kǎ fū kǎ de wén xué chuàng zuò zhù yào chéng jiù shì sān bù wèi wán chéng de cháng piān xiǎo shuō hé yī xiē zhōng duǎn piān xiǎo shuō。
cháng piān xiǎo shuō《 měi guó》 (1912 héng 1914 nián xiě chéng ), miáo xiě 16 suì de dé guó shàonián kǎ 'ěr · luó sī màn, yīn shòu jiā zhōng nǚ pú de yǐn yòu, zhì shǐ nǚ pú huái yùn, bèi fù mǔ gǎn chū jiā mén, fàng zhú dào měi guó de jīng lì zāo yù。 zuò pǐn suǒ cè zhòng de shì rén wù zài měi guó yōu yù、 gū dú de nèi xīn gǎn shòu。
cháng piān xiǎo shuō《 shěn pàn》( 1918 nián xiě chéng), zuò pǐn jiǎng shù de shì yínháng zhù lǐ yuē sè fū ·K wú gù shòu shěn pàn bìng bèi chǔsǐ de gù shì。 yuē sè fū ·K zài 30 suì shēng rì de nà tiān zǎo chén xǐng lái 'àn líng shēng chī zǎo cān shí, jìn lái de bù shì nǚ pú 'ér shì liǎng gè guān chā, xuān gào tā bèi bǔ, bìng bèi fǎ tíng shěn pàn yòu zuì, tā suī bèi bǔ què réng néng zì yóu shēng huó, zhào cháng gōng zuò。 tā bù zhī dào zì jǐ zài shénme dì fāng yòu zuì, rèn wéi yī dìng shì fǎ yuàn gǎo cuò liǎo, jiān xìn zì jǐ wú zuì。 yuē sè fū ·K bù yuàn qū jiù mìng yùn, tā tóng zhè chǎng míng zhī háo wú xī wàng de sù sòng zhǎn kāi liǎo yī shēng de jiāo zhàn, gōng rán xiàng bù gōng zhèng de fǎ tíng tiǎo zhàn。 zài dì yī cì shěn pàn shí, tā kāng kǎi jī 'áng dì jiē lù fǎ tíng hēi 'àn, wéi zì jǐ de wú gū lǐ bēn bō, zhǎo rén bāng máng, xiǎng gǎo gè shuǐ luò shí chū, qīn zì dòng shǒu xiě kàng biàn shū, cóng gè gè fāng miàn lái shuō míng zì jǐ wú zuì。 tā shēng pà zì jǐ zài mǒu yī gè zuì wēi xiǎo de dì fāng fàn guò shénme guò cuò, jié lì qù xún zhǎo, bǔ zhuō 'ér bù kě dé, huáng huáng bù kě zhōng rì。 rán 'ér yī qiē nǔ lì dū tú láo wú yì, K zhōng yú míng bái, yào bǎi tuō mìng yùn de 'ān pái, bǎi tuō fǎ lǜ zhī wǎng de shù fù shì bù kě néng de。 zuì hòu, tā háo wú fǎn kàng dì bèi liǎng gè hēi yī rén jià zǒu, zài suì shí chǎng de xuán yá xià bèi chǔsǐ。
duǎn piān xiǎo shuō《 zhōng guó cháng chéng de jiàn zào》( 1918 héng 1919) miáo xiě zhōng guó de lǎo bǎi xìng shòu wú xíng quán lì de qū shǐ, qù jiàn zào háo wú fáng yù zuò yòng de cháng chéng, biǎo xiàn chū liǎo rén zài qiáng quán tǒng zhì miàn qián de wú kě nài hé yǔ wú néng wéi lì。
《 pàn jué》( 1912) shì kǎ fū kǎ zuì xǐ 'ài de zuò pǐn, biǎo xiàn liǎo fù zǐ liǎng dài rén de chōng tū。 zhù rén gōng gé 'ào 'ěr gé · běn dé màn shì gè shāng rén, zì cóng jǐ nián qián mǔ qīn qù shì hòu jiù hé fù qīn yī qǐ shēng huó, xiàn zài shēng yì xīng lóng。 tā zài fáng jiān lǐ gěi yī wèi duō nián qián qiān jū 'é guó de péng yǒu xiě xìn, gào sù tā zì jǐ dìng hūn de xiāo xī。 xiě wán xìn lái dào fù qīn de fáng jiān, yì wài de shì fù qīn duì tā tài dù fēi cháng bù hǎo, huái yí tā gēn běn jiù méi yòu qiān jū dào 'é guó de péng yǒu, zhǐ zé tā bēizhe zì jǐ zuò shēng yì, hái pàn zhe zì jǐ zǎo sǐ。 tū rán, fù qīn yòu zhuǎn liǎo huà tí, cháo xiào gé 'ào 'ěr gé zài qī piàn tā péng yǒu, ér fù qīn zì jǐ dǎo shì yī zhí gēn nà wèi péng yǒu tōng xìn, bìng zǎo yǐ bǎ gé 'ào 'ěr gé dìng hūn de xiāo xī gào sù tā liǎo。 gé 'ào 'ěr gé rěn bù zhù dǐng zhuàng liǎo fù qīn yī jù, fù qīn biàn pàn dú shēng zǐ qù tóu hé zì jìn。 yú shì dú shēng zǐ zhēn de tóu hé sǐ liǎo。 zuò pǐn suǒ miáo xiě de zài fù zǐ liǎng rén de kǒu jiǎo guò chéng zhōng, qīng bái shàn liáng de 'ér zǐ jìng bèi fù qīn shì wéi yòu zuì hé zhíniù cán bào, zài fù qīn de yín wēi zhī xià, dú shēng zǐ hài pà、 kǒng jù dào liǎo sàng shī lǐ zhì, yǐ zhì zì jìn。 fù qīn gāo dà qiáng zhuàng 'ér háo wú lǐ xìng, jù yòu yī qiē bào jūn de tè zhēng。 zhè gè mào sì huāng dàn de gù shì shì kǎ fū kǎ fù zuì xīn tài de shēng dòng miáo shù, fù qīn de pàn jué yě shì kǎ fū kǎ duì zì jǐ de pàn jué。 zhù rén gōng lín sǐ qián de dī shēng biàn bái héng héng “ qīn 'ài de fù mǔ qīn, wǒ kě shì yī zhí 'ài nǐ men de ”, zé shì kǎ fū kǎ zuì yǐn mì xīn qū de tù lù。 zhè zhǒng gù shì de kuàng jià shì diǎn xíng díkǎ fū kǎ shì de, shì tā nèi xīn shēn chù de fù zuì gǎn jù xiàng huà zhī hòu de chǎn wù。 rán 'ér zuò pǐn de nèi hán xiǎn rán bù zài yú jǐn jǐn biǎo xiàn fù zǐ chōng tū, gèng zài yú zài pǔ biàn yì yì shàng jiē shì chū rén lèi shēng cún zài zěn yàng yī zhǒng quán wēi hé líng rǔ zhī xià。 lìng yī fāng miàn yòu zhǎn xiàn rén wù wéi zhàn shèng fù qīn jìn xíng de yī xì liè kàng zhēng。 ér zǐ bǎ kàn lái shuāi lǎo de fù qīn rú tóng hái zǐ bān fàng dào chuáng shàng hòu, zhēn de bǎ tā“ gài liǎo qǐ lái”。 cóng biǎo miàn shàng kàn, tā zhè yàng zuò shì chū yú xiào xīn; zài shēn céng hán yì shàng tā shì xiǎng mái zàng fù qīn, yǐ què lì zì jǐ zuò wéi xīn de yī jiā zhī zhù de dì wèi。 xiǎo shuō zài tǐ xiàn liǎo kǎ fū kǎ dú tè de“ shěn fù” yì shí de tóng shí, yě biǎo xiàn liǎo duì jiāzhǎng shì de 'ào xiōng dì guó tǒng zhì zhě de bù mǎn。 yǔ cǐ tóng shí kǎ fū kǎ hái tōng guò zhè gè dú tè de gù shì jiē shì liǎo xī fāng shè huì zhōng xiàn shí shēng huó de huāng miù xìng hé fēi lǐ xìng。
cháng piān xiǎo shuō《 chéng bǎo》( 1922) shì yī bù diǎn xíng de biǎo xiàn zhù yì xiǎo shuō, jù yòu xiān míng díkǎ fū kǎ tè sè。 xiǎo shuō zhù rén wēng K shì yī gè míng yì shàng de tǔ dì cèliáng yuán, yìng pìn qián wǎng bù zhī míng de chéng bǎo gōng zuò。 shuí zhī bǎo nèi céng céng jī gòu, méi yòu rén zhī dào zhè xiàng pìn rèn, K yù shàng zhòng zhòng de zǔ náo, zhǐ hǎo gū jūn fèn zhàn, hé guān liáo quán guì bù xiè dì jìn xíng dǒu zhēng, zhí dào zuì hòu tā shǐ zhōng méi yòu jìn rù chéng bǎo, yě wú fǎ jiàn dào chéng bǎo zuì gāo dāng jú。
《 jī 'è yì shù jiā》( 1922) zhōng gē chàng yì rén wèile shēng cún, wèile shǐ zì jǐ de yì shù dá dào“ zuì gāo jìng jiè”, jìng bǎ jué lù zuò wéi chū lù, yǐ jué shí biǎo yǎn zuò wéi móu shēng shǒu duàn, xuān chēng kě yǐ 40 tiān bù jìn shí 'ér yǐnháng gāo gē biǎo yǎn, jìn 'ér fā zhǎn dào wéi jué shí 'ér jué shí de“ yì shù” jìng jiè, fǎng fó jī 'è zhēn de jiù yǔ rén de ròu tǐ gǎn jué lí kāi liǎo yī yàng。 40 tiān guò qù liǎo, tā réng jiān chí yào jué shí biǎo yǎn xià qù, hòu bèi jīng lǐ qiǎngpò jìn shí。 yì shù jiā shēn wéi tā de jī 'è yì shù wèi dá jiā jìng 'ér yí hàn, gèng wéi rén men duì tā de yì shù zhuī qiú bù lǐ jiě bù zhī chí bèi gǎn gū dú, tā bǎ yuán běn zuò wéi shēng jì shǒu duàn de 'ái’è, dàngchéng shēng cún mù de hé zhēn zhèng“ yì shù” ér zī zī yǐ qiú, zuì hòu bèi sòng jìn mǎ xì tuán, guān zài lóng zhōng yǔ shòu lèi yī qǐ gōng rén cān guān, wú yì yú zhēn zhèng de dòng wù。 gǔ shòu rú chái de yì shù jiā de yì xiàng yòu duō zhòng yù yì, shì rén xìng yì huà、 jīng shén zhǎn pǐn huà hé yì shù yì huà de xiàng zhēng, shì xiàn dài rén tòng kǔ bēi 'āi xiàn zhuàng de xiě zhào。
《 dòng xué》( 1923 héng 1924) shì kǎ fū kǎ wǎn qī chuàng zuò zhōng zuì jù dài biǎo xìng de lì zuò。 zhù rén gōng shì yī zhǐ bù zhī míng de rén gé huà de yǎn shǔ lèi dòng wù。 zuò pǐn cǎi yòng dì yī rén chēng zì xù fǎ, miáo xiě liǎo“ wǒ” dān xīn wài lái xí jī, xiū zhù liǎo jiān gù dì dòng, zhù cún liǎo dà liàng shí wù, dì dòng suī chàng tōng wú zǔ, wú xiè kě jī, fáng yù tuì táo zì rú, dàn“ wǒ” hái shì shí shí chǔyú jīng kǒng zhī zhōng, huáng huáng bù kě zhōng rì。“ wǒ” yòu cháng nián bù duàn dì gǎi jiàn dì dòng, niǎn zhuǎn bù tíng dì bǎ liáng shí cóng dì dòng de zhè gè dì fāng bān dào nà gè dì fāng, zuò hǎo fáng yù gōng zuò yǐ fáng wài jiè qiáng dí qián lái xí jī。 tā shuō:“ jí shǐ cóng qiáng shàng diào xià lái de yī lì shā zǐ, bù gǎo qīng tā de qù xiàng wǒ yě bù néng fàng xīn。” tā xiàng yī zhǒng wèi zhī de wēi xiǎn、 xiàng tā zhōu wéi wú qióng de yī qiē fā dòng liǎo yīcháng shū sǐ de zhàn dǒu:“ wǒ lí kāi liǎo shì jiè, xià dào wǒ de dì dòng lǐ”,“ rú guǒ wǒ néng píng xī wǒ xīn zhōng de chōng tū, wǒ jiù xiāng xìn zì jǐ yǐ jīng hěn xìng fú liǎo”。 rán 'ér tā yǒng yuǎn zài wā jué xīn de dì dào, zài zhè gè méi yòu jìn tóu de mí gōng lǐ, miàn duì“ yī zhǒng wǒ shǐ zhōng yīnggāi dān xīn de dōng xī, yī jiàn wǒ shǐ zhōng yīnggāi yòu suǒ fáng bèi de shì qíng: yòu gè rén lái liǎo”。 xiǎo shuō zhēn shí dì fǎn yìng liǎo yī cì dà zhàn qián hòu, pǔ tōng xiǎo rén wù shī què 'ān quán gǎn、 shēng huó yǔ shēng mìng dé bù dào bǎo zhàng de kǒng jù xīn tài。
《 zhì kē xué yuàn de bào gào》 miáo xiě mǎ xì tuán shì tú xún zhǎo“ rén lèi dào lù” ér xùn huà yuán hóu chéng wéi huì shuō huà de rén de gù shì。 bèi guān zài xiá zhǎi lóng zǐ lǐ de fēi zhōu yuán hóu, zài rén de bī pò xià xué rén tù tuò mò、 xué rén hē shāo jiǔ、 xué rén yǔ hǎn“ hā luó”。 qī lì de 'āiháo yǔ bēi míng, chuán dì chū shī què zì yóu、 méi yòu chū lù de kǔ mèn yǔ bēi guān jué wàng qíng xù。 jiàn shī yuán xìng huò qǔ rén xìng de guò chéng jī biàn, zhèng shì rén lèi yì huà de yī zhǒng fǎn xiàng yìn zhèng。
jué bǐ zhī zuò《 nǚ gē shǒu yuē sè fēn huò hào zǐ mín zú》 zé miáo xiě liǎo yī gè bù xìng zú lèi yǔ yī gè bù xìng yì shù jiā, yǐ jí yì shù sān zhě zhī jiān de fù zá guān xì。 zhè bù zuò pǐn bāo hán zhe kǎ fū kǎ yòu guān yì shù hé yì shù jiā yǐ jí yǔ zhǒng zú hé mín zú guān xì de shēn kè jiàn jiě。 qí hán yì bǐ《 jī 'è yì shù jiā》 gèng wéi fù zá shēn guǎng。
kǎ fū kǎ hái liú xià liǎo dà liàng de shū xìn zuò pǐn, zhè xiē shū xìn zuò pǐn càn zá liǎo kǎ fū kǎ gè rén dà liàng sī xiǎng xìng de dōng xī, wén xué、 yì shù jià zhí sī háo bù yà yú qí zhèng guī de wén xué zuò pǐn。 bǎo liú jiào duō de yòu《 zhì fěi lì sī . bào wēi 'ěr》( fěi lì sī bào wēi 'ěr xì kǎ fū kǎ dìng、 tuì hūn duō cì de qíng rén)、《 zhì mǎ kè sī . bó luó dé》( jí qí hǎo yǒu MaxBrod) yǐ jí chāo jí cháng xìn《 zhì fù qīn》。 qí zhōng《 zhì fù qīn》 suī rán shì yī fēng xìn, dàn zài wén xué、 jiào yù xué、 xīn lǐ xué、 lún lǐ xué děng fāng miàn jūn jí yòu jià zhí。
chú cǐ zhī wài, kǎ fū kǎ de yī wèi nián qīng péng yǒu hái jì lù xià liǎo kǎ fū kǎ de yī bù fēn tán huà, zhěng lǐ chéng《 tán huà lù》 chū bǎn。 lìng yòu《 tā》、《 zá gǎn》 děng zuò pǐn bèi bǎo liú xià lái。 zhè xiē zuò pǐn shì yǐ duì huà、 chén shù de xíng shì xiě chéng, jīhū shì kǎ fū kǎ gè rén shì jiè guān de zhí jiē chǎn shù, jì yòu tā běn rén zhù guān gǎn qíng de xuān xiè, yě yòu tā yǐ jí shēn suì de zhé xué yǔ yán duì shì jiè de kè guān miáo shù。
* 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
cháng piān xiǎo shuō《 měi guó》 (1912 héng 1914 nián xiě chéng ), miáo xiě 16 suì de dé guó shàonián kǎ 'ěr · luó sī màn, yīn shòu jiā zhōng nǚ pú de yǐn yòu, zhì shǐ nǚ pú huái yùn, bèi fù mǔ gǎn chū jiā mén, fàng zhú dào měi guó de jīng lì zāo yù。 zuò pǐn suǒ cè zhòng de shì rén wù zài měi guó yōu yù、 gū dú de nèi xīn gǎn shòu。
cháng piān xiǎo shuō《 shěn pàn》( 1918 nián xiě chéng), zuò pǐn jiǎng shù de shì yínháng zhù lǐ yuē sè fū ·K wú gù shòu shěn pàn bìng bèi chǔsǐ de gù shì。 yuē sè fū ·K zài 30 suì shēng rì de nà tiān zǎo chén xǐng lái 'àn líng shēng chī zǎo cān shí, jìn lái de bù shì nǚ pú 'ér shì liǎng gè guān chā, xuān gào tā bèi bǔ, bìng bèi fǎ tíng shěn pàn yòu zuì, tā suī bèi bǔ què réng néng zì yóu shēng huó, zhào cháng gōng zuò。 tā bù zhī dào zì jǐ zài shénme dì fāng yòu zuì, rèn wéi yī dìng shì fǎ yuàn gǎo cuò liǎo, jiān xìn zì jǐ wú zuì。 yuē sè fū ·K bù yuàn qū jiù mìng yùn, tā tóng zhè chǎng míng zhī háo wú xī wàng de sù sòng zhǎn kāi liǎo yī shēng de jiāo zhàn, gōng rán xiàng bù gōng zhèng de fǎ tíng tiǎo zhàn。 zài dì yī cì shěn pàn shí, tā kāng kǎi jī 'áng dì jiē lù fǎ tíng hēi 'àn, wéi zì jǐ de wú gū lǐ bēn bō, zhǎo rén bāng máng, xiǎng gǎo gè shuǐ luò shí chū, qīn zì dòng shǒu xiě kàng biàn shū, cóng gè gè fāng miàn lái shuō míng zì jǐ wú zuì。 tā shēng pà zì jǐ zài mǒu yī gè zuì wēi xiǎo de dì fāng fàn guò shénme guò cuò, jié lì qù xún zhǎo, bǔ zhuō 'ér bù kě dé, huáng huáng bù kě zhōng rì。 rán 'ér yī qiē nǔ lì dū tú láo wú yì, K zhōng yú míng bái, yào bǎi tuō mìng yùn de 'ān pái, bǎi tuō fǎ lǜ zhī wǎng de shù fù shì bù kě néng de。 zuì hòu, tā háo wú fǎn kàng dì bèi liǎng gè hēi yī rén jià zǒu, zài suì shí chǎng de xuán yá xià bèi chǔsǐ。
duǎn piān xiǎo shuō《 zhōng guó cháng chéng de jiàn zào》( 1918 héng 1919) miáo xiě zhōng guó de lǎo bǎi xìng shòu wú xíng quán lì de qū shǐ, qù jiàn zào háo wú fáng yù zuò yòng de cháng chéng, biǎo xiàn chū liǎo rén zài qiáng quán tǒng zhì miàn qián de wú kě nài hé yǔ wú néng wéi lì。
《 pàn jué》( 1912) shì kǎ fū kǎ zuì xǐ 'ài de zuò pǐn, biǎo xiàn liǎo fù zǐ liǎng dài rén de chōng tū。 zhù rén gōng gé 'ào 'ěr gé · běn dé màn shì gè shāng rén, zì cóng jǐ nián qián mǔ qīn qù shì hòu jiù hé fù qīn yī qǐ shēng huó, xiàn zài shēng yì xīng lóng。 tā zài fáng jiān lǐ gěi yī wèi duō nián qián qiān jū 'é guó de péng yǒu xiě xìn, gào sù tā zì jǐ dìng hūn de xiāo xī。 xiě wán xìn lái dào fù qīn de fáng jiān, yì wài de shì fù qīn duì tā tài dù fēi cháng bù hǎo, huái yí tā gēn běn jiù méi yòu qiān jū dào 'é guó de péng yǒu, zhǐ zé tā bēizhe zì jǐ zuò shēng yì, hái pàn zhe zì jǐ zǎo sǐ。 tū rán, fù qīn yòu zhuǎn liǎo huà tí, cháo xiào gé 'ào 'ěr gé zài qī piàn tā péng yǒu, ér fù qīn zì jǐ dǎo shì yī zhí gēn nà wèi péng yǒu tōng xìn, bìng zǎo yǐ bǎ gé 'ào 'ěr gé dìng hūn de xiāo xī gào sù tā liǎo。 gé 'ào 'ěr gé rěn bù zhù dǐng zhuàng liǎo fù qīn yī jù, fù qīn biàn pàn dú shēng zǐ qù tóu hé zì jìn。 yú shì dú shēng zǐ zhēn de tóu hé sǐ liǎo。 zuò pǐn suǒ miáo xiě de zài fù zǐ liǎng rén de kǒu jiǎo guò chéng zhōng, qīng bái shàn liáng de 'ér zǐ jìng bèi fù qīn shì wéi yòu zuì hé zhíniù cán bào, zài fù qīn de yín wēi zhī xià, dú shēng zǐ hài pà、 kǒng jù dào liǎo sàng shī lǐ zhì, yǐ zhì zì jìn。 fù qīn gāo dà qiáng zhuàng 'ér háo wú lǐ xìng, jù yòu yī qiē bào jūn de tè zhēng。 zhè gè mào sì huāng dàn de gù shì shì kǎ fū kǎ fù zuì xīn tài de shēng dòng miáo shù, fù qīn de pàn jué yě shì kǎ fū kǎ duì zì jǐ de pàn jué。 zhù rén gōng lín sǐ qián de dī shēng biàn bái héng héng “ qīn 'ài de fù mǔ qīn, wǒ kě shì yī zhí 'ài nǐ men de ”, zé shì kǎ fū kǎ zuì yǐn mì xīn qū de tù lù。 zhè zhǒng gù shì de kuàng jià shì diǎn xíng díkǎ fū kǎ shì de, shì tā nèi xīn shēn chù de fù zuì gǎn jù xiàng huà zhī hòu de chǎn wù。 rán 'ér zuò pǐn de nèi hán xiǎn rán bù zài yú jǐn jǐn biǎo xiàn fù zǐ chōng tū, gèng zài yú zài pǔ biàn yì yì shàng jiē shì chū rén lèi shēng cún zài zěn yàng yī zhǒng quán wēi hé líng rǔ zhī xià。 lìng yī fāng miàn yòu zhǎn xiàn rén wù wéi zhàn shèng fù qīn jìn xíng de yī xì liè kàng zhēng。 ér zǐ bǎ kàn lái shuāi lǎo de fù qīn rú tóng hái zǐ bān fàng dào chuáng shàng hòu, zhēn de bǎ tā“ gài liǎo qǐ lái”。 cóng biǎo miàn shàng kàn, tā zhè yàng zuò shì chū yú xiào xīn; zài shēn céng hán yì shàng tā shì xiǎng mái zàng fù qīn, yǐ què lì zì jǐ zuò wéi xīn de yī jiā zhī zhù de dì wèi。 xiǎo shuō zài tǐ xiàn liǎo kǎ fū kǎ dú tè de“ shěn fù” yì shí de tóng shí, yě biǎo xiàn liǎo duì jiāzhǎng shì de 'ào xiōng dì guó tǒng zhì zhě de bù mǎn。 yǔ cǐ tóng shí kǎ fū kǎ hái tōng guò zhè gè dú tè de gù shì jiē shì liǎo xī fāng shè huì zhōng xiàn shí shēng huó de huāng miù xìng hé fēi lǐ xìng。
cháng piān xiǎo shuō《 chéng bǎo》( 1922) shì yī bù diǎn xíng de biǎo xiàn zhù yì xiǎo shuō, jù yòu xiān míng díkǎ fū kǎ tè sè。 xiǎo shuō zhù rén wēng K shì yī gè míng yì shàng de tǔ dì cèliáng yuán, yìng pìn qián wǎng bù zhī míng de chéng bǎo gōng zuò。 shuí zhī bǎo nèi céng céng jī gòu, méi yòu rén zhī dào zhè xiàng pìn rèn, K yù shàng zhòng zhòng de zǔ náo, zhǐ hǎo gū jūn fèn zhàn, hé guān liáo quán guì bù xiè dì jìn xíng dǒu zhēng, zhí dào zuì hòu tā shǐ zhōng méi yòu jìn rù chéng bǎo, yě wú fǎ jiàn dào chéng bǎo zuì gāo dāng jú。
《 jī 'è yì shù jiā》( 1922) zhōng gē chàng yì rén wèile shēng cún, wèile shǐ zì jǐ de yì shù dá dào“ zuì gāo jìng jiè”, jìng bǎ jué lù zuò wéi chū lù, yǐ jué shí biǎo yǎn zuò wéi móu shēng shǒu duàn, xuān chēng kě yǐ 40 tiān bù jìn shí 'ér yǐnháng gāo gē biǎo yǎn, jìn 'ér fā zhǎn dào wéi jué shí 'ér jué shí de“ yì shù” jìng jiè, fǎng fó jī 'è zhēn de jiù yǔ rén de ròu tǐ gǎn jué lí kāi liǎo yī yàng。 40 tiān guò qù liǎo, tā réng jiān chí yào jué shí biǎo yǎn xià qù, hòu bèi jīng lǐ qiǎngpò jìn shí。 yì shù jiā shēn wéi tā de jī 'è yì shù wèi dá jiā jìng 'ér yí hàn, gèng wéi rén men duì tā de yì shù zhuī qiú bù lǐ jiě bù zhī chí bèi gǎn gū dú, tā bǎ yuán běn zuò wéi shēng jì shǒu duàn de 'ái’è, dàngchéng shēng cún mù de hé zhēn zhèng“ yì shù” ér zī zī yǐ qiú, zuì hòu bèi sòng jìn mǎ xì tuán, guān zài lóng zhōng yǔ shòu lèi yī qǐ gōng rén cān guān, wú yì yú zhēn zhèng de dòng wù。 gǔ shòu rú chái de yì shù jiā de yì xiàng yòu duō zhòng yù yì, shì rén xìng yì huà、 jīng shén zhǎn pǐn huà hé yì shù yì huà de xiàng zhēng, shì xiàn dài rén tòng kǔ bēi 'āi xiàn zhuàng de xiě zhào。
《 dòng xué》( 1923 héng 1924) shì kǎ fū kǎ wǎn qī chuàng zuò zhōng zuì jù dài biǎo xìng de lì zuò。 zhù rén gōng shì yī zhǐ bù zhī míng de rén gé huà de yǎn shǔ lèi dòng wù。 zuò pǐn cǎi yòng dì yī rén chēng zì xù fǎ, miáo xiě liǎo“ wǒ” dān xīn wài lái xí jī, xiū zhù liǎo jiān gù dì dòng, zhù cún liǎo dà liàng shí wù, dì dòng suī chàng tōng wú zǔ, wú xiè kě jī, fáng yù tuì táo zì rú, dàn“ wǒ” hái shì shí shí chǔyú jīng kǒng zhī zhōng, huáng huáng bù kě zhōng rì。“ wǒ” yòu cháng nián bù duàn dì gǎi jiàn dì dòng, niǎn zhuǎn bù tíng dì bǎ liáng shí cóng dì dòng de zhè gè dì fāng bān dào nà gè dì fāng, zuò hǎo fáng yù gōng zuò yǐ fáng wài jiè qiáng dí qián lái xí jī。 tā shuō:“ jí shǐ cóng qiáng shàng diào xià lái de yī lì shā zǐ, bù gǎo qīng tā de qù xiàng wǒ yě bù néng fàng xīn。” tā xiàng yī zhǒng wèi zhī de wēi xiǎn、 xiàng tā zhōu wéi wú qióng de yī qiē fā dòng liǎo yīcháng shū sǐ de zhàn dǒu:“ wǒ lí kāi liǎo shì jiè, xià dào wǒ de dì dòng lǐ”,“ rú guǒ wǒ néng píng xī wǒ xīn zhōng de chōng tū, wǒ jiù xiāng xìn zì jǐ yǐ jīng hěn xìng fú liǎo”。 rán 'ér tā yǒng yuǎn zài wā jué xīn de dì dào, zài zhè gè méi yòu jìn tóu de mí gōng lǐ, miàn duì“ yī zhǒng wǒ shǐ zhōng yīnggāi dān xīn de dōng xī, yī jiàn wǒ shǐ zhōng yīnggāi yòu suǒ fáng bèi de shì qíng: yòu gè rén lái liǎo”。 xiǎo shuō zhēn shí dì fǎn yìng liǎo yī cì dà zhàn qián hòu, pǔ tōng xiǎo rén wù shī què 'ān quán gǎn、 shēng huó yǔ shēng mìng dé bù dào bǎo zhàng de kǒng jù xīn tài。
《 zhì kē xué yuàn de bào gào》 miáo xiě mǎ xì tuán shì tú xún zhǎo“ rén lèi dào lù” ér xùn huà yuán hóu chéng wéi huì shuō huà de rén de gù shì。 bèi guān zài xiá zhǎi lóng zǐ lǐ de fēi zhōu yuán hóu, zài rén de bī pò xià xué rén tù tuò mò、 xué rén hē shāo jiǔ、 xué rén yǔ hǎn“ hā luó”。 qī lì de 'āiháo yǔ bēi míng, chuán dì chū shī què zì yóu、 méi yòu chū lù de kǔ mèn yǔ bēi guān jué wàng qíng xù。 jiàn shī yuán xìng huò qǔ rén xìng de guò chéng jī biàn, zhèng shì rén lèi yì huà de yī zhǒng fǎn xiàng yìn zhèng。
jué bǐ zhī zuò《 nǚ gē shǒu yuē sè fēn huò hào zǐ mín zú》 zé miáo xiě liǎo yī gè bù xìng zú lèi yǔ yī gè bù xìng yì shù jiā, yǐ jí yì shù sān zhě zhī jiān de fù zá guān xì。 zhè bù zuò pǐn bāo hán zhe kǎ fū kǎ yòu guān yì shù hé yì shù jiā yǐ jí yǔ zhǒng zú hé mín zú guān xì de shēn kè jiàn jiě。 qí hán yì bǐ《 jī 'è yì shù jiā》 gèng wéi fù zá shēn guǎng。
kǎ fū kǎ hái liú xià liǎo dà liàng de shū xìn zuò pǐn, zhè xiē shū xìn zuò pǐn càn zá liǎo kǎ fū kǎ gè rén dà liàng sī xiǎng xìng de dōng xī, wén xué、 yì shù jià zhí sī háo bù yà yú qí zhèng guī de wén xué zuò pǐn。 bǎo liú jiào duō de yòu《 zhì fěi lì sī . bào wēi 'ěr》( fěi lì sī bào wēi 'ěr xì kǎ fū kǎ dìng、 tuì hūn duō cì de qíng rén)、《 zhì mǎ kè sī . bó luó dé》( jí qí hǎo yǒu MaxBrod) yǐ jí chāo jí cháng xìn《 zhì fù qīn》。 qí zhōng《 zhì fù qīn》 suī rán shì yī fēng xìn, dàn zài wén xué、 jiào yù xué、 xīn lǐ xué、 lún lǐ xué děng fāng miàn jūn jí yòu jià zhí。
chú cǐ zhī wài, kǎ fū kǎ de yī wèi nián qīng péng yǒu hái jì lù xià liǎo kǎ fū kǎ de yī bù fēn tán huà, zhěng lǐ chéng《 tán huà lù》 chū bǎn。 lìng yòu《 tā》、《 zá gǎn》 děng zuò pǐn bèi bǎo liú xià lái。 zhè xiē zuò pǐn shì yǐ duì huà、 chén shù de xíng shì xiě chéng, jīhū shì kǎ fū kǎ gè rén shì jiè guān de zhí jiē chǎn shù, jì yòu tā běn rén zhù guān gǎn qíng de xuān xiè, yě yòu tā yǐ jí shēn suì de zhé xué yǔ yán duì shì jiè de kè guān miáo shù。
* 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 jì》( dé yǔ DieVerwandlung, yīng yǔ TheMetamorphosis) shì kǎ fū kǎ de duǎn piān xiǎo shuō dài biǎo zuò zhī yī , shì kǎ shì yì shù shàng de zuì gāo chéng jiù, bèi rèn wéi shì 20 shì jì zuì wěi dà de xiǎo shuō zuò pǐn zhī yī。 zài xī fāng xiàn dài xiǎo shuō shǐ shàng zhàn yòu zhòng yào dì wèi . xiǎo shuō xiě rén biàn chéng dòng wù , gù shì shén mì lí qí。《 biàn xíng jì》 zuò wéi xī fāng xiàn dài pài wén xué de diàn jī zhī zuò, yě shì kǎ fū kǎ yě bèi gōng rèn wéi xiàn dài pài de bí zǔ de zhòng yào zuò pǐn zhī yī, duì hòu lái de xiàn dài zhù yì fā zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng, kě yǐ shuō 'èr zhàn hòu de 'ōu zhōu xīng qǐ de“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” hé měi guó de“ hēi sè yōu mò” xiǎo shuō dū shòu dào liǎo kǎ fū kǎ de qǐ fā。 zhù rén gōng gé lǐ gāo 'ěr shì gè xiǎo rén wù。 fù qīn pò chǎn, mǔ qīn shēng bìng, mèi mèi shàng xué。 chén zhòng de jiā tíng fù dān hé fù qīn de zhài wù, yā dé gé lǐ gāo 'ěr chuǎn bù guò qì lái。 tā pīn mìng gànhuó, mù de shì hái qīng fù zhài, gǎi shàn jiā tíng shēng huó。 zài gōng sī, tā shòu lǎo bǎn de qì, zhǐ wàng hái qīng fù zhài hòu cí zhí。 kě yǐ shuō, duì fù mǔ tā shì gè xiào zǐ, duì mèi mèi tā shì gè hǎo gē gē, duì gōng sī tā shì gè hǎo zhí yuán。 biàn chéng jiá chóng, shēn tǐ yuè lái yuè chā, tā hái wéi hái qīng fù zhài dān yōu, hái juàn liàn jiā rén, shèn zhì wéi tǎo fù qīn huān xīn, zì jǐ jiān nán dì guāi guāi pá huí wò shì。 zhè yàng shàn liáng、 zhōng hòu 'ér yòu fù yòu zé rèn gǎn de rén, zuì zhōng bèi qīn rén pāo qì。 gé lǐ gāo 'ěr de bēi jù shì lìng rén xīn suān de, jù yòu fēng fù de shè huì nèi hán。
《 biàn xíng jì》 - zuò zhě jiǎn jiè
fú lán cí · kǎ fū kǎ fú lán cí · kǎ fū kǎ
fú lán cí · kǎ fū kǎ( FranzKafka, 1883 nián 7 yuè 3 rì héng 1924 nián 6 yuè 3 rì), ào dì lì xiǎo shuō jiā, 20 shì jì dé yǔ xiǎo shuō jiā。 wén bǐ míng jìng 'ér xiǎng xiàng qí guǐ, cháng cǎi yòng yù yán tǐ , bèi hòu de yù yì rén yán rén shū, zàn wú( huò yǒng wú) dìng lùn。
kǎ fū kǎ tā shì yī wèi yòng dé yǔ xiě zuò de yè yú zuò jiā, tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè, ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 kǎ fū kǎ shēng qián mò mò wú wén, gū dú dì fèn dǒu, suí zhe shí jiān de liú shì, tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí, zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng, bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè, jīng jiǔ bù shuāi。
hòu shì de pī píng jiā, wǎng wǎng guòfèn qiáng diào kǎ fū kǎ zuò pǐn yīn 'àn de yī miàn, hū shì qí míng lǎng、 fēng qù de dì fāng, mǐ lán · kūn dé lā zài《 bèi bèi pàn de yí zhǔ》( Lestestamentstrahis) zhòngshì tú jiū zhèng zhè yī diǎn。 qí shí jù bù láo dé de huí yì, kǎ fū kǎ xǐ huān zài péng yǒu miàn qián lǎng dú zì jǐ de zuò pǐn, dú dào dé yì de duàn luò shí huì rěn jùn bù jìn, zì jǐ dà xiào qǐ lái。
kǎ fū kǎ yī shēng de zuò pǐn bìng bù duō, dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 měi guó shī rén 'ào dēng rèn wéi:“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng, gè rén shì de、 yōu yù de、 gū dú de qíng xù, yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 sān sì shí nián dài de chāo xiàn shí zhù yì yú dǎng shì zhī wéi tóng rén, sì wǔ shí nián dài de huāng dàn pài yǐ zhī wéi xiān qū, liù shí nián dài de měi guó” hēi sè yōu mò“ fèng zhī wéi diǎn fàn。
kǎ fū kǎ 1909 nián kāi shǐ fā biǎo zuò pǐn, 1915 nián yīn duǎn piān xiǎo shuō《 sī lú gōng》 huò féng tǎ nà dé guó wén xué jiǎng jīn。 kǎ fū kǎ chuàng zuò qín fèn, dàn bìng bù yǐ fā biǎo、 chéng míng wéi mùdì。 gōng zuò zhī yú de chuàng zuò shì tā jì tuō sī xiǎng gǎn qíng hé pái qiǎn yōu yù kǔ mèn de shǒu duàn。 xǔ duō zuò pǐn suí yì xiě lái, bìng wú jié wěi, tā duì zì jǐ de zuò pǐn yě duō wéi bù mǎn, lín zhōng qián ràng zhì yǒu bù luò dé quán bù shāo huǐ qí zuò pǐn。 bù luò dé chū yú yǒu yì yǔ chóng jìng zhī qíng, wéi bèi liǎo kǎ fū kǎ yí yuàn, zhěng lǐ chū bǎn liǎo《 kǎ fū kǎ quán jí》( 1950 héng 1980) gòng jiǔ juàn。 qí zhōng bā juàn zhōng de zuò pǐn shì shǒu cì kān chū, yǐn qǐ wén tán hōng dòng。
《 biàn xíng jì》 - nèi róng jiǎn jiè
bèi jǐng
1914 nián zhì 1918 nián de dì yī cì shì jiè dà zhàn, shǐ xǔ duō zī běn zhù yì guó jiā jīng jì xiāo tiáo, shè huì dòng dàng, rén mín shēng huó zài shuǐ shēn huǒ rè zhī zhōng。 hēi 'àn de xiàn shí, tòng kǔ de shēng huó, shǐ dé rén men duì zī běn zhù yì shè huì shī qù xìn xīn, yī fāng miàn xún qiú chū lù, ruì yì gǎi gé, yī fāng miàn yòu xiàn yú gū dú、 tuí fèi、 jué wàng zhī zhōng。 19 shì jì mò zhì 20 shì jì chū, yī xiē sī xiǎng mǐn ruì de yì shù jiā rèn wéi shì jiè shì hùn luàn de、 huāng dàn de, tā men zhù shū lì shuō, pī pàn zī běn zhù yì de rén jì guān xì, pī pàn cuī cán rén xìng de shè huì zhì dù。 dì yī cì shì jiè dà zhàn qián hòu hé dì 'èr cì shì jiè dà zhàn qián hòu, xiàn dài zhù yì wén xué yìng yùn 'ér shēng。 xiàn dài zhù yì wén xué zuò pǐn fǎn yìng liǎo zī běn zhù yì shè huì de hēi 'àn, rén hé rén zhī jiān guān xì de lěng kù, rén duì shè huì de jué wàng。 yì shù shàng qiáng diào shǐ yòng jí dù kuā zhāng yǐ zhì guài dàn lí qí de biǎo xiàn shǒu fǎ, miáo huì niǔ qū de rén xìng, biǎo xiàn rén de běn néng hé wú yì shí de zhù guān gǎn shòu, kāi jué gè rén de zhí jué、 běn néng、 wú yì shí、 mèng huàn、 biàn tài xīn lǐ yǐ zhì bàn fēng kuáng、 fēng kuáng de yán xíng、 xīn lǐ。 xiàn dài zhù yì de yōu xiù wén xué zuò pǐn tàn suǒ rén de xīn líng, wéi jiē shì rén de nèi xīn shì jiè tí gōng liǎo xīn de yì shù shǒu fǎ。
nèi róng
xiǎo shuō xiě rén biàn chéng dòng wù , gù shì shén mì lí qí: zài《 biàn xíng jì》 zhōng, zhí yè wéi tuī xiāo yuán de zhù rén wēng yī jué xǐng lái, fā xiàn zì jǐ biàn chéng liǎo yī zhǐ jù dà de tiào zǎo。
yī tiān zǎo chén , gé lǐ gāo 'ěr cóng mèng zhōng xǐng lái shí fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng , quán shēn cháng chū liǎo xǔ duō zhǐ xì dé kě lián de xiǎo tuǐ , jiān yìng dé xiàng tiě jiá yī yàng de bèi tiē zhe chuáng 'ér yǎng wò zhe , bù néng fān shēn , yě xià bù liǎo chuáng . dàn tā bì xū qǐ lái。 tā yào jìng qiǎo qiǎo bù shòu dǎ rǎo dì qǐ chuáng , chuān qǐ yī fú , zuì yào jǐn de shì chī bǎo zǎo fàn , zài kǎo lǜ xià yī bù gāi zěn me bàn , yīn wéi tā fēi cháng míng bái , duǒ zài chuáng shàng xiā xiǎng yī qì shì xiǎng bù chū shénme míng táng de . tā hái jì dé guò qù yě shì yīn wéi shuì jué zī shì bù hǎo , tǎng zài chuáng shàng shí wǎng wǎng huì jué dé zhè 'ér nà 'ér yǐn yǐn zuò tòng , jí zhì qǐ lái , jiù zhī dào chún shǔ xīn lǐ zuò yòng , suǒ yǐ tā yīn qiē dì pàn wàng jīn tiān zǎo chén de huàn jué huì zhú jiàn xiāo shì。 gé lǐ gāo 'ěr , suī rán rén jǐ ' wù huà ' wéi chóng zǐ , dàn tā hái cún zài rén de sī wéi , hái yào xiàng zhèng cháng rén yī yàng shēng huó hé sī kǎo . yóu yú dān xīn gǎn bù shàng wǔ diǎn zhōng de huǒ chē . gé lǐ gāo 'ěr xīn qíng jì jiāo jí yòu kǒng huāng , yòu shēng pà gōng sī lái rén , zì jǐ zhè zhǒng miàn mù rú hé jiàn rén ! tā jié lì zhēngzhá。 gé lǐ gāo 'ěr màn màn dì bǎ yǐ zǐ tuī xiàng mén biān , jiē zhe biàn fàng kāi yǐ zǐ , zhuā zhù mén lái zhī chēng zì jǐ héng héng tā nà xiē xì tuǐ de jiǎo dǐ shàng dǎo shì pō yòu nián xìng de。 tā zài mén shàng kào liǎo yī huì 'ér , chuǎn guò yī kǒu qì lái . jiē zhe tā shǐ yòng zuǐ bā zhuàndòng chā zài suǒ kǒng lǐ de yàoshì . bù xìng de shì , tā bìng méi shénme yá chǐ。 tā dé yòng shénme lái yǎo zhù yàoshì ní? yàoshì xū yào zhuàndòng shí , tā biàn yòng zuǐ bā xián zhù tā , zì jǐ yě rào zhe suǒ kǒng zhuǎn liǎo yī juàn , hǎo bǎ yàoshì niǔ guò qù , huò zhě bù rú shuō , shǐ yòng quán shēn de zhòng liàng shǐ tā zhuàndòng . zhōng yú qū fú de suǒ fā chū liǎo xiǎng liàng de kǎ tǎ yī shēng , shǐ gé lǐ gāo 'ěr dà wéi gāo xīng ······
《 biàn xíng jì》 - qíng jié hé zhù tí
《 biàn xíng jì》 chuàng zuò yú 1912 nián, fā biǎo yú 1915 nián。 xiǎo shuō fēn chéng sān bù fēn, yòng yī、 èr、 sān biāo míng。 kè wén jié xuǎn liǎo yuán xiǎo shuō de yī bàn nèi róng。
dì yī bù fēn
gé lǐ gāo 'ěr fā xiàn zì jǐ biàn chéng“ jù dà de jiá chóng”, jīng huāng 'ér yòu yōu yù。 fù qīn fā xiàn hòu dà nù, bǎ tā gǎn huí zì jǐ de wò shì。
dì 'èr bù fēn
gé lǐ gāo 'ěr biàn liǎo, yǎng chéng liǎo jiá chóng de shēng huó xí xìng, què bǎo liú liǎo rén de yì shí。 tā shī yè liǎo, réng jiù guān xīn zěn yàng hái qīng fù qīn qiàn de zhài wù, sòng mèi mèi shàng yīnyuè xué yuàn。 kě shì, yī gè yuè hòu, tā chéng liǎo quán jiā de léizhuì。 fù qīn、 mǔ qīn、 mèi mèi duì tā gǎi biàn liǎo tài dù。
dì sān bù fēn
wèile shēng cún, jiā rén zhǐ dé dǎ gōng zhèng qián, rěn shòu bù liǎo gé lǐ gāo 'ěr zhè gè fù dān。 mèi mèi zhōng yú tí chū bǎ gē gē nòng zǒu。 gé lǐ gāo 'ěr yòu 'è yòu bìng, xiàn rù jué wàng,“ tā huái zhe shēn qíng hé 'ài yì xiǎng tā de yī jiā rén”,“ rán hòu tā de tóu jiù zì jǐ chuí dǎo zài dì bǎn shàng, tā de bí kǒng hū chū liǎo zuì hòu yī sī qì xī”, sǐ liǎo。 fù qīn、 mǔ qīn hé mèi mèi kāi shǐ guò zhe zì jǐ yǎng huó zì jǐ de xīn shēng huó。
qíng jié de fā zhǎn yóu liǎng tiáo xiàn suǒ jiāo hù zhǎn kāi:
gé lǐ gāo 'ěr: biàn chéng jiá chóng héng héng chéng wéi léizhuì héng héng jué wàng 'ér sǐ
jiā lǐ qīn rén: jīng huāng、 tóng qíng héng héng zhú jiàn zēng hèn héng héng“ bǎ tā nòng zǒu”
gé lǐ gāo 'ěr zì shǐ zhì zhōng guān xīn jiā tíng、 huái liàn qīn rén, kě shì qīn rén zuì zhōng pāo qì liǎo tā, duì tā de sǐ wú dòng yú zhōng, ér qiě jué dìng qù jiāo yóu。
zuò zhě miáo xiě zhè zhǒng rén qíng fǎn chā, jiē shì liǎo dāng shí shè huì shēng huó duì rén de yì huà, zhì shǐ qīn qíng dàn bó, rén xìng niǔ qū。《 biàn xíng jì》 de zhù tí jù yòu qiáng liè de pī pàn xìng。 kǎ fū kǎ chuàng zuò de wén xué zuò pǐn de zhù tí, bù tóng de dú zhě cóng bù tóng de jiǎo dù, huì yòu bù tóng de tǐ yàn hé lǐ jiě。 yòu rén rèn wéi《 biàn xíng jì》 de zhù tí shì: biǎo xiàn rén duì zì jǐ mìng yùn de wú néng wéi lì, rén shī qù zì wǒ jiù chǔyú jué jìng。 yě yòu rén rèn wéi, gé lǐ gāo 'ěr biàn chéng jiá chóng, wú lì yú rén, zì xíng sǐ wáng; yī jiā rén chóngxīn gōng zuò, zǒu xiàng xīn shēng huó; cún zài jiù shì hé lǐ, shēng huó guī lǜ shì wú qíng de。
《 biàn xíng jì》 - rén wù hé xīn lǐ miáo xiě
zhù rén gōng gé lǐ gāo 'ěr shì gè xiǎo rén wù。 fù qīn pò chǎn, mǔ qīn shēng bìng, mèi mèi shàng xué。 chén zhòng de jiā tíng
《 biàn xíng jì》《 biàn xíng jì》
fù dān hé fù qīn de zhài wù, yā dé gé lǐ gāo 'ěr chuǎn bù guò qì lái。 tā pīn mìng gànhuó, mù de shì hái qīng fù zhài, gǎi shàn jiā tíng shēng huó。 zài gōng sī, tā shòu lǎo bǎn de qì, zhǐ wàng hái qīng fù zhài hòu cí zhí。 kě yǐ shuō, duì fù mǔ tā shì gè xiào zǐ, duì mèi mèi tā shì gè hǎo gē gē, duì gōng sī tā shì gè hǎo zhí yuán。 biàn chéng jiá chóng, shēn tǐ yuè lái yuè chā, tā hái wéi hái qīng fù zhài dān yōu, hái juàn liàn jiā rén, shèn zhì wéi tǎo fù qīn huān xīn, zì jǐ jiān nán dì guāi guāi pá huí wò shì。 zhè yàng shàn liáng、 zhōng hòu 'ér yòu fù yòu zé rèn gǎn de rén, zuì zhōng bèi qīn rén pāo qì。 gé lǐ gāo 'ěr de bēi jù shì lìng rén xīn suān de, jù yòu fēng fù de shè huì nèi hán。
xiǎo shuō yòng xīn lǐ miáo xiě de fāng fǎ kè huà gé lǐ gāo 'ěr zhè gè rén wù。 gé lǐ gāo 'ěr guò qù de shēng huó、 biàn jiá chóng hòu de sī xiǎng gǎn qíng hé gè xìng tè diǎn, dōushì tōng guò xīn lǐ miáo xiě biǎo xiàn chū lái de。
xiǎo shuō yòng xǔ duō bǐ mò xiě liǎo biàn xíng hòu gé lǐ gāo 'ěr bēi 'āi qī kǔ de nèi xīn shì jiè, gé lǐ gāo 'ěr suī rán biàn chéng liǎo jiá chóng, dàn tā de xīn lǐ shǐ zhōng bǎo chí zhe rén de zhuàng tài, tā tū rán fā xiàn zì jǐ biàn chéng dà jiá chóng shí de jīng huāng、 yōu yù, tā kǎo lǜ jiā tíng jīng jì zhuàng kuàng shí de jiāo lǜ、 zì zé, tā zāo qīn rén yàn qì hòu de jué wàng、 tòng kǔ, wú bù zhǎn shì liǎo yī gè shàn liáng、 zhōng hòu、 fù yòu zé rèn gǎn de xiǎo rén wù kě wàng rén de lǐ jiě hé jiē shòu de xīn lǐ。 zhǐ shì zhè zhǒng yuàn wàng zhōng yú bèi chè dǐ de jué wàng suǒ dài tì, mí màn zài rén wù xīn tóu de shì wú biān de gū dú、 lěng mò yǔ bēi liáng。 yīnggāi shuō,《 biàn xíng jì》 de nèi zài zhù xiàn jiù shì gé lǐ gāo 'ěr biàn chéng jiá chóng hòu de xīn lǐ héng qíng gǎn liú dòng de guò chéng, zhù rén gōng biàn chéng jiá chóng hòu de nèi xīn gǎn shòu hé xīn lǐ huó dòng shì xiǎo shuō de zhù tǐ。 xiǎo shuō yòng nèi xīn dú bái、 huí yì、 lián xiǎng、 huàn xiǎng děng shǒu fǎ, qù biǎo xiàn rén wù de xīn lǐ huó dòng。 tā bù duàn dì huí yì、 lián xiǎng guò qù hé jīn hòu de shì qíng, bù shí yóu yú kǒng jù jiāo lǜ、 tòng kǔ hé jué wàng 'ér chǎn shēng huàn xiǎng、 huàn jué, bìng qiě zài zì yóu lián xiǎng zhōng jīng cháng chū xiàn shí kōng dǎo cuò、 luó ji hùn luàn、 sī wéi tiào yuè děng, jù yòu yī dìng de yì shí liú tè zhēng。
《 biàn xíng jì》 - píng jià
biǎo xiàn zhù yì
kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”, jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù, ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de, ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn, bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ, yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí, cóng 'ér yǐn qǐ nǐ de jīng yì, pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”, zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí( huò“ mò shēng huà”) jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè, nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì; zhī suǒ yǐ qīn qīn rè rè, yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe, yī dàn gē duàn zhè zhǒng guān xì, zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de:“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài, ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。
dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng, měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu, tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。 dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng, shī qù liǎo gōng sī lǐ de zhí wù, yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu, tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng, shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。 tā biàn chéng“ fēi rén”, tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán, rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén, tā yòu kǒu huì shuō huà, yòu yǎn jīng huì kàn rén, nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn, huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng, jì bù huì shuō huà, yě méi yòu biǎo qíng, tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo héng héng yǐ shàng shì cóng shè huì xué guān diǎn qù kàn de。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn, zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng, kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de, dàn yǔ mǔ qīn guān xì shì zhèng cháng de, yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō:“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men: jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē, dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng, jiǔ 'ér jiǔ zhī, tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ, kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng, yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu, rén de xí xìng jiàn jiàn xiāo shī, ér“ chóng xìng” rì yì zēng jiā, fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu, dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
zài rén yǔ rén zhī jiān hái méi yòu qǔ dé hé xié guān xì de shì jiè lǐ, rén de biàn xíng yě shì yī zhǒng xiàng zhēng, yī qiē dǎo méi rén de xiàng zhēng: rén yī dàn zāo yù bù xìng( sàng shī gōng zuò néng lì de jí bìng、 shāng cán、 zhèng zhì xí jī děng), tā jiù bù zài bèi shè huì chéng rèn, cóng 'ér shī qù zuò wéi rén de jià zhí de“ zì wǒ”, chéng wéi wú yì yú dī děng dòng wù de“ fēi rén”。
zài xiàn dài yì shù chuàng zuò zhōng, biàn xíng shì yī zhǒng guài dàn de biǎo xiàn shǒu duàn, shì yī zhǒng chuàng zào“ jù lí” huò“ mò shēng huà” de jì qiǎo。 àn zhào měi guó měi xué jiā sāng tǎ nà nà de shuō fǎ, guài dàn yě shì yī zhǒng chuàng zào; tā wéi bèi kè guān shì wù de biǎo miàn zhēn shí, què bìng bù wéi bèi kè guān shì wù de nèi zài luó ji, yīn cǐ tā yǐ jìn rù xiàn dài měi xué de fàn chóu, chéng wéi biǎo xiàn zhù yì wén xué yì shù piān 'ài de yī zhǒng shǒu fǎ。 biǎo xiàn zhù yì wén xué chuàng zuò qiáng diào cóng zhù guān de nèi xīn gǎn shòu chū fā, zuò pǐn wǎng wǎng jù yòu yī zhǒng gè rén de zhēn shí xìng, zhè zài kǎ fū kǎ bǐ xià chéng xiàn wéi zìzhuàn sè cǎi。 bù jǐn zhù rén gōng de shēn fèn( gōng sī gù yuán) hé xīn lǐ( zuò wéi zhǎngzǐ bì xū jìn jiā tíng yì wù) yǔ zuò zhě jìn sì, qí tā rén wù rú fù qīn、 mǔ qīn hé mèi mèi jīhū dōukě yǐ yǔ kǎ fū kǎ de jiā tíng chéng yuán jìn xíng bǐ jiào。
nèi hán
《 biàn xíng jì》 zhè gè gù shì biǎo miàn kàn lái huāng dàn bù jīng, shí zé yùn hán liǎo fēng fù 'ér shēn kè de nèi róng, zhù yào bāo kuò yǐ xià fāng miàn:
1、 shǒu xiān, tā zhēn shí dì biǎo xiàn liǎo xī fāng xiàn dài zī běn zhù yì shè huì lǐ rén de yì huà . zài xī fāng xiàn dài zī běn zhù yì shè huì rén ( lì rú jīn qián , jī qì , chǎn pǐn , shēng chǎn fāng shì děng ) suǒ qū shǐ, suǒ xié pò, suǒ tǒng zhì 'ér bù néng zì zhù , chéng wéi wù de nú lì, jìn 'ér shī qù rén de běn xìng, biàn wéi fēi rén .。《 biàn xíng jì》 zhù rén gōng lǐ gāo 'ěr de gù shì zhèng shì rén yì huà wéi fēi rén zhè yī zhé xué shēng cún xiàn zhuàng .。
2、 qí cì, zuò pǐn hái biǎo xiàn liǎo zài xiàn dài shè huì lǐ rén de yī zhǒng shēng cún kǒng jù。 rén biàn jiá chóng, zài zhè lǐ xiàng zhēng zhe mò míng qí miào de jù dà zāinàn de jiàng lín, zhè zhǒng rén bù néng zhǎng wò zì jǐ mìng yùn de gǎn jué biǎo xiàn liǎo xiàn dài xī fāng rén de mǒu zhǒng jīng shén zhuàng tài, yóu qí shì jìn rù 20 shì jì yǐ hòu, liǎng cì shì jiè dà zhàn de zāinàn, zhōu qī xìng de jīng jì wēi jī, chāo jí dà guó de jūn bèi jìng sài, hé zhàn zhēng de wēi xié, huán jìng wū rǎn hé zì rán jiè shēng tài píng héng de pò huài, zhè yī qiē shǐ rén men duì wèi lái de mìng yùn chǔyú yī zhǒng bù kě zhī de kǒng jù zhuàng tài zhī zhōng。《 biàn xíng jì》 zhōng gé lǐ gāo 'ěr de mìng yùn zhèng fǎn yìng liǎo zhè zhǒng jīng shén zhuàng tài běn zhì de dōng xī。
3、 zài cì,《 biàn xíng jì》 hái biǎo xiàn liǎo xiàn dài shè huì zhōng rén yǔ rén zhī jiān de lěng mò guān xì。 xiǎo shuō xiáng xì de miáo xiě liǎo jiā rén duì tā cóng guān xīn dào yàn 'è dào bì yù zhì qí yú sǐ dì de guò chéng, zhè yī guò chéng shí jì shàng shì xī wàng tā huī fù zuàn qián de néng lì dào chè dǐ jué wàng de guò chéng。 zhè shì yī gè wèijiā tíng fèng xiàn liǎo yī qiē, què yóu yú shī qù liǎo yuán yòu de jià zhí 'ér bèi jiā tíng pāo qì de xiǎo rén wù de bēi jù, zhè lèi bēi jù zài rén qíng lěng mò de xiàn dài shè huì lǐ bìng bù hǎn jiàn。
zuò pǐn chuàng zào de yì shù shì jiè, hán gài sī xiǎng nèi róng hé yì shù xíng shì liǎng gè fāng miàn, shì nèi róng hé xíng shì de yòu jī tǒng yī。 jiù sī xiǎng 'ér yán, jiào wéi qū zhé dì fǎn yìng liǎo zī běn zhù yì shè huì de zhǒng zhǒng bì duān, jiāng huāng táng、 rén xìng yì huà kàn zhe tè dìng lì shǐ tiáo jiàn xià rén lèi shè huì bù kě bì miǎn de xiàn xiàng, fù yú zuò pǐn yǐ nóng hòu de xū wú zhù yì hé bēi guān zhù yì qíng diào ; jiù yì shù 'ér yán , shàn yú yùn yòng guài dàn hé xiàng zhēng de biǎo xiàn shǒu fǎ, tè bié shì yòng fù yòu biǎo xiàn lì de shǒu fǎ qù biǎo xiàn chōu xiàng de sī xiǎng gǎn qíng。
shòu cún zài zhù yì xué shuō de yǐng xiǎng, zuò pǐn shēn kè fǎn yìng liǎo shì jì mò qíng xù, biǎo xiàn liǎo rén de gū dú yǔ kǒng jù, zhǎn shì zài rén men miàn qián de shì huāng dàn de shì jiè hé yì huà de zhù tí , xíng chéng liǎo dú chí de“ kǎ fū kǎ shì” yì shù fēng gé hé sī xiǎng nèi róng。 tè bié shì kǎ fū kǎ duì biǎo xiàn zhù yì shǒu fǎ yùn yòng zì rú , dá dào dēng fēng zào jí zhī jìng jiè。 qí zuò pǐn wǎng wǎng yù huāng dàn yú zhēn shí zhī zhōng, róng huàn xiǎng hé guài dàn yú yī tǐ, huò miáo xiě rén yǔ“ fēi rén” de rén yòu jī pèng zhuàng ; huò zhí zhù yú jīng shén céng miàn de bù kě yú yuè, zhēn lǐ de bù kě xún qiú, huò jì yù xiàng zhēng xíng xiàng de sù zào lái zhǎn xiàn rén wù de tòng kǔ hé kùn huò děng děng, gòu jiàn liǎo“ kǎ fū kǎ shì” yì shù fēng gé de měi xué gài niàn。
《 biàn xíng jì》 - shì rén xīn zhōng díkǎ fū kǎ yǔ《 biàn xíng jì》
kǎ fū kǎ shì xiàn dài zhù yì wén xué de kāi shān zǔ shī,《 biàn xíng jì》 shì tā de dài biǎo zuò pǐn zhī yī。 rú guǒ nǐ xiǎng liǎo jiě xiàn dài zhù yì wén xué, zuì hǎo de bàn fǎ jiù shì cóng fǎn fù yuè dú《 biàn xíng jì》 kāi shǐ。
zài běn shū zhōng kǎ fū kǎ miáo shù liǎo xiǎo zhí yuán gé lǐ gāo 'ěr · sà mǔ shā tū rán biàn chéng yī zhǐ shǐ jiā réndōu yàn 'è de dà jiá chóng de huāng dàn qíng jié, jiè yǐ jiē shì rén yǔ rén zhī jiān -- bāo kuò lún cháng zhī jiān -- biǎo miàn shàng qīn qīn rè rè, nèi xīn lǐ què jí wéi gū dú hé mò shēng de shí zhì, shēng dòng 'ér shēn kè dì zài xiàn liǎo zī běn zhù yì shè huì zhōng rén yǔ rén zhī jiān de lěng mò。 zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì " rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié ", zhè zhèng shì zhù míng xiǎo shuō jiā kǎ fū kǎ de tiān fù zhī suǒ zài。
yuè dú《 biàn xíng jì》, yòu yī zhǒng sī wéi de lè qù, yòu yī zhǒng ruì zhì de gǎn jué, sī xiǎng shàng de suǒ dé xiǎn rán duō yú xīn líng de shōu huò, néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 běn shū bǐ jiào wán zhěng dì dài biǎo liǎo kǎ fū kǎ de sī xiǎng shēn dù yǔ chuàng zào tè diǎn, shì xī fāng xiàn dài zhù yì wén xué de jīng diǎn zuò pǐn zhī yī。
kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè, ér qí shí, nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng, zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn, chū jiàn zhī xià, cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
zài miáo xiě rén bèi wù huà de zuò pǐn zhōng, ào dì lì zhù míng de " xiàn dài yì shù de tàn xiǎn zhě " kǎ fū kǎ 1 91 2 nián wán chéng de zhōng piān xiǎo shuō《 biàn xíng jì》, shì xī fāng xiàn dài pài wén xué zhōng miáo xiě rén bèi yì huà de jié zuò。
《 yǐng xiǎng lì shǐ jìn chéng de yī bǎi běn shū》:
xī fāng wén tán tuī chóng " kǎ fū kǎ shì běn shì jì zuì jiā zuò jiā zhī yī ", bìng shuō " rú guǒ yào jǔ chū yī gè zuò jiā, tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì, nà me, kǎ fū kǎ shì shǒu xiān huì xiǎng dào de míng zì "。 jìn guǎn zhè xiē zàn cí wèi miǎn yòu guò shèn qí cí zhī xián, dàn yǐ《 biàn xíng jì》 wéi dài biǎo díkǎ fū kǎ de zuò pǐn, díquè duì xī fāng xiàn dài pài wén xué chǎn shēng liǎo hěn shēn de yǐng xiǎng, yǐ zhì xíng chéng liǎo yī mén zhuān mén yán jiū hé tǎo lùn qí zuò pǐn de " kǎ fū kǎ xué "。
《 kǎ fū kǎ chuán》:
rú guǒ nǐ dú shū shì wéi liǎo zhǎo lè gǎn shí máo, kǎ fū kǎ de《 biàn xíng jì》 jué duì bù shì hé nǐ, bù shì hé nǐ měi jiǔ jiā kā fēi de làng màn。 shū zhōng huāng dàn de tòng kǔ, huì jiāng nǐ gāng gāng jǔ qǐ de jiǔ bēi qīng yì jī suì。 rú guǒ nǐ bù shì yī gè máng mùdì lè guān zhù yì zhě, cǐ shū kě wèi jīng cǎi zhì jí, kě fǎn fù yuè dú、 xì xì pǐn wèi。
mò shēng díkǎ fū kǎ
shénme shì hǎo xiǎo shuō zhè shì gè yǒng yuǎn kě yǐ tán lùn què yòu yǒng yuǎn nán yǐ qiú jiě de wèn tí。 dàn hǎo xiǎo shuō bù yī dìng shì hǎo kàn de xiǎo shuō, bù yī dìng shì hé dà zhòng dú zhě de yuè dú kǒu wèi, yīn wéi hǎo xiǎo shuō dōushì xīn xiān de、 dú tè de。 tā zài yǔ chuán tǒng yuè dú xí guàn " duì kàng " guò chéng zhōng tí gōng liǎo xīn de yì shù yīn sù, shǐ xí guàn yú chuán tǒng yuè dú de dú zhě bù dé bù xiàn rù nán jiě zhī mí de shēn yuān, suǒ yǐ yě wǎng wǎng gěi rén men liú xià liǎo bù zěn me hǎo kàn de yìn xiàng。 yuè dú kǎ fū kǎ de《 biàn xíng jì》, duì dú zhě shì yī zhòngzhì lì、 qíng gǎn shàng de tiǎo zhàn, yīn wéi tā de zuò pǐn shì wén xué shàng de yī gè biàn shù, hěn mò shēng, yòng chuán tǒng de yuè dú fāng fǎ hěn nán jiě dú。
《 biàn xíng jì》 chāo yuè shí kōng de xiàn zhì, duì shì jiàn de jiāo dài jí qí mó hú, bù zhǐ míng jù tǐ de shí jiān、 dì diǎn hé bèi jǐng。 shèn zhì mǐn miè liǎo huàn xiàng hé rì cháng shēng huó zhī jiān de jiè xiàn, xū huàn yǔ xiàn shí nán jiě nán fēn dì jié hé chéng yī gè zhěng tǐ liǎo。 kàn lái, kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè, ér qí shí, nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng, zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn, chū jiàn zhī xià, cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
jié kè zuò jiā mǐ lán · kūn dé lā zài《 xiǎo shuō de yì shù》 zhōng chēng xiǎo shuō jiā wéi " cún zài de kān tàn zhě ", ér bǎ xiǎo shuō de shǐ mìng què dìng wéi " tōng guò xiǎng xiàng de rén wù duì cún zài jìn xíng shēn sī ", " jiē shì cún zài bùwèi rén zhī de fāng miàn "。 kǎ fū kǎ de《 biàn xíng jì》 jiù shì tàn jiū cún zài zhī mí de, dàn tā suǒ guān zhù de zhòng diǎn shì " bù kě shì de nèi xīn shēng huó "-- rén de nèi xīn tóng yàng zuò wéi xiàn shí de yī bù fēn 'ér cún zài。 tā de《 biàn xíng jì》 jiù shì yǐ shēn suì de yù yì tǐ xiàn rén lèi de mǒu zhǒng cháng cháng bèi yí wàng de cún zài zhuàng tài。
kǎ fū kǎ de xiǎo shuō shì " mèng yǔ zhēn shí de jué miào hùn hé。 jì yòu duì xiàn dài shì jiè zuì qīng xǐng de shěn shì, yòu yòu zuì fēng kuáng de xiǎng xiàng "。 suǒ yǐ rú guǒ wǒ men lián xiǎng yī xià xiàn shí shēng huó zhōng lèi shìde shì qíng, dāng wǒ men zì shēn de cún zài bèi yī xiē shuí yě wú fǎ yù liào、 wú fǎ táo bì de jìng kuàng suǒ jué dìng shí, shēng huó de huāng dàn yǔ zhè gè gù shì de huāng dàn jiù yòu liǎo yī zhǒng bǐ nǐ de lián xì, nà me bǎi zài wǒ men miàn qián de wèn tí jiù jiān ruì liǎo: dāng wǒ men tū rán wú fǎ dòng dàn, zài wán quán wú néng wéi lì, sàng shī liǎo rén de yī qiē zì zhù xìng de qíng kuàng xià, wǒ men yīnggāi zěn me bàn kǎ fū kǎ de xiǎo shuō dài chū liǎo wǒ men shēn shēn de yí wèn。 xiǎn rán, zài rú cǐ huāng dàn de tū biàn zhōng, kǎ fū kǎ mǐn ruì dì jué chá dào xiàn shí shēng huó mǒu xiē dài běn zhì xìng de wèn tí, cái yòng zhè zhǒng xiàng zhēng、 kuā zhāng shèn zhì huāng dàn de shǒu fǎ jiā yǐ biǎo xiàn。
kǎ fū kǎ lěng jùn de yǎn guāng jù jiāo de shì " zhēn "。 zài tā kàn lái, " zhēn " ruò yào tǐ xiàn, jiù bì xū jiè zhù yú " chǒu "。 yú shì《 biàn xíng jì》 zhōng chū xiàn liǎo dà liàng de chǒu lòu de yì xiàng, kǎ fū kǎ háo bù kè qì dì fàng zhú liǎo wén xué de shěn měi jià zhí, sì hū tā jué dé chǒu jiù shì chǒu, shèn zhì gēn běn méi bì yào yòng měi zuò wéi xiǎo shuō jié shù zhī qián de yī diǎn 'ān wèi。 suǒ yǐ, yī zhí dào xiǎo shuō de jié wěi, kǎ fū kǎ yě méi yòu ràng zhè xiē chǒu lòu de yì xiàng cóng bèi miàn fā chū yī diǎn měi de guāng máng。
zuì hòu yǐn yòng yī jù wáng xiǎo bō de huà lái jié shù běn wén, tā shuō: " wǒ zhèng děng dài zhe yòu yī tiān, zì jǐ néng gòu dǎ kāi yī běn shū bù zài qī dài tā yòu qù, zhǐ qī dài zì jǐ néng shòu dào jiào yù。 "《 biàn xíng jì》 jiù shì yī běn zhè yàng de hǎo shū。
zài xī fāng wén xué zhōng wǒ xué dào liǎo kǎ fū kǎ zhè wèi zuò jiā jí tā de zuò pǐn, duì yú kǎ fū kǎ, wǒ bù shì hěn shú xī, dàn tā zhū duō chéng guǒ zhōng de yī bù《 biàn xíng jì》 què ràng wǒ nán yǐ wàng huái。
《 biàn xíng jì》 wéi xiàn dài zhù yì wén xué de diàn jī zhī zuò, kǎ fū kǎ shì xiàn dài zhù yì wén xué de xiān qū, duì hòu lái xiàn dài zhù yì wén xué de fā zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng。 kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。 1998 nián, yīng guó BBC guǎng bō diàn tái zuò liǎo yī gè xì liè jié mù, huí gù 20 shì jì de yì shù jīng diǎn, jiè shào 100 bù 20 shì jì zuì yòu yǐng xiǎng de yì shù zuò pǐn, dì yī jí jiù shì guān yú kǎ fū kǎ de《 biàn xíng jì》。 biàn xíng sì hū yī zhí shì rén lèi de yī zhǒng lǐ xiǎng, yě shì wén xué、 yǐng shì zuò pǐn zhōng de jīng diǎn tí cái, wǒ xiǎo shí biàn xiàn mù sūn wù kōng de qī shí 'èr biàn, jīn tiān de hái zǐ yě kàn zhe biàn xíng jīn gāng yī lèi de dòng huàpiān zhōng wēi fēng lǐn lǐn de biàn xíng dòng zuò xīng fèn bù yǐ, ér qiě bǎi kàn bù yàn。 biàn xíng sì hū shì tóng huà de zhuān lì。 dàn kǎ fū kǎ de《 biàn xíng jì》 què shì jí wéi dú tè de, gé lǐ gāo 'ěr yě biàn xíng liǎo, dàn tā sì hū biàn dé bìng bù qīng sōng, ràng wǒ men dú qǐ lái yě bìng bù jué dé xīng fèn, kǎ fū kǎ jiū jìng xiǎng yào gào sù wǒ men shénme?
“ yī tiān zǎo chén, gé lǐ gāo 'ěr。 sà mǔ shā cóng bù 'ān de shuì mèng zhōng xǐng lái, fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng。”( xuǎn zì běi jīng yàn shān chū bǎn shè zhōng piān xiǎo shuō jí《 biàn xíng jì》 zhōng dì 86 yè) zhè biàn shì gù shì de kāi piān, wǒ běn yǐ wéi shì kē huàn xiǎo shuō, shuí zhī dào bù shì。 kǎ fū kǎ yòng yī zhǒng jiè hū yú shēn lín qí jìng de dú bái, píng jìng de biǎo xù zhe zhè gè jí jìn huāng dàn de gù shì。 dàn zài tā de bǐ xià, bù huì yòu huāng dàn, yòu de zhǐ shì zhēn shí, ràng rén gǎn jué kǒng huāng de zhēn shí。 yī zhǒng xīn de xiě fǎ de dàn shēng, ràng hòu shì bù shǎo rén wéi zhī jīng chà,“ yuán lái wén xué yě kě yǐ zhè me xiě!”。 yòu yī wèi dà shī jiù zhè yàng héng kōng chū shì liǎo。 jì dé měi guó zuò jiā 'ào dēng shuō guò: jiù zuò jiā yǔ qí chù de shí dài de guān xì 'ér lùn, dāng dài néng yǔ dàn dīng、 suō shì bǐ yà hègē dé xiāng tí bìng lùn de dì yī rén shì kǎ fū kǎ。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”, jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù, ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de, ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn, bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ, yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí, cóng 'ér yǐn qǐ nǐ de jīng yì, pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”, zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí( huò“ mò shēng huà”) jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè, nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì; zhī suǒ yǐ qīn qīn rè rè, yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe, yī dàn gē duàn zhè zhǒng guān xì, zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de:“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài, ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。 nǐ kàn, dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng, měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu, tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。
dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng, shī qù liǎo gōng sī lǐ de zhí wù, yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu, tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng, shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。
tā biàn chéng“ fēi rén”, tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán, rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén, tā yòu kǒu huì shuō huà, yòu yǎn jīng huì kàn rén, nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn, huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng, jì bù huì shuō huà, yě méi yòu biǎo qíng, tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn, zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng, kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de, dàn yǔ mǔ qīn guān xì shì zhèng cháng de, yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō:“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men: jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē, dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng, jiǔ 'ér jiǔ zhī, tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ, kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng, yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu, rén de xí xìng jiàn jiàn xiāo shī, ér“ chóng xìng”
rì yì zēng jiā, fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu, dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
“ gé lǐ gāo 'ěr de yǎn jīng jiē zhe yòu cháo chuāng kǒu wàng qù, tiān kōng hěn yīn 'àn héng héng kě yǐ tīng dào yǔ dǎ diǎn dǎ zài chuāng jiàn shàng de shēng yīn héng héng tā de xīn qíng yě biàn de hěn yōu yù liǎo。”
“ zhè shí hòu tiān gèng liàng liǎo, kě yǐ qīng qīng chǔ chǔ dì kàn dào jiē duì miàn yīzhuàng cháng dé méi yòu jìn tóu de shēn huī sè de jiàn zhù héng héng zhè shì yī suǒ yī yuàn héng héng shàng miàn rě yǎn dì kāi zhe yī pái pái dāi bǎn de chuāng zǐ; yǔ hái zài xià, bù guò yǐ chéng wéi yī dī dī kàn dé qīng de dà kē lì liǎo。”( yǐ shàng jūn jié xuǎn zì《 biàn xíng jì》)。
shàng miàn de liǎng duàn dōushì duì chuāng wài jǐng wù de miáo xiě, kǎ fū kǎ zài qīng yì zhī jiān biàn bǎ qì fēn xuàn rǎn de rú cǐ nóng zhòng。 wéi zhù xuán lǜ de xù shù yòu zēng jiā de wán zhěng de jié pāi。 fǎng fó gè gè fāng miàn de tè zhēng dōushì wèile zhù tí de hōng tuō, ér zhù tí yòu háo wú hén jì de chéng xiàn chū gè gè fāng miàn de tè zhēng。 zhè zhǒng wán měi tǒng yī de lián guàn, shǐ dé wén zhāng ràng rén jué dé rú cǐ de hān chàng lín lí, gù shì hǎo xiàng jiù zài zì jǐ de shēn biān fā shēng, ràng rén yù bà bù néng。
1911 nián chū xiàn de《 biàn xíng jì》 shì huì sè de, shēn 'ào de, jí shǐ zài jìn yī bǎi nián hòu de jīn tiān, zhè gè wěi dà de yù yán yī yàng de xiǎo shuō wén běn yě bìng bù shì nà me róng yì lǐ jiě。 jí shǐ dú dǒng liǎo zhè gè yù yán bān de xiǎo shuō, yòu rú hé gǎn zhī kǎ fū kǎ zhī suǒ yǐ bēi 'āi ní? kuàng qiě hái yòu bǐ bēi 'āi gèng wéi shēn yuǎn de dōng xī bāo guǒ zài qí hòu。
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".
《 biàn xíng jì》 - zuò zhě jiǎn jiè
fú lán cí · kǎ fū kǎ fú lán cí · kǎ fū kǎ
fú lán cí · kǎ fū kǎ( FranzKafka, 1883 nián 7 yuè 3 rì héng 1924 nián 6 yuè 3 rì), ào dì lì xiǎo shuō jiā, 20 shì jì dé yǔ xiǎo shuō jiā。 wén bǐ míng jìng 'ér xiǎng xiàng qí guǐ, cháng cǎi yòng yù yán tǐ , bèi hòu de yù yì rén yán rén shū, zàn wú( huò yǒng wú) dìng lùn。
kǎ fū kǎ tā shì yī wèi yòng dé yǔ xiě zuò de yè yú zuò jiā, tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè, ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 kǎ fū kǎ shēng qián mò mò wú wén, gū dú dì fèn dǒu, suí zhe shí jiān de liú shì, tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí, zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng, bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè, jīng jiǔ bù shuāi。
hòu shì de pī píng jiā, wǎng wǎng guòfèn qiáng diào kǎ fū kǎ zuò pǐn yīn 'àn de yī miàn, hū shì qí míng lǎng、 fēng qù de dì fāng, mǐ lán · kūn dé lā zài《 bèi bèi pàn de yí zhǔ》( Lestestamentstrahis) zhòngshì tú jiū zhèng zhè yī diǎn。 qí shí jù bù láo dé de huí yì, kǎ fū kǎ xǐ huān zài péng yǒu miàn qián lǎng dú zì jǐ de zuò pǐn, dú dào dé yì de duàn luò shí huì rěn jùn bù jìn, zì jǐ dà xiào qǐ lái。
kǎ fū kǎ yī shēng de zuò pǐn bìng bù duō, dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 měi guó shī rén 'ào dēng rèn wéi:“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng, gè rén shì de、 yōu yù de、 gū dú de qíng xù, yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 sān sì shí nián dài de chāo xiàn shí zhù yì yú dǎng shì zhī wéi tóng rén, sì wǔ shí nián dài de huāng dàn pài yǐ zhī wéi xiān qū, liù shí nián dài de měi guó” hēi sè yōu mò“ fèng zhī wéi diǎn fàn。
kǎ fū kǎ 1909 nián kāi shǐ fā biǎo zuò pǐn, 1915 nián yīn duǎn piān xiǎo shuō《 sī lú gōng》 huò féng tǎ nà dé guó wén xué jiǎng jīn。 kǎ fū kǎ chuàng zuò qín fèn, dàn bìng bù yǐ fā biǎo、 chéng míng wéi mùdì。 gōng zuò zhī yú de chuàng zuò shì tā jì tuō sī xiǎng gǎn qíng hé pái qiǎn yōu yù kǔ mèn de shǒu duàn。 xǔ duō zuò pǐn suí yì xiě lái, bìng wú jié wěi, tā duì zì jǐ de zuò pǐn yě duō wéi bù mǎn, lín zhōng qián ràng zhì yǒu bù luò dé quán bù shāo huǐ qí zuò pǐn。 bù luò dé chū yú yǒu yì yǔ chóng jìng zhī qíng, wéi bèi liǎo kǎ fū kǎ yí yuàn, zhěng lǐ chū bǎn liǎo《 kǎ fū kǎ quán jí》( 1950 héng 1980) gòng jiǔ juàn。 qí zhōng bā juàn zhōng de zuò pǐn shì shǒu cì kān chū, yǐn qǐ wén tán hōng dòng。
《 biàn xíng jì》 - nèi róng jiǎn jiè
bèi jǐng
1914 nián zhì 1918 nián de dì yī cì shì jiè dà zhàn, shǐ xǔ duō zī běn zhù yì guó jiā jīng jì xiāo tiáo, shè huì dòng dàng, rén mín shēng huó zài shuǐ shēn huǒ rè zhī zhōng。 hēi 'àn de xiàn shí, tòng kǔ de shēng huó, shǐ dé rén men duì zī běn zhù yì shè huì shī qù xìn xīn, yī fāng miàn xún qiú chū lù, ruì yì gǎi gé, yī fāng miàn yòu xiàn yú gū dú、 tuí fèi、 jué wàng zhī zhōng。 19 shì jì mò zhì 20 shì jì chū, yī xiē sī xiǎng mǐn ruì de yì shù jiā rèn wéi shì jiè shì hùn luàn de、 huāng dàn de, tā men zhù shū lì shuō, pī pàn zī běn zhù yì de rén jì guān xì, pī pàn cuī cán rén xìng de shè huì zhì dù。 dì yī cì shì jiè dà zhàn qián hòu hé dì 'èr cì shì jiè dà zhàn qián hòu, xiàn dài zhù yì wén xué yìng yùn 'ér shēng。 xiàn dài zhù yì wén xué zuò pǐn fǎn yìng liǎo zī běn zhù yì shè huì de hēi 'àn, rén hé rén zhī jiān guān xì de lěng kù, rén duì shè huì de jué wàng。 yì shù shàng qiáng diào shǐ yòng jí dù kuā zhāng yǐ zhì guài dàn lí qí de biǎo xiàn shǒu fǎ, miáo huì niǔ qū de rén xìng, biǎo xiàn rén de běn néng hé wú yì shí de zhù guān gǎn shòu, kāi jué gè rén de zhí jué、 běn néng、 wú yì shí、 mèng huàn、 biàn tài xīn lǐ yǐ zhì bàn fēng kuáng、 fēng kuáng de yán xíng、 xīn lǐ。 xiàn dài zhù yì de yōu xiù wén xué zuò pǐn tàn suǒ rén de xīn líng, wéi jiē shì rén de nèi xīn shì jiè tí gōng liǎo xīn de yì shù shǒu fǎ。
nèi róng
xiǎo shuō xiě rén biàn chéng dòng wù , gù shì shén mì lí qí: zài《 biàn xíng jì》 zhōng, zhí yè wéi tuī xiāo yuán de zhù rén wēng yī jué xǐng lái, fā xiàn zì jǐ biàn chéng liǎo yī zhǐ jù dà de tiào zǎo。
yī tiān zǎo chén , gé lǐ gāo 'ěr cóng mèng zhōng xǐng lái shí fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng , quán shēn cháng chū liǎo xǔ duō zhǐ xì dé kě lián de xiǎo tuǐ , jiān yìng dé xiàng tiě jiá yī yàng de bèi tiē zhe chuáng 'ér yǎng wò zhe , bù néng fān shēn , yě xià bù liǎo chuáng . dàn tā bì xū qǐ lái。 tā yào jìng qiǎo qiǎo bù shòu dǎ rǎo dì qǐ chuáng , chuān qǐ yī fú , zuì yào jǐn de shì chī bǎo zǎo fàn , zài kǎo lǜ xià yī bù gāi zěn me bàn , yīn wéi tā fēi cháng míng bái , duǒ zài chuáng shàng xiā xiǎng yī qì shì xiǎng bù chū shénme míng táng de . tā hái jì dé guò qù yě shì yīn wéi shuì jué zī shì bù hǎo , tǎng zài chuáng shàng shí wǎng wǎng huì jué dé zhè 'ér nà 'ér yǐn yǐn zuò tòng , jí zhì qǐ lái , jiù zhī dào chún shǔ xīn lǐ zuò yòng , suǒ yǐ tā yīn qiē dì pàn wàng jīn tiān zǎo chén de huàn jué huì zhú jiàn xiāo shì。 gé lǐ gāo 'ěr , suī rán rén jǐ ' wù huà ' wéi chóng zǐ , dàn tā hái cún zài rén de sī wéi , hái yào xiàng zhèng cháng rén yī yàng shēng huó hé sī kǎo . yóu yú dān xīn gǎn bù shàng wǔ diǎn zhōng de huǒ chē . gé lǐ gāo 'ěr xīn qíng jì jiāo jí yòu kǒng huāng , yòu shēng pà gōng sī lái rén , zì jǐ zhè zhǒng miàn mù rú hé jiàn rén ! tā jié lì zhēngzhá。 gé lǐ gāo 'ěr màn màn dì bǎ yǐ zǐ tuī xiàng mén biān , jiē zhe biàn fàng kāi yǐ zǐ , zhuā zhù mén lái zhī chēng zì jǐ héng héng tā nà xiē xì tuǐ de jiǎo dǐ shàng dǎo shì pō yòu nián xìng de。 tā zài mén shàng kào liǎo yī huì 'ér , chuǎn guò yī kǒu qì lái . jiē zhe tā shǐ yòng zuǐ bā zhuàndòng chā zài suǒ kǒng lǐ de yàoshì . bù xìng de shì , tā bìng méi shénme yá chǐ。 tā dé yòng shénme lái yǎo zhù yàoshì ní? yàoshì xū yào zhuàndòng shí , tā biàn yòng zuǐ bā xián zhù tā , zì jǐ yě rào zhe suǒ kǒng zhuǎn liǎo yī juàn , hǎo bǎ yàoshì niǔ guò qù , huò zhě bù rú shuō , shǐ yòng quán shēn de zhòng liàng shǐ tā zhuàndòng . zhōng yú qū fú de suǒ fā chū liǎo xiǎng liàng de kǎ tǎ yī shēng , shǐ gé lǐ gāo 'ěr dà wéi gāo xīng ······
《 biàn xíng jì》 - qíng jié hé zhù tí
《 biàn xíng jì》 chuàng zuò yú 1912 nián, fā biǎo yú 1915 nián。 xiǎo shuō fēn chéng sān bù fēn, yòng yī、 èr、 sān biāo míng。 kè wén jié xuǎn liǎo yuán xiǎo shuō de yī bàn nèi róng。
dì yī bù fēn
gé lǐ gāo 'ěr fā xiàn zì jǐ biàn chéng“ jù dà de jiá chóng”, jīng huāng 'ér yòu yōu yù。 fù qīn fā xiàn hòu dà nù, bǎ tā gǎn huí zì jǐ de wò shì。
dì 'èr bù fēn
gé lǐ gāo 'ěr biàn liǎo, yǎng chéng liǎo jiá chóng de shēng huó xí xìng, què bǎo liú liǎo rén de yì shí。 tā shī yè liǎo, réng jiù guān xīn zěn yàng hái qīng fù qīn qiàn de zhài wù, sòng mèi mèi shàng yīnyuè xué yuàn。 kě shì, yī gè yuè hòu, tā chéng liǎo quán jiā de léizhuì。 fù qīn、 mǔ qīn、 mèi mèi duì tā gǎi biàn liǎo tài dù。
dì sān bù fēn
wèile shēng cún, jiā rén zhǐ dé dǎ gōng zhèng qián, rěn shòu bù liǎo gé lǐ gāo 'ěr zhè gè fù dān。 mèi mèi zhōng yú tí chū bǎ gē gē nòng zǒu。 gé lǐ gāo 'ěr yòu 'è yòu bìng, xiàn rù jué wàng,“ tā huái zhe shēn qíng hé 'ài yì xiǎng tā de yī jiā rén”,“ rán hòu tā de tóu jiù zì jǐ chuí dǎo zài dì bǎn shàng, tā de bí kǒng hū chū liǎo zuì hòu yī sī qì xī”, sǐ liǎo。 fù qīn、 mǔ qīn hé mèi mèi kāi shǐ guò zhe zì jǐ yǎng huó zì jǐ de xīn shēng huó。
qíng jié de fā zhǎn yóu liǎng tiáo xiàn suǒ jiāo hù zhǎn kāi:
gé lǐ gāo 'ěr: biàn chéng jiá chóng héng héng chéng wéi léizhuì héng héng jué wàng 'ér sǐ
jiā lǐ qīn rén: jīng huāng、 tóng qíng héng héng zhú jiàn zēng hèn héng héng“ bǎ tā nòng zǒu”
gé lǐ gāo 'ěr zì shǐ zhì zhōng guān xīn jiā tíng、 huái liàn qīn rén, kě shì qīn rén zuì zhōng pāo qì liǎo tā, duì tā de sǐ wú dòng yú zhōng, ér qiě jué dìng qù jiāo yóu。
zuò zhě miáo xiě zhè zhǒng rén qíng fǎn chā, jiē shì liǎo dāng shí shè huì shēng huó duì rén de yì huà, zhì shǐ qīn qíng dàn bó, rén xìng niǔ qū。《 biàn xíng jì》 de zhù tí jù yòu qiáng liè de pī pàn xìng。 kǎ fū kǎ chuàng zuò de wén xué zuò pǐn de zhù tí, bù tóng de dú zhě cóng bù tóng de jiǎo dù, huì yòu bù tóng de tǐ yàn hé lǐ jiě。 yòu rén rèn wéi《 biàn xíng jì》 de zhù tí shì: biǎo xiàn rén duì zì jǐ mìng yùn de wú néng wéi lì, rén shī qù zì wǒ jiù chǔyú jué jìng。 yě yòu rén rèn wéi, gé lǐ gāo 'ěr biàn chéng jiá chóng, wú lì yú rén, zì xíng sǐ wáng; yī jiā rén chóngxīn gōng zuò, zǒu xiàng xīn shēng huó; cún zài jiù shì hé lǐ, shēng huó guī lǜ shì wú qíng de。
《 biàn xíng jì》 - rén wù hé xīn lǐ miáo xiě
zhù rén gōng gé lǐ gāo 'ěr shì gè xiǎo rén wù。 fù qīn pò chǎn, mǔ qīn shēng bìng, mèi mèi shàng xué。 chén zhòng de jiā tíng
《 biàn xíng jì》《 biàn xíng jì》
fù dān hé fù qīn de zhài wù, yā dé gé lǐ gāo 'ěr chuǎn bù guò qì lái。 tā pīn mìng gànhuó, mù de shì hái qīng fù zhài, gǎi shàn jiā tíng shēng huó。 zài gōng sī, tā shòu lǎo bǎn de qì, zhǐ wàng hái qīng fù zhài hòu cí zhí。 kě yǐ shuō, duì fù mǔ tā shì gè xiào zǐ, duì mèi mèi tā shì gè hǎo gē gē, duì gōng sī tā shì gè hǎo zhí yuán。 biàn chéng jiá chóng, shēn tǐ yuè lái yuè chā, tā hái wéi hái qīng fù zhài dān yōu, hái juàn liàn jiā rén, shèn zhì wéi tǎo fù qīn huān xīn, zì jǐ jiān nán dì guāi guāi pá huí wò shì。 zhè yàng shàn liáng、 zhōng hòu 'ér yòu fù yòu zé rèn gǎn de rén, zuì zhōng bèi qīn rén pāo qì。 gé lǐ gāo 'ěr de bēi jù shì lìng rén xīn suān de, jù yòu fēng fù de shè huì nèi hán。
xiǎo shuō yòng xīn lǐ miáo xiě de fāng fǎ kè huà gé lǐ gāo 'ěr zhè gè rén wù。 gé lǐ gāo 'ěr guò qù de shēng huó、 biàn jiá chóng hòu de sī xiǎng gǎn qíng hé gè xìng tè diǎn, dōushì tōng guò xīn lǐ miáo xiě biǎo xiàn chū lái de。
xiǎo shuō yòng xǔ duō bǐ mò xiě liǎo biàn xíng hòu gé lǐ gāo 'ěr bēi 'āi qī kǔ de nèi xīn shì jiè, gé lǐ gāo 'ěr suī rán biàn chéng liǎo jiá chóng, dàn tā de xīn lǐ shǐ zhōng bǎo chí zhe rén de zhuàng tài, tā tū rán fā xiàn zì jǐ biàn chéng dà jiá chóng shí de jīng huāng、 yōu yù, tā kǎo lǜ jiā tíng jīng jì zhuàng kuàng shí de jiāo lǜ、 zì zé, tā zāo qīn rén yàn qì hòu de jué wàng、 tòng kǔ, wú bù zhǎn shì liǎo yī gè shàn liáng、 zhōng hòu、 fù yòu zé rèn gǎn de xiǎo rén wù kě wàng rén de lǐ jiě hé jiē shòu de xīn lǐ。 zhǐ shì zhè zhǒng yuàn wàng zhōng yú bèi chè dǐ de jué wàng suǒ dài tì, mí màn zài rén wù xīn tóu de shì wú biān de gū dú、 lěng mò yǔ bēi liáng。 yīnggāi shuō,《 biàn xíng jì》 de nèi zài zhù xiàn jiù shì gé lǐ gāo 'ěr biàn chéng jiá chóng hòu de xīn lǐ héng qíng gǎn liú dòng de guò chéng, zhù rén gōng biàn chéng jiá chóng hòu de nèi xīn gǎn shòu hé xīn lǐ huó dòng shì xiǎo shuō de zhù tǐ。 xiǎo shuō yòng nèi xīn dú bái、 huí yì、 lián xiǎng、 huàn xiǎng děng shǒu fǎ, qù biǎo xiàn rén wù de xīn lǐ huó dòng。 tā bù duàn dì huí yì、 lián xiǎng guò qù hé jīn hòu de shì qíng, bù shí yóu yú kǒng jù jiāo lǜ、 tòng kǔ hé jué wàng 'ér chǎn shēng huàn xiǎng、 huàn jué, bìng qiě zài zì yóu lián xiǎng zhōng jīng cháng chū xiàn shí kōng dǎo cuò、 luó ji hùn luàn、 sī wéi tiào yuè děng, jù yòu yī dìng de yì shí liú tè zhēng。
《 biàn xíng jì》 - píng jià
biǎo xiàn zhù yì
kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”, jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù, ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de, ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn, bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ, yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí, cóng 'ér yǐn qǐ nǐ de jīng yì, pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”, zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí( huò“ mò shēng huà”) jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè, nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì; zhī suǒ yǐ qīn qīn rè rè, yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe, yī dàn gē duàn zhè zhǒng guān xì, zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de:“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài, ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。
dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng, měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu, tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。 dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng, shī qù liǎo gōng sī lǐ de zhí wù, yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu, tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng, shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。 tā biàn chéng“ fēi rén”, tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán, rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén, tā yòu kǒu huì shuō huà, yòu yǎn jīng huì kàn rén, nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn, huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng, jì bù huì shuō huà, yě méi yòu biǎo qíng, tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo héng héng yǐ shàng shì cóng shè huì xué guān diǎn qù kàn de。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn, zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng, kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de, dàn yǔ mǔ qīn guān xì shì zhèng cháng de, yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō:“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men: jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē, dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng, jiǔ 'ér jiǔ zhī, tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ, kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng, yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu, rén de xí xìng jiàn jiàn xiāo shī, ér“ chóng xìng” rì yì zēng jiā, fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu, dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
zài rén yǔ rén zhī jiān hái méi yòu qǔ dé hé xié guān xì de shì jiè lǐ, rén de biàn xíng yě shì yī zhǒng xiàng zhēng, yī qiē dǎo méi rén de xiàng zhēng: rén yī dàn zāo yù bù xìng( sàng shī gōng zuò néng lì de jí bìng、 shāng cán、 zhèng zhì xí jī děng), tā jiù bù zài bèi shè huì chéng rèn, cóng 'ér shī qù zuò wéi rén de jià zhí de“ zì wǒ”, chéng wéi wú yì yú dī děng dòng wù de“ fēi rén”。
zài xiàn dài yì shù chuàng zuò zhōng, biàn xíng shì yī zhǒng guài dàn de biǎo xiàn shǒu duàn, shì yī zhǒng chuàng zào“ jù lí” huò“ mò shēng huà” de jì qiǎo。 àn zhào měi guó měi xué jiā sāng tǎ nà nà de shuō fǎ, guài dàn yě shì yī zhǒng chuàng zào; tā wéi bèi kè guān shì wù de biǎo miàn zhēn shí, què bìng bù wéi bèi kè guān shì wù de nèi zài luó ji, yīn cǐ tā yǐ jìn rù xiàn dài měi xué de fàn chóu, chéng wéi biǎo xiàn zhù yì wén xué yì shù piān 'ài de yī zhǒng shǒu fǎ。 biǎo xiàn zhù yì wén xué chuàng zuò qiáng diào cóng zhù guān de nèi xīn gǎn shòu chū fā, zuò pǐn wǎng wǎng jù yòu yī zhǒng gè rén de zhēn shí xìng, zhè zài kǎ fū kǎ bǐ xià chéng xiàn wéi zìzhuàn sè cǎi。 bù jǐn zhù rén gōng de shēn fèn( gōng sī gù yuán) hé xīn lǐ( zuò wéi zhǎngzǐ bì xū jìn jiā tíng yì wù) yǔ zuò zhě jìn sì, qí tā rén wù rú fù qīn、 mǔ qīn hé mèi mèi jīhū dōukě yǐ yǔ kǎ fū kǎ de jiā tíng chéng yuán jìn xíng bǐ jiào。
nèi hán
《 biàn xíng jì》 zhè gè gù shì biǎo miàn kàn lái huāng dàn bù jīng, shí zé yùn hán liǎo fēng fù 'ér shēn kè de nèi róng, zhù yào bāo kuò yǐ xià fāng miàn:
1、 shǒu xiān, tā zhēn shí dì biǎo xiàn liǎo xī fāng xiàn dài zī běn zhù yì shè huì lǐ rén de yì huà . zài xī fāng xiàn dài zī běn zhù yì shè huì rén ( lì rú jīn qián , jī qì , chǎn pǐn , shēng chǎn fāng shì děng ) suǒ qū shǐ, suǒ xié pò, suǒ tǒng zhì 'ér bù néng zì zhù , chéng wéi wù de nú lì, jìn 'ér shī qù rén de běn xìng, biàn wéi fēi rén .。《 biàn xíng jì》 zhù rén gōng lǐ gāo 'ěr de gù shì zhèng shì rén yì huà wéi fēi rén zhè yī zhé xué shēng cún xiàn zhuàng .。
2、 qí cì, zuò pǐn hái biǎo xiàn liǎo zài xiàn dài shè huì lǐ rén de yī zhǒng shēng cún kǒng jù。 rén biàn jiá chóng, zài zhè lǐ xiàng zhēng zhe mò míng qí miào de jù dà zāinàn de jiàng lín, zhè zhǒng rén bù néng zhǎng wò zì jǐ mìng yùn de gǎn jué biǎo xiàn liǎo xiàn dài xī fāng rén de mǒu zhǒng jīng shén zhuàng tài, yóu qí shì jìn rù 20 shì jì yǐ hòu, liǎng cì shì jiè dà zhàn de zāinàn, zhōu qī xìng de jīng jì wēi jī, chāo jí dà guó de jūn bèi jìng sài, hé zhàn zhēng de wēi xié, huán jìng wū rǎn hé zì rán jiè shēng tài píng héng de pò huài, zhè yī qiē shǐ rén men duì wèi lái de mìng yùn chǔyú yī zhǒng bù kě zhī de kǒng jù zhuàng tài zhī zhōng。《 biàn xíng jì》 zhōng gé lǐ gāo 'ěr de mìng yùn zhèng fǎn yìng liǎo zhè zhǒng jīng shén zhuàng tài běn zhì de dōng xī。
3、 zài cì,《 biàn xíng jì》 hái biǎo xiàn liǎo xiàn dài shè huì zhōng rén yǔ rén zhī jiān de lěng mò guān xì。 xiǎo shuō xiáng xì de miáo xiě liǎo jiā rén duì tā cóng guān xīn dào yàn 'è dào bì yù zhì qí yú sǐ dì de guò chéng, zhè yī guò chéng shí jì shàng shì xī wàng tā huī fù zuàn qián de néng lì dào chè dǐ jué wàng de guò chéng。 zhè shì yī gè wèijiā tíng fèng xiàn liǎo yī qiē, què yóu yú shī qù liǎo yuán yòu de jià zhí 'ér bèi jiā tíng pāo qì de xiǎo rén wù de bēi jù, zhè lèi bēi jù zài rén qíng lěng mò de xiàn dài shè huì lǐ bìng bù hǎn jiàn。
zuò pǐn chuàng zào de yì shù shì jiè, hán gài sī xiǎng nèi róng hé yì shù xíng shì liǎng gè fāng miàn, shì nèi róng hé xíng shì de yòu jī tǒng yī。 jiù sī xiǎng 'ér yán, jiào wéi qū zhé dì fǎn yìng liǎo zī běn zhù yì shè huì de zhǒng zhǒng bì duān, jiāng huāng táng、 rén xìng yì huà kàn zhe tè dìng lì shǐ tiáo jiàn xià rén lèi shè huì bù kě bì miǎn de xiàn xiàng, fù yú zuò pǐn yǐ nóng hòu de xū wú zhù yì hé bēi guān zhù yì qíng diào ; jiù yì shù 'ér yán , shàn yú yùn yòng guài dàn hé xiàng zhēng de biǎo xiàn shǒu fǎ, tè bié shì yòng fù yòu biǎo xiàn lì de shǒu fǎ qù biǎo xiàn chōu xiàng de sī xiǎng gǎn qíng。
shòu cún zài zhù yì xué shuō de yǐng xiǎng, zuò pǐn shēn kè fǎn yìng liǎo shì jì mò qíng xù, biǎo xiàn liǎo rén de gū dú yǔ kǒng jù, zhǎn shì zài rén men miàn qián de shì huāng dàn de shì jiè hé yì huà de zhù tí , xíng chéng liǎo dú chí de“ kǎ fū kǎ shì” yì shù fēng gé hé sī xiǎng nèi róng。 tè bié shì kǎ fū kǎ duì biǎo xiàn zhù yì shǒu fǎ yùn yòng zì rú , dá dào dēng fēng zào jí zhī jìng jiè。 qí zuò pǐn wǎng wǎng yù huāng dàn yú zhēn shí zhī zhōng, róng huàn xiǎng hé guài dàn yú yī tǐ, huò miáo xiě rén yǔ“ fēi rén” de rén yòu jī pèng zhuàng ; huò zhí zhù yú jīng shén céng miàn de bù kě yú yuè, zhēn lǐ de bù kě xún qiú, huò jì yù xiàng zhēng xíng xiàng de sù zào lái zhǎn xiàn rén wù de tòng kǔ hé kùn huò děng děng, gòu jiàn liǎo“ kǎ fū kǎ shì” yì shù fēng gé de měi xué gài niàn。
《 biàn xíng jì》 - shì rén xīn zhōng díkǎ fū kǎ yǔ《 biàn xíng jì》
kǎ fū kǎ shì xiàn dài zhù yì wén xué de kāi shān zǔ shī,《 biàn xíng jì》 shì tā de dài biǎo zuò pǐn zhī yī。 rú guǒ nǐ xiǎng liǎo jiě xiàn dài zhù yì wén xué, zuì hǎo de bàn fǎ jiù shì cóng fǎn fù yuè dú《 biàn xíng jì》 kāi shǐ。
zài běn shū zhōng kǎ fū kǎ miáo shù liǎo xiǎo zhí yuán gé lǐ gāo 'ěr · sà mǔ shā tū rán biàn chéng yī zhǐ shǐ jiā réndōu yàn 'è de dà jiá chóng de huāng dàn qíng jié, jiè yǐ jiē shì rén yǔ rén zhī jiān -- bāo kuò lún cháng zhī jiān -- biǎo miàn shàng qīn qīn rè rè, nèi xīn lǐ què jí wéi gū dú hé mò shēng de shí zhì, shēng dòng 'ér shēn kè dì zài xiàn liǎo zī běn zhù yì shè huì zhōng rén yǔ rén zhī jiān de lěng mò。 zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì " rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié ", zhè zhèng shì zhù míng xiǎo shuō jiā kǎ fū kǎ de tiān fù zhī suǒ zài。
yuè dú《 biàn xíng jì》, yòu yī zhǒng sī wéi de lè qù, yòu yī zhǒng ruì zhì de gǎn jué, sī xiǎng shàng de suǒ dé xiǎn rán duō yú xīn líng de shōu huò, néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 běn shū bǐ jiào wán zhěng dì dài biǎo liǎo kǎ fū kǎ de sī xiǎng shēn dù yǔ chuàng zào tè diǎn, shì xī fāng xiàn dài zhù yì wén xué de jīng diǎn zuò pǐn zhī yī。
kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè, ér qí shí, nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng, zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn, chū jiàn zhī xià, cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
zài miáo xiě rén bèi wù huà de zuò pǐn zhōng, ào dì lì zhù míng de " xiàn dài yì shù de tàn xiǎn zhě " kǎ fū kǎ 1 91 2 nián wán chéng de zhōng piān xiǎo shuō《 biàn xíng jì》, shì xī fāng xiàn dài pài wén xué zhōng miáo xiě rén bèi yì huà de jié zuò。
《 yǐng xiǎng lì shǐ jìn chéng de yī bǎi běn shū》:
xī fāng wén tán tuī chóng " kǎ fū kǎ shì běn shì jì zuì jiā zuò jiā zhī yī ", bìng shuō " rú guǒ yào jǔ chū yī gè zuò jiā, tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì, nà me, kǎ fū kǎ shì shǒu xiān huì xiǎng dào de míng zì "。 jìn guǎn zhè xiē zàn cí wèi miǎn yòu guò shèn qí cí zhī xián, dàn yǐ《 biàn xíng jì》 wéi dài biǎo díkǎ fū kǎ de zuò pǐn, díquè duì xī fāng xiàn dài pài wén xué chǎn shēng liǎo hěn shēn de yǐng xiǎng, yǐ zhì xíng chéng liǎo yī mén zhuān mén yán jiū hé tǎo lùn qí zuò pǐn de " kǎ fū kǎ xué "。
《 kǎ fū kǎ chuán》:
rú guǒ nǐ dú shū shì wéi liǎo zhǎo lè gǎn shí máo, kǎ fū kǎ de《 biàn xíng jì》 jué duì bù shì hé nǐ, bù shì hé nǐ měi jiǔ jiā kā fēi de làng màn。 shū zhōng huāng dàn de tòng kǔ, huì jiāng nǐ gāng gāng jǔ qǐ de jiǔ bēi qīng yì jī suì。 rú guǒ nǐ bù shì yī gè máng mùdì lè guān zhù yì zhě, cǐ shū kě wèi jīng cǎi zhì jí, kě fǎn fù yuè dú、 xì xì pǐn wèi。
mò shēng díkǎ fū kǎ
shénme shì hǎo xiǎo shuō zhè shì gè yǒng yuǎn kě yǐ tán lùn què yòu yǒng yuǎn nán yǐ qiú jiě de wèn tí。 dàn hǎo xiǎo shuō bù yī dìng shì hǎo kàn de xiǎo shuō, bù yī dìng shì hé dà zhòng dú zhě de yuè dú kǒu wèi, yīn wéi hǎo xiǎo shuō dōushì xīn xiān de、 dú tè de。 tā zài yǔ chuán tǒng yuè dú xí guàn " duì kàng " guò chéng zhōng tí gōng liǎo xīn de yì shù yīn sù, shǐ xí guàn yú chuán tǒng yuè dú de dú zhě bù dé bù xiàn rù nán jiě zhī mí de shēn yuān, suǒ yǐ yě wǎng wǎng gěi rén men liú xià liǎo bù zěn me hǎo kàn de yìn xiàng。 yuè dú kǎ fū kǎ de《 biàn xíng jì》, duì dú zhě shì yī zhòngzhì lì、 qíng gǎn shàng de tiǎo zhàn, yīn wéi tā de zuò pǐn shì wén xué shàng de yī gè biàn shù, hěn mò shēng, yòng chuán tǒng de yuè dú fāng fǎ hěn nán jiě dú。
《 biàn xíng jì》 chāo yuè shí kōng de xiàn zhì, duì shì jiàn de jiāo dài jí qí mó hú, bù zhǐ míng jù tǐ de shí jiān、 dì diǎn hé bèi jǐng。 shèn zhì mǐn miè liǎo huàn xiàng hé rì cháng shēng huó zhī jiān de jiè xiàn, xū huàn yǔ xiàn shí nán jiě nán fēn dì jié hé chéng yī gè zhěng tǐ liǎo。 kàn lái, kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè, ér qí shí, nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng, zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn, chū jiàn zhī xià, cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
jié kè zuò jiā mǐ lán · kūn dé lā zài《 xiǎo shuō de yì shù》 zhōng chēng xiǎo shuō jiā wéi " cún zài de kān tàn zhě ", ér bǎ xiǎo shuō de shǐ mìng què dìng wéi " tōng guò xiǎng xiàng de rén wù duì cún zài jìn xíng shēn sī ", " jiē shì cún zài bùwèi rén zhī de fāng miàn "。 kǎ fū kǎ de《 biàn xíng jì》 jiù shì tàn jiū cún zài zhī mí de, dàn tā suǒ guān zhù de zhòng diǎn shì " bù kě shì de nèi xīn shēng huó "-- rén de nèi xīn tóng yàng zuò wéi xiàn shí de yī bù fēn 'ér cún zài。 tā de《 biàn xíng jì》 jiù shì yǐ shēn suì de yù yì tǐ xiàn rén lèi de mǒu zhǒng cháng cháng bèi yí wàng de cún zài zhuàng tài。
kǎ fū kǎ de xiǎo shuō shì " mèng yǔ zhēn shí de jué miào hùn hé。 jì yòu duì xiàn dài shì jiè zuì qīng xǐng de shěn shì, yòu yòu zuì fēng kuáng de xiǎng xiàng "。 suǒ yǐ rú guǒ wǒ men lián xiǎng yī xià xiàn shí shēng huó zhōng lèi shìde shì qíng, dāng wǒ men zì shēn de cún zài bèi yī xiē shuí yě wú fǎ yù liào、 wú fǎ táo bì de jìng kuàng suǒ jué dìng shí, shēng huó de huāng dàn yǔ zhè gè gù shì de huāng dàn jiù yòu liǎo yī zhǒng bǐ nǐ de lián xì, nà me bǎi zài wǒ men miàn qián de wèn tí jiù jiān ruì liǎo: dāng wǒ men tū rán wú fǎ dòng dàn, zài wán quán wú néng wéi lì, sàng shī liǎo rén de yī qiē zì zhù xìng de qíng kuàng xià, wǒ men yīnggāi zěn me bàn kǎ fū kǎ de xiǎo shuō dài chū liǎo wǒ men shēn shēn de yí wèn。 xiǎn rán, zài rú cǐ huāng dàn de tū biàn zhōng, kǎ fū kǎ mǐn ruì dì jué chá dào xiàn shí shēng huó mǒu xiē dài běn zhì xìng de wèn tí, cái yòng zhè zhǒng xiàng zhēng、 kuā zhāng shèn zhì huāng dàn de shǒu fǎ jiā yǐ biǎo xiàn。
kǎ fū kǎ lěng jùn de yǎn guāng jù jiāo de shì " zhēn "。 zài tā kàn lái, " zhēn " ruò yào tǐ xiàn, jiù bì xū jiè zhù yú " chǒu "。 yú shì《 biàn xíng jì》 zhōng chū xiàn liǎo dà liàng de chǒu lòu de yì xiàng, kǎ fū kǎ háo bù kè qì dì fàng zhú liǎo wén xué de shěn měi jià zhí, sì hū tā jué dé chǒu jiù shì chǒu, shèn zhì gēn běn méi bì yào yòng měi zuò wéi xiǎo shuō jié shù zhī qián de yī diǎn 'ān wèi。 suǒ yǐ, yī zhí dào xiǎo shuō de jié wěi, kǎ fū kǎ yě méi yòu ràng zhè xiē chǒu lòu de yì xiàng cóng bèi miàn fā chū yī diǎn měi de guāng máng。
zuì hòu yǐn yòng yī jù wáng xiǎo bō de huà lái jié shù běn wén, tā shuō: " wǒ zhèng děng dài zhe yòu yī tiān, zì jǐ néng gòu dǎ kāi yī běn shū bù zài qī dài tā yòu qù, zhǐ qī dài zì jǐ néng shòu dào jiào yù。 "《 biàn xíng jì》 jiù shì yī běn zhè yàng de hǎo shū。
zài xī fāng wén xué zhōng wǒ xué dào liǎo kǎ fū kǎ zhè wèi zuò jiā jí tā de zuò pǐn, duì yú kǎ fū kǎ, wǒ bù shì hěn shú xī, dàn tā zhū duō chéng guǒ zhōng de yī bù《 biàn xíng jì》 què ràng wǒ nán yǐ wàng huái。
《 biàn xíng jì》 wéi xiàn dài zhù yì wén xué de diàn jī zhī zuò, kǎ fū kǎ shì xiàn dài zhù yì wén xué de xiān qū, duì hòu lái xiàn dài zhù yì wén xué de fā zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng。 kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。 1998 nián, yīng guó BBC guǎng bō diàn tái zuò liǎo yī gè xì liè jié mù, huí gù 20 shì jì de yì shù jīng diǎn, jiè shào 100 bù 20 shì jì zuì yòu yǐng xiǎng de yì shù zuò pǐn, dì yī jí jiù shì guān yú kǎ fū kǎ de《 biàn xíng jì》。 biàn xíng sì hū yī zhí shì rén lèi de yī zhǒng lǐ xiǎng, yě shì wén xué、 yǐng shì zuò pǐn zhōng de jīng diǎn tí cái, wǒ xiǎo shí biàn xiàn mù sūn wù kōng de qī shí 'èr biàn, jīn tiān de hái zǐ yě kàn zhe biàn xíng jīn gāng yī lèi de dòng huàpiān zhōng wēi fēng lǐn lǐn de biàn xíng dòng zuò xīng fèn bù yǐ, ér qiě bǎi kàn bù yàn。 biàn xíng sì hū shì tóng huà de zhuān lì。 dàn kǎ fū kǎ de《 biàn xíng jì》 què shì jí wéi dú tè de, gé lǐ gāo 'ěr yě biàn xíng liǎo, dàn tā sì hū biàn dé bìng bù qīng sōng, ràng wǒ men dú qǐ lái yě bìng bù jué dé xīng fèn, kǎ fū kǎ jiū jìng xiǎng yào gào sù wǒ men shénme?
“ yī tiān zǎo chén, gé lǐ gāo 'ěr。 sà mǔ shā cóng bù 'ān de shuì mèng zhōng xǐng lái, fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng。”( xuǎn zì běi jīng yàn shān chū bǎn shè zhōng piān xiǎo shuō jí《 biàn xíng jì》 zhōng dì 86 yè) zhè biàn shì gù shì de kāi piān, wǒ běn yǐ wéi shì kē huàn xiǎo shuō, shuí zhī dào bù shì。 kǎ fū kǎ yòng yī zhǒng jiè hū yú shēn lín qí jìng de dú bái, píng jìng de biǎo xù zhe zhè gè jí jìn huāng dàn de gù shì。 dàn zài tā de bǐ xià, bù huì yòu huāng dàn, yòu de zhǐ shì zhēn shí, ràng rén gǎn jué kǒng huāng de zhēn shí。 yī zhǒng xīn de xiě fǎ de dàn shēng, ràng hòu shì bù shǎo rén wéi zhī jīng chà,“ yuán lái wén xué yě kě yǐ zhè me xiě!”。 yòu yī wèi dà shī jiù zhè yàng héng kōng chū shì liǎo。 jì dé měi guó zuò jiā 'ào dēng shuō guò: jiù zuò jiā yǔ qí chù de shí dài de guān xì 'ér lùn, dāng dài néng yǔ dàn dīng、 suō shì bǐ yà hègē dé xiāng tí bìng lùn de dì yī rén shì kǎ fū kǎ。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”, jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù, ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de, ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn, bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ, yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí, cóng 'ér yǐn qǐ nǐ de jīng yì, pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”, zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí( huò“ mò shēng huà”) jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè, nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì; zhī suǒ yǐ qīn qīn rè rè, yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe, yī dàn gē duàn zhè zhǒng guān xì, zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de:“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài, ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。 nǐ kàn, dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng, měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu, tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。
dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng, shī qù liǎo gōng sī lǐ de zhí wù, yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu, tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng, shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。
tā biàn chéng“ fēi rén”, tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán, rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén, tā yòu kǒu huì shuō huà, yòu yǎn jīng huì kàn rén, nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn, huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng, jì bù huì shuō huà, yě méi yòu biǎo qíng, tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn, zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng, kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de, dàn yǔ mǔ qīn guān xì shì zhèng cháng de, yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō:“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men: jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē, dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng, jiǔ 'ér jiǔ zhī, tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ, kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng, yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu, rén de xí xìng jiàn jiàn xiāo shī, ér“ chóng xìng”
rì yì zēng jiā, fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu, dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
“ gé lǐ gāo 'ěr de yǎn jīng jiē zhe yòu cháo chuāng kǒu wàng qù, tiān kōng hěn yīn 'àn héng héng kě yǐ tīng dào yǔ dǎ diǎn dǎ zài chuāng jiàn shàng de shēng yīn héng héng tā de xīn qíng yě biàn de hěn yōu yù liǎo。”
“ zhè shí hòu tiān gèng liàng liǎo, kě yǐ qīng qīng chǔ chǔ dì kàn dào jiē duì miàn yīzhuàng cháng dé méi yòu jìn tóu de shēn huī sè de jiàn zhù héng héng zhè shì yī suǒ yī yuàn héng héng shàng miàn rě yǎn dì kāi zhe yī pái pái dāi bǎn de chuāng zǐ; yǔ hái zài xià, bù guò yǐ chéng wéi yī dī dī kàn dé qīng de dà kē lì liǎo。”( yǐ shàng jūn jié xuǎn zì《 biàn xíng jì》)。
shàng miàn de liǎng duàn dōushì duì chuāng wài jǐng wù de miáo xiě, kǎ fū kǎ zài qīng yì zhī jiān biàn bǎ qì fēn xuàn rǎn de rú cǐ nóng zhòng。 wéi zhù xuán lǜ de xù shù yòu zēng jiā de wán zhěng de jié pāi。 fǎng fó gè gè fāng miàn de tè zhēng dōushì wèile zhù tí de hōng tuō, ér zhù tí yòu háo wú hén jì de chéng xiàn chū gè gè fāng miàn de tè zhēng。 zhè zhǒng wán měi tǒng yī de lián guàn, shǐ dé wén zhāng ràng rén jué dé rú cǐ de hān chàng lín lí, gù shì hǎo xiàng jiù zài zì jǐ de shēn biān fā shēng, ràng rén yù bà bù néng。
1911 nián chū xiàn de《 biàn xíng jì》 shì huì sè de, shēn 'ào de, jí shǐ zài jìn yī bǎi nián hòu de jīn tiān, zhè gè wěi dà de yù yán yī yàng de xiǎo shuō wén běn yě bìng bù shì nà me róng yì lǐ jiě。 jí shǐ dú dǒng liǎo zhè gè yù yán bān de xiǎo shuō, yòu rú hé gǎn zhī kǎ fū kǎ zhī suǒ yǐ bēi 'āi ní? kuàng qiě hái yòu bǐ bēi 'āi gèng wéi shēn yuǎn de dōng xī bāo guǒ zài qí hòu。
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".
kǎ fū kǎ chū shēng zài bù lā gé de yī gè yóu tài shāng rén jiā tíng, yán xí liǎo chún zhǒng yóu tài rén cōng míng de xuè tǒng。 fù qīn shì yī gè bàn xíng qǐ de tú fū de 'ér zǐ, bái shǒu qǐ jiā, zài jiā zhōng zhuān héng rú bào jūn, rèn yì nüè dài qī 'ér, tā duì kǎ fū kǎ de xué xí、 shēng huó bù wén bù wèn, zhǐ shì 'ǒu 'ěr zhǐ shǒu huà jiǎo dì xùn chì yī tōng héng héng héng tā xiǎng bà'ér zǐ péi yǎng chéng wéi xìng gé jiān qiáng 'ér yòu néng gān de nián qīng rén, dàn jiēguǒ shì shì dé qí fǎn。 kǎ fū kǎ nèi xīn zhōng yī zhí duì fù qīn cún yòu wú fǎ xiāo chú de wèi jù xīn lǐ, zì xiǎo xīn lǐ chōng mǎn kǒng jù, mǐn gǎn chéng xìng。 jiā shàng tā zuò wéi bù lā gé jiǎng dé yǔ de shǎo shù rén de yī fēn zǐ, gèng zào jiù liǎo tā wú biān wú jì de gū dú。
pò yú fù qīn de yā lì, tā xué xí fǎ lǜ, hòu rù yī jiā sī rén bǎo xiǎn gōng sī rèn dī xīn zhí yuán, yī zhí yān méi zài rén qún zhī zhōng。 tā yī shēng sān cì dìng hūn, yòu sān cì jiě chú hūn yuē, qí zhōng yuán yīn zhī yī jiù shì pà jié hūn huì pò huài tā yǐ jīng xí guàn de gū dú shēng huó。 hòu lái tā huàn shàng fèi jié hé bìng, gèng shǐ tā yuǎn lí rè nào de chén shì shēng huó, chén jìn zài zì jǐ gū dú de nèi xīn shì jiè zhōng。
zhè gè gū pì de xiǎo zhí yuán de zuì dà 'àihào jiù shì xiě zuò, tā nà mǐn gǎn、 qiè nuò de xìng gé hé gū pì、 yōu yù de qì zhì què shí shì hé zuò yī gè zuò jiā。 kǎ fū kǎ yè yú chuàng zuò de dà bù fēn zuò pǐn zài tā shēng qián yī zhí suǒ zài chōu tì lǐ, shǎo liàng miàn shì de duǎn piān xiǎo shuō hái bù zú ràng tā yī míng jīng rén, ér qiě duì tā de tóng shí dài rén lái shuō, tā de xiǎo shuō tài chāo qián liǎo, dāng shí de rén men yuǎn wèi yòu néng lì tǐ yàn kǎ fū kǎ dú tè 'ér qí guài de huāng miù gǎn。 tā bìng shì hòu yí liú xià dà liàng shǒu gǎo。
èr zhàn zhī hòu, shì jiè zài fèi xū shàng zhòng jiàn, zhàn zhēng suǒ dài lái de rén lèi xīn líng shēn zhòng de yīn yǐng, shǐ rén men bù yuē 'ér tóng dì bǎ mù guāng zhuànxiàng liǎo 30 nián qián sǐ qù de wú míng zuò jiā kǎ fū kǎ, tā jí qí zuò pǐn zài xī fāng shì jiè xiān qǐ liǎo yī gǔ rè cháo, rén men xiàng tóu piào xuǎn jǔ zhèng jiè yào yuán yī yàng bǎ tā liè wéi xiàn dài pài xiǎo shuō jiā de dì yī hòu xuǎn rén。
tuī jiàn yuè dú bǎn běn: tānɡ yǒng kuān yì, wǔ hàn dà xué chū bǎn shè chū bǎn。
《 chéng bǎo》 - nèi róng jīng yào
yī gè hán lěng de dōng tiān de yè wǎn, tǔ dì cèliáng yuán K lái dào liǎo yī gè cūn zǐ, tā de mùdì shì yào qián wǎng cūn zǐ fù jìn de nà zuò chéng bǎo qù zhí xíng gōng wù。 dāng K zài cūn kǒu yáo wàng chéng bǎo shí, tā gǎn dào lǒngzhào zài yè sè zhī zhōng de chéng bǎo, rú tóng yī piàn kōng dòng xū wú de huàn jǐng, zhè yàng de gǎn jué sì hū yù shì zhe tā de rèn wù bù shì nà me róng yì wán chéng de。
tā qián wǎng kè diàn tóu sù, kě shì kè diàn lǎo bǎn duì tā de dào lái yòu diǎn bù zhī suǒ cuò。 tā gào sù K yǐ jīng kè mǎn liǎo, zhǐ hǎo bǎ K miǎnqiǎng 'ān dùn xià lái。 kè diàn lǐ de rén dé zhī K yào qù chéng bǎo, dū yòng tè bié de yǎn shén kàn tā。 yī wèi nián qīng rén gào sù K, měi gè jìn rù chéng bǎo de réndōu bì xū dé yòu yī zhāng xǔ kě zhèng, ér yào xiǎng dé dào xǔ kě zhèng, jiù bì xū qù zhǎo chéng bǎo lǐ de bó jué。
dì 'èr tiān, K zǒu xiàng chéng bǎo, kě shì hào fèi liǎo yī zhěng tiān de shí jiān tā yě wú fǎ kào jìn chéng bǎo yī bù。 tiān sè 'àn xià lái, tā zhǐ hǎo xiān qù zhǎo qī shēn zhī chù。 zhǎo lái zhǎo qù, yòu huí dào liǎo zuó tiān wǎn shàng de nà jiā kè diàn。 zài dā xuě qiāo qián wǎng kè diàn de tú zhōng, tā yù dào liǎo liǎng gè zì chēng shì tā de zhù shǒu de rén。 tā men fēi cháng rè qíng dì bāng zhù K, bìng qiě yòng diàn huà lián luò chéng bǎo lǐ de bàn shì jī gòu, xún wèn jù tǐ hé shí néng shàng chéng bǎo qù, duì fāng huí dá:“ rèn hé shí hòu dōubù néng lái。”
zhè shí, lái liǎo yī wèi jiào bā nà bā sī de rén, tā shì chéng bǎo de xìn shǐ, K duì tā de lái dào shí fēn xīng fèn, rèn wéi tā kě yǐ chéng wéi zì jǐ hé chéng bǎo lián xì de zhōng jiān rén。 bā nà bā sī gěi tā dài lái liǎo chéng bǎo de xìn, xìn lǐ jì méi yòu duì K de dào lái biǎo shì huān yíng, yě méi yòu 'àn shì tā gǎn kuài lí kāi。 shì qíng yǐ jiù háo wú zhuǎn jī。 K hé xìn shǐ yī dào qù liǎo tā jiā, xìn shǐ de mèi mèi yòu biǎo shì tā kě yǐ bāng zhù K, yú shì bǎ K sòng jìn liǎo yī jiā lǚ guǎn, tā gào sù K, chéng bǎo de tóu miàn rén wù kè lā mǔ zhù zài nà lǐ, kě yǐ jiè jī zhǎo kè lā mǔ dǎ tōng guān jié。
zài lǚ guǎn de jiǔ bā lǐ, K rèn shí liǎo kè lā mǔ de qíng fù fú lì dá, K dùn shí shǐ chū hún shēn xièshù shì tú kào jìn fú lì dá, rán 'ér lǚ guǎn lǐ de rén bù tíng dì tiān luàn, zhù shǒu men yě zài yī biān tiān luàn, shǐ tā wú fǎ hé fú lì dá qīn mì dì tán yī tán guān yú kè lā mǔ。 tā shèn zhì yòng yǔ fú lì dá jié hūn de xǔ nuò xiǎng huàn dé gēn kè lā mǔ tán yī cì huà de jī huì。 dàn K zuì zhōng fā xiàn fú lì dá zhè tiáo lù shì zǒu bù tōng de, yīn wéi tā hé xìn shǐ yī yàng, shì gè wú guān jǐn yào de xiǎo rén wù, tā zǎo yǐ shī chǒng。
K qù jiàn cūn cháng, cūn cháng gào sù tā, K lái dào cūn zǐ wán quán shì gè cuò wù, yīn wéi zhè lǐ gēn běn yòng bù zhe tǔ dì cèliáng yuán。 chéng bǎo lǐ bù tóng bù mén bǐ cǐ fēng bì, zào chéng liǎo yī xiē chā cuò, suǒ yǐ K cái huì shōu dào gōng wén, rán 'ér zhè fèn gōng wén shì zǎo yǐ wú xiào de。 cūn cháng chéng rèn tā zài jǐ nián qián shōu dào yī gè zhāo pìn yī wèi tǔ dì cèliáng yuán de gōng wén, rán 'ér tā wú lùn rú hé zhǎo bù dào nà zhāng kě yǐ zhèng míng K hé fǎ shēn fèn de báozhǐ piàn。 cūn cháng biǎo dá liǎo zì jǐ duì zhè jiàn shì qíng de kàn fǎ, tā jué dé K shōu dào de gōng wén qí shí shì yī fēng mǒu gè zhù guǎn, bǐ rú kè lā mǔ, duì tā biǎo shì sī rén guān xīn de de xìn, bù néng dài biǎo chéng bǎo de yì jiàn, yīn cǐ K yīngdāng chèn zǎo huí qù。
K gǎn dào shòu piàn shàng dāng liǎo, dàn tā jiān chí yào qiú dé dào tā yìng dé de quán lì, nà jiù shì zhǎo yī gè zhù chù, ān dùn tā hé fú lì dá de xīn jiā。 kè zhàn lǎo bǎn yī xīn xiǎng gǎn zǒu K, K lín zǒu qián, yòu cóng lǎo bǎn niàn nà lǐ tīng dào liǎo guān yú tā hé kè lā mǔ jiù qíng de huí yì, zhè shǐ K gǎn dào hěn bù shū fú, yīn wéi tā bù yóu zì zhù dì xiǎng dào liǎo zì jǐ de wèi hūn qī。
zhè shí cūn lǐ xué xiào de jiào shī fèng cūn cháng zhī mìng qián lái, yǔn xǔ K dài jiā juàn zhù jìn xué xiào rèn kānmén rén, tóng shí tā yě qiáng diào, xué xiào qí shí bìng bù xū yào yī gè kānmén rén, tā wán quán zūn cóng cūn cháng de mìng lìng。 K gǎn dào shòu dào liǎo wǔ rǔ, tā jù jué liǎo zhè fèn gōng zuò。 kě fú lì dá jiān chí K jiē shòu tā, tā shuō rú guǒ K bù jiē shòu, lián gè 'ān shēn zhī chù dōuméi yòu, nà me zhè duì K duì tā zì jǐ dōushì shí fēn xiū kuì de shì qíng。
K duì yú jìn rù chéng bǎo réng rán bào zhe zuì hòu de xī wàng, zhè yǐ jīng bù dān chún shì zhí xíng gōng wù, ér shì yòu guān gè rén zūn yán de wèn tí。 tā mào xuě lái dào kè lā mǔ de lǚ guǎn, nǚ zhāo dài shuō zhè huì 'ér kè lā mǔ zhèng zhǔn bèi lí kāi lǚ guǎn, xuě qiāo yǐ zài yuàn zǐ lǐ děng zhe tā, K 'èr huà méi huà, shǒu dào xuě qiāo biān, hē zhe bái lán dì děng kè lā mǔ chū lái。 hé yǐ qián yī yàng, kè lā mǔ běn rén yǒng yuǎn bù huì chū xiàn, tā de mì shū mó mài sī chū lái gào sù K:“ bù guǎn nǐ gēn wǒ zǒu huò zhě liú zài zhè lǐ, nǐ dū bù huì jiàn dào tā。” K fǎn 'ér xiàn rù liǎo jìn tuì liǎng nán de dì bù, rú guǒ tā lí kāi, zhōu wéi rén de shén sè jǔ zhǐ lǐ jiù biǎo míng kè lā mǔ jiù cǐ tuō shēn liǎo; rú guǒ tā jiān chí děng xià qù, xiǎn rán yě shì méi yòu jiēguǒ de。 mì shū ná chū yī fèn huì tán jì lù, xiàng K zhǐ chū zhè shì yǐn K zǒu xiàng kè lā mǔ de wéi yī dào lù, dàn shǒu xiān K bì xū jiē shòu yī fān kē kè de shěn chá, K jué dé bù kě rěn shòu, yú shì tā men liǎng rén dà xiào zhe fēn bié liǎo。
《 chéng bǎo》 zuò jiā kǎ fū kǎ
xìn shǐ bā nà bā sī yòu dài lái liǎo kè lā mǔ de yī fēng xìn, kè lā mǔ zàn shǎng liǎo K jí qí zhù shǒu de cèliáng gōng zuò, zhè shǐ K kùn huò bù yǐ, tā zhì jīn wéi zhǐ cóng wèi gànshénme cèliáng gōng zuò, měi tiān zuò de shì qíng jiù shì zài děng dài zhēng qǔ chéng bǎo de xǔ kě。 K kāi shǐ huái yí xìn shǐ de kě kào, dàn tā réng tuō bā nà bā sī dài qù yī gè huí yīn, shēn sù zì jǐ jiāo zhuó dì kě pàn jiàn dào kè lā mǔ yī miàn de xīn qíng。
zhī hòu K huí dào tā hé fú lì dá de xīn jiā, nà shì xué xiào lǐ de yī jiān dà jiào shì, kě shì K hé fú lì dá de shēng huó bìng bù 'ān níng。 liǎng gè zhù shǒu bù tíng dì táo qì, zhēng shí wù, chǒu zhǔn jī huì shuì dào wéi yī de dào cǎo diàn zǐ shàng qù。 dì 'èr tiān, xué xiào de nǚ jiào shī lái liǎo, tā shí fēn chī jīng, jì 'ér bù duàn dì zé mà K, K jīhū xiàng gè liè děng dòng wù yī yàng bèi qī rǔ, kě tā jué bù jiē shòu xiào fāng de jiě zhí tōng zhī。 tā qiān nù yú liǎng wèi wú yòng de zhù shǒu, xuān bù cí tuì tā men, zhù shǒu men shī chū hún shēn qì lì 'āi qiú K。 fú lì dá fǎn duì K de jué dìng, tā shuō yī dàn cí tuì zhù shǒu, K jiù yǒng yuǎn méi yòu jī huì jiàn dào kè lā mǔ liǎo。 fú lì dá gǔ lì K bù yào sàng shī xìn xīn。
K lái dào xìn shǐ jiā děng dài huí yīn, xìn shǐ de jiě mèi 'ào 'ěr gā hé 'ā mǎ lì yà zǒng xiàng K 'àn shì tā men de qīng mù zhī qíng, bìng qiě zài xián liáo zhōng, àn shì K, tā men de gē gē bā nà bā sī kě néng cóng wèi jiàn guò kè lā mǔ, tā zǒng shì gěi K dài lái nà xiē dān wù liǎo hěn jiǔ, shī qù shí xiào de xìn。 jiù lián kè lā mǔ běn rén, yě shì kě yí de, guān yú kè lā mǔ de zhǒng zhǒng qíng kuàng, hěn dà chéng dù shàng shì cūn lǐ rén xiǎng xiàng chū lái de。 ào 'ěr gā yòu gào sù K, chéng bǎo lǐ de guān yuán rú tóng bào jūn, tā men kě yǐ suí shí qiáo shàng cūn lǐ de rèn hé gū niàn, gěi tā men xiě xià liú wú bǐ de xìn。 tā men de tán huà lí zhèng tí yuè lái yuè yuǎn, ào 'ěr gā jiǎng qǐ liǎo 'ā mǎ lì yà yīn wéi jù jué chéng bǎo lǐ lìng yī wèi dà guān yuán suǒ 'ěr dì ní de qiú 'ài 'ér zāo shòu de bù xìng, tā men quán jiādōu bèi pò jiē shòu liǎo yī zhǒng jīhū zhěng tiān wú suǒ shì shì de xíng fá, chéng bǎo qiáng zhì tā men tuì chū shè huì shēng huó。 ào 'ěr gā tí xǐng K, bù yào zhǐ wàng rèn hé yī wèi yòu tóng qíng xīn de guān yuán wèitā shuō huà。 bā nà bā sī wéi K sòng xìn, qí shí bù guò shì xiǎng ràng zì jǐ yī jiā rén bù lù hén jì dì zài shòu 'ēn chǒng, duì yú K lái shuō, méi yòu rèn hé yì yì。 zhè chǎng fán rǒng 'ér tuī xīn zhì fù de tán huà bèi K de yī wèi zhù shǒu dǎ duàn liǎo, K hěn kuài yì shí dào fú lì dá hé lìng yī wèi zhù shǒu dāi zài jiā lǐ, tā gǎn jǐn huí jiā liǎo。
dào jiā lǐ, K fā xiàn fú lì dá bù jiàn liǎo。 yuán lái tā yǐ wéi K páo qù gòu dā bā nà bā sī de jiě mèi, yú shì hé lìng yī gè zhù shǒu dá chéng xié yì, bèi pàn K。 zhè shí, bā nà bā sī yòu páo lái zhǎo K, xīng chōng chōng dì tōng zhī tā, kè lā mǔ de zhù yào mì shū zhī yī 'ài lǎng gé yào hé K dāng miàn tán yī tán。 K hé yī qún rén děng hòu zài qī hēi de lǚ guǎn mén kǒu, K bèi zuì xiān lǐng liǎo jìn qù, dàn 'ài lǎng gé què shuì zhe liǎo, K zhǐ hǎo děng zhe。 zài děng dài de shí hòu, tā yòu chóngxīn jiàn dào liǎo fú lì dá, tā men jī liè zhēng lùn liǎo zhōng shí yǔ bù zhōng shí de wèn tí。 fú lì dá tǎn rán dì gào sù K, tā yǐ jīng hé nà wèi zhù shǒu tóng jū liǎo。 K zé shí fēn píng jìng dì huí jìng tā: zì cóng nǐ xiāng jì shī qù liǎo kè lā mǔ de qíng fù yǐ jí wǒ de wèi hūn qī zhè liǎng zhǒng shēn fèn zhī hòu, nǐ zǎo yǐ jīng méi yòu liǎo mèi lì。 tīng wán cǐ huà hòu, fú lì dá sì hū bèi chù dòng liǎo。 dàn shì tā yòu jiàn dào zhù shǒu shí, mǎ shàng jiù gǎi biàn zhù yì。 tā shuō: tā zài yě bù xiǎng huí dào K shēn biān jiē shòu tā de zhé mó。
xiǎo shuō jiù zài cǐ chù jiá rán 'ér zhǐ, kǎ fū kǎ wèi xiě wán tā, tā yuán lái dǎ suàn de jié wěi shì K jiāng jīng pí lì jié 'ér sǐ。 hòu shì jí yán jiū zhě yù jì de jié jú shì: K mí liú zhī jì, chéng bǎo zhōng yú lái liǎo tōng zhī, yǔn xǔ K liú zài cūn zǐ lǐ, dàn bù xǔ jìn rù chéng bǎo, K yǒng yuǎn bù kě néng dào dá nà lǐ, yī zhí dào sǐ。
《 chéng bǎo》 - zhuān jiā diǎn píng
dāng yī gè zuò jiā bù néng bèi tā tóng shí dài de rén suǒ lǐ jiě shí, tā huì zěn yàng chǔlǐ zì jǐ de zuò pǐn。 kǎ fū kǎ xuǎn zé de shì huǐ miè。 tā zài yí shū zhōng wěi tuō hǎo yǒu bù luó dé jiāng qí suǒ yòu zuò pǐn“ háo wú bǎo liú dì, dú yě bù bì dú jiù tǒng tǒng yú yǐ fén huǐ”。 wàn xìng bù luó dé zì zuò zhù zhāng jiāng kǎ fū kǎ de yí gǎo bǎo cún xià lái, zhěng lǐ chū bǎn, zhè yī cì míng zhì de“ bèi xìn qì yì” shǐ wǒ men jīn tiān yǐ jiù néng yī dǔ kǎ fū kǎ zhè wèi wén xué dà shī yī shēng qín fèn de chéng guǒ。
rén men tí dào kǎ fū kǎ, zǒng shì huì tí qǐ tā de《 biàn xíng jì》, lǐ miàn de xiǎo gōng wù yuán yī zǎo qǐ lái fā xiàn zì jǐ biàn chéng liǎo yī gè dà jiá chóng。 xī fāng wén xué zhōng cháng cháng yòng《 biàn xíng jì》 lái zhǐ dài xiàn dài huà wén míng zhōng rén de yì huà。 rán 'ér zài zhè lǐ suǒ tuī jiàn de《 chéng bǎo》, yīn qí duō yì xìng gèng fù yú yuè dú de kuài lè。 zhōng piān xiǎo shuō《 chéng bǎo》 yǔ《 shěn pàn》 jí《 měi guó》 hé chēng“ kǎ fū kǎ sān bù qū”, tā mendōu jù yòu kǎ fū kǎ xiǎo shuō yī guàn de huāng dàn bù jīng fēng gé: yì huà xiàn xiàng, nán yǐ pái qiǎn de gū dú hé wēi jī gǎn, wú fǎ kè fú de huāng dàn hé kǒng jù。 kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng, gè rén shì de、 yōu yù de、 gū dú de qíng xù, yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 qí zhōng《 chéng bǎo》 gèng fù yú“ kǎ fū kǎ shì” de gòu sī hé yǔ yán fēng gé。
hé kǎ fū kǎ de qí tā xiǎo shuō yī yàng,《 chéng bǎo》 méi yòu wéi yī zhèng què de jiě shì, jiě shì quán shòu yú liǎo měi gè yuè dú zhě, zhè lái yuán yú zhè bù zuò pǐn de duō yì xìng。 biǎo miàn shàng, zhè zuò pǐn de gù shì zài jiǎn dān bù guò liǎo, yī gè tǔ dì cèliáng yuán K lái dào yī gè cūn zhuāng, xiǎng jìn rù guǎn xiá fù jìn dì qū de bó jué jū zhù de chéng bǎo, tā fèi liǎo jiǔ niú 'èr hǔ zhī lì, tān shàng yī qiē yě méi néng dá dào mùdì。《 chéng bǎo》 suǒ jù yòu de huāng miù、 xū nǐ, wú míng què de shí dài dì lǐ bèi jǐng de tè zhēng shǐ tā mǒ shàng hěn nóng de yù yán sè cǎi, wú lùn píng lùn jiā hái shì pǔ tōng dú zhě dōunéng gòu huò dé bù tóng de jié lùn,《 chéng bǎo》 jiū jìng biǎo dá liǎo zěn yàng de zhù tí, zhè zhōng liǎo hái shì yī gè nán jiě zhī mí, yòu rén shuō tā biǎo xiàn de shì“ rén shì tú jìn rù tiān guó 'ér bù dé de tòng kǔ”; yòu rén zé rèn wéi tā jí zhōng fǎn yìng liǎo kǎ fū kǎ běn rén de jīng shén shì jiè de huāng dàn、 gū dú yǔ kǒng jù; yòu rén zé jié hé xiě zuò nián dài bèi jǐng, shuō míng chéng bǎo shí jì shàng fǎn yìng liǎo 'ào xiōng dì guó guān liáo tǐ zhì yǔ dà zhòng de hóng gōu, gèng yòu lùn zhě yǐ wéi,《 chéng bǎo》 hé《 shěn pàn》、《 měi guó》 de zhù tí xiāng tóng, jí“ rén men suǒ zhuī qiú de zhēn lǐ, bù guǎn shì zì yóu、 ān dìng, hái shì fǎ lǜ, dōushì cún zài de, dàn zhè gè huāng dàn de shì jiè gěi rén men shè zhì liǎo zhǒng zhǒng zhàng 'ài, wú lùn nǐ zěn me nǔ lì, zǒng shì zhuī qiú bù dào, zuì hòu zhǐ néng yǐ shī bài gào zhōng。” zài《 chéng bǎo》 zhōng,“ chéng bǎo” shì zuì dà de mí tuán, tā yǔ zhù rén gōng K de mù biāo zǒng shì ruò jí ruò lí, yě zhèng yīn cǐ, néng gòu jī qǐ rén men xiāng dāng de yuè dú xīng qù, qí zhōng de rén wù rú CC bó jué, yǐ zhì yú kè lā mǔ bù cháng děngdōu shén mì mò cè, zú yǐ jiàn kǎ fū kǎ zhè wèi xiǎo shuō jiā de tiān cái de zhì huì。
《 chéng bǎo》 xiǎo shuō jiā kǎ fū kǎ
yuè dú kǎ fū kǎ de xiǎo shuō, duì měi yī gè dú zhě lái shuō dōushì tiǎo zhàn。 tā xǐ huān cháng jù zǐ, zì lǐ xíng jiān chōng mǎn liǎo dà liàng de 'àn yù, tā yòng wén zì duī qǐ liǎo yī gè gè mí gōng。 dú zhě huì zài chuān xíng wén zì shí yù dào jí dà de zǔ lì。 rán 'ér dāng nǐ xí guàn tā de wén zì fēng gé hòu, nǐ huì fā xiàn, yuán xiān de zǔ lì biàn chéng liǎo dòng lì, dài gěi nǐ yuè dú de kuài gǎn。
1913 nián 8 yuè 15 rì, kǎ fū kǎ zài zì jǐ de rì jì lǐ xiě dào:“ wǒ jiāng bù gù yī qiē dì yǔ suǒ yòu rén gé jué, yǔ suǒ yòu rén dí duì, bù tóng rèn hé rén jiǎng huà。” 6 tiān hòu tā yòu zhè yàng xiě dào:“ xiàn zài wǒ zài wǒ de jiā tíng lǐ, zài nà xiē zuì hǎo de、 zuì qīn 'ài de rén men zhōng jiān, bǐ yī gè mò shēng rén hái yào mò shēng。 jìn nián lái wǒ hé wǒ de mǔ qīn píng jūn měi tiān shuō bù shàng 20 jù huà; hé wǒ de fù qīn chú liǎo yòu shí bǐ cǐ hán xuān jǐ jù jīhū jiù méi yòu gèng duō de huà kě shuō; hé wǒ de yǐ hūn de mèi mèi hé mèi fū men chú liǎo gēn tā men shēng qì wǒ yā gēn 'ér jiù bù shuō huà。 lǐ yóu hěn jiǎn dān: wǒ hé tā men méi yòu rèn hé yī dīng diǎn 'ér de shì qíng yào shuō。 yī qiē bù shì wén xué de shì qíng dū shǐ wǒ wú liáo, jiào wǒ zēng hèn” sān nián zhī hòu, zhè gè bù jǐn hé zhěng gè shì jiè gé gé bù rù, ér qiě yě hé zì jǐ gé gé bù rù de yóu tài rén, suī rán shàng wèi jìn rù wán quán yǔ shì gé jué de chéng bǎo, què zhōng yú cóng jiā tíng lǐ táo chū, wéi zì jǐ zhǎo dào liǎo yī tiáo zhǎi dé xiàng xī fú xiù zǐ yī yàng de yōu shēn de sǐ xiàng。 zhè jiù shì rú jīn zài bù lā gé pō wéi zhī míng de huáng jīn xiàng、 yòu yì wéi“ liàn jīn shù shì xiàng”。 huáng jīn xiàng 22 hào de lián dòng wū zhōng jiān, yòu zuò jiàn yú 16 shì jì de、 zhǐ yòu yī gè fáng jiān hé yī jiān xiǎo gé lóu de xiǎo xiǎo lán wū, qiáng bì hěnbáo, fáng shè dī 'ǎi dé shēn shǒu biàn kě chù jí tiān huā bǎn。 zhè shì bèi tā de hǎo yǒu mǎ kè sī · bù luó dé chēng zhī wéi“ yī gè zhēn zhèng de zuò jiā de xiū dào shì bān de mì shì” de chù suǒ。 kǎ fū kǎ zài zhè lǐ jì xù yòng mí yī bān de wén zì gòu zhù zhe zì jǐ líng hún de chéng bǎo。
《 chéng bǎo》 kǎ fū kǎ jí jiā rén
zài kǎ fū kǎ de shì jiè lǐ, è mèng yǒng yuǎn méi yòu xǐng lái de shí hòu, zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì“ rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié”, zhè zhèng shì zuò wéi xiǎo shuō jiā díkǎ fū kǎ de tiān fù suǒ zài, dāng wǒ men dú dào《 biàn xíng jì》、《 chéng bǎo》、《 shěn pàn》 děng zuò pǐn shí, jiǎn zhí jiù xiàng miàn duì zhe yī zūn zūn chōng mǎn lì liàng de diāo sù, nǐ néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 duì yú kǎ fū kǎ zì jǐ lái shuō, shēng cún jiù shì yīcháng bì xū“ qiàdàng yùn yòng zì jǐ de lì liàng( yīn wéi wǒ men de lì liàng yǒng yuǎn shì yòu xiàn de)” de kàng zhēng。 suī rán qián tú 'àn dàn, dàn qián tú bì jìng zhōng huì dào lái。 tōng guò xiě zuò zhè yī xíng shì kǎ fū kǎ wéi zì jǐ de kàng zhēng zhǎo dào liǎo cún zài de xíng xiàng。 cóng kǎ fū kǎ zì jǐ de shū xìn yǔ rì jì, wǒ men yě xǔ néng lǐng huì dào nà wú qióng wú jìn de lì liàng yuán quán, tā zhè yàng xiě dào:“ bù yào jué wàng, shèn zhì duì nǐ bìng bù gǎn dào jué wàng zhè yī diǎn yě bù yào jué wàng。 qià qià zài sì hū yī qiēdōu wán liǎo de shí hòu, xīn de lì liàng bì jìng lái lín, gěi nǐ yǐ bāng zhù, ér zhè zhèng biǎo míng nǐ shì huó zhe de。”“ yīcháng qīng pén dà yǔ。 zhàn lì zhe miàn duì zhè chǎng dà yǔ bā! ràng tā de gāng tiě bān de guāng máng cì chuān nǐ。 nǐ zài nà xiǎng bǎ nǐ chōng zǒu de yǔ shuǐ zhōng piāo fú, dàn nǐ hái shì yào jiān chí, áng shǒu yì lì, děng dài nà jí jiāng lái lín de wú qióng wú jìn de yáng guāng de zhào yào。” lìng rén chī jīng de shì, tā men jìng rán dài zhe zhè yàng yī xiē zī tài: yōu shāng、 lǐ jiě、 tòng kǔ、 qiān bēi, kǎ fū kǎ yóu cǐ zǒu xiàng liǎo wú xiàn shēn yuān。 zuì zhōng tā wán chéng liǎo duì zì jǐ de sù zào: tā chéng wéi wú xiàn shēn yuān zhōng wéi yī luǒ xíng de sī xiǎng zhě。 kǎ fū kǎ de dào lù shì duì kàng zhī lù, tā yǔ cún zài yú tā shēn biān de shì jiè hé zhì xù yī zhí shì kàng zhēng zhe de, yì shù huò zhě shuō wén xué xiě zuò shì tā duì kàng wài bù huāng dàn shì jiè de wéi yī wǔ qì, tā bié wú xuǎn zé。 suī rán zài cǐ qī jiān, tā jí dù kě wàng shí xiàn yì shù yǔ xiàn shí de tǒng yī, shèn zhì tā gè rén yǔ wài bù shì jiè yòu guò duǎn zàn de tǒng yī, dàn zhè zhǒng tǒng yī yě shì yī shùn jí shì de, biǎo miàn hé xíng shì shàng de。 tā yě kě wàng yòu zì jǐ de jiā tíng, dàn tā hài pà jiā tíng sǔn hài tā de xiě zuò; tā yě xiàng fán fū sú zǐ yī yàng, kě wàng yòu zì jǐ de hái zǐ, zuò yī míng hǎo fù qīn, dàn zhí dào tā yòu yī gè yǐ cháng dào 7 suì cái yāo zhé de hái zǐ。
kǎ fū kǎ shēng qián mò mò wú wén, gū dú dì fèn dǒu, suí zhe shí jiān de liú shì, tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí, zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng, bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè, jīng jiǔ bù shuāi。 tā yī shēng de zuò pǐn bìng bù duō, dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè、 ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 měi guó shī rén 'ào dēng rèn wéi:“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” hòu shì de xǔ duō xiàn dài zhù yì wén xué liú pài rú“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” děng dū bǎ kǎ fū kǎ fèng wéi zì jǐ de bí zǔ。
guān yú kǎ fū kǎ, wǒ men hái kě yǐ shuō shàng hěn duō hěn duō。 jù shuō zài xiàn dài wén xué de yán jiū zhōng, guān yú kǎ fū kǎ de lùn wén shù liàng zhī dà, jǐn jǐn dǎ yìn tí mù jiù xū yào jǐ shí yè。 dàn shì, lǐ jiě kǎ fū kǎ zuì hǎo de fāng fǎ, jiù shì jìn rù tā de wén zì shì jiè, ān jìng dì qīng tīng tā tōng guò yǔ yán biǎo dá de nèi xīn。 zhè bù zhèng shì wǒ men xiàn zài zhè gè fú zào de xiàn dài wén míng suǒ quē shǎo de má?
《 chéng bǎo》 - miào yǔ jiā jù
tā zhēn yào yǐ wéi wài miàn shì huī sè de tiān kōng yǔ huī sè de tǔ dì hún rán yī tǐ de huāng mò shì jiè liǎo。
kě shì rú guǒ zhè yī qiē de píng jìng、 shū shì yǔ mǎn zú dōuyào xiǎng kǒng bù dì gào yī duàn luò, nà gāi zěn me bàn ní?
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.
pò yú fù qīn de yā lì, tā xué xí fǎ lǜ, hòu rù yī jiā sī rén bǎo xiǎn gōng sī rèn dī xīn zhí yuán, yī zhí yān méi zài rén qún zhī zhōng。 tā yī shēng sān cì dìng hūn, yòu sān cì jiě chú hūn yuē, qí zhōng yuán yīn zhī yī jiù shì pà jié hūn huì pò huài tā yǐ jīng xí guàn de gū dú shēng huó。 hòu lái tā huàn shàng fèi jié hé bìng, gèng shǐ tā yuǎn lí rè nào de chén shì shēng huó, chén jìn zài zì jǐ gū dú de nèi xīn shì jiè zhōng。
zhè gè gū pì de xiǎo zhí yuán de zuì dà 'àihào jiù shì xiě zuò, tā nà mǐn gǎn、 qiè nuò de xìng gé hé gū pì、 yōu yù de qì zhì què shí shì hé zuò yī gè zuò jiā。 kǎ fū kǎ yè yú chuàng zuò de dà bù fēn zuò pǐn zài tā shēng qián yī zhí suǒ zài chōu tì lǐ, shǎo liàng miàn shì de duǎn piān xiǎo shuō hái bù zú ràng tā yī míng jīng rén, ér qiě duì tā de tóng shí dài rén lái shuō, tā de xiǎo shuō tài chāo qián liǎo, dāng shí de rén men yuǎn wèi yòu néng lì tǐ yàn kǎ fū kǎ dú tè 'ér qí guài de huāng miù gǎn。 tā bìng shì hòu yí liú xià dà liàng shǒu gǎo。
èr zhàn zhī hòu, shì jiè zài fèi xū shàng zhòng jiàn, zhàn zhēng suǒ dài lái de rén lèi xīn líng shēn zhòng de yīn yǐng, shǐ rén men bù yuē 'ér tóng dì bǎ mù guāng zhuànxiàng liǎo 30 nián qián sǐ qù de wú míng zuò jiā kǎ fū kǎ, tā jí qí zuò pǐn zài xī fāng shì jiè xiān qǐ liǎo yī gǔ rè cháo, rén men xiàng tóu piào xuǎn jǔ zhèng jiè yào yuán yī yàng bǎ tā liè wéi xiàn dài pài xiǎo shuō jiā de dì yī hòu xuǎn rén。
tuī jiàn yuè dú bǎn běn: tānɡ yǒng kuān yì, wǔ hàn dà xué chū bǎn shè chū bǎn。
《 chéng bǎo》 - nèi róng jīng yào
yī gè hán lěng de dōng tiān de yè wǎn, tǔ dì cèliáng yuán K lái dào liǎo yī gè cūn zǐ, tā de mùdì shì yào qián wǎng cūn zǐ fù jìn de nà zuò chéng bǎo qù zhí xíng gōng wù。 dāng K zài cūn kǒu yáo wàng chéng bǎo shí, tā gǎn dào lǒngzhào zài yè sè zhī zhōng de chéng bǎo, rú tóng yī piàn kōng dòng xū wú de huàn jǐng, zhè yàng de gǎn jué sì hū yù shì zhe tā de rèn wù bù shì nà me róng yì wán chéng de。
tā qián wǎng kè diàn tóu sù, kě shì kè diàn lǎo bǎn duì tā de dào lái yòu diǎn bù zhī suǒ cuò。 tā gào sù K yǐ jīng kè mǎn liǎo, zhǐ hǎo bǎ K miǎnqiǎng 'ān dùn xià lái。 kè diàn lǐ de rén dé zhī K yào qù chéng bǎo, dū yòng tè bié de yǎn shén kàn tā。 yī wèi nián qīng rén gào sù K, měi gè jìn rù chéng bǎo de réndōu bì xū dé yòu yī zhāng xǔ kě zhèng, ér yào xiǎng dé dào xǔ kě zhèng, jiù bì xū qù zhǎo chéng bǎo lǐ de bó jué。
dì 'èr tiān, K zǒu xiàng chéng bǎo, kě shì hào fèi liǎo yī zhěng tiān de shí jiān tā yě wú fǎ kào jìn chéng bǎo yī bù。 tiān sè 'àn xià lái, tā zhǐ hǎo xiān qù zhǎo qī shēn zhī chù。 zhǎo lái zhǎo qù, yòu huí dào liǎo zuó tiān wǎn shàng de nà jiā kè diàn。 zài dā xuě qiāo qián wǎng kè diàn de tú zhōng, tā yù dào liǎo liǎng gè zì chēng shì tā de zhù shǒu de rén。 tā men fēi cháng rè qíng dì bāng zhù K, bìng qiě yòng diàn huà lián luò chéng bǎo lǐ de bàn shì jī gòu, xún wèn jù tǐ hé shí néng shàng chéng bǎo qù, duì fāng huí dá:“ rèn hé shí hòu dōubù néng lái。”
zhè shí, lái liǎo yī wèi jiào bā nà bā sī de rén, tā shì chéng bǎo de xìn shǐ, K duì tā de lái dào shí fēn xīng fèn, rèn wéi tā kě yǐ chéng wéi zì jǐ hé chéng bǎo lián xì de zhōng jiān rén。 bā nà bā sī gěi tā dài lái liǎo chéng bǎo de xìn, xìn lǐ jì méi yòu duì K de dào lái biǎo shì huān yíng, yě méi yòu 'àn shì tā gǎn kuài lí kāi。 shì qíng yǐ jiù háo wú zhuǎn jī。 K hé xìn shǐ yī dào qù liǎo tā jiā, xìn shǐ de mèi mèi yòu biǎo shì tā kě yǐ bāng zhù K, yú shì bǎ K sòng jìn liǎo yī jiā lǚ guǎn, tā gào sù K, chéng bǎo de tóu miàn rén wù kè lā mǔ zhù zài nà lǐ, kě yǐ jiè jī zhǎo kè lā mǔ dǎ tōng guān jié。
zài lǚ guǎn de jiǔ bā lǐ, K rèn shí liǎo kè lā mǔ de qíng fù fú lì dá, K dùn shí shǐ chū hún shēn xièshù shì tú kào jìn fú lì dá, rán 'ér lǚ guǎn lǐ de rén bù tíng dì tiān luàn, zhù shǒu men yě zài yī biān tiān luàn, shǐ tā wú fǎ hé fú lì dá qīn mì dì tán yī tán guān yú kè lā mǔ。 tā shèn zhì yòng yǔ fú lì dá jié hūn de xǔ nuò xiǎng huàn dé gēn kè lā mǔ tán yī cì huà de jī huì。 dàn K zuì zhōng fā xiàn fú lì dá zhè tiáo lù shì zǒu bù tōng de, yīn wéi tā hé xìn shǐ yī yàng, shì gè wú guān jǐn yào de xiǎo rén wù, tā zǎo yǐ shī chǒng。
K qù jiàn cūn cháng, cūn cháng gào sù tā, K lái dào cūn zǐ wán quán shì gè cuò wù, yīn wéi zhè lǐ gēn běn yòng bù zhe tǔ dì cèliáng yuán。 chéng bǎo lǐ bù tóng bù mén bǐ cǐ fēng bì, zào chéng liǎo yī xiē chā cuò, suǒ yǐ K cái huì shōu dào gōng wén, rán 'ér zhè fèn gōng wén shì zǎo yǐ wú xiào de。 cūn cháng chéng rèn tā zài jǐ nián qián shōu dào yī gè zhāo pìn yī wèi tǔ dì cèliáng yuán de gōng wén, rán 'ér tā wú lùn rú hé zhǎo bù dào nà zhāng kě yǐ zhèng míng K hé fǎ shēn fèn de báozhǐ piàn。 cūn cháng biǎo dá liǎo zì jǐ duì zhè jiàn shì qíng de kàn fǎ, tā jué dé K shōu dào de gōng wén qí shí shì yī fēng mǒu gè zhù guǎn, bǐ rú kè lā mǔ, duì tā biǎo shì sī rén guān xīn de de xìn, bù néng dài biǎo chéng bǎo de yì jiàn, yīn cǐ K yīngdāng chèn zǎo huí qù。
K gǎn dào shòu piàn shàng dāng liǎo, dàn tā jiān chí yào qiú dé dào tā yìng dé de quán lì, nà jiù shì zhǎo yī gè zhù chù, ān dùn tā hé fú lì dá de xīn jiā。 kè zhàn lǎo bǎn yī xīn xiǎng gǎn zǒu K, K lín zǒu qián, yòu cóng lǎo bǎn niàn nà lǐ tīng dào liǎo guān yú tā hé kè lā mǔ jiù qíng de huí yì, zhè shǐ K gǎn dào hěn bù shū fú, yīn wéi tā bù yóu zì zhù dì xiǎng dào liǎo zì jǐ de wèi hūn qī。
zhè shí cūn lǐ xué xiào de jiào shī fèng cūn cháng zhī mìng qián lái, yǔn xǔ K dài jiā juàn zhù jìn xué xiào rèn kānmén rén, tóng shí tā yě qiáng diào, xué xiào qí shí bìng bù xū yào yī gè kānmén rén, tā wán quán zūn cóng cūn cháng de mìng lìng。 K gǎn dào shòu dào liǎo wǔ rǔ, tā jù jué liǎo zhè fèn gōng zuò。 kě fú lì dá jiān chí K jiē shòu tā, tā shuō rú guǒ K bù jiē shòu, lián gè 'ān shēn zhī chù dōuméi yòu, nà me zhè duì K duì tā zì jǐ dōushì shí fēn xiū kuì de shì qíng。
K duì yú jìn rù chéng bǎo réng rán bào zhe zuì hòu de xī wàng, zhè yǐ jīng bù dān chún shì zhí xíng gōng wù, ér shì yòu guān gè rén zūn yán de wèn tí。 tā mào xuě lái dào kè lā mǔ de lǚ guǎn, nǚ zhāo dài shuō zhè huì 'ér kè lā mǔ zhèng zhǔn bèi lí kāi lǚ guǎn, xuě qiāo yǐ zài yuàn zǐ lǐ děng zhe tā, K 'èr huà méi huà, shǒu dào xuě qiāo biān, hē zhe bái lán dì děng kè lā mǔ chū lái。 hé yǐ qián yī yàng, kè lā mǔ běn rén yǒng yuǎn bù huì chū xiàn, tā de mì shū mó mài sī chū lái gào sù K:“ bù guǎn nǐ gēn wǒ zǒu huò zhě liú zài zhè lǐ, nǐ dū bù huì jiàn dào tā。” K fǎn 'ér xiàn rù liǎo jìn tuì liǎng nán de dì bù, rú guǒ tā lí kāi, zhōu wéi rén de shén sè jǔ zhǐ lǐ jiù biǎo míng kè lā mǔ jiù cǐ tuō shēn liǎo; rú guǒ tā jiān chí děng xià qù, xiǎn rán yě shì méi yòu jiēguǒ de。 mì shū ná chū yī fèn huì tán jì lù, xiàng K zhǐ chū zhè shì yǐn K zǒu xiàng kè lā mǔ de wéi yī dào lù, dàn shǒu xiān K bì xū jiē shòu yī fān kē kè de shěn chá, K jué dé bù kě rěn shòu, yú shì tā men liǎng rén dà xiào zhe fēn bié liǎo。
《 chéng bǎo》 zuò jiā kǎ fū kǎ
xìn shǐ bā nà bā sī yòu dài lái liǎo kè lā mǔ de yī fēng xìn, kè lā mǔ zàn shǎng liǎo K jí qí zhù shǒu de cèliáng gōng zuò, zhè shǐ K kùn huò bù yǐ, tā zhì jīn wéi zhǐ cóng wèi gànshénme cèliáng gōng zuò, měi tiān zuò de shì qíng jiù shì zài děng dài zhēng qǔ chéng bǎo de xǔ kě。 K kāi shǐ huái yí xìn shǐ de kě kào, dàn tā réng tuō bā nà bā sī dài qù yī gè huí yīn, shēn sù zì jǐ jiāo zhuó dì kě pàn jiàn dào kè lā mǔ yī miàn de xīn qíng。
zhī hòu K huí dào tā hé fú lì dá de xīn jiā, nà shì xué xiào lǐ de yī jiān dà jiào shì, kě shì K hé fú lì dá de shēng huó bìng bù 'ān níng。 liǎng gè zhù shǒu bù tíng dì táo qì, zhēng shí wù, chǒu zhǔn jī huì shuì dào wéi yī de dào cǎo diàn zǐ shàng qù。 dì 'èr tiān, xué xiào de nǚ jiào shī lái liǎo, tā shí fēn chī jīng, jì 'ér bù duàn dì zé mà K, K jīhū xiàng gè liè děng dòng wù yī yàng bèi qī rǔ, kě tā jué bù jiē shòu xiào fāng de jiě zhí tōng zhī。 tā qiān nù yú liǎng wèi wú yòng de zhù shǒu, xuān bù cí tuì tā men, zhù shǒu men shī chū hún shēn qì lì 'āi qiú K。 fú lì dá fǎn duì K de jué dìng, tā shuō yī dàn cí tuì zhù shǒu, K jiù yǒng yuǎn méi yòu jī huì jiàn dào kè lā mǔ liǎo。 fú lì dá gǔ lì K bù yào sàng shī xìn xīn。
K lái dào xìn shǐ jiā děng dài huí yīn, xìn shǐ de jiě mèi 'ào 'ěr gā hé 'ā mǎ lì yà zǒng xiàng K 'àn shì tā men de qīng mù zhī qíng, bìng qiě zài xián liáo zhōng, àn shì K, tā men de gē gē bā nà bā sī kě néng cóng wèi jiàn guò kè lā mǔ, tā zǒng shì gěi K dài lái nà xiē dān wù liǎo hěn jiǔ, shī qù shí xiào de xìn。 jiù lián kè lā mǔ běn rén, yě shì kě yí de, guān yú kè lā mǔ de zhǒng zhǒng qíng kuàng, hěn dà chéng dù shàng shì cūn lǐ rén xiǎng xiàng chū lái de。 ào 'ěr gā yòu gào sù K, chéng bǎo lǐ de guān yuán rú tóng bào jūn, tā men kě yǐ suí shí qiáo shàng cūn lǐ de rèn hé gū niàn, gěi tā men xiě xià liú wú bǐ de xìn。 tā men de tán huà lí zhèng tí yuè lái yuè yuǎn, ào 'ěr gā jiǎng qǐ liǎo 'ā mǎ lì yà yīn wéi jù jué chéng bǎo lǐ lìng yī wèi dà guān yuán suǒ 'ěr dì ní de qiú 'ài 'ér zāo shòu de bù xìng, tā men quán jiādōu bèi pò jiē shòu liǎo yī zhǒng jīhū zhěng tiān wú suǒ shì shì de xíng fá, chéng bǎo qiáng zhì tā men tuì chū shè huì shēng huó。 ào 'ěr gā tí xǐng K, bù yào zhǐ wàng rèn hé yī wèi yòu tóng qíng xīn de guān yuán wèitā shuō huà。 bā nà bā sī wéi K sòng xìn, qí shí bù guò shì xiǎng ràng zì jǐ yī jiā rén bù lù hén jì dì zài shòu 'ēn chǒng, duì yú K lái shuō, méi yòu rèn hé yì yì。 zhè chǎng fán rǒng 'ér tuī xīn zhì fù de tán huà bèi K de yī wèi zhù shǒu dǎ duàn liǎo, K hěn kuài yì shí dào fú lì dá hé lìng yī wèi zhù shǒu dāi zài jiā lǐ, tā gǎn jǐn huí jiā liǎo。
dào jiā lǐ, K fā xiàn fú lì dá bù jiàn liǎo。 yuán lái tā yǐ wéi K páo qù gòu dā bā nà bā sī de jiě mèi, yú shì hé lìng yī gè zhù shǒu dá chéng xié yì, bèi pàn K。 zhè shí, bā nà bā sī yòu páo lái zhǎo K, xīng chōng chōng dì tōng zhī tā, kè lā mǔ de zhù yào mì shū zhī yī 'ài lǎng gé yào hé K dāng miàn tán yī tán。 K hé yī qún rén děng hòu zài qī hēi de lǚ guǎn mén kǒu, K bèi zuì xiān lǐng liǎo jìn qù, dàn 'ài lǎng gé què shuì zhe liǎo, K zhǐ hǎo děng zhe。 zài děng dài de shí hòu, tā yòu chóngxīn jiàn dào liǎo fú lì dá, tā men jī liè zhēng lùn liǎo zhōng shí yǔ bù zhōng shí de wèn tí。 fú lì dá tǎn rán dì gào sù K, tā yǐ jīng hé nà wèi zhù shǒu tóng jū liǎo。 K zé shí fēn píng jìng dì huí jìng tā: zì cóng nǐ xiāng jì shī qù liǎo kè lā mǔ de qíng fù yǐ jí wǒ de wèi hūn qī zhè liǎng zhǒng shēn fèn zhī hòu, nǐ zǎo yǐ jīng méi yòu liǎo mèi lì。 tīng wán cǐ huà hòu, fú lì dá sì hū bèi chù dòng liǎo。 dàn shì tā yòu jiàn dào zhù shǒu shí, mǎ shàng jiù gǎi biàn zhù yì。 tā shuō: tā zài yě bù xiǎng huí dào K shēn biān jiē shòu tā de zhé mó。
xiǎo shuō jiù zài cǐ chù jiá rán 'ér zhǐ, kǎ fū kǎ wèi xiě wán tā, tā yuán lái dǎ suàn de jié wěi shì K jiāng jīng pí lì jié 'ér sǐ。 hòu shì jí yán jiū zhě yù jì de jié jú shì: K mí liú zhī jì, chéng bǎo zhōng yú lái liǎo tōng zhī, yǔn xǔ K liú zài cūn zǐ lǐ, dàn bù xǔ jìn rù chéng bǎo, K yǒng yuǎn bù kě néng dào dá nà lǐ, yī zhí dào sǐ。
《 chéng bǎo》 - zhuān jiā diǎn píng
dāng yī gè zuò jiā bù néng bèi tā tóng shí dài de rén suǒ lǐ jiě shí, tā huì zěn yàng chǔlǐ zì jǐ de zuò pǐn。 kǎ fū kǎ xuǎn zé de shì huǐ miè。 tā zài yí shū zhōng wěi tuō hǎo yǒu bù luó dé jiāng qí suǒ yòu zuò pǐn“ háo wú bǎo liú dì, dú yě bù bì dú jiù tǒng tǒng yú yǐ fén huǐ”。 wàn xìng bù luó dé zì zuò zhù zhāng jiāng kǎ fū kǎ de yí gǎo bǎo cún xià lái, zhěng lǐ chū bǎn, zhè yī cì míng zhì de“ bèi xìn qì yì” shǐ wǒ men jīn tiān yǐ jiù néng yī dǔ kǎ fū kǎ zhè wèi wén xué dà shī yī shēng qín fèn de chéng guǒ。
rén men tí dào kǎ fū kǎ, zǒng shì huì tí qǐ tā de《 biàn xíng jì》, lǐ miàn de xiǎo gōng wù yuán yī zǎo qǐ lái fā xiàn zì jǐ biàn chéng liǎo yī gè dà jiá chóng。 xī fāng wén xué zhōng cháng cháng yòng《 biàn xíng jì》 lái zhǐ dài xiàn dài huà wén míng zhōng rén de yì huà。 rán 'ér zài zhè lǐ suǒ tuī jiàn de《 chéng bǎo》, yīn qí duō yì xìng gèng fù yú yuè dú de kuài lè。 zhōng piān xiǎo shuō《 chéng bǎo》 yǔ《 shěn pàn》 jí《 měi guó》 hé chēng“ kǎ fū kǎ sān bù qū”, tā mendōu jù yòu kǎ fū kǎ xiǎo shuō yī guàn de huāng dàn bù jīng fēng gé: yì huà xiàn xiàng, nán yǐ pái qiǎn de gū dú hé wēi jī gǎn, wú fǎ kè fú de huāng dàn hé kǒng jù。 kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng, gè rén shì de、 yōu yù de、 gū dú de qíng xù, yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 qí zhōng《 chéng bǎo》 gèng fù yú“ kǎ fū kǎ shì” de gòu sī hé yǔ yán fēng gé。
hé kǎ fū kǎ de qí tā xiǎo shuō yī yàng,《 chéng bǎo》 méi yòu wéi yī zhèng què de jiě shì, jiě shì quán shòu yú liǎo měi gè yuè dú zhě, zhè lái yuán yú zhè bù zuò pǐn de duō yì xìng。 biǎo miàn shàng, zhè zuò pǐn de gù shì zài jiǎn dān bù guò liǎo, yī gè tǔ dì cèliáng yuán K lái dào yī gè cūn zhuāng, xiǎng jìn rù guǎn xiá fù jìn dì qū de bó jué jū zhù de chéng bǎo, tā fèi liǎo jiǔ niú 'èr hǔ zhī lì, tān shàng yī qiē yě méi néng dá dào mùdì。《 chéng bǎo》 suǒ jù yòu de huāng miù、 xū nǐ, wú míng què de shí dài dì lǐ bèi jǐng de tè zhēng shǐ tā mǒ shàng hěn nóng de yù yán sè cǎi, wú lùn píng lùn jiā hái shì pǔ tōng dú zhě dōunéng gòu huò dé bù tóng de jié lùn,《 chéng bǎo》 jiū jìng biǎo dá liǎo zěn yàng de zhù tí, zhè zhōng liǎo hái shì yī gè nán jiě zhī mí, yòu rén shuō tā biǎo xiàn de shì“ rén shì tú jìn rù tiān guó 'ér bù dé de tòng kǔ”; yòu rén zé rèn wéi tā jí zhōng fǎn yìng liǎo kǎ fū kǎ běn rén de jīng shén shì jiè de huāng dàn、 gū dú yǔ kǒng jù; yòu rén zé jié hé xiě zuò nián dài bèi jǐng, shuō míng chéng bǎo shí jì shàng fǎn yìng liǎo 'ào xiōng dì guó guān liáo tǐ zhì yǔ dà zhòng de hóng gōu, gèng yòu lùn zhě yǐ wéi,《 chéng bǎo》 hé《 shěn pàn》、《 měi guó》 de zhù tí xiāng tóng, jí“ rén men suǒ zhuī qiú de zhēn lǐ, bù guǎn shì zì yóu、 ān dìng, hái shì fǎ lǜ, dōushì cún zài de, dàn zhè gè huāng dàn de shì jiè gěi rén men shè zhì liǎo zhǒng zhǒng zhàng 'ài, wú lùn nǐ zěn me nǔ lì, zǒng shì zhuī qiú bù dào, zuì hòu zhǐ néng yǐ shī bài gào zhōng。” zài《 chéng bǎo》 zhōng,“ chéng bǎo” shì zuì dà de mí tuán, tā yǔ zhù rén gōng K de mù biāo zǒng shì ruò jí ruò lí, yě zhèng yīn cǐ, néng gòu jī qǐ rén men xiāng dāng de yuè dú xīng qù, qí zhōng de rén wù rú CC bó jué, yǐ zhì yú kè lā mǔ bù cháng děngdōu shén mì mò cè, zú yǐ jiàn kǎ fū kǎ zhè wèi xiǎo shuō jiā de tiān cái de zhì huì。
《 chéng bǎo》 xiǎo shuō jiā kǎ fū kǎ
yuè dú kǎ fū kǎ de xiǎo shuō, duì měi yī gè dú zhě lái shuō dōushì tiǎo zhàn。 tā xǐ huān cháng jù zǐ, zì lǐ xíng jiān chōng mǎn liǎo dà liàng de 'àn yù, tā yòng wén zì duī qǐ liǎo yī gè gè mí gōng。 dú zhě huì zài chuān xíng wén zì shí yù dào jí dà de zǔ lì。 rán 'ér dāng nǐ xí guàn tā de wén zì fēng gé hòu, nǐ huì fā xiàn, yuán xiān de zǔ lì biàn chéng liǎo dòng lì, dài gěi nǐ yuè dú de kuài gǎn。
1913 nián 8 yuè 15 rì, kǎ fū kǎ zài zì jǐ de rì jì lǐ xiě dào:“ wǒ jiāng bù gù yī qiē dì yǔ suǒ yòu rén gé jué, yǔ suǒ yòu rén dí duì, bù tóng rèn hé rén jiǎng huà。” 6 tiān hòu tā yòu zhè yàng xiě dào:“ xiàn zài wǒ zài wǒ de jiā tíng lǐ, zài nà xiē zuì hǎo de、 zuì qīn 'ài de rén men zhōng jiān, bǐ yī gè mò shēng rén hái yào mò shēng。 jìn nián lái wǒ hé wǒ de mǔ qīn píng jūn měi tiān shuō bù shàng 20 jù huà; hé wǒ de fù qīn chú liǎo yòu shí bǐ cǐ hán xuān jǐ jù jīhū jiù méi yòu gèng duō de huà kě shuō; hé wǒ de yǐ hūn de mèi mèi hé mèi fū men chú liǎo gēn tā men shēng qì wǒ yā gēn 'ér jiù bù shuō huà。 lǐ yóu hěn jiǎn dān: wǒ hé tā men méi yòu rèn hé yī dīng diǎn 'ér de shì qíng yào shuō。 yī qiē bù shì wén xué de shì qíng dū shǐ wǒ wú liáo, jiào wǒ zēng hèn” sān nián zhī hòu, zhè gè bù jǐn hé zhěng gè shì jiè gé gé bù rù, ér qiě yě hé zì jǐ gé gé bù rù de yóu tài rén, suī rán shàng wèi jìn rù wán quán yǔ shì gé jué de chéng bǎo, què zhōng yú cóng jiā tíng lǐ táo chū, wéi zì jǐ zhǎo dào liǎo yī tiáo zhǎi dé xiàng xī fú xiù zǐ yī yàng de yōu shēn de sǐ xiàng。 zhè jiù shì rú jīn zài bù lā gé pō wéi zhī míng de huáng jīn xiàng、 yòu yì wéi“ liàn jīn shù shì xiàng”。 huáng jīn xiàng 22 hào de lián dòng wū zhōng jiān, yòu zuò jiàn yú 16 shì jì de、 zhǐ yòu yī gè fáng jiān hé yī jiān xiǎo gé lóu de xiǎo xiǎo lán wū, qiáng bì hěnbáo, fáng shè dī 'ǎi dé shēn shǒu biàn kě chù jí tiān huā bǎn。 zhè shì bèi tā de hǎo yǒu mǎ kè sī · bù luó dé chēng zhī wéi“ yī gè zhēn zhèng de zuò jiā de xiū dào shì bān de mì shì” de chù suǒ。 kǎ fū kǎ zài zhè lǐ jì xù yòng mí yī bān de wén zì gòu zhù zhe zì jǐ líng hún de chéng bǎo。
《 chéng bǎo》 kǎ fū kǎ jí jiā rén
zài kǎ fū kǎ de shì jiè lǐ, è mèng yǒng yuǎn méi yòu xǐng lái de shí hòu, zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì“ rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié”, zhè zhèng shì zuò wéi xiǎo shuō jiā díkǎ fū kǎ de tiān fù suǒ zài, dāng wǒ men dú dào《 biàn xíng jì》、《 chéng bǎo》、《 shěn pàn》 děng zuò pǐn shí, jiǎn zhí jiù xiàng miàn duì zhe yī zūn zūn chōng mǎn lì liàng de diāo sù, nǐ néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 duì yú kǎ fū kǎ zì jǐ lái shuō, shēng cún jiù shì yīcháng bì xū“ qiàdàng yùn yòng zì jǐ de lì liàng( yīn wéi wǒ men de lì liàng yǒng yuǎn shì yòu xiàn de)” de kàng zhēng。 suī rán qián tú 'àn dàn, dàn qián tú bì jìng zhōng huì dào lái。 tōng guò xiě zuò zhè yī xíng shì kǎ fū kǎ wéi zì jǐ de kàng zhēng zhǎo dào liǎo cún zài de xíng xiàng。 cóng kǎ fū kǎ zì jǐ de shū xìn yǔ rì jì, wǒ men yě xǔ néng lǐng huì dào nà wú qióng wú jìn de lì liàng yuán quán, tā zhè yàng xiě dào:“ bù yào jué wàng, shèn zhì duì nǐ bìng bù gǎn dào jué wàng zhè yī diǎn yě bù yào jué wàng。 qià qià zài sì hū yī qiēdōu wán liǎo de shí hòu, xīn de lì liàng bì jìng lái lín, gěi nǐ yǐ bāng zhù, ér zhè zhèng biǎo míng nǐ shì huó zhe de。”“ yīcháng qīng pén dà yǔ。 zhàn lì zhe miàn duì zhè chǎng dà yǔ bā! ràng tā de gāng tiě bān de guāng máng cì chuān nǐ。 nǐ zài nà xiǎng bǎ nǐ chōng zǒu de yǔ shuǐ zhōng piāo fú, dàn nǐ hái shì yào jiān chí, áng shǒu yì lì, děng dài nà jí jiāng lái lín de wú qióng wú jìn de yáng guāng de zhào yào。” lìng rén chī jīng de shì, tā men jìng rán dài zhe zhè yàng yī xiē zī tài: yōu shāng、 lǐ jiě、 tòng kǔ、 qiān bēi, kǎ fū kǎ yóu cǐ zǒu xiàng liǎo wú xiàn shēn yuān。 zuì zhōng tā wán chéng liǎo duì zì jǐ de sù zào: tā chéng wéi wú xiàn shēn yuān zhōng wéi yī luǒ xíng de sī xiǎng zhě。 kǎ fū kǎ de dào lù shì duì kàng zhī lù, tā yǔ cún zài yú tā shēn biān de shì jiè hé zhì xù yī zhí shì kàng zhēng zhe de, yì shù huò zhě shuō wén xué xiě zuò shì tā duì kàng wài bù huāng dàn shì jiè de wéi yī wǔ qì, tā bié wú xuǎn zé。 suī rán zài cǐ qī jiān, tā jí dù kě wàng shí xiàn yì shù yǔ xiàn shí de tǒng yī, shèn zhì tā gè rén yǔ wài bù shì jiè yòu guò duǎn zàn de tǒng yī, dàn zhè zhǒng tǒng yī yě shì yī shùn jí shì de, biǎo miàn hé xíng shì shàng de。 tā yě kě wàng yòu zì jǐ de jiā tíng, dàn tā hài pà jiā tíng sǔn hài tā de xiě zuò; tā yě xiàng fán fū sú zǐ yī yàng, kě wàng yòu zì jǐ de hái zǐ, zuò yī míng hǎo fù qīn, dàn zhí dào tā yòu yī gè yǐ cháng dào 7 suì cái yāo zhé de hái zǐ。
kǎ fū kǎ shēng qián mò mò wú wén, gū dú dì fèn dǒu, suí zhe shí jiān de liú shì, tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí, zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng, bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè, jīng jiǔ bù shuāi。 tā yī shēng de zuò pǐn bìng bù duō, dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè、 ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 měi guó shī rén 'ào dēng rèn wéi:“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” hòu shì de xǔ duō xiàn dài zhù yì wén xué liú pài rú“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” děng dū bǎ kǎ fū kǎ fèng wéi zì jǐ de bí zǔ。
guān yú kǎ fū kǎ, wǒ men hái kě yǐ shuō shàng hěn duō hěn duō。 jù shuō zài xiàn dài wén xué de yán jiū zhōng, guān yú kǎ fū kǎ de lùn wén shù liàng zhī dà, jǐn jǐn dǎ yìn tí mù jiù xū yào jǐ shí yè。 dàn shì, lǐ jiě kǎ fū kǎ zuì hǎo de fāng fǎ, jiù shì jìn rù tā de wén zì shì jiè, ān jìng dì qīng tīng tā tōng guò yǔ yán biǎo dá de nèi xīn。 zhè bù zhèng shì wǒ men xiàn zài zhè gè fú zào de xiàn dài wén míng suǒ quē shǎo de má?
《 chéng bǎo》 - miào yǔ jiā jù
tā zhēn yào yǐ wéi wài miàn shì huī sè de tiān kōng yǔ huī sè de tǔ dì hún rán yī tǐ de huāng mò shì jiè liǎo。
kě shì rú guǒ zhè yī qiē de píng jìng、 shū shì yǔ mǎn zú dōuyào xiǎng kǒng bù dì gào yī duàn luò, nà gāi zěn me bàn ní?
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 kǎ fū kǎ zuì xǐ 'ài de zuò pǐn, biǎo xiàn liǎo fù zǐ liǎng dài rén de chōng tū。 zhù rén gōng gé 'ào 'ěr gé · běn dé màn shì gè shāng rén, zì cóng jǐ nián qián mǔ qīn qù shì hòu jiù hé fù qīn yī qǐ shēng huó, xiàn zài shēng yì xīng lóng。 tā zài fáng jiān lǐ gěi yī wèi duō nián qián qiān jū 'é guó de péng yǒu xiě xìn, gào sù tā zì jǐ dìng hūn de xiāo xī。 xiě wán xìn lái dào fù qīn de fáng jiān, yì wài de shì fù qīn duì tā tài dù fēi cháng bù hǎo, huái yí tā gēn běn jiù méi yòu qiān jū dào 'é guó de péng yǒu, zhǐ zé tā bēizhe zì jǐ zuò shēng yì, hái pàn zhe zì jǐ zǎo sǐ。 tū rán, fù qīn yòu zhuǎn liǎo huà tí, cháo xiào gé 'ào 'ěr gé zài qī piàn tā péng yǒu, ér fù qīn zì jǐ dǎo shì yī zhí gēn nà wèi péng yǒu tōng xìn, bìng zǎo yǐ bǎ gé 'ào 'ěr gé dìng hūn de xiāo xī gào sù tā liǎo。 gé 'ào 'ěr gé rěn bù zhù dǐng zhuàng liǎo fù qīn yī jù, fù qīn biàn pàn dú shēng zǐ qù tóu hé zì jìn。 yú shì dú shēng zǐ zhēn de tóu hé sǐ liǎo。 zuò pǐn suǒ miáo xiě de zài fù zǐ liǎng rén de kǒu jiǎo guò chéng zhōng, qīng bái shàn liáng de 'ér zǐ jìng bèi fù qīn shì wéi yòu zuì hé zhíniù cán bào, zài fù qīn de yín wēi zhī xià, dú shēng zǐ hài pà、 kǒng jù dào liǎo sàng shī lǐ zhì, yǐ zhì zì jìn。 fù qīn gāo dà qiáng zhuàng 'ér háo wú lǐ xìng, jù yòu yī qiē bào jūn de tè zhēng。 zhè gè mào sì huāng dàn de gù shì shì kǎ fū kǎ fù zuì xīn tài de shēng dòng miáo shù, fù qīn de pàn jué yě shì kǎ fū kǎ duì zì jǐ de pàn jué。 zhù rén gōng lín sǐ qián de dī shēng biàn bái héng héng“ qīn 'ài de fù mǔ qīn, wǒ kě shì yī zhí 'ài nǐ men de”, zé shì kǎ fū kǎ zuì yǐn mì xīn qū de tù lù。 zhè zhǒng gù shì de kuàng jià shì diǎn xíng díkǎ fū kǎ shì de, shì tā nèi xīn shēn chù de fù zuì gǎn jù xiàng huà zhī hòu de chǎn wù。 rán 'ér zuò pǐn de nèi hán xiǎn rán bù zài yú jǐn jǐn biǎo xiàn fù zǐ chōng tū, gèng zài yú zài pǔ biàn yì yì shàng jiē shì chū rén lèi shēng cún zài zěn yàng yī zhǒng quán wēi hé líng rǔ zhī xià。 lìng yī fāng miàn yòu zhǎn xiàn rén wù wéi zhàn shèng fù qīn jìn xíng de yī xì liè kàng zhēng。 ér zǐ bǎ kàn lái shuāi lǎo de fù qīn rú tóng hái zǐ bān fàng dào chuáng shàng hòu, zhēn de bǎ tā“ gài liǎo qǐ lái”。 cóng biǎo miàn shàng kàn, tā zhè yàng zuò shì chū yú xiào xīn; zài shēn céng hán yì shàng tā shì xiǎng mái zàng fù qīn, yǐ què lì zì jǐ zuò wéi xīn de yī jiā zhī zhù de dì wèi。 xiǎo shuō zài tǐ xiàn liǎo kǎ fū kǎ dú tè de“ shěn fù” yì shí de tóng shí, yě biǎo xiàn liǎo duì jiāzhǎng shì de 'ào xiōng dì guó tǒng zhì zhě de bù mǎn。 yǔ cǐ tóng shí kǎ fū kǎ hái tōng guò zhè gè dú tè de gù shì jiē shì liǎo xī fāng shè huì zhōng xiàn shí shēng huó de huāng miù xìng hé fēi lǐ xìng。
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
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