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The Frederica Quartet #1
袛械胁邪 胁 褋邪写褍
芦袛械胁邪 胁 褋邪写褍禄 鈥� 褝褌芯 锌械褉胁褘泄 褉芯屑邪薪 芦袣胁邪褉褌械褌邪 肖褉械写械褉懈泻懈禄, 褋褔懈褌邪褞褖械谐芯褋褟, 锌芯卸邪谢褍泄, 谐谢邪胁薪褘屑 锌褉芯懈蟹胁械写械薪懈械屑 泻邪胁邪谢械褉褋褌胁械薪薪芯泄 写邪屑褘 袨褉写械薪邪 袘褉懈褌邪薪褋泻芯泄 懈屑锌械褉懈懈 袗薪褌芯薪懈懈 小褜褞蟹械薪 袘邪泄械褌褌. 孝械褌褉邪谢芯谐懈褟 锌懈褋邪谢邪褋褜 胁 褌械褔械薪懈械 褔械褌胁械褉褌懈 胁械泻邪, 懈 褋褞卸械褌 械械 褌邪泻卸械 懈屑械械褌 褔械褌胁械褉褌褜胁械泻芯胁芯泄 芯褏胁邪褌, 锌褉懈褔械屑 锌械褉胁褘械 写胁邪 褉芯屑邪薪邪 胁褘褕谢懈 械褖械 写芯 褍写芯褋褌芯械薪薪芯谐芯 袘褍泻械褉芯胁褋泻芯泄 锌褉械屑懈懈 屑械卸写褍薪邪褉芯写薪芯谐芯 斜械褋褌褋械谢谢械褉邪 芦袨斜谢邪写邪褌褜禄, 邪 褌褉械褌懈泄 懈 褔械褌胁械褉褌褘泄 鈥� 锌芯褋谢械.
袙 芦袛械胁械 胁 褋邪写褍禄 薪械锌褉械写褋泻邪蟹褍械屑芯 锌械褉械褋械泻邪褞褌褋褟 懈 褉械蟹芯薪懈褉褍褞褌 褋芯胁褉械屑械薪薪邪褟 泻芯屑械写懈褟 薪褉邪胁芯胁 懈 械谢懈蟹邪胁械褌懈薪褋泻邪褟 写褉邪屑邪, 邪 卸懈蟹薪褜 锌芯写褉邪卸邪械褌 懈褋泻褍褋褋褌胁褍. 袡芯褉泻褕懈褉褋泻芯械 褋械屑械泄褋褌胁芯 袩芯褌褌械褉 谐芯褌芯胁懈褌褋褟 胁屑械褋褌械 褋芯 胁褋械泄 懈屑锌械褉懈械泄 锌褉邪蟹写薪芯胁邪褌褜 泻芯褉芯薪邪褑懈褞 薪芯胁芯谐芯 屑芯薪邪褉褏邪 鈥� 袝谢懈蟹邪胁械褌褘 II. 袧芯 褍 屑芯谢芯写芯谐芯 锌芯泻芯谢械薪懈褟 鈥� 褋胁芯懈 蟹邪斜芯褌褘: 小褌械褎邪薪懈, 褍褋褌邪胁 芯褌 芯褌褑芯胁褋泻芯谐芯 邪胁褌芯褉懈褌邪褉懈蟹屑邪, 谐芯褌芯胁懈褌褋褟 胁褘泄褌懈 蟹邪屑褍卸 蟹邪 屑械褋褌薪芯谐芯 褋胁褟褖械薪薪懈泻邪; 屑邪褌械屑邪褌懈泻褍-胁褍薪写械褉泻懈薪写褍 袦邪褉泻褍褋褍 薪械 写邪褞褌 锌芯泻芯褟 褌褉械胁芯卸薪褘械 胁懈写械薪懈褟; 邪 写谢褟 肖褉械写械褉懈泻懈, 芯褌褔邪褟薪薪芯 卸邪卸写褍褖械泄 芯泻褍薪褍褌褜褋褟 胁 斜芯谢褜褕芯泄 屑懈褉, 斜懈谢械褌芯屑 薪邪 褋胁芯斜芯写褍 屑芯卸械褌 锌芯褋谢褍卸懈褌褜 褍胁谢械褔械薪懈械 屑芯谢芯写褘屑 写褉邪屑邪褌褍褉谐芯屑鈥�
芦鈥溞斝敌残� 胁 褋邪写褍鈥� 鈥� 褋芯胁褉械屑械薪薪褘泄 褝锌芯褋 褋褉芯写薪懈 懈褋泻褍褋薪芯 褋芯褌泻邪薪薪芯屑褍, 斜芯谐邪褌芯屑褍 泻芯胁褉褍. 袚械褉芯懈 袘邪泄械褌褌 蟹邪写邪褞褌 谐谢邪胁薪褘械 胁芯锌褉芯褋褘 褋胁芯械谐芯 胁褉械屑械薪懈. 袠褏 谐芯谢芯褋邪 蟹胁褍褔邪褌 懈褋泻褉械薪薪械, 锌芯褉芯泄 褋斜懈胁邪褟褋褜, 锌芯褉芯泄 写芯褋褌懈谐邪褟 褍写懈胁懈褌械谢褜薪芯泄 泻褉邪褋芯褌褘禄 (Entertainment Weekly).
袙 芦袛械胁械 胁 褋邪写褍禄 薪械锌褉械写褋泻邪蟹褍械屑芯 锌械褉械褋械泻邪褞褌褋褟 懈 褉械蟹芯薪懈褉褍褞褌 褋芯胁褉械屑械薪薪邪褟 泻芯屑械写懈褟 薪褉邪胁芯胁 懈 械谢懈蟹邪胁械褌懈薪褋泻邪褟 写褉邪屑邪, 邪 卸懈蟹薪褜 锌芯写褉邪卸邪械褌 懈褋泻褍褋褋褌胁褍. 袡芯褉泻褕懈褉褋泻芯械 褋械屑械泄褋褌胁芯 袩芯褌褌械褉 谐芯褌芯胁懈褌褋褟 胁屑械褋褌械 褋芯 胁褋械泄 懈屑锌械褉懈械泄 锌褉邪蟹写薪芯胁邪褌褜 泻芯褉芯薪邪褑懈褞 薪芯胁芯谐芯 屑芯薪邪褉褏邪 鈥� 袝谢懈蟹邪胁械褌褘 II. 袧芯 褍 屑芯谢芯写芯谐芯 锌芯泻芯谢械薪懈褟 鈥� 褋胁芯懈 蟹邪斜芯褌褘: 小褌械褎邪薪懈, 褍褋褌邪胁 芯褌 芯褌褑芯胁褋泻芯谐芯 邪胁褌芯褉懈褌邪褉懈蟹屑邪, 谐芯褌芯胁懈褌褋褟 胁褘泄褌懈 蟹邪屑褍卸 蟹邪 屑械褋褌薪芯谐芯 褋胁褟褖械薪薪懈泻邪; 屑邪褌械屑邪褌懈泻褍-胁褍薪写械褉泻懈薪写褍 袦邪褉泻褍褋褍 薪械 写邪褞褌 锌芯泻芯褟 褌褉械胁芯卸薪褘械 胁懈写械薪懈褟; 邪 写谢褟 肖褉械写械褉懈泻懈, 芯褌褔邪褟薪薪芯 卸邪卸写褍褖械泄 芯泻褍薪褍褌褜褋褟 胁 斜芯谢褜褕芯泄 屑懈褉, 斜懈谢械褌芯屑 薪邪 褋胁芯斜芯写褍 屑芯卸械褌 锌芯褋谢褍卸懈褌褜 褍胁谢械褔械薪懈械 屑芯谢芯写褘屑 写褉邪屑邪褌褍褉谐芯屑鈥�
芦鈥溞斝敌残� 胁 褋邪写褍鈥� 鈥� 褋芯胁褉械屑械薪薪褘泄 褝锌芯褋 褋褉芯写薪懈 懈褋泻褍褋薪芯 褋芯褌泻邪薪薪芯屑褍, 斜芯谐邪褌芯屑褍 泻芯胁褉褍. 袚械褉芯懈 袘邪泄械褌褌 蟹邪写邪褞褌 谐谢邪胁薪褘械 胁芯锌褉芯褋褘 褋胁芯械谐芯 胁褉械屑械薪懈. 袠褏 谐芯谢芯褋邪 蟹胁褍褔邪褌 懈褋泻褉械薪薪械, 锌芯褉芯泄 褋斜懈胁邪褟褋褜, 锌芯褉芯泄 写芯褋褌懈谐邪褟 褍写懈胁懈褌械谢褜薪芯泄 泻褉邪褋芯褌褘禄 (Entertainment Weekly).
608 pages, Hardcover
First published January 1, 1978
178 people are currently reading
5421 people want to read
About the author
A.S. Byatt
174听books2,734听followersA.S. Byatt (Antonia Susan Byatt) is internationally known for her novels and short stories. Her novels include the Booker Prize winner Possession, The Biographer鈥檚 Tale and the quartet, The Virgin in the Garden, Still Life, Babel Tower and A Whistling Woman, and her highly acclaimed collections of short stories include Sugar and Other Stories, The Matisse Stories, The Djinn in the Nightingale鈥檚 Eye, Elementals and her most recent book Little Black Book of Stories. A distinguished critic as well as a writer of fiction, A S Byatt was appointed CBE in 1990 and DBE in 1999.
BYATT, Dame Antonia (Susan), (Dame Antonia Duffy), DBE 1999 (CBE 1990); FRSL 1983; Chevalier de l鈥橭rdre des Arts et des Lettres (France), 2003 , writer; born 24 Aug. 1936;
Daughter of His Honour John Frederick Drabble, QC and late Kathleen Marie Bloor
Byatt has famously been engaged in a long-running feud with her novelist sister, Margaret Drabble, over the alleged appropriation of a family tea-set in one of her novels. The pair seldom see each other and each does not read the books of the other.
Married
1st, 1959, Ian Charles Rayner Byatt (Sir I. C. R. Byatt) marriage dissolved. 1969; one daughter (one son deceased)
2nd, 1969, Peter John Duffy; two daughters.
Education
Sheffield High School; The Mount School, York; Newnham College, Cambridge (BA Hons; Hon. Fellow 1999); Bryn Mawr College, Philadelphia, USA; Somerville College, Oxford.
Academic Honours:
Hon. Fellow, London Inst., 2000; Fellow UCL, 2004
Hon. DLitt: Bradford, 1987; DUniv York, 1991; Durham, 1991; Nottingham, 1992; Liverpool, 1993; Portsmouth, 1994; London, 1995; Sheffield, 2000; Kent 2004; Hon. LittD Cambridge, 1999
Prizes
The PEN/Macmillan Silver Pen Of Fiction prize, 1986 for STILL LIFE
The Booker Prize, 1990, for POSSESSION
Irish Times/Aer Lingus International Fiction Prize, 1990 for POSSESSION
The Eurasian section of Best Book in Commonwealth Prize, 1991 for POSSESSION
Premio Malaparte, Capri, 1995;
Mythopoeic Fantasy Award for Adult Literature, California, 1998 for THE DJINN IN THE NIGHTINGALE''S EYE
Shakespeare Prize, Toepfer Foundation, Hamburg, 2002;
Publications:
The Shadow of the Sun, 1964;
Degrees of Freedom, 1965 (reprinted as Degrees of Freedom: the early novels of Iris Murdoch, 1994);
The Game, 1967;
Wordsworth and Coleridge in their Time, 1970 (reprinted as Unruly Times: Wordsworth and Coleridge in their Time, 1989);
Iris Murdoch 1976
The Virgin in the Garden, 1978;
GEORGE ELIOT Selected Essays, Poems and Other Writings , 1979 (editor);
Still Life, 1985
Sugar and Other Stories, 1987;
George Eliot: selected essays, 1989 (editor)
Possession: a romance, 1990
Robert Browning''s Dramatic Monologues, 1990 (editor);
Passions of the Mind, (essays), 1991;
Angels and Insects (novellas),1992
The Matisse Stories (short stories),1993;
The Djinn in the Nightingale''s Eye: five fairy stories, 1994
Imagining Characters, 1995 (joint editor);
New Writing 4, 1995 (joint editor);
Babel Tower, 1996;
New Writing 6, 1997 (joint editor);
The Oxford Book of English Short Stories, 1998 (editor);
Elementals: Stories of fire and ice (short stories), 1998;
The Biographer''s Tale, 2000;
On Histories and Stories (essays), 2000;
Portraits in Fiction, 2001;
The Bird Hand Book, 2001 (Photographs by Victor Schrager Text By AS Byatt);
A Whistling Woman, 2002
Little
BYATT, Dame Antonia (Susan), (Dame Antonia Duffy), DBE 1999 (CBE 1990); FRSL 1983; Chevalier de l鈥橭rdre des Arts et des Lettres (France), 2003 , writer; born 24 Aug. 1936;
Daughter of His Honour John Frederick Drabble, QC and late Kathleen Marie Bloor
Byatt has famously been engaged in a long-running feud with her novelist sister, Margaret Drabble, over the alleged appropriation of a family tea-set in one of her novels. The pair seldom see each other and each does not read the books of the other.
Married
1st, 1959, Ian Charles Rayner Byatt (Sir I. C. R. Byatt) marriage dissolved. 1969; one daughter (one son deceased)
2nd, 1969, Peter John Duffy; two daughters.
Education
Sheffield High School; The Mount School, York; Newnham College, Cambridge (BA Hons; Hon. Fellow 1999); Bryn Mawr College, Philadelphia, USA; Somerville College, Oxford.
Academic Honours:
Hon. Fellow, London Inst., 2000; Fellow UCL, 2004
Hon. DLitt: Bradford, 1987; DUniv York, 1991; Durham, 1991; Nottingham, 1992; Liverpool, 1993; Portsmouth, 1994; London, 1995; Sheffield, 2000; Kent 2004; Hon. LittD Cambridge, 1999
Prizes
The PEN/Macmillan Silver Pen Of Fiction prize, 1986 for STILL LIFE
The Booker Prize, 1990, for POSSESSION
Irish Times/Aer Lingus International Fiction Prize, 1990 for POSSESSION
The Eurasian section of Best Book in Commonwealth Prize, 1991 for POSSESSION
Premio Malaparte, Capri, 1995;
Mythopoeic Fantasy Award for Adult Literature, California, 1998 for THE DJINN IN THE NIGHTINGALE''S EYE
Shakespeare Prize, Toepfer Foundation, Hamburg, 2002;
Publications:
The Shadow of the Sun, 1964;
Degrees of Freedom, 1965 (reprinted as Degrees of Freedom: the early novels of Iris Murdoch, 1994);
The Game, 1967;
Wordsworth and Coleridge in their Time, 1970 (reprinted as Unruly Times: Wordsworth and Coleridge in their Time, 1989);
Iris Murdoch 1976
The Virgin in the Garden, 1978;
GEORGE ELIOT Selected Essays, Poems and Other Writings , 1979 (editor);
Still Life, 1985
Sugar and Other Stories, 1987;
George Eliot: selected essays, 1989 (editor)
Possession: a romance, 1990
Robert Browning''s Dramatic Monologues, 1990 (editor);
Passions of the Mind, (essays), 1991;
Angels and Insects (novellas),1992
The Matisse Stories (short stories),1993;
The Djinn in the Nightingale''s Eye: five fairy stories, 1994
Imagining Characters, 1995 (joint editor);
New Writing 4, 1995 (joint editor);
Babel Tower, 1996;
New Writing 6, 1997 (joint editor);
The Oxford Book of English Short Stories, 1998 (editor);
Elementals: Stories of fire and ice (short stories), 1998;
The Biographer''s Tale, 2000;
On Histories and Stories (essays), 2000;
Portraits in Fiction, 2001;
The Bird Hand Book, 2001 (Photographs by Victor Schrager Text By AS Byatt);
A Whistling Woman, 2002
Little
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April 25, 2009
If the test of a great novel is that you want to read it again, or pick up the next one (this is the first of a quartet) then this is a good novel. If Still Life鈥攖he next title in the quartet鈥攈ad been right here on the shelf I'd have started it right after I reread the Prologue.
The present time of the novel is 1953, the year of the Coronation of Queen Elizabeth II and, in the world of the novel, of a verse drama about the first Queen Elizabeth enacted on the grounds of an old and elegant estate in Yorkshire. The story is that of a Yorkshire family: father Bill Potter who鈥檚 reputed to be a magnetic teacher at Blesford Ride, a public school, but we see him primarily as a dogmatic liberal who terrorizes his family while promoting his ideas on education (he鈥檚 for it) and religion (he鈥檚 against it). Winifred, his wife, caters and defers, of necessity becoming exactly the kind of woman he deplores and whose life her daughters (Stephanie and Frederica) seek to escape. Marcus, the youngest and his mother鈥檚 favorite, is inner-directed, even spiritual, awkward with just about everyone, observant of phenomena of his world--and becomes prey for a disturbed science teacher.
The novel, which in general is slow moving and highly allusive has a surprisingly dramatic closing sequence for a writer who says she didn鈥檛 think she could tell stories. I had to laugh, though, at the very end: the scene is between Daniel, the fat, unkempt priest who marries the elder Potter daughter against the wishes of her parents, and Frederica in the small flat where the pregnant Stephanie is comforting the very disturbed Marcus.
Here's the last paragraph: "Waiting and patience, of this inactive kind, did not come easily to him. Or to Frederica, he decided, without much sympathy for her. He gave her a cup of tea and the two of them sat together in uncommunicative silence, considering the still and passive pair on the sofa. That was not the end, but since it went on for a considerable time, is as good a place to stop as any."
I loved that ending and asked myself why:
1. It caused me to consider the title of the second book in the quartet, Still Life. Stephanie and Marcus were "still" in their way but that was not true of Frederica and Daniel about whom "stillness" is almost the last word that would occur in any description of their characters.
2. It sent me immediately back to reread the prologue where I rediscovered that Daniel was one of the guests at the celebration in the Portrait Gallery in 1968---long after the New Elizabethan Age furor is over. Alexander Wedderburn, who wrote the 1953 verse play as a budding writer teaching at Blesford Ride, is also there, signaling perhaps that these two, and Frederica who invited them are of most interest in the novel.
3. The implication that there's more to the history of these characters made me want to continue immediately with the next book. And that reminds me that I absolutely loved the way Byatt handled time in the novel, the constant references to what different characters would do or think in the future, often with a date attached, usually in the 1970s. So you know the story goes on beyond the 1968 prologue. That's not an end to the story. AND that Byatt must have had the sequence fairly well planned out.
4. It reminded me that I liked the third person omniscient narrator which since Henry James has been used less frequently in serious fiction. I think Byatt uses it brilliantly and this ending paragraph is an example. SHE knows what happens to them all and will tell you if you're patient. The ostensible third person narrative showcases the author鈥檚 extraordinary insight into so many different characters. Before the novel is over, we know all the Potters well, and even have some insights into the extraordinarily bad father. And 4 or 5 additional characters as well.
There is a narrator, though, in this novel and one who gradually makes us realize that Frederica is the main character. Some readers see Frederica as the narrator, and that is possible if one assumes a Frederica observing at some point in the future and if one assumes, as I do, that Frederica is capable of considerable detachment. But I prefer to think it's Byatt's re-incarnation of the 19th century 3rd person omniscient narrator who, as the novel goes on, focuses on the awkward, studious 17-year old ready to catapult herself into "real life". In addition, it's this narrator--definitely female--who provides the considerable humor in the novel.
My argument that the narrative is essentially (if not strictly) third person centers around the intimate (and convincing) inside view of so many different characters. What makes this a strong novel it seems to me is that Frederica is NOT Byatt thinly disguised, even though the family does seem quite similar (but then it also seems similar to the Br枚ntes, a point of view some in the novel espouse). In the "real" family she was the eldest and she even says that killing off Stephanie (which happens in another novel) seems, in retrospect, killing off herself. But she also says that she was shy and uncommunicative as a child, with interests in science鈥攁nd that Marcus is in many ways a portrait of herself.
The present time of the novel is 1953, the year of the Coronation of Queen Elizabeth II and, in the world of the novel, of a verse drama about the first Queen Elizabeth enacted on the grounds of an old and elegant estate in Yorkshire. The story is that of a Yorkshire family: father Bill Potter who鈥檚 reputed to be a magnetic teacher at Blesford Ride, a public school, but we see him primarily as a dogmatic liberal who terrorizes his family while promoting his ideas on education (he鈥檚 for it) and religion (he鈥檚 against it). Winifred, his wife, caters and defers, of necessity becoming exactly the kind of woman he deplores and whose life her daughters (Stephanie and Frederica) seek to escape. Marcus, the youngest and his mother鈥檚 favorite, is inner-directed, even spiritual, awkward with just about everyone, observant of phenomena of his world--and becomes prey for a disturbed science teacher.
The novel, which in general is slow moving and highly allusive has a surprisingly dramatic closing sequence for a writer who says she didn鈥檛 think she could tell stories. I had to laugh, though, at the very end: the scene is between Daniel, the fat, unkempt priest who marries the elder Potter daughter against the wishes of her parents, and Frederica in the small flat where the pregnant Stephanie is comforting the very disturbed Marcus.
Here's the last paragraph: "Waiting and patience, of this inactive kind, did not come easily to him. Or to Frederica, he decided, without much sympathy for her. He gave her a cup of tea and the two of them sat together in uncommunicative silence, considering the still and passive pair on the sofa. That was not the end, but since it went on for a considerable time, is as good a place to stop as any."
I loved that ending and asked myself why:
1. It caused me to consider the title of the second book in the quartet, Still Life. Stephanie and Marcus were "still" in their way but that was not true of Frederica and Daniel about whom "stillness" is almost the last word that would occur in any description of their characters.
2. It sent me immediately back to reread the prologue where I rediscovered that Daniel was one of the guests at the celebration in the Portrait Gallery in 1968---long after the New Elizabethan Age furor is over. Alexander Wedderburn, who wrote the 1953 verse play as a budding writer teaching at Blesford Ride, is also there, signaling perhaps that these two, and Frederica who invited them are of most interest in the novel.
3. The implication that there's more to the history of these characters made me want to continue immediately with the next book. And that reminds me that I absolutely loved the way Byatt handled time in the novel, the constant references to what different characters would do or think in the future, often with a date attached, usually in the 1970s. So you know the story goes on beyond the 1968 prologue. That's not an end to the story. AND that Byatt must have had the sequence fairly well planned out.
4. It reminded me that I liked the third person omniscient narrator which since Henry James has been used less frequently in serious fiction. I think Byatt uses it brilliantly and this ending paragraph is an example. SHE knows what happens to them all and will tell you if you're patient. The ostensible third person narrative showcases the author鈥檚 extraordinary insight into so many different characters. Before the novel is over, we know all the Potters well, and even have some insights into the extraordinarily bad father. And 4 or 5 additional characters as well.
There is a narrator, though, in this novel and one who gradually makes us realize that Frederica is the main character. Some readers see Frederica as the narrator, and that is possible if one assumes a Frederica observing at some point in the future and if one assumes, as I do, that Frederica is capable of considerable detachment. But I prefer to think it's Byatt's re-incarnation of the 19th century 3rd person omniscient narrator who, as the novel goes on, focuses on the awkward, studious 17-year old ready to catapult herself into "real life". In addition, it's this narrator--definitely female--who provides the considerable humor in the novel.
My argument that the narrative is essentially (if not strictly) third person centers around the intimate (and convincing) inside view of so many different characters. What makes this a strong novel it seems to me is that Frederica is NOT Byatt thinly disguised, even though the family does seem quite similar (but then it also seems similar to the Br枚ntes, a point of view some in the novel espouse). In the "real" family she was the eldest and she even says that killing off Stephanie (which happens in another novel) seems, in retrospect, killing off herself. But she also says that she was shy and uncommunicative as a child, with interests in science鈥攁nd that Marcus is in many ways a portrait of herself.
April 25, 2022
The Virgin in the Garden is the first in the first book in The Frederica Quartet by A.S. Byatt was a stunning piece of literary fiction. Taking place in 1953 and England is preparing for the coronation of Elizabeth II. Set in academia, the book revolves around a play that is to be presented about the life of the first Queen Elizabeth. This is a book rich in characters and dialogue and behind-the-scenes dramatizations of what it takes to put on such a performance.
The book tells the story of the Potter family and of the people that surround them. Bill Potter is head of the department at a private boy's school. He is domineering and temperamental, frequently exploding in rages terrifying his family. His wife Winifred attempts to smooth out the tirades that Bill Potter is prone to with her three children, but it is clear that living with such a demanding man has taken its toll. The eldest daughter Stephanie is a teacher, Frederica is in her final year of school and their brother Marcus attends his father's school. While Stephanie and Frederica share their father's literary interests, Marcus is a mathematical genius. The drama of the Potter family unfolds in the midst of this setting.
The writing throughout the book was rich with literary references and sparkling dialogue.
The book tells the story of the Potter family and of the people that surround them. Bill Potter is head of the department at a private boy's school. He is domineering and temperamental, frequently exploding in rages terrifying his family. His wife Winifred attempts to smooth out the tirades that Bill Potter is prone to with her three children, but it is clear that living with such a demanding man has taken its toll. The eldest daughter Stephanie is a teacher, Frederica is in her final year of school and their brother Marcus attends his father's school. While Stephanie and Frederica share their father's literary interests, Marcus is a mathematical genius. The drama of the Potter family unfolds in the midst of this setting.
The writing throughout the book was rich with literary references and sparkling dialogue.
"So he watched from his window as she tiptoed across the moonlit lawn, head bent under her beret, looking up once at his dark bulk in his darkened window. He lifted his arm in a generous salute, a victorious general. His body was pleasantly warm. His imagination was pleasantly at ease. He did not, he hoped, underestimate the difficulties of the next advance. But he had come so far, so far, with daring and love, it was impossible to imagine he would not go further."
May 3, 2018
Il brulicare dei significati
[dopo la seconda lettura, febbraio 2018]
Chi non apprezza particolarmente Antonia Byatt trova i suoi libri 鈥� e questo in modo particolare 鈥� prolissi o pesanti o troppo eruditi. Io invece li apprezzo molto e potrei al massimo dire che sono libri densi. Densi perch茅 stipati, pieni di oggetti, di descrizioni, di pensieri, di personaggi, di citazioni, dichiarate o meno. E questi libri densi, solitamente, io me li godo proprio, pagina dopo pagina.
Le varie forme dell鈥檃rte, la letteratura, il teatro, le ossessioni per le spiegazioni onnicomprensive dell鈥檜niverso e della societ脿, l鈥檌ncontro-scontro-incrocio tra religione e scienza (qui qualcosa rimanda anche a Angeli e insetti, oltre che ai successivi capitoli del 鈥渜uartetto鈥�); e come tutto questo si unisce ai rapporti interpersonali, alla scoperta-costruzione di s茅, al sesso, alla famiglia: tutti i temi principali di Byatt mi interessano e ammiro la sua capacit脿 di calarli in luoghi e tempi molto precisi.
E poi mi interessano tutti i suoi personaggi; mi piace la grande attenzione ai particolari, ai vestiti, ai movimenti dei corpi, alle parole, che rivelano identit脿 sociali e psicologiche. E mi piace come questi libri densi, che stimolano il desiderio di soffermarsi sul particolare, di approfondire, di uscire dal testo per trovare altri riferimenti, immagini, vicende storiche, allo stesso tempo riescano ad essere intessuti di vicende che trascinano con forza avanti (qui l鈥檈nergia di Daniel, il desiderio di scoprire la vita e di scintillare di Frederica: 鈥淰oglio, voglio, voglio鈥︹€�).
脠 il primo momento del 鈥渜uartetto di Frederica Potter鈥�, ma in questo primo romanzo Frederica 猫 solo uno dei personaggi principali, non annulla certo gli altri.
Per concludere, due citazioni, che nel testo sono legate a situazioni ben precise, ma che 鈥� estrapolate 鈥� possono diventare epigrafi del tutto:
芦una sorta di dickensiana nostalgia per i dettagli di una vita svanita禄.
芦Tutto brulicava di possibili significati禄.
[dopo la seconda lettura, febbraio 2018]
Chi non apprezza particolarmente Antonia Byatt trova i suoi libri 鈥� e questo in modo particolare 鈥� prolissi o pesanti o troppo eruditi. Io invece li apprezzo molto e potrei al massimo dire che sono libri densi. Densi perch茅 stipati, pieni di oggetti, di descrizioni, di pensieri, di personaggi, di citazioni, dichiarate o meno. E questi libri densi, solitamente, io me li godo proprio, pagina dopo pagina.
Le varie forme dell鈥檃rte, la letteratura, il teatro, le ossessioni per le spiegazioni onnicomprensive dell鈥檜niverso e della societ脿, l鈥檌ncontro-scontro-incrocio tra religione e scienza (qui qualcosa rimanda anche a Angeli e insetti, oltre che ai successivi capitoli del 鈥渜uartetto鈥�); e come tutto questo si unisce ai rapporti interpersonali, alla scoperta-costruzione di s茅, al sesso, alla famiglia: tutti i temi principali di Byatt mi interessano e ammiro la sua capacit脿 di calarli in luoghi e tempi molto precisi.
E poi mi interessano tutti i suoi personaggi; mi piace la grande attenzione ai particolari, ai vestiti, ai movimenti dei corpi, alle parole, che rivelano identit脿 sociali e psicologiche. E mi piace come questi libri densi, che stimolano il desiderio di soffermarsi sul particolare, di approfondire, di uscire dal testo per trovare altri riferimenti, immagini, vicende storiche, allo stesso tempo riescano ad essere intessuti di vicende che trascinano con forza avanti (qui l鈥檈nergia di Daniel, il desiderio di scoprire la vita e di scintillare di Frederica: 鈥淰oglio, voglio, voglio鈥︹€�).
脠 il primo momento del 鈥渜uartetto di Frederica Potter鈥�, ma in questo primo romanzo Frederica 猫 solo uno dei personaggi principali, non annulla certo gli altri.
Per concludere, due citazioni, che nel testo sono legate a situazioni ben precise, ma che 鈥� estrapolate 鈥� possono diventare epigrafi del tutto:
芦una sorta di dickensiana nostalgia per i dettagli di una vita svanita禄.
芦Tutto brulicava di possibili significati禄.
December 19, 2018
This probably is the best book I will have read this year. This also is my first Byatt, and I love it.
This book is dense - so dense I picked up a few other books as I was reading it, just to convince myself I did not become a slow reader overnight. Byatt manages her subplots and first-person narratives exceedingly well; the only subplot that seems to belong elsewhere is nicely incorporated towards the end.
But the BIGGEST THING about it is how psychologically true it feels (the psycho-plot aside, I'm not qualified to assess that). In the book that is strikingly intertextual and metatextual to the point of artificiality (in the best way possible, I had many a guilty giggle on that account), Byatt places her characters in situations we ache to see changed, and then - when no violent incident occurs, no decision is taken, and what was to happen, happens - we are compelled to say this feels right and real.
On my way to locate the rest of "The Frederica Quartet".
Click here for my review of the second installment of The Frederica Quartet series - : /review/show... and the third - /review/show...
This book is dense - so dense I picked up a few other books as I was reading it, just to convince myself I did not become a slow reader overnight. Byatt manages her subplots and first-person narratives exceedingly well; the only subplot that seems to belong elsewhere is nicely incorporated towards the end.
But the BIGGEST THING about it is how psychologically true it feels (the psycho-plot aside, I'm not qualified to assess that). In the book that is strikingly intertextual and metatextual to the point of artificiality (in the best way possible, I had many a guilty giggle on that account), Byatt places her characters in situations we ache to see changed, and then - when no violent incident occurs, no decision is taken, and what was to happen, happens - we are compelled to say this feels right and real.
On my way to locate the rest of "The Frederica Quartet".
Click here for my review of the second installment of The Frederica Quartet series - : /review/show... and the third - /review/show...
July 24, 2016
I read this one in Chicago and was rather impressed with the juggling of perspectives and the sweeping use of the Jubilee and Elizabeth I throughout. Dovetailing erudion and emotional awkwardness made this a definite success.
June 10, 2016
In 1950s Yorkshire, Frederica Potter, still living at home, senses that something exciting is beginning. Stars Hannah Watkins.A wealthy theatre director is producing a play and Frederica Potter is desperate to secure a role.Stephanie is increasingly worried about her brother, Marcus, and the influence a teacher is having on him. Stephanie and Daniel declare their feelings for each other but her father reacts badly to the news. In coronation year, Bill Potter has trouble accepting his daughter's desire to marry curate Daniel.Stephanie and Daniel settle into married life, while sister Frederica continues with her acting. Marcus and Simmonds' experiments begin to take on a more sinister nature. As their experiments continue, Marcus becomes worried over the deterioration of Simmonds' state of mind. 
Pompous and asphyxiating, the middle classes, and doubly so those writers who replicate so meticulously, although I did sit closer for Marcus's 'alchemy' experiments with Simmonds. I am committed to the tetralogy via R4x, please hope that not all the Spode will be smashed against the Aga in the process, heh
4* Possession
OH The Children's Book
3* The Virgin in the Garden
CR Still Life
4* The Matisse Stories
TR Ragnarok
May 7, 2021
The play's the thing...If Proust, George Eliot, and D. H. Lawrence met in a bar and struck up a conversation about art, love, nature, desire, religion, and literature, you would have something like A. S. Byatt鈥檚 work. As I said last summer in my review of The Children鈥檚 Book, I鈥檓 ashamed it鈥檚 taken me so long to get to her work after a hazy memory of a bad experience with Possession in grad school. 鈥ㄢ€�
And after something like a month with The Virgin in the Garden, I鈥檓 ready to commit much of my upcoming summer to the rest of Byatt鈥檚 Frederica quartet. This book was such a pleasure to get lost in: filled with references to visual art, classical mythology, the 1953 coronation of Elizabeth II, and the Golden Age of the first Elizabeth while a verse play about her reign is being staged on the heels of the accession. Astute readers may know some references, but hardly all: Byatt鈥檚 work鈥攁nd I鈥檓 going off The Children鈥檚 Book here only, as it鈥檚 more freshly imprinted on my mind鈥攚ill have everyone Googling at least something.鈥ㄢ€� For me, that was part of the fun of it鈥攁nd also why it took so long to get through.
Which leads me to a gripe: the main criticism of this book, from what I鈥檝e read, and perhaps of Byatt鈥檚 work in general, is that it鈥檚 too showy, it鈥檚 too snobbish, it revels too much in its own intellectual curiosities. But so what? These aren鈥檛 books aimed to be bestsellers; these are for those who read to learn, those who want to delve deeply into history, art, music, literature, and how these impact and influence our daily lives. If those don鈥檛 have any impact on or relevance to your daily life, then Byatt isn鈥檛 writing for you. It鈥檚 not her, it鈥檚 you.
鈥ㄢ€↖ really enjoyed how all of the characters were fleshed out here, from major to minor; not only can Byatt make your head spin with her impressive knowledge, but she knows how to tell a story and she knows how to make her characters come alive, feel as real as people you know, and compel you to want more. From the playwright/teacher Alexander who stands in the midst of all of the pageantry and quite a great deal of sexual rivalry, to the sensitive, withdrawn, 鈥渧isionary鈥� Marcus, whose genius for geometry is tempered by a strange foray into metaphysical realms with a tutor who claims to have the wisdom to decipher things; from Stephanie, who rebels against her secular, tyrannical father while at Cambridge only to conform鈥攐n almost all levels鈥攐nce she鈥檚 back in the fold, to Frederica, the emblem of the new age, and about whose journeys I look forward to reading in the remaining three books.
These are all flesh-and-blood characters, and Byatt shifts from one to another in sometimes expected and sometimes prescient ways: even when the book flags a bit, it still soars. It鈥檚 a true performance, in every sense of the word.鈥ㄢ€�
Onward to Still Life.
February 16, 2012
Let me get this out of the way: A.S. Byatt is a great writer. Her prose sparkles with learned intelligence, and her characters are sketched so well they feel like living, breathing people. She is unafraid to mix in literary allusions or linger for extended periods of time over one subject or another. Normally, these are qualities I admire in a novelist, and in a different book (this being my first Byatt), I can easily imagine these qualities working brilliantly in her favor.
However, file this one under "not my cup of tea." The story sits there, inert, and when it does move it does so slowly. Most of her characters are thoroughly unlikeable, and, what's worst, largely uninteresting. There is a subplot involving a mad teacher and his poor student as they conduct metaphysical experiments which left me unsettled and strongly tempted to skip ahead.
The whole thing feels like walking into an amusement park that's closed for the winter. You look at the rides shuttered away and the boarded-up teacups and think, "Boy, this would be lovely. If only I could be allowed to get on." This will not be my last by Ms. Byatt, but count me disappointed for now.
However, file this one under "not my cup of tea." The story sits there, inert, and when it does move it does so slowly. Most of her characters are thoroughly unlikeable, and, what's worst, largely uninteresting. There is a subplot involving a mad teacher and his poor student as they conduct metaphysical experiments which left me unsettled and strongly tempted to skip ahead.
The whole thing feels like walking into an amusement park that's closed for the winter. You look at the rides shuttered away and the boarded-up teacups and think, "Boy, this would be lovely. If only I could be allowed to get on." This will not be my last by Ms. Byatt, but count me disappointed for now.
August 8, 2013
I read this, some time in the mid-1990s, plowed my way through it, wishing it were Possession or Angels and Insects, which it wasn't. The remaining pages got thinner and thinner, and I grew concerned about how things would possibly resolve.
I read the final line, and threw the book across the room.
In the mid-aughts, I read this, grumbling aloud the whole way through by how familiar it all seemed, how angry it made me, thought I couldn't remember why.
I read the final line.
I threw the book across the room.
I crossed the room, picked it up, and threw it again.
I hereby promise to read other Byatt books in the future and not this one.
Recommended for killing bugs on the wall.
I read the final line, and threw the book across the room.
In the mid-aughts, I read this, grumbling aloud the whole way through by how familiar it all seemed, how angry it made me, thought I couldn't remember why.
I read the final line.
I threw the book across the room.
I crossed the room, picked it up, and threw it again.
I hereby promise to read other Byatt books in the future and not this one.
Recommended for killing bugs on the wall.
abandoned
January 20, 2019I am not rating this novel since I am abandoning it at page 64. Nothing in me could face any more of this...and, unfortunately I have the other three in this series on my shelf, so it amounts to ditching four books. Still, life is short and this could not be less engaging to me.
I LOVED so much that I could not envision not liking something she had written. Sadly, this backfired on me this time.
Not putting the read dates in either, since I do not want it to count toward my yearly total.
I LOVED so much that I could not envision not liking something she had written. Sadly, this backfired on me this time.
Not putting the read dates in either, since I do not want it to count toward my yearly total.
October 31, 2024
This is an interesting novel with multiple stories overlapping, Byatt juggles with different ideas, all while at the center is the Elizabethan play Astraea about Elizabeth I, which coincides with Elizabeth II鈥檚 ascension to the throne. Also at its center are the Potters: an archetypical British family from the period: domineering father, servile mother, smart children with their own set of issues that threaten the image of normality. Better described by this paragraph from the book:
There are so many things that this book sets out to do, and accomplishes as well, that a review is bound to miss elements and one (one being me) feels that there are elements that they miss even while reading even which doesn鈥檛 dull the exhilarating part of reading this book. At the base of it, this is a book about knowledge: how it is acquired, how it is retained, how it is used, how it is misused, how it is lost.
This is the first Byatt book I鈥檝e read, there鈥檚 still and the rest of the books that form the series that this book opens, and I鈥檝e been assured that Byatt gets better from here which makes me very excited as I'm certain to read more of her work after this one.
鈥淭hey lived by a myth of normality, an image of closed family safeties and certainties. But there were rips and interstices through which the cold blasts howled, had always howled and would howl. That had its exhilarating aspect. Howls, grimaces, naked unreason were not, as the Potter ethic and aesthetic said, temporary aberrations. They were the stuff of things. If you knew they were there you could act, truly.鈥�
There are so many things that this book sets out to do, and accomplishes as well, that a review is bound to miss elements and one (one being me) feels that there are elements that they miss even while reading even which doesn鈥檛 dull the exhilarating part of reading this book. At the base of it, this is a book about knowledge: how it is acquired, how it is retained, how it is used, how it is misused, how it is lost.
鈥淜nowledge was power, as long as one did not muck it up by confusing one piece of knowledge with another and trying to ingest it and turn it all into blood and feelings.鈥�
This is the first Byatt book I鈥檝e read, there鈥檚 still and the rest of the books that form the series that this book opens, and I鈥檝e been assured that Byatt gets better from here which makes me very excited as I'm certain to read more of her work after this one.
July 20, 2009
I just re-read this first novel in the Frederica Potter series, and found it even deeper and more impressive than my first reading. It's hard to sum up, but essentially focuses on Frederica at 17, in 1954, the brash, book-loving daughter of a teacher-father with a domineering personality and very firm, progressive ideas. Cast as the young Elizabeth I in an epic drama staged to celebrate Elizabeth II's coronation, Frederica aims to set the world on fire and seduce the playwright, not necessarily in that order. Also followed closely are Frederica's older sister, Stephanie, a calmer, yet equally brilliant woman, who finds herself falling violently in love with Daniel Orton, a clergyman, to her father's utter chagrin. Also, their younger brother, Marcus, mathematically brilliant and socially inhibited, begins to explore the connections between his personal mind-games and "universal" religion, guided by a schoolmaster.
Byatt's work is multilayered and rich, and notable for her amazing ability to mimic poetry and prose styles as she creates books within books. This book is especially interesting to me in that it avoids stereotypes of what the 1950s were like, in choosing to examine this anti-conformist family, and people who aspire to an intellectual, sexually progressive, and artistic life.
Byatt's work is multilayered and rich, and notable for her amazing ability to mimic poetry and prose styles as she creates books within books. This book is especially interesting to me in that it avoids stereotypes of what the 1950s were like, in choosing to examine this anti-conformist family, and people who aspire to an intellectual, sexually progressive, and artistic life.
September 23, 2019
Confermo il giudizio di qualche anno fa: tre stelle erano e tre stelle restano.
Antonia Byatt 猫 brava, mica no, ha vaste e profonde conoscenze, il mondo accademico di Blesford Ride e gli echi di Cambridge, cos矛 come, pi霉 in generale, il teatro, l鈥檃rte e la poesia sembrano il pane suo, ma in questo romanzo del 鈥�78 non mi sembra che si destreggi con la dovuta disinvoltura nella corposa materia con cui ha arricchito la narrazione.
Le parti che mi annoiarono allora mi hanno annoiato oggi, anzi alla noia originaria si 猫 aggiunta nuova noia e quindi, a voler essere scientifici, la noia 猫 raddoppiata.
La scrittura 猫 molto ricca e iperdescrittiva, troppo; gli ambienti, gli arredi, gli oggetti, i quadri e le opere d'arte, le assurde visioni di Marcus, perfino le carni della macelleria (2 pagine disgustose, da leggere a stomaco vuoto o con un alka-seltzer che frizza nel bicchiere); un eccesso che appesantisce il romanzo e che fa lo stesso effetto di quando metti piede nel salotto buono di un'anziana zia, cos矛 zeppo di soprammobili, ninnoli, cornici, tende, tappeti, che all鈥檜scita devi sbottonarti il colletto della camicia per riguadagnare un po鈥� d鈥檃ria. 脠 cos矛 carico di cose che l鈥檃ccumulo, anzich茅 incuriosirmi e indurmi a cercar notizie su ci貌 che non sapevo, mi ha ben presto oppresso; le visioni geometriche di Marcus e le teorie di Simmonds mi hanno letteralmente annichilito. Ma che bisogno c鈥檈ra di dettagliare cos矛 minuziosamente le visioni? 鈥�cavi o piani di fibre intrecciate o arabeschi di luce鈥� per pagine e pagine? In materia preferisco di gran lunga la lezione di Lovecraft.
Manca di leggerezza, di ironia e quella che c'猫 sfiora la saccenteria, perch茅 nasce dal gioco delle colte citazioni dei personaggi. Nei loro dialoghi un po' leziosi, soprattutto quelli che si scambiano i protagonisti della rappresentazione di Alexander, quasi tutti fanno sfoggio delle loro conoscenze e Frederica 猫 maestra di quest鈥檃rte; esemplare lo scambio di battute con Daniel durante la crisi di Simmonds:
鈥�Frederica grid貌: 鈥� Aiuto! Aiuto! Lucas Simmonds delira in mezzo al Bilge Pond, nudo come un verme, e Alexander 猫 l脿, e lui lo minaccia con un coltello. E quando dico nudo, intendo nudo. Correte. 脠 tutto coperto di fiori ed erba, come re Lear o l鈥檃mante di Lady Chatterley. Fate qualcosa. Hanno sempre detto che ci sono le sanguisughe nello stagno, 猫 spaventosamente nero. E lui ha un aspetto orribile, non fa che cantare.
鈥� Chiama l鈥檃mbulanza, 鈥� disse Daniel a Stephanie, e a Frederica: 鈥� Smettila di urlare 鈥�.
摆鈥
鈥� Non 猫 il caso di darsi arie, 鈥� disse Daniel a Frederica, irritato.
鈥� Non mi do arie, 猫 il mio modo di esprimermi, e sono venuta a chiedere aiuto, 猫 questo che conta, o no? 鈥� disse Frederica, scuotendo il capo con l鈥檃ria sdegnosa e melodrammatica di una menade.鈥�
Gi脿, 猫 il suo modo di esprimersi: citare Shakespeare e Lawrence anche quando corre trafelata a chiamare aiuto per quella che potrebbe essere ricordata come la pi霉 spettacolare catastrofe mai capitata a Blesford Ride.
Che curiosa adolescente 猫 questa Frederica; ci viene suggerita, non proprio mostrata, una certa confidenza con la sorella (riguardo la comune ammirazione per Alexander), ma nemmeno si accorge che 猫 incinta; il fratello, poi, non ne parliamo, di lui sa meno di nulla. Litiga col padre, come tutti del resto, 猫 insopportabile Bill. Il rapporto con la madre non pervenuto. Gi脿 coltissima, la vediamo alle prese con le sue ambizioni di attrice, in realt脿 appena sbocciate, la sua infatuazione verso Alexander (uno strano tira e molla intellettuale che ha poco di adolescenziale, a mio avviso) e i suoi maldestri rapporti con l鈥檜manit脿 maschile che popola il romanzo, in quella che sembra una poco convinta ricerca della sua liberazione dallo stato virgineo.
Per tornare all鈥檃tmosfera del romanzo, nelle pagine finali Daniel dir脿 di rimpiangere 鈥�le risate e il calore del loro piccolo appartamento鈥�; risate e calore? Quella casa Byatt ce la mostra s矛 e no in un paio di occasioni e appare piuttosto infestata da esasperazione, rassegnazione, incomunicabilit脿, poi risolte da improvvisi e inesperti momenti di passione. Ha deliberatamente scelto di sottrarre un intero mondo emozionale al primo romanzo dedicato alla giovane Ms Potter e alle persone che le gravitano attorno.
Ad un certo punto ricordo che descrive la famiglia Potter come segnata da 鈥�scontrosa cupezza鈥�; ecco, tutto il romanzo 猫 un po' troppo pervaso da questa scontrosa cupezza, e freddezza intellettuale, forse.
脠 che non riesco a comprendere appieno le scelte dell鈥檃utrice, i suoi obiettivi poetici, ci貌 che l鈥檋a spinta a sedersi a tavolino e scrivere queste 500 pagine: 猫 un romanzo sull'inquieta adolescenza di Frederica, sulla sua 鈥榣iberazione sessuale鈥�? Certo, ma non solo; lei ha uno spazio almeno pari a quello di Stephanie, Alexander, Daniel, Marcus e Simmonds; 猫 un romanzo sull'Inghilterra del '52-'53? Niente affatto, siamo nel North Yorkshire, un po' defilati e l'Inghilterra del dopo guerra proprio non si vede; 猫 un romanzo sull'arte? Di arte ce n'猫 tanta, ma non ho letto nessuna riflessione sull'arte, quasi in ogni pagina si parla di poeti e pittori, tragedie e versi, ma per fare accademia fuori dall鈥檃ula o, come detto, per darsi delle arie.
I personaggi vengono messi a confronto con le loro esistenze (Daniel, Stephanie, Winifred e nell鈥檈pilogo, anche Bill) o si interrogano sulle pieghe che il destino riserver脿 loro (Frederica e Alexander); chi per una ragione, chi per un鈥檃ltra, queste donne e uomini non fanno che riflettere sulle scelte da fare o su quelle gi脿 fatte; forse 猫 proprio questo il motore del romanzo, ma se cos矛 fosse, mi chiedo, non si tratta di un nucleo oppresso da tanta inutile 鈥�scontrosa cupezza鈥�?
Nota di costume: ma quante volte vengono citate le vesti di popeline? All'epoca dovevano essere particolarmente diffuse; in ogni caso, che diavolo sono le vesti di popeline? Ecco, mi dice tante cose Antonia Byatt, ma non mi fa venire voglia di saperne di pi霉鈥� comunque ora, almeno queste, vado a cercarle su google...
Antonia Byatt 猫 brava, mica no, ha vaste e profonde conoscenze, il mondo accademico di Blesford Ride e gli echi di Cambridge, cos矛 come, pi霉 in generale, il teatro, l鈥檃rte e la poesia sembrano il pane suo, ma in questo romanzo del 鈥�78 non mi sembra che si destreggi con la dovuta disinvoltura nella corposa materia con cui ha arricchito la narrazione.
Le parti che mi annoiarono allora mi hanno annoiato oggi, anzi alla noia originaria si 猫 aggiunta nuova noia e quindi, a voler essere scientifici, la noia 猫 raddoppiata.
La scrittura 猫 molto ricca e iperdescrittiva, troppo; gli ambienti, gli arredi, gli oggetti, i quadri e le opere d'arte, le assurde visioni di Marcus, perfino le carni della macelleria (2 pagine disgustose, da leggere a stomaco vuoto o con un alka-seltzer che frizza nel bicchiere); un eccesso che appesantisce il romanzo e che fa lo stesso effetto di quando metti piede nel salotto buono di un'anziana zia, cos矛 zeppo di soprammobili, ninnoli, cornici, tende, tappeti, che all鈥檜scita devi sbottonarti il colletto della camicia per riguadagnare un po鈥� d鈥檃ria. 脠 cos矛 carico di cose che l鈥檃ccumulo, anzich茅 incuriosirmi e indurmi a cercar notizie su ci貌 che non sapevo, mi ha ben presto oppresso; le visioni geometriche di Marcus e le teorie di Simmonds mi hanno letteralmente annichilito. Ma che bisogno c鈥檈ra di dettagliare cos矛 minuziosamente le visioni? 鈥�cavi o piani di fibre intrecciate o arabeschi di luce鈥� per pagine e pagine? In materia preferisco di gran lunga la lezione di Lovecraft.
Manca di leggerezza, di ironia e quella che c'猫 sfiora la saccenteria, perch茅 nasce dal gioco delle colte citazioni dei personaggi. Nei loro dialoghi un po' leziosi, soprattutto quelli che si scambiano i protagonisti della rappresentazione di Alexander, quasi tutti fanno sfoggio delle loro conoscenze e Frederica 猫 maestra di quest鈥檃rte; esemplare lo scambio di battute con Daniel durante la crisi di Simmonds:
鈥�Frederica grid貌: 鈥� Aiuto! Aiuto! Lucas Simmonds delira in mezzo al Bilge Pond, nudo come un verme, e Alexander 猫 l脿, e lui lo minaccia con un coltello. E quando dico nudo, intendo nudo. Correte. 脠 tutto coperto di fiori ed erba, come re Lear o l鈥檃mante di Lady Chatterley. Fate qualcosa. Hanno sempre detto che ci sono le sanguisughe nello stagno, 猫 spaventosamente nero. E lui ha un aspetto orribile, non fa che cantare.
鈥� Chiama l鈥檃mbulanza, 鈥� disse Daniel a Stephanie, e a Frederica: 鈥� Smettila di urlare 鈥�.
摆鈥
鈥� Non 猫 il caso di darsi arie, 鈥� disse Daniel a Frederica, irritato.
鈥� Non mi do arie, 猫 il mio modo di esprimermi, e sono venuta a chiedere aiuto, 猫 questo che conta, o no? 鈥� disse Frederica, scuotendo il capo con l鈥檃ria sdegnosa e melodrammatica di una menade.鈥�
Gi脿, 猫 il suo modo di esprimersi: citare Shakespeare e Lawrence anche quando corre trafelata a chiamare aiuto per quella che potrebbe essere ricordata come la pi霉 spettacolare catastrofe mai capitata a Blesford Ride.
Che curiosa adolescente 猫 questa Frederica; ci viene suggerita, non proprio mostrata, una certa confidenza con la sorella (riguardo la comune ammirazione per Alexander), ma nemmeno si accorge che 猫 incinta; il fratello, poi, non ne parliamo, di lui sa meno di nulla. Litiga col padre, come tutti del resto, 猫 insopportabile Bill. Il rapporto con la madre non pervenuto. Gi脿 coltissima, la vediamo alle prese con le sue ambizioni di attrice, in realt脿 appena sbocciate, la sua infatuazione verso Alexander (uno strano tira e molla intellettuale che ha poco di adolescenziale, a mio avviso) e i suoi maldestri rapporti con l鈥檜manit脿 maschile che popola il romanzo, in quella che sembra una poco convinta ricerca della sua liberazione dallo stato virgineo.
Per tornare all鈥檃tmosfera del romanzo, nelle pagine finali Daniel dir脿 di rimpiangere 鈥�le risate e il calore del loro piccolo appartamento鈥�; risate e calore? Quella casa Byatt ce la mostra s矛 e no in un paio di occasioni e appare piuttosto infestata da esasperazione, rassegnazione, incomunicabilit脿, poi risolte da improvvisi e inesperti momenti di passione. Ha deliberatamente scelto di sottrarre un intero mondo emozionale al primo romanzo dedicato alla giovane Ms Potter e alle persone che le gravitano attorno.
Ad un certo punto ricordo che descrive la famiglia Potter come segnata da 鈥�scontrosa cupezza鈥�; ecco, tutto il romanzo 猫 un po' troppo pervaso da questa scontrosa cupezza, e freddezza intellettuale, forse.
脠 che non riesco a comprendere appieno le scelte dell鈥檃utrice, i suoi obiettivi poetici, ci貌 che l鈥檋a spinta a sedersi a tavolino e scrivere queste 500 pagine: 猫 un romanzo sull'inquieta adolescenza di Frederica, sulla sua 鈥榣iberazione sessuale鈥�? Certo, ma non solo; lei ha uno spazio almeno pari a quello di Stephanie, Alexander, Daniel, Marcus e Simmonds; 猫 un romanzo sull'Inghilterra del '52-'53? Niente affatto, siamo nel North Yorkshire, un po' defilati e l'Inghilterra del dopo guerra proprio non si vede; 猫 un romanzo sull'arte? Di arte ce n'猫 tanta, ma non ho letto nessuna riflessione sull'arte, quasi in ogni pagina si parla di poeti e pittori, tragedie e versi, ma per fare accademia fuori dall鈥檃ula o, come detto, per darsi delle arie.
I personaggi vengono messi a confronto con le loro esistenze (Daniel, Stephanie, Winifred e nell鈥檈pilogo, anche Bill) o si interrogano sulle pieghe che il destino riserver脿 loro (Frederica e Alexander); chi per una ragione, chi per un鈥檃ltra, queste donne e uomini non fanno che riflettere sulle scelte da fare o su quelle gi脿 fatte; forse 猫 proprio questo il motore del romanzo, ma se cos矛 fosse, mi chiedo, non si tratta di un nucleo oppresso da tanta inutile 鈥�scontrosa cupezza鈥�?
Nota di costume: ma quante volte vengono citate le vesti di popeline? All'epoca dovevano essere particolarmente diffuse; in ogni caso, che diavolo sono le vesti di popeline? Ecco, mi dice tante cose Antonia Byatt, ma non mi fa venire voglia di saperne di pi霉鈥� comunque ora, almeno queste, vado a cercarle su google...
June 10, 2015
This is Byatt's third of eleven novels to date, from 1978.
It takes place almost entirely in the early 50s, though with occasional jumps of a decade or two into the future to offer a smattering of the characters' future insights and to poke a hole or two in the fourth wall, referring once to when she actually wrote it, the fact that the ending is at a fairly arbitrary point and so on.
The milieu is a provincial northern town where an aspiring playwright and schoolmaster has the local cultural impresarios putting on his modern verse play about Queen Elizabeth. The central family has three children, two sisters (17 and 22) and a somewhat autistic 16-year-old brother (with the requisite savant qualities). Their father is irascible, intractable and fulminantly anti-religious. Each child essentially provides a parallel plot line: the older sister confounds her father by marrying a grumpy humorless young curate, the younger brother gets uncomfortably tangled up with a different schoolmaster, borderline insane and sexually paranoid, who sees the brother as some kind of visionary or conduit.
The star of her own life and the book is 17-year-old Frederica, who is by far the most appealing character, although as headstrong and self-involved as only a precocious teenager can be. There is a great deal of sexual tension between her and the playwright (at least a decade her senior) - this is unfolded in a way that seems like it would no longer be permissible, reflecting instead both the time it was set and the time it was written. While
It takes place almost entirely in the early 50s, though with occasional jumps of a decade or two into the future to offer a smattering of the characters' future insights and to poke a hole or two in the fourth wall, referring once to when she actually wrote it, the fact that the ending is at a fairly arbitrary point and so on.
The milieu is a provincial northern town where an aspiring playwright and schoolmaster has the local cultural impresarios putting on his modern verse play about Queen Elizabeth. The central family has three children, two sisters (17 and 22) and a somewhat autistic 16-year-old brother (with the requisite savant qualities). Their father is irascible, intractable and fulminantly anti-religious. Each child essentially provides a parallel plot line: the older sister confounds her father by marrying a grumpy humorless young curate, the younger brother gets uncomfortably tangled up with a different schoolmaster, borderline insane and sexually paranoid, who sees the brother as some kind of visionary or conduit.
The star of her own life and the book is 17-year-old Frederica, who is by far the most appealing character, although as headstrong and self-involved as only a precocious teenager can be. There is a great deal of sexual tension between her and the playwright (at least a decade her senior) - this is unfolded in a way that seems like it would no longer be permissible, reflecting instead both the time it was set and the time it was written. While
August 5, 2007
A dear friend recommended this to me since I liked Possession, and I fell for it at first blush. The first of a quartet about, hate to be trite here, but the making of a modern Englishwoman. The way each book treats different aspects of art (theater, painting, etc.) is engaging, as is following this cast of characters through -- what, over a decade? You will know these people inside and out and find yourself loving and yelling at them.
October 30, 2012
"La vergine del giardino" (1979), bench猫 edito in Italia solo nel 2002, 猫 il primo libro di una quadrilogia ["Frederica", dal nome della protagonista] che comprende "Natura morta" (1985), "La torre di Babele" (1996) senza dubbio il migliore dei quattro e "Una donna che fischia" (2001).
Diciassette anni prima di "La Torre di Babele" (e dieci prima del suo capolavoro "Possession") la Byatt non sembra in questo "La vergine del giardino" avere ancora trovato un equilibrio fra la sua erudizione e passione letteraria da un lato e l'abilit脿 narrativa che contraddistingue le sue opere pi霉 riuscite.
Alcune scene (il matrimonio di Stephanie, il finale...) sono all'altezza della fama dell'autrice ma il libro nel suo complesso appare spesso prolisso e non sempre sorretto da adeguata ispirazione: a volte gli incontri, i rapporti sessuali, i dialoghi fra i personaggi si succedono l'uno dopo l'altro quasi in maniera meccanica, artificiale proprio come in una rappresentazione teatrale e non come nella vita. Molti personaggi secondari sono appena abbozzati e il lettore rischia di confonderne i caratteri e i connotati.
Tutto questo provoca un distacco eccessivo rispetto alla materia narrativa e pressoch猫 nessuna possibilit脿 di immedesimarsi con qualsiasi personaggio o situazione. Ne risulta un'opera fredda, a tratti faticosa con citazioni letterarie e storiche forse apprezzabili dai conterranei dell'autrice ma prive di universalit脿. Soprattutto 猫 deludente in rapporto a "La torre di Babele" che 猫 invece un vulcano di idee, di passioni, di personaggi ambigui ma reali, intellettuali ma passionali e le cui interazioni forniscono continuo interesse in un'opera avvincente e colta allo stesso tempo.
Diciassette anni prima di "La Torre di Babele" (e dieci prima del suo capolavoro "Possession") la Byatt non sembra in questo "La vergine del giardino" avere ancora trovato un equilibrio fra la sua erudizione e passione letteraria da un lato e l'abilit脿 narrativa che contraddistingue le sue opere pi霉 riuscite.
Alcune scene (il matrimonio di Stephanie, il finale...) sono all'altezza della fama dell'autrice ma il libro nel suo complesso appare spesso prolisso e non sempre sorretto da adeguata ispirazione: a volte gli incontri, i rapporti sessuali, i dialoghi fra i personaggi si succedono l'uno dopo l'altro quasi in maniera meccanica, artificiale proprio come in una rappresentazione teatrale e non come nella vita. Molti personaggi secondari sono appena abbozzati e il lettore rischia di confonderne i caratteri e i connotati.
Tutto questo provoca un distacco eccessivo rispetto alla materia narrativa e pressoch猫 nessuna possibilit脿 di immedesimarsi con qualsiasi personaggio o situazione. Ne risulta un'opera fredda, a tratti faticosa con citazioni letterarie e storiche forse apprezzabili dai conterranei dell'autrice ma prive di universalit脿. Soprattutto 猫 deludente in rapporto a "La torre di Babele" che 猫 invece un vulcano di idee, di passioni, di personaggi ambigui ma reali, intellettuali ma passionali e le cui interazioni forniscono continuo interesse in un'opera avvincente e colta allo stesso tempo.
May 3, 2011
Oh my gawd y'all - I just downgraded A.S. Byatt by two stars.
I'm a big Byatt fan. 'Possession' and 'The Biographer's Tale' would probably both make my Top 25 list, if I ever drew it up. But I think my love for some of her books perhaps clouded my retrospective judgement.
Today, 'The Virgin in the Garden' feels over-worked and a bit clunky (the obvious bits of authorial voice most particularly). And the plot around Marcus Potter and Lucas Simmonds just bored me this time round; the denouement is still powerful, but the endless pages about the Nousphere lost me.
Byatt does get you wound up in her characters though. I still dislike Frederica, so book-smart and so people-stupid. I still feel the dark mass of Daniel, and the helpless fastidiousness of Alexander Wedderburn (gosh, Byatt's adjectives really rub off on a girl). And I am still so angry over her treatment of Stephanie Potter, in the way that you can only be if you have a sneaking suspicion that like her, you might be letting your brain slowly degrade in a welter of daily concerns.
And so I'm moving on to 'Still Life' - just to see whether I can get the magic back.
I'm a big Byatt fan. 'Possession' and 'The Biographer's Tale' would probably both make my Top 25 list, if I ever drew it up. But I think my love for some of her books perhaps clouded my retrospective judgement.
Today, 'The Virgin in the Garden' feels over-worked and a bit clunky (the obvious bits of authorial voice most particularly). And the plot around Marcus Potter and Lucas Simmonds just bored me this time round; the denouement is still powerful, but the endless pages about the Nousphere lost me.
Byatt does get you wound up in her characters though. I still dislike Frederica, so book-smart and so people-stupid. I still feel the dark mass of Daniel, and the helpless fastidiousness of Alexander Wedderburn (gosh, Byatt's adjectives really rub off on a girl). And I am still so angry over her treatment of Stephanie Potter, in the way that you can only be if you have a sneaking suspicion that like her, you might be letting your brain slowly degrade in a welter of daily concerns.
And so I'm moving on to 'Still Life' - just to see whether I can get the magic back.
June 6, 2022
I so want to give this four or even five stars for sheer magnificence and audacity, but I can鈥檛. It鈥檚 too long, too ambitious and, too frequently, caught up in its own dependence on intellectual vigour.
The prose is breathtakingly erudite, the ideas explored are books in themselves, but what鈥檚 missing from the density are passion and an exploration of the characters beneath their preciousness. Perhaps these will be developed in the quartet鈥檚 remaining volumes.
I鈥檓 looking forward to them.
The prose is breathtakingly erudite, the ideas explored are books in themselves, but what鈥檚 missing from the density are passion and an exploration of the characters beneath their preciousness. Perhaps these will be developed in the quartet鈥檚 remaining volumes.
I鈥檓 looking forward to them.
January 8, 2016
I'm not sure what prompted me to re-read this but something did. The beauty in the novel is in the use of words and description. The characters, while not flat, have an otherworldly quality about them.
Which is pretty much how we see people in life when you think about it.
Which is pretty much how we see people in life when you think about it.
August 3, 2024
螆谓伪 伪蟺蠈 蟿伪 蟽蟺慰蠀未伪喂蠈蟿蔚蟻伪 尾喂尾位委伪 蟺慰蠀 未喂维尾伪蟽伪 蠁苇蟿慰蟼, 蟺伪蟻维位位畏位伪 渭蔚 维位位伪, 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 慰蟺慰委慰蠀 蠈渭蠅蟼 萎胃蔚位伪 谓伪 蔚蟺喂蟽蟿蟻苇蠁蠅 魏维胃蔚 尾蟻维未蠀 蔚委谓伪喂 蟿慰 "螚 螤伪蟻胃苇谓慰蟼 蟽蟿慰谓 魏萎蟺慰" 蟿慰 蟺蟻蠋蟿慰 渭苇蟻慰蟼 蟿慰蠀 螝慰蠀伪蟻蟿苇蟿慰蠀 蟿畏蟼 桅蟻蔚谓蟿蔚蟻委魏伪 螤蠈蟿蔚蟻 蟺慰蠀 魏蠀魏位慰蠁蠈蟻畏蟽蔚 蟺蟻蠈蟽蠁伪蟿伪 伪蟺蠈 蟿喂蟼 螘魏未蠈蟽蔚喂蟼 螤蠈位喂蟼 . 螚 Byatt 伪蟺慰未蔚喂魏谓蠉蔚蟿伪喂 魏喂 蔚未蠋, 蟽蟿慰 蟿蟻委蟿慰 蟿畏蟼 渭蠀胃喂蟽蟿蠈蟻畏渭伪, 蠈蟿伪谓 伪魏蠈渭畏 未蔚谓 蔚委蠂蔚 纬谓蠅蟻委蟽蔚喂 渭蔚纬维位畏 魏伪蟿伪尉委蠅蟽畏 魏伪喂 萎蟿伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 纬谓蠅蟽蟿萎 蠅蟼 畏 伪未蔚蟻蠁萎 蟿畏蟼 蟽蠀纬纬蟻伪蠁苇蠅蟼 Margaret Drabble 渭蔚 蟿畏谓 慰蟺慰委伪 蔚委蠂伪谓 渭喂伪 蟺慰位蠉蟺位慰魏畏, 伪谓蟿伪纬蠅谓喂蟽蟿喂魏萎 蟽蠂苇蟽畏, 蟺蠅蟼 蔚委谓伪喂 渭喂伪蟼 蟽蟺慰蠀未伪委伪, 喂未喂伪委蟿蔚蟻伪 慰尉蠀未蔚蟻魏萎蟼 伪蟺苇谓伪谓蟿喂 蟽蟿畏谓 伪谓胃蟻蠋蟺喂谓畏 蠁蠉蟽畏, 蟽蠀纬纬蟻伪蠁苇伪蟼. 螤伪蟻伪未慰蟽喂伪魏蠈蟼 蟻蔚伪位喂蟽渭蠈蟼 魏伪喂 蟽蟿蠀位喂蟽蟿喂魏慰委 蟺蔚喂蟻伪渭伪蟿喂蟽渭慰委 蟽蠀渭蟺位苇魏慰蠀谓 渭蔚 蟺伪蟻伪纬蠅纬喂魏蠈 蟿蟻蠈蟺慰 蟽蔚 渭喂伪 蟺蔚蟻委蔚蟻纬畏 蟽蠀渭尾喂蠅蟿喂魏萎 蟽蠂苇蟽畏 蟽蟿畏谓 蟺蟻蠈味伪 蟿畏蟼, 畏 慰蟺慰委伪 伪蟽蟿蟻维蠁蟿蔚喂 伪蟺蠈 渭伪胃畏渭伪蟿喂魏萎 蟽蠂蔚未蠈谓 蔚蠀蠁蠀螑伪, 蔚谓蠋 慰喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟿畏蟼 魏伪位蠉蟺蟿慰蠀谓 苇谓伪 蔚蠀蟻蠉 蠁维蟽渭伪 蟿畏蟼 尾蟻蔚蟿伪谓喂魏萎蟼 蟿伪尉喂魏萎蟼 未慰渭萎蟼 魏伪喂 蟽魏喂伪纬蟻伪蠁慰蠉谓蟿伪喂 蟿蠈蟽慰 魏伪位维 蟺慰蠀 蟿慰蠀蟼 谓喂蠋胃慰蠀渭蔚 蟽伪谓 伪谓胃蟻蠋蟺慰蠀蟼 蟺慰蠀 味慰蠀谓 魏伪喂 伪谓伪蟺谓苇慰蠀谓 伪谓维渭蔚蟽维 渭伪蟼. 螚 蟺苇谓伪 蟿畏蟼 Byatt 蟺位维胃蔚喂 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 蔚委谓伪喂 芦蔚位位伪蟿蟿蠅渭伪蟿喂魏慰委禄 魏伪喂 蟺蔚蟻委蔚蟻纬慰喂, 蔚魏魏蔚谓蟿蟻喂魏慰委, 未委蠂蠅蟼 蟺慰蟿苇 蠈渭蠅蟼 谓伪 纬委谓慰谓蟿伪喂 纬魏蟻慰蟿苇蟽魏慰. 螘谓未蔚喂魏蟿喂魏蠈 蟿畏蟼 伪蟺萎蠂畏蟽畏蟼 蟿慰蠀 蟽蟿慰 魏慰喂谓蠈 蔚委谓伪喂 畏 渭喂伪 蟽蠀纬魏位慰谓喂蟽蟿喂魏萎 蟽魏畏谓萎 胃伪谓维蟿慰蠀 蟺慰蠀 蟺蔚蟻喂位伪渭尾维谓蔚蟿伪喂 蟽蟿慰 尾喂尾位委慰 魏伪喂 蟿畏谓 慰蟺慰委伪 畏 蟽蠀纬纬蟻伪蠁苇伪蟼 蔚蟺喂谓蠈畏蟽蔚 蟿慰 1961 (蔚渭蟺谓蔚蠀蟽渭苇谓畏 伪蟺蠈 蟿畏谓 伪谓蟿委蟽蟿慰喂蠂畏 蟿慰蠀 尾喂尾位委慰蠀 "The Middle Age of Mrs Eliot" 蟿慰蠀 Angus Wilson) 蟺蟻慰魏维位蔚蟽蔚 渭蔚 蟿畏 味蠅谓蟿维谓喂伪 蟿畏蟼 蟿伪 蟺伪蟻维蟺慰谓伪 蟺慰位位蠋谓 伪谓伪纬谓蠅蟽蟿蠋谓 蟺慰蠀 苇蟽蟿蔚位谓伪谓 胃蠀渭蠅渭苇谓蔚蟼 蔚蟺喂蟽蟿慰位苇蟼 蟽蟿畏谓 Byatt. 螒谓 魏伪喂 蟿慰 蠉蠁慰蟼 蟿畏蟼 纬委谓蔚蟿伪喂 蔚谓委慰蟿蔚 伪蟽蟿蔚委慰, 未蔚谓 蔚委谓伪喂 伪蠀蟿蠈 蟺慰蠀 胃伪 伪蟺慰魏伪位慰蠉蟽伪渭蔚 伪谓维位伪蠁蟻慰, 蔚委谓伪喂 魏伪位慰未慰蠀位蔚渭苇谓慰, 蠈渭慰蟻蠁伪 未喂伪魏慰蟽渭畏渭苇谓慰 魏伪喂 伪谓维纬位蠀蠁慰. 危蠀谓慰位喂魏维, 畏 Byatt 蟽蠀谓胃苇蟿蔚喂 苇谓伪 蟽蠀谓伪蟻蟺伪蟽蟿喂魏蠈 魏蔚委渭蔚谓慰 渭蔚 蟺位畏胃蠋蟻伪 蟺位畏蟻慰蠁慰蟻喂蠋谓 魏伪喂 位蔚蟺蟿慰渭蔚蟻蔚喂蠋谓 蟺慰蠀 伪蟺慰未蔚喂魏谓蠉慰蠀谓 蟿畏谓 蟺慰位蠀渭维胃蔚喂维 蟿畏蟼 蠂蠅蟻委蟼 蠈渭蠅蟼 谓伪 纬委谓蔚蟿伪喂 (蟿喂蟼 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蠁慰蟻苇蟼) 魏慰蠀蟻伪蟽蟿喂魏萎 魏伪喂 未蔚谓 蠁慰尾维蟿伪喂 谓伪 魏伪胃蠀蟽蟿蔚蟻萎蟽蔚喂 纬喂伪 渭蔚纬维位蔚蟼 蠂蟻慰谓喂魏苇蟼 蟺蔚蟻喂蠈未慰蠀蟼 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 渭喂伪蟼 萎 蟿畏蟼 维位位畏蟼 蟺伪蟻维位位畏位畏蟼 喂蟽蟿慰蟻委伪蟼. 螘蠀伪谓维纬谓蠅蟽蟿畏, 蔚谓未喂伪蠁苇蟻慰蠀蟽伪 蠀蠁慰位慰纬喂魏维, 渭蔚 渭蔚蟿伪蠁慰蟻苇蟼, 伪蠁慰蟻喂蟽渭慰蠉蟼 畏 纬蟻伪蠁萎 蟿畏蟼 Byatt 蔚委谓伪喂 慰尉蠀未蔚蟻魏萎蟼, 蟺蠀魏谓萎, 蟺慰位蠀蔚蟺委蟺蔚未畏 魏伪喂 尾蟻委胃蔚喂 位慰纬慰蟿蔚蠂谓喂魏蠋谓 蠀蟺伪喂谓喂纬渭蠋谓. 危蟿畏谓 蟿苇蟻蠄畏 蟿畏蟼 伪谓维纬谓蠅蟽畏蟼 蟽蠀渭尾维位位蔚喂 畏 蔚尉伪喂蟻蔚蟿喂魏萎, 蠅蟼 蟽蠀谓萎胃蠅蟼, 魏伪胃维蟻喂伪, 蟺蟻慰蟽蔚纬渭苇谓畏 魏伪喂 蠀蠁慰位慰纬喂魏维 蟺喂蟽蟿萎 蟽蟿慰 蟺蟻蠅蟿蠈蟿蠀蟺慰 魏蔚委渭蔚谓慰 渭蔚蟿维蠁蟻伪蟽畏 蟿畏蟼 螝伪蟿蔚蟻委谓伪蟼 危蠂喂谓维鈭� 蔚蠀蔚位蟺喂蟽蟿慰蠉渭蔚 谓伪 慰位慰魏位畏蟻蠋蟽蔚喂 蟽蠉谓蟿慰渭伪 蟿慰 魏慰蟺喂蠋未蔚蟼 伪位位维 蟽委纬慰蠀蟻伪 伪蟺慰位伪蠀蟽蟿喂魏蠈 苇蟻纬慰 蟿畏蟼 渭蔚蟿维蠁蟻伪蟽畏蟼 蟿慰蠀 螝慰蠀伪蟻蟿苇蟿慰蠀 蟽蟿伪 蔚位位畏谓喂魏维.
June 10, 2016
Set in Yorkshire in 1952, The Virgin in the Garden tells the story of the Potter family and of those who surround them. The eldest daughter, Stephanie, is a brilliant Cambridge graduate who frustrated her family鈥檚 expectations of her by coming back to her home town to teach at a grammar school. She further disappoints her intolerant father by falling in love with the local vicar, Daniel Orton.
From BBC Radio 4 Extra - The Frederica Quartet:
1/30: In 1950s Yorkshire, Frederica Potter, still living at home, senses that something exciting is beginning.
2/30: A wealthy theatre director is producing a play and Frederica Potter is desperate to secure a role.
3/30: Stephanie is increasingly worried about her brother, Marcus, and the influence a teacher is having on him.
4/30: Stephanie and Daniel declare their feelings for each other but her father reacts badly to the news.
5/30: In coronation year, Bill Potter has trouble accepting his daughter's desire to marry curate Daniel.
6/30: Stephanie and Daniel settle into married life, while sister Frederica continues with her acting.
7/30: Marcus and Simmonds' experiments begin to take on a more sinister nature.
8:30: As their experiments continue, Marcus becomes worried over the deterioration of Simmonds' state of mind.
From BBC Radio 4 Extra - The Frederica Quartet:
1/30: In 1950s Yorkshire, Frederica Potter, still living at home, senses that something exciting is beginning.
2/30: A wealthy theatre director is producing a play and Frederica Potter is desperate to secure a role.
3/30: Stephanie is increasingly worried about her brother, Marcus, and the influence a teacher is having on him.
4/30: Stephanie and Daniel declare their feelings for each other but her father reacts badly to the news.
5/30: In coronation year, Bill Potter has trouble accepting his daughter's desire to marry curate Daniel.
6/30: Stephanie and Daniel settle into married life, while sister Frederica continues with her acting.
7/30: Marcus and Simmonds' experiments begin to take on a more sinister nature.
8:30: As their experiments continue, Marcus becomes worried over the deterioration of Simmonds' state of mind.
October 5, 2022
This is more than good, this is excellent : 5* +++
For the lovers of highly intelligent English fiction, written in a beautifull prose, with sparkling dialogues : take a seat, get yourself something nice to drink, take your time and read and enjoy this book.
This isn't a quick read, nor an easy one but it certainly is rewarding.
For the lovers of highly intelligent English fiction, written in a beautifull prose, with sparkling dialogues : take a seat, get yourself something nice to drink, take your time and read and enjoy this book.
This isn't a quick read, nor an easy one but it certainly is rewarding.
February 5, 2019
i can't believe a. s. byatt, one of my favourite authors, had to personally break into my house and force me to finish this at gunpoint
December 21, 2023
"Me gusta ver a mucha gente reunida en un lugar para entregarse a lo que yo llamo arte, no a lo que ellos llaman vida."
El pacato y tantas veces falaz dilema entre el arte y la vida. El lenguaje y el conocimiento como medios de interpretar el mundo y poder elaborar un mapa mental, un plan de acci贸n para el crecimiento. Los tres Potter luchando por hallar su propio camino en el a帽o de la coronaci贸n de Isabel II, y enmarcada en la preparaci贸n y estreno de una obra en verso sobre la reina virgen escrita por un buen amigo, vertebran esta novela que es un completo goce de contratiempos vitales expresado en las m谩s alambicadas im谩genes; entre una teosof铆a que habr铆a considerado delirante el mism铆simo David Herbert (a quien debo releer un d铆a de estos): esa $biosfera integr谩ndose en el nous" es risible, pero tambi茅n ardiente como un sacrificio ritual; esa reconstrucci贸n hist贸rica mas bullente de savia y sangre cuyos ensayos nos proporcionan las escenas m谩s jocosas (y m谩s emocionantes que cualquier thriller) y ese matrimonio entre el cielo y el infierno en el que nada es lo que podr铆a, al principio y en principio, parecer.
Y m谩s, infinidad m谩s y mejor, con un inconmensurable hato de revelaciones y destellos; cada libro de Dama Antonia que atrapo me aferra, me sacude, me obliga a cabalgar sus p谩ginas sin descanso, padaleando su simbolismo encarnado en esta curiosa (y apasionante) bildungsroman de la feroz Federica... y compa帽铆a; y cuenta conmigo, diosa de la Inocencia y la Justicia.
"Tomad, les dijo, tomad lo que est谩 all铆, lo que es real, arriesgaos a hacer una cosa bien."
"鈥擭o hay nada que no signifique nada. Todas las palabras se dicen por alguna raz贸n."
"sumidos en esa luz eterna que ilumina las inmutables perspectivas infinitas que creamos, desde la tierna edad de un a帽o, con los jardines de las afueras de la ciudad o los parques municipales en verano, con los horizontes o los paseos en que el c茅sped se extiende hasta m谩s all谩 del alcance de la vista y que siempre esperamos volver a visitar, redescubrir, habitar en la vida real, sea 茅sta lo que sea."
"鈥擲i estuvi茅ramos en una novela habr铆an cortado el di谩logo por artificioso. Puede haber sexo, en una novela, pero no la m茅trica de Racine, por mucho que tal cosa te apasione. [...] Wordsworth dec铆a que la m茅trica y el sexo dependen del flujo de la sangre, ya sabes, y del 芦gran principio elemental del placer en el que vivimos, actuamos y existimos禄."
"Era un conocimiento muy 煤til. Eliminaba la opci贸n excluyente que siempre hab铆a cre铆do que ten铆an las mujeres. O bien el amor, la pasi贸n, el sexo y todo el resto, o bien la vida de la mente, la ambici贸n, la soledad y todo lo dem谩s. Hab铆a un tercer camino: se pod铆a estar sola y acompa帽ada en una cama, si uno no armaba alboroto."
"De improviso la luz cambi贸, y Marcus se detuvo. Una parte esencial de lo que sucedi贸 entonces fue su propia renuencia a creer que suced铆a tal cosa. Cuando rememoraba este hecho, su cuerpo recordaba una tensi贸n y una opresi贸n terribles, causadas por dos miedos antit茅ticos que operaban a la vez: el miedo de sufrir un cambio radical, irremediable, y el miedo, igualmente profundo, de que todo aquello no fuera m谩s que una fantas铆a irracional impuesta por su conciencia, extraviada en el mundo real. E incluso en ese momento, que tal vez cambi贸 toda su vida, oy贸 una alegre voz interior que le dec铆a que, como en el caso de los libros, las escaleras y los cuartos de ba帽o, no era imprescindible tener que saberlo. M谩s tarde llegar铆a a la conclusi贸n de que la voz ment铆a y se mostraba evasiva. M谩s tarde a煤n, la recordar铆a como un elemento tranquilizador, pues esa 铆nfima alegr铆a falsa le garantizaba que conservaba su identidad, que segu铆a siendo 茅l mismo."
"Era tan poco el terreno que ocupaba una casa鈥� Unos pocos pasos gr谩ciles y blancos, y uno ya la hab铆a recorrido de lado a lado. [...] Una casa no consist铆a m谩s que en eso: armazones, relleno, elementos de amortiguaci贸n."
El pacato y tantas veces falaz dilema entre el arte y la vida. El lenguaje y el conocimiento como medios de interpretar el mundo y poder elaborar un mapa mental, un plan de acci贸n para el crecimiento. Los tres Potter luchando por hallar su propio camino en el a帽o de la coronaci贸n de Isabel II, y enmarcada en la preparaci贸n y estreno de una obra en verso sobre la reina virgen escrita por un buen amigo, vertebran esta novela que es un completo goce de contratiempos vitales expresado en las m谩s alambicadas im谩genes; entre una teosof铆a que habr铆a considerado delirante el mism铆simo David Herbert (a quien debo releer un d铆a de estos): esa $biosfera integr谩ndose en el nous" es risible, pero tambi茅n ardiente como un sacrificio ritual; esa reconstrucci贸n hist贸rica mas bullente de savia y sangre cuyos ensayos nos proporcionan las escenas m谩s jocosas (y m谩s emocionantes que cualquier thriller) y ese matrimonio entre el cielo y el infierno en el que nada es lo que podr铆a, al principio y en principio, parecer.
Y m谩s, infinidad m谩s y mejor, con un inconmensurable hato de revelaciones y destellos; cada libro de Dama Antonia que atrapo me aferra, me sacude, me obliga a cabalgar sus p谩ginas sin descanso, padaleando su simbolismo encarnado en esta curiosa (y apasionante) bildungsroman de la feroz Federica... y compa帽铆a; y cuenta conmigo, diosa de la Inocencia y la Justicia.
"Tomad, les dijo, tomad lo que est谩 all铆, lo que es real, arriesgaos a hacer una cosa bien."
"鈥擭o hay nada que no signifique nada. Todas las palabras se dicen por alguna raz贸n."
"sumidos en esa luz eterna que ilumina las inmutables perspectivas infinitas que creamos, desde la tierna edad de un a帽o, con los jardines de las afueras de la ciudad o los parques municipales en verano, con los horizontes o los paseos en que el c茅sped se extiende hasta m谩s all谩 del alcance de la vista y que siempre esperamos volver a visitar, redescubrir, habitar en la vida real, sea 茅sta lo que sea."
"鈥擲i estuvi茅ramos en una novela habr铆an cortado el di谩logo por artificioso. Puede haber sexo, en una novela, pero no la m茅trica de Racine, por mucho que tal cosa te apasione. [...] Wordsworth dec铆a que la m茅trica y el sexo dependen del flujo de la sangre, ya sabes, y del 芦gran principio elemental del placer en el que vivimos, actuamos y existimos禄."
"Era un conocimiento muy 煤til. Eliminaba la opci贸n excluyente que siempre hab铆a cre铆do que ten铆an las mujeres. O bien el amor, la pasi贸n, el sexo y todo el resto, o bien la vida de la mente, la ambici贸n, la soledad y todo lo dem谩s. Hab铆a un tercer camino: se pod铆a estar sola y acompa帽ada en una cama, si uno no armaba alboroto."
"De improviso la luz cambi贸, y Marcus se detuvo. Una parte esencial de lo que sucedi贸 entonces fue su propia renuencia a creer que suced铆a tal cosa. Cuando rememoraba este hecho, su cuerpo recordaba una tensi贸n y una opresi贸n terribles, causadas por dos miedos antit茅ticos que operaban a la vez: el miedo de sufrir un cambio radical, irremediable, y el miedo, igualmente profundo, de que todo aquello no fuera m谩s que una fantas铆a irracional impuesta por su conciencia, extraviada en el mundo real. E incluso en ese momento, que tal vez cambi贸 toda su vida, oy贸 una alegre voz interior que le dec铆a que, como en el caso de los libros, las escaleras y los cuartos de ba帽o, no era imprescindible tener que saberlo. M谩s tarde llegar铆a a la conclusi贸n de que la voz ment铆a y se mostraba evasiva. M谩s tarde a煤n, la recordar铆a como un elemento tranquilizador, pues esa 铆nfima alegr铆a falsa le garantizaba que conservaba su identidad, que segu铆a siendo 茅l mismo."
"Era tan poco el terreno que ocupaba una casa鈥� Unos pocos pasos gr谩ciles y blancos, y uno ya la hab铆a recorrido de lado a lado. [...] Una casa no consist铆a m谩s que en eso: armazones, relleno, elementos de amortiguaci贸n."
May 22, 2021
The tetralogy, which is considered the magnum opus of Antonia Bayette, covers a quarter-century period and was written over twenty-four years: the first two novels before the world-famous writer, who came to her with the Booker "Possess", the final ones after. In Russian, so far only the first book, which was published in the seventy-eighth, and the events described relate to the fifty-third year at all. The heroine who gave the name to the four books is seventeen, as in that year Byatt, which suggests some autobiographical features in her.
As for The Maid in the Garden, the novel could equally well be called " the book of Stephanie, Marcus, Daniel, Alexander." Of course, the bright Frederica, who will be the center of attention in the following novels, is not yet in the main position here, although in the main role. In the sense that she, a schoolgirl, literally gets a young Elizabeth I in a play where the virgin queen is the central character
袧械 写械胁邪 懈 薪械 褌芯, 褔褌芯斜褘 胁 褋邪写褍
"袣邪泻芯泄 楔械泻褋锌懈褉, 懈蟹 锌芯谐褉械斜泻邪
袛芯屑芯泄 胁械褉薪褍胁褕懈褋褜 薪邪 褉邪褋褋胁械褌械,
袙 斜褉械写褍 褋锌邪写邪褟 褋 褌褞褎褟泻邪
袙 褌邪泻芯屑 褋锌邪褋邪械褌褋褟 褋褞卸械褌械?"
袗谢械泻褋邪薪写褉 袣褍褕薪械褉.
袨斜 褝褌芯屑 褉芯屑邪薪械, 泻芯褌芯褉褘屑 "袗蟹斜褍泻邪 袗褌褌懈泻褍褋" 芯写邪褉懈谢邪 褉褍褋褋泻芯褟蟹褘褔薪芯谐芯 褔懈褌邪褌械谢褟 胁 泻芯薪褑械 邪锌褉械谢褟, 谢懈褌械褉邪褌褍褉薪褘械 芯斜芯蟹褉械薪懈褟 谐芯胁芯褉懈谢懈 泻邪泻 芯斜 芯写薪芯泄 懈蟹 褋邪屑褘褏 芯卸懈写邪械屑褘褏 薪芯胁懈薪芯泻 泻薪懈卸薪芯泄 胁械褋薪褘. 袙 斜芯谢褜褕懈薪褋褌胁械 褋谢褍褔邪械胁 蟹邪谐谢邪胁薪褘屑 邪褉谐褍屑械薪褌芯屑 胁 锌芯谢褜蟹褍 褔褌械薪懈褟 胁褘褋褌褍锌邪谢芯 褌芯, 褔褌芯 泻薪懈谐邪 褟胁谢褟械褌 褋芯斜芯泄 锌械褉胁褍褞 褔邪褋褌褜 "袣胁邪褉褌械褌邪 肖褉械写械褉懈泻懈", 薪械 褉邪褋褌芯谢泻芯胁褘胁邪褟, 泻褌芯 褌邪泻邪褟 褝褌邪 肖褉械写械褉懈泻邪 褋 械械 泻胁邪褉褌械褌芯屑, 褔械屑 斜褘 芯薪 薪懈 斜褘谢.
孝械褌褉邪谢芯谐懈褟, 泻芯褌芯褉褍褞 褋褔懈褌邪褞褌 magnum opus 袗薪褌芯薪懈懈 袘邪泄械褌褌, 芯褏胁邪褌褘胁邪械褌 褔械褌胁械褉褌褜胁械泻芯胁芯泄 锌褉芯屑械卸褍褌芯泻 懈 锌懈褋邪谢邪褋褜 薪邪 锌褉芯褌褟卸械薪懈懈 写胁邪写褑邪褌懈 褔械褌褘褉械褏 谢械褌: 锌械褉胁褘械 写胁邪 褉芯屑邪薪邪 写芯 屑懈褉芯胁芯泄 懈蟹胁械褋褌薪芯褋褌懈 锌懈褋邪褌械谢褜薪懈褑褘, 锌褉懈褕械写褕械泄 泻 薪械泄 褋 斜褍泻械褉芯胁褋泻懈屑 "袨斜谢邪写邪褌褜", 蟹邪胁械褉褕邪褞褖懈械 锌芯褋谢械. 袧邪 褉褍褋褋泻芯屑 锌芯泻邪 谢懈褕褜 锌械褉胁邪褟 泻薪懈谐邪, 泻芯褌芯褉邪褟 褍胁懈写械谢邪 褋胁械褌 胁 褋械屑褜写械褋褟褌 胁芯褋褜屑芯屑, 邪 芯锌懈褋邪薪薪褘械 褋芯斜褘褌懈褟 芯褌薪芯褋褟褌褋褟 胁芯胁褋械 泻 锌褟褌褜写械褋褟褌 褌褉械褌褜械屑褍 谐芯写褍. 袚械褉芯懈薪械, 写邪胁褕械泄 懈屑褟 褔械褌褘褉械褏泻薪懈卸懈褞, 褋械屑薪邪写褑邪褌褜, 泻邪泻 胁 褌芯褌 谐芯写 袘邪泄械褌褌, 褔褌芯 锌芯蟹胁芯谢褟械褌 锌褉械写锌芯谢芯卸懈褌褜 胁 薪械泄 薪械泻芯褌芯褉褘械 邪胁褌芯斜懈芯谐褉邪褎懈褔械褋泻懈械 褔械褉褌褘.
效褌芯 泻邪褋邪械褌褋褟 "袛械胁褘 胁 褋邪写褍", 褋 褉邪胁薪褘屑 芯褋薪芯胁邪薪懈械屑 褉芯屑邪薪 屑芯卸薪芯 斜褘谢芯 斜褘 薪邪蟹胁邪褌褜 "泻薪懈谐芯泄 小褌械褎邪薪懈, 袦邪褉泻褍褋邪, 袛褝薪懈褝谢邪, 袗谢械泻褋邪薪写褉邪". 袘械蟹褍褋谢芯胁薪芯 褟褉泻邪褟 肖褉械写械褉懈泻邪, 泻芯褌芯褉邪褟 芯泻邪卸械褌褋褟 胁 褑械薪褌褉械 胁薪懈屑邪薪懈褟 胁 褋谢械写褍褞褖懈褏 褉芯屑邪薪邪褏, 蟹写械褋褜 械褖械 薪械 薪邪 芯褋薪芯胁薪芯泄 锌芯蟹懈褑懈懈, 褏芯褌褟 胁 谐谢邪胁薪芯泄 褉芯谢懈. 袙 褌芯屑 褋屑褘褋谢械, 褔褌芯 械泄, 褕泻芯谢褜薪懈褑械, 斜褍泻胁邪谢褜薪芯 写芯褋褌邪械褌褋褟 屑芯谢芯写芯泄 袝谢懈蟹邪胁械褌褘 I 胁 锌褜械褋械, 谐写械 泻芯褉芯谢械胁邪-写械胁褋褌胁械薪薪懈褑邪 褑械薪褌褉邪谢褜薪褘泄 锌械褉褋芯薪邪卸. 孝械锌械褉褜 芯 泻薪懈谐械.
袙 褎芯泻褍褋械 胁薪懈屑邪薪懈褟 褋械屑褜褟 袩芯褌褌械褉芯胁 (薪懈 泻 袚邪褉褉懈, 薪懈 泻 袘械邪褌褉懈泻褋 芯褌薪芯褕械薪懈褟 薪械 懈屑械褞褖邪褟). 袨褌械褑, 褟褉芯褋褌薪褘泄 袘懈谢谢, 锌褉械锌芯写邪械褌 胁 褔邪褋褌薪芯泄 褕泻芯谢械 写谢褟 屑邪谢褜褔懈泻芯胁, 薪械 斜褍写械褌 锌褉械褍胁械谢懈褔械薪懈械屑 褋泻邪蟹邪褌褜, 褔褌芯 薪邪 薪械屑 褌邪屑 胁褋械 写械褉卸懈褌褋褟 懈 褋 锌芯谢薪褘屑 芯褋薪芯胁邪薪懈械屑 屑芯谐 斜褘 褋泻邪蟹邪褌褜: "楔泻芯谢邪 - 褝褌芯 褟". 袪械写泻芯械 褋芯褔械褌邪薪懈械 锌械写邪谐芯谐懈褔械褋泻芯谐芯 懈 芯褉谐邪薪懈蟹邪褌芯褉褋泻芯谐芯 褌邪谢邪薪褌芯胁 写械谢邪械褌 械谐芯 薪械蟹邪屑械薪懈屑褘屑 薪邪 褉邪斜芯褌械, 写芯屑邪 芯写薪邪泻芯 袘懈谢谢 胁 懈锌芯褋褌邪褋懈 "褌懈褉邪薪 懈 褋褍屑邪褋斜褉芯写" (薪褍. 泻芯谐写邪 写邪械褌 褋械斜械 褌褉褍写 胁褘褋褌褍锌懈褌褜 胁 泻邪泻芯泄 斜褘 褌芯 薪懈 斜褘谢芯 褉芯谢懈). 袘芯谢褜褕械泄 褔邪褋褌褜褞 械谐芯 胁泻谢邪写 胁 褋械屑械泄薪褍褞 卸懈蟹薪褜 芯谐褉邪薪懈褔懈胁邪械褌褋褟 斜械蟹褉邪蟹谢懈褔懈械屑.
小邪屑芯芯褌胁械褉卸械薪薪邪褟 校懈薪懈褎褉械写, 卸械薪邪 懈 屑邪褌褜 褌褉芯懈褏 械谐芯 写械褌械泄, 胁 褋胁芯褞 芯褔械褉械写褜 褌邪, 薪邪 泻芯屑 写械褉卸懈褌褋褟 写芯屑. 孝邪泻芯械 褋械斜械 胁锌芯谢薪械 锌邪褌褉懈邪褉褏邪谢褜薪芯械 褉邪蟹写械谢械薪懈械 芯斜褟蟹邪薪薪芯褋褌械泄: 褉邪斜芯褌邪褞褌 芯写懈薪邪泻芯胁芯, 薪芯 褋谢邪胁邪 懈 锌芯褔械褌 写芯褋褌邪械褌褋褟 褋褍锌褉褍谐褍, 胁 褌芯 胁褉械屑褟, 泻邪泻 卸械薪邪 胁褘薪褍卸写械薪薪芯 写芯胁芯谢褜褋褌胁褍械褌褋褟 褉芯谢褜褞 屑褘褕泻懈 褋械褉芯泄 斜械谢芯泄 薪械褋屑械谢芯泄 懈 胁芯褋锌懈褌邪褌械谢褜薪懈褑褘, 褍 薪懈褏 写芯褔械褉懈 小褌械褎邪薪懈, 肖褉械写械褉懈泻邪, 懈 褋褘薪 袦邪褉泻褍褋.
小锌芯泻芯泄薪邪褟 写芯斜褉芯卸械谢邪褌械谢褜薪邪褟 泻褉邪褋邪胁懈褑邪 小褌械褎邪薪懈 ("胁褋械 褏芯褌褟褌 薪邪 屑薪械 卸械薪懈褌褜褋褟") 褌邪泻邪褟 邪薪谐谢懈泄褋泻邪褟 褉芯蟹邪, 芯泻芯薪褔懈胁 泻芯谢谢械写卸 锌褉械锌芯写邪械褌 褌械锌械褉褜 胁 褌芯泄 褕泻芯谢械 写谢褟 写械胁芯褔械泻, 谐写械 褋邪屑邪 褍褔懈谢邪褋褜. 袩褉械褌械薪写械薪褌芯胁 薪邪 械械 褉褍泻褍 斜褘谢芯 薪械屑邪谢芯, 薪芯 褋邪屑邪 写械胁褍褕泻邪 薪械 褉胁邪谢邪褋褜 胁 斜芯谢芯褌芯 褋械屑械泄薪芯泄 卸懈蟹薪懈, 锌芯泻邪 薪械 胁褋褌褉械褌懈谢邪 袛褝薪懈褝谢邪 袨褉褌芯薪邪, 锌褉懈褏芯写褋泻芯谐芯 泻褍褉邪褌邪, 芯谐褉芯屑薪芯谐芯 薪械谢芯胁泻芯谐芯 懈 薪械褍泻谢褞卸械谐芯 褌芯谢褋褌褟泻邪, 褔褜懈屑 写械胁懈蟹芯屑 屑芯谐谢芯 斜褘 褋褌邪褌褜 写械褟褌械谢褜薪芯械 写芯斜褉芯. 袨薪懈 懈 锌褉懈褌褟薪褍谢懈褋褜 写褉褍谐 泻 写褉褍谐褍 胁 褋芯芯褌胁械褌褋褌胁懈懈 褋 斜芯褝褑懈邪薪褋泻懈屑 "锌芯写芯斜懈械 褋褌褉械屑懈褌褋褟 泻 锌芯写芯斜懈褞" (薪褍, 褝褌芯 泻褉芯屑械 褋械泻褋褍邪谢褜薪芯谐芯 锌褉懈褌褟卸械薪懈褟).
袦谢邪写褕邪褟 肖褉械写械褉懈泻邪, 褋芯胁械褉褕械薪薪邪褟 锌褉芯褌懈胁芯锌芯谢芯卸薪芯褋褌褜 褋械褋褌褉褘, 褉褘卸邪褟 斜械褋褌懈褟, 斜褍褉褟 懈 薪邪褌懈褋泻, "褟 褔褌芯 褍谐芯写薪芯 屑芯谐褍, 褔褌芯 褍谐芯写薪芯 屑芯谐褍 谢褍褔褕械 胁褋械褏 锌褉芯褔懈褏". 袧邪 褋邪屑芯屑 写械谢械, 谢褍褔褕械 胁褋械谐芯 褍 薪械械 锌芯谢褍褔邪械褌褋褟 褔懈褌邪褌褜 泻薪懈谐懈 懈 懈薪褌械褉锌褉械褌懈褉芯胁邪褌褜 锌褉芯褔懈褌邪薪薪芯械. 袨薪邪 薪械褏芯褉芯褕邪 褋芯斜芯泄 懈 锌芯褔褌懈 谢懈褕械薪邪 褌芯泄 谐褉邪褑懈懈, 泻邪泻邪褟 屑芯卸械褌 褋谢褍卸懈褌褜 褋褌褉邪褕薪械薪褜泻芯泄 写械胁芯褔泻械 薪械泻芯褌芯褉芯泄 蟹邪屑械薪芯泄 泻褉邪褋芯褌褘. 袧芯 褍 肖褉械写械褉懈泻懈 械褋褌褜 薪械褋芯泻褉褍褕懈屑芯械 褍斜械卸写械薪懈械 胁 褋胁芯械屑 锌褉械胁芯褋褏芯写褋褌胁械, 泻芯褌芯褉芯械 胁械褉薪械械 写褉褍谐懈褏 邪褉谐褍屑械薪褌芯胁 褍斜械卸写邪械褌 芯泻褉褍卸邪褞褖懈褏, 褔褌芯 薪芯褋懈褌械谢褜 写芯褋褌芯懈薪 谢褍褔褕械谐芯, 懈 胁褋褟 芯薪邪 锌褘谢邪褞褖懈泄 褟褉芯褋褌薪褘泄 芯谐芯薪褜.
袦谢邪写褕懈泄 胁 褋械屑褜械 袦邪褉泻褍褋 ("写邪, 褟 蟹薪邪褞, 褌邪泻 褋褏芯写褟褌 褋 褍屑邪") 泻褉邪褋懈胁褘泄 褏褉褍锌泻懈泄 屑邪谢褜褔懈泻 芯写懈薪芯泻懈泄 邪褋褌屑邪褌懈泻, 褔褉械蟹胁褘褔邪泄薪芯 芯写邪褉械薪薪褘泄 屑褍蟹褘泻邪谢褜薪芯 懈 屑邪褌械屑邪褌懈褔械褋泻懈, 懈 褋 褟胁薪褘屑懈 褔械褉褌邪屑懈 邪褍褌懈褔薪芯谐芯 褋锌械泻褌褉邪. 袝褋褌褜 褌芯薪泻芯泻芯卸懈械 谢褞写懈, 泻芯褌芯褉褘褏 芯褋褌褉褘械 褍谐谢褘 褝褌芯谐芯 屑懈褉邪 褉邪薪褟褌 斜芯谢褜薪械械 锌褉芯褔懈褏, 芯薪 懈蟹 褌邪泻懈褏. 袠 芯薪 褋谢褘褕懈褌 屑褍蟹褘泻褍 褋褎械褉, 褌芯 褍屑械薪懈械 薪邪褏芯写懈褌褜 褉械褕械薪懈褟 褋谢芯卸薪褘褏 屑邪褌械屑邪褌懈褔械褋泻懈褏 蟹邪写邪褔 懈 写械谢邪褌褜 屑谐薪芯胁械薪薪褘械 胁褘褔懈褋谢械薪懈褟, 芯薪芯 懈 写邪胁邪谢芯 芯褖褍褖械薪懈械 薪械屑褘褋谢懈屑芯泄 谐邪褉屑芯薪懈懈, 锌芯泻邪 袘懈谢谢 薪械 锌褉懈胁械谢 泻邪泻芯谐芯-褌芯 锌褉芯褎械褋褋芯褉邪 褔褜褟 锌芯锌褘褌泻邪 锌褉械锌邪褉懈褉芯胁邪褌褜 写邪褉 蟹邪泻芯薪褔懈谢邪褋褜 褌械屑, 褔褌芯 芯薪 锌芯泻懈薪褍谢 屑邪谢褜褔懈泻邪.
小芯褋褌芯褟薪懈械 薪械懈蟹斜褘胁薪芯泄 屑褍泻懈 锌褉械泻褉邪褌懈谢芯褋褜, 泻芯谐写邪 芯薪 芯斜褉械谢 写褉褍谐邪 胁 谢懈褑械 锌褉械锌芯写邪胁邪褌械谢褟 斜懈芯谢芯谐懈懈 袥褍泻邪褋邪 小懈屑屑芯薪褋邪, 芯写械褉卸懈屑芯谐芯 褝蟹芯褌械褉懈褔械褋泻懈屑懈 懈写械褟屑懈 胁 褝褌邪泻芯屑 薪褜褞-褝泄写卸懈褋褌褋泻芯屑 懈蟹胁芯写械: 薪械芯褟蟹褘褔械褋褌胁芯, 谐懈锌薪芯锌械写懈褟, 芯褋芯蟹薪邪薪薪褘械 褋薪芯胁懈写械薪懈褟, 褉懈褌褍邪谢褘 褉邪褋褕懈褉械薪懈褟 褋芯蟹薪邪薪懈褟 懈 锌褉芯褔邪褟 锌褋懈褏芯写械谢懈泻邪. 袙 袦邪褉泻褍褋械 袥褍泻邪褋 胁懈写懈褌 薪械 褌芯 屑械写懈褍屑邪, 薪械 褌芯 胁芯胁褋械 屑械褋褋懈褞 懈 胁褋械 懈褏 褋芯胁屑械褋褌薪褘械 褝泻褋锌械褉懈屑械薪褌褘 褟胁薪芯 芯褌写邪褞褌 斜械蟹褍屑懈械屑. 袧芯 锌芯锌褉芯斜褍泄褌械 褋泻邪蟹邪褌褜 芯写懈薪芯泻芯屑褍 锌芯写褉芯褋褌泻褍, 褍 泻芯褌芯褉芯谐芯 薪邪泻芯薪械褑 锌芯褟胁懈谢褋褟 写褉褍谐, 褔褌芯 褝褌芯 薪械 胁锌芯谢薪械, 锌芯 胁邪褕械屑褍 屑薪械薪懈褞. 锌芯写褏芯写褟褖邪褟 写谢褟 薪械谐芯 泻芯屑锌邪薪懈褟. 孝芯-褌芯 卸械.
袠 胁芯褌 褝褌芯 胁褋械 芯褔械薪褜 泻芯薪褋锌械泻褌懈胁薪芯 芯斜 芯写薪芯泄 褋械屑褜械 胁 褎芯泻褍褋械 胁薪懈屑邪薪懈褟 泻薪懈谐懈. 袧懈褔械谐芯 械褖械 薪械 褋泻邪蟹邪胁 芯 褋褞卸械褌械, 胁 褑械薪褌褉械 泻芯褌芯褉芯谐芯 锌褉械锌芯写邪胁邪褌械谢褜 褌芯泄 卸械 褕泻芯谢褘 写谢褟 屑邪谢褜褔懈泻芯胁 袗谢械泻褋邪薪写褉 校褝写写械褉斜械褉懈, 薪邪锌懈褋邪胁褕懈泄 锌褜械褋褍 芯 袝谢懈蟹邪胁械褌械 I, 芯泻芯薪褔邪薪懈械 褉邪斜芯褌褘 薪邪写 泻芯褌芯褉芯泄 褋褔邪褋褌谢懈胁芯 褋芯胁锌锟斤拷谢芯 褋 胁芯褋褕械褋褌胁懈械屑 薪邪 锌褉械褋褌芯谢 械械 褑邪褉褋褌胁械薪薪芯泄 褌械蟹泻懈, 锌芯 褋械泄 写械薪褜 锌褉邪胁褟褖械泄 袗薪谐谢懈械泄. 袦邪谢芯 褌芯谐芯, 锌褜械褋芯泄, 写械泄褋褌胁懈褌械谢褜薪芯 锌褉械泻褉邪褋薪芯泄, 蟹邪懈薪褌械褉械褋芯胁邪谢褋褟 屑械褑械薪邪褌 袣褉芯褍, 谐芯褌芯胁褘泄 褋锌芯褋芯斜褋褌胁芯胁邪褌褜 褉械邪谢懈蟹邪褑懈懈 锌褉芯械泻褌邪 薪械屑邪谢芯泄 褝薪械褉谐懈械泄, 写械薪褜谐邪屑懈 懈 褋胁褟蟹褟屑懈 - 泻谢邪褋褋懈褔械褋泻芯械 "芯泻邪蟹邪褌褜褋褟 胁 薪褍卸薪芯械 胁褉械屑褟 胁 薪褍卸薪芯屑 屑械褋褌械".
袙锌褉芯褔械屑, 锌芯褋谢械写薪械械 褋 褉邪胁薪褘屑 芯褋薪芯胁邪薪懈械屑 屑芯卸薪芯 芯褌薪械褋褌懈 泻 肖褉械写械褉懈泻械, 胁 褔褜械屑 褋芯褔械褌邪薪懈懈 褟褉芯褋褌懈 褋 谐褉邪褑懈械泄 泻芯褉褟谐懈 泻褍锌薪芯 褋 锌芯褉邪蟹懈褌械谢褜薪褘屑 锌芯褉褌褉械褌薪褘屑 褋褏芯写褋褌胁芯屑, 斜芯谢褜褕芯泄 褔械谢芯胁械泻 褉邪蟹谐谢褟写懈褌 泻芯褉芯谢械胁褍-写械胁褋褌胁械薪薪懈褑褍 懈 芯褌写邪褋褌 械泄 谐谢邪胁薪褍褞 褉芯谢褜 胁 锌芯褋褌邪薪芯胁泻械. 袗 屑械卸 褌械屑, 锌械褉懈锌械褌懈懈 褝褌芯谐芯 写械泄褋褌胁邪 懈 褋芯锌褍褌褋褌胁褍褞褖懈褏 械屑褍 胁谢褞斜谢械薪薪芯褋褌械泄, 褉邪蟹芯褔邪褉芯胁邪薪懈泄, 懈薪褌褉懈谐, 褉邪褋褋褌邪胁邪薪懈泄 - 褋芯褋褌邪胁褟褌 芯褋薪芯胁褍 褋褞卸械褌邪. 袠 褝褌芯 褟 械褖械 薪懈褔械谐芯 薪械 褋泻邪蟹邪谢邪 芯 薪械胁械褉芯褟褌薪芯泄 邪谢谢褞蟹懈胁薪芯褋褌懈 褉芯屑邪薪邪, 胁 泻芯褌芯褉芯屑 械写胁邪 薪械 泻邪卸写褘泄 写懈邪谢芯谐 邪锌械谢谢懈褉褍械褌 泻 谢懈褌械褉邪褌褍褉械, 芯褌 楔械泻褋锌懈褉邪 写芯 孝.小. 协谢懈芯褌邪 懈 协蟹褉褘 袩邪褍薪写邪, 褏芯褌褟 褍写械谢褜薪褘泄 胁械褋 芯褌褋褘谢芯泻 泻 协泄胁芯薪褋泻芯屑褍 袥械斜械写褞 薪邪 锌芯褉褟写芯泻 斜芯谢褜褕械 芯褋褌邪谢褜薪褘褏.
袩褉懈蟹薪邪褞褋褜, 薪邪褔懈薪邪谢邪 褔懈褌邪褌褜, 胁械褉薪械械 褋谢褍褕邪褌褜 胁 芯褉懈谐懈薪邪谢械, 懈蟹褉褟写薪芯 薪邪屑邪褟胁褕懈褋褜, 褌械泻褋褌 锌褉械写褋褌邪胁谢褟谢褋褟 锌械褉械谐褉褍卸械薪薪褘屑 褟蟹褘泻芯胁褘屑懈 泻褉邪褋懈胁芯褋褌褟屑懈, 褔褉械蟹屑械褉薪芯 懈 薪械锌褉邪胁芯屑械褉薪芯 懈蟹褍蟹芯褉械薪薪褘屑. 袧邪 褋谢褍褏 褋褞卸械褌薪邪褟 泻邪薪胁邪 斜褉邪谢邪褋褜 斜械蟹 锌褉芯斜谢械屑, 薪芯 褟蟹褘泻芯胁邪褟 懈蟹斜褘褌芯褔薪芯褋褌褜, 斜芯谐邪褌械泄褕邪褟 褉械褎械褉械薪褌薪芯褋褌褜 褉芯屑邪薪邪 褍褋泻芯谢褜蟹邪谢邪. 协褌芯 褋械泄褔邪褋 泻 褌芯屑褍, 褔褌芯 褉褍褋褋泻懈泄 胁邪褉懈邪薪褌, 薪邪写 泻芯褌芯褉褘屑 褌褉褍写懈谢褋褟 泻芯谢谢械泻褌懈胁 锌械褉械胁芯写褔懈泻芯胁: 袠褋邪械胁邪, 袥邪薪褔懈泻芯胁, 袩褋褍褉褑械胁 - 锌褉械胁芯褋褏芯写械薪, 褌邪泻邪褟 斜邪谢械褌薪邪褟 胁蟹谢械褌薪芯褋褌褜, 蟹邪 泻芯褌芯褉芯泄 薪械 芯褖褍褖邪械褌褋褟 泻芯谢芯褋褋邪谢褜薪芯谐芯 褌褉褍写邪. 袠 褉械写邪泻褌芯褉褋泻邪褟 褉邪斜芯褌邪 褌芯谐芯 褔械谢芯胁械泻邪 胁 袗蟹斜褍泻械, 泻芯褌芯褉褘泄 褋胁械谢 褌褉懈 谐芯谢芯褋邪 胁芯械写懈薪芯, 胁褘褕械 胁褋褟泻懈褏 锌芯褏胁邪谢. 袣薪懈谐邪 胁械谢懈泻芯谢械锌薪邪, 锌芯-薪邪褋褌芯褟褖械屑褍 袘芯谢褜褕芯泄 褉芯屑邪薪.
As for The Maid in the Garden, the novel could equally well be called " the book of Stephanie, Marcus, Daniel, Alexander." Of course, the bright Frederica, who will be the center of attention in the following novels, is not yet in the main position here, although in the main role. In the sense that she, a schoolgirl, literally gets a young Elizabeth I in a play where the virgin queen is the central character
袧械 写械胁邪 懈 薪械 褌芯, 褔褌芯斜褘 胁 褋邪写褍
"袣邪泻芯泄 楔械泻褋锌懈褉, 懈蟹 锌芯谐褉械斜泻邪
袛芯屑芯泄 胁械褉薪褍胁褕懈褋褜 薪邪 褉邪褋褋胁械褌械,
袙 斜褉械写褍 褋锌邪写邪褟 褋 褌褞褎褟泻邪
袙 褌邪泻芯屑 褋锌邪褋邪械褌褋褟 褋褞卸械褌械?"
袗谢械泻褋邪薪写褉 袣褍褕薪械褉.
袨斜 褝褌芯屑 褉芯屑邪薪械, 泻芯褌芯褉褘屑 "袗蟹斜褍泻邪 袗褌褌懈泻褍褋" 芯写邪褉懈谢邪 褉褍褋褋泻芯褟蟹褘褔薪芯谐芯 褔懈褌邪褌械谢褟 胁 泻芯薪褑械 邪锌褉械谢褟, 谢懈褌械褉邪褌褍褉薪褘械 芯斜芯蟹褉械薪懈褟 谐芯胁芯褉懈谢懈 泻邪泻 芯斜 芯写薪芯泄 懈蟹 褋邪屑褘褏 芯卸懈写邪械屑褘褏 薪芯胁懈薪芯泻 泻薪懈卸薪芯泄 胁械褋薪褘. 袙 斜芯谢褜褕懈薪褋褌胁械 褋谢褍褔邪械胁 蟹邪谐谢邪胁薪褘屑 邪褉谐褍屑械薪褌芯屑 胁 锌芯谢褜蟹褍 褔褌械薪懈褟 胁褘褋褌褍锌邪谢芯 褌芯, 褔褌芯 泻薪懈谐邪 褟胁谢褟械褌 褋芯斜芯泄 锌械褉胁褍褞 褔邪褋褌褜 "袣胁邪褉褌械褌邪 肖褉械写械褉懈泻懈", 薪械 褉邪褋褌芯谢泻芯胁褘胁邪褟, 泻褌芯 褌邪泻邪褟 褝褌邪 肖褉械写械褉懈泻邪 褋 械械 泻胁邪褉褌械褌芯屑, 褔械屑 斜褘 芯薪 薪懈 斜褘谢.
孝械褌褉邪谢芯谐懈褟, 泻芯褌芯褉褍褞 褋褔懈褌邪褞褌 magnum opus 袗薪褌芯薪懈懈 袘邪泄械褌褌, 芯褏胁邪褌褘胁邪械褌 褔械褌胁械褉褌褜胁械泻芯胁芯泄 锌褉芯屑械卸褍褌芯泻 懈 锌懈褋邪谢邪褋褜 薪邪 锌褉芯褌褟卸械薪懈懈 写胁邪写褑邪褌懈 褔械褌褘褉械褏 谢械褌: 锌械褉胁褘械 写胁邪 褉芯屑邪薪邪 写芯 屑懈褉芯胁芯泄 懈蟹胁械褋褌薪芯褋褌懈 锌懈褋邪褌械谢褜薪懈褑褘, 锌褉懈褕械写褕械泄 泻 薪械泄 褋 斜褍泻械褉芯胁褋泻懈屑 "袨斜谢邪写邪褌褜", 蟹邪胁械褉褕邪褞褖懈械 锌芯褋谢械. 袧邪 褉褍褋褋泻芯屑 锌芯泻邪 谢懈褕褜 锌械褉胁邪褟 泻薪懈谐邪, 泻芯褌芯褉邪褟 褍胁懈写械谢邪 褋胁械褌 胁 褋械屑褜写械褋褟褌 胁芯褋褜屑芯屑, 邪 芯锌懈褋邪薪薪褘械 褋芯斜褘褌懈褟 芯褌薪芯褋褟褌褋褟 胁芯胁褋械 泻 锌褟褌褜写械褋褟褌 褌褉械褌褜械屑褍 谐芯写褍. 袚械褉芯懈薪械, 写邪胁褕械泄 懈屑褟 褔械褌褘褉械褏泻薪懈卸懈褞, 褋械屑薪邪写褑邪褌褜, 泻邪泻 胁 褌芯褌 谐芯写 袘邪泄械褌褌, 褔褌芯 锌芯蟹胁芯谢褟械褌 锌褉械写锌芯谢芯卸懈褌褜 胁 薪械泄 薪械泻芯褌芯褉褘械 邪胁褌芯斜懈芯谐褉邪褎懈褔械褋泻懈械 褔械褉褌褘.
效褌芯 泻邪褋邪械褌褋褟 "袛械胁褘 胁 褋邪写褍", 褋 褉邪胁薪褘屑 芯褋薪芯胁邪薪懈械屑 褉芯屑邪薪 屑芯卸薪芯 斜褘谢芯 斜褘 薪邪蟹胁邪褌褜 "泻薪懈谐芯泄 小褌械褎邪薪懈, 袦邪褉泻褍褋邪, 袛褝薪懈褝谢邪, 袗谢械泻褋邪薪写褉邪". 袘械蟹褍褋谢芯胁薪芯 褟褉泻邪褟 肖褉械写械褉懈泻邪, 泻芯褌芯褉邪褟 芯泻邪卸械褌褋褟 胁 褑械薪褌褉械 胁薪懈屑邪薪懈褟 胁 褋谢械写褍褞褖懈褏 褉芯屑邪薪邪褏, 蟹写械褋褜 械褖械 薪械 薪邪 芯褋薪芯胁薪芯泄 锌芯蟹懈褑懈懈, 褏芯褌褟 胁 谐谢邪胁薪芯泄 褉芯谢懈. 袙 褌芯屑 褋屑褘褋谢械, 褔褌芯 械泄, 褕泻芯谢褜薪懈褑械, 斜褍泻胁邪谢褜薪芯 写芯褋褌邪械褌褋褟 屑芯谢芯写芯泄 袝谢懈蟹邪胁械褌褘 I 胁 锌褜械褋械, 谐写械 泻芯褉芯谢械胁邪-写械胁褋褌胁械薪薪懈褑邪 褑械薪褌褉邪谢褜薪褘泄 锌械褉褋芯薪邪卸. 孝械锌械褉褜 芯 泻薪懈谐械.
袙 褎芯泻褍褋械 胁薪懈屑邪薪懈褟 褋械屑褜褟 袩芯褌褌械褉芯胁 (薪懈 泻 袚邪褉褉懈, 薪懈 泻 袘械邪褌褉懈泻褋 芯褌薪芯褕械薪懈褟 薪械 懈屑械褞褖邪褟). 袨褌械褑, 褟褉芯褋褌薪褘泄 袘懈谢谢, 锌褉械锌芯写邪械褌 胁 褔邪褋褌薪芯泄 褕泻芯谢械 写谢褟 屑邪谢褜褔懈泻芯胁, 薪械 斜褍写械褌 锌褉械褍胁械谢懈褔械薪懈械屑 褋泻邪蟹邪褌褜, 褔褌芯 薪邪 薪械屑 褌邪屑 胁褋械 写械褉卸懈褌褋褟 懈 褋 锌芯谢薪褘屑 芯褋薪芯胁邪薪懈械屑 屑芯谐 斜褘 褋泻邪蟹邪褌褜: "楔泻芯谢邪 - 褝褌芯 褟". 袪械写泻芯械 褋芯褔械褌邪薪懈械 锌械写邪谐芯谐懈褔械褋泻芯谐芯 懈 芯褉谐邪薪懈蟹邪褌芯褉褋泻芯谐芯 褌邪谢邪薪褌芯胁 写械谢邪械褌 械谐芯 薪械蟹邪屑械薪懈屑褘屑 薪邪 褉邪斜芯褌械, 写芯屑邪 芯写薪邪泻芯 袘懈谢谢 胁 懈锌芯褋褌邪褋懈 "褌懈褉邪薪 懈 褋褍屑邪褋斜褉芯写" (薪褍. 泻芯谐写邪 写邪械褌 褋械斜械 褌褉褍写 胁褘褋褌褍锌懈褌褜 胁 泻邪泻芯泄 斜褘 褌芯 薪懈 斜褘谢芯 褉芯谢懈). 袘芯谢褜褕械泄 褔邪褋褌褜褞 械谐芯 胁泻谢邪写 胁 褋械屑械泄薪褍褞 卸懈蟹薪褜 芯谐褉邪薪懈褔懈胁邪械褌褋褟 斜械蟹褉邪蟹谢懈褔懈械屑.
小邪屑芯芯褌胁械褉卸械薪薪邪褟 校懈薪懈褎褉械写, 卸械薪邪 懈 屑邪褌褜 褌褉芯懈褏 械谐芯 写械褌械泄, 胁 褋胁芯褞 芯褔械褉械写褜 褌邪, 薪邪 泻芯屑 写械褉卸懈褌褋褟 写芯屑. 孝邪泻芯械 褋械斜械 胁锌芯谢薪械 锌邪褌褉懈邪褉褏邪谢褜薪芯械 褉邪蟹写械谢械薪懈械 芯斜褟蟹邪薪薪芯褋褌械泄: 褉邪斜芯褌邪褞褌 芯写懈薪邪泻芯胁芯, 薪芯 褋谢邪胁邪 懈 锌芯褔械褌 写芯褋褌邪械褌褋褟 褋褍锌褉褍谐褍, 胁 褌芯 胁褉械屑褟, 泻邪泻 卸械薪邪 胁褘薪褍卸写械薪薪芯 写芯胁芯谢褜褋褌胁褍械褌褋褟 褉芯谢褜褞 屑褘褕泻懈 褋械褉芯泄 斜械谢芯泄 薪械褋屑械谢芯泄 懈 胁芯褋锌懈褌邪褌械谢褜薪懈褑褘, 褍 薪懈褏 写芯褔械褉懈 小褌械褎邪薪懈, 肖褉械写械褉懈泻邪, 懈 褋褘薪 袦邪褉泻褍褋.
小锌芯泻芯泄薪邪褟 写芯斜褉芯卸械谢邪褌械谢褜薪邪褟 泻褉邪褋邪胁懈褑邪 小褌械褎邪薪懈 ("胁褋械 褏芯褌褟褌 薪邪 屑薪械 卸械薪懈褌褜褋褟") 褌邪泻邪褟 邪薪谐谢懈泄褋泻邪褟 褉芯蟹邪, 芯泻芯薪褔懈胁 泻芯谢谢械写卸 锌褉械锌芯写邪械褌 褌械锌械褉褜 胁 褌芯泄 褕泻芯谢械 写谢褟 写械胁芯褔械泻, 谐写械 褋邪屑邪 褍褔懈谢邪褋褜. 袩褉械褌械薪写械薪褌芯胁 薪邪 械械 褉褍泻褍 斜褘谢芯 薪械屑邪谢芯, 薪芯 褋邪屑邪 写械胁褍褕泻邪 薪械 褉胁邪谢邪褋褜 胁 斜芯谢芯褌芯 褋械屑械泄薪芯泄 卸懈蟹薪懈, 锌芯泻邪 薪械 胁褋褌褉械褌懈谢邪 袛褝薪懈褝谢邪 袨褉褌芯薪邪, 锌褉懈褏芯写褋泻芯谐芯 泻褍褉邪褌邪, 芯谐褉芯屑薪芯谐芯 薪械谢芯胁泻芯谐芯 懈 薪械褍泻谢褞卸械谐芯 褌芯谢褋褌褟泻邪, 褔褜懈屑 写械胁懈蟹芯屑 屑芯谐谢芯 斜褘 褋褌邪褌褜 写械褟褌械谢褜薪芯械 写芯斜褉芯. 袨薪懈 懈 锌褉懈褌褟薪褍谢懈褋褜 写褉褍谐 泻 写褉褍谐褍 胁 褋芯芯褌胁械褌褋褌胁懈懈 褋 斜芯褝褑懈邪薪褋泻懈屑 "锌芯写芯斜懈械 褋褌褉械屑懈褌褋褟 泻 锌芯写芯斜懈褞" (薪褍, 褝褌芯 泻褉芯屑械 褋械泻褋褍邪谢褜薪芯谐芯 锌褉懈褌褟卸械薪懈褟).
袦谢邪写褕邪褟 肖褉械写械褉懈泻邪, 褋芯胁械褉褕械薪薪邪褟 锌褉芯褌懈胁芯锌芯谢芯卸薪芯褋褌褜 褋械褋褌褉褘, 褉褘卸邪褟 斜械褋褌懈褟, 斜褍褉褟 懈 薪邪褌懈褋泻, "褟 褔褌芯 褍谐芯写薪芯 屑芯谐褍, 褔褌芯 褍谐芯写薪芯 屑芯谐褍 谢褍褔褕械 胁褋械褏 锌褉芯褔懈褏". 袧邪 褋邪屑芯屑 写械谢械, 谢褍褔褕械 胁褋械谐芯 褍 薪械械 锌芯谢褍褔邪械褌褋褟 褔懈褌邪褌褜 泻薪懈谐懈 懈 懈薪褌械褉锌褉械褌懈褉芯胁邪褌褜 锌褉芯褔懈褌邪薪薪芯械. 袨薪邪 薪械褏芯褉芯褕邪 褋芯斜芯泄 懈 锌芯褔褌懈 谢懈褕械薪邪 褌芯泄 谐褉邪褑懈懈, 泻邪泻邪褟 屑芯卸械褌 褋谢褍卸懈褌褜 褋褌褉邪褕薪械薪褜泻芯泄 写械胁芯褔泻械 薪械泻芯褌芯褉芯泄 蟹邪屑械薪芯泄 泻褉邪褋芯褌褘. 袧芯 褍 肖褉械写械褉懈泻懈 械褋褌褜 薪械褋芯泻褉褍褕懈屑芯械 褍斜械卸写械薪懈械 胁 褋胁芯械屑 锌褉械胁芯褋褏芯写褋褌胁械, 泻芯褌芯褉芯械 胁械褉薪械械 写褉褍谐懈褏 邪褉谐褍屑械薪褌芯胁 褍斜械卸写邪械褌 芯泻褉褍卸邪褞褖懈褏, 褔褌芯 薪芯褋懈褌械谢褜 写芯褋褌芯懈薪 谢褍褔褕械谐芯, 懈 胁褋褟 芯薪邪 锌褘谢邪褞褖懈泄 褟褉芯褋褌薪褘泄 芯谐芯薪褜.
袦谢邪写褕懈泄 胁 褋械屑褜械 袦邪褉泻褍褋 ("写邪, 褟 蟹薪邪褞, 褌邪泻 褋褏芯写褟褌 褋 褍屑邪") 泻褉邪褋懈胁褘泄 褏褉褍锌泻懈泄 屑邪谢褜褔懈泻 芯写懈薪芯泻懈泄 邪褋褌屑邪褌懈泻, 褔褉械蟹胁褘褔邪泄薪芯 芯写邪褉械薪薪褘泄 屑褍蟹褘泻邪谢褜薪芯 懈 屑邪褌械屑邪褌懈褔械褋泻懈, 懈 褋 褟胁薪褘屑懈 褔械褉褌邪屑懈 邪褍褌懈褔薪芯谐芯 褋锌械泻褌褉邪. 袝褋褌褜 褌芯薪泻芯泻芯卸懈械 谢褞写懈, 泻芯褌芯褉褘褏 芯褋褌褉褘械 褍谐谢褘 褝褌芯谐芯 屑懈褉邪 褉邪薪褟褌 斜芯谢褜薪械械 锌褉芯褔懈褏, 芯薪 懈蟹 褌邪泻懈褏. 袠 芯薪 褋谢褘褕懈褌 屑褍蟹褘泻褍 褋褎械褉, 褌芯 褍屑械薪懈械 薪邪褏芯写懈褌褜 褉械褕械薪懈褟 褋谢芯卸薪褘褏 屑邪褌械屑邪褌懈褔械褋泻懈褏 蟹邪写邪褔 懈 写械谢邪褌褜 屑谐薪芯胁械薪薪褘械 胁褘褔懈褋谢械薪懈褟, 芯薪芯 懈 写邪胁邪谢芯 芯褖褍褖械薪懈械 薪械屑褘褋谢懈屑芯泄 谐邪褉屑芯薪懈懈, 锌芯泻邪 袘懈谢谢 薪械 锌褉懈胁械谢 泻邪泻芯谐芯-褌芯 锌褉芯褎械褋褋芯褉邪 褔褜褟 锌芯锌褘褌泻邪 锌褉械锌邪褉懈褉芯胁邪褌褜 写邪褉 蟹邪泻芯薪褔懈谢邪褋褜 褌械屑, 褔褌芯 芯薪 锌芯泻懈薪褍谢 屑邪谢褜褔懈泻邪.
小芯褋褌芯褟薪懈械 薪械懈蟹斜褘胁薪芯泄 屑褍泻懈 锌褉械泻褉邪褌懈谢芯褋褜, 泻芯谐写邪 芯薪 芯斜褉械谢 写褉褍谐邪 胁 谢懈褑械 锌褉械锌芯写邪胁邪褌械谢褟 斜懈芯谢芯谐懈懈 袥褍泻邪褋邪 小懈屑屑芯薪褋邪, 芯写械褉卸懈屑芯谐芯 褝蟹芯褌械褉懈褔械褋泻懈屑懈 懈写械褟屑懈 胁 褝褌邪泻芯屑 薪褜褞-褝泄写卸懈褋褌褋泻芯屑 懈蟹胁芯写械: 薪械芯褟蟹褘褔械褋褌胁芯, 谐懈锌薪芯锌械写懈褟, 芯褋芯蟹薪邪薪薪褘械 褋薪芯胁懈写械薪懈褟, 褉懈褌褍邪谢褘 褉邪褋褕懈褉械薪懈褟 褋芯蟹薪邪薪懈褟 懈 锌褉芯褔邪褟 锌褋懈褏芯写械谢懈泻邪. 袙 袦邪褉泻褍褋械 袥褍泻邪褋 胁懈写懈褌 薪械 褌芯 屑械写懈褍屑邪, 薪械 褌芯 胁芯胁褋械 屑械褋褋懈褞 懈 胁褋械 懈褏 褋芯胁屑械褋褌薪褘械 褝泻褋锌械褉懈屑械薪褌褘 褟胁薪芯 芯褌写邪褞褌 斜械蟹褍屑懈械屑. 袧芯 锌芯锌褉芯斜褍泄褌械 褋泻邪蟹邪褌褜 芯写懈薪芯泻芯屑褍 锌芯写褉芯褋褌泻褍, 褍 泻芯褌芯褉芯谐芯 薪邪泻芯薪械褑 锌芯褟胁懈谢褋褟 写褉褍谐, 褔褌芯 褝褌芯 薪械 胁锌芯谢薪械, 锌芯 胁邪褕械屑褍 屑薪械薪懈褞. 锌芯写褏芯写褟褖邪褟 写谢褟 薪械谐芯 泻芯屑锌邪薪懈褟. 孝芯-褌芯 卸械.
袠 胁芯褌 褝褌芯 胁褋械 芯褔械薪褜 泻芯薪褋锌械泻褌懈胁薪芯 芯斜 芯写薪芯泄 褋械屑褜械 胁 褎芯泻褍褋械 胁薪懈屑邪薪懈褟 泻薪懈谐懈. 袧懈褔械谐芯 械褖械 薪械 褋泻邪蟹邪胁 芯 褋褞卸械褌械, 胁 褑械薪褌褉械 泻芯褌芯褉芯谐芯 锌褉械锌芯写邪胁邪褌械谢褜 褌芯泄 卸械 褕泻芯谢褘 写谢褟 屑邪谢褜褔懈泻芯胁 袗谢械泻褋邪薪写褉 校褝写写械褉斜械褉懈, 薪邪锌懈褋邪胁褕懈泄 锌褜械褋褍 芯 袝谢懈蟹邪胁械褌械 I, 芯泻芯薪褔邪薪懈械 褉邪斜芯褌褘 薪邪写 泻芯褌芯褉芯泄 褋褔邪褋褌谢懈胁芯 褋芯胁锌锟斤拷谢芯 褋 胁芯褋褕械褋褌胁懈械屑 薪邪 锌褉械褋褌芯谢 械械 褑邪褉褋褌胁械薪薪芯泄 褌械蟹泻懈, 锌芯 褋械泄 写械薪褜 锌褉邪胁褟褖械泄 袗薪谐谢懈械泄. 袦邪谢芯 褌芯谐芯, 锌褜械褋芯泄, 写械泄褋褌胁懈褌械谢褜薪芯 锌褉械泻褉邪褋薪芯泄, 蟹邪懈薪褌械褉械褋芯胁邪谢褋褟 屑械褑械薪邪褌 袣褉芯褍, 谐芯褌芯胁褘泄 褋锌芯褋芯斜褋褌胁芯胁邪褌褜 褉械邪谢懈蟹邪褑懈懈 锌褉芯械泻褌邪 薪械屑邪谢芯泄 褝薪械褉谐懈械泄, 写械薪褜谐邪屑懈 懈 褋胁褟蟹褟屑懈 - 泻谢邪褋褋懈褔械褋泻芯械 "芯泻邪蟹邪褌褜褋褟 胁 薪褍卸薪芯械 胁褉械屑褟 胁 薪褍卸薪芯屑 屑械褋褌械".
袙锌褉芯褔械屑, 锌芯褋谢械写薪械械 褋 褉邪胁薪褘屑 芯褋薪芯胁邪薪懈械屑 屑芯卸薪芯 芯褌薪械褋褌懈 泻 肖褉械写械褉懈泻械, 胁 褔褜械屑 褋芯褔械褌邪薪懈懈 褟褉芯褋褌懈 褋 谐褉邪褑懈械泄 泻芯褉褟谐懈 泻褍锌薪芯 褋 锌芯褉邪蟹懈褌械谢褜薪褘屑 锌芯褉褌褉械褌薪褘屑 褋褏芯写褋褌胁芯屑, 斜芯谢褜褕芯泄 褔械谢芯胁械泻 褉邪蟹谐谢褟写懈褌 泻芯褉芯谢械胁褍-写械胁褋褌胁械薪薪懈褑褍 懈 芯褌写邪褋褌 械泄 谐谢邪胁薪褍褞 褉芯谢褜 胁 锌芯褋褌邪薪芯胁泻械. 袗 屑械卸 褌械屑, 锌械褉懈锌械褌懈懈 褝褌芯谐芯 写械泄褋褌胁邪 懈 褋芯锌褍褌褋褌胁褍褞褖懈褏 械屑褍 胁谢褞斜谢械薪薪芯褋褌械泄, 褉邪蟹芯褔邪褉芯胁邪薪懈泄, 懈薪褌褉懈谐, 褉邪褋褋褌邪胁邪薪懈泄 - 褋芯褋褌邪胁褟褌 芯褋薪芯胁褍 褋褞卸械褌邪. 袠 褝褌芯 褟 械褖械 薪懈褔械谐芯 薪械 褋泻邪蟹邪谢邪 芯 薪械胁械褉芯褟褌薪芯泄 邪谢谢褞蟹懈胁薪芯褋褌懈 褉芯屑邪薪邪, 胁 泻芯褌芯褉芯屑 械写胁邪 薪械 泻邪卸写褘泄 写懈邪谢芯谐 邪锌械谢谢懈褉褍械褌 泻 谢懈褌械褉邪褌褍褉械, 芯褌 楔械泻褋锌懈褉邪 写芯 孝.小. 协谢懈芯褌邪 懈 协蟹褉褘 袩邪褍薪写邪, 褏芯褌褟 褍写械谢褜薪褘泄 胁械褋 芯褌褋褘谢芯泻 泻 协泄胁芯薪褋泻芯屑褍 袥械斜械写褞 薪邪 锌芯褉褟写芯泻 斜芯谢褜褕械 芯褋褌邪谢褜薪褘褏.
袩褉懈蟹薪邪褞褋褜, 薪邪褔懈薪邪谢邪 褔懈褌邪褌褜, 胁械褉薪械械 褋谢褍褕邪褌褜 胁 芯褉懈谐懈薪邪谢械, 懈蟹褉褟写薪芯 薪邪屑邪褟胁褕懈褋褜, 褌械泻褋褌 锌褉械写褋褌邪胁谢褟谢褋褟 锌械褉械谐褉褍卸械薪薪褘屑 褟蟹褘泻芯胁褘屑懈 泻褉邪褋懈胁芯褋褌褟屑懈, 褔褉械蟹屑械褉薪芯 懈 薪械锌褉邪胁芯屑械褉薪芯 懈蟹褍蟹芯褉械薪薪褘屑. 袧邪 褋谢褍褏 褋褞卸械褌薪邪褟 泻邪薪胁邪 斜褉邪谢邪褋褜 斜械蟹 锌褉芯斜谢械屑, 薪芯 褟蟹褘泻芯胁邪褟 懈蟹斜褘褌芯褔薪芯褋褌褜, 斜芯谐邪褌械泄褕邪褟 褉械褎械褉械薪褌薪芯褋褌褜 褉芯屑邪薪邪 褍褋泻芯谢褜蟹邪谢邪. 协褌芯 褋械泄褔邪褋 泻 褌芯屑褍, 褔褌芯 褉褍褋褋泻懈泄 胁邪褉懈邪薪褌, 薪邪写 泻芯褌芯褉褘屑 褌褉褍写懈谢褋褟 泻芯谢谢械泻褌懈胁 锌械褉械胁芯写褔懈泻芯胁: 袠褋邪械胁邪, 袥邪薪褔懈泻芯胁, 袩褋褍褉褑械胁 - 锌褉械胁芯褋褏芯写械薪, 褌邪泻邪褟 斜邪谢械褌薪邪褟 胁蟹谢械褌薪芯褋褌褜, 蟹邪 泻芯褌芯褉芯泄 薪械 芯褖褍褖邪械褌褋褟 泻芯谢芯褋褋邪谢褜薪芯谐芯 褌褉褍写邪. 袠 褉械写邪泻褌芯褉褋泻邪褟 褉邪斜芯褌邪 褌芯谐芯 褔械谢芯胁械泻邪 胁 袗蟹斜褍泻械, 泻芯褌芯褉褘泄 褋胁械谢 褌褉懈 谐芯谢芯褋邪 胁芯械写懈薪芯, 胁褘褕械 胁褋褟泻懈褏 锌芯褏胁邪谢. 袣薪懈谐邪 胁械谢懈泻芯谢械锌薪邪, 锌芯-薪邪褋褌芯褟褖械屑褍 袘芯谢褜褕芯泄 褉芯屑邪薪.
November 29, 2024
free at last
May 2, 2016
I embrace Byatt's works like familiar friends every single occasion following my vastly memorable reading of Possession. Her stories are splendid and deliberate, woven with inter-textual references, a tapestry on which the jewels of English language and history glimmer on show. Her every word is sensitive to its poetic inheritance and potential. The Virgin in the Garden is no exception. What I look forward to most in Byatt's work is the way in which a text grows the reader in knowledge and vision, as the characters rush through their own thorn-bushes of human life and ideas. Regardless of the subject-matter that forms the focal point of any particular work (English drama, painting and sculpture, eroticism, royalty & etc.), one is bound to learn. It is not entirely easy, not with Virgil and Spenser quoted off-handedly with Eliot, but with some further reading (or Googling), one receives the rewarding feeling of having exerted effort and gained something in return, having identified some particular resonant knot of poetry, or phrase. Riches are promised to the enthusiastic, literary mind hungry for something more than a story stuck within its papery prison, hungry for the artistry and artifice of the novel in its full splendour. Virgin is effusive, extraneous, some bits admittedly wholly unnecessary and tangential to the plot, but these irrelevant strings are threads that add the extra nuance, colour and life to the embroidered tale, like well-placed adjectives in a sentence. Eschewing the rush and hurry of a devouring mind, then, Virgin demands the deliberation, slowness, dedicated absorption of an intricate, erudite novel.
June 24, 2015
England, 1953. Small town Blesford in Yorkshire, private school for boys. Main characters of the novel are school teacher's children, two sisters and a brother. Narrative space: staging of a play about the Virgin Queen.
The village curate is in love with the older sister (who has a militant atheist for a father), both sisters are in love with a young teacher, and their younger brother sees the Divine Light and - out of the corner of his eye - the Eternity.
Wedgewood porcelain and painted vases, sex and deviations, pastel colors and stark craziness, meadow herbs and family life atrocities, endless literary talks and rose gardens... and as stretch forward yards and yards of spangled costume cloth, so stretches forward the rainbow-colored fabric of text... until in the end we get a book of dazzling length and complexity.
Reading it was at the same time a great pleasure and a serious challenge for my English knowledge. I constantly felt my lack of something important - may it be an erudition or some cultural layers and contexts. Or probably I am simply not smart enough to fully enjoy this.
The village curate is in love with the older sister (who has a militant atheist for a father), both sisters are in love with a young teacher, and their younger brother sees the Divine Light and - out of the corner of his eye - the Eternity.
Wedgewood porcelain and painted vases, sex and deviations, pastel colors and stark craziness, meadow herbs and family life atrocities, endless literary talks and rose gardens... and as stretch forward yards and yards of spangled costume cloth, so stretches forward the rainbow-colored fabric of text... until in the end we get a book of dazzling length and complexity.
Reading it was at the same time a great pleasure and a serious challenge for my English knowledge. I constantly felt my lack of something important - may it be an erudition or some cultural layers and contexts. Or probably I am simply not smart enough to fully enjoy this.
December 22, 2009
I did not enjoy this book. The symbolism of Elizabeth/Frederica was unbelievably heavy handed and though I liked her character and the relationship between her and Alexander I thought her brother and sister were incredibly uninteresting. I barely skimmed the sections about Lucas and Marcus--it was so obvious where it was going and really hard to care. I wanted to like this more because it had a lot of what I loved about Possession, namely the exegesis of a written work of art as a character revelation device, but it just didn't gel.
May 28, 2015
This is the first in the Frederica quartet, and I read it out of order, after having first read #4. It is exquisite and could hardly put it down. Not the least of the fun was staging it during Queen Elizabeth's coronation, 1953, an event that was important to me as a young girl at the time. There is not a single character that is not sharply drawn, believable, and sympathetic--even the "bad" guys. You so understand what motivates these people to do as they do.I love her technique of putting a story inside a story inside a story. Great literature.
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