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Franz Kafkayuèdòu
   de wén xué chuàng zuò zhù yào chéng jiù shì sān wèi wán chéng de cháng piān xiǎo shuō xiē zhōng duǎn piān xiǎo shuō
  
   cháng piān xiǎo shuōměi guó》 (1912 héng 1914 nián xiě chéng ), miáo xiě 16 suì de guó shàonián 'ěr · luó mànyīn shòu jiā zhōng de yǐn yòuzhì shǐ huái yùnbèi gǎn chū jiā ménfàng zhú dào měi guó de jīng zāo zuò pǐn suǒ zhòng de shì rén zài měi guó yōu de nèi xīn gǎn shòu
    
   cháng piān xiǎo shuōshěn pàn》( 1918 nián xiě chéng), zuò pǐn jiǎng shù de shì yínháng zhù yuē ·K shòu shěn pàn bìng bèi chǔsǐ de shìyuē ·K zài 30 suì shēng de tiān zǎo chén xǐng lái 'àn líng shēng chī zǎo cān shíjìn lái de shì 'ér shì liǎng guān chāxuān gào bèi bìng bèi tíng shěn pàn yòu zuì suī bèi què réng néng yóu shēng huózhào cháng gōng zuò zhī dào zài shénme fāng yòu zuìrèn wéi dìng shì yuàn gǎo cuò liǎojiān xìn zuìyuē ·K yuàn jiù mìng yùn tóng zhè chǎng míng zhī háo wàng de sòng zhǎn kāi liǎo shēng de jiāo zhàngōng rán xiàng gōng zhèng de tíng tiǎo zhànzài shěn pàn shí kāng kǎi 'áng jiē tíng hēi 'ànwéi de bēn zhǎo rén bāng mángxiǎng gǎo shuǐ luò shí chūqīn dòng shǒu xiě kàng biàn shūcóng fāng miàn lái shuō míng zuì shēng zài mǒu zuì wēi xiǎo de fāng fàn guò shénme guò cuòjié xún zhǎo zhuō 'ér huáng huáng zhōng rán 'ér qiē láo , K zhōng míng báiyào bǎi tuō mìng yùn de 'ān páibǎi tuō zhī wǎng de shù shì néng dezuì hòu háo fǎn kàng bèi liǎng hēi rén jià zǒuzài suì shí chǎng de xuán xià bèi chǔsǐ
    
   duǎn piān xiǎo shuōzhōng guó cháng chéng de jiàn zào》( 1918 héng 1919) miáo xiě zhōng guó de lǎo bǎi xìng shòu xíng quán de shǐ jiàn zào háo fáng zuò yòng de cháng chéngbiǎo xiàn chū liǎo rén zài qiáng quán tǒng zhì miàn qián de nài néng wéi
    
  《 pàn jué》( 1912) shì zuì 'ài de zuò pǐnbiǎo xiàn liǎo liǎng dài rén de chōng zhù rén gōng 'ào 'ěr · běn màn shì shāng rén cóng nián qián qīn shì hòu jiù qīn shēng huóxiàn zài shēng xīng lóng zài fáng jiān gěi wèi duō nián qián qiān 'é guó de péng yǒu xiě xìngào dìng hūn de xiāo xiě wán xìn lái dào qīn de fáng jiān wài de shì qīn duì tài fēi cháng hǎohuái gēn běn jiù méi yòu qiān dào 'é guó de péng yǒuzhǐ bēizhe zuò shēng hái pàn zhe zǎo rán qīn yòu zhuǎn liǎo huà cháo xiào 'ào 'ěr zài piàn péng yǒuér qīn dǎo shì zhí gēn wèi péng yǒu tōng xìnbìng zǎo 'ào 'ěr dìng hūn de xiāo gào liǎo 'ào 'ěr rěn zhù dǐng zhuàng liǎo qīn qīn biàn pàn shēng tóu jìn shì shēng zhēn de tóu liǎozuò pǐn suǒ miáo xiě de zài liǎng rén de kǒu jiǎo guò chéng zhōngqīng bái shàn liáng de 'ér jìng bèi qīn shì wéi yòu zuì zhíniù cán bàozài qīn de yín wēi zhī xià shēng hài kǒng dào liǎo sàng shī zhì zhì jìn qīn gāo qiáng zhuàng 'ér háo xìng yòu qiē bào jūn de zhēngzhè mào huāng dàn de shì shì zuì xīn tài de shēng dòng miáo shù qīn de pàn jué shì duì de pàn juézhù rén gōng lín qián de shēng biàn bái héng héng qīn 'ài de qīn shì zhí 'ài men de shì zuì yǐn xīn de zhè zhǒng shì de kuàng jià shì diǎn xíng díkǎ shì deshì nèi xīn shēn chù de zuì gǎn xiàng huà zhī hòu de chǎn rán 'ér zuò pǐn de nèi hán xiǎn rán zài jǐn jǐn biǎo xiàn chōng gèng zài zài biàn shàng jiē shì chū rén lèi shēng cún zài zěn yàng zhǒng quán wēi líng zhī xiàlìng fāng miàn yòu zhǎn xiàn rén wéi zhàn shèng qīn jìn xíng de liè kàng zhēngér kàn lái shuāi lǎo de qīn tóng hái bān fàng dào chuáng shàng hòuzhēn de gài liǎo lái”。 cóng biǎo miàn shàng kàn zhè yàng zuò shì chū xiào xīnzài shēn céng hán shàng shì xiǎng mái zàng qīn què zuò wéi xīn de jiā zhī zhù de wèixiǎo shuō zài xiàn liǎo deshěn shí de tóng shí biǎo xiàn liǎo duì jiāzhǎng shì de 'ào xiōng guó tǒng zhì zhě de mǎn tóng shí hái tōng guò zhè de shì jiē shì liǎo fāng shè huì zhōng xiàn shí shēng huó de huāng miù xìng fēi xìng
    
   cháng piān xiǎo shuōchéng bǎo》( 1922) shì diǎn xíng de biǎo xiàn zhù xiǎo shuō yòu xiān míng díkǎ xiǎo shuō zhù rén wēng K shì míng shàng de cèliáng yuányìng pìn qián wǎng zhī míng de chéng bǎo gōng zuòshuí zhī bǎo nèi céng céng gòuméi yòu rén zhī dào zhè xiàng pìn rèn, K shàng zhòng zhòng de náozhǐ hǎo jūn fèn zhàn guān liáo quán guì xiè jìn xíng dǒu zhēngzhí dào zuì hòu shǐ zhōng méi yòu jìn chéng bǎo jiàn dào chéng bǎo zuì gāo dāng 。 
    
  《 'è shù jiā》( 1922) zhōng chàng rén wèile shēng cúnwèile shǐ de shù dàozuì gāo jìng jiè”, jìng jué zuò wéi chū jué shí biǎo yǎn zuò wéi móu shēng shǒu duànxuān chēng 40 tiān jìn shí 'ér yǐnháng gāo biǎo yǎnjìn 'ér zhǎn dào wéi jué shí 'ér jué shí de shùjìng jièfǎng 'è zhēn de jiù rén de ròu gǎn jué kāi liǎo yàng。 40 tiān guò liǎo réng jiān chí yào jué shí biǎo yǎn xià hòu bèi jīng qiǎngpò jìn shí shù jiā shēn wéi de 'è shù wèi jiā jìng 'ér hàngèng wéi rén men duì de shù zhuī qiú jiě zhī chí bèi gǎn yuán běn zuò wéi shēng shǒu duàn de 'ái’èdàngchéng shēng cún de zhēn zhèng shùér qiúzuì hòu bèi sòng jìn tuánguān zài lóng zhōng shòu lèi gōng rén cān guān zhēn zhèng de dòng shòu chái de shù jiā de xiàng yòu duō zhòng shì rén xìng huàjīng shén zhǎn pǐn huà shù huà de xiàng zhēngshì xiàn dài rén tòng bēi 'āi xiàn zhuàng de xiě zhào
    
  《 dòng xué》( 1923 héng 1924) shì wǎn chuàng zuò zhōng zuì dài biǎo xìng de zuòzhù rén gōng shì zhǐ zhī míng de rén huà de yǎn shǔ lèi dòng zuò pǐn cǎi yòng rén chēng miáo xiě liǎodān xīn wài lái xiū zhù liǎo jiān dòngzhù cún liǎo liàng shí dòng suī chàng tōng xiè fáng tuì táo dànhái shì shí shí chǔyú jīng kǒng zhī zhōnghuáng huáng zhōng 。“ yòu cháng nián duàn gǎi jiàn dòngniǎn zhuǎn tíng liáng shí cóng dòng de zhè fāng bān dào fāngzuò hǎo fáng gōng zuò fáng wài jiè qiáng qián lái shuō:“ shǐ cóng qiáng shàng diào xià lái de shā gǎo qīng de xiàng néng fàng xīn。” xiàng zhǒng wèi zhī de wēi xiǎnxiàng zhōu wéi qióng de qiē dòng liǎo yīcháng shū de zhàn dǒu:“ kāi liǎo shì jièxià dào de dòng ”,“ guǒ néng píng xīn zhōng de chōng jiù xiāng xìn jīng hěn xìng liǎo”。 rán 'ér yǒng yuǎn zài jué xīn de dàozài zhè méi yòu jìn tóu de gōng miàn duì zhǒng shǐ zhōng yīnggāi dān xīn de dōng jiàn shǐ zhōng yīnggāi yòu suǒ fáng bèi de shì qíngyòu rén lái liǎo”。 xiǎo shuō zhēn shí fǎn yìng liǎo zhàn qián hòu tōng xiǎo rén shī què 'ān quán gǎnshēng huó shēng mìng dào bǎo zhàng de kǒng xīn tài
    
  《 zhì xué yuàn de bào gàomiáo xiě tuán shì xún zhǎorén lèi dào ér xùn huà yuán hóu chéng wéi huì shuō huà de rén de shìbèi guān zài xiá zhǎi lóng de fēi zhōu yuán hóuzài rén de xià xué rén tuò xué rén shāo jiǔxué rén hǎn luó”。 de 'āiháo bēi míngchuán chū shī què yóuméi yòu chū de mèn bēi guān jué wàng qíng jiàn shī yuán xìng huò rén xìng de guò chéng biànzhèng shì rén lèi huà de zhǒng fǎn xiàng yìn zhèng
    
   jué zhī zuò shǒu yuē fēn huò hào mín miáo xiě liǎo xìng lèi xìng shù jiā shù sān zhě zhī jiān de guān zhè zuò pǐn bāo hán zhe yòu guān shù shù jiā zhǒng mín guān de shēn jiàn jiě hán 'è shù jiāgèng wéi shēn guǎng
    
   hái liú xià liǎo liàng de shū xìn zuò pǐnzhè xiē shū xìn zuò pǐn càn liǎo rén liàng xiǎng xìng de dōng wén xué shù jià zhí háo zhèng guī de wén xué zuò pǐnbǎo liú jiào duō de yòuzhì fěi . bào wēi 'ěr》( fěi bào wēi 'ěr dìngtuì hūn duō de qíng rén)、《 zhì . luó 》( hǎo yǒu MaxBrod) chāo cháng xìnzhì qīn》。 zhōngzhì qīnsuī rán shì fēng xìndàn zài wén xuéjiào xuéxīn xuélún xué děng fāng miàn jūn yòu jià zhí
    
   chú zhī wài de wèi nián qīng péng yǒu hái xià liǎo de fēn tán huàzhěng chéngtán huà chū bǎnlìng yòu》、《 gǎnděng zuò pǐn bèi bǎo liú xià láizhè xiē zuò pǐn shì duì huàchén shù de xíng shì xiě chéngjīhū shì rén shì jiè guān de zhí jiē chǎn shù yòu běn rén zhù guān gǎn qíng de xuān xiè yòu shēn suì de zhé xué yán duì shì jiè de guān miáo shù


  Short stories
  
   * Description of a Struggle (Beschreibung eines Kampfes, 1904–1905)
   * Wedding Preparations in the Country (Hochzeitsvorbereitungen auf dem Lande, 1907–1908)
   * Contemplation (Betrachtung, 1904–1912)
   * The Judgment (Das Urteil, 22–23 September 1912)
   * The Stoker
   * In the Penal Colony (In der Strafkolonie, October 1914)
   * The Village Schoolmaster (Der Dorfschullehrer or Der Riesenmaulwurf, 1914–1915)
   * Blumfeld, an Elderly Bachelor (Blumfeld, ein älterer Junggeselle, 1915)
   * The Warden of the Tomb (Der Gruftwächter, 1916–1917), the only play Kafka wrote
   * The Hunter Gracchus (Der Jäger Gracchus, 1917)
   * The Great Wall of China (Beim Bau der Chinesischen Mauer, 1917)
   * A Report to an Academy (Ein Bericht für eine Akademie, 1917)
   * Jackals and Arabs (Schakale und Araber, 1917)
   * A Country Doctor (Ein Landarzt, 1919)
   * A Message from the Emperor (Eine kaiserliche Botschaft, 1919)
   * An Old Manuscript (Ein altes Blatt, 1919)
   * The Refusal (Die Abweisung, 1920)
   * A Hunger Artist (Ein Hungerkünstler, 1924)
   * Investigations of a Dog (Forschungen eines Hundes, 1922)
   * A Little Woman (Eine kleine Frau, 1923)
   * First Sorrow (Erstes Leid, 1921–1922)
   * The Burrow (Der Bau, 1923–1924)
   * Josephine the Singer, or the Mouse Folk (Josephine, die Sängerin, oder Das Volk der Mäuse, 1924)
  
  Many collections of the stories have been published, and they include:
  
   * The Penal Colony: Stories and Short Pieces. New York: Schocken Books, 1948.
   * The Complete Stories, (ed. Nahum N. Glatzer). New York: Schocken Books, 1971.
   * The Basic Kafka. New York: Pocket Books, 1979.
   * The Sons. New York: Schocken Books, 1989.
   * The Metamorphosis, In the Penal Colony, and Other Stories. New York: Schocken Books, 1995.
   * Contemplation. Twisted Spoon Press, 1998.
   * Metamorphosis and Other Stories. Penguin Classics, 2007
  
  Novellas
  
   * The Metamorphosis (Die Verwandlung, November – December 1915)
  
  Novels
  
   * The Trial (Der Prozeß, 1925) (includes short story Before the Law)
   * The Castle (Das Schloß, 1926)
   * Amerika (Amerika or Der Verschollene, 1927)
  
  Diaries and notebooks
  
   * Diaries 1910–1923
   * The Blue Octavo Notebooks
  
  Letters
  
   * Letter to His Father
   * Letters to Felice
   * Letters to Ottla
   * Letters to Milena
   * Letters to Family, Friends, and Editors
  《 biàn xíng 》( DieVerwandlung, yīng TheMetamorphosis) shì de duǎn piān xiǎo shuō dài biǎo zuò zhī , shì shì shù shàng de zuì gāo chéng jiùbèi rèn wéi shì 20 shì zuì wěi de xiǎo shuō zuò pǐn zhī zài fāng xiàn dài xiǎo shuō shǐ shàng zhàn yòu zhòng yào wèi . xiǎo shuō xiě rén biàn chéng dòng , shì shén 。《 biàn xíng zuò wéi fāng xiàn dài pài wén xué de diàn zhī zuò shì bèi gōng rèn wéi xiàn dài pài de de zhòng yào zuò pǐn zhī duì hòu lái de xiàn dài zhù zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng shuō 'èr zhàn hòu de 'ōu zhōu xīng dehuāng dàn pài ”、 guó dexīn xiǎo shuō měi guó dehēi yōu xiǎo shuō shòu dào liǎo de zhù rén gōng gāo 'ěr shì xiǎo rén qīn chǎn qīn shēng bìngmèi mèi shàng xuéchén zhòng de jiā tíng dān qīn de zhài gāo 'ěr chuǎn guò lái pīn mìng gànhuó de shì hái qīng zhàigǎi shàn jiā tíng shēng huózài gōng shòu lǎo bǎn de zhǐ wàng hái qīng zhài hòu zhí shuōduì shì xiào duì mèi mèi shì hǎo duì gōng shì hǎo zhí yuánbiàn chéng jiá chóngshēn yuè lái yuè chā hái wéi hái qīng zhài dān yōuhái juàn liàn jiā rénshèn zhì wéi tǎo qīn huān xīn jiān nán guāi guāi huí shìzhè yàng shàn liángzhōng hòu 'ér yòu yòu rèn gǎn de rénzuì zhōng bèi qīn rén pāo gāo 'ěr de bēi shì lìng rén xīn suān de yòu fēng de shè huì nèi hán
  《 biàn xíng 》 - zuò zhě jiǎn jiè
  
   lán · lán ·
  
   lán · ( FranzKafka, 1883 nián 7 yuè 3 héng 1924 nián 6 yuè 3 ), ào xiǎo shuō jiā, 20 shì xiǎo shuō jiāwén míng jìng 'ér xiǎng xiàng guǐcháng cǎi yòng yán , bèi hòu de rén yán rén shūzàn huò yǒng dìng lùn
  
   shì wèi yòng xiě zuò de zuò jiā guó zuò jiā sài 'ěr · ài 'ěr lán zuò jiā zhān · qiáo bìng chēng wéi fāng xiàn dài zhù wén xué de xiān shī shēng qián wén fèn dǒusuí zhe shí jiān de liú shì de jià zhí cái zhú jiàn wéi rén men suǒ rèn shízuò pǐn yǐn liǎo shì jiè de zhèn dòngbìng zài shì jiè fàn wéi nèi xíng chéng jīng jiǔ shuāi
  
   hòu shì de píng jiāwǎng wǎng guòfèn qiáng diào zuò pǐn yīn 'àn de miàn shì míng lǎngfēng de fāng lán · kūn zàibèi bèi pàn de zhǔ》( Lestestamentstrahis) zhòngshì jiū zhèng zhè diǎn shí láo de huí huān zài péng yǒu miàn qián lǎng de zuò pǐn dào de duàn luò shí huì rěn jùn jìn xiào lái
  
   shēng de zuò pǐn bìng duōdàn duì hòu shì wén xué de yǐng xiǎng què shì wéi shēn yuǎn deměi guó shī rén 'ào dēng rèn wéi:“ men shí dài de guān zuì jìn dàn dīngsuō shì men shí dài de guān 。” de xiǎo shuō jiē shì liǎo zhǒng huāng dàn de chōng mǎn fēi xìng cǎi de jǐng xiàng rén shì deyōu de de qíng yùn yòng de shì xiàng zhēng shì de shǒu sān shí nián dài de chāo xiàn shí zhù dǎng shì zhī wéi tóng rén shí nián dài de huāng dàn pài zhī wéi xiān liù shí nián dài de měi guóhēi yōu fèng zhī wéi diǎn fàn
  
   1909 nián kāi shǐ biǎo zuò pǐn, 1915 nián yīn duǎn piān xiǎo shuō gōnghuò féng guó wén xué jiǎng jīn chuàng zuò qín fèndàn bìng biǎochéng míng wéi mùdìgōng zuò zhī de chuàng zuò shì tuō xiǎng gǎn qíng pái qiǎn yōu mèn de shǒu duàn duō zuò pǐn suí xiě láibìng jié wěi duì de zuò pǐn duō wéi mǎnlín zhōng qián ràng zhì yǒu luò quán shāo huǐ zuò pǐn luò chū yǒu chóng jìng zhī qíngwéi bèi liǎo yuànzhěng chū bǎn liǎo quán 》( 1950 héng 1980) gòng jiǔ juàn zhōng juàn zhōng de zuò pǐn shì shǒu kān chūyǐn wén tán hōng dòng
  《 biàn xíng 》 - nèi róng jiǎn jiè
  
  
   bèi jǐng
  
  1914 nián zhì 1918 nián de shì jiè zhànshǐ duō běn zhù guó jiā jīng xiāo tiáoshè huì dòng dàngrén mín shēng huó zài shuǐ shēn huǒ zhī zhōnghēi 'àn de xiàn shítòng de shēng huóshǐ rén men duì běn zhù shè huì shī xìn xīn fāng miàn xún qiú chū ruì gǎi fāng miàn yòu xiàn tuí fèijué wàng zhī zhōng。 19 shì zhì 20 shì chū xiē xiǎng mǐn ruì de shù jiā rèn wéi shì jiè shì hùn luàn dehuāng dàn de men zhù shū shuō pàn běn zhù de rén guān pàn cuī cán rén xìng de shè huì zhì shì jiè zhàn qián hòu 'èr shì jiè zhàn qián hòuxiàn dài zhù wén xué yìng yùn 'ér shēngxiàn dài zhù wén xué zuò pǐn fǎn yìng liǎo běn zhù shè huì de hēi 'ànrén rén zhī jiān guān de lěng rén duì shè huì de jué wàng shù shàng qiáng diào shǐ yòng kuā zhāng zhì guài dàn de biǎo xiàn shǒu miáo huì niǔ de rén xìngbiǎo xiàn rén de běn néng shí de zhù guān gǎn shòukāi jué rén de zhí juéběn néng shímèng huànbiàn tài xīn zhì bàn fēng kuángfēng kuáng de yán xíngxīn xiàn dài zhù de yōu xiù wén xué zuò pǐn tàn suǒ rén de xīn língwéi jiē shì rén de nèi xīn shì jiè gōng liǎo xīn de shù shǒu
  
   nèi róng
  
   xiǎo shuō xiě rén biàn chéng dòng , shì shén zàibiàn xíng zhōngzhí wéi tuī xiāo yuán de zhù rén wēng jué xǐng lái xiàn biàn chéng liǎo zhǐ de tiào zǎo
   tiān zǎo chén , gāo 'ěr cóng mèng zhōng xǐng lái shí xiàn tǎng zài chuáng shàng biàn chéng liǎo zhǐ de jiá chóng , quán shēn cháng chū liǎo duō zhǐ lián de xiǎo tuǐ , jiān yìng xiàng tiě jiá yàng de bèi tiē zhe chuáng 'ér yǎng zhe , néng fān shēn , xià liǎo chuáng . dàn lái yào jìng qiǎo qiǎo shòu rǎo chuáng , chuān , zuì yào jǐn de shì chī bǎo zǎo fàn , zài kǎo xià gāi zěn me bàn , yīn wéi fēi cháng míng bái , duǒ zài chuáng shàng xiā xiǎng shì xiǎng chū shénme míng táng de . hái guò shì yīn wéi shuì jué shì hǎo , tǎng zài chuáng shàng shí wǎng wǎng huì jué zhè 'ér 'ér yǐn yǐn zuò tòng , zhì lái , jiù zhī dào chún shǔ xīn zuò yòng , suǒ yīn qiē pàn wàng jīn tiān zǎo chén de huàn jué huì zhú jiàn xiāo shì gāo 'ěr , suī rán rén ' huà ' wéi chóng , dàn hái cún zài rén de wéi , hái yào xiàng zhèng cháng rén yàng shēng huó kǎo . yóu dān xīn gǎn shàng diǎn zhōng de huǒ chē . gāo 'ěr xīn qíng jiāo yòu kǒng huāng , yòu shēng gōng lái rén , zhè zhǒng miàn jiàn rén ! jié zhēngzhá gāo 'ěr màn màn tuī xiàng mén biān , jiē zhe biàn fàng kāi , zhuā zhù mén lái zhī chēng héng héng xiē tuǐ de jiǎo shàng dǎo shì yòu nián xìng de zài mén shàng kào liǎo huì 'ér , chuǎn guò kǒu lái . jiē zhe shǐ yòng zuǐ zhuàndòng chā zài suǒ kǒng de yàoshì . xìng de shì , bìng méi shénme chǐ yòng shénme lái yǎo zhù yàoshì yàoshì yào zhuàndòng shí , biàn yòng zuǐ xián zhù , rào zhe suǒ kǒng zhuǎn liǎo juàn , hǎo yàoshì niǔ guò , huò zhě shuō , shǐ yòng quán shēn de zhòng liàng shǐ zhuàndòng . zhōng de suǒ chū liǎo xiǎng liàng de shēng , shǐ gāo 'ěr wéi gāo xīng ······
  《 biàn xíng 》 - qíng jié zhù
  
  
  《 biàn xíng chuàng zuò 1912 nián biǎo 1915 niánxiǎo shuō fēn chéng sān fēnyòng èrsān biāo míng wén jié xuǎn liǎo yuán xiǎo shuō de bàn nèi róng
  
   fēn
   gāo 'ěr xiàn biàn chéng de jiá chóng”, jīng huāng 'ér yòu yōu qīn xiàn hòu gǎn huí de shì
   'èr fēn
   gāo 'ěr biàn liǎoyǎng chéng liǎo jiá chóng de shēng huó xìngquè bǎo liú liǎo rén de shí shī liǎoréng jiù guān xīn zěn yàng hái qīng qīn qiàn de zhài sòng mèi mèi shàng yīnyuè xué yuàn shì yuè hòu chéng liǎo quán jiā de léizhuì qīn qīnmèi mèi duì gǎi biàn liǎo tài
   sān fēn
   wèile shēng cúnjiā rén zhǐ gōng zhèng qiánrěn shòu liǎo gāo 'ěr zhè dānmèi mèi zhōng chū nòng zǒu gāo 'ěr yòu 'è yòu bìngxiàn jué wàng,“ huái zhe shēn qíng 'ài xiǎng de jiā rén”,“ rán hòu de tóu jiù chuí dǎo zài bǎn shàng de kǒng chū liǎo zuì hòu ”, liǎo qīn qīn mèi mèi kāi shǐ guò zhe yǎng huó de xīn shēng huó
  
   qíng jié de zhǎn yóu liǎng tiáo xiàn suǒ jiāo zhǎn kāi
   gāo 'ěrbiàn chéng jiá chóng héng héng chéng wéi léizhuì héng héng jué wàng 'ér
   jiā qīn rénjīng huāngtóng qíng héng héng zhú jiàn zēng hèn héng héng nòng zǒu
  
   gāo 'ěr shǐ zhì zhōng guān xīn jiā tínghuái liàn qīn rén shì qīn rén zuì zhōng pāo liǎo duì de dòng zhōngér qiě jué dìng jiāo yóu
  
   zuò zhě miáo xiě zhè zhǒng rén qíng fǎn chājiē shì liǎo dāng shí shè huì shēng huó duì rén de huàzhì shǐ qīn qíng dàn rén xìng niǔ 。《 biàn xíng de zhù yòu qiáng liè de pàn xìng chuàng zuò de wén xué zuò pǐn de zhù tóng de zhě cóng tóng de jiǎo huì yòu tóng de yàn jiěyòu rén rèn wéibiàn xíng de zhù shìbiǎo xiàn rén duì mìng yùn de néng wéi rén shī jiù chǔyú jué jìng yòu rén rèn wéi gāo 'ěr biàn chéng jiá chóng rén xíng wáng jiā rén chóngxīn gōng zuòzǒu xiàng xīn shēng huócún zài jiù shì shēng huó guī shì qíng de
  《 biàn xíng 》 - rén xīn miáo xiě
  
  
   zhù rén gōng gāo 'ěr shì xiǎo rén qīn chǎn qīn shēng bìngmèi mèi shàng xuéchén zhòng de jiā tíng
  《 biàn xíng 》《 biàn xíng
   dān qīn de zhài gāo 'ěr chuǎn guò lái pīn mìng gànhuó de shì hái qīng zhàigǎi shàn jiā tíng shēng huózài gōng shòu lǎo bǎn de zhǐ wàng hái qīng zhài hòu zhí shuōduì shì xiào duì mèi mèi shì hǎo duì gōng shì hǎo zhí yuánbiàn chéng jiá chóngshēn yuè lái yuè chā hái wéi hái qīng zhài dān yōuhái juàn liàn jiā rénshèn zhì wéi tǎo qīn huān xīn jiān nán guāi guāi huí shìzhè yàng shàn liángzhōng hòu 'ér yòu yòu rèn gǎn de rénzuì zhōng bèi qīn rén pāo gāo 'ěr de bēi shì lìng rén xīn suān de yòu fēng de shè huì nèi hán
  
   xiǎo shuō yòng xīn miáo xiě de fāng huà gāo 'ěr zhè rén gāo 'ěr guò de shēng huóbiàn jiá chóng hòu de xiǎng gǎn qíng xìng diǎndōushì tōng guò xīn miáo xiě biǎo xiàn chū lái de
  
   xiǎo shuō yòng duō xiě liǎo biàn xíng hòu gāo 'ěr bēi 'āi de nèi xīn shì jiè gāo 'ěr suī rán biàn chéng liǎo jiá chóngdàn de xīn shǐ zhōng bǎo chí zhe rén de zhuàng tài rán xiàn biàn chéng jiá chóng shí de jīng huāngyōu kǎo jiā tíng jīng zhuàng kuàng shí de jiāo zāo qīn rén yàn hòu de jué wàngtòng zhǎn shì liǎo shàn liángzhōng hòu yòu rèn gǎn de xiǎo rén wàng rén de jiě jiē shòu de xīn zhǐ shì zhè zhǒng yuàn wàng zhōng bèi chè de jué wàng suǒ dài màn zài rén xīn tóu de shì biān de lěng bēi liángyīnggāi shuō,《 biàn xíng de nèi zài zhù xiàn jiù shì gāo 'ěr biàn chéng jiá chóng hòu de xīn héng qíng gǎn liú dòng de guò chéngzhù rén gōng biàn chéng jiá chóng hòu de nèi xīn gǎn shòu xīn huó dòng shì xiǎo shuō de zhù xiǎo shuō yòng nèi xīn báihuí lián xiǎnghuàn xiǎng děng shǒu biǎo xiàn rén de xīn huó dòng duàn huí lián xiǎng guò jīn hòu de shì qíng shí yóu kǒng jiāo tòng jué wàng 'ér chǎn shēng huàn xiǎnghuàn juébìng qiě zài yóu lián xiǎng zhōng jīng cháng chū xiàn shí kōng dǎo cuòluó ji hùn luàn wéi tiào yuè děng yòu dìng de shí liú zhēng
  《 biàn xíng 》 - píng jià
  
  
   biǎo xiàn zhù
  
   de chuàng zuò wàng shèng zhèng zhí guó biǎo xiàn zhù wén xué yùn dòng de gāo cháo shí de duǎn piān xiǎo shuōbiàn xíng shuō shì biǎo xiàn zhù de diǎn xíng zhī zuò
   biǎo xiàn zhù de chuàng zuò zhù zhāng shì zūn xúnbiǎo xiàn lùnměi xué yuán 'ér chuán tǒng xiàn shí zhù de fǎng lùnyuán xiāng duì de fǎn duì zhì shì jiè”, guān shì de biǎo miàn xiàn xiàng zuò wéi zhēn shí de ér zhù zhāng píng rèn zhēnguān chá chóngxīn kǎo xiàn huò dòng chá bèi guān niàn yǎn gài zhe deér wéi bān rén suǒ zhù de zhēn shíwèicǐ jiù yào zhǒng shū de shù shǒu duàn miáo xiě de guān duì xiàng jiā shēng huàde chǔlǐ zào chéng shěn měi zhù bèi miáo xiě de zhī jiān de cóng 'ér yǐn de jīng shǐ cóng lìng jiǎo tàn tóng shì de běn zhìzhè zhǒng shù shǒu duàn tōng chēngjiān ”, zài lāi jiào zuò shēng huà xiào guǒ”。《 biàn xíng de biàn xíng shì zhǒng jiān huò shēng huà”) qiǎozuò zhě xiǎng jiè jiē shì rén rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn nèi xīn què shì wéi shēng de shí zhìzhī suǒ qīn qīn yīn wéi xiāng yòu gòng tóng de hài guān wéi zhe dàn duàn zhè zhǒng guān zhǒng qīn de wài guān shàng jiù xiāo shī 'ér bào chū lěng lěng de zhēn xiāngzhèng 'ēn zàiyīng guó gōng rén jiē zhuàng kuàng wén zhōng suǒ jiē shì de:“ wéi jiā tíng de niǔ dài bìng shì jiā tíng de 'àiér shì yǐn cáng zài cái chǎn gòng yòu guān zhī hòu de rén 。” wèi zhēn jiàn xuè
  
   dāng gāo 'ěr shēn jiàn kāngměi yuè néng huí gōng gòngyǎng quán jiā de shí hòu shì zhè jiā tíng míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐdàn dāng dàn huàn liǎo zhì zhī zhèngshī liǎo gōng de zhí yīn 'ér jiā tíng bǎo chí zhè zhǒng jīng lián de shí hòu zài jiā tíng de qiē zūn yán hěn kuài bèi duó gān jìngshèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn biàn chéngfēi rén”, de chǔjìng dòng dāng rán ràng zhù rén gōng zhǒng zhì mìng de zhòng bìng huò zāo sàng shī láo dòng de zhòng cánrán hòu xiě bèi jiā rén yàn de guò chéngdàn zhè yàng de gòu shù xiào guǒ biàn xíng yàng qiáng lièyīn wéi zuò wéi bìng rén yòu kǒu huì shuō huàyòu yǎn jīng huì kàn rén néng dāng zhe de miàn biǎo xiàn chū duì de yàn juànhuò gěi sòng fàn chīér zhǐ jiá chóng huì shuō huà méi yòu biǎo qíng de gǎn jiù gèng jiā lìng rén gǎn dào rán liǎo héng héng shàng shì cóng shè huì xué guān diǎn kàn de
  
   guǒ cóng fāng liú xíng de huàguān niàn kànzhè piān xiǎo shuō shì xiě rén rén zhī jiānrén zhī jiān guān de piān jié zuòzài shí shēng huó zhōng zài jiā tíng qīn de guān què shí shì xié dedàn qīn guān shì zhèng cháng de sān mèi mèi bié yào hǎodàn què zài fēng xìn zhōng shuō:“ zài de jiā shēng rén hái yào shēng。” xiàn zài tōng guòbiàn xíng àn shì men shǐ xiàng de mèi mèi yàng 'ài zhe dàn dàn zhè wèi liǎo zhǒng zhì mìng de jué zhèngjiǔ 'ér jiǔ zhī huì xiàng xiǎo shuō zhōng de wèi láng yàng yàn dezhè xiě de shì zhǒng biàn de rén lèi shēng cún zhuàng kuàngrén de biàn xíng shì huàde zhǒng xiě zhàoyóu shì zhù rén gōng biàn chéng jiá chóng hòurén de xìng jiàn jiàn xiāo shīérchóng xìng zēng jiāfǎng gāo 'ěr huà chū rén de shì jiè hòudǎo shì zài dòng de shì jiè zhǎo dàochóngde liǎozhè yàng de xiě shì jué miào de
  
   zài rén rén zhī jiān hái méi yòu xié guān de shì jiè rén de biàn xíng shì zhǒng xiàng zhēng qiē dǎo méi rén de xiàng zhēngrén dàn zāo xìngsàng shī gōng zuò néng de bìngshāng cánzhèng zhì děng), jiù zài bèi shè huì chéng rèncóng 'ér shī zuò wéi rén de jià zhí de ”, chéng wéi děng dòng defēi rén”。
  
   zài xiàn dài shù chuàng zuò zhōngbiàn xíng shì zhǒng guài dàn de biǎo xiàn shǒu duànshì zhǒng chuàng zào huò shēng huàde qiǎoàn zhào měi guó měi xué jiā sāng de shuō guài dàn shì zhǒng chuàng zào wéi bèi guān shì de biǎo miàn zhēn shíquè bìng wéi bèi guān shì de nèi zài luó jiyīn jìn xiàn dài měi xué de fàn chóuchéng wéi biǎo xiàn zhù wén xué shù piān 'ài de zhǒng shǒu biǎo xiàn zhù wén xué chuàng zuò qiáng diào cóng zhù guān de nèi xīn gǎn shòu chū zuò pǐn wǎng wǎng yòu zhǒng rén de zhēn shí xìngzhè zài xià chéng xiàn wéi zìzhuàn cǎi jǐn zhù rén gōng de shēn fèngōng yuán xīn zuò wéi zhǎngzǐ jìn jiā tíng zuò zhě jìn rén qīn qīn mèi mèi jīhū dōukě de jiā tíng chéng yuán jìn xíng jiào
  
   nèi hán
  
  《 biàn xíng zhè shì biǎo miàn kàn lái huāng dàn jīngshí yùn hán liǎo fēng 'ér shēn de nèi róngzhù yào bāo kuò xià fāng miàn
  1、 shǒu xiān zhēn shí biǎo xiàn liǎo fāng xiàn dài běn zhù shè huì rén de huà . zài fāng xiàn dài běn zhù shè huì rén ( jīn qián , , chǎn pǐn , shēng chǎn fāng shì děng ) suǒ shǐsuǒ xié suǒ tǒng zhì 'ér néng zhù , chéng wéi de jìn 'ér shī rén de běn xìngbiàn wéi fēi rén .。《 biàn xíng zhù rén gōng gāo 'ěr de shì zhèng shì rén huà wéi fēi rén zhè zhé xué shēng cún xiàn zhuàng .。
  2、 zuò pǐn hái biǎo xiàn liǎo zài xiàn dài shè huì rén de zhǒng shēng cún kǒng rén biàn jiá chóngzài zhè xiàng zhēng zhe míng miào de zāinàn de jiàng línzhè zhǒng rén néng zhǎng mìng yùn de gǎn jué biǎo xiàn liǎo xiàn dài fāng rén de mǒu zhǒng jīng shén zhuàng tàiyóu shì jìn 20 shì hòuliǎng shì jiè zhàn de zāinànzhōu xìng de jīng wēi chāo guó de jūn bèi jìng sài zhàn zhēng de wēi xiéhuán jìng rǎn rán jiè shēng tài píng héng de huàizhè qiē shǐ rén men duì wèi lái de mìng yùn chǔyú zhǒng zhī de kǒng zhuàng tài zhī zhōng。《 biàn xíng zhōng gāo 'ěr de mìng yùn zhèng fǎn yìng liǎo zhè zhǒng jīng shén zhuàng tài běn zhì de dōng
  3、 zài ,《 biàn xíng hái biǎo xiàn liǎo xiàn dài shè huì zhōng rén rén zhī jiān de lěng guān xiǎo shuō xiáng de miáo xiě liǎo jiā rén duì cóng guān xīn dào yàn 'è dào zhì de guò chéngzhè guò chéng shí shàng shì wàng huī zuàn qián de néng dào chè jué wàng de guò chéngzhè shì wèijiā tíng fèng xiàn liǎo qiēquè yóu shī liǎo yuán yòu de jià zhí 'ér bèi jiā tíng pāo de xiǎo rén de bēi zhè lèi bēi zài rén qíng lěng de xiàn dài shè huì bìng hǎn jiàn
   zuò pǐn chuàng zào de shù shì jièhán gài xiǎng nèi róng shù xíng shì liǎng fāng miànshì nèi róng xíng shì de yòu tǒng jiù xiǎng 'ér yánjiào wéi zhé fǎn yìng liǎo běn zhù shè huì de zhǒng zhǒng duānjiāng huāng tángrén xìng huà kàn zhe dìng shǐ tiáo jiàn xià rén lèi shè huì miǎn de xiàn xiàng zuò pǐn nóng hòu de zhù bēi guān zhù qíng diào ; jiù shù 'ér yán , shàn yùn yòng guài dàn xiàng zhēng de biǎo xiàn shǒu bié shì yòng yòu biǎo xiàn de shǒu biǎo xiàn chōu xiàng de xiǎng gǎn qíng
   shòu cún zài zhù xué shuō de yǐng xiǎngzuò pǐn shēn fǎn yìng liǎo shì qíng biǎo xiàn liǎo rén de kǒng zhǎn shì zài rén men miàn qián de shì huāng dàn de shì jiè huà de zhù , xíng chéng liǎo chí de shì shù fēng xiǎng nèi róng bié shì duì biǎo xiàn zhù shǒu yùn yòng , dào dēng fēng zào zhī jìng jiè zuò pǐn wǎng wǎng huāng dàn zhēn shí zhī zhōngróng huàn xiǎng guài dàn huò miáo xiě rén fēi rénde rén yòu pèng zhuàng ; huò zhí zhù jīng shén céng miàn de yuèzhēn de xún qiúhuò xiàng zhēng xíng xiàng de zào lái zhǎn xiàn rén de tòng kùn huò děng děnggòu jiàn liǎo shì shù fēng de měi xué gài niàn
  
  
  《 biàn xíng 》 - shì rén xīn zhōng díkǎ biàn xíng
  
  
   shì xiàn dài zhù wén xué de kāi shān shī,《 biàn xíng shì de dài biǎo zuò pǐn zhī guǒ xiǎng liǎo jiě xiàn dài zhù wén xuézuì hǎo de bàn jiù shì cóng fǎn yuè biàn xíng kāi shǐ
  
   zài běn shū zhōng miáo shù liǎo xiǎo zhí yuán gāo 'ěr · shā rán biàn chéng zhǐ shǐ jiā réndōu yàn 'è de jiá chóng de huāng dàn qíng jiéjiè jiē shì rén rén zhī jiān -- bāo kuò lún cháng zhī jiān -- biǎo miàn shàng qīn qīn nèi xīn què wéi shēng de shí zhìshēng dòng 'ér shēn zài xiàn liǎo běn zhù shè huì zhōng rén rén zhī jiān de lěng zài huāng dàn de luó ji de shì jiè miáo huì " rén lèi shēng huó de qiē huó dòng zhēn de jié ", zhè zhèng shì zhù míng xiǎo shuō jiā de tiān zhī suǒ zài
  
   yuè biàn xíng 》, yòu zhǒng wéi de yòu zhǒng ruì zhì de gǎn jué xiǎng shàng de suǒ xiǎn rán duō xīn líng de shōu huònéng cóng de biàn xíng kuā zhāng huì dào shēng mìng de dòng chōng běn shū jiào wán zhěng dài biǎo liǎo de xiǎng shēn chuàng zào diǎnshì fāng xiàn dài zhù wén xué de jīng diǎn zuò pǐn zhī
  
  
   debiàn xíng men dài wǎng shú de lìng shì jièér shí lìng shì jiè yuán běn shǔ men de rén xìng zhī bāngzhǐ shì shì yòng lìng tào shù fāng shì qiǎo lái zhǎn shì men rén xìng nèi de hēi 'àn wáng guóyīn wéi men píng shí cháo kàn shàng yǎnchū jiàn zhī xiàcái huì gǎn dào shì de shēngguài nán jiě
  
  
   zài miáo xiě rén bèi huà de zuò pǐn zhōngào zhù míng de " xiàn dài shù de tàn xiǎn zhě " nián wán chéng de zhōng piān xiǎo shuōbiàn xíng 》, shì fāng xiàn dài pài wén xué zhōng miáo xiě rén bèi huà de jié zuò
  
  《 yǐng xiǎng shǐ jìn chéng de bǎi běn shū》:
   fāng wén tán tuī chóng " shì běn shì zuì jiā zuò jiā zhī ", bìng shuō " guǒ yào chū zuò jiā men shí dài de guān zuì jìn dàn dīngsuō shì men shí dài de guān me shì shǒu xiān huì xiǎng dào de míng "。 jìn guǎn zhè xiē zàn wèi miǎn yòu guò shèn zhī xiándàn biàn xíng wéi dài biǎo díkǎ de zuò pǐndíquè duì fāng xiàn dài pài wén xué chǎn shēng liǎo hěn shēn de yǐng xiǎng zhì xíng chéng liǎo mén zhuān mén yán jiū tǎo lùn zuò pǐn de " xué "。
  
  《 chuán》:
   guǒ shū shì wéi liǎo zhǎo gǎn shí máo debiàn xíng jué duì shì shì měi jiǔ jiā fēi de làng mànshū zhōng huāng dàn de tòng huì jiāng gāng gāng de jiǔ bēi qīng suì guǒ shì máng mùdì guān zhù zhě shū wèi jīng cǎi zhì fǎn yuè pǐn wèi
  
  
   shēng díkǎ
  
   shénme shì hǎo xiǎo shuō zhè shì yǒng yuǎn tán lùn què yòu yǒng yuǎn nán qiú jiě de wèn dàn hǎo xiǎo shuō dìng shì hǎo kàn de xiǎo shuō dìng shì zhòng zhě de yuè kǒu wèiyīn wéi hǎo xiǎo shuō dōushì xīn xiān de de zài chuán tǒng yuè guàn " duì kàng " guò chéng zhōng gōng liǎo xīn de shù yīn shǐ guàn chuán tǒng yuè de zhě xiàn nán jiě zhī de shēn yuānsuǒ wǎng wǎng gěi rén men liú xià liǎo zěn me hǎo kàn de yìn xiàngyuè debiàn xíng 》, duì zhě shì zhòngzhì qíng gǎn shàng de tiǎo zhànyīn wéi de zuò pǐn shì wén xué shàng de biàn shùhěn shēngyòng chuán tǒng de yuè fāng hěn nán jiě
  
  《 biàn xíng chāo yuè shí kōng de xiàn zhìduì shì jiàn de jiāo dài zhǐ míng de shí jiān diǎn bèi jǐngshèn zhì mǐn miè liǎo huàn xiàng cháng shēng huó zhī jiān de jiè xiàn huàn xiàn shí nán jiě nán fēn jié chéng zhěng liǎokàn lái debiàn xíng men dài wǎng shú de lìng shì jièér shí lìng shì jiè yuán běn shǔ men de rén xìng zhī bāngzhǐ shì shì yòng lìng tào shù fāng shì qiǎo lái zhǎn shì men rén xìng nèi de hēi 'àn wáng guóyīn wéi men píng shí cháo kàn shàng yǎnchū jiàn zhī xiàcái huì gǎn dào shì de shēngguài nán jiě
  
   jié zuò jiā lán · kūn zàixiǎo shuō de shùzhōng chēng xiǎo shuō jiā wéi " cún zài de kān tàn zhě ", ér xiǎo shuō de shǐ mìng què dìng wéi " tōng guò xiǎng xiàng de rén duì cún zài jìn xíng shēn ", " jiē shì cún zài bùwèi rén zhī de fāng miàn "。 debiàn xíng jiù shì tàn jiū cún zài zhī dedàn suǒ guān zhù de zhòng diǎn shì " shì de nèi xīn shēng huó "-- rén de nèi xīn tóng yàng zuò wéi xiàn shí de fēn 'ér cún zài debiàn xíng jiù shì shēn suì de xiàn rén lèi de mǒu zhǒng cháng cháng bèi wàng de cún zài zhuàng tài
  
   de xiǎo shuō shì " mèng zhēn shí de jué miào hùn yòu duì xiàn dài shì jiè zuì qīng xǐng de shěn shìyòu yòu zuì fēng kuáng de xiǎng xiàng "。 suǒ guǒ men lián xiǎng xià xiàn shí shēng huó zhōng lèi shìde shì qíngdāng men shēn de cún zài bèi xiē shuí liào táo de jìng kuàng suǒ jué dìng shíshēng huó de huāng dàn zhè shì de huāng dàn jiù yòu liǎo zhǒng de lián me bǎi zài men miàn qián de wèn jiù jiān ruì liǎodāng men rán dòng dànzài wán quán néng wéi sàng shī liǎo rén de qiē zhù xìng de qíng kuàng xià men yīnggāi zěn me bàn de xiǎo shuō dài chū liǎo men shēn shēn de wènxiǎn ránzài huāng dàn de biàn zhōng mǐn ruì jué chá dào xiàn shí shēng huó mǒu xiē dài běn zhì xìng de wèn cái yòng zhè zhǒng xiàng zhēngkuā zhāng shèn zhì huāng dàn de shǒu jiā biǎo xiàn
  
   lěng jùn de yǎn guāng jiāo de shì " zhēn "。 zài kàn lái, " zhēn " ruò yào xiànjiù jiè zhù " chǒu "。 shìbiàn xíng zhōng chū xiàn liǎo liàng de chǒu lòu de xiàng háo fàng zhú liǎo wén xué de shěn měi jià zhí jué chǒu jiù shì chǒushèn zhì gēn běn méi yào yòng měi zuò wéi xiǎo shuō jié shù zhī qián de diǎn 'ān wèisuǒ zhí dào xiǎo shuō de jié wěi méi yòu ràng zhè xiē chǒu lòu de xiàng cóng bèi miàn chū diǎn měi de guāng máng
  
   zuì hòu yǐn yòng wáng xiǎo de huà lái jié shù běn wén shuō: " zhèng děng dài zhe yòu tiān néng gòu kāi běn shū zài dài yòu zhǐ dài néng shòu dào jiào 。 "《 biàn xíng jiù shì běn zhè yàng de hǎo shū
   zài fāng wén xué zhōng xué dào liǎo zhè wèi zuò jiā de zuò pǐnduì shì hěn shú dàn zhū duō chéng guǒ zhōng de biàn xíng què ràng nán wàng huái
  
  《 biàn xíng wéi xiàn dài zhù wén xué de diàn zhī zuò shì xiàn dài zhù wén xué de xiān duì hòu lái xiàn dài zhù wén xué de zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng de chuàng zuò wàng shèng zhèng zhí guó biǎo xiàn zhù wén xué yùn dòng de gāo cháo shí de duǎn piān xiǎo shuōbiàn xíng shuō shì biǎo xiàn zhù de diǎn xíng zhī zuò。 1998 niányīng guó BBC guǎng diàn tái zuò liǎo liè jié huí 20 shì de shù jīng diǎnjiè shào 100 20 shì zuì yòu yǐng xiǎng de shù zuò pǐn jiù shì guān debiàn xíng 》。 biàn xíng zhí shì rén lèi de zhǒng xiǎng shì wén xuéyǐng shì zuò pǐn zhōng de jīng diǎn cái xiǎo shí biàn xiàn sūn kōng de shí 'èr biànjīn tiān de hái kàn zhe biàn xíng jīn gāng lèi de dòng huàpiān zhōng wēi fēng lǐn lǐn de biàn xíng dòng zuò xīng fèn ér qiě bǎi kàn yànbiàn xíng shì tóng huà de zhuān dàn debiàn xíng què shì wéi de gāo 'ěr biàn xíng liǎodàn biàn bìng qīng sōngràng men lái bìng jué xīng fèn jiū jìng xiǎng yào gào men shénme
  
  “ tiān zǎo chén gāo 'ěr shā cóng 'ān de shuì mèng zhōng xǐng lái xiàn tǎng zài chuáng shàng biàn chéng liǎo zhǐ de jiá chóng。”( xuǎn běi jīng yàn shān chū bǎn shè zhōng piān xiǎo shuō biàn xíng zhōng 86 zhè biàn shì shì de kāi piān běn wéi shì huàn xiǎo shuōshuí zhī dào shì yòng zhǒng jiè shēn lín jìng de báipíng jìng de biǎo zhe zhè jìn huāng dàn de shìdàn zài de xià huì yòu huāng dànyòu de zhǐ shì zhēn shíràng rén gǎn jué kǒng huāng de zhēn shí zhǒng xīn de xiě de dàn shēngràng hòu shì shǎo rén wéi zhī jīng chà,“ yuán lái wén xué zhè me xiě!”。 yòu wèi shī jiù zhè yàng héng kōng chū shì liǎo měi guó zuò jiā 'ào dēng shuō guòjiù zuò jiā chù de shí dài de guān 'ér lùndāng dài néng dàn dīngsuō shì hègē xiāng bìng lùn de rén shì
  
   biǎo xiàn zhù de chuàng zuò zhù zhāng shì zūn xúnbiǎo xiàn lùnměi xué yuán 'ér chuán tǒng xiàn shí zhù de fǎng lùnyuán xiāng duì de fǎn duì zhì shì jiè”, guān shì de biǎo miàn xiàn xiàng zuò wéi zhēn shí de ér zhù zhāng píng rèn zhēnguān chá chóngxīn kǎo xiàn huò dòng chá bèi guān niàn yǎn gài zhe deér wéi bān rén suǒ zhù de zhēn shíwèicǐ jiù yào zhǒng shū de shù shǒu duàn miáo xiě de guān duì xiàng jiā shēng huàde chǔlǐ zào chéng shěn měi zhù bèi miáo xiě de zhī jiān de cóng 'ér yǐn de jīng shǐ cóng lìng jiǎo tàn tóng shì de běn zhìzhè zhǒng shù shǒu duàn tōng chēngjiān ”, zài lāi jiào zuò shēng huà xiào guǒ”。《 biàn xíng de biàn xíng shì zhǒng jiān huò shēng huà”) qiǎozuò zhě xiǎng jiè jiē shì rén rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn nèi xīn què shì wéi shēng de shí zhìzhī suǒ qīn qīn yīn wéi xiāng yòu gòng tóng de hài guān wéi zhe dàn duàn zhè zhǒng guān zhǒng qīn de wài guān shàng jiù xiāo shī 'ér bào chū lěng lěng de zhēn xiāngzhèng 'ēn zàiyīng guó gōng rén jiē zhuàng kuàng wén zhōng suǒ jiē shì de:“ wéi jiā tíng de niǔ dài bìng shì jiā tíng de 'àiér shì yǐn cáng zài cái chǎn gòng yòu guān zhī hòu de rén 。” wèi zhēn jiàn xuè kàndāng gāo 'ěr shēn jiàn kāngměi yuè néng huí gōng gòngyǎng quán jiā de shí hòu shì zhè jiā tíng míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ
  
   dàn dāng dàn huàn liǎo zhì zhī zhèngshī liǎo gōng de zhí yīn 'ér jiā tíng bǎo chí zhè zhǒng jīng lián de shí hòu zài jiā tíng de qiē zūn yán hěn kuài bèi duó gān jìngshèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn
  
   biàn chéngfēi rén”, de chǔjìng dòng dāng rán ràng zhù rén gōng zhǒng zhì mìng de zhòng bìng huò zāo sàng shī láo dòng de zhòng cánrán hòu xiě bèi jiā rén yàn de guò chéngdàn zhè yàng de gòu shù xiào guǒ biàn xíng yàng qiáng lièyīn wéi zuò wéi bìng rén yòu kǒu huì shuō huàyòu yǎn jīng huì kàn rén néng dāng zhe de miàn biǎo xiàn chū duì de yàn juànhuò gěi sòng fàn chīér zhǐ jiá chóng huì shuō huà méi yòu biǎo qíng de gǎn jiù gèng jiā lìng rén gǎn dào rán liǎo
  
   guǒ cóng fāng liú xíng de huàguān niàn kànzhè piān xiǎo shuō shì xiě rén rén zhī jiānrén zhī jiān guān de piān jié zuòzài shí shēng huó zhōng zài jiā tíng qīn de guān què shí shì xié dedàn qīn guān shì zhèng cháng de sān mèi mèi bié yào hǎodàn què zài fēng xìn zhōng shuō:“ zài de jiā shēng rén hái yào shēng。” xiàn zài tōng guòbiàn xíng àn shì men shǐ xiàng de mèi mèi yàng 'ài zhe dàn dàn zhè wèi liǎo zhǒng zhì mìng de jué zhèngjiǔ 'ér jiǔ zhī huì xiàng xiǎo shuō zhōng de wèi láng yàng yàn dezhè xiě de shì zhǒng biàn de rén lèi shēng cún zhuàng kuàngrén de biàn xíng shì huàde zhǒng xiě zhàoyóu shì zhù rén gōng biàn chéng jiá chóng hòurén de xìng jiàn jiàn xiāo shīérchóng xìng
  
   zēng jiāfǎng gāo 'ěr huà chū rén de shì jiè hòudǎo shì zài dòng de shì jiè zhǎo dàochóngde liǎozhè yàng de xiě shì jué miào de
  
  “ gāo 'ěr de yǎn jīng jiē zhe yòu cháo chuāng kǒu wàng tiān kōng hěn yīn 'àn héng héng tīng dào diǎn zài chuāng jiàn shàng de shēng yīn héng héng de xīn qíng biàn de hěn yōu liǎo。”
   
  “ zhè shí hòu tiān gèng liàng liǎo qīng qīng chǔ chǔ kàn dào jiē duì miàn yīzhuàng cháng méi yòu jìn tóu de shēn huī de jiàn zhù héng héng zhè shì suǒ yuàn héng héng shàng miàn yǎn kāi zhe pái pái dāi bǎn de chuāng hái zài xià guò chéng wéi kàn qīng de liǎo。”( shàng jūn jié xuǎn biàn xíng 》)。
    
   shàng miàn de liǎng duàn dōushì duì chuāng wài jǐng de miáo xiě zài qīng zhī jiān biàn fēn xuàn rǎn de nóng zhòngwéi zhù xuán de shù yòu zēng jiā de wán zhěng de jié pāifǎng fāng miàn de zhēng dōushì wèile zhù de hōng tuōér zhù yòu háo hén de chéng xiàn chū fāng miàn de zhēngzhè zhǒng wán měi tǒng de lián guànshǐ wén zhāng ràng rén jué de hān chàng lín shì hǎo xiàng jiù zài de shēn biān shēngràng rén néng
  
  1911 nián chū xiàn debiàn xíng shì huì deshēn 'ào de shǐ zài jìn bǎi nián hòu de jīn tiānzhè wěi de yán yàng de xiǎo shuō wén běn bìng shì me róng jiě shǐ dǒng liǎo zhè yán bān de xiǎo shuōyòu gǎn zhī zhī suǒ bēi 'āi kuàng qiě hái yòu bēi 'āi gèng wéi shēn yuǎn de dōng bāo guǒ zài hòu


  The Metamorphosis (German: Die Verwandlung) is a novella by Franz Kafka, first published in 1915. It is often cited as one of the seminal works of short fiction of the 20th century and is widely studied in colleges and universities across the western world; Elias Canetti described it as "one of the few great and perfect works of the poetic imagination written during this century". The story begins with a traveling salesman, Gregor Samsa, waking to find himself transformed into a gigantic insect.
  
  Plot summary
  
  Gregor Samsa awakes one morning to find himself inexplicably transformed from a human into a monstrous insect. Rather than lament his transformation, Gregor worries about how he will get to his job as a traveling salesman; Gregor is the sole financial provider for his parents and sister, Grete, and their comfort is dependent on his ability to work. When Gregor's supervisor arrives at the house and demands Gregor come out of his room, Gregor manages to roll out of bed and unlock his door. His appearance horrifies his family and supervisor; his supervisor flees and Gregor attempts to chase after him, but his family shoos him back into his room. Grete attempts to care for her brother by providing him with milk and the stale, rotten food he now prefers. Gregor also develops the fears of an insect, being effectively shooed away by hissing voices and stamping feet. However, Gregor remains a devoted and loving son, and takes to hiding beneath a sofa whenever someone enters his room in order to shield them from his insect form. When alone, he amuses himself by looking out of his window and crawling up the walls and on the ceiling.
  
  No longer able to rely on Gregor's income, the other family members are forced to take on jobs and Grete's caretaking deteriorates. One day, when Gregor emerges from his room, his father chases him around the dining room table and pelts him with apples. One of the apples becomes embedded in his back, causing an infection. Due to his infection and his hunger, Gregor is soon barely able to move at all. Later, his parents take in lodgers and use Gregor's room as a dumping area for unwanted objects. Gregor becomes dirty, covered in dust and old bits of rotten food. One day, Gregor hears Grete playing her violin to entertain the lodgers. Gregor is attracted to the music, and slowly walks into the dining room despite himself, entertaining a fantasy of getting his beloved sister to join him in his room and play her violin for him. The lodgers see him and give notice, refusing to pay the rent they owe, even threatening to sue the family for harboring him while they stayed there. Grete determines that the monstrous insect is no longer Gregor, since Gregor would have left them out of love and taken their burden away, and claims that they must get rid of it. Gregor retreats to his room and collapses, finally succumbing to his wound.
  
  The point of view shifts as, upon discovery of his corpse, the family feels an enormous burden has been lifted from them, and start planning for the future again. The family discovers that they aren't doing financially bad at all, especially since, following Gregor's demise, they can take a smaller flat. The brief process of forgetting Gregor and shutting him from their lives is quickly completed. The tale concludes with the mother and father taking note of Grete's new womanhood and growth.
  Characters
  Gregor Samsa
  
  Gregor is the protagonist of the story. He works hard as a travelling salesman to provide for his sister and parents. He wakes up one morning as a monstrous insect. After the transformation, Gregor was unable to work, causing his father to work at a bank to provide for the family and pay owed debts.
  Grete Samsa
  
  Grete is Gregor's younger sister, who becomes his caretaker after the metamorphosis. At the beginning Grete and Gregor have a strong relationship but this relationship fades with time. While Grete originally volunteers to feed him and clean his room, throughout the story she grows more and more impatient with the task to the point of deliberately leaving messes in his room out of spite. She plays the violin and dreams of going to the conservatorium, a dream that Gregor was going to make come true. He was going to announce this on Christmas Eve. To help provide an income for the family after Gregor's transformation she starts working as a salesgirl in a shop.
  Mr Samsa
  
  Gregor's father owes a large debt to Gregor's boss, which is why Gregor can't quit his hated job. He is lazy and elderly, while Gregor works, but when, after the metamorphosis, Gregor is unable to provide for the family, he is shown to be an able-bodied worker. He also attempts to kill Gregor when he is discovered in his monstrous state.
  Mrs Samsa
  
  Mrs Samsa is the mother of Grete and Gregor. She is initially shocked at Gregor's transformation, however eventually decides she wants to enter his room. This seems too much for her to handle, and Gregor hides away from her in an attempt to protect her. Mrs Samsa is conflicted in her maternal concern and sympathy for Gregor, and her inherent fear of his new monstrous form.
  Chief Clerk
  
  The Chief Clerk is Gregor's boss and the person to whom Mr Samsa is in debt. He pressures Gregor to prepare for his workday with a urgency pertaining to the precarious position of his job.
  Tenants
  
  Three tenants are invited to live with the Samsas to supplement their income. The family shows great deference to these tenants throughout the length of their stay. They are fussy and cannot stand dirtiness, eventually leading to the point when they discover Gregor and threaten the family with a lawsuit, apparently believing he's just an extraordinarily large insect.
  Lost in translation
  
  The opening sentence of the novella is famous in English:
  
   "When Gregor Samsa woke up one morning from uneasy dreams, he found himself changed in his bed into a monstrous insect."
   "Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt."
  
  Kafka's sentences often deliver an unexpected impact just before the full stop—that being the finalizing meaning and focus. This is achieved due to the construction of sentences in German that require that the participle be positioned at the end of the sentence; in the above sentence, the equivalent of 'changed' is the final word, 'verwandelt'. Such constructions are not replicable in English, so it is up to the translator to provide the reader with the same effect found in the original text.
  
  English translators have often sought to render the word Ungeziefer as "insect", but this is not strictly accurate. In Middle German, Ungeziefer literally means "unclean animal not suitable for sacrifice" and is sometimes used colloquially to mean "bug" – a very general term, unlike the scientific sounding "insect". Kafka had no intention of labeling Gregor as any specific thing, but instead wanted to convey Gregor's disgust at his transformation. The phrasing used in the David Wyllie translation and Joachim Neugroschel is "transformed in his bed into a monstrous vermin".
  
  However, "vermin" denotes in English many animals (particularly mice, rats and foxes) and in Kafka's letter to his publisher of 25 October 1915, in which he discusses his concern about the cover illustration for the first edition, he uses the term "Insekt", saying "The insect itself is not to be drawn. It is not even to be seen from a distance." While this shows his concern not to give precise information about the type of creature Gregor becomes, the use of the general term "insect" can therefore be defended on the part of translators wishing to improve the readability of the end text.
  
  Ungeziefer has sometimes been translated as "cockroach", "dung beetle", "beetle", and other highly specific terms. The term "dung beetle" or Mistkäfer is in fact used in the novella by the cleaning lady near the end of the story, but it is not used in the narration. Ungeziefer also denotes a sense of separation between him and his environment: he is unclean and must therefore be excluded.
  
  Vladimir Nabokov, who was a lepidopterist as well as writer and literary critic, insisted that Gregor was not a cockroach, but a beetle with wings under his shell, and capable of flight — if only he had known it. Nabokov left a sketch annotated "just over three feet long" on the opening page of his (heavily corrected) English teaching copy. In his accompanying lecture notes, Nabokov discusses the type of vermin Gregor has been transformed into, concluding that Gregor "is not, technically, a dung beetle. He is merely a big beetle. (I must add that neither Gregor nor Kafka saw that beetle any too clearly.)"
  
  
  Adaptations to other media
  
  There are several film versions, including:
  
   * Metamorphosis (1987) at the Internet Movie Database
   * Die Verwandlung (1975) at the Internet Movie Database
   * Förvandlingen (1976/I) at the Internet Movie Database
   * The Metamorphosis of Mr. Samsa (1977) at the Internet Movie Database by Caroline Leaf
   * The Metamorphosis of Franz Kafka (1993) by Carlos Atanes.
   * Prevrashcheniye (2002) at the Internet Movie Database
   * Franz Kafka's Metamorphosis acoustical liberation from LibriVox.
   * Metamorfosis (2004) at the Internet Movie Database
   * A Metamorfose (2007) at the Internet Movie Database
   * Immersive Kafka: The Metamorphosis / Atvaltozas (2010) by Sandor Kardos, Barnabas Takacs.
  
  A stage adaptation was performed by Steven Berkoff in 1969. Berkoff's text was also used for the libretto to Brian Howard's 1983 opera Metamorphosis. Another stage adaptation was performed in 2006 by the Icelandic company Vesturport, showing at the Lyric Hammersmith, London. That adaptation is set to be performed in the Icelandic theater fall of 2008. Another stage adaptation was performed in Dhaka, Bangladesh in 2005 by the Centre for Asian Theatre. That performance is still continuing in Bangladesh. The Lyric Theatre Company toured the UK in 2006 with its stage adaptation of Metamorphosis, accompanied by a unique soundtrack performed by Nick Cave and Warren Ellis. American comic artist Peter Kuper illustrated a graphic-novel version, first published by the Crown Publishing Group in 2003. Megan Rees is currently working on a new stage adaptation that should be published by 2010.
  Allusions/references from other works
   Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (February 2008)
  Stage
  
   * Philip Glass composed incidental music for two separate theater productions of the story. These two themes, along with two themes from the Errol Morris film The Thin Blue Line, were incorporated into a five-part piece of music for solo piano entitled Metamorphosis.
  
  Literature
  
  Jacob M. Appel's H. E. Francis Award-winning story, "The Vermin Episode," retells The Metamorphosis from the point-of-view of the Samsas' neighbors.
  Film
  
   * The 2005 film The Producers includes a scene where the two protagonists are searching for a sure flop. The opening for the play of Metamorphosis is read and rejected for being too good.
   * The 2008 film The Reader features Ralph Fiennes reading aloud from Franz Kafka's The Metamorphosis.
   * In 2002 a Russian version titled Prevrashchenie was directed by Valery Fokin with Yevgeny Mironov as Gregor.
   * In 1995, the actor Peter Capaldi won an Oscar for his short-film Franz Kafka's It's a Wonderful Life. The plot of the film has the author (played by Richard E. Grant) trying to write the opening line of Metamorphosis and experimenting with various things that Gregor might turn into, such as a banana or a kangaroo. The film is also notable for a number of Kafkaesque moments.
   * In 1993 Carlos Atanes directed The Metamorphosis of Franz Kafka, a controversial adaptation based on The Metamorphosis as well on biographical details from Kafka's family.
   * in Noah Baumbach's Squid and the Whale, Jeff Daniels and Jesse Eisenberg make several references to The Metamorphosis
  
  Animation
  
   * In The Venture Bros. episode "Mid-Life Chrysalis", Dr. Venture's transformation into a caterpillar slightly mirrors that of Gregor Samsa's transformation.
   * A reference appears in the 2006 Aardman Animations feature film Flushed Away when a refrigerator falls through the floor of the protagonist Rita's home and a giant cockroach appears reading a copy of The Metamorphosis.
   * In the short-lived TV animated series Extreme Ghostbusters, season 1, episode 11 ("The Crawler"), the bug monster (that resembles a giant insect) calls himself Gregor Samsa when trying to seduce Janine to be his queen in his human form.
   * Jack Feldstein created a tribute to Gregor Samsa and The Metamorphosis in his stream-of-consciousness neon animation "Shmetamorphosis" about a bug who hysterically bursts into therapist Bertold Krasenstein's office, begging to be saved.
   * In the first season of the anime Sayonara, Zetsubou-Sensei there is an episode titled "One Morning, When Gregor Samsa Awoke, He was Carrying a Mikoshi", an obvious parody of the first line of The Metamorphosis.
  
  Comics
  
   * American cartoonist Robert Crumb drew an illustrated adaptation of the novella which appears in the book Introducing Kafka.
   * In the comic book Johnny the Homicidal Maniac by Jhonen Vasquez, the eponymous Johnny is plagued by a roach that keeps appearing in his house no matter how many times he kills it (whether or not this roach is immortal or simply many different roaches is up to interpretation) and is affectionately named "Mr. Samsa".
   * In The Simpsons book Treehouse of Horror Spook-tacular, Matt Groening did a spoof on the metamorphosis, entitling it Metamorphosimpsons. In addition, in one of the episodes, Lisa attends a place called "Cafe Kafka", which is shown to be a popular place for college students, and features several posters of cockroaches in Bohemian-like poses.
   * Peter Kuper (illustrator of Kafka's Give It Up!) also adapted Kafka's Metamorphosis.
  
  Television
  
   * In the TV series Supernatural, the 4th episode of season 4 is named "Metamorphosis."
   * The TV series Smallville, which is a retelling of Superman's early years as a teenager, alludes to Kafka's story in the season one, episode "Metamorphosis" where the 'Freak of the Week' is transformed into a being with insect-like abilities after suffering from exposure to meteor-infected insects (Kryptonite-induced).
   * In the TV series Home Movies there is an entire episode based on Franz Kafka's Metamorphosis as a Rock Opera.
   * In the TV series The Venture Bros., in the 8th episode of season 1, Dr. Venture undergoes a metamorphosis and alludes to the story.
   * In the TV series The Ricky Gervais Show, in the 11th episode of season 1, named "Beetles," the characters discuss the potential of Karl Pilkingtons's metamorphosis.
  
  Music
  
   * Gregor Samsa is the name of an American post-rock band.
   * The Rolling Stones' 1975 album Metamorphosis features cover art of the band members with insect heads.
   * Showbread has a song named "Sampsa Meets Kafka". The misspelling of Samsa is intentional. Josh Dies the lead singer also lists Kafka as one of his biggest influences.
   * The name of the German darkwave/metal/neoclassical band Samsas Traum is inspired by the story.
  
  Video games
  
   * Bad Mojo is a 1996 computer game, the storyline of which is loosely based on The Metamorphosis.
   * Spore: Galactic Adventures made an adventure version of The Metamorphosis.
   * In the 2001 Wizardry 8, the first boss is a gigantic cockroach named "Gregor".
   chū shēng zài de yóu tài shāng rén jiā tíngyán liǎo chún zhǒng yóu tài rén cōng míng de xuè tǒng qīn shì bàn xíng de de 'ér bái shǒu jiāzài jiā zhōng zhuān héng bào jūnrèn nüè dài 'ér duì de xué shēng huó wén wènzhǐ shì 'ǒu 'ěr zhǐ shǒu huà jiǎo xùn chì tōng héng héng héng xiǎng bà'ér péi yǎng chéng wéi xìng jiān qiáng 'ér yòu néng gān de nián qīng réndàn jiēguǒ shì shì fǎn nèi xīn zhōng zhí duì qīn cún yòu xiāo chú de wèi xīn xiǎo xīn chōng mǎn kǒng mǐn gǎn chéng xìngjiā shàng zuò wéi jiǎng de shǎo shù rén de fēn gèng zào jiù liǎo biān de
  
   qīn de xué hòu jiā rén bǎo xiǎn gōng rèn xīn zhí yuán zhí yān méi zài rén qún zhī zhōng shēng sān dìng hūnyòu sān jiě chú hūn yuē zhōng yuán yīn zhī jiù shì jié hūn huì huài jīng guàn de shēng huóhòu lái huàn shàng fèi jié bìnggèng shǐ yuǎn nào de chén shì shēng huóchén jìn zài de nèi xīn shì jiè zhōng
  
   zhè de xiǎo zhí yuán de zuì 'àihào jiù shì xiě zuò mǐn gǎnqiè nuò de xìng yōu de zhì què shí shì zuò zuò jiā chuàng zuò de fēn zuò pǐn zài shēng qián zhí suǒ zài chōu shǎo liàng miàn shì de duǎn piān xiǎo shuō hái ràng míng jīng rénér qiě duì de tóng shí dài rén lái shuō de xiǎo shuō tài chāo qián liǎodāng shí de rén men yuǎn wèi yòu néng yàn 'ér guài de huāng miù gǎn bìng shì hòu liú xià liàng shǒu gǎo
  
   èr zhàn zhī hòushì jiè zài fèi shàng zhòng jiànzhàn zhēng suǒ dài lái de rén lèi xīn líng shēn zhòng de yīn yǐngshǐ rén men yuē 'ér tóng guāng zhuànxiàng liǎo 30 nián qián de míng zuò jiā zuò pǐn zài fāng shì jiè xiān liǎo cháorén men xiàng tóu piào xuǎn zhèng jiè yào yuán yàng liè wéi xiàn dài pài xiǎo shuō jiā de hòu xuǎn rén
  
   tuī jiàn yuè bǎn běntānɡ yǒng kuān hàn xué chū bǎn shè chū bǎn
  《 chéng bǎo》 - nèi róng jīng yào
  
   hán lěng de dōng tiān de wǎn cèliáng yuán K lái dào liǎo cūn de mùdì shì yào qián wǎng cūn jìn de zuò chéng bǎo zhí xíng gōng dāng K zài cūn kǒu yáo wàng chéng bǎo shí gǎn dào lǒngzhào zài zhī zhōng de chéng bǎo tóng piàn kōng dòng de huàn jǐngzhè yàng de gǎn jué shì zhe de rèn shì me róng wán chéng de
  
   qián wǎng diàn tóu shì diàn lǎo bǎn duì de dào lái yòu diǎn zhī suǒ cuò gào K jīng mǎn liǎozhǐ hǎo K miǎnqiǎng 'ān dùn xià lái diàn de rén zhī K yào chéng bǎo yòng bié de yǎn shén kàn wèi nián qīng rén gào K, měi jìn chéng bǎo de réndōu yòu zhāng zhèngér yào xiǎng dào zhèngjiù zhǎo chéng bǎo de jué
  
   'èr tiān, K zǒu xiàng chéng bǎo shì hào fèi liǎo zhěng tiān de shí jiān kào jìn chéng bǎo tiān 'àn xià lái zhǐ hǎo xiān zhǎo shēn zhī chùzhǎo lái zhǎo yòu huí dào liǎo zuó tiān wǎn shàng de jiā diànzài xuě qiāo qián wǎng diàn de zhōng dào liǎo liǎng chēng shì de zhù shǒu de rén men fēi cháng qíng bāng zhù K, bìng qiě yòng diàn huà lián luò chéng bǎo de bàn shì gòuxún wèn shí néng shàng chéng bǎo duì fāng huí :“ rèn shí hòu dōubù néng lái。”
  
   zhè shílái liǎo wèi jiào de rén shì chéng bǎo de xìn shǐ, K duì de lái dào shí fēn xīng fènrèn wéi chéng wéi chéng bǎo lián de zhōng jiān rén gěi dài lái liǎo chéng bǎo de xìnxìn méi yòu duì K de dào lái biǎo shì huān yíng méi yòu 'àn shì gǎn kuài kāishì qíng jiù háo zhuǎn 。 K xìn shǐ dào liǎo jiāxìn shǐ de mèi mèi yòu biǎo shì bāng zhù K, shì K sòng jìn liǎo jiā guǎn gào K, chéng bǎo de tóu miàn rén zhù zài jiè zhǎo tōng guān jié
  
   zài guǎn de jiǔ , K rèn shí liǎo de qíng , K dùn shí shǐ chū hún shēn xièshù shì kào jìn rán 'ér guǎn de rén tíng tiān luànzhù shǒu men zài biān tiān luànshǐ qīn tán tán guān shèn zhì yòng jié hūn de nuò xiǎng huàn gēn tán huà de huìdàn K zuì zhōng xiàn zhè tiáo shì zǒu tōng deyīn wéi xìn shǐ yàngshì guān jǐn yào de xiǎo rén zǎo shī chǒng
  
  K jiàn cūn chángcūn cháng gào , K lái dào cūn wán quán shì cuò yīn wéi zhè gēn běn yòng zhe cèliáng yuánchéng bǎo tóng mén fēng zào chéng liǎo xiē chā cuòsuǒ K cái huì shōu dào gōng wénrán 'ér zhè fèn gōng wén shì zǎo xiào decūn cháng chéng rèn zài nián qián shōu dào zhāo pìn wèi cèliáng yuán de gōng wénrán 'ér lùn zhǎo dào zhāng zhèng míng K shēn fèn de báozhǐ piàncūn cháng biǎo liǎo duì zhè jiàn shì qíng de kàn jué K shōu dào de gōng wén shí shì fēng mǒu zhù guǎn duì biǎo shì rén guān xīn de de xìn néng dài biǎo chéng bǎo de jiànyīn K yīngdāng chèn zǎo huí
  
  K gǎn dào shòu piàn shàng dāng liǎodàn jiān chí yào qiú dào yìng de quán jiù shì zhǎo zhù chùān dùn de xīn jiā zhàn lǎo bǎn xīn xiǎng gǎn zǒu K, K lín zǒu qiányòu cóng lǎo bǎn niàn tīng dào liǎo guān jiù qíng de huí zhè shǐ K gǎn dào hěn shū yīn wéi yóu zhù xiǎng dào liǎo de wèi hūn
  
   zhè shí cūn xué xiào de jiào shī fèng cūn cháng zhī mìng qián láiyǔn K dài jiā juàn zhù jìn xué xiào rèn kānmén réntóng shí qiáng diàoxué xiào shí bìng yào kānmén rén wán quán zūn cóng cūn cháng de mìng lìng。 K gǎn dào shòu dào liǎo jué liǎo zhè fèn gōng zuò jiān chí K jiē shòu shuō guǒ K jiē shòulián 'ān shēn zhī chù dōuméi yòu me zhè duì K duì dōushì shí fēn xiū kuì de shì qíng
  
  K duì jìn chéng bǎo réng rán bào zhe zuì hòu de wàngzhè jīng dān chún shì zhí xíng gōng ér shì yòu guān rén zūn yán de wèn mào xuě lái dào de guǎn zhāo dài shuō zhè huì 'ér zhèng zhǔn bèi kāi guǎnxuě qiāo zài yuàn děng zhe , K 'èr huà méi huàshǒu dào xuě qiāo biān zhe bái lán děng chū lái qián yàng běn rén yǒng yuǎn huì chū xiàn de shū mài chū lái gào K:“ guǎn gēn zǒu huò zhě liú zài zhè huì jiàn dào 。” K fǎn 'ér xiàn liǎo jìn tuì liǎng nán de guǒ kāizhōu wéi rén de shén zhǐ jiù biǎo míng jiù tuō shēn liǎo guǒ jiān chí děng xià xiǎn rán shì méi yòu jiēguǒ de shū chū fèn huì tán xiàng K zhǐ chū zhè shì yǐn K zǒu xiàng de wéi dào dàn shǒu xiān K jiē shòu fān de shěn chá, K jué rěn shòu shì men liǎng rén xiào zhe fēn bié liǎo
  
  《 chéng bǎozuò jiā
   xìn shǐ yòu dài lái liǎo de fēng xìn zàn shǎng liǎo K zhù shǒu de cèliáng gōng zuòzhè shǐ K kùn huò zhì jīn wéi zhǐ cóng wèi gànshénme cèliáng gōng zuòměi tiān zuò de shì qíng jiù shì zài děng dài zhēng chéng bǎo de 。 K kāi shǐ huái xìn shǐ de kàodàn réng tuō dài huí yīnshēn jiāo zhuó pàn jiàn dào miàn de xīn qíng
  
   zhī hòu K huí dào de xīn jiā shì xué xiào de jiān jiào shì shì K de shēng huó bìng 'ān níngliǎng zhù shǒu tíng táo zhēng shí chǒu zhǔn huì shuì dào wéi de dào cǎo diàn shàng 'èr tiānxué xiào de jiào shī lái liǎo shí fēn chī jīng 'ér duàn K, K jīhū xiàng liè děng dòng yàng bèi jué jiē shòu xiào fāng de jiě zhí tōng zhī qiān liǎng wèi yòng de zhù shǒuxuān tuì menzhù shǒu men shī chū hún shēn 'āi qiú K。 fǎn duì K de jué dìng shuō dàn tuì zhù shǒu, K jiù yǒng yuǎn méi yòu huì jiàn dào liǎo K yào sàng shī xìn xīn
  
  K lái dào xìn shǐ jiā děng dài huí yīnxìn shǐ de jiě mèi 'ào 'ěr 'ā zǒng xiàng K 'àn shì men de qīng zhī qíngbìng qiě zài xián liáo zhōngàn shì K, men de néng cóng wèi jiàn guò zǒng shì gěi K dài lái xiē dān liǎo hěn jiǔshī shí xiào de xìnjiù lián běn rén shì deguān de zhǒng zhǒng qíng kuànghěn chéng shàng shì cūn rén xiǎng xiàng chū lái deào 'ěr yòu gào K, chéng bǎo de guān yuán tóng bào jūn men suí shí qiáo shàng cūn de rèn niàngěi men xiě xià liú de xìn men de tán huà zhèng yuè lái yuè yuǎnào 'ěr jiǎng liǎo 'ā yīn wéi jué chéng bǎo lìng wèi guān yuán suǒ 'ěr de qiú 'ài 'ér zāo shòu de xìng men quán jiādōu bèi jiē shòu liǎo zhǒng jīhū zhěng tiān suǒ shì shì de xíng chéng bǎo qiáng zhì men tuì chū shè huì shēng huóào 'ěr xǐng K, yào zhǐ wàng rèn wèi yòu tóng qíng xīn de guān yuán wèitā shuō huà wéi K sòng xìn shí guò shì xiǎng ràng jiā rén hén zài shòu 'ēn chǒngduì K lái shuōméi yòu rèn zhè chǎng fán rǒng 'ér tuī xīn zhì de tán huà bèi K de wèi zhù shǒu duàn liǎo, K hěn kuài shí dào lìng wèi zhù shǒu dāi zài jiā gǎn jǐn huí jiā liǎo
  
   dào jiā , K xiàn jiàn liǎoyuán lái wéi K páo gòu de jiě mèi shì lìng zhù shǒu chéng xié bèi pàn K。 zhè shí yòu páo lái zhǎo K, xīng chōng chōng tōng zhī de zhù yào shū zhī 'ài lǎng yào K dāng miàn tán tán。 K qún rén děng hòu zài hēi de guǎn mén kǒu, K bèi zuì xiān lǐng liǎo jìn dàn 'ài lǎng què shuì zhe liǎo, K zhǐ hǎo děng zhezài děng dài de shí hòu yòu chóngxīn jiàn dào liǎo men liè zhēng lùn liǎo zhōng shí zhōng shí de wèn tǎn rán gào K, jīng wèi zhù shǒu tóng liǎo。 K shí fēn píng jìng huí jìng cóng xiāng shī liǎo de qíng de wèi hūn zhè liǎng zhǒng shēn fèn zhī hòu zǎo jīng méi yòu liǎo mèi tīng wán huà hòu bèi chù dòng liǎodàn shì yòu jiàn dào zhù shǒu shí shàng jiù gǎi biàn zhù shuō zài xiǎng huí dào K shēn biān jiē shòu de zhé
  
   xiǎo shuō jiù zài chù jiá rán 'ér zhǐ wèi xiě wán yuán lái suàn de jié wěi shì K jiāng jīng jié 'ér hòu shì yán jiū zhě de jié shì: K liú zhī chéng bǎo zhōng lái liǎo tōng zhīyǔn K liú zài cūn dàn jìn chéng bǎo, K yǒng yuǎn néng dào zhí dào
  《 chéng bǎo》 - zhuān jiā diǎn píng
  
   dāng zuò jiā néng bèi tóng shí dài de rén suǒ jiě shí huì zěn yàng chǔlǐ de zuò pǐn xuǎn de shì huǐ miè zài shū zhōng wěi tuō hǎo yǒu luó jiāng suǒ yòu zuò pǐnháo bǎo liú jiù tǒng tǒng fén huǐ”。 wàn xìng luó zuò zhù zhāng jiāng de gǎo bǎo cún xià láizhěng chū bǎnzhè míng zhì debèi xìn shǐ men jīn tiān jiù néng zhè wèi wén xué shī shēng qín fèn de chéng guǒ
  
   rén men dào zǒng shì huì debiàn xíng 》, miàn de xiǎo gōng yuán zǎo lái xiàn biàn chéng liǎo jiá chóng fāng wén xué zhōng cháng cháng yòngbiàn xíng lái zhǐ dài xiàn dài huà wén míng zhōng rén de huàrán 'ér zài zhè suǒ tuī jiàn dechéng bǎo》, yīn duō xìng gèng yuè de kuài zhōng piān xiǎo shuōchéng bǎoshěn pànměi guó chēng sān ”, mendōu yòu xiǎo shuō guàn de huāng dàn jīng fēng huà xiàn xiàngnán pái qiǎn de wēi gǎn de huāng dàn kǒng de xiǎo shuō jiē shì liǎo zhǒng huāng dàn de chōng mǎn fēi xìng cǎi de jǐng xiàng rén shì deyōu de de qíng yùn yòng de shì xiàng zhēng shì de shǒu zhōngchéng bǎogèng shìde gòu yán fēng
  
   de xiǎo shuō yàng,《 chéng bǎoméi yòu wéi zhèng què de jiě shìjiě shì quán shòu liǎo měi yuè zhězhè lái yuán zhè zuò pǐn de duō xìngbiǎo miàn shàngzhè zuò pǐn de shì zài jiǎn dān guò liǎo cèliáng yuán K lái dào cūn zhuāngxiǎng jìn guǎn xiá jìn de jué zhù de chéng bǎo fèi liǎo jiǔ niú 'èr zhī tān shàng qiē méi néng dào mùdì。《 chéng bǎosuǒ yòu de huāng miù míng què de shí dài bèi jǐng de zhēng shǐ shàng hěn nóng de yán cǎi lùn píng lùn jiā hái shì tōng zhě dōunéng gòu huò tóng de jié lùn,《 chéng bǎojiū jìng biǎo liǎo zěn yàng de zhù zhè zhōng liǎo hái shì nán jiě zhī yòu rén shuō biǎo xiàn de shìrén shì jìn tiān guó 'ér de tòng ”; yòu rén rèn wéi zhōng fǎn yìng liǎo běn rén de jīng shén shì jiè de huāng dàn kǒng yòu rén jié xiě zuò nián dài bèi jǐngshuō míng chéng bǎo shí shàng fǎn yìng liǎo 'ào xiōng guó guān liáo zhì zhòng de hóng gōugèng yòu lùn zhě wéi,《 chéng bǎoshěn pàn》、《 měi guóde zhù xiāng tóngrén men suǒ zhuī qiú de zhēn guǎn shì yóuān dìnghái shì dōushì cún zài dedàn zhè huāng dàn de shì jiè gěi rén men shè zhì liǎo zhǒng zhǒng zhàng 'ài lùn zěn me zǒng shì zhuī qiú dàozuì hòu zhǐ néng shī bài gào zhōng。” zàichéng bǎozhōng,“ chéng bǎoshì zuì de tuán zhù rén gōng K de biāo zǒng shì ruò ruò zhèng yīn néng gòu rén men xiāng dāng de yuè xīng zhōng de rén CC jué zhì cháng děngdōu shén jiàn zhè wèi xiǎo shuō jiā de tiān cái de zhì huì
  
  《 chéng bǎoxiǎo shuō jiā
   yuè de xiǎo shuōduì měi zhě lái shuō dōushì tiǎo zhàn huān cháng xíng jiān chōng mǎn liǎo liàng de 'àn yòng wén duī liǎo gōng zhě huì zài chuān xíng wén shí dào de rán 'ér dāng guàn de wén fēng hòu huì xiànyuán xiān de biàn chéng liǎo dòng dài gěi yuè de kuài gǎn
  
  1913 nián 8 yuè 15 zài de xiě dào:“ jiāng qiē suǒ yòu rén jué suǒ yòu rén duì tóng rèn rén jiǎng huà。” 6 tiān hòu yòu zhè yàng xiě dào:“ xiàn zài zài de jiā tíng zài xiē zuì hǎo dezuì qīn 'ài de rén men zhōng jiān shēng rén hái yào shēngjìn nián lái de qīn píng jūn měi tiān shuō shàng 20 huà de qīn chú liǎo yòu shí hán xuān jīhū jiù méi yòu gèng duō de huà shuō de hūn de mèi mèi mèi men chú liǎo gēn men shēng gēn 'ér jiù shuō huà yóu hěn jiǎn dān men méi yòu rèn dīng diǎn 'ér de shì qíng yào shuō qiē shì wén xué de shì qíng shǐ liáojiào zēng hènsān nián zhī hòuzhè jǐn zhěng shì jiè ér qiě de yóu tài rénsuī rán shàng wèi jìn wán quán shì jué de chéng bǎoquè zhōng cóng jiā tíng táo chūwéi zhǎo dào liǎo tiáo zhǎi xiàng xiù yàng de yōu shēn de xiàngzhè jiù shì jīn zài wéi zhī míng de huáng jīn xiàngyòu wéiliàn jīn shù shì xiàng”。 huáng jīn xiàng 22 hào de lián dòng zhōng jiānyòu zuò jiàn 16 shì dezhǐ yòu fáng jiān jiān xiǎo lóu de xiǎo xiǎo lán qiáng hěnbáofáng shè 'ǎi shēn shǒu biàn chù tiān huā bǎnzhè shì bèi de hǎo yǒu · luó chēng zhī wéi zhēn zhèng de zuò jiā de xiū dào shì bān de shìde chù suǒ zài zhè yòng bān de wén gòu zhù zhe líng hún de chéng bǎo
  
  《 chéng bǎo jiā rén
   zài de shì jiè è mèng yǒng yuǎn méi yòu xǐng lái de shí hòuzài huāng dàn de luó ji de shì jiè miáo huìrén lèi shēng huó de qiē huó dòng zhēn de jié”, zhè zhèng shì zuò wéi xiǎo shuō jiā díkǎ de tiān suǒ zàidāng men dàobiàn xíng 》、《 chéng bǎo》、《 shěn pànděng zuò pǐn shíjiǎn zhí jiù xiàng miàn duì zhe zūn zūn chōng mǎn liàng de diāo néng cóng de biàn xíng kuā zhāng huì dào shēng mìng de dòng chōng duì lái shuōshēng cún jiù shì yīcháng qiàdàng yùn yòng de liàngyīn wéi men de liàng yǒng yuǎn shì yòu xiàn de)” de kàng zhēngsuī rán qián 'àn dàndàn qián jìng zhōng huì dào láitōng guò xiě zuò zhè xíng shì wéi de kàng zhēng zhǎo dào liǎo cún zài de xíng xiàngcóng de shū xìn men néng lǐng huì dào qióng jìn de liàng yuán quán zhè yàng xiě dào:“ yào jué wàngshèn zhì duì bìng gǎn dào jué wàng zhè diǎn yào jué wàngqià qià zài qiēdōu wán liǎo de shí hòuxīn de liàng jìng lái língěi bāng zhùér zhè zhèng biǎo míng shì huó zhe de。”“ yīcháng qīng pén zhàn zhe miàn duì zhè chǎng ràng de gāng tiě bān de guāng máng chuān zài xiǎng chōng zǒu de shuǐ zhōng piāo dàn hái shì yào jiān chíáng shǒu děng dài jiāng lái lín de qióng jìn de yáng guāng de zhào yào。” lìng rén chī jīng de shì men jìng rán dài zhe zhè yàng xiē tàiyōu shāng jiětòng qiān bēi yóu zǒu xiàng liǎo xiàn shēn yuānzuì zhōng wán chéng liǎo duì de zào chéng wéi xiàn shēn yuān zhōng wéi luǒ xíng de xiǎng zhě de dào shì duì kàng zhī cún zài shēn biān de shì jiè zhì zhí shì kàng zhēng zhe de shù huò zhě shuō wén xué xiě zuò shì duì kàng wài huāng dàn shì jiè de wéi bié xuǎn suī rán zài jiān wàng shí xiàn shù xiàn shí de tǒng shèn zhì rén wài shì jiè yòu guò duǎn zàn de tǒng dàn zhè zhǒng tǒng shì shùn shì debiǎo miàn xíng shì shàng de wàng yòu de jiā tíngdàn hài jiā tíng sǔn hài de xiě zuò xiàng fán yàng wàng yòu de hái zuò míng hǎo qīndàn zhí dào yòu cháng dào 7 suì cái yāo zhé de hái
  
   shēng qián wén fèn dǒusuí zhe shí jiān de liú shì de jià zhí cái zhú jiàn wéi rén men suǒ rèn shízuò pǐn yǐn liǎo shì jiè de zhèn dòngbìng zài shì jiè fàn wéi nèi xíng chéng jīng jiǔ shuāi shēng de zuò pǐn bìng duōdàn duì hòu shì wén xué de yǐng xiǎng què shì wéi shēn yuǎn de guó zuò jiā sài 'ěr · ài 'ěr lán zuò jiā zhān · qiáo bìng chēng wéi fāng xiàn dài zhù wén xué de xiān shīměi guó shī rén 'ào dēng rèn wéi:“ men shí dài de guān zuì jìn dàn dīngsuō shì men shí dài de guān 。” hòu shì de duō xiàn dài zhù wén xué liú pài huāng dàn pài ”、 guó dexīn xiǎo shuōděng fèng wéi de
  
   guān men hái shuō shàng hěn duō hěn duō shuō zài xiàn dài wén xué de yán jiū zhōngguān de lùn wén shù liàng zhī jǐn jǐn yìn jiù yào shí dàn shì jiě zuì hǎo de fāng jiù shì jìn de wén shì jièān jìng qīng tīng tōng guò yán biǎo de nèi xīnzhè zhèng shì men xiàn zài zhè zào de xiàn dài wén míng suǒ quē shǎo de
  《 chéng bǎo》 - miào jiā
  
   zhēn yào wéi wài miàn shì huī de tiān kōng huī de hún rán de huāng shì jiè liǎo
   shì guǒ zhè qiē de píng jìngshū shì mǎn dōuyào xiǎng kǒng gào duàn luò gāi zěn me bàn


  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.
  《 pàn jué》( 1912) shì zuì 'ài de zuò pǐnbiǎo xiàn liǎo liǎng dài rén de chōng zhù rén gōng 'ào 'ěr · běn màn shì shāng rén cóng nián qián qīn shì hòu jiù qīn shēng huóxiàn zài shēng xīng lóng zài fáng jiān gěi wèi duō nián qián qiān 'é guó de péng yǒu xiě xìngào dìng hūn de xiāo xiě wán xìn lái dào qīn de fáng jiān wài de shì qīn duì tài fēi cháng hǎohuái gēn běn jiù méi yòu qiān dào 'é guó de péng yǒuzhǐ bēizhe zuò shēng hái pàn zhe zǎo rán qīn yòu zhuǎn liǎo huà cháo xiào 'ào 'ěr zài piàn péng yǒuér qīn dǎo shì zhí gēn wèi péng yǒu tōng xìnbìng zǎo 'ào 'ěr dìng hūn de xiāo gào liǎo 'ào 'ěr rěn zhù dǐng zhuàng liǎo qīn qīn biàn pàn shēng tóu jìn shì shēng zhēn de tóu liǎozuò pǐn suǒ miáo xiě de zài liǎng rén de kǒu jiǎo guò chéng zhōngqīng bái shàn liáng de 'ér jìng bèi qīn shì wéi yòu zuì zhíniù cán bàozài qīn de yín wēi zhī xià shēng hài kǒng dào liǎo sàng shī zhì zhì jìn qīn gāo qiáng zhuàng 'ér háo xìng yòu qiē bào jūn de zhēngzhè mào huāng dàn de shì shì zuì xīn tài de shēng dòng miáo shù qīn de pàn jué shì duì de pàn juézhù rén gōng lín qián de shēng biàn bái héng héngqīn 'ài de qīn shì zhí 'ài men de”, shì zuì yǐn xīn de zhè zhǒng shì de kuàng jià shì diǎn xíng díkǎ shì deshì nèi xīn shēn chù de zuì gǎn xiàng huà zhī hòu de chǎn rán 'ér zuò pǐn de nèi hán xiǎn rán zài jǐn jǐn biǎo xiàn chōng gèng zài zài biàn shàng jiē shì chū rén lèi shēng cún zài zěn yàng zhǒng quán wēi líng zhī xiàlìng fāng miàn yòu zhǎn xiàn rén wéi zhàn shèng qīn jìn xíng de liè kàng zhēngér kàn lái shuāi lǎo de qīn tóng hái bān fàng dào chuáng shàng hòuzhēn de gài liǎo lái”。 cóng biǎo miàn shàng kàn zhè yàng zuò shì chū xiào xīnzài shēn céng hán shàng shì xiǎng mái zàng qīn què zuò wéi xīn de jiā zhī zhù de wèixiǎo shuō zài xiàn liǎo deshěn shí de tóng shí biǎo xiàn liǎo duì jiāzhǎng shì de 'ào xiōng guó tǒng zhì zhě de mǎn tóng shí hái tōng guò zhè de shì jiē shì liǎo fāng shè huì zhōng xiàn shí shēng huó de huāng miù xìng fēi xìng


  The Trial (German: Der Prozess) is a novel by Franz Kafka, first published in 1925. One of Kafka's best-known works, it tells the story of a man arrested and prosecuted by a remote, inaccessible authority, with the nature of his crime never revealed either to him or the reader.
  
  Like Kafka's other novels, The Trial was never completed, although it does include a chapter which brings the story to an end. After his death in 1924, Kafka's friend and literary executor Max Brod edited the text for publication.
  
  The Trial was filmed and released in 1962 by director Orson Welles, starring Anthony Perkins (as Josef K.) and Romy Schneider. A more recent remake was released in 1993 and featured Kyle MacLachlan in the star role. In 1999, it was adapted for comics by Italian artist Guido Crepax.
  
  Plot summary
  
  (As the novel was never completed, certain inconsistencies exist within the novel, such as disparities in timing in addition to other flaws in narration.)
  
  On his thirtieth birthday, a senior bank clerk, Josef K., who lives in lodgings, is unexpectedly arrested by two unidentified agents for an unspecified crime. The agents do not name the authority for which they are acting. He is not taken away, however, but left at home to await instructions from the Committee of Affairs.
  
  K. goes to visit the magistrate, but instead is forced to have a meeting with an attendant's wife. Looking at the Magistrate's books, he discovers a cache of pornography.
  
  K. returns home to find Fräulein Montag, a lodger from another room, moving in with Fräulein Bürstner. He suspects that this is to prevent him from pursuing his affair with the latter woman. Yet another lodger, Captain Lanz, appears to be in league with Montag.
  
  Later, in a store room at his own bank, K. discovers the two agents who arrested him being whipped by a flogger for asking K. for bribes, as a result of complaints K. previously made about them to the Magistrate. K. tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the store room and is shocked to find everything as he had found it the day before, including the Whipper and the two agents.
  
  K. is visited by his uncle, who is a friend of a lawyer. The lawyer was with the Clerk of the Court. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes concerned K. is underestimating the seriousness of the case. The uncle introduces K. to an advocate, who is attended by Leni, a nurse, who K.'s uncle suspects is the advocate's mistress. K. has a sexual encounter with Leni, whilst his uncle is talking with the Advocate and the Chief Clerk of the Court, much to his uncle's anger, and to the detriment of his case.
  
  K. visits the advocate and finds him to be a capricious and unhelpful character. K. returns to his bank but finds that his colleagues are trying to undermine him.
  
  K. is advised by one of his bank clients to visit Titorelli, a court painter, for advice. Titorelli has no official connections, yet seems to have a deep understanding of the process. K. learns that, to Titorelli's knowledge, not a single defendant has ever been acquitted. He sets out what K.'s options are, but the consequences of all of them are unpleasant: they consist of different delay tactics to stretch out his case as long as possible before the inevitable "Guilty" verdict. Titorelli instructs K. that there's not much he can do since he doesn't know of what crime he has been accused.
  
  K. decides to take control of his own life and visits his advocate with the intention of dismissing him. At the advocate's office he meets a downtrodden individual, Block, a client who offers K. some insight from a client's perspective. Block's case has continued for five years and he appears to have been virtually enslaved by his dependence on the advocate's meaningless and circular advice. The advocate mocks Block in front of K. for his dog-like subservience. This experience further poisons K.'s opinion of his advocate, and K is bemused as to why his advocate would think that seeing such a client, in such a state, could change his mind. (This chapter was left unfinished by the author.)
  
  K. is asked to tour an Italian client around local places of cultural interest, but the Italian client short of time asks K. to tour him around only the cathedral, setting a time to meet there. When the client doesn't show up, K. explores the cathedral which is empty except for an old woman and a church official. K. decides to leave as a priest K. notices seems to be preparing to give a sermon from a small second pulpit, lest it begin and K. be compelled to stay for its entirety. Instead of giving a sermon, the priest calls out K.'s name, although K. has never known the priest. The priest works for the court, and tells K. a fable, (which has been published separately as Before the Law) that is meant to explain his situation, but instead causes confusion, and implies that K.'s fate is hopeless. Before the Law begins as a parable, then continues with several pages of interpretation between the Priest and K. The gravity of the priest's words prepares the reader for an unpleasant ending.
  
  
  On the last day of K.'s thirtieth year, two men arrive to execute him. He offers little resistance, suggesting that he has realised this as being inevitable for some time. They lead him to a quarry where he is expected to kill himself, but he cannot. The two men then execute him. His last words describe his own death: "Like a dog!"
  Characters
  Others
  
  Fräulein Bürstner - A boarder in the same house as Josef K. She lets him kiss her one night, but then rebuffs his advances. She makes a brief reappearance in the novel's final pages.
  
  Fräulein Montag - Friend of Fräulein Bürstner, she talks to K. about ending his relationship with Fräulein Bürstner after his arrest. She claims she can bring him insight, because she is an objective third party.
  
  Frau Grubach - The proprietress of the lodging house in which K. lives. She holds K. in high esteem, despite his arrest.
  
  Uncle Karl - K.'s impetuous uncle from the country, formerly his guardian. Upon learning about the trial, Karl insists that K. hire Herr Huld, the lawyer.
  
  Herr Huld, the Lawyer - K.'s pompous and pretentious advocate who provides precious little in the way of action and far too much in the way of anecdote.
  
  Leni - Herr Huld's nurse, she has feelings for Josef K. and soon becomes his lover. She shows him her webbed hand, yet another reference to the motif of the hand throughout the book. Apparently, she finds accused men extremely attractive—the fact of their indictment makes them irresistible to her.
  
  Vice-President - K.'s unctuous rival at the Bank, only too willing to catch K. in a compromising situation. He repeatedly takes advantage of K.'s preoccupation with the trial to advance his own ambitions.
  
  President - Manager of the Bank. A sickly figure, whose position the Vice-President is trying to assume. Gets on well with K., inviting him to various engagements.
  
  Rudi Block, the Merchant - Block is another accused man and client of Huld. His case is five years old, and he is but a shadow of the prosperous grain dealer he once was. All his time, energy, and resources are now devoted to his case, to the point of detriment to his own life. Although he has hired five additional lawyers on the side, he is completely and pathetically subservient to Huld.
  
  Titorelli, the Painter - Titorelli inherited the position of Court Painter from his father. He knows a great deal about the comings and goings of the Court's lowest level. He offers to help K., and manages to unload a few identical landscape paintings on the accused man.
  Style
  Parable
  
  (Taken directly from Novels for Students: The Trial.)
  
  Kafka intentionally set out to write parables, not just novels, about the human condition. The Trial is a parable that includes the smaller parable Before the Law. There is clearly a relationship between the two but the exact meaning of either parable is left up to the individual reader. K. and the Priest discuss the many possible readings. Both the short parable and their discussion seem to indicate that the reader is much like the man at the gate; there is a meaning in the story for everyone just as there is one gate to the Law for each person.
  
  The parable within Kafka's masterpiece highlights perfectly the essence of his philosophy. Assigned unique roles in life, individuals must search deep within the apparent absurdity of existence to achieve spiritual self-realisation. The old man, therefore, is the symbol of this universal search inherent to mankind. 'The Trial' is not simply a novel about the potential disaster of over-bureaucratisation in society; it is an exploration of the personal and, particularly, spiritual, needs of human beings.
  Legality
  
  In a recent study based on Kafka’s office writings, Reza Banakar points out that many of Kafka’s descriptions of law and legality are often treated as metaphors for things other than law, but also are worthy of examination as a particular concept of law and legality which operates paradoxically as an integral part of the human condition under modernity. Joseph K. and his inexplicable experience of the law in The Trial were, for example, born out of an actual legal case in which Kafka was involved.
  Film portrayals
  
   * In the 1962 Orson Welles movie adaptation of The Trial, Josef K. is played by Anthony Perkins. Kyle MacLachlan portrays him in the 1993 version.
   * Martin Scorsese's 1985 film After Hours is a re-imagining of the Trial.
  
  Theatre adaptions
  
   * The writer and director Steven Berkoff adapted several of Kafka's novels into plays and directed them for stage. His version of The Trial was first performed in 1970 in London and published in 1981.
  
  Selected publication history
  
   * Oxford World's Classics, 4 October 2009, Translation: Mike Mitchell, ISBN 9780199238293
   * Dover Thrift Editions, 22 July 2009, Translation: David Wyllie, ISBN 9780486470610
   * Penguin Modern Classics, 29 June 2000, Translation: Idris Parry, ISBN 9780141182902
   * Schocken Books, 25 May 1999, Translation: Breon Mitchell, ISBN 9780805209990
   * Everyman's Library, 30 June 1992, Translation: Willa and Edwin Muir, ISBN 9780679409946
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