What do you think?
Rate this book
丕賱賵氐丕賷丕 丕賱賲睾丿賵乇丞
A brilliant and thought-provoking essay from one of the twentieth century鈥檚 masters of fiction, Testaments Betrayed is written like a novel: the same characters appear and reappear throughout the nine parts of the book, as do the principal themes that preoccupy the author. Kundera is a passionate defender of the moral rights of the artist and the respect due a work of art and its creator鈥檚 wishes. The betrayal of both鈥攐ften by their most passionate proponents鈥攊s one of the key ideas that informs this strikingly original and elegant book.
287 pages, Paperback
First published January 1, 1984
26.5k people are currently reading
518k people want to read
About the author
Milan Kundera
220听books18.4k听followersMilan Kundera (1 April 1929 鈥� 11 July 2023) was a Czech and French novelist. He went into exile in France in 1975, acquiring citizenship in 1981. His Czechoslovak citizenship was revoked in 1979, but he was granted Czech citizenship in 2019.
Kundera wrote in Czech and French. He revises the French translations of all his books; people therefore consider these original works as not translations. He is best known for his novels, including The Joke (1967), The Book of Laughter and Forgetting (1979), and The Unbearable Lightness of Being (1984), all of which exhibit his extreme though often comical skepticism.
Kundera wrote in Czech and French. He revises the French translations of all his books; people therefore consider these original works as not translations. He is best known for his novels, including The Joke (1967), The Book of Laughter and Forgetting (1979), and The Unbearable Lightness of Being (1984), all of which exhibit his extreme though often comical skepticism.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 29,845 reviews
June 16, 2008
There is probably one novel that is the most responsible for the direction of my post-graduation European backpacking trip ten years ago which landed me in Prague for two solid weeks. Shortly before my friend Chad and I departed, he mailed me a letter and directed me to get my hands on a copy of Milan Kundera鈥檚 The Unbearable Lightness of Being. Just read it, he wrote. Whatever else you do, just read this book. It is about everything in the world.
Being already a Kafka fan of some long-standing, I was quite open to another absurdly minded Czech telling the story of his city and by extension the rest of the world. The title itself was familiar, though not the author鈥檚 name, and I rather innocently mistook Kundera for a woman at first glance at the cover.
Suffice to say, Kundera had me at the very first paragraph. Has any other modern novel had such a wonderfully philosophical opening than this one?
The idea of eternal return is a mysterious one, and Nietzsche has often perplexed other philosophers with it: to think that everything recurs as we once experienced it, and that the recurrence itself recurs ad infinitum! What does this mad myth signify?
In two sentences, the very first two, Kundera not only manages to break several writing rules of style (an exclamation mark, followed by a direct address to the reader being the most obvious), but he also succinctly sums up one of the most challenging philosophical concepts, yet is wise enough to address it on its own terms: as a 鈥渕ad myth.鈥�
From the earliest possible chance, the author is telling us that he is indeed an intellectual, that he writes energetically, playfully, and that serious Ideas with the full timbre basso profundo tolling out that capital 鈥淚鈥� are the very pith and marrow of novels and are not to be stuffed, labeled, and set up high on a shelf reserved for great thoughts too refined and delicate to mingle among the common rabble of characters and dialogue and action.
Needless to say, this is a heady mix, the kind of thing to go straight to a recent college graduate with literature and philosophy on the brain. And we haven鈥檛 even touched on the sex yet. Kundera鈥檚 books are rife with sex, sex is the other engine driving this dually powered writer, sex both passionate and routine, sex filled up with deep emotional meaning and sex stripped down to its tangible physicality, sex as recurring motif in one鈥檚 life illuminating greater insights into one鈥檚 personality and sex as secret door into the aesthetics of our time.
To write, as some have, that the book is primarily about erotic encounters is as much as to say that Beethoven was a guy who played piano. Instead it is a book about tyranny, the large and the small, the ones we endure and the ones we resist, the ones we submit to for love and the ones that always rankle silently. The tyranny of kitsch, as understood by the novel, kitsch to mean a subjective, sentimental folding screen that hides away the sight of death. The questions that the book seeks to explore circle around the ideas of polar opposites, truth and lies, love and hate (or indifference), freedom and slavery, heaviness and lightness.
The Kundera style is a very delightful bit and piecework manner. We focus on one character, that character鈥檚 perceptions, that character鈥檚 perspectives, in little miniatures, some essay-like, that elaborate on the character鈥檚 psychology or history. Then we shift to another character and learn new things about that person, sometimes touching on the same pieces we鈥檝e seen already. It鈥檚 like Rashomon but more expansive, drawing circles around lives and eras instead of merely one night鈥檚 events.
Part of what Kundera does is move the story along through first one person, then go back in time and retell only some of that story focused on a second person and demonstrate how our best attempts at comprehending each other remains woefully inadequate. There will always be layers fathoms below our drilling. Yet at the same time, Kundera moves the story forward, stops, switches character again and in this third instance either goes back to person number one or switches to person number three and repeats the process, and repeats again. What emerges is rather like conflicting court testimony, multiple moving parts simultaneously illuminating their own motivations and obscuring others鈥�.
If there is a weakness to all of this it is that Kundera鈥檚 novels sometimes develop the quality of theoretical exercises between characters embodying certain philosophical conceits. While the author may touch the mind and the libido, the heart often remains chilly. There is a sense of artificiality when you stare too longly at the book鈥檚 constructs, as though the author were merely embodying an essay with puppets for illustrative purposes. Though what precisely does lie behind our disagreements and disconnections from others than differing mental states? We fall out of love with someone not because of the size of her bottom or his new haircut, but because our lives shift in differing directions and we can no longer think in the same cohesive manner with the other person. Our ideas become different. What are our wants but our ideas given concrete form and targets?
鈥淢etaphors are dangerous,鈥� the author writes more than once throughout the novel. 鈥淢etaphors are not be trifled with. A single metaphor can give birth to love.鈥� So thinks the novel鈥檚 鈥渉ero鈥� Tomas, the epic womanizer, as he reflects on how he came to love Tereza who is soon his wife. This couple, a marriage dancing around secrets and each of the partner鈥檚 inability to communicate finally the truth about who they are to their spouse, is used for comparison and contrast with Franz, a middle aged married professor in Switzerland who is in love with one of Tomas鈥� exiled Czech mistresses, the artist Sabine. Their stories are told against the backdrop of the Russian invasion and subjugation of Czechoslovakia during the Cold War.
Kundera twines their two stories together examining how love can either lift us up to heights of ecstasy or weigh us down with its solidity and unchangeable reality 鈥� then poses the surprising question: which condition should we view as the negative in binary opposition? Is it the uncentered lack of gravity that makes love real and powerful or does that quality make us too airy and flighty, unserious when we most need it? Or rather can it be love鈥檚 grounding quality that allows us to feel with stability the other鈥檚 existence 鈥� or does that weight merely pin us down, smother us with its heft? Can it be both? Can it be that when couples part it is because what is lighter than a breeze for one has become a leaden drag on the other?
This is push and pull of ideas and language and sentiments is beautifully illustrated in the novel鈥檚 third part, titled 鈥淲ords Misunderstood,鈥� in which Kundera examines how Sabina and Franz鈥檚 inability to understand the terms the other uses leads to their separation. This is done through a sort of anecdotal dictionary that allows each character to demonstrate their grasp of an idea. The shortest bluntly captures some of the magic of this portion:
CEMETERY
Cemeteries in Bohemia are like gardens. The graves are covered with grass and colorful flowers. Modest tombstones are lost in the greenery. When the sun goes down, the cemetery sparkles with tiny candles. It looks as though the dead are dancing at a children鈥檚 ball. Yes, a children鈥檚 ball, because the dead are as innocent as children. No matter how brutal life becomes, peace always reigns in the cemetery. Even in wartime, in Hitler鈥檚 time, in Stalin鈥檚 time, through all occupations. When she felt low, [Sabina] would get into the car, leave Prague far behind, and walk through one or another of the country cemeteries she loved so well. Against a backdrop of blue hills, they were as beautiful as a lullaby.
For Franz a cemetery was an ugly dump of stones and bones.
And this too is part of the novel鈥檚 recurring genius. At every stage, there is an elegiac note to happiness as though all these dances have been gone through before, as though all love affairs, even should Nietzsche be wrong, carry within them the seeds of their own endings. Franz and Sabina鈥檚 inability to even understand each other on very basic levels dooms their romance from the beginning. Their tragedy is commonplace and follows a pattern as though ritualized.
Tereza and Tomas鈥� marriage we see is held together only by each other鈥檚 willingness to commit to it and to some third greater thing than either of themselves, though what that third thing is neither of them understand. For each of them separately, it is a kind of death to be together and a kind of death to be apart, and together their momentary happinesses are a kind of staving off of this specter.
Kundera nicely ends The Unbearable Lightness of Being, foreshadowing what happens later after the closing scenes, which gives the novel a sadly sweet tone instead of merely tragic. Instead of simply ending with death, as a kind of negation, the book closes with sleep, part of the circling motif, the cycle we go through, our lives one passing hoop.
After my initial reading of the novel, I found myself rereading it immediately, going through all of it again, underlining passages, committing certain ones to memory. Over the years, I have returned again and again to this novel, more than many others, much more than Kundera鈥檚 other novels despite my having read them repeatedly as well. To return to Kundera鈥檚 world is like reliving your best relationships (and maybe your worst ones as well), but reliving them as though you had been smarter, wiser, deeper at the time than you really were. It is a kind of exorcism and a kind of nostalgia and it is a beautiful example of writing that matters, beyond all else, writing that matters.
Being already a Kafka fan of some long-standing, I was quite open to another absurdly minded Czech telling the story of his city and by extension the rest of the world. The title itself was familiar, though not the author鈥檚 name, and I rather innocently mistook Kundera for a woman at first glance at the cover.
Suffice to say, Kundera had me at the very first paragraph. Has any other modern novel had such a wonderfully philosophical opening than this one?
The idea of eternal return is a mysterious one, and Nietzsche has often perplexed other philosophers with it: to think that everything recurs as we once experienced it, and that the recurrence itself recurs ad infinitum! What does this mad myth signify?
In two sentences, the very first two, Kundera not only manages to break several writing rules of style (an exclamation mark, followed by a direct address to the reader being the most obvious), but he also succinctly sums up one of the most challenging philosophical concepts, yet is wise enough to address it on its own terms: as a 鈥渕ad myth.鈥�
From the earliest possible chance, the author is telling us that he is indeed an intellectual, that he writes energetically, playfully, and that serious Ideas with the full timbre basso profundo tolling out that capital 鈥淚鈥� are the very pith and marrow of novels and are not to be stuffed, labeled, and set up high on a shelf reserved for great thoughts too refined and delicate to mingle among the common rabble of characters and dialogue and action.
Needless to say, this is a heady mix, the kind of thing to go straight to a recent college graduate with literature and philosophy on the brain. And we haven鈥檛 even touched on the sex yet. Kundera鈥檚 books are rife with sex, sex is the other engine driving this dually powered writer, sex both passionate and routine, sex filled up with deep emotional meaning and sex stripped down to its tangible physicality, sex as recurring motif in one鈥檚 life illuminating greater insights into one鈥檚 personality and sex as secret door into the aesthetics of our time.
To write, as some have, that the book is primarily about erotic encounters is as much as to say that Beethoven was a guy who played piano. Instead it is a book about tyranny, the large and the small, the ones we endure and the ones we resist, the ones we submit to for love and the ones that always rankle silently. The tyranny of kitsch, as understood by the novel, kitsch to mean a subjective, sentimental folding screen that hides away the sight of death. The questions that the book seeks to explore circle around the ideas of polar opposites, truth and lies, love and hate (or indifference), freedom and slavery, heaviness and lightness.
The Kundera style is a very delightful bit and piecework manner. We focus on one character, that character鈥檚 perceptions, that character鈥檚 perspectives, in little miniatures, some essay-like, that elaborate on the character鈥檚 psychology or history. Then we shift to another character and learn new things about that person, sometimes touching on the same pieces we鈥檝e seen already. It鈥檚 like Rashomon but more expansive, drawing circles around lives and eras instead of merely one night鈥檚 events.
Part of what Kundera does is move the story along through first one person, then go back in time and retell only some of that story focused on a second person and demonstrate how our best attempts at comprehending each other remains woefully inadequate. There will always be layers fathoms below our drilling. Yet at the same time, Kundera moves the story forward, stops, switches character again and in this third instance either goes back to person number one or switches to person number three and repeats the process, and repeats again. What emerges is rather like conflicting court testimony, multiple moving parts simultaneously illuminating their own motivations and obscuring others鈥�.
If there is a weakness to all of this it is that Kundera鈥檚 novels sometimes develop the quality of theoretical exercises between characters embodying certain philosophical conceits. While the author may touch the mind and the libido, the heart often remains chilly. There is a sense of artificiality when you stare too longly at the book鈥檚 constructs, as though the author were merely embodying an essay with puppets for illustrative purposes. Though what precisely does lie behind our disagreements and disconnections from others than differing mental states? We fall out of love with someone not because of the size of her bottom or his new haircut, but because our lives shift in differing directions and we can no longer think in the same cohesive manner with the other person. Our ideas become different. What are our wants but our ideas given concrete form and targets?
鈥淢etaphors are dangerous,鈥� the author writes more than once throughout the novel. 鈥淢etaphors are not be trifled with. A single metaphor can give birth to love.鈥� So thinks the novel鈥檚 鈥渉ero鈥� Tomas, the epic womanizer, as he reflects on how he came to love Tereza who is soon his wife. This couple, a marriage dancing around secrets and each of the partner鈥檚 inability to communicate finally the truth about who they are to their spouse, is used for comparison and contrast with Franz, a middle aged married professor in Switzerland who is in love with one of Tomas鈥� exiled Czech mistresses, the artist Sabine. Their stories are told against the backdrop of the Russian invasion and subjugation of Czechoslovakia during the Cold War.
Kundera twines their two stories together examining how love can either lift us up to heights of ecstasy or weigh us down with its solidity and unchangeable reality 鈥� then poses the surprising question: which condition should we view as the negative in binary opposition? Is it the uncentered lack of gravity that makes love real and powerful or does that quality make us too airy and flighty, unserious when we most need it? Or rather can it be love鈥檚 grounding quality that allows us to feel with stability the other鈥檚 existence 鈥� or does that weight merely pin us down, smother us with its heft? Can it be both? Can it be that when couples part it is because what is lighter than a breeze for one has become a leaden drag on the other?
This is push and pull of ideas and language and sentiments is beautifully illustrated in the novel鈥檚 third part, titled 鈥淲ords Misunderstood,鈥� in which Kundera examines how Sabina and Franz鈥檚 inability to understand the terms the other uses leads to their separation. This is done through a sort of anecdotal dictionary that allows each character to demonstrate their grasp of an idea. The shortest bluntly captures some of the magic of this portion:
CEMETERY
Cemeteries in Bohemia are like gardens. The graves are covered with grass and colorful flowers. Modest tombstones are lost in the greenery. When the sun goes down, the cemetery sparkles with tiny candles. It looks as though the dead are dancing at a children鈥檚 ball. Yes, a children鈥檚 ball, because the dead are as innocent as children. No matter how brutal life becomes, peace always reigns in the cemetery. Even in wartime, in Hitler鈥檚 time, in Stalin鈥檚 time, through all occupations. When she felt low, [Sabina] would get into the car, leave Prague far behind, and walk through one or another of the country cemeteries she loved so well. Against a backdrop of blue hills, they were as beautiful as a lullaby.
For Franz a cemetery was an ugly dump of stones and bones.
And this too is part of the novel鈥檚 recurring genius. At every stage, there is an elegiac note to happiness as though all these dances have been gone through before, as though all love affairs, even should Nietzsche be wrong, carry within them the seeds of their own endings. Franz and Sabina鈥檚 inability to even understand each other on very basic levels dooms their romance from the beginning. Their tragedy is commonplace and follows a pattern as though ritualized.
Tereza and Tomas鈥� marriage we see is held together only by each other鈥檚 willingness to commit to it and to some third greater thing than either of themselves, though what that third thing is neither of them understand. For each of them separately, it is a kind of death to be together and a kind of death to be apart, and together their momentary happinesses are a kind of staving off of this specter.
Kundera nicely ends The Unbearable Lightness of Being, foreshadowing what happens later after the closing scenes, which gives the novel a sadly sweet tone instead of merely tragic. Instead of simply ending with death, as a kind of negation, the book closes with sleep, part of the circling motif, the cycle we go through, our lives one passing hoop.
After my initial reading of the novel, I found myself rereading it immediately, going through all of it again, underlining passages, committing certain ones to memory. Over the years, I have returned again and again to this novel, more than many others, much more than Kundera鈥檚 other novels despite my having read them repeatedly as well. To return to Kundera鈥檚 world is like reliving your best relationships (and maybe your worst ones as well), but reliving them as though you had been smarter, wiser, deeper at the time than you really were. It is a kind of exorcism and a kind of nostalgia and it is a beautiful example of writing that matters, beyond all else, writing that matters.
July 1, 2009
I was hesitant to start this, and figured for awhile that it would be one of those books that maybe I鈥檇 get around to or maybe I wouldn鈥檛. It just didn鈥檛 seem like something I鈥檇 enjoy 鈥� it seemed too soft, or too postmodern, or too feel-good, or too based in hedonism, or too surface oriented. What caused me to give it a shot was the simple fact that I鈥檒l be traveling to Prague in a few weeks, and since the book's setting takes place there, I figured it may put me in the mood for the trip. I figured it was 鈥渘ow or never鈥� in regards to reading it. And yet, even with that being the case, I hesitated a bit. That is, until the mere mentioning it received an almost overzealously positive response from two close friends (whose opinions I hold in high regard). Their response was so enthusiastic that I was pushed over the edge; shoved into thinking that the novel鈥檚 chances of being lame had been lessened, and that it would be worth the trial.
And I鈥檓 glad I decided to give this book a shot. Damn glad.
The novel traces the lives of two couples during the Soviet occupation of Prague, during the late 1960鈥檚. The novel deep-heartedly charts their struggles against communism, their pasts, their lovers, and themselves.
Kundera observes the stuff that goes on internally amongst the characters; he intellectualizes it, and tells you about it. He鈥檚 quite philosophical, and you feel like the narrator is talking to you, offering very insightful observations about the characters and life in general. This is one reason why reading is often more valuable than watching TV or a movie: when reading a good book you get direct psychological explanations, and you get to go inside the heads of characters.
Taken as a whole, I found this novel to be profound, but in unusual ways. It鈥檚 not a direct novel, but rather one that represents, and lets one feel, disconnections and various glimpses of perceptions. And it wasn鈥檛 a smooth novel, either. It even felt choppy on occasion. But the chapters are short, which fits its feel, and also gives you time to think about the penetrating thoughts that Kundera puts across. Kundera strikes me as a craftsman of sorts. He switches timelines deftly and effectively 鈥� even when I thought he was crazy to do so; when I thought he gave up the climax of the novel towards its middle, he proved me dead wrong. He proved to me that he knew exactly what he was doing because he鈥檚 a master of the craft. This novel is not full of sweeping, pounding paragraphs of poignant, soul-hitting, philosophical depth, but rather offers up constant glimpses; nuggets of insightful observations on almost every page, that when added up together, reveal an impressive, heartfelt, and real work.
I love the way this novel portrays love. It recognizes and represents its beauty while at the same time showing how psychological and manipulatable it can be. The loves in this novel are accurate ones, not at all cheapened by gimmicky slogans or conventional lines. "The dance seemed to him a declaration that her devotion, her ardent desire to satisfy his every whim, was not necessarily bound to his person, that if she hadn't met Tomas, she would have been ready to respond to the call of any other man she might have met instead."
Kundera brilliantly portrays how simple things like our past, our country, images, family 鈥� even metaphors, can affect our psyche and major life decisions. "Tomas did not realize at the time that metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love."
Its fragility and delicacy: "What would happen if Tomas were to receive such a picture? Would he throw her out? Perhaps not. Probably not. But the fragile edifice of their love would certainly come tumbling down. For that edifice rested on the single column of her fidelity, and loves are like empires: when the idea they are founded on crumbles, they, too, fade away."
"Perhaps if they had stayed together longer, Sabina and Franz would have begun to understand the words they used. Gradually, timorously, their vocabularies would have come together, like bashful lovers, and the music of one would have begun to intersect with the music of the other. But it was too late now."
Sometimes even one sentence can say a lot: "Looking out over the courtyard at the dirty walls, he realized he had no idea whether it was hysteria or love."
"While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and exchange motifs (the way Tomas and Sabina exchanged the motif of the bowler hat), but if they meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them."
And it鈥檚 worth reiterating that the philosophical ideas in this novel are very thought provoking: "Tomas thought: Attaching love to sex is one of the most bizarre ideas the Creator ever had."
The importance of our decisions. The lack of importance of our decisions. The unavoidable importance of life. The unavoidable lack of importance of life.
That's how this novel feels.
If I'm to give a book five stars, it needs to affect me in some profound ways -- it needs to change me, at least a little. This novel has affected my view of life; how I see the world. Specifically, it鈥檚 helped me better understand beauty. I have trouble elaborating on that because beauty is such an abstract concept; you know it when you see it, or rather鈥� you know it when you feel it. Beauty has some melancholy; it is appreciative -- special but fleeting -- and never fully absorbed as its full whole. Maybe that's a major aspect of beauty -- knowing it is beyond your grasp. Beyond you.
Life is ultimately a crapshoot. You don't know what's going to happen. You might as well hang on to something. And that something might as well be love -- whether it be plutonic, romantic, or, if you鈥檙e lucky, both. And if that's what you're going to hang on to (and you are), then you might as well understand its simplicity and its complexity, and its beauty -- you might as well understand and appreciate as much of it as you can. It only makes sense that you do.
This novel can help you do that.
And I鈥檓 glad I decided to give this book a shot. Damn glad.
The novel traces the lives of two couples during the Soviet occupation of Prague, during the late 1960鈥檚. The novel deep-heartedly charts their struggles against communism, their pasts, their lovers, and themselves.
Kundera observes the stuff that goes on internally amongst the characters; he intellectualizes it, and tells you about it. He鈥檚 quite philosophical, and you feel like the narrator is talking to you, offering very insightful observations about the characters and life in general. This is one reason why reading is often more valuable than watching TV or a movie: when reading a good book you get direct psychological explanations, and you get to go inside the heads of characters.
Taken as a whole, I found this novel to be profound, but in unusual ways. It鈥檚 not a direct novel, but rather one that represents, and lets one feel, disconnections and various glimpses of perceptions. And it wasn鈥檛 a smooth novel, either. It even felt choppy on occasion. But the chapters are short, which fits its feel, and also gives you time to think about the penetrating thoughts that Kundera puts across. Kundera strikes me as a craftsman of sorts. He switches timelines deftly and effectively 鈥� even when I thought he was crazy to do so; when I thought he gave up the climax of the novel towards its middle, he proved me dead wrong. He proved to me that he knew exactly what he was doing because he鈥檚 a master of the craft. This novel is not full of sweeping, pounding paragraphs of poignant, soul-hitting, philosophical depth, but rather offers up constant glimpses; nuggets of insightful observations on almost every page, that when added up together, reveal an impressive, heartfelt, and real work.
I love the way this novel portrays love. It recognizes and represents its beauty while at the same time showing how psychological and manipulatable it can be. The loves in this novel are accurate ones, not at all cheapened by gimmicky slogans or conventional lines. "The dance seemed to him a declaration that her devotion, her ardent desire to satisfy his every whim, was not necessarily bound to his person, that if she hadn't met Tomas, she would have been ready to respond to the call of any other man she might have met instead."
Kundera brilliantly portrays how simple things like our past, our country, images, family 鈥� even metaphors, can affect our psyche and major life decisions. "Tomas did not realize at the time that metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love."
Its fragility and delicacy: "What would happen if Tomas were to receive such a picture? Would he throw her out? Perhaps not. Probably not. But the fragile edifice of their love would certainly come tumbling down. For that edifice rested on the single column of her fidelity, and loves are like empires: when the idea they are founded on crumbles, they, too, fade away."
"Perhaps if they had stayed together longer, Sabina and Franz would have begun to understand the words they used. Gradually, timorously, their vocabularies would have come together, like bashful lovers, and the music of one would have begun to intersect with the music of the other. But it was too late now."
Sometimes even one sentence can say a lot: "Looking out over the courtyard at the dirty walls, he realized he had no idea whether it was hysteria or love."
"While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and exchange motifs (the way Tomas and Sabina exchanged the motif of the bowler hat), but if they meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them."
And it鈥檚 worth reiterating that the philosophical ideas in this novel are very thought provoking: "Tomas thought: Attaching love to sex is one of the most bizarre ideas the Creator ever had."
The importance of our decisions. The lack of importance of our decisions. The unavoidable importance of life. The unavoidable lack of importance of life.
That's how this novel feels.
If I'm to give a book five stars, it needs to affect me in some profound ways -- it needs to change me, at least a little. This novel has affected my view of life; how I see the world. Specifically, it鈥檚 helped me better understand beauty. I have trouble elaborating on that because beauty is such an abstract concept; you know it when you see it, or rather鈥� you know it when you feel it. Beauty has some melancholy; it is appreciative -- special but fleeting -- and never fully absorbed as its full whole. Maybe that's a major aspect of beauty -- knowing it is beyond your grasp. Beyond you.
Life is ultimately a crapshoot. You don't know what's going to happen. You might as well hang on to something. And that something might as well be love -- whether it be plutonic, romantic, or, if you鈥檙e lucky, both. And if that's what you're going to hang on to (and you are), then you might as well understand its simplicity and its complexity, and its beauty -- you might as well understand and appreciate as much of it as you can. It only makes sense that you do.
This novel can help you do that.
February 11, 2019
This review is sung by Freddy Mercury to the tune of Bohemian Rhapsody.
Is this a fiction?
Is this just fantasy?
Not just a narrative
Of Czech infidelity.
Reader four eyes
Look onto the page and read
I'm just a Prague boy, I鈥檝e sex with empathy
Because I'm easy come, easy go
A little high, little low
Any Soviet era Czech knows, unbearable lightness of being
Good Reads, just read a book
Put a bookmark on the page
Played my audio now it鈥檚 read
Good Reads, the book had just begun
But now I've read all Milan had to say
Good Reads, ooo
Didn't mean to make you sigh
If I'm not back again this time tomorrow
Carry on, carry on, unbearable lightness of being
Too late, this book is done
A short book no need to break the spine
Body鈥檚 just egalitarian
Good read everybody 鈥� I鈥檒l say so
Gotta leave you all behind and face the truth
Good Reads, ooo (any Soviet era Czech knows)
I don't want the book to end
I sometimes wish I'd never started to read at all
I read a little dialogue from of a man
Tomas, Tomas will you make love to Teresa?
Thunderbolt and lightning very nearly enticing me
Repetition! Repetition!
Repetition! Repetition!
Repetition Kundera鈥� Metaphor!
But I'm just a Prague boy and many women love me
He's just a Prague boy from a Czech family
Flair is his prose from this virtuosity
Easy come easy go will you let me go
Bohemia! No we will not let you go - let him go
Bohemia! We will not let you go - let him go
Bohemia! We will not let you go let me go
Will not let you go let me go (never)
Never let you go let me go
Never let me go ooo
No, no, no, no, no, no, no
Oh Milan Kundera, Milan Kundera says its so
Premier Brezhnev has a gulag put aside for me
For me
For me
[Brian May melts our faces with a blistering guitar solo while Wayne and Garth head bang in a Pacer]
Soviet tanks can occupy and eat our pie
Naked women can sing and leave me to die
Oh Milan, Kant German sex Milan
Just gotta go Swiss just gotta get right outta here
Ooh yeah, ooh yeah
Unbearable lightness
Anyone can read
Unbearable lightness unbearable lightness
of being
Any Soviet era Czech knows
Is this a fiction?
Is this just fantasy?
Not just a narrative
Of Czech infidelity.
Reader four eyes
Look onto the page and read
I'm just a Prague boy, I鈥檝e sex with empathy
Because I'm easy come, easy go
A little high, little low
Any Soviet era Czech knows, unbearable lightness of being
Good Reads, just read a book
Put a bookmark on the page
Played my audio now it鈥檚 read
Good Reads, the book had just begun
But now I've read all Milan had to say
Good Reads, ooo
Didn't mean to make you sigh
If I'm not back again this time tomorrow
Carry on, carry on, unbearable lightness of being
Too late, this book is done
A short book no need to break the spine
Body鈥檚 just egalitarian
Good read everybody 鈥� I鈥檒l say so
Gotta leave you all behind and face the truth
Good Reads, ooo (any Soviet era Czech knows)
I don't want the book to end
I sometimes wish I'd never started to read at all
I read a little dialogue from of a man
Tomas, Tomas will you make love to Teresa?
Thunderbolt and lightning very nearly enticing me
Repetition! Repetition!
Repetition! Repetition!
Repetition Kundera鈥� Metaphor!
But I'm just a Prague boy and many women love me
He's just a Prague boy from a Czech family
Flair is his prose from this virtuosity
Easy come easy go will you let me go
Bohemia! No we will not let you go - let him go
Bohemia! We will not let you go - let him go
Bohemia! We will not let you go let me go
Will not let you go let me go (never)
Never let you go let me go
Never let me go ooo
No, no, no, no, no, no, no
Oh Milan Kundera, Milan Kundera says its so
Premier Brezhnev has a gulag put aside for me
For me
For me
[Brian May melts our faces with a blistering guitar solo while Wayne and Garth head bang in a Pacer]
Soviet tanks can occupy and eat our pie
Naked women can sing and leave me to die
Oh Milan, Kant German sex Milan
Just gotta go Swiss just gotta get right outta here
Ooh yeah, ooh yeah
Unbearable lightness
Anyone can read
Unbearable lightness unbearable lightness
of being
Any Soviet era Czech knows
January 7, 2008
I have a bone to pick with Kundera and his following. People, this has got to be the most over-rated book of human history. I mean, references to infidelity alone (even infidelity that makes use of funky costumes like '50s ganster hats--the only note-and-applauseworthy aspect this book!) do NOT make for good literature, and such is The Unbearable Lightness of Being, in a nutshell. The male protaganist is, hands down, a one-dimensional and boring buffoon, while the female protaganist is lackluster and underdeveloped. This book is not but chicken soup for those obnoxious, lonely intellectuals who wish they could be playaz, and therefore admire Dr. Love's trite antics. In addition, Kundera's references to philosophy and Beethoven were clearly extracted from a cracker jack box. In conclusion, the emperor has no clothes! Kundera-following (and you are the majority), free yourselves (!), and stop pretending that this book is good.
March 23, 2013
13% and I'm done.
I have had a run of books that have bored me, or annoyed me, or just did nothing for me. This one is... You know, I don't even know how to describe this one.
I pretty much hated it from the first page. I do not understand the high rating on 欧宝娱乐 for this book. I can barely stand the thought of picking it up again and reading more of the words telling me things about characters that I could not possibly care less about.
We have Tomas, whom we meet standing on his balcony and vacillating between whether he should ask a woman that he's "in love with" (read: met in a chance encounter and became infatuated with) to move in with him. He's saved from making any kind of fucking decision by her showing up on his doorstep (literally) with her bags packed and ready to move in. Which she does. And then she clings to him (literally) every night - to the point that he controls her sleep patterns. He even, charmer that he is, fucks with her partially-asleep mind and tells her that he's leaving her forever, so that she'll chase him and drag him back home.
Tereza (that's the woman - I had to look up her name) begins to have nightmares that he's cheating on her and forcing her to watch after finding a letter from a woman in Tomas's drawer describing that very thing. So then, in the course of a sentence, we learn that Tomas has never stopped womanizing, then that he lied to Tereza about it, then tried to justify it, and now just tries to hide it from her, but won't stop.
And she stays. He gets her a dog, because the dog will hopefully "develop lesbian tendencies" and love Tereza, because Tomas can't cope with her and needs help.
So yes, Tereza not only stays, but marries him.
Why? *shrug* The book said so.
So then war comes, and they relocate... but after a while Tereza leaves Tomas (taking the female dog that they named Karenin and now refer to using male pronouns... Maybe to make Tomas feel as though Tereza has a lover as well? Who knows. This book is so stupid...).
She leaves him, and I think, "About frigging time." There's no reason for her having decided to leave him NOW, as opposed to any day of the 7 previous years of dreading him coming home smelling of another woman, of fearing that every single woman she sees will be her husband's next conquest. She decided to leave now... because the book said so.
And then he realizes that he can't be without her, and goes to her, and she takes him back, and then he realizes he feels nothing for her but mild indigestion and "pressure in his stomach and the despair of having returned".
I am a character reader. I need characters that I can identify with, that I can understand, maybe like... but these were none of those things. I don't know them, I don't understand them, I don't identify with them in any way... and I don't want to.
I just want to stop reading about them.
And so I did.
I have had a run of books that have bored me, or annoyed me, or just did nothing for me. This one is... You know, I don't even know how to describe this one.
I pretty much hated it from the first page. I do not understand the high rating on 欧宝娱乐 for this book. I can barely stand the thought of picking it up again and reading more of the words telling me things about characters that I could not possibly care less about.
We have Tomas, whom we meet standing on his balcony and vacillating between whether he should ask a woman that he's "in love with" (read: met in a chance encounter and became infatuated with) to move in with him. He's saved from making any kind of fucking decision by her showing up on his doorstep (literally) with her bags packed and ready to move in. Which she does. And then she clings to him (literally) every night - to the point that he controls her sleep patterns. He even, charmer that he is, fucks with her partially-asleep mind and tells her that he's leaving her forever, so that she'll chase him and drag him back home.
Tereza (that's the woman - I had to look up her name) begins to have nightmares that he's cheating on her and forcing her to watch after finding a letter from a woman in Tomas's drawer describing that very thing. So then, in the course of a sentence, we learn that Tomas has never stopped womanizing, then that he lied to Tereza about it, then tried to justify it, and now just tries to hide it from her, but won't stop.
And she stays. He gets her a dog, because the dog will hopefully "develop lesbian tendencies" and love Tereza, because Tomas can't cope with her and needs help.
So yes, Tereza not only stays, but marries him.
Why? *shrug* The book said so.
So then war comes, and they relocate... but after a while Tereza leaves Tomas (taking the female dog that they named Karenin and now refer to using male pronouns... Maybe to make Tomas feel as though Tereza has a lover as well? Who knows. This book is so stupid...).
She leaves him, and I think, "About frigging time." There's no reason for her having decided to leave him NOW, as opposed to any day of the 7 previous years of dreading him coming home smelling of another woman, of fearing that every single woman she sees will be her husband's next conquest. She decided to leave now... because the book said so.
And then he realizes that he can't be without her, and goes to her, and she takes him back, and then he realizes he feels nothing for her but mild indigestion and "pressure in his stomach and the despair of having returned".
I am a character reader. I need characters that I can identify with, that I can understand, maybe like... but these were none of those things. I don't know them, I don't understand them, I don't identify with them in any way... and I don't want to.
I just want to stop reading about them.
And so I did.
June 6, 2022
4.5
Jeden z moich ulubie艅c贸w
Jeden z moich ulubie艅c贸w
April 23, 2011
Kundera is an unconventional writer, to say the least. If you are looking for fully fleshed characters or a smooth plot, The Unbearable Lightness of Being is not for you. Kundera merely uses plot and characters as tools or examples to explain his philosophy about life, and that is what this novel is all about. He will provide a glimpse of his characters' lives, hit the pause button and then go on to explain all about what just happened, the philosophy and psychology which drives the lives of his characters and often real lives as well. In keeping with this format, the novel is fragmentary in structure. It is easy to see how a reader can get annoyed at the author's getting lost in his philosophical musings so very often. But if you can find some meaning in those, the novel just might work for you.
Decisions and dilemmas. Kundera's characters seem to searching for an elusive something, trying to find that perfect place in life where they would want to live forever. However, it is difficult to know for sure the direction in which that perfect place lies. If they find their current lives suffocating, going the other way could be liberating. But is it worth leaving behind all that will be lost? The moment they take a step ahead, they begin feeling the pull of what they had just turned their back to. Often the choice is not between perfection and imperfection, it is a trade-off.
The ability to shape our own lives, to some extent at least, is a power. Sometimes it can be a burden too. Specially when there is no way of knowing what waits for us at the next corner. Do we choose being happy today at the expense of 'What ifs..' plaguing us tomorrow? Or do we put us through an ordeal now in anticipation of it paying off in the future? What if we end up in a mess, unable to turn back?
"And therein lies the whole of man's plight. Human time does not run in circles; it runs ahead in a straight line. That is why man cannot be happy: happiness is the longing for repetition."
Sometimes we can find the right answers only in retrospect.
"We can never know what we want, because, living only one life, we can neither compare it with our previous lives nor perfect it in our lives to come."
Kundera speaks of the irony of human life. Having only one life to live, makes the life choices difficult and onerous. It is also because of this very fact of living only one life that these life choices do not have much weight in the bigger picture. And it is this irony which causes the unbearable lightness of being. The only thing that relieves us from this unbearable lightness are fortuitous occurences which, love it or hate it, have a say in making up our lives.
"They (human lives) are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurence (Beethoven's music, death under a train) into a motif , which then assumes a permanent place in the composition of the individual's life."
Love. Kundera does not speak of love in a poetic, all-beautiful manner. What happens when one of the characters packs her life in a suitcase and goes off to be with her lover? Is there music in the air, fluttering butterflies? No. Her stomach makes a rumbling sound the moment she sees her lover...because she hasn't eaten anything all day.
"If a love is to be unforgettable, fortuities must immediately start fluttering down to it like birds to Francis of Assisi's shoulders."
Finding love does not miraculously solve all their problems. Love is often accompanied by jealousy, mistrust, lies, deceit, pain. Yet they do find some strength in love and do all they can to hold on to it.
""Love is a battle," said Marie-Claude, still smiling. "And I plan to go on fighting. To the end.""
Along with these, Kundera touches upon a few other themes as well. Some of those hit the right note, while there were parts that I found trite or pretentious or simply lacking any sense. Take this for example. One of the characters sleeps with every other woman who crosses his path. Kundera philosophizes his physical desire and explains it as a deep-seated intellectual curiosity. Naah, I don't buy that. Then there were pretending-to-be-deep quotes that just went over my head.
"Tomas did not realize at the time that metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love.
Umm, What?
Another thing I found odd was that the author breaks the fourth wall and tries to be defensive about the novel. He comes in and explains how he is not just telling a story, but investigating human lives. He tells us that the characters are merely figments of his imagination (so we shouldn't expect them to be realistic). He tells us that it is wrong to chide a novel for mysterious coincidences (so we shouldn't question the unrealistic events in the plot).
Agreed there are some flaws, but I would have forgiven them even without the author explaining himself away.
July 13, 2008
This book definitely wins the award for Most Pretentious Title Ever. People would ask me what I was reading, and I would have to respond by reading the title in a sarcastic, Oxford-Professor-of-Literature voice to make it clear that I was aware of how obnoxiously superior I sounded. Honestly, Kundera: stop trying so hard. Chill. Out.
When I first started reading this book, I really disliked it. Kundera wastes the first two chapters on philosophical ramblings before he finally gets around to telling the story, and even then his own voice darts in and out of the story, interjecting his own opinion into the plot. It's like trying to watch a movie with the director's commentary playing in the background - all you can think is, "shut up and let me watch the movie in peace!" I also thought he was trying way too hard to be a Critically Acclaimed Author; for example: "Tomas did not realize at the time that metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love."
Um...sure. Why not.
But once he decides to relax a little and actually tell a coherent story, it becomes really engrossing. I was never crazy about Tomas and Tereza, who love each other despite the fact that Tomas is a selfish man-whore (Kundera phrased it more poetically, but that's basically the truth), but I think I understood them. Also, the last 50-some pages of the book were AMAZING, made me cry, and are the reason this book gets four stars instead of three.
"We can never know what we want, because, living only one life, we can neither compare it with our previous lives nor perfect it in our lives to come."
When I first started reading this book, I really disliked it. Kundera wastes the first two chapters on philosophical ramblings before he finally gets around to telling the story, and even then his own voice darts in and out of the story, interjecting his own opinion into the plot. It's like trying to watch a movie with the director's commentary playing in the background - all you can think is, "shut up and let me watch the movie in peace!" I also thought he was trying way too hard to be a Critically Acclaimed Author; for example: "Tomas did not realize at the time that metaphors are dangerous. Metaphors are not to be trifled with. A single metaphor can give birth to love."
Um...sure. Why not.
But once he decides to relax a little and actually tell a coherent story, it becomes really engrossing. I was never crazy about Tomas and Tereza, who love each other despite the fact that Tomas is a selfish man-whore (Kundera phrased it more poetically, but that's basically the truth), but I think I understood them. Also, the last 50-some pages of the book were AMAZING, made me cry, and are the reason this book gets four stars instead of three.
"We can never know what we want, because, living only one life, we can neither compare it with our previous lives nor perfect it in our lives to come."
September 15, 2007
The Unbearable Lightness of Being was almost unbearable to read. There was a lot of pseudo-intellectual meandering about things that deserved a little more grit. Rather, I prefer a little more reality. I didn't care about the characters, and I didn't feel like they cared about anything. I feel like saying I was impressed with the thoughtiness of this book, but by the time I typed it I'd be so buried under multiple levels of irony that I'd suddenly be accidentally sincere again. What was I saying? Oh, yeah. I'd probably like this book a lot more if I was having more sex.
NC
NC
September 9, 2023
- 賳丨賳 丕賲丕賲 賰鬲丕亘 睾賷乇 鬲賯賱賷丿賷貙 賵乇賵丕賷丞 賱丕 鬲卮亘賴 丕賱鬲毓乇賷賮貙 賮廿匕丕 賰賳鬲 鬲亘丨孬 毓賳 丨亘賰丞 賵毓賯丿丞 賵丨賱 賵賳鬲賷噩丞 賮賷 丌禺乇 丕賱乇賵丕賷丞貙 賮賴匕賴 丕賱乇賵丕賷丞 賱丕 鬲賳鬲賲賷 賱匕賱賰 丕賱氐賳賮 賵賱賳 鬲毓噩亘賰 丕亘丿丕賸.
- 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 丕乇亘毓丞 賵丕賱賯丕乇卅 禺丕賲爻賴賲貙 賷兀禺匕 賰賵賳丿賷乇丕 丕賱兀乇亘毓丞貙 賷爻鬲毓賲賱賴賲 賰兀丿賵丕鬲 賱卮乇丨 賮賱爻賮鬲賴 賮賷 丕賱丨賷丕丞貙 賷卮乇賾丨 賰賱 卮禺氐賷丞 毓賱賶 丨丿賶貙 賷鬲賲賴賾賱 賷卮乇丨 賱賰 賲丕 丨氐賱 賲賳 夭丕賵賷丞 賮賱爻賮賷丞 賵賳賮爻賷丞 賵賷毓丕賵丿 丕賱爻乇丿. 丕賱卮禺氐賷丞 丕賱禺丕賲爻丞 (丕賱賯丕乇卅) 賷賲賰賳賴 丕賱丌賳 丕賳 賷鬲賵賯賮貙 丕賳 賷毓賷丿 賲丕 賯乇兀 丕賵 丕賳 賷鬲丕亘毓 丕賱乇丨賱丞 丕賱賲噩賳賵賳丞 賲毓 賰賵賳丿賷乇丕.
- 丕賱禺賮賾丞 賵丕賱孬賯賱: 賷賳胤賱賯 賰賵賳丿賷乇丕 賲賳 賮賰乇丞 賳賷鬲卮丞 賮賷 丕賱毓賵丿 丕賱兀亘丿賷 賵丨鬲賲賷丞 鬲賰乇丕乇 丕賱鬲丕乇賷禺貙 賮賷毓丕乇囟賴丕 賵"賷爻禺賾賮賴丕" 賵賷丨丕賵賱 丕孬亘丕鬲 毓賰爻賴丕. 噩丿賱賷丞 丕賱禺賮丞 賵丕賱孬賯賱 賴賷 丕賲鬲丿丕丿 賱賱丿賷丕賱賰鬲賷賰 丕賱兀夭賱賷 賵賱鬲氐丕乇毓 丕賱兀囟丿丕丿 賵丕賱賲鬲賳丕賯囟丕鬲 乇睾賲 丕賳 賰賵賳丿賷乇丕 賷噩賳丨 丕賱賶 賲毓賳賶 丕賱孬賯賱 賵賵夭賳賴 賮賷 丕賱丨賷丕丞 丕賱亘卮乇賷丞 賵毓亘孬賷丞 丕賱禺賮丞 賮賷 丕賱毓丿賷丿 賲賳 丕賱賲賵丕囟毓 賱賰賳賴 賷亘鬲毓丿 毓賳 丕賱丨鬲賲賷丞 賵賷鬲乇賰賰 鬲鬲爻兀賱貙 鬲丨賰賲 賵鬲賯乇乇 亘賳賮爻賰.
- 丕賱賯乇丕乇丕鬲 賵"賲丕匕丕 賱賵": 廿賳 卮禺氐賷丕鬲 賰賵賳丿賷乇丕 鬲丨丕賵賱 丕賱毓孬賵乇 毓賱賶 賲賰丕賳 賲孬丕賱賷 賮賷 丕賱丨賷丕丞 丨賷孬 賷乇賷丿賵賳 丕賱毓賷卮 廿賱賶 丕賱兀亘丿貙 賵賱賰賳 賴賱 賷爻鬲丨賯 丕賱兀賲乇 鬲乇賰 賰賱 賲丕 爻賷囟賷毓責 賮賷 丕賱賱丨馗丞 丕賱鬲賷 賷鬲禺匕賵賳 賮賷賴丕 禺胤賵丞 廿賱賶 丕賱兀賲丕賲 貙 賷亘丿兀賵賳 賮賷 丕賱卮毓賵乇 亘賲丕 鬲乇賰賵賴 禺賱賮賴賲 賱賱鬲賵 (爻丕亘賷賳丕 丨賷賳 鬲乇賰鬲 鬲賵賲丕爻貙 賮乇丕賳爻夭 毓賱賶 丕賱丨丿賵丿 丕賱賰賲亘賵丿賷丞 賰賲孬丕賱)貙 禺丕氐丞 毓賳丿賲丕 賱丕 鬲賵噩丿 胤乇賷賯丞 賱賲毓乇賮丞 賲丕 丕賱匕賷 賷賳鬲馗乇賳丕 毓賱賶 丕賱囟賮丞 丕賱兀禺乇賶. 賴賱 賳禺鬲丕乇 兀賳 賳賰賵賳 爻毓丿丕亍 丕賱賷賵賲 毓賱賶 丨爻丕亘 丕賱鬲毓丕爻丞 睾丿丕賸責 兀賲 賳囟丨賾賷 賵賳卮賯賶 賮賷 丕賱丨丕囟乇 丌賲賱丕賸 亘賳鬲丕卅噩 噩賷丿丞 賮賷 丕賱賲爻鬲賯亘賱責 賲丕匕丕 賱賵 丕賳鬲賴賶 亘賳丕 丕賱賲胤丕賮 賮賷 賮賵囟賶貙 賵亘丕賱鬲兀賰賷丿 賱丕 毓賵丿丞!! 毓亘孬賷丞 丕賵 丨賰賲丞責! .. 賱丕 丕丿乇賷貙 賱賰賳賳丕 "賱丕 賷賲賰賳賳丕 兀亘丿丕 兀賳 賳毓乇賮 賲丕 賳乇賷丿賴 貙 賱兀賳賳丕 賳毓賷卮 丨賷丕丞 賵丕丨丿丞 賮賯胤 ".
- 丕賱丨亘: 賱賲 賷鬲胤乇賯 賰賵賳丿賷乇丕 丕賱賶 丕賱丨亘 賲賳 夭丕賵賷丞 卮丕毓乇賷丞貙 賵賱賲 賷噩毓賱賴 丕賱丨賱 丕賱賲孬丕賱賷 賱賲卮賰賱丞 丕賱丨賷丕丞貙 賮丨賷賳 丨夭賲鬲 鬲賷乇賷夭丕 丨賯丕卅亘賴丕 賵丕鬲鬲 丕賱賷賴 賰丕賳鬲 "賰乇賰乇丞" 賲毓丿鬲賴丕 賴賷 丕賱賲賯丿賲丞 賱兀賳賴丕 噩丕卅毓丞 賵亘丕乇丿丞! 賰賲丕 丕賳 丕賱丨亘 丕賱匕賷 賳卮兀 亘賷賳賴賲 賵丕賰亘鬲賴 賲卮丕毓乇 禺賵賮貙 賵睾賷乇丞 賵賰匕亘 賵禺賷丕賳丞 賵賯賱丞 孬賯丞 賵禺丿丕毓 賲鬲亘丕丿賱 賵乇睾賲 匕賱賰 鬲卮亘孬丕 亘賴 毓賱賴 賷賰賵賳 賲賳賯匕賴賲丕. (丕毓鬲賯丿 丕賳 賳夭丕乇 賯亘丕賳賷 丕爻鬲賱賴賲 賯氐賷丿丞 丕賱鬲賳丕賯囟丕鬲 賲賳 賲賷賱丕賳 (賵賰賷賮 鬲賰賵賳 丕賱禺賷丕賳丞 丨賱丕賸..))
- 丕賱卮賷賵毓賷丞 賵丕賱丨乇亘: 賯丿賾賲 賲賷賱丕賳 賳馗乇丞 毓丕賲丞 毓賳 丕賱賵囟毓 廿亘賾丕賳 丕丨鬲賱丕賱 丕賱爻賵賮賷丕鬲 賱賱鬲卮賷賰貙 賵賰賷賮 鬲睾賷賾乇鬲 丕賱兀丨賵丕賱 賵丕賱鬲毓丕賲賱 賲毓 丕賱賲丨鬲賱貙 賵賲賱丕丨賯丞 丕賱賲孬賯賮賷賳 賵賳賮賷賴賲 賵丕丨鬲賯丕乇賴賲 賵爻噩賳賴賲 賵丕毓丿丕賲 亘毓囟賴賲貙 賰賲丕 丕毓胤賶 氐賵乇丞 毓丕賲丞 賰賷賮 鬲睾賷乇鬲 丕賱丨賷丕丞 賵賰賷賮 鬲兀孬乇 丕賱鬲卮賷賰 亘賴匕丕 丕賱賵囟毓.
- 賷鬲乇賰賳丕 賲賷賱丕賳 賰賵賳丿賷乇丕 賲毓 丕賱賰孬賷乇 賲賳 丕賱兀爻卅賱丞 丕賱賵噩賵丿賷丞 丕賱賲賯賱賯丞 賱賱鬲兀賲賱 賵匕賱賰 毓丕卅丿貙 乇亘賲丕貙 丕賱賶 丕賳賴 賱丕 鬲賵噩丿 廿噩丕亘丕鬲 賵丕囟丨丞 賱賴匕賴 丕賱兀爻卅賱丞.
- 丕賱賮賰乇丞 丕賱賲亘鬲匕賱丞 賮賷 賴匕賴 丕賱乇賵丕賷丞 賰丕賳鬲 賰賲賷丞 "丕賱賲囟丕噩毓丕鬲" 賵賲丨丕賵賱丞 賮賱爻賮鬲賴丕 賵丕毓胤丕卅賴丕 噩匕賵乇 賮賰乇賷丞 賵賮賱爻賮賷丞!
- 爻兀賯乇兀賴丕 賲乇丞 孬丕賳賷丞 賵孬丕賱孬丞 ...
---
亘毓囟 丕賱廿賯鬲亘丕爻丕鬲 丕賱噩賲賷賱丞 賵丕賱賱丕匕毓丞:
- 氐11" 賮賷 亘丿丕賷丞 兀爻丕胤賷乇 賰孬賷乇丞 賴賳丕賰 丕丨丿 賲丕 賷賳賯匕 胤賮賱丕賸 賱賯賷胤丕賸"
- 氐20" 丕賳 賳丨亘 丕丨丿丕賸 卮賮賯丞 亘賴 賮賴匕丕 賷毓賳賷 丕賳賳丕 賱丕 賳丨亘賴 丨賯丕賸" 匕賰乇賳賷 亘 "丨匕丕乇 賲賳 丕賱卮賮賯丞" 賱爻鬲賷賮丕賳 夭賮丕賷噩
- 氐30" 丕賳 丕賱賲賳丕 亘丕賱匕丕鬲 賱賷爻 亘兀孬賯賱 賲賳 丕賱兀賱賲 丕賱匕賷 賳毓丕賳賷賴 賲毓 丕賱丌禺乇 賵賲賳 丕噩賱 丕賱丌禺乇 賵賮賷 賲賰丕賳 丕賱丌禺乇貙 丕賱賲 賷囟丕毓賮賴 丕賱禺賷丕賱 賵鬲乇噩毓賴 賲卅丕鬲 丕賱兀氐丿丕亍"
- 氐43" 賵賰賷 賷賰賵賳 丕賱丨亘 睾賷乇 賯丕亘賱 賱賱賳爻賷丕賳貙 賷噩亘 丕賳 鬲噩鬲賲毓 丕賱氐丿賮 賲賳 丕賱賱丨馗丞 丕賱兀賵賱賶"
- 氐64" 賰賱賳丕 囟毓賮丕亍 賮賷 賲賵丕噩賴丞 賯賵賾丞 丕毓馗賲 賲賳丕"
- 氐67" 丕賳 丕賱廿氐丕亘丞 亘丕賱丿賵丕乇 鬲毓賳賷 丕賳 賷賰賵賳 丕賱賲乇亍 爻賰乇丕賳 賲賳 囟毓賮賴 丕賱禺丕氐.. 賮賴賵 賷毓賷 囟毓賮賴 賱賰賳賴 賱丕 賷乇睾亘 亘丕賱鬲氐丿賷 賱賴 亘賱 丕賱廿爻鬲乇爻丕賱 賮賷賴" 賰丕賳 賷賲賰賳 丕爻鬲毓賲丕賱 賲賮乇丿丞 丕賮囟賱 賲賳 丕賱丿賵丕乇貙 "丕賱鬲賷賴" 賰丕賳鬲 賱鬲賰賵賳 丕賮囟賱.
- 氐 77" 賱賷爻鬲 賰賱 丕賱賳爻丕亍 噩丿賷乇丕鬲 亘兀賳 賷丿毓賷賳 賳爻丕亍"
- 氐82" 丕賱丨丿賵丿 丕賱賯氐賵賶 鬲乇爻賲 丕賱賮丕氐賱 丕賱匕賷 鬲禺鬲賮賷 賲賳 亘毓丿賴 丕賱丨賷丕丞" 賵賴匕丕 賲賳丕賯囟 賱賳賷鬲卮丞 賵噩亘乇丕賳
- 氐82" 賲賳 亘賮鬲卮 毓賳 丕賱賱丕賳賴丕賷丞 賲丕 毓賱賷賴 丕賱丕 丕賳 賷睾賲囟 毓賷賳賷賴"
- 氐108" 賲丕 丕賱匕賷 賷亘賯賶 丨賷賳 賱丕 賷毓賵丿 賴賳丕賰 丕賴賱 賱賳禺賵賳賴賲 丕賵 夭賵噩 丕賵 丨亘 丕賵 賵胤賳"
- 氐109" 賵亘丿賱 丕賳 賷賰賵賳 爻賰丕賳 丕賱賲賯丕亘乇 丕賰孬乇 鬲毓賯賱丕賸 亘毓丿 賲賵鬲賴賲 賮廿賳賴賲 丕賰孬乇 丨賲丕賯丞 賲賲丕 賰丕賳賵丕 賵賴賲 毓賱賶 賯賷丿 丕賱丨賷丕丞"
- 氐120" 廿賳 爻丐丕賱丕賸 亘賱丕 噩賵丕亘 丨丕噩夭 賱丕 胤乇賯丕鬲 亘毓丿賴" "丕賱兀爻卅賱丞 丕賱鬲賷 鬲亘賯賶 丿賵賳 噩賵丕亘 賴賷 丕賱鬲賷 鬲卮賷乇 丕賱賶 丨丿賵丿 丕賱廿賲賰丕賳丕鬲 丕賱廿賳爻丕賳賷丞貙 賵賴賷 丕賱鬲賷 鬲乇爻賲 丨丿賵丿 賵噩賵丿賳丕"
- 氐163" 賱賰賷 賳鬲丨丕卮賶 丕賱毓匕丕亘 賳賱噩兀 賮賷 丕賰孬乇 丕賱兀丨賷丕賳 丕賱賶 丕賱賲爻鬲賯亘賱"
- 氐168" 毓賱丕賯丕鬲 丕賱丨亘 賲孬賱 丕賱廿賲亘乇丕胤賵乇賷丕鬲貙 賲丕 丕賳 賷禺鬲賮賷 丕賱賲亘丿兀 丕賱匕賷 亘賳賷鬲 毓賱賶 丕爻丕爻賴 丨鬲賶 鬲禺鬲賮賷 賲毓賴 丕賷囟丕賸"
- 氐172" 丕賱兀賳馗賲丞 丕賱賲噩乇賲丞 賱賲 賷賳卮兀賴丕 丕賳丕爻 賲噩乇賲賵賳 賵丕賳賲丕 丕賳丕爻 賲鬲丨賲爻賵賳 賵賲賯鬲賳毓賵賳 亘兀賳賴賲 賵噩丿賵丕 丕賱胤乇賷賯 丕賱賵丨賷丿 丕賱賶 丕賱噩賳丞"
- 氐225" 丕賱鬲丕乇賷禺 禺賮賷賮 亘賯丿乇 賲丕 賴賷 丕賱丨賷丕丞 丕賱廿賳爻丕賳賷丞 禺賮賷賮丞貙 禺賮賷賮丞 亘卮賰賱 賱丕 賷胤丕賯貙 禺賮賷賮丞 賲孬賱 丕賱賵亘乇貙 賲孬賱 睾亘丕乇貙 賲孬賱 卮賷卅 爻賷禺鬲賮賷 睾丿丕賸"
- 氐230" 賮賷 噩賲賷毓 丕賱兀丨賵丕賱 賱賳 丕乇賶 卮賷卅丕賸. 賴賳丕賰 賮噩賵鬲丕賳 賲賰丕賳 丕賱毓賷賳賷賳"
- 氐277" 廿賳 丿賮賳 丕賱夭賵噩 丕禺賷乇丕賸 賴賵 毓乇爻 丕賱夭賵噩丞 丕賱丨賯賷賯賷貙 賵賴賵 鬲鬲賵賷噩 亘丨賷丕鬲賴丕 賵賲賰丕賮兀丞 鬲賰賮賾乇 毓賳 賰賱 毓匕丕亘丕鬲賴丕"
-氐 286" 噩丕亍 賮賷 爻賮乇 丕賱鬲賰賵賷賳 丕賳 丕賱賱賴 禺賱賯 丕賱廿賳爻丕賳 賵噩毓賱賴 賷爻賷胤乇 毓賱賶 丕賱胤賷賵乇 賵丕賱兀爻賲丕賰 賵丕賱賲丕卮賷丞. 賵亘丕賱胤亘毓 丕賱賾賮 爻賮乇 丕賱鬲賰賵賷賳 丕賳爻丕賳貙 賱丕 丨氐丕賳. 賵賱賷爻 賲賳 丕賱賲丐賰丿 丕賳 丕賱賱賴 丕乇丕丿 丨賯丕賸 丕賳 賷丨賰賲 丕賱廿賳爻丕賳 爻丕卅乇 丕賱賲禺賱賵賯丕鬲"
- 氐288" 賱賳鬲氐賵乇 丕賱廿賳爻丕賳 賵賯丿 丕賵孬賯賴 丕丨丿 爻賰丕賳 丕賱賲乇賷禺 亘毓乇亘丞 孬賲 賯賱賾亘賴 丕丨丿 爻賰丕賳 丕賱賲噩乇丞 毓賱賶 爻賷禺 賱賷卮賵賷賴貙 乇亘賲丕 爻賷鬲匕賰乇 丨鬲賲丕賸 丨賷賳卅匕 囟賱毓 丕賱毓噩賱 丕賱匕賷 丕毓鬲丕丿 毓賱賶 鬲賯胤賷毓賴 賮賷 氐丨賳賴貙 賵爻賷賯丿賲 丕毓鬲匕丕乇賴 (賵賱賵 賲鬲兀禺乇丕賸 噩丿丕賸) 賱賱亘賯乇丞"
- 卮禺氐賷丕鬲 丕賱乇賵丕賷丞 丕乇亘毓丞 賵丕賱賯丕乇卅 禺丕賲爻賴賲貙 賷兀禺匕 賰賵賳丿賷乇丕 丕賱兀乇亘毓丞貙 賷爻鬲毓賲賱賴賲 賰兀丿賵丕鬲 賱卮乇丨 賮賱爻賮鬲賴 賮賷 丕賱丨賷丕丞貙 賷卮乇賾丨 賰賱 卮禺氐賷丞 毓賱賶 丨丿賶貙 賷鬲賲賴賾賱 賷卮乇丨 賱賰 賲丕 丨氐賱 賲賳 夭丕賵賷丞 賮賱爻賮賷丞 賵賳賮爻賷丞 賵賷毓丕賵丿 丕賱爻乇丿. 丕賱卮禺氐賷丞 丕賱禺丕賲爻丞 (丕賱賯丕乇卅) 賷賲賰賳賴 丕賱丌賳 丕賳 賷鬲賵賯賮貙 丕賳 賷毓賷丿 賲丕 賯乇兀 丕賵 丕賳 賷鬲丕亘毓 丕賱乇丨賱丞 丕賱賲噩賳賵賳丞 賲毓 賰賵賳丿賷乇丕.
- 丕賱禺賮賾丞 賵丕賱孬賯賱: 賷賳胤賱賯 賰賵賳丿賷乇丕 賲賳 賮賰乇丞 賳賷鬲卮丞 賮賷 丕賱毓賵丿 丕賱兀亘丿賷 賵丨鬲賲賷丞 鬲賰乇丕乇 丕賱鬲丕乇賷禺貙 賮賷毓丕乇囟賴丕 賵"賷爻禺賾賮賴丕" 賵賷丨丕賵賱 丕孬亘丕鬲 毓賰爻賴丕. 噩丿賱賷丞 丕賱禺賮丞 賵丕賱孬賯賱 賴賷 丕賲鬲丿丕丿 賱賱丿賷丕賱賰鬲賷賰 丕賱兀夭賱賷 賵賱鬲氐丕乇毓 丕賱兀囟丿丕丿 賵丕賱賲鬲賳丕賯囟丕鬲 乇睾賲 丕賳 賰賵賳丿賷乇丕 賷噩賳丨 丕賱賶 賲毓賳賶 丕賱孬賯賱 賵賵夭賳賴 賮賷 丕賱丨賷丕丞 丕賱亘卮乇賷丞 賵毓亘孬賷丞 丕賱禺賮丞 賮賷 丕賱毓丿賷丿 賲賳 丕賱賲賵丕囟毓 賱賰賳賴 賷亘鬲毓丿 毓賳 丕賱丨鬲賲賷丞 賵賷鬲乇賰賰 鬲鬲爻兀賱貙 鬲丨賰賲 賵鬲賯乇乇 亘賳賮爻賰.
- 丕賱賯乇丕乇丕鬲 賵"賲丕匕丕 賱賵": 廿賳 卮禺氐賷丕鬲 賰賵賳丿賷乇丕 鬲丨丕賵賱 丕賱毓孬賵乇 毓賱賶 賲賰丕賳 賲孬丕賱賷 賮賷 丕賱丨賷丕丞 丨賷孬 賷乇賷丿賵賳 丕賱毓賷卮 廿賱賶 丕賱兀亘丿貙 賵賱賰賳 賴賱 賷爻鬲丨賯 丕賱兀賲乇 鬲乇賰 賰賱 賲丕 爻賷囟賷毓責 賮賷 丕賱賱丨馗丞 丕賱鬲賷 賷鬲禺匕賵賳 賮賷賴丕 禺胤賵丞 廿賱賶 丕賱兀賲丕賲 貙 賷亘丿兀賵賳 賮賷 丕賱卮毓賵乇 亘賲丕 鬲乇賰賵賴 禺賱賮賴賲 賱賱鬲賵 (爻丕亘賷賳丕 丨賷賳 鬲乇賰鬲 鬲賵賲丕爻貙 賮乇丕賳爻夭 毓賱賶 丕賱丨丿賵丿 丕賱賰賲亘賵丿賷丞 賰賲孬丕賱)貙 禺丕氐丞 毓賳丿賲丕 賱丕 鬲賵噩丿 胤乇賷賯丞 賱賲毓乇賮丞 賲丕 丕賱匕賷 賷賳鬲馗乇賳丕 毓賱賶 丕賱囟賮丞 丕賱兀禺乇賶. 賴賱 賳禺鬲丕乇 兀賳 賳賰賵賳 爻毓丿丕亍 丕賱賷賵賲 毓賱賶 丨爻丕亘 丕賱鬲毓丕爻丞 睾丿丕賸責 兀賲 賳囟丨賾賷 賵賳卮賯賶 賮賷 丕賱丨丕囟乇 丌賲賱丕賸 亘賳鬲丕卅噩 噩賷丿丞 賮賷 丕賱賲爻鬲賯亘賱責 賲丕匕丕 賱賵 丕賳鬲賴賶 亘賳丕 丕賱賲胤丕賮 賮賷 賮賵囟賶貙 賵亘丕賱鬲兀賰賷丿 賱丕 毓賵丿丞!! 毓亘孬賷丞 丕賵 丨賰賲丞責! .. 賱丕 丕丿乇賷貙 賱賰賳賳丕 "賱丕 賷賲賰賳賳丕 兀亘丿丕 兀賳 賳毓乇賮 賲丕 賳乇賷丿賴 貙 賱兀賳賳丕 賳毓賷卮 丨賷丕丞 賵丕丨丿丞 賮賯胤 ".
- 丕賱丨亘: 賱賲 賷鬲胤乇賯 賰賵賳丿賷乇丕 丕賱賶 丕賱丨亘 賲賳 夭丕賵賷丞 卮丕毓乇賷丞貙 賵賱賲 賷噩毓賱賴 丕賱丨賱 丕賱賲孬丕賱賷 賱賲卮賰賱丞 丕賱丨賷丕丞貙 賮丨賷賳 丨夭賲鬲 鬲賷乇賷夭丕 丨賯丕卅亘賴丕 賵丕鬲鬲 丕賱賷賴 賰丕賳鬲 "賰乇賰乇丞" 賲毓丿鬲賴丕 賴賷 丕賱賲賯丿賲丞 賱兀賳賴丕 噩丕卅毓丞 賵亘丕乇丿丞! 賰賲丕 丕賳 丕賱丨亘 丕賱匕賷 賳卮兀 亘賷賳賴賲 賵丕賰亘鬲賴 賲卮丕毓乇 禺賵賮貙 賵睾賷乇丞 賵賰匕亘 賵禺賷丕賳丞 賵賯賱丞 孬賯丞 賵禺丿丕毓 賲鬲亘丕丿賱 賵乇睾賲 匕賱賰 鬲卮亘孬丕 亘賴 毓賱賴 賷賰賵賳 賲賳賯匕賴賲丕. (丕毓鬲賯丿 丕賳 賳夭丕乇 賯亘丕賳賷 丕爻鬲賱賴賲 賯氐賷丿丞 丕賱鬲賳丕賯囟丕鬲 賲賳 賲賷賱丕賳 (賵賰賷賮 鬲賰賵賳 丕賱禺賷丕賳丞 丨賱丕賸..))
- 丕賱卮賷賵毓賷丞 賵丕賱丨乇亘: 賯丿賾賲 賲賷賱丕賳 賳馗乇丞 毓丕賲丞 毓賳 丕賱賵囟毓 廿亘賾丕賳 丕丨鬲賱丕賱 丕賱爻賵賮賷丕鬲 賱賱鬲卮賷賰貙 賵賰賷賮 鬲睾賷賾乇鬲 丕賱兀丨賵丕賱 賵丕賱鬲毓丕賲賱 賲毓 丕賱賲丨鬲賱貙 賵賲賱丕丨賯丞 丕賱賲孬賯賮賷賳 賵賳賮賷賴賲 賵丕丨鬲賯丕乇賴賲 賵爻噩賳賴賲 賵丕毓丿丕賲 亘毓囟賴賲貙 賰賲丕 丕毓胤賶 氐賵乇丞 毓丕賲丞 賰賷賮 鬲睾賷乇鬲 丕賱丨賷丕丞 賵賰賷賮 鬲兀孬乇 丕賱鬲卮賷賰 亘賴匕丕 丕賱賵囟毓.
- 賷鬲乇賰賳丕 賲賷賱丕賳 賰賵賳丿賷乇丕 賲毓 丕賱賰孬賷乇 賲賳 丕賱兀爻卅賱丞 丕賱賵噩賵丿賷丞 丕賱賲賯賱賯丞 賱賱鬲兀賲賱 賵匕賱賰 毓丕卅丿貙 乇亘賲丕貙 丕賱賶 丕賳賴 賱丕 鬲賵噩丿 廿噩丕亘丕鬲 賵丕囟丨丞 賱賴匕賴 丕賱兀爻卅賱丞.
- 丕賱賮賰乇丞 丕賱賲亘鬲匕賱丞 賮賷 賴匕賴 丕賱乇賵丕賷丞 賰丕賳鬲 賰賲賷丞 "丕賱賲囟丕噩毓丕鬲" 賵賲丨丕賵賱丞 賮賱爻賮鬲賴丕 賵丕毓胤丕卅賴丕 噩匕賵乇 賮賰乇賷丞 賵賮賱爻賮賷丞!
- 爻兀賯乇兀賴丕 賲乇丞 孬丕賳賷丞 賵孬丕賱孬丞 ...
---
亘毓囟 丕賱廿賯鬲亘丕爻丕鬲 丕賱噩賲賷賱丞 賵丕賱賱丕匕毓丞:
- 氐11" 賮賷 亘丿丕賷丞 兀爻丕胤賷乇 賰孬賷乇丞 賴賳丕賰 丕丨丿 賲丕 賷賳賯匕 胤賮賱丕賸 賱賯賷胤丕賸"
- 氐20" 丕賳 賳丨亘 丕丨丿丕賸 卮賮賯丞 亘賴 賮賴匕丕 賷毓賳賷 丕賳賳丕 賱丕 賳丨亘賴 丨賯丕賸" 匕賰乇賳賷 亘 "丨匕丕乇 賲賳 丕賱卮賮賯丞" 賱爻鬲賷賮丕賳 夭賮丕賷噩
- 氐30" 丕賳 丕賱賲賳丕 亘丕賱匕丕鬲 賱賷爻 亘兀孬賯賱 賲賳 丕賱兀賱賲 丕賱匕賷 賳毓丕賳賷賴 賲毓 丕賱丌禺乇 賵賲賳 丕噩賱 丕賱丌禺乇 賵賮賷 賲賰丕賳 丕賱丌禺乇貙 丕賱賲 賷囟丕毓賮賴 丕賱禺賷丕賱 賵鬲乇噩毓賴 賲卅丕鬲 丕賱兀氐丿丕亍"
- 氐43" 賵賰賷 賷賰賵賳 丕賱丨亘 睾賷乇 賯丕亘賱 賱賱賳爻賷丕賳貙 賷噩亘 丕賳 鬲噩鬲賲毓 丕賱氐丿賮 賲賳 丕賱賱丨馗丞 丕賱兀賵賱賶"
- 氐64" 賰賱賳丕 囟毓賮丕亍 賮賷 賲賵丕噩賴丞 賯賵賾丞 丕毓馗賲 賲賳丕"
- 氐67" 丕賳 丕賱廿氐丕亘丞 亘丕賱丿賵丕乇 鬲毓賳賷 丕賳 賷賰賵賳 丕賱賲乇亍 爻賰乇丕賳 賲賳 囟毓賮賴 丕賱禺丕氐.. 賮賴賵 賷毓賷 囟毓賮賴 賱賰賳賴 賱丕 賷乇睾亘 亘丕賱鬲氐丿賷 賱賴 亘賱 丕賱廿爻鬲乇爻丕賱 賮賷賴" 賰丕賳 賷賲賰賳 丕爻鬲毓賲丕賱 賲賮乇丿丞 丕賮囟賱 賲賳 丕賱丿賵丕乇貙 "丕賱鬲賷賴" 賰丕賳鬲 賱鬲賰賵賳 丕賮囟賱.
- 氐 77" 賱賷爻鬲 賰賱 丕賱賳爻丕亍 噩丿賷乇丕鬲 亘兀賳 賷丿毓賷賳 賳爻丕亍"
- 氐82" 丕賱丨丿賵丿 丕賱賯氐賵賶 鬲乇爻賲 丕賱賮丕氐賱 丕賱匕賷 鬲禺鬲賮賷 賲賳 亘毓丿賴 丕賱丨賷丕丞" 賵賴匕丕 賲賳丕賯囟 賱賳賷鬲卮丞 賵噩亘乇丕賳
- 氐82" 賲賳 亘賮鬲卮 毓賳 丕賱賱丕賳賴丕賷丞 賲丕 毓賱賷賴 丕賱丕 丕賳 賷睾賲囟 毓賷賳賷賴"
- 氐108" 賲丕 丕賱匕賷 賷亘賯賶 丨賷賳 賱丕 賷毓賵丿 賴賳丕賰 丕賴賱 賱賳禺賵賳賴賲 丕賵 夭賵噩 丕賵 丨亘 丕賵 賵胤賳"
- 氐109" 賵亘丿賱 丕賳 賷賰賵賳 爻賰丕賳 丕賱賲賯丕亘乇 丕賰孬乇 鬲毓賯賱丕賸 亘毓丿 賲賵鬲賴賲 賮廿賳賴賲 丕賰孬乇 丨賲丕賯丞 賲賲丕 賰丕賳賵丕 賵賴賲 毓賱賶 賯賷丿 丕賱丨賷丕丞"
- 氐120" 廿賳 爻丐丕賱丕賸 亘賱丕 噩賵丕亘 丨丕噩夭 賱丕 胤乇賯丕鬲 亘毓丿賴" "丕賱兀爻卅賱丞 丕賱鬲賷 鬲亘賯賶 丿賵賳 噩賵丕亘 賴賷 丕賱鬲賷 鬲卮賷乇 丕賱賶 丨丿賵丿 丕賱廿賲賰丕賳丕鬲 丕賱廿賳爻丕賳賷丞貙 賵賴賷 丕賱鬲賷 鬲乇爻賲 丨丿賵丿 賵噩賵丿賳丕"
- 氐163" 賱賰賷 賳鬲丨丕卮賶 丕賱毓匕丕亘 賳賱噩兀 賮賷 丕賰孬乇 丕賱兀丨賷丕賳 丕賱賶 丕賱賲爻鬲賯亘賱"
- 氐168" 毓賱丕賯丕鬲 丕賱丨亘 賲孬賱 丕賱廿賲亘乇丕胤賵乇賷丕鬲貙 賲丕 丕賳 賷禺鬲賮賷 丕賱賲亘丿兀 丕賱匕賷 亘賳賷鬲 毓賱賶 丕爻丕爻賴 丨鬲賶 鬲禺鬲賮賷 賲毓賴 丕賷囟丕賸"
- 氐172" 丕賱兀賳馗賲丞 丕賱賲噩乇賲丞 賱賲 賷賳卮兀賴丕 丕賳丕爻 賲噩乇賲賵賳 賵丕賳賲丕 丕賳丕爻 賲鬲丨賲爻賵賳 賵賲賯鬲賳毓賵賳 亘兀賳賴賲 賵噩丿賵丕 丕賱胤乇賷賯 丕賱賵丨賷丿 丕賱賶 丕賱噩賳丞"
- 氐225" 丕賱鬲丕乇賷禺 禺賮賷賮 亘賯丿乇 賲丕 賴賷 丕賱丨賷丕丞 丕賱廿賳爻丕賳賷丞 禺賮賷賮丞貙 禺賮賷賮丞 亘卮賰賱 賱丕 賷胤丕賯貙 禺賮賷賮丞 賲孬賱 丕賱賵亘乇貙 賲孬賱 睾亘丕乇貙 賲孬賱 卮賷卅 爻賷禺鬲賮賷 睾丿丕賸"
- 氐230" 賮賷 噩賲賷毓 丕賱兀丨賵丕賱 賱賳 丕乇賶 卮賷卅丕賸. 賴賳丕賰 賮噩賵鬲丕賳 賲賰丕賳 丕賱毓賷賳賷賳"
- 氐277" 廿賳 丿賮賳 丕賱夭賵噩 丕禺賷乇丕賸 賴賵 毓乇爻 丕賱夭賵噩丞 丕賱丨賯賷賯賷貙 賵賴賵 鬲鬲賵賷噩 亘丨賷丕鬲賴丕 賵賲賰丕賮兀丞 鬲賰賮賾乇 毓賳 賰賱 毓匕丕亘丕鬲賴丕"
-氐 286" 噩丕亍 賮賷 爻賮乇 丕賱鬲賰賵賷賳 丕賳 丕賱賱賴 禺賱賯 丕賱廿賳爻丕賳 賵噩毓賱賴 賷爻賷胤乇 毓賱賶 丕賱胤賷賵乇 賵丕賱兀爻賲丕賰 賵丕賱賲丕卮賷丞. 賵亘丕賱胤亘毓 丕賱賾賮 爻賮乇 丕賱鬲賰賵賷賳 丕賳爻丕賳貙 賱丕 丨氐丕賳. 賵賱賷爻 賲賳 丕賱賲丐賰丿 丕賳 丕賱賱賴 丕乇丕丿 丨賯丕賸 丕賳 賷丨賰賲 丕賱廿賳爻丕賳 爻丕卅乇 丕賱賲禺賱賵賯丕鬲"
- 氐288" 賱賳鬲氐賵乇 丕賱廿賳爻丕賳 賵賯丿 丕賵孬賯賴 丕丨丿 爻賰丕賳 丕賱賲乇賷禺 亘毓乇亘丞 孬賲 賯賱賾亘賴 丕丨丿 爻賰丕賳 丕賱賲噩乇丞 毓賱賶 爻賷禺 賱賷卮賵賷賴貙 乇亘賲丕 爻賷鬲匕賰乇 丨鬲賲丕賸 丨賷賳卅匕 囟賱毓 丕賱毓噩賱 丕賱匕賷 丕毓鬲丕丿 毓賱賶 鬲賯胤賷毓賴 賮賷 氐丨賳賴貙 賵爻賷賯丿賲 丕毓鬲匕丕乇賴 (賵賱賵 賲鬲兀禺乇丕賸 噩丿丕賸) 賱賱亘賯乇丞"
August 2, 2021
(Book 256 From 1001 Books) - Nesnesiteln谩 lehkost byt铆 = L鈥檌nsoutenable l茅g猫ret茅 de l鈥櫭猼re = The Unbearable Lightness of Being, Milan Kundera
The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.
From the book: 鈥淭he heavier the burden, the closer our lives come to the earth, the more real and truthful they become. Conversely, the absolute absence of burden causes man to be lighter than air, to soar into heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant. What then shall we choose? Weight or lightness? ...When we want to give expression to a dramatic situation in our lives, we tend to use metaphors of heaviness. We say that something has become a great burden to us. We either bear the burden or fail and go down with it, we struggle with it, win or lose. And Sabina 鈥� what had come over her? Nothing. She had left a man because she felt like leaving him. Had he persecuted her? Had he tried to take revenge on her? No. Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden, but the unbearable lightness of being.鈥�
毓賳賵丕賳賴丕: 芦亘丕乇 賴爻鬲蹖禄貨 芦讴賱丕賴 讴賱賲賳鬲蹖爻禄貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 乇賵夭 賴卮鬲賲 賲丕賴 爻倬鬲丕賲亘乇 爻丕賱 1987賲蹖賱丕丿蹖貨 賵 亘丕乇 丿賵賲 爻丕賱2007賲蹖賱丕丿蹖
毓賳賵丕賳: 亘丕乇 賴爻鬲蹖貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 賲鬲乇噩賲: 倬乇賵蹖夭 賴賲丕蹖賵賳 倬賵乇貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 诏賮鬲丕乇貙 1365貙 丿乇 275氐貙 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 趩讴 - 爻丿賴 蹖 20賲
毓賳賵丕賳: 讴賱丕賴 讴賱賲賳鬲蹖爻貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 賲鬲乇噩賲: 丕丨賲丿 賲蹖乇毓賱丕卅蹖貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 丿賲丕賵賳丿貙 1364貙 丿乇 178氐貙 丕賳鬲卮丕乇丕鬲 亘丕睾 賳賵 賳蹖夭 丿乇 爻丕賱1381賴噩乇蹖 禺賵乇卮蹖丿蹖 讴鬲丕亘 乇丕 丕夭 賴賲蹖賳 賲鬲乇噩賲 賵 丿乇 127氐 賲賳鬲卮乇 讴乇丿賴 丕爻鬲貨 趩丕倬 爻賵賲 1387貨 卮丕亘讴 9647425104貨 賳卮乇 賳賵貙 1397貨 丿乇136氐貨 卮丕亘讴 9786004901208貨 賲賵囟賵毓: 賳賵蹖爻賳丿诏丕賳 趩讴貨 賳賯丿 賵 亘乇乇爻蹖 - 爻丿賴 20賲
賮賴乇爻鬲: 蹖丕丿丿丕卮鬲貨 芦賲氐丕丨亘賴 丕蹖 亘丕 賲蹖賱丕賳 讴賵賳丿乇丕禄貨 芦睾乇亘 丿乇 诏乇賵诏丕賳 蹖丕 賮乇賴賳诏 丕夭 氐丨賳賴 亘蹖乇賵賳 賲蹖乇賵丿禄貨 芦噩丕蹖蹖 丌賳 倬卮鬲 賵 倬爻賱賴 賴丕禄貨 芦賳丕賲賴 賴丕蹖 诏賲卮丿賴 (讴賱丕賴 讴賱賲賳鬲蹖爻)禄貨 芦賮乇卮鬲賴 賴丕禄貨
讴賵賳丿乇丕 丿乇 鬲賵氐蹖賮 賯賴乇賲丕賳丕賳 禺賵丿 賲蹖诏賵蹖賳丿: 卮禺氐蹖鬲賴丕蹖 乇賲丕賳蹖 讴賴 賳賵卮鬲賴 丕賲貙 丕賲讴丕賳丕鬲 禺賵丿 賲賳 賴爻鬲賳丿 讴賴 鬲丨賯賯 賳蹖丕賮鬲賴 丕賳丿貙 亘丿蹖賳 爻亘亘 賴乇丕爻丕賳賲貙 丌賳賴丕 乇丕 丿賵爻鬲 賲蹖丿丕乇賲貙 丌賳賴丕 丕夭 賲乇夭蹖 诏匕乇 讴乇丿賴 丕賳丿 讴賴 賲賳 賮賯胤 丌賳 乇丕 丿賵乇 夭丿賴 丕賲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 31/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 10/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Unbearable Lightness of Being is a 1984 novel by Milan Kundera, about two women, two men, a dog and their lives in the 1968 Prague Spring period of Czechoslovak history.
From the book: 鈥淭he heavier the burden, the closer our lives come to the earth, the more real and truthful they become. Conversely, the absolute absence of burden causes man to be lighter than air, to soar into heights, take leave of the earth and his earthly being, and become only half real, his movements as free as they are insignificant. What then shall we choose? Weight or lightness? ...When we want to give expression to a dramatic situation in our lives, we tend to use metaphors of heaviness. We say that something has become a great burden to us. We either bear the burden or fail and go down with it, we struggle with it, win or lose. And Sabina 鈥� what had come over her? Nothing. She had left a man because she felt like leaving him. Had he persecuted her? Had he tried to take revenge on her? No. Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden, but the unbearable lightness of being.鈥�
毓賳賵丕賳賴丕: 芦亘丕乇 賴爻鬲蹖禄貨 芦讴賱丕賴 讴賱賲賳鬲蹖爻禄貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮 乇賵夭 賴卮鬲賲 賲丕賴 爻倬鬲丕賲亘乇 爻丕賱 1987賲蹖賱丕丿蹖貨 賵 亘丕乇 丿賵賲 爻丕賱2007賲蹖賱丕丿蹖
毓賳賵丕賳: 亘丕乇 賴爻鬲蹖貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 賲鬲乇噩賲: 倬乇賵蹖夭 賴賲丕蹖賵賳 倬賵乇貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 诏賮鬲丕乇貙 1365貙 丿乇 275氐貙 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 趩讴 - 爻丿賴 蹖 20賲
毓賳賵丕賳: 讴賱丕賴 讴賱賲賳鬲蹖爻貨 賳賵蹖爻賳丿賴: 賲蹖賱丕賳 讴賵賳丿乇丕貨 賲鬲乇噩賲: 丕丨賲丿 賲蹖乇毓賱丕卅蹖貨 賲卮禺氐丕鬲 賳卮乇 鬲賴乇丕賳貙 丿賲丕賵賳丿貙 1364貙 丿乇 178氐貙 丕賳鬲卮丕乇丕鬲 亘丕睾 賳賵 賳蹖夭 丿乇 爻丕賱1381賴噩乇蹖 禺賵乇卮蹖丿蹖 讴鬲丕亘 乇丕 丕夭 賴賲蹖賳 賲鬲乇噩賲 賵 丿乇 127氐 賲賳鬲卮乇 讴乇丿賴 丕爻鬲貨 趩丕倬 爻賵賲 1387貨 卮丕亘讴 9647425104貨 賳卮乇 賳賵貙 1397貨 丿乇136氐貨 卮丕亘讴 9786004901208貨 賲賵囟賵毓: 賳賵蹖爻賳丿诏丕賳 趩讴貨 賳賯丿 賵 亘乇乇爻蹖 - 爻丿賴 20賲
賮賴乇爻鬲: 蹖丕丿丿丕卮鬲貨 芦賲氐丕丨亘賴 丕蹖 亘丕 賲蹖賱丕賳 讴賵賳丿乇丕禄貨 芦睾乇亘 丿乇 诏乇賵诏丕賳 蹖丕 賮乇賴賳诏 丕夭 氐丨賳賴 亘蹖乇賵賳 賲蹖乇賵丿禄貨 芦噩丕蹖蹖 丌賳 倬卮鬲 賵 倬爻賱賴 賴丕禄貨 芦賳丕賲賴 賴丕蹖 诏賲卮丿賴 (讴賱丕賴 讴賱賲賳鬲蹖爻)禄貨 芦賮乇卮鬲賴 賴丕禄貨
讴賵賳丿乇丕 丿乇 鬲賵氐蹖賮 賯賴乇賲丕賳丕賳 禺賵丿 賲蹖诏賵蹖賳丿: 卮禺氐蹖鬲賴丕蹖 乇賲丕賳蹖 讴賴 賳賵卮鬲賴 丕賲貙 丕賲讴丕賳丕鬲 禺賵丿 賲賳 賴爻鬲賳丿 讴賴 鬲丨賯賯 賳蹖丕賮鬲賴 丕賳丿貙 亘丿蹖賳 爻亘亘 賴乇丕爻丕賳賲貙 丌賳賴丕 乇丕 丿賵爻鬲 賲蹖丿丕乇賲貙 丌賳賴丕 丕夭 賲乇夭蹖 诏匕乇 讴乇丿賴 丕賳丿 讴賴 賲賳 賮賯胤 丌賳 乇丕 丿賵乇 夭丿賴 丕賲
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 31/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 10/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 6, 2021
賱丕 賷賵噩丿 賵氐賮 丨丕囟乇 賮賷 匕賴賳賷
賱丕 鬲賵噩丿 賰賱賲丕鬲 鬲爻毓賮賳賷
兀卮毓乇 亘丕賱毓噩夭 丕賱鬲丕賲
賰賱賲丕 丕乇鬲兀賷鬲 賲賮鬲丕丨丕 賲賳丕爻亘丕
賱賱賰鬲丕亘丞 毓賳 賴匕賴 丕賱鬲丨賮丞 禺匕賱賳賷 賯賱賲賷
兀乇鬲亘賰 賵兀鬲丨賷乇 賵兀鬲賱毓孬賲
賵兀氐賲鬲
賵兀氐賲鬲 賰孬賷乇丕
兀賵賱賲 賷賯賵賱賵丕
"賵丕賱氐賲鬲 賮賷 丨囟乇丞 丕賱噩賲丕賱 噩賲丕賱"
鬲毓賱賲賳賷 丕賱乇賵丕賷丞
-賳毓賲 兀賯賵賱 鬲毓賱賲賳賷 賱丕 毓賱賲鬲賳賷
賱兀賳賴丕 賱丕鬲夭丕賱 賱賱丌賳 賮賷 丿賲賷
鬲毓賱賲賳賷 兀賳 兀鬲賵丕囟毓 賰孬賷乇丕
兀賳 兀鬲毓賱賲 乇丐賷丞 丕賱毓丕賱賲 亘胤乇賷賯丞 噩丿賷丿丞
亘乇賵丨 噩丿賷丿丞
兀賳 兀毓賵丿 賰丕卅賳丕 亘丿丕卅賷丕 賷賮鬲丨 毓賷賵賳賴 亘丿賴卮丞
賵賷鬲毓乇賮 毓賱賶 丕賱禺胤賵胤貙貙丕賱兀賱賵丕賳貙貙丕賱兀氐賵丕鬲
賰賱 卮賷亍 噩丿賷丿 賵賲亘賴乇 亘毓賷賵賳 賰賵賳丿賷乇丕
爻兀毓賵丿 亘毓丿 賯乇丕亍鬲賷 丕賱禺丕賲爻丞 乇亘賲丕
乇亘賲丕 兀爻鬲胤賷毓 兀賳 兀賰鬲亘 卮賷卅丕
兀賲丕 丕賱丌賳
賮賱丕 卮賷亍 爻賵賶 賲夭賷丿 賲賳 丕賱氐賲鬲
賵丕賱丕賳睾賲丕爻 亘賰賱賷鬲賷 賮賷 賲鬲毓丞 兀賳 鬲賯乇兀 賲毓噩夭丞 乇賵丕卅賷丞
June 1, 2024
乇賵丕賷丞 鬲賯賷賱丞賵 賲賰鬲賵亘丞 亘胤乇賷賯丞 賲禺鬲賱賮丞 賵毓亘賯乇賷丞 賮賷 賳賮爻 丕賱賵賯鬲 ..賴賷 賲卮 乇賵丕賷丞 亘丕賱賲毓賳賷 丕賱賲鬲毓丕乇賮 毓賱賷賴..賷毓賳賷 賴賵 賲卮 亘爻 亘賷丨賰賷 毓賳 兀卮禺丕氐 丕賱乇賵丕賷丞 賱賰賳 賰賲丕賳 亘賷丨賱賱 卮禺氐賷鬲賴賲 亘胤乇賷賯丞 賮賱爻賮賷丞..賵賲賮賷賴丕卮 鬲乇鬲賷亘 丕賱乇賵丕賷丕鬲 丕賱鬲賯賱賷丿賷..
賰鬲丕亘 賲卮 爻賴賱 賵賲賳賰乇卮 廿賳 賮賷 賱丨馗丞 丨爻賷鬲 廿賳賷 賲卮 賮丕賴賲丞 丨丕噩丞 賵賰賳鬲 賲卮 丨賰賲賱賴..亘爻 賲毓 丕賱賵賯鬲 亘丿兀鬲 兀爻鬲賵毓亘 賵丕丨丿丞 賵丕丨丿丞..
賴賱 賮賴賲鬲賴丕 賰賵賷爻責兀賰賷丿 賱兀..
賴賱 賰丕賳 毓賳丿賷 丨賯 廿賳賷 賰賳鬲 禺丕賷賮丞 賲賳 賰賵賳丿賷乇丕責丌賴 胤亘毓丕賸..胤賱毓 賲乇毓亘:)
賵丕賱爻丐丕賱 丕賱兀禺賷乇 賴賱 丨賯乇兀 賱賰賵賳丿賷乇丕 鬲丕賳賷責 兀賰賷丿馃槏
"丕賱夭賲賳 丕賱丕賳爻丕賳賷 賱丕 賷爻賷乇 賮賷 卮賰賱 丿丕卅乇賷 亘賱 賷鬲賯丿賲 賮賷 禺胤 賲爻鬲賯賷賲.賲賳 賴賳丕 貙賱丕 賷賲賰賳 賱賱廿賳爻丕賳 兀賳 賷賰賵賳 爻毓賷丿丕賸 賱兀賳 丕賱爻毓丕丿丞 乇睾亘丞 賮賷 丕賱鬲賰乇丕乇.."
賰鬲丕亘 賲卮 爻賴賱 賵賲賳賰乇卮 廿賳 賮賷 賱丨馗丞 丨爻賷鬲 廿賳賷 賲卮 賮丕賴賲丞 丨丕噩丞 賵賰賳鬲 賲卮 丨賰賲賱賴..亘爻 賲毓 丕賱賵賯鬲 亘丿兀鬲 兀爻鬲賵毓亘 賵丕丨丿丞 賵丕丨丿丞..
賴賱 賮賴賲鬲賴丕 賰賵賷爻責兀賰賷丿 賱兀..
賴賱 賰丕賳 毓賳丿賷 丨賯 廿賳賷 賰賳鬲 禺丕賷賮丞 賲賳 賰賵賳丿賷乇丕責丌賴 胤亘毓丕賸..胤賱毓 賲乇毓亘:)
賵丕賱爻丐丕賱 丕賱兀禺賷乇 賴賱 丨賯乇兀 賱賰賵賳丿賷乇丕 鬲丕賳賷責 兀賰賷丿馃槏
"丕賱夭賲賳 丕賱丕賳爻丕賳賷 賱丕 賷爻賷乇 賮賷 卮賰賱 丿丕卅乇賷 亘賱 賷鬲賯丿賲 賮賷 禺胤 賲爻鬲賯賷賲.賲賳 賴賳丕 貙賱丕 賷賲賰賳 賱賱廿賳爻丕賳 兀賳 賷賰賵賳 爻毓賷丿丕賸 賱兀賳 丕賱爻毓丕丿丞 乇睾亘丞 賮賷 丕賱鬲賰乇丕乇.."
February 12, 2020
Milan Kundera鈥檚 book was the first title I added to 欧宝娱乐 back in 2013. Despite that, it took me a while to finally read it. I guess I was a bit afraid that the philosophy dense prose will be too much for me without background in this subject. I needn鈥檛 had worried as I enjoyed most of it and I did not feell overwhelmed.
鈥淲e can never know what to want, because, living only one life, we can either compare it with our previous lives nor perfect it in our lives to come鈥�
I believe that Kundera鈥檚 characters are searching for the ideal life without actually knowing which one it is and they are confused about what is the direction they should take. They make life altering decisions and then they feel chocked by them. However, when considering the option to go the other way and free themselves there is the fear that the road could lead to their peril. Having the ability to make choices gives one power but can also be overwhelming.
The author is saying that, since we live only one life, our decisions are difficult to make as there is no comparison. However, as we live only one life our decisions do not matter much in the big picture as reputation increase the importance. As Tomas puts it, Einmal is keinmal.
鈥淭he novel is not the author鈥檚 confession; it is an investigation of human life in the trap the world has become. 鈥�
I feel like the characters are trapped by the social and political environment, their own choices and the incapacity to realise what they want from life.
There were some parts I did not enjoy as much about the book. I was a bit furious with the misogyny of Kundera and wanted to shake Teresa to come back to her senses. She said she wanted more from her life and then she ends up accepting a cheating husband although it made her miserable.
鈥淲e can never know what to want, because, living only one life, we can either compare it with our previous lives nor perfect it in our lives to come鈥�
I believe that Kundera鈥檚 characters are searching for the ideal life without actually knowing which one it is and they are confused about what is the direction they should take. They make life altering decisions and then they feel chocked by them. However, when considering the option to go the other way and free themselves there is the fear that the road could lead to their peril. Having the ability to make choices gives one power but can also be overwhelming.
The author is saying that, since we live only one life, our decisions are difficult to make as there is no comparison. However, as we live only one life our decisions do not matter much in the big picture as reputation increase the importance. As Tomas puts it, Einmal is keinmal.
鈥淭he novel is not the author鈥檚 confession; it is an investigation of human life in the trap the world has become. 鈥�
I feel like the characters are trapped by the social and political environment, their own choices and the incapacity to realise what they want from life.
There were some parts I did not enjoy as much about the book. I was a bit furious with the misogyny of Kundera and wanted to shake Teresa to come back to her senses. She said she wanted more from her life and then she ends up accepting a cheating husband although it made her miserable.
October 11, 2020
螝螣违螡韦螘巍螒 危螘 螒螕螒螤螒惟
螝伪喂 胃伪 蟽蔚 伪纬伪蟺维蠅 伪蟺慰 未蠅 魏伪喂 蟺苇蟻伪 蔚委蟿蔚 渭蔚 蟿畏谓 伪纬维蟺畏 蟺慰蠀 尾蟻委蟽魏蔚蟿伪喂 蟽蟿慰 蟺蔚未委慰 蟿畏蟼 尾伪蟻蠉蟿畏蟿伪蟼,蔚委蟿蔚 渭蔚 蟿畏谓 伪尾维蟽蟿伪蠂蟿畏 蔚位伪蠁蟻蠈蟿畏蟿伪 蟽蟿畏 蟻蔚蠀蟽蟿蠈蟿畏蟿伪 蟿慰蠀 魏蠈蟽渭慰蠀.
螠慰蠀 苇渭伪胃蔚蟼 伪蟺位维 位喂蟿维 魏伪喂 伪蟺苇蟻喂蟿蟿伪 蠈蟺慰蟿蔚 渭蟺慰蟻蠋 谓伪 蔚蟺喂位苇纬蠅 蔚纬蠋 渭喂伪 伪蟺慰 蟿喂蟼 未蠀慰 喂未喂蠈蟿畏蟿蔚蟼: 尾伪蟻蠉蟿畏蟿伪-蔚位伪蠁蟻蠈蟿畏蟿伪.
螒蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 伪蠀蟿慰渭维蟿蠅蟼 蟺苇蟻伪蟽蔚 蟽蟿伪 伪喂蠋谓喂伪 伪纬伪蟺畏渭苇谓伪 渭慰蠀 蔚委谓伪喂 苇谓伪蟼 蠉渭谓慰蟼 未慰尉慰位慰纬委伪蟼 纬蟻伪渭渭苇谓慰蟼 蟽蟿喂蟼 蠂喂位喂维未蔚蟼 蟺伪蟻蟿喂蟿慰蠉蟻蔚蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟺蟻慰蟼 蟿慰谓 苇蟻蠅蟿伪.
螠苇蟽伪 魏伪喂 尾伪胃喂维 蟽蔚 伪蠀蟿萎 蟿畏谓 渭慰谓伪未喂魏萎 纬蟻伪蠁萎 魏蟻蠉尾慰谓蟿伪喂 伪蟺蟻慰魏维位蠀蟺蟿伪 蟺慰位喂蟿喂魏维,蠁喂位慰蟽慰蠁喂魏维,渭慰蠀蟽喂魏维,蟺慰喂畏蟿喂魏维,胃蟻畏蟽魏蔚蠀蟿喂魏维 魏伪喂 喂蟽蟿慰蟻喂魏维 伪蠁畏纬萎渭伪蟿伪.
螘委谓伪喂 苇谓伪 蟺慰位蠀未喂维蟽蟿伪蟿慰 苇蟻纬慰,苇谓伪 蟺蟻蠅蟿慰蟺慰蟻喂伪魏蠈 纬蟻伪蟺蟿蠈 伪蟺位蠈 魏伪喂 魏伪蟿伪谓慰畏蟿蠈 蔚谓蠋 蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 胃蔚蠅蟻委蔚蟼,蟽畏渭伪蟽委蔚蟼,苇谓谓慰喂蔚蟼 魏伪喂 蟺谓蔚蠀渭伪蟿喂魏苇蟼 伪谓伪味畏蟿萎蟽蔚喂蟼 蟺慰蠀 蟿伪位伪喂蟺蠅蟻慰蠉谓 魏伪喂 尾伪蟽伪谓委味慰蠀谓 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 味蠅萎 伪蟺慰 魏伪蟿伪尾慰位萎蟼 魏蠈蟽渭慰蠀.
螌位伪 苇喂谓伪喂 蟿蠈蟽慰 伪蟺位维 蟿蠈蟽慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪. 桅蟿维谓蔚喂 谓伪 魏伪蟿伪谓慰萎蟽蔚喂蟼 蠈蟿喂 蟿委蟺慰蟿伪 未蔚谓 蔚蟺伪谓伪位伪渭尾维谓蔚蟿伪喂,蠈蟿喂 蟺慰蟿苇 未蔚谓 胃伪 蠀蟺维蟻尉蔚喂 未蔚蠉蟿蔚蟻畏 蔚蠀魏伪喂蟻委伪 蟽蟿慰 伪谓胃蟻蠋蟺喂谓慰 蟿伪尉委未喂 蟿畏蟼 蠉蟺伪蟻尉畏蟼 渭伪蟼 渭蔚 "蟺蟻蠋蟿慰"蟺蟻慰慰蟻喂蟽渭蠈 蟿畏 纬畏.
"螖蔚谓 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 蟺慰蟿苇 谓伪 尉苇蟻蔚喂 伪蠀蟿蠈 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 胃苇位蔚喂 , 纬喂伪蟿委 苇蠂慰蠀渭蔚 渭蠈谓慰 渭喂伪 味蠅萎 魏伪喂 未蔚谓 渭蟺慰蟻慰蠉渭蔚 慰蠉蟿蔚 谓伪 蟿畏谓 蟽蠀纬魏蟻委谓慰蠀渭蔚 渭蔚 蟺蟻慰畏纬慰蠉渭蔚谓蔚蟼 味蠅苇蟼, 慰蠉蟿蔚 谓伪 蟿畏谓 蔚蟺伪谓慰蟻胃蠋蟽慰蠀渭蔚 蟽蔚 味蠅苇蟼 蔚蟺蔚蟻蠂蠈渭蔚谓蔚蟼.
韦慰 谓伪 渭畏谓 渭蟺慰蟻蔚委蟼 谓伪 味萎蟽蔚喂蟼 蟺伪蟻维 渭蠈谓慰 渭喂伪 味蠅萎, 蔚委谓伪喂 蟽伪谓 谓伪 渭畏谓 蟿畏 味蔚喂蟼 魏伪胃蠈位慰蠀".
"韦慰 蟿蠀蠂伪委慰 蔚委谓伪喂 蟺慰蠀 魏维谓蔚喂 蟿苇蟿慰喂伪 渭维纬喂伪, 蠈蠂喂 蟿慰 伪谓伪纬魏伪委慰 . 螕喂伪 谓伪 蔚委谓伪喂 苇谓伪蟼 苇蟻蠅蟿伪蟼 伪尉苇蠂伪蟽蟿慰蟼 蟺蟻苇蟺蔚喂 蟿伪 蟿蠀蠂伪委伪 谓伪 蟽蠀谓伪谓蟿喂蠈谓蟿伪喂 蟽蝿伪蠀蟿蠈谓 伪蟺蠈 蟿畏谓 蟺蟻蠋蟿畏 蟽蟿喂纬渭萎".
螆蟿蟽喂 尉蔚魏喂谓维蔚喂 慰 苇蟻蠅蟿伪蟼 蟿慰蠀 韦蠈渭伪蟼 魏伪喂 蟿畏蟼 韦蔚蟻苇味伪.
螚 韦蔚蟻苇味伪 渭喂伪 蟽蠀谓蔚喂未畏蟿慰蟺慰喂畏渭苇谓伪 蔚蠀伪委蟽胃畏蟿畏 蟽蔚蟻尾喂蟿蠈蟻伪 伪纬伪蟺维蔚喂 魏蟿畏蟿喂魏维,未委谓蔚喂 蟿蔚蟻维蟽蟿喂伪 尾伪蟻蠉蟿畏蟿伪 蟽蟿慰 蠁慰蟻蟿委慰 蟿慰蠀 苇蟻蠅蟿伪 蟿畏蟼 魏伪喂 蠀蟺慰蠁苇蟻蔚喂 伪蟺慰 味萎位蔚喂伪 纬喂伪 蟿喂蟼 蔚蟻蠅渭苇谓蔚蟼 蟺慰蠀 伪蠁胃慰谓慰蠉谓 蔚尉 伪蟻蠂萎蟼 蟽蟿畏 味蠅萎 蟿慰蠀 韦蠈渭伪蟼.
螣 韦蠈渭伪蟼 魏伪蟿伪尉喂蠅渭苇谓慰蟼 蠂蔚喂蟻慰蠀蟻纬蠈蟼 未喂维纬蔚喂 苇谓伪谓 尾委慰 维魏蟻蠅蟼 蔚蟻蠅蟿喂魏蠈 蟺蟻慰蟼 蠈位蔚蟼 蟿喂蟼 纬蠀谓伪喂魏蔚委蔚蟼 蠀蟺维蟻尉蔚喂蟼 蠄维蠂谓慰谓蟿伪蟼 渭蔚 蠂蔚喂蟻慰蠀蟻纬喂魏萎 伪魏蟻委尾蔚喂伪 谓伪 尾蟻蔚喂 伪蠀蟿蠈 蟿慰 魏维蟿喂 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟽蟿喂蟼 伪蟺蠈魏蟻蠀蠁蔚蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 纬蠀谓伪喂魏蔚委伪蟼 蠄蠀蠂萎蟼. 螕喂伪 蟿慰谓 韦蠈渭伪蟼 慰 苇蟻蠅蟿伪蟼 魏伪喂 畏 蟽蔚尉慰蠀伪位喂魏萎 蟺蟻维尉畏 蔚委谓伪喂 未喂伪蠂蠅蟻喂蟽渭苇谓伪 纬蔚谓蔚蟿萎蟽喂伪 苇谓蟽蟿喂魏蟿伪. 围蠅蟻喂蟽渭苇谓慰蟼, 渭蔚 苇谓伪谓 纬喂慰 蟺慰蠀 伪蟻谓蔚委蟿伪喂 谓伪 蟿慰谓 未蔚蠂蟿蔚委 蟽蟿畏 味蠅萎 蟿慰蠀 纬喂伪蟿委 纬蠀谓伪委魏伪 魏伪喂 蟺伪喂未委 胃伪 蟿慰蠀 蠂伪位慰蠉蟽伪谓 蟿畏谓 伪尾维蟽蟿伪蠂蟿畏 蔚位伪蠁蟻蠈蟿畏蟿伪. 螛伪 蟿慰谓 魏伪蟿伪未委魏伪味伪谓 蟽蟿伪 "蟺蟻苇蟺蔚喂" 蟺慰蠀 渭喂蟽蔚委 萎 魏伪喂 蠈蠂喂...
"螣 苇蟻蠅蟿伪蟼 伪蟻蠂委味蔚喂 伪蟺蠈 渭喂伪 渭蔚蟿伪蠁慰蟻维. 螠鈥� 维位位伪 位蠈纬喂伪 : 螣 苇蟻蠅蟿伪蟼 伪蟻蠂委味蔚喂 伪蟺蠈 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 渭喂伪 纬蠀谓伪委魏伪 蔚纬纬蟻维蠁蔚蟿伪喂 渭蔚 渭喂伪 伪蟺蠈 蟿喂蟼 魏慰蠀尾苇谓蟿蔚蟼 蟿畏蟼,蟽蟿畏谓 蟺慰喂畏蟿喂魏萎 渭伪蟼 渭谓萎渭畏".
螒谓维渭蔚蟽伪 蟽蟿喂蟼 蔚蟻蠅渭苇谓蔚蟼 蟿慰蠀 韦蠈渭伪蟼 畏 危伪渭蟺委谓伪. 螠喂伪 魏伪位位喂蟿苇蠂谓喂未伪 蟺慰蠀 伪蟺慰位伪渭尾维谓蔚喂 蟿畏 味蠅萎 蠂蠅蟻委蟼 未蔚蟽渭蔚蠉蟽蔚喂蟼 魏伪喂 渭苇蟽伪 蟽蟿畏谓 伪蟺蠈位蠀蟿畏 蔚位伪蠁蟻蠈蟿畏蟿伪 蟿慰蠀 蔚委谓伪喂 蟿畏蟼 胃蔚蠅蟻蔚委 蟺蠅蟼 蠂蠅蟻委蟼 蟺蟻慰未慰蟽委伪 畏 蠉蟺伪蟻尉畏 未蔚谓 苇蠂蔚喂 谓蠈畏渭伪,纬委谓蔚蟿伪喂 伪蟺蔚位蟺喂蟽蟿喂魏维 蟺蟻慰尾位苇蠄喂渭畏. 螆蟿蟽喂 伪蟻谓蔚委蟿伪喂 蟿慰谓 渭蔚纬维位慰 蟿畏蟼 苇蟻蠅蟿伪 蟿慰谓 桅蟻维谓蟿蟼 蠈蟿伪谓 伪蟻蠂委味蔚喂 谓伪 蟿畏谓 尾伪蟻伪委谓蔚喂 渭蔚 伪蟺慰魏位蔚喂蟽蟿喂魏蠈蟿畏蟿伪 魏伪喂 蔚蟺喂位苇纬蔚喂 纬喂伪 渭喂伪 伪魏蠈渭畏 蠁慰蟻维 蟿畏谓 喂未喂蠈蟿畏蟿伪 蟿畏蟼 蔚位伪蠁蟻蠈蟿畏蟿伪蟼.
螚 危伪渭蟺委谓伪 蟿伪尉喂未蔚蠉蔚喂 蟺慰位蠉 纬喂伪 谓伪 尉蔚蠁蠉纬蔚喂 伪蟺慰 蠈位伪.
螣 韦蠈渭伪蟼 蔚蟺喂蟽畏渭慰蟺慰喂蔚委 蟿畏 蟽蠂苇蟽畏 蟿慰蠀 渭蔚 蟿畏谓 韦蔚蟻苇味伪 伪位位维 蟿慰 蟺蔚未委慰 蟿畏蟼 味蠅萎蟼 蟿慰蠀 未蔚谓 伪位位维味蔚喂. 螤蟻慰蟿喂渭维蔚喂 蟺维谓蟿伪 蟿畏谓 蔚位伪蠁蟻蠈蟿畏蟿伪.
螌位伪 伪蠀蟿维 蟺蟻伪纬渭伪蟿慰蟺慰喂慰蠉谓蟿伪喂 位委纬慰 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿畏谓 "螁谓慰喂尉畏 蟿畏蟼 螤蟻维纬伪蟼".螚 蟻蠅蟽喂魏萎 蔚喂蟽尾慰位萎 蟿慰蠀 1968 魏伪喂 慰喂 魏慰喂谓蠅谓喂魏苇蟼 魏伪喂 蟺慰位喂蟿喂魏苇蟼 伪位位伪纬苇蟼 未蔚谓 伪蠁萎谓慰蠀谓 魏伪谓苇谓伪谓 伪谓苇纬纬喂蠂蟿慰. 螣喂 味蠅苇蟼 蟿蠅谓 畏蟻蠋蠅谓 渭伪蟼 蔚蟺畏蟻蔚维味慰谓蟿伪喂 魏伪喂 蟽蠀谓未苇慰谓蟿伪喂 渭蔚 蠈位蔚蟼 蟿喂蟼 蔚尉蔚位委尉蔚喂蟼.韦慰 "魏喂蟿蟼" 蟿慰蠀 魏慰渭渭慰蠀谓喂蟽渭慰蠉 未苇蟻谓蔚喂 蟽蠀谓蔚喂未萎蟽蔚喂蟼.
"危蔚 渭喂伪 魏慰喂谓蠅谓委伪 蟺慰蠀 魏蠀尾蔚蟻谓维 慰 蟿蟻蠈渭慰蟼 慰喂 未畏位蠋蟽蔚喂蟼 未蔚谓 蟽蔚 未蔚蟽渭蔚蠉慰蠀谓 蟽蔚 蟿委蟺慰蟿伪 纬喂伪蟿委 蟿喂蟼 伪蟺慰蟽蟺慰蠉谓 渭蔚 蟿畏 尾委伪 魏喂 苇谓伪蟼 苇谓蟿喂渭慰蟼 维谓胃蟻蠅蟺慰蟼 苇蠂蔚喂 蟿慰 蠂蟻苇慰蟼 谓伪 渭畏谓 蟿慰蠀蟼 未委谓蔚喂 蟽畏渭伪蟽委伪,谓伪 渭畏谓 蟿喂蟼 伪魏慰蠉蔚喂".
韦慰 蟿蔚位蔚蠀蟿伪委慰 魏蔚蠁维位伪喂慰 "蟿慰 蠂伪渭蠈纬蔚位慰 蟿慰蠀 螝伪蟻苇谓喂谓" 渭慰蠀 魏慰渭渭维蟿喂伪蟽蔚 蟿畏谓 魏伪蟻未喂维. 螣 螝伪蟻苇谓喂谓 蔚委谓伪喂 蟿慰 胃畏位蠀魏蠈 蟽魏蠀位维魏喂 蟺慰蠀 味蔚喂 蟿伪 蟿蔚位蔚蠀蟿伪委伪 未苇魏伪 蠂蟻蠈谓喂伪 渭蔚 蟿慰谓 韦蠈渭伪蟼 魏伪喂 蟿畏谓 韦蔚蟻苇味伪.
螝伪谓苇谓伪 伪谓胃蟻蠋蟺喂谓慰 蟺位维蟽渭伪 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏维谓蔚喂 蟽蔚 苇谓伪 维位位慰 蟿畏 未蠅蟻蔚维 蟿慰蠀 蔚喂未蠀位位委慰蠀. 螠蠈谓慰 蟿慰 味蠋慰 渭蟺慰蟻蔚委 纬喂伪蟿委 未蔚谓 蟿慰 苇未喂蠅尉伪谓 伪蟺慰 蟿慰谓 螤伪蟻维未蔚喂蟽慰. 螚 伪纬维蟺畏 伪谓维渭蔚蟽伪 蟽蟿慰 蟽魏蠀位委 魏伪喂 蟿慰谓 维谓胃蟻蠅蟺慰 蔚委谓伪喂 蔚喂未蠀位位喂伪魏萎. 围蠅蟻委蟼 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼,蠂蠅蟻委蟼 蟽魏畏谓苇蟼,蠂蠅蟻委蟼 蔚尉苇位喂尉畏.
围伪蟻维味蔚喂 纬蠉蟻蠅 伪蟺慰 蟿慰谓 维谓胃蟻蠅蟺慰 蟿慰谓 魏蠉魏位慰 蟿畏蟼 味蠅萎蟼 蟿慰蠀 蟺慰蠀 蔚委谓伪喂 胃蔚渭蔚位喂蠅渭苇谓慰蟼 蟽蟿畏谓 蔚蟺伪谓维位畏蠄畏 魏伪喂 蟺蔚蟻喂渭苇谓蔚喂 蟿慰 委未喂慰 蟺蟻维纬渭伪 伪蟺慰 伪蠀蟿慰蠉蟼.
螡伪喂, 畏 蔚蠀蟿蠀蠂委伪 蔚委谓伪喂 蔚蟺喂胃蠀渭委伪 蟿畏蟼 蔚蟺伪谓维位畏蠄畏蟼.
螝螣违螡韦螘巍螒 危螘 螒螕螒螤螚危螒!!
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螝伪喂 胃伪 蟽蔚 伪纬伪蟺维蠅 伪蟺慰 未蠅 魏伪喂 蟺苇蟻伪 蔚委蟿蔚 渭蔚 蟿畏谓 伪纬维蟺畏 蟺慰蠀 尾蟻委蟽魏蔚蟿伪喂 蟽蟿慰 蟺蔚未委慰 蟿畏蟼 尾伪蟻蠉蟿畏蟿伪蟼,蔚委蟿蔚 渭蔚 蟿畏谓 伪尾维蟽蟿伪蠂蟿畏 蔚位伪蠁蟻蠈蟿畏蟿伪 蟽蟿畏 蟻蔚蠀蟽蟿蠈蟿畏蟿伪 蟿慰蠀 魏蠈蟽渭慰蠀.
螠慰蠀 苇渭伪胃蔚蟼 伪蟺位维 位喂蟿维 魏伪喂 伪蟺苇蟻喂蟿蟿伪 蠈蟺慰蟿蔚 渭蟺慰蟻蠋 谓伪 蔚蟺喂位苇纬蠅 蔚纬蠋 渭喂伪 伪蟺慰 蟿喂蟼 未蠀慰 喂未喂蠈蟿畏蟿蔚蟼: 尾伪蟻蠉蟿畏蟿伪-蔚位伪蠁蟻蠈蟿畏蟿伪.
螒蠀蟿蠈 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 伪蠀蟿慰渭维蟿蠅蟼 蟺苇蟻伪蟽蔚 蟽蟿伪 伪喂蠋谓喂伪 伪纬伪蟺畏渭苇谓伪 渭慰蠀 蔚委谓伪喂 苇谓伪蟼 蠉渭谓慰蟼 未慰尉慰位慰纬委伪蟼 纬蟻伪渭渭苇谓慰蟼 蟽蟿喂蟼 蠂喂位喂维未蔚蟼 蟺伪蟻蟿喂蟿慰蠉蟻蔚蟼 蟿慰蠀 魏蠈蟽渭慰蠀 蟺蟻慰蟼 蟿慰谓 苇蟻蠅蟿伪.
螠苇蟽伪 魏伪喂 尾伪胃喂维 蟽蔚 伪蠀蟿萎 蟿畏谓 渭慰谓伪未喂魏萎 纬蟻伪蠁萎 魏蟻蠉尾慰谓蟿伪喂 伪蟺蟻慰魏维位蠀蟺蟿伪 蟺慰位喂蟿喂魏维,蠁喂位慰蟽慰蠁喂魏维,渭慰蠀蟽喂魏维,蟺慰喂畏蟿喂魏维,胃蟻畏蟽魏蔚蠀蟿喂魏维 魏伪喂 喂蟽蟿慰蟻喂魏维 伪蠁畏纬萎渭伪蟿伪.
螘委谓伪喂 苇谓伪 蟺慰位蠀未喂维蟽蟿伪蟿慰 苇蟻纬慰,苇谓伪 蟺蟻蠅蟿慰蟺慰蟻喂伪魏蠈 纬蟻伪蟺蟿蠈 伪蟺位蠈 魏伪喂 魏伪蟿伪谓慰畏蟿蠈 蔚谓蠋 蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 胃蔚蠅蟻委蔚蟼,蟽畏渭伪蟽委蔚蟼,苇谓谓慰喂蔚蟼 魏伪喂 蟺谓蔚蠀渭伪蟿喂魏苇蟼 伪谓伪味畏蟿萎蟽蔚喂蟼 蟺慰蠀 蟿伪位伪喂蟺蠅蟻慰蠉谓 魏伪喂 尾伪蟽伪谓委味慰蠀谓 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 味蠅萎 伪蟺慰 魏伪蟿伪尾慰位萎蟼 魏蠈蟽渭慰蠀.
螌位伪 苇喂谓伪喂 蟿蠈蟽慰 伪蟺位维 蟿蠈蟽慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪. 桅蟿维谓蔚喂 谓伪 魏伪蟿伪谓慰萎蟽蔚喂蟼 蠈蟿喂 蟿委蟺慰蟿伪 未蔚谓 蔚蟺伪谓伪位伪渭尾维谓蔚蟿伪喂,蠈蟿喂 蟺慰蟿苇 未蔚谓 胃伪 蠀蟺维蟻尉蔚喂 未蔚蠉蟿蔚蟻畏 蔚蠀魏伪喂蟻委伪 蟽蟿慰 伪谓胃蟻蠋蟺喂谓慰 蟿伪尉委未喂 蟿畏蟼 蠉蟺伪蟻尉畏蟼 渭伪蟼 渭蔚 "蟺蟻蠋蟿慰"蟺蟻慰慰蟻喂蟽渭蠈 蟿畏 纬畏.
"螖蔚谓 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 蟺慰蟿苇 谓伪 尉苇蟻蔚喂 伪蠀蟿蠈 蟺慰蠀 蟺蟻苇蟺蔚喂 谓伪 胃苇位蔚喂 , 纬喂伪蟿委 苇蠂慰蠀渭蔚 渭蠈谓慰 渭喂伪 味蠅萎 魏伪喂 未蔚谓 渭蟺慰蟻慰蠉渭蔚 慰蠉蟿蔚 谓伪 蟿畏谓 蟽蠀纬魏蟻委谓慰蠀渭蔚 渭蔚 蟺蟻慰畏纬慰蠉渭蔚谓蔚蟼 味蠅苇蟼, 慰蠉蟿蔚 谓伪 蟿畏谓 蔚蟺伪谓慰蟻胃蠋蟽慰蠀渭蔚 蟽蔚 味蠅苇蟼 蔚蟺蔚蟻蠂蠈渭蔚谓蔚蟼.
韦慰 谓伪 渭畏谓 渭蟺慰蟻蔚委蟼 谓伪 味萎蟽蔚喂蟼 蟺伪蟻维 渭蠈谓慰 渭喂伪 味蠅萎, 蔚委谓伪喂 蟽伪谓 谓伪 渭畏谓 蟿畏 味蔚喂蟼 魏伪胃蠈位慰蠀".
"韦慰 蟿蠀蠂伪委慰 蔚委谓伪喂 蟺慰蠀 魏维谓蔚喂 蟿苇蟿慰喂伪 渭维纬喂伪, 蠈蠂喂 蟿慰 伪谓伪纬魏伪委慰 . 螕喂伪 谓伪 蔚委谓伪喂 苇谓伪蟼 苇蟻蠅蟿伪蟼 伪尉苇蠂伪蟽蟿慰蟼 蟺蟻苇蟺蔚喂 蟿伪 蟿蠀蠂伪委伪 谓伪 蟽蠀谓伪谓蟿喂蠈谓蟿伪喂 蟽蝿伪蠀蟿蠈谓 伪蟺蠈 蟿畏谓 蟺蟻蠋蟿畏 蟽蟿喂纬渭萎".
螆蟿蟽喂 尉蔚魏喂谓维蔚喂 慰 苇蟻蠅蟿伪蟼 蟿慰蠀 韦蠈渭伪蟼 魏伪喂 蟿畏蟼 韦蔚蟻苇味伪.
螚 韦蔚蟻苇味伪 渭喂伪 蟽蠀谓蔚喂未畏蟿慰蟺慰喂畏渭苇谓伪 蔚蠀伪委蟽胃畏蟿畏 蟽蔚蟻尾喂蟿蠈蟻伪 伪纬伪蟺维蔚喂 魏蟿畏蟿喂魏维,未委谓蔚喂 蟿蔚蟻维蟽蟿喂伪 尾伪蟻蠉蟿畏蟿伪 蟽蟿慰 蠁慰蟻蟿委慰 蟿慰蠀 苇蟻蠅蟿伪 蟿畏蟼 魏伪喂 蠀蟺慰蠁苇蟻蔚喂 伪蟺慰 味萎位蔚喂伪 纬喂伪 蟿喂蟼 蔚蟻蠅渭苇谓蔚蟼 蟺慰蠀 伪蠁胃慰谓慰蠉谓 蔚尉 伪蟻蠂萎蟼 蟽蟿畏 味蠅萎 蟿慰蠀 韦蠈渭伪蟼.
螣 韦蠈渭伪蟼 魏伪蟿伪尉喂蠅渭苇谓慰蟼 蠂蔚喂蟻慰蠀蟻纬蠈蟼 未喂维纬蔚喂 苇谓伪谓 尾委慰 维魏蟻蠅蟼 蔚蟻蠅蟿喂魏蠈 蟺蟻慰蟼 蠈位蔚蟼 蟿喂蟼 纬蠀谓伪喂魏蔚委蔚蟼 蠀蟺维蟻尉蔚喂蟼 蠄维蠂谓慰谓蟿伪蟼 渭蔚 蠂蔚喂蟻慰蠀蟻纬喂魏萎 伪魏蟻委尾蔚喂伪 谓伪 尾蟻蔚喂 伪蠀蟿蠈 蟿慰 魏维蟿喂 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟽蟿喂蟼 伪蟺蠈魏蟻蠀蠁蔚蟼 蟽蟿喂纬渭苇蟼 蟿畏蟼 纬蠀谓伪喂魏蔚委伪蟼 蠄蠀蠂萎蟼. 螕喂伪 蟿慰谓 韦蠈渭伪蟼 慰 苇蟻蠅蟿伪蟼 魏伪喂 畏 蟽蔚尉慰蠀伪位喂魏萎 蟺蟻维尉畏 蔚委谓伪喂 未喂伪蠂蠅蟻喂蟽渭苇谓伪 纬蔚谓蔚蟿萎蟽喂伪 苇谓蟽蟿喂魏蟿伪. 围蠅蟻喂蟽渭苇谓慰蟼, 渭蔚 苇谓伪谓 纬喂慰 蟺慰蠀 伪蟻谓蔚委蟿伪喂 谓伪 蟿慰谓 未蔚蠂蟿蔚委 蟽蟿畏 味蠅萎 蟿慰蠀 纬喂伪蟿委 纬蠀谓伪委魏伪 魏伪喂 蟺伪喂未委 胃伪 蟿慰蠀 蠂伪位慰蠉蟽伪谓 蟿畏谓 伪尾维蟽蟿伪蠂蟿畏 蔚位伪蠁蟻蠈蟿畏蟿伪. 螛伪 蟿慰谓 魏伪蟿伪未委魏伪味伪谓 蟽蟿伪 "蟺蟻苇蟺蔚喂" 蟺慰蠀 渭喂蟽蔚委 萎 魏伪喂 蠈蠂喂...
"螣 苇蟻蠅蟿伪蟼 伪蟻蠂委味蔚喂 伪蟺蠈 渭喂伪 渭蔚蟿伪蠁慰蟻维. 螠鈥� 维位位伪 位蠈纬喂伪 : 螣 苇蟻蠅蟿伪蟼 伪蟻蠂委味蔚喂 伪蟺蠈 蟿畏 蟽蟿喂纬渭萎 蟺慰蠀 渭喂伪 纬蠀谓伪委魏伪 蔚纬纬蟻维蠁蔚蟿伪喂 渭蔚 渭喂伪 伪蟺蠈 蟿喂蟼 魏慰蠀尾苇谓蟿蔚蟼 蟿畏蟼,蟽蟿畏谓 蟺慰喂畏蟿喂魏萎 渭伪蟼 渭谓萎渭畏".
螒谓维渭蔚蟽伪 蟽蟿喂蟼 蔚蟻蠅渭苇谓蔚蟼 蟿慰蠀 韦蠈渭伪蟼 畏 危伪渭蟺委谓伪. 螠喂伪 魏伪位位喂蟿苇蠂谓喂未伪 蟺慰蠀 伪蟺慰位伪渭尾维谓蔚喂 蟿畏 味蠅萎 蠂蠅蟻委蟼 未蔚蟽渭蔚蠉蟽蔚喂蟼 魏伪喂 渭苇蟽伪 蟽蟿畏谓 伪蟺蠈位蠀蟿畏 蔚位伪蠁蟻蠈蟿畏蟿伪 蟿慰蠀 蔚委谓伪喂 蟿畏蟼 胃蔚蠅蟻蔚委 蟺蠅蟼 蠂蠅蟻委蟼 蟺蟻慰未慰蟽委伪 畏 蠉蟺伪蟻尉畏 未蔚谓 苇蠂蔚喂 谓蠈畏渭伪,纬委谓蔚蟿伪喂 伪蟺蔚位蟺喂蟽蟿喂魏维 蟺蟻慰尾位苇蠄喂渭畏. 螆蟿蟽喂 伪蟻谓蔚委蟿伪喂 蟿慰谓 渭蔚纬维位慰 蟿畏蟼 苇蟻蠅蟿伪 蟿慰谓 桅蟻维谓蟿蟼 蠈蟿伪谓 伪蟻蠂委味蔚喂 谓伪 蟿畏谓 尾伪蟻伪委谓蔚喂 渭蔚 伪蟺慰魏位蔚喂蟽蟿喂魏蠈蟿畏蟿伪 魏伪喂 蔚蟺喂位苇纬蔚喂 纬喂伪 渭喂伪 伪魏蠈渭畏 蠁慰蟻维 蟿畏谓 喂未喂蠈蟿畏蟿伪 蟿畏蟼 蔚位伪蠁蟻蠈蟿畏蟿伪蟼.
螚 危伪渭蟺委谓伪 蟿伪尉喂未蔚蠉蔚喂 蟺慰位蠉 纬喂伪 谓伪 尉蔚蠁蠉纬蔚喂 伪蟺慰 蠈位伪.
螣 韦蠈渭伪蟼 蔚蟺喂蟽畏渭慰蟺慰喂蔚委 蟿畏 蟽蠂苇蟽畏 蟿慰蠀 渭蔚 蟿畏谓 韦蔚蟻苇味伪 伪位位维 蟿慰 蟺蔚未委慰 蟿畏蟼 味蠅萎蟼 蟿慰蠀 未蔚谓 伪位位维味蔚喂. 螤蟻慰蟿喂渭维蔚喂 蟺维谓蟿伪 蟿畏谓 蔚位伪蠁蟻蠈蟿畏蟿伪.
螌位伪 伪蠀蟿维 蟺蟻伪纬渭伪蟿慰蟺慰喂慰蠉谓蟿伪喂 位委纬慰 蟺蟻喂谓 魏伪喂 渭蔚蟿维 蟿畏谓 "螁谓慰喂尉畏 蟿畏蟼 螤蟻维纬伪蟼".螚 蟻蠅蟽喂魏萎 蔚喂蟽尾慰位萎 蟿慰蠀 1968 魏伪喂 慰喂 魏慰喂谓蠅谓喂魏苇蟼 魏伪喂 蟺慰位喂蟿喂魏苇蟼 伪位位伪纬苇蟼 未蔚谓 伪蠁萎谓慰蠀谓 魏伪谓苇谓伪谓 伪谓苇纬纬喂蠂蟿慰. 螣喂 味蠅苇蟼 蟿蠅谓 畏蟻蠋蠅谓 渭伪蟼 蔚蟺畏蟻蔚维味慰谓蟿伪喂 魏伪喂 蟽蠀谓未苇慰谓蟿伪喂 渭蔚 蠈位蔚蟼 蟿喂蟼 蔚尉蔚位委尉蔚喂蟼.韦慰 "魏喂蟿蟼" 蟿慰蠀 魏慰渭渭慰蠀谓喂蟽渭慰蠉 未苇蟻谓蔚喂 蟽蠀谓蔚喂未萎蟽蔚喂蟼.
"危蔚 渭喂伪 魏慰喂谓蠅谓委伪 蟺慰蠀 魏蠀尾蔚蟻谓维 慰 蟿蟻蠈渭慰蟼 慰喂 未畏位蠋蟽蔚喂蟼 未蔚谓 蟽蔚 未蔚蟽渭蔚蠉慰蠀谓 蟽蔚 蟿委蟺慰蟿伪 纬喂伪蟿委 蟿喂蟼 伪蟺慰蟽蟺慰蠉谓 渭蔚 蟿畏 尾委伪 魏喂 苇谓伪蟼 苇谓蟿喂渭慰蟼 维谓胃蟻蠅蟺慰蟼 苇蠂蔚喂 蟿慰 蠂蟻苇慰蟼 谓伪 渭畏谓 蟿慰蠀蟼 未委谓蔚喂 蟽畏渭伪蟽委伪,谓伪 渭畏谓 蟿喂蟼 伪魏慰蠉蔚喂".
韦慰 蟿蔚位蔚蠀蟿伪委慰 魏蔚蠁维位伪喂慰 "蟿慰 蠂伪渭蠈纬蔚位慰 蟿慰蠀 螝伪蟻苇谓喂谓" 渭慰蠀 魏慰渭渭维蟿喂伪蟽蔚 蟿畏谓 魏伪蟻未喂维. 螣 螝伪蟻苇谓喂谓 蔚委谓伪喂 蟿慰 胃畏位蠀魏蠈 蟽魏蠀位维魏喂 蟺慰蠀 味蔚喂 蟿伪 蟿蔚位蔚蠀蟿伪委伪 未苇魏伪 蠂蟻蠈谓喂伪 渭蔚 蟿慰谓 韦蠈渭伪蟼 魏伪喂 蟿畏谓 韦蔚蟻苇味伪.
螝伪谓苇谓伪 伪谓胃蟻蠋蟺喂谓慰 蟺位维蟽渭伪 未蔚谓 渭蟺慰蟻蔚委 谓伪 魏维谓蔚喂 蟽蔚 苇谓伪 维位位慰 蟿畏 未蠅蟻蔚维 蟿慰蠀 蔚喂未蠀位位委慰蠀. 螠蠈谓慰 蟿慰 味蠋慰 渭蟺慰蟻蔚委 纬喂伪蟿委 未蔚谓 蟿慰 苇未喂蠅尉伪谓 伪蟺慰 蟿慰谓 螤伪蟻维未蔚喂蟽慰. 螚 伪纬维蟺畏 伪谓维渭蔚蟽伪 蟽蟿慰 蟽魏蠀位委 魏伪喂 蟿慰谓 维谓胃蟻蠅蟺慰 蔚委谓伪喂 蔚喂未蠀位位喂伪魏萎. 围蠅蟻委蟼 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼,蠂蠅蟻委蟼 蟽魏畏谓苇蟼,蠂蠅蟻委蟼 蔚尉苇位喂尉畏.
围伪蟻维味蔚喂 纬蠉蟻蠅 伪蟺慰 蟿慰谓 维谓胃蟻蠅蟺慰 蟿慰谓 魏蠉魏位慰 蟿畏蟼 味蠅萎蟼 蟿慰蠀 蟺慰蠀 蔚委谓伪喂 胃蔚渭蔚位喂蠅渭苇谓慰蟼 蟽蟿畏谓 蔚蟺伪谓维位畏蠄畏 魏伪喂 蟺蔚蟻喂渭苇谓蔚喂 蟿慰 委未喂慰 蟺蟻维纬渭伪 伪蟺慰 伪蠀蟿慰蠉蟼.
螡伪喂, 畏 蔚蠀蟿蠀蠂委伪 蔚委谓伪喂 蔚蟺喂胃蠀渭委伪 蟿畏蟼 蔚蟺伪谓维位畏蠄畏蟼.
螝螣违螡韦螘巍螒 危螘 螒螕螒螤螚危螒!!
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
January 22, 2016
亘丕乇 賴爻鬲蹖 亘乇丕蹖賲 賮乇丕鬲乇 丕夭 蹖讴 讴鬲丕亘 亘賵丿
卮蹖賮鬲賴 丌孬丕乇 讴賴賳 賵 讴賱丕爻蹖讴 亘賵丿賲 賵 賳鬲賵丕賳爻鬲賴 亘賵丿賲 亘丕 丌孬丕乇 賲丿乇賳 丕乇鬲亘丕胤蹖 亘乇賯乇丕乇 讴賳賲
卮丕蹖丿 趩賵賳 丕賳爻丕賳 賴丕蹖 毓氐乇 噩丿蹖丿 乇丕 賳賲蹖 賮賴賲蹖丿賲
賵賱蹖 讴賵賳丿乇丕 丿乇 丕蹖賳 讴鬲丕亘 賲孬賴 蹖讴 噩乇丕丨 賲丕賴乇貙卮禺氐蹖鬲 賴丕 乇丕 讴丕賱亘丿 卮讴丕賮蹖 讴乇丿
賵 丕蹖賳 讴鬲丕亘 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 鬲噩乇亘賴 賴丕蹖 讴鬲丕亘禺賵丕賳蹖 丕賲 卮丿
禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘 卮诏賮鬲 丕賳诏蹖夭 賳夭丿蹖讴 亘賴 趩賴賱 乇賵夭 胤賵賱 讴卮蹖丿
賴乇乇賵夭 賳賴丕蹖鬲丕 賲蹖 鬲賵丕賳爻鬲賲 10 氐賮丨賴 亘禺賵丕賳賲
亘乇丕蹖 賲賳 讴賴 丌賳賲賵賯毓 乇賵夭蹖 50 鬲丕 150 氐賮丨賴 賲蹖 禺賵丕賳丿賳賲 趩蹖夭 毓噩蹖亘蹖 亘賵丿
賵賱蹖 賲诏乇 賲蹖 卮丿 丕夭 蹖賴 禺胤 亘乇丕丨鬲蹖 诏匕卮鬲責
亘丕 丕蹖賳讴賴 丕夭 爻亘讴蹖 鬲丨賲賱 賳丕倬匕蹖乇 賴爻鬲蹖 賲蹖 诏賮鬲 賵賱蹖 爻賳诏蹖賳蹖 亘丕乇卮 匕賴賳賲 乇賵 夭賵丿 丕夭 倬丕蹖 丿乇 賲蹖 丌賵乇丿
!!!
蹖賴 噩賲賱賴 丿乇 讴鬲丕亘 賴爻鬲 讴賴 禺蹖賱蹖 賲賳賵 亘賴 賮讴乇 賮乇賵 賲蹖亘乇賴
賷賰 亘丕乇 丨爻丕亘 賳賷爻鬲貙賷賰 亘丕乇 趩賵賳 賴賷趩 丕爻鬲.賮賯胤 賷賰亘丕乇 夭賳丿诏賷 賰乇丿賳 賲丕賳賳丿 賴乇诏夭 夭賳丿诏賷 賰乇丿賳 丕爻鬲
丕賲丕 丿乇 丕卮毓丕乇 丕乇蹖卮 賮乇蹖丿 賴賲 趩蹖夭 噩丕賱亘蹖 倬蹖丿丕 讴乇丿賲
讴噩丕 賲蹖 丌賲賵夭蹖賲 夭蹖爻鬲賳 乇丕
賵 讴噩丕 賲蹖 丌賲賵夭蹖賲 丌賲賵禺鬲賳 乇丕
賵 讴噩丕 丕夭 蹖丕丿 賲蹖 亘乇蹖賲
讴賴 賮賯胤 丌賳趩賴 乇丕 賮乇丕 诏乇賮鬲賴 丕蹖賲 夭賳丿诏蹖 賳讴賳蹖賲責
賲賷賱丕賳 賰賵賳丿乇丕 賲賷 诏賵賷丿 賰賴 丕賷賳 賴丕 卮禺氐賷鬲 賴丕賷賷 亘賵丿賳 賰賴 賴乇诏夭 噩乇丕鬲 毓亘賵乇 丕夭 賲乇夭 丌賳丕賳 乇賵 賳丿丕卮鬲賴 丕爻鬲
倬爻 賷賰 丕賳爻丕賳 賲賷 鬲賵丕賳丿 鬲乇賰賷亘賷 丕夭 丕賷賳 卮禺氐賷鬲 賴丕 乇賵 丿丕卮鬲賴 亘丕卮丿
鬲乇夭丕 賵 爻丕亘賷賳丕 丿賵 卮禺氐賷鬲 賲禺丕賱賮 賴賲 亘賵丿賳丿.鬲乇夭丕 卮噩丕毓鬲賷 丿丕卮鬲 賰賴 丕夭 乇賵亘賴 乇賵 卮丿賳 亘丕 賲乇诏 賴賲 賳賲賷 賴乇丕爻賷丿 (毓賰爻 诏乇賮鬲賳卮 丿乇 賲賳丕胤賯 噩賳诏賷) 賵賱賷 丿乇 亘乇丕亘乇 賯賱亘卮 囟毓賮 丿丕卮鬲 賵 賳賲賷 鬲賵丕賳爻鬲 亘禺丕胤乇 毓卮賯賷 賰賴 丿丕卮鬲 丕夭 賲乇丿 禺丕卅賳卮 丿賱 亘賰賳丿
爻丕亘賷賳丕 賷賰 賮乇丕乇賷 亘賵丿 賵 丕夭 丿丕卮鬲賳 賷賰 夭賳丿诏賷 賲爻卅賵賱賷鬲 倬匕賷乇 賲賷 鬲乇爻賷丿
賵 賴乇诏丕賴 亘賴 賲乇夭賴丕賷 丕賳 賲賷 乇爻賷丿 亘丕 卮毓亘丿賴 亘丕夭賷 禺丕氐 禺賵丿 丕夭 丕賳噩丕 賳丕倬丿賷丿 賲賷 卮丿
賵賱賷 爻丕亘賷賳丕 亘乇丕賷 夭賳 亘賵丿賳 禺賵丿 丕乇夭卮 賯丕卅賱 亘賵丿 賵 丕噩丕夭賴 賳賲賷 丿丕丿 賰賴 亘丕夭賷趩賴 賲乇丿丕賳 诏乇丿丿貙 亘賱賰賴 亘丿鬲乇卮 乇丕 賴賲 丌賳噩丕賲 賲賷 丿丕丿 賷毓賳賷 賲乇丿丕賳 乇丕 亘丕夭賷趩賴 禺賵丿 賲賷 賰乇丿
丕賲丕 賴乇 丕賳爻丕賳蹖 賳賯胤賴 囟毓賮 丿丕乇丿. 鬲賵賲丕 賳賯胤賴 囟毓賮 爻丕亘蹖賳丕 丕爻鬲
賵賱賷 鬲賵賲丕 亘賴 胤乇夭 賮丕噩毓賴 亘丕乇賷 賵賷 乇丕 卮亘賷賴 禺賵丿 賲賷 賷丕賮鬲 賵 丕賳爻丕賳 賴賷趩賵賯鬲 賳賲賷鬲賵丕賳丿 丿賵 賳賮乇 卮亘賷賴 禺賵丿 乇丕 亘乇丕賷 爻丕賱賴丕 鬲丨賲賱 賰賳丿
:亘賴 诏賮鬲賴 丌賳丿乇賴 跇蹖丿
賳丕鬲丕賳丕卅蹖賱! 丿乇 讴賳丕乇 丌賳 趩賴 卮亘蹖賴 鬲賵爻鬲 賳賲丕賳 ! 賴乇诏夭 賳賲丕賳
鬲賵賲丕 亘乇毓賰爻 毓丕卮賯 卮禺氐賷鬲 鬲乇夭丕 亘賵丿 趩賵賳 丿賳賷丕賷卮 賰丕賲賱丕 賲鬲賮丕賵鬲 鬲乇 丕夭 丿賳賷丕賷 賵賷 賵 爻丕亘賷賳丕 亘賵丿
賮乇丕賳夭 賴賲 毓丕卮賯 爻丕亘賷賳丕 卮丿 趩賵賳 爻丕亘賷賳丕 賴賲 丿賳賷丕賷賷 丿丕卮鬲 賰賴 亘乇丕賷 賮乇丕賳夭 賳丕卮賳丕禺鬲賴 亘賵丿
...
鬲賲丕賲賷 賲丨賰賵賲賷鬲 丕賳爻丕賳 丿乇 丕賷賳 噩賲賱賴 賳賴賮鬲賴 丕爻鬲:夭賲丕賳 亘卮乇賷 丿丕賷乇賴 賵丕乇 賳賲賷 诏匕乇丿貙亘賱賰賴 亘賴 禺胤 賲爻鬲賯賷賲 倬賷卮 賲賷 乇賵丿.賵 亘賴 賴賲賷賳 丿賱賷賱 丕賳爻丕賳 賳賲賷 鬲賵丕賳丿 禺賵卮亘禺鬲 亘丕卮丿貙趩乇丕 賰賴 禺賵卮亘禺鬲賷 賲賷賱 亘賴 鬲賰乇丕乇 丕爻鬲
丌賳趩賴 亘賴 丕賳爻丕賳 毓馗賲鬲 賲賷 亘禺卮丿 丌賳 丕爻鬲 賰賴 丌丿賲賷 趩賳丕賳 爻乇賳賵卮鬲 禺賵丿 乇丕 丿乇 丿爻鬲 诏賷乇丿 賰賴 丕胤賱爻 诏賳亘丿 丌爻賲丕賳 乇丕 亘乇 丿賵卮 賲賷 诏乇賮鬲
鬲賵賲丕 丿乇 胤賵賱 丿丕爻鬲丕賳 诏丕賴 丕胤賱爻 賲蹖 卮賵丿 賵 诏丕賴 賲蹖 禺賵丕賴丿 丕夭 夭蹖乇 诏賳亘丿 丌爻賲丕賳 卮丕賳賴 禺丕賱蹖 讴賳丿
卮蹖賮鬲賴 丌孬丕乇 讴賴賳 賵 讴賱丕爻蹖讴 亘賵丿賲 賵 賳鬲賵丕賳爻鬲賴 亘賵丿賲 亘丕 丌孬丕乇 賲丿乇賳 丕乇鬲亘丕胤蹖 亘乇賯乇丕乇 讴賳賲
卮丕蹖丿 趩賵賳 丕賳爻丕賳 賴丕蹖 毓氐乇 噩丿蹖丿 乇丕 賳賲蹖 賮賴賲蹖丿賲
賵賱蹖 讴賵賳丿乇丕 丿乇 丕蹖賳 讴鬲丕亘 賲孬賴 蹖讴 噩乇丕丨 賲丕賴乇貙卮禺氐蹖鬲 賴丕 乇丕 讴丕賱亘丿 卮讴丕賮蹖 讴乇丿
賵 丕蹖賳 讴鬲丕亘 蹖讴蹖 丕夭 亘賴鬲乇蹖賳 鬲噩乇亘賴 賴丕蹖 讴鬲丕亘禺賵丕賳蹖 丕賲 卮丿
禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘 卮诏賮鬲 丕賳诏蹖夭 賳夭丿蹖讴 亘賴 趩賴賱 乇賵夭 胤賵賱 讴卮蹖丿
賴乇乇賵夭 賳賴丕蹖鬲丕 賲蹖 鬲賵丕賳爻鬲賲 10 氐賮丨賴 亘禺賵丕賳賲
亘乇丕蹖 賲賳 讴賴 丌賳賲賵賯毓 乇賵夭蹖 50 鬲丕 150 氐賮丨賴 賲蹖 禺賵丕賳丿賳賲 趩蹖夭 毓噩蹖亘蹖 亘賵丿
賵賱蹖 賲诏乇 賲蹖 卮丿 丕夭 蹖賴 禺胤 亘乇丕丨鬲蹖 诏匕卮鬲責
亘丕 丕蹖賳讴賴 丕夭 爻亘讴蹖 鬲丨賲賱 賳丕倬匕蹖乇 賴爻鬲蹖 賲蹖 诏賮鬲 賵賱蹖 爻賳诏蹖賳蹖 亘丕乇卮 匕賴賳賲 乇賵 夭賵丿 丕夭 倬丕蹖 丿乇 賲蹖 丌賵乇丿
!!!
蹖賴 噩賲賱賴 丿乇 讴鬲丕亘 賴爻鬲 讴賴 禺蹖賱蹖 賲賳賵 亘賴 賮讴乇 賮乇賵 賲蹖亘乇賴
賷賰 亘丕乇 丨爻丕亘 賳賷爻鬲貙賷賰 亘丕乇 趩賵賳 賴賷趩 丕爻鬲.賮賯胤 賷賰亘丕乇 夭賳丿诏賷 賰乇丿賳 賲丕賳賳丿 賴乇诏夭 夭賳丿诏賷 賰乇丿賳 丕爻鬲
丕賲丕 丿乇 丕卮毓丕乇 丕乇蹖卮 賮乇蹖丿 賴賲 趩蹖夭 噩丕賱亘蹖 倬蹖丿丕 讴乇丿賲
讴噩丕 賲蹖 丌賲賵夭蹖賲 夭蹖爻鬲賳 乇丕
賵 讴噩丕 賲蹖 丌賲賵夭蹖賲 丌賲賵禺鬲賳 乇丕
賵 讴噩丕 丕夭 蹖丕丿 賲蹖 亘乇蹖賲
讴賴 賮賯胤 丌賳趩賴 乇丕 賮乇丕 诏乇賮鬲賴 丕蹖賲 夭賳丿诏蹖 賳讴賳蹖賲責
賲賷賱丕賳 賰賵賳丿乇丕 賲賷 诏賵賷丿 賰賴 丕賷賳 賴丕 卮禺氐賷鬲 賴丕賷賷 亘賵丿賳 賰賴 賴乇诏夭 噩乇丕鬲 毓亘賵乇 丕夭 賲乇夭 丌賳丕賳 乇賵 賳丿丕卮鬲賴 丕爻鬲
倬爻 賷賰 丕賳爻丕賳 賲賷 鬲賵丕賳丿 鬲乇賰賷亘賷 丕夭 丕賷賳 卮禺氐賷鬲 賴丕 乇賵 丿丕卮鬲賴 亘丕卮丿
鬲乇夭丕 賵 爻丕亘賷賳丕 丿賵 卮禺氐賷鬲 賲禺丕賱賮 賴賲 亘賵丿賳丿.鬲乇夭丕 卮噩丕毓鬲賷 丿丕卮鬲 賰賴 丕夭 乇賵亘賴 乇賵 卮丿賳 亘丕 賲乇诏 賴賲 賳賲賷 賴乇丕爻賷丿 (毓賰爻 诏乇賮鬲賳卮 丿乇 賲賳丕胤賯 噩賳诏賷) 賵賱賷 丿乇 亘乇丕亘乇 賯賱亘卮 囟毓賮 丿丕卮鬲 賵 賳賲賷 鬲賵丕賳爻鬲 亘禺丕胤乇 毓卮賯賷 賰賴 丿丕卮鬲 丕夭 賲乇丿 禺丕卅賳卮 丿賱 亘賰賳丿
爻丕亘賷賳丕 賷賰 賮乇丕乇賷 亘賵丿 賵 丕夭 丿丕卮鬲賳 賷賰 夭賳丿诏賷 賲爻卅賵賱賷鬲 倬匕賷乇 賲賷 鬲乇爻賷丿
賵 賴乇诏丕賴 亘賴 賲乇夭賴丕賷 丕賳 賲賷 乇爻賷丿 亘丕 卮毓亘丿賴 亘丕夭賷 禺丕氐 禺賵丿 丕夭 丕賳噩丕 賳丕倬丿賷丿 賲賷 卮丿
賵賱賷 爻丕亘賷賳丕 亘乇丕賷 夭賳 亘賵丿賳 禺賵丿 丕乇夭卮 賯丕卅賱 亘賵丿 賵 丕噩丕夭賴 賳賲賷 丿丕丿 賰賴 亘丕夭賷趩賴 賲乇丿丕賳 诏乇丿丿貙 亘賱賰賴 亘丿鬲乇卮 乇丕 賴賲 丌賳噩丕賲 賲賷 丿丕丿 賷毓賳賷 賲乇丿丕賳 乇丕 亘丕夭賷趩賴 禺賵丿 賲賷 賰乇丿
丕賲丕 賴乇 丕賳爻丕賳蹖 賳賯胤賴 囟毓賮 丿丕乇丿. 鬲賵賲丕 賳賯胤賴 囟毓賮 爻丕亘蹖賳丕 丕爻鬲
賵賱賷 鬲賵賲丕 亘賴 胤乇夭 賮丕噩毓賴 亘丕乇賷 賵賷 乇丕 卮亘賷賴 禺賵丿 賲賷 賷丕賮鬲 賵 丕賳爻丕賳 賴賷趩賵賯鬲 賳賲賷鬲賵丕賳丿 丿賵 賳賮乇 卮亘賷賴 禺賵丿 乇丕 亘乇丕賷 爻丕賱賴丕 鬲丨賲賱 賰賳丿
:亘賴 诏賮鬲賴 丌賳丿乇賴 跇蹖丿
賳丕鬲丕賳丕卅蹖賱! 丿乇 讴賳丕乇 丌賳 趩賴 卮亘蹖賴 鬲賵爻鬲 賳賲丕賳 ! 賴乇诏夭 賳賲丕賳
鬲賵賲丕 亘乇毓賰爻 毓丕卮賯 卮禺氐賷鬲 鬲乇夭丕 亘賵丿 趩賵賳 丿賳賷丕賷卮 賰丕賲賱丕 賲鬲賮丕賵鬲 鬲乇 丕夭 丿賳賷丕賷 賵賷 賵 爻丕亘賷賳丕 亘賵丿
賮乇丕賳夭 賴賲 毓丕卮賯 爻丕亘賷賳丕 卮丿 趩賵賳 爻丕亘賷賳丕 賴賲 丿賳賷丕賷賷 丿丕卮鬲 賰賴 亘乇丕賷 賮乇丕賳夭 賳丕卮賳丕禺鬲賴 亘賵丿
...
鬲賲丕賲賷 賲丨賰賵賲賷鬲 丕賳爻丕賳 丿乇 丕賷賳 噩賲賱賴 賳賴賮鬲賴 丕爻鬲:夭賲丕賳 亘卮乇賷 丿丕賷乇賴 賵丕乇 賳賲賷 诏匕乇丿貙亘賱賰賴 亘賴 禺胤 賲爻鬲賯賷賲 倬賷卮 賲賷 乇賵丿.賵 亘賴 賴賲賷賳 丿賱賷賱 丕賳爻丕賳 賳賲賷 鬲賵丕賳丿 禺賵卮亘禺鬲 亘丕卮丿貙趩乇丕 賰賴 禺賵卮亘禺鬲賷 賲賷賱 亘賴 鬲賰乇丕乇 丕爻鬲
丌賳趩賴 亘賴 丕賳爻丕賳 毓馗賲鬲 賲賷 亘禺卮丿 丌賳 丕爻鬲 賰賴 丌丿賲賷 趩賳丕賳 爻乇賳賵卮鬲 禺賵丿 乇丕 丿乇 丿爻鬲 诏賷乇丿 賰賴 丕胤賱爻 诏賳亘丿 丌爻賲丕賳 乇丕 亘乇 丿賵卮 賲賷 诏乇賮鬲
鬲賵賲丕 丿乇 胤賵賱 丿丕爻鬲丕賳 诏丕賴 丕胤賱爻 賲蹖 卮賵丿 賵 诏丕賴 賲蹖 禺賵丕賴丿 丕夭 夭蹖乇 诏賳亘丿 丌爻賲丕賳 卮丕賳賴 禺丕賱蹖 讴賳丿
July 12, 2023
This is the story of 2 men, 2 women and a dog, during and after the 1968 Prague Spring, in what was then Czechoslovakia. It's also about challenging 's eternal recurrence concepts, by countering (in this story) that each of us, has but one unique life to live - i.e. the lightness of being. So note, that there is a fair bit of philosophical wanderings, especially in the second half of the book. The "unbearable lightness" also refers to Kundera's portrayal of love being transient, random and rooted in accumulated coincidences, despite how much we see it as much more.
How did the book make me feel?
I was hypnotised by Kundera's storytelling, largely focussed on his cast and getting to only see the world they saw, even when it was limited to the four walls of a room that they were in. It tells the story of the crushing of the Czech privileged, and tells that story less emotionally, just through the eyes of the cast, something that works really well and in the end feels more powerful, a lot more powerful. I knew little of the details of the Prague Spring, but reading this has now inspired to learn more about this, and the Hungarian uprising of this era.
I was almost in tears at the end. The book has shaken me with the simplicity of its story and the deepness of its message. There's also one of the greatest ever non-human dramatical scenes in this book, which also totally absorbed and consumed me. I dragged my heels reading this, because I wanted to savour each scene, immerse myself in each page. A simple story about people, a story about enshrined political oppression, a story about love? In addition I feel that this is one of those books, that I knew within the first few pages, was something special, as Kundera's quality is apparent from the first page to the last. 10 out 12, a Five Star Read.
2020 read
How did the book make me feel?
I was hypnotised by Kundera's storytelling, largely focussed on his cast and getting to only see the world they saw, even when it was limited to the four walls of a room that they were in. It tells the story of the crushing of the Czech privileged, and tells that story less emotionally, just through the eyes of the cast, something that works really well and in the end feels more powerful, a lot more powerful. I knew little of the details of the Prague Spring, but reading this has now inspired to learn more about this, and the Hungarian uprising of this era.
I was almost in tears at the end. The book has shaken me with the simplicity of its story and the deepness of its message. There's also one of the greatest ever non-human dramatical scenes in this book, which also totally absorbed and consumed me. I dragged my heels reading this, because I wanted to savour each scene, immerse myself in each page. A simple story about people, a story about enshrined political oppression, a story about love? In addition I feel that this is one of those books, that I knew within the first few pages, was something special, as Kundera's quality is apparent from the first page to the last. 10 out 12, a Five Star Read.
2020 read
January 21, 2010
I spent part of my lazy weekend reading this book on the grassy hills of The Huntington Library surrounded by gardens, art, and beauty. Even the serene surroundings and my sensational reading date could not make up for this book. Weak characters, horrible assumptions, pseudo philosophy, and no clear grasp of how women are actually motivated.
Only wannabe Lotharios who pride themselves as philosophers would enjoy this.
I tried. I really did.
Only wannabe Lotharios who pride themselves as philosophers would enjoy this.
I tried. I really did.
April 9, 2025
The wisdom of uncertainty.
He states this novel's definition to Kundera during its work, opening this monument of 20th-century literature. Man has only one life, and the weight of his choices is matched only by the lightness of his existence. It is impossible to rewind his life and know what would have been the course of his story if he had taken other paths. To endure this impasse and not whip up eternal regrets, we might as well accept life as it comes.
The story is well known, but you might as well ramble on it because it is beautiful. Tomas is a brilliant surgeon who lived in Prague in 1968. He is more interested in his feminine conquests than in political agitation. He marries Teresa, a tormented young woman who is jealous and drunk with political and loving ideals. Stifled, Tomas multiplies his infidelities, particularly with his friend Sabina, an individualist photographer who loves freedom.
During the Prague Spring, Tomas and Teresa flee to Switzerland, but the young woman cannot bring herself to live far from home and returns alone. Tomas must then choose between a light Helvetian life where he can blossom in his profession and quench his thirst for love or join Teresa, lose his job, and expose himself to communist repression. He returns to Prague and becomes a tile washer, and the couple goes to live in the countryside with their dog, Karenina.
Like all romantic palaces, access to this book is impressive. The title alone requires taking Paracetamol. I put the skates to glide on this waxed prose with felted steps. In the first sentence, Nietzsche quotes. You have to hang on to ODP. I sometimes had to reread specific paragraphs because it was awkward to wink between two sentences. He must say that a philosophical commentary follows each character's decision. Remember never to invite Milan Kundera to a dinner party. Suddenly, getting attached to the story is difficult because the digressions leave the reader spectator. I understood the author was not trying to grab my attention and attend a lecture. It took me a long time (I'm only a man) to know that this step back intends to reflect on life's unique meaning. I am glad I waited until maturity to engage in this reading. Greener, gravity would have gotten the better of my lightness.
So it's not just a beautiful love story amid Russian tanks. Nor is it the novel of an intellectual exiled against the communist regime and its mythologies. His characters are as many victims of the story as their personal choices. Instead, I believe it is a meditation on individual freedom and the opposing forces that shake our lives.
Each reader of this novel remembers this literary journey. The end of the Karenina dog's life is imminent. Thomas and Teresa's attachment to this beast testifies to more humanity than all the states of mind that tormented their romantic passion.
He states this novel's definition to Kundera during its work, opening this monument of 20th-century literature. Man has only one life, and the weight of his choices is matched only by the lightness of his existence. It is impossible to rewind his life and know what would have been the course of his story if he had taken other paths. To endure this impasse and not whip up eternal regrets, we might as well accept life as it comes.
The story is well known, but you might as well ramble on it because it is beautiful. Tomas is a brilliant surgeon who lived in Prague in 1968. He is more interested in his feminine conquests than in political agitation. He marries Teresa, a tormented young woman who is jealous and drunk with political and loving ideals. Stifled, Tomas multiplies his infidelities, particularly with his friend Sabina, an individualist photographer who loves freedom.
During the Prague Spring, Tomas and Teresa flee to Switzerland, but the young woman cannot bring herself to live far from home and returns alone. Tomas must then choose between a light Helvetian life where he can blossom in his profession and quench his thirst for love or join Teresa, lose his job, and expose himself to communist repression. He returns to Prague and becomes a tile washer, and the couple goes to live in the countryside with their dog, Karenina.
Like all romantic palaces, access to this book is impressive. The title alone requires taking Paracetamol. I put the skates to glide on this waxed prose with felted steps. In the first sentence, Nietzsche quotes. You have to hang on to ODP. I sometimes had to reread specific paragraphs because it was awkward to wink between two sentences. He must say that a philosophical commentary follows each character's decision. Remember never to invite Milan Kundera to a dinner party. Suddenly, getting attached to the story is difficult because the digressions leave the reader spectator. I understood the author was not trying to grab my attention and attend a lecture. It took me a long time (I'm only a man) to know that this step back intends to reflect on life's unique meaning. I am glad I waited until maturity to engage in this reading. Greener, gravity would have gotten the better of my lightness.
So it's not just a beautiful love story amid Russian tanks. Nor is it the novel of an intellectual exiled against the communist regime and its mythologies. His characters are as many victims of the story as their personal choices. Instead, I believe it is a meditation on individual freedom and the opposing forces that shake our lives.
Each reader of this novel remembers this literary journey. The end of the Karenina dog's life is imminent. Thomas and Teresa's attachment to this beast testifies to more humanity than all the states of mind that tormented their romantic passion.
December 21, 2022
LEGGEREZZA?
Daniel Day Lewis, Tomas, e la sua amante Sabina, interpretata da Lena Olin.
Non so se sarebbe cambiato qualcosa andando nel giusto ordine, prima il libro e poi il film.
Non lo so perch茅 in effetti con Kundera non ho mai avuto un buon rapporto: non sono mai riuscito a penetrare la sua arte che mi 猫 sempre sembrata troppo incline al filosofeggiare, all鈥檌lluminismo, e forse perfino voce sentenziosa.
Comunque, le cose sono andate che prima ho visto il film ed 猫 stata una delusione.
Delusione perch茅 ho stima di Philip Kaufman: ho apprezzato The Right Stuff 鈥� Uomini veri e anche la sua versione del classico Invasion of the Body Snatchers 鈥� Terrore dallo spazio profondo, e The Wanderers 鈥� I nuovi guerrieri dal romanzo di Richard Price.
Ho ancora pi霉 stima del suo sceneggiatore Jean-Claude Carri猫re, che solo la collaborazione con Luis Bu帽uel rende mito e leggenda.
E poi il protagonista, Daniel Day Lewis, forse il pi霉 grande attore della storia, se non altro il pi霉 grande tra i viventi.
E Lena Olin che sembrava potesse sollevare il mondo.
E Sven Nykvist a illuminare. E鈥�
Juliette Binoche 猫 Tereza, la moglie tradita e sempre innamorata.
Ma il film non funziona. 脠 troppo lungo, tanto pi霉 per i suoi tempi (quasi tre ore). Ha momenti di assiomi pi霉 che dialogo. Ha un ritmo regolato su un metronomo, il che 猫 tutto meno che un complimento (morte di ogni sorpresa鈥�).
E cos矛 sono approdato al libro maldisposto. E il pregiudizio non ha giovato, 猫 stato purtroppo confermato.
Qualsiasi studente nell鈥檕ra di fisica pu貌 provare con esperimenti l鈥檈sattezza di un鈥檌potesi scientifica. L鈥檜omo, invece, vivendo una sola vita, non ha alcuna possibilit脿 di verificare un鈥檌potesi mediante un esperimento, e perci貌 non sapr脿 mai se avrebbe dovuto o no dare ascolto al proprio sentimento.
Daniel Day Lewis, Tomas, e la sua amante Sabina, interpretata da Lena Olin.
Non so se sarebbe cambiato qualcosa andando nel giusto ordine, prima il libro e poi il film.
Non lo so perch茅 in effetti con Kundera non ho mai avuto un buon rapporto: non sono mai riuscito a penetrare la sua arte che mi 猫 sempre sembrata troppo incline al filosofeggiare, all鈥檌lluminismo, e forse perfino voce sentenziosa.
Comunque, le cose sono andate che prima ho visto il film ed 猫 stata una delusione.
Delusione perch茅 ho stima di Philip Kaufman: ho apprezzato The Right Stuff 鈥� Uomini veri e anche la sua versione del classico Invasion of the Body Snatchers 鈥� Terrore dallo spazio profondo, e The Wanderers 鈥� I nuovi guerrieri dal romanzo di Richard Price.
Ho ancora pi霉 stima del suo sceneggiatore Jean-Claude Carri猫re, che solo la collaborazione con Luis Bu帽uel rende mito e leggenda.
E poi il protagonista, Daniel Day Lewis, forse il pi霉 grande attore della storia, se non altro il pi霉 grande tra i viventi.
E Lena Olin che sembrava potesse sollevare il mondo.
E Sven Nykvist a illuminare. E鈥�
Juliette Binoche 猫 Tereza, la moglie tradita e sempre innamorata.
Ma il film non funziona. 脠 troppo lungo, tanto pi霉 per i suoi tempi (quasi tre ore). Ha momenti di assiomi pi霉 che dialogo. Ha un ritmo regolato su un metronomo, il che 猫 tutto meno che un complimento (morte di ogni sorpresa鈥�).
E cos矛 sono approdato al libro maldisposto. E il pregiudizio non ha giovato, 猫 stato purtroppo confermato.
Qualsiasi studente nell鈥檕ra di fisica pu貌 provare con esperimenti l鈥檈sattezza di un鈥檌potesi scientifica. L鈥檜omo, invece, vivendo una sola vita, non ha alcuna possibilit脿 di verificare un鈥檌potesi mediante un esperimento, e perci貌 non sapr脿 mai se avrebbe dovuto o no dare ascolto al proprio sentimento.
December 22, 2022
turns out an unbearable lightness and an unsustainable heaviness aren't that different, after all.
anyway, this book is whip-smart and brain-expanding, a real pleasure to read. i don't even want to get into it - i'd prefer the pleasure stand on its own.
if you like feeling smart, working hard for your books, philosophical vibes, or books with cool titles...read this please!
bottom line: a book that speaks enough for itself!
------------------
currently-reading updates
and the Greatest Title Of All Time award goes to............
------------------
tbr review
more like the unbearably HEAVY BURDEN of being am i right
anyway, this book is whip-smart and brain-expanding, a real pleasure to read. i don't even want to get into it - i'd prefer the pleasure stand on its own.
if you like feeling smart, working hard for your books, philosophical vibes, or books with cool titles...read this please!
bottom line: a book that speaks enough for itself!
------------------
currently-reading updates
and the Greatest Title Of All Time award goes to............
------------------
tbr review
more like the unbearably HEAVY BURDEN of being am i right
October 17, 2008
I felt this book was contrived and to me it seemed as if the author tried desperately to sound intellectual. Instead he came off egotistical. First off all the meandering about Nietzche and quite frankly he set me off to start off by making statements I couldn't agree but he goes right on as if it is a trueism that everyone must believe in.
To be quite frank the characters were boring. The prose was uninteresting. There was no emotion, no real depth, and how many times to I have to hear about him pluking the woman from the reed basket - please!
Another reviewer mentioned slogging thorugh life and this book - I couldn't agree more - it was a chore and that's not what we read for. I finally "gave up the ghost" so maybe I shouldn't review it since I've not read it all the way through but bad is bad, and I can't see how this was going to turn itself around.
This author has created a facade - he talks a good story, with lots of smoke and mirrors with words that sound intellectual but there is no real depth there.
(Overrated) Rhetorical games, combined with recurrent references to Nietzsche and Beethoven, create an intellectual facade that seems much weightier than it really is. Built on many false presumptions and bolstered by an epic, scholarly tone, the novel has potential to be interesting in its musings, but just can't be taken seriously as a work of philosophical or psychological depth.
I would recommend that people avoid this book - There are so much better uses of their time.
Robin
robin.sullivan.dc@gmail.com
Medieval fantasy series: The Crown Conspiracy (Oct 2008), Avempartha (April 2009)
Upcoming Book Signings at:
To be quite frank the characters were boring. The prose was uninteresting. There was no emotion, no real depth, and how many times to I have to hear about him pluking the woman from the reed basket - please!
Another reviewer mentioned slogging thorugh life and this book - I couldn't agree more - it was a chore and that's not what we read for. I finally "gave up the ghost" so maybe I shouldn't review it since I've not read it all the way through but bad is bad, and I can't see how this was going to turn itself around.
This author has created a facade - he talks a good story, with lots of smoke and mirrors with words that sound intellectual but there is no real depth there.
(Overrated) Rhetorical games, combined with recurrent references to Nietzsche and Beethoven, create an intellectual facade that seems much weightier than it really is. Built on many false presumptions and bolstered by an epic, scholarly tone, the novel has potential to be interesting in its musings, but just can't be taken seriously as a work of philosophical or psychological depth.
I would recommend that people avoid this book - There are so much better uses of their time.
Robin
robin.sullivan.dc@gmail.com
Medieval fantasy series: The Crown Conspiracy (Oct 2008), Avempartha (April 2009)
Upcoming Book Signings at:
July 13, 2023
脦n romanele lui Kundera, dar mai ales 卯n Insuportabila u葯ur膬tate... (titlul original e imposibil de tradus), exist膬 卯ntotdeauna un personaj 卯n plus, supranumerar. Nu e numaidec卯t naratorul, e altcineva, l-am putea numi Eseistul, l-am putea numi Autorul. Func葲ia lui e s膬 ridice 卯ntreb膬ri (c卯t pre葲uie葯te fiin葲a?, de ce s卯ntem cov卯r葯i葲i de kitsch?) 葯i s膬 foloseasc膬 povestea ca pe o ilustra葲ie a ipotezelor filosofice. A葯adar, al膬turi de Tereza, Sabina, Tomas 葯i Franz - personaje care evolueaz膬 la nivelul 鈥瀙膬m卯ntesc鈥�, trebuie s膬 plas膬m, undeva, deasupra tuturor, 葯i figura Autorului (care nu e Kundera, fire葯te).
Din aceast膬 pricin膬 romanele lui Milan Kundera par (葯i chiar s卯nt) artificioase. Au multe 卯n comun cu fabulele filosofice ale lui Diderot 葯i Voltaire. Sigur, 葯i 卯n c膬r葲ile altor prozatori apar comentarii, digresiuni, dar ele apar葲in unuia dintre personaje sau naratorului omniscient. La Kundera e pe dos. Citim, 卯n realitate, un eseu (despre eterna re卯ntoarcere, despre actul sexual 卯n paradis 葯i opinia lui Ioannes Scottus Eriugena, despre kitsch, despre hazard) 葯i, din c卯nd 卯n c卯nd, discursul este 卯ntrerupt de mici inser葲ii narative: 卯n lenjerie intim膬, scrutat膬 de oglinzi, Sabina probeaz膬 o p膬l膬rie-melon de culoare neagr膬.
脦n plus, s卯ntem preveni葲i din capul locului c膬 personajele s卯nt inventate, ni葯te pioni 卯n m卯na indiferent膬 a 葯ahistului: 鈥濧r fi o prostie din partea autorului, dac膬 ar 卯ncerca s膬-l fac膬 pe cititor s膬 cread膬 c膬 personajele lui au existat 卯n realitate. Acestea nu s-au n膬scut din trupul unei mame, ci din c卯teva fraze sugestive...鈥�. Prin aceast膬 r膬sturnare narativ膬, Kundera 卯ncalc膬 sistematic 鈥瀕egile鈥� povestirii (clasice) 葯i a葯tept膬rile cititorului. Romanul devine aproape neverosimil. Ac葲iunea e numai pretextul unui ra葲ionament.
Ce r膬m卯ne dac膬 elimin膬m pasajele eseistice? R膬m卯ne un roman despre iubire 葯i de葯ert膬ciune, o 鈥瀌emonstra葲ie鈥� a nimicniciei umane. Fiin葲a nu valoreaz膬 mare lucru 葯i lipsa ei de 鈥瀏reutate鈥� (importan葲膬) 卯ngroze葯te.
Exist膬 un episod care nu-mi va ie葯i niciodat膬 din minte, un exemplu de 鈥瀡anitas vanitatum鈥�. Motivul i-a obsedat dintotdeauna pe scriitori: 卯l 卯nt卯lnim 卯n satirele medievale, 卯n poezia veche englez膬 (la Thomas Nashe), 卯n Povestea lui ori葯icine de Philip Roth. S膬 citim acest pasaj:
Din aceast膬 pricin膬 romanele lui Milan Kundera par (葯i chiar s卯nt) artificioase. Au multe 卯n comun cu fabulele filosofice ale lui Diderot 葯i Voltaire. Sigur, 葯i 卯n c膬r葲ile altor prozatori apar comentarii, digresiuni, dar ele apar葲in unuia dintre personaje sau naratorului omniscient. La Kundera e pe dos. Citim, 卯n realitate, un eseu (despre eterna re卯ntoarcere, despre actul sexual 卯n paradis 葯i opinia lui Ioannes Scottus Eriugena, despre kitsch, despre hazard) 葯i, din c卯nd 卯n c卯nd, discursul este 卯ntrerupt de mici inser葲ii narative: 卯n lenjerie intim膬, scrutat膬 de oglinzi, Sabina probeaz膬 o p膬l膬rie-melon de culoare neagr膬.
脦n plus, s卯ntem preveni葲i din capul locului c膬 personajele s卯nt inventate, ni葯te pioni 卯n m卯na indiferent膬 a 葯ahistului: 鈥濧r fi o prostie din partea autorului, dac膬 ar 卯ncerca s膬-l fac膬 pe cititor s膬 cread膬 c膬 personajele lui au existat 卯n realitate. Acestea nu s-au n膬scut din trupul unei mame, ci din c卯teva fraze sugestive...鈥�. Prin aceast膬 r膬sturnare narativ膬, Kundera 卯ncalc膬 sistematic 鈥瀕egile鈥� povestirii (clasice) 葯i a葯tept膬rile cititorului. Romanul devine aproape neverosimil. Ac葲iunea e numai pretextul unui ra葲ionament.
Ce r膬m卯ne dac膬 elimin膬m pasajele eseistice? R膬m卯ne un roman despre iubire 葯i de葯ert膬ciune, o 鈥瀌emonstra葲ie鈥� a nimicniciei umane. Fiin葲a nu valoreaz膬 mare lucru 葯i lipsa ei de 鈥瀏reutate鈥� (importan葲膬) 卯ngroze葯te.
Exist膬 un episod care nu-mi va ie葯i niciodat膬 din minte, un exemplu de 鈥瀡anitas vanitatum鈥�. Motivul i-a obsedat dintotdeauna pe scriitori: 卯l 卯nt卯lnim 卯n satirele medievale, 卯n poezia veche englez膬 (la Thomas Nashe), 卯n Povestea lui ori葯icine de Philip Roth. S膬 citim acest pasaj:
鈥灻巒 toiul nop牛ii, [Tomas] o trezi [pe Tereza] din somn, ca s膬-i potoleasc膬 pl卯nsetele.
[Ea] 卯i povesti:
鈥� Eram 卯ngropat膬. De mult膬 vreme. Tu veneai s膬 m膬 vezi, o dat膬 pe s膬pt膬m卯n膬. Cioc膬neai 卯n piatra cavoului 艧i eu ie艧eam din morm卯nt, cu ochii plini de 牛膬r卯n膬. 脦mi spuneai: 脦n felul 膬sta nu m膬 po牛i vedea, 艧i-mi scoteai 牛膬r卯na din ochi. 艦i eu r膬spundeam: Oricum nu pot s膬 v膬d. 脦n loc de ochi am dou膬 g膬uri鈥�.
February 22, 2020
Broadly speaking the power source motoring this novel is the battle between arguably the two most fundamental and often conflictual drives in the human psyche - the desire for commitment and the desire for freedom. Commitment Kundera classes as heaviness; freedom as lightness. "When we want to give expression to a dramatic situation in our lives, we tend to use metaphors of heaviness. We say that something has become a great burden to us. We either bear the burden or fail and go down with it, we struggle with it, win or lose. Sabina had left a man because she felt like leaving him. Had he persecuted her? Had he tried to take revenge on her? No. Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden but the unbearable lightness of being. Until that time, her betrayals had filled her with excitement and joy, because they opened up new paths to new adventures of betrayal. But what if the paths came to an end? One could betray one's parents, husband, country, love, but when parents, husband, country, and love were gone - what was left to betray? Sabina felt emptiness all around her. What if that emptiness was the goal of all her betrayals? Naturally she had not realized it until now. How could she have? The goals we pursue are always veiled. A girl who longs for marriage longs for something she knows nothing about. The boy who hankers after fame has no idea what fame is. The thing that gives our every move its meaning is always totally unknown to us. Sabina was unaware of the goal that lay behind her longing to betray. The unbearable lightness of being - was that the goal?"
"The brotherhood of man on earth will be possible only on a basis of kitsch." One of my favourite themes explored in the book was the role kitsch plays in our lives. Empathy is often created through kitsch. American cinema knows and exploits this. The tearful reunion at the end of the film makes us feel good about the human race. "It is always nice to dream that we are part of a jubilant throng marching through the centuries..."
Kundera is often at pains to point out we don't respond privately to an experience as we would collectively. "Not long ago, I caught myself experiencing a most incredible sensation. Leafing through a book on Hitler, I was touched by some of his portraits: they reminded me of my childhood. I grew up during the war; several members of my family perished in Hitler's concentration camps; but what were their deaths compared with the memories of a lost period in my life, a period that would never return?" This is not the reaction he ought to be feeling. He's showing us what he privately feels is at odds with the prescribed feeling. And we understand there's often an element of kitsch in the proscribed collective feeling. Because we're pretending we favour the interests of the collective over the personal. "For Sabina, living in truth, lying neither to ourselves nor to others, was possible only away from the public: the moment someone keeps an eye on what we do, we involuntarily make allowances for that eye, and nothing we do is truthful. Having a public, keeping a public in mind, means living in lies."
But Kundera isn't too hard on kitsch in our personal lives - "She knew only too well that the song was a beautiful lie. As soon as kitsch is recognized for the lie it is, it moves into the context of non-kitsch, thus losing its authoritarian power and becoming as touching as any other human weakness. For none among us is superman enough to escape kitsch completely. No matter how we scorn it, kitsch is an integral part of the human condition." It's the role kitsch plays in politics that gets his back up. "Kitsch is the aesthetic ideal of all politicians and all political parties and movements." Of course, it's blatantly apparent how much of political and nationalistic and military theatre is pure kitsch. The Nazis took kitsch to a whole new level. It would be comical to watch now if we didn't know what it led to. A whole nation bamboozled into idiocy by kitsch. "Political movements rest not so much on rational attitudes as on the fantasies, images, words, and archetypes that come together to make up this or that political kitsch." National anthems bring it out - the absurdly stiff posture, the clenched fist on heart. Taking pride in something as random and unearned as nationality is little but hollow posturing when you think about it. Nationality is not something you have achieved after all. It's simply the result of a thrown dice. And the same nationality can evoke an inexhaustible number of different images in any given individual. It's essentially a bogus idea of unity.
Totalitarian regimes include nations which historically denied women equal rights, countries which enforced racial segregation and persecuted homosexuality. "But the people who struggle against what we call totalitarian regimes cannot function with queries and doubts. They, too, need certainties and simple truths to make the multitudes understand, to provoke collective tears." Which is why women in early 20th century Britain, blacks in America and gays throughout the world were constrained to exaggerate pride in a factor of their lives they had no control over, their sex, their skin colour, their sexuality. And when we see films now about these struggles kitsch is always present. They enable us to feel we are part of the jubilant throng marching through the centuries... Everything is perhaps ultimately turned into kitsch.
This probably isn't quite Kundera's best novel but it's a fabulous and inspiring read for all its wisdom and the playful possibilities of fiction it embraces and dramatizes. "As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones-I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become."
"The brotherhood of man on earth will be possible only on a basis of kitsch." One of my favourite themes explored in the book was the role kitsch plays in our lives. Empathy is often created through kitsch. American cinema knows and exploits this. The tearful reunion at the end of the film makes us feel good about the human race. "It is always nice to dream that we are part of a jubilant throng marching through the centuries..."
Kundera is often at pains to point out we don't respond privately to an experience as we would collectively. "Not long ago, I caught myself experiencing a most incredible sensation. Leafing through a book on Hitler, I was touched by some of his portraits: they reminded me of my childhood. I grew up during the war; several members of my family perished in Hitler's concentration camps; but what were their deaths compared with the memories of a lost period in my life, a period that would never return?" This is not the reaction he ought to be feeling. He's showing us what he privately feels is at odds with the prescribed feeling. And we understand there's often an element of kitsch in the proscribed collective feeling. Because we're pretending we favour the interests of the collective over the personal. "For Sabina, living in truth, lying neither to ourselves nor to others, was possible only away from the public: the moment someone keeps an eye on what we do, we involuntarily make allowances for that eye, and nothing we do is truthful. Having a public, keeping a public in mind, means living in lies."
But Kundera isn't too hard on kitsch in our personal lives - "She knew only too well that the song was a beautiful lie. As soon as kitsch is recognized for the lie it is, it moves into the context of non-kitsch, thus losing its authoritarian power and becoming as touching as any other human weakness. For none among us is superman enough to escape kitsch completely. No matter how we scorn it, kitsch is an integral part of the human condition." It's the role kitsch plays in politics that gets his back up. "Kitsch is the aesthetic ideal of all politicians and all political parties and movements." Of course, it's blatantly apparent how much of political and nationalistic and military theatre is pure kitsch. The Nazis took kitsch to a whole new level. It would be comical to watch now if we didn't know what it led to. A whole nation bamboozled into idiocy by kitsch. "Political movements rest not so much on rational attitudes as on the fantasies, images, words, and archetypes that come together to make up this or that political kitsch." National anthems bring it out - the absurdly stiff posture, the clenched fist on heart. Taking pride in something as random and unearned as nationality is little but hollow posturing when you think about it. Nationality is not something you have achieved after all. It's simply the result of a thrown dice. And the same nationality can evoke an inexhaustible number of different images in any given individual. It's essentially a bogus idea of unity.
Totalitarian regimes include nations which historically denied women equal rights, countries which enforced racial segregation and persecuted homosexuality. "But the people who struggle against what we call totalitarian regimes cannot function with queries and doubts. They, too, need certainties and simple truths to make the multitudes understand, to provoke collective tears." Which is why women in early 20th century Britain, blacks in America and gays throughout the world were constrained to exaggerate pride in a factor of their lives they had no control over, their sex, their skin colour, their sexuality. And when we see films now about these struggles kitsch is always present. They enable us to feel we are part of the jubilant throng marching through the centuries... Everything is perhaps ultimately turned into kitsch.
This probably isn't quite Kundera's best novel but it's a fabulous and inspiring read for all its wisdom and the playful possibilities of fiction it embraces and dramatizes. "As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones-I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become."
September 7, 2016
The Unbelievable Lightness of The Novel
I had started reading this in 2008 and had gotten along quite a bit before I stopped reading the book for some reason and then it was forgotten. Recently, I saw the book in a bookstore and realized that I hadn't finished it. I picked it up and started it all over again since I was not entirely sure where I had left off last time. I was sure however that I had not read more than, say, 30 pages or so.
I definitely could not remember reading it for a long period of time. I only remembered starting it and bits and pieces about infidelities and the russian occupation of the Czech. And so, I started reading it, sure that soon a page will come from where the story will be fresh and unread.
I was soon into the fiftieth page and was amazed that as I read each page, I could distinctly remember every scene, every philosophical argument, even the exact quotes and the sequence of events that was to come immediately after the scene I was reading- But I could never remember, try as I might, what was coming two pages further into the novel.
"This is what comes from reading serious books lightly and not giving them the attention they deserve," I chastised myself, angry at the thought that my habit of reading multiple books in parallel must have been the cause of this. I must, at the risk of appearing boastful, say that the reason this bothered so much was that I always used to take pride in being able to remember the books that I read almost verbatim and this experience of reading a book that I had read before with this sense of knowing and forgetting at the same time, the two sensations running circles around each other and teasing me was completely disorienting. I felt like I was on some surreal world where all that is to come was already known to me but was still being revealed one step out of tune with my time.
In any case, this continued, to my bewilderment well into the two hundredth page. Even now, I could not shake the constant expectation that the story was going to go into unread new territories just 2 or 3 pages ahead of where I was. Every line I read I could remember having read before and in spite of making this mistake through so many pages, I still could not but tell myself that this time, surely, I have reached the part where I must have last closed the book three years ago.
Thus I have now reached the last few pages of the book and am still trying to come to terms with what it was about this novel that made me forget it, even though I identified with the views of the author and was never bored with the plot. Was this an intentional effect or just an aberration? Will I have the same feeling if I picked up the book again a few years from today?
I also feel a slight anger towards the author for playing this trick on me, for leading me on into reading the entire book again, without giving me anything new which I had not received from the book on my first reading. Usually when I decide to read a book again, I do it with the knowledge that I will gain something new with this reading, but Kundera gave me none of that.
What I do appreciate about this reading experience is this: as is stated in the novel, anything that happens only once might as well have not happened at all - does it then apply that any novel that can be read only once, might as well have not been read at all?
Beethoven & The Art of The Sublime
To conclude, I will recount an argument from the book that in retrospect helps me explain the experience:
Kundera talks (yes, the book is full of Kundera ripping apart the 'Fourth Wall' and talking to the reader, to the characters and even to himself) about an anecdote on how Beethoven came to compose one of his best quartets due to inspiration from a silly joke he had shared with a friend.
So Beethoven turned a frivolous inspiration into a serious quartet, a joke into metaphysical truth. Yet oddly enough, the transformation fails to surprise us. We would have been shocked, on the other hand, if Beethoven had transformed the seriousness of his quartet into the trifling joke. First (as an unfinished sketch) would have come the great metaphysical truth and last (as a finished masterpiece)鈥攖he most frivolous of jokes!
I would like to think that Kundera achieved this reverse proposition with this novel and that explains how I felt about it. And, yes I finished reading the second last line of the book with the full awareness of what the last line of the novel was going to be.
September 13, 2010
賲賳匕 賲鬲賶 賵丕賳丕 賱賲 丕賯乇兀 乇賵丕賷丞 亘鬲賱賰 丕賱乇賵毓丞 ...
賲賷賱丕賳 賰賵賳丿賷乇丕 兀毓丕丿賳賷 賲賳 噩丿賷丿 丕賱賶 毓丕賱賲 丕賱乇賵丕賷丕鬲 丕賱賲鬲乇噩賲丞 丕賱匕賷 賰賳鬲 亘乇丨鬲賴 賲賳匕 夭賲賳 賱賷爻 亘賯賱賷賱 ..
賲賳 兀賷賳 噩丕亍 賰賵賳丿賷乇丕 亘賰賱 賴匕賴 丕賱賮賱爻賮賴 ...賵賴匕賴 丕賱賲毓丕賳賷 丕賱乇丕賯賷賴
賷胤乇丨 賰賵賳丿賷乇丕 鬲爻丕丐賱 毓賲賷賯 丨賵賱 "" 廿賲賰丕賳賷丞廿丿丕賳丞 賲丕 賴賵 夭丕卅賱責 "" 亘賲毓賳賷 賴賱 賷賲賰賳賳丕 丕賱丨賰賲 毓賱賶 氐丨賴 丕賵 禺胤兀 兀賮毓丕賱賳丕 兀賳 賰丕賳鬲 丨賷丕鬲賳丕 賴賷 賵丕丨丿賴 賮賯胤 ...
賵毓賱賶 囟賵亍 賴匕賴 丕賱兀卮賰丕賱賷丞 丕賱賮賱爻賮賷賴 丕賱毓賲賷賯賴 賷賯氐 毓賱賷賳丕 丨賰丕賷丞 丕賱丿賰鬲賵乇 鬲賵賲丕爻 賵丨賷丕鬲賴 ...丕賱氐丿賮 丕賱鬲賷 鬲丨賰賲鬲 賮賷賴丕 賵 廿禺鬲賷丕乇丕鬲賴 丕賱鬲賷 鬲爻亘亘鬲 賮賷 鬲睾賷賷乇 賲爻丕乇丕賴丕 兀賰孬乇 賲賳 賲乇賴 ...
丕賱丿賰鬲賵乇 鬲賵賲丕爻 賰丕賳 賳賲賵匕噩 賱賱賰孬賷乇 賲賳 丕賱賲孬賯賮賷賳 丕賱鬲卮賰賷賷賳 廿亘丕賳 丕賱丕噩鬲賷丕丨 丕賱乇賵爻賷 賱賱鬲卮賷賰 賵賲丕 氐丕丨亘 匕賱賰 賲賳 鬲睾賷乇丕鬲 爻賷丕爻賷丞 賵 兀噩鬲賲丕毓賷丞 兀孬乇鬲 毓賱賶 卮賰賱 丕賱賲噩鬲賲毓 賵毓賱賶 丨賷丕丞 丕賱兀賮乇丕丿.
賷囟毓 賰賵賳丿賷乇丕 賲卮丕毓乇賳丕 賮賷 賲賷夭丕賳 丕賱丨賷丕賴 賱賳丨丿丿 賵夭賳賴丕 孬賲 賳毓賷丿 鬲毓乇賷賮 賲毓賳賷 丕賱孬賯賱 賵丕賱禺賮賴
賱賳鬲毓乇賮 賲賳 噩丿賷丿 丕賷 鬲賱賰 丕賱賲卮丕毓乇 賯丿 兀乇賴賯 丨賷丕鬲賳丕 賱孬賯賱賴 賵乇亘賲丕 賱禺賮鬲賴 ...!
兀匕賳 賮兀賷 丕賱賲卮丕毓乇 兀賮囟賱 賱丨賷丕鬲賳丕 丕賱孬賯賷賱 賲賳賴丕 兀賲 丕賱禺賮賷賮 ..! 乇亘賲丕 賴匕丕 賵丕丨丿 賲賳 丕賱丕爻卅賱賴 丕賱鬲賷 賯丕賱 毓賳賴丕 丕賱賰丕鬲亘 ..
"" 賵丨丿賴丕 丕賱兀爻卅賱丞 丕賱爻丕匕噩丞 賴賷 丕賱兀爻卅賱丞 丕賱賴丕賲丞 賮毓賱丕賸. 鬲賱賰 丕賱兀爻卅賱丞 丕賱鬲賷 鬲亘賯賶 丿賵賳 噩賵丕亘. 廿賳 爻丐丕賱丕賸 丿賵賳 噩賵丕亘 丨丕噩夭 賱丕 胤乇賯丕鬲 亘毓丿賴. 賵亘胤乇賷賯丞 兀禺乇賶: 丕賱兀爻卅賱丞 丕賱鬲賷 鬲亘賯賶 丿賵賳 噩賵丕亘 賴賷 丕賱鬲賷 鬲卮賷乇 廿賱賶 丨丿賵丿 丕賱廿賲賰丕賳丕鬲 丕賱廿賳爻丕賳賷丞貙 賵賴賷 丕賱鬲賷 鬲乇爻賲 賵噩賵丿賳丕.""
賲賷賱丕賳 賰賵賳丿賷乇丕 兀毓丕丿賳賷 賲賳 噩丿賷丿 丕賱賶 毓丕賱賲 丕賱乇賵丕賷丕鬲 丕賱賲鬲乇噩賲丞 丕賱匕賷 賰賳鬲 亘乇丨鬲賴 賲賳匕 夭賲賳 賱賷爻 亘賯賱賷賱 ..
賲賳 兀賷賳 噩丕亍 賰賵賳丿賷乇丕 亘賰賱 賴匕賴 丕賱賮賱爻賮賴 ...賵賴匕賴 丕賱賲毓丕賳賷 丕賱乇丕賯賷賴
賷胤乇丨 賰賵賳丿賷乇丕 鬲爻丕丐賱 毓賲賷賯 丨賵賱 "" 廿賲賰丕賳賷丞廿丿丕賳丞 賲丕 賴賵 夭丕卅賱責 "" 亘賲毓賳賷 賴賱 賷賲賰賳賳丕 丕賱丨賰賲 毓賱賶 氐丨賴 丕賵 禺胤兀 兀賮毓丕賱賳丕 兀賳 賰丕賳鬲 丨賷丕鬲賳丕 賴賷 賵丕丨丿賴 賮賯胤 ...
賵毓賱賶 囟賵亍 賴匕賴 丕賱兀卮賰丕賱賷丞 丕賱賮賱爻賮賷賴 丕賱毓賲賷賯賴 賷賯氐 毓賱賷賳丕 丨賰丕賷丞 丕賱丿賰鬲賵乇 鬲賵賲丕爻 賵丨賷丕鬲賴 ...丕賱氐丿賮 丕賱鬲賷 鬲丨賰賲鬲 賮賷賴丕 賵 廿禺鬲賷丕乇丕鬲賴 丕賱鬲賷 鬲爻亘亘鬲 賮賷 鬲睾賷賷乇 賲爻丕乇丕賴丕 兀賰孬乇 賲賳 賲乇賴 ...
丕賱丿賰鬲賵乇 鬲賵賲丕爻 賰丕賳 賳賲賵匕噩 賱賱賰孬賷乇 賲賳 丕賱賲孬賯賮賷賳 丕賱鬲卮賰賷賷賳 廿亘丕賳 丕賱丕噩鬲賷丕丨 丕賱乇賵爻賷 賱賱鬲卮賷賰 賵賲丕 氐丕丨亘 匕賱賰 賲賳 鬲睾賷乇丕鬲 爻賷丕爻賷丞 賵 兀噩鬲賲丕毓賷丞 兀孬乇鬲 毓賱賶 卮賰賱 丕賱賲噩鬲賲毓 賵毓賱賶 丨賷丕丞 丕賱兀賮乇丕丿.
賷囟毓 賰賵賳丿賷乇丕 賲卮丕毓乇賳丕 賮賷 賲賷夭丕賳 丕賱丨賷丕賴 賱賳丨丿丿 賵夭賳賴丕 孬賲 賳毓賷丿 鬲毓乇賷賮 賲毓賳賷 丕賱孬賯賱 賵丕賱禺賮賴
賱賳鬲毓乇賮 賲賳 噩丿賷丿 丕賷 鬲賱賰 丕賱賲卮丕毓乇 賯丿 兀乇賴賯 丨賷丕鬲賳丕 賱孬賯賱賴 賵乇亘賲丕 賱禺賮鬲賴 ...!
兀匕賳 賮兀賷 丕賱賲卮丕毓乇 兀賮囟賱 賱丨賷丕鬲賳丕 丕賱孬賯賷賱 賲賳賴丕 兀賲 丕賱禺賮賷賮 ..! 乇亘賲丕 賴匕丕 賵丕丨丿 賲賳 丕賱丕爻卅賱賴 丕賱鬲賷 賯丕賱 毓賳賴丕 丕賱賰丕鬲亘 ..
"" 賵丨丿賴丕 丕賱兀爻卅賱丞 丕賱爻丕匕噩丞 賴賷 丕賱兀爻卅賱丞 丕賱賴丕賲丞 賮毓賱丕賸. 鬲賱賰 丕賱兀爻卅賱丞 丕賱鬲賷 鬲亘賯賶 丿賵賳 噩賵丕亘. 廿賳 爻丐丕賱丕賸 丿賵賳 噩賵丕亘 丨丕噩夭 賱丕 胤乇賯丕鬲 亘毓丿賴. 賵亘胤乇賷賯丞 兀禺乇賶: 丕賱兀爻卅賱丞 丕賱鬲賷 鬲亘賯賶 丿賵賳 噩賵丕亘 賴賷 丕賱鬲賷 鬲卮賷乇 廿賱賶 丨丿賵丿 丕賱廿賲賰丕賳丕鬲 丕賱廿賳爻丕賳賷丞貙 賵賴賷 丕賱鬲賷 鬲乇爻賲 賵噩賵丿賳丕.""
August 19, 2017
Three hikers are out on a walk, and it starts to rain. Within minutes, they realize that they've been caught in a powerful storm, and they quickly find shelter under a rock overhang. As they are pressed back against the side of the sharp rock, they unknowingly perceive the storm in three very different ways.
Hiker #1 finds the unpredictability of the storm wild, wonderful and erotic. She knows that you can not control nature, nor would she be foolish enough to think that she could understand what was happening, what it means, or when it will end. She loves the feel of the rain on her face and the wind in her hair.
Hiker #2 is terrified by the storm. She is crouched down, eyes closed, hands over her ears, and she is convinced that they are going to die. She winces as each bolt of lightning strikes down before them and her heart is racing in discomfort and confusion. She wishes it would all go away.
Hiker #3 is a busy guy, a man who had to be convinced to join the hike in the first place. He realizes that this storm will delay them by at least a good half hour, and, in his disgust, he refuses to speak to or acknowledge the fear or excitement of his fellow hikers. He feels angry that his time is being wasted, and he's anxious over the loss of cell service.
After the storm, the three hikers have three different responses to the storm:
Hiker #1 goes home to write a poem and prepare a hearty meal.
Hiker #2 vows to give up caffeine and swears she'll never hike again.
Hiker #3 posts a nasty tweet (disparaging Mother Nature) from his car, as soon as his cell service is restored.
Coincidentally, all three hikers were reading The Unbearable Lightness of Being by Milan Kundera, at the time of the storm, but the topic never came up on their walk.
They will finish the book at three different times and go on to have three completely different reactions to the writing.
Ironically, they will respond similarly to how they responded to the storm.
Hiker #1 finds the unpredictability of the storm wild, wonderful and erotic. She knows that you can not control nature, nor would she be foolish enough to think that she could understand what was happening, what it means, or when it will end. She loves the feel of the rain on her face and the wind in her hair.
Hiker #2 is terrified by the storm. She is crouched down, eyes closed, hands over her ears, and she is convinced that they are going to die. She winces as each bolt of lightning strikes down before them and her heart is racing in discomfort and confusion. She wishes it would all go away.
Hiker #3 is a busy guy, a man who had to be convinced to join the hike in the first place. He realizes that this storm will delay them by at least a good half hour, and, in his disgust, he refuses to speak to or acknowledge the fear or excitement of his fellow hikers. He feels angry that his time is being wasted, and he's anxious over the loss of cell service.
After the storm, the three hikers have three different responses to the storm:
Hiker #1 goes home to write a poem and prepare a hearty meal.
Hiker #2 vows to give up caffeine and swears she'll never hike again.
Hiker #3 posts a nasty tweet (disparaging Mother Nature) from his car, as soon as his cell service is restored.
Coincidentally, all three hikers were reading The Unbearable Lightness of Being by Milan Kundera, at the time of the storm, but the topic never came up on their walk.
They will finish the book at three different times and go on to have three completely different reactions to the writing.
Ironically, they will respond similarly to how they responded to the storm.
March 6, 2008
There are many unbearable things in this book, none of them having to do with the lightness of being. The unbearable misogyny of this book. The unbearable self-importance of this book. I have read this book two or three times because people around me love it, and every time I get the sense that it was written by either a fifteen-year old boy or a narcissistic sociopath with a real knack for language. there is something really comic about the book (which is made incredibly obvious if you ever decide to watch the movie), especially any of the scenes related to seduction/sex. Of course there are very pretty and even poignant parts of the novel, but it is so self-congratulatory and entitled about its own prettiness, it comes off as nothing but clever, and more than a little soulless.
January 25, 2020
Seems odd that I'd read Kundera seven times previously and one of those seven books was not The Unbearable Lightness of Being. But for whatever reason that's the way it went down. All I can say is that it was worth the wait. I simply loved Immortality, Laughable Loves too, and this was every bit as good. If anything, I found it even better.
Before I even started reading I pondered over this cover. I knew as little as possible about the novel previously. Other than Prague, sex, and a dog featured. Was it a man who liked wearing women's underwear? Or a woman who had a thing for Bowler hats? Or a hat, a bra, and a pair of panties from three different people? Now all becomes clear! And I can't stop thinking about Sabina's orgasmic shout!
Kundera's Philosophical musings blended together with lots of romping didn't surprise me one bit. What did though was how everything came together to make a novel with characters I truly cared for. Don't think I've come across such a warm bonding with Kundera's men and women previously. Oh, and of course there's Karenin too, who could forget, and I'm normally a cat lover. How I would have loved to play catch with him, take him for walks, let him sleep at the end of my bed, lick me in the face to wake me up in the morning. Now I want a dog!
Back to the humans - Tomas is one of four main characters born frankly of images in Kundera's mind. All of them to one extent or another enact the paradox of choices that are not choices, of courses of action that are indistinguishable in consequence from their opposite. He shows us Sabina, a painter, as she is deciding whether or not to keep her current lover, Franz, a university professor. Franz is physically strong. If he used his strength on her and ordered her about, Sabina knows she wouldn't put up with him for more than five minutes. But he is gentle, like a pacified bear, and because she believes physical love must be violent she finds Franz rather dull.
Either way, whatever Franz does, she will have to leave him and move on.
Sabina lives by betrayal by abandoning family, her lovers, and, in the end, her country, in a way that condemns her to what Kundera calls a lightness of being, by which he means an existence so lacking in commitment, fidelity, or moral responsibility to anyone else as to be unattached to the real world. By contrast, his fourth character, Tereza, the loyal wife of Tomas, suffers an unflagging love for her philandering husband that finally is responsible for his ruin in the medical profession, because it's her unwillingness to live in exile that brings him back to his fate in Czechoslovakia after he has set himself up nicely in a Swiss hospital. Thus, Tereza, the exact opposite of Sabina in commitment and rootedness, descends under an unbearable moral burden, weight and lightness, in the Kunderian physics, which adds up to the same thing. I could try and pick bits and pieces of the novel that stood out for me. Only I can't. Because I loved everything about it, all equally. Without a single moment when I thought 'Umm, does that really need to be in there'
This for me is Kundera in truly formidable form. And it's no surprise the book was, is, and will continue to be, so popular with readers. And let's face it, would it have been so popular if it wasn't for the sex? I doubt it. But it's so much more than that, and if it isn't one of the best things I end up reading this year, then I've gone completely round the bend!
Thank you Mr Kundera, You're an absolute genius!
Before I even started reading I pondered over this cover. I knew as little as possible about the novel previously. Other than Prague, sex, and a dog featured. Was it a man who liked wearing women's underwear? Or a woman who had a thing for Bowler hats? Or a hat, a bra, and a pair of panties from three different people? Now all becomes clear! And I can't stop thinking about Sabina's orgasmic shout!
Kundera's Philosophical musings blended together with lots of romping didn't surprise me one bit. What did though was how everything came together to make a novel with characters I truly cared for. Don't think I've come across such a warm bonding with Kundera's men and women previously. Oh, and of course there's Karenin too, who could forget, and I'm normally a cat lover. How I would have loved to play catch with him, take him for walks, let him sleep at the end of my bed, lick me in the face to wake me up in the morning. Now I want a dog!
Back to the humans - Tomas is one of four main characters born frankly of images in Kundera's mind. All of them to one extent or another enact the paradox of choices that are not choices, of courses of action that are indistinguishable in consequence from their opposite. He shows us Sabina, a painter, as she is deciding whether or not to keep her current lover, Franz, a university professor. Franz is physically strong. If he used his strength on her and ordered her about, Sabina knows she wouldn't put up with him for more than five minutes. But he is gentle, like a pacified bear, and because she believes physical love must be violent she finds Franz rather dull.
Either way, whatever Franz does, she will have to leave him and move on.
Sabina lives by betrayal by abandoning family, her lovers, and, in the end, her country, in a way that condemns her to what Kundera calls a lightness of being, by which he means an existence so lacking in commitment, fidelity, or moral responsibility to anyone else as to be unattached to the real world. By contrast, his fourth character, Tereza, the loyal wife of Tomas, suffers an unflagging love for her philandering husband that finally is responsible for his ruin in the medical profession, because it's her unwillingness to live in exile that brings him back to his fate in Czechoslovakia after he has set himself up nicely in a Swiss hospital. Thus, Tereza, the exact opposite of Sabina in commitment and rootedness, descends under an unbearable moral burden, weight and lightness, in the Kunderian physics, which adds up to the same thing. I could try and pick bits and pieces of the novel that stood out for me. Only I can't. Because I loved everything about it, all equally. Without a single moment when I thought 'Umm, does that really need to be in there'
This for me is Kundera in truly formidable form. And it's no surprise the book was, is, and will continue to be, so popular with readers. And let's face it, would it have been so popular if it wasn't for the sex? I doubt it. But it's so much more than that, and if it isn't one of the best things I end up reading this year, then I've gone completely round the bend!
Thank you Mr Kundera, You're an absolute genius!
July 26, 2024
"Wtf is this bullshit? Fuck off!" said Alex, flinging the book against a wall. The book was light but the wall was heavy. The lightness of the book was such that anyone must think, due to the distance from which the book bounced off the wall without denting it, that truly, nothing is heavier than that wall. But it was only because the book was so light, by comparison with the wall, that anyone could reach that conclusion; it was a perception borne of limited experience with light and heavy things. For truly, a great many things were heavier than that wall, such as a train, or Saturn.
But what is the act if throwing a book against a wall if not the desire for another, less shitty, less smug and self-satisfied book? Well it could be a great many things, such as an attempt to kill a spider, or the momentary surrender of a child to its most destructive tendencies. Hmm, I guess the danger of turning everything into an aphorism or homily is that what you may produce is a lot of stuff which is revealed to be shallow, pretentious drivel as soon as the reader gives even five seconds of consideration to anything the author says.
And then they made love.
But what is the act if throwing a book against a wall if not the desire for another, less shitty, less smug and self-satisfied book? Well it could be a great many things, such as an attempt to kill a spider, or the momentary surrender of a child to its most destructive tendencies. Hmm, I guess the danger of turning everything into an aphorism or homily is that what you may produce is a lot of stuff which is revealed to be shallow, pretentious drivel as soon as the reader gives even five seconds of consideration to anything the author says.
And then they made love.
Displaying 1 - 30 of 29,845 reviews
Can't find what you're looking for?
Get help and learn more about the design.