Beatriz invented Dante: she selected the boy and put into play all of her arts of seduction. It was an encounter designed by the distance of two subjects which discreetly observed each other since a hypothetical moment —on the Holy Trinity bridge— until a transitory point in which fiction runs the risk of losing intrigue’s enchantment on which it was being elevated on for years of evocation. Dante made of this drama a slightly human comedy. And Beatriz never could glimpse or guess the divinely angelic sense of her childish evil.
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