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丕賱丨乇爻 丕賱兀亘賷囟
賷毓鬲賯丿 丕賱賰孬賷乇 賲賳 丕賱亘丕丨孬賷賳 兀賳 乇賵丕賷丞 "丕賱賲毓賱賲 賵賲乇噩乇賷鬲丕" 鬲毓鬲亘乇 賲賳 兀賮囟賱 兀毓賲丕賱 丕賱賰丕鬲亘 丕賱乇賵爻賶 賲賷禺丕卅賷賱 亘賵賱噩丕賰賵賮 (1940 - 1891) 丕賱匕賶 匕丕毓 氐賷鬲賴 賮賶 兀賵丕禺乇 丕賱賯乇賳 丕賱毓卮乇賷賳 毓賳丿賲丕 賳卮乇 賴匕賴 丕賱乇賵丕賷丞. 賱賰賳 兀賵賱 乇賵丕賷鬲賴 賰丕賳鬲 "丕賱丨乇爻 丕賱兀亘賷囟" 丕賱鬲賶 賱丕 鬲賯賱 賯賷賲丞 毓賳賴丕貙 毓賱賲丕 亘兀賳賴丕 賲賴丿鬲 丕賱胤乇賷賯 賱賵賱賵噩 丕賱賰丕鬲亘 賲賷丿丕賳 丕賱廿亘丿丕毓 丕賱乇賵丕卅賶 賲賳匕 賲胤賱毓 丕賱毓卮乇賷賳賷丕鬲 丨賷賳 兀毓胤鬲 孬賵乇丞 兀賰鬲賵亘乇 丕賱亘卮賮賷丞 賮賶 毓丕賲 1917 丕賱丨乇賷丞 廿賱賶 噩賲賷毓 丕賱賲亘丿毓賷賳 賲賳 賰鬲丕亘 賵卮毓乇丕亍 賵賮賳丕賳賷賳 賵賲賵爻賷賯賷賷賳 賵賲爻乇丨賷賷賳 賱廿賷噩丕丿 賵爻丕卅賱 噩丿賷丿丞 賮賶 丕賱鬲毓亘賷乇. 賮賯丿 賰丕賳 卮毓丕乇 丕賱孬賵乇丞 丌賳匕丕賰 賴賵 丕賱鬲睾賷賷乇 賵丕賱丕賳賯賱丕亘 毓賱賶 丕賱孬賯丕賮丞 丕賱亘乇噩賵丕夭賷丞貙 賵賱賲 鬲丨丿丿 亘毓丿 丌賳匕丕賰 賲丕 爻鬲賰賵賳 毓賱賷賴 丕賱孬賯丕賮丞 丕賱亘乇賵賱賷鬲丕乇賷丞. 亘賷丿 兀賳 賴匕賴 丕賱賲乇丨賱丞 賱賲 鬲爻鬲賲乇 胤賵賷賱丕 廿匕 亘丿兀鬲 賮賶 丕賱孬賱丕孬賷賳賷丕鬲 賲賳 丕賱賯乇賳 丕賱賲丕囟賶 賮鬲乇丞 丕賱丨賰賲 丕賱丕爻鬲亘丿丕丿賶 賵丕賱鬲囟賷賷賯 毓賱賶 丕賱丨乇賷丕鬲 賮賶 毓賴丿 爻鬲丕賱賷賳. 賵兀毓胤鬲 丕賱兀毓賵丕賲 丕賱毓卮乇丞 丕賱兀賵賱賶 丕賱鬲賶 兀毓賯亘鬲 孬賵乇丞 兀賰鬲賵亘乇 丕賱賰孬賷乇 賲賳 丕賱孬賲丕乇 丕賱胤賷亘丞 賲鬲賲孬賱丞 賮賶 乇賵丕賷丞 "丕賱丿賵賳 丕賱賴丕丿賶亍" 賱賲賷禺丕卅賷賱 卮賵賱賵禺賵賮 賵"丕賱丨乇爻 丕賱兀亘賷囟" 賱賲賷禺丕卅賷賱 亘賵賱噩丕賰賵賮 賵"亘丨乇 丕賱氐亘丕" 賱兀賳丿乇賷賴 亘賱丕鬲賵賳賵賮 賵賯氐丕卅丿 兀賱賰爻賳丿乇 亘賱賵賰 賵兀賳丕 兀禺賲丕鬲賵賮丕 賵賮賱丕丿賷賲賷乇 賲丕賷丕賰賵賮爻賰賶 賵睾賷乇賴賲.
520 pages, Paperback
First published January 1, 1924
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About the author
Mikhail Bulgakov
615听books7,474听followersMikhail Afanasyevich Bulgakov (Russian: 袦懈褏邪懈谢 袘褍谢谐邪泻芯胁) was a Russian writer, medical doctor, and playwright. His novel The Master and Margarita, published posthumously, has been called one of the masterpieces of the 20th century.
He also wrote the novel The White Guard and the plays Ivan Vasilievich, Flight (also called The Run), and The Days of the Turbins. He wrote mostly about the horrors of the Russian Civil War and about the fate of Russian intellectuals and officers of the Tsarist Army caught up in revolution and Civil War.
Some of his works (Flight, all his works between the years 1922 and 1926, and others) were banned by the Soviet government, and personally by Joseph Stalin, after it was decided by them that they "glorified emigration and White generals". On the other hand, Stalin loved The Days of the Turbins (also called The Turbin Brothers) very much and reportedly saw it at least 15 times.
He also wrote the novel The White Guard and the plays Ivan Vasilievich, Flight (also called The Run), and The Days of the Turbins. He wrote mostly about the horrors of the Russian Civil War and about the fate of Russian intellectuals and officers of the Tsarist Army caught up in revolution and Civil War.
Some of his works (Flight, all his works between the years 1922 and 1926, and others) were banned by the Soviet government, and personally by Joseph Stalin, after it was decided by them that they "glorified emigration and White generals". On the other hand, Stalin loved The Days of the Turbins (also called The Turbin Brothers) very much and reportedly saw it at least 15 times.
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Displaying 1 - 30 of 662 reviews
October 16, 2023
鈥淎nd the third angel poured out his vial upon the rivers and fountains of waters; and they became blood.鈥� Revelation 16:4
A hellish pandemonium reigns all around鈥� And the heroes of the book dwell in the land of delusions鈥� And their story begins with the party鈥� And this party is like a feast at the time of plague鈥�
And the innocent are doomed鈥� And the meek inherit nothing鈥� And those who go into the battle to defend their ideals die first鈥�
When on high they cut throats fighting for power, at the bottom all the vermin crawl out of cracks and start marauding, looting and killing.
A hellish pandemonium reigns all around鈥� And the heroes of the book dwell in the land of delusions鈥� And their story begins with the party鈥� And this party is like a feast at the time of plague鈥�
鈥楻ussia acknowledges only one Orthodox faith and one Tsar!鈥� shouted Myshlaevsky, swaying.
鈥楻颈驳丑迟!鈥�
鈥榃eek ago... at the theater鈥� went to see Paul the First鈥�, Myshlaevsky mumbled thickly, 鈥榓nd when the actor said those words I couldn鈥檛 keep quiet and I shouted out 鈥淩ight!鈥� 鈥� and d鈥檡ou know what? Everyone clapped. All except some swine in the upper circle who yelled 鈥淚diot!鈥濃€�
鈥楧amned Yids鈥�, growled Karas, now almost equally drunk.
A thickening haze enveloped them all鈥� Tonk-tank鈥� tonk-tank鈥� they had passed the point when there was any longer any sense in drinking more vodka, even wine; the only remaining stage was stupor or nausea. In the narrow little lavatory, where the lamp jerked and danced from the ceiling as though bewitched, everything went blurred and spun round and round. Pale and miserable, Myshlaevsky retched violently. Alexei Turbin, drunk himself, looking terrible with a twitching nerve on his cheek, his hair plastered damply over his forehead, supported Myshlaevsky.
And the innocent are doomed鈥� And the meek inherit nothing鈥� And those who go into the battle to defend their ideals die first鈥�
鈥楢re you deaf? Run!鈥�
Nikolka felt a strange wave of drunken ecstasy surge up from his stomach and for a moment his mouth went dry.
鈥業 don鈥檛 want to, colonel鈥�, he replied in a blurred voice, squatted down, picked up the ammunition belt and began to feed it into the machine-gun.
Far away, from where the remnants of Nai-Turs鈥� squad had mine running, several mounted men pranced into view. Their horses seemed to be dancing beneath them as though playing some game, and the gray blades of their sabres could just be seen. Nai-Turs cocked the bolt, the machine-gun spat out a few rounds, stopped, spat again and then gave a long burst. Instantly bullets whined and ricocheted off the roofs of houses to right and left down the street. A few more mounted figures joined the first ones, but suddenly one of them was thrown sideways towards the window of a house, another鈥檚 horse reared on its hind legs to an astonishing height, almost to the level of the second-floor windows, and several more riders disappeared altogether. Then all the others vanished as though they had been swallowed up by the earth.
Nai-Turs dismantled the breech-block, and as he shook his fist at the sky his eyes blazed and he shouted:
鈥楾hose swine at headquarters 鈥� run away and leave children to fight鈥�!鈥�
When on high they cut throats fighting for power, at the bottom all the vermin crawl out of cracks and start marauding, looting and killing.
June 25, 2021
"Tutto passer脿. Le sofferenze, i tormenti, il sangue, la fame e la pestilenza. La spada sparir脿, ma le stelle resteranno anche quando le ombre dei nostri corpi e delle nostre opere non saranno pi霉 sulla terra. Non c'猫 uomo che non lo sappia. Perch茅 dunque non vogliamo rivolgere lo sguardo alle stelle? Perch茅?"
Fino alle due e mezza di stanotte, angosciatissima per Aleksej Vasil'evi膷 Turbin, sconvolto dal tifo. Rimanere indifferenti a questo romanzo 猫 impossibile. La famiglia Turbin, la Citt脿 (Kiev), il pigolare dei telefoni, il sonnambulismo dei soldati e il tiranno invisibile Petljura. Tutti questi elementi concorrono a creare un racconto melanconico sulla dissipazione di un'epoca (tanto da riportarmi alle atmosfere create da Roth ne "La cripta dei cappuccini") eppure intessuto di diavolerie stilistiche. Visionario e all'avanguardia il genio di Bulgakov, sferzante e impietoso. Per quanto il romanzo sia vivacizzato dall'estro dello scrittore, il lettore non viene risparmiato da quella vertigine terribile che si prova leggendo i severi romanzi di tradizione russa. La Guardia bianca 猫 un romanzo fatto di occhi: "occhi a doppio fondo, occhi luttuosi, occhi folli e torbidi come quelli di un avvelenato, occhi dolenti, occhi inquieti e stralunati, occhi incassati". I destini miserabili dei protagonisti appartengono ai vinti, non ai vincitori. E la nobilt脿 d'animo di Nikolka, l'astro di Aleksej, la gentilezza e il coraggio di Elena, serviranno solo a resistere, non a rivalersi.
"Come un alveare a pi霉 piani, fumigava e rumoreggiava e viveva la Citt脿", la Citt脿 presa, la Citt脿 perduta.
P.S. Alla luce dei tremendi avvenimenti che tempestano oggi l'Ucraina, questo romanzo si dimostra ancora di pi霉 portentoso.
Fino alle due e mezza di stanotte, angosciatissima per Aleksej Vasil'evi膷 Turbin, sconvolto dal tifo. Rimanere indifferenti a questo romanzo 猫 impossibile. La famiglia Turbin, la Citt脿 (Kiev), il pigolare dei telefoni, il sonnambulismo dei soldati e il tiranno invisibile Petljura. Tutti questi elementi concorrono a creare un racconto melanconico sulla dissipazione di un'epoca (tanto da riportarmi alle atmosfere create da Roth ne "La cripta dei cappuccini") eppure intessuto di diavolerie stilistiche. Visionario e all'avanguardia il genio di Bulgakov, sferzante e impietoso. Per quanto il romanzo sia vivacizzato dall'estro dello scrittore, il lettore non viene risparmiato da quella vertigine terribile che si prova leggendo i severi romanzi di tradizione russa. La Guardia bianca 猫 un romanzo fatto di occhi: "occhi a doppio fondo, occhi luttuosi, occhi folli e torbidi come quelli di un avvelenato, occhi dolenti, occhi inquieti e stralunati, occhi incassati". I destini miserabili dei protagonisti appartengono ai vinti, non ai vincitori. E la nobilt脿 d'animo di Nikolka, l'astro di Aleksej, la gentilezza e il coraggio di Elena, serviranno solo a resistere, non a rivalersi.
"Come un alveare a pi霉 piani, fumigava e rumoreggiava e viveva la Citt脿", la Citt脿 presa, la Citt脿 perduta.
P.S. Alla luce dei tremendi avvenimenti che tempestano oggi l'Ucraina, questo romanzo si dimostra ancora di pi霉 portentoso.
September 28, 2024
After graduating from Kiev University, Mikhail Bulgakov would go on to decide his future lie in literature rather than practicing as a doctor, during which he witnessed the horrors of the Russian civil war. Bothered though by the censors and political unrest, Bulgakov would write to Stalin asking to be allowed to emigrate, if he couldn't make a living as a writer in the USSR. And the word goes Stalin actually phoned him up offering a job in the Moscow Arts Theatre instead. Similar to that of revolutionary writer Victor Serge, Bulgakov's work only saw the light of day posthumously.
Safe to say, thank god it did.
The White guard is certainly closer to non-fiction, and built on Bulgakov's own experiences during the turmoil and unpredictability of conflict. The story takes place in a snow covered Kiev, 1918, turning the spotlight on the once wealthy Turbin family. After their mother passes away, the three children of, doctor Alexei, the oldest, Elena, twenty four, and seventeen year old Nikolka face up the fact of a new regime, as Bolsheviks, Socialists and Germans fight for total control over the city. Elena's husband Captain Talberg would leave for battle, as the household enters a fragile and worrying time.
The city itself is vivid to the eyes, as confusion grows on the streets as to who is fighting with who?, through all it's unorganized chaos, Bulgakov does a grand job of showing just that, the chaos.
Nothing is ever perceived clear as to what is actually going on, in terms of leadership.
Bulgakov asserted that Kiev changed hands some 14 times in little over a year, and could have written an epic Tolstoyish novel that covers more ground, but this is more of a snapshot, a panoramic view, moving from character to character at regular intervals, and it's length pleased me fully. The departing German Imperial Army lead by the Hetman of Ukraine are replaced by opportunist leader Petlyura's supposed rise to power, whilst the Ukrainian nationalist movement along with the 'The White Guard' (supporters of the Tsar) jostle in the background. Both brothers Alexei and Nikolka are White Guard officers who place their lives in danger as change takes shape. There is no doubt Bulgakov pokes fun at both Petlyura and Hetman for their weak inabilities, and the sheer waste of life, youth and energy sacrificed in fighting. And Bulgakov seems to foresee tribulations yet to come.
The novel is very military Regarding the narrative, not all the time, but when things get going in terns of the different forces involved, Bulgakov clearly knows his stuff; corruption in rife, anti-Semitism is high, and the various armies struggle with personnel and supplies during some seriously cold weather. But the household of the Turbins still remains central to the story, which provides the humane touch, although it doesn't feature as often during the middle third, Elena waits for news on husband and one of the brothers who failed to return home, whilst friends of the family come and go, each with their own problems.
The Turbins do side with Tsar, but there isn't any reel political stance from Bulgakov's viewpoint,
as normal life is trying to continue, people get up for work, mingle out shopping, kids play out in the snow little realizing what's happening around them, and folk gather to talk rumours that spread like wildfire.
There are gaps in between the conflict where Bulgakov clearly shows his love for Kiev, the ancient cathedral sits graceful, the huge statue of Saint Vladimir overlooks the city holding aloft the cross, whilst a blanket of snow wistfully settles on the homes and buildings below, creating a whiteness through dark times. Bulgakov presents a glimpse of the fear, confusion and death that faced so many, and he does it exceptionally well.
The snow would melt, the grass would grow, and the sun would rise to dry the blood of battle....but sadly one hundred years on, not much has changed, divided territories are still the recipe for disaster, where loved ones will not be returning to loves ones, and all for what?
February 24, 2022
"S铆, la muerte no se hizo esperar. Lleg贸 por los oto帽ales y luego invernales caminos de Ucrania junto con la seca y aventada nieve. Comenz贸 a traquetear en los bosques, en ametralladoras. Ella misma no era visible, pero manifiesta la 谩spera ira campesina que la preced铆a. Esta ira corr铆a por la nevasca y el fr铆o, con agujereadas alpargatas de l铆ber, con heno sobre las cabezas descubiertas e inclinadas, y aullaba."
Mija铆l Bulg谩kov es uno de los mejores escritores de la literatura rusa. Parad贸jicamente, junto a Nik贸lai G贸gol, es ucraniano. Ambos contribuyeron a la modernizaci贸n de la literatura de Rusia y lograron una obra perdurable y que se lee a煤n hoy.
Bulg谩kov, que era m茅dico, fue un escritor que vivi贸 en el siglo XX, a la sombra de todo ese cambio tremendo que signific贸 para la Rusia zarista el fin de su existencia a partir de la revoluci贸n bolchevique de 1917 y del terror铆fico a帽o 1918, que coincid铆a con el fin de la Primera Guerra Mundial y del desembarco de los comunistas que ti帽eron de rojo (rojo comunista y rojo sangre) a toda la naci贸n rusa y muy puntualmente a la capital de Ucrania, Kiev, conocida como la 鈥渕adre de todas las ciudades rusas鈥�.
Nacido en esa ciudad, Bulg谩kov desarrolla toda la historia de 鈥淟a guardia blanca鈥�, ambient谩ndola en los sucesos de la invasi贸n roja en Ucrania despu茅s del retiro de las fuerzas los alemanes, que manten铆an su ocupaci贸n en tiempos de la Gran Guerra y de c贸mo todo este torbellino de sangre y muerte afecta a la familia de los hermanos Turb铆n 鈥揈lena, Aleks茅i y Nikolka- y de un grupo de amigos ante la noticia de saber que esta invasi贸n est谩 por llegar y de c贸mo se produce el cruento enfrentamiento de una guerra civil en el que se luchan los ej茅rcitos rojo, blanco, polaco, ucraniano y aliado para tomar el control del pa铆s.
En un principio, Bulg谩kov comienza a contarnos las peque帽as historias personales del m茅dico Aleks茅i Vas铆lievich Turb铆n, de su hermana Elena, que sobrelleva la desaparici贸n de Sergu茅i Iv谩novich Talberg y del m谩s joven de la familia, el valiente e intr茅pido Nikol谩i 鈥楴ikolka鈥� Dobri Turbin.
Pero con la llegada del temible Petliura y de toda su tropa dispuesto a arrasar Kiev, todo r谩pidamente trastocar谩 en sucesos de sangre, muerte y de verdaderas luchas por la supervivencia.
Caben destacar dos cuestiones en 鈥淟a guardia blanca鈥�. En primer lugar, la ambientaci贸n de todos los sucesos de la guerra civil en un crudo invierno, que de alguna manera se transforma en un personaje m谩s.
Por otro lado, el logrado manejo que Bulg谩kov hace de los tres personajes principales. Sin entrar en una introspecci贸n psicol贸gica profunda, nos hace compenetrarnos muy especialmente con las vivencias de Aleks茅i, que se enlista como m茅dico del ej茅rcito contrarrevolucionario y de Nikolka, que con sus j贸venes 17 a帽os decide tambi茅n involucrarse en la lucha armada.
Por 煤ltimo, somos testigos de las vivencias de Elena, de la frustraci贸n y el abandono sufrido por parte de su marido y de pasar a vivir con el coraz贸n en la boca debido a que sus hermanos pueden morir en cualquier instante.
Los turbulentos sucesos pol铆ticos ya sobre el fin del a帽o 1918 son puestos en evidencia por el mismo narrador, que le da un rostro al Mal en dos pasajes del libro. En primer lugar en la afirmaci贸n "Hay que explicarle a los alemanes que nosotros no somos un peligro para ellos. Ahora ya est谩. 隆Hemos perdido la guerra! Ahora tenemos algo m谩s terrible que la guerra, que la guerra, que todo el mundo. Tenemos a Trotski."
Sobre el final, se da este di谩logo:
"-Es joven, pero encierra tanta infamia como un monstruo milenario... y resuenan ya las trompetas de guerra de las pecadoras huestes y se ve sobre los campos el rostro de Satan谩s que marcha tras ellas.
-驴罢谤辞迟蝉办颈?
-S铆, ese es el nombre que ha adoptado. Su verdadero nombre en hebreo es Abad贸n, y en griego Apoli贸n, que significa "exterminador".
Bulg谩kov, que escribi贸 "La guardia blanca" entre 1923 y 1924, ya bajo el f茅rreo control comunista, ya sufr铆a persecuciones y sobre todo censura en su obra por parte del Estado, y aunque pudo publicar algunos cap铆tulos de la novela entre 1925 y 1926 en Par铆s, no vivi贸 para ver su libro publicado sin censura en el suyo propio sino que este libro pudo leerse sin prohibiciones reci茅n en 1966 en la Uni贸n Sovi茅tica.
El autor s铆 pudo continuar de alg煤n modo la novela transformando en una obra de teatro llamada "Los d铆as de los Turb铆n", que pudo estrenarse en 1926 y siendo representada en 987 ocasiones hasta la prohibici贸n total entre 1929 y 1932.
Durante toda su obra fue perseguido y prohibido y m谩s especialmente a partir de la publicaci贸n de su obra maestra, "El maestro y Margarita" y de otras dos grandes novelas m谩s, "Coraz贸n de perro" y "Los huevos fatales", todas ellas de una profunda aversi贸n al comunismo y de su lucha por la b煤squeda de la libertad.
"La guardia blanca" marca una diferencia del tono par贸dico e ir贸nico de estas otras tres obras, apuntando m谩s a un compromiso de ideales libertarios y de levantar la voz en contra de un sistema opresivo y totalitario.
Incre铆blemente, Bulg谩kov manten铆a una buena relaci贸n epistolar con el incipiente dictador Josef Stalin. En una carta de 1930 le solicita el permiso para emigrar de la Uni贸n Sovi茅tica e incre铆blemente recibe una llamada telef贸nica del propio Stalin que a cambio le ofrece ser el Director del Teatro de Arte de Mosc煤, mientras que por otro lado le boicoteaba cada una de las publicaciones de sus obras.
En otra de sus cartas, tan solo le queda escribir una s煤plica: "Le pido que considere que, para m铆, el no poder escribir es lo mismo que ser enterrado vivo."
Abrumado ya por tanto sufrimiento y persecuci贸n estatal, Bulg谩kov decide quemar el manuscrito de la segunda parte de "El maestro y Margarita" y muere el 10 de marzo de 1940 con tan solo 49 a帽os, producto de una afecci贸n renal.
Mija铆l Bulg谩kov, con su estilo mordaz, irreverente y contestatario, tuvo el coraje de escribir en uno de los peores momentos de Rusia y abog贸 siempre por la libertad y el derecho de expresi贸n, resumi茅ndolo todo en la frase que lo define cabalmente: "Si un verdadero escritor se calla, morir谩."
Mija铆l Bulg谩kov es uno de los mejores escritores de la literatura rusa. Parad贸jicamente, junto a Nik贸lai G贸gol, es ucraniano. Ambos contribuyeron a la modernizaci贸n de la literatura de Rusia y lograron una obra perdurable y que se lee a煤n hoy.
Bulg谩kov, que era m茅dico, fue un escritor que vivi贸 en el siglo XX, a la sombra de todo ese cambio tremendo que signific贸 para la Rusia zarista el fin de su existencia a partir de la revoluci贸n bolchevique de 1917 y del terror铆fico a帽o 1918, que coincid铆a con el fin de la Primera Guerra Mundial y del desembarco de los comunistas que ti帽eron de rojo (rojo comunista y rojo sangre) a toda la naci贸n rusa y muy puntualmente a la capital de Ucrania, Kiev, conocida como la 鈥渕adre de todas las ciudades rusas鈥�.
Nacido en esa ciudad, Bulg谩kov desarrolla toda la historia de 鈥淟a guardia blanca鈥�, ambient谩ndola en los sucesos de la invasi贸n roja en Ucrania despu茅s del retiro de las fuerzas los alemanes, que manten铆an su ocupaci贸n en tiempos de la Gran Guerra y de c贸mo todo este torbellino de sangre y muerte afecta a la familia de los hermanos Turb铆n 鈥揈lena, Aleks茅i y Nikolka- y de un grupo de amigos ante la noticia de saber que esta invasi贸n est谩 por llegar y de c贸mo se produce el cruento enfrentamiento de una guerra civil en el que se luchan los ej茅rcitos rojo, blanco, polaco, ucraniano y aliado para tomar el control del pa铆s.
En un principio, Bulg谩kov comienza a contarnos las peque帽as historias personales del m茅dico Aleks茅i Vas铆lievich Turb铆n, de su hermana Elena, que sobrelleva la desaparici贸n de Sergu茅i Iv谩novich Talberg y del m谩s joven de la familia, el valiente e intr茅pido Nikol谩i 鈥楴ikolka鈥� Dobri Turbin.
Pero con la llegada del temible Petliura y de toda su tropa dispuesto a arrasar Kiev, todo r谩pidamente trastocar谩 en sucesos de sangre, muerte y de verdaderas luchas por la supervivencia.
Caben destacar dos cuestiones en 鈥淟a guardia blanca鈥�. En primer lugar, la ambientaci贸n de todos los sucesos de la guerra civil en un crudo invierno, que de alguna manera se transforma en un personaje m谩s.
Por otro lado, el logrado manejo que Bulg谩kov hace de los tres personajes principales. Sin entrar en una introspecci贸n psicol贸gica profunda, nos hace compenetrarnos muy especialmente con las vivencias de Aleks茅i, que se enlista como m茅dico del ej茅rcito contrarrevolucionario y de Nikolka, que con sus j贸venes 17 a帽os decide tambi茅n involucrarse en la lucha armada.
Por 煤ltimo, somos testigos de las vivencias de Elena, de la frustraci贸n y el abandono sufrido por parte de su marido y de pasar a vivir con el coraz贸n en la boca debido a que sus hermanos pueden morir en cualquier instante.
Los turbulentos sucesos pol铆ticos ya sobre el fin del a帽o 1918 son puestos en evidencia por el mismo narrador, que le da un rostro al Mal en dos pasajes del libro. En primer lugar en la afirmaci贸n "Hay que explicarle a los alemanes que nosotros no somos un peligro para ellos. Ahora ya est谩. 隆Hemos perdido la guerra! Ahora tenemos algo m谩s terrible que la guerra, que la guerra, que todo el mundo. Tenemos a Trotski."
Sobre el final, se da este di谩logo:
"-Es joven, pero encierra tanta infamia como un monstruo milenario... y resuenan ya las trompetas de guerra de las pecadoras huestes y se ve sobre los campos el rostro de Satan谩s que marcha tras ellas.
-驴罢谤辞迟蝉办颈?
-S铆, ese es el nombre que ha adoptado. Su verdadero nombre en hebreo es Abad贸n, y en griego Apoli贸n, que significa "exterminador".
Bulg谩kov, que escribi贸 "La guardia blanca" entre 1923 y 1924, ya bajo el f茅rreo control comunista, ya sufr铆a persecuciones y sobre todo censura en su obra por parte del Estado, y aunque pudo publicar algunos cap铆tulos de la novela entre 1925 y 1926 en Par铆s, no vivi贸 para ver su libro publicado sin censura en el suyo propio sino que este libro pudo leerse sin prohibiciones reci茅n en 1966 en la Uni贸n Sovi茅tica.
El autor s铆 pudo continuar de alg煤n modo la novela transformando en una obra de teatro llamada "Los d铆as de los Turb铆n", que pudo estrenarse en 1926 y siendo representada en 987 ocasiones hasta la prohibici贸n total entre 1929 y 1932.
Durante toda su obra fue perseguido y prohibido y m谩s especialmente a partir de la publicaci贸n de su obra maestra, "El maestro y Margarita" y de otras dos grandes novelas m谩s, "Coraz贸n de perro" y "Los huevos fatales", todas ellas de una profunda aversi贸n al comunismo y de su lucha por la b煤squeda de la libertad.
"La guardia blanca" marca una diferencia del tono par贸dico e ir贸nico de estas otras tres obras, apuntando m谩s a un compromiso de ideales libertarios y de levantar la voz en contra de un sistema opresivo y totalitario.
Incre铆blemente, Bulg谩kov manten铆a una buena relaci贸n epistolar con el incipiente dictador Josef Stalin. En una carta de 1930 le solicita el permiso para emigrar de la Uni贸n Sovi茅tica e incre铆blemente recibe una llamada telef贸nica del propio Stalin que a cambio le ofrece ser el Director del Teatro de Arte de Mosc煤, mientras que por otro lado le boicoteaba cada una de las publicaciones de sus obras.
En otra de sus cartas, tan solo le queda escribir una s煤plica: "Le pido que considere que, para m铆, el no poder escribir es lo mismo que ser enterrado vivo."
Abrumado ya por tanto sufrimiento y persecuci贸n estatal, Bulg谩kov decide quemar el manuscrito de la segunda parte de "El maestro y Margarita" y muere el 10 de marzo de 1940 con tan solo 49 a帽os, producto de una afecci贸n renal.
Mija铆l Bulg谩kov, con su estilo mordaz, irreverente y contestatario, tuvo el coraje de escribir en uno de los peores momentos de Rusia y abog贸 siempre por la libertad y el derecho de expresi贸n, resumi茅ndolo todo en la frase que lo define cabalmente: "Si un verdadero escritor se calla, morir谩."
December 13, 2018
丕賱毓賲賱 丕賱乇賵丕卅賷 丕賱兀賵賱 賱賱賰丕鬲亘 丕賱乇賵爻賷 丕賱賲亘丿毓 賲賷禺丕卅賷賱 亘賵賱噩丕賰賵賮
賳購卮乇鬲 毓丕賲 1925 賮賷 賲噩賱丞 乇賵爻賷丕, 賵賯丕賲鬲 丕賱爻賱胤丕鬲 亘廿睾賱丕賯 丕賱賲噩賱丞 賱賳卮乇 乇賵丕賷丞 賲購毓丕丿賷丞 賱賱孬賵乇丞 丕賱亘賱卮賮賷丞
賵鬲賻毓乇囟 亘賵賱噩丕賰賵賮 亘毓丿賴丕 賱賱賲賱丕丨賯丞 賵丕賱鬲囟賷賷賯 賵賲賳毓 兀毓賲丕賱賴 丕賱乇賵丕卅賷丞 賵丕賱賲爻乇丨賷丞
丕賱乇賵丕賷丞 賲夭賷噩 賲賳 丕賱鬲丕乇賷禺 賵丕賱爻賷丕爻丞 賵丕賱丨乇亘, 丕賱毓賱丕賯丕鬲 丕賱丕賳爻丕賳賷丞 賵丕賱丕禺鬲賱丕賮丕鬲 丕賱賮賰乇賷丞
丕賱丨乇爻 丕賱兀亘賷囟 賴賲 囟亘丕胤 丕賱噩賷卮 丕賱賯賷氐乇賷 丕賱賲賳丕賴囟賷賳 賱賱孬賵乇丞 丕賱亘賱卮賮賷丞 賵丕爻鬲賷賱丕亍 丕賱亘賱丕卮賮丞 毓賱賶 丕賱爻賱胤丞
鬲丿賵乇 丕賱兀丨丿丕孬 賮賷 賲丿賷賳丞 賰賷賷賮 賮賷 兀賵賰乇丕賳賷丕 賮賷 亘丿丕賷丞 丕爻鬲賯賱丕賱賴丕 毓賳 乇賵爻賷丕 亘毓丿 丕賱孬賵乇丞
賮賷 賮鬲乇丞 卮丿賷丿丞 丕賱鬲毓賯賷丿 賲賳 卮賴乇 丿賷爻賲亘乇 1918, 丨鬲賶 賮亘乇丕賷乇 1919
兀孬賳丕亍 丕賳爻丨丕亘 丕賱兀賱賲丕賳 賵爻賱胤丞 丕賱丨賰賲 丕賱匕丕鬲賷 丕賱鬲丕亘毓丞 賱賴賲, 賵丿禺賵賱 爻賷賲賵賳 亘鬲賱賷賵乇丕 賵賯賵丕鬲賴 兀賵賰乇丕賳賷丕 賵鬲賵賱賷 丕賱丨賰賲
賲賳 禺賱丕賱 兀賮乇丕丿 毓丕卅賱丞 鬲賵乇亘賷賳 賵噩賷乇丕賳賴賲 賵兀氐丿賯丕丐賴賲 丕賱囟亘丕胤 賲賳 丕賱丨乇爻 丕賱兀亘賷囟
賷丨賰賷 亘賵賱噩丕賰賵賮 胤亘賷毓丞 丕賱丨賷丕丞 賵賲毓丕賳丕丞 丕賱賳丕爻 賵丕賱噩賳賵丿 禺賱丕賱 賮鬲乇丕鬲 丕賱丕囟胤乇丕亘丕鬲 丕賱爻賷丕爻賷丞
賵賷購氐賵乇 丨丕賱丞 丕賱賮賵囟賶 賵丕賱丕乇鬲亘丕賰 賮賷 丕賱賯賵丕鬲 丕賱毓爻賰乇賷丞 賲丕 賯亘賱 丿禺賵賱 亘鬲賱賷賵乇丕 兀賵賰乇丕賳賷丕
兀爻賱賵亘 丕賱賰丕鬲亘 亘丕乇毓 賵賲乇卅賷 賮賷 丕賱賵氐賮
賳購卮乇鬲 毓丕賲 1925 賮賷 賲噩賱丞 乇賵爻賷丕, 賵賯丕賲鬲 丕賱爻賱胤丕鬲 亘廿睾賱丕賯 丕賱賲噩賱丞 賱賳卮乇 乇賵丕賷丞 賲購毓丕丿賷丞 賱賱孬賵乇丞 丕賱亘賱卮賮賷丞
賵鬲賻毓乇囟 亘賵賱噩丕賰賵賮 亘毓丿賴丕 賱賱賲賱丕丨賯丞 賵丕賱鬲囟賷賷賯 賵賲賳毓 兀毓賲丕賱賴 丕賱乇賵丕卅賷丞 賵丕賱賲爻乇丨賷丞
丕賱乇賵丕賷丞 賲夭賷噩 賲賳 丕賱鬲丕乇賷禺 賵丕賱爻賷丕爻丞 賵丕賱丨乇亘, 丕賱毓賱丕賯丕鬲 丕賱丕賳爻丕賳賷丞 賵丕賱丕禺鬲賱丕賮丕鬲 丕賱賮賰乇賷丞
丕賱丨乇爻 丕賱兀亘賷囟 賴賲 囟亘丕胤 丕賱噩賷卮 丕賱賯賷氐乇賷 丕賱賲賳丕賴囟賷賳 賱賱孬賵乇丞 丕賱亘賱卮賮賷丞 賵丕爻鬲賷賱丕亍 丕賱亘賱丕卮賮丞 毓賱賶 丕賱爻賱胤丞
鬲丿賵乇 丕賱兀丨丿丕孬 賮賷 賲丿賷賳丞 賰賷賷賮 賮賷 兀賵賰乇丕賳賷丕 賮賷 亘丿丕賷丞 丕爻鬲賯賱丕賱賴丕 毓賳 乇賵爻賷丕 亘毓丿 丕賱孬賵乇丞
賮賷 賮鬲乇丞 卮丿賷丿丞 丕賱鬲毓賯賷丿 賲賳 卮賴乇 丿賷爻賲亘乇 1918, 丨鬲賶 賮亘乇丕賷乇 1919
兀孬賳丕亍 丕賳爻丨丕亘 丕賱兀賱賲丕賳 賵爻賱胤丞 丕賱丨賰賲 丕賱匕丕鬲賷 丕賱鬲丕亘毓丞 賱賴賲, 賵丿禺賵賱 爻賷賲賵賳 亘鬲賱賷賵乇丕 賵賯賵丕鬲賴 兀賵賰乇丕賳賷丕 賵鬲賵賱賷 丕賱丨賰賲
賲賳 禺賱丕賱 兀賮乇丕丿 毓丕卅賱丞 鬲賵乇亘賷賳 賵噩賷乇丕賳賴賲 賵兀氐丿賯丕丐賴賲 丕賱囟亘丕胤 賲賳 丕賱丨乇爻 丕賱兀亘賷囟
賷丨賰賷 亘賵賱噩丕賰賵賮 胤亘賷毓丞 丕賱丨賷丕丞 賵賲毓丕賳丕丞 丕賱賳丕爻 賵丕賱噩賳賵丿 禺賱丕賱 賮鬲乇丕鬲 丕賱丕囟胤乇丕亘丕鬲 丕賱爻賷丕爻賷丞
賵賷購氐賵乇 丨丕賱丞 丕賱賮賵囟賶 賵丕賱丕乇鬲亘丕賰 賮賷 丕賱賯賵丕鬲 丕賱毓爻賰乇賷丞 賲丕 賯亘賱 丿禺賵賱 亘鬲賱賷賵乇丕 兀賵賰乇丕賳賷丕
兀爻賱賵亘 丕賱賰丕鬲亘 亘丕乇毓 賵賲乇卅賷 賮賷 丕賱賵氐賮
October 19, 2020
袘械谢邪褟 谐胁邪褉写懈褟 = The White Guard, Mikhail Bulgakov
The White Guard is a novel by 20th-century Russian writer Mikhail Bulgakov, famed for his critically acclaimed later work The Master and Margarita. Set in Ukraine, beginning in late 1918, the novel concerns the fate of the Turbin family as the various armies of the Ukrainian War of Independence 鈥� the Whites, the Reds, the Imperial German Army, and Ukrainian nationalists 鈥� fight over the city of Kiev.
Historical figures such as Pyotr Wrangel, Symon Petliura and Pavlo Skoropadsky appear as the Turbin family is caught up in the turbulent effects of the October Revolution.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 丿賵丕夭丿賴賲 賲丕賴 噩賵賱丕蹖 爻丕賱 2007賲蹖賱丕丿蹖
毓賳賵丕賳: 诏丕乇丿 爻賮蹖丿貨 賳賵蹖爻賳丿賴: 賲蹖禺丕卅蹖賱 丌賮丕賳丕爻蹖賵蹖趩 亘賵賱诏丕讴賮貨 賲鬲乇噩賲: 賳乇诏爻 賯賳丿趩蹖貨 鬲賴乇丕賳貙 賳卮乇 賯氐賴貙 1385貙 丿乇 336氐貨 卮丕亘讴 9645776856貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 20賲
毓賳賵丕賳: 诏丕乇丿 爻賮蹖丿 (賳賲丕蹖卮賳丕賲賴)貨 賳賵蹖爻賳丿賴: 賲蹖禺丕卅蹖賱 丌賮丕賳丕爻蹖賵蹖趩 亘賵賱诏丕讴賮貨 賲鬲乇噩賲: 倬蹖賲丕賳 賲噩蹖丿蹖貨 鬲賴乇丕賳貙 讴鬲丕亘 夭賲丕賳貙 1385貙 丿乇 144氐貨 卮丕亘讴 9646380344貨
诏丕乇丿 爻賮蹖丿 毓賳賵丕賳 乇賲丕賳蹖 丕夭 芦賲蹖禺丕卅蹖賱 亘賵賱诏丕讴賮禄貙 乇賲丕賳鈥屬嗁堐屫� 乇賵爻蹖賴 丕爻鬲貙 賳賵蹖爻賳丿賴 丕蹖 讴賴 亘丕 乇賲丕賳 亘乇噩爻鬲賴 蹖 芦賲乇卮丿 賵 賲丕乇诏丕乇蹖鬲丕禄 賳丕賲丿丕乇 卮丿賳丿貨 丿丕爻鬲丕賳 丿乇 芦丕賵讴乇丕蹖賳禄貙 丿乇 倬丕蹖丕賳 爻丕賱 1918賲蹖賱丕丿蹖 丌睾丕夭 賲蹖鈥屫促堌� 賵 亘賴 爻乇賳賵卮鬲 禺丕賳賵丕丿賴 蹖 芦鬲賵乇亘蹖賳禄貙 丿乇 噩賳诏 丕乇鬲卮鈥屬囏й� 丿賵诏丕賳賴 (爻賮蹖丿賴丕貙 賵 爻乇禺賴丕)蹖 乇賵爻蹖賴貙 亘丕 丕乇鬲卮 倬丕丿卮丕賴蹖 芦丌賱賲丕賳禄貙 賵 賳丕爻蹖賵賳丕賱蹖爻鬲鈥屬囏й� 芦丕賵讴乇丕蹖賳禄貙 亘乇 爻乇 芦讴蹖鈥屰屬伮� 賲蹖鈥屬矩必ж藏� 卮禺氐蹖鬲鈥屬囏й� 鬲丕乇蹖禺蹖貙 賴賲趩賵賳: 芦倬蹖賵鬲乇 賵乇丕賳诏賱禄貙 芦倬鬲賱蹖賵乇丕禄貙 賵 芦倬丕賵賱賵 丕爻讴賵倬丕丿爻讴蹖禄貙 丿乇 丨丕賱蹖讴賴 禺丕賳賵丕丿賴 蹖 芦鬲賵乇亘蹖賳禄貙 亘賴 賳丕倬丕蹖丿丕乇蹖 诏乇賮鬲丕乇 卮丿賴鈥� 丕賳丿貙 丿乇 丿丕爻鬲丕賳 倬丿蹖丿丕乇 賲蹖鈥屫促堎嗀�
丿丕爻鬲丕賳 賲鬲兀孬乇 丕夭 賲乇诏 賲丕丿乇 賳賵蹖爻賳丿賴 (夭賳蹖 鬲賵丕賳賲賳丿 賵 爻乇丌賲丿) 丕爻鬲貙 讴賴 倬爻 丕夭 丿乇诏匕卮鬲卮貙 禺丕賳賵丕丿賴 丕卮貙 賴賲丕賳賳丿 禺丕賳賵丕丿賴 蹖 芦鬲賵乇亘蹖賳鈥屄毁囏� 蹖鬲蹖賲 卮丿賴 丕爻鬲貨 芦賳蹖讴賵賱丕禄 賳丕賲 亘乇丕丿乇 讴賵趩讴 芦亘賵賱诏丕讴賮禄 丕爻鬲貙 讴賴 亘賴 丕乇鬲卮 芦丿賳蹖讴賳禄 倬蹖賵爻鬲賴貙 賵 禺丕賳賵丕丿賴 亘蹖卮 丕夭 蹖讴爻丕賱貙 丕夭 丕賵 亘蹖鈥屫ㄘ� 丕爻鬲貙 賵 亘乇丕丿乇 爻賵賲卮 芦丕蹖賵丕賳禄 賳蹖夭貙 賴賲蹖賳 爻乇賳賵卮鬲 乇丕 丿丕乇丿貨 賴賲賴 賲蹖鈥屫з嗀屫促嗀� 丌賳 丿賵 讴卮鬲賴 卮丿賴鈥� 丕賳丿貨 丕賲丕 賴乇 丿賵 爻丕賱賲 賴爻鬲賳丿貙 蹖讴蹖 丿乇 芦夭丕诏乇亘禄 賵 丿蹖诏乇蹖 丿乇 芦讴蹖鈥屰屬伮� 丕爻鬲貨 丿賵 亘乇丕丿乇 亘毓丿賴丕 亘賴 芦賮乇丕賳爻賴禄 賲賴丕噩乇鬲 賲蹖鈥屭┵嗁嗀� 芦賳蹖讴賵賱丕禄 丿乇 芦丕賳爻鬲蹖鬲賵 倬丕爻鬲賵乇 賮乇丕賳爻賴禄 亘蹖賵賱賵跇蹖爻鬲 賲蹖卮賵丿貨 芦丕賱賳丕禄 賵蹖跇诏蹖鈥屬囏й� 賲丕丿乇卮 乇丕 亘賴 丕乇孬 亘乇丿賴貙 禺賵丕賴乇蹖 讴賴 卮賵賴乇卮 丕夭 賵賱禺乇噩蹖 賵 诏爻鬲丕禺蹖 芦亘賵賱诏丕讴賮禄 丕賳鬲賯丕丿 丿丕乇丿貨 芦賲蹖卮賱丕蹖賵爻讴蹖禄 賵 芦卮乇賵蹖賳爻讴蹖禄 賴賲貙 丿賵 鬲賳 丕夭 賵丕亘爻鬲诏丕賳貙 賵 賳夭丿蹖讴丕賳 禺丕賳賵丕丿賴 蹖 芦亘賵賱诏丕讴賮鈥屄� 賴爻鬲賳丿貨 芦倬丿乇 丕賱讴爻丕賳丿乇禄 賴賲貙 丿乇 丿賳蹖丕蹖 賵丕賯毓蹖貙 毓賯丿 丕夭丿賵丕噩 亘賵賱诏丕讴賮 (1913賲蹖賱丕丿蹖)貙 賵 丕賳噩丕賲 賲乇丕爻賲 禺丕讴爻倬丕乇蹖 賲丕丿乇卮 (1922賲蹖賱丕丿蹖) 乇丕 亘賴 丿賵卮 丿丕乇丿貨 芦賵丕爻蹖賱蹖 倬丕賵賱賵蹖趩 賱蹖爻鬲賵賵蹖趩蹖禄 讴賴 賲丕賱讴 乇丕爻鬲蹖賳 芦丌倬丕乇鬲賲丕賳 卮賲丕乇賴 爻蹖夭丿賴禄 賵 賳賵蹖爻賳丿賴 丕爻鬲貙 丿乇 丕蹖賳 丿賵乇丕賳 丿乇 芦讴蹖鈥屰屬伮� 夭賳丿诏蹖 賲蹖鈥屭┴必� 丿乇 丌倬丕乇鬲賲丕賳貙 讴賱讴爻蹖賵賳蹖 丕夭 亘賳賲丕蹖賴 賴丕蹖 噩丕賳鈥屫ж� 賵 亘蹖鈥屫з� 丕爻鬲貙 讴賴 賴賲诏蹖 乇賵丨 讴丕賳賵賳 禺丕賳賵丕丿賴 乇丕貙 鬲卮讴蹖賱 賲蹖鈥屫囐嗀� 芦丕賱賳丕禄貙 芦丌賳蹖賵鬲丕禄貙 芦禺丿賲鬲讴丕乇禄貙 芦丕鬲丕賯鈥屬囏й� 賲噩夭丕禄貙 賵 芦讴鬲丕亘禺丕賳賴禄 丿乇 賲乇讴夭 丌賲丿賵卮丿 亘蹖賳 丕蹖賳 丕鬲丕賯鈥屬囏ж池� 賵 丨鬲蹖 芦倬丕乇鬲蹖卮賳 賮丕賵爻鬲禄 讴賴 丿乇 鬲賲丕賲 胤賵賱 乇賲丕賳貙 乇賵蹖 倬蹖丕賳賵 亘丕夭 賲丕賳丿賴 丕爻鬲貨
爻丕禺鬲丕乇 乇賲丕賳貙 丕夭 爻賴 亘禺卮 賳丕賲爻丕賵蹖 鬲卮讴蹖賱 卮丿賴貙 讴賴 丕賵賱蹖 芦爻乇诏卮鬲诏蹖鈥屬囏回� 丿賵賲蹖 芦爻賯賵胤 卮賴乇禄貙 賵 爻賵賲蹖 芦鬲賱丕卮 亘乇丕蹖 乇爻鬲丕禺蹖夭蹖 丿蹖诏乇禄 乇丕貙 卮乇丨 賲蹖鈥屫囐嗀�
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 27/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The White Guard is a novel by 20th-century Russian writer Mikhail Bulgakov, famed for his critically acclaimed later work The Master and Margarita. Set in Ukraine, beginning in late 1918, the novel concerns the fate of the Turbin family as the various armies of the Ukrainian War of Independence 鈥� the Whites, the Reds, the Imperial German Army, and Ukrainian nationalists 鈥� fight over the city of Kiev.
Historical figures such as Pyotr Wrangel, Symon Petliura and Pavlo Skoropadsky appear as the Turbin family is caught up in the turbulent effects of the October Revolution.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 丿賵丕夭丿賴賲 賲丕賴 噩賵賱丕蹖 爻丕賱 2007賲蹖賱丕丿蹖
毓賳賵丕賳: 诏丕乇丿 爻賮蹖丿貨 賳賵蹖爻賳丿賴: 賲蹖禺丕卅蹖賱 丌賮丕賳丕爻蹖賵蹖趩 亘賵賱诏丕讴賮貨 賲鬲乇噩賲: 賳乇诏爻 賯賳丿趩蹖貨 鬲賴乇丕賳貙 賳卮乇 賯氐賴貙 1385貙 丿乇 336氐貨 卮丕亘讴 9645776856貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 20賲
毓賳賵丕賳: 诏丕乇丿 爻賮蹖丿 (賳賲丕蹖卮賳丕賲賴)貨 賳賵蹖爻賳丿賴: 賲蹖禺丕卅蹖賱 丌賮丕賳丕爻蹖賵蹖趩 亘賵賱诏丕讴賮貨 賲鬲乇噩賲: 倬蹖賲丕賳 賲噩蹖丿蹖貨 鬲賴乇丕賳貙 讴鬲丕亘 夭賲丕賳貙 1385貙 丿乇 144氐貨 卮丕亘讴 9646380344貨
诏丕乇丿 爻賮蹖丿 毓賳賵丕賳 乇賲丕賳蹖 丕夭 芦賲蹖禺丕卅蹖賱 亘賵賱诏丕讴賮禄貙 乇賲丕賳鈥屬嗁堐屫� 乇賵爻蹖賴 丕爻鬲貙 賳賵蹖爻賳丿賴 丕蹖 讴賴 亘丕 乇賲丕賳 亘乇噩爻鬲賴 蹖 芦賲乇卮丿 賵 賲丕乇诏丕乇蹖鬲丕禄 賳丕賲丿丕乇 卮丿賳丿貨 丿丕爻鬲丕賳 丿乇 芦丕賵讴乇丕蹖賳禄貙 丿乇 倬丕蹖丕賳 爻丕賱 1918賲蹖賱丕丿蹖 丌睾丕夭 賲蹖鈥屫促堌� 賵 亘賴 爻乇賳賵卮鬲 禺丕賳賵丕丿賴 蹖 芦鬲賵乇亘蹖賳禄貙 丿乇 噩賳诏 丕乇鬲卮鈥屬囏й� 丿賵诏丕賳賴 (爻賮蹖丿賴丕貙 賵 爻乇禺賴丕)蹖 乇賵爻蹖賴貙 亘丕 丕乇鬲卮 倬丕丿卮丕賴蹖 芦丌賱賲丕賳禄貙 賵 賳丕爻蹖賵賳丕賱蹖爻鬲鈥屬囏й� 芦丕賵讴乇丕蹖賳禄貙 亘乇 爻乇 芦讴蹖鈥屰屬伮� 賲蹖鈥屬矩必ж藏� 卮禺氐蹖鬲鈥屬囏й� 鬲丕乇蹖禺蹖貙 賴賲趩賵賳: 芦倬蹖賵鬲乇 賵乇丕賳诏賱禄貙 芦倬鬲賱蹖賵乇丕禄貙 賵 芦倬丕賵賱賵 丕爻讴賵倬丕丿爻讴蹖禄貙 丿乇 丨丕賱蹖讴賴 禺丕賳賵丕丿賴 蹖 芦鬲賵乇亘蹖賳禄貙 亘賴 賳丕倬丕蹖丿丕乇蹖 诏乇賮鬲丕乇 卮丿賴鈥� 丕賳丿貙 丿乇 丿丕爻鬲丕賳 倬丿蹖丿丕乇 賲蹖鈥屫促堎嗀�
丿丕爻鬲丕賳 賲鬲兀孬乇 丕夭 賲乇诏 賲丕丿乇 賳賵蹖爻賳丿賴 (夭賳蹖 鬲賵丕賳賲賳丿 賵 爻乇丌賲丿) 丕爻鬲貙 讴賴 倬爻 丕夭 丿乇诏匕卮鬲卮貙 禺丕賳賵丕丿賴 丕卮貙 賴賲丕賳賳丿 禺丕賳賵丕丿賴 蹖 芦鬲賵乇亘蹖賳鈥屄毁囏� 蹖鬲蹖賲 卮丿賴 丕爻鬲貨 芦賳蹖讴賵賱丕禄 賳丕賲 亘乇丕丿乇 讴賵趩讴 芦亘賵賱诏丕讴賮禄 丕爻鬲貙 讴賴 亘賴 丕乇鬲卮 芦丿賳蹖讴賳禄 倬蹖賵爻鬲賴貙 賵 禺丕賳賵丕丿賴 亘蹖卮 丕夭 蹖讴爻丕賱貙 丕夭 丕賵 亘蹖鈥屫ㄘ� 丕爻鬲貙 賵 亘乇丕丿乇 爻賵賲卮 芦丕蹖賵丕賳禄 賳蹖夭貙 賴賲蹖賳 爻乇賳賵卮鬲 乇丕 丿丕乇丿貨 賴賲賴 賲蹖鈥屫з嗀屫促嗀� 丌賳 丿賵 讴卮鬲賴 卮丿賴鈥� 丕賳丿貨 丕賲丕 賴乇 丿賵 爻丕賱賲 賴爻鬲賳丿貙 蹖讴蹖 丿乇 芦夭丕诏乇亘禄 賵 丿蹖诏乇蹖 丿乇 芦讴蹖鈥屰屬伮� 丕爻鬲貨 丿賵 亘乇丕丿乇 亘毓丿賴丕 亘賴 芦賮乇丕賳爻賴禄 賲賴丕噩乇鬲 賲蹖鈥屭┵嗁嗀� 芦賳蹖讴賵賱丕禄 丿乇 芦丕賳爻鬲蹖鬲賵 倬丕爻鬲賵乇 賮乇丕賳爻賴禄 亘蹖賵賱賵跇蹖爻鬲 賲蹖卮賵丿貨 芦丕賱賳丕禄 賵蹖跇诏蹖鈥屬囏й� 賲丕丿乇卮 乇丕 亘賴 丕乇孬 亘乇丿賴貙 禺賵丕賴乇蹖 讴賴 卮賵賴乇卮 丕夭 賵賱禺乇噩蹖 賵 诏爻鬲丕禺蹖 芦亘賵賱诏丕讴賮禄 丕賳鬲賯丕丿 丿丕乇丿貨 芦賲蹖卮賱丕蹖賵爻讴蹖禄 賵 芦卮乇賵蹖賳爻讴蹖禄 賴賲貙 丿賵 鬲賳 丕夭 賵丕亘爻鬲诏丕賳貙 賵 賳夭丿蹖讴丕賳 禺丕賳賵丕丿賴 蹖 芦亘賵賱诏丕讴賮鈥屄� 賴爻鬲賳丿貨 芦倬丿乇 丕賱讴爻丕賳丿乇禄 賴賲貙 丿乇 丿賳蹖丕蹖 賵丕賯毓蹖貙 毓賯丿 丕夭丿賵丕噩 亘賵賱诏丕讴賮 (1913賲蹖賱丕丿蹖)貙 賵 丕賳噩丕賲 賲乇丕爻賲 禺丕讴爻倬丕乇蹖 賲丕丿乇卮 (1922賲蹖賱丕丿蹖) 乇丕 亘賴 丿賵卮 丿丕乇丿貨 芦賵丕爻蹖賱蹖 倬丕賵賱賵蹖趩 賱蹖爻鬲賵賵蹖趩蹖禄 讴賴 賲丕賱讴 乇丕爻鬲蹖賳 芦丌倬丕乇鬲賲丕賳 卮賲丕乇賴 爻蹖夭丿賴禄 賵 賳賵蹖爻賳丿賴 丕爻鬲貙 丿乇 丕蹖賳 丿賵乇丕賳 丿乇 芦讴蹖鈥屰屬伮� 夭賳丿诏蹖 賲蹖鈥屭┴必� 丿乇 丌倬丕乇鬲賲丕賳貙 讴賱讴爻蹖賵賳蹖 丕夭 亘賳賲丕蹖賴 賴丕蹖 噩丕賳鈥屫ж� 賵 亘蹖鈥屫з� 丕爻鬲貙 讴賴 賴賲诏蹖 乇賵丨 讴丕賳賵賳 禺丕賳賵丕丿賴 乇丕貙 鬲卮讴蹖賱 賲蹖鈥屫囐嗀� 芦丕賱賳丕禄貙 芦丌賳蹖賵鬲丕禄貙 芦禺丿賲鬲讴丕乇禄貙 芦丕鬲丕賯鈥屬囏й� 賲噩夭丕禄貙 賵 芦讴鬲丕亘禺丕賳賴禄 丿乇 賲乇讴夭 丌賲丿賵卮丿 亘蹖賳 丕蹖賳 丕鬲丕賯鈥屬囏ж池� 賵 丨鬲蹖 芦倬丕乇鬲蹖卮賳 賮丕賵爻鬲禄 讴賴 丿乇 鬲賲丕賲 胤賵賱 乇賲丕賳貙 乇賵蹖 倬蹖丕賳賵 亘丕夭 賲丕賳丿賴 丕爻鬲貨
爻丕禺鬲丕乇 乇賲丕賳貙 丕夭 爻賴 亘禺卮 賳丕賲爻丕賵蹖 鬲卮讴蹖賱 卮丿賴貙 讴賴 丕賵賱蹖 芦爻乇诏卮鬲诏蹖鈥屬囏回� 丿賵賲蹖 芦爻賯賵胤 卮賴乇禄貙 賵 爻賵賲蹖 芦鬲賱丕卮 亘乇丕蹖 乇爻鬲丕禺蹖夭蹖 丿蹖诏乇禄 乇丕貙 卮乇丨 賲蹖鈥屫囐嗀�
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 27/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 20, 2021
Now that I wander through the angular sentences of Andrei Bely鈥檚 , reading the novel in a GR group, I feel I have to jump in my mind to another city, to Kiev - The City for Bulgakov. From a city-novel to another city-novel and forwards in time 鈥� from 1905 to 1918. If in one I am feeling immersed in a kaleidoscopic representation in this one I felt more immersed in chaos.
The history of this novel, and especially its theatrical version (), offers also an echo with Shostakovich鈥檚 Lady Macbeth of the Mtsensk in the way it drew, with alarmingly intimidating repercussions, Stalin鈥檚 attention. The dictator stated publicly that Bulgakov was anti-Bolshevik.
In Kiev Bulgalkov lived through times in which at least five political forces confronted each other. He counted between ten to eighteen coups in a relatively short period of time. We have Germans, with the Hetman Pavlo Skoropodasky, the Ukranian nationalists with their leader Symon Petliura, and then the Russians: the Monarchists (like the Turbins themselves), the Whites and the Reds (the hated ones by everyone). Five conflicting forces.
The spects that struck me most were the descriptions of the town. One can feel that in Bulgakov鈥檚 heart, it is The City 鈥� and in that dreamlike place (turned into a nightmare place), the house in number 13 of the Andriyivskyy Descent becomes the only place where some sort of sanity can be attained. This is where Bulgakov was born and lived and is now the Bulgakov Museum. These descriptions become oases in the read 鈥揳 respite to the ongoing violence in their evocation of sheer beauty.
There is also the humour. And in this one could recognize the author of the later . It has a surreal tone, it is subtle (it has to be when wedded to the violence) and figures like the Devil already make an appearance.
Before I leave this sorrowful Kiev and return to Petersburg, I want to draw attention to the translations of this novel. Originally serialized, until the magazine where is was published was closed down, it metamorphosed into the very successful play (if not with Stalin), it was then published in the sixties when Bulgakov was rehabilitated. But it had suffered cuts, and this trimmed version was the one translated into English by Michael Glenny. Later on a new translation by Marian Schwartz, of the original full text, was issued.
I read one in Spanish that corresponds to the complete Russian version. The translator, Jos茅 La铆n Entralgo is the brother of the more famous and somewhat older Pedro. The latter was a member of the Spanish Royal Academy and was a very prolific writer. Jos茅 joined the Communist party during the thirties and later emigrated to the Soviet Union but came back to Spain in the late fifties and worked as a translator. Both brothers fought on opposite sides during the Spanish Civil War. Jos茅 died in 1972 and Pedro in 2001.
October 26, 2024
鈥淪o here it was, the winter of 1918. The life of Kiev was so bizarre and unnatural, a life that might never be repeated in the twentieth century. Behind their walls apartments were crammed. Long time inhabitants squeezed in for the new arrivals who streamed into the City. Gray haired bankers and their wives had fled, as had smooth operators who left trusty assistants in Moscow not to lose contact with the new world being born in Muscovy, and also the landlords, who had abandoned homes to loyal stewards, the industrialists, merchants, attorneys, and public figures. Journalists fled from Petersburg and Moscow, venal, greedy cowards and demimondaines, virtuous ladies from aristocratic families and genteel daughters. Pale debauchees with lips painted carmine red. Secretaries to directors fled and passive young sodomites. Princes and skinflints fled, poets and usurers, gendarmes and actresses from the imperial theaters.鈥�
鈥淭his mass held its course for the City. All spring it filled up with new arrivals sleeping in apartments, on sofas and chairs, dining at large tables in luxury homes. Shops opened selling comestibles and engaged in trade until late in the night, as did caf茅s where coffee was served and you could buy a woman, see famous actors who fled the capitals, who entertained and amused the public. At night string music played in the cabarets, faces of unearthly beauty shone on white emaciated prostitutes hopped up on cocaine. Gaming clubs murmured until dawn, as did the prominent and proud German lieutenants whom Russians feared and respected.鈥�
鈥淟anded Ukrainian Russians already hanging from a thread gambled. From booths large diamonds flashed and Siberian furs glistened. There was the smell of sweat, liquor and French perfume. In the summer of 1918 flowers crowded shop windows, smoked salmon with golden fat hung from planks and bottles of champagne sealed with the two headed eagle shimmered. All summer long new people pressed in, gristly white faces with graying stubble, tenor soloists with polished boots and insolent faces, who sent letters through Poland to Germany, the great country of honest Teutons.鈥�
Mikhail Bulgakov, 1925
鈥淚 saw the dead, small and great, stand before God and the books were opened 鈥� and the dead were judged out of those things which were written in the books according to their works ... and whosoever was not found written in the book of life was cast into the lake of fire ... and I saw a new heaven and a new earth; for the first heaven and the first earth were passed away 鈥� and God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain, for the former things are passed away.鈥�
Revelation 20: 12-13, 15, 21:1 & 21:4 (quoted by Bulgakov)
**
Bulgakov鈥檚 1925 鈥榃hite Guard鈥� begins in 1918 as the eldest Turbin brother Alexei returns to Kiev, a young doctor in WWI similar to Bulgakov, to join his siblings: Elena, her husband Talberg and brother Nikolai, as a civil war approaches. Their mother dies shortly after his arrival, their father long dead. They are monarchists, who oppose both the Bolsheviks and the Ukrainian nationalists, and believe that Ukraine should remain part of the former Tsarist Russia. Bulgakov was from a similar background, the house in Kiev, a younger brother and their shared political views semi-autobiographical. The majority of peasants were serfs, a different country from landowners who ruled for centuries, and the intelligentsia between them.
In 1918 Ukrainian nationalists sought to overthrow the Kiev monarchist government who wanted to reunite with Russia. As they approach Kiev the brother-in-law Talberg, a White Army captain, deserts the city and flees to Germany. Ethnic Russians had counted on Kaiser Wilhelm to save them from the Red Army. The White Terror would be responsible for as many deaths as the Red Terror if the pograms against Jews are included. Alexei learns that Tsar Nicholas was executed. In the summer of 1918 the city had filled with refugees from Petersburg and Moscow, many wealthy and creative, who were able to escape the north, crowding restaurants, bars and casinos, carrying on with great gaiety as if the world hadn鈥檛 changed.
As life continued in Kiev, and fears of Reds were allayed by Teutonic might, no one considered the millions of peasants, many who had returned from WWI and stashed machine guns, rifles, mortars and ammo in the countryside, who hated the Ukrainian capital as much as Moscow. In Europe vultures were picking the Kaiser鈥檚 corpse clean. Alexei and Nikolai, their two friends Myshlaevsky and Stepanov enlist in an artillery brigade to battle Petliura and the nationalist Ukrainian People鈥檚 Army who were in revolt against the pro-German government. After mustering the troops it鈥檚 learned that the Hetman, leader of the Rada, had stepped down and went into exile in Germany. Their commander orders the men to go home.
The White Guards exited the city while the Nationalists entered, and the Germans didn鈥檛 care who won the war in Ukraine as long as they got oil and grain. Bulgakov at times resorts to pseudo-poetry and onomatopoeia, unlike in his other works. This wasn鈥檛 Bulgakov鈥檚 greatest book, although he liked it the best, but it鈥檚 still a good one. It鈥檚 amazing his four most known ones were written in the late 20鈥檚 despite being published much later. Since he had lived through it his hatred of the overthrow is evident. The disarray of Kiev is reflected in the novel. Bullets and shells burst in the city streets, with the white guard leaders and troops dispersing alike, ripping the epaulets off from their shoulders. The brothers Alexei and Nikolai are reunited with Elena at their family house.
The book is partially hallucinatory, involving dream scenes. Some passages need to be read several times to figure out what is being said. It鈥檚 not the grounded magical realism and satire of his following efforts. Constant name variations of the same characters add to the confusion. The tension of war in the city and the disruption of their lives is palpable. A young nephew of the absent Talberg unexpectedly moves into the apartment when Alexei has been wounded by the nationalists. This is a 2008 translation by Marion Schwartz which superseded Michael Glenny鈥檚 1971 expurgated version for better or worse. As Bolsheviks edge closer the city is in further disorder. 鈥榃hite Guard鈥� is a classic novel but doesn鈥檛 match his later works.
The politics of Bulgakov are apparent in this book, which also informed 鈥楾he Master and Margarita鈥� and 鈥楬eart of a Dog鈥�. He was a period monarchist who hated the Nationalists and Bolsheviks and the clamoring masses that made up their ranks. In the context of what happened during the civil war it鈥檚 not difficult to understand. He was a professor, doctor, writer and Russian Orthodox, groups that were suppressed after the Revolution. Factions of the White and Red armies, nationalist and imperial armies are a challenge to keep track of unless their history has been studied. The leadership had changed hands a dozen times. Stalin loved the stage version, 鈥楾he Days of the Turbins鈥�, attending it over twenty times, sometimes incognito.
鈥淭his mass held its course for the City. All spring it filled up with new arrivals sleeping in apartments, on sofas and chairs, dining at large tables in luxury homes. Shops opened selling comestibles and engaged in trade until late in the night, as did caf茅s where coffee was served and you could buy a woman, see famous actors who fled the capitals, who entertained and amused the public. At night string music played in the cabarets, faces of unearthly beauty shone on white emaciated prostitutes hopped up on cocaine. Gaming clubs murmured until dawn, as did the prominent and proud German lieutenants whom Russians feared and respected.鈥�
鈥淟anded Ukrainian Russians already hanging from a thread gambled. From booths large diamonds flashed and Siberian furs glistened. There was the smell of sweat, liquor and French perfume. In the summer of 1918 flowers crowded shop windows, smoked salmon with golden fat hung from planks and bottles of champagne sealed with the two headed eagle shimmered. All summer long new people pressed in, gristly white faces with graying stubble, tenor soloists with polished boots and insolent faces, who sent letters through Poland to Germany, the great country of honest Teutons.鈥�
Mikhail Bulgakov, 1925
鈥淚 saw the dead, small and great, stand before God and the books were opened 鈥� and the dead were judged out of those things which were written in the books according to their works ... and whosoever was not found written in the book of life was cast into the lake of fire ... and I saw a new heaven and a new earth; for the first heaven and the first earth were passed away 鈥� and God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain, for the former things are passed away.鈥�
Revelation 20: 12-13, 15, 21:1 & 21:4 (quoted by Bulgakov)
**
Bulgakov鈥檚 1925 鈥榃hite Guard鈥� begins in 1918 as the eldest Turbin brother Alexei returns to Kiev, a young doctor in WWI similar to Bulgakov, to join his siblings: Elena, her husband Talberg and brother Nikolai, as a civil war approaches. Their mother dies shortly after his arrival, their father long dead. They are monarchists, who oppose both the Bolsheviks and the Ukrainian nationalists, and believe that Ukraine should remain part of the former Tsarist Russia. Bulgakov was from a similar background, the house in Kiev, a younger brother and their shared political views semi-autobiographical. The majority of peasants were serfs, a different country from landowners who ruled for centuries, and the intelligentsia between them.
In 1918 Ukrainian nationalists sought to overthrow the Kiev monarchist government who wanted to reunite with Russia. As they approach Kiev the brother-in-law Talberg, a White Army captain, deserts the city and flees to Germany. Ethnic Russians had counted on Kaiser Wilhelm to save them from the Red Army. The White Terror would be responsible for as many deaths as the Red Terror if the pograms against Jews are included. Alexei learns that Tsar Nicholas was executed. In the summer of 1918 the city had filled with refugees from Petersburg and Moscow, many wealthy and creative, who were able to escape the north, crowding restaurants, bars and casinos, carrying on with great gaiety as if the world hadn鈥檛 changed.
As life continued in Kiev, and fears of Reds were allayed by Teutonic might, no one considered the millions of peasants, many who had returned from WWI and stashed machine guns, rifles, mortars and ammo in the countryside, who hated the Ukrainian capital as much as Moscow. In Europe vultures were picking the Kaiser鈥檚 corpse clean. Alexei and Nikolai, their two friends Myshlaevsky and Stepanov enlist in an artillery brigade to battle Petliura and the nationalist Ukrainian People鈥檚 Army who were in revolt against the pro-German government. After mustering the troops it鈥檚 learned that the Hetman, leader of the Rada, had stepped down and went into exile in Germany. Their commander orders the men to go home.
The White Guards exited the city while the Nationalists entered, and the Germans didn鈥檛 care who won the war in Ukraine as long as they got oil and grain. Bulgakov at times resorts to pseudo-poetry and onomatopoeia, unlike in his other works. This wasn鈥檛 Bulgakov鈥檚 greatest book, although he liked it the best, but it鈥檚 still a good one. It鈥檚 amazing his four most known ones were written in the late 20鈥檚 despite being published much later. Since he had lived through it his hatred of the overthrow is evident. The disarray of Kiev is reflected in the novel. Bullets and shells burst in the city streets, with the white guard leaders and troops dispersing alike, ripping the epaulets off from their shoulders. The brothers Alexei and Nikolai are reunited with Elena at their family house.
The book is partially hallucinatory, involving dream scenes. Some passages need to be read several times to figure out what is being said. It鈥檚 not the grounded magical realism and satire of his following efforts. Constant name variations of the same characters add to the confusion. The tension of war in the city and the disruption of their lives is palpable. A young nephew of the absent Talberg unexpectedly moves into the apartment when Alexei has been wounded by the nationalists. This is a 2008 translation by Marion Schwartz which superseded Michael Glenny鈥檚 1971 expurgated version for better or worse. As Bolsheviks edge closer the city is in further disorder. 鈥榃hite Guard鈥� is a classic novel but doesn鈥檛 match his later works.
The politics of Bulgakov are apparent in this book, which also informed 鈥楾he Master and Margarita鈥� and 鈥楬eart of a Dog鈥�. He was a period monarchist who hated the Nationalists and Bolsheviks and the clamoring masses that made up their ranks. In the context of what happened during the civil war it鈥檚 not difficult to understand. He was a professor, doctor, writer and Russian Orthodox, groups that were suppressed after the Revolution. Factions of the White and Red armies, nationalist and imperial armies are a challenge to keep track of unless their history has been studied. The leadership had changed hands a dozen times. Stalin loved the stage version, 鈥楾he Days of the Turbins鈥�, attending it over twenty times, sometimes incognito.
April 30, 2019
This heavy volume included two works: The White Guard and Theatrical Novel (Notes of a Deceased).
Bulgakov's fate seemed to be governed by the same mixture of satire, fantasy and tragedy that is the hallmark of his entire work. A trained doctor (aka Chekhov), after he abandoned his medicine career in 1920 to devote entirely to writing, he joined the theater world and his first play put on stage The Days of the Turbins, adaptation of the novel The White Guard, has received a great success, paradoxically, becoming Stalin's favourite play. The obvious sympathy for the White officers made that the play to be eventually banned, so from 1929 is no longer published any book, nor is played any of his new plays, or previous ones. Leading an existence to the limit of survival, Bulgakov felt forced to send to the dictator Stalin a petition, then, also in a letter to the Soviet government, to talk about the mental imbalance to which an artist is subjected to when his living existence is threatened. The letter remained famous both as a model of the writer鈥檚 assumed dissidence and its unexpected effects. Although following a direct phone call from Stalin, Bulgakov is re-employed at the theater, yet all his works remained unpublished, writing in the last decade of his life with frenzy, afraid he will not finish the novel The Master and Margarita, for which the latest corrections he made in 1940, on the deathbed, blind, dictating to his wife, Maria Sergeevna, who apparently inspired the character of Margaret.
The White Guard is a work portraying a historical reality. The focus is on the Whites, normally depicted in Soviet literature as evil reactionaries, who are nonetheless ordinary human beings with their own problems, concerns and ideals.
The novel, same as its stage adaptation The Days of the Turbins, had an extremely complex history. [Written between 鈥�22-鈥�24, and receiving numerous substantial revisions later, it was originally conceived as the first volume of a trilogy portraying the entire sweep of the post-revolutionary Civil War from a number of different points of view. Although the first and only volume was criticized for showing events from the viewpoints of the Whites, the third volume would apparently have given the perspective of the Communists. Many chapters of the novel were published separately in literary journals as they appeared. The ending of the novel (the sequence of dreams) never appeared because the journal it was due to be printed in, was shut down by official order, precisely because it was publishing such material as Bulgakov鈥檚. The novel only appeared complete in Russian, having been proofread by the author, in 1929 in Paris.]
The background is the Civil War in Kiev after the Bolshevik Revolution. The novel starts with December 1918 and ends in February 1919, and it portrays a series of conflicting events happening during the confrontations between the three main armed forces (Whites/Tsarist Empire, Ukrainian Nationalists and Bolsheviks/Communists) that were trying to dispute and gain the power and authority of the City (aka Kiev), and consequently of the Country (aka Ukraine).
As for the major protagonists, the novel unfolds the story of the Turbins, a noble but now in poverty family, broadly moderate Tsarists in their view, and therefore anti-Bolsheviks but, being ethnically Russian, have no sympathy with the Ukrainian Nationalists either, and so end up fighting for the White Guards.
At the beginning of the novel, apparently, we are still in the world of the old Russia, with artistic and elegant furniture dating from the Tsarist era, there is a piano, books and high-quality pictures on the walls. There is the Turbins鈥� warm flat, in which the family can take refuge from the events outside, however the general atmosphere is nonetheless of fear for the future, and great apprehension at the world collapsing. The novel ends with a series of sinister apocalyptic dreams which foresee the catastrophe for the society, as a whole, and, of family, as its cell of unity.
Maybe I was being drifted a bit too far away, but, for a massive part of the novel, I felt like re-watching the movie The Barber of Siberia, released in 1998 and directed by Nikita Mikhalkov. [Needless to say that I had to stop my flowing reading for a while and went on you-tube to watch some couples of scenes from the movie. Nostalgia showered on me recalling that I have watched it first time in a Moscow cinema, 20 years ago, directly in its Russian-talking version which, sadly, I didn鈥檛 understand much, but then I watched the English version and everything turned to pure light ;-). Additionally, most critics attacked it furiously for various reasons, but I just loved it 鈥�! I still love it :-)].
The only thing is that in the movie, opening with the Tsarist atmosphere of 1885, there is no openly engaged war, at least not as the one to break up starting with the WW1, continuing with the 1917 Bolsheviks revolutions, the Civil War and then Stalin dictatorship.
Surprisingly for such a big novel - normally it would have taken me some good days 鈥� I felt in a rush to read it through. As a matter of fact, I found myself sympathizing with the Turbins, the two brothers and sister, even if it doesn鈥檛 necessarily mean that I was in some partial agreement with the actions that they felt compelled to do. I enjoyed the story in its real, dramatic and tragic sense. I felt that Bulgakov really loved his characters, despite their weaknesses. In a way, it can be that the author himself identified with the overall story and it can be interpreted, on a different layer, as a autobiography.
A Theatrical Novel (Notes of a Deceased), or, in other versions, Black Snow or White Snow.
This is a very interesting piece of text about the theatre and life within theatre. It is regarded as a strong satire on events in the Soviet theatre 鈥� in November 1936 鈥� after Bulgakov eventually resigned from the management of MHAT (Moscow Arts Academic Theatre) and his play Moliere was vigorously attacked by the Communists and rejected from being put on stage.
On a different angle, if we follow just the narrative thread, Theatrical Novel can be seen as the story of the destiny of White Guard and its play adaptation, The Days of the Turbins, in other words, it鈥檚 the story of a story.
It starts with a short introduction, allegedly by an author who has found a manuscript written by a so-called theatrical personage who has committed suicide. The style is very direct and harsh. Bulgakov takes a swipe at censorship and the vicious and abject authorities of the theatre world, dealing savagely with the reputations of those people that lead the theatre, who are seen as some tyrannical figures who crush the individuality and flair of writers and actors in the plays they are directing.
The manuscript ends inconclusively, with the dead writer still proclaiming his wonder at the nature of theatre itself, despite its intrigues and frustrations; the initial author who has found the manuscript does not reappear, and it鈥檚 uncertain whether the point is that the theatrical figure left his memories uncompleted, or whether in fact Bulgakov failed to finish his original project. It leaves room to imagine some possible scenarios, for those who love to use their imagination generosity.
Bulgakov's fate seemed to be governed by the same mixture of satire, fantasy and tragedy that is the hallmark of his entire work. A trained doctor (aka Chekhov), after he abandoned his medicine career in 1920 to devote entirely to writing, he joined the theater world and his first play put on stage The Days of the Turbins, adaptation of the novel The White Guard, has received a great success, paradoxically, becoming Stalin's favourite play. The obvious sympathy for the White officers made that the play to be eventually banned, so from 1929 is no longer published any book, nor is played any of his new plays, or previous ones. Leading an existence to the limit of survival, Bulgakov felt forced to send to the dictator Stalin a petition, then, also in a letter to the Soviet government, to talk about the mental imbalance to which an artist is subjected to when his living existence is threatened. The letter remained famous both as a model of the writer鈥檚 assumed dissidence and its unexpected effects. Although following a direct phone call from Stalin, Bulgakov is re-employed at the theater, yet all his works remained unpublished, writing in the last decade of his life with frenzy, afraid he will not finish the novel The Master and Margarita, for which the latest corrections he made in 1940, on the deathbed, blind, dictating to his wife, Maria Sergeevna, who apparently inspired the character of Margaret.
The White Guard is a work portraying a historical reality. The focus is on the Whites, normally depicted in Soviet literature as evil reactionaries, who are nonetheless ordinary human beings with their own problems, concerns and ideals.
The novel, same as its stage adaptation The Days of the Turbins, had an extremely complex history. [Written between 鈥�22-鈥�24, and receiving numerous substantial revisions later, it was originally conceived as the first volume of a trilogy portraying the entire sweep of the post-revolutionary Civil War from a number of different points of view. Although the first and only volume was criticized for showing events from the viewpoints of the Whites, the third volume would apparently have given the perspective of the Communists. Many chapters of the novel were published separately in literary journals as they appeared. The ending of the novel (the sequence of dreams) never appeared because the journal it was due to be printed in, was shut down by official order, precisely because it was publishing such material as Bulgakov鈥檚. The novel only appeared complete in Russian, having been proofread by the author, in 1929 in Paris.]
The background is the Civil War in Kiev after the Bolshevik Revolution. The novel starts with December 1918 and ends in February 1919, and it portrays a series of conflicting events happening during the confrontations between the three main armed forces (Whites/Tsarist Empire, Ukrainian Nationalists and Bolsheviks/Communists) that were trying to dispute and gain the power and authority of the City (aka Kiev), and consequently of the Country (aka Ukraine).
As for the major protagonists, the novel unfolds the story of the Turbins, a noble but now in poverty family, broadly moderate Tsarists in their view, and therefore anti-Bolsheviks but, being ethnically Russian, have no sympathy with the Ukrainian Nationalists either, and so end up fighting for the White Guards.
At the beginning of the novel, apparently, we are still in the world of the old Russia, with artistic and elegant furniture dating from the Tsarist era, there is a piano, books and high-quality pictures on the walls. There is the Turbins鈥� warm flat, in which the family can take refuge from the events outside, however the general atmosphere is nonetheless of fear for the future, and great apprehension at the world collapsing. The novel ends with a series of sinister apocalyptic dreams which foresee the catastrophe for the society, as a whole, and, of family, as its cell of unity.
Maybe I was being drifted a bit too far away, but, for a massive part of the novel, I felt like re-watching the movie The Barber of Siberia, released in 1998 and directed by Nikita Mikhalkov. [Needless to say that I had to stop my flowing reading for a while and went on you-tube to watch some couples of scenes from the movie. Nostalgia showered on me recalling that I have watched it first time in a Moscow cinema, 20 years ago, directly in its Russian-talking version which, sadly, I didn鈥檛 understand much, but then I watched the English version and everything turned to pure light ;-). Additionally, most critics attacked it furiously for various reasons, but I just loved it 鈥�! I still love it :-)].
The only thing is that in the movie, opening with the Tsarist atmosphere of 1885, there is no openly engaged war, at least not as the one to break up starting with the WW1, continuing with the 1917 Bolsheviks revolutions, the Civil War and then Stalin dictatorship.
Surprisingly for such a big novel - normally it would have taken me some good days 鈥� I felt in a rush to read it through. As a matter of fact, I found myself sympathizing with the Turbins, the two brothers and sister, even if it doesn鈥檛 necessarily mean that I was in some partial agreement with the actions that they felt compelled to do. I enjoyed the story in its real, dramatic and tragic sense. I felt that Bulgakov really loved his characters, despite their weaknesses. In a way, it can be that the author himself identified with the overall story and it can be interpreted, on a different layer, as a autobiography.
A Theatrical Novel (Notes of a Deceased), or, in other versions, Black Snow or White Snow.
This is a very interesting piece of text about the theatre and life within theatre. It is regarded as a strong satire on events in the Soviet theatre 鈥� in November 1936 鈥� after Bulgakov eventually resigned from the management of MHAT (Moscow Arts Academic Theatre) and his play Moliere was vigorously attacked by the Communists and rejected from being put on stage.
On a different angle, if we follow just the narrative thread, Theatrical Novel can be seen as the story of the destiny of White Guard and its play adaptation, The Days of the Turbins, in other words, it鈥檚 the story of a story.
It starts with a short introduction, allegedly by an author who has found a manuscript written by a so-called theatrical personage who has committed suicide. The style is very direct and harsh. Bulgakov takes a swipe at censorship and the vicious and abject authorities of the theatre world, dealing savagely with the reputations of those people that lead the theatre, who are seen as some tyrannical figures who crush the individuality and flair of writers and actors in the plays they are directing.
The manuscript ends inconclusively, with the dead writer still proclaiming his wonder at the nature of theatre itself, despite its intrigues and frustrations; the initial author who has found the manuscript does not reappear, and it鈥檚 uncertain whether the point is that the theatrical figure left his memories uncompleted, or whether in fact Bulgakov failed to finish his original project. It leaves room to imagine some possible scenarios, for those who love to use their imagination generosity.
May 3, 2021
Written in the 1920s, but this early Bulgakov novel touches on some topical issues like Ukrainian nationalism and the relationship between the Ukrainian and Russian languages. Plus 莽a change...? More than that though, it's a drama about a family caught up in the collapse of their society. The middle class Turbin family live in Kiev but are ethnic Russians, monarchists and generally firm adherents to the old social order. But the Tsarist Empire has collapsed and the family are swept up in a 3 way conflict involving the Bolsheviks, the "Whites" and the Ukrainian nationalists. Confusion is the dominant theme. Soldiers on the frontline do their duty unaware their generals have already abandoned them; crowds listen to political speeches without having any idea who or what they are listening to; and ordinary people have no notion of what is happening 10 miles outside the city. Throughout the chaos the Turbins and their friends try to maintain their loyalty to each other, the only anchor they have left.
The novel's portrayal of the anti-Bolshevik Turbins is entirely sympathetic. Unsurprisingly its publication at the time was blocked and Bulgakov was marked down as a counter-revolutionary. A modified version was however produced for the stage under the title "Days of the Turbins" and apparently many in the audiences were deeply affected by Bulgakov's recreation of the terrible days of 1918-19. Another well-crafted novel by this truly great writer.
The novel's portrayal of the anti-Bolshevik Turbins is entirely sympathetic. Unsurprisingly its publication at the time was blocked and Bulgakov was marked down as a counter-revolutionary. A modified version was however produced for the stage under the title "Days of the Turbins" and apparently many in the audiences were deeply affected by Bulgakov's recreation of the terrible days of 1918-19. Another well-crafted novel by this truly great writer.
October 13, 2022
M. Bulgakov s-a nascut la Kiev in 1891 si a absolvit Facultatea de Medicina. Stabilindu-se la Moscova in 1921 a renuntat la profesie in favoarea literaturii. A fost contestat adesea de criticii acelor vremuri si a reusit sa publice foarte putine dintre scrierile sale in timpul vietii. Cea mai cunoscuta opera a sa ramane "Maestrul si Margareta".
Romanul "Garda alba" infatiseaza Razboiul Civil din Rusia anului 1918 si urmareste destinul familei Turbin care sunt sustinatorii tarului.
Cartea debuteaza cu moartea Annei Vladimirovna, mama celor 3 protagonisti Elena, Alexei, si Nikolka. Acestia insotesc sicriul pana la cimitir si isi aduc aminte de ultimele ei cuvinte: "Sa traiti cu totii in buna intelegere". Dar cum sa traiasca in pace cand vremurile sunt atat de tulburi?
Elena este casatorita cu capitanul Seghei Talberg iar Alexei Vasilievici este medic si a fost pe front.
Tunurile bubuie necontenit la 2 pasi de casa lor, sotul Elenei o paraseaste si fuge ca un las, este un frig crancen, oamenii fura tot ce apuca si sunt zvonuri ca imparatul Nicola Alexandrovici si imparateasa au fost ucisi de catre bolsevici.
In capitala tot felul de asasinate au loc iar depozitul de munitie explodeaza. Cea mai mare nedumerire de pe buzele tuturor este insa in legatura cu misteriosul si teribilul Simon Petliura. Nimeni nu stie cine este si ce are de gand.
Cel mai emotionant moment al cartii este cel in care Alexei este ranit si este ajutat de catre o femeie cu suflet bun care practic il duce acasa.
Ultimele pagini sunt sfasietoare, am plans, am sperat si m-am bucurat alaturi de Elena, Alexei si Nikolka. Practic am trecut prin toate starile posibile.
Mi-a ramas in minte secventa in care Elena ingenuncheaza in camera ei si se roaga la Dumnezeu ca Alexei sa nu moara, facand acel targ cu El in care ofera dragostea ei pentru sotul care a parasit-o in schimbul vietii fratelui.
Romanul este frumos, autorul parca picteaza cu cuvintele, textul curge lin fiind bogat ornamentat si elegant. Imaginile sunt usor de inchipuit, in special descrierile orasului Kiev iar sentimentele sunt puternice si profunde. Va recomand sa-l cititi pentru atmosfera de razboi pe care o reproduce cu fidelitate si autenticitate si pentru ca cititorul e rapit acolo cu personajele - lupta, sufera, ii e teama, pierde si invinge alaturi de ele.
Iata si cateva citate care sunt in asentimentul cartii:
"Sa nu te lasi coplesit de amaraciune, rosti sfios, dar cu deosebita convingere. E un mare pacat amaraciunea..."
"Are cearcane sangerii in jurul ochilor. I le-au zugravit acolo frigul, spaima, votca si o neostoita ura."
"Ne ameninta acum ceva mult mai ingrozitor decat razboiul, decat nemtii, decat orice pe lume. Ne ameninta Trotki."
"Nimic pe lumea aceasta nu incalzea mai mult sufletul mohorat al lui Alexei Turbin decat niste ochi de femeie. Ah, ce jucarie a izbutit sa mestereasca Domnul Dumnezeu- ochii acestia ai femeilor!..."
"Dar cuvantul de onoare nu trebuie nimeni sa si-l incalce, pentru ca altfel nu s-ar mai putea trai pe lume. Asa gandea Nikolka. "
"[...] aceasta lume... cred ca sunteti si dumneavoastra de acord, este murdara, sangeroasa si complet lipsita de sens."
"Poate ca banii te impiedica sa fii simpatic? Iata, spre exemplu, nici unul din cei de fata nu are bani, dar de simpatici sunt simpatici cu totii."
Romanul "Garda alba" infatiseaza Razboiul Civil din Rusia anului 1918 si urmareste destinul familei Turbin care sunt sustinatorii tarului.
Cartea debuteaza cu moartea Annei Vladimirovna, mama celor 3 protagonisti Elena, Alexei, si Nikolka. Acestia insotesc sicriul pana la cimitir si isi aduc aminte de ultimele ei cuvinte: "Sa traiti cu totii in buna intelegere". Dar cum sa traiasca in pace cand vremurile sunt atat de tulburi?
Elena este casatorita cu capitanul Seghei Talberg iar Alexei Vasilievici este medic si a fost pe front.
Tunurile bubuie necontenit la 2 pasi de casa lor, sotul Elenei o paraseaste si fuge ca un las, este un frig crancen, oamenii fura tot ce apuca si sunt zvonuri ca imparatul Nicola Alexandrovici si imparateasa au fost ucisi de catre bolsevici.
In capitala tot felul de asasinate au loc iar depozitul de munitie explodeaza. Cea mai mare nedumerire de pe buzele tuturor este insa in legatura cu misteriosul si teribilul Simon Petliura. Nimeni nu stie cine este si ce are de gand.
Cel mai emotionant moment al cartii este cel in care Alexei este ranit si este ajutat de catre o femeie cu suflet bun care practic il duce acasa.
Ultimele pagini sunt sfasietoare, am plans, am sperat si m-am bucurat alaturi de Elena, Alexei si Nikolka. Practic am trecut prin toate starile posibile.
Mi-a ramas in minte secventa in care Elena ingenuncheaza in camera ei si se roaga la Dumnezeu ca Alexei sa nu moara, facand acel targ cu El in care ofera dragostea ei pentru sotul care a parasit-o in schimbul vietii fratelui.
Romanul este frumos, autorul parca picteaza cu cuvintele, textul curge lin fiind bogat ornamentat si elegant. Imaginile sunt usor de inchipuit, in special descrierile orasului Kiev iar sentimentele sunt puternice si profunde. Va recomand sa-l cititi pentru atmosfera de razboi pe care o reproduce cu fidelitate si autenticitate si pentru ca cititorul e rapit acolo cu personajele - lupta, sufera, ii e teama, pierde si invinge alaturi de ele.
Iata si cateva citate care sunt in asentimentul cartii:
"Sa nu te lasi coplesit de amaraciune, rosti sfios, dar cu deosebita convingere. E un mare pacat amaraciunea..."
"Are cearcane sangerii in jurul ochilor. I le-au zugravit acolo frigul, spaima, votca si o neostoita ura."
"Ne ameninta acum ceva mult mai ingrozitor decat razboiul, decat nemtii, decat orice pe lume. Ne ameninta Trotki."
"Nimic pe lumea aceasta nu incalzea mai mult sufletul mohorat al lui Alexei Turbin decat niste ochi de femeie. Ah, ce jucarie a izbutit sa mestereasca Domnul Dumnezeu- ochii acestia ai femeilor!..."
"Dar cuvantul de onoare nu trebuie nimeni sa si-l incalce, pentru ca altfel nu s-ar mai putea trai pe lume. Asa gandea Nikolka. "
"[...] aceasta lume... cred ca sunteti si dumneavoastra de acord, este murdara, sangeroasa si complet lipsita de sens."
"Poate ca banii te impiedica sa fii simpatic? Iata, spre exemplu, nici unul din cei de fata nu are bani, dar de simpatici sunt simpatici cu totii."
January 1, 2023
The year is 1919 and the Civil War has spread to Kiev, Bulgakov鈥檚 home town. Ukraine is under the control of the iron-fisted nationalist, Petliura,. He鈥檚 brutally securing Kiev in preparation for the invasion of the Reds (Bolsheviks) looming on the horizon.
Central to the novel is the Turbin family who live in a cozy apartment in town. (The Turbins are loosely based on Bulgakov and his family). The furnishings and atmosphere of the dwelling have a 19th century feel as if they were still living under the Tsar, which is what they鈥檇 prefer. They鈥檙e trying to shut out the upheaval outside by closing 鈥渢he cream colored curtains鈥� and pretending they are still in the past.
But the death of the Turbins鈥� mother is a harsh reminder of reality. The funeral has an apocalyptic feel and the priest is unable to comfort the eldest, Alexei.
The White Guard is a novel without a hero. One curious townfolk is Shpolyansky, an eccentric man who keeps a ballerina as a mistress. He despises Petliura, so is ready to back the Bolsheviks when they invade. Rusakov, a poet who suffers with venereal disease, is convinced that Shpolyansky is the Antichrist.
Alexei is caught out on the street during a violent clash. He is wounded, but does not die. While recovering, he has many apocalyptic dreams. They鈥檙e a message that Alexei and his family have been wrong about many things. They have clung to the myths of Tsarist Russia. But the world has changed. It will not go back to the old ways.
One cynic tells Alexei鈥檚 sister, Elena, 鈥済o ahead and doze by the reading lamp while the storm outside howls鈥攁nd wait until they come for you.鈥�
The book is full of literary allusions including Dostoevsky鈥檚 The Possessed that Elena is reading but fails to connect to what is happening in Kiev.
Bulgakov modeled his book after War & Peace, but it is much more narrowly construed. The action takes place over 47 days and the great Russian army that was victorious in Tolstoy has long since been crushed by 1919.
=======
This just in, many in the Ukraine disdain Bulgakov, especially as depicted in The White Guard. Some are calling for his museum in Kyiv to be closed.
"Bulgakov 鈥渉ated鈥� the idea of Ukrainian statehood and 鈥済lorified鈥� the Russian tsar and monarchy. He also 鈥渟meared鈥� Ukrainian nationalists including Symon Petliura, whose troops entered Kyiv in 1918"
To access the full article, click "I'll do it later" to open it.
Central to the novel is the Turbin family who live in a cozy apartment in town. (The Turbins are loosely based on Bulgakov and his family). The furnishings and atmosphere of the dwelling have a 19th century feel as if they were still living under the Tsar, which is what they鈥檇 prefer. They鈥檙e trying to shut out the upheaval outside by closing 鈥渢he cream colored curtains鈥� and pretending they are still in the past.
But the death of the Turbins鈥� mother is a harsh reminder of reality. The funeral has an apocalyptic feel and the priest is unable to comfort the eldest, Alexei.
The White Guard is a novel without a hero. One curious townfolk is Shpolyansky, an eccentric man who keeps a ballerina as a mistress. He despises Petliura, so is ready to back the Bolsheviks when they invade. Rusakov, a poet who suffers with venereal disease, is convinced that Shpolyansky is the Antichrist.
Alexei is caught out on the street during a violent clash. He is wounded, but does not die. While recovering, he has many apocalyptic dreams. They鈥檙e a message that Alexei and his family have been wrong about many things. They have clung to the myths of Tsarist Russia. But the world has changed. It will not go back to the old ways.
One cynic tells Alexei鈥檚 sister, Elena, 鈥済o ahead and doze by the reading lamp while the storm outside howls鈥攁nd wait until they come for you.鈥�
The book is full of literary allusions including Dostoevsky鈥檚 The Possessed that Elena is reading but fails to connect to what is happening in Kiev.
Bulgakov modeled his book after War & Peace, but it is much more narrowly construed. The action takes place over 47 days and the great Russian army that was victorious in Tolstoy has long since been crushed by 1919.
=======
This just in, many in the Ukraine disdain Bulgakov, especially as depicted in The White Guard. Some are calling for his museum in Kyiv to be closed.
"Bulgakov 鈥渉ated鈥� the idea of Ukrainian statehood and 鈥済lorified鈥� the Russian tsar and monarchy. He also 鈥渟meared鈥� Ukrainian nationalists including Symon Petliura, whose troops entered Kyiv in 1918"
To access the full article, click "I'll do it later" to open it.
June 25, 2019
Before Bulgakov wrote several of the most exquisite Russian satires known to woman, he toyed in the Tolstoyan mode with this wartime chronicle set during the Ukrainian War of Independence, featuring a cast of terror-pocked soldiers and wives. A mixture of poetic reflection on the changing face of Ukraine, action sequences, domestic turmoil, and dreamlike digressions, the novel is an overlooked historical 茅tude, trumped by the arrival of masterpieces like Heart of a Dog and The Fatal Eggs, not devoid of humour, although most certainly an attempt at a grand literary statement to make the Moscow literati spit their stolichnaya (the novel remained unpublished until the 1960s).
January 30, 2025
鈥炐懷徯恍把傂� 谐胁邪褉写懈褟鈥� 械 屑薪芯谐芯 褋懈谢薪邪 懈 褌褉芯谐邪褌械谢薪邪 泻薪懈谐邪 蟹邪 卸械褋褌芯泻邪褌邪 谐褉邪卸写邪薪褋泻邪 胁芯泄薪邪 屑械卸写褍 斜械谢芯谐胁邪褉写械泄褑懈褌械 懈 斜芯谢褕械胁懈泻懈褌械. 孝芯胁邪 械 写械斜褞褌薪懈褟褌 褉芯屑邪薪 薪邪 袦懈褏邪懈谢 袘褍谢谐邪泻芯胁 懈 胁 薪械谐芯 邪胁褌芯褉褗褌 械 胁谢芯卸懈谢 褉邪蟹谢懈褔薪懈 斜懈芯谐褉邪褎懈褔薪懈 械谢械屑械薪褌懈 芯褌 芯薪械蟹懈 褋褌褉邪褏芯胁懈褌懈 胁褉械屑械薪邪. 袛械泄褋褌胁懈械褌芯 褋械 褉邪蟹胁懈胁邪 胁 校泻褉邪泄薪邪 锌褉械蟹 1918 谐. 懈 锌褉械写褋褌邪胁褟 写芯褋褌芯胁械褉薪邪 泻邪褉褌懈薪邪 薪邪 懈褋褌芯褉懈褔械褋泻懈褌械 褋褗斜懈褌懈褟, 锌褉芯褋谢械写褟胁邪泄泻懈 写褉邪屑邪褌懈褔薪邪褌邪 懈褋褌芯褉懈褟 薪邪 褋械屑械泄褋褌胁芯 孝褍褉斜懈薪懈...
December 27, 2023
Grande fu l鈥檃nno, e terribile, il 1918 dalla nascita di Cristo, il secondo, dall鈥檌nizio della rivoluzione.
Aleksej, Elena e Nikolka: tre fratelli a Kiev in pieno caos, tra zaristi, bolscevichi, tedeschi e nazionalisti ucraini.
No, nessuno comprender脿 quello che accadde nella Citt脿 il giorno del 14 dicembre.
I capitoli centrali raccontano la confusione e lo smarrimento degli abitanti in quel giorno. Il diciottenne Nikolka, dopo aver provato a resistere assieme a uno sparuto gruppo di soldatini inesperti come lui, fugge inseguito dai nemici, messi sulle sue tracce da un portiere della zona con le sembianze di Nerone. La priorit脿 diventa una e solo una: salvare la pelle ovvero riuscire a tornare a casa senza che nessuno lo riconosca come sottufficiale della guardia bianca.
Diavolo. Anche qui il portone che dava sulla Raz鈥檈zzaja era chiuso. Sbarrato. Quindi, di nuovo il muro. Si arrampic貌 su un mucchio di mattoni rotti e poi, come una mosca, su un muro perpendicolare, infilando le punte dei piedi in certi buchi in cui, in tempo di pace, non sarebbe riuscito a infilare nemmeno una copeca. Si strapp貌 le unghie, si insanguin貌 le dita e, aggrappandosi, si trascin貌 su per il muro. Quando vi fu disteso sopra con la pancia, ud矛 che alle sue spalle, nel primo cortile, si erano levati un fischio assordante e la voce di Nerone, mentre in quel terzo cortile, a una finestra nera del primo piano, lo guardava un volto di donna sconvolto dal terrore, che subito scomparve. Cadendo dal secondo muro, gli and貌 abbastanza bene: atterr貌 su un mucchio di neve, ma ci貌 nonostante gli si storse il collo e sent矛 un forte contraccolpo nel cranio. Con la testa che gli rintronava e barbagli dinanzi agli occhi, Nikolka corse verso il portone.
Oh, che gioia! Anche questo era chiuso, ma qui era una vera sciocchezza! Un cancello di ferro battuto. Nikolka, come un pompiere, ci si arrampic貌 sopra, lo scavalc貌, scese dall鈥檃ltra parte e si ritrov貌 in via Raz鈥檈zzaja. Vide che era completamente sgombra, non un鈥檃nima. 鈥楶rendo fiato un quarto di minuto, non di pi霉, altrimenti mi scoppia il cuore鈥�, pens貌 Nikolka, e inghiott矛 l鈥檃ria arroventata. 鈥楽矛 鈥� i documenti 鈥︹€� Nikolka tir貌 fuori dalla tasca della giubba un pacchetto di certificati tutti unti e li fece a pezzi. E questi se ne volarono via, come neve. Sent矛 che, alle sue spalle, cominciava a crepitare una mitragliatrice e che in risposta si levavano salve di fucile e di mitraglia provenienti da un punto oltre Nikolka, da qualche parte nella Citt脿. Ecco cos鈥檈ra successo. Avevano preso la Citt脿. In Citt脿 c鈥檈ra battaglia. La catastrofe.
Da dietro l鈥檃ngolo Nikolka diede prudentemente un鈥檕cchiata alla Lovskaja e molto lontano vi intravide la cavalleria danzante con macchie azzurre sui colbacchi. Laggi霉 c鈥檈ra scompiglio e gli scoppi degli spari. Prese per la Lubocickaja. L矛 per la prima volta vide un鈥檃nima viva. Una signora stava correndo lungo il marciapiede opposto, e portava il cappello dall鈥檃la nera di traverso, e tra le mani le ballonzolava una borsa grigia da cui spuntava, cercando in ogni modo di scappar fuori, un gallo disperato, che gridava a squarciagola: 鈥淧eturra, peturra鈥�. Da un sacchetto che la signora teneva con la mano sinistra, attraverso un buco, si sparpagliavano sul marciapiede delle carote. La signora gridava e piangeva, cercando di addossarsi al muro.
Aleksej, Elena e Nikolka: tre fratelli a Kiev in pieno caos, tra zaristi, bolscevichi, tedeschi e nazionalisti ucraini.
No, nessuno comprender脿 quello che accadde nella Citt脿 il giorno del 14 dicembre.
I capitoli centrali raccontano la confusione e lo smarrimento degli abitanti in quel giorno. Il diciottenne Nikolka, dopo aver provato a resistere assieme a uno sparuto gruppo di soldatini inesperti come lui, fugge inseguito dai nemici, messi sulle sue tracce da un portiere della zona con le sembianze di Nerone. La priorit脿 diventa una e solo una: salvare la pelle ovvero riuscire a tornare a casa senza che nessuno lo riconosca come sottufficiale della guardia bianca.
Diavolo. Anche qui il portone che dava sulla Raz鈥檈zzaja era chiuso. Sbarrato. Quindi, di nuovo il muro. Si arrampic貌 su un mucchio di mattoni rotti e poi, come una mosca, su un muro perpendicolare, infilando le punte dei piedi in certi buchi in cui, in tempo di pace, non sarebbe riuscito a infilare nemmeno una copeca. Si strapp貌 le unghie, si insanguin貌 le dita e, aggrappandosi, si trascin貌 su per il muro. Quando vi fu disteso sopra con la pancia, ud矛 che alle sue spalle, nel primo cortile, si erano levati un fischio assordante e la voce di Nerone, mentre in quel terzo cortile, a una finestra nera del primo piano, lo guardava un volto di donna sconvolto dal terrore, che subito scomparve. Cadendo dal secondo muro, gli and貌 abbastanza bene: atterr貌 su un mucchio di neve, ma ci貌 nonostante gli si storse il collo e sent矛 un forte contraccolpo nel cranio. Con la testa che gli rintronava e barbagli dinanzi agli occhi, Nikolka corse verso il portone.
Oh, che gioia! Anche questo era chiuso, ma qui era una vera sciocchezza! Un cancello di ferro battuto. Nikolka, come un pompiere, ci si arrampic貌 sopra, lo scavalc貌, scese dall鈥檃ltra parte e si ritrov貌 in via Raz鈥檈zzaja. Vide che era completamente sgombra, non un鈥檃nima. 鈥楶rendo fiato un quarto di minuto, non di pi霉, altrimenti mi scoppia il cuore鈥�, pens貌 Nikolka, e inghiott矛 l鈥檃ria arroventata. 鈥楽矛 鈥� i documenti 鈥︹€� Nikolka tir貌 fuori dalla tasca della giubba un pacchetto di certificati tutti unti e li fece a pezzi. E questi se ne volarono via, come neve. Sent矛 che, alle sue spalle, cominciava a crepitare una mitragliatrice e che in risposta si levavano salve di fucile e di mitraglia provenienti da un punto oltre Nikolka, da qualche parte nella Citt脿. Ecco cos鈥檈ra successo. Avevano preso la Citt脿. In Citt脿 c鈥檈ra battaglia. La catastrofe.
Da dietro l鈥檃ngolo Nikolka diede prudentemente un鈥檕cchiata alla Lovskaja e molto lontano vi intravide la cavalleria danzante con macchie azzurre sui colbacchi. Laggi霉 c鈥檈ra scompiglio e gli scoppi degli spari. Prese per la Lubocickaja. L矛 per la prima volta vide un鈥檃nima viva. Una signora stava correndo lungo il marciapiede opposto, e portava il cappello dall鈥檃la nera di traverso, e tra le mani le ballonzolava una borsa grigia da cui spuntava, cercando in ogni modo di scappar fuori, un gallo disperato, che gridava a squarciagola: 鈥淧eturra, peturra鈥�. Da un sacchetto che la signora teneva con la mano sinistra, attraverso un buco, si sparpagliavano sul marciapiede delle carote. La signora gridava e piangeva, cercando di addossarsi al muro.
June 29, 2020
丕賱丨乇亘 丕賱毓丕賱賲賷丞 丕賱兀賵賱賶 賵 丕賱兀丨丿丕孬 丕賱鬲賷 鬲賱鬲賴丕 賮賷 乇賵爻賷丕 .. 賲賳 孬賵乇丞 賮亘乇丕賷乇 佟侃佟侑 賵 丕賱孬賵乇丞 丕賱亘賱卮賮賷丞 賮賷 兀賰鬲賵亘乇 賲賳 賳賮爻 丕賱爻賳丞 .. 賵 丕賱丕囟胤乇丕亘丕鬲 丕賱鬲賷 丨氐賱鬲 禺賱丕賱賴丕 賵亘毓丿賴丕 .. 兀賱賴賲鬲 賰鬲丕亘 賰購孬乇 賱賷賰鬲亘賵丕 毓賳賴丕 .. 賲賳 囟賲賳賴賲 卮賵賱賵禺賵賮 賰鬲亘 丕賱丿賵賳 丕賱賴丕丿卅 .. 賵亘賵賱睾丕賰賵賮 賰鬲亘 丕賱丨乇爻 丕賱兀亘賷囟 .. 賵睾賷乇賴賲 胤亘毓丕賸 .. 丕賳鬲賴賷鬲 賲賳 賯乇丕亍丞 丕賱丿賵賳 丕賱賴丕丿卅 賲賳 賷賵賲賷賳 .. 賵丨丕賳 賵賯鬲 乇賵丕賷丞 亘賵賱睾丕賰賵賮 ..
鬲丿賵乇 兀丨丿丕孬 丕賱乇賵丕賷丞 賮賷 賲丿賷賳丞 賰賷賷賮 丕賱兀賵賰乇丕賳賷丞 亘賷賳 毓丕賲賷 1918 賵 1919貙 丨賷孬 鬲鬲丨丿孬 亘卮賰賱 兀爻丕爻賷 毓賳 氐毓賵丿 賳噩賲 爻賷賲賵賳 賮丕爻賷賱賷賵賮賷鬲卮 亘鬲賱賷賵乇丕貙 亘毓丿 丕賱廿賮乇丕噩 毓賳賴貙 丨賷鬲 鬲賲 丕毓鬲賯丕賱賴 賲賳 賯亘賱 丕賱賴鬲賲丕賳 丕賱兀賵賰乇丕賳賷 丌賳匕丕賰貙 賵 亘毓丿 禺乇賵噩賴 賯丕丿 賯賵丕鬲賴 賳丨賵 賰賷賷賮 賵賯丕賲 亘丕丨鬲賱丕賱賴丕 賮賷 匕賱賰 丕賱毓丕賲..
賵賮賷 賳賮爻 丕賱賵賯鬲貙 鬲毓乇囟 丕賱乇賵丕賷丞 丨丕賱 丕賱賲賵丕胤賳賷賳 賲賳 禺賱丕賱 兀爻乇丞 鬲賵乇亘賷賳貙 鬲賱賰 丕賱兀爻乇丞 丕賱鬲賷 賱賲 賷亘賯賶 賲賳 兀賮乇丕丿賴丕 爻賵賶 3 兀卮賯丕亍 亘毓丿 賵賮丕丞 丕賱兀亘 賵丕賱兀賲.. 兀賱賰爻賷 丕賱兀禺 丕賱兀賰亘乇 賷毓賲賱 胤亘賷亘 賮賷 丕賱噩賷卮 賵賷賯賵賲 亘丕賱賰卮賮 毓賱賶 亘毓囟 丕賱丨丕賱丕鬲 賮賷 賲賳夭賱賴貙 賵賲賳 禺賱丕賱 鬲賱賰 丕賱卮禺氐賷丞 賷毓乇囟 賱賳丕 亘賵賱睾丕賰賵賮 丨丕賱 丕賱噩賷卮 賵 丕賱鬲禺亘胤 賮賷 氐賮賵賮賴..
賷賯賵賱 亘賵賱睾丕賰賵賮 毓賳 兀毓賲丕賱賴"賲兀爻丕丞 兀賳丕爻 丕賱賵丕噩亘 賵丕賱卮乇賮 賮賷 賱丨馗丕鬲 丕賱賰賵丕乇孬 丕賱丕噩鬲賲丕毓賷丞貙 丨賷孬 賷氐亘丨 兀孬賲賳 卮賷亍 賮賷 丕賱丿賳賷丕 賴賵 賱賷爻 丕賱兀賮賰丕乇 亘賱 丨賷丕丞 丕賱廿賳爻丕賳."
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"- 賴賱 爻賷丿賮毓 兀丨丿 孬賲賳 丕賱丿賲責
- 賱丕貙 賱賳 賷丿賮毓賴 兀丨丿.
爻賷匕賵亘 丕賱孬賱噩 賮丨爻亘貙 賵爻賷賳賲賵 丕賱毓卮亘 丕賱兀賵賰乇丕賳賷 丕賱兀禺囟乇貙 賵爻賷囟賮乇 丕賱兀乇囟貙 賵爻鬲賳亘噩爻 丕賱亘丕丿乇丕鬲 丕賱賳囟乇丞 丕賱賳丕毓賲丞貙 賵賷鬲乇噩乇噩 丕賱賯賷馗 賮賵賯 丕賱丨賯賵賱貙 賵賱賳 賷鬲亘賯賶 兀賷 兀孬乇 賱賱丿賲. 丕賱丿賲丕亍 乇禺賷氐丞 賮賷 丕賱丨賯賵賱 丕賱賯乇賲夭賷丞貙 賵賱賳 賷卮鬲乇賷賴丕 兀丨丿 .."
鬲丿賵乇 兀丨丿丕孬 丕賱乇賵丕賷丞 賮賷 賲丿賷賳丞 賰賷賷賮 丕賱兀賵賰乇丕賳賷丞 亘賷賳 毓丕賲賷 1918 賵 1919貙 丨賷孬 鬲鬲丨丿孬 亘卮賰賱 兀爻丕爻賷 毓賳 氐毓賵丿 賳噩賲 爻賷賲賵賳 賮丕爻賷賱賷賵賮賷鬲卮 亘鬲賱賷賵乇丕貙 亘毓丿 丕賱廿賮乇丕噩 毓賳賴貙 丨賷鬲 鬲賲 丕毓鬲賯丕賱賴 賲賳 賯亘賱 丕賱賴鬲賲丕賳 丕賱兀賵賰乇丕賳賷 丌賳匕丕賰貙 賵 亘毓丿 禺乇賵噩賴 賯丕丿 賯賵丕鬲賴 賳丨賵 賰賷賷賮 賵賯丕賲 亘丕丨鬲賱丕賱賴丕 賮賷 匕賱賰 丕賱毓丕賲..
"賱丕 賷噩賵夭 丕賱丕爻鬲爻賱丕賲 廿賱賶 丕賱賰丌亘丞貙 丕賱賰卅丕亘丞 賴賷 禺胤賷卅丞 賰亘賷乇丞貙 賵賱賵 兀賳賳賷 兀毓鬲賯丿 兀賳 丕賱亘賱丕賷丕 爻鬲丨丿孬貙 丨賯丕賸貙 亘賱丕賷丕 賰亘賷乇丞.."
賵賮賷 賳賮爻 丕賱賵賯鬲貙 鬲毓乇囟 丕賱乇賵丕賷丞 丨丕賱 丕賱賲賵丕胤賳賷賳 賲賳 禺賱丕賱 兀爻乇丞 鬲賵乇亘賷賳貙 鬲賱賰 丕賱兀爻乇丞 丕賱鬲賷 賱賲 賷亘賯賶 賲賳 兀賮乇丕丿賴丕 爻賵賶 3 兀卮賯丕亍 亘毓丿 賵賮丕丞 丕賱兀亘 賵丕賱兀賲.. 兀賱賰爻賷 丕賱兀禺 丕賱兀賰亘乇 賷毓賲賱 胤亘賷亘 賮賷 丕賱噩賷卮 賵賷賯賵賲 亘丕賱賰卮賮 毓賱賶 亘毓囟 丕賱丨丕賱丕鬲 賮賷 賲賳夭賱賴貙 賵賲賳 禺賱丕賱 鬲賱賰 丕賱卮禺氐賷丞 賷毓乇囟 賱賳丕 亘賵賱睾丕賰賵賮 丨丕賱 丕賱噩賷卮 賵 丕賱鬲禺亘胤 賮賷 氐賮賵賮賴..
"賰賱 卮賷亍 爻賷賲囟賷 賲毓 丕賱兀賷丕賲. 丕賱賲毓丕賳丕丞 賵丕賱丌賱丕賲 賵丕賱丿賲賵毓 賵丕賱噩賵毓 賵丕賱賵亘丕亍. 賵爻賷禺鬲賮賷 丕賱爻賷賮貙 兀賲丕 丕賱賳噩賵賲 賮爻鬲亘賯賶 丨賷賳 賱賳 鬲亘賯賶 馗賱丕賱 兀噩爻丕丿賳丕 賵兀賮毓丕賱賳丕 毓賱賶 丕賱兀乇囟. 賵賱丕 賷賵噩丿 兀賷 廿賳爻丕賳 賱丕 賷毓乇賮 賴匕丕. 賮賱賲丕匕丕 賱丕 賳乇賷丿 兀賳 賳賵噩賴 兀賳馗丕乇賳丕 廿賱賷賴丕責 賱賲丕匕丕責"
賷賯賵賱 亘賵賱睾丕賰賵賮 毓賳 兀毓賲丕賱賴"賲兀爻丕丞 兀賳丕爻 丕賱賵丕噩亘 賵丕賱卮乇賮 賮賷 賱丨馗丕鬲 丕賱賰賵丕乇孬 丕賱丕噩鬲賲丕毓賷丞貙 丨賷孬 賷氐亘丨 兀孬賲賳 卮賷亍 賮賷 丕賱丿賳賷丕 賴賵 賱賷爻 丕賱兀賮賰丕乇 亘賱 丨賷丕丞 丕賱廿賳爻丕賳."
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July 31, 2022
El a帽o 1918 del nacimiento de Cristo y segundo del comienzo de la revoluci贸n fue grande y terrible. El verano fue abundante en sol y el invierno, en nieve. Muy alto, en el cielo, brillaban dos estrellas: la Venus vespertina de los pastores y Marte, rojo y tembloroso.
Con estas sobrias palabras da comienzo Mija铆l Bulg谩kov a una novela de tintes autobiogr谩ficos que tiene lugar en 芦la Ciudad禄, que no es otra que Kiev, en el agitado y turbulento invierno entre los a帽os 1918 y 1919. Narra la historia de la familia Turb铆n, que habita en el n煤mero 13 de la bajada Alex茅ievski, lugar de nacimiento del propio Bulg谩kov. Su figura queda reflejada en el personaje de Alexei, m茅dico de profesi贸n como el autor, mientras que el peque帽o Nikolka hace de trasunto del hermano del escritor kievita. La Primera Guerra Mundial y la Guerra Civil Rusa, inevitablemente solapadas en tiempo y espacio, coinciden en sus diferentes facetas y contendientes en una Ucrania que act煤a como escenario de sangrientos combates. Bulg谩kov, testigo presencial de los sucesos que sit煤a como contexto de su obra, muestra un Kiev que 芦conoci贸 la ocupaci贸n alemana, el encumbramiento y la ca铆da del hetman Skoropadski, el pasajero triunfo de Petliura, la definitiva llegada del Ej茅rcito Rojo禄.
La inminente llegada de Petliura configura el estado de tensi贸n en el que se encuentra la ciudad, los hermanos Turb铆n y sus allegados militares, afines a la causa zarista. La creaci贸n de una guardia con el objetivo de defender Kiev de la ofensiva nacionalista es una tentativa desesperada que acarrear谩 desastrosas consecuencias para aquellos inexpertos j贸venes que son abandonados a su suerte. 芦Aquel 14 de diciembre禄 constituye un jal贸n crucial en la vida de los j贸venes Turb铆n, presos de la incertidumbre y el miedo en el que se encuentra inmersa la urbe de la monta帽a de San Vladimir. Sobre esta base se construye una narraci贸n que juega con la temporalidad de los acontecimientos y se sirve de recursos on铆ricos que enfrentan al lector a la desorientaci贸n y desasosiego que los mismos protagonistas sienten. A su vez, el plantel de personajes que desfila por la obra muestra las diferentes respuestas posibles a la ca贸tica situaci贸n: desde la ant铆tesis que suponen las figuras de Talberg y Nai-Turs en virtud de su hero铆smo a las diversas actuaciones de los hermanos. No obstante, el amor que se profesan los Turb铆n act煤a como un lucero en la tenebrosidad de la guerra, reflejada en aquel cad谩ver del jud铆o que, en la entrada del puente, permanec铆a a la intemperie mientras a su alrededor todo desaparec铆a, 芦como si nunca hubiera existido禄.
La Guardia Blanca fue reestructurada por el propio Bulg谩kov para su adaptaci贸n teatral, titulada Los d铆as de Turb铆n y que tuvo una excelente acogida en el Teatro de Arte de Mosc煤. No obstante, es bien conocido el rechazo parcial que provoc贸 el drama en el secretario general del PCUS, Joseph Stalin. Pese a que pod铆a extraerse del contenido de la obra la idea de un poder colosal bolchevique 鈥� al que incluso una familia como los Turb铆n hab铆a de someterse 鈥�, la novela refleja una velada cr铆tica de la sociedad rusa, un fen贸meno habitual en el conjunto de su producci贸n literaria. Por ello, fue repudiado y se帽alado como un elemento hostil al r茅gimen, causa de que algunas de sus grandes composiciones como la afamada El maestro y Margarita o Novela teatral no vieran la luz hasta el proceso de desestalinizaci贸n comenzado a la muerte del georgiano.
Esta edici贸n de la obra est谩 traducida y prologada por Jos茅 La铆n Entralgo, miembro de la escuela de traducci贸n sovi茅tica o 芦grupo de Mosc煤禄 y hermano del conocido escritor falangista Pedro La铆n Entralgo, conocido por su disputa con Rafael Calvo Serer acerca del 芦problema de Espa帽a禄. Contra lo que se ha afirmado numerosas veces, la versi贸n que nos ocupa logra reflejar en lengua castellana las diversas circunstancias y sensaciones que buscaba transmitir Bulg谩kov en la composici贸n original. En un momento en el que Rusia y su cultura parecen volverse indescifrables para el mundo occidental 鈥� de forma parad贸jica, dada la omnipresencia de este pa铆s en el debate p煤blico 鈥�, es de agradecer que se conserven los trabajos de aquellos espa帽oles que en otra 茅poca nos acercaron con sus traducciones a ese 芦acertijo, envuelto en un misterio, dentro de un enigma禄 que hall贸 Winston Churchill en el car谩cter de lo ruso.
January 18, 2021
Modernisti膷ki san o gradu, ra拧iren od D啪ojsovog Dablina do Belovog Petrograda, sanjan je i o Kijevu. Sanjao ga je Bulgakov u svom romanesknom prvencu. A sanjao ga je, ba拧 onako kako se sneva - o膷ekivano je pretvoreno u neo膷ekivano. Moralisti膷ki si啪e o porodi膷noj sre膰i u istorijskim vremenima, koji, kao da je ispao iz Tolstojevog voza, u Bulgakovljevim rukama gubi pravi po膷etak i kraj, a sredina ostaje izbu拧ena korozivnim rupama koje su popunjene onim 膷ime naizgled ne bi trebalo popunjavati visokomimetski narativ: satirom, slepstikom, feljtonom, karnevalskim narodnim telom. Tragizam opere je sveden na komi膷nost operete i obrnuto. Ta formalna korozija je u direktnoj sprezi sa istorijskim doga膽ajima o kojima se pi拧e. Re膷 je o ukrajinskom Hetmanatu, marionetskoj kratkotrajnoj dr啪avi koju su osnovali Nemci pri kraju Prvog svetskog rata, gde su nakon Bolj拧evi膷ke revolucije mnogi Rusi izbegli. Hetmanat je bila banana republika progla拧ena u cirkusu, bez prave dr啪avni膷ke mo膰i, kratkog daha, ali je iza takve operetske atmosfere kuljala duboka mr啪nja izme膽u vi拧estruko zara膰enih strana (beli Rusi, ruski bolj拧evici, Nemci, ukrajinski seljaci, ukrajinski bolj拧evici, itd). Kako se ka啪e: 鈥濽 Gradu niko ni拧ta nije shvatao, I ubudu膰e, prema svemu, niko ne膰e skoro ni拧ta ni shvatati.鈥� A negde gore nad Kijevom sijao je crveni astrolo拧ki mars u obliku petokrake.
I dok se stari svet raspada na vi拧e na膷ina, svuda se pojavljuju pukotine. A pukotine na fizi膷kom svetu postaju prolazi ka metafi膷kom, i to ne samo za slivanje bo啪anske milosti koja dovodi do razre拧enja zapleta u maniru deus ex machina, nego i do kamea ne膷astivog. Ne膷astivi jo拧 uvek se nosi ime Voland, ve膰 se zove 艩poljanski; elegantno je obu膷en, 拧armantan je dasa i nosi onjeginovske zulufe.
I dok se stari svet raspada na vi拧e na膷ina, svuda se pojavljuju pukotine. A pukotine na fizi膷kom svetu postaju prolazi ka metafi膷kom, i to ne samo za slivanje bo啪anske milosti koja dovodi do razre拧enja zapleta u maniru deus ex machina, nego i do kamea ne膷astivog. Ne膷astivi jo拧 uvek se nosi ime Voland, ve膰 se zove 艩poljanski; elegantno je obu膷en, 拧armantan je dasa i nosi onjeginovske zulufe.
January 6, 2015
Bulgakov's elegant first novel about the unfolding of the October revolution in Kiev--referred to as The City in the novel--has been rereleased by the wonderful independent publisher Melville House this year, in the Michael Glenny translation. Outstanding.Told through multiple points of view, the book centers upon two days in the Russian Civil war, December 13 and 14, 1918, when the city of Kiev, up to then controlled by the Ukrainian Hetman Skoropadsky, a German puppet and ally of the Monarchist Russians, falls to the armies of Petlyura, a Ukranian peasant nationalist, a figure of mystery and rumor. The enemy of the Whites, Petlyura's troops especially target the Russian officers who have supported the corrupt Skoropadsky and the Russian imperialist presence.
As Faulkner said, the past is not over. It is not even past.
The heart of the novel is the family of the Turbins, Alexei, a doctor returning from WWI, his little brother Nikolai, 17 and a cadet at the Russian military academy, and their sister Elena, the muse of a circle of Alexei's officer friends, each quickly but masterfully drawn, as well as the Turbin's comic foil, Vasily Lisovich, known as Vasilisa (after the folk heroine Vasilisa the Beautiful) an almost Doestoyevskian idiot who is the Turbin's downstairs neighbor.
Admirably told, the novel reveals the hand of Bulgakov the dramatist as well as that of the prose artist. I especially admired the skill in passing the story from one point of view to another, the brilliant timing. The dreams and Alexei Turbin's delirium in a fever from typhus very much herald the arrival of the surrealist Master and Margarita, as well as recalling some of the more feverish moments of The Magic Mountain.
The White Guard beautifully portrays the chaos of a civil war, in which rumor is only contradicted by actual shooting, in which someone's giving you orders one minute and in the next, jumps on a train heading for Germany, or simply disappears. There is no clearcut 'good' or 'bad' in this book, except for loyalty itself. Although it describes the taking of Kiev from the White side, it shows that the real loyalty in this world lives in one's family (the Turbins) and friends (the officers), a total stranger who saves your life, or a superior who holds his ground in the face of a dissolving defense. Bulgakov, it was said, had a very happy home life growing up, and the affection and mutual aid of the three Turbins and their household definitely reflects that.
The prose work was published in 1925 as a magazine serial, but the magazine folded before the serial was complete. The popular play based on this story ran in Soviet Russia from 1926 to 1941--though the book did not appear until 1966. Stalin was said to have seen the play many times, and it probably saved Bulgakov's life. The Master and Margarita was far more politically questionable and never saw the light of day in Bulgakov's lifetime.
As Faulkner said, the past is not over. It is not even past.
The heart of the novel is the family of the Turbins, Alexei, a doctor returning from WWI, his little brother Nikolai, 17 and a cadet at the Russian military academy, and their sister Elena, the muse of a circle of Alexei's officer friends, each quickly but masterfully drawn, as well as the Turbin's comic foil, Vasily Lisovich, known as Vasilisa (after the folk heroine Vasilisa the Beautiful) an almost Doestoyevskian idiot who is the Turbin's downstairs neighbor.
Admirably told, the novel reveals the hand of Bulgakov the dramatist as well as that of the prose artist. I especially admired the skill in passing the story from one point of view to another, the brilliant timing. The dreams and Alexei Turbin's delirium in a fever from typhus very much herald the arrival of the surrealist Master and Margarita, as well as recalling some of the more feverish moments of The Magic Mountain.
The White Guard beautifully portrays the chaos of a civil war, in which rumor is only contradicted by actual shooting, in which someone's giving you orders one minute and in the next, jumps on a train heading for Germany, or simply disappears. There is no clearcut 'good' or 'bad' in this book, except for loyalty itself. Although it describes the taking of Kiev from the White side, it shows that the real loyalty in this world lives in one's family (the Turbins) and friends (the officers), a total stranger who saves your life, or a superior who holds his ground in the face of a dissolving defense. Bulgakov, it was said, had a very happy home life growing up, and the affection and mutual aid of the three Turbins and their household definitely reflects that.
The prose work was published in 1925 as a magazine serial, but the magazine folded before the serial was complete. The popular play based on this story ran in Soviet Russia from 1926 to 1941--though the book did not appear until 1966. Stalin was said to have seen the play many times, and it probably saved Bulgakov's life. The Master and Margarita was far more politically questionable and never saw the light of day in Bulgakov's lifetime.
October 22, 2017
危蔚 位委纬蔚蟼 渭苇蟻蔚蟼 蟽蠀渭蟺位畏蟻蠋谓慰谓蟿伪喂 蔚魏伪蟿蠈 蠂蟻蠈谓喂伪 伪蟺蠈 蟿畏谓 螣魏蟿蠅尾蟻喂伪谓萎 蔚蟻纬伪蟿喂魏萎 蔚蟺伪谓维蟽蟿伪蟽畏 (1917) 蟺慰蠀 蔚蟺伪魏慰位慰蠉胃畏蟽蔚 伪蠀蟿萎蟼 蟿畏蟼 桅蔚尾蟻慰蠀蟻喂伪谓萎蟼 蟿蠅谓 伪蟽蟿慰未畏渭慰魏蟻伪蟿蠅谓 畏 慰蟺慰委伪 蔚委蠂蔚 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 蟿畏谓 蟺蟿蠋蟽畏 蟿畏蟼 韦蟽伪蟻喂魏萎蟼 螒蠀蟿慰魏蟻伪蟿慰蟻委伪蟼, 蟿畏谓 维渭蔚蟽畏 魏 伪谓伪蟺蠈蠁蔚蠀魏蟿畏 蟺伪蟻伪委蟿畏蟽畏 蟿慰蠀 螡喂魏蠈位伪慰蠀 螔 魏 蟿慰谓 蟿蔚蟻渭伪蟿喂蟽渭蠈 蟿畏蟼 未蠀谓伪蟽蟿蔚委伪蟼 蟿蠅谓 巍慰渭伪谓慰蠁 苇蟺蔚喂蟿伪 伪蟺蠈 300 蠂蟻蠈谓喂伪. 螠蔚 蟿畏谓 蔚纬魏伪蟿维蟽蟿伪蟽畏 魏 蟿畏谓 渭蔚蟿维尾伪蟽畏 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 蟽蟿伪 危慰尾喂苇蟿 蠅蟼 蠈蟻纬伪谓伪 位伪蠆魏萎蟼 蔚尉慰蠀蟽委伪蟼, 蟿畏谓 蟽蟿伪未喂伪魏萎 魏伪蟿维蟻纬畏蟽畏 蟺伪位喂蠋谓 慰蟻纬维谓蠅谓 魏伪喂 螖喂慰喂魏畏蟿喂魏蠋谓 胃蔚蟽渭蠋谓, 蟿畏谓 维渭蔚蟽畏 蔚蠁伪蟻渭慰纬萎 蟿蠅谓 蟺蔚蟻委蠁畏渭蠅谓 鈥樜次刮毕勎蔽澄嘉勏壩� 蟿畏蟼 螕畏蟼 魏伪喂 蟿畏蟼 螘喂蟻萎谓畏蟼鈥� 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 畏 蔚谓蟿蠉蟺蠅蟽畏 蟿畏蟼 蟺蟻慰蟽未慰魏蠋渭蔚谓畏蟼 螒位位伪纬萎蟼. 韦慰谓 螜伪谓慰蠀维蟻喂慰 蟿慰蠀 1918 慰 韦蟻蠈蟿蟽魏喂 伪谓伪位伪渭尾维谓蔚喂 蟿畏谓 伪谓伪未喂维蟻胃蟻蠅蟽畏 蟿慰蠀 危蟿蟻伪蟿慰蠉 魏蠀蟻委蠅蟼 渭蔚 蟿畏谓 蟽蟿蟻伪蟿慰位蠈纬畏蟽畏 蔚蟻纬伪蟿蠋谓 魏伪喂 蠂蠅蟻喂魏蠋谓 -蠀蟺慰蠂蟻蔚蠅蟿喂魏萎 蟺慰蠀 慰未萎纬畏蟽蔚 伪魏蠈渭畏 魏伪喂 蟽蟿畏谓 蟺伪蟻伪未蔚喂纬渭伪蟿喂魏萎 蔚魏蟿苇位蔚蟽畏 蔚位维蠂喂蟽蟿蠅谓 蟺慰蠀 伪蟻谓萎胃畏魏伪谓 谓伪 蟽蠀谓蔚喂蟽蠁苇蟻慰蠀谓 蟽蟿畏谓 蠀蟺蔚蟻维蟽蟺喂蟽畏 蟿畏蟼 螜未苇伪蟼-. 螝伪喂 蔚纬苇谓蔚蟿慰 慰 螝蠈魏魏喂谓慰蟼 危蟿蟻伪蟿蠈蟼.
螚 伪谓蟿委蟽蟿伪蟽畏 蟽蟿慰 谓苇慰 蔚蟻纬伪蟿喂魏蠈 魏伪胃蔚蟽蟿蠋蟼 蟿慰蠀 螞苇谓喂谓, 蟿慰 蠈蟺慰喂慰 伪谓萎位胃蔚 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蔚谓 渭喂伪 喂蟽蟿慰蟻喂魏萎 谓蠀魏蟿喂 蟽蟿畏谓 螤蔚蟿蟻慰蠉蟺慰位畏, 伪蟻蠂委谓喂蟽蔚 伪蟺蠈 蟿畏谓 蔚蟺慰渭苇谓畏 魏喂蠈位伪蟼 畏渭苇蟻伪 .螤伪位喂慰委 渭慰谓伪蟻蠂喂魏慰委, 伪谓蟿喂魏伪胃蔚蟽蟿蠅蟿喂魏慰委, 畏 魏伪蟿伪蟻纬畏胃蔚委蟽伪 螖慰蠀渭维 渭蔚 蟿伪 伪蟽蟿喂魏维 蟺慰位喂蟿喂魏维 蟿畏蟼 魏蠈渭渭伪蟿伪, 畏 伪蟺蔚位胃慰蠉蟽伪 渭蔚蟽伪委伪 蟿维尉畏 蔚谓伪谓蟿喂蠋胃畏魏伪谓, 蔚尉蔚未萎位蠅蟽伪谓 蟺委蟽蟿畏 蟽蟿畏谓 螤蟻慰蟽蠅蟻喂谓萎 螒蟽蟿喂魏萎 螝蠀尾苇蟻谓畏蟽畏 蟿畏蟼 桅蔚尾蟻慰蠀伪蟻喂伪谓萎蟼 螘蟺伪谓维蟽蟿伪蟽畏蟼 魏伪喂 畏 苇谓伪蟻尉畏 蔚谓蠈蟼 慰未蠀谓畏蟻慰蠉 蟺慰位蠉蟺位蔚蠀蟻慰蠀 螘渭蠁蠀位委慰蠀 螤慰位苇渭慰蠀 蠀蟺蠈 蟿喂蟼 蔚蠀位慰纬喂苇蟼 蟿蠅谓 螘蠀蟻蠅蟺伪蠆魏蠋谓 螖蠀谓维渭蔚蠅谓 鈥撓€慰蠀 伪谓畏蟽蠀蠂慰蠉蟽伪谓 伪蟺蠈 蟿畏谓 渭蔚蟻喂维 蟿慰蠀蟼 纬喂伪 蟿畏谓 蔚尉维蟺位蠅蟽畏 蟿蠅谓 蟽慰蟽喂伪位喂蟽蟿喂魏蠋谓 喂未蔚蠋谓- 蔚委谓伪喂 纬蔚纬慰谓蠈蟼. 螒蟺蠈蟿慰魏慰 蟿畏蟼 苇谓伪蟼 谓苇慰蟼 蟽蟿蟻伪蟿蠈蟼, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蠂蟻蠅渭伪蟿喂蟽渭蠈, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏苇蟼 蔚蟺喂未喂蠋尉蔚喂蟼 魏伪喂 未喂蔚魏未喂魏萎蟽蔚喂蟼 伪位位维 蟺伪蟻蠈渭慰喂蔚蟼 谓慰蟽畏蟻苇蟼 渭伪蟿伪喂慰未慰尉委蔚蟼, 畏 螞蔚蠀魏萎 桅蟻慰蠀蟻维. ''螘蟻蠀胃蟻蠈蟼 螣蠁胃伪位渭o谓 伪谓蟿委 螞蔚蠀魏慰蠉 螣蠁胃伪位渭慰蠉'' 纬喂伪 渭喂伪 伪魏蠈渭畏 蟺慰位喂蟿喂魏萎 魏 喂未蔚慰位慰纬喂魏萎 蔚蟺喂魏蟻维蟿畏蟽畏.
螖蔚魏苇渭尾蟻喂慰蟼 蟿慰蠀 1918, 尾蟻喂蟽魏蠈渭伪蟽蟿蔚 蟽蟿畏谓 蟺伪纬蠅渭苇谓畏 魏 谓蟿蠀渭苇谓畏 蟽蟿畏谓 魏伪蟿伪蠂谓喂维 螣蠀魏蟻伪谓委伪, 蟽蟿畏谓 纬蔚谓苇蟿蔚喂蟻伪 螤蠈位畏 蟿慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁, 蟽蟿慰 螝委蔚尾慰 蟺慰蠀 未慰魏喂渭维味蔚蟿伪喂 魏伪喂 伪蟺蠈 蟿慰谓 未喂魏蠈 蟿畏蟼 螘渭蠁蠉位喂慰 蟺蠈位蔚渭慰 渭蔚蟿伪尉蠉 伪魏蟻伪委蠅谓 螣蠀魏蟻伪谓蠋谓 蔚胃谓喂魏喂蟽蟿蠋谓/蟽蠀渭渭慰蟻喂蟿蠋谓 魏伪喂 苇谓伪 蟽蠀谓慰谓胃蠉位蔚蠀渭伪 伪蟺蠈 螞蔚蠀魏慰蠁蟻慰蠀蟻慰蠀蟼, 伪谓蟿喂渭蟺慰位蟽蔚尾喂魏喂魏慰蠉蟼, 渭慰谓伪蟻蠂喂魏慰蠉蟼, 螕蔚蟻渭伪谓慰蠉蟼 魏蟿位. 螘喂蟻萎蟽胃蠅 蔚谓 蟺伪蟻蠈未蠅, 蟽蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 蟽蠀谓胃萎魏畏 蟺慰蠀 苇渭蔚喂谓蔚 纬谓蠅蟽蟿萎 蠅蟼 鈥樝兿呂轿肝何� 维谓蔚蠀 蟺蟻慰蟽伪蟻蟿萎蟽蔚蠅谓-伪蟺慰味畏渭喂蠋蟽蔚蠅谓鈥� 魏伪喂 蠀蟺蔚纬蟻维蠁畏 蟽蟿慰 螠蟺蟻蔚蟽蟿-螞喂蟿慰蠁蟽魏, 蟿慰谓 螠维蟻蟿喂慰 蟿慰蠀 1918, 渭蔚蟿伪尉蠉 蟿蠅谓 螠蟺慰位蟽蔚尾委魏蠅谓 魏 蟿蠅谓 螝蔚谓蟿蟻喂魏蠋谓 螖蠀谓维渭蔚蠅谓, 畏 螣蠀魏蟻伪谓委伪 未喂慰喂魏蔚委蟿慰 伪蟺蠈 螣蠀魏蟻伪谓蠈 蟽蟿蟻伪蟿喂蠅蟿喂魏蠈 未喂慰喂魏畏蟿萎, 蟿慰谓 蟺蔚蟻喂尾蠈畏蟿慰 螕魏蔚蟿渭伪谓, 蔚纬魏维胃蔚蟿慰 魏伪喂 维谓胃蟻蠅蟺慰 蟿蠅谓 螕蔚蟻渭伪谓蠋谓.
螝蔚谓蟿蟻喂魏蠈蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼 蟿慰蠀 苇蟻纬慰蠀 蔚委谓伪喂 畏 慰喂魏慰纬苇谓蔚喂伪 魏伪喂 畏 伪蠁萎纬畏蟽畏 蟿畏蟼 味蠅萎蟼 蟿蠅谓 伪未蔚位蠁蠋谓 韦慰蠀蟻渭蟺喂谓 蟺慰蠀 渭蠈位喂蟼 苇蠂慰蠀谓 魏畏未蔚蠄蔚喂 蟿畏谓 渭畏蟿苇蟻伪 蟿慰蠀蟼 . 螣 渭蔚纬伪位蠉蟿蔚蟻慰蟼 纬喂慰蟼, 蟽蟿蟻伪蟿喂蠅蟿喂魏蠈蟼 喂伪蟿蟻蠈蟼, 蟿伪位伪喂蟺蠅蟻畏渭苇谓慰蟼 伪蟺蠈 蟿喂蟼 魏伪魏慰蠀蠂委蔚蟼 蔚谓蠈蟼 蟿伪蟺蔚喂谓蠅蟿喂魏慰蠉 蟺蠈位蔚渭慰蠀, 蔚蟺伪谓伪蟺伪蟿蟻喂蟽胃苇谓蟿伪蟼 蟽蟿畏谓 螤蠈位畏 渭蔚 蠈谓蔚喂蟻伪 魏伪喂 蠁喂位慰未慰尉委蔚蟼 螒位蔚尉蔚喂 -蟽蟿慰蠀 慰蟺慰委慰蠀 蟿慰 蟺蟻蠈蟽蠅蟺慰 未喂伪魏蟻委谓慰蠀渭蔚 伪蟻魏蔚蟿维 蟽蟿慰喂蠂蔚喂维 伪蟺蠈 蟿慰谓 尾委慰 蟿慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁- 畏 蠈渭慰蟻蠁畏, 蟽蟿慰蟻纬喂魏萎 魏伪喂 蟺蟻慰蟽蟿维蟿蟻喂伪 蟺位苇慰谓 螕喂蔚位蔚谓伪 魏伪喂 慰 渭喂魏蟻蠈蟿蔚蟻慰蟼 韦慰蠀蟻渭蟺喂谓 慰 螡喂魏慰位魏伪, 未蠈魏喂渭慰蟼 伪尉喂蠅渭伪蟿喂魏蠈蟼, 蟺伪蟿蟻喂蠋蟿畏蟼 渭蔚 苇谓伪 尾位苇渭渭伪 伪纬谓蠈, 渭蔚 苇谓伪 谓蔚伪谓喂魏蠈 伪蠀胃慰蟻渭畏蟿喂蟽渭蠈 魏伪喂 渭蔚 渭喂伪 魏喂胃维蟻伪 蟽蠀谓蟿蟻慰蠁喂维 谓伪 纬蟻伪蟿味慰蠀谓维蔚喂 蟽蟿蟻伪蟿喂蠅蟿喂魏慰蠉蟼 蟽魏慰蟺慰蠉蟼, 蠈位慰喂 伪蠀蟿慰委 位慰喂蟺蠈谓 伪位位维 魏 畏 螒谓喂慰蠀蟿伪 蟿畏谓 慰蟺慰委伪 渭蔚纬维位蠅蟽蔚 畏 渭伪渭伪-韦慰蠀蟻渭蟺喂谓 未喂伪尾喂慰蠉谓 蟽蔚 苇谓伪 未喂蠋蟻慰蠁慰 魏蟿委蟻喂慰 蟽蟿畏谓 螁谓蠅 螤蠈位畏 蠈蟺慰蠀 畏 胃伪位蟺蠅蟻萎, 畏 蟿蟻蠀蠁蔚蟻蠈蟿畏蟿伪 蟿畏蟼 慰喂魏慰纬蔚谓蔚喂伪魏萎蟼 蔚蟽蟿委伪蟼, 畏 未喂伪蟺伪喂未伪纬蠋纬畏蟽畏 魏伪喂 畏 渭苇胃蔚尉畏 蟽蔚 蠈位蔚蟼 蟿喂蟼 韦苇蠂谓蔚蟼 魏蠀蟻喂伪蟻蠂慰蠉谓 蟽蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 韦慰 蟺伪谓苇渭慰蟻蠁慰 纬蠅谓喂伪魏蠈 魏蟿委蟻喂慰 渭蔚 魏蠉蟻喂慰 蠂蟻蠋渭伪 蟿畏谓 魏委蟿蟻喂谓畏 蠋蠂蟻伪 魏伪喂 蟿喂蟼 位蔚蠀魏苇蟼 伪蟺慰蠂蟻蠋蟽蔚喂蟼 蟽蟿伪 蟺慰位蠀维蟻喂胃渭伪 渭蟺蟻慰蟽蟿喂谓维 魏 位喂纬蠈蟿蔚蟻伪 蟺位伪蠆谓维 蟺伪蟻维胃蠀蟻伪 蟿慰蠀 未蔚谓 蔚委谓伪喂 未畏渭喂慰蠉蟻纬畏渭伪 渭蠀胃慰蟺位伪蟽委伪蟼, 尉蔚蠂蠅蟻委味蔚喂 伪渭苇蟽蠅蟼 纬喂伪 蟿畏谓 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎 蟿慰蠀 未慰渭萎 魏伪喂 渭慰蟻蠁萎 魏伪喂 位蔚喂蟿慰蠀蟻纬蔚委 蠅蟼 '螠慰蠀蟽蔚委慰 蟿慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁', 慰喂魏委伪 维位位蠅蟽蟿蔚 魏 蟿畏蟼 蔚谓畏位喂魏委蠅蟽畏蟼 蟿慰蠀.
螠苇蟽伪 伪蟺蠈 蟿慰谓 蟺慰位蠀蟿维蟻伪蠂慰 蟺蟻慰蟽蠅蟺喂魏蠈 尾委慰 蟿蠅谓 伪未蔚位蠁蠋谓 韦慰蠀蟻渭蟺喂谓 魏 蟿蠅谓 伪纬伪蟺畏渭苇谓蠅谓 蟿慰蠀蟼 蟺伪喂未喂魏蠋谓 蠁委位蠅谓 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏 蟿畏谓 渭维蠂畏 渭蔚蟿伪尉蠉 蟿蠅谓 螣蠀魏蟻伪谓蠋谓 螘胃谓喂魏喂蟽蟿蠋谓 蟿慰蠀 螒蟻蠂维纬纬蔚位慰蠀 蟿畏蟼 魏伪蟿伪蟽蟿蟻慰蠁萎蟼 螤蔚蟿位喂慰蠀蟻伪 魏伪喂 蟿蠅谓 蟽蠀谓伪蟽蟺喂蟽渭苇谓蠅谓 未蠀谓维渭蔚蠅谓 蟿畏蟼 螞蔚蠀魏萎蟼 桅蟻慰蠀蟻维蟼 纬 蟿畏谓 魏伪蟿维位畏蠄畏 蟿畏蟼 螤蠈位畏蟼. 螠喂伪蟼 渭慰谓伪未喂魏萎蟼 螜蟽蟿慰蟻喂魏萎蟼 蟺蠈位畏蟼 蟺慰蠀 尾蟻苇蠂蔚蟿伪喂 伪蟺蠈 蟿慰 蟿蟻委蟿慰 渭蔚纬伪位蠉蟿蔚蟻慰 蟺慰蟿伪渭蠈 蟿畏蟼 螘蠀蟻蠋蟺畏蟼, 蟿慰谓 螖谓蔚委蟺蔚蟻慰, 蟽蟿畏蟼 慰蟺慰委伪蟼 魏慰蠀未慰蠀谓委味慰蠀谓 蔚蠀蠂维蟻喂蟽蟿伪 蟽蟿慰蠀蟼 蟺位伪魏蠈蟽蟿蟻蠅蟿慰蠀蟼 蟿伪 蟺蔚蟻委蠁畏渭伪 蟿蟻伪渭 渭蔚 蟿喂蟼 魏委蟿蟻喂谓蔚蟼 蠁慰蠀蟽魏蠅蟿苇蟼 胃苇蟽蔚喂蟼, 蠁蠅谓伪蟽魏慰蠉谓 位伪位委蟽蟿伪蟿伪 慰喂 伪渭伪尉维未蔚蟼 蟺蟻慰蟼 维纬蟻伪 蟺蔚位伪蟿蔚委伪蟼, 蟺慰蠀 苇蠂蔚喂 蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 魏伪喂 蟿伪 蟺喂慰 未伪喂未伪位蠋未畏 蟺维蟻魏伪 蟽蟿慰 魏蠈蟽渭慰, 蠈蟺慰蠀 苇蠂蔚喂 纬委谓蔚喂 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏伪蟿伪蠁蠉纬喂慰 蟺蟻慰蟽蠁蠉纬蠅谓 伪蟺蠈 蟿畏谓 螠蠈蟽蠂伪 魏 蟿畏谓 螤蔚蟿蟻慰蠉蟺慰位畏 未喂伪蠁慰蟻蔚蟿喂魏蠋谓 蟺蟻慰蟽蠅蟺喂魏慰蟿萎蟿蠅谓 魏伪喂 蔚蟺伪纬纬蔚位渭伪蟿喂蠋谓 未委谓慰谓蟿伪蟼 谓苇伪 蠋胃畏蟽畏 蟽蟿畏谓 蟺慰位蔚慰未慰渭喂魏萎, 慰喂魏慰谓慰渭喂魏萎 魏伪喂 蟺慰位喂蟿喂蟽渭喂魏萎 伪谓胃畏蟽畏, 蟺慰蠀 鈥樜何毕€谓委味蔚喂 蟽伪谓 蟺慰位蠉蔚未蟻畏 魏畏蟻萎胃蟻伪鈥�.
螣 蠁喂位伪位萎胃畏蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 伪蟺蔚喂魏慰谓委味蔚喂 蟻蔚伪位喂蟽蟿喂魏维 蟿喂蟼 魏伪蟿伪蟽蟿蟻慰蠁喂魏苇蟼 未喂伪蟽蟿维蟽蔚喂蟼 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 位维尾蔚喂 苇谓伪蟼 蟺蠈位蔚渭慰蟼. 危蔚 苇谓伪 螆胃谓慰蟼 伪魏伪位位喂苇蟻纬畏蟿慰, 伪渭蠈蟻蠁蠅蟿慰, 蔚尉伪胃位喂蠅渭苇谓慰 伪蟺蠈 蟽蠀谓蔚蠂蔚委蟼 蟺慰位苇渭慰蠀蟼 魏伪喂 伪蟺蠈 蟿畏谓 未喂蠂慰蟽蟿伪蟽委伪, 慰 魏委谓未蠀谓慰蟼 谓伪 蔚尉伪蟻蟿畏胃蔚委 畏 渭慰委蟻伪 蔚谓蠈蟼 位伪慰蠉 伪蟺蠈 蔚纬魏位畏渭伪蟿喂魏慰蠉蟼 蟽蟿蟻伪蟿畏纬慰蠉蟼 魏伪喂 伪蟺蠈 蠁蠀纬蠈蟺慰谓慰蠀蟼 慰魏谓畏蟻慰蠉蟼 伪尉喂蠅渭伪蟿喂魏慰蠉蟼 蠈蟺慰蠀 畏 蟿喂渭萎 魏 畏 蔚蠀蟽蠀谓蔚喂未畏蟽委伪 蔚委谓伪喂 蟺蔚蟻喂蟿蟿蠈 尾维蟻慰蟼 蔚委谓伪喂 谓慰渭慰蟿蔚位蔚喂伪魏蠈蟼. 螚 慰尉蔚委伪 未蟻喂渭蠉蟿畏蟿伪 渭蔚 蟿畏谓 蠈蟺慰喂伪 魏伪蟿伪纬纬苇位位慰谓蟿伪喂 慰喂 蟺慰位喂蟿喂魏慰委 魏 慰喂 蟽蟿蟻伪蟿喂蠅蟿喂魏慰委 苇蟻蠂蔚蟿伪喂 蟽蔚 蔚渭蠁伪谓萎蟼 伪谓蟿喂未喂伪蟽蟿慰位萎 渭蔚 蟿畏谓 畏蟻蠅喂蟽渭蠈 蟺慰蠀 未委谓蔚蟿伪喂 伪蟺蠈 渭蔚蟻喂魏慰蠉蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 螤蠈位畏蟼, 蟿慰蠀蟼 蟻慰渭伪谓蟿喂魏慰蠉蟼 蟽蠀谓蟿伪纬渭伪蟿维蟻蠂蔚蟼 蟽伪谓 蟿慰谓 螡伪喂 韦慰蠀蟻蟼, 蟿慰蠀蟼 维尾纬伪位蟿慰蠀蟼 未蠈魏喂渭慰蠀蟼 蟽伪谓 蟿慰谓 伪谓蠀蟺蠈蟿伪魏蟿慰 螡喂魏慰位魏伪 韦慰蠀蟻渭蟺喂谓 蟺慰蠀 渭维蠂慰谓蟿伪喂 渭蔚蟿伪尉蠉 维位位蠅谓 魏伪喂 纬喂伪 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 蟿慰蠀蟼 魏 蟿慰 蟽蟺委蟿喂 蟿慰蠀蟼 蟿慰 渭慰谓伪未喂魏蠈 蠂蠋蟻慰 蟺慰蠀 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 谓伪 谓喂蠋蟽蔚喂 胃伪位蟺蠅蟻萎 魏伪喂 味蔚蟽蟿伪蟽喂维. ''螣 魏蠈蟽渭慰蟼 苇尉蠅 蔚委谓伪喂 尾蟻蠋渭喂魏慰蟼, 伪喂渭伪蟿慰尾伪渭渭苇谓慰蟼, 维谓蔚蠀 谓慰萎渭伪蟿慰蟼''
螕喂伪 蟿慰谓 螠蟺慰蠀位纬魏伪魏蠅蠁 鈥�'蟿伪 蠈蟺位伪 慰 维谓胃蟻蠅蟺慰蟼 蟿伪 未畏渭喂慰蠉蟻纬畏蟽蔚 蠂蠅蟻委蟼 谓伪 蟿慰 尉苇蟻蔚喂 纬喂伪 苇谓伪 渭蠈谓慰 蟽魏慰蟺蠈- 谓伪 蟺蟻慰蟽蟿伪蟿蔚蠉慰蠀谓 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 纬伪位萎谓畏 魏伪喂 蔚蟽蟿委伪. 螕喂伪 蟿委蟺慰蟿伪 维位位慰 未蔚谓 蟺蟻苇蟺蔚喂 谓伪 蟺慰位蔚渭维蔚喂 魏伪谓蔚委蟼鈥欌€�.
违.螕. 螣喂 蔚魏未蠈蟽蔚喂蟼 螘蟻伪蟿蠋 伪蟺慰蠁维蟽喂蟽伪谓 谓伪 渭伪蟼 未蠋蟽慰蠀谓 蟿慰 蟺蟻蠋蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 蟽蟺慰蠀未伪委慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁 蟽蔚 谓苇伪 渭蔚蟿维蠁蟻伪蟽畏 未委未慰谓蟿伪蟼 蟿慰 未蠉蟽魏慰位慰 苇蟻纬慰 蟿畏蟼 蟽蔚 渭喂伪 苇渭蟺蔚喂蟻畏 渭蔚蟿伪蠁蟻维蟽蟿蟻喂伪 巍蠅蟽喂魏蠋谓 蔚渭尾位畏渭伪蟿喂魏蠋谓 魏蔚喂渭苇谓蠅谓, 蟿畏谓 螘位苇谓畏 螠蟺伪魏慰蟺慰蠀位慰蠀 . 危蟿畏谓 苇魏未慰蟽畏 蟽蠀谓蠀蟺维蟻蠂蔚喂 苇谓伪 蠂蟻慰谓慰位慰纬喂慰 渭蔚 蟺蟻慰蟽蠅蟺喂魏苇蟼 蠁蠅蟿慰纬蟻伪蠁委蔚蟼 魏伪喂 伪谓伪蠁慰蟻苇蟼 蟽蟿伪 蟽蟺慰蠀未伪喂蠈蟿蔚蟻伪 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 蟽蟿喂纬渭维蟿喂蟽伪谓 蟿畏谓 味蠅萎 蟿慰蠀 螠喂蠂伪畏位 螠蟺慰蠀位纬魏伪魏蠅蠁.
螒魏蠈渭畏 蟽蟺慰蠀未伪喂蠈蟿蔚蟻畏蟼 蟽畏渭伪蟽委伪蟼 蔚委谓伪喂 蟿慰 蔚蟺委渭蔚蟿蟻慰 蔚谓蠈蟼 魏蟻喂蟿喂魏慰蠉 螞慰纬慰蟿蔚蠂谓委伪蟼 , 蟿慰蠀 螜纬魏慰蟻 螠蟺蔚位味伪 慰 慰蟺慰委慰蟼 渭苇蟽伪 蟽蔚 蟿蟻喂维谓蟿伪 蟽蔚位委未蔚蟼 尾慰渭尾伪蟻未委味慰谓蟿伪蟼 渭伪蟼 渭蔚 慰蠀蟽喂蠋未蔚喂蟼 蟺位畏蟻慰蠁慰蟻委蔚蟼 魏伪喂 蔚蠉蟽蟿慰蠂伪 蟽蠂蠈位喂伪 (魏蠀蟻委蠅蟼 伪蟺慰蠀蟽喂维味慰蠀谓 蟺伪蟻伪位畏蟻畏渭伪蟿喂魏维, 蔚蟺喂蟿畏未蔚蠀渭苇谓伪, 未蠀蟽伪谓维纬谓蠅蟽蟿伪 蔚蠀蠁蠀慰位慰纬萎渭伪蟿伪 维位位蠅谓 伪谓蟿委蟽蟿慰喂蠂蠅谓 螘位位畏谓喂魏蠋谓 蔚魏未蠈蟽蔚蠅谓) 未委谓蔚喂 谓苇伪 蟺谓慰萎 魏伪喂 魏伪蟿伪谓蠈畏蟽畏 蟽蟿慰 蔚蟺喂魏蠈 魏蔚委渭蔚谓慰 魏伪喂 蟿畏谓 蟽蠀纬纬蟻伪蠁萎 蟿慰蠀 螠蟺慰蠀位魏伪魏蠅蠁, 畏 慰蟺慰委伪 蔚委谓伪喂 蟿蠈蟽慰 蟺位慰蠉蟽喂伪 蟽蔚 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 蔚喂魏蠈谓蔚蟼, 蟽蔚 蟺慰喂畏蟿喂魏蠈蟿畏蟿伪, 蔚谓维谓蟿喂伪 蟽蟿慰谓 尾维谓伪蠀蟽慰 魏 蠅渭蠈 蟺慰位蔚渭喂魏蠈 蟻蔚伪位喂蟽渭蠈 魏伪喂 蟺位慰蠀蟽喂伪 蟽蔚 伪谓伪蠁慰蟻苇蟼 蟽蔚 维位位慰蠀蟼 渭蔚纬维位慰蠀蟼 蟽蠀纬纬蟻维蠁蔚喂蟼 -蟽蟿慰谓 渭苇谓蟿慰蟻伪 蟿慰蠀 螤慰蠉蟽魏喂谓, 蟽蟿慰谓 螕魏蠈纬魏慰位 蟺慰蠀 伪谓伪魏维位蠀蠄蔚 蠈蟿伪谓 萎蟿伪谓 蔚谓谓喂维 蠂蟻慰谓蠋谓, 蟽蟿慰谓 螕魏伪喂蟿蔚 伪位位维 魏伪喂 蟽蟿畏谓 伪纬伪蟺畏渭苇谓畏 蟿慰蠀 '螒蟺慰魏维位蠀蠄畏' 蟿慰蠀 螜蠅维谓谓畏 蟺慰蠀 纬蟻维蠁蟿畏魏蔚 蟽蟿慰 蟺伪谓苇渭慰蟻蠁慰 谓畏蟽委 蟿畏蟼 螤维蟿渭慰蠀 魏伪喂 畏 蔚蟺委未蟻伪蟽畏 蟿畏蟼 蔚委谓伪喂 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻蠋谓- 蟺蟻维纬渭伪 蟺慰蠀 伪谓 渭畏 蟿喂 维位位慰 蔚蟺喂蟿维蟽蟽蔚喂 蟽蟿慰谓 纬锟斤拷畏蟿蔚蠀渭苇谓慰 伪谓伪纬谓蠋蟽蟿畏 蟿畏谓 蔚蟺伪谓维纬谓蠅蟽畏 蟿慰蠀 苇蟻纬慰蠀, 魏维蟿喂 蟺慰蠀 蟽蠀渭尾伪委谓蔚喂 渭蠈谓慰 渭蔚 蟽蟺慰蠀未伪委伪 魏 伪蟺慰位伪蠀蟽蟿喂魏维 苇蟻纬伪.
螚 伪谓蟿委蟽蟿伪蟽畏 蟽蟿慰 谓苇慰 蔚蟻纬伪蟿喂魏蠈 魏伪胃蔚蟽蟿蠋蟼 蟿慰蠀 螞苇谓喂谓, 蟿慰 蠈蟺慰喂慰 伪谓萎位胃蔚 蟽蟿畏谓 蔚尉慰蠀蟽委伪 蔚谓 渭喂伪 喂蟽蟿慰蟻喂魏萎 谓蠀魏蟿喂 蟽蟿畏谓 螤蔚蟿蟻慰蠉蟺慰位畏, 伪蟻蠂委谓喂蟽蔚 伪蟺蠈 蟿畏谓 蔚蟺慰渭苇谓畏 魏喂蠈位伪蟼 畏渭苇蟻伪 .螤伪位喂慰委 渭慰谓伪蟻蠂喂魏慰委, 伪谓蟿喂魏伪胃蔚蟽蟿蠅蟿喂魏慰委, 畏 魏伪蟿伪蟻纬畏胃蔚委蟽伪 螖慰蠀渭维 渭蔚 蟿伪 伪蟽蟿喂魏维 蟺慰位喂蟿喂魏维 蟿畏蟼 魏蠈渭渭伪蟿伪, 畏 伪蟺蔚位胃慰蠉蟽伪 渭蔚蟽伪委伪 蟿维尉畏 蔚谓伪谓蟿喂蠋胃畏魏伪谓, 蔚尉蔚未萎位蠅蟽伪谓 蟺委蟽蟿畏 蟽蟿畏谓 螤蟻慰蟽蠅蟻喂谓萎 螒蟽蟿喂魏萎 螝蠀尾苇蟻谓畏蟽畏 蟿畏蟼 桅蔚尾蟻慰蠀伪蟻喂伪谓萎蟼 螘蟺伪谓维蟽蟿伪蟽畏蟼 魏伪喂 畏 苇谓伪蟻尉畏 蔚谓蠈蟼 慰未蠀谓畏蟻慰蠉 蟺慰位蠉蟺位蔚蠀蟻慰蠀 螘渭蠁蠀位委慰蠀 螤慰位苇渭慰蠀 蠀蟺蠈 蟿喂蟼 蔚蠀位慰纬喂苇蟼 蟿蠅谓 螘蠀蟻蠅蟺伪蠆魏蠋谓 螖蠀谓维渭蔚蠅谓 鈥撓€慰蠀 伪谓畏蟽蠀蠂慰蠉蟽伪谓 伪蟺蠈 蟿畏谓 渭蔚蟻喂维 蟿慰蠀蟼 纬喂伪 蟿畏谓 蔚尉维蟺位蠅蟽畏 蟿蠅谓 蟽慰蟽喂伪位喂蟽蟿喂魏蠋谓 喂未蔚蠋谓- 蔚委谓伪喂 纬蔚纬慰谓蠈蟼. 螒蟺蠈蟿慰魏慰 蟿畏蟼 苇谓伪蟼 谓苇慰蟼 蟽蟿蟻伪蟿蠈蟼, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蠂蟻蠅渭伪蟿喂蟽渭蠈, 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏苇蟼 蔚蟺喂未喂蠋尉蔚喂蟼 魏伪喂 未喂蔚魏未喂魏萎蟽蔚喂蟼 伪位位维 蟺伪蟻蠈渭慰喂蔚蟼 谓慰蟽畏蟻苇蟼 渭伪蟿伪喂慰未慰尉委蔚蟼, 畏 螞蔚蠀魏萎 桅蟻慰蠀蟻维. ''螘蟻蠀胃蟻蠈蟼 螣蠁胃伪位渭o谓 伪谓蟿委 螞蔚蠀魏慰蠉 螣蠁胃伪位渭慰蠉'' 纬喂伪 渭喂伪 伪魏蠈渭畏 蟺慰位喂蟿喂魏萎 魏 喂未蔚慰位慰纬喂魏萎 蔚蟺喂魏蟻维蟿畏蟽畏.
螖蔚魏苇渭尾蟻喂慰蟼 蟿慰蠀 1918, 尾蟻喂蟽魏蠈渭伪蟽蟿蔚 蟽蟿畏谓 蟺伪纬蠅渭苇谓畏 魏 谓蟿蠀渭苇谓畏 蟽蟿畏谓 魏伪蟿伪蠂谓喂维 螣蠀魏蟻伪谓委伪, 蟽蟿畏谓 纬蔚谓苇蟿蔚喂蟻伪 螤蠈位畏 蟿慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁, 蟽蟿慰 螝委蔚尾慰 蟺慰蠀 未慰魏喂渭维味蔚蟿伪喂 魏伪喂 伪蟺蠈 蟿慰谓 未喂魏蠈 蟿畏蟼 螘渭蠁蠉位喂慰 蟺蠈位蔚渭慰 渭蔚蟿伪尉蠉 伪魏蟻伪委蠅谓 螣蠀魏蟻伪谓蠋谓 蔚胃谓喂魏喂蟽蟿蠋谓/蟽蠀渭渭慰蟻喂蟿蠋谓 魏伪喂 苇谓伪 蟽蠀谓慰谓胃蠉位蔚蠀渭伪 伪蟺蠈 螞蔚蠀魏慰蠁蟻慰蠀蟻慰蠀蟼, 伪谓蟿喂渭蟺慰位蟽蔚尾喂魏喂魏慰蠉蟼, 渭慰谓伪蟻蠂喂魏慰蠉蟼, 螕蔚蟻渭伪谓慰蠉蟼 魏蟿位. 螘喂蟻萎蟽胃蠅 蔚谓 蟺伪蟻蠈未蠅, 蟽蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 蟽蠀谓胃萎魏畏 蟺慰蠀 苇渭蔚喂谓蔚 纬谓蠅蟽蟿萎 蠅蟼 鈥樝兿呂轿肝何� 维谓蔚蠀 蟺蟻慰蟽伪蟻蟿萎蟽蔚蠅谓-伪蟺慰味畏渭喂蠋蟽蔚蠅谓鈥� 魏伪喂 蠀蟺蔚纬蟻维蠁畏 蟽蟿慰 螠蟺蟻蔚蟽蟿-螞喂蟿慰蠁蟽魏, 蟿慰谓 螠维蟻蟿喂慰 蟿慰蠀 1918, 渭蔚蟿伪尉蠉 蟿蠅谓 螠蟺慰位蟽蔚尾委魏蠅谓 魏 蟿蠅谓 螝蔚谓蟿蟻喂魏蠋谓 螖蠀谓维渭蔚蠅谓, 畏 螣蠀魏蟻伪谓委伪 未喂慰喂魏蔚委蟿慰 伪蟺蠈 螣蠀魏蟻伪谓蠈 蟽蟿蟻伪蟿喂蠅蟿喂魏蠈 未喂慰喂魏畏蟿萎, 蟿慰谓 蟺蔚蟻喂尾蠈畏蟿慰 螕魏蔚蟿渭伪谓, 蔚纬魏维胃蔚蟿慰 魏伪喂 维谓胃蟻蠅蟺慰 蟿蠅谓 螕蔚蟻渭伪谓蠋谓.
螝蔚谓蟿蟻喂魏蠈蟼 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎蟼 蟿慰蠀 苇蟻纬慰蠀 蔚委谓伪喂 畏 慰喂魏慰纬苇谓蔚喂伪 魏伪喂 畏 伪蠁萎纬畏蟽畏 蟿畏蟼 味蠅萎蟼 蟿蠅谓 伪未蔚位蠁蠋谓 韦慰蠀蟻渭蟺喂谓 蟺慰蠀 渭蠈位喂蟼 苇蠂慰蠀谓 魏畏未蔚蠄蔚喂 蟿畏谓 渭畏蟿苇蟻伪 蟿慰蠀蟼 . 螣 渭蔚纬伪位蠉蟿蔚蟻慰蟼 纬喂慰蟼, 蟽蟿蟻伪蟿喂蠅蟿喂魏蠈蟼 喂伪蟿蟻蠈蟼, 蟿伪位伪喂蟺蠅蟻畏渭苇谓慰蟼 伪蟺蠈 蟿喂蟼 魏伪魏慰蠀蠂委蔚蟼 蔚谓蠈蟼 蟿伪蟺蔚喂谓蠅蟿喂魏慰蠉 蟺蠈位蔚渭慰蠀, 蔚蟺伪谓伪蟺伪蟿蟻喂蟽胃苇谓蟿伪蟼 蟽蟿畏谓 螤蠈位畏 渭蔚 蠈谓蔚喂蟻伪 魏伪喂 蠁喂位慰未慰尉委蔚蟼 螒位蔚尉蔚喂 -蟽蟿慰蠀 慰蟺慰委慰蠀 蟿慰 蟺蟻蠈蟽蠅蟺慰 未喂伪魏蟻委谓慰蠀渭蔚 伪蟻魏蔚蟿维 蟽蟿慰喂蠂蔚喂维 伪蟺蠈 蟿慰谓 尾委慰 蟿慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁- 畏 蠈渭慰蟻蠁畏, 蟽蟿慰蟻纬喂魏萎 魏伪喂 蟺蟻慰蟽蟿维蟿蟻喂伪 蟺位苇慰谓 螕喂蔚位蔚谓伪 魏伪喂 慰 渭喂魏蟻蠈蟿蔚蟻慰蟼 韦慰蠀蟻渭蟺喂谓 慰 螡喂魏慰位魏伪, 未蠈魏喂渭慰蟼 伪尉喂蠅渭伪蟿喂魏蠈蟼, 蟺伪蟿蟻喂蠋蟿畏蟼 渭蔚 苇谓伪 尾位苇渭渭伪 伪纬谓蠈, 渭蔚 苇谓伪 谓蔚伪谓喂魏蠈 伪蠀胃慰蟻渭畏蟿喂蟽渭蠈 魏伪喂 渭蔚 渭喂伪 魏喂胃维蟻伪 蟽蠀谓蟿蟻慰蠁喂维 谓伪 纬蟻伪蟿味慰蠀谓维蔚喂 蟽蟿蟻伪蟿喂蠅蟿喂魏慰蠉蟼 蟽魏慰蟺慰蠉蟼, 蠈位慰喂 伪蠀蟿慰委 位慰喂蟺蠈谓 伪位位维 魏 畏 螒谓喂慰蠀蟿伪 蟿畏谓 慰蟺慰委伪 渭蔚纬维位蠅蟽蔚 畏 渭伪渭伪-韦慰蠀蟻渭蟺喂谓 未喂伪尾喂慰蠉谓 蟽蔚 苇谓伪 未喂蠋蟻慰蠁慰 魏蟿委蟻喂慰 蟽蟿畏谓 螁谓蠅 螤蠈位畏 蠈蟺慰蠀 畏 胃伪位蟺蠅蟻萎, 畏 蟿蟻蠀蠁蔚蟻蠈蟿畏蟿伪 蟿畏蟼 慰喂魏慰纬蔚谓蔚喂伪魏萎蟼 蔚蟽蟿委伪蟼, 畏 未喂伪蟺伪喂未伪纬蠋纬畏蟽畏 魏伪喂 畏 渭苇胃蔚尉畏 蟽蔚 蠈位蔚蟼 蟿喂蟼 韦苇蠂谓蔚蟼 魏蠀蟻喂伪蟻蠂慰蠉谓 蟽蟿畏谓 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿伪. 韦慰 蟺伪谓苇渭慰蟻蠁慰 纬蠅谓喂伪魏蠈 魏蟿委蟻喂慰 渭蔚 魏蠉蟻喂慰 蠂蟻蠋渭伪 蟿畏谓 魏委蟿蟻喂谓畏 蠋蠂蟻伪 魏伪喂 蟿喂蟼 位蔚蠀魏苇蟼 伪蟺慰蠂蟻蠋蟽蔚喂蟼 蟽蟿伪 蟺慰位蠀维蟻喂胃渭伪 渭蟺蟻慰蟽蟿喂谓维 魏 位喂纬蠈蟿蔚蟻伪 蟺位伪蠆谓维 蟺伪蟻维胃蠀蟻伪 蟿慰蠀 未蔚谓 蔚委谓伪喂 未畏渭喂慰蠉蟻纬畏渭伪 渭蠀胃慰蟺位伪蟽委伪蟼, 尉蔚蠂蠅蟻委味蔚喂 伪渭苇蟽蠅蟼 纬喂伪 蟿畏谓 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎 蟿慰蠀 未慰渭萎 魏伪喂 渭慰蟻蠁萎 魏伪喂 位蔚喂蟿慰蠀蟻纬蔚委 蠅蟼 '螠慰蠀蟽蔚委慰 蟿慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁', 慰喂魏委伪 维位位蠅蟽蟿蔚 魏 蟿畏蟼 蔚谓畏位喂魏委蠅蟽畏蟼 蟿慰蠀.
螠苇蟽伪 伪蟺蠈 蟿慰谓 蟺慰位蠀蟿维蟻伪蠂慰 蟺蟻慰蟽蠅蟺喂魏蠈 尾委慰 蟿蠅谓 伪未蔚位蠁蠋谓 韦慰蠀蟻渭蟺喂谓 魏 蟿蠅谓 伪纬伪蟺畏渭苇谓蠅谓 蟿慰蠀蟼 蟺伪喂未喂魏蠋谓 蠁委位蠅谓 蟺伪蟻伪魏慰位慰蠀胃慰蠉渭蔚 蟿伪蠀蟿蠈蠂蟻慰谓伪 魏 蟿畏谓 渭维蠂畏 渭蔚蟿伪尉蠉 蟿蠅谓 螣蠀魏蟻伪谓蠋谓 螘胃谓喂魏喂蟽蟿蠋谓 蟿慰蠀 螒蟻蠂维纬纬蔚位慰蠀 蟿畏蟼 魏伪蟿伪蟽蟿蟻慰蠁萎蟼 螤蔚蟿位喂慰蠀蟻伪 魏伪喂 蟿蠅谓 蟽蠀谓伪蟽蟺喂蟽渭苇谓蠅谓 未蠀谓维渭蔚蠅谓 蟿畏蟼 螞蔚蠀魏萎蟼 桅蟻慰蠀蟻维蟼 纬 蟿畏谓 魏伪蟿维位畏蠄畏 蟿畏蟼 螤蠈位畏蟼. 螠喂伪蟼 渭慰谓伪未喂魏萎蟼 螜蟽蟿慰蟻喂魏萎蟼 蟺蠈位畏蟼 蟺慰蠀 尾蟻苇蠂蔚蟿伪喂 伪蟺蠈 蟿慰 蟿蟻委蟿慰 渭蔚纬伪位蠉蟿蔚蟻慰 蟺慰蟿伪渭蠈 蟿畏蟼 螘蠀蟻蠋蟺畏蟼, 蟿慰谓 螖谓蔚委蟺蔚蟻慰, 蟽蟿畏蟼 慰蟺慰委伪蟼 魏慰蠀未慰蠀谓委味慰蠀谓 蔚蠀蠂维蟻喂蟽蟿伪 蟽蟿慰蠀蟼 蟺位伪魏蠈蟽蟿蟻蠅蟿慰蠀蟼 蟿伪 蟺蔚蟻委蠁畏渭伪 蟿蟻伪渭 渭蔚 蟿喂蟼 魏委蟿蟻喂谓蔚蟼 蠁慰蠀蟽魏蠅蟿苇蟼 胃苇蟽蔚喂蟼, 蠁蠅谓伪蟽魏慰蠉谓 位伪位委蟽蟿伪蟿伪 慰喂 伪渭伪尉维未蔚蟼 蟺蟻慰蟼 维纬蟻伪 蟺蔚位伪蟿蔚委伪蟼, 蟺慰蠀 苇蠂蔚喂 蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 魏伪喂 蟿伪 蟺喂慰 未伪喂未伪位蠋未畏 蟺维蟻魏伪 蟽蟿慰 魏蠈蟽渭慰, 蠈蟺慰蠀 苇蠂蔚喂 纬委谓蔚喂 蟿慰 蟿蔚位蔚蠀蟿伪委慰 魏伪蟿伪蠁蠉纬喂慰 蟺蟻慰蟽蠁蠉纬蠅谓 伪蟺蠈 蟿畏谓 螠蠈蟽蠂伪 魏 蟿畏谓 螤蔚蟿蟻慰蠉蟺慰位畏 未喂伪蠁慰蟻蔚蟿喂魏蠋谓 蟺蟻慰蟽蠅蟺喂魏慰蟿萎蟿蠅谓 魏伪喂 蔚蟺伪纬纬蔚位渭伪蟿喂蠋谓 未委谓慰谓蟿伪蟼 谓苇伪 蠋胃畏蟽畏 蟽蟿畏谓 蟺慰位蔚慰未慰渭喂魏萎, 慰喂魏慰谓慰渭喂魏萎 魏伪喂 蟺慰位喂蟿喂蟽渭喂魏萎 伪谓胃畏蟽畏, 蟺慰蠀 鈥樜何毕€谓委味蔚喂 蟽伪谓 蟺慰位蠉蔚未蟻畏 魏畏蟻萎胃蟻伪鈥�.
螣 蠁喂位伪位萎胃畏蟼 蟽蠀纬纬蟻伪蠁苇伪蟼 伪蟺蔚喂魏慰谓委味蔚喂 蟻蔚伪位喂蟽蟿喂魏维 蟿喂蟼 魏伪蟿伪蟽蟿蟻慰蠁喂魏苇蟼 未喂伪蟽蟿维蟽蔚喂蟼 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 位维尾蔚喂 苇谓伪蟼 蟺蠈位蔚渭慰蟼. 危蔚 苇谓伪 螆胃谓慰蟼 伪魏伪位位喂苇蟻纬畏蟿慰, 伪渭蠈蟻蠁蠅蟿慰, 蔚尉伪胃位喂蠅渭苇谓慰 伪蟺蠈 蟽蠀谓蔚蠂蔚委蟼 蟺慰位苇渭慰蠀蟼 魏伪喂 伪蟺蠈 蟿畏谓 未喂蠂慰蟽蟿伪蟽委伪, 慰 魏委谓未蠀谓慰蟼 谓伪 蔚尉伪蟻蟿畏胃蔚委 畏 渭慰委蟻伪 蔚谓蠈蟼 位伪慰蠉 伪蟺蠈 蔚纬魏位畏渭伪蟿喂魏慰蠉蟼 蟽蟿蟻伪蟿畏纬慰蠉蟼 魏伪喂 伪蟺蠈 蠁蠀纬蠈蟺慰谓慰蠀蟼 慰魏谓畏蟻慰蠉蟼 伪尉喂蠅渭伪蟿喂魏慰蠉蟼 蠈蟺慰蠀 畏 蟿喂渭萎 魏 畏 蔚蠀蟽蠀谓蔚喂未畏蟽委伪 蔚委谓伪喂 蟺蔚蟻喂蟿蟿蠈 尾维蟻慰蟼 蔚委谓伪喂 谓慰渭慰蟿蔚位蔚喂伪魏蠈蟼. 螚 慰尉蔚委伪 未蟻喂渭蠉蟿畏蟿伪 渭蔚 蟿畏谓 蠈蟺慰喂伪 魏伪蟿伪纬纬苇位位慰谓蟿伪喂 慰喂 蟺慰位喂蟿喂魏慰委 魏 慰喂 蟽蟿蟻伪蟿喂蠅蟿喂魏慰委 苇蟻蠂蔚蟿伪喂 蟽蔚 蔚渭蠁伪谓萎蟼 伪谓蟿喂未喂伪蟽蟿慰位萎 渭蔚 蟿畏谓 畏蟻蠅喂蟽渭蠈 蟺慰蠀 未委谓蔚蟿伪喂 伪蟺蠈 渭蔚蟻喂魏慰蠉蟼 魏伪蟿慰委魏慰蠀蟼 蟿畏蟼 螤蠈位畏蟼, 蟿慰蠀蟼 蟻慰渭伪谓蟿喂魏慰蠉蟼 蟽蠀谓蟿伪纬渭伪蟿维蟻蠂蔚蟼 蟽伪谓 蟿慰谓 螡伪喂 韦慰蠀蟻蟼, 蟿慰蠀蟼 维尾纬伪位蟿慰蠀蟼 未蠈魏喂渭慰蠀蟼 蟽伪谓 蟿慰谓 伪谓蠀蟺蠈蟿伪魏蟿慰 螡喂魏慰位魏伪 韦慰蠀蟻渭蟺喂谓 蟺慰蠀 渭维蠂慰谓蟿伪喂 渭蔚蟿伪尉蠉 维位位蠅谓 魏伪喂 纬喂伪 蟿畏谓 慰喂魏慰纬苇谓蔚喂伪 蟿慰蠀蟼 魏 蟿慰 蟽蟺委蟿喂 蟿慰蠀蟼 蟿慰 渭慰谓伪未喂魏蠈 蠂蠋蟻慰 蟺慰蠀 渭蟺慰蟻蔚委 魏伪谓蔚委蟼 谓伪 谓喂蠋蟽蔚喂 胃伪位蟺蠅蟻萎 魏伪喂 味蔚蟽蟿伪蟽喂维. ''螣 魏蠈蟽渭慰蟼 苇尉蠅 蔚委谓伪喂 尾蟻蠋渭喂魏慰蟼, 伪喂渭伪蟿慰尾伪渭渭苇谓慰蟼, 维谓蔚蠀 谓慰萎渭伪蟿慰蟼''
螕喂伪 蟿慰谓 螠蟺慰蠀位纬魏伪魏蠅蠁 鈥�'蟿伪 蠈蟺位伪 慰 维谓胃蟻蠅蟺慰蟼 蟿伪 未畏渭喂慰蠉蟻纬畏蟽蔚 蠂蠅蟻委蟼 谓伪 蟿慰 尉苇蟻蔚喂 纬喂伪 苇谓伪 渭蠈谓慰 蟽魏慰蟺蠈- 谓伪 蟺蟻慰蟽蟿伪蟿蔚蠉慰蠀谓 蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 纬伪位萎谓畏 魏伪喂 蔚蟽蟿委伪. 螕喂伪 蟿委蟺慰蟿伪 维位位慰 未蔚谓 蟺蟻苇蟺蔚喂 谓伪 蟺慰位蔚渭维蔚喂 魏伪谓蔚委蟼鈥欌€�.
违.螕. 螣喂 蔚魏未蠈蟽蔚喂蟼 螘蟻伪蟿蠋 伪蟺慰蠁维蟽喂蟽伪谓 谓伪 渭伪蟼 未蠋蟽慰蠀谓 蟿慰 蟺蟻蠋蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰蠀 蟽蟺慰蠀未伪委慰蠀 螠蟺慰蠀位纬魏伪魏蠅蠁 蟽蔚 谓苇伪 渭蔚蟿维蠁蟻伪蟽畏 未委未慰谓蟿伪蟼 蟿慰 未蠉蟽魏慰位慰 苇蟻纬慰 蟿畏蟼 蟽蔚 渭喂伪 苇渭蟺蔚喂蟻畏 渭蔚蟿伪蠁蟻维蟽蟿蟻喂伪 巍蠅蟽喂魏蠋谓 蔚渭尾位畏渭伪蟿喂魏蠋谓 魏蔚喂渭苇谓蠅谓, 蟿畏谓 螘位苇谓畏 螠蟺伪魏慰蟺慰蠀位慰蠀 . 危蟿畏谓 苇魏未慰蟽畏 蟽蠀谓蠀蟺维蟻蠂蔚喂 苇谓伪 蠂蟻慰谓慰位慰纬喂慰 渭蔚 蟺蟻慰蟽蠅蟺喂魏苇蟼 蠁蠅蟿慰纬蟻伪蠁委蔚蟼 魏伪喂 伪谓伪蠁慰蟻苇蟼 蟽蟿伪 蟽蟺慰蠀未伪喂蠈蟿蔚蟻伪 纬蔚纬慰谓蠈蟿伪 蟺慰蠀 蟽蟿喂纬渭维蟿喂蟽伪谓 蟿畏谓 味蠅萎 蟿慰蠀 螠喂蠂伪畏位 螠蟺慰蠀位纬魏伪魏蠅蠁.
螒魏蠈渭畏 蟽蟺慰蠀未伪喂蠈蟿蔚蟻畏蟼 蟽畏渭伪蟽委伪蟼 蔚委谓伪喂 蟿慰 蔚蟺委渭蔚蟿蟻慰 蔚谓蠈蟼 魏蟻喂蟿喂魏慰蠉 螞慰纬慰蟿蔚蠂谓委伪蟼 , 蟿慰蠀 螜纬魏慰蟻 螠蟺蔚位味伪 慰 慰蟺慰委慰蟼 渭苇蟽伪 蟽蔚 蟿蟻喂维谓蟿伪 蟽蔚位委未蔚蟼 尾慰渭尾伪蟻未委味慰谓蟿伪蟼 渭伪蟼 渭蔚 慰蠀蟽喂蠋未蔚喂蟼 蟺位畏蟻慰蠁慰蟻委蔚蟼 魏伪喂 蔚蠉蟽蟿慰蠂伪 蟽蠂蠈位喂伪 (魏蠀蟻委蠅蟼 伪蟺慰蠀蟽喂维味慰蠀谓 蟺伪蟻伪位畏蟻畏渭伪蟿喂魏维, 蔚蟺喂蟿畏未蔚蠀渭苇谓伪, 未蠀蟽伪谓维纬谓蠅蟽蟿伪 蔚蠀蠁蠀慰位慰纬萎渭伪蟿伪 维位位蠅谓 伪谓蟿委蟽蟿慰喂蠂蠅谓 螘位位畏谓喂魏蠋谓 蔚魏未蠈蟽蔚蠅谓) 未委谓蔚喂 谓苇伪 蟺谓慰萎 魏伪喂 魏伪蟿伪谓蠈畏蟽畏 蟽蟿慰 蔚蟺喂魏蠈 魏蔚委渭蔚谓慰 魏伪喂 蟿畏谓 蟽蠀纬纬蟻伪蠁萎 蟿慰蠀 螠蟺慰蠀位魏伪魏蠅蠁, 畏 慰蟺慰委伪 蔚委谓伪喂 蟿蠈蟽慰 蟺位慰蠉蟽喂伪 蟽蔚 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 蔚喂魏蠈谓蔚蟼, 蟽蔚 蟺慰喂畏蟿喂魏蠈蟿畏蟿伪, 蔚谓维谓蟿喂伪 蟽蟿慰谓 尾维谓伪蠀蟽慰 魏 蠅渭蠈 蟺慰位蔚渭喂魏蠈 蟻蔚伪位喂蟽渭蠈 魏伪喂 蟺位慰蠀蟽喂伪 蟽蔚 伪谓伪蠁慰蟻苇蟼 蟽蔚 维位位慰蠀蟼 渭蔚纬维位慰蠀蟼 蟽蠀纬纬蟻维蠁蔚喂蟼 -蟽蟿慰谓 渭苇谓蟿慰蟻伪 蟿慰蠀 螤慰蠉蟽魏喂谓, 蟽蟿慰谓 螕魏蠈纬魏慰位 蟺慰蠀 伪谓伪魏维位蠀蠄蔚 蠈蟿伪谓 萎蟿伪谓 蔚谓谓喂维 蠂蟻慰谓蠋谓, 蟽蟿慰谓 螕魏伪喂蟿蔚 伪位位维 魏伪喂 蟽蟿畏谓 伪纬伪蟺畏渭苇谓畏 蟿慰蠀 '螒蟺慰魏维位蠀蠄畏' 蟿慰蠀 螜蠅维谓谓畏 蟺慰蠀 纬蟻维蠁蟿畏魏蔚 蟽蟿慰 蟺伪谓苇渭慰蟻蠁慰 谓畏蟽委 蟿畏蟼 螤维蟿渭慰蠀 魏伪喂 畏 蔚蟺委未蟻伪蟽畏 蟿畏蟼 蔚委谓伪喂 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻蠋谓- 蟺蟻维纬渭伪 蟺慰蠀 伪谓 渭畏 蟿喂 维位位慰 蔚蟺喂蟿维蟽蟽蔚喂 蟽蟿慰谓 纬锟斤拷畏蟿蔚蠀渭苇谓慰 伪谓伪纬谓蠋蟽蟿畏 蟿畏谓 蔚蟺伪谓维纬谓蠅蟽畏 蟿慰蠀 苇蟻纬慰蠀, 魏维蟿喂 蟺慰蠀 蟽蠀渭尾伪委谓蔚喂 渭蠈谓慰 渭蔚 蟽蟺慰蠀未伪委伪 魏 伪蟺慰位伪蠀蟽蟿喂魏维 苇蟻纬伪.
August 24, 2021
賲賱丕丨馗丞...
丕賱孬賱丕孬 賳噩賲丕鬲 鬲賯賷賲 賱賱毓賲賱 賮賯胤 賵賱賷爻 賱賱鬲乇噩賲丞 丕賷囟丕 賱兀賳賷 丨爻賷鬲 丕賳賷 賴馗賱賲賴丕 賱賵 賯賷賲鬲賴丕 亘丕賱鬲乇噩賲丞 丕賱亘卮毓丞.
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賱丕 兀丨丿丕孬 卮賷賯丞 賵賱丕 爻乇丿 賲賲鬲毓 賵賱丕 卮禺氐賷丕鬲 賲賳爻賵噩丞 噩賷丿丕 賵賲丕 夭丕丿 丕賱胤賷賳 亘賱丞 賴賵 丕賱鬲乇噩賲丞 丕賱亘卮毓丞 丕賱鬲賷 丕賵丿鬲 亘乇賵丨 丕賱賳氐.
賲賳 丕賱亘丿丕賷丞 賰賳鬲 賲鬲丨賲爻 噩丿丕 賱丨亘賷 丕賱卮丿賷丿 賱賯賱賲 賴匕丕 丕賱賰丕鬲亘
丕賱賰鬲丕亘 兀賵賱丕 賲賯爻賲 賱孬賱丕孬 兀賯爻丕賲 丕賱賯爻賲 丕賱丕賵賱 賰丕賳 賰賮賷賱 亘鬲乇賰 丕賱乇賵丕賷丞 賱賰賳 亘爻亘亘 毓丕丿鬲賷 賮賷 毓丿賲 鬲乇賰 賰鬲丕亘 賮鬲丨鬲賴 賵丨亘賷 賱賱賰丕鬲亘 賴賵 賲丕噩毓賱賳賷 丕賰賲賱賴丕..賵賰賱賷 丕賲賱 丕賳賴丕 爻賵賮 鬲鬲毓丿賱
賵賮毓賱丕 賰丕賳 丕賱賯爻賲 丕賱孬丕賳賷 丕賮囟賱 亘賰孬賷乇 賵亘丿兀鬲 丕賱兀卮禺丕氐 鬲鬲賱丕賯賶 賵丕賱兀丨丿丕孬 賵賵氐賮 亘賵賱睾丕賰賵賮 賱亘毓囟 丕賱賲卮丕賴丿 賰丕賳 噩賲賷賱 噩丿丕..
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賵賷賵囟丨 亘賵賱睾丕賰賵賮 丕賷囟丕 禺賷丕賳丞 丕賱賯賷丕丿丕鬲 丕賱毓賱賷丕 賵丕賱丨賱賮丕亍 丕賱兀賱賲丕賳 賱賱囟亘丕胤 賵丕賱噩賳賵丿 賵鬲乇賰賴賲 賮乇賷爻丞 爻賴賱丞 賱賯賵丕鬲 亘鬲賷賱賵乇丕 賵丕賱兀丨賵丕賱 丕賱鬲賷 鬲乇丿鬲 賲賳 爻乇賯丞 賵賯鬲賱 亘毓丿 爻賯賵胤 丕賱賲丿賷賳丞 賮賷 賷丿 亘鬲賷賱賵乇丕...
氐賵乇丞 賱丌禺乇 賯賷丕氐乇丞 乇賵爻賷丕 賳賷賯賵賱丕 丕賱孬丕賳賷
賳氐賷丨丞 賱賲賳 賷乇賷丿 賯乇丕亍鬲賴丕 賷賵噩丿 鬲乇噩賲丞 兀禺乇賶 賱賱賲鬲乇噩賲 賷賵爻賮 賳亘賷賱 賵兀毓鬲賯丿 丕賳賴丕 爻鬲賰賵賳 丕賮囟賱 亘賰孬賷乇...
丕賱孬賱丕孬 賳噩賲丕鬲 鬲賯賷賲 賱賱毓賲賱 賮賯胤 賵賱賷爻 賱賱鬲乇噩賲丞 丕賷囟丕 賱兀賳賷 丨爻賷鬲 丕賳賷 賴馗賱賲賴丕 賱賵 賯賷賲鬲賴丕 亘丕賱鬲乇噩賲丞 丕賱亘卮毓丞.
賴賱 賴匕丕 賴賵 賯賱賲 亘賵賱睾丕賰賵賮 丕賱賲亘丿毓 賴賱 賴匕丕 亘賵賱睾丕賰賵賮 丕賱賲毓賱賲 賵賲乇噩乇賷鬲丕 賴賱 賴匕丕 亘賵賱睾丕賰賵賮 丕賱丕爻賯丕胤丕鬲 丕賱孬賯賷賱丞 賵丕賱爻乇丿 丕賱賲賲鬲毓..... 亘賰賱 鬲兀賰賷丿 賱丕
賱丕 兀丨丿丕孬 卮賷賯丞 賵賱丕 爻乇丿 賲賲鬲毓 賵賱丕 卮禺氐賷丕鬲 賲賳爻賵噩丞 噩賷丿丕 賵賲丕 夭丕丿 丕賱胤賷賳 亘賱丞 賴賵 丕賱鬲乇噩賲丞 丕賱亘卮毓丞 丕賱鬲賷 丕賵丿鬲 亘乇賵丨 丕賱賳氐.
賲賳 丕賱亘丿丕賷丞 賰賳鬲 賲鬲丨賲爻 噩丿丕 賱丨亘賷 丕賱卮丿賷丿 賱賯賱賲 賴匕丕 丕賱賰丕鬲亘
丕賱賰鬲丕亘 兀賵賱丕 賲賯爻賲 賱孬賱丕孬 兀賯爻丕賲 丕賱賯爻賲 丕賱丕賵賱 賰丕賳 賰賮賷賱 亘鬲乇賰 丕賱乇賵丕賷丞 賱賰賳 亘爻亘亘 毓丕丿鬲賷 賮賷 毓丿賲 鬲乇賰 賰鬲丕亘 賮鬲丨鬲賴 賵丨亘賷 賱賱賰丕鬲亘 賴賵 賲丕噩毓賱賳賷 丕賰賲賱賴丕..賵賰賱賷 丕賲賱 丕賳賴丕 爻賵賮 鬲鬲毓丿賱
賵賮毓賱丕 賰丕賳 丕賱賯爻賲 丕賱孬丕賳賷 丕賮囟賱 亘賰孬賷乇 賵亘丿兀鬲 丕賱兀卮禺丕氐 鬲鬲賱丕賯賶 賵丕賱兀丨丿丕孬 賵賵氐賮 亘賵賱睾丕賰賵賮 賱亘毓囟 丕賱賲卮丕賴丿 賰丕賳 噩賲賷賱 噩丿丕..
賳兀鬲賷 賱賲賵囟賵毓 丕賱乇賵丕賷丞 賵賴賵 賮賷 賲丿賷賳丞 丕賵賰乇丕賳賷丞 丕賷丕賲 乇睾亘丞 丕賵賰乇丕賳賷丕 亘丕賱丕賳賮氐丕賱 毓賳 乇賵爻賷丕 亘賯賷丕丿丞 亘鬲賷賱賵乇丕 賵毓賳 丨丕賱 乇賵爻賷丕 賮賷 丕賷丕賲 鬲賯賱亘丕鬲賴丕 賵丕賳鬲賴丕亍 丕賱毓賴丿 丕賱賯賷氐乇賷 亘賲賵鬲 丕賱賯賷氐乇 賳賷賯賵賱丕 丕賱孬丕賳賷 賵 丕賱孬賵乇丞 丕賱亘賱卮賮賷丞 亘賯賷丕丿丞 賱賷賳賷賳 賵鬲乇賵鬲爻賰賷...
賵賷賵囟丨 亘賵賱睾丕賰賵賮 丕賷囟丕 禺賷丕賳丞 丕賱賯賷丕丿丕鬲 丕賱毓賱賷丕 賵丕賱丨賱賮丕亍 丕賱兀賱賲丕賳 賱賱囟亘丕胤 賵丕賱噩賳賵丿 賵鬲乇賰賴賲 賮乇賷爻丞 爻賴賱丞 賱賯賵丕鬲 亘鬲賷賱賵乇丕 賵丕賱兀丨賵丕賱 丕賱鬲賷 鬲乇丿鬲 賲賳 爻乇賯丞 賵賯鬲賱 亘毓丿 爻賯賵胤 丕賱賲丿賷賳丞 賮賷 賷丿 亘鬲賷賱賵乇丕...
氐賵乇丞 賱丌禺乇 賯賷丕氐乇丞 乇賵爻賷丕 賳賷賯賵賱丕 丕賱孬丕賳賷
賳氐賷丨丞 賱賲賳 賷乇賷丿 賯乇丕亍鬲賴丕 賷賵噩丿 鬲乇噩賲丞 兀禺乇賶 賱賱賲鬲乇噩賲 賷賵爻賮 賳亘賷賱 賵兀毓鬲賯丿 丕賳賴丕 爻鬲賰賵賳 丕賮囟賱 亘賰孬賷乇...
January 29, 2023
Fantasy Meets the Revolution.
The White Guard by Mikhail Bulgakov, written in 1924 is a semi autobiographical account of the experience of Tsarist and White officers in Ukraine during the years 1918-1919. When the Russian Civil War was in full swing. It accounts the story of the Turbin family, but namely Alexsei and his younger sister Elena and brother Nikolka as they navigate a changed and violent world.
The book was banned by the Bolsheviks and it is east to see why. The Turbins are pro monarchist, Alexesi in an ex-White officer and they recount the stories of Old Russia and live in a world where most around them dream of an independent Ukraine. Bulgakov himself was from a similar middle class (or Bourgeoisie) background as the Turbins and was also an officer surgeon in the White Army in the Civil War. The house they live in, is based on his only family home in Kiev. All of these things were unacceptable to the communist ideology of the USSR. The Master and the Margarita is a subtle critique of this society, whilst The White Guard is more stark.
This is a warts and all story of death, tragedy, love found and lost and hopes and dreams dashed. It is also the story of individuals and family, their thoughts and aims in a world of much grander visions of society and destructive events. Bulgakov has clearly drawn huge inspiration from Leo Tolstoy鈥檚 War and Peace in this sense. Alexsei is much like Tolstoy鈥檚 Nihilist Prince Andrey Volkonsky, someone who is fed up with the world. Nikolka, his younger brother is like Count Petr Rostrov, the eager and enthusiastic recruit. Until they both face the reality of war.
The narrative spans less than two months in the unusually harsh winter of 1918-1919. Following the collapse of the German occupation and the abdication of the Hetman and the assault of 鈥楾he City鈥� (the never named city Kiev) by the Whites. In all of this the Turbins who have just welcomed Alexsei back from war try to maintain normality in their first floor apartment, whilst the world around them gets harder. Bulgakov reminds us this is neither fact or history, but an alternative world of what 鈥榤ight have been鈥� during all of this. The literary licence seeps through the book, to take us on a tour of dreams and fantasy intermingled with sobering realistic episodes. The murder of Jews by the Whites, being hunted and shot by Bolsheviks. The cold, the hungry and suffering. But also the sense of love, family and comfort of home. These are all intertwined with poems, songs and stories of the past.
This is a great novel and I have loved each Bulgakov鈥檚 novels I had read. It鈥檚 fun and harrowing at the same time. There is action and story. There is reality and fantasy, history and fiction. It somehow works and isn鈥檛 disjointed in anyway. Bulgakov鈥檚 ultimate message however is that if you stay home with those you love, you can pull back the curtain and shut at the misery of the world, at least for a little time. Is this a good way to live? Bulgakov doesn鈥檛 say, but maybe it鈥檒l get you to the next day.
The White Guard by Mikhail Bulgakov, written in 1924 is a semi autobiographical account of the experience of Tsarist and White officers in Ukraine during the years 1918-1919. When the Russian Civil War was in full swing. It accounts the story of the Turbin family, but namely Alexsei and his younger sister Elena and brother Nikolka as they navigate a changed and violent world.
The book was banned by the Bolsheviks and it is east to see why. The Turbins are pro monarchist, Alexesi in an ex-White officer and they recount the stories of Old Russia and live in a world where most around them dream of an independent Ukraine. Bulgakov himself was from a similar middle class (or Bourgeoisie) background as the Turbins and was also an officer surgeon in the White Army in the Civil War. The house they live in, is based on his only family home in Kiev. All of these things were unacceptable to the communist ideology of the USSR. The Master and the Margarita is a subtle critique of this society, whilst The White Guard is more stark.
This is a warts and all story of death, tragedy, love found and lost and hopes and dreams dashed. It is also the story of individuals and family, their thoughts and aims in a world of much grander visions of society and destructive events. Bulgakov has clearly drawn huge inspiration from Leo Tolstoy鈥檚 War and Peace in this sense. Alexsei is much like Tolstoy鈥檚 Nihilist Prince Andrey Volkonsky, someone who is fed up with the world. Nikolka, his younger brother is like Count Petr Rostrov, the eager and enthusiastic recruit. Until they both face the reality of war.
The narrative spans less than two months in the unusually harsh winter of 1918-1919. Following the collapse of the German occupation and the abdication of the Hetman and the assault of 鈥楾he City鈥� (the never named city Kiev) by the Whites. In all of this the Turbins who have just welcomed Alexsei back from war try to maintain normality in their first floor apartment, whilst the world around them gets harder. Bulgakov reminds us this is neither fact or history, but an alternative world of what 鈥榤ight have been鈥� during all of this. The literary licence seeps through the book, to take us on a tour of dreams and fantasy intermingled with sobering realistic episodes. The murder of Jews by the Whites, being hunted and shot by Bolsheviks. The cold, the hungry and suffering. But also the sense of love, family and comfort of home. These are all intertwined with poems, songs and stories of the past.
This is a great novel and I have loved each Bulgakov鈥檚 novels I had read. It鈥檚 fun and harrowing at the same time. There is action and story. There is reality and fantasy, history and fiction. It somehow works and isn鈥檛 disjointed in anyway. Bulgakov鈥檚 ultimate message however is that if you stay home with those you love, you can pull back the curtain and shut at the misery of the world, at least for a little time. Is this a good way to live? Bulgakov doesn鈥檛 say, but maybe it鈥檒l get you to the next day.
August 5, 2010
I wasn't sure if Bulgakov's first novel, described as a historical novel about the fortunes of the city of Kiev in the year 1918, as the repercussions of the Russian revolution and the tail-end of the first world war play out, would be as good as his satirical masterpieces, The Master And Margarita and Black Snow.
It certainly is.
Bulgakov was a literary genius, that's the only conclusion I can draw. Not only does he maintain complete control over a narrative that segues constantly from the panoramic to the personal, he keeps finding memorable motifs and metaphors to bring his tale to life. There is an entire section where he describes people's expressions and states of minds in terms of clock-hand positions. It seems like a subjective, potentially opaque conceit, but Bulgakov makes it work brilliantly. A good deal of his tale is told through dreams - again something potentially confusing and tedious that he does incredibly well. His talent for invoking the truly fantastic was evident in The Master, as was his facility with conjuring the bad numinous. Here, in an early vision of heaven, he brings us face to face with an equally convincing vision of divinity, both comforting and chilling. There are numerous bravura scenes of crowds and action, and of the thoughts and experiences of a his focus characters. This novel is also amazingly well structured, casting out a bewildering array of narrative threads that are all woven together into a tight, immaculate narrative tapestry. The novel ends with a virtuoso display of oneiric head-hopping which culminates in a passage which shows where the true strength of this novel lies - not in its many technical merits and literary flourishes, amazing though they are - but in its strong sense of the pathos of human destiny.
It certainly is.
Bulgakov was a literary genius, that's the only conclusion I can draw. Not only does he maintain complete control over a narrative that segues constantly from the panoramic to the personal, he keeps finding memorable motifs and metaphors to bring his tale to life. There is an entire section where he describes people's expressions and states of minds in terms of clock-hand positions. It seems like a subjective, potentially opaque conceit, but Bulgakov makes it work brilliantly. A good deal of his tale is told through dreams - again something potentially confusing and tedious that he does incredibly well. His talent for invoking the truly fantastic was evident in The Master, as was his facility with conjuring the bad numinous. Here, in an early vision of heaven, he brings us face to face with an equally convincing vision of divinity, both comforting and chilling. There are numerous bravura scenes of crowds and action, and of the thoughts and experiences of a his focus characters. This novel is also amazingly well structured, casting out a bewildering array of narrative threads that are all woven together into a tight, immaculate narrative tapestry. The novel ends with a virtuoso display of oneiric head-hopping which culminates in a passage which shows where the true strength of this novel lies - not in its many technical merits and literary flourishes, amazing though they are - but in its strong sense of the pathos of human destiny.
February 26, 2016
From BBC Radio 4 Extra:
1/2: Kiev is protected by an uneasy alliance. Two brothers discover it's a bad time to be Tsarist. Stars Paul Hilton and James Loye.
2/2: The Turbin brothers find their survival skills tested, and Elena is driven to intense prayer.
1/2: Kiev is protected by an uneasy alliance. Two brothers discover it's a bad time to be Tsarist. Stars Paul Hilton and James Loye.
2/2: The Turbin brothers find their survival skills tested, and Elena is driven to intense prayer.
November 18, 2022
Review to follow
February 16, 2023
Mir hat vor allem der experimentelle Stil gefallen, weit mehr als die eigentliche Handlung. In der Neu眉bersetzung von Alexander Nitzberg kommen die sprachlichen Eigenheiten, wie z.B. absichtlich fehlerhafte Satzgebilde oder syn盲sthetische Elemente, wohl tats盲chlich besser zur Geltung als zuvor. Ein Pluspunkt dieser Ausgabe ist der umfangreiche Anmerkungsapparat. Beim ersten Blick in das Buch fallen sofort die unz盲hligen Fu脽noten im Text auf. Zun盲chst wundert man sich dar眉ber, aber nach ein paar gelesenen Seiten m枚chte man sie nicht missen. Denn vieles versteht sich nicht unbedingt von selbst.
Das betrifft vor allem den historischen Kontext des russischen B眉rgerkriegs. Ohne fundiertes Wissen verliert man schnell den 脺berblick 眉ber die Abfolge der Ereignisse. Es war eine chaotische Zeit, gepr盲gt durch Unsicherheit und Gewalt. Der Roman vermittelt ein gutes Bild der damaligen Atmosph盲re. Er zeigt Menschen in einer Phase des gesellschaftlichen Umbruchs, die im Bewusstsein einer gro脽en Ver盲nderung leben, ohne eine genaue Vorstellung von der Zukunft zu haben. Sie befinden sich in einem Schwebezustand zwischen Gestern und Morgen.
Zus盲tzliches Interesse weckt in diesen Tagen auch der Ort an dem die Handlung spielt, die Gro脽e Stadt (gemeint ist Kiew). Einige Bilder und Stimmungen erinnern stark an die aktuelle Situation. In dieser Hinsicht erscheinen auch bestimmte Passagen in einem ganz anderen Licht. Zum Beispiel als Alexej Turbin sagt: "Wer terrorisiert die russische Bev枚lkerung mit dieser einfach nur scheu脽lichen Sprache, die noch nicht einmal existiert?". Gleiches ist derzeit wieder aus Russland zu vernehmen, d.h. die staatliche und kulturelle Souver盲nit盲t der Ukrainer wird in Abrede gestellt. Unter anderem deshalb ist der Roman lesenswert, auch wenn er sicher nicht an Meister und Margarita heranreicht.
Das betrifft vor allem den historischen Kontext des russischen B眉rgerkriegs. Ohne fundiertes Wissen verliert man schnell den 脺berblick 眉ber die Abfolge der Ereignisse. Es war eine chaotische Zeit, gepr盲gt durch Unsicherheit und Gewalt. Der Roman vermittelt ein gutes Bild der damaligen Atmosph盲re. Er zeigt Menschen in einer Phase des gesellschaftlichen Umbruchs, die im Bewusstsein einer gro脽en Ver盲nderung leben, ohne eine genaue Vorstellung von der Zukunft zu haben. Sie befinden sich in einem Schwebezustand zwischen Gestern und Morgen.
Zus盲tzliches Interesse weckt in diesen Tagen auch der Ort an dem die Handlung spielt, die Gro脽e Stadt (gemeint ist Kiew). Einige Bilder und Stimmungen erinnern stark an die aktuelle Situation. In dieser Hinsicht erscheinen auch bestimmte Passagen in einem ganz anderen Licht. Zum Beispiel als Alexej Turbin sagt: "Wer terrorisiert die russische Bev枚lkerung mit dieser einfach nur scheu脽lichen Sprache, die noch nicht einmal existiert?". Gleiches ist derzeit wieder aus Russland zu vernehmen, d.h. die staatliche und kulturelle Souver盲nit盲t der Ukrainer wird in Abrede gestellt. Unter anderem deshalb ist der Roman lesenswert, auch wenn er sicher nicht an Meister und Margarita heranreicht.
March 22, 2025
Mein erster Bulgakow, und ich habe ihn vor allem als historischen Roman gelesen.
Die Lage 1918 , in der Ukraine wurde durch Deutschland ein Hetmanat errichtet. B眉rgerkrieg mit mehreren Parteien- die bolschewikischen roten Garden, die nationalistischen Gruppen um Petljura und die auch sehr diversen weissen Garden, die sich als loyale K盲mpfer f眉r ihr Land und die Traditionen begreifen. Zu diesen geh枚rt die Familie Turbin, die wir begleiten.
Von Anfang an ist die Situation total un眉bersichtlich. Auch der Leser hat meist wenig Ahnung was vorgeht und mit wem man es zu tun hat.
( ich als Leserin habe mich an Serhij Zhadans Internat erinnert gef眉hlt. )
Zwischendurch dann traumhafte ,halluzinatorische Sequenzen in einer bilderreichen Sprache.
Im Ganzen habe ich einiges gelernt, fand es spannend auch humorvoll in Teilen. Und ich bin jetzt sehr neugierig auf die sp盲teren Werke Bulgakows.
Die Lage 1918 , in der Ukraine wurde durch Deutschland ein Hetmanat errichtet. B眉rgerkrieg mit mehreren Parteien- die bolschewikischen roten Garden, die nationalistischen Gruppen um Petljura und die auch sehr diversen weissen Garden, die sich als loyale K盲mpfer f眉r ihr Land und die Traditionen begreifen. Zu diesen geh枚rt die Familie Turbin, die wir begleiten.
Von Anfang an ist die Situation total un眉bersichtlich. Auch der Leser hat meist wenig Ahnung was vorgeht und mit wem man es zu tun hat.
( ich als Leserin habe mich an Serhij Zhadans Internat erinnert gef眉hlt. )
Zwischendurch dann traumhafte ,halluzinatorische Sequenzen in einer bilderreichen Sprache.
Im Ganzen habe ich einiges gelernt, fand es spannend auch humorvoll in Teilen. Und ich bin jetzt sehr neugierig auf die sp盲teren Werke Bulgakows.
May 2, 2025
2.5
Ukraine has gone through everything, that's for sure
鈹佲挛鈹佲挛鈯扁媶鈯扳挛鈹佲挛鈹�
i gotta prepare for the master and margarita
Ukraine has gone through everything, that's for sure
鈹佲挛鈹佲挛鈯扁媶鈯扳挛鈹佲挛鈹�
i gotta prepare for the master and margarita
March 8, 2017
鈥淏lood is cheap on those red fields...鈥�
It is 1918, and Kiev in the Ukraine is at the swirling centre of the forces unleashed by war and revolution. The three Turbin siblings live in the house of their recently deceased mother in the city. They are White Russians, still loyal to the Russian Tsar, hoping against hope that he may have escaped the Bolsheviks and be living still. But there are other factions too 鈥� the German Army have installed a puppet leader, the Hetman Skoropadsky, and the Ukranian peasantry are on the march in a nationalist movement, under their leader Petlyura. This is the story of a few short days when the fate of the city seems up for grabs, and the lives of the Turbins, like so many in those turbulent times, are under constant threat.
I found the beginning of this book rather difficult because I had no idea who all the various factions and real-life characters were, nor what they were attempting to achieve. But I soon realised that in this I differed less from the fictional characters than I first thought. This is a book about confusion and betrayal, shifting allegiances, chaos and fear. Bulgakov takes a panoramic approach, following one character and then panning off to another. This gives it an episodic feel and adds to the sense of events moving too quickly for the people involved ever to fully grasp. The Turbins actually aren't in it a lot of the time, but they provide a thread for us to catch at in the maze, and a human side to the story for us to care about.
One of the early episodes tells the story of the soldier Victor, a friend of the Turbins, who with 39 companions is ordered to defend the city from the approaching forces of Petlyura. Ill-equipped and insufficiently clothed for the extreme cold, two of the men die of frostbite and the rest are lucky to survive. They achieve nothing. While reading this, I was simultaneously reading the beginning of Trotsky's , where he talks of the mass mobilisation of workers and peasants into the Russian army to fight against Germany in WW1. His description of the ill-trained, poorly-equipped troops dying needlessly in vast numbers is chillingly similar and I found that each book lent verisimilitude to the other.
Although the Turbins are on the side of the Tsar, the book itself doesn't seem to take a political stance. If anything, it paints an equally despicable picture of all the various faction leaders, as cowards hiding behind the men they send carelessly to their deaths. As senior officers on all sides run into hiding, middle-ranking officers are left to decide whether to make a stand or disband their troops, many of them no more than young boys in cadet corps. It gives an only too credible feeling for the chaos in the city, for people not knowing what's happening, and for each new rumour spreading like wildfire. Amidst all this, we see odd glimpses of life continuing 鈥� boys out playing in the snow, workers making their way to their jobs, people shopping. Through the Turbin brothers, Nikolka and Alexei, we see the battle each man must individually face between fear and heroism, while Elena, their sister, must wait at home, praying for their safety.
In the gaps between scenes of extreme brutality, Bulgakov lets us glimpse his love for the city. He describes the streets his characters pass through, the alleyways they use to escape, the ancient cathedral, the huge statue of Saint Vladimir on the hill above the city. But we are never allowed to forget the approaching threat...
As the chaos worsens, so we see the atrocities that are never far from war 鈥� the criminals jumping on the lack of order to terrorise an already demoralised citizenry, the bodies left unidentified and unclaimed in the City's morgue, the wounded frightened to seek help for fear of capture. Not quite knowing who every faction was made it even more unsettling, though I wondered if Bulgakov's first readers would have known, and so might have read it differently.
A truly brilliant book that, while concentrating on one small city, gives a brutal and terrifyingly believable picture of the horrors unleashed in the wake of bloody revolution. And here we are, one hundred years later, with Moscow again invading the Ukraine 鈥� this troubled and divided territory still fighting what is essentially the same war...
It is 1918, and Kiev in the Ukraine is at the swirling centre of the forces unleashed by war and revolution. The three Turbin siblings live in the house of their recently deceased mother in the city. They are White Russians, still loyal to the Russian Tsar, hoping against hope that he may have escaped the Bolsheviks and be living still. But there are other factions too 鈥� the German Army have installed a puppet leader, the Hetman Skoropadsky, and the Ukranian peasantry are on the march in a nationalist movement, under their leader Petlyura. This is the story of a few short days when the fate of the city seems up for grabs, and the lives of the Turbins, like so many in those turbulent times, are under constant threat.
Great and terrible was the year of Our Lord 1918, of the Revolution the second. Its summer abundant with warmth and sun, its winter with snow, highest in its heaven stood two stars: the shepherds' star, eventide Venus; and Mars 鈥� quivering, red.
I found the beginning of this book rather difficult because I had no idea who all the various factions and real-life characters were, nor what they were attempting to achieve. But I soon realised that in this I differed less from the fictional characters than I first thought. This is a book about confusion and betrayal, shifting allegiances, chaos and fear. Bulgakov takes a panoramic approach, following one character and then panning off to another. This gives it an episodic feel and adds to the sense of events moving too quickly for the people involved ever to fully grasp. The Turbins actually aren't in it a lot of the time, but they provide a thread for us to catch at in the maze, and a human side to the story for us to care about.
One of the early episodes tells the story of the soldier Victor, a friend of the Turbins, who with 39 companions is ordered to defend the city from the approaching forces of Petlyura. Ill-equipped and insufficiently clothed for the extreme cold, two of the men die of frostbite and the rest are lucky to survive. They achieve nothing. While reading this, I was simultaneously reading the beginning of Trotsky's , where he talks of the mass mobilisation of workers and peasants into the Russian army to fight against Germany in WW1. His description of the ill-trained, poorly-equipped troops dying needlessly in vast numbers is chillingly similar and I found that each book lent verisimilitude to the other.
Although the Turbins are on the side of the Tsar, the book itself doesn't seem to take a political stance. If anything, it paints an equally despicable picture of all the various faction leaders, as cowards hiding behind the men they send carelessly to their deaths. As senior officers on all sides run into hiding, middle-ranking officers are left to decide whether to make a stand or disband their troops, many of them no more than young boys in cadet corps. It gives an only too credible feeling for the chaos in the city, for people not knowing what's happening, and for each new rumour spreading like wildfire. Amidst all this, we see odd glimpses of life continuing 鈥� boys out playing in the snow, workers making their way to their jobs, people shopping. Through the Turbin brothers, Nikolka and Alexei, we see the battle each man must individually face between fear and heroism, while Elena, their sister, must wait at home, praying for their safety.
In the gaps between scenes of extreme brutality, Bulgakov lets us glimpse his love for the city. He describes the streets his characters pass through, the alleyways they use to escape, the ancient cathedral, the huge statue of Saint Vladimir on the hill above the city. But we are never allowed to forget the approaching threat...
But the brightest light of all was the white cross held by the gigantic statue of St Vladimir atop Vladimir Hill. It could be seen from far, far away and often in summer, in thick black mist, amid the osier-beds and tortuous meanders of the age-old river, the boatmen would see it and by its light would steer their way to the City and its wharves. In winter the cross would glow through the dense black clouds, a frozen unmoving landmark towering above the gently sloping expanse of the eastern bank, whence two vast bridges were flung across the river. One, the ponderous Chain Bridge that led to the right-bank suburbs, the other high, slim and urgent as an arrow that carried the trains from where, far away, crouched another city, threatening and mysterious: Moscow.
As the chaos worsens, so we see the atrocities that are never far from war 鈥� the criminals jumping on the lack of order to terrorise an already demoralised citizenry, the bodies left unidentified and unclaimed in the City's morgue, the wounded frightened to seek help for fear of capture. Not quite knowing who every faction was made it even more unsettling, though I wondered if Bulgakov's first readers would have known, and so might have read it differently.
A truly brilliant book that, while concentrating on one small city, gives a brutal and terrifyingly believable picture of the horrors unleashed in the wake of bloody revolution. And here we are, one hundred years later, with Moscow again invading the Ukraine 鈥� this troubled and divided territory still fighting what is essentially the same war...
The snow would just melt, the green Ukranian grass would grow again and weave its carpet over the earth... The gorgeous sunrises would come again... The air would shimmer with heat above the fields and no more traces of blood would remain. Blood is cheap on those red fields and no one would redeem it.
No one.
January 20, 2009
A trip to Kiev cannot be complete without a little Bulgakov. A museum dedicated to the master lies just off of St. Andrew鈥檚 Descent, a cobblestone street passing from St. Sophia鈥檚 cathedral down to the Dneiper. The museum is contained in House No. 13 where, at one time, Mikhail Bulgakov and his family lived. While 鈥淭he White Guard鈥� is not as widely known as 鈥淭he Master and Margarita鈥� (which Salman Rushdie drew upon heavily for 鈥淢idnight鈥檚 Children鈥�), it provides a better sense of Ukraine and, particularly, Kiev.
House No. 13 in Kiev provides the place, while 1918 and Ukrainian civil war provides the setting. The story is about the survival of the Turbin family in the midst of this upheaval. Bulgakov鈥檚 writing is transcendent:
The tiled stove, upon which many political and apolitical messages are written, is nearly a character in its own right. The life it gives is not only comfort, but humor too:
Bulgakov鈥檚 mastery of these slices of life make this an ideal book for reading while in Kiev. The city comes alive with a personality that might otherwise have gone unnoticed. Reading how things were, while seeing how things are makes both the past and the present striking.
This book has not only history, but action too. The stakes are incredibly high. Characters are shot, they are robbed; characters live, they die. The politics of the novel provide a roiling backdrop, though I do not think politics is the point. The intersection of politics and daily life, particularly when politics has brought war, is a fascinating topic and one that Bulgakov explores, but never in a heavy-handed manner. The political is merely backdrop to the personal:
This moment, to me, was perfect. Bulgakov has captured the essence of this type of situation. The only thing the professor could do for Alexei was to reassure Elena.
Bulgakov brilliantly sketches even minor characters. Outside of House No. 13, a war is raging. Several family members are involved and, in this way, the reader is provided a view of the wider world and the characters that inhabit it. Perhaps my favorite is this troubling scene in which the janitor, drafted into service as coroner, is helping Nikolka, the younger brother, find Colonel Nais-Turs, Nikolka鈥檚 fallen comrade-in-arms.
Bulgakov keeps the plot taut and the reader engaged. This book requires little suspension of disbelief. The White Guard is realist, unlike the much more fanciful 鈥淭he Master and Margarita.鈥� Bulgakov does, however, add a touch of the supernatural. And while the book is political enough to have been suppressed by Stalin, the question of which of the three sides fighting the war is 鈥渞ight鈥� is never really posed, much less answered. The interesting questions all pertain to the individual and, more, to a family trying to survive a civil war. The primary loyalties are personal which, in Ukraine as elsewhere, reflects reality. The book is ambivalent toward political loyalties and the revolutions borne of having putting those loyalties before the personal. The author, as surely as the characters, must have had little enthusiasm for revolutionary politics.
In the end, perhaps the highest praise I can give is that it would be difficult to read 鈥淭he White Guard鈥� without becoming attached to the Turbin family. Perhaps, this, more than any overt politics, is why the novel was banned in the Stalinist Soviet Union.
House No. 13 in Kiev provides the place, while 1918 and Ukrainian civil war provides the setting. The story is about the survival of the Turbin family in the midst of this upheaval. Bulgakov鈥檚 writing is transcendent:
For many years before her death, in the house at No. 13 St. Alexei鈥檚 Hill, little Elena, Alexei the eldest and baby Nikolka had grown up in the warmth of the tiled stove that burned in the dining-room. How often they had followed the story of Peter the Great in Holland, 鈥楾he Shipwright of Saardam鈥�, portrayed on its glowing hot dutch tiles; how often the clock had played its gavotte; and always towards the end of December there had been a smell of pine-needles and candles burning on evergreen branches..鈥ut clocks are fortunately quite immortal, as immortal as the Shipwright of Saardam, and however bad the times might be, the tiled Dutch stove, like a rock of wisdom, was always there to radiate life and warmth. (p.10)
The tiled stove, upon which many political and apolitical messages are written, is nearly a character in its own right. The life it gives is not only comfort, but humor too:
Then printed [on the stove:] in capitals, in Nikolka鈥檚 hand:
I herby forbid the scribbling of nonsense on this stove. Any comrade found guilty of doing so will be shot and deprived of civil rights. Signed: Abraham Goldblatt,
Ladies, Gentlemen鈥檚 and Women鈥檚 Tailor.
Commissar, Podol District Committee.
30th January 1918.
Bulgakov鈥檚 mastery of these slices of life make this an ideal book for reading while in Kiev. The city comes alive with a personality that might otherwise have gone unnoticed. Reading how things were, while seeing how things are makes both the past and the present striking.
This book has not only history, but action too. The stakes are incredibly high. Characters are shot, they are robbed; characters live, they die. The politics of the novel provide a roiling backdrop, though I do not think politics is the point. The intersection of politics and daily life, particularly when politics has brought war, is a fascinating topic and one that Bulgakov explores, but never in a heavy-handed manner. The political is merely backdrop to the personal:
Something had settled in Alexei鈥檚 chest like a stone and he whistled as he breathed, drawing in through bared teeth a sticky, thin stream of air that barely penetrated to his lungs. He had long ago lost consciousness and neither saw nor understood what was going on around him. Elena stood and looked. The professor took her by the arm and whispered:
鈥楪o now, Elena Vasilievna, we鈥檒l do all there is to do.鈥�
Elena obeyed and went out. But the professor did not do anything more. (p. 275)
This moment, to me, was perfect. Bulgakov has captured the essence of this type of situation. The only thing the professor could do for Alexei was to reassure Elena.
Bulgakov brilliantly sketches even minor characters. Outside of House No. 13, a war is raging. Several family members are involved and, in this way, the reader is provided a view of the wider world and the characters that inhabit it. Perhaps my favorite is this troubling scene in which the janitor, drafted into service as coroner, is helping Nikolka, the younger brother, find Colonel Nais-Turs, Nikolka鈥檚 fallen comrade-in-arms.
Moving carefully in order not to slip on the floor, Fyodor grasped Nais-Turs by the head and pulled hard. A flat-chested, broad-hipped woman was lying face down across Nai鈥檚 stomach. There was a cheap little comb in the hair at the back of her neck, glittering dully, like a fragment of glass. Without stopping what he was doing Fyodor deftly pulled it out, dropped it into the pocket of his apron and gripped NaiTurs under the armpits. As it was pulled out of the pile his head lolled back, his sharp, unshaven chin pointed upwards and one arm slipped from the janitor鈥檚 grasp. (p.271)
Bulgakov keeps the plot taut and the reader engaged. This book requires little suspension of disbelief. The White Guard is realist, unlike the much more fanciful 鈥淭he Master and Margarita.鈥� Bulgakov does, however, add a touch of the supernatural. And while the book is political enough to have been suppressed by Stalin, the question of which of the three sides fighting the war is 鈥渞ight鈥� is never really posed, much less answered. The interesting questions all pertain to the individual and, more, to a family trying to survive a civil war. The primary loyalties are personal which, in Ukraine as elsewhere, reflects reality. The book is ambivalent toward political loyalties and the revolutions borne of having putting those loyalties before the personal. The author, as surely as the characters, must have had little enthusiasm for revolutionary politics.
In the end, perhaps the highest praise I can give is that it would be difficult to read 鈥淭he White Guard鈥� without becoming attached to the Turbin family. Perhaps, this, more than any overt politics, is why the novel was banned in the Stalinist Soviet Union.
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