03315cam a22003733u 450000100060000000300070000600500170001300600020003000700050003200800410003704000110007804100170008905000070010610000300011324000280014324500190017126400510019030000470024133600260028833700260031433800360034049000340037650000310041050801010044152019740054253400630251665300640257965300670264365300670271065300530277770000340283083000340286485600430289877620UtSlPG20260610134810.0mcr n260607r20261926utu|||||o|||||||||||||| d  aUtSlPG 7ahu2iso639-1 4aPN1 aZweig, Stefan,d1881-194210aDrei Meister. Hungarian10aHárom mester 1aSalt Lake City, UT :bProject Gutenberg,c2026  a1 online resource :bmultiple file formats  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier1 aKultura és tudomány, [54]  aRelease date is 2026-01-05  aAlbert László from page images generously made available by the Hungarian Electronic Library  a"Három mester" by Stefan Zweig is a collection of literary essays written in the early 20th century. It offers vivid, psychologically rich portraits of Balzac, Dickens, and Dostoevsky as archetypal world‑building novelists, using biography and criticism to show how each forges a distinct imaginative cosmos. The focus is on what defines a true “romancier” and the inner laws that drive their creations, seen through a humanist, cosmopolitan lens.

The opening of the book first presents a translator’s introduction that places the author in fin‑de‑siècle Vienna and the trauma of the Great War, emphasizing his pacifism, international friendships, polished style, and mission to connect minds across borders; it also frames this volume as part of a wider cycle on great “world builders.” The foreword then states the project: to treat Balzac, Dickens, and Dostoevsky as the century’s exemplary “romanciers,” distinguishes them by their spheres (society, family, the solitary soul), and clarifies that the essays are syntheses for readers who already know the works. At the start of the Balzac essay, Napoleon’s age is shown shaping Balzac’s will to conquer—transposed from the sword to the pen—culminating in the Comédie humaine as a deliberately centralized, Paris‑anchored empire of types and energies. The text sketches the ruthless social struggle of ambitious youths and uses Vautrin and Rastignac to show how experience hardens character; it leans on chemical and physiological metaphors to explain social forces, exalts concentrated will and monomania, and contrasts success with the sheer intensity of striving. It also portrays Balzac himself as a monomaniac worker—nocturnal, caffeinated, debt‑ridden, loving by letter—who half‑lived inside his characters and was fascinated by physiognomy, mesmerism, and a visionary “second sight,” before the excerpt cuts off. (This is an automatically generated summary.)  pOriginally published:cBudapest: Franklin-Társulat, 1926  aDickens, Charles, 1812-1870 -- Criticism and interpretation  aBalzac, Honoré de, 1799-1850 -- Criticism and interpretation  aDostoyevsky, Fyodor, 1821-1881 -- Criticism and interpretation  aFiction -- 19th century -- History and criticism1 aTérey, Sándor,d1886-1955 0aKultura és tudomány, [54]40uhttps://www.gutenberg.org/ebooks/77620