jiàn zhù jié gòu : shì jiè yí chǎn : dì lǐ xué jiào yù : jiàn zhù chéng shì : jié gòu gōng chéng : yǐn shí : yǐng shì gēqǔ : liú xíng gēqǔ > chéng bǎo
目录
chéng bǎo The Castle
zuòzhě: kǎ fū kǎ Franz Kafka
　　kǎ fū kǎ chū shēng zài bù lā gé de yī gè yóu tài shāng rén jiā tíng， yán xí liǎo chún zhǒng yóu tài rén cōng míng de xuè tǒng。 fù qīn shì yī gè bàn xíng qǐ de tú fū de 'ér zǐ， bái shǒu qǐ jiā， zài jiā zhōng zhuān héng rú bào jūn， rèn yì nüè dài qī 'ér， tā duì kǎ fū kǎ de xué xí、 shēng huó bù wén bù wèn， zhǐ shì 'ǒu 'ěr zhǐ shǒu huà jiǎo dì xùn chì yī tōng héng héng héng tā xiǎng bà'ér zǐ péi yǎng chéng wéi xìng gé jiān qiáng 'ér yòu néng gān de nián qīng rén， dàn jiēguǒ shì shì dé qí fǎn。 kǎ fū kǎ nèi xīn zhōng yī zhí duì fù qīn cún yòu wú fǎ xiāo chú de wèi jù xīn lǐ， zì xiǎo xīn lǐ chōng mǎn kǒng jù， mǐn gǎn chéng xìng。 jiā shàng tā zuò wéi bù lā gé jiǎng dé yǔ de shǎo shù rén de yī fēn zǐ， gèng zào jiù liǎo tā wú biān wú jì de gū dú。
　　
　　 pò yú fù qīn de yā lì， tā xué xí fǎ lǜ， hòu rù yī jiā sī rén bǎo xiǎn gōng sī rèn dī xīn zhí yuán， yī zhí yān méi zài rén qún zhī zhōng。 tā yī shēng sān cì dìng hūn， yòu sān cì jiě chú hūn yuē， qí zhōng yuán yīn zhī yī jiù shì pà jié hūn huì pò huài tā yǐ jīng xí guàn de gū dú shēng huó。 hòu lái tā huàn shàng fèi jié hé bìng， gèng shǐ tā yuǎn lí rè nào de chén shì shēng huó， chén jìn zài zì jǐ gū dú de nèi xīn shì jiè zhōng。
　　
　　 zhè gè gū pì de xiǎo zhí yuán de zuì dà 'àihào jiù shì xiě zuò， tā nà mǐn gǎn、 qiè nuò de xìng gé hé gū pì、 yōu yù de qì zhì què shí shì hé zuò yī gè zuò jiā。 kǎ fū kǎ yè yú chuàng zuò de dà bù fēn zuò pǐn zài tā shēng qián yī zhí suǒ zài chōu tì lǐ， shǎo liàng miàn shì de duǎn piān xiǎo shuō hái bù zú ràng tā yī míng jīng rén， ér qiě duì tā de tóng shí dài rén lái shuō， tā de xiǎo shuō tài chāo qián liǎo， dāng shí de rén men yuǎn wèi yòu néng lì tǐ yàn kǎ fū kǎ dú tè 'ér qí guài de huāng miù gǎn。 tā bìng shì hòu yí liú xià dà liàng shǒu gǎo。
　　
　　 èr zhàn zhī hòu， shì jiè zài fèi xū shàng zhòng jiàn， zhàn zhēng suǒ dài lái de rén lèi xīn líng shēn zhòng de yīn yǐng， shǐ rén men bù yuē 'ér tóng dì bǎ mù guāng zhuànxiàng liǎo 30 nián qián sǐ qù de wú míng zuò jiā kǎ fū kǎ， tā jí qí zuò pǐn zài xī fāng shì jiè xiān qǐ liǎo yī gǔ rè cháo， rén men xiàng tóu piào xuǎn jǔ zhèng jiè yào yuán yī yàng bǎ tā liè wéi xiàn dài pài xiǎo shuō jiā de dì yī hòu xuǎn rén。
　　
　　 tuī jiàn yuè dú bǎn běn： tānɡ yǒng kuān yì， wǔ hàn dà xué chū bǎn shè chū bǎn。
　　《 chéng bǎo 》 - nèi róng jīng yào
　　
　　 yī gè hán lěng de dōng tiān de yè wǎn， tǔ dì cèliáng yuán K lái dào liǎo yī gè cūn zǐ， tā de mùdì shì yào qián wǎng cūn zǐ fù jìn de nà zuò chéng bǎo qù zhí xíng gōng wù。 dāng K zài cūn kǒu yáo wàng chéng bǎo shí， tā gǎn dào lǒngzhào zài yè sè zhī zhōng de chéng bǎo ， rú tóng yī piàn kōng dòng xū wú de huàn jǐng， zhè yàng de gǎn jué sì hū yù shì zhe tā de rèn wù bù shì nà me róng yì wán chéng de。
　　
　　 tā qián wǎng kè diàn tóu sù， kě shì kè diàn lǎo bǎn duì tā de dào lái yòu diǎn bù zhī suǒ cuò。 tā gào sù K yǐ jīng kè mǎn liǎo， zhǐ hǎo bǎ K miǎnqiǎng 'ān dùn xià lái。 kè diàn lǐ de rén dé zhī K yào qù chéng bǎo ， dū yòng tè bié de yǎn shén kàn tā。 yī wèi nián qīng rén gào sù K， měi gè jìn rù chéng bǎo de réndōu bì xū dé yòu yī zhāng xǔ kě zhèng， ér yào xiǎng dé dào xǔ kě zhèng， jiù bì xū qù zhǎo chéng bǎo lǐ de bó jué。
　　
　　 dì 'èr tiān， K zǒu xiàng chéng bǎo ， kě shì hào fèi liǎo yī zhěng tiān de shí jiān tā yě wú fǎ kào jìn chéng bǎo yī bù。 tiān sè 'àn xià lái， tā zhǐ hǎo xiān qù zhǎo qī shēn zhī chù。 zhǎo lái zhǎo qù， yòu huí dào liǎo zuó tiān wǎn shàng de nà jiā kè diàn。 zài dā xuě qiāo qián wǎng kè diàn de tú zhōng， tā yù dào liǎo liǎng gè zì chēng shì tā de zhù shǒu de rén。 tā men fēi cháng rè qíng dì bāng zhù K， bìng qiě yòng diàn huà lián luò chéng bǎo lǐ de bàn shì jī gòu， xún wèn jù tǐ hé shí néng shàng chéng bǎo qù， duì fāng huí dá： “ rèn hé shí hòu dōubù néng lái。 ”
　　
　　 zhè shí， lái liǎo yī wèi jiào bā nà bā sī de rén， tā shì chéng bǎo de xìn shǐ， K duì tā de lái dào shí fēn xīng fèn， rèn wéi tā kě yǐ chéng wéi zì jǐ hé chéng bǎo lián xì de zhōng jiān rén。 bā nà bā sī gěi tā dài lái liǎo chéng bǎo de xìn， xìn lǐ jì méi yòu duì K de dào lái biǎo shì huān yíng， yě méi yòu 'àn shì tā gǎn kuài lí kāi。 shì qíng yǐ jiù háo wú zhuǎn jī。 K hé xìn shǐ yī dào qù liǎo tā jiā， xìn shǐ de mèi mèi yòu biǎo shì tā kě yǐ bāng zhù K， yú shì bǎ K sòng jìn liǎo yī jiā lǚ guǎn， tā gào sù K， chéng bǎo de tóu miàn rén wù kè lā mǔ zhù zài nà lǐ， kě yǐ jiè jī zhǎo kè lā mǔ dǎ tōng guān jié。
　　
　　 zài lǚ guǎn de jiǔ bā lǐ， K rèn shí liǎo kè lā mǔ de qíng fù fú lì dá， K dùn shí shǐ chū hún shēn xièshù shì tú kào jìn fú lì dá， rán 'ér lǚ guǎn lǐ de rén bù tíng dì tiān luàn， zhù shǒu men yě zài yī biān tiān luàn， shǐ tā wú fǎ hé fú lì dá qīn mì dì tán yī tán guān yú kè lā mǔ。 tā shèn zhì yòng yǔ fú lì dá jié hūn de xǔ nuò xiǎng huàn dé gēn kè lā mǔ tán yī cì huà de jī huì。 dàn K zuì zhōng fā xiàn fú lì dá zhè tiáo lù shì zǒu bù tōng de， yīn wéi tā hé xìn shǐ yī yàng， shì gè wú guān jǐn yào de xiǎo rén wù， tā zǎo yǐ shī chǒng。
　　
　　K qù jiàn cūn cháng， cūn cháng gào sù tā， K lái dào cūn zǐ wán quán shì gè cuò wù， yīn wéi zhè lǐ gēn běn yòng bù zhe tǔ dì cèliáng yuán。 chéng bǎo lǐ bù tóng bù mén bǐ cǐ fēng bì， zào chéng liǎo yī xiē chā cuò， suǒ yǐ K cái huì shōu dào gōng wén， rán 'ér zhè fèn gōng wén shì zǎo yǐ wú xiào de。 cūn cháng chéng rèn tā zài jǐ nián qián shōu dào yī gè zhāo pìn yī wèi tǔ dì cèliáng yuán de gōng wén， rán 'ér tā wú lùn rú hé zhǎo bù dào nà zhāng kě yǐ zhèng míng K hé fǎ shēn fèn de báozhǐ piàn。 cūn cháng biǎo dá liǎo zì jǐ duì zhè jiàn shì qíng de kàn fǎ， tā jué dé K shōu dào de gōng wén qí shí shì yī fēng mǒu gè zhù guǎn， bǐ rú kè lā mǔ， duì tā biǎo shì sī rén guān xīn de de xìn， bù néng dài biǎo chéng bǎo de yì jiàn， yīn cǐ K yīngdāng chèn zǎo huí qù。
　　
　　K gǎn dào shòu piàn shàng dāng liǎo， dàn tā jiān chí yào qiú dé dào tā yìng dé de quán lì， nà jiù shì zhǎo yī gè zhù chù， ān dùn tā hé fú lì dá de xīn jiā。 kè zhàn lǎo bǎn yī xīn xiǎng gǎn zǒu K， K lín zǒu qián， yòu cóng lǎo bǎn niàn nà lǐ tīng dào liǎo guān yú tā hé kè lā mǔ jiù qíng de huí yì， zhè shǐ K gǎn dào hěn bù shū fú， yīn wéi tā bù yóu zì zhù dì xiǎng dào liǎo zì jǐ de wèi hūn qī。
　　
　　 zhè shí cūn lǐ xué xiào de jiào shī fèng cūn cháng zhī mìng qián lái， yǔn xǔ K dài jiā juàn zhù jìn xué xiào rèn kānmén rén， tóng shí tā yě qiáng diào， xué xiào qí shí bìng bù xū yào yī gè kānmén rén， tā wán quán zūn cóng cūn cháng de mìng lìng。 K gǎn dào shòu dào liǎo wǔ rǔ， tā jù jué liǎo zhè fèn gōng zuò。 kě fú lì dá jiān chí K jiē shòu tā， tā shuō rú guǒ K bù jiē shòu， lián gè 'ān shēn zhī chù dōuméi yòu， nà me zhè duì K duì tā zì jǐ dōushì shí fēn xiū kuì de shì qíng。
　　
　　K duì yú jìn rù chéng bǎo réng rán bào zhe zuì hòu de xī wàng， zhè yǐ jīng bù dān chún shì zhí xíng gōng wù， ér shì yòu guān gè rén zūn yán de wèn tí。 tā mào xuě lái dào kè lā mǔ de lǚ guǎn， nǚ zhāo dài shuō zhè huì 'ér kè lā mǔ zhèng zhǔn bèi lí kāi lǚ guǎn， xuě qiāo yǐ zài yuàn zǐ lǐ děng zhe tā， K 'èr huà méi huà， shǒu dào xuě qiāo biān， hē zhe bái lán dì děng kè lā mǔ chū lái。 hé yǐ qián yī yàng， kè lā mǔ běn rén yǒng yuǎn bù huì chū xiàn， tā de mì shū mó mài sī chū lái gào sù K：“ bù guǎn nǐ gēn wǒ zǒu huò zhě liú zài zhè lǐ， nǐ dū bù huì jiàn dào tā。” K fǎn 'ér xiàn rù liǎo jìn tuì liǎng nán de dì bù， rú guǒ tā lí kāi， zhōu wéi rén de shén sè jǔ zhǐ lǐ jiù biǎo míng kè lā mǔ jiù cǐ tuō shēn liǎo； rú guǒ tā jiān chí děng xià qù， xiǎn rán yě shì méi yòu jiēguǒ de。 mì shū ná chū yī fèn huì tán jì lù， xiàng K zhǐ chū zhè shì yǐn K zǒu xiàng kè lā mǔ de wéi yī dào lù， dàn shǒu xiān K bì xū jiē shòu yī fān kē kè de shěn chá， K jué dé bù kě rěn shòu， yú shì tā men liǎng rén dà xiào zhe fēn bié liǎo。
　　
　　《 chéng bǎo 》 zuò jiā kǎ fū kǎ
　　 xìn shǐ bā nà bā sī yòu dài lái liǎo kè lā mǔ de yī fēng xìn， kè lā mǔ zàn shǎng liǎo K jí qí zhù shǒu de cèliáng gōng zuò， zhè shǐ K kùn huò bù yǐ， tā zhì jīn wéi zhǐ cóng wèi gànshénme cèliáng gōng zuò， měi tiān zuò de shì qíng jiù shì zài děng dài zhēng qǔ chéng bǎo de xǔ kě。 K kāi shǐ huái yí xìn shǐ de kě kào， dàn tā réng tuō bā nà bā sī dài qù yī gè huí yīn， shēn sù zì jǐ jiāo zhuó dì kě pàn jiàn dào kè lā mǔ yī miàn de xīn qíng。
　　
　　 zhī hòu K huí dào tā hé fú lì dá de xīn jiā， nà shì xué xiào lǐ de yī jiān dà jiào shì， kě shì K hé fú lì dá de shēng huó bìng bù 'ān níng。 liǎng gè zhù shǒu bù tíng dì táo qì， zhēng shí wù， chǒu zhǔn jī huì shuì dào wéi yī de dào cǎo diàn zǐ shàng qù。 dì 'èr tiān， xué xiào de nǚ jiào shī lái liǎo， tā shí fēn chī jīng， jì 'ér bù duàn dì zé mà K， K jīhū xiàng gè liè děng dòng wù yī yàng bèi qī rǔ， kě tā jué bù jiē shòu xiào fāng de jiě zhí tōng zhī。 tā qiān nù yú liǎng wèi wú yòng de zhù shǒu， xuān bù cí tuì tā men， zhù shǒu men shī chū hún shēn qì lì 'āi qiú K。 fú lì dá fǎn duì K de jué dìng， tā shuō yī dàn cí tuì zhù shǒu， K jiù yǒng yuǎn méi yòu jī huì jiàn dào kè lā mǔ liǎo。 fú lì dá gǔ lì K bù yào sàng shī xìn xīn。
　　
　　K lái dào xìn shǐ jiā děng dài huí yīn， xìn shǐ de jiě mèi 'ào 'ěr gā hé 'ā mǎ lì yà zǒng xiàng K 'àn shì tā men de qīng mù zhī qíng， bìng qiě zài xián liáo zhōng， àn shì K， tā men de gē gē bā nà bā sī kě néng cóng wèi jiàn guò kè lā mǔ， tā zǒng shì gěi K dài lái nà xiē dān wù liǎo hěn jiǔ， shī qù shí xiào de xìn。 jiù lián kè lā mǔ běn rén， yě shì kě yí de， guān yú kè lā mǔ de zhǒng zhǒng qíng kuàng， hěn dà chéng dù shàng shì cūn lǐ rén xiǎng xiàng chū lái de。 ào 'ěr gā yòu gào sù K， chéng bǎo lǐ de guān yuán rú tóng bào jūn， tā men kě yǐ suí shí qiáo shàng cūn lǐ de rèn hé gū niàn， gěi tā men xiě xià liú wú bǐ de xìn。 tā men de tán huà lí zhèng tí yuè lái yuè yuǎn， ào 'ěr gā jiǎng qǐ liǎo 'ā mǎ lì yà yīn wéi jù jué chéng bǎo lǐ lìng yī wèi dà guān yuán suǒ 'ěr dì ní de qiú 'ài 'ér zāo shòu de bù xìng， tā men quán jiādōu bèi pò jiē shòu liǎo yī zhǒng jīhū zhěng tiān wú suǒ shì shì de xíng fá， chéng bǎo qiáng zhì tā men tuì chū shè huì shēng huó。 ào 'ěr gā tí xǐng K， bù yào zhǐ wàng rèn hé yī wèi yòu tóng qíng xīn de guān yuán wèitā shuō huà。 bā nà bā sī wéi K sòng xìn， qí shí bù guò shì xiǎng ràng zì jǐ yī jiā rén bù lù hén jì dì zài shòu 'ēn chǒng， duì yú K lái shuō， méi yòu rèn hé yì yì。 zhè chǎng fán rǒng 'ér tuī xīn zhì fù de tán huà bèi K de yī wèi zhù shǒu dǎ duàn liǎo， K hěn kuài yì shí dào fú lì dá hé lìng yī wèi zhù shǒu dāi zài jiā lǐ， tā gǎn jǐn huí jiā liǎo。
　　
　　 dào jiā lǐ， K fā xiàn fú lì dá bù jiàn liǎo。 yuán lái tā yǐ wéi K páo qù gòu dā bā nà bā sī de jiě mèi， yú shì hé lìng yī gè zhù shǒu dá chéng xié yì， bèi pàn K。 zhè shí， bā nà bā sī yòu páo lái zhǎo K， xīng chōng chōng dì tōng zhī tā， kè lā mǔ de zhù yào mì shū zhī yī 'ài lǎng gé yào hé K dāng miàn tán yī tán。 K hé yī qún rén děng hòu zài qī hēi de lǚ guǎn mén kǒu， K bèi zuì xiān lǐng liǎo jìn qù， dàn 'ài lǎng gé què shuì zhe liǎo， K zhǐ hǎo děng zhe。 zài děng dài de shí hòu， tā yòu chóngxīn jiàn dào liǎo fú lì dá， tā men jī liè zhēng lùn liǎo zhōng shí yǔ bù zhōng shí de wèn tí。 fú lì dá tǎn rán dì gào sù K， tā yǐ jīng hé nà wèi zhù shǒu tóng jū liǎo。 K zé shí fēn píng jìng dì huí jìng tā： zì cóng nǐ xiāng jì shī qù liǎo kè lā mǔ de qíng fù yǐ jí wǒ de wèi hūn qī zhè liǎng zhǒng shēn fèn zhī hòu， nǐ zǎo yǐ jīng méi yòu liǎo mèi lì。 tīng wán cǐ huà hòu， fú lì dá sì hū bèi chù dòng liǎo。 dàn shì tā yòu jiàn dào zhù shǒu shí， mǎ shàng jiù gǎi biàn zhù yì。 tā shuō： tā zài yě bù xiǎng huí dào K shēn biān jiē shòu tā de zhé mó。
　　
　　 xiǎo shuō jiù zài cǐ chù jiá rán 'ér zhǐ， kǎ fū kǎ wèi xiě wán tā， tā yuán lái dǎ suàn de jié wěi shì K jiāng jīng pí lì jié 'ér sǐ。 hòu shì jí yán jiū zhě yù jì de jié jú shì： K mí liú zhī jì， chéng bǎo zhōng yú lái liǎo tōng zhī， yǔn xǔ K liú zài cūn zǐ lǐ， dàn bù xǔ jìn rù chéng bǎo ， K yǒng yuǎn bù kě néng dào dá nà lǐ， yī zhí dào sǐ。
　　《 chéng bǎo 》 - zhuān jiā diǎn píng
　　
　　 dāng yī gè zuò jiā bù néng bèi tā tóng shí dài de rén suǒ lǐ jiě shí， tā huì zěn yàng chǔlǐ zì jǐ de zuò pǐn。 kǎ fū kǎ xuǎn zé de shì huǐ miè。 tā zài yí shū zhōng wěi tuō hǎo yǒu bù luó dé jiāng qí suǒ yòu zuò pǐn“ háo wú bǎo liú dì， dú yě bù bì dú jiù tǒng tǒng yú yǐ fén huǐ”。 wàn xìng bù luó dé zì zuò zhù zhāng jiāng kǎ fū kǎ de yí gǎo bǎo cún xià lái， zhěng lǐ chū bǎn， zhè yī cì míng zhì de“ bèi xìn qì yì” shǐ wǒ men jīn tiān yǐ jiù néng yī dǔ kǎ fū kǎ zhè wèi wén xué dà shī yī shēng qín fèn de chéng guǒ。
　　
　　 rén men tí dào kǎ fū kǎ， zǒng shì huì tí qǐ tā de《 biàn xíng jì》， lǐ miàn de xiǎo gōng wù yuán yī zǎo qǐ lái fā xiàn zì jǐ biàn chéng liǎo yī gè dà jiá chóng。 xī fāng wén xué zhōng cháng cháng yòng《 biàn xíng jì》 lái zhǐ dài xiàn dài huà wén míng zhōng rén de yì huà。 rán 'ér zài zhè lǐ suǒ tuī jiàn de《 chéng bǎo 》， yīn qí duō yì xìng gèng fù yú yuè dú de kuài lè。 zhōng piān xiǎo shuō《 chéng bǎo 》 yǔ《 shěn pàn》 jí《 měi guó》 hé chēng“ kǎ fū kǎ sān bù qū”， tā mendōu jù yòu kǎ fū kǎ xiǎo shuō yī guàn de huāng dàn bù jīng fēng gé： yì huà xiàn xiàng， nán yǐ pái qiǎn de gū dú hé wēi jī gǎn， wú fǎ kè fú de huāng dàn hé kǒng jù。 kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng， gè rén shì de、 yōu yù de、 gū dú de qíng xù， yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 qí zhōng《 chéng bǎo 》 gèng fù yú“ kǎ fū kǎ shì” de gòu sī hé yǔ yán fēng gé。
　　
　　 hé kǎ fū kǎ de qí tā xiǎo shuō yī yàng，《 chéng bǎo 》 méi yòu wéi yī zhèng què de jiě shì， jiě shì quán shòu yú liǎo měi gè yuè dú zhě， zhè lái yuán yú zhè bù zuò pǐn de duō yì xìng。 biǎo miàn shàng， zhè zuò pǐn de gù shì zài jiǎn dān bù guò liǎo， yī gè tǔ dì cèliáng yuán K lái dào yī gè cūn zhuāng， xiǎng jìn rù guǎn xiá fù jìn dì qū de bó jué jū zhù de chéng bǎo ， tā fèi liǎo jiǔ niú 'èr hǔ zhī lì， tān shàng yī qiē yě méi néng dá dào mùdì。《 chéng bǎo 》 suǒ jù yòu de huāng miù、 xū nǐ， wú míng què de shí dài dì lǐ bèi jǐng de tè zhēng shǐ tā mǒ shàng hěn nóng de yù yán sè cǎi， wú lùn píng lùn jiā hái shì pǔ tōng dú zhě dōunéng gòu huò dé bù tóng de jié lùn，《 chéng bǎo 》 jiū jìng biǎo dá liǎo zěn yàng de zhù tí， zhè zhōng liǎo hái shì yī gè nán jiě zhī mí， yòu rén shuō tā biǎo xiàn de shì“ rén shì tú jìn rù tiān guó 'ér bù dé de tòng kǔ”； yòu rén zé rèn wéi tā jí zhōng fǎn yìng liǎo kǎ fū kǎ běn rén de jīng shén shì jiè de huāng dàn、 gū dú yǔ kǒng jù； yòu rén zé jié hé xiě zuò nián dài bèi jǐng， shuō míng chéng bǎo shí jì shàng fǎn yìng liǎo 'ào xiōng dì guó guān liáo tǐ zhì yǔ dà zhòng de hóng gōu， gèng yòu lùn zhě yǐ wéi，《 chéng bǎo 》 hé《 shěn pàn》、《 měi guó》 de zhù tí xiāng tóng， jí“ rén men suǒ zhuī qiú de zhēn lǐ， bù guǎn shì zì yóu、 ān dìng， hái shì fǎ lǜ， dōushì cún zài de， dàn zhè gè huāng dàn de shì jiè gěi rén men shè zhì liǎo zhǒng zhǒng zhàng 'ài， wú lùn nǐ zěn me nǔ lì， zǒng shì zhuī qiú bù dào， zuì hòu zhǐ néng yǐ shī bài gào zhōng。” zài《 chéng bǎo 》 zhōng，“ chéng bǎo ” shì zuì dà de mí tuán， tā yǔ zhù rén gōng K de mù biāo zǒng shì ruò jí ruò lí， yě zhèng yīn cǐ， néng gòu jī qǐ rén men xiāng dāng de yuè dú xīng qù， qí zhōng de rén wù rú CC bó jué， yǐ zhì yú kè lā mǔ bù cháng děngdōu shén mì mò cè， zú yǐ jiàn kǎ fū kǎ zhè wèi xiǎo shuō jiā de tiān cái de zhì huì。
　　
　　《 chéng bǎo 》 xiǎo shuō jiā kǎ fū kǎ
　　 yuè dú kǎ fū kǎ de xiǎo shuō， duì měi yī gè dú zhě lái shuō dōushì tiǎo zhàn。 tā xǐ huān cháng jù zǐ， zì lǐ xíng jiān chōng mǎn liǎo dà liàng de 'àn yù， tā yòng wén zì duī qǐ liǎo yī gè gè mí gōng。 dú zhě huì zài chuān xíng wén zì shí yù dào jí dà de zǔ lì。 rán 'ér dāng nǐ xí guàn tā de wén zì fēng gé hòu， nǐ huì fā xiàn， yuán xiān de zǔ lì biàn chéng liǎo dòng lì， dài gěi nǐ yuè dú de kuài gǎn。
　　
　　1913 nián 8 yuè 15 rì， kǎ fū kǎ zài zì jǐ de rì jì lǐ xiě dào：“ wǒ jiāng bù gù yī qiē dì yǔ suǒ yòu rén gé jué， yǔ suǒ yòu rén dí duì， bù tóng rèn hé rén jiǎng huà。” 6 tiān hòu tā yòu zhè yàng xiě dào：“ xiàn zài wǒ zài wǒ de jiā tíng lǐ， zài nà xiē zuì hǎo de、 zuì qīn 'ài de rén men zhōng jiān， bǐ yī gè mò shēng rén hái yào mò shēng。 jìn nián lái wǒ hé wǒ de mǔ qīn píng jūn měi tiān shuō bù shàng 20 jù huà； hé wǒ de fù qīn chú liǎo yòu shí bǐ cǐ hán xuān jǐ jù jīhū jiù méi yòu gèng duō de huà kě shuō； hé wǒ de yǐ hūn de mèi mèi hé mèi fū men chú liǎo gēn tā men shēng qì wǒ yā gēn 'ér jiù bù shuō huà。 lǐ yóu hěn jiǎn dān： wǒ hé tā men méi yòu rèn hé yī dīng diǎn 'ér de shì qíng yào shuō。 yī qiē bù shì wén xué de shì qíng dū shǐ wǒ wú liáo， jiào wǒ zēng hèn” sān nián zhī hòu， zhè gè bù jǐn hé zhěng gè shì jiè gé gé bù rù， ér qiě yě hé zì jǐ gé gé bù rù de yóu tài rén， suī rán shàng wèi jìn rù wán quán yǔ shì gé jué de chéng bǎo ， què zhōng yú cóng jiā tíng lǐ táo chū， wéi zì jǐ zhǎo dào liǎo yī tiáo zhǎi dé xiàng xī fú xiù zǐ yī yàng de yōu shēn de sǐ xiàng。 zhè jiù shì rú jīn zài bù lā gé pō wéi zhī míng de huáng jīn xiàng、 yòu yì wéi“ liàn jīn shù shì xiàng”。 huáng jīn xiàng 22 hào de lián dòng wū zhōng jiān， yòu zuò jiàn yú 16 shì jì de、 zhǐ yòu yī gè fáng jiān hé yī jiān xiǎo gé lóu de xiǎo xiǎo lán wū， qiáng bì hěnbáo， fáng shè dī 'ǎi dé shēn shǒu biàn kě chù jí tiān huā bǎn。 zhè shì bèi tā de hǎo yǒu mǎ kè sī · bù luó dé chēng zhī wéi“ yī gè zhēn zhèng de zuò jiā de xiū dào shì bān de mì shì” de chù suǒ。 kǎ fū kǎ zài zhè lǐ jì xù yòng mí yī bān de wén zì gòu zhù zhe zì jǐ líng hún de chéng bǎo 。
　　
　　《 chéng bǎo 》 kǎ fū kǎ jí jiā rén
　　 zài kǎ fū kǎ de shì jiè lǐ， è mèng yǒng yuǎn méi yòu xǐng lái de shí hòu， zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì“ rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié”， zhè zhèng shì zuò wéi xiǎo shuō jiā díkǎ fū kǎ de tiān fù suǒ zài， dāng wǒ men dú dào《 biàn xíng jì》、《 chéng bǎo 》、《 shěn pàn》 děng zuò pǐn shí， jiǎn zhí jiù xiàng miàn duì zhe yī zūn zūn chōng mǎn lì liàng de diāo sù， nǐ néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 duì yú kǎ fū kǎ zì jǐ lái shuō， shēng cún jiù shì yīcháng bì xū“ qiàdàng yùn yòng zì jǐ de lì liàng（ yīn wéi wǒ men de lì liàng yǒng yuǎn shì yòu xiàn de）” de kàng zhēng。 suī rán qián tú 'àn dàn， dàn qián tú bì jìng zhōng huì dào lái。 tōng guò xiě zuò zhè yī xíng shì kǎ fū kǎ wéi zì jǐ de kàng zhēng zhǎo dào liǎo cún zài de xíng xiàng。 cóng kǎ fū kǎ zì jǐ de shū xìn yǔ rì jì， wǒ men yě xǔ néng lǐng huì dào nà wú qióng wú jìn de lì liàng yuán quán， tā zhè yàng xiě dào：“ bù yào jué wàng， shèn zhì duì nǐ bìng bù gǎn dào jué wàng zhè yī diǎn yě bù yào jué wàng。 qià qià zài sì hū yī qiēdōu wán liǎo de shí hòu， xīn de lì liàng bì jìng lái lín， gěi nǐ yǐ bāng zhù， ér zhè zhèng biǎo míng nǐ shì huó zhe de。”“ yīcháng qīng pén dà yǔ。 zhàn lì zhe miàn duì zhè chǎng dà yǔ bā！ ràng tā de gāng tiě bān de guāng máng cì chuān nǐ。 nǐ zài nà xiǎng bǎ nǐ chōng zǒu de yǔ shuǐ zhōng piāo fú， dàn nǐ hái shì yào jiān chí， áng shǒu yì lì， děng dài nà jí jiāng lái lín de wú qióng wú jìn de yáng guāng de zhào yào。” lìng rén chī jīng de shì， tā men jìng rán dài zhe zhè yàng yī xiē zī tài： yōu shāng、 lǐ jiě、 tòng kǔ、 qiān bēi， kǎ fū kǎ yóu cǐ zǒu xiàng liǎo wú xiàn shēn yuān。 zuì zhōng tā wán chéng liǎo duì zì jǐ de sù zào： tā chéng wéi wú xiàn shēn yuān zhōng wéi yī luǒ xíng de sī xiǎng zhě。 kǎ fū kǎ de dào lù shì duì kàng zhī lù， tā yǔ cún zài yú tā shēn biān de shì jiè hé zhì xù yī zhí shì kàng zhēng zhe de， yì shù huò zhě shuō wén xué xiě zuò shì tā duì kàng wài bù huāng dàn shì jiè de wéi yī wǔ qì， tā bié wú xuǎn zé。 suī rán zài cǐ qī jiān， tā jí dù kě wàng shí xiàn yì shù yǔ xiàn shí de tǒng yī， shèn zhì tā gè rén yǔ wài bù shì jiè yòu guò duǎn zàn de tǒng yī， dàn zhè zhǒng tǒng yī yě shì yī shùn jí shì de， biǎo miàn hé xíng shì shàng de。 tā yě kě wàng yòu zì jǐ de jiā tíng， dàn tā hài pà jiā tíng sǔn hài tā de xiě zuò； tā yě xiàng fán fū sú zǐ yī yàng， kě wàng yòu zì jǐ de hái zǐ， zuò yī míng hǎo fù qīn， dàn zhí dào tā yòu yī gè yǐ cháng dào 7 suì cái yāo zhé de hái zǐ。
　　
　　 kǎ fū kǎ shēng qián mò mò wú wén， gū dú dì fèn dǒu， suí zhe shí jiān de liú shì， tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí， zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng， bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè， jīng jiǔ bù shuāi。 tā yī shēng de zuò pǐn bìng bù duō， dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè、 ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 měi guó shī rén 'ào dēng rèn wéi：“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” hòu shì de xǔ duō xiàn dài zhù yì wén xué liú pài rú“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” děng dū bǎ kǎ fū kǎ fèng wéi zì jǐ de bí zǔ。
　　
　　 guān yú kǎ fū kǎ， wǒ men hái kě yǐ shuō shàng hěn duō hěn duō。 jù shuō zài xiàn dài wén xué de yán jiū zhōng， guān yú kǎ fū kǎ de lùn wén shù liàng zhī dà， jǐn jǐn dǎ yìn tí mù jiù xū yào jǐ shí yè。 dàn shì， lǐ jiě kǎ fū kǎ zuì hǎo de fāng fǎ， jiù shì jìn rù tā de wén zì shì jiè， ān jìng dì qīng tīng tā tōng guò yǔ yán biǎo dá de nèi xīn。 zhè bù zhèng shì wǒ men xiàn zài zhè gè fú zào de xiàn dài wén míng suǒ quē shǎo de má？
　　《 chéng bǎo 》 - miào yǔ jiā jù
　　
　　 tā zhēn yào yǐ wéi wài miàn shì huī sè de tiān kōng yǔ huī sè de tǔ dì hún rán yī tǐ de huāng mò shì jiè liǎo。
　　 kě shì rú guǒ zhè yī qiē de píng jìng、 shū shì yǔ mǎn zú dōuyào xiǎng kǒng bù dì gào yī duàn luò， nà gāi zěn me bàn ní？


　　The Castle (German: Das Schloß) is a novel by Franz Kafka. In it a protagonist, known only as K., struggles to gain access to the mysterious authorities of a castle who govern the village where he wants to work as a land surveyor. Kafka died before finishing the work, but suggested it would end with the Land Surveyor dying in the village; the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there". Dark and at times surreal, The Castle is about alienation, bureaucracy, and the seemingly endless frustrations of man's attempts to stand against the system.
　　
　　History of the novel
　　
　　Kafka began writing The Castle on the evening of January 27, 1922, the day he arrived at the mountain resort of Spindlermühle (now in the Czech Republic). A picture taken of him upon his arrival shows him by a horse-drawn sleigh in the snow in a setting reminiscent of The Castle. Hence, the significance that the first few chapters of the handwritten manuscript were written in first person and at some point later changed by Kafka to a third person narrator, 'K.'
　　Max Brod
　　
　　Kafka died prior to finishing The Castle and it is questionable whether Kafka intended on finishing it if he had survived his tuberculosis. On separate occasions he told his friend Max Brod of two different conditions: K., the book's protagonist, would continue to reside and die in the village; the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there" , but then on September 11, 1922 in a letter to Max Brod, he said he was giving up on the book and would never return to it. As it is, the book ends mid-sentence.
　　
　　Although Brod was instructed by Kafka to destroy all his works on his death, he did not and set about publishing Kafka's writings. The Castle was originally published in German in 1926 by the publisher Kurt Wolff Verlag of Munich. This edition sold far less than the 1500 copies that were printed. It was republished in 1935 by Schocken Verlag in Berlin, and in 1946 by Schocken Books of New York.
　　
　　Brod had to heavily edit the work to ready it for publication. His goal was to gain acceptance of the work and the author, not to maintain the structure of Kafka's writing. This would play heavily in the future of the translations and continues to be the center of discussion on the text. Brod donated the manuscript to Oxford University.
　　
　　Brod placed a strong religious significance to the symbolism of the castle. This is one possible interpretation of the work based on numerous Judeo-Christian references as noted by many including Arnold Heidsieck.
　　Malcolm Pasley
　　
　　The publisher, Salmen Schocken, soon realized the translations were "bad" and in 1940 desired a "completely different approach". In 1961 Malcolm Pasley got access to all of Kafka's works, except The Trial, and deposited them in Oxford's Bodleian library. Pasley and a team of scholars (Gerhard Neumann, Malcolm Pasley, Jost Schillemeit, and Jürgen Born) started publishing the works in 1982 through S. Fischer Verlag. Das Schloß was published that year as a two volume set — the novel in the first volume, and the fragments, deletions and editor's notes in a second volume. This team restored the original German text to its full, and incomplete state, including the unique Kafka punctuation considered critical to the style.
　　Stroemfeld/Roter Stern
　　
　　Interpretations of Kafka's intent for the manuscript are ongoing. Stroemfeld/Roter Stern Verlag is working for the rights to publish another critical edition with manuscript and transcription side-by-side. But they have met with resistance from the Kafka heirs and Pasley. This edition is not yet available.
　　Major editions
　　
　　 * 1930 Translators: Willa and Edwin Muir. Based on the First German edition, by Max Brod. Published By Secker & Warburg in England and Alfred A. Knopf in the United States.
　　 * 1941 Translators: Willa and Edwin Muir. Edition include an Homage by Thomas Mann.
　　 * 1954 Translators: Willa and Edwin Muir additional sections translated by Eithne Wilkins and Ernst Kaiser. "Definitive edition". Based on the Schocken 1951 Definitive edition .
　　 * 1994 Translators: Muir, et al. Preface by Irving Howe.
　　 * 1997 Translator: J. A. Underwood, Introduction: Idris Parry. Based on Pasley Critical German Text.
　　 * 1998 Translator: Mark Harman Based on Pasley Critical German Text.
　　
　　The title
　　
　　The title, Das Schloß, may be translated as "the castle" or "the lock". It is also similar to Der Schluß (close or end). The castle is locked and closed to K and the townspeople; neither can gain access.
　　Plot
　　
　　The narrator, K. arrives in the village, governed by the castle. When seeking shelter at the town inn, he gives himself out to be a land surveyor summoned by the castle authorities. He is quickly notified that his castle contact is an official named Klamm, who, in the introductory note, informs K. he will report to the Council Chairman.
　　
　　The Council Chairman informs K. that, through a mix up in communication between the castle and the village, he was erroneously requested but, trying to accommodate K., the Council Chairman offers him a position in the service of the school teacher as a janitor. Meanwhile, K., unfamiliar with the customs, bureaucracy and processes of the village, continues to attempt to reach the official Klamm, who is not accessible.
　　
　　The villagers hold the officials and the castle in the highest regard, justifying, quite elaborately at times, the actions of the officials, even though they do not appear to know what officials do or why they do it; they simply defend it. The number of assumptions and justifications about the functions of the officials and their dealings are enumerated through lengthy monologues of the villagers. Everyone appears to have an explanation for the official's actions that appear to be founded on assumptions and gossip. One of the more obvious contradictions between the "official word" and the village conception is the dissertation by the secretary Erlanger on Frieda's required return to service as a barmaid. K. is the only villager that knows that the request is being forced by the castle (even though Frieda may be the genesis), with no regard for anyone in the village, only Klamm. Pepi and Jeremiah quickly come to their conclusions and do not hesitate to state them.
　　
　　The castle is the ultimate bureaucracy with copious paperwork that the bureaucracy maintains is "flawless". This flawlessness is of course a lie; it is a flaw in the paperwork that has brought K. to the village. There are other failures of the system which are occasionally referred to. K. witnesses a flagrant misprocessing after his nighttime interrogation by Erlanger as a servant destroys paperwork when he cannot determine who the recipient should be.
　　
　　The castle's occupants appear to be all adult men and there is little reference to the castle other than to its bureaucratic functions. The two notable instances are the reference to a fire brigade and that Otto Brunswick's wife is self declared as from the castle. The latter builds the importance of Hans (Otto's son) in K's eyes, as a way to gain access to the castle officials.
　　
　　The functions of the officials are never mentioned. The officials that are discussed have one or more secretaries that do their work in their village. Although the officials come to the village they do not interact with the villagers unless they need female companionship, implied to be sexual.
　　Characters
　　
　　Note: The Muir translations refer to the Herrenhof Inn where the Harman translations translate this to the Gentleman's Inn. Below all references to the inn where the officials stay in the village is the Herrenhof Inn since this was the first, and potentially more widely read, translation.
　　Character Description
　　K., the Land-Surveyor The protagonist of the story, recognized as a land surveyor, employed as the school janitor, and a stranger to the townspeople. He spends most of the novel trying to overcome the bureaucracy of the village and to contact the castle official Klamm.
　　Frieda A former barmaid at the Herrenhof, who is K.'s fiancée for most of the novel. She often finds herself torn between her duty to K. and her fears regarding his over-zealousness. She eventually leaves K. and ends up in the arms of his former assistant, Jeremiah (who has since become a waitperson at the Herrenhof).
　　Hans, landlord
　　(Bridge Inn) Nephew of the original owner of the inn. According to his wife, Gardena, he is lazy and overly nice to K.
　　Gardena, landlady
　　(Bridge Inn) The self proclaimed firebrand of the Bridge Inn she is a former short-term mistress to Klamm and very distrustful of K.'s motives. She remains infatuated with Klamm.
　　Barnabas, a messenger A messenger of the castle assigned to K. He is new to the service. K. is instructed to use him to communicate with the official Klamm. He is very immature and sensitive.
　　Arthur and Jeremiah, K's assistants
　　(Artur and Jeremias in Harman edition) Shortly after his arrival in the village, K. is given two assistants to help him with his various needs. They are a continual source of frustration for him, however, and he eventually drives them from his service through his brutal treatment. They have been assigned to K., to make him happy, by the official Galater who was deputizing for Klamm at the time.
　　Mayor/Superintendent
　　(Village Council Chairman in Harman edition) Assigned by Klamm to give K. his assignment and hence is his superior. He explains to K why he is not needed as a land surveyor. He offers K. the job of school janitor to the dismay of the Teacher.
　　Mizzi, the mayor's wife The wife and assistant of the Mayor, Gardena refers to her as the one who does the work.
　　Klamm An elusive castle official who is K.'s Castle Authority. Like the other Castle officials in the book, his actual area of expertise is never mentioned. K. spends a large portion of the novel trying to secure a meeting with Klamm. K., it seems, fixes many of his hopes for a successful resolution to his problems upon this meeting with Klamm. He has at least two secretaries—Erlanger (First Secretary) and Momus.
　　
　　In Czech (and Kafka was able to speak and read/write Czech) "klam" means "illusion."
　　Momus, Klamm's secretary Handles all written work for and receives all petitions to Klamm. He is also secretary for Vallabne, who is not mentioned again in the novel.
　　Erlanger, Klamm's secretary The First Secretary of Klamm who is sent to "interrogate" K, but only gives him a short message.
　　Olga, Barnabas' sister The older sister of Amalia and Barnabas. She helps K. on his quest, partly by telling him the story of why her family is considered outcasts and by teaching him some of the village customs.
　　Amalia, Barnabas' sister Younger sister of Barnabas and Olga. She was disgraced in the village after rudely turning down a summons from the castle official Sortini for sexual favors.
　　Barnabas' Father The father of Olga, Amalia and Barnabas. Past village cobbler and notable fireman. After Amalia's disgraceful interactions with Sortini's messenger, his business is ruined and he is stripped of his fire credentials
　　Barnabas' Mother The mother of Olga, Amalia and Barnabas.
　　Otto Brunswick, son-in-law of Lasemann
　　(brother-in-law of Lasemann in Harman edition) Hans Brunswick's father. Opportunistically takes over Barnabas' father's customers as the Barnabas family falls into disrepute from Amalia's rude treatment of Sortini's Messenger. According to the Mayor, Brunswick was the only person in the village that desired that a land surveyor be hired. No reason for this is given.
　　Frau Brunswick Hans Brunswick's Mother. She refers to herself as "from the castle" and is the only reference to a female at the castle.
　　Hans, a sympathetic Student A student at the school where K is a janitor. Offers to help K and K uses him to attempt to find ways to get to the castle through his mother.
　　Herrenhof Landlord Landlord of the Herrenhof Inn.
　　Herrenhof Landlady Well dressed landlady at the Herrenhof Inn. Seems to be the matriarch of the Inn (as is Gardena at the Bridge Inn). Is distrustful of K.
　　Galater He is the castle official that assigned the assistants to K. He was also "rescued" by Barnabas' father in a minor fire at the Herrenhof Inn.
　　Brügel
　　(Bürgel in Harman edition) A Secretary of a castle official, Friedrich. Friedrich is not mentioned again in the book, but in deleted text is referred to as an official who is falling out of favor. Brügel is a long winded secretary who muses about Castle interrogations with K, when the latter errantly enters his room at the Herrenhof Inn.
　　Sordini Castle secretary who exhaustively manages any transactions at the castle for his department and is suspicious of any potential error.
　　Sortini Castle official associated with the village fire brigade who solicits Amalia with a sexually explicit and rude request to come to his room at the Herrenhof.
　　Teacher When K. becomes the janitor at the school, the teacher becomes K.'s de facto superior. He does not approve of K. working at the school, but does not appear to have the authority to terminate K's appointment.
　　Miss Gisa, the school mistress The assistant school teacher who is courted by Schwarzer and also dislikes K.
　　Schwarzer An under-castellan's son who appears to have given up living in the castle to court Miss Gisa and become her student teacher.
　　Pepi A former chamber maid who is promoted to Frieda's barmaid position when the latter leaves her position at the Herrenhoff to live with K. She was a chambermaid with Emilie and Hennriette
　　Lasemann, a tanner, father-in-law of Otto Brunswick
　　(brother-in-law of Otto Brunswick in Harman edition) The village tanner that offers a few hours shelter to K. during on his first full day in the village.
　　Gerstacker, a Coachman Initially suspicious of K. but gives him a free sleigh back to the Bridge Inn after refusing to provide a ride to the castle. At the end of the book attempts to befriend K. since he believes K. has clout with Erlanger.
　　Seemann, the Fire Company chief The fire chief that strips Barnabas' father of his fireman diploma after Barnabas' family falls into shame from Amalia's rude treatment of Sortini's Messenger.
　　Major themes
　　Theological
　　
　　It is well documented that Brod's original construction was based on religious themes and this was furthered by the Muirs in their translations. But it has not ended with the Critical Editions. Numerous interpretations have been made with a variety of theological angles.
　　
　　One interpretation of K.'s struggle to contact the castle is that it represents a man's search for salvation. According to Mark Harman, translator of a recent edition of The Castle, this was the interpretation favored by the original translators Willa and Edwin Muir, who produced the first English volume in 1925. Harman feels he has removed the bias in the translations toward this view, but many still feel this is the point of the book.
　　
　　Fueling the biblical interpretations of the novel are the various names and situations. For example, the official Galater (the German word for Galatians), one of the initial regions to develop a strong Christian following from the work of Apostle Paul and his assistant Barnabas. The name of the messenger, Barnabas, for the same reason. Even the Critical Editions naming of the beginning chapter, "Arrival", among other things liken K. to an Old Testament messiah.
　　Abuse of power
　　
　　While in talking to Olga in (Chapter XVII, "Amalia's Secret") K. himself ridicules the officials, in general, based on Sortini's "abuse of power" in requesting Amalia to come to the Gentleman's Inn. K. caught, once again, in not understanding the customs of the village is shocked at the behavior of Sortini. Olga expresses the "heroic" actions of Amalia, but appears too understanding of the community's acceptance of the status quo when it comes to the solicitations by the officials.
　　Bureaucracy
　　
　　The obvious thread throughout The Castle is bureaucracy. The extreme degree is nearly comical and the village residents' justifications of it are amazing. Hence it is no surprise that many feel that the work is a direct result of the political situation of the era in which it was written, which was shot through with anti-Semitism, remnants of the Habsburg bureaucracy, etc.
　　
　　But even in these analyses, the veiled references to more sensitive issues are pointed out. For instance, the treatment of the Barnabas family, with their requirement to first prove guilt before they could request a pardon from it and the way their fellow villagers desert them have been pointed out as a direct reference to the anti-Semitic climate at the time.
　　Allusions to other works
　　
　　Critics often talk of The Castle and The Trial in concert, highlighting the struggle of the protagonist against a bureaucratic system and standing before the law's door unable to enter as in the parable of the priest in The Trial.
　　
　　In spite of motifs common with other works of Kafka, The Castle is quite different from The Trial. While K., the main hero of The Castle, faces similar uncertainty and difficulty in grasping the reality that suddenly surrounds him; Josef K., the protagonist of The Trial, seems to be more experienced and emotionally stronger. On the other hand, while Josef K.'s surroundings stay familiar even when strange events befall him, K. finds himself in a new world whose laws and rules are unfamiliar to him.
　　Publication history
　　Harman translation
　　
　　In 1926 Max Brod persuaded Kurt Wolff Verlag to publish the first German edition of The Castle. Due to its unfinished nature and his desire to get Kafka's work published, Max Brod took some editorial freedom.
　　
　　In 1961 Malcolm Pasley was able to gain control of the manuscript, along with most of the other Kafka writings (save The Trial) and had it placed in the Oxford's Bodleian library. There, Pasley headed a team of scholars and recompiled Kafka's works into the Critical Edition. The Castle Critical Edition, in German, consists of two volumes—the novel in one volume and the fragments, deletions and editor's notes in a second volume. They were published by S. Fischer Verlag in 1982, hence occasionally referred to as the "Fischer Editions".
　　
　　Mark Harman used the first volume of this set to create the 1998 edition of The Castle, often refer to as based on the "Restored Text" or the "English Critical Edition".
　　
　　The lack of the fragments and missing text would have little meaning to most readers if the Muir translation did not let one know that there was more to read. The casual reader may not find the additional text of value, which Harman mentions that he has not included the text. According to the Publisher's Note:
　　
　　"We decided to omit the variants and passages deleted by Kafka that are included in Pasley's second volume, even though variants can indeed shed light on the genesis of literary texts. The chief objective of this new edition, which is intended for the general public, is to present the text in a form that is as close as possible to the state in which the author left the manuscript."
　　
　　Harman has received general acceptance of his translation as being technically accurate and true to the original German. He has, though, received criticism for, at times not creating the prosaic form of Kafka. Some of this is due, as with Muir's translations, on accusations that Pasley compilations are also inaccurate, although better than Brod's.
　　
　　As noted in the Table of Contents above, Harman includes an eleven page discussion on his philosophy behind the translation. This section provides significant information about the method he used and his thought process. There are numerous examples of passages from Pasley, Muir's translation and his translation to provide the reader with a better feel for the work. As referenced above, some feel that his (and the publisher's) praise for his work and his "patronizing" of the Muirs goes a little too far.
　　Muir translation
　　
　　In 1930 Willa and Edwin Muir translated the First German edition of The Castle as it was compiled by Max Brod. It was published by Secker & Warburg in England and Alfred A. Knopf in the United States. 1941 edition was the edition that fed the Kafka post-war craze. The 1941 edition included a homage by Thomas Mann.
　　
　　In 1954 the "Definitive" edition was published and included additional sections Brod had added to the Schocken Definitive German edition. The new sections were translated by Eithne Wilkins and Ernst Kaiser. Some edits were made in the Muir text namely the changes were "Town Council" to "Village Council", "Superintendent" to "Mayor", "Clients" to "Applicants" .
　　
　　The 1994 edition, the current publication, contains a preface by Irving Howe.
　　
　　The Muir translations make use of wording that is often considered "spiritual" in nature. In one notable example, the Muirs translate the description of the castle as "soaring unfalteringly" where Harman uses "tapered decisively". Furthermore, the word "illusory" is used from the opening paragraph forward. Some critics note this as further evidence of the bias in the translation leaning toward a mystical interpretation.
　　Underwood translation
　　
　　A translation by J. A. Underwood was published in 1997 and 2000 (ISBN 0-14-018504-6) by Penguin in the UK.
　　Adaptations
　　
　　The book was adapted by German director Rudolf Noelte into a film released in 1968. It was also filmed by Austrian director Michael Haneke in 1997 under the original German title Das Schloß, starring Ulrich Mühe as K. There is a 1994 Russian movie adaptation, The Castle, directed by Aleksei Balabanov. Another less-well-known adaptation was also made in Russia in 1994, called The Land Surveyor (Землемер). It was a 46-minute-long animation created at Diogen Studio and directed by Dmitriy Naumov and Valentin Telegin. . A 120-minute-long French radio adaptation, written by Stephane Michaka and directed by Cedric Aussir, was aired by France Culture in 2010.
　　Allusions to The Castle in other works
　　
　　A story similar to that of The Castle is told in the British television series The Prisoner. In the late 1970s, an unlicensed computer game spin-off of The Prisoner took things one step further by incorporating elements of The Castle into the game play.
　　
　　The novel Oficina Número 1 (Office Number 1) by Venezuelan writer Miguel Otero Silva has one character reading The Castle, and although never referred to by name, describes several parts of it.
　　
　　The Castle is also referred to in Lawrence Thornton's Imagining Argentina. A professor is arrested under suspicion of subversive activities. He tells the authorities he has been meeting Dostoevsky, Koestler and Camus at a place called "the Castle". The main character's cat is also named Kafka.
　　
　　Although not expressly stated as such, the Steven Soderbergh film Kafka from 1991, starring Jeremy Irons, incorporates the basic thematic elements of The Castle as well as allusions to Kafka's own life as a writer and his collected works. The title character, "Kafka", an insurance company clerk by day and a writer by night, lives and works in the shadow of the mysterious Castle, which rules over the life and death of the local citizenry through a seemingly incomprehensibly complex conspiracy of bureaucracy and cover-ups.
　　
　　Iain Banks's novel Walking on Glass has characters who find themselves in a situation similar to K.'s: trapped in a castle, subject to arbitrary and bizarre rules which they must obey in order to find a way of leaving, and surrounded by "servants" who comply entirely with the rules by which the castle is run. The allusion is made specific in one of the final chapters, where reading The Castle (along with The Trial and Titus Groan) is hinted at as a key to the characters' escape from their own castle.
　　
　　K., the protagonist of J.M. Coetzee's The Life and Times of Michael K, attempts to live simply outside the governing system of war torn South Africa.[citation needed]
　　
　　African-American author Richard Wright references The Castle in his autobiography Black Boy.
　　
　　Japanese game designer Suda51, creator of No More Heroes, is planning to make a game based on The Castle, titled Kuriyami
　　
　　A world in the children's Nintendo DS game Drawn to Life: The Next Chapter, the Galactic Jungle, presents the player with a stubborn bureaucracy not unlike the one portrayed in the novel.
　　
　　Gene Wolfe's novel There Are Doors contains numerous references to The Castle throughout, including a high-placed official known as Klamm, several characters referred to as "Herr K.," and an actual copy of Das Schloss found nailed to a table within a dream.
　　
　　Argentinian writer Ernesto Sabato is said to be influenced by Kafka's existentialism. The main character in his novelle, "The Tunnel", is named Castel, presumably after Kafka's story title.
近义词
bǎo hù zhě , bǎo wèi zhě , hàn wèi zhě , bǎo lěi , diāo bǎo , yào sài , wéi hù zhě , hùn níng tǔ shè jī yǎn tǐ , bǎo cáng shí pǐn zhě , fáng hù yòng pǐn , sī rén bǎo liú dì
chéng bǎo cūn
包含词
chéng bǎo zhùchéng bǎo de