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螚 蟽蟿喂纬渭萎 蟿慰蠀 蟻蠈未慰蠀
螚 AGATHA CHRISTIE 蠀蟺慰纬蟻维蠁蔚喂 蠅蟼 MARY WESTMACOTT 蟽蔚 苇尉喂 魏慰喂谓蠅谓喂魏维 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿伪 蟺慰蠀 蔚魏未蠈胃畏魏伪谓 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟿畏谓 蟺蔚蟻委慰未慰 1930-1956.
螚 未喂维蟽畏渭畏 渭蠀胃喂蟽蟿慰蟻喂慰纬蟻维蠁慰蟼 伪蟺慰魏伪位蠉蟺蟿蔚喂 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 蠈蠄畏 蟿畏蟼 蟽蠀纬纬蟻伪蠁喂魏萎蟼 蟺苇谓伪蟼 蟿畏蟼, 未蔚委蠂谓慰谓蟿伪蟼 蟿慰 伪尉蔚蟺苇蟻伪蟽蟿慰 蟿伪位苇谓蟿慰 蟿畏蟼.
螌位慰喂 蟺蔚蟻委渭蔚谓伪谓 蠈蟿喂 畏 螜味伪渭蟺苇位伪 韦蟽伪蟻蟿苇蟻喂蟼, 蠈渭慰蟻蠁畏, 魏伪位慰渭伪胃畏渭苇谓畏 魏伪喂 纬蠈谓慰蟼 伪蟻喂蟽蟿慰魏蟻伪蟿喂魏萎蟼 慰喂魏慰纬蔚谓蔚委伪蟼, 胃伪 蟺伪谓蟿蟻蔚蠀蠈蟿伪谓 蟿慰谓 蔚尉维未蔚位蠁蠈 蟿畏蟼 巍慰蠉蟺蔚蟻蟿, 蠈蟿伪谓 蔚魏蔚委谓慰蟼 胃伪 蔚蟺苇蟽蟿蟻蔚蠁蔚 伪蟺蠈 蟿慰谓 蟺蠈位蔚渭慰. 螝伪喂, 伪谓伪渭蠁委尾慰位伪, 胃伪 萎蟿伪谓 慰 喂未伪谓喂魏蠈蟼 纬维渭慰蟼. 韦蠈蟿蔚, 蠈渭蠅蟼, 蔚渭蠁伪谓委味蔚蟿伪喂 蟽蟿畏 味蠅萎 蟿畏蟼 慰 韦味慰谓 螕魏维渭蟺蟻喂蔚位, 苇谓伪蟼 蠁喂位蠈未慰尉慰蟼 魏伪喂 伪未委蟽蟿伪魏蟿慰蟼 维谓蟿蟻伪蟼, 萎蟻蠅伪蟼 蟺慰位苇渭慰蠀. 螕喂伪 蟿畏谓 螜味伪渭蟺苇位伪, 蟿慰 蟿委渭畏渭伪 蟿畏蟼 伪纬维蟺畏蟼 胃伪 蔚委谓伪喂 谓伪 蔚纬魏伪蟿伪位蔚委蠄蔚喂 纬喂伪 蟺维谓蟿伪 蟿慰 蠈谓蔚喂蟻蠈 蟿畏蟼 谓伪 伪蟺慰魏蟿萎蟽蔚喂 渭喂伪 蔚蠀蟿蠀蠂喂蟽渭苇谓畏 慰喂魏慰纬苇谓蔚喂伪, 蔚谓蠋 慰 韦味慰谓 胃伪 魏位畏胃蔚委 谓伪 胃蠀蟽喂维蟽蔚喂 蟿畏谓 魏伪蟻喂苇蟻伪 魏伪喂 蟿喂蟼 蠁喂位慰未慰尉委蔚蟼 蟿慰蠀.
螚 危蟿喂纬渭萎 蟿慰蠀 巍蠈未慰蠀 蔚委谓伪喂 苇谓伪 蟽蠉谓胃蔚蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 蟽蠀谓未蠀维味蔚喂 渭喂伪 喂蟽蟿慰蟻委伪 伪纬维蟺畏蟼 渭蔚 蟿畏 蟽魏喂伪纬蟻维蠁畏蟽畏 喂未喂伪委蟿蔚蟻蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 渭喂伪 魏伪蟿伪尾蠉胃喂蟽畏 蟽蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏.
螤蔚蟻喂蟽蟽蠈蟿蔚蟻伪 纬喂伪 蟿慰 尾喂尾位委慰
危蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰, 畏 Agatha 伪纬纬委味蔚喂 蟺喂慰 芦蟽魏慰蟿蔚喂谓维禄 胃苇渭伪蟿伪, 渭蔚 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰蠀 伪蠁慰蟻维 苇谓伪谓 谓蔚伪蟻蠈 魏伪喂蟻慰蟽魏蠈蟺慰 蟺慰蠀 伪谓伪蟻蟻喂蠂维蟿伪喂 魏慰喂谓蠅谓喂魏维 蠈蟿伪谓 蟽蠂蔚蟿委味蔚蟿伪喂 渭蔚 渭喂伪 纬蠀谓伪委魏伪 蟿畏蟼 蠀蠄畏位萎蟼 魏慰喂谓蠅谓委伪蟼. 韦伪 渭蔚纬伪位蔚蟺萎尾慰位伪 蟽蠂苇未喂维 蟿慰蠀 胃伪 苇蠂慰蠀谓 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 未蠀蟽维蟻蔚蟽蟿蔚蟼 蟽蠀谓苇蟺蔚喂蔚蟼. 螚 危蟿喂纬渭萎 蟿慰蠀 巍蠈未慰蠀 蠀蟺萎蟻尉蔚 伪纬伪蟺畏渭苇谓慰 尾喂尾位委慰 蟿蠈蟽慰 蟿畏蟼 委未喂伪蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼, 蠈蟽慰 魏伪喂 蟿畏蟼 魏蠈蟻畏蟼 蟿畏蟼 巍蠈味伪位喂谓蟿. 螣 蟿委蟿位慰蟼 蟿慰蠀 尾喂尾位委慰蠀 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿慰 渭谓畏渭蔚委慰 蟺慰蠀 伪谓蔚纬苇蟻胃畏魏蔚 蟺蟻慰蟼 蟿喂渭萎谓 蟿畏蟼 蟽蟿畏 螞苇蟽蟿蔚蟻 危魏慰蠀苇蟻 蟿慰蠀 螞慰谓未委谓慰蠀, 蟿慰 2012.
螚 未喂维蟽畏渭畏 渭蠀胃喂蟽蟿慰蟻喂慰纬蟻维蠁慰蟼 伪蟺慰魏伪位蠉蟺蟿蔚喂 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 蠈蠄畏 蟿畏蟼 蟽蠀纬纬蟻伪蠁喂魏萎蟼 蟺苇谓伪蟼 蟿畏蟼, 未蔚委蠂谓慰谓蟿伪蟼 蟿慰 伪尉蔚蟺苇蟻伪蟽蟿慰 蟿伪位苇谓蟿慰 蟿畏蟼.
螌位慰喂 蟺蔚蟻委渭蔚谓伪谓 蠈蟿喂 畏 螜味伪渭蟺苇位伪 韦蟽伪蟻蟿苇蟻喂蟼, 蠈渭慰蟻蠁畏, 魏伪位慰渭伪胃畏渭苇谓畏 魏伪喂 纬蠈谓慰蟼 伪蟻喂蟽蟿慰魏蟻伪蟿喂魏萎蟼 慰喂魏慰纬蔚谓蔚委伪蟼, 胃伪 蟺伪谓蟿蟻蔚蠀蠈蟿伪谓 蟿慰谓 蔚尉维未蔚位蠁蠈 蟿畏蟼 巍慰蠉蟺蔚蟻蟿, 蠈蟿伪谓 蔚魏蔚委谓慰蟼 胃伪 蔚蟺苇蟽蟿蟻蔚蠁蔚 伪蟺蠈 蟿慰谓 蟺蠈位蔚渭慰. 螝伪喂, 伪谓伪渭蠁委尾慰位伪, 胃伪 萎蟿伪谓 慰 喂未伪谓喂魏蠈蟼 纬维渭慰蟼. 韦蠈蟿蔚, 蠈渭蠅蟼, 蔚渭蠁伪谓委味蔚蟿伪喂 蟽蟿畏 味蠅萎 蟿畏蟼 慰 韦味慰谓 螕魏维渭蟺蟻喂蔚位, 苇谓伪蟼 蠁喂位蠈未慰尉慰蟼 魏伪喂 伪未委蟽蟿伪魏蟿慰蟼 维谓蟿蟻伪蟼, 萎蟻蠅伪蟼 蟺慰位苇渭慰蠀. 螕喂伪 蟿畏谓 螜味伪渭蟺苇位伪, 蟿慰 蟿委渭畏渭伪 蟿畏蟼 伪纬维蟺畏蟼 胃伪 蔚委谓伪喂 谓伪 蔚纬魏伪蟿伪位蔚委蠄蔚喂 纬喂伪 蟺维谓蟿伪 蟿慰 蠈谓蔚喂蟻蠈 蟿畏蟼 谓伪 伪蟺慰魏蟿萎蟽蔚喂 渭喂伪 蔚蠀蟿蠀蠂喂蟽渭苇谓畏 慰喂魏慰纬苇谓蔚喂伪, 蔚谓蠋 慰 韦味慰谓 胃伪 魏位畏胃蔚委 谓伪 胃蠀蟽喂维蟽蔚喂 蟿畏谓 魏伪蟻喂苇蟻伪 魏伪喂 蟿喂蟼 蠁喂位慰未慰尉委蔚蟼 蟿慰蠀.
螚 危蟿喂纬渭萎 蟿慰蠀 巍蠈未慰蠀 蔚委谓伪喂 苇谓伪 蟽蠉谓胃蔚蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 蟽蠀谓未蠀维味蔚喂 渭喂伪 喂蟽蟿慰蟻委伪 伪纬维蟺畏蟼 渭蔚 蟿畏 蟽魏喂伪纬蟻维蠁畏蟽畏 喂未喂伪委蟿蔚蟻蠅谓 蠂伪蟻伪魏蟿萎蟻蠅谓, 蟺蟻慰蟽蠁苇蟻慰谓蟿伪蟼 渭喂伪 魏伪蟿伪尾蠉胃喂蟽畏 蟽蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏.
螤蔚蟻喂蟽蟽蠈蟿蔚蟻伪 纬喂伪 蟿慰 尾喂尾位委慰
危蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰, 畏 Agatha 伪纬纬委味蔚喂 蟺喂慰 芦蟽魏慰蟿蔚喂谓维禄 胃苇渭伪蟿伪, 渭蔚 渭喂伪 喂蟽蟿慰蟻委伪 蟺慰蠀 伪蠁慰蟻维 苇谓伪谓 谓蔚伪蟻蠈 魏伪喂蟻慰蟽魏蠈蟺慰 蟺慰蠀 伪谓伪蟻蟻喂蠂维蟿伪喂 魏慰喂谓蠅谓喂魏维 蠈蟿伪谓 蟽蠂蔚蟿委味蔚蟿伪喂 渭蔚 渭喂伪 纬蠀谓伪委魏伪 蟿畏蟼 蠀蠄畏位萎蟼 魏慰喂谓蠅谓委伪蟼. 韦伪 渭蔚纬伪位蔚蟺萎尾慰位伪 蟽蠂苇未喂维 蟿慰蠀 胃伪 苇蠂慰蠀谓 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 未蠀蟽维蟻蔚蟽蟿蔚蟼 蟽蠀谓苇蟺蔚喂蔚蟼. 螚 危蟿喂纬渭萎 蟿慰蠀 巍蠈未慰蠀 蠀蟺萎蟻尉蔚 伪纬伪蟺畏渭苇谓慰 尾喂尾位委慰 蟿蠈蟽慰 蟿畏蟼 委未喂伪蟼 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼, 蠈蟽慰 魏伪喂 蟿畏蟼 魏蠈蟻畏蟼 蟿畏蟼 巍蠈味伪位喂谓蟿. 螣 蟿委蟿位慰蟼 蟿慰蠀 尾喂尾位委慰蠀 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿慰 渭谓畏渭蔚委慰 蟺慰蠀 伪谓蔚纬苇蟻胃畏魏蔚 蟺蟻慰蟼 蟿喂渭萎谓 蟿畏蟼 蟽蟿畏 螞苇蟽蟿蔚蟻 危魏慰蠀苇蟻 蟿慰蠀 螞慰谓未委谓慰蠀, 蟿慰 2012.
264 pages, Paperback
First published January 1, 1947
65 people are currently reading
3,297 people want to read
About the author
Mary Westmacott
15听books635听followersPseudonym used by
Agatha Christie
to write her dramatic novels about relationships.
Associated Names:
袦褝褉懈 袙械褋褌屑邪泻芯褌褌 (Russian)
袦械褉褨 袙械褋褌屑邪泻芯褌褌 (Ukrainian)
Associated Names:
袦褝褉懈 袙械褋褌屑邪泻芯褌褌 (Russian)
袦械褉褨 袙械褋褌屑邪泻芯褌褌 (Ukrainian)
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Displaying 1 - 30 of 260 reviews
August 31, 2022
4 鈽�
The 欧宝娱乐 description managed to disclose too much information and still completely missed the author's point. Although explored the concept of love and its actions, it is not a typical romance. Readers will be disappointed if they hold this expectation.
Published in 1947, was a psychological story of redemption set amidst the 1945 election for a Parliamentary seat. Even as a bit of fairy tale essence gleamed, a rapier wit pierced through the human foibles of Cornish village life.
The prologue introduced the narrator, Hugh Norreys, who was physically disabled. The main body of the story consisted of Hugh's memories of the summer of 1945 during his convalescence with his family. Southern England was relatively isolated from the still raging battles of WWII. Although his emotional equilibrium hadn't recovered its earlier footing, Hugh was a solid chap of good manners and conventional values, including a chivalric (occasionally patronizing) attitude towards women. His mor茅s prevented him from recognizing all of the events which transpired during that eventful summer.
Political change was in the air, and the Labour Party was in its ascendancy. The Norreys household, however, supported Winston Churchill and thus the Conservatives. The locals hoped that new blood as represented by John Gabriel, recipient of the Victoria Cross, would replace the septuagenerian incumbent and fend off the Labour challenge.
Hugh wasn't impressed by John but recognized his charisma while simultaneously dismissing his appeal to women. John's antecedents didn't hail from the landed gentry, and he felt it bitterly. As any Christie fan knows, she had always been fascinated by the psychology underlying behaviors. In , she explored the interior journey of a person who had at least one bad fairy at his christening.
The people who seemed to have had only the good fairies attend their christening were the inhabitants of St. Loo Castle, which dominated the county's skyline. As expected, the Castle's residents supported the Conservative Party and thus interacted with John, someone normally outside their milieu.
The "Maiden" was 19 year-old Isabella who soon became on comfortable terms with Hugh. Yes, there were some unusual metaphors popping up in what seemed primarily a story about politics. Christie exposed the rigidity of the socioeconomic divide in British society, in particular how it had cut off human potential. To lighten the tone, Christie's political commentary was cynically astute and wickedly funny. Utilizing this kind of narrator also thankfully minimized what could have easily been melodrama.
By this point, Christie had been publishing mystery novels for nearly 30 years. While disguising herself with a pseudonym, she couldn't resist some of her mystery writing tactics -- primarily, misdirection and red herrings from the narrator and one lethal crime. Her mysteries were quite clever, logically plotted out and occasionally sterile. But with , Christie gave free rein to in-depth character analysis and showcased a keen wit.
I read this because buddies had suggested it. See /topic/show/...
I was very pleasantly surprised by this. For Christie fans, it's worth exploring other facets of this prolific writer.
a bad film is exactly what history really isAfter publishing her first mystery novel in 1920, wanted the freedom to experiment with her writing. Under the pseudonym , Christie wrote six novels from 1930 to 1956.
"To love anyone," I said, "is always to lay upon that person an almost intolerable burden."
The 欧宝娱乐 description managed to disclose too much information and still completely missed the author's point. Although explored the concept of love and its actions, it is not a typical romance. Readers will be disappointed if they hold this expectation.
"God save us from the cranks! It's really remarkable the amount of suffering a really high-minded idealistic crank can inflict on a decent law-abiding country."
Published in 1947, was a psychological story of redemption set amidst the 1945 election for a Parliamentary seat. Even as a bit of fairy tale essence gleamed, a rapier wit pierced through the human foibles of Cornish village life.
The prologue introduced the narrator, Hugh Norreys, who was physically disabled. The main body of the story consisted of Hugh's memories of the summer of 1945 during his convalescence with his family. Southern England was relatively isolated from the still raging battles of WWII. Although his emotional equilibrium hadn't recovered its earlier footing, Hugh was a solid chap of good manners and conventional values, including a chivalric (occasionally patronizing) attitude towards women. His mor茅s prevented him from recognizing all of the events which transpired during that eventful summer.
The last thing you want in an election is a lot of people who think things out and really use their heads.
Political change was in the air, and the Labour Party was in its ascendancy. The Norreys household, however, supported Winston Churchill and thus the Conservatives. The locals hoped that new blood as represented by John Gabriel, recipient of the Victoria Cross, would replace the septuagenerian incumbent and fend off the Labour challenge.
"We used to have gentlemen in politics. Precious few of them. I wish this chap was a gentleman, but he isn't, and there it is. If you can't have a gentleman, I suppose a hero is the next best thing."
Hugh wasn't impressed by John but recognized his charisma while simultaneously dismissing his appeal to women. John's antecedents didn't hail from the landed gentry, and he felt it bitterly. As any Christie fan knows, she had always been fascinated by the psychology underlying behaviors. In , she explored the interior journey of a person who had at least one bad fairy at his christening.
The people who seemed to have had only the good fairies attend their christening were the inhabitants of St. Loo Castle, which dominated the county's skyline. As expected, the Castle's residents supported the Conservative Party and thus interacted with John, someone normally outside their milieu.
[Lady St. Loo and entourage] were, you see, exactly right to have come out of St. Loo Castle. They were pure fairy story. The Three Witches and the Enchanted Maiden.
The "Maiden" was 19 year-old Isabella who soon became on comfortable terms with Hugh. Yes, there were some unusual metaphors popping up in what seemed primarily a story about politics. Christie exposed the rigidity of the socioeconomic divide in British society, in particular how it had cut off human potential. To lighten the tone, Christie's political commentary was cynically astute and wickedly funny. Utilizing this kind of narrator also thankfully minimized what could have easily been melodrama.
By this point, Christie had been publishing mystery novels for nearly 30 years. While disguising herself with a pseudonym, she couldn't resist some of her mystery writing tactics -- primarily, misdirection and red herrings from the narrator and one lethal crime. Her mysteries were quite clever, logically plotted out and occasionally sterile. But with , Christie gave free rein to in-depth character analysis and showcased a keen wit.
I read this because buddies had suggested it. See /topic/show/...
I was very pleasantly surprised by this. For Christie fans, it's worth exploring other facets of this prolific writer.
August 5, 2019
This is the most complex novel Christie wrote under the pseudonym Mary Westmacott. In many ways it is a love story but the two principal characters have so complex personality that at times you are left wondering their drives and motivations. As a Christie鈥檚 fan of her mystery novels, I found this novel brilliant because it brings out the brilliance and creativity of the author. Must read to understand the other side of this great author.
Read
July 15, 2019How fucking fascinating.
So, Mary Westmatcott is the pen-name Agatha Christie used when she wanted to get away from writing mysterious and write ... romances? Well, romances in the broad sense of "stories about people have emotional reactions to things and each other, some of which may be love" rather genre romance sense of "happy ever after."
Fair warning, there isn't a whole lot of happy ever after here.
But it's still really damn good.
It opens with the narrator, who seems to have some kind of physical disability, being called to the deathbed of a man he professes to hate. But why would be invited to the deathbed of such a person? What is the relationship between these two men. Is there a woman?! Oh the mystery.
The main action of the book takes place at a between-the-wars election in a small Cornish town. The narrator, as this point (and, btw, he's splendidly unreliable and occasionally obtuse throughout) is largely paralysed following a motor accident, and profoundly not okay about it (trigger warnings for of-the-time attitudes to disability, although some of that is the narrator being in a terribly bad place). This enables him to bear witness to the events of the election, and particularly the actions of the Tory candidate, a ruthless, lower class social climber called John Gabriel. There's love and sex, and politics and violence, class struggle, and, oh my gosh, all the best things. There's some really amazing character stuff, all of it spun through the eyes of a cynical, not all that observant narrator riddled with self-loathing. The sort-of-heroine, Isabella, is fascinatingly oblique, fragile in some ways, odd in others, and unexpectedly resilient in others. The whole novel pulls towards a gothic flavour, though Isabella herself resists it.
A book to read again, I think. To read through the gaps in itself and piece carefully together. And a TS Eliot reference is just the fucked up modernist cherry on top. *chef's kiss*
Also, a shoutout to Teresa, the narrator's utter fabulous sister. I'm not sure I've encountered a character quite like her fiction before: she's hilarious, perceptive, ruthlessly honest and utterly unashamed of who she is. Heroine of my life.
So, Mary Westmatcott is the pen-name Agatha Christie used when she wanted to get away from writing mysterious and write ... romances? Well, romances in the broad sense of "stories about people have emotional reactions to things and each other, some of which may be love" rather genre romance sense of "happy ever after."
Fair warning, there isn't a whole lot of happy ever after here.
But it's still really damn good.
It opens with the narrator, who seems to have some kind of physical disability, being called to the deathbed of a man he professes to hate. But why would be invited to the deathbed of such a person? What is the relationship between these two men. Is there a woman?! Oh the mystery.
The main action of the book takes place at a between-the-wars election in a small Cornish town. The narrator, as this point (and, btw, he's splendidly unreliable and occasionally obtuse throughout) is largely paralysed following a motor accident, and profoundly not okay about it (trigger warnings for of-the-time attitudes to disability, although some of that is the narrator being in a terribly bad place). This enables him to bear witness to the events of the election, and particularly the actions of the Tory candidate, a ruthless, lower class social climber called John Gabriel. There's love and sex, and politics and violence, class struggle, and, oh my gosh, all the best things. There's some really amazing character stuff, all of it spun through the eyes of a cynical, not all that observant narrator riddled with self-loathing. The sort-of-heroine, Isabella, is fascinatingly oblique, fragile in some ways, odd in others, and unexpectedly resilient in others. The whole novel pulls towards a gothic flavour, though Isabella herself resists it.
A book to read again, I think. To read through the gaps in itself and piece carefully together. And a TS Eliot reference is just the fucked up modernist cherry on top. *chef's kiss*
Also, a shoutout to Teresa, the narrator's utter fabulous sister. I'm not sure I've encountered a character quite like her fiction before: she's hilarious, perceptive, ruthlessly honest and utterly unashamed of who she is. Heroine of my life.
I pounced on that and told her she was illogical. She had just said that to fall in love with John Gabriel would be enjoyable.
鈥楴ot to me,鈥� said Teresa. 鈥楤ecause I resent鈥攁nd have always resented鈥攆eeling emotion.鈥�
鈥榊es,鈥� I said thoughtfully. 鈥業 believe that鈥檚 true. But why? I can鈥檛 understand that.鈥�
鈥楢nd I can鈥檛 explain.鈥�
鈥楾ry,鈥� I urged.
鈥楧ear Hugh, how you like to probe! I suppose because I have no instinct for living. To feel that my will and my brain can be entirely swamped and overridden by emotion is insufferable to me. I can control my actions and to a large extent my thoughts鈥攏ot to be able to control my emotions is galling to my pride鈥攊t humiliates me.鈥�
August 7, 2022
The moment of the rose and the moment of the yew-tree | Are of equal duration.
~ T.S. Eliot, Four Quartets
What an unexpected surprise from Agatha Christie, writing as Mary Westmacott! I would strongly advise avoiding or ignoring the blurb which puts the emphasis in all the wrong places (this is not a romance) and, simultaneously, is full of spoilers - all very misleading and the book is far better than it sounds.
As always, Christie may not be a great stylist but her writing is deft and fluent, and she communicates with economy, making complex characterisations and ideas lucid and accessible. There's more than a touch of about this book which is neither securely 'genre' nor 'literary' - it's an interesting, even compulsively readable story which is also packed with literary allusions: T.S. Eliot for the title and the concept of relativity of time, life and death, the circularity of ends and beginnings, all of which she weaves neatly though not simply into the text. Also fairy tales and, unexpectedly, Iago from as the partial key to one of the main characters.
For much of the book, the main concern is the run-up to the 1945 General Election, a moment of acute social change and a landslide triumph for Labour. Christie's snippy political comments are often a delight ('The last thing you want in an election is a lot of people who think things out and really use their heads') and haven't lost their bite 75 years later. And the electioneering plot strand is also a throwback to the novels of and 's which are also concerned with political enfranchisement, social class and political power.
It's only in the last third or so of the book that the focus switches to the personal plot, a psychodrama that hovers on the edge of melodrama. The limited emotional intelligence of the narrator dials down the sensationalist potential and keeps the whole thing grounded. Overall, the whole thing is nicely done and is an entertaining read.
November 19, 2011
Lord, the skill and unnerving perception of Christie.
I love the choice she makes in a setting, how she unashamedly places a story in the midst of a small village with no pretence to exoticism or grandeur and then proceeds to ruthlessly delineate and unpack and thoroughly dissect the characters with a psychological insight that sometimes leaves me breathless and overwhelmed, struggling to contain so much intricacy of characterisation in my head.
And her clever use of symbolism, how unusual that central phrase of the novel is to me removed from her by the distance of space and time. So much so that I start the novel knowing it, intrigued, and then get so caught up in the plot and its emotions that I gradually forget the phrase as it recedes. And then she'll use the symbolism and I'll remember that I've forgotten the phrase but I know the symbol is significant and so I notice it as it crops up again and again. She never overwhelms the reader with heavyhanded imagery and symbolism, something I admire so much about her. And yet it's there, enough so I can love her for including it, enough so I can love her for adding that extra layer of literary excellence. And she reminds me of the phrase again at the end so I can go 'woah' with a sudden moment of sheer marvel. Marvel at her and how she bore out the central concept, twisted it and explored it and embellished it and then delivered liek woah.
I did find the Othello parallel handled a little unsubtly but then I liked very much that it focused solely on the character of Iago, affording an utterly fascinating insight into the character of Gabriel. And well, I always love when books are discussed within books. And now that I think about it, the irony of it was quite lovely too ... the fact that our Iago character was himself a victim of a husband's suspicion and jealousy when in fact he did nothing reprehensible at all to the wife in question. *lol* Oh Christie.
And her way with the unreliable narrator, how it's never with the knowing wink or the moody selfconsciousness of contemporary fiction. Hers is truly the unreliable narrator that startles you when the reveal comes, however small it may be, unsettling you enough to realise you've trusted this character's narration completely and blindly all the way until now and maybe they hadn't told you the whole story because they hadn't seen it themselves. So very very tantalising.
Most of all, I love the strong elegance of Christie's prose. How the sentences could be sharp and choppy but aren't. How they could be long and torturous and convoluted but they aren't. She is at once modern and classical, at once scientific and poetic, at once warm and distant.
How I adore her. *sigh*
I love the choice she makes in a setting, how she unashamedly places a story in the midst of a small village with no pretence to exoticism or grandeur and then proceeds to ruthlessly delineate and unpack and thoroughly dissect the characters with a psychological insight that sometimes leaves me breathless and overwhelmed, struggling to contain so much intricacy of characterisation in my head.
And her clever use of symbolism, how unusual that central phrase of the novel is to me removed from her by the distance of space and time. So much so that I start the novel knowing it, intrigued, and then get so caught up in the plot and its emotions that I gradually forget the phrase as it recedes. And then she'll use the symbolism and I'll remember that I've forgotten the phrase but I know the symbol is significant and so I notice it as it crops up again and again. She never overwhelms the reader with heavyhanded imagery and symbolism, something I admire so much about her. And yet it's there, enough so I can love her for including it, enough so I can love her for adding that extra layer of literary excellence. And she reminds me of the phrase again at the end so I can go 'woah' with a sudden moment of sheer marvel. Marvel at her and how she bore out the central concept, twisted it and explored it and embellished it and then delivered liek woah.
I did find the Othello parallel handled a little unsubtly but then I liked very much that it focused solely on the character of Iago, affording an utterly fascinating insight into the character of Gabriel. And well, I always love when books are discussed within books. And now that I think about it, the irony of it was quite lovely too ... the fact that our Iago character was himself a victim of a husband's suspicion and jealousy when in fact he did nothing reprehensible at all to the wife in question. *lol* Oh Christie.
And her way with the unreliable narrator, how it's never with the knowing wink or the moody selfconsciousness of contemporary fiction. Hers is truly the unreliable narrator that startles you when the reveal comes, however small it may be, unsettling you enough to realise you've trusted this character's narration completely and blindly all the way until now and maybe they hadn't told you the whole story because they hadn't seen it themselves. So very very tantalising.
Most of all, I love the strong elegance of Christie's prose. How the sentences could be sharp and choppy but aren't. How they could be long and torturous and convoluted but they aren't. She is at once modern and classical, at once scientific and poetic, at once warm and distant.
How I adore her. *sigh*
August 3, 2022
I heard about (1947) on a recent episode of the BBC's A Good Read.
Despite the book's description this is not a romance. is written by Agatha Christie. It's one of six novels she wrote under the pseudonym. Despite the lack of crime it does have plenty of suspense and intrigue.
John Gabriel, an opportunistic working class war hero stands for Parliament in the post WW2 election as a potential Conservative MP. Hugh Norreys, a disabled character bears witness to the events of the election. Boiling beneath the surface are love, passion, politics, class divisions, shifting social boundaries, and violence. It's a mere 200 pages and, I realise in hindsight, it's best read fast, something I didn't do.
Hugh Norreys is an unreliable narrator, not very observant and blinded by his own feelings and emotions. The central story is the relationship between John Gabriel and Hugh Norries, so quite why the blurb plays up the romance element is unclear and indeed downright misleading. This is an effective and cleverly structured psychodrama which packs a lot of incident into its modest length.
There are many other characters who are all interesting and well drawn. It's easy to understand why this was one of Agatha Christie's favourites of her own books, a view shared by her daughter. A concise and unusual read with plenty to ponder.
4/5
Despite the book's description this is not a romance. is written by Agatha Christie. It's one of six novels she wrote under the pseudonym. Despite the lack of crime it does have plenty of suspense and intrigue.
John Gabriel, an opportunistic working class war hero stands for Parliament in the post WW2 election as a potential Conservative MP. Hugh Norreys, a disabled character bears witness to the events of the election. Boiling beneath the surface are love, passion, politics, class divisions, shifting social boundaries, and violence. It's a mere 200 pages and, I realise in hindsight, it's best read fast, something I didn't do.
Hugh Norreys is an unreliable narrator, not very observant and blinded by his own feelings and emotions. The central story is the relationship between John Gabriel and Hugh Norries, so quite why the blurb plays up the romance element is unclear and indeed downright misleading. This is an effective and cleverly structured psychodrama which packs a lot of incident into its modest length.
There are many other characters who are all interesting and well drawn. It's easy to understand why this was one of Agatha Christie's favourites of her own books, a view shared by her daughter. A concise and unusual read with plenty to ponder.
4/5
Read
December 28, 2023"'What is the real truth of a human creature who can appear so differently to different people?'
Robert, who seldom joined in our conversations, moved restlessly and said rather unexpectedly:
'But isn't that just the point? People do appear differently to different people. So do things. Trees, for instance, or the sea. Two painters would give you an entirely different idea of St Loo harbour.'
'You mean one painter would paint it naturalistically and another symbolically?'
Robert shook his head rather wearily. He hated talking about painting. He never could find the words to express what he meant.
'No,' he said. 'They'd actually see it differently. Probably鈥擨 don't know鈥攜ou pick out of everything the things in it which are significant to you.'"
*
I can't decide if I love or hate this book. On one hand, it features Christie's fascinating insight into the human character, given more space and attention in this novel in comparison to her murder mysteries. But this is also what makes it so difficult to like: with an unreliable narrator, characters who it's impossible to like, and a plot that - much like life - never seems to know where it's going, it's often a frustrating read.
But maybe that's the point. Maybe what makes us human is precisely the fact that we're frustrating and nonsensical, unseeing and unlikeable. Either way, I'd still read this all over again, even in spite of the thin-on-the-ground plot and the fact it is most definitely not a romance, as many reviews have said. (Definitely do not use this as a romance guide, unless Romeo & Juliet is also your thing.)
Robert, who seldom joined in our conversations, moved restlessly and said rather unexpectedly:
'But isn't that just the point? People do appear differently to different people. So do things. Trees, for instance, or the sea. Two painters would give you an entirely different idea of St Loo harbour.'
'You mean one painter would paint it naturalistically and another symbolically?'
Robert shook his head rather wearily. He hated talking about painting. He never could find the words to express what he meant.
'No,' he said. 'They'd actually see it differently. Probably鈥擨 don't know鈥攜ou pick out of everything the things in it which are significant to you.'"
*
I can't decide if I love or hate this book. On one hand, it features Christie's fascinating insight into the human character, given more space and attention in this novel in comparison to her murder mysteries. But this is also what makes it so difficult to like: with an unreliable narrator, characters who it's impossible to like, and a plot that - much like life - never seems to know where it's going, it's often a frustrating read.
But maybe that's the point. Maybe what makes us human is precisely the fact that we're frustrating and nonsensical, unseeing and unlikeable. Either way, I'd still read this all over again, even in spite of the thin-on-the-ground plot and the fact it is most definitely not a romance, as many reviews have said. (Definitely do not use this as a romance guide, unless Romeo & Juliet is also your thing.)
July 9, 2020
This story was very complicated and even a bit mind baffling. I might be biased when it comes to judging Agatha's work, but I really think this one is quite special.
I have to admit that it was a bit dragging at some points because of the huge amount of political talk (one of the topics the story covers), but I can mostly just praise it for the stunning characters Agatha created and the deeper, darker themes the story tells about. The class struggles (and the hate / love that it results in) - the depressed, crippled and selfish narrator - and the quite dramatic love story -> it all works extremely well in this depressing, but very well written story.
I have to admit that it was a bit dragging at some points because of the huge amount of political talk (one of the topics the story covers), but I can mostly just praise it for the stunning characters Agatha created and the deeper, darker themes the story tells about. The class struggles (and the hate / love that it results in) - the depressed, crippled and selfish narrator - and the quite dramatic love story -> it all works extremely well in this depressing, but very well written story.
April 1, 2019
螚 Agatha Christie, 蔚魏蟿蠈蟼 伪蟺蠈 蟿伪 蟺伪蟽委纬谓蠅蟽蟿伪 魏伪喂 蟽畏渭伪谓蟿喂魏维 伪蟽蟿蠀谓慰渭喂魏维 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿维 蟿畏蟼, 苇纬蟻伪蠄蔚 魏伪喂 苇尉喂 魏慰喂谓蠅谓喂魏维 渭蔚 蟿慰 蠄蔚蠀未蠋谓蠀渭慰 Mary Westmacott, 魏蠀蟻委蠅蟼 蟿畏谓 蟺蔚蟻委慰未慰 1930-1956. 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 蟽蠅蟽蟿维 渭蔚位蔚蟿畏渭苇谓伪 蠄蠀蠂慰纬蟻伪蠁萎渭伪蟿伪 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 纬喂伪 芦纬位蠀魏蠈蟺喂魏蟻蔚蟼 喂蟽蟿慰蟻委蔚蟼 伪纬维蟺畏蟼禄 蟺慰蠀 尉蔚魏慰蠀蟻维味伪谓蔚 蟿畏 蟽蠀纬纬蟻伪蠁苇伪 伪蟺蠈 蟿畏谓 苇谓蟿伪蟽畏 魏伪喂 蟿喂蟼 伪蟺伪喂蟿萎蟽蔚喂蟼 蔚谓蠈蟼 伪蟽蟿蠀谓慰渭喂魏慰蠉 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼. 螖蔚委蠂谓慰蠀谓 渭蔚 喂未喂伪委蟿蔚蟻慰 蟿蟻蠈蟺慰 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 蟺位蔚蠀蟻维 蟿畏蟼 伪纬伪蟺畏渭苇谓畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 魏伪喂 蟺蠈蟽慰 蟽蠅蟽蟿维 魏伪喂 魏伪蟿维位位畏位伪 萎尉蔚蟻蔚 谓伪 蟺伪蟻伪蟿畏蟻蔚委, 谓伪 渭蔚位蔚蟿维 魏伪喂 谓伪 蟽蠂蔚未喂维味蔚喂 蟿喂蟼 伪谓蟿喂未蟻维蟽蔚喂蟼 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏蟼.
危蟿慰 尾喂尾位委慰 芦螚 蟽蟿喂纬渭萎 蟿慰蠀 蟻蠈未慰蠀禄 苇蠂慰蠀渭蔚 苇谓伪 蔚蟻蠅蟿喂魏蠈 蟿蟻委纬蠅谓慰 伪谓维渭蔚蟽伪 蟽蟿慰谓 伪谓维蟺畏蟻慰 围喂慰蠀 螡蠈蟻蔚蠆蟼, 蟿慰谓 魏伪喂蟻慰蟽魏蠈蟺慰 魏伪喂 蠀蟺慰蠄萎蠁喂慰 蟿蠅谓 螘蟻纬伪蟿喂魏蠋谓 韦味慰谓 螕魏维渭蟺蟻喂蔚位 魏伪喂 蟿畏谓 尉蔚蟺蔚蟽渭苇谓畏 伪蟻喂蟽蟿慰魏蟻维蟿喂蟽蟽伪 螜味伪渭蟺苇位伪 危蔚谓蟿 螞慰蠀, 渭蔚 蠁蠈谓蟿慰 蟿畏谓 螝慰蟻谓慰蠀维位畏. 韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟿慰 1947, 位委纬伪 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿慰谓 螔蝿 螤伪纬魏蠈蟽渭喂慰 蟺蠈位蔚渭慰 魏喂 伪蠀蟿蠈 蠁伪委谓蔚蟿伪喂 渭苇蟽伪 蟽蟿慰 魏蔚委渭蔚谓慰: 芦危蟿伪 蠂蟻蠈谓喂伪 蟺慰蠀 伪魏慰位慰蠉胃畏蟽伪谓 蟿慰谓 蟺蠈位蔚渭慰 蟿慰蠀 1939-45, 畏 螘蠀蟻蠋蟺畏 魏伪喂 畏 螒谓伪蟿慰位萎 蔚委蠂伪谓 未喂苇位胃蔚喂 渭喂伪 味慰蠁蔚蟻萎 蟺蔚蟻委慰未慰. 螣 蠁蠈尾慰蟼 魏慰蟻蠀蠁蠅谓蠈蟿伪谓 慰位慰苇谓伪 魏喂 慰 蠁蠈尾慰蟼 蔚委蠂蔚 胃蟻苇蠄蔚喂 渭喂伪 谓苇伪 蟽慰未蔚喂维 伪蟺蠈 伪纬蟻喂蠈蟿畏蟿蔚蟼 魏伪喂 胃畏蟻喂蠅未委蔚蟼. 螣 蟺慰位喂蟿喂蟽渭蠈蟼 蔚委蠂蔚 伪蟻蠂委蟽蔚喂 谓伪 蟻伪纬委味蔚喂禄 (蟽蔚位. 14). 螣 蟺蟻蠅蟿蠈蟿蠀蟺慰蟼 蟿委蟿位慰蟼 蟿慰蠀 蔚委谓伪喂 芦The rose and the yew tree禄 (芦韦慰 蟻蠈未慰 魏伪喂 慰 委蟿伪渭慰蟼禄), 蔚委谓伪喂 蔚渭蟺谓蔚蠀蟽渭苇谓慰蟼 伪蟺蠈 蟿慰谓 蟽蟿委蠂慰 蟿慰蠀 T. S. Eliot 芦螚 蟽蟿喂纬渭萎 蟿慰蠀 蟻蠈未慰蠀 魏喂 畏 蟽蟿喂纬渭萎 蟿慰蠀 委蟿伪渭慰蠀 苇蠂慰蠀谓 蟿畏谓 委未喂伪 未喂维蟻魏蔚喂伪禄 魏伪喂 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿慰 伪蟻蠅渭伪蟿喂魏蠈 魏伪喂 蟿蟻蠀蠁蔚蟻蠈 蟿蟻喂伪谓蟿维蠁蠀位位慰 (螜味伪渭蟺苇位伪) 魏伪喂 蟽蟿慰谓 蟿慰尉喂魏蠈 魏伪喂 蟺喂魏蟻蠈 委蟿伪渭慰 (螕魏维渭蟺蟻喂蔚位): 韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟺蟻蠋蟿畏 蠁慰蟻维 蟿慰 1988 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螞蠀蠂谓维蟻喂禄 渭蔚 蟿慰谓 蟿委蟿位慰 芦螚 螜味伪渭蟺苇位伪 蟺慰蠀 蠁慰尾蠈蟿伪谓 蟿慰谓 胃维谓伪蟿慰禄 魏伪喂 蟿蠋蟻伪 蔚蟺伪谓蔚魏未委未蔚蟿伪喂 渭蔚 蟿畏 纬谓蠅蟽蟿萎 蠁蟻慰谓蟿委未伪 魏伪喂 蔚蟺喂渭苇位蔚喂伪 蟿蠅谓 蔚魏未蠈蟽蔚蠅谓 螖喂蠈蟺蟿蟻伪.
螣 韦味慰谓 螕魏维渭蟺蟻喂蔚位 蔚委谓伪喂 苇谓伪蟼 芦蟺慰位蔚渭喂蟽蟿萎蟼 蟺伪蟻伪蟽畏渭慰蠁慰蟻蔚渭苇谓慰蟼 渭蔚 蟿慰谓 危蟿伪蠀蟻蠈 蟿畏蟼 螔喂魏蟿蠅蟻委伪蟼, 魏伪喂蟻慰蟽魏蠈蟺慰蟼, 蠁喂位萎未慰谓慰蟼 魏伪喂 蠂伪蟻喂蟽渭伪蟿喂魏蠈蟼禄, 未蔚喂谓蠈蟼 慰渭喂位畏蟿萎蟼 魏伪喂 渭蔚 苇谓伪 尾伪胃蠉 渭委蟽慰蟼 纬喂伪 蟿畏谓 伪蟻喂蟽蟿慰魏蟻伪蟿喂魏萎 蟿维尉畏: 芦螠喂蟽蠋 伪蠀蟿苇蟼 蟿喂蟼 伪位伪味慰谓喂魏苇蟼 纬蠀谓伪委魏蔚蟼 蟿畏蟼 伪谓蠋蟿蔚蟻畏蟼 蟿维尉畏蟼鈥� 螙慰蠉谓蔚, 蟽蔚 慰位维魏蔚蟻畏 蟿畏 蠂蠋蟻伪, 蟽蔚 蟽蟺委蟿喂伪 蠀蟺蠈 魏伪蟿维蟻蟻蔚蠀蟽畏, 渭蔚 蔚喂蟽慰未萎渭伪蟿伪 蟺慰蠀 苇蠂慰蠀谓 蟽蠀蟻蟻喂魏谓蠅胃蔚委 蟽蔚 渭畏未伪渭喂谓蠈 尾伪胃渭蠈. 螤慰位位苇蟼 伪蟺蠈 未伪蠉蟿蔚蟼 未蔚谓 苇蠂慰蠀谓 谓伪 蠁维谓蔚鈥� 螒位位维 苇蠂慰蠀谓 魏维蟿喂 蟺慰蠀 未蔚谓 渭蟺慰蟻蠋 谓鈥� 伪蟺慰魏蟿萎蟽蠅 -魏伪喂 蟺慰蠀 蟺慰蟿苇 未蔚 胃鈥� 伪蟺慰魏蟿萎蟽蠅-, 苇谓伪 蟿蟻喂蟽魏伪蟿维蟻伪蟿慰 伪委蟽胃畏渭伪 伪谓蠅蟿蔚蟻蠈蟿畏蟿伪蟼禄 (蟽蔚位. 66). 韦伪 蟺蠀蟻维 蟿慰蠀 蟿伪 蟽蟿蟻苇蠁蔚喂 伪魏蠈渭畏 魏伪喂 蟽蟿慰谓 苇渭蟺喂蟽蟿蠈 蟿慰蠀 螡蠈蟻蔚蠆蟼: 芦螖蔚谓 蔚委谓伪喂 蔚蟺蔚喂未萎 蔚委蟽伪喂 苇谓伪蟼 蟿蠈蟽慰 胃伪蠀渭维蟽喂伪 蟽蠀渭蟺慰谓蔚蟿喂魏蠈蟼 伪魏蟻慰伪蟿萎蟼 魏伪喂 蟿伪 蟽蠂蔚蟿喂魏维. 螘委谓伪喂 蔚蟺蔚喂未萎 未蔚谓 蔚委蟽伪喂 蠂蟻萎蟽喂渭慰蟼 纬喂伪 慰蟿喂未萎蟺慰蟿蔚 维位位慰禄 (蟽蔚位. 115). 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭喂伪 伪谓蟿喂蟺伪胃畏蟿喂魏萎 蠁喂纬慰蠉蟻伪 蟺慰蠀 未蔚 未喂蟽蟿维味蔚喂 谓伪 蟿蟽伪位伪魏蠋蟽蔚喂 蟿畏 未畏渭蠈蟽喂伪 蔚喂魏蠈谓伪 蟿慰蠀, 蟻喂蠄慰魏喂谓未蠀谓蔚蠉慰谓蟿伪蟼 谓伪 蠂维蟽蔚喂 伪魏蠈渭畏 魏伪喂 蟿喂蟼 蔚魏位慰纬苇蟼.
螣 蟺伪蟻维位蠀蟿慰蟼 伪蟺蠈 蟿蟻慰蠂伪委慰 伪蟿蠉蠂畏渭伪 围喂慰蠀 螡蠈蟻蔚蠆蟼 渭蔚蟿伪魏蠈渭喂蟽蔚 蟽蟿慰 危蔚谓蟿 螞慰蠀 蟿畏蟼 螝慰蟻谓慰蠀维位畏蟼, 蟽蟿慰 蟽蟺委蟿喂 蟺慰蠀 魏位畏蟻慰谓蠈渭畏蟽蔚 畏 纬蠀谓伪委魏伪 蟿慰蠀 味蠅纬蟻维蠁慰蠀 伪未蔚位蠁慰蠉 蟿慰蠀, 韦蔚蟻苇味伪. 螘魏蔚委 渭蟺伪委谓蔚喂 蟽蟿畏 味蠅萎 蟿慰蠀 畏 螜味伪渭蟺苇位伪, 蔚纬纬慰谓萎 蟿畏蟼 位伪委未畏蟼 危蔚谓蟿 螞慰蠀, 蠂萎蟻伪蟼 魏伪喂 魏位畏蟻慰谓蠈渭慰蠀 蟿慰蠀 魏维蟽蟿蟻慰蠀 魏伪喂 蟿畏蟼 纬蠉蟻蠅 蟺蔚蟻喂慰蠂萎蟼. 螝喂谓慰蠉渭蔚谓慰蟼 蟽蔚 伪谓伪蟺畏蟻喂魏蠈 伪渭伪尉委未喂慰 魏伪喂 渭畏谓 苇蠂慰谓蟿伪蟼 谓伪 魏维谓蔚喂 魏维蟿喂, 纬委谓蔚蟿伪喂 蟺慰位蠉 蔚蠉魏慰位伪 魏维蟿喂 蟽伪谓 蔚尉慰渭慰位慰纬畏蟿萎蟼 蟿蠅谓 蟽蠀谓慰渭喂位畏蟿蠋谓 蟿慰蠀 萎 渭蟺慰蟻蔚委, 渭喂伪蟼 魏伪喂 魏伪谓蔚委蟼 未蔚谓 蟿慰蠀 未委谓蔚喂 蟺慰位位萎 蟽畏渭伪蟽委伪, 谓伪 蟺伪蟻伪蟿畏蟻蔚委 魏伪喂 谓伪 魏伪蟿伪纬蟻维蠁蔚喂 伪谓蟿喂未蟻维蟽蔚喂蟼, 蟽蠀渭蟺蔚蟻喂蠁慰蟻苇蟼 魏伪喂 蟽蠀谓慰渭喂位委蔚蟼 蔚蠀魏慰位蠈蟿蔚蟻伪. 螤伪蟻鈥� 蠈位畏 蟿畏 胃苇蟽畏 蟿慰蠀, 未蔚 蠂维谓蔚喂 蟿慰 蠂喂慰蠉渭慰蟻 蟿慰蠀, 蟺慰蠀 蔚委谓伪喂 魏伪位慰未蔚蠂慰蠉渭蔚谓慰 渭苇蟽伪 蟽蔚 蟿蠈蟽畏 蠄蔚蠉蟿喂魏畏 伪谓蠅蟿蔚蟻蠈蟿畏蟿伪 纬蠉蟻蠅 蟿慰蠀: 芦螝伪渭喂维 蠁慰蟻维, 渭蠈谓慰 魏伪喂 渭蠈谓慰 纬喂伪 谓伪 未喂伪蟽魏蔚未维蟽蠅, 蟿畏蟼 伪谓苇蠁蔚蟻伪 蟿慰 苇谓伪 蠈谓慰渭伪 渭蔚蟿维 蟿慰 维位位慰 魏伪喂 蟺蔚蟻委渭蔚谓伪 谓伪 尉喂谓委蟽蔚喂 畏 伪蟻蠂喂魏萎 纬位蠀魏蠉蟿畏蟿伪 蟿蠅谓 蟽蠂慰位委蠅谓 蟿畏蟼禄 (蟽蔚位. 116).
螚 螜味伪渭蟺苇位伪 蔚委谓伪喂 渭喂伪 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟺慰蠀 未蔚 蟽魏喂伪纬蟻伪蠁蔚委蟿伪喂 蟿蠈蟽慰 蟺慰位蠉 慰蠉蟿蔚 蟿蠈蟽慰 蔚蠉魏慰位伪 蔚谓蠋 渭喂伪 伪蟺蟻蠈尾位蔚蟺蟿畏 魏委谓畏蟽畏 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 蟿畏蟼 未委谓蔚喂 渭喂伪 蟺喂谓蔚位喂维 伪纬喂蠈蟿畏蟿伪蟼. 螘魏蟺蟻慰蟽蠅蟺蔚委 蟿畏谓 魏伪蟿伪蟻蟻苇慰蠀蟽伪 伪蟽蟿喂魏萎 蟿维尉畏 蟺慰蠀 蟺苇蠁蟿慰谓蟿伪蟼 蟺伪蟻伪蟽蠉蟻蔚喂 苇谓伪谓 慰位蠈魏位畏蟻慰 魏蠈蟽渭慰 纬蠉蟻蠅 蟿畏蟼, 魏维蟿喂 蟺慰蠀 畏 Agatha Christie 未蔚 蟽蟿伪渭伪蟿维 谓伪 蟿慰谓委味蔚喂 魏伪胃鈥� 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螕蠉蟻蠅 伪蟺蠈 伪蠀蟿慰蠉蟼 蟿慰蠀蟼 蟿蟻蔚喂蟼 伪谓胃蟻蠋蟺慰蠀蟼 胃伪 蟽蟿畏胃蔚委 苇谓伪 伪尉喂蠈位慰纬慰 未委蠂蟿蠀, 渭蔚 伪谓伪蟺维谓蟿蔚蠂慰蠀蟼 蔚位喂纬渭慰蠉蟼 魏伪喂 伪蟺蟻蠈蟽渭蔚谓蔚蟼 蔚尉蔚位委尉蔚喂蟼. 螖蔚谓 渭蟺慰蟻蠋 谓伪 渭畏谓 伪谓伪纬谓蠅蟻委蟽蠅 蟺蠅蟼 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蟽蠂蔚蟿喂魏维 蟽蟿伪蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 蟺慰蠀 胃蠀蟽喂维味蔚喂 蟿畏 未蟻维蟽畏 纬喂伪 蟿伪 渭蔚位蔚蟿畏渭苇谓伪, 蟿蔚魏渭畏蟻喂蠅渭苇谓伪 蟺蟻伪纬渭伪蟿慰位慰纬喂魏维 蟽蟿慰喂蠂蔚委伪, 渭苇蟽伪 伪蟺蠈 蟿伪 慰蟺慰委伪 伪谓伪未蠉蔚蟿伪喂 畏 尾蟻蔚蟿伪谓喂魏萎 渭蔚蟿伪蟺慰位蔚渭喂魏萎 魏慰喂谓蠅谓委伪. 螁位位蠅蟽蟿蔚, 慰 蟺伪蟻慰蟺位喂蟽渭苇谓慰蟼 螡蠈蟻蔚蠆蟼, 慰 螘蟻纬伪蟿喂魏蠈蟼 螕魏维渭蟺蟻喂蔚位 魏伪喂 畏 伪蟻喂蟽蟿慰魏蟻维蟿喂蟽蟽伪 危蔚谓蟿 螞慰蠀 蔚委谓伪喂 蟿伪 魏伪位蠉蟿蔚蟻伪 未蔚委纬渭伪蟿伪 蟿蠅谓 蟿维尉蔚蠅谓 蟺慰蠀 胃苇位蔚喂 谓伪 伪谓伪位蠉蟽蔚喂 魏伪喂 谓伪 伪谓伪蠁苇蟻蔚喂 畏 蟽蠀纬纬蟻伪蠁苇伪蟼. 螠蠈谓慰 畏 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎 渭伪蟿喂维 蔚谓蠈蟼 魏蠈蟽渭慰蠀 蟺慰蠀 伪位位维味蔚喂 魏伪喂 蟽蟿苇魏蔚喂 渭慰蠀未喂伪蟽渭苇谓慰蟼 魏伪喂 委蟽蠅蟼 伪谓萎渭蟺慰蟻慰蟼 渭蟺蟻慰蟽蟿维 蟽蟿喂蟼 蟽伪蟻蠅蟿喂魏苇蟼 伪位位伪纬苇蟼 渭喂伪蟼 谓苇伪蟼 蔚蟺慰蠂萎蟼, 魏伪胃蠋蟼 魏伪喂 畏 螝慰蟻谓慰蠀维位畏 (蟺维谓蟿伪 畏 螝慰蟻谓慰蠀维位畏) 魏伪喂 蠁蠀蟽喂魏维 蟿慰 尾维蟻慰蟼 蟿慰蠀 慰谓蠈渭伪蟿慰蟼 蟿畏蟼 Agatha Christie 蔚委谓伪喂 伪蠀蟿维 蟺慰蠀 渭蔚 尾慰萎胃畏蟽伪谓 谓伪 蟿蔚位蔚喂蠋蟽蠅 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 蠂蠅蟻委蟼 伪蠀蟿蠈 谓伪 蟽畏渭伪委谓蔚喂 蟺蠅蟼 未蔚 尾纬萎魏伪 魏蔚蟻未喂蟽渭苇谓慰蟼 伪蟺蠈 蟿慰 尾喂尾位委慰.
螚 纬蟻伪蠁萎 蔚委谓伪喂 蟺伪位伪喂慰渭慰未委蟿喂魏畏, 渭蔚 蟽蠀谓蟿伪魏蟿喂魏蠈 魏伪喂 位蔚尉喂位蠈纬喂慰 蟺慰蠀 蟺位苇慰谓 未蔚谓 蠀蠁委蟽蟿伪谓蟿伪喂 蟽蟿畏谓 蔚蟺慰蠂萎 渭伪蟼, 慰蟺蠈蟿蔚 苇蠂慰蠀渭蔚 魏伪喂 蟿畏谓 伪谓蟿委蟽蟿慰喂蠂畏 伪尉喂蠈位慰纬畏 渭蔚蟿维蠁蟻伪蟽畏, 蟺慰蠀 味蠅谓蟿伪谓蔚蠉蔚喂 伪魏蟻喂尾蠋蟼 蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 蟿慰 蟽蟿蠀位 蟿畏蟼 伪纬纬位喂魏萎蟼 伪蟻喂蟽蟿慰魏蟻伪蟿委伪蟼 (慰 螒蠉纬慰蠀蟽蟿慰蟼 螝慰蟻蟿蠋 蟺蟻苇蟺蔚喂 谓伪 魏慰蟺委伪蟽蔚 蟺慰位蠉 伪谓伪味畏蟿蠋谓蟿伪蟼 蟿慰 魏伪蟿维位位畏位慰 位蔚尉喂位蠈纬喂慰 魏伪喂 蟿畏 蟽蠅蟽蟿萎 未慰渭萎), 蠂蠅蟻委蟼 谓伪 蠀蟺慰蟽魏蔚位委味蔚喂 萎 谓伪 蟺蟻慰蟽尾维位位蔚喂 蟿慰 蟺蟻蠅蟿蠈蟿蠀蟺慰 魏蔚委渭蔚谓慰. 违蟺维蟻蠂慰蠀谓 蟺维谓蟿蠅蟼 蟺慰位位苇蟼 蟺伪蟻慰渭慰喂蠋蟽蔚喂蟼 魏伪喂 渭蔚蟿伪蠁慰蟻苇蟼 蟺慰蠀 未委谓慰蠀谓 味蠅谓蟿维谓喂伪 魏伪喂 纬位伪蠁蠀蟻蠈蟿畏蟿伪 蟽蟿慰 魏蔚委渭蔚谓慰: 芦螖喂蠈蟿喂 畏 螝维胃蟻喂谓 螕喂慰蠀纬魏慰蠀渭蟺喂维谓 未喂伪胃苇蟿蔚喂 蟿畏谓 蔚蟺喂渭慰谓萎 渭喂伪蟼 尾伪蟻喂慰蟺慰蠉位伪蟼 魏伪喂 蟿畏 渭慰谓慰蟿慰谓委伪 蔚谓蠈蟼 蠁位蠈纬喂蟽蟿蟻慰蠀 伪蟽蔚蟿喂位委谓畏蟼, 蟽蔚 蟽蠀谓未蠀伪蟽渭蠈 渭蔚 蟿畏谓 蔚尉慰蠀胃蔚谓蠅蟿喂魏萎 蔚蟺委未蟻伪蟽畏 蟿慰蠀 谓蔚蟻慰蠉 蟺慰蠀 蟽蟿维味蔚喂 蟽蔚 蟺苇蟿蟻伪!禄 (蟽蔚位. 8), 芦螚 伪蠂谓萎, 纬位蠀魏喂维 蟽伪谓 渭萎位慰 蠁蠅谓萎 蟽蠋蟺伪蟽蔚鈥β� (蟽蔚位. 56), 芦螣 螝维蟻蟽位蔚蠆魏 蔚委谓伪喂 维蟻喂蟽蟿伪 蠂蠅渭苇谓慰蟼 蟽蟿畏 未慰蠀位蔚喂维 蟿慰蠀, 蠈蟺蠅蟼 慰 蟽魏蠈蟻慰蟼 蟽蟿慰 渭维位位喂谓慰禄 (蟽蔚位. 54).
螚 未喂蔚喂蟽未蠀蟿喂魏萎 魏伪喂 未喂蔚蟻蔚蠀谓畏蟿喂魏萎 渭伪蟿喂维 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 未蔚 渭苇谓蔚喂 渭蠈谓慰 蟽蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠄蠀蠂慰位慰纬委伪 伪位位维 蟺伪蟻伪蟿畏蟻蔚委 魏伪喂 蟽蠂慰位喂维味蔚喂 渭蔚 蔚蠀蟻畏渭伪蟿喂魏蠈 蟿蟻蠈蟺慰 魏伪喂 伪蟺蟿维 蟺伪蟻伪未蔚委纬渭伪蟿伪 魏伪喂 蟿喂蟼 魏慰喂谓蠅谓喂魏苇蟼, 慰喂魏慰谓慰渭喂魏苇蟼 魏伪喂 蟺慰位喂蟿喂蟽蟿喂魏苇蟼 伪位位伪纬苇蟼 蟿畏蟼 螒纬纬位委伪蟼 魏蠀蟻委蠅蟼 伪位位维 魏伪喂 蟿慰蠀 魏蠈蟽渭慰蠀. 螠蔚 伪蠁慰蟻渭萎 蟿畏谓 蟺伪蟻伪未慰蟽喂伪魏萎, 萎蟻蔚渭畏 魏伪喂 魏伪胃蠈位慰蠀 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎 味蠅萎 蟽蟿畏谓 伪纬纬位喂魏萎 蔚蟺伪蟻蠂委伪 蠈蟺蠅蟼 伪蠀蟿萎 伪谓伪蟺伪蟻委蟽蟿伪蟿伪喂 蟽蟿慰 危蔚谓蟿 螞慰蠀 未委谓蔚蟿伪喂 畏 蔚蠀魏伪喂蟻委伪 谓伪 魏伪蟿伪纬蟻伪蠁慰蠉谓 苇谓伪 蟽蠅蟻蠈 蟺伪蟻伪蟿畏蟻萎蟽蔚喂蟼 纬喂伪 蟿慰谓 蔚位蔚蠉胃蔚蟻慰 蠂蟻蠈谓慰 蟿蠅谓 魏伪蟿慰委魏蠅谓 (伪纬伪蟺畏渭苇谓慰 蠂蠈渭蟺喂 蟿慰 慰蠀委蟽蟿, 苇谓伪 蟺伪喂蠂谓委未喂 渭蔚 蠂伪蟻蟿喂维), 蟿慰蠀蟼 渭蔚蟿伪尉蠉 蟿慰蠀蟼 未蔚蟽渭慰蠉蟼, 蟿喂蟼 蟽蠀谓萎胃蔚喂苇蟼 蟿慰蠀蟼, 蟿慰谓 未喂伪蠂蠅蟻喂蟽渭蠈 蟿慰蠀蟼 蟽蔚 危蠀谓蟿畏蟻畏蟿喂魏慰蠉蟼 魏伪喂 螘蟻纬伪蟿喂魏慰蠉蟼, 韦蠈蟻喂蟼 魏伪喂 魏蠈魏谓蔚蠆 魏位蟺. 螚 蟺慰位喂蟿喂魏萎 伪谓蟿喂蟺伪蟻维胃蔚蟽畏 蔚谓 蠈蠄蔚喂 蟿蠅谓 蔚魏位慰纬蠋谓, 蟺慰蠀 魏伪蟿伪位伪渭尾维谓蔚喂 蟿慰 渭蔚纬伪位蠉蟿蔚蟻慰 尾维蟻慰蟼 蟽蟿畏谓 蠀蟺蠈胃蔚蟽畏, 蔚尉慰蠀未蔚蟿蔚蟻蠋谓蔚蟿伪喂 魏伪喂 喂蟽慰蟺蔚未蠋谓蔚蟿伪喂 蟽蔚 未蠉慰 蠁蟻维蟽蔚喂蟼: 芦-危蔚 蔚谓未喂苇蠁蔚蟻伪谓 蟺慰蟿苇 蟿伪 蟺慰位喂蟿喂魏维, 韦蔚蟻苇味伪; -螒谓苇魏伪胃蔚谓 渭慰蠀 蠁伪委谓慰谓蟿伪谓 蟺蔚蟻喂蟿蟿维. 螒蟻魏慰蠉渭伪喂 蟽蟿慰 谓伪 蠄畏蠁委蟽蠅 蟿慰谓 蠀蟺慰蠄萎蠁喂慰 蟺慰蠀 胃蔚蠅蟻蠋 蟺喂胃伪谓蠈蟿蔚蟻慰 谓伪 魏维谓蔚喂 蟿畏 位喂纬蠈蟿蔚蟻畏 味畏渭喂维禄 (蟽蔚位. 38). 桅蠀蟽喂魏维 未蔚 位蔚委蟺慰蠀谓 魏伪喂 慰喂 伪喂蠂渭苇蟼: 芦螚 纬蠀谓伪喂魏蔚委伪 蠄萎蠁慰蟼, 蔚委蟺蔚, 萎蟿伪谓 伪谓苇魏伪胃蔚谓 伪魏伪谓胃蠋未畏蟼禄 (蟽蔚位. 53). 螒蟺蠈 蟿畏谓 维位位畏, 蟽伪 尾蠈渭尾伪 苇蟽魏伪蟽蔚 渭蟺蟻慰蟽蟿维 渭慰蠀 畏 伪蟽畏渭伪谓蟿蠈蟿畏蟿伪 渭喂伪蟼 蟺伪蟻伪蟿萎蟻畏蟽畏蟼 纬喂伪 苇谓伪谓 魏伪蟿维 蟿伪 维位位伪 蟽畏渭伪谓蟿喂魏蠈 蠀蟺慰蠄萎蠁喂慰: 芦韦喂 魏蟻委渭伪 蟺慰蠀 苇蠂蔚喂 蟿蠈蟽慰 位伪蠆魏维 蟺蠈未喂伪禄 (蟽蔚位. 57). 螚 蟺蔚渭蟺蟿慰蠀蟽委伪 蟿慰蠀 蟽谓慰渭蟺喂蟽渭慰蠉 魏伪喂 畏 魏蔚谓蠈蟿畏蟿伪 渭喂伪蟼 蟺伪蟻伪蟿萎蟻畏蟽畏蟼 蟽蔚 渭喂伪 维魏伪喂蟻畏 蟺蟻蠈蟿伪蟽畏 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 蟺蟻伪纬渭伪蟿喂魏维 谓伪 蔚魏蠁苇蟻蔚喂 苇谓伪蟼 螁纬纬位慰蟼 蠄畏蠁慰蠁蠈蟻慰蟼! 韦苇位慰蟼, 畏 蟺蟻蠈蟿伪蟽畏 蟽蟿畏 蟽蔚位委未伪 109 伪蟺慰未蠀谓伪渭蠋谓蔚喂 蟿畏谓 伪尉委伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 伪蟺蠈 蟿畏 渭喂伪 魏伪喂 蟿慰谓委味蔚喂 蟿慰谓 蠁蠈尾慰 蟺慰蠀 伪魏蠈渭畏 蔚委蠂蔚 慰 魏蠈蟽渭慰蟼 纬喂伪 蟿慰谓 谓蔚魏蟻蠈 蟺喂伪 魏伪喂 位伪慰蟺位维谓慰 桅蠉蟻蔚蟻: 芦螤慰喂慰蟼 胃伪蟻蟻蔚委蟼 蟺蠅蟼 蔚委渭伪喂, 慰 围委蟿位蔚蟻; 螖蔚 胃苇位蠅 蔚尉慰蠀蟽委伪, 未蔚谓 苇蠂蠅 魏伪渭委伪 蠁喂位慰未慰尉委伪 谓伪 蔚蟺喂尾维位位慰渭伪喂 蟽蟿慰蠀蟼 蟽蠀谓伪谓胃蟻蠋蟺慰蠀蟼 渭慰蠀 萎 蟽蟿慰谓 魏蠈蟽渭慰 蔚谓 纬苇谓蔚喂. 螕喂伪 蠈谓慰渭伪 蟿慰蠀 螛蔚慰蠉, 维谓胃蟻蠅蟺苇 渭慰蠀, 纬喂伪 蟺慰喂慰 位蠈纬慰 胃伪蟻蟻蔚委蟼 蟺蠅蟼 苇渭蟺位蔚尉伪 蟽鈥� 伪蠀蟿萎谓 蟿畏谓 魏慰渭蟺委谓伪; 螚 蔚尉慰蠀蟽委伪 蔚委谓伪喂 渭喂伪 渭蟺慰蠉蟻未伪!禄 螕喂伪 维位位畏 渭喂伪 蠁慰蟻维 畏 Agatha Christie 伪蟺慰未蠀谓伪渭蠋谓蔚喂 蟿慰 尾维蟻慰蟼 蟽畏渭伪谓蟿喂魏蠋谓 胃蔚蟽渭蠋谓 渭蔚 伪蟺位苇蟼, 魏伪胃畏渭蔚蟻喂谓苇蟼 蔚魏蠁蟻维蟽蔚喂蟼! 螝伪喂 魏位蔚委谓蠅 渭蔚 蟿慰 蟺喂慰 未喂伪蠂蟻慰谓喂魏蠈, 魏伪委蟻喂慰, 蟺维谓蟿伪 蔚蟺委魏伪喂蟻慰 蟽蠂蠈位喂慰: 芦韦喂 蔚委谓伪喂 畏 蟺慰位喂蟿喂魏萎 蟽蟿慰 魏维蟿蠅 魏维蟿蠅 伪谓 蠈蠂喂 纬蔚喂蟿慰谓喂魏维 魏喂蠈蟽魏喂伪 蟽蟿慰 蟺伪谓畏纬蠉蟻喂 蟿慰蠀 魏蠈蟽渭慰蠀, 蟺慰蠀 蟿慰 魏伪胃苇谓伪 蟿慰蠀蟼 蟺蟻慰蟽蠁苇蟻蔚喂 蟿慰 未喂魏蠈 蟿慰蠀 渭伪谓蟿味慰蠉谓喂 蟺慰蠀 纬喂伪蟿蟻蔚蠉蔚喂 蠈位伪 蟿伪 未蔚喂谓维;禄 (蟽蔚位. 181).
螚 蟽蠀纬纬蟻伪蠁苇伪蟼, 伪谓 魏伪喂 萎蟿伪谓 纬蠉蟻蠅 蟽蟿伪 蔚尉萎谓蟿伪 蠈蟿伪谓 蟿慰 苇纬蟻伪蠁蔚, 蟺维蟻伪 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟿慰谓委味蔚喂 蟿慰 蟺伪蟻蠅蠂畏渭苇谓慰 蟿蠅谓 渭蔚纬维位蠅谓 蟽蔚 畏位喂魏委伪 伪谓胃蟻蠋蟺蠅谓 魏伪喂 蟺蠈蟽慰 渭蔚纬维位慰 蔚渭蟺蠈未喂慰 蔚委谓伪喂 纬喂伪 蟿畏谓 蟺蟻蠈慰未慰 渭喂伪蟼 魏慰喂谓蠈蟿畏蟿伪蟼 萎 蔚谓蠈蟼 蔚蠀蟻蠉蟿蔚蟻慰蠀 蟽蠀谓蠈位慰蠀. 芦螣 蟺蟻蠈蔚未蟻慰蟼 [蟿慰蠀 危蠀谓蟿畏蟻畏蟿喂魏慰蠉 蟺慰位喂蟿喂魏慰蠉 魏蠈渭渭伪蟿慰蟼 蟿畏蟼 蟺蔚蟻喂慰蠂萎蟼 魏伪喂 魏蠀蟻喂维蟻蠂慰蠀 蟽蟿喂蟼 蔚蟺蔚蟻蠂蠈渭蔚谓蔚蟼 蔚魏位慰纬苇蟼] 维蟻蠂喂蟽蔚 谓伪 渭喂位维 渭蔚 渭喂伪 蟿蟻蔚渭慰蠀位喂伪蟽蟿萎, 渭蔚位委蟻蟻蠀蟿畏 蠁蠅谓萎. 螣 魏蠈蟽渭慰蟼 纬喂伪 蟿慰谓 慰蟺慰委慰 渭慰蠀蟻渭慰蠉蟻喂味蔚, 蟽蠀位位慰纬委蟽蟿畏魏伪, 未蔚谓 蠀蟺萎蟻蠂蔚 蟺位苇慰谓禄 (蟽蔚位. 56). 螣 魏蠈蟽渭慰蟼 魏伪蟿伪蟻蟻苇蔚喂 纬蠉蟻蠅 渭伪蟼 魏伪喂 蟺蟻苇蟺蔚喂 蠈蠂喂 渭蠈谓慰 谓伪 蟿慰 蟽蠀谓蔚喂未畏蟿慰蟺慰喂萎蟽慰蠀渭蔚 伪位位维 魏伪喂 谓伪 伪谓蟿喂位畏蠁胃慰蠉渭蔚 蟿喂蟼 谓苇蔚蟼 伪谓维纬魏蔚蟼 魏伪喂 蔚蟺喂蟿伪纬苇蟼 蠋蟽蟿蔚 谓伪 未畏渭喂慰蠀蟻纬萎蟽慰蠀渭蔚 苇谓伪谓 魏伪位蠉蟿蔚蟻慰 伪蠀蟻喂伪谓蠈 魏蠈蟽渭慰, 伪蠀蟿蠈 蠀蟺慰蟽蟿畏蟻委味蔚蟿伪喂 蟽胃蔚谓伪蟻维 魏伪胃鈥� 蠈位畏 蟿畏谓 苇魏蟿伪蟽畏 蟿慰蠀 魏蔚喂渭苇谓慰蠀.
螖蔚谓 蔚委谓伪喂 蠈渭蠅蟼 渭蠈谓慰 慰喂 蟽畏渭伪谓蟿喂魏苇蟼 蟺慰位喂蟿喂魏苇蟼 伪位位伪纬苇蟼 蟿畏蟼 尾蟻蔚蟿伪谓喂魏萎蟼 魏慰喂谓蠅谓委伪蟼 伪位位维 魏伪喂 畏 蔚蟺伪谓伪蟽蟿伪蟿喂魏萎 伪蠉蟻伪 渭喂伪蟼 谓苇伪蟼 蟿维尉畏蟼 蟺蟻伪纬渭维蟿蠅谓, 纬喂伪 蟿畏谓 慰蟺慰委伪 魏伪胃喂蔚蟻蠅渭苇谓蔚蟼, 蟺维纬喂蔚蟼 伪尉委蔚蟼 魏伪喂 慰位蠈魏位畏蟻伪 status quo 魏伪蟿伪魏蟻畏渭谓委味慰谓蟿伪喂: 芦-螖蔚 胃伪 蟺伪谓蟿蟻蔚蠀蟿蠋 蔚魏蟿蠈蟼 蟿畏蟼 蟿维尉畏蟼 渭慰蠀. 惟, 谓伪喂, 尉苇蟻蠅 蟺慰喂伪 蔚委谓伪喂 畏 蟿维尉畏 渭慰蠀. 螖蔚谓 蔚委渭伪喂 蟿味苇谓蟿位蔚渭伪谓. -危畏渭伪委谓蔚喂 蟿委蟺慰蟿伪 畏 位苇尉畏 伪蠀蟿萎 蟽蟿喂蟼 渭苇蟻蔚蟼 渭伪蟼; 蟻蠋蟿畏蟽伪 渭蔚 伪渭蠁喂尾慰位委伪. -螚 位苇尉畏 蠈蠂喂. 螒位位维 伪蠀蟿蠈 蟺慰蠀 谓慰畏渭伪蟿慰未慰蟿蔚委 蔚尉伪魏慰位慰蠀胃蔚委 谓伪 蠀蠁委蟽蟿伪蟿伪喂禄 (蟽蔚位. 111). 螝伪喂 蠁蠀蟽喂魏维 蠀蟺维蟻蠂蔚喂 蟿慰 伪纬伪蟺畏渭苇谓慰 渭慰蠀 伪蟺蠈蟽蟺伪蟽渭伪 蟽蟿畏 蟽蔚位委未伪 148 蟺慰蠀 未蔚谓 伪蠁萎谓蔚喂 蟿委蟺慰蟿伪 蠈蟻胃喂慰: 芦螖蔚谓 苇蠂慰蠀谓 未蔚蠉蟿蔚蟻慰 尾蟻伪魏委. 螙慰蠉谓蔚 蟽鈥� 苇谓伪 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓慰, 蔚蟿慰喂渭蠈蟻蟻慰蟺慰 魏维蟽蟿蟻慰 魏伪喂 蟺伪蟻喂蟽蟿维谓慰蠀谓 蠈蟿喂 蔚委谓伪喂 慰喂 蟽蟺慰蠀未伪喂蠈蟿蔚蟻蔚蟼 蠈位蠅谓. 螝维胃蔚蟿伪喂 蔚魏蔚委 魏伪喂 尉蠉谓蔚蟿伪喂 蠂蠅蟻委蟼 谓伪 魏维谓蔚喂 蟿委蟺慰蟿伪, 蔚位蟺委味慰谓蟿伪蟼 蠈蟿喂 胃伪 蟿畏谓 蟺伪谓蟿蟻蔚蠀蟿蔚委 慰 渭慰谓维魏蟻喂尾慰蟼 魏位畏蟻慰谓蠈渭慰蟼鈥� 螒蠀蟿苇蟼 慰喂 魏慰蟺苇位蔚蟼 渭蔚 伪畏未喂维味慰蠀谓, 螡蠈蟻蔚蠆蟼. 螝伪魏慰渭伪胃畏渭苇谓伪 蟺蔚魏喂谓慰蠀维, 伪蠀蟿蠈 蔚委谓伪喂. 螝喂 畏 位伪委未畏 危蔚谓蟿 螞慰蠀 伪蠀蟿蠈 伪魏蟻喂尾蠋蟼 胃苇位蔚喂 谓伪 蔚委谓伪喂. 韦喂 未喂维慰位慰 蠅蠁蔚位蔚委 谓伪 蔚委蟽伪喂 畏 位伪委未畏 危蔚谓蟿 螞慰蠀 蟿畏 蟽萎渭蔚蟻慰谓 畏渭苇蟻伪; 螌位伪 伪蠀蟿维 蟿伪 蟺蟻维纬渭伪蟿伪 苇蠂慰蠀谓 蟺伪蟻苇位胃蔚喂 慰蟻喂蟽蟿喂魏维. 螝蠅渭喂魏维, 渭蠈谓慰 伪蠀蟿蠈 蔚委谓伪喂 蟽蟿喂蟼 渭苇蟻蔚蟼 渭伪蟼, 蟽伪谓 魏伪位伪渭蟺慰蠉蟻喂 蟽蔚 尾伪蟻喂蔚蟿苇鈥β�.
韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰 蟺蟻慰蟿蔚委谓蠅 蟽蔚 蠈蟺慰喂慰谓 伪蟻苇蟽蔚喂 谓伪 未喂伪尾维味蔚喂 蟻慰渭伪谓蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 蟺伪位喂慰蠉 魏伪喂蟻慰蠉, 渭蔚 蠄蠀蠂慰纬蟻伪蠁委蔚蟼, 伪蟻纬萎 未蟻维蟽畏 魏伪喂 渭蟺蠈位喂魏畏 伪蟿渭蠈蟽蠁伪喂蟻伪 螒纬纬位委伪蟼, 蟽蔚 蠈蟺慰喂慰谓 胃苇位蔚喂 谓伪 未蔚喂 苇谓伪 维位位慰 蟽蠀纬纬蟻伪蠁喂魏蠈 蟿伪位苇谓蟿慰 蟿畏蟼 螒纬魏维胃伪 螝蟻委蟽蟿喂 魏伪喂 蟽蔚 蠈蟺慰喂慰谓 苇蠂蔚喂 蟿畏谓 蠀蟺慰渭慰谓萎 魏伪喂 蟿畏 胃苇位畏蟽畏 谓伪 尉蔚蠄伪蠂谓委蟽蔚喂 苇谓伪 魏蔚委渭蔚谓慰-谓蟿慰魏慰蠀渭苇谓蟿慰 纬喂伪 蟿喂蟼 渭苇蟻蔚蟼 蟿畏蟼 螒纬魏维胃伪 螝蟻委蟽蟿喂 魏伪喂 蟺蠋蟼 魏伪蟿维蠁蔚蟻蔚 谓伪 蔚谓蟿维尉蔚喂 蠈蟽伪 萎尉蔚蟻蔚, 渭维胃伪喂谓蔚 魏伪喂 未喂苇尾位蔚蟺蔚 蟽蔚 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 纬蔚渭维蟿慰 蟻蔚伪位喂蟽蟿喂魏慰蠉蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 伪位畏胃慰蠁伪谓萎 魏伪喂 蠄蠀蠂慰位慰纬喂魏维 蔚蟺蔚尉畏纬畏渭苇谓伪 蟽蠀渭蟺位苇纬渭伪蟿伪 伪谓胃蟻蠋蟺喂谓蠅谓 蟽蠂苇蟽蔚蠅谓, 魏伪喂 蔚蟺喂魏伪喂蟻蠈蟿畏蟿伪.
危蟿慰 尾喂尾位委慰 芦螚 蟽蟿喂纬渭萎 蟿慰蠀 蟻蠈未慰蠀禄 苇蠂慰蠀渭蔚 苇谓伪 蔚蟻蠅蟿喂魏蠈 蟿蟻委纬蠅谓慰 伪谓维渭蔚蟽伪 蟽蟿慰谓 伪谓维蟺畏蟻慰 围喂慰蠀 螡蠈蟻蔚蠆蟼, 蟿慰谓 魏伪喂蟻慰蟽魏蠈蟺慰 魏伪喂 蠀蟺慰蠄萎蠁喂慰 蟿蠅谓 螘蟻纬伪蟿喂魏蠋谓 韦味慰谓 螕魏维渭蟺蟻喂蔚位 魏伪喂 蟿畏谓 尉蔚蟺蔚蟽渭苇谓畏 伪蟻喂蟽蟿慰魏蟻维蟿喂蟽蟽伪 螜味伪渭蟺苇位伪 危蔚谓蟿 螞慰蠀, 渭蔚 蠁蠈谓蟿慰 蟿畏谓 螝慰蟻谓慰蠀维位畏. 韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟿慰 1947, 位委纬伪 蠂蟻蠈谓喂伪 渭蔚蟿维 蟿慰谓 螔蝿 螤伪纬魏蠈蟽渭喂慰 蟺蠈位蔚渭慰 魏喂 伪蠀蟿蠈 蠁伪委谓蔚蟿伪喂 渭苇蟽伪 蟽蟿慰 魏蔚委渭蔚谓慰: 芦危蟿伪 蠂蟻蠈谓喂伪 蟺慰蠀 伪魏慰位慰蠉胃畏蟽伪谓 蟿慰谓 蟺蠈位蔚渭慰 蟿慰蠀 1939-45, 畏 螘蠀蟻蠋蟺畏 魏伪喂 畏 螒谓伪蟿慰位萎 蔚委蠂伪谓 未喂苇位胃蔚喂 渭喂伪 味慰蠁蔚蟻萎 蟺蔚蟻委慰未慰. 螣 蠁蠈尾慰蟼 魏慰蟻蠀蠁蠅谓蠈蟿伪谓 慰位慰苇谓伪 魏喂 慰 蠁蠈尾慰蟼 蔚委蠂蔚 胃蟻苇蠄蔚喂 渭喂伪 谓苇伪 蟽慰未蔚喂维 伪蟺蠈 伪纬蟻喂蠈蟿畏蟿蔚蟼 魏伪喂 胃畏蟻喂蠅未委蔚蟼. 螣 蟺慰位喂蟿喂蟽渭蠈蟼 蔚委蠂蔚 伪蟻蠂委蟽蔚喂 谓伪 蟻伪纬委味蔚喂禄 (蟽蔚位. 14). 螣 蟺蟻蠅蟿蠈蟿蠀蟺慰蟼 蟿委蟿位慰蟼 蟿慰蠀 蔚委谓伪喂 芦The rose and the yew tree禄 (芦韦慰 蟻蠈未慰 魏伪喂 慰 委蟿伪渭慰蟼禄), 蔚委谓伪喂 蔚渭蟺谓蔚蠀蟽渭苇谓慰蟼 伪蟺蠈 蟿慰谓 蟽蟿委蠂慰 蟿慰蠀 T. S. Eliot 芦螚 蟽蟿喂纬渭萎 蟿慰蠀 蟻蠈未慰蠀 魏喂 畏 蟽蟿喂纬渭萎 蟿慰蠀 委蟿伪渭慰蠀 苇蠂慰蠀谓 蟿畏谓 委未喂伪 未喂维蟻魏蔚喂伪禄 魏伪喂 伪谓伪蠁苇蟻蔚蟿伪喂 蟽蟿慰 伪蟻蠅渭伪蟿喂魏蠈 魏伪喂 蟿蟻蠀蠁蔚蟻蠈 蟿蟻喂伪谓蟿维蠁蠀位位慰 (螜味伪渭蟺苇位伪) 魏伪喂 蟽蟿慰谓 蟿慰尉喂魏蠈 魏伪喂 蟺喂魏蟻蠈 委蟿伪渭慰 (螕魏维渭蟺蟻喂蔚位): 韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟺蟻蠋蟿畏 蠁慰蟻维 蟿慰 1988 伪蟺蠈 蟿喂蟼 蔚魏未蠈蟽蔚喂蟼 芦螞蠀蠂谓维蟻喂禄 渭蔚 蟿慰谓 蟿委蟿位慰 芦螚 螜味伪渭蟺苇位伪 蟺慰蠀 蠁慰尾蠈蟿伪谓 蟿慰谓 胃维谓伪蟿慰禄 魏伪喂 蟿蠋蟻伪 蔚蟺伪谓蔚魏未委未蔚蟿伪喂 渭蔚 蟿畏 纬谓蠅蟽蟿萎 蠁蟻慰谓蟿委未伪 魏伪喂 蔚蟺喂渭苇位蔚喂伪 蟿蠅谓 蔚魏未蠈蟽蔚蠅谓 螖喂蠈蟺蟿蟻伪.
螣 韦味慰谓 螕魏维渭蟺蟻喂蔚位 蔚委谓伪喂 苇谓伪蟼 芦蟺慰位蔚渭喂蟽蟿萎蟼 蟺伪蟻伪蟽畏渭慰蠁慰蟻蔚渭苇谓慰蟼 渭蔚 蟿慰谓 危蟿伪蠀蟻蠈 蟿畏蟼 螔喂魏蟿蠅蟻委伪蟼, 魏伪喂蟻慰蟽魏蠈蟺慰蟼, 蠁喂位萎未慰谓慰蟼 魏伪喂 蠂伪蟻喂蟽渭伪蟿喂魏蠈蟼禄, 未蔚喂谓蠈蟼 慰渭喂位畏蟿萎蟼 魏伪喂 渭蔚 苇谓伪 尾伪胃蠉 渭委蟽慰蟼 纬喂伪 蟿畏谓 伪蟻喂蟽蟿慰魏蟻伪蟿喂魏萎 蟿维尉畏: 芦螠喂蟽蠋 伪蠀蟿苇蟼 蟿喂蟼 伪位伪味慰谓喂魏苇蟼 纬蠀谓伪委魏蔚蟼 蟿畏蟼 伪谓蠋蟿蔚蟻畏蟼 蟿维尉畏蟼鈥� 螙慰蠉谓蔚, 蟽蔚 慰位维魏蔚蟻畏 蟿畏 蠂蠋蟻伪, 蟽蔚 蟽蟺委蟿喂伪 蠀蟺蠈 魏伪蟿维蟻蟻蔚蠀蟽畏, 渭蔚 蔚喂蟽慰未萎渭伪蟿伪 蟺慰蠀 苇蠂慰蠀谓 蟽蠀蟻蟻喂魏谓蠅胃蔚委 蟽蔚 渭畏未伪渭喂谓蠈 尾伪胃渭蠈. 螤慰位位苇蟼 伪蟺蠈 未伪蠉蟿蔚蟼 未蔚谓 苇蠂慰蠀谓 谓伪 蠁维谓蔚鈥� 螒位位维 苇蠂慰蠀谓 魏维蟿喂 蟺慰蠀 未蔚谓 渭蟺慰蟻蠋 谓鈥� 伪蟺慰魏蟿萎蟽蠅 -魏伪喂 蟺慰蠀 蟺慰蟿苇 未蔚 胃鈥� 伪蟺慰魏蟿萎蟽蠅-, 苇谓伪 蟿蟻喂蟽魏伪蟿维蟻伪蟿慰 伪委蟽胃畏渭伪 伪谓蠅蟿蔚蟻蠈蟿畏蟿伪蟼禄 (蟽蔚位. 66). 韦伪 蟺蠀蟻维 蟿慰蠀 蟿伪 蟽蟿蟻苇蠁蔚喂 伪魏蠈渭畏 魏伪喂 蟽蟿慰谓 苇渭蟺喂蟽蟿蠈 蟿慰蠀 螡蠈蟻蔚蠆蟼: 芦螖蔚谓 蔚委谓伪喂 蔚蟺蔚喂未萎 蔚委蟽伪喂 苇谓伪蟼 蟿蠈蟽慰 胃伪蠀渭维蟽喂伪 蟽蠀渭蟺慰谓蔚蟿喂魏蠈蟼 伪魏蟻慰伪蟿萎蟼 魏伪喂 蟿伪 蟽蠂蔚蟿喂魏维. 螘委谓伪喂 蔚蟺蔚喂未萎 未蔚谓 蔚委蟽伪喂 蠂蟻萎蟽喂渭慰蟼 纬喂伪 慰蟿喂未萎蟺慰蟿蔚 维位位慰禄 (蟽蔚位. 115). 螤蟻蠈魏蔚喂蟿伪喂 纬喂伪 渭喂伪 伪谓蟿喂蟺伪胃畏蟿喂魏萎 蠁喂纬慰蠉蟻伪 蟺慰蠀 未蔚 未喂蟽蟿维味蔚喂 谓伪 蟿蟽伪位伪魏蠋蟽蔚喂 蟿畏 未畏渭蠈蟽喂伪 蔚喂魏蠈谓伪 蟿慰蠀, 蟻喂蠄慰魏喂谓未蠀谓蔚蠉慰谓蟿伪蟼 谓伪 蠂维蟽蔚喂 伪魏蠈渭畏 魏伪喂 蟿喂蟼 蔚魏位慰纬苇蟼.
螣 蟺伪蟻维位蠀蟿慰蟼 伪蟺蠈 蟿蟻慰蠂伪委慰 伪蟿蠉蠂畏渭伪 围喂慰蠀 螡蠈蟻蔚蠆蟼 渭蔚蟿伪魏蠈渭喂蟽蔚 蟽蟿慰 危蔚谓蟿 螞慰蠀 蟿畏蟼 螝慰蟻谓慰蠀维位畏蟼, 蟽蟿慰 蟽蟺委蟿喂 蟺慰蠀 魏位畏蟻慰谓蠈渭畏蟽蔚 畏 纬蠀谓伪委魏伪 蟿慰蠀 味蠅纬蟻维蠁慰蠀 伪未蔚位蠁慰蠉 蟿慰蠀, 韦蔚蟻苇味伪. 螘魏蔚委 渭蟺伪委谓蔚喂 蟽蟿畏 味蠅萎 蟿慰蠀 畏 螜味伪渭蟺苇位伪, 蔚纬纬慰谓萎 蟿畏蟼 位伪委未畏蟼 危蔚谓蟿 螞慰蠀, 蠂萎蟻伪蟼 魏伪喂 魏位畏蟻慰谓蠈渭慰蠀 蟿慰蠀 魏维蟽蟿蟻慰蠀 魏伪喂 蟿畏蟼 纬蠉蟻蠅 蟺蔚蟻喂慰蠂萎蟼. 螝喂谓慰蠉渭蔚谓慰蟼 蟽蔚 伪谓伪蟺畏蟻喂魏蠈 伪渭伪尉委未喂慰 魏伪喂 渭畏谓 苇蠂慰谓蟿伪蟼 谓伪 魏维谓蔚喂 魏维蟿喂, 纬委谓蔚蟿伪喂 蟺慰位蠉 蔚蠉魏慰位伪 魏维蟿喂 蟽伪谓 蔚尉慰渭慰位慰纬畏蟿萎蟼 蟿蠅谓 蟽蠀谓慰渭喂位畏蟿蠋谓 蟿慰蠀 萎 渭蟺慰蟻蔚委, 渭喂伪蟼 魏伪喂 魏伪谓蔚委蟼 未蔚谓 蟿慰蠀 未委谓蔚喂 蟺慰位位萎 蟽畏渭伪蟽委伪, 谓伪 蟺伪蟻伪蟿畏蟻蔚委 魏伪喂 谓伪 魏伪蟿伪纬蟻维蠁蔚喂 伪谓蟿喂未蟻维蟽蔚喂蟼, 蟽蠀渭蟺蔚蟻喂蠁慰蟻苇蟼 魏伪喂 蟽蠀谓慰渭喂位委蔚蟼 蔚蠀魏慰位蠈蟿蔚蟻伪. 螤伪蟻鈥� 蠈位畏 蟿畏 胃苇蟽畏 蟿慰蠀, 未蔚 蠂维谓蔚喂 蟿慰 蠂喂慰蠉渭慰蟻 蟿慰蠀, 蟺慰蠀 蔚委谓伪喂 魏伪位慰未蔚蠂慰蠉渭蔚谓慰 渭苇蟽伪 蟽蔚 蟿蠈蟽畏 蠄蔚蠉蟿喂魏畏 伪谓蠅蟿蔚蟻蠈蟿畏蟿伪 纬蠉蟻蠅 蟿慰蠀: 芦螝伪渭喂维 蠁慰蟻维, 渭蠈谓慰 魏伪喂 渭蠈谓慰 纬喂伪 谓伪 未喂伪蟽魏蔚未维蟽蠅, 蟿畏蟼 伪谓苇蠁蔚蟻伪 蟿慰 苇谓伪 蠈谓慰渭伪 渭蔚蟿维 蟿慰 维位位慰 魏伪喂 蟺蔚蟻委渭蔚谓伪 谓伪 尉喂谓委蟽蔚喂 畏 伪蟻蠂喂魏萎 纬位蠀魏蠉蟿畏蟿伪 蟿蠅谓 蟽蠂慰位委蠅谓 蟿畏蟼禄 (蟽蔚位. 116).
螚 螜味伪渭蟺苇位伪 蔚委谓伪喂 渭喂伪 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿伪 蟺慰蠀 未蔚 蟽魏喂伪纬蟻伪蠁蔚委蟿伪喂 蟿蠈蟽慰 蟺慰位蠉 慰蠉蟿蔚 蟿蠈蟽慰 蔚蠉魏慰位伪 蔚谓蠋 渭喂伪 伪蟺蟻蠈尾位蔚蟺蟿畏 魏委谓畏蟽畏 蟺蟻慰蟼 蟿慰 蟿苇位慰蟼 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼 蟿畏蟼 未委谓蔚喂 渭喂伪 蟺喂谓蔚位喂维 伪纬喂蠈蟿畏蟿伪蟼. 螘魏蟺蟻慰蟽蠅蟺蔚委 蟿畏谓 魏伪蟿伪蟻蟻苇慰蠀蟽伪 伪蟽蟿喂魏萎 蟿维尉畏 蟺慰蠀 蟺苇蠁蟿慰谓蟿伪蟼 蟺伪蟻伪蟽蠉蟻蔚喂 苇谓伪谓 慰位蠈魏位畏蟻慰 魏蠈蟽渭慰 纬蠉蟻蠅 蟿畏蟼, 魏维蟿喂 蟺慰蠀 畏 Agatha Christie 未蔚 蟽蟿伪渭伪蟿维 谓伪 蟿慰谓委味蔚喂 魏伪胃鈥� 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼.
螕蠉蟻蠅 伪蟺蠈 伪蠀蟿慰蠉蟼 蟿慰蠀蟼 蟿蟻蔚喂蟼 伪谓胃蟻蠋蟺慰蠀蟼 胃伪 蟽蟿畏胃蔚委 苇谓伪 伪尉喂蠈位慰纬慰 未委蠂蟿蠀, 渭蔚 伪谓伪蟺维谓蟿蔚蠂慰蠀蟼 蔚位喂纬渭慰蠉蟼 魏伪喂 伪蟺蟻蠈蟽渭蔚谓蔚蟼 蔚尉蔚位委尉蔚喂蟼. 螖蔚谓 渭蟺慰蟻蠋 谓伪 渭畏谓 伪谓伪纬谓蠅蟻委蟽蠅 蟺蠅蟼 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 蟽蠂蔚蟿喂魏维 蟽蟿伪蟿喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 蟺慰蠀 胃蠀蟽喂维味蔚喂 蟿畏 未蟻维蟽畏 纬喂伪 蟿伪 渭蔚位蔚蟿畏渭苇谓伪, 蟿蔚魏渭畏蟻喂蠅渭苇谓伪 蟺蟻伪纬渭伪蟿慰位慰纬喂魏维 蟽蟿慰喂蠂蔚委伪, 渭苇蟽伪 伪蟺蠈 蟿伪 慰蟺慰委伪 伪谓伪未蠉蔚蟿伪喂 畏 尾蟻蔚蟿伪谓喂魏萎 渭蔚蟿伪蟺慰位蔚渭喂魏萎 魏慰喂谓蠅谓委伪. 螁位位蠅蟽蟿蔚, 慰 蟺伪蟻慰蟺位喂蟽渭苇谓慰蟼 螡蠈蟻蔚蠆蟼, 慰 螘蟻纬伪蟿喂魏蠈蟼 螕魏维渭蟺蟻喂蔚位 魏伪喂 畏 伪蟻喂蟽蟿慰魏蟻维蟿喂蟽蟽伪 危蔚谓蟿 螞慰蠀 蔚委谓伪喂 蟿伪 魏伪位蠉蟿蔚蟻伪 未蔚委纬渭伪蟿伪 蟿蠅谓 蟿维尉蔚蠅谓 蟺慰蠀 胃苇位蔚喂 谓伪 伪谓伪位蠉蟽蔚喂 魏伪喂 谓伪 伪谓伪蠁苇蟻蔚喂 畏 蟽蠀纬纬蟻伪蠁苇伪蟼. 螠蠈谓慰 畏 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎 渭伪蟿喂维 蔚谓蠈蟼 魏蠈蟽渭慰蠀 蟺慰蠀 伪位位维味蔚喂 魏伪喂 蟽蟿苇魏蔚喂 渭慰蠀未喂伪蟽渭苇谓慰蟼 魏伪喂 委蟽蠅蟼 伪谓萎渭蟺慰蟻慰蟼 渭蟺蟻慰蟽蟿维 蟽蟿喂蟼 蟽伪蟻蠅蟿喂魏苇蟼 伪位位伪纬苇蟼 渭喂伪蟼 谓苇伪蟼 蔚蟺慰蠂萎蟼, 魏伪胃蠋蟼 魏伪喂 畏 螝慰蟻谓慰蠀维位畏 (蟺维谓蟿伪 畏 螝慰蟻谓慰蠀维位畏) 魏伪喂 蠁蠀蟽喂魏维 蟿慰 尾维蟻慰蟼 蟿慰蠀 慰谓蠈渭伪蟿慰蟼 蟿畏蟼 Agatha Christie 蔚委谓伪喂 伪蠀蟿维 蟺慰蠀 渭蔚 尾慰萎胃畏蟽伪谓 谓伪 蟿蔚位蔚喂蠋蟽蠅 蟿慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 蠂蠅蟻委蟼 伪蠀蟿蠈 谓伪 蟽畏渭伪委谓蔚喂 蟺蠅蟼 未蔚 尾纬萎魏伪 魏蔚蟻未喂蟽渭苇谓慰蟼 伪蟺蠈 蟿慰 尾喂尾位委慰.
螚 纬蟻伪蠁萎 蔚委谓伪喂 蟺伪位伪喂慰渭慰未委蟿喂魏畏, 渭蔚 蟽蠀谓蟿伪魏蟿喂魏蠈 魏伪喂 位蔚尉喂位蠈纬喂慰 蟺慰蠀 蟺位苇慰谓 未蔚谓 蠀蠁委蟽蟿伪谓蟿伪喂 蟽蟿畏谓 蔚蟺慰蠂萎 渭伪蟼, 慰蟺蠈蟿蔚 苇蠂慰蠀渭蔚 魏伪喂 蟿畏谓 伪谓蟿委蟽蟿慰喂蠂畏 伪尉喂蠈位慰纬畏 渭蔚蟿维蠁蟻伪蟽畏, 蟺慰蠀 味蠅谓蟿伪谓蔚蠉蔚喂 伪魏蟻喂尾蠋蟼 蟿畏谓 伪蟿渭蠈蟽蠁伪喂蟻伪 蟿畏蟼 蔚蟺慰蠂萎蟼 魏伪喂 蟿慰 蟽蟿蠀位 蟿畏蟼 伪纬纬位喂魏萎蟼 伪蟻喂蟽蟿慰魏蟻伪蟿委伪蟼 (慰 螒蠉纬慰蠀蟽蟿慰蟼 螝慰蟻蟿蠋 蟺蟻苇蟺蔚喂 谓伪 魏慰蟺委伪蟽蔚 蟺慰位蠉 伪谓伪味畏蟿蠋谓蟿伪蟼 蟿慰 魏伪蟿维位位畏位慰 位蔚尉喂位蠈纬喂慰 魏伪喂 蟿畏 蟽蠅蟽蟿萎 未慰渭萎), 蠂蠅蟻委蟼 谓伪 蠀蟺慰蟽魏蔚位委味蔚喂 萎 谓伪 蟺蟻慰蟽尾维位位蔚喂 蟿慰 蟺蟻蠅蟿蠈蟿蠀蟺慰 魏蔚委渭蔚谓慰. 违蟺维蟻蠂慰蠀谓 蟺维谓蟿蠅蟼 蟺慰位位苇蟼 蟺伪蟻慰渭慰喂蠋蟽蔚喂蟼 魏伪喂 渭蔚蟿伪蠁慰蟻苇蟼 蟺慰蠀 未委谓慰蠀谓 味蠅谓蟿维谓喂伪 魏伪喂 纬位伪蠁蠀蟻蠈蟿畏蟿伪 蟽蟿慰 魏蔚委渭蔚谓慰: 芦螖喂蠈蟿喂 畏 螝维胃蟻喂谓 螕喂慰蠀纬魏慰蠀渭蟺喂维谓 未喂伪胃苇蟿蔚喂 蟿畏谓 蔚蟺喂渭慰谓萎 渭喂伪蟼 尾伪蟻喂慰蟺慰蠉位伪蟼 魏伪喂 蟿畏 渭慰谓慰蟿慰谓委伪 蔚谓蠈蟼 蠁位蠈纬喂蟽蟿蟻慰蠀 伪蟽蔚蟿喂位委谓畏蟼, 蟽蔚 蟽蠀谓未蠀伪蟽渭蠈 渭蔚 蟿畏谓 蔚尉慰蠀胃蔚谓蠅蟿喂魏萎 蔚蟺委未蟻伪蟽畏 蟿慰蠀 谓蔚蟻慰蠉 蟺慰蠀 蟽蟿维味蔚喂 蟽蔚 蟺苇蟿蟻伪!禄 (蟽蔚位. 8), 芦螚 伪蠂谓萎, 纬位蠀魏喂维 蟽伪谓 渭萎位慰 蠁蠅谓萎 蟽蠋蟺伪蟽蔚鈥β� (蟽蔚位. 56), 芦螣 螝维蟻蟽位蔚蠆魏 蔚委谓伪喂 维蟻喂蟽蟿伪 蠂蠅渭苇谓慰蟼 蟽蟿畏 未慰蠀位蔚喂维 蟿慰蠀, 蠈蟺蠅蟼 慰 蟽魏蠈蟻慰蟼 蟽蟿慰 渭维位位喂谓慰禄 (蟽蔚位. 54).
螚 未喂蔚喂蟽未蠀蟿喂魏萎 魏伪喂 未喂蔚蟻蔚蠀谓畏蟿喂魏萎 渭伪蟿喂维 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 未蔚 渭苇谓蔚喂 渭蠈谓慰 蟽蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠄蠀蠂慰位慰纬委伪 伪位位维 蟺伪蟻伪蟿畏蟻蔚委 魏伪喂 蟽蠂慰位喂维味蔚喂 渭蔚 蔚蠀蟻畏渭伪蟿喂魏蠈 蟿蟻蠈蟺慰 魏伪喂 伪蟺蟿维 蟺伪蟻伪未蔚委纬渭伪蟿伪 魏伪喂 蟿喂蟼 魏慰喂谓蠅谓喂魏苇蟼, 慰喂魏慰谓慰渭喂魏苇蟼 魏伪喂 蟺慰位喂蟿喂蟽蟿喂魏苇蟼 伪位位伪纬苇蟼 蟿畏蟼 螒纬纬位委伪蟼 魏蠀蟻委蠅蟼 伪位位维 魏伪喂 蟿慰蠀 魏蠈蟽渭慰蠀. 螠蔚 伪蠁慰蟻渭萎 蟿畏谓 蟺伪蟻伪未慰蟽喂伪魏萎, 萎蟻蔚渭畏 魏伪喂 魏伪胃蠈位慰蠀 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎 味蠅萎 蟽蟿畏谓 伪纬纬位喂魏萎 蔚蟺伪蟻蠂委伪 蠈蟺蠅蟼 伪蠀蟿萎 伪谓伪蟺伪蟻委蟽蟿伪蟿伪喂 蟽蟿慰 危蔚谓蟿 螞慰蠀 未委谓蔚蟿伪喂 畏 蔚蠀魏伪喂蟻委伪 谓伪 魏伪蟿伪纬蟻伪蠁慰蠉谓 苇谓伪 蟽蠅蟻蠈 蟺伪蟻伪蟿畏蟻萎蟽蔚喂蟼 纬喂伪 蟿慰谓 蔚位蔚蠉胃蔚蟻慰 蠂蟻蠈谓慰 蟿蠅谓 魏伪蟿慰委魏蠅谓 (伪纬伪蟺畏渭苇谓慰 蠂蠈渭蟺喂 蟿慰 慰蠀委蟽蟿, 苇谓伪 蟺伪喂蠂谓委未喂 渭蔚 蠂伪蟻蟿喂维), 蟿慰蠀蟼 渭蔚蟿伪尉蠉 蟿慰蠀蟼 未蔚蟽渭慰蠉蟼, 蟿喂蟼 蟽蠀谓萎胃蔚喂苇蟼 蟿慰蠀蟼, 蟿慰谓 未喂伪蠂蠅蟻喂蟽渭蠈 蟿慰蠀蟼 蟽蔚 危蠀谓蟿畏蟻畏蟿喂魏慰蠉蟼 魏伪喂 螘蟻纬伪蟿喂魏慰蠉蟼, 韦蠈蟻喂蟼 魏伪喂 魏蠈魏谓蔚蠆 魏位蟺. 螚 蟺慰位喂蟿喂魏萎 伪谓蟿喂蟺伪蟻维胃蔚蟽畏 蔚谓 蠈蠄蔚喂 蟿蠅谓 蔚魏位慰纬蠋谓, 蟺慰蠀 魏伪蟿伪位伪渭尾维谓蔚喂 蟿慰 渭蔚纬伪位蠉蟿蔚蟻慰 尾维蟻慰蟼 蟽蟿畏谓 蠀蟺蠈胃蔚蟽畏, 蔚尉慰蠀未蔚蟿蔚蟻蠋谓蔚蟿伪喂 魏伪喂 喂蟽慰蟺蔚未蠋谓蔚蟿伪喂 蟽蔚 未蠉慰 蠁蟻维蟽蔚喂蟼: 芦-危蔚 蔚谓未喂苇蠁蔚蟻伪谓 蟺慰蟿苇 蟿伪 蟺慰位喂蟿喂魏维, 韦蔚蟻苇味伪; -螒谓苇魏伪胃蔚谓 渭慰蠀 蠁伪委谓慰谓蟿伪谓 蟺蔚蟻喂蟿蟿维. 螒蟻魏慰蠉渭伪喂 蟽蟿慰 谓伪 蠄畏蠁委蟽蠅 蟿慰谓 蠀蟺慰蠄萎蠁喂慰 蟺慰蠀 胃蔚蠅蟻蠋 蟺喂胃伪谓蠈蟿蔚蟻慰 谓伪 魏维谓蔚喂 蟿畏 位喂纬蠈蟿蔚蟻畏 味畏渭喂维禄 (蟽蔚位. 38). 桅蠀蟽喂魏维 未蔚 位蔚委蟺慰蠀谓 魏伪喂 慰喂 伪喂蠂渭苇蟼: 芦螚 纬蠀谓伪喂魏蔚委伪 蠄萎蠁慰蟼, 蔚委蟺蔚, 萎蟿伪谓 伪谓苇魏伪胃蔚谓 伪魏伪谓胃蠋未畏蟼禄 (蟽蔚位. 53). 螒蟺蠈 蟿畏谓 维位位畏, 蟽伪 尾蠈渭尾伪 苇蟽魏伪蟽蔚 渭蟺蟻慰蟽蟿维 渭慰蠀 畏 伪蟽畏渭伪谓蟿蠈蟿畏蟿伪 渭喂伪蟼 蟺伪蟻伪蟿萎蟻畏蟽畏蟼 纬喂伪 苇谓伪谓 魏伪蟿维 蟿伪 维位位伪 蟽畏渭伪谓蟿喂魏蠈 蠀蟺慰蠄萎蠁喂慰: 芦韦喂 魏蟻委渭伪 蟺慰蠀 苇蠂蔚喂 蟿蠈蟽慰 位伪蠆魏维 蟺蠈未喂伪禄 (蟽蔚位. 57). 螚 蟺蔚渭蟺蟿慰蠀蟽委伪 蟿慰蠀 蟽谓慰渭蟺喂蟽渭慰蠉 魏伪喂 畏 魏蔚谓蠈蟿畏蟿伪 渭喂伪蟼 蟺伪蟻伪蟿萎蟻畏蟽畏蟼 蟽蔚 渭喂伪 维魏伪喂蟻畏 蟺蟻蠈蟿伪蟽畏 蟺慰蠀 胃伪 渭蟺慰蟻慰蠉蟽蔚 蟺蟻伪纬渭伪蟿喂魏维 谓伪 蔚魏蠁苇蟻蔚喂 苇谓伪蟼 螁纬纬位慰蟼 蠄畏蠁慰蠁蠈蟻慰蟼! 韦苇位慰蟼, 畏 蟺蟻蠈蟿伪蟽畏 蟽蟿畏 蟽蔚位委未伪 109 伪蟺慰未蠀谓伪渭蠋谓蔚喂 蟿畏谓 伪尉委伪 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 伪蟺蠈 蟿畏 渭喂伪 魏伪喂 蟿慰谓委味蔚喂 蟿慰谓 蠁蠈尾慰 蟺慰蠀 伪魏蠈渭畏 蔚委蠂蔚 慰 魏蠈蟽渭慰蟼 纬喂伪 蟿慰谓 谓蔚魏蟻蠈 蟺喂伪 魏伪喂 位伪慰蟺位维谓慰 桅蠉蟻蔚蟻: 芦螤慰喂慰蟼 胃伪蟻蟻蔚委蟼 蟺蠅蟼 蔚委渭伪喂, 慰 围委蟿位蔚蟻; 螖蔚 胃苇位蠅 蔚尉慰蠀蟽委伪, 未蔚谓 苇蠂蠅 魏伪渭委伪 蠁喂位慰未慰尉委伪 谓伪 蔚蟺喂尾维位位慰渭伪喂 蟽蟿慰蠀蟼 蟽蠀谓伪谓胃蟻蠋蟺慰蠀蟼 渭慰蠀 萎 蟽蟿慰谓 魏蠈蟽渭慰 蔚谓 纬苇谓蔚喂. 螕喂伪 蠈谓慰渭伪 蟿慰蠀 螛蔚慰蠉, 维谓胃蟻蠅蟺苇 渭慰蠀, 纬喂伪 蟺慰喂慰 位蠈纬慰 胃伪蟻蟻蔚委蟼 蟺蠅蟼 苇渭蟺位蔚尉伪 蟽鈥� 伪蠀蟿萎谓 蟿畏谓 魏慰渭蟺委谓伪; 螚 蔚尉慰蠀蟽委伪 蔚委谓伪喂 渭喂伪 渭蟺慰蠉蟻未伪!禄 螕喂伪 维位位畏 渭喂伪 蠁慰蟻维 畏 Agatha Christie 伪蟺慰未蠀谓伪渭蠋谓蔚喂 蟿慰 尾维蟻慰蟼 蟽畏渭伪谓蟿喂魏蠋谓 胃蔚蟽渭蠋谓 渭蔚 伪蟺位苇蟼, 魏伪胃畏渭蔚蟻喂谓苇蟼 蔚魏蠁蟻维蟽蔚喂蟼! 螝伪喂 魏位蔚委谓蠅 渭蔚 蟿慰 蟺喂慰 未喂伪蠂蟻慰谓喂魏蠈, 魏伪委蟻喂慰, 蟺维谓蟿伪 蔚蟺委魏伪喂蟻慰 蟽蠂蠈位喂慰: 芦韦喂 蔚委谓伪喂 畏 蟺慰位喂蟿喂魏萎 蟽蟿慰 魏维蟿蠅 魏维蟿蠅 伪谓 蠈蠂喂 纬蔚喂蟿慰谓喂魏维 魏喂蠈蟽魏喂伪 蟽蟿慰 蟺伪谓畏纬蠉蟻喂 蟿慰蠀 魏蠈蟽渭慰蠀, 蟺慰蠀 蟿慰 魏伪胃苇谓伪 蟿慰蠀蟼 蟺蟻慰蟽蠁苇蟻蔚喂 蟿慰 未喂魏蠈 蟿慰蠀 渭伪谓蟿味慰蠉谓喂 蟺慰蠀 纬喂伪蟿蟻蔚蠉蔚喂 蠈位伪 蟿伪 未蔚喂谓维;禄 (蟽蔚位. 181).
螚 蟽蠀纬纬蟻伪蠁苇伪蟼, 伪谓 魏伪喂 萎蟿伪谓 纬蠉蟻蠅 蟽蟿伪 蔚尉萎谓蟿伪 蠈蟿伪谓 蟿慰 苇纬蟻伪蠁蔚, 蟺维蟻伪 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟿慰谓委味蔚喂 蟿慰 蟺伪蟻蠅蠂畏渭苇谓慰 蟿蠅谓 渭蔚纬维位蠅谓 蟽蔚 畏位喂魏委伪 伪谓胃蟻蠋蟺蠅谓 魏伪喂 蟺蠈蟽慰 渭蔚纬维位慰 蔚渭蟺蠈未喂慰 蔚委谓伪喂 纬喂伪 蟿畏谓 蟺蟻蠈慰未慰 渭喂伪蟼 魏慰喂谓蠈蟿畏蟿伪蟼 萎 蔚谓蠈蟼 蔚蠀蟻蠉蟿蔚蟻慰蠀 蟽蠀谓蠈位慰蠀. 芦螣 蟺蟻蠈蔚未蟻慰蟼 [蟿慰蠀 危蠀谓蟿畏蟻畏蟿喂魏慰蠉 蟺慰位喂蟿喂魏慰蠉 魏蠈渭渭伪蟿慰蟼 蟿畏蟼 蟺蔚蟻喂慰蠂萎蟼 魏伪喂 魏蠀蟻喂维蟻蠂慰蠀 蟽蟿喂蟼 蔚蟺蔚蟻蠂蠈渭蔚谓蔚蟼 蔚魏位慰纬苇蟼] 维蟻蠂喂蟽蔚 谓伪 渭喂位维 渭蔚 渭喂伪 蟿蟻蔚渭慰蠀位喂伪蟽蟿萎, 渭蔚位委蟻蟻蠀蟿畏 蠁蠅谓萎. 螣 魏蠈蟽渭慰蟼 纬喂伪 蟿慰谓 慰蟺慰委慰 渭慰蠀蟻渭慰蠉蟻喂味蔚, 蟽蠀位位慰纬委蟽蟿畏魏伪, 未蔚谓 蠀蟺萎蟻蠂蔚 蟺位苇慰谓禄 (蟽蔚位. 56). 螣 魏蠈蟽渭慰蟼 魏伪蟿伪蟻蟻苇蔚喂 纬蠉蟻蠅 渭伪蟼 魏伪喂 蟺蟻苇蟺蔚喂 蠈蠂喂 渭蠈谓慰 谓伪 蟿慰 蟽蠀谓蔚喂未畏蟿慰蟺慰喂萎蟽慰蠀渭蔚 伪位位维 魏伪喂 谓伪 伪谓蟿喂位畏蠁胃慰蠉渭蔚 蟿喂蟼 谓苇蔚蟼 伪谓维纬魏蔚蟼 魏伪喂 蔚蟺喂蟿伪纬苇蟼 蠋蟽蟿蔚 谓伪 未畏渭喂慰蠀蟻纬萎蟽慰蠀渭蔚 苇谓伪谓 魏伪位蠉蟿蔚蟻慰 伪蠀蟻喂伪谓蠈 魏蠈蟽渭慰, 伪蠀蟿蠈 蠀蟺慰蟽蟿畏蟻委味蔚蟿伪喂 蟽胃蔚谓伪蟻维 魏伪胃鈥� 蠈位畏 蟿畏谓 苇魏蟿伪蟽畏 蟿慰蠀 魏蔚喂渭苇谓慰蠀.
螖蔚谓 蔚委谓伪喂 蠈渭蠅蟼 渭蠈谓慰 慰喂 蟽畏渭伪谓蟿喂魏苇蟼 蟺慰位喂蟿喂魏苇蟼 伪位位伪纬苇蟼 蟿畏蟼 尾蟻蔚蟿伪谓喂魏萎蟼 魏慰喂谓蠅谓委伪蟼 伪位位维 魏伪喂 畏 蔚蟺伪谓伪蟽蟿伪蟿喂魏萎 伪蠉蟻伪 渭喂伪蟼 谓苇伪蟼 蟿维尉畏蟼 蟺蟻伪纬渭维蟿蠅谓, 纬喂伪 蟿畏谓 慰蟺慰委伪 魏伪胃喂蔚蟻蠅渭苇谓蔚蟼, 蟺维纬喂蔚蟼 伪尉委蔚蟼 魏伪喂 慰位蠈魏位畏蟻伪 status quo 魏伪蟿伪魏蟻畏渭谓委味慰谓蟿伪喂: 芦-螖蔚 胃伪 蟺伪谓蟿蟻蔚蠀蟿蠋 蔚魏蟿蠈蟼 蟿畏蟼 蟿维尉畏蟼 渭慰蠀. 惟, 谓伪喂, 尉苇蟻蠅 蟺慰喂伪 蔚委谓伪喂 畏 蟿维尉畏 渭慰蠀. 螖蔚谓 蔚委渭伪喂 蟿味苇谓蟿位蔚渭伪谓. -危畏渭伪委谓蔚喂 蟿委蟺慰蟿伪 畏 位苇尉畏 伪蠀蟿萎 蟽蟿喂蟼 渭苇蟻蔚蟼 渭伪蟼; 蟻蠋蟿畏蟽伪 渭蔚 伪渭蠁喂尾慰位委伪. -螚 位苇尉畏 蠈蠂喂. 螒位位维 伪蠀蟿蠈 蟺慰蠀 谓慰畏渭伪蟿慰未慰蟿蔚委 蔚尉伪魏慰位慰蠀胃蔚委 谓伪 蠀蠁委蟽蟿伪蟿伪喂禄 (蟽蔚位. 111). 螝伪喂 蠁蠀蟽喂魏维 蠀蟺维蟻蠂蔚喂 蟿慰 伪纬伪蟺畏渭苇谓慰 渭慰蠀 伪蟺蠈蟽蟺伪蟽渭伪 蟽蟿畏 蟽蔚位委未伪 148 蟺慰蠀 未蔚谓 伪蠁萎谓蔚喂 蟿委蟺慰蟿伪 蠈蟻胃喂慰: 芦螖蔚谓 苇蠂慰蠀谓 未蔚蠉蟿蔚蟻慰 尾蟻伪魏委. 螙慰蠉谓蔚 蟽鈥� 苇谓伪 魏伪蟿蔚蟽蟿蟻伪渭渭苇谓慰, 蔚蟿慰喂渭蠈蟻蟻慰蟺慰 魏维蟽蟿蟻慰 魏伪喂 蟺伪蟻喂蟽蟿维谓慰蠀谓 蠈蟿喂 蔚委谓伪喂 慰喂 蟽蟺慰蠀未伪喂蠈蟿蔚蟻蔚蟼 蠈位蠅谓. 螝维胃蔚蟿伪喂 蔚魏蔚委 魏伪喂 尉蠉谓蔚蟿伪喂 蠂蠅蟻委蟼 谓伪 魏维谓蔚喂 蟿委蟺慰蟿伪, 蔚位蟺委味慰谓蟿伪蟼 蠈蟿喂 胃伪 蟿畏谓 蟺伪谓蟿蟻蔚蠀蟿蔚委 慰 渭慰谓维魏蟻喂尾慰蟼 魏位畏蟻慰谓蠈渭慰蟼鈥� 螒蠀蟿苇蟼 慰喂 魏慰蟺苇位蔚蟼 渭蔚 伪畏未喂维味慰蠀谓, 螡蠈蟻蔚蠆蟼. 螝伪魏慰渭伪胃畏渭苇谓伪 蟺蔚魏喂谓慰蠀维, 伪蠀蟿蠈 蔚委谓伪喂. 螝喂 畏 位伪委未畏 危蔚谓蟿 螞慰蠀 伪蠀蟿蠈 伪魏蟻喂尾蠋蟼 胃苇位蔚喂 谓伪 蔚委谓伪喂. 韦喂 未喂维慰位慰 蠅蠁蔚位蔚委 谓伪 蔚委蟽伪喂 畏 位伪委未畏 危蔚谓蟿 螞慰蠀 蟿畏 蟽萎渭蔚蟻慰谓 畏渭苇蟻伪; 螌位伪 伪蠀蟿维 蟿伪 蟺蟻维纬渭伪蟿伪 苇蠂慰蠀谓 蟺伪蟻苇位胃蔚喂 慰蟻喂蟽蟿喂魏维. 螝蠅渭喂魏维, 渭蠈谓慰 伪蠀蟿蠈 蔚委谓伪喂 蟽蟿喂蟼 渭苇蟻蔚蟼 渭伪蟼, 蟽伪谓 魏伪位伪渭蟺慰蠉蟻喂 蟽蔚 尾伪蟻喂蔚蟿苇鈥β�.
韦慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟿慰 蟺蟻慰蟿蔚委谓蠅 蟽蔚 蠈蟺慰喂慰谓 伪蟻苇蟽蔚喂 谓伪 未喂伪尾维味蔚喂 蟻慰渭伪谓蟿喂魏苇蟼 喂蟽蟿慰蟻委蔚蟼 蟿慰蠀 蟺伪位喂慰蠉 魏伪喂蟻慰蠉, 渭蔚 蠄蠀蠂慰纬蟻伪蠁委蔚蟼, 伪蟻纬萎 未蟻维蟽畏 魏伪喂 渭蟺蠈位喂魏畏 伪蟿渭蠈蟽蠁伪喂蟻伪 螒纬纬位委伪蟼, 蟽蔚 蠈蟺慰喂慰谓 胃苇位蔚喂 谓伪 未蔚喂 苇谓伪 维位位慰 蟽蠀纬纬蟻伪蠁喂魏蠈 蟿伪位苇谓蟿慰 蟿畏蟼 螒纬魏维胃伪 螝蟻委蟽蟿喂 魏伪喂 蟽蔚 蠈蟺慰喂慰谓 苇蠂蔚喂 蟿畏谓 蠀蟺慰渭慰谓萎 魏伪喂 蟿畏 胃苇位畏蟽畏 谓伪 尉蔚蠄伪蠂谓委蟽蔚喂 苇谓伪 魏蔚委渭蔚谓慰-谓蟿慰魏慰蠀渭苇谓蟿慰 纬喂伪 蟿喂蟼 渭苇蟻蔚蟼 蟿畏蟼 螒纬魏维胃伪 螝蟻委蟽蟿喂 魏伪喂 蟺蠋蟼 魏伪蟿维蠁蔚蟻蔚 谓伪 蔚谓蟿维尉蔚喂 蠈蟽伪 萎尉蔚蟻蔚, 渭维胃伪喂谓蔚 魏伪喂 未喂苇尾位蔚蟺蔚 蟽蔚 苇谓伪 渭蠀胃喂蟽蟿蠈蟻畏渭伪 纬蔚渭维蟿慰 蟻蔚伪位喂蟽蟿喂魏慰蠉蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 伪位畏胃慰蠁伪谓萎 魏伪喂 蠄蠀蠂慰位慰纬喂魏维 蔚蟺蔚尉畏纬畏渭苇谓伪 蟽蠀渭蟺位苇纬渭伪蟿伪 伪谓胃蟻蠋蟺喂谓蠅谓 蟽蠂苇蟽蔚蠅谓, 魏伪喂 蔚蟺喂魏伪喂蟻蠈蟿畏蟿伪.
February 4, 2025
亘毓丿 丕賱賱賯丕亍 丕賱孬丕賱孬 賲毓 乇賵丕賷丕鬲 兀噩丕孬丕 賰乇賷爻鬲賷 丕賱乇賵賲丕賳爻賷丞 丕賱鬲賷 賳卮乇鬲賴丕 鬲丨鬲 丕爻賲 "賲丕乇賷 賵賷爻鬲賲丕賰賵鬲" 丕賱賲爻鬲毓丕乇貙 賷賲賰賳 丕賱賯賵賱 兀賳 賴匕賴 丕賱乇賵丕賷丕鬲 兀賰孬乇 鬲毓賯賷丿丕賸 賵毓賲賯丕賸貙 亘賱 賵廿孬丕乇丞 賲賳 乇賵丕賷丕鬲賴丕 丕賱亘賵賱賷爻賷丞.
鬲丿賵乇 賴匕賴 丕賱乇賵丕賷丞 毓賱賶 禺賱賮賷丞 丕賳鬲禺丕亘丕鬲 毓丕賲 佟侃伽佶 丕賱亘乇賷胤丕賳賷丞貙 毓賱賶 賱爻丕賳 乇丕賵賺 卮丕亘 賯毓賷丿 毓賱賶 廿孬乇 丨丕丿孬丞 賲丐賱賲丞. 鬲亘丿賵 兀噩賵丕亍 丕賱乇賵丕賷丞 賲睾乇賯丞 賮賷 丕賱乇賲丕丿賷丞貙 賮賲賳 賳丕丨賷丞 賷乇孬賷 丕賱乇丕賵賷 賱丨丕賱賴 毓賱賶 賲丿丕乇 丕賱乇賵丕賷丞貙 賵賲賳 賳丕丨賷丞 賷氐毓亘 鬲禺賷賱 丿賵丕賮毓 亘胤賱丞 丕賱乇賵丕賷丞 賵亘胤賱賴丕貙 賵睾乇丕亘鬲賴賲丕. 賱匕賱賰 毓賱賶 丕賱乇睾賲 賲賳 丕賮鬲鬲丕賳賷 亘乇賵丕賷鬲賷 賵賷爻鬲賲丕賰賵鬲 Absent in the spring 賵 A daughter is a daughter貙 廿賱丕 兀賳 賴匕賴 丕賱乇賵丕賷丞 賰丕賳鬲 賲禺鬲賱賮丞. 亘丕賱鬲兀賰賷丿 馗賴乇鬲 賲賴丕乇丞 兀噩丕孬丕 賮賷 乇爻賲 卮禺氐賷丕鬲 亘丕賱睾丞 丕賱鬲毓賯賷丿 廿賱丕 兀賳賴 匕賱賰 丕賱賳賵毓 賲賳 丕賱鬲毓賯賷丿 丕賱匕賷 賱賲 兀賯丕亘賱賴 賮賷 丨賷丕鬲賷! 賮毓亘孬丕賸 丨丕賵賱鬲 兀賳 兀賮賴賲 丿賵丕賮毓 丕賱亘胤賱丞 廿賷夭丕亘賷賱丕 丕賱乇賯賷賯丞 丕賱賲鬲毓賱賲丞 賵乇丕亍 賲丕 賮毓賱鬲 賮賱賲 兀爻鬲胤毓貙 兀賲丕 噩賵賳 噩丕亘乇賷賷賱 丕賱賵氐賵賱賷 賮賱賲 兀爻鬲賵毓亘 兀賷囟丕賸 賰賷賮 兀賯丿賲 毓賱賶 賯賱亘 丕賱兀賲賵乇 乇兀爻丕賸 毓賱賶 毓賯亘 亘毓丿 兀賳 丨賯賯 丨賱賲賴. 賮賷 乇賵丕賷鬲賷賴丕 丕賱鬲賷 兀卮乇鬲 廿賱賷賴賲丕貙 賰丕賳鬲 丕賱卮禺氐賷丕鬲 毓丕丿賷丞 亘賲夭丕賷丕賴丕 賵毓賷賵亘賴丕 賵囟毓賮賴丕貙 卮禺氐賷丕鬲 爻鬲噩丿 賮賷賴丕 賳賮爻賰 賵兀卮禺丕氐丕賸 賯丕亘賱鬲賴賲 賮賷 丨賷丕鬲賰貙 兀賲丕 亘胤賱丕 賴匕賴 丕賱乇賵丕賷丞 賮賰丕賳丕 賲鬲胤乇賮賷賳 賮賷 丿賵丕賮毓賴賲丕 賵乇丿賵丿 兀賮毓丕賱賴賲丕. 鬲乇賶 賴賱 賱賴匕丕 丕賱爻亘亘 賳爻鬲賲鬲毓 兀賰孬乇 亘丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲購禺亘乇賳丕 亘賲丕 賳毓乇賮賴 賲爻亘賯丕 賵鬲氐賮賴 亘丿賯丞責 兀賷 鬲賱賰 丕賱鬲賷 鬲匕賰乇賳丕 亘氐乇丕毓丕鬲賳丕 賵廿禺賮丕賯丕鬲賳丕 賵囟毓賮賳丕 亘丿賱丕 賲賳 兀賳 鬲賯氐 毓賱賷賳丕 氐乇丕毓丕鬲 賱賲 賳禺囟賴丕責
兀賲丕 賲氐賷乇 丕賱亘胤賱丞 賵賳賴丕賷丞 丕賱乇賵丕賷丞 賳賮爻賴丕 賮噩毓賱鬲賳賷 兀賮賰乇 賮賷 賵噩賵丿 噩乇賷賲丞 賲丕貙 乇亘賲丕 亘爻亘亘 亘毓囟 丕賱鬲賱賲賷丨丕鬲 丕賱鬲賷 賳孬乇鬲賴丕 兀噩丕孬丕 賮賷 賮氐賵賱賴丕 丕賱兀禺賷乇丞. 賱匕丕 賰丕賳鬲 賲賳 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲賲賳賷鬲 賱賵 丨馗賷鬲 亘賯乇丕亍丞 賲卮鬲乇賰丞 賱賴丕 賱兀賳丕賯卮 賴匕賴 丕賱賮乇囟賷丞貙 賵賱賲丨丕賵賱丞 賮賴賲 賲丕 丕爻鬲毓氐賶 毓賱賷 賲賳 丨賰丕賷丞 廿賷夭丕亘賷賱賱丕 賵噩丕亘乇賷賷賱 丕賱賱毓賷賳 賴匕丕.
毓賲賵賲丕 亘毓賷丿丕 毓賳 丕賱卮禺氐賷丕鬲 賵丕賱賳賴丕賷丞貙 賮廿賳 丕賱賯乇丕亍丞 賱兀噩丕孬丕 賮賷 賲囟賲丕乇 丕賱丿乇丕賲丕 丕賱賳賮爻賷丞 賲鬲毓丞 禺丕賱氐丞貙 賮賯丿乇鬲賴丕 毓賱賶 乇爻賲 丕賱卮禺氐賷丕鬲 賵丨賵丕乇丕鬲賴丕 丕賱毓賲賷賯丞 丕賱賵丕賯毓賷丞 鬲亘鬲賱毓賰 鬲賲丕賲丕 賮賷 兀噩賵丕亍 丕賱乇賵丕賷丞. 賱匕丕貙 賵毓賱賶 丕賱乇睾賲 賲賳 毓丿賲 "卮乇丕卅賷" 賱丿賵丕賮毓 亘毓囟 丕賱卮禺氐賷丕鬲 賰賲丕 賷賯賵賱賵賳貙 廿賱丕 兀賳賳賷 亘毓丿 丕賱丕賳鬲賴丕亍 賲賳 丕賱乇賵丕賷丞 噩賱爻鬲 賮賷 氐賲鬲 賵鬲兀賲賱 鬲賲丕賲丕 賰丕賱賲乇鬲賷賳 丕賱爻丕亘賯鬲賷賳. 廿賳 丕賱丨賰賲丞 丕賱鬲賷 鬲鬲賲鬲毓 亘賴丕 兀噩丕孬丕 賵丕賱鬲賷 鬲丿賮毓賳賷 賱賱鬲賲賴賱 兀孬賳丕亍 丕賱賯乇丕亍丞貙 賵丕賱鬲兀賲賱 亘毓丿 丕賱丕賳鬲賴丕亍 賲賳賴丕貙 賱噩丿賷乇丞 亘鬲噩丿賷丿 丕賱廿毓噩丕亘 賮賷 賰賱 賲乇丞 兀夭賵乇 乇賵丕賷丕鬲賴丕.
鬲丿賵乇 賴匕賴 丕賱乇賵丕賷丞 毓賱賶 禺賱賮賷丞 丕賳鬲禺丕亘丕鬲 毓丕賲 佟侃伽佶 丕賱亘乇賷胤丕賳賷丞貙 毓賱賶 賱爻丕賳 乇丕賵賺 卮丕亘 賯毓賷丿 毓賱賶 廿孬乇 丨丕丿孬丞 賲丐賱賲丞. 鬲亘丿賵 兀噩賵丕亍 丕賱乇賵丕賷丞 賲睾乇賯丞 賮賷 丕賱乇賲丕丿賷丞貙 賮賲賳 賳丕丨賷丞 賷乇孬賷 丕賱乇丕賵賷 賱丨丕賱賴 毓賱賶 賲丿丕乇 丕賱乇賵丕賷丞貙 賵賲賳 賳丕丨賷丞 賷氐毓亘 鬲禺賷賱 丿賵丕賮毓 亘胤賱丞 丕賱乇賵丕賷丞 賵亘胤賱賴丕貙 賵睾乇丕亘鬲賴賲丕. 賱匕賱賰 毓賱賶 丕賱乇睾賲 賲賳 丕賮鬲鬲丕賳賷 亘乇賵丕賷鬲賷 賵賷爻鬲賲丕賰賵鬲 Absent in the spring 賵 A daughter is a daughter貙 廿賱丕 兀賳 賴匕賴 丕賱乇賵丕賷丞 賰丕賳鬲 賲禺鬲賱賮丞. 亘丕賱鬲兀賰賷丿 馗賴乇鬲 賲賴丕乇丞 兀噩丕孬丕 賮賷 乇爻賲 卮禺氐賷丕鬲 亘丕賱睾丞 丕賱鬲毓賯賷丿 廿賱丕 兀賳賴 匕賱賰 丕賱賳賵毓 賲賳 丕賱鬲毓賯賷丿 丕賱匕賷 賱賲 兀賯丕亘賱賴 賮賷 丨賷丕鬲賷! 賮毓亘孬丕賸 丨丕賵賱鬲 兀賳 兀賮賴賲 丿賵丕賮毓 丕賱亘胤賱丞 廿賷夭丕亘賷賱丕 丕賱乇賯賷賯丞 丕賱賲鬲毓賱賲丞 賵乇丕亍 賲丕 賮毓賱鬲 賮賱賲 兀爻鬲胤毓貙 兀賲丕 噩賵賳 噩丕亘乇賷賷賱 丕賱賵氐賵賱賷 賮賱賲 兀爻鬲賵毓亘 兀賷囟丕賸 賰賷賮 兀賯丿賲 毓賱賶 賯賱亘 丕賱兀賲賵乇 乇兀爻丕賸 毓賱賶 毓賯亘 亘毓丿 兀賳 丨賯賯 丨賱賲賴. 賮賷 乇賵丕賷鬲賷賴丕 丕賱鬲賷 兀卮乇鬲 廿賱賷賴賲丕貙 賰丕賳鬲 丕賱卮禺氐賷丕鬲 毓丕丿賷丞 亘賲夭丕賷丕賴丕 賵毓賷賵亘賴丕 賵囟毓賮賴丕貙 卮禺氐賷丕鬲 爻鬲噩丿 賮賷賴丕 賳賮爻賰 賵兀卮禺丕氐丕賸 賯丕亘賱鬲賴賲 賮賷 丨賷丕鬲賰貙 兀賲丕 亘胤賱丕 賴匕賴 丕賱乇賵丕賷丞 賮賰丕賳丕 賲鬲胤乇賮賷賳 賮賷 丿賵丕賮毓賴賲丕 賵乇丿賵丿 兀賮毓丕賱賴賲丕. 鬲乇賶 賴賱 賱賴匕丕 丕賱爻亘亘 賳爻鬲賲鬲毓 兀賰孬乇 亘丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲購禺亘乇賳丕 亘賲丕 賳毓乇賮賴 賲爻亘賯丕 賵鬲氐賮賴 亘丿賯丞責 兀賷 鬲賱賰 丕賱鬲賷 鬲匕賰乇賳丕 亘氐乇丕毓丕鬲賳丕 賵廿禺賮丕賯丕鬲賳丕 賵囟毓賮賳丕 亘丿賱丕 賲賳 兀賳 鬲賯氐 毓賱賷賳丕 氐乇丕毓丕鬲 賱賲 賳禺囟賴丕責
兀賲丕 賲氐賷乇 丕賱亘胤賱丞 賵賳賴丕賷丞 丕賱乇賵丕賷丞 賳賮爻賴丕 賮噩毓賱鬲賳賷 兀賮賰乇 賮賷 賵噩賵丿 噩乇賷賲丞 賲丕貙 乇亘賲丕 亘爻亘亘 亘毓囟 丕賱鬲賱賲賷丨丕鬲 丕賱鬲賷 賳孬乇鬲賴丕 兀噩丕孬丕 賮賷 賮氐賵賱賴丕 丕賱兀禺賷乇丞. 賱匕丕 賰丕賳鬲 賲賳 丕賱乇賵丕賷丕鬲 丕賱鬲賷 鬲賲賳賷鬲 賱賵 丨馗賷鬲 亘賯乇丕亍丞 賲卮鬲乇賰丞 賱賴丕 賱兀賳丕賯卮 賴匕賴 丕賱賮乇囟賷丞貙 賵賱賲丨丕賵賱丞 賮賴賲 賲丕 丕爻鬲毓氐賶 毓賱賷 賲賳 丨賰丕賷丞 廿賷夭丕亘賷賱賱丕 賵噩丕亘乇賷賷賱 丕賱賱毓賷賳 賴匕丕.
毓賲賵賲丕 亘毓賷丿丕 毓賳 丕賱卮禺氐賷丕鬲 賵丕賱賳賴丕賷丞貙 賮廿賳 丕賱賯乇丕亍丞 賱兀噩丕孬丕 賮賷 賲囟賲丕乇 丕賱丿乇丕賲丕 丕賱賳賮爻賷丞 賲鬲毓丞 禺丕賱氐丞貙 賮賯丿乇鬲賴丕 毓賱賶 乇爻賲 丕賱卮禺氐賷丕鬲 賵丨賵丕乇丕鬲賴丕 丕賱毓賲賷賯丞 丕賱賵丕賯毓賷丞 鬲亘鬲賱毓賰 鬲賲丕賲丕 賮賷 兀噩賵丕亍 丕賱乇賵丕賷丞. 賱匕丕貙 賵毓賱賶 丕賱乇睾賲 賲賳 毓丿賲 "卮乇丕卅賷" 賱丿賵丕賮毓 亘毓囟 丕賱卮禺氐賷丕鬲 賰賲丕 賷賯賵賱賵賳貙 廿賱丕 兀賳賳賷 亘毓丿 丕賱丕賳鬲賴丕亍 賲賳 丕賱乇賵丕賷丞 噩賱爻鬲 賮賷 氐賲鬲 賵鬲兀賲賱 鬲賲丕賲丕 賰丕賱賲乇鬲賷賳 丕賱爻丕亘賯鬲賷賳. 廿賳 丕賱丨賰賲丞 丕賱鬲賷 鬲鬲賲鬲毓 亘賴丕 兀噩丕孬丕 賵丕賱鬲賷 鬲丿賮毓賳賷 賱賱鬲賲賴賱 兀孬賳丕亍 丕賱賯乇丕亍丞貙 賵丕賱鬲兀賲賱 亘毓丿 丕賱丕賳鬲賴丕亍 賲賳賴丕貙 賱噩丿賷乇丞 亘鬲噩丿賷丿 丕賱廿毓噩丕亘 賮賷 賰賱 賲乇丞 兀夭賵乇 乇賵丕賷丕鬲賴丕.
January 13, 2011
I had to abandon this because it was so grim. I think the narrator was suffering from clinical depression. There was a kind of emotional "greyness" in all of the events and people he described. He didn't seem to like anybody and frequently complained about how useless he was and how meaningless his life was. I got about half way through and couldn't take anymore.
February 27, 2024
袛褍卸械 褑褨泻邪胁芯 斜褍谢芯 锌芯写懈胁懈褌懈褋褜 薪邪 褌胁芯褉褔褨褋褌褜 袗谐邪褌懈 袣褉褨褋褌褨 胁 褩褩 褌邪褦屑薪芯屑褍 邪屑锌谢褍邪.
袪芯蟹褍屑褨褞 褔芯屑褍 胁芯薪邪 锌懈褋邪谢邪 锌褨写 锌褋械胁写芯褉薪褨屑芯屑. 携 胁卸械 蟹薪邪褞褔懈, 褖芯 褑械 袗谐邪褌邪 褔懈褌邪谢邪 泻薪懈谐褍 胁 褩褩 蟹胁懈褔薪褨泄 写械褌械泻褌懈胁薪褨泄 屑邪薪械褉褨, 胁邪卸泻芯 斜褍谢芯 邪斜褋褌褉邪谐褍胁邪褌懈褋褜 胁褨写 袩褍邪褉芯 馃暤锔�
馃尭袦械薪褨 写褍卸械 锌芯写芯斜邪谢芯褋褜 褟泻 谐邪褉薪芯 褨 薪械芯写薪芯蟹薪邪褔薪芯 锌褉芯锌懈褋邪薪褨 锌械褉褋芯薪邪卸褨, 褩褏 褋褌邪胁谢械薪薪褟 写芯 谢褞写械泄 褨 褉械褔械泄, 芯锌懈褋 褩褏 写褍屑芯泻 褨 锌芯褔褍褌褌褨胁. 袉 蟹邪谐邪谢芯屑 锌械褉褋芯薪邪卸褨 薪械 褕褌褍褔薪褨, 褌邪泻褨 褋锌褉邪胁卸写褨 蟹胁懈褔邪泄薪褨 谢褞写懈.
小锌芯写芯斜邪谢懈褋褜 芯锌懈褋懈 薪邪 芯写薪褍 褨 褌褍 褋邪屑褍 芯褋芯斜褍 胁褨写 褉褨蟹薪懈褏 锌械褉褋芯薪邪卸褨胁. 笑械 写邪褦 屑芯卸谢懈胁褨褋褌褜 锌芯斜邪褔懈褌懈 蟹 褉褨蟹薪懈褏 褋褌芯褉褨薪 谐械褉芯褩胁.
袟薪懈卸褍褞 褌褨谢褜泻懈. 蟹邪 褌械, 褖芯 胁 写械褟泻懈褏 谐谢邪胁邪褏 褋懈谢褜薪芯 褋褌褉懈斜邪谢懈 写褍屑泻懈 褨 屑褨褋褑褟 锌芯写褨泄, 褌褉芯褕泻懈 薪械写芯褉械褔薪芯, 褟泻 薪邪 屑械薪械. 笑械 蟹邪胁邪卸邪谢芯 屑械薪褨 褌褉懈屑邪褌懈 褑褨谢褨褋薪褨褋褌褜 泻邪褉褌懈薪泻懈 胁 谐芯谢芯胁褨 馃檶
袪芯蟹褍屑褨褞 褔芯屑褍 胁芯薪邪 锌懈褋邪谢邪 锌褨写 锌褋械胁写芯褉薪褨屑芯屑. 携 胁卸械 蟹薪邪褞褔懈, 褖芯 褑械 袗谐邪褌邪 褔懈褌邪谢邪 泻薪懈谐褍 胁 褩褩 蟹胁懈褔薪褨泄 写械褌械泻褌懈胁薪褨泄 屑邪薪械褉褨, 胁邪卸泻芯 斜褍谢芯 邪斜褋褌褉邪谐褍胁邪褌懈褋褜 胁褨写 袩褍邪褉芯 馃暤锔�
馃尭袦械薪褨 写褍卸械 锌芯写芯斜邪谢芯褋褜 褟泻 谐邪褉薪芯 褨 薪械芯写薪芯蟹薪邪褔薪芯 锌褉芯锌懈褋邪薪褨 锌械褉褋芯薪邪卸褨, 褩褏 褋褌邪胁谢械薪薪褟 写芯 谢褞写械泄 褨 褉械褔械泄, 芯锌懈褋 褩褏 写褍屑芯泻 褨 锌芯褔褍褌褌褨胁. 袉 蟹邪谐邪谢芯屑 锌械褉褋芯薪邪卸褨 薪械 褕褌褍褔薪褨, 褌邪泻褨 褋锌褉邪胁卸写褨 蟹胁懈褔邪泄薪褨 谢褞写懈.
小锌芯写芯斜邪谢懈褋褜 芯锌懈褋懈 薪邪 芯写薪褍 褨 褌褍 褋邪屑褍 芯褋芯斜褍 胁褨写 褉褨蟹薪懈褏 锌械褉褋芯薪邪卸褨胁. 笑械 写邪褦 屑芯卸谢懈胁褨褋褌褜 锌芯斜邪褔懈褌懈 蟹 褉褨蟹薪懈褏 褋褌芯褉褨薪 谐械褉芯褩胁.
袟薪懈卸褍褞 褌褨谢褜泻懈. 蟹邪 褌械, 褖芯 胁 写械褟泻懈褏 谐谢邪胁邪褏 褋懈谢褜薪芯 褋褌褉懈斜邪谢懈 写褍屑泻懈 褨 屑褨褋褑褟 锌芯写褨泄, 褌褉芯褕泻懈 薪械写芯褉械褔薪芯, 褟泻 薪邪 屑械薪械. 笑械 蟹邪胁邪卸邪谢芯 屑械薪褨 褌褉懈屑邪褌懈 褑褨谢褨褋薪褨褋褌褜 泻邪褉褌懈薪泻懈 胁 谐芯谢芯胁褨 馃檶
February 15, 2020
Iznena膽uju膰e 膷itljiva.
Iskreno da mi ovo nije doneto gre拧kom ( vidi Agata na trafici!) ne verujem da bih uzela ikada da 膷itam i拧ta od Agatinog ' romansa' 啪anra. Iako u osnovi 啪anrovska, ovo je daleko od onoga 膷ega sam se pla拧ila.
Jedna sasvim depresivna romansa i studija likova.
3.5 *
Iskreno da mi ovo nije doneto gre拧kom ( vidi Agata na trafici!) ne verujem da bih uzela ikada da 膷itam i拧ta od Agatinog ' romansa' 啪anra. Iako u osnovi 啪anrovska, ovo je daleko od onoga 膷ega sam se pla拧ila.
Jedna sasvim depresivna romansa i studija likova.
3.5 *
November 12, 2012
An amazing novel about human psychology.
November 13, 2024
Agatha Christie鈥檚 pseudonym, Mary Westmacott, is definitely worth a read, but prepare yourself for some psychological darkness, broken people, and fewer resolutions than you might expect. Sometimes I struggle to be on board with what she does under this pseudonym, but it鈥檚 completely and compulsively page-turning. Her writing as Mary Westmacott is even more addicting than as Agatha Christie.
August 2, 2022
Having never read any of Agatha Christie's books, written under her pseudonym of Mary Westmacott, I was interested to give this a try when it was suggested as a buddy read on one of my 欧宝娱乐 groups.
First published in 1948, and was the fourth of the six novels she wrote under this name. Christie's daughter suggested that these books were her most autobiographical and this was apparently a favourite of her and her mother. In many ways it reminded me of 'Endless Night,' published later, in 1957, but also a story that revolves around class.
The narrator of this story is Hugh Norrey, crippled in a road accident and living in the Cornish town of St Loo with his artist brother and sister in law. He meets Isabella Charteris, who lives in the castle and who is expected to marry her cousin, Rupert St Loo. From the outside, this seems a very comfortable, post-war world. However, an election is looming and the country is about to vote against Churchill. The Conservative candidate is John Gabriel, who is brash and of a lower social class.
Much of this story revolves around Hugh Norrey and John Gabriel. From his position as an invalid, Hugh witnesses Gabriel and instinctively both dislikes and is fascinated by him. He feels confused about Gabriel's attraction to the opposite sex and he is wary of Gabriel's ability to take chances. When he witnesses a child drowning, Gabriel leaps into the water, although he can't swim and later declares, 'If you can't have a gentleman, a hero is the next best thing!' This then is about class, a country re-creating itself after conflict, of falling for the wrong person and unrequited love. I am pleased I have finally read one of Christie's Westmacott novels.
First published in 1948, and was the fourth of the six novels she wrote under this name. Christie's daughter suggested that these books were her most autobiographical and this was apparently a favourite of her and her mother. In many ways it reminded me of 'Endless Night,' published later, in 1957, but also a story that revolves around class.
The narrator of this story is Hugh Norrey, crippled in a road accident and living in the Cornish town of St Loo with his artist brother and sister in law. He meets Isabella Charteris, who lives in the castle and who is expected to marry her cousin, Rupert St Loo. From the outside, this seems a very comfortable, post-war world. However, an election is looming and the country is about to vote against Churchill. The Conservative candidate is John Gabriel, who is brash and of a lower social class.
Much of this story revolves around Hugh Norrey and John Gabriel. From his position as an invalid, Hugh witnesses Gabriel and instinctively both dislikes and is fascinated by him. He feels confused about Gabriel's attraction to the opposite sex and he is wary of Gabriel's ability to take chances. When he witnesses a child drowning, Gabriel leaps into the water, although he can't swim and later declares, 'If you can't have a gentleman, a hero is the next best thing!' This then is about class, a country re-creating itself after conflict, of falling for the wrong person and unrequited love. I am pleased I have finally read one of Christie's Westmacott novels.
August 27, 2016
British politics, unhappy women, and dreaming of marrying your cousin. Yep, sounds like a great read. I have now read 3 of the 6 novels Agatha Christie wrote under the pseudonym Mary Westmacott. But unlike her mystery stories, I'm pretty sure I will never have a desire to re-read any of these. These are marketed as romance, but I find them too filled with depressing people with unredeeming qualities. Even the narrator here, Hugh Norreys, leaves something to be desired.
July 23, 2022
This 1948 novel, written by Christie under the name of Mary Westmacott, was overwhelmingly rich in vibrant characterizations and insight into the political system in England. Set in the few months of 1945 after the defeat of Germany but before the defeat of Japan, war weariness affects all the personalities involved in an election in the town of St. Loo in Cornwall. This town currently has less than 6,000 people, but it is not the first story Christie chose to set there.
The characterizations are vivid, entrancing and impressive. The stillness and almost fairy-like innocence of Isabella, the crass opportunism and self-promotion of Gabriel, the pragmatic hard-headedness of Teresa, the slow but steady recovery of spirit by Hugh, the asperity of Mrs. Carstairs, the brutalized timidity of Milly Burns: these seemed to be quite real people. Such characterizations are very different from the often two-dimensional figures featured in her crime novels. The reader feels they have re-entered the real world in reading one of the Westmacott books.
But Christie鈥檚 political insights are truly profound. I had to write down a few of them:
- 鈥榃hat are politics after all but adjacent booths at the world鈥檚 fair, each offering their own cheapjack specific to cure all ills? And the gullible public swallows the chatter.鈥�
- 鈥楬eaven help any country that has men in power with ideas! A man with an idea will grind down the common people, and starve children and break women, without even noticing what鈥檚 happening to them. He won鈥檛 even care.鈥� (Seems to apply quite well to the ideas of national socialism in Germany and communism in the USSR)
- 鈥楾he last thing you want in an election is a lot of people who think things out and really use their heads.鈥� (Spoken by a candidate for office)
- (from the Conservative candidate) What is the Tory Party anyway? Taken by and large it鈥檚 the most muddle-headed crowd of gentlemanly inefficients combined with unbusinesslike business men.鈥�
- (on the Labour Party) 鈥榶oung men with intellects and degrees and lots of money are Labour, mainly, I suppose, because they don鈥檛 know the first thing about really working with their hands and haven鈥檛 an idea about what a working man really wants.鈥�
- (on the Liberal party) 鈥楴obody ever does like Liberal ideas, really, by which I mean that nobody ever likes the middle course. It鈥檚 too damned tame.鈥�
Such pithy, cynical comments cannot be dismissed as jaded since they are brilliantly insightful.
The major crux of the plot involves two characters who could not be more opposite to one another: one a 鈥榗ommon little boy鈥� obsessed with getting the better of the world around himself by manipulating all those with whom he comes in contact, the other an ethereal fairy-like princess who is so divorced from the world that she can sit for hours, hands folded in her lap, back straight, enjoying the sunshine. Such venal crassness contrasted so strongly with such unworldly repose means neither of these characters seem quite real. We 鈥榥ormal鈥� people find ourselves somewhere between the two extremes as we are respectively either less in or more in the world. The manner in which these two extremes meet and develop a a relationship
Very, very well written. Highly recommended.
The characterizations are vivid, entrancing and impressive. The stillness and almost fairy-like innocence of Isabella, the crass opportunism and self-promotion of Gabriel, the pragmatic hard-headedness of Teresa, the slow but steady recovery of spirit by Hugh, the asperity of Mrs. Carstairs, the brutalized timidity of Milly Burns: these seemed to be quite real people. Such characterizations are very different from the often two-dimensional figures featured in her crime novels. The reader feels they have re-entered the real world in reading one of the Westmacott books.
But Christie鈥檚 political insights are truly profound. I had to write down a few of them:
- 鈥榃hat are politics after all but adjacent booths at the world鈥檚 fair, each offering their own cheapjack specific to cure all ills? And the gullible public swallows the chatter.鈥�
- 鈥楬eaven help any country that has men in power with ideas! A man with an idea will grind down the common people, and starve children and break women, without even noticing what鈥檚 happening to them. He won鈥檛 even care.鈥� (Seems to apply quite well to the ideas of national socialism in Germany and communism in the USSR)
- 鈥楾he last thing you want in an election is a lot of people who think things out and really use their heads.鈥� (Spoken by a candidate for office)
- (from the Conservative candidate) What is the Tory Party anyway? Taken by and large it鈥檚 the most muddle-headed crowd of gentlemanly inefficients combined with unbusinesslike business men.鈥�
- (on the Labour Party) 鈥榶oung men with intellects and degrees and lots of money are Labour, mainly, I suppose, because they don鈥檛 know the first thing about really working with their hands and haven鈥檛 an idea about what a working man really wants.鈥�
- (on the Liberal party) 鈥楴obody ever does like Liberal ideas, really, by which I mean that nobody ever likes the middle course. It鈥檚 too damned tame.鈥�
Such pithy, cynical comments cannot be dismissed as jaded since they are brilliantly insightful.
The major crux of the plot involves two characters who could not be more opposite to one another: one a 鈥榗ommon little boy鈥� obsessed with getting the better of the world around himself by manipulating all those with whom he comes in contact, the other an ethereal fairy-like princess who is so divorced from the world that she can sit for hours, hands folded in her lap, back straight, enjoying the sunshine. Such venal crassness contrasted so strongly with such unworldly repose means neither of these characters seem quite real. We 鈥榥ormal鈥� people find ourselves somewhere between the two extremes as we are respectively either less in or more in the world. The manner in which these two extremes meet and develop a a relationship
Very, very well written. Highly recommended.
August 21, 2014
The Rose and the Yew Tree is one of Christie鈥檚 pseudonymous novels, originally published under the pen name of Mary Westmacott. The novels which Christie wrote as Westmacott are usually referred to as romance novels, and while there鈥檚 a healthy dose of romance involved here, it鈥檚 more of a human interest novel than anything else.
Loosely speaking, the story follows the ruthless John Gabriel in his attempt to make it as a politician in a sleepy village, a man who would happily represent any political party so long as he could gain power. It鈥檚 an interesting look back at a time that is no more, and to the types of character that you no longer get to meet 鈥� it鈥檚 also surprisingly exciting, despite the subject matter.
I鈥檒l be honest, I wasn鈥檛 expecting great things 鈥� as usual, Agatha Christie surprised me. If you only read her because you鈥檙e in to crime novels then this isn鈥檛 for you, but if you鈥檙e a fan in general of literature from her era then you鈥檙e going to love this 鈥� it puts her on a par with Hemingway, Graham Greene and other great writers of her generation.
Loosely speaking, the story follows the ruthless John Gabriel in his attempt to make it as a politician in a sleepy village, a man who would happily represent any political party so long as he could gain power. It鈥檚 an interesting look back at a time that is no more, and to the types of character that you no longer get to meet 鈥� it鈥檚 also surprisingly exciting, despite the subject matter.
I鈥檒l be honest, I wasn鈥檛 expecting great things 鈥� as usual, Agatha Christie surprised me. If you only read her because you鈥檙e in to crime novels then this isn鈥檛 for you, but if you鈥檙e a fan in general of literature from her era then you鈥檙e going to love this 鈥� it puts her on a par with Hemingway, Graham Greene and other great writers of her generation.
August 4, 2018
According to Agatha Christie's daughter, Rosalind Hicks, "The Rose and the Yew Tree" was a favorite of Agatha Christie and also of her daughter. A beautiful woman, Isabella Charteris, has always envisioned that she will marry the man of her childhood dreams - her cousin - and Rupert, the handsome man is to marry the beautiful young girl - his cousin - that he met in childhood and always envisioned marrying when he returns "home" from the war. The story is the tell of all the circumstances leading up to the reveal if the handsome man returns "home" and the life the woman has come to live. Their story is told by Hugh Norreys, a neighbor, a man who has his own story to tell. There are many unexpected twists and turns and as always the reader becomes entranced by the writing.
Don't miss reading more about the novels by Christie's daughter, Rosalind Hicks...
I am looking forward to reading the next romance titled, "A Daughter's a Daughter."
Don't miss reading more about the novels by Christie's daughter, Rosalind Hicks...
I am looking forward to reading the next romance titled, "A Daughter's a Daughter."
September 6, 2019
Written by Agatha Christie under a pseudonym, this story is narrated by Hugh Norreys who knows all the participants in this unusual tale. When Hugh is summoned by John Gabriel now known by as Father Clement, Hugh is shocked by the revelation. John Gabriel was a scoundrel and social climber who was a hero in the war and was running for election when Hugh first met him. However, when John meets the lovely Isabella, whose family Hugh is staying with, everything changes for John. I really enjoyed this book, the characters, the story line and the surprise ending.
December 20, 2013
This is my first Mary Westmacott novel and I picked it up thinking it'd be a mystery novel with either the odball M.Poirot or the adorable Miss Marple (both of whom I love). Instead, it turned out to be a romance. But did it disappoint me? Not in the least.
I throughly enjoyed perceiving the world through the eyes of Hugh Norreys, who, after being rendered invalid, has all the time in the world to observe people. Though it gets quite depressing, I will read it again.
I throughly enjoyed perceiving the world through the eyes of Hugh Norreys, who, after being rendered invalid, has all the time in the world to observe people. Though it gets quite depressing, I will read it again.
September 22, 2023
Pentru #provocareaAgathaChristie din luna aceasta am ales o nou膬 carte scris膬 de Regina Crimei sub pseudonimul de Mary Westmacott 鉁嶏笍
"The Rose and the Yew Tree" exploreaz膬 conceptul de iubire, mai exact al efectelor iubirii 馃挃 Povestea este relatat膬 din perspectiva lui Hugh Norreys, ce 卯n vara anului 1945 se afl膬 卯n convalescen葲膬 la familia sa din sudul Angliei 馃彙 Imobilizat pe canapea din cauza unui accident nefericit ce 卯i curm膬 葯ansa la iubire, acesta devine prieten cu un candidat la alegerile parlamentare 馃 Printre politici 葯i b芒rfe, romanul se focalizeaz膬 pe promi葲膬torul candidat 葯i pe rela葲ia nea葯teptat膬 a acestuia cu o t芒n膬r膬 din localitate 馃А
Am lecturat cartea 卯n format audio, iar vocea naratorului a adus un mare plus de expresivitate 馃帶 Nu e favorita mea din cele scrise sub numele de Mary Westmacott, dar este o poveste ce oglinde葯te realitatea 葯i o mic膬 parte din imprevizibilul 葯i tumultul interior cu care fiecare dintre noi ne confrunt膬m la un moment dat 鉁�
"You can't feel pity for a person unless there's self pity there. A person has to feel sorry for themselves before you can feel sorry for them."
"The Rose and the Yew Tree" exploreaz膬 conceptul de iubire, mai exact al efectelor iubirii 馃挃 Povestea este relatat膬 din perspectiva lui Hugh Norreys, ce 卯n vara anului 1945 se afl膬 卯n convalescen葲膬 la familia sa din sudul Angliei 馃彙 Imobilizat pe canapea din cauza unui accident nefericit ce 卯i curm膬 葯ansa la iubire, acesta devine prieten cu un candidat la alegerile parlamentare 馃 Printre politici 葯i b芒rfe, romanul se focalizeaz膬 pe promi葲膬torul candidat 葯i pe rela葲ia nea葯teptat膬 a acestuia cu o t芒n膬r膬 din localitate 馃А
Am lecturat cartea 卯n format audio, iar vocea naratorului a adus un mare plus de expresivitate 馃帶 Nu e favorita mea din cele scrise sub numele de Mary Westmacott, dar este o poveste ce oglinde葯te realitatea 葯i o mic膬 parte din imprevizibilul 葯i tumultul interior cu care fiecare dintre noi ne confrunt膬m la un moment dat 鉁�
"You can't feel pity for a person unless there's self pity there. A person has to feel sorry for themselves before you can feel sorry for them."
September 16, 2015
"My canary died when I was about five. It was quite well the night before - and in the morning it was lying in the cage - with its feet sticking up stiff - life that bird just now. I took it in my hand," she shivered. "It was > cold . . ." She struggled with words. "It - it wasn't real anymore . . . it was just a thing . . . it didn't see . . . or hear . . . or feel . . . it - it wasn't there!"
A book that shared similarities with Absent in the Spring in that it examined the theme of how well we know ourselves but also how well do we really know others. Do we see what as they are - or as they fit into our schemas - and how we see ourselves.
A book that shared similarities with Absent in the Spring in that it examined the theme of how well we know ourselves but also how well do we really know others. Do we see what as they are - or as they fit into our schemas - and how we see ourselves.
January 13, 2019
I hope I shall not be mistaken if I call this, "Pages of nothingness". I seriously found not a single page interesting, or even a purpose behind each character's actions. Here you go: A male protagonist who broke his leg and lost his fianc茅 and is depressed at present. And he meets a girl, a princess who comes to his house everyday to sit with him and chat. He explains what gibberish they speak everyday in the same monotonous way. At last she marries a drunkard, who is not worthy to be called a human being and dies a foolish death and the protagonist sympathises.
That is all. I wish I hadn't read this gibberish and wasted days waiting for a twist which never arrived.
That is all. I wish I hadn't read this gibberish and wasted days waiting for a twist which never arrived.
August 7, 2010
Another non-mystery Christie. The relationships between men and women against the backdrop of small town post-war politics, seen through the eyes of Hugh, a man who has lost the use of his legs. Gabriel is a war hero and aspiring politician whose weakness is a crippling inferiority complex. The plot seems secondary to the characters. Some of them, Teresa, the wise sister-in-law and Isabella, the local "princess" are interesting.
January 31, 2018
Not your typical Agatha Christie. No mystery. No deduction. It's a love story actually. And not your run of the mill love story either, with all the yearning and pining. With very unique characters, the book offers great insight into the human nature.
July 20, 2019
An interesting book that explores the lives of 3 individuals and how life gets in the way of plans and love
Shelved as 'wishlist-f'
March 19, 2023***
I highly recommend . This I gave a whopping five stars! Also , which I gave four stars. She writes under her husband's name in the latter, i.e. .
Mary Westmacott novels
* 4 stars
* TBR
* TBR
* TBR
* TBR
* TBR
I highly recommend . This I gave a whopping five stars! Also , which I gave four stars. She writes under her husband's name in the latter, i.e. .
Mary Westmacott novels
* 4 stars
* TBR
* TBR
* TBR
* TBR
* TBR
July 11, 2021
Nije mi toliko dobro legla kao prethodni njeni romani. Neki delovi su mi bili dosadni, valjda jer me ne zanima politika. Ali je svakako zanimljivo videti kako izbori za 膷lanstvo u parlamentu uti膷e na jednog od kandidata, kao i na me拧tane, kako ta borba ne predstavlja borba samo kandidata, ve膰 su u nju ume拧ani i drugi "obi膷ni" ljudi koji 啪ele da pomognu da njihov kandidat pobedi.
Roman mi je nekako ostao nedore膷en i nemam taj ose膰aj da sam "prokljuvila" sve junake i razumela njihove postupke, 拧to je mo啪da bila i poenta romana - pokazati koliko su ljudi kompleksna (ili mo啪da pak poprili膷no jednostavna) bi膰a i kako ih nije uvek lako shvatiti (ako ih uop拧te sve pojedina膷no mo啪emo shvatiti).
Roman mi je nekako ostao nedore膷en i nemam taj ose膰aj da sam "prokljuvila" sve junake i razumela njihove postupke, 拧to je mo啪da bila i poenta romana - pokazati koliko su ljudi kompleksna (ili mo啪da pak poprili膷no jednostavna) bi膰a i kako ih nije uvek lako shvatiti (ako ih uop拧te sve pojedina膷no mo啪emo shvatiti).
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