《 fén shū》、《 xù fén shū》 liǎng shū chéng yú míng dài wǎn qī， bǐ shí shè huì dòng dàng bù 'ān， nóng mín qǐ yì cǐ qǐ bǐ fú， jiē jí máo dùn rì yì jiān ruì。 lǐ zhì zuì tòng hèn wéi hù fēng jiàn lǐ jiào de jiǎ dào xué hé nà xiē mǎn kǒu rén yì dào dé de wèi dào shì、 wěi jūn zǐ， pī píng tā men “ yáng wéi dào xué， yīn wéi fù guì， bèi fú rú yǎ， xíng ruò gǒu zhì ”（《 xù fén shū · sān jiào guī rú shuō》）； tóng shí， duì tǒng zhì jiē jí suǒ jí lì tuī chóng de kǒng mèng zhī xué yě dà jiā biān tà， rèn wéi“ gēng jià táo yú zhī rén jí wú bù kě qǔ， zé qiān shèng wàn xián zhī shàn， dú bù kě qǔ hū？ yòu hé bì zhuān mén xué kǒng zǐ 'ér hòu wéi zhèng mài yě”（《 fén shū · dá gěng sī kòu》）； xī wàng tǒng zhì jiē jí shàng céng néng gòu chū xiàn“ yī gè bàn gè lián cái zhě”， shǐ“ dà lì dà xián” de yòu cái zhī shì“ dé yǐ xiào yòng， bǐ bì shā shēn tú bào， bù kěn wàng 'ēn”（《 fén shū · hán dēng xiǎo huà》）。 duì cǐ yòu shū píng zhě rú shì lùn dào：“ zhè shuō míng lǐ zhì bìng fēi yào tuī fān fēng jiàn tǒng zhì， ér shì yào wéi hù tā， biǎo míng liǎo tā de zhèng zhì sī xiǎng méi yòu chāo chū dì zhù jiē jí sī xiǎng yǔ shí dài de xiàn zhì， yě bù kě néng wéi bèi dì zhù jiē jí de gēn běn lì yì。”

　　zhàn ruò shuǐ hé wáng yáng míng shì xiāng hù xīn shǎng de péng yǒu yě shì lùn dí， dàn zhàn ruò shuǐ duì zhōng guó zhé xué shǐ de yǐng xiǎng yuǎn bù jí wáng yáng míng， zhù yào yuán yīn kǒng pà shì liǎng rén zǒu de zhé xué dào lù bù tóng。
　　 wáng yáng míng yǐ tā de“ xīn wài wú wù”、“ gé wù zhì zhī” děng lǐ lùn jiāng zhōng guó chuán tǒng zhé xué zhōng zhù guān wéi xīn zhù yì zhé xué tuī xiàng zuì gāo fēng， yīn 'ér zài zhōng guó zhé xué shǐ shàng zhàn yòu zhòng yào dì wèi。 zhàn ruò shuǐ de zhé xué zǒu jí dà chéng wéi dào lù， yào jiù zhòng dà chéng guǒ zì rán bǐ zhuān gōng yī jiā kùn nán xǔ duō。 zhàn ruò shuǐ qǐ tú tiáohé gè jiā zhī yán， yǐ tā jīng cháng yǐn yòng《 zhōng yōng》 de yǔ jù jiù kě jiàn yī bān。 zhàn ruò shuǐ de zhù yào lǐ lùn“ suí chù tǐ rèn tiān lǐ” zǔ hé liǎo qián rén de“ suí chù”、“ tǐ rèn”、“ tiān lǐ” zhī shuō， yì shì zài tiáohé jī chǔ shàng zài chuàng zào。 yīn cǐ， zài sī xiǎng mèi lì fāng miàn，“ suí chù tǐ rèn tiān lǐ” dī yú“ xīn wài wú wù”、“ gé wù zhì zhī”。 zhàn ruò shuǐ de zhé xué yī fāng miàn qǔ bǎi jiā suǒ cháng， lìng yī fāng miàn yīn wéi nán yú guàn tōng zhòng duō lǐ lùn 'ér xiǎn dé páng zá。
　　 wú kě fǒu rèn“ suí chù tǐ rèn tiān lǐ” de yì yì， dàn tā yuǎn bù néng shǐ zhàn ruò shuǐ chéng wéi zhé xué de jí dà chéng zhě。 suǒ wèi zhé xué shàng de jí dà chéng zhě， dōushì yī xiē chéng qián qǐ hòu、 chuàng zào xīn gài niàn wéi zhé xué fā zhǎn kāipì dào lù de wěi dà sī xiǎng jiā， rú yǐ“ jué duì jīng shén” jí dé guó gǔ diǎn wéi xīn zhù yì dà chéng de hēi gé 'ěr， yǐ“ biàn zhèng wéi wù zhù yì” jí wéi wù zhù yì yǔ biàn zhèng fǎ dà chéng de mǎ kè sī děng。 zhé xué de jí dà chéng zhě de chū xiàn bì xū yòu jīng jì huò kē jì zhòng yào fā zhǎn、 shè huì huò shí dài yòu shēn kè biàn gé de kè guān huán jìng wéi tiáo jiàn。 yòu zhè zhǒng huán jìng， gè rén cái huì zài sī xiǎng shàng yòu dà chuàng zào。 shì shí shàng，“ suí chù tǐ rèn tiān lǐ” jiù biǎo dá liǎo rén duì“ tiān lǐ” de rèn shí shòu“ chù” héng héng kè guān huán jìng xiàn zhì de guān diǎn。 zhàn ruò shuǐ shēng huó zài fēng jiàn shè huì zǒu xiàng shuāi luò de hòu qī， xiǎn rán quē fá zhé xué jí dà chéng de huán jìng。
　　 jí dà chéng de zhé xué dào lù suī rán méi yòu shǐ zhàn ruò shuǐ méi néng zài zhōng guó zhé xué shǐ liú xià hòu zhòng de yī bǐ， dàn zhàn ruò shuǐ zài mǒu chéng dù shàng zǒng jié liǎo sòng、 míng lǐ xué， wéi hòu rén de yán jiū tí gōng liǎo jiè jiàn。 zhèng yīn wéi bù piān bù yǐ de jí dà chéng dào lù， tā tí chū“ zì dé” zhī shuō， pī pàn dāng shí rén yún yì yún de fēng qì tóng shí qǐ fā liǎo hòu rén。 jié hé liǎo sòng、 míng lǐ xué de mǒu xiē jīng huá， jiā shàng“ zhōng yōng” de tài dù shǐ tā de zhé xué jù yòu cháng jīng jiǔ bù xī de hé lǐ xìng。

　　běn shū shōu lù liǎo zhào lín jiào shòu jìn nián lái guān yú xī fāng wén huà de jǐ piān xué shù jiǎng zuò。 zhè xiē jiǎng zuò nèi róng guǎng kuò、 qì shì bàng bó， cóng quán qiú fàn wéi de wén míng chōng tū yǔ wén huà róng hé lì chéng， dào zhǐ qù jiǒng yì de zhōng xī wén huà bǐ jiào， zài dào yuán yuǎn liú cháng de xī fāng wén huà yǎn jìn， zhǎn xiàn liǎo jiǎng yǎn zhě gāo wū jiàn líng de yán jiū shì yù、 bó dà huī hóng de lì shǐ qíng huái hé shēn suì ruì zhì de zhé xué fǎn sī。

　　běn shū kān chēng“ bō pǔ jiào huáng” ān dí wò huò 'ěr de fēi zhèng shì zìzhuàn。 wò huò 'ěr zài cǐ shū zhōng huí gù liǎo zì jǐ bìng tài de shàonián chén xī， gū jì de qīng nián shí dài， zài niǔ yuē chuǎng dàng de suì yuè， chū chuàng“ gōng chǎng” de shē huá shí guāng， yǐ jí tā zāo shòu qiāng jī de chuāngtòng。 yīng wén bǎn kān xíng yú 1975 nián， cǐ hòu shì jì zì rán wú fǎ chéng xiàn， dàn wò huò 'ěr de rén shēng jīng huá yǐ rán nóng suō yú cǐ。 tóng shí， zhè yòu yī bù pīn tiē 'ér chéng de bō pǔ yǔ lù。 ài， xìng， gōng zuò， yì shù， míng qì， tóu xián， shí jiān， sǐ wáng， měi， chéng gōng …… jǔ fán shí shàng dū shì shēng huó de gè shì kùn huò， cǐ shū dū bèi yòu xiàn chéng de hài shì zhēn yán rèn jūn tiǎo xuǎn héng héng zhōng yì běn shèn zhì zuò zú gōng fū， jiāng fán jù jǐng cè qián lì de jù zǐ dū yǐ jiā zhòng de zì tǐ yú yǐ qiáng diào， bìng pèi shàng yīng wén， miǎn qù zhāi yǐn zhě hé duì yuán wén de láo dùn。 sān shí yú nián guò qù， ān dí wò huò 'ěr de bō pǔ yì yǔ dú lái yǐ jiù xīn xiān shí shàng， huò xǔ， wò huò 'ěr jiù shì shí shàng běn shēn。

　　ní cǎi yǐ tòu shì zhù yì rèn shí lùn wéi zhù yào wǔ qì， duì xī fāng chuán tǒng xíng 'ér shàng xué zhǎn kāi liǎo quán miàn pī pàn， bìng zài cǐ jī chǔ shàng tí chū liǎo tā duì shì jiè de xīn jiě shì。 běn shū shì zhōu guó píng dāng nián de bó shì lùn wén， shì tā huā fèi jù dà xīn xuè zuò liǎo xì tǒng yán jiū de chéng guǒ， běn shū shì tā zhēn zhèng shēn rù dào ní cǎi de wèn tí sī lù zhī zhōng， duì tā zài běn tǐ lùn hé rèn shí lùn fāng miàn de sī xiǎng gěi chū liǎo xiāng dāng qīng xī de fēn xī， zhèng míng tā bù zhǐ shì yī wèi guān xīn rén shēng wèn tí de shī xìng zhé rén， nà me zài zhōu guó píng de shì jiè lǐ， ní cǎi jiū jìng shì rú hé de yán gé yì yì shàng de dà zhé xué jiā ní？ ní cǎi jiū jìng guān xīn liǎo shénme……

　　zài xī fāng zhé xué shǐ shàng， ní cǎi xiàng lái shì yī gè yòu zhēng yì de rén wù。 ní cǎi jiū jìng shì shénme yàng de rén？ tā zài zhé xué shàng tí chū liǎo yī xiē shénme xīn wèn tí？ tā hé xiàn shí dài yòu shénme guān xì .... zhōu guó píng zài rèn zhēn yán jiū liǎo ní cǎi de shēng píng hé zhù zuò， jīng guò zì jǐ dú lì de sī kǎo， tí chū liǎo yī xiē yǔ guò qù xí guàn de shuō fǎ pō wéi bù tóng de jiàn jiě。 zhōu guó píng shuō：“ ní cǎi xū yào de bù shì biàn hù， ér shì lǐ jiě。 zhǐ yòu ruò zhě cái xū yào biàn hù， ér ní cǎi què bù shì ruò zhě ...” ní cǎi zài shì jì de zhuǎn zhé diǎn shàng shì bù shì zhēn de chéng wéi gǔ lǎo de chuán shuō？

　　běn shū shì zhōu guó píng shǒu bù“ chū xíng zhé sī lù”， jí qí zhēn shí xiáng jìn dì jì lù liǎo měi yī cì yuǎn lí guó mín de rì zǐ zhōng de suǒ jiàn suǒ wén suǒ sī suǒ yì， xiàn liǎo zuò zhě zhí zhù 'ér chāo tuō de líng hún zhī lǚ。 wú lùn huā jì hái shì lǎo nián， dōunéng cóng tā de wén cǎi hé zhé sī zhōng dú qǔ zhì huì hé chāo rán。

　　běn shū zhōng zhōu guó píng lǎo shī duì píng cháng shēng huó de suǒ sī suǒ gǎn jìn xíng liǎo jì lù， tā bǎ zì jǐ lì yú mìng yùn zhī wài， dàn dàn dì lěng yǎn bàng guān zhe shì jiān bǎi tài， què yǐ rán yǎn shì bù zhù duì shēng mìng de zhì 'ài zhī qíng。 tōng guò duì rén shēng de zhé xué shì gǎn wù， duì rén、 zì rán、 gū dú、 qíng yù、 ài qíng、 hūn yīn de jīng bì jiàn jiě， jiāng tā de ruì zhì hèshī xìng de zhé xué zài cì fèng xiàn gěi shì rén。 zhōu guó píng lǎo shī de zuò pǐn，“ xuàn làn zhī jí guī yú píng dàn”。 qí shí wén zhāng zuò píng dàn bù nán， bù guò， píng dàn 'ér yào yòu wèi， jiù hěn nán liǎo。 píng dàn bù dàn shì yī zhǒng wén zì de jìng jiè， gèng shì yī zhǒng xiōng huái， yī zhǒng rén shēng de jìng jiè。 yào dá dào zhè zhǒng jìng jiè shí fēi yì shì。

　　yòu qián yòu yòu xián dāng rán xìng yùn， cháng bù néng， tuì 'ér qiú qí cì， wǒ níng zuò yòu xián de qióng rén， bù zuò yòu qián de máng rén。 wǒ 'ài xián shì shèng yú 'ài jīn qián。 jīn qián zhōng jiū shì shēn wài zhī wù， xián shì què shǐ wǒ gǎn dào zì jǐ shì shēng mìng de zhù rén。 yòu rén shuō：“ yòu qián kě yǐ mǎi shí jiān。” zhè huà dāng rán bù cuò。 dàn shì， rú guǒ dà qián tí shì“ shí jiān jiù shì jīn qián”， mǎi dé de shí jiān yòu zhuī jiā wéi huò qǔ gèng duō jīn qián de zī běn， zé yī shēng láo lù biàn yǒng wú zhōng shí。 suǒ yǐ， yīngdāng gǎi biàn dà qián tí： shí jiān bù jǐn shì jīn qián， gèng shì shēng mìng， ér shēng mìng de jià zhí shì jīn qián wú fǎ héng liàng de。

　　rén shì wéi yī néng zhuī wèn zì shēn cún zài zhī yì yì de dòng wù。 zhè shì rén de wěi dà zhī chù， yě shì rén de bēi zhuàng zhī chù。“ rén shì wàn wù de chǐ dù。” rén bǎ zì jǐ dāng zuò chǐ dù qù héng liàng wàn wù， xún qiú wàn wù de yì yì。 kě shì， dāng tā xún zhǎo zì shēn de yì yì shí， yòng shénme zuò chǐ dù ní？ réng rán yòng rén má ? chǐ dù yǔ duì xiàng tóng yī， wú fǎ héng liàng。 yòng rén zhī wài de shì wù má ? rén yòu qǐ kěn qū cóng tā wù， zhè běn shēn jiù biǎn dī liǎo rén de cún zài de yì yì。 yì yì de xún qiú shǐ rén xiàn rù 'èr lǜ bèi fǎn。

　　《 chén sī lù》 yuán wéi gǔ luó mǎ huáng dì 'ào lè liú zì wǒ duì huà de jì lù， xíng wén zhì pǔ， bù shàng diāo zhuó， rán 'ér yóu yú fā zhū nèi xīn， líng xìng nèi yùn， gù chōng sài zhe yī gǔ hào rán zhī qì， lìng rén gāo shān yǎng zhǐ， yòu yī zhǒng shēn chén de chóng gāo zhī měi。 zhèng yīn wéi tā chū zhū nèi xīn， bù jiā yǎn shì， suǒ yǐ wǒ men fāng néng kuī jiàn zuò zhě rú hé zài máng lù de rén shēng lù shàng， yǐ zì jǐ de jīng yàn wéi cái liào， chén sī rén shēng dà yì， lǐng wù yǔ zhòu mí tí， cóng zhōng shēng huá zì jǐ de zhì huì hé xīn líng。 zhé xué yuán lái bìng fēi rú hòu shì de zhé xué jiào kē shū nà bān dāi bǎn kū zào， rú yī duī diàn táng shàng de mù 'ǒu， ér shì yī tán huó shuǐ， liú xiè zài rén shēng de xiǎo dào zhī shàng、 shān shuǐ zhī jiān， yóu shè zú qí jiān de chén sī zhě suí shǒu jū lái， dí dàng xīn xiōng。 suǒ yǐ dú《 chén sī lù》， gù rán kě yǐ zhèng jīn wēi zuò， tiáo pōu lǐ xī； yě kě yǐ yú xián xiá zhī shí， qì xī zhī yú， jiǎn qǐ lái suí yì fān dú。

　　zhè shì yī bù lǐ xiǎng de chuán tǒng wén huà jiào yù hé sī xiǎng dào dé jiào yù pǔ jí dú wù， bù jǐn shì yòng yú gè rén yuè dú， tóng shí yě kě yǐ zuò wéi qǐ shì yè dān wèi、 shè qū děng tuán tǐ jǔ bàn péi xùn kè chéng de jiào cái， yóu qí shì yòng yú zuò wéi xué xiào xiāng guān kè chéng de fǔ zhù cái liào。 yù yán shì shēng huó yǔ rén xìng de tí liàn， běn shū zé jiāng yù yán gù shì hái yuán wéi rén shēng zhé xué。 yù yán shì yī zuò zhì huì de kuàng cáng。 zài gè zhǒng jiù de xīn de gù shì zhōng， zhì huì de rén， wǎng wǎng néng jiě dú chū yī xiē zhì huì de sī kǎo， bìng tǐ huì sī kǎo cānyù de kuài lè。

　　shēng mìng shì yī tuán yù wàng， yù wàng bù néng mǎn zú biàn tòng kǔ， mǎn zú biàn wú liáo， rén shēng jiù zài tòng kǔ hé wú liáo zhī jiān yáo bǎi。 běn shū zuò zhě yǐ xiàn dài zuì liú xíng de chuān yuè shí kōng de xiě zuò shǒu fǎ zǒu jìn liǎo dà shī men de zhēn shí shēng huó， yǔ dà shī màn bù rén shēng。 shū zhōng xuǎn qǔ liǎo zhé xué jiè jù yòu dài biǎo xìng de rén wù de sī xiǎng jìn xíng liǎo chǎn shù， rú bólātú de zhēn shàn měi de zhuī qiú lǐ niàn、 kǒng zǐ de“ kè yǐ fù lǐ”、 mèng zǐ de“ rén xìng shàn”、 ní cǎi de“ qín shòu yǔ chāo rén zhī jiān”、 sà tè de“ sù mìng hé zé rèn” děng。 dà shī men de sī xiǎng bù jǐn shì tā men nà gè shí dài de qián dǎo， ér qiě zài jīn tiān réng rán shēn kè dì yǐng xiǎng zhe wǒ men de rén shēng xuǎn zé。

　　sī nǎi shēng mìng de yóu sī huò chù xū， zài fēng zhōng shì tàn， shì shì kàn néng zhuā zhù shénme。 sī nǎi duì shēng mìng de zhí zhe hé duì sǐ wáng de kàng jù。 huó zhe， jiù yì wèi zhe sī kǎo。 jìn yī bù， yě kě yǐ shuō， sī kǎo de rén shì yòu zūn yán de rén， rén zài sī kǎo shí zuì néng biǎo xiàn chū tā de tè xìng。《 ruò yòu suǒ sī》 lǐ de suí gǎn， dà bù fēn shì cóng hé huái hóng jiào shòu guò qù shí nián de rì jì hé yī xiē bǐ jì zhòngxuǎn lù chū lái de， àn zuò zhě zì jǐ de shuō fǎ， běn shū shì tā gè rén nèi xīn shēng huó jīng lì de mǒu zhǒng gòngzhuàng。《 ruò yòu suǒ sī》 shì yī běn wéi zì jǐ xiě de shū， qí zhōng de dà bù fēn， zài xiě de shí hòu bìng méi yòu xiǎng dào fā biǎo。 tā yě shì hé huái hóng jiào shòu yùn niàng zuì jiǔ de shū， shí jiān kuà dù bāo kuò liǎo cóng“ shí wǔ yòu zhì yú xué” dào“ sān shí 'ér lì” zhī nián， shì qí sī xiǎng“ yuán shǐ de jì dòng”， yě shì qīng chūn jì dòng de chǎn wù， bāo hán zhe duì dào dé hé shè huì de sī kǎo， ài qíng hé hūn yīn de zhuī wèn， dú shū yǔ xiě zuò de lè qù， zhé xué yǔ zhēn lǐ de zhuī qiú， shēng yǔ sǐ de zhuī wèn， děng děng。

　　zuò wéi yī gè nián jìn qī xún de xiě guò diǎn wén zì yě jiàn guò diǎn shì miàn de zhèng zài lǎo qù de rén， wǒ néng gěi nǐ men yī diǎn zhōng gào、 yī diǎn jīng yàn、 yī diǎn jiàn yì má？

　　běn shū shì guó wài máo zé dōng yán jiū yì cóng zhī yī。 zuò zhě shì tú huí dá de wèn tí shì：“ yī wèi kuàng shì wěi rén jiū jìng kào shénme sī xiǎng yú yǐ zī yǎng？”

　　shénme shì rén wén？ shénme shì rén wén jīng shén？ yòu hěn duō rén yōng yòu zì jǐ de kàn fǎ， dàn shì jié chū de shuò guǒ què bìng bù shì hěn duō， zhēn zhèng yòu dú lì de zhé xué sī kǎo， yòu shēng dòng de dōng xī yě bìng bù shì hěn duō， dàn wú yí zhōu guó píng suàn shì yī wèi dài biǎo rén wén jīng shén de xué zhě， zhè wèi xué zhě jì shì yī wèi zhé xué jiā， yě shì yī wèi shī rén， tā yòng sǎnwén de bǐ diào xiě tā de zhé xué sī kǎo， yòng zhé xué sī kǎo lái guàn chuān tā de wén xué xiě zuò。 zhè běn zì xuǎn jí jiāng yǐn lǐng wǒ men yòng gèng duō de shí jiān qù yuè dú、 sī kǎo。

　　《 fēng diān yǔ wén míng》 yī shū， shí jiān kuà dù yòu liù bǎi nián。 huà tí shì cóng " fēng rén " zài lì shǐ wǔ tái shàng de chū xiàn tán qǐ， jí zhōng shì jì mò suí zhe má fēng bìng de xiāo tuì， fēng rén kāi shǐ qǔ dài má fēng bìng huàn zhě， chéng wéi shè huì pái chì hé gé lí de xīn duì xiàng。 rán hòu shì lì shù zhè zhǒng pái chì / gé lí jī zhì de gè zhǒng biàn xíng： wén yì fù xīng shí qī（ shí sì -- shí liù shì jì） shì yòng " yú rén chuán " fàng zhú tā men（ jiù xiàng shùn tóu xiōng wán yú sì yì）； gǔ diǎn shí qī（ shí qī shì jì） shì bǎ tā men dāng " shè huì lā jī " hé zuì fàn， máng liú yī qǐ guān jìn shōu róng suǒ， jiào " dà jìn bì "； qǐ méng shí qī（ shí bā shì jì） shì tā men dāng " wēn yì " lái gé lí， jiào " dà kǒng jù "； zhōng diǎn shì shí jiǔ shì jì， jí bǎ fēng rén yǔ zuì fàn fēn kāi， dāng bìng rén kàn dài， yǔ " zhèng cháng rén " gé lí， shí xíng " zhì bìng jiù rén " de " rén dào zhù yì "。 zhè yàng cái xíng chéng xiàn dài de jīng shén bìng yuàn。

　　Madness and Civilization: A History of Insanity in the Age of Reason, by Michel Foucault, is an examination of the ideas, practices, institutions, art and literature relating to madness in Western history. It is the abridged English edition of Histoire de la folie à l'âge classique, originally published in 1961 under the title Folie et déraison. Histoire de la folie à l'âge classique. A full translation titled The History of Madness was published by Routledge in June 2006. This was Foucault's first major book, written while he was the Director of the Maison de France in Sweden.
　　
　　Foucault begins his history in the Middle Ages, noting the social and physical exclusion of lepers. He argues that with the gradual disappearance of leprosy, madness came to occupy this excluded position. The ship of fools in the 15th century is a literary version of one such exclusionary practice, the practice of sending mad people away in ships. However, during the Renaissance, madness was regarded as an all-abundant phenomenon because humans could not come close to the Reason of God. As Cervantes' Don Quixote, all humans are weak to desires and dissimulation. Therefore, the insane, understood as those who had come too close to God's Reason, were accepted in the middle of society. It is not before the 17th century, in a movement which Foucault famously describes as the Great Confinement, that "unreasonable" members of the population systematically were locked away and institutionalized. In the 18th century, madness came to be seen as the obverse of Reason, that is, as having lost what made them human and become animal-like and therefore treated as such. It is not before 19th century that madness was regarded as a mental illness that should be cured, e.g. Philippe Pinel, Freud. A few professional historians have argued that the large increase in confinement did not happen in 17th but in the 19th century. Critics argue that this undermines the central argument of Foucault, notably the link between the Age of Enlightenment and the suppression of the insane.
　　
　　However, Foucault scholars have shown that Foucault was not talking about medical institutions designed specifically for the insane but about the creation of houses of confinement for social outsiders, including not only the insane but also vagrants, unemployed, impoverished, and orphaned, and what effect those general houses of confinement had on the insane and perceptions of Madness in western society. Furthermore, Foucault goes to great lengths to demonstrate that while this "confinement" of social outcasts was a generally European phenomenon, it had a unique development in France and distinct developments in the other countries that the confinement took place in, such as Germany and England, disproving complaints that Foucault takes French events to generalize the history of madness in the West. A few of the historians critical of its historiography, such as Roy Porter, also began to concur with these refutations and discarded their own past criticisms to acknowledge the revolutionary nature of Foucault's book.

　　zhè dà gài shì fú kē xiě guò de zuì jiē jìn " wán měi " de zhù zuò， lěng jùn de miáo xiě yǔ rè liè de " shū qíng hé xīn "， xì zhì de fēn xī yǔ tòu bì de lǐ lùn fǎnxǐng yǐ chōng mǎn zhāng lì de fāng shì yě yú yī lú。 duì bǐ zuì chū tái wān bǎn de fān yì， yì zhě yòu zuò liǎo jīng xīn de xiū gǎi， shǐ xiàn zài zhè gè yì běn wú lùn zhǔn què xìng hái shì liú chàng xìng， dū kān chēng jiā yì。 dāng rán fān yì de zhì liàng shì jiàn lì zài zuò zhě duì fú kē sī xiǎng de quán miàn yán jiū de jī chǔ shàng de， zhè yī diǎn qià qià shì xiàn zài xǔ duō fān yì suǒ quē fá de。 bù guò， jiāng discipline yì wéi " guī xùn "， réng yòu " zào zì " zhī xián， ér xiàn yòu de " jì lǜ " yī cí què sì hū gèng tiē qiē。 bì jìng zài ní cǎi hé wéi bó nà lǐ， zhè gè cí dū yì zuò " jì lǜ "（ suǒ yǐ zhè gè gài niàn yě bìng fēi rú yì zhě suǒ yán， shì fú kē de " dú chuàng "）。

　　Discipline and Punish: The Birth of the Prison is a book written by the philosopher Michel Foucault. Originally published in 1975 in France under the title Surveiller et punir: Naissance de la Prison, it was translated into English in 1977. It is an examination of the social and theoretical mechanisms behind the massive changes that occurred in western penal systems during the modern age. It focuses on historical documents from France, but the issues it examines are relevant to every modern western society. It is considered a seminal work, and has influenced many theorists and artists.
　　
　　Foucault challenges the commonly accepted idea that the prison became the consistent form of punishment due to humanitarian concerns of reformists, although he does not deny those. He does so by meticulously tracing out the shifts in culture that led to the prison's dominance, focusing on the body and questions of power. Prison is a form used by the "disciplines", a new technological power, which can also be found, according to Foucault, in schools, hospitals, military barracks, etc. The main ideas of Discipline and Punish can be grouped according to its four parts: torture, punishment, discipline and prison.
　　
　　Torture
　　
　　Foucault begins the book by contrasting two forms of penalty: the violent and chaotic public torture of Robert-François Damiens who was convicted of attempted regicide in the late 18th century, and the highly regimented daily schedule for inmates from an early 19th century prison. These examples provide a picture of just how profound the change in western penal systems were after less than a century. Foucault wants the reader to consider what led to these changes. How did western culture shift so radically?
　　
　　To answer this question, he begins by examining public torture itself. He argues that the public spectacle of torture was a theatrical forum that served several intended and unintended purposes for society. The intended purposes were:
　　
　　 * Reflecting the violence of the original crime onto the convict's body for all to see.
　　 * Enacting the revenge upon the convict's body, which the sovereign seeks for having been injured by the crime. Foucault argues that the law was considered an extension of the sovereign's body, and so the revenge must take the form of harming the convict's body.
　　
　　Some unintended consequences were:
　　
　　 * Providing a forum for the convict's body to become a focus of sympathy and admiration.
　　 * Creating a site of conflict between the masses and the sovereign at the convict's body. Foucault notes that public executions often led to riots in support of the prisoner.
　　
　　Thus, he argues, the public execution was ultimately an ineffective use of the body, qualified as non-economical. As well, it was applied non-uniformly and haphazardly. Hence, its political cost was too high. It was the antithesis of the more modern concerns of the state: order and generalization.
　　Punishment
　　
　　The switch to prison was not immediate. There was a more graded change, though it ran its course rapidly. Prison was preceded by a different form of public spectacle. The theater of public torture gave way to public chain gangs. Punishment became "gentle", though not for humanitarian reasons, Foucault suggests. He argues that reformists were unhappy with the unpredictable, unevenly distributed nature of the violence the sovereign would inflict on the convict. The sovereign's right to punish was so disproportionate that it was ineffective and uncontrolled. Reformists felt the power to punish and judge should become more evenly distributed, the state's power must be a form of public power. This, according to Foucault, was of more concern to reformists than humanitarian arguments.
　　
　　Out of this movement towards generalized punishment, a thousand "mini-theatres" of punishment would have been created wherein the convicts' bodies would have been put on display in a more ubiquitous, controlled, and effective spectacle. Prisoners would have been forced to do work that reflected their crime, thus repaying society for their infractions. This would have allowed the public to see the convicts' bodies enacting their punishment, and thus to reflect on the crime. But these experiments lasted less than twenty years.
　　
　　Foucault argues that this theory of "gentle" punishment represented the first step away from the excessive force of the sovereign, and towards more generalized and controlled means of punishment. But he suggests that the shift towards prison that followed was the result of a new "technology" and ontology for the body being developed in the 18th century, the "technology" of discipline, and the ontology of "man as machine."
　　Discipline
　　
　　The emergence of prison as the form of punishment for every crime grew out of the development of discipline in the 18th and 19th centuries, according to Foucault. He looks at the development of highly refined forms of discipline, of discipline concerned with the smallest and most precise aspects of a person's body. Discipline, he suggests, developed a new economy and politics for bodies. Modern institutions required that bodies must be individuated according to their tasks, as well as for training, observation, and control. Therefore, he argues, discipline created a whole new form of individuality for bodies, which enabled them to perform their duty within the new forms of economic, political, and military organizations emerging in the modern age and continuing to today.
　　
　　The individuality that discipline constructs (for the bodies it controls) has four characteristics, namely it makes individuality which is:
　　
　　 * Cellular—determining the spatial distribution of the bodies
　　 * Organic—ensuring that the activities required of the bodies are "natural" for them
　　 * Genetic—controlling the evolution over time of the activities of the bodies
　　 * Combinatory—allowing for the combination of the force of many bodies into a single massive force
　　
　　Foucault suggests this individuality can be implemented in systems that are officially egalitarian, but use discipline to construct non-egalitarian power relations:
　　
　　 Historically, the process by which the bourgeoisie became in the course of the eighteenth century the politically dominant class was masked by the establishment of an explicit, coded and formally egalitarian juridical framework, made possible by the organization of a parliamentary, representative regime. But the development and generalization of disciplinary mechanisms constituted the other, dark side of these processes. The general juridical form that guaranteed a system of rights that were egalitarian in principle was supported by these tiny, everyday, physical mechanisms, by all those systems of micro-power that are essentially non-egalitarian and asymmetrical that we call the disciplines. (222)
　　
　　Foucault's argument is that discipline creates "docile bodies", ideal for the new economics, politics and warfare of the modern industrial age—bodies that function in factories, ordered military regiments, and school classrooms. But, to construct docile bodies the disciplinary institutions must be able to a) constantly observe and record the bodies they control, b) ensure the internalization of the disciplinary individuality within the bodies being controlled. That is, discipline must come about without excessive force through careful observation, and molding of the bodies into the correct form through this observation. This requires a particular form of institution, which Foucault argues, was exemplified by Jeremy Bentham's Panopticon, which was never actually built.
　　
　　The Panopticon was the ultimate realization of a modern disciplinary institution. It allowed for constant observation characterized by an "unequal gaze"; the constant possibility of observation. Perhaps the most important feature of the panopticon was that it was specifically designed so that the prisoner could never be sure whether s/he was being observed. The unequal gaze caused the internalization of disciplinary individuality, and the docile body required of its inmates. This means one is less likely to break rules or laws if they believe they are being watched, even if they are not. Thus, prison, and specifically those that follow the model of the Panopticon, provide the ideal form of modern punishment. Foucault argues that this is why the generalized, "gentle" punishment of public work gangs gave way to the prison. It was the ideal modernization of punishment, so its eventual dominance was natural.
　　
　　Having laid out the emergence of the prison as the dominant form of punishment, Foucault devotes the rest of the book to examining its precise form and function in our society, to lay bare the reasons for its continued use, and question the assumed results of its use.
　　Prison
　　
　　In examining the construction of the prison as the central means of criminal punishment, Foucault builds a case for the idea that prison became part of a larger “carceral system” that has become an all-encompassing sovereign institution in modern society. Prison is one part of a vast network, including schools, military institutions, hospitals, and factories, which build a panoptic society for its members. This system creates “disciplinary careers” (Discipline and Punish, 300) for those locked within its corridors. It is operated under the scientific authority of medicine, psychology, and criminology. Moreover, it operates according to principles that ensure that it “cannot fail to produce delinquents.” (Discipline and Punish, 266). Delinquency, indeed, is produced when social petty crime (such as taking wood in the lord's lands) is no longer tolerated, creating a class of specialized "delinquents" acting as the police's proxy in surveillance of society.
　　
　　The structures Foucault chooses to use as his starting positions help highlight his conclusions. In particular, his choice as a perfect prison of the penal institution at Mettray helps personify the carceral system. Within it is included the Prison, the School, the Church, and the work-house (industry)—all of which feature heavily in his argument. The prisons at Neufchatel, Mettray, and Mettray Netherlands were perfect examples for Foucault, because they, even in their original state, began to show the traits Foucault was searching for. They showed the body of knowledge being developed about the prisoners, the creation of the 'delinquent' class, and the disciplinary careers emerging.

　　《 chá lā tú sī tè lā rú shì shuō》 shì ní cǎi de lǐ chéng bēi shì de zuò pǐn， jīhū bāo kuò liǎo ní cǎi de quán bù sī xiǎng。 quán shū yǐ wāng yáng zì sì de shī tǐ xiě chéng， róng jiǔ shén de kuáng zuì yǔ rì shén de qīng xǐng yú yī lú， tōng guò“ chāo rén” chá lā tú sī tè lā zhī kǒu xuān jiǎng wèi lái shì jiè de qǐ shì， zài shì jiè zhé xué shǐ hèshī gē shǐ shàng jūn zhàn yòu dú tè de bù xiǔ de dì wèi。
　　 zhè běn yǐ sǎnwén shī tǐ xiě jiù de jié zuò， yǐ zhèn lóng fā kuì de qí yì zhuó jiàn hé héng kōng chū shì de jǐng shì zhì huì xuān jiǎng“ chāo rén zhé xué” hé“ quán lì yì zhì”， héng sǎo liǎo jī dū jiào jiào tiáo zào wēi de jīng shén nú xìng de fāng fāng miàn miàn， pǔ xiě liǎo yī qū zì yóu zhù yì de rén xìng zhuàng gē。 zài běn shū zhōng，“ shàng dì sǐ liǎo”，“ chāo rén” dàn shēng liǎo， yú shì jìn dài rén lèi sī xiǎng de tiān kōng yòu liǎo yī dào guāng yào qiān nián de qí yì cǎi hóng。 lìng ní cǎi bǎo shòu fēinàn de yán lùn“ qù nǚ rén nà lǐ má？ bié wàng liǎo nǐ de biān zǐ”， biàn shì chū zì cǐ shū。 zhǐ yòu shēn rù lǐ jiě liǎo ní cǎi de jīng shén shí zhì， cái néng zhēn zhèng lǐ jiě zhè yàng de guài lùn。
　　　　 miàn duì yī zuò wàn rèn gāo shān， wǒ men wǎng wǎng shuō bù chū duō shǎo huà lái， gǎn dào zàn cí shì duō yú de。 miàn duì fú lǐ dé lǐ xī · wēi lián · ní cǎi (1844 héng 1900)， zhè wèi dé guó jìn dài dà shī rén、 dà zhé xué jiā， wǒ men yě yòu tóng yàng de gǎn jué。
　　　　 zhè gè ní cǎi， tā xuān gào：“ shàng dì sǐ liǎo !” céng jīng shǐ zhěng gè xī fāng shì jiè zhèn hàn。 zhè gè ní cǎi， tā de“ chāo rén zhé xué” zhǐ yòu jí shǎo shù rén néng gòu zhēn zhèng lǐ jiě。 shēn shòu tā yǐng xiǎng de sī xiǎng wén huà jù rén yòu： lǐ 'ěr kè、 fú luò yī dé、 jiā miù、 sà chí、 hǎi dé gé 'ěr、 xiāo bó nà、 liáng qǐ chāo、 lǔ xùn， děng děng。
　　　　 ní cǎi yī shēng bǎo shòu piào bó hé bìng tòng zhī kǔ， zuì hòu shì zài jīng shén cuò luàn zhōng liǎo què cán shēng， gèng wéi bù xìng de shì， tā de xué shuō cháng cháng shòu dào wù jiě hé wāi qū。 dé guó nà cuì fènzǐ céng bǎ tā de xué shuō sì yì qū jiě wéi fǎ xī sī de lǐ lùn zhī zhù。 xī tè lè céng qīn zì qù bài yè ní cǎi zhī mù， bìng bǎ《 ní cǎi quán jí》 zuò wéi shòu lǐ sòng gěi mò suǒ lǐ ní。
　　《 chá lā tú sī tè lā rú shì shuō》 - zuò zhě jiǎn jiè
　　
　　 fú lǐ dé lǐ xī · wēi lián · ní cǎi（ 1844 héng 1900）， dé guó jìn dài shī rén、 zhé xué jiā。 tā xuān gào：“ dì sǐ liǎo！” chè dǐ dòng yáo liǎo xī fāng sī xiǎng tǐ xì de jī shí， tā gāo dǎo de“ chāo rén zhé xué” yǔ jiǔ shén jīng shén chǎn shēng liǎo jù dà yǐng xiǎng。 tā de zhù yào zhù zuò yòu《 bēi jù de dàn shēng》、《 chá lā tú sī tè lā rú shì shuō shàn 'è zhī bǐ 'àn》、《 lùn dào dé de pǔ xì》、《 kuài lè de kē xué》、《 shǔ guāng》、《 quán lì yì zhì》 děng。 ní cǎi jì yòu zhé xué jiā de shēn suì dòng jiàn， yòu yòu shī rén de péng pài jī qíng。 shēn shòu tā yǐng xiǎng de sī xiǎng wén huà jù rén， yòu lǐ 'ěr kè、 xiāo bó nà、 fú luò yī dé、 jiā miù、 sà tè、 hǎi dé gé 'ěr， liáng qǐ chāo、 lǔ xùn děng。
　　 ní cǎi hé mǎ kè sī， niú dùn、 ài yīn sī tǎn、 dá 'ěr wén děng tóng shí róng huò“ qiān nián shí dà sī xiǎng jiā” de shèng yù。
　　《 chá lā tú sī tè lā rú shì shuō》 -《 chá lā tú sī tè lā rú shì shuō》 zhōng de lì shǐ guān
　　
　　 ní cǎi zài tā de dài biǎo zuò《 chá lā tú sī tè lā rú shì shuō》 zhōng zhàn zài yī yuán lùn de lì chǎng shàng xiàng shì rén zhǎn shì liǎo yī zhǒng fā zhǎn de biàn zhèng de lì shǐ guān， xià miàn wǒ xiǎng cóng sì gè fāng miàn lái tán tán zhè gè wèn tí。
　　
　　( yī ) fā zhǎn de sī wéi fāng shì
　　
　　 chá lā tú sī tè lā zài shān shàng dù guò liǎo shí nián jié zhì shēng huó zhī hòu， zài rén lèi miàn qián fā biǎo liǎo dì yī cì yǎn jiǎng， chén shù liǎo cóng zhí wù dào chāo rén de guò chéng： zhí wù → chóng zǐ→ hóu zǐ→ rén lèi→ chāo rén。“ nǐ men jīng lì liǎo cóng chóng zǐ dào rén de dào lù， zài nǐ men shēn shàng duō shǎo yòu diǎn xiàng chóng zǐ。 nǐ men yǐ qián shì hóu zǐ， zài xiàn zài rén yě bǐ rèn hé yī zhǐ hóu zǐ gèng xiàng hóu zǐ。” 1 ní cǎi rèn wéi zài shēng wù jiè zhōng shǐ zhōng cún zài yī zhǒng gèng gāo de fā zhǎn， mù qián de jiē duàn jué fēi zuì zhōng jiē duàn。 rén zhè gè jiē duàn yě shì fā zhǎn zhōng de guò dù jiē duàn， hái huì chāo guò rén zhè gè jiē duàn， xiàng xià yī gè jiē duàn héng héng chāo rén de jiē duàn fā zhǎn。 chá lā tú sī tè lā duàn yán：“ dào mù qián wéi zhǐ， suǒ yòu shēng wù dū chuàng zào liǎo yī xiē chāo guò zì jǐ de dōng xī。” 2“ chuàng zào” zhè gè gài niàn biǎo míng， chá lā tú sī tè lā bìng bù jiāng shēng wù jìn huà lǐ jiě wéi yī zhǒng jī xiè de yīn guǒ guò chéng， ér rèn wéi zhè xiē shēng wù zì shēn jiù shì fā zhǎn dòng lì， tā ( tā ) men zì shēn chuàng zào chāo chū zì jǐ de shì wù bìng yīn cǐ 'ér chāo yuè zì jǐ。 yí hàn de shì cún zài yī zhǒng cuò wù guān diǎn， zhè zhǒng guān diǎn gēn shēn dì gù dì zuǒ yòu zhe rén lèi de sī wéi： rén lèi zì yǐ wéi zì jǐ jiù shì yǔ zhòu fā zhǎn de zuì gāo jiē duàn， rén lèi pàn dìng zì jǐ shì jìn huà jié shù de zuì zhōng chéng guǒ。 yóu yú méi yòu shénme kě zài fā zhǎn liǎo， yú shì hū rén lèi tíng zhǐ bù qián shèn zhì tuì huí dào yǐ jīng chāo yuè de jiē duàn。 wèicǐ chá lā tú sī tè lā tí xǐng dào：“ nǐ men xiǎng yào chéng wéi xiōng yǒng cháo shuǐ zhōng de luò cháo tóng shí nìngkě fǎn huí dào dòng wù yě bù yuàn chāo yuè rén lèi má ?” 3 yào zhī dào rén lèi shì shēng wù zhōng wéi yī bù kào běn néng zài jìn huà cháo liú zhōng jìn xíng chuàng zào huó dòng de， ér qiě kě yǐ 'àn zhào zì jǐ de yì zhì duì kàng huò shùn yìng jìn huà cháo liú。 dàn shì 'àn zhào chá lā tú sī tè lā de guān diǎn， jí biàn shì rén lèi wèile shǐ zì jǐ bǎo chí wéi rén yě bì xū zài jí duān de duì lì miàn zhī jiān lái huí páo。 huàn jù huà shuō wéi liǎo dāng luò cháo bì xū xiān dāng zhǎng cháo， zhǐ yòu tǐ yàn liǎo luò cháo de shī luò cái néng xiǎng shòu zhǎng cháo de xǐ yuè。 jiǎ ruò rén lèi tíng zhì bù qián jiù huì tuì dào zǎo yǐ bèi chāo guò liǎo de jiē duàn héng héng dòng wù yù bèi jiē duàn。“ duì yú rén lái shuō， hóu zǐ shì shénme ? yī zhǒng dà xiào huò zhě shì yī zhǒng tòng kǔ de xiū rǔ。 ér rén lèi duì yú chāo rén lái shuō zhèng shì rú cǐ： yī zhǒng cháo xiào huò zhě shì yī zhǒng tòng kǔ de xiū rǔ。” 4 dāng rén lèi huí gù zì jǐ de lì shǐ shí， tā kàn dào liǎo chéng wéi rén zhī qián de quán bù fā zhǎn jiē duàn。 yī fāng miàn tā fā xiàn zì jǐ zài yī dìng chéng dù shàng yǐ jīng zài hóu zǐ zhōng xiǎn xiàn tóng shí hóu zǐ yòu pō jù rén xìng， zhè shí tā huì hā hā dà xiào； lìng yī fāng miàn dāng tā xiǎng qǐ zì jǐ de zǔ xiān céng shì hóu zǐ shí， yòu huì miàn hóng 'ěr chì。 yòu cháo yī rì chāo rén yě huì chǎn shēng zhè yàng liǎng fāng miàn de gǎn jué。 duì cǐ hè lā kè lì tè yě yòu tóng gǎn：“ zuì piào liàng de hóu zǐ yǔ rén xiāng bǐ yě shì chǒu lòu de。 zuì cōng míng de rén zài shàng dì shēn biān kàn qǐ lái rú tóng yī zhǐ hóu zǐ， zhè shè jí dào zhì huì， měi lì hé qí tā de yī qiē。” 5
　　
　　 chá lā tú sī tè lā zài 'ài tīng sǒng rén tīng wén xiāo xī de guān zhòng miàn qián zuò liǎo tā de dì yī cì yǎn jiǎng， dàn shì tā de tīng zhòng bù lǐ jiě tā de yǎn shuō， yīn wéi zhè xiē rén shèn zhì hái wèi dá dào rén de jiē duàn“ nǐ men zhī zhōng zuì cōng míng de rén yě zhǐ shì zhí wù hé mó guǐ de yī zhǒng máo dùn de hùn zhǒng。 dàn shì wǒ jiào nǐ men chéng wéi mó guǐ huò zhí wù liǎo má ?/ nǐ men kàn nǎ， wǒ jiào nǐ men shénme shì chāo rén： / chāo rén shì dà dì de yì yì。 nǐ men de yì zhì shuō： chāo rén shì dà dì de yì yì !” 6 zài ní cǎi bǐ xià de chá lā tú sī tè lā kàn lái， yóu yú rén lèi hái suàn bù shàng yī gè wán zhěng chū sè de zhěng tǐ， zhǐ shì liǎng gè xiāng hù máo dùn de bù fēn de zǔ hé， zhè liǎng bù fēn zhī jiān mì bù kě fēn de guān xì hái wèi bèi rèn shí dào， suǒ yǐ zài cóng hóu zǐ dào rén de guò dù qī jiān jiù chū xiàn liǎo wù zhì hé jīng shén de fēn lí。
　　
　　 hěn xiǎn rán， ní cǎi bù xiǎng zài jìn huà lùn de xiá 'ài de yì yì zhōng qù zhǎn shì rén lèi de shēng wù jìn huà shǐ 'ér xiǎng cóng shēng wù yí chuán xué fāng miàn lái yǎn shì zhí wù→ chóng zǐ→ hóu zǐ→ cóng→ chāo rén de zhěng gè fā zhǎn shǐ。 zài cǐ qīng chǔ dì xiǎn shì liǎo ní cǎi de lì shǐ guān（ １） shì fā zhǎn de 'ér bù shì tíng zhǐ de，（ ２） jì bù shì jiǎn dān de jī xiè de yīn guǒ guò chéng yě bù tóng yú dá 'ěr wén de jìn huà lùn。 ní cǎi shǐ zhōng rèn wéi dá 'ěr wén de guān diǎn shì piàn miàn de， dá 'ěr wén zài shēng cún dǒu zhēng zhōng hū lüè liǎo jīng shén， méi yòu hēi gé 'ěr jiù méi yòu dá 'ěr wén， yīn cǐ ní cǎi qiáng liè fǎn duì bǎ tā dāng zuò dá 'ěr zhù yì zhě，“ shòu guò xùn liàn de yòu jiǎo dòng wù shǐ wǒ duì dá 'ěr wén zhù yì chǎn shēng liǎo huái yí”。 7
　　
　　 xià miàn ràng wǒ men zài kàn kàn ní cǎi bǐ xià de jīng shén de sān gè fā zhǎn jiē duàn。 chá lā tú sī tè lā duì zhòng rén shuō：“ wǒ gào sù nǐ men jīng shén de sān zhǒng biàn xíng： jīng shén shì rú hé biàn chéng luò tuó， luò tuó shì rú hé biàn chéng shī zǐ， zuì hòu shī zǐ rú hé biàn chéng xiǎo hái。” 8 zhè jīng shén de lì shǐ jīng lì liǎo“ wù zhì huà” de sān gè jiē duàn。 dì yī gè jiē duàn jí luò tuó de jiē duàn， kè huà liǎo xī fāng chuán tǒng guān niàn zhōng zì wǒ wù xìng de tè zhēng。 zài dì 'èr jiē duàn jí shī zǐ de jiē duàn， chá lā tú sī tè lā bàn yǎn liǎo chuán tǒng jià zhí de pī pàn zhě de juésè。 zài dì sān jiē duàn jí xiǎo hái jiē duàn zhǐ míng chāo rén hái méi yòu dàn shēng。 zhà yī kàn qǐ lái sì hū jīng shén de sān zhǒng biàn xíng yǔ hēi gé 'ěr de sān duàn lùn： zhèng tí、 fǎn tí、 zōng hé hěn xiāng sì。 dàn zhè jǐn jǐn shì zài yī dìng tiáo jiàn xià。 zài dì yī jiē duàn， jīng shén yǐ luò tuó de wài xíng chū xiàn， bàn yǎn liǎo qū fú shùn cóng de juésè， yī gè wài zài de、 lái shì de、 yǒng yuǎn gù dìng de chāo jīng shén qiáng jiā yú tā。 zài dì 'èr jiē duàn， tā rèn shí dào liǎo luò tuó shì yī zhǒng zì bǐ de xíng shì， yīn 'ér chè dǐ fǒu rèn liǎo luò tuó de xíng wéi， tā zì jǐ xuān gào liǎo zì jǐ de sǐ wáng， bìng wéi zì jǐ de xīn shēng zuò hǎo liǎo zhǔn bèi， zhè shì yī cì fèng huáng niè pán， yú shì jīng shén fā zhǎn dào liǎo dì sān jiē duàn： xiǎo hái jiē duàn。“ xiǎo hái shì tiān zhēn yǔ yí wàng de” 9 biǎo míng jīng shén tōng guò chǎn shēng zì jǐ de dì 'èr gè qǐ diǎn 'ér wàng jì liǎo yǐ qián de shī bài hé guò shī。 jīng shén zài chāo yuè liǎo shī zǐ jiē duàn yǐ hòu jiù bǎ zì jǐ de wǎng shì wàng dé yī gān 'èr jìng， yīn wéi zài dāng nián tā bù shì zì jué zì yuàn， ér shì bèi wài lái lì liàng qiáng zhì de wù huà de mó guǐ jīng shén， zhǐ yòu zài xiǎo hái jiē duàn cái huī fù liǎo zì wǒ， cái yòu liǎo chuàng zào xìng“ yī gè zì zhuǎn de lún”。“ shì de， wèile chuàng zào de yóu xì， wǒ de dì xiōng men， yī gè shén shèng de kěn dìng shì bì yào de： jīng shén xiàn zài yào yòu tā de yì zhì lì， shī qù shì jiè zhě yíng dé liǎo tā de shì jiè。” 10 zǒng zhī， zài jīng shén fā zhǎn de dì sān jiē duàn， zhǐ yòu zài zhè gè jiē duàn， shì jiè zuò wéi jīng shén huó dòng de zhēn zhèng chǎn wù cái dàn shēng liǎo。 shùn biàn shuō yī jù， ní cǎi zài cǐ duì jīng shén xì liè de sān zhǒng biàn huà de miáo huì yǔ jī dū jiào jiào yì zhōng shàng dì cóng xū wú zhōng chuàng zào liǎo shì jiè de qíng xíng hěn xiāng sì。 kàn lái jiān jué fǎn duì jī dū jiào shén xué de ní cǎi yě wú fǎ bǎi tuō shí dài yǔ huán jìng duì tā de qián yí mò huà de yǐng xiǎng。
　　
　　 cóng yǐ shàng wǒ men kě yǐ kàn chū， ní cǎi rèn wéi jīng shén hé wù zhì zài jí duān duì lì zhōng xiāng hù yǐ cún， bìng yīn cǐ xíng chéng liǎo yī gè yòu yī gè chāo yuè zì jǐ yòu huí guī zì jǐ de xiàng gāo jí fā zhǎn de yùn dòng。
　　
　　( èr ) biàn zhèng de yī yuán lùn guān diǎn
　　
　　 ní cǎi yòng chá lā tú sī tè lā de míng yì cóng zhí wù hé mó guǐ de qíng xíng rù shǒu lái yán jiū ròu tǐ hé líng hún zhè gè gǔ lǎo de wèn tí。 àn zhào chá lā tú sī tè lā de guān diǎn， jìn guǎn chuán tǒng zhé xué jiāng rén lèi shì wéi ròu tǐ héng héng líng hún、 wù zhì héng héng jīng shén suǒ zǔ chéng de zhěng tǐ， dàn zài shì shí shàng yǐ jīng jiāng jīng shén wù huà liǎo， jīng shén biàn chéng liǎo kě yǐ tuō lí wù zhì dān dú cún zài de shí tǐ。 yīn cǐ jiù yòu liǎo chá lā tú sī tè lā de fǎn wèn：“ wǒ jiào rén men chéng wéi mó guǐ hé zhí wù má ?” 11 wéi xīn zhù yì hé wéi wù zhù yì tóng yàng dōushì rén lèi zì wǒ wù xìng de piàn miàn xíng shì， zài zhè qí zhōng huò zhě shì rén de ròu tǐ de nà yī miàn huò zhě shì rén de jīng shén de nà yī miàn bèi fǒu dìng liǎo。 zài chá lā tú sī tè lā yī kāi shǐ yǎn jiǎng shí wǒ men jiù tīng dào liǎo rén lèi yīnggāi shì bèi chāo yuè de。 xiàn zài dāng rén lèi bèi fēn liè chéng ròu tǐ yǔ líng hún liǎng bù fēn shí wǒ men zài cì tīng dào tā de shēng yīn：“ nǐ men kàn nǎ， wǒ jiào rén men shénme shì chāo rén !” 12 dāng wǒ men sī kǎo chāo yuè rén héng héng zhè gè qián jìn zhōng de zhì de fēi yuè shí， ràng wǒ men zài huí yì yī xià rén lèi yǐ jīng chāo yuè de nà xiē jiē duàn， yǐ biàn gèng hǎo dì lǐ jiě cóng hóu zǐ dào rén de guò chéng zhōng rú hé chū xiàn liǎo líng hún hé ròu tǐ de fēn lí。 shǒu xiān yào huí yì de shì cóng zhí wù→ chóng zǐ→ hóu zǐ→ rén de fā zhǎn guò chéng zhōng bèi miáo huì wéi zài liǎng gè píng miàn shàng fā shēng de guò chéng。 qí yī shì kōng jiān de píng miàn： huó dòng bàn jìng yóu zhí wù dào rén dì zēng， yīn 'ér huó dòng yú dì hé shēng huó kōng jiān biàn dà liǎo biàn guǎng liǎo。 wèile shì yìng kuò zhǎn liǎo de shēng huó kōng jiān dài lái de duō yàng xìng， jiù bì xū zài sī xiǎng zhè dì 'èr gè fēi kōng jiān de píng miàn shàng jiā gōng chū xīn de dōng xī lái。 shēng huó kōng jiān yù shì sè cǎi bān lán， sī xiǎng huó dòng jiù yù shì chōu xiàng kū zào。 zhè sī xiǎng huó dòng bù dé bù bǎ gè zhǒng zhì xù、 tiáo lǐ dài rù shēng cún suǒ bì xū de fán zá de duō yàng xìng zhōng， bìng yǐ zhè zhǒng fāng shì xíng chéng liǎo yǔ shēng huó kōng jiān xiāng guān lián de yì shí。 zhè yàng yī lái zài hóu zǐ jiē duàn jiù zhú jiàn xiàn chū liǎo hóu zǐ hé shì jiè de 'èr yuán bù tóng xìng de zhòu xíng， jìn guǎn hái méi yòu dá dào rén lèi suǒ tè yòu de fǎnxǐng、 chōu xiàng nà yàng gāo jí de chéng dù。 rén lèi bù jǐn zài yǔ shì jiè de lián xì zhōng 'ér qiě zài zì shēn zhōng yě fā xiàn liǎo wǒ yǔ fēi wǒ de 'èr yuán xìng。 zhè yàng yī lái rén lèi jiāng zì shēn yě zuò wéi kè tǐ duì lì qǐ lái， bìng yòng zhè zhǒng fāng shì yǔ zì jǐ lā kāi liǎo jù lí， yú shì hū yì shí de wǒ yǔ ròu tǐ de wǒ sī liè liǎo， shì bù liǎng lì dì duì lì liǎo。 rén lèi chū xiàn de zhè gè cuò wù yǐ bèi ní cǎi zài《 zhēn shí de shì jiè jiū jìng shì rú hé chéng wéi yù yán de》 zhè piān wén zhāng zhōng tǎo lùn guò。 rén lèi de zhè gè cuò wù zài yú： yì shí dào liǎo zì shēn què wàng jì liǎo chū shēn， wàng jì liǎo cóng zhí wù yī zhí dào rén lèi de zhěng gè fā zhǎn shǐ， suǒ yǐ cái shǐ jīng shén hé wù zhì xiāng tuō lí。 jiǎ rú rén lèi cóng shēng wù fā zhǎn shǐ de qǐ yuán jiē duàn jiù zhèng què lǐ jiě zì shēn yì shí， nà me rén lèi jiù huì zì rán 'ér rán dì zài zì shēn zhōng zhǎo dào zì jǐ chāo yuè guò de měi yī gè jiē duàn， fā zhǎn chéng rén lèi de zhè gè shēng wù jìn chéng jiù huì bèi miáo huì chéng ròu tǐ hé jīng shén biàn zhèng guān xì de zì rán yán xù。 ér xī fāng rén zài hěn cháng shí jiān lǐ què bù shì zhè yàng。 tā men shǐ líng hún hé ròu tǐ xiāng hù tuō jié， tā men wéi jīng shén dù zhuàn liǎo yī gè wán quán bù tóng de、 gèng gāo jí de qǐ yuán bìng yīn cǐ fā míng liǎo yī gè fēi gǎn guān suǒ néng gǎn jué dào de、 chāo zì rán de shì jiè。 wù zhì hé jīng shén de chè dǐ fēn liè zài ròu tǐ hé líng hún zhè gè wèn tí shàng qīng qīng chǔ chǔ dì biǎo xiàn chū lái liǎo。 dāng rén lèi yóu rú cǐ xiāng xiāng hù duì lì de、 lǎo sǐ bù xiāng wǎng lái de liǎng bù fēn zǔ chéng shí yòu gāi rú hé xiǎng xiàng zuò wéi yī zhǒng zì shēn tǒng yī de shēng wù de rén ní ? líng hún hé ròu tǐ zhī jiān de tuō jié wèn tí zài zhè gè yí wèn zhōng dé dào liǎo zuì gāo tǐ xiàn。 zhè xiē jiāng huà de guī zé xī wàng jiāng guān yú liǎng gè shì jiè de 'èr yuán lùn yǐ jí wù zhì hé jīng shén de hóng gōu zuì zhōng dì yǒng jiǔ dì gù dìng xià lái， ér ní cǎi bǐ xià de chá lā tú sī tè lā què yòng jù yòu dà dì yì yì de chāo rén de lǐ niàn lái yǔ zhī xiāng duì kàng。 jìn guǎn zhè shì yòng yī zhǒng wéi xīn zhù yì lái duì kàng lìng yī zhǒng wéi xīn zhù yì， dàn chá lā tú sī tè lā de duì kàng xiǎn rán jì gāo yī chóu， zhè duì kàng chǎn shēng liǎo xīn shì wù， yīn wéi tā shǐ liǎng gè duì lì miàn zhī jiān yòu liǎo jí shǐ shì shùn jiān tǒng yī de kě néng xìng， zhèng rú zài cǎi hóng zhōng kě yǐ kàn chū tā shì guāng yǔ shuǐ děng děng yuán sù gòng tóng zuò yòng de jiēguǒ yī yàng， cóng wù zhì yǔ jīng shén、 ròu tǐ yǔ líng hún de xiāng duì kàng zhōng jiù chǎn shēng liǎo chāo rén。 zǒng 'ér yán zhī， ní cǎi bǐ xià de chá lā tú sī tè lā bǎ chuán tǒng de líng hún hé ròu tǐ duì lì fēn liè de 'èr yuán lùn sī xiǎng lǐ jiě wéi rén lèi yī zhǒng zì wǒ wù jiě de jiēguǒ， zhè zhèng shì ní cǎi de gāo míng guò rén zhī chù。 yī dàn rén lèi xiāo chú liǎo zhè zhǒng wù jiě， nà me líng hún hé ròu tǐ xiāng hù sī liè de wèn tí jiù jiě jué liǎo， zhè jiù yì wèi zhe rén lèi jiē duàn bèi chāo yuè liǎo， nà me suí zhī 'ér lái de jiù shì chāo rén jiē duàn。 wú lùn rú hé duì yú rén lèi lái shuō yòu yī diǎn shì kě yǐ kěn dìng de， jí dà dì de yì yì hé shēng huó de yì yì bù cún zài yú yī gè jìng zhǐ de、 wù huà liǎo de jīng shén chǎn wù zhōng， bù cún zài yú mó guǐ、 shàng dì、 lǐ niàn shì de lǐ xìng zhōng， ér zhǐ cún zài yú duì lì miàn de duì lì tǒng yī de biàn zhèng guān xì zhī zhōng。
　　
　　 cóng yǐ shàng fēn xī rén men bù nán kàn chū， ní cǎi yòng yī yuán lùn kè fú liǎo 'èr yuán lùn， jìn guǎn ní cǎi de chū fā diǎn réng shì wéi xīn zhù yì， dàn shì tā yòng fā zhǎn de biàn zhèng de wéi xīn zhù yì lái qǔ dài jiāng huà de jìng zhǐ de wéi wù zhù yì， zhè wú yí shì yī zhǒng jìn bù。
　　
　　 zài《 chá lā tú sī tè lā rú shì shuō》 zhōng， ní cǎi hái nǐ rén huà dì fěng cì jiē lù liǎo dāng shí líng hún hé ròu tǐ zhī jiān de cuò wù guān xì：“ cóng qián líng hún miè shì ròu tǐ， zhè zhǒng miè shì zài dāng shí bèi rèn wéi shì zuì gāo shàng de shì： héng héng líng hún yào ròu tǐ kū shòu、 chǒu lòu bìng qiě 'è sǐ。 tā yǐ wéi zhè yàng biàn kě yǐ táo bì ròu tǐ， tóng shí yě táo bì liǎo dà dì。 / ā， zhè líng hún zì jǐ hái shì kū shòu、 chǒu lòu、 è sǐ de， cán rěn jiù shì tā de yín lè !” 13 duì yú chá lā tú sī tè lā lái shuō， ròu tǐ zài chuán tǒng de xíng 'ér shàng xué hé jī dū jiào nà 'ér suǒ shòu dào de biǎn dī shì yī zhǒng miù lùn。 zhè zhǒng miù lùn rèn wéi， rén yīnggāi pāo qì yī qiē gǎn guān de gǎn shòu， pāo qì rén lèi de yǐ wǎng de dòng wù de lì chéng 'ér zhǐ tōng guò guān zhù jīng shén jiù néng xiàng gèng gāo jiē duàn fā zhǎn。 zhè zhǒng miù lùn zhǐ chéng rèn jīng shén de jī jí yīn sù hé ròu tǐ de xiāo jí yīn sù。 chá lā tú sī tè lā de kàn fǎ zhèng xiāng fǎn， rú guǒ líng hún néng gòu zuò wéi ròu tǐ de líng hún 'ér cún zài， nà me tā shì tú cóng ròu tǐ zhōng dú lì chū lái de měi yī cì cháng shì dōushì hú nào； rú guǒ líng hún biǎn dī ròu tǐ， nà wú yì yú biǎn dī líng hún zì jǐ， líng hún hé ròu tǐ yǒng yuǎn xiāng fǔ xiāng chéng bù kě fēn lí。 chá lā tú sī tè lā hái rèn wéi， líng hún duì ròu tǐ de píng jià qià qià děng yú ròu tǐ duì líng hún de pàn duàn：“ nǐ men de ròu tǐ shì zěn yàng shuō míng nǐ men de líng hún ní ? nǐ men de líng hún nán dào bù shì pín fá、 wū huì yǔ kě lián de zì mǎn má ?” 14 líng hún wéi zì jǐ chuàng zào liǎo yī gè xū huàn de shì jiè， tā yì xiǎng zhe zhàn shèng ròu tǐ de huī huáng shèng lì， dàn zhè zhǐ shì kě lián yòu kě xiào de jīng shén shèng lì fǎ。 zhǐ yòu yǔ ròu tǐ tóng shí cún zài， líng hún cái néng yuè lái yuè fēng fù； zhǐ yòu dāng jīng shén hé wù zhì xiāng hù zhōng jié bìng chǎn shēng yú duì fāng zhī zhōng shí cái huì chū xiàn“ pín fá、 wū huì yǔ kě lián de zì mǎn” de fǎn miàn。 chá lā tú sī tè lā de jié shù yǔ shì：“ bù shì nǐ men de zuì 'è， ér shì nǐ men de jié zhì xiàng tiān hū hǎn !/ nà dào yòng shé tóu tiǎn nǐ men de shǎn diàn hé zài ? nà gè yīngdāng xiàng nǐ men zhù shè de fēng kuáng hé zài ?/ xiàn zài wǒ jiào nǐ men shénme shì chāo rén： tā jiù shì zhè shǎn diàn， tā jiù shì zhè fēng kuáng !” 15 chá lā tú sī tè lā zài zhè 'ér pēng jī de zhèng shì bèi jī dū jiào shēn 'è tòng jué de“ zuì 'è yì shí”： rú guǒ rén men mǎn zú liǎo ròu tǐ de yù wàng jiù yì wèi zhe bèi pàn jīng shén， jiù yì wèi zhe yòu zuì。 chá lā tú sī tè lā gōng rán yǔ jī dū jiào jiào yì bèi dào 'ér chí， tā rèn wéi yuán zuì bù cún zài yú wéi bèi jīng shén de zuì 'è zhōng 'ér cún zài yú wéi bèi ròu tǐ de zuì 'è zhōng， dāng rén lèi zhēn de yīn wéi yòu zuì guò yào shòu dào chéng fá shí， ròu tǐ shǒu dāng qí chōng zài jié nán táo。 wèile chè dǐ cuī huǐ jī dū jiào jiào yì， xū yào diàn shǎn léi míng， yǐ biàn ràng 'èr yuán lùn rén wù jí qí guān diǎn chè dǐ bào lù， yǐ biàn ràng qiān bǎi nián lái jiāng huà níng gù de jiào tiáo dū huó dòng yùn zhuǎn qǐ lái。
　　
　　 yǔ cǐ tóng shí， ní cǎi yǐ shèng zhě lái fǎn chèn tū chū chá lā tú sī tè lā de fā zhǎn、 yùn dòng de yī yuán lùn guān diǎn。 shèng zhě zhuī qiú jìn shàn jìn měi。 tā jiāng zì jǐ duì rén lèi de 'ài dāng zuò zhè gè shì jiè shàng zuì wán měi de shì qíng， kě xī， zhè gè 'ài yǒng yuǎn bù kě néng cóng lǐ xiǎng biàn wéi xiàn shí。 yīn wéi rén lèi cún zài de yòu xiàn xìng cóng yuán zé shàng jìn zhǐ tā men qù dá dào nà wèi shèng zhě suǒ yào qiú de wán měi。 chí yòu zhè zhǒng kàn fǎ de shèng zhě ràng zì jǐ gū lì yú rén lèi zhī wài 'ér zhuànxiàng wéi yī néng mǎn zú zhè gè yào qiú de shēng wù： shàng dì。 shuí yào shì xiàng zhè wèi shèng zhě yī yàng zài duì shàng dì de 'ài zhōng zhǎo dào liǎo zì jǐ de mǎn zú， nà tā jiù shí zài wú fǎ lǐ jiě wèishénme chá lā tú sī tè lā bèi lí wán měi de shì wù 'ér qù xún zhǎo bù wán měi de shì wù。
　　
　　 shèng zhě de zhè zhǒng guān diǎn shì yóu tā de yǐ zōng jiào wéi jī chǔ de shēng huó fāng shì jué dìng de。 shèng zhě chóng shàng wán měi， bìng yīn cǐ 'ér wán quán tuō lí bìng bù wán měi de rén lèi shì jiè。 tā dú jū zài sēn lín zhōng měi tiān zàn měi shàng dì。 shèng zhě suǒ lǐ jiě de wán měi shì zì shēn fēng bì de、 bù biàn de、 wú fǎ chāo yuè de， yīn cǐ kě yǐ shuō shèng zhě wéi zì jǐ xuǎn zé de shēng huó fāng shì shì jìng zhǐ bù biàn de， zhè yī diǎn， cóng ní cǎi de bǐ xià kě yǐ qīng chǔ dì kàn chū。 chá lā tú sī tè lā tiào wǔ， shèng zhě chàng gē、 pǔ qū、 zuò cí。 tā de gē shēng biǎo dá liǎo tā duì jìn shàn jìn měi de zhí zhe de zhuī qiú。 tōng guò gē chàng tā bù duàn dì jiē jìn wán měi bìng yǔ zhī yuè lái yuè xiāng sì。 qián miàn yǐ jīng tán dào dāng chá lā tú sī tè lā tiào wǔ shí， shèng zhě chàng gē。 tā bàn zhe gē shēng zài yuán dì dòng， kě yǐ shuō tā shǐ zhōng tíng liú zài yuán zhōu de zhōng xīn diǎn shàng， suǒ yòu de bàn jìng cóng cǐ kāi shǐ， suǒ yòu de zhí jìng tōng guò cǐ chù， shèng zhě wéi rào zì shēn jué duì xuánzhuàn。 tā de shēng huó fāng shì níng gù chéng yóu huà bān de jìng tài de wán měi， zài qí nèi bù suǒ yòu de yùn dòng dū xiāo shī yí jìn。
　　
　　 shàng dì zhī sǐ de xiǎng fǎ duì yú shèng zhě lái shuō shì bù kān shè xiǎng de。 yīn wéi sǐ wáng yì wèi zhe yī zhǒng yóu huó zhuǎn biàn wéi sǐ de biàn huà guò chéng。 shèng zhě zhī suǒ yǐ 'ài shàng dì shì yīn wéi shàng dì shì zhì gāo wú shàng de wán měi wú xiá de huà shēn de tǐ xiàn， shì yī chéng bù biàn de wú bǐ zhì zūn de dài biǎo de tǐ xiàn， yě jiù shì shuō pái chú liǎo rèn hé yùn dòng biàn huà de kě néng xìng， shàng dì jué bù kě néng biàn chéng bié de shénme， yě jué bù kě néng sǐ qù， shàng dì bì xū yǒng yuǎn shì shàng dì， yǒng yuǎn shì jìn shàn jìn měi、 wán měi wú xiá de huà shēn。 duì yú shèng zhě lái shuō zhè gè yǒng yuǎn de cún zài xiàng zhēng xìng dì gù dìng zài tā tíng liú de nà gè zhōng xīn diǎn， shǐ tā yě chéng wéi wán měi yǔ yǒng héng。 duì yú chá lā tú sī tè lā lái shuō， zài xiàn shí shì jiè zhōng bù cún zài yǒng héng bù biàn de shì wù， zài xiàn shí shì jiè zhōng wàn shì wàn wù dōuzài dàn shēng、 biàn huà hé zhōng jié， ér jué bù kě néng chāo shí kōng 'ér cún zài。 rú guǒ zài wǒ men zhè gè wéi yī de zhēn shí shì jiè lǐ tán lùn shàng dì， nà me shàng dì jiù bì xū bèi rèn wéi hé qí tā de wàn shì wàn wù yī yàng shì fā zhǎn biàn huà de， ér bù shì níng gù bù biàn de， nà me shàng dì yě huì hé qí tā de wàn shì wàn wù yī yàng cún zài zhe chǎn shēng hé zhōng jié， duì yú yǐ jīng zhōng jié de shàng dì， rén men kě yǐ rú cǐ zhè bān dì shuō， shàng dì sǐ liǎo ! shèng zhě shì gè diǎn xíng de 'èr yuán lùn zhě， xiàng qí tā de 'èr yuán lùn zhě yī yàng zài tā nà lǐ zhēn shí de shì jiè yǔ xiǎng xiàng de shì jiè bèi xiāng hù diān dǎo， zhēn shí de shì jiè bèi wāi qū chéng liǎo biǎo xiàng de shì jiè， ér xiǎng xiàng de shì jiè què bèi chēng zhī wéi zhēn shí de shì jiè， suǒ yǐ ní cǎi cái zhēn fēng xiāng duì dì xiě liǎo nà piān jiào yù xì jù《 zhēn shí de shì jiè jiū jìng shì rú hé biàn chéng yù yán de》。 wǒ men kě yǐ jǔ gè tōng sú de lì zǐ， zài xiǎng xiàng zhōng rén men zǒng shì bǎ xiàn shí shì jiè miáo huì wéi yī wāng jìng zhǐ bù dòng de qīng quán， zhè wāng qīng quán zǒng shì bèi miáo huì chéng wú bǐ chún、 wú bǐ jìng、 wú bǐ tòu míng。 dàn shì shí shàng zhēn shí de shì jiè shì yī gè 'āng zàng de chí zhǎo。 bólātú rèn wéi zhēn shí de shì jiè dài biǎo liǎo hūn 'àn de dòng xué， ér zhè hūn 'àn de dòng xué yòu bèi kàn zuò rén lèi ròu tǐ de xiàng zhēng。 ér duì yú sū gé lā dǐ lái shuō zuì jiān nán de jiù shì cóng shàng miàn de dà dì huí dào xià miàn de dòng xué zhōng， jí cóng míng liàng de jīng shén nà lǐ fǎn huí wū huì de ròu tǐ zhōng。 zhè yī shàng yī xià、 yī gè tiān táng yī gè dì yù huó shēng shēng dì jiāng yī gè wán zhěng de shēng wù de rén sī liè chéng liǎng bù fēn。 zǒng 'ér yán zhī ní cǎi tōng guò sù zào zhè gè zhuī qiú jìn shàn jìn měi de 'èr yuán lùn zhě héng héng shèng zhě， fǎn chèn liǎo chá lā tú sī tè lā biàn zhèng、 fā zhǎn de yī yuán lùn guān diǎn。
　　
　　( sān ) chāo rén mó shì
　　
　　 chá lā tú sī tè lā shuō：“ rén lèi shì yī gēn xì zài dòng wù hé chāo rén zhī jiān de shéng suǒ， yī gēn xuán zài shēn gǔ shàng de shéng suǒ。 / wǎng bǐ duān qù shì wēi xiǎn de， tíng zài bàn tú shì wēi xiǎn de， xiàng hòu wàng yě shì wēi xiǎn de， zhàn lì huò zhě bù qián jìn， dōushì wēi xiǎn de。” 16 chá lā tú sī tè lā de yì sī shì shuō， rén lèi gāng hǎo chù zài hóu zǐ jiē duàn hé chāo rén jiē duàn de guò dù zhōng。 rú guǒ tā huí shǒu zì jǐ de lì shǐ， nà tā jiù miàn lín zūn xún zǎo yǐ wú xiào de guī zé de wēi xiǎn； rú guǒ tā chóu chú bù qián， tā jiù huì fā xiàn zì jǐ de jiǎo xià shì wàn zhàng shēn yuān， zhè yàng tā jiù huì yīn jù pà diē luò 'ér zhàn shèn zhì zhuì luò。 yǔ huí shǒu、 qián zhān hé tíng zhǐ xiāng lián xì de zhè sān zhǒng wēi xiǎn gěi rén de yìn xiàng shì， chá lā tú sī tè lā jiāng rén lèi yǔ yī gè zǒu shéng zhě xiāng bǐ jiào， hòu zhě suí zhe tā zài shéng shàng mài chū de měi yī bù dū huì xiàn rù yī zhǒng sǐ wáng de wēi xiǎn zhī zhōng， ér rén lèi què shì shéng suǒ hé zǒu shéng zhě de hé 'èr 'ér yī。 zhè jiù shì shuō bìng bù cún zài yī tiáo xiàn chéng de lù ( shéng suǒ ) hé mǒu gè zài zhè tiáo lù shàng xíng zǒu de rén ( zǒu shéng zhě )， ér shì rú guǒ méi yòu zǒu lù de rén， yě jiù bù cún zài zhè tiáo lù。 lù shì yóu yú yòu liǎo nà gè zài lù shàng xíng zǒu de rén cái chǎn shēng de。 cǐ rén zhī dào zì jǐ céng jīng shì shuí， yě zhī dào tā jiāng huì shì shuí， dàn shì bù kěn dìng zì jǐ néng fǒu gòu chéng wéi tā jiāng shì de rén。 chāo yuè zì jǐ yào mào hěn dà de fēng xiǎn， yīn wéi rén men wèicǐ bì xū jiāng xí guàn de、 jiǔ jīng kǎo yàn de、 ān quán de shì wù pāo kāi， yǐ biàn cháo zhe yī gè wèi zhī de mù biāo qián jìn。 jué méi yòu xiàn chéng de dào lù tōng wǎng zhè gè mù biāo， rén men yào zài bēn xiàng mù biāo de guò chéng zhōng zì jǐ chuàng zào chū lù lái。 lù tú zhōng de měi cì huái yí hé yóu yù dū huì chǎn shēng zāinàn xìng de hòu guǒ， yīn wéi zhǐ yào rén men yī tíng zhǐ qián jìn， jiǎo xià de lù hé yuǎn chù de mù biāo jiù xiāo shī liǎo； xíng zhě jiǎo xià ruò cǎi kōng tóng yàng yě jiù diē rù liǎo wèi zhī hé xū wú de shēn yuān。 rén lèi zhǐ yòu yǒng wú zhǐ jìng dì xiàng qián zǒu， cái huì jiǎo tà shí dì， jí jiǎo cǎi shéng suǒ。 huàn jù huà shuō， rén lèi tōng guò xíng zǒu zì jǐ chuàng zào chū zhī chēng zì jǐ zǒu lù de zhī jià， zuì zhōng mùdì yě bù zài huì tóng lù tuō lí kāi， yīn wéi mùdì bù shì bié de， zhèng shì zǒu lù běn shēn。 suí zhe měi yī bù de mài chū， jiù yì wèi zhe bù duàn de lí kāi hé dào dá。 zhè tiáo zhí zhí de shéng suǒ， cóng gù dìng de yī duān shēn zhǎn dào lìng yī duān， kě yǐ lǐ jiě chéng rào yuán zhōu xíng zǒu de biàn zhèng fǎ。 zhè xíng zǒu dài biǎo liǎo shēng mìng， dài biǎo liǎo chāo yuè zì jǐ de qiáng liè zhuī qiú。 zài zǒu zhè tiáo lù shí， rén lèi chǎn shēng chū liǎo zuò wéi shéng suǒ de chāo rén。 rén lèi zǒu zài zhè gēn shéng suǒ shàng， yǔ cǐ tóng shí， rén lèi jiù shì zhè gēn shéng suǒ。
　　
　　 chá lā tú sī tè lā jì xù shuō：“ rén lèi de wěi dà zhī chù， zài yú tā shì yī zuò qiáo liáng 'ér bù shì yī gè mùdì。 rén lèi de kě 'ài zhī chù， zài yú tā shì yī gè guò chéng hé yī gè zhōng jié。” 17 qiáo liáng yǐ jí qián miàn tí dào de shéng suǒ dōukě yǐ lǐ jiě wéi zǒu guò qù， cháo zhe rén lèi hái bù céng shì de qíng xíng qián jìn。 ér rén lèi běn shēn yě zhèng yīn wèishì yī zuò chéng qián qǐ hòu de qiáo liáng 'ér bù shì yī gè mù biāo cái biàn dé wěi dà。 rú guǒ rén lèi shì mùdì， nà tā jiù bù néng zì jǐ shè dìng mùdì， tā jiù wú fǎ jiāng zì jǐ shè jì wèitā jiāng yào chéng wéi de qíng xíng， ér huì shòu dào tā de nèi zài de mùdì xìng de xiàn zhì， nà me rén lèi suǒ zuò de yī qiē nǔ lì zuì zhōng bù wài hū jǐn jǐn shì qù shí xiàn tā wú xū qù zuò jiù yǐ jīng cún zài de mùdì liǎo。 bèi shì wéi mùdì de rén lèi xiǎn rán bù néng tōng guò zì wǒ chāo yuè 'ér xiàng gèng gāo céng cì fā zhǎn， yīn wéi tā jiù shì tā zì jǐ de zuì gāo céng cì。 dàn shì， jiǎ rú rén lèi jiāng zì jǐ shì wéi yī gè tōng xiàng zuì gāo céng cì de jiē duàn， tōng guò yī cì cì de zì wǒ chāo yuè， jiàn lì qǐ lián jiē xiàn zài de tā hé jiāng lái de tā de qiáo liáng， nà me rén lèi de zhè gè shì yè jiù bǐ rén lèi jiāng zì jǐ běn shēn dāng zuò mù biāo de shì yè yào wěi dà dé duō。 zhǐ yòu dāng rén lèi zǒu chū xiàn zài de zì wǒ yǐ hòu cái jué dìng zì jǐ yào chéng wéi shuí hé yào gànshénme shí， nà me zài zuì chū de yì yì zhōng rén lèi jiù shì zì yóu de。 zhè shí， zhǐ yòu zài zhè shí， rén lèi de mù biāo cái bù zài shì rén lèi， ér shì chāo yuè liǎo rén lèi de chāo rén。 yīn cǐ chá lā tú sī tè lā cái shuō， rén lèi de wěi dà hé kě 'ài zhī chù zài yú， tā shì yī gè guò chéng hé zhōng jié。 guò chéng biǎo shì chāo yuè zuò wéi rén de zì wǒ yùn dòng； zhōng jié biǎo shì tōng guò zhè gè yùn dòng rén lèi jiē duàn xiāo shī liǎo， chāo rén jiē duàn lái lín liǎo， rú tóng juān juān xì liú huì rù bēn téng páo xiào de wú biān dà hǎi。
　　
　　 duì yú rén lèi zhī hòu de chāo rén jiē duàn， chá lā tú sī tè lā yòng sǎnwén shī de xíng shì shū fā liǎo zì jǐ duì qí de rè 'ài“ wǒ 'ài nà xiē zhǐ zhī dào wéi zhōng jié 'ér shēng huó de rén。 yīn wéi tā men shì kuà guò qiáo zhě。” 18 shuí zuò wéi rén lèi 'ér zhōng jié， shuí jiù kuà guò liǎo qiáo， jiù mài xiàng liǎo chāo rén。“ wǒ 'ài nà xiē wěi dà de qīng miè zhě， yīn wéi tā men shì wěi dà de chóng bài zhě， shì shè xiàng bǐ 'àn de kě wàng zhī jiàn。” 19 kě wàng zhī jiàn yì wèi zhe kě wàng chāo yuè zì jǐ de nǔ lì， zhè zhǒng nǔ lì bǐ shì rén jiān de yī qiē mùdì， wéi dú xiǎng yào dào dá bǐ 'àn shì jiè。“ wǒ 'ài nà xiē rén， tā men bù xiān dào xīng xīng hòu miàn xún zhǎo mǒu zhǒng lǐ yóu qù zhōng jié、 qù xī shēng， tā men wéi dà dì xī shēng， shǐ dà dì yòu cháo yī rì néng shǔ yú chāo rén。” 20 rèn hé yī gè néng zhèng cháng sī wéi de réndōu bù huì wéi yī gè xū wú piāo miǎo de lái shì zuò chū xī shēng。 dì qiú， wǒ men shēng huó de dà dì， yòu zú gòu de lǐ yóu ràng rén lèi wéi tā zuò chū chāo yuè zì wǒ de xī shēng。
　　
　　 rén lèi xiàng chāo rén chāo yuè de guò chéng shì yī gè jí qí jiān nán qū zhé wēi jī sì fú de guò chéng， suí shí kě néng fù chū shēng huó de dài jià。 zǒu shéng zhě wú yí dài biǎo rén lèi， tā xiǎng jiàn lì yī zuò yóu dòng wù tōng xiàng chāo rén de qiáo liáng。 zǒu shéng zhě shì chá lā tú sī tè lā suǒ xǐ 'ài de rén men zhōng de yī gè。 zhè xiē rén miè shì mò rén de lǐ xiǎng shè huì， gǎn yú jìn xíng wēi xiǎn de chāo yuè， yǒng gǎn dì xiàng zhe chāo rén de lǐ xiǎng qián jìn。 chāo rén de shì yè shì qián suǒ wèi yòu de shì yè， bì jiāng shòu dào jiù shì lì de fēng kuáng gōng jī， zǒu shéng zhě de zhuì luò jiù biāo zhì zhe jī dū jiào jiào yì de shèng lì， zhè jiào yì pēng jī suǒ yòu wéi bèi jī dū jiào jiào yì de shì wéi yuán zuì bìng duì chù fàn yuán zuì de rén chù yǐ sǐ xíng。 zǒu shéng zhě zài qí guò qù ( shùn cóng de gāo yáng ) hé wèi lái ( dú lì de gè tǐ ) zhī jiān bèi lā lái chě qù， zuì zhōng guò qù huò shèng liǎo， wèi lái bèi fàng qì liǎo， mó guǐ zhàn shèng liǎo chāo rén。 dàn shì zhè yī jié jú bìng bù shì zuì zhōng jié jú， měi gè zuò wéi zǒu shéng zhě de gè tǐ dū bì xū zài cóng dòng wù dào chāo rén de guò dù zhōng jīng shòu duō cì zhè yàng de sǐ wáng (“ yuán zuì” )， zhí dào yòu yī tiān tā chéng gōng dì zài zì shēn nèi chāo yuè rén lèi zhè gè jiē duàn。 wǒ men zài qián miàn yǐ jīng tán dào shéng suǒ hé zǒu shéng zhě shì bù kě fēn de， shéng suǒ zhè tiáo lù de cún zài zhèng shì yóu yú rén men zài tā shàng miàn xíng zǒu， suí zhe mài chū de měi yī bù chāo yuè zì jǐ de xíng wéi dū chóngxīn jìn xíng， zhè zhǒng xíng wéi de zǒng hé jiù shì chāo rén。 huàn jù huà shuō chāo rén shì zǒu shéng zhě、 shéng suǒ hé mù biāo jiāo zhì zài yī qǐ xiàng qián jìn de yī gè zhěng tǐ。 yí hàn de shì zǒu shéng zhě méi yòu néng gòu jiāng zhè gè tǒng yī tǐ jiān chí dào dǐ， tā zài xíng jìn zhōng shī qù liǎo lěng jìng hé píng héng， shuāi liǎo xià qù。 zài mǒu zhǒng chéng dù shàng rén men kě yǐ shuō zǒu shéng zhě diào jìn liǎo ròu tǐ hé líng hún de 'èr yuán lùn zhōng， zhuì jìn liǎo tā xiǎng chāo yuè de wù zhì hé líng hún zhī jiān de hóng gōu zhōng。 zhè zhuì luò shǐ yóu zǒu shéng zhě、 shéng suǒ、 mù biāo sān fāng miàn zǔ chéng de tǒng yī tǐ pò liè liǎo， jiě tǐ liǎo。 rú guǒ yī gè rén ràng zōng jiào huò xíng 'ér shàng xué de piān jiàn zhù zǎi zhe zì jǐ， nà tā jiù huì bèi tā ( men ) suǒ chāo yuè， zǒu shéng zhě de bēi cǎn jié jú jiù shì yī gè zuì hǎo de lì zǐ。 chá lā tú sī tè lā shì tú ràng zǒu shéng zhě zài lín sǐ qián míng bái， tā ( zǒu shéng zhě ) běn lái yǐ jīng chāo yuè liǎo jī dū jiào guān yú mó guǐ hé dì yù de jiào yì， zhǐ shì tā hái wèi lái dé jí zuò chū bù cún zài líng hún bù sǐ de jié lùn。 yào zhī dào ròu tǐ hé líng hún shǐ zhōng xiāng yǐ xiāng cún； ròu tǐ shì jīng jì jī chǔ， líng hún shì shàng céng jiàn zhù， ròu tǐ zhōng jié liǎo， líng hún yě jiù bù cún zài liǎo。 zǒu shéng zhě suī rán méi yòu zǒu dào shéng suǒ de nà yī duān， dàn tā yòng zì jǐ bǎo guì de shēng mìng xiàng shì rén zhǎn shì tā shì yī wèi yǒng gǎn zhě、 chuàng xīn zhě， shì yī wèi xiàng zhe chāo rén lǐ xiǎng fèn yǒng zhí qián zhě。 cóng zhè gè yì yì shàng shuō， tā shì yī wèi dà wú wèi de xiān qū。
　　
　　 chá lā tú sī tè lā zài qí yǎn jiǎng de jié wěi tán dào liǎo zì jǐ suǒ bàn yǎn de juésè héng héng chāo rén de xuān gào zhě。“ wǒ 'ài suǒ yòu nà xiē rén， tā men xiàng chén zhòng de yǔ diǎn， yī dī yī dī dì cóng rén men tóu dǐng shàng de wū yún zhōng làxià； tā men yù gào zhe shǎn diàn de dào lái， bìng zuò wéi yù gào zhě 'ér zhōng jié。 / kàn bā， wǒ shì yī dào shǎn diàn de yù gào zhě， yī dī zì yún zhōng làxià de zhòng yǔ diǎn： dàn shì zhè dào shǎn diàn biàn shì chāo rén。 héng héng” 21 chá lā tú sī tè lā bù shì chāo rén， yě bù shì chāo rén de dài biǎo， ér shì chāo rén de xuān gào zhě。 tā yào jiāng rén men de zhù yì lì xī yǐn dào yù shì zhe chāo rén de shǎn diàn shì jiàn zhōng。 zhè shǎn diàn jiāng jiù shì jiè tū rán jiān zhào liàng， sī diào liǎo tā de quán bù wěi zhuāng， zhǎn lù chū zhēng níng de běn lái miàn mù， bìng xuān gào liǎo tā de mò rì。 zhè shǎn diàn biǎo míng liǎo jiù de sī wéi fāng shì hé jiù de lì shǐ guān de zhōng jié， zhè shǎn diàn yù shì liǎo xīn de zhì de fēi yuè de lái lín。 suí zhe zhè shǎn diàn de dào lái， zuò wéi xuān gào zhě de chá lā tú sī tè lā jiù zhōng jié liǎo。 yīn wéi shǎn diàn、 léi míng、 bào fēng yǔ guò hòu， rén lèi jiù chéng gōng dì guò dù dào liǎo chāo rén， zuò wéi chāo rén de xuān gào zhě jiù chéng wéi duō yú de rén liǎo。 rén lèi zì shēn chāo yuè liǎo chuán tǒng de rén wù xíng xiàng， bìng bǎ zhè gè xīn xíng xiàng fàng dào qiàdàng de wèi zhì shàng。 yī dàn chāo rén de lǐ niàn zhí jiē jìn rù dào rén lèi de yì shí zhōng， chá lā tú sī tè lā de shǐ mìng jiù wán chéng liǎo， nà shí tā jiāng tóng qí tā rén yī yàng， bǎ suǒ yòu de lì liàng jí zhōng zài gēngxīn zì jǐ， quán lì yǐ fù dì chuàng zào yī zuò yóu dòng wù xiàng chāo rén guò dù de qiáo liáng。
　　
　　 fēi cháng yí hàn， chá lā tú sī tè lā de yǎn jiǎng chāo chū liǎo rén lèi lǐ jiě shuǐ píng de dì píng xiàn。 suǒ yǐ， dāng chá lā tú sī tè lā jié shù yǎn jiǎng shí， tīng zhòng dà shēng hōng xiào、 guài jiào、 zā shé tóu。 rén men cháo xiào tā， jiù xiàng dāng nián sū gé lā dǐ xiàng dòng xué rén jiě shì tā de lǐ niàn shí shòu dào de cháo xiào yī yàng。 jí biàn zài nà 'ér， dòng xué rén yě xiàng sū gé lā dǐ háo jiào： ràng wǒ men kàn kàn nǐ de lǐ niàn bā ! jiē zhe tā men zhǐ xiàng měi yī dǔ yòu yīn yǐng de qiáng， zài zhè xiē dòng xué rén kàn lái， zhè xiē yīn yǐng jiù shì zhēn lǐ de huà shēn。 sū gé lā dǐ wú fǎ xiàng tā men zhǎn shì shénme shì lǐ niàn， bìng bù jǐn jǐn yīn wéi tā cóng yáng guāng pǔ zhào de shì jiè huí dào hūn 'àn de dòng xué zhōng gǎn dào tóuyūn mù huàn， hái yīn wéi 'ér qiě shǒu xiān shì yīn wéi lǐ niàn biǎo dá de fāng shì hé qiáng shàng yīn yǐng biǎo dá de fāng shì jié rán bù tóng， lǐ niàn shì wú lùn rú hé wú fǎ yǐ yīn yǐng de xíng shì chū xiàn de。 chá lā tú sī tè lā hé sū gé lā dǐ de zāo yù rú cǐ xiāng sì， tīng zhòng xiǎng kàn jiàn tā xuān yáng de chāo rén， dàn rén men méi yòu gǎo míng bái， chāo rén shì wú fǎ kàn jiàn de， zhǐ néng zuò chū lái。 yí hàn de shì， àn zhào rén lèi de chuán tǒng wù xìng， rén lèi zhǐ néng lǐ jiě wù huà liǎo de、 kè guān shàng chù mō dé dào de xíng tǐ， ér qià qià zài zhè zhǒng yì yì shàng jì bù cún zài chāo rén， yě bù cún zài lǐ niàn。 chāo rén jiù bù shì rén， gèng bù shì nà zhǒng chāo jí rén。 chāo rén bù shì gè tǐ， ér shì gè tǐ yī xiàng huó dòng de zǒng chēng。 zhè xiàng huó dòng de tè diǎn shì jì chāo yuè chū qù yòu zài gèng gāo de chéng dù shàng huí guī zì jǐ。 suǒ yǐ， zhǐ yòu dāng wǒ men qù zuò zhè jiàn shì shí， zhǐ yòu dāng wǒ men qù chāo yuè rén lèi zì shēn shí cái huì yòu chāo rén。 yóu yú shì rén de bù lǐ jiě， chá lā tú sī tè lā xià shān hòu de dì yī cì yǎn jiǎng shī bài liǎo。 rén men yòng jiù de sī wéi fāng shì lái lǐ jiě chá lā tú sī tè lā de chāo rén xué shuō， sì hū tā yào xuān bù yī gè xīn de jiù shì zhù de jiàng lín。 àn zhào chuán tǒng guān niàn zhè gè xīn de jiù shì zhù shì tè dìng de gè tǐ de rén， tā yǐ shuō jiào zhě de shēn fèn lái cǐ dì jiào xùn rén lèi， rén men xiǎng kàn de jiù shì zhè zhǒng rén。 huí gù rén lèi de sī xiǎng shǐ， rén lèi duì yú chāo chū liǎo zì jǐ lǐ jiě lì de gǎi gé zhě tōng cháng dū cǎi qǔ cóng ròu tǐ shàng xiāo miè de jiě jué bàn fǎ。 dào mù qián wéi zhǐ chá lā tú sī tè lā shì dì yī gè xìng miǎn yú nán de rén， zhè yě xǔ dé yì yú rén lèi de wù jiě。 zài shì rén kàn lái， chá lā tú sī tè lā shì gè nán dé de bái chī， yī gè lìng rén pěng fù dà xiào de chǒujué， dàn qià qià shì zhè gè chǒujué xiàng jiù shì jiè de zūn guì wú bǐ de rén wù xíng xiàng hé zhì gāo wú shàng de lǐ xìng guān niàn xuān zhàn。
　　
　　( sì ) duì lì tǒng yī tǐ de yuán zhōu yùn dòng
　　
　　 ní cǎi zài《 chá lā tú sī tè lā rú shì shuō》 zhōng sù zào liǎo chá lā tú sī tè lā de liǎng gè dòng wù xíng xiàng： yīng yǔ shé。 zhè liǎng zhǐ dòng wù xiàng zhēng zhe yī gè duì lì tóng yī tǐ。 zài zhè gè tǒng yī tǐ zhōng duì lì miàn jì xiāng hù duì lì yòu xiāng yǐ xiāng cún。 yīng zhè gè gāo 'ào de dòng wù pán xuán zài gāo kōng， tā dài biǎo liǎo lǐ zhì yǔ jīng shén。 shé zhè gè cōng míng jiǎo huá de dòng wù shēng huó zài dì miàn， tā dài biǎo liǎo ròu tǐ yǔ wù zhì。 jìn guǎn zhè liǎng zhǒng dòng wù xiàng qián yùn dòng de fāng shì bù tóng， dàn shì qí gòng tóng diǎn shì dū zuò yuán zhōu yùn dòng： yīng zài kōng zhōng huà juàn， shé zài dì shàng juàn qū qián jìn。 shé chán rào zài fēi xiáng de xióng yīng de jǐng shàng de qíng yǐng zhí guān dì biǎo xiàn liǎo duì lì miàn de tǒng yī。 yīng yǔ shé， jīng shén yǔ wù zhì shì rú cǐ de bù tóng， zhǐ yòu yuán zhōu yùn dòng cái jiāng 'èr zhě lián xì zài yī qǐ。 duì yú ní cǎi lái shuō chāo yuè zì wǒ de xíng wéi jiù shì xiàng gāo céng cì fā zhǎn de yuán zé， tā jì chāo yuè zì jǐ， yòu zài chāo yuè hòu huí guī zì wǒ， zhǐ bù guò shì zài gèng gāo de céng cì shàng。 yīng yǔ shé jìn guǎn xiāng hù duì lì， jié rán bù tóng， kě tā men 'èr zhě zhī jiān méi yòu dí yì， tā men zài yǒu hǎo de hé zuò zhōng wán chéng yuán zhōu yùn dòng。 tóng yàng de， jīng shén hé wù zhì bù shì xiāng hù dǐ huǐ， ér shì xiāng hù yǐ cún、 xiāng hù bǔ chōng， jīng shén tōng guò wù zhì lái shí xiàn， wù zhì tōng guò jīng shén lái tí gāo。 shé zài yǔ yīng de gòng tóng fēi xiáng zhōng lí kāi liǎo tā zài dì shàng de jū liú dì shēng yuè dào liǎo tā yǐ kào zì jǐ de lì liàng wú fǎ dá dào de céng cì， tóng yàng de wù zhì zuò wéi jīng shén de shí xiàn zhě jìn rù liǎo tā tōng guò zì jǐ de nǔ lì wú fǎ shè zú de lǐng yù。 jīng shén zhōng yòu wù zhì， wù zhì zhōng yòu jīng shén， bù lùn wù zhì hái shì jīng shén dū cún zài xiàng gèng gāo céng cì fā zhǎn de yào qiú。 zhè zhǒng yào qiú zuò wéi quán lì yì zhì de yuán zé zài gòng tóng de yòu cún zài chā yì de yuán zhōu yùn dòng zhōng biǎo xiàn chū lái。
　　
　　 rén lèi hǎo bǐ yīng yǔ shé de tǒng yī tǐ。 yīn cǐ chá lā tú sī tè lā qǐ qiú gāo 'ào ( yīng ) yǒng yuǎn bàn suí tā de zhì huì ( shé )， yīn wéi zhǐ yòu zhè yàng cái néng bǎo zhèng rén lèi yǒng yuǎn yǐ yuán zhōu yùn dòng de fāng shì qián jìn。 zài zhè yuán zhōu yùn dòng zhōng rén lèi cún zài de duì lì miàn biàn zhèng dì tǒng yī zài yī qǐ， xiāng hù dǒu zhēng， xiāng hù yǐ cún， jiù xiàng chá lā tú sī tè lā de yīng yǔ shé yī yàng。 tā men gè shì bù tóng zhǒng de shēng wù， dàn shì chán rào zài yī qǐ gòng tóng zuò yuán zhōu yùn dòng。 zài xiàn shí shì jiè zhōng jīng shén ( líng hún ) jì yào jǐn gēn wù zhì ( nèi tǐ )， yǐ biàn bù yǔ wù zhì tuō jié bìng suí shí jí qǔ shēng huó de huó lì， tóng shí jīng shén hái yào fǎn zuò yòng yú wù zhì， fā huī qí dú tè de néng dòng zuò yòng。
　　
　　 zuì hòu， ràng wǒ men fēn xī yī xià chá lā tú sī tè lā de zhōng jié。 cóng biǎo miàn yì yì shàng kàn， zhè shǒu xiān shì zhǐ chá lā tú sī tè lā běn rén。 tā zài shí nián qián zǒu liǎo zì xià 'ér shàng zhī lù héng héng fù huó， xiàn zài zǒu de shì zì shàng 'ér xià zhī lù héng héng zhōng jié。 cóng yī gè fēi biǎo miàn de yì yì shàng kàn， chá lā tú sī tè lā zài jìn xíng zhè liǎng zhǒng xiāng fǎn de yùn dòng zhōng zhí xíng de shì quán lì yì zhì de yuán zé， zhè yī diǎn zài xíng chéng guò chéng zhōng biǎo xiàn dé fēi cháng zhí guān。 chuán tǒng de 'èr yuán lùn guān diǎn bǎ duì lì miàn bù shì kàn zuò jì máo dùn yòu tǒng yī de， ér shì kàn chéng jí duān xiāng fǎn、 shuǐ huǒ bù xiāng róng de。 qià hǎo zài zhè yī diǎn shàng ní cǎi yǔ chuán tǒng de 'èr yuán lùn zhě fēn dào yáng biāo。 xī fāng zhé xué jiè de pǔ biàn cuò wù zài yú tā men bǎ duì lì miàn zuò wéi shì bù liǎng lì de 'èr yuán lùn gù dìng、 yán xí xià lái liǎo， qí shí zhì wèn tí wéi rú hé kàn dài duì lì miàn zhī jiān de guān xì。 zài zhēn shí shì jiè ( jí xī fāng chuán tǒng guān niàn zhōng suǒ shuō de biǎo xiàng de shì jiè ) zhōng lì miàn zhī jiān de guān xì shì duì lì tǒng yī de biàn zhèng guān xì， èr zhě jì jí duān duì lì yòu xiāng hù yǐ cún， bìng zài yī dìng tiáo jiàn xià xiāng hù zhuǎn huà， ní cǎi yī zhēn jiàn xuè dì zhǐ chū liǎo zhè yī diǎn。 zài《 chá lā tú sī tè lā rú shì shuō》 zhōng， ní cǎi biǎo dá liǎo qīng xī míng què de yī yuán lùn sī xiǎng。 èr yuán lùn de sī xiǎng yuān yuán liú cháng， wú lùn shì zài rén lèi zǎo qī zhé xué de cuǐ càn míng zhū xī là zhé xué zhōng hái shì zài rén lèi zōng jiào shǐ shàng lì shǐ zuì cháng fēn bù zuì guǎng yǐng xiǎng zuì dà de jī dū jiào jiào yì zhōng tóng yàng cún zài zhe liǎng gè shì jiè de xué shuō héng héng zhēn shí de shì jiè hé biǎo xiàng de shì jiè。 zhè liǎng gè shì jiè zhī jiān de guān xì bèi jué duì huà liǎo。 xíng xiàng dì shuō， hǎo bǐ rén men shè dìng liǎo yuán zhōu de zhí jìng， què wàng jì liǎo yuán zhōu běn shēn。 zhè yàng yī lái shì bì gěi rén zào chéng yī zhǒng cuò wù yìn xiàng： zhè shì yī duì wú fǎ tiáojié、 wú fǎ tǒng yī de duì lì miàn， rén men zhǐ néng huò zhě xuǎn zé zhè yī miàn huò zhě nà yī miàn； huò zhě xiàng shàng dào jīng shén， tà shàng tōng wǎng suǒ wèi de zhēn shí de、 měi miào de shì jiè zhī lù， huò zhě shì xiàng xià dào wù zhì， zhuì rù suǒ wèi de biǎo xiàng de xié 'è de shì jiè zhī zhōng， èr zhě zhī jiān shì yī dào wú fǎ yú yuè de hóng gōu。 ní cǎi lì tú chāo yuè 'èr zhě zhī jiān de hóng gōu， tā yòng xíng xiàng de bǐ yù hé sǎnwén shī de yǔ yán shēng dòng dì biǎo shù liǎo 'èr zhě zhī jiān de duì lì tǒng yī guān xì yǐ jí yuán zhōu shì de qián jìn fāng shì。 chāo rén de sī xiǎng shì ní cǎi chāo xiàn shí de xiǎng xiàng， chāo rén de lǐ lùn wú yí yìng guī rù wéi xīn zhù yì de tǐ xì。 dàn shì zhè lǐ miàn suǒ bāo hán de yī yuán lùn de sī xiǎng hé biàn zhèng fā zhǎn de lì shǐ guān shì wú lùn rú hé yīnggāi kěn dìng de。 lìng wài ní cǎi de wéi xīn zhù yì tǐ xì lǐ suǒ bāo hán de yì cháng shēng dòng de biàn zhèng fǎ sī xiǎng， cǐ qǐ dāng shí zài 'ōu zhōu dà lù guǎng wéi liú xíng de yōng sú wéi wù zhù yì jī xiè wéi wù zhù yì hé bài wù jiào bù zhī yào gāo míng duō shǎo bèi。 mǎ kè sī zhù yì yǐ qián de wéi wù lùn， yóu yú qí jī xiè de、 xíng 'ér shàng xué de xìng zhì， méi yòu zài qiáng diào sī wéi yǐ lài yú cún zài， jīng shén yǐ lài yú wù zhì de qián tí xià， chōng fēn gū jià yì shí、 jīng shén、 zhù guān de jù dà néng dòng zuò yòng， rén lèi zhè fāng miàn de zhèng què rèn shí shǒu xiān shì zài wéi xīn zhù yì zhé xué fàn chóu zhōng bèi tǐ xiàn chū lái liǎo。 ní cǎi zài《 chá lā tú sī tè rú shì shuō》 zhōng suǒ tí chū de chāo rén lǐ lùn hé yǒng héng lún huí de sī xiǎng jiù shì chū lèi bá cuì de lì zhèng。
　　《 chá lā tú sī tè lā rú shì shuō》 - mù lù
　　
　　 dài zǒng xù ní cǎi， yī wèi yīnggāi bèi chāo yuè de wěi rén
　　 yì zhě qián yán ní cǎi zuì jù hōng dòng xiào yìng de káng dǐng zhī zuò
　　 dì yī juàn
　　 chá lā tú sī tè lā qián yán
　　 chá lā tú sī tè lā de yǎn shuō
　　 lùn sān zhǒng biàn xíng
　　 lùn dào dé jiǎng tán
　　 lùn xìn yǎng bǐ 'àn shì jiè de rén
　　 lùn miè shì ròu tǐ zhě
　　 lùn kuài lè hé jī qíng
　　 lùn cāng bái de zuì fàn
　　 lùn yuè dú hé xiě zuò
　　 lùn shān bàng zhī shù
　　 lùn sǐ zhī shuō jiào zhě
　　 lùn zhàn zhēng hé zhàn shì
　　 lùn xīn 'ǒu xiàng
　　 lùn shì chǎng de cāng yíng
　　 lùn zhēn jié
　　 lùn péng yǒu
　　 lùn yī qiān líng yī gè mù biāo
　　 lùn 'ài lín rén
　　 lùn chuàng zào zhě de dào lù
　　 lùn lǎo yǔ hé shàofù
　　 lùn dú shé de yǎo niè
　　 lùn hái zǐ hé hūn yīn
　　 lùn zì yóu zhī sǐ
　　 lùn kuì zèng de dào dé
　　 dì 'èr juàn
　　 chí jìng de xiǎo hái
　　 zài xìng fú dǎo shàng
　　 lùn tóng qíng zhě
　　 lùn mù shī
　　 lùn dào dé jiā
　　 lùn liú máng wú lài
　　 lùn dú zhī zhū
　　 lùn zhù míng de zhì zhě
　　 yè gē
　　 wǔ dǎo zhī gē
　　 fén mù zhī gē
　　 lùn chāo yuè zì wǒ
　　 lùn gāo shàng zhě
　　 lùn jiào huà de guó dù
　　 lùn chún jié de zhī shí
　　 lùn xué zhě
　　 lùn shī rén
　　 lùn wěi dà shì jiàn
　　 yù yán jiā
　　 lùn jiě jiù
　　 lùn rén de zhì huì
　　 zuì jì jìng de shí kè
　　 dì sān juàn
　　 màn yóu zhě
　　 lùn xiàngmào hé mí
　　 lùn wéi bèi yì zhì de xìng fú
　　 rì chū zhī qián
　　 lùn zhú jiàn biàn xiǎo de dào dé
　　 gǎn lǎn shān shàng
　　 lí qì
　　 bèi pàn zhě
　　 guī jiā
　　 lùn sān jiàn 'è shì
　　 lùn chén zhòng de sī xiǎng
　　 lùn xīn jiù zhāo pái
　　 quán yù zhě
　　 lùn wěi dà de kě wàng
　　 lìng yī zhī wǔ qū
　　 qī gè yìn zhāng
　　 dì sì juàn
　　 fēng mì jì pǐn
　　 tòng kǔ de hūháo
　　 yǔ liǎng wèi guó wáng de tán huà
　　 shuǐ zhì
　　 mó shù jiā
　　 xùn wèi
　　 zuì chǒu lòu de rén
　　 zì yuàn xíng qǐ zhě
　　 yǐng zǐ
　　 zhèng wǔ
　　 huān yíng
　　 wǎn cān
　　 gèng gāo jí de rén
　　 yōu yù zhī gē
　　 lùn kē xué
　　 zài shā mò de nǚ 'ér men zhōng jiān
　　 jué xǐng
　　 lǘ jié
　　 chén zuì zhī gē
　　 zhēng zhào

　　Thus Spoke Zarathustra: A Book for All and None (German: Also sprach Zarathustra: Ein Buch für Alle und Keinen) is a philosophical novel by German philosopher Friedrich Nietzsche, composed in four parts between 1883 and 1885. Much of the work deals with ideas such as the "eternal recurrence of the same", the parable on the "death of God", and the "prophecy" of the Overman, which were first introduced in The Gay Science.
　　
　　Described by Nietzsche himself as "the deepest ever written," the book is a dense and esoteric treatise on philosophy and morality, featuring as protagonist a fictionalized prophet descending from his recluse to mankind, Zarathustra. A central irony of the text is that Nietzsche mimics the style of the Bible in order to present ideas which fundamentally oppose Christian and Jewish morality and tradition.
　　
　　Genesis
　　
　　Thus Spoke Zarathustra was conceived while Nietzsche was writing The Gay Science; he made a small note, reading "6,000 feet beyond man and time," as evidence of this. More specifically, this note related to the concept of the Eternal Recurrence, which is, by Nietzsche's admission, the central idea of Zarathustra; this idea occurred to him by a "pyramidal block of stone" on the shores of Lake Silvaplana in the Upper Engadine, a high alpine region whose valley floor is at 6,000 ft. Nietzsche planned to write the book in three parts over several years. He wrote that the ideas for Zarathustra first came to him while walking on two roads surrounding Rapallo, according to Elisabeth Förster-Nietzsche in the introduction of Thomas Common's early translation of the book.
　　
　　While developing the general outlook of the book, he subsequently decided to write an additional three parts; ultimately, however, he composed only the fourth part, which is viewed to constitute an intermezzo.
　　
　　Nietzsche commented in Ecce Homo that for the completion of each part: "Ten days sufficed; in no case, neither for the first nor for the third and last, did I require more" (trans. Kaufmann). The first three parts were first published separately, and were subsequently published in a single volume in 1887. The fourth part remained private after Nietzsche wrote it in 1885; a scant forty copies were all that were printed, apart from seven others that were distributed to Nietzsche's close friends. In March 1892, the four parts were finally reprinted as a single volume. Since then, the version most commonly produced has included all four parts.
　　
　　The original text contains a great deal of word-play. An example of this exists in the use of the words "over" or "super" and the words "down" or "abyss/abysmal"; some examples include "superman" or "overman", "overgoing", "downgoing" and "self-overcoming".
　　Synopsis
　　
　　The book chronicles the fictitious travels and pedagogy of Zarathustra. The name of this character is taken from the ancient prophet usually known in English as Zoroaster (Avestan: Zaraθuštra), the Persian founder of Zoroastrianism. Nietzsche is clearly portraying a "new" or "different" Zarathustra, one who turns traditional morality on its head. He goes on to characterize "what the name of Zarathustra means in my mouth, the mouth of the first immoralist:"
　　
　　 [F]or what constitutes the tremendous historical uniqueness of that Persian is just the opposite of this. Zarathustra was the first to consider the fight of good and evil the very wheel in the machinery of things: the transposition of morality into the metaphysical realm, as a force, cause, and end in itself, is his work. […] Zarathustra created this most calamitous error, morality; consequently, he must also be the first to recognize it. […] His doctrine, and his alone, posits truthfulness as the highest virtue; this means the opposite of the cowardice of the "idealist” who flees from reality […]—Am I understood?—The self-overcoming of morality, out of truthfulness; the self-overcoming of the moralist, into his opposite—into me—that is what the name of Zarathustra means in my mouth.
　　
　　 – Nietzsche, Ecce Homo, "Why I Am a Destiny", §3, trans. Walter Kaufmann
　　
　　Zarathustra has a simple characterisation and plot, narrated sporadically throughout the text. It possesses a unique experimental style, one that is, for instance, evident in newly invented "dithyrambs" narrated or sung by Zarathustra. Likewise, the separate Dithyrambs of Dionysus was written in autumn 1888, and printed with the full volume in 1892, as the corollaries of Zarathustra's "abundance".
　　
　　Some speculate that Nietzsche intended to write about final acts of creation and destruction brought about by Zarathustra. However, the book lacks a finale to match that description; its actual ending focuses more on Zarathustra recognizing that his legacy is beginning to perpetuate, and consequently choosing to leave the higher men to their own devices in carrying his legacy forth.
　　
　　Zarathustra also contains the famous dictum "God is dead", which had appeared earlier in The Gay Science. In his autobiographical work Ecce Homo, Nietzsche states that the book's underlying concept is discussed within "the penultimate section of the fourth book" of The Gay Science (Ecce Homo, Kaufmann). It is the Eternal recurrence of the same events.
　　
　　This concept first occurred to Nietzsche while he was walking in Switzerland through the woods along the lake of Silvaplana (close to Surlei); he was inspired by the sight of a gigantic, towering, pyramidal rock. Before Zarathustra, Nietzsche had mentioned the concept in the fourth book of The Gay Science (e.g., sect. 341); this was the first public proclamation of the notion by him. Apart from its salient presence in Zarathustra, it is also echoed throughout Nietzsche's work. At any rate, it is by Zarathustra's transfiguration that he embraces eternity, that he at last ascertains "the supreme will to power". This inspiration finds its expression with Zarathustra's Roundelay, featured twice in the book, once near the story's close:
　　“ O man, take care!
　　What does the deep midnight declare?
　　"I was asleep—
　　From a deep dream I woke and swear:—
　　The world is deep,
　　Deeper than day had been aware.
　　Deep is its woe—
　　Joy—deeper yet than agony:
　　Woe implores: Go!
　　But all joy wants eternity—
　　Wants deep, wants deep eternity." ”
　　
　　Another singular feature of Zarathustra, first presented in the prologue, is the designation of human beings as a transition between apes and the "Übermensch" (in English, either the "overman" or "superman"; or, superhuman or overhuman. English translators Thomas Common and R. J. Hollingdale use superman, while Kaufmann uses overman, and Parkes uses overhuman). The Übermensch is one of the many interconnecting, interdependent themes of the story, and is represented through several different metaphors. Examples include: the lightning that is portended by the silence and raindrops of a travelling storm cloud; or the sun's rise and culmination at its midday zenith; or a man traversing a rope stationed above an abyss, moving away from his uncultivated animality and towards the Übermensch.
　　
　　The symbol of the Übermensch also alludes to Nietzsche's notions of "self-mastery", "self-cultivation", "self-direction", and "self-overcoming". Expostulating these concepts, Zarathustra declares:
　　
　　 "I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?
　　
　　 "All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood and even go back to the beasts rather than overcome man? What is the ape to man? A laughingstock or a painful embarrassment. And man shall be just that for the overman: a laughingstock or a painful embarrassment. You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape.
　　
　　 "Whoever is the wisest among you is also a mere conflict and cross between plant and ghost. But do I bid you become ghosts or plants?
　　
　　 "Behold, I teach you the overman! The overman is the meaning of the earth. Let your will say: the overman shall be the meaning of the earth! I beseech you, my brothers, remain faithful to the earth, and do not believe those who speak to you of otherworldly hopes! Poison-mixers are they, whether they know it or not. Despisers of life are they, decaying and poisoned themselves, of whom the earth is weary: so let them go!"
　　
　　 – Thus Spoke Zarathustra, Prologue, §3, trans. Walter Kaufmann
　　
　　The book embodies a number of innovative poetical and rhetorical methods of expression. It serves as a parallel and supplement to the various philosophical ideas present in Nietzsche's body of work. He has, however, said that "among my writings my Zarathustra stands to my mind by itself" (Ecce Homo, Preface, sec. 4, Kaufmann). Emphasizing its centrality and its status as his magnum opus, it is stated by Nietzsche that:
　　
　　 With [Thus Spoke Zarathustra] I have given mankind the greatest present that has ever been made to it so far. This book, with a voice bridging centuries, is not only the highest book there is, the book that is truly characterized by the air of the heights—the whole fact of man lies beneath it at a tremendous distance—it is also the deepest, born out of the innermost wealth of truth, an inexhaustible well to which no pail descends without coming up again filled with gold and goodness.
　　
　　 – Ecce Homo, Preface, §4, trans. Walter Kaufmann
　　
　　Since, as stated, many of the book's ideas are also present in his other works, Zarathustra is seen to have served as a precursor to his later philosophical thought. With the book, Nietzsche embraced a distinct aesthetic assiduity. He later reformulated many of his ideas, in his book Beyond Good and Evil and various other writings that he composed thereafter. He continued to emphasize his philosophical concerns; generally, his intention was to show an alternative to repressive moral codes and to avert "nihilism" in all of its varied forms.
　　
　　Other aspects of Thus Spoke Zarathustra relate to Nietzsche's proposed "Transvaluation of All Values". This incomplete project began with The Antichrist.
　　Themes
　　
　　Nietzsche injects myriad ideas into the book, but there are a few recurring themes. The overman (Übermensch), a self-mastered individual who has achieved his full power, is an almost omnipresent idea in Thus Spoke Zarathustra. Man as a race is merely a bridge between animals and the overman. Nietzsche also makes a point that the overman is not an end result for a person, but more the journey toward self-mastery.
　　
　　The eternal recurrence, found elsewhere in Nietzsche's writing, is also mentioned. The eternal recurrence is the idea that all events that have happened will happen again, infinitely many times. Such a reality can serve as the litmus test for an overman. Faced with the knowledge that he would repeat every action that he has taken, an overman would be elated as he has no regrets and loves life.
　　
　　The will to power is the fundamental component of human nature. Everything we do is an expression of the will to power. The will to power is a psychological analysis of all human action and is accentuated by self-overcoming and self-enhancement. Contrasted with living for procreation, pleasure, or happiness, the will to power is the summary of all man's struggle against his surrounding environment as well as his reason for living in it.
　　
　　Copious criticisms of Christianity can be found in Thus Spoke Zarathustra, in particular Christian values of good and evil and its belief in an afterlife. Nietzsche sees the complacency of Christian values as fetters to the achievement of overman as well as on the human spirit.
　　Style
　　
　　Harold Bloom calls Thus Spoke Zarathustra a "gorgeous disaster", adding that its rhapsodic fiction is "now unreadable".
　　
　　Noteworthy for its format, the book comprises a philosophical work of fiction whose style often lightheartedly imitates that of the New Testament and of the Platonic dialogues, at times resembling pre-Socratic works in tone and in its use of natural phenomena as rhetorical and explanatory devices. It also features frequent references to the Western literary and philosophical traditions, implicitly offering an interpretation of these traditions and of their problems. Nietzsche achieves all of this through the character of Zarathustra (referring to the traditional prophet of Zoroastrianism), who makes speeches on philosophic topics as he moves along a loose plotline marking his development and the reception of his ideas. One can view this characteristic (following the genre of the bildungsroman) as an inline commentary on Zarathustra's (and Nietzsche's) philosophy. All this, along with the book's ambiguity and paradoxical nature, has helped its eventual enthusiastic reception by the reading public, but has frustrated academic attempts at analysis (as Nietzsche may have intended). Thus Spoke Zarathustra remained unpopular as a topic for scholars (especially those in the Anglo-American analytic tradition) until the second half of the twentieth century brought widespread interest in Nietzsche and his unconventional style that does not distinguish between philosophy and literature. It offers formulations of eternal recurrence, and Nietzsche for the first time speaks of the Übermensch: themes that would dominate his books from this point onwards.
　　
　　A vulnerability of Nietzsche's style is that his nuances and shades of meaning are very easily lost — and all too easily gained — in translation. The Übermensch is particularly problematic: the equivalent "Superman" found in dictionaries and in the translations by Thomas Common and R.J. Hollingdale may create an unfortunate association with the heroic comic-character "Superman", while simultaneously detracting from Nietzsche's repeated play on "über" as well as losing the gender-neutrality of the German.
　　
　　The "Übermensch" is the being that overcomes the "great nausea" associated with nihilism; that overcomes that most "abysmal" realization of the eternal return. He is the being that "sails over morality", and that dances over gravity (the "spirit of gravity" is Zarathustra's devil and archenemy). He is a "harvester" and a "celebrant" who endlessly affirms his existence, thereby becoming the transfigurer of his consciousness and life, aesthetically. He is initially a destructive force, excising and annihilating the insidious "truths" of the herd, and consequently reclaiming the chaos from which pure creativity is born. It is this creative force exemplified by the Übermensch that justifies suffering without displacing it in some "afterworld".
　　Translations
　　
　　The English translations of Zarathustra differ according to the sentiments of the translators. The Thomas Common translation favors a classic English approach, in the style of Shakespeare or the King James Version of the Bible. Common's poetic interpretation of the text, which renders the title Thus Spake Zarathustra, received wide acclaim for its lambent portrayal. Common reasoned that because the original German was written in a pseudo-Luther-Biblical style, a pseudo-King-James-Biblical style would be fitting in the English translation.
　　
　　The Common translation, which improved on Alexander Tille's earlier attempt, remained widely accepted until the more critical translations, titled Thus Spoke Zarathustra, separately by R.J. Hollingdale and Walter Kaufmann, which are considered to convey more accurately the German text than the Common version. Kaufmann's introduction to his own translation included a blistering critique of Common's version; he notes that in one instance, Common has taken the German "most evil" and rendered it "baddest", a particularly unfortunate error not merely for his having coined the term "baddest", but also because Nietzsche dedicated a third of The Genealogy of Morals to the difference between "bad" and "evil". This and other errors led Kaufmann to wondering if Common "had little German and less English". The translations of Kaufmann and Hollingdale render the text in a far more familiar, less archaic, style of language, than that of Common.
　　
　　Clancy Martin's 2005 translation opens with criticism and praise for these three seminal translators, Common, Hollingdale, and Kaufmann. He notes that the German text available to Common was considerably flawed, and that the German text from which Hollingdale and Kaufmann worked was itself untrue to Nietzsche's own work in some ways. Martin criticizes Kaufmann for changing punctuation, altering literal and philosophical meanings, and dampening some of Nietzsche's more controversial metaphors. Kaufmann's version, which has become the most widely available, features a translator's note suggesting that Nietzsche's text would have benefited from an editor; Martin suggests that Kaufmann "took it upon himself to become his editor".
　　
　　Graham Parkes describes his own 2005 translation as trying "above all to convey the musicality of the text (which was not a priority for Walter Kaufmann or R.J. Hollingdale, authors of the best English translations so far)."
　　Musical adaptation
　　
　　The book inspired Richard Strauss to compose the tone poem Also sprach Zarathustra, which he designated "freely based on Friedrich Nietzsche." Zarathustra's Roundelay is set as part of Gustav Mahler's Third Symphony (1895-6), originally under the title What Man Tells Me, or alternatively What the Night tells me (of Man). Frederick Delius based his major choral-orchestral work A Mass of Life (1904-5) on texts from Thus Spoke Zarathustra. The work ends with a setting of Zarathustra's Roundelay which Delius had composed earlier, in 1898, as a separate work. Carl Orff also composed a three-movement setting of part of Nietzsche's text as a teenager, but this work remains unpublished.
　　Editions of Thus Spoke Zarathustra
　　
　　 * 1st - 1909 - (limited to 2,000)
　　 * 2nd - 1911 - (limited to 1,500)
　　 * 3rd - 1914 - (limited to 2,000)
　　 * 4th - 1916 - (limited to 2,000) of Friedrich Nietzsche's Thus Spake Zarathustra: A Book for All and None translated by Thomas Common, published by the MacMillan Company in 1916, printed in Great Britain by The Darwien Press of Edinburgh.
　　 * Also sprach Zarathustra, edited by Giorgio Colli and Mazzino Montinari, Munich: Deutscher Taschenbuch Verlag (study edition of the standard German Nietzsche edition)
　　 * Thus Spoke Zarathustra, translated by Walter Kaufmann, New York: Random House; reprinted in The Portable Nietzsche, New York: The Viking Press, 1954 and Harmondsworth: Penguin Books, 1976
　　 * Thus Spoke Zarathustra, translated by R. J. Hollingdale, Harmondsworth: Penguin Books, 1961
　　 * Thus Spoke Zarathustra, translated by Graham Parkes, Oxford: Oxford World's Classics, 2005
　　 * Thus Spoke Zarathustra, translated by Adrian del Caro and edited by Robert Pippin, Cambridge: Cambridge University Press, 2006
　　
　　Commentaries on Thus Spoke Zarathustra
　　
　　 * Gustav Naumann 1899-1901 Zarathustra-Commentar, 4 volumes. Leipzig : Haessel
　　 * Higgins, Kathleen. 1990. Nietzsche's Zarathustra. Philadelphia: Temple University Press.
　　 * Lampert, Laurence. 1989. Nietzsche's Teaching: An Interpretation of Thus Spoke Zarathustra. New Haven: Yale University Press.
　　 * Rosen, Stanley. 2004. The Mask of Enlightenment: Nietzsche's Zarathustra. New Haven: Yale University Press.
　　 * Seung, T. K. 2005. Nietzsche's Epic of the Soul: Thus Spoke Zarathustra. Lanham, MD: Lexington Books.
　　
　　Introduction to Thus Spoke Zarathustra
　　
　　 * Rüdiger Schmidt Nietzsche für Anfänger: Also sprach Zarathustra - Eine Lese-Einführung (introduction in German to the work)
　　
　　Essay collections on Thus Spoke Zarathustra
　　
　　 * Essays on Thus Spoke Zarathustra: Before Sunrise, edited by James Luchte, London: Continuum International Publishing Group, 2008. ISBN 1847062210