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孝胁芯褉械薪懈械 胁 褔械褉薪芯
袩褉械蟹 1968 挟褉褋械薪邪褉 锌褍斜谢懈泻褍胁邪 "孝胁芯褉械薪懈械 胁 褔械褉薪芯", 褉芯屑邪薪, 褔懈械褌芯 写械泄褋褌胁懈械 胁械褔械 械 锌褉械薪械褋械薪芯 胁 泻褉邪褟 薪邪 小褉械写薪芯胁械泻芯胁懈械褌芯 懈 芯褖械 褋屑褗褌薪芯褌芯 蟹邪褉邪卸写邪薪械 薪邪 袪械薪械褋邪薪褋邪. 袧械谐芯胁 谐械褉芯泄 械 褍褔械薪懈褟褌, 谢械泻邪褉 懈 邪谢褏懈屑懈泻 袟械薪芯薪, 胁褗锌谢褗褌懈谢 胁 褋谢芯卸薪懈褟 褋懈 芯斜褉邪蟹 屑薪芯谐芯 芯褌 斜褍写薪懈褌械 褋胁芯斜芯写薪懈 写褍褏芯胁械 薪邪 褌邪蟹懈 械锌芯褏邪 - 袥械芯薪邪褉写芯, 袛卸芯褉写邪薪芯 袘褉褍薪芯, 孝芯屑邪蟹芯 袣邪屑锌邪薪械谢邪, 袩邪褉邪褑械谢蟹. 袪芯屑邪薪褗褌 锌褉芯褋谢械写褟胁邪 薪械褋锌懈褉薪芯褌芯 褌褗褉褋械薪械 薪邪 锌褉懈薪褑懈锌懈褌械 薪邪 械褋褌械褋褌胁芯褌芯, 泻芯懈褌芯 懈褋褌芯褉懈褔械褋泻懈 褖械 写芯胁械写邪褌 写芯 蟹邪褉邪卸写邪薪械褌芯 薪邪 褋褗胁褉械屑械薪薪邪褌邪 薪邪褍泻邪; 胁械褔薪邪褌邪 斜芯褉斜邪 褋 锌褉械写褉邪蟹褋褗写褗褑懈褌械, 泻芯懈褌芯 胁 芯薪邪蟹懈 械锌芯褏邪 褔械褋褌芯 褋邪 薪邪 卸懈胁芯褌 懈 褋屑褗褉褌. 小泻懈褌邪薪懈褟褌邪 薪邪 谐械褉芯褟 芯褌 械写懈薪 胁 写褉褍谐 谐褉邪写 懈谢懈 写褗褉卸邪胁邪 芯薪邪谐谢械写褟胁邪褌 褌芯蟹懈 锌褗褌, 泻邪褌芯 褔械褋褌芯 胁 褌褟褏 褋械 胁锌谢懈褌邪褌 褉械邪谢薪懈 懈褋褌芯褉懈褔械褋泻懈 褎邪泻褌懈 懈 褋械 芯斜褉懈褋褍胁邪 褌褉械褋泻邪胁芯褌芯 褋褗褋褌芯褟薪懈械 薪邪 写褍褏邪 薪邪 褑褟谢邪 褑懈胁懈谢懈蟹芯胁邪薪邪 袝胁褉芯锌邪 锌芯 褌芯胁邪 胁褉械屑械.
318 pages, Paperback
First published May 8, 1968
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About the author
Marguerite Yourcenar
188听books1,565听followersMarguerite Yourcenar, original name Marguerite de Crayencour, was a french novelist, essayist, poet and short-story writer who became the first woman to be elected to the Acad茅mie Fran莽aise (French Academy), an exclusive literary institution with a membership limited to 40.
She became a naturalized U.S. citizen in 1947. The name 鈥淵ourcenar鈥� is an imperfect anagram of her original name, 鈥淐rayencour.鈥�
Yourcenar鈥檚 literary works are notable for their rigorously classical style, their erudition, and their psychological subtlety. In her most important books she re-creates past eras and personages, meditating thereby on human destiny, morality, and power. Her masterpiece is M茅moires d'Hadrien, a historical novel constituting the fictionalized memoirs of that 2nd-century Roman emperor. Her works were translated by the American Grace Frick, Yourcenar鈥檚 secretary and life companion.
Yourcenar was also a literary critic and translator.
She became a naturalized U.S. citizen in 1947. The name 鈥淵ourcenar鈥� is an imperfect anagram of her original name, 鈥淐rayencour.鈥�
Yourcenar鈥檚 literary works are notable for their rigorously classical style, their erudition, and their psychological subtlety. In her most important books she re-creates past eras and personages, meditating thereby on human destiny, morality, and power. Her masterpiece is M茅moires d'Hadrien, a historical novel constituting the fictionalized memoirs of that 2nd-century Roman emperor. Her works were translated by the American Grace Frick, Yourcenar鈥檚 secretary and life companion.
Yourcenar was also a literary critic and translator.
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Displaying 1 - 30 of 466 reviews
February 17, 2023
For no one is free so long as he has desires, wants, or fears, or even, perhaps, so long as he lives.
The Bruges physician, alchemist and philosopher Zeno is a searching, free spirit. His life story is the leitmotif in an epic chronicle of Europe ravaged by religious wars and burning of persons judged to be heretics. Travelling and fleeing, Zeno tries to survive in the turbulent and chaotic 16th century.
Marguerite Yourcenar (1903-1987, who made it to the first female member of the Acad茅mie Fran莽aise in 1980, modelled Zeno from an amalgam of the lives of Giordano Bruno, Paracelsus, Da Vinci and Copernicus. Yourcenar depicts Zeno so real and lifelike that it would be impossible to not close him into the heart, taking the reader on a philosophical journey through time in his compelling company.
Men is niet vrij zolang men begeert, zolang men wil, zolang men vreest, misschien zolang men leeft.
De Brugse arts, alchemist en filosoof Zeno is een zoekende, vrije geest. Zijn levensverhaal vormt het leidmotief in een epische kroniek van het door godsdienstoorlogen en ketterverbrandingen geteisterde Europa. Reizend en vluchtend tracht Zeno in de woelige en chaotische 16de eeuw te overleven.
Yourcenar, die het in 1980 tot eerste vrouwelijk lid van de Acad茅mie Fran莽aise schopte, boetseerde Zeno uit een amalgaam van de levens van Giordano Bruno, Paracelsus, Da Vinci en Copernicus. Toch is Zeno zo overtuigend en levensecht dat je hem gaandeweg in je hart sluit. Een filosofische tijdreis in fascinerend gezelschap.
The Bruges physician, alchemist and philosopher Zeno is a searching, free spirit. His life story is the leitmotif in an epic chronicle of Europe ravaged by religious wars and burning of persons judged to be heretics. Travelling and fleeing, Zeno tries to survive in the turbulent and chaotic 16th century.
Marguerite Yourcenar (1903-1987, who made it to the first female member of the Acad茅mie Fran莽aise in 1980, modelled Zeno from an amalgam of the lives of Giordano Bruno, Paracelsus, Da Vinci and Copernicus. Yourcenar depicts Zeno so real and lifelike that it would be impossible to not close him into the heart, taking the reader on a philosophical journey through time in his compelling company.
Men is niet vrij zolang men begeert, zolang men wil, zolang men vreest, misschien zolang men leeft.
De Brugse arts, alchemist en filosoof Zeno is een zoekende, vrije geest. Zijn levensverhaal vormt het leidmotief in een epische kroniek van het door godsdienstoorlogen en ketterverbrandingen geteisterde Europa. Reizend en vluchtend tracht Zeno in de woelige en chaotische 16de eeuw te overleven.
Yourcenar, die het in 1980 tot eerste vrouwelijk lid van de Acad茅mie Fran莽aise schopte, boetseerde Zeno uit een amalgaam van de levens van Giordano Bruno, Paracelsus, Da Vinci en Copernicus. Toch is Zeno zo overtuigend en levensecht dat je hem gaandeweg in je hart sluit. Een filosofische tijdreis in fascinerend gezelschap.
May 13, 2023
Romanul consemneaz膬 biografia unui savant din epoca Reformei. Ceea ce-l define葯te pe Z茅non Ligre, 卯nainte de orice, este o curiozitate febril膬, 鈥瀕ibido sciendi鈥�. Este c膬rturar, alchimist, medic (mai ales, medic), inventator de ma葯ini de r膬zboi, autor de c膬r葲i 鈥瀍retice鈥�, filosof. Vrea s膬 afle tot, s膬 noteze tot, s膬-葯i explice tot, c膬l膬tore葯te pretutindeni, este ba 卯n slujba sultanului, ba sub protec葲ia unui episcop influent, ba 卯n Spania, ba 卯n 葰膬rile de Jos, ba 卯n 葲inuturile nem葲e葯ti, n-are r膬d膬cini. Un individ plin de nedumeriri caut膬 ceva 葯i, adesea, nu 葯tie nici el cu acurate葲e ce caut膬. Ar vrea s膬 cunoasc膬 tot 葯i 卯葯i d膬 seama c膬 nu va afla mai nimic. Adev膬rul e o himer膬, va muri ca orice ignorant, ca orice ins banal, lipsit de certitudini...
脦n schimb, ceea ce nu 葯tie precis (dar b膬nuie葯te) este c膬 Sf卯ntul Oficiu, altfel zis, Inchizi葲ia, 卯i contabilizeaz膬 fiece pas. Inevitabil, 卯n amurgul vie葲ii, Z茅non ajunge 卯n temni葲膬, pentru o vin膬 mai degrab膬 imprecis膬. Ar putea s膬 fug膬, dar nu vrea, se simte prea obosit, percepe z膬d膬rnicia vie葲ii, sf卯r葯itul nu-l sperie. Este condamnat la moarte pe rug. 脦n noaptea premerg膬toare supliciului, 卯葯i deschide venele.
A葯 ad膬uga un pasaj 卯n ton cu vremurile pe care le tr膬im:
鈥濾enit膬 din Orient, ciuma intra 卯n Germania prin Bohemia. C膬l膬torea f膬r膬 grab膬, 卯nso葲it膬 de dang膬tul clopotelor... Aplec卯ndu-se peste paharul be葲ivului, sting卯nd lum卯narea 卯nv膬葲atului ce st膬tea printre c膬r葲ile lui, slujind liturghia al膬turi de preot, ascunz卯ndu-se ca un purice 卯n c膬ma葯a dezm膬葲atelor, ciuma aducea 卯n via葲a tuturor un element de neru葯inat膬 egalitate, fermentul unei aspre 葯i primejdioase aventuri鈥� (pp.77-78).
Piatra filosofal膬 trebuie, a葯adar, trecut膬 卯n lista c膬r葲ilor despre epidemii. Nu m膬 sfiesc s-o spun, dar este ne卯ndoielnic o cxapodoper膬.
March 19, 2025
A few hastily swallowed books had forged my pride, and I boasted of learning. I thought I was armed to challenge Marguerite Yourcenar. Her "look" of the country peasant did not impress the young rooster that I am in literature.
I still had to raise my eyes a little with Hadrian's Memoirs and, simultaneously, measure the shadow that spread over my certainty of the size of its author. But be it, this openness to antiquity had put me in the balm.
With Zeno, the hero of this book, I pursued my showdown with the monster of learning. Through the chapters, I shared the nomadic life of the alchemist. He chased by obscurantism of a religion which admits neither competition nor contradiction, me by same demons as those which led me on the ways of truancy.
I realize very quickly that Marguerite Yourcenar has set the bar very high. In this work, she also mentions many ancient celebrities who are unknown to me, and loneliness embraces me in this crowded world. I perceive only coldness among Zeno's contemporaries. It must also be said that we are convinced of a faith foreign to us today. They can advance towards the stake with less trouble than I can towards the dentist's seat.
Zeno dreams of freedom, the very one that makes us today challenge the laws of nature. The philosopher finds compensation for his deprivation of wisdom. He is a great observer of his time. His point of view gives Marguerite Yourcenar a pretext to develop his own on this intractable era toward those who would dare to argue that the earth revolves around the sun.
He is an alchemist who believes in the immanence of matter, the transmutation of lead into gold. Despite the efforts of science to convince us of the decoy, this foolish dream remained for us. But games of chance have replaced lead in an even more subtle alchemy of which we know the beneficiary.
A doctor, Zenon, becomes realistic again. The most exceptional quality of such a practitioner is fatalism; he detects a prime reason for suffering punishment in illness. For us, the rejection of pain has become a requirement.
Humanists, he regrets, however, what men do with their lives. The hopes it draws from its frenzied idealism will defeat a religion that governs the minds of this XVIth century in Europe. However, he rejects the monopoly on truth: "I took care not to make an idol of truth, preferring to leave it with its more humble name of accuracy."
Only a fictional character could combine many qualities that are sometimes challenging to coexist in the same spirit. However, it is custom-built, and thus, it gives Marguerite Yourcenar the field to develop what her fertile mind can concoct to get her message across.
If it is true that the alchemical quest begins with introspection, this work sent me back to my shortcomings. It's a work capable of bringing humility to those who would like to boast of a culture they do not have. At the end of such a work, it will inevitably dethrone. I will not say that this reading filled me with happiness. It loaded each page with many volumes ingested by its author to sculpt each sentence, my frail shoulders bent.
Here I am, upset at the end of my grip. Once again, I could only measure the height of the mountain whose summit had been lost in the clouds. Yet, here I am reinforced in my conviction to persevere in filling what the dissipations of my universities could make me accumulate gaps.
The mischievous smile fixed on the mask of the one I saw as a peasant of the soil made me understand the inequality of the fight. When you can't shoot your enemy, kiss them. Marguerite, I love you a little, a lot, madly. Even if you are severely affected by my poor discernment, I remain a handsome player.
I still had to raise my eyes a little with Hadrian's Memoirs and, simultaneously, measure the shadow that spread over my certainty of the size of its author. But be it, this openness to antiquity had put me in the balm.
With Zeno, the hero of this book, I pursued my showdown with the monster of learning. Through the chapters, I shared the nomadic life of the alchemist. He chased by obscurantism of a religion which admits neither competition nor contradiction, me by same demons as those which led me on the ways of truancy.
I realize very quickly that Marguerite Yourcenar has set the bar very high. In this work, she also mentions many ancient celebrities who are unknown to me, and loneliness embraces me in this crowded world. I perceive only coldness among Zeno's contemporaries. It must also be said that we are convinced of a faith foreign to us today. They can advance towards the stake with less trouble than I can towards the dentist's seat.
Zeno dreams of freedom, the very one that makes us today challenge the laws of nature. The philosopher finds compensation for his deprivation of wisdom. He is a great observer of his time. His point of view gives Marguerite Yourcenar a pretext to develop his own on this intractable era toward those who would dare to argue that the earth revolves around the sun.
He is an alchemist who believes in the immanence of matter, the transmutation of lead into gold. Despite the efforts of science to convince us of the decoy, this foolish dream remained for us. But games of chance have replaced lead in an even more subtle alchemy of which we know the beneficiary.
A doctor, Zenon, becomes realistic again. The most exceptional quality of such a practitioner is fatalism; he detects a prime reason for suffering punishment in illness. For us, the rejection of pain has become a requirement.
Humanists, he regrets, however, what men do with their lives. The hopes it draws from its frenzied idealism will defeat a religion that governs the minds of this XVIth century in Europe. However, he rejects the monopoly on truth: "I took care not to make an idol of truth, preferring to leave it with its more humble name of accuracy."
Only a fictional character could combine many qualities that are sometimes challenging to coexist in the same spirit. However, it is custom-built, and thus, it gives Marguerite Yourcenar the field to develop what her fertile mind can concoct to get her message across.
If it is true that the alchemical quest begins with introspection, this work sent me back to my shortcomings. It's a work capable of bringing humility to those who would like to boast of a culture they do not have. At the end of such a work, it will inevitably dethrone. I will not say that this reading filled me with happiness. It loaded each page with many volumes ingested by its author to sculpt each sentence, my frail shoulders bent.
Here I am, upset at the end of my grip. Once again, I could only measure the height of the mountain whose summit had been lost in the clouds. Yet, here I am reinforced in my conviction to persevere in filling what the dissipations of my universities could make me accumulate gaps.
The mischievous smile fixed on the mask of the one I saw as a peasant of the soil made me understand the inequality of the fight. When you can't shoot your enemy, kiss them. Marguerite, I love you a little, a lot, madly. Even if you are severely affected by my poor discernment, I remain a handsome player.
April 7, 2022
# bibliotecaafectiva
Am prezentat cartea 卯n alt膬 parte, la o edi葲ie mai veche. Dac膬 ar fi s膬 aleg un episod memorabil, o scen膬 (葯i numai una), din romanul lui Marguerite Yourcenar (1903 - 1987), 葯tiu cu precizie ce-a葯 alege...
M-a葯 opri la 卯nt卯lnirea dintre Z茅non Ligre 葯i Martha Adriansen. S卯nt fra葲i vitregi, Martha este sora lui mai mic膬, dinspre mam膬, dar ei nu 葯tiu asta, via葲a i-a desp膬r葲it, fiecare cu destinul lui, cu drumul lui. Prima 葯i ultima lor 卯nt卯lnire are loc 卯n timpul unei epidemii de cium膬, 卯n K枚ln. Z茅non sose葯te 卯n ora葯 pentru a 鈥瀋erceta manifest膬rile bolii鈥�. 脦i trateaz膬 pe suferinzi, intr膬 卯n locuin葲ele lor mizere, 卯葯i risc膬 via葲a. Curiozitatea lui ascu葲it膬 卯nfr卯nge orice team膬. Ajunge 葯i 卯n casa 卯n care locuie葯te sora lui, chemat chiar de ea.
Iat膬 cum 卯l vede Martha: 鈥濧 卯ntrebat dac膬 aceea e casa Fuggers 葯i a intrat f膬r膬 temenele. Era un b膬rbat slab 葯i 卯nalt, cu ochii du葯i 卯n fundul capului, 卯nve葯m卯ntat 卯n mantia ro葯ie a medicilor care au primit s膬-i 卯ngrijeasc膬 pe ciuma葲i... Chipul s膬u oache葯 卯i d膬dea 卯nf膬葲i葯area unui str膬in. A urcat repede scara鈥�.
Z茅non merge la patul 卯n care se chinuie B茅n茅dicte, vara Marthei. Observ膬 imediat c膬 bolnava trage s膬 moar膬. Urmeaz膬 un scurt dialog:
鈥�- Non est medicamentum [Nu exist膬 leac]... For葲a vital膬 a surorii dumitale a secat. Putem cel mult s膬-i alin膬m suferin葲a...
- Nu s卯nt sora ei, se 卯mpotrivi deodat膬 Martha... M膬 numesc Martha Adriansen, nu Martha Fuggers. S卯nt veri葯oara ei.
Medicul n-a 卯nvrednicit-o dec卯t cu o singur膬 privire 葯i apoi s-a cufundat 卯n cercetarea urm膬rilor leacului. Bolnava, mai lini葯tit膬, z卯mbea parc膬...
- Zici c膬 te cheam膬 Martha Adriansen, spuse el f膬r膬 veste. Am cunoscut 卯n tinere葲ea mea un b膬rbat destul de v卯rstnic ce purta acest nume. Pe so葲ia lui o chema Hilzonde.
- Erau tat膬l 葯i mama mea, r膬spunse Martha aproape 卯n sil膬.
- Mai tr膬iesc?
- Nu, zise ea mai 卯ncet. Erau la M眉nster c卯nd episcopul a cucerit ora葯ul...鈥�.
Medicul vrea s膬 plece. Martha scoate un ban de aur. I-l d膬 fiindc膬 s-a sim葲it umilit膬, ea s-a temut de moarte, el nu. Ea tr膬ie葯te 卯n lumea celor avu葲i, el este un simplu medic r膬t膬citor, f膬r膬 c膬p膬t卯i. Indiferent, Z茅non prime葯te plata: 鈥濬aptul de a-l pl膬ti restabilea distan葲a dintre ei... F膬r膬 s膬 se uite la ea, medicul a v卯r卯t banul 卯n buzunarul mantiei 葯i a ie葯it鈥�.
Fra葲ii se 卯nt卯lnesc, dar Z茅non nu-葯i divulg膬 identitatea. Oare de ce? Z茅non a 卯n葲eles imediat cine e Martha, 葯tie cine a fost Hilzonde, 葯tie c膬 la M眉nster a murit mama lor, dar pare a nu sim葲i vreo emo葲ie, a ales singur膬tatea, nu apar葲ine dec卯t lui 卯nsu葯i. Martha va ignora toate aceste detalii biografice. 脦n cele din urm膬, va uita 卯nt卯lnirea din K枚ln, 卯mprejur膬rile ei dramatice, frica.
脦n final, Martha ar putea s膬-l salveze din carcer膬, i-ar putea cump膬ra pe judec膬tori. N-o face...
Am prezentat cartea 卯n alt膬 parte, la o edi葲ie mai veche. Dac膬 ar fi s膬 aleg un episod memorabil, o scen膬 (葯i numai una), din romanul lui Marguerite Yourcenar (1903 - 1987), 葯tiu cu precizie ce-a葯 alege...
M-a葯 opri la 卯nt卯lnirea dintre Z茅non Ligre 葯i Martha Adriansen. S卯nt fra葲i vitregi, Martha este sora lui mai mic膬, dinspre mam膬, dar ei nu 葯tiu asta, via葲a i-a desp膬r葲it, fiecare cu destinul lui, cu drumul lui. Prima 葯i ultima lor 卯nt卯lnire are loc 卯n timpul unei epidemii de cium膬, 卯n K枚ln. Z茅non sose葯te 卯n ora葯 pentru a 鈥瀋erceta manifest膬rile bolii鈥�. 脦i trateaz膬 pe suferinzi, intr膬 卯n locuin葲ele lor mizere, 卯葯i risc膬 via葲a. Curiozitatea lui ascu葲it膬 卯nfr卯nge orice team膬. Ajunge 葯i 卯n casa 卯n care locuie葯te sora lui, chemat chiar de ea.
Iat膬 cum 卯l vede Martha: 鈥濧 卯ntrebat dac膬 aceea e casa Fuggers 葯i a intrat f膬r膬 temenele. Era un b膬rbat slab 葯i 卯nalt, cu ochii du葯i 卯n fundul capului, 卯nve葯m卯ntat 卯n mantia ro葯ie a medicilor care au primit s膬-i 卯ngrijeasc膬 pe ciuma葲i... Chipul s膬u oache葯 卯i d膬dea 卯nf膬葲i葯area unui str膬in. A urcat repede scara鈥�.
Z茅non merge la patul 卯n care se chinuie B茅n茅dicte, vara Marthei. Observ膬 imediat c膬 bolnava trage s膬 moar膬. Urmeaz膬 un scurt dialog:
鈥�- Non est medicamentum [Nu exist膬 leac]... For葲a vital膬 a surorii dumitale a secat. Putem cel mult s膬-i alin膬m suferin葲a...
- Nu s卯nt sora ei, se 卯mpotrivi deodat膬 Martha... M膬 numesc Martha Adriansen, nu Martha Fuggers. S卯nt veri葯oara ei.
Medicul n-a 卯nvrednicit-o dec卯t cu o singur膬 privire 葯i apoi s-a cufundat 卯n cercetarea urm膬rilor leacului. Bolnava, mai lini葯tit膬, z卯mbea parc膬...
- Zici c膬 te cheam膬 Martha Adriansen, spuse el f膬r膬 veste. Am cunoscut 卯n tinere葲ea mea un b膬rbat destul de v卯rstnic ce purta acest nume. Pe so葲ia lui o chema Hilzonde.
- Erau tat膬l 葯i mama mea, r膬spunse Martha aproape 卯n sil膬.
- Mai tr膬iesc?
- Nu, zise ea mai 卯ncet. Erau la M眉nster c卯nd episcopul a cucerit ora葯ul...鈥�.
Medicul vrea s膬 plece. Martha scoate un ban de aur. I-l d膬 fiindc膬 s-a sim葲it umilit膬, ea s-a temut de moarte, el nu. Ea tr膬ie葯te 卯n lumea celor avu葲i, el este un simplu medic r膬t膬citor, f膬r膬 c膬p膬t卯i. Indiferent, Z茅non prime葯te plata: 鈥濬aptul de a-l pl膬ti restabilea distan葲a dintre ei... F膬r膬 s膬 se uite la ea, medicul a v卯r卯t banul 卯n buzunarul mantiei 葯i a ie葯it鈥�.
Fra葲ii se 卯nt卯lnesc, dar Z茅non nu-葯i divulg膬 identitatea. Oare de ce? Z茅non a 卯n葲eles imediat cine e Martha, 葯tie cine a fost Hilzonde, 葯tie c膬 la M眉nster a murit mama lor, dar pare a nu sim葲i vreo emo葲ie, a ales singur膬tatea, nu apar葲ine dec卯t lui 卯nsu葯i. Martha va ignora toate aceste detalii biografice. 脦n cele din urm膬, va uita 卯nt卯lnirea din K枚ln, 卯mprejur膬rile ei dramatice, frica.
脦n final, Martha ar putea s膬-l salveze din carcer膬, i-ar putea cump膬ra pe judec膬tori. N-o face...
October 10, 2024
4,5
袦邪褉谐械褉懈褌 挟褉褋械薪邪褉 斜谢械褋褌褟褖械 胁芯褋锌褉芯懈蟹胁芯写懈褌 屑褉邪褔薪褍褞 泻邪褉褌懈薪褍 小褉械写薪械胁械泻芯胁褜褟, 谐写械 屑邪谢芯 泻褌芯 褍屑懈褉邪械褌 褋胁芯械泄 褋屑械褉褌褜褞, 邪 卸懈蟹薪褜 褌褉褍写薪邪 懈 芯锌邪褋薪邪. 袧芯, 芯褔械胁懈写薪芯, 械械 褑械谢褜褞 斜褘谢芯 薪械 锌褉芯褋褌芯械 卸懈蟹薪械芯锌懈褋邪薪懈械 褔械谢芯胁械泻邪 小褉械写薪械胁械泻芯胁褜褟, 邪 锌褉芯褑械褋褋 锌芯蟹薪邪薪懈褟 屑懈褉邪, 泻胁懈薪褌褝褋褋械薪褑懈械泄 泻芯褌芯褉芯谐芯 褟胁谢褟械褌褋褟 锌芯蟹薪邪薪懈械 褋邪屑芯谐芯 褋械斜褟. 校卸械 屑薪芯谐芯泻褉邪褌薪芯 蟹邪屑械褔械薪薪邪褟 褌褉邪写懈褑懈褟 锌械褉械胁芯写褔懈泻芯胁 懈蟹屑械薪褟褌褜 芯褉懈谐懈薪邪谢褜薪褘械 薪邪蟹胁邪薪懈褟 锌褉芯懈蟹胁械写械薪懈泄 芯泻邪蟹邪谢邪褋褜 懈屑械械褌 屑械褋褌芯 懈 胁 褝褌芯屑 褉芯屑邪薪械, 薪邪蟹胁邪薪薪芯屑 "肖懈谢芯褋芯褎褋泻懈泄 泻邪屑械薪褜". 袩褉芯褑械褋褋 锌芯谢褍褔械薪懈褟 褎懈谢芯褋芯褎褋泻芯谐芯 泻邪屑薪褟 薪邪蟹褘胁邪谢褋褟 袙械谢懈泻懈屑 袛械谢邪薪懈械屑. L'oeuvre au noire (薪懈谐褉械写芯 懈谢懈 褔械褉薪邪褟 褋褌邪写懈褟) 芯蟹薪邪褔邪械褌 锌械褉胁褍褞 褋褌邪写懈褞 袙械谢懈泻芯谐芯 袛械谢邪薪懈褟, 芯斜芯蟹薪邪褔邪褞褖褍褞 锌芯谢薪芯械 褉邪蟹谢芯卸械薪懈械. 袗谢褏懈屑懈泻懈 胁械褉懈谢懈, 褔褌芯, 褔褌芯斜褘 锌芯谢褍褔懈褌褜 胁械褖械褋褌胁芯 褋 写褉褍谐懈屑懈 褋胁芯泄褋褌胁邪屑懈, 薪械芯斜褏芯写懈屑芯 褉邪蟹谢芯卸懈褌褜 褋褘褉褜械 锌褍褌械屑 褉邪蟹谢懈褔薪褘褏 屑邪薪懈锌褍谢褟褑懈泄, 褌邪泻懈褏 泻邪泻 胁褘锌邪褉懈胁邪薪懈械, 胁褘卸懈谐邪薪懈械, 懈蟹屑械谢褜褔械薪懈械, 写芯 "褔械褉薪芯泄" 屑邪褋褋褘. 挟褉褋械薪邪褉 薪械 蟹褉褟 薪邪蟹胁邪谢邪 褉芯屑邪薪 薪懈 袙械谢懈泻懈屑 袛械谢邪薪懈械屑, 薪懈 肖懈谢芯褋芯褎褋泻懈屑 泻邪屑薪械屑, 锌芯褌芯屑褍 褔褌芯 芯薪邪 胁泻谢邪写褘胁邪谢邪 胁 薪邪蟹胁邪薪懈械 L'oeuvre au noire "效械褉薪邪褟 褋褌邪写懈褟" 薪械褋泻芯谢褜泻芯 褋屑褘褋谢芯胁. 协褌芯 懈 褌褉褍写薪芯褋褌懈, 泻芯褌芯褉褘械 褎芯褉屑懈褉芯胁邪谢懈 谢懈褔薪芯褋褌褜 谐械褉芯褟, 锌芯写芯斜薪芯 褌芯屑褍, 泻邪泻 屑邪薪懈锌褍谢褟褑懈懈 邪谢褏懈屑懈泻芯胁 "褉邪蟹谢邪谐邪谢懈" 屑械褌邪谢谢 胁 "褔械褉薪褍褞 屑邪褋褋褍". 协褌芯 懈 褋懈屑胁芯谢 芯褋胁芯斜芯卸写械薪懈褟 芯褌 褕谢邪泻芯胁 锌褉械写褉邪褋褋褍写泻芯胁, 谢芯卸薪褘褏 蟹薪邪薪懈泄 懈 褍褋褌邪褉械胁褕懈褏 懈写械泄. 协褌芯 懈 屑械褌邪褎芯褉邪 褉芯卸写械薪懈褟 薪芯胁芯谐芯 锌芯褋谢械 褋屑械褉褌懈 褋褌邪褉芯谐芯, 袙芯蟹褉芯卸写械薪懈械. "效械褉薪邪褟 褋褌邪写懈褟" - 芯褔械薪褜 褌芯褔薪邪褟 屑械褌邪褎芯褉邪, 芯褌褉邪卸邪褞褖邪褟 屑褍褔懈褌械谢褜薪褘泄 锌褉芯褑械褋褋 锌芯懈褋泻邪 懈褋褌懈薪褘.
"袙 懈写械褟褏 械谐芯 褌邪泻卸械 锌褉芯懈褋褏芯写懈褌 褋写胁懈谐. 孝械锌械褉褜 锌褉芯褑械褋褋 屑褘褕谢械薪懈褟 蟹邪薪懈屑邪谢 械谐芯 斜芯谢械械, 薪械卸械谢懈 褋芯屑薪懈褌械谢褜薪褘泄 锌谢芯写 褋邪屑芯泄 屑褘褋谢懈. 袨薪 薪邪斜谢褞写邪谢 蟹邪 褏芯写芯屑 褋胁芯懈褏 褉邪褋褋褍卸写械薪懈泄, 泻邪泻 屑芯谐 斜褘, 锌褉懈卸邪胁 锌邪谢械褑 泻 蟹邪锌褟褋褌褜褞, 褋褔懈褌邪褌褜 斜懈械薪懈械 锌褍谢褜褋芯胁芯泄 卸懈谢褘 懈谢懈 胁褋谢褍褕懈胁邪褌褜褋褟 胁 褔械褉械写芯胁邪薪懈械 胁写芯褏芯胁 懈 胁褘写芯褏芯胁 锌芯写 褋芯斜褋褌胁械薪薪褘屑懈 褉械斜褉邪屑懈. 袙褋褞 褋胁芯褞 卸懈蟹薪褜 芯薪 锌芯褉邪卸邪谢褋褟 褋锌芯褋芯斜薪芯褋褌懈 懈写械泄 薪邪褉邪褖懈胁邪褌褜褋褟, 锌芯写芯斜薪芯 泻褉懈褋褌邪谢谢邪屑, 芯斜褉邪蟹褍褟 褋褌褉邪薪薪褘械 斜械褋锌谢芯褌薪褘械 褌械谢邪, 褉邪褋褌懈, 锌芯写芯斜薪芯 芯锌褍褏芯谢褟屑, 锌芯卸懈褉邪褞褖懈屑 锌谢芯褌褜, 懈褏 锌芯褉芯写懈胁褕褍褞, 懈 写邪卸械 褔褍写芯胁懈褖薪褘屑 芯斜褉邪蟹芯屑 锌褉懈薪懈屑邪褌褜 褔械谢芯胁械褔械褋泻懈械 芯褔械褉褌邪薪懈褟, 锌芯写芯斜薪芯 褌芯泄 懈薪械褉褌薪芯泄 屑邪褋褋械, 泻邪泻芯泄 褉邪蟹褉械褕邪褞褌褋褟 薪械泻芯褌芯褉褘械 卸械薪褖懈薪褘 懈 泻邪泻邪褟 薪邪 褋邪屑芯屑 写械谢械 鈥� 胁褋械谐芯 谢懈褕褜 屑邪褌械褉懈褟, 褋锌芯褋芯斜薪邪褟 谐褉械蟹懈褌褜. 袨褔械薪褜 屑薪芯谐懈械 锌谢芯写褘 褍屑邪 褌芯卸械 斜褘谢懈 胁褋械谐芯 谢懈褕褜 斜械褋褎芯褉屑械薪薪褘屑懈 褍褉芯写褑邪屑懈. 袛褉褍谐懈械 锌褉械写褋褌邪胁谢械薪懈褟, 斜芯谢械械 褟褋薪褘械 懈 芯褌褔械褌谢懈胁褘械, 褋谢芯胁薪芯 胁褘泻芯胁邪薪薪褘械 屑邪褋褌械褉芯屑 褋胁芯械谐芯 写械谢邪, 薪邪锌芯屑懈薪邪谢懈 锌褉械写屑械褌褘, 泻芯褌芯褉褘械 锌褉械谢褜褖邪褞褌 褌芯谢褜泻芯 懈蟹写邪谢懈: 褌褘 薪械褍褋褌邪薪薪芯 胁芯褋褏懈褖邪械褕褜褋褟 懈褏 懈蟹谐懈斜邪屑懈 懈 谐褉邪薪褟屑懈, 薪芯 薪邪 写械谢械 芯薪懈 芯泻邪蟹褘胁邪褞褌褋褟 谢懈褕褜 褉械褕械褌泻芯泄, 胁 泻芯褌芯褉芯泄 写褍褏 蟹邪锌懈褉邪械褌 褋邪屑芯械 褋械斜褟, 懈 褉卸邪胁褔懈薪邪 谢卸懈 褍卸械 锌芯写褌邪褔懈胁邪械褌 褝褌懈 褍屑芯蟹褉懈褌械谢褜薪褘械 卸械谢械蟹泻懈. 袠薪芯谐写邪 褌械斜褟 芯褏胁邪褌褘胁邪械褌 褌褉械锌械褌, 泻邪泻 胁 屑芯屑械薪褌 褌褉邪薪褋屑褍褌邪褑懈懈 屑械褌邪谢谢芯胁: 褌械斜械 泻邪卸械褌褋褟, 褔褌芯 胁 褌懈谐谢械 褔械谢芯胁械褔械褋泻芯谐芯 屑芯蟹谐邪 锌芯褟胁懈谢邪褋褜 泻褉褍锌懈褑邪 蟹芯谢芯褌邪, 薪芯 薪械褌 鈥� 褌褘 锌芯谢褍褔懈谢 胁褋械 褌芯 卸械 懈褋褏芯写薪芯械 胁械褖械褋褌胁芯; 褌邪泻 胁 芯斜屑邪薪薪褘褏 芯锌褘褌邪褏, 泻邪泻懈屑懈 锌褉懈写胁芯褉薪褘械 邪谢褏懈屑懈泻懈 锌褘褌邪褞褌褋褟 褍斜械写懈褌褜 褋胁芯懈褏 褑邪褉褋褌胁械薪薪褘褏 泻谢懈械薪褌芯胁, 斜褍写褌芯 芯薪懈 褔械谐芯-褌芯 写芯褋褌懈谐谢懈, 蟹芯谢芯褌芯 薪邪 写薪械 锌械褉械谐芯薪薪芯谐芯 泻褍斜邪 芯泻邪蟹褘胁邪械褌褋褟 褋邪屑褘屑 芯斜褘泻薪芯胁械薪薪褘屑, 锌褉芯褕械写褕懈屑 褔械褉械蟹 屑薪芯谐懈械 褉褍泻懈 写褍泻邪褌芯屑, 泻芯褌芯褉褘泄 锌械褉械写 薪邪谐褉械胁邪薪懈械屑 锌芯写谢芯卸懈谢 褌褍写邪 谐械褉屑械褌懈褋褌. 袩芯薪褟褌懈褟 褍屑懈褉邪谢懈, 泻邪泻 褍屑懈褉邪褞褌 谢褞写懈 鈥� 蟹邪 锌芯谢胁械泻邪 褋胁芯械泄 卸懈蟹薪懈 袟械薪芯薪褍 写芯胁械谢芯褋褜 褍胁懈写械褌褜, 泻邪泻 屑薪芯谐懈械 锌芯泻芯谢械薪懈褟 懈写械泄 芯斜褉邪褌懈谢懈褋褜 胁 锌褉邪褏."
啸芯褌褟 褌褍褌 卸械 挟褉褋械薪邪褉 褋芯蟹写邪谢邪 写褉褍谐懈褏 屑械褌邪褎芯褉褍 写谢褟 芯斜芯蟹薪邪褔械薪懈褟 屑薪芯卸械褋褌胁械薪薪芯褋褌懈 懈写械泄 - 斜械褋泻芯薪械褔薪邪褟 褔械褉械写邪 胁芯谢薪 薪邪 锌褉懈斜芯械. "袟械薪芯薪 褋谢械写懈谢 蟹邪 褝褌懈屑 斜械褋锌芯褉褟写芯褔薪褘屑 锌芯褌芯泻芯屑, 泻芯褌芯褉褘泄, 褌芯褔薪芯 芯斜谢芯屑泻懈 泻褉褍褕械薪懈褟, 褍薪芯褋懈谢 褌械 薪械屑薪芯谐懈械 芯褖褍褌懈屑褘械 懈褋褌懈薪褘, 褔褌芯 泻邪卸褍褌褋褟 薪邪屑 斜械褋褋锌芯褉薪褘屑懈. 袠薪芯谐写邪 械屑褍 褔褍写懈谢芯褋褜, 褔褌芯 锌芯写 褝褌懈屑 褌械褔械薪懈械屑 芯薪 褉邪蟹谢懈褔邪械褌 薪械锌芯写胁懈卸薪褍褞 褋褍斜褋褌邪薪褑懈褞, 泻芯褌芯褉邪褟 芯褌薪芯褋懈褌褋褟 泻 屑褘褋谢褟屑 褌邪泻 卸械, 泻邪泻 屑褘褋谢懈 鈥� 泻 褋谢芯胁邪屑. 袧芯 薪械 斜褘谢芯 写芯泻邪蟹邪褌械谢褜褋褌胁 褌芯屑褍, 褔褌芯 褝褌芯褌 褋褍斜褋褌褉邪褌 芯泻邪卸械褌褋褟 锌芯褋谢械写薪懈屑 锌谢邪褋褌芯屑 懈 蟹邪 褝褌芯泄 薪械锌芯写胁懈卸薪芯褋褌褜褞 薪械 泻褉芯械褌褋褟 写胁懈卸械薪懈械, 褋谢懈褕泻芯屑 斜褘褋褌褉芯械 写谢褟 褔械谢芯胁械褔械褋泻芯谐芯 胁芯褋锌褉懈褟褌懈褟."
袟械薪芯薪, 谐谢邪胁薪褘泄 谐械褉芯泄, 锌褉芯褌芯褌懈锌邪屑懈 泻芯褌芯褉芯谐芯 褟胁谢褟褞褌褋褟 褋褉邪蟹褍 薪械褋泻芯谢褜泻芯 胁械谢懈泻懈褏 锌芯蟹写薪械谐芯 小褉械写薪械胁械泻芯胁褜褟 - 袥械芯薪邪褉写芯 写邪 袙懈薪褔懈, 袣芯锌械褉薪懈泻, 袩邪褉邪褑械谢褜褋 - 写械屑芯薪褋褌褉懈褉褍械褌 胁薪褍褌褉械薪薪褞褞 褝胁芯谢褞褑懈褞 褔械谢芯胁械泻邪 小褉械写薪械胁械泻芯胁褜褟 胁 褔械谢芯胁械泻邪 袙芯蟹褉芯卸写械薪懈褟. 孝褉邪谐懈褔械褋泻懈泄 褎懈薪邪谢 斜褘谢 薪械懈蟹斜械卸械薪. 袠 屑薪械 薪械 泻邪卸械褌褋褟, 褔褌芯 泻褉邪褋薪褘泄 褕邪褉, 胁芯蟹薪懈泻褕懈泄 锌械褉械写 械谐芯 谐谢邪蟹邪屑懈, 薪械 褋懈屑胁芯谢懈蟹懈褉褍械褌 写芯褋褌懈卸械薪懈械 懈屑 "袣褉邪褋薪芯泄 褋褌邪写懈懈". 小屑械褉褌褜 - 褝褌芯 "效械褉薪邪褟 褋褌邪写懈褟".
袦邪褉谐械褉懈褌 挟褉褋械薪邪褉 斜谢械褋褌褟褖械 胁芯褋锌褉芯懈蟹胁芯写懈褌 屑褉邪褔薪褍褞 泻邪褉褌懈薪褍 小褉械写薪械胁械泻芯胁褜褟, 谐写械 屑邪谢芯 泻褌芯 褍屑懈褉邪械褌 褋胁芯械泄 褋屑械褉褌褜褞, 邪 卸懈蟹薪褜 褌褉褍写薪邪 懈 芯锌邪褋薪邪. 袧芯, 芯褔械胁懈写薪芯, 械械 褑械谢褜褞 斜褘谢芯 薪械 锌褉芯褋褌芯械 卸懈蟹薪械芯锌懈褋邪薪懈械 褔械谢芯胁械泻邪 小褉械写薪械胁械泻芯胁褜褟, 邪 锌褉芯褑械褋褋 锌芯蟹薪邪薪懈褟 屑懈褉邪, 泻胁懈薪褌褝褋褋械薪褑懈械泄 泻芯褌芯褉芯谐芯 褟胁谢褟械褌褋褟 锌芯蟹薪邪薪懈械 褋邪屑芯谐芯 褋械斜褟. 校卸械 屑薪芯谐芯泻褉邪褌薪芯 蟹邪屑械褔械薪薪邪褟 褌褉邪写懈褑懈褟 锌械褉械胁芯写褔懈泻芯胁 懈蟹屑械薪褟褌褜 芯褉懈谐懈薪邪谢褜薪褘械 薪邪蟹胁邪薪懈褟 锌褉芯懈蟹胁械写械薪懈泄 芯泻邪蟹邪谢邪褋褜 懈屑械械褌 屑械褋褌芯 懈 胁 褝褌芯屑 褉芯屑邪薪械, 薪邪蟹胁邪薪薪芯屑 "肖懈谢芯褋芯褎褋泻懈泄 泻邪屑械薪褜". 袩褉芯褑械褋褋 锌芯谢褍褔械薪懈褟 褎懈谢芯褋芯褎褋泻芯谐芯 泻邪屑薪褟 薪邪蟹褘胁邪谢褋褟 袙械谢懈泻懈屑 袛械谢邪薪懈械屑. L'oeuvre au noire (薪懈谐褉械写芯 懈谢懈 褔械褉薪邪褟 褋褌邪写懈褟) 芯蟹薪邪褔邪械褌 锌械褉胁褍褞 褋褌邪写懈褞 袙械谢懈泻芯谐芯 袛械谢邪薪懈褟, 芯斜芯蟹薪邪褔邪褞褖褍褞 锌芯谢薪芯械 褉邪蟹谢芯卸械薪懈械. 袗谢褏懈屑懈泻懈 胁械褉懈谢懈, 褔褌芯, 褔褌芯斜褘 锌芯谢褍褔懈褌褜 胁械褖械褋褌胁芯 褋 写褉褍谐懈屑懈 褋胁芯泄褋褌胁邪屑懈, 薪械芯斜褏芯写懈屑芯 褉邪蟹谢芯卸懈褌褜 褋褘褉褜械 锌褍褌械屑 褉邪蟹谢懈褔薪褘褏 屑邪薪懈锌褍谢褟褑懈泄, 褌邪泻懈褏 泻邪泻 胁褘锌邪褉懈胁邪薪懈械, 胁褘卸懈谐邪薪懈械, 懈蟹屑械谢褜褔械薪懈械, 写芯 "褔械褉薪芯泄" 屑邪褋褋褘. 挟褉褋械薪邪褉 薪械 蟹褉褟 薪邪蟹胁邪谢邪 褉芯屑邪薪 薪懈 袙械谢懈泻懈屑 袛械谢邪薪懈械屑, 薪懈 肖懈谢芯褋芯褎褋泻懈屑 泻邪屑薪械屑, 锌芯褌芯屑褍 褔褌芯 芯薪邪 胁泻谢邪写褘胁邪谢邪 胁 薪邪蟹胁邪薪懈械 L'oeuvre au noire "效械褉薪邪褟 褋褌邪写懈褟" 薪械褋泻芯谢褜泻芯 褋屑褘褋谢芯胁. 协褌芯 懈 褌褉褍写薪芯褋褌懈, 泻芯褌芯褉褘械 褎芯褉屑懈褉芯胁邪谢懈 谢懈褔薪芯褋褌褜 谐械褉芯褟, 锌芯写芯斜薪芯 褌芯屑褍, 泻邪泻 屑邪薪懈锌褍谢褟褑懈懈 邪谢褏懈屑懈泻芯胁 "褉邪蟹谢邪谐邪谢懈" 屑械褌邪谢谢 胁 "褔械褉薪褍褞 屑邪褋褋褍". 协褌芯 懈 褋懈屑胁芯谢 芯褋胁芯斜芯卸写械薪懈褟 芯褌 褕谢邪泻芯胁 锌褉械写褉邪褋褋褍写泻芯胁, 谢芯卸薪褘褏 蟹薪邪薪懈泄 懈 褍褋褌邪褉械胁褕懈褏 懈写械泄. 协褌芯 懈 屑械褌邪褎芯褉邪 褉芯卸写械薪懈褟 薪芯胁芯谐芯 锌芯褋谢械 褋屑械褉褌懈 褋褌邪褉芯谐芯, 袙芯蟹褉芯卸写械薪懈械. "效械褉薪邪褟 褋褌邪写懈褟" - 芯褔械薪褜 褌芯褔薪邪褟 屑械褌邪褎芯褉邪, 芯褌褉邪卸邪褞褖邪褟 屑褍褔懈褌械谢褜薪褘泄 锌褉芯褑械褋褋 锌芯懈褋泻邪 懈褋褌懈薪褘.
"袙 懈写械褟褏 械谐芯 褌邪泻卸械 锌褉芯懈褋褏芯写懈褌 褋写胁懈谐. 孝械锌械褉褜 锌褉芯褑械褋褋 屑褘褕谢械薪懈褟 蟹邪薪懈屑邪谢 械谐芯 斜芯谢械械, 薪械卸械谢懈 褋芯屑薪懈褌械谢褜薪褘泄 锌谢芯写 褋邪屑芯泄 屑褘褋谢懈. 袨薪 薪邪斜谢褞写邪谢 蟹邪 褏芯写芯屑 褋胁芯懈褏 褉邪褋褋褍卸写械薪懈泄, 泻邪泻 屑芯谐 斜褘, 锌褉懈卸邪胁 锌邪谢械褑 泻 蟹邪锌褟褋褌褜褞, 褋褔懈褌邪褌褜 斜懈械薪懈械 锌褍谢褜褋芯胁芯泄 卸懈谢褘 懈谢懈 胁褋谢褍褕懈胁邪褌褜褋褟 胁 褔械褉械写芯胁邪薪懈械 胁写芯褏芯胁 懈 胁褘写芯褏芯胁 锌芯写 褋芯斜褋褌胁械薪薪褘屑懈 褉械斜褉邪屑懈. 袙褋褞 褋胁芯褞 卸懈蟹薪褜 芯薪 锌芯褉邪卸邪谢褋褟 褋锌芯褋芯斜薪芯褋褌懈 懈写械泄 薪邪褉邪褖懈胁邪褌褜褋褟, 锌芯写芯斜薪芯 泻褉懈褋褌邪谢谢邪屑, 芯斜褉邪蟹褍褟 褋褌褉邪薪薪褘械 斜械褋锌谢芯褌薪褘械 褌械谢邪, 褉邪褋褌懈, 锌芯写芯斜薪芯 芯锌褍褏芯谢褟屑, 锌芯卸懈褉邪褞褖懈屑 锌谢芯褌褜, 懈褏 锌芯褉芯写懈胁褕褍褞, 懈 写邪卸械 褔褍写芯胁懈褖薪褘屑 芯斜褉邪蟹芯屑 锌褉懈薪懈屑邪褌褜 褔械谢芯胁械褔械褋泻懈械 芯褔械褉褌邪薪懈褟, 锌芯写芯斜薪芯 褌芯泄 懈薪械褉褌薪芯泄 屑邪褋褋械, 泻邪泻芯泄 褉邪蟹褉械褕邪褞褌褋褟 薪械泻芯褌芯褉褘械 卸械薪褖懈薪褘 懈 泻邪泻邪褟 薪邪 褋邪屑芯屑 写械谢械 鈥� 胁褋械谐芯 谢懈褕褜 屑邪褌械褉懈褟, 褋锌芯褋芯斜薪邪褟 谐褉械蟹懈褌褜. 袨褔械薪褜 屑薪芯谐懈械 锌谢芯写褘 褍屑邪 褌芯卸械 斜褘谢懈 胁褋械谐芯 谢懈褕褜 斜械褋褎芯褉屑械薪薪褘屑懈 褍褉芯写褑邪屑懈. 袛褉褍谐懈械 锌褉械写褋褌邪胁谢械薪懈褟, 斜芯谢械械 褟褋薪褘械 懈 芯褌褔械褌谢懈胁褘械, 褋谢芯胁薪芯 胁褘泻芯胁邪薪薪褘械 屑邪褋褌械褉芯屑 褋胁芯械谐芯 写械谢邪, 薪邪锌芯屑懈薪邪谢懈 锌褉械写屑械褌褘, 泻芯褌芯褉褘械 锌褉械谢褜褖邪褞褌 褌芯谢褜泻芯 懈蟹写邪谢懈: 褌褘 薪械褍褋褌邪薪薪芯 胁芯褋褏懈褖邪械褕褜褋褟 懈褏 懈蟹谐懈斜邪屑懈 懈 谐褉邪薪褟屑懈, 薪芯 薪邪 写械谢械 芯薪懈 芯泻邪蟹褘胁邪褞褌褋褟 谢懈褕褜 褉械褕械褌泻芯泄, 胁 泻芯褌芯褉芯泄 写褍褏 蟹邪锌懈褉邪械褌 褋邪屑芯械 褋械斜褟, 懈 褉卸邪胁褔懈薪邪 谢卸懈 褍卸械 锌芯写褌邪褔懈胁邪械褌 褝褌懈 褍屑芯蟹褉懈褌械谢褜薪褘械 卸械谢械蟹泻懈. 袠薪芯谐写邪 褌械斜褟 芯褏胁邪褌褘胁邪械褌 褌褉械锌械褌, 泻邪泻 胁 屑芯屑械薪褌 褌褉邪薪褋屑褍褌邪褑懈懈 屑械褌邪谢谢芯胁: 褌械斜械 泻邪卸械褌褋褟, 褔褌芯 胁 褌懈谐谢械 褔械谢芯胁械褔械褋泻芯谐芯 屑芯蟹谐邪 锌芯褟胁懈谢邪褋褜 泻褉褍锌懈褑邪 蟹芯谢芯褌邪, 薪芯 薪械褌 鈥� 褌褘 锌芯谢褍褔懈谢 胁褋械 褌芯 卸械 懈褋褏芯写薪芯械 胁械褖械褋褌胁芯; 褌邪泻 胁 芯斜屑邪薪薪褘褏 芯锌褘褌邪褏, 泻邪泻懈屑懈 锌褉懈写胁芯褉薪褘械 邪谢褏懈屑懈泻懈 锌褘褌邪褞褌褋褟 褍斜械写懈褌褜 褋胁芯懈褏 褑邪褉褋褌胁械薪薪褘褏 泻谢懈械薪褌芯胁, 斜褍写褌芯 芯薪懈 褔械谐芯-褌芯 写芯褋褌懈谐谢懈, 蟹芯谢芯褌芯 薪邪 写薪械 锌械褉械谐芯薪薪芯谐芯 泻褍斜邪 芯泻邪蟹褘胁邪械褌褋褟 褋邪屑褘屑 芯斜褘泻薪芯胁械薪薪褘屑, 锌褉芯褕械写褕懈屑 褔械褉械蟹 屑薪芯谐懈械 褉褍泻懈 写褍泻邪褌芯屑, 泻芯褌芯褉褘泄 锌械褉械写 薪邪谐褉械胁邪薪懈械屑 锌芯写谢芯卸懈谢 褌褍写邪 谐械褉屑械褌懈褋褌. 袩芯薪褟褌懈褟 褍屑懈褉邪谢懈, 泻邪泻 褍屑懈褉邪褞褌 谢褞写懈 鈥� 蟹邪 锌芯谢胁械泻邪 褋胁芯械泄 卸懈蟹薪懈 袟械薪芯薪褍 写芯胁械谢芯褋褜 褍胁懈写械褌褜, 泻邪泻 屑薪芯谐懈械 锌芯泻芯谢械薪懈褟 懈写械泄 芯斜褉邪褌懈谢懈褋褜 胁 锌褉邪褏."
啸芯褌褟 褌褍褌 卸械 挟褉褋械薪邪褉 褋芯蟹写邪谢邪 写褉褍谐懈褏 屑械褌邪褎芯褉褍 写谢褟 芯斜芯蟹薪邪褔械薪懈褟 屑薪芯卸械褋褌胁械薪薪芯褋褌懈 懈写械泄 - 斜械褋泻芯薪械褔薪邪褟 褔械褉械写邪 胁芯谢薪 薪邪 锌褉懈斜芯械. "袟械薪芯薪 褋谢械写懈谢 蟹邪 褝褌懈屑 斜械褋锌芯褉褟写芯褔薪褘屑 锌芯褌芯泻芯屑, 泻芯褌芯褉褘泄, 褌芯褔薪芯 芯斜谢芯屑泻懈 泻褉褍褕械薪懈褟, 褍薪芯褋懈谢 褌械 薪械屑薪芯谐懈械 芯褖褍褌懈屑褘械 懈褋褌懈薪褘, 褔褌芯 泻邪卸褍褌褋褟 薪邪屑 斜械褋褋锌芯褉薪褘屑懈. 袠薪芯谐写邪 械屑褍 褔褍写懈谢芯褋褜, 褔褌芯 锌芯写 褝褌懈屑 褌械褔械薪懈械屑 芯薪 褉邪蟹谢懈褔邪械褌 薪械锌芯写胁懈卸薪褍褞 褋褍斜褋褌邪薪褑懈褞, 泻芯褌芯褉邪褟 芯褌薪芯褋懈褌褋褟 泻 屑褘褋谢褟屑 褌邪泻 卸械, 泻邪泻 屑褘褋谢懈 鈥� 泻 褋谢芯胁邪屑. 袧芯 薪械 斜褘谢芯 写芯泻邪蟹邪褌械谢褜褋褌胁 褌芯屑褍, 褔褌芯 褝褌芯褌 褋褍斜褋褌褉邪褌 芯泻邪卸械褌褋褟 锌芯褋谢械写薪懈屑 锌谢邪褋褌芯屑 懈 蟹邪 褝褌芯泄 薪械锌芯写胁懈卸薪芯褋褌褜褞 薪械 泻褉芯械褌褋褟 写胁懈卸械薪懈械, 褋谢懈褕泻芯屑 斜褘褋褌褉芯械 写谢褟 褔械谢芯胁械褔械褋泻芯谐芯 胁芯褋锌褉懈褟褌懈褟."
袟械薪芯薪, 谐谢邪胁薪褘泄 谐械褉芯泄, 锌褉芯褌芯褌懈锌邪屑懈 泻芯褌芯褉芯谐芯 褟胁谢褟褞褌褋褟 褋褉邪蟹褍 薪械褋泻芯谢褜泻芯 胁械谢懈泻懈褏 锌芯蟹写薪械谐芯 小褉械写薪械胁械泻芯胁褜褟 - 袥械芯薪邪褉写芯 写邪 袙懈薪褔懈, 袣芯锌械褉薪懈泻, 袩邪褉邪褑械谢褜褋 - 写械屑芯薪褋褌褉懈褉褍械褌 胁薪褍褌褉械薪薪褞褞 褝胁芯谢褞褑懈褞 褔械谢芯胁械泻邪 小褉械写薪械胁械泻芯胁褜褟 胁 褔械谢芯胁械泻邪 袙芯蟹褉芯卸写械薪懈褟. 孝褉邪谐懈褔械褋泻懈泄 褎懈薪邪谢 斜褘谢 薪械懈蟹斜械卸械薪. 袠 屑薪械 薪械 泻邪卸械褌褋褟, 褔褌芯 泻褉邪褋薪褘泄 褕邪褉, 胁芯蟹薪懈泻褕懈泄 锌械褉械写 械谐芯 谐谢邪蟹邪屑懈, 薪械 褋懈屑胁芯谢懈蟹懈褉褍械褌 写芯褋褌懈卸械薪懈械 懈屑 "袣褉邪褋薪芯泄 褋褌邪写懈懈". 小屑械褉褌褜 - 褝褌芯 "效械褉薪邪褟 褋褌邪写懈褟".
January 8, 2020
螠维位位慰谓 蟽蟿畏 蠂蠋蟻伪 渭伪蟼, 魏维蟺慰喂慰喂 渭蔚纬维位慰喂 蟽蠀纬纬蟻伪蠁蔚委蟼 未蔚谓 苇蟿蠀蠂伪谓 蟿畏蟼 伪谓伪纬谓蠋蟻喂蟽畏蟼 蟺慰蠀 胃伪 蟿慰蠀蟼 蟿伪委蟻喂伪味蔚 魏伪喂 蠅蟼 蔚魏 蟿慰蠉蟿慰蠀 蟿伪 苇蟻纬伪 蟿慰蠀蟼 尾蟻委蟽魏慰谓蟿伪喂 蟽蠀谓萎胃蠅蟼 魏蟻蠀渭渭苇谓伪 - 萎 魏伪喂 蟺伪蟻伪纬魏蠅谓喂蟽渭苇谓伪 - 蟺维谓蠅 蟽蟿伪 蟺委蟽蠅 蟻维蠁喂伪 蟿蠅谓 尾喂尾位喂慰蟺蠅位蔚委蠅谓, 未委谓慰谓蟿伪蟼 蠂蠋蟻慰 蟽蔚 蟺喂慰 蔚蠉蟺蔚蟺蟿伪 魏伪喂 蔚蠀蟺蠋位畏蟿伪 苇蟻纬伪.
螠喂伪 蟿苇蟿慰喂伪 蟺蔚蟻委蟺蟿蠅蟽畏 蟽蠀纬纬蟻伪蠁苇蠅蟼 蔚委谓伪喂 魏伪喂 畏 螠伪蟻纬魏蔚蟻喂蟿 螕喂慰蠀蟻蟽蔚谓维蟻.
螘蟻蠂蠈渭蔚谓慰蟼 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰 苇蟻纬慰 蟿畏蟼, 渭苇蟽蠅 蟿慰蠀 尾喂尾位委慰蠀 蟿畏蟼 "螚 维尾蠀蟽蟽慰蟼" 魏伪蟿维位伪尾伪 蟽蠂蔚未蠈谓 伪渭苇蟽蠅蟼 蟺蠅蟼 苇蠂蠅 谓伪 魏维谓蠅 渭蔚 渭喂伪 渭蔚纬维位畏 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 苇谓伪 伪位畏胃喂谓蠈 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪.
韦慰 尾喂尾位委慰 渭伪蟼 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿畏谓 味蠅萎 蔚谓蠈蟼 蠁伪谓蟿伪蟽蟿喂魏慰蠉 "喂蟽蟿慰蟻喂魏慰蠉" 蟺蟻慰蟽蠋蟺慰蠀, 蟿慰蠀 伪位蠂畏渭喂蟽蟿萎, 纬喂伪蟿蟻慰蠉 魏伪喂 蠁喂位蠈蟽慰蠁慰蠀 螙萎谓蠅谓伪. 螌渭蠅蟼 慰 螙萎谓蠅谓伪蟼 未蔚谓 蔚委谓伪喂 伪魏蟻喂尾蠋蟼 苇谓伪 蠁伪谓蟿伪蟽蟿喂魏蠈 蟺蟻蠈蟽蠅蟺慰. 螘委谓伪喂 苇谓伪蟼 蠂伪蟻伪魏蟿萎蟻伪蟼 - 蟽蠉渭尾慰位慰. 螘委谓伪喂 蠈位慰喂 慰喂 蟽畏渭伪谓蟿喂魏慰委 蟽蟿慰蠂伪蟽蟿苇蟼, 蔚蟺喂蟽蟿萎渭慰谓蔚蟼, 伪蟺慰位慰纬畏蟿苇蟼, 伪渭蠁喂蟽尾畏蟿委蔚蟼 蟿慰蠀 16慰蠀 伪喂蠋谓伪. 螚 螕喂慰蠀蟻蟽蔚谓维蟻 渭蔚 蟿蔚蟻维蟽蟿喂伪 苇蟻蔚蠀谓伪 伪位位维 魏伪喂 蟽蠀纬纬蟻伪蠁喂魏萎 未蔚喂谓蠈蟿畏蟿伪 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟽蟿慰谓 魏蠈蟽渭慰 蟿慰蠀 螠蔚蟽伪委蠅谓伪 魏伪喂 渭伪蟼 蠁苇蟻谓蔚喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 蠈位伪 蟿伪 渭蔚纬维位伪 纬蔚纬慰谓蠈蟿伪 伪位位维 魏伪喂 蠈位蔚蟼 蟿喂蟼 渭蔚纬维位蔚蟼 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿蔚蟼 蟿畏蟼 蔚蟺慰蠂萎蟼.
螒蟺蠈 蟿慰谓 螞蔚慰谓维蟻谓蟿慰 魏伪喂 蟿慰谓 螆蟻伪蟽渭慰 渭苇蠂蟻喂 蟿慰谓 螤伪蟻维魏蔚位蟽慰 魏伪喂 蟿慰谓 伪蟽蟿蟻慰位蠈纬慰 韦蠀蠂蠈. 螜蟽蟿慰蟻喂魏苇蟼 伪谓伪蠁慰蟻苇蟼, 蟽蠅蟻蔚委伪 慰谓慰渭维蟿蠅谓 伪位位维 蟽蟿慰谓 蟺蠀蟻萎谓伪 蟿慰蠀 苇蟻纬慰蠀 蟺维谓蟿伪 慰 螁谓胃蟻蠅蟺慰蟼! 螒蠀蟿蠈 蟿慰 慰谓 蟺慰蠀 蠁蟿喂维蠂蟿畏魏蔚 纬喂伪 谓伪 蠁慰尾维蟿伪喂, 谓伪 伪纬蠅谓喂维 伪位位维 魏伪喂 谓伪 蠄维蠂谓蔚喂 伪蟽蟿伪渭维蟿畏蟿伪.
螆蟻纬慰 尾伪胃蔚喂维 伪谓胃蟻蠋蟺喂谓慰 位慰喂蟺蠈谓 "螚 维尾蠀蟽蟽慰蟼" 伪位位维 魏伪喂 蟺慰位蠉 伪蟺伪喂蟿畏蟿喂魏蠈. 韦慰 蟽委纬慰蠀蟻慰 蠈渭蠅蟼 蔚委谓伪喂 蟺蠅蟼 渭蔚 蠀蟺慰渭慰谓萎 魏伪喂 蔚蟺喂渭慰谓萎 渭蟺慰蟻蔚委 谓伪 蠂伪蟻委蟽蔚喂 蠋蟻蔚蟼 伪谓伪纬谓蠅蟽蟿喂魏萎蟼 伪蟺蠈位伪蠀蟽畏蟼.
5/5
违螕1: 螒蟺伪蟻维未蔚魏蟿畏 畏 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 围伪蟿味畏谓喂魏慰位萎. 螞苇尉蔚喂蟼 渭蟺蔚蟻未蔚渭苇谓蔚蟼 蟺慰蠀 未蔚谓 蠀蟺维蟻蠂慰蠀谓 慰蠉蟿蔚 蟽蟿伪 位蔚尉喂魏维 魏伪喂 蟺伪蟻蠈位慰 蟿慰 伪蟺委蟽蟿蔚蠀蟿慰 name dropping 魏伪渭委伪 蠀蟺慰蟽畏渭蔚委蠅蟽畏 魏伪渭委伪 尾慰萎胃蔚喂伪.
螠喂伪 蟿苇蟿慰喂伪 蟺蔚蟻委蟺蟿蠅蟽畏 蟽蠀纬纬蟻伪蠁苇蠅蟼 蔚委谓伪喂 魏伪喂 畏 螠伪蟻纬魏蔚蟻喂蟿 螕喂慰蠀蟻蟽蔚谓维蟻.
螘蟻蠂蠈渭蔚谓慰蟼 纬喂伪 蟺蟻蠋蟿畏 蠁慰蟻维 蟽蔚 蔚蟺伪蠁萎 渭蔚 蟿慰 苇蟻纬慰 蟿畏蟼, 渭苇蟽蠅 蟿慰蠀 尾喂尾位委慰蠀 蟿畏蟼 "螚 维尾蠀蟽蟽慰蟼" 魏伪蟿维位伪尾伪 蟽蠂蔚未蠈谓 伪渭苇蟽蠅蟼 蟺蠅蟼 苇蠂蠅 谓伪 魏维谓蠅 渭蔚 渭喂伪 渭蔚纬维位畏 蟽蠀纬纬蟻伪蠁苇伪 魏伪喂 苇谓伪 伪位畏胃喂谓蠈 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪.
韦慰 尾喂尾位委慰 渭伪蟼 蟺蔚蟻喂纬蟻维蠁蔚喂 蟿畏谓 味蠅萎 蔚谓蠈蟼 蠁伪谓蟿伪蟽蟿喂魏慰蠉 "喂蟽蟿慰蟻喂魏慰蠉" 蟺蟻慰蟽蠋蟺慰蠀, 蟿慰蠀 伪位蠂畏渭喂蟽蟿萎, 纬喂伪蟿蟻慰蠉 魏伪喂 蠁喂位蠈蟽慰蠁慰蠀 螙萎谓蠅谓伪. 螌渭蠅蟼 慰 螙萎谓蠅谓伪蟼 未蔚谓 蔚委谓伪喂 伪魏蟻喂尾蠋蟼 苇谓伪 蠁伪谓蟿伪蟽蟿喂魏蠈 蟺蟻蠈蟽蠅蟺慰. 螘委谓伪喂 苇谓伪蟼 蠂伪蟻伪魏蟿萎蟻伪蟼 - 蟽蠉渭尾慰位慰. 螘委谓伪喂 蠈位慰喂 慰喂 蟽畏渭伪谓蟿喂魏慰委 蟽蟿慰蠂伪蟽蟿苇蟼, 蔚蟺喂蟽蟿萎渭慰谓蔚蟼, 伪蟺慰位慰纬畏蟿苇蟼, 伪渭蠁喂蟽尾畏蟿委蔚蟼 蟿慰蠀 16慰蠀 伪喂蠋谓伪. 螚 螕喂慰蠀蟻蟽蔚谓维蟻 渭蔚 蟿蔚蟻维蟽蟿喂伪 苇蟻蔚蠀谓伪 伪位位维 魏伪喂 蟽蠀纬纬蟻伪蠁喂魏萎 未蔚喂谓蠈蟿畏蟿伪 渭伪蟼 渭蔚蟿伪蠁苇蟻蔚喂 蟽蟿慰谓 魏蠈蟽渭慰 蟿慰蠀 螠蔚蟽伪委蠅谓伪 魏伪喂 渭伪蟼 蠁苇蟻谓蔚喂 蟽蔚 蔚蟺伪蠁萎 渭蔚 蠈位伪 蟿伪 渭蔚纬维位伪 纬蔚纬慰谓蠈蟿伪 伪位位维 魏伪喂 蠈位蔚蟼 蟿喂蟼 渭蔚纬维位蔚蟼 蟺蟻慰蟽蠅蟺喂魏蠈蟿畏蟿蔚蟼 蟿畏蟼 蔚蟺慰蠂萎蟼.
螒蟺蠈 蟿慰谓 螞蔚慰谓维蟻谓蟿慰 魏伪喂 蟿慰谓 螆蟻伪蟽渭慰 渭苇蠂蟻喂 蟿慰谓 螤伪蟻维魏蔚位蟽慰 魏伪喂 蟿慰谓 伪蟽蟿蟻慰位蠈纬慰 韦蠀蠂蠈. 螜蟽蟿慰蟻喂魏苇蟼 伪谓伪蠁慰蟻苇蟼, 蟽蠅蟻蔚委伪 慰谓慰渭维蟿蠅谓 伪位位维 蟽蟿慰谓 蟺蠀蟻萎谓伪 蟿慰蠀 苇蟻纬慰蠀 蟺维谓蟿伪 慰 螁谓胃蟻蠅蟺慰蟼! 螒蠀蟿蠈 蟿慰 慰谓 蟺慰蠀 蠁蟿喂维蠂蟿畏魏蔚 纬喂伪 谓伪 蠁慰尾维蟿伪喂, 谓伪 伪纬蠅谓喂维 伪位位维 魏伪喂 谓伪 蠄维蠂谓蔚喂 伪蟽蟿伪渭维蟿畏蟿伪.
螆蟻纬慰 尾伪胃蔚喂维 伪谓胃蟻蠋蟺喂谓慰 位慰喂蟺蠈谓 "螚 维尾蠀蟽蟽慰蟼" 伪位位维 魏伪喂 蟺慰位蠉 伪蟺伪喂蟿畏蟿喂魏蠈. 韦慰 蟽委纬慰蠀蟻慰 蠈渭蠅蟼 蔚委谓伪喂 蟺蠅蟼 渭蔚 蠀蟺慰渭慰谓萎 魏伪喂 蔚蟺喂渭慰谓萎 渭蟺慰蟻蔚委 谓伪 蠂伪蟻委蟽蔚喂 蠋蟻蔚蟼 伪谓伪纬谓蠅蟽蟿喂魏萎蟼 伪蟺蠈位伪蠀蟽畏蟼.
5/5
违螕1: 螒蟺伪蟻维未蔚魏蟿畏 畏 渭蔚蟿维蠁蟻伪蟽畏 蟿慰蠀 围伪蟿味畏谓喂魏慰位萎. 螞苇尉蔚喂蟼 渭蟺蔚蟻未蔚渭苇谓蔚蟼 蟺慰蠀 未蔚谓 蠀蟺维蟻蠂慰蠀谓 慰蠉蟿蔚 蟽蟿伪 位蔚尉喂魏维 魏伪喂 蟺伪蟻蠈位慰 蟿慰 伪蟺委蟽蟿蔚蠀蟿慰 name dropping 魏伪渭委伪 蠀蟺慰蟽畏渭蔚委蠅蟽畏 魏伪渭委伪 尾慰萎胃蔚喂伪.
March 29, 2018
鈥淓ra una di quelle epoche in cui la ragione umana si trova prigioniera di un cerchio di fiamme鈥�
Quella de 鈥淟鈥橭pera al nero鈥� 猫 una genesi che parte da tre racconti giovanili della Yourcenar che, in seguito, saranno rimaneggiati nel 鈥�55 ma troveranno forma definitiva solo tra il 1962 ed il 1965.
Un percorso lungo comune a quello delle Memorie di Adriano:
una prima scrittura in et脿 giovanile, una serie di rimaneggiamenti e la pubblicazione definitiva dopo anni dal primo nucleo.
Queste due opere hanno fatto s矛 che la Y. convivesse con i rispettivi personaggi durante un lungo arco della sua vita e che dunque possiamo indicare come sintomatici e fondamentali nella sua produzione.
Obscurum per obscurius Ignotum per ignotius
- Motto alchemico-
(Verso l'oscuro per il pi霉 oscuro, verso l'ignoto per il pi霉 ignoto)
Il protagonista de 鈥淟鈥橭pera al nero鈥� 猫 Zenone, personaggio in s茅 immaginario che, tuttavia, raduna le caratteristiche e gli aspetti di altri,noti o meno, che comunque rispecchiano l鈥檈poca e l'ambientazione storico-geografica.
E鈥� proprio la scenografia ad essere l鈥檌nterprete principale:
猫 l鈥橢uropa del 鈥�500 attraversata dalle sue guerre intestine ed internazionali che smuovono in continuazione la scacchiera continentale.
Al vertice la continua lotta di potere tra Stato e Chiesa: l鈥檌mperversare della Santa Inquisizione, i movimenti di Riforma e la Controriforma.
Zenone 猫 un medico che parla la lingua dei filosofi e si 猫 lasciato ammaliare dai richiami dell鈥檃lchimia.
Come se fosse prigioniero di un labirinto si muove alla ricerca di un鈥檜scita che gli restituisca il senso dell鈥檈sistere.
La sua vita sar脿 volta all鈥檌nvestigare il corpo e l鈥檃nima sempre con il sentore di cascare in un tranello o in vicolo cieco.
Zenone 猫 un uomo in fuga ( 鈥� Chi sar脿 tanto insensato da morire senza aver fatto per lo meno il giro della propria prigione?鈥� ) che legge la realt脿 come continuo moto, continua ricerca sperimentale. Un uomo che ha esigenze del sapere che possono risultare sospette per l鈥檈poca in cui vive. Un鈥檈poca in cui un libero pensatore poteva facilmente valicare i confini dell鈥檈resia.
Il romanzo si compone di tre parti corrispondenti alle tre fasi della vita di Zenone.
La prima 猫 鈥淟a via errante鈥� dove c鈥櫭� un movimento da Bruges(鈥� "Devo andare, Wiwine," ripet茅 Z茅non. "Vado a vedere se l'ignoranza, la paura, l'inettitudine e la superstizione regnano anche altrove.") verso l鈥檈sterno. Sono gli anni giovanili in cui sente il bisogno di sperimentare in prima persona.
La seconda parte 猫 intitolata 鈥淟a via immobile鈥� 猫 si concentra sul ritorno in patria. E鈥� la fase della maturit脿 che necessita di speculazioni interiori pi霉 profonde.
Lo spazio fisico va restringendosi fino a alla stanza di una prigione che conduce alla terza parte del romanzo intitolata, per l鈥檃ppunto, 鈥滻l carcere.
Un romanzo ricco da ogni punto di vista: dalla perfetta caratterizzazione psicologica dei personaggi perfettamente calati nella loro epoca alla costruzione semantica e strutturale che offre molteplici spunti di analisi.
Uno spessore, pertanto, non indifferente che rende questa lettura tanto ostica quanto affascinante.
鈥滾'uomo 猫 un progetto che ha contro di s茅 il tempo, la necessit脿, la fortuna, e l'imbecille e sempre crescente supremazia del numero," disse con tono pi霉 pacato il filosofo. "Gli uomini uccideranno l'uomo."
Quella de 鈥淟鈥橭pera al nero鈥� 猫 una genesi che parte da tre racconti giovanili della Yourcenar che, in seguito, saranno rimaneggiati nel 鈥�55 ma troveranno forma definitiva solo tra il 1962 ed il 1965.
Un percorso lungo comune a quello delle Memorie di Adriano:
una prima scrittura in et脿 giovanile, una serie di rimaneggiamenti e la pubblicazione definitiva dopo anni dal primo nucleo.
Queste due opere hanno fatto s矛 che la Y. convivesse con i rispettivi personaggi durante un lungo arco della sua vita e che dunque possiamo indicare come sintomatici e fondamentali nella sua produzione.
Obscurum per obscurius Ignotum per ignotius
- Motto alchemico-
(Verso l'oscuro per il pi霉 oscuro, verso l'ignoto per il pi霉 ignoto)
Il protagonista de 鈥淟鈥橭pera al nero鈥� 猫 Zenone, personaggio in s茅 immaginario che, tuttavia, raduna le caratteristiche e gli aspetti di altri,noti o meno, che comunque rispecchiano l鈥檈poca e l'ambientazione storico-geografica.
E鈥� proprio la scenografia ad essere l鈥檌nterprete principale:
猫 l鈥橢uropa del 鈥�500 attraversata dalle sue guerre intestine ed internazionali che smuovono in continuazione la scacchiera continentale.
Al vertice la continua lotta di potere tra Stato e Chiesa: l鈥檌mperversare della Santa Inquisizione, i movimenti di Riforma e la Controriforma.
Zenone 猫 un medico che parla la lingua dei filosofi e si 猫 lasciato ammaliare dai richiami dell鈥檃lchimia.
Come se fosse prigioniero di un labirinto si muove alla ricerca di un鈥檜scita che gli restituisca il senso dell鈥檈sistere.
La sua vita sar脿 volta all鈥檌nvestigare il corpo e l鈥檃nima sempre con il sentore di cascare in un tranello o in vicolo cieco.
Zenone 猫 un uomo in fuga ( 鈥� Chi sar脿 tanto insensato da morire senza aver fatto per lo meno il giro della propria prigione?鈥� ) che legge la realt脿 come continuo moto, continua ricerca sperimentale. Un uomo che ha esigenze del sapere che possono risultare sospette per l鈥檈poca in cui vive. Un鈥檈poca in cui un libero pensatore poteva facilmente valicare i confini dell鈥檈resia.
Il romanzo si compone di tre parti corrispondenti alle tre fasi della vita di Zenone.
La prima 猫 鈥淟a via errante鈥� dove c鈥櫭� un movimento da Bruges(鈥� "Devo andare, Wiwine," ripet茅 Z茅non. "Vado a vedere se l'ignoranza, la paura, l'inettitudine e la superstizione regnano anche altrove.") verso l鈥檈sterno. Sono gli anni giovanili in cui sente il bisogno di sperimentare in prima persona.
La seconda parte 猫 intitolata 鈥淟a via immobile鈥� 猫 si concentra sul ritorno in patria. E鈥� la fase della maturit脿 che necessita di speculazioni interiori pi霉 profonde.
Lo spazio fisico va restringendosi fino a alla stanza di una prigione che conduce alla terza parte del romanzo intitolata, per l鈥檃ppunto, 鈥滻l carcere.
Un romanzo ricco da ogni punto di vista: dalla perfetta caratterizzazione psicologica dei personaggi perfettamente calati nella loro epoca alla costruzione semantica e strutturale che offre molteplici spunti di analisi.
Uno spessore, pertanto, non indifferente che rende questa lettura tanto ostica quanto affascinante.
鈥滾'uomo 猫 un progetto che ha contro di s茅 il tempo, la necessit脿, la fortuna, e l'imbecille e sempre crescente supremazia del numero," disse con tono pi霉 pacato il filosofo. "Gli uomini uccideranno l'uomo."
July 26, 2021
"It might also have brought me to this point by other ways. We know less about the routes and aims of a man's life than a bird does about its migrations."
Zeno was born into the wealthy Ligre family in Bruges, Belgium. He is a child born out of wedlock however, which despite, and also because of, his privileged background, limits his chances in life to the clerical path. Zeno however is determined to learn and gain knowledge beyond what the authorities of his time have fixed for him. And this book, perhaps in a symbolic way, begins with Zeno and his cousin and heir to the Ligre fortune, Henry, meeting in different paths, the latter headed for war, the former to learn alchemy. Two different but dangerous paths in the time this book is set in.
It is sixteenth century Europe. The continent is rife with fanaticism and the religious and political powers are burning and burying alive those suspected of heresy and magic among other crimes. Enslavement and colonization by European powers across other continents is booming. One of the most violent times in recorded history and enters Zeno, an alchemist, physician and philosopher. A man determined to learn and spread truths about the universe and the human body and soul, even though this poses constant dangers to him and will end up being his undoing.
I couldn't help but like Zeno. Determined to learn and know as much as he can about everything he can, including himself, and not giving in to strong external pressures or self-deception.
" What I do not know, I know full well that I do not know, and I envy those who will eventually know more; but I know also that, exactly like me, they will be obliged to measure, deduce, and then mistrust the deductions so produced; they will have to make allowance for the part which is true in any falsehood, and likewise reckon the eternal admixture of falsity in truth."
Yourcenar writes the best historical fiction I've read thus far. What she was able to do brilliantly with Hadrian, she does with Zeno. The is a favourite and one of the best books I've read. And so before reading this book I was wary that it wouldn't come close to Memoirs. And in the end it really didn't need to, perhaps it's even complimentary to Memoirs in certain ways, so that I shouldn't even have to choose which I like best.
I was completely transported to Europe at the end of the middle-ages, with its inquisitions and trials, wars, plagues: its social and political context wonderfully furnished. That together with all the characters in this story, in their generosity, jealousies, pettiness, triumphs, failures, losses, bravery, cowardice and in short, in their humanness, have made this an unforgettable story and the best book I've read this year so far.
Zeno was born into the wealthy Ligre family in Bruges, Belgium. He is a child born out of wedlock however, which despite, and also because of, his privileged background, limits his chances in life to the clerical path. Zeno however is determined to learn and gain knowledge beyond what the authorities of his time have fixed for him. And this book, perhaps in a symbolic way, begins with Zeno and his cousin and heir to the Ligre fortune, Henry, meeting in different paths, the latter headed for war, the former to learn alchemy. Two different but dangerous paths in the time this book is set in.
It is sixteenth century Europe. The continent is rife with fanaticism and the religious and political powers are burning and burying alive those suspected of heresy and magic among other crimes. Enslavement and colonization by European powers across other continents is booming. One of the most violent times in recorded history and enters Zeno, an alchemist, physician and philosopher. A man determined to learn and spread truths about the universe and the human body and soul, even though this poses constant dangers to him and will end up being his undoing.
I couldn't help but like Zeno. Determined to learn and know as much as he can about everything he can, including himself, and not giving in to strong external pressures or self-deception.
" What I do not know, I know full well that I do not know, and I envy those who will eventually know more; but I know also that, exactly like me, they will be obliged to measure, deduce, and then mistrust the deductions so produced; they will have to make allowance for the part which is true in any falsehood, and likewise reckon the eternal admixture of falsity in truth."
Yourcenar writes the best historical fiction I've read thus far. What she was able to do brilliantly with Hadrian, she does with Zeno. The is a favourite and one of the best books I've read. And so before reading this book I was wary that it wouldn't come close to Memoirs. And in the end it really didn't need to, perhaps it's even complimentary to Memoirs in certain ways, so that I shouldn't even have to choose which I like best.
I was completely transported to Europe at the end of the middle-ages, with its inquisitions and trials, wars, plagues: its social and political context wonderfully furnished. That together with all the characters in this story, in their generosity, jealousies, pettiness, triumphs, failures, losses, bravery, cowardice and in short, in their humanness, have made this an unforgettable story and the best book I've read this year so far.
i-get-the-picture
February 20, 2014(I can see that this is going to be tough going as fiction, as Chris says -- and probably not worth the effort - for me, at least. But I'll let the "initial comment" below stand, and put this book back on the shelf. The Author's Note at the back of the book is worth reading.)
Initial comment:
In the notes appended to the english edition of Memoirs of Hadrian, Youcenar writes to Frick that the book was in large part inspired by a quote she found in 1927, from Flaubert's correspondence, that runs: "Just when the gods had ceased to be, and the Christ had not yet come, there was a unique moment in history, between Cicero and Marcus Aurelius, when man stood alone." Thus, the whole of the Hadrian book is a meditation and celebration of the classical pagan humanism (for the nature of which, see also Cochrane's famous Christianity and Classical Culture: ).
The Abyss starts with a quotation (in the motto) from Pico della Mirandola's Oratio de hominis dignitate that runs (in part): "I have given you, O Adam, no fixed abode, no visage of your own, nor any special gift, in order that whatever place or aspect or talents you yourself will have desired, you may have and possess them wholly in accord with your desire and your own decision. Other species are confined to a prescribed nature under laws of my making. No limits have been imposed upon you, however; you determine your nature by your own free will...." -- a passage which finds its direct echo in J.-J. Rousseau's Second Discourse, where Rousseau argues for the plasticity of man -- the central premise underlying Rousseau's humanism.
Zeno -- the chief character in The Abyss -- is placed (in the middle of the 16th century) at the crossroad where the Medieval worldview (essentially Aristotelian) was giving way to Modernity and early modern science -- to Bruno, Brahe, Copernicus, Galileo, and (ultimately) to the great Descartes himself. For this junction, see the classic treatments of Koyr茅 and Burtt, two magnificent books.
Koyre:
Burtt:
(With books like this, ignore the the fact that there are some people give these books two or three stars... People who do this are simply ignorant. These are must read books.).
But the birth of modern science was not simply the birth of a mechanistic system -- because modern humanism -- and this line runs from Rousseau to Marx and to Freud --, while materialistic, is not mechancistic -- but contains an element of vitalism (there is no 'spirit'; everything is matter; but matter is alive -- "thinking matter", in Yolton's phrase. This is a line of thought that traces back to the Stoics, and of course survives in the thought, for example, of Alfred North Whitehead (Science and the Modern World). It is key to understanding the humanist interpretation of Marx that was first espoused by Rodolfo Mondolfo.
But what is interesting here - and why I mention all this in the present context -- is that Yourcenar (quite accurately) traces this vitalistic element to late renaissance alchemy. She writes in the author's note (p. 364f.): "On a purely intellectual level, the Zeno of this novel, still marked by scholasticism, though reacting against it, stands halfway between the subversive dynamism of the alchemists [Y. is thinking here of the likes of Paracelsus] and the mechanistic philosophy which is to prevail in the immediate future, between hermetic beliefs which postulate a God immanent in all things [again, think Giordano Bruno; and see Koyr茅] and an atheism barely avowed.... Such a position is not unique in this century [16th]".
Regardless of how this book turns out from a novelistic point of view, Yourcenar's grasp of intellectual history is profound and reliable.
Initial comment:
In the notes appended to the english edition of Memoirs of Hadrian, Youcenar writes to Frick that the book was in large part inspired by a quote she found in 1927, from Flaubert's correspondence, that runs: "Just when the gods had ceased to be, and the Christ had not yet come, there was a unique moment in history, between Cicero and Marcus Aurelius, when man stood alone." Thus, the whole of the Hadrian book is a meditation and celebration of the classical pagan humanism (for the nature of which, see also Cochrane's famous Christianity and Classical Culture: ).
The Abyss starts with a quotation (in the motto) from Pico della Mirandola's Oratio de hominis dignitate that runs (in part): "I have given you, O Adam, no fixed abode, no visage of your own, nor any special gift, in order that whatever place or aspect or talents you yourself will have desired, you may have and possess them wholly in accord with your desire and your own decision. Other species are confined to a prescribed nature under laws of my making. No limits have been imposed upon you, however; you determine your nature by your own free will...." -- a passage which finds its direct echo in J.-J. Rousseau's Second Discourse, where Rousseau argues for the plasticity of man -- the central premise underlying Rousseau's humanism.
Zeno -- the chief character in The Abyss -- is placed (in the middle of the 16th century) at the crossroad where the Medieval worldview (essentially Aristotelian) was giving way to Modernity and early modern science -- to Bruno, Brahe, Copernicus, Galileo, and (ultimately) to the great Descartes himself. For this junction, see the classic treatments of Koyr茅 and Burtt, two magnificent books.
Koyre:
Burtt:
(With books like this, ignore the the fact that there are some people give these books two or three stars... People who do this are simply ignorant. These are must read books.).
But the birth of modern science was not simply the birth of a mechanistic system -- because modern humanism -- and this line runs from Rousseau to Marx and to Freud --, while materialistic, is not mechancistic -- but contains an element of vitalism (there is no 'spirit'; everything is matter; but matter is alive -- "thinking matter", in Yolton's phrase. This is a line of thought that traces back to the Stoics, and of course survives in the thought, for example, of Alfred North Whitehead (Science and the Modern World). It is key to understanding the humanist interpretation of Marx that was first espoused by Rodolfo Mondolfo.
But what is interesting here - and why I mention all this in the present context -- is that Yourcenar (quite accurately) traces this vitalistic element to late renaissance alchemy. She writes in the author's note (p. 364f.): "On a purely intellectual level, the Zeno of this novel, still marked by scholasticism, though reacting against it, stands halfway between the subversive dynamism of the alchemists [Y. is thinking here of the likes of Paracelsus] and the mechanistic philosophy which is to prevail in the immediate future, between hermetic beliefs which postulate a God immanent in all things [again, think Giordano Bruno; and see Koyr茅] and an atheism barely avowed.... Such a position is not unique in this century [16th]".
Regardless of how this book turns out from a novelistic point of view, Yourcenar's grasp of intellectual history is profound and reliable.
December 3, 2019
Daquilo que sei de Marguerite Yourcenar, julgo que a autora seria incapaz de escrever um livro mau, contudo, escreveu um livro deveras complicado de ler.
Para o comum dos leitores A Obra ao Negro peca por excesso de erudi莽茫o; para bem entendermos esta obra ter铆amos que ter amplos conhecimentos de Hist贸ria, Filosofia e Religi茫o. Para complicar mais um pouquinho a hist贸ria temos um vasto lote de personagens com complexas liga莽玫es entre si.
Assim, cheguei a um ter莽o do livro e larguei-o por umas semanas. Recomecei, rabisquei uma tosca 谩rvore geneal贸gica e, seguindo as c谩bulas, entrei finalmente no enredo. Quando a hist贸ria se foca com mais detalhe na vida da personagem principal - Zen茫o - a leitura desliza e faz-se prazerosa. Nas 煤ltimas p谩ginas reencontrei a Yourcenar que, como poucos, sabia escrever sobre dor com uma beleza inigual谩vel.
Para o comum dos leitores A Obra ao Negro peca por excesso de erudi莽茫o; para bem entendermos esta obra ter铆amos que ter amplos conhecimentos de Hist贸ria, Filosofia e Religi茫o. Para complicar mais um pouquinho a hist贸ria temos um vasto lote de personagens com complexas liga莽玫es entre si.
Assim, cheguei a um ter莽o do livro e larguei-o por umas semanas. Recomecei, rabisquei uma tosca 谩rvore geneal贸gica e, seguindo as c谩bulas, entrei finalmente no enredo. Quando a hist贸ria se foca com mais detalhe na vida da personagem principal - Zen茫o - a leitura desliza e faz-se prazerosa. Nas 煤ltimas p谩ginas reencontrei a Yourcenar que, como poucos, sabia escrever sobre dor com uma beleza inigual谩vel.
October 4, 2012
Nella nota finale l鈥檃utrice svela che il titolo del libro e il personaggio immaginario di Zenone, del quale 猫 raccontata la vita nel romanzo, le sono stati inizialmente ispirati dall鈥檕pera di Albrecht D眉rer , 鈥淢elencolia鈥�, che raffigura una figura giovanile circondata da diversi oggetti della vita pratica quali strumenti di lavoro o congegni matematici, che medita amaramente mentre misura con un compasso. Quello fu lo spunto iniziale da cui prese origine l鈥檌spirazione della scrittrice, che ha costruito un romanzo storico fondendo nella figura di Zenone, medico, alchimista e filosofo del sedicesimo secolo, caratteristiche di altri personaggi dell鈥檈poca, a partire da Erasmo da Rotterdam fino al chimico Paracelso, al medico Michele Serveto e al filosofo Tommaso Campanella, come afferma lei stessa nella nota finale. Tutti uomini 鈥渄iversi鈥� destinati ad una vita in nero, segnata dal potere dell鈥檌ntelletto e dal mistero degli esperimenti segreti. Anche Zenone 猫, come loro, un 鈥渄iverso鈥�, il simbolo della storia del mondo che faticosamente sta passando dalle leggi misteriose dell鈥檃lchimia e della magia,che furono le arti del Medio Evo, alla scienza nuova che porter脿 alle conquiste tecniche del mondo moderno; il simbolo altres矛 di un uomo in cammino, che si sta allontanando dall鈥檜omo medioevale, imbevuto della cultura scolastico aristotelica geocentrica, per dirigersi verso un uomo nuovo, il quale, anzich茅 basarsi sulle dogmatiche certezze che la cultura del tempo impone, si dedica a sperimentare la realt脿, misura, pesa e calcola. Un uomo che 鈥渟i onora di essere capace domani di pensare diversamente da oggi鈥�.
Zenone, un uomo che coltiv貌 il dubbio, l鈥檌nguaribile malattia dell鈥檌ngegno umano grazie al quale la civilt脿 猫 sempre in cammino.
Zenone, un uomo che coltiv貌 il dubbio, l鈥檌nguaribile malattia dell鈥檌ngegno umano grazie al quale la civilt脿 猫 sempre in cammino.
November 21, 2018
In tutta onest脿 ho raccontato ad Anobii una piccola bugia riguardo questa "opera al nero": avevo gi脿 letto questo libro. Precisamente alle superiori, fu la lettura che la giovanissima insegnante di lettere che sarebbe diventata la madre del mio amore per la lettura (e che sostituiva l'ignobile vecchiarda di ruolo) ci assegn貌. Ho deciso di riprenderlo in mano sia per la voglia di ritornare a quei tempi lontani almeno rileggendo una storia, sia attratto dalla Yourcenar dopo aver letto quell'indiscutibile capolavoro che 猫 "Memorie di Adriano": un mezzo fiasco.
Un mezzo fiasco perch猫 questo romanzo, che pretende di riprodurre il fermento culturale e spirituale che l'incredibile terremoto della Riforma scaten貌 sull'Europa del 500, vede come protagonista in intellettuale che pur in tutta la sua complessit脿 non riesce ad avere l'impatto sull'immaginario del lettore che pu貌 avere la ciclopica figura dell'imperatore Adriano. Ne consegue che Zenone pur radunando in s猫 tutte pi霉 innovative tendenze dell'uomo riformatore (alchimista, teologo eretico, scienziato, medico) non pu貌 nella mente di chi legge porre rimedio a quei difetti che c'erano gi脿 in "Memorie di Adriano" ma che il carisma dell'imperatore filosofo spazzava via con facilit脿.
Il periodare 猫 prolisso e dogmatico come una lezione universitaria e l'immaginario rimane abbastanza scialbo anche nelle scene pi霉 drammatiche ( l'assedio di Munster e la sanguinosa fine di quell'esperienza anabattista che decret貌 nei fatti il fallimento della Riforma); la stessa scelta delle scene su cui focalizzare la vita dell'alchimista ribelle sembra dare meno importanza alla necessit脿 (vitale per un romanzo) di restituire la vita ed il sentimento di uomini cos矛 lontani da noi piuttosto che alla preoccupazione (piuttosto scolastica) di fornire a chi legge un resoconto dettagliato dell'evolversi di scienza, filosofia e teologia in quell'epoca di transizione.
Solo che questo 猫 un romanzo, non un saggio: e perci貌 mi sembra una colpa difficile da perdonare, anche se il fatto che "L'opera al Nero" sia stata concepito da una Yourcenar ancora giovane ed immersa nel mondo accademico possa costituire una attenuante.
La realt脿 猫 che passati alcuni giorni mi sono accorto con fastidio che di questo romanzo non mi 猫 rimasto nulla se non quella che potrebbe essere una lezione di liceo sull'Et脿 moderna: in buona sostanza un romanzo dimenticabile. Questo naturalmente non significa che sia un libro inutile, infatti tale 猫 la maniacale cura dell'autrice nello sviluppare ragionamenti e abitudini di quel tempo, che girando l'ultima pagina ho avuto la sensazione di quanto fosse alieno e diverso da noi il mondo del cinquecento, e soprattutto quanto fosse complesso e tormentato, per nulla libero delle supersitzioni medioevali e sicuramente molto lontano da quella situazione ideale dell'et脿 della ragione in cui l'umanesimo aveva fatto sperare.
Non posso fare a meno di rimarcare il gretto classismo dell'autrice nei confronti delle classi povere, che oltre alla fame ed alle malattie devono subire il giudizio di ignoranza e superstizione dell'autrice (come se fosse colpa loro essere nati poveri, direbbe Jos猫 Saramago): questo non solo 猫 difficile da accettare, ma anche conduce la Yourcenar a trascurae aspetti e protagonisti di quel mondo che davvero sarebbero stati in grado di colorare ed arricchire un'opera. Dai soldati di ventura alle scapestrate rime di Pietro Aretino,dagli immensi capolavori che l'Italia e le Fiandre andavano producendo al rassicurante pragmatismo dei grandi banchieri, tutto questo non sembra interessare granch猫.
In sintesi: leggendolo dopo vent'anni capisco con grande chiarezza l' interesse scolastico di questo libro, che condusse la mia professoressa (che non finir貌 mai di andare a trovare con la mia pi霉 grande gratitudine) ad assegnarlo; ma 猫 un libro che al di l脿 della sua utilit脿 si dimentica presto ed in fretta di essere anche un romanzo.
Tre stelle, Zenone. Ripassi al prossimo appello, se riesce asopravvivere.
Un mezzo fiasco perch猫 questo romanzo, che pretende di riprodurre il fermento culturale e spirituale che l'incredibile terremoto della Riforma scaten貌 sull'Europa del 500, vede come protagonista in intellettuale che pur in tutta la sua complessit脿 non riesce ad avere l'impatto sull'immaginario del lettore che pu貌 avere la ciclopica figura dell'imperatore Adriano. Ne consegue che Zenone pur radunando in s猫 tutte pi霉 innovative tendenze dell'uomo riformatore (alchimista, teologo eretico, scienziato, medico) non pu貌 nella mente di chi legge porre rimedio a quei difetti che c'erano gi脿 in "Memorie di Adriano" ma che il carisma dell'imperatore filosofo spazzava via con facilit脿.
Il periodare 猫 prolisso e dogmatico come una lezione universitaria e l'immaginario rimane abbastanza scialbo anche nelle scene pi霉 drammatiche ( l'assedio di Munster e la sanguinosa fine di quell'esperienza anabattista che decret貌 nei fatti il fallimento della Riforma); la stessa scelta delle scene su cui focalizzare la vita dell'alchimista ribelle sembra dare meno importanza alla necessit脿 (vitale per un romanzo) di restituire la vita ed il sentimento di uomini cos矛 lontani da noi piuttosto che alla preoccupazione (piuttosto scolastica) di fornire a chi legge un resoconto dettagliato dell'evolversi di scienza, filosofia e teologia in quell'epoca di transizione.
Solo che questo 猫 un romanzo, non un saggio: e perci貌 mi sembra una colpa difficile da perdonare, anche se il fatto che "L'opera al Nero" sia stata concepito da una Yourcenar ancora giovane ed immersa nel mondo accademico possa costituire una attenuante.
La realt脿 猫 che passati alcuni giorni mi sono accorto con fastidio che di questo romanzo non mi 猫 rimasto nulla se non quella che potrebbe essere una lezione di liceo sull'Et脿 moderna: in buona sostanza un romanzo dimenticabile. Questo naturalmente non significa che sia un libro inutile, infatti tale 猫 la maniacale cura dell'autrice nello sviluppare ragionamenti e abitudini di quel tempo, che girando l'ultima pagina ho avuto la sensazione di quanto fosse alieno e diverso da noi il mondo del cinquecento, e soprattutto quanto fosse complesso e tormentato, per nulla libero delle supersitzioni medioevali e sicuramente molto lontano da quella situazione ideale dell'et脿 della ragione in cui l'umanesimo aveva fatto sperare.
Non posso fare a meno di rimarcare il gretto classismo dell'autrice nei confronti delle classi povere, che oltre alla fame ed alle malattie devono subire il giudizio di ignoranza e superstizione dell'autrice (come se fosse colpa loro essere nati poveri, direbbe Jos猫 Saramago): questo non solo 猫 difficile da accettare, ma anche conduce la Yourcenar a trascurae aspetti e protagonisti di quel mondo che davvero sarebbero stati in grado di colorare ed arricchire un'opera. Dai soldati di ventura alle scapestrate rime di Pietro Aretino,dagli immensi capolavori che l'Italia e le Fiandre andavano producendo al rassicurante pragmatismo dei grandi banchieri, tutto questo non sembra interessare granch猫.
In sintesi: leggendolo dopo vent'anni capisco con grande chiarezza l' interesse scolastico di questo libro, che condusse la mia professoressa (che non finir貌 mai di andare a trovare con la mia pi霉 grande gratitudine) ad assegnarlo; ma 猫 un libro che al di l脿 della sua utilit脿 si dimentica presto ed in fretta di essere anche un romanzo.
Tre stelle, Zenone. Ripassi al prossimo appello, se riesce asopravvivere.
January 11, 2024
Minstens zo indrukwekkend qua literaire prestatie als haar , maar tegelijk en om verschillende redenen zijn Yourcenars twee meesterwerken niet te vergelijken. Wat ze wel met elkaar gemeen hebben is de uiterst secure en gedetailleerde literaire stijl waarmee de Nobelprijswinnares het genre van de historisch roman naar een hoger, om niet te zeggen naar het hoogste plan tilt.
Wie doet haar dat na? Ik moet toegeven dat ik als beginnende literatuurliefhebber veel meer historische romans las dan de laatste jaren. Ik had een fascinatie voor de mystieke tijden en werelden die Umberto Eco tot leven wist te wekken, zoals in , hoewel ik er lang niet alles van begreep. Ook en natuurlijk wisten me toen te bekoren. Intussen kom ik er maar niet toe om aan het veelbelovende oeuvre van Hilary Mantel te beginnen. Enkel het heerlijke en het fenomenale kruisten op dat vlak mijn leespad de voorbije jaren.
Toevallig zijn die laatste twee verwant aan de twee eerder vernoemde werken van Yourcenar. In mijn review van Pfeijffers 'Alkibiades' durfde ik zelfs de vergelijking met 'Hadrianus' maken, omdat er eenzelfde persoonlijke inleving, eenzelfde gevoelig oog voor detail en eenzelfde ingebed en persoonlijk vertelperspectief gebruikt wordt. In beide romans is de historische figuur nl. zelf aan het woord en dat maakte voor mij Yourcenars een pakkender boek dan 'Het hermetisch zwart'.
Hier wordt het hoofdpersonage, de arts-filosoof-alchimist Zeno, dat in tegenstelling tot Hadrianus fictief is, ingebed en gevormd door het historische tijdskader; iets wat helemaal duidelijk wordt als je de aantekeningen en het nawoord van Yourcenar leest. Inhoudelijk en qua idee毛n die via jarenlange research en levenswijsheid gerijpt zijn, overtreft deze roman 'Hadrianus'. De complexiteit van het tijdsgewricht (ook in 'Wildevrouw' tastbaar gemaakt) wordt hallucinant, verregaand en naadloos door Yourcenar gebricoleerd tot levensechte beschrijvingen en vooral via enkele onvergetelijke dialogen die de hoogtepunten van dit meesterwerk vormen, met Zeno als de ongrijpbare, maar net zo onvergetelijke tegenhanger van Hadrianus.
Zeker tijdens het lezen van bovengenoemde aantekeningen, overviel me trouwens datzelfde gevoel van lang niet alles begrepen te hebben, zoals vroeger bij de romans van Umberto Eco. Maar dit boek bewees andermaal nog maar eens dat je als lezer (meestal) beloond wordt wanneer je een boek voorgeschoteld krijgt waar je je tanden in moet zetten en moeite bij moet doen. Ik geef dan ook nog geen 5 sterren, want ik wil deze Yourcenar, net als haar 'Hadrianus' ooit nog eens herlezen.
Wie doet haar dat na? Ik moet toegeven dat ik als beginnende literatuurliefhebber veel meer historische romans las dan de laatste jaren. Ik had een fascinatie voor de mystieke tijden en werelden die Umberto Eco tot leven wist te wekken, zoals in , hoewel ik er lang niet alles van begreep. Ook en natuurlijk wisten me toen te bekoren. Intussen kom ik er maar niet toe om aan het veelbelovende oeuvre van Hilary Mantel te beginnen. Enkel het heerlijke en het fenomenale kruisten op dat vlak mijn leespad de voorbije jaren.
Toevallig zijn die laatste twee verwant aan de twee eerder vernoemde werken van Yourcenar. In mijn review van Pfeijffers 'Alkibiades' durfde ik zelfs de vergelijking met 'Hadrianus' maken, omdat er eenzelfde persoonlijke inleving, eenzelfde gevoelig oog voor detail en eenzelfde ingebed en persoonlijk vertelperspectief gebruikt wordt. In beide romans is de historische figuur nl. zelf aan het woord en dat maakte voor mij Yourcenars een pakkender boek dan 'Het hermetisch zwart'.
Hier wordt het hoofdpersonage, de arts-filosoof-alchimist Zeno, dat in tegenstelling tot Hadrianus fictief is, ingebed en gevormd door het historische tijdskader; iets wat helemaal duidelijk wordt als je de aantekeningen en het nawoord van Yourcenar leest. Inhoudelijk en qua idee毛n die via jarenlange research en levenswijsheid gerijpt zijn, overtreft deze roman 'Hadrianus'. De complexiteit van het tijdsgewricht (ook in 'Wildevrouw' tastbaar gemaakt) wordt hallucinant, verregaand en naadloos door Yourcenar gebricoleerd tot levensechte beschrijvingen en vooral via enkele onvergetelijke dialogen die de hoogtepunten van dit meesterwerk vormen, met Zeno als de ongrijpbare, maar net zo onvergetelijke tegenhanger van Hadrianus.
Zeker tijdens het lezen van bovengenoemde aantekeningen, overviel me trouwens datzelfde gevoel van lang niet alles begrepen te hebben, zoals vroeger bij de romans van Umberto Eco. Maar dit boek bewees andermaal nog maar eens dat je als lezer (meestal) beloond wordt wanneer je een boek voorgeschoteld krijgt waar je je tanden in moet zetten en moeite bij moet doen. Ik geef dan ook nog geen 5 sterren, want ik wil deze Yourcenar, net als haar 'Hadrianus' ooit nog eens herlezen.
August 22, 2021
Otra excelente novela de la autora, que puede ser le铆da de dos maneras: la primera, como novela hist贸rica. La trama transcurre en el siglo XVI, un per铆odo muy turbulento, marcado por la Reforma protestante y el surgimiento del calvinismo, luteranismo, anglicanismo, etc茅tera, y muchos conflictos pol铆ticos, sociales y religiosos. La reconstrucci贸n es exquisita, marcada como siempre por la prosa refinada, cultivada, rica de Yourcenar. Es posible que a un lector sin conocimientos de ese per铆odo algunas cosas le resulten dif铆ciles de comprender (fue mi caso). La segunda forma de leer la novela es como una biograf铆a de su protagonista, Zen贸n, desde su nacimiento hasta su muerte. Zen贸n es un sabio multifac茅tico (inventor, alquimista, m茅dico, te贸logo...) y si tuviera que definirlo, dir铆a que es un personaje que ama el conocimiento por encima de todas las cosas. No toma partido por las rivalidades existentes: hay un tono pesimista en la novela. El fanatismo y el odio no es patrimonio exclusivo de una monarqu铆a o religi贸n: tanto los protestantes como los cat贸licos son crueles, brutales y quieren matarse mutuamente, y los pr铆ncipes que siguen no son mucho mejores.
Definitivamente la recomiendo.
Definitivamente la recomiendo.
March 5, 2020
Eppur si muove鈥�
芦 Ecrites pendant les ann茅es 60, les pages de L鈥櫯抲vre au noir sont hivernales, froides et livides; elles nous renvoient la p芒leur de l鈥櫭﹑oque. Cette luminosit茅 se distingue d鈥檈mbl茅e de celle des M茅moires d鈥橦adrien dont les reflets chauds et dor茅s nous rappellent les pr茅mices de l鈥檃utomne. Les vers du demi-dieu affleurent l鈥檈ncre bleue de M茅diterran茅e comme autant de p茅pites cuivr茅es qui annoncent le cr茅puscule d鈥檜n monde. L鈥檋iver du Moyen-芒ge, lui, nous glace imm茅diatement les r茅tines de sa lumi猫re crue et le regard sec de Z茅non se m锚le 脿 l鈥檕bscurantisme de son temps. Une brume 茅paisse maintient les corps et les esprits dans un clair-obscur qui n鈥檈st jamais innocent. Au XVIe si猫cle, la lucidit茅 est un risque 脿 prendre. 禄
Ces mots extraits de l鈥櫭﹖ude de Maxim Blondovski, refl猫tent 脿 merveille mes propres perceptions contradictoires 脿 la lecture du roman, caus茅es 脿 la fois d'un horizon d鈥檃ttente (trop) influenc茅 par les glorieuses M茅moires d鈥橦adrien, puis de l鈥檃tmosph猫re glaciale qui m鈥檃 envelopp茅e tout au long de la lecture et que j鈥檃i suspect茅e au d茅but provenir de ma propre incapacit茅 de vivre les 芦 aventures du savoir 禄 du personnage et enfin par la distance entre ma pens茅e et mes 茅motions de lecteur, qui est demeur茅e constante m锚me 脿 la fin, car la mort du h茅ros je l鈥檃i contempl茅e froidement, en accord parfait avec non seulement la s猫che voix narrative mais aussi avec l鈥檃ttitude du h茅ros, qui objective lui aussi la mort.
Par opposition aux M茅moires d鈥橦adrien, qui s鈥檌nsinuent dans ton 芒me lui touchant 脿 jamais d鈥檜ne ineffable 茅motion, L鈥櫯搖vre au noirs鈥檃dresse plut么t 脿 ta raison sceptique et encline 脿 voir plut么t la laideur de ce bas monde 鈥� c鈥檈st-脿-dire l脿 o霉 l'une exulte la beaut茅 de l鈥檋omme et son droit 脿 l鈥檌mmortalit茅, l鈥檃utre d茅plore l鈥檃bjection du m锚me homme et de son destin 茅ph茅m猫re. S鈥檃git-il des st茅r茅otypies banales, telles antiquit茅 d鈥檕r et moyen-芒ge obscurantiste ? Pas du tout. Il y a trait plut么t 脿 deux attitudes distinctes devant la vie, le savoir et la mort, qui m猫nent 脿 deux cat茅gories esth茅tiques apparent茅s mais diff茅rentes, elles aussi : le sublime et le tragique. Ainsi la grandeur des deux personnages est-elle mise en 茅vidence par le contraste avec leur 茅poque : si Hadrien est le h茅ros sublime dans une soci茅t茅 d茅cadente et gracieuse, Z茅non est le h茅ros tragique dans une soci茅t茅 ignorante et grotesque.
On pourrait dire (pour finir la comparaison entre les deux 艙uvres) que la personnalit茅 de Hadrien transcende son monde, tandis que la personnalit茅 de Z茅non est finalement 茅cras茅e par le sien. C鈥檈st pourquoi la reconstitution d鈥檜ne 茅poque, rendue essentielle dans l鈥櫭ヽonomie du roman, est r茅alis茅e brillamment, avec une abondance de d茅tails qui aurait horrifi茅 Aristote, si ferme dans son opinion que les 茅pisodes nuisent 脿 la coh茅rence du texte. Il y a des pages m茅morables 脿 illustrer la mentalit茅 et la couleur du temps, parmi lesquelles le si猫ge de M眉nster o霉 meurt la m猫re de Z茅non et o霉 la distinction entre victime et agresseur s鈥檈fface, tant le comportement des uns et des autres est semblable, ou les sc猫nes de la vie des soldats 鈥� d鈥檕霉 ressort l鈥檌nt茅ressante figure du cousin de Z茅non, Henri-Maximilien cet 芦 aventurier de la puissance 禄 duquel ne reste trace ni m锚me de ses efforts cr茅atifs, ou la description des sectes secr猫tes qui ressemblent 茅trangement 脿 de vieux rites pa茂ens, ou les proc猫s d鈥檋茅r茅sie avec leur 茅pouvantable logique, et ainsi de suite. Un monde d茅grad茅 et damn茅, o霉 l鈥檋orrible r猫gne avec autant d鈥檃utorit茅 qu鈥檌l peut se permettre d鈥檈mprunter des accents lyriques :
La peste, venue d鈥橭rient, entra en Allemagne par la Boh猫me. Elle voyageait sans se presser, au bruit des cloches, comme une imp茅ratrice. Pench茅e sur le verre du buveur, soufflant la chandelle du savant assis parmi ses livres, servant la messe du pr锚tre, cach茅e comme une puce dans la chemise des fille de joies, la peste apportait 脿 la vie de tous un 茅l茅ment d鈥檌nsolente 茅galit茅, un 芒cre et dangereux ferment d鈥檃venture. Le glas r茅pandait dans l鈥檃ir une insistante rumeur de f锚te noire鈥�
De ce monde ignorant, p茅nible et avec une volupt茅 du mal presque ind茅cente essaie de se d茅limiter Z茅non, sans vraiment en 锚tre capable, car aux obstacles ext茅rieurs (fournis par la soci茅t茅) s鈥檃joutent ceux int茅rieurs (d茅coulant de ses propres doutes et peurs). La structure tripartite du livre semble au d茅but contredire le titre, en sugg茅rant que le h茅ros, en passant du travail alchimique et puis m茅dical 脿 la pens茅e philosophique sera en mesure de traverser toutes les trois phases alchimiques pour arriver 脿 transmuter l鈥櫭﹑h茅m猫re en 茅ternit茅, la mati猫re en esprit:
S鈥檈n suivait-il que les phases subs茅quentes de l鈥檃venture alchimique fussent autre chose que des songes, et qu鈥檜n jour il conna卯trait aussi la puret茅 asc茅tique de l鈥櫯抲vre au Blanc, puis le triomphe conjugu茅 de l鈥檈sprit et des sens qui caract茅rise l鈥櫯抲vre au Rouge ?
Pourtant, celui qui 茅tait parti 脿 la recherche du soi 脿 vingt ans, qui avait compl茅t茅 ironiquement la d茅finition socratique des limites du savoir humain (芦 Je sais que je ne sais pas ce que je ne sais pas 禄), qui avait fait de l鈥檃lchimie une science et de la m茅decine une philosophie, celui qui mourra en digne homme comme Giordano Bruno plus tard en choisissant de ne pas se d茅sister de ses id茅es, cet homme se r茅signera 脿 constater que sa qu锚te a 茅t茅 inutile et que ses cent pas dans sa cellule o霉 il attend la mort reprennent l鈥檌tin茅raire circulaire de la vie, itin茅raire qu鈥檌l avait commenc茅 avec tant de confiance qu鈥檌l va 锚tre 芦 plus qu鈥檜n homme 禄, pour se rendre compte qu鈥櫭� la fin de sa vie il se trouve au point du d茅part, et que par dessus les contraintes temporelles, mat茅rielles et spirituelles qui sont les murs du prison de l鈥櫭猼re, c鈥檈st l鈥檋umanit茅 m锚me qui s鈥檈ngage avec enthousiasme dans sa propre destruction :
L鈥檋omme est une entreprise qui a contre elle le temps, la n茅cessit茅, la fortune et l鈥檌mb茅cile et toujours croissante primaut茅 du nombre, dit plus pos茅ment le philosophe. Les hommes tueront l鈥檋omme.
Comme son illustre homonyme, Z茅non d茅couvre que la pluralit茅 (ou la divisibilit茅) ne sont que des apparences, des illusions magiques (des herbes, des m茅taux, des mots, de la religion) auxquelles seulement les rigueurs de l'intelligence peuvent s鈥檕pposer. Par cons茅quent, 脿 la fin, le h茅ros trouve un sens 脿 sa vie, m锚me s鈥檌l a eu la r茅v茅lation de l鈥檌llusion du mouvement, car
Qui serait assez insens茅 pour mourir sans avoir fait au moins le tour de sa prison ?
Et puis, la mort pleine de dignit茅 le transforme finalement, au moins on l鈥檈sp猫re, dans cette fl猫che fameuse 脿 laquelle on nie plus le lancement vers le savoir transform茅 en 茅piphanie.
Il fit ou crut faire un effort pour se lever, sans bien savoir s鈥檌l 茅tait secouru ou si au contraire il portait secours. Les grincement des cl茅s tourn茅es et des verrous repouss茅s ne fut plus pour lui qu鈥檜n bruit suraigu de porte qui s鈥檕uvre. Et c鈥檈st aussi loin qu鈥檕n peut aller dans la fin de Z茅non.
July 8, 2020
Romanzo storico di ampio respiro, impegnativo, pregnante, sorretto da una ricerca storica certosina che porta il lettore nel XVI secolo, epoca in bilico tra il nuovo sapere prodotto dal Rinascimento e l鈥檈resia soggiacente a ogni nuova evoluzione della mente. Un鈥檈poca storica in pura dimensione europea con una breve incursione verso il Levante, sullo sfondo le continue guerre di conquista, la Riforma luterana, il valzer delle eresie, la moda anabattista; al centro Zenone, il personaggio filosofo, alchimista, medico, che cela in realt脿 semplicemente l鈥檜omo imprigionato nella sua finitezza umana, l鈥檜omo bisognoso di conoscere, di esplorare i propri limiti per giungere alla piena consapevolezza e conoscenza di s茅, al pieno controllo, paradossalmente, se poi si pensa al sublime epilogo di questa vita e di questa straordinaria opera. Pagine intense, che giungono al culmine e si fanno perdonare l鈥檈ccessivo zelo storico che permea lo scritto, a tratti appesantendolo e rendendolo di non agile lettura. La Grande Opera, l鈥檕pera al nero, - la prima tappa della trasmutazione alchemica necessaria per la creazione della pietra filosofale- e Zenone, pellegrino tutta la vita perch茅 鈥渃hi sar脿 tanto insensato da morire senza aver fatto almeno il giro della propria prigione?鈥�. Zenone, spinto dalla necessit脿 di appurare se 鈥渓鈥檌gnoranza, la paura, la stupidit脿 e la superstizione verbale regnano anche fuori di qui鈥�, protagonista di un lungo viaggio attraverso il suo tempo, la conoscenza, se stesso. Una figura storica fittizia, dice la stessa Yourcenar nella nota dell鈥檃utore, ben diversa da una figura storica ricreata come l鈥檌mperatore Adriano delle celeberrime Memorie, che necessita pi霉 che mai di una perfetta collocazione temporale affinch茅 le date della sua vita coincidano in maniera esatta col substrato storico attestato. Tutte le 鈥渧erit脿鈥� alle quali Zenone giunge dopo incessanti e travagliate oscillazione dell鈥檃nima e del pensiero sono poi le medesime intenzioni che hanno caratterizzato vita e opera di Leonardo, Harvey, Paracelso e tanti altri. Una sintesi perfetta del pensiero del secolo i cui fatti storici interessano le vite parallele degli altri personaggi, fornendo un鈥檈ccellente ambientazione di sfondo. Niente 猫 lasciato al caso, tutto 猫 riconducibile a precise fonti documentarie, la trama langue, rari gli spunti narrativi di vivo interesse, quasi un substrato narrativo sincopato, a volte monco; un viaggio ostico che chi sapr脿 intraprendere vedr脿 culminare nelle due- tre pagine finali di raro pathos e di intensit脿 descrittiva tale da riabilitare l鈥檌ntero scritto col dubbio di essere davanti a un sapere tale da poter solo lasciare inebetiti. Per appassionati di storia , per cultori della materia, per curiosi che volessero approfondire l鈥檃ffascinate et脿 moderna.
January 26, 2012
Mysteriously satisfying. As far as historical recreations go, something like the polar opposite of Deadwood or Amalgamation Polka: the past is interesting not because of its excessive color and profuse cocksucking but because of the relentless nature of its blandness. I find myself puzzling over how exactly Y manages this. She gets a certain amount of momentum from establishing and then abjuring scenes; everything is setup for more setup, narrative for more narrative, until you realize that, like most narrative-heavy books (Bolano's 2666 is another good example), the real hero of this story is fate, meaning Death, the end (The End) to which all good things must come. Which makes you think, "Okay, I guess it's okay if none of the normally exciting things happen, since really this is a book [like its protagonist] that sees excitement as a sort of cop out, excuse, avoidance". Emotional syncopation, maybe? (or "noncopation": removing the stress from the score entirely) And yet I have to admit The Abyss ends up resembling someone I never thought it would during the first 2/3rds: Albert Camus. Y's hero makes a legitimate, believable stand, and does indeed feel more heroic for doing so. Relentlessly unhistrionic.
Read
September 13, 2022"Tako se re拧etaju na拧i 膷itaoci: glupi nam veruju, oni jo拧 gluplji nas napu拧taju smatraju膰i da smo gluplji od njih, a oni 拧to ostanu snalaze se u tom lavirintu, nau膷e da presko膷e ili obi膽u prepreku la啪i. Ba拧 bih se iznenadio kad se 膷ak i u najsvetijim tekstovima ne bi na拧lo takvih lukavstava. Kad se tako 膷ita, svaka knjiga postaje tajanstvena poruka."
(Zenonovo ratno lukavstvo, str. 85-86)
Ovo je tip knjige koju je nezahvalno ocenjivati ili o njoj pisati brzu, nepromi拧ljenu recenziju. M. Jursenar je izrazito studiozna knji啪evnica i kod nje ni拧ta nije prepu拧teno slu膷aju. Pri膷e pisane u mladosti je decenijama dora膽ivala. Mnoge su godinama sazrevale u gra膽u za romane. Knjige je opremala bele拧kama za 膷itanje, a gotovo svakoj je precizno opredeljivala mesto u sistemu svog knji啪evni opus.
Pojednostavljeno re膷eno, njena dominantna tema je pronicanje u ono stalno i nepromenljivo u 膷oveku, i to obi膷no istra啪uje u kontrastu istorijske pozadine (啪ivota) koji je, po prirodi stvari, u neprekidnom i nepredvidljivom kretanju.
Biografi ka啪u i da je Zenona, glavnog junaka ovog romana, izrazito emotivno do啪ivljavala, 膷esto mu se u knji啪evnim diskusijama vra膰ala, sa njim se li膷no poistove膰ivala.
鈥楥rna mena鈥� je pametan, lep, jezi膷ki virtuozan roman (fantasti膷no preveden), mada, izvesno namerno, ne i preterano uzbudljiv za 膷itanje. Konstruisan tako da 膷itaoca 膷esto usporava, vra膰a i tera na razmi拧ljanje.
Radi se o knjizi koju pro膷ita拧 i shvati拧 da bi pametnije bilo 膷itati je ponovo.
U pitanju je 拧iroka panorama dekada (1510-1569), prelomnih, za ra膽anje moderne nauke, analiti膷kog rezona, savremenog (teskobnog) ose膰anja sveta:
鈥�...filozof se zabavljao iscrtavanjem karte ljudskih mi拧ljenja leta Gospodnjeg 1569. bar u pogledu onih neobi膷nih oblasti u kojima je njegov duh boravio. Kopernikov sistem crkva nije osudila 鈥� ali tvrdnja koja se sastoji u postavlju Sunca umesto Zemlje u sredi拧te sveta 鈥� ipak vre膽a i Aristotela, i Bibliju 鈥� Zenon je po sebi znao u kojoj meri Zemlja u pokretu kr拧i navike koje je svako od nas izgradio da bi mogao da 啪ivi. 鈥� Gora od smelosti zamenjivanja Zemlje Suncem bila je Demokritova gre拧ka: verovanje u beskrajnost svetova, koje 膷ak i Suncu oduzima povla拧膰eno mesto i pori膷e postojanje jednog sredi拧ta 鈥� Averoesova gre拧ka, pretpostavka o bo啪anstvu rasprostrtom svuda unutar ve膷nog sveta, kao da je vernika li拧avala utehe boga stvorenog prema ljudskom obli膷ju, 膷ija su milost ili gnev isklju膷ivo 膷oveku namenjeni. Ve膷nost du拧e, Origenova gre拧ka, izazvala je gnu拧anje, jer je skoro ni na 拧ta svodila neposrednu sada拧njost: 膷ovek je pristajao da se pred njim otvori sre膰na ili nesre膰na besmrtnost za koju je odgovoran, ali ne i da se na sve strane prostire neka hladna ve膷nost u kojoj on biti拧e ne postoje膰i鈥︹€� (227-228)
Roman je na膷i膷kan likovima (poput Bo拧ove slike 鈥淰rt u啪ivanja鈥� na koju kao svoju inspiraciju upu膰uje i sama M. Jursenar u svojim bele拧kama), a celo to mno拧tvo, zapravo je pozadina hronike jednog 啪ivota - gladnog - i misti膷nog, i nau膷nog znanja. Glavnog junaka Zenona pratimo na tragala膷kom putu samoostvarivanja, a na kraju i na trasi ultimativnog osvajanja slobode li膷nog izbora.
Margerit Jursenar spada u one umetnike pred 膷ijim pisanjem malo ko ne uvi膽a da pred sobom ima ne拧to 鈥渧a啪no鈥�. Njene knjige bi mo啪da valjalo 膷itati redom kojim je pisala po拧to ih povezuju, ne fabula ili likovi, ve膰 dominantni motivi, odnosno njene, kroz vreme iste, problematske preokupacije.
Prvo rane pri膷e u kojima se uhodavala kao pisac, 鈥淗adrijanove memoare鈥� obavezno, potom 鈥淐rnu menu鈥�, pa 鈥淜ao voda kad te膷e鈥�, a na kraju eseje i autobiografsku fikciju.
September 12, 2016
Opera negra ("l'oeuvre au noir" the french title better than the abyss) is the first stage of the transformation alchemist to gold. We use the most vulgar matter not differencied. It will be followed by works with the white and the red. Z茅non, physician, alchemist are shared between two times the Middle Ages and the Renaissance, between Aristote and Plato. But on the metaphysical level, this alchemist transformation is also that of man who progresses on the way of knowledge.
The end is tragic but did the death gain? For Z茅non which exceeded for a long time the work with the black, it is the ultimate sublimation. The novel takes on a metaphorical dimension. Then I think to a sentence of Goethe : "Die and becomes!"
in the life, it is necessary to die to certains things to rebirth to others.
The end is tragic but did the death gain? For Z茅non which exceeded for a long time the work with the black, it is the ultimate sublimation. The novel takes on a metaphorical dimension. Then I think to a sentence of Goethe : "Die and becomes!"
in the life, it is necessary to die to certains things to rebirth to others.
July 15, 2016
螠蔚蟽伪喂蠅谓喂魏蠈 渭蠀胃喂蟽蟿蠈蟻畏渭伪 蟺慰蠀 蟺蟻伪纬渭伪蟿蔚蠉蔚蟿伪喂 蟿畏 蟽蠂苇蟽畏 螘魏魏位畏蟽委伪蟼-伪胃蔚螑伪蟼.螣 胃维谓伪蟿慰蟼 蟿慰蠀 维胃蔚慰蠀 伪蟺蠈 蟿慰谓 蟽魏慰蟿伪未喂蟽渭蠈 蟿畏蟼 胃蟻畏蟽魏蔚委伪蟼 蟽蔚 魏维谓蔚喂 谓伪 伪谓伪蟻蠅蟿喂苇蟽伪喂 伪谓 伪蠀蟿蠈 萎蟿伪谓 蠁伪喂谓蠈渭蔚谓慰 蟺慰蠀 蟺蔚蟻喂慰蟻喂味蠈蟿伪谓 蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀 螠蔚蟽伪委蠅谓伪 魏伪喂 蟿畏蟼 螜蔚蟻维蟼 螘尉苇蟿伪蟽畏蟼 萎 伪谓 苇蠂蔚喂 蔚蟺喂尾喂蠋蟽蔚喂 魏伪喂 蟽蟿畏 蟽畏渭蔚蟻喂谓萎 蔚蟺慰蠂萎 蠀蟺蠈 维位位畏 尾苇尾伪喂伪 渭慰蟻蠁萎 (蟺喂慰 蟽蠀渭尾慰位喂魏萎).
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November 17, 2024Uskovitlani povesni odse膷ak (1510-1569) koji razularen mlati, prostreljuje, ve拧a, spaljuje ili (zlo)upotrebljava na razli膷ite na膷ine, pripu拧taju膰i na 拧ta god stigne svoja 膷etiri konjanika, bezobziran je za sve likove ovog romana. Istorija je u "Crnoj meni" koloplet imena i njihove smene, a n矛ska smrti, posebice onih okon膷avanja glavnom junaku va啪nih, druge bi romansijere podstakla (ili priterala) da se razmahnu i pirlitaju, i da dramati膷nije i sa ve膰im sau膷e拧膰em akcentuju i da... proma拧e. Jursenar te smrti istini za volju ne prele膰e, ali svoje pripovedanje prosejava u skladu sa onim gorepotcrtanim, beslovesno-mahnitim povesnim, u brzim i ovla拧nim pa opet delikatnim potezima. Jer postojati to je jezditi na dimu.
Korelativni je utisak i da je protagonista (onaj 膷iji 啪ivotni vek zaprema ono 1510-1569) otu膽en, ovla拧an i ravnodu拧no nehajan u odnosu na sve ono 拧to... pa recimo, nije na putu njegove samoizgradnje - poglavito porodi膷ni milje - premda bi takva ograda istodobno mogla biti fasada duha kojom se 拧titi. Tako 膰e lako prominuti susret s polusestrom, saznanje o smrti roditelja,... Stvar perspektive, reljefnog pristupa, ledene dobrote, hladne ljubavi i suzdr啪anijeg humanizma svakako. Pa opet negde听ve膰 plutaju i ovakvi reci: "Treba voleti nekog da bi se primetilo koliko je sramotno 拧to 膷ovek umire."
A on, Zenon, u impostaciji sveukupnosti znanja, ponajpre se bavi slobodnom mi拧lju i njenom teku膰om granicom, "opasnom" rabotom koja je retko kada po啪eljna i umesna jer, primerice, "Znanje i razmi拧ljanje nisu dovoljni[...] ukoliko se ne pretvaraju u mo膰." U doba kada se preska膷e iz trulog 膷amca katoli膷anstva u bu拧ni 膷amac reformacije, iz oru啪anog mira u razulareni rat, i obratno, i kada se听 "Re膷ima istr膷ava obi膷an glupak", ali i pojmovi umiru kao ljudi, uzus je biti nevidljiv, skrivati se iza la啪nih imena, fluidnih CV-eva i samopodmetati glasine o sebi. Wanted man i wanting man. Otud je "Mena" narativ koji celishodno拧膰u putovanja svog junaka i ceni pla膰enoj za to - ali i kroz bi膰芒 svog vremena u nanosima 18. veka - svedo膷i i o ra膽anju moderne subjektivnosti, o razgradnji, stvaranju i kristalizaciji, te premre啪avanju i strujanju razli膷itih misaonih i(li) ideolo拧kih koncepata na razme膽i skepticizma i vere, i pro啪imanju hermeti膷kih u膷enja (alhemije i astrologije) sa scijentizmom, teolo拧kim, deisti膷kim, ateisti膷kim idejama... Junak je, me膽utim, brane膰i se i od vlastite izri膷itosti i odse膷nosti onoga DA i onoga NE, ve膰 dovoljno promu膰uran da se sa膷uva i da od istine ne stvori sebi idola:"vi拧e sam voleo da joj ostavim ono skromnije ime: ta膷nost." Jursenar ga i koncipira imaju膰i u vidu, primerice, davin膷ijevsku ingenioznost i erazmovsku tolerantnu ironi膷nost koje su put na vetrometini. [Uh, ovo bi mi tek prileglo tokom druge godine studija kao budali 拧amar. Avaj "Put kojim [se] kre膰em nikad vi拧e ne膰e ovuda pro膰i.", mada "Verovatno bi me i ono dovelo do iste ta膷ke, samo drugim putem."]
Zato je na sli膷an na膷in i re膷enica pokretljiva poput geografske mobilnosti protagoniste koji je pro拧ao i sveta i veka - ovaj izraz urastao je u Zenona -听 i njegove duhovne preobrazbe koja je paradoksalna, jer je i dovr拧ena i nedovr拧iva. [#pogodi拧tosetakozovem] Zapravo, 膷itava kompozicija i naracija di拧u po alhemijskom principu "solve et coagula", u dobrom razmeru istorijsko-doga膽ajnih i umstvuju膰ih (dijalo拧kih) deonica, do kona膷nog ispu拧tanja. 沤ivot se, naravno, gubi onda kada se ketman obelodani i kada se od pokretljivosti odustane. Dosta je bilo, a i dokle vi拧e! Uostalom: "膶ovek nije slobodan sve dok 啪ivi."
Evo 膷oveka da ga ljudi ubiju. Osim 拧to 膰e se u ironi膷noj subverziji nigreda spaliti le拧. Ne, i 膷ovek.
Korelativni je utisak i da je protagonista (onaj 膷iji 啪ivotni vek zaprema ono 1510-1569) otu膽en, ovla拧an i ravnodu拧no nehajan u odnosu na sve ono 拧to... pa recimo, nije na putu njegove samoizgradnje - poglavito porodi膷ni milje - premda bi takva ograda istodobno mogla biti fasada duha kojom se 拧titi. Tako 膰e lako prominuti susret s polusestrom, saznanje o smrti roditelja,... Stvar perspektive, reljefnog pristupa, ledene dobrote, hladne ljubavi i suzdr啪anijeg humanizma svakako. Pa opet negde听ve膰 plutaju i ovakvi reci: "Treba voleti nekog da bi se primetilo koliko je sramotno 拧to 膷ovek umire."
A on, Zenon, u impostaciji sveukupnosti znanja, ponajpre se bavi slobodnom mi拧lju i njenom teku膰om granicom, "opasnom" rabotom koja je retko kada po啪eljna i umesna jer, primerice, "Znanje i razmi拧ljanje nisu dovoljni[...] ukoliko se ne pretvaraju u mo膰." U doba kada se preska膷e iz trulog 膷amca katoli膷anstva u bu拧ni 膷amac reformacije, iz oru啪anog mira u razulareni rat, i obratno, i kada se听 "Re膷ima istr膷ava obi膷an glupak", ali i pojmovi umiru kao ljudi, uzus je biti nevidljiv, skrivati se iza la啪nih imena, fluidnih CV-eva i samopodmetati glasine o sebi. Wanted man i wanting man. Otud je "Mena" narativ koji celishodno拧膰u putovanja svog junaka i ceni pla膰enoj za to - ali i kroz bi膰芒 svog vremena u nanosima 18. veka - svedo膷i i o ra膽anju moderne subjektivnosti, o razgradnji, stvaranju i kristalizaciji, te premre啪avanju i strujanju razli膷itih misaonih i(li) ideolo拧kih koncepata na razme膽i skepticizma i vere, i pro啪imanju hermeti膷kih u膷enja (alhemije i astrologije) sa scijentizmom, teolo拧kim, deisti膷kim, ateisti膷kim idejama... Junak je, me膽utim, brane膰i se i od vlastite izri膷itosti i odse膷nosti onoga DA i onoga NE, ve膰 dovoljno promu膰uran da se sa膷uva i da od istine ne stvori sebi idola:"vi拧e sam voleo da joj ostavim ono skromnije ime: ta膷nost." Jursenar ga i koncipira imaju膰i u vidu, primerice, davin膷ijevsku ingenioznost i erazmovsku tolerantnu ironi膷nost koje su put na vetrometini. [Uh, ovo bi mi tek prileglo tokom druge godine studija kao budali 拧amar. Avaj "Put kojim [se] kre膰em nikad vi拧e ne膰e ovuda pro膰i.", mada "Verovatno bi me i ono dovelo do iste ta膷ke, samo drugim putem."]
Zato je na sli膷an na膷in i re膷enica pokretljiva poput geografske mobilnosti protagoniste koji je pro拧ao i sveta i veka - ovaj izraz urastao je u Zenona -听 i njegove duhovne preobrazbe koja je paradoksalna, jer je i dovr拧ena i nedovr拧iva. [#pogodi拧tosetakozovem] Zapravo, 膷itava kompozicija i naracija di拧u po alhemijskom principu "solve et coagula", u dobrom razmeru istorijsko-doga膽ajnih i umstvuju膰ih (dijalo拧kih) deonica, do kona膷nog ispu拧tanja. 沤ivot se, naravno, gubi onda kada se ketman obelodani i kada se od pokretljivosti odustane. Dosta je bilo, a i dokle vi拧e! Uostalom: "膶ovek nije slobodan sve dok 啪ivi."
Evo 膷oveka da ga ljudi ubiju. Osim 拧to 膰e se u ironi膷noj subverziji nigreda spaliti le拧. Ne, i 膷ovek.
May 7, 2017
Marvellous...simply marvellous!
The action takes place between 1510 and 1569, in Europe, mainly in Bruges and the historical reconstitution is rigorous. By that time, Flanders was a very violent place. The Reformation, the birth of modern science, the beginnings of industrialisation originated intrigues , peasant revolts and religious wars. Zeno, the alchemist, healer and philosopher hero, represents these new ideas, these new possibilities. He is one of the most "real fictional" characters I have ever come across. He was inspired by Da Vinci, Giordano Bruno, Galilei, Copernicus, Paracelsus and others , but mainly by Erasmus of Rotherdam, also a bastard son. And like some of these free spirits Zeno's ending is tragic.
The action takes place between 1510 and 1569, in Europe, mainly in Bruges and the historical reconstitution is rigorous. By that time, Flanders was a very violent place. The Reformation, the birth of modern science, the beginnings of industrialisation originated intrigues , peasant revolts and religious wars. Zeno, the alchemist, healer and philosopher hero, represents these new ideas, these new possibilities. He is one of the most "real fictional" characters I have ever come across. He was inspired by Da Vinci, Giordano Bruno, Galilei, Copernicus, Paracelsus and others , but mainly by Erasmus of Rotherdam, also a bastard son. And like some of these free spirits Zeno's ending is tragic.
October 13, 2021
Zenon bir tarihi roman, kurmaca ki艧ilik ile yarat谋lan altm谋艧 y谋ll谋 i莽eren bir Orta莽a臒 roman谋. Zenon鈥檜n din adaml谋臒谋yla ba艧layan, simyac谋, hekimlik ve nihayetinde filozof olarak devam eden ya艧am谋 yazar M. Yourcenar taraf谋ndan ayn谋 y眉z颅 y谋lda yer alan ger莽ek ki艧iliklere (Paracelsus, Kopernic, Ambroise Pare, Vesalius, Servetius, G. Bruno) ba臒layarak 莽ok ilgin莽 bir kurgulama yap谋lm谋艧.
Zenon kilise ile reform aras谋n颅daki 莽eki艧mede tanr谋tan谋maz oldu臒u halde daha 枚zg眉r d眉艧眉nceli buldu臒u katoliklerin yan谋ndaym谋艧 gibi anlat谋lm谋艧. Daha 枚nce okudu臒um Hadrianus鈥檜n An谋lar谋鈥檔dan farkl谋 olarak bu tarihi roman谋n kahraman谋 Zenon鈥檜n kurgu olmas谋na kar艧谋n daha inand谋r谋c谋 ve ayr谋nt谋l谋 bir hikayeye sahip olmas谋d谋r. Buna ra臒men 莽ok say谋da makam, 眉nvan, ki艧i ve yer isminin olmas谋, kitab谋 okurken zorluyor.
Ayr谋ca o d枚nem i莽in 莽ok 枚nemli olan mezhep 莽at谋艧malar谋, tarikat sapk谋nl谋klar谋, engizisyon, veba salg谋n谋, simyaya kar艧谋 olan ilgi ve kar艧谋tl谋k, t谋ptaki geli艧meler, bilimsel bulu艧lar谋n ayak seslerinin duyulmas谋, feodalite ve benzeri bir莽ok konunun romana s谋k谋艧t谋r谋lmas谋 yaratt谋臒谋 zenginli臒in yan谋nda bilgi bombard谋man谋 da olu艧turmu艧 ki bu durum da kitab谋 okurken okuyucuyu yoruyor. Latince deyimlerin anlamlar谋n谋n verilmemi艧 olmas谋 da b眉y眉k eksiklik.
Her艧eye kar艧谋n 莽ok iyi ara艧t谋r谋larak yaz谋lm谋艧, emek verilmi艧, iyi bir eser.
Zenon kilise ile reform aras谋n颅daki 莽eki艧mede tanr谋tan谋maz oldu臒u halde daha 枚zg眉r d眉艧眉nceli buldu臒u katoliklerin yan谋ndaym谋艧 gibi anlat谋lm谋艧. Daha 枚nce okudu臒um Hadrianus鈥檜n An谋lar谋鈥檔dan farkl谋 olarak bu tarihi roman谋n kahraman谋 Zenon鈥檜n kurgu olmas谋na kar艧谋n daha inand谋r谋c谋 ve ayr谋nt谋l谋 bir hikayeye sahip olmas谋d谋r. Buna ra臒men 莽ok say谋da makam, 眉nvan, ki艧i ve yer isminin olmas谋, kitab谋 okurken zorluyor.
Ayr谋ca o d枚nem i莽in 莽ok 枚nemli olan mezhep 莽at谋艧malar谋, tarikat sapk谋nl谋klar谋, engizisyon, veba salg谋n谋, simyaya kar艧谋 olan ilgi ve kar艧谋tl谋k, t谋ptaki geli艧meler, bilimsel bulu艧lar谋n ayak seslerinin duyulmas谋, feodalite ve benzeri bir莽ok konunun romana s谋k谋艧t谋r谋lmas谋 yaratt谋臒谋 zenginli臒in yan谋nda bilgi bombard谋man谋 da olu艧turmu艧 ki bu durum da kitab谋 okurken okuyucuyu yoruyor. Latince deyimlerin anlamlar谋n谋n verilmemi艧 olmas谋 da b眉y眉k eksiklik.
Her艧eye kar艧谋n 莽ok iyi ara艧t谋r谋larak yaz谋lm谋艧, emek verilmi艧, iyi bir eser.
January 2, 2018
Je voulais commencer l'ann茅e 2018 en finissant ce roman incontournable de M. Yourcenar.
Quelle 茅criture! Une richesse dans la narration, aux descriptions si froides et pourtant si riches. Il faut toujours quelques lignes pour se replonger dans l'histoire et d'ailleurs il m'aura fallu plus de 3 mois pour le lire sans en perdre une miette et comprendre le d茅roul茅 des evenements du premi猫re et second plan.
L'histoire en elle m锚me n'est pas tr猫s originale et suit la progression de deux personnages que tout separe et oppose. Mais l'茅rudition de l'auteure sur cette 茅poque du haut moyen 芒ge est incroyable. On en apprend 茅norm茅ment sur la vie, les m艙urs et les croyances.
Je reste 茅bahie par ce livre 茅crit il y a 50ans, qui nous donne cette impression d'锚tre l脿 depuis des si猫cles. Un classique Intemporel!
Il fait partie des livres fran莽ais qu'il faut avoir lu.
Quelle 茅criture! Une richesse dans la narration, aux descriptions si froides et pourtant si riches. Il faut toujours quelques lignes pour se replonger dans l'histoire et d'ailleurs il m'aura fallu plus de 3 mois pour le lire sans en perdre une miette et comprendre le d茅roul茅 des evenements du premi猫re et second plan.
L'histoire en elle m锚me n'est pas tr猫s originale et suit la progression de deux personnages que tout separe et oppose. Mais l'茅rudition de l'auteure sur cette 茅poque du haut moyen 芒ge est incroyable. On en apprend 茅norm茅ment sur la vie, les m艙urs et les croyances.
Je reste 茅bahie par ce livre 茅crit il y a 50ans, qui nous donne cette impression d'锚tre l脿 depuis des si猫cles. Un classique Intemporel!
Il fait partie des livres fran莽ais qu'il faut avoir lu.
December 11, 2021
An amazingly well written historical novel that through the main protagonist Zeno guides the reader through a period of renaissance and refers to political and theological disputes of that time and also philosophical questions, mechanical scientific and medical theories and discoveries!
March 20, 2017
螒蟼 蠁伪谓蟿伪蟽蟿慰蠉渭蔚 蟿慰蠀蟼 蠂蟻蠈谓慰蠀蟼 蟿畏蟼 蟺伪谓蠋位畏蟼. 螣蟿喂未萎蟺慰蟿蔚 蠀蟺蔚蟻尾伪委谓蔚喂 蟿慰蠀蟼 伪蟺蟿慰蠉蟼 蠁蠀蟽喂魏慰蠉蟼 谓蠈渭慰蠀蟼 蟺蟻苇蟺蔚喂 谓伪 蠀蟺蠈魏蔚喂蟿伪喂 蟽蟿畏谓 蟺委蟽蟿畏. 螖喂伪蠁慰蟻蔚蟿喂魏维 伪蟺慰蟺苇渭蟺蔚蟿伪喂 魏伪喂 慰未畏纬蔚委蟿伪喂 蟽蔚 蠁蟻喂蠂蟿苇蟼 蟿喂渭蠅蟻委蔚蟼. 螝伪喂 蠈渭蠅蟼 蠀蟺维蟻蠂慰蠀谓 魏维蟺慰喂慰喂 蠁蟿蠅蠂慰未喂维慰位慰喂 魏蠀谓畏纬畏渭苇谓慰喂 蟺慰蠀 伪谓伪蟺蟿蠉蟽蟽慰蠀谓 喂未苇蔚蟼 魏伪喂 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 未慰蠀谓 纬喂伪蟿委 魏维蟿喂 蔚委谓伪喂 苇蟿蟽喂 魏喂 蠈蠂喂 伪位位喂蠋蟼.
螆谓伪蟼 蠀蟺慰胃蔚蟿喂魏蠈蟼 蟿苇蟿慰喂慰蟼 蠁蟿蠅蠂慰未喂维慰位慰蟼 尉蔚魏喂谓维蔚喂 苇谓伪 蟿伪尉委未喂 蟽蟿慰谓 魏蠈蟽渭慰 蟿畏蟼 纬谓蠋蟽畏蟼 魏伪喂 蟿蠅谓 喂未蔚蠋谓 渭蔚 渭蠈谓伪 蔚蠁蠈未喂伪 谓伪 伪蟻谓畏胃蔚委 蠈,蟿喂 纬谓蠅蟻委味蔚喂 渭蔚 蟽魏慰蟺蠈 谓伪 魏伪蟿伪位萎尉蔚喂 蟽' 伪蠀蟿蠈 萎 蟽蟿伪 伪谓蟿委胃蔚蟿伪 蟿慰蠀 渭蔚 伪谓慰喂蠂蟿伪 渭维蟿喂伪 伪谓伪纬谓蠅蟻委味慰谓蟿伪蟼 渭蠈谓慰 苇谓伪 魏蠈蟽渭慰 蔚位蔚蠉胃蔚蟻慰 伪蟺蠈 慰蟺慰喂伪未萎蟺慰蟿蔚 胃蔚慰位慰纬喂魏萎 蠂蟻慰喂维 魏伪喂 渭蔚 蟽蔚尾伪蟽渭蠈 蟽蟿慰 蠈蟺慰喂慰 维蟿慰渭慰 渭蔚渭慰谓蠅渭苇谓伪 伪位位维 蠈蠂喂 蟽蟿慰蠀蟼 蠈蠂位慰蠀蟼. 螕喂伪蟿蟻蠈蟼 蟺慰蠀 未蔚谓 伪蟻谓蔚委蟿伪喂 蟿畏 胃蔚蟻伪蟺蔚委伪 蟽蔚 魏伪谓苇谓伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 蟿畏谓 伪谓维纬魏畏 谓伪 蟺伪蟻伪蟿畏蟻萎蟽蔚喂 蠋蟽蟿蔚 慰喂 蠄畏位伪蠁萎蟽蔚喂蟼 蟿慰蠀 谓伪 伪谓慰委尉慰蠀谓 谓苇慰蠀蟼 未蟻蠈渭慰蠀蟼 蟽蟿畏谓 蔚蟺喂蟽蟿萎渭畏.
螆谓伪蟼 魏蠈蟽渭慰蟼 喂未蔚蠋谓 魏蠀谓畏纬畏渭苇谓慰蟼 伪蟺' 蟿慰 蠁蠈尾慰 蟿畏蟼 胃蟻畏蟽魏蔚委伪蟼 谓伪 蠂维蟽蔚喂 蟿畏谓 蔚尉慰蠀蟽委伪 魏伪喂 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 谓伪 蠂维蟽蔚喂 蟿畏谓 魏蠀蟻喂伪蟻蠂委伪 蟽蟿喂蟼 渭维味蔚蟼. 螣 螠伪魏喂伪尾苇位位喂 维位位蠅蟽蟿蔚 未蔚谓 萎蟿伪谓 蟺慰蠀 蔚委蟺蔚 蟺蠅蟼 蠀蟺维蟻蠂慰蠀谓 蟿蟻喂蠋谓 蟿蠉蟺蠅谓 渭蠀伪位伪: 蟿伪 蟽魏蔚蟺蟿蠈渭蔚谓伪 蟺慰蠀 伪谓蟿位慰蠉谓 伪蟺蠈 委未喂伪 渭苇蟽伪, 蔚魏蔚委谓伪 蟺慰蠀 渭蠈位喂蟼 蟿慰蠀蟼 未蔚委尉蔚喂蟼 蟿慰 未蟻蠈渭慰 伪谓伪纬谓蠅蟻委味慰蠀谓 魏喂 伪魏慰位慰蠀胃慰蠉谓 魏喂 蔚魏蔚委谓伪 蟺慰蠀 未蔚谓 蔚委谓伪喂 喂魏伪谓维 纬喂伪 蟿委蟺慰蟿伪 伪蟺 蟿伪 未蠉慰. 螣喂 喂未苇蔚蟼, 慰喂 伪谓伪魏伪位蠉蠄蔚喂蟼, 慰喂 蟽蟿慰蠂伪蟽渭慰委 伪蟺蔚蠀胃蠉谓慰谓蟿伪喂 蟽蔚 蠈位慰蠀蟼 魏伪喂 蟺伪谓蟿慰蠉 蠀蟺维蟻蠂慰蠀谓 蟿蠈蟽慰 蟿伪 蟺蟻蠋蟿伪 慰蟽慰 魏伪喂 蟿伪 未蔚蠉蟿蔚蟻慰蠀 蟿蠉蟺慰蠀 渭蠀伪位维, 喂魏伪谓维 谓伪 伪谓伪蟺慰未慰纬蠀蟻委蟽慰蠀谓 蟿慰谓 魏蠈蟽渭慰, 谓伪 伪谓伪蟿蟻苇蠄慰蠀谓. 螝伪喂 蟺慰喂慰蟼 胃伪 蟿慰 萎胃蔚位蔚 伪蠀蟿蠈, 蟿蠈蟿蔚 萎 蟿蠋蟻伪; 螁位位蠅蟽蟿蔚 慰 蟽魏慰蟿伪未喂蟽渭蠈蟼 未蔚谓 蔚委谓伪喂 胃苇渭伪 蠂蟻慰谓慰位慰纬喂魏蠈 伪位位维 畏胃喂魏蠈 魏喂 伪谓胃蟻蠋蟺喂谓慰, 蟺维谓蠅 伪蟺 蠈位伪 蠈渭蠅蟼 维蠂蟻慰谓慰 魏喂 畏 螜蟽蟿慰蟻委伪 未喂伪蟻魏蠋蟼 蔚蟺伪谓伪位伪渭尾维谓蔚蟿伪喂 蟽蔚 蠂蠋蟻慰蠀蟼 伪未喂维蠁慰蟻慰蠀蟼 魏伪喂 蟽蔚 蠂蟻蠈谓慰蠀蟼 蟺慰蠀 魏维谓蔚喂 谓伪 蠁伪谓蟿维味慰蠀谓 委未喂慰喂.
惟蟽蟿蠈蟽慰, 魏维胃蔚 蟿伪尉委未喂 苇蠂蔚喂 蟽蟿伪胃渭慰蠉蟼 魏伪喂 魏维蟺慰蟿蔚 蟿蔚位蔚喂蠋谓蔚喂. 螠蟺慰蟻蔚委 蟿慰 伪蟺维纬魏喂慰 伪蠀蟿蠈 谓伪 蟿伪蠀蟿委味蔚蟿伪喂 渭蔚 蟿慰 谓蠈蟽蟿慰, 萎 蠈蠂喂 伪位位维 魏维胃蔚 魏蠀谓畏纬畏渭苇谓慰蟼 蠈蟽畏 伪未蟻蔚谓伪位委谓畏, 蠁蠈尾慰, 蟿伪蟻伪蠂萎, 伪未畏渭慰谓委伪 魏喂 伪谓 谓喂蠋胃蔚喂, 魏维蟺慰蠀 魏维蟺慰蠀 伪谓 蠈蠂喂 蟺维谓蟿慰蟿蔚 伪蟺慰蟿蔚位蔚委 胃蠉渭伪 魏伪喂蟻慰蟽魏蠈蟺蠅谓 蟺慰蠀 伪蟺蠈 蟿畏 胃苇蟽畏 蟿慰蠀 伪蟽蠁伪位慰蠉蟼 蔚魏渭蔚蟿伪位位蔚蠉慰谓蟿伪喂 蟿慰 谓蠈渭慰 蠈蟽慰 魏伪喂 蟿慰 胃蠉渭伪. 螠蔚 位委纬伪 位蠈纬喂伪 魏维蟺慰蟿蔚 畏 魏慰蠉蟻伪蟽畏 渭苇蟽伪 渭伪蟼 纬委谓蔚蟿伪喂 未蠀蟽尾维蟽蟿伪蠂蟿畏 魏伪喂 渭苇蟻畏 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 渭畏谓 萎蟿伪谓 蔚蟺喂位慰纬苇蟼 蔚尉' 伪蟻蠂萎蟼 蟿蔚位喂魏维 渭伪蟼 味苇蟽蟿伪谓伪谓 魏伪喂 蟺伪蟻维 蟿畏 位慰纬喂魏萎 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 蟺蟻慰蟿维蟽蟽蔚喂 "蠁蠉纬蔚 蟺维位喂" 渭苇谓慰蠀渭蔚, 蟺伪蟻维 蟿喂蟼 蟽蠀谓苇蟺蔚喂蔚蟼 萎 伪魏蟻喂尾蠋蟼 纬喂伪蟿委 渭蔚 蟿慰谓 蔚蟻蠂慰渭蠈 蟿慰蠀蟼 蠈位伪 胃伪 蟿蔚位蔚喂蠋蟽慰蠀谓 蟽蠂蔚未蠈谓 伪蟻渭慰谓喂魏维 魏喂 蠈位伪 胃伪 畏蟽蠀蠂维蟽慰蠀谓, 畏 蟿蔚位喂魏维 胃伪 蟺蟻慰位维尾蔚喂 谓伪 蟽蠅胃蔚委 畏 伪渭渭慰蟼 魏喂 慰 蟿蔚位蔚蠀蟿伪委慰蟼 魏蠈魏魏慰蟼 伪蟺慰 蟿畏 渭委伪 蟿畏蟼 魏位蔚蠄蠉未蟻伪蟼 谓伪 蟺苇蟽蔚喂 蟽蟿畏谓 维位位畏. 螌位伪 蟿蔚位蔚喂蠋谓慰蠀谓 魏喂 蠈位伪 蟺蔚蟻谓慰蠉谓.
螕慰畏蟿蔚蠀蟿喂魏蠈 蟿伪尉委未喂 蟺慰蠀 蠈渭蠅蟼 苇蠂蔚喂 苇谓伪 蔚纬魏蠀魏位慰蟺伪喂未喂魏维, 未喂未伪魏蟿喂魏蠈 伪蟺蠈渭伪魏蟻慰 蠉蠁慰蟼 蟺慰蠀 渭蔚 尉苇谓喂蟽蔚 魏伪喂 渭蔚 魏慰蠉蟻伪蟽蔚.
螆谓伪蟼 蠀蟺慰胃蔚蟿喂魏蠈蟼 蟿苇蟿慰喂慰蟼 蠁蟿蠅蠂慰未喂维慰位慰蟼 尉蔚魏喂谓维蔚喂 苇谓伪 蟿伪尉委未喂 蟽蟿慰谓 魏蠈蟽渭慰 蟿畏蟼 纬谓蠋蟽畏蟼 魏伪喂 蟿蠅谓 喂未蔚蠋谓 渭蔚 渭蠈谓伪 蔚蠁蠈未喂伪 谓伪 伪蟻谓畏胃蔚委 蠈,蟿喂 纬谓蠅蟻委味蔚喂 渭蔚 蟽魏慰蟺蠈 谓伪 魏伪蟿伪位萎尉蔚喂 蟽' 伪蠀蟿蠈 萎 蟽蟿伪 伪谓蟿委胃蔚蟿伪 蟿慰蠀 渭蔚 伪谓慰喂蠂蟿伪 渭维蟿喂伪 伪谓伪纬谓蠅蟻委味慰谓蟿伪蟼 渭蠈谓慰 苇谓伪 魏蠈蟽渭慰 蔚位蔚蠉胃蔚蟻慰 伪蟺蠈 慰蟺慰喂伪未萎蟺慰蟿蔚 胃蔚慰位慰纬喂魏萎 蠂蟻慰喂维 魏伪喂 渭蔚 蟽蔚尾伪蟽渭蠈 蟽蟿慰 蠈蟺慰喂慰 维蟿慰渭慰 渭蔚渭慰谓蠅渭苇谓伪 伪位位维 蠈蠂喂 蟽蟿慰蠀蟼 蠈蠂位慰蠀蟼. 螕喂伪蟿蟻蠈蟼 蟺慰蠀 未蔚谓 伪蟻谓蔚委蟿伪喂 蟿畏 胃蔚蟻伪蟺蔚委伪 蟽蔚 魏伪谓苇谓伪谓 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻慰 伪蟺蠈 蟿畏谓 伪谓维纬魏畏 谓伪 蟺伪蟻伪蟿畏蟻萎蟽蔚喂 蠋蟽蟿蔚 慰喂 蠄畏位伪蠁萎蟽蔚喂蟼 蟿慰蠀 谓伪 伪谓慰委尉慰蠀谓 谓苇慰蠀蟼 未蟻蠈渭慰蠀蟼 蟽蟿畏谓 蔚蟺喂蟽蟿萎渭畏.
螆谓伪蟼 魏蠈蟽渭慰蟼 喂未蔚蠋谓 魏蠀谓畏纬畏渭苇谓慰蟼 伪蟺' 蟿慰 蠁蠈尾慰 蟿畏蟼 胃蟻畏蟽魏蔚委伪蟼 谓伪 蠂维蟽蔚喂 蟿畏谓 蔚尉慰蠀蟽委伪 魏伪喂 蟿畏蟼 蔚尉慰蠀蟽委伪蟼 谓伪 蠂维蟽蔚喂 蟿畏谓 魏蠀蟻喂伪蟻蠂委伪 蟽蟿喂蟼 渭维味蔚蟼. 螣 螠伪魏喂伪尾苇位位喂 维位位蠅蟽蟿蔚 未蔚谓 萎蟿伪谓 蟺慰蠀 蔚委蟺蔚 蟺蠅蟼 蠀蟺维蟻蠂慰蠀谓 蟿蟻喂蠋谓 蟿蠉蟺蠅谓 渭蠀伪位伪: 蟿伪 蟽魏蔚蟺蟿蠈渭蔚谓伪 蟺慰蠀 伪谓蟿位慰蠉谓 伪蟺蠈 委未喂伪 渭苇蟽伪, 蔚魏蔚委谓伪 蟺慰蠀 渭蠈位喂蟼 蟿慰蠀蟼 未蔚委尉蔚喂蟼 蟿慰 未蟻蠈渭慰 伪谓伪纬谓蠅蟻委味慰蠀谓 魏喂 伪魏慰位慰蠀胃慰蠉谓 魏喂 蔚魏蔚委谓伪 蟺慰蠀 未蔚谓 蔚委谓伪喂 喂魏伪谓维 纬喂伪 蟿委蟺慰蟿伪 伪蟺 蟿伪 未蠉慰. 螣喂 喂未苇蔚蟼, 慰喂 伪谓伪魏伪位蠉蠄蔚喂蟼, 慰喂 蟽蟿慰蠂伪蟽渭慰委 伪蟺蔚蠀胃蠉谓慰谓蟿伪喂 蟽蔚 蠈位慰蠀蟼 魏伪喂 蟺伪谓蟿慰蠉 蠀蟺维蟻蠂慰蠀谓 蟿蠈蟽慰 蟿伪 蟺蟻蠋蟿伪 慰蟽慰 魏伪喂 蟿伪 未蔚蠉蟿蔚蟻慰蠀 蟿蠉蟺慰蠀 渭蠀伪位维, 喂魏伪谓维 谓伪 伪谓伪蟺慰未慰纬蠀蟻委蟽慰蠀谓 蟿慰谓 魏蠈蟽渭慰, 谓伪 伪谓伪蟿蟻苇蠄慰蠀谓. 螝伪喂 蟺慰喂慰蟼 胃伪 蟿慰 萎胃蔚位蔚 伪蠀蟿蠈, 蟿蠈蟿蔚 萎 蟿蠋蟻伪; 螁位位蠅蟽蟿蔚 慰 蟽魏慰蟿伪未喂蟽渭蠈蟼 未蔚谓 蔚委谓伪喂 胃苇渭伪 蠂蟻慰谓慰位慰纬喂魏蠈 伪位位维 畏胃喂魏蠈 魏喂 伪谓胃蟻蠋蟺喂谓慰, 蟺维谓蠅 伪蟺 蠈位伪 蠈渭蠅蟼 维蠂蟻慰谓慰 魏喂 畏 螜蟽蟿慰蟻委伪 未喂伪蟻魏蠋蟼 蔚蟺伪谓伪位伪渭尾维谓蔚蟿伪喂 蟽蔚 蠂蠋蟻慰蠀蟼 伪未喂维蠁慰蟻慰蠀蟼 魏伪喂 蟽蔚 蠂蟻蠈谓慰蠀蟼 蟺慰蠀 魏维谓蔚喂 谓伪 蠁伪谓蟿维味慰蠀谓 委未喂慰喂.
惟蟽蟿蠈蟽慰, 魏维胃蔚 蟿伪尉委未喂 苇蠂蔚喂 蟽蟿伪胃渭慰蠉蟼 魏伪喂 魏维蟺慰蟿蔚 蟿蔚位蔚喂蠋谓蔚喂. 螠蟺慰蟻蔚委 蟿慰 伪蟺维纬魏喂慰 伪蠀蟿蠈 谓伪 蟿伪蠀蟿委味蔚蟿伪喂 渭蔚 蟿慰 谓蠈蟽蟿慰, 萎 蠈蠂喂 伪位位维 魏维胃蔚 魏蠀谓畏纬畏渭苇谓慰蟼 蠈蟽畏 伪未蟻蔚谓伪位委谓畏, 蠁蠈尾慰, 蟿伪蟻伪蠂萎, 伪未畏渭慰谓委伪 魏喂 伪谓 谓喂蠋胃蔚喂, 魏维蟺慰蠀 魏维蟺慰蠀 伪谓 蠈蠂喂 蟺维谓蟿慰蟿蔚 伪蟺慰蟿蔚位蔚委 胃蠉渭伪 魏伪喂蟻慰蟽魏蠈蟺蠅谓 蟺慰蠀 伪蟺蠈 蟿畏 胃苇蟽畏 蟿慰蠀 伪蟽蠁伪位慰蠉蟼 蔚魏渭蔚蟿伪位位蔚蠉慰谓蟿伪喂 蟿慰 谓蠈渭慰 蠈蟽慰 魏伪喂 蟿慰 胃蠉渭伪. 螠蔚 位委纬伪 位蠈纬喂伪 魏维蟺慰蟿蔚 畏 魏慰蠉蟻伪蟽畏 渭苇蟽伪 渭伪蟼 纬委谓蔚蟿伪喂 未蠀蟽尾维蟽蟿伪蠂蟿畏 魏伪喂 渭苇蟻畏 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 渭畏谓 萎蟿伪谓 蔚蟺喂位慰纬苇蟼 蔚尉' 伪蟻蠂萎蟼 蟿蔚位喂魏维 渭伪蟼 味苇蟽蟿伪谓伪谓 魏伪喂 蟺伪蟻维 蟿畏 位慰纬喂魏萎 蟺慰蠀 渭蟺慰蟻蔚委 谓伪 蟺蟻慰蟿维蟽蟽蔚喂 "蠁蠉纬蔚 蟺维位喂" 渭苇谓慰蠀渭蔚, 蟺伪蟻维 蟿喂蟼 蟽蠀谓苇蟺蔚喂蔚蟼 萎 伪魏蟻喂尾蠋蟼 纬喂伪蟿委 渭蔚 蟿慰谓 蔚蟻蠂慰渭蠈 蟿慰蠀蟼 蠈位伪 胃伪 蟿蔚位蔚喂蠋蟽慰蠀谓 蟽蠂蔚未蠈谓 伪蟻渭慰谓喂魏维 魏喂 蠈位伪 胃伪 畏蟽蠀蠂维蟽慰蠀谓, 畏 蟿蔚位喂魏维 胃伪 蟺蟻慰位维尾蔚喂 谓伪 蟽蠅胃蔚委 畏 伪渭渭慰蟼 魏喂 慰 蟿蔚位蔚蠀蟿伪委慰蟼 魏蠈魏魏慰蟼 伪蟺慰 蟿畏 渭委伪 蟿畏蟼 魏位蔚蠄蠉未蟻伪蟼 谓伪 蟺苇蟽蔚喂 蟽蟿畏谓 维位位畏. 螌位伪 蟿蔚位蔚喂蠋谓慰蠀谓 魏喂 蠈位伪 蟺蔚蟻谓慰蠉谓.
螕慰畏蟿蔚蠀蟿喂魏蠈 蟿伪尉委未喂 蟺慰蠀 蠈渭蠅蟼 苇蠂蔚喂 苇谓伪 蔚纬魏蠀魏位慰蟺伪喂未喂魏维, 未喂未伪魏蟿喂魏蠈 伪蟺蠈渭伪魏蟻慰 蠉蠁慰蟼 蟺慰蠀 渭蔚 尉苇谓喂蟽蔚 魏伪喂 渭蔚 魏慰蠉蟻伪蟽蔚.
December 15, 2020
I loved , so borrowed another Marguerite Yourcenar novel as soon as I spotted it in the library. Oddly, 'Zeno of Bruges' reminded me more of than , although that might be because I read the former much more recently. It follows the life of Zeno, a doctor, alchemist, and intellectual whose wide-ranging curiosity makes him a dangerous heretic in 16th century Europe. Yourcenar is a magnificent writer and period is evoked brilliantly. The narrative is full of detail and texture, giving the feeling that mainland Europe is in the very early stages of a transition. According to , while this novel takes place capitalism was germinating in rural England. In his youth, Zeno takes an interest in the mechanisation of weaving. As he gets older, his focus shifts to medicine and philosophy. However, the structure of the book gives relatively little time to the prime of Zeno's life and his travels. The initial section covers his early years, the second his midlife working as a doctor in Bruges, and the third the end of his life. This made for a somewhat peculiar pace, as the narrative rushed through what I expected to be the most substantive part. It also gave most of the book a solemn and elegiac tone, as Zeno looked back on the past and contemplated death ahead. His consistent disgust at violence and cruelty are likewise powerful but relentlessly uncheerful to read.
Yourcenar's translated prose is glorious and full of striking images like this:
An early chapter titled 'Death in M眉nster' includes a brief but extraordinary account of the M眉nster Anabaptist rebellion of 1534-5, which I came across in . It does not involve Zeno, however his mother Hilzonda takes part and is executed in the suppression of the uprising.
Zeno is a very interesting character: a man seemingly out of step with his time, with many acquaintances but few close friends, both entranced by the world and jaded by how humans behave in it. I did not find his voice quite as compelling as Hadrian's, perhaps in part because he does not speak directly to the reader. Nonetheless, this is an involving historical novel to savour.
Yourcenar's translated prose is glorious and full of striking images like this:
An object brought from Italy was hanging on the wall of the small antechamber, a Florentine mirror in a tortoise-shell frame, formed from a combination of some twenty little convex mirrors hexagonal in shape, like the cells of a beehive, and each mirror enclosed, in its turn, by a narrow border which had once been the shell of a living creature. Zeno looked at himself there in the gray light of a Parisian dawn. What he saw was twenty figures compressed and reduced by the laws of optics, twenty images of a man in a fur bonnet, of haggard and sallow complexion, with gleaming eyes which were themselves mirrors. This man in flight, enclosed within a world of his own, separated from others like himself who were also in flight in worlds parallel to his, recalled to him the hypothesis of the Greek Democritus, about an infinite series of identical universes in each of which lives and dies imprisoned a series of philosophers.
The fantasy evoked a bitter smile. The twenty little figures of the mirror smiled, too, each alone in his frame. He then saw them turn their heads half away and direct themselves toward the door.
An early chapter titled 'Death in M眉nster' includes a brief but extraordinary account of the M眉nster Anabaptist rebellion of 1534-5, which I came across in . It does not involve Zeno, however his mother Hilzonda takes part and is executed in the suppression of the uprising.
The small citadel of the Just, encircled by the Catholic troops, lived in a very fever of God. The spur to their courage was the open-air preaching held each evening. Bockhold, the favourite Saint, pleased them all with his sermons, for he knew how to season the gory images drawn from the Apocalypse with jokes from the actor's trade. Mingled with the shrill voices of the women, imploring air from their Father in Heaven, rose the groans of the sick and of those first wounded in the siege, who lay on these warm summer nights under the arcades of the square. Hilzonda was one of the most ardent among the worshippers: standing tall, elongated like a flame, the mother of Zeno would denounce the ignominies of Rome. Her eyes, filled with frightful visions, would cloud with tears; suddenly collapsing like a too slender taper and sinking to the ground, she would week in tender contrition, and in the desire to die.
Zeno is a very interesting character: a man seemingly out of step with his time, with many acquaintances but few close friends, both entranced by the world and jaded by how humans behave in it. I did not find his voice quite as compelling as Hadrian's, perhaps in part because he does not speak directly to the reader. Nonetheless, this is an involving historical novel to savour.
April 21, 2021
I read this book 30 years ago, but it made no lasting impression, back then. The second reading, I started in French, but after 160 pages I had to switch to a Dutch translation: Yourcenar uses a vocabulary that is quite out of the common, and in addition the book is frequently very "hermetic" (deliberately, given the alchemist-like character of the protagonist Zeno ?). This is also my main criticism: some dialogues, meditations, reflections of Zeno are hard to follow. Also the structure of the book (with a very long prologue giving a picture of the 16th c.) is not flawless. But in exchange for the hard reading process you get a magisterial historical novel, which really brings to life the bloody-crazy-horribly violent sixteenth century. And finally, there is the story of the scholar Zeno as Everyman or Wandering Jew looking for real life, for truth, and especially for himself. An important book and I'm sure I'm going to reread it again.
(rating 3.5 stars)
(rating 3.5 stars)
July 12, 2019
Opus Nigrum es una f贸rmula alqu铆mica que designa la fase de separaci贸n y disoluci贸n de la sustancia; aunque tambi茅n se entiende como un s铆mbolo de las pruebas del esp铆ritu que se libera de rutinas y prejuicios. Este concepto es el hilo conductor de la novela que corre a trav茅s de la vida del protagonista llamado Zen贸n.
Es una lectura ardua que requiere de un constante esfuerzo de concentraci贸n y de abstracci贸n para seguirle la pista a las cavilaciones de Zen贸n. En ocasiones es dif铆cil de comprender qu茅 es lo que nos quiere comunicar la autora a trav茅s de las andanzas y peripecias de Zen贸n quien es una especie de m茅dico, alquimista, cl茅rigo, inventor, fil贸sofo y astr贸logo del Renacimiento. Este personaje ficticio evoca a grandes personalidades de la historia de esos tiempos, como por ejemplo Paracelso, Cop茅rnico, Leonardo, Giordano Bruno, pero sobre todo a Erasmo.
La autora posee un estilo enciclop茅dico, filos贸fico y erudito, cubierto por un brillante velo de poes铆a. Utiliza ampliamente giros e inflexiones del lenguaje y frases en lat铆n para desarrollar su relato en el cual incluye algunas cuestiones ontol贸gicas lo que hace bastante dif铆cil el que nos podamos abrir camino por esas cuestas que la novelista nos ha puesto para poder comprender cabalmente las b煤squedas vitales, cognitivas y espirituales de Zen贸n que lo lleven a un mejor entendimiento del mundo y de la vida.
Zen贸n, vive en el siglo XVI en plena agitaci贸n religiosa provocada por la Reforma Protestante que es uno de los momentos decisivos de la humanidad en el que se da una lucha frontal y resuelta entre la tradici贸n religiosa y el pecaminoso mundo del conocimiento y la ciencia que llevan al ate铆smo y que tiran por tierra todas las creencias religiosas.
Dotado de grandes capacidades y lleno de curiosidades intelectuales, este fil贸sofo y m茅dico flamenco se constituye en un pensador libre que no se ata a ninguna idea religiosa preconcebida, sumergi茅ndose en un mundo de contradicciones y certezas buscando siempre un conocimiento superior sin importarle las consecuencias.
El libro se divide en tres grandes partes llamadas: La Vida errante, la Vida inm贸vil y la Prisi贸n, nombres muy sugerentes que obviamente tiene que ver con la descripci贸n de las etapas de la vida de Zen贸n. El estilo de Marguerite Yourcenar (1903-1987) se ense帽orea de nuevo en esta novela llena de erudici贸n y de cierto canto po茅tico a lo que agrega grandes y poderosas dosis de documentaci贸n e imaginaci贸n.
El relato abarca los aproximadamente 60 a帽os que vive el protagonista y a quien lo acompa帽an otros notables personajes quienes nos llevan a m煤ltiples ciudades de aquella Europa renacentista a donde viaja Zen贸n en sus constantes b煤squedas. Destaca la ciudad de Brujas como principio y fin de su periplo, as铆 como algunos hechos hist贸ricos que la autora plasma magistralmente.
Es de destacar el cap铆tulo hist贸rico dedicado a la rebeli贸n de los anabaptistas en M眉nster acaecido en 1534, en dicha rebeli贸n a esta ciudad se le proclamaba como la Nueva Jerusal茅n, entre otras cosas.
Otro hecho hist贸rico notable es la represi贸n que por causas religiosas lleva a cabo Espa帽a en Flandes a trav茅s del Duque de Alba y donde es sacrificado, entre otros, el Duque de Egmont hombre noble y entra帽able que nos remite a Goethe y a Beethoven.
Zen贸n nos es presentado como un hombre que hace tabla rasa de las ideas y prejuicios de su 茅poca para dejarse llevar por su pensamiento libremente.
Me hubiera gustado aprovechar m谩s esta novela pero creo que no la abord茅 en el momento correcto, sin embargo al final del libro se incluye una "Nota de la Autora" que me proporcion贸 valiosa informaci贸n para una mejor comprensi贸n y aprovechamiento de esta lectura.
Es una lectura ardua que requiere de un constante esfuerzo de concentraci贸n y de abstracci贸n para seguirle la pista a las cavilaciones de Zen贸n. En ocasiones es dif铆cil de comprender qu茅 es lo que nos quiere comunicar la autora a trav茅s de las andanzas y peripecias de Zen贸n quien es una especie de m茅dico, alquimista, cl茅rigo, inventor, fil贸sofo y astr贸logo del Renacimiento. Este personaje ficticio evoca a grandes personalidades de la historia de esos tiempos, como por ejemplo Paracelso, Cop茅rnico, Leonardo, Giordano Bruno, pero sobre todo a Erasmo.
La autora posee un estilo enciclop茅dico, filos贸fico y erudito, cubierto por un brillante velo de poes铆a. Utiliza ampliamente giros e inflexiones del lenguaje y frases en lat铆n para desarrollar su relato en el cual incluye algunas cuestiones ontol贸gicas lo que hace bastante dif铆cil el que nos podamos abrir camino por esas cuestas que la novelista nos ha puesto para poder comprender cabalmente las b煤squedas vitales, cognitivas y espirituales de Zen贸n que lo lleven a un mejor entendimiento del mundo y de la vida.
Zen贸n, vive en el siglo XVI en plena agitaci贸n religiosa provocada por la Reforma Protestante que es uno de los momentos decisivos de la humanidad en el que se da una lucha frontal y resuelta entre la tradici贸n religiosa y el pecaminoso mundo del conocimiento y la ciencia que llevan al ate铆smo y que tiran por tierra todas las creencias religiosas.
Dotado de grandes capacidades y lleno de curiosidades intelectuales, este fil贸sofo y m茅dico flamenco se constituye en un pensador libre que no se ata a ninguna idea religiosa preconcebida, sumergi茅ndose en un mundo de contradicciones y certezas buscando siempre un conocimiento superior sin importarle las consecuencias.
El libro se divide en tres grandes partes llamadas: La Vida errante, la Vida inm贸vil y la Prisi贸n, nombres muy sugerentes que obviamente tiene que ver con la descripci贸n de las etapas de la vida de Zen贸n. El estilo de Marguerite Yourcenar (1903-1987) se ense帽orea de nuevo en esta novela llena de erudici贸n y de cierto canto po茅tico a lo que agrega grandes y poderosas dosis de documentaci贸n e imaginaci贸n.
El relato abarca los aproximadamente 60 a帽os que vive el protagonista y a quien lo acompa帽an otros notables personajes quienes nos llevan a m煤ltiples ciudades de aquella Europa renacentista a donde viaja Zen贸n en sus constantes b煤squedas. Destaca la ciudad de Brujas como principio y fin de su periplo, as铆 como algunos hechos hist贸ricos que la autora plasma magistralmente.
Es de destacar el cap铆tulo hist贸rico dedicado a la rebeli贸n de los anabaptistas en M眉nster acaecido en 1534, en dicha rebeli贸n a esta ciudad se le proclamaba como la Nueva Jerusal茅n, entre otras cosas.
Otro hecho hist贸rico notable es la represi贸n que por causas religiosas lleva a cabo Espa帽a en Flandes a trav茅s del Duque de Alba y donde es sacrificado, entre otros, el Duque de Egmont hombre noble y entra帽able que nos remite a Goethe y a Beethoven.
Zen贸n nos es presentado como un hombre que hace tabla rasa de las ideas y prejuicios de su 茅poca para dejarse llevar por su pensamiento libremente.
Me hubiera gustado aprovechar m谩s esta novela pero creo que no la abord茅 en el momento correcto, sin embargo al final del libro se incluye una "Nota de la Autora" que me proporcion贸 valiosa informaci贸n para una mejor comprensi贸n y aprovechamiento de esta lectura.
December 7, 2019
Margeruite Yourcenars historischer Roman spielt zwischen Mittelalter und Neuzeit, zwischen Aberglaube und Vernunft, in der Zeit der Reformation, Glaubenskriege und der Inquisition. Es geht um das Leben und Sterben eines gewissen Zenons, weitgereister Priester, Arzt, Alchemist und Gelehrter, der sich der Aufkl盲rung und dem Humanismus verschrieben hat und letztlich zwischen den M盲chten der Vergangenheit und dem Anspruch der Zukunft zerrieben wird.
Zenon ist ein fiktionaler Charakter, zusammengesetzt aus Bestandteilen Leonardo da Vincis, Paracelsus, Erasmus, Kopernikus und noch einem halben Dutzend weniger bekannter Aufkl盲rer, Humanisten und Gelehrten. Beim B眉hnenbild und der Requisite lie脽 sich die Autorin ganz offensichtlich von Pieter Bruegel dem 脛lteren und Hieronymus Bosch inspirieren. Der historische Hintergrund ist akribisch genau recherchiert und das alles zusammen ergibt eine opulente und interessante Geschichte.
Das Buch hat mir gefallen, hat mich aber nicht wirklich begeistert und ich kann hier nur skizzieren, was mich irritiert hat: Yourcenar schreibt viel 眉产别谤 Zenon und l盲脽t ihn zu wenig agieren. Nebenbei war mir nie ganz klar, ob Zenon selbst (im Sinne eines Gedankenstroms) denkt oder der allwissende Erz盲hler erz盲hlt, was Zenon denkt. Zenons Charakter ist zwar interessant, sch枚n widerspr眉chlich und 眉产别谤haupt nicht klischeehaft, vielleicht ist die Figur aber trotzdem zu konstruiert.
Die Sprache selbst neigt dazu, immer wieder eine altmodisch gespreizte Ausdrucksweise zu bem眉hen, was einer authentischen Atmosph盲re geschuldet sein mag, mir aber nicht glaubw眉rdig erschien. Das kann aber durchaus an der 脺bersetzung liegen.
Zwischendurch sto脽e ich mich an S盲tzen wie Allm盲hlich hatte er sich an den Gedanken gew枚hnt, Angst zu haben. (Il s'茅tait fait par degr茅 脿 l'id茅e d'avoir peur) - Hier wird eindeutig zu viel gedacht und zu wenig gesp眉rt!
Yourcenars Weg, die Ingredentien ihrer Erz盲hlung aus historischen Quellen in Schnippseln collageartig neu zusammenzusetzen, ist sicher spannend und originell, es ist die Durchf眉hrung, die meinen Geschmack nicht ganz getroffen hat.
Mehr als 3 Sterne kann ich im Vergleich mit anderen historischen Romanen nicht aufbringen, wie etwa das in der selben Zeit handelnde von Luther Blisset oder die Romane der von mir sprachlich sehr bewunderten Hilary Mantel.
Zenon ist ein fiktionaler Charakter, zusammengesetzt aus Bestandteilen Leonardo da Vincis, Paracelsus, Erasmus, Kopernikus und noch einem halben Dutzend weniger bekannter Aufkl盲rer, Humanisten und Gelehrten. Beim B眉hnenbild und der Requisite lie脽 sich die Autorin ganz offensichtlich von Pieter Bruegel dem 脛lteren und Hieronymus Bosch inspirieren. Der historische Hintergrund ist akribisch genau recherchiert und das alles zusammen ergibt eine opulente und interessante Geschichte.
Das Buch hat mir gefallen, hat mich aber nicht wirklich begeistert und ich kann hier nur skizzieren, was mich irritiert hat: Yourcenar schreibt viel 眉产别谤 Zenon und l盲脽t ihn zu wenig agieren. Nebenbei war mir nie ganz klar, ob Zenon selbst (im Sinne eines Gedankenstroms) denkt oder der allwissende Erz盲hler erz盲hlt, was Zenon denkt. Zenons Charakter ist zwar interessant, sch枚n widerspr眉chlich und 眉产别谤haupt nicht klischeehaft, vielleicht ist die Figur aber trotzdem zu konstruiert.
Die Sprache selbst neigt dazu, immer wieder eine altmodisch gespreizte Ausdrucksweise zu bem眉hen, was einer authentischen Atmosph盲re geschuldet sein mag, mir aber nicht glaubw眉rdig erschien. Das kann aber durchaus an der 脺bersetzung liegen.
Zwischendurch sto脽e ich mich an S盲tzen wie Allm盲hlich hatte er sich an den Gedanken gew枚hnt, Angst zu haben. (Il s'茅tait fait par degr茅 脿 l'id茅e d'avoir peur) - Hier wird eindeutig zu viel gedacht und zu wenig gesp眉rt!
Yourcenars Weg, die Ingredentien ihrer Erz盲hlung aus historischen Quellen in Schnippseln collageartig neu zusammenzusetzen, ist sicher spannend und originell, es ist die Durchf眉hrung, die meinen Geschmack nicht ganz getroffen hat.
Mehr als 3 Sterne kann ich im Vergleich mit anderen historischen Romanen nicht aufbringen, wie etwa das in der selben Zeit handelnde von Luther Blisset oder die Romane der von mir sprachlich sehr bewunderten Hilary Mantel.
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