zeitblom造句

• He lives at Palestrina in Italy with Schildknapp in 1912, and Zeitblom visits them.
• Adrian then moves permanently to Pfeiffering, and in conversations with Zeitblom confesses a darker view of life.
• The narrator is Leverk黨n's childhood friend Serenus Zeitblom, who writes in Germany between 1943 and 1946.
• In these central pages, the fulcrum of the story, Zeitblom presents Adrian's manuscript of the conversation.
• "I find that it is not to be, " says Adrian Leverkuhn to his friend and biographer Zeitblom.
• Maler may have trained with the German artist Bartholom鋟s Zeitblom, who was chief master of the School of Ulm between 1484 and 1517.
• Zeitblom describes the work as filled with longing without hope, with hellish laughter transposed and transfigured even into the searing tones of spheres and angels.
• Zeitblom insists, however, on the unique closeness of his own relationship to Adrian, for he remains the only person whom the composer addresses by the familiar pronoun.
• At about the same time, in conversation with his school friend Serenus Zeitblom, the devoted first-person narrator of the novel, Leverkuhn theorizes the 12-tone system of composition.
• Zeitblom begins to perceive the demonic, as Adrian develops other friendships, first with the translator R黡iger Schildknapp, and then after his move to Munich with the handsome young violinist Rudi Schwerdtfeger, Frau Rodde and her doomed daughters Clarissa and Ines, a numismatist named Dr . Kranich, and two artists named Leo Zink and Baptist Spengler.
• Zeitblom describes " with a religious shudder " Adrian's embrace with the woman who gave him syphilis ( whom Adrian names " Esmeralda " after the butterfly that fascinates his father ), how he worked her name in note-ciphers into his compositions, and how the medics who sought to heal him were all prevented from effecting a cure by mysterious and deadly interventions.