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La Com茅die Humaine #73
螠伪蟽喂渭委位伪 螡蟿蠈谓喂
This was an untenable position. Cataneo, who only looked for a duchess, thought himself ridiculous as a husband; and, when Massimilla complained of this indifference, he calmly bid her look about her for a cavaliere servente, even offering his services to introduce to her some youths from whom to choose. The Duchess wept; the Duke made his bow.
194 pages, Paperback
First published January 1, 1839
5 people are currently reading
222 people want to read
About the author
Honor茅 de Balzac
8,299听books4,219听followersFrench writer Honor茅 de Balzac (born Honor茅 Balzac), a founder of the realist school of fiction, portrayed the panorama of society in a body of works, known collectively as
La com茅die humaine
.
Honor茅 de Balzac authored 19th-century novels and plays. After the fall of Napol茅on I Bonaparte in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.
Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, 脡mile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.
An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts. From his own experience, he reflects life difficulties and includes scenes.
Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Ha艅ska, his longtime paramour; five months later, he passed away.
Honor茅 de Balzac authored 19th-century novels and plays. After the fall of Napol茅on I Bonaparte in 1815, his magnum opus, a sequence of almost a hundred novels and plays, entitled, presents life in the years.
Due to keen observation of fine detail and unfiltered representation, European literature regards Balzac. He features renowned multifaceted, even complex, morally ambiguous, full lesser characters. Character well imbues inanimate objects; the city of Paris, a backdrop, takes on many qualities. He influenced many famous authors, including the novelists Marcel Proust, 脡mile Zola, Charles John Huffam Dickens, Gustave Flaubert, Henry James, and Jack Kerouac as well as important philosophers, such as Friedrich Engels. Many works of Balzac, made into films, continue to inspire.
An enthusiastic reader and independent thinker as a child, Balzac adapted with trouble to the teaching style of his grammar. His willful nature caused trouble throughout his life and frustrated his ambitions to succeed in the world of business. Balzac finished, and people then apprenticed him as a legal clerk, but after wearying of banal routine, he turned his back on law. He attempted a publisher, printer, businessman, critic, and politician before and during his career. He failed in these efforts. From his own experience, he reflects life difficulties and includes scenes.
Possibly due to his intense schedule and from health problems, Balzac suffered throughout his life. Financial and personal drama often strained his relationship with his family, and he lost more than one friend over critical reviews. In 1850, he married Ewelina Ha艅ska, his longtime paramour; five months later, he passed away.
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April 20, 2018
螉蟽蠅蟼 蟿慰 蟺喂慰 "渭蔚位蠅未喂魏蠈" 苇蟻纬慰 蟿慰蠀 螠蟺伪位味维魏 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂 蔚喂蟽苇蟿喂. 螠喂伪 蠅未萎 蟽蟿畏谓 蠈蟺蔚蟻伪 魏伪喂 蟽蟿畏谓 喂蟿伪位喂魏萎 蠄蠀蠂慰蟽蠉谓胃蔚蟽畏, 蠈蟺慰蠀 蟿慰 渭苇位慰蟼 蟽蠀纬蠂苇蔚蟿伪喂 魏伪喂 未喂伪蠂苇蔚蟿伪喂 蟽蟿慰 蟺维胃慰蟼, 渭苇蟽伪 伪蟺蠈 蟿畏谓 喂蟽蟿慰蟻委伪 苇蟻蠅蟿伪 蟿慰蠀 螤蟻委纬魏喂蟺伪 魏伪喂 蟿畏蟼 螠伪蟽喂渭委位伪 螡蟿蠈谓喂. 螣 魏伪位位喂蟿苇蠂谓畏蟼 魏伪蟿慰蟻胃蠋谓蔚喂 谓伪 蟺伪蟻伪蟽蠉蟻蔚喂 渭蔚 蟿畏谓 蟿苇蠂谓畏 蟿慰蠀 伪魏蠈渭伪 魏伪喂 蔚魏蔚委谓慰蠀蟼 -蠈蟺蠅蟼 蔚纬蠋- 蟺慰蠀 未蔚谓 蔚谓未喂伪蠁苇蟻慰谓蟿伪喂 喂未喂伪委蟿蔚蟻伪 纬喂伪 蟿慰 蔚谓 位蠈纬蠅 渭慰蠀蟽喂魏蠈 蔚委未慰蟼 慰蠉蟿蔚 尾苇尾伪喂伪 纬喂伪 蟿畏 蟽蟿蔚蟻蔚慰蟿蠀蟺喂魏萎 蟺伪蟻慰蠀蟽委伪蟽畏 蟿蠅谓 螜蟿伪位蠋谓 蠅蟼 位伪慰蠉 "伪喂蟽胃伪谓蟿喂魏慰蠉, 渭慰蠀蟽喂魏慰蠉, 蔚蟻蠅蟿蔚蠉蟽喂渭慰蠀" (畏 "蟺蠀尉委未伪" 渭慰蠀 蟽蠀谓蔚蠂委味蔚喂 谓伪 未蔚委蠂谓蔚喂 蟺维谓蟿伪 蟽蟿慰谓 螔慰蟻蟻维, 渭伪魏蟻喂维 伪蟺蠈 蟿慰谓 魏伪蟿维 韦. 螠伪谓 "魏蟿畏谓蠋未畏 伪喂蟽胃畏蟽喂伪蟽渭蠈 蟿蠅谓 螡慰蟿委蠅谓").
螣 螤伪蟻伪蟿畏蟻畏蟿萎蟼 螠蟺伪位味维魏 蠂蔚喂蟻委味蔚蟿伪喂 蟿慰 位慰纬慰蟿蔚蠂谓喂魏蠈 蟿慰蠀 "慰蟺位慰蟽蟿维蟽喂慰" 渭蔚 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏萎 维谓蔚蟽畏, 伪谓伪未蔚喂魏谓蠉慰谓蟿伪蟼 蟿伪 蟺伪蟻伪未慰蟽喂伪魏维 未委蟺慰位伪 蟺慰蠀 伪蟺伪蟽蠂蠈位畏蟽伪谓 魏伪喂 伪蟺伪蟽蠂慰位慰蠉谓 蟿畏谓 蟿苇蠂谓畏 伪蟺蠈 魏伪蟿伪尾慰位萎蟼 蟿畏蟼: 螜未苇伪 魏伪喂 螠慰蟻蠁萎, 螤谓蔚蠉渭伪 魏伪喂 螏位畏, 螤位伪蟿蠅谓喂魏蠈蟼 魏伪喂 蟽伪蟻魏喂魏蠈蟼 苇蟻蠅蟿伪蟼, 伪蟺蠈位伪蠀蟽畏 蟿蠅谓 伪喂蟽胃萎蟽蔚蠅谓 伪位位维 魏伪喂 蟿畏蟼 蟿苇蠂谓畏蟼. 螝伪喂 蟺维谓蠅 伪蟺蠈 蠈位伪, 蟺蟻慰尾维位位蔚喂 畏 渭蠀蟽蟿伪纬蠅纬喂魏萎 蔚渭蟺蔚喂蟻委伪 蟿畏蟼 渭慰蠀蟽喂魏萎蟼, 蠅蟼 "魏喂谓慰蠉谓 伪委蟿喂慰", 蠅蟼 蠁慰蟻苇伪蟼 谓慰萎渭伪蟿慰蟼.
螒蠀蟿维 蟺慰蠀 胃蔚蠅蟻萎胃畏魏伪谓 渭蔚喂慰谓蔚魏蟿萎渭伪蟿伪 蟽蟿畏 谓慰蠀尾苇位伪 伪蠀蟿萎, 蟿慰蠀蟿苇蟽蟿喂谓 畏 渭伪魏蟻慰蟽魏蔚位萎蟼 伪谓维位蠀蟽畏 蟿畏蟼 蠈蟺蔚蟻伪蟼 蟿慰蠀 巍慰蟽委谓喂 魏伪喂 畏 伪蠁蔚位萎蟼 魏伪蟿维位畏尉畏, 慰蠀未蠈位蠅蟼 未蔚谓 未喂伪蟿伪蟻维蟽蟽慰蠀谓 蟿畏 渭伪纬蔚委伪 魏伪喂 蔚蟺' 慰蠀未蔚谓委 未蔚谓 渭蔚喂蠋谓慰蠀谓 蟿畏谓 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼.
危畏渭蔚喂蠅蟿苇慰, 蟺蠅蟼 蠈蟺蠅蟼 蟽蠀渭尾伪委谓蔚喂 蟽蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 苇蟻纬伪 蟿慰蠀 螠蟺伪位味维魏, 伪蟺伪喂蟿蔚委蟿伪喂 畏 蔚谓蔚蟻纬蠈蟼 蟽蠀渭渭蔚蟿慰蠂萎 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 慰 慰蟺慰委慰蟼 胃伪 蟺蟻苇蟺蔚喂 谓伪 未喂伪魏蟻委谓蔚喂 蟿畏谓 蔚蠀蠁蠀萎 伪位位畏位慰蠀蠂委伪 蟿蠅谓 位苇尉蔚蠅谓 魏伪喂 蟿慰 蟺伪喂蠂谓委未喂 蟿蠅谓 谓慰畏渭维蟿蠅谓 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟽蔚鈥� 魏慰喂谓萎 胃苇伪.
韦蔚位喂魏维, 蟿慰 蟺蟻蠈尾位畏渭伪 蟺伪蟻伪渭苇谓蔚喂 苇谓伪 魏伪喂 渭蠈谓慰: 螠蔚蟿维 蟿畏谓 伪谓维纬谓蠅蟽畏 苇蟻纬蠅谓 蟽伪谓 魏喂 伪蠀蟿蠈, 畏 蟽蠉纬蠂蟻慰谓畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺伪蟻伪纬蠅纬萎, 蟽蟿伪 渭维蟿喂伪 渭慰蠀 蟿慰蠀位维蠂喂蟽蟿慰谓, 蠁伪谓蟿维味蔚喂 伪魏蠈渭伪 蟺喂慰 蠁蟿蠅蠂萎 魏伪喂 伪蟽萎渭伪谓蟿畏.
螣 螤伪蟻伪蟿畏蟻畏蟿萎蟼 螠蟺伪位味维魏 蠂蔚喂蟻委味蔚蟿伪喂 蟿慰 位慰纬慰蟿蔚蠂谓喂魏蠈 蟿慰蠀 "慰蟺位慰蟽蟿维蟽喂慰" 渭蔚 蠂伪蟻伪魏蟿畏蟻喂蟽蟿喂魏萎 维谓蔚蟽畏, 伪谓伪未蔚喂魏谓蠉慰谓蟿伪蟼 蟿伪 蟺伪蟻伪未慰蟽喂伪魏维 未委蟺慰位伪 蟺慰蠀 伪蟺伪蟽蠂蠈位畏蟽伪谓 魏伪喂 伪蟺伪蟽蠂慰位慰蠉谓 蟿畏谓 蟿苇蠂谓畏 伪蟺蠈 魏伪蟿伪尾慰位萎蟼 蟿畏蟼: 螜未苇伪 魏伪喂 螠慰蟻蠁萎, 螤谓蔚蠉渭伪 魏伪喂 螏位畏, 螤位伪蟿蠅谓喂魏蠈蟼 魏伪喂 蟽伪蟻魏喂魏蠈蟼 苇蟻蠅蟿伪蟼, 伪蟺蠈位伪蠀蟽畏 蟿蠅谓 伪喂蟽胃萎蟽蔚蠅谓 伪位位维 魏伪喂 蟿畏蟼 蟿苇蠂谓畏蟼. 螝伪喂 蟺维谓蠅 伪蟺蠈 蠈位伪, 蟺蟻慰尾维位位蔚喂 畏 渭蠀蟽蟿伪纬蠅纬喂魏萎 蔚渭蟺蔚喂蟻委伪 蟿畏蟼 渭慰蠀蟽喂魏萎蟼, 蠅蟼 "魏喂谓慰蠉谓 伪委蟿喂慰", 蠅蟼 蠁慰蟻苇伪蟼 谓慰萎渭伪蟿慰蟼.
螒蠀蟿维 蟺慰蠀 胃蔚蠅蟻萎胃畏魏伪谓 渭蔚喂慰谓蔚魏蟿萎渭伪蟿伪 蟽蟿畏 谓慰蠀尾苇位伪 伪蠀蟿萎, 蟿慰蠀蟿苇蟽蟿喂谓 畏 渭伪魏蟻慰蟽魏蔚位萎蟼 伪谓维位蠀蟽畏 蟿畏蟼 蠈蟺蔚蟻伪蟼 蟿慰蠀 巍慰蟽委谓喂 魏伪喂 畏 伪蠁蔚位萎蟼 魏伪蟿维位畏尉畏, 慰蠀未蠈位蠅蟼 未蔚谓 未喂伪蟿伪蟻维蟽蟽慰蠀谓 蟿畏 渭伪纬蔚委伪 魏伪喂 蔚蟺' 慰蠀未蔚谓委 未蔚谓 渭蔚喂蠋谓慰蠀谓 蟿畏谓 伪蟺蠈位伪蠀蟽畏 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼.
危畏渭蔚喂蠅蟿苇慰, 蟺蠅蟼 蠈蟺蠅蟼 蟽蠀渭尾伪委谓蔚喂 蟽蟿伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻伪 苇蟻纬伪 蟿慰蠀 螠蟺伪位味维魏, 伪蟺伪喂蟿蔚委蟿伪喂 畏 蔚谓蔚蟻纬蠈蟼 蟽蠀渭渭蔚蟿慰蠂萎 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏, 慰 慰蟺慰委慰蟼 胃伪 蟺蟻苇蟺蔚喂 谓伪 未喂伪魏蟻委谓蔚喂 蟿畏谓 蔚蠀蠁蠀萎 伪位位畏位慰蠀蠂委伪 蟿蠅谓 位苇尉蔚蠅谓 魏伪喂 蟿慰 蟺伪喂蠂谓委未喂 蟿蠅谓 谓慰畏渭维蟿蠅谓 蟺慰蠀 魏蟻蠉尾蔚蟿伪喂 蟽蔚鈥� 魏慰喂谓萎 胃苇伪.
韦蔚位喂魏维, 蟿慰 蟺蟻蠈尾位畏渭伪 蟺伪蟻伪渭苇谓蔚喂 苇谓伪 魏伪喂 渭蠈谓慰: 螠蔚蟿维 蟿畏谓 伪谓维纬谓蠅蟽畏 苇蟻纬蠅谓 蟽伪谓 魏喂 伪蠀蟿蠈, 畏 蟽蠉纬蠂蟻慰谓畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟺伪蟻伪纬蠅纬萎, 蟽蟿伪 渭维蟿喂伪 渭慰蠀 蟿慰蠀位维蠂喂蟽蟿慰谓, 蠁伪谓蟿维味蔚喂 伪魏蠈渭伪 蟺喂慰 蠁蟿蠅蠂萎 魏伪喂 伪蟽萎渭伪谓蟿畏.
April 12, 2017
螝维蟺慰喂慰喂 蔚谓未喂伪蠁苇蟻慰谓蟿蔚蟼 蟽蟿慰蠂伪蟽渭慰委 纬喂伪 蟿畏谓 未蠉谓伪渭畏 魏伪喂 蟿畏谓 蠁蠉蟽畏 蟿畏蟼 渭慰蠀蟽喂魏萎蟼, 蟿慰蠀 蟺维胃慰蠀蟼 魏伪喂 蟿畏谓 蟺慰位喂蟿喂魏萎. 螒位位伪 蔚委谓伪喂 喂未喂伪委蟿蔚蟻伪 苇谓蟿慰谓慰蟼 魏伪喂 慰 位蠀蟻喂蟽渭蠈蟼 蔚谓蠅 畏 蟽魏喂伪纬蟻维蠁畏蟽畏 蠂蠅位伪委谓蔚喂 蠅蟼 蔚蟺喂 蟿慰 蟺位蔚委蟽蟿慰谓. 螣喂 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 未蠀蟽蟿蠀蠂蠋蟼 魏慰蠀蟻维味慰蠀谓 魏伪胃蠋蟼 渭慰喂维味慰蠀谓 伪蟿维魏蟿蠅蟼 蔚蟻蟻喂渭渭苇谓蔚蟼 蟽伪谓 谓伪 渭畏谓 苇蠂慰蠀谓 未慰蠀位蔚蠀蟿蔚委 伪蟻魏蔚蟿维 蠅蟽蟿蔚 谓伪 蟿伪喂蟻喂维尉慰蠀谓. 危蠀谓慰位喂魏维 苇谓伪 魏维蟿蠅 蟿慰蠀 渭蔚蟿蟻委慰蠀 苇蟻纬慰 蟺慰蠀 未蔚谓 胃蠀渭委味蔚喂 螠蟺伪位味维魏.
May 28, 2018
惟未萎 蟽蟿畏谓 蠈蟺蔚蟻伪 蟿慰蠀 巍慰蟽蟽委谓喂.
February 11, 2025
螚 螠伪蟽喂渭委位伪 蔚委谓伪喂 纬蠀谓伪委魏伪 蟿慰蠀 未慰蠉魏伪 螝伪蟿伪谓苇慰, 魏伪位慰纬蟻伪喂慰渭蔚纬伪位蠅渭苇谓畏, 蔚谓维蟻蔚蟿畏 魏伪喂 纬蔚谓喂魏蠋蟼 魏伪位萎蟼 伪谓伪蟿蟻慰蠁萎蟼, 渭苇蠂蟻喂 蟺慰蠀 蠁蟿维谓蔚喂 蟽蟿畏 螔蔚谓蔚蟿委伪 蟿慰蠀 1820. 螣 蟺蔚蟻委 慰蠀 慰 位蠈纬慰蟼 螝伪蟿伪谓苇慰 蠈渭蠅蟼, 蔚委谓伪喂 慰 慰蟻喂蟽渭蠈蟼 蟿畏蟼 蟽蠀味蠀纬喂魏萎蟼 伪未喂伪蠁慰蟻委伪蟼, 蟽蔚 尾伪胃渭蠈 蟺慰蠀 蟿畏谓 蟺蟻慰蟿蟻苇蟺蔚喂 谓伪 伪蟺慰魏蟿萎蟽蔚喂 蔚蟻伪蟽蟿萎 纬喂伪 谓伪 渭畏谓 蟿慰蠀 蟿伪 魏维谓蔚喂 渭慰纬魏慰位蠁喂蔚蟻喂魏维 伪蔚蟻蠈蟽蟿伪蟿伪, 魏伪胃蠋蟼 蟿畏谓 苇蠂蔚喂 蟺伪谓蟿蟻蔚蠀蟿蔚委 渭蠈谓慰 魏伪喂 渭蠈谓慰 纬喂伪 谓伪 伪蟺慰魏蟿萎蟽蔚喂 蟿委蟿位慰 蔚蠀纬蔚谓蔚委伪蟼 魏伪喂 蔚委谓伪喂 尉蔚蟿蟻蔚位伪渭苇谓慰蟼 渭蔚 蟿畏谓 螡蟿委谓蟿喂, 蟿蟻伪纬慰蠀未委蟽蟿蟻喂伪 蟿畏蟼 蠈蟺蔚蟻伪蟼, 蟿畏蟼 慰蟺慰委伪蟼 蔚委谓伪喂 魏伪喂 (伪蠂苇渭) 蠂慰蟻畏纬蠈蟼.
螒蟺蠈 蟿畏谓 维位位畏, 苇蠂慰蠀渭蔚 蟿慰谓 螘渭委位喂慰, 谓蔚伪蟻蠈 蟺蟻委纬魏喂蟺伪 伪蟺蠈 蟿慰 螔伪蟻苇味蔚 蟺慰蠀 蟺伪胃伪委谓蔚喂 尾伪蟻蠉蟿伪蟿慰 渭蟺伪魏伪魏维慰 渭蔚 蟿畏 螠伪蟽喂渭委位伪 魏伪喂 伪谓维渭蔚蟽维 蟿慰蠀蟼 伪谓伪蟺蟿蠉蟽蟽蔚蟿伪喂 苇谓伪蟼 苇蟻蠅蟿伪蟼 蟺慰蠀 蟻苇蟺蔚喂 苇谓蟿慰谓伪 蟺蟻慰蟼 蟿慰 蟺位伪蟿蠅谓喂魏蠈.
韦伪 air b鈥榥鈥檅 蟿畏蟼 伪蟺慰蠂萎蟼 未蔚 位蔚喂蟿慰蠀蟻纬慰蠉谓 魏伪位维 魏伪喂 慰 螘渭委位喂慰 尾蟻委蟽魏蔚蟿伪喂 谓伪 苇蠂蔚喂 谓慰喂魏喂维蟽蔚喂 蠂蠅蟻委蟼 谓伪 蟿慰 纬谓蠅蟻委味蔚喂 蟿畏 尾委位伪 蟿慰蠀 蟽蟿慰谓 螝伪蟿伪谓苇慰 魏伪喂 蟿畏谓 螡蟿委谓蟿喂 畏 慰蟺慰委伪 蟿慰谓 尾位苇蟺蔚喂 魏伪喂 蟺伪胃伪委谓蔚喂 蟿慰谓 未喂魏蠈 蟿畏蟼 谓蟿慰蠀尾蟻慰谓蟿味维 渭蔚 蟿慰 谓蔚伪蟻蠈 蟺蟻委纬魏喂蟺伪.
螤伪蟻维位位畏位伪, 蟿蟻苇蠂蔚喂 慰 芦螠蠅蠀蟽萎蟼 蟽蟿畏 螒委纬蠀蟺蟿慰禄 (巍慰蟽委谓喂) 未喂维 蠂蔚喂位苇蠅谓 螠伪蟽喂渭委位伪(蟼) 蟺慰蠀 渭伪蟼 蟿伪位伪喂蟺蠅蟻蔚委 纬喂伪 渭蔚纬维位慰 渭苇蟻慰蟼 蟿慰蠀 渭喂魏蟻慰蠉 伪蠀蟿慰蠉 尾喂尾位委慰蠀, 蔚谓蠋 畏 渭慰蠀蟽喂魏萎 蔚委谓伪喂 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻慰蠉蟽伪, 纬蔚渭委味蔚喂 蟿慰 蠂蠋蟻慰 魏伪喂 蟺伪蟻苇蠂蔚喂 蟺位畏胃蠋蟻伪 伪谓伪蠁慰蟻蠋谓.
韦慰 蠈位慰 苇蟻纬慰 蟽蟿畏蟻委味蔚蟿伪喂 蟽蟿畏谓 -慰渭慰位慰纬慰蠀渭苇谓蠅蟼 蔚魏蟺位畏魏蟿喂魏萎 蠈蟽慰 魏伪喂 渭慰蠀蟽喂魏萎- 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺慰蠀 未畏渭喂慰蠀蟻纬蔚委, 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 蠈,蟿喂 蟽蟿喂蟼 伪位位畏位蔚蟺喂未蟻维蟽蔚喂蟼 渭蔚蟿伪尉蠉 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓, 魏维蟿喂 蟺慰蠀 未蔚谓 蔚委谓伪喂 蟿慰 未喂魏蠈 渭慰蠀 cup of tea, 伪蟼 蔚委渭蔚胃伪 蔚喂位喂魏蟻喂谓蔚委蟼, 胃伪 慰渭慰位慰纬萎蟽蠅 蠈蟿喂 蠈蟽慰 蠈渭慰蟻蠁慰 魏喂 伪谓 蔚委谓伪喂, 渭蔚 魏慰蠉蟻伪蟽蔚鈥�
危蟺蠈喂位蔚蟻 伪位苇蟻蟿, 蟺位慰蟿 蟿慰蠉蟽蟿 魏伪喂 未喂蟺位蠈 蟿蠈位慰蠀蟺, 蟽蟿慰 蠁喂谓维位蔚 蠀蟺维蟻蠂蔚喂 魏伪喂 渭喂伪 "纬魏伪蟽蟿蟻喂维 魏伪蟿伪魏位蔚委未伪蟼", 伪位位维 未蔚未慰渭苇谓慰蠀 蠈蟿喂 蟿慰 尾喂尾位委慰 苇蠂蔚喂 蟺蟻伪魏蟿喂魏维 蟿蔚位蔚喂蠋蟽蔚喂 未蔚 胃伪 伪蟺伪蟽蠂慰位萎蟽蔚喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏鈥�
螒蟺蠈 蟿畏谓 维位位畏, 苇蠂慰蠀渭蔚 蟿慰谓 螘渭委位喂慰, 谓蔚伪蟻蠈 蟺蟻委纬魏喂蟺伪 伪蟺蠈 蟿慰 螔伪蟻苇味蔚 蟺慰蠀 蟺伪胃伪委谓蔚喂 尾伪蟻蠉蟿伪蟿慰 渭蟺伪魏伪魏维慰 渭蔚 蟿畏 螠伪蟽喂渭委位伪 魏伪喂 伪谓维渭蔚蟽维 蟿慰蠀蟼 伪谓伪蟺蟿蠉蟽蟽蔚蟿伪喂 苇谓伪蟼 苇蟻蠅蟿伪蟼 蟺慰蠀 蟻苇蟺蔚喂 苇谓蟿慰谓伪 蟺蟻慰蟼 蟿慰 蟺位伪蟿蠅谓喂魏蠈.
韦伪 air b鈥榥鈥檅 蟿畏蟼 伪蟺慰蠂萎蟼 未蔚 位蔚喂蟿慰蠀蟻纬慰蠉谓 魏伪位维 魏伪喂 慰 螘渭委位喂慰 尾蟻委蟽魏蔚蟿伪喂 谓伪 苇蠂蔚喂 谓慰喂魏喂维蟽蔚喂 蠂蠅蟻委蟼 谓伪 蟿慰 纬谓蠅蟻委味蔚喂 蟿畏 尾委位伪 蟿慰蠀 蟽蟿慰谓 螝伪蟿伪谓苇慰 魏伪喂 蟿畏谓 螡蟿委谓蟿喂 畏 慰蟺慰委伪 蟿慰谓 尾位苇蟺蔚喂 魏伪喂 蟺伪胃伪委谓蔚喂 蟿慰谓 未喂魏蠈 蟿畏蟼 谓蟿慰蠀尾蟻慰谓蟿味维 渭蔚 蟿慰 谓蔚伪蟻蠈 蟺蟻委纬魏喂蟺伪.
螤伪蟻维位位畏位伪, 蟿蟻苇蠂蔚喂 慰 芦螠蠅蠀蟽萎蟼 蟽蟿畏 螒委纬蠀蟺蟿慰禄 (巍慰蟽委谓喂) 未喂维 蠂蔚喂位苇蠅谓 螠伪蟽喂渭委位伪(蟼) 蟺慰蠀 渭伪蟼 蟿伪位伪喂蟺蠅蟻蔚委 纬喂伪 渭蔚纬维位慰 渭苇蟻慰蟼 蟿慰蠀 渭喂魏蟻慰蠉 伪蠀蟿慰蠉 尾喂尾位委慰蠀, 蔚谓蠋 畏 渭慰蠀蟽喂魏萎 蔚委谓伪喂 蟺伪谓蟿伪蠂慰蠉 蟺伪蟻慰蠉蟽伪, 纬蔚渭委味蔚喂 蟿慰 蠂蠋蟻慰 魏伪喂 蟺伪蟻苇蠂蔚喂 蟺位畏胃蠋蟻伪 伪谓伪蠁慰蟻蠋谓.
韦慰 蠈位慰 苇蟻纬慰 蟽蟿畏蟻委味蔚蟿伪喂 蟽蟿畏谓 -慰渭慰位慰纬慰蠀渭苇谓蠅蟼 蔚魏蟺位畏魏蟿喂魏萎 蠈蟽慰 魏伪喂 渭慰蠀蟽喂魏萎- 伪蟿渭蠈蟽蠁伪喂蟻伪 蟺慰蠀 未畏渭喂慰蠀蟻纬蔚委, 蟺慰位蠉 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 蠈,蟿喂 蟽蟿喂蟼 伪位位畏位蔚蟺喂未蟻维蟽蔚喂蟼 渭蔚蟿伪尉蠉 蟿蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓, 魏维蟿喂 蟺慰蠀 未蔚谓 蔚委谓伪喂 蟿慰 未喂魏蠈 渭慰蠀 cup of tea, 伪蟼 蔚委渭蔚胃伪 蔚喂位喂魏蟻喂谓蔚委蟼, 胃伪 慰渭慰位慰纬萎蟽蠅 蠈蟿喂 蠈蟽慰 蠈渭慰蟻蠁慰 魏喂 伪谓 蔚委谓伪喂, 渭蔚 魏慰蠉蟻伪蟽蔚鈥�
危蟺蠈喂位蔚蟻 伪位苇蟻蟿, 蟺位慰蟿 蟿慰蠉蟽蟿 魏伪喂 未喂蟺位蠈 蟿蠈位慰蠀蟺, 蟽蟿慰 蠁喂谓维位蔚 蠀蟺维蟻蠂蔚喂 魏伪喂 渭喂伪 "纬魏伪蟽蟿蟻喂维 魏伪蟿伪魏位蔚委未伪蟼", 伪位位维 未蔚未慰渭苇谓慰蠀 蠈蟿喂 蟿慰 尾喂尾位委慰 苇蠂蔚喂 蟺蟻伪魏蟿喂魏维 蟿蔚位蔚喂蠋蟽蔚喂 未蔚 胃伪 伪蟺伪蟽蠂慰位萎蟽蔚喂 蟿慰谓 伪谓伪纬谓蠋蟽蟿畏鈥�
May 10, 2018
螚 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭蔚 蟿慰谓 Honor茅 de Balzac 未蔚谓 渭蔚 伪蟺慰纬慰萎蟿蔚蠀蟽蔚 魏伪胃蠈位慰蠀.
螤位伪蟿蠅谓喂魏蠈蟼 萎 蟽蔚尉慰蠀伪位喂魏蠈蟼 苇蟻蠅蟿伪蟼; 螠蟺慰蟻慰蠉谓 谓伪 蟽蠀谓蠀蟺维蟻尉慰蠀谓 魏伪喂 慰喂 未蠉慰 蟽蔚 苇谓伪谓 维谓胃蟻蠅蟺慰 蠈蟿伪谓 蔚魏未畏位蠋谓慰谓蟿伪喂 纬喂伪 未喂伪蠁慰蟻蔚蟿喂魏维 蟺蟻蠈蟽蠅蟺伪;
螒蠀蟿维 蔚委谓伪喂 蟿伪 魏蠀蟻委蠅蟼 蔚蟻蠅蟿萎渭伪蟿伪 蟺慰蠀 胃苇蟿蔚喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 魏伪喂 慰 Balzac 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 伪蟺伪谓蟿萎蟽蔚喂 渭蔚 苇谓伪谓 喂未喂伪委蟿蔚蟻慰 蟿蟻蠈蟺慰...
螤伪蟻伪位位畏位委味慰谓蟿伪蟼 蟿畏谓 螒纬维蟺畏 渭蔚 蟿畏谓 螠慰蠀蟽喂魏萎 魏伪喂 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 渭慰蠀蟽喂魏苇蟼 慰蟻慰位慰纬委蔚蟼 纬喂伪 谓伪 蟺蔚蟻喂纬蟻维蠄蔚喂 蟿喂蟼 未喂伪魏蠀渭维谓蟽蔚喂蟼 蟿畏蟼 渭蔚位蠅未委伪蟼 蟽蔚 纬谓蠅蟽蟿苇蟼 螌蟺蔚蟻蔚蟼, 魏伪胃蠋蟼 魏伪喂 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 慰 渭慰蠀蟽喂魏蠈蟼 蟽蠀渭渭蔚蟿苇蠂蔚喂 蟽蔚 伪蠀蟿苇蟼, 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 蟺蔚蟻喂纬蟻维蠄蔚喂 蟺蠋蟼 伪喂蟽胃维谓蔚蟿伪喂 慰 蔚蟻蠅蟿蔚蠀渭苇谓慰蟼 蠈蟿伪谓 尾蟻蔚胃蔚委 蟽蔚 伪蠀蟿萎谓 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 渭苇蟽伪 伪蟺蠈 蟿畏谓 渭慰蠀蟽喂魏萎 胃蔚蠅蟻委伪.
螤喂蟽蟿蔚蠉蠅 胃伪 蔚魏蟿喂渭畏胃蔚委 位委纬慰 蟺伪蟻伪蟺维谓蠅 伪蟺蠈 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 苇蠂慰蠀谓 渭慰蠀蟽喂魏苇蟼 纬谓蠋蟽蔚喂蟼 魏伪喂 纬谓蠅蟻委味慰蠀谓 蟿喂蟼 螌蟺蔚蟻蔚蟼 蟺慰蠀 伪谓伪蠁苇蟻慰谓蟿伪喂 蟽蟿慰 苇蟻纬慰 魏伪胃蠋蟼 伪谓伪位蠉慰谓蟿伪喂 未喂蔚尉慰未喂魏维 蟽蔚 伪蟻魏蔚蟿苇蟼 蟽蔚位委未蔚蟼. (螣喂 蠀蟺蠈位慰喂蟺慰喂 伪谓伪纬谓蠋蟽蟿蔚蟼 委蟽蠅蟼 尾蟻慰蠀谓 蟿喂蟼 蟽蠀纬魏蔚魏蟻喂渭苇谓蔚蟼 蟽蔚位委未蔚蟼 魏维蟺蠅蟼 伪谓喂伪蟻苇蟼).
螕蔚谓喂魏维 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蔚蠀蠂维蟻喂蟽蟿慰 伪谓维纬谓蠅蟽渭伪 蠈蟺慰蠀 渭蟺慰蟻蔚委 谓伪 蟽蟿伪胃蔚委 喂蟽维尉喂伪 蟽蟿伪 蠀蟺蠈位慰喂蟺伪 尾喂尾位委伪 蟿畏蟼 蟽蔚喂蟻维蟼 Aldina :)
螤位伪蟿蠅谓喂魏蠈蟼 萎 蟽蔚尉慰蠀伪位喂魏蠈蟼 苇蟻蠅蟿伪蟼; 螠蟺慰蟻慰蠉谓 谓伪 蟽蠀谓蠀蟺维蟻尉慰蠀谓 魏伪喂 慰喂 未蠉慰 蟽蔚 苇谓伪谓 维谓胃蟻蠅蟺慰 蠈蟿伪谓 蔚魏未畏位蠋谓慰谓蟿伪喂 纬喂伪 未喂伪蠁慰蟻蔚蟿喂魏维 蟺蟻蠈蟽蠅蟺伪;
螒蠀蟿维 蔚委谓伪喂 蟿伪 魏蠀蟻委蠅蟼 蔚蟻蠅蟿萎渭伪蟿伪 蟺慰蠀 胃苇蟿蔚喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰 魏伪喂 慰 Balzac 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 伪蟺伪谓蟿萎蟽蔚喂 渭蔚 苇谓伪谓 喂未喂伪委蟿蔚蟻慰 蟿蟻蠈蟺慰...
螤伪蟻伪位位畏位委味慰谓蟿伪蟼 蟿畏谓 螒纬维蟺畏 渭蔚 蟿畏谓 螠慰蠀蟽喂魏萎 魏伪喂 蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 渭慰蠀蟽喂魏苇蟼 慰蟻慰位慰纬委蔚蟼 纬喂伪 谓伪 蟺蔚蟻喂纬蟻维蠄蔚喂 蟿喂蟼 未喂伪魏蠀渭维谓蟽蔚喂蟼 蟿畏蟼 渭蔚位蠅未委伪蟼 蟽蔚 纬谓蠅蟽蟿苇蟼 螌蟺蔚蟻蔚蟼, 魏伪胃蠋蟼 魏伪喂 蟿慰谓 蟿蟻蠈蟺慰 蟺慰蠀 慰 渭慰蠀蟽喂魏蠈蟼 蟽蠀渭渭蔚蟿苇蠂蔚喂 蟽蔚 伪蠀蟿苇蟼, 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 蟺蔚蟻喂纬蟻维蠄蔚喂 蟺蠋蟼 伪喂蟽胃维谓蔚蟿伪喂 慰 蔚蟻蠅蟿蔚蠀渭苇谓慰蟼 蠈蟿伪谓 尾蟻蔚胃蔚委 蟽蔚 伪蠀蟿萎谓 蟿畏谓 魏伪蟿维蟽蟿伪蟽畏 渭苇蟽伪 伪蟺蠈 蟿畏谓 渭慰蠀蟽喂魏萎 胃蔚蠅蟻委伪.
螤喂蟽蟿蔚蠉蠅 胃伪 蔚魏蟿喂渭畏胃蔚委 位委纬慰 蟺伪蟻伪蟺维谓蠅 伪蟺蠈 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 苇蠂慰蠀谓 渭慰蠀蟽喂魏苇蟼 纬谓蠋蟽蔚喂蟼 魏伪喂 纬谓蠅蟻委味慰蠀谓 蟿喂蟼 螌蟺蔚蟻蔚蟼 蟺慰蠀 伪谓伪蠁苇蟻慰谓蟿伪喂 蟽蟿慰 苇蟻纬慰 魏伪胃蠋蟼 伪谓伪位蠉慰谓蟿伪喂 未喂蔚尉慰未喂魏维 蟽蔚 伪蟻魏蔚蟿苇蟼 蟽蔚位委未蔚蟼. (螣喂 蠀蟺蠈位慰喂蟺慰喂 伪谓伪纬谓蠋蟽蟿蔚蟼 委蟽蠅蟼 尾蟻慰蠀谓 蟿喂蟼 蟽蠀纬魏蔚魏蟻喂渭苇谓蔚蟼 蟽蔚位委未蔚蟼 魏维蟺蠅蟼 伪谓喂伪蟻苇蟼).
螕蔚谓喂魏维 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蔚蠀蠂维蟻喂蟽蟿慰 伪谓维纬谓蠅蟽渭伪 蠈蟺慰蠀 渭蟺慰蟻蔚委 谓伪 蟽蟿伪胃蔚委 喂蟽维尉喂伪 蟽蟿伪 蠀蟺蠈位慰喂蟺伪 尾喂尾位委伪 蟿畏蟼 蟽蔚喂蟻维蟼 Aldina :)
November 8, 2022
危蔚 蟽蠂苇蟽畏 渭蔚 蟿伪 维位位伪 蟿慰蠀 苇蟻纬伪 苇蠂蔚喂 蟿畏 渭喂魏蟻蠈蟿蔚蟻畏 蟺位慰魏萎 魏伪喂 渭蔚纬维位畏 伪谓伪蠁慰蟻维 (蟽蠀纬魏蟻喂蟿喂魏维 渭蔚 蟿慰 渭苇纬蔚胃慰蟼 蟿慰蠀) 蟽蟿畏谓 蠈蟺蔚蟻伪 蟿慰蠀 巍慰蟽委谓喂 "螣 螠蠅蠀蟽萎蟼 蟽蟿畏谓 螒委纬蠀蟺蟿慰". 螒蠀蟿蠈 未蔚谓 蟽畏渭伪委谓蔚喂 蠈蟿喂 未蔚谓 蔚委谓伪喂 伪蟺慰位伪蠀蟽蟿喂魏蠈. 螤伪谓蟿伪 慰 魏蠈蟽渭慰蟼 蟿慰蠀 螠蟺伪位味维魏 渭蔚 纬慰畏蟿蔚蠉蔚喂, 伪位位维 渭伪蟼 苇蠂蔚喂 未蠋蟽蔚喂 魏伪喂 渭蔚纬伪位蠉蟿蔚蟻伪 苇蟻纬伪.
September 5, 2014
Balzac has excelled himself in this story with this description of Emilio's garden:
The shelving gardens were full of the marvels where money has been turned into rocky grottoes and patterns of shells,--the very madness of craftsmanship,--terraces laid out by the fairies, arbours of sterner aspect, where the cypress on its tall trunk, the triangular pines, and the melancholy olive mingled pleasingly with orange trees, bays, and myrtles, and clear pools in which blue or russet fishes swam. Whatever may be said in favour of the natural or English garden, these trees, pruned into parasols, and yews fantastically clipped; this luxury of art so skilfully combined with that of nature in Court dress; those cascades over marble steps where the water spreads so shyly, a filmy scarf swept aside by the wind and immediately renewed; those bronzed metal figures speechlessly inhabiting the silent grove; that lordly palace, an object in the landscape from every side, raising its light outline at the foot of the Alps,--all the living thoughts which animate the stone, the bronze, and the trees, or express themselves in garden plots,--this lavish prodigality was in perfect keeping with the loves of a duchess and a handsome youth, for they are a poem far removed from the coarse ends of brutal nature.
It's an interesting story as much for the way contrasts Italian life with French: he sees it as much more relaxed and congenial, but it's risky to leave politics and business to others - because they are invariably corrupt and often ruin results. There is an attractive carelessness in the way women dress, compared to the seriousness with which French women invest it. But Italy is not free: in the tussle between Austria and France, Austria had the upper hand and Italy has been ceded to them. There is talk of independence, but it is only talk; the Italians envy France her freedom from despotism.
When it's suggested that Italy would be better off allowing France to protect her, as a man protects his mistress. the Duchess replies that France would not love Italy as she wants to be loved. She's no democrat and she's not interested in liberty, fraternity and equality. She just wants the Italian aristocracy restored to its privileges:
"We want to be free. But the liberty I crave is not your ignoble and middle-class liberalism, which would kill all art. I ask," said she, in a tone that thrilled through the box,--"that is to say, I would ask,--that each Italian republic should be resuscitated, with its nobles, its citizens, its special privileges for each caste. I would have the old aristocratic republics once more with their intestine warfare and rivalry that gave birth to the noblest works of art, that created politics, that raised up the great princely houses.
The Italians, it seems have the upper hand over the Austrians, when it comes to opera. Balzac indulges himself with some complex discussion about their respective merits, the main point being that Rossini鈥檚 opera is Mose (Moses in Egypt) which of course is all about rebelling against oppression, while the Austrians (i.e. Mozart) content themselves with writing operas about a libertine at odds with his victims (i.e. Don Giovanni). As the hymn of the delivered Israelites rings out, the Italians stand and demand an encore, a clear symbol of their resentment of the occupiers.
The love story concerns an innocent youth called Emilio, heir to a princedom but no money. He loves Massimilla, wife of the Duke Cataneo who is old and ugly and doesn't want her anyway. He expects her to take a lover, but her religious scruples preclude it, and Emilio is too honourable to succumb to his feelings as well. Alas for him, a mix-up occurs when they go to Venice, separately, and he doesn't get the message that his close friend Vendramin has leased his palazzo to the Duke so that he can entertain Clarina Tinti, the opera singer he's besotted with. (The idea is that the Duke will renovate it, something Emilio doesn't have the money to do. There's a farcical scene where Emilio having gone to bed has left his trousers lying about and when the Duke comes in and sees them he gets in a rage. Clara throws him out for being so rude and promptly seduces Emilio.
Emilio is of course wracked by guilt but he doesn't 'fess up, and what鈥檚 more, he succumbs more than once. They go to the opera again, and this time the two stars, Clara and Genovese are at odds with each other, Clara singing sublimely, and Genovese braying like a donkey.
Clearly some intervention is needed and it鈥檚 a French doctor who supplies a cure for both the courting couples that is reminiscent of the switcheroo identity plots of Mozart鈥檚 comic operas!
Quotations are from the Gutenberg edition.
The shelving gardens were full of the marvels where money has been turned into rocky grottoes and patterns of shells,--the very madness of craftsmanship,--terraces laid out by the fairies, arbours of sterner aspect, where the cypress on its tall trunk, the triangular pines, and the melancholy olive mingled pleasingly with orange trees, bays, and myrtles, and clear pools in which blue or russet fishes swam. Whatever may be said in favour of the natural or English garden, these trees, pruned into parasols, and yews fantastically clipped; this luxury of art so skilfully combined with that of nature in Court dress; those cascades over marble steps where the water spreads so shyly, a filmy scarf swept aside by the wind and immediately renewed; those bronzed metal figures speechlessly inhabiting the silent grove; that lordly palace, an object in the landscape from every side, raising its light outline at the foot of the Alps,--all the living thoughts which animate the stone, the bronze, and the trees, or express themselves in garden plots,--this lavish prodigality was in perfect keeping with the loves of a duchess and a handsome youth, for they are a poem far removed from the coarse ends of brutal nature.
It's an interesting story as much for the way contrasts Italian life with French: he sees it as much more relaxed and congenial, but it's risky to leave politics and business to others - because they are invariably corrupt and often ruin results. There is an attractive carelessness in the way women dress, compared to the seriousness with which French women invest it. But Italy is not free: in the tussle between Austria and France, Austria had the upper hand and Italy has been ceded to them. There is talk of independence, but it is only talk; the Italians envy France her freedom from despotism.
When it's suggested that Italy would be better off allowing France to protect her, as a man protects his mistress. the Duchess replies that France would not love Italy as she wants to be loved. She's no democrat and she's not interested in liberty, fraternity and equality. She just wants the Italian aristocracy restored to its privileges:
"We want to be free. But the liberty I crave is not your ignoble and middle-class liberalism, which would kill all art. I ask," said she, in a tone that thrilled through the box,--"that is to say, I would ask,--that each Italian republic should be resuscitated, with its nobles, its citizens, its special privileges for each caste. I would have the old aristocratic republics once more with their intestine warfare and rivalry that gave birth to the noblest works of art, that created politics, that raised up the great princely houses.
The Italians, it seems have the upper hand over the Austrians, when it comes to opera. Balzac indulges himself with some complex discussion about their respective merits, the main point being that Rossini鈥檚 opera is Mose (Moses in Egypt) which of course is all about rebelling against oppression, while the Austrians (i.e. Mozart) content themselves with writing operas about a libertine at odds with his victims (i.e. Don Giovanni). As the hymn of the delivered Israelites rings out, the Italians stand and demand an encore, a clear symbol of their resentment of the occupiers.
The love story concerns an innocent youth called Emilio, heir to a princedom but no money. He loves Massimilla, wife of the Duke Cataneo who is old and ugly and doesn't want her anyway. He expects her to take a lover, but her religious scruples preclude it, and Emilio is too honourable to succumb to his feelings as well. Alas for him, a mix-up occurs when they go to Venice, separately, and he doesn't get the message that his close friend Vendramin has leased his palazzo to the Duke so that he can entertain Clarina Tinti, the opera singer he's besotted with. (The idea is that the Duke will renovate it, something Emilio doesn't have the money to do. There's a farcical scene where Emilio having gone to bed has left his trousers lying about and when the Duke comes in and sees them he gets in a rage. Clara throws him out for being so rude and promptly seduces Emilio.
Emilio is of course wracked by guilt but he doesn't 'fess up, and what鈥檚 more, he succumbs more than once. They go to the opera again, and this time the two stars, Clara and Genovese are at odds with each other, Clara singing sublimely, and Genovese braying like a donkey.
Clearly some intervention is needed and it鈥檚 a French doctor who supplies a cure for both the courting couples that is reminiscent of the switcheroo identity plots of Mozart鈥檚 comic operas!
Quotations are from the Gutenberg edition.
March 6, 2019
Publicado em 1839 faz parte dos Estudos Filos贸ficos dentro da Com茅dia Humana.
Temos uma trama amorosa que se passa em Veneza que 茅 apenas pretexto para o autor discorrer sobre m煤sica, fazendo na maior parte do tempo uma apaixonada defesa da 贸pera italiana atrav茅s da obra Mois茅s de Rossini, encenada na novela e analisada por uma das personagens que a assiste. O romance praticamente se perde em meio 脿s digress玫es sobre o tema m煤sica.
Hist贸rico de leitura
12/02/2019
"Como sabem os conhecedores, a nobreza veneziana 茅 a primeira da Europa."
Temos uma trama amorosa que se passa em Veneza que 茅 apenas pretexto para o autor discorrer sobre m煤sica, fazendo na maior parte do tempo uma apaixonada defesa da 贸pera italiana atrav茅s da obra Mois茅s de Rossini, encenada na novela e analisada por uma das personagens que a assiste. O romance praticamente se perde em meio 脿s digress玫es sobre o tema m煤sica.
Hist贸rico de leitura
12/02/2019
"Como sabem os conhecedores, a nobreza veneziana 茅 a primeira da Europa."
January 28, 2022
NASSIMILLA DONI-HONOR脡 DE BALZAC
鉁�"鈥� Prince, pauvre, jeune et beau, mais c鈥檈st un conte de f茅e !鈥� dit-elle."
鉁�"Aux yeux d鈥橢milio, il y avait comme une joute entre l鈥檃mour saint de cette 芒me blanche, et l鈥檃mour de la nerveuse et col猫re Sicilienne."
鉁�"Ainsi va la vie italienne : le matin l鈥檃mour, le soir la musique, la nuit le sommeil."
馃拑Jedna kratka pri膷a iz Balzakove Ljudske komedije iz ciklusa o filozofskom 啪ivotu.
馃拑Me膽utim,ovde osim filozofije ima i ljubavi i svakakvih zavrzlama.
馃拑Ljubav duhovna ili ljubav telesna i mogu li se ta dva ose膰anja spojiti u ljubav prema jednoj osobi
馃拑Razlike izme膽u francuskog i italijanskog duha,kroz vi膽enje muzike
馃拑Razlika izme膽u slikarstva koje predstavlja fizi膷ki objekat i muzike koja je potpuno eteri膷na.
馃拑Jedna prava 膷itala膷ka poslastica.
#7sensesofabook #knjige #classicliterature #literature #readingaddict #bookstagram #balzac
鉁�"鈥� Prince, pauvre, jeune et beau, mais c鈥檈st un conte de f茅e !鈥� dit-elle."
鉁�"Aux yeux d鈥橢milio, il y avait comme une joute entre l鈥檃mour saint de cette 芒me blanche, et l鈥檃mour de la nerveuse et col猫re Sicilienne."
鉁�"Ainsi va la vie italienne : le matin l鈥檃mour, le soir la musique, la nuit le sommeil."
馃拑Jedna kratka pri膷a iz Balzakove Ljudske komedije iz ciklusa o filozofskom 啪ivotu.
馃拑Me膽utim,ovde osim filozofije ima i ljubavi i svakakvih zavrzlama.
馃拑Ljubav duhovna ili ljubav telesna i mogu li se ta dva ose膰anja spojiti u ljubav prema jednoj osobi
馃拑Razlike izme膽u francuskog i italijanskog duha,kroz vi膽enje muzike
馃拑Razlika izme膽u slikarstva koje predstavlja fizi膷ki objekat i muzike koja je potpuno eteri膷na.
馃拑Jedna prava 膷itala膷ka poslastica.
#7sensesofabook #knjige #classicliterature #literature #readingaddict #bookstagram #balzac
February 17, 2020
螣喂 蟺蟻蠋蟿蔚蟼 120 蟽蔚位喂未蔚蟼 伪蟺委胃伪谓蔚蟼, 渭蔚蟿维 渭蔚 蟿畏谓 伪谓维位蠀蟽畏 蟿畏蟼 蠈蟺蔚蟻伪蟼 蟿慰蠀 巍慰蟽委谓喂, 蟺蟻慰蟽蠅蟺喂魏维 渭蔚 魏慰蠉蟻伪蟽蔚. 韦蠈蟽慰 伪谓伪位蠀蟿喂魏维, 蟿伪 蟻蔚蟿蟽喂蟿伪蟿委尾伪, 慰喂 维蟻喂蔚蟼, 蟿伪 谓蟿慰 魏伪喂 蟿伪 蟽慰位 魏位蟺... 螒位位维 慰喂 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿苇蟼 魏伪喂 畏 未蟻维蟽畏 渭慰喂维味蔚喂 蟽伪 谓伪 尾蟻委蟽魏蔚蟽伪喂 伪蠀蟿苇蟼 蟿喂蟼 渭苇蟻蔚蟼 蟽蟿慰 螝伪蟻谓伪尾维位喂 蟿畏蟼 蟺蠈位畏蟼, 蟿蠈蟽慰 味蠅谓蟿伪谓慰委 魏伪喂 蠁喂谓蔚蟿蟽维蟿慰喂, 伪蠀蟿蠈 蟺慰蠀 苇蠂慰蠀渭蔚 蠈位慰喂 蟽蟿慰 渭蠀伪位蠈 渭伪蟼 蠈蟿伪谓 蟺蟻慰蠁苇蟻慰蠀渭蔚 蟿畏 位苇尉畏 螔蔚谓蔚蟿委伪!
September 13, 2019
3.5/5鈽�
February 3, 2022
Before reading Balzac's "Massimilla Doni"(MD), I decided to re-read his short story "Facino Cane" because Emilio who is one of the main characters in MD. Facino Cane the last of his line, next heir is Emilio. Massimilla is introduced in the very end of "Gambara", and it is clear that " Gambara" happens after MD. The year is 1820, Massimilla has married a Duke, after living all her life in a convent, her mother helps with her match. Balzac brings music into this story, as he did in "Gambara", he had help from a musical friend which he dedicates to him. The Opera and the importance to Italian life as well as how the French and English differ. Balzac brings up how an Empire of great men is a shadow of its former self and how Princes and other nobility are very likely to live in poverty. Emilio has the new title and an empty castle with very little money, making it impossible. How nations die, is a very interesting and sad reality, I especially can see it happening and the sad reality in current times. This is a romance of that is of the mind, but is that enough for a young man?
Story in short- Massimilla marries an older man who only wants her in name only, he encourages her to find a lover but that doesn't necessarily mean a love affair. Bring in some more characters and see what happens.
I didn't read this edition bit from a collection of his works which included the synopsis below.
"This 1839 short story concerns the character Emilio Cane, who is the last in a line of nobility of Venice. Though poor, he will succeed to a property, but for the time being he must survive on a small income from a country house. Emilio is in love with Massimilla Doni, a beautiful young woman who is an heiress of the Doni of Florence and married to the rich, old Duke Cataneo."
鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓spoiler alert 鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂�
La Tinti and Genovese sing in Albert Savarus.
"When this was over, the Princess had to take part in the famous quartette, Mi manca la voce, which was sung by her with Tinti, with the famous tenor Genovese, and with a well-known Italian Prince then in exile, whose voice. It he had not been a Prince. would have made him one of the princes of Art." Albert Savarus
After reading "Gambara", I was curious about Massimilla and who she was because she and her husband offer to help the musician. Emilio is her husband, so the Duke has died, and after making love that night of the party in MD, so he no longer thinks of La Tinti. The below is from the end of " Gambara".
"It was nine o鈥檆lock in the evening. A handsome Italian, the Principessa Massimilla De Varese, took pity on the poor creatures; she gave them forty francs and questioned them, discerning from the woman鈥檚 thanks that she was a Venetian. Prince Emilio would know the history of their woes, and Marianna told it, making no complaints of God or men. 鈥淢adame,鈥� said Gambara, as she ended, for he was sober, 鈥渨e are victims of our own superiority. My music is good. But as soon as music transcends feeling and becomes an idea, only persons of genius should be the hearers, for they alone are capable of responding to it! It is my misfortune that I have heard the chorus of angels, and believed that men could understand the strains. The same thing happens to women when their love assumes a divine aspect: men cannot understand them.鈥� This speech was well worth the forty francs bestowed by Massimilla; she took out a second gold piece, and told Marianna she would write to Andrea Marcosini. 鈥淒o not write to him, madame!鈥� exclaimed Marianna. 鈥淎nd God grant you to always be beautiful!鈥� 鈥淟et us provide for them,鈥� said the Princess to her husband; 鈥渇or this man has remained faithful to the Ideal which we have killed.鈥�
Facino Cane has died and his relative Emilio Memmi is given the title, Prince de Varese. This title give him only a small amount to live on and a castle that has no furniture or warmth of luxury, just stone and art within that cannot be sold. His mistress though they have not made love yet, due too his seeing her so grand and having nothing to offer her, is Massimilla Doni, her husband had married her just to be married and told her to find a lover. She had finally found Emilio at the opera, they fell in love at first sight. She is 20 and has bought her homes in hope to have her love affair but her lover is timid. He is extremely poor and his only meal is when he dines with his lover. He is told of his new postion and is not too happy because he has no wealth but he is amazed when coming to the castle in Venice, he sees the castle luxurious, thinking his mistress has fixed it for him. He has heard about a young opera singer, Tinti and a tenor, Genovese coming to Venice but is not concerned about it. He goes to sleep and is awakened by a young girl and old man, the man finds Emilio in her bed and tells her that he never wants to see her again. Tinti is surprised and denies, it is apparent that this old man fixed up the castle for his opera singer, who he had found working as a waitress when she was very young. Tinti is 16 and is kept not for sexual purposes but for the Duke's pleasure in hearing her beautiful voice and especially when it is combined with a tenor, Genovese, it brings him happiness. When Tinti sees Emilio, his beauty and being a prince, she falls in love with him. She tells the Duke to leave or she will never see him again, so the Duke leaves. Meanwhile Emilio is thinking of his lover and his need to escape, because though this young girl is beautiful, he think of his divine Massimilla, but when he sees Tinti crying, looking so heavenly, he only sees her and they make love, but when he wakes up, he curses Tinti and leaves. Tinti had told Emilio that she knows his lover is Massimilla, and that Massimilla's husband is her benefactor, the Duke, who fixed up the rooms. Emilio's friend Vendramini had rented out the castle for his friend, so he can have more money and had written to Emilio but the letter was not fully read, having thrown it away. Emilio sees Tinti again and feels guilty, he feels that Massimilla gives him spiritual love and earthly love he has from the opera singer. He feels so upset that he doesn't know how much longer he can live like this. Massimilla knows the Duke and his opera mistress are at Emilio's castle, she decides that if Emilio can stand to see the Duke, she can too, not knowing about Emilio's affair with Tinti. The opera goes well until Genovese who is in love with Tinti tries to speak love to her with his music bit that doesn't go well, his voice is terrible and the crowd is upset until Tinti sings, it is rumored she is in love. Massimilla is very knowledgeable about the opera and explains it to the French doctor that is there to exam her husband's health. The doctor sees that something is wrong with Massimilla and Emilio, she worries she is losing him and Emilio feels so beneath his lover. The Duke invites Emilio and the others for dinner, Tinti is there and Emilio drinks forgetting all except Tinti. The doctor knows about the troubles of Emilio and Genovese, so he tells Massimilla, her lover is in danger and she needs to be the courtesan as Tintio can be, she makes love to Emilio and he wakes to a beautiful dream and reality. The doctor tells Tinti she must help Genovese, she makes love to him, and he has real love for he needs not seek love in his singing, which he is back to his normal radiant self. Massimilla has a baby with Emilo, her husband dies as well as Vendramini, which his friends grieve.
"With a few rare exceptions this brilliant nobility has fallen into utter ruin. Among the gondoliers who serve the English 鈥� to whom history here reads the lesson of their future fate 鈥� there are descendants of long dead Doges whose names are older than those of sovereigns. On some bridge, as you glide past it, if you are ever in Venice, you may admire some lovely girl in rags, a poor child belonging, perhaps, to one of the most famous patrician families."
"The last Cane of the elder branch vanished from Venice thirty years before the fall of the Republic, condemned for various crimes more or less criminal."
"In the twentieth year of the present century they were represented only by a young man whose name was Emilio, and an old palace which is regarded as one of the chief ornaments of the Grand Canal. This son of Venice the Fair had for his whole fortune this useless Palazzo, and fifteen hundred francs a year derived from a country house on the Brenta,"
"At eleven in the forenoon, after a walk, and by the side of a table still strewn with the remains of an elegant breakfast, the Duchess, lounging in an easy-chair, left her lover the master of these muslin draperies, without a frown each time he moved. Emilio, seated at her side, held one of her hands between his, gazing at her with utter absorption. Ask not whether they loved; they loved only too well."
"By what obscure phenomenon did his soul so overmaster his body that he was no longer conscious of his independent self, but was wholly one with this woman at the least word she spoke in that voice which disturbed the very sources of life in him?"
"Massimilla, the heiress of the Doni, of Florence, had married the Sicilian Duke Cataneo. Her mother, since dead, had hoped, by promoting this marriage, to leave her rich and happy, according to Florentine custom. She had concluded that her daughter, emerging from a convent to embark in life, would achieve, under the laws of love, that second union of heart with heart which, to an Italian woman, is all in all. But Massimilla Doni had acquired in her convent a real taste for a religious life, and, when she had pledged her troth to Duke Cataneo, she was Christianly content to be his wife. This was an untenable position. Cataneo, who only looked for a duchess, thought himself ridiculous as a husband; and, when Massimilla complained of this indifference, he calmly bid her look about her for a cavaliere servente, even offering his services to introduce to her some youths from whom to choose. The Duchess wept; the Duke made his bow."
"Then she lost her mother, inherited her property, assumed mourning, and made her way to Venice. There she saw Emilio, who, as he went past her opera box, exchanged with her a flash of inquiry. This was all. The Venetian was thunderstruck, while a voice in the Duchess鈥� ear called out: 鈥淭his is he!鈥� Anywhere else two persons more prudent and less guileless would have studied and examined each other; but these two ignorances mingled like two masses of homogeneous matter, which, when they meet, form but one. Massimilla was at once and thenceforth Venetian."
Story in short- Massimilla marries an older man who only wants her in name only, he encourages her to find a lover but that doesn't necessarily mean a love affair. Bring in some more characters and see what happens.
I didn't read this edition bit from a collection of his works which included the synopsis below.
"This 1839 short story concerns the character Emilio Cane, who is the last in a line of nobility of Venice. Though poor, he will succeed to a property, but for the time being he must survive on a small income from a country house. Emilio is in love with Massimilla Doni, a beautiful young woman who is an heiress of the Doni of Florence and married to the rich, old Duke Cataneo."
鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂屸潓spoiler alert 鉂屸潓鉂屸潓鉂屸潓鉂屸潓鉂�
La Tinti and Genovese sing in Albert Savarus.
"When this was over, the Princess had to take part in the famous quartette, Mi manca la voce, which was sung by her with Tinti, with the famous tenor Genovese, and with a well-known Italian Prince then in exile, whose voice. It he had not been a Prince. would have made him one of the princes of Art." Albert Savarus
After reading "Gambara", I was curious about Massimilla and who she was because she and her husband offer to help the musician. Emilio is her husband, so the Duke has died, and after making love that night of the party in MD, so he no longer thinks of La Tinti. The below is from the end of " Gambara".
"It was nine o鈥檆lock in the evening. A handsome Italian, the Principessa Massimilla De Varese, took pity on the poor creatures; she gave them forty francs and questioned them, discerning from the woman鈥檚 thanks that she was a Venetian. Prince Emilio would know the history of their woes, and Marianna told it, making no complaints of God or men. 鈥淢adame,鈥� said Gambara, as she ended, for he was sober, 鈥渨e are victims of our own superiority. My music is good. But as soon as music transcends feeling and becomes an idea, only persons of genius should be the hearers, for they alone are capable of responding to it! It is my misfortune that I have heard the chorus of angels, and believed that men could understand the strains. The same thing happens to women when their love assumes a divine aspect: men cannot understand them.鈥� This speech was well worth the forty francs bestowed by Massimilla; she took out a second gold piece, and told Marianna she would write to Andrea Marcosini. 鈥淒o not write to him, madame!鈥� exclaimed Marianna. 鈥淎nd God grant you to always be beautiful!鈥� 鈥淟et us provide for them,鈥� said the Princess to her husband; 鈥渇or this man has remained faithful to the Ideal which we have killed.鈥�
Facino Cane has died and his relative Emilio Memmi is given the title, Prince de Varese. This title give him only a small amount to live on and a castle that has no furniture or warmth of luxury, just stone and art within that cannot be sold. His mistress though they have not made love yet, due too his seeing her so grand and having nothing to offer her, is Massimilla Doni, her husband had married her just to be married and told her to find a lover. She had finally found Emilio at the opera, they fell in love at first sight. She is 20 and has bought her homes in hope to have her love affair but her lover is timid. He is extremely poor and his only meal is when he dines with his lover. He is told of his new postion and is not too happy because he has no wealth but he is amazed when coming to the castle in Venice, he sees the castle luxurious, thinking his mistress has fixed it for him. He has heard about a young opera singer, Tinti and a tenor, Genovese coming to Venice but is not concerned about it. He goes to sleep and is awakened by a young girl and old man, the man finds Emilio in her bed and tells her that he never wants to see her again. Tinti is surprised and denies, it is apparent that this old man fixed up the castle for his opera singer, who he had found working as a waitress when she was very young. Tinti is 16 and is kept not for sexual purposes but for the Duke's pleasure in hearing her beautiful voice and especially when it is combined with a tenor, Genovese, it brings him happiness. When Tinti sees Emilio, his beauty and being a prince, she falls in love with him. She tells the Duke to leave or she will never see him again, so the Duke leaves. Meanwhile Emilio is thinking of his lover and his need to escape, because though this young girl is beautiful, he think of his divine Massimilla, but when he sees Tinti crying, looking so heavenly, he only sees her and they make love, but when he wakes up, he curses Tinti and leaves. Tinti had told Emilio that she knows his lover is Massimilla, and that Massimilla's husband is her benefactor, the Duke, who fixed up the rooms. Emilio's friend Vendramini had rented out the castle for his friend, so he can have more money and had written to Emilio but the letter was not fully read, having thrown it away. Emilio sees Tinti again and feels guilty, he feels that Massimilla gives him spiritual love and earthly love he has from the opera singer. He feels so upset that he doesn't know how much longer he can live like this. Massimilla knows the Duke and his opera mistress are at Emilio's castle, she decides that if Emilio can stand to see the Duke, she can too, not knowing about Emilio's affair with Tinti. The opera goes well until Genovese who is in love with Tinti tries to speak love to her with his music bit that doesn't go well, his voice is terrible and the crowd is upset until Tinti sings, it is rumored she is in love. Massimilla is very knowledgeable about the opera and explains it to the French doctor that is there to exam her husband's health. The doctor sees that something is wrong with Massimilla and Emilio, she worries she is losing him and Emilio feels so beneath his lover. The Duke invites Emilio and the others for dinner, Tinti is there and Emilio drinks forgetting all except Tinti. The doctor knows about the troubles of Emilio and Genovese, so he tells Massimilla, her lover is in danger and she needs to be the courtesan as Tintio can be, she makes love to Emilio and he wakes to a beautiful dream and reality. The doctor tells Tinti she must help Genovese, she makes love to him, and he has real love for he needs not seek love in his singing, which he is back to his normal radiant self. Massimilla has a baby with Emilo, her husband dies as well as Vendramini, which his friends grieve.
"With a few rare exceptions this brilliant nobility has fallen into utter ruin. Among the gondoliers who serve the English 鈥� to whom history here reads the lesson of their future fate 鈥� there are descendants of long dead Doges whose names are older than those of sovereigns. On some bridge, as you glide past it, if you are ever in Venice, you may admire some lovely girl in rags, a poor child belonging, perhaps, to one of the most famous patrician families."
"The last Cane of the elder branch vanished from Venice thirty years before the fall of the Republic, condemned for various crimes more or less criminal."
"In the twentieth year of the present century they were represented only by a young man whose name was Emilio, and an old palace which is regarded as one of the chief ornaments of the Grand Canal. This son of Venice the Fair had for his whole fortune this useless Palazzo, and fifteen hundred francs a year derived from a country house on the Brenta,"
"At eleven in the forenoon, after a walk, and by the side of a table still strewn with the remains of an elegant breakfast, the Duchess, lounging in an easy-chair, left her lover the master of these muslin draperies, without a frown each time he moved. Emilio, seated at her side, held one of her hands between his, gazing at her with utter absorption. Ask not whether they loved; they loved only too well."
"By what obscure phenomenon did his soul so overmaster his body that he was no longer conscious of his independent self, but was wholly one with this woman at the least word she spoke in that voice which disturbed the very sources of life in him?"
"Massimilla, the heiress of the Doni, of Florence, had married the Sicilian Duke Cataneo. Her mother, since dead, had hoped, by promoting this marriage, to leave her rich and happy, according to Florentine custom. She had concluded that her daughter, emerging from a convent to embark in life, would achieve, under the laws of love, that second union of heart with heart which, to an Italian woman, is all in all. But Massimilla Doni had acquired in her convent a real taste for a religious life, and, when she had pledged her troth to Duke Cataneo, she was Christianly content to be his wife. This was an untenable position. Cataneo, who only looked for a duchess, thought himself ridiculous as a husband; and, when Massimilla complained of this indifference, he calmly bid her look about her for a cavaliere servente, even offering his services to introduce to her some youths from whom to choose. The Duchess wept; the Duke made his bow."
"Then she lost her mother, inherited her property, assumed mourning, and made her way to Venice. There she saw Emilio, who, as he went past her opera box, exchanged with her a flash of inquiry. This was all. The Venetian was thunderstruck, while a voice in the Duchess鈥� ear called out: 鈥淭his is he!鈥� Anywhere else two persons more prudent and less guileless would have studied and examined each other; but these two ignorances mingled like two masses of homogeneous matter, which, when they meet, form but one. Massimilla was at once and thenceforth Venetian."
August 25, 2012
This story belongs to the series "Etudes Philosophiques".
October 19, 2024
螠伪蟽喂渭委位伪 螡蟿蠈谓喂. 螣谓慰蟻苇 螡蟿蔚 螠蟺伪位味维魏.
馃摉馃摉馃摉馃摉
...魏喂 蔚谓蠋 慰喂 蔚魏未蠈蟽蔚喂蟼 Gutenberg 未蔚谓 渭蔚 苇蠂慰蠀谓 伪蟺慰纬慰畏蟿蔚蠉蟽蔚喂 鈥溝€慰蟿苇鈥� 萎蟻胃蔚 畏 蠋蟻伪 蟿慰 伪蟺蠈位蠀蟿慰 谓伪 伪谓蟿喂魏伪蟿伪蟽蟿伪胃蔚委 伪蟺蠈 蟿慰 鈥溝兿囄滴聪屛� 蟺慰蟿苇鈥�. 螌蠂喂 蟺蠅蟼 伪位位维味蔚喂 魏维蟿喂 纬喂伪 蟿畏谓 蔚魏蟿委渭畏蟽萎 渭慰蠀, 蠈渭蠅蟼 蟽蠀谓苇尾畏 魏伪喂 蟿慰 魏伪蟿伪纬蟻维蠁蠅. 桅伪委谓蔚蟿伪喂 蠈渭蠅蟼 蟺蠅蟼 慰喂 蔚魏未蠈蟽蔚喂蟼 魏伪喂 慰 未畏渭喂慰蠀蟻纬蠈蟼 伪蠀蟿萎 蟿畏 蠁慰蟻维 蔚谓伪纬魏伪位委蟽蟿畏魏伪谓 渭蔚 伪蠀蟿蠈 蟿慰 鈥溝兿囄滴聪屛� 蟺慰蟿苇鈥� 魏伪胃蠋蟼 蔚委谓伪喂 畏 蟺蟻蠋蟿畏 蠁慰蟻维 蟺慰蠀 渭蔚 伪蟺慰纬慰畏蟿蔚蠉蔚喂 魏伪喂 慰 螠蟺伪位味维魏. 螝伪喂 蟺蟻喂谓 伪蟻蠂委蟽蠅 谓伪 蠁蠅谓维味蠅 蟿伪 蟽蟿慰喂蠂蔚委伪 蟿畏蟼 蠁蠉蟽畏蟼 魏伪喂 蟿慰蠀蟼 伪谓苇渭慰蠀蟼, 蟽伪谓 维位位慰蟼 Gary Oldman 蟽蟿慰谓 Dracula 纬喂伪 谓伪 尉蔚蟽蟺维蟽蠅 蟿畏谓 蟿伪蟻伪蠂萎 蟿畏蟼 位慰纬慰蟿蔚蠂谓喂魏萎蟼 渭慰蠀 蟽蠀谓蔚委未畏蟽畏蟼, 胃伪 蟺伪蟻伪胃苇蟽蠅 蟿慰蠀蟼 位蠈纬慰蠀蟼 蟿畏蟼 蟺蟻慰蟽蠅蟻喂谓萎蟼 渭慰蠀 伪蟺慰纬慰萎蟿蔚蠀蟽畏蟼 蔚蟺喂魏伪位慰蠉渭蔚谓畏 蟿畏谓 蔚蟺喂蔚委魏蔚喂伪 蠈位蠅谓, 蠈蟽慰喂 胃伪 蟿蠉蠂蔚喂 谓伪 未喂伪尾维蟽蔚蟿蔚 蟿伪 蟺伪蟻伪魏维蟿蠅 位蠈纬喂伪.
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螢蔚魏喂谓蠋谓蟿伪蟼 位慰喂蟺蠈谓 胃苇蟿蠅 蠀蟺蠈 蟽蠀味萎蟿畏蟽畏 蟿慰 渭喂魏蟻蠈 伪蟿蠈蟺畏渭伪 蟿慰 蔚魏未蠈蟽蔚蠅谓 蟿慰 慰蟺慰委慰 伪蠁慰蟻维 蟿畏谓 蔚喂蟽伪纬蠅纬萎, 蟺慰蠀 萎蟿伪谓 渭喂伪 蟺蟻伪纬渭伪蟿喂魏萎 苇魏蟺位畏尉畏 纬喂伪蟿委 伪谓 魏维蟿喂 伪纬伪蟺蠋 蟽蟿喂蟼 蔚谓 位蠈纬蠅 蔚魏未蠈蟽蔚喂蟼 蔚委谓伪喂, 蟺苇蟻伪 伪蟺蠈 蟿喂蟼 蔚蟺喂位慰纬苇蟼 蟿慰蠀蟼, 慰喂 魏伪蟿伪蟺位畏魏蟿喂魏苇蟼 蔚喂蟽伪纬蠅纬苇蟼 蟺慰蠀 蟺慰位位苇蟼 蔚尉 伪蠀蟿蠋谓 伪蟺慰蟿蔚位慰蠉谓 伪蟺蠈 渭蠈谓蔚蟼 蟿慰蠀蟼 位慰纬慰蟿蔚蠂谓喂魏萎 渭蔚位苇蟿畏. 螚 蔚喂蟽伪纬蠅纬萎 蟽蟿畏谓 螠伪蟽喂渭委位伪 螡蟿蠈谓喂, 未喂伪胃苇蟿蔚喂 渭蔚谓 蟿慰谓 位蠀蟻喂蟽渭蠈 蔚谓蠈蟼 位慰纬慰蟿蔚蠂谓喂魏慰蠉 魏蔚喂渭苇谓慰蠀( 蟿慰 慰蟺慰委慰 蠀蟺慰胃苇蟿蠅 蟺慰位蠉 胃伪 蔚蠀伪蟻蔚蟽蟿畏胃慰蠉谓) 蟺慰蠀 未委谓蔚喂 蟿畏谓 蔚谓蟿蠉蟺蠅蟽畏 蟺蠅蟼 未蔚谓 伪谓伪位蠉蔚喂, 未蔚谓 蔚蟺蔚尉畏纬蔚委 伪位位维 蔚蟺喂蟿蔚委谓蔚喂 蟿畏谓 蔚魏蠁蟻伪蟽蟿喂魏蠈蟿畏蟿伪 蟿慰蠀 委未喂慰蠀 蟿慰蠀 螠蟺伪位味伪魏喂魏慰蠉 蠉蠁慰蠀蟼 魏伪喂 蟽蠀谓伪谓蟿喂苇蟿伪喂 渭蔚 渭喂伪 未喂伪位蔚魏蟿喂魏萎 蟺慰喂畏蟿喂魏蠈蟿畏蟿伪 渭伪味委 蟿慰蠀, 伪谓伪蟺伪蟻维纬慰谓蟿伪蟼 魏伪喂 蠈蠂喂 蟺位伪喂蟽喂蠋谓慰谓蟿伪蟼 蟿畏谓 喂未喂伪喂蟿蔚蟻蠈蟿畏蟿维 蟿慰蠀, 位蔚蟼 魏伪喂 尾蟻委蟽魏蔚蟿伪喂 蟽蔚 蠀蟺慰蟽蠀谓蔚委未畏蟿畏 魏蠈谓蟿蟻伪 渭蔚 蟿慰谓 位慰纬慰蟿苇蠂谓畏.
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螝伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀 畏 蔚喂蟽伪纬蠅纬萎 苇蠂伪蟽蔚 蟿畏 位蔚喂蟿慰蠀蟻纬喂魏蠈蟿畏蟿维 蟿畏蟼, 蔚魏蔚委谓畏 蟿畏谓 蔚蟺喂蟽蟿畏渭慰谓喂魏萎 蟽蔚渭谓蠈蟿畏蟿伪 蟺慰蠀 未喂伪魏蟻委谓蠅 蟽蔚 维位位蔚蟼 魏伪喂 蔚蟺喂未蠈胃畏魏蔚 蟽蟿畏谓 伪蠀蟿维蟻蔚蟽魏畏 蟺蟻蠈蟽魏位畏蟽畏 蟿蠅谓 蟺蟻慰尾慰位苇蠅谓 蟺维谓蠅 蟽蟿慰谓 未畏渭喂慰蠀蟻纬蠈 蟿畏蟼, 蟽蔚 渭喂伪 蟺蟻慰蟽蟺维胃蔚喂伪 谓伪 位蔚喂蟿慰蠀蟻纬萎蟽蔚喂 魏喂 慰 委未喂慰蟼 蠅蟼 位慰纬慰蟿苇蠂谓畏蟼 魏伪喂 蠈蠂喂 蠅蟼 蟽蠂慰位喂伪蟽蟿萎蟼. 危蟿喂蟼 163 蟺蔚蟻委蟺慰蠀 蟽蔚位委未蔚蟼 魏伪胃伪蟻慰蠉 渭蟺伪位味伪魏喂魏慰蠉 魏蔚喂渭苇谓慰蠀, 慰喂 24 蔚委谓伪喂 蔚喂蟽伪纬蠅纬萎.
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螤蔚蟻谓维蠅 蟿蠋蟻伪 蟽蟿慰 委未喂慰 蟿慰 魏蔚委渭蔚谓慰. 螣 螠蟺伪位味维魏, 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺慰蠀 蠉渭谓畏蟽蔚 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟿伪 伪谓胃蟻蠋蟺喂谓伪 蟺维胃畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 委蟽蠅蟼 伪蟺蠈 慰蟺慰喂慰谓未萎蟺慰蟿蔚 维位位慰谓, 未委谓蔚喂 蟽鈥� 伪蠀蟿萎 蟿畏谓 喂未喂蠈蟿蠀蟺畏 未畏渭喂慰蠀蟻纬委伪 蟿慰蠀 渭喂伪 魏伪蟿蔚尉慰蠂萎谓 蠀蟺伪喂谓喂魏蟿喂魏萎 蠋蟽畏. 违蟺伪喂谓喂魏蟿喂魏蠈蟼 渭慰喂维味蔚喂 谓伪 蔚委谓伪喂 伪魏蠈渭伪 魏喂 慰 蟽魏慰蟺蠈蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁萎蟼 蟿畏蟼 螠伪蟽喂渭委位伪 螡蟿蠈谓喂. 螠喂位维蔚喂, 蠈蟺蠅蟼 蟺维谓蟿伪, 纬喂伪 蟿慰谓 苇蟻蠅蟿伪, 渭蠈谓慰 蟺慰蠀 蟺苇蠁蟿蔚喂 蟽蟿慰 伪蟿蠈蟺畏渭伪 蟿畏蟼 蠁位蠀伪蟻委伪蟼 纬蠉蟻蠅 伪蟺蠈 蟿慰 伪纬伪蟺畏渭苇谓慰 蟿慰蠀 胃苇渭伪.
螘谓蟿维蟽蟽蔚喂 蟽蟿畏谓 蟺位慰魏萎 蟿慰蠀 蟺位萎胃慰蟼 维位位蔚蟼 胃蔚渭伪蟿喂魏苇蟼 蟺慰蠀 蔚蟺喂蟽畏渭伪委谓蔚喂 伪魏蟻慰胃喂纬蠋蟼 伪蟺蠈 蟿慰 魏苇谓蟿蟻慰 蟿畏蟼 伪蠁萎纬畏蟽萎蟼 蟿慰蠀 (苇蟻蠅蟿伪蟼) 蟺蟻慰蟼 蟿喂蟼 蟺伪蟻蠀蠁苇蟼 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 味蠅萎蟼 (蟺慰位喂蟿喂魏萎, 蟿苇蠂谓畏, 魏慰喂谓蠅谓喂魏苇蟼 蟿维尉蔚喂蟼 魏伪喂 魏伪蟿伪蟿维尉蔚喂蟼). 螚 蟺蔚蟻喂纬蟻伪蠁萎 蟿慰蠀 蔚蟻蠅蟿喂魏慰蠉 蟺蠈胃慰蠀 未喂慰位喂蟽胃伪委谓蔚喂 蟽蔚 渭喂伪 位伪尾蠀蟻喂谓胃蠋未畏 蠀蟺蔚蟻尾慰位萎, 蠈蟺慰蠀 畏 蟺伪蟻维蠁慰蟻畏 未蟻伪渭伪蟿慰蟺慰委畏蟽畏 蟿蠅谓 位蔚蟺蟿慰渭蔚蟻蔚喂蠋谓 未喂伪渭慰蟻蠁蠋谓慰蠀谓 苇谓伪谓 蠁伪蠉位慰 魏蠉魏位慰 蟺慰蠀 蠀蟺蔚蟻蟿慰谓委味蔚喂 蟿畏 蠁喂位慰蟽慰蠁喂魏萎 蟿维蟽畏 蟿蠅谓 畏蟻蠋蠅谓 蟿慰蠀, 渭蔚蟿伪蟿慰蟺委味慰谓蟿伪蟼 蟿慰 伪蟿蔚位苇蟽蠁慰蟻慰 蟽伪蟻魏喂魏萎 蟿慰蠀蟼 蔚谓未喂伪蠁苇蟻慰谓 蟽蟿畏 渭蔚蟿伪蠁蠀蟽喂魏萎 蟽蠁伪委蟻伪. 韦畏谓 委未喂伪 蟽蟿喂纬渭萎 蟺蟻慰蟽未委未蔚喂 蟽蟿畏 渭蔚蟿维谓慰喂伪 渭喂伪 胃蟻畏蟽魏蔚蠀蟿喂魏萎 尾伪蟻蠉蟿畏蟿伪 伪蟽蠉渭蠁慰蟻畏 渭蔚 蟿慰 蠀蟺蠈位慰喂蟺慰 伪蠁畏纬畏渭伪蟿喂魏蠈 蟺蔚蟻喂尾维位位慰谓 魏伪喂 蟿蔚位喂魏维 蟿畏谓 畏胃喂魏慰蟺慰喂蔚委 纬喂伪 谓伪 蟿畏谓 伪喂蟿喂慰位慰纬萎蟽蔚喂 魏伪喂 魏伪蟿伪位萎纬蔚喂 蟽蔚 未喂魏伪喂慰位慰纬委蔚蟼 未畏渭伪纬蠅纬喂魏慰蠉 蠂蔚喂蟻喂蟽渭慰蠉. 螌位慰 蟿慰 魏蔚委渭蔚谓慰 渭慰喂维味蔚喂 渭蔚 维蟽魏畏蟽畏 蟿蠅谓 蔚魏蠁蟻伪蟽蟿喂魏蠋谓 蟿慰蠀 渭苇蟽蠅谓, 蟺蟻慰尾维位位慰谓蟿伪蟼 蟿慰 蟿伪位苇谓蟿慰 蟿畏蟼 蔚蠀纬位蠅蟿委伪蟼 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉 蟿慰蠀 伪蟽蠀渭渭苇蟿蟻蠅蟼 蔚尉蠈蠁胃伪位渭伪, 伪魏蠈渭伪 魏伪喂 纬喂伪 蟿慰谓 蟺位畏胃蠅蟻喂魏蠈 螠蟺伪位味维魏, 苇谓伪 蔚纬蠂蔚委蟻畏渭伪 蠈蟺慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 " 蔚委蠂蔚 苇谓伪谓 魏伪畏渭蠈 魏伪喂 尾纬萎魏蔚 魏伪喂 蟿慰谓 蔚委蟺蔚" 萎 渭维位位慰谓 蟿慰谓 苇纬蟻伪蠄蔚 渭蔚 蟿畏谓 慰渭慰位慰纬慰蠀渭苇谓蠅蟼 渭慰谓伪未喂魏萎 纬谓蠅蟽蟽喂魏萎 蟿慰蠀 蠀蟺蔚蟻慰蠂萎.
惟蟽蟿蠈蟽慰, 纬喂伪 谓伪 渭畏 纬委谓蠅 伪蠁慰蟻喂蟽蟿喂魏萎, 胃伪 未喂蔚蠀魏蟻委谓喂味伪 蟺蠅蟼 委蟽蠅蟼 谓伪 渭畏谓 蔚委谓伪喂 畏 魏伪位蠉蟿蔚蟻畏 未畏渭喂慰蠀蟻纬委伪 蟿慰蠀, 蠈渭蠅蟼 畏 伪谓伪纬谓蠅蟽蟿喂魏萎 伪蟺蠈位伪蠀蟽畏 蟺慰蠀 伪谓蟿位蔚委 魏伪谓蔚委蟼 伪蟺蠈 蟿慰蠀蟼 蔚尉伪喂蟻蔚蟿喂魏慰蠉蟼 纬位蠅蟽蟽喂魏慰蠉蟼 蠂蔚喂蟻喂蟽渭慰蠉蟼 蟿慰蠀蟼 螠蟺伪位味维魏 蔚委谓伪喂 蟺维谓蟿伪 蟺伪蟻慰蠉蟽伪 魏伪喂 未蔚未慰渭苇谓畏, 伪魏蠈渭伪 魏伪喂 蔚魏 蟺蟻慰慰喂渭委慰蠀.
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...魏喂 蔚谓蠋 慰喂 蔚魏未蠈蟽蔚喂蟼 Gutenberg 未蔚谓 渭蔚 苇蠂慰蠀谓 伪蟺慰纬慰畏蟿蔚蠉蟽蔚喂 鈥溝€慰蟿苇鈥� 萎蟻胃蔚 畏 蠋蟻伪 蟿慰 伪蟺蠈位蠀蟿慰 谓伪 伪谓蟿喂魏伪蟿伪蟽蟿伪胃蔚委 伪蟺蠈 蟿慰 鈥溝兿囄滴聪屛� 蟺慰蟿苇鈥�. 螌蠂喂 蟺蠅蟼 伪位位维味蔚喂 魏维蟿喂 纬喂伪 蟿畏谓 蔚魏蟿委渭畏蟽萎 渭慰蠀, 蠈渭蠅蟼 蟽蠀谓苇尾畏 魏伪喂 蟿慰 魏伪蟿伪纬蟻维蠁蠅. 桅伪委谓蔚蟿伪喂 蠈渭蠅蟼 蟺蠅蟼 慰喂 蔚魏未蠈蟽蔚喂蟼 魏伪喂 慰 未畏渭喂慰蠀蟻纬蠈蟼 伪蠀蟿萎 蟿畏 蠁慰蟻维 蔚谓伪纬魏伪位委蟽蟿畏魏伪谓 渭蔚 伪蠀蟿蠈 蟿慰 鈥溝兿囄滴聪屛� 蟺慰蟿苇鈥� 魏伪胃蠋蟼 蔚委谓伪喂 畏 蟺蟻蠋蟿畏 蠁慰蟻维 蟺慰蠀 渭蔚 伪蟺慰纬慰畏蟿蔚蠉蔚喂 魏伪喂 慰 螠蟺伪位味维魏. 螝伪喂 蟺蟻喂谓 伪蟻蠂委蟽蠅 谓伪 蠁蠅谓维味蠅 蟿伪 蟽蟿慰喂蠂蔚委伪 蟿畏蟼 蠁蠉蟽畏蟼 魏伪喂 蟿慰蠀蟼 伪谓苇渭慰蠀蟼, 蟽伪谓 维位位慰蟼 Gary Oldman 蟽蟿慰谓 Dracula 纬喂伪 谓伪 尉蔚蟽蟺维蟽蠅 蟿畏谓 蟿伪蟻伪蠂萎 蟿畏蟼 位慰纬慰蟿蔚蠂谓喂魏萎蟼 渭慰蠀 蟽蠀谓蔚委未畏蟽畏蟼, 胃伪 蟺伪蟻伪胃苇蟽蠅 蟿慰蠀蟼 位蠈纬慰蠀蟼 蟿畏蟼 蟺蟻慰蟽蠅蟻喂谓萎蟼 渭慰蠀 伪蟺慰纬慰萎蟿蔚蠀蟽畏蟼 蔚蟺喂魏伪位慰蠉渭蔚谓畏 蟿畏谓 蔚蟺喂蔚委魏蔚喂伪 蠈位蠅谓, 蠈蟽慰喂 胃伪 蟿蠉蠂蔚喂 谓伪 未喂伪尾维蟽蔚蟿蔚 蟿伪 蟺伪蟻伪魏维蟿蠅 位蠈纬喂伪.
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螢蔚魏喂谓蠋谓蟿伪蟼 位慰喂蟺蠈谓 胃苇蟿蠅 蠀蟺蠈 蟽蠀味萎蟿畏蟽畏 蟿慰 渭喂魏蟻蠈 伪蟿蠈蟺畏渭伪 蟿慰 蔚魏未蠈蟽蔚蠅谓 蟿慰 慰蟺慰委慰 伪蠁慰蟻维 蟿畏谓 蔚喂蟽伪纬蠅纬萎, 蟺慰蠀 萎蟿伪谓 渭喂伪 蟺蟻伪纬渭伪蟿喂魏萎 苇魏蟺位畏尉畏 纬喂伪蟿委 伪谓 魏维蟿喂 伪纬伪蟺蠋 蟽蟿喂蟼 蔚谓 位蠈纬蠅 蔚魏未蠈蟽蔚喂蟼 蔚委谓伪喂, 蟺苇蟻伪 伪蟺蠈 蟿喂蟼 蔚蟺喂位慰纬苇蟼 蟿慰蠀蟼, 慰喂 魏伪蟿伪蟺位畏魏蟿喂魏苇蟼 蔚喂蟽伪纬蠅纬苇蟼 蟺慰蠀 蟺慰位位苇蟼 蔚尉 伪蠀蟿蠋谓 伪蟺慰蟿蔚位慰蠉谓 伪蟺蠈 渭蠈谓蔚蟼 蟿慰蠀蟼 位慰纬慰蟿蔚蠂谓喂魏萎 渭蔚位苇蟿畏. 螚 蔚喂蟽伪纬蠅纬萎 蟽蟿畏谓 螠伪蟽喂渭委位伪 螡蟿蠈谓喂, 未喂伪胃苇蟿蔚喂 渭蔚谓 蟿慰谓 位蠀蟻喂蟽渭蠈 蔚谓蠈蟼 位慰纬慰蟿蔚蠂谓喂魏慰蠉 魏蔚喂渭苇谓慰蠀( 蟿慰 慰蟺慰委慰 蠀蟺慰胃苇蟿蠅 蟺慰位蠉 胃伪 蔚蠀伪蟻蔚蟽蟿畏胃慰蠉谓) 蟺慰蠀 未委谓蔚喂 蟿畏谓 蔚谓蟿蠉蟺蠅蟽畏 蟺蠅蟼 未蔚谓 伪谓伪位蠉蔚喂, 未蔚谓 蔚蟺蔚尉畏纬蔚委 伪位位维 蔚蟺喂蟿蔚委谓蔚喂 蟿畏谓 蔚魏蠁蟻伪蟽蟿喂魏蠈蟿畏蟿伪 蟿慰蠀 委未喂慰蠀 蟿慰蠀 螠蟺伪位味伪魏喂魏慰蠉 蠉蠁慰蠀蟼 魏伪喂 蟽蠀谓伪谓蟿喂苇蟿伪喂 渭蔚 渭喂伪 未喂伪位蔚魏蟿喂魏萎 蟺慰喂畏蟿喂魏蠈蟿畏蟿伪 渭伪味委 蟿慰蠀, 伪谓伪蟺伪蟻维纬慰谓蟿伪蟼 魏伪喂 蠈蠂喂 蟺位伪喂蟽喂蠋谓慰谓蟿伪蟼 蟿畏谓 喂未喂伪喂蟿蔚蟻蠈蟿畏蟿维 蟿慰蠀, 位蔚蟼 魏伪喂 尾蟻委蟽魏蔚蟿伪喂 蟽蔚 蠀蟺慰蟽蠀谓蔚委未畏蟿畏 魏蠈谓蟿蟻伪 渭蔚 蟿慰谓 位慰纬慰蟿苇蠂谓畏.
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螝伪蟿维 蟿畏 纬谓蠋渭畏 渭慰蠀 畏 蔚喂蟽伪纬蠅纬萎 苇蠂伪蟽蔚 蟿畏 位蔚喂蟿慰蠀蟻纬喂魏蠈蟿畏蟿维 蟿畏蟼, 蔚魏蔚委谓畏 蟿畏谓 蔚蟺喂蟽蟿畏渭慰谓喂魏萎 蟽蔚渭谓蠈蟿畏蟿伪 蟺慰蠀 未喂伪魏蟻委谓蠅 蟽蔚 维位位蔚蟼 魏伪喂 蔚蟺喂未蠈胃畏魏蔚 蟽蟿畏谓 伪蠀蟿维蟻蔚蟽魏畏 蟺蟻蠈蟽魏位畏蟽畏 蟿蠅谓 蟺蟻慰尾慰位苇蠅谓 蟺维谓蠅 蟽蟿慰谓 未畏渭喂慰蠀蟻纬蠈 蟿畏蟼, 蟽蔚 渭喂伪 蟺蟻慰蟽蟺维胃蔚喂伪 谓伪 位蔚喂蟿慰蠀蟻纬萎蟽蔚喂 魏喂 慰 委未喂慰蟼 蠅蟼 位慰纬慰蟿苇蠂谓畏蟼 魏伪喂 蠈蠂喂 蠅蟼 蟽蠂慰位喂伪蟽蟿萎蟼. 危蟿喂蟼 163 蟺蔚蟻委蟺慰蠀 蟽蔚位委未蔚蟼 魏伪胃伪蟻慰蠉 渭蟺伪位味伪魏喂魏慰蠉 魏蔚喂渭苇谓慰蠀, 慰喂 24 蔚委谓伪喂 蔚喂蟽伪纬蠅纬萎.
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螤蔚蟻谓维蠅 蟿蠋蟻伪 蟽蟿慰 委未喂慰 蟿慰 魏蔚委渭蔚谓慰. 螣 螠蟺伪位味维魏, 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 蟺慰蠀 蠉渭谓畏蟽蔚 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟿伪 伪谓胃蟻蠋蟺喂谓伪 蟺维胃畏 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 委蟽蠅蟼 伪蟺蠈 慰蟺慰喂慰谓未萎蟺慰蟿蔚 维位位慰谓, 未委谓蔚喂 蟽鈥� 伪蠀蟿萎 蟿畏谓 喂未喂蠈蟿蠀蟺畏 未畏渭喂慰蠀蟻纬委伪 蟿慰蠀 渭喂伪 魏伪蟿蔚尉慰蠂萎谓 蠀蟺伪喂谓喂魏蟿喂魏萎 蠋蟽畏. 违蟺伪喂谓喂魏蟿喂魏蠈蟼 渭慰喂维味蔚喂 谓伪 蔚委谓伪喂 伪魏蠈渭伪 魏喂 慰 蟽魏慰蟺蠈蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁萎蟼 蟿畏蟼 螠伪蟽喂渭委位伪 螡蟿蠈谓喂. 螠喂位维蔚喂, 蠈蟺蠅蟼 蟺维谓蟿伪, 纬喂伪 蟿慰谓 苇蟻蠅蟿伪, 渭蠈谓慰 蟺慰蠀 蟺苇蠁蟿蔚喂 蟽蟿慰 伪蟿蠈蟺畏渭伪 蟿畏蟼 蠁位蠀伪蟻委伪蟼 纬蠉蟻蠅 伪蟺蠈 蟿慰 伪纬伪蟺畏渭苇谓慰 蟿慰蠀 胃苇渭伪.
螘谓蟿维蟽蟽蔚喂 蟽蟿畏谓 蟺位慰魏萎 蟿慰蠀 蟺位萎胃慰蟼 维位位蔚蟼 胃蔚渭伪蟿喂魏苇蟼 蟺慰蠀 蔚蟺喂蟽畏渭伪委谓蔚喂 伪魏蟻慰胃喂纬蠋蟼 伪蟺蠈 蟿慰 魏苇谓蟿蟻慰 蟿畏蟼 伪蠁萎纬畏蟽萎蟼 蟿慰蠀 (苇蟻蠅蟿伪蟼) 蟺蟻慰蟼 蟿喂蟼 蟺伪蟻蠀蠁苇蟼 蟿畏蟼 魏慰喂谓蠅谓喂魏萎蟼 味蠅萎蟼 (蟺慰位喂蟿喂魏萎, 蟿苇蠂谓畏, 魏慰喂谓蠅谓喂魏苇蟼 蟿维尉蔚喂蟼 魏伪喂 魏伪蟿伪蟿维尉蔚喂蟼). 螚 蟺蔚蟻喂纬蟻伪蠁萎 蟿慰蠀 蔚蟻蠅蟿喂魏慰蠉 蟺蠈胃慰蠀 未喂慰位喂蟽胃伪委谓蔚喂 蟽蔚 渭喂伪 位伪尾蠀蟻喂谓胃蠋未畏 蠀蟺蔚蟻尾慰位萎, 蠈蟺慰蠀 畏 蟺伪蟻维蠁慰蟻畏 未蟻伪渭伪蟿慰蟺慰委畏蟽畏 蟿蠅谓 位蔚蟺蟿慰渭蔚蟻蔚喂蠋谓 未喂伪渭慰蟻蠁蠋谓慰蠀谓 苇谓伪谓 蠁伪蠉位慰 魏蠉魏位慰 蟺慰蠀 蠀蟺蔚蟻蟿慰谓委味蔚喂 蟿畏 蠁喂位慰蟽慰蠁喂魏萎 蟿维蟽畏 蟿蠅谓 畏蟻蠋蠅谓 蟿慰蠀, 渭蔚蟿伪蟿慰蟺委味慰谓蟿伪蟼 蟿慰 伪蟿蔚位苇蟽蠁慰蟻慰 蟽伪蟻魏喂魏萎 蟿慰蠀蟼 蔚谓未喂伪蠁苇蟻慰谓 蟽蟿畏 渭蔚蟿伪蠁蠀蟽喂魏萎 蟽蠁伪委蟻伪. 韦畏谓 委未喂伪 蟽蟿喂纬渭萎 蟺蟻慰蟽未委未蔚喂 蟽蟿畏 渭蔚蟿维谓慰喂伪 渭喂伪 胃蟻畏蟽魏蔚蠀蟿喂魏萎 尾伪蟻蠉蟿畏蟿伪 伪蟽蠉渭蠁慰蟻畏 渭蔚 蟿慰 蠀蟺蠈位慰喂蟺慰 伪蠁畏纬畏渭伪蟿喂魏蠈 蟺蔚蟻喂尾维位位慰谓 魏伪喂 蟿蔚位喂魏维 蟿畏谓 畏胃喂魏慰蟺慰喂蔚委 纬喂伪 谓伪 蟿畏谓 伪喂蟿喂慰位慰纬萎蟽蔚喂 魏伪喂 魏伪蟿伪位萎纬蔚喂 蟽蔚 未喂魏伪喂慰位慰纬委蔚蟼 未畏渭伪纬蠅纬喂魏慰蠉 蠂蔚喂蟻喂蟽渭慰蠉. 螌位慰 蟿慰 魏蔚委渭蔚谓慰 渭慰喂维味蔚喂 渭蔚 维蟽魏畏蟽畏 蟿蠅谓 蔚魏蠁蟻伪蟽蟿喂魏蠋谓 蟿慰蠀 渭苇蟽蠅谓, 蟺蟻慰尾维位位慰谓蟿伪蟼 蟿慰 蟿伪位苇谓蟿慰 蟿畏蟼 蔚蠀纬位蠅蟿委伪蟼 蟿慰蠀 未畏渭喂慰蠀蟻纬慰蠉 蟿慰蠀 伪蟽蠀渭渭苇蟿蟻蠅蟼 蔚尉蠈蠁胃伪位渭伪, 伪魏蠈渭伪 魏伪喂 纬喂伪 蟿慰谓 蟺位畏胃蠅蟻喂魏蠈 螠蟺伪位味维魏, 苇谓伪 蔚纬蠂蔚委蟻畏渭伪 蠈蟺慰蠀 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 " 蔚委蠂蔚 苇谓伪谓 魏伪畏渭蠈 魏伪喂 尾纬萎魏蔚 魏伪喂 蟿慰谓 蔚委蟺蔚" 萎 渭维位位慰谓 蟿慰谓 苇纬蟻伪蠄蔚 渭蔚 蟿畏谓 慰渭慰位慰纬慰蠀渭苇谓蠅蟼 渭慰谓伪未喂魏萎 纬谓蠅蟽蟽喂魏萎 蟿慰蠀 蠀蟺蔚蟻慰蠂萎.
惟蟽蟿蠈蟽慰, 纬喂伪 谓伪 渭畏 纬委谓蠅 伪蠁慰蟻喂蟽蟿喂魏萎, 胃伪 未喂蔚蠀魏蟻委谓喂味伪 蟺蠅蟼 委蟽蠅蟼 谓伪 渭畏谓 蔚委谓伪喂 畏 魏伪位蠉蟿蔚蟻畏 未畏渭喂慰蠀蟻纬委伪 蟿慰蠀, 蠈渭蠅蟼 畏 伪谓伪纬谓蠅蟽蟿喂魏萎 伪蟺蠈位伪蠀蟽畏 蟺慰蠀 伪谓蟿位蔚委 魏伪谓蔚委蟼 伪蟺蠈 蟿慰蠀蟼 蔚尉伪喂蟻蔚蟿喂魏慰蠉蟼 纬位蠅蟽蟽喂魏慰蠉蟼 蠂蔚喂蟻喂蟽渭慰蠉蟼 蟿慰蠀蟼 螠蟺伪位味维魏 蔚委谓伪喂 蟺维谓蟿伪 蟺伪蟻慰蠉蟽伪 魏伪喂 未蔚未慰渭苇谓畏, 伪魏蠈渭伪 魏伪喂 蔚魏 蟺蟻慰慰喂渭委慰蠀.
April 19, 2021
*Massimilla Doni* is the only one of Balzac's novellas I know of that deals with Italy's pre-unification politics directly. It also seems to be less Legitimist-leaning than others. In some ways it is a bit of a slog; most of the action is a group of aristocrats watching a novel in late 1830s Venice. But the atmosphere of Habsburg Venice is apparent and it is one of Balzac's novels where the "feel" of Europe in the era is manifest quite obviously.
May 22, 2020
Balzac鈥檚 prose spills over with appetite for life, full of juice and power. This story is about the subtleties in musical compositions and artists performances, garnered with lust, infidelity and parties.
July 25, 2018
3,5/5
August 5, 2018
I missed the point all together. It is written in a style that does not suit me... long long looooooong descriptions and monologues about italian everything that I don't have the patience for. Sorry.
September 24, 2020
I found this a bit silly really, the music scenes don't make sense and go on far too long. I don't find Balzac at all convincing about music, singers etc.
July 29, 2021
螤萎蟻伪 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 纬喂伪蟿委 伪纬伪蟺维蠅 蟿畏谓 蠈蟺蔚蟻伪 伪位位维 未蠀蟽蟿蠀蠂蠋蟼, 蟿慰 渭蠈谓慰 蟺慰蠀 渭蟺慰蟻蠋 谓伪 蟺蠅 纬喂伪 伪蠀蟿蠈 蔚委谓伪喂 蠈蟿喂 渭蔚 蔚尉伪委蟻蔚蟽畏 蟿畏谓 蟺蔚蟻喂纬蟻伪蠁萎 蟿畏蟼 蠈蟺蔚蟻伪蟼 蟿慰蠀 巍慰蟽委谓喂 蟿慰 尾蟻萎魏伪 蟿蔚位蔚委蠅蟼 伪未喂维蠁慰蟻慰.
August 16, 2023
Une ode 脿 l'art musical
April 4, 2025
Tengo que decir que me aburr铆 mucho. Demasiadas referencias y la extensa explicaci贸n de la opera no ayud贸 demasiado. La historia queda un poco de lado.
March 29, 2013
Although there's a kind of predictable love story, the most interesting thing about this novel is that almost all the action takes place at La Fenice opera house during a performance of Rossini's opera Mose'in Egitto. A Florentine duchess explains the greatness of Rossini and Venice to a Frenchman by means of describing Rossini's and the singers' performances. Short book, fascinating look by a French author at Venice in the mid 19th c., after Napoleon's takeover of Venice.
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September 7, 2018螖蠉蟽魏慰位慰蟼 螠蟺伪位味维魏, 伪位位维 蠅蟻伪委慰蟼 螠蟺伪位味维魏!
螤蠋蟼 蟽蠀渭蠁喂位喂蠅谓蔚蟿伪喂 慰 蟽伪蟻魏喂魏慰蟼 渭蔚 蟿慰谓 蟺谓蔚蠀渭伪蟿喂魏蠈 苇蟻蠅蟿伪;
螘委谓伪喂 苇谓伪 蟺慰位蠉 蠈渭慰蟻蠁慰 魏伪喂 渭喂魏蟻蠈 尾喂尾位委慰 蟿蠅谓 -蟺蔚蟻委蟺慰蠀- 200 蟽蔚位委未蠅谓. 危魏苇蠁蟿蔚蟽伪喂 蠈蟿喂 胃伪 蟿慰 蟿蔚位蔚喂蠋蟽蔚喂蟼 蟽蔚 蟽蠉谓蟿慰渭慰 蠂蟻慰谓喂魏蠈 未喂维蟽蟿畏渭伪, 蠈渭蠅蟼 蔚纬蠋 胃伪 蟺蠅 蠈蟿喂 蟿慰 未喂维尾伪蟽伪 蟺慰位蠉 伪蟻纬维. 螞委纬蔚蟼-位委纬蔚蟼 蟽蔚位委未蔚蟼 魏维胃蔚 渭苇蟻伪 纬喂伪蟿委 萎胃蔚位伪 谓伪 魏伪蟿伪位维尾蠅 魏伪位蠉蟿蔚蟻伪 伪蠀蟿维 蟺慰蠀 未喂维尾伪味伪. 螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蟺蠅蟼 渭蔚 未蠀蟽魏蠈位蔚蠄蔚 伪蟻魏蔚蟿维, 渭蔚 魏慰蠉蟻伪蟽蔚 蟽蟿伪 蟽畏渭蔚委伪 蠈蟺慰蠀 渭喂位维 纬喂伪 蟿畏谓 螌蟺蔚蟻伪 魏伪喂 蟿畏 渭慰蠀蟽喂魏萎 (蟽蟿慰 1/3 蟿慰蠀 尾喂尾位委慰蠀 未畏位伪未萎) 螒螞螞螒 蔚谓蟿蠀蟺蠅蟽喂维蟽蟿畏魏伪 渭蔚 蟿慰谓 蟿蟻蠈蟺慰 纬蟻伪蠁萎蟼 蟿慰蠀. 螆谓喂蠅蟽伪 蟺蠅蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 苇蠂蔚喂 尾维位蔚喂 蟺慰位蠉 蟻慰渭伪谓蟿喂蟽渭蠈 蟽蟿喂蟼 位苇尉蔚喂蟼 魏伪喂 蟿喂蟼 蔚魏蠁蟻维蟽蔚喂蟼. 螖蔚谓 尉苇蟻蠅 蟺蠋蟼 伪位位喂蠋蟼 谓伪 蟿慰 蟺蠅, 伪位位维 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 纬蔚渭维蟿慰 蟺维胃慰蟼. 螤维胃慰蟼 纬喂伪 蟿畏谓 螜蟿伪位委伪, 纬喂伪 蟿畏 渭慰蠀蟽喂魏萎 魏伪喂 蟿畏谓 蠈蟺蔚蟻伪, 纬喂伪 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟿畏 味蠅萎.
螘委谓伪喂 伪蟺蠈 伪蠀蟿维 蟿伪 尾喂尾位委伪 蟺慰蠀 蔚委蟽伪喂 蟽蠀谓蔚蠂蠋蟼 渭蔚 蟿慰 渭慰位蠉尾喂 魏伪喂 蠀蟺慰纬蟻伪渭渭委味蔚喂蟼 蟿喂蟼 蠈渭慰蟻蠁蔚蟼 蟽蔚喂蟻苇蟼 蟿慰蠀, 蟺慰蠀 蔚谓蟿蠀蟺蠅蟽喂维味蔚蟽伪喂 伪蟺蠈 蟿喂蟼 蟺伪蟻慰渭慰喂蠋蟽蔚喂蟼 魏伪喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 蟺慰蠀 胃伪 蟽蔚 魏维谓蔚喂 谓伪 蟽蠀纬魏蟻委谓蔚喂蟼 蟿慰谓 蟺位伪蟿蠅谓喂魏蠈 渭蔚 蟿慰 蟽伪蟻魏喂魏蠈 苇蟻蠅蟿伪. 螘委谓伪喂 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰 蟺慰蠀 未喂伪尾维味蠅 伪蟺蠈 螠蟺伪位味维魏, 渭慰蠀 蠁维谓畏魏蔚 未蠉蟽魏慰位慰, 伪位位维, 蔚维谓 蔚委蟽蟿蔚 蟺喂慰 蔚尉慰喂魏蔚喂蠅渭苇谓慰喂 渭蔚 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蔚委未慰蟼 魏伪喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟽蠀纬纬蟻伪蠁苇伪 伪蟺' 蠈蟿喂 蔚纬蠋, 蟿蠈蟿蔚 蟽委纬慰蠀蟻伪 胃伪 蟿慰 伪蟺慰位伪蠉蟽蔚蟿蔚.
螤蠋蟼 蟽蠀渭蠁喂位喂蠅谓蔚蟿伪喂 慰 蟽伪蟻魏喂魏慰蟼 渭蔚 蟿慰谓 蟺谓蔚蠀渭伪蟿喂魏蠈 苇蟻蠅蟿伪;
螘委谓伪喂 苇谓伪 蟺慰位蠉 蠈渭慰蟻蠁慰 魏伪喂 渭喂魏蟻蠈 尾喂尾位委慰 蟿蠅谓 -蟺蔚蟻委蟺慰蠀- 200 蟽蔚位委未蠅谓. 危魏苇蠁蟿蔚蟽伪喂 蠈蟿喂 胃伪 蟿慰 蟿蔚位蔚喂蠋蟽蔚喂蟼 蟽蔚 蟽蠉谓蟿慰渭慰 蠂蟻慰谓喂魏蠈 未喂维蟽蟿畏渭伪, 蠈渭蠅蟼 蔚纬蠋 胃伪 蟺蠅 蠈蟿喂 蟿慰 未喂维尾伪蟽伪 蟺慰位蠉 伪蟻纬维. 螞委纬蔚蟼-位委纬蔚蟼 蟽蔚位委未蔚蟼 魏维胃蔚 渭苇蟻伪 纬喂伪蟿委 萎胃蔚位伪 谓伪 魏伪蟿伪位维尾蠅 魏伪位蠉蟿蔚蟻伪 伪蠀蟿维 蟺慰蠀 未喂维尾伪味伪. 螚 伪位萎胃蔚喂伪 蔚委谓伪喂 蟺蠅蟼 渭蔚 未蠀蟽魏蠈位蔚蠄蔚 伪蟻魏蔚蟿维, 渭蔚 魏慰蠉蟻伪蟽蔚 蟽蟿伪 蟽畏渭蔚委伪 蠈蟺慰蠀 渭喂位维 纬喂伪 蟿畏谓 螌蟺蔚蟻伪 魏伪喂 蟿畏 渭慰蠀蟽喂魏萎 (蟽蟿慰 1/3 蟿慰蠀 尾喂尾位委慰蠀 未畏位伪未萎) 螒螞螞螒 蔚谓蟿蠀蟺蠅蟽喂维蟽蟿畏魏伪 渭蔚 蟿慰谓 蟿蟻蠈蟺慰 纬蟻伪蠁萎蟼 蟿慰蠀. 螆谓喂蠅蟽伪 蟺蠅蟼 慰 蟽蠀纬纬蟻伪蠁苇伪蟼 苇蠂蔚喂 尾维位蔚喂 蟺慰位蠉 蟻慰渭伪谓蟿喂蟽渭蠈 蟽蟿喂蟼 位苇尉蔚喂蟼 魏伪喂 蟿喂蟼 蔚魏蠁蟻维蟽蔚喂蟼. 螖蔚谓 尉苇蟻蠅 蟺蠋蟼 伪位位喂蠋蟼 谓伪 蟿慰 蟺蠅, 伪位位维 蔚委谓伪喂 苇谓伪 尾喂尾位委慰 纬蔚渭维蟿慰 蟺维胃慰蟼. 螤维胃慰蟼 纬喂伪 蟿畏谓 螜蟿伪位委伪, 纬喂伪 蟿畏 渭慰蠀蟽喂魏萎 魏伪喂 蟿畏谓 蠈蟺蔚蟻伪, 纬喂伪 蟿慰谓 苇蟻蠅蟿伪 魏伪喂 蟿畏 味蠅萎.
螘委谓伪喂 伪蟺蠈 伪蠀蟿维 蟿伪 尾喂尾位委伪 蟺慰蠀 蔚委蟽伪喂 蟽蠀谓蔚蠂蠋蟼 渭蔚 蟿慰 渭慰位蠉尾喂 魏伪喂 蠀蟺慰纬蟻伪渭渭委味蔚喂蟼 蟿喂蟼 蠈渭慰蟻蠁蔚蟼 蟽蔚喂蟻苇蟼 蟿慰蠀, 蟺慰蠀 蔚谓蟿蠀蟺蠅蟽喂维味蔚蟽伪喂 伪蟺蠈 蟿喂蟼 蟺伪蟻慰渭慰喂蠋蟽蔚喂蟼 魏伪喂 蟺蔚蟻喂纬蟻伪蠁苇蟼 蟿慰蠀 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 蟺慰蠀 胃伪 蟽蔚 魏维谓蔚喂 谓伪 蟽蠀纬魏蟻委谓蔚喂蟼 蟿慰谓 蟺位伪蟿蠅谓喂魏蠈 渭蔚 蟿慰 蟽伪蟻魏喂魏蠈 苇蟻蠅蟿伪. 螘委谓伪喂 蟿慰 蟺蟻蠋蟿慰 尾喂尾位委慰 蟺慰蠀 未喂伪尾维味蠅 伪蟺蠈 螠蟺伪位味维魏, 渭慰蠀 蠁维谓畏魏蔚 未蠉蟽魏慰位慰, 伪位位维, 蔚维谓 蔚委蟽蟿蔚 蟺喂慰 蔚尉慰喂魏蔚喂蠅渭苇谓慰喂 渭蔚 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蔚委未慰蟼 魏伪喂 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 蟽蠀纬纬蟻伪蠁苇伪 伪蟺' 蠈蟿喂 蔚纬蠋, 蟿蠈蟿蔚 蟽委纬慰蠀蟻伪 胃伪 蟿慰 伪蟺慰位伪蠉蟽蔚蟿蔚.
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