( yòu yì： wú suǒ bù zhī xiān shēng )
　　
　　 yī
　　
　　 wǒ zài jiàn dào kǎi lán dá zhī qián jiù yòu diǎn bù xǐ huān tā。
　　
　　 dì yī cì shì jiè dà zhàn gāng gāng jié shù， héng dù tài píng yáng de háng xiàn fēi cháng fán máng， kè cāng shì hěn nán yù dìng dào de。 wǒ hěn gāo xīng， nòng dào yī gè shuāng rén kè cāng， dàn dāng tīng dào tóng bàn de míng zì shí， wǒ jiù yòu diǎn huī xīn liǎo。 “ kǎi lán dá ”， zhè shǐ wǒ yòu yī zhǒng zài kōng qì zhì xī bù liú tōng de fáng jiān lǐ de gǎn jué。 xiǎng qǐ zài zhè 14 tiān de lǚ tú zhōng（ wǒ cóng shèng fú lán xī sī kē dào héng bīn）， jiāng hé zhè gè kǎi lán dá gòng yòng yī jiān fáng， wǒ jiù gǎn dào bù shū fú。 wǒ tǎo yàn tā de míng zì， yào shì tā jiào shǐ mì sī huò zhě bù lǎng shénme de yě hǎo yī diǎn。
　　
　　 shàng chuán hòu， wǒ lái dào kè cāng， fā xiàn kǎi lán dá yǐ jīng lái guò。 yī zhǐ yòu dà yòu nán kàn de yī xiāng hé yī gè tiē mǎn biāo qiān de shǒu tí xiāng fàng zài tā de chuáng xià， liǎn pén jià shàng bǎi zhe tā de xiāng shuǐ， xǐfà jīng hé rùn fā yóu， tán mù zuò de yá shuà shàng dù jīn yìn zhe tā de míng zì suō xiě。
　　
　　 wǒ bù xǐ huān kǎi lán dá。
　　
　　 zài xī yān shì lǐ， wǒ yào liǎo yī fù dān rén wán de zhǐ pái， zhèng zhǔn bèi kāi shǐ wán de shí hòu， yī gè rén zǒu liǎo guò lái xiàng wǒ wèn hǎo。
　　
　　“ wǒ shì kǎi lán dá。” tā zài wǒ miàn qián zuò xià， xiào zhe lù chū yī pái xuě bái de yá chǐ。
　　
　　“ ò， wǒ men hǎo xiàng zhù zài yī gè fáng jiān。”
　　
　　“ tīng shuō nǐ shì yīng guó rén， wǒ gǎn dào hěn gāo xīng。 zài hǎi wài yù dào zì jǐ de tóng bāo， què shí ràng rén jī dòng。”
　　
　　“ nǐ shì yīng guó rén？”
　　
　　“ dāng rán， wǒ shì yī gè dì dì dào dào de yīng guó rén。” shuō zhe tā ná chū tā de hù zhào dì gěi wǒ。
　　
　　“ xiǎng hē diǎn shénme má？” tā wèn dào。
　　
　　 wǒ yí huò qǐ lái。 měi guó zhèng zài shí xíng jìn jiǔ lìng， chuán shàng shì zhǎo bù dào yī dī jiǔ de， dàn shì kǎi lán dá jiǎo xiá dì cháo wǒ xiào liǎo xiào。
　　
　　“ wēi shì jì， sū dǎ hái shì jī wěi jiǔ， nǐ zhǐ yào shuō yī shēng jiù kě yǐ。” shuō zhe， tā cóng hòu kù dài lǐ mō chū liǎng gè píng zǐ， fàng zài wǒ miàn qián de zhuō zǐ shàng， wǒ xīng fèn qǐ lái， zhǎo fú wù yuán yào liǎo liǎng gè bō lí bēi hé yī xiē bīng kuài。
　　
　　“ ǹg， bù cuò” wǒ shuō。
　　
　　“ shì de， wǒ zhè lǐ hái yòu hǎo duō zhè yàng de jiǔ， chuán shàng rú guǒ hái yòu nǐ de péng yǒu de huà， nǐ kě yǐ bǎ tā mendōu jiào lái。” wǒ méi yòu shuō shí me。
　　
　　 jiē zhe tā gēn wǒ jiǎng qǐ niǔ yuē、 shèng fú lán xī sī kē， tán dào xì jù、 gěi huà hé。 tā hěn jiàn tán， hǎo cháng shí jiān dōushì tā yī gè rén zài nà lǐ tāo tāo bù jué dì shuō zhe。
　　
　　 wǒ yòu diǎn yàn fán liǎo， chóngxīn ná qǐ wǒ de pái。
　　
　　“ nǐ xǐ huān zhǐ pái mó shù má？”
　　
　　“ bù xǐ huān。” wǒ yòu kāi shǐ tǎo yàn tā liǎo。
　　
　　“ wǒ lái gěi nǐ biǎo yǎn yī gè。” tā chōu chū sān zhāng pái dì gěi wǒ。 dàn wǒ méi yòu lǐ tā， shuō wǒ yào qù cān tīng zhǎo gè zuò wèi。
　　
　　“ ò， hěn hǎo， wǒ yǐ jīng wèiwǒ men liǎ dìng liǎo zuò wèi， wǒ xiǎng wǒ men yīnggāi zuò zài yī kuài 'ér。”
　　
　　 wǒ bù xǐ huān kǎi lán dá。
　　
　　 tā bù dàn hé wǒ zhù zài yī gè fáng jiān， ér qiě yī tiān sān cān dū fēi yào hé wǒ jǐ zài yī zhāng zhuō zǐ shàng chī fàn。 bù lùn wǒ zài shénme dì fāng， dōuwú fǎ bǎi tuō tā。 yào shì zài wǒ jiā lǐ de huà， wǒ yī dìng huì zài tā miàn qián“ pēng” de bǎ mén guān shàng， ràng tā míng bái zì jǐ shì yī gè bù shòu huān yíng de rén。
　　
　　 kǎi lán dá shàn cháng jiāo jì， zài chuán shàng de dì sān tiān， jiù chā bù duō rèn shí liǎo suǒ yòu de rén。 tā shénme shìdōu gān： zhù chí pāi mài， chóu jí tǐ yù zī jīn， zǔ zhì gāo 'ěr fū qiú sài， ān pái yīnyuè huì， jǔ bàn huà zhuāng wǔ huì。 wǒ xiǎng dà jiā yī dìng yòu diǎn tǎo yàn tā。 wǒ mendōu jiào tā“ wàn shì tōng” xiān shēng， shèn zhì zài tā miàn qián yě shì zhè yàng。 tā duì cǐ bìng bù zài hū， bǎ zhè dāng zuò wǒ men duì tā de gōng wéi。
　　
　　 èr
　　
　　 kǎi lán dá fēi cháng jiàn tán， bìng qiě xǐ hǎo tóng bié rén zhēng lùn， tè bié shì zài chī fàn de shí hòu。 wǒ men jiǎn zhí nán yǐ rěn shòu， dàn yòu wú fǎ ràng tā tíng xià lái。 tā hǎo xiàng bǐ shuídōu dǒng dé duō， cuò wù sì hū yě bù huì fā shēng zài tā shēn shàng。 zài tā jiǎng huà shí， ruò yòu rén fǎn duì tā， tā jiù huì tóng tā zhēng gè méi wán。 zài shuō fú nǐ zhī qián， tā jué bù huì fàng qì yī gè huà tí， bù guǎn tā shì duō me de bù zhòng yào。
　　
　　 yī tiān wǎn shàng， wǒ men zuò zài yī shēng de zhuō bàng， kǎi lán dá réng xiàng yǐ wǎng yī yàng zài tāo tāo bù jué dì shuō zhe。 zài zuò de hái yòu zài shén hù de měi guó lǐng shì guǎn gōng zuò de lā mǔ qí hé tā de fū rén。
　　
　　 lā mǔ qí shì yī gè hěn jiēshí de jiā huǒ， pí fū bēng dé jǐn jǐn de， lüè xiǎn féi pàng de dù zǐ shǐ yī fú tū qǐ。 zhè cì tā shì dài zhe qī zǐ chóngfǎn shén hù de。 tā de qī zǐ yǐ dú zì yī rén zài niǔ yuē dāi liǎo yī nián。 lā mǔ qí fū rén de yàng zǐ shí fēn kě 'ài。 suī rán tā zhàng fū de gōng zī bù zěn me gāo， tā chuān dé yě hěn jiǎn pǔ， dàn tā zhī dào zěn yàng chuān tā de yī fú， shǐ tā jù yòu chāo guò yī bān nǚ rén de mí rén zhī chù。 zhè shì yī zhǒng duān zhuāng shū jìng de měi。
　　
　　 kàn dé chū lā mǔ qí hěn tǎo yàn kǎi lán dá。 tā men shí shí zhēng lùn yī fān， zhè zhǒng zhēng lùn shì cháng shí jiān de， jī liè de。
　　
　　 zhè shí， huà tí tán dào jīng míng de rì běn rén zhèng zài jìn xíng de rén gōng yǎng zhí zhēn zhū。 kǎi lán dá gěi wǒ men jiǎng liǎo xǔ duō guān yú zhēn zhū de shì。 wǒ xiāng xìn lā mǔ qí duì cǐ zhī dào de bù huì hěn duō， dàn tā jué bù huì fàng guò rèn hé fǎn bó kǎi lán dá de jī huì。 bù yī huì 'ér， wǒ men jiù bèi juǎnrù liǎo yīcháng chōng mǎn huǒ yào wèi de zhēng chǎo。 gāng kāi shǐ， kǎi lán dá hái shì qíng xù jī 'áng， tāo tāo bù jué， dàn bù jiǔ， tā zì jǐ yě yòu diǎn yàn fán liǎo。 zuì hòu， tā xiǎn rán shì bèi lā mǔ qí de yī jù huà cì tòng liǎo， qiāo zhe zhuō zǐ jiào dào：
　　
　　“ wǒ kě yǐ gào sù nǐ， zài zhè fāng miàn wǒ shì zuì yòu fā yán quán de。 wǒ zhè cì dào rì běn jiù shì qù qià tán zhēn zhū shēng yì de。 méi yòu nǎ yī gè dǒng zhèyīháng de rén bù huì rèn wéi wǒ gāng cái suǒ shuō dedōu shì qiān zhēn wàn què de。” tā dé yì yáng yáng dì kàn zhe zhōu wéi de rén。“ wǒ zhī dào suǒ yòu zhēn zhū de hángqíng， méi yòu nǎ yī zhǒng zhēn zhū wǒ bù néng mǎ shàng biàn rèn chū。” tā zhǐ zhe lā mǔ qí fū rén dài de xiàng liàn，“ fū rén， nǐ de zhè chuàn zhēn zhū xiàng liàn jiù fēi cháng zhí qián， bìng qiě tā de jià gé hái zài shàng zhǎng。”
　　
　　 lā mǔ qí fū rén de liǎn hóng liǎo， tā bǎ nà xiàng liàn qīng qīng sài jìn tā de yī fú。
　　
　　“ nǐ shuō zhè shì tiān rán zhēn zhū má？” lā mǔ qí hǎo xiàng yǐ jīng zhuā zhù liǎo kǎi lán dá de shénme bǎ bǐng。
　　
　　“ shì de， zhè zhǒng zhēn zhū fēi cháng jīng zhì。” kǎi lán dá dá dào。
　　
　　“ hǎo。 suī rán zhè bù shì wǒ mǎi de， dàn wǒ xiǎng zhī dào， nǐ rèn wéi tā zhí duō shǎo qián？”
　　
　　“ zài yī bān de shì chǎng yào 1 ． 5 wàn měi yuán， dàn zài měi guó zuì fán huá de dì wǔ jiē， 1． 3 wàn měi yuán yě néng mǎi dé dào。” lā mǔ qí lěng xiào qǐ lái。
　　
　　“ zhè shì wǒ fū rén lí kāi niǔ yuē qián zài yī jiā bǎi huò shāng diàn lǐ mǎi de， zhǐ huā liǎo 18 měi yuán。”
　　
　　 kǎi lán dá de liǎn yī xià zǐ zhǎng dé tōng hóng。
　　
　　“ hú shuō， zhè zhēn zhū bù dàn shì zhēn de， ér qiě shì wǒ suǒ zhī dào de jǐ zhǒng zhōng zuì hǎo de yī zhǒng。”
　　
　　“ nǐ gǎn dǎ dǔ má？ wǒ yào yòng 100 měi yuán hé nǐ dǎ dǔ zhè shì fǎng zhì pǐn。” lā mǔ qí sǒng yǒng dào。
　　
　　“ kě yǐ。”
　　
　　“ bù， lā mǔ qí， nǐ zěn me néng ná yī jiàn shì shí hé rén dǎ dǔ ní？” lā mǔ qí fū rén quàn zǔ dào。
　　
　　“ wèishénme bù ní？ rú guǒ fàng qì zhè yàng yī gè qīng yì néng nòng dào qián de jī huì， nà cái shì yī gè shǎ guā。”
　　
　　“ dàn nǐ yě bù néng zhèng míng tā shì fǎng zhì pǐn yā？”
　　
　　“ bǎ tā ná gěi wǒ kàn yī kàn， wǒ jiù zhī dào tā de zhēn jiǎ。” kǎi lán dá shuō dào。
　　
　　“ qīn 'ài de， bǎ tā ná gěi zhè wèi xiān shēng kàn kàn。”
　　
　　 lā mǔ qí fū rén yóu yù zhe， tā de liǎng shǒu jǐn wò zài yī qǐ， hǎo xiàng hái zài kǎo lǜ zhe shénme。
　　
　　 lā mǔ qí děng dé bù nài fán liǎo， tā zǒu guò lái qīn shǒu bǎ xiàng liàn jiě liǎo xià lái， dì gěi liǎo kǎi lán dá。
　　
　　 wǒ yù gǎn dào yī jiàn bù xìng de shì yào fā shēng liǎo。
　　
　　 kǎi lán dá ná chū yī gè fàng dà jìng， zǎi xì dì guān chá qǐ lái。 bù yī huì， yī sī shèng lì de wēi xiào shǎn xiàn zài tā de liǎn shàng。 dāng tā bǎ xiàng liàn dì gěi lā mǔ qí zhèng zhǔn bèi kāi kǒu shuō huà shí， hū rán kàn jiàn lā mǔ qí fū rén de liǎn shì nà yàng de bái， hǎo xiàng tā mǎ shàng jiù huì yùn guò qù。 tā de yǎn jīng kàn zhe kǎi lán dá， nà shì yī zhǒng jué wàng de 'āi qiú。 wǒ hěn qí guài， lā mǔ qí méi yòu kàn dào zhè xiē。
　　
　　 kǎi lán dá bàn zhāng zhe zuǐ， bàn tiān dōuméi yòu shuō chū huà。 wǒ kàn dé chū tā zài nǔ lì gǎi biàn zhe shénme。
　　
　　“ wǒ cuò liǎo，” zuì hòu tā shuō dào，“ zhè shì yī gè fēi cháng hǎo de fǎng zhì pǐn， 18 měi yuán zhèng hé shì。”
　　
　　 tā cóng qián bāo lǐ ná chū 100 měi yuán dì gěi lā mǔ qí， méi yòu zài shuō yī jù huà。
　　
　　“ yě xǔ zhè néng jiào huì nǐ yǐ hòu bù yào tài zì yǐ wéi shì liǎo。” lā mǔ qí dé yì yáng yáng。
　　
　　 wǒ zhù yì dào kǎi lán dá de shǒu zài fā dǒu。
　　
　　 zhè jiàn shì hěn kuài zài quán chuán chuán kāi liǎo， kǎi lán dá bù dé bù rěn shòu zhe bié rén de xì nòng hé cháo xiào。 duì“ wàn shì tōng” xiān shēng lái shuō， zhè què shí shì yī gè xiào huà。 dàn shì， lā mǔ qí fū rén zài yě méi yòu chū lái guò， jù shuō tā yòu diǎn tóu tòng。
　　
　　 sān
　　
　　 dì 'èr tiān zǎo shàng， wǒ qǐ lái zhèng zài guā liǎn， kǎi lán dá tǎng zài chuáng shàng chōu xuějiā。 hū rán yī zhèn dū dū dū dū de shēng yīn， yī fēng xìn cóng mén xià sài liǎo jìn lái。 wǒ dǎ kāi mén， wài miàn méi yòu rèn hé rén。 wǒ jiǎn qǐ xìn fēng， shàng miàn yòng yìn shuà zì tǐ xiě zhe“ gěi kǎi lán dá”。
　　
　　 wǒ bǎ xìn dì gěi liǎo tā：
　　
　　“ nǎ lǐ lái de？”
　　
　　 tā dǎ kāi xìn fēng。“ ò？” ná chū de bù shì xìn， ér shì yī zhāng 100 měi yuán de chāo piào。
　　
　　 tā kàn liǎo wǒ yī yǎn， rán hòu bǎ xìn fēng sī chéng suì piàn cóng cāng kǒu rēng liǎo chū qù。
　　
　　“ méi yòu shuí yuàn yì bèi bié rén kàn chéng shì yī gè shǎ guā。” tā shuō。
　　
　　“ nà zhēn zhū shì zhēn de má？” wǒ wèn dào。
　　
　　“ rú guǒ wǒ yòu yī gè piào liàng de qī zǐ de huà， wǒ jué bù huì ràng tā yī gè rén zài niǔ yuē dāi yī nián。” tā ná chū qián bāo， bǎ 100 měi yuán fàng liǎo jìn qù。
　　
　　 zhè shí， wǒ jué dé wǒ bù shì nà me bù xǐ huān kǎi lán dá liǎo。

　　《 shū yǔ nǐ》（ 1940 nián） suí bǐ

　　máo mǔ de zuò pǐn róng yì dú , měi yīháng wén zì dōuwú bǐ qīng xī . chuàng yì dú jù , shàn zào qū shì què lěng mò bàng guān de tiān cái . tā wú yì chéng wéi dào dé lǐng xiù huò yù yán zhuān jiā , jǐn zì xǔ wéi tí gōng gāo shàng yú lè de zhí yè zuò jiā . 「 rén xìng de jiā suǒ 」 guān zhào qīng nián de qǐ méng , rén shēng yì yì de tàn xún , zuò zhě cǎi zìzhuàn xíng shì , sì yòu yì yǐ xiě zhè běn shū zuò wéi xīn líng jiù shú de yí shì , yīn cǐ xíng wén jiān yíng yì zhù zuò zhě bù néng zì jǐ de qíng xù . tā yě shí fēn shàn yú bǎ zì jǐ de xíng xiàng fēn zhí zài juésè shàng , huà zuò tā běn rén de jīng shén lì liàng huà shēn . dàn zài rén shēng de zhuī qiú shàng , tā shǐ zhōng bǎo chí zhù jiān zhēn de tǒng yī , rén xìng de ruò diǎn cái méi yòu xíng chéng tài dà de zǔ 'ài . tā hái yòu yī gè xìng gé tè zhǐ : bǐ shì jīn qián , bǐ shì fú huá , bìng bǎ chún pǔ zhì yú zhì gāo wú shàng . shì zhí dé yī dú de hǎo shū .
　　 fěi lì pǔ huàn yòu xiān tiān xìng bǒ zú , gèng bù xìng de shì zài tā jiǔ suì de shí hòu fù mǔ xiāng jì qù shì , shǐ dé tā zhǐ hǎo dào bó fù jiā zhù , zhè xiē zāinàn wú qíng de duó zǒu liǎo tā xiǎng shòu zhèng cháng shēng huó de quán lì . yóu yú xiān tiān xìng de bǒ jiǎo , shǐ tā cóng xiǎo jiù bèi zhōu zāo de péng yǒu cháo xiào , pái chì , tā zhǐ hǎo zài shēn yè huò bàng biān méi yòu rén de shí hòu mò mò kū qì . dàn shì 'ǒu 'ěr de wēn cún dùn shǐ tā jué dé nà xiē yǔ tā bù xiāng gān de wài jiè hái yòu yī xiē mèi lì , tā zài jí duān de tòng kǔ yǔ wēi ruò de guāng máng jiān chóu chú . yú shì tā qián chéng de xiàng shàng dì qí dǎo , zhēn zhì de dǎo gào , què méi yòu dé dào rèn hé de bāng zhù , yú shì tā jué dìng fàng qì xìn yǎng . yóu yú mǔ qīn de zǎo shì , tā shǐ zhōng quē fá guān 'ài , yōu yù shǐ tā biàn de mǐn gǎn , chén mò , zhōng rì yǔ yīn 'àn de jiǎo luò wéi bàn , shèn zhì jué wàng dào jué dé shēng mìng shì háo wú yì yì de . hòu lái , tā zhōng yú dé dào shàn liáng rén de jiù zhù , xīn lǐ cái huò rán yòu liǎo yī xiàn guāng míng , bó fù de qià hǎo bìng gù yě shǐ tā lǐ suǒ dāng rán de jì chéng liǎo yī bǐ cái chǎn . zài shēng mìng niǎn zhuǎn zhì sān shí suì de shí hòu , fěi lì pǔ zǒu chū liǎo gǔ dǐ . tā yǐ wēn róu de xīn yǔ tài dù qù duì dài měi yī gè rén , wú lùn shì bìng rén huò shì nǚ rén , tādōu fù chū guān huái , shèn zhì shì méi lù dé lěi , tā wú tiáo jiàn de yáo wěi qǐ lián , bēi gōng qū xī , zuì hòu , tā bù zài duì tā yòu suǒ yǐ liàn , bǎi tuō bù kān de qián chén wǎng shì . gù shì de zuì hòu , tā yù jiàn liǎo jiàn kāng , zì rán , chén jìng de nǚ hái héng héng suō lì , hé bìng tài , qiǎn sú de méi lù dé lěi yòu zhù qiáng liè de duì bǐ , suī rán tā bù shì fěi lì pǔ de zuì 'ài , què fǔ wèi fěi lì pǔ cháng jiǔ yǐ lái shòu shāng de xīn líng .
　　 fěi lì pǔ de bó fù zài shū zhōng jiào yù juésè shàng de bàn yǎn , qí shí shì yòu suǒ quē shī de , yóu qí shì zài zōng jiào guān niàn shàng , zuì hòu jìng dǎo zhì fěi lì pǔ duì shàng dì de bù xìn rèn , duì zōng jiào de bù qián chéng .
　　 fěi lì pǔ de xué xí lù shàng , yīn wéi zhī tǐ cán zhàng dǎo zhì nèi xīn zì bēi , zhè yàng tè shū de hái zǐ , yīnggāi yào duō gěi yú 'ài yǔ guān huái , ér bù shì qiáo bù qǐ tā huò xīn cún fěng cì . qí shí tā men gēn yī bān de hái zǐ yǐ yàng , dū xū yào bié rén de guān huái , wǒ men hé bù fáng zhēn chéng tǎn rán miàn duì bù zú , yǐ gèng bāo róng de 'ài xīn bāng zhù shēn xīn zhàng 'ài de 'ér tóng zǒu rù rén qún .
　　 fěi lì pǔ de 'ài qíng gù shì wèihé rú cǐ fēng fù ? wǒ xiǎng tā zài xún qiú yī fèn 'ài , yī fèn wèi jiè gǎn . chū chǎng 'ài qíng de fěi lì pǔ shì rú cǐ de máo dùn yǔ bù 'ān , zhè zhǒng fù zá de xīn jìng , tā zì jǐ yě wú fǎ jiě shì , zhí dào tuō lí méi lù dé lěi , wǎn rú zhèng tuō suǒ liàn bān zì yóu . rén lèi yóu yú xiān tiān yí chuán de bù tóng , zài jiā shàng hòu tiān shēng huó yǔ jiào yù huán jìng de chā yì , xíng chéng zhǒng zhǒng bù tóng de gè xìng . suǒ wèi rén xìng de bù tóng , gè rú qí miàn , yán gé lái shuō , méi yòu liǎng gè rén de gè xìng shì wán quán yī yàng de , nán nǚ guān xì biǎo xiàn gèng wéi shēn kè , ài de guò chéng zhōng , wǎng wǎng huì shǐ rén máng mùdì tàng shàng yī fù jiā suǒ 'ér bù zì zhī , rén bù dàn bù yǐ wéi kǔ , fǎn 'ér rèn wéi shì yī zhǒng kuài lè . nán guài yòu rén shuō :「 ài qíng shì máng mùdì」 ,「 ài huì ràng nǐ wú fǎ zì bá」 !
　　
　　 fěi lì pǔ zài zhì yí , miàn duì shēng mìng de cún zài yǔ kǔ mèn , tàn suǒ「 rén shēng de yì yì wèihé」 shí , wǒ yòu hěn dà de qǐ shì , shū zhōng de yī duàn huà :「 rú guǒ méi yòu fán nǎo , rén shēng huó zhù jiù méi yòu yì sī .」 rén shí shí kè kè yào qù fǎnxǐng , tàn xún zì jǐ xīn zhōng gāo céng cì de chéngzhǎng , jiè yǐ dòng xī rén xìng de gè zhǒng máng diǎn hé ruò diǎn , bìng yīn liǎo jiě 'ér xǐng wù , cóng chōng mǎn cuò jué yǔ huàn xiàng de rén xìng jiā suǒ zhōng zhèng tuō chū lái , wǒ shēn xìn měi gè rén dū jiāng zhǎo dào shǔ yú tā zì jǐ de tiān dì yǔ lǐ xiǎng .
　　
　　 xiàn máo mǔ de shū tán dào liǎo rén xìng de jiā suǒ , chéng rú hūn yīn yòu rén xiǎng jìn qù yě yòu rén xiǎng chū lái , jiā suǒ de jìn chū zhǐ yòu zì jǐ qù sī suǒ liǎo . suǒ yǐ :「 yī lì mǐ yǎng bǎi yàng rén , yī zhī cǎo yī diǎn lù .」 qí shí měi gè rén jī běn shàng dū zhù guān de duō . yǐ wéi shì jiè sì hū zhǐ yòu rén lèi , ér wàng liǎo yǔ rén lèi gòng cún de , yòu wú shù zhǒng de qí tā shēng wù . tā men zhèng hé rén lèi jìng zhēng shēng cún . rén huó zhù jiù yòu jìng zhēng , jiù yòu wèn tí . rén wéi shí mó huó zhù , dá 'àn hěn jiǎn dān , jiù shì 『 tàn suǒ wèi zhī 』 . rén shì jiān yòu cāng hǎi sāng tián , hǎi kū shí làn de nuò yán , què méi yòu rén děng dào nà yī tiān .
　　 rén de yī shēng zhōng , wǎng wǎng shēn fù xǔ duō de jiā suǒ , wú lùn shì jīng shén shàng , shēng lǐ shàng huò xīn líng shàng . cóng chū shēng , chéngzhǎng , móu shēng , liàn 'ài , jí bìng děng , wǒ mendōu yòu suǒ xiǎng bù tòu , kàn bù kāi de shì wù , zāo yù xǔ xǔ duō duō bù rú jǐ yuàn de shì , yòu shí shèn zhì shēn xiàn tòng kǔ de shēn yuān , wú fǎ zì bá； wèile xún qiú yī tiáo jiě tuō de tú jìng , yòu de rén xuǎn zé qīng shēng , yòu de rén jì xù duò luò , yòu rén què cóng zhōng dé dào chéngzhǎng . zǒng shì dào liǎo báifà cāng cāng shí , cái fā xiàn guò qù zhǒng zhǒng jiān chí shì duō mó de wú wèi； lì jīng liǎo fēng huā xuě yuè zhī hòu , cái huǎng rán dà wù , yī qiēdōu shì xū huàn kōng wú , cái liǎo jiě cāng hǎi sāng tián de dào lǐ .
　　 rén yīnggāi bǎ wò dāng xià , jiān chí zì jǐ de mù biāo , zì jǐ suǒ xiǎng yào de cuǐ càn rén shēng . dàn yī dìng yào héng liàng qīng chǔ , zěn yàng de rén shēng cái shì zì jǐ suǒ zhuī qiú de . rú guǒ nǐ dǒng dé fàng xià , dǒng dé zhēn xī , yī qiē kǔ nán huì dùn rú mèng huàn pào yǐng , guò yǎn yún yān . tòng kǔ de dāng xià , nǐ dǒng dé liǎo huàn , xué huì liǎo jué , wù chū liǎo rén shēng de zhēn lǐ , xué xí rú hé qù zuò , biàn néng ràng zì jǐ zhú jiàn dì cóng tòng kǔ zhōng jiě kāi jiā suǒ yǔ shù fù , wǒ men cái néng huò dé zhēn zhèng de kuài lè . zhè yàng shuō , tīng qǐ lái hěn róng yì , yào shí xíng què yòu yī dìng de kùn nán dù , bì jìng bù shì měi gè réndōu néng zhǎng wò zì jǐ de rén shēng , bǎi tuō yī qiē de jiā suǒ hé xiǎn zǔ , gèng yào jù bèi yǒng wǎng zhí qián , mào xiǎn fàn nán de lì liàng .

　　Of Human Bondage (1915) is a novel by W. Somerset Maugham. It is generally agreed to be his masterpiece and to be strongly autobiographical in nature, although Maugham stated, "This is a novel, not an autobiography, though much in it is autobiographical, more is pure invention." Maugham, who had originally planned to call his novel Beauty from Ashes, finally settled on a title taken from Spinoza's Ethics.
　　
　　Plot summary
　　
　　The book begins with the death of the mother of the nine-year-old protagonist, Philip Carey. Philip's father had already died a few months before, and the orphan Philip is sent to live with his aunt and uncle. His uncle is vicar of Blackstable, a small village in East Anglia. Philip inherits a small fortune but the money is held in custody by his uncle until he is twenty-one, giving his uncle a great deal of power over him until he reaches his maturity.
　　
　　Early chapters relate Philip's experience at the vicarage. His aunt tries to be a mother to Philip, but she is herself childless and unsure of how to behave, whereas his uncle takes a cold disposition towards him. Philip's uncle has an eclectic collection of books, and in reading Philip finds a way to escape his mundane existence and experience fascinating worlds of fiction.
　　
　　Less than a year later, Philip is sent to a boarding school. His uncle and aunt would like for him to eventually go to Oxford to study to become a clergyman. Philip's shyness and his club foot make it difficult for him to fit in with the boys at the school, and he does not make many friends. Philip goes through an episode of deep religious belief, and believes that through true faith he can get God to heal his club foot; but as this does not happen, his belief falters. He becomes close friends with one boy; but the friendship breaks up, and he becomes miserable. Philip shows considerable academic talent and could have gotten himself a scholarship for Oxford, but instead he wishes to leave the school and go to Germany. Philip's uncle and the school's headmaster oppose Philip's desire to go to Germany, but eventually they give in and they allow him to go to Heidelberg for a year.
　　
　　In Heidelberg, Philip lives at a boarding house with other foreigners and studies German, among other subjects. Philip enjoys his stay in Germany. At the boarding house he acquaints a fellow Englishman, Hayward, who has an interest in literature and who considers himself a poet. Philip also meets an unorthodox American named Weeks, who has a mutual dislike for Hayward and who thinks the man is superficial. Philip is intrigued by his long discourses with Hayward and Weeks and eventually becomes convinced that he need not believe in the Church of England. This is a heretofore unheard of idea to him as he has been brought up with staunch Christian values.
　　
　　Philip returns to his uncle's house and meets a middle-aged family friend of his aunt and uncle named Miss Wilkinson, who is very flirtatious toward Philip. He is not particularly attracted to her and is uncomfortable about her age; but he likes the idea of having an affair with someone, so he pursues her. She says that she is in love with Philip and becomes very attached to him, and he pretends to be passionate about her; but he is relieved when she must return to Berlin. Miss Wilkinson writes letters to Philip from Berlin, to which he eventually stops responding.
　　
　　Philip's guardians decide to take his matters into their own hands and convince him to move to London and take up an apprenticeship to become a chartered accountant. He does not fare well there as his coworkers resent him because they believe he is above them and is a "gentleman." Philip is desperately lonely in London and is humiliated by his lack of aptitude for the work. He begins thinking about studying art in Paris. He goes on a business trip with one of his managers to Paris and is inspired by this trip. Miss Wilkinson convinces Philip that he draws well enough to become a professional, and he moves to Paris to study art.
　　
　　In Paris Philip attends art classes, makes a few friends among fellow art students and meets Miss Price, a poor talentless art student who does not get along well with people. Miss Price falls in love with Philip, but he does not return her feelings. After her funds run out, she commits suicide, leaving Philip to tend after her affairs.
　　Davis and Howard in the 1934 film version
　　
　　Philip realizes that he will never be more than a mediocre artist; at the same time, he receives word that his aunt has died. He returns to his uncle's house, and eventually decides to go to London to pursue medicine, his late father's field. He struggles at medical school and comes across Mildred, a tawdry waitress at a local café. He falls desperately in love with her, although she does not show any emotion for him. Mildred tells Philip she is getting married, leaving him heartbroken; he subsequently enters into an affair with Norah Nesbitt, a kind and sensitive author of penny romance novels. Later, Mildred returns, pregnant, and confesses that the man for whom she had abandoned Philip had never married her. Philip breaks off his relationship with Norah and supports Mildred financially though he can ill afford to do so, but later she falls in love with a friend of Philip's and disappears.
　　
　　Philip runs into Mildred again when she is so poor she has resorted to prostitution and, feeling sympathy for her, takes her in to do his housework, though he no longer loves her. When he rejects her advances, she becomes angry at him, leaves, and destroys his possessions, causing Philip to abandon that residence and move into cheaper housing. When Philip meets Mildred next, she is ill and prostituting herself again, and the baby has died.
　　
　　While working at the hospital, Philip befriends family man Thorpe Athelny and is invited to his house every Sunday. Meanwhile, a stockbroker acquaintance of Philip advises him to invest in South African mines, and Philip is left with no money when the stock market crashes due to the vicissitudes of the Boer War. He wanders the streets aimlessly for a few days before the Athelnys take him in and find him a job at a retail store, which he hates. Eventually, his uncle's death leaves him enough money to go back to medical school, and he finishes his studies and becomes qualified. He takes on a temporary placement at a Dorsetshire fishing village with Dr South, an old, rancorous physician whose wife is dead and whose daughter has broken off contact with him. However, he takes a shine to Philip's humour and personableness, eventually making him an outstanding offer of a stake in his medical practice. Although flattered, Philip refuses as he is still eager to travel and returns to London.
　　
　　He soon goes on a small summer vacation with the Athelnys at a village in the Kent countryside. There he finds that one of Athelny's daughters, Sally, likes him. They have an affair, and when she thinks she is pregnant, Philip decides to give up his long-cherished plans to travel to exotic lands, to accept Dr South's offer, and to propose to Sally instead. On learning that it was a false alarm, Philip is disappointed but proposes to her anyway; she accepts. Philip puts aside his lofty, complex artistic and philosophical ideals, coming to the conclusion that "the simplest pattern, that in which a man was born, worked, married, had children, and died, was likewise the most perfect".
　　Film versions
　　
　　 * Of Human Bondage (1934) – Leslie Howard as Philip, and Bette Davis as Mildred, the role that established her as a star.
　　 * Of Human Bondage (1946) – Directed by Edmund Goulding, with Paul Henreid and Eleanor Parker in the lead roles.
　　 * Of Human Bondage (1964) – Laurence Harvey and Kim Novak in the lead roles.

　　zhōng xué bì yè hòu zài dé guó hǎi dé bǎo dà xué yì yè。 1892 nián zhì 1897 nián zài lún dūn xué yī， bìng qǔ dé wài kē yī shī zī gé。 xué yī qī jiān， céng fù lún dūn lán bèi sī pín mín kū dāng liǎo sān gè xīng qī de zhù chǎn shì， zhè duàn jīng lì shǐ tā dòng liǎo xiě zuò de niàn tóu。 tā de dì yī bù cháng piān xiǎo shuō《 lán bèi sī de lì suō》（ 1897） jí gēn jù tā zuò wéi bèi kě yī shēng zài pín mín qū wéi chǎn fù jiē shēng shí de jiàn wén yòng zì yóu zhù yì xiě fǎ xiě chéng。 yī bā jiǔ qī nián， tā yīn rǎn shàng fèi jí， bèi sòng wǎng fǎ guó nán fāng lǐ wéi 'āi lā liáo yǎng， kāi shǐ jiē chù fǎ guó wén xué， tè bié shì mò bó sāng de zuò pǐn。 1892 nián chū， tā qù dé guó hǎi dé bǎo dà xué xué xí liǎo yī nián。 zài nà 'ér， tā jiē chù dào dé guó zhé xué shǐ jiā kūn nuò · fèi xī 'ěr de zhé xué sī xiǎng hé yǐ yì bǔ shēng wéi dài biǎo de xīn xì jù cháo liú。 tóng nián fǎn huí yīng guó， zài lún dūn yī jiā kuàijì shī shì wù suǒ dāng liǎo liù gè xīng qī de liàn xí shēng， suí hòu， zài jiē shòu liǎo kǎn tè bó léi de guó wáng zhōng xué hé dé guó hǎi dé bǎo dà xué de jiào yù zhī hòu， máo mǔ chéng wéi lún dūn shèng tuō mǎ sī yī yuàn de shí xí yī shēng (1892-1897)。 wéi qī wǔ nián de xí yī shēng yá， bù jǐn shǐ tā yòu jī huì liǎo jiě dào dǐ céng rén mín de shēng huó zhuàng kuàng， ér qiě shǐ tā xué huì yòng jiě pōu dāo yī yàng lěng jùn、 xī lì de mù guāng lái pōu shì rén shēng hé shè huì。 tā de dì yī bù xiǎo shuō《 lán bèi sī de lì suō》， zhèng shì gēn jù tā cóng yī shí xí qī jiān de suǒ jiàn suǒ wén xiě chéng de。
　　
　　 zhè běn shū chū bǎn hòu xiāo lù hěn hǎo， zhè shǐ dé máo mǔ xià dìng liǎo qì yī cóng wén de jué xīn。 cóng 1903 nián qǐ， máo mǔ kāi shǐ xì jù chuàng zuò。

　　Liza of Lambeth (1897) was W. Somerset Maugham's first novel, which he wrote while working as a doctor at a hospital in Lambeth, then a working class district of London. It depicts the short life and death of Liza Kemp, an 18-year-old factory worker who lives together with her aging mother in Vere Street (obviously fictional) off Westminster Bridge Road (real) in Lambeth. All in all, it gives the reader an interesting insight into the everyday lives of working class Londoners at the turn of the century.
　　
　　Plot summary
　　
　　The action covers a period of roughly four months—from August to November—around the time of Queen Victoria's Jubilee. Liza Kemp is an 18-year-old factory worker and the youngest of 13 children, now living alone with her ageing and incompetent mother. Very popular with all the residents—both young and old—of Vere Street, Lambeth, she cannot really make up her mind as far as her love life is concerned. She very much likes Tom, a boy her age, but when he proposes to her she rejects him ("I don't love yer so as ter marry yer"). Nevertheless she is persuaded to join a party of 32 who make a coach trip (in a horse-drawn coach, of course) to a nearby village on the August Bank Holiday Monday. Some of the other members of the party are Tom; Liza's friend Sally and her boyfriend Harry; and Jim Blakeston, a 40-year-old father of nine who has recently moved to Vere Street with his large family, and his wife (while their eldest daughter, Polly, is taking care of her siblings). The outing is a lot of fun, and they all get more or less drunk on beer. On their way back, in the dark, Liza realizes that Jim Blakeston is making a pass at her by holding her hand. After their arrival back home, Jim manages to speak to her alone and to steal a kiss from her.
　　
　　Seemingly without considering either the moral implications or the consequences of her actions, Liza feels attracted to Jim. They never appear together in public because they do not want the other residents of Vere Street or their workmates to start talking about them. One of Jim Blakeston's first steps to win Liza's heart is to go to a melodramatic play with her on Saturday night. Afterwards, he succeeds in seducing her (although we never learn where they do it—obviously in the open):
　　
　　 'Liza,' he said a whisper, 'will yer?'
　　 'Will I wot?' she said, looking down.
　　 'You know, Liza. Sy, will yer?'
　　 'Na,' she said.
　　
　　But in the end they do "slide down into the darkness of the passage". (The reader never learns whether at that time Liza is still a virgin or not.) Liza is overwhelmed by love. ("Thus began a time of love and joy.")
　　
　　When autumn arrives and the nights get chillier, Liza's secret meetings with Jim become less comfortable and more trying. Lacking an indoor meeting place, they even spend their evenings together in the third class waiting room of Waterloo station. Also, to Liza's dismay, it turns out that people do start talking about them, in spite of the precautions they have taken. Only Liza's mother, who is a drunkard and a very simple sort of person, has no idea what is going on.
　　
　　Liza's friend Sally gets married, has to stop working at the factory because her husband would not let his wife earn her own money, and soon becomes pregnant. Liza feels increasingly isolated, with Sally being married now and even Tom seemingly shunning her, but her love for Jim keeps her going. They do talk about their love affair though: about the possibility of Jim leaving his wife and children ("I dunno if I could get on without the kids"), about Liza not being able to leave her mother because the latter needs her help, about living somewhere else "as if we was married", about bigamy -- but, strangely, not about adultery.
　　
　　The novel builds up to a sad climax when it gradually turns out that all men—maybe with the exception of Tom—are alike: They invariably beat their wives, especially when they have been drinking. Soon after their wedding Harry beats up Sally just because she has been away from home chatting with a female neighbour of theirs. What is more, he even hits Mrs Cooper, his mother-in-law. Liza, who happens to drop by and stays a little longer to comfort Sally is late for her meeting with Jim in front of a nearby pub. When she finally gets there Jim himself is aggressive towards her for being late. Without really intending to, he hits her across the face ("It wasn't the blow that 'urt me much; it was the wy you was talkin'"). Nevertheless on the following morning she has a black eye.
　　
　　Soon the situation deteriorates completely. Mrs Blakeston, who is pregnant again, stops talking to her husband at home—this is her way of opposing his affair with Liza. Then she goes on to indirectly threaten Liza: She tells other people what she would do to Liza if she got hold of her, and the other people tell Liza. Liza, a "coward" according to the third person narrator, is frightened because Mrs Blakeston is strong whereas she herself is weak. One Saturday afternoon in November, when Liza is going home from work, she is confronted with an angry Mrs Blakeston. In the ensuing fight between the two women, Mrs Blakeston first spits in Liza's face and then attacks her physically. Quickly a group of spectators gather round the two women—none of them even tries to separate the fighting women ("The audience shouted and cheered and clapped their hands."). Eventually, both Tom and Jim stop the fight, and Tom walks Liza home. Liza is now publicly stigmatized as a "wrong one", a fact she herself admits to Tom ("Oh, but I 'ave treated yer bad. I'm a regular wrong 'un, I am"). Despite all her misbehaviour ("I couldn't 'elp it! [...] I did love 'im so!"), Tom still wants to marry Liza, but she tells him that "it's too lite now" because she thinks she is pregnant. Tom would even tolerate her condition if only she could decide to marry him, but she refuses again.
　　
　　Meanwhile, at the Blakestones', Jim beats up his wife. Again people nearby—this time those who live in the same house and who are alarmed by Polly Blakeston—choose not to interfere in other people's domestic problems ("She'll git over it; an' p'raps she deserves it, for all you know").
　　
　　When Mrs Kemp comes home and sees her daughter's injuries all she can contribute to mitigating the situation is to offer her daughter some alcohol (whisky or gin). In the course of the evening they both get drunk, in spite of Liza's pregnancy. During the following night, however, Liza has a miscarriage. Mr Hodges, who lives upstairs, fetches a doctor from the nearby hospital, who soon pronounces the hopelessness of Liza's condition. While her daughter is dying, Mrs Kemp has a long talk with Mrs Hodges, a midwife and sick-nurse. Liza's last visitor is Jim, but Liza is already in a coma. Mrs Kemp and Mrs Hodges have switched the subject and are talking about the funeral arrangements (!) when Liza's death rattle can be heard and the doctor, who is still present, declares that she is dead.
　　Major themes
　　Living conditions
　　
　　Liza of Lambeth is clearly not a muckraking novel. People seem to be content with what they have; their poverty is not depicted as unbearable, and it does not prevent them from being fervent patriots ("Every man's fust duty is ter get as many children as 'e bloomin'well can") or from enjoying their spare time (which is often spent in pubs; also Liza drinks a lot). The scene at the theatre where Liza shouts out loud during the performance to warn one of the characters on stage is reminiscent of the Elizabethan theatre.
　　
　　At one point the narrator deplores the "newish, three-storied buildings" of Vere Street which are "perfectly flat, without a bow window [...] to break the straightness of the line from one end of the street to the other". As the lodgings are rather crowded with people, the residents of Vere Street spend as much time as possible outside, in the street—something which has changed completely in the course of the last hundred years.
　　Working conditions and working hours
　　
　　It is not mentioned what the factory Liza and Sally work at is producing. What we do learn though is that work at the factory starts at 8 a.m. If you are late you are shut out, do not get a token and, accordingly, do not get any pay for that day. On Saturdays, work is over around 2 p.m. The August Bank Holiday—the day of the excursion—enables the workers to have two days off in a row, something which is quite unusual for them.
　　The relationship between men and women
　　
　　There is not even an allusion to the women's or at least the suffragette movement. Every character in the novel—both men and women—knows their place, and the traditional stereotypes of gender roles are repeated over and over again. For example, Sally is absolutely submissive and blames herself when she is beaten up by her husband Harry. Beating your wife seems like a national pastime.
　　
　　Apart from Jim Blakeston's illicit affair with Liza Kemp, which is about to lead to an unwanted pregnancy, there is just one quick mention of illegitimate children, and no mention at all of abortions. The question of morality is not really pursued, neither by the characters in the novel nor by the third person narrator.
　　The value of human life
　　
　　From an early 21st century point of view, the way the characters regard death could almost be called fatalistic. People do not believe there is anything they can do about sudden or premature deaths. Infant mortality is very high.
　　The use of language
　　
　　The language used by the characters (i.e. everything in direct speech) is probably the most difficult aspect of the novel. This concerns both (a) the phonetic spelling (the typical Cockney phenomenon of "dropping the aitches" - and vice versa) and (b) the innumerable slang expressions.
　　Film, TV or theatrical adaptations
　　
　　A musical based - albeit loosely - on the novel was written by Willie Rushton and Berny Stringle, with music by Cliff Adams. It opened at the Shaftesbury Theatre in London in June 1976, and ran for 110 performances. It was produced by Ben Arbeid, directed by Berny Stringle, musically directed by John Burrows, and starred Angela Richards (best known as a regular in the BBC's Secret Army) in the title role, Patricia Hayes, Ron Pember, Michael Robbins and Eric Shilling, among others.
　　
　　The musical style is predominantly music hall, but the show includes a parody of Gilbert and Sullivan, a church choir arrangement with some completely incongruous lyrics (A Little Bit On The Side), and some touching ballads.
　　
　　The Tart With A Heart of Gold was cut from the West End production, and is also missing from the original London cast recording (Thames THA 100), despite it describing the entire raison d'être of one of the main female characters.
　　
　　The musical has not been officially published for amateur performance, but it is occasionally licensed for amateurs. The world amateur premiere was performed at the Erith Playhouse in Erith, Kent, in June 1977, and was attended by members of the London production team. The rights to this musical are currently held by Thames Music in London.

　　《 dāo fēng》（ Therazor ’ sedge）（ 1944 nián） cháng piān xiǎo shuō
　　
　　 zuò pǐn miáo shù liǎo měi guó qīng nián fēi xíng yuán lā lǐ · dá léi 'ěr zài bù duì jié shí liǎo yī wèi 'ài 'ěr lán zhàn yǒu， zài yī cì zhàn dǒu zhōng， zhè wèi zhàn yǒu wéi jiù tā xī shēng liǎo。 wèicǐ tā diū xià yī qiē biàn yóu shì jiè， zuì hòu dào liǎo yìn dù， zhōng yú duì rén shēng dà chè dà wù， fǎn huí měi guó， dāng shàng yī gè chū zū chē sī jī， dǎ suàn yǐn shēn rén hǎi， jīng zhōng tiān nián。
　　
　　
　　 èr cì dà zhàn bào fā hòu， máo mǔ yóu ní sī bìnàn dào yīng guó， jì 'ér fù měi guó jū zhù， zhí dào zhàn zhēng jié shù hòu cái fǎn huí lǐ wéi 'āi lā de gù jū。 zài měi guó qī jiān， tā chū bǎn liǎo《 dāo fēng》（ yī jiǔ sì sì nián sì yuè， yīng guó bǎn wǎn sān gè yuè）； zhè shì yī bù jié zuò， chū bǎn hòu bù dàn shòu dào guǎng dà dú zhě huān yíng， ér qiě shòu dào fú jí nī yà · wǔ 'ěr fú fū rén nà gè yán jùn de pī píng jiā de chēng xǔ。《 zǒng jié》（ yī jiǔ sān bā） suī rán dài yòu zìzhuàn xìng zhì， dàn zhù yào shì xù shù tā de xiāng dāng shí shì qiú shì dàn bù suí liú sú de wén xué jiàn jiě hé rén shēng zhé xué； zhè bù shū yìnghè《 yī gè zuò jiā de bǐ jì běn》（ yī jiǔ sì sì） zuò zǐ mèi piān dú。 tā sǐ shí jiǔ shí yī suì， zào yòu yī nǚ。 tā de xì jù、 xiǎo shuō hé duǎn piān xiǎo shuō yòu xǔ duō yú tā zài shì shí dū pāi chéng diàn yǐng； zhè zài dāng dài zuò jiā zhōng yě shì shǎo jiàn de。
　　
　　《 dāo fēng》 shì yòng dì yī rén chēng xiě de， ér qiě zhè gè rén qián cuì bù zài shì zuò zhě guàn yòng de 'ā xīn dēng bǐ míng， ér shì zhí jiē yòng liǎo zì jǐ de zhēn míng shí xìng。 xiǎo shuō xiě yī gè cān jiā dì yī cì dà zhàn de měi guó qīng nián fēi xíng yuán lā lǐ · dá léi 'ěr。 zài jūn duì zhōng， lā lǐ jié shí liǎo yī gè 'ài 'ěr lán hǎo yǒu： zhè rén píng shí shì nà yàng yī gè shēng lóng huó hǔ bān de zhì shēng sǐ yú dù wài de fēi xíng yuán， dàn zài yī cì zāo yù zhàn zhōng， yīn qū jiù lā lǐ 'ér zhòngdàn xī shēng。 lā lǐ yīn cǐ duì rén shēng gǎn dào mí wǎng， nòng bù dǒng shì jiè shàng wèishénme yòu 'è hé bù xìng（ zhè yě shì máo mǔ zài《 zǒng jié》 zhōng tí chū guò de）。 fù yuán hòu， lā lǐ jì bù kěn jìn dà xué， yě bù kěn jiù yè， yī xīn xiǎng tàn qiú rén shēng de zhōng jí。 wèicǐ， tā diū xià wèi hūn qī lái dào bā lí； liǎng nián hòu， hé wèi hūn qī jiě yuē， yòu cóng bā lí biàn yóu shì jiè gè dì， zuì hòu dào liǎo yìn dù， zhǎo dào liǎo yìn dù de fèi tuó jīng zhé xué。 yú shì liǎo wù rén shēng， bǎ zì jǐ de yī diǎn bó chǎn fēn sàn gěi qīn yǒu， zì jǐ fǎn huí měi guó， dāng yī gè zì shí qí lì de chū zū qì chē sī jī， dǎ suàn yǐn shēn rén hǎi， yǐ zhōng tiān nián。 xiǎo shuō yǐ lā lǐ wéi zhōng xīn， miáo huì liǎo xǔ duō měi guó nán nǚ， yòu lā lǐ de wèi hūn qī， tān tú wù zhì xiǎng shòu de yī suō bèi 'ér； yòu yǐ mǎi mài gǔ dǒng qǐ jiā， yī xīn xiǎng zuàn jìn shàng liú jiāo jì shè huì de 'ài lüè tè · tán bō dēng； yòu tóu nǎo jiǎn dān dàn xīn dì zhōng hòu de gé léi · mǎ tú lín， tā yuán shì bǎi wàn fù wēng de dú shēng zǐ， dàn shì yī jiǔ 'èr jiǔ nián de jīng jì dà bēng kuì shǐ tā pò liǎo chǎn， tā shì gè zhǐ zhī dào zuò shēng yì fā cái de diǎn xíng měi guó shè huì chǎn wù； yòu yī suō bèi 'ér de tóng xué， suǒ fěi · mài táng nà， yīn zhàng fū hé 'ér zǐ zài chē huò zhōng sàng mìng， bèi fū jiā fàng zhú dào bā lí lái guò zhe duò luò de shēng huó， zhōng yú bèi bù chěng zhī tú shā hài； hái yòu yī gè mó tè 'ér jiān jì nǚ de fǎ guó nǚ zǐ sū shān · lǔ wéi 'āi， hé lā lǐ yǔ zuò zhě dū xiāng shí， zuì hòu hé fǎ guó yī gè wài dì chǎng shāng jié hūn 'ér dé dào shēng huó bǎo zhàng。 zuò zhě běn rén zài shū zhōng yě dān rèn liǎo yī gè zhòng yào juésè； tā jì shì yǎn yuán， yòu shì guān zhòng。 bèi jǐng duō bàn shì zài fǎ guó， tè bié shì bā lí。 yóu yú máo mǔ dà bàn shēng shì zài fǎ guó dù guò de， ér xiě zuò běn shū shí， zhèng yīn zhàn zhēng bì dì měi guó， suǒ yǐ xiě dào bā lí shí， tè bié liú lù chū huái xiāng qíng xù， rú xiě tā zài fù lā lǐ yuē huì zhī qián， chuān guò lú sēn bǎo bó wù guǎn de gōng yuán shí， miáo xiě yuán zhōng yóu rén de nà yī duàn huí yì zì jǐ qīng nián shí qī de miáo shù， wán quán shǔ yú zì xù xìng zhì， hé xiǎo shuō háo wú guān xì。 yòu rú dì liù zhāng lùn shù lāi xīn de《 bèi lěi nī sī》， dōushì lí kāi zhù tí fā huī zì jǐ de wén xué jiàn jiě。 shū zhōng de zhù yào juésè chú diào sū shān · lǔ wéi 'āi wài， quándōu shì měi guó rén， shǐ rén xiǎng qǐ yī jù tiáokǎn měi guó rén de yàn yǔ：“ rén sǐ hòu jìn tiān táng， měi guó rén sǐ hòu qù bā lí。” dàn shì， tā men zuì hòu dū sǐ de sǐ liǎo， huí guó de huí guó liǎo， lián sū shān · lǔ wéi 'āi yě jià dào wài dì qù， rú zuò zhě suǒ shuō，“ zài wǒ de shēng mìng zhōng yě xiāo shī liǎo。” dāng rán， zhè gè xiǎo juàn zǐ lǐ de rén zhǐ zhàn jù zuò zhě shēng huó de hěn shǎo yī bù fēn， dàn wǒ men réng bù miǎn xīng yī zhǒng luò mò zhī gǎn， fǎng fó zuò zhě shì“ zhū bó piāo dēng dú zì guī”。
　　
　　　　 zhèng rú zuò zhě zài xiǎo shuō zhōng jiāo dài de， tā zhè běn shū bìng bù xiǎng“ chǎn shù suǒ wèi《 ào yì shū》 de zhé xué tǐ xì。”“ wǒ dǒng dé tài shǎo liǎo， dàn jí shǐ dǒng dé hěn duō， zhè yě bù shì chǎn shù《 ào yì shū》 de dì fāng …… wǒ xiǎng de zhǐ shì lā lǐ。” zài běn shū jié wěi shí， tā yòu shuō，“ wǒ shì gè sú rén， shì chén shì zhōng rén； wǒ zhǐ néng duì zhè lèi rén zhōng lín fèng de guāng huī xíng xiàng biǎo shì jǐng mù， méi fǎ bù tā de hòu chén。” yīn cǐ， tā hé kè lǐ sī duǒ fū · yī xiū wǔ dé bù tóng， bìng bù dǎ suàn xiàng xī fāng tuī jiàn fèi tuó jīng zhé xué， huò zhě tí chàng rén réndōu xué lā lǐ； dān ná yī diǎn lái shuō， bù jìn nǚ sè， rú guǒ rén réndōu xiàng lā lǐ nà yàng fèng xíng， qǐ bù huì zào chéng miè zhǒng de zāi huò！ máo mǔ de dào dé guān shì rú wǒ guó jī kāng zài《 jué jiāo shū》 zhōng suǒ zhù zhāng de“ sì mín yòu wù， gè dé zhì wéi lè”。 tā bǎ lā lǐ pěng dé hěn gāo， dàn bìng bù bǎ 'ài lüè tè · tán bō dēng nà gè“ dà dà de shì lì guǐ” biǎn dé hěn dī。 tā duì fàng làng xíng hái de suǒ fěi · mài táng nà zhǐ yòu tóng qíng， duì dāng mó tè 'ér jiān jì nǚ de sū shān · lǔ wéi 'āi néng gòu yòu yī gè guī sù gǎn dào xīn xìng， duì tóu nǎo jiǎn dān de gé léi · mǎ tú lín， zài tā de bǐ xià jué shǎo wā kǔ， ér wǎng wǎng tū chū tā de zhōng hòu hé cí 'ài， dàn duì yī suō bèi 'ér zé háo bù xùn qíng dì jiē lù tā xù yì pò huài suǒ fěi hé lā lǐ hūn shì de yīn móu， jìn guǎn tā hěn xīn shǎng tā de měi， bìng qiě shì tā duō nián lái de“ zhī xīn” péng yǒu。 dàn tā jiē zhe yě xiě yī suō bèi 'ér huò xī lā lǐ fēn sàn zì jǐ cái chǎn， bìng qiě fǎn huí měi guó yù bèi dāng sī jī de xiāo xī hòu， shāng xīn chuò qì de qíng jǐng， cóng 'ér ràng dú zhě zì jǐ duì yī suō bèi 'ér zuò chū jié lùn。 bù fáng shuō， yī suō bèi 'ér de yòng xīn shì hěn dú de， dàn shì， tā pò huài de shì yī gè běn lái bù kě néng yòu hǎo jiēguǒ de hūn yīn， yīn wéi rú guǒ suǒ fěi lián yī suō bèi 'ér bù zhì nà diǎn yòu huò dū dǐ yù bù liǎo， lā lǐ jí shǐ xué huì liǎo yú gā xiū dào shì de nà diǎn fǎ lì， néng bǎ tā cóng zì gān duò luò de dào lù shàng lā dé huí zhuǎn má？
　　
　　　　 jìn guǎn zuò zhě zài běn shū kāi tóu shēng chēng， tā jīhū méi yòu shénme gù shì kě shù， dàn shì， tā réng jiù chōng fēn yùn yòng liǎo xù shì de jì qiǎo， cóng 'ér zhuā zhù dú zhě de zhù yì lì。 zài fān yì běn shū de guò chéng zhōng， wǒ shí cháng pèng dào zhè yàng de qíng xíng， jí yī miàn yì， yī miàn pán suàn zhe bù zhī tā duì zhè zhǒng pū kāi de jú miàn zěn yàng shōu shí fǎ。 dàn shì， shǐ wǒ pèi fú de shì tā bǐ tóu yī zhuǎn， hěn kuài jiù jié shù diào； lì rú zài dì 'èr zhāng mò wěi， dāng yī suō bèi 'ér gào sù zuò zhě zì jǐ hé lā lǐ jiě yuē de jīng guò， yǐ jí zuò zhě gěi liǎo yī suō bèi 'ér zhōng gào zhī hòu， tā zhǐ yòng liǎng sān xíng wén zì jiù jié shù liǎo tā men jīng xīn cèhuà de hàn pǔ dùn gōng zhī yóu：
　　
　　　　 yǔ réng jiù xià gè bù tíng， wǒ men rèn wéi bù qù kàn hàn pǔ dùn gōng nà xiē huá guì jiàn zhù， shèn zhì yī lì suō bái nǚ wáng de chuáng， yī suō bèi 'ér yě kě yǐ huó xià qù， suǒ yǐ jiù zuò chē zǐ huí dào lún dūn。
　　
　　　　 wǒ xiǎng rú guǒ yòu gè jīn shèng tàn de huà， hěn kě néng zài zhè yī duàn hòu miàn chā jìn yī xiē shuāng xíng pī yǔ：“ suí shǒu shōu shí diào hàn pǔ dùn gōng， miào。 gài hàn pǔ dùn guān zhī yóu bù guò shì wéi liǎo zhǎo gè chǎng hé ràng yī suō bèi 'ér néng xiàng zuò zhě qīng tù xiōng yì， xiàn zài mùdì yǐ dá， zài xù shù zuò zhě lǐng tā yóu lǎn hàn pǔ dùn gōng biàn shì dāi niǎo yǐ。”
　　
　　　　 dàn shì， běn shū zuì chéng gōng de hái shì rén wù de sù zào； bù dàn jǐ gè zhù yào rén wù xiěde fēi cháng chéng gōng， lián xiē cì yào rén wù， rú bù léi dé lì tài tài， kuàng gōng kǎo sī dì， shèn zhì tǔ lún de jǐng chá jú cháng， yědōu shì yòu xuè yòu ròu de rén。 xiǎo shuō cóng yī jiǔ yī jiǔ nián kāi shǐ， yī zhí xiě dào sān shí nián dài zhōng qī， rén wù de xìng gé dāng rán bù kě néng méi yòu fā zhǎn hé biàn huà。 suǒ fěi · mài táng nà hé zuò zhě zài zhī jiā gē chū cì jiàn dào de miǎn tiǎn shàonǚ pàn ruò liǎng rén， zhè bù nán zuò dào； tā zì jǐ de shēn shì biàn shì jiě shì。 yī suō bèi 'ér jīng guò jià gé léi hòu de zhǐ zuì jīn mí shēng huó， jì zhī yǐ pò chǎn hé 'èr cì lái bā lí hòu yǐ jiù fù 'ài lüè tè jū zhù， duàn liàn chéng tā nà yàng de yóu wù， zuò zhě shì shàfèi liǎo yī fān kǔ xīn de。 ài lüè tè · tán bō dēng de biàn huà jī běn shàng bù dà， zhǐ shì yī jiǔ 'èr jiǔ nián zhī hòu， pái chǎng biàn dé kuò chuò liǎo， dàn shì， yī zhí xiě dào tā lín zhōng qián ná dào 'ài dé nà · nuò wéi mǎ lǐ de qǐngtiě， qīn zì xiě nà fēng kǒu xìn zhī hòu， zuò zhě fāng cái wán chéng zhè fú shè huì míng liú de huà xiàng， zhēn kě yǐ shuō shì dá dào bǐ hān mò bǎo de dì bù。 zhǐ yòu lā lǐ · dá léi 'ěr zì shǐ zhì zhōng hǎo xiàng biàn huà bù dà， yǒng yuǎn shì nà yàng yī gè xián yún yě hè shìde rén wù， shǐ rén yí xīn shì bù shì qǔ cái zì zhēn shí shēng huó。 kě shì， yī jiǔ wǔ jiǔ nián， què bèi wǒ wú yì zhōng fā xiàn liǎo lā lǐ de lán běn， yuán lái shì jiàn qiáo dà xué xīn jìn shì shì de zhé xué jiào shòu wéi tè gēn sī tǎn。 zhè wèi jiào shòu shì 'ào dì lì rén， zài jiàn qiáo dà xué xué gōng chéng xué， ǒu rán yě yán jiū yī diǎn zhé xué， tīng guò luó sù hé mó 'ěr de kè， dàn pō néng fā huī zì jǐ de dú tè jiàn jiě。 dì yī cì dà zhàn kāi shǐ， wéi tè gēn sī tǎn dān rèn jūn guān bìng lùn wéi fú lǔ； zhàn hòu yǐn jū 'ào guó， dāng xiǎo xué jiào shī hé xiū dào yuàn yuán dīng。 tā de jiàn qiáo dà xué tóng xué lán mǔ sài hé bù lǐ sī wēi tè zài 'ào dì lì fǎng qiú dào tā， lì quàn tā chóngxīn bǎ zhé xué zhuā qǐ lái， wéi tè gēn sī tǎn yú shì gēn dāng shí de wéi yě nà xué pài shí lǐ kè děng rén shāo shāo wǎng hái； yī jiǔ sān nián， shòu pìn wéi jiàn qiáo dà xué yán jiū yuán。 hòu lái mó 'ěr tuì xiū， wéi tè gēn sī tǎn què jì mó 'ěr bèi rèn mìng wéi zhé xué jiào shòu。 yǐ yī gè wài guó rén zài yīng guó de xué shù shǒu fǔ dān dāng zhè gè zhí wù， kě yǐ shuō shì shū róng， dàn wéi tè gēn sī tǎn què yǐn yǐ wéi kǔ， jīng cháng quàn tā de xué shēng bù yào zài dà xué jiāoshū， yóu qí bù néng jiào zhé xué。 yī jiǔ sì qī nián nián jì bù dào liù shí jiù tuì zhí， yī jiǔ wǔ yī nián shì shì。 máo mǔ zài yī jiǔ sì sì nián chū bǎn《 dāo fēng》 shí， wéi tè gēn sī tǎn hái huó zhe， suǒ yǐ zuò zhě zài xiǎo shuō kāi tóu shí shuō“ shū zhōng juésè de xìng shì quándōu gǎi guò， bìng qiě wù bì xiěde shǐ rén rèn bù chū shì shuí， miǎn dé nà xiē hái huó zài shì shàng de rén kàn liǎo bù 'ān。” dàn shì， bù guǎn zuò zhě zěn yàng gǎi dòng， zǒng yòu xiē zhū sī mǎ jì kě xún； jǔ lì shuō， xiǎo shuō kāi tóu xù shù lā lǐ zài jù lè bù tú shū shì lǐ sǐ kěn wēi lián · zhān mǔ sī de《 xīn lǐ xué yuán lǐ》， ér wéi tè gēn sī tǎn jiǎng kè shí jué bù yǐn yòng bié de zhé xué jiā de huà， dàn què shí cháng tí dào wēi lián · zhān mǔ sī； yòu yī tiān， shèn zhì gào sù xué shēng zhān mǔ sī de《 xīn lǐ xué yuán lǐ》 dì ×× yè jiǎng de shénme， shǐ xué shēng men tīng liǎo dū gǎn jué chà yì， zhè shì yī。 qí cì， xiǎo shuō xiě lā lǐ zuì hòu bǎ zì jǐ de yī diǎn cái chǎn fēn sàn gěi rén， wéi tè gēn sī tǎn de fù qīn sǐ hòu， liú gěi tā yī bǐ hěn yōu wò de cái chǎn， wéi tè gēn sī tǎn quán ná lái fēn gěi fù yòu de qīn péng， tā de guài lǐ yóu shì fù rén dé dào cái kě yǐ miǎn shòu jīn qián de fǔ shí， ér xiǎo shuō zhōng yě méi yòu tí dào lā lǐ sàn jīn de duì xiàng shì xiē shénme rén， zhè shì 'èr。 hái yòu， wéi tè gēn sī tǎn píng rì jué shǎo yǔ rén jiāo wǎng， fán shì dà xué shè jiāo shēng huó hé zhé xué jiè gè zhǒng huó dòng dū jué jì bù cān jiā， zhè hé lā lǐ bù xǐ huān shè jiāo huó dòng yě yòu xiāng sì zhī chù。 gēn jù zhè jǐ fāng miàn de duì zhào， zài jiā shàng liǎng rén xìng gé shàng de zhuǎn biàn， dōushì yīn cān jiā yī cì dà zhàn hòu kāi shǐ de， kě yǐ duàn yán xiǎo shuō zhōng de lā lǐ jiù shì xiě de wéi tè gēn sī tǎn。 dāng rán yě yòu bù jìn xiāng tóng zhī chù， rú lā lǐ gào sù yī suō bèi 'ér tā dú xī là yuán wén de《 ào dé xiū jì》 suǒ gǎn dào de xīng fèn， dàn shì， wéi tè gēn sī tǎn què shì shénme wén xué zuò pǐn dōubù dú， zhǐ kàn zhēn tàn xiǎo shuō。 dàn shì， máo mǔ zài《 zǒng jié》 zhōng céng jiǎng guò zhè yàng de huà：“ xǐ huān tīng gù shì hé xǐ huān kàn tiào wǔ hé mó nǐ biǎo yǎn…… tóng yàng shì rén xìng de zì rán qīng xiàng。 cóng zhēn tàn xiǎo shuō de liú xíng kě yǐ kàn chū zhè zhǒng 'àihào zhì jīn bù shuāi， lián dì yī liú de zhī shí fènzǐ yě kàn tā men， dāng rán bìng bù dāng huí shì， kě shì díquè kàn tā men； wèishénme？ hái bù shì yīn wéi tā men wéi yī fàng zài yǎn lǐ de nà xiē xīn lǐ de， jiào yù de， jīng shén fēn xī de xiǎo shuō bù néng mǎn zú tā men de zhè zhǒng tè shū xū yào má！” máo mǔ zhè duàn huà lǐ miàn de“ dì yī liú zhī shí fènzǐ” yuán wén shì themostintellectualpersons， suǒ yǐ bù jǐn bāo kuò wén xué quán wēi， yě yìng bāo kuò qí tā xué shù quán wēi zài nèi。 kě yǐ chuài xiǎng， wéi tè gēn sī tǎn xǐ huān kàn zhēn tàn xiǎo shuō， máo mǔ bìng bù shì bù zhī dào； ér xiǎo shuō dì wǔ zhāng zuò zhě cóng 'ài dé nà · nuò wéi mǎ lǐ de nǚ mì shū nà lǐ wéi 'ài lüè tè tōu dé qǐng tiē hòu， wèn nǚ mì shū tā zài huà zhuāng tiào wǔ huì shàng yù bèi chuān shénme fú zhuāng shí， tā de huí dá shì，“ wǒ qīn 'ài de xiān shēng， wǒ shì gè mù shī de nǚ 'ér， zhè zhǒng yú chǔn de shì， wǒ liú gěi shàng céng jiē jí qù zuò。 dāng wǒ kàn jiàn《 xiān qū bào》 hé《 yóu bào》 de nà xiē dài biǎo chī liǎo yī dùn hǎo xiāo yè bìng qiě hē liǎo yī píng wǒ men de dì 'èr děng zuì hǎo de xiāng bīn jiǔ zhī hòu， wǒ de zé rèn jiù jié shù liǎo。 wǒ jiāng huí dào wǒ de wò shì guān qǐ mén lái kàn yī běn zhēn tàn xiǎo shuō。” zhè yī diǎn miáo huì， wǒ rèn wéi yě shì cóng wéi tè gēn sī tǎn shēn shàng yí zhí guò lái de。 zuì hòu， hái yòu wéi tè gēn sī tǎn zài zhàn hòu dāng de xiǎo xué jiào shī yǔ xiū dào yuàn yuán dīng gōng zuò， hé lā lǐ huí měi guó hòu yù bèi dāng díkǎ chē sī jī hé kāi chū zū qì chē tóng yàng dōushì bù qiú wén dá de biǎo xiàn， máo mǔ zhǐ shì bǎ tā de lán běn shǒu wěi dàozhì yī xià 'ér yǐ。
　　
　　　　 máo mǔ cóng bù huì yán tā xiǎo shuō zhōng de rén wù shì cóng zhēn shí shēng huó qǔ cái de， suǒ yǐ wǒ de zhè diǎn kǎo zhèng héng héng rú guǒ bìng méi yòu bèi bié rén fā xiàn de huà héng héng bìng bù zú qí； wèn tí dǎo shì wèishénme máo mǔ tiǎo zhōng wéi tè gēn sī tǎn zhè yàng yī gè rén zuò wéi tā xiǎo shuō de zhùjué。《 dāo fēng》 chū bǎn yú yī jiǔ sì sì nián， shì tā yī jiǔ sì nián lái měi guó hòu de dì yī bù xiǎo shuō。 rén men kě yǐ xiǎng xiàng dé chū zài tā liú yù měi guó qī jiān， pán suàn hé gūliáng héng héng tè bié shì cóng dà xī yáng bǐ 'àn héng héng tā suǒ jīng lì de liǎng cì dà zhàn zhī jiān zhè duàn shí qī， yǐ tā yuè lì zhī shēn， jiē chù miàn zhī guǎng， ér xuǎn zé liǎo wéi tè gēn sī tǎn， yī dìng shì jīng guò fǎn fù kǎo lǜ de。 xiàn zài， wǒ men kě yǐ kàn chū， lā lǐ zhè gè rén què shì yī cì dà zhàn de chǎn wù， ér tā fǎn yìng de shí dài héng héng liǎng cì dà zhàn zhī jiān de shí dài héng héng zé shì 'ōu zhōu zhōng xīn zhù yì de huáng hūn shí dài。 zài zhè gè shí qī， shì jiè wén huà zhōng xīn suī zé réng zài 'ōu zhōu， ér 'ōu zhōu de wén huà zhōng xīn， zài máo mǔ kàn lái， wú yí zài fǎ guó， dàn tā yǐ jīng bù néng gěi lái cǐ xún qiú rén shēng zhēn dì de rén yǐ mǎn yì de huí dá liǎo。 lā lǐ zài bā lí bó lǎn qún shū， xué huì liǎo jǐ zhǒng yǔ yán， dàn shì， bā lí hé fǎ guó zhǐ chéng wéi tā de zhōng tú dǎo； tā zuì hòu dài huí qù de， jì bù shì 'ēn xià mǔ shén fǔ yào bǎ tā dāng mí tú gāo yáng juàn huí qù de tiān zhù jiào， yě bù shì tā xiǎng cóng bō lán kuàng gōng kǎo sī dì kǒu zhōng tàn tīng de shén mì zhù yì， ér shì yìn dù de fèi tuó jīng zhé xué。 xiǎo shuō zhōng wú yī yǔ shè jí nà cuì de xīng qǐ， dàn shì， xiǎo shuō fǎn yìng de 'ōu zhōu de jīng shén kōng xū， yǐ zú gòu shuō míng wèishénme nà cuì zhù yì néng gòu chéng xū 'ér rù liǎo。
　　
　　　　 xiǎo shuō bù shì lì shǐ， bù xū yào fǎn yìng yī gè shí dài de quán mào， dàn tā fǎn yìng de nà yī bù fēn， tè bié shì qí zhōng de rén wù， bì xū gěi rén yǐ zhēn shí gǎn， bù néng zhǐ shì yǐng zǐ。 yòu shí hòu， yóu yú wén xué xiū yǎng chā， xīn shǎng bù liǎo zuò jiā suǒ chuàng zào de rén wù， zhè qíng xíng shì yòu de。 wǒ dāng xué shēng shí， duì suō shì bǐ yà de lí yé wáng xíng xiàng jiù bù néng xīn shǎng， hòu lái dú liǎo A． C． bù léi dé lì de《 suō shì bǐ yà bēi jù》 cái fā xiàn zì jǐ de wén xué xiū yǎng bù zú。 dàn shì， yòu xiē míng jiā bǐ xià de rén wù， rú zuì jìn wǒ dú dào de dí gèng sī de《 xiǎo dù lì》， jiù zhǐ néng shuō shì gài niàn de chǎn wù liǎo。 máo mǔ de《 dāo fēng》 zhī suǒ yǐ kě guì， jiù zài yú wèiwǒ men tí gōng liǎo liǎng cì dà zhàn zhī jiān nà gè shí qī de yī gè rén wù huà láng。

　　The Razor’s Edge is a book by W. Somerset Maugham published in 1944. Its epigraph reads, "The sharp edge of a razor is difficult to pass over; thus the wise say the path to Salvation is hard." taken from verse in the Katha-Upanishad .
　　
　　The Razor’s Edge tells the story of an American fighter pilot (Larry Darrell) traumatized by his experiences in World War I, who sets off in search of some transcendent meaning in his life. The novel is supposed to be based on the life of Guy Hague, an American mining engineer.
　　
　　The story begins through the eyes of Larry’s friends and acquaintances as they witness his personality change after the War. His rejection of conventional life and search for meaningful experience allows him to thrive while the more materialistic characters suffer reversals of fortune. The book was twice adapted into film, first in 1946 starring Tyrone Power and Gene Tierney, and Herbert Marshall as Maugham, and then a 1984 adaptation starring Bill Murray, with Tibet replacing India as the place of Larry’s enlightenment (the monastery to which Larry travels in the 1984 movie adaptation is in Ladakh, an Indian-ruled region sometimes called "Little Tibet").
　　
　　Plot
　　
　　Maugham begins by characterizing his story as not really a novel but a thinly veiled true account. He includes himself as a minor character, a writer who drifts in and out of the lives of the major players. Larry Darrell’s lifestyle is contrasted throughout the book with that of his fiancée’s uncle, Elliott Templeton, an American expatriate living in Paris and a shallow and unrepentant yet generous snob. For example, while Templeton's Catholicism embraces the hierarchical trappings of the Church, Larry's proclivities tend towards the 13th century Flemish mystic and saint John of Ruysbroeck.
　　
　　Wounded and traumatized by the death of a comrade in the War, Larry returns to Chicago, Illinois and his fiancée, Isabel Bradley, only to announce that he does not plan to work and instead will "loaf" on his small inheritance. He wants to delay their marriage and refuses to take up a job as a stockbroker offered to him by the father of his friend Gray, Henry Maturin. Meanwhile, Larry’s childhood friend, Sophie, settles into a happy marriage, only later tragically losing her husband and baby in a car accident.
　　
　　Larry moves to Paris and immerses himself in study and bohemian life. After two years of this "loafing," Isabel visits and Larry asks her to join his life of wandering and searching, living in Paris and traveling with little money. She cannot accept his vision of life and breaks their engagement to go back to Chicago. There she marries the millionaire Gray, who provides her a rich family life. Meanwhile, Larry begins a sojourn through Europe, taking a job at a coal mine in Lens, France, where he befriends a former Polish army officer named Kosti. Kosti's influence encourages Larry to look toward things spiritual for his answers rather than in books. Larry and Kosti leave the coal mine and travel together for a time before parting ways. Larry then meets a Benedictine monk named Father Ensheim in Bonn, Germany while Father Ensheim is on leave from his monastery doing academic research. After spending several months with the Benedictines and being unable to reconcile their conception of God with his own reason, Larry takes a job on an ocean liner and finds himself in Bombay.
　　
　　Larry has significant spiritual adventures in India and comes back to Paris. What he actually found in India and what he finally concluded are held back from the reader for a considerable time until, in a scene late in the book, Maugham discusses India and spirituality with Larry in a café long into the evening.
　　
　　The 1929 stock market crash has ruined Gray, and he and Isabel are invited to live in her uncle Elliott Templeton’s grand Parisian house. Gray is often incapacitated with agonizing migraines due to a general nervous collapse. Larry is able to help him using an Indian form of hypnotic suggestion. Sophie has also drifted to the French capital, where her friends find her reduced to alcohol, opium, and promiscuity — empty and dangerous liaisons that seem to help her to bury her pain. Larry first sets out to save her and then decides to marry her, a plan that displeases Isabel, who is still in love with him.
　　
　　Isabel tempts Sophie off the wagon with a bottle of Żubrówka, and she disappears from Paris. Maugham deduces this after seeing Sophie in Toulon, where she has returned to smoking opium and promiscuity. He is drawn back into the tale when police interrogate him after Sophie has been found murdered with an inscribed book from him in her room (along with volumes by Baudelaire and Rimbaud).
　　
　　Meanwhile in Antibes, Elliott Templeton, who has compulsively throughout his life sought out aristocratic society, is on his deathbed. None of his titled friends come to see him, which makes him alternately morose and irate, though his outlook on death is somewhat positive: "I have always moved in the best society in Europe, and I have no doubt that I shall move in the best society in heaven."
　　
　　Isabel inherits his fortune, but genuinely grieves for her uncle. Maugham confronts her about Sophie, having figured out Isabel’s role in Sophie’s downfall. Isabel’s only punishment will be that she will never get Larry, who has decided to return to America and live as a common working man. He is uninterested in the rich and glamorous world that Isabel will move in. Maugham ends his narrative by suggesting that all the characters got what they wanted in the end: "Elliott social eminence; Isabel an assured position; ... Sophie death; and Larry happiness."
　　Influences and critical reception
　　
　　Maugham, like Hermann Hesse, was remarkably prescient, anticipating an embrace of Eastern culture by Americans and Europeans almost a decade before the Beats were to popularize it. Maugham himself visited Sri Ramana Ashram, where he had a direct interaction with Ramana Maharshi in Tamil Nadu, India in 1938.. Maugham’s suggestion that he "invented nothing" was a source of annoyance for Christopher Isherwood, who helped him translate a verse from the Upanishads for the novel’s epigraph.[citation needed] Many thought Isherwood, who had built his own literary reputation by then and was studying Indian philosophy, was the basis for the book’s hero. Isherwood went so far as to write Time magazine denying this speculation. A more likely inspiration for the Larry Darrell charater was American mining engineer Guy Hague, who'd spent time in Sri Ramana Maharshi's ashram.