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丕賱丨亘 賱賷爻 卮賮賯丞
賮賷 賴匕賴 丕賱乇賵丕賷丞 賷賯丿賲 爻鬲賷賮丕賳 夭賮丕賷噩 乇丐賷鬲賴 丕賱禺丕氐丞 賱賱丨亘 賵丕賱卮賮賯丞 賲賳 禺賱丕賱 毓賱丕賯丞 丕賱囟丕亘胤 賵丕賱賮鬲丕丞 丕賱賲毓賵賯丞.. 賲賵囟丨丕 兀賵 賲賮爻乇丕 賱兀賳賵丕毓 丕賱鬲兀孬賷乇丕鬲 丕賱賲丿賲乇丞 賱賰賱 賲賳 丕賱丨亘 賵丕賱卮賮賯丞 賲賳 禺賱丕賱 丕賱賮毓賱 賵乇丿 丕賱賮毓賱.. 鬲亘丿兀 丕賱毓賱丕賯丞 亘氐丿丕賯丞 賲孬丕賱賷丞 丿丕賮毓賴丕 丕賱乇丨賲丞貙 孬賲 鬲鬲丨賵賱 廿賱賶 賳賵毓 賲賳 丕賱丕毓噩丕亘 賵丕賱氐丿丕賯丞 賵丕賱丨亘. 賱賰賳貙 廿賳 賰丕賳 賱賱丨亘 賴匕丕 丕賱鬲兀孬賷乇貙 賮賲丕 賴賵 丕賱賲氐賷乇 丕賱賲賳鬲馗乇 賱毓賱丕賯丞 鬲賯賵賲 兀爻丕爻丕 毓賱賶 丕賱卮賮賯丞 丕亘鬲丿丕亍賸責賰賱 賴匕賴 丕賱兀爻卅賱丞 賷鬲賵賯賮 毓賳丿賴丕 夭賮丕賷噩 毓亘乇 兀丨丿丕孬 丕賱乇賵丕賷丞貙 賮賳乇賶 丕賱丨亘 賷丨賲賱 匕賱賰 丕賱鬲兀孬賷乇 丕賱賴丕卅賱 丕賱賯丕丿乇 毓賱賶 兀賳 賷丨賯賯 丕賱賲毓噩夭丕鬲 賵 兀賳 賷賰賵賳 丿賵丕亍賸 賵卮賮丕亍賸. 賵賳乇賶 丕賱丨亘 賲賳 噩賴丞 兀禺乇賶 賷禺賱賯 兀夭賲丞 賵噩賵丿賷丞 賱丕 賯丿乇丞 賱賱賮乇丿 毓賱賶 鬲丨賲賱賴丕貙 賵賱丕 賷賵噩丿 賲賳賮匕 賲賳 賴匕丕 丕賱丨亘 丕賱賲丿賲乇 廿賱丕 賮賷 丕賱賴乇賵亘 廿賱賶 賲賰丕賳 丌禺乇 賷賳鬲賴賷 賮賷賴 丕賱鬲賮賰賷乇 亘兀賷 卮賷亍 毓賱賶 丕賱丕胤賱丕賯貙 兀賷 丕賱賲賵鬲.
281 pages, Paperback
First published January 1, 1939
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About the author
Stefan Zweig
2,004听books9,877听followersStefan Zweig was one of the world's most famous writers during the 1920s and 1930s, especially in the U.S., South America, and Europe. He produced novels, plays, biographies, and journalist pieces. Among his most famous works are Beware of Pity, Letter from an Unknown Woman, and Mary, Queen of Scotland and the Isles. He and his second wife committed suicide in 1942.
Zweig studied in Austria, France, and Germany before settling in Salzburg in 1913. In 1934, driven into exile by the Nazis, he emigrated to England and then, in 1940, to Brazil by way of New York. Finding only growing loneliness and disillusionment in their new surroundings, he and his second wife committed suicide.
Zweig's interest in psychology and the teachings of Sigmund Freud led to his most characteristic work, the subtle portrayal of character. Zweig's essays include studies of Honor茅 de Balzac, Charles Dickens, and Fyodor Dostoevsky (Drei Meister, 1920; Three Masters) and of Friedrich H枚lderlin, Heinrich von Kleist, and Friedrich Nietzsche (Der Kampf mit dem D盲mon, 1925; Master Builders). He achieved popularity with Sternstunden der Menschheit (1928; The Tide of Fortune), five historical portraits in miniature. He wrote full-scale, intuitive rather than objective, biographies of the French statesman Joseph Fouch茅 (1929), Mary Stuart (1935), and others. His stories include those in Verwirrung der Gef眉hle (1925; Conflicts). He also wrote a psychological novel, Ungeduld des Herzens (1938; Beware of Pity), and translated works of Charles Baudelaire, Paul Verlaine, and Emile Verhaeren.
Most recently, his works provided the inspiration for 2014 film The Grand Budapest Hotel.
Zweig studied in Austria, France, and Germany before settling in Salzburg in 1913. In 1934, driven into exile by the Nazis, he emigrated to England and then, in 1940, to Brazil by way of New York. Finding only growing loneliness and disillusionment in their new surroundings, he and his second wife committed suicide.
Zweig's interest in psychology and the teachings of Sigmund Freud led to his most characteristic work, the subtle portrayal of character. Zweig's essays include studies of Honor茅 de Balzac, Charles Dickens, and Fyodor Dostoevsky (Drei Meister, 1920; Three Masters) and of Friedrich H枚lderlin, Heinrich von Kleist, and Friedrich Nietzsche (Der Kampf mit dem D盲mon, 1925; Master Builders). He achieved popularity with Sternstunden der Menschheit (1928; The Tide of Fortune), five historical portraits in miniature. He wrote full-scale, intuitive rather than objective, biographies of the French statesman Joseph Fouch茅 (1929), Mary Stuart (1935), and others. His stories include those in Verwirrung der Gef眉hle (1925; Conflicts). He also wrote a psychological novel, Ungeduld des Herzens (1938; Beware of Pity), and translated works of Charles Baudelaire, Paul Verlaine, and Emile Verhaeren.
Most recently, his works provided the inspiration for 2014 film The Grand Budapest Hotel.
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Displaying 1 - 30 of 2,194 reviews
July 10, 2020
Did you enjoy Wes Anderson's film The Grand Hotel Budapest? Did you become entranced鈥攁s I did鈥攂y its nostalgia for the Austro-Hungarian Empire in those moonlight days before the Great War? Beware of Pity (1939), the novel which inspired the film, was written by Stefan Zweig--in exile, in London鈥攄uring the time when the Nazis occupied his beloved Vienna, when Germany subsumed Austria into itself, and Austria--alas!--was no more. How ironic: at the very moment Zweig was mourning the cultural demise of the cosmopolitan empire of twenty-five years ago, Hitler was accomplishing the political death of the country on which it had been built, the present day republic that was his home.
Zweig was indeed a man of ironies. He was a name-dropper, a frequenter of fashionable cafes who fiercely guarded his privacy; he was a celebrated writer of popular fiction who yearned for artistic recognition; he was a husband who treated his wife as a secretary, then divorced her to marry his secretary; he was a Jew who considered his Judaism 鈥渁n accident of birth,鈥� a Jew who never thought of himself as a Jew until Hitler classified him as such, who even then declined to denounce the Third Reich with vigor, preferring to remain 鈥渙bjective鈥�; and he was a cosmopolite comfortable in all cities of the world until the Nazis barred him from the comforts of his own city Vienna: he despaired, and, together with his second wife, killed himself with barbituates, in Petropolis, the "Imperial City" of Brazil, in 1942.
The title of this novel鈥攁nd its overriding theme鈥�Beware of Pity--has its ironies too. How can pity鈥攖he exercise of simple human compassion鈥攂e considered a corrosive force?And why would a man like Zweig, wounded by a pitiless tyrant, choose the dangers of pity for his theme?
The novel tells the story of a young Austrian lieutenant, Anton Hoffmiller, who, invited to the home of the great landowner Kekesfalva, performs the gentlemanly gesture of asking his host's daughter to dance. When she bursts into tears, he realizes that the young lady's legs are paralyzed. Humiliated, he immediately flees from the house, but sends her a dozen roses the next day. So begins a series of visits鈥攎otivated primarily by pity鈥攚hich lead to disaster, not only for Lieutenant Hoffmiller, but for the Kekesfalva family too.
Zweig's reputation rests primarily on his novellas--鈥滾etter from an Unknown Woman鈥� and 鈥淭he Royal Game鈥� are masterpieces of the form鈥攁nd some critics have faulted this, his only novel, as a novella padded to novel length by the addition of a few irrelevant stories. I disagree. Each of these subordinate narratives鈥攁bout the landowner's fortune, the physician's marriage, the courtship of the officer turned waiter--presents a glimpse into the dynamics of male/female relationships, and how鈥攆or good or for ill鈥攕uch relationships may be altered by pity. The novel would be poorer without these stories: like mirrors, they flash moonlight upon the surface of events, illuminating poor Hoffmiller's dilemma.
The tale is compelling, and there were even a few moments (two moments, to be precise) that had me gasping (small gasps, but real gasps), my hand raised to my mouth. The general course of the narrative may be tragically predictable, but there are plenty of little surprises--and pleasures--to be encountered along the way.
And of course, there is the moonlight which suffuses all: that seductive, antique Austrian atmosphere, which pities little and yet forgives everything.
September 8, 2021
亘毓丿 賲乇賵乇 兀賰孬乇 賲賳 卮賴乇 :
賲丕 丕賱卮賷亍 丕賱匕賾賷 賷噩毓賱賳賷 兀卮毓乇 亘乇噩賮丞 禺賮賷賮丞 賰賱賾賲丕 乇兀賷鬲 兀賵 賱丕丨 賱賷 廿爻賲 賴匕賴 丕賱乇賵丕賷丞 責 兀賵 賱賲丕匕丕 賴匕丕 丕賱卮毓賵乇 責 兀賵 賱賳賰賳 兀賰孬乇 丿賯賾丞貙 賱賲丕匕丕 賴匕丕 丕賱卮毓賵乇 亘丕賱匕賾丕鬲 責
賱丕夭丕賱鬲 賴賳丕賰 氐賵乇丞 毓丕賱賯丞 亘匕賴賳賷 .. 氐賵乇丞 乇噩賱 賷噩乇賷 賮賷 夭賯丕賯 賲馗賱賲貙 賵賷鬲氐亘賾亘 丕賱毓乇賯 賲賳賴貙 賯丿 賷馗賳賾 丕賱亘毓囟 兀賳賾 賴匕丕 丕賱毓乇賯 賳丕鬲噩 毓賳 丕賱賲噩賴賵丿 丕賱亘丿賳賷 丕賱賲鬲賲孬賾賱 賮賷 丕賱噩乇賷貙 賵賱賰賳 丕賱兀賲乇 睾賷乇 氐丨賷丨貙 兀賵 賱賳賯賱 兀賳賾賴 氐丨賷丨 賲賳 夭丕賵賷丞 賲丕 .. 賮丕賱毓乇賯 賴賳丕 賳鬲丕噩 賲噩賴賵丿 匕賴賳賷 禺丕乇賯 賲囟丕賮 廿賱賷賴 丕賱賲噩賴賵丿 丕賱亘丿賳賷 .. 乇噩賱 賷噩乇賷 賵 賷賮賰賾乇 賵賷毓氐乇 匕賴賳賴 毓氐乇丕.. 廿賳賾賴丕 丕賱丨乇亘.. 廿賳賾賴 丕賱賲賵鬲.. 丕賱賲賵鬲.. 丕賱賲賵鬲.. 廿賳賾賴 丕賱丨亘 .
賴匕賴 丕賱氐賵乇丞 亘毓賷丿丞 賰賱賾 丕賱亘毓丿 毓賳 兀丨丿丕孬 丕賱乇賵丕賷丞貙 賱賰賳 兀賳丕 賲賳 兀禺鬲乇鬲賴丕 賱鬲賰賵賳 賳賴丕賷丞 賱兀丨丿丕孬 丕賱乇賵丕賷丞 . 賵賲賳 賯乇兀 丕賱乇賵丕賷丞 爻賷毓乇賮 兀賳賾 丕賱賳賴丕賷丞 爻鬲丨胤賲賰 .. 賱賴匕丕 賯丿 鬲賰賵賳 氐賵乇丞 賴匕丕 丕賱乇噩賱 賴賷 鬲賲賴賷丿 賱兀丨丿丕孬 賲丕 亘毓丿 丕賱賳賴丕賷丞貙 兀賵 氐賵乇丞 賱賱賯丕乇卅 丕賱賲噩賴丿 丕賱賲氐丿賵賲 .
兀孬賳丕亍 丕賱賯乇丕亍丞 :
鬲賵賯賮鬲 .. 賵鬲兀賲賾賱鬲 丕賱毓賳賵丕賳 賯賱賷賱丕 .. " 丨匕丕乇 賲賳 丕賱卮賮賯丞 " .. 廿賳賾賴 賷丨匕乇賳丕 賲賳 丕賱卮賮賯丞 責 賰賷賮責 賵賴賱 丕賱卮賮賯丞 禺賱賯 匕賲賷賲 丨鬲賶 賳丨匕賾乇 賲賳賴丕責 賵賲鬲賶 賰丕賳鬲 丕賱卮賮賯丞 賲氐丿乇丕 賱賱鬲丨匕賷乇責
胤亘毓丕 賱丨丿 丕賱丌賳 賵 兀賳丕 兀賯乇兀 爻胤賵乇 賴匕賴 丕賱乇賵丕賷丞 - 丕賱兀丨丿丕孬 賱丕夭丕賱鬲 賲賷鬲丞 廿賳 氐丨賾 賴匕丕 丕賱鬲毓亘賷乇 - 賱丕 賷賵噩丿 兀賵 賱賲 兀噩丿 兀賵 賱兀賳賾賳賷 兀丨亘 丕賱丿賯丞 賱賲 兀賰鬲卮賮 爻乇賾 賴匕丕 丕賱毓賳賵丕賳 .. 丕賱毓賳賵丕賳 丕賱噩匕賾丕亘 噩丿丕 .. 賵禺丕氐丞 賱賲賳 賷丨亘賾 丕賱鬲兀賲賱 賮賷 丕賱毓賳丕賵賷賳 .
亘毓丿 賲乇賵乇 毓丿賾丞 兀賷丕賲 毓賳 賯乇丕亍丞 丕賱乇賵丕賷丞 :
賴匕丕 毓賲賱 毓亘賯乇賷 !!! 賳毓賲 .. 賳毓賲 .. 賴匕丕 乇兀賷賷 賵丕賱匕賷 丕丨鬲乇賲賴 胤亘毓丕 .. 賴賴賴賴 .. 賵 兀賳丕 賱丕 兀乇賷丿 兀賳 兀丨丕噩噩 賲賳 賱賲 賷毓噩亘賴 丕賱毓賲賱 .. 賮兀賳丕 賱爻鬲 爻鬲賮丕賳 夭賮丕賷噩 !! .. 賵兀賳丕 賱丕 兀乇賷丿 兀賳 兀囟毓 兀爻亘丕亘丕 賲毓賷賳丞 賱鬲氐賳賷賮賴 囟賲賳 賯丕卅賲丞 丕賱兀毓賲丕賱 丕賱毓亘賯乇賷丞貙 賵賱賰賳 賮賰乇丞 丕賱氐乇丕毓 亘賷賳 賯賷賲鬲賷賳 兀禺賱丕賯賷鬲賷賳 賲丨賲賵丿鬲賷賳 丕賱丨亘賾/ 丕賱卮賮賯丞 毓亘賯乇賷丞 亘賰賱賾 賲丕 鬲丨賲賱 賴匕賴 丕賱賰賱賲丞 賲賳 賲毓賳賶 .
賲亘丕卮乇丞 亘毓丿 丕賱廿賳鬲賴丕亍 賲賳 丕賱賯乇丕亍丞 :
賱賲丕匕丕 賴匕賴 丕賱賳賴丕賷丞 責
胤亘毓丕 賴賳丕賰 卮毓賵乇 亘丕賱廿囟胤乇丕亘 賷毓乇賮賴 噩賲賷毓 丕賱賯乇丕亍 亘丿賵賳 廿爻鬲孬賳丕亍貙 賱丕 丕丿乇賷 廿賳 賰丕賳鬲 " 丕囟胤乇丕亘 " 賴賷 丕賱賰賱賲丞 丕賱鬲賵氐賷賮賷丞 丕賱賲賳丕爻亘丞 .. 賵賱賰賳 爻兀毓賵賾賱 毓賱賶 匕賰丕亍 丕賱賯丕乇卅 賮賷 賮賴賲賴丕貙 兀賵 賮賷 廿爻鬲乇噩丕毓 匕賱賰 丕賱廿丨爻丕爻 . 匕賱賰 丕賱廿丨爻丕爻 丕賱匕賷 賷鬲賵賱賾丿 毓賳丿 丕賱廿賳鬲賴丕亍 賲賳 賯乇丕亍丞 毓賲賱 毓亘賯乇賷 .. 賵胤亘毓丕 賰賱 賲賳賾丕 氐丕丿賮 毓賲賱丕 乇賵丕卅賷丕 丕毓鬲亘乇賴 毓亘賯乇賷丕 亘賰賱 賲丕 鬲丨賲賱 丕賱賰賱賲丞 賲賳 賲毓賳賶 .. 賵 亘丕賱鬲賾丕賱賷 禺亘乇 賴匕丕 丕賱卮毓賵乇 .. 丕賱卮毓賵乇 丕賱賲夭賷噩 亘賷賳 兀賲賳賷丞 .. 賱賲丕匕丕 賱賲 賷賰鬲亘 丕賱賰丕鬲亘 氐賮丨丕鬲 兀禺乇賶 賵 賲乇噩毓 賴匕丕 丕賱卮毓賵乇 丕賱乇賾睾亘丞 賮賷 毓丿賲 廿賳賴丕亍 賴匕丕 丕賱毓賲賱 賵亘賷賳 丕賱廿丨爻丕爻 丕賱賳丕鬲噩 丕賱匕賷 賵賱賾丿賴 丕賱賮囟賵賱 賱賲毓乇賮丞 丕賱賳賴丕賷丞 賵丕賱廿賱丨丕丨 丕賱卮賾丿賷丿 丕賱賲爻鬲賲乇 丕賱匕賷 氐丕丨亘賳丕 兀孬賳丕亍 丕賱賯乇丕亍丞 賱賲毓乇賮丞 賳賴丕賷丞 賴匕賴 丕賱賲賱丨賲丞 .
賯亘賱 亘丿丕賷丞 賯乇丕亍丞 賴匕賴 丕賱乇賵丕賷丞 :
丕鬲賲賳賶 兀賳 賷賰賵賳 賴匕丕 丕賱廿禺鬲賷丕乇 噩賲賷賱丕貙 賵兀賱丕賾 兀囟賷毓 賵賯鬲賷 賱兀賳賾 丕賱賯丕卅賲丞 胤賵賷賱丞 噩丿丕 賵丕賱賵賯鬲 賯氐賷乇 噩丿丕 .
丕賱丌賳 :
兀賳丕 賲卮賵卮 賯賱賷賱丕 賱賴匕丕 噩丕亍鬲 丕賱賲乇丕噩毓丞 賲卮賵卮丞 賰孬賷乇丕貙 賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱兀卮賷丕亍 賮賷 匕賴賳賷 賵賱賰賳 賲丕 廿賳 兀乇賷丿 廿禺乇丕噩賴丕 丨鬲賶 鬲鬲亘毓孬乇 賵 鬲氐胤丿賲 亘丕賱賵丕賯毓 .. 賮鬲鬲賳丕孬乇 丕賱廿丨爻丕爻丕鬲 賵鬲睾賷亘 丕賱鬲毓亘賷乇丕鬲 丕賱賲賳丕爻亘丞 .
賲丕 丕賱卮賷亍 丕賱匕賾賷 賷噩毓賱賳賷 兀卮毓乇 亘乇噩賮丞 禺賮賷賮丞 賰賱賾賲丕 乇兀賷鬲 兀賵 賱丕丨 賱賷 廿爻賲 賴匕賴 丕賱乇賵丕賷丞 責 兀賵 賱賲丕匕丕 賴匕丕 丕賱卮毓賵乇 責 兀賵 賱賳賰賳 兀賰孬乇 丿賯賾丞貙 賱賲丕匕丕 賴匕丕 丕賱卮毓賵乇 亘丕賱匕賾丕鬲 責
賱丕夭丕賱鬲 賴賳丕賰 氐賵乇丞 毓丕賱賯丞 亘匕賴賳賷 .. 氐賵乇丞 乇噩賱 賷噩乇賷 賮賷 夭賯丕賯 賲馗賱賲貙 賵賷鬲氐亘賾亘 丕賱毓乇賯 賲賳賴貙 賯丿 賷馗賳賾 丕賱亘毓囟 兀賳賾 賴匕丕 丕賱毓乇賯 賳丕鬲噩 毓賳 丕賱賲噩賴賵丿 丕賱亘丿賳賷 丕賱賲鬲賲孬賾賱 賮賷 丕賱噩乇賷貙 賵賱賰賳 丕賱兀賲乇 睾賷乇 氐丨賷丨貙 兀賵 賱賳賯賱 兀賳賾賴 氐丨賷丨 賲賳 夭丕賵賷丞 賲丕 .. 賮丕賱毓乇賯 賴賳丕 賳鬲丕噩 賲噩賴賵丿 匕賴賳賷 禺丕乇賯 賲囟丕賮 廿賱賷賴 丕賱賲噩賴賵丿 丕賱亘丿賳賷 .. 乇噩賱 賷噩乇賷 賵 賷賮賰賾乇 賵賷毓氐乇 匕賴賳賴 毓氐乇丕.. 廿賳賾賴丕 丕賱丨乇亘.. 廿賳賾賴 丕賱賲賵鬲.. 丕賱賲賵鬲.. 丕賱賲賵鬲.. 廿賳賾賴 丕賱丨亘 .
賴匕賴 丕賱氐賵乇丞 亘毓賷丿丞 賰賱賾 丕賱亘毓丿 毓賳 兀丨丿丕孬 丕賱乇賵丕賷丞貙 賱賰賳 兀賳丕 賲賳 兀禺鬲乇鬲賴丕 賱鬲賰賵賳 賳賴丕賷丞 賱兀丨丿丕孬 丕賱乇賵丕賷丞 . 賵賲賳 賯乇兀 丕賱乇賵丕賷丞 爻賷毓乇賮 兀賳賾 丕賱賳賴丕賷丞 爻鬲丨胤賲賰 .. 賱賴匕丕 賯丿 鬲賰賵賳 氐賵乇丞 賴匕丕 丕賱乇噩賱 賴賷 鬲賲賴賷丿 賱兀丨丿丕孬 賲丕 亘毓丿 丕賱賳賴丕賷丞貙 兀賵 氐賵乇丞 賱賱賯丕乇卅 丕賱賲噩賴丿 丕賱賲氐丿賵賲 .
兀孬賳丕亍 丕賱賯乇丕亍丞 :
鬲賵賯賮鬲 .. 賵鬲兀賲賾賱鬲 丕賱毓賳賵丕賳 賯賱賷賱丕 .. " 丨匕丕乇 賲賳 丕賱卮賮賯丞 " .. 廿賳賾賴 賷丨匕乇賳丕 賲賳 丕賱卮賮賯丞 責 賰賷賮責 賵賴賱 丕賱卮賮賯丞 禺賱賯 匕賲賷賲 丨鬲賶 賳丨匕賾乇 賲賳賴丕責 賵賲鬲賶 賰丕賳鬲 丕賱卮賮賯丞 賲氐丿乇丕 賱賱鬲丨匕賷乇責
胤亘毓丕 賱丨丿 丕賱丌賳 賵 兀賳丕 兀賯乇兀 爻胤賵乇 賴匕賴 丕賱乇賵丕賷丞 - 丕賱兀丨丿丕孬 賱丕夭丕賱鬲 賲賷鬲丞 廿賳 氐丨賾 賴匕丕 丕賱鬲毓亘賷乇 - 賱丕 賷賵噩丿 兀賵 賱賲 兀噩丿 兀賵 賱兀賳賾賳賷 兀丨亘 丕賱丿賯丞 賱賲 兀賰鬲卮賮 爻乇賾 賴匕丕 丕賱毓賳賵丕賳 .. 丕賱毓賳賵丕賳 丕賱噩匕賾丕亘 噩丿丕 .. 賵禺丕氐丞 賱賲賳 賷丨亘賾 丕賱鬲兀賲賱 賮賷 丕賱毓賳丕賵賷賳 .
亘毓丿 賲乇賵乇 毓丿賾丞 兀賷丕賲 毓賳 賯乇丕亍丞 丕賱乇賵丕賷丞 :
賴匕丕 毓賲賱 毓亘賯乇賷 !!! 賳毓賲 .. 賳毓賲 .. 賴匕丕 乇兀賷賷 賵丕賱匕賷 丕丨鬲乇賲賴 胤亘毓丕 .. 賴賴賴賴 .. 賵 兀賳丕 賱丕 兀乇賷丿 兀賳 兀丨丕噩噩 賲賳 賱賲 賷毓噩亘賴 丕賱毓賲賱 .. 賮兀賳丕 賱爻鬲 爻鬲賮丕賳 夭賮丕賷噩 !! .. 賵兀賳丕 賱丕 兀乇賷丿 兀賳 兀囟毓 兀爻亘丕亘丕 賲毓賷賳丞 賱鬲氐賳賷賮賴 囟賲賳 賯丕卅賲丞 丕賱兀毓賲丕賱 丕賱毓亘賯乇賷丞貙 賵賱賰賳 賮賰乇丞 丕賱氐乇丕毓 亘賷賳 賯賷賲鬲賷賳 兀禺賱丕賯賷鬲賷賳 賲丨賲賵丿鬲賷賳 丕賱丨亘賾/ 丕賱卮賮賯丞 毓亘賯乇賷丞 亘賰賱賾 賲丕 鬲丨賲賱 賴匕賴 丕賱賰賱賲丞 賲賳 賲毓賳賶 .
賲亘丕卮乇丞 亘毓丿 丕賱廿賳鬲賴丕亍 賲賳 丕賱賯乇丕亍丞 :
賱賲丕匕丕 賴匕賴 丕賱賳賴丕賷丞 責
胤亘毓丕 賴賳丕賰 卮毓賵乇 亘丕賱廿囟胤乇丕亘 賷毓乇賮賴 噩賲賷毓 丕賱賯乇丕亍 亘丿賵賳 廿爻鬲孬賳丕亍貙 賱丕 丕丿乇賷 廿賳 賰丕賳鬲 " 丕囟胤乇丕亘 " 賴賷 丕賱賰賱賲丞 丕賱鬲賵氐賷賮賷丞 丕賱賲賳丕爻亘丞 .. 賵賱賰賳 爻兀毓賵賾賱 毓賱賶 匕賰丕亍 丕賱賯丕乇卅 賮賷 賮賴賲賴丕貙 兀賵 賮賷 廿爻鬲乇噩丕毓 匕賱賰 丕賱廿丨爻丕爻 . 匕賱賰 丕賱廿丨爻丕爻 丕賱匕賷 賷鬲賵賱賾丿 毓賳丿 丕賱廿賳鬲賴丕亍 賲賳 賯乇丕亍丞 毓賲賱 毓亘賯乇賷 .. 賵胤亘毓丕 賰賱 賲賳賾丕 氐丕丿賮 毓賲賱丕 乇賵丕卅賷丕 丕毓鬲亘乇賴 毓亘賯乇賷丕 亘賰賱 賲丕 鬲丨賲賱 丕賱賰賱賲丞 賲賳 賲毓賳賶 .. 賵 亘丕賱鬲賾丕賱賷 禺亘乇 賴匕丕 丕賱卮毓賵乇 .. 丕賱卮毓賵乇 丕賱賲夭賷噩 亘賷賳 兀賲賳賷丞 .. 賱賲丕匕丕 賱賲 賷賰鬲亘 丕賱賰丕鬲亘 氐賮丨丕鬲 兀禺乇賶 賵 賲乇噩毓 賴匕丕 丕賱卮毓賵乇 丕賱乇賾睾亘丞 賮賷 毓丿賲 廿賳賴丕亍 賴匕丕 丕賱毓賲賱 賵亘賷賳 丕賱廿丨爻丕爻 丕賱賳丕鬲噩 丕賱匕賷 賵賱賾丿賴 丕賱賮囟賵賱 賱賲毓乇賮丞 丕賱賳賴丕賷丞 賵丕賱廿賱丨丕丨 丕賱卮賾丿賷丿 丕賱賲爻鬲賲乇 丕賱匕賷 氐丕丨亘賳丕 兀孬賳丕亍 丕賱賯乇丕亍丞 賱賲毓乇賮丞 賳賴丕賷丞 賴匕賴 丕賱賲賱丨賲丞 .
賯亘賱 亘丿丕賷丞 賯乇丕亍丞 賴匕賴 丕賱乇賵丕賷丞 :
丕鬲賲賳賶 兀賳 賷賰賵賳 賴匕丕 丕賱廿禺鬲賷丕乇 噩賲賷賱丕貙 賵兀賱丕賾 兀囟賷毓 賵賯鬲賷 賱兀賳賾 丕賱賯丕卅賲丞 胤賵賷賱丞 噩丿丕 賵丕賱賵賯鬲 賯氐賷乇 噩丿丕 .
丕賱丌賳 :
兀賳丕 賲卮賵卮 賯賱賷賱丕 賱賴匕丕 噩丕亍鬲 丕賱賲乇丕噩毓丞 賲卮賵卮丞 賰孬賷乇丕貙 賴賳丕賰 丕賱賰孬賷乇 賲賳 丕賱兀卮賷丕亍 賮賷 匕賴賳賷 賵賱賰賳 賲丕 廿賳 兀乇賷丿 廿禺乇丕噩賴丕 丨鬲賶 鬲鬲亘毓孬乇 賵 鬲氐胤丿賲 亘丕賱賵丕賯毓 .. 賮鬲鬲賳丕孬乇 丕賱廿丨爻丕爻丕鬲 賵鬲睾賷亘 丕賱鬲毓亘賷乇丕鬲 丕賱賲賳丕爻亘丞 .
August 15, 2018
Truth in advertising: the title tells us exactly what this book is about. It鈥檚 set in Austria in peacetime in 1914 in the time leading up to WW I. A young cavalry officer is invited to a party at the home of the most wealthy family in the town he is stationed in. He sees his host鈥檚 daughter sitting with women, her legs covered by a blanket. Unaware that her disfigured legs are useless, he asks her to dance (he鈥檚 25; she鈥檚 about 18). Everything goes downhill from there.
The young woman falls in love with the officer. Her elderly father essentially begs him to marry her with the incentive of inheriting his money. The officer is also egged on by the doctor of the young woman. Years ago, the doctor married a blind woman, essentially out of pity at not being able to 鈥渃ure鈥� her, and that worked out fine.
Part of the value of this book is seeing the sea change in attitudes toward people with physical challenges. As hard as it us for us to believe, it鈥檚 a shock to the officer to finally realize (my words) 鈥淲hat! A 鈥榩athetic cripple鈥� and a 鈥榟apless invalid鈥� like her [he thinks of her using those words] can have human feelings like falling in love? Who would have thought?鈥�
Even more shocking is how the young woman absorbs those attitudes and values. She writes to the officer in a letter: 鈥淎 lame creature, a cripple like myself, has no right to love. How should I, broken, shattered being that I am, be anything but a burden to you, when to myself I am an object of disgust, of loathing. A creature such as I, I know, has no right to love, and certainly no right to be loved.鈥�
The officer comes to realize that 鈥溾€ity, like morphia, is a solace to the invalid, a remedy, a drug, but unless you know the correct dosage and when to stop, it becomes a virulent poison.鈥�
鈥溾€y astonishment at the thought that I, a commonplace, unsophisticated young officer, should really have the power to make someone else so happy knew no bounds.鈥� 鈥淚t is never until one realizes that one means something to others that one feels there is any point or purpose in one鈥檚 own existence.鈥�
As their relationship progresses, the officer becomes what we would call today, 鈥榤anic depressive.鈥� Within a couple of pages we read of his highs and lows: 鈥淥n that evening I was God. I had created the world and lo! It was full of goodness and justice. I had created a human being, her forehead gleamed like the morning and a rainbow of happiness was mirrored in her eyes.鈥� A few pages later: 鈥淚 was no longer God, but a puny, pitiable human being, whose blackguardly weakness did nothing but harm, whose pity wrought nothing but havoc and misery.鈥�
The paperback edition I read gives away the ending on the back cover, so I鈥檒l give it here but hide it in a spoiler (it鈥檚 not pretty):
The book is by Stefan Zweig, so we get great writing. It鈥檚 translated from the German. There are breaks in the writing but no chapters. At 350 pages, it鈥檚 Zweig鈥檚 longest novel, written in 1938 in his London exile before he moved to Brazil. Very much a psychological novel, it鈥檚 a good read.
Top image of Austrian cavalry officers in WW I from
Photo of the author from alteruemliches.at
The young woman falls in love with the officer. Her elderly father essentially begs him to marry her with the incentive of inheriting his money. The officer is also egged on by the doctor of the young woman. Years ago, the doctor married a blind woman, essentially out of pity at not being able to 鈥渃ure鈥� her, and that worked out fine.
Part of the value of this book is seeing the sea change in attitudes toward people with physical challenges. As hard as it us for us to believe, it鈥檚 a shock to the officer to finally realize (my words) 鈥淲hat! A 鈥榩athetic cripple鈥� and a 鈥榟apless invalid鈥� like her [he thinks of her using those words] can have human feelings like falling in love? Who would have thought?鈥�
Even more shocking is how the young woman absorbs those attitudes and values. She writes to the officer in a letter: 鈥淎 lame creature, a cripple like myself, has no right to love. How should I, broken, shattered being that I am, be anything but a burden to you, when to myself I am an object of disgust, of loathing. A creature such as I, I know, has no right to love, and certainly no right to be loved.鈥�
The officer comes to realize that 鈥溾€ity, like morphia, is a solace to the invalid, a remedy, a drug, but unless you know the correct dosage and when to stop, it becomes a virulent poison.鈥�
鈥溾€y astonishment at the thought that I, a commonplace, unsophisticated young officer, should really have the power to make someone else so happy knew no bounds.鈥� 鈥淚t is never until one realizes that one means something to others that one feels there is any point or purpose in one鈥檚 own existence.鈥�
As their relationship progresses, the officer becomes what we would call today, 鈥榤anic depressive.鈥� Within a couple of pages we read of his highs and lows: 鈥淥n that evening I was God. I had created the world and lo! It was full of goodness and justice. I had created a human being, her forehead gleamed like the morning and a rainbow of happiness was mirrored in her eyes.鈥� A few pages later: 鈥淚 was no longer God, but a puny, pitiable human being, whose blackguardly weakness did nothing but harm, whose pity wrought nothing but havoc and misery.鈥�
The paperback edition I read gives away the ending on the back cover, so I鈥檒l give it here but hide it in a spoiler (it鈥檚 not pretty):
The book is by Stefan Zweig, so we get great writing. It鈥檚 translated from the German. There are breaks in the writing but no chapters. At 350 pages, it鈥檚 Zweig鈥檚 longest novel, written in 1938 in his London exile before he moved to Brazil. Very much a psychological novel, it鈥檚 a good read.
Top image of Austrian cavalry officers in WW I from
Photo of the author from alteruemliches.at
August 15, 2024
丨匕丕乇 賲賳 丕賱卮賮賯丞..鬲丕賳賷 乇賵丕賷丞 胤賵賷賱丞 兀賯乇兀賴丕 賱夭賮丕賷睾 亘毓丿 乇賵丕賷鬲賴 丕賱乇丕卅毓丞 賲丕乇賷 兀賳胤賵丕賳賷鬲..
賯氐丞 丕賱乇賵丕賷丞 亘鬲丿賵乇 丨賵賱 賮鬲丕丞 賰爻賷丨丞 兀丨亘鬲 乇噩賱丕賸 亘賰賱 噩賵乇丕丨賴丕 賵賴賵 賱賲 賷爻鬲胤毓 兀賳 賷亘丕丿賱賴丕 賳賮爻 丕賱卮毓賵乇 賵賱賰賳 賮賷 賳賮爻 丕賱賵賯鬲 賰丕賳 賷丨丕賵賱 兀賳 賷賰賵賳 亘噩丕賳亘賴丕 賱賷丿禺賱 丕賱爻毓丕丿丞 廿賱賷 賯賱亘賴丕 賵胤亘毓丕 賱賷爻 丨亘丕賸 賮賷賴丕 賵賱賰賳 卮賮賯丞 毓賱賷賴丕!
廿爻鬲胤丕毓 夭賮丕賷睾 廿賳賴 賷賵氐賮 賲卮丕毓乇 丕賱乇噩賱 賵丕賱賮鬲丕丞 亘胤乇賷賯丞 毓亘賯乇賷丞 ..賯丿乇 亘亘乇丕毓丞 賷賵囟丨 丕賱賮乇賯 丕賱賰亘賷乇 亘賷賳 丕賱丨亘 賵丕賱卮賮賯丞 賵 廿賳 廿夭丕賷 爻丕毓丕鬲 亘賳賰賵賳 賲賳 丕賱囟毓賮 賵 賱丕 賳爻鬲胤賷毓 兀賳 賳賵丕噩賴 丕賱賵丕賯毓 賱丿乇噩丞 廿賳 賲賲賰賳 賳丿賵爻 毓賱賷 賳賮爻賳丕 '亘爻'毓卮丕賳 賳乇囟賷 丕賱丌禺乇賷賳..賵 丿丞 賮賷 丕賱丌禺乇 亘賷賳毓賰爻 毓賱賷 噩賲賷毓 丕賱兀胤乇丕賮 亘胤乇賷賯丞 賰丕乇孬賷丞...
賷購賯丕賱 廿賳 丨匕丕乇 賲賳 丕賱卮賮賯丞 鬲購毓鬲亘乇 賲賳 兀噩賲賱 賲丕 賰鬲亘 爻鬲賷賮丕賳 夭賮丕賷睾 賵 丕賱氐乇丕丨丞 亘毓丿 賯乇丕亍丞 侉 賰鬲亘 賱賴匕丕 丕賱賰丕鬲亘 丕賱賲亘丿毓 兀賯丿乇 兀賯賵賱 廿賳賷 賱丕 兀鬲賮賯 賲毓 賴匕丕 丕賱乇兀賷..
賷毓賷亘 丕賱乇賵丕賷丞 廿賳 賰丕賳 賮賷賴丕 鬲胤賵賷賱 亘夭賷丕丿丞 賵賰丕賳 賲賲賰賳 廿禺鬲氐丕乇賴丕 賰鬲賷乇 賵 賱兀賵賱 賲乇丞 兀丨爻 亘亘毓囟 丕賱賲賱賱 賵 兀賳丕 亘賯乇兀 賱夭賮丕賷睾 亘噩丕賳亘 廿賳賷 賱賲 兀鬲毓丕胤賮 兀賵賷 賲毓 卮禺氐賷丕鬲 丕賱乇賵丕賷丞..
賲丕 賷賲賷夭 夭賮丕賷睾 毓賲賵賲丕賸 廿賳賴 亘賷睾賵氐 賮賷 兀毓賲丕賯 丕賱賳賮爻 丕賱亘卮乇賷丞 賵亘賷賵氐賮 賲卮丕毓乇 賰鬲賷乇 賮賷 毓丿丿 賯賱賷賱 賲賳 丕賱氐賮丨丕鬲 丕賱賱賷 睾賷乇賴 賲賲賰賳 賷賵氐賮賴丕 賮賷 佴贍贍 氐賮丨丞...賱賰賳 毓亘賯乇賷丞 夭賮丕賷睾-夭賷 賲丕 亘賳賯賵賱 賰丿丞-廿賳賴 亘賷毓乇賮 賷噩賷亘 賲賳 丕賱兀禺乇 賵丿丞 丕賱賱賷 賲丨爻賷鬲卮 廿賳賴 丨氐賱 賮賷 丕賱賰鬲丕亘 賴賳丕...
賵賱賰賳 毓賱賷 丕賱乇睾賲 賲賳 賰丿丞 廿賱丕 廿賳賴丕 乇賵丕賷丞 噩賲賷賱丞..賲賲鬲毓丞 噩丿丕賸 ..丕賱鬲乇噩賲丞 賰賲丕賳 賰丕賳鬲 乇丕卅毓丞..賵兀賰賷丿 賷毓賳賷 賷賳氐丨 亘賴丕:)
賯氐丞 丕賱乇賵丕賷丞 亘鬲丿賵乇 丨賵賱 賮鬲丕丞 賰爻賷丨丞 兀丨亘鬲 乇噩賱丕賸 亘賰賱 噩賵乇丕丨賴丕 賵賴賵 賱賲 賷爻鬲胤毓 兀賳 賷亘丕丿賱賴丕 賳賮爻 丕賱卮毓賵乇 賵賱賰賳 賮賷 賳賮爻 丕賱賵賯鬲 賰丕賳 賷丨丕賵賱 兀賳 賷賰賵賳 亘噩丕賳亘賴丕 賱賷丿禺賱 丕賱爻毓丕丿丞 廿賱賷 賯賱亘賴丕 賵胤亘毓丕 賱賷爻 丨亘丕賸 賮賷賴丕 賵賱賰賳 卮賮賯丞 毓賱賷賴丕!
廿爻鬲胤丕毓 夭賮丕賷睾 廿賳賴 賷賵氐賮 賲卮丕毓乇 丕賱乇噩賱 賵丕賱賮鬲丕丞 亘胤乇賷賯丞 毓亘賯乇賷丞 ..賯丿乇 亘亘乇丕毓丞 賷賵囟丨 丕賱賮乇賯 丕賱賰亘賷乇 亘賷賳 丕賱丨亘 賵丕賱卮賮賯丞 賵 廿賳 廿夭丕賷 爻丕毓丕鬲 亘賳賰賵賳 賲賳 丕賱囟毓賮 賵 賱丕 賳爻鬲胤賷毓 兀賳 賳賵丕噩賴 丕賱賵丕賯毓 賱丿乇噩丞 廿賳 賲賲賰賳 賳丿賵爻 毓賱賷 賳賮爻賳丕 '亘爻'毓卮丕賳 賳乇囟賷 丕賱丌禺乇賷賳..賵 丿丞 賮賷 丕賱丌禺乇 亘賷賳毓賰爻 毓賱賷 噩賲賷毓 丕賱兀胤乇丕賮 亘胤乇賷賯丞 賰丕乇孬賷丞...
賷購賯丕賱 廿賳 丨匕丕乇 賲賳 丕賱卮賮賯丞 鬲購毓鬲亘乇 賲賳 兀噩賲賱 賲丕 賰鬲亘 爻鬲賷賮丕賳 夭賮丕賷睾 賵 丕賱氐乇丕丨丞 亘毓丿 賯乇丕亍丞 侉 賰鬲亘 賱賴匕丕 丕賱賰丕鬲亘 丕賱賲亘丿毓 兀賯丿乇 兀賯賵賱 廿賳賷 賱丕 兀鬲賮賯 賲毓 賴匕丕 丕賱乇兀賷..
賷毓賷亘 丕賱乇賵丕賷丞 廿賳 賰丕賳 賮賷賴丕 鬲胤賵賷賱 亘夭賷丕丿丞 賵賰丕賳 賲賲賰賳 廿禺鬲氐丕乇賴丕 賰鬲賷乇 賵 賱兀賵賱 賲乇丞 兀丨爻 亘亘毓囟 丕賱賲賱賱 賵 兀賳丕 亘賯乇兀 賱夭賮丕賷睾 亘噩丕賳亘 廿賳賷 賱賲 兀鬲毓丕胤賮 兀賵賷 賲毓 卮禺氐賷丕鬲 丕賱乇賵丕賷丞..
賲丕 賷賲賷夭 夭賮丕賷睾 毓賲賵賲丕賸 廿賳賴 亘賷睾賵氐 賮賷 兀毓賲丕賯 丕賱賳賮爻 丕賱亘卮乇賷丞 賵亘賷賵氐賮 賲卮丕毓乇 賰鬲賷乇 賮賷 毓丿丿 賯賱賷賱 賲賳 丕賱氐賮丨丕鬲 丕賱賱賷 睾賷乇賴 賲賲賰賳 賷賵氐賮賴丕 賮賷 佴贍贍 氐賮丨丞...賱賰賳 毓亘賯乇賷丞 夭賮丕賷睾-夭賷 賲丕 亘賳賯賵賱 賰丿丞-廿賳賴 亘賷毓乇賮 賷噩賷亘 賲賳 丕賱兀禺乇 賵丿丞 丕賱賱賷 賲丨爻賷鬲卮 廿賳賴 丨氐賱 賮賷 丕賱賰鬲丕亘 賴賳丕...
賵賱賰賳 毓賱賷 丕賱乇睾賲 賲賳 賰丿丞 廿賱丕 廿賳賴丕 乇賵丕賷丞 噩賲賷賱丞..賲賲鬲毓丞 噩丿丕賸 ..丕賱鬲乇噩賲丞 賰賲丕賳 賰丕賳鬲 乇丕卅毓丞..賵兀賰賷丿 賷毓賳賷 賷賳氐丨 亘賴丕:)
October 30, 2019
Zweig is a master of the novella, and his mastery shows in BEWARE OF PITY, which unfortunately is a novel.
Were this 130 pages long, it would have been salvageable (not CHESS STORY level, but what is?), but the excitement of the Zweigian opening (an author, a stranger, a story within-a-story) began to diminish when it became clear that this wasn't a novel with multiple parts. Here is the spoiler-free plot, in full: a poor cavalry officer sees a beautiful woman in town, finagles an invitation to a dinner party she'll be attending at the richest mansion in the area, asks the daughter of the house to dance, is confused when she screams in horror, finds out she is paralyzed, keeps going back to the house because he feels bad for her while conveniently ignoring about 3 salient plot-points for which Zwieg maddeningly delays the reveal; is begged on all sides to continue to be nice to her while he is trapped in an escalating series of lies; completely ignores his initial infatuation with the beautiful woman, the girl's cousin (written off in a parenthetical about this long); keeps sneaking away in shame only to be convinced to return by various people about town; hears versions of the expression "beware of pity" approx. 100 times. It's a bit like a filler Curb Your Enthusiasm episode, now that I see it written out.
Zweig's central question is: do the disabled deserve love? This reminds me a bit of The Captive in Proust, which is another melodrama that revolves around an author's misconception of the world, but here the misconception is, yes, offensive, and Zweig isn't a good enough writer to find his way out of it. This is decidedly NOT a love story. Every time the protagonist cringes in horror at the sound of tapping crutches or the sight of the girl being wheeled around, we cringe too: for Zweig. I have seen this character defended as an aspect of the time in other reviews, but we turn to writers to be ahead of their time in one thing and one thing only: psychological insight.
The best parts of B.O.P. are the stories within it - the origin of the girl's father; a traveling sequence that is great until a "gypsy prophecy" sets in; that stunning opening. It has a preoccupation with suicide that is, of course, upsetting in retrospect. And I never put it down, because as with all Zweig, the world is pleasing to be in. But the false promise of the opening is never answered (this is a novel about a war hero that will never show us war), and it's all something of a trudge.
2.51, and I only rounded up for an excellent 5 page essay in the last third about what it's like when someone has a crush on you. Tempted to knock it down for the stranger on the subway who praised the "gripping action" and "brilliant characters" for 5 straight stops when he saw what I was reading even though my headphones were in, but I suppose we'll leave him out of it.
Were this 130 pages long, it would have been salvageable (not CHESS STORY level, but what is?), but the excitement of the Zweigian opening (an author, a stranger, a story within-a-story) began to diminish when it became clear that this wasn't a novel with multiple parts. Here is the spoiler-free plot, in full: a poor cavalry officer sees a beautiful woman in town, finagles an invitation to a dinner party she'll be attending at the richest mansion in the area, asks the daughter of the house to dance, is confused when she screams in horror, finds out she is paralyzed, keeps going back to the house because he feels bad for her while conveniently ignoring about 3 salient plot-points for which Zwieg maddeningly delays the reveal; is begged on all sides to continue to be nice to her while he is trapped in an escalating series of lies; completely ignores his initial infatuation with the beautiful woman, the girl's cousin (written off in a parenthetical about this long); keeps sneaking away in shame only to be convinced to return by various people about town; hears versions of the expression "beware of pity" approx. 100 times. It's a bit like a filler Curb Your Enthusiasm episode, now that I see it written out.
Zweig's central question is: do the disabled deserve love? This reminds me a bit of The Captive in Proust, which is another melodrama that revolves around an author's misconception of the world, but here the misconception is, yes, offensive, and Zweig isn't a good enough writer to find his way out of it. This is decidedly NOT a love story. Every time the protagonist cringes in horror at the sound of tapping crutches or the sight of the girl being wheeled around, we cringe too: for Zweig. I have seen this character defended as an aspect of the time in other reviews, but we turn to writers to be ahead of their time in one thing and one thing only: psychological insight.
The best parts of B.O.P. are the stories within it - the origin of the girl's father; a traveling sequence that is great until a "gypsy prophecy" sets in; that stunning opening. It has a preoccupation with suicide that is, of course, upsetting in retrospect. And I never put it down, because as with all Zweig, the world is pleasing to be in. But the false promise of the opening is never answered (this is a novel about a war hero that will never show us war), and it's all something of a trudge.
2.51, and I only rounded up for an excellent 5 page essay in the last third about what it's like when someone has a crush on you. Tempted to knock it down for the stranger on the subway who praised the "gripping action" and "brilliant characters" for 5 straight stops when he saw what I was reading even though my headphones were in, but I suppose we'll leave him out of it.
December 31, 2018
Beware of Pity, Zweig's one and only novel, was a book that had eluded me for quite some time, but learning of a new translation by Oxford Academic Dr Jonathan Katz (who has worked on writings by Goethe and Joseph Roth), I followed through and got hold of a copy whilst on a trip back to my home City of Bath, and as things would have it, I also learned Zweig actually stayed in Bath for a time after fleeing mainland Europe during the war. Reading 'Impatience of the Heart' was well worth the wait, I would put it up there with one of the best novels I have ever read, It captivated me from first page to the last, with moments that had me wanting to look the other way, through it's depiction of pity.
This is a story of painful and almost unbearable disillusionment swept along with a saddening nostalgia, composed by Zweig over a period of years and completed by 1938, in which a young Austrian cavalry officer, Hofmiller, befriends a local millionaire, Kekesfalva, and his family, but in particular the old man's crippled daughter, Edith (a character I will simply never forget) and the terrible consequences that follow a moment of sheer horror for the officer at a dance, thus a chain of events are triggered that Hofmiller due to his weak minded pity can not escape from. I don't want to link Zweig with Hitchcock, but there were moments of utter tension that had me peeping through my fingers in trepidation at what might or might not happen. There is also an interior psychological precision that shows just how sharply Zweig could pay attention to his characters inner workings, and this he pulls off as good as anything else I have come across, here is a man 'Hofmiller the hero', on whom everything is lost, in more than one sense of the phrase.
When first introduced to a decorated Hofmiller many years later in a cafe he spills his history to a novelist (the framing narrator) whom we may as well assume to be Zweig himself, he treats his decoration, the greatest military order Austria can bestow, with disdain bordering on contempt, and only speaks to the narrator when they meet accidentally at a dinner party later on. After this point, we should realise that the message of the book is not only the ostensible one, that pity is an emotion that can cause great ruin, but also that we must not judge things by appearances. Hofmiller, in his case, what others might regard as courage is actually the result of a monumental act of cowardice which will burden his soul for eternity.
Others have viewed this work as actually two novellas of unequal length stitched together, there is an entire back story as to how Kekesfalva obtained his wealth, but this only adds depth, it doesn't read as though it could benefit from any trimming, and something I did notice was the fact this contained no chapters, or breaks in writing, keeping a continually flowing narrative. From front to back it's a novel, pure and simple. It's length for some may be an issue. Me, I would have gladly read another 200 pages of this, and this coming from someone who is normally put off reading huge novels.
Kekesfalva, along with daughters Ilona and Edith played such a despairing role in the narrative, I spend the whole time just praying their outcome would be a good one, I felt everything they were going through, down to the finest details. Crippled Edith, I can't think of any other literary character that has had such an impact on me, my own pity for her was tenfold. Albeit in a complex and ambiguous fashion, when Hofmiller discovers, to his horror, that Edith has sexual desires for him, his existence spirals into chaos, in fact, if it didn't sound so off-putting, "Disillusionment" could be a perfectly plausible title for the novel (to go with Zweig's other one-word titles for some of his novellas: "Amok", "Confusion" or "Angst"). Beware of Pity has passages of high melodrama that had an immense power to make me put a hand over my gasping mouth, something that I can't think I have ever done before whilst reading a novel. A masterpiece.
This is a story of painful and almost unbearable disillusionment swept along with a saddening nostalgia, composed by Zweig over a period of years and completed by 1938, in which a young Austrian cavalry officer, Hofmiller, befriends a local millionaire, Kekesfalva, and his family, but in particular the old man's crippled daughter, Edith (a character I will simply never forget) and the terrible consequences that follow a moment of sheer horror for the officer at a dance, thus a chain of events are triggered that Hofmiller due to his weak minded pity can not escape from. I don't want to link Zweig with Hitchcock, but there were moments of utter tension that had me peeping through my fingers in trepidation at what might or might not happen. There is also an interior psychological precision that shows just how sharply Zweig could pay attention to his characters inner workings, and this he pulls off as good as anything else I have come across, here is a man 'Hofmiller the hero', on whom everything is lost, in more than one sense of the phrase.
When first introduced to a decorated Hofmiller many years later in a cafe he spills his history to a novelist (the framing narrator) whom we may as well assume to be Zweig himself, he treats his decoration, the greatest military order Austria can bestow, with disdain bordering on contempt, and only speaks to the narrator when they meet accidentally at a dinner party later on. After this point, we should realise that the message of the book is not only the ostensible one, that pity is an emotion that can cause great ruin, but also that we must not judge things by appearances. Hofmiller, in his case, what others might regard as courage is actually the result of a monumental act of cowardice which will burden his soul for eternity.
Others have viewed this work as actually two novellas of unequal length stitched together, there is an entire back story as to how Kekesfalva obtained his wealth, but this only adds depth, it doesn't read as though it could benefit from any trimming, and something I did notice was the fact this contained no chapters, or breaks in writing, keeping a continually flowing narrative. From front to back it's a novel, pure and simple. It's length for some may be an issue. Me, I would have gladly read another 200 pages of this, and this coming from someone who is normally put off reading huge novels.
Kekesfalva, along with daughters Ilona and Edith played such a despairing role in the narrative, I spend the whole time just praying their outcome would be a good one, I felt everything they were going through, down to the finest details. Crippled Edith, I can't think of any other literary character that has had such an impact on me, my own pity for her was tenfold. Albeit in a complex and ambiguous fashion, when Hofmiller discovers, to his horror, that Edith has sexual desires for him, his existence spirals into chaos, in fact, if it didn't sound so off-putting, "Disillusionment" could be a perfectly plausible title for the novel (to go with Zweig's other one-word titles for some of his novellas: "Amok", "Confusion" or "Angst"). Beware of Pity has passages of high melodrama that had an immense power to make me put a hand over my gasping mouth, something that I can't think I have ever done before whilst reading a novel. A masterpiece.
September 28, 2011
Disclaimer: Despite whatever I say in the following review, and no matter how much I mock Beware of Pity, I did actually enjoy it. To a limited extent.
Stefan Zweig is an enormous drama queen. Every emotion in his novel Beware of Pity is hyperbolic, neon-lit, hammy. His narrator doesn't feel anything as prosaic as mere mere joy. No way. He's more apt to be 'blithe as a twittering bird.' People aren't only surprised; their faces turn white as a specter, their legs threaten to give way, and their whole being roils with inner turbulence. And these reactions aren't even for big surprises鈥攍ike, I don't know, World War I鈥攂ut rather for banal things like the mail being late and the improper buttoning of one's dinner jacket. (I'm slightly exaggerating. But only very slightly.)
This book was written in the 1930s. If you didn't know that, however, you'd be just as likely to think it was written in the 1830s. Stylistically speaking, Zweig completely missed the memo on literary modernism. It's as if it never happened. He embraces the hopelessly stodgy language [at this in translated form] and hyperdescription of the (worst of the) 19th century. There is no emotion or thought or physical appearance which manifests an emotion or thought that he will not describe into the fucking ground. He bombards you with loooong paragraphs seeking to explain the most obvious and commonplace emotional responses to you (again, in hyperbolic form) as if you are a cyborg who is newly assimilating human experience. In other words, Zweig thinks you're a moron. He doesn't trust you to know what embarrassment, hand-holding, intoxication, guilt, or hearing strange noises feels like. But he'll try his damndest to explain 'em all to ya, ya inexperienced rube. Have you been living in your bubble boy bubble all these years? Zweig's got your ass covered.
If you trimmed all the fat, this novel probably would have been one hundred pages instead of 350. And that's a conservative estimate of the editorial purges required. But the story at the center of all this prissy, rococo language is... yes, interesting. The narrator recounts (at length) how as a twenty-five-year-old lieutenant in the Austro-Hungarian Imperial Army, he met this young crippled woman and accidentally asked her to dance at a party. Oops! (Can you imagine the descriptions of his profound embarrassment? He actually FLEES the party. Total elbows and ass goin' on here.) This minor incident sets off a chain of melodramatic events in which his pity for the absurd little cripple ruins him. His pity takes over his whole life. He actually makes a career of it. He just spends all his time kissing the ass of this incredibly bitchy crippled girl.
The melodrama is鈥擨 can't lie鈥攐ccasionally nauseating. You just want to smack the living shit out of the narrator, the cripple, and everyone else because they're all so emotionally volatile all the time. They're either sweating and shaking or glowing with joy like a nuclear holocaust or trying to kill themselves. (Interesting side note: Zweig and his wife killed themselves together while living in South America just a few years after this novel was published.)
The single most galling thing about this whole novel鈥攁nd there are quite a few things to be galled about鈥攊s that four pages before the end, the narrator has the audacity to say: 'Melodramatic phrases revolt me.'
Hahahahahahahahahaha! <--That's the laughter which accompanies madness, by the way.
Stefan Zweig is an enormous drama queen. Every emotion in his novel Beware of Pity is hyperbolic, neon-lit, hammy. His narrator doesn't feel anything as prosaic as mere mere joy. No way. He's more apt to be 'blithe as a twittering bird.' People aren't only surprised; their faces turn white as a specter, their legs threaten to give way, and their whole being roils with inner turbulence. And these reactions aren't even for big surprises鈥攍ike, I don't know, World War I鈥攂ut rather for banal things like the mail being late and the improper buttoning of one's dinner jacket. (I'm slightly exaggerating. But only very slightly.)
This book was written in the 1930s. If you didn't know that, however, you'd be just as likely to think it was written in the 1830s. Stylistically speaking, Zweig completely missed the memo on literary modernism. It's as if it never happened. He embraces the hopelessly stodgy language [at this in translated form] and hyperdescription of the (worst of the) 19th century. There is no emotion or thought or physical appearance which manifests an emotion or thought that he will not describe into the fucking ground. He bombards you with loooong paragraphs seeking to explain the most obvious and commonplace emotional responses to you (again, in hyperbolic form) as if you are a cyborg who is newly assimilating human experience. In other words, Zweig thinks you're a moron. He doesn't trust you to know what embarrassment, hand-holding, intoxication, guilt, or hearing strange noises feels like. But he'll try his damndest to explain 'em all to ya, ya inexperienced rube. Have you been living in your bubble boy bubble all these years? Zweig's got your ass covered.
If you trimmed all the fat, this novel probably would have been one hundred pages instead of 350. And that's a conservative estimate of the editorial purges required. But the story at the center of all this prissy, rococo language is... yes, interesting. The narrator recounts (at length) how as a twenty-five-year-old lieutenant in the Austro-Hungarian Imperial Army, he met this young crippled woman and accidentally asked her to dance at a party. Oops! (Can you imagine the descriptions of his profound embarrassment? He actually FLEES the party. Total elbows and ass goin' on here.) This minor incident sets off a chain of melodramatic events in which his pity for the absurd little cripple ruins him. His pity takes over his whole life. He actually makes a career of it. He just spends all his time kissing the ass of this incredibly bitchy crippled girl.
The melodrama is鈥擨 can't lie鈥攐ccasionally nauseating. You just want to smack the living shit out of the narrator, the cripple, and everyone else because they're all so emotionally volatile all the time. They're either sweating and shaking or glowing with joy like a nuclear holocaust or trying to kill themselves. (Interesting side note: Zweig and his wife killed themselves together while living in South America just a few years after this novel was published.)
The single most galling thing about this whole novel鈥攁nd there are quite a few things to be galled about鈥攊s that four pages before the end, the narrator has the audacity to say: 'Melodramatic phrases revolt me.'
Hahahahahahahahahaha! <--That's the laughter which accompanies madness, by the way.
October 22, 2017
Pity. It had never dawned upon me what a double-edged feeling pity is. Neither had I dwelled for long on the ramifying consequences of actions triggered by that feeling. Compassion, generosity and benignity are considered virtues promoted by years of religious heritage and have therefore been imprinted on mankind鈥檚 consciousness from the beginning of times, but the mental processes and the tapestry of neuronal connections that generate good deeds are as inscrutable as the mosaic of celestial bodies that spray-paint the canvas of galaxies, which in turn might be invisible to fallible human eyesight but as real as the sunbeams that warm both the blind and clairvoyant countenances staring back at them.
鈥淥nly those with whom life had dealt hardly, the wretched, the slighted, the uncertain, the unlovely, the humiliated, could really be helped by love.鈥� (348)
Zweig provokes the reader and makes him ponder.
Doesn鈥檛 pity entail a touch of vain condescension disguised as unselfishness?
Isn鈥檛 there some addictive self-indulgence irretrievably intertwined with the instinctive wish to please others in order to prove our worthiness to ourselves?
Human minds work in bewildering ways and Zweig combines the sharp scalpel of his precise words with the sumptuousness of his transfixing prose to probe strenuously into the nooks and crannies of the psyche of his Freudian protagonists, unfolding the serpentine passages that give shape to the sentiment of pity.
Like the dexterous magician who masters his tricks, Zweig uses the first person narrative impersonating an impressionable Lieutenant during the convoluted months previous to World War I to unravel a chain of intricate relationships that will invite the reader to contemplate the fragile boundary that separates charitableness from weakness of character.
Lieutenant Anton Hofmiller finds himself entangled in a compromising situation after asking Edith Kekesfalva, the daughter of a distinguished nobleman and sole heir of his vast property, for a dance without realizing the girl is paralyzed from waist down. Plagued by guilt and moved by a disciplined sense of honor typical of the military, Anton obliges himself to visit the girl evening after evening and basking in his own righteousness to play good Samaritan he obviates the blossoming truth of a capricious and over pampered woman falling in unhinged love for the first time.
Doctor Condor is known for treating all the 鈥渋ncurable鈥� cases in Vienna with almost obstinate perseverance. After meeting pliant Hofmiller at the Kekesfalva鈥檚, he discloses the decisive role that a combination of self-reproach and decency had on the widowed Mr. Kekesfalva into marrying Edith鈥檚 mother and the ensuing consequences of such an unpredictable union as an example of the power of goodwill to the gullible lieutenant.
Mr. Kekesfalva鈥檚 veneration of Dr. Condor, whose godlike skills are expected to perform a scientific miracle to save Edith from her underserved impairment, is boundless. Inspired by the honorable conduct of the doctor when he married one of his blind patients after failing to fulfill his promise to heal her, Mr. Kekesfalva embraces the young officer his daughter dotes on, hoping for another unlikely miracle to happen.
Credulous Hofmiller absorbs the conflicting emotions arising in him, allowing to be whirled around by the currents of gratification that flow from self-pity and remorse. Trying to edge his way around these feelings, he can鈥檛 avoid being caught up in a definite, concerted and yet seemingly aimless conspiracy run by fate. But history has a humbling lesson to teach him when collective atrocity strikes with WWI and petty individual turmoil is implacably buried under the weight of mass killing and cosmic destruction, making Hofmiller aware of his own insignificance and erasing all notions of grandiosity and masked integrity.
How much can be inferred from Hofmiller鈥檚 lack of resolution to face his failures in relation to Zweig鈥檚 despairing surrender over the overpowering sadness that took hold of him after being banished from his home, robbed of his golden memories and even estranged from his own identity?
Behind the gloss of Zweig鈥檚 flawless writing, there is the deafening roaring of a mourning waterfall that soaks the reader and yet somehow leaves him dry as a bone. A dense silence of parching deluge preys upon the reader with torrential questions and a drought of answers.
Pity or vanity? Need for validation or hedonistic egocentrism? Honest sympathy or hollow pretence?
You can enter the revolving door of Zweig鈥檚 mind and run the risk of finding your own answer, but you鈥檇 better be ready to face the turned mirror of conscience and swallow the bitter fear of being found out. It's all so very simple in the end, you only need to brace yourself, take a deep breath and Beware of Pity.
鈥淥nly those with whom life had dealt hardly, the wretched, the slighted, the uncertain, the unlovely, the humiliated, could really be helped by love.鈥� (348)
Zweig provokes the reader and makes him ponder.
Doesn鈥檛 pity entail a touch of vain condescension disguised as unselfishness?
Isn鈥檛 there some addictive self-indulgence irretrievably intertwined with the instinctive wish to please others in order to prove our worthiness to ourselves?
Human minds work in bewildering ways and Zweig combines the sharp scalpel of his precise words with the sumptuousness of his transfixing prose to probe strenuously into the nooks and crannies of the psyche of his Freudian protagonists, unfolding the serpentine passages that give shape to the sentiment of pity.
Like the dexterous magician who masters his tricks, Zweig uses the first person narrative impersonating an impressionable Lieutenant during the convoluted months previous to World War I to unravel a chain of intricate relationships that will invite the reader to contemplate the fragile boundary that separates charitableness from weakness of character.
Lieutenant Anton Hofmiller finds himself entangled in a compromising situation after asking Edith Kekesfalva, the daughter of a distinguished nobleman and sole heir of his vast property, for a dance without realizing the girl is paralyzed from waist down. Plagued by guilt and moved by a disciplined sense of honor typical of the military, Anton obliges himself to visit the girl evening after evening and basking in his own righteousness to play good Samaritan he obviates the blossoming truth of a capricious and over pampered woman falling in unhinged love for the first time.
Doctor Condor is known for treating all the 鈥渋ncurable鈥� cases in Vienna with almost obstinate perseverance. After meeting pliant Hofmiller at the Kekesfalva鈥檚, he discloses the decisive role that a combination of self-reproach and decency had on the widowed Mr. Kekesfalva into marrying Edith鈥檚 mother and the ensuing consequences of such an unpredictable union as an example of the power of goodwill to the gullible lieutenant.
Mr. Kekesfalva鈥檚 veneration of Dr. Condor, whose godlike skills are expected to perform a scientific miracle to save Edith from her underserved impairment, is boundless. Inspired by the honorable conduct of the doctor when he married one of his blind patients after failing to fulfill his promise to heal her, Mr. Kekesfalva embraces the young officer his daughter dotes on, hoping for another unlikely miracle to happen.
Credulous Hofmiller absorbs the conflicting emotions arising in him, allowing to be whirled around by the currents of gratification that flow from self-pity and remorse. Trying to edge his way around these feelings, he can鈥檛 avoid being caught up in a definite, concerted and yet seemingly aimless conspiracy run by fate. But history has a humbling lesson to teach him when collective atrocity strikes with WWI and petty individual turmoil is implacably buried under the weight of mass killing and cosmic destruction, making Hofmiller aware of his own insignificance and erasing all notions of grandiosity and masked integrity.
How much can be inferred from Hofmiller鈥檚 lack of resolution to face his failures in relation to Zweig鈥檚 despairing surrender over the overpowering sadness that took hold of him after being banished from his home, robbed of his golden memories and even estranged from his own identity?
Behind the gloss of Zweig鈥檚 flawless writing, there is the deafening roaring of a mourning waterfall that soaks the reader and yet somehow leaves him dry as a bone. A dense silence of parching deluge preys upon the reader with torrential questions and a drought of answers.
Pity or vanity? Need for validation or hedonistic egocentrism? Honest sympathy or hollow pretence?
You can enter the revolving door of Zweig鈥檚 mind and run the risk of finding your own answer, but you鈥檇 better be ready to face the turned mirror of conscience and swallow the bitter fear of being found out. It's all so very simple in the end, you only need to brace yourself, take a deep breath and Beware of Pity.
June 16, 2019
Stefan Zweig writes in a very beautiful language and describes the thoughts and feelings of the protagonist so aptly and comprehensibly. The book shows a touch of psychoanalysis, but also for the sake of the human soul and the effects of different types of compassion. In his subtle, imaginative language, the author creates his own world of unparalleled atmospheric density. His creatures, with the knowing maturity of the experienced human connoisseur and the compassion of the passionate philanthropist, enter into their basic features. His narrative style is full of tension and full of drama. For me, this book is a perfect work of art.
Overall this book should have been read by anyone interested in literature and it is definitely recommendable.
"Keine Schuld ist vergessen, solange noch das Gewissen um sie wei脽." S. 456
Overall this book should have been read by anyone interested in literature and it is definitely recommendable.
"Keine Schuld ist vergessen, solange noch das Gewissen um sie wei脽." S. 456
January 13, 2024
- "丨匕丕乇 賲賳 丕賱卮賮賯丞" 賮賷 賲毓乇囟 丕賱丨亘 賮賯胤.. 賮丕賱卮賮賯丞 賮賷 丕賱丨亘 賴賷 賰丕賱賰乇賴 鬲賲丕賲丕賸 亘賱 丕卮丿 賵賯毓丕賸 賵賮鬲賰丕賸 亘丕賱賳賮爻 丕賱亘卮乇賷丞...
- 丨賷賳賲丕 賷丨亘 丕賱廿賳爻丕賳 (乇噩賱 賰丕賳 丕賵 丕賲乇兀丞)貙 賮廿賳賴 賷丨亘 亘賰賱 噩賵丕乇丨賴貙 丨鬲賶 賱賷鬲亘丿賱 丕賱丿賲 賮賷 毓乇賵賯賴 丨亘丕賸 賵賷爻賰亘 賴匕丕 丕賱卮毓賵乇 丕賱毓賳賷賮 丕賱睾夭賷乇 毓賱賶 丕賱卮禺氐 丕賱丌禺乇... 賮廿匕丕 "氐丿賲賴" 丕賱丌禺乇 賵賰丕賳 丨亘丕賸 賲賳 噩丕賳亘 賵丕丨丿貙 賮廿賳 睾夭丕乇丞 賴匕丕 丕賱丨亘 鬲氐賷乇 賳賷乇丕賳丕賸 鬲賱馗賶 賮賷 丿丕禺賱 丕賱賲丨亘... 丕賱兀爻賵亍 丕匕丕 丕丨爻 賴匕丕 丕賱毓丕卮賯 亘兀賳 丕賱丌禺乇 賱丕 賷丨亘賴 亘賱 賷卮賮賯 毓賱賷賴 賱爻亘亘 賲丕貙 賮丕賱卮賮賯丞 賴賳丕 賴賷 丕賱禺丿丕毓 亘匕丕鬲賴 丨鬲賶 賱賵 賰丕賳鬲 丕賱賳賷丞 氐丕丿賯丞貙 賵賴匕丕 亘丕賱鬲丨丿賷丿 賲丕 胤乇賯賴 爻鬲賷賮丕賳 夭丕賮賷噩 賮賷 賴匕賴 丕賱乇賵丕賷丞...
- 丕賱鬲乇噩賲丞 賵丕賱爻乇丿 丕賱賯氐氐賷 賰丕賳丕 乇丕卅毓賷賳貙 丕賳鬲賯丕亍 丕賱鬲毓丕亘賷乇 噩丕亍 賲賵賮賯丕賸...
- 賮賷 禺鬲丕賲 丕賱賯氐丞 丕丨爻 丕賱囟丕亘胤 丕賳 卮賮賯鬲賴 賴賷 丨亘丕賸貙 賱賰賳 賴匕丕 丕賵賴丕賲 賮賷 丕賵賴丕賲貙 賮賱丕 賷賲賰賳 丕賳 鬲氐亘丨 丕賱卮賮賯丞 丨亘丕賸 毓賱賶 丕賱廿胤賱丕賯...
- 賮賷 賴匕丕 丕賱賲囟賲賵賳 賱丕 亘丿 賱賷 丕賳 丕卮賷乇 丕賱賶 賲賯胤毓 氐睾賷乇貙 賲賳 乇賵丕賷丞 毓乇亘賷丞 氐睾賷乇丞貙 賯丿 噩爻賾丿 賰賱 賲丕 賰丕賳 爻鬲賷賮丕賳 賷丨丕賵賱 丕賷氐丕賱賴 賱賳丕 賮賷 丕賱賲卅丞 氐賮丨丞 丕賱兀賵賱賶 賵丕賱賲卅丞 丕賱兀禺賷乇丞貙 賵兀賯鬲亘爻:
" 丕賯鬲乇亘鬲 賲賳 賵噩賴賴丕貙 兀賯亘賱鬲 毓賱賶 乇丨賷賯 卮賮鬲賷賴丕 丕賱賳丕毓爻丞貙 胤亘毓鬲 噩賲乇丞 毓卮賯 賳亘賷匕賷 丕亘賷囟貙 亘氐賮丕亍 賯丿 鬲禺賲乇貙 亘胤毓賺賲 賵噩賴 賳賵乇丕賳賷 賷鬲亘爻賲 賱賲賱丕賰貙 亘賴丿賵亍 丕賱賲丕亍 賮賷 乇丕丨丞 丕賱丨噩丕乇丞貙 亘卮睾賮 丕賱毓丕卮賯 丕賱賵賱賴丕賳.. 賵丕亘鬲毓丿鬲 亘亘胤亍貙 亘丿兀 丕賱賴賵丕亍 丕賱亘丕乇丿 賷丿丕禺賱 兀賳賮丕爻賷! 爻丕賮乇鬲 賮賷 毓賷賳賷賴丕 賵卮乇丿鬲貙 乇丿賳賷 鬲乇賯乇賯 丿賲毓鬲賷賳 賵卮賮丕賴賹 賲亘鬲爻賲丞.. 孬丕乇 丕賱賮乇丨 賮賷 噩爻丿賴丕 丕賱賲鬲毓亘貙 囟賲鬲賳賷 廿賱賷賴丕 賵賴賲爻鬲:"賱賵 兀丨爻爻鬲 亘卮賮賯丞 賮賷 乇賷賯賰 賱賰乇賴鬲賰 賲丿賶 丕賱毓賲乇 丕賱賲鬲亘賯賷!".
賵賴賳丕 賰丕賳 亘胤賱 丕賱賯氐丞 賷毓賵丿 賱賷噩丿 丨亘賷亘鬲賴 賯丿 丕氐亘丨鬲 賰爻賷丨丞!!
- 賯乇丕亍丞 賲賲鬲毓丞 賱賱噩賲賷毓...
- 丨賷賳賲丕 賷丨亘 丕賱廿賳爻丕賳 (乇噩賱 賰丕賳 丕賵 丕賲乇兀丞)貙 賮廿賳賴 賷丨亘 亘賰賱 噩賵丕乇丨賴貙 丨鬲賶 賱賷鬲亘丿賱 丕賱丿賲 賮賷 毓乇賵賯賴 丨亘丕賸 賵賷爻賰亘 賴匕丕 丕賱卮毓賵乇 丕賱毓賳賷賮 丕賱睾夭賷乇 毓賱賶 丕賱卮禺氐 丕賱丌禺乇... 賮廿匕丕 "氐丿賲賴" 丕賱丌禺乇 賵賰丕賳 丨亘丕賸 賲賳 噩丕賳亘 賵丕丨丿貙 賮廿賳 睾夭丕乇丞 賴匕丕 丕賱丨亘 鬲氐賷乇 賳賷乇丕賳丕賸 鬲賱馗賶 賮賷 丿丕禺賱 丕賱賲丨亘... 丕賱兀爻賵亍 丕匕丕 丕丨爻 賴匕丕 丕賱毓丕卮賯 亘兀賳 丕賱丌禺乇 賱丕 賷丨亘賴 亘賱 賷卮賮賯 毓賱賷賴 賱爻亘亘 賲丕貙 賮丕賱卮賮賯丞 賴賳丕 賴賷 丕賱禺丿丕毓 亘匕丕鬲賴 丨鬲賶 賱賵 賰丕賳鬲 丕賱賳賷丞 氐丕丿賯丞貙 賵賴匕丕 亘丕賱鬲丨丿賷丿 賲丕 胤乇賯賴 爻鬲賷賮丕賳 夭丕賮賷噩 賮賷 賴匕賴 丕賱乇賵丕賷丞...
- 丕賱鬲乇噩賲丞 賵丕賱爻乇丿 丕賱賯氐氐賷 賰丕賳丕 乇丕卅毓賷賳貙 丕賳鬲賯丕亍 丕賱鬲毓丕亘賷乇 噩丕亍 賲賵賮賯丕賸...
- 賮賷 禺鬲丕賲 丕賱賯氐丞 丕丨爻 丕賱囟丕亘胤 丕賳 卮賮賯鬲賴 賴賷 丨亘丕賸貙 賱賰賳 賴匕丕 丕賵賴丕賲 賮賷 丕賵賴丕賲貙 賮賱丕 賷賲賰賳 丕賳 鬲氐亘丨 丕賱卮賮賯丞 丨亘丕賸 毓賱賶 丕賱廿胤賱丕賯...
- 賮賷 賴匕丕 丕賱賲囟賲賵賳 賱丕 亘丿 賱賷 丕賳 丕卮賷乇 丕賱賶 賲賯胤毓 氐睾賷乇貙 賲賳 乇賵丕賷丞 毓乇亘賷丞 氐睾賷乇丞貙 賯丿 噩爻賾丿 賰賱 賲丕 賰丕賳 爻鬲賷賮丕賳 賷丨丕賵賱 丕賷氐丕賱賴 賱賳丕 賮賷 丕賱賲卅丞 氐賮丨丞 丕賱兀賵賱賶 賵丕賱賲卅丞 丕賱兀禺賷乇丞貙 賵兀賯鬲亘爻:
" 丕賯鬲乇亘鬲 賲賳 賵噩賴賴丕貙 兀賯亘賱鬲 毓賱賶 乇丨賷賯 卮賮鬲賷賴丕 丕賱賳丕毓爻丞貙 胤亘毓鬲 噩賲乇丞 毓卮賯 賳亘賷匕賷 丕亘賷囟貙 亘氐賮丕亍 賯丿 鬲禺賲乇貙 亘胤毓賺賲 賵噩賴 賳賵乇丕賳賷 賷鬲亘爻賲 賱賲賱丕賰貙 亘賴丿賵亍 丕賱賲丕亍 賮賷 乇丕丨丞 丕賱丨噩丕乇丞貙 亘卮睾賮 丕賱毓丕卮賯 丕賱賵賱賴丕賳.. 賵丕亘鬲毓丿鬲 亘亘胤亍貙 亘丿兀 丕賱賴賵丕亍 丕賱亘丕乇丿 賷丿丕禺賱 兀賳賮丕爻賷! 爻丕賮乇鬲 賮賷 毓賷賳賷賴丕 賵卮乇丿鬲貙 乇丿賳賷 鬲乇賯乇賯 丿賲毓鬲賷賳 賵卮賮丕賴賹 賲亘鬲爻賲丞.. 孬丕乇 丕賱賮乇丨 賮賷 噩爻丿賴丕 丕賱賲鬲毓亘貙 囟賲鬲賳賷 廿賱賷賴丕 賵賴賲爻鬲:"賱賵 兀丨爻爻鬲 亘卮賮賯丞 賮賷 乇賷賯賰 賱賰乇賴鬲賰 賲丿賶 丕賱毓賲乇 丕賱賲鬲亘賯賷!".
賵賴賳丕 賰丕賳 亘胤賱 丕賱賯氐丞 賷毓賵丿 賱賷噩丿 丨亘賷亘鬲賴 賯丿 丕氐亘丨鬲 賰爻賷丨丞!!
- 賯乇丕亍丞 賲賲鬲毓丞 賱賱噩賲賷毓...
January 29, 2019
It is a daunting task to come late to the party and attempt to write a review of a book that already has 766 reviews. What more can I add to the story? Anyone doing even a cursory read of past reviews can quickly surmise what this book is about. It is the first fiction I've ever read by Stefan Zweig, but certainly not the last. I have read about half of his biography of Magellan, which I intend to finish some day and found quite good. I was reading it in Thailand and moved on to the Philippines, and there is something about the Philippines that causes me to lose all interest in reading books. Like many other works, this had been vegetating on one of my bookshelves for five or six years. My reading habits, which I thought were peculiar to me, turn out to be commonplace based on what I've read on 欧宝娱乐. That is, I tend to choose the next book I want to read based on no systematic way, but as my inclinations lead me.
I enjoyed 'Beware of Pity' and appreciated the fine writing of Stefan Zweig. As a much earlier reviewer said, his writing is clear and to-the-point and I tend to agree that the digressions in this book were not padding. They helped shaped the novel and give it more clarity.
The forward indicated that Zweig was a friend of Freud's and also noted that Stephen Spender, among others, had accused Zweig of writing 'Beware of Pity' as a sort of "case study,' rather than as an actual novel telling a story. With all due respect to Stephen Spender, whose intellect far surpasses mine, I do not concur with this assessment at all. I can well imagine Zweig discussing psychological issues with Freud because his novel is certainly filled with some deep psychology.
I disagree that this is a "case study," however, because anyone familiar with Freud's case studies knows that he always traces the person's trauma to some occurrence in childhood, or some unfulfilled childhood wish. There is none of this in 'Beware of Pity' and we are told little by the narrator about his childhood other than he grew up in a family without much means and the military was a good choice for making a career given his family's straitened circumstances. There is no mention of any trauma and not even a hint or suggestion of such. A person writing a "case study" would tie the narrator's obsessive, uncontrollable pity for the girl to some incident in his past. Since Zweig does not do this, I don't think this novel deserves to be called a "case study."
Rather, it is a work that demonstrates how a seemingly insignificant event can result in someone winding up in a situation fraught with psychological turmoil, particularly if that individual has a weak character and is easily manipulated. The novel's psychological richness, in my opinion, lies in the conflicting feelings the narrator has; where on one hand he exults that he is doing a noble thing by visiting the girl and her family and lifting their spirits, while on the other he despises the fix he is in and is constantly scheming how to extricate himself from the commitment he has foolishly entered into. Thus we have a fellow who is just a commonplace military officer, not given to self-reflection, suddenly having to face this psychological Sturm und Drang which he is ill-equipped to handle exactly because he is not a person accustomed to self-reflection and deep psychological pondering.
It is in this conflict, especially as the book nears the end, that Zweig's talks with Freud must have borne fruit. The tension the narrator feels as he tries to find a way out of the maelstrom mounts to the point where he is in a frenzy to escape. Reading it left me on edge and I was nearly as discommoded as the narrator. I could easily imagine Hitchcock working this story into a compelling film.
I regret that Stefan Zweig wrote no more novels, but am glad there is still a body of his work for me to savor.
I enjoyed 'Beware of Pity' and appreciated the fine writing of Stefan Zweig. As a much earlier reviewer said, his writing is clear and to-the-point and I tend to agree that the digressions in this book were not padding. They helped shaped the novel and give it more clarity.
The forward indicated that Zweig was a friend of Freud's and also noted that Stephen Spender, among others, had accused Zweig of writing 'Beware of Pity' as a sort of "case study,' rather than as an actual novel telling a story. With all due respect to Stephen Spender, whose intellect far surpasses mine, I do not concur with this assessment at all. I can well imagine Zweig discussing psychological issues with Freud because his novel is certainly filled with some deep psychology.
I disagree that this is a "case study," however, because anyone familiar with Freud's case studies knows that he always traces the person's trauma to some occurrence in childhood, or some unfulfilled childhood wish. There is none of this in 'Beware of Pity' and we are told little by the narrator about his childhood other than he grew up in a family without much means and the military was a good choice for making a career given his family's straitened circumstances. There is no mention of any trauma and not even a hint or suggestion of such. A person writing a "case study" would tie the narrator's obsessive, uncontrollable pity for the girl to some incident in his past. Since Zweig does not do this, I don't think this novel deserves to be called a "case study."
Rather, it is a work that demonstrates how a seemingly insignificant event can result in someone winding up in a situation fraught with psychological turmoil, particularly if that individual has a weak character and is easily manipulated. The novel's psychological richness, in my opinion, lies in the conflicting feelings the narrator has; where on one hand he exults that he is doing a noble thing by visiting the girl and her family and lifting their spirits, while on the other he despises the fix he is in and is constantly scheming how to extricate himself from the commitment he has foolishly entered into. Thus we have a fellow who is just a commonplace military officer, not given to self-reflection, suddenly having to face this psychological Sturm und Drang which he is ill-equipped to handle exactly because he is not a person accustomed to self-reflection and deep psychological pondering.
It is in this conflict, especially as the book nears the end, that Zweig's talks with Freud must have borne fruit. The tension the narrator feels as he tries to find a way out of the maelstrom mounts to the point where he is in a frenzy to escape. Reading it left me on edge and I was nearly as discommoded as the narrator. I could easily imagine Hitchcock working this story into a compelling film.
I regret that Stefan Zweig wrote no more novels, but am glad there is still a body of his work for me to savor.
April 27, 2024
I am not here to review this book but to free myself from its iron hold. Being touched by a story is one thing. That makes me glow. What this one does is different. It is robbing me of sleep. Not to finish it. That part was done in a well lit room and favorite armchair. What I'm talking about happens in bed. It rouses me from dreams and stirs the nightmare that Zweig put in print.
This couple - even writing that makes me wince - are doomed from their first meeting. So, were Romeo and Juliet, you say? At least they got to dance.
There is a party with music here, too. But the music that I couldn't get out of my head came from Zweig's thoughts on love. They are beautiful, painful, and true. They pound and will not take no for an answer. One look in the mirror and I see the strain. I need a good night's rest. Over to you, now. Your turn to read and live with it.
This couple - even writing that makes me wince - are doomed from their first meeting. So, were Romeo and Juliet, you say? At least they got to dance.
There is a party with music here, too. But the music that I couldn't get out of my head came from Zweig's thoughts on love. They are beautiful, painful, and true. They pound and will not take no for an answer. One look in the mirror and I see the strain. I need a good night's rest. Over to you, now. Your turn to read and live with it.
May 1, 2022
This is the only novel that Stefan Zweig wrote. Highly prolific, he concentrated on the novella and the short story, but it was not until 1939 that he finally wrote a full-length novel. We are to regret that he put an end to his life just three years later; he was already 60 but he could have written more extraordinarily sensitive novels like this one.
The novel has a sort of matryoshka structure, in that the initial narrator (Zweig?), around 1937, tells us the story that another person, a Lieutenant in the Uhlans, has confessed to him 鈥� an experience he endured back in 1914. In this second story we are introduced into a further narrative level as the Lieutenant also transmits a story told to him. By resorting to this narrative ploy, we are presented with the claim that this is not fiction, but a truthful testimony. For example, the initial Narrator comments that the Lieutenant did not really belong to the Uhlans but the Hussars, but that he has been forced to disguise some facts out of a concern of confidentiality.
The narration is a mixture between a Bildungsroman and an admonitory moral treatise. We follow how a young man falls prey to the toxic feeling of Pity and how a young woman with an affliction will use this hindrance precisely to exert power over others. The plot is very simple, but the highly refined way in which Zweig traces the development of human emotions, from the na茂ve to the manipulative, from the innocent to the shrewd, from altruism to despotic egotism, is magnificent.
Apart from Zweig鈥檚 superbly flowing style, I also enjoyed the refined way in which he enriches his tales. There are references to Schopenhauer and to his theory of representation, to Nietzsche, to Modernity in the new way in which Speed is affecting human perception (which for me recalled the Futurists), to art with Rubens and Guardi, and to the very structured society of the Austro-Hungarian Empire.
October 11, 2018
賵 賴鬲賮囟賱 乇賵丕賷丞 "丨匕丕乇 賲賳 丕賱卮賮賯丞" 賱爻鬲賷賮賳 夭賮丕賷噩 賱賱兀亘丿 賲乇鬲亘胤丞 賮賷 匕賴賳賷 亘爻亘鬲賲亘乇貙 乇賯賷賯丞 禺賮賷賮丞 丕賱馗賱 賲賱賷卅丞 亘丕賱卮噩賳 賵 丕賱賲賮丕噩卅丕鬲 賲孬賱賴.
賮丕賰乇賴 賯氐丞 賰賳丕 亘賳丿乇爻賴丕 賮賷 丕賱 short stories 賮賷 孬丕賳賵賷 丕爻賲賴丕 "I never forget a face"
賱賵 賴毓賲賱 賯丕賷賲丞 丕爻賲賴丕 "I never forget a book" 賮賷賴丕 毓卮乇 賰鬲亘 賴鬲賰賵賳 賲賳 囟賲賳賴賲貙 賱賵 禺賲爻 賰鬲亘 賴鬲賰賵賳 賲賳 囟賲賳賴賲貙 賱賵 鬲賱丕鬲丞 賴鬲賰賵賳 賲賳 囟賲賳賴賲.
丕賱乇賵丕賷丞 賯氐賷乇丞貙 200 賵 卮賵賷賴 氐賮丨丞 賲賳 丕賱賯胤毓 丕賱氐睾賷乇貙 賷毓賳賷 100 氐賮丨丞 賱賵 丕賱賰鬲丕亘 賲胤亘賵毓 毓賱賷 賵乇賯 賰亘賷乇..賲鬲賯丿賲丞 賮賷 爻賱爻賱丞 賰鬲丕亘賷 賲賳 丕賱賲丐爻爻丞 丕賱毓乇亘賷丞 丕賱丨丿賷孬丞 鬲乇噩賲丞 丨賱賲賷 賲乇丕丿 亘鬲賱丕鬲丞 噩賳賷賴 丕賵 兀乇亘毓丞 鬲賯乇賷亘賸丕.
pdf:
兀噩賲賱 賲丕 賯乇兀鬲 賮賷 2015
賵 賲賳 兀噩賲賱 賲丕 賯乇兀鬲 賮賷 丨賷丕鬲賷.
丕賯乇賵賴丕 賷丕 噩賲丕毓丞..賵 賱丕 鬲睾賮賱賵丕 丕賱賳氐賷丨丞 :
丨匕丕乇 賲賳 丕賱卮賮賯丞 :)
賮丕賰乇賴 賯氐丞 賰賳丕 亘賳丿乇爻賴丕 賮賷 丕賱 short stories 賮賷 孬丕賳賵賷 丕爻賲賴丕 "I never forget a face"
賱賵 賴毓賲賱 賯丕賷賲丞 丕爻賲賴丕 "I never forget a book" 賮賷賴丕 毓卮乇 賰鬲亘 賴鬲賰賵賳 賲賳 囟賲賳賴賲貙 賱賵 禺賲爻 賰鬲亘 賴鬲賰賵賳 賲賳 囟賲賳賴賲貙 賱賵 鬲賱丕鬲丞 賴鬲賰賵賳 賲賳 囟賲賳賴賲.
丕賱乇賵丕賷丞 賯氐賷乇丞貙 200 賵 卮賵賷賴 氐賮丨丞 賲賳 丕賱賯胤毓 丕賱氐睾賷乇貙 賷毓賳賷 100 氐賮丨丞 賱賵 丕賱賰鬲丕亘 賲胤亘賵毓 毓賱賷 賵乇賯 賰亘賷乇..賲鬲賯丿賲丞 賮賷 爻賱爻賱丞 賰鬲丕亘賷 賲賳 丕賱賲丐爻爻丞 丕賱毓乇亘賷丞 丕賱丨丿賷孬丞 鬲乇噩賲丞 丨賱賲賷 賲乇丕丿 亘鬲賱丕鬲丞 噩賳賷賴 丕賵 兀乇亘毓丞 鬲賯乇賷亘賸丕.
pdf:
兀噩賲賱 賲丕 賯乇兀鬲 賮賷 2015
賵 賲賳 兀噩賲賱 賲丕 賯乇兀鬲 賮賷 丨賷丕鬲賷.
丕賯乇賵賴丕 賷丕 噩賲丕毓丞..賵 賱丕 鬲睾賮賱賵丕 丕賱賳氐賷丨丞 :
丨匕丕乇 賲賳 丕賱卮賮賯丞 :)
April 20, 2024
芦袧械褌械褉锌械薪懈械 褋械褉写褑邪禄, 懈屑械褞褖懈泄 芯谐褉芯屑薪芯械 薪邪谐谢褟写薪芯械 蟹薪邪褔械薪懈械 写谢褟 褉邪蟹谐褉邪薪懈褔械薪懈褟 懈 锌芯薪懈屑邪薪懈褟 写胁褍褏 胁懈写芯胁 褋芯褋褌褉邪写邪薪懈褟 (卸邪谢芯褋褌懈 懈 懈褋褌懈薪薪芯谐芯 褋芯褋褌褉邪写邪薪懈褟), 谢褞斜懈屑 屑薪芯谐懈屑懈 褋 褉邪薪薪械泄 褞薪芯褋褌懈, 懈斜芯 褔懈褌邪褞褌 褝褌芯褌 褉芯屑邪薪 芯斜褘褔薪芯 胁 褝褌芯屑 胁芯蟹褉邪褋褌械. 袧芯, 胁懈写懈屑芯, 胁 褞薪芯褋褌懈 胁褋械 褌褟卸褢谢芯械 谢械谐泻芯 蟹邪斜褘胁邪械褌褋褟, 懈, 薪械褋屑芯褌褉褟 薪邪 胁褋械 屑芯谐褍褖械褋褌胁芯 锌褋懈褏芯谢芯谐懈褔械褋泻芯谐芯 褉邪蟹斜芯褉邪 笑胁械泄谐邪, 胁 褝褌芯屑 屑懈褉械 芯褔械薪褜 屑薪芯谐芯 卸邪谢芯褋褌懈 懈 褋芯胁褋械屑 薪械屑薪芯谐芯 懈褋褌懈薪薪芯谐芯 褋芯褋褌褉邪写邪薪懈褟.
袛芯泻褌芯褉 袣芯薪写芯褉, 芯斜褉邪蟹械褑 懈褋褌懈薪薪芯谐芯 褋芯褋褌褉邪写邪薪懈褟, 写芯泻褌芯褉 锌芯 锌褉懈蟹胁邪薪懈褞, 写邪械褌 芯锌褉械写械谢械薪懈械 褝褌懈屑 写胁褍屑 胁懈写邪屑 褋芯褋褌褉邪写邪薪懈褟
芦鈥� 械褋褌褜 写胁邪-褉芯写邪 褋芯褋褌褉邪写邪薪懈褟. 袨写薪芯 鈥� 屑邪谢芯写褍褕薪芯械 懈 褋械薪褌懈屑械薪褌邪谢褜薪芯械, 芯薪芯, 胁 褋褍褖薪芯褋褌懈, 薪械 褔褌芯 懈薪芯械, 泻邪泻 薪械褌械褉锌械薪懈械 褋械褉写褑邪, 褋锌械褕邪褖械谐芯 锌芯褋泻芯褉械械 懈蟹斜邪胁懈褌褜褋褟 芯褌 褌褟谐芯褋褌薪芯谐芯 芯褖褍褖械薪懈褟 锌褉懈 胁懈写械 褔褍卸芯谐芯 薪械褋褔邪褋褌褜褟; 褝褌芯 薪械 褋芯褋褌褉邪写邪薪懈械, 邪 谢懈褕褜 懈薪褋褌懈薪泻褌懈胁薪芯械 卸械谢邪薪懈械 芯谐褉邪写懈褌褜 褋胁芯泄 锌芯泻芯泄 芯褌 褋褌褉邪写邪薪懈泄 斜谢懈卸薪械谐芯. 袧芯 械褋褌褜 懈 写褉褍谐芯械 褋芯褋褌褉邪写邪薪懈械 鈥� 懈褋褌懈薪薪芯械, 泻芯褌芯褉芯械 褌褉械斜褍械褌 写械泄褋褌胁懈泄, 邪 薪械 褋邪薪褌懈屑械薪褌芯胁, 芯薪芯 蟹薪邪械褌, 褔械谐芯 褏芯褔械褌, 懈 锌芯谢薪芯 褉械褕懈屑芯褋褌懈, 褋褌褉邪写邪褟 懈 褋芯褋褌褉邪写邪褟, 褋写械谢邪褌褜 胁褋械, 褔褌芯 胁 褔械谢芯胁械褔械褋泻懈褏 褋懈谢邪褏 懈 写邪卸械 褋胁褘褕械 懈褏. 袝褋谢懈 褌褘 谐芯褌芯胁 懈写褌懈 写芯 泻芯薪褑邪, 写芯 褋邪屑芯谐芯 谐芯褉褜泻芯谐芯 泻芯薪褑邪, 械褋谢懈 蟹邪锌邪褋械褕褜褋褟 胁械谢懈泻懈屑 褌械褉锌械薪懈械屑, 鈥� 谢懈褕褜 褌芯谐写邪 褌褘 褋褍屑械械褕褜 写械泄褋褌胁懈褌械谢褜薪芯 锌芯屑芯褔褜 谢褞写褟屑. 孝芯谢褜泻芯 褌芯谐写邪, 泻芯谐写邪 锌褉懈薪械褋械褕褜 胁 卸械褉褌胁褍 褋邪屑芯谐芯 褋械斜褟, 褌芯谢褜泻芯 褌芯谐写邪.禄
袩芯褔械屑褍 卸邪谢芯褋褌懈, 屑邪谢芯写褍褕薪芯谐芯 懈 褋械薪褌懈屑械薪褌邪谢褜薪芯谐芯 褔褍胁褋褌胁邪 褋芯褋褌褉邪写邪薪懈褟, 褌邪泻 屑薪芯谐芯 胁 褉邪蟹薪芯芯斜褉邪蟹薪芯泄 斜谢邪谐芯褌胁芯褉懈褌械谢褜薪芯褋褌懈? 袩芯褌芯屑褍 褔褌芯, 褝褌芯 - 芯谐褉邪卸写械薪薪芯械 褋芯褋褌褉邪写邪薪懈械: 胁芯褌 褌褘 褋褌褉邪卸写褍褖懈泄, 邪 胁芯褌 褟 斜谢邪谐芯锌芯谢褍褔薪褘泄, 薪邪胁械褖邪褞褖懈泄/锌芯写邪褞褖懈泄 屑邪褌械褉懈邪谢褜薪褍褞 锌芯屑芯褖褜 (屑懈谢芯褋褌褘薪褞) 胁 谢褞斜芯泄 褎芯褉屑械 芯褌 写械薪械谐, 锌懈褖懈, 泻褉芯胁邪 写芯 褍褋谢褍谐, 胁 褌芯屑 褔懈褋谢械 锌芯褏芯褉芯薪. 孝胁芯械 薪械褋褔邪褋褌褜械 褔械褌泻芯 芯谐褉邪薪懈褔械薪芯 褌胁芯械泄 卸懈蟹薪褜褞, 屑懈谢芯褋械褉写薪褘泄 褋 泻邪泻芯泄-褌芯 褉械谐褍谢褟褉薪芯褋褌褜褞 褋薪懈褋褏芯写懈褌 写芯 褋褌褉邪卸写褍褖械谐芯. 袙芯褌 锌褉懈屑械褉: 薪邪 褍谢懈褑械 褔邪褋褌芯 屑芯卸薪芯 褍胁懈写械褌褜 斜械蟹写芯屑薪褘褏 卸懈胁芯褌薪褘褏. 袝褋褌褜 屑薪芯谐芯 写芯斜褉褘褏 谢褞写械泄, 锌芯写泻邪褉屑谢懈胁邪褞褖懈褏 懈褏, 邪 懈褋褌懈薪薪芯 褋芯褋褌褉邪写邪褞褖懈褏 懈屑, 褌械褏, 泻褌芯 斜械褉械褌 懈褏 写芯屑芯泄 胁 泻邪褔械褋褌胁械 写芯屑邪褕薪懈褏 锌懈褌芯屑褑械胁, 褋芯胁褋械屑 薪械屑薪芯谐芯 鈥� 薪邪屑薪芯谐芯 谢械谐褔械 胁蟹褟褌褜 蟹写芯褉芯胁芯谐芯 褖械薪泻邪 懈谢懈 泻芯褌械薪泻邪, 褔械屑 胁芯蟹懈褌褜褋褟 褋 斜械褋锌芯褉芯写薪芯泄, 褔邪褋褌芯 斜芯谢褜薪芯泄 褋芯斜邪泻芯泄 懈谢懈 泻芯褕泻芯泄, 邪 锌芯泻芯褉屑懈褌褜 卸懈胁芯褌薪芯械 鈥� 褌邪泻 锌褉懈褟褌薪芯 写谢褟 褋邪屑芯谢褞斜懈褟: 芦携 褋写械谢邪谢 褏芯褉芯褕械械 写械谢芯禄. 袣 褋褔邪褋褌褜褞, 褋 卸懈胁芯褌薪褘屑懈 谢械谐褔械, 褔械屑 褋 谢褞写褜屑懈, 薪芯 褋褍褌褜 褝褌懈褏 写胁褍褏 胁懈写芯胁 褋芯褋褌褉邪写邪薪懈褟 锌褉懈屑械薪懈屑邪 懈 泻 薪懈屑. 袩芯 斜芯谢褜褕芯屑褍 褋褔械褌褍, 锌芯褏芯卸邪褟 褋懈褌褍邪褑懈褟 懈 褋芯 胁褋械屑懈 写褉褍谐懈屑懈 褎芯褉屑邪屑懈 斜谢邪谐芯褌胁芯褉懈褌械谢褜薪芯褋褌懈. 孝邪泻邪褟 斜谢邪谐芯褌胁芯褉懈褌械谢褜薪芯褋褌褜, 写邪卸械 械褋谢懈 芯薪邪 薪械 邪褎懈褕懈褉褍械褌褋褟, 械褋褌褜 薪械 褔褌芯 懈薪芯械, 泻邪泻 褋邪屑芯谢褞斜芯胁邪薪懈械 褋芯斜芯泄, 谢懈斜芯 泻邪泻懈械-褌芯 写褉褍谐懈械 褔褍胁褋褌胁邪, 褌邪泻懈械 泻邪泻 卸械谢邪薪懈械 写芯斜褉褘屑 写械谢芯屑 芦芯褌褉邪斜芯褌邪褌褜禄 褔褍胁褋褌胁芯 胁懈薪褘, 谐褉械褏 懈 褌芯屑褍 锌芯写芯斜薪芯械, 懈斜芯 屑懈谢芯褋械褉写薪褘泄 薪械 谐芯褌芯胁 懈 薪械 褋芯斜懈褉邪械褌褋褟 锌褉懈薪褟褌褜 胁 褋胁芯褞 卸懈蟹薪褜 褌芯谐芯, 泻芯谐芯 芯薪 卸邪谢械械褌. 携 薪械 锌褉芯褌懈胁 屑懈谢芯褋械褉写懈褟, 邪 褋邪屑邪 褝褌邪 屑褘褋谢褜 锌褉懈褕谢邪 懈屑械薪薪芯 懈蟹 芯锌褉械写械谢械薪懈褟 懈褋褌懈薪薪芯谐芯 褋芯褋褌褉邪写邪薪懈褟, 写邪薪薪芯谐芯 写芯泻褌芯褉芯屑 袣芯薪写芯褉芯屑 懈 褌芯泄 褋屑褘褋谢芯胁芯泄 锌褍褌邪薪懈褑褘, 泻芯褌芯褉邪褟 懈屑械械褌褋褟 屑械卸写褍 锌芯薪褟褌懈褟屑懈 卸邪谢芯褋褌褜 懈 懈褋褌懈薪薪芯械 褋芯褋褌褉邪写邪薪懈械.
袗薪褌芯薪 袚芯褎屑懈谢谢械褉 褋胁芯械泄 卸邪谢芯褋褌褜褞 泻 斜芯谐邪褌芯泄 锌芯泻邪谢械褔械薪薪芯泄 斜芯谢械蟹薪褜褞 写械胁褍褕泻械 协写懈褌 褍斜懈谢 械械, 锌褉懈褔械屑 写芯泻褌芯褉 袣芯薪写芯褉 薪械芯写薪芯泻褉邪褌薪芯 锌褉械写褍锌褉械卸写邪谢 械谐芯 芯 泻邪褌邪褋褌褉芯褎懈褔械褋泻懈褏 锌芯褋谢械写褋褌胁懈褟褏 谢褞斜芯谐芯 屑邪谢芯写褍褕懈褟 褋 械谐芯 褋褌芯褉芯薪褘. 袦芯谐褍褌 胁芯蟹褉邪蟹懈褌褜, 薪械 械谐芯 胁懈薪邪, 褔褌芯 芯薪邪 锌芯谢褞斜懈谢邪 械谐芯 褋芯 胁褋械泄 褋褌褉邪褋褌薪芯褋褌褜褞 写褍褕懈, 薪械 胁懈写械胁褕械泄 写褉褍卸械褋泻芯谐芯 褍褔邪褋褌懈褟, 邪 芯写薪褍 谢懈褕褜 卸邪谢芯褋褌褜. 袧邪 锌械褉胁褘泄 胁蟹谐谢褟写 褌邪泻. 袧芯 械褋谢懈 胁薪懈屑邪褌械谢褜薪芯 褔懈褌邪褌褜 褉芯屑邪薪, 协写懈褌 褌芯卸械 薪械 蟹邪写褍屑褘胁邪谢邪褋褜 芯 谢褞斜胁懈, 懈 胁芯褋锌褉懈薪懈屑邪谢邪 褔褍胁褋褌胁械薪薪芯褋褌褜, 泻邪泻 薪械褔褌芯 薪械胁芯蟹屑芯卸薪芯械 写谢褟 泻邪谢械泻懈, 褉芯胁薪芯 写芯 褌械褏 锌芯褉, 锌芯泻邪 褍 薪械械 薪械 锌芯褟胁懈谢邪褋褜 褋芯胁械褉褕械薪薪芯 薪械芯斜芯褋薪芯胁邪薪薪邪褟, 邪斜褋芯谢褞褌薪芯 谢芯卸薪邪褟 薪邪写械卸写邪 薪邪 褋泻芯褉芯械 胁褘蟹写芯褉芯胁谢械薪懈械, 斜械蟹芯褋薪芯胁邪褌械谢褜薪芯 锌芯褋械褟薪薪邪褟 懈蟹 褋邪屑褘褏 斜谢邪谐懈褏 薪邪屑械褉械薪懈泄 褋邪屑懈屑 袗薪褌芯薪芯屑. 袠屑械薪薪芯 薪邪写械卸写邪 褋褌邪褌褜 褌邪泻芯泄 泻邪泻 胁褋械, 锌芯褉芯写懈谢芯 褝褌芯 褝泻蟹邪谢褜褌懈褉芯胁邪薪薪芯械 薪械褌械褉锌械薪懈械 懈 泻芯褉械薪薪褘屑 芯斜褉邪蟹芯屑 懈蟹屑械薪懈谢芯 胁芯褋锌褉懈褟褌懈械 褋械斜褟, 泻邪泻 胁 芯褔械薪褜 褋泻芯褉芯屑 胁褉械屑械薪懈 写芯褋褌芯泄薪芯泄 斜褘褌褜 谢褞斜懈屑芯泄. 袩芯褝褌芯屑褍 芯褌胁械褌褋褌胁械薪薪芯褋褌褜 袗薪褌芯薪邪 胁 褌芯屑, 褔褌芯 芯薪邪 胁写褉褍谐 械谐芯 锌芯谢褞斜懈谢邪, 鈥� 褋邪屑邪褟 薪械锌芯褋褉械写褋褌胁械薪薪邪褟. 袝屑褍 薪械 褋褌芯懈谢芯 写邪卸械 锌械褉械褋泻邪蟹褘胁邪褌褜 褉邪蟹谐芯胁芯褉 褋 写芯泻褌芯褉芯屑, 邪 褌械屑 斜芯谢械械 写芯斜邪胁谢褟褌褜 芯褌 褋械斜褟 胁褘褔懈褌邪薪薪褘械 胁 谐邪蟹械褌械 懈 胁褋械谢褟褞褖懈械 薪邪写械卸写褍 薪械锌芯写褌胁械褉卸写褢薪薪褘械 写邪薪薪褘械 芯 薪芯胁褘褏 褋锌芯褋芯斜邪褏 谢械褔械薪懈褟. 袛邪卸械 泻芯谐写邪 袣芯薪写芯褉 械屑褍 锌械薪褟械褌 蟹邪 褝褌懈 锌芯褋械褟薪薪褘械 懈谢谢褞蟹懈懈, 袗薪褌芯薪 褍斜械卸写邪械褌 褋邪屑芯谐芯 写芯泻褌芯褉邪 锌褉芯写芯谢卸邪褌褜 懈褏 锌懈褌邪褌褜 写谢褟 褌芯谐芯, 褔褌芯斜褘 锌褉芯写芯谢卸懈褌褜 锌褉械卸薪懈泄 泻褍褉褋 谢械褔械薪懈褟. 袧芯 写芯泻褌芯褉 薪械屑械写谢械薪薪芯 械谐芯 锌褉械写褍锌褉械写懈谢: 芦 袧芯 褍卸, 泻芯谢褜 胁褘 斜械褉械褌械 褌邪泻芯械 芯斜褟蟹邪褌械谢褜褋褌胁芯, 谐芯褋锌芯写懈薪 谢械泄褌械薪邪薪褌, 胁邪屑 薪械谢褜蟹褟 懈写褌懈 薪邪 锌芯锌褟褌薪褘泄. 袦芯泄 写芯谢谐 鈥� 褋械褉褜械蟹薪芯 锌褉械写芯褋褌械褉械褔褜 胁邪褋... 袧褍卸薪芯 蟹邪褌褉邪褌懈褌褜 芯褔械薪褜 屑薪芯谐芯 褋懈谢, 褔褌芯斜褘 胁械褉薪褍褌褜 胁械褉褍 褔械谢芯胁械泻褍, 芯写薪邪卸写褘 芯斜屑邪薪褍褌芯屑褍. 携 薪械 谢褞斜谢褞 薪械褟褋薪芯褋褌械泄. 袩褉械卸写械 褔械屑 褟 芯褌泻邪卸褍褋褜 芯褌 褋胁芯械谐芯 薪邪屑械褉械薪懈褟 鈥� 褋械谐芯写薪褟 卸械 褔械褋褌薪芯 芯斜褗褟褋薪懈褌褜 袣械泻械褕褎邪谢褜胁械, 褔褌芯 屑械褌芯写 锌褉芯褎械褋褋芯褉邪 袙褜械薪薪芯 薪械谢褜蟹褟 褉械泻芯屑械薪写芯胁邪褌褜 协写懈褌 懈 褔褌芯, 泻 褋芯卸邪谢械薪懈褞, 芯薪懈 写芯谢卸薪褘 蟹邪锌邪褋褌懈褋褜 褌械褉锌械薪懈械屑, 鈥� 褟 褏芯褔褍 蟹薪邪褌褜, 屑芯谐褍 谢懈 褟 薪邪 胁邪褋 锌芯谢芯卸懈褌褜褋褟. 袦芯谐褍 谢懈 褟 斜褘褌褜 褍胁械褉械薪薪褘屑, 褔褌芯 胁褘 屑械薪褟 锌芯褌芯屑 薪械 锌芯写胁械写械褌械?禄 袗薪褌芯薪 薪械褋泻芯谢褜泻芯 褉邪蟹 锌芯褕械谢 薪邪 锌芯锌褟褌薪褘泄, 芯薪 薪械 锌褉芯褋褌芯 锌芯褕械谢 薪邪 锌芯锌褟褌薪褘泄, 芯薪 褋褌褉械屑懈谢褋褟 褌褉褍褋谢懈胁芯 斜械卸邪褌褜 懈 胁 锌芯褋谢械写薪懈泄 褉邪蟹 写械泄褋褌胁懈褌械谢褜薪芯 褍斜械卸邪谢. 孝邪泻 泻邪泻 卸械 械屑褍 褋谢械写芯胁邪谢芯 锌芯褋褌褍锌懈褌褜? 袣芯薪写芯褉, 卸械薪邪褌褘泄 薪邪 褋谢械锌芯泄 懈 胁 斜褉邪泻械 薪械卸薪芯 蟹邪斜芯褌懈胁褕懈泄褋褟 芯 薪械泄, 褋胁芯懈屑 锌褉懈屑械褉芯屑 锌芯泻邪蟹褘胁邪械褌 袗薪褌芯薪褍 懈褋褌懈薪薪芯械 褋芯褋褌褉邪写邪薪懈械, 褌褍 屑芯写械谢褜 锌芯胁械写械薪懈褟, 泻芯褌芯褉芯械 屑芯卸械褌 懈褋锌褉邪胁懈褌褜 胁褋械 褌械 芯褕懈斜泻懈, 泻芯褌芯褉褘械 褌芯褌 薪邪写械谢邪谢 褋胁芯懈屑 薪械褌械褉锌械薪懈械屑 褋械褉写褑邪. 袣芯薪写芯褉, 锌褉邪胁写邪, 谐芯胁芯褉懈褌 芯 泻邪泻芯泄-褌芯 褋胁芯械泄 芦胁褘谐芯写械禄 褌邪泻芯泄 卸械薪懈褌褜斜褘, 褔褌芯 屑芯谢 芯薪 写芯泻褌芯褉, 薪械 胁褋械谐写邪 屑芯卸械褌 锌芯屑芯褔褜 褔械谢芯胁械泻褍, 懈 褔褌芯斜褘 褍褋锌芯泻芯懈褌褜 褋胁芯褞 褋芯胁械褋褌褜, 芯薪 胁褋械谐写邪 屑芯卸械褌 褋泻邪蟹邪褌褜, 褔褌芯 褏芯褌褟 斜褘 芯写薪芯谐芯 褔械谢芯胁械泻邪 芯薪 褋锌邪褋. 袗薪褌芯薪 芯泻邪蟹邪谢褋褟 褋谢懈褕泻芯屑 蟹邪胁懈褋懈屑 芯褌 谢褞写褋泻芯谐芯 屑薪械薪懈褟, 褋谢懈褕泻芯屑 褝谐芯懈褋褌懈褔械薪, 褋谢懈褕泻芯屑 卸械褋褌芯泻. 袛芯 泻芯薪褑邪 卸懈蟹薪懈 械谐芯 屑褍褔邪谢懈 褍谐褉褘蟹械薪懈褟 褋芯胁械褋褌懈, 泻芯褌芯褉褘械 薪械 屑芯谐谢邪 褍褋锌芯泻芯懈褌褜 写邪卸械 斜械蟹褍写械褉卸薪邪褟 芯褌胁邪谐邪 胁 斜械褋褋屑褘褋谢械薪薪褘褏 斜懈褌胁邪褏 泻褉芯胁邪胁芯泄 袩械褉胁芯泄 屑懈褉芯胁芯泄 胁芯泄薪褘. 芦鈥� 薪懈泻邪泻邪褟 胁懈薪邪 薪械 屑芯卸械褌 斜褘褌褜 锌褉械写邪薪邪 蟹邪斜胁械薪懈褞, 锌芯泻邪 芯 薪械泄 锌芯屑薪懈褌 褋芯胁械褋褌褜.禄
笑胁械泄谐 鈥� 屑褍写褉褘泄 褍褔懈褌械谢褜. 协写懈褌 薪械 斜褘谢邪 薪械锌褉懈褟褌薪邪 褎懈蟹懈褔械褋泻懈 袗薪褌芯薪褍, 薪芯 斜芯谢褜褕械 胁褋械谐芯 械谐芯 褋褌褉邪褕懈谢邪 褉械邪泻褑懈褟 械谐芯 褋芯褋谢褍卸懈胁褑械胁, 芯褎懈褑械褉芯胁-蟹褍斜芯褋泻邪谢芯胁, 薪邪褏芯写懈胁褕懈褏 褋屑械褕薪芯械 胁 褌褉邪谐懈褔械褋泻芯屑. 袣芯薪写芯褉 锌芯屑芯谐邪械褌 袗薪褌芯薪褍 芯褋芯蟹薪邪褌褜 懈屑械薪薪芯 褋褌褉邪褏 锌械褉械写 褉械邪泻褑懈械泄 芯斜褖械褋褌胁邪, 锌械褉械写 褌褍锌褘屑 蟹褍斜芯褋泻邪谢褜褋褌胁芯屑, 薪械卸械谢懈 写褉褍谐懈械 锌褉械锌褟褌褋褌胁懈褟, 薪芯 芯薪 薪械 屑芯卸械褌 械谐芯 锌褉械芯写芯谢械褌褜. 袧芯 褔褌芯 褔懈褌邪褌械谢褜 屑芯卸械褌 胁褘薪械褋褌懈 懈蟹 褝褌芯泄 褌褉邪谐械写懈懈? 校斜懈胁邪械褌 薪械 褌芯谢褜泻芯 褌邪泻芯泄, 泻邪泻 袗薪褌芯薪, 锌褉芯褟胁懈胁褕懈泄 写芯斜褉芯褌褍 泻 锌芯泻邪谢械褔械薪薪芯泄 写械胁褍褕泻械, 薪芯 褋胁芯懈屑懈 薪械褍屑械谢褘屑懈 屑懈谢芯褋械褉写薪褘屑懈 薪邪屑械褉械薪懈褟屑懈 懈 锌芯褋褌芯褟薪薪褘屑 写褉械泄褎芯屑 薪邪 锌芯锌褟褌薪褘泄 写芯胁械写褕懈泄 械械 写芯 褋邪屑芯褍斜懈泄褋褌胁邪. 校斜懈胁邪械褌, 锌褉械卸写械 胁褋械谐芯, 芯斜褖械褋褌胁芯, 褋屑械褞褖械械褋褟 薪邪写 褔械谢芯胁械泻芯屑, 褉械褕懈胁褕懈屑 卸械薪懈褌褜褋褟 薪邪 泻邪谢械泻械, 锌褉懈薪褟褌褜 械械 胁 褋胁芯褞 卸懈蟹薪褜 懈谢懈 褔械谢芯胁械泻芯屑, 谐褍谢褟褞褖懈屑 褋 写胁芯褉薪褟卸泻芯泄, 邪 薪械 锌芯褉芯写懈褋褌褘屑 锌褋芯屑 屑芯写薪芯泄 锌芯褉芯写褘. 袩芯褝褌芯屑褍 薪褍卸薪芯, 胁 锌械褉胁褍褞 芯褔械褉械写褜, 芯斜褖械褋褌胁褍 斜褘褌褜 写芯斜褉械械, 懈 谢褞写褟屑 薪褍卸薪芯 褔械褌泻芯 褉邪蟹谢懈褔邪褌褜 写胁邪 胁懈写邪 褋芯褋褌褉邪写邪薪懈褟, 褉邪蟹谢懈褔懈褟 泻芯褌芯褉褘褏 褌邪泻 谐械薪懈邪谢褜薪芯 锌芯泻邪蟹邪谢 笑胁械泄谐, 懈 锌芯芯褖褉褟褌褜 薪械 褋械薪褌懈屑械薪褌邪谢褜薪芯械, 褋邪屑芯芯谐褉邪卸写邪褞褖械械 褔褍胁褋褌胁芯 卸邪谢芯褋褌懈, 褋锌械褕邪褖械械 懈蟹斜邪胁懈褌褜褋褟 芯褌 褋胁芯械谐芯 褌褟谐芯褋褌薪芯谐芯 芯褖褍褖械薪懈褟, 邪 写械褟褌械谢褜薪芯械 胁泻谢褞褔械薪懈械 褋褌褉邪卸写褍褖械谐芯 胁 褋胁芯褞 卸懈蟹薪褜, 褋褌褉邪写邪薪懈械 胁屑械褋褌械 褋 薪懈屑, 褋邪屑芯锌芯卸械褉褌胁芯胁邪薪懈械, 懈谢懈 褏芯褌褟 斜褘 薪械 屑械褕邪褌褜 褝褌懈屑 懈褋褌懈薪薪芯 屑懈谢芯褋械褉写薪褘屑 褝褌芯 写械谢邪褌褜.
袛芯泻褌芯褉 袣芯薪写芯褉, 芯斜褉邪蟹械褑 懈褋褌懈薪薪芯谐芯 褋芯褋褌褉邪写邪薪懈褟, 写芯泻褌芯褉 锌芯 锌褉懈蟹胁邪薪懈褞, 写邪械褌 芯锌褉械写械谢械薪懈械 褝褌懈屑 写胁褍屑 胁懈写邪屑 褋芯褋褌褉邪写邪薪懈褟
芦鈥� 械褋褌褜 写胁邪-褉芯写邪 褋芯褋褌褉邪写邪薪懈褟. 袨写薪芯 鈥� 屑邪谢芯写褍褕薪芯械 懈 褋械薪褌懈屑械薪褌邪谢褜薪芯械, 芯薪芯, 胁 褋褍褖薪芯褋褌懈, 薪械 褔褌芯 懈薪芯械, 泻邪泻 薪械褌械褉锌械薪懈械 褋械褉写褑邪, 褋锌械褕邪褖械谐芯 锌芯褋泻芯褉械械 懈蟹斜邪胁懈褌褜褋褟 芯褌 褌褟谐芯褋褌薪芯谐芯 芯褖褍褖械薪懈褟 锌褉懈 胁懈写械 褔褍卸芯谐芯 薪械褋褔邪褋褌褜褟; 褝褌芯 薪械 褋芯褋褌褉邪写邪薪懈械, 邪 谢懈褕褜 懈薪褋褌懈薪泻褌懈胁薪芯械 卸械谢邪薪懈械 芯谐褉邪写懈褌褜 褋胁芯泄 锌芯泻芯泄 芯褌 褋褌褉邪写邪薪懈泄 斜谢懈卸薪械谐芯. 袧芯 械褋褌褜 懈 写褉褍谐芯械 褋芯褋褌褉邪写邪薪懈械 鈥� 懈褋褌懈薪薪芯械, 泻芯褌芯褉芯械 褌褉械斜褍械褌 写械泄褋褌胁懈泄, 邪 薪械 褋邪薪褌懈屑械薪褌芯胁, 芯薪芯 蟹薪邪械褌, 褔械谐芯 褏芯褔械褌, 懈 锌芯谢薪芯 褉械褕懈屑芯褋褌懈, 褋褌褉邪写邪褟 懈 褋芯褋褌褉邪写邪褟, 褋写械谢邪褌褜 胁褋械, 褔褌芯 胁 褔械谢芯胁械褔械褋泻懈褏 褋懈谢邪褏 懈 写邪卸械 褋胁褘褕械 懈褏. 袝褋谢懈 褌褘 谐芯褌芯胁 懈写褌懈 写芯 泻芯薪褑邪, 写芯 褋邪屑芯谐芯 谐芯褉褜泻芯谐芯 泻芯薪褑邪, 械褋谢懈 蟹邪锌邪褋械褕褜褋褟 胁械谢懈泻懈屑 褌械褉锌械薪懈械屑, 鈥� 谢懈褕褜 褌芯谐写邪 褌褘 褋褍屑械械褕褜 写械泄褋褌胁懈褌械谢褜薪芯 锌芯屑芯褔褜 谢褞写褟屑. 孝芯谢褜泻芯 褌芯谐写邪, 泻芯谐写邪 锌褉懈薪械褋械褕褜 胁 卸械褉褌胁褍 褋邪屑芯谐芯 褋械斜褟, 褌芯谢褜泻芯 褌芯谐写邪.禄
袩芯褔械屑褍 卸邪谢芯褋褌懈, 屑邪谢芯写褍褕薪芯谐芯 懈 褋械薪褌懈屑械薪褌邪谢褜薪芯谐芯 褔褍胁褋褌胁邪 褋芯褋褌褉邪写邪薪懈褟, 褌邪泻 屑薪芯谐芯 胁 褉邪蟹薪芯芯斜褉邪蟹薪芯泄 斜谢邪谐芯褌胁芯褉懈褌械谢褜薪芯褋褌懈? 袩芯褌芯屑褍 褔褌芯, 褝褌芯 - 芯谐褉邪卸写械薪薪芯械 褋芯褋褌褉邪写邪薪懈械: 胁芯褌 褌褘 褋褌褉邪卸写褍褖懈泄, 邪 胁芯褌 褟 斜谢邪谐芯锌芯谢褍褔薪褘泄, 薪邪胁械褖邪褞褖懈泄/锌芯写邪褞褖懈泄 屑邪褌械褉懈邪谢褜薪褍褞 锌芯屑芯褖褜 (屑懈谢芯褋褌褘薪褞) 胁 谢褞斜芯泄 褎芯褉屑械 芯褌 写械薪械谐, 锌懈褖懈, 泻褉芯胁邪 写芯 褍褋谢褍谐, 胁 褌芯屑 褔懈褋谢械 锌芯褏芯褉芯薪. 孝胁芯械 薪械褋褔邪褋褌褜械 褔械褌泻芯 芯谐褉邪薪懈褔械薪芯 褌胁芯械泄 卸懈蟹薪褜褞, 屑懈谢芯褋械褉写薪褘泄 褋 泻邪泻芯泄-褌芯 褉械谐褍谢褟褉薪芯褋褌褜褞 褋薪懈褋褏芯写懈褌 写芯 褋褌褉邪卸写褍褖械谐芯. 袙芯褌 锌褉懈屑械褉: 薪邪 褍谢懈褑械 褔邪褋褌芯 屑芯卸薪芯 褍胁懈写械褌褜 斜械蟹写芯屑薪褘褏 卸懈胁芯褌薪褘褏. 袝褋褌褜 屑薪芯谐芯 写芯斜褉褘褏 谢褞写械泄, 锌芯写泻邪褉屑谢懈胁邪褞褖懈褏 懈褏, 邪 懈褋褌懈薪薪芯 褋芯褋褌褉邪写邪褞褖懈褏 懈屑, 褌械褏, 泻褌芯 斜械褉械褌 懈褏 写芯屑芯泄 胁 泻邪褔械褋褌胁械 写芯屑邪褕薪懈褏 锌懈褌芯屑褑械胁, 褋芯胁褋械屑 薪械屑薪芯谐芯 鈥� 薪邪屑薪芯谐芯 谢械谐褔械 胁蟹褟褌褜 蟹写芯褉芯胁芯谐芯 褖械薪泻邪 懈谢懈 泻芯褌械薪泻邪, 褔械屑 胁芯蟹懈褌褜褋褟 褋 斜械褋锌芯褉芯写薪芯泄, 褔邪褋褌芯 斜芯谢褜薪芯泄 褋芯斜邪泻芯泄 懈谢懈 泻芯褕泻芯泄, 邪 锌芯泻芯褉屑懈褌褜 卸懈胁芯褌薪芯械 鈥� 褌邪泻 锌褉懈褟褌薪芯 写谢褟 褋邪屑芯谢褞斜懈褟: 芦携 褋写械谢邪谢 褏芯褉芯褕械械 写械谢芯禄. 袣 褋褔邪褋褌褜褞, 褋 卸懈胁芯褌薪褘屑懈 谢械谐褔械, 褔械屑 褋 谢褞写褜屑懈, 薪芯 褋褍褌褜 褝褌懈褏 写胁褍褏 胁懈写芯胁 褋芯褋褌褉邪写邪薪懈褟 锌褉懈屑械薪懈屑邪 懈 泻 薪懈屑. 袩芯 斜芯谢褜褕芯屑褍 褋褔械褌褍, 锌芯褏芯卸邪褟 褋懈褌褍邪褑懈褟 懈 褋芯 胁褋械屑懈 写褉褍谐懈屑懈 褎芯褉屑邪屑懈 斜谢邪谐芯褌胁芯褉懈褌械谢褜薪芯褋褌懈. 孝邪泻邪褟 斜谢邪谐芯褌胁芯褉懈褌械谢褜薪芯褋褌褜, 写邪卸械 械褋谢懈 芯薪邪 薪械 邪褎懈褕懈褉褍械褌褋褟, 械褋褌褜 薪械 褔褌芯 懈薪芯械, 泻邪泻 褋邪屑芯谢褞斜芯胁邪薪懈械 褋芯斜芯泄, 谢懈斜芯 泻邪泻懈械-褌芯 写褉褍谐懈械 褔褍胁褋褌胁邪, 褌邪泻懈械 泻邪泻 卸械谢邪薪懈械 写芯斜褉褘屑 写械谢芯屑 芦芯褌褉邪斜芯褌邪褌褜禄 褔褍胁褋褌胁芯 胁懈薪褘, 谐褉械褏 懈 褌芯屑褍 锌芯写芯斜薪芯械, 懈斜芯 屑懈谢芯褋械褉写薪褘泄 薪械 谐芯褌芯胁 懈 薪械 褋芯斜懈褉邪械褌褋褟 锌褉懈薪褟褌褜 胁 褋胁芯褞 卸懈蟹薪褜 褌芯谐芯, 泻芯谐芯 芯薪 卸邪谢械械褌. 携 薪械 锌褉芯褌懈胁 屑懈谢芯褋械褉写懈褟, 邪 褋邪屑邪 褝褌邪 屑褘褋谢褜 锌褉懈褕谢邪 懈屑械薪薪芯 懈蟹 芯锌褉械写械谢械薪懈褟 懈褋褌懈薪薪芯谐芯 褋芯褋褌褉邪写邪薪懈褟, 写邪薪薪芯谐芯 写芯泻褌芯褉芯屑 袣芯薪写芯褉芯屑 懈 褌芯泄 褋屑褘褋谢芯胁芯泄 锌褍褌邪薪懈褑褘, 泻芯褌芯褉邪褟 懈屑械械褌褋褟 屑械卸写褍 锌芯薪褟褌懈褟屑懈 卸邪谢芯褋褌褜 懈 懈褋褌懈薪薪芯械 褋芯褋褌褉邪写邪薪懈械.
袗薪褌芯薪 袚芯褎屑懈谢谢械褉 褋胁芯械泄 卸邪谢芯褋褌褜褞 泻 斜芯谐邪褌芯泄 锌芯泻邪谢械褔械薪薪芯泄 斜芯谢械蟹薪褜褞 写械胁褍褕泻械 协写懈褌 褍斜懈谢 械械, 锌褉懈褔械屑 写芯泻褌芯褉 袣芯薪写芯褉 薪械芯写薪芯泻褉邪褌薪芯 锌褉械写褍锌褉械卸写邪谢 械谐芯 芯 泻邪褌邪褋褌褉芯褎懈褔械褋泻懈褏 锌芯褋谢械写褋褌胁懈褟褏 谢褞斜芯谐芯 屑邪谢芯写褍褕懈褟 褋 械谐芯 褋褌芯褉芯薪褘. 袦芯谐褍褌 胁芯蟹褉邪蟹懈褌褜, 薪械 械谐芯 胁懈薪邪, 褔褌芯 芯薪邪 锌芯谢褞斜懈谢邪 械谐芯 褋芯 胁褋械泄 褋褌褉邪褋褌薪芯褋褌褜褞 写褍褕懈, 薪械 胁懈写械胁褕械泄 写褉褍卸械褋泻芯谐芯 褍褔邪褋褌懈褟, 邪 芯写薪褍 谢懈褕褜 卸邪谢芯褋褌褜. 袧邪 锌械褉胁褘泄 胁蟹谐谢褟写 褌邪泻. 袧芯 械褋谢懈 胁薪懈屑邪褌械谢褜薪芯 褔懈褌邪褌褜 褉芯屑邪薪, 协写懈褌 褌芯卸械 薪械 蟹邪写褍屑褘胁邪谢邪褋褜 芯 谢褞斜胁懈, 懈 胁芯褋锌褉懈薪懈屑邪谢邪 褔褍胁褋褌胁械薪薪芯褋褌褜, 泻邪泻 薪械褔褌芯 薪械胁芯蟹屑芯卸薪芯械 写谢褟 泻邪谢械泻懈, 褉芯胁薪芯 写芯 褌械褏 锌芯褉, 锌芯泻邪 褍 薪械械 薪械 锌芯褟胁懈谢邪褋褜 褋芯胁械褉褕械薪薪芯 薪械芯斜芯褋薪芯胁邪薪薪邪褟, 邪斜褋芯谢褞褌薪芯 谢芯卸薪邪褟 薪邪写械卸写邪 薪邪 褋泻芯褉芯械 胁褘蟹写芯褉芯胁谢械薪懈械, 斜械蟹芯褋薪芯胁邪褌械谢褜薪芯 锌芯褋械褟薪薪邪褟 懈蟹 褋邪屑褘褏 斜谢邪谐懈褏 薪邪屑械褉械薪懈泄 褋邪屑懈屑 袗薪褌芯薪芯屑. 袠屑械薪薪芯 薪邪写械卸写邪 褋褌邪褌褜 褌邪泻芯泄 泻邪泻 胁褋械, 锌芯褉芯写懈谢芯 褝褌芯 褝泻蟹邪谢褜褌懈褉芯胁邪薪薪芯械 薪械褌械褉锌械薪懈械 懈 泻芯褉械薪薪褘屑 芯斜褉邪蟹芯屑 懈蟹屑械薪懈谢芯 胁芯褋锌褉懈褟褌懈械 褋械斜褟, 泻邪泻 胁 芯褔械薪褜 褋泻芯褉芯屑 胁褉械屑械薪懈 写芯褋褌芯泄薪芯泄 斜褘褌褜 谢褞斜懈屑芯泄. 袩芯褝褌芯屑褍 芯褌胁械褌褋褌胁械薪薪芯褋褌褜 袗薪褌芯薪邪 胁 褌芯屑, 褔褌芯 芯薪邪 胁写褉褍谐 械谐芯 锌芯谢褞斜懈谢邪, 鈥� 褋邪屑邪褟 薪械锌芯褋褉械写褋褌胁械薪薪邪褟. 袝屑褍 薪械 褋褌芯懈谢芯 写邪卸械 锌械褉械褋泻邪蟹褘胁邪褌褜 褉邪蟹谐芯胁芯褉 褋 写芯泻褌芯褉芯屑, 邪 褌械屑 斜芯谢械械 写芯斜邪胁谢褟褌褜 芯褌 褋械斜褟 胁褘褔懈褌邪薪薪褘械 胁 谐邪蟹械褌械 懈 胁褋械谢褟褞褖懈械 薪邪写械卸写褍 薪械锌芯写褌胁械褉卸写褢薪薪褘械 写邪薪薪褘械 芯 薪芯胁褘褏 褋锌芯褋芯斜邪褏 谢械褔械薪懈褟. 袛邪卸械 泻芯谐写邪 袣芯薪写芯褉 械屑褍 锌械薪褟械褌 蟹邪 褝褌懈 锌芯褋械褟薪薪褘械 懈谢谢褞蟹懈懈, 袗薪褌芯薪 褍斜械卸写邪械褌 褋邪屑芯谐芯 写芯泻褌芯褉邪 锌褉芯写芯谢卸邪褌褜 懈褏 锌懈褌邪褌褜 写谢褟 褌芯谐芯, 褔褌芯斜褘 锌褉芯写芯谢卸懈褌褜 锌褉械卸薪懈泄 泻褍褉褋 谢械褔械薪懈褟. 袧芯 写芯泻褌芯褉 薪械屑械写谢械薪薪芯 械谐芯 锌褉械写褍锌褉械写懈谢: 芦 袧芯 褍卸, 泻芯谢褜 胁褘 斜械褉械褌械 褌邪泻芯械 芯斜褟蟹邪褌械谢褜褋褌胁芯, 谐芯褋锌芯写懈薪 谢械泄褌械薪邪薪褌, 胁邪屑 薪械谢褜蟹褟 懈写褌懈 薪邪 锌芯锌褟褌薪褘泄. 袦芯泄 写芯谢谐 鈥� 褋械褉褜械蟹薪芯 锌褉械写芯褋褌械褉械褔褜 胁邪褋... 袧褍卸薪芯 蟹邪褌褉邪褌懈褌褜 芯褔械薪褜 屑薪芯谐芯 褋懈谢, 褔褌芯斜褘 胁械褉薪褍褌褜 胁械褉褍 褔械谢芯胁械泻褍, 芯写薪邪卸写褘 芯斜屑邪薪褍褌芯屑褍. 携 薪械 谢褞斜谢褞 薪械褟褋薪芯褋褌械泄. 袩褉械卸写械 褔械屑 褟 芯褌泻邪卸褍褋褜 芯褌 褋胁芯械谐芯 薪邪屑械褉械薪懈褟 鈥� 褋械谐芯写薪褟 卸械 褔械褋褌薪芯 芯斜褗褟褋薪懈褌褜 袣械泻械褕褎邪谢褜胁械, 褔褌芯 屑械褌芯写 锌褉芯褎械褋褋芯褉邪 袙褜械薪薪芯 薪械谢褜蟹褟 褉械泻芯屑械薪写芯胁邪褌褜 协写懈褌 懈 褔褌芯, 泻 褋芯卸邪谢械薪懈褞, 芯薪懈 写芯谢卸薪褘 蟹邪锌邪褋褌懈褋褜 褌械褉锌械薪懈械屑, 鈥� 褟 褏芯褔褍 蟹薪邪褌褜, 屑芯谐褍 谢懈 褟 薪邪 胁邪褋 锌芯谢芯卸懈褌褜褋褟. 袦芯谐褍 谢懈 褟 斜褘褌褜 褍胁械褉械薪薪褘屑, 褔褌芯 胁褘 屑械薪褟 锌芯褌芯屑 薪械 锌芯写胁械写械褌械?禄 袗薪褌芯薪 薪械褋泻芯谢褜泻芯 褉邪蟹 锌芯褕械谢 薪邪 锌芯锌褟褌薪褘泄, 芯薪 薪械 锌褉芯褋褌芯 锌芯褕械谢 薪邪 锌芯锌褟褌薪褘泄, 芯薪 褋褌褉械屑懈谢褋褟 褌褉褍褋谢懈胁芯 斜械卸邪褌褜 懈 胁 锌芯褋谢械写薪懈泄 褉邪蟹 写械泄褋褌胁懈褌械谢褜薪芯 褍斜械卸邪谢. 孝邪泻 泻邪泻 卸械 械屑褍 褋谢械写芯胁邪谢芯 锌芯褋褌褍锌懈褌褜? 袣芯薪写芯褉, 卸械薪邪褌褘泄 薪邪 褋谢械锌芯泄 懈 胁 斜褉邪泻械 薪械卸薪芯 蟹邪斜芯褌懈胁褕懈泄褋褟 芯 薪械泄, 褋胁芯懈屑 锌褉懈屑械褉芯屑 锌芯泻邪蟹褘胁邪械褌 袗薪褌芯薪褍 懈褋褌懈薪薪芯械 褋芯褋褌褉邪写邪薪懈械, 褌褍 屑芯写械谢褜 锌芯胁械写械薪懈褟, 泻芯褌芯褉芯械 屑芯卸械褌 懈褋锌褉邪胁懈褌褜 胁褋械 褌械 芯褕懈斜泻懈, 泻芯褌芯褉褘械 褌芯褌 薪邪写械谢邪谢 褋胁芯懈屑 薪械褌械褉锌械薪懈械屑 褋械褉写褑邪. 袣芯薪写芯褉, 锌褉邪胁写邪, 谐芯胁芯褉懈褌 芯 泻邪泻芯泄-褌芯 褋胁芯械泄 芦胁褘谐芯写械禄 褌邪泻芯泄 卸械薪懈褌褜斜褘, 褔褌芯 屑芯谢 芯薪 写芯泻褌芯褉, 薪械 胁褋械谐写邪 屑芯卸械褌 锌芯屑芯褔褜 褔械谢芯胁械泻褍, 懈 褔褌芯斜褘 褍褋锌芯泻芯懈褌褜 褋胁芯褞 褋芯胁械褋褌褜, 芯薪 胁褋械谐写邪 屑芯卸械褌 褋泻邪蟹邪褌褜, 褔褌芯 褏芯褌褟 斜褘 芯写薪芯谐芯 褔械谢芯胁械泻邪 芯薪 褋锌邪褋. 袗薪褌芯薪 芯泻邪蟹邪谢褋褟 褋谢懈褕泻芯屑 蟹邪胁懈褋懈屑 芯褌 谢褞写褋泻芯谐芯 屑薪械薪懈褟, 褋谢懈褕泻芯屑 褝谐芯懈褋褌懈褔械薪, 褋谢懈褕泻芯屑 卸械褋褌芯泻. 袛芯 泻芯薪褑邪 卸懈蟹薪懈 械谐芯 屑褍褔邪谢懈 褍谐褉褘蟹械薪懈褟 褋芯胁械褋褌懈, 泻芯褌芯褉褘械 薪械 屑芯谐谢邪 褍褋锌芯泻芯懈褌褜 写邪卸械 斜械蟹褍写械褉卸薪邪褟 芯褌胁邪谐邪 胁 斜械褋褋屑褘褋谢械薪薪褘褏 斜懈褌胁邪褏 泻褉芯胁邪胁芯泄 袩械褉胁芯泄 屑懈褉芯胁芯泄 胁芯泄薪褘. 芦鈥� 薪懈泻邪泻邪褟 胁懈薪邪 薪械 屑芯卸械褌 斜褘褌褜 锌褉械写邪薪邪 蟹邪斜胁械薪懈褞, 锌芯泻邪 芯 薪械泄 锌芯屑薪懈褌 褋芯胁械褋褌褜.禄
笑胁械泄谐 鈥� 屑褍写褉褘泄 褍褔懈褌械谢褜. 协写懈褌 薪械 斜褘谢邪 薪械锌褉懈褟褌薪邪 褎懈蟹懈褔械褋泻懈 袗薪褌芯薪褍, 薪芯 斜芯谢褜褕械 胁褋械谐芯 械谐芯 褋褌褉邪褕懈谢邪 褉械邪泻褑懈褟 械谐芯 褋芯褋谢褍卸懈胁褑械胁, 芯褎懈褑械褉芯胁-蟹褍斜芯褋泻邪谢芯胁, 薪邪褏芯写懈胁褕懈褏 褋屑械褕薪芯械 胁 褌褉邪谐懈褔械褋泻芯屑. 袣芯薪写芯褉 锌芯屑芯谐邪械褌 袗薪褌芯薪褍 芯褋芯蟹薪邪褌褜 懈屑械薪薪芯 褋褌褉邪褏 锌械褉械写 褉械邪泻褑懈械泄 芯斜褖械褋褌胁邪, 锌械褉械写 褌褍锌褘屑 蟹褍斜芯褋泻邪谢褜褋褌胁芯屑, 薪械卸械谢懈 写褉褍谐懈械 锌褉械锌褟褌褋褌胁懈褟, 薪芯 芯薪 薪械 屑芯卸械褌 械谐芯 锌褉械芯写芯谢械褌褜. 袧芯 褔褌芯 褔懈褌邪褌械谢褜 屑芯卸械褌 胁褘薪械褋褌懈 懈蟹 褝褌芯泄 褌褉邪谐械写懈懈? 校斜懈胁邪械褌 薪械 褌芯谢褜泻芯 褌邪泻芯泄, 泻邪泻 袗薪褌芯薪, 锌褉芯褟胁懈胁褕懈泄 写芯斜褉芯褌褍 泻 锌芯泻邪谢械褔械薪薪芯泄 写械胁褍褕泻械, 薪芯 褋胁芯懈屑懈 薪械褍屑械谢褘屑懈 屑懈谢芯褋械褉写薪褘屑懈 薪邪屑械褉械薪懈褟屑懈 懈 锌芯褋褌芯褟薪薪褘屑 写褉械泄褎芯屑 薪邪 锌芯锌褟褌薪褘泄 写芯胁械写褕懈泄 械械 写芯 褋邪屑芯褍斜懈泄褋褌胁邪. 校斜懈胁邪械褌, 锌褉械卸写械 胁褋械谐芯, 芯斜褖械褋褌胁芯, 褋屑械褞褖械械褋褟 薪邪写 褔械谢芯胁械泻芯屑, 褉械褕懈胁褕懈屑 卸械薪懈褌褜褋褟 薪邪 泻邪谢械泻械, 锌褉懈薪褟褌褜 械械 胁 褋胁芯褞 卸懈蟹薪褜 懈谢懈 褔械谢芯胁械泻芯屑, 谐褍谢褟褞褖懈屑 褋 写胁芯褉薪褟卸泻芯泄, 邪 薪械 锌芯褉芯写懈褋褌褘屑 锌褋芯屑 屑芯写薪芯泄 锌芯褉芯写褘. 袩芯褝褌芯屑褍 薪褍卸薪芯, 胁 锌械褉胁褍褞 芯褔械褉械写褜, 芯斜褖械褋褌胁褍 斜褘褌褜 写芯斜褉械械, 懈 谢褞写褟屑 薪褍卸薪芯 褔械褌泻芯 褉邪蟹谢懈褔邪褌褜 写胁邪 胁懈写邪 褋芯褋褌褉邪写邪薪懈褟, 褉邪蟹谢懈褔懈褟 泻芯褌芯褉褘褏 褌邪泻 谐械薪懈邪谢褜薪芯 锌芯泻邪蟹邪谢 笑胁械泄谐, 懈 锌芯芯褖褉褟褌褜 薪械 褋械薪褌懈屑械薪褌邪谢褜薪芯械, 褋邪屑芯芯谐褉邪卸写邪褞褖械械 褔褍胁褋褌胁芯 卸邪谢芯褋褌懈, 褋锌械褕邪褖械械 懈蟹斜邪胁懈褌褜褋褟 芯褌 褋胁芯械谐芯 褌褟谐芯褋褌薪芯谐芯 芯褖褍褖械薪懈褟, 邪 写械褟褌械谢褜薪芯械 胁泻谢褞褔械薪懈械 褋褌褉邪卸写褍褖械谐芯 胁 褋胁芯褞 卸懈蟹薪褜, 褋褌褉邪写邪薪懈械 胁屑械褋褌械 褋 薪懈屑, 褋邪屑芯锌芯卸械褉褌胁芯胁邪薪懈械, 懈谢懈 褏芯褌褟 斜褘 薪械 屑械褕邪褌褜 褝褌懈屑 懈褋褌懈薪薪芯 屑懈谢芯褋械褉写薪褘屑 褝褌芯 写械谢邪褌褜.
September 19, 2018
The word 鈥楶ity鈥� is quite a powerful word. It is charged with the evocation of that emotion which surfaces when one witnesses human suffering in any form; an emotion which leads to feeling of compassion and sympathy. So to feel pity over someone鈥檚 misfortune or suffering is essentially human. But what does the feeling of pity really employs? Is it only a positive emotion which paves the way for better understanding of humans and their sufferings? Or can it be an emotion which arises solely from the awareness of one鈥檚 good fortune when compared with the misfortunes of many others? Can it be an emotion which may let us sympathize with those suffering but may make us indifferent when presented with uncomfortable situations while dealing with them? Can someone, who acts only out of 鈥榩ity鈥� for someone, be held responsible if he fails to meet unseen expectations arising from his acts of pity? Can there be a limit as to what extent a person may engage due to pity? Can a person really only act out of pity for someone over a longer period?
Alternatively, does a person who has suffered much over a long period of time take kindly to such acts of pity? Can such acts invoke anger on the part of sufferer? Who is to judge then when a person, in the heat of much compassion, engages in actions which may prove further fatal for the sufferer.
These are the questions that this work raises in mind. For me, it is a hugely loaded word and which I really view with some skepticism. A genuine concern and empathy are held much higher in regard than merely pity.
As always, Zweig鈥檚 writing is brilliant and captivating. There is never a dull moment in the work. You are constantly engaged and on the edge. I didn鈥檛 find a single character in the work likable, for each of them lived in their own worlds, intoxicated with ideas that best suited them. It was like a ride through a kindergarten where all the kids were engaged in their own make belief world and resorted to whining when disagreed with or brought to reality. But Zweig鈥檚 masterful hand has rendered their portrayal a lifelike quality which lets you marvel at the complexity of human nature and compels you to look within and question your ideas.
July 16, 2019
My love affair with Stefan Zweig鈥檚 work continues! With his elegant prose and sharp insight, he conjured up the most vivid characters and insane - yet completely believable stories, and 鈥淏eware of Pity鈥� (alternately translated as 鈥淚mpatience of the Heart鈥�) is his writing at top form; funny, sour, moving, tragic and wistful. It was also his only full-length novel, finished in 1939, when he lived in exile in England. So expect his trademark nostalgia for a Europe now disfigured by totalitarianism.
Told in a framed narrative 鈥� by a novelist who might as well be Zweig himself 鈥� this novel is the story of a young cavalry office, Lieutenant Anton Hofmiller, and of how one innocent faux pas derailed his life. In a small garrison town of the Austro-Hungarian Empire, a few months before the Great War, Hofmiller is introduced to the wealthy and influential Kekesfalva family. While attending a charming soir茅e in their manor, he decides to courteously ask the master of the house鈥檚 daughter to dance鈥� without having noticed that the young woman is crippled and can hardly walk, let alone waltz. Mortified, he sends her an enormous bouquet of roses as an apology, and begins to pay regular friendly visits to the family, in an attempt to atone for the embarrassment he caused the poor girl to suffer. Of course, the young girl interprets his actions and attention in a very different way, and soon, Hofmiller finds himself inextricably bound to this family鈥�
In many ways, poor Anton鈥檚 stumbling through this story is like a car crash one can鈥檛 look away from: he means well, and tries to keep up with the social standards of the class and era, and to not hurt the feelings of Edith 鈥� whom he feels has suffered enough as a consequence of her injury. But there is also an element of self-congratulation and shame there that sometimes feels very uneasy. Sure, he pays the Kekesfalvas visits because he feels awful for young Edith, but when he鈥檚 there, he is served delicious food, rare wines and given cigars, horses and opportunities galore. And while he feels bad about this bounty, he keeps going back鈥� It鈥檚 also remarkable that despite the story鈥檚 seeming simplicity, Zweig manages to ramp up the dramatic tension to the point where the book is very hard to put down, as you never know what fresh awkwardness and its consequences he will catch you with on the next page.
There is a lot to be chewed on in this book, notably regarding the meaning of the word 鈥減ity鈥� and the effect it has in the lives of all involved. Because a line must be drawn between pity and compassion, between pity and sympathy: the nuance might be lost on some, but it is there, and it can be hard sometimes to see which shade of feeling is fuelling Hofmiller鈥檚 actions. While some of the things he does clearly come from a good place, he also ends up falling victim to emotional blackmail, conscious or not on part of the perpetrator. The young man鈥檚 ultimate conclusion, that what becomes known as his act of bravery was in fact nothing more than cowardice with unintended consequences, is also fascinating. How differently other people perceive our lives and actions when they have only a partial portrait of our motivations and context! The complexity of human beings is not something to be underestimated, and Zweig not only knew that, but also knew exactly how to put that intricateness on the page.
Edith is a remarkable creation: despite her sheltered life and her physical handicap, she has a strong will and personality, and refuses to let her disability define her life. She won鈥檛 be lied to and she refuses to be mollycoddled. Of course, this is far from easy in the particular time and place she lives in, where young women of society dance and ride, and are expected to be mobile to be considered eligible. We never really get an inside view of how Hofmiller鈥檚 consideration feels to her, but I think it's safe to assume that before him, no man had paid her the slightest bit of attention, let alone extended friendship and companionship the way he has. For a young girl of eighteen, that must have been like giving water to a person tortured by thirst, both a relief and a pleasure she is not equipped to deal with rationally. That her feelings for him shock Anton made me yell at the book: how can this be a surprise, you dweeb?!
I must say that Anthea Bell鈥檚 translation is gorgeous, fluid and a pleasure to read. I鈥檝e read her translation of 鈥淭he World of Yesterday鈥� (/review/show...) which was just as affecting, and the way she captures tone and wit is a delight.
If you liked 鈥淭he Grand Budapest Hotel鈥� (which used the introduction of this book as a template from which to launch the zany adventure of one gangly lobby boy and a foppish concierge), or any of Zweig鈥檚 other work, do yourself a favour and read this amazing novel. This is quite simply a masterpiece.
Told in a framed narrative 鈥� by a novelist who might as well be Zweig himself 鈥� this novel is the story of a young cavalry office, Lieutenant Anton Hofmiller, and of how one innocent faux pas derailed his life. In a small garrison town of the Austro-Hungarian Empire, a few months before the Great War, Hofmiller is introduced to the wealthy and influential Kekesfalva family. While attending a charming soir茅e in their manor, he decides to courteously ask the master of the house鈥檚 daughter to dance鈥� without having noticed that the young woman is crippled and can hardly walk, let alone waltz. Mortified, he sends her an enormous bouquet of roses as an apology, and begins to pay regular friendly visits to the family, in an attempt to atone for the embarrassment he caused the poor girl to suffer. Of course, the young girl interprets his actions and attention in a very different way, and soon, Hofmiller finds himself inextricably bound to this family鈥�
In many ways, poor Anton鈥檚 stumbling through this story is like a car crash one can鈥檛 look away from: he means well, and tries to keep up with the social standards of the class and era, and to not hurt the feelings of Edith 鈥� whom he feels has suffered enough as a consequence of her injury. But there is also an element of self-congratulation and shame there that sometimes feels very uneasy. Sure, he pays the Kekesfalvas visits because he feels awful for young Edith, but when he鈥檚 there, he is served delicious food, rare wines and given cigars, horses and opportunities galore. And while he feels bad about this bounty, he keeps going back鈥� It鈥檚 also remarkable that despite the story鈥檚 seeming simplicity, Zweig manages to ramp up the dramatic tension to the point where the book is very hard to put down, as you never know what fresh awkwardness and its consequences he will catch you with on the next page.
There is a lot to be chewed on in this book, notably regarding the meaning of the word 鈥減ity鈥� and the effect it has in the lives of all involved. Because a line must be drawn between pity and compassion, between pity and sympathy: the nuance might be lost on some, but it is there, and it can be hard sometimes to see which shade of feeling is fuelling Hofmiller鈥檚 actions. While some of the things he does clearly come from a good place, he also ends up falling victim to emotional blackmail, conscious or not on part of the perpetrator. The young man鈥檚 ultimate conclusion, that what becomes known as his act of bravery was in fact nothing more than cowardice with unintended consequences, is also fascinating. How differently other people perceive our lives and actions when they have only a partial portrait of our motivations and context! The complexity of human beings is not something to be underestimated, and Zweig not only knew that, but also knew exactly how to put that intricateness on the page.
Edith is a remarkable creation: despite her sheltered life and her physical handicap, she has a strong will and personality, and refuses to let her disability define her life. She won鈥檛 be lied to and she refuses to be mollycoddled. Of course, this is far from easy in the particular time and place she lives in, where young women of society dance and ride, and are expected to be mobile to be considered eligible. We never really get an inside view of how Hofmiller鈥檚 consideration feels to her, but I think it's safe to assume that before him, no man had paid her the slightest bit of attention, let alone extended friendship and companionship the way he has. For a young girl of eighteen, that must have been like giving water to a person tortured by thirst, both a relief and a pleasure she is not equipped to deal with rationally. That her feelings for him shock Anton made me yell at the book: how can this be a surprise, you dweeb?!
I must say that Anthea Bell鈥檚 translation is gorgeous, fluid and a pleasure to read. I鈥檝e read her translation of 鈥淭he World of Yesterday鈥� (/review/show...) which was just as affecting, and the way she captures tone and wit is a delight.
If you liked 鈥淭he Grand Budapest Hotel鈥� (which used the introduction of this book as a template from which to launch the zany adventure of one gangly lobby boy and a foppish concierge), or any of Zweig鈥檚 other work, do yourself a favour and read this amazing novel. This is quite simply a masterpiece.
July 19, 2016
My friend and I both pity the homeless, but I prefer to do it from a distance. My friend isn't like that. He likes to put money in cup. Through the years, his insistence on an actual physical exchange has grown exponentially. It was one thing to raise the gift from $1 to $2 to $5 and then $10. But then even that changed. We drifted apart and then slowly saw each other again. Walking back to our jobs after lunch after renewing our friendship we passed a homeless man that we had passed many times in the past. He provoked genuine sympathy, standing on one leg only and a crutch. It was no longer enough now for my friend to drop bills in cup. He made a point of standing ceremoniously, extending his hand for a shake and addressing the man by name. The man said nothing in return, not even smiling at the crisp new bill.
Beware of pity. It is an exchange. Readers of novels, do not linger on the man consumed with Liberal guilt. Instead think of our one-legged man. Make him smart. Or devious. Or rebellious, kindly, heroic. Make him barely functional if you want. What does he make of the pin-striped man, bowing like Hirohito on that ship? Perhaps, like me, he appreciates the gesture. But probably it means nothing. Although......
What if he feels the pity behind the gesture, like a knife? Any one of us, homeless or not, has felt that. But what if he was just smart enough to be fooled and thought he was going to the suburbs for dinner? or would be offered a job? would be asked to be a Godfather? could date a daughter?
_____ _____ _____ _____ _____
Oh, the book?
Well, it's about Pity, from both sides of the exchange. I won't tell you the plot. You can find it everywhere, in the description of the book and in almost every review. I liked the storytelling but not the story. If that makes sense. I was warned that it might be too drawing-room for me. I didn't know exactly what that meant until I read this and realized it was too drawing-room for me.
It made me think of Pity. Not made-for-TV movies Pity with Lieutenants and noblemen's daughters, good-looking horses and, well, I think you have to fit Kiera Knightley in there somewhere. Not perfumed, inchoate love. No, it made me think of Pity on a city street, in a job, in a friendship. It made me think of Pity in a room by myself. Even then, maybe especially then, it's always an exchange.
Beware of pity. It is an exchange. Readers of novels, do not linger on the man consumed with Liberal guilt. Instead think of our one-legged man. Make him smart. Or devious. Or rebellious, kindly, heroic. Make him barely functional if you want. What does he make of the pin-striped man, bowing like Hirohito on that ship? Perhaps, like me, he appreciates the gesture. But probably it means nothing. Although......
What if he feels the pity behind the gesture, like a knife? Any one of us, homeless or not, has felt that. But what if he was just smart enough to be fooled and thought he was going to the suburbs for dinner? or would be offered a job? would be asked to be a Godfather? could date a daughter?
_____ _____ _____ _____ _____
Oh, the book?
Well, it's about Pity, from both sides of the exchange. I won't tell you the plot. You can find it everywhere, in the description of the book and in almost every review. I liked the storytelling but not the story. If that makes sense. I was warned that it might be too drawing-room for me. I didn't know exactly what that meant until I read this and realized it was too drawing-room for me.
It made me think of Pity. Not made-for-TV movies Pity with Lieutenants and noblemen's daughters, good-looking horses and, well, I think you have to fit Kiera Knightley in there somewhere. Not perfumed, inchoate love. No, it made me think of Pity on a city street, in a job, in a friendship. It made me think of Pity in a room by myself. Even then, maybe especially then, it's always an exchange.
April 25, 2022
I pity those who have not read this masterpiece.
December 18, 2020
Un oficial del ej茅rcito austro-h煤ngaro, Viena, una joven paral铆tica hija de un importante magnate, un enamoramiento fulminante, un castillo鈥� y la prosa y la mirada sensible de Stefan Zweig. 驴Qu茅 puede salir mal? Para m铆, nada, he disfrutado much铆simo con esta bella historia en que la compasi贸n y el amor luchan sin tregua en los corazones.
Ciertamente, a pesar de su t铆tulo, no es 茅sta una obra para lectores impacientes, ya que las descripciones son morosas y el an谩lisis de sentimientos reemplaza a la acci贸n la mayor parte del tiempo, pero si te dejas envolver por la belleza de las palabras, te transporta a un pasado lleno de encanto y de dolor.
Es m谩s larga - casi 500 p谩ginas - que otras novellas del mismo autor como Miedo o Mendel el de los libros, pero me ha gustado mucho. Creo que con estas historias Stefan Zweig busca conmover al lector apelando a nuestra humanidad y esos sentimientos son hoy tan importantes y vigentes como cuando las escribi贸 en la primera mitad del siglo XX.
Ciertamente, a pesar de su t铆tulo, no es 茅sta una obra para lectores impacientes, ya que las descripciones son morosas y el an谩lisis de sentimientos reemplaza a la acci贸n la mayor parte del tiempo, pero si te dejas envolver por la belleza de las palabras, te transporta a un pasado lleno de encanto y de dolor.
Es m谩s larga - casi 500 p谩ginas - que otras novellas del mismo autor como Miedo o Mendel el de los libros, pero me ha gustado mucho. Creo que con estas historias Stefan Zweig busca conmover al lector apelando a nuestra humanidad y esos sentimientos son hoy tan importantes y vigentes como cuando las escribi贸 en la primera mitad del siglo XX.
October 21, 2017
BEWARE OF PITY (Ungeduld des Herzens, orig. title in German)
[revised 10/21/17]
Pick up a bee from kindness, and learn the limitations of kindness.
Sufi Proverb
Upon finishing this, Stefan Zweig's only completed novel, after reading his memoir, , I've found that the Austrian Zweig was one of those singularly gifted observers of the human condition, that come along maybe only once a generation, able to regularly discern the profound in the mundane as if such a talent came like riding a bicycle.
Beware of Pity sated my love for an exploration of human emotions I've not yet encountered in a story but have experienced in the real world. First was pity, and the negative that can flow therefrom. Second is the feeling of having someone in love with you at a time in youth when you want nothing to do with her/him.
Though I'd of course encountered the emotion of pity in other novels, none had made it a central theme and covered it like this novel did.
As for the second--see Zweig's brilliant quote below--I look back with deep regret at how mean and callous I was to the girl, and think how I'd have handled it differently. I'd not seen this fleshed out in a story from the viewpoint of the *unloving beloved* before this one.
The surface moral of this novel is laid out by its title: pity, as an emotion, can result in disaster. The deeper message seems the old maxim, you cannot judge a book by its cover. Hofmiller may wear the medal of the Military Order of Maria Theresa--the highest military decoration Austria could offer, equivalent to the Victoria Cross in Great Britain and the U.S.'s Medal of Honor--but he is plagued by his knowledge that his badge of "courage" actually came from a colossal act of cowardice.
The Austrian writer Stefan Zweig's popularity seems to be making a bit of a comeback, with the new publication of a number of his novellas and his memoir The World of Yesterday in which his writing shines. According to a number of sources, when this novel was published in 1939, Zweig was likely the most popular author in the world, for his short stories, novellas and biographies of famous people.
"Beware of Pity" is the only novel he completed. He wrote it in the United States (where he arrived in 1935) and then England (1938), as a Jewish refugee from Nazi persecution. He and his wife moved to Brazil in 1942 and shortly thereafter committed suicide together.
The story is set in Austria, mostly as it was on the brink of World War I. The tale is told though through a framing narrator (presumably Zweig) who meets the famously decorated cavalry lieutenant Anton Hofmiller at a social function. The narrator asks about the lieutenant's decoration as a hero of WW I, the Military Order of Maria Theresa, which Hofmiller disdains.
To explain why, he must take the narrator (and readers) back to the time he was invited to the castle of an immensely wealthy Hungarian named Lajos Kekesfalva. There, he asked the old man's crippled daughter to dance. A spoiled girl in her late teens, she throws a fit. Feeling pity for the girl, Hofmiller makes trips to see the Kekesfalvas nearly every day for an extended period. He is a man who gets nearly everything wrong: his gaffe that ultimately leads to awful consequences, believing Kekesfalva was a nobleman, and thinking the girl's doctor was incompetent, and leading the girl to believe she and he were engaged to be married only to deny it later in the evening, fearful of what his peers may think of him.
The "Torment" of Being "Loved Against Your Will
[revised 10/21/17]
Pick up a bee from kindness, and learn the limitations of kindness.
Sufi Proverb
Upon finishing this, Stefan Zweig's only completed novel, after reading his memoir, , I've found that the Austrian Zweig was one of those singularly gifted observers of the human condition, that come along maybe only once a generation, able to regularly discern the profound in the mundane as if such a talent came like riding a bicycle.
Beware of Pity sated my love for an exploration of human emotions I've not yet encountered in a story but have experienced in the real world. First was pity, and the negative that can flow therefrom. Second is the feeling of having someone in love with you at a time in youth when you want nothing to do with her/him.
Though I'd of course encountered the emotion of pity in other novels, none had made it a central theme and covered it like this novel did.
As for the second--see Zweig's brilliant quote below--I look back with deep regret at how mean and callous I was to the girl, and think how I'd have handled it differently. I'd not seen this fleshed out in a story from the viewpoint of the *unloving beloved* before this one.
The surface moral of this novel is laid out by its title: pity, as an emotion, can result in disaster. The deeper message seems the old maxim, you cannot judge a book by its cover. Hofmiller may wear the medal of the Military Order of Maria Theresa--the highest military decoration Austria could offer, equivalent to the Victoria Cross in Great Britain and the U.S.'s Medal of Honor--but he is plagued by his knowledge that his badge of "courage" actually came from a colossal act of cowardice.
The Austrian writer Stefan Zweig's popularity seems to be making a bit of a comeback, with the new publication of a number of his novellas and his memoir The World of Yesterday in which his writing shines. According to a number of sources, when this novel was published in 1939, Zweig was likely the most popular author in the world, for his short stories, novellas and biographies of famous people.
"Beware of Pity" is the only novel he completed. He wrote it in the United States (where he arrived in 1935) and then England (1938), as a Jewish refugee from Nazi persecution. He and his wife moved to Brazil in 1942 and shortly thereafter committed suicide together.
The story is set in Austria, mostly as it was on the brink of World War I. The tale is told though through a framing narrator (presumably Zweig) who meets the famously decorated cavalry lieutenant Anton Hofmiller at a social function. The narrator asks about the lieutenant's decoration as a hero of WW I, the Military Order of Maria Theresa, which Hofmiller disdains.
To explain why, he must take the narrator (and readers) back to the time he was invited to the castle of an immensely wealthy Hungarian named Lajos Kekesfalva. There, he asked the old man's crippled daughter to dance. A spoiled girl in her late teens, she throws a fit. Feeling pity for the girl, Hofmiller makes trips to see the Kekesfalvas nearly every day for an extended period. He is a man who gets nearly everything wrong: his gaffe that ultimately leads to awful consequences, believing Kekesfalva was a nobleman, and thinking the girl's doctor was incompetent, and leading the girl to believe she and he were engaged to be married only to deny it later in the evening, fearful of what his peers may think of him.
The "Torment" of Being "Loved Against Your Will
"a worse torment, perhaps, than feeling love and desire...is to be loved against your will, when you cannot defend yourself against the passion thrust upon you. It is worse to see someone beside herself, burning with the flames of desire, and stand by powerless, unable to find the strength to snatch her from the fire.
If you are unhappily in love yourself, you may sometimes be able to tame your passion because you are the author of your own unhappiness, not just its creature. If a lover can't control his passion then at least his suffering is his own fault. But there is nothing someone who is loved and does not love in return can do about it since it is beyond his own power to determine the extent and limits of that love and no willpower of his own can keep someone else from loving him." Beware of Pity, Stefan Zweig
September 18, 2021
韦慰 尾喂尾位喂慰 伪蠀蟿慰 渭蔚 蟽蠀纬魏位慰谓喂蟽蔚 (未蠀谓伪渭喂魏慰 尉蔚魏喂谓畏渭伪 尾喂尾位喂慰魏蟻喂蟿喂魏畏蟼). 螖蔚谓 蔚喂谓伪喂 蟿慰蟽慰 蟿慰 胃蔚渭伪, 萎 畏 蟺位慰魏畏 蟺慰蠀 蔚魏伪谓蔚 蟿畏 未喂伪蠁慰蟻伪, 渭喂伪蟼 魏伪喂 伪蠀蟿伪 未蔚谓 蟺伪蟻慰蠀蟽喂伪味伪谓 魏伪蟿喂 蠁慰尾蔚蟻维 尉蔚蠂蠅蟻喂蟽蟿慰 : 蔚谓伪蟼 蠀蟺喂位伪蟻蠂慰蟼 味蔚喂 蟿畏谓 伪蟺位慰蠆魏萎 味蠅畏 蟿慰蠀 渭蔚蠂蟻喂 蟺慰蠀 蟽蔚 伪蠀蟿畏 蔚喂蟽尾维位位蔚喂 渭喂伪 慰喂魏慰纬蔚谓蔚喂伪 渭蔚 蟿蟻慰蟺慰 蟿蠀蠂伪喂慰, 蟽伪谓 渭喂伪 蟽蠀渭蟺蟿蠅蟽畏 蟺慰蠀 畏 渭喂伪 伪魏慰位慰蠀胃蔚喂 蟿畏谓 伪位位畏, 渭蔚蠂蟻喂 蟺慰蠀 渭蔚蟽伪 蟽蔚 伪蠀蟿畏 蟿畏谓 慰喂魏慰纬蔚谓蔚喂伪 纬谓蠅蟻喂味蔚喂 蟿畏 谓蔚伪蟻畏 螘谓蟿喂胃, 蟿畏谓 魏慰蟻畏 蟿畏蟼 慰喂魏慰纬蔚谓蔚喂伪蟼 魏伪喂 蠀蟽蟿蔚蟻伪 伪蟺慰 蔚谓伪 蟿蟻慰渭蔚蟻伪 伪尾慰位慰 位伪胃慰蟼, 伪谓伪魏伪位蠀蟺蟿蔚喂 蟺蠅蟼 畏 魏慰蟺蔚位伪 蔚喂谓伪喂 伪谓伪蟺畏蟻畏. 螒蟺慰 蔚魏蔚喂谓畏 伪魏蟻喂尾蠅蟼 蟿畏 蟽蟿喂纬渭畏 尉蠀蟺谓伪 渭蔚蟽伪 蟽蟿畏谓 蠄蠀蠂畏 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 渭伪蟼, 蟿慰蠀 螒谓蟿慰谓, 蟿慰 蟽蠀谓伪喂蟽胃畏渭伪 蟿慰蠀 慰喂魏蟿慰蠀, 伪位位伪 魏伪喂 伪蟺慰 伪蠀蟿慰 蟿慰 蟽畏渭蔚喂慰 慰 韦蟽尾伪喂蠂 尉蔚魏喂谓伪 谓伪 "魏蔚谓蟿伪蔚喂" 蟿慰蟽慰 位慰纬慰蟿蔚蠂谓喂魏伪, 慰蟽慰 魏伪喂 - 伪魏蟻喂尾蠅蟼 蔚未蠅 纬喂伪 渭蔚谓伪 魏蔚蟻未喂味蔚喂 蟿慰 5伪蟻喂 魏伪喂 慰位伪 蟿伪 5伪蟻喂伪 蟿慰蠀 魏慰蟽渭慰蠀- 蠄蠀蠂伪谓伪位蠀蟿喂魏伪 /蠁喂位慰蟽慰蠁喂魏伪. 螣 韦蟽尾伪喂蠂 位慰喂蟺慰谓 蠀蟺蔚蟻伪谓伪位蠀蔚喂 伪蠀蟿慰 蟿慰 蟽蠀谓伪喂蟽胃畏渭伪 蟺慰蠀 伪蟺慰蟿蔚位蔚喂 蔚谓伪 未喂魏慰蟺慰 渭伪蠂伪喂蟻喂 :伪蟺慰 蟿畏 渭喂伪 蟿慰 谓慰喂伪尉喂渭慰, 畏 蔚渭蟺伪胃蔚喂伪 魏伪喂 畏 位蠀蟺畏 纬喂伪 蟿伪 未蔚喂谓伪 蟿慰蠀 蟽蠀谓伪谓胃蟻蠅蟺慰蠀 渭伪蟼 魏伪喂 畏 蟺蟻慰蟽蟺伪胃蔚喂伪 谓伪 伪蟺伪位蠀谓慰蠀渭蔚 蟿慰谓 蟺慰谓慰 蟿慰蠀 渭蔚 慰蟺慰喂慰 蟿蟻慰蟺慰, 伪魏慰渭畏 魏伪喂 渭蔚 魏伪蟺慰喂慰 伪胃蠅慰 蠄蔚渭伪. 螝伪喂 伪蟺慰 蟿畏谓 伪位位畏 渭蔚蟻喂伪, 蟿喂 纬喂谓蔚蟿伪喂 慰蟿伪谓 伪蠀蟿慰 蟿慰 蟽蠀谓伪喂蟽胃畏渭伪 慰未畏纬蔚喂 蟿慰谓 蟺位畏蟽喂慰谓 渭伪蟼 蟽蟿慰 谓伪 渭伪蟼 胃蔚蠅蟻畏蟽蔚喂 蟿畏谓 伪蟺慰位蠀蟿畏 伪蠁慰蟻渭畏 纬喂伪 味蠅畏, 慰蟿伪谓 畏 螘谓蟿喂胃 尾位蔚蟺蔚喂 蟽蟿慰谓 慰喂魏蟿慰 蟿慰蠀 螒谓蟿慰谓 蟿慰 渭慰谓慰 喂蟽蠅蟼 位慰纬慰 纬喂伪 谓伪 蟺蟻慰蟽蟺伪胃畏蟽蔚喂 谓伪 谓喂魏畏蟽蔚喂 蟿畏谓 伪谓伪蟺畏蟻喂伪 蟿畏蟼 魏伪喂 谓伪 蟽蠀谓蔚蠂喂蟽蔚喂 谓伪 味蔚喂, 伪位位伪 蟺伪蟻'慰位伪 伪蠀蟿伪 慰 螒谓蟿慰谓 未蔚谓 伪谓蟿伪蟺慰魏蟻喂谓蔚蟿伪喂 蟽蔚 伪蠀蟿伪 蟿伪 蟽蠀谓伪喂蟽胃畏渭伪蟿伪 纬喂伪蟿喂 蟿畏谓 伪谓蟿喂渭蔚蟿蠅蟺喂味蔚喂 渭慰谓慰 渭蔚 慰喂魏蟿慰? 螠蟺慰蟻蔚喂 谓伪 蔚喂谓伪喂 蔚喂位喂魏蟻喂谓畏蟼 魏伪喂 谓伪 未畏位蠅蟽蔚喂 魏伪蟿喂 蟿蔚蟿慰喂慰 渭蔚 魏喂谓未蠀谓慰 谓伪 魏伪蟿伪未喂魏伪蟽蔚喂 蟽蟿畏 蠂蔚喂蟻慰蟿蔚蟻畏 渭慰喂蟻伪 渭喂伪 魏慰蟺蔚位伪 蟺慰蠀 蔚谓伪蟺慰胃蔚蟿蔚喂 蟺伪谓蠅 蟿慰蠀 蟿喂蟼 蔚位蟺喂未蔚蟼 纬喂伪 渭喂伪 蠁蠀蟽喂慰位慰纬喂魏畏 味蠅畏?
螣蟺蠅蟼 伪谓蔚蠁蔚蟻伪, 未蔚谓 蔚蠂蠅 位慰纬喂伪 纬喂伪 蟿畏 蟽蠀纬纬蟻伪蠁喂魏畏 未蔚喂谓蠈蟿畏蟿伪 蟿慰蠀 韦蟽尾伪喂蠂, 伪位位伪 魏蠀蟻喂蠅蟼 胃伪蠀渭伪味蠅 蟿慰 蟺慰蟽慰 蠁伪喂谓蔚蟿伪喂 慰蟿喂 畏蟿伪谓 蔚谓伪蟼 伪谓胃蟻蠅蟺慰蟼 蟺慰蠀 蔚喂蠂蔚 未喂蔚喂蟽未蠀蟽蔚喂 蟽蟿畏 渭蔚位蔚蟿畏 蟿畏蟼 蠄蠀蠂慰位慰纬喂伪蟼 魏伪喂 蟿蠅谓 蟽蠀谓伪喂蟽胃畏渭伪蟿蠅谓, 蟺伪喂蟻谓蠅谓蟿伪蟼 蔚谓伪 渭慰谓慰 伪蟺慰 伪蠀蟿伪 魏伪喂 魏伪谓慰谓蟿伪蟼 蟿慰 蔚谓伪 蟺慰位蠀蟿喂渭慰 尾喂尾位喂慰. 螖蔚谓 蔚喂谓伪喂 蟿蠀蠂伪喂慰 伪位位蠅蟽蟿蔚 慰蟿喂 蟿慰谓 喂未喂慰 蟽蠀谓蔚未蔚蔚 蟽蟿蔚谓畏 蠁喂位喂伪 渭蔚 蟿慰谓 桅蟻慰蠆谓蟿, 纬喂伪 蟿慰谓 慰蟺慰喂慰 蔚喂蠂蔚 蟺蔚喂 蟺蠅蟼 "慰,蟿喂 纬蟻伪蠁蠅 蔚喂谓伪喂 蟽畏渭伪未蔚渭蔚谓慰 伪蟺慰 蟿畏谓 蔚蟺喂蟻蟻慰畏 蟽慰蠀 魏伪喂 蔚蟽蠀 魏伪蟿伪谓慰蔚喂蟼, 蟺喂胃伪谓慰谓, 蟺蠅蟼 蟿慰 魏慰蠀蟻伪纬喂慰 谓伪 位蔚蠅 蟿畏谓 伪位畏胃蔚喂伪, 喂蟽蠅蟼 蟿慰 蟽畏渭伪谓蟿喂魏慰蟿蔚蟻慰 蟺蟻伪纬渭伪 蟽蟿伪 尾喂尾位喂伪 渭慰蠀, 蟺蟻慰蔚蟻蠂蔚蟿伪喂 伪蟺慰 蔚蟽蔚谓伪. 螘蠂蔚喂蟼 伪蟺慰蟿蔚位蔚蟽蔚喂 蟺蟻慰蟿蠀蟺慰 渭喂伪蟼 慰位慰魏位畏蟻畏蟼 纬蔚谓喂伪蟼" .
螣蟺蠅蟼 伪谓蔚蠁蔚蟻伪 蟽蟿畏谓 伪蟻蠂畏, 蠀蟺畏蟻蠂伪谓 蟽畏渭蔚喂伪 蟽蟿慰 尾喂尾位喂慰 蟺慰蠀 喂蟽蠅蟼 谓伪 渭畏 渭蔚 蔚谓未喂蔚蠁蔚蟻伪谓 蟿慰蟽慰, 慰蟽慰谓 伪蠁慰蟻伪 蟽蟿畏谓 蟺位慰魏畏, 蠅蟽蟿慰蟽慰 未蔚 胃伪 渭蟺慰蟻慰蠀蟽伪 谓伪 尾伪位蠅 魏伪蟿喂 位喂纬慰蟿蔚蟻慰 伪蟺慰 5 蟽蔚 渭喂伪 蟿慰蟽慰 蔚尉蠀蟺谓畏 喂未蔚伪 魏伪喂 蟽蔚 蔚谓伪 蟿蔚蟿慰喂慰 喂未喂慰蠁蠀蔚蟼, 渭蔚位蔚蟿畏渭蔚谓慰 渭蠀伪位慰, 蟺慰蠀 蟽蟿伪 未喂魏伪 渭慰蠀 渭伪蟿喂伪 伪蟺慰蟿蔚位蔚喂 伪蠀蟿慰 蟿慰蠀 韦蟽尾伪喂蠂
馃専馃専馃専馃専馃専/5 伪蟽蟿蔚蟻喂伪
螣蟺蠅蟼 伪谓蔚蠁蔚蟻伪, 未蔚谓 蔚蠂蠅 位慰纬喂伪 纬喂伪 蟿畏 蟽蠀纬纬蟻伪蠁喂魏畏 未蔚喂谓蠈蟿畏蟿伪 蟿慰蠀 韦蟽尾伪喂蠂, 伪位位伪 魏蠀蟻喂蠅蟼 胃伪蠀渭伪味蠅 蟿慰 蟺慰蟽慰 蠁伪喂谓蔚蟿伪喂 慰蟿喂 畏蟿伪谓 蔚谓伪蟼 伪谓胃蟻蠅蟺慰蟼 蟺慰蠀 蔚喂蠂蔚 未喂蔚喂蟽未蠀蟽蔚喂 蟽蟿畏 渭蔚位蔚蟿畏 蟿畏蟼 蠄蠀蠂慰位慰纬喂伪蟼 魏伪喂 蟿蠅谓 蟽蠀谓伪喂蟽胃畏渭伪蟿蠅谓, 蟺伪喂蟻谓蠅谓蟿伪蟼 蔚谓伪 渭慰谓慰 伪蟺慰 伪蠀蟿伪 魏伪喂 魏伪谓慰谓蟿伪蟼 蟿慰 蔚谓伪 蟺慰位蠀蟿喂渭慰 尾喂尾位喂慰. 螖蔚谓 蔚喂谓伪喂 蟿蠀蠂伪喂慰 伪位位蠅蟽蟿蔚 慰蟿喂 蟿慰谓 喂未喂慰 蟽蠀谓蔚未蔚蔚 蟽蟿蔚谓畏 蠁喂位喂伪 渭蔚 蟿慰谓 桅蟻慰蠆谓蟿, 纬喂伪 蟿慰谓 慰蟺慰喂慰 蔚喂蠂蔚 蟺蔚喂 蟺蠅蟼 "慰,蟿喂 纬蟻伪蠁蠅 蔚喂谓伪喂 蟽畏渭伪未蔚渭蔚谓慰 伪蟺慰 蟿畏谓 蔚蟺喂蟻蟻慰畏 蟽慰蠀 魏伪喂 蔚蟽蠀 魏伪蟿伪谓慰蔚喂蟼, 蟺喂胃伪谓慰谓, 蟺蠅蟼 蟿慰 魏慰蠀蟻伪纬喂慰 谓伪 位蔚蠅 蟿畏谓 伪位畏胃蔚喂伪, 喂蟽蠅蟼 蟿慰 蟽畏渭伪谓蟿喂魏慰蟿蔚蟻慰 蟺蟻伪纬渭伪 蟽蟿伪 尾喂尾位喂伪 渭慰蠀, 蟺蟻慰蔚蟻蠂蔚蟿伪喂 伪蟺慰 蔚蟽蔚谓伪. 螘蠂蔚喂蟼 伪蟺慰蟿蔚位蔚蟽蔚喂 蟺蟻慰蟿蠀蟺慰 渭喂伪蟼 慰位慰魏位畏蟻畏蟼 纬蔚谓喂伪蟼" .
螣蟺蠅蟼 伪谓蔚蠁蔚蟻伪 蟽蟿畏谓 伪蟻蠂畏, 蠀蟺畏蟻蠂伪谓 蟽畏渭蔚喂伪 蟽蟿慰 尾喂尾位喂慰 蟺慰蠀 喂蟽蠅蟼 谓伪 渭畏 渭蔚 蔚谓未喂蔚蠁蔚蟻伪谓 蟿慰蟽慰, 慰蟽慰谓 伪蠁慰蟻伪 蟽蟿畏谓 蟺位慰魏畏, 蠅蟽蟿慰蟽慰 未蔚 胃伪 渭蟺慰蟻慰蠀蟽伪 谓伪 尾伪位蠅 魏伪蟿喂 位喂纬慰蟿蔚蟻慰 伪蟺慰 5 蟽蔚 渭喂伪 蟿慰蟽慰 蔚尉蠀蟺谓畏 喂未蔚伪 魏伪喂 蟽蔚 蔚谓伪 蟿蔚蟿慰喂慰 喂未喂慰蠁蠀蔚蟼, 渭蔚位蔚蟿畏渭蔚谓慰 渭蠀伪位慰, 蟺慰蠀 蟽蟿伪 未喂魏伪 渭慰蠀 渭伪蟿喂伪 伪蟺慰蟿蔚位蔚喂 伪蠀蟿慰 蟿慰蠀 韦蟽尾伪喂蠂
馃専馃専馃専馃専馃専/5 伪蟽蟿蔚蟻喂伪
July 6, 2016
Este libro es un cat谩logo maestro de las emociones y la psicolog铆a humanas. En literatura solemos encontrarnos con los grandes temas (el amor, el destino, la muerte鈥�) a menudo tratados de manera muy gen茅rica, sostenidos por numerosos clich茅s, lo que crea un cosmos que percibimos como factible pero que se aleja en gran medida de nuestro propio mundo interior. Como excepci贸n a esta tendencia, a veces encontramos una obra maestra en la que la forma de sentir de los personajes no es lineal ni absoluta sino que est谩 plagada de errores en los que vemos reflejados nuestras propias contradicciones. Es el caso de este libro de Stefan Zweig.
Rese帽a completa y mi versi贸n de la portada en
Rese帽a completa y mi versi贸n de la portada en
December 23, 2011
This is one of the best books I've ever read. It does everything that really great books should do. It takes the idea of pity and really explores it as a human emotion. It left me feeling as if I might be a bit wiser about how to be a decent human being. On top of that, it is readable and I found it a bit of a page-turner due to the brilliant characters.
It is so cleverly constructed too; a layering of narrative on narrative so that as each person tells a story or relates a rumour they all begin to echo and resonate with each other. Even the word pity itself builds up in subtle shades of meaning so that everytime it is used it becomes like an ominous bell sounding.
If the writing is criticised as being melodramatic, I took it to be a characterisation of the first person narrator. He is constantly vacillating between over-zealous despondency and naive joy. I just couldn't find a fault with this and I'm stunned that it has taken me 27 years to find Stefan Zweig.
Just my type of novel: detailed, psychologically nuanced, and deep.
It is so cleverly constructed too; a layering of narrative on narrative so that as each person tells a story or relates a rumour they all begin to echo and resonate with each other. Even the word pity itself builds up in subtle shades of meaning so that everytime it is used it becomes like an ominous bell sounding.
If the writing is criticised as being melodramatic, I took it to be a characterisation of the first person narrator. He is constantly vacillating between over-zealous despondency and naive joy. I just couldn't find a fault with this and I'm stunned that it has taken me 27 years to find Stefan Zweig.
Just my type of novel: detailed, psychologically nuanced, and deep.
April 11, 2017
鈥�
丨匕丕乇賽 賲賳 丕賱卮賮賯丞 !
丨匕丕乇賽 賲賳 丕賱丨亘 !
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噩乇賮賳賷 爻鬲賷賮丕賳 賱夭賵丕賷丕 丕賱賳賮爻 亘鬲毓賯賷丿丕鬲賴丕貙
賱賲賳 賳囟丨賷 賵賰賷賮 賵賲鬲賶 .. 責責
賱賲賳 亘丕爻鬲胤丕毓鬲賳丕 兀賳 賳鬲賳丕夭賱 毓賳 兀睾賱賶 賲丕 賳賲賱賰 兀賵 丨鬲賶 兀孬賲賳 賲丕 賳爻鬲胤賷毓 .. 責責
賴賱 丕賱丨匕乇 賲賳 丕賱卮賮賯丞 .. 賴賵 丕賱禺賵賮 賲賳 廿馗賴丕乇 兀噩賲賱 賲丕 鬲賰賳賴 兀毓賲丕賯賳丕 丕賱廿賳爻丕賳賷丞貙 兀賲 丕賱禺賵賮 賱兀賳 賮賷 匕賱賰 賵兀丿 賱賱乇賵丨 賵賲丕 鬲乇賷丿 責
賱賲 賷毓賱賯 賮賷 賳賮爻賷 卮賷亍 賲賳 匕賱賰 丕賱亘胤賱 兀賰孬乇 賲賳 兀賳 賰賳鬲 丨丕卅乇丞貙 鬲丕卅賴丞 .. 亘賷賳 兀賳 賷丨亘 亘毓夭賷賲丞 卮噩丕毓丞 兀賵 賷賳爻丨亘 賵賷賴乇亘 賰噩亘丕賳 ..
賵丨賷賳賲丕 兀賮賰乇 亘毓賯賱丞 .. 兀鬲爻丕卅賱 :
賰賷賮 賷鬲禺賱賶 丕賱賲乇亍 毓賳 鬲賱賰 丕賱匕丕鬲賷丞 賲毓 賲賮鬲乇賯 丕賱丿乇亘賷賳 賵丕賱鬲賲夭賯 .. 兀賱丕 賷丨賯 賱賴 兀賳 賷禺鬲丕乇 賲丕 賷卮丕亍 責!
兀賱丕 賷丨賯 賱賴 兀賳 賷鬲亘毓 賲丕 賷賲賱賷 毓賱賷賴 賯賱亘賴 賵匕賵賯賴 責!
兀賲 兀賳 賵丕噩亘 丕賱鬲囟丨賷丞 賷賱夭賲賴 亘兀賰孬乇 賲賳 匕賱賰 責!
賵賷賮氐賾賱 賱賴 丕禺鬲賷丕乇丕鬲 兀賰亘乇 賲賳 賲賯丕爻丕鬲賴 賱賷睾胤賷 亘賴丕 賴賲賵賲 賲賳 賷毓丕賳賷 亘毓賲賯 責!
鈥�
賮賷 丕賱賳賮爻 禺賵丕亍 .. 賱丕 賷賲賱兀賴 廿賱丕 丕賱禺賷乇. 丨賷賳賲丕 鬲丕賴鬲 禺胤丕賴 鬲賯丿賲 賳丨賵賴丕貙 兀卮賮賯 賱賲氐丕亘賴丕貙 卮毓乇 亘賲丕 賱賲 賷卮毓乇 亘賴 賲賳 賯亘賱 ..
兀賳 鬲鬲毓丕胤賮 卮賷亍 賱賷爻 亘丕賱睾乇賷亘.
賵賱賰賳 兀賳 鬲毓賷卮 毓賱賶 匕賱賰 丕賱鬲毓丕胤賮 賵鬲噩乇賷 賮賷 亘卮乇鬲賰 卮賲爻 丕賱丨賷丕丞 亘匕丕鬲賴丕 賱兀賳賰 賲賳丨鬲 賳賮爻丕賸 亘爻賲丞 鬲丨鬲丕噩賴丕 亘賱 賮賷 兀賲爻 丕賱丨丕噩丞 賱賴丕.
賵亘毓丿 兀賳 鬲購卮亘毓 禺賵丕賰 賵鬲賲鬲賱兀購 亘丕賱賮乇丨 鬲賯賱賯 毓賱賶 匕賱賰 丕賱賲爻丕乇 丕賱睾丕賲囟 賵丕賱匕賷 賷禺乇噩 丕賱鬲毓丕胤賮 毓賳 賲爻丕乇賴 賵賷乇丿賷賰 廿賱賶 丨鬲賮賰 丕賱賲丨鬲賲賱.
兀賯氐丿 廿賱賶 毓匕丕亘賰 丕賱賲爻鬲賲乇 .. 賲毓 丕賱氐乇丕毓 毓賱賶 鬲賴丿兀丞 丕賱賳賷乇丕賳 丨賵賱賰 孬賲 賱丕 賷丨鬲乇賯 亘賴丕 兀丨丿丕賸 爻賵丕賰.
賵鬲購賮賰乇 ..
賴賱 禺賱賯鬲 賱兀賳賯匕 丕賱毓丕賱賲 賵兀囟丨賷 賱兀噩賱 賰爻賷丨丞 賲鬲賰賵賲丞 毓賱賶 賳賮爻賴丕 賰賰賵賲丞 賯卮 .. 兀賲 兀毓賷卮 丨乇賷鬲賷 亘胤賱丕賯丞 賵丕禺鬲賷丕乇 丨乇 ..!
毓賮賵丕賸 ..
賰賷賮 鬲兀鬲賷 丕賱丨乇賷丞 亘毓丿 兀賳 賰亘賾賱鬲 賯賱亘丕賸 亘丨亘賰 責!
賰賷賮 鬲兀鬲賷 丕賱丨乇賷丞 亘毓丿 兀賳 賴丕賲鬲 亘賰 丿賵賳 兀賳 賷乇賮 賲賳賰 賱賴丕 卮毓賵乇 ..
孬賲 賱丕 鬲乇賶 賲賳賴丕 廿賱丕 丕賱賳賯氐 賵賱賲 鬲賮賰乇 賰賷賮 賷卮毓乇 丕賱賲乇賷囟 賮賷 毓夭賱鬲賴 賵賮賯丿 丕鬲夭丕賳丞.
賵賴賱 丕賱丨賷丕丞 爻賱爻賱丞 賲賳 丕賱鬲囟丨賷丕鬲 丨鬲賶 兀賯毓 賲賳 亘丿丕賷鬲賴丕 廿賱賶 賳賴丕賷鬲賴丕 責!
乇亘賲丕 賳毓賲 ..
賱兀賳賴丕 丕賱丌賳 鬲賮賯丿 賲毓 賰賱 賷賵賲 噩夭亍丕賸 賲賳 匕丕鬲賴丕 賵賷鬲囟禺賲 賮賷 氐丿乇賴丕 匕賱賰 丕賱丨亘 丕賱禺亘賷孬 賱賲賳 賱丕 賷賱鬲賮鬲 賱賴丕 廿賱丕 亘丿丕賮毓 丕賱卮賮賯丞 賵丕賱丨乇氐 毓賱賶 爻毓丕丿鬲賴 賲賳 禺賱丕賱賴丕 ..
賲賳 禺賱丕賱 丕賱毓胤丕亍 丕賱賰丕匕亘.
賱賷爻鬲 丕賱賲毓丕賳丕丞 賮賷 丕賱賳賯氐 賮丨爻亘 亘賱 丨鬲賶 賮賷 賱賵丨丞 丕賱賮賳 賵丕賱丨賷丕丞貙 丕賱賳賯氐 噩夭亍 賲賳 丕賱噩賲丕賱 賵丕賱賰賲丕賱 .. 賵丨鬲賶 丕賱毓賷賵亘 賱賷爻鬲 賰賲丕 賳馗賳 毓賷賵亘丕賸 亘賲丕 鬲丨賲賱賴 賲賳 孬賯賱 .. 廿賳賲丕 丨鬲賶 丕賱賳賯氐 賵丕賱毓賷亘 賷兀鬲賷 亘氐賵乇丞 賲鬲賳丕睾賲丞 賲毓 賵鬲賷乇丞 丕賱賰賵賳 亘兀賰賲賱賴.
賲鬲賶 賷亘丿兀 丕賱廿賳爻丕賳 亘丕賱賳賰乇丕賳 .. 丨鬲賶 賷賳賯賱亘 丕賱丨匕乇 廿賱賶 鬲乇賯亘 廿賱賶 氐乇丕毓 賲乇賷乇 賷賲夭賯賴 賲賳 丕賱丿丕禺賱 賵賷爻鬲賵賱賷 毓賱賶 毓乇卮 乇賵丨賴 ..
賰賷賮 兀爻鬲賲乇 .. -賷鬲爻丕卅賱- 賵兀賳丕 賱丕 兀賰賳 賱賴丕 丕賱丨亘 責!
賰賷賮 兀亘丿賱 賲夭丕噩 丕賱卮賮賯丞 賵睾胤丕亍賴 廿賱賶 氐乇丕丨丞 丕賱丨亘 賵孬賯鬲賴 ..
賱丕 兀丨亘賴丕 ..
廿賳賲丕 兀卮賮賯 毓賱賷賴丕 ..
鈥�
氐乇丕毓 賲乇賷乇 賲毓 丕賱匕丕鬲 賵賮賱爻賮丞 丨賱賵丞 .. 賲乇丞. 賯丕丿鬲賳賷 賲毓 賯賱賲 爻鬲賷賮丕賳 賱毓丕賱賲 賲乇賷乇 亘卮賮丕賮賷丞 鬲胤亘毓 毓賱賶 丕賱賳賮爻 丨賱丕賵丞 丕賱賲乇丕乇丞 賵匕賰丕亍 丕賱匕丕鬲 賲毓 丕賱賲毓丕賳丕丞 賵丕賱賴賲.
卮賰乇丕賸 賲丨賲丿 毓賱賷 毓賱賶 賴匕丕 丕賱丕賯鬲乇丕丨 丕賱賲賲賷夭鉁�
丨匕丕乇賽 賲賳 丕賱卮賮賯丞 !
丨匕丕乇賽 賲賳 丕賱丨亘 !
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噩乇賮賳賷 爻鬲賷賮丕賳 賱夭賵丕賷丕 丕賱賳賮爻 亘鬲毓賯賷丿丕鬲賴丕貙
賱賲賳 賳囟丨賷 賵賰賷賮 賵賲鬲賶 .. 責責
賱賲賳 亘丕爻鬲胤丕毓鬲賳丕 兀賳 賳鬲賳丕夭賱 毓賳 兀睾賱賶 賲丕 賳賲賱賰 兀賵 丨鬲賶 兀孬賲賳 賲丕 賳爻鬲胤賷毓 .. 責責
賴賱 丕賱丨匕乇 賲賳 丕賱卮賮賯丞 .. 賴賵 丕賱禺賵賮 賲賳 廿馗賴丕乇 兀噩賲賱 賲丕 鬲賰賳賴 兀毓賲丕賯賳丕 丕賱廿賳爻丕賳賷丞貙 兀賲 丕賱禺賵賮 賱兀賳 賮賷 匕賱賰 賵兀丿 賱賱乇賵丨 賵賲丕 鬲乇賷丿 責
賱賲 賷毓賱賯 賮賷 賳賮爻賷 卮賷亍 賲賳 匕賱賰 丕賱亘胤賱 兀賰孬乇 賲賳 兀賳 賰賳鬲 丨丕卅乇丞貙 鬲丕卅賴丞 .. 亘賷賳 兀賳 賷丨亘 亘毓夭賷賲丞 卮噩丕毓丞 兀賵 賷賳爻丨亘 賵賷賴乇亘 賰噩亘丕賳 ..
賵丨賷賳賲丕 兀賮賰乇 亘毓賯賱丞 .. 兀鬲爻丕卅賱 :
賰賷賮 賷鬲禺賱賶 丕賱賲乇亍 毓賳 鬲賱賰 丕賱匕丕鬲賷丞 賲毓 賲賮鬲乇賯 丕賱丿乇亘賷賳 賵丕賱鬲賲夭賯 .. 兀賱丕 賷丨賯 賱賴 兀賳 賷禺鬲丕乇 賲丕 賷卮丕亍 責!
兀賱丕 賷丨賯 賱賴 兀賳 賷鬲亘毓 賲丕 賷賲賱賷 毓賱賷賴 賯賱亘賴 賵匕賵賯賴 責!
兀賲 兀賳 賵丕噩亘 丕賱鬲囟丨賷丞 賷賱夭賲賴 亘兀賰孬乇 賲賳 匕賱賰 責!
賵賷賮氐賾賱 賱賴 丕禺鬲賷丕乇丕鬲 兀賰亘乇 賲賳 賲賯丕爻丕鬲賴 賱賷睾胤賷 亘賴丕 賴賲賵賲 賲賳 賷毓丕賳賷 亘毓賲賯 責!
鈥�
賮賷 丕賱賳賮爻 禺賵丕亍 .. 賱丕 賷賲賱兀賴 廿賱丕 丕賱禺賷乇. 丨賷賳賲丕 鬲丕賴鬲 禺胤丕賴 鬲賯丿賲 賳丨賵賴丕貙 兀卮賮賯 賱賲氐丕亘賴丕貙 卮毓乇 亘賲丕 賱賲 賷卮毓乇 亘賴 賲賳 賯亘賱 ..
兀賳 鬲鬲毓丕胤賮 卮賷亍 賱賷爻 亘丕賱睾乇賷亘.
賵賱賰賳 兀賳 鬲毓賷卮 毓賱賶 匕賱賰 丕賱鬲毓丕胤賮 賵鬲噩乇賷 賮賷 亘卮乇鬲賰 卮賲爻 丕賱丨賷丕丞 亘匕丕鬲賴丕 賱兀賳賰 賲賳丨鬲 賳賮爻丕賸 亘爻賲丞 鬲丨鬲丕噩賴丕 亘賱 賮賷 兀賲爻 丕賱丨丕噩丞 賱賴丕.
賵亘毓丿 兀賳 鬲購卮亘毓 禺賵丕賰 賵鬲賲鬲賱兀購 亘丕賱賮乇丨 鬲賯賱賯 毓賱賶 匕賱賰 丕賱賲爻丕乇 丕賱睾丕賲囟 賵丕賱匕賷 賷禺乇噩 丕賱鬲毓丕胤賮 毓賳 賲爻丕乇賴 賵賷乇丿賷賰 廿賱賶 丨鬲賮賰 丕賱賲丨鬲賲賱.
兀賯氐丿 廿賱賶 毓匕丕亘賰 丕賱賲爻鬲賲乇 .. 賲毓 丕賱氐乇丕毓 毓賱賶 鬲賴丿兀丞 丕賱賳賷乇丕賳 丨賵賱賰 孬賲 賱丕 賷丨鬲乇賯 亘賴丕 兀丨丿丕賸 爻賵丕賰.
賵鬲購賮賰乇 ..
賴賱 禺賱賯鬲 賱兀賳賯匕 丕賱毓丕賱賲 賵兀囟丨賷 賱兀噩賱 賰爻賷丨丞 賲鬲賰賵賲丞 毓賱賶 賳賮爻賴丕 賰賰賵賲丞 賯卮 .. 兀賲 兀毓賷卮 丨乇賷鬲賷 亘胤賱丕賯丞 賵丕禺鬲賷丕乇 丨乇 ..!
毓賮賵丕賸 ..
賰賷賮 鬲兀鬲賷 丕賱丨乇賷丞 亘毓丿 兀賳 賰亘賾賱鬲 賯賱亘丕賸 亘丨亘賰 責!
賰賷賮 鬲兀鬲賷 丕賱丨乇賷丞 亘毓丿 兀賳 賴丕賲鬲 亘賰 丿賵賳 兀賳 賷乇賮 賲賳賰 賱賴丕 卮毓賵乇 ..
孬賲 賱丕 鬲乇賶 賲賳賴丕 廿賱丕 丕賱賳賯氐 賵賱賲 鬲賮賰乇 賰賷賮 賷卮毓乇 丕賱賲乇賷囟 賮賷 毓夭賱鬲賴 賵賮賯丿 丕鬲夭丕賳丞.
賵賴賱 丕賱丨賷丕丞 爻賱爻賱丞 賲賳 丕賱鬲囟丨賷丕鬲 丨鬲賶 兀賯毓 賲賳 亘丿丕賷鬲賴丕 廿賱賶 賳賴丕賷鬲賴丕 責!
乇亘賲丕 賳毓賲 ..
賱兀賳賴丕 丕賱丌賳 鬲賮賯丿 賲毓 賰賱 賷賵賲 噩夭亍丕賸 賲賳 匕丕鬲賴丕 賵賷鬲囟禺賲 賮賷 氐丿乇賴丕 匕賱賰 丕賱丨亘 丕賱禺亘賷孬 賱賲賳 賱丕 賷賱鬲賮鬲 賱賴丕 廿賱丕 亘丿丕賮毓 丕賱卮賮賯丞 賵丕賱丨乇氐 毓賱賶 爻毓丕丿鬲賴 賲賳 禺賱丕賱賴丕 ..
賲賳 禺賱丕賱 丕賱毓胤丕亍 丕賱賰丕匕亘.
賱賷爻鬲 丕賱賲毓丕賳丕丞 賮賷 丕賱賳賯氐 賮丨爻亘 亘賱 丨鬲賶 賮賷 賱賵丨丞 丕賱賮賳 賵丕賱丨賷丕丞貙 丕賱賳賯氐 噩夭亍 賲賳 丕賱噩賲丕賱 賵丕賱賰賲丕賱 .. 賵丨鬲賶 丕賱毓賷賵亘 賱賷爻鬲 賰賲丕 賳馗賳 毓賷賵亘丕賸 亘賲丕 鬲丨賲賱賴 賲賳 孬賯賱 .. 廿賳賲丕 丨鬲賶 丕賱賳賯氐 賵丕賱毓賷亘 賷兀鬲賷 亘氐賵乇丞 賲鬲賳丕睾賲丞 賲毓 賵鬲賷乇丞 丕賱賰賵賳 亘兀賰賲賱賴.
賲鬲賶 賷亘丿兀 丕賱廿賳爻丕賳 亘丕賱賳賰乇丕賳 .. 丨鬲賶 賷賳賯賱亘 丕賱丨匕乇 廿賱賶 鬲乇賯亘 廿賱賶 氐乇丕毓 賲乇賷乇 賷賲夭賯賴 賲賳 丕賱丿丕禺賱 賵賷爻鬲賵賱賷 毓賱賶 毓乇卮 乇賵丨賴 ..
賰賷賮 兀爻鬲賲乇 .. -賷鬲爻丕卅賱- 賵兀賳丕 賱丕 兀賰賳 賱賴丕 丕賱丨亘 責!
賰賷賮 兀亘丿賱 賲夭丕噩 丕賱卮賮賯丞 賵睾胤丕亍賴 廿賱賶 氐乇丕丨丞 丕賱丨亘 賵孬賯鬲賴 ..
賱丕 兀丨亘賴丕 ..
廿賳賲丕 兀卮賮賯 毓賱賷賴丕 ..
鈥�
氐乇丕毓 賲乇賷乇 賲毓 丕賱匕丕鬲 賵賮賱爻賮丞 丨賱賵丞 .. 賲乇丞. 賯丕丿鬲賳賷 賲毓 賯賱賲 爻鬲賷賮丕賳 賱毓丕賱賲 賲乇賷乇 亘卮賮丕賮賷丞 鬲胤亘毓 毓賱賶 丕賱賳賮爻 丨賱丕賵丞 丕賱賲乇丕乇丞 賵匕賰丕亍 丕賱匕丕鬲 賲毓 丕賱賲毓丕賳丕丞 賵丕賱賴賲.
卮賰乇丕賸 賲丨賲丿 毓賱賷 毓賱賶 賴匕丕 丕賱丕賯鬲乇丕丨 丕賱賲賲賷夭鉁�
June 12, 2022
廿賳 丕賱匕賷賳 丕賲鬲丨賳鬲賴賲 丕賱兀賯丿丕乇 亘囟乇亘丕鬲 賯丕爻賷丞
賷毓賷卮賵賳 胤賷賱丞 丨賷丕鬲賴賲
賲乇賴賮賷 丕賱廿丨爻丕爻 貙 爻乇賷毓賷 丕賱鬲兀孬乇.
賷毓賷卮賵賳 胤賷賱丞 丨賷丕鬲賴賲
賲乇賴賮賷 丕賱廿丨爻丕爻 貙 爻乇賷毓賷 丕賱鬲兀孬乇.
October 6, 2016
Exactamente no s茅 muy bien qu茅 decir: hay partes de la novela que se me hicieron muy tediosas y otras, en cambio, eran como caramelos en la boca de un ni帽o. Lo que s铆 puedo afirmar es que es una gran historia, quiz谩s algo diferente a lo que yo me esperaba, pero Zweig retrata el alma humana como un genio de la pintura, sin olvidar ning煤n matiz ni sombra.
March 4, 2022
螣 芦 蔚蟺喂魏委谓未蠀谓慰蟼 慰委魏蟿慰蟼禄 伪蠀蟿蠈 蟿慰 蔚蟺喂魏蠈 蠄蠀蠂慰位慰纬喂魏蠈 苇蟻纬慰 蟿慰 慰蟺慰委慰 伪蟺位蠋谓蔚蟿伪喂 蟽伪谓 未喂维蠁伪谓慰 蟺苇蟺位慰 蟺维谓蠅 伪蟺慰 蟿喂蟼 蟽蠀谓蔚喂未畏蟿苇蟼 魏伪喂 伪蟽蠀谓蔚委未畏蟿蔚蟼 伪未蠀谓伪渭委蔚蟼 蟿蠅谓 蟽蠀谓伪喂蟽胃畏渭伪蟿喂魏蠋谓 蟽蠀纬蠂蠉蟽蔚蠅谓 渭蔚 渭喂伪 喂蟽蠂蠀蟻萎 魏伪喂 蟺伪谓伪谓胃蟻蠋蟺喂谓畏 伪位萎胃蔚喂伪 蟺慰蠀 魏蠈尾蔚喂 蟿畏谓 伪谓维蟽伪 魏伪喂 伪谓伪蟿苇渭谓蔚喂 蟿畏谓 伪蟺伪蟿畏位萎 魏伪蟻未喂维.
螒蠀蟿蠈, 蔚委谓伪喂 蟿慰 渭慰谓伪未喂魏蠈 慰位慰魏位畏蟻蠅渭苇谓慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪
蟿慰蠀 蟿蔚蟻维蟽蟿喂慰蠀 螒蠀蟽蟿蟻喂伪魏慰蠉 蟺蔚味慰纬蟻维蠁慰蠀 危蟿苇蠁伪谓 韦蟽尾维喂蠂.
螠喂伪 蟽蠀谓畏胃喂蟽渭苇谓畏 喂蟽蟿慰蟻委伪 渭慰谓蠈蟺位蔚蠀蟻畏蟼 伪纬维蟺畏蟼, 蔚渭渭慰谓萎蟼, 蔚尉伪蟺维蟿畏蟽畏蟼 魏伪喂 蔚尉维蟻蟿畏蟽畏蟼 蠂蠅蟻委蟼 谓伪 尉蔚魏伪胃伪蟻委味蔚蟿伪喂 蟿慰 胃蠉渭伪 魏伪喂 慰 胃蠉蟿畏蟼.
惟蟼 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 位苇尉畏 慰喂 尾伪蟽喂魏慰委 渭伪蟼 萎蟻蠅蔚蟼 尾伪蟽伪谓委味慰谓蟿伪喂, 蠂伪委蟻慰谓蟿伪喂, 蟺慰谓慰蠉谓, 蔚蟻蠅蟿蔚蠉慰谓蟿伪喂, 慰喂魏蟿委蟻慰蠀谓 蔚蟺喂魏委谓未蠀谓伪 蟽蟺苇蟻谓慰谓蟿伪蟼 蟿慰 渭喂魏蟻蠈尾喂慰 蟿慰蠀 蔚纬蠅喂蟽渭慰蠉 伪魏蠈渭畏 魏伪喂 渭苇蟽伪 蟽蟿伪 蟺喂慰 尾伪胃喂维 蟽蠀谓伪喂蟽胃萎渭伪蟿伪.
螣 危蟿苇蠁伪谓 韦蟽尾维喂蠂 蔚委谓伪喂 渭伪胃畏蟿萎蟼 蟿蟻喂蠅谓 未喂伪蠁慰蟻蔚蟿喂魏蠋谓 慰蠀蟽喂伪蟽蟿喂魏维 未伪蟽魏维位蠅谓. 螠蠅蟺伪蟽维谓, 韦慰蠀蟻纬魏苇谓喂蔚蠁 魏伪喂 韦蟽苇蠂慰蠁, 维蠁畏蟽伪谓 蟿伪 伪谓蔚尉委蟿畏位伪 蟿伪蟿慰蠀维味 蟿畏蟼 蔚谓蟽蠀谓伪委蟽胃畏蟽畏蟼 蟺慰蠀 蟺蟻慰魏伪位慰蠉蟽伪谓 蟿畏谓 未畏渭喂慰蠀蟻纬委伪 渭喂伪蟼 蠀蟺蔚蟻尾慰位喂魏维 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎蟼 蟿苇蠂谓畏蟼 伪谓伪蠁慰蟻喂魏维 渭蔚 蟿伪 未喂畏纬萎渭伪蟿伪 魏伪喂 蟿喂蟼 谓慰蠀尾苇位蔚蟼 蟿慰蠀 渭伪胃畏蟿萎 蟿慰蠀蟼.
韦慰谓 苇魏伪谓伪谓 苇谓伪 蔚蟺喂蟿蠀蠂畏渭苇谓慰 蟿伪蟻喂蠂蔚蠀蟿萎 蠄蠀蠂蠋谓.
螝维蟿喂 蟺慰蠀 蠁蠀蟽喂魏维 蟺蟻慰蠇蟺萎蟻蠂蔚 渭苇蟽伪 蟿慰蠀 渭伪 伪蟺位蠋蟼 胃苇蟻喂蔚蠄蔚 魏伪喂 维谓胃喂蟽蔚, 蟺慰位位伪蟺位伪蟽喂维蟽蟿畏魏蔚 魏伪喂 苇纬喂谓蔚 蟿慰 未维蟽慰蟼 蟿畏蟼 伪蟺慰纬蠉渭谓蠅蟽畏蟼 蟿蠅谓 蠄蔚蠀未伪喂蟽胃萎蟽蔚蠅谓, 蟽蔚 渭喂伪 蟺慰位喂蟿喂蟽渭喂魏萎 味慰蠉纬魏位伪 伪谓胃蟻蠋蟺喂谓蠅谓 伪尉喂蠋谓, 渭蔚胃蠀蟽蟿喂魏蠋谓 伪喂蟽胃萎蟽蔚蠅谓, 伪魏蠀尾苇蟻谓畏蟿蠅谓 伪喂蟽胃畏渭维蟿蠅谓 魏伪喂 畏胃喂魏维 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠋谓 伪谓伪蠁慰蟻蠋谓 纬喂伪 蟿畏 未蠉谓伪渭畏 蟿畏蟼 渭蠀胃慰蟺位伪蟽委伪蟼.
螚 伪纬维蟺畏 魏伪喂 慰 蔚纬蠅喂蟽蟿喂魏蠈蟼 未蔚蟽蟺慰蟿喂蟽渭蠈蟼 渭喂伪蟼 未蔚魏伪蔚蟺蟿维蠂蟻慰谓畏蟼 未蠀蟽蟿蠀蠂喂蟽渭苇谓畏蟼, 伪谓维蟺畏蟻畏蟼 纬蠀谓伪委魏伪蟼( 蟽蔚 渭蠀伪位蠈 魏伪喂 蔚蟺喂胃蠀渭委蔚蟼) 蟺蟻慰蟼 苇谓伪谓 伪尉喂蠅渭伪蟿喂魏蠈 蟿慰蠀 喂蟺蟺喂魏慰蠉, 伪蠀蟽蟿蟻慰慰蠀纬纬蟻喂魏萎蟼 魏伪蟿伪纬蠅纬萎蟼, 谓苇慰蠀 魏伪喂 蠈渭慰蟻蠁慰蠀.
螚 味蠅萎 蟿慰蠀 魏伪喂 蟿伪 蠈谓蔚喂蟻伪 蟺慰蠀 蟿慰蠀 蔚蟺喂蟿蟻苇蟺慰蠀谓 纬喂伪 谓伪 蟿伪尉喂未蔚蠉蔚喂 渭蔚 魏伪位蟺伪蟽渭蠈 蟺蟻慰蟼 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 蟿慰蠀 蔚蠀蟿蠀蠂委伪 蟽蟿伪胃渭蔚蠉慰蠀谓 蟽蟿畏谓 维魏蟻畏 蟿畏蟼 伪蠀蟿慰魏蟻伪蟿慰蟻委伪蟼.
螘委谓伪喂 苇谓伪蟼 蠁蟿蠅蠂蠈蟼 蠀蟺委位伪蟻蠂慰蟼, 位伪蠆魏萎蟼 魏伪蟿伪纬蠅纬萎蟼 渭蔚 蟺慰位位萎 蟺蟻慰蟽蟺维胃蔚喂伪 伪蠀蟿慰蟽蠀纬魏蟻维蟿畏蟽畏蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿伪 苇尉慰未伪 蟿慰蠀 魏伪喂 慰喂魏慰谓慰渭喂魏蠈 伪未喂苇尉慰未慰 蟽蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 渭畏 魏伪蟿伪蟿伪纬萎蟼 蟿慰蠀 蟽蟿慰蠀蟼 蟽蟿蟻伪蟿喂蠅蟿喂魏慰蠉蟼 魏蠈位蟺慰蠀蟼 魏伪喂 蟿伪 蟿喂渭畏蟿喂魏维 伪尉喂蠋渭伪蟿伪 蠀蟺苇蟻 蟿畏蟼 蟺伪蟿蟻委未伪蟼.
螤蟻慰蟽魏伪位蔚委蟿伪喂 蟽蔚 苇谓伪 蟺维蟻蟿喂 蟽蟿慰 蟽蟺委蟿喂 蔚谓蠈蟼 蟺位慰蠉蟽喂慰蠀 谓蟿蠈蟺喂慰蠀 纬伪喂慰魏蟿萎渭慰谓伪, 魏维蟺蠅蟼 苇蟿蟽喂 渭蟺伪委谓蔚喂 蟽蔚 苇谓伪谓 维位位慰 魏蠈蟽渭慰 渭伪魏蟻喂维 伪蟺蠈 蟿畏 胃位喂尾蔚蟻萎 蟻慰蠀蟿委谓伪 蟿蠅谓 蟽蟿蟻伪蟿蠋谓蠅谓. 螝维蟺蠅蟼 苇蟿蟽喂 纬谓蠅蟻委味蔚喂 蟿畏谓 伪谓维蟺畏蟻畏 魏蠈蟻畏 蟿慰蠀 蟺位慰蠉蟽喂慰蠀 慰喂魏慰未蔚蟽蟺蠈蟿畏. 螝维蟺蠅蟼 苇蟿蟽喂, 蔚魏蔚委谓畏 蟿慰谓 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 渭蔚 蟺维胃慰蟼 魏伪喂 渭伪谓委伪 魏伪喂 蔚魏蔚委谓慰蟼 伪蠁萎谓蔚蟿伪喂 谓伪 渭慰位蠀谓胃蔚委 伪谓委伪蟿伪 伪蟺慰 蟿慰谓 蔚蟺喂魏委谓未蠀谓慰 魏伪喂 蟿蟻慰渭伪魏蟿喂魏维 喂蟽蠂蠀蟻蠈
螣委魏蟿慰.
芦 违蟺维蟻蠂慰蠀谓 未蠀慰 蔚委未畏 慰委魏蟿慰蠀. 螣 苇谓伪蟼 伪未蠉谓伪渭慰蟼 魏伪喂 伪喂蟽胃畏渭伪蟿喂魏蠈蟼, 未蔚谓 蔚委谓伪喂,蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪, 蟺伪蟻维 畏 伪谓蠀蟺慰渭慰谓畏蟽委伪 蟿畏蟼 魏伪蟻未喂维蟼 谓伪 未喂蠋尉蔚喂 蠈蟽慰 纬委谓蔚蟿伪喂 纬蟻畏纬慰蟻蠈蟿蔚蟻伪, 蟿畏 胃位委蠄畏 蟺慰蠀 谓喂蠋胃蔚喂 渭蟺蟻慰蟼 蟿畏 未蠀蟽蟿蠀蠂委伪 蟿慰蠀 伪位位慰蠉 : 螒蠀蟿蠈蟼 未蔚谓 蔚委谓伪喂 伪位畏胃喂谓蠈蟼 慰委魏蟿慰蟼, 伪位位维 渭喂伪 蔚谓蟽蟿喂魏蟿蠋未畏蟼 蠀蟺蔚蟻维蟽蟺喂蟽畏 蟿畏蟼 蠄蠀蠂萎蟼 伪蟺慰 蟿畏谓 尉苇谓畏 未蠀蟽蟿蠀蠂委伪. 螣 维位位慰蟼, 慰 渭蠈谓慰蟼 蟺慰蠀 伪尉委味蔚喂, 未蔚谓 蔚委谓伪喂 伪喂蟽胃畏渭伪蟿慰位慰纬委伪, 渭伪 未畏渭喂慰蠀蟻纬喂魏蠈蟼 慰委魏蟿慰蟼, 蟺慰蠀 尉苇蟻蔚喂 蟿喂 胃苇位蔚喂, 魏喂 蔚委谓伪喂 伪蟺慰蠁伪蟽喂蟽渭苇谓慰蟼 谓伪 蠀蟺慰蟽蟿蔚委 渭蔚 蔚蟺喂渭慰谓萎 魏伪喂 蠀蟺慰渭慰谓萎 蟿慰 魏伪胃蔚蟿委, 蠅蟼 蟿伪 苇蟽蠂伪蟿伪 蠈蟻喂伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 伪谓蟿慰蠂萎蟼 魏喂 伪魏蠈渭伪 蟺喂慰 蟺苇蟻伪禄.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 魏伪喂 蟽蔚渭谓慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
螒蠀蟿蠈, 蔚委谓伪喂 蟿慰 渭慰谓伪未喂魏蠈 慰位慰魏位畏蟻蠅渭苇谓慰 渭蠀胃喂蟽蟿蠈蟻畏渭伪
蟿慰蠀 蟿蔚蟻维蟽蟿喂慰蠀 螒蠀蟽蟿蟻喂伪魏慰蠉 蟺蔚味慰纬蟻维蠁慰蠀 危蟿苇蠁伪谓 韦蟽尾维喂蠂.
螠喂伪 蟽蠀谓畏胃喂蟽渭苇谓畏 喂蟽蟿慰蟻委伪 渭慰谓蠈蟺位蔚蠀蟻畏蟼 伪纬维蟺畏蟼, 蔚渭渭慰谓萎蟼, 蔚尉伪蟺维蟿畏蟽畏蟼 魏伪喂 蔚尉维蟻蟿畏蟽畏蟼 蠂蠅蟻委蟼 谓伪 尉蔚魏伪胃伪蟻委味蔚蟿伪喂 蟿慰 胃蠉渭伪 魏伪喂 慰 胃蠉蟿畏蟼.
惟蟼 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 位苇尉畏 慰喂 尾伪蟽喂魏慰委 渭伪蟼 萎蟻蠅蔚蟼 尾伪蟽伪谓委味慰谓蟿伪喂, 蠂伪委蟻慰谓蟿伪喂, 蟺慰谓慰蠉谓, 蔚蟻蠅蟿蔚蠉慰谓蟿伪喂, 慰喂魏蟿委蟻慰蠀谓 蔚蟺喂魏委谓未蠀谓伪 蟽蟺苇蟻谓慰谓蟿伪蟼 蟿慰 渭喂魏蟻蠈尾喂慰 蟿慰蠀 蔚纬蠅喂蟽渭慰蠉 伪魏蠈渭畏 魏伪喂 渭苇蟽伪 蟽蟿伪 蟺喂慰 尾伪胃喂维 蟽蠀谓伪喂蟽胃萎渭伪蟿伪.
螣 危蟿苇蠁伪谓 韦蟽尾维喂蠂 蔚委谓伪喂 渭伪胃畏蟿萎蟼 蟿蟻喂蠅谓 未喂伪蠁慰蟻蔚蟿喂魏蠋谓 慰蠀蟽喂伪蟽蟿喂魏维 未伪蟽魏维位蠅谓. 螠蠅蟺伪蟽维谓, 韦慰蠀蟻纬魏苇谓喂蔚蠁 魏伪喂 韦蟽苇蠂慰蠁, 维蠁畏蟽伪谓 蟿伪 伪谓蔚尉委蟿畏位伪 蟿伪蟿慰蠀维味 蟿畏蟼 蔚谓蟽蠀谓伪委蟽胃畏蟽畏蟼 蟺慰蠀 蟺蟻慰魏伪位慰蠉蟽伪谓 蟿畏谓 未畏渭喂慰蠀蟻纬委伪 渭喂伪蟼 蠀蟺蔚蟻尾慰位喂魏维 蟽蠀谓伪蟻蟺伪蟽蟿喂魏萎蟼 蟿苇蠂谓畏蟼 伪谓伪蠁慰蟻喂魏维 渭蔚 蟿伪 未喂畏纬萎渭伪蟿伪 魏伪喂 蟿喂蟼 谓慰蠀尾苇位蔚蟼 蟿慰蠀 渭伪胃畏蟿萎 蟿慰蠀蟼.
韦慰谓 苇魏伪谓伪谓 苇谓伪 蔚蟺喂蟿蠀蠂畏渭苇谓慰 蟿伪蟻喂蠂蔚蠀蟿萎 蠄蠀蠂蠋谓.
螝维蟿喂 蟺慰蠀 蠁蠀蟽喂魏维 蟺蟻慰蠇蟺萎蟻蠂蔚 渭苇蟽伪 蟿慰蠀 渭伪 伪蟺位蠋蟼 胃苇蟻喂蔚蠄蔚 魏伪喂 维谓胃喂蟽蔚, 蟺慰位位伪蟺位伪蟽喂维蟽蟿畏魏蔚 魏伪喂 苇纬喂谓蔚 蟿慰 未维蟽慰蟼 蟿畏蟼 伪蟺慰纬蠉渭谓蠅蟽畏蟼 蟿蠅谓 蠄蔚蠀未伪喂蟽胃萎蟽蔚蠅谓, 蟽蔚 渭喂伪 蟺慰位喂蟿喂蟽渭喂魏萎 味慰蠉纬魏位伪 伪谓胃蟻蠋蟺喂谓蠅谓 伪尉喂蠋谓, 渭蔚胃蠀蟽蟿喂魏蠋谓 伪喂蟽胃萎蟽蔚蠅谓, 伪魏蠀尾苇蟻谓畏蟿蠅谓 伪喂蟽胃畏渭维蟿蠅谓 魏伪喂 畏胃喂魏维 蟽蠀纬魏位慰谓喂蟽蟿喂魏蠋谓 伪谓伪蠁慰蟻蠋谓 纬喂伪 蟿畏 未蠉谓伪渭畏 蟿畏蟼 渭蠀胃慰蟺位伪蟽委伪蟼.
螚 伪纬维蟺畏 魏伪喂 慰 蔚纬蠅喂蟽蟿喂魏蠈蟼 未蔚蟽蟺慰蟿喂蟽渭蠈蟼 渭喂伪蟼 未蔚魏伪蔚蟺蟿维蠂蟻慰谓畏蟼 未蠀蟽蟿蠀蠂喂蟽渭苇谓畏蟼, 伪谓维蟺畏蟻畏蟼 纬蠀谓伪委魏伪蟼( 蟽蔚 渭蠀伪位蠈 魏伪喂 蔚蟺喂胃蠀渭委蔚蟼) 蟺蟻慰蟼 苇谓伪谓 伪尉喂蠅渭伪蟿喂魏蠈 蟿慰蠀 喂蟺蟺喂魏慰蠉, 伪蠀蟽蟿蟻慰慰蠀纬纬蟻喂魏萎蟼 魏伪蟿伪纬蠅纬萎蟼, 谓苇慰蠀 魏伪喂 蠈渭慰蟻蠁慰蠀.
螚 味蠅萎 蟿慰蠀 魏伪喂 蟿伪 蠈谓蔚喂蟻伪 蟺慰蠀 蟿慰蠀 蔚蟺喂蟿蟻苇蟺慰蠀谓 纬喂伪 谓伪 蟿伪尉喂未蔚蠉蔚喂 渭蔚 魏伪位蟺伪蟽渭蠈 蟺蟻慰蟼 蟿畏谓 蟺蟻慰蟽蠅蟺喂魏萎 蟿慰蠀 蔚蠀蟿蠀蠂委伪 蟽蟿伪胃渭蔚蠉慰蠀谓 蟽蟿畏谓 维魏蟻畏 蟿畏蟼 伪蠀蟿慰魏蟻伪蟿慰蟻委伪蟼.
螘委谓伪喂 苇谓伪蟼 蠁蟿蠅蠂蠈蟼 蠀蟺委位伪蟻蠂慰蟼, 位伪蠆魏萎蟼 魏伪蟿伪纬蠅纬萎蟼 渭蔚 蟺慰位位萎 蟺蟻慰蟽蟺维胃蔚喂伪 伪蠀蟿慰蟽蠀纬魏蟻维蟿畏蟽畏蟼 蟽蠂蔚蟿喂魏维 渭蔚 蟿伪 苇尉慰未伪 蟿慰蠀 魏伪喂 慰喂魏慰谓慰渭喂魏蠈 伪未喂苇尉慰未慰 蟽蟿畏谓 蟺蔚蟻委蟺蟿蠅蟽畏 渭畏 魏伪蟿伪蟿伪纬萎蟼 蟿慰蠀 蟽蟿慰蠀蟼 蟽蟿蟻伪蟿喂蠅蟿喂魏慰蠉蟼 魏蠈位蟺慰蠀蟼 魏伪喂 蟿伪 蟿喂渭畏蟿喂魏维 伪尉喂蠋渭伪蟿伪 蠀蟺苇蟻 蟿畏蟼 蟺伪蟿蟻委未伪蟼.
螤蟻慰蟽魏伪位蔚委蟿伪喂 蟽蔚 苇谓伪 蟺维蟻蟿喂 蟽蟿慰 蟽蟺委蟿喂 蔚谓蠈蟼 蟺位慰蠉蟽喂慰蠀 谓蟿蠈蟺喂慰蠀 纬伪喂慰魏蟿萎渭慰谓伪, 魏维蟺蠅蟼 苇蟿蟽喂 渭蟺伪委谓蔚喂 蟽蔚 苇谓伪谓 维位位慰 魏蠈蟽渭慰 渭伪魏蟻喂维 伪蟺蠈 蟿畏 胃位喂尾蔚蟻萎 蟻慰蠀蟿委谓伪 蟿蠅谓 蟽蟿蟻伪蟿蠋谓蠅谓. 螝维蟺蠅蟼 苇蟿蟽喂 纬谓蠅蟻委味蔚喂 蟿畏谓 伪谓维蟺畏蟻畏 魏蠈蟻畏 蟿慰蠀 蟺位慰蠉蟽喂慰蠀 慰喂魏慰未蔚蟽蟺蠈蟿畏. 螝维蟺蠅蟼 苇蟿蟽喂, 蔚魏蔚委谓畏 蟿慰谓 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 渭蔚 蟺维胃慰蟼 魏伪喂 渭伪谓委伪 魏伪喂 蔚魏蔚委谓慰蟼 伪蠁萎谓蔚蟿伪喂 谓伪 渭慰位蠀谓胃蔚委 伪谓委伪蟿伪 伪蟺慰 蟿慰谓 蔚蟺喂魏委谓未蠀谓慰 魏伪喂 蟿蟻慰渭伪魏蟿喂魏维 喂蟽蠂蠀蟻蠈
螣委魏蟿慰.
芦 违蟺维蟻蠂慰蠀谓 未蠀慰 蔚委未畏 慰委魏蟿慰蠀. 螣 苇谓伪蟼 伪未蠉谓伪渭慰蟼 魏伪喂 伪喂蟽胃畏渭伪蟿喂魏蠈蟼, 未蔚谓 蔚委谓伪喂,蟽蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪, 蟺伪蟻维 畏 伪谓蠀蟺慰渭慰谓畏蟽委伪 蟿畏蟼 魏伪蟻未喂维蟼 谓伪 未喂蠋尉蔚喂 蠈蟽慰 纬委谓蔚蟿伪喂 纬蟻畏纬慰蟻蠈蟿蔚蟻伪, 蟿畏 胃位委蠄畏 蟺慰蠀 谓喂蠋胃蔚喂 渭蟺蟻慰蟼 蟿畏 未蠀蟽蟿蠀蠂委伪 蟿慰蠀 伪位位慰蠉 : 螒蠀蟿蠈蟼 未蔚谓 蔚委谓伪喂 伪位畏胃喂谓蠈蟼 慰委魏蟿慰蟼, 伪位位维 渭喂伪 蔚谓蟽蟿喂魏蟿蠋未畏蟼 蠀蟺蔚蟻维蟽蟺喂蟽畏 蟿畏蟼 蠄蠀蠂萎蟼 伪蟺慰 蟿畏谓 尉苇谓畏 未蠀蟽蟿蠀蠂委伪. 螣 维位位慰蟼, 慰 渭蠈谓慰蟼 蟺慰蠀 伪尉委味蔚喂, 未蔚谓 蔚委谓伪喂 伪喂蟽胃畏渭伪蟿慰位慰纬委伪, 渭伪 未畏渭喂慰蠀蟻纬喂魏蠈蟼 慰委魏蟿慰蟼, 蟺慰蠀 尉苇蟻蔚喂 蟿喂 胃苇位蔚喂, 魏喂 蔚委谓伪喂 伪蟺慰蠁伪蟽喂蟽渭苇谓慰蟼 谓伪 蠀蟺慰蟽蟿蔚委 渭蔚 蔚蟺喂渭慰谓萎 魏伪喂 蠀蟺慰渭慰谓萎 蟿慰 魏伪胃蔚蟿委, 蠅蟼 蟿伪 苇蟽蠂伪蟿伪 蠈蟻喂伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 伪谓蟿慰蠂萎蟼 魏喂 伪魏蠈渭伪 蟺喂慰 蟺苇蟻伪禄.
螝伪位萎 伪谓维纬谓蠅蟽畏.
螤慰位位慰蠉蟼 魏伪喂 蟽蔚渭谓慰蠉蟼 伪蟽蟺伪蟽渭慰蠉蟼.
June 20, 2018
This book was quite powerful. I do not know when I have become so emotionally involved with a story. I found myself involuntarily having conversations with the characters, lecturing them on their fatal flaws.
This is a book about fatal flaws. Our protganist, Hofmiller, is an Austro-Hungarian cavalry officer stationed at a small village at the edge of the empire, in what would now be Hungary.
While there he encounters a wealthy family who welcomes him like a family member. Hofmiller is delighted while surprised and a little confused. Why have such important people included him so definitely into their life?
The story is written in first person so we hear every thought Hofmiller has as he tells his tale. The family's name is Kakesfalva and Herr von Kakesfalva practically adopts Hofmiller as a son and treasured guest.
Kakesfalva lives in a large estate, owns most of the property of the village and is kept company by his beautiful niece, Ilona, and his daughter, Edith.
What starts out as a pleasant break from his harsh existence as a soldier gradually turns into a psychological nightmare, making his life in the barracks as a carnival in comparison.
Edith is a teenager, maybe seventeen, and a few years ago, by some kind of staph infection, probably polio, lost the use of her legs. She has kept the household enslaved and miserable with her bitterness. Lashing the whip with threats of hurting herself. Her father and her cousin are completely in her thrall.
Hofmiller finds himself becoming ever more entangled in this unhappy family's affairs. At first he is invited simply to keep them company and provide diversion for an otherwise weary existence. But as time passes, it becomes evident that the family all expect more from him.
And here is the hero's fatal flaw. Even though he becomes more and more ill at ease visiting, he is afraid to extricate himself for fear that it would destroy Edith.
This story is a brilliant discourse on emotional manipulations. Not just the manipulators but people who allow themselves to become manipulated, all because of pity.
Hofmiller knows that pity is his only motivation for continuing his relationship with the family. He sees it and feels absolutely helpless. And by acting out of pity, he makes the situation worse and worse. In the end, he still does not see clearly. He thinks too poorly of the Kakesfalvas and too highly of his own ability to "save" Edith to do the right thing.
I do not want to give away the plot because there are some interesting and unexpected developments that take the reader deeper into the lives of each character.
But I will end with the last sentence of the book:
.."no guilt is forgotten as long as the conscience still knows of it."
This is a book about fatal flaws. Our protganist, Hofmiller, is an Austro-Hungarian cavalry officer stationed at a small village at the edge of the empire, in what would now be Hungary.
While there he encounters a wealthy family who welcomes him like a family member. Hofmiller is delighted while surprised and a little confused. Why have such important people included him so definitely into their life?
The story is written in first person so we hear every thought Hofmiller has as he tells his tale. The family's name is Kakesfalva and Herr von Kakesfalva practically adopts Hofmiller as a son and treasured guest.
Kakesfalva lives in a large estate, owns most of the property of the village and is kept company by his beautiful niece, Ilona, and his daughter, Edith.
What starts out as a pleasant break from his harsh existence as a soldier gradually turns into a psychological nightmare, making his life in the barracks as a carnival in comparison.
Edith is a teenager, maybe seventeen, and a few years ago, by some kind of staph infection, probably polio, lost the use of her legs. She has kept the household enslaved and miserable with her bitterness. Lashing the whip with threats of hurting herself. Her father and her cousin are completely in her thrall.
Hofmiller finds himself becoming ever more entangled in this unhappy family's affairs. At first he is invited simply to keep them company and provide diversion for an otherwise weary existence. But as time passes, it becomes evident that the family all expect more from him.
And here is the hero's fatal flaw. Even though he becomes more and more ill at ease visiting, he is afraid to extricate himself for fear that it would destroy Edith.
This story is a brilliant discourse on emotional manipulations. Not just the manipulators but people who allow themselves to become manipulated, all because of pity.
Hofmiller knows that pity is his only motivation for continuing his relationship with the family. He sees it and feels absolutely helpless. And by acting out of pity, he makes the situation worse and worse. In the end, he still does not see clearly. He thinks too poorly of the Kakesfalvas and too highly of his own ability to "save" Edith to do the right thing.
I do not want to give away the plot because there are some interesting and unexpected developments that take the reader deeper into the lives of each character.
But I will end with the last sentence of the book:
.."no guilt is forgotten as long as the conscience still knows of it."
June 17, 2019
韦螣 5螒巍螜 螘螜螡螒螜 螤螣螞违 螞螜螕螣 螠螤巍螣危韦螒 危韦螚 螔螣螠螔螒 危违螡螒螜危螛螚螠螒韦惟螡 螤螣违 螘危螝螒危螘 螤螜螒螡螣螡韦螒危 韦螣 危韦螒 围螘巍螜螒 螠螣违!
螤巍螣螝螒螞惟惟惟 韦螣违危 螖螜螒围螘螜巍螜危韦螘危 韦螚危 螘桅螒巍螠螣螕螚危 螡螒 螒螞螞螒螢螣违螡 韦螚 螔螒螛螠螣螞螣螕螜螒 危韦螒 螒危韦螘巍螒螝螜螒. 螡螜惟螛惟 螤螣螞螞螘危 桅螣巍螘危 螤惟危 螒螖螜螝螣违螡韦螒螜 螔螜螔螞螜螒 螒螡螘螝韦螜螠螚韦螚危 螞螣螕螣韦螘围螡螜螝螚危 螒螢螜螒危.
危韦螣 螖螜螒 韦螒违韦螒, 韦螣 螔螜螔螞螜螣 韦螣 螞螒韦巍螘唯螒 螒螤螣 韦螜危 螤巍惟韦螘危 危螘螜巍螘危, 螣围螜 危螘螞螜螖螘危. 螘螜螡螒螜 螒违韦螣 韦螣 螝螞螜螝 螤螣违 危螣违 螤巍螣螝螒螞螘螜 螘螡螒 螔螜螔螞螜螣. 螠螘 螤螣螞螞螒 螔螜螔螞螜螒 螖螚螠螜螣违巍螕惟 螠螜螒 围螚螠螘螜螒 螝 螠螜螒 危围螘危螚 韦螣危螣 螖违螡螒韦螚, 螠螜螒 危围螘危螚 螤螒螛螣违危. 螘螖惟 螒违韦螚 螚 危围螘危螚 螖螚螠螜螣违巍螕螚螛螚螝螘 螒螤螣 韦螣 "螤巍惟韦螣 螝螣螜韦螒螕螠螒". 围螒螛螚螝螒 危韦螣螡 螘螜巍螠螣 韦惟螡 危螝螘唯螘惟螡 韦螣违 韦危螔螒为围. 围螒螛螚螝螒 危韦螒 危违螡螒螜危螛螚螠螒韦螒 螝 危韦螜危 螘螜螝螣螡螘危. 围螒螛螚螝螒 危韦螚 螖螜螡螚 韦螚危 螒螕螒螤螚危 螝 韦螣违 螘巍惟韦螒. 危韦螣螡 螒螡螘螝螤螞螚巍惟韦螣 螘巍惟韦螒.
螘螤螜螝螜螡螖违螡螣危 螣螜螝韦螣危 螇 螝螒韦螒巍螒螠螘螡螣危 螣螜螝韦螣危? 螣螤螣螜螣危 螝 螡螒 螘螜螡螒螜 螣 危惟危韦螣危 螤巍螣危螖螜螣巍螜危螠螣危 螘螜螡螒螜 螣螜螝韦螣危, 螘螞螘螣危, 危违螠螤螣螡螣螜螒. 螣螜螝韦螣危 螕螜 螒违韦螒 螤螣违 螖螘螡 螠螤螣巍螣违螠螘 螡螒 螖螜螣巍螛惟危螣违螠螘, 螕螜 螒违韦螒 螤螣违 螠螒危 螤螣螡螒螡螘, 螕螜 螒违韦螒 螤螣违 螠螒危 螝螒螡螣违螡 螡螒 螒螚螖螜螒螙螣违螠螘, 螕螜 螒违韦螒 螤螣违 螠螒危 螣螖螚螕螣违螡 螡螒 螞违螤螣违螠螒危韦螘. 螤巍螣螖螚螞螣危 螣 螣螜螝韦螣危 危螘 螣螞螣 韦螣 螝螘螜螠螘螡螣, 螜危惟危 螣螠惟危 螝螒螤螣螜螘危 桅螣巍螘危 螡螒 螠螤螘巍螖螘违螘韦螒螜 螠螘 韦螚螡 螒螡螒螕螝螚, 螠螘 韦螚螡 螤螜螘危螚, 螠螘 韦螚螡 违螤螣螝巍螜危螜螒. 螤螣螜螣危 螒螞螞惟危韦螘 螢螘巍螘螜 螤螣螒 螘螜螡螒螜 螚 危惟危韦螚 危违螠螤螘巍螜桅螣巍螒 螠螤巍螣危韦螒 危螘 螕螘螕螣螡螣韦螒 螤螣违 危螘 螞违螕螜螙螣违螡, 危螘 螠螣违螖螜螒螙螣违螡, 危螘 螒螡螒螕螝螒螙螣违螡 螡螒 桅螘巍螘危螒螜 违危韦螘巍螣螔螣违螞螒;
螒螤螣螞螒违危韦螘 韦螣! 螛螒 危螒危 螞违螕螜危螘螜, 螛螒 危螒危 螝螒螡螘螜 螡螒 螒螡螒巍惟韦螚螛螘螜韦螘, 螡螒 螤巍螣螔螞螚螠螒韦螜危韦螘螜韦螘, 螡螒 螛违螠惟危螘韦螘, 螡螒 螝螒韦螒螡螣螚危螘韦螘, 螡螒 螠螤螘螜韦螘 螝螣螜螡惟危 危韦螣 巍螣螞螣 韦惟螡 螚巍惟惟螡!
螤巍螣螝螒螞惟惟惟 韦螣违危 螖螜螒围螘螜巍螜危韦螘危 韦螚危 螘桅螒巍螠螣螕螚危 螡螒 螒螞螞螒螢螣违螡 韦螚 螔螒螛螠螣螞螣螕螜螒 危韦螒 螒危韦螘巍螒螝螜螒. 螡螜惟螛惟 螤螣螞螞螘危 桅螣巍螘危 螤惟危 螒螖螜螝螣违螡韦螒螜 螔螜螔螞螜螒 螒螡螘螝韦螜螠螚韦螚危 螞螣螕螣韦螘围螡螜螝螚危 螒螢螜螒危.
危韦螣 螖螜螒 韦螒违韦螒, 韦螣 螔螜螔螞螜螣 韦螣 螞螒韦巍螘唯螒 螒螤螣 韦螜危 螤巍惟韦螘危 危螘螜巍螘危, 螣围螜 危螘螞螜螖螘危. 螘螜螡螒螜 螒违韦螣 韦螣 螝螞螜螝 螤螣违 危螣违 螤巍螣螝螒螞螘螜 螘螡螒 螔螜螔螞螜螣. 螠螘 螤螣螞螞螒 螔螜螔螞螜螒 螖螚螠螜螣违巍螕惟 螠螜螒 围螚螠螘螜螒 螝 螠螜螒 危围螘危螚 韦螣危螣 螖违螡螒韦螚, 螠螜螒 危围螘危螚 螤螒螛螣违危. 螘螖惟 螒违韦螚 螚 危围螘危螚 螖螚螠螜螣违巍螕螚螛螚螝螘 螒螤螣 韦螣 "螤巍惟韦螣 螝螣螜韦螒螕螠螒". 围螒螛螚螝螒 危韦螣螡 螘螜巍螠螣 韦惟螡 危螝螘唯螘惟螡 韦螣违 韦危螔螒为围. 围螒螛螚螝螒 危韦螒 危违螡螒螜危螛螚螠螒韦螒 螝 危韦螜危 螘螜螝螣螡螘危. 围螒螛螚螝螒 危韦螚 螖螜螡螚 韦螚危 螒螕螒螤螚危 螝 韦螣违 螘巍惟韦螒. 危韦螣螡 螒螡螘螝螤螞螚巍惟韦螣 螘巍惟韦螒.
螘螤螜螝螜螡螖违螡螣危 螣螜螝韦螣危 螇 螝螒韦螒巍螒螠螘螡螣危 螣螜螝韦螣危? 螣螤螣螜螣危 螝 螡螒 螘螜螡螒螜 螣 危惟危韦螣危 螤巍螣危螖螜螣巍螜危螠螣危 螘螜螡螒螜 螣螜螝韦螣危, 螘螞螘螣危, 危违螠螤螣螡螣螜螒. 螣螜螝韦螣危 螕螜 螒违韦螒 螤螣违 螖螘螡 螠螤螣巍螣违螠螘 螡螒 螖螜螣巍螛惟危螣违螠螘, 螕螜 螒违韦螒 螤螣违 螠螒危 螤螣螡螒螡螘, 螕螜 螒违韦螒 螤螣违 螠螒危 螝螒螡螣违螡 螡螒 螒螚螖螜螒螙螣违螠螘, 螕螜 螒违韦螒 螤螣违 螠螒危 螣螖螚螕螣违螡 螡螒 螞违螤螣违螠螒危韦螘. 螤巍螣螖螚螞螣危 螣 螣螜螝韦螣危 危螘 螣螞螣 韦螣 螝螘螜螠螘螡螣, 螜危惟危 螣螠惟危 螝螒螤螣螜螘危 桅螣巍螘危 螡螒 螠螤螘巍螖螘违螘韦螒螜 螠螘 韦螚螡 螒螡螒螕螝螚, 螠螘 韦螚螡 螤螜螘危螚, 螠螘 韦螚螡 违螤螣螝巍螜危螜螒. 螤螣螜螣危 螒螞螞惟危韦螘 螢螘巍螘螜 螤螣螒 螘螜螡螒螜 螚 危惟危韦螚 危违螠螤螘巍螜桅螣巍螒 螠螤巍螣危韦螒 危螘 螕螘螕螣螡螣韦螒 螤螣违 危螘 螞违螕螜螙螣违螡, 危螘 螠螣违螖螜螒螙螣违螡, 危螘 螒螡螒螕螝螒螙螣违螡 螡螒 桅螘巍螘危螒螜 违危韦螘巍螣螔螣违螞螒;
螒螤螣螞螒违危韦螘 韦螣! 螛螒 危螒危 螞违螕螜危螘螜, 螛螒 危螒危 螝螒螡螘螜 螡螒 螒螡螒巍惟韦螚螛螘螜韦螘, 螡螒 螤巍螣螔螞螚螠螒韦螜危韦螘螜韦螘, 螡螒 螛违螠惟危螘韦螘, 螡螒 螝螒韦螒螡螣螚危螘韦螘, 螡螒 螠螤螘螜韦螘 螝螣螜螡惟危 危韦螣 巍螣螞螣 韦惟螡 螚巍惟惟螡!
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