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| 001 | 77620 | ||
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| 005 | 20260610134810.0 | ||
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| 040 | _aUtSlPG | ||
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_ahu _2iso639-1 |
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| 050 | 4 | _aPN | |
| 100 | 1 |
_aZweig, Stefan, _d1881-1942 |
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| 240 | 1 | 0 | _aDrei Meister. Hungarian |
| 245 | 1 | 0 | _aHárom mester |
| 264 | 1 |
_aSalt Lake City, UT : _bProject Gutenberg, _c2026 |
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_a1 online resource : _bmultiple file formats |
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_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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| 490 | 1 | _aKultura és tudomány, [54] | |
| 500 | _aRelease date is 2026-01-05 | ||
| 508 | _aAlbert László from page images generously made available by the Hungarian Electronic Library | ||
| 520 | _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.) | ||
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_pOriginally published: _cBudapest: Franklin-Társulat, 1926 |
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| 653 | _aDickens, Charles, 1812-1870 -- Criticism and interpretation | ||
| 653 | _aBalzac, Honoré de, 1799-1850 -- Criticism and interpretation | ||
| 653 | _aDostoyevsky, Fyodor, 1821-1881 -- Criticism and interpretation | ||
| 653 | _aFiction -- 19th century -- History and criticism | ||
| 700 | 1 |
_aTérey, Sándor, _d1886-1955 |
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| 830 | 0 | _aKultura és tudomány, [54] | |
| 856 | 4 | 0 | _uhttps://www.gutenberg.org/ebooks/77620 |
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_c118340 _d118340 |
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