"Soul Broken Venice": Love in the Morning and Death

Oliver 2022-10-09 23:28:05

Like a landscape painting, the meaning is long and long, like a drop of water, moistening the silent and repressive pain.

The composer professor Eisenbach came to Venice Water City after experiencing the pain of losing his daughter. The scenery and humanities did not attract his attention too much, but fixed his eyes on a beautiful boy named Tacchio, with a silent and inexplicable The throbbing without a reason releases the turbulence and madness of the whole story. Since then, it has been doomed to tragedy and doom.

When passing by the beautiful young Tacchio, he smiled at Eisenbach silently, and his smile made the city allure. Eisenbach's heart was beating, as if God had opened another skylight for him. However, after calming down, he whispered to himself, you can't smile like that to anyone. Love requires empathy. Eisenbach's love for Tacchio may be full of non-dictatorial possession. Winter thunder shakes summer rain and snow, but he dares to be with you.

The water city of Venice was plagued with plague, and the upper echelons suppressed this reality for various reasons, but Eisenbach had to look at Tacchio one more time, stayed in Venice and contracted the plague. Before he died, he also dyed his hair and beard, painted white makeup, and became more youthful, in order to chase the beauty and dawn of love.

Maybe it's a symphony of love, the yellow scrolls are refurbished, the sophisticated face is awakened, just to seek life and death love. The reason why people become people lies in the lofty pursuit of beauty, and it has been carried out from the beginning to the trace with an idealistic attitude without hesitation. Eisenbach believes that art should not be ambiguous, what he wants to pursue is the absoluteness of art. Looking back at the mountains and the sea, the dancing of the soul made him open up his mind, feel the power of the true self and the fearless thought with absolute serious artistic insight.

In order to take another look at Tacchio, he came down to the beach with the help of the attendants. The picture is agile and simple, the sky and sea are connected together, and Tacchio sees through the brilliance of awareness. Tacchio walks into the faint light, the endless ocean, Gradually turning into a standing shadow, Tacchio stretched out a hand, as if calling for Eschenbach. Eisenbach burst into tears at this time, he was just a poor father who lost his only daughter, and the great beauty of the world and the world-defying high dance will be far away from him again. His feelings are pure and not obsessed with senses. Although he can't jump and fly, as long as he knows that when he is dying, he can witness the beauty of the world, and the beauty has been frozen.

The tragic connotation overshadows the superficial secular judgment. Eisenbach knows that the beautiful boy is of the same sex, but he is always infatuated with him. The touching feelings make people always sigh, and the youth hormone of the beautiful boy makes Eisenbach realize all the power of youth. Let the fire of love burn forever, who says youth can't come back, know each other and love each other without needing to stay together, the whole movie is just shrouded in a mourning atmosphere and tugs people's heartstrings.

Even if his art has died, even if the shocking real sound has been quietly annihilated, his love is still flowing, like spring water flowing in the east, the coughing saliva that can be sensed in a dream, and the millet of three lives and three lives Wu. Even if the times change again, the curtain of grief and resentment about the God of Love will eventually become the expectation of the world's life.

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Death in Venice quotes

  • Gustav von Aschenbach: I remember we had one of these in my father's house. The aperture through which the sand runs is so tiny that... that first it seems as if the level in the upper glass never changes. To our eyes it appears that the sand runs out only... only at the end... and until it does, it's not worth thinking about... 'til the last moment... when there's no more time left to think about it.

  • Gustav von Aschenbach: You know sometimes I think that artists are rather like hunters aiming in the dark. They don't know what their target is, and they don't know if they've hit it. But you can't expect life to illuminate the target and steady your aim. The creation of beauty and purity is a spiritual act.

    Alfred: No Gustav, no. Beauty belongs to the senses. Only to the senses.