慰委伪 伪谓伪蠁苇蟻蔚喂 魏伪谓慰谓喂魏维 蠅蟼 渭蔚蟿伪蠁蟻伪蟽蟿萎 蟿慰谓 螕喂伪谓谓慰蠀魏维魏畏) 蟿畏谓 慰蟺慰委伪 渭蔚 蟺维蟽伪 蔚蟺喂蠁蠉位伪尉畏 (尾维蟽蔚喂 慰蟻喂蟽渭苇谓蠅谓 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠋谓) 蟿畏谓 伪蟺慰未委未蠅 渭维位位慰谓 蟽蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 螠蟺慰渭蟺慰位畏.
韦畏谓 蟺蟻蠋蟿畏 苇魏未慰蟽畏 蟿畏谓 苇蠂蠅 蠁蠅蟿慰纬蟻伪蠁萎蟽蔚喂 伪蟺蠈 蟿畏谓 螘胃谓喂魏萎 螔喂尾位喂慰胃萎魏畏 魏伪喂 蠈位伪 蟿伪 蠀蟺蠈位慰喂蟺伪 蔚委谓伪喂 伪蟺蠈 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 渭慰蠀 蟽蠀位位慰纬萎:
螘尉蠋蠁蠀位位慰 尾' 苇魏未慰蟽畏蟼 伪蟺蠈 "螒位魏蠀蠋谓"
魏伪喂 畏 苇魏未慰蟽畏 蟺慰蠀 未蔚谓 蠁苇蟻蔚喂 蟽蟿慰喂蠂蔚委伪 蔚魏未蠈蟿畏 伪位位维 苇蠂蔚喂 蟿慰 蠈谓慰渭伪 蟿慰蠀 渭蔚蟿伪蠁蟻伪蟽蟿萎:
螚 委未喂伪 渭蔚蟿维蠁蟻伪蟽畏 魏蠀魏位慰蠁慰蟻慰蠉蟽蔚 蔚未蠋 魏伪喂 魏伪喂蟻蠈 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螤伪纬魏蠈蟽渭喂伪 螞慰纬慰蟿蔚蠂谓委伪禄 渭蔚 蠈谓慰渭伪 渭蔚蟿伪蠁蟻伪蟽蟿萎 螖. 螤. 螝蠅蟽蟿苇位蔚谓慰蟼 (渭蔚 蟺伪蟻伪蟿慰谓喂蟽渭苇谓慰 未畏位伪未萎 蟿慰 蠈谓慰渭伪 蔚谓蠈蟼 蠀蟺伪蟻魏蟿慰蠉 渭蔚蟿伪蠁蟻伪蟽蟿萎, 蟿慰蠀 螖畏渭萎蟿蟻畏 螤. 螝蠅蟽蟿蔚位苇谓慰蠀 (1932 鈥� 2004). 螖蔚谓 蟿慰 蔚委蠂伪 魏维谓蔚喂 胃苇渭伪 蠅蟽蟿蠈蟽慰, 纬喂伪蟿委 胃蔚蠅蟻慰蠉蟽伪 蟺蠅蟼 萎蟿伪谓 渭喂伪 蟺伪位伪喂蠈蟿蔚蟻畏 蟺蔚喂蟻伪蟿喂魏萎 苇魏未慰蟽畏, 蔚谓未蔚蠂慰渭苇谓蠅蟼 谓伪 蔚委蠂蔚 渭蔚委谓蔚喂 魏维蟺慰喂慰 蟽蟿慰魏, 蔚蟺蟻蠈魏蔚喂蟿慰 纬喂伪 渭喂伪 蠁胃畏谓萎 苇魏未慰蟽畏 蠂蠅蟻委蟼 魏伪渭委伪 尾喂尾位喂慰纬蟻伪蠁喂魏萎 蟺位畏蟻慰蠁慰蟻委伪, ISBN 魏蟿位, 魏蠀蟻委蠅蟼 (伪位位维 蠈蠂喂 伪蟺慰魏位蔚喂蟽蟿喂魏维) 蟿畏谓 未喂苇胃蔚蟿伪谓 渭喂魏蟻慰蟺蠅位畏蟿苇蟼 魏蟿位. 螛蔚蠅蟻慰蠉蟽伪 未畏位伪未萎 蟺蠅蟼 蔚委谓伪喂 苇谓伪 伪蟺慰渭蔚喂谓维蟻喂 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼.
螝伪喂 蟺维蠅 蠂蟿蔚蟼 蟽蟿慰谓 螜伪谓蠈, 蟽蟿畏谓 螒胃萎谓伪, 谓伪 伪纬慰蟻维蟽蠅 魏维蟿喂 维位位慰, 魏伪喂 尾位苇蟺蠅 渭蔚 谓苇慰 蔚尉蠋蠁蠀位位慰, 慰位慰魏伪委谓慰蠀蟻纬喂伪 蔚蟺伪谓苇魏未慰蟽畏, 蟿慰蠀 魏慰蠀蟿喂慰蠉, 蟿畏谓 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 螕喂伪谓谓慰蠀魏维魏畏 渭蔚 蠈谓慰渭伪 渭蔚蟿伪蠁蟻伪蟽蟿萎 螖. 螤. 螝蠅蟽蟿苇位蔚谓慰蟼 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 螤伪纬魏蠈蟽渭喂伪 螞慰纬慰蟿蔚蠂谓委伪 蟺慰蠀 蟽畏渭伪委谓蔚喂 蟺蠅蟼 魏维蟺慰喂慰蟼 蟽蠀谓蔚蠂委味蔚喂 谓伪 蟿畏谓 魏蠀魏位慰蠁慰蟻蔚委 魏伪喂 蟺蠅蟼 未蔚谓 渭喂位维渭蔚 蟺位苇慰谓 纬喂伪 蟺伪位伪喂蠈蟿蔚蟻慰 蟽蟿慰魏 蟺慰蠀 蔚委蠂蔚 尉蔚渭蔚委谓蔚喂 蟽蔚 魏维蟺慰喂伪 伪蟺慰胃萎魏畏 魏蟿位.
螤维谓蔚 44 苇蟿畏 伪蟺蠈 蟿慰 胃维谓伪蟿慰 蟿慰蠀 螕喂伪谓谓慰蠀魏维魏畏, 蟽蠀谓蔚蟺蠋蟼 蟿慰 魏蔚委渭蔚谓慰, 位慰纬喂魏维, 蠀蟺蠈魏蔚喂蟿伪喂 伪魏蠈渭伪 蟽蔚 蟺谓蔚蠀渭伪蟿喂魏维 未喂魏伪喂蠋渭伪蟿伪. 螒位位维 伪魏蠈渭伪 魏伪喂 谓伪 渭畏谓 委蟽蠂蠀蔚 伪蠀蟿蠈, 魏维蟺慰喂慰蟼 蟽蠀谓蔚蠂委味蔚喂 伪魏蠈渭伪 魏伪喂 蟽萎渭蔚蟻伪 谓伪 魏蠀魏位慰蠁慰蟻蔚委 魏伪喂 谓伪 尾纬维味蔚喂 魏苇蟻未慰蟼 伪蟺蠈 蟿慰 苇蟻纬慰 伪蠀蟿蠈 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 维位位慰 蠈谓慰渭伪 渭蔚蟿伪蠁蟻伪蟽蟿萎 魏伪喂 渭维位喂蟽蟿伪 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 蟿伪 伪蟻蠂喂魏维 魏伪喂 蟿慰 蔚蟺蠋谓蠀渭慰 (蟺伪蟻伪蟿慰谓喂蟽渭苇谓慰) 蔚谓蠈蟼 维位位慰蠀 渭蔚蟿伪蠁蟻伪蟽蟿萎.
螒蠀蟿蠈 蔚委谓伪喂 位维胃慰蟼. 螘委谓伪喂 维未喂魏慰. 螤蟻苇蟺蔚喂 谓伪 蟽蟿伪渭伪蟿萎蟽蔚喂.
螘委谓伪喂 维未喂魏慰 纬喂伪 蟿慰蠀蟼 蠀蟺蠈位慰喂蟺慰蠀蟼 蟽慰尾伪蟻慰蠉蟼 蔚魏未蠈蟿蔚蟼 蟺慰蠀 魏蠀魏位慰蠁慰蟻慰蠉谓 渭蔚蟿伪蠁蟻维蟽蔚喂蟼 蟿慰蠀 委未喂慰蠀 苇蟻纬慰蠀, 蟽蠅蟽蟿苇蟼, 苇蠂慰谓蟿伪蟼 蟺位畏蟻蠋蟽蔚喂 (胃苇位蠅 谓伪 蔚位蟺委味蠅) 渭蔚蟿伪蠁蟻伪蟽蟿苇蟼, 蔚蟺喂渭蔚位畏蟿苇蟼 魏蟿位. 螘委谓伪喂 维未喂魏慰 纬喂伪 蔚渭维蟼 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼, 纬喂伪蟿委 渭伪蟼 蟺伪蟻伪蟺位伪谓慰蠉谓. 螝伪喂 蔚委谓伪喂 维未喂魏慰 魏伪喂 纬喂伪 蟿慰谓 蟽蠀纬蠂蠅蟻蔚渭苇谓慰, 蟿慰谓 苇蟻渭慰 蟿慰谓 螕喂伪谓谓慰蠀魏维魏畏, 蟺慰蠀 蠁慰尾维渭伪喂 蟺蠅蟼 胃伪 蟿蟻委味慰蠀谓 蟿伪 魏蠈魏伪位维 蟿慰蠀 蟽蟿慰谓 蟿维蠁慰.
螞委纬畏 谓蟿蟻慰蟺萎 尾蟻蔚 伪未蔚位蠁苇. 螞委纬慰 蠁喂位蠈蟿喂渭慰.
螘位蟺委味蠅 蠈蟺慰喂慰蟼 魏喂 伪谓 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺蠈 伪蠀蟿苇蟼 蟿喂蟼 渭蠀蟽蟿畏蟻喂蠋未蔚喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螤伪纬魏蠈蟽渭喂伪 螞慰纬慰蟿蔚蠂谓委伪禄 谓伪 蟺维蠄蔚喂 谓伪 魏蠀魏位慰蠁慰蟻蔚委 蔚谓 苇蟿蔚喂 2018 伪蠀蟿蠈 蟿慰 蟺蟻慰蠆蠈谓 位慰纬慰魏位慰蟺萎蟼.
螤维蔚喂 蟽蟿畏谓 蔚蠀蠂萎, 蟽蟿慰 蟺伪蟻蔚位胃蠈谓, 苇蠂慰蠀谓 魏蠀魏位慰蠁慰蟻萎蟽蔚喂 蟺慰位位苇蟼 蟺蔚喂蟻伪蟿喂魏苇蟼 蔚魏未蠈蟽蔚喂蟼. 螒位位维 蠈蠂喂 魏伪喂 蟽萎渭蔚蟻伪. 韦苇蟻渭伪. 韦蔚位蔚委蠅蟽伪谓 伪蠀蟿维. finito la musica, passato la festa. 螘渭蔚委蟼 蠅蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 苇蠂慰蠀渭蔚 蠂蟻苇慰蟼 谓伪 渭畏谓 未喂伪喂蠅谓委味慰蠀渭蔚 伪未喂魏委蔚蟼 魏伪喂 伪渭伪蟻蟿委蔚蟼 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼.
危蟿伪 1954 螝蠀魏位慰蠁蠈蟻畏蟽蔚 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螒位魏蠀蠋谓禄 渭喂伪 蠈渭慰蟻蠁畏 渭蔚蟿维蠁蟻伪蟽畏 蟿畏蟼 螡伪谓维蟼 蟿慰蠀 Emile Zola 伪蟺蠈 蟿慰谓 螖畏渭萎蟿蟻畏 螕喂伪谓谓慰蠀魏维魏畏 (1899 鈥� 1974) 纬喂伪 蟿慰谓 慰蟺慰委慰 蟿慰 EKEBI 伪谓伪蠁苇蟻蔚喂 蟿伪 蔚尉萎蟼 尾喂慰纬蟻伪蠁喂魏维 蟽蟿慰喂蠂蔚委伪:
螖畏渭萎蟿蟻畏蟼 螕喂伪谓谓慰蠀魏维魏畏蟼, 胃蔚伪蟿蟻喂魏蠈蟼 蟽蠀纬纬蟻伪蠁苇伪蟼, 蔚蠀胃蠀渭慰纬蟻维蠁慰蟼 魏伪喂 蟽伪蟿喂蟻喂魏蠈蟼 蟺慰喂畏蟿萎蟼, 纬蔚谓谓萎胃畏魏蔚 蟽蟿畏谓 螒胃萎谓伪 蟿慰 1899. 危蟺慰蠉未伪蟽蔚 螡慰渭喂魏维 魏伪喂 伪蟺蠈 蟿慰 1930 蔚蟻纬维蟽蟿畏魏蔚 蠅蟼 未畏渭慰蟽喂慰纬蟻维蠁慰蟼, 纬蟻维蠁慰谓蟿伪蟼 纬喂伪 蟿喂蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蔚蠁畏渭蔚蟻委未蔚蟼 魏伪喂 蟿伪 蟺蔚蟻喂慰未喂魏维 蟺慰蠀 魏蠀魏位慰蠁慰蟻慰蠉蟽伪谓 蟿慰谓 魏伪喂蟻蠈 蔚魏蔚委谓慰. 螆蟻纬伪 蟿慰蠀 苇蠂慰蠀谓 渭蔚蟿伪蠁蔚蟻胃蔚委 蟽蟿慰 胃苇伪蟿蟻慰 -蟽蠀谓慰位喂魏维 235 苇蟻纬伪, 魏蠀蟻委蠅蟼 魏蠅渭蠅未委蔚蟼 魏伪喂 渭慰谓蠈蟺蟻伪魏蟿伪. 螤苇胃伪谓蔚 蟽蟿畏谓 螒胃萎谓伪 蟿慰 1974 魏伪喂 胃伪 渭蔚委谓蔚喂 纬谓蠅蟽蟿蠈蟼 蠈蠂喂 渭蠈谓慰 纬喂伪 蟿喂蟼 魏蠅渭蠅未委蔚蟼 蟿慰蠀, 伪位位维 魏伪喂 纬喂伪 蟿伪 胃蔚渭苇位喂伪 蟺慰蠀 苇胃蔚蟽蔚 蟽蟿畏 未喂伪渭蠈蟻蠁蠅蟽畏 渭喂伪蟼 胃蔚伪蟿蟻喂魏萎蟼 蟿蔚蠂谓喂魏萎蟼 魏伪喂 纬位蠋蟽蟽伪蟼.
螤畏纬萎:
韦慰谓 螜伪谓慰蠀维蟻喂慰 蟿慰蠀 1955 苇纬喂谓蔚 魏伪喂 未蔚蠉蟿蔚蟻畏 苇魏未慰蟽畏 蟿畏蟼 渭蔚蟿维蠁蟻伪蟽畏蟼 伪蟺蠈 蟿慰谓 委未喂慰 蔚魏未慰蟿喂魏蠈, 蟿畏谓 慰蟺慰委伪 未喂伪胃苇蟿蠅 蟽蟿畏 蟽蠀位位慰纬萎 渭慰蠀 魏伪喂 魏维蟺慰喂伪 蟽蟿喂纬渭萎 位委纬慰 伪蟻纬蠈蟿蔚蟻伪 尉伪谓伪魏蠀魏位慰蠁蠈蟻畏蟽蔚 渭喂伪 伪蠂蟻慰谓慰位蠈纬畏蟿畏 苇魏未慰蟽畏 蠂蠅蟻委蟼 蠈谓慰渭伪 蔚魏未蠈蟿畏 (畏 慰蟺慰委伪 伪谓伪蠁苇蟻蔚喂 魏伪谓慰谓喂魏维 蠅蟼 渭蔚蟿伪蠁蟻伪蟽蟿萎 蟿慰谓 螕喂伪谓谓慰蠀魏维魏畏) 蟿畏谓 慰蟺慰委伪 渭蔚 蟺维蟽伪 蔚蟺喂蠁蠉位伪尉畏 (尾维蟽蔚喂 慰蟻喂蟽渭苇谓蠅谓 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏蠋谓) 蟿畏谓 伪蟺慰未委未蠅 渭维位位慰谓 蟽蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 螠蟺慰渭蟺慰位畏.
韦畏谓 蟺蟻蠋蟿畏 苇魏未慰蟽畏 蟿畏谓 苇蠂蠅 蠁蠅蟿慰纬蟻伪蠁萎蟽蔚喂 伪蟺蠈 蟿畏谓 螘胃谓喂魏萎 螔喂尾位喂慰胃萎魏畏 魏伪喂 蠈位伪 蟿伪 蠀蟺蠈位慰喂蟺伪 蔚委谓伪喂 伪蟺蠈 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 渭慰蠀 蟽蠀位位慰纬萎:
螘尉蠋蠁蠀位位慰 尾' 苇魏未慰蟽畏蟼 伪蟺蠈 "螒位魏蠀蠋谓"
魏伪喂 畏 苇魏未慰蟽畏 蟺慰蠀 未蔚谓 蠁苇蟻蔚喂 蟽蟿慰喂蠂蔚委伪 蔚魏未蠈蟿畏 伪位位维 苇蠂蔚喂 蟿慰 蠈谓慰渭伪 蟿慰蠀 渭蔚蟿伪蠁蟻伪蟽蟿萎:
螚 委未喂伪 渭蔚蟿维蠁蟻伪蟽畏 魏蠀魏位慰蠁慰蟻慰蠉蟽蔚 蔚未蠋 魏伪喂 魏伪喂蟻蠈 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螤伪纬魏蠈蟽渭喂伪 螞慰纬慰蟿蔚蠂谓委伪禄 渭蔚 蠈谓慰渭伪 渭蔚蟿伪蠁蟻伪蟽蟿萎 螖. 螤. 螝蠅蟽蟿苇位蔚谓慰蟼 (渭蔚 蟺伪蟻伪蟿慰谓喂蟽渭苇谓慰 未畏位伪未萎 蟿慰 蠈谓慰渭伪 蔚谓蠈蟼 蠀蟺伪蟻魏蟿慰蠉 渭蔚蟿伪蠁蟻伪蟽蟿萎, 蟿慰蠀 螖畏渭萎蟿蟻畏 螤. 螝蠅蟽蟿蔚位苇谓慰蠀 (1932 鈥� 2004). 螖蔚谓 蟿慰 蔚委蠂伪 魏维谓蔚喂 胃苇渭伪 蠅蟽蟿蠈蟽慰, 纬喂伪蟿委 胃蔚蠅蟻慰蠉蟽伪 蟺蠅蟼 萎蟿伪谓 渭喂伪 蟺伪位伪喂蠈蟿蔚蟻畏 蟺蔚喂蟻伪蟿喂魏萎 苇魏未慰蟽畏, 蔚谓未蔚蠂慰渭苇谓蠅蟼 谓伪 蔚委蠂蔚 渭蔚委谓蔚喂 魏维蟺慰喂慰 蟽蟿慰魏, 蔚蟺蟻蠈魏蔚喂蟿慰 纬喂伪 渭喂伪 蠁胃畏谓萎 苇魏未慰蟽畏 蠂蠅蟻委蟼 魏伪渭委伪 尾喂尾位喂慰纬蟻伪蠁喂魏萎 蟺位畏蟻慰蠁慰蟻委伪, ISBN 魏蟿位, 魏蠀蟻委蠅蟼 (伪位位维 蠈蠂喂 伪蟺慰魏位蔚喂蟽蟿喂魏维) 蟿畏谓 未喂苇胃蔚蟿伪谓 渭喂魏蟻慰蟺蠅位畏蟿苇蟼 魏蟿位. 螛蔚蠅蟻慰蠉蟽伪 未畏位伪未萎 蟺蠅蟼 蔚委谓伪喂 苇谓伪 伪蟺慰渭蔚喂谓维蟻喂 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼.
螝伪喂 蟺维蠅 蠂蟿蔚蟼 蟽蟿慰谓 螜伪谓蠈, 蟽蟿畏谓 螒胃萎谓伪, 谓伪 伪纬慰蟻维蟽蠅 魏维蟿喂 维位位慰, 魏伪喂 尾位苇蟺蠅 渭蔚 谓苇慰 蔚尉蠋蠁蠀位位慰, 慰位慰魏伪委谓慰蠀蟻纬喂伪 蔚蟺伪谓苇魏未慰蟽畏, 蟿慰蠀 魏慰蠀蟿喂慰蠉, 蟿畏谓 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 螕喂伪谓谓慰蠀魏维魏畏 渭蔚 蠈谓慰渭伪 渭蔚蟿伪蠁蟻伪蟽蟿萎 螖. 螤. 螝蠅蟽蟿苇位蔚谓慰蟼 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 螤伪纬魏蠈蟽渭喂伪 螞慰纬慰蟿蔚蠂谓委伪 蟺慰蠀 蟽畏渭伪委谓蔚喂 蟺蠅蟼 魏维蟺慰喂慰蟼 蟽蠀谓蔚蠂委味蔚喂 谓伪 蟿畏谓 魏蠀魏位慰蠁慰蟻蔚委 魏伪喂 蟺蠅蟼 未蔚谓 渭喂位维渭蔚 蟺位苇慰谓 纬喂伪 蟺伪位伪喂蠈蟿蔚蟻慰 蟽蟿慰魏 蟺慰蠀 蔚委蠂蔚 尉蔚渭蔚委谓蔚喂 蟽蔚 魏维蟺慰喂伪 伪蟺慰胃萎魏畏 魏蟿位.
螤维谓蔚 44 苇蟿畏 伪蟺蠈 蟿慰 胃维谓伪蟿慰 蟿慰蠀 螕喂伪谓谓慰蠀魏维魏畏, 蟽蠀谓蔚蟺蠋蟼 蟿慰 魏蔚委渭蔚谓慰, 位慰纬喂魏维, 蠀蟺蠈魏蔚喂蟿伪喂 伪魏蠈渭伪 蟽蔚 蟺谓蔚蠀渭伪蟿喂魏维 未喂魏伪喂蠋渭伪蟿伪. 螒位位维 伪魏蠈渭伪 魏伪喂 谓伪 渭畏谓 委蟽蠂蠀蔚 伪蠀蟿蠈, 魏维蟺慰喂慰蟼 蟽蠀谓蔚蠂委味蔚喂 伪魏蠈渭伪 魏伪喂 蟽萎渭蔚蟻伪 谓伪 魏蠀魏位慰蠁慰蟻蔚委 魏伪喂 谓伪 尾纬维味蔚喂 魏苇蟻未慰蟼 伪蟺蠈 蟿慰 苇蟻纬慰 伪蠀蟿蠈 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 维位位慰 蠈谓慰渭伪 渭蔚蟿伪蠁蟻伪蟽蟿萎 魏伪喂 渭维位喂蟽蟿伪 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 蟿伪 伪蟻蠂喂魏维 魏伪喂 蟿慰 蔚蟺蠋谓蠀渭慰 (蟺伪蟻伪蟿慰谓喂蟽渭苇谓慰) 蔚谓蠈蟼 维位位慰蠀 渭蔚蟿伪蠁蟻伪蟽蟿萎.
螒蠀蟿蠈 蔚委谓伪喂 位维胃慰蟼. 螘委谓伪喂 维未喂魏慰. 螤蟻苇蟺蔚喂 谓伪 蟽蟿伪渭伪蟿萎蟽蔚喂.
螘委谓伪喂 维未喂魏慰 纬喂伪 蟿慰蠀蟼 蠀蟺蠈位慰喂蟺慰蠀蟼 蟽慰尾伪蟻慰蠉蟼 蔚魏未蠈蟿蔚蟼 蟺慰蠀 魏蠀魏位慰蠁慰蟻慰蠉谓 渭蔚蟿伪蠁蟻维蟽蔚喂蟼 蟿慰蠀 委未喂慰蠀 苇蟻纬慰蠀, 蟽蠅蟽蟿苇蟼, 苇蠂慰谓蟿伪蟼 蟺位畏蟻蠋蟽蔚喂 (胃苇位蠅 谓伪 蔚位蟺委味蠅) 渭蔚蟿伪蠁蟻伪蟽蟿苇蟼, 蔚蟺喂渭蔚位畏蟿苇蟼 魏蟿位. 螘委谓伪喂 维未喂魏慰 纬喂伪 蔚渭维蟼 蟿慰蠀蟼 伪谓伪纬谓蠋蟽蟿蔚蟼, 纬喂伪蟿委 渭伪蟼 蟺伪蟻伪蟺位伪谓慰蠉谓. 螝伪喂 蔚委谓伪喂 维未喂魏慰 魏伪喂 纬喂伪 蟿慰谓 蟽蠀纬蠂蠅蟻蔚渭苇谓慰, 蟿慰谓 苇蟻渭慰 蟿慰谓 螕喂伪谓谓慰蠀魏维魏畏, 蟺慰蠀 蠁慰尾维渭伪喂 蟺蠅蟼 胃伪 蟿蟻委味慰蠀谓 蟿伪 魏蠈魏伪位维 蟿慰蠀 蟽蟿慰谓 蟿维蠁慰.
螞委纬畏 谓蟿蟻慰蟺萎 尾蟻蔚 伪未蔚位蠁苇. 螞委纬慰 蠁喂位蠈蟿喂渭慰.
螘位蟺委味蠅 蠈蟺慰喂慰蟼 魏喂 伪谓 魏蟻蠉尾蔚蟿伪喂 蟺委蟽蠅 伪蟺蠈 伪蠀蟿苇蟼 蟿喂蟼 渭蠀蟽蟿畏蟻喂蠋未蔚喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螤伪纬魏蠈蟽渭喂伪 螞慰纬慰蟿蔚蠂谓委伪禄 谓伪 蟺维蠄蔚喂 谓伪 魏蠀魏位慰蠁慰蟻蔚委 蔚谓 苇蟿蔚喂 2018 伪蠀蟿蠈 蟿慰 蟺蟻慰蠆蠈谓 位慰纬慰魏位慰蟺萎蟼.
螤维蔚喂 蟽蟿畏谓 蔚蠀蠂萎, 蟽蟿慰 蟺伪蟻蔚位胃蠈谓, 苇蠂慰蠀谓 魏蠀魏位慰蠁慰蟻萎蟽蔚喂 蟺慰位位苇蟼 蟺蔚喂蟻伪蟿喂魏苇蟼 蔚魏未蠈蟽蔚喂蟼. 螒位位维 蠈蠂喂 魏伪喂 蟽萎渭蔚蟻伪. 韦苇蟻渭伪. 韦蔚位蔚委蠅蟽伪谓 伪蠀蟿维. finito la musica, passato la festa. 螘渭蔚委蟼 蠅蟼 伪谓伪纬谓蠋蟽蟿蔚蟼 苇蠂慰蠀渭蔚 蠂蟻苇慰蟼 谓伪 渭畏谓 未喂伪喂蠅谓委味慰蠀渭蔚 伪未喂魏委蔚蟼 魏伪喂 伪渭伪蟻蟿委蔚蟼 蟿慰蠀 蟺伪蟻蔚位胃蠈谓蟿慰蟼.
February 15, 2020
螡伪谓维 螘渭委位 螙慰位维 1880
韦慰 蟺喂慰 尾维谓伪蠀蟽伪 苇魏蠁蠀位慰 蟺位维蟽渭伪 蟺慰蠀 纬谓蠋蟻喂蟽伪 蟺慰蟿苇. 螚 魏伪蟿维蠂蟻畏蟽畏 蟿畏蟼 渭蔚胃蠀蟽蟿喂魏萎蟼 蔚尉慰蠀蟽委伪蟼 蟿慰蠀 纬蠀谓伪喂魏蔚委慰蠀 蠁蠉位慰蠀, 畏 蠂蠀未伪喂蠈蟿畏蟿伪 魏伪喂 慰 蠁伪蟽喂蟽渭蠈蟼 蟿慰蠀, 畏 蟿蟻慰渭蔚蟻萎 蟿慰蠀 蔚蟺喂魏蟻维蟿蔚喂伪 蟺维谓蠅 蟽蟿喂蟼 蟺蟿蠅蠂蔚蠀渭苇谓蔚蟼 蠀蟺慰位萎蠄蔚喂蟼 魏伪喂 伪谓蟿喂蟽蟿维蟽蔚喂蟼 蟿蠅谓 伪蟻蟽蔚谓喂魏蠋谓.
螡伪谓维... 蟿慰 伪蟺蠈位蠀蟿慰 畏未慰谓喂蟽蟿喂魏蠈 蟽蠉渭尾慰位慰. 螚 螕蠀谓伪委魏伪 蟺慰蠀 蟿维蟻伪尉蔚 蟽蠀胃苇渭蔚位伪 蟿慰 螤伪蟻委蟽喂. 螠喂伪 蟿蟻慰蟿苇味伪, 渭喂伪 渭伪蟻魏畏蟽委伪 蟿慰蠀 蟺蔚味慰未蟻慰渭委慰蠀. 桅蟿蠅蠂萎, 伪渭蠈蟻蠁蠅蟿畏 魏伪喂 蟺蔚蟻喂胃蠅蟻喂慰蟺慰喂畏渭苇谓畏 魏伪蟿伪蠁苇蟻谓蔚喂 蟿慰 渭蔚纬伪位蠉蟿蔚蟻慰 蟺位萎纬渭伪 蟽蟿畏谓 伪蟻喂蟽蟿慰魏蟻伪蟿委伪 蟿畏蟼 螕伪位位委伪蟼. 螠慰谓伪未喂魏蠈 蟿畏蟼 蠈蟺位慰, 畏 蟺伪谓蟿慰未蠀谓伪渭委伪 蟿慰蠀 蠁蠉位慰蠀 蟿畏蟼 蟺慰蠀 蟿畏谓 蔚魏胃苇蟿蔚喂 渭蔚 蟿畏 胃蟻畏蟽魏蔚蠀蟿喂魏萎 伪蟽苇尾蔚喂伪 蔚谓蠈蟼 蔚喂未蠋位慰蠀. 螚 蟽慰魏伪蟻喂蟽蟿喂魏维 蠀蟺苇蟻慰蠂畏 纬蠉渭谓喂伪 蟿畏蟼, 蟿慰 伪喂蟽蠂蟻蠈 蟿畏蟼 蟿委蟺慰蟿伪, 伪蠀蟿蠈 蟿慰 魏维蟿喂... 伪谓维渭蔚蟽伪 蟽蟿伪 蟺蠈未喂伪 蟿畏蟼 蟺慰蠀 渭蟺慰蟻蔚委 魏伪喂 纬委谓蔚蟿伪喂 蟿慰 魏维蟿喂 维位位慰. 螛伪 蟺蔚蟻维蟽蔚喂 伪蟺蠈 蟿伪 魏伪渭蟺伪蟻苇, 伪蟺蠈 蟿伪 胃苇伪蟿蟻伪 蟺慰蠀 胃伪 蟿畏 蠂位蔚蠀维蟽慰蠀谓, 胃伪 蟺蔚蟻喂蟺位伪谓畏胃蔚委 蟽蟿伪 伪蟺蠈渭蔚蟻伪 魏伪喂 位伪蟽蟺蠅渭苇谓伪 蟽慰魏维魏喂伪 魏维蟿蠅 伪蟺蠈 蟿喂蟼 魏委蟿蟻喂谓蔚蟼 位维渭蟺蔚蟼 纬魏伪味喂慰蠉. 螛伪 尉蔚魏喂谓萎蟽蔚喂 渭蔚 苇蠁畏尾慰蠀蟼 魏伪喂 伪蟺慰蟿蠀蠂畏渭苇谓慰蠀蟼 纬喂伪 谓伪 魏伪蟿伪位萎尉蔚喂 蟿蔚位喂魏维 谓伪 蟺维蟻蔚喂 蟽蟿慰 魏蟻蔚尾维蟿喂 蟿畏蟼 蟿慰蠀蟼 蟽蟺慰蠀未伪喂蠈蟿蔚蟻慰蠀蟼 维谓未蟻蔚蟼 蟿畏蟼 螕伪位位委伪蟼. 螣 胃伪位伪渭维蟻蠂畏蟼, 慰 魏蠈渭畏蟼, 慰 渭伪蟻魏萎蟽喂慰蟼, 慰 蟺蟻委纬魏喂蟺伪蟼, 蠈位慰喂 慰喂 维胃位喂慰喂 蟿慰蠀 苇蟻蠅蟿伪 魏伪喂 蟿畏蟼 畏未慰谓喂魏萎蟼 蟺伪蟻蔚魏蟿蟻慰蟺萎蟼 胃伪 位蠉蟽慰蠀谓 蟿慰 蟽蠁喂蠂蟿蠈 魏慰蟻蟽维味 蟿畏蟼 螡伪谓维蟼 魏伪喂 胃伪 蟺伪蟻伪未慰胃慰蠉谓 蟽蟿畏谓 伪蟽蠀纬魏蟻维蟿畏蟿畏 位伪纬谓蔚委伪 蟿畏蟼. 螣蟻未苇蟼 伪谓未蟻蠋谓 渭蔚 蟺维胃畏 蟺慰蠀 魏伪位蟺维味慰蠀谓 魏喂 苇谓伪 伪委蟽胃畏渭伪 伪谓喂魏伪谓慰蟺慰喂畏蟿慰蠀 蟺喂慰 喂蟽蠂蠀蟻蠈 魏伪喂 伪蟺蠈 蟿慰谓 蟺喂慰 蔚尉蔚纬蔚蟻渭苇谓慰 蟺慰胃蠈, 胃伪 蟿蠀蟻伪谓谓畏胃慰蠉谓 蔚魏蟽蟿伪蟿喂魏维 蟽蟿喂蟼 蟽维蟻魏蔚蟼 蟿畏蟼 螡伪谓维蟼, 胃伪 蟿畏谓 蠁喂位萎蟽慰蠀谓 尾慰蠀位喂渭喂魏维, 胃伪 纬委谓慰蠀谓 蠁伪谓伪蟿喂魏慰委 蟿畏蟼. 螘魏蔚委谓畏 胃伪 未喂伪蟽魏蔚未维蟽蔚喂, 胃伪 蟺位萎尉蔚喂, 胃伪 渭蟺慰蠀蠂蟿委蟽蔚喂, 魏伪喂 蟽蟿慰 蟿苇位慰蟼 胃伪 魏伪蟿伪蟽蟺伪蟻维尉蔚喂 蠀蟺慰位萎蠄蔚喂蟼, 慰喂魏慰纬苇谓蔚喂蔚蟼, 蟿蟻伪蟺蔚味喂魏慰蠉蟼 位慰纬伪蟻喂伪蟽渭慰蠉蟼, 蟿委蟿位慰蠀蟼 魏伪喂 蟿喂渭苇蟼. 螚 纬蠀谓伪委魏伪 位伪委位伪蟺伪 蟽蟿畏谓 位蔚蠅蠁蠈蟻慰 谓蟿蔚 螔喂位位喂苇 胃伪 蔚蟺喂未慰胃蔚委 蟽蟿畏 渭蔚纬伪位蠉蟿蔚蟻畏 伪谓维纬魏畏 蟿畏蟼... 谓伪 蔚尉蔚蠀蟿蔚位委蟽蔚喂 魏维胃蔚 伪蟻蟽蔚谓喂魏蠈. 螠蔚 渭喂伪 蟽蠂蔚未蠈谓 蟺伪喂未喂魏萎 伪蠁苇位蔚喂伪 胃伪 蟻慰蠀蠁萎尉蔚喂 渭蔚 伪蟺蠈位伪蠀蟽畏 蟿畏谓 魏伪蟿维蟻蟻蔚蠀蟽畏 蟿蠅谓 伪谓未蟻蠋谓, 蠈蟺蠅蟼 蟻慰蠀蠁维 蟿慰 纬维位伪 蟿慰蠀 蟿慰 尾蟻苇蠁慰蟼. 螚 伪蟿委渭蠅蟽畏 蟿慰蠀 伪锟斤拷未蟻喂魏慰蠉 蠁蠉位慰蠀 纬委谓蔚蟿伪喂 蔚胃喂蟽蟿喂魏萎. 螚 螡伪谓维 胃伪 伪蟺慰魏蟿萎蟽蔚喂 蟿伪 渭蔚纬伪位蔚委伪, 蟿伪 蟺位慰蠉蟿畏 魏伪喂 蟿慰 蠂蟻萎渭伪 纬喂伪 苇谓伪 魏伪喂 渭蠈谓慰 蟽魏慰蟺蠈... 谓伪 蟿伪 蟽魏慰蟻蟺委蟽蔚喂 魏伪喂 谓伪 蟿伪 蟺蔚蟻喂蠁蟻慰谓萎蟽蔚喂 蔚蟺喂未蔚喂魏蟿喂魏维. 螛伪 尾纬维位蔚喂 渭喂伪 蟺畏纬伪委伪 蠂位蔚蠉畏 蟺蟻慰蟼 蟿畏谓 蠀蠄畏位蠈蟿畏蟿伪 蟿畏蟼 伪蟻喂蟽蟿慰魏蟻伪蟿喂魏萎蟼 伪蠀位萎蟼, 胃伪 蟺伪委尉蔚喂 渭蔚 蟿喂蟼 蠂蟻蔚蠅魏慰蟺畏渭苇谓蔚蟼 伪尉喂慰蟺蟻苇蟺蔚喂蔚蟼, 胃伪 纬蔚位维蟽蔚喂 渭苇蠂蟻喂 未伪魏蟻蠉蠅谓 渭蔚 蟿畏谓 尉喂蟺伪蟽渭苇谓畏 蟻维蟽蟿伪 蟿蠅谓 伪蟻喂蟽蟿慰魏蟻伪蟿蠋谓 蟺慰蠀 蟿蠋蟻伪 蔚委谓伪喂 苇谓伪 尾萎渭伪 蟺蟻喂谓 蟿慰谓 慰蟻喂蟽蟿喂魏蠈 伪蠁伪谓喂蟽渭蠈 蟿畏蟼. 韦慰 螤伪蟻委蟽喂 蟽蟿伪 蟺蟻蠈胃蠀蟻伪 蟿慰蠀 纬伪位位慰蟺蟻蠅蟽喂魏慰蠉 蟺慰位苇渭慰蠀 伪蟺慰魏伪位蠉蟺蟿蔚喂 蟿畏 蟽萎蠄畏 蟿蠅谓 蠀蠄畏位蠋谓 魏慰喂谓蠅谓喂魏蠋谓 蟽蟿蟻蠅渭维蟿蠅谓 蟿慰蠀, 蟿喂蟼 蔚蟽蠅蟿蔚蟻喂魏苇蟼 蟿慰蠀 蟻蠅纬渭苇蟼 魏伪喂 未喂伪尾蟻蠋蟽蔚喂蟼. 螚 蟿伪蟺蔚委谓蠅蟽畏 苇蟻蠂蔚蟿伪喂 蟽伪谓 苇谓伪蟼 蔚魏蟽蟿伪蟿喂魏蠈蟼 蟽蟺伪蟽渭蠈蟼 蟽蔚 渭喂伪 蠁维蟻蟽伪 蟿畏蟼 畏未慰谓萎蟼. 螚 位慰纬喂魏萎 魏伪喂 畏 蔚纬魏蟻维蟿蔚喂伪 魏位慰谓委味慰谓蟿伪喂 胃蔚蟽蟺苇蟽喂伪 蟽蟿慰 尾蠈蟻尾慰蟻慰 蟿蠅谓 蠂伪渭蔚蟻蟺蠋谓 伪魏慰位伪蟽喂蠋谓. 韦伪 位慰蠀未慰尾委魏蔚喂伪 尉慰未蔚蠉慰谓蟿伪喂 伪位蠈纬喂蟽蟿伪 渭慰谓维蠂伪 纬喂伪 谓伪 未慰蠀谓 蟿慰 蟽蠋渭伪 蟿畏蟼 螡伪谓维蟼 谓伪 蟺维位位蔚蟿伪喂 蟺维谓蠅 蟽蟿伪 蟽蔚谓蟿蠈谓喂伪. 螚 螡螒螡螒 蔚委谓伪喂 蟿慰 蟺喂慰 蟽蠀纬魏位慰谓喂蟽蟿喂魏维 -尾伪蟽伪谓喂蟽蟿喂魏维, 蟺伪蟻伪位蠉蟿喂魏维- 苇魏蠁蠀位慰 蟺位维蟽渭伪 蟺慰蠀 纬谓蠋蟻喂蟽伪 蟺慰蟿苇, 魏伪喂 蟽蠀谓维渭伪 蟿慰 蟽蠉渭尾慰位慰 蟿畏蟼 蟺伪谓蟿慰未蠀谓伪渭委伪蟼 蟿慰蠀 纬蠀谓伪喂魏蔚委慰蠀 蠁蠉位慰蠀.
January 21, 2024
Una muestra de la obra de Emile Zola, escritor franc茅s del siglo XIX, el g茅nero de la novela es naturalista, en una 茅poca donde la realidad, no se plasmaba en novelas.
Me asombra lo ligera, divertida, exultante que es la historia, tiene un ritmo din谩mico y nada aburrido.
Un personaje impera y desborda en esta historia, ella es Nana, una joven de arrabal que es reclutada por un empresario teatral y debuta haciendo el papel de Venus, Nana no canta, tampoco baila, menos act煤a y para nada tiene presencia esc茅nica, pero es un cuerpo como no se ha visto en Paris en mucho tiempo, una cabellera dorada con destellos rojizos, una carita de 谩ngel, un cuerpo voluptuoso, con una cintura estrecha y unas caderas redondas, una piel marfil y una tendencia a la gordura que se acomoda en los mejores lugares de su silueta.
Esta historia tiene 3 partes que asombran e interesan por igual, aunque todo pasa por Nana, tambi茅n es cierto que el personaje atr谩s de ella es Paris, es Francia, es su imperio y es la 茅poca que vive su mejor y peor momento.
El inicio est谩 conformado por el debut de Nana y su fracaso como actriz, pero su 茅xito desbordante como la mujer del momento, su casa parece consultorio de un doctor afamado y barato, es decir desborda de pacientes masculinos que buscan una consulta 馃, aqu铆 Nana se nota inexperta para lidiar con hombres ricos y arist贸cratas, tiene un amante fijo Steiner que la provee, pero a los dem谩s les concede lo que solicitan sin retribuci贸n o regalo alguno, de tal manera que cuando sus deudas la ahorcan tiene que buscar alg煤n cliente que pague, aqu铆 conocemos a muchas mujeres iguales que ellas, disolutas, incultas, que est谩n insertas en el subsuelo de la sociedad parisina, mediante amantes ricos, y a煤n entre ellas hay escalas sociales:
鈥淓ra una mujer honrada que s贸lo ten铆a un amante, nunca m谩s de uno, y siempre un hombre respetable.鈥�
Tambi茅n vemos fluir un variopinto grupo de hombres, empresarios, extranjeros, arist贸cratas, terratenientes, herederos en desgracia, todos en frente com煤n buscando favores sexuales que complementen su estilo de vida regalado, licencioso, excesivo.
Nana tiene un hijo de tres a帽os que vive con una t铆a, de manera pobre y estrecha, ella a煤n tiene reparos en acostarse con hombres que no le gustan, a煤n tiene cierta reticencia a recibir dinero o regalos, pero ya en estos inicios siempre est谩 endeudada, sin dinero en efectivo y llena de gastos.
En la segunda parte Nana se harta de vivir de esta manera, se encapricha con un actor torvo llamado Fontan, y se va a vivir con el, al principio todo es alegr铆a y despilfarro, Nana deja de trabajar, realiza los quehaceres, trata de economizar y se dedica en cuerpo y alma a atender a Fontan, este empieza a sufrir la falta de dinero, se enfada, la insulta, a veces le pega, ella todo soporta, inclusive empieza a callejear para llevar de comer 馃嵔锔�, pero Fortan fastidiado de tanta servidumbre un d铆a no la deja entrar m谩s a la casa, y ella tiene que irse sin nada m谩s que lo puesto.
La tercera parte es la m谩s intensa, se vive como en ca铆da libre, como el pozo de Alicia, Nana regresa con el empresario de teatro, para solicitar un papel, ah铆 es requerida por el Conde Muffat, un otrora recalcitrante religioso, defensor de la moral pero que ha sucumbido a los encantos de la mujer y solicita sus favores, pero Nana solicita todo, pide un hotel embellecido, lujos por doquier y que el conde solo la visite ciertas horas al d铆a, el conde extraviado en su necesidad de poseerla le concede todo lo que solicita y la hace su amante, a partir de aqu铆 Nana se deja llevar en una corriente enfebrecida de lujos, excesos, hombres, mujeres, tanto es as铆, que se vuelve una mujer notable en Paris, sobre todo por esa hambre voraz que la consume, un hambre no solo de riquezas o lujos o lujuria, sino un hambre de destrucci贸n, decadencia y oscuridad. Porque Nana ha perdido el pudor, ahora exige, demanda, cantidades exhorbitantes a sus amantes ocasionales, so pena de no compartir su cuerpo una vez m谩s, y ellos en su deseo inextinguible, ciegos a lo que no sea su satisfacci贸n corren a buscar los recursos donde sea que estos est茅n.
El cuerpo de Nana envuelve a una mujer con una inteligencia nula, un lenguaje soez, que se mueve por los instintos m谩s b谩sicos, pero nada de eso importa a los hombres que la persiguen en enjambre, para ellos, Nana es un cuerpo, es algo f铆sico que es bello, inmutable, que persiste, como una moneda que no pierde su valor, una moneda brillante, redonda, fulgurante, no importa lo que cueste, no importa perder fortunas, propiedades, t铆tulos, hasta la vida misma, lo 煤nico que importa es poseerla, una y otra vez.
Y as铆 como el escritor nos va contando la vida de Nana, nos parece ver la historia de un pa铆s, nos parece adivinar met谩foras, comparaciones que nos acercan a un imperio que en un pasado fue grande, fuerte, invencible y que en la segunda mitad del siglo XIX parece hundirse en su propio fango, en esos errores que le cuestan la ca铆da definitiva de un imperio que no existir谩 m谩s:
鈥淓ntre los borrachos de los arrabales, las familias corrompidas acaban en la negra miseria, en la despensa sin pan y en la locura del alcohol que vac铆an los colchones. Pero aqu铆, en el desmoronamiento de tantas riquezas, amontonadas y encendidas de golpe, el vals doblaba por una antigua raza,鈥�
Esa antigua raza que en este libro se presenta en carne y hueso, mostrando sus falencias, sus debilidades.
Una lectura inmensa.
Me asombra lo ligera, divertida, exultante que es la historia, tiene un ritmo din谩mico y nada aburrido.
Un personaje impera y desborda en esta historia, ella es Nana, una joven de arrabal que es reclutada por un empresario teatral y debuta haciendo el papel de Venus, Nana no canta, tampoco baila, menos act煤a y para nada tiene presencia esc茅nica, pero es un cuerpo como no se ha visto en Paris en mucho tiempo, una cabellera dorada con destellos rojizos, una carita de 谩ngel, un cuerpo voluptuoso, con una cintura estrecha y unas caderas redondas, una piel marfil y una tendencia a la gordura que se acomoda en los mejores lugares de su silueta.
Esta historia tiene 3 partes que asombran e interesan por igual, aunque todo pasa por Nana, tambi茅n es cierto que el personaje atr谩s de ella es Paris, es Francia, es su imperio y es la 茅poca que vive su mejor y peor momento.
El inicio est谩 conformado por el debut de Nana y su fracaso como actriz, pero su 茅xito desbordante como la mujer del momento, su casa parece consultorio de un doctor afamado y barato, es decir desborda de pacientes masculinos que buscan una consulta 馃, aqu铆 Nana se nota inexperta para lidiar con hombres ricos y arist贸cratas, tiene un amante fijo Steiner que la provee, pero a los dem谩s les concede lo que solicitan sin retribuci贸n o regalo alguno, de tal manera que cuando sus deudas la ahorcan tiene que buscar alg煤n cliente que pague, aqu铆 conocemos a muchas mujeres iguales que ellas, disolutas, incultas, que est谩n insertas en el subsuelo de la sociedad parisina, mediante amantes ricos, y a煤n entre ellas hay escalas sociales:
鈥淓ra una mujer honrada que s贸lo ten铆a un amante, nunca m谩s de uno, y siempre un hombre respetable.鈥�
Tambi茅n vemos fluir un variopinto grupo de hombres, empresarios, extranjeros, arist贸cratas, terratenientes, herederos en desgracia, todos en frente com煤n buscando favores sexuales que complementen su estilo de vida regalado, licencioso, excesivo.
Nana tiene un hijo de tres a帽os que vive con una t铆a, de manera pobre y estrecha, ella a煤n tiene reparos en acostarse con hombres que no le gustan, a煤n tiene cierta reticencia a recibir dinero o regalos, pero ya en estos inicios siempre est谩 endeudada, sin dinero en efectivo y llena de gastos.
En la segunda parte Nana se harta de vivir de esta manera, se encapricha con un actor torvo llamado Fontan, y se va a vivir con el, al principio todo es alegr铆a y despilfarro, Nana deja de trabajar, realiza los quehaceres, trata de economizar y se dedica en cuerpo y alma a atender a Fontan, este empieza a sufrir la falta de dinero, se enfada, la insulta, a veces le pega, ella todo soporta, inclusive empieza a callejear para llevar de comer 馃嵔锔�, pero Fortan fastidiado de tanta servidumbre un d铆a no la deja entrar m谩s a la casa, y ella tiene que irse sin nada m谩s que lo puesto.
La tercera parte es la m谩s intensa, se vive como en ca铆da libre, como el pozo de Alicia, Nana regresa con el empresario de teatro, para solicitar un papel, ah铆 es requerida por el Conde Muffat, un otrora recalcitrante religioso, defensor de la moral pero que ha sucumbido a los encantos de la mujer y solicita sus favores, pero Nana solicita todo, pide un hotel embellecido, lujos por doquier y que el conde solo la visite ciertas horas al d铆a, el conde extraviado en su necesidad de poseerla le concede todo lo que solicita y la hace su amante, a partir de aqu铆 Nana se deja llevar en una corriente enfebrecida de lujos, excesos, hombres, mujeres, tanto es as铆, que se vuelve una mujer notable en Paris, sobre todo por esa hambre voraz que la consume, un hambre no solo de riquezas o lujos o lujuria, sino un hambre de destrucci贸n, decadencia y oscuridad. Porque Nana ha perdido el pudor, ahora exige, demanda, cantidades exhorbitantes a sus amantes ocasionales, so pena de no compartir su cuerpo una vez m谩s, y ellos en su deseo inextinguible, ciegos a lo que no sea su satisfacci贸n corren a buscar los recursos donde sea que estos est茅n.
El cuerpo de Nana envuelve a una mujer con una inteligencia nula, un lenguaje soez, que se mueve por los instintos m谩s b谩sicos, pero nada de eso importa a los hombres que la persiguen en enjambre, para ellos, Nana es un cuerpo, es algo f铆sico que es bello, inmutable, que persiste, como una moneda que no pierde su valor, una moneda brillante, redonda, fulgurante, no importa lo que cueste, no importa perder fortunas, propiedades, t铆tulos, hasta la vida misma, lo 煤nico que importa es poseerla, una y otra vez.
Y as铆 como el escritor nos va contando la vida de Nana, nos parece ver la historia de un pa铆s, nos parece adivinar met谩foras, comparaciones que nos acercan a un imperio que en un pasado fue grande, fuerte, invencible y que en la segunda mitad del siglo XIX parece hundirse en su propio fango, en esos errores que le cuestan la ca铆da definitiva de un imperio que no existir谩 m谩s:
鈥淓ntre los borrachos de los arrabales, las familias corrompidas acaban en la negra miseria, en la despensa sin pan y en la locura del alcohol que vac铆an los colchones. Pero aqu铆, en el desmoronamiento de tantas riquezas, amontonadas y encendidas de golpe, el vals doblaba por una antigua raza,鈥�
Esa antigua raza que en este libro se presenta en carne y hueso, mostrando sus falencias, sus debilidades.
Una lectura inmensa.
November 10, 2020
The trouble was not cruelty on her part, for she remained as good-natured as ever; it was as if a wind of madness were blowing ever more strongly through the closed bedroom. Lust deranged their brains and plunged them into the delirious fantasies of the flesh. The old pious terrors of their sleepless nights now turned into a thirst for bestiality, a mania for walking on all fours, growling and biting.
It's easy to see how controversial and shocking this book must have been on publication in 1880, not least for the way in which it side-steps more sentimental versions of the love-lorn courtesan such as we see in Violetta from and immortalised in La Traviata. Nana is quite different.
The daughter of Gervaise, the poor laundress from , she is a child of the Parisian streets: uneducated, vulgar, yearning for the glittering luxury and material possessions that attract her through the rich shop windows. She is also beautiful - magisterially, almost supernaturally beautiful - and endowed with a kind of sexual charisma that drives men mad. Propelled from the theatre stage into the bedrooms of Parisian men, Nana feeds their frenzy as 'the Golden Fly' while also corrupting and being corrupted through the symbiotic co-dependency that results.
Zola's research, as usual, is immaculate and the portraits of the world of the theatre, the press, and the demi-monde is fascinating of itself. Great set pieces include the opening night of a hit show (and it's easy to trace the significance of that lampooning tableau of Venus and Mars caught in Vulcan's net through the story to follow), and a chapter where all of Paris is at the races. This is not a book for readers who need to like characters in order to enjoy a book: everyone is mired in self-interest, and the connections between power, sex and money are front and centre of the text.
For all that, Nana herself is the closest thing to the anti-heroine of this tale: she is selfish and sometimes venial, greedy for luxury and things... but what else can she be as the product of her society? She is also good-natured and sometimes kind; she takes a kind of child-like pleasure in her own beauty and she is under no delusions that she is a good stage performer. She exploits all men but she can also be kind to them; but when she herself takes pleasure, it's with a woman.
Surprisingly, rereading this made me think of Undine Spragg from Wharton's - though made wealthy through legitimate marriage, Undine, too, is never able to find contentment, constantly searching for the next triumph, the next diamond necklace, the next priceless painting to adorn her fashionable walls. Each woman, Nana and Undine, seeks to fill an undefined and little understood yearning with material objects, and can't understand why that hunger is never appeased.
Gratifyingly grubby, scathing and quite explicit in its exposure of the moral climate of the Second Empire, this is both coolly analytical and quite a page-turner.
August 8, 2024
S茅 que este libro es un gran cl谩sico, una obra maestra, y que tiene una fuerte cr铆tica social; pero, la verdad, es que encontr茅 a este libro bastante aburrido.
June 14, 2021
4,5*
螣 Zola 渭蔚 芦韦慰 蟽蟿慰渭维蠂喂 蟿慰蠀 螤伪蟻喂蟽喂慰蠉禄 渭伪蟼 蠁苇蟻谓蔚喂 魏维蟿蠅 伪蟺蠈 蟿畏 渭蠉蟿畏 蠈位伪 蟿伪 伪蟻蠋渭伪蟿伪 魏伪喂 蟿喂蟼 蔚喂魏蠈谓蔚蟼 蟿慰蠀 位伪蠆魏慰蠉 纬伪蟽蟿蟻慰谓慰渭喂魏慰蠉 蟺伪蟻伪未蔚委蟽慰蠀 蟿畏蟼 蟺蟻蠅蟿蔚蠉慰蠀蟽伪蟼, 蟿畏蟼 伪纬慰蟻维蟼 蟿蠅谓 Halles. 螠蔚 蟿畏 芦螡伪谓维禄 苇蠂慰蠀渭蔚 蟺喂伪 魏维蟿蠅 伪蟺蠈 蟿畏 渭蠉蟿畏 渭伪蟼 蟿喂蟼 蠀纬蟻苇蟼 渭蠀蟻蠅未喂苇蟼 蟺慰蠀 伪谓伪未蠉慰谓蟿伪喂 伪蟺蠈 蟿畏 蟽维蟻魏伪, 蟿蠅谓 味蠀渭蠋蟽蔚蠅谓 蟺慰蠀 纬委谓慰谓蟿伪喂 渭苇蟽伪 蟽蟿伪 蟺慰位蠀蟿蔚位萎 渭蟺慰蟻谓蟿苇位伪 魏伪喂 蟽伪位蠈谓喂伪 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蠈蟺慰蠀 畏 魏伪位萎 魏慰喂谓蠅谓委伪 蟽蟺蔚蠉未蔚喂 谓伪 渭蔚蟿伪位维尾蔚喂 蟿喂蟼 蟺喂慰 畏未慰谓喂魏苇蟼 魏伪喂 伪谓维位纬畏蟿蔚蟼, 蟿蔚位喂魏维, 蔚渭蟺蔚喂蟻委蔚蟼. 螒蠀蟿苇蟼 慰喂 蟿蔚位蔚蠀蟿伪委蔚蟼 蔚委谓伪喂 胃蔚渭喂蟿苇蟼 蟽蟿畏谓 渭蟺慰蠀蟻味慰蠀伪味委伪 蠈蟺慰蠀 苇谓伪蟼 芦魏伪位蠈蟼禄 纬维渭慰蟼 伪蠁萎谓蔚喂 蠂蠋蟻慰 蟽蟿慰 蟺蔚蟻喂胃蠋蟻喂慰 鈥撐何蔽� 魏伪渭喂维 蠁慰蟻维 魏伪喂 蟽蟿伪 苇渭蟺蟻慰蟽胃蔚谓 魏伪喂 蔚谓蟿蔚位蠋蟼 伪蟺蟻慰魏维位蠀蟺蟿伪鈥� 纬喂伪 伪蟺喂蟽蟿委蔚蟼 渭蔚 蔚蟿伪委蟻蔚蟼, 纬喂伪 蟿慰 尉蔚蠂蔚委位蠅渭伪 蟿畏蟼 畏未慰谓萎蟼, 纬喂伪 蟿慰 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 鈥撓勎� 蟺慰位蠉 蟺伪蟻伪蟺维谓蠅鈥� 蟽蟿畏谓 蔚蟻蠅蟿喂魏萎 蔚渭蟺蔚喂蟻委伪.
螞委纬慰 蟺蟻喂谓 蟿慰 尉苇蟽蟺伪蟽渭伪 蟿慰蠀 螕伪位位慰蟺蟻蠅蟽喂魏慰蠉 螤慰位苇渭慰蠀, 魏伪蟿维 蟿畏谓 未蔚蠉蟿蔚蟻畏 螒蠀蟿慰魏蟻伪蟿慰蟻委伪, 蟿慰 渭苇纬伪蟻慰 蟿畏蟼 位蔚蠅蠁蠈蟻慰蠀 谓蟿蔚 螔喂位喂苇, 纬委谓蔚蟿伪喂 蟿慰 渭蔚纬维位慰 蠂蠅谓蔚蠀蟿萎蟻喂 蠈蟺慰蠀 蟺蔚蟻喂慰蠀蟽委蔚蟼 蟺蔚蟿蟽慰魏蠈尾慰谓蟿伪喂 纬喂伪 蠂维蟻畏 蟿蠅谓 蟺喂慰 尾喂蟿蟽喂蠈味喂魏蠅谓 蟽蠅渭伪蟿喂魏蠋谓 蟺蔚蟻喂蟺蟿蠉尉蔚蠅谓. 螚 螡伪谓维, 委未喂伪 谓蔚蟻维喂未伪 螠蔚位蠀味委谓 渭蔚 蟿畏谓 尉伪谓胃慰魏蠈魏魏喂谓畏 魏蠈渭畏 蟿畏蟼, 蟽蠀谓胃位委尾蔚喂 伪谓维渭蔚蟽伪 蟽蟿伪 未蠀慰 蟿畏蟼 未伪蠂蟿蠀位维魏喂伪 蠈位慰 蟿慰谓 伪谓未蟻喂魏蠈 蟺位畏胃蠀蟽渭蠈 蟿慰蠀 螤伪蟻喂蟽喂慰蠉. 螚 魏伪位萎 魏慰喂谓蠅谓委伪, 魏蠉蟻喂伪 尾慰蟻维 蟿畏蟼, 蔚委谓伪喂 畏 渭蔚纬维位畏 畏蟿蟿畏渭苇谓畏, 蟺慰蠀 蟺位畏蟻蠋谓蔚喂 渭蔚 蟿慰 谓蠈渭喂蟽渭伪 蟿畏蟼 伪尉喂慰蟺蟻苇蟺蔚喂维蟼 蟿畏蟼, 尉慰未蔚蠉慰谓蟿伪蟼 伪蠁蔚喂未蠋蟼 魏伪胃蠋蟼 慰喂 蔚蟺喂蟿伪纬苇蟼 蟿慰蠀 蟽蠋渭伪蟿慰蟼 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏维 未蠀谓伪蟿苇蟼 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 喂苇蟻蔚喂伪 蟿畏蟼 蔚蟻蠅蟿慰蟿蟻慰蟺委伪蟼 蠂蠅蟻委蟼 蠈蟻喂慰, 蟿畏蟼 蠂蟻蠀蟽蠈渭蠀纬伪蟼 蟺慰蠀 尉蔚蟺萎未畏蟽蔚 伪蟺蠈 蟿畏谓 魏慰蟺蟻喂维 纬喂伪 谓伪 伪谓伪位畏蠁胃蔚委 蟽蟿慰 伪谓蠋蟿蔚蟻慰 蟽魏伪位委 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 渭蔚 蠈蟺位慰 蟿畏 位伪纬谓蔚委伪 蟿畏蟼 魏伪喂 蟿慰 伪蠀蟿维蟻蔚蟽魏慰, 谓伪蟻魏喂蟽蟽喂蟽蟿喂魏蠈 蟿伪渭蟺蔚蟻伪渭苇谓蟿慰 蟿畏蟼. 螣 蟺蟻慰蟽蠁蔚蟻蠈渭蔚谓慰蟼 苇蟻蠅蟿伪蟼 蟿慰蠉蟼 蟺蟻慰魏伪位蔚委 蟽魏慰蟿慰未委谓畏 魏伪喂 胃蠀蟽喂维味慰蠀谓 蟿伪 蟺维谓蟿伪 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蟿慰谓 伪蟺慰位伪蠉蟽慰蠀谓 蟿慰 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 未蠀谓伪蟿蠈, 魏喂 伪蟼 苇蟻蠂慰谓蟿伪喂 未蔚蠉蟿蔚蟻慰喂, 蟿蟻委蟿慰喂 蟽蔚 蟺蟻慰蟿委渭畏蟽畏. 危伪谓 苇谓伪 渭维蟿蟽慰 伪谓胃蟻蠅蟺维魏喂伪 蟿畏蟼 蟽蠀渭蠁慰蟻维蟼, 蟽伪谓 维渭蠀伪位伪, 伪蟽蠀纬魏蟻维蟿畏蟿伪 蟽蠂慰位喂伪蟻蠈蟺伪喂未伪, 蟽苇蟻谓慰谓蟿伪喂 伪蟺蠈 蟿畏 渭蠉蟿畏, 渭蔚胃蠀蟽渭苇谓伪 伪蟺蠈 蟿畏谓 伪蟺蠉胃渭蔚谓畏 位伪纬谓蔚委伪 蟺慰蠀 蔚魏蟺苇渭蟺蔚喂 蟺维谓蠅 蟿慰蠀蟼 畏 螡伪谓维, 畏 螕蠀谓伪委魏伪. 螚 伪尉喂慰蟺蟻苇蟺蔚喂伪 尉蔚蠂伪蟻尾伪位蠋谓蔚蟿伪喂 渭伪味委 渭蔚 蟿伪 蟺慰位蠀蠂蟻畏蟽喂渭慰蟺慰喂畏渭苇谓伪 蟽蠋渭伪蟿伪, 维谓蔚渭慰蟼 蟺伪蟻维蠁蟻慰谓伪蟼 蟺慰蠀 魏慰蠀尾伪位维蔚喂 蟿畏谓 蟺伪蟻锟斤拷蠁慰蟻维 蠁蠀蟽维蔚喂 纬喂伪 谓伪 魏伪蟿伪蟺慰谓蟿委蟽蔚喂 魏伪喂 蟿慰 蟿蔚位蔚蠀蟿伪委慰 蟺蟻维纬渭伪 蟺慰蠀 苇渭蔚喂谓蔚 蠈蟻胃喂慰鈭� 蟿慰 蟺伪蟻伪渭喂魏蟻蠈蟿蔚蟻慰 蠄萎纬渭伪 位慰纬喂魏萎蟼 蟽蠀谓蟿蟻委尾蔚蟿伪喂 渭蟺蟻慰蟽蟿维 蟿畏蟼.
螚 喂蟽蟿慰蟻委伪 蟿畏蟼 螡伪谓维蟼 纬委谓蔚蟿伪喂 蟿蔚位喂魏维 慰 渭蠉胃慰蟼 蟿畏蟼 螡伪谓维蟼. 螆谓伪蟼 位慰纬慰蟿蔚蠂谓喂魏蠈蟼 渭蠉胃慰蟼 蟺慰蠀 胃伪 蟽苇蟻谓蔚喂 蟿慰谓 蔚蟻蠅蟿喂蟽渭蠈 魏伪喂 蟿畏谓 伪蟽苇位纬蔚喂维 蟿慰蠀, 伪蠁萎谓慰谓蟿伪蟼 蟿慰 维蟻蠅渭伪 蟿慰蠀 喂未蟻蠋蟿伪 魏伪喂 蟿蠅谓 蠀纬蟻蠋谓 蟿畏蟼 蟺慰位蠀渭蔚蟿伪蠂蔚喂蟻喂蟽渭苇谓畏蟼 伪蠀蟿萎蟼 纬蠀谓伪委魏伪蟼 蟽蟿慰 伪蟽蠀谓蔚委未畏蟿慰 蟿蠅谓 蔚渭蟺蔚喂蟻喂蠋谓 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 尾纬维味慰谓蟿伪蟼 伪未喂维谓蟿蟻慰蟺伪 蟿畏 纬位蠋蟽蟽伪 蟽蟿喂蟼 魏慰喂谓蠅谓委蔚蟼 蟺慰蠀 胃苇位慰蠀谓 谓伪 蟺蔚蟻谓喂慰蠉谓蟿伪喂 纬喂伪 蟽蠅蟽蟿苇蟼, 蟽蔚渭谓苇蟼 魏伪喂 伪未喂维蠁胃慰蟻蔚蟼, 未畏位伪未萎 蟽蔚 蠈位蔚蟼 蟿喂蟼 魏慰喂谓蠅谓委蔚蟼.
螤喂慰 纬蟻伪蠁喂魏萎 魏喂 伪蟺'蟿慰谓 伪谓蔚渭蠈渭蠀位慰 蟿慰蠀 Moulin Rouge, 胃伪 蟺蠅 蠈蟿喂 畏 位慰纬慰蟿蔚蠂谓委伪 蟿慰蠀 19慰蠀 伪喂蠋谓伪 未蔚 渭蔚 苇蠂蔚喂 蟺蟻慰未蠋蟽蔚喂 蟺慰蟿苇 渭苇蠂蟻喂 蟽蟿喂纬渭萎蟼, 畏 未蔚 蔚魏 螕伪位位委伪蟼 渭蔚 魏维谓蔚喂 谓伪 谓喂蠋胃蠅 慰喂魏蔚委伪 蟽伪谓 蟽蟿慰 蟽蟺委蟿喂 渭慰蠀. 螣 Zola, 蠈蠂喂 蟿蠀蠂伪委伪, 蟺伪蟻伪渭苇谓蔚喂 蟽蟿畏谓 喂蟽蟿慰蟻委伪 蠅蟼 蔚尉伪喂蟻蔚蟿喂魏蠈蟼 渭蔚蟽委蟿畏蟼 蟿畏蟼 伪蟿渭蠈蟽蠁伪喂蟻伪蟼 蟿蠅谓 畏胃蠋谓 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 韦慰 苇蟻纬慰 蟿慰蠀 Les Rougon-Macquart 蔚委谓伪喂 苇谓伪 苇蟻纬慰 伪谓伪渭蠁委尾慰位伪 渭蔚纬维位畏蟼 伪尉委伪蟼.
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螠喂魏蟻维 蟺伪蟻维蟺慰谓伪 蟺慰蠀 未蔚谓 渭蟺慰蟻蠋 谓伪 魏维谓蠅 纬伪蟻纬维蟻伪: 螚 苇魏未慰蟽畏 蟿慰蠀 螕魏慰尾蠈蟽蟿畏 蟺慰蠀 蔚蟺苇位蔚尉伪 未蔚 渭蔚 喂魏伪谓慰蟺慰委畏蟽蔚 蠈蟽慰 胃伪 萎胃蔚位蔚 慰 蠄蠀蠂伪谓伪纬魏伪蟽渭蠈蟼 渭慰蠀, 慰蠉蟿蔚 蟽蔚 蔚蟺委蟺蔚未慰 渭蔚蟿维蠁蟻伪蟽畏蟼 慰蠉蟿蔚, 委蟽蠅蟼 魏蠀蟻委蠅蟼, 蟽蔚 蔚蟺委蟺蔚未慰 蔚蟺喂渭苇位蔚喂伪蟼. 螝蠈渭渭伪蟿伪 魏喂 伪蟺蠈蟽蟿蟻慰蠁慰喂 苇位蔚喂蟺伪谓 蔚魏蔚委 蟺慰蠀 苇蟺蟻蔚蟺蔚 魏伪喂 蠀蟺萎蟻蠂伪谓 蔚魏蔚委 蟺慰蠀 未蔚谓 苇蟺蟻蔚蟺蔚. 螘蟺委蟽畏蟼, 蠀蟺蔚蟻尾慰位喂魏苇蟼 慰喂 蔚魏胃位委蠄蔚喂蟼 魏伪喂 慰喂 伪蟺慰魏慰蟺苇蟼, 尾蟻蔚 伪未蔚蟻蠁苇. 螝伪蟿鈥櫸毕€鈥櫹勎� 魏慰渭慰未委谓慰, 魏伪蟿鈥櫸毕€鈥櫹勎� 蟺慰蠀魏维渭喂蟽蠈 渭慰蠀鈥�
(螣位维魏蔚蟻慰 味萎蟿畏渭伪, 慰位维魏蔚蟻畏 渭苇蟻伪, 慰位维魏蔚蟻慰 蟿慰 蟽蠉渭蟺伪谓鈥� 蔚谓蟿维尉蔚喂, 蠁蟿维谓蔚喂 位委纬慰. 危蔚位萎谓畏 蟿慰蠀 渭苇位喂蟿慰蟼 蟿慰 lune de miel; 韦慰 Grand h么tel 胃伪 蟿慰 纬蟻维蠁伪蟿蔚 螕魏蟻伪谓蟿 谓蟿'慰蟿苇位; 螌蠂喂.)
螣 Zola 渭蔚 芦韦慰 蟽蟿慰渭维蠂喂 蟿慰蠀 螤伪蟻喂蟽喂慰蠉禄 渭伪蟼 蠁苇蟻谓蔚喂 魏维蟿蠅 伪蟺蠈 蟿畏 渭蠉蟿畏 蠈位伪 蟿伪 伪蟻蠋渭伪蟿伪 魏伪喂 蟿喂蟼 蔚喂魏蠈谓蔚蟼 蟿慰蠀 位伪蠆魏慰蠉 纬伪蟽蟿蟻慰谓慰渭喂魏慰蠉 蟺伪蟻伪未蔚委蟽慰蠀 蟿畏蟼 蟺蟻蠅蟿蔚蠉慰蠀蟽伪蟼, 蟿畏蟼 伪纬慰蟻维蟼 蟿蠅谓 Halles. 螠蔚 蟿畏 芦螡伪谓维禄 苇蠂慰蠀渭蔚 蟺喂伪 魏维蟿蠅 伪蟺蠈 蟿畏 渭蠉蟿畏 渭伪蟼 蟿喂蟼 蠀纬蟻苇蟼 渭蠀蟻蠅未喂苇蟼 蟺慰蠀 伪谓伪未蠉慰谓蟿伪喂 伪蟺蠈 蟿畏 蟽维蟻魏伪, 蟿蠅谓 味蠀渭蠋蟽蔚蠅谓 蟺慰蠀 纬委谓慰谓蟿伪喂 渭苇蟽伪 蟽蟿伪 蟺慰位蠀蟿蔚位萎 渭蟺慰蟻谓蟿苇位伪 魏伪喂 蟽伪位蠈谓喂伪 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蠈蟺慰蠀 畏 魏伪位萎 魏慰喂谓蠅谓委伪 蟽蟺蔚蠉未蔚喂 谓伪 渭蔚蟿伪位维尾蔚喂 蟿喂蟼 蟺喂慰 畏未慰谓喂魏苇蟼 魏伪喂 伪谓维位纬畏蟿蔚蟼, 蟿蔚位喂魏维, 蔚渭蟺蔚喂蟻委蔚蟼. 螒蠀蟿苇蟼 慰喂 蟿蔚位蔚蠀蟿伪委蔚蟼 蔚委谓伪喂 胃蔚渭喂蟿苇蟼 蟽蟿畏谓 渭蟺慰蠀蟻味慰蠀伪味委伪 蠈蟺慰蠀 苇谓伪蟼 芦魏伪位蠈蟼禄 纬维渭慰蟼 伪蠁萎谓蔚喂 蠂蠋蟻慰 蟽蟿慰 蟺蔚蟻喂胃蠋蟻喂慰 鈥撐何蔽� 魏伪渭喂维 蠁慰蟻维 魏伪喂 蟽蟿伪 苇渭蟺蟻慰蟽胃蔚谓 魏伪喂 蔚谓蟿蔚位蠋蟼 伪蟺蟻慰魏维位蠀蟺蟿伪鈥� 纬喂伪 伪蟺喂蟽蟿委蔚蟼 渭蔚 蔚蟿伪委蟻蔚蟼, 纬喂伪 蟿慰 尉蔚蠂蔚委位蠅渭伪 蟿畏蟼 畏未慰谓萎蟼, 纬喂伪 蟿慰 魏维蟿喂 蟺伪蟻伪蟺维谓蠅 鈥撓勎� 蟺慰位蠉 蟺伪蟻伪蟺维谓蠅鈥� 蟽蟿畏谓 蔚蟻蠅蟿喂魏萎 蔚渭蟺蔚喂蟻委伪.
螞委纬慰 蟺蟻喂谓 蟿慰 尉苇蟽蟺伪蟽渭伪 蟿慰蠀 螕伪位位慰蟺蟻蠅蟽喂魏慰蠉 螤慰位苇渭慰蠀, 魏伪蟿维 蟿畏谓 未蔚蠉蟿蔚蟻畏 螒蠀蟿慰魏蟻伪蟿慰蟻委伪, 蟿慰 渭苇纬伪蟻慰 蟿畏蟼 位蔚蠅蠁蠈蟻慰蠀 谓蟿蔚 螔喂位喂苇, 纬委谓蔚蟿伪喂 蟿慰 渭蔚纬维位慰 蠂蠅谓蔚蠀蟿萎蟻喂 蠈蟺慰蠀 蟺蔚蟻喂慰蠀蟽委蔚蟼 蟺蔚蟿蟽慰魏蠈尾慰谓蟿伪喂 纬喂伪 蠂维蟻畏 蟿蠅谓 蟺喂慰 尾喂蟿蟽喂蠈味喂魏蠅谓 蟽蠅渭伪蟿喂魏蠋谓 蟺蔚蟻喂蟺蟿蠉尉蔚蠅谓. 螚 螡伪谓维, 委未喂伪 谓蔚蟻维喂未伪 螠蔚位蠀味委谓 渭蔚 蟿畏谓 尉伪谓胃慰魏蠈魏魏喂谓畏 魏蠈渭畏 蟿畏蟼, 蟽蠀谓胃位委尾蔚喂 伪谓维渭蔚蟽伪 蟽蟿伪 未蠀慰 蟿畏蟼 未伪蠂蟿蠀位维魏喂伪 蠈位慰 蟿慰谓 伪谓未蟻喂魏蠈 蟺位畏胃蠀蟽渭蠈 蟿慰蠀 螤伪蟻喂蟽喂慰蠉. 螚 魏伪位萎 魏慰喂谓蠅谓委伪, 魏蠉蟻喂伪 尾慰蟻维 蟿畏蟼, 蔚委谓伪喂 畏 渭蔚纬维位畏 畏蟿蟿畏渭苇谓畏, 蟺慰蠀 蟺位畏蟻蠋谓蔚喂 渭蔚 蟿慰 谓蠈渭喂蟽渭伪 蟿畏蟼 伪尉喂慰蟺蟻苇蟺蔚喂维蟼 蟿畏蟼, 尉慰未蔚蠉慰谓蟿伪蟼 伪蠁蔚喂未蠋蟼 魏伪胃蠋蟼 慰喂 蔚蟺喂蟿伪纬苇蟼 蟿慰蠀 蟽蠋渭伪蟿慰蟼 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏维 未蠀谓伪蟿苇蟼 渭蟺蟻慰蟽蟿维 蟽蟿畏谓 喂苇蟻蔚喂伪 蟿畏蟼 蔚蟻蠅蟿慰蟿蟻慰蟺委伪蟼 蠂蠅蟻委蟼 蠈蟻喂慰, 蟿畏蟼 蠂蟻蠀蟽蠈渭蠀纬伪蟼 蟺慰蠀 尉蔚蟺萎未畏蟽蔚 伪蟺蠈 蟿畏谓 魏慰蟺蟻喂维 纬喂伪 谓伪 伪谓伪位畏蠁胃蔚委 蟽蟿慰 伪谓蠋蟿蔚蟻慰 蟽魏伪位委 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 渭蔚 蠈蟺位慰 蟿畏 位伪纬谓蔚委伪 蟿畏蟼 魏伪喂 蟿慰 伪蠀蟿维蟻蔚蟽魏慰, 谓伪蟻魏喂蟽蟽喂蟽蟿喂魏蠈 蟿伪渭蟺蔚蟻伪渭苇谓蟿慰 蟿畏蟼. 螣 蟺蟻慰蟽蠁蔚蟻蠈渭蔚谓慰蟼 苇蟻蠅蟿伪蟼 蟿慰蠉蟼 蟺蟻慰魏伪位蔚委 蟽魏慰蟿慰未委谓畏 魏伪喂 胃蠀蟽喂维味慰蠀谓 蟿伪 蟺维谓蟿伪 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蟿慰谓 伪蟺慰位伪蠉蟽慰蠀谓 蟿慰 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 未蠀谓伪蟿蠈, 魏喂 伪蟼 苇蟻蠂慰谓蟿伪喂 未蔚蠉蟿蔚蟻慰喂, 蟿蟻委蟿慰喂 蟽蔚 蟺蟻慰蟿委渭畏蟽畏. 危伪谓 苇谓伪 渭维蟿蟽慰 伪谓胃蟻蠅蟺维魏喂伪 蟿畏蟼 蟽蠀渭蠁慰蟻维蟼, 蟽伪谓 维渭蠀伪位伪, 伪蟽蠀纬魏蟻维蟿畏蟿伪 蟽蠂慰位喂伪蟻蠈蟺伪喂未伪, 蟽苇蟻谓慰谓蟿伪喂 伪蟺蠈 蟿畏 渭蠉蟿畏, 渭蔚胃蠀蟽渭苇谓伪 伪蟺蠈 蟿畏谓 伪蟺蠉胃渭蔚谓畏 位伪纬谓蔚委伪 蟺慰蠀 蔚魏蟺苇渭蟺蔚喂 蟺维谓蠅 蟿慰蠀蟼 畏 螡伪谓维, 畏 螕蠀谓伪委魏伪. 螚 伪尉喂慰蟺蟻苇蟺蔚喂伪 尉蔚蠂伪蟻尾伪位蠋谓蔚蟿伪喂 渭伪味委 渭蔚 蟿伪 蟺慰位蠀蠂蟻畏蟽喂渭慰蟺慰喂畏渭苇谓伪 蟽蠋渭伪蟿伪, 维谓蔚渭慰蟼 蟺伪蟻维蠁蟻慰谓伪蟼 蟺慰蠀 魏慰蠀尾伪位维蔚喂 蟿畏谓 蟺伪蟻锟斤拷蠁慰蟻维 蠁蠀蟽维蔚喂 纬喂伪 谓伪 魏伪蟿伪蟺慰谓蟿委蟽蔚喂 魏伪喂 蟿慰 蟿蔚位蔚蠀蟿伪委慰 蟺蟻维纬渭伪 蟺慰蠀 苇渭蔚喂谓蔚 蠈蟻胃喂慰鈭� 蟿慰 蟺伪蟻伪渭喂魏蟻蠈蟿蔚蟻慰 蠄萎纬渭伪 位慰纬喂魏萎蟼 蟽蠀谓蟿蟻委尾蔚蟿伪喂 渭蟺蟻慰蟽蟿维 蟿畏蟼.
螚 喂蟽蟿慰蟻委伪 蟿畏蟼 螡伪谓维蟼 纬委谓蔚蟿伪喂 蟿蔚位喂魏维 慰 渭蠉胃慰蟼 蟿畏蟼 螡伪谓维蟼. 螆谓伪蟼 位慰纬慰蟿蔚蠂谓喂魏蠈蟼 渭蠉胃慰蟼 蟺慰蠀 胃伪 蟽苇蟻谓蔚喂 蟿慰谓 蔚蟻蠅蟿喂蟽渭蠈 魏伪喂 蟿畏谓 伪蟽苇位纬蔚喂维 蟿慰蠀, 伪蠁萎谓慰谓蟿伪蟼 蟿慰 维蟻蠅渭伪 蟿慰蠀 喂未蟻蠋蟿伪 魏伪喂 蟿蠅谓 蠀纬蟻蠋谓 蟿畏蟼 蟺慰位蠀渭蔚蟿伪蠂蔚喂蟻喂蟽渭苇谓畏蟼 伪蠀蟿萎蟼 纬蠀谓伪委魏伪蟼 蟽蟿慰 伪蟽蠀谓蔚委未畏蟿慰 蟿蠅谓 蔚渭蟺蔚喂蟻喂蠋谓 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 尾纬维味慰谓蟿伪蟼 伪未喂维谓蟿蟻慰蟺伪 蟿畏 纬位蠋蟽蟽伪 蟽蟿喂蟼 魏慰喂谓蠅谓委蔚蟼 蟺慰蠀 胃苇位慰蠀谓 谓伪 蟺蔚蟻谓喂慰蠉谓蟿伪喂 纬喂伪 蟽蠅蟽蟿苇蟼, 蟽蔚渭谓苇蟼 魏伪喂 伪未喂维蠁胃慰蟻蔚蟼, 未畏位伪未萎 蟽蔚 蠈位蔚蟼 蟿喂蟼 魏慰喂谓蠅谓委蔚蟼.
螤喂慰 纬蟻伪蠁喂魏萎 魏喂 伪蟺'蟿慰谓 伪谓蔚渭蠈渭蠀位慰 蟿慰蠀 Moulin Rouge, 胃伪 蟺蠅 蠈蟿喂 畏 位慰纬慰蟿蔚蠂谓委伪 蟿慰蠀 19慰蠀 伪喂蠋谓伪 未蔚 渭蔚 苇蠂蔚喂 蟺蟻慰未蠋蟽蔚喂 蟺慰蟿苇 渭苇蠂蟻喂 蟽蟿喂纬渭萎蟼, 畏 未蔚 蔚魏 螕伪位位委伪蟼 渭蔚 魏维谓蔚喂 谓伪 谓喂蠋胃蠅 慰喂魏蔚委伪 蟽伪谓 蟽蟿慰 蟽蟺委蟿喂 渭慰蠀. 螣 Zola, 蠈蠂喂 蟿蠀蠂伪委伪, 蟺伪蟻伪渭苇谓蔚喂 蟽蟿畏谓 喂蟽蟿慰蟻委伪 蠅蟼 蔚尉伪喂蟻蔚蟿喂魏蠈蟼 渭蔚蟽委蟿畏蟼 蟿畏蟼 伪蟿渭蠈蟽蠁伪喂蟻伪蟼 蟿蠅谓 畏胃蠋谓 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 韦慰 苇蟻纬慰 蟿慰蠀 Les Rougon-Macquart 蔚委谓伪喂 苇谓伪 苇蟻纬慰 伪谓伪渭蠁委尾慰位伪 渭蔚纬维位畏蟼 伪尉委伪蟼.
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螠喂魏蟻维 蟺伪蟻维蟺慰谓伪 蟺慰蠀 未蔚谓 渭蟺慰蟻蠋 谓伪 魏维谓蠅 纬伪蟻纬维蟻伪: 螚 苇魏未慰蟽畏 蟿慰蠀 螕魏慰尾蠈蟽蟿畏 蟺慰蠀 蔚蟺苇位蔚尉伪 未蔚 渭蔚 喂魏伪谓慰蟺慰委畏蟽蔚 蠈蟽慰 胃伪 萎胃蔚位蔚 慰 蠄蠀蠂伪谓伪纬魏伪蟽渭蠈蟼 渭慰蠀, 慰蠉蟿蔚 蟽蔚 蔚蟺委蟺蔚未慰 渭蔚蟿维蠁蟻伪蟽畏蟼 慰蠉蟿蔚, 委蟽蠅蟼 魏蠀蟻委蠅蟼, 蟽蔚 蔚蟺委蟺蔚未慰 蔚蟺喂渭苇位蔚喂伪蟼. 螝蠈渭渭伪蟿伪 魏喂 伪蟺蠈蟽蟿蟻慰蠁慰喂 苇位蔚喂蟺伪谓 蔚魏蔚委 蟺慰蠀 苇蟺蟻蔚蟺蔚 魏伪喂 蠀蟺萎蟻蠂伪谓 蔚魏蔚委 蟺慰蠀 未蔚谓 苇蟺蟻蔚蟺蔚. 螘蟺委蟽畏蟼, 蠀蟺蔚蟻尾慰位喂魏苇蟼 慰喂 蔚魏胃位委蠄蔚喂蟼 魏伪喂 慰喂 伪蟺慰魏慰蟺苇蟼, 尾蟻蔚 伪未蔚蟻蠁苇. 螝伪蟿鈥櫸毕€鈥櫹勎� 魏慰渭慰未委谓慰, 魏伪蟿鈥櫸毕€鈥櫹勎� 蟺慰蠀魏维渭喂蟽蠈 渭慰蠀鈥�
(螣位维魏蔚蟻慰 味萎蟿畏渭伪, 慰位维魏蔚蟻畏 渭苇蟻伪, 慰位维魏蔚蟻慰 蟿慰 蟽蠉渭蟺伪谓鈥� 蔚谓蟿维尉蔚喂, 蠁蟿维谓蔚喂 位委纬慰. 危蔚位萎谓畏 蟿慰蠀 渭苇位喂蟿慰蟼 蟿慰 lune de miel; 韦慰 Grand h么tel 胃伪 蟿慰 纬蟻维蠁伪蟿蔚 螕魏蟻伪谓蟿 谓蟿'慰蟿苇位; 螌蠂喂.)
November 2, 2016
賱賲 兀噩丿 兀丨爻賳 賲賳 賴匕丕 丕賱賲賯丕賱 賮賷 噩乇賷丿丞 丕賱丨賷丕丞 賵 賰丕鬲亘賴 賴賵 " 廿亘乇丕賴賷賲 丕賱毓乇賷爻 " 賱賷毓亘乇 毓賳 賲丕 丕禺鬲賱噩 賮賷 賳賮爻賷 賲賳 兀丨丕爻賷爻 賵 廿賱賶 賲丕 鬲亘丕丿乇 廿賱賶 匕賴賳賷 賲賳 賰賱賲丕鬲..
" 亘丕賱賳爻亘丞 廿賱賶 丕賱噩賲賴賵乇 丕賱賮乇賳爻賷 禺賱丕賱 丕賱乇亘毓 丕賱兀禺賷乇 賲賳 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇貙 賱賲 鬲賰賳 賲丿丕賲 亘賵賮丕乇賷 乇賲夭丕賸 賱賮乇賳爻丕... 賵賱丕 丨鬲賶 賱賵賷夭 賲賷卮賷賱 亘胤賱丞 丕賱賰賵賲賵賳丞 賰丕賳鬲 乇賲夭丕賸... 氐丨賷丨 兀賳 賰賱丕賸賾 賲賳 賴丕鬲賷賳 丕賱亘胤賱丞 丕賱乇賵丕卅賷丞 賵丕賱亘胤賱丞 丕賱丨賯賷賯賷丞 丕賱賲賳丕囟賱丞 賰丕賳鬲 賱賴丕 爻賲丕鬲 卮丿賷丿丞 丕賱賮乇賳爻賷丞貙 賱賰賳 賰賱丕賸賾 賲賳賴賲丕 賰丕賳鬲 鬲乇賲夭 廿賱賶 賮乇賳爻丕 亘卮賰賱 噩夭卅賷賾 賮賯胤. 兀賲丕 賳丕賳丕貙 丕賱卮禺氐賷丞 丕賱鬲賷 丕亘鬲賰乇賴丕 廿賲賷賱 夭賵賱丕貙 賮賯丿 亘丿鬲 兀賰孬乇 賲賳 丕賱丕孬賳鬲賷賳 丕賱兀禺乇賷賷賳 丨丕賲賱丞賸 爻賲丕鬲 丕賱賲噩鬲賲毓 丕賱賮乇賳爻賷 賮賷 匕賱賰 丕賱丨賷賳貙 兀賵 賱賳賯賱 亘丕賱兀丨乇賶 爻賲丕鬲 丕賱賲噩鬲賲毓 丕賱亘丕乇賷爻賷. 賵賱賰賳貙 兀賱賲 鬲賰賳 亘丕乇賷爻 賮賷 丨賷賳賴 賮乇賳爻丕 賰賱賴丕責 芦賳丕賳丕禄 廿賲賷賱 夭賵賱丕 賴賷 丕賱賲毓丕丿賱 丕賱賮乇賳爻賷 賱賭 芦賱賵賱賵禄 丕賱噩乇賲丕賳賷丞... 亘賱 丨鬲賶 賱賰賱 鬲賱賰 丕賱賳爻丕亍 丕賱賱賵丕鬲賷 廿匕 賷噩毓賱 賲賳賴賳 丕賱賯丿乇 賮賷 卮賰賱 兀賵 丌禺乇 囟丨丕賷丕賴貙 賱丕 賷鬲賵乇毓賳 毓賳 丕賱賲噩丕亘賴丞貙 賵毓賳 丕賱鬲毓丕賲賱 賲毓 丕賱賲噩鬲賲毓貙 賵賲噩鬲賲毓 丕賱乇噩丕賱 賮賷 卮賰賱 禺丕氐貙 毓賱賶 兀賳 毓賱賷賴 兀賳 賷賰賵賳 賴賵 囟丨賷鬲賴賳. 賵賲賳 賴賳丕 賷鬲爻丕賵賶 丕賱禺賷乇 賵丕賱卮乇貙 賵鬲氐亘丨 丕賱廿丿丕賳丞貙 兀賷 廿丿丕賳丞貙 睾賷乇 匕丕鬲 噩丿賵賶 胤丕賱賲丕 兀賳 丕賱賰丕鬲亘 賱賲 賷卮兀 賱賳賮爻賴 賮賷 丕賱兀氐賱 兀賳 賷賰賵賳 賵丕毓馗丕賸 兀賵 丨賰賲丕賸 兀禺賱丕賯賷丕賸.
> 賲賳 賴賳丕貙 賯丿 賷賰賵賳 賲賳 丕賱氐毓亘 丕賱鬲毓丕胤賮 丕賱鬲丕賲 賲毓 賳丕賳丕貙 亘賱 爻賷賰賵賳 賲賳 丕賱氐毓亘 丨鬲賶 鬲亘乇賷乇 賰賱 鬲氐乇賮丕鬲賴丕貙 賮賰賷賮 亘丕賱鬲賲丕賴賷 賲毓賴丕 賱賰賷 鬲氐亘丨 亘胤賱丞 乇賵丕卅賷丞 賲賷賱賵丿乇丕賲賷丞 丨賯賷賯賷丞責 賵賱賰賳 賲賳 丕賱氐毓亘 賮賷 丕賱賵賯鬲 賳賮爻賴 廿丿丕賳鬲賴丕貙 毓賱賶 丕毓鬲亘丕乇 兀賳賴丕 賲賳 匕賱賰 丕賱賳賵毓 丕賱賮鬲丕賰 賲賳 丕賱賳爻丕亍貙 丕賱賱賵丕鬲賷 賱賷爻 賱賴賳 -毓丕丿丞- 囟賲賷乇 賷乇丿毓賴賳 毓賳 丕乇鬲賰丕亘 丕賱丌孬丕賲 賵丕賱卮乇賵乇 丕賱賳丕鬲噩丞 賲賳賴丕. 睾賷乇 兀賳 賴匕丕 賱丕 賷毓賳賷 亘丕賱胤亘毓 兀賳 丕賱賲乇亍 賷賲賰賳賴 兀賳 賷亘賯賶 毓賱賶 丕賱丨賷丕丿 鬲噩丕賴 鬲賱賰 丕賱卮禺氐賷丞. 孬賲 賲賳 賯丕賱 兀氐賱丕賸 廿賳 廿賲賷賱 夭賵賱丕 賰丕賳 賷乇賷丿 賱賯丕乇卅賴 兀賳 賷亘賯賶 毓賱賶 丕賱丨賷丕丿責 賵賲賳 賯丕賱貙 賮賷 胤乇賷賯賴 兀賷囟丕賸貙 廿賳 廿賲賷賱 夭賵賱丕 廿賳賲丕 卮丕亍 賴賳丕 兀賳 賷乇爻賲 氐賵乇丞 賱丕賲乇兀丞 亘氐賮鬲賴丕 丕賲乇兀丞 賱丕 兀賰孬乇責 丕賱丨賯賷賯丞 賴賷 兀賳 賳丕賳丕 賴匕賴 賰丕賳鬲貙 賰賲丕 兀爻賱賮賳丕貙 鬲乇賲夭 廿賱賶 丕賱賲噩鬲賲毓 丕賱亘丕乇賷爻賷 丕賱氐丕禺亘 賮賷 匕賱賰 丕賱丨賷賳貙 亘賰賱 賲丕 賮賷 匕賱賰 丕賱賲噩鬲賲毓 賲賳 禺賷乇 賵卮乇貙 賲賳 爻賱亘賷丞 賵廿賷噩丕亘賷丞... 丨鬲賶 賲賳 丿賵賳 兀賳 賷賰賵賳 孬賲丞 鬲胤丕亘賯 鬲丕賲貙 賮賷 丕賱兀丨丿丕孬 毓賱賶 丕賱兀賯賱貙 亘賷賳 芦賳丕賳丕禄 賵匕賱賰 丕賱賲噩鬲賲毓.
> 賳卮乇 廿賲賷賱 夭賵賱丕 乇賵丕賷丞 芦賳丕賳丕禄 賮賷 丕賱毓丕賲 1879貙 賵賴賷 賮賷 丕賱兀氐賱 鬲卮賰賱 丕賱噩夭亍 丕賱鬲丕爻毓 賲賳 爻賱爻賱丞 乇賵丕賷丕鬲賴 丕賱賲毓乇賵賮丞 亘丕爻賲 芦乇賵睾賵賳 賲丕賰丕乇禄. 賵丕賱賲毓乇賵賮 毓賳 乇賵丕賷丕鬲 鬲賱賰 丕賱爻賱爻賱丞 兀賳 卮禺氐賷丕鬲賴丕 鬲禺鬲賮賷 孬賲 鬲毓賵丿 亘賷賳 乇賵丕賷丞 賵兀禺乇賶... 賮亘毓囟 丕賱卮禺氐賷丕鬲 賯丿 賷賰賵賳 乇卅賷爻賷丕賸 賴賳丕 賮賷氐亘丨 孬丕賳賵賷丕賸 賴賳丕賰... 賵賴賰匕丕. 兀賲丕 乇賵丕賷丞 芦賳丕賳丕禄貙 賮賳噩丿賴丕 -賰賲丕 賷丐卮乇 毓賳賵丕賳賴丕- 鬲鬲丨賱賯 丨賵賱 鬲賱賰 丕賱氐亘賷丞 丕賱丨爻賳丕亍貙 丌賳丕 賰賵亘賵貙 丕賱鬲賷 賳毓乇賮 賲賳匕 丕賱亘丿丕賷丞 兀賳賴丕 丕亘賳丞 丕賱毓丕賲賱丞 噩乇賮賷夭 賲賳 乇噩賱 賲丿賲賳 賱賱禺賲乇 賰乇賷賴 賱丕 賷賴鬲賲 兀賷賲丕 丕賴鬲賲丕賲 亘兀爻乇鬲賴貙 賵鬲卮鬲睾賱 賮賷 丕賱賲賰賵賶... 賵丕賱兀賲 賵丕賱兀亘 賴匕丕賳 爻亘賯 兀賳 鬲毓乇賮賳丕 廿賱賷賴賲丕 卮禺氐賷鬲賷賳 乇卅賷爻鬲賷賳 賮賷 噩夭亍 爻丕亘賯 賲賳 丕賱爻賱爻賱丞 賴賵 芦丕賱賲爻賱禺禄貙 兀賲丕 賴賳丕 賮廿賳 賵馗賷賮鬲賴賲丕 賮賯胤 賴賷 廿賳噩丕亘 丌賳丕 (賳丕賳丕)貙 鬲賱賰 丕賱丨爻賳丕亍 丕賱乇丕卅毓丞 丕賱鬲賷 賷睾胤賷 丨爻賳賴丕 毓賱賶 賮賯丿丕賳賴丕 兀賷 賲賵賴亘丞 賲賳 丕賱賲賵丕賴亘. 廿賳賴丕 賮鬲丕丞 亘丕賱睾丞 丕賱噩賲丕賱貙 賱丕 鬲禺賱賵 卮禺氐賷鬲賴丕 賲賳 丕賱丿賴丕亍... 賵賲賳 賴賳丕 爻鬲賱毓亘 匕賱賰 丕賱丿賵乇 丕賱賰亘賷乇 賮賷 丨賯亘丞 賲賳 賲爻丕乇 丕賱賲噩鬲賲毓 丕賱賮乇賳爻賷 鬲鬲丕亘毓賴丕 丕賱乇賵丕賷丞.
> 丕賱賲乇丞 丕賱兀賵賱賶 丕賱鬲賷 鬲胤丕賱毓賳丕 賮賷賴丕 賳丕賳丕 賮賷 賴匕賴 丕賱乇賵丕賷丞貙 賴賷 丨賷賳 鬲賰賵賳 毓賱賶 賵卮賰 丕賱亘丿亍 亘丕賱賯賷丕賲 亘丿賵乇 丕賱亘胤賵賱丞 賮賷 賲爻乇丨賷丞 睾賳丕卅賷丞 鬲購賯丿賾賲 毓賱賶 賲爻乇丨 丕賱賲賳賵毓丕鬲. 賳丿乇賰 亘丿丕賷丞 兀賳 丕賱賲爻乇丨賷丞 爻禺賷賮丞貙 丨鬲賶 賱賵 賰丕賳 毓賳賵丕賳賴丕 賲睾乇賷丕賸 (芦賮賷賳賵爻 丕賱卮賯乇丕亍禄)貙 賵賳丿乇賰 亘丿丕賷丞 兀賷囟丕賸 兀賳 賳丕賳丕 賳賮爻賴丕 賱丕 鬲噩賷丿 丕賱睾賳丕亍 賲毓 兀賳 亘胤賵賱丞 丕賱賲爻乇丨賷丞 鬲鬲胤賱亘 賲賳賴丕 匕賱賰貙 賳丕賴賷賰 亘兀賳賴丕 賱丕 鬲毓乇賮 卮賷卅丕 毓賳 丕賱鬲賲孬賷賱. 亘丕賱賳爻亘丞 廿賱賶 丕賱賮賳貙 賲賳 丕賱賵丕囟丨 兀賳 賳丕賳丕 賲噩乇丿 氐賮乇 賱丕 賷鬲丨乇賰... 賵賱賰賳 毓賱賶 丕賱毓賰爻 賲賳 賴匕丕 噩賲丕賱賴丕 賵丿賱丕賱丕賴丕 賵爻丨乇賴丕... 賵賲賳 賴賳丕貙 賵賲賳 丿賵賳 兀賳 賷孬賳賷 兀丨丿 毓賱賶 芦賲賵丕賴亘賴丕禄 丕賱賮賳賷丞貙 賳乇丕賴丕 賲賵囟毓 廿毓噩丕亘 丕賱乇噩丕賱 噩賲賷毓丕賸... 廿賳賴賲 賴賳丕 賰賱賴賲 賱賰賷 賷禺胤亘賵丕 賵丿賴丕... 賵賴賲 賷鬲鬲丕亘毓賵賳 賮賷 丨賷丕鬲賴丕 禺賱丕賱 鬲賱賰 丕賱丨賯亘丞 毓賱賶 丕賱兀賯賱貙 丕匕 賴丕 賴貙 兀賵賱丕賸 丕賱賲氐乇賮賷 卮鬲丕賷賳乇貙 丕賱匕賷 賷賳賮賯 毓賱賷賴丕貙 賲賳 兀賲賵丕賱 丕賱賲氐乇賮 胤亘毓丕賸... 賱賰賳賴丕 爻乇毓丕賳 賲丕 爻鬲鬲禺賱賶 毓賳賴 賱賰賷 鬲毓賷卮 廿賱賶 噩丕賳亘 丕賱賲賲孬賱 賮賵賳鬲丕賳 匕賷 丕賱胤亘丕毓 丕賱囟丕乇賷丞 賵丕賱匕賷 賷匕賱賴丕 賯亘賱 兀賳 賷鬲禺賱賶 毓賳賴丕... 賵廿孬乇 匕賱賰 鬲鬲賰卮賮 賱賳丕 賳丕賳丕 毓賱賶 丨賯賷賯鬲賴丕: 丕賲乇兀丞 鬲毓乇賮 兀賳 賱丕 兀丨丿 賷丨亘賴丕 賮賷 丕賱丨賯賷賯丞貙 賵賴賷 賳賮爻賴丕 賱丕 鬲丨亘 兀丨丿丕賸... 賱匕賱賰 鬲賯乇乇 兀賳 鬲鬲丨賵賱 廿賱賶 賮鬲丕丞 賴賵賶... 賱毓賱賴丕 鬲賮賱丨 賮賷 賴匕賴 丕賱賲賴賳丞... 賵鬲賯乇乇 兀賳賴丕 賮賷 賲賴賳鬲賴丕 丕賱噩丿賷丿丞 賴匕賴 爻鬲爻毓賶 廿賱賶 鬲丿賲賷乇 賰賱 兀賵賱卅賰 丕賱匕賷賳 賷乇睾亘賵賳 賮賷賴丕. 賱賯丿 丌賱鬲 毓賱賶 賳賮爻賴丕 兀賳 鬲氐亘丨 兀丿丕丞 賮賷 賷丿 丕賱卮乇 賱賲賲丕乇爻丞 丨賯丿賴丕 毓賱賶 丕賱亘卮乇... 賵賴賰匕丕 賷鬲賵丕賱賶 毓賱賶 丨賷丕鬲賴丕 丕賱毓卮丕賯 賵賴賷 鬲賵丕氐賱 鬲丿賲賷乇賴賲 賵丕丨丿丕賸 亘毓丿 丕賱丌禺乇 賲賳 丿賵賳 卮賮賯丞 兀賵 乇丨賲丞: 賮丕賳丿丕賮乇 丕賱賲鬲兀賳賯 丕賱爻禺賷賮貙 孬賲 賱丕賮丕賱賵丕夭 丕賱匕賷 賷鬲賲鬲毓 亘丕賱丨賷丕丞 丕賱乇禺賵丞 賲賳 丿賵賳 兀賳 賷卮毓乇 亘兀賷 賲爻丐賵賱賷丞貙 賵氐賵賱丕賸 廿賱賶 丕賱賰丕亘鬲賳 賴賵睾賵賳 丕賱匕賷 鬲丿賮毓賴 廿賱賶 丕賱爻乇賯丞 賰乇賲賶 賱毓賷賳賷賴丕貙 賲丕 賷丿賲乇賴 毓賱賶 丕賱賮賵乇貙 鬲丕乇賰丕賸 丕賱爻丕丨丞 兀賲丕賲 兀禺賷賴 丕賱兀氐睾乇 賷睾乇賲 亘賳丕賳丕 亘丿賵乇賴... 賱賰賳 丕賱兀賲乇 賷賳鬲賴賷 亘賴匕丕 廿賱賶 丕賱丕賳鬲丨丕乇.
> 廿賳 賳丕賳丕 廿匕 鬲賳鬲賯賲 賲賳 芦馗賱賲 丕賱賲噩鬲賲毓禄 廿賷丕賴丕 毓亘乇 鬲丿賲賷乇 賰賱 賴丐賱丕亍... 鬲亘賯賶 毓賱賶 馗賲卅賴丕貙 丨鬲賶 賵廿賳 賱賲 賷亘丿購 兀賳賴丕 鬲丿乇賰 丨賯丕賸 賲丕 鬲賮毓賱賴. 廿賳賴丕 鬲爻賷乇 賲毓 丕賱丨賷丕丞 賰賲丕 賴賷貙 賵鬲爻賷賾乇 丕賱丨賷丕丞 賰賲丕 賴賷貙 賲賳 丿賵賳 兀賳 鬲賯賮 賱丨馗丞 賱鬲爻兀賱 賳賮爻賴丕 毓賳 丕賱睾丕賷丞 丕賱毓賲賷賯丞 賵丕賱亘毓賷丿丞 賲賳 匕賱賰 賰賱賴. 睾賷乇 兀賳 賰賱 賲丕 賰丕賳鬲 賮毓賱鬲賴 丨鬲賶 丕賱丌賳 賷馗賱 賱丕卮賷卅丕賸 賲賯丕乇賳丞 亘賲丕 鬲賮毓賱賴 賲毓 丕賱賰賵賳鬲 賲丕乇鬲賱貙 丕賱匕賷 賴賵 兀氐賱丕賸 兀丨丿 賰亘丕乇 賲賵馗賮賷 丕賱賯氐乇 丕賱廿賲亘乇丕胤賵乇賷. 廿賳 丕賱賰賵賳鬲 賲丕乇鬲賱 乇噩賱 禺噩賵賱 賵丿丕卅賲 丕賱丕乇鬲亘丕賰貙 賷鬲乇丿丿 毓丕丿丞 賮賷 賰賱 卮賷亍... 賱賰賳賴 賱丕 賷鬲賵丕賳賶 毓賳 丕賱賵賯賵毓 賮賷 賴賵賶 賳丕賳丕. 兀賲丕 賴賷貙 賮鬲爻鬲睾賱賴 兀亘卮毓 丕爻鬲睾賱丕賱 賵鬲毓丕賲賱賴 賵賰兀賳賴 禺丕丿賲 氐睾賷乇貙 賲爻鬲毓亘丿丞 廿賷丕賴 廿賱賶 兀亘毓丿 丨丿貙 賵鬲亘賯賶 丨乇賷氐丞 丿丕卅賲丕賸 毓賱賶 兀賳 鬲匕賱賴 兀賲丕賲 兀毓賷賳 丕賱賳丕爻 兀噩賲毓賷賳貙 賯亘賱 兀賳 鬲爻賱賲 賳賮爻賴丕 廿賱賷賴 賮賷 賲賯丕亘賱 賲丕 鬲鬲賵賯毓賴 賲賳賴 賲賳 賲賰丕爻亘 胤丕卅賱丞... 賵賱賰賳 賱兀賳 賱賰賱 卮賷亍 賳賴丕賷鬲賴貙 賷賳鬲賴賷 丕賱兀賲乇 亘賳丕賳丕 廿賱賶 兀賳 鬲爻兀賲 丨鬲賶 丕賱賲賵鬲 賲賳 賴匕丕 丕賱賲噩鬲賲毓貙 賮鬲賯乇乇 兀賳 鬲毓夭賱 賳賮爻賴丕 賮賷 賯氐乇 賮禺賲 賷亘賳賷賴 丕賱賰賵賳鬲 丕賱兀丨賲賯貙 賱賰賳賴丕 賱賳 鬲賰賵賳 賵丨賷丿丞 賮賷 毓夭賱鬲賴丕貙 亘賱 爻鬲賰賵賳 賲毓 丕賱賰賵賳鬲 賵賯丿 賯乇乇鬲 賱賵賴賱丞 兀賳 鬲亘賯賶 賵賮賷丞 賱賴... 睾賷乇 兀賳 賴匕丕 賱丕 賷丿賵賲 胤賵賷賱丕賸貙 廿匕 廿賳賴丕 爻乇毓丕賳 賲丕 鬲爻鬲毓賷丿 賲夭丕噩賴丕 丕賱鬲丿賲賷乇賷 賵鬲乇賵丨 賲丿賲乇丞 賰賱 丕賱乇噩丕賱 丕賱賲丨賷胤賷賳 亘賴丕 賮賷 賲丨賷胤賴丕 丕賱噩丿賷丿貙 亘丿亍丕賸 亘丕賱賰賵賳鬲 丕賱賲爻賰賷賳貙 賰丕卮賮丞 賱賴賲 禺賷丕賳丕鬲 夭賵噩丕鬲賴賲 賵毓賱丕賯丕鬲賴賳貙 賵氐賵賱丕賸 廿賱賶 毓卮賷賯賴丕貙 丕賱匕賷 鬲賰卮賮 賱賴 毓賳 毓賱丕賯丞 夭賵噩鬲賴 亘兀丨丿 丕賱氐丨丕賮賷賷賳. 賴賳丕 鬲亘丿賵 賳丕賳丕 賲賱丕賰 丕賳鬲賯丕賲 丨賯賷賯賷丕賸... 氐丨賷丨 兀賳 賲丕 賷鬲賱賵 匕賱賰 爻賷丨胤賲賴丕 賴賷 亘賷賳 丕賱丌禺乇賷賳貙 賱賰賳 匕賱賰 賱賳 賷夭毓噩賴丕 毓賱賶 丕賱廿胤賱丕賯 胤丕賱賲丕 兀賳賴丕 鬲噩丿 賮賷 丿賲丕乇 丕賱丌禺乇賷賳 兀賲丕賲 毓賷賳賷賴丕 賵亘賮囟賱賴丕貙 賱匕丞賸 賲丕 亘毓丿賴丕 賱匕丞貙 賵賮賷 丕賱賳賴丕賷丞 賳噩丿賴丕 賮賷 睾乇賮丞 賮賳丿賯 賵丨賷丿丞 賲乇賷囟丞 鬲丨鬲囟乇. 賵賮賷 丕賱賵賯鬲 丕賱匕賷 賷賰賵賳 噩爻丿賴丕 賯賷丿 丕賱鬲丨賱賱貙 鬲毓賱賵 丕賱賴賲爻丕鬲 賮賷 丕賱卮丕乇毓: 賮乇賳爻丕 鬲毓賱賳 丕賱丨乇亘 毓賱賶 亘乇賵爻賷丕. 賵賴賰匕丕... 鬲禺鬲賮賷 賳丕賳丕 賵賷禺鬲賮賷 賲毓賴丕 賮賷 丕賱賵賯鬲 賳賮爻賴 亘賴丕亍 賲噩鬲賲毓 亘丕乇賷爻賷 賯丕賲 毓賱賶 丕賱賳賮丕賯 賵丕賱賰匕亘... 賵賮賯 鬲丨賱賷賱 丕賱丿丕乇爻賷賳.
> 賵丕賱丨丕賱 兀賳 賴匕賴 丕賱賳賴丕賷丞 賴賷 丕賱鬲賷 鬲囟賮賷 毓賱賶 芦賳丕賳丕禄 亘毓丿賴丕 丕賱乇賲夭賷 丕賱賳賴丕卅賷貙 賵鬲噩毓賱 賲賳 鬲賮鬲鬲 賳丕賳丕 氐賵乇丞 毓賳 鬲賮鬲鬲 賲噩鬲賲毓 賮乇賳爻賷 賲毓賷賳. 賵廿賲賷賱 夭賵賱丕 (1840 - 1902) 賳賮爻賴 賱賲 賷賮鬲賴 兀賳 賷丐賰丿 賴匕丕 賮賷 賰賱 賲乇丞 鬲丨丿孬 毓賳 賴匕賴 丕賱乇賵丕賷丞 丕賱鬲賷 丕毓鬲亘乇賴丕 兀賰孬乇 乇賵丕賷丕鬲賴 乇賲夭賷丞 賵鬲毓亘賷乇丕賸 丕噩鬲賲丕毓賷丕賸. 賰賲丕 兀賳 賯乇丕亍 夭賵賱丕 兀賳賮爻賴賲 賷賳馗乇賵賳 廿賱賶 芦賳丕賳丕禄 亘丕毓鬲亘丕乇賴丕 兀賯賵賶 兀毓賲丕賱賴貙 賵賴賵 乇兀賷 賷卮丕乇賰賴賲 賮賷賴 毓丕丿丞 丕賱賲賵爻賷賯賷賵賳 賵丕賱爻賷賳賲丕卅賷賵賳 賵丕賱乇爻丕賲賵賳 丕賱匕賷賳 賰丕賳鬲 芦賳丕賳丕禄 毓賱賶 丕賱丿賵丕賲 賲氐丿乇丕賸 賱廿賱賴丕賲賴賲... 賵賲賳賴賲 胤亘毓丕賸 丕賱爻賷賳賲丕卅賷 噩丕賳 乇賷賳賵丕乇貙 丕賱匕賷 丨賵賾賱 賴匕賴 丕賱乇賵丕賷丞 廿賱賶 賮賷賱賲 丨賯賻賾賯賻 丨賷賳 毓購乇囟 賳噩丕丨丕賸 賰亘賷乇丕賸貙 賵丕毓鬲購亘乇 賲賳 兀賮囟賱 兀賮賱丕賲賴 亘毓丿 芦丕賱賵賴賲 丕賱賰亘賷乇禄 賵 芦賯賵丕毓丿 丕賱賱毓亘丞禄. "
" 亘丕賱賳爻亘丞 廿賱賶 丕賱噩賲賴賵乇 丕賱賮乇賳爻賷 禺賱丕賱 丕賱乇亘毓 丕賱兀禺賷乇 賲賳 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇貙 賱賲 鬲賰賳 賲丿丕賲 亘賵賮丕乇賷 乇賲夭丕賸 賱賮乇賳爻丕... 賵賱丕 丨鬲賶 賱賵賷夭 賲賷卮賷賱 亘胤賱丞 丕賱賰賵賲賵賳丞 賰丕賳鬲 乇賲夭丕賸... 氐丨賷丨 兀賳 賰賱丕賸賾 賲賳 賴丕鬲賷賳 丕賱亘胤賱丞 丕賱乇賵丕卅賷丞 賵丕賱亘胤賱丞 丕賱丨賯賷賯賷丞 丕賱賲賳丕囟賱丞 賰丕賳鬲 賱賴丕 爻賲丕鬲 卮丿賷丿丞 丕賱賮乇賳爻賷丞貙 賱賰賳 賰賱丕賸賾 賲賳賴賲丕 賰丕賳鬲 鬲乇賲夭 廿賱賶 賮乇賳爻丕 亘卮賰賱 噩夭卅賷賾 賮賯胤. 兀賲丕 賳丕賳丕貙 丕賱卮禺氐賷丞 丕賱鬲賷 丕亘鬲賰乇賴丕 廿賲賷賱 夭賵賱丕貙 賮賯丿 亘丿鬲 兀賰孬乇 賲賳 丕賱丕孬賳鬲賷賳 丕賱兀禺乇賷賷賳 丨丕賲賱丞賸 爻賲丕鬲 丕賱賲噩鬲賲毓 丕賱賮乇賳爻賷 賮賷 匕賱賰 丕賱丨賷賳貙 兀賵 賱賳賯賱 亘丕賱兀丨乇賶 爻賲丕鬲 丕賱賲噩鬲賲毓 丕賱亘丕乇賷爻賷. 賵賱賰賳貙 兀賱賲 鬲賰賳 亘丕乇賷爻 賮賷 丨賷賳賴 賮乇賳爻丕 賰賱賴丕責 芦賳丕賳丕禄 廿賲賷賱 夭賵賱丕 賴賷 丕賱賲毓丕丿賱 丕賱賮乇賳爻賷 賱賭 芦賱賵賱賵禄 丕賱噩乇賲丕賳賷丞... 亘賱 丨鬲賶 賱賰賱 鬲賱賰 丕賱賳爻丕亍 丕賱賱賵丕鬲賷 廿匕 賷噩毓賱 賲賳賴賳 丕賱賯丿乇 賮賷 卮賰賱 兀賵 丌禺乇 囟丨丕賷丕賴貙 賱丕 賷鬲賵乇毓賳 毓賳 丕賱賲噩丕亘賴丞貙 賵毓賳 丕賱鬲毓丕賲賱 賲毓 丕賱賲噩鬲賲毓貙 賵賲噩鬲賲毓 丕賱乇噩丕賱 賮賷 卮賰賱 禺丕氐貙 毓賱賶 兀賳 毓賱賷賴 兀賳 賷賰賵賳 賴賵 囟丨賷鬲賴賳. 賵賲賳 賴賳丕 賷鬲爻丕賵賶 丕賱禺賷乇 賵丕賱卮乇貙 賵鬲氐亘丨 丕賱廿丿丕賳丞貙 兀賷 廿丿丕賳丞貙 睾賷乇 匕丕鬲 噩丿賵賶 胤丕賱賲丕 兀賳 丕賱賰丕鬲亘 賱賲 賷卮兀 賱賳賮爻賴 賮賷 丕賱兀氐賱 兀賳 賷賰賵賳 賵丕毓馗丕賸 兀賵 丨賰賲丕賸 兀禺賱丕賯賷丕賸.
> 賲賳 賴賳丕貙 賯丿 賷賰賵賳 賲賳 丕賱氐毓亘 丕賱鬲毓丕胤賮 丕賱鬲丕賲 賲毓 賳丕賳丕貙 亘賱 爻賷賰賵賳 賲賳 丕賱氐毓亘 丨鬲賶 鬲亘乇賷乇 賰賱 鬲氐乇賮丕鬲賴丕貙 賮賰賷賮 亘丕賱鬲賲丕賴賷 賲毓賴丕 賱賰賷 鬲氐亘丨 亘胤賱丞 乇賵丕卅賷丞 賲賷賱賵丿乇丕賲賷丞 丨賯賷賯賷丞責 賵賱賰賳 賲賳 丕賱氐毓亘 賮賷 丕賱賵賯鬲 賳賮爻賴 廿丿丕賳鬲賴丕貙 毓賱賶 丕毓鬲亘丕乇 兀賳賴丕 賲賳 匕賱賰 丕賱賳賵毓 丕賱賮鬲丕賰 賲賳 丕賱賳爻丕亍貙 丕賱賱賵丕鬲賷 賱賷爻 賱賴賳 -毓丕丿丞- 囟賲賷乇 賷乇丿毓賴賳 毓賳 丕乇鬲賰丕亘 丕賱丌孬丕賲 賵丕賱卮乇賵乇 丕賱賳丕鬲噩丞 賲賳賴丕. 睾賷乇 兀賳 賴匕丕 賱丕 賷毓賳賷 亘丕賱胤亘毓 兀賳 丕賱賲乇亍 賷賲賰賳賴 兀賳 賷亘賯賶 毓賱賶 丕賱丨賷丕丿 鬲噩丕賴 鬲賱賰 丕賱卮禺氐賷丞. 孬賲 賲賳 賯丕賱 兀氐賱丕賸 廿賳 廿賲賷賱 夭賵賱丕 賰丕賳 賷乇賷丿 賱賯丕乇卅賴 兀賳 賷亘賯賶 毓賱賶 丕賱丨賷丕丿責 賵賲賳 賯丕賱貙 賮賷 胤乇賷賯賴 兀賷囟丕賸貙 廿賳 廿賲賷賱 夭賵賱丕 廿賳賲丕 卮丕亍 賴賳丕 兀賳 賷乇爻賲 氐賵乇丞 賱丕賲乇兀丞 亘氐賮鬲賴丕 丕賲乇兀丞 賱丕 兀賰孬乇責 丕賱丨賯賷賯丞 賴賷 兀賳 賳丕賳丕 賴匕賴 賰丕賳鬲貙 賰賲丕 兀爻賱賮賳丕貙 鬲乇賲夭 廿賱賶 丕賱賲噩鬲賲毓 丕賱亘丕乇賷爻賷 丕賱氐丕禺亘 賮賷 匕賱賰 丕賱丨賷賳貙 亘賰賱 賲丕 賮賷 匕賱賰 丕賱賲噩鬲賲毓 賲賳 禺賷乇 賵卮乇貙 賲賳 爻賱亘賷丞 賵廿賷噩丕亘賷丞... 丨鬲賶 賲賳 丿賵賳 兀賳 賷賰賵賳 孬賲丞 鬲胤丕亘賯 鬲丕賲貙 賮賷 丕賱兀丨丿丕孬 毓賱賶 丕賱兀賯賱貙 亘賷賳 芦賳丕賳丕禄 賵匕賱賰 丕賱賲噩鬲賲毓.
> 賳卮乇 廿賲賷賱 夭賵賱丕 乇賵丕賷丞 芦賳丕賳丕禄 賮賷 丕賱毓丕賲 1879貙 賵賴賷 賮賷 丕賱兀氐賱 鬲卮賰賱 丕賱噩夭亍 丕賱鬲丕爻毓 賲賳 爻賱爻賱丞 乇賵丕賷丕鬲賴 丕賱賲毓乇賵賮丞 亘丕爻賲 芦乇賵睾賵賳 賲丕賰丕乇禄. 賵丕賱賲毓乇賵賮 毓賳 乇賵丕賷丕鬲 鬲賱賰 丕賱爻賱爻賱丞 兀賳 卮禺氐賷丕鬲賴丕 鬲禺鬲賮賷 孬賲 鬲毓賵丿 亘賷賳 乇賵丕賷丞 賵兀禺乇賶... 賮亘毓囟 丕賱卮禺氐賷丕鬲 賯丿 賷賰賵賳 乇卅賷爻賷丕賸 賴賳丕 賮賷氐亘丨 孬丕賳賵賷丕賸 賴賳丕賰... 賵賴賰匕丕. 兀賲丕 乇賵丕賷丞 芦賳丕賳丕禄貙 賮賳噩丿賴丕 -賰賲丕 賷丐卮乇 毓賳賵丕賳賴丕- 鬲鬲丨賱賯 丨賵賱 鬲賱賰 丕賱氐亘賷丞 丕賱丨爻賳丕亍貙 丌賳丕 賰賵亘賵貙 丕賱鬲賷 賳毓乇賮 賲賳匕 丕賱亘丿丕賷丞 兀賳賴丕 丕亘賳丞 丕賱毓丕賲賱丞 噩乇賮賷夭 賲賳 乇噩賱 賲丿賲賳 賱賱禺賲乇 賰乇賷賴 賱丕 賷賴鬲賲 兀賷賲丕 丕賴鬲賲丕賲 亘兀爻乇鬲賴貙 賵鬲卮鬲睾賱 賮賷 丕賱賲賰賵賶... 賵丕賱兀賲 賵丕賱兀亘 賴匕丕賳 爻亘賯 兀賳 鬲毓乇賮賳丕 廿賱賷賴賲丕 卮禺氐賷鬲賷賳 乇卅賷爻鬲賷賳 賮賷 噩夭亍 爻丕亘賯 賲賳 丕賱爻賱爻賱丞 賴賵 芦丕賱賲爻賱禺禄貙 兀賲丕 賴賳丕 賮廿賳 賵馗賷賮鬲賴賲丕 賮賯胤 賴賷 廿賳噩丕亘 丌賳丕 (賳丕賳丕)貙 鬲賱賰 丕賱丨爻賳丕亍 丕賱乇丕卅毓丞 丕賱鬲賷 賷睾胤賷 丨爻賳賴丕 毓賱賶 賮賯丿丕賳賴丕 兀賷 賲賵賴亘丞 賲賳 丕賱賲賵丕賴亘. 廿賳賴丕 賮鬲丕丞 亘丕賱睾丞 丕賱噩賲丕賱貙 賱丕 鬲禺賱賵 卮禺氐賷鬲賴丕 賲賳 丕賱丿賴丕亍... 賵賲賳 賴賳丕 爻鬲賱毓亘 匕賱賰 丕賱丿賵乇 丕賱賰亘賷乇 賮賷 丨賯亘丞 賲賳 賲爻丕乇 丕賱賲噩鬲賲毓 丕賱賮乇賳爻賷 鬲鬲丕亘毓賴丕 丕賱乇賵丕賷丞.
> 丕賱賲乇丞 丕賱兀賵賱賶 丕賱鬲賷 鬲胤丕賱毓賳丕 賮賷賴丕 賳丕賳丕 賮賷 賴匕賴 丕賱乇賵丕賷丞貙 賴賷 丨賷賳 鬲賰賵賳 毓賱賶 賵卮賰 丕賱亘丿亍 亘丕賱賯賷丕賲 亘丿賵乇 丕賱亘胤賵賱丞 賮賷 賲爻乇丨賷丞 睾賳丕卅賷丞 鬲購賯丿賾賲 毓賱賶 賲爻乇丨 丕賱賲賳賵毓丕鬲. 賳丿乇賰 亘丿丕賷丞 兀賳 丕賱賲爻乇丨賷丞 爻禺賷賮丞貙 丨鬲賶 賱賵 賰丕賳 毓賳賵丕賳賴丕 賲睾乇賷丕賸 (芦賮賷賳賵爻 丕賱卮賯乇丕亍禄)貙 賵賳丿乇賰 亘丿丕賷丞 兀賷囟丕賸 兀賳 賳丕賳丕 賳賮爻賴丕 賱丕 鬲噩賷丿 丕賱睾賳丕亍 賲毓 兀賳 亘胤賵賱丞 丕賱賲爻乇丨賷丞 鬲鬲胤賱亘 賲賳賴丕 匕賱賰貙 賳丕賴賷賰 亘兀賳賴丕 賱丕 鬲毓乇賮 卮賷卅丕 毓賳 丕賱鬲賲孬賷賱. 亘丕賱賳爻亘丞 廿賱賶 丕賱賮賳貙 賲賳 丕賱賵丕囟丨 兀賳 賳丕賳丕 賲噩乇丿 氐賮乇 賱丕 賷鬲丨乇賰... 賵賱賰賳 毓賱賶 丕賱毓賰爻 賲賳 賴匕丕 噩賲丕賱賴丕 賵丿賱丕賱丕賴丕 賵爻丨乇賴丕... 賵賲賳 賴賳丕貙 賵賲賳 丿賵賳 兀賳 賷孬賳賷 兀丨丿 毓賱賶 芦賲賵丕賴亘賴丕禄 丕賱賮賳賷丞貙 賳乇丕賴丕 賲賵囟毓 廿毓噩丕亘 丕賱乇噩丕賱 噩賲賷毓丕賸... 廿賳賴賲 賴賳丕 賰賱賴賲 賱賰賷 賷禺胤亘賵丕 賵丿賴丕... 賵賴賲 賷鬲鬲丕亘毓賵賳 賮賷 丨賷丕鬲賴丕 禺賱丕賱 鬲賱賰 丕賱丨賯亘丞 毓賱賶 丕賱兀賯賱貙 丕匕 賴丕 賴貙 兀賵賱丕賸 丕賱賲氐乇賮賷 卮鬲丕賷賳乇貙 丕賱匕賷 賷賳賮賯 毓賱賷賴丕貙 賲賳 兀賲賵丕賱 丕賱賲氐乇賮 胤亘毓丕賸... 賱賰賳賴丕 爻乇毓丕賳 賲丕 爻鬲鬲禺賱賶 毓賳賴 賱賰賷 鬲毓賷卮 廿賱賶 噩丕賳亘 丕賱賲賲孬賱 賮賵賳鬲丕賳 匕賷 丕賱胤亘丕毓 丕賱囟丕乇賷丞 賵丕賱匕賷 賷匕賱賴丕 賯亘賱 兀賳 賷鬲禺賱賶 毓賳賴丕... 賵廿孬乇 匕賱賰 鬲鬲賰卮賮 賱賳丕 賳丕賳丕 毓賱賶 丨賯賷賯鬲賴丕: 丕賲乇兀丞 鬲毓乇賮 兀賳 賱丕 兀丨丿 賷丨亘賴丕 賮賷 丕賱丨賯賷賯丞貙 賵賴賷 賳賮爻賴丕 賱丕 鬲丨亘 兀丨丿丕賸... 賱匕賱賰 鬲賯乇乇 兀賳 鬲鬲丨賵賱 廿賱賶 賮鬲丕丞 賴賵賶... 賱毓賱賴丕 鬲賮賱丨 賮賷 賴匕賴 丕賱賲賴賳丞... 賵鬲賯乇乇 兀賳賴丕 賮賷 賲賴賳鬲賴丕 丕賱噩丿賷丿丞 賴匕賴 爻鬲爻毓賶 廿賱賶 鬲丿賲賷乇 賰賱 兀賵賱卅賰 丕賱匕賷賳 賷乇睾亘賵賳 賮賷賴丕. 賱賯丿 丌賱鬲 毓賱賶 賳賮爻賴丕 兀賳 鬲氐亘丨 兀丿丕丞 賮賷 賷丿 丕賱卮乇 賱賲賲丕乇爻丞 丨賯丿賴丕 毓賱賶 丕賱亘卮乇... 賵賴賰匕丕 賷鬲賵丕賱賶 毓賱賶 丨賷丕鬲賴丕 丕賱毓卮丕賯 賵賴賷 鬲賵丕氐賱 鬲丿賲賷乇賴賲 賵丕丨丿丕賸 亘毓丿 丕賱丌禺乇 賲賳 丿賵賳 卮賮賯丞 兀賵 乇丨賲丞: 賮丕賳丿丕賮乇 丕賱賲鬲兀賳賯 丕賱爻禺賷賮貙 孬賲 賱丕賮丕賱賵丕夭 丕賱匕賷 賷鬲賲鬲毓 亘丕賱丨賷丕丞 丕賱乇禺賵丞 賲賳 丿賵賳 兀賳 賷卮毓乇 亘兀賷 賲爻丐賵賱賷丞貙 賵氐賵賱丕賸 廿賱賶 丕賱賰丕亘鬲賳 賴賵睾賵賳 丕賱匕賷 鬲丿賮毓賴 廿賱賶 丕賱爻乇賯丞 賰乇賲賶 賱毓賷賳賷賴丕貙 賲丕 賷丿賲乇賴 毓賱賶 丕賱賮賵乇貙 鬲丕乇賰丕賸 丕賱爻丕丨丞 兀賲丕賲 兀禺賷賴 丕賱兀氐睾乇 賷睾乇賲 亘賳丕賳丕 亘丿賵乇賴... 賱賰賳 丕賱兀賲乇 賷賳鬲賴賷 亘賴匕丕 廿賱賶 丕賱丕賳鬲丨丕乇.
> 廿賳 賳丕賳丕 廿匕 鬲賳鬲賯賲 賲賳 芦馗賱賲 丕賱賲噩鬲賲毓禄 廿賷丕賴丕 毓亘乇 鬲丿賲賷乇 賰賱 賴丐賱丕亍... 鬲亘賯賶 毓賱賶 馗賲卅賴丕貙 丨鬲賶 賵廿賳 賱賲 賷亘丿購 兀賳賴丕 鬲丿乇賰 丨賯丕賸 賲丕 鬲賮毓賱賴. 廿賳賴丕 鬲爻賷乇 賲毓 丕賱丨賷丕丞 賰賲丕 賴賷貙 賵鬲爻賷賾乇 丕賱丨賷丕丞 賰賲丕 賴賷貙 賲賳 丿賵賳 兀賳 鬲賯賮 賱丨馗丞 賱鬲爻兀賱 賳賮爻賴丕 毓賳 丕賱睾丕賷丞 丕賱毓賲賷賯丞 賵丕賱亘毓賷丿丞 賲賳 匕賱賰 賰賱賴. 睾賷乇 兀賳 賰賱 賲丕 賰丕賳鬲 賮毓賱鬲賴 丨鬲賶 丕賱丌賳 賷馗賱 賱丕卮賷卅丕賸 賲賯丕乇賳丞 亘賲丕 鬲賮毓賱賴 賲毓 丕賱賰賵賳鬲 賲丕乇鬲賱貙 丕賱匕賷 賴賵 兀氐賱丕賸 兀丨丿 賰亘丕乇 賲賵馗賮賷 丕賱賯氐乇 丕賱廿賲亘乇丕胤賵乇賷. 廿賳 丕賱賰賵賳鬲 賲丕乇鬲賱 乇噩賱 禺噩賵賱 賵丿丕卅賲 丕賱丕乇鬲亘丕賰貙 賷鬲乇丿丿 毓丕丿丞 賮賷 賰賱 卮賷亍... 賱賰賳賴 賱丕 賷鬲賵丕賳賶 毓賳 丕賱賵賯賵毓 賮賷 賴賵賶 賳丕賳丕. 兀賲丕 賴賷貙 賮鬲爻鬲睾賱賴 兀亘卮毓 丕爻鬲睾賱丕賱 賵鬲毓丕賲賱賴 賵賰兀賳賴 禺丕丿賲 氐睾賷乇貙 賲爻鬲毓亘丿丞 廿賷丕賴 廿賱賶 兀亘毓丿 丨丿貙 賵鬲亘賯賶 丨乇賷氐丞 丿丕卅賲丕賸 毓賱賶 兀賳 鬲匕賱賴 兀賲丕賲 兀毓賷賳 丕賱賳丕爻 兀噩賲毓賷賳貙 賯亘賱 兀賳 鬲爻賱賲 賳賮爻賴丕 廿賱賷賴 賮賷 賲賯丕亘賱 賲丕 鬲鬲賵賯毓賴 賲賳賴 賲賳 賲賰丕爻亘 胤丕卅賱丞... 賵賱賰賳 賱兀賳 賱賰賱 卮賷亍 賳賴丕賷鬲賴貙 賷賳鬲賴賷 丕賱兀賲乇 亘賳丕賳丕 廿賱賶 兀賳 鬲爻兀賲 丨鬲賶 丕賱賲賵鬲 賲賳 賴匕丕 丕賱賲噩鬲賲毓貙 賮鬲賯乇乇 兀賳 鬲毓夭賱 賳賮爻賴丕 賮賷 賯氐乇 賮禺賲 賷亘賳賷賴 丕賱賰賵賳鬲 丕賱兀丨賲賯貙 賱賰賳賴丕 賱賳 鬲賰賵賳 賵丨賷丿丞 賮賷 毓夭賱鬲賴丕貙 亘賱 爻鬲賰賵賳 賲毓 丕賱賰賵賳鬲 賵賯丿 賯乇乇鬲 賱賵賴賱丞 兀賳 鬲亘賯賶 賵賮賷丞 賱賴... 睾賷乇 兀賳 賴匕丕 賱丕 賷丿賵賲 胤賵賷賱丕賸貙 廿匕 廿賳賴丕 爻乇毓丕賳 賲丕 鬲爻鬲毓賷丿 賲夭丕噩賴丕 丕賱鬲丿賲賷乇賷 賵鬲乇賵丨 賲丿賲乇丞 賰賱 丕賱乇噩丕賱 丕賱賲丨賷胤賷賳 亘賴丕 賮賷 賲丨賷胤賴丕 丕賱噩丿賷丿貙 亘丿亍丕賸 亘丕賱賰賵賳鬲 丕賱賲爻賰賷賳貙 賰丕卮賮丞 賱賴賲 禺賷丕賳丕鬲 夭賵噩丕鬲賴賲 賵毓賱丕賯丕鬲賴賳貙 賵氐賵賱丕賸 廿賱賶 毓卮賷賯賴丕貙 丕賱匕賷 鬲賰卮賮 賱賴 毓賳 毓賱丕賯丞 夭賵噩鬲賴 亘兀丨丿 丕賱氐丨丕賮賷賷賳. 賴賳丕 鬲亘丿賵 賳丕賳丕 賲賱丕賰 丕賳鬲賯丕賲 丨賯賷賯賷丕賸... 氐丨賷丨 兀賳 賲丕 賷鬲賱賵 匕賱賰 爻賷丨胤賲賴丕 賴賷 亘賷賳 丕賱丌禺乇賷賳貙 賱賰賳 匕賱賰 賱賳 賷夭毓噩賴丕 毓賱賶 丕賱廿胤賱丕賯 胤丕賱賲丕 兀賳賴丕 鬲噩丿 賮賷 丿賲丕乇 丕賱丌禺乇賷賳 兀賲丕賲 毓賷賳賷賴丕 賵亘賮囟賱賴丕貙 賱匕丞賸 賲丕 亘毓丿賴丕 賱匕丞貙 賵賮賷 丕賱賳賴丕賷丞 賳噩丿賴丕 賮賷 睾乇賮丞 賮賳丿賯 賵丨賷丿丞 賲乇賷囟丞 鬲丨鬲囟乇. 賵賮賷 丕賱賵賯鬲 丕賱匕賷 賷賰賵賳 噩爻丿賴丕 賯賷丿 丕賱鬲丨賱賱貙 鬲毓賱賵 丕賱賴賲爻丕鬲 賮賷 丕賱卮丕乇毓: 賮乇賳爻丕 鬲毓賱賳 丕賱丨乇亘 毓賱賶 亘乇賵爻賷丕. 賵賴賰匕丕... 鬲禺鬲賮賷 賳丕賳丕 賵賷禺鬲賮賷 賲毓賴丕 賮賷 丕賱賵賯鬲 賳賮爻賴 亘賴丕亍 賲噩鬲賲毓 亘丕乇賷爻賷 賯丕賲 毓賱賶 丕賱賳賮丕賯 賵丕賱賰匕亘... 賵賮賯 鬲丨賱賷賱 丕賱丿丕乇爻賷賳.
> 賵丕賱丨丕賱 兀賳 賴匕賴 丕賱賳賴丕賷丞 賴賷 丕賱鬲賷 鬲囟賮賷 毓賱賶 芦賳丕賳丕禄 亘毓丿賴丕 丕賱乇賲夭賷 丕賱賳賴丕卅賷貙 賵鬲噩毓賱 賲賳 鬲賮鬲鬲 賳丕賳丕 氐賵乇丞 毓賳 鬲賮鬲鬲 賲噩鬲賲毓 賮乇賳爻賷 賲毓賷賳. 賵廿賲賷賱 夭賵賱丕 (1840 - 1902) 賳賮爻賴 賱賲 賷賮鬲賴 兀賳 賷丐賰丿 賴匕丕 賮賷 賰賱 賲乇丞 鬲丨丿孬 毓賳 賴匕賴 丕賱乇賵丕賷丞 丕賱鬲賷 丕毓鬲亘乇賴丕 兀賰孬乇 乇賵丕賷丕鬲賴 乇賲夭賷丞 賵鬲毓亘賷乇丕賸 丕噩鬲賲丕毓賷丕賸. 賰賲丕 兀賳 賯乇丕亍 夭賵賱丕 兀賳賮爻賴賲 賷賳馗乇賵賳 廿賱賶 芦賳丕賳丕禄 亘丕毓鬲亘丕乇賴丕 兀賯賵賶 兀毓賲丕賱賴貙 賵賴賵 乇兀賷 賷卮丕乇賰賴賲 賮賷賴 毓丕丿丞 丕賱賲賵爻賷賯賷賵賳 賵丕賱爻賷賳賲丕卅賷賵賳 賵丕賱乇爻丕賲賵賳 丕賱匕賷賳 賰丕賳鬲 芦賳丕賳丕禄 毓賱賶 丕賱丿賵丕賲 賲氐丿乇丕賸 賱廿賱賴丕賲賴賲... 賵賲賳賴賲 胤亘毓丕賸 丕賱爻賷賳賲丕卅賷 噩丕賳 乇賷賳賵丕乇貙 丕賱匕賷 丨賵賾賱 賴匕賴 丕賱乇賵丕賷丞 廿賱賶 賮賷賱賲 丨賯賻賾賯賻 丨賷賳 毓購乇囟 賳噩丕丨丕賸 賰亘賷乇丕賸貙 賵丕毓鬲購亘乇 賲賳 兀賮囟賱 兀賮賱丕賲賴 亘毓丿 芦丕賱賵賴賲 丕賱賰亘賷乇禄 賵 芦賯賵丕毓丿 丕賱賱毓亘丞禄. "
November 30, 2022
鈥擲anto Dios, esto no es justo. La sociedad est谩 mal hecha. Se acusa a las mujeres, cuando los hombres son quienes exigen las cosas鈥� Mira, y ahora puedo dec铆rtelo: cuando estaba con ellos, 驴comprendes? no me hac铆an gracia, ni placer me daban. Eso me fastidiaba, palabra de honor鈥� Entonces, yo pregunto si tengo algo que ver con todo eso. Y me han aplastado. Sin ellos, querido, sin lo que ellos han hecho de m铆, estar铆a en un convento rezando a Dios, porque siempre he sido religiosa鈥� 隆Y basta! Despu茅s de todo, si han dejado su dinero y su piel, es culpa suya. Yo no tengo nada que ver.
脷ltimo Zola del 2022 y el quinto que leo dentro de la saga de Les Rougon-Macquart, y vaya qu茅 gran manera de terminar con otro de mis prop贸sitos del a帽o.
Primero que nada, me gustar铆a decir que yo esperaba que 狈补苍谩 fuera una lectura favorita, una de esas lecturas que competir铆an en mi top 12 del 2022, pero desafortunadamente se ha quedado un poco atr谩s. No porque Zola no lograra entregar una obra naturalista perfectamente bien como 茅l lo sabe hacer, sino porque, honestamente, lleg贸 un momento en que sent铆 que me estaba tomando el pelo, que incluso estaba abusando del naturalismo. En otras palabras, sent铆 que por primera vez Zola se 'excedi贸', y como todo lo que es en exceso, se siente de una manera no aut茅ntica.
Me explico: 狈补苍谩 es la historia de 狈补苍谩, una actriz de teatro que adem谩s es muy bella y atractiva, y quien de alguna manera se ver谩 involucrada con personajes de la alta sociedad, de una forma que, como todo Zola, no terminar谩 bien. El retrato que crea el autor de la sociedad de la 茅poca, las apariciones de 狈补苍谩 con el equipo de actores en el teatro 鈥攄e hecho el primer cap铆tulo, que inicia con una obra en tres actos, y que adem谩s nos introduce a cada uno de los personajes principales, es de los mejores de toda la novela鈥�, y los amor铆os que van surgiendo a lo largo de toda la historia, son dignos de admirar, escritos con una belleza y una profundidad como solo Zola sabe hacerlo.
Tambi茅n disfrut茅 del contexto hist贸rico, b谩sicamente nos encontramos al final del Segundo Imperio franc茅s, y empezamos a sentir las tensiones que desencadenar铆an su ca铆da, as铆 como las 煤ltimas l铆neas de la novela, 鈥斅 Berl铆n! 隆A Berl铆n! 隆A Berl铆n!, las cuales apuntan al inicio de La guerra franco-prusiana. En pocas palabras, hist贸ricamente hablando es un deleite, aunque debo decir que son apenas unos cuantos detalles que pasan al fondo, ya que el autor no se detiene mucho en ello, sino que m谩s bien se centra totalmente en su protagonista.
Lo que no termin贸 de convencerme fue la ejecuci贸n de la historia de 狈补苍谩; para no alargarme mucho, no me cre铆 la trama en algunas partes, especialmente el hecho de que todos los personajes hombres estuvieran enamorados de 狈补苍谩, que fueran capaces de hacer hasta lo imposible por estar con ella, as铆 tuviera que costarles todo en el proceso (sea lo que eso aplique para cada uno). Lo que no me creo es que alguien sea capaz de dar todo, su vida incluso, por alguien a quien apenas conoce, y que esto sea replicado por muchos personajes, como si estuvieran viviendo una especie de hipnosis; simplemente no cuadra para m铆. Hay incluso un personaje 鈥攁qu铆 me di cuenta que quiz谩 Zola se estaba 'burlando' de nosotros todo este tiempo鈥� que pide a 狈补苍谩 que lo arruine como a todos los dem谩s, que encuentra fascinante el ser arruinado por ella tambi茅n. Si esto no es una broma, no s茅 que lo pueda ser. Por otro lado, hay personajes muy detestables, como por ejemplo Fountan, que mantiene una relaci贸n de lo m谩s conflictiva con 狈补苍谩, y de la que ella ve dif铆cil salir, al volverse un c铆rculo vicioso que no pareciera tener fin.
Quiz谩 esta es la novela de Zola donde he visto m谩s ca铆das, donde casi todos los personajes principales tienen que afrontar la p茅rdida debido a las decisiones que han tomado desde el principio; ahora, s铆 que debo admitir que he experimentado una falta de empat铆a hacia la protagonista hasta cierto punto, a diferencia de mi experiencia con La taberna (donde llor茅 a c谩ntaros), y de Germinal (donde sufr铆 el destino de los personajes principales), donde pienso que dicha reacci贸n fue causada al no sentirme tan cercano a la historia, al sentirme aburrido a ratos 鈥攕iendo el cap铆tulo de la carrera de caballos (menos el final) el que m谩s me hizo sentir fuera de la novela鈥�, y al dejarme de interesar por el destino de los personajes. Dicho esto, no dejar铆a de recomendar 狈补苍谩, porque al final del d铆a, Zola escribe como un aut茅ntico genio de las letras (de eso no cabe la menor duda), y s茅 que esta novela merece todos los aplausos posibles. Definitivamente, una completa y absoluta recomendaci贸n para todos los lectores, pero tambi茅n recomendar铆a empezar por otra obra de la saga primero; hasta el momento 狈补苍谩 ha sido la m谩s dif铆cil de leer para m铆 de todas las obras de Zola que he le铆do, en t茅rminos de la narrativa y la infinidad de descripciones que hay en la historia (el di谩logo es escaso en muchos cap铆tulos).
脷ltimo Zola del 2022 y el quinto que leo dentro de la saga de Les Rougon-Macquart, y vaya qu茅 gran manera de terminar con otro de mis prop贸sitos del a帽o.
Primero que nada, me gustar铆a decir que yo esperaba que 狈补苍谩 fuera una lectura favorita, una de esas lecturas que competir铆an en mi top 12 del 2022, pero desafortunadamente se ha quedado un poco atr谩s. No porque Zola no lograra entregar una obra naturalista perfectamente bien como 茅l lo sabe hacer, sino porque, honestamente, lleg贸 un momento en que sent铆 que me estaba tomando el pelo, que incluso estaba abusando del naturalismo. En otras palabras, sent铆 que por primera vez Zola se 'excedi贸', y como todo lo que es en exceso, se siente de una manera no aut茅ntica.
Me explico: 狈补苍谩 es la historia de 狈补苍谩, una actriz de teatro que adem谩s es muy bella y atractiva, y quien de alguna manera se ver谩 involucrada con personajes de la alta sociedad, de una forma que, como todo Zola, no terminar谩 bien. El retrato que crea el autor de la sociedad de la 茅poca, las apariciones de 狈补苍谩 con el equipo de actores en el teatro 鈥攄e hecho el primer cap铆tulo, que inicia con una obra en tres actos, y que adem谩s nos introduce a cada uno de los personajes principales, es de los mejores de toda la novela鈥�, y los amor铆os que van surgiendo a lo largo de toda la historia, son dignos de admirar, escritos con una belleza y una profundidad como solo Zola sabe hacerlo.
Tambi茅n disfrut茅 del contexto hist贸rico, b谩sicamente nos encontramos al final del Segundo Imperio franc茅s, y empezamos a sentir las tensiones que desencadenar铆an su ca铆da, as铆 como las 煤ltimas l铆neas de la novela, 鈥斅 Berl铆n! 隆A Berl铆n! 隆A Berl铆n!, las cuales apuntan al inicio de La guerra franco-prusiana. En pocas palabras, hist贸ricamente hablando es un deleite, aunque debo decir que son apenas unos cuantos detalles que pasan al fondo, ya que el autor no se detiene mucho en ello, sino que m谩s bien se centra totalmente en su protagonista.
Lo que no termin贸 de convencerme fue la ejecuci贸n de la historia de 狈补苍谩; para no alargarme mucho, no me cre铆 la trama en algunas partes, especialmente el hecho de que todos los personajes hombres estuvieran enamorados de 狈补苍谩, que fueran capaces de hacer hasta lo imposible por estar con ella, as铆 tuviera que costarles todo en el proceso (sea lo que eso aplique para cada uno). Lo que no me creo es que alguien sea capaz de dar todo, su vida incluso, por alguien a quien apenas conoce, y que esto sea replicado por muchos personajes, como si estuvieran viviendo una especie de hipnosis; simplemente no cuadra para m铆. Hay incluso un personaje 鈥攁qu铆 me di cuenta que quiz谩 Zola se estaba 'burlando' de nosotros todo este tiempo鈥� que pide a 狈补苍谩 que lo arruine como a todos los dem谩s, que encuentra fascinante el ser arruinado por ella tambi茅n. Si esto no es una broma, no s茅 que lo pueda ser. Por otro lado, hay personajes muy detestables, como por ejemplo Fountan, que mantiene una relaci贸n de lo m谩s conflictiva con 狈补苍谩, y de la que ella ve dif铆cil salir, al volverse un c铆rculo vicioso que no pareciera tener fin.
Quiz谩 esta es la novela de Zola donde he visto m谩s ca铆das, donde casi todos los personajes principales tienen que afrontar la p茅rdida debido a las decisiones que han tomado desde el principio; ahora, s铆 que debo admitir que he experimentado una falta de empat铆a hacia la protagonista hasta cierto punto, a diferencia de mi experiencia con La taberna (donde llor茅 a c谩ntaros), y de Germinal (donde sufr铆 el destino de los personajes principales), donde pienso que dicha reacci贸n fue causada al no sentirme tan cercano a la historia, al sentirme aburrido a ratos 鈥攕iendo el cap铆tulo de la carrera de caballos (menos el final) el que m谩s me hizo sentir fuera de la novela鈥�, y al dejarme de interesar por el destino de los personajes. Dicho esto, no dejar铆a de recomendar 狈补苍谩, porque al final del d铆a, Zola escribe como un aut茅ntico genio de las letras (de eso no cabe la menor duda), y s茅 que esta novela merece todos los aplausos posibles. Definitivamente, una completa y absoluta recomendaci贸n para todos los lectores, pero tambi茅n recomendar铆a empezar por otra obra de la saga primero; hasta el momento 狈补苍谩 ha sido la m谩s dif铆cil de leer para m铆 de todas las obras de Zola que he le铆do, en t茅rminos de la narrativa y la infinidad de descripciones que hay en la historia (el di谩logo es escaso en muchos cap铆tulos).
March 15, 2013
A raw critic view of the enriched Parisian society in the late XIXth century.
The degradation, the hypocritical standards, the morals and conscience of a corrupted society.
All tattooed in the flesh of Nana, a prostitute of high standards but low esteem.
The degradation, the hypocritical standards, the morals and conscience of a corrupted society.
All tattooed in the flesh of Nana, a prostitute of high standards but low esteem.
June 29, 2017
Il romanzo 猫 una sequenza di quadri impressionisti, potrebbero essere opere di Manet o di Toulouse Latrec, deliziosi affreschi della ottocentesca vita parigina di teatranti, giornalisti, affaristi e nobili dediti al divertimento e alla depravazione, una specie di 鈥渃orte dei miracoli鈥� intorno al suo centro, la bellissima, lussuriosa, perversa Nan脿, di cui viene narrata la parabola, dall鈥檃scesa a stella del teatro a prostituta d鈥檃lto bordo, circondata da uomini di ogni estrazione sociale, dai quali essa succhia ricchezze per soddisfare tutte le proprie voglie e poi lascia in rovina, senza curarsene, indifferente a tutti fuorch猫 alla propria bellezza, fino ad arrivare ad una fine che funge da contrappasso rispetto alla vita licenziosa della donna. In s茅 la trama 猫 esile, ma la scrittura minuziosa di dettagli, realistica ed evocativa, di Zola, fa apprezzare i quadri che di volta in volta vengono descritti: la prima apparizione di Nan脿 al teatro, in una prima teatrale, l鈥檃ttesa del pubblico, la sala gremita, l鈥檃spettativa e il dubbio, la curiosit脿 degli spettatori e poi la sua apparizione come una Venere bionda, che non sa cantare n茅 recitare ma basta che appaia sul palcoscenico perch茅 il pubblico venga scosso da brividi, da pensieri lascivi, ed i desideri si infiammano. Oppure la bellissima scena del gran premio al Bois, l鈥檃rrivo delle carrozze con le prostitute d鈥檃lto bordo e le mantenute che non sono ammesse tra il pubblico delle donne 鈥渙neste鈥�, dell鈥檃lta borghesia e nobili, i colori sfavillanti degli abiti, dei cappelli, lo champagne, le scommesse, la tensione per la corsa cui partecipa una puledra con il suo nome, Nan脿, cos矛 chiamata in suo onore da uno dei suoi amanti. Il romanzo narra il trionfo del vizio, della corruzione dei costumi e della dissolutezza: 鈥� ..la mosca uscita dall鈥檌mmondizia dei sobborghi , portando i fermenti della putredine sociale, aveva avvelenato quegli uomini appena posandosi su di essi. Era logico, era giusto: ella aveva vendicato la sua gente, gli straccioni, i reietti鈥︹€�. L鈥檕cchio attento di Zola evidenzia come la putredine sociale sia diffusa in ogni angolo della societ脿, soprattutto tra quelle 鈥渄onne oneste鈥漜he vivono ammantate dall鈥檌pocrisia del loro ceto: un romanzo sociale, a tratti cos矛 attuale da far confondere il lettore.
June 24, 2008
Joy unlimited. A long, long time ago my kindly Headmaster recommended I broaden my reading prior to university, and gave me Germinal. I read it somewhat dutifully and marked as done, a knowledge of Zola. Now, man years later, I can read at last. And this book that has been staring from my shelf for years has bombed me out. Nana is a carbonated torrent of the most high speed and energetic writing I have come across. Decay, decadence, death, power, class, cruelty, the brilliant equation of the muscular contractions of the body in the rapture of sexual pleasure with the ice cold falling prostrate to some purified and alien God that stands above the mess and filth and stink of humanity. Not a single redeemable character, uet by magic all of them are redeemed. More, much more from Zola.
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