先说论点：贝多芬晚年是个归于上帝的被赦免的罪人，而不是无神论者或者泛神论者。我引用了德语翻译来的席勒歌词，有力证明了“欢乐女神”的翻译是一部分中国人有意无意的误解席勒，更是误解贝多芬。
某兔子姐妹对于席勒歌词的德语解释：——
“Freude就是欢乐,schöner是形容词,美丽,Götterfunken是合成名次,前面的Götter有指诸神的意思,德语里上帝是Gott(相当于英文的God,复数形式为Götter=Gods,不过在使用复数的时候,大多数情况未必指上帝了,要结合语境来看咯,Götterfunken的后半部分funken是火花的意思,所以呢,直译的话应该是指诸神美丽的火花.至于大陆用的这版" 欢乐女神"的译法,从翻译角度来说是翻的有些过了,女神的话德文应该是Göttin,复数Göttinen,德文很注重词性,词分阴阳,所以是男是女,很明显能看出来的。”
关于贝多芬的信仰历史应该是个归正的历史。从音乐的本体出发，我认为贝多芬是个归向神的人。（他是需求了与神、与人的和解吗？）是的，我认为是。唐崇荣批评贝多芬是不对的
还记得amedeus里面谈到爱情时的面觑和嘲笑吗？
谈缺陷，有：
1.由于过分妥协，随着影片时间的推进，剧本逻辑性越来越弱(角色当然可以没有逻辑但是事件和视角是要有逻辑的)：我们看不到情感的衍生和表现；
2.贝九交直接进第四乐章欢乐颂部分，缺少前面的andante和presto allegro铺垫 我认为浪费原作大量的冲击力（第二乐章的定音鼓那么震撼，竟然不选用 实在让人惋惜）；
3.（personally）兼具难度和情绪、三个乐章都极完美的暴风雨(Op.31:Sonata No.17 The Tempest)没有被选用实在遗憾；
4.片头旁白稍显啰嗦以及对孩子自杀未遂完全多余的解释。可能将影片视角完全交给学生会是更好的选择；
5.参考读过的传记最后关键人物设定成弟媳属于架空，前面缺少特写后面变身主角实在感觉烫手；
6.must it be it must be，回忆里讲you have a child in me以及妊娠呕吐三重表现太多余了......
但悲怆二（Op.13:Sonata No.8 Pathetique II.Adagio cantabile)令人折服；GO表演没的说，触键身颤是很符合弹琴投入的人的习惯的
mmortal beloved- -
My angel, my all, my other self.
Just a few words today,
and that in pencil.
Yours.
Only tomorrow will I know for certain where I am to stay.
A worthless waste of time and such.
Why this deep sorrow?
If we could be united, we would feel this pain no longer.
Where I am you are with me too.
Soon we shall live together, and what a life it will be.
The journey was dreadful.
I did not arrive here until 4 in the morning.
At the last stop, they warned me against traveling at night, and tried to frighten me about a forest, but that only tempted me.
The coach had to go and break down on? Such a terrible road for no reason.
Just a country road, and now I am held up completely.
But I have found another, and we will surely see one another soon.
Today, I hope.
I have to see you.
However much you love me, I love you more.
Never hide yourself from me.
“不朽真情”最后的那封谜一般的信笺（图文版）
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