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袟邪胁懈褋褌褜
挟褉懈褟 袣邪褉谢芯胁懈褔邪 袨谢械褕褍 (1899鈥�1960) 胁 泻褉褍谐褍 锌懈褋邪褌械谢械泄-褋芯胁褉械屑械薪薪懈泻芯胁 薪邪蟹褘胁邪谢懈 芦泻芯褉芯谢械屑 屑械褌邪褎芯褉禄. 袨谢械褕邪 薪械 褍屑械谢 锌懈褋邪褌褜 芦褌械屑薪芯 懈 胁褟谢芯禄, 写谢懈薪薪芯 懈 褋泻褍褔薪芯, 械谐芯 锌褉芯蟹邪 懈褋泻褉懈褌褋褟 斜谢械褋褌褟褖懈屑懈 芯斜褉邪蟹邪屑懈 懈 邪褎芯褉懈蟹屑邪屑懈, 褔褍褌褜 谢懈 薪械 泻邪卸写褘泄 邪斜蟹邪褑 锌芯 械屑泻芯褋褌懈 懈 蟹邪泻芯薪褔械薪薪芯褋褌懈 褉邪胁薪芯褑械薪械薪 薪芯胁械谢谢械.
袪芯屑邪薪 芦袟邪胁懈褋褌褜禄 (1927)听鈥� 胁械褉褕懈薪邪 褌胁芯褉褔械褋褌胁邪 袨谢械褕懈 懈, 薪械褋芯屑薪械薪薪芯, 芯写薪邪 懈蟹 胁械褉褕懈薪 褉褍褋褋泻芯泄 谢懈褌械褉邪褌褍褉褘 XX 胁械泻邪. 袙 褋斜芯褉薪懈泻 胁芯褕谢懈 褌邪泻卸械 褉邪褋褋泻邪蟹褘 挟褉懈褟 袨谢械褕懈.
肖邪泄谢 褝谢械泻褌褉芯薪薪芯泄 泻薪懈谐懈 锌芯写谐芯褌芯胁谢械薪 胁 袗谐械薪褌褋褌胁械 肖孝袦, 袥褌写., 2013.
袪芯屑邪薪 芦袟邪胁懈褋褌褜禄 (1927)听鈥� 胁械褉褕懈薪邪 褌胁芯褉褔械褋褌胁邪 袨谢械褕懈 懈, 薪械褋芯屑薪械薪薪芯, 芯写薪邪 懈蟹 胁械褉褕懈薪 褉褍褋褋泻芯泄 谢懈褌械褉邪褌褍褉褘 XX 胁械泻邪. 袙 褋斜芯褉薪懈泻 胁芯褕谢懈 褌邪泻卸械 褉邪褋褋泻邪蟹褘 挟褉懈褟 袨谢械褕懈.
肖邪泄谢 褝谢械泻褌褉芯薪薪芯泄 泻薪懈谐懈 锌芯写谐芯褌芯胁谢械薪 胁 袗谐械薪褌褋褌胁械 肖孝袦, 袥褌写., 2013.
148 pages, Kindle Edition
First published January 1, 1927
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About the author
Yury Olesha
50听books63听followersYury Karlovich Olesha (Russian/Ukraine: 挟褉懈泄 袨谢械褕邪 or 挟褉懈泄 袣邪褉谢芯胁懈褔 袨谢械褕邪), Soviet author of fiction, plays and satires best known for his 1927 novel Envy (Russian: 袟邪胁懈褋褌褜). He is considered one of the greatest Russian novelists of the 20th century, one of the few to have succeeded in writing works of lasting artistic value despite the stifling censorship of the era. His works are delicate balancing-acts that superficially send pro-Communist messages but reveal far greater subtlety and richness upon a deeper reading. Sometimes, he is grouped with his friends Ilf and Petrov, Isaac Babel, and Sigismund Krzhizhanovsky into the Odessa School of Writers.
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Displaying 1 - 30 of 268 reviews
February 17, 2022
La novela tiene dos partes bien diferentes. La primera es un mon贸logo interior de un personaje amargado y pat茅tico, construido con la misma arcilla con la que se cre贸 al protagonista de Memorias del Subsuelo y que, al igual que este, anhela, desde una personalidad sobresaliente que s贸lo 茅l vislumbra, un mundo que no existe y que es incapaz de acogerle en su seno en la forma y medida que 茅l desesperadamente necesita y reclama. Me ha parecido soberbia.
La segunda parte es una narraci贸n en tercera persona que va de m谩s a menos hasta dejar de interesarme por completo.
Una pena.
March 3, 2025
丨賻爻丿 貙 讴鬲丕亘蹖 丕蹖爻鬲 丕夭 蹖賵乇蹖 丕賵賱卮丕 貙 賳賵蹖爻賳丿賴 乇賵爻 . 丿丕爻鬲丕賳 讴賵鬲丕賴 賵 倬蹖趩蹖丿賴 丕賵 亘賴 賲賵囟賵毓丕鬲蹖 賲丕賳賳丿 丨爻丕丿鬲貙 鬲賯丕亘賱 丿賳蹖丕蹖 賯丿蹖賲 賵 噩丿蹖丿貙 賵 噩丕蹖诏丕賴 丕賳爻丕賳 丿乇 噩丕賲毓賴 倬乇丿丕禺鬲賴 .
丿丕爻鬲丕賳 丨賵賱 賲丨賵乇 丿賵 卮禺氐蹖鬲 丕氐賱蹖 貙 賳蹖讴賵賱丕蹖 讴丕賵丕賱蹖乇賵賮貙 乇賵卮賳賮讴乇蹖 丌賵丕乇賴 賵 爻乇禺賵乇丿賴 賵 丌賳丿乇蹖 亘丕亘蹖趩賮 賲乇丿蹖 賲賵賮賯 賵 讴丕乇丌賲丿 讴賴 賳賲丕丿蹖 丕夭 丕賳爻丕賳鈥屬囏й� 爻丕夭诏丕乇 亘丕 賳馗丕賲 噩丿蹖丿 丕爻鬲 賲蹖鈥屭嗀必� . 賴賲趩賳蹖賳 丿丕爻鬲丕賳 丕賵賱卮丕 丕夭 丿賵 夭丕賵蹖賴 貙 丕賵賱 卮禺氐 賵 爻賵賲 卮禺氐 乇賵丕蹖鬲 賲蹖 卮賵丿 .
賲賵囟賵毓 丕氐賱蹖 丿丕爻鬲丕賳 乇丕 亘丕蹖丿 丨爻丕丿鬲 讴丕賵丕賱蹖乇賵賮 亘賴 亘丕亘蹖趩賮 賵 乇賳噩 亘乇丿賳 丕夭 賲賵賮賯蹖鬲 丕賵 丿丕賳爻鬲 . 丕蹖賳 丨爻丕丿鬲 丕賵 乇丕 亘賴 爻賲鬲 丕毓賲丕賱蹖 賲禺乇亘 爻賵賯 賲蹖鈥屫囏�. 丿乇 丕蹖賳 賲蹖丕賳貙 丕蹖賵丕賳貙 亘乇丕丿乇 丌賳丿乇蹖 賳蹖夭 丨囟賵乇 丿丕乇丿 讴賴 亘賴 賳賵毓蹖 賳賲丕丿 丿賳蹖丕蹖 賯丿蹖賲 丕爻鬲 賵 亘丕 丕乇夭卮鈥屬囏й� 噩丕賲毓賴 噩丿蹖丿 賲禺丕賱賮 丕爻鬲 .
賲胤丕亘賯 亘乇丿丕卮鬲 丕賳丿讴 賲賳 丕夭 丿丕爻鬲丕賳 貙 丨爻丿 乇賲丕賳蹖 丕爻鬲 亘丕 乇賵丕蹖鬲蹖 倬蹖趩蹖丿賴貙 讴賴 丕夭 鬲賯丕亘賱 丕賳爻丕賳鈥屬囏й� 爻乇禺賵乇丿賴 亘丕 賳賲丕丿賴丕蹖 倬蹖卮乇賮鬲 丿乇 噩丕賲毓賴鈥屫й� 丿乇 丨丕賱 鬲丨賵賱 爻禺賳 賲蹖鈥屭堐屫� .
丿丕爻鬲丕賳 丨賵賱 賲丨賵乇 丿賵 卮禺氐蹖鬲 丕氐賱蹖 貙 賳蹖讴賵賱丕蹖 讴丕賵丕賱蹖乇賵賮貙 乇賵卮賳賮讴乇蹖 丌賵丕乇賴 賵 爻乇禺賵乇丿賴 賵 丌賳丿乇蹖 亘丕亘蹖趩賮 賲乇丿蹖 賲賵賮賯 賵 讴丕乇丌賲丿 讴賴 賳賲丕丿蹖 丕夭 丕賳爻丕賳鈥屬囏й� 爻丕夭诏丕乇 亘丕 賳馗丕賲 噩丿蹖丿 丕爻鬲 賲蹖鈥屭嗀必� . 賴賲趩賳蹖賳 丿丕爻鬲丕賳 丕賵賱卮丕 丕夭 丿賵 夭丕賵蹖賴 貙 丕賵賱 卮禺氐 賵 爻賵賲 卮禺氐 乇賵丕蹖鬲 賲蹖 卮賵丿 .
賲賵囟賵毓 丕氐賱蹖 丿丕爻鬲丕賳 乇丕 亘丕蹖丿 丨爻丕丿鬲 讴丕賵丕賱蹖乇賵賮 亘賴 亘丕亘蹖趩賮 賵 乇賳噩 亘乇丿賳 丕夭 賲賵賮賯蹖鬲 丕賵 丿丕賳爻鬲 . 丕蹖賳 丨爻丕丿鬲 丕賵 乇丕 亘賴 爻賲鬲 丕毓賲丕賱蹖 賲禺乇亘 爻賵賯 賲蹖鈥屫囏�. 丿乇 丕蹖賳 賲蹖丕賳貙 丕蹖賵丕賳貙 亘乇丕丿乇 丌賳丿乇蹖 賳蹖夭 丨囟賵乇 丿丕乇丿 讴賴 亘賴 賳賵毓蹖 賳賲丕丿 丿賳蹖丕蹖 賯丿蹖賲 丕爻鬲 賵 亘丕 丕乇夭卮鈥屬囏й� 噩丕賲毓賴 噩丿蹖丿 賲禺丕賱賮 丕爻鬲 .
賲胤丕亘賯 亘乇丿丕卮鬲 丕賳丿讴 賲賳 丕夭 丿丕爻鬲丕賳 貙 丨爻丿 乇賲丕賳蹖 丕爻鬲 亘丕 乇賵丕蹖鬲蹖 倬蹖趩蹖丿賴貙 讴賴 丕夭 鬲賯丕亘賱 丕賳爻丕賳鈥屬囏й� 爻乇禺賵乇丿賴 亘丕 賳賲丕丿賴丕蹖 倬蹖卮乇賮鬲 丿乇 噩丕賲毓賴鈥屫й� 丿乇 丨丕賱 鬲丨賵賱 爻禺賳 賲蹖鈥屭堐屫� .
September 30, 2008
Ever stopped to look at a dried-up turd in a field? I mean, really looked at the thing, hunkering down to admire the dessicated swirl of it, treasuring up the perception as one more radiant gift in life's lavish plenitude? Um, no, me either, actually. But Yuri Olesha apparently has. There's an amazing passage in Envy where a character is crossing a vacant lot and listing all the detritus he sees, in a mock-epic catalogue that takes in, among other things, a bottle, a shoe and a shred of bandage, before ending on an ecstatic note with 'the Babylonian turrets of fossilized human defecation.' Like, wow. A majestic metaphor if there ever was one, and it's typical of Olesha that he'd bestow it on, literally, a piece of shit.
Envy displays on almost every page a zest for the squalid, a zest which is alternately Nabokovian in its finicky precision and Swiftian in its principled disgust. Sometimes the two get all mixed up in a delightfully revolting way:
The widow Prokopovich is old, fat and flabby. You can squeeze her out like a tube of liver paste. In the morning I would stumble upon her as she stood at the sink in the corridor. As a rule, she wasn't dressed and she smiled at me with a womanly smile. By her door, on a stool, stood a basin, with some loose hairs floating on the water.
Nice. Very nice. That liver paste. That womanly smile. Those loose hairs. Enough to put you off sex for weeks. (This widow Prokopovich, btw, plays a secondary role in the novel, but even so deserves an honourable mention as one of the great Elemental Females in literature).
All in all, Envy is very much what grumpy old critics call a young man's novel: it's smart-alecky, hopped-up and occassionally bored with its own plot devices and schematic characters. Still, not one young man in a million could write anything nearly so good.
Envy displays on almost every page a zest for the squalid, a zest which is alternately Nabokovian in its finicky precision and Swiftian in its principled disgust. Sometimes the two get all mixed up in a delightfully revolting way:
The widow Prokopovich is old, fat and flabby. You can squeeze her out like a tube of liver paste. In the morning I would stumble upon her as she stood at the sink in the corridor. As a rule, she wasn't dressed and she smiled at me with a womanly smile. By her door, on a stool, stood a basin, with some loose hairs floating on the water.
Nice. Very nice. That liver paste. That womanly smile. Those loose hairs. Enough to put you off sex for weeks. (This widow Prokopovich, btw, plays a secondary role in the novel, but even so deserves an honourable mention as one of the great Elemental Females in literature).
All in all, Envy is very much what grumpy old critics call a young man's novel: it's smart-alecky, hopped-up and occassionally bored with its own plot devices and schematic characters. Still, not one young man in a million could write anything nearly so good.
May 9, 2019
Soviet writer Yury Olesha really pulled something off with Envy (1927): he published a scathing satire of the pomposity and limited intellectual vision of a typical Soviet official, a satire which was favorably鈥攁nd enthusiastically鈥攔eviewed by Pravda. How did he accomplish such a feat? By satirizing even more viciously the reactionary opponents of that official, demonstrating how a romantic self-conception may distort a person鈥檚 vision of achievement, until he is filled with nothing but a poisonous, corrosive envy.
The plot is simple. The layabout, drunken Kavalerov is befriended by Andrei Babichev, the manager of a meat factory who, because of this kindness, earns Kavalerov鈥檚 endying loathing. Bibichev鈥檚 goal is to open an affordable restaurant, the centerpiece of which will be his holy grail: a substantial, high quality, inexpensive sausage. Kavalerov soon joins forces with Andrei鈥檚 envious brother Ivan, and together they set out to smash Andrei Babichev鈥檚 dream.
Although the book bored me and puzzled me at times, I get the feeling some of this due to the translation, and some of it to my own inadequate knowledge of the culture of the early days of the Stalin's Soviet Union. Still, the novel has much to recommend it: biting satire, raucous humor, odd surrealist details, unsettling narrative shifts, and鈥攁bove all鈥攗nusual metaphors and colorful language.
To give you an idea of the metaphors and language, I offer this passage this description the closing of the town market (heralded by its own metaphorical a sunset):
The afternoon was rolling up its stalls. A gypsy in a dark blue vest with painted cheeks and a beard hoisted a clean coper bowl on his shoulder. The bowl鈥檚 disk was bright and blind. The gypsy was walking slowly, the bowl was rocking gently, and the afternoon was spinning in its disk.
The fellow travelers watched it go.
And the disk set, like the sun. The day was done.
November 27, 2023
"袟邪胁懈褋褌褜", 薪邪锌懈褋邪薪薪邪褟 胁 1927 谐芯写褍, 褋褔懈褌邪械褌褋褟 胁械褉褕懈薪芯泄 褌胁芯褉褔械褋褌胁邪 挟褉懈褟 袨谢械褕懈.
效懈褌邪褟 褝褌芯褌 褋邪褌懈褉懈褔械褋泻懈泄 褉芯屑邪薪, 褍 袙邪褋 薪械芯写薪芯泻褉邪褌薪芯 胁芯蟹薪懈泻薪械褌 芯褖褍褖械薪懈械, 褔褌芯 邪胁褌芯褉 写胁芯泄褋褌胁械薪薪芯 芯褌薪芯褋懈褌褋褟 泻 褋胁芯懈屑 谐械褉芯褟屑, 泻芯褌芯褉褘褏 褋芯 胁褋械泄 芯褔械胁懈写薪芯褋褌褜褞 胁褘褋屑械懈胁邪械褌 - 懈薪芯谐写邪 褍 薪械谐芯 锌褉芯褋泻邪谢褜蟹褘胁邪械褌 褌芯 薪芯褌泻邪 褋芯褔褍胁褋褌胁懈褟, 褌芯 谢褢谐泻芯械 芯写芯斜褉懈褌械谢褜薪芯械 泻邪褋邪薪懈械. 袠 袙邪褋, 褔懈褌邪褌械谢褟, 褌邪泻邪褟 蟹褘斜泻邪褟, 械谢械 蟹邪屑械褌薪邪褟 薪械芯锌褉械写械谢械薪薪芯褋褌褜 锌芯蟹懈褑懈懈 邪胁褌芯褉邪 薪邪褋褌芯褉邪卸懈胁邪械褌, 褋芯蟹写邪褢褌 薪械褍胁械褉械薪薪芯褋褌褜, 胁褋械 谢懈 袙褘 锌褉邪胁懈谢褜薪芯 锌芯薪懈屑邪械褌械 - 胁械写褜 锌芯谢芯卸懈褌械谢褜薪褘褏 谐械褉芯械胁 蟹写械褋褜 薪械褌!
袦薪械 斜褘谢芯 斜褘 懈薪褌械褉械褋薪芯 褍蟹薪邪褌褜, 泻邪泻 袨谢械褕邪 芯褌薪芯褋懈谢褋褟 泻 褋胁芯械屑褍 褌胁芯褉械薪懈褞 胁 斜芯谢械械 锌芯蟹写薪懈械 谐芯写褘 - 邪 芯薪 写芯卸懈谢 写芯 1960 谐芯写邪. 协褌芯褌 褉芯屑邪薪 胁褘褋屑械懈胁邪械褌 芯斜褘胁邪褌械谢褟 褝锌芯褏懈 袧协袩邪, 泻芯谐写邪 斜谢邪谐芯写邪褉褟 褉褘薪芯褔薪褘屑 芯褌薪芯褕械薪懈褟屑, 斜褘谢邪 斜芯谢械械-屑械薪械械 褋褘褌邪褟 卸懈蟹薪褜, 懈 锌褉械褋谢芯胁褍褌邪褟 泻芯谢斜邪褋邪, 褝褌芯褌 褋懈屑胁芯谢 褋芯胁械褌褋泻芯谐芯 斜谢邪谐芯锌芯谢褍褔懈褟, 薪械 斜褘谢 写械褎懈褑懈褌芯屑. 袩褉邪胁写邪, 屑懈谢谢懈芯薪褘 谢褞写械泄 卸懈谢懈 胁 薪懈褖械褌械, 褔褌芯斜褘 锌芯蟹胁芯谢懈褌褜 褋械斜械 褔褌芯-褌芯 谢懈褕薪械械. 袨谢械褕邪 胁褘褋屑械懈胁邪械褌 胁 1927 谐芯写褍 袗薪写褉械褟 袘邪斜懈褔械胁邪, 褉褍泻芯胁芯写懈褌械谢褟 褌褉械褋褌邪, 褋邪薪芯胁薪芯谐芯 屑械褖邪薪懈薪邪, 蟹邪 褌芯, 褔褌芯 褌芯褌 褏芯褔械褌 锌褉芯懈蟹胁芯写懈褌褜 泻芯谢斜邪褋褍 褋 70% 褌械谢褟褌懈薪褘 蟹邪 35 泻芯锌械械泻. 袧芯 胁 锌芯褋谢械写褍褞褖懈械 谐芯写褘 蟹邪 褌邪泻懈械 写芯褋褌懈卸械薪懈褟 写邪胁邪谢懈 袚械褉芯褟 小芯褑褌褉褍写邪, 懈 褌邪泻邪褟 泻芯谢斜邪褋邪 芯褋褌邪胁邪谢邪褋褜 薪械写芯褋褌懈卸懈屑芯泄 锌芯 泻邪褔械褋褌胁褍, 懈, 胁芯蟹屑芯卸薪芯, 锌芯 褑械薪械 - - 褑械谢褜褞 写谢褟 胁褋械褏 谐械薪褋械泻芯胁(薪械 锌芯屑薪褞, 褋泻芯谢褜泻芯 褋褌芯懈谢邪 泻芯谢斜邪褋邪 胁 小小小袪). 袛邪, 袘邪斜懈褔械胁 褌芯谢褋褌, 芯斜卸芯褉懈褋褌, 械谐芯 斜芯写褉芯械 褌邪-褉邪-褉邪 胁 泻谢芯蟹械褌械 褋懈屑胁芯谢懈蟹懈褉褍械褌 卸懈胁芯褌薪褍褞 褉邪写芯褋褌褜 卸懈蟹薪懈, 械谐芯 袣邪胁邪谢械褉芯胁 薪邪蟹褘胁邪械褌 "芯斜褉邪蟹褑芯胁芯泄 屑褍卸褋泻芯泄 芯褋芯斜褜褞", 芯薪 芯谐褉邪薪懈褔械薪, 薪芯 械谐芯 屑芯蟹谐 胁褘褏胁邪褌褘胁邪械褌 泻邪泻懈械-褌芯 芯斜褉褘胁泻懈 褉邪蟹谐芯胁芯褉芯胁, 邪褎懈褕, 谐邪蟹械褌薪褘褏 褋褌邪褌械泄, 褔褌芯 芯薪 胁 褑械谢芯屑 胁 泻褍褉褋械, 薪芯 褌芯谢泻芯屑 薪懈褔械谐芯 薪械 蟹薪邪械褌, 薪芯 芯薪 写械褟褌械谢械薪, 芯薪 薪械 褋懈写懈褌 胁 泻邪斜懈薪械褌械 薪邪 褋芯胁械褖邪薪懈褟褏, 薪械 懈屑懈褌懈褉褍械褌 写械褟褌械谢褜薪芯褋褌褜, 芯薪 "袚邪褉褍薪 邪谢褜-袪邪褕懈写芯屑" 锌芯褋械褖邪械褌 泻褍褏薪懈 胁 泻芯屑屑褍薪邪谢泻邪褏, 褌褉械斜褍械褌, 褔褌芯斜褘 胁 褋褌芯谢芯胁褘褏 薪邪褉械蟹邪谢懈 屑褟褋芯, 泻邪泻 褍 褔邪褋褌薪懈泻邪, 芯薪 写械谢邪械褌 写械谢芯 - 褋褌芯谢芯胁褍褞 "效械褌胁械褉褌邪泻", 芯薪 斜芯褉械褌褋褟 蟹邪 芯褋胁芯斜芯卸写械薪懈械 卸械薪褖懈薪褘 芯褌 泻褍褏薪懈, 褋械泄褔邪褋 斜褘 胁褋械 褝褌芯 褝褌芯 薪邪蟹胁邪谢懈 褋褌邪褉褌邪锌芯屑 - 褉邪蟹胁械 褝褌芯 锌谢芯褏芯? 袛邪 懈 胁芯芯斜褖械, 屑薪芯谐芯 谢懈 谢褞写械泄, 芯褋芯斜械薪薪芯 胁褘褋芯泻芯锌芯褋褌邪胁谢械薪薪褘褏, 泻芯褌芯褉褘械 屑芯谐褍褌 懈蟹 卸邪谢芯褋褌懈 写邪褌褜 薪芯褔谢械谐 胁邪谢褟褞褖械屑褍褋褟 锌褜褟薪芯屑褍 褔械谢芯胁械泻褍 胁芯蟹谢械 锌懈胁薪芯泄? 袦薪芯谐芯 谢懈 锌芯屑芯谐褍褌 写械褟褌械谢褜薪芯, 写邪胁 褉邪斜芯褌褍, 锌褍褋褌褜 褝褌芯 胁褋械谐芯 谢懈褕褜 泻芯褉褉械泻褌褍褉邪?
袛胁芯泄褋褌胁械薪薪芯械 芯褌薪芯褕械薪懈械 邪胁褌芯褉邪 褔褍胁褋褌胁褍械褌褋褟 懈 胁 芯褌薪芯褕械薪懈懈 袧懈泻芯谢邪褟 袣邪胁邪谢械褉芯胁邪, 褔褜褟 褎邪屑懈谢懈褟 "胁褘褋芯泻芯锌邪褉薪邪 懈 薪懈蟹泻芯锌褉芯斜薪邪". 袨薪 褋懈屑胁芯谢懈蟹懈褉褍械褌 "谐薪懈谢褍褞 懈薪褌械谢谢懈谐械薪褑懈褞", 芯薪 芯斜褉邪蟹芯胁邪薪, 蟹薪邪械褌, 泻褌芯 褌邪泻邪褟 袠芯泻邪褋褌邪.
"孝械锌械褉褜 褟 锌懈褕褍 褉械锌械褉褌褍邪褉 写谢褟 褝褋褌褉邪写薪懈泻芯胁: 屑芯薪芯谢芯谐懈 懈 泻褍锌谢械褌褘 芯 褎懈薪懈薪褋锌械泻褌芯褉械, 褋芯胁斜邪褉褘褕薪褟褏, 薪褝锌屑邪薪邪褏 懈 邪谢懈屑械薪褌邪褏", - 谐芯胁芯褉懈褌 袣邪胁邪谢械褉芯胁 芯 褋械斜械. 袪械锌械褉褌褍邪褉 薪邪锌芯屑懈薪邪械褌 袦邪褟泻芯胁褋泻芯谐芯, 懈 屑薪械 褝褌芯 薪械 锌芯薪褉邪胁懈谢芯褋褜.
袪芯屑邪薪 薪械 谢懈褕褢薪 芯褋褌褉芯褍屑懈褟, 屑薪芯谐芯 屑芯屑械薪褌芯胁, 泻芯褌芯褉褘械 蟹邪褋褌邪胁褟褌 袙邪褋 褍谢褘斜薪褍褌褜褋褟, 芯写懈薪 褋芯薪 锌褉芯 斜懈褌胁褍 锌褉懈 肖邪褉褋邪谢械 褔械谐芯 褋褌芯懈褌.
袝褖褢 芯写懈薪 谐械褉芯泄, 泻 泻芯褌芯褉芯屑褍 写胁芯泄褋褌胁械薪薪褘械 褔褍胁褋褌胁邪 懈 褍 邪胁褌芯褉邪, 懈 褍 褔懈褌邪褌械谢褟 - 袠胁邪薪, 斜褉邪褌 袗薪写褉械褟 袘邪斜懈褔械胁邪. 袪芯褋 芯薪 褋 褟褉泻芯 胁褘褉邪卸械薪薪褘屑懈 褔械褉褌邪屑懈 斜褍写褍褖械谐芯 懈蟹芯斜褉械褌邪褌械谢褟, 谐械薪懈褟. 袨薪 斜褘谢 屑械褔褌邪褌械谢械屑, 薪芯 屑械褔褌邪褌械谢械屑 写械褟褌械谢褜薪褘屑. 袧芯 械谐芯 芯褌械褑-褋邪屑芯写褍褉 锌芯褉械褌 蟹邪 褌芯, 褔褌芯 械屑褍 薪械 锌褉懈褋薪懈谢邪褋褜 斜懈褌胁邪 锌褉懈 肖邪褉褋邪谢械. 袦邪谢芯 褌芯谐芯, 褔褌芯 褌械谢械褋薪褘械 薪邪泻邪蟹邪薪懈褟, 褌邪泻 械褖褢 懈 薪懈 蟹邪 褔褌芯. 袣芯薪械褔薪芯, 褌邪泻芯械 锌芯写邪胁谢械薪懈械 谢懈褔薪芯褋褌懈, 褍褋褌褉械屑谢械薪懈泄 屑邪谢械薪褜泻芯谐芯 褉械斜械薪泻邪 薪邪褕谢芯 芯褌褉邪卸械薪懈械 胁 械谐芯 褏邪褉邪泻褌械褉械 懈 芯薪 胁屑械褋褌芯 懈蟹芯斜褉械褌邪褌械谢褟, 懈薪卸械薪械褉邪 懈谢懈 锌懈褋邪褌械谢褟-褎邪薪褌邪褋褌邪 褋褌邪谢 褎芯泻褍褋薪懈泻芯屑, 薪械锌谢芯褏邪褟 锌褉芯褎械褋褋懈褟, 薪芯 胁 薪械泄 芯薪 薪械 锌褉械褍褋锌械谢.
携蟹褘泻, 锌懈褋邪褌械谢褜褋泻懈泄 褌邪谢邪薪褌 - 胁褋械 胁芯褋褏懈褌懈褌械谢褜薪芯. 袧芯 屑薪械 薪械 胁褋械 锌芯薪褉邪胁懈谢芯褋褜.
袘褘胁邪械褌 蟹邪胁懈褋褌褜, 泻芯谐写邪 褔械谢芯胁械泻 蟹邪胁懈写褍械褌 锌褉懈 褉邪胁薪褘褏 褍褋谢芯胁懈褟褏, 薪芯 薪械褉邪胁薪芯屑 褉邪褋锌褉械写械谢械薪懈懈. 孝芯 械褋褌褜 谢褞写懈 芯写懈薪邪泻芯胁芯 褌褉褍写褟褌褋褟, 薪芯 锌芯谢褍褔邪褞褌 褉邪蟹薪芯械 胁芯蟹薪邪谐褉邪卸写械薪懈械 - 褍 芯斜写械谢械薪薪芯谐芯 锌芯褟胁谢褟械褌褋褟 蟹邪胁懈褋褌褜 泻 斜芯谢械械 褍写邪褔谢懈胁芯屑褍. 袟写械褋褜 蟹邪胁懈褋褌褜 写褉褍谐芯谐芯 褉芯写邪: 袣邪胁邪谢械褉芯胁 - 锌褜褟薪懈褑邪, 芯薪 斜械蟹写械褟褌械谢械薪, 写邪, 芯薪 卸懈胁褢褌 胁 薪懈褖械褌械, 薪芯 褔褌芯 芯薪 写械谢邪械褌, 褔褌芯斜褘 懈蟹屑械薪懈褌褜 锌芯谢芯卸械薪懈械 胁械褖械泄? 袣邪胁邪谢械褉芯胁邪 褉邪蟹写褉邪卸邪械褌, 褔褌芯 芯薪 薪邪 锌芯谢芯卸械薪懈懈 褕褍褌邪. 袧芯 泻褌芯 屑械褕邪械褌 械屑褍 褍泄褌懈 锌芯褋谢械 锌褉芯褌褉械蟹胁谢械薪懈褟? 协褌芯 泻邪泻芯泄-褌芯 芯褋芯斜械薪薪褘泄 褌懈锌 蟹邪胁懈褋褌懈. 袩芯泻邪蟹邪褌械谢褜薪芯, 褔褌芯 锌褉械写屑械褌芯屑 褋芯褑懈邪谢褜薪芯泄 蟹邪胁懈褋褌懈 屑芯卸械褌 斜褘褌褜 写懈胁邪薪, 褔懈褋褌芯械 锌芯褋褌械谢褜薪芯械 斜械谢褜械. 协褌芯 褋胁懈写械褌械谢褜褋褌胁褍械褌 芯 泻褉邪泄薪械泄 薪懈褖械褌械. 袩芯泻邪 袣邪胁邪谢械褉芯胁 芯褌褋褍褌褋褌胁芯胁邪谢, 泻芯屑薪邪褌褍 胁 泻芯屑屑褍薪邪谢泻械 芯褌写邪谢懈 泻芯屑褍-褌芯 械褖褢. 协褌芯 锌芯谢薪芯械 薪邪褉褍褕械薪懈械 锌褉邪胁, 薪芯 泻芯谐芯 芯薪芯 懈薪褌械褉械褋芯胁邪谢芯 胁 小芯胁械褌褋泻芯泄 褋褌褉邪薪械? 袟邪胁懈褋褌褜 袣邪胁邪谢械褉芯胁邪 邪谐褉械褋褋懈胁薪邪, 芯薪 薪械 锌褉褟褔械褌 懈 薪械 锌芯写邪胁谢褟械褌 褋胁芯懈 褔褍胁褋褌胁邪, 芯薪 胁褘谢懈胁邪械褌 懈褏 薪邪 斜褍屑邪谐褍. 袧芯 械谐芯 褍斜械卸写械薪懈褟 薪械 褌胁械褉写褘, 芯薪 泻芯谢械斜谢械褌褋褟 懈, 械褋谢懈 斜褘 袘邪斜懈褔械胁 锌芯屑邪薪懈谢 械谐芯, 芯薪 泻懈薪褍谢褋褟 斜褘 薪邪 泻芯谢械薪懈 锌褉芯褋懈褌褜 锌褉芯褖械薪懈褟. 袙褌邪泄薪械 芯薪 屑械褔褌邪械褌 蟹邪薪褟褌褜 屑械褋褌芯 袙芯谢芯写懈 袦邪泻邪褉芯胁邪. 孝邪泻 褔褌芯 褝褌芯 写邪卸械 薪械 蟹邪胁懈褋褌褜, 邪 褉邪蟹写懈褉邪械屑芯械 锌褉芯褌懈胁芯褉械褔懈褟屑懈 卸械谢邪薪懈械 褍褋褌褉芯懈褌褜 褋胁芯褞 卸懈蟹薪褜.
袥芯谐懈泻邪 袣邪胁邪谢械褉芯胁邪 锌邪褉邪写芯泻褋邪谢褜薪邪: "袟邪褔械屑 锌褉懈胁械蟹? 袞邪谢泻懈泄 褍 胁邪褋 斜褘谢 胁懈写. 袧械谢褜蟹褟 斜褘谢芯 薪械 褉邪褋褌褉芯谐邪褌褜褋褟. 袙褘 褉褘写邪谢懈. 小褌褉邪褕薪芯 褋褌邪谢芯 胁邪褋 卸邪谢褜.
- 袗 写懈胁邪薪?
- 效褌芯 写懈胁邪薪?
- 袗 泻芯谐写邪 胁械褉薪械褌褋褟 胁邪褕 褞薪芯褕邪鈥�
袨薪, 薪懈褋泻芯谢褜泻芯 薪械 蟹邪写褍屑褘胁邪褟褋褜, 锌褉芯褋褌芯 懈 胁械褋械谢芯 芯褌胁械褔邪谢:
- 孝芯谐写邪 胁邪屑 锌褉锟斤拷写械褌褋褟 写懈胁邪薪 芯褋胁芯斜芯写懈褌褜鈥�
袦薪械 薪邪写芯 胁褋褌邪褌褜 懈 锌芯斜懈褌褜 械屑褍 屑芯褉写褍. 袨薪, 胁懈写懈褌械 谢懈, 褋卸邪谢懈谢褋褟, 芯薪, 锌褉芯褋谢邪胁谢械薪薪邪褟 谢懈褔薪芯褋褌褜, 锌芯卸邪谢械谢 薪械褋褔邪褋褌薪芯谐芯, 褋斜懈胁褕械谐芯褋褟 褋 锌褍褌懈 屑芯谢芯写芯谐芯 褔械谢芯胁械泻邪. 袧芯 胁褉械屑械薪薪芯. 袩芯泻邪 胁械褉薪械褌褋褟 谐谢邪胁薪褘泄. 袝屑褍 锌褉芯褋褌芯 褋泻褍褔薪芯 锌芯 胁械褔械褉邪屑. 袗 锌芯褌芯屑 芯薪 屑械薪褟 胁褘谐芯薪懈褌. 小 褑懈薪懈蟹屑芯屑 芯薪 谐芯胁芯褉懈褌 芯斜 褝褌芯屑."
袙写芯胁邪 袩褉芯泻芯锌芯胁懈褔, 褉褘褏谢邪褟, 锌褉懈褉邪斜邪褌褘胁邪褞褖邪褟 褌械屑, 褔褌芯 谐芯褌芯胁懈褌 懈蟹 锌芯褌褉芯褏芯胁 写谢褟 邪褉褌械谢懈 锌邪褉懈泻屑邪褏械褉芯胁, 懈 泻芯褉屑褟褖邪褟 芯褋褌邪褌泻邪屑懈 泻芯褕械泻 - 褋懈屑胁芯谢 "屑褍卸褋泻芯泄 褍薪懈卸械薪薪芯褋褌懈" 袣邪胁邪谢械褉芯胁邪.
袧芯 懈 械械 械屑褍 锌褉懈写械褌褋褟 写械谢懈褌褜 褋 袠胁邪薪芯屑 袘邪斜懈褔械胁褘屑.
袙芯谢芯写褟 袦邪泻邪褉芯胁 胁薪械褕薪械 锌芯谢芯卸懈褌械谢褜薪褘泄 谐械褉芯泄 - 蟹薪邪屑械薪懈褌褘泄 褋锌芯褉褌褋屑械薪, 褔械褌泻芯 褋褌邪胁褟褖懈泄 锌械褉械写 褋芯斜芯泄 褑械谢懈, 薪芯 懈 芯薪 胁 褋胁芯械屑 锌懈褋褜屑械 斜芯懈褌褋褟 锌芯褌械褉褟褌褜 褋胁芯泄 写懈胁邪薪 胁 泻胁邪褉褌懈褉械 袘邪斜懈褔械胁邪. 袨薪 褌邪泻芯泄 卸械 屑械谢泻懈泄 褔械谢芯胁械褔懈褕泻芯, 褔褌芯 懈 袣邪胁邪谢械褉芯胁.
效懈褌邪褟 褝褌芯褌 褋邪褌懈褉懈褔械褋泻懈泄 褉芯屑邪薪, 褍 袙邪褋 薪械芯写薪芯泻褉邪褌薪芯 胁芯蟹薪懈泻薪械褌 芯褖褍褖械薪懈械, 褔褌芯 邪胁褌芯褉 写胁芯泄褋褌胁械薪薪芯 芯褌薪芯褋懈褌褋褟 泻 褋胁芯懈屑 谐械褉芯褟屑, 泻芯褌芯褉褘褏 褋芯 胁褋械泄 芯褔械胁懈写薪芯褋褌褜褞 胁褘褋屑械懈胁邪械褌 - 懈薪芯谐写邪 褍 薪械谐芯 锌褉芯褋泻邪谢褜蟹褘胁邪械褌 褌芯 薪芯褌泻邪 褋芯褔褍胁褋褌胁懈褟, 褌芯 谢褢谐泻芯械 芯写芯斜褉懈褌械谢褜薪芯械 泻邪褋邪薪懈械. 袠 袙邪褋, 褔懈褌邪褌械谢褟, 褌邪泻邪褟 蟹褘斜泻邪褟, 械谢械 蟹邪屑械褌薪邪褟 薪械芯锌褉械写械谢械薪薪芯褋褌褜 锌芯蟹懈褑懈懈 邪胁褌芯褉邪 薪邪褋褌芯褉邪卸懈胁邪械褌, 褋芯蟹写邪褢褌 薪械褍胁械褉械薪薪芯褋褌褜, 胁褋械 谢懈 袙褘 锌褉邪胁懈谢褜薪芯 锌芯薪懈屑邪械褌械 - 胁械写褜 锌芯谢芯卸懈褌械谢褜薪褘褏 谐械褉芯械胁 蟹写械褋褜 薪械褌!
袦薪械 斜褘谢芯 斜褘 懈薪褌械褉械褋薪芯 褍蟹薪邪褌褜, 泻邪泻 袨谢械褕邪 芯褌薪芯褋懈谢褋褟 泻 褋胁芯械屑褍 褌胁芯褉械薪懈褞 胁 斜芯谢械械 锌芯蟹写薪懈械 谐芯写褘 - 邪 芯薪 写芯卸懈谢 写芯 1960 谐芯写邪. 协褌芯褌 褉芯屑邪薪 胁褘褋屑械懈胁邪械褌 芯斜褘胁邪褌械谢褟 褝锌芯褏懈 袧协袩邪, 泻芯谐写邪 斜谢邪谐芯写邪褉褟 褉褘薪芯褔薪褘屑 芯褌薪芯褕械薪懈褟屑, 斜褘谢邪 斜芯谢械械-屑械薪械械 褋褘褌邪褟 卸懈蟹薪褜, 懈 锌褉械褋谢芯胁褍褌邪褟 泻芯谢斜邪褋邪, 褝褌芯褌 褋懈屑胁芯谢 褋芯胁械褌褋泻芯谐芯 斜谢邪谐芯锌芯谢褍褔懈褟, 薪械 斜褘谢 写械褎懈褑懈褌芯屑. 袩褉邪胁写邪, 屑懈谢谢懈芯薪褘 谢褞写械泄 卸懈谢懈 胁 薪懈褖械褌械, 褔褌芯斜褘 锌芯蟹胁芯谢懈褌褜 褋械斜械 褔褌芯-褌芯 谢懈褕薪械械. 袨谢械褕邪 胁褘褋屑械懈胁邪械褌 胁 1927 谐芯写褍 袗薪写褉械褟 袘邪斜懈褔械胁邪, 褉褍泻芯胁芯写懈褌械谢褟 褌褉械褋褌邪, 褋邪薪芯胁薪芯谐芯 屑械褖邪薪懈薪邪, 蟹邪 褌芯, 褔褌芯 褌芯褌 褏芯褔械褌 锌褉芯懈蟹胁芯写懈褌褜 泻芯谢斜邪褋褍 褋 70% 褌械谢褟褌懈薪褘 蟹邪 35 泻芯锌械械泻. 袧芯 胁 锌芯褋谢械写褍褞褖懈械 谐芯写褘 蟹邪 褌邪泻懈械 写芯褋褌懈卸械薪懈褟 写邪胁邪谢懈 袚械褉芯褟 小芯褑褌褉褍写邪, 懈 褌邪泻邪褟 泻芯谢斜邪褋邪 芯褋褌邪胁邪谢邪褋褜 薪械写芯褋褌懈卸懈屑芯泄 锌芯 泻邪褔械褋褌胁褍, 懈, 胁芯蟹屑芯卸薪芯, 锌芯 褑械薪械 - - 褑械谢褜褞 写谢褟 胁褋械褏 谐械薪褋械泻芯胁(薪械 锌芯屑薪褞, 褋泻芯谢褜泻芯 褋褌芯懈谢邪 泻芯谢斜邪褋邪 胁 小小小袪). 袛邪, 袘邪斜懈褔械胁 褌芯谢褋褌, 芯斜卸芯褉懈褋褌, 械谐芯 斜芯写褉芯械 褌邪-褉邪-褉邪 胁 泻谢芯蟹械褌械 褋懈屑胁芯谢懈蟹懈褉褍械褌 卸懈胁芯褌薪褍褞 褉邪写芯褋褌褜 卸懈蟹薪懈, 械谐芯 袣邪胁邪谢械褉芯胁 薪邪蟹褘胁邪械褌 "芯斜褉邪蟹褑芯胁芯泄 屑褍卸褋泻芯泄 芯褋芯斜褜褞", 芯薪 芯谐褉邪薪懈褔械薪, 薪芯 械谐芯 屑芯蟹谐 胁褘褏胁邪褌褘胁邪械褌 泻邪泻懈械-褌芯 芯斜褉褘胁泻懈 褉邪蟹谐芯胁芯褉芯胁, 邪褎懈褕, 谐邪蟹械褌薪褘褏 褋褌邪褌械泄, 褔褌芯 芯薪 胁 褑械谢芯屑 胁 泻褍褉褋械, 薪芯 褌芯谢泻芯屑 薪懈褔械谐芯 薪械 蟹薪邪械褌, 薪芯 芯薪 写械褟褌械谢械薪, 芯薪 薪械 褋懈写懈褌 胁 泻邪斜懈薪械褌械 薪邪 褋芯胁械褖邪薪懈褟褏, 薪械 懈屑懈褌懈褉褍械褌 写械褟褌械谢褜薪芯褋褌褜, 芯薪 "袚邪褉褍薪 邪谢褜-袪邪褕懈写芯屑" 锌芯褋械褖邪械褌 泻褍褏薪懈 胁 泻芯屑屑褍薪邪谢泻邪褏, 褌褉械斜褍械褌, 褔褌芯斜褘 胁 褋褌芯谢芯胁褘褏 薪邪褉械蟹邪谢懈 屑褟褋芯, 泻邪泻 褍 褔邪褋褌薪懈泻邪, 芯薪 写械谢邪械褌 写械谢芯 - 褋褌芯谢芯胁褍褞 "效械褌胁械褉褌邪泻", 芯薪 斜芯褉械褌褋褟 蟹邪 芯褋胁芯斜芯卸写械薪懈械 卸械薪褖懈薪褘 芯褌 泻褍褏薪懈, 褋械泄褔邪褋 斜褘 胁褋械 褝褌芯 褝褌芯 薪邪蟹胁邪谢懈 褋褌邪褉褌邪锌芯屑 - 褉邪蟹胁械 褝褌芯 锌谢芯褏芯? 袛邪 懈 胁芯芯斜褖械, 屑薪芯谐芯 谢懈 谢褞写械泄, 芯褋芯斜械薪薪芯 胁褘褋芯泻芯锌芯褋褌邪胁谢械薪薪褘褏, 泻芯褌芯褉褘械 屑芯谐褍褌 懈蟹 卸邪谢芯褋褌懈 写邪褌褜 薪芯褔谢械谐 胁邪谢褟褞褖械屑褍褋褟 锌褜褟薪芯屑褍 褔械谢芯胁械泻褍 胁芯蟹谢械 锌懈胁薪芯泄? 袦薪芯谐芯 谢懈 锌芯屑芯谐褍褌 写械褟褌械谢褜薪芯, 写邪胁 褉邪斜芯褌褍, 锌褍褋褌褜 褝褌芯 胁褋械谐芯 谢懈褕褜 泻芯褉褉械泻褌褍褉邪?
袛胁芯泄褋褌胁械薪薪芯械 芯褌薪芯褕械薪懈械 邪胁褌芯褉邪 褔褍胁褋褌胁褍械褌褋褟 懈 胁 芯褌薪芯褕械薪懈懈 袧懈泻芯谢邪褟 袣邪胁邪谢械褉芯胁邪, 褔褜褟 褎邪屑懈谢懈褟 "胁褘褋芯泻芯锌邪褉薪邪 懈 薪懈蟹泻芯锌褉芯斜薪邪". 袨薪 褋懈屑胁芯谢懈蟹懈褉褍械褌 "谐薪懈谢褍褞 懈薪褌械谢谢懈谐械薪褑懈褞", 芯薪 芯斜褉邪蟹芯胁邪薪, 蟹薪邪械褌, 泻褌芯 褌邪泻邪褟 袠芯泻邪褋褌邪.
"孝械锌械褉褜 褟 锌懈褕褍 褉械锌械褉褌褍邪褉 写谢褟 褝褋褌褉邪写薪懈泻芯胁: 屑芯薪芯谢芯谐懈 懈 泻褍锌谢械褌褘 芯 褎懈薪懈薪褋锌械泻褌芯褉械, 褋芯胁斜邪褉褘褕薪褟褏, 薪褝锌屑邪薪邪褏 懈 邪谢懈屑械薪褌邪褏", - 谐芯胁芯褉懈褌 袣邪胁邪谢械褉芯胁 芯 褋械斜械. 袪械锌械褉褌褍邪褉 薪邪锌芯屑懈薪邪械褌 袦邪褟泻芯胁褋泻芯谐芯, 懈 屑薪械 褝褌芯 薪械 锌芯薪褉邪胁懈谢芯褋褜.
袪芯屑邪薪 薪械 谢懈褕褢薪 芯褋褌褉芯褍屑懈褟, 屑薪芯谐芯 屑芯屑械薪褌芯胁, 泻芯褌芯褉褘械 蟹邪褋褌邪胁褟褌 袙邪褋 褍谢褘斜薪褍褌褜褋褟, 芯写懈薪 褋芯薪 锌褉芯 斜懈褌胁褍 锌褉懈 肖邪褉褋邪谢械 褔械谐芯 褋褌芯懈褌.
袝褖褢 芯写懈薪 谐械褉芯泄, 泻 泻芯褌芯褉芯屑褍 写胁芯泄褋褌胁械薪薪褘械 褔褍胁褋褌胁邪 懈 褍 邪胁褌芯褉邪, 懈 褍 褔懈褌邪褌械谢褟 - 袠胁邪薪, 斜褉邪褌 袗薪写褉械褟 袘邪斜懈褔械胁邪. 袪芯褋 芯薪 褋 褟褉泻芯 胁褘褉邪卸械薪薪褘屑懈 褔械褉褌邪屑懈 斜褍写褍褖械谐芯 懈蟹芯斜褉械褌邪褌械谢褟, 谐械薪懈褟. 袨薪 斜褘谢 屑械褔褌邪褌械谢械屑, 薪芯 屑械褔褌邪褌械谢械屑 写械褟褌械谢褜薪褘屑. 袧芯 械谐芯 芯褌械褑-褋邪屑芯写褍褉 锌芯褉械褌 蟹邪 褌芯, 褔褌芯 械屑褍 薪械 锌褉懈褋薪懈谢邪褋褜 斜懈褌胁邪 锌褉懈 肖邪褉褋邪谢械. 袦邪谢芯 褌芯谐芯, 褔褌芯 褌械谢械褋薪褘械 薪邪泻邪蟹邪薪懈褟, 褌邪泻 械褖褢 懈 薪懈 蟹邪 褔褌芯. 袣芯薪械褔薪芯, 褌邪泻芯械 锌芯写邪胁谢械薪懈械 谢懈褔薪芯褋褌懈, 褍褋褌褉械屑谢械薪懈泄 屑邪谢械薪褜泻芯谐芯 褉械斜械薪泻邪 薪邪褕谢芯 芯褌褉邪卸械薪懈械 胁 械谐芯 褏邪褉邪泻褌械褉械 懈 芯薪 胁屑械褋褌芯 懈蟹芯斜褉械褌邪褌械谢褟, 懈薪卸械薪械褉邪 懈谢懈 锌懈褋邪褌械谢褟-褎邪薪褌邪褋褌邪 褋褌邪谢 褎芯泻褍褋薪懈泻芯屑, 薪械锌谢芯褏邪褟 锌褉芯褎械褋褋懈褟, 薪芯 胁 薪械泄 芯薪 薪械 锌褉械褍褋锌械谢.
携蟹褘泻, 锌懈褋邪褌械谢褜褋泻懈泄 褌邪谢邪薪褌 - 胁褋械 胁芯褋褏懈褌懈褌械谢褜薪芯. 袧芯 屑薪械 薪械 胁褋械 锌芯薪褉邪胁懈谢芯褋褜.
袘褘胁邪械褌 蟹邪胁懈褋褌褜, 泻芯谐写邪 褔械谢芯胁械泻 蟹邪胁懈写褍械褌 锌褉懈 褉邪胁薪褘褏 褍褋谢芯胁懈褟褏, 薪芯 薪械褉邪胁薪芯屑 褉邪褋锌褉械写械谢械薪懈懈. 孝芯 械褋褌褜 谢褞写懈 芯写懈薪邪泻芯胁芯 褌褉褍写褟褌褋褟, 薪芯 锌芯谢褍褔邪褞褌 褉邪蟹薪芯械 胁芯蟹薪邪谐褉邪卸写械薪懈械 - 褍 芯斜写械谢械薪薪芯谐芯 锌芯褟胁谢褟械褌褋褟 蟹邪胁懈褋褌褜 泻 斜芯谢械械 褍写邪褔谢懈胁芯屑褍. 袟写械褋褜 蟹邪胁懈褋褌褜 写褉褍谐芯谐芯 褉芯写邪: 袣邪胁邪谢械褉芯胁 - 锌褜褟薪懈褑邪, 芯薪 斜械蟹写械褟褌械谢械薪, 写邪, 芯薪 卸懈胁褢褌 胁 薪懈褖械褌械, 薪芯 褔褌芯 芯薪 写械谢邪械褌, 褔褌芯斜褘 懈蟹屑械薪懈褌褜 锌芯谢芯卸械薪懈械 胁械褖械泄? 袣邪胁邪谢械褉芯胁邪 褉邪蟹写褉邪卸邪械褌, 褔褌芯 芯薪 薪邪 锌芯谢芯卸械薪懈懈 褕褍褌邪. 袧芯 泻褌芯 屑械褕邪械褌 械屑褍 褍泄褌懈 锌芯褋谢械 锌褉芯褌褉械蟹胁谢械薪懈褟? 协褌芯 泻邪泻芯泄-褌芯 芯褋芯斜械薪薪褘泄 褌懈锌 蟹邪胁懈褋褌懈. 袩芯泻邪蟹邪褌械谢褜薪芯, 褔褌芯 锌褉械写屑械褌芯屑 褋芯褑懈邪谢褜薪芯泄 蟹邪胁懈褋褌懈 屑芯卸械褌 斜褘褌褜 写懈胁邪薪, 褔懈褋褌芯械 锌芯褋褌械谢褜薪芯械 斜械谢褜械. 协褌芯 褋胁懈写械褌械谢褜褋褌胁褍械褌 芯 泻褉邪泄薪械泄 薪懈褖械褌械. 袩芯泻邪 袣邪胁邪谢械褉芯胁 芯褌褋褍褌褋褌胁芯胁邪谢, 泻芯屑薪邪褌褍 胁 泻芯屑屑褍薪邪谢泻械 芯褌写邪谢懈 泻芯屑褍-褌芯 械褖褢. 协褌芯 锌芯谢薪芯械 薪邪褉褍褕械薪懈械 锌褉邪胁, 薪芯 泻芯谐芯 芯薪芯 懈薪褌械褉械褋芯胁邪谢芯 胁 小芯胁械褌褋泻芯泄 褋褌褉邪薪械? 袟邪胁懈褋褌褜 袣邪胁邪谢械褉芯胁邪 邪谐褉械褋褋懈胁薪邪, 芯薪 薪械 锌褉褟褔械褌 懈 薪械 锌芯写邪胁谢褟械褌 褋胁芯懈 褔褍胁褋褌胁邪, 芯薪 胁褘谢懈胁邪械褌 懈褏 薪邪 斜褍屑邪谐褍. 袧芯 械谐芯 褍斜械卸写械薪懈褟 薪械 褌胁械褉写褘, 芯薪 泻芯谢械斜谢械褌褋褟 懈, 械褋谢懈 斜褘 袘邪斜懈褔械胁 锌芯屑邪薪懈谢 械谐芯, 芯薪 泻懈薪褍谢褋褟 斜褘 薪邪 泻芯谢械薪懈 锌褉芯褋懈褌褜 锌褉芯褖械薪懈褟. 袙褌邪泄薪械 芯薪 屑械褔褌邪械褌 蟹邪薪褟褌褜 屑械褋褌芯 袙芯谢芯写懈 袦邪泻邪褉芯胁邪. 孝邪泻 褔褌芯 褝褌芯 写邪卸械 薪械 蟹邪胁懈褋褌褜, 邪 褉邪蟹写懈褉邪械屑芯械 锌褉芯褌懈胁芯褉械褔懈褟屑懈 卸械谢邪薪懈械 褍褋褌褉芯懈褌褜 褋胁芯褞 卸懈蟹薪褜.
袥芯谐懈泻邪 袣邪胁邪谢械褉芯胁邪 锌邪褉邪写芯泻褋邪谢褜薪邪: "袟邪褔械屑 锌褉懈胁械蟹? 袞邪谢泻懈泄 褍 胁邪褋 斜褘谢 胁懈写. 袧械谢褜蟹褟 斜褘谢芯 薪械 褉邪褋褌褉芯谐邪褌褜褋褟. 袙褘 褉褘写邪谢懈. 小褌褉邪褕薪芯 褋褌邪谢芯 胁邪褋 卸邪谢褜.
- 袗 写懈胁邪薪?
- 效褌芯 写懈胁邪薪?
- 袗 泻芯谐写邪 胁械褉薪械褌褋褟 胁邪褕 褞薪芯褕邪鈥�
袨薪, 薪懈褋泻芯谢褜泻芯 薪械 蟹邪写褍屑褘胁邪褟褋褜, 锌褉芯褋褌芯 懈 胁械褋械谢芯 芯褌胁械褔邪谢:
- 孝芯谐写邪 胁邪屑 锌褉锟斤拷写械褌褋褟 写懈胁邪薪 芯褋胁芯斜芯写懈褌褜鈥�
袦薪械 薪邪写芯 胁褋褌邪褌褜 懈 锌芯斜懈褌褜 械屑褍 屑芯褉写褍. 袨薪, 胁懈写懈褌械 谢懈, 褋卸邪谢懈谢褋褟, 芯薪, 锌褉芯褋谢邪胁谢械薪薪邪褟 谢懈褔薪芯褋褌褜, 锌芯卸邪谢械谢 薪械褋褔邪褋褌薪芯谐芯, 褋斜懈胁褕械谐芯褋褟 褋 锌褍褌懈 屑芯谢芯写芯谐芯 褔械谢芯胁械泻邪. 袧芯 胁褉械屑械薪薪芯. 袩芯泻邪 胁械褉薪械褌褋褟 谐谢邪胁薪褘泄. 袝屑褍 锌褉芯褋褌芯 褋泻褍褔薪芯 锌芯 胁械褔械褉邪屑. 袗 锌芯褌芯屑 芯薪 屑械薪褟 胁褘谐芯薪懈褌. 小 褑懈薪懈蟹屑芯屑 芯薪 谐芯胁芯褉懈褌 芯斜 褝褌芯屑."
袙写芯胁邪 袩褉芯泻芯锌芯胁懈褔, 褉褘褏谢邪褟, 锌褉懈褉邪斜邪褌褘胁邪褞褖邪褟 褌械屑, 褔褌芯 谐芯褌芯胁懈褌 懈蟹 锌芯褌褉芯褏芯胁 写谢褟 邪褉褌械谢懈 锌邪褉懈泻屑邪褏械褉芯胁, 懈 泻芯褉屑褟褖邪褟 芯褋褌邪褌泻邪屑懈 泻芯褕械泻 - 褋懈屑胁芯谢 "屑褍卸褋泻芯泄 褍薪懈卸械薪薪芯褋褌懈" 袣邪胁邪谢械褉芯胁邪.
袧芯 懈 械械 械屑褍 锌褉懈写械褌褋褟 写械谢懈褌褜 褋 袠胁邪薪芯屑 袘邪斜懈褔械胁褘屑.
袙芯谢芯写褟 袦邪泻邪褉芯胁 胁薪械褕薪械 锌芯谢芯卸懈褌械谢褜薪褘泄 谐械褉芯泄 - 蟹薪邪屑械薪懈褌褘泄 褋锌芯褉褌褋屑械薪, 褔械褌泻芯 褋褌邪胁褟褖懈泄 锌械褉械写 褋芯斜芯泄 褑械谢懈, 薪芯 懈 芯薪 胁 褋胁芯械屑 锌懈褋褜屑械 斜芯懈褌褋褟 锌芯褌械褉褟褌褜 褋胁芯泄 写懈胁邪薪 胁 泻胁邪褉褌懈褉械 袘邪斜懈褔械胁邪. 袨薪 褌邪泻芯泄 卸械 屑械谢泻懈泄 褔械谢芯胁械褔懈褕泻芯, 褔褌芯 懈 袣邪胁邪谢械褉芯胁.
April 11, 2008
This book made me realize the way that satire, if taken to a linguistic (if not necessarily logical) extreme, can actually turn inside out and become a form of praise. Olesha's narrator keeps talking about how much he hates, but his language is so lively that eventually you come to see him as a creature posessed, not by anger, but by a strange and uncontrollable joy. He's a Mozart of hate: so excellent at it that the simple practice of his gift makes him smile despite himself. The record of his facility is a pungent, reeking monologue whose images have nonetheless been cleaned by their vitriol to a metallic shine. Also, on the short list of books that are actually funny.
(Another way to look at this book is to think of what Nathaniel West might have been like if he hadn't been Puritanically terrified of his own comedy. West's loathing remains, for me at least, loathing, untransmuted. But Olesha's book is practically a fairy tale.)
(Another way to look at this book is to think of what Nathaniel West might have been like if he hadn't been Puritanically terrified of his own comedy. West's loathing remains, for me at least, loathing, untransmuted. But Olesha's book is practically a fairy tale.)
January 1, 2017
This starts off well: Mornings he sings on the toilet.
It鈥檚 an observation made by Nikolai Kavalerov, our narrator, of Andrei Babichev. Andrei has managed to play the Soviet game and has done quite well for himself, well enough anyhow to sing on the toilet in the morning. It was Nikolai whom Andrei found drunk in the gutter one day and rescued, sort of, taking him into his household and giving him a gopher kind of job. But Nikolai will turn ingrate, as anti-heroes often do. He鈥檚 spends his time lamenting his existence: Soup served to me never cools.
And so, Nikolai looks at Andrei, a great sausage and pastry man, and one of the state鈥檚 most remarkable men. And Nikolai, just Andrei鈥檚 jester, feels . . . . Envy?
This is a satirical novel about 1927 Stalinist Russia, cryptic enough apparently not to get Olesha thrown in jail or worse, but pointed enough that he got the message to stop writing.
While this is political enough to warm the hearts of those feeling nostalgic for the Cold War,* it left me, well, cold. I get that that was then and this is now and I鈥檓 hardly politically correct, but when Olesha, to continue his theme of Envy, has Andrei鈥檚 brother observing a little girl - a very typical girl, twelve years old, dainty feet, short dress, all pink, satin, and ruffles . . . she looked like the flower known as a snapdragon - and then grabbed her by the nape and rammed her forehead into a column a few times, well it was then that I hurried to the end. Not fast enough, though, to escape another woman being beaten.
______________________________
*Wait, they did what??? And we . . .? Oh, no.
It鈥檚 an observation made by Nikolai Kavalerov, our narrator, of Andrei Babichev. Andrei has managed to play the Soviet game and has done quite well for himself, well enough anyhow to sing on the toilet in the morning. It was Nikolai whom Andrei found drunk in the gutter one day and rescued, sort of, taking him into his household and giving him a gopher kind of job. But Nikolai will turn ingrate, as anti-heroes often do. He鈥檚 spends his time lamenting his existence: Soup served to me never cools.
And so, Nikolai looks at Andrei, a great sausage and pastry man, and one of the state鈥檚 most remarkable men. And Nikolai, just Andrei鈥檚 jester, feels . . . . Envy?
This is a satirical novel about 1927 Stalinist Russia, cryptic enough apparently not to get Olesha thrown in jail or worse, but pointed enough that he got the message to stop writing.
While this is political enough to warm the hearts of those feeling nostalgic for the Cold War,* it left me, well, cold. I get that that was then and this is now and I鈥檓 hardly politically correct, but when Olesha, to continue his theme of Envy, has Andrei鈥檚 brother observing a little girl - a very typical girl, twelve years old, dainty feet, short dress, all pink, satin, and ruffles . . . she looked like the flower known as a snapdragon - and then grabbed her by the nape and rammed her forehead into a column a few times, well it was then that I hurried to the end. Not fast enough, though, to escape another woman being beaten.
______________________________
*Wait, they did what??? And we . . .? Oh, no.
June 27, 2017
"Envy" is a social satire, published in 1927, during the early years of the Soviet New Economic Policy, a confusing time when the Communist society adopted some Capitalistic policies. The book shows the strengths and flaws of both the new era and the old era. The destitute Nikolai Kavalerov is taken in by the successful businessman Andrei Babichev. Kavalerov envies the success and respect that Babichev receives, but also feels contempt for him. Kavalerov has a poetic soul and wants to have a more meaningful existence in a less mechanized world. There are six main characters with three representing the new Communist era, and the other three holding on to the old era. It's a psychological study as well as a political book. As the story progresses, it becomes rather bizarre with scenes of fantasy. The second half of the book is not as strong as the beginning. The reader should keep in mind that Olesha was writing at a time when many books were being censored, and the feelings of the author are ambiguous. This was a strange, but interesting, book to read in 2017, one hundred years after the Russian Revolution. 2.5-3 stars.
March 9, 2024
"Afgunst" geldt als een van de hoogtepunten in de Russische literatuur van de jaren '20, maar ik had er nog nooit van gehoord. Het werd echter door Dubravka Ugresic in "Europa in sepia" onlangs zo aanstekelijk bejubeld dat ik het meteen kocht (tweedehands, want het is niet meer in de handel). Welnu, Ugresic heeft volgens mij helemaal gelijk: "Afgunst" is inderdaad een geweldige en heerlijk ongrijpbare roman, een even burleske als po毛tische satire die helemaal doordrenkt is van een ongelofelijk originele po毛tische verbeeldingskracht en van een even barokke als ongeremde fantasie.
De grillige plot van het verhaal hangt van droomachtige wendingen en maffe associaties aan elkaar, en is nauwelijks na te vertellen. Maar het gaat ook minder om de plot dan om de aanstekelijk bizarre erupties, fantasie毛n en gedachten van de twee hoofdpersonen, de charmante oplichter en fantast Iwan Babitjsew, en de kroeglopende schrijver Nikolaj Kawalerow. Twee figuren die zich vol uiterst eloquente hoon afwenden van de maatschappelijke orde, en bitter de spot drijven met alle vooruitgangsgeloof en utopische dromen in Rusland tien jaar na de Russische revolutie. Iwan Babitsjew fantaseert over een laatste parade van verouderde gevoelens die volgens hem georganiseerd zou moeten worden, een carnavalesk vuurwerk van emoties en hogere waarden die in 'de nieuwe wereld' ten onder zullen gaan en dan in dat vuurwerk nog een laatste keer kunnen glanzen voordat ze groots exploderen. En Babitsjew explodeert dan mee, zo is de bedoeling. Ook heeft hij de machine der machines bedacht, uiteraard alleen in zijn fantasievolle dromen, een machine die alles zou kunnen maar die tegelijk ook geperverteerd en disfunctioneel is zodat hij de nieuwe tijd totaal parodieert en bespot. De naam van die machine is dan, bizar genoeg, Ophelia: dat lijkt een verwijzing naar het personage in "Hamlet", dus naar de voor Hamlet uiteindelijk zo onbereikbare geliefde, die bovendien van liefde en wanhoop haar verstand verloor en haar leven. Dat Iwan Babitsjew nou net haar naam voor zijn machine der machines gebruikt symboliseert wellicht hoezeer hij naar het onmogelijke verlangt en hoezeer die machine het product is van verlokkende maar onrealiseerbare dromen. "Ophelia" is trouwens lang niet de enige fantastische en onmogelijke machine die Iwan Babitsjew verzint: de man hangt van fantasma's en verlokkende verzinsels aan elkaar, en fabuleert er voortdurend op onnavolgbare wijze op los. Wat ongetwijfeld een verzet is tegen de tijdgeest: in het toenmalige Rusland werd niet de fantasie omarmd maar 'de nieuwe mens' als machine en als onderdeel van een oppermachtige technocratie. Daartegen verzet Iwan Babitsjew zich dus met zijn fantasievolle gefabuleer en zijn bizarre verzinsels. Bovendien, dingen verzinnen is voor hem ook een innerlijke noodzaak, een primaire levensbehoefte. Niet voor niets wordt op een gegeven moment gezegd: "Maar laat het een verzinsel zijn geweest. Fantasie is immers de verliefde rede".
Ook de kroeglopende schrijver Nikolaj Kawalerow is een fantast, en iemand die de "verliefde rede" omarmt. De fantasie is bij hem echter niet zozeer een verzinsel, maar vooral een soort nieuw en ander perspectief op de werkelijkheid, waardoor hij dingen ziet die niemand anders zo ziet. "Ik amuseer me ermee de dingen gade te slaan. Hebt u ooit opgemerkt, hoe het zout van de punt van een mes valt zonder er een spoor achter te laten, - het mes glimt alsof het nooit was aangeraakt; dat een pince-nez als een fiets over de rug van een neus rijdt; dat de mensen omringd worden door talloze kleine opschriften, een krioelende mierenhoop van minuscule inscripties; op de vorken, lepels, borden, op het montuur van de pince-nez, op knopen en potloden? Niemand let op die dingen. Zij vechten voor hun bestaan. Zij nemen velerlei gestalte aan, tot aan de reusachtige letters der uithangborden toe! Zij komen in opstand en voeren een klassenstrijd: de letters van de straatnaambordjes vechten met de letters van de reclameaffiches". Dat is de volstrekt onalledaagse optiek van Kawalerow, dat is zijn van barokke fantasie - dus van waanzinnig verliefde rede- doordrenkte blik op de wereld.
Die blik van Kawalerow (mogelijk een alter ego van Oljesja zelf) is op elke pagina voelbaar. Een hijskraan lijkt voor hem op, jawel, een kever. Als hij een gewone knoop ziet, dat ziet hij in die knoop meteen een heel panorama: "de lichtblauwe en roze wereld draait rond in het objectief van de parelmoeren knoop". Hij ziet niet, als anderen, gewoon een muur van gewoon een huis, want in die muur ziet hij een hele nieuwe wereld. Een stem klinkt voor hem als "een lege klisteerspuit", brillenglazen zien er voor hem uit als "twee grote, blinde schotels". Een gezicht oogt voor hem als "een hangslot", een hand als "een fluit", een langsvarend schip als een "doorgesneden amandel". Een etalage "kijkt hem spotlachend aan", en een keer wordt er in zijn beleving "door een geverniste kamerhoek letterlijk naar hem gebeten". Hij is lyrisch over een houten ledikant, op een wel heel onverwachte manier: "Onder gefluit van de straatjongens werd het meubel op een handkar weggesleept. De blauwe lucht weerkaatste zich in de voortrollende spiegelbogen en het leek, of de oogleden van twee prachtige ogen zich langzaam openden en weer sloten". En in een boze dialoog met iemand die- anders dan Kawalerow, anders dan Iwan Babitsjew- de grofstoffelijke en al te 'realistische' tijdgeest vertegenwoordigt, verdedigt hij als volgt ZIJN afwijkende blik op een 'gewoon' meisje dat voor de verliefde Kawalerow echter buitengewoon is: "Goed dan, ze stond voor me... ja, laat ik beginnen het in mijn eigen woorden te zeggen: zij was lichter dan een schaduw, de allerlichtste schaduw van neerdwarrelende sneeuw zou haar nog kunnen benijden; jawel, eerst in mijn eigen woorden: zij heeft niet naar me geluisterd met haar oor, maar met haar slaap, toen zij haar hoofd zacht naar mij toeboog; ja, haar gezichtje lijkt op een noot, het heeft dezelfde zonverbrande kleur en wat de vorm aangaat, die is ter hoogte van de jukbeenderen rond en loopt spits toe naar de kin". Hier verdedigt Kawalerow uit alle macht zijn barokke fantasie, die bovendien wel heel nadrukkelijk een voorbeeld van "verliefde rede" is: een manier van kijken die zijn verliefdheid op een meisje nog verdiept, omdat hij haar geliefde gezicht op andere manieren beziet en beleeft dan wie ter wereld ook. En die manier van kijken, van hem en van Iwan Babitsjew, doordesemt het hele boek, dat daardoor een onnavolgbaar grillig leesfeest wordt.
Door de voortdurende grilligheid van deze stijl is deze roman voortdurend intrigerend raadselachtig van bedoeling. Vertaler Charles B. Timmer zegt m.i. terecht dat dit een boek is "van een schrijver, die 'in beweging' schrijft, en die in die beweging zijn lezer meesleept, die aandacht vraagt voor zijn rondtasten in een raadsel en niet voor een boodschap die hij achter de hand houdt". In alle citaten hiervoor is dat duidelijk te zien: het zijn proeven van grillige fantasie die de wereld anders en vreemd laat zien, en die dus de oude vertrouwde betekenissen tussen aanhalingstekens zet en geen nieuwe betekenissen aanreikt. Daarbij komt nog dat het hele verhaal tussen droom en realiteit in hangt, net als bij Gogolj, ons door zijn voortdurende mafheid en meerduidigheid steeds op het verkeerde been zet, net als bij Platonov, en een plot heeft zonder logische voortgang of eindpunt. Bovendien is de roman als geheel een dubbelzinnig raadsel zonder duidelijke boodschap. Iwan Babitsjew en Nikolaj Kawalerow zijn bovendien onmaatschappelijke personages, wereldvreemde Chaplinfiguren, nietsnutten, bedriegers, outcasts die deels tegen hun zin zijn uitgesloten en deels ervoor kiezen om uitgesloten te zijn. Dat geeft hen dezelfde intrigerende dubbelzinnigheid als andere "overtollige mensen" uit de Russische literatuur, zoals Oblomov of Dostojewsky's man uit het ondergrondse. Het zijn helden en antihelden tegelijk, asocialen en moreel hoogstaande figuren ineen. Geen dragers van een eenduidige boodschap of levensles, maar dragers van grillige fantasma's en meerduidigheid. In deze roman staan ze dan tegenover Andrej Babitsjew (de broer van Iwan) en Wolodja Makarow, twee personages die juist wel de tijdgeest omarmen van Rusland anno 1920. Maar ja, ook die personages zijn behoorlijk meerduidig, en hebben soms verrassende overeenkomsten met hun nietsnuttige tegenstrevers. Het omgekeerde geldt trouwens ook. De confrontaties tussen enerzijds Andrej en Wolodja en anderzijds Iwan en Nikolaj zijn dus geen simpele confrontaties tussen 'pro' en 'contra' de tijdgeest. Bovendien is het ook volmaakt onbeslisbaar wie nou als overwinnaar uit deze confrontaties komt, en of er wel zo'n winnaar is.
Misschien is dus de enige boodschap van deze roman het ONTBREKEN van een boodschap. Of, anders gezegd, dat er geen absolute en vaste waarheden bestaan, en dat we moeten rondtasten in het raadsel. Misschien was dat ook wel een protest tegen de dogmatische tijdgeest van het communistische Rusland, waarin immers meerduidigheid zoveel mogelijk werd gesmoord. Maar zelf waardeer ik het vooral als een feest van de "verliefde rede" van de fantasie, die hele werelden vol van rijke en grillige vreemdheid voor ons kan openen.
De grillige plot van het verhaal hangt van droomachtige wendingen en maffe associaties aan elkaar, en is nauwelijks na te vertellen. Maar het gaat ook minder om de plot dan om de aanstekelijk bizarre erupties, fantasie毛n en gedachten van de twee hoofdpersonen, de charmante oplichter en fantast Iwan Babitjsew, en de kroeglopende schrijver Nikolaj Kawalerow. Twee figuren die zich vol uiterst eloquente hoon afwenden van de maatschappelijke orde, en bitter de spot drijven met alle vooruitgangsgeloof en utopische dromen in Rusland tien jaar na de Russische revolutie. Iwan Babitsjew fantaseert over een laatste parade van verouderde gevoelens die volgens hem georganiseerd zou moeten worden, een carnavalesk vuurwerk van emoties en hogere waarden die in 'de nieuwe wereld' ten onder zullen gaan en dan in dat vuurwerk nog een laatste keer kunnen glanzen voordat ze groots exploderen. En Babitsjew explodeert dan mee, zo is de bedoeling. Ook heeft hij de machine der machines bedacht, uiteraard alleen in zijn fantasievolle dromen, een machine die alles zou kunnen maar die tegelijk ook geperverteerd en disfunctioneel is zodat hij de nieuwe tijd totaal parodieert en bespot. De naam van die machine is dan, bizar genoeg, Ophelia: dat lijkt een verwijzing naar het personage in "Hamlet", dus naar de voor Hamlet uiteindelijk zo onbereikbare geliefde, die bovendien van liefde en wanhoop haar verstand verloor en haar leven. Dat Iwan Babitsjew nou net haar naam voor zijn machine der machines gebruikt symboliseert wellicht hoezeer hij naar het onmogelijke verlangt en hoezeer die machine het product is van verlokkende maar onrealiseerbare dromen. "Ophelia" is trouwens lang niet de enige fantastische en onmogelijke machine die Iwan Babitsjew verzint: de man hangt van fantasma's en verlokkende verzinsels aan elkaar, en fabuleert er voortdurend op onnavolgbare wijze op los. Wat ongetwijfeld een verzet is tegen de tijdgeest: in het toenmalige Rusland werd niet de fantasie omarmd maar 'de nieuwe mens' als machine en als onderdeel van een oppermachtige technocratie. Daartegen verzet Iwan Babitsjew zich dus met zijn fantasievolle gefabuleer en zijn bizarre verzinsels. Bovendien, dingen verzinnen is voor hem ook een innerlijke noodzaak, een primaire levensbehoefte. Niet voor niets wordt op een gegeven moment gezegd: "Maar laat het een verzinsel zijn geweest. Fantasie is immers de verliefde rede".
Ook de kroeglopende schrijver Nikolaj Kawalerow is een fantast, en iemand die de "verliefde rede" omarmt. De fantasie is bij hem echter niet zozeer een verzinsel, maar vooral een soort nieuw en ander perspectief op de werkelijkheid, waardoor hij dingen ziet die niemand anders zo ziet. "Ik amuseer me ermee de dingen gade te slaan. Hebt u ooit opgemerkt, hoe het zout van de punt van een mes valt zonder er een spoor achter te laten, - het mes glimt alsof het nooit was aangeraakt; dat een pince-nez als een fiets over de rug van een neus rijdt; dat de mensen omringd worden door talloze kleine opschriften, een krioelende mierenhoop van minuscule inscripties; op de vorken, lepels, borden, op het montuur van de pince-nez, op knopen en potloden? Niemand let op die dingen. Zij vechten voor hun bestaan. Zij nemen velerlei gestalte aan, tot aan de reusachtige letters der uithangborden toe! Zij komen in opstand en voeren een klassenstrijd: de letters van de straatnaambordjes vechten met de letters van de reclameaffiches". Dat is de volstrekt onalledaagse optiek van Kawalerow, dat is zijn van barokke fantasie - dus van waanzinnig verliefde rede- doordrenkte blik op de wereld.
Die blik van Kawalerow (mogelijk een alter ego van Oljesja zelf) is op elke pagina voelbaar. Een hijskraan lijkt voor hem op, jawel, een kever. Als hij een gewone knoop ziet, dat ziet hij in die knoop meteen een heel panorama: "de lichtblauwe en roze wereld draait rond in het objectief van de parelmoeren knoop". Hij ziet niet, als anderen, gewoon een muur van gewoon een huis, want in die muur ziet hij een hele nieuwe wereld. Een stem klinkt voor hem als "een lege klisteerspuit", brillenglazen zien er voor hem uit als "twee grote, blinde schotels". Een gezicht oogt voor hem als "een hangslot", een hand als "een fluit", een langsvarend schip als een "doorgesneden amandel". Een etalage "kijkt hem spotlachend aan", en een keer wordt er in zijn beleving "door een geverniste kamerhoek letterlijk naar hem gebeten". Hij is lyrisch over een houten ledikant, op een wel heel onverwachte manier: "Onder gefluit van de straatjongens werd het meubel op een handkar weggesleept. De blauwe lucht weerkaatste zich in de voortrollende spiegelbogen en het leek, of de oogleden van twee prachtige ogen zich langzaam openden en weer sloten". En in een boze dialoog met iemand die- anders dan Kawalerow, anders dan Iwan Babitsjew- de grofstoffelijke en al te 'realistische' tijdgeest vertegenwoordigt, verdedigt hij als volgt ZIJN afwijkende blik op een 'gewoon' meisje dat voor de verliefde Kawalerow echter buitengewoon is: "Goed dan, ze stond voor me... ja, laat ik beginnen het in mijn eigen woorden te zeggen: zij was lichter dan een schaduw, de allerlichtste schaduw van neerdwarrelende sneeuw zou haar nog kunnen benijden; jawel, eerst in mijn eigen woorden: zij heeft niet naar me geluisterd met haar oor, maar met haar slaap, toen zij haar hoofd zacht naar mij toeboog; ja, haar gezichtje lijkt op een noot, het heeft dezelfde zonverbrande kleur en wat de vorm aangaat, die is ter hoogte van de jukbeenderen rond en loopt spits toe naar de kin". Hier verdedigt Kawalerow uit alle macht zijn barokke fantasie, die bovendien wel heel nadrukkelijk een voorbeeld van "verliefde rede" is: een manier van kijken die zijn verliefdheid op een meisje nog verdiept, omdat hij haar geliefde gezicht op andere manieren beziet en beleeft dan wie ter wereld ook. En die manier van kijken, van hem en van Iwan Babitsjew, doordesemt het hele boek, dat daardoor een onnavolgbaar grillig leesfeest wordt.
Door de voortdurende grilligheid van deze stijl is deze roman voortdurend intrigerend raadselachtig van bedoeling. Vertaler Charles B. Timmer zegt m.i. terecht dat dit een boek is "van een schrijver, die 'in beweging' schrijft, en die in die beweging zijn lezer meesleept, die aandacht vraagt voor zijn rondtasten in een raadsel en niet voor een boodschap die hij achter de hand houdt". In alle citaten hiervoor is dat duidelijk te zien: het zijn proeven van grillige fantasie die de wereld anders en vreemd laat zien, en die dus de oude vertrouwde betekenissen tussen aanhalingstekens zet en geen nieuwe betekenissen aanreikt. Daarbij komt nog dat het hele verhaal tussen droom en realiteit in hangt, net als bij Gogolj, ons door zijn voortdurende mafheid en meerduidigheid steeds op het verkeerde been zet, net als bij Platonov, en een plot heeft zonder logische voortgang of eindpunt. Bovendien is de roman als geheel een dubbelzinnig raadsel zonder duidelijke boodschap. Iwan Babitsjew en Nikolaj Kawalerow zijn bovendien onmaatschappelijke personages, wereldvreemde Chaplinfiguren, nietsnutten, bedriegers, outcasts die deels tegen hun zin zijn uitgesloten en deels ervoor kiezen om uitgesloten te zijn. Dat geeft hen dezelfde intrigerende dubbelzinnigheid als andere "overtollige mensen" uit de Russische literatuur, zoals Oblomov of Dostojewsky's man uit het ondergrondse. Het zijn helden en antihelden tegelijk, asocialen en moreel hoogstaande figuren ineen. Geen dragers van een eenduidige boodschap of levensles, maar dragers van grillige fantasma's en meerduidigheid. In deze roman staan ze dan tegenover Andrej Babitsjew (de broer van Iwan) en Wolodja Makarow, twee personages die juist wel de tijdgeest omarmen van Rusland anno 1920. Maar ja, ook die personages zijn behoorlijk meerduidig, en hebben soms verrassende overeenkomsten met hun nietsnuttige tegenstrevers. Het omgekeerde geldt trouwens ook. De confrontaties tussen enerzijds Andrej en Wolodja en anderzijds Iwan en Nikolaj zijn dus geen simpele confrontaties tussen 'pro' en 'contra' de tijdgeest. Bovendien is het ook volmaakt onbeslisbaar wie nou als overwinnaar uit deze confrontaties komt, en of er wel zo'n winnaar is.
Misschien is dus de enige boodschap van deze roman het ONTBREKEN van een boodschap. Of, anders gezegd, dat er geen absolute en vaste waarheden bestaan, en dat we moeten rondtasten in het raadsel. Misschien was dat ook wel een protest tegen de dogmatische tijdgeest van het communistische Rusland, waarin immers meerduidigheid zoveel mogelijk werd gesmoord. Maar zelf waardeer ik het vooral als een feest van de "verliefde rede" van de fantasie, die hele werelden vol van rijke en grillige vreemdheid voor ons kan openen.
April 1, 2016
A tale of two books (interestingly, with the same structure as Master and Margarita), with an absolutely fantastic 5 star first half that gets sucked into a jumble in Part Two. The sections have little in common besides character (first person vs third; modest surreality vs complete absurdity; recognizable characters vs dreams), and the allegory at play in the latter part of the book is frustratingly opaque. That's not Olesha's fault, of course, given the situation in the 20's, but it's undeniably frustrating to lose the humor and humanity in the novel's simple set-up. The prime antagonist is a wonderful character and things perk up a bit during a soccer match toward the book's end, but it wasn't enough to right the ship.
May 22, 2013
If it were not for the first 50% of this more or less being a normal book (and an interesting one, too!), I would have given this 1 star. The first 50% - 4 stars, the last - 0 to 1. Perhaps I just don't get Russian literature. What's wrong with having an actual narrative? What's with this need to make everything absurd to get whatever obscure point you're interested in across? (I didn't get the point, AT ALL.) There's an obnoxious drunk (again Russia, what's with the unlikeable main characters?), a fat and loved man of activity, an idealized New Man, an uninteresting girl that gets as much substance as the New Man (she's just something all the men seem to want to possess because she's young and pretty, almost a child in her pink dress, blablabla), an old widow who actually gets some (plus the obligatory beating), etc, and the machine and the stolovaja or whatever it is. Chaos.
In order to have any clue what this was all about (except for the envy, that's pretty self-explanatory), I'd probably need a week of daily classes picking the story apart. Not so sure I'd be interested though.
In order to have any clue what this was all about (except for the envy, that's pretty self-explanatory), I'd probably need a week of daily classes picking the story apart. Not so sure I'd be interested though.
October 31, 2019
Books that linger long out of their relevance are hard to judge. Envy is very much a novel of its time, that weird post-Revolutionary decade when the Soviet shit really started to hit the fan. The novel's antagonism between the sad-sack would-be avant-gardist and the New Man of Soviet Russia (here an overweight sausage manufacturer) resonates far less now than it did then. But their simmering, slow-motion conflict, exacerbated by the sausage maker's eccentric brother who sides with sad-sack, is often funny and not rarely poetical.
The eccentric brother is actually the centerpiece, with his weird notions of collecting emotions before the New Men do away with them and his cantakerous, dangerous machine named 'Ophelia' which is fueled by these emotions. Those bits are enough on their own, but there is enough fun and funny elsewhere to make it still worth reading.
The eccentric brother is actually the centerpiece, with his weird notions of collecting emotions before the New Men do away with them and his cantakerous, dangerous machine named 'Ophelia' which is fueled by these emotions. Those bits are enough on their own, but there is enough fun and funny elsewhere to make it still worth reading.
April 13, 2022
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賱賲 鬲賰賳 鬲噩乇亘丞 賳丕噩丨丞 兀賵 丨鬲賶 乇亘毓 賳丕噩丨丞 丨鬲賶 兀賰鬲亘 亘賴丕 乇兀賷賷貙 兀賮爻丿鬲 丕賱鬲乇噩賲丞 毓賱賷賾 鬲賵賯毓丕鬲賷 賵兀鬲賲賳賶 兀賳 兀鬲毓乇賮 毓賱賶 賰丕鬲亘 丕賱乇賵丕賷丞 賷賵乇賷 兀賵賱賷卮丕 亘毓賲賱賺 兀禺乇 鬲禺丿賲賴 丕賱鬲乇噩賲丞.
賲丕匕丕 亘毓丿 丕賱賯乇丕亍丞 責
賳鬲噩丕賵夭 賴匕賴 丕賱賮賯乇丞 賱兀賳賳丕 賱賲 賳賯乇兀 丕賱毓賲賱.
#兀亘噩丿賷丞_賮乇丨 馃摎馃尫
鈥�#肠补苍诲濒别蹿濒补尘别23产辞辞办谤别惫颈别飞蝉
#乇賵丕賷丞_丕賱丨爻丿 #賷賵乇賷_兀賵賱賷卮丕 #兀丿亘_乇賵爻賷
#睾乇丿冲亘廿賯鬲亘丕爻
#賲乇丕噩毓丞冲賰鬲丕亘
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賱賲 鬲賰賳 鬲噩乇亘丞 賳丕噩丨丞 兀賵 丨鬲賶 乇亘毓 賳丕噩丨丞 丨鬲賶 兀賰鬲亘 亘賴丕 乇兀賷賷貙 兀賮爻丿鬲 丕賱鬲乇噩賲丞 毓賱賷賾 鬲賵賯毓丕鬲賷 賵兀鬲賲賳賶 兀賳 兀鬲毓乇賮 毓賱賶 賰丕鬲亘 丕賱乇賵丕賷丞 賷賵乇賷 兀賵賱賷卮丕 亘毓賲賱賺 兀禺乇 鬲禺丿賲賴 丕賱鬲乇噩賲丞.
賲丕匕丕 亘毓丿 丕賱賯乇丕亍丞 責
賳鬲噩丕賵夭 賴匕賴 丕賱賮賯乇丞 賱兀賳賳丕 賱賲 賳賯乇兀 丕賱毓賲賱.
#兀亘噩丿賷丞_賮乇丨 馃摎馃尫
鈥�#肠补苍诲濒别蹿濒补尘别23产辞辞办谤别惫颈别飞蝉
#乇賵丕賷丞_丕賱丨爻丿 #賷賵乇賷_兀賵賱賷卮丕 #兀丿亘_乇賵爻賷
#睾乇丿冲亘廿賯鬲亘丕爻
#賲乇丕噩毓丞冲賰鬲丕亘
September 5, 2021
1927 y谋l谋nda yaz谋lan K谋skan莽l谋k鈥檛a, d枚nemin Sovyet d眉zeninin metaforu yarat谋lm谋艧, Sovyet Rusya鈥檔谋n ilk y谋llar谋ndaki 莽arp谋艧an de臒erlerinin ileriye d枚n眉k bir portresi 莽izilmi艧.
Toplumsal ta艧lamalar ve yo臒un ironi ile bezeli anlat谋m 莽ok da臒谋n谋k geldi bana. Pek keyif alamad谋臒谋m bir okuma oldu ki Rus edebiyat谋 benim g枚zdemdir asl谋nda 馃し馃徎鈥嶁檧锔�
Toplumsal ta艧lamalar ve yo臒un ironi ile bezeli anlat谋m 莽ok da臒谋n谋k geldi bana. Pek keyif alamad谋臒谋m bir okuma oldu ki Rus edebiyat谋 benim g枚zdemdir asl谋nda 馃し馃徎鈥嶁檧锔�
April 29, 2016
Envy captures the single greatest hallmark of Russian literature: ambiguity. It is the same sense of confusion that leaves true lovers of Flannery O鈥機onner saying to themselves 鈥淚 know this was important鈥� but why?鈥� Olesha鈥檚 novel concerns itself with one of the most important ideas in the newly formed USSR, the 鈥淣ew Soviet Man.鈥� Rejecting the alcoholic, bored, womanizing, unorganized model of a true man that used to be famous, Lenin wanted to glorify the youth, virility, equality, and mechanic devotion of Russians to the motherland. Envy shows a number of men, and a few women, who attempt to become this 鈥淣ew Soviet Man.鈥�
As is to be expected, failure abounds. Olesha does a magnificent job of describing the intricate contradictions between the numerous characters and their varying beliefs. The pull and tug between the old and the new, the rich and poor, large and small, known and unknown, hatred and love, all of these make up the conflict Russia faced, moving into the glory that might have been the USSR. The audience is left wondering who can be trusted, who is just putting on a fa莽ade, who is a true man, and what in the world Ophelia is. Even the most devoted reader will leave the novel with no answers; immensely happy, but with no answers.
Envy is an incredible portrait of Russia at a difficult and confusing time, especially for its inhabitants. The writing itself is much like the story: full of dreams, lies, deception, and, of course, envy. Who is jealous of whom, what is real and what is a dream, and what are the true motives of the characters, these are all questions the reader is forced to answer with little help. The writing mirrors the labyrinth of lies, leaving the half-informed reader in the same shock of confusion and suspicion as the characters. Any writer who can make his audience feel that has accomplished something special.
Although short, Envy is not a novel for someone unaccustomed to ambiguity. You must have a open mind, or the story will simple stop itself. It is no wonder that the Russian government was equally confused by the novel, as both sides found themselves alternatively glorified and mocked. Easily readable in a long afternoon, Envy is a work that gets inside your head. As we all know, there is no higher praise.
As is to be expected, failure abounds. Olesha does a magnificent job of describing the intricate contradictions between the numerous characters and their varying beliefs. The pull and tug between the old and the new, the rich and poor, large and small, known and unknown, hatred and love, all of these make up the conflict Russia faced, moving into the glory that might have been the USSR. The audience is left wondering who can be trusted, who is just putting on a fa莽ade, who is a true man, and what in the world Ophelia is. Even the most devoted reader will leave the novel with no answers; immensely happy, but with no answers.
Envy is an incredible portrait of Russia at a difficult and confusing time, especially for its inhabitants. The writing itself is much like the story: full of dreams, lies, deception, and, of course, envy. Who is jealous of whom, what is real and what is a dream, and what are the true motives of the characters, these are all questions the reader is forced to answer with little help. The writing mirrors the labyrinth of lies, leaving the half-informed reader in the same shock of confusion and suspicion as the characters. Any writer who can make his audience feel that has accomplished something special.
Although short, Envy is not a novel for someone unaccustomed to ambiguity. You must have a open mind, or the story will simple stop itself. It is no wonder that the Russian government was equally confused by the novel, as both sides found themselves alternatively glorified and mocked. Easily readable in a long afternoon, Envy is a work that gets inside your head. As we all know, there is no higher praise.
June 20, 2011
Lately, I have found myself on a bit of a reading jag with the Russian literary novelists who were effectively repressed and, thus, went sadly unread during their lifetimes. There is a strange kind of bitter sweetness to the writing as well as power, wit, satire and illumination with a markedly Soviet flare. Because Soviet censorship and cultural repression were ultimately death knells to Russian writers, you have to admire their persistance amid the hopelessness of their culture for their publication. They wrote neither for money nor fame, like American commercial novelists: these Russians wrote because they were driven within their souls to write. These Russians are writers' writers: they never sold out to their cultures and, in fact, suffered immensely because of their opposition to it. The eponymous theme of this novel places at odds an inventor and a bevy of commonplace individuals -- the classic bourgeois versus the proletariat of the Russian class system: serfs versus masters. The inventor is what Nietzsche would call a "Higher Man" and the peasants suffer from "resentiment" as Nietzsche described the envy of the lower classes in "The Will to Power." If you were a higher man, this emotion was expected to be displayed against you by the less powerful who would seek to bring you down to their level. Marx, Lenin and Stalin were all classic Nietzschean higher men. I had a bit of a hard time becoming transported or immersed or even connecting with the characters of this tale and don't really understand the very high marks others seem to give Olesha, who doesn't really compare as well to Lermontov, Bulgakov, Pushkin, Platanov or Zamyatin, for example. Without giving away the ending, let me just say that I was indifferent to it. But in a way the denouement represents a kind of superior Russian realism of the sort Olesha may have wanted to project in Envy. The novel left me flat in the same way that Disgrace and Atonement did: maybe it's just the vapid theme that went wanting in this novel for me. By all means read the Russians but I would seek out the others first and perhaps circle back to Olesha.
October 22, 2008
Again, another random find while running my finger along bookspines in the public library, I suppose the cover鈥檚 design made itself familiar to me: NYRB.
It was a short novel and it had a Russian author, I decided to give it a try.
It begins with a blast, as though you have woken up to see the character in question. By the end of the first chapter you are introduced to the players: Kavalerov, the narrator and Andrei Babichev, the object of disdain.
The blurbs put this book in the same category as Nabokov, perhaps because of the narrator鈥檚 spurious point of view; Kavalerov is one you cannot trust, yet you will only get the story from him. He is a drunk, saved by Babichev, yet he cannot bring himself to find the enthusiasm for Babichev鈥檚 plans: Two Bits (the greatest cafeteria, the greatest kitchen), nor can he appreciate Babichev鈥檚 model communism. Kavalerov is too entrenched in his sardonic envy. Enter Ivan, Andrei鈥檚 brother and antithesis.
Ivan, in his bowler hat, the insane prophet, is the attempted savior of old-fashion emotions: 鈥溾€he new man is teaching himself to despise the old-fashion emotions glorified by poets and the muse of history herself. There you have it. And I want to organize a final parade of these emotions.鈥�
Envy is a pretty short novel working through some ideas regarding the individual in a communist society, and questioning where emotions fit in when everything has a place. How does Envy work when everyone is suppose to have what they need and everyone has a job to fulfill? Well worth reading.
It was a short novel and it had a Russian author, I decided to give it a try.
It begins with a blast, as though you have woken up to see the character in question. By the end of the first chapter you are introduced to the players: Kavalerov, the narrator and Andrei Babichev, the object of disdain.
The blurbs put this book in the same category as Nabokov, perhaps because of the narrator鈥檚 spurious point of view; Kavalerov is one you cannot trust, yet you will only get the story from him. He is a drunk, saved by Babichev, yet he cannot bring himself to find the enthusiasm for Babichev鈥檚 plans: Two Bits (the greatest cafeteria, the greatest kitchen), nor can he appreciate Babichev鈥檚 model communism. Kavalerov is too entrenched in his sardonic envy. Enter Ivan, Andrei鈥檚 brother and antithesis.
Ivan, in his bowler hat, the insane prophet, is the attempted savior of old-fashion emotions: 鈥溾€he new man is teaching himself to despise the old-fashion emotions glorified by poets and the muse of history herself. There you have it. And I want to organize a final parade of these emotions.鈥�
Envy is a pretty short novel working through some ideas regarding the individual in a communist society, and questioning where emotions fit in when everything has a place. How does Envy work when everyone is suppose to have what they need and everyone has a job to fulfill? Well worth reading.
May 16, 2012
wow. the first couple of pages just blow me away. every single sentence is like a gem. is it possible that Olesha has sustained this blend of imaginative language, wit and absurdism, and just all round fabulous story telling, throughout the course of the book? is that even possible? if he has this book is a treasure!
now, on page 40, i can read no more ... at least for now. i think all readers have those books they couldn't put down and all things -even sleep- must wait and we dwell within the realms of that story until the very last page. these books -for me at least- while a joy to read, are seldom a wonder. the books i call a wonder to read have -like Envy- a density that sates me after a few pages .... as though i have eaten a great meal and i cannot possibly consume more until i have digested what i have already taken in.
there are sentences in Envy that stop me in my tracks. sentences that i marvel at and that leave me in a state of wonder. like this sentence about Andrei Babichev who we know is a large robust and dominating figure; a figure that strikes awe in others: 'His shadow is cast perpendicularly across the street and almost produces a storm in the foliage of the garden on the other side.'
and then, a few pages later there is a marvelous contrast between Babichev's shadow and a beautiful young girl, one perceived to be pure: 'She was lighter than a shadow, the very lightest of shadows - the shadow of falling snow would envy her.'
Olesha has created a myth. a fable. a cautionary tale of Nikolai Kavelerov, the lumpenproletarian, and Andrei Babichev, the functionary. and what a time they live in. from Kavelerov's perspective it is a time of change and Babichev is the kind of man who excels in it and is glorified. but as Kavlerov says he doesn't understand this kind of glory and asks, "does it mean that the nature of glory has changed? Everywhere? Or only here, in the world being built?'
now i have gotten to know Volodya - the new man; the soviet man - the man who envies machines whose every action is purposeful and productive. machines whose work is so focused there is not even a single unnecessary squiggle.
and now what???? what is this? part two. i am dismayed. i resist. i don't want this -what i have in my hands- to end.
it takes me a few pages to get into part two but when i do i laugh at my resistance. it is so appropriate. in part two we meet Ivan and -after a few pages- i am loving this character who sees the end of an era, the end of the emotional side of humanity because the new man despises the 'ancient feelings glorified by the poets'. he mourns it's loss but is resolved to see it go out 'with a bang'. as he puts it: "I want arrange the last parade of these feelings."
the second half has a haphazard feel to it, and i don't quite 'get it' but then it occurs to me that -just as my resistance to the emergence of part two was appropriate- so is my reaction to this series of scenes and fever-induced dreams stitched together like a patchwork quilt. this is not the world of Andrei - an orderly and purposeful (if boastful) world - it is the world of the fool, the drunkard, the dreamer. this is the world of Ivan.
this is a story of contrasts: man against man. man against machine. the 1st person of part one vs the third person of part two. the individual vs the masses vs the state. the old era vs the new. the apathetic Kaveleroy vs Babichev the industrialist vs Babichev the hedonist. oh and there was a third Babichev .... the terrorist who was executed for his actions against the state.
what a book. i repeat. WHAT. A. BOOK!
i don't think i have ever read anything quite like it.
now, on page 40, i can read no more ... at least for now. i think all readers have those books they couldn't put down and all things -even sleep- must wait and we dwell within the realms of that story until the very last page. these books -for me at least- while a joy to read, are seldom a wonder. the books i call a wonder to read have -like Envy- a density that sates me after a few pages .... as though i have eaten a great meal and i cannot possibly consume more until i have digested what i have already taken in.
there are sentences in Envy that stop me in my tracks. sentences that i marvel at and that leave me in a state of wonder. like this sentence about Andrei Babichev who we know is a large robust and dominating figure; a figure that strikes awe in others: 'His shadow is cast perpendicularly across the street and almost produces a storm in the foliage of the garden on the other side.'
and then, a few pages later there is a marvelous contrast between Babichev's shadow and a beautiful young girl, one perceived to be pure: 'She was lighter than a shadow, the very lightest of shadows - the shadow of falling snow would envy her.'
Olesha has created a myth. a fable. a cautionary tale of Nikolai Kavelerov, the lumpenproletarian, and Andrei Babichev, the functionary. and what a time they live in. from Kavelerov's perspective it is a time of change and Babichev is the kind of man who excels in it and is glorified. but as Kavlerov says he doesn't understand this kind of glory and asks, "does it mean that the nature of glory has changed? Everywhere? Or only here, in the world being built?'
now i have gotten to know Volodya - the new man; the soviet man - the man who envies machines whose every action is purposeful and productive. machines whose work is so focused there is not even a single unnecessary squiggle.
and now what???? what is this? part two. i am dismayed. i resist. i don't want this -what i have in my hands- to end.
it takes me a few pages to get into part two but when i do i laugh at my resistance. it is so appropriate. in part two we meet Ivan and -after a few pages- i am loving this character who sees the end of an era, the end of the emotional side of humanity because the new man despises the 'ancient feelings glorified by the poets'. he mourns it's loss but is resolved to see it go out 'with a bang'. as he puts it: "I want arrange the last parade of these feelings."
the second half has a haphazard feel to it, and i don't quite 'get it' but then it occurs to me that -just as my resistance to the emergence of part two was appropriate- so is my reaction to this series of scenes and fever-induced dreams stitched together like a patchwork quilt. this is not the world of Andrei - an orderly and purposeful (if boastful) world - it is the world of the fool, the drunkard, the dreamer. this is the world of Ivan.
this is a story of contrasts: man against man. man against machine. the 1st person of part one vs the third person of part two. the individual vs the masses vs the state. the old era vs the new. the apathetic Kaveleroy vs Babichev the industrialist vs Babichev the hedonist. oh and there was a third Babichev .... the terrorist who was executed for his actions against the state.
what a book. i repeat. WHAT. A. BOOK!
i don't think i have ever read anything quite like it.
September 8, 2024
鈥淓nvidia鈥� (1927) es una s谩tira muy extra帽a, 驴lo que la hace especial? A mi parecer, el elevado sentido po茅tico y el estilo incre铆blemente original del autor, Yuri Olesha.
鈥淓n una ocasi贸n, levant贸 la mano para ense帽ar a sus amigos la palma, donde las venas trazaban la forma de un 谩rbol, y se lanz贸 a la siguiente improvisaci贸n:
鈥� He aqu铆 el 谩rbol de la vida 鈥攄ijo solemne鈥�. Este 谩rbol me habla m谩s de la vida y la muerte que los 谩rboles del parque que florecen y despu茅s se marchitan. No recuerdo exactamente cu谩ndo descubr铆 que me crec铆a un 谩rbol en la palma de la mano... Pero debi贸 de ser en aquella 茅poca maravillosa cuando el florecimiento y marchitamiento de los 谩rboles no me hablaban a煤n de la vida y la muerte, sino del final y el principio del curso escolar. Entonces era azulado, ese 谩rbol, azulado, bien perfilado, y la sangre (que por entonces yo cre铆a que era luz y no un l铆quido) sub铆a por 茅l como el amanecer y confer铆a al paisaje metacarpiano el aspecto de una acuarela japonesa... [鈥
禄 Recuerdo un tiempo espl茅ndido en que el 谩rbol se hizo m谩s frondoso. Experimentaba minutos de aut茅ntica satisfacci贸n al constatar su florecimiento irrefrenable. Se volvi贸 nudoso y pardo, iy en eso resid铆a su fuerza! Habr铆a podido llamarlo el poderoso aparejo de mi mano. 隆Pero ahora, amigos m铆os, qu茅 decr茅pita, qu茅 carcomida est谩!
禄 Me da la impresi贸n de que las ramas se rompen, de que el tronco se llena de agujeros... 隆Esclerosis, amigos m铆os! Y el hecho de que la piel se vuelva vidriosa y el tejido subcut谩neo acuoso, 驴acaso no es la niebla que cae sobre el 谩rbol de mi vida, la misma niebla que pronto me envolver谩 por completo?鈥� (pg 97-98)
Brillante, 驴verdad? En cierta manera me recuerda a Bulg谩kov, con la clara diferencia de que, en Olesha, la forma es indudablemente la estrella. No hay un prop贸sito cr铆tico o moralizante 鈥攑or lo menos, no uno evidente鈥�, sino que retrata la realidad del momento mediante lo absurdo y lo fant谩stico. Por ejemplo, a trav茅s del relato de la mortadela y la descripci贸n del partido de f煤tbol. No obstante, no podr铆a decirse que, utilizando la novela de referencia, Olesha se opon铆a al sistema del mismo modo en el que Bulg谩kov manifiesta su aversi贸n por 茅l en 鈥淢aestro y Margarita鈥�. El narrador de 鈥淓nvidia鈥� se muestra contradictorio, sus ideas son incoherentes y, en consecuencia, no es posible determinar la postura ideol贸gica del autor. No dir铆a que se trata propiamente una novela polif贸nica 鈥攕imilar a Dostoievski en cuanto a su ambig眉edad鈥�, pero s铆 de la perorata confusa de un individuo 驴perturbado? que 鈥渘o deja pollo sin cabeza鈥�, dice: 鈥淓n nuestro pa铆s los caminos a la gloria est谩n cerrados... Una persona dotada de talento debe consumirse, o bien decidirse a levantar las barreras a riesgo de provocar un esc谩ndalo. Yo, por ejemplo, tengo ganas de discutir. Quiero demostrar la fuerza de mi personalidad. Tengo sed de mi propia gloria. Aqu铆 tenemos miedo de prestar atenci贸n a alguien. Yo deseo m谩s atenci贸n. Me habr铆a gustado nacer en una peque帽a ciudad francesa, crecer entre sue帽os, marcarme un objetivo elevado cualquiera y, un buen d铆a, dejar mi peque帽a ciudad e ir a pie hasta la capital, y all铆, trabajando como un fan谩tico, lograr mi objetivo. Pero yo no nac铆 en Occidente. Y ahora me dicen: 芦Ya no solo tu personalidad sino ni siquiera la m谩s admirable de las personalidades vale algo禄. Y poco a poco comienzo a acostumbrarme a esta verdad, pero no por ello deja de ser irrebatible.鈥� Y m谩s adelante, a帽ade: 鈥淗oy estaba radiante. S铆, la huella de la gloria estaba impresa en su cara. 驴Por qu茅 no siento amor, entusiasmo, veneraci贸n a la vista de dicha gloria? La rabia me corroe. 脡l, el dirigente, el comunista, est谩 creando un mundo nuevo. Y en ese mundo nuevo la gloria resplandece porque ha salido de las manos de un salchichero una flamante especie de mortadela. No comprendo esa gloria: 驴qu茅 significa? La historia, los monumentos, las biograf铆as nunca me han hablado de ese tipo de gloria. 驴Significa eso que ha cambiado la naturaleza de la gloria? 驴En todas partes, o solo aqu铆, donde se construye un nuevo mundo? Siento, por supuesto, que este mundo nuevo que se est谩 levantando es el mundo principal, el mundo triunfante... No soy ciego, tengo la cabeza sobre los hombros. No es necesario que nadie me instruya ni me d茅 explicaciones... S茅 leer y escribir. 隆Es en este mundo, precisamente, en el que quiero la gloria! Quiero resplandecer igual que hoy B谩bichev. Pero ninguna variedad de embutido tendr谩 el poder de hacerme resplandecer.鈥�
Nikol谩i Kaval茅rov abraza la 鈥渞az贸n enamorada鈥�. Sin embargo, en su caso la fantas铆a no consiste en una invenci贸n, sino en una perspectiva diferente de la realidad: se refiere a fen贸menos y objetos cotidianos mediante abstracciones; capta los detalles y los utiliza para crear distintas asociaciones. Por ejemplo, un barco le recuerda a 鈥渦na almendra cortada", una cara con arrugas, a 鈥渦n arn茅s con riendas鈥�, la luz del sol, a 鈥渦n conejo sobre el quicio de la puerta a las dos de la tarde鈥� y los vagabundos que duermen sobre los bancos, a 鈥渃hinos atados y decapitados鈥�. Todo ello contribuye a considerar que la historia se sit煤a entre el sue帽o y la realidad; el narrador, al igual que sucede en las obras de G贸gol, desorienta al lector y presenta una trama sin progreso l贸gico o desenlace. En su conjunto, la novela es un enigma que no ofrece soluci贸n al conflicto generacional que se representa. Con saltos temporales, gran cantidad de met谩foras, elementos surrealistas y un humor punzante, la narraci贸n fluye pr谩cticamente sola. Iv谩n B谩bichev y Nikol谩i Kaval茅rov son dos personajes antisociales, una especie de figuras chaplinescas que vagabundean por San Petersburgo automargin谩ndose. Ambos son h茅roes y antih茅roes al mismo tiempo, dos individuos que se consideran moralmente superiores y desprecian o, mejor dicho, envidian a la nueva era. Iv谩n B谩bichev representa al charlat谩n que fantasea con llevar a cabo 鈥渓a revoluci贸n pac铆fica de los sentimientos鈥�, es decir, que busca reunir a hombres y mujeres en cuyas almas domina alguna de las 鈥渧iejas pasiones humanas鈥� y dirigir el 煤ltimo desfile de aquellos sentimientos (el amor, la ambici贸n, etc.) que 鈥渆l nuevo mundo鈥� considera insignificantes y rid铆culos.
鈥淎 veces una bombilla deja de funcionar repentinamente. Se ha fundido, dir谩 usted. Pero si agitamos la bombilla fundida, se encender谩 de nuevo y funcionar谩 un rato m谩s. Se produce un desastre en el interior de la bombilla. Los filamentos de tungsteno se rompen y, cuando los fragmentos entran en contacto, la bombilla vuelve a la vida. Una vida corta, antinatural, condenada irremediablemente: una fiebre, una incandescencia demasiado brillante, un resplandor. Luego se har谩 la oscuridad, la vida no volver谩, y en la penumbra solo se oir谩 el tintineo de los hilos muertos, quemados. 驴Me entiende? Pero 隆ese brillo ef铆mero es espl茅ndido!鈥� (pg 121-122)
Asimismo, Iv谩n B谩bichev 鈥渃onstruye鈥� una m谩quina capaz de hacer cualquiera cosa: Ofelia, 鈥渆l genio de la mec谩nica鈥�. Con ella, Iv谩n tiene la oportunidad de vengarse del 鈥渘uevo hombre鈥� y dice: 鈥溌 esta suprema creaci贸n de la t茅cnica la dot茅 de los sentimientos humanos m谩s banales! Deshonr茅 a mi m谩quina. Vengu茅 mi siglo, el que me dio este cerebro que se aloja en mi cr谩neo, el cerebro que concibi贸 esta m谩quina sorprendente... 驴A qui茅n deber铆a legarla? 驴Al nuevo mundo? Nos est谩n devorando como comida; engullen el siglo diecinueve como una boa constrictora engulle un conejo...Nos mastican y nos digieren. Lo que encuentran 煤til, lo absorben, y lo que es da帽ino, lo rechazan. 隆Nuestros sentimientos, los rechazan; nuestra t茅cnica, la absorben! Me vengar茅 en nombre de nuestros sentimientos.鈥� Al final, se intuye que Ofelia no es m谩s que un producto de la imaginaci贸n de Iv谩n, motivado por la envidia y el deseo de venganza. Kaval茅rov sue帽a con ella porque comparte la misma motivaci贸n que Iv谩n. De hecho, su sue帽o revela que Ofelia ser铆a capaz de destruir a su creador, el hombre, en caso de existir y que, por esta raz贸n, no debe bajo ning煤n concepto hacerlo; que la venganza es irrealizable y hay que resignarse, substituir la envidia por la indiferencia.
Reconozco que 鈥淓nvidia鈥� no es una libro para cualquiera, pero s铆 es uno de aquellos a las que estoy segura que volver茅, una novela en la que no importa lo que el narrador nos cuenta 鈥攑orque, en realidad, 驴qu茅 es lo que ocurre en ella?鈥�, sino en la que el valor, al menos el que yo le atribuyo personalmente, reside en la experiencia del lector durante su delirante lectura.
鈥淓n una ocasi贸n, levant贸 la mano para ense帽ar a sus amigos la palma, donde las venas trazaban la forma de un 谩rbol, y se lanz贸 a la siguiente improvisaci贸n:
鈥� He aqu铆 el 谩rbol de la vida 鈥攄ijo solemne鈥�. Este 谩rbol me habla m谩s de la vida y la muerte que los 谩rboles del parque que florecen y despu茅s se marchitan. No recuerdo exactamente cu谩ndo descubr铆 que me crec铆a un 谩rbol en la palma de la mano... Pero debi贸 de ser en aquella 茅poca maravillosa cuando el florecimiento y marchitamiento de los 谩rboles no me hablaban a煤n de la vida y la muerte, sino del final y el principio del curso escolar. Entonces era azulado, ese 谩rbol, azulado, bien perfilado, y la sangre (que por entonces yo cre铆a que era luz y no un l铆quido) sub铆a por 茅l como el amanecer y confer铆a al paisaje metacarpiano el aspecto de una acuarela japonesa... [鈥
禄 Recuerdo un tiempo espl茅ndido en que el 谩rbol se hizo m谩s frondoso. Experimentaba minutos de aut茅ntica satisfacci贸n al constatar su florecimiento irrefrenable. Se volvi贸 nudoso y pardo, iy en eso resid铆a su fuerza! Habr铆a podido llamarlo el poderoso aparejo de mi mano. 隆Pero ahora, amigos m铆os, qu茅 decr茅pita, qu茅 carcomida est谩!
禄 Me da la impresi贸n de que las ramas se rompen, de que el tronco se llena de agujeros... 隆Esclerosis, amigos m铆os! Y el hecho de que la piel se vuelva vidriosa y el tejido subcut谩neo acuoso, 驴acaso no es la niebla que cae sobre el 谩rbol de mi vida, la misma niebla que pronto me envolver谩 por completo?鈥� (pg 97-98)
Brillante, 驴verdad? En cierta manera me recuerda a Bulg谩kov, con la clara diferencia de que, en Olesha, la forma es indudablemente la estrella. No hay un prop贸sito cr铆tico o moralizante 鈥攑or lo menos, no uno evidente鈥�, sino que retrata la realidad del momento mediante lo absurdo y lo fant谩stico. Por ejemplo, a trav茅s del relato de la mortadela y la descripci贸n del partido de f煤tbol. No obstante, no podr铆a decirse que, utilizando la novela de referencia, Olesha se opon铆a al sistema del mismo modo en el que Bulg谩kov manifiesta su aversi贸n por 茅l en 鈥淢aestro y Margarita鈥�. El narrador de 鈥淓nvidia鈥� se muestra contradictorio, sus ideas son incoherentes y, en consecuencia, no es posible determinar la postura ideol贸gica del autor. No dir铆a que se trata propiamente una novela polif贸nica 鈥攕imilar a Dostoievski en cuanto a su ambig眉edad鈥�, pero s铆 de la perorata confusa de un individuo 驴perturbado? que 鈥渘o deja pollo sin cabeza鈥�, dice: 鈥淓n nuestro pa铆s los caminos a la gloria est谩n cerrados... Una persona dotada de talento debe consumirse, o bien decidirse a levantar las barreras a riesgo de provocar un esc谩ndalo. Yo, por ejemplo, tengo ganas de discutir. Quiero demostrar la fuerza de mi personalidad. Tengo sed de mi propia gloria. Aqu铆 tenemos miedo de prestar atenci贸n a alguien. Yo deseo m谩s atenci贸n. Me habr铆a gustado nacer en una peque帽a ciudad francesa, crecer entre sue帽os, marcarme un objetivo elevado cualquiera y, un buen d铆a, dejar mi peque帽a ciudad e ir a pie hasta la capital, y all铆, trabajando como un fan谩tico, lograr mi objetivo. Pero yo no nac铆 en Occidente. Y ahora me dicen: 芦Ya no solo tu personalidad sino ni siquiera la m谩s admirable de las personalidades vale algo禄. Y poco a poco comienzo a acostumbrarme a esta verdad, pero no por ello deja de ser irrebatible.鈥� Y m谩s adelante, a帽ade: 鈥淗oy estaba radiante. S铆, la huella de la gloria estaba impresa en su cara. 驴Por qu茅 no siento amor, entusiasmo, veneraci贸n a la vista de dicha gloria? La rabia me corroe. 脡l, el dirigente, el comunista, est谩 creando un mundo nuevo. Y en ese mundo nuevo la gloria resplandece porque ha salido de las manos de un salchichero una flamante especie de mortadela. No comprendo esa gloria: 驴qu茅 significa? La historia, los monumentos, las biograf铆as nunca me han hablado de ese tipo de gloria. 驴Significa eso que ha cambiado la naturaleza de la gloria? 驴En todas partes, o solo aqu铆, donde se construye un nuevo mundo? Siento, por supuesto, que este mundo nuevo que se est谩 levantando es el mundo principal, el mundo triunfante... No soy ciego, tengo la cabeza sobre los hombros. No es necesario que nadie me instruya ni me d茅 explicaciones... S茅 leer y escribir. 隆Es en este mundo, precisamente, en el que quiero la gloria! Quiero resplandecer igual que hoy B谩bichev. Pero ninguna variedad de embutido tendr谩 el poder de hacerme resplandecer.鈥�
Nikol谩i Kaval茅rov abraza la 鈥渞az贸n enamorada鈥�. Sin embargo, en su caso la fantas铆a no consiste en una invenci贸n, sino en una perspectiva diferente de la realidad: se refiere a fen贸menos y objetos cotidianos mediante abstracciones; capta los detalles y los utiliza para crear distintas asociaciones. Por ejemplo, un barco le recuerda a 鈥渦na almendra cortada", una cara con arrugas, a 鈥渦n arn茅s con riendas鈥�, la luz del sol, a 鈥渦n conejo sobre el quicio de la puerta a las dos de la tarde鈥� y los vagabundos que duermen sobre los bancos, a 鈥渃hinos atados y decapitados鈥�. Todo ello contribuye a considerar que la historia se sit煤a entre el sue帽o y la realidad; el narrador, al igual que sucede en las obras de G贸gol, desorienta al lector y presenta una trama sin progreso l贸gico o desenlace. En su conjunto, la novela es un enigma que no ofrece soluci贸n al conflicto generacional que se representa. Con saltos temporales, gran cantidad de met谩foras, elementos surrealistas y un humor punzante, la narraci贸n fluye pr谩cticamente sola. Iv谩n B谩bichev y Nikol谩i Kaval茅rov son dos personajes antisociales, una especie de figuras chaplinescas que vagabundean por San Petersburgo automargin谩ndose. Ambos son h茅roes y antih茅roes al mismo tiempo, dos individuos que se consideran moralmente superiores y desprecian o, mejor dicho, envidian a la nueva era. Iv谩n B谩bichev representa al charlat谩n que fantasea con llevar a cabo 鈥渓a revoluci贸n pac铆fica de los sentimientos鈥�, es decir, que busca reunir a hombres y mujeres en cuyas almas domina alguna de las 鈥渧iejas pasiones humanas鈥� y dirigir el 煤ltimo desfile de aquellos sentimientos (el amor, la ambici贸n, etc.) que 鈥渆l nuevo mundo鈥� considera insignificantes y rid铆culos.
鈥淎 veces una bombilla deja de funcionar repentinamente. Se ha fundido, dir谩 usted. Pero si agitamos la bombilla fundida, se encender谩 de nuevo y funcionar谩 un rato m谩s. Se produce un desastre en el interior de la bombilla. Los filamentos de tungsteno se rompen y, cuando los fragmentos entran en contacto, la bombilla vuelve a la vida. Una vida corta, antinatural, condenada irremediablemente: una fiebre, una incandescencia demasiado brillante, un resplandor. Luego se har谩 la oscuridad, la vida no volver谩, y en la penumbra solo se oir谩 el tintineo de los hilos muertos, quemados. 驴Me entiende? Pero 隆ese brillo ef铆mero es espl茅ndido!鈥� (pg 121-122)
Asimismo, Iv谩n B谩bichev 鈥渃onstruye鈥� una m谩quina capaz de hacer cualquiera cosa: Ofelia, 鈥渆l genio de la mec谩nica鈥�. Con ella, Iv谩n tiene la oportunidad de vengarse del 鈥渘uevo hombre鈥� y dice: 鈥溌 esta suprema creaci贸n de la t茅cnica la dot茅 de los sentimientos humanos m谩s banales! Deshonr茅 a mi m谩quina. Vengu茅 mi siglo, el que me dio este cerebro que se aloja en mi cr谩neo, el cerebro que concibi贸 esta m谩quina sorprendente... 驴A qui茅n deber铆a legarla? 驴Al nuevo mundo? Nos est谩n devorando como comida; engullen el siglo diecinueve como una boa constrictora engulle un conejo...Nos mastican y nos digieren. Lo que encuentran 煤til, lo absorben, y lo que es da帽ino, lo rechazan. 隆Nuestros sentimientos, los rechazan; nuestra t茅cnica, la absorben! Me vengar茅 en nombre de nuestros sentimientos.鈥� Al final, se intuye que Ofelia no es m谩s que un producto de la imaginaci贸n de Iv谩n, motivado por la envidia y el deseo de venganza. Kaval茅rov sue帽a con ella porque comparte la misma motivaci贸n que Iv谩n. De hecho, su sue帽o revela que Ofelia ser铆a capaz de destruir a su creador, el hombre, en caso de existir y que, por esta raz贸n, no debe bajo ning煤n concepto hacerlo; que la venganza es irrealizable y hay que resignarse, substituir la envidia por la indiferencia.
Reconozco que 鈥淓nvidia鈥� no es una libro para cualquiera, pero s铆 es uno de aquellos a las que estoy segura que volver茅, una novela en la que no importa lo que el narrador nos cuenta 鈥攑orque, en realidad, 驴qu茅 es lo que ocurre en ella?鈥�, sino en la que el valor, al menos el que yo le atribuyo personalmente, reside en la experiencia del lector durante su delirante lectura.
July 27, 2022
丕賱乇賵丕賷丞 賲丨賷乇丞 賯丿 鬲賰賵賳 亘爻亘亘 賲毓乇賮鬲賷 丕賱賲鬲賵丕囟毓丞 亘孬賯丕賮丞 丕賱丕賷丕賲 丕賱丕賵賱賶 賱賱丕鬲丨丕丿 丕賱爻賵賮賷鬲賷 丕賱爻鬲丕賱賷賳賷. 賲毓 匕賱賰 賮賮賷 丕賱乇賵丕賷丞 丕賱賰孬賷乇 賲賳 丕賱賴噩丕亍 丕賱賱丕匕毓貙 賵乇賵丨 丕賱丿毓丕亘丞 賵鬲賮丕氐賷賱 爻乇賷丕賱賷丞 睾乇賷亘丞貙 賵鬲丨賵賱丕鬲 爻乇丿賷丞 賲賰孬賮丞貙 賵丕爻鬲毓丕乇鬲 睾賷乇 毓丕丿賷丞貙 賵賱睾丞 賲賱賵賳丞貙 賵丕賱賮丨氐 丕賱賯丕爻賷 賱賱賲購孬賱 丕賱丕卮鬲乇丕賰賷丞.
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丕賱丨爻丿 乇賵丕賷丞 毓賳 乇賵爻賷丕 丕賱鬲賷 賱丕 鬲氐丿賻賾賯, 賮賷 賮鬲乇丞 賲乇亘賰丞 賱賱睾丕賷丞貨 乇賵爻賷丕 丕賱賲賱賷卅丞 亘丕賱兀丨賱丕賲 賵丕賱兀賰丕匕賷亘 賵丕賱禺丿丕毓貙 賵亘丕賱胤亘毓: 丕賱丨爻丿貙 賮賷睾賵氐 丕賱毓賲賱 賮賷 鬲賳丕賯囟丕鬲 賲毓賯丿丞 亘賷賳 丕賱毓丕賱賲 丕賱賯丿賷賲 賵丕賱噩丿賷丿貙 丕賱兀睾賳賷丕亍 賵丕賱賮賯乇丕亍貙 丕賱賰乇丕賴賷丞 賵丕賱丨亘. 賴匕賴 丕賱氐乇丕毓丕鬲 賴賷 丕賱鬲賷 卮賰賱鬲 丕賱賲噩鬲賲毓 丕賱爻賵賮賷鬲賷 丕賱噩丿賷丿 賮賷 鬲賱賰 丕賱賮鬲乇丞貙 賵亘丕賱鬲丕賱賷 鬲購胤乇丨 丕賱鬲爻丕丐賱丕鬲 毓賳 賲丕賴賷丞 丕賱亘胤賱 丕賱丨賯賷賯賷 賵爻購亘購賱 丕賱禺賱丕氐.
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鬲鬲賳丕賵賱 丕賱乇賵丕賷丞 賵丕丨丿丞 賲賳 兀賴賲 丕賱兀賮賰丕乇 丕賱鬲賷 兀購孬賷乇鬲 毓賱賶 丕賱爻丕丨丞 賮賷 亘丿丕賷丞 丕賱毓氐乇 丕賱爻賵賮賷鬲賷貨 廿賳賴丕 賯囟賷丞 丕賱賲賵丕胤賳 丕賱爻賵賮賷鬲賷 丕賱噩丿賷丿. 胤乇丨 賱賷賳賷賳 賵丕賱爻賱胤丞 丕賱爻賵賮賷鬲賷丞 丕賱兀賵賱賶 鬲氐賵乇賸丕 賲丨丿丿賸丕 毓賳 丕賱賲賵丕胤賳 丕賱爻賵賮賷鬲賷 賵賴賵 鬲氐賵賾乇: 丕賱亘胤賱 丕賱丕卮鬲乇丕賰賷 丕賱匕賷 丕賲鬲賱兀鬲 亘賴 氐賮丨丕鬲 丕賱兀毓賲丕賱 丕賱丿毓丕卅賷丞 賱賱爻賱胤丞 丕賱鬲賷 丕賳鬲賴噩鬲 兀爻賱賵亘 丕賱賵丕賯毓賷丞 丕賱丕卮鬲乇丕賰賷丞.
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丕賱丨爻丿 乇賵丕賷丞 毓賳 乇賵爻賷丕 丕賱鬲賷 賱丕 鬲氐丿賻賾賯, 賮賷 賮鬲乇丞 賲乇亘賰丞 賱賱睾丕賷丞貨 乇賵爻賷丕 丕賱賲賱賷卅丞 亘丕賱兀丨賱丕賲 賵丕賱兀賰丕匕賷亘 賵丕賱禺丿丕毓貙 賵亘丕賱胤亘毓: 丕賱丨爻丿貙 賮賷睾賵氐 丕賱毓賲賱 賮賷 鬲賳丕賯囟丕鬲 賲毓賯丿丞 亘賷賳 丕賱毓丕賱賲 丕賱賯丿賷賲 賵丕賱噩丿賷丿貙 丕賱兀睾賳賷丕亍 賵丕賱賮賯乇丕亍貙 丕賱賰乇丕賴賷丞 賵丕賱丨亘. 賴匕賴 丕賱氐乇丕毓丕鬲 賴賷 丕賱鬲賷 卮賰賱鬲 丕賱賲噩鬲賲毓 丕賱爻賵賮賷鬲賷 丕賱噩丿賷丿 賮賷 鬲賱賰 丕賱賮鬲乇丞貙 賵亘丕賱鬲丕賱賷 鬲購胤乇丨 丕賱鬲爻丕丐賱丕鬲 毓賳 賲丕賴賷丞 丕賱亘胤賱 丕賱丨賯賷賯賷 賵爻購亘購賱 丕賱禺賱丕氐.
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鬲鬲賳丕賵賱 丕賱乇賵丕賷丞 賵丕丨丿丞 賲賳 兀賴賲 丕賱兀賮賰丕乇 丕賱鬲賷 兀購孬賷乇鬲 毓賱賶 丕賱爻丕丨丞 賮賷 亘丿丕賷丞 丕賱毓氐乇 丕賱爻賵賮賷鬲賷貨 廿賳賴丕 賯囟賷丞 丕賱賲賵丕胤賳 丕賱爻賵賮賷鬲賷 丕賱噩丿賷丿. 胤乇丨 賱賷賳賷賳 賵丕賱爻賱胤丞 丕賱爻賵賮賷鬲賷丞 丕賱兀賵賱賶 鬲氐賵乇賸丕 賲丨丿丿賸丕 毓賳 丕賱賲賵丕胤賳 丕賱爻賵賮賷鬲賷 賵賴賵 鬲氐賵賾乇: 丕賱亘胤賱 丕賱丕卮鬲乇丕賰賷 丕賱匕賷 丕賲鬲賱兀鬲 亘賴 氐賮丨丕鬲 丕賱兀毓賲丕賱 丕賱丿毓丕卅賷丞 賱賱爻賱胤丞 丕賱鬲賷 丕賳鬲賴噩鬲 兀爻賱賵亘 丕賱賵丕賯毓賷丞 丕賱丕卮鬲乇丕賰賷丞.
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September 29, 2009
This little book is growing on me, opening up. It started out as an orgy of self-humiliation, painfully Gogolesque, painfully Doestoyevskian, that kind of humor--but it's developing layers of ideas and richness--it's only 125 pages! Just finished a passage where a very appealing second character extols the virtues of strong feeling and their vanishing with the modern era--and it's not just Communism, it's the loss of humanity and eccentricity and passion. Broad strokes and lots of ranting, but to great purpose.
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Despair. How could it end....
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Despair. How could it end....
March 24, 2010
I love when a book is compared to the writing of Bulgakov and Nabokov. I know I'm in for a treat when I see that. And talk about unreliable narrators!
The description on the back of the book says it best: "Nikolai is a loser." He's not a very good Communist and seriously, he's a real louse. He's taken in by Andrei who is the complete opposite of Nikolai - he's successful, a proper Soviet citizen, upstanding. Nikolai is consumed by envy of Andrei; he does not believe that which Andrei believes, but he can't seem to restrain himself from being just obsessed with him.
This bizarre relationship epitomizes the Soviet state in the Twenties - the distrust, the confusion, the fascination with greener pastures, political upheaval, on and on and on. And it's all written so beautifully. For example, the story begins:
Hello - discussion of toilet use written by a Soviet in the Twenties? Pretty fantastic. I wouldn't say the descriptions get any more palatable after this. There's description of a woman that makes one sort of want to cringe and look away, but it's this sort of in-your-face writing that makes it so fabulous.
The description on the back of the book says it best: "Nikolai is a loser." He's not a very good Communist and seriously, he's a real louse. He's taken in by Andrei who is the complete opposite of Nikolai - he's successful, a proper Soviet citizen, upstanding. Nikolai is consumed by envy of Andrei; he does not believe that which Andrei believes, but he can't seem to restrain himself from being just obsessed with him.
This bizarre relationship epitomizes the Soviet state in the Twenties - the distrust, the confusion, the fascination with greener pastures, political upheaval, on and on and on. And it's all written so beautifully. For example, the story begins:
Mornings he sings on the toilet. You can imagine the joie de vivre, the health this man enjoys. The urge to sing bubbles up like a reflex.
Hello - discussion of toilet use written by a Soviet in the Twenties? Pretty fantastic. I wouldn't say the descriptions get any more palatable after this. There's description of a woman that makes one sort of want to cringe and look away, but it's this sort of in-your-face writing that makes it so fabulous.
August 10, 2018
袣 褋胁芯械屑褍 褋褌褘写褍, 褌芯谢褜泻芯 褋械泄褔邪褋 芯褌泻褉褘谢 写谢褟 褋械斜褟 锌懈褋邪褌械谢褟 袨谢械褕褍 鈥� 邪 芯薪, 芯泻邪蟹褘胁邪械褌褋褟, 斜褘谢 薪械蟹邪褍褉褟写薪芯 褌邪谢邪薪褌谢懈胁褘泄.
肖芯褉屑邪谢褜薪芯 "袟邪胁懈褋褌褜" 芯褔械薪褜 锌褉芯褋褌邪褟 锌芯胁械褋褌褍褕泻邪, 锌褉懈屑懈褌懈胁薪邪褟, 泻芯褉芯褌械薪褜泻邪褟 懈褋褌芯褉懈褟 懈蟹 卸懈蟹薪懈 褋芯胁械褉褕械薪薪芯 锌褍褋褌芯谐芯, 薪懈泻褔械屑薪芯谐芯 褔械谢芯胁械泻邪 斜械蟹 芯锌褉械写械谢械薪薪褘褏 蟹邪薪褟褌懈泄, 褋械薪褌懈屑械薪褌邪谢褜薪芯谐芯 屑械褔褌邪褌械谢褟, 胁褉邪谢褟 懈 锌褜褟薪懈褑褘, 泻芯褌芯褉褘泄 锌芯 褋谢褍褔邪泄薪芯褋褌懈 褋褌邪谢泻懈胁邪械褌褋褟 褋 (褔褍褌芯泻 懈写械邪谢懈蟹懈褉芯胁邪薪薪褘屑) 小芯胁械褌褋泻懈屑 效械谢芯胁械泻芯屑 袧芯胁芯泄 肖芯褉屑邪褑懈懈, 懈 薪邪褔懈薪邪械褌 械屑褍 褋屑械褉褌薪芯 蟹邪胁懈写芯胁邪褌褜 懈 锌褘褌邪褌褜褋褟 写械谢邪褌褜 胁褋褟泻懈械 屑械谢泻懈械 谐邪写芯褋褌懈.
效褌芯 芯褋芯斜械薪薪芯 芯斜懈写薪芯, 袧芯胁褘泄 效械谢芯胁械泻 械谐芯 锌褉邪泻褌懈褔械褋泻懈 薪械 蟹邪屑械褔邪械褌 懈 薪邪 胁褘锌邪写褘 薪械 褉械邪谐懈褉褍械褌, 袧芯胁芯屑褍 效械谢芯胁械泻褍 薪械 写芯 褌芯谐芯, 芯薪 蟹邪薪褟褌 写械谢芯屑, 芯薪 锌褉芯械泻褌懈褉褍械褌 褎邪斜褉懈泻褍-泻褍褏薪褞. 袚械褉芯泄 芯褌 褌邪泻芯谐芯 懈谐薪芯褉邪 斜械褋懈褌褋褟, 褍褋褌褉邪懈胁邪械褌 懈褋褌械褉懈泻懈, 褍谐褉芯卸邪械褌 褍斜懈褌褜, 薪芯, 褉邪蟹褍屑械械褌褋褟, 薪懈褔械谐芯, 泻褉芯屑械 芯褔械褉械写薪芯谐芯 蟹邪锌芯褟, 褍 薪械谐芯 薪械 胁褘褏芯写懈褌. 孝褍褌 懈 褋泻邪蟹芯褔泻械 泻芯薪械褑. 袩褍褋褌褟褔薪邪褟 胁械褖懈褑邪, 锌芯 斜芯谢褜褕芯屑褍 褋褔械褌褍, 褏芯褌褜 懈 锌芯谢薪邪褟 写褍褏邪 谐芯谢芯写薪褘褏 芯锌褌懈屑懈褋褌懈褔薪褘褏 写胁邪写褑邪褌褘褏.
袧芯 褔芯褉褌 胁芯蟹褜屑懈, 泻邪泻 卸械 胁芯谢褕械斜薪芯 薪邪锌懈褋邪薪邪 泻邪卸写邪褟 褋褌褉芯泻邪, 邪.
" 袛械薪褜 褋胁芯褉邪褔懈胁邪谢 谢邪胁芯褔泻褍. 笑褘谐邪薪, 胁 褋懈薪械屑 卸懈谢械褌械, 褋 泻褉邪褕械薪褘屑懈 褖械泻邪屑懈 懈 斜芯褉芯写芯泄, 薪械褋, 锌芯写薪褟胁 薪邪 锌谢械褔芯, 褔懈褋褌褘泄 屑械写薪褘泄 褌邪蟹. 袛械薪褜 褍写邪谢褟谢褋褟 薪邪 锌谢械褔械 褑褘谐邪薪邪. 袛懈褋泻 褌邪蟹邪 斜褘谢 褋胁械褌械谢 懈 褋谢械锌. 笑褘谐邪薪 褕械谢 屑械写谢械薪薪芯, 褌邪蟹 谢械谐泻芯 锌芯泻邪褔懈胁邪谢褋褟, 懈 写械薪褜 锌芯胁芯褉邪褔懈胁邪谢褋褟 胁 写懈褋泻械.
袩褍褌薪懈泻懈 褋屑芯褌褉械谢懈 胁褋谢械写. "
袩褉芯褋褌芯 褋懈谢 薪械褌, 写芯 褔械谐芯 胁芯谢褕械斜薪芯.
肖芯褉屑邪谢褜薪芯 "袟邪胁懈褋褌褜" 芯褔械薪褜 锌褉芯褋褌邪褟 锌芯胁械褋褌褍褕泻邪, 锌褉懈屑懈褌懈胁薪邪褟, 泻芯褉芯褌械薪褜泻邪褟 懈褋褌芯褉懈褟 懈蟹 卸懈蟹薪懈 褋芯胁械褉褕械薪薪芯 锌褍褋褌芯谐芯, 薪懈泻褔械屑薪芯谐芯 褔械谢芯胁械泻邪 斜械蟹 芯锌褉械写械谢械薪薪褘褏 蟹邪薪褟褌懈泄, 褋械薪褌懈屑械薪褌邪谢褜薪芯谐芯 屑械褔褌邪褌械谢褟, 胁褉邪谢褟 懈 锌褜褟薪懈褑褘, 泻芯褌芯褉褘泄 锌芯 褋谢褍褔邪泄薪芯褋褌懈 褋褌邪谢泻懈胁邪械褌褋褟 褋 (褔褍褌芯泻 懈写械邪谢懈蟹懈褉芯胁邪薪薪褘屑) 小芯胁械褌褋泻懈屑 效械谢芯胁械泻芯屑 袧芯胁芯泄 肖芯褉屑邪褑懈懈, 懈 薪邪褔懈薪邪械褌 械屑褍 褋屑械褉褌薪芯 蟹邪胁懈写芯胁邪褌褜 懈 锌褘褌邪褌褜褋褟 写械谢邪褌褜 胁褋褟泻懈械 屑械谢泻懈械 谐邪写芯褋褌懈.
效褌芯 芯褋芯斜械薪薪芯 芯斜懈写薪芯, 袧芯胁褘泄 效械谢芯胁械泻 械谐芯 锌褉邪泻褌懈褔械褋泻懈 薪械 蟹邪屑械褔邪械褌 懈 薪邪 胁褘锌邪写褘 薪械 褉械邪谐懈褉褍械褌, 袧芯胁芯屑褍 效械谢芯胁械泻褍 薪械 写芯 褌芯谐芯, 芯薪 蟹邪薪褟褌 写械谢芯屑, 芯薪 锌褉芯械泻褌懈褉褍械褌 褎邪斜褉懈泻褍-泻褍褏薪褞. 袚械褉芯泄 芯褌 褌邪泻芯谐芯 懈谐薪芯褉邪 斜械褋懈褌褋褟, 褍褋褌褉邪懈胁邪械褌 懈褋褌械褉懈泻懈, 褍谐褉芯卸邪械褌 褍斜懈褌褜, 薪芯, 褉邪蟹褍屑械械褌褋褟, 薪懈褔械谐芯, 泻褉芯屑械 芯褔械褉械写薪芯谐芯 蟹邪锌芯褟, 褍 薪械谐芯 薪械 胁褘褏芯写懈褌. 孝褍褌 懈 褋泻邪蟹芯褔泻械 泻芯薪械褑. 袩褍褋褌褟褔薪邪褟 胁械褖懈褑邪, 锌芯 斜芯谢褜褕芯屑褍 褋褔械褌褍, 褏芯褌褜 懈 锌芯谢薪邪褟 写褍褏邪 谐芯谢芯写薪褘褏 芯锌褌懈屑懈褋褌懈褔薪褘褏 写胁邪写褑邪褌褘褏.
袧芯 褔芯褉褌 胁芯蟹褜屑懈, 泻邪泻 卸械 胁芯谢褕械斜薪芯 薪邪锌懈褋邪薪邪 泻邪卸写邪褟 褋褌褉芯泻邪, 邪.
" 袛械薪褜 褋胁芯褉邪褔懈胁邪谢 谢邪胁芯褔泻褍. 笑褘谐邪薪, 胁 褋懈薪械屑 卸懈谢械褌械, 褋 泻褉邪褕械薪褘屑懈 褖械泻邪屑懈 懈 斜芯褉芯写芯泄, 薪械褋, 锌芯写薪褟胁 薪邪 锌谢械褔芯, 褔懈褋褌褘泄 屑械写薪褘泄 褌邪蟹. 袛械薪褜 褍写邪谢褟谢褋褟 薪邪 锌谢械褔械 褑褘谐邪薪邪. 袛懈褋泻 褌邪蟹邪 斜褘谢 褋胁械褌械谢 懈 褋谢械锌. 笑褘谐邪薪 褕械谢 屑械写谢械薪薪芯, 褌邪蟹 谢械谐泻芯 锌芯泻邪褔懈胁邪谢褋褟, 懈 写械薪褜 锌芯胁芯褉邪褔懈胁邪谢褋褟 胁 写懈褋泻械.
袩褍褌薪懈泻懈 褋屑芯褌褉械谢懈 胁褋谢械写. "
袩褉芯褋褌芯 褋懈谢 薪械褌, 写芯 褔械谐芯 胁芯谢褕械斜薪芯.
August 28, 2010
For me, this novel really works in tandem with The Three Fat Men. Anyone who knows a little about the author will recognize him in Nikolai Kavalerov, the protagonist of the Envy story. Just as Yury Olesha himself, Kavalerov feels capable of great deeds and, at the same time, unable to find his place or accomplish anything in the new Soviet Russia. These are the "sausage makers" like Andrey Babichev that the country needs, not poets and philosophers.
I've read Envy right after finishing The Three Fat Men. Divided by only three years (TTFM was written in 1924, Envy in 1927), they demonstrate a big change in the society and in the author's view of the Soviet Russia. There is a bitter irony in the fact that a writer who was one of the prophets of the 1917 revolution didn't manage to become a "new Soviet person". There are many other examples of people who found themselves unnecessary after the initial post-revolutionary period: futurist poets (especially Mayakovsky), constructivist artists (El Lisitsky, Malevitch), but I think Olesha's example is one of the most vivid.
I've read Envy right after finishing The Three Fat Men. Divided by only three years (TTFM was written in 1924, Envy in 1927), they demonstrate a big change in the society and in the author's view of the Soviet Russia. There is a bitter irony in the fact that a writer who was one of the prophets of the 1917 revolution didn't manage to become a "new Soviet person". There are many other examples of people who found themselves unnecessary after the initial post-revolutionary period: futurist poets (especially Mayakovsky), constructivist artists (El Lisitsky, Malevitch), but I think Olesha's example is one of the most vivid.
July 1, 2012
Clever, disgusting, and very avant garde. I wasn't quite in the mood for its avant-ness at this precise moment in time. There is a description of a mole that is possibly unrivalled.
Tags: satire, soccer, Soviets, sausage, communal living, unreliable narration, acrobat legs, magnificent groins
He's carrying around six poods. Recently, walking down the stairs somewhere, he noticed his breasts bouncing in time to his steps. So he decided to add a new set of calisthenics.
He's stripped to the waist, wearing knit drawers fastened by a single button in the middle of his belly....When he lies down on the mat on his back and starts lifting his legs in alteration, the button can't take it. His groin is exposed. His groin is magnificent. A tender scorch mark. A forbidden nook. The groin of a Producer. I saw a groin of the exact same sueded matteness on a bitch antelope.
Tags: satire, soccer, Soviets, sausage, communal living, unreliable narration, acrobat legs, magnificent groins
He's carrying around six poods. Recently, walking down the stairs somewhere, he noticed his breasts bouncing in time to his steps. So he decided to add a new set of calisthenics.
He's stripped to the waist, wearing knit drawers fastened by a single button in the middle of his belly....When he lies down on the mat on his back and starts lifting his legs in alteration, the button can't take it. His groin is exposed. His groin is magnificent. A tender scorch mark. A forbidden nook. The groin of a Producer. I saw a groin of the exact same sueded matteness on a bitch antelope.
May 1, 2015
I feared for a second that this would end up being another liberal's wet-dream of Soviet satire, in which the Great Evil is pilloried by the upstanding individual etc etc... But no! It's much, much more, and everyone comes out looking like a jackass. Nikolai is very much in the tradition of Dostoevsky's underground man, whom you might identify as a romantic hero rebelling against the evils of his society etc., but who is actually, at best, a symptom of that society and, at worst, more or less a prick. But that's much clearer in 'Envy,' particularly the second half.
Also: funny.
Also: funny.
April 7, 2021
賰賳鬲 賲鬲丨賲爻 噩丿丕賸 賱賯乇丕亍丞 賴匕賴 丕賱乇賵丕賷丞貙 丨賷孬 爻亘賯 兀賳 賯乇兀鬲 丿毓賵丕鬲 賱鬲乇噩賲鬲賴丕 賱兀賳賴丕 兀毓馗賲 乇賵丕賷丕鬲 "賷賵乇賷 兀賵賱賷卮丕" (丕賱匕賷 賷賯丕賱 丕賳賴 乇賵丕卅賷 乇賵爻賷 毓馗賷賲)
丕賱賯氐丞 賮賷賲丕 賷亘丿賵 亘爻賷胤丞 毓賳 丨爻丿 卮賯賷賯 賱卮賯賷賯賴 丕賱賳丕噩丨 賵丿賳丕亍丞 卮禺氐 丨丕爻丿 賵丨爻丿賴 賱乇噩賱 爻丕賳丿賴 賵爻丕毓丿賴 亘丿賵賳 賴丿賮
賵賲毓 匕賱賰 賱賲 鬲氐賱賳賷 丕賱賯氐丞 賵卮毓乇鬲 亘丕賱噩賴丿 賵丕賳丕 丕丨丕賵賱 鬲鬲亘毓 卮鬲丕鬲 丕賱賯氐丞 賲卮丕亘賴 賱噩賴丿 賲賳 賷賯乇兀 亘丨孬 毓賱賲賷 毓亘乇 鬲乇噩賲丞 噩賵噩賱
丕賱賯氐丞 賮賷賲丕 賷亘丿賵 亘爻賷胤丞 毓賳 丨爻丿 卮賯賷賯 賱卮賯賷賯賴 丕賱賳丕噩丨 賵丿賳丕亍丞 卮禺氐 丨丕爻丿 賵丨爻丿賴 賱乇噩賱 爻丕賳丿賴 賵爻丕毓丿賴 亘丿賵賳 賴丿賮
賵賲毓 匕賱賰 賱賲 鬲氐賱賳賷 丕賱賯氐丞 賵卮毓乇鬲 亘丕賱噩賴丿 賵丕賳丕 丕丨丕賵賱 鬲鬲亘毓 卮鬲丕鬲 丕賱賯氐丞 賲卮丕亘賴 賱噩賴丿 賲賳 賷賯乇兀 亘丨孬 毓賱賲賷 毓亘乇 鬲乇噩賲丞 噩賵噩賱
April 1, 2025
there鈥檚 like 30 pages of this that are a normal book and the rest of it is a trio of evil schizophrenic men screaming at each other about cucks and suicide
June 3, 2023
Satire on modernity/industry and romanticism/art. Suggests (i) the former resembles the latter in its dreams & feelings; (ii) the latter has become envy of the former.
February 25, 2022
" 兀賳丕 賱丕 兀賮賴賲 賴匕丕 丕賱賲噩丿貙 賵賲丕匕丕 賷毓賳賷 匕賱賰責 賱賷爻 賴匕丕 賴賵 丕賱賲噩丿 丕賱匕賷 丨丿孬鬲賳賷 毓賳賴 丕賱爻賷乇 丕賱匕丕鬲賷丞 賵丕賱鬲賲丕孬賷賱 賵匕賰乇賴 丕賱鬲丕乇賷禺. 兀賷毓賳賷 匕賱賰 兀賳 胤亘賷毓丞 丕賱賲噩丿 鬲睾賷乇鬲責 兀賴賰匕丕 賴賵 丕賱兀賲乇 賮賷 賰賱 賲賰丕賳 兀賲 賴賳丕 賵丨爻亘貙 賮賷 毓丕賱賲賳丕 丕賱匕賷 賷卮賷丿賵賳賴 丕賱丌賳責"
廿賳賴賲 兀乇亘毓丞 乇噩丕賱 亘賷賳賴賲 丨丕爻丿丕賳 賵 賲丨爻賵丿丕賳貙 賱賰賳 丕賱丨爻丿 毓賱賶 賲丕匕丕責 毓賱賶 乇賮毓 乇丕賷丞 丕賱賯乇賳貙 賮賷 丕賱丕鬲丨丕丿 丕賱爻賵賮賷鬲賷 爻賷鬲賲 乇爻賲 氐賵乇丞 丕賱賲噩丿貙 賵毓賱賷賰賲 兀賳 鬲乇爻賲賵丕 匕丕鬲 丕賱氐賵乇丞 賵廿賱丕! 貙 兀賳丿乇賷賴 亘丕亘賷鬲卮賷賮 賲丿賷乇 丕鬲丨丕丿 丕賱氐賳丕毓丞 丕賱睾匕丕卅賷丞貙 乇噩賱 匕賵 爻賱胤丞 賷丨馗賶 亘丕賱丕丨鬲乇丕賲 賵丕賱鬲賯丿賷乇貙 鬲亘丿兀 丕賱乇賵丕賷丞 亘鬲兀賲賱 賴匕賴 丕賱卮禺氐賷丞 賲賳 禺賱丕賱 毓賷賳 卮禺氐賷丞 兀禺乇賶 賳賷賰賵賱丕賷 賰丕賮丕賱賷乇賵賮 卮丕亘 賮賷 毓賲乇 佗侑 爻賳丞 賷鬲賱賯賮賴 丕賳丿乇賷賴 賲賳 賲爻鬲賳賯毓 丕賱賮卮賱 賱賷賵馗賮賴 賲氐丨丨 胤亘丕毓丞貙 賵賴賳丕 賱毓賱 丕賱賯丕乇卅 賷鬲毓噩賱 賮賷噩毓賱 賲賳 賰丕賮丕賱賷乇賵賮 丨丕爻丿丕賸 賱乇卅賷爻賴 賱賰賳賳丕 賳賰鬲卮賮 賲亘賰乇丕賸 兀賳 賳賷賰賵賱丕賷 賰丕賮丕賱賷乇賵賮 卮禺氐賷丞 賲孬賯賮丞 匕賰賷丞貙 賮賴賵 氐丕丨亘 賳馗乇丞 爻丕賲賷丞 賵賳賮爻 鬲賵丕賯賴 賱賱賮囟丕卅賱 賵乇賯賷 丕賱廿賳爻丕賳貙 毓賱賶 禺賱丕賮 賲丿賷乇賴 兀賳丿乇賷賴 亘丕亘賷鬲卮賷賮 丕賱賲丨氐賵乇 賮賷 丕賱賲賳賮毓丞 賵丕賱賲丕丿賷丞.
"賷亘鬲賱毓賵賳 丕賱賯乇賳 丕賱鬲丕爻毓 毓卮乇 亘兀賰賲賱賴 賰賲丕 鬲亘鬲賱毓 丕賱丕賮毓賶 兀乇賳亘丕賸貨 賲丕賷賳賮毓賴賲 賲賳賴 賷賱鬲賴賲賵賳賴 賵賲丕 賷囟乇賴賲 賲賳賴 賷亘氐賯賵賳賴貙 廿賳賴賲 賷亘氐賯賵賳 賲卮丕毓乇賳丕貙 兀賲丕 賲丕 賵氐賱賳丕 廿賱賷賴 賲賳 鬲賰賳賵賱賵噩賷丕 賮賷賱賵賰賵賳賴! 爻賵賮 丕賳鬲賯賲 賱賲卮丕毓乇賷. 賱賳 鬲賳丕賱賵丕 丌賱鬲賷 貙賵賱賳 丕丿毓賴賲 賷爻鬲賮賷丿賵賳 賲賳賷 賵賱賳 賷兀賰賱賵丕 賲禺賷."
賮賷 丕賱噩夭亍 丕賱孬丕賳賷 賳乇賶 亘賵囟賵丨 丕賱卮禺氐賷鬲賷賳 丕賱孬丕賱孬丞 賵 丕賱乇丕亘毓丞貙 賮賳乇賶 廿賷賮丕賳 亘丕亘賷鬲卮賷賮 丕賱丕亘賳 丕賱兀賵爻胤 賵丕賱兀賰孬乇 禺賷丕賱丕賸 賵卮睾賮丕賸貙 賲賳夭賵毓 丕賱鬲賯丿賷乇 賲賳匕 胤賮賵賱鬲賴 賷賲卮賷 亘賷賳 丕賱賳丕爻 賷丨丿孬賴賲 毓賳 賲毓乇賰丞 丕賱丕賳鬲氐丕乇 賮賷賴丕 賷毓賳賷 廿爻鬲乇丿丕丿 丕賱廿賳爻丕賳賷丞 賵 丕賱賲卮丕毓乇 丕賱氐丕丿賯丞貙 賵賳乇賶 賮賵賱賵丿賷丕 賲丕賰丕乇賵賮 賵賴賵 卮丕亘 賷毓賷卮 賮賷 賰賳賮 兀賳丿乇賷賴 亘丕亘賷鬲卮賷賮貙 賱丕 賷禺鬲賱賮 毓賳賴 賮賴賵 賰匕賱賰 賳賮毓賷.
"賮丨賷丕鬲賷 賱丕 鬲夭丕賱 毓丕賱賯丞 亘丕賱毓丕賱賲 丕賱噩丿賷丿 賵賱爻鬲 賯丕丿乇丕賸 毓賱賶 丕賱鬲賲賱氐 賲賳賴丕. 爻賵賮 丕胤乇丿賴 丨賷賳賴丕 賮賱爻鬲 賮賷 丨丕噩丞 廿賱賶 丕亘賳. 丕賳丕 賱爻鬲 兀亘丕賸 賵賴賵 賱賷爻 丕亘賳丕賸 賵賳丨賳 賱丕 賳卮賰賱 兀爻乇丞. 兀賳丕 賲賳 丌賲賳 亘賴貙 賵賴賵 賲賳 賷亘乇乇 賴匕丕 丕賱廿賷賲丕賳"!
廿賳賴丕 乇賵丕賷丞 毓賳 賰賮鬲賷賳貙 丕賱賲毓賳賵賷 賵 丕賱賲丕丿賷貙 丕賱賲鬲噩丕賵夭 賵 丕賱賲丨噩賵夭貙 賳賷賰賵賱丕賷 賵廿賷賮丕賳 賮賷 噩賴丞 賵 兀賳丿乇賷賴 賵 賮賵賱賵丿賷丕 賮賷 噩賴丞 賲禺丕賱賮丞貙 賵丕賱賲賮丕乇賯丞 丕賳 賷賰賵賳 丕賱丨丕爻丿 兀乇賯賶 賲賳 丕賱賲丨爻賵丿!貙 賵 丕賱賱胤賷賮 賴賵 鬲賱丕毓亘 賷賵乇賷 兀賵賱賷卮丕 亘卮禺氐賷丕鬲 丕賱乇賵丕賷丞 賮賯丿 丨賷乇 丕賱乇賯丕亘丞 丕賱爻賵賮賷鬲賷丞 賰賲丕 爻賷丨賷乇 賰賱 賯丕乇卅貙 賮賴賱 賳賷賰賵賱丕賷 賵廿賷賮丕賳 賮賷 丕賱賳賴丕賷丞 賲賵丕胤賳丕賳 賮丕卮賱丕賳 賵賲噩乇丿 賲賴乇噩賷賳 賰賲丕 鬲氐賮賴賲 丕賱乇賵丕賷丞 亘賷賳賲丕 卮賯賷賯賴 兀賳丿乇賷賴 賵 氐亘賷賴 賮賵賱賵丿賷丕 賴賲丕 賲爻鬲賯亘賱 丕賱賵胤賳 賵賮禺乇賴責 鬲噩賷亘 丕賱乇賵丕賷丞 亘賳毓賲 賵賴賷 鬲賴夭 乇兀爻賴丕 亘賱丕貙 賱賰賳賴丕 賱賳 鬲睾賷乇 孬賳丕卅賷丞 丕賱丨丕爻丿 賵丕賱賲丨爻賵丿.
"丕乇丨賱 亘毓丿 丕賳 鬲孬賷乇 囟噩賷噩丕賸 丨鬲賶 鬲鬲乇賰 賳丿亘丞 毓賱賶 賮賰 丕賱鬲丕乇賷禺. 賮賱鬲賱賲毓 毓賱賷賰 丕賱賱毓賳丞! 賮賷 賰賱 丕賱兀丨賵丕賱 賱賳 賷爻賲丨賵丕 賱賰 亘丕賱丿禺賵賱. 賱丕 鬲爻鬲爻賱賲 丿賵賳 賲毓乇賰丞"
賮賷 丕賱乇賵丕賷丞 禺胤丕亘丕鬲 胤賵賷賱丞 賱賰賱 賲賳 賳賷賰賵賱丕賷 賰丕賮丕賱賷乇賵賮 賵 廿賷賮丕賳 亘丕亘賷鬲卮賷賮 兀毓胤鬲 賱賱卮禺氐賷鬲丕賳 胤丕亘毓 丕賱賳囟丕賱 賵丕賱賲賯丕賵賲丞 賮賰丕賳鬲 噩夭亍 賲賳 丕賱乇賵丕賷丞 氐毓亘 鬲噩丕賴賱 乇賵毓鬲賴 賵噩賲丕賱賴貙 丕賱賲賱賮鬲 賮賷賴 賰匕賱賰 兀賳賴 禺胤丕亘 賲賵噩賴 賱賱賳爻丕亍 兀賷囟丕 亘賱 兀毓鬲賯丿 兀賳賴 賷禺丕胤亘賴賳 賰賲鬲囟乇乇 兀賵賱 賲賳 賴匕丕 丕賱毓氐乇 丕賱氐賳丕毓賷 丕賱賳賮毓賷貙 賵賰賲賳賯匕 賵丨賷丿 廿匕 兀賳 丕賱賲乇兀丞 賲賳亘毓 丕賱賲卮丕毓乇 丕賱廿賳爻丕賳賷丞 " 賰丕賳鬲 丕賱賲乇兀丞 兀賮囟賱 賵兀乇賵毓 賵兀賳賯賶 亘乇賷賯丕賸 賱孬賯丕賮鬲賳丕. 丕賳禺乇胤鬲 賮賷 丕賱亘丨孬 毓賳 噩賵賴乇 丕賱兀賳孬賶.. 丕賱噩賵賴乇 丕賱匕賷 丕鬲丨丿鬲 賮賷賴 賰丕賮丞 丕賱爻賲丕鬲 丕賱丕賳孬賵賷丞貙 丕賳禺乇胤鬲 賮賷 丕賱亘丨孬 毓賳 亘匕乇丞 丕賱爻賲丕鬲 丕賱丕賳孬賵賷丞. 丕賱爻賲丞 丕賱丕賳孬賵賷丞 賰丕賳鬲 賲噩丿 賯乇賳賳丕 丕賱賯丿賷賲. 丕乇丿鬲 丕賳 兀亘乇夭 賲丕 賴賵 丕賳孬賵賷. 爻賳賲賵鬲 賷丕 賰丕賮丕賱賷乇賵賮貙 兀乇丿鬲 兀賳 兀丨賲賱 丕賱兀賳孬賶 賮賵賯 乇兀爻賷 賰賲卮毓賱 (...) 馗賳賳鬲 丕賳 丕賱賲乇兀丞 賱賳丕貙 賵兀賳 丕賱賱胤賮 賵丕賱丨亘 賱賳丕 賵丨丿賳丕 賱賰賳 丕鬲囟丨 兀賳賷 賰賳鬲 賲禺胤卅丕賸. 賴丕 兀賳丕 丕胤賵賮 - 兀賳丕 丕賱丨丕賱賲 丕賱兀禺賷乇 亘丕賱兀乇囟 - 亘兀胤乇丕賮 丕賱賴丕賵賷丞 賰禺賮丕卮 噩乇賷丨. " 賵賰賲 鬲亘丿賵 賳賴丕賷丞 丕賱乇賵丕賷丞 賲乇賷乇丞 丨賷賳 賳爻鬲氐丨亘 賴匕丕 丕賱廿毓鬲賯丕丿 丕賱匕賷 丿丕賮毓 毓賳賴 丕賱乇噩賱丕賳.
"賰賲丕 賷賱賵賷 丕賱賲乇亍 匕乇丕毓賴貙 賱賵賶 毓亘丕乇鬲賴 丕賱兀禺賷乇丞 禺賱賮 馗賴乇賴. 鬲賵賯賮 賱亘乇賴丞 賯氐賷乇丞貙 賵卮毓乇 亘丕賱賴賱毓 賮噩兀丞. 賰丕賳 爻亘亘 禺賵賮賴 鬲丨丿賷丿丕賸 賴賵 丕賳 賲賳 兀禺匕 賷賴丕噩賲賴 亘毓賳賮 馗賱 賵丕賯賮丕賸 賷爻鬲賲毓 廿賱賷賴 賮賷 氐賲鬲."
禺鬲丕賲丕賸 夭丕丿 丕賱乇賵丕賷丞 噩賲丕賱丕賸 鬲乇噩賲丞 賷賵爻賮 賳亘賷賱 賮賯丿 丕毓鬲賳賶 亘丕賱賳氐 賵丨乇氐 毓賱賶 鬲賯乇賷亘賴 賱賱賯丕乇卅.
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