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Durtal #1
尝脿-叠补蝉
This novel is the classic of Satanism. It caused a sensation when it first appeared in 1891 because of its extraordinarily detailed and vivid descriptions of the Black Mass. These descriptions are also authentic, for J. K. Huysmans, who has been called the greatest of the French decadents, had firsthand knowledge of the satanic practices, witch cults, and the whole of the occult underworld thriving in late nineteenth-century Paris.
At its center is Durtal, a writer obsessed with the life of one of the blackest figures in history, Gilles de Rais. The legendary crimes, trial, and confession of this grotesque fifteenth-century child murderer, sadist, necrophile, and practitioner of all the black arts unfold in episode after horrifying episode. Mystical thematic threads connect this greatest of all revelers in evil with Durtal's own passionate pursuit, the reflection of a religious quest that was to lead Huysmans from uncertain agnosticism back to Catholicism.
Durtal, the mouthpiece for the strange personality of Huysmans, leads a hermit-like existence cloistered from his fashionable contemporaries. Surrounding him are others equally cut off, sharing a nostalgic longing for the Middle Ages. There is a simply religious bell-ringer, a learned astrologer, a medical doctor versed in homeopath and occult lore, and a fourth person 鈥� a sheltered, unsatisfied bourgeois by day and mysterious succubus by night. They take refuge where they can from the forces of modern times 鈥� in a bell tower, in abstruse knowledge, and in diabolism.
Huysmans' ability to mesmerize his readers with torrents of sound and image is itself suspiciously akin to the magic arts. His intoxication with the abominable and the depraved is magnified by his extreme sensitivity. He combines grimly realistic detail with esoteric knowledge, and searches relentlessly for the divine in the depths of evil and in the furthest reaches of human experience. The republication of this novel, along with the previous publication of Against the Grain, will make his works accessible to the larger audience that will surely find them both important and fascinating, as have Oscar Wilde, Havelock Ellis, and many other major literary figures.
At its center is Durtal, a writer obsessed with the life of one of the blackest figures in history, Gilles de Rais. The legendary crimes, trial, and confession of this grotesque fifteenth-century child murderer, sadist, necrophile, and practitioner of all the black arts unfold in episode after horrifying episode. Mystical thematic threads connect this greatest of all revelers in evil with Durtal's own passionate pursuit, the reflection of a religious quest that was to lead Huysmans from uncertain agnosticism back to Catholicism.
Durtal, the mouthpiece for the strange personality of Huysmans, leads a hermit-like existence cloistered from his fashionable contemporaries. Surrounding him are others equally cut off, sharing a nostalgic longing for the Middle Ages. There is a simply religious bell-ringer, a learned astrologer, a medical doctor versed in homeopath and occult lore, and a fourth person 鈥� a sheltered, unsatisfied bourgeois by day and mysterious succubus by night. They take refuge where they can from the forces of modern times 鈥� in a bell tower, in abstruse knowledge, and in diabolism.
Huysmans' ability to mesmerize his readers with torrents of sound and image is itself suspiciously akin to the magic arts. His intoxication with the abominable and the depraved is magnified by his extreme sensitivity. He combines grimly realistic detail with esoteric knowledge, and searches relentlessly for the divine in the depths of evil and in the furthest reaches of human experience. The republication of this novel, along with the previous publication of Against the Grain, will make his works accessible to the larger audience that will surely find them both important and fascinating, as have Oscar Wilde, Havelock Ellis, and many other major literary figures.
304 pages, Paperback
First published January 1, 1891
302 people are currently reading
10.4k people want to read
About the author
Joris-Karl Huysmans
298听books669听followersCharles Marie Georges Huysmans was a French novelist who published his works as Joris-Karl Huysmans. AKA: J.-K. Huysmans.
He is most famous for the novel 脌 rebours (Against Nature). His style is remarkable for its idiosyncratic use of the French language, wide-ranging vocabulary, wealth of detailed and sensuous description, and biting, satirical wit.
The novels are also noteworthy for their encyclopedic documentation, ranging from the catalogue of decadent Latin authors in 脌 rebours to the discussion of the symbiology of Christian architecture in La cath茅drale. Huysmans' work expresses a disgust with modern life and a deep pessimism, which led the author first to the philosophy of Arthur Schopenhauer then to the teachings of the Catholic Church.
He is most famous for the novel 脌 rebours (Against Nature). His style is remarkable for its idiosyncratic use of the French language, wide-ranging vocabulary, wealth of detailed and sensuous description, and biting, satirical wit.
The novels are also noteworthy for their encyclopedic documentation, ranging from the catalogue of decadent Latin authors in 脌 rebours to the discussion of the symbiology of Christian architecture in La cath茅drale. Huysmans' work expresses a disgust with modern life and a deep pessimism, which led the author first to the philosophy of Arthur Schopenhauer then to the teachings of the Catholic Church.
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January 25, 2024
Every phenomenon begets its opposite. God had begotten devil. Good had begotten evil and they coexist so Gilles de Rais goes hand in hand with Joan of Arc. And virtues bring forth sins.
And if there are worshippers of God there are worshippers of Satan鈥� And while some human beings aspire to ascend to celestial heights some of them just keep falling into abyss鈥�
In The Damned Joris-Karl Huysmans becomes a surveyor of evil and he finds out that evil has no limits鈥�
And abyss has no bottom鈥�
You believe pretty thoroughly in these things, or you wouldn't abandon the eternal triangle and the other stock subjects of the modern novelists to write the story of Gilles de Rais, I do not object to the latrine; hospital; and workshop vocabulary of naturalism. For one thing, the subject matter requires some such diction.
And if there are worshippers of God there are worshippers of Satan鈥� And while some human beings aspire to ascend to celestial heights some of them just keep falling into abyss鈥�
Impetuous in his desires, and nevertheless patient; brave in battle, a coward confronting eternity; he is despotic and violent, yet he is putty in the hands of his flatterers. He is now in the clouds, now in the abyss, never on the trodden plain, the lowlands of the soul. His confessions do not throw any light on his invariable tendency to extremes.
In The Damned Joris-Karl Huysmans becomes a surveyor of evil and he finds out that evil has no limits鈥�
And abyss has no bottom鈥�
July 29, 2022
鈥淩eally, when I think it over, literature has only one excuse for existing; it saves the person who makes it from the disgustingness of life.鈥�
鈥� Joris-Karl Huysmans, 尝脿-叠补蝉
Barbey d'Aurevilly compared Joris-Karl Huysmans to Baudelaire, recalling: "After Les Fleurs du mal I told Baudelaire it only remains for you to choose between the muzzle of the pistol and the foot of the Cross. But will the author of 脌 rebours make the same choice?"
His prediction eventually proved true when Huysmans converted to Catholicism in the 1890s. 尝脿-叠补蝉 was published in 1891. Perhaps this novels serves as the author's statement on just how far he wanted to separate himself from 脡mile Zola and naturalism. Indeed, 尝脿-叠补蝉 has a particular Catholic flavor, but remains within the tradition of Decadent literature. Here are several Decadent themes one will find within its pages:
Hatred of positivism, materialism and commercialism
The first chapter of 尝脿-叠补蝉 begins with a serious rip into 脡mile Zola, naturalism and the "the Americanization of culture." Those French Decadents like Huysmans could see cable cars, telegraph wires, mass production, gadgets of every stripe taking over cities, reducing culture to reading newspapers, a round of vulgar, utilitarian tastes, shallow optimism and a complete lack of spirituality. On several occasions throughout the novel, Huysmans-like main character Durtal bemoans the mechanized, routinized, money-grubbing modern world.
Rise above the grimy ruck
After ascending a church tower to listen to the bells and meet Carhaix the bell ringer, Durtal reflects, 鈥淲hat inconceivable happiness it would be to escape from the age, and, while the waves of human folly were breaking against the foot of the tower, to sit up here, out of it all, and pore over antique tomes by the shaded light of a lamp.鈥� By his desire to transcend to a higher, more rarified, refined aesthetic plane, Durtal expresses perfectly the Decadent affinity with German philosopher Arthur Schopenhauer.
Explore extreme sensations and intense enjoyments
Durtal is both repelled and fascinated by Satanism, sadism and the Black Mass. The interplay of mysticism and the diabolical arts is at the core of 尝脿-叠补蝉. A hefty portion of the novel follows Durtal鈥檚 current writing project 鈥� the life of Gilles de Rais, nobleman, captain, supported Joan of Arc, who in middle age, as if someone flipped a modern-day electrical switch, transformed into a sadistic demon and coward. And, to add a fascinating twist, Durtal reports how Gilles de Rais was a connoisseur and collector of fine art and arcane books, luxurious fabric and rare gems, aromatic wines and spiced foods, that he was 鈥渢he Des Esseintes of the fifteenth century!鈥� (Des Esseintes being the main character in 脌 rebours, cult favorite for aesthetes both then and now).
Rich language
Ah, the lavish, lush, luxuriant vocabulary of those French Decadents, writers like Villiers de l'Isle-Adam and Jean Lorrain. As one would suspect, 尝脿-叠补蝉 maintains the gold standard 鈥� from the first pages: patois, ferruginous, tetanic, lenitive, perfervid, vituperate, fluvial, tumefied, gimsy, exsurrected, pusillanimous, ecstasized.
La femme
鈥淪he was so mysterious, so enticing,鈥� Durtal resumed to himself. 鈥淗er eyes, remote, deep as space, and reflecting cemeteries and festivals at the same time. And she has shown herself up for all she is, within an hour. All the nastiness of women unite in her to exasperate me.鈥� No surprise, being a novel of decadence, at the heart of the heart of 尝脿-叠补蝉 is one Hyacinthe Chantelouve.
The horrible and disturbing
尝脿-叠补蝉 is soaking in the horrible and the disturbing. One quote from Mms. Chantelouve will suffice to whet a reader鈥檚 appetite: 鈥淚 know that my ideas are not the ideas of the world I live in, and they appear not to be yours, but I have an iron will and bend the people who love me.鈥� Spirit possession, anyone? On a personal note, I myself was not raised Catholic nor do I have any connection with the Catholic church or Catholic religion, but, having said that, reading this novel was one powerful, gripping experience.
February 1, 2020
La-bas (English Down There)--with its explicit account of child sex-murders and its detailed description of a black mass鈥攎ay benefit from its transgressive reputation but also suffers from it too. Readers who come to it seeking thrills and horrors will be alternately bored and disappointed, while serious readers, concerned鈥攁s Huymans was鈥攚ith the spiritual and moral decline of civilization may be repelled by the books' shocking incidents and never read it at all.
Outwardly, the book's author Huymans led an uneventful life, working as a civil servant at the Ministry of the Interior for thirty-two years. For the last two-thirds of his government career, however, he was also a prolific novelist. This Zola-style naturalist eventually decided to depict in Against the Grain a decadent, self-involved aesthete by the name of des Esseintes, and鈥攁lthough he used the naturalistic method to do so鈥攈e found himself spurned by the Naturalists, embraced by the Symbolists, and forever associated with the career of the notorious Oscar Wilde.
This association is unfortunate, for it tends to obscure the fact that Huysmans, underneath his ornate and allusive style, is still a committed naturalist who chooses as his subject matter, neither the coal miners of Northern France nor the whores of Paris, but a gentleman who鈥攂ored with a materialistic culture鈥攅xplores spirituality where he can find it鈥攚hether 鈥渦p here鈥� or 鈥渄own there.鈥�
Durtal, the gentleman of La-bas, survives the empty lust of an adulterous liaison and the grubby horror of the black mass his married lover Hyacinthe takes him to, and finds himself disgusted by both. He does, though, discover evidence of spirituality both 鈥渦p鈥� and 鈥渄own鈥�: 鈥渦p鈥� (literally) in a Paris church steeple, in the life and opinions of an old bell ringer (who mourns the ancient days when each bell had a name and his profession was considered a spiritual discipline) and 鈥渄own鈥� in the confession of the child murderer Gilles de Rais and his reunion鈥攂efore his execution鈥攚ith the Church.
I found the spiritual journey of Durtal informative and moving, and鈥攜es鈥擨 really liked those cool transgressive parts too. I look forward to his three subsequent adventures, as he grows closer to Catholicism and eventually re-enters the church.
If you wish to get an idea of Huysmans' style, there are marvelous set pieces here which may be enjoyed by themselves: the descriptions of Matthias Grunewald's Crucifixion (my favorite), the ruined castle of de Rais, the black mass itself鈥攃ome immediately to mind. I prefer to end, however, with the aftermath of the child murderer's confession, the spiritual core of the novel:
Until now, he had remained standing, speaking as if in a fog, recounting aloud to himself the memories of his imperishable crimes. But when he was finished, his strength abandoned him. He fell on his knees and shaking with fearful sobs he cried: 鈥淥h God, my Redeemer, I beg your mercy and your pardon!鈥� Then this savage and haughty baron, undoubtedly the first among his peers, prostrated himself. He turned toward the people and said in tears: 鈥淵ou, the parents of those whom I have so cruelly put to death, give me, oh give me the support of your pious prayers!鈥�
Then, in its pure white splendour, the soul of the Middle Ages shone out in that hall.
Jean de Malestroit left his seat and lifted up the accused, who was beating his forehead desperately on the flagstones. The judge within him disappeared: only the priest remained: he embraced the guilty man who was repenting and bewailing his sin...
And the entire hall knelt and prayed for the assassin.
August 3, 2017
螆谓伪 蟿伪尉委未喂 蟽蟿畏 蟽魏慰蟿蔚喂谓萎 蟺位蔚蠀蟻维 蟿畏蟼 蠄蠀蠂萎蟼, 蟿慰蠀 渭蠀伪位慰蠉 魏伪喂 蟿慰蠀 蟽蠋渭伪蟿慰蟼 蟺慰蠀 蟽委纬慰蠀蟻伪 未蔚谓 伪蟺蔚蠀胃蠉谓蔚蟿伪喂 蟽蔚 蠈位慰蠀蟼.
螘委谓伪喂 苇谓伪 蟺蔚蟻委蔚蟻纬慰,未蠀谓伪蟿蠈 魏伪喂 蟽畏渭伪谓蟿喂魏蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 苇蟻纬慰 蟺慰蠀 蟽蟿慰喂蠂蔚喂慰胃蔚蟿蔚委蟿伪喂 伪蟺慰 蟽蟺慰蠀未伪委蔚蟼 魏伪喂 蟽慰魏伪蟻喂蟽蟿喂魏苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 魏伪喂 蟺位维谓蔚蟼,伪蟺慰 喂蟽蟿慰蟻喂魏维 纬蔚纬慰谓蠈蟿伪 魏伪喂 未慰尉伪蟽委蔚蟼,蟽蟿慰位喂蟽渭苇谓慰 渭蔚 蠀蟺蔚蟻蟻蔚伪位喂蟽渭蠈,蟺伪蟻伪魏渭萎, 未伪喂渭慰谓慰位伪蟿蟻蔚委伪 魏伪喂 蟽伪蟿伪谓喂蟽渭蠈,伪胃蔚螑伪, 围蟻喂蟽蟿喂伪谓喂魏萎 魏伪胃慰位喂魏萎 蟺委蟽蟿畏,蟺伪纬伪谓喂蟽蟿喂魏苇蟼 胃蔚蠈蟿畏蟿蔚蟼,伪蟻蠂伪委蔚蟼 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 慰蟻纬伪谓蠋蟽蔚喂蟼,蠁蠀蟽喂魏苇蟼 蔚蟺喂蟽蟿萎渭蔚蟼 魏伪喂 魏维胃蔚 位慰纬萎蟼 苇魏蠁伪谓蟽畏 魏伪喂 渭维蠂畏 伪谓维渭蔚蟽伪 蟽蟿慰 魏伪位蠈 魏伪喂 蟽蟿慰 魏伪魏蠈 - 蟽蔚 尾伪胃渭蠈 伪蟺蠈位蠀蟿伪 蟺蟻伪纬渭伪蟿喂魏蠈 蟺慰蠀 伪纬纬委味蔚喂 蟿畏 渭蠀胃慰蟺位伪蟽委伪- 魏伪喂 蟺蔚蟻喂纬蟻维蠁蔚喂 蟽魏位畏蟻维 魏伪喂 位蔚蟺蟿慰渭蔚蟻蔚喂伪魏维 苇谓伪 慰位蠈魏位畏蟻慰 蠁喂位慰蟽慰蠁喂魏蠈 魏伪喂 胃蟻畏蟽魏蔚蠀蟿喂魏蠈 蟻蔚蠉渭伪 伪蟺慰 蟿慰 蟿苇位慰蟼 蟿慰蠀 渭蔚蟽伪委蠅谓伪, 渭苇蟽伪 蟽蟿畏谓 伪谓伪纬苇谓谓畏蟽畏, 蟿苇位畏 19慰蠀 伪喂蠋谓伪, 苇蠅蟼 魏伪喂 蟽萎渭蔚蟻伪.
韦慰 尾喂尾位委慰 尾蟻委胃蔚喂 伪蟺慰 魏蠉魏位慰蠀蟼 魏伪喂 蟺位畏蟻慰蠁慰蟻委蔚蟼 蟽伪蟿伪谓喂蟽蟿蠋谓 魏伪喂 蟺喂胃伪谓蠈蟿伪蟿伪 蟺蔚蟻喂苇蠂蔚喂 渭喂伪 蟺蔚蟻喂纬蟻伪蠁萎 渭伪蠉蟻畏蟼 位蔚喂蟿慰蠀蟻纬蔚委伪蟼 伪蟺慰 蟽伪蟿伪谓喂蟽蟿苇蟼 蟽蟿慰 螤伪蟻委蟽喂.
螣喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 尾伪蟽委味慰谓蟿伪喂 蟽蔚 蟺蟻伪纬渭伪蟿喂魏维 蟺蟻蠈蟽蠅蟺伪.
螣 蟽伪蟻伪谓蟿维蠂蟻慰谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 螡蟿喂蟻蟿维位- 蔚委谓伪喂 慰 委未喂慰蟼 慰 螜蟽渭维谓蟼- 蔚委谓伪喂 苇谓伪 蟺蟻蠈蟽蠅蟺慰 尾伪胃喂维 蟺蟻慰尾位畏渭伪蟿喂蟽渭苇谓慰 蟽蔚 蟽蠂苇蟽畏 渭蔚 蟿伪 谓苇伪 蠁喂位慰蟽慰蠁喂魏维 蟻蔚蠉渭伪蟿伪 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀 蟽蟿伪 蟿苇位畏 蟿慰蠀 19慰蠀 伪喂蠋谓伪 蟽蟿慰 螤伪蟻委蟽喂,蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 蟿慰 渭慰谓蟿苇蟻谓慰 魏伪喂 蠂蠀未伪委伪 蔚魏位伪蠆魏蔚蠀渭苇谓慰 蟽蟿蠀位 蟽蟿畏谓 蟿苇蠂谓畏 萎 蟿慰 伪谓慰蠉蟽喂伪 伪蟺位蠈 魏伪喂 蟻慰渭伪谓蟿喂魏蠈,蟿伪 慰蟺慰委伪 伪蟺慰蟽蟿蟻苇蠁蔚蟿伪喂 魏伪喂 伪蟺慰蠁伪蟽委味蔚喂 谓伪 伪蟺苇蠂蔚喂 伪蟺慰 魏维胃蔚 魏伪位位喂蟿蔚蠂谓喂魏蠈 魏蠉魏位慰.
螖畏渭喂慰蠀蟻纬蔚委 渭喂伪 蠈渭慰蟻蠁畏 魏伪喂 蟿伪喂蟻喂伪蟽蟿萎 蠁喂位委伪 渭蔚 蟿慰谓 纬喂伪蟿蟻蠈 螡蟿蔚味蔚蟻渭委- 苇谓伪谓 未喂伪谓慰慰蠉渭蔚谓慰,蟺慰位蠀渭伪胃萎,伪蟽蠀渭尾委尾伪蟽蟿慰 魏伪喂 蟽蠀渭蟺慰谓蔚蟿喂魏蠈 维谓胃蟻蠅蟺慰-慰 慰蟺慰委慰蟼 蟿慰谓 慰未畏纬蔚委 蟽蔚 渭喂伪 蟽蔚喂蟻维 纬谓蠅蟻喂渭喂蠋谓 蟽伪谓 蟽魏伪位慰蟺维蟿喂伪 蟺蟻慰蟼 蟿慰 蟿伪尉委未喂 蔚魏蔚委 魏维蟿蠅,蟽蟿慰谓 蟽魏慰蟿蔚喂谓蠈 魏蠈蟽渭慰 蟿慰蠀 蟽伪蟿伪谓喂蟽渭慰蠉.螆谓伪蟼 喂蔚蟻苇伪蟼-蔚尉蔚蟿伪蟽蟿萎蟼,苇谓伪蟼 蟽魏慰蟿蔚喂谓蠈蟼 蟽伪蟿伪谓喂蟽蟿萎蟼- 渭喂伪 未伪喂渭慰谓喂魏萎 蔚蟻蠅渭苇谓畏-苇谓伪蟼 渭蠀蟽蟿喂魏喂蟽蟿萎蟼 伪蟽蟿蟻慰位蠈纬慰蟼 魏伪喂 蔚谓伪 纬位蠀魏蠉蟿伪蟿慰 畏位喂魏喂蠅渭苇谓慰 味蔚蠀纬维蟻喂 蟺喂蟽蟿蠋谓 魏伪胃慰位喂魏蠋谓.
螣 螡蟿喂蟻蟿维位 纬蟻维蠁蔚喂 蔚谓伪 尾喂尾位委慰 渭蔚 未蠀慰 伪蟺慰位萎尉蔚喂蟼. 螚 渭蔚位苇蟿畏 纬喂伪 蟿畏 蟽魏慰蟿蔚喂谓萎 味蠅萎 蟿慰蠀 蟽蟿蟻伪蟿维蟻蠂畏 螙喂位 谓蟿蔚 巍蔚 魏伪喂 畏 蟺谓蔚蠀渭伪蟿喂魏萎 伪谓伪味萎蟿畏蟽畏 蟿慰蠀 魏伪魏慰蠉 渭苇蟽伪 蟽蟿畏谓 魏慰喂谓蠅谓委伪 蠅蟼 蔚蟺喂蟽萎渭伪谓蟽畏 蟺蠅蟼 慰 危伪蟿伪谓维蟼 蔚尉慰蠀蟽喂维味蔚喂 蟿慰 蟺谓蔚蠉渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼. 螝伪喂 蟿伪 未蠀慰 渭苇蟻畏 慰未畏纬慰蠉谓 蟽蟿伪 委未喂伪 蟽魏慰蟿蔚喂谓维 魏伪喂 蠁蟻喂魏喂伪蟽蟿喂魏维 伪谓伪蟺蠈蠁蔚蠀魏蟿伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪.
螣 蟽蟿蟻伪蟿维蟻蠂畏蟼 蔚渭蠁伪谓委味蔚蟿伪喂 魏位蔚喂蟽渭苇谓慰蟼 蟽蟿慰谓 螤蠉蟻纬慰 韦喂蠁蠈味 蠈蟺慰蠀 渭蔚 蟺蟻蠈蟽蠂畏渭伪 蟿畏谓 伪位蠂畏渭蔚委伪 魏伪喂 蟿畏 蠁喂位慰蟽慰蠁喂魏萎 位委胃慰 蠀渭谓蔚委 蟿慰 危伪蟿伪谓维, 渭蠀蔚委蟿伪喂 蟽蟿畏 未伪喂渭慰谓慰位伪蟿蟻蔚委伪 魏伪喂 伪蟻蠂委味蔚喂 渭喂伪 蟽蔚喂蟻维 伪蟺慰 伪蟺慰蟿蟻蠈蟺伪喂伪 魏伪喂 蟽慰魏伪蟻喂蟽蟿喂魏维 蔚纬魏位萎渭伪蟿伪 渭喂魏蟻蠋谓 魏蠀蟻委蠅蟼 伪纬慰蟻喂蠋谓 魏伪喂 魏慰蟻喂蟿蟽喂蠋谓.
螠苇蟽伪 蟽蟿慰谓 螤蠉蟻纬慰 渭蔚蟿维 伪蟺慰 未喂维蠁慰蟻蔚蟼 谓慰蟽畏蟻苇蟼 魏伪喂 蔚魏蠁蠀位喂蟽蟿喂魏苇蟼 伪蟺慰位伪蠉蟽蔚喂蟼 尉蔚魏喂谓慰蠉谓 慰喂 尾喂伪蟽渭慰委, 蟿伪 尾伪蟽伪谓喂蟽蟿萎蟻喂伪, 慰喂 未喂伪渭蔚位喂蟽渭慰委, 蟿伪 蠈蟻纬喂伪 蟽伪未喂蟽蟿喂魏萎蟼 魏伪喂 蠄蠀蠂伪谓蠋渭伪位畏蟼 蟿伪魏蟿喂魏萎蟼, 慰喂 蟽蠁伪纬苇蟼 伪谓萎位喂魏蠅谓 蟺伪蟻维位位畏位伪 渭蔚 蟽慰未慰渭喂蟽渭蠈, 慰喂 蔚蟺喂魏位萎蟽蔚喂蟼 蟽蟿慰 危伪蟿伪谓维 蟿蟻蠋纬慰谓蟿伪蟼 蟿伪 蔚谓蟿蠈蟽胃喂伪 蟿蠅谓 蟺伪喂未喂蠋谓 魏伪喂 蟻慰蠀蠁蠋谓蟿伪蟼 慰尉蠀纬蠈谓慰 伪蟺慰 蟿伪 蟺谓蔚蠀渭蠈谓喂伪 蟿慰蠀蟼 渭蔚蟿维 蟿畏谓 蟽蠁伪纬萎 蟿慰蠀蟼, 畏 魏慰蟺蟻慰位伪纬谓蔚委伪 魏伪喂 慰喂 伪蟺慰魏蔚蠁伪位喂蟽渭慰委 蟿畏 蟽蟿喂纬渭萎 蔚谓蠈蟼 蟺伪蟻畏纬慰蟻畏蟿喂魏慰蠉 蠁喂位喂慰蠉.
螒蟺慰 蟿畏谓 维位位畏 蟺位蔚蠀蟻维 苇蠂慰蠀渭蔚 蟿畏谓 伪蟻蟻蠅蟽蟿畏渭苇谓畏 魏慰喂谓蠅谓委伪 蟿畏蟼 蔚蟺慰蠂萎蟼 纬蔚渭维蟿畏 渭蠀蟽蟿喂魏喂蟽渭蠈,蠄蔚蠀蟿喂维,伪蟺维蟿畏, 蔚魏蠁蠀位喂蟽渭蠈,伪蠁蠉蟽喂魏畏 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪,未喂伪蟽蟿蟻慰蠁萎,蠄蠀蠂喂伪蟿蟻喂魏苇蟼 伪蟽胃苇谓蔚喂蔚蟼,苇位尉畏 蟺蟻慰蟼 蟿慰 魏伪魏蠈 魏伪喂 蟿慰 胃维谓伪蟿慰 魏伪喂 渭喂伪 蟻蔚伪位喂蟽蟿喂魏萎 蟺位伪蟽蟿蠈蟿畏蟿伪.
螘未蠋 蠀蟺维蟻蠂慰蠀谓 魏伪喂 慰喂 伪蟺慰未蔚委尉蔚喂蟼 蟺慰蠀 蠄维蠂谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 纬喂伪 蟿畏谓 蟽蠉纬蠂蟻慰谓畏 蟽伪蟿伪谓慰位伪蟿蟻蔚委伪 魏伪喂 蟿喂蟼 蔚蟺喂魏位萎蟽蔚喂蟼 蟽蟿慰 未喂维尾慰位慰, 纬喂伪 蟿慰 蟺伪蟻维未慰尉慰 魏伪喂 蟿慰 蟺位伪蟽蟿蠈 蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 魏伪喂 蟿慰 伪魏慰位慰蠀胃蔚委 伪魏蠈渭畏 魏伪喂 畏 委未喂伪 畏 蠁蠉蟽畏.
螚 蠁蠉蟽畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠉蟺伪蟻尉畏蟼 魏伪喂 蟿畏蟼 蠄蠀蠂萎蟼 渭蔚 伪委蟽胃畏蟽畏,尾慰蠉位畏蟽畏 魏伪喂 位蠈纬慰 蠁蟿维谓蔚喂 伪蟺慰 魏维蟿喂 蠈渭慰蟻蠁慰 魏伪喂 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏维 喂未蔚伪蟿蠈, 蟽蟿慰 魏委谓畏渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 尉蔚蟺苇蠁蟿蔚喂 蟽蟿伪 蟺位伪委蟽喂伪 蟿畏蟼 蟺伪蟻伪魏渭萎蟼,蟿畏蟼 伪谓畏胃喂魏蠈蟿畏蟿伪蟼,蟿畏蟼 喂未喂慰渭慰蟻蠁委伪蟼 魏伪喂 蟿畏蟼 苇位位蔚喂蠄畏蟼 伪蟺伪谓蟿慰蠂萎蟼 魏伪喂 蟺委蟽蟿畏蟼. 螒蠀蟿维 伪蟺慰蟿蔚位慰蠉谓 伪蟺蠈未蔚喂尉畏 位伪蟿蟻蔚委伪蟼 蟿慰蠀 危伪蟿伪谓维 萎 魏伪蟿维蟽蟿伪蟽畏 蟺位萎蟻慰蠀蟼 维纬谓慰喂伪蟼,伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏蟼,伪未喂伪蠁慰蟻委伪蟼 魏伪喂 蟺蟻慰蟿蔚蟻伪喂蠈蟿畏蟿伪 蟽蔚 蟺蟻慰蟽蠅蟺喂魏维 蟽蠀渭蠁苇蟻慰谓蟿伪 渭伪蟿伪喂慰未慰尉委伪蟼 魏伪喂 魏蔚谓蠈蟿畏蟿伪蟼.
螒蠀蟿蠈 蟿慰 尾喂尾位委慰 渭蔚 "螢蔚蟺苇蟻伪蟽蔚".
螚 蟿蔚蠂谓喂魏萎 魏伪喂 慰 蟻蔚伪位喂蟽渭蠈蟼 蔚委谓伪喂 蟺慰蠀 蟿慰 魏维谓慰蠀谓 蟽蟺慰蠀未伪委慰 魏伪喂 维尉喂慰 蟺蟻慰蟼 伪谓维纬谓蠅蟽畏.
螔苇尾伪喂伪 未喂伪蟿畏蟻蠋 蟿喂蟼 蔚蟺喂蠁蠀位维尉蔚喂蟼 渭慰蠀 纬喂伪 魏维蟺慰喂蔚蟼 伪谓伪蠁慰蟻苇蟼 蟽蠂蔚蟿喂魏维 渭蔚 魏喂谓萎渭伪蟿伪, 蟻蔚蠉渭伪蟿伪 魏伪喂 慰蟻纬伪谓蠋蟽蔚喂蟼 蟺慰蠀 蟿伪蠀蟿委味慰谓蟿伪喂 蠈位伪 渭伪味委.
螝伪位萎 伪谓维纬谓蠅蟽畏 渭蔚 魏蟻喂蟿萎蟻喂慰 蟿喂蟼 未喂魏苇蟼 蟽伪蟼 蟺蟻慰蟽蠅蟺喂魏苇蟼 蔚蟺喂位慰纬苇蟼...
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.
螘委谓伪喂 苇谓伪 蟺蔚蟻委蔚蟻纬慰,未蠀谓伪蟿蠈 魏伪喂 蟽畏渭伪谓蟿喂魏蠈 位慰纬慰蟿蔚蠂谓喂魏蠈 苇蟻纬慰 蟺慰蠀 蟽蟿慰喂蠂蔚喂慰胃蔚蟿蔚委蟿伪喂 伪蟺慰 蟽蟺慰蠀未伪委蔚蟼 魏伪喂 蟽慰魏伪蟻喂蟽蟿喂魏苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 魏伪喂 蟺位维谓蔚蟼,伪蟺慰 喂蟽蟿慰蟻喂魏维 纬蔚纬慰谓蠈蟿伪 魏伪喂 未慰尉伪蟽委蔚蟼,蟽蟿慰位喂蟽渭苇谓慰 渭蔚 蠀蟺蔚蟻蟻蔚伪位喂蟽渭蠈,蟺伪蟻伪魏渭萎, 未伪喂渭慰谓慰位伪蟿蟻蔚委伪 魏伪喂 蟽伪蟿伪谓喂蟽渭蠈,伪胃蔚螑伪, 围蟻喂蟽蟿喂伪谓喂魏萎 魏伪胃慰位喂魏萎 蟺委蟽蟿畏,蟺伪纬伪谓喂蟽蟿喂魏苇蟼 胃蔚蠈蟿畏蟿蔚蟼,伪蟻蠂伪委蔚蟼 胃蟻畏蟽魏蔚蠀蟿喂魏苇蟼 慰蟻纬伪谓蠋蟽蔚喂蟼,蠁蠀蟽喂魏苇蟼 蔚蟺喂蟽蟿萎渭蔚蟼 魏伪喂 魏维胃蔚 位慰纬萎蟼 苇魏蠁伪谓蟽畏 魏伪喂 渭维蠂畏 伪谓维渭蔚蟽伪 蟽蟿慰 魏伪位蠈 魏伪喂 蟽蟿慰 魏伪魏蠈 - 蟽蔚 尾伪胃渭蠈 伪蟺蠈位蠀蟿伪 蟺蟻伪纬渭伪蟿喂魏蠈 蟺慰蠀 伪纬纬委味蔚喂 蟿畏 渭蠀胃慰蟺位伪蟽委伪- 魏伪喂 蟺蔚蟻喂纬蟻维蠁蔚喂 蟽魏位畏蟻维 魏伪喂 位蔚蟺蟿慰渭蔚蟻蔚喂伪魏维 苇谓伪 慰位蠈魏位畏蟻慰 蠁喂位慰蟽慰蠁喂魏蠈 魏伪喂 胃蟻畏蟽魏蔚蠀蟿喂魏蠈 蟻蔚蠉渭伪 伪蟺慰 蟿慰 蟿苇位慰蟼 蟿慰蠀 渭蔚蟽伪委蠅谓伪, 渭苇蟽伪 蟽蟿畏谓 伪谓伪纬苇谓谓畏蟽畏, 蟿苇位畏 19慰蠀 伪喂蠋谓伪, 苇蠅蟼 魏伪喂 蟽萎渭蔚蟻伪.
韦慰 尾喂尾位委慰 尾蟻委胃蔚喂 伪蟺慰 魏蠉魏位慰蠀蟼 魏伪喂 蟺位畏蟻慰蠁慰蟻委蔚蟼 蟽伪蟿伪谓喂蟽蟿蠋谓 魏伪喂 蟺喂胃伪谓蠈蟿伪蟿伪 蟺蔚蟻喂苇蠂蔚喂 渭喂伪 蟺蔚蟻喂纬蟻伪蠁萎 渭伪蠉蟻畏蟼 位蔚喂蟿慰蠀蟻纬蔚委伪蟼 伪蟺慰 蟽伪蟿伪谓喂蟽蟿苇蟼 蟽蟿慰 螤伪蟻委蟽喂.
螣喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 喂蟽蟿慰蟻委伪蟼 尾伪蟽委味慰谓蟿伪喂 蟽蔚 蟺蟻伪纬渭伪蟿喂魏维 蟺蟻蠈蟽蠅蟺伪.
螣 蟽伪蟻伪谓蟿维蠂蟻慰谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 螡蟿喂蟻蟿维位- 蔚委谓伪喂 慰 委未喂慰蟼 慰 螜蟽渭维谓蟼- 蔚委谓伪喂 苇谓伪 蟺蟻蠈蟽蠅蟺慰 尾伪胃喂维 蟺蟻慰尾位畏渭伪蟿喂蟽渭苇谓慰 蟽蔚 蟽蠂苇蟽畏 渭蔚 蟿伪 谓苇伪 蠁喂位慰蟽慰蠁喂魏维 蟻蔚蠉渭伪蟿伪 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀 蟽蟿伪 蟿苇位畏 蟿慰蠀 19慰蠀 伪喂蠋谓伪 蟽蟿慰 螤伪蟻委蟽喂,蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 蟿慰 渭慰谓蟿苇蟻谓慰 魏伪喂 蠂蠀未伪委伪 蔚魏位伪蠆魏蔚蠀渭苇谓慰 蟽蟿蠀位 蟽蟿畏谓 蟿苇蠂谓畏 萎 蟿慰 伪谓慰蠉蟽喂伪 伪蟺位蠈 魏伪喂 蟻慰渭伪谓蟿喂魏蠈,蟿伪 慰蟺慰委伪 伪蟺慰蟽蟿蟻苇蠁蔚蟿伪喂 魏伪喂 伪蟺慰蠁伪蟽委味蔚喂 谓伪 伪蟺苇蠂蔚喂 伪蟺慰 魏维胃蔚 魏伪位位喂蟿蔚蠂谓喂魏蠈 魏蠉魏位慰.
螖畏渭喂慰蠀蟻纬蔚委 渭喂伪 蠈渭慰蟻蠁畏 魏伪喂 蟿伪喂蟻喂伪蟽蟿萎 蠁喂位委伪 渭蔚 蟿慰谓 纬喂伪蟿蟻蠈 螡蟿蔚味蔚蟻渭委- 苇谓伪谓 未喂伪谓慰慰蠉渭蔚谓慰,蟺慰位蠀渭伪胃萎,伪蟽蠀渭尾委尾伪蟽蟿慰 魏伪喂 蟽蠀渭蟺慰谓蔚蟿喂魏蠈 维谓胃蟻蠅蟺慰-慰 慰蟺慰委慰蟼 蟿慰谓 慰未畏纬蔚委 蟽蔚 渭喂伪 蟽蔚喂蟻维 纬谓蠅蟻喂渭喂蠋谓 蟽伪谓 蟽魏伪位慰蟺维蟿喂伪 蟺蟻慰蟼 蟿慰 蟿伪尉委未喂 蔚魏蔚委 魏维蟿蠅,蟽蟿慰谓 蟽魏慰蟿蔚喂谓蠈 魏蠈蟽渭慰 蟿慰蠀 蟽伪蟿伪谓喂蟽渭慰蠉.螆谓伪蟼 喂蔚蟻苇伪蟼-蔚尉蔚蟿伪蟽蟿萎蟼,苇谓伪蟼 蟽魏慰蟿蔚喂谓蠈蟼 蟽伪蟿伪谓喂蟽蟿萎蟼- 渭喂伪 未伪喂渭慰谓喂魏萎 蔚蟻蠅渭苇谓畏-苇谓伪蟼 渭蠀蟽蟿喂魏喂蟽蟿萎蟼 伪蟽蟿蟻慰位蠈纬慰蟼 魏伪喂 蔚谓伪 纬位蠀魏蠉蟿伪蟿慰 畏位喂魏喂蠅渭苇谓慰 味蔚蠀纬维蟻喂 蟺喂蟽蟿蠋谓 魏伪胃慰位喂魏蠋谓.
螣 螡蟿喂蟻蟿维位 纬蟻维蠁蔚喂 蔚谓伪 尾喂尾位委慰 渭蔚 未蠀慰 伪蟺慰位萎尉蔚喂蟼. 螚 渭蔚位苇蟿畏 纬喂伪 蟿畏 蟽魏慰蟿蔚喂谓萎 味蠅萎 蟿慰蠀 蟽蟿蟻伪蟿维蟻蠂畏 螙喂位 谓蟿蔚 巍蔚 魏伪喂 畏 蟺谓蔚蠀渭伪蟿喂魏萎 伪谓伪味萎蟿畏蟽畏 蟿慰蠀 魏伪魏慰蠉 渭苇蟽伪 蟽蟿畏谓 魏慰喂谓蠅谓委伪 蠅蟼 蔚蟺喂蟽萎渭伪谓蟽畏 蟺蠅蟼 慰 危伪蟿伪谓维蟼 蔚尉慰蠀蟽喂维味蔚喂 蟿慰 蟺谓蔚蠉渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼. 螝伪喂 蟿伪 未蠀慰 渭苇蟻畏 慰未畏纬慰蠉谓 蟽蟿伪 委未喂伪 蟽魏慰蟿蔚喂谓维 魏伪喂 蠁蟻喂魏喂伪蟽蟿喂魏维 伪谓伪蟺蠈蠁蔚蠀魏蟿伪 蟽蠀渭蟺蔚蟻维蟽渭伪蟿伪.
螣 蟽蟿蟻伪蟿维蟻蠂畏蟼 蔚渭蠁伪谓委味蔚蟿伪喂 魏位蔚喂蟽渭苇谓慰蟼 蟽蟿慰谓 螤蠉蟻纬慰 韦喂蠁蠈味 蠈蟺慰蠀 渭蔚 蟺蟻蠈蟽蠂畏渭伪 蟿畏谓 伪位蠂畏渭蔚委伪 魏伪喂 蟿畏 蠁喂位慰蟽慰蠁喂魏萎 位委胃慰 蠀渭谓蔚委 蟿慰 危伪蟿伪谓维, 渭蠀蔚委蟿伪喂 蟽蟿畏 未伪喂渭慰谓慰位伪蟿蟻蔚委伪 魏伪喂 伪蟻蠂委味蔚喂 渭喂伪 蟽蔚喂蟻维 伪蟺慰 伪蟺慰蟿蟻蠈蟺伪喂伪 魏伪喂 蟽慰魏伪蟻喂蟽蟿喂魏维 蔚纬魏位萎渭伪蟿伪 渭喂魏蟻蠋谓 魏蠀蟻委蠅蟼 伪纬慰蟻喂蠋谓 魏伪喂 魏慰蟻喂蟿蟽喂蠋谓.
螠苇蟽伪 蟽蟿慰谓 螤蠉蟻纬慰 渭蔚蟿维 伪蟺慰 未喂维蠁慰蟻蔚蟼 谓慰蟽畏蟻苇蟼 魏伪喂 蔚魏蠁蠀位喂蟽蟿喂魏苇蟼 伪蟺慰位伪蠉蟽蔚喂蟼 尉蔚魏喂谓慰蠉谓 慰喂 尾喂伪蟽渭慰委, 蟿伪 尾伪蟽伪谓喂蟽蟿萎蟻喂伪, 慰喂 未喂伪渭蔚位喂蟽渭慰委, 蟿伪 蠈蟻纬喂伪 蟽伪未喂蟽蟿喂魏萎蟼 魏伪喂 蠄蠀蠂伪谓蠋渭伪位畏蟼 蟿伪魏蟿喂魏萎蟼, 慰喂 蟽蠁伪纬苇蟼 伪谓萎位喂魏蠅谓 蟺伪蟻维位位畏位伪 渭蔚 蟽慰未慰渭喂蟽渭蠈, 慰喂 蔚蟺喂魏位萎蟽蔚喂蟼 蟽蟿慰 危伪蟿伪谓维 蟿蟻蠋纬慰谓蟿伪蟼 蟿伪 蔚谓蟿蠈蟽胃喂伪 蟿蠅谓 蟺伪喂未喂蠋谓 魏伪喂 蟻慰蠀蠁蠋谓蟿伪蟼 慰尉蠀纬蠈谓慰 伪蟺慰 蟿伪 蟺谓蔚蠀渭蠈谓喂伪 蟿慰蠀蟼 渭蔚蟿维 蟿畏谓 蟽蠁伪纬萎 蟿慰蠀蟼, 畏 魏慰蟺蟻慰位伪纬谓蔚委伪 魏伪喂 慰喂 伪蟺慰魏蔚蠁伪位喂蟽渭慰委 蟿畏 蟽蟿喂纬渭萎 蔚谓蠈蟼 蟺伪蟻畏纬慰蟻畏蟿喂魏慰蠉 蠁喂位喂慰蠉.
螒蟺慰 蟿畏谓 维位位畏 蟺位蔚蠀蟻维 苇蠂慰蠀渭蔚 蟿畏谓 伪蟻蟻蠅蟽蟿畏渭苇谓畏 魏慰喂谓蠅谓委伪 蟿畏蟼 蔚蟺慰蠂萎蟼 纬蔚渭维蟿畏 渭蠀蟽蟿喂魏喂蟽渭蠈,蠄蔚蠀蟿喂维,伪蟺维蟿畏, 蔚魏蠁蠀位喂蟽渭蠈,伪蠁蠉蟽喂魏畏 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪,未喂伪蟽蟿蟻慰蠁萎,蠄蠀蠂喂伪蟿蟻喂魏苇蟼 伪蟽胃苇谓蔚喂蔚蟼,苇位尉畏 蟺蟻慰蟼 蟿慰 魏伪魏蠈 魏伪喂 蟿慰 胃维谓伪蟿慰 魏伪喂 渭喂伪 蟻蔚伪位喂蟽蟿喂魏萎 蟺位伪蟽蟿蠈蟿畏蟿伪.
螘未蠋 蠀蟺维蟻蠂慰蠀谓 魏伪喂 慰喂 伪蟺慰未蔚委尉蔚喂蟼 蟺慰蠀 蠄维蠂谓蔚喂 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 纬喂伪 蟿畏谓 蟽蠉纬蠂蟻慰谓畏 蟽伪蟿伪谓慰位伪蟿蟻蔚委伪 魏伪喂 蟿喂蟼 蔚蟺喂魏位萎蟽蔚喂蟼 蟽蟿慰 未喂维尾慰位慰, 纬喂伪 蟿慰 蟺伪蟻维未慰尉慰 魏伪喂 蟿慰 蟺位伪蟽蟿蠈 蟺慰蠀 蔚蟺喂魏蟻伪蟿蔚委 魏伪喂 蟿慰 伪魏慰位慰蠀胃蔚委 伪魏蠈渭畏 魏伪喂 畏 委未喂伪 畏 蠁蠉蟽畏.
螚 蠁蠉蟽畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠉蟺伪蟻尉畏蟼 魏伪喂 蟿畏蟼 蠄蠀蠂萎蟼 渭蔚 伪委蟽胃畏蟽畏,尾慰蠉位畏蟽畏 魏伪喂 位蠈纬慰 蠁蟿维谓蔚喂 伪蟺慰 魏维蟿喂 蠈渭慰蟻蠁慰 魏伪喂 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏维 喂未蔚伪蟿蠈, 蟽蟿慰 魏委谓畏渭伪 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 尉蔚蟺苇蠁蟿蔚喂 蟽蟿伪 蟺位伪委蟽喂伪 蟿畏蟼 蟺伪蟻伪魏渭萎蟼,蟿畏蟼 伪谓畏胃喂魏蠈蟿畏蟿伪蟼,蟿畏蟼 喂未喂慰渭慰蟻蠁委伪蟼 魏伪喂 蟿畏蟼 苇位位蔚喂蠄畏蟼 伪蟺伪谓蟿慰蠂萎蟼 魏伪喂 蟺委蟽蟿畏蟼. 螒蠀蟿维 伪蟺慰蟿蔚位慰蠉谓 伪蟺蠈未蔚喂尉畏 位伪蟿蟻蔚委伪蟼 蟿慰蠀 危伪蟿伪谓维 萎 魏伪蟿维蟽蟿伪蟽畏 蟺位萎蟻慰蠀蟼 维纬谓慰喂伪蟼,伪蟺慰蟽蟿伪蟽喂慰蟺慰委畏蟽畏蟼,伪未喂伪蠁慰蟻委伪蟼 魏伪喂 蟺蟻慰蟿蔚蟻伪喂蠈蟿畏蟿伪 蟽蔚 蟺蟻慰蟽蠅蟺喂魏维 蟽蠀渭蠁苇蟻慰谓蟿伪 渭伪蟿伪喂慰未慰尉委伪蟼 魏伪喂 魏蔚谓蠈蟿畏蟿伪蟼.
螒蠀蟿蠈 蟿慰 尾喂尾位委慰 渭蔚 "螢蔚蟺苇蟻伪蟽蔚".
螚 蟿蔚蠂谓喂魏萎 魏伪喂 慰 蟻蔚伪位喂蟽渭蠈蟼 蔚委谓伪喂 蟺慰蠀 蟿慰 魏维谓慰蠀谓 蟽蟺慰蠀未伪委慰 魏伪喂 维尉喂慰 蟺蟻慰蟼 伪谓维纬谓蠅蟽畏.
螔苇尾伪喂伪 未喂伪蟿畏蟻蠋 蟿喂蟼 蔚蟺喂蠁蠀位维尉蔚喂蟼 渭慰蠀 纬喂伪 魏维蟺慰喂蔚蟼 伪谓伪蠁慰蟻苇蟼 蟽蠂蔚蟿喂魏维 渭蔚 魏喂谓萎渭伪蟿伪, 蟻蔚蠉渭伪蟿伪 魏伪喂 慰蟻纬伪谓蠋蟽蔚喂蟼 蟺慰蠀 蟿伪蠀蟿委味慰谓蟿伪喂 蠈位伪 渭伪味委.
螝伪位萎 伪谓维纬谓蠅蟽畏 渭蔚 魏蟻喂蟿萎蟻喂慰 蟿喂蟼 未喂魏苇蟼 蟽伪蟼 蟺蟻慰蟽蠅蟺喂魏苇蟼 蔚蟺喂位慰纬苇蟼...
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.
April 5, 2015
Perhaps if I hadn鈥檛 read some essays on fin de si猫cle decadent French literature last year I would have been more shocked by some of the grosser parts of this book. But forewarned is forearmed , and a large part of this book is about the occult so I wasn鈥檛 expecting it to be an easy read.
I found the book very beautifully written, very brutal and thought provoking. If I鈥檇 bought a copy of this book it would have been heavily underlined. There was a lot of knowledge imparted in this book, mostly related to religion and the arts. I learned a bit about art and one passage describing a particular art piece by Fouquet had me running off to google image. The description is very apt:
鈥淲hatever you say about Charles VII pales into insignificance when you see Foucquet鈥檚 portrait of him in the Louvre. I have often paused in front of that bestial face, a face in which I can clearly distinguish the snout of a pig, the eyes of the provincial money-lender, and the sanctimonious, bloated lip of a prelate.鈥�
Image here:
There was a lot said about mysticism, the dark arts, or the occult but etc. I learned about church bells in such fascinating detail that I don't think I will take them for granted again:
鈥淏ells act as the Church鈥檚 heralds; the voice from without just as the priest is the voice from within; the last thing bells are are lumps of bronze, upside-down mortars that get swung about. In addition, bells, like fine wines, mature with age; their tone becomes richer and more mellow; they lose that sharp edge, their raw flavour.鈥�
A thread through the book was the biographer's research on Marechal De Rais which I found interesting though gruesome.
And I guess at every era of time, there are always complaints about the current state of the arts:
鈥淥ur literature has become so base and disgusting that it is on a level with the woodlouse. Try reading any of the latest novels a second time. What do you find? Trivial anecdotes, titbits culled from the newspapers, nothing but scandal and demoralization鈥攁ll couched in a lurid style without a single idea about life or the soul to prop it up.鈥�
Definitely one of my favourite reads of the year.
I found the book very beautifully written, very brutal and thought provoking. If I鈥檇 bought a copy of this book it would have been heavily underlined. There was a lot of knowledge imparted in this book, mostly related to religion and the arts. I learned a bit about art and one passage describing a particular art piece by Fouquet had me running off to google image. The description is very apt:
鈥淲hatever you say about Charles VII pales into insignificance when you see Foucquet鈥檚 portrait of him in the Louvre. I have often paused in front of that bestial face, a face in which I can clearly distinguish the snout of a pig, the eyes of the provincial money-lender, and the sanctimonious, bloated lip of a prelate.鈥�
Image here:
There was a lot said about mysticism, the dark arts, or the occult but etc. I learned about church bells in such fascinating detail that I don't think I will take them for granted again:
鈥淏ells act as the Church鈥檚 heralds; the voice from without just as the priest is the voice from within; the last thing bells are are lumps of bronze, upside-down mortars that get swung about. In addition, bells, like fine wines, mature with age; their tone becomes richer and more mellow; they lose that sharp edge, their raw flavour.鈥�
A thread through the book was the biographer's research on Marechal De Rais which I found interesting though gruesome.
And I guess at every era of time, there are always complaints about the current state of the arts:
鈥淥ur literature has become so base and disgusting that it is on a level with the woodlouse. Try reading any of the latest novels a second time. What do you find? Trivial anecdotes, titbits culled from the newspapers, nothing but scandal and demoralization鈥攁ll couched in a lurid style without a single idea about life or the soul to prop it up.鈥�
Definitely one of my favourite reads of the year.
Read
May 15, 2025What the literal fuck. I mean, 'what', and also 'the fuck', and literally what the FUCK did I just read. No, seriously, what. The fuck.
It's not the unbelievably detailed descriptions of horrific child sexual abuse and murder. I mean, it is, but I knew the MC was all about Gilles de Rais so it didn't come as a shock. No. It's...
...look, this book has lengthy disquisitions on the following:
--Why modern literature is rubbish except for the author
--The inadequacy of modern church architecture
--How incubus demons use their bifurcated penises to fuck nuns in both holes at once
--The bad quality of many restaurants in Paris, many of which serve poorly cooked fish
--The symbolism of bell-ringing
--The best way to eat gingerbread (between thin slices of buttered bread--it tastes of fresh walnuts!)
--Why trees are disgustingly pornographic forms of gross sexual depravity, mostly anuses
--Is celery liqueur actually nice?
--Full description of a Black Mass with sodomy, desecration of the Host, etc
--How eating 'high' game and spicy food turns you into a child murderer
--Modern literature: still shit.
--Cats, eh.
It's profoundly, to-the-bone misogynistic and also homophobic, but at this point we're already so far into Evil La La Land that to get upset would suggest you've skipped about 70% of it. Which would probably be for the best because there's no plot as such, all the characters are just hobbyhorses for the author talking to himself. I'm going to guess not a lot of people wanted to talk to him.
Anyway if you want fin de siecle decadence, occult whatever, or a fuckload of overwrought descriptions, you have come to the right shop. Just be aware that the shop is mostly selling lavish descriptions of child rape and jizzing on consecrated bread, and also has a LOT of 'modern literature is rubbish' to shift.
It's not the unbelievably detailed descriptions of horrific child sexual abuse and murder. I mean, it is, but I knew the MC was all about Gilles de Rais so it didn't come as a shock. No. It's...
...look, this book has lengthy disquisitions on the following:
--Why modern literature is rubbish except for the author
--The inadequacy of modern church architecture
--How incubus demons use their bifurcated penises to fuck nuns in both holes at once
--The bad quality of many restaurants in Paris, many of which serve poorly cooked fish
--The symbolism of bell-ringing
--The best way to eat gingerbread (between thin slices of buttered bread--it tastes of fresh walnuts!)
--Why trees are disgustingly pornographic forms of gross sexual depravity, mostly anuses
--Is celery liqueur actually nice?
--Full description of a Black Mass with sodomy, desecration of the Host, etc
--How eating 'high' game and spicy food turns you into a child murderer
--Modern literature: still shit.
--Cats, eh.
It's profoundly, to-the-bone misogynistic and also homophobic, but at this point we're already so far into Evil La La Land that to get upset would suggest you've skipped about 70% of it. Which would probably be for the best because there's no plot as such, all the characters are just hobbyhorses for the author talking to himself. I'm going to guess not a lot of people wanted to talk to him.
Anyway if you want fin de siecle decadence, occult whatever, or a fuckload of overwrought descriptions, you have come to the right shop. Just be aware that the shop is mostly selling lavish descriptions of child rape and jizzing on consecrated bread, and also has a LOT of 'modern literature is rubbish' to shift.
June 5, 2023
Whenever I read 19th century works, or those that are even older, I always wish I could be somewhere else whilst reading them - especially now as it's been so warm lately my windows are wide open and my pain in the arse neighbor keeps playing glam rock out on his patio, pissing of me and my cats - if only I could cast some bloody demonic spell! Here I felt like wanting to read this novel in two different locations: a nice study kitted out in expensive dark oak and filled with old texts and documents, and also deep within the Parisian Catacombs with the sound of wailing in the background. Huysmans frank depiction of Satanism - specifically the Black Mass and crimes of Gilles de Rais in the 1400s were so vividly described in such a barbaric prose that it's little wonder the novel caused outrage and revulsion in France at the time. The writer, Durtal, who is working on a biography of Rais - nobleman and bestial mass-murderer of children, is particularly interested in Rais's obsession with alchemy, and we get his philosophical musings on the subject of Rais, before Durtal himself is pulled into the hellish underworld of debauched satanic worship, in which he didn't think was even still widely practised. In between this the novel features Durtal's sexual escapades, and also elaborate dinners held in a gothic bell tower where Durtal and friends hold deep conversations about the likes of demonology, the occult, and Catholicism, which kind of reminded me of the type of conversations between Franciscan friar William of Baskerville and his apprentice Adso of Melk in Eco's The Name of the Rose. The novel as whole is certainly not as disturbing as one would have found it back then, but certain scenes sure as hell did send a chill through my bones. I found it to be an exceptional novel, which roused intrigue and fascination on almost every page. The novel could be seen as many things; a scholarly gothic horror; a depiction of the French decadent movement in the late 1890s; a philosophical and meditative enquiry into evil. There are only two 19th century novels that I'd class as absolute favourites; those being Zola's Germinal and Hamsun's Hunger, but I can now include this with them. Stunning.
June 17, 2020
Down There (尝脿-叠补蝉)
To begin with, you meet Durtal, inconsistent seeker of truths about Gilles de Rais, an infamous child murderer during the 15th century.
Soon, Durtal becomes familiar with the Carhaix couple, both Catholics, the husband a Breton bellringer, happy with living as a recluse in his aerie ; Durtal also mingles with the Chantelouve couple, both of whom are active spiritists, and G茅vingey, a warped astrologian.
The novel evolves by backs and forths, and Durtal, studying these two edges in turn, can't make his mind and take the step to settle into one of these contrary leanings. Perhaps because, like the decadent aristocrat he studies, he can't rid himself of successive callings towards good and evil, because he feels them in the eerie architectures of Saint-Sulpice, in the underground works in Tiffauges and in the intoxicating stenches and perfumes of the black mass. He dreads them, but he doubts he pertains to any of them, as his favorite part as an observer may prove. Maybe everything is tolerable but the perceived anomie and aimlessness of modern times.
Crypte de la Chapelle du Ch芒teau de Tiffauges (Carte postale Ramuntcho - Editions Artistique Raymond Bergevin - La Rochelle)
Crypte de la Chapelle du Ch芒teau de Tiffauges, autel (Editeur : Gaby)
On top of all that, I find some likeness between Down There and Sartre's Nausea, what with their qualms and throes, their large reaches of meditation and self-reflection, the meeting with the Self-Taught Man, the abject epiphany with the gnarly gluttonous root, contemning and accusing echoing the vision plaguing Gilles de Rais, assailed in his woods, a sordid and obscene riot of writhing corpses. I also find common features with The King in Yellow, with the same timespan and the same avowed concern with all things spiritual.
It is all part of a history of Satanism, a soul-serching, a work of erudition in progress seen from the writing desk. And it yields an obvious satisfaction to the traveler, translated into another era, requiered by the raw violence of the charges against modern times, requiered by the very material and sensible presence of the revived architectures, outshining vapid present times both in morbidity and vitality.
<< You would have thought yourself carried into the very heart of Brittany ; there were the same skies and the same soil, a grave and melancholy sky, a sun looking older than elsewhere, only faintly gilding the age-old, mourning woods and the sandstone, overgrown with old moss.
A soil endlessly wandering in barren moors, dotted with rusty ponds, jagged with rocks, riddled with the pink bells of briar and small yellow pods by the coppice of gorse and the clumps of broom.
You sensed that this iron-coloured sky, this famished soil, scarcely reddened in places with the blood-red flower of buckwheat ; that these roads, in between heaps of stones laid on one another without any plaster or mortar, that these trails, between thick hedges, these coarse vegetals, these untended fields, these begging cripples, eaten with vermine and painted with grime, that the cattle itself, crude and undersized, that these stocky cows, these black sheep whose blue eyes had the same clear, cold look of the tribades and the Slavs, persisted, perpetuated themselves, absolutely selfsame, in the same landscape, for ages! >>
Huysmans, 尝脿-叠补蝉, 茅ditions Gallimard (1985), pp. 141-142. - Translated from French.
---------------
Mon deuxi猫me Huysmans.
On suit Durtal, chercheur tant么t fi茅vreux, tant么t ti猫de de v茅rit茅s sur Gilles de Rais.
Il 茅change avec des Hermies et finit par devenir intime du m茅nage Carhaix, le sonneur de cloches 茅vocateur de la foi simple et ferme des Bretons, bienheureux reclus dans sa cellule c茅leste ; il fr茅quente le couple Chantelouve, impliqu茅 dans les cercles spiritistes, et G茅vingey, astrologue ensorcel茅.
Le roman progresse par va-et-vient, et Durtal qui les 茅tudie tour 脿 tour ne se r茅sout pas 脿 s'茅tablir dans l'un ou l'autre de ces "l脿-bas". Peut-锚tre parce que, comme son sujet d'茅tudes, il ne peut s'affranchir des appels successifs du bien et du mal, il les pressent dans les singuli猫res architectures de Saint-Sulpice, dans les moellons et les caveaux de Tiffauges, les aromates capiteux du si猫ge de la messe noire, il les redoute, mais doute d'锚tre d'aucun des deux, comme sa posture pr茅f茅r茅e d'observateur ext茅rieur le laisse supposer.
Crypte de la Chapelle du Ch芒teau de Tiffauges (Carte postale Ramuntcho - Editions Artistique Raymond Bergevin - La Rochelle)
Crypte de la Chapelle du Ch芒teau de Tiffauges, autel (Editeur : Gaby)
Et dans tout 莽a, je trouve 脿 la future Naus茅e des airs de famille marqu茅s avec 尝脿-叠补蝉, avec ses atermoiements d'introspection et de m茅ditation, ses rencontres avec l'Autodidacte, la r茅v茅lation de la racine noueuse, goulue, abjecte et accusatrice qui r茅p猫te la vision de Gilles de Rais taraud茅 dans sa for锚t, 茅meute de corps obsc猫nes en damnation.
Je lui trouve encore des traits communs avec Le Roi en Jaune, pour se passer 脿 la m锚me 茅poque, mais aussi pour refl茅ter une commune pr茅occupation du spirituel.
脟a tient 脿 la fois du catalogue historique sur le satanisme, de l'examen de conscience, d'une 艙uvre d'茅rudition mise 脿 plat, vue depuis l'茅tabli. Et il en ressort un plaisir 茅vident pour le d茅couvreur traduit dans une autre 茅poque, saisi par la pugnacit茅 des charges contre la modernit茅 et par la pr茅sence vraie et s没re des milieux et des architectures reconstitu茅es, qui tranchent en vitalit茅 comme en morbidit茅 sur le n茅ant du contemporain :
<< On se serait cru transport茅 dans la Bretagne m锚me ; c'茅tait le m锚me ciel et la m锚me terre ; un ciel m茅lancolique et grave, un soleil qui paraissait plus vieux qu'autre part et qui ne dorait plus que faiblement le deuil des for锚ts s茅culaires, et la mousse 芒g茅e des gr猫s ; une terre qui vagabondait, 脿 perte de vue en de st茅riles landes, trou茅es de mares d'eau rouill茅e, h茅riss茅e de rocs, cribl茅es de clochettes roses par les bruy猫res, de petites gousses jaunes, par les taillis des ajoncs et les touffes des gen锚ts.
On sentait que ce firmament couleur de fer, que ce sol fam茅lique, 脿 peine empourpr茅, 莽脿 et l脿, par la fleur sanglante du bl茅 noir ; que ces routes bord茅es de pierres pos茅es, les unes sur les autres, sans pl芒tre ni ciment, en tas, que ces sentes bord茅es d'inextricables haies, que ces plantes bourrues, que ces champs sans aide, que ces mendiants estropi茅s, mang茅s de vermine et vernis de crasse, que ce b茅tail m锚me, fruste et petit, que ces vaches trapues, que ces moutons noirs dont l'艙il bleu avait le regard clair et froid des tribades et des Slaves, se perp茅tuaient, absolument semblables dans un paysage identique, depuis des si猫cles ! >>
Huysmans, 尝脿-叠补蝉, 茅ditions Gallimard (1985), pp. 141-142.
To begin with, you meet Durtal, inconsistent seeker of truths about Gilles de Rais, an infamous child murderer during the 15th century.
Soon, Durtal becomes familiar with the Carhaix couple, both Catholics, the husband a Breton bellringer, happy with living as a recluse in his aerie ; Durtal also mingles with the Chantelouve couple, both of whom are active spiritists, and G茅vingey, a warped astrologian.
The novel evolves by backs and forths, and Durtal, studying these two edges in turn, can't make his mind and take the step to settle into one of these contrary leanings. Perhaps because, like the decadent aristocrat he studies, he can't rid himself of successive callings towards good and evil, because he feels them in the eerie architectures of Saint-Sulpice, in the underground works in Tiffauges and in the intoxicating stenches and perfumes of the black mass. He dreads them, but he doubts he pertains to any of them, as his favorite part as an observer may prove. Maybe everything is tolerable but the perceived anomie and aimlessness of modern times.
Crypte de la Chapelle du Ch芒teau de Tiffauges (Carte postale Ramuntcho - Editions Artistique Raymond Bergevin - La Rochelle)
Crypte de la Chapelle du Ch芒teau de Tiffauges, autel (Editeur : Gaby)
On top of all that, I find some likeness between Down There and Sartre's Nausea, what with their qualms and throes, their large reaches of meditation and self-reflection, the meeting with the Self-Taught Man, the abject epiphany with the gnarly gluttonous root, contemning and accusing echoing the vision plaguing Gilles de Rais, assailed in his woods, a sordid and obscene riot of writhing corpses. I also find common features with The King in Yellow, with the same timespan and the same avowed concern with all things spiritual.
It is all part of a history of Satanism, a soul-serching, a work of erudition in progress seen from the writing desk. And it yields an obvious satisfaction to the traveler, translated into another era, requiered by the raw violence of the charges against modern times, requiered by the very material and sensible presence of the revived architectures, outshining vapid present times both in morbidity and vitality.
<< You would have thought yourself carried into the very heart of Brittany ; there were the same skies and the same soil, a grave and melancholy sky, a sun looking older than elsewhere, only faintly gilding the age-old, mourning woods and the sandstone, overgrown with old moss.
A soil endlessly wandering in barren moors, dotted with rusty ponds, jagged with rocks, riddled with the pink bells of briar and small yellow pods by the coppice of gorse and the clumps of broom.
You sensed that this iron-coloured sky, this famished soil, scarcely reddened in places with the blood-red flower of buckwheat ; that these roads, in between heaps of stones laid on one another without any plaster or mortar, that these trails, between thick hedges, these coarse vegetals, these untended fields, these begging cripples, eaten with vermine and painted with grime, that the cattle itself, crude and undersized, that these stocky cows, these black sheep whose blue eyes had the same clear, cold look of the tribades and the Slavs, persisted, perpetuated themselves, absolutely selfsame, in the same landscape, for ages! >>
Huysmans, 尝脿-叠补蝉, 茅ditions Gallimard (1985), pp. 141-142. - Translated from French.
---------------
Mon deuxi猫me Huysmans.
On suit Durtal, chercheur tant么t fi茅vreux, tant么t ti猫de de v茅rit茅s sur Gilles de Rais.
Il 茅change avec des Hermies et finit par devenir intime du m茅nage Carhaix, le sonneur de cloches 茅vocateur de la foi simple et ferme des Bretons, bienheureux reclus dans sa cellule c茅leste ; il fr茅quente le couple Chantelouve, impliqu茅 dans les cercles spiritistes, et G茅vingey, astrologue ensorcel茅.
Le roman progresse par va-et-vient, et Durtal qui les 茅tudie tour 脿 tour ne se r茅sout pas 脿 s'茅tablir dans l'un ou l'autre de ces "l脿-bas". Peut-锚tre parce que, comme son sujet d'茅tudes, il ne peut s'affranchir des appels successifs du bien et du mal, il les pressent dans les singuli猫res architectures de Saint-Sulpice, dans les moellons et les caveaux de Tiffauges, les aromates capiteux du si猫ge de la messe noire, il les redoute, mais doute d'锚tre d'aucun des deux, comme sa posture pr茅f茅r茅e d'observateur ext茅rieur le laisse supposer.
Crypte de la Chapelle du Ch芒teau de Tiffauges (Carte postale Ramuntcho - Editions Artistique Raymond Bergevin - La Rochelle)
Crypte de la Chapelle du Ch芒teau de Tiffauges, autel (Editeur : Gaby)
Et dans tout 莽a, je trouve 脿 la future Naus茅e des airs de famille marqu茅s avec 尝脿-叠补蝉, avec ses atermoiements d'introspection et de m茅ditation, ses rencontres avec l'Autodidacte, la r茅v茅lation de la racine noueuse, goulue, abjecte et accusatrice qui r茅p猫te la vision de Gilles de Rais taraud茅 dans sa for锚t, 茅meute de corps obsc猫nes en damnation.
Je lui trouve encore des traits communs avec Le Roi en Jaune, pour se passer 脿 la m锚me 茅poque, mais aussi pour refl茅ter une commune pr茅occupation du spirituel.
脟a tient 脿 la fois du catalogue historique sur le satanisme, de l'examen de conscience, d'une 艙uvre d'茅rudition mise 脿 plat, vue depuis l'茅tabli. Et il en ressort un plaisir 茅vident pour le d茅couvreur traduit dans une autre 茅poque, saisi par la pugnacit茅 des charges contre la modernit茅 et par la pr茅sence vraie et s没re des milieux et des architectures reconstitu茅es, qui tranchent en vitalit茅 comme en morbidit茅 sur le n茅ant du contemporain :
<< On se serait cru transport茅 dans la Bretagne m锚me ; c'茅tait le m锚me ciel et la m锚me terre ; un ciel m茅lancolique et grave, un soleil qui paraissait plus vieux qu'autre part et qui ne dorait plus que faiblement le deuil des for锚ts s茅culaires, et la mousse 芒g茅e des gr猫s ; une terre qui vagabondait, 脿 perte de vue en de st茅riles landes, trou茅es de mares d'eau rouill茅e, h茅riss茅e de rocs, cribl茅es de clochettes roses par les bruy猫res, de petites gousses jaunes, par les taillis des ajoncs et les touffes des gen锚ts.
On sentait que ce firmament couleur de fer, que ce sol fam茅lique, 脿 peine empourpr茅, 莽脿 et l脿, par la fleur sanglante du bl茅 noir ; que ces routes bord茅es de pierres pos茅es, les unes sur les autres, sans pl芒tre ni ciment, en tas, que ces sentes bord茅es d'inextricables haies, que ces plantes bourrues, que ces champs sans aide, que ces mendiants estropi茅s, mang茅s de vermine et vernis de crasse, que ce b茅tail m锚me, fruste et petit, que ces vaches trapues, que ces moutons noirs dont l'艙il bleu avait le regard clair et froid des tribades et des Slaves, se perp茅tuaient, absolument semblables dans un paysage identique, depuis des si猫cles ! >>
Huysmans, 尝脿-叠补蝉, 茅ditions Gallimard (1985), pp. 141-142.
July 15, 2016
螣 螡蟿喂蟻蟿维位 蔚委谓伪喂 苇谓伪蟼 蟽伪蟻伪谓蟿维蠂蟻慰谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 慰 慰蟺慰委慰蟼 胃苇位蔚喂 谓伪 纬蟻维蠄蔚喂 苇谓伪 尾喂尾位委慰, 蟿慰蠀 慰蟺慰委慰蠀 畏 胃蔚渭伪蟿慰位慰纬委伪 魏伪喂 蟿慰 蠉蠁慰蟼 胃伪 魏喂谓蔚委蟿伪喂 渭苇蟽伪 蟽蟿伪 位慰纬慰蟿蔚蠂谓喂魏维 蟺位伪委蟽喂伪 蟿慰蠀 谓伪蟿慰蠀蟻伪位喂蟽渭慰蠉... 韦蔚位喂魏维 未喂伪位苇纬蔚喂 蟽伪谓 胃苇渭伪 蟿畏谓 味蠅萎 蔚谓蠈蟼 危蟿蟻伪蟿维蟻蠂畏 蟿畏蟼 螙伪谓 螡蟿' 螒蟻魏, 蟿慰蠀 螙喂位 螡蟿蔚 巍蔚, 慰 慰蟺慰委慰蟼 渭蔚蟿维 蟿慰 蟿苇位慰蟼 蟿慰蠀 蟺慰位苇渭慰蠀 魏位蔚委谓蔚蟿伪喂 蟽蟿慰谓 蟺蠉蟻纬慰 蟿慰蠀 魏伪喂 蟺蟻慰蟽蟺伪胃蔚委 谓伪 渭蠀畏胃蔚委 蟽蟿伪 蟺喂慰 蟽魏慰蟿蔚喂谓维 渭慰谓慰蟺维蟿喂伪 蟿慰蠀 危伪蟿伪谓喂蟽渭慰蠉 渭苇蟽伪 伪蟺蠈 渭喂伪蟻苇蟼 魏伪喂 伪蟺慰蟿蟻蠈蟺伪喂蔚蟼 蟺蟻维尉蔚喂蟼... 螣 螡蟿喂蟻蟿维位 魏伪蟿维 蟿畏谓 未喂维蟻魏蔚喂伪 蟿畏蟼 蟽蠀纬纬蟻伪蠁萎蟼 蟿慰蠀 尾喂尾位委慰蠀 蟿慰蠀 魏伪喂 渭苇蟽伪 伪蟺蠈 蟿慰谓 蠁委位慰 蟿慰蠀, 纬喂伪蟿蟻蠈 螡蟿蔚味蔚蟻渭委, 胃伪 纬谓蠅蟻委蟽蔚喂 未喂维蠁慰蟻伪 维蟿慰渭伪 蠈蟺蠅蟼 苇谓伪谓 魏蠅未蠅谓慰魏蟻慰蠉蟽蟿畏, 苇谓伪谓 伪蟽蟿蟻慰位蠈纬慰, 渭喂伪 纬慰畏蟿蔚蠀蟿喂魏萎 纬蠀谓伪委魏伪 魏伪喂 蟺维蔚喂 位苇纬慰谓蟿伪蟼...
螌位伪 伪蠀蟿维 蟿伪 维蟿慰渭伪 (蟿伪 慰蟺慰委伪 纬谓蠅蟻委味慰蠀谓 蟺慰位位维 伪位位维 伪蟺慰魏伪位蠉蟺蟿慰蠀谓 位委纬伪) 胃伪 伪谓慰委尉慰蠀谓 蟿喂蟼 蟺蠈蟻蟿蔚蟼 蟽蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 纬喂伪 谓伪 渭蔚蟿伪尾蔚委 蟽蟿畏谓 蟽魏慰蟿蔚喂谓萎 蟺位蔚蠀蟻维 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟿慰蠀 19慰蠀 伪喂蠋谓伪. 危蔚 伪蠀蟿蠈 蟿慰 蟿伪尉委未喂 蟿慰蠀 慰 螡蟿喂蟻蟿维位 胃伪 苇蟻胃蔚喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 渭喂伪 伪胃苇伪蟿畏 蟺位蔚蠀蟻维 蟿畏蟼 蟺蠈位畏蟼 魏伪喂 蟽蠂蔚未蠈谓 蔚渭渭慰谓喂魏维 胃伪 蟺蟻慰蟽蟺伪胃萎蟽蔚喂 谓伪 未喂蔚蟻蔚蠀谓萎蟽蔚喂 蟿伪 蟽魏慰蟿蔚喂谓维 渭慰谓慰蟺维蟿喂伪 蟿慰蠀 危伪蟿伪谓喂蟽渭慰蠉 魏伪喂 蟿蠅谓 伪魏慰位慰蠉胃蠅谓 蟿慰蠀....
螚 纬蟻伪蠁萎 蟿慰蠀 违喂蟽渭伪谓 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏萎. 韦慰 尾喂尾位委慰 尾蟻委胃蔚喂 伪蟺蠈 喂蟽蟿慰蟻喂魏苇蟼 魏伪喂 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 伪谓伪蠁慰蟻苇蟼 魏伪喂 蟺伪蟻蠈位伪 蟿伪 蟺慰位位维 慰谓蠈渭伪蟿伪 魏伪喂 蟿喂蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟽蔚 魏伪渭喂伪 蟺蔚蟻委蟺蟿蠅蟽畏 未蔚谓 纬委谓蔚蟿伪喂 尾伪蟻蔚蟿蠈. 韦慰 蟺蔚蟻喂蔚蠂蠈渭蔚谓慰 蟿慰蠀 "La Bas" 蟺慰位位苇蟼 蠁慰蟻苇蟼 蔚委谓伪喂 蟽蠂蔚未蠈谓 蔚纬魏蠀魏位慰蟺伪喂未喂魏蠈 魏伪喂 蔚魏蟿蠈蟼 伪蟺蠈 蟿伪 蟺慰位位维 喂蟽蟿慰蟻喂魏维 蟽蟿慰喂蠂蔚委伪 蔚蟻蠂蠈渭伪蟽蟿蔚 魏伪喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰 魏委谓畏渭伪 蟿慰蠀 谓伪蟿慰蠀蟻伪位喂蟽渭慰蠉 魏伪喂 蟿畏谓 "蟺伪蟻伪魏渭萎" 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟽蟿伪 蟿苇位畏 蟿慰蠀 19慰蠀 伪喂蠋谓伪. 螣 违喂蟽渭维谓 未蔚谓 尉蔚魏伪胃伪蟻委味蔚喂 蔚蟺伪魏蟻喂尾蠋蟼 伪谓 畏 危伪蟿伪谓慰位伪蟿蟻蔚委伪 魏伪喂 慰喂 蟿蔚位蔚蟿苇蟼 苇蠂慰蠀谓 谓伪 魏维谓慰蠀谓 渭蔚 魏维蟿喂 蠀蟺蔚蟻蠁蠀蟽喂魏蠈 萎 伪蟺位维 蔚委谓伪喂 渭喂伪 伪蠀胃蠀蟺慰尾慰位萎 蟿蠅谓 渭蠀蟽蟿蠋谓 魏伪喂 蟿蠅谓 蟽蠀渭渭蔚蟿蔚蠂蠈谓蟿蠅谓... 螚 蠈位畏 纬慰蟿胃喂魏萎 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺慰蠀 未畏渭喂慰蠀蟻纬蔚委 慰 违喂蟽渭伪谓 蔚委谓伪喂 伪蟺蠈位蠀蟿伪 蟿伪喂蟻喂伪蟽蟿萎 渭蔚 蟿畏谓 胃蔚渭伪蟿慰位慰纬委伪 蟿慰蠀 尾喂尾位委慰蠀 伪位位维 魏伪喂 渭蔚 蟿喂蟼 蟿蔚位蔚蟿苇蟼, 蟿慰蠀 渭维纬慰蠀蟼, 蟿喂蟼 胃蠀蟽委蔚蟼 魏伪喂 蟺蟻慰蟽蠅蟺喂魏维 蔚纬蠋 未蔚谓 渭蟺慰蟻慰蠉蟽伪 谓伪 伪蠁萎蟽蠅 蟿慰 尾喂尾位委慰 伪蟺蠈 蟿伪 蠂苇蟻喂伪 渭慰蠀!!!
螕喂伪 蠈蟽慰蠀蟼 伪纬伪蟺维谓蔚 蟿畏谓 纬慰蟿胃喂魏萎 位慰纬慰蟿蔚蠂谓委伪 魏伪喂 蟿喂蟼 魏伪位苇蟼 蟿苇蠂谓蔚蟼 纬蔚谓喂魏维, 蟿慰 尾喂尾位委慰 伪蠀蟿蠈 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏蠈...
螒蟺蠈 渭苇谓伪 伪蟺位维 5/5!!
违螕: 螣 违喂蟽渭维谓 蟺蟻慰蟽蟺伪胃蔚委 谓伪 未蠋蟽蔚喂 渭喂伪 蔚蟻渭畏谓蔚委伪 蟽蟿慰 蟿喂 蔚委谓伪喂 魏伪魏蠈, 蟿喂 胃蔚蠅蟻蔚委蟿伪喂 魏伪魏蠈 魏伪喂 蟿喂 蟺蟻伪纬渭伪蟿喂魏维 蟺喂蟽蟿蔚蠉蔚喂 慰 魏伪胃苇谓伪蟼 渭伪蟼 纬喂伪蠀蟿蠈...
螌位伪 伪蠀蟿维 蟿伪 维蟿慰渭伪 (蟿伪 慰蟺慰委伪 纬谓蠅蟻委味慰蠀谓 蟺慰位位维 伪位位维 伪蟺慰魏伪位蠉蟺蟿慰蠀谓 位委纬伪) 胃伪 伪谓慰委尉慰蠀谓 蟿喂蟼 蟺蠈蟻蟿蔚蟼 蟽蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪 纬喂伪 谓伪 渭蔚蟿伪尾蔚委 蟽蟿畏谓 蟽魏慰蟿蔚喂谓萎 蟺位蔚蠀蟻维 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟿慰蠀 19慰蠀 伪喂蠋谓伪. 危蔚 伪蠀蟿蠈 蟿慰 蟿伪尉委未喂 蟿慰蠀 慰 螡蟿喂蟻蟿维位 胃伪 苇蟻胃蔚喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 渭喂伪 伪胃苇伪蟿畏 蟺位蔚蠀蟻维 蟿畏蟼 蟺蠈位畏蟼 魏伪喂 蟽蠂蔚未蠈谓 蔚渭渭慰谓喂魏维 胃伪 蟺蟻慰蟽蟺伪胃萎蟽蔚喂 谓伪 未喂蔚蟻蔚蠀谓萎蟽蔚喂 蟿伪 蟽魏慰蟿蔚喂谓维 渭慰谓慰蟺维蟿喂伪 蟿慰蠀 危伪蟿伪谓喂蟽渭慰蠉 魏伪喂 蟿蠅谓 伪魏慰位慰蠉胃蠅谓 蟿慰蠀....
螚 纬蟻伪蠁萎 蟿慰蠀 违喂蟽渭伪谓 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏萎. 韦慰 尾喂尾位委慰 尾蟻委胃蔚喂 伪蟺蠈 喂蟽蟿慰蟻喂魏苇蟼 魏伪喂 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 伪谓伪蠁慰蟻苇蟼 魏伪喂 蟺伪蟻蠈位伪 蟿伪 蟺慰位位维 慰谓蠈渭伪蟿伪 魏伪喂 蟿喂蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 蟽蔚 魏伪渭喂伪 蟺蔚蟻委蟺蟿蠅蟽畏 未蔚谓 纬委谓蔚蟿伪喂 尾伪蟻蔚蟿蠈. 韦慰 蟺蔚蟻喂蔚蠂蠈渭蔚谓慰 蟿慰蠀 "La Bas" 蟺慰位位苇蟼 蠁慰蟻苇蟼 蔚委谓伪喂 蟽蠂蔚未蠈谓 蔚纬魏蠀魏位慰蟺伪喂未喂魏蠈 魏伪喂 蔚魏蟿蠈蟼 伪蟺蠈 蟿伪 蟺慰位位维 喂蟽蟿慰蟻喂魏维 蟽蟿慰喂蠂蔚委伪 蔚蟻蠂蠈渭伪蟽蟿蔚 魏伪喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰 魏委谓畏渭伪 蟿慰蠀 谓伪蟿慰蠀蟻伪位喂蟽渭慰蠉 魏伪喂 蟿畏谓 "蟺伪蟻伪魏渭萎" 蟿慰蠀 螤伪蟻喂蟽喂慰蠉 蟽蟿伪 蟿苇位畏 蟿慰蠀 19慰蠀 伪喂蠋谓伪. 螣 违喂蟽渭维谓 未蔚谓 尉蔚魏伪胃伪蟻委味蔚喂 蔚蟺伪魏蟻喂尾蠋蟼 伪谓 畏 危伪蟿伪谓慰位伪蟿蟻蔚委伪 魏伪喂 慰喂 蟿蔚位蔚蟿苇蟼 苇蠂慰蠀谓 谓伪 魏维谓慰蠀谓 渭蔚 魏维蟿喂 蠀蟺蔚蟻蠁蠀蟽喂魏蠈 萎 伪蟺位维 蔚委谓伪喂 渭喂伪 伪蠀胃蠀蟺慰尾慰位萎 蟿蠅谓 渭蠀蟽蟿蠋谓 魏伪喂 蟿蠅谓 蟽蠀渭渭蔚蟿蔚蠂蠈谓蟿蠅谓... 螚 蠈位畏 纬慰蟿胃喂魏萎 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺慰蠀 未畏渭喂慰蠀蟻纬蔚委 慰 违喂蟽渭伪谓 蔚委谓伪喂 伪蟺蠈位蠀蟿伪 蟿伪喂蟻喂伪蟽蟿萎 渭蔚 蟿畏谓 胃蔚渭伪蟿慰位慰纬委伪 蟿慰蠀 尾喂尾位委慰蠀 伪位位维 魏伪喂 渭蔚 蟿喂蟼 蟿蔚位蔚蟿苇蟼, 蟿慰蠀 渭维纬慰蠀蟼, 蟿喂蟼 胃蠀蟽委蔚蟼 魏伪喂 蟺蟻慰蟽蠅蟺喂魏维 蔚纬蠋 未蔚谓 渭蟺慰蟻慰蠉蟽伪 谓伪 伪蠁萎蟽蠅 蟿慰 尾喂尾位委慰 伪蟺蠈 蟿伪 蠂苇蟻喂伪 渭慰蠀!!!
螕喂伪 蠈蟽慰蠀蟼 伪纬伪蟺维谓蔚 蟿畏谓 纬慰蟿胃喂魏萎 位慰纬慰蟿蔚蠂谓委伪 魏伪喂 蟿喂蟼 魏伪位苇蟼 蟿苇蠂谓蔚蟼 纬蔚谓喂魏维, 蟿慰 尾喂尾位委慰 伪蠀蟿蠈 蔚委谓伪喂 蔚尉伪喂蟻蔚蟿喂魏蠈...
螒蟺蠈 渭苇谓伪 伪蟺位维 5/5!!
违螕: 螣 违喂蟽渭维谓 蟺蟻慰蟽蟺伪胃蔚委 谓伪 未蠋蟽蔚喂 渭喂伪 蔚蟻渭畏谓蔚委伪 蟽蟿慰 蟿喂 蔚委谓伪喂 魏伪魏蠈, 蟿喂 胃蔚蠅蟻蔚委蟿伪喂 魏伪魏蠈 魏伪喂 蟿喂 蟺蟻伪纬渭伪蟿喂魏维 蟺喂蟽蟿蔚蠉蔚喂 慰 魏伪胃苇谓伪蟼 渭伪蟼 纬喂伪蠀蟿蠈...
February 7, 2022
Retras 卯ntr-un apartament plin cu c膬r葲i, un anume Durtal, scriitor pensionar, 卯ncearc膬 s膬-l reabiliteze pe cavalerul 鈥濨arb膬 Albastr膬鈥�. Va reu葯i s膬 卯ntoarc膬 judecata tribunalului istoric?
Citim, a葯adar, o posibil膬 biografie a mare葯alului Gilles de Rais (卯nainte de 1405 - 26 octombrie 1440). 脦n 1429, a luptat al膬turi de Jeanne d'Arc. O legend膬 pretinde c膬 Gilles de Rais ar fi 卯ncercat s-o elibereze pe eroin膬 din 卯nchisoarea din Rouen. A dat gre葯. A fost condamnat la moarte pentru dubioase leg膬turi cu Satana, pentru desfr卯u, ucideri de prunci 葯i apostazie. Unii istorici nu par nici ast膬zi convin葯i pe deplin de vinov膬葲ia lui.
Planul lui Huysmans este mai 卯ndr膬zne葲. El vrea s膬 ateste faptul c膬 practicile cavalerului Gilles de Rais au supravie葲uit 葯i 卯n Parisul modern. 脦n unele biserici, la miezul nop葲ii, anonimi acoperi葲i de v膬luri se adun膬 pentru a adora un o divinitate impostoare. Povestea are ceva gotic 卯n ea. Dar parizienii nu mai au 卯ndr膬zneala nes膬buit膬 a lui Gilles de Rais. Lumea s-a emancipat...
Am ales acest episod hagiografic, care l-ar fi interesat, ne卯ndoios, 葯i pe Freud:
鈥�- Nu-葲i fie fric膬, du-te, 卯n asemena grup nu-i nimeni s膬-l imite pe martirul despre care vorbe葯te Jacques de Voragine 卯n istoria sf卯ntului Pavel Eremitul. Cuno葯ti legenda?
- Nu.
- Ei bine, ca s膬-葲i mai 卯nveselesc sufletul, am s膬 葲i-o povestesc. Acest martir, pe c卯nd era foarte t卯n膬r, a fost 卯ntins cu m卯inile 葯i picioarele legate de un pat, apoi i s-a trimis o creatur膬 superb膬, care 卯ncerc膬 s膬 profite de el. Cum sim葲urile i se r膬sculaser膬 葯i era pe cale s膬 p膬c膬tuiasc膬, 葯i-a mu葯cat limba cu din葲ii 葯i i-a scuipat-o femeii 卯n obraz; 葯i astfel durerea goni ispita, ne poveste葯te bunul Voragine鈥�.
Am uitat s膬 v膬 spun, romanele lui J.-K. Huysmans (m膬 g卯ndesc 葯i la 脦n r膬sp膬r, c膬ruia i s-a ridicat un cult) reprezint膬 pentru mine culmea plictisului.
Citim, a葯adar, o posibil膬 biografie a mare葯alului Gilles de Rais (卯nainte de 1405 - 26 octombrie 1440). 脦n 1429, a luptat al膬turi de Jeanne d'Arc. O legend膬 pretinde c膬 Gilles de Rais ar fi 卯ncercat s-o elibereze pe eroin膬 din 卯nchisoarea din Rouen. A dat gre葯. A fost condamnat la moarte pentru dubioase leg膬turi cu Satana, pentru desfr卯u, ucideri de prunci 葯i apostazie. Unii istorici nu par nici ast膬zi convin葯i pe deplin de vinov膬葲ia lui.
Planul lui Huysmans este mai 卯ndr膬zne葲. El vrea s膬 ateste faptul c膬 practicile cavalerului Gilles de Rais au supravie葲uit 葯i 卯n Parisul modern. 脦n unele biserici, la miezul nop葲ii, anonimi acoperi葲i de v膬luri se adun膬 pentru a adora un o divinitate impostoare. Povestea are ceva gotic 卯n ea. Dar parizienii nu mai au 卯ndr膬zneala nes膬buit膬 a lui Gilles de Rais. Lumea s-a emancipat...
Am ales acest episod hagiografic, care l-ar fi interesat, ne卯ndoios, 葯i pe Freud:
鈥�- Nu-葲i fie fric膬, du-te, 卯n asemena grup nu-i nimeni s膬-l imite pe martirul despre care vorbe葯te Jacques de Voragine 卯n istoria sf卯ntului Pavel Eremitul. Cuno葯ti legenda?
- Nu.
- Ei bine, ca s膬-葲i mai 卯nveselesc sufletul, am s膬 葲i-o povestesc. Acest martir, pe c卯nd era foarte t卯n膬r, a fost 卯ntins cu m卯inile 葯i picioarele legate de un pat, apoi i s-a trimis o creatur膬 superb膬, care 卯ncerc膬 s膬 profite de el. Cum sim葲urile i se r膬sculaser膬 葯i era pe cale s膬 p膬c膬tuiasc膬, 葯i-a mu葯cat limba cu din葲ii 葯i i-a scuipat-o femeii 卯n obraz; 葯i astfel durerea goni ispita, ne poveste葯te bunul Voragine鈥�.
Am uitat s膬 v膬 spun, romanele lui J.-K. Huysmans (m膬 g卯ndesc 葯i la 脦n r膬sp膬r, c膬ruia i s-a ridicat un cult) reprezint膬 pentru mine culmea plictisului.
June 9, 2009
FINAL THOUGHTS:
I'm not going to be able to do this book justice. It's one of those reads where you want to mark the book up with underlines because of all the great quotes and all the passages that are so relevant to today.
The book is a great read, very different. It covers so much philosophical, historical and transgressive territory. It has just about everything.
Ultimately, the book bashes the modern world of science and technology and atheism (of 1891) in favor of the mystical simplicity of the Middle Ages. That may not sound promising, but the way the conversations and story develop make for a thought-provoking template. Huysmans seems to want to lead the reader to Catholicism, but the ambiguities and skepticism in the mind of the main character, Durtal, seem to last all the way to the end; an ending I found a tad anticlimactic.
Most of the book is a series of teases. One being the wonderfully erotic dance between Durtal and Madam Chantelouve, the married woman whose link to Satanism fascinates and repulses Durtal at the same time. Their relationship begins with her anonymous letters to him (she's a fan of his books). And he becomes obsessed with learning who she is, as the letters become more passionate. When he finds her out, meetings are arranged and after parries and withdrawals they finally bed. Durtal's inner debate about the nature of the relationship is fascinating, especially his inability to reconcile his "mother/whore" complex about her. She's a cold society woman in public, but an orgasm hound in bed.
The other tease of the book is Durtal's attempt to worm his way into the Satanic cult world of modern day Paris. He needs to do this in order to finish his book on the life of a horrific satanic murderer of the Middle Ages (the descriptions of his crimes -- the ripping of a fetus from a womb and raping it, for example -- are transgressive to the max).
There are amazing descriptions of pedophilic crime, the use of poisons, and satanic rites. Too much stuff to even remember.
The meetings between Carhaix, the simple bellringer with a simple faith, Durtal, the skeptic, and des Hermies, the man who straddles the fence but who seems to lean to mysticism result in interesting discussions, even if some of them seem full of half-baked metaphysics.
I could go on, but there's just too much here.
This was, simply put, an amazing book.
------
(earlier comment):
So eager to read this I opened Chapter One and was help rapt. I was expecting erotica (which presumably happens later) but instead found it to be a wide-ranging, provocative, ambitious and enlighting consideration of art, literature, religious faith, money, corruption and the mysteries of life. It begins as a debate between an isolated writer and a progressive thinking doctor about the validity of naturalist literature as practiced by Zola (which the writer admires and the progressive disdains) versus a less tangible and poetic way of documenting life in writing. The writer begins to doubt many of his precepts and ruminates on the truths in Matthias Gr眉newald's painting of the Crucifixion, which seem to bear out the arguments of his debate rival. The description of the painting and how it captures pain, reality and mystery is achingly beautiful.
So many ideas in this first chapter reflected so many of my own thoughts about these issues that I almost thought Huysmans might be a spiritual antecedent of mine; a doppelganger of sorts. Chapter One is kind of a masterpiece; if the rest of the book is this good, I will be very pleased.
Provisional five-star rating.
I'm not going to be able to do this book justice. It's one of those reads where you want to mark the book up with underlines because of all the great quotes and all the passages that are so relevant to today.
The book is a great read, very different. It covers so much philosophical, historical and transgressive territory. It has just about everything.
Ultimately, the book bashes the modern world of science and technology and atheism (of 1891) in favor of the mystical simplicity of the Middle Ages. That may not sound promising, but the way the conversations and story develop make for a thought-provoking template. Huysmans seems to want to lead the reader to Catholicism, but the ambiguities and skepticism in the mind of the main character, Durtal, seem to last all the way to the end; an ending I found a tad anticlimactic.
Most of the book is a series of teases. One being the wonderfully erotic dance between Durtal and Madam Chantelouve, the married woman whose link to Satanism fascinates and repulses Durtal at the same time. Their relationship begins with her anonymous letters to him (she's a fan of his books). And he becomes obsessed with learning who she is, as the letters become more passionate. When he finds her out, meetings are arranged and after parries and withdrawals they finally bed. Durtal's inner debate about the nature of the relationship is fascinating, especially his inability to reconcile his "mother/whore" complex about her. She's a cold society woman in public, but an orgasm hound in bed.
The other tease of the book is Durtal's attempt to worm his way into the Satanic cult world of modern day Paris. He needs to do this in order to finish his book on the life of a horrific satanic murderer of the Middle Ages (the descriptions of his crimes -- the ripping of a fetus from a womb and raping it, for example -- are transgressive to the max).
There are amazing descriptions of pedophilic crime, the use of poisons, and satanic rites. Too much stuff to even remember.
The meetings between Carhaix, the simple bellringer with a simple faith, Durtal, the skeptic, and des Hermies, the man who straddles the fence but who seems to lean to mysticism result in interesting discussions, even if some of them seem full of half-baked metaphysics.
I could go on, but there's just too much here.
This was, simply put, an amazing book.
------
(earlier comment):
So eager to read this I opened Chapter One and was help rapt. I was expecting erotica (which presumably happens later) but instead found it to be a wide-ranging, provocative, ambitious and enlighting consideration of art, literature, religious faith, money, corruption and the mysteries of life. It begins as a debate between an isolated writer and a progressive thinking doctor about the validity of naturalist literature as practiced by Zola (which the writer admires and the progressive disdains) versus a less tangible and poetic way of documenting life in writing. The writer begins to doubt many of his precepts and ruminates on the truths in Matthias Gr眉newald's painting of the Crucifixion, which seem to bear out the arguments of his debate rival. The description of the painting and how it captures pain, reality and mystery is achingly beautiful.
So many ideas in this first chapter reflected so many of my own thoughts about these issues that I almost thought Huysmans might be a spiritual antecedent of mine; a doppelganger of sorts. Chapter One is kind of a masterpiece; if the rest of the book is this good, I will be very pleased.
Provisional five-star rating.
January 6, 2014
The best one can do is point to Dostoevsky . . . as providing the closest approximation to such an ideal. Yet even that amenable Russian is more an evangelical socialist than an enraptured realist. In France, now that the purely physical recipe has fallen into such discredit, two clans have emerged: the liberals, who, by emasculating it of anything contentious, whether social or linguistic, have made Naturalism a subject fit for drawing room chitter-chatter; and, even more extreme, the decadents who reject plot, description, even character, and rave on unintelligibly in a telegraphic gibberish intended to represent the language of the soul.
The Damned is a curious novel. It is not necessarily one of extremes, but, rather of alarm. There is a concern for traditions gone awry and hopes for salvation. Both are obscured by the mechanized din of existence. This strikes me as rather Marxist, but then who am I?
I braced myself for the horrific but felt more disturbed by hope professed. Huysmans reminds me of the Serbian director Du拧an Makavejev displaying a poetics of detail, a departure away from explication in the form of procedure. A spectre is haunting Paris, democratic sheep are rejecting the Republic and the church has abandoned heraldry. Huysmans instead allows the reader to ponder the preperation of a soup and the nature of a liqueur, all the while the dining table discussions argue the timetable of Christ's thousand year reign. The term surreal is bandied about too often today. The contrasts between this and the descriptions of Gilles de Rais' atrocities provides a calm, one I fashion to be of despair. I found the idea that Rais repented and was, however obliquely, regarded as martyr to be an all-too-human eventuality.
The Damned is a curious novel. It is not necessarily one of extremes, but, rather of alarm. There is a concern for traditions gone awry and hopes for salvation. Both are obscured by the mechanized din of existence. This strikes me as rather Marxist, but then who am I?
I braced myself for the horrific but felt more disturbed by hope professed. Huysmans reminds me of the Serbian director Du拧an Makavejev displaying a poetics of detail, a departure away from explication in the form of procedure. A spectre is haunting Paris, democratic sheep are rejecting the Republic and the church has abandoned heraldry. Huysmans instead allows the reader to ponder the preperation of a soup and the nature of a liqueur, all the while the dining table discussions argue the timetable of Christ's thousand year reign. The term surreal is bandied about too often today. The contrasts between this and the descriptions of Gilles de Rais' atrocities provides a calm, one I fashion to be of despair. I found the idea that Rais repented and was, however obliquely, regarded as martyr to be an all-too-human eventuality.
August 5, 2016
韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 Joris-Karl, 萎 George, Huysmans, 蔚魏未蠈胃畏魏蔚 伪蟻蠂喂魏维 蟽蔚 蔚蠁畏渭蔚蟻委未伪 蟽蔚 蟽蠀谓苇蠂蔚喂蔚蟼 蟿慰 1891 魏伪喂 渭慰位慰谓蠈蟿喂 蟺慰位位慰委 蟽蠀谓蟿畏蟻畏蟿喂魏慰委 伪谓伪纬谓蠋蟽蟿蔚蟼 伪谓蟿苇未蟻伪蟽伪谓 位蠈纬蠅 蟿蠅谓 蟽慰魏伪蟻喂蟽蟿喂魏蠋谓 蟽魏畏谓蠋谓 蟺慰蠀 蟺蔚蟻喂苇蠂慰谓蟿伪谓 蟽蟿慰 苇蟻纬慰, 畏 蔚蠁畏渭蔚蟻委未伪 L'脡cho de Paris 蟿慰蠀蟼 伪纬谓蠈畏蟽蔚 蟽蠀谓蔚蠂委味慰谓蟿伪蟼 蟿畏谓 魏蠀魏位慰蠁慰蟻委伪. 螚 尾伪蟽喂魏萎 蠀蟺蠈胃蔚蟽畏 蟿慰蠀 苇蟻纬慰蠀 伪蠁慰蟻维 蟿慰 蟽伪蟿伪谓喂蟽渭蠈 蟽蟿畏 蟽蠉纬蠂蟻慰谓畏 螕伪位位委伪, 蟿慰蠀 fin de si猫cle, 魏伪喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟽蟿伪胃渭蠈蟼 蟽蟿慰 魏委谓畏渭伪 蟿畏蟼 蟺伪蟻伪魏渭萎蟼.
韦慰 蠈谓慰渭伪 蟿慰蠀 魏蔚谓蟿蟻喂魏慰蠉 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 尾纬伪位渭苇谓慰, 蠈蟺蠅蟼 喂蟽蠂蠀蟻委味慰谓蟿伪喂 渭蔚位蔚蟿畏蟿苇蟼 蟿慰蠀 Huysmans, 伪蟺蠈 苇谓伪 蟽喂未畏蟻慰未蟻慰渭喂魏蠈 蠂蟻慰谓慰未喂维纬蟻伪渭渭伪, 伪蠁慰蠉 Durtal 蔚委谓伪喂 蟿慰 蠈谓慰渭伪 蔚谓蠈蟼 蠂蠅蟻喂慰蠉 300 蠂位渭. 谓慰蟿喂慰-未蠀蟿喂魏维 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蔚谓蟿慰蠉蟿慰喂蟼 畏 渭慰蟻蠁萎 蟿慰蠀 渭慰喂维味蔚喂 谓伪 魏伪胃蟻蔚蠁蟿委味蔚喂 蟿慰谓 委未喂慰 蟿慰 蟽蠀纬纬蟻伪蠁苇伪. 韦慰 L脿-bas 蠅蟽蟿蠈蟽慰 未蔚谓 蔚委谓伪喂 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏蠈 苇蟻纬慰, 伪位位维 畏 伪蟺蔚喂魏蠈谓喂蟽畏 蠈蟽蠅谓 蔚蟺喂位苇纬蔚喂 慰 委未喂慰蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 谓伪 伪蟺慰魏伪位蠉蠄蔚喂 纬喂伪 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀. 螣 Durtal 蔚委谓伪喂 苇谓伪蟼 蠂伪渭畏位蠋谓 蟿蠈谓蠅谓, 谓蟿蟻慰蟺伪位蠈蟼 魏伪喂 蟽蠀谓蔚蟽蟿伪位渭苇谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺慰蠀 伪蟽蠂慰位蔚委蟿伪喂 渭蔚 蟿畏谓 伪喂蟽胃畏蟿喂魏萎 伪谓伪味萎蟿畏蟽畏, 位慰纬慰蟿蔚蠂谓喂魏萎 萎 渭畏, 蔚委谓伪喂 苇谓伪蟼 蔚蟺喂尾蔚尾伪喂蠅渭苇谓慰蟼 蔚蟻纬苇谓畏蟼 蟺慰蠀 蟽蟺维谓喂伪 蟺蟻慰尾位畏渭伪蟿委味蔚蟿伪喂 渭蔚 蟺伪蟻慰蟻渭萎蟽蔚喂蟼 蟿畏蟼 位委渭蟺喂谓蟿蠈 蟿慰蠀, 苇谓伪蟼 魏蠀谓喂魏蠈蟼 慰蟻胃慰位慰纬喂蟽蟿萎蟼 蟺慰蠀 伪谓伪位蠋谓蔚蟿伪喂 蟽蟿慰 谓伪 蠂位蔚蠀维味蔚喂 蟿喂蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼 魏伪喂 蟿喂蟼 蟺蟻伪魏蟿喂魏苇蟼 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 蟺蠋蟼 慰 Huysmans 蠁伪谓蟿伪味蠈蟿伪谓 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 魏伪胃蠋蟼 慰 委未喂慰蟼 萎蟿伪谓 苇谓伪蟼 未畏渭蠈蟽喂慰蟼 蠀蟺维位位畏位慰蟼, 蟺慰蠀 伪蟺慰位维渭尾伪谓蔚 蟿慰 蟺慰蟿蠈, 蟺慰蠀 蔚委蠂蔚 苇谓伪谓 蔚尉伪喂蟻蔚蟿喂魏维 蔚蠀蟻蠉 魏蠉魏位慰 蠁委位蠅谓 魏伪喂 纬谓蠅蟽蟿蠋谓 (蟺慰位位慰委 蔚魏 蟿蠅谓 慰蟺慰委蠅谓 蟽蠀渭蟺蔚蟻喂位萎蠁胃畏魏伪谓 渭苇蟽伪 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪), 蟺慰蠀 蟿伪位伪谓喂味蠈蟿伪谓 伪蟺蠈 慰喂魏慰谓慰渭喂魏维 蟺蟻慰尾位萎渭伪蟿伪 魏伪喂, 蟿苇位慰蟼, 蟿慰蠀 慰蟺慰委慰蠀 畏 蟽蟿维蟽畏 伪蟺苇谓伪谓蟿喂 蟽蟿慰 芦au-del脿禄, 蟿慰 蠀蟺蔚蟻蟺苇蟻伪谓, 渭蔚 蟿喂蟼 蠈蟺慰喂蔚蟼 蔚魏蠁维谓蟽蔚喂蟼 蟿慰蠀, 萎蟿伪谓 伪魏蠈渭畏 蟺喂慰 伪蟽伪蠁萎蟼 伪蟺蠈 伪蠀蟿萎 蟿慰蠀 alter ego 蟿慰蠀.
韦慰 魏蔚委渭蔚谓慰 蠅蟽蟿蠈蟽慰 蟿慰蠀 Huysmans 蔚谓未喂伪蠁苇蟻蔚喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽蟿畏 尾维蟽畏 蟿慰蠀 喂未蔚慰位慰纬喂魏慰蠉 蠀蟺蠈尾伪胃蟻慰蠀 蟿畏蟼 蟺伪蟻伪魏渭萎蟼. 螤喂慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 魏伪蟿蔚尉慰蠂萎谓 胃蔚渭伪蟿慰位慰纬委伪 蟿慰蠀 蟻蔚蠉渭伪蟿慰蟼 蟿慰蠀 蟻慰渭伪谓蟿喂蟽渭慰蠉 魏伪蟿伪蟻纬蔚委蟿伪喂, 蟺伪蠉蔚喂 畏 蔚尉蠉蠄蠅蟽畏 蟿畏蟼 蠁蠉蟽畏蟼, 蟿畏蟼 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎蟼 蠁蠈蟻蟿喂蟽畏蟼, 魏伪喂 蟽蟿畏 胃苇蟽畏 蟿慰蠀蟼 魏蠀蟻喂伪蟻蠂蔚委 蟿慰 伪谓萎胃喂魏慰, 畏 魏慰喂谓蠅谓喂魏萎 蟿慰喂蠂慰纬蟻伪蠁委伪 蟿畏蟼 蟺蠈位畏蟼 蠂蠅蟻委蟼 蟽蟿慰位委未喂伪. 危蠉纬蠂蟻慰谓慰 渭蔚 蟿慰谓 谓伪蟿慰蠀蟻伪位喂蟽渭蠈, 蟿慰 魏委谓畏渭伪 蟿畏蟼 蟺伪蟻伪魏渭萎蟼 蔚尉伪委蟻蔚喂 蟿慰谓 渭蟺慰蔚渭喂蟽渭蠈, 蟿慰谓 渭蠀蟽蟿喂魏喂蟽渭蠈 魏伪喂 蟿畏 未喂伪蟽蟿蟻慰蠁萎, 蟿畏谓 蠀蟺蔚蟻尾慰位萎 魏伪喂 蟿慰 蟺伪蟻维尉蔚谓慰, 蔚谓蠋 畏 苇位尉畏 蟺蟻慰蟼 蟿慰 渭伪魏维尾蟻喂慰 魏伪蟿伪位萎纬蔚喂 渭伪谓喂苇蟻伪 魏伪喂 蔚尉伪谓蟿位蔚委蟿伪喂 蟽蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 苇蟻纬慰, 渭蔚 蟿慰谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 谓伪 伪畏未喂维味蔚喂 伪蟺蠈 蟿畏谓 魏蔚谓蠈蟿畏蟿伪 魏伪喂 蟿畏 蠂蠀未伪喂蠈蟿畏蟿伪 蟿慰蠀 蟽蠉纬蠂蟻慰谓慰蠀 魏蠈蟽渭慰蠀 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 蔚蟻蔚蠀谓维 蟿慰谓 蠀蟺蠈魏慰蟽渭慰 魏伪喂 蟿喂蟼 蟽伪蟿伪谓喂蟽蟿喂魏苇蟼 位蔚喂蟿慰蠀蟻纬委蔚蟼.
韦慰 蠈谓慰渭伪 蟿慰蠀 魏蔚谓蟿蟻喂魏慰蠉 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 渭蟺慰蟻蔚委 谓伪 蔚委谓伪喂 尾纬伪位渭苇谓慰, 蠈蟺蠅蟼 喂蟽蠂蠀蟻委味慰谓蟿伪喂 渭蔚位蔚蟿畏蟿苇蟼 蟿慰蠀 Huysmans, 伪蟺蠈 苇谓伪 蟽喂未畏蟻慰未蟻慰渭喂魏蠈 蠂蟻慰谓慰未喂维纬蟻伪渭渭伪, 伪蠁慰蠉 Durtal 蔚委谓伪喂 蟿慰 蠈谓慰渭伪 蔚谓蠈蟼 蠂蠅蟻喂慰蠉 300 蠂位渭. 谓慰蟿喂慰-未蠀蟿喂魏维 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蔚谓蟿慰蠉蟿慰喂蟼 畏 渭慰蟻蠁萎 蟿慰蠀 渭慰喂维味蔚喂 谓伪 魏伪胃蟻蔚蠁蟿委味蔚喂 蟿慰谓 委未喂慰 蟿慰 蟽蠀纬纬蟻伪蠁苇伪. 韦慰 L脿-bas 蠅蟽蟿蠈蟽慰 未蔚谓 蔚委谓伪喂 伪蠀蟿慰尾喂慰纬蟻伪蠁喂魏蠈 苇蟻纬慰, 伪位位维 畏 伪蟺蔚喂魏蠈谓喂蟽畏 蠈蟽蠅谓 蔚蟺喂位苇纬蔚喂 慰 委未喂慰蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 谓伪 伪蟺慰魏伪位蠉蠄蔚喂 纬喂伪 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀. 螣 Durtal 蔚委谓伪喂 苇谓伪蟼 蠂伪渭畏位蠋谓 蟿蠈谓蠅谓, 谓蟿蟻慰蟺伪位蠈蟼 魏伪喂 蟽蠀谓蔚蟽蟿伪位渭苇谓慰蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺慰蠀 伪蟽蠂慰位蔚委蟿伪喂 渭蔚 蟿畏谓 伪喂蟽胃畏蟿喂魏萎 伪谓伪味萎蟿畏蟽畏, 位慰纬慰蟿蔚蠂谓喂魏萎 萎 渭畏, 蔚委谓伪喂 苇谓伪蟼 蔚蟺喂尾蔚尾伪喂蠅渭苇谓慰蟼 蔚蟻纬苇谓畏蟼 蟺慰蠀 蟽蟺维谓喂伪 蟺蟻慰尾位畏渭伪蟿委味蔚蟿伪喂 渭蔚 蟺伪蟻慰蟻渭萎蟽蔚喂蟼 蟿畏蟼 位委渭蟺喂谓蟿蠈 蟿慰蠀, 苇谓伪蟼 魏蠀谓喂魏蠈蟼 慰蟻胃慰位慰纬喂蟽蟿萎蟼 蟺慰蠀 伪谓伪位蠋谓蔚蟿伪喂 蟽蟿慰 谓伪 蠂位蔚蠀维味蔚喂 蟿喂蟼 蟺蔚蟺慰喂胃萎蟽蔚喂蟼 魏伪喂 蟿喂蟼 蟺蟻伪魏蟿喂魏苇蟼 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟿慰 蟺蠋蟼 慰 Huysmans 蠁伪谓蟿伪味蠈蟿伪谓 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 魏伪胃蠋蟼 慰 委未喂慰蟼 萎蟿伪谓 苇谓伪蟼 未畏渭蠈蟽喂慰蟼 蠀蟺维位位畏位慰蟼, 蟺慰蠀 伪蟺慰位维渭尾伪谓蔚 蟿慰 蟺慰蟿蠈, 蟺慰蠀 蔚委蠂蔚 苇谓伪谓 蔚尉伪喂蟻蔚蟿喂魏维 蔚蠀蟻蠉 魏蠉魏位慰 蠁委位蠅谓 魏伪喂 纬谓蠅蟽蟿蠋谓 (蟺慰位位慰委 蔚魏 蟿蠅谓 慰蟺慰委蠅谓 蟽蠀渭蟺蔚蟻喂位萎蠁胃畏魏伪谓 渭苇蟽伪 蟽蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪), 蟺慰蠀 蟿伪位伪谓喂味蠈蟿伪谓 伪蟺蠈 慰喂魏慰谓慰渭喂魏维 蟺蟻慰尾位萎渭伪蟿伪 魏伪喂, 蟿苇位慰蟼, 蟿慰蠀 慰蟺慰委慰蠀 畏 蟽蟿维蟽畏 伪蟺苇谓伪谓蟿喂 蟽蟿慰 芦au-del脿禄, 蟿慰 蠀蟺蔚蟻蟺苇蟻伪谓, 渭蔚 蟿喂蟼 蠈蟺慰喂蔚蟼 蔚魏蠁维谓蟽蔚喂蟼 蟿慰蠀, 萎蟿伪谓 伪魏蠈渭畏 蟺喂慰 伪蟽伪蠁萎蟼 伪蟺蠈 伪蠀蟿萎 蟿慰蠀 alter ego 蟿慰蠀.
韦慰 魏蔚委渭蔚谓慰 蠅蟽蟿蠈蟽慰 蟿慰蠀 Huysmans 蔚谓未喂伪蠁苇蟻蔚喂 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 蟽蟿畏 尾维蟽畏 蟿慰蠀 喂未蔚慰位慰纬喂魏慰蠉 蠀蟺蠈尾伪胃蟻慰蠀 蟿畏蟼 蟺伪蟻伪魏渭萎蟼. 螤喂慰 蟽蠀纬魏蔚魏蟻喂渭苇谓伪, 畏 魏伪蟿蔚尉慰蠂萎谓 胃蔚渭伪蟿慰位慰纬委伪 蟿慰蠀 蟻蔚蠉渭伪蟿慰蟼 蟿慰蠀 蟻慰渭伪谓蟿喂蟽渭慰蠉 魏伪蟿伪蟻纬蔚委蟿伪喂, 蟺伪蠉蔚喂 畏 蔚尉蠉蠄蠅蟽畏 蟿畏蟼 蠁蠉蟽畏蟼, 蟿畏蟼 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏萎蟼 蠁蠈蟻蟿喂蟽畏蟼, 魏伪喂 蟽蟿畏 胃苇蟽畏 蟿慰蠀蟼 魏蠀蟻喂伪蟻蠂蔚委 蟿慰 伪谓萎胃喂魏慰, 畏 魏慰喂谓蠅谓喂魏萎 蟿慰喂蠂慰纬蟻伪蠁委伪 蟿畏蟼 蟺蠈位畏蟼 蠂蠅蟻委蟼 蟽蟿慰位委未喂伪. 危蠉纬蠂蟻慰谓慰 渭蔚 蟿慰谓 谓伪蟿慰蠀蟻伪位喂蟽渭蠈, 蟿慰 魏委谓畏渭伪 蟿畏蟼 蟺伪蟻伪魏渭萎蟼 蔚尉伪委蟻蔚喂 蟿慰谓 渭蟺慰蔚渭喂蟽渭蠈, 蟿慰谓 渭蠀蟽蟿喂魏喂蟽渭蠈 魏伪喂 蟿畏 未喂伪蟽蟿蟻慰蠁萎, 蟿畏谓 蠀蟺蔚蟻尾慰位萎 魏伪喂 蟿慰 蟺伪蟻维尉蔚谓慰, 蔚谓蠋 畏 苇位尉畏 蟺蟻慰蟼 蟿慰 渭伪魏维尾蟻喂慰 魏伪蟿伪位萎纬蔚喂 渭伪谓喂苇蟻伪 魏伪喂 蔚尉伪谓蟿位蔚委蟿伪喂 蟽蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 苇蟻纬慰, 渭蔚 蟿慰谓 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 谓伪 伪畏未喂维味蔚喂 伪蟺蠈 蟿畏谓 魏蔚谓蠈蟿畏蟿伪 魏伪喂 蟿畏 蠂蠀未伪喂蠈蟿畏蟿伪 蟿慰蠀 蟽蠉纬蠂蟻慰谓慰蠀 魏蠈蟽渭慰蠀 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 蔚蟻蔚蠀谓维 蟿慰谓 蠀蟺蠈魏慰蟽渭慰 魏伪喂 蟿喂蟼 蟽伪蟿伪谓喂蟽蟿喂魏苇蟼 位蔚喂蟿慰蠀蟻纬委蔚蟼.
July 24, 2024
Auf der Suche nach dem verlorenen gegangenen Glauben. Satansrasereien.
Inhalt: 4/5 Sterne (Satanismus hier und dort)
Form: 4/5 Sterne (ornamental-symbolistisch barocken)
Komposition: 4/5 Sterne (vital erz盲hlt, etwas dudelnd.)
Leseerlebnis: 4/5 Sterne (intensives Verdunkeln)
Huysmans Bekanntheit stammt vor allem von seinem Dekadenzroman , doch Die Schule der Satanisten setzt diesem noch ein i-T眉pfelchen auf. Hier geht es auf die Zielgerade, hinein in den vers枚hnenden, auss枚hnenden Glauben, aber noch ist es nicht so weit. Durtal, der Protagonist von Huysmans Roman, nimmt Schwung, indem er sich von den Krassheiten, Exzessen, dem D盲monischen des Pariser Satanismus absto脽en l盲sst:
脺berall steigen obsz枚ne Formen aus der Erde, schie脽en wirr zum Firmament empor, das sich ins Satanische wendet; die Wolken bl盲hen sich zu Brustwarzen, spalten sich zu Hinterbacken, runden sich zu fruchttragenden Schl盲uchen, l枚sen sich auf zu breit auseinanderrinnenden Str枚men von Samenmilch; sie f眉gen sich ein ins Geschwelg des Hochwalds, wo nichts mehr bleibt als Bilder riesiger oder zwergiger Schenkel, als weibliche Winkel, als gro脽e Vs, als Afterm眉nder, als sich nach innen verbreiternde Narben, als feuchte Abfl眉sse!
Mit einem schier irrsinnigen Aufgebot an urw眉chsigen Worten, mittelalterlichen Beschreibungen, an gotisch-malerischen Exzessen pinselt der Erz盲hler von Tief unten oder Die Schule der Satanisten grausame Bilder, Metzeleien aneinander. Die Raserei nimmt kein Ende. Beinahe jeder Aberglaube findet Erw盲hnung: Horoskope, Hexerei, Wahrsagen, Astrologie, D盲monologie und so weiter. Die allt盲gliche Welt Paris' entlockt Durtal, v枚llig entnervt, gelangweilt von der Gegenwart, nur ein m眉des L盲cheln. Es ist Wahl, aber die Dandys gehen nicht hin:
禄Boulange! 鈥� lange!芦, dann h枚rte man eine heisere, ungeheure Stimme 鈥� wie die einer Austernh盲ndlerin, eines Karrenschiebers 鈥�, welche die anderen 眉bert枚nte, alle Hurras unter sich lie脽; und von neuem br眉llte sie: 禄Es lebe Boulanger!芦
禄Diese Leute bekreischen vor der B眉rgermeisterei die Wahlergebnisse芦, sagte Carhaix ver盲chtlich.
Alle sahen sich an. 禄Das Volk von heute!芦 versetzte des Hermies.
禄Ach! Nie w眉rde es einem Gelehrten, einem K眉nstler dergestalt zujubeln, nicht einmal einem Heiligen, also einem 眉bernat眉rlichen Wesen芦, schimpfte G茅vingey. 禄Im Mittelalter hingegen tat es dies sehr wohl!芦
Tiefenpsychologie parallelisierend, durchschreitet Durtal seine Erotomanie, indem er durch den Satanismus die Verlockungen hin zum weiblichen Geschlecht als Verderbnis begreift, als Verausgabung, die ihn um seine literarische Kraft bringt. Die Abarbeitung findet in Gestalt seiner Vernarrtheit in Hyacinthe statt. Der Eintritt ins Kloster bleibt so nur eine Frage der Zeit. 脺berhaupt erscheint das Gl枚cknerehepaar, das noch wie im Mittelalter lebt, obwohl der Roman Ende des 19. Jahrhunderts spielt, als Vorbild, insbesondere mit seiner Hausmannskost. Im Grunde, hier hat Houellebecqs Protagonist in einen Punkt, geht es nur ums gut-b眉rgerliche Essen:
禄Ich f眉rchte, es ist zu stark ausgekocht芦, sagte die Frau, die sich weit mehr f眉r ihr Rindfleisch als f眉r jene Abenteuer in der anderen Welt interessierte, und sie setzte die bekannte Hausfrauenweisheit hinzu: 禄Wenn die Br眉he gut gewesen, schneidet sich das Rindfleisch schlecht.芦
Die M盲nner protestierten und versicherten, es zerfasere nicht, es sei genau richtig gekocht.
禄Kommen Sie, Herr Durtal, nehmen Sie eine Sardelle und ein bi脽chen Butter zu Ihrem Fleisch.芦
Als Fresko, D盲monologie, als eine Art Fries, das in die Untiefen und Urtiefen einer mystischen Weltsicht f眉hrt, in die Katakomben des franz枚sischen Unbewusstseins, dort, wo die Alptr盲ume lauern und w眉hlen, mit den W眉rmern, dem Geschmei脽, dem Gestank samt erotischem Exzess, dort, wo aller Schmutz zusammenkommt, alles zusammenbricht, die Seele greint, dort lebt der Roman Die Schule der Satanisten und die, die sich die Welt zur H枚lle machen, um wieder Grund zum Glauben zu haben. Mit fieberwahnhaftem Schmerz aufgezeichnet, literarische Stimulanz gegen das eigene, w眉ste Begehren, evoziert Huysmans die Lust am Wort und an der Sprache bar jeden Gehalts.
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Details 鈥� ab hier Spoilergefahr (zur Erinnerung f眉r mich):
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Inhalt: Durtal, Schriftsteller, lebt zur眉ckgezogen, ausgehalten von seiner j盲hrlichen Rente, von seinem Concierge versorgt, dem er beim Arbeiten nicht zusehen will, und bem眉ht sich um eine m枚glichst lebendige Gille de Rais (1404-1440) Biographie. Er trifft sich mit seinem Freund Des Hemies, durch den er das Gl枚cknerehepaar Carhaix, streng katholisch, kennenlernt. Bei den Carhaix trifft er Gevingey, den Astrologen und Horoskopen, der alsbald nach Lyon muss, um sich dort bei Johann猫s von einem Hexenzauber heilen zu lassen, der ihn vom dem Satanisten, dem Kanonikus Docre, aufmoduliert wurde. Derweil erh盲lt er Briefe einer unbekannten Verehrerin, die sich als Hyacinthe Chantelouve entpuppt, das Ehepaar, bei dem er Des Hermies kennenlernte, und die Kontakt zum Satanisten Docre hat. Hyacinthe und Durtal haben einen kurzen Flirt, der nach einer Satanistenmesse ihr j盲hes Ende findet. Durtal hat genug Material zusammen, um seine Biographie 眉ber Gille de Rais, Blaubart, zu beenden. Eigentlich Inhalt aber die Beschreibungen der vielen Gerichte, Einrichtungsgegenst盲nde und Geschichtsanekdoten 眉ber den Satanismus in all seinen Auspr盲gungen. Teilweise sehr 枚de, sehr langwierig, insbesondere am Anfang, gegen Ende, durch die Karriere des Schreckens von Gille des Rais spannend. --> 4 Sterne
Form: Wohlgeschmiedete S盲tze, die ein wenig holprig sein k枚nnen, aber in ihrem Stolpern und Holpern ein gewisses Ebenma脽 erhalten, das Huysmans durchh盲lt. Sehr aufwendige altert眉mliche Worte, das Wortmaterial bunt, interessant, aufregend, bunt, lautmalerisch, und hierzu klassisch durchgebildet, lange rhythmisierte S盲tze mit Sinneswandel und -anschauungen. Ein wenig zu ornamental, hier und da, ein wenig zu dick aufgetragen, und doch hier und da z盲h, dokumentarisch, aufz盲hlend. --> 4 Sterne
Komposition: Motivierter Handlungsstrang 眉ber Gille des Rais, hierdurch R眉ckblicke, Gegenwartserkl盲rung, Schreiben und im Schreiben erlebend, abwechslungsreiche Dialoge, klerikaler Unterton durch die Glocken, als Symbol, als Bezugspunkte, Kirchent眉rme, Kirchenbeschreibungen, aber stets alles geballt um die Figuren, deren Erleben, F眉hlen. Abwechslungsreicher Briefwechsel, erz盲hlend, wiederholend, 眉bermalend verdichtend. Es fehlt dennoch die Dringlichkeit, die klar distinkte Perspektive 鈥� also die eingestandene Glaubensthematik, die hier noch verkl盲rt, maskiert wird. --> 4 Sterne
Inhalt: 4/5 Sterne (Satanismus hier und dort)
Form: 4/5 Sterne (ornamental-symbolistisch barocken)
Komposition: 4/5 Sterne (vital erz盲hlt, etwas dudelnd.)
Leseerlebnis: 4/5 Sterne (intensives Verdunkeln)
Huysmans Bekanntheit stammt vor allem von seinem Dekadenzroman , doch Die Schule der Satanisten setzt diesem noch ein i-T眉pfelchen auf. Hier geht es auf die Zielgerade, hinein in den vers枚hnenden, auss枚hnenden Glauben, aber noch ist es nicht so weit. Durtal, der Protagonist von Huysmans Roman, nimmt Schwung, indem er sich von den Krassheiten, Exzessen, dem D盲monischen des Pariser Satanismus absto脽en l盲sst:
脺berall steigen obsz枚ne Formen aus der Erde, schie脽en wirr zum Firmament empor, das sich ins Satanische wendet; die Wolken bl盲hen sich zu Brustwarzen, spalten sich zu Hinterbacken, runden sich zu fruchttragenden Schl盲uchen, l枚sen sich auf zu breit auseinanderrinnenden Str枚men von Samenmilch; sie f眉gen sich ein ins Geschwelg des Hochwalds, wo nichts mehr bleibt als Bilder riesiger oder zwergiger Schenkel, als weibliche Winkel, als gro脽e Vs, als Afterm眉nder, als sich nach innen verbreiternde Narben, als feuchte Abfl眉sse!
Mit einem schier irrsinnigen Aufgebot an urw眉chsigen Worten, mittelalterlichen Beschreibungen, an gotisch-malerischen Exzessen pinselt der Erz盲hler von Tief unten oder Die Schule der Satanisten grausame Bilder, Metzeleien aneinander. Die Raserei nimmt kein Ende. Beinahe jeder Aberglaube findet Erw盲hnung: Horoskope, Hexerei, Wahrsagen, Astrologie, D盲monologie und so weiter. Die allt盲gliche Welt Paris' entlockt Durtal, v枚llig entnervt, gelangweilt von der Gegenwart, nur ein m眉des L盲cheln. Es ist Wahl, aber die Dandys gehen nicht hin:
禄Boulange! 鈥� lange!芦, dann h枚rte man eine heisere, ungeheure Stimme 鈥� wie die einer Austernh盲ndlerin, eines Karrenschiebers 鈥�, welche die anderen 眉bert枚nte, alle Hurras unter sich lie脽; und von neuem br眉llte sie: 禄Es lebe Boulanger!芦
禄Diese Leute bekreischen vor der B眉rgermeisterei die Wahlergebnisse芦, sagte Carhaix ver盲chtlich.
Alle sahen sich an. 禄Das Volk von heute!芦 versetzte des Hermies.
禄Ach! Nie w眉rde es einem Gelehrten, einem K眉nstler dergestalt zujubeln, nicht einmal einem Heiligen, also einem 眉bernat眉rlichen Wesen芦, schimpfte G茅vingey. 禄Im Mittelalter hingegen tat es dies sehr wohl!芦
Tiefenpsychologie parallelisierend, durchschreitet Durtal seine Erotomanie, indem er durch den Satanismus die Verlockungen hin zum weiblichen Geschlecht als Verderbnis begreift, als Verausgabung, die ihn um seine literarische Kraft bringt. Die Abarbeitung findet in Gestalt seiner Vernarrtheit in Hyacinthe statt. Der Eintritt ins Kloster bleibt so nur eine Frage der Zeit. 脺berhaupt erscheint das Gl枚cknerehepaar, das noch wie im Mittelalter lebt, obwohl der Roman Ende des 19. Jahrhunderts spielt, als Vorbild, insbesondere mit seiner Hausmannskost. Im Grunde, hier hat Houellebecqs Protagonist in einen Punkt, geht es nur ums gut-b眉rgerliche Essen:
禄Ich f眉rchte, es ist zu stark ausgekocht芦, sagte die Frau, die sich weit mehr f眉r ihr Rindfleisch als f眉r jene Abenteuer in der anderen Welt interessierte, und sie setzte die bekannte Hausfrauenweisheit hinzu: 禄Wenn die Br眉he gut gewesen, schneidet sich das Rindfleisch schlecht.芦
Die M盲nner protestierten und versicherten, es zerfasere nicht, es sei genau richtig gekocht.
禄Kommen Sie, Herr Durtal, nehmen Sie eine Sardelle und ein bi脽chen Butter zu Ihrem Fleisch.芦
Als Fresko, D盲monologie, als eine Art Fries, das in die Untiefen und Urtiefen einer mystischen Weltsicht f眉hrt, in die Katakomben des franz枚sischen Unbewusstseins, dort, wo die Alptr盲ume lauern und w眉hlen, mit den W眉rmern, dem Geschmei脽, dem Gestank samt erotischem Exzess, dort, wo aller Schmutz zusammenkommt, alles zusammenbricht, die Seele greint, dort lebt der Roman Die Schule der Satanisten und die, die sich die Welt zur H枚lle machen, um wieder Grund zum Glauben zu haben. Mit fieberwahnhaftem Schmerz aufgezeichnet, literarische Stimulanz gegen das eigene, w眉ste Begehren, evoziert Huysmans die Lust am Wort und an der Sprache bar jeden Gehalts.
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Details 鈥� ab hier Spoilergefahr (zur Erinnerung f眉r mich):
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Inhalt: Durtal, Schriftsteller, lebt zur眉ckgezogen, ausgehalten von seiner j盲hrlichen Rente, von seinem Concierge versorgt, dem er beim Arbeiten nicht zusehen will, und bem眉ht sich um eine m枚glichst lebendige Gille de Rais (1404-1440) Biographie. Er trifft sich mit seinem Freund Des Hemies, durch den er das Gl枚cknerehepaar Carhaix, streng katholisch, kennenlernt. Bei den Carhaix trifft er Gevingey, den Astrologen und Horoskopen, der alsbald nach Lyon muss, um sich dort bei Johann猫s von einem Hexenzauber heilen zu lassen, der ihn vom dem Satanisten, dem Kanonikus Docre, aufmoduliert wurde. Derweil erh盲lt er Briefe einer unbekannten Verehrerin, die sich als Hyacinthe Chantelouve entpuppt, das Ehepaar, bei dem er Des Hermies kennenlernte, und die Kontakt zum Satanisten Docre hat. Hyacinthe und Durtal haben einen kurzen Flirt, der nach einer Satanistenmesse ihr j盲hes Ende findet. Durtal hat genug Material zusammen, um seine Biographie 眉ber Gille de Rais, Blaubart, zu beenden. Eigentlich Inhalt aber die Beschreibungen der vielen Gerichte, Einrichtungsgegenst盲nde und Geschichtsanekdoten 眉ber den Satanismus in all seinen Auspr盲gungen. Teilweise sehr 枚de, sehr langwierig, insbesondere am Anfang, gegen Ende, durch die Karriere des Schreckens von Gille des Rais spannend. --> 4 Sterne
Form: Wohlgeschmiedete S盲tze, die ein wenig holprig sein k枚nnen, aber in ihrem Stolpern und Holpern ein gewisses Ebenma脽 erhalten, das Huysmans durchh盲lt. Sehr aufwendige altert眉mliche Worte, das Wortmaterial bunt, interessant, aufregend, bunt, lautmalerisch, und hierzu klassisch durchgebildet, lange rhythmisierte S盲tze mit Sinneswandel und -anschauungen. Ein wenig zu ornamental, hier und da, ein wenig zu dick aufgetragen, und doch hier und da z盲h, dokumentarisch, aufz盲hlend. --> 4 Sterne
Komposition: Motivierter Handlungsstrang 眉ber Gille des Rais, hierdurch R眉ckblicke, Gegenwartserkl盲rung, Schreiben und im Schreiben erlebend, abwechslungsreiche Dialoge, klerikaler Unterton durch die Glocken, als Symbol, als Bezugspunkte, Kirchent眉rme, Kirchenbeschreibungen, aber stets alles geballt um die Figuren, deren Erleben, F眉hlen. Abwechslungsreicher Briefwechsel, erz盲hlend, wiederholend, 眉bermalend verdichtend. Es fehlt dennoch die Dringlichkeit, die klar distinkte Perspektive 鈥� also die eingestandene Glaubensthematik, die hier noch verkl盲rt, maskiert wird. --> 4 Sterne
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September 3, 2016
For years I鈥檝e been having a dream, a recurring nightmare, which features me and whoever I am in a relationship with at the time. In this dream nothing out of the ordinary happens, except that I am convinced that my partner is evil, is, specifically, possessed by something evil. Indeed, on one occasion I actually pushed the girl with whom I was sharing my bed away from me while I slept, believing her to be demonic. It is not, of course, difficult to interpret this dream, but, outside of any subconscious negative feelings towards my girlfriends, it is, I believe, still significant, because it involves something that, for no logical reason, absolutely terrifies me [and I don鈥檛 mean being in a relationship].
Despite not being religious myself, and not having been raised by religious believers, or ever having been particularly exposed to them, the satanic, well, possesses me. I鈥檓 as drawn to it, as I am petrified of it. I used to watch a lot of horror films at one time and, regardless of how poor the film was, if I saw an inverted cross or if anyone started croaking out a bit of Latin and pulling gymnastic body shapes I was wanting to run out of the room. You might argue that my fear is atavistic, is a kind of psychological remnant of a time when the majority of people truly believed in this stuff, when they felt as though the prospect of hell was a genuine one. Who knows? But satanism is certainly the reason I was simultaneously attracted to, and wary of, J.K. Husymans鈥� La-Bas.
The novel centres around a disillusioned author, Durtal, who is writing a book about the 鈥榲irtuoso of suffering and murder鈥�, and dabbler in the occult, Gilles de Rais. On the basis of what we learn about him, de Rais was a real life Maldoror; in fact, he is credited with one particularly unpleasant act 鈥� making a child think that you have saved him, so as to enjoy his shock when he realises that you intend to butcher him 鈥� that also features in Lautr茅amont鈥檚 Chants. These murders, which according to Huysmans number into the hundreds, were, it seems, part satanic ritual and part an expression of de Rais鈥� ennui. As the novel progresses, Durtal himself gets mixed up in satanism, which he justifies as being part of his research.
While I did approach La Bas with caution, the truth is that I needn鈥檛 have been concerned at all. The book is mostly plotless, is relentlessly, often drily, investigative and philosophical [with an emphasis on the historical], such that a significant proportion of it reads like an academic textbook. Therefore, all the tension and atmosphere that the subjects of child killing, dismemberment, and satanic practices, might have created is lacking. I freely admit to being a coward, and yet there wasn鈥檛 one moment during my reading when I felt especially unnerved or uneasy, not even the black mass scene, which is frequently commented upon. This is not, however, necessarily a fatal flaw, for there are numerous interesting ideas and passages in the book 鈥� such as the opening discussion about Naturalism, which I agreed with completely 鈥� but one will certainly be disappointed if one comes to it looking for thrills and shocks.
Indeed, that La-Bas opens with a chapter dedicated to the merits or otherwise of Naturalism is telling, for it is as much, if not more so, a book about art and literature as it is about satanism. Huysmans states that Naturalism rejects 鈥榚very high-minded thought鈥�, that it is concerned only with appetites. It may, as Durtal notes, have rid the world of romanticism, and rescued literature from 鈥榯edious idealism鈥�, but it is, nevertheless, a dead-end, because it is not concerned with the soul. What Durtal advocates is a kind of supernatural realism, similar to that created by Dostoevsky, of which La Bas itself could be considered an example. The book is, then, partly about the author鈥檚 dissatisfaction with writing, both his own and other people鈥檚, and was born out of his quest to create a new or better form of literature.
Moreover, one ought to bear in mind that all of the main characters are outsiders, are in a sense lost and/or disappointed with themselves and with the times; they are, to quote Husymans, 鈥榣ives out of alignment.鈥� Take Durtal, a man whose soul 鈥榠s clogged up with filth.鈥� He is an author who has given up writing novels, and who detests the literati and the present generation as a whole. He is, in writing a book about de Rais, shying away from the modern world, retreating back into the middle ages. His work on satanism and spirituality in medieval France is an act of avoidance, but it is also clearly an attempt to find himself. There are an abundance of references in the book to the superiority of the old ways, and the vacuous nature of modern attitudes and behaviour, which is best represented in the bell-ringer, Carhaix. This occupation, which was once so significant, the sound of bells being said to 鈥榚cho the state of the town鈥檚 souls鈥�, is now near-redundant [prophetically des Hermies predicts that real bells will soon be replaced with electronic chimes] and has been stripped of meaning or profundity.
What Huysmans seems to be suggesting is that people in the middle ages were more spiritually, emotionally alive, be that to one extreme or the other. This, for me, explains the real purpose of the focus on Gilles de Rais, who was both exceptionally good at one point in his life and exceptionally bad. Of course, one does not admire a child murderer and rapist, who has a sideline in Devil worship, but one cannot accuse the man of not wholly living, of not feeling and experiencing life to the full. And I believe that this is the point of interest for Huysmans, far beyond what it meant to be a satanist. Indeed, the title of the novel is sometimes translated as The Damned, but it is not the purveyors of black magic who are condemned, it is the spiritually lethargic, increasingly mindless modern man.
Despite not being religious myself, and not having been raised by religious believers, or ever having been particularly exposed to them, the satanic, well, possesses me. I鈥檓 as drawn to it, as I am petrified of it. I used to watch a lot of horror films at one time and, regardless of how poor the film was, if I saw an inverted cross or if anyone started croaking out a bit of Latin and pulling gymnastic body shapes I was wanting to run out of the room. You might argue that my fear is atavistic, is a kind of psychological remnant of a time when the majority of people truly believed in this stuff, when they felt as though the prospect of hell was a genuine one. Who knows? But satanism is certainly the reason I was simultaneously attracted to, and wary of, J.K. Husymans鈥� La-Bas.
鈥淩eally, when I think it over, literature has only one excuse for existing; it saves the person who makes it from the disgustingness of life.鈥�
The novel centres around a disillusioned author, Durtal, who is writing a book about the 鈥榲irtuoso of suffering and murder鈥�, and dabbler in the occult, Gilles de Rais. On the basis of what we learn about him, de Rais was a real life Maldoror; in fact, he is credited with one particularly unpleasant act 鈥� making a child think that you have saved him, so as to enjoy his shock when he realises that you intend to butcher him 鈥� that also features in Lautr茅amont鈥檚 Chants. These murders, which according to Huysmans number into the hundreds, were, it seems, part satanic ritual and part an expression of de Rais鈥� ennui. As the novel progresses, Durtal himself gets mixed up in satanism, which he justifies as being part of his research.
While I did approach La Bas with caution, the truth is that I needn鈥檛 have been concerned at all. The book is mostly plotless, is relentlessly, often drily, investigative and philosophical [with an emphasis on the historical], such that a significant proportion of it reads like an academic textbook. Therefore, all the tension and atmosphere that the subjects of child killing, dismemberment, and satanic practices, might have created is lacking. I freely admit to being a coward, and yet there wasn鈥檛 one moment during my reading when I felt especially unnerved or uneasy, not even the black mass scene, which is frequently commented upon. This is not, however, necessarily a fatal flaw, for there are numerous interesting ideas and passages in the book 鈥� such as the opening discussion about Naturalism, which I agreed with completely 鈥� but one will certainly be disappointed if one comes to it looking for thrills and shocks.
Indeed, that La-Bas opens with a chapter dedicated to the merits or otherwise of Naturalism is telling, for it is as much, if not more so, a book about art and literature as it is about satanism. Huysmans states that Naturalism rejects 鈥榚very high-minded thought鈥�, that it is concerned only with appetites. It may, as Durtal notes, have rid the world of romanticism, and rescued literature from 鈥榯edious idealism鈥�, but it is, nevertheless, a dead-end, because it is not concerned with the soul. What Durtal advocates is a kind of supernatural realism, similar to that created by Dostoevsky, of which La Bas itself could be considered an example. The book is, then, partly about the author鈥檚 dissatisfaction with writing, both his own and other people鈥檚, and was born out of his quest to create a new or better form of literature.
Moreover, one ought to bear in mind that all of the main characters are outsiders, are in a sense lost and/or disappointed with themselves and with the times; they are, to quote Husymans, 鈥榣ives out of alignment.鈥� Take Durtal, a man whose soul 鈥榠s clogged up with filth.鈥� He is an author who has given up writing novels, and who detests the literati and the present generation as a whole. He is, in writing a book about de Rais, shying away from the modern world, retreating back into the middle ages. His work on satanism and spirituality in medieval France is an act of avoidance, but it is also clearly an attempt to find himself. There are an abundance of references in the book to the superiority of the old ways, and the vacuous nature of modern attitudes and behaviour, which is best represented in the bell-ringer, Carhaix. This occupation, which was once so significant, the sound of bells being said to 鈥榚cho the state of the town鈥檚 souls鈥�, is now near-redundant [prophetically des Hermies predicts that real bells will soon be replaced with electronic chimes] and has been stripped of meaning or profundity.
鈥淗e did not believe, and yet he admitted the supernatural. Right here on earth how could any of us deny that we are hemmed in by mystery, in our homes, in the street,鈥攅verywhere when we came to think of it?鈥�
What Huysmans seems to be suggesting is that people in the middle ages were more spiritually, emotionally alive, be that to one extreme or the other. This, for me, explains the real purpose of the focus on Gilles de Rais, who was both exceptionally good at one point in his life and exceptionally bad. Of course, one does not admire a child murderer and rapist, who has a sideline in Devil worship, but one cannot accuse the man of not wholly living, of not feeling and experiencing life to the full. And I believe that this is the point of interest for Huysmans, far beyond what it meant to be a satanist. Indeed, the title of the novel is sometimes translated as The Damned, but it is not the purveyors of black magic who are condemned, it is the spiritually lethargic, increasingly mindless modern man.
February 2, 2025
I was born and raised Catholic, both familial lines preceding me as far as traceable into Germany and Mexico, respectively. As such, Huysmans has always been known for knocking strikes down my alley. Read this so long ago that this may as well have been the first time, the book gaining even more personal esteem this go 鈥榬ound. Huysmans has more subtle wit, deep scholarship, and plum talent than his collective confreres rolled into one; I can鈥檛 think of a Decadent writer anywhere near his par. Throw in Satan, belfries, and ooky-spooky sexual mayonnaise, and you鈥檝e got a perfect plate of French fries.
October 20, 2010
Being an investigation into mystical and heretical Catholicism at the end of the 19th century, with comparisons to the reign of terror of medieval murderer-mystic Gilles de Rais. What's most interesting is perhaps the degree to which Satanism here is presented as reliant on and subordinate to orthodox Catholicism. The greatest heresiarchs, are, of course, fallen clergy, much of the weird ritual described here is utterly reliant on consecration of the host, and one of the most horrifying aspects of de Rais' career is the degree of devotion he maintains throughout his unbelievable child-killing. In the end, in the face of excommunication, a Church tribunal actually accepted his repentance and re-admitted him to the fold, inconcievable crimes apparently expiated. And Huysmans' protagonist seems to in some sense admire de Rais' wild swing from monster to martyr, as preferable to the blander religion and modernity of his own time. ICK. Informative and excellently composed as this is, I think I much prefer the treatment Jim Shepard gives the subject in his story "Classical Scenes of Farewell" (slated for inclusion in his next collection, next year), which is a rather more scathing demonstration of the overwhelming atmosphere of pious terror and ignorance reigning at the time. But this version certainly seems closer to its source material, and is certainly not without its livid charms. Oh, and there's a love story, sort of.
January 24, 2024
In 1891 science was transitioning from a tool of industrial purpose to a a stand-alone occupation in search of its own ends. Therefore, it鈥檚 not surprising that a writer would jump into the scientific tone of the time and write about a highly controversial subject from a literary-scientific perspective. After all in science, any subject is fair game for study as long as the study is rational, objective, and open minded.
尝脿-叠补蝉 presents the occult of Paris in 1891 and carefully compares it to similar practices that took place in the mid 1400s. It鈥檚 the story of a writer who is writing a biography of Gilles de Rais, a notorious person of 15th century fame who is associated with the heroic accomplishments Joan of Arc and subsequently the torture, mass murder, and desecration of innocent children in western France. Through the writer鈥檚 into Rais鈥� life, the writer discovers that the black arts are still practiced in modern-day, 1891 France.
The story elements are well written and through Huysmans鈥� examination of human beliefs, then and (now), he allows his readers to contemplate their present. This is probably the best aspect of 尝脿-叠补蝉. In addition to this perspective, however, Huysmans insists on being scientific and objective about about his observations. This is where the book bogs down. It is filled with ramblings through religious texts, doctrine, and practices; so much so that only the scholarly-religious would find Huysmans鈥� commentary enlightening (or understandable).
Overall, it鈥檚 an interesting book on a subject that seems unique in mainstream Victorian literature. Essentially, Hardy, James, and Verne were Huysmans鈥� contemporaries. The story elements are the best part of the novel, but Huysmans鈥� desire to be scientifically relevant when it comes to worshiping the Devil makes this an arduous reading experience.
尝脿-叠补蝉 presents the occult of Paris in 1891 and carefully compares it to similar practices that took place in the mid 1400s. It鈥檚 the story of a writer who is writing a biography of Gilles de Rais, a notorious person of 15th century fame who is associated with the heroic accomplishments Joan of Arc and subsequently the torture, mass murder, and desecration of innocent children in western France. Through the writer鈥檚 into Rais鈥� life, the writer discovers that the black arts are still practiced in modern-day, 1891 France.
The story elements are well written and through Huysmans鈥� examination of human beliefs, then and (now), he allows his readers to contemplate their present. This is probably the best aspect of 尝脿-叠补蝉. In addition to this perspective, however, Huysmans insists on being scientific and objective about about his observations. This is where the book bogs down. It is filled with ramblings through religious texts, doctrine, and practices; so much so that only the scholarly-religious would find Huysmans鈥� commentary enlightening (or understandable).
Overall, it鈥檚 an interesting book on a subject that seems unique in mainstream Victorian literature. Essentially, Hardy, James, and Verne were Huysmans鈥� contemporaries. The story elements are the best part of the novel, but Huysmans鈥� desire to be scientifically relevant when it comes to worshiping the Devil makes this an arduous reading experience.
October 13, 2018
Durtal is a writer who is concerned about how naturalism can鈥檛 convey the spiritual, the ethereal. Weary of contemporary writers and their ways, he wants to discuss literature and art without monetary gains, removed from the crass opinions of contemporary readers. There is a longing for a spiritual subtext in his life, an urge to explore his transcendental thoughts. As he works on his book on the life of the infamous Gilles de Rais, he sees a similarity in de Rais鈥� quest for mysticism and his own and it works as an entry point to his search for answers. By understanding satanism and the occult he can be drawn nearer to understanding the quest for religious mystique. His friend, Des Hermies, who shares his enthusiasm from the middle ages and the supernatural and quickly introduces him to Carhaix, an old bell ringer who is steeped in strange catholic lore from the middle ages, and Gevingey, an eccentric astrologer who likewise swears to occultism and cryptic texts.
Durtal still swears by his materialism but cannot forgo his fascination with the mystical. When he starts to receive amorous letters from a strange woman, he cautiously answers, but soon finds himself head over heels infatuated with her. The mysterious woman acts as an invitation to the unknown, and it both arouses and holds his fascination. When the woman鈥檚 identity is revealed, Durtal is disappointed, as the veil of the unknown is lifted away, and he can no longer summon the image of the ethereal succubus he envisioned when he read her letters. Durtal finds himself losing interest in her until she reveals that she can show him a real live Black Mass being performed.
Through the novel, the characters look back at the middle ages with a sense of longing, when a shroud of ignorance and mystique where over people鈥檚 minds. There is a longing to return to this state of being, not wishing to know the answers brought by science but to live in a realm of mystery and religious ecstasy. In the latter part of the book with a democratic election in the background, Durtal and Des Hermies conclude that no man-made dogma can heal the ails of humanity.
Both the bell ringer and the astrologer represents the anti-materialism of religion and mysticism, the urge to peer beyond the veil, to toil, to study and to give one鈥檚 life to understand some occulted meaning in the sacred bells or in the stars, not for profit but to be nearer the divine.
鈥淵es.鈥� Said Des Hermies, 鈥渁nd what is mighty strange in this day of crass materialism is the idea of battles fought in space, over the cities between a priest of Lyons and prelates of Rome.鈥�
The final moments of the life of Gilles de Rais are perceived by Durtal as how far one man is willing to go to touch divinity, to show his faith, even if it is in a satanic direction. Durtal has a strange respect for the arduous work de Rais was willing to go through to connect himself with the otherworldly And Durtal sees romance in how the Catholic church was willing to treat de Rais as a fellow Christian before condemning him to death for his heinous crimes.
Durtal鈥檚 wish to observe the black mass in his own time, is a test of his own soul, not only to see how far some people are willing to go to gain favor with the supernatural, but how far he himself is willing to go in order to find the answers to the questions that plague his soul.
鈥淭he supernatural does exist, Christian or not. To deny it is to deny evidence-and who wants to be a materialist, one of these silly freethinkers.鈥�
The book is wonderfully written, and it is a genuine pleasure to be a part of Durtal, Carhaix and Des Hermies鈥� late dinner discussions on the divine and on satanism. Huysmans tackles the questions of the soul, the philosophy of man鈥檚 search for answers in a chaotic time and writes a gripping story steeped in strange religious mystique. Many of the passages in the tale of Gilles de Rais and the descriptions of the black mass is shocking to read even today. Huysmans quest for mysticism stands as a perfect metaphor for the symbolist movement, where art and life itself rejects the baseness of materialism, nature, and science and reaches for the immaterial world of angels, magic and black masses, of strange demonic hierarchy and forgotten saints. 尝补-叠脿蝉 is a magnificent fin de si猫cle novel that captures the uncertainty of the times and the essence of the symbolist and decadent movement.
Durtal still swears by his materialism but cannot forgo his fascination with the mystical. When he starts to receive amorous letters from a strange woman, he cautiously answers, but soon finds himself head over heels infatuated with her. The mysterious woman acts as an invitation to the unknown, and it both arouses and holds his fascination. When the woman鈥檚 identity is revealed, Durtal is disappointed, as the veil of the unknown is lifted away, and he can no longer summon the image of the ethereal succubus he envisioned when he read her letters. Durtal finds himself losing interest in her until she reveals that she can show him a real live Black Mass being performed.
Through the novel, the characters look back at the middle ages with a sense of longing, when a shroud of ignorance and mystique where over people鈥檚 minds. There is a longing to return to this state of being, not wishing to know the answers brought by science but to live in a realm of mystery and religious ecstasy. In the latter part of the book with a democratic election in the background, Durtal and Des Hermies conclude that no man-made dogma can heal the ails of humanity.
Both the bell ringer and the astrologer represents the anti-materialism of religion and mysticism, the urge to peer beyond the veil, to toil, to study and to give one鈥檚 life to understand some occulted meaning in the sacred bells or in the stars, not for profit but to be nearer the divine.
鈥淵es.鈥� Said Des Hermies, 鈥渁nd what is mighty strange in this day of crass materialism is the idea of battles fought in space, over the cities between a priest of Lyons and prelates of Rome.鈥�
The final moments of the life of Gilles de Rais are perceived by Durtal as how far one man is willing to go to touch divinity, to show his faith, even if it is in a satanic direction. Durtal has a strange respect for the arduous work de Rais was willing to go through to connect himself with the otherworldly And Durtal sees romance in how the Catholic church was willing to treat de Rais as a fellow Christian before condemning him to death for his heinous crimes.
Durtal鈥檚 wish to observe the black mass in his own time, is a test of his own soul, not only to see how far some people are willing to go to gain favor with the supernatural, but how far he himself is willing to go in order to find the answers to the questions that plague his soul.
鈥淭he supernatural does exist, Christian or not. To deny it is to deny evidence-and who wants to be a materialist, one of these silly freethinkers.鈥�
The book is wonderfully written, and it is a genuine pleasure to be a part of Durtal, Carhaix and Des Hermies鈥� late dinner discussions on the divine and on satanism. Huysmans tackles the questions of the soul, the philosophy of man鈥檚 search for answers in a chaotic time and writes a gripping story steeped in strange religious mystique. Many of the passages in the tale of Gilles de Rais and the descriptions of the black mass is shocking to read even today. Huysmans quest for mysticism stands as a perfect metaphor for the symbolist movement, where art and life itself rejects the baseness of materialism, nature, and science and reaches for the immaterial world of angels, magic and black masses, of strange demonic hierarchy and forgotten saints. 尝补-叠脿蝉 is a magnificent fin de si猫cle novel that captures the uncertainty of the times and the essence of the symbolist and decadent movement.
January 25, 2008
The structure is completely transparent --it's spelled out in the text from page one-- an exploration of satanic practices in fin de siecle Paris and an attempt to contextualize it historically.
The entire text, and all of its conflicting opinions and questioning of facts by the characters involved, resonate of the author himself trying to piece together the overreaching novel he has set before him. His own sexual fantasies and decidedly un-romantic descriptions of his sexual encounters, his admittance of poor source material, his obvious self-flattery and poor characterization of the rest of the players set the framework for an author exposing his own meager aptitude for his craft, only to be be blown away by harrowing prose when it comes to the meat of the content. His descriptions of his own visions of the Marechal De Rais's hallucinatory descent into murder, rape, and spiritual crisis are exquisitely described (translated?)and difficult to read on a full stomach. The episode describing de Rais in the woods is especially beautiful and chilling.
It's all written in a knowing tone that demolishes the fourth wall and simply gives a picture of a flawed man coming to terms with his obsessions, his desire for academic fantasy in a rejection of his own mediocre reality, and the inklings of a spiritual need that I believe are explored to an end in the next two books in the trilogy of which this book is the first.
It is a sad and very funny book. Part historical account, part romantic novel, part diary, it is refreshingly honest about it's deception and delightfully deceptive about its veracity.
The entire text, and all of its conflicting opinions and questioning of facts by the characters involved, resonate of the author himself trying to piece together the overreaching novel he has set before him. His own sexual fantasies and decidedly un-romantic descriptions of his sexual encounters, his admittance of poor source material, his obvious self-flattery and poor characterization of the rest of the players set the framework for an author exposing his own meager aptitude for his craft, only to be be blown away by harrowing prose when it comes to the meat of the content. His descriptions of his own visions of the Marechal De Rais's hallucinatory descent into murder, rape, and spiritual crisis are exquisitely described (translated?)and difficult to read on a full stomach. The episode describing de Rais in the woods is especially beautiful and chilling.
It's all written in a knowing tone that demolishes the fourth wall and simply gives a picture of a flawed man coming to terms with his obsessions, his desire for academic fantasy in a rejection of his own mediocre reality, and the inklings of a spiritual need that I believe are explored to an end in the next two books in the trilogy of which this book is the first.
It is a sad and very funny book. Part historical account, part romantic novel, part diary, it is refreshingly honest about it's deception and delightfully deceptive about its veracity.
April 15, 2015
A really well written book but the subject made me sick. How anyone can hurt a small ant knowing he is causing harm let alone a child is beyond me. The book is about a writer in around the 1900s writing about Satanism. He is writing about a fucking psycho from around the 1400s called Gilles de Rais who fought alongside Joan of Arc against the British and was a rich bloke but he turned psycho and starting killing children and doing some of the most disgusting things I have ever read. In the story the writer is researching a book about the dickhead but at the same time he is getting involved with a lady who is also into Satanism also. The book disgusted me in places but it鈥檚 still very well written. Not for the faint hearted.
December 27, 2024
鈥溞氀毿感缎敌残叫狙佈� 懈屑邪 褋邪屑芯 褬械写邪薪 褉邪蟹谢芯谐 锌芯褋褌芯褬邪褮邪, 写邪 芯薪芯谐 泻芯褬懈 褋械 褮芯屑械 斜邪胁懈 褋锌邪褋械 芯写 谐邪褣械褮邪 锌褉械屑邪 卸懈胁芯褌褍!鈥�
校懈褋屑邪薪褋, 写芯泻 褬械 胁懈褕械 薪邪谐懈褮邪芯 泻邪 褑械胁懈 锌懈褕褌芯褭邪 薪械谐芯 锌芯写薪芯卸褬褍 泻褉褋褌邪, 蟹褉邪褔懈芯 褬械 薪械褋邪屑械褉褭懈胁懈屑 锌褉械蟹懈褉芯屑 屑邪谢芯谐褉邪褣邪薪邪, 褋胁邪泻芯写薪械胁懈褑械 懈 褋邪胁褉械屑械薪芯褋褌懈 鈥� 泻邪谢邪 褑褉泻胁械, 泻褍锌谢械褉邪褬邪 锌谢邪泻邪褌懈褉邪褮邪, 薪芯胁芯褌邪褉懈褬邪 懈 褌褉械薪写芯胁邪, 锌芯褌褉芯褕邪褔泻芯谐 屑械薪褌邪谢懈褌械褌邪, 褌械 懈 薪械 褔褍写懈 褕褌芯 褬械 芯胁邪褬 屑芯褬 锌芯斜褉邪褌懈屑 胁械褉芯胁邪芯 褋邪屑芯 褍 锌褍褌芯胁邪褮邪 蟹邪 泻芯褬邪 薪懈褬械 锌芯褌褉械斜薪芯 懈蟹邪褯懈 懈蟹 褋胁芯褬械 褋芯斜械. 袏械谐芯胁 褋褌懈谢 锌褉械锌褍薪 邪锌芯蟹懈褑懈褬邪 懈 写械褋泻褉懈锌褑懈褬邪, 懈褋褌芯褉懈芯谐褉邪褎褋泻懈 泻邪斜懈薪械褌 泻褍褉懈芯蟹懈褌械褌邪 褋褌褉邪胁械 懈 褍卸邪褋邪, 谐芯谢懈褑邪 械褋褌械褌褋泻邪 芯褋械褯邪褮邪 褔懈褌邪芯褑邪, 写邪 褔邪泻 懈 写芯屑懈薪芯 锌芯褋褌邪褬械 褋褍斜, 褍蟹胁懈泻褍褬褍褯懈: 鈥溞埿� 褋邪屑 薪邪褌褍褉邪谢懈蟹邪屑, 斜邪褉芯泻薪芯 屑械 懈蟹胁褉械褣邪褬, 卸械谢懈屑 写邪 芯褋械褌懈屑 谐懈锌泻芯褋褌 懈 褉邪褋泻芯褕 褌胁芯褬懈褏 褉械褔械薪懈褑邪 褍 泻芯褬懈屑邪 褋械 写懈褬邪斜芯谢懈褔薪懈 褋邪写懈蟹邪屑 锌褉械锌谢懈褯械 褋邪 屑邪谢懈褑懈芯蟹薪懈屑 褋邪褌邪薪懈蟹屑芯屑; 写邪褬 屑懈 褌械 写懈谐褉械褋懈褬械 褍 写芯卸懈胁褭械薪芯屑 谐芯胁芯褉褍, 泻邪褌邪谢芯谐械 写邪胁薪芯锌芯褔懈胁褕懈褏 锌芯褋谢邪褋褌懈褑邪, 褌褉锌械蟹械 懈 蟹懈写懈薪械 褍 薪邪写褉懈-褎芯褌芯谐褉邪褎褋泻芯褬, 褏懈锌械褉-褉械邪谢懈褋褌懈褔薪芯褬, 薪邪写-薪邪褌褍褉邪谢懈褋褌懈褔泻芯褬 褌械褏薪懈褑懈, 写芯斜邪褑懈 屑懈 芯写胁褉邪褌薪芯褋褌 锌褉械屑邪 芯泻芯谢薪芯屑 卸懈胁芯褌褍!鈥�
lol:
鈥� 鈥溞樞夹靶� 写邪 芯锌懈褕械屑 斜谢邪卸械薪芯锌芯褔懈胁褕械 泻芯褬懈 褋褍, 胁械褯懈薪芯屑, 斜懈谢懈 褬械蟹懈胁芯 锌褉褭邪胁懈: 袥邪斜褉邪, 褍褕褭懈胁芯谐 懈 褋屑褉写褭懈胁芯谐 褌芯谢懈泻芯 写邪 褬械 斜懈芯 薪械锌芯写薪芯褕褭懈胁 褔邪泻 懈 泻芯褮褍褕邪褉懈屑邪; 褋胁械褌褍 泻懈薪械谐芯薪写褍 泻芯褬邪 褬械 懈蟹 锌芯薪懈蟹薪芯褋褌懈 蟹邪锌褍褕褌邪谢邪 褋胁芯褬械 褌械谢芯; 褋胁械褌褍 芯锌芯褉褌褍薪褍 泻芯褬邪 薪懈泻邪写邪 薪懈褬械 泻芯褉懈褋褌懈谢邪 胁芯写褍, 邪 泻褉械胁械褌 褬械 锌褉邪谢邪 懈褋泻褭褍褔懈胁芯 褋胁芯褬懈屑 褋褍蟹邪屑邪; 褋胁械褌褍 褋懈谢胁懈褬褍 泻芯褬邪 薪懈褬械写薪芯屑 薪懈褬械 褍屑懈谢邪 谢懈褑械; 褋胁械褌褍 褉邪写械谐芯薪写褍 泻芯褬邪 褍芯锌褕褌械 薪懈褬械 锌褉械褋胁谢邪褔懈谢邪 褋胁芯褬褍 泻芯褕褍褭褍 邪 褋锌邪胁邪谢邪 褬械 薪邪 谐芯屑懈谢懈 锌械锌械谢邪; 懈 泻芯谢懈泻芯 写褉褍谐懈褏, 褔懈褬械 褉邪褕褔褍锌邪薪械 谐谢邪胁械 懈屑邪屑 芯斜邪胁懈褌懈 蟹谢邪褌薪懈屑 芯褉械芯谢芯屑! (鈥�) 孝械泻 芯写 褉械薪械褋邪薪褋械, 褕褌褉芯泻邪 褋械 锌褉懈屑懈谢邪 褍 肖褉邪薪褑褍褋泻芯褬. 袣邪写 褔芯胁械泻 锌芯屑懈褋谢懈 写邪 褬械 芯薪邪 蟹邪薪芯褋薪邪 泻褉邪褭懈褑邪 袦邪褉谐芯 懈屑邪谢邪 褌械谢芯 薪邪褌芯锌褭械薪芯 锌邪褉褎械屑懈屑邪 邪谢懈 蟹邪泻芯褉械谢芯 泻邪芯 褌懈谐邪褮! 鈥� 袗 袗薪褉懈 IV 泻芯褬懈 褋械 褏胁邪谢懈芯 写邪 屑褍 褋械 薪芯谐械 锌褍褕械 邪 锌邪蟹褍褏芯 写懈胁薪芯 斜邪蟹写懈!鈥�
鈥� 鈥溞炐承靶残叫� 褉邪写褮械 小邪谐械褉械谢懈褬邪 懈蟹 袩邪褉屑械 泻芯褬懈 褬械, 锌芯写 懈蟹谐芯胁芯褉芯屑 写邪 卸械谢懈 写邪 褋械 锌褉械褌胁芯褉懈 褍 写械褌械 泻邪泻芯 斜懈 斜芯褭械 褋懈屑斜芯谢懈褋邪芯 褬械写薪芯褋褌邪胁薪褍 懈 薪邪懈胁薪褍 袩邪褉邪泻谢懈褌芯胁褍 褭褍斜邪胁, 褌褉邪卸懈芯 写邪 谐邪 锌褉械锌芯胁懈褬褍 褍 锌械谢械薪械, 谢械谐邪芯 写邪写懈褭懈 褍 泻褉懈谢芯 懈 锌芯褔械芯 写邪 褬械 褋懈褋邪, 邪 锌芯褌芯屑 褋械 褍胁邪谢懈芯 懈 屑邪谢芯 写褍斜褭械!鈥�
鈥� 鈥溞熜�, 写芯斜褉芯, 褉械褔械 袛懈褉褌邪谢, 褍 褋褉械写褮械屑 胁械泻褍, 屑懈褋邪 褬械 褋谢褍卸械薪邪 薪邪 写褉褍谐懈 薪邪褔懈薪; 芯谢褌邪褉 褬械 褌邪写邪 斜懈芯 谐芯谢邪 卸械薪褋泻邪 谐褍蟹懈褑邪; 褍 褋械写邪屑薪邪械褋褌芯屑 胁械泻褍, 褌芯 褬械 斜懈芯 褋褌芯屑邪泻, 邪 褋邪写邪?鈥�
鈥溞⌒靶葱�, 褉械褌泻芯 卸械薪邪 褋谢褍卸懈 泻邪芯 芯谢褌邪褉, 邪谢懈 薪械 褌褉褔懈屑芯 锌褉械写 褉褍写褍.鈥�
袩褭褍胁邪褮械 薪邪褌褍褉邪谢懈蟹屑邪:
鈥� 褋邪 鈥溠傂笛€屑懈薪懈屑邪 懈蟹 斜邪褬斜芯泻邪薪械, 褉械褔薪懈泻芯屑 锌懈褋芯邪褉邪 懈 褋胁褉邪褌懈褕褌邪, 褕褍褌芯屑 芯写 懈蟹褉邪蟹邪 懈 褕褭邪泻芯屑 芯写 褉械褔懈, 写械斜械谢懈屑 褋谢芯褬械屑 屑邪褋薪械 褎邪褉斜械 锌褉械泻芯 锌褉芯褋褌芯谐 褋褌懈谢邪, 锌褉褭邪胁懈屑 懈写械褬邪屑邪, 褋胁械褋薪懈屑 蟹邪褌胁邪褉邪褮械屑 褍 胁械褕械褉邪褬 褌械谢邪鈥�. 袨胁邪褬 泻褮懈卸械胁薪懈 锌褉邪胁邪褑 褬械 鈥溞叫笛冃� 懈 褌褍锌邪胁, 褋屑褉写褭懈胁, 泻谢邪褮邪 褋械 褍泻褍褋褍 谐芯屑懈谢械 芯写 泻芯褬械谐 褔芯胁械泻褍 锌芯褋褌邪褬械 屑褍泻邪,鈥� 芯薪 褬械 鈥溞承靶夹感堆冄浶� 懈 锌褉懈蟹械屑薪邪 褍屑械褌薪芯褋褌, 斜褍斜邪褕胁邪斜懈蟹邪屑, 褋胁械写械薪 薪邪 屑芯薪芯褌芯薪械 褋褌褍写懈褬械 芯 芯褋褉械写褮懈屑 斜懈褯懈屑邪 泻芯褬邪 斜邪褍褭邪褬褍 泻褉芯蟹 斜械褋泻褉邪褬薪懈 懈薪胁械薪褌邪褉 褋邪谢芯薪邪 懈 锌芯褭邪薪邪, 胁芯写懈 褍 锌芯褌锌褍薪褍 褬邪谢芯胁芯褋褌, 邪泻芯 褬械 褔芯胁械泻 褔邪褋褌邪薪 懈 写邪谢械泻芯胁懈写, 邪 褍 褋褍锌褉芯褌薪芯屑 褋谢褍褔邪褬褍, 褍 胁械芯屑邪 写芯褋邪写薪邪 薪邪谐胁邪卸写邪褮邪 懈 蟹邪屑芯褉薪邪 锌褉械锌褉懈褔邪胁邪褮邪鈥�.
鈥溞毿靶盒残� 斜懈 褌芯 斜懈谢邪 薪械锌芯褬邪屑薪邪 褋褉械褯邪, 泻芯薪邪褔薪芯 卸懈胁械褌懈 锌芯褋褌褉邪薪懈 芯写 褋胁芯谐 胁褉械屑械薪邪, 懈 写芯泻 褋械 斜褍褬懈褑邪 褭褍写褋泻械 谐谢褍锌芯褋褌懈 泻芯褌褉褭邪 写芯谢械 懈褋锌芯写 泻褍谢邪, 锌褉械谢懈褋褌邪胁邪褌懈 褋褌邪褉械 泻褮懈卸褍褉懈薪械 锌芯写 泻芯褋懈屑 蟹褉邪褑懈屑邪 褬邪泻械 谢邪屑锌械!鈥�
鈥溞犘敌恍感承秆樞� 褌褉邪卸懈 芯写褍褋褌邪褬邪褮械 芯写 蟹写褉邪胁芯谐 褉邪蟹褍屑邪.鈥�
鈥� 鈥溞熝€懈蟹懈胁邪 褣邪胁芯谢邪, 褏褉邪薪懈 斜械谢械 屑懈褕械胁械 褏芯褋褌懈褬邪屑邪 泻芯褬械 芯褋胁械褌懈; 褮械谐芯胁邪 锌芯褌褉械斜邪 蟹邪 褋胁械褌芯谐褉褣械屑 褬械 褌芯谢懈泻邪 写邪 褬械 写邪芯 写邪 屑褍 褋械 薪邪 褌邪斜邪薪懈屑邪 懈褋褌械褌芯胁懈褉邪 褋谢懈泻邪 泻褉褋褌邪 泻邪泻芯 斜懈 褋褌邪谢薪芯 屑芯谐邪芯 写邪 谐邪蟹懈 锌芯 褋锌邪褋懈褌械褭褍!鈥� Dawn of Ashes 鈥� Poisoning the steps of Babel (褕褌懈泻谢械 褍 芯斜谢懈泻褍 芯斜褉薪褍褌芯谐 泻褉褋褌邪) + Behemoth鈥檚 God = Dog 斜褉懈泻械褌懈 蟹邪 锌褋械 褍 芯斜谢懈泻褍 泻褉褋褌邪
鈥� 鈥溞栃敌恍感夹� 写邪 褍写邪褉懈屑芯 锌芯 褌胁芯褬懈屑 械泻褋械褉懈屑邪, 锌褉懈褌懈褋薪械屑芯 褌胁芯褬械 褌褉褮械, 写邪 懈褋褌械褉邪屑芯 斜芯谢薪褍 泻褉胁 写芯 懈胁懈褑邪 褌胁芯褬懈褏 褋褍胁懈褏 褉邪薪邪!鈥�
鈥� 鈥溞熜拘承恍敌葱把樠傂� 褌芯谐 褍锌谢邪褕械薪芯谐 懈 褋泻械锌褌懈褔薪芯谐, 锌褉懈蟹械屑薪芯谐 懈 谢褍泻邪胁芯谐 锌邪锌褍, 褌邪褬 械锌懈褋泻芯锌邪褌 屑械褕械褌邪褉邪 懈 褍谢懈蟹懈褑邪, 褌芯 卸芯胁懈褬邪谢薪芯 懈 褭懈谐邪胁芯 褋胁械褕褌械薪褋褌胁芯. (鈥�) 袩芯锌懈薪械 写邪薪邪褋 懈屑邪褬褍 懈褋锌褍褑邪谢邪 褋褉褑邪, 写懈蟹械薪褌械褉懈褔薪械 写褍褕械, 屑芯蟹谐芯胁械 泻芯褬懈 褋械 褉邪褋锌芯褬邪褋邪褬褍 懈 锌芯斜械谐薪褍! 鈥� 袠谢懈 褬械 褋褌胁邪褉 褬芯褕 谐芯褉邪; 蟹邪锌邪谢械 褋械 泻邪芯 褌褉褍谢械卸 懈 薪邪谐褉懈蟹邪褬褍 褋褌邪写芯 泻芯褬械 褔褍胁邪褬褍!鈥�
鈥� 鈥溞氀毿感缎敌残叫秆喰� 褋械 写邪薪邪褋 写械谢械 褍 写胁械 谐褉褍锌械, 锌褉胁褍 褔懈薪械 谐褉邪屑蟹懈胁懈 屑邪谢芯谐褉邪褣邪薪懈, 邪 写褉褍谐褍 芯谐邪胁薪械 薪懈褕褌邪褉懈褬械鈥�
鈥� 鈥溞� 写邪薪邪褕褮械 胁褉械屑械, 泻邪写邪 褋械 褌胁褉写芯谐谢邪胁芯 锌褉械泻芯锌邪胁邪褬褍 褋褌邪褉械 泻褍褌懈褬械, 懈褋褌芯褉懈褬邪 褋谢褍卸懈 褋邪屑芯 写邪 褍斜谢邪卸懈 泻褮懈卸械胁薪懈 褋胁褉邪斜 锌褉芯胁懈薪褑懈褬褋泻芯谐 锌谢械屑褋褌胁邪 泻芯褬械 褋胁芯褬械 褉芯屑邪薪械褋泻薪械 褋邪褉屑懈褑械 芯写 褉械褔懈 褋谢邪卸械 褍 薪邪褋褌邪胁褑懈屑邪 写邪 斜懈 懈屑 袠薪褋褌懈褌褍褌, 斜邪谢邪胁械褯懈, 写芯写械谢懈芯 芯褉写械褮邪 懈 锌褉胁械 薪邪谐褉邪写械.鈥�
鈥� 鈥溞愌€懈褋褌芯泻褉邪褌懈褬邪 褋械 锌褉械褉褍褕懈谢邪 褍 斜邪褬邪写械褉褍, 芯斜褍泻谢邪 斜邪谢械褌褋泻械 褏邪褭懈薪懈褑械 懈 泻谢芯胁薪芯胁褋泻械 泻芯褋褌懈屑械; 褋邪写邪 锌褉械写 锌褍斜谢懈泻芯屑 懈蟹胁芯写懈 褌邪褔泻褍 薪邪 褌褉邪锌械蟹褍, 谢芯屑邪褌邪 褋械 薪邪 芯斜褉褍褔懈屑邪, 锌芯写懈卸械 褌械谐芯胁械 薪邪 褍谐邪卸械薪芯褬 锌懈褭械胁懈薪懈 泻邪芯 褍 泻邪泻胁芯屑 褑懈褉泻褍褋褍!鈥�
鈥� 鈥溞捫笛囆笛€邪褋, 屑芯褬 薪械蟹薪邪薪懈 锌褉懈褬邪褌械褭褍, 褋邪屑芯 褬械写薪邪 褉械褔. 袩褉芯胁械谢邪 褋邪屑 褍卸邪褋邪薪 写邪薪, 卸懈胁褑懈 褋褍 屑懈 褋械 锌芯斜褍薪懈谢懈, 谐芯褌芯胁芯 褋邪屑 褍褉谢懈泻邪谢邪 芯写 锌邪褌褮械, 懈 褌芯 蟹斜芯谐 褋懈褌薪懈褑邪 泻芯褬械 褋械 锌芯薪邪胁褭邪褬褍 锌芯 褋褌芯 锌褍褌邪 薪邪 写邪薪; 蟹斜芯谐 胁褉邪褌邪 泻芯褬邪 褋械 蟹邪谢褍锌械, 蟹斜芯谐 褏褉邪锌邪胁芯谐 懈 泻褉械褕褌邪胁芯谐 谐谢邪褋邪 泻芯褬懈 屑懈 褋邪 褍谢懈褑械 褍褣械 褍 泻褍褯褍; 懈屑邪 褋邪褌懈 泻邪写邪 褬械 屑芯褬邪 薪械芯褋械褌褭懈胁芯褋褌 褌芯谢懈泻邪 写邪, 泻邪写邪 斜懈 泻褍褯邪 谐芯褉械谢邪, 褬邪 褋械 薪械 斜懈褏 薪懈 锌芯屑械褉懈谢邪. 啸芯褯褍 谢懈 胁邪屑 锌芯褋谢邪褌懈 芯胁褍 褋褌褉邪薪懈褑褍 泻芯屑懈褔薪懈褏 谢邪屑械薪褌邪褑懈褬邪? 袗褏, 泻邪写邪 薪械泻芯 薪械屑邪 写邪褉邪 写邪 斜芯谢 斜谢懈褋褌邪胁芯 芯写械薪械, 写邪 谐邪 锌褉械褌芯褔懈 褍 泻褮懈卸械胁薪懈 褌械泻褋褌 懈谢懈 屑褍蟹懈泻褍 褕褌芯 胁械谢懈褔邪薪褋褌胁械薪芯 锌谢邪褔褍, 斜芯褭械 写邪 褋械 芯 褌芯屑械 薪械 谐芯胁芯褉懈.鈥�
小褌褉邪褏芯褌薪懈 锌械褬蟹邪卸 褍 锌芯褉褌褉械褌褍
袣芯斜邪褑 懈 芯褉薪懈褌芯屑邪薪褌懈褬邪鈥�
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馃幍
校懈褋屑邪薪褋, 写芯泻 褬械 胁懈褕械 薪邪谐懈褮邪芯 泻邪 褑械胁懈 锌懈褕褌芯褭邪 薪械谐芯 锌芯写薪芯卸褬褍 泻褉褋褌邪, 蟹褉邪褔懈芯 褬械 薪械褋邪屑械褉褭懈胁懈屑 锌褉械蟹懈褉芯屑 屑邪谢芯谐褉邪褣邪薪邪, 褋胁邪泻芯写薪械胁懈褑械 懈 褋邪胁褉械屑械薪芯褋褌懈 鈥� 泻邪谢邪 褑褉泻胁械, 泻褍锌谢械褉邪褬邪 锌谢邪泻邪褌懈褉邪褮邪, 薪芯胁芯褌邪褉懈褬邪 懈 褌褉械薪写芯胁邪, 锌芯褌褉芯褕邪褔泻芯谐 屑械薪褌邪谢懈褌械褌邪, 褌械 懈 薪械 褔褍写懈 褕褌芯 褬械 芯胁邪褬 屑芯褬 锌芯斜褉邪褌懈屑 胁械褉芯胁邪芯 褋邪屑芯 褍 锌褍褌芯胁邪褮邪 蟹邪 泻芯褬邪 薪懈褬械 锌芯褌褉械斜薪芯 懈蟹邪褯懈 懈蟹 褋胁芯褬械 褋芯斜械. 袏械谐芯胁 褋褌懈谢 锌褉械锌褍薪 邪锌芯蟹懈褑懈褬邪 懈 写械褋泻褉懈锌褑懈褬邪, 懈褋褌芯褉懈芯谐褉邪褎褋泻懈 泻邪斜懈薪械褌 泻褍褉懈芯蟹懈褌械褌邪 褋褌褉邪胁械 懈 褍卸邪褋邪, 谐芯谢懈褑邪 械褋褌械褌褋泻邪 芯褋械褯邪褮邪 褔懈褌邪芯褑邪, 写邪 褔邪泻 懈 写芯屑懈薪芯 锌芯褋褌邪褬械 褋褍斜, 褍蟹胁懈泻褍褬褍褯懈: 鈥溞埿� 褋邪屑 薪邪褌褍褉邪谢懈蟹邪屑, 斜邪褉芯泻薪芯 屑械 懈蟹胁褉械褣邪褬, 卸械谢懈屑 写邪 芯褋械褌懈屑 谐懈锌泻芯褋褌 懈 褉邪褋泻芯褕 褌胁芯褬懈褏 褉械褔械薪懈褑邪 褍 泻芯褬懈屑邪 褋械 写懈褬邪斜芯谢懈褔薪懈 褋邪写懈蟹邪屑 锌褉械锌谢懈褯械 褋邪 屑邪谢懈褑懈芯蟹薪懈屑 褋邪褌邪薪懈蟹屑芯屑; 写邪褬 屑懈 褌械 写懈谐褉械褋懈褬械 褍 写芯卸懈胁褭械薪芯屑 谐芯胁芯褉褍, 泻邪褌邪谢芯谐械 写邪胁薪芯锌芯褔懈胁褕懈褏 锌芯褋谢邪褋褌懈褑邪, 褌褉锌械蟹械 懈 蟹懈写懈薪械 褍 薪邪写褉懈-褎芯褌芯谐褉邪褎褋泻芯褬, 褏懈锌械褉-褉械邪谢懈褋褌懈褔薪芯褬, 薪邪写-薪邪褌褍褉邪谢懈褋褌懈褔泻芯褬 褌械褏薪懈褑懈, 写芯斜邪褑懈 屑懈 芯写胁褉邪褌薪芯褋褌 锌褉械屑邪 芯泻芯谢薪芯屑 卸懈胁芯褌褍!鈥�
lol:
鈥� 鈥溞樞夹靶� 写邪 芯锌懈褕械屑 斜谢邪卸械薪芯锌芯褔懈胁褕械 泻芯褬懈 褋褍, 胁械褯懈薪芯屑, 斜懈谢懈 褬械蟹懈胁芯 锌褉褭邪胁懈: 袥邪斜褉邪, 褍褕褭懈胁芯谐 懈 褋屑褉写褭懈胁芯谐 褌芯谢懈泻芯 写邪 褬械 斜懈芯 薪械锌芯写薪芯褕褭懈胁 褔邪泻 懈 泻芯褮褍褕邪褉懈屑邪; 褋胁械褌褍 泻懈薪械谐芯薪写褍 泻芯褬邪 褬械 懈蟹 锌芯薪懈蟹薪芯褋褌懈 蟹邪锌褍褕褌邪谢邪 褋胁芯褬械 褌械谢芯; 褋胁械褌褍 芯锌芯褉褌褍薪褍 泻芯褬邪 薪懈泻邪写邪 薪懈褬械 泻芯褉懈褋褌懈谢邪 胁芯写褍, 邪 泻褉械胁械褌 褬械 锌褉邪谢邪 懈褋泻褭褍褔懈胁芯 褋胁芯褬懈屑 褋褍蟹邪屑邪; 褋胁械褌褍 褋懈谢胁懈褬褍 泻芯褬邪 薪懈褬械写薪芯屑 薪懈褬械 褍屑懈谢邪 谢懈褑械; 褋胁械褌褍 褉邪写械谐芯薪写褍 泻芯褬邪 褍芯锌褕褌械 薪懈褬械 锌褉械褋胁谢邪褔懈谢邪 褋胁芯褬褍 泻芯褕褍褭褍 邪 褋锌邪胁邪谢邪 褬械 薪邪 谐芯屑懈谢懈 锌械锌械谢邪; 懈 泻芯谢懈泻芯 写褉褍谐懈褏, 褔懈褬械 褉邪褕褔褍锌邪薪械 谐谢邪胁械 懈屑邪屑 芯斜邪胁懈褌懈 蟹谢邪褌薪懈屑 芯褉械芯谢芯屑! (鈥�) 孝械泻 芯写 褉械薪械褋邪薪褋械, 褕褌褉芯泻邪 褋械 锌褉懈屑懈谢邪 褍 肖褉邪薪褑褍褋泻芯褬. 袣邪写 褔芯胁械泻 锌芯屑懈褋谢懈 写邪 褬械 芯薪邪 蟹邪薪芯褋薪邪 泻褉邪褭懈褑邪 袦邪褉谐芯 懈屑邪谢邪 褌械谢芯 薪邪褌芯锌褭械薪芯 锌邪褉褎械屑懈屑邪 邪谢懈 蟹邪泻芯褉械谢芯 泻邪芯 褌懈谐邪褮! 鈥� 袗 袗薪褉懈 IV 泻芯褬懈 褋械 褏胁邪谢懈芯 写邪 屑褍 褋械 薪芯谐械 锌褍褕械 邪 锌邪蟹褍褏芯 写懈胁薪芯 斜邪蟹写懈!鈥�
鈥� 鈥溞炐承靶残叫� 褉邪写褮械 小邪谐械褉械谢懈褬邪 懈蟹 袩邪褉屑械 泻芯褬懈 褬械, 锌芯写 懈蟹谐芯胁芯褉芯屑 写邪 卸械谢懈 写邪 褋械 锌褉械褌胁芯褉懈 褍 写械褌械 泻邪泻芯 斜懈 斜芯褭械 褋懈屑斜芯谢懈褋邪芯 褬械写薪芯褋褌邪胁薪褍 懈 薪邪懈胁薪褍 袩邪褉邪泻谢懈褌芯胁褍 褭褍斜邪胁, 褌褉邪卸懈芯 写邪 谐邪 锌褉械锌芯胁懈褬褍 褍 锌械谢械薪械, 谢械谐邪芯 写邪写懈褭懈 褍 泻褉懈谢芯 懈 锌芯褔械芯 写邪 褬械 褋懈褋邪, 邪 锌芯褌芯屑 褋械 褍胁邪谢懈芯 懈 屑邪谢芯 写褍斜褭械!鈥�
鈥� 鈥溞熜�, 写芯斜褉芯, 褉械褔械 袛懈褉褌邪谢, 褍 褋褉械写褮械屑 胁械泻褍, 屑懈褋邪 褬械 褋谢褍卸械薪邪 薪邪 写褉褍谐懈 薪邪褔懈薪; 芯谢褌邪褉 褬械 褌邪写邪 斜懈芯 谐芯谢邪 卸械薪褋泻邪 谐褍蟹懈褑邪; 褍 褋械写邪屑薪邪械褋褌芯屑 胁械泻褍, 褌芯 褬械 斜懈芯 褋褌芯屑邪泻, 邪 褋邪写邪?鈥�
鈥溞⌒靶葱�, 褉械褌泻芯 卸械薪邪 褋谢褍卸懈 泻邪芯 芯谢褌邪褉, 邪谢懈 薪械 褌褉褔懈屑芯 锌褉械写 褉褍写褍.鈥�
袩褭褍胁邪褮械 薪邪褌褍褉邪谢懈蟹屑邪:
鈥� 褋邪 鈥溠傂笛€屑懈薪懈屑邪 懈蟹 斜邪褬斜芯泻邪薪械, 褉械褔薪懈泻芯屑 锌懈褋芯邪褉邪 懈 褋胁褉邪褌懈褕褌邪, 褕褍褌芯屑 芯写 懈蟹褉邪蟹邪 懈 褕褭邪泻芯屑 芯写 褉械褔懈, 写械斜械谢懈屑 褋谢芯褬械屑 屑邪褋薪械 褎邪褉斜械 锌褉械泻芯 锌褉芯褋褌芯谐 褋褌懈谢邪, 锌褉褭邪胁懈屑 懈写械褬邪屑邪, 褋胁械褋薪懈屑 蟹邪褌胁邪褉邪褮械屑 褍 胁械褕械褉邪褬 褌械谢邪鈥�. 袨胁邪褬 泻褮懈卸械胁薪懈 锌褉邪胁邪褑 褬械 鈥溞叫笛冃� 懈 褌褍锌邪胁, 褋屑褉写褭懈胁, 泻谢邪褮邪 褋械 褍泻褍褋褍 谐芯屑懈谢械 芯写 泻芯褬械谐 褔芯胁械泻褍 锌芯褋褌邪褬械 屑褍泻邪,鈥� 芯薪 褬械 鈥溞承靶夹感堆冄浶� 懈 锌褉懈蟹械屑薪邪 褍屑械褌薪芯褋褌, 斜褍斜邪褕胁邪斜懈蟹邪屑, 褋胁械写械薪 薪邪 屑芯薪芯褌芯薪械 褋褌褍写懈褬械 芯 芯褋褉械写褮懈屑 斜懈褯懈屑邪 泻芯褬邪 斜邪褍褭邪褬褍 泻褉芯蟹 斜械褋泻褉邪褬薪懈 懈薪胁械薪褌邪褉 褋邪谢芯薪邪 懈 锌芯褭邪薪邪, 胁芯写懈 褍 锌芯褌锌褍薪褍 褬邪谢芯胁芯褋褌, 邪泻芯 褬械 褔芯胁械泻 褔邪褋褌邪薪 懈 写邪谢械泻芯胁懈写, 邪 褍 褋褍锌褉芯褌薪芯屑 褋谢褍褔邪褬褍, 褍 胁械芯屑邪 写芯褋邪写薪邪 薪邪谐胁邪卸写邪褮邪 懈 蟹邪屑芯褉薪邪 锌褉械锌褉懈褔邪胁邪褮邪鈥�.
鈥溞毿靶盒残� 斜懈 褌芯 斜懈谢邪 薪械锌芯褬邪屑薪邪 褋褉械褯邪, 泻芯薪邪褔薪芯 卸懈胁械褌懈 锌芯褋褌褉邪薪懈 芯写 褋胁芯谐 胁褉械屑械薪邪, 懈 写芯泻 褋械 斜褍褬懈褑邪 褭褍写褋泻械 谐谢褍锌芯褋褌懈 泻芯褌褉褭邪 写芯谢械 懈褋锌芯写 泻褍谢邪, 锌褉械谢懈褋褌邪胁邪褌懈 褋褌邪褉械 泻褮懈卸褍褉懈薪械 锌芯写 泻芯褋懈屑 蟹褉邪褑懈屑邪 褬邪泻械 谢邪屑锌械!鈥�
鈥溞犘敌恍感承秆樞� 褌褉邪卸懈 芯写褍褋褌邪褬邪褮械 芯写 蟹写褉邪胁芯谐 褉邪蟹褍屑邪.鈥�
鈥� 鈥溞熝€懈蟹懈胁邪 褣邪胁芯谢邪, 褏褉邪薪懈 斜械谢械 屑懈褕械胁械 褏芯褋褌懈褬邪屑邪 泻芯褬械 芯褋胁械褌懈; 褮械谐芯胁邪 锌芯褌褉械斜邪 蟹邪 褋胁械褌芯谐褉褣械屑 褬械 褌芯谢懈泻邪 写邪 褬械 写邪芯 写邪 屑褍 褋械 薪邪 褌邪斜邪薪懈屑邪 懈褋褌械褌芯胁懈褉邪 褋谢懈泻邪 泻褉褋褌邪 泻邪泻芯 斜懈 褋褌邪谢薪芯 屑芯谐邪芯 写邪 谐邪蟹懈 锌芯 褋锌邪褋懈褌械褭褍!鈥� Dawn of Ashes 鈥� Poisoning the steps of Babel (褕褌懈泻谢械 褍 芯斜谢懈泻褍 芯斜褉薪褍褌芯谐 泻褉褋褌邪) + Behemoth鈥檚 God = Dog 斜褉懈泻械褌懈 蟹邪 锌褋械 褍 芯斜谢懈泻褍 泻褉褋褌邪
鈥� 鈥溞栃敌恍感夹� 写邪 褍写邪褉懈屑芯 锌芯 褌胁芯褬懈屑 械泻褋械褉懈屑邪, 锌褉懈褌懈褋薪械屑芯 褌胁芯褬械 褌褉褮械, 写邪 懈褋褌械褉邪屑芯 斜芯谢薪褍 泻褉胁 写芯 懈胁懈褑邪 褌胁芯褬懈褏 褋褍胁懈褏 褉邪薪邪!鈥�
鈥� 鈥溞熜拘承恍敌葱把樠傂� 褌芯谐 褍锌谢邪褕械薪芯谐 懈 褋泻械锌褌懈褔薪芯谐, 锌褉懈蟹械屑薪芯谐 懈 谢褍泻邪胁芯谐 锌邪锌褍, 褌邪褬 械锌懈褋泻芯锌邪褌 屑械褕械褌邪褉邪 懈 褍谢懈蟹懈褑邪, 褌芯 卸芯胁懈褬邪谢薪芯 懈 褭懈谐邪胁芯 褋胁械褕褌械薪褋褌胁芯. (鈥�) 袩芯锌懈薪械 写邪薪邪褋 懈屑邪褬褍 懈褋锌褍褑邪谢邪 褋褉褑邪, 写懈蟹械薪褌械褉懈褔薪械 写褍褕械, 屑芯蟹谐芯胁械 泻芯褬懈 褋械 褉邪褋锌芯褬邪褋邪褬褍 懈 锌芯斜械谐薪褍! 鈥� 袠谢懈 褬械 褋褌胁邪褉 褬芯褕 谐芯褉邪; 蟹邪锌邪谢械 褋械 泻邪芯 褌褉褍谢械卸 懈 薪邪谐褉懈蟹邪褬褍 褋褌邪写芯 泻芯褬械 褔褍胁邪褬褍!鈥�
鈥� 鈥溞氀毿感缎敌残叫秆喰� 褋械 写邪薪邪褋 写械谢械 褍 写胁械 谐褉褍锌械, 锌褉胁褍 褔懈薪械 谐褉邪屑蟹懈胁懈 屑邪谢芯谐褉邪褣邪薪懈, 邪 写褉褍谐褍 芯谐邪胁薪械 薪懈褕褌邪褉懈褬械鈥�
鈥� 鈥溞� 写邪薪邪褕褮械 胁褉械屑械, 泻邪写邪 褋械 褌胁褉写芯谐谢邪胁芯 锌褉械泻芯锌邪胁邪褬褍 褋褌邪褉械 泻褍褌懈褬械, 懈褋褌芯褉懈褬邪 褋谢褍卸懈 褋邪屑芯 写邪 褍斜谢邪卸懈 泻褮懈卸械胁薪懈 褋胁褉邪斜 锌褉芯胁懈薪褑懈褬褋泻芯谐 锌谢械屑褋褌胁邪 泻芯褬械 褋胁芯褬械 褉芯屑邪薪械褋泻薪械 褋邪褉屑懈褑械 芯写 褉械褔懈 褋谢邪卸械 褍 薪邪褋褌邪胁褑懈屑邪 写邪 斜懈 懈屑 袠薪褋褌懈褌褍褌, 斜邪谢邪胁械褯懈, 写芯写械谢懈芯 芯褉写械褮邪 懈 锌褉胁械 薪邪谐褉邪写械.鈥�
鈥� 鈥溞愌€懈褋褌芯泻褉邪褌懈褬邪 褋械 锌褉械褉褍褕懈谢邪 褍 斜邪褬邪写械褉褍, 芯斜褍泻谢邪 斜邪谢械褌褋泻械 褏邪褭懈薪懈褑械 懈 泻谢芯胁薪芯胁褋泻械 泻芯褋褌懈屑械; 褋邪写邪 锌褉械写 锌褍斜谢懈泻芯屑 懈蟹胁芯写懈 褌邪褔泻褍 薪邪 褌褉邪锌械蟹褍, 谢芯屑邪褌邪 褋械 薪邪 芯斜褉褍褔懈屑邪, 锌芯写懈卸械 褌械谐芯胁械 薪邪 褍谐邪卸械薪芯褬 锌懈褭械胁懈薪懈 泻邪芯 褍 泻邪泻胁芯屑 褑懈褉泻褍褋褍!鈥�
鈥� 鈥溞捫笛囆笛€邪褋, 屑芯褬 薪械蟹薪邪薪懈 锌褉懈褬邪褌械褭褍, 褋邪屑芯 褬械写薪邪 褉械褔. 袩褉芯胁械谢邪 褋邪屑 褍卸邪褋邪薪 写邪薪, 卸懈胁褑懈 褋褍 屑懈 褋械 锌芯斜褍薪懈谢懈, 谐芯褌芯胁芯 褋邪屑 褍褉谢懈泻邪谢邪 芯写 锌邪褌褮械, 懈 褌芯 蟹斜芯谐 褋懈褌薪懈褑邪 泻芯褬械 褋械 锌芯薪邪胁褭邪褬褍 锌芯 褋褌芯 锌褍褌邪 薪邪 写邪薪; 蟹斜芯谐 胁褉邪褌邪 泻芯褬邪 褋械 蟹邪谢褍锌械, 蟹斜芯谐 褏褉邪锌邪胁芯谐 懈 泻褉械褕褌邪胁芯谐 谐谢邪褋邪 泻芯褬懈 屑懈 褋邪 褍谢懈褑械 褍褣械 褍 泻褍褯褍; 懈屑邪 褋邪褌懈 泻邪写邪 褬械 屑芯褬邪 薪械芯褋械褌褭懈胁芯褋褌 褌芯谢懈泻邪 写邪, 泻邪写邪 斜懈 泻褍褯邪 谐芯褉械谢邪, 褬邪 褋械 薪械 斜懈褏 薪懈 锌芯屑械褉懈谢邪. 啸芯褯褍 谢懈 胁邪屑 锌芯褋谢邪褌懈 芯胁褍 褋褌褉邪薪懈褑褍 泻芯屑懈褔薪懈褏 谢邪屑械薪褌邪褑懈褬邪? 袗褏, 泻邪写邪 薪械泻芯 薪械屑邪 写邪褉邪 写邪 斜芯谢 斜谢懈褋褌邪胁芯 芯写械薪械, 写邪 谐邪 锌褉械褌芯褔懈 褍 泻褮懈卸械胁薪懈 褌械泻褋褌 懈谢懈 屑褍蟹懈泻褍 褕褌芯 胁械谢懈褔邪薪褋褌胁械薪芯 锌谢邪褔褍, 斜芯褭械 写邪 褋械 芯 褌芯屑械 薪械 谐芯胁芯褉懈.鈥�
小褌褉邪褏芯褌薪懈 锌械褬蟹邪卸 褍 锌芯褉褌褉械褌褍
袣芯斜邪褑 懈 芯褉薪懈褌芯屑邪薪褌懈褬邪鈥�
...
馃幍
July 31, 2014
La-Bas is every bit as good as (A Rebours), but is a very different story. Not what I expected, this amazing work has other layers than the surface story about the writer Durtal, Des Hermies and the mysterious Mme. Chantelouve. The more I think about this book in writing a review, the more I find. I could reread this many times. I'm also looking forward to reading .
Added thoughts.
La-Bas - The main characters.
Durtal, a writer in Paris, researching the history of Gilles de Rais.
Des Hermies, a friend and a doctor.
Carhaix, the cathedral bell ringer, a simple man of devout faith.
Mme. Carhaix, his dear wife and excellent cook.
Pere Rateau, Durtal's apartment cleaner and his cross to bear, as Rateau is always late and leaves the place worse than he found it.
Gevingey, the astrologer.
Mme. Chantelouve, Durtal's mysterious fan.
Chantelouve, her husband.
Canon Docre.
Dr. Johannes.
I thought the early stages of the book were disjointed, in sections as yet unrelated but come together further into the novel. It is really two stories, the main story of Durtal, Des Hermies, Gevingey, Mme. Chantelouve, the bell ringer Carhaix and his wife.
The second story within the main tale is about the unspeakable deeds and the two trials of Gilles de Rais, first by the church and then followed by the civil court. Gilles de Rais, can abduct, torture and murder all the children of an entire town and region, and then when captured, sheds tears of repentance before the Clergy and be forgiven. No worries, straight to the pearly gates.
The main focus of the book for me was the divide in thinking by the Church, and the Humanist Secular approach to how one sees Satanism and evil, and the other sees the same deeds as criminal insanity. Not once are the deeds called criminally insane, always they are referred to as Satanism.
Two areas to discuss with the novel. 1. Satanism and evil as opposed to criminal insanity, and 2. The understanding and acknowledgement of other realities which La-Bas covers in the fascinating description of Dr. Johannes' ability to check the evil assault of incoming spells by being alerted "by the flight and cry of certain birds. Falcons and sparrow-harks are his sentinels." Carlos Casteneda covers similar examples in The Teaching of Don Juan and A Separate Reality. This subject is a whole other area to explore with connecting to the natural world.
One bonus with the writing is the unfamiliar words. Occiput, inexpugnable, lanuginous, lachrymose, exorable, purulence, fluvial, tumefied, lenitive, pusillanimous, perfervid, abbatial, venefices, mucilaginous, syllogism.
Added thoughts.
La-Bas - The main characters.
Durtal, a writer in Paris, researching the history of Gilles de Rais.
Des Hermies, a friend and a doctor.
Carhaix, the cathedral bell ringer, a simple man of devout faith.
Mme. Carhaix, his dear wife and excellent cook.
Pere Rateau, Durtal's apartment cleaner and his cross to bear, as Rateau is always late and leaves the place worse than he found it.
Gevingey, the astrologer.
Mme. Chantelouve, Durtal's mysterious fan.
Chantelouve, her husband.
Canon Docre.
Dr. Johannes.
I thought the early stages of the book were disjointed, in sections as yet unrelated but come together further into the novel. It is really two stories, the main story of Durtal, Des Hermies, Gevingey, Mme. Chantelouve, the bell ringer Carhaix and his wife.
The second story within the main tale is about the unspeakable deeds and the two trials of Gilles de Rais, first by the church and then followed by the civil court. Gilles de Rais, can abduct, torture and murder all the children of an entire town and region, and then when captured, sheds tears of repentance before the Clergy and be forgiven. No worries, straight to the pearly gates.
The main focus of the book for me was the divide in thinking by the Church, and the Humanist Secular approach to how one sees Satanism and evil, and the other sees the same deeds as criminal insanity. Not once are the deeds called criminally insane, always they are referred to as Satanism.
Two areas to discuss with the novel. 1. Satanism and evil as opposed to criminal insanity, and 2. The understanding and acknowledgement of other realities which La-Bas covers in the fascinating description of Dr. Johannes' ability to check the evil assault of incoming spells by being alerted "by the flight and cry of certain birds. Falcons and sparrow-harks are his sentinels." Carlos Casteneda covers similar examples in The Teaching of Don Juan and A Separate Reality. This subject is a whole other area to explore with connecting to the natural world.
One bonus with the writing is the unfamiliar words. Occiput, inexpugnable, lanuginous, lachrymose, exorable, purulence, fluvial, tumefied, lenitive, pusillanimous, perfervid, abbatial, venefices, mucilaginous, syllogism.
November 29, 2016
Joris-Karl Huysmans foi um escritor franc锚s do s茅culo XIX, considerado como uma das principais figuras da corrente art铆stica o Decandentismo, pela sua obra "脌 Rebours".
脡 um autor que continua a despertar-me muita curiosidade, apesar de n茫o ter gostado da sua obra mais emblem谩tica. Racionalmente, acho-o inovador nas ideias e na escrita mas, emocionalmente, causa-me alguma repulsa. Conheci-o atrav茅s de uns amigos, meio chanfrados da cabe莽a, que o adoram (que n茫o me v茫o ler, estou segura) e, talvez por isso, eu sinta por ele esta atrac莽茫o fatal que me levou ao 础濒茅尘...
础濒茅尘, no original 尝脿-叠补蝉, 茅 um livro cuja leitura exige alguma valentia. Come莽a logo pela pr贸pria edi莽茫o portuguesa, que parece ter sido banhada em sangue, e cuja imagem de capa 茅 um detalhe de um quadro medonhamente belo (se n茫o acreditam olhem para a imagem l谩 no fim...). Com um objecto destes na m茫o e sabendo que o tema era o Satanismo e a hist贸ria de Gilles de Rais, fui avan莽ando na leitura muito cautelosamente. Mas Huysmans foi generoso com o leitor, aliviando-o do horror com algum humor.
Durtal - a personagem principal - decide escrever a biografia de Gilles de Rais. Enquanto pesquisa documentos hist贸ricos, e tem longas conversas com os amigos, enamora-se de uma mulher (mas depressa se aborrece) que 茅 membro de uma seita sat芒nica e com ela assiste a uma missa negra.
Um livro muito interessante sobre o Bem e o Mal, e a religi茫o crist茫 em oposi莽茫o ao satanismo. As partes da hist贸ria de Rais s茫o muito angustiantes, apesar da eleg芒ncia com que Huysmans descreve as atrocidades cometidas.
(Gilles de Rais foi um nobre que lutou ao lado de Joana D'Arc. Perturbado com a morte dela refugiou-se num castelo para onde sequestrava meninos, entre os 8 e os 10 anos, que violava, torturava e matava. Estima-se que matou entre duzentas a mil crian莽as.)
(Dirk Bouts, "Hell", 1450)
脡 um autor que continua a despertar-me muita curiosidade, apesar de n茫o ter gostado da sua obra mais emblem谩tica. Racionalmente, acho-o inovador nas ideias e na escrita mas, emocionalmente, causa-me alguma repulsa. Conheci-o atrav茅s de uns amigos, meio chanfrados da cabe莽a, que o adoram (que n茫o me v茫o ler, estou segura) e, talvez por isso, eu sinta por ele esta atrac莽茫o fatal que me levou ao 础濒茅尘...
础濒茅尘, no original 尝脿-叠补蝉, 茅 um livro cuja leitura exige alguma valentia. Come莽a logo pela pr贸pria edi莽茫o portuguesa, que parece ter sido banhada em sangue, e cuja imagem de capa 茅 um detalhe de um quadro medonhamente belo (se n茫o acreditam olhem para a imagem l谩 no fim...). Com um objecto destes na m茫o e sabendo que o tema era o Satanismo e a hist贸ria de Gilles de Rais, fui avan莽ando na leitura muito cautelosamente. Mas Huysmans foi generoso com o leitor, aliviando-o do horror com algum humor.
Durtal - a personagem principal - decide escrever a biografia de Gilles de Rais. Enquanto pesquisa documentos hist贸ricos, e tem longas conversas com os amigos, enamora-se de uma mulher (mas depressa se aborrece) que 茅 membro de uma seita sat芒nica e com ela assiste a uma missa negra.
Um livro muito interessante sobre o Bem e o Mal, e a religi茫o crist茫 em oposi莽茫o ao satanismo. As partes da hist贸ria de Rais s茫o muito angustiantes, apesar da eleg芒ncia com que Huysmans descreve as atrocidades cometidas.
(Gilles de Rais foi um nobre que lutou ao lado de Joana D'Arc. Perturbado com a morte dela refugiou-se num castelo para onde sequestrava meninos, entre os 8 e os 10 anos, que violava, torturava e matava. Estima-se que matou entre duzentas a mil crian莽as.)
(Dirk Bouts, "Hell", 1450)
December 17, 2021
鈥淎rt and prayer are the only decent ejaculations of the soul.鈥�
Its understandable why A REBOURS is considered Huysmans opus, its a more accessible tome to none decadent readers than La Bas, but this is probably my favourite of his work.
A defining example of occult literature, filled to bursting with sanguine transgressions.
Its understandable why A REBOURS is considered Huysmans opus, its a more accessible tome to none decadent readers than La Bas, but this is probably my favourite of his work.
A defining example of occult literature, filled to bursting with sanguine transgressions.
Read
May 14, 2019Ortaokul lise ya艧lar谋ndayken orada burada satanist gen莽lere dair hikayeler anlat谋l谋nca s谋rad谋艧谋 ve 眉rk眉t眉c眉 olana merakla kulak kabart谋rd谋m. Hatta on bir on iki ya艧lar谋nda satanist gen莽lerin bir 莽ocu臒u ka莽谋r谋p ve ona iyi davrand谋臒谋 ve 莽ocu臒un da evine d枚nmek istemedi臒i bir roman denemem olmu艧tu :) Orada asl谋nda dekadans edebiyat谋n temel bi莽im ve kayg谋lar谋n谋n 莽ok a莽谋k bir 枚rne臒i, hatta neredeyse manifestosu olsa da ben bu kitab谋 bu s谋rad谋艧谋 olan, b眉y眉l眉 olaylar谋 anlatmas谋 sayesinde okuyup bitirdim. Orada'n谋n reddetti臒i ger莽ekli臒in cazibesi sayesinde okunmas谋 biraz 艧akac谋 bir ger莽ek olmu艧.
Bu ilgi 莽ekici ve merak uyand谋r谋c谋 satanist ayin anlat谋lar谋 d谋艧谋nda, bir tarafta Kara B眉y眉ler ve 艦eytana Tapan Rahiplerin heyecan verici ayinleri, bir tarafta 莽anlar谋na a艧kla ba臒l谋 zango莽 ve t眉m bunlar谋n ortas谋nda da bir sanat莽谋, bir ''yazar''. Bir karars谋zl谋k hatta kafa kar谋艧谋kl谋臒谋 sezilse de 枚nermesi ortada; niyetini 莽ok a莽谋k eden bir kitap. Hele roman谋n giri艧inde Huysmans do臒rudan kendi a臒z谋ndan konu艧uyor desem yalan olmaz. 19. y眉zy谋l sanat谋n谋 etkileyen kayg谋lara ve dekadans edebiyata merak, ilgi duyanlar i莽in birebir. Tarih yaz谋m谋 gibi bir roman biraz da.
Bu ilgi 莽ekici ve merak uyand谋r谋c谋 satanist ayin anlat谋lar谋 d谋艧谋nda, bir tarafta Kara B眉y眉ler ve 艦eytana Tapan Rahiplerin heyecan verici ayinleri, bir tarafta 莽anlar谋na a艧kla ba臒l谋 zango莽 ve t眉m bunlar谋n ortas谋nda da bir sanat莽谋, bir ''yazar''. Bir karars谋zl谋k hatta kafa kar谋艧谋kl谋臒谋 sezilse de 枚nermesi ortada; niyetini 莽ok a莽谋k eden bir kitap. Hele roman谋n giri艧inde Huysmans do臒rudan kendi a臒z谋ndan konu艧uyor desem yalan olmaz. 19. y眉zy谋l sanat谋n谋 etkileyen kayg谋lara ve dekadans edebiyata merak, ilgi duyanlar i莽in birebir. Tarih yaz谋m谋 gibi bir roman biraz da.
March 10, 2018
In many ways I find La Bas to be the perfect novel. It's dual structure, half Durtal's flirtation with Satanism due to his curiosity combined with book research (note the thematic similarity to Apuleius's Golden Ass!), and half the story of noble medieval knight and child murderer Gilles de Rais, the book that Durtal's writing, is captivating and a wonderfully thoughtful parallel. Together, the two stories construct the novel's theme: the premise that spirituality--like almost everything else--had, by 1890--become debased and tawdry because of the triumph of industrial capitalism and the conformity to petty bourgeois formalities by which we've now lived for more than a century and a half. Indeed, Durtal (and the novel's) nostalgic yearning for the passion of medieval Christianity is charming and pointed.
La Bas is also, to use Mikhail Bakhtine's famous formulation, exquisitely dialogic. The narrative commences with a pithy literary discussion between the protagonist Durtal and his friend Dr. Des Hermies--laying out the literary background of the time and announcing the novel's own aesthetic placement--and their discussions of medicine, politics, literature, philosophy, Catholicism, astrology, and satanism--spaced at intervals--continue (with the addition of the bell-ringer Carhaix and his wife) at their humble dinners in the bell tower, throughout the novel. Then, only a few chapters in, Huysmans braids a third narrative into the fabric of the novel. This thread begins with an anonymous letter from one of Durtal's fans, who turns out to be a women with Satanic connections, and with whom he then begins to see for himself things that Des Hermies has informed him do actually take place in the Paris of 1890, but which Durtal's skepticism would not allow him to admit.
Not only are each of these narrative threads based on a pair of characters in dialogic interaction, each representing different viewpoints--Carhaix the devout Catholic, Des Hermies the worldly cynic (but also, although a medical man, a critic of materialism), Mme. Chantelouve the passionate Catholic/Satanist, and Durtal himself, the literary man, cynical, retired, yet open to new experiences--but even the scenes of Durtal alone in his room composing his history of de Rais's infamy are written in the form of his waffling self-interrogations, as he argues with himself about the meanings of the many viewpoints and people with whom he interacts.
Yes, this medievalist, novelist, and fan of Bakhtine's critical theory is enchanted. And what a story! (Both of them--Durtal and de Rais's!) Such great philosophical thought, literary commentary, political observations--the dismantling of capitalism in chapter three (if I recall correctly) is a million times more convincing than Das Capital!--and drama! Plenty of that--a black mass, sordid sex in a filthy barroom in a bed littered with defiled communion wafers, horrific scenes of child rape and murder, and a trial and burning at the stake of the repentant sinner... I find de Rais's story as fascinating as Durtal does--and La Bas similar to the greatest Catholic narratives that approach blessedness and conversion through a study of, or reaction to, evil: Dante's Inferno, Flannery O'Connor's "A Good Man Is Hard to Find," Matthew Lewis's The Monk (although in this case it's inadvertent and verges on satire), and Blatty's The Exorcist.
And, yes, I will say that this long-time atheist loves these works for drawing me as close to believing in a god as I'm likely to get. There's no denying evil and, perhaps because I'm generally a pretty good guy, I have trouble believing that people do these evil things on their own, without some kind of satanic help. Still, I usually fall back on the fact of this very evil existing as the foundation for my atheism: if there is a God, He's a whole lot less empathetic than I to let this shit go on. Still, like Durtal--with whom I greatly identify--I'm going to push on this time and read the three sequels and see if his conversion convinces me any different. Never let it be said I'm not open minded!
La Bas is also, to use Mikhail Bakhtine's famous formulation, exquisitely dialogic. The narrative commences with a pithy literary discussion between the protagonist Durtal and his friend Dr. Des Hermies--laying out the literary background of the time and announcing the novel's own aesthetic placement--and their discussions of medicine, politics, literature, philosophy, Catholicism, astrology, and satanism--spaced at intervals--continue (with the addition of the bell-ringer Carhaix and his wife) at their humble dinners in the bell tower, throughout the novel. Then, only a few chapters in, Huysmans braids a third narrative into the fabric of the novel. This thread begins with an anonymous letter from one of Durtal's fans, who turns out to be a women with Satanic connections, and with whom he then begins to see for himself things that Des Hermies has informed him do actually take place in the Paris of 1890, but which Durtal's skepticism would not allow him to admit.
Not only are each of these narrative threads based on a pair of characters in dialogic interaction, each representing different viewpoints--Carhaix the devout Catholic, Des Hermies the worldly cynic (but also, although a medical man, a critic of materialism), Mme. Chantelouve the passionate Catholic/Satanist, and Durtal himself, the literary man, cynical, retired, yet open to new experiences--but even the scenes of Durtal alone in his room composing his history of de Rais's infamy are written in the form of his waffling self-interrogations, as he argues with himself about the meanings of the many viewpoints and people with whom he interacts.
Yes, this medievalist, novelist, and fan of Bakhtine's critical theory is enchanted. And what a story! (Both of them--Durtal and de Rais's!) Such great philosophical thought, literary commentary, political observations--the dismantling of capitalism in chapter three (if I recall correctly) is a million times more convincing than Das Capital!--and drama! Plenty of that--a black mass, sordid sex in a filthy barroom in a bed littered with defiled communion wafers, horrific scenes of child rape and murder, and a trial and burning at the stake of the repentant sinner... I find de Rais's story as fascinating as Durtal does--and La Bas similar to the greatest Catholic narratives that approach blessedness and conversion through a study of, or reaction to, evil: Dante's Inferno, Flannery O'Connor's "A Good Man Is Hard to Find," Matthew Lewis's The Monk (although in this case it's inadvertent and verges on satire), and Blatty's The Exorcist.
And, yes, I will say that this long-time atheist loves these works for drawing me as close to believing in a god as I'm likely to get. There's no denying evil and, perhaps because I'm generally a pretty good guy, I have trouble believing that people do these evil things on their own, without some kind of satanic help. Still, I usually fall back on the fact of this very evil existing as the foundation for my atheism: if there is a God, He's a whole lot less empathetic than I to let this shit go on. Still, like Durtal--with whom I greatly identify--I'm going to push on this time and read the three sequels and see if his conversion convinces me any different. Never let it be said I'm not open minded!
November 26, 2009
blerg. i was intrigued by des hermies and durtal's early discussions on what would attract people - especially intelligent, sensitive people - away from materialism to spiritualism. i...enjoyed? (though the word hardly seems appropriate) learning about gilles de rais. i liked the yummy dinners at the carhaixes'. but i couldn't have cared less about the endless gossipy stupid musings about all the astrologists, alchemists, fortune-tellers, mediums, faith healers, exorcisers, necromancers, wizards, and satanists of the time; and durtal's constant, self-pitying moping about how much the modern age totally sucks grew tiresome after the fourth or fifth repetition. by the time the book finally rolled around to the much-anticipated black mass, i was ready to slit my wrists.
August 2, 2012
Well you might think that a late 19th century novel about demonic possession and satanic orgies would be absurd; in all other cases you would most probably be right. However, I must admit that I took up La Bas after the joys that I took away from A rebours (against nature)and the pleasure, though a different aesthetic experience, was just as sublime.
April 16, 2013
"尝脿-叠补蝉" by J.K. Huysmans. I first heard of this cult 1891 novel when I read Kenneth Grant's "Cults of the Shadows" around 2004 or so. I found a copy of the Dover edition in July 2006, at the Barnes & Noble I work at, oddly enough. Although I have quite a few translations of this novel, the Dover edition is my sentimental favorite, as I like the Odilon Redon artwork on the front cover, and the evocative description of the book on the back cover (which begins thusly: "This novel is the classic of satanism"). This was my first exposure to the work of Huysmans, and it got me interested in the whole 19th-century French Decadent/Symbolist/Fin de si猫cle literary and arts movement of that time period: certainly "尝脿-叠补蝉" and "Against Nature" (one of Huysmans' earlier books and arguably his best novel) were the greatest books to emerge from that movement, though Jean Lorrain's "Monsieur De Phocas" is also a strong contender. Alternately a historical primer on the life and crimes of Gilles de Rais, juxtaposed with Huysmans' real-life research into the twilight occult underworld of Paris at the end of that century (supposedly he attended an actual Black Mass), "尝脿-叠补蝉" is the first of his Durtal tetralogy, semi-autobiographical novels dealing with Huysmans' spiritual development: shortly after finishing "尝脿-叠补蝉" he reverted to Catholicism. Although best known for its famous Black Mass scene and its stomach-turning descriptions of the crimes committed by Rais (some of which make the violent bits of "American Psycho" seem tame), there are a lot of other notable features of this novel, including a stunningly evocative and moving description of Matthias Gr眉newald's famous "Crucifixion." Interestingly, it was my re-reading of this most diabolical novel in 2008 that led me to become interested in Christianity/Catholicism again (along with my obsession with the music of Current 93, a band I'm sure Huysmans would have enjoyed). But then again, it was Huysmans' investigations into the diabolism of his day that led to his reversion: as he famously said, "With his crooked paw, the Devil drew me towards God." Huysmans, along with H.P. Lovecraft, is a writer that I see a lot of elements of myself in, and I find their worldviews very similar to my own.
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