View allAll Photos Tagged pathos
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I was recently contacted by the Stanford yearbook people because they wanted to include my photos in their 2012 yearbook. The sad ending is that it did not work out. I was willing to work with them on the pricing but I think they wanted the pictures for free. Do you guys get this a lot, where someone asks to use your photos for a publication or commercial use and wants them for free? I am all about sharing, which is why all my photos are Creative Commons, non-commercial which means you can download them and use them for personal, non-commercial purposes as long as you attribute the photo to me and link back to my website. It actually does cost me time and money to make these photos available. Alas, all the nice folks at Stanford graduating this year will miss out on pictures such as this one from their beautiful campus.
Marco (stage name: Paco) is a veteran of the Ferrara Buskers Festival. He's a good juggler, and an excellent entertainer: he's able to use for his show whatever happens around him. To say one: he was pretending to be near suicide, with an hilarious pathos and all of a sudden the great bell of Ferrara's cathedral starts to DOOOOOONNNNNNG. He started like: "Hey bishop, I was kidding! I was playing a role! Hey people, the priests here really care about what's around!" We were all laughing like crazy.
At the end of his performance he said that you can even decide to put nothing in his hat, but if you decide to put something, just think that this show didn't start an hour ago, an it's not finished now... I was moved by the elegant simplicity used to call an action, putting some money in a hat, to say thank for a smile and to sustain an artist. You could feel his passion while saying it.
After the show it was amazing to see that all of his stuff (plenty of) was stored on a travel bike, the PacoMachine! I'm a bike traveler too, so the hook was easy, and the following chat quite pleasant. He's traveling Europe on his bike, and showed all the simplicity true nice people have.
He was quite curious about the project and gladly posed.
This shot shows all the limits of my scanner, when it comes to scan colors, but hope his expression convey all the pleasure we had just talking about bikes, roads, arts, photos...
Next pic in my stream shows Marco in action, few minutes (and a different roll) before this shot.
Have a look at his website, there's some nice material.
Ciao Marco!
This picture is #87 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Instruction #46
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
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It was my first day at Everest Base Camp and I was scouting the area for something to do. The day was almost over and I wondered down the little river a while before I found this spot. It was all very serene and there was not a person in sight. I didn't even notice the grazing Yack until is made a noise. You would think I would be able to spot a wild animal standing a few feet in front of me, but apparently I have lost my spidey sense. I setup my rig and waited for the light to get interesting while the Yack tried to make casual conversation with me. We talked about best places to graze and lady Yacks and all that jazz before I had to head back to camp. It was a nice quiet moment in the middle of no where.
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A few months ago I posted a photo of Rodin’s Gates of Hell, so I thought I would keep the delicate balance with a picture of Ghiberti’s Gates of Paradise. Lorenzo Ghiberti condensed the Old Testament into ten panels to produce one of the defining masterpieces of the Italian Renaissance and it is available for your viewing pleasure at San Francisco’s Grace Cathedral. Sheer awesomeness.
In my listening to "Lieder eines Fahrenden Gesellen" of Gustav Mahler.
From the original image of skeleton `s Photo JL2B2719
There was a surge of divine pathos, which came to the souls of the prophets like a fierce passion, startling, shaking, burning, and led them forth to the perilous defiance of people’s self-assurance and contentment. Beneath all songs and sermons they held conference with God’s concern for the people, with the well out of which the tides of anger raged.
-Abraham Joshua Heschel
The Sierra Leone-flagged EDRO III struck a rock and ran into trouble about ten miles from the shore of Paphos and became disabled. The Edro III drifted until it finally went ashore near Peyia, hitting the rocks between 4am and 5am on 8 December 2011 in heavy seas, during a voyage to Rhodes, from Limassol, Cyprus with a cargo of plasterboard. The ship got stuck broadside approximately 15 metres from the shore with the bow wedged in a rocky stretch of the beach.
At the time of the accident, the ship had nine crew members - seven Albanians and two Egyptians. The crew were rescued and airlifted to the safety of Paphos by a local British Military helicopter.
The EDRO III weighs about 2,345 tons and is over 80 meters in length.
Apollonius, Boxer at Rest, 1st century B.C.E. (may be a copy of a 4th century sculpture), bronze, Palazzo Massimo, Museo Nazionale Romano
Stopped off at IKEA in Nottingham on the way back from Birmingham.
Still, Jac bought a sofa bed so I'll not have to sleep on the floor from now on.
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
The Sierra Leone-flagged EDRO III struck a rock and ran into trouble about ten miles from the shore of Paphos and became disabled. The Edro III drifted until it finally went ashore near Peyia, hitting the rocks between 4am and 5am on 8 December 2011 in heavy seas, during a voyage to Rhodes, from Limassol, Cyprus with a cargo of plasterboard. The ship got stuck broadside approximately 15 metres from the shore with the bow wedged in a rocky stretch of the beach.
At the time of the accident, the ship had nine crew members - seven Albanians and two Egyptians. The crew were rescued and airlifted to the safety of Paphos by a local British Military helicopter.
The EDRO III weighs about 2,345 tons and is over 80 meters in length.
Orazio Lomi Gentileschi (1563-1639), active in Rome and England
Christ carrying the Cross, around 1605/07
When Jesus carried his cross to Golgotha "also women ran behind", who mourned and lamented him. And Jesus turned to them, saying, "You daughters of Jerusalem, do not weep for me, weep for you and for your children." Under the direct impression of Caravaggio, Gentileschi painted with seriousness and pathos this moving moment from the Passion.
Orazio Lomi Gentileschi (1563-1639), tätig in Rom und England
Kreuztragung Christi, um 1605/07
Als Jesus sein Kreuz nach Golgotha trug "liefen auch Frauen hinterdrein", die ihn beweinten und beklagten. Und Jesus wandte sich zu ihnen und sprach: Ihr Töchter Jerusalems, weint nicht über mich, weint über euch und eure Kinder". Unter dem unmittelbaren Eindruck Caravaggios malte Gentileschi mit Ernst und Pathos diesen ergreifenden Moment aus der Passion.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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I love photographing churches. Their interiors are far more interesting that your average building and they all hold a sense of purpose. Oakland's ultra modern cathedral is way up there on my awesome meter. The interior hull is made of wood with spaces for the light to shine through the glass exterior. The ceiling is a futuristic spaceship design and there is a huge projection of Christ in the center. The best part is that you always feel welcome when you are there (even if you have a camera and tripod!)
"Your Ethos
Your Pathos
Your Porthos
Your Aramis
Your Brut Cologne
You're writing home
You are hopeless
Your hopelessness
Is rising around you, rising around you
You like it
It gives you something to do
In the day time
Hey buddy, you need a hobby
You are tired of moving forward
You think of the future
And secretly you piddle your pants
The puddle of piddle
Which used to be little
Is rising around you, rising around you
You like it
It gives you something to do
In the night time
Well, you travel to bars
You also go to Winchell's Doughnuts
And hang out with the Highway Patrol
Sometimes you'll go to a pizza place
You go toSharkey's to get that
American kind of pizza
That has the ugly, waxey, fake yellow kind
Of yellow Cheese on the top...
Then you go to Straw Hat Pizza,
To get all of those artificial ingredients
That never belonged on a pizza in the first place
(But the white people really like it...)
Oh well, you'll go anyplace, you'll do anything
Oh you'll give me your underpants
I hope these aren't yours, buddy...
They're very nice, though
You'll go to Santa Monica Boulevard,
You'll go to the Blue Parrot
No problem, you'll go anyplace
You'll do anything
Just so you can hang out with the others
The others just like you
Afraid of the future
(Death Valley Days, straight ahead)
The future is scary
Yes, it sure is
Well, the puddle is rising
It smells like the ocean
A body of water to isolate England
And also Reseda
The oil, in patches
All over Atlantis, Atlantis
You remember Atlantis
Donovan, the guy with the brocade coat,
Used to sing to you about Atlantis
You loved it, you were so involved then
That was back in the days when you used to
Smoke a banana
You would scrape the stuff off the middle
You would smoke it
You even thought you was getting ripped from it
No problem
Ah Atlantis, they could really get down there
The plankton, the krill
The giant underwater pyramid, the squid decor
Excuse me. Todd
The big ol' giant underwater door
The dome, the bubbles, the blue light
Light, light, light, light
Blue light blue light
The seepage, the sewage, the rubbers, the napkins
Your ethos, your pathos
Your flag hole, your port-hole
Your language
You're frightened
Your future
You can't even speak your own fucking language
You can't read it anymore
You can't write it anymore
Your language
The future of your language
Your meat loaf
Don't let your meat loaf
Heh, Heh, Heh
Your Micro-Nanette
Your Brut
Cologne"
[Frank Zappa - The Blue Light]
( . . * * . . &(,)F.A.D.E. .. . . .. . *.* . . * . * * . * ** * * * * * * . .. )
nb..PM!!!**.
** Even'Tide . . Evening . ..
* * The Dwindling of the Year . . The Dwindling Day . . Day's End . . Last Light . . Fading Light . . * * : : : : : * * .
Wabi-Sabi . .. .
Apollonius, Boxer at Rest, 1st century B.C.E. (may be a copy of a 4th century sculpture), bronze, Palazzo Massimo, Museo Nazionale Romano
Inflatable sex dolls in a swimming pool, Westdene, Johannesburg, South Africa. Gently moving in the current of the swimming pool pump, these dolls had a pathos together which I struggled to capture in these photographs.
Leyla GENCER, Turkish soprano (1928-2008).
A refined, instinctive and intese soprano whose répertoire was immense, tackling ancient music, melody, lyric, dramatic and verismo roles. Here portrayed as Norma, a role in which she conveyed great intensity and pathos, despite a rather diminutive sound ... A noted recitalist and a beloved artistic figure in Milan where she lived lavishly.
A un hombre que quiere a muchas personas le es más fácil sentirse querido, pues para él esto constituye una hábito común, y nunca duda, como el hombre que por el contrario es reservado en sus afectos,que la simpatía de los que le rodean sea estima verdadera.
Quien es restrictivo en entregar su cariño, en cambio, espera la misma restricción en los demás, por lo que rara vez se reconoce querido y sólo lo hace cuando se le han dado buenos motivos para creerlo así. Por lo mismo, le duele mucho más sentir que ha perdido el afecto de alguien. En esto consiste la traición para los hombres de corazones estrechos.