《 wǒ men de zǔ xiān》 chū bǎn yú yī jiǔ liù líng nián， xì yóu yī jiǔ wǔ 'èr nián fā biǎo de《 fēn chéng liǎng bàn de zǐ jué》、 yī jiǔ wǔ qī nián fā biǎo de《 shù shàng de nán jué》 hé yī jiǔ wǔ jiǔ nián fā biǎo de《 bù cún zài de qí shì》 hé bìng 'ér chéng de sān bù qū。
《 fēn chéng liǎng bàn de zǐ jué》 tǎo lùn liǎo quē hàn、 piān pō、 rén xìng de kuì fá。 gù shì de qǐ diǎn shì fēi cháng jiǎn dān、 fēi cháng xiān míng de yì xiàng huò qíng jìng： pǐchéng liǎng bàn de zǐ jué， liǎng piàn rén tǐ gè zì jì xù guò zhe zì jǐ de shēng huó －－ yī bàn shì xié 'è de zǐ jué， jí jìn pò huài zhī néng shì， yī bàn shì shàn liáng de zǐ jué， chù chù zhù rén。 pá dào shù shàng de nán hái bù yuàn yì xià lái， yī bèi zǐ zài shù shàng dù guò； yī jù zhōng kōng de jiá zhòu zì rèn wèishì yī míng nán zǐ， bù duàn guàn chè tā zì jǐ de yì zhì lì。 gù shì yóu yì xiàng zīzhǎng chū lái， ér bù shì lái zì zuò zhě xiǎng yào chǎn shù de lǐ niàn； yì xiàng zài gù shì zhī zhōng de fā zhǎn， yě quán píng gù shì de nèi zài luó ji。 zhè xiē gù shì de yì yì héng héng zhǔn què dì shuō， zhè xiē gù shì yǐ yì xiàng wéi jī chǔ 'ér yǎn shēng de yì yì wǎng luò héng héng zǒng shì yòu diǎn bù què dìng de； wǒ men wú fǎ jiān chí yī zhǒng háo wú yí yì de、 qiáng zhì rèn kě de quán shì。
bù guò《 fēn chéng liǎng bàn de zǐ jué》 zuì yǐn wǒ gǎn chù de què bù shì shū zhōng de zhù rén wēng（ jí fēn chéng liǎng bàn de zǐ jué běn rén）， ér shì gāi shū de xù shì zhě： yī míng xiǎo hái。 zhè běn shū de gù shìdōu chū zì zhè míng xiǎo hái zhī kǒu， yóu tā / tā jiàn zhèng zhòng rén de bēi huān： ér wéi yòu wǒ men dú zhě cái zhī dào zhè míng xiǎo hái de gū dú。
《 fēn chéng liǎng bàn de zǐ jué》 yī shū kàn lái sì hū jù yòu kuài lè de jié jú（ happyending）， dàn wǒ dú qǐ lái què jué qī rán： zhè míng shuō gù shì de hái zǐ， gāi zěn me bàn？ zài dú zuì hòu yī yè de shí hòu， wǒ nán guò dé hěn。
Plot summary
The Viscount Medardo of Terralba, and his squire Kurt, ride across the plague-ravaged plain of Bohemia en route to join the Christian army in the Turkish wars of the seventeenth century. On the first day of fighting, a Turkish swordsman unhorses the inexperienced Viscount. Fearless, he scrambles over the battlefield with sword bared, and is split in two by a cannonball hitting him square in the chest.
As a result of the injury, Viscount Medardo becomes two people: Gramo (the Bad) and Buono (the Good). The army field doctors save Gramo through a stitching miracle, the Viscount is “alive and cloven.” [1] With one eye and a dilated single nostril, he returns to Terralba, twisting the half mouth of his half face into a scissors-like half smile. Meanwhile, a group of hermits find Buono in the midst of a pile of dead bodies. They tend to him and he recovers. After a long pilgrimage, Buono returns home.
There are now two Viscounts in Terralba. Gramo lives in the castle, Buono lives in the forest. Gramo causes damage and pain, Buono does good deeds. Pietrochiodo, the carpenter, is more adept at building guillotines for Gramo than the machines requested by Buono. Eventually, the villagers dislike both viscounts, as Gramo's malevolence provokes hostility and Buono's altruism provokes uneasiness.
Pamela, the peasant, prefers Buono to Gramo, but her parents want her to marry Gramo. She is ordered to consent to Gramo's marriage proposal. On the day of the wedding, Pamela marries Buono, because Gramo arrives late. Gramo challenges Buono to a duel to decide who shall be Pamela's husband. As a result, they are both severely wounded.
Dr. Trelawney takes the two bodies and sews the two sides together. Viscount finally is whole. He and his wife Pamela (now the Viscontessa) live happily together until the end of their days.
Characters
* Medardo, the Viscount of Terralba
* The narrator, Medardo’s young nephew
* Dr. Trelawney, the English court physician
* Pamela, the shepherdess
* Sebastiana, faithful nurse to the Viscount
* Pietrochiodo, the court carpenter
* Ezekiel, leader of a Huguenot colony
* Esau, Ezekiel’s son
* Ariolfo, the former Viscount of Terralba, Medardo’s father
* Kurt, Medardo’s squire
Trivia
In the name of the physician, Dr. Trelawney, you can see a tribute to Robert Louis Stevenson, author of the Strange Case of Dr. Jekyll and Mr. Hyde (1886), perhaps the most famous tale of split personality between good and evil. Stevenson also wrote Treasure Island (1883), one of whose characters is a certain Squire Trelawney.
《 fēn chéng liǎng bàn de zǐ jué》 tǎo lùn liǎo quē hàn、 piān pō、 rén xìng de kuì fá。 gù shì de qǐ diǎn shì fēi cháng jiǎn dān、 fēi cháng xiān míng de yì xiàng huò qíng jìng： pǐchéng liǎng bàn de zǐ jué， liǎng piàn rén tǐ gè zì jì xù guò zhe zì jǐ de shēng huó －－ yī bàn shì xié 'è de zǐ jué， jí jìn pò huài zhī néng shì， yī bàn shì shàn liáng de zǐ jué， chù chù zhù rén。 pá dào shù shàng de nán hái bù yuàn yì xià lái， yī bèi zǐ zài shù shàng dù guò； yī jù zhōng kōng de jiá zhòu zì rèn wèishì yī míng nán zǐ， bù duàn guàn chè tā zì jǐ de yì zhì lì。 gù shì yóu yì xiàng zīzhǎng chū lái， ér bù shì lái zì zuò zhě xiǎng yào chǎn shù de lǐ niàn； yì xiàng zài gù shì zhī zhōng de fā zhǎn， yě quán píng gù shì de nèi zài luó ji。 zhè xiē gù shì de yì yì héng héng zhǔn què dì shuō， zhè xiē gù shì yǐ yì xiàng wéi jī chǔ 'ér yǎn shēng de yì yì wǎng luò héng héng zǒng shì yòu diǎn bù què dìng de； wǒ men wú fǎ jiān chí yī zhǒng háo wú yí yì de、 qiáng zhì rèn kě de quán shì。
bù guò《 fēn chéng liǎng bàn de zǐ jué》 zuì yǐn wǒ gǎn chù de què bù shì shū zhōng de zhù rén wēng（ jí fēn chéng liǎng bàn de zǐ jué běn rén）， ér shì gāi shū de xù shì zhě： yī míng xiǎo hái。 zhè běn shū de gù shìdōu chū zì zhè míng xiǎo hái zhī kǒu， yóu tā / tā jiàn zhèng zhòng rén de bēi huān： ér wéi yòu wǒ men dú zhě cái zhī dào zhè míng xiǎo hái de gū dú。
《 fēn chéng liǎng bàn de zǐ jué》 yī shū kàn lái sì hū jù yòu kuài lè de jié jú（ happyending）， dàn wǒ dú qǐ lái què jué qī rán： zhè míng shuō gù shì de hái zǐ， gāi zěn me bàn？ zài dú zuì hòu yī yè de shí hòu， wǒ nán guò dé hěn。
Plot summary
The Viscount Medardo of Terralba, and his squire Kurt, ride across the plague-ravaged plain of Bohemia en route to join the Christian army in the Turkish wars of the seventeenth century. On the first day of fighting, a Turkish swordsman unhorses the inexperienced Viscount. Fearless, he scrambles over the battlefield with sword bared, and is split in two by a cannonball hitting him square in the chest.
As a result of the injury, Viscount Medardo becomes two people: Gramo (the Bad) and Buono (the Good). The army field doctors save Gramo through a stitching miracle, the Viscount is “alive and cloven.” [1] With one eye and a dilated single nostril, he returns to Terralba, twisting the half mouth of his half face into a scissors-like half smile. Meanwhile, a group of hermits find Buono in the midst of a pile of dead bodies. They tend to him and he recovers. After a long pilgrimage, Buono returns home.
There are now two Viscounts in Terralba. Gramo lives in the castle, Buono lives in the forest. Gramo causes damage and pain, Buono does good deeds. Pietrochiodo, the carpenter, is more adept at building guillotines for Gramo than the machines requested by Buono. Eventually, the villagers dislike both viscounts, as Gramo's malevolence provokes hostility and Buono's altruism provokes uneasiness.
Pamela, the peasant, prefers Buono to Gramo, but her parents want her to marry Gramo. She is ordered to consent to Gramo's marriage proposal. On the day of the wedding, Pamela marries Buono, because Gramo arrives late. Gramo challenges Buono to a duel to decide who shall be Pamela's husband. As a result, they are both severely wounded.
Dr. Trelawney takes the two bodies and sews the two sides together. Viscount finally is whole. He and his wife Pamela (now the Viscontessa) live happily together until the end of their days.
Characters
* Medardo, the Viscount of Terralba
* The narrator, Medardo’s young nephew
* Dr. Trelawney, the English court physician
* Pamela, the shepherdess
* Sebastiana, faithful nurse to the Viscount
* Pietrochiodo, the court carpenter
* Ezekiel, leader of a Huguenot colony
* Esau, Ezekiel’s son
* Ariolfo, the former Viscount of Terralba, Medardo’s father
* Kurt, Medardo’s squire
Trivia
In the name of the physician, Dr. Trelawney, you can see a tribute to Robert Louis Stevenson, author of the Strange Case of Dr. Jekyll and Mr. Hyde (1886), perhaps the most famous tale of split personality between good and evil. Stevenson also wrote Treasure Island (1883), one of whose characters is a certain Squire Trelawney.
kǎ 'ěr wéi nuò《 wǒ men de zǔ xiān》 sān bù qū zuò wéi duì rén de shēng cún wèn tí de kǎo chá， sān bù xiǎo shuō gè yòu cè zhòng。《 bù cún zài de qí shì》 shì rén zhēng qǔ cún zài，《 fēn chéng liǎng bàn de zǐ jué》 shì rén bǎi tuō shēng mìng bù wán zhěng de tòng kǔ，《 shù shàng de nán jué》 zé huí dá， rén zěn yàng cái néng zhǎo dào yī tiáo shēng huó de dào lù。
《 shù shàng de nán jué》 de gù shì qíng jié dà zhì shì zhè yàng de： 1776 nián 6 yuè 15 rì， yì dà lì wēng bù luó sà de guì zú shàonián kē xī mò · dí · lóng duō（ nà shí tā 12 suì）， yīn wéi hé zhuān zhì de fù qīn 'ā mǐ ní 'ào · dí · lóng duō nán jué fā shēng liǎo zhēng zhí， yī qì zhī xià pá dào liǎo shù shàng， bìng fā shì bù zài xià shù。 yī kāi shǐ， suǒ yòu de réndōu méi zài yì， rèn wéi zhè zhǐ shì xiǎo hái zǐ de yī shí qì huà， bù bì dàngzhēn， dàn kē xī mò jiān shǒu shì yán， jué yì zài shù shàng yī zhí shēng huó xià qù。
zhè yī dài jiù shì wǔ shí duō nián， kē xī mò zhí dào qù shì yě méi yòu xià guò shù。 xiǎo shuō xiě liǎo zhè wǔ shí duō nián zhōng fā shēng de yī xiē zhòng yào shì jiàn， lái fǎn yìng tā dú yī wú 'èr de shù qī shēng huó。 zhè zhǒng shēng huó duō zī duō cǎi， chōng mǎn tiǎo zhàn。 rú guǒ kē xī mò méi yòu pá shàng shù， nà me tā de yī shēng kě néng yě jiù shì guò zhe guì zú yīnggāi xiǎng shòu de zhōng guī zhōng jǔ píng yōng 'ān yì de shēng huó liǎo， dàn shì tā bù jiē shòu zhè zhǒng dì miàn shàng de shēng huó， suǒ yǐ tā pá shàng liǎo shù， jué bù xià lái。 zài shù shàng， tā dǎ liè、 dú shū、 liàn 'ài、 lǚ xíng， tā hé gè zhǒng gè yàng de rén jiāo wǎng， shǐ yī gè xiōng cán de dà dào 'ài shàng liǎo xiǎo shuō， tā bāng zhù xiǎo chéng jiàn lì liǎo fáng huǒ xì tǒng， cuò bài liǎo tǔ 'ěr qí hǎi dào， dǎ tuì liǎo láng qún de xí jī； tā guǎng fàn yuè dú， bǐ tóng shí dài rén gèng zǎo de jiē shòu xīn sī xiǎng， tā yǔ fú 'ěr tài hé lú suō tōng xìn， yìn shuà zì jǐ de chū bǎn wù， chéng wéi dāng dì gòng jì huì de chuàng shǐ rén， zài dà gé mìng qī jiān zǔ zhì liǎo dāng dì de gé mìng， chéng wéi shì zhèng wěi yuán huì de yī yuán， lián ná pò lún shì chá yì dà lì de shí hòu dū mù míng lái bài fǎng tā。
《 wǒ men de zǔ xiān》 zhōng sān bù xiǎo shuō de yàng shì dōushì bù tóng de，《 fēn chéng liǎng bàn de zǐ jué》 shì tóng huà，《 bù cún zài de qí shì》 mó nǐ liǎo zhōng shì jì de qí shì xiǎo shuō， ér《 shù shàng de nán jué》 cǎi yòng de shì xiàn shí zhù yì shǒu fǎ。 jìn guǎn kē xī mò zhè gè rén wù hé tā de gù shìdōu shì xū gòu de， dàn yī qiē de xì jié hé lì shǐ bèi jǐng wú bù fú hé xiàn shí， kē xī mò de yī jǔ yī dòng wú bù fú hé qíng hé lǐ， shù shàng de shēng huó yě jiě shì dé lìng rén gǎn dào nà shì wán quán kě néng de。 wǒ xiǎng， xíng shì fú cóng zhù tí， cǎi yòng xiàn shí zhù yì shǒu fǎ shì hé zhè bù xiǎo shuō yào tǎo lùn de “ rén rú hé zhǎo dào zì jǐ de shēng huó dào lù ” yòu guān de， yīn wéi zhè gè wèn tí dài yòu hěn qiáng de shí jiàn xìng， rén de xíng dòng shòu dào xiàn shí de zhì yuē， bù kǎo lǜ xiàn shí yīn sù shì hěn nán bǎ zhè gè wèn tí shuō qīng chǔ de， jí shǐ shuō liǎo yě méi yòu shuō fú lì。 tóng huà gù shì shì méi yòu bàn fǎ ràng rén gǔ qǐ yǒng qì hé xìn xīn de， nà shì shén xiān de shēng huó， bù shì rén de shēng huó。
xià miàn jiù tǎo lùn zhè běn xiǎo shuō de jù tǐ hán yì。《 shù shàng de nán jué》 zhōng“ shù” shì yòu xiàng zhēng de。 kē xī mò pá dào shù shàng zhè zhǒng xíng wéi yě shì yòu xiàng zhēng de。 wǒ cóng shū lǐ xuǎn liǎo liǎng duàn， jiù shì hěn hǎo de shuō míng。 xiān kàn zhè yī duàn：
“ wǒ gē gē rèn wéi，” wǒ huí dá shuō，“ shuí xiǎng kàn qīng chén shì jiù yìng tóng tā bǎo chí bì yào de jù lí。” fú 'ěr tài hěn xīn shǎng zhè yàng de dá fù。
“ cóng qián， zhǐ shì dà zì rán chuàng zào shēng mìng xiàn xiàng，” tā zǒng jié dào，“ xiàn zài shì lǐ zhì。”
zài kàn zhè yī duàn：
bó jué shuō：“ nǐ liú zài shù shàng zuò shénme shì qíng ní？ méi yòu lǐ yóu yā！”
kē xī mò zhāng kāi shuāng bì：“ wǒ bǐ nǐ men zǎo dào zhè shàng miàn lái， xiān shēng men， wǒ yě yào liú dào zuì hòu！”
“ nǐ yào hòu tuì má？” bó jué dà shēng rǎng。
“ bù， shì dǐ kàng。” nán jué huí dá。
cóng zhè liǎng duàn kě yǐ kàn chū， xiǎo shuō zhōng“ shù shàng de shēng huó” hé“ dì shàng de shēng huó” shì liǎng gè duì lì de gài niàn。“ dì shàng de shēng huó” xiàng zhēng píng yōng、 shì sú、 fá wèi，“ shù shàng de shēng huó” xiàng zhēng lǐ xiǎng、 gāo shàng、 fù yòu jīng shén xìng，“ shù shàng de shēng huó” gāo yú“ dì shàng de shēng huó”。 kē xī mò pá dào shù shàng xiàng zhēng tā bù gān yú píng yōng de shēng huó， tā jiān chí jué bù xià shù xiàng zhēng tā bù fàng qì zì jǐ de lǐ xiǎng， yòng tā zì jǐ de huà shuō， zhè shì yī zhǒng“ dǐ kàng”。
cóng zhè gè xiàng zhēng chū fā， duì rén wù de jìn xíng fēn xī， kě yǐ kàn dào yī fāng miàn kē xī mò xǐ huān“ shù shàng de shēng huó”， gǎn dào hěn zì yóu， bù yuàn xià shù， dàn lìng yī fāng miàn tā yòu bǎi tuō bù liǎo“ dì shàng de shēng huó”， jìn guǎn tā bù xià shù， dàn shēng huó hái shì lí bù kāi yào hé dì miàn shàng de rén men dǎ jiāo dào， dì miàn shàng fā shēng de shì qíng hái shì yào duì tā fā shēng yǐng xiǎng。 bì jìng，“ shù” bǐ“ dì miàn” gāo bù liǎo duō shǎo。 xiǎo shuō zhōng， kē xī mò jī jí cān jiā shè huì shì wù， bìng méi yòu yīn wéi dài zài shù shàng 'ér dùn shì， dàn shì shí shàng tā yě bù kě néng dùn shì， tā zhuī qiú zì jǐ de lǐ xiǎng zhǐ néng shì jú bù de hé xiū zhèng de， ér bù kě néng shì chè dǐ de jué jué de， zhǔn què de shuō， qí zhōng yuàn wàng hé jīng shén shèng lì de chéngfèn gèng duō yī xiē。 kē xī mò měi dào mí máng hé yù mèn de shí hòu， jiù huì pá dào shù de zuì dǐng duān， xiàng yuǎn fāng tiào wàng， zhè gè xiǎo shuō zhōng yī zài tí dào de xì jié， shì yòu zhe shēn kè yù yì de。 tā méi yòu fàng qì“ dǐ kàng”， dàn tā yě pá bù dào tiān shàng。
jié wěi de shí hòu， kē xī mò lǎo lái bìng zhì， yǎn yǎn yī xī， rén men bǎ chuáng jià dào shù shàng， ràng tā tǎng zhe， yī shēng yòng tī zǐ pá dào shù shàng gěi tā kàn bìng， dàn kē xī mò réng rán bù yuàn yì zhè yàng bèi dòng de děng dài sǐ wáng。 dāng yī zhǐ rè qì qiú fēi guò shù dǐng， tā xiàng gè hái zǐ yī yàng yī yuè 'ér qǐ， zhuā zhù qì qiú de máo shéng， bèi tā dài zhe fēi zǒu liǎo。 zhè gè jié jú wéi rén wù de sù zào wán chéng liǎo zuì hòu yī bǐ， zhè jiù shì yī gè lǐ xiǎng zhù yì zhě de yī shēng， tā de shēng mìng zhōng chōng mǎn liǎo xún zhǎo hé tàn suǒ， nǎ pà shì sǐ wáng yě wú fǎ ràng tā gǎi biàn。
tōng guò kē xī mò de yī shēng， kǎ 'ěr wéi nuò xiǎng gào sù wǒ men shénme ní？ tā wèiwǒ men zhǐ chū liǎo yī tiáo shénme yàng de shēng huó dào lù ní？ wǒ xiǎng， kě yǐ zhè yàng shuō， shēng huó de chū lù hái shì zài xiàn shí zhōng， dàn yòu gāo yú xiàn shí， xún zhǎo zhè zhǒng chū lù běn shēn jiù gòu chéng liǎo shēng huó de yì yì。 xún zhǎo lí bù kāi yǒng qì， ér yǒng qì yòu lái zì chún jié de lǐ xiǎng。 yī gè rén rú guǒ zài zhè xiē dà de yuán zé xià dù guò zì jǐ de yī shēng， nà tā de shēng mìng jiù bù huì xū dù。 zhì yú shēng mìng yīnggāi yǐ shénme yàng de fāng shì lái jié shù， rén lèi de jiāng lái dào dǐ huì shì shénme yàng， xiǎo shuō lǐ yòu yī gè 'àn shì， nà shì shuō kē xī mò xiǎng xiě yī běn xuān yáng tā shù shàng shēng huó de shū， tā dǎ suàn zhè yàng jié shù nà běn shū：
zuò zhě chuàng lì liǎo zài shù dǐng shàng wán shàn guó jiā， shuō fú quán rén lèi zài nà lǐ dìng jū， bìng qiě shēng huó de xìng fú， tā zì jǐ què zǒu xià shù， shēng huó zài yǐ jīng huāng wú de tǔ dì shàng。
xiǎo shuō zhōng， hái xiě liǎo hěn duō rén wù de sǐ wáng， yòu shí jǐ gè， ér qiě suǒ yòu de rén de shēng huó dōubù xìng fú， suī rán zài xiě fǎ shàng bìng méi yòu xuàn rǎn zhè xiē nèi róng， hǎo xiàng zhǐ shì bù jīng yì de 'ǒu rán tí dào， dàn dú lái hái shì lìng rén chàng rán。 wǒ xiǎng， zhèng shì yīn wéi duǎn zàn de shēng mìng zhōng yòu nà me duō kùn nán hé bù rú yì， sǐ wáng yòu zài yī bàng kuī shì zhe wǒ men， suǒ yǐ wǒ men méi yòu shí jiān yōu shāng hé tàn xī， wǒ men bì xū rèn zhēn de duì dài shēng mìng， qù sī kǎo， qù xún zhǎo。
Characters
* Cosimo Piovasco di Rondo' (main character)
* Baron Arminio (Cosimo's father)
* Corradina (Cosimo's mother)
* Battista (Cosimo's elder sister)
* Biagio (Cosimo's younger brother)
* Abbot Fauchefleur (Cosimo and Biago's care-taker)
* Viola (the love of Cosimo's life)
Plot summary
The story is about a twelve-year-old boy named Cosimo Piovasco di Rondo', and is narrated by his younger brother, Biagio. It's set along the Ligurian Coast (the north-western coast of Italy, and commonly includes southern France because of the similarity in the scenery) in the eighteenth-century, in the town of Ombrosa. At the time, the regions of Italy haven't united yet, and the region along the Ligurian Coast isn't currently ruled by a legitimate king.
Biagio, Cosimo's brother and the narrator, provides the history of their family. Cosimo's father, Baron Arminio, married the General of the War of Succession (his mother), Corradina. La Guerra di Successione (the War of Succession) is a war between the Baron Arminio and an opposing family whom has equal rights to the throne. The parents who both have identical interests in claiming the throne agree to marry (even though they don't love each other) to give their children more rights to the throne.
The Baron, who is half-mad with a malicious streak, abuses his children constantly; and without the mother who is usually fighting in the war on horseback with the head general (Cosimo's grandfather), causes the children to run wild and misbehave.
In fact, Battista, the eldest sister of the three, used to be coaxed by Arminio to get married at a young age, so she decides to become a priestess, thus avoiding premature marriage. Without Battista, Arminio focuses on Cosimo (only twelve-years-old) and contrives a plan to betroth him to a grand-duchess he might find.
Battista is driven to insanity, and expresses this through her cooking. From toads to mice, rats to grasshoppers, Battista becomes the cook of the castle-like mansion in Ombrosa, and the Baron forces Cosimo and Biagio to eat the disgusting meals.
One day, when the Baron invites the Courts of France to lunch at noon, Battista arrives with her French cuisine new meal, snails. At the point where Arminio forces Cosimo to eat the snails, it becomes the turning point for him - the point where he can no longer handle his father's abuse.
Fleeing from the table, Cosimo uses his ability to climb up a live oak tree in the backyard - Cosimo and his eight-year-old brother Biagia often occupy their recreational time by climbing trees. Storming out of the house, with the other diners trailing behind, came the Baron scolding Cosimo for embarrassing him in front of the Court of France, who eats snails for a delicacy.
Excerpt from p. 15:
"Quando sarai stanco di star li' cambierai idea!" gli grido'.
"Non cambiero' mai idea," fece mio fratello, dal ramo.
"Ti faro' vedere io , appena scendi!"
"E io non scendero' piu'." E mantenne la parola.
English translation:
"When you are tired of staying there you will change your mind!" he shouted.
"I will never change my mind," said my brother, from the branch [of the live oak].
"I'll show you, now get down here!"
"And I will not come down, ever." And he kept his word.
With a spadino (little sword) and tricorno (cocked hat), Cosimo travels from branch to branch, and eventually reaches the boundary of his backyard, bordered by an enormous brick wall. On the opposite side live the Marchese (Marquis) and his family, with an enormous garden, like the Piovasco's, although with exotic plants from Asia, America (newly founded at the time), and apparently, even Australia (an imagined country at the time). Cosimo jumps from one of his trees to a foreign tree, Magnolia, into the D'Ondariva's garden. Cosimo slowly descends from tree to tree to the lowest branch, when he finally sees a blonde-haired girl on a see-saw (appearing ten-years-old).
From the branch, Cosimo uses his spadino (little sword) to pierce the apple in the girl's hand.
Ultimately, Cosimo finds a way to stay in the trees for most of his life.
Reception
While sometimes dismissed as a cute fable, this story finds its very strength in its ability to be read and analyzed on a number of levels: as a romance story, environmentally, narratologically, sociologically, and in questioning the role of the individual and the community. The novel received the Viareggio Prize in 1957. However, Calvino "refused the prize on the grounds that its acceptance simply helped shore up an outmoded institution, the literary prize!"
《 shù shàng de nán jué》 de gù shì qíng jié dà zhì shì zhè yàng de： 1776 nián 6 yuè 15 rì， yì dà lì wēng bù luó sà de guì zú shàonián kē xī mò · dí · lóng duō（ nà shí tā 12 suì）， yīn wéi hé zhuān zhì de fù qīn 'ā mǐ ní 'ào · dí · lóng duō nán jué fā shēng liǎo zhēng zhí， yī qì zhī xià pá dào liǎo shù shàng， bìng fā shì bù zài xià shù。 yī kāi shǐ， suǒ yòu de réndōu méi zài yì， rèn wéi zhè zhǐ shì xiǎo hái zǐ de yī shí qì huà， bù bì dàngzhēn， dàn kē xī mò jiān shǒu shì yán， jué yì zài shù shàng yī zhí shēng huó xià qù。
zhè yī dài jiù shì wǔ shí duō nián， kē xī mò zhí dào qù shì yě méi yòu xià guò shù。 xiǎo shuō xiě liǎo zhè wǔ shí duō nián zhōng fā shēng de yī xiē zhòng yào shì jiàn， lái fǎn yìng tā dú yī wú 'èr de shù qī shēng huó。 zhè zhǒng shēng huó duō zī duō cǎi， chōng mǎn tiǎo zhàn。 rú guǒ kē xī mò méi yòu pá shàng shù， nà me tā de yī shēng kě néng yě jiù shì guò zhe guì zú yīnggāi xiǎng shòu de zhōng guī zhōng jǔ píng yōng 'ān yì de shēng huó liǎo， dàn shì tā bù jiē shòu zhè zhǒng dì miàn shàng de shēng huó， suǒ yǐ tā pá shàng liǎo shù， jué bù xià lái。 zài shù shàng， tā dǎ liè、 dú shū、 liàn 'ài、 lǚ xíng， tā hé gè zhǒng gè yàng de rén jiāo wǎng， shǐ yī gè xiōng cán de dà dào 'ài shàng liǎo xiǎo shuō， tā bāng zhù xiǎo chéng jiàn lì liǎo fáng huǒ xì tǒng， cuò bài liǎo tǔ 'ěr qí hǎi dào， dǎ tuì liǎo láng qún de xí jī； tā guǎng fàn yuè dú， bǐ tóng shí dài rén gèng zǎo de jiē shòu xīn sī xiǎng， tā yǔ fú 'ěr tài hé lú suō tōng xìn， yìn shuà zì jǐ de chū bǎn wù， chéng wéi dāng dì gòng jì huì de chuàng shǐ rén， zài dà gé mìng qī jiān zǔ zhì liǎo dāng dì de gé mìng， chéng wéi shì zhèng wěi yuán huì de yī yuán， lián ná pò lún shì chá yì dà lì de shí hòu dū mù míng lái bài fǎng tā。
《 wǒ men de zǔ xiān》 zhōng sān bù xiǎo shuō de yàng shì dōushì bù tóng de，《 fēn chéng liǎng bàn de zǐ jué》 shì tóng huà，《 bù cún zài de qí shì》 mó nǐ liǎo zhōng shì jì de qí shì xiǎo shuō， ér《 shù shàng de nán jué》 cǎi yòng de shì xiàn shí zhù yì shǒu fǎ。 jìn guǎn kē xī mò zhè gè rén wù hé tā de gù shìdōu shì xū gòu de， dàn yī qiē de xì jié hé lì shǐ bèi jǐng wú bù fú hé xiàn shí， kē xī mò de yī jǔ yī dòng wú bù fú hé qíng hé lǐ， shù shàng de shēng huó yě jiě shì dé lìng rén gǎn dào nà shì wán quán kě néng de。 wǒ xiǎng， xíng shì fú cóng zhù tí， cǎi yòng xiàn shí zhù yì shǒu fǎ shì hé zhè bù xiǎo shuō yào tǎo lùn de “ rén rú hé zhǎo dào zì jǐ de shēng huó dào lù ” yòu guān de， yīn wéi zhè gè wèn tí dài yòu hěn qiáng de shí jiàn xìng， rén de xíng dòng shòu dào xiàn shí de zhì yuē， bù kǎo lǜ xiàn shí yīn sù shì hěn nán bǎ zhè gè wèn tí shuō qīng chǔ de， jí shǐ shuō liǎo yě méi yòu shuō fú lì。 tóng huà gù shì shì méi yòu bàn fǎ ràng rén gǔ qǐ yǒng qì hé xìn xīn de， nà shì shén xiān de shēng huó， bù shì rén de shēng huó。
xià miàn jiù tǎo lùn zhè běn xiǎo shuō de jù tǐ hán yì。《 shù shàng de nán jué》 zhōng“ shù” shì yòu xiàng zhēng de。 kē xī mò pá dào shù shàng zhè zhǒng xíng wéi yě shì yòu xiàng zhēng de。 wǒ cóng shū lǐ xuǎn liǎo liǎng duàn， jiù shì hěn hǎo de shuō míng。 xiān kàn zhè yī duàn：
“ wǒ gē gē rèn wéi，” wǒ huí dá shuō，“ shuí xiǎng kàn qīng chén shì jiù yìng tóng tā bǎo chí bì yào de jù lí。” fú 'ěr tài hěn xīn shǎng zhè yàng de dá fù。
“ cóng qián， zhǐ shì dà zì rán chuàng zào shēng mìng xiàn xiàng，” tā zǒng jié dào，“ xiàn zài shì lǐ zhì。”
zài kàn zhè yī duàn：
bó jué shuō：“ nǐ liú zài shù shàng zuò shénme shì qíng ní？ méi yòu lǐ yóu yā！”
kē xī mò zhāng kāi shuāng bì：“ wǒ bǐ nǐ men zǎo dào zhè shàng miàn lái， xiān shēng men， wǒ yě yào liú dào zuì hòu！”
“ nǐ yào hòu tuì má？” bó jué dà shēng rǎng。
“ bù， shì dǐ kàng。” nán jué huí dá。
cóng zhè liǎng duàn kě yǐ kàn chū， xiǎo shuō zhōng“ shù shàng de shēng huó” hé“ dì shàng de shēng huó” shì liǎng gè duì lì de gài niàn。“ dì shàng de shēng huó” xiàng zhēng píng yōng、 shì sú、 fá wèi，“ shù shàng de shēng huó” xiàng zhēng lǐ xiǎng、 gāo shàng、 fù yòu jīng shén xìng，“ shù shàng de shēng huó” gāo yú“ dì shàng de shēng huó”。 kē xī mò pá dào shù shàng xiàng zhēng tā bù gān yú píng yōng de shēng huó， tā jiān chí jué bù xià shù xiàng zhēng tā bù fàng qì zì jǐ de lǐ xiǎng， yòng tā zì jǐ de huà shuō， zhè shì yī zhǒng“ dǐ kàng”。
cóng zhè gè xiàng zhēng chū fā， duì rén wù de jìn xíng fēn xī， kě yǐ kàn dào yī fāng miàn kē xī mò xǐ huān“ shù shàng de shēng huó”， gǎn dào hěn zì yóu， bù yuàn xià shù， dàn lìng yī fāng miàn tā yòu bǎi tuō bù liǎo“ dì shàng de shēng huó”， jìn guǎn tā bù xià shù， dàn shēng huó hái shì lí bù kāi yào hé dì miàn shàng de rén men dǎ jiāo dào， dì miàn shàng fā shēng de shì qíng hái shì yào duì tā fā shēng yǐng xiǎng。 bì jìng，“ shù” bǐ“ dì miàn” gāo bù liǎo duō shǎo。 xiǎo shuō zhōng， kē xī mò jī jí cān jiā shè huì shì wù， bìng méi yòu yīn wéi dài zài shù shàng 'ér dùn shì， dàn shì shí shàng tā yě bù kě néng dùn shì， tā zhuī qiú zì jǐ de lǐ xiǎng zhǐ néng shì jú bù de hé xiū zhèng de， ér bù kě néng shì chè dǐ de jué jué de， zhǔn què de shuō， qí zhōng yuàn wàng hé jīng shén shèng lì de chéngfèn gèng duō yī xiē。 kē xī mò měi dào mí máng hé yù mèn de shí hòu， jiù huì pá dào shù de zuì dǐng duān， xiàng yuǎn fāng tiào wàng， zhè gè xiǎo shuō zhōng yī zài tí dào de xì jié， shì yòu zhe shēn kè yù yì de。 tā méi yòu fàng qì“ dǐ kàng”， dàn tā yě pá bù dào tiān shàng。
jié wěi de shí hòu， kē xī mò lǎo lái bìng zhì， yǎn yǎn yī xī， rén men bǎ chuáng jià dào shù shàng， ràng tā tǎng zhe， yī shēng yòng tī zǐ pá dào shù shàng gěi tā kàn bìng， dàn kē xī mò réng rán bù yuàn yì zhè yàng bèi dòng de děng dài sǐ wáng。 dāng yī zhǐ rè qì qiú fēi guò shù dǐng， tā xiàng gè hái zǐ yī yàng yī yuè 'ér qǐ， zhuā zhù qì qiú de máo shéng， bèi tā dài zhe fēi zǒu liǎo。 zhè gè jié jú wéi rén wù de sù zào wán chéng liǎo zuì hòu yī bǐ， zhè jiù shì yī gè lǐ xiǎng zhù yì zhě de yī shēng， tā de shēng mìng zhōng chōng mǎn liǎo xún zhǎo hé tàn suǒ， nǎ pà shì sǐ wáng yě wú fǎ ràng tā gǎi biàn。
tōng guò kē xī mò de yī shēng， kǎ 'ěr wéi nuò xiǎng gào sù wǒ men shénme ní？ tā wèiwǒ men zhǐ chū liǎo yī tiáo shénme yàng de shēng huó dào lù ní？ wǒ xiǎng， kě yǐ zhè yàng shuō， shēng huó de chū lù hái shì zài xiàn shí zhōng， dàn yòu gāo yú xiàn shí， xún zhǎo zhè zhǒng chū lù běn shēn jiù gòu chéng liǎo shēng huó de yì yì。 xún zhǎo lí bù kāi yǒng qì， ér yǒng qì yòu lái zì chún jié de lǐ xiǎng。 yī gè rén rú guǒ zài zhè xiē dà de yuán zé xià dù guò zì jǐ de yī shēng， nà tā de shēng mìng jiù bù huì xū dù。 zhì yú shēng mìng yīnggāi yǐ shénme yàng de fāng shì lái jié shù， rén lèi de jiāng lái dào dǐ huì shì shénme yàng， xiǎo shuō lǐ yòu yī gè 'àn shì， nà shì shuō kē xī mò xiǎng xiě yī běn xuān yáng tā shù shàng shēng huó de shū， tā dǎ suàn zhè yàng jié shù nà běn shū：
zuò zhě chuàng lì liǎo zài shù dǐng shàng wán shàn guó jiā， shuō fú quán rén lèi zài nà lǐ dìng jū， bìng qiě shēng huó de xìng fú， tā zì jǐ què zǒu xià shù， shēng huó zài yǐ jīng huāng wú de tǔ dì shàng。
xiǎo shuō zhōng， hái xiě liǎo hěn duō rén wù de sǐ wáng， yòu shí jǐ gè， ér qiě suǒ yòu de rén de shēng huó dōubù xìng fú， suī rán zài xiě fǎ shàng bìng méi yòu xuàn rǎn zhè xiē nèi róng， hǎo xiàng zhǐ shì bù jīng yì de 'ǒu rán tí dào， dàn dú lái hái shì lìng rén chàng rán。 wǒ xiǎng， zhèng shì yīn wéi duǎn zàn de shēng mìng zhōng yòu nà me duō kùn nán hé bù rú yì， sǐ wáng yòu zài yī bàng kuī shì zhe wǒ men， suǒ yǐ wǒ men méi yòu shí jiān yōu shāng hé tàn xī， wǒ men bì xū rèn zhēn de duì dài shēng mìng， qù sī kǎo， qù xún zhǎo。
Characters
* Cosimo Piovasco di Rondo' (main character)
* Baron Arminio (Cosimo's father)
* Corradina (Cosimo's mother)
* Battista (Cosimo's elder sister)
* Biagio (Cosimo's younger brother)
* Abbot Fauchefleur (Cosimo and Biago's care-taker)
* Viola (the love of Cosimo's life)
Plot summary
The story is about a twelve-year-old boy named Cosimo Piovasco di Rondo', and is narrated by his younger brother, Biagio. It's set along the Ligurian Coast (the north-western coast of Italy, and commonly includes southern France because of the similarity in the scenery) in the eighteenth-century, in the town of Ombrosa. At the time, the regions of Italy haven't united yet, and the region along the Ligurian Coast isn't currently ruled by a legitimate king.
Biagio, Cosimo's brother and the narrator, provides the history of their family. Cosimo's father, Baron Arminio, married the General of the War of Succession (his mother), Corradina. La Guerra di Successione (the War of Succession) is a war between the Baron Arminio and an opposing family whom has equal rights to the throne. The parents who both have identical interests in claiming the throne agree to marry (even though they don't love each other) to give their children more rights to the throne.
The Baron, who is half-mad with a malicious streak, abuses his children constantly; and without the mother who is usually fighting in the war on horseback with the head general (Cosimo's grandfather), causes the children to run wild and misbehave.
In fact, Battista, the eldest sister of the three, used to be coaxed by Arminio to get married at a young age, so she decides to become a priestess, thus avoiding premature marriage. Without Battista, Arminio focuses on Cosimo (only twelve-years-old) and contrives a plan to betroth him to a grand-duchess he might find.
Battista is driven to insanity, and expresses this through her cooking. From toads to mice, rats to grasshoppers, Battista becomes the cook of the castle-like mansion in Ombrosa, and the Baron forces Cosimo and Biagio to eat the disgusting meals.
One day, when the Baron invites the Courts of France to lunch at noon, Battista arrives with her French cuisine new meal, snails. At the point where Arminio forces Cosimo to eat the snails, it becomes the turning point for him - the point where he can no longer handle his father's abuse.
Fleeing from the table, Cosimo uses his ability to climb up a live oak tree in the backyard - Cosimo and his eight-year-old brother Biagia often occupy their recreational time by climbing trees. Storming out of the house, with the other diners trailing behind, came the Baron scolding Cosimo for embarrassing him in front of the Court of France, who eats snails for a delicacy.
Excerpt from p. 15:
"Quando sarai stanco di star li' cambierai idea!" gli grido'.
"Non cambiero' mai idea," fece mio fratello, dal ramo.
"Ti faro' vedere io , appena scendi!"
"E io non scendero' piu'." E mantenne la parola.
English translation:
"When you are tired of staying there you will change your mind!" he shouted.
"I will never change my mind," said my brother, from the branch [of the live oak].
"I'll show you, now get down here!"
"And I will not come down, ever." And he kept his word.
With a spadino (little sword) and tricorno (cocked hat), Cosimo travels from branch to branch, and eventually reaches the boundary of his backyard, bordered by an enormous brick wall. On the opposite side live the Marchese (Marquis) and his family, with an enormous garden, like the Piovasco's, although with exotic plants from Asia, America (newly founded at the time), and apparently, even Australia (an imagined country at the time). Cosimo jumps from one of his trees to a foreign tree, Magnolia, into the D'Ondariva's garden. Cosimo slowly descends from tree to tree to the lowest branch, when he finally sees a blonde-haired girl on a see-saw (appearing ten-years-old).
From the branch, Cosimo uses his spadino (little sword) to pierce the apple in the girl's hand.
Ultimately, Cosimo finds a way to stay in the trees for most of his life.
Reception
While sometimes dismissed as a cute fable, this story finds its very strength in its ability to be read and analyzed on a number of levels: as a romance story, environmentally, narratologically, sociologically, and in questioning the role of the individual and the community. The novel received the Viareggio Prize in 1957. However, Calvino "refused the prize on the grounds that its acceptance simply helped shore up an outmoded institution, the literary prize!"
《 bù cún zài de qí shì》（ yì dà lì yǔ： Ilcavaliereinesistente， yīng yǔ： Thenonexistentknight） shì yī tǎ luó · kǎ 'ěr wéi nuò zhī zuò pǐn， yú 1959 nián chū bǎn， dāng shí zuò zhě yǐ jīng tuì chū liǎo gòng chǎn dǎng。
《 bù cún zài de qí shì》 yǔ《 fēn chéng liǎng bàn de zǐ jué》 hé《 shù shàng de nán jué》 hé zǔ wéi《 wǒ men de zǔ xiān》 sān bù qū， tā men jiē wéi dāng dài zhōng piān xiǎo shuō， jù yōu mò de fēng gé hé yù yán xìng， shì kǎ 'ěr wéi nuò zǎo qī de zhù yào zuò pǐn。 cǐ hòu， tā kāi shǐ chuàng zuò wén xué， wéi qiú bǎ wén xué de yì shù fā zhǎn wáng gèng lǐ xiǎng de jìng jiè。
bù cún zài de qí shì - xiǎo shuō nèi róng
ā jí luò fū（ Agilulf） shì fǎ lán xī chá lǐ màn dà dì huī xià de yī gè qí shì， yòu bié yú qí tā de qí shì， ā jí luò fū bìng bù cún zài， yì méi yòu ròu shēn， shì yī jù huì qí mǎ de zhōng kōng de jiá zhòu。 dàn jiè zhe jiān dìng de yì zhì， tā bù dàn kě yǐ yǔ rén lèi shēng cún， gèng shì yī gè wán měi de qí shì héng jīng tōng jiàn shù， zhàn zhēng， lì shǐ， shù xué， jiā jū bù zhì děng děng。 zhèng yīn rú cǐ（ ā jí luò fū cháng cháng zhuī qiú wán měi hé zhēn lǐ， yòu bù kěn shuō huǎng）， měi gè réndōu tǎo yàn tā。
zài zhàn yún mì bù de shí dài， hàn bō héng yī gè nián qīng yòu wéi de nán zǐ héng yīn fù qīn bèi huí jiào jiāng jūn suǒ shā 'ér qián rù fǎ lán xī（ jī dū jiào） dà jūn de jūn yíng， xī wàng yòu yī wèi qí shì kě yǐ bāng zhù tā， dàn páo liǎo yī zhěng tiān， yòu dé dào 'ā jí luò fū de zhǐ diǎn， réng bù dé yào lǐng， fǎn 'ér yào yú cì rì gēn suí dà jūn jìn xíng yīcháng luàn qī bā zāo de zhàn yì。 hòu hàn bō lái yī yù shàng liǎo nǚ qí shì bù lā dá mèng， jiù lì jí wàng jì yào wéi fù qīn fù chóu， jué xīn yōng yòu tā。
tóng shí， qí shì duǒ lì sī méng（ Torrismund） yīn wéi zì jǐ de zhēn shí shēn shì 'ér wēi xié liǎo 'ā jí luò fū de qí shì róng yù， ā jí luò fū jiù lí kāi diào chá， chá lǐ màn dà dì hé qí tā qí shì dū 'àn 'àn gāo xīng， chú liǎo 'ài mù tā de bù lā dá mèng， zhī dào xiāo xī hòu lì jí zhuī zhú 'ā jí luò fū。 hàn bō jiàn hòu qǐ liǎo dù yì， yě qí mǎ jí zhuī。
zuì hòu zhēn xiāng dà bái， měi gè réndōu què zhī 'ā jí luò fū shì qīng bái de， dàn cǐ shí huī xīn de 'ā jí luò fū yǐ jīng lí kāi liǎo zhòng rén， méi yòu shōu dào zuì hòu de zhēn xiāng。 hàn bō dào sēn lín zhǎo dào liǎo tā de kōng jiá zhòu， yǐ jí yī zhāng pī zhǔn hàn bō chuānzhuó kōng jiá zhòu de zhǐ tiáo。
bù cún zài de qí shì - píng lùn
bù cún zài de qí shì - cún zài yǔ bù cún zài
běn shū de zhù yào shì tàn tǎo cún zài hé bù cún zài， yǐ jí zhī dào huò bù zhī dào zì jǐ shì fǒu cún zài de wèn tí。 ā jí luò fū shì bù cún zài dàn rèn wéi zì jǐ cún zài de qí shì， ér tā de pú rén Gurduloo héng yī gè shén jīng sì hū bù zhèng cháng de nán zǐ héng zé shì cún zài dàn rèn wéi zì jǐ bù cún zài。
zài dì sì hé dì wǔ zhāng， zuò zhě xiě xià：
Itwasnotrarethentofindnamesandthoughtsandformsandinstitutionsthatcorrespondedtonothinginexistence.(Chapter4)
I(Agilulf)cantrulycallmyselfprivileged,Iwhocanlivewithoutit(carcass)anddoall … ManythingsImanagetodobetterthanthosewhoexist,sinceIlacktheirusualdefectsofcoarseness,carelessness,incoherence,smell.(Chapter5)
zuò zhě yú cǐ xiǎo shuō yǐ bù cún zài de 'ā jí luò fū qù biǎo shì nà xiē zhǐ yòu míng zì cún zài 'ér zài wǒ men shēn biān yòu bù yǐ shí tǐ cún zài de shì wù héng tā mendōu shì zài rén lèi de yǎn zhōng shí fēn měi hǎo， wán měi， zuò shì kě yǐ bǐ wǒ men gèng yòu xiàolǜ。 yòu xiē rén shèn zhì huì xìn rèn huò 'ài shàng tā men， rèn wéi tā men bǐ zhēn shí cún zài de gèng zhēn shí（ solid）， dàn dāng rán huì yòu rén dù jí huò tǎo yàn tā men； rán 'ér， tā men kě néng huì xiàng 'ā jí luò fū yī yàng jīng bù qǐ mǒu zhǒng dǎ jī（ rú shēng yù shòu sǔn） ér xiāo shī dé wú yǐng wú zōng。
pǔ biàn rèn wéi， ā jí luò fū shì zhǐ jī gòu rén， jí wéi dà xíng tuán tǐ yǔ jī gòu zhī dài biǎo。
… theworldwaspollutedwithobjectsandcapacitiesandpersonswholackedanynameordistinguishingmark.(Chapter4)
ér cún zài dàn rèn wéi zì jǐ bù cún zài de Gurduloo huì suí zhe huán jìng， zhōu wéi de wù jiàn hé qì hòu 'ér gǎi biàn zì jǐ cún zài de míng zì， xíng shì děng děng， suǒ yǐ tā suǒ qiàn quē de shì shàng shù de“ tè zhēng”（ distinguishingmark）。 kě néng zuò zhě xiāng xìn wǒ men de shì jiè jiù shì chōng mǎn zhè zhǒng rén shì wù， shèn zhì， wǒ men jiù shì qí zhōng zhī yī：
… askedtheemperorgraciously,“ He(Gurduloo)doesn'tseemtomeknowwhat'sgoingthroughthatpateofhis.”
“ Whoarewetounderstand,Majesty?” Theoldpeasantwasspeakingthemodestwisdomofonewhohadseenagooddealoflife… (Chapter3)
(Torrismundsaid)“ AmItoconsidermyselfanequaltothissquireofmine,Gurduloo,whodoesn'tevenknowifheexistsornot?”
(Peasantssaid)“ Hewilllearntoo… Weourselvesdidnotknowweexist… Onecanalsolearntobe…” (Chapter11)
bù cún zài de qí shì - chuán shuō yǔ zhēn shí jí máo dùn
bù cún zài de qí shì - chuán shuō yǔ zhēn shí
chuán shuō zhōng de shèng bēi wǔ shì céng chū xiàn yú cǐ shū。 shèng bēi wǔ shì kě shuō shì yīng guó zuì zhù míng de yīngxióngchuánshuō， diàn yǐng duó bǎo qí bīng de dì sān jí yì shì yǔ tā men yòu guān。 zài zhè xiē nán yǐ zhèng míng de chuán shuō zhōng， shèng bēi wǔ shì jǐyǔ bié rén de yìn xiàng dōushì shén shèng hé wěi dà de。 qí shì duǒ lì sī méng zài yù jiàn tā men qián hé shí， dōuyòu tóng yàng de xiǎng fǎ， shèn zhì kě wàng jiā rù tā men de hángliè， zhí zhì shèng bēi wǔ shì kǒu lǐ shēng chēng 'ài hù zhěng gè shì jiè， quán tóu què zhuā jǐn zhàn máo cì shā píng mín。 zhè zhǒng máo dùn shì xiǎo shuō zhōng cháng jiàn de fěng cì fāng fǎ， zhù yào shì wéi fǎn yìng shè huì de hēi 'àn。
bù cún zài de qí shì - máo dùn
kǎ 'ěr wéi nuò zài xiě zuò wǒ men de zǔ xiān sān bù qū shí， sì hū xī wàng kě yǐ tóng shí sù shuō chū shì jiè hé rén lèi yán xíng suǒ bāo hán de máo dùn héng tiān shēng qiě bù néng bèi gǎi shàn de máo dùn。 zài 'èr bù qū fēn chéng liǎng bàn de zǐ jué zhōng， zuò zhě yì zhì shǎo tí jí liǎo liǎng zhǒng rén xìng de máo dùn。
bù cún zài de qí shì - píng děng guān
shèng bēi wǔ shì zài cǐ shū zhōng shì zhǎng quán zhě， kòng zhì zhe zhù yú gǔ wò dēng píng mín de shēng huó， dàn zài qí shì duǒ lì sī méng de zhī chí xià， tā men gǎn zǒu liǎo shèng bēi wǔ shì， bìng kāi shǐ tā men de hé píng shēng huó。 qí hòu， dà dì yào qiú duǒ lì sī méng zuò gǔ wò dēng de bó jué， dàn nóng mín fǎn 'ér yào qiú duǒ lì sī méng yǐ bǎi xìng de shēng fèn jū zhù yú gǔ wò dēng。
（ nóng mín shuō：）“… We'veobeyedforsolong… Butnowwe'veseenonecanlivequitewellwithouthavingtruckwitheitherknightsorcounts… Stayhereifyouwish… butasequals…”
zhè shǐ rén xiǎng qǐ gòng chǎn zhù yì zuì jī běn de yuán zé： dāng dì de nóng mín liǎo jiě dào yuán lái tuō lí tǒng zhì kě yǐ shì tuō lí pò yā， shēng huó yīn 'ér dé dào gǎi shàn。 dàn dāng rán， wèi yú tā men zhī shàng de hái shì tā men de fǎ lǜ（ ourlawsrespectedbyourselves）。
bù cún zài de qí shì - rén wù shēn fèn
gēn jù GoreVidal héng měi guó zuò jiā héng yú 'ài wén lǐ dà xué fā biǎo de lùn wén， tā rèn wéi kǎ 'ěr wéi nuò zài cǐ xiǎo shuō zhōng gù yì bǎ yī gè rén wù de shēn fèn guànyǐ bù tóng dài míng cí， jí shì：“ wǒ” hé“ tā” kě néng shì tóng yī gè juésè， zhè yī shǒu fǎ zài rì hòu qí tā de zhù zuò zhōng dū yòu chū xiàn。
Plot
The Nonexistent Knight is set in the time of Charlemagne, and draws material from the literary cycle known as the Matter of France, referencing Ariosto's Orlando Furioso. The knight Agilulf is a righteous, perfectionist, faithful and pious knight with only one shortcoming: he doesn't exist. Inside his armor there is no man, just an echoing voice that reverberates through the metal. Nevertheless, he serves the army of a Christian king out of "goodwill and faith in the holy cause".
Characters (In The English Version)
* Agilulf, the nonexistent knight.
* Gurduloo, a deranged man who becomes Agilulf's squire.
* Raimbaut, young noble who is obsessed with the idea of avenging his father by killing Argalif Isohar.
* Torrismund, a young knight who plays as Raimbaut's literary foil.
* Bradamante, a female knight, from Orlando Furioso.
* The narrator, Sister Theodora, a nun who is spinning Sir Agilulf's tale.
Themes
Agilulf does not exist as a person, but only as the fulfillment of the rules and protocols of knighthood. This theme is strongly connected to modern conditions: Agilulf has been described as "the symbol of the 'robotized' man, who performs bureaucratic acts with near-absolute unconsciousness."[1] The romance is also a bit of a satire, playing with the fact that Agilulf is both the ideal of man and nonexistent, along with many suggestions that Sister Theodora is actually making up most of the story. In the end, she must face that such a perfect knight could only live in one's imagination.
The idea of confusion of one's own identity with others and the outside world continued to be developed in Calvino's later works.[2]
Reception
The Nonexistent Knight was collected together with The Cloven Viscount and The Baron in the Trees in a single volume, Our Ancestors, for which Calvino was awarded the Salento Prize in 1960.[3] The book was adapted to film by the Italian director Pino Zac in 1970.
《 bù cún zài de qí shì》 yǔ《 fēn chéng liǎng bàn de zǐ jué》 hé《 shù shàng de nán jué》 hé zǔ wéi《 wǒ men de zǔ xiān》 sān bù qū， tā men jiē wéi dāng dài zhōng piān xiǎo shuō， jù yōu mò de fēng gé hé yù yán xìng， shì kǎ 'ěr wéi nuò zǎo qī de zhù yào zuò pǐn。 cǐ hòu， tā kāi shǐ chuàng zuò wén xué， wéi qiú bǎ wén xué de yì shù fā zhǎn wáng gèng lǐ xiǎng de jìng jiè。
bù cún zài de qí shì - xiǎo shuō nèi róng
ā jí luò fū（ Agilulf） shì fǎ lán xī chá lǐ màn dà dì huī xià de yī gè qí shì， yòu bié yú qí tā de qí shì， ā jí luò fū bìng bù cún zài， yì méi yòu ròu shēn， shì yī jù huì qí mǎ de zhōng kōng de jiá zhòu。 dàn jiè zhe jiān dìng de yì zhì， tā bù dàn kě yǐ yǔ rén lèi shēng cún， gèng shì yī gè wán měi de qí shì héng jīng tōng jiàn shù， zhàn zhēng， lì shǐ， shù xué， jiā jū bù zhì děng děng。 zhèng yīn rú cǐ（ ā jí luò fū cháng cháng zhuī qiú wán měi hé zhēn lǐ， yòu bù kěn shuō huǎng）， měi gè réndōu tǎo yàn tā。
zài zhàn yún mì bù de shí dài， hàn bō héng yī gè nián qīng yòu wéi de nán zǐ héng yīn fù qīn bèi huí jiào jiāng jūn suǒ shā 'ér qián rù fǎ lán xī（ jī dū jiào） dà jūn de jūn yíng， xī wàng yòu yī wèi qí shì kě yǐ bāng zhù tā， dàn páo liǎo yī zhěng tiān， yòu dé dào 'ā jí luò fū de zhǐ diǎn， réng bù dé yào lǐng， fǎn 'ér yào yú cì rì gēn suí dà jūn jìn xíng yīcháng luàn qī bā zāo de zhàn yì。 hòu hàn bō lái yī yù shàng liǎo nǚ qí shì bù lā dá mèng， jiù lì jí wàng jì yào wéi fù qīn fù chóu， jué xīn yōng yòu tā。
tóng shí， qí shì duǒ lì sī méng（ Torrismund） yīn wéi zì jǐ de zhēn shí shēn shì 'ér wēi xié liǎo 'ā jí luò fū de qí shì róng yù， ā jí luò fū jiù lí kāi diào chá， chá lǐ màn dà dì hé qí tā qí shì dū 'àn 'àn gāo xīng， chú liǎo 'ài mù tā de bù lā dá mèng， zhī dào xiāo xī hòu lì jí zhuī zhú 'ā jí luò fū。 hàn bō jiàn hòu qǐ liǎo dù yì， yě qí mǎ jí zhuī。
zuì hòu zhēn xiāng dà bái， měi gè réndōu què zhī 'ā jí luò fū shì qīng bái de， dàn cǐ shí huī xīn de 'ā jí luò fū yǐ jīng lí kāi liǎo zhòng rén， méi yòu shōu dào zuì hòu de zhēn xiāng。 hàn bō dào sēn lín zhǎo dào liǎo tā de kōng jiá zhòu， yǐ jí yī zhāng pī zhǔn hàn bō chuānzhuó kōng jiá zhòu de zhǐ tiáo。
bù cún zài de qí shì - píng lùn
bù cún zài de qí shì - cún zài yǔ bù cún zài
běn shū de zhù yào shì tàn tǎo cún zài hé bù cún zài， yǐ jí zhī dào huò bù zhī dào zì jǐ shì fǒu cún zài de wèn tí。 ā jí luò fū shì bù cún zài dàn rèn wéi zì jǐ cún zài de qí shì， ér tā de pú rén Gurduloo héng yī gè shén jīng sì hū bù zhèng cháng de nán zǐ héng zé shì cún zài dàn rèn wéi zì jǐ bù cún zài。
zài dì sì hé dì wǔ zhāng， zuò zhě xiě xià：
Itwasnotrarethentofindnamesandthoughtsandformsandinstitutionsthatcorrespondedtonothinginexistence.(Chapter4)
I(Agilulf)cantrulycallmyselfprivileged,Iwhocanlivewithoutit(carcass)anddoall … ManythingsImanagetodobetterthanthosewhoexist,sinceIlacktheirusualdefectsofcoarseness,carelessness,incoherence,smell.(Chapter5)
zuò zhě yú cǐ xiǎo shuō yǐ bù cún zài de 'ā jí luò fū qù biǎo shì nà xiē zhǐ yòu míng zì cún zài 'ér zài wǒ men shēn biān yòu bù yǐ shí tǐ cún zài de shì wù héng tā mendōu shì zài rén lèi de yǎn zhōng shí fēn měi hǎo， wán měi， zuò shì kě yǐ bǐ wǒ men gèng yòu xiàolǜ。 yòu xiē rén shèn zhì huì xìn rèn huò 'ài shàng tā men， rèn wéi tā men bǐ zhēn shí cún zài de gèng zhēn shí（ solid）， dàn dāng rán huì yòu rén dù jí huò tǎo yàn tā men； rán 'ér， tā men kě néng huì xiàng 'ā jí luò fū yī yàng jīng bù qǐ mǒu zhǒng dǎ jī（ rú shēng yù shòu sǔn） ér xiāo shī dé wú yǐng wú zōng。
pǔ biàn rèn wéi， ā jí luò fū shì zhǐ jī gòu rén， jí wéi dà xíng tuán tǐ yǔ jī gòu zhī dài biǎo。
… theworldwaspollutedwithobjectsandcapacitiesandpersonswholackedanynameordistinguishingmark.(Chapter4)
ér cún zài dàn rèn wéi zì jǐ bù cún zài de Gurduloo huì suí zhe huán jìng， zhōu wéi de wù jiàn hé qì hòu 'ér gǎi biàn zì jǐ cún zài de míng zì， xíng shì děng děng， suǒ yǐ tā suǒ qiàn quē de shì shàng shù de“ tè zhēng”（ distinguishingmark）。 kě néng zuò zhě xiāng xìn wǒ men de shì jiè jiù shì chōng mǎn zhè zhǒng rén shì wù， shèn zhì， wǒ men jiù shì qí zhōng zhī yī：
… askedtheemperorgraciously,“ He(Gurduloo)doesn'tseemtomeknowwhat'sgoingthroughthatpateofhis.”
“ Whoarewetounderstand,Majesty?” Theoldpeasantwasspeakingthemodestwisdomofonewhohadseenagooddealoflife… (Chapter3)
(Torrismundsaid)“ AmItoconsidermyselfanequaltothissquireofmine,Gurduloo,whodoesn'tevenknowifheexistsornot?”
(Peasantssaid)“ Hewilllearntoo… Weourselvesdidnotknowweexist… Onecanalsolearntobe…” (Chapter11)
bù cún zài de qí shì - chuán shuō yǔ zhēn shí jí máo dùn
bù cún zài de qí shì - chuán shuō yǔ zhēn shí
chuán shuō zhōng de shèng bēi wǔ shì céng chū xiàn yú cǐ shū。 shèng bēi wǔ shì kě shuō shì yīng guó zuì zhù míng de yīngxióngchuánshuō， diàn yǐng duó bǎo qí bīng de dì sān jí yì shì yǔ tā men yòu guān。 zài zhè xiē nán yǐ zhèng míng de chuán shuō zhōng， shèng bēi wǔ shì jǐyǔ bié rén de yìn xiàng dōushì shén shèng hé wěi dà de。 qí shì duǒ lì sī méng zài yù jiàn tā men qián hé shí， dōuyòu tóng yàng de xiǎng fǎ， shèn zhì kě wàng jiā rù tā men de hángliè， zhí zhì shèng bēi wǔ shì kǒu lǐ shēng chēng 'ài hù zhěng gè shì jiè， quán tóu què zhuā jǐn zhàn máo cì shā píng mín。 zhè zhǒng máo dùn shì xiǎo shuō zhōng cháng jiàn de fěng cì fāng fǎ， zhù yào shì wéi fǎn yìng shè huì de hēi 'àn。
bù cún zài de qí shì - máo dùn
kǎ 'ěr wéi nuò zài xiě zuò wǒ men de zǔ xiān sān bù qū shí， sì hū xī wàng kě yǐ tóng shí sù shuō chū shì jiè hé rén lèi yán xíng suǒ bāo hán de máo dùn héng tiān shēng qiě bù néng bèi gǎi shàn de máo dùn。 zài 'èr bù qū fēn chéng liǎng bàn de zǐ jué zhōng， zuò zhě yì zhì shǎo tí jí liǎo liǎng zhǒng rén xìng de máo dùn。
bù cún zài de qí shì - píng děng guān
shèng bēi wǔ shì zài cǐ shū zhōng shì zhǎng quán zhě， kòng zhì zhe zhù yú gǔ wò dēng píng mín de shēng huó， dàn zài qí shì duǒ lì sī méng de zhī chí xià， tā men gǎn zǒu liǎo shèng bēi wǔ shì， bìng kāi shǐ tā men de hé píng shēng huó。 qí hòu， dà dì yào qiú duǒ lì sī méng zuò gǔ wò dēng de bó jué， dàn nóng mín fǎn 'ér yào qiú duǒ lì sī méng yǐ bǎi xìng de shēng fèn jū zhù yú gǔ wò dēng。
（ nóng mín shuō：）“… We'veobeyedforsolong… Butnowwe'veseenonecanlivequitewellwithouthavingtruckwitheitherknightsorcounts… Stayhereifyouwish… butasequals…”
zhè shǐ rén xiǎng qǐ gòng chǎn zhù yì zuì jī běn de yuán zé： dāng dì de nóng mín liǎo jiě dào yuán lái tuō lí tǒng zhì kě yǐ shì tuō lí pò yā， shēng huó yīn 'ér dé dào gǎi shàn。 dàn dāng rán， wèi yú tā men zhī shàng de hái shì tā men de fǎ lǜ（ ourlawsrespectedbyourselves）。
bù cún zài de qí shì - rén wù shēn fèn
gēn jù GoreVidal héng měi guó zuò jiā héng yú 'ài wén lǐ dà xué fā biǎo de lùn wén， tā rèn wéi kǎ 'ěr wéi nuò zài cǐ xiǎo shuō zhōng gù yì bǎ yī gè rén wù de shēn fèn guànyǐ bù tóng dài míng cí， jí shì：“ wǒ” hé“ tā” kě néng shì tóng yī gè juésè， zhè yī shǒu fǎ zài rì hòu qí tā de zhù zuò zhōng dū yòu chū xiàn。
Plot
The Nonexistent Knight is set in the time of Charlemagne, and draws material from the literary cycle known as the Matter of France, referencing Ariosto's Orlando Furioso. The knight Agilulf is a righteous, perfectionist, faithful and pious knight with only one shortcoming: he doesn't exist. Inside his armor there is no man, just an echoing voice that reverberates through the metal. Nevertheless, he serves the army of a Christian king out of "goodwill and faith in the holy cause".
Characters (In The English Version)
* Agilulf, the nonexistent knight.
* Gurduloo, a deranged man who becomes Agilulf's squire.
* Raimbaut, young noble who is obsessed with the idea of avenging his father by killing Argalif Isohar.
* Torrismund, a young knight who plays as Raimbaut's literary foil.
* Bradamante, a female knight, from Orlando Furioso.
* The narrator, Sister Theodora, a nun who is spinning Sir Agilulf's tale.
Themes
Agilulf does not exist as a person, but only as the fulfillment of the rules and protocols of knighthood. This theme is strongly connected to modern conditions: Agilulf has been described as "the symbol of the 'robotized' man, who performs bureaucratic acts with near-absolute unconsciousness."[1] The romance is also a bit of a satire, playing with the fact that Agilulf is both the ideal of man and nonexistent, along with many suggestions that Sister Theodora is actually making up most of the story. In the end, she must face that such a perfect knight could only live in one's imagination.
The idea of confusion of one's own identity with others and the outside world continued to be developed in Calvino's later works.[2]
Reception
The Nonexistent Knight was collected together with The Cloven Viscount and The Baron in the Trees in a single volume, Our Ancestors, for which Calvino was awarded the Salento Prize in 1960.[3] The book was adapted to film by the Italian director Pino Zac in 1970.
《 kàn bù jiàn de chéng shì》 de dì yī bǎn shì zài 1972 nián 11 yuè yóu dū líng de 'āi yī nà wū dí chū bǎn shè chū bǎn de。 zài zhè běn shū chū bǎn de shí hòu， cóng 1972 nián dǐ dào 1973 nián chū， kǎ 'ěr wéi nuò céng zài duō jiā bào zhǐ de wén zhāng hé fǎng tán zhōng tán dào tā。
xià miàn yòng kǎ 'ěr wéi nuò 1983 nián 3 yuè 29 rì zài niǔ yuē gē lún bǐ yà dà xué xiě zuò shuò shì bān de yī cì jiǎng zuò zhōng de wén zì， lái jiè shào“ ào sī kǎ” cóng shū zhōng de zhè gè xīn bǎn。 jiǎng zuò yuán wéi yīng wén， zhè lǐ yòng de shì yì dà lì wén běn， tā shì yǐ 1972 dào 1973 nián de liǎng cì fǎng tán wéi jī chǔ de， bìng qiě dà bù fēn zài yì dà lì méi yòu fā biǎo guò。
zài《 kàn bù jiàn de chéng shì》 lǐ rén men zhǎo bù dào néng rèn dé chū de chéng shì。 suǒ yòu de chéng shì dōushì xū gòu de ; wǒ gěi tā men měi yī gèdōu qǐ liǎo yī gè nǚ rén de míng zì。 zhè běn shū shì yóu yī xiē duǎn xiǎo de zhāng jié gòu chéng de， měi gè zhāng jié dū yìng tí gōng jī huì， ràng wǒ men duì mǒu gè chéng shì huò fàn zhǐ yì yì shàng de chéng shì jìn xíng fǎn sī。
zuò zhě jiǎn jiè ······
yī tǎ luò · kǎ 'ěr wéi nuò jiè shào：
guān yú shēng píng · kǎ 'ěr wéi nuò xiě dào：“ wǒ réng rán shǔ yú hé kè luó qí yī yàng de rén， rèn wéi yī gè zuò zhě， zhǐ yòu zuò pǐn yòu jià zhí。 yīn cǐ wǒ bù tí gōng zhuànjì zī liào。 wǒ huì gào sù nǐ nǐ xiǎng zhī dào de dōng xī dàn wǒ cóng lái bù huì gào sù nǐ zhēn shí。”
shēng yú gǔ bā， 1985 nián 9 yuè 1913 zài bīn hǎi bié shù cù rán lí shì， ér yǔ dāng nián de nuò bèi 'ěr wén xué jiǎng shī zhī jiāo bì。
fù mǔ dōushì rè dài zhí wù xué jiā，“ wǒ de jiā tíng zhōng zhǐ yòu kē xué yán jiū shì shòu zūn zhòng de。 wǒ shì bài lèi， shì jiā lǐ wéi yī cóng shì wén xué de rén。”
shàonián shí guāng lǐ xiě mǎn shū běn、 màn huà、 diàn yǐng。 tā mèng xiǎng chéng wéi xì jù jiā gāo zhōng bì yè hòu què jìn rù dà xué nóng yì xì， suí hòu cóng wén xué yuàn bì yè。
1947 nián chū bǎn tā de dì yī bù xiǎo shuō《 tōng xiàng zhī zhū cháo de xiǎo jìng》， cóng cǐ zhì lì yú kāi fā xiǎo shuō xù shù yì shù de wú xiàn kě néng。
céng yǐn jū bā lí 15 nián， yǔ liè wéi · sī tè láo sī、 luó lán · bā tè、 gé nuò děng rén jiāo wǎng mìqiè。
1985 nián xià tiān zhǔn bèi hā fó jiǎng xué shí huàn bìng。 zhù dāo yī shēng biǎo shì zì jǐ wèi céng jiàn guò rèn hé dà nǎo gòu zào xiàng kǎ 'ěr wéi nuò de nà bān fù zá jīng zhì。
wèi dú“ kàn bù jiàn de chéng shì” qián， wǒ duì kǎ 'ěr wéi nuò cǐ rén háo wú suǒ zhī。 yuè dú“ kàn bù jiàn de chéng shì” yī shū shí， zài dú wán tā jiù“ chéng shì” suǒ jìn xíng de yī xì liè“ gài niàn” sī kǎo hòu， wǒ bào zhe duì tā qīng kuài mí huàn de jù zǐ hé shēn suì de sī xiǎng de jīng tàn， duì tā běn rén chǎn shēng liǎo nóng hòu de xīng qù。 zài wǎng shàng yī chá， cái fā xiàn tā běn rén shì yī wèi xiān shī gē， xì jù hé yù yán， ér hòu xiǎo shuō jìn xíng xiě zuò， gǔ bā chū shēng， yì dà lì chéngzhǎng， zài quán shì jiè xiǎng yòu jí gāo shēng yù de dāng dài zuò jiā。
“ yīng xióng bù wèn chū chù。” chéng rú gǔ yǔ suǒ shuō。 jìn guǎn duì tā“ kàn bù jiàn de chéng shì” yī shū suǒ huái de wú xiàn hǎo gǎn， dàn yě xǔ wǒ běn bù bì jiù cǐ jūn de chū chù qù xún gēn wèn dǐ。 wàng jì shì wù de běn zhì， ér qù duì biǎo xiàng xún gēn wèn dǐ ―― zhè zhǒng mí huò běn shì wǒ bèi de quē xiàn， dàn bù zhī bù jué， wǒ què yòu fàn xià liǎo zhè gè cuò wù。 ér gèng wéi kě xiào de shì zuò zhě zài zhè běn“ kàn bù jiàn de chéng shì” yī shū zhōng， mǒu zhǒng yì yì shàng suǒ qī dài de， zhèng shì jié lì de qù ràng hū bì liè hàn huò zhě dú zhě， qù pāo kāi nà xiē ràng rén mí huò de yòu guān“ chéng shì” de zhǒng zhǒng biǎo xiàng， lái jiù“ chéng shì”―― zhè yī rì yì fù zá de huán jìng qù jìn xíng gǎn xìng de sī suǒ。
“ cún zài de jiù shì hé lǐ de，” wǒ bù yóu de xiǎng qǐ liǎo zhè jù yòu míng de zhé xué míng yán。 mí huò yú xiàn jīn bù dé bù qù miàn duì de shēng huó zhǒng zhǒng， hū lüè zhū rú“ wèishénme？”“ zěn me yàng？”“ jiǎ rú…” yī lèi de wèn tí， xiǎng bì yě shì hé lǐ de。 bù guò zhè zhǒng“ hé lǐ” suǒ zhēn zhèng shuō míng de， kě néng què shì wèishénme rén lèi de sī wéi néng lì wèi néng suí zhe shí dài de jìn bù 'ér yòu chuàng zào xìng de fā zhǎn de yuán gù bā。 wǒ bìng fēi fǎn duì kē jì。 wǒ chéng rèn kē jì de fā zhǎn hé dāng jīn rén lèi de fēng fù wù zhì shēng huó yòu zhe mìqiè de lián xì。 yóu rú cǐ kè méi yòu diàn nǎo， méi yòu hù lián wǎng， wǒ jiāng bù néng zài duǎn duǎn de jǐ fēn zhōng lǐ huò dé yòu guān kǎ 'ěr wéi nuò qí rén de xìn xī。 dàn huí gù qiān nián lái rén lèi jiù shēng cún wèn tí suǒ jìn xíng de sī kǎo jìn chéng， wǒ kàn dào gèng duō de què shì kē jì fā zhǎn suǒ dài lái de， bù jǐn jǐn shì nà xiē ràng rén lèi máng mùdì qù yǐ lài kē xué， jī xiè huà de sī kǎo hé shēng cún fāng shì， tóng shí yě shì zuì zì rán， zuì yuán shǐ de nà xiē yòu guān měi lì hé huàn xiǎng de sī wéi de zhú jiàn tuì huà。
yě xǔ nǐ tóng wǒ yī yàng， hěn zǎo yǐ qián jiù yǐ wú shù cì de wèn guò zì jǐ nà xiē“ wǒ shì shuí？”“ nǐ shì shuí？” yī lèi de wèn tí。 nà me nǐ yòu xiǎng guò nǐ shēng huó de huán jìng jiū jìng shì shénme má？ nà xiē nǐ suǒ shēng huó de huò rén men zài yán tán zhōng zǒng shì tòu lù chū wú xiàn xiàng wǎng de“ chéng shì” guī gēn dào dǐ shì shénme ní？
“ chéng shì yóu rú mèng jìng： fán kě yǐ xiǎng xiàng de dōng xī dōukě yǐ mèng jiàn， dàn shì， jí shǐ zuì lí qí de mèng jìng yě shì yī fú mí huà， qí zhōng yǐn cáng zhe yù wàng， huò zhe yǐn cáng zhe fǎn miàn de kǒng jù， xiàng mèng yī yàng。” zhè biàn shì mǎ kě huò zhě shuō zuò zhě kǎ 'ěr wéi nuò běn rén duì“ chéng shì” de lǐ jiě。
zài wèi dú běn shū qián， rú tóng dà duō shù xiàn dài rén yī yàng， wǒ duì chéng shì zhè gè gài niàn cóng wèi rèn zhēn de qù xiǎng guò。 huí gù wǒ rén shēng zhè duǎn duǎn de shù shí nián， fǎng fó zǒng shì yǒng wú pí bèi de dài zhe xíng lǐ， cóng yī gè chéng shì qiān xǐ dào lìng yī gè chéng shì， rán hòu zài cóng nà gè chéng shì qiān xǐ dào lìng wài yī gè chéng shì。 wú lùn zhè xún huán de hòu niǎo shì de bān qiān jiū jìng yòu duō shǎo cì， què zǒng shì xǐ jù shì de yǐ tóng yàng yī gè jié jú 'ér gào zhōng―― dài zhe pí bèi hé shēng xiù de sī xiǎng yī cì yòu yī cì de bèi mèng xiǎng pāo qì bìng zhōng jié zài mǒu gè chéng shì lǐ de fáng jiān lǐ。
zài mǎ kě huò zhě kǎ 'ěr wéi nuò yǎn lǐ，“ chéng shì yóu rú mèng jìng。” zhè shì duì wǒ men suǒ zhì shēn de huán jìng jìn xíng de duō me jù yòu shī yì de miáo shù 'ā。 dàn rén réndōu zhī dào， wú lùn mèng jìng duō me de měi miào， mèng jìng bì jìng zhǐ shì mèng jìng―― jì fēi zhēn shí， yě yǒng yuǎn dōubù huì biàn wéi zhēn shí。 nà me shuō dào dǐ， zài mǎ kě huò kǎ 'ěr wéi nuò yǎn lǐ， wǒ men suǒ tán lùn， suǒ shēng huó zhe de“ chéng shì，” nán dào dū bìng fēi shì zhēn shí de má？ ... miàn duì kǎ 'ěr wéi nuò de zhè běn shū， zhè xiē cóng wèi sī kǎo guò de wèn tí měng rú dāng tóu bàng hē yī bān， ràng wǒ tǐ huì dào liǎo wǒ de shēng huó de má bì。
huò xǔ yuǎn yuǎn bù zhǐ zhè xiē… .. shì de， shénme chéng shì？ chéng shì de běn zhì shì shénme？ wèishénme shì chéng shì？ zhè gè chéng shì hé nà gè chéng shì shì fǒu yòu bù tóng zhī chù？ nǐ yǎn zhōng de chéng shì hé wǒ liǎo jiě de chéng shì shì yī yàng de má？ zhè wú shù běn yìng hěn zǎo jiù qù sī kǎo de wèn tí， rán 'ér què jiù zài zhè wǒ men niǎn zhuǎn de láolèi de shēng huó zhōng， shī qù liǎo yìng dé dào de sī kǎo jià zhí。 zuò wéi shēng huó zài zhè gè gāo dù chéng shì huà de shí dài de jù yòu xiàn dài shǔ xìng de wǒ men， háo wú yí wèn de shuō， kǎ 'ěr wéi nuò bù jǐn jǐn gěi wǒ dài lái yī xiē bù gāi hū lüè de sī kǎo， tóng shí yě ràng wǒ duì shēng huó de má mù gǎn dào xiū kuì。
“ chéng shì yóu rú mèng jìng。” cǐ shuō fǎ sì hū biǎo míng liǎo“ chéng shì” bù shì zhēn shí de。 nà me wǒ men xiàn zài tán lùn shēng cún zhe de zhè gè bèi chēng zhī wéi“ chéng shì” de dōng xī jiū jìng shì shénme ní？ shì rén men zài piào fú zhe de jù dà hǎi guī bèi shàng suǒ jiàn zào de jiā yuán？ hái shì wǒ men zài jù rén kǒu zhōng duō nián jīng yíng de chǎng suǒ？ zài fán máng má bì de chéngzhǎng guò chéng zhōng， wǒ zài cì de miàn duì liǎo nà xiē zì hái tóng shí dài jiù huái yòu de duì shēn biān shì jiè de yí wèn hé hǎo qí。 yú shì， zài kāi piān dú dào hū bì liè hàn zài duì líng tīng mǎ kě duì qí jīng lì guò de bù tóng chéng shì jìn xíng miáo shù shí， tā bù jīng yì de jiǎn yào de yǐ zì jǐ de jīng yàn jiāng qí tǒng tǒng de gài kuò chéng“ lèi” de shí hòu， wǒ néng shēn kè de tǐ huì hū bì liè hàn nèi xīn shēn chù de suǒ gǎn dào de yàn juàn。
“ hū bì liè hàn yǐ jīng liú yì dào， mǎ kě bō luó de chéng shì chàbù duō dōushì yī gè múyàng de， fǎng fó zhǐ yào gǎi biàn yī xià zǔ hé de yuán sù jiù kě yǐ cóng yī gè chéng zhuǎn yí dào lìng yī gè chéng， bù bì dòng shēn lǚ xíng。”
yǔ hū bì liè hàn de duì“ chéng shì” de gāo dù gài niàn huà de nóng suō sī wéi xiāng bǐ， shì mǎ kě huò kǎ 'ěr wéi nuò méi yòu rèn shí dào zhè xiē chéng shì de xiāng tóng， suǒ yǐ cái huì bù fán qí yàn jí lì de qù jìn xíng miáo shù ní？ hái shì zhè xiē chéng shì zài mǎ kě huò kǎ 'ěr wéi nuò de yǎn lǐ jìn guǎn yòu zhe xiāng tóng zhī chù dàn què zài běn zhì shàng què shì bù tóng de ní？ huò zhě shuō， shì mǎ kě huò kǎ 'ěr wéi nuò yǐ jīng chāo tuō liǎo shēng huó de zhì gù， cóng 'ér néng jìn yī bù de qù zhì wèn shēng huó de huán jìng？ wǒ dài zhe yí wèn jì xù wǎng xià dú bìng zhǎo dào liǎo dá 'àn。
“ chéng shì yě yóu yù wàng hé kǒng jù zào chéng。 jìn guǎn 'èr zhě zhī jiān zhǐ yòu mì mì de jiāo liú、 huāng miù de guī lǜ hé xū jiǎ de bǐ lì， jìn guǎn měi zhǒng shì wù yǐn cáng zhe lìng yī zhǒng shì wù… chéng shì yě rèn wéi zì jǐ shì xīn sī hé jī yuán de zào wù， kě shì liǎng zhě dū zhī bù qǐ chéng qiáng。 nǐ xǐ huān yī gè chéng， bù zài yú tā yòu qī zhǒng huò qī shí zhǒng qí jǐng， zhǐ zài yú tā duì nǐ de wèn tí suǒ tí shì de dá 'àn。 huò zhě zài yú tā pò nǐ huí dá de wèn tí， xiàng dǐ bǐ sī tōng guò sī fēn kè sī zhī kǒu tí wèn yī yàng ..”
dú dào zhè lǐ wǒ cái huǎng rán dà wù， yuán lái mǎ kě xīn zhōng de chéng shì yǔ wǒ men suǒ lǐ jiě de“ chéng shì” bìng fēi shì wǒ men zì yǐ wéi shì， yǐ wén míng zì jū de nà xiē yóu zhǒng zhǒng gài niàn duī jī qǐ lái de shēng cún dān wèi。
chéng rán， kǎ 'ěr wéi nuò qí tā de zuò zhě bù tóng。 tā zài zhěng piān wén zhāng lǐ sī háo méi yòu duì“ shénme shì chéng shì” zuò chū yī gè míng què de huí dá。 xiāng fǎn， tā zhǐ shì wǎng fǎn de chuān suō zài mǎ kě yǔ hū bì liè hàn de yòu guān chéng shì de duì huà zhī zhōng。 dāng wǒ yì shí dào zhè gè dì fāng de shí hòu， wǒ bù dé bù gǎn tàn zuò zhě gǎn xìng de sī wéi hé qiǎo miào de xiě zuò jì qiǎo。 shì de， kǎ 'ěr wéi nuò bù jǐn zài wén zhāng zhōng fēi cháng qiǎo miào de huí bì liǎo“ shénme shì chéng shì” zhè gè jí duān kū zào bìng bèi jǐ qiān nián rén lèi wén míng gài niàn huà liǎo de wèn tí。 tóng shí yě fèi jìn xīn jī de yòu dǎo dú zhě duì qí gù yòu de duì chéng shì de rèn shí dài zhe huái yí qù jìn xíng shěn shì。 yú shì， zài yuè dú gāi shū de shí hòu， wǒ jìn bù zhù qù xiǎng， zuò zhě de huí bì shì fǒu huái yòu mǒu zhǒng mùdì。 rú guǒ zhēn yòu yòu mùdì de huà， zài wǒ kàn lái， nà wú fēi shì wèile qiáng diào rén zuò wéi dú lì de gè tǐ suǒ yīngdāng jù tǐ de， ér bù shì bèi wǒ men shēng huó zhú jiàn mó miè de gè tǐ zhù yàn。
wèile bì miǎn yōng sú de qù xiàng dú zhě duì chéng shì jìn xíng kū zào fá wèi， cháng piān dà diào de miáo shù， zài běn shū zhōng， zuò zhě jí lì de qù bì miǎn nà xiē yǐ jīng shù jù huà liǎo de zhǒng zhǒng chéng shì de biāo zhǔn。 zài mǒu zhǒng chéng dù shàng， tā shèn zhì huí bì liǎo nà xiē bāo kuò tā zì yòu de duì chéng shì de rèn shí… zài miàn duì yú nà xiē kě néng duì dú zhě chéng shì de rèn shí chǎn shēng huái yí de yī qiē gài niàn huà liǎo de dōng xī， rú chéng shì de rén kǒu xìng zhì， rén kǒu mì dù huò dì yù tè zhēng děng zhǒng zhǒng， kǎ 'ěr wéi nuò dū jí lì de qù bì miǎn。 kě néng zuò zhě wéi yòu tǎn rán de tōng guò mǎ kě de kǒu duì chéng shì jìn xíng chōng mǎn liǎo huàn xiǎng hèshī yì de miáo shù， qù gào sù dú zhě tā yǎn lǐ chéng shì shì shénme，（ chéng shì shì zài yù wàng hé kǒng jù zhōng fēng kuáng shēngzhǎng de mèng） zuò zhě cái néng shǐ dú zhě zài yuè dú shí jī fā nián yòu shí duì shēn biān shì wù de hàoqí bā。 yě xǔ wéi yòu zhè yàng， cái néng zài dù de qù yòu fā wǒ men de nà xiē zài rén lèi chéng cháng zhōng， nà xiē suí zhe nián líng， zǎo yǐ bèi shēng huó cán jí liǎo de chuàng zào xìng de sī suǒ bā。 huàn jù huà lái shuō， kě néng zhè zhèng shì cǐ kè wǒ wèishénme wǒ xiě zhè piān dú shū bǐ jì de yuán yīn。
rán 'ér wèn tí què yuǎn yuǎn bù zhǐ zhè xiē。 zài zuò zhě yǎn lǐ，“ chéng shì” jì shì mèng jìng， dàn què yòu zhēn zhēn zhèng zhèng de cún zài。 zài mǎ kě de kǒu lǐ， zuǒ bèi dé shì zhēn shí de“ mǎn pī yuè sè de bái sè chéng shì， tā de jiē dào jiū chán dé xiàng yī tuán máo xiàn。” dàn tā què jiàn lì zài yī qún nán zǐ dài zhe tā men duì yī wèi mèng zhōng pī zhe cháng tóu fā， luǒ zhe shēn tǐ bēn páo de nǚ zǐ de gòng tóng de xiàng wǎng…… wǎ 'ěr dé lā dá shì zhēn shí de“ gǔ rén zài hú pàn jiàn lì qǐ lái de， yòu yáng tái de fáng zǐ céng céng chóngdié， gāo chù de jiē dào zài lín hú de yī biān yòu tiě lán wéi zhe hù qiáng。” dàn tā què yǔ zì jǐ de húpō zhōng de dàoyǐng xiāng hùn xiáo， ràng suǒ yòu“ chéng lǐ” de kuài lè hé kǒng jù bù duàn de chóngfù。“
yù wàng hé kǒng jù dōushì wú fǎ yòng gài niàn hé shí wù jìn xíng jīng què dìng yì， dàn yòu shí shí zài zài de cún zài。 kǎ 'ěr wéi nuò yǎn lǐ de chéng shì yě shì rú cǐ。
rú tóng chéng shì de zhēn shí cún zài yī yàng， kǎ 'ěr wéi nuò xiàng dú zhě zhǎn shì de bìng fēi shì yì shí zhōng chéng shì de xū huàn。 zài kǎ 'ěr wéi nuò de bǐ xià， chéng shì shì jì yòu de， cún zài de， dàn yòu wú fǎ qù xià dìng yì de。 yú shì zuò zhě bù dàn huí bì liǎo qù wéi“ shénme shì chéng shì” xià dìng yì， tóng shí zuò zhě yě 'àn shì liǎo rén zuò wéi dú lì de gè tǐ zài rèn zhī shàng de tǒng yī hé bù tǒng yī。
tǒng yī de， shì rén duì měi hǎo shì wù xiàng wǎng de yī zhì xìng。 zài mǎ kě duì zuǒ bèi dé jiàn lì suǒ jìn xíng de miáo shù wǒ men kě yǐ kàn dào zhè zhǒng tǒng yī。 rèn zhī shàng de bù tǒng yī， zuò zhě zài wén zhōng zé tōng guò miáo xiě hū bì liè hàn yǔ mǎ kě bō luó duì chéng shì de bù tóng rèn zhī lái biǎo xiàn chū lái。 shì de， tōng guò 'èr rén de duì huà， wǒ men bù nán kàn chū， zhè zhǒng bù tóng xìng bù jǐn jǐn zài yú gǎn zhī yǔ jīng yàn de chā yì， tóng shí yě zài yú hū bì liè hàn yǔ mǎ kě bō luó de zhù tǐ de bù tóng tè xìng。 duì yú mǎ kě lái shuō， tā shì yī gè fù yòu zhǒng zhǒng rén shēng jīng yàn de lǚ xíng zhě， ér hū bì liè hàn， zé shì yī lái zì cǎo yuán de rù qīn shèng lì zhě。 yú shì wǒ jìn bù zhù qù dà dǎn de cāi xiǎng tā men duì chéng shì de bù tóng lǐ jiě lái yuán yú tán huà zhù tǐ de bù tóng de shēn fèn tè zhēng。 yě xǔ yuǎn yuǎn bù zhǐ shēn fèn de bù tóng， cǐ wài zhū rú wén huà chā yì jiào yù chéng dù děng děng de bù tóng kě néng yě shì chǎn shēng bù tóng rèn shí de yuán yīn。
……
zài tǐ huì dào shàng shù de yī xiē gǎn shòu hòu， wǒ zhōng yú zhī dào liǎo wǒ xīn dǐ de“ chéng shì…” nà gè“ chéng shì” yòu zhe xiān huā hé dà shà； yòu má mù shēng cún de xíng shī hé jīng lì chōng pèi de shī rén； yòu háotáo dà kū hé yòu huān gē xiào yǔ； tài yáng làxià hòu， bù jiàn yuè liàng què yòu ní hóng dēng chè yè tōng liàng…
yě xǔ zhè xiē bìng fēi shì zhēn zhèng de chéng shì， zhǐ shì wǒ de mèng jìng bà liǎo。 huò xǔ nǐ yě xū yào jìn yī bù de qù xún zhèng―― rú hū bì liè hàn xiàng mǎ kě xún zhèng yī yàng――
“ ' qù bà， qù sōu suǒ suǒ yòu de hǎi 'àn， zhǎo chū zhè gè chéng， ’ kèhán duì mǎ kě shuō，’ rán hòu huí lái gào sù wǒ， wǒ de mèng shì bù shì fú hé xiàn shí。’”
dàn wǒ xiǎng wǒ men zhī dào－－ wǒ men bù néng qù zhǐ wàng rèn hé rén－－ bù néng qù zhǐ wàng mǎ kě， bù néng qù zhǐ wàng hū bì liè hàn， bù néng qù wàng kǎ 'ěr wéi nuò ... yīn wéi wéi yòu tōng guò wǒ men zì jǐ de xún zhǎo， wǒ men cái huì duì tā zhēn zhèng de liǎo jiě―― rú mǎ kě suǒ huí dá de nà yàng――
“ ‘ qǐng yuán liàng， hàn wáng， huò zǎo huò chí， yòu yī tiān wǒ zǒng huì cóng nà gè mǎ tóu kāi háng de，’ mǎ kě shuō，‘ dàn shì wǒ bù huì huí lái gào sù nǐ。 nà chéng què shí cún zài， ér tā yòu yī gè jiǎn dān de mì mì： tā zhǐ zhī dào chū fā， bù zhī dào huí háng。”
nà me， jiù ràng wǒ men huī bié suǒ zài de zhè gè " chéng shì， " lì jí chū háng。
Description
The book explores imagination and the imaginable through the descriptions of cities by an explorer, Marco Polo. The book is framed as a conversation between the aging and busy emperor Kublai Khan, who constantly has merchants coming to describe the state of his expanding and vast empire, and Polo. The majority of the book consists of brief prose poems describing 55 cities, apparently narrated by Polo. Short dialogues between the two characters are interspersed every five to ten cities and are used to discuss various ideas presented by the cities on a wide range of topics including linguistics and human nature. The book structured around an interlocking pattern of numbered sections, while the length of each section's title graphically outlines a continuously oscillating sine wave, or perhaps a city skyline. The interludes between Khan and Polo are no less poetically constructed than the cities, and form a framing device, a story with a story, that plays with the natural complexity of language and stories.
Marco Polo and Kublai Khan do not speak the same language. When Polo is explaining the various cities, he uses objects from the city to tell the story. The implication is that that each character understands the other through their own interpretation of what they are saying. They literally are not speaking the same language, which leaves many decisions for the individual reader.
The book, because of its approach to the imaginative potentialities of cities, has been used by architects and artists to visualize how cities can be[1], their secret folds, where the human imagination is not necessarily limited by the laws of physics or the limitations of modern urban theory. It offers an alternative approach to thinking about cities, how they are formed and how they function.
The book was nominated for the Nebula Award for Best Novel in 1975.
The Travels of Marco Polo, Polo's travel diaries depicting his journeys through the Mongol Empire which were written in the 13th century, share with Invisible Cities the brief, often fantastic accounts of the cities Polo visits, accompanied by descriptions of the city's inhabitants, notable imports and exports, and whatever interesting tales Polo had heard about the region.
xià miàn yòng kǎ 'ěr wéi nuò 1983 nián 3 yuè 29 rì zài niǔ yuē gē lún bǐ yà dà xué xiě zuò shuò shì bān de yī cì jiǎng zuò zhōng de wén zì， lái jiè shào“ ào sī kǎ” cóng shū zhōng de zhè gè xīn bǎn。 jiǎng zuò yuán wéi yīng wén， zhè lǐ yòng de shì yì dà lì wén běn， tā shì yǐ 1972 dào 1973 nián de liǎng cì fǎng tán wéi jī chǔ de， bìng qiě dà bù fēn zài yì dà lì méi yòu fā biǎo guò。
zài《 kàn bù jiàn de chéng shì》 lǐ rén men zhǎo bù dào néng rèn dé chū de chéng shì。 suǒ yòu de chéng shì dōushì xū gòu de ; wǒ gěi tā men měi yī gèdōu qǐ liǎo yī gè nǚ rén de míng zì。 zhè běn shū shì yóu yī xiē duǎn xiǎo de zhāng jié gòu chéng de， měi gè zhāng jié dū yìng tí gōng jī huì， ràng wǒ men duì mǒu gè chéng shì huò fàn zhǐ yì yì shàng de chéng shì jìn xíng fǎn sī。
zuò zhě jiǎn jiè ······
yī tǎ luò · kǎ 'ěr wéi nuò jiè shào：
guān yú shēng píng · kǎ 'ěr wéi nuò xiě dào：“ wǒ réng rán shǔ yú hé kè luó qí yī yàng de rén， rèn wéi yī gè zuò zhě， zhǐ yòu zuò pǐn yòu jià zhí。 yīn cǐ wǒ bù tí gōng zhuànjì zī liào。 wǒ huì gào sù nǐ nǐ xiǎng zhī dào de dōng xī dàn wǒ cóng lái bù huì gào sù nǐ zhēn shí。”
shēng yú gǔ bā， 1985 nián 9 yuè 1913 zài bīn hǎi bié shù cù rán lí shì， ér yǔ dāng nián de nuò bèi 'ěr wén xué jiǎng shī zhī jiāo bì。
fù mǔ dōushì rè dài zhí wù xué jiā，“ wǒ de jiā tíng zhōng zhǐ yòu kē xué yán jiū shì shòu zūn zhòng de。 wǒ shì bài lèi， shì jiā lǐ wéi yī cóng shì wén xué de rén。”
shàonián shí guāng lǐ xiě mǎn shū běn、 màn huà、 diàn yǐng。 tā mèng xiǎng chéng wéi xì jù jiā gāo zhōng bì yè hòu què jìn rù dà xué nóng yì xì， suí hòu cóng wén xué yuàn bì yè。
1947 nián chū bǎn tā de dì yī bù xiǎo shuō《 tōng xiàng zhī zhū cháo de xiǎo jìng》， cóng cǐ zhì lì yú kāi fā xiǎo shuō xù shù yì shù de wú xiàn kě néng。
céng yǐn jū bā lí 15 nián， yǔ liè wéi · sī tè láo sī、 luó lán · bā tè、 gé nuò děng rén jiāo wǎng mìqiè。
1985 nián xià tiān zhǔn bèi hā fó jiǎng xué shí huàn bìng。 zhù dāo yī shēng biǎo shì zì jǐ wèi céng jiàn guò rèn hé dà nǎo gòu zào xiàng kǎ 'ěr wéi nuò de nà bān fù zá jīng zhì。
wèi dú“ kàn bù jiàn de chéng shì” qián， wǒ duì kǎ 'ěr wéi nuò cǐ rén háo wú suǒ zhī。 yuè dú“ kàn bù jiàn de chéng shì” yī shū shí， zài dú wán tā jiù“ chéng shì” suǒ jìn xíng de yī xì liè“ gài niàn” sī kǎo hòu， wǒ bào zhe duì tā qīng kuài mí huàn de jù zǐ hé shēn suì de sī xiǎng de jīng tàn， duì tā běn rén chǎn shēng liǎo nóng hòu de xīng qù。 zài wǎng shàng yī chá， cái fā xiàn tā běn rén shì yī wèi xiān shī gē， xì jù hé yù yán， ér hòu xiǎo shuō jìn xíng xiě zuò， gǔ bā chū shēng， yì dà lì chéngzhǎng， zài quán shì jiè xiǎng yòu jí gāo shēng yù de dāng dài zuò jiā。
“ yīng xióng bù wèn chū chù。” chéng rú gǔ yǔ suǒ shuō。 jìn guǎn duì tā“ kàn bù jiàn de chéng shì” yī shū suǒ huái de wú xiàn hǎo gǎn， dàn yě xǔ wǒ běn bù bì jiù cǐ jūn de chū chù qù xún gēn wèn dǐ。 wàng jì shì wù de běn zhì， ér qù duì biǎo xiàng xún gēn wèn dǐ ―― zhè zhǒng mí huò běn shì wǒ bèi de quē xiàn， dàn bù zhī bù jué， wǒ què yòu fàn xià liǎo zhè gè cuò wù。 ér gèng wéi kě xiào de shì zuò zhě zài zhè běn“ kàn bù jiàn de chéng shì” yī shū zhōng， mǒu zhǒng yì yì shàng suǒ qī dài de， zhèng shì jié lì de qù ràng hū bì liè hàn huò zhě dú zhě， qù pāo kāi nà xiē ràng rén mí huò de yòu guān“ chéng shì” de zhǒng zhǒng biǎo xiàng， lái jiù“ chéng shì”―― zhè yī rì yì fù zá de huán jìng qù jìn xíng gǎn xìng de sī suǒ。
“ cún zài de jiù shì hé lǐ de，” wǒ bù yóu de xiǎng qǐ liǎo zhè jù yòu míng de zhé xué míng yán。 mí huò yú xiàn jīn bù dé bù qù miàn duì de shēng huó zhǒng zhǒng， hū lüè zhū rú“ wèishénme？”“ zěn me yàng？”“ jiǎ rú…” yī lèi de wèn tí， xiǎng bì yě shì hé lǐ de。 bù guò zhè zhǒng“ hé lǐ” suǒ zhēn zhèng shuō míng de， kě néng què shì wèishénme rén lèi de sī wéi néng lì wèi néng suí zhe shí dài de jìn bù 'ér yòu chuàng zào xìng de fā zhǎn de yuán gù bā。 wǒ bìng fēi fǎn duì kē jì。 wǒ chéng rèn kē jì de fā zhǎn hé dāng jīn rén lèi de fēng fù wù zhì shēng huó yòu zhe mìqiè de lián xì。 yóu rú cǐ kè méi yòu diàn nǎo， méi yòu hù lián wǎng， wǒ jiāng bù néng zài duǎn duǎn de jǐ fēn zhōng lǐ huò dé yòu guān kǎ 'ěr wéi nuò qí rén de xìn xī。 dàn huí gù qiān nián lái rén lèi jiù shēng cún wèn tí suǒ jìn xíng de sī kǎo jìn chéng， wǒ kàn dào gèng duō de què shì kē jì fā zhǎn suǒ dài lái de， bù jǐn jǐn shì nà xiē ràng rén lèi máng mùdì qù yǐ lài kē xué， jī xiè huà de sī kǎo hé shēng cún fāng shì， tóng shí yě shì zuì zì rán， zuì yuán shǐ de nà xiē yòu guān měi lì hé huàn xiǎng de sī wéi de zhú jiàn tuì huà。
yě xǔ nǐ tóng wǒ yī yàng， hěn zǎo yǐ qián jiù yǐ wú shù cì de wèn guò zì jǐ nà xiē“ wǒ shì shuí？”“ nǐ shì shuí？” yī lèi de wèn tí。 nà me nǐ yòu xiǎng guò nǐ shēng huó de huán jìng jiū jìng shì shénme má？ nà xiē nǐ suǒ shēng huó de huò rén men zài yán tán zhōng zǒng shì tòu lù chū wú xiàn xiàng wǎng de“ chéng shì” guī gēn dào dǐ shì shénme ní？
“ chéng shì yóu rú mèng jìng： fán kě yǐ xiǎng xiàng de dōng xī dōukě yǐ mèng jiàn， dàn shì， jí shǐ zuì lí qí de mèng jìng yě shì yī fú mí huà， qí zhōng yǐn cáng zhe yù wàng， huò zhe yǐn cáng zhe fǎn miàn de kǒng jù， xiàng mèng yī yàng。” zhè biàn shì mǎ kě huò zhě shuō zuò zhě kǎ 'ěr wéi nuò běn rén duì“ chéng shì” de lǐ jiě。
zài wèi dú běn shū qián， rú tóng dà duō shù xiàn dài rén yī yàng， wǒ duì chéng shì zhè gè gài niàn cóng wèi rèn zhēn de qù xiǎng guò。 huí gù wǒ rén shēng zhè duǎn duǎn de shù shí nián， fǎng fó zǒng shì yǒng wú pí bèi de dài zhe xíng lǐ， cóng yī gè chéng shì qiān xǐ dào lìng yī gè chéng shì， rán hòu zài cóng nà gè chéng shì qiān xǐ dào lìng wài yī gè chéng shì。 wú lùn zhè xún huán de hòu niǎo shì de bān qiān jiū jìng yòu duō shǎo cì， què zǒng shì xǐ jù shì de yǐ tóng yàng yī gè jié jú 'ér gào zhōng―― dài zhe pí bèi hé shēng xiù de sī xiǎng yī cì yòu yī cì de bèi mèng xiǎng pāo qì bìng zhōng jié zài mǒu gè chéng shì lǐ de fáng jiān lǐ。
zài mǎ kě huò zhě kǎ 'ěr wéi nuò yǎn lǐ，“ chéng shì yóu rú mèng jìng。” zhè shì duì wǒ men suǒ zhì shēn de huán jìng jìn xíng de duō me jù yòu shī yì de miáo shù 'ā。 dàn rén réndōu zhī dào， wú lùn mèng jìng duō me de měi miào， mèng jìng bì jìng zhǐ shì mèng jìng―― jì fēi zhēn shí， yě yǒng yuǎn dōubù huì biàn wéi zhēn shí。 nà me shuō dào dǐ， zài mǎ kě huò kǎ 'ěr wéi nuò yǎn lǐ， wǒ men suǒ tán lùn， suǒ shēng huó zhe de“ chéng shì，” nán dào dū bìng fēi shì zhēn shí de má？ ... miàn duì kǎ 'ěr wéi nuò de zhè běn shū， zhè xiē cóng wèi sī kǎo guò de wèn tí měng rú dāng tóu bàng hē yī bān， ràng wǒ tǐ huì dào liǎo wǒ de shēng huó de má bì。
huò xǔ yuǎn yuǎn bù zhǐ zhè xiē… .. shì de， shénme chéng shì？ chéng shì de běn zhì shì shénme？ wèishénme shì chéng shì？ zhè gè chéng shì hé nà gè chéng shì shì fǒu yòu bù tóng zhī chù？ nǐ yǎn zhōng de chéng shì hé wǒ liǎo jiě de chéng shì shì yī yàng de má？ zhè wú shù běn yìng hěn zǎo jiù qù sī kǎo de wèn tí， rán 'ér què jiù zài zhè wǒ men niǎn zhuǎn de láolèi de shēng huó zhōng， shī qù liǎo yìng dé dào de sī kǎo jià zhí。 zuò wéi shēng huó zài zhè gè gāo dù chéng shì huà de shí dài de jù yòu xiàn dài shǔ xìng de wǒ men， háo wú yí wèn de shuō， kǎ 'ěr wéi nuò bù jǐn jǐn gěi wǒ dài lái yī xiē bù gāi hū lüè de sī kǎo， tóng shí yě ràng wǒ duì shēng huó de má mù gǎn dào xiū kuì。
“ chéng shì yóu rú mèng jìng。” cǐ shuō fǎ sì hū biǎo míng liǎo“ chéng shì” bù shì zhēn shí de。 nà me wǒ men xiàn zài tán lùn shēng cún zhe de zhè gè bèi chēng zhī wéi“ chéng shì” de dōng xī jiū jìng shì shénme ní？ shì rén men zài piào fú zhe de jù dà hǎi guī bèi shàng suǒ jiàn zào de jiā yuán？ hái shì wǒ men zài jù rén kǒu zhōng duō nián jīng yíng de chǎng suǒ？ zài fán máng má bì de chéngzhǎng guò chéng zhōng， wǒ zài cì de miàn duì liǎo nà xiē zì hái tóng shí dài jiù huái yòu de duì shēn biān shì jiè de yí wèn hé hǎo qí。 yú shì， zài kāi piān dú dào hū bì liè hàn zài duì líng tīng mǎ kě duì qí jīng lì guò de bù tóng chéng shì jìn xíng miáo shù shí， tā bù jīng yì de jiǎn yào de yǐ zì jǐ de jīng yàn jiāng qí tǒng tǒng de gài kuò chéng“ lèi” de shí hòu， wǒ néng shēn kè de tǐ huì hū bì liè hàn nèi xīn shēn chù de suǒ gǎn dào de yàn juàn。
“ hū bì liè hàn yǐ jīng liú yì dào， mǎ kě bō luó de chéng shì chàbù duō dōushì yī gè múyàng de， fǎng fó zhǐ yào gǎi biàn yī xià zǔ hé de yuán sù jiù kě yǐ cóng yī gè chéng zhuǎn yí dào lìng yī gè chéng， bù bì dòng shēn lǚ xíng。”
yǔ hū bì liè hàn de duì“ chéng shì” de gāo dù gài niàn huà de nóng suō sī wéi xiāng bǐ， shì mǎ kě huò kǎ 'ěr wéi nuò méi yòu rèn shí dào zhè xiē chéng shì de xiāng tóng， suǒ yǐ cái huì bù fán qí yàn jí lì de qù jìn xíng miáo shù ní？ hái shì zhè xiē chéng shì zài mǎ kě huò kǎ 'ěr wéi nuò de yǎn lǐ jìn guǎn yòu zhe xiāng tóng zhī chù dàn què zài běn zhì shàng què shì bù tóng de ní？ huò zhě shuō， shì mǎ kě huò kǎ 'ěr wéi nuò yǐ jīng chāo tuō liǎo shēng huó de zhì gù， cóng 'ér néng jìn yī bù de qù zhì wèn shēng huó de huán jìng？ wǒ dài zhe yí wèn jì xù wǎng xià dú bìng zhǎo dào liǎo dá 'àn。
“ chéng shì yě yóu yù wàng hé kǒng jù zào chéng。 jìn guǎn 'èr zhě zhī jiān zhǐ yòu mì mì de jiāo liú、 huāng miù de guī lǜ hé xū jiǎ de bǐ lì， jìn guǎn měi zhǒng shì wù yǐn cáng zhe lìng yī zhǒng shì wù… chéng shì yě rèn wéi zì jǐ shì xīn sī hé jī yuán de zào wù， kě shì liǎng zhě dū zhī bù qǐ chéng qiáng。 nǐ xǐ huān yī gè chéng， bù zài yú tā yòu qī zhǒng huò qī shí zhǒng qí jǐng， zhǐ zài yú tā duì nǐ de wèn tí suǒ tí shì de dá 'àn。 huò zhě zài yú tā pò nǐ huí dá de wèn tí， xiàng dǐ bǐ sī tōng guò sī fēn kè sī zhī kǒu tí wèn yī yàng ..”
dú dào zhè lǐ wǒ cái huǎng rán dà wù， yuán lái mǎ kě xīn zhōng de chéng shì yǔ wǒ men suǒ lǐ jiě de“ chéng shì” bìng fēi shì wǒ men zì yǐ wéi shì， yǐ wén míng zì jū de nà xiē yóu zhǒng zhǒng gài niàn duī jī qǐ lái de shēng cún dān wèi。
chéng rán， kǎ 'ěr wéi nuò qí tā de zuò zhě bù tóng。 tā zài zhěng piān wén zhāng lǐ sī háo méi yòu duì“ shénme shì chéng shì” zuò chū yī gè míng què de huí dá。 xiāng fǎn， tā zhǐ shì wǎng fǎn de chuān suō zài mǎ kě yǔ hū bì liè hàn de yòu guān chéng shì de duì huà zhī zhōng。 dāng wǒ yì shí dào zhè gè dì fāng de shí hòu， wǒ bù dé bù gǎn tàn zuò zhě gǎn xìng de sī wéi hé qiǎo miào de xiě zuò jì qiǎo。 shì de， kǎ 'ěr wéi nuò bù jǐn zài wén zhāng zhōng fēi cháng qiǎo miào de huí bì liǎo“ shénme shì chéng shì” zhè gè jí duān kū zào bìng bèi jǐ qiān nián rén lèi wén míng gài niàn huà liǎo de wèn tí。 tóng shí yě fèi jìn xīn jī de yòu dǎo dú zhě duì qí gù yòu de duì chéng shì de rèn shí dài zhe huái yí qù jìn xíng shěn shì。 yú shì， zài yuè dú gāi shū de shí hòu， wǒ jìn bù zhù qù xiǎng， zuò zhě de huí bì shì fǒu huái yòu mǒu zhǒng mùdì。 rú guǒ zhēn yòu yòu mùdì de huà， zài wǒ kàn lái， nà wú fēi shì wèile qiáng diào rén zuò wéi dú lì de gè tǐ suǒ yīngdāng jù tǐ de， ér bù shì bèi wǒ men shēng huó zhú jiàn mó miè de gè tǐ zhù yàn。
wèile bì miǎn yōng sú de qù xiàng dú zhě duì chéng shì jìn xíng kū zào fá wèi， cháng piān dà diào de miáo shù， zài běn shū zhōng， zuò zhě jí lì de qù bì miǎn nà xiē yǐ jīng shù jù huà liǎo de zhǒng zhǒng chéng shì de biāo zhǔn。 zài mǒu zhǒng chéng dù shàng， tā shèn zhì huí bì liǎo nà xiē bāo kuò tā zì yòu de duì chéng shì de rèn shí… zài miàn duì yú nà xiē kě néng duì dú zhě chéng shì de rèn shí chǎn shēng huái yí de yī qiē gài niàn huà liǎo de dōng xī， rú chéng shì de rén kǒu xìng zhì， rén kǒu mì dù huò dì yù tè zhēng děng zhǒng zhǒng， kǎ 'ěr wéi nuò dū jí lì de qù bì miǎn。 kě néng zuò zhě wéi yòu tǎn rán de tōng guò mǎ kě de kǒu duì chéng shì jìn xíng chōng mǎn liǎo huàn xiǎng hèshī yì de miáo shù， qù gào sù dú zhě tā yǎn lǐ chéng shì shì shénme，（ chéng shì shì zài yù wàng hé kǒng jù zhōng fēng kuáng shēngzhǎng de mèng） zuò zhě cái néng shǐ dú zhě zài yuè dú shí jī fā nián yòu shí duì shēn biān shì wù de hàoqí bā。 yě xǔ wéi yòu zhè yàng， cái néng zài dù de qù yòu fā wǒ men de nà xiē zài rén lèi chéng cháng zhōng， nà xiē suí zhe nián líng， zǎo yǐ bèi shēng huó cán jí liǎo de chuàng zào xìng de sī suǒ bā。 huàn jù huà lái shuō， kě néng zhè zhèng shì cǐ kè wǒ wèishénme wǒ xiě zhè piān dú shū bǐ jì de yuán yīn。
rán 'ér wèn tí què yuǎn yuǎn bù zhǐ zhè xiē。 zài zuò zhě yǎn lǐ，“ chéng shì” jì shì mèng jìng， dàn què yòu zhēn zhēn zhèng zhèng de cún zài。 zài mǎ kě de kǒu lǐ， zuǒ bèi dé shì zhēn shí de“ mǎn pī yuè sè de bái sè chéng shì， tā de jiē dào jiū chán dé xiàng yī tuán máo xiàn。” dàn tā què jiàn lì zài yī qún nán zǐ dài zhe tā men duì yī wèi mèng zhōng pī zhe cháng tóu fā， luǒ zhe shēn tǐ bēn páo de nǚ zǐ de gòng tóng de xiàng wǎng…… wǎ 'ěr dé lā dá shì zhēn shí de“ gǔ rén zài hú pàn jiàn lì qǐ lái de， yòu yáng tái de fáng zǐ céng céng chóngdié， gāo chù de jiē dào zài lín hú de yī biān yòu tiě lán wéi zhe hù qiáng。” dàn tā què yǔ zì jǐ de húpō zhōng de dàoyǐng xiāng hùn xiáo， ràng suǒ yòu“ chéng lǐ” de kuài lè hé kǒng jù bù duàn de chóngfù。“
yù wàng hé kǒng jù dōushì wú fǎ yòng gài niàn hé shí wù jìn xíng jīng què dìng yì， dàn yòu shí shí zài zài de cún zài。 kǎ 'ěr wéi nuò yǎn lǐ de chéng shì yě shì rú cǐ。
rú tóng chéng shì de zhēn shí cún zài yī yàng， kǎ 'ěr wéi nuò xiàng dú zhě zhǎn shì de bìng fēi shì yì shí zhōng chéng shì de xū huàn。 zài kǎ 'ěr wéi nuò de bǐ xià， chéng shì shì jì yòu de， cún zài de， dàn yòu wú fǎ qù xià dìng yì de。 yú shì zuò zhě bù dàn huí bì liǎo qù wéi“ shénme shì chéng shì” xià dìng yì， tóng shí zuò zhě yě 'àn shì liǎo rén zuò wéi dú lì de gè tǐ zài rèn zhī shàng de tǒng yī hé bù tǒng yī。
tǒng yī de， shì rén duì měi hǎo shì wù xiàng wǎng de yī zhì xìng。 zài mǎ kě duì zuǒ bèi dé jiàn lì suǒ jìn xíng de miáo shù wǒ men kě yǐ kàn dào zhè zhǒng tǒng yī。 rèn zhī shàng de bù tǒng yī， zuò zhě zài wén zhōng zé tōng guò miáo xiě hū bì liè hàn yǔ mǎ kě bō luó duì chéng shì de bù tóng rèn zhī lái biǎo xiàn chū lái。 shì de， tōng guò 'èr rén de duì huà， wǒ men bù nán kàn chū， zhè zhǒng bù tóng xìng bù jǐn jǐn zài yú gǎn zhī yǔ jīng yàn de chā yì， tóng shí yě zài yú hū bì liè hàn yǔ mǎ kě bō luó de zhù tǐ de bù tóng tè xìng。 duì yú mǎ kě lái shuō， tā shì yī gè fù yòu zhǒng zhǒng rén shēng jīng yàn de lǚ xíng zhě， ér hū bì liè hàn， zé shì yī lái zì cǎo yuán de rù qīn shèng lì zhě。 yú shì wǒ jìn bù zhù qù dà dǎn de cāi xiǎng tā men duì chéng shì de bù tóng lǐ jiě lái yuán yú tán huà zhù tǐ de bù tóng de shēn fèn tè zhēng。 yě xǔ yuǎn yuǎn bù zhǐ shēn fèn de bù tóng， cǐ wài zhū rú wén huà chā yì jiào yù chéng dù děng děng de bù tóng kě néng yě shì chǎn shēng bù tóng rèn shí de yuán yīn。
……
zài tǐ huì dào shàng shù de yī xiē gǎn shòu hòu， wǒ zhōng yú zhī dào liǎo wǒ xīn dǐ de“ chéng shì…” nà gè“ chéng shì” yòu zhe xiān huā hé dà shà； yòu má mù shēng cún de xíng shī hé jīng lì chōng pèi de shī rén； yòu háotáo dà kū hé yòu huān gē xiào yǔ； tài yáng làxià hòu， bù jiàn yuè liàng què yòu ní hóng dēng chè yè tōng liàng…
yě xǔ zhè xiē bìng fēi shì zhēn zhèng de chéng shì， zhǐ shì wǒ de mèng jìng bà liǎo。 huò xǔ nǐ yě xū yào jìn yī bù de qù xún zhèng―― rú hū bì liè hàn xiàng mǎ kě xún zhèng yī yàng――
“ ' qù bà， qù sōu suǒ suǒ yòu de hǎi 'àn， zhǎo chū zhè gè chéng， ’ kèhán duì mǎ kě shuō，’ rán hòu huí lái gào sù wǒ， wǒ de mèng shì bù shì fú hé xiàn shí。’”
dàn wǒ xiǎng wǒ men zhī dào－－ wǒ men bù néng qù zhǐ wàng rèn hé rén－－ bù néng qù zhǐ wàng mǎ kě， bù néng qù zhǐ wàng hū bì liè hàn， bù néng qù wàng kǎ 'ěr wéi nuò ... yīn wéi wéi yòu tōng guò wǒ men zì jǐ de xún zhǎo， wǒ men cái huì duì tā zhēn zhèng de liǎo jiě―― rú mǎ kě suǒ huí dá de nà yàng――
“ ‘ qǐng yuán liàng， hàn wáng， huò zǎo huò chí， yòu yī tiān wǒ zǒng huì cóng nà gè mǎ tóu kāi háng de，’ mǎ kě shuō，‘ dàn shì wǒ bù huì huí lái gào sù nǐ。 nà chéng què shí cún zài， ér tā yòu yī gè jiǎn dān de mì mì： tā zhǐ zhī dào chū fā， bù zhī dào huí háng。”
nà me， jiù ràng wǒ men huī bié suǒ zài de zhè gè " chéng shì， " lì jí chū háng。
Description
The book explores imagination and the imaginable through the descriptions of cities by an explorer, Marco Polo. The book is framed as a conversation between the aging and busy emperor Kublai Khan, who constantly has merchants coming to describe the state of his expanding and vast empire, and Polo. The majority of the book consists of brief prose poems describing 55 cities, apparently narrated by Polo. Short dialogues between the two characters are interspersed every five to ten cities and are used to discuss various ideas presented by the cities on a wide range of topics including linguistics and human nature. The book structured around an interlocking pattern of numbered sections, while the length of each section's title graphically outlines a continuously oscillating sine wave, or perhaps a city skyline. The interludes between Khan and Polo are no less poetically constructed than the cities, and form a framing device, a story with a story, that plays with the natural complexity of language and stories.
Marco Polo and Kublai Khan do not speak the same language. When Polo is explaining the various cities, he uses objects from the city to tell the story. The implication is that that each character understands the other through their own interpretation of what they are saying. They literally are not speaking the same language, which leaves many decisions for the individual reader.
The book, because of its approach to the imaginative potentialities of cities, has been used by architects and artists to visualize how cities can be[1], their secret folds, where the human imagination is not necessarily limited by the laws of physics or the limitations of modern urban theory. It offers an alternative approach to thinking about cities, how they are formed and how they function.
The book was nominated for the Nebula Award for Best Novel in 1975.
The Travels of Marco Polo, Polo's travel diaries depicting his journeys through the Mongol Empire which were written in the 13th century, share with Invisible Cities the brief, often fantastic accounts of the cities Polo visits, accompanied by descriptions of the city's inhabitants, notable imports and exports, and whatever interesting tales Polo had heard about the region.
zài《 tōng wǎng zhī zhū cháo de xiǎo lù》 zhōng， kǎ 'ěr wéi nuò shǒu xiān xuǎn zé liǎo yī gè hái zǐ de shì jiǎo， jiāng rén wù de fènliàng xiān jiǎn qīng， shàonián pí 'ēn yòu zhe hái zǐ de hàoqí hé tiān zhēn， yě yīn wéi hùn jì yú dǐ céng de xiǎo jiǔ guǎn sì dǒng fēi dǒng dì liǎo jiě yī xiē chéng rén shì jiè， bàn dà bù dǒng de xīn líng kě yǐ shǐ tā zài xiàn shí yǔ xiǎng xiàng zhī jiān zì yóu de chuān xíng， tā suǒ yòu xíng dòng de yuàn wàng zhǐ shì wèile néng zhǎo dào yī gè lǐ jiě tā tóng shí tā yě néng lǐ jiě de péng yǒu， kě yǐ hé tā yī qǐ qù kàn tā de zhī zhū cháo； tóng shí wèile fǎn kàng nà zhǒng dāng shí yì gòng de wén xué wéi zhèng zhì fú wù de“ zhǐ lìng wén xué”（ CommittedLiterature） zhōng de“ gé mìng làng màn zhù yì”， tā bǎ shū zhōng bié de yóu jī duì rén wù dū hái yuán chéng tā men de běn lái miàn mù， zhèng rú dì jiǔ zhāng zhōng tōng guò zhèng wěi jí mǔ zhī kǒu suǒ shuō de，“ dé lì tuō zhī duì： xiǎo tōu， xiàn bīng， jūn rén， hēi shì jiāo yì zhě， liú làng hàn。 zhè xiē rén zài yī qǐ chéng wéi shè huì de bì duān， zài niǔ qū zhōng zhēngzhá。 tā men méi yòu rèn hé dōng xī yào bǎo wèi， méi yòu rèn hé dōng xī yào gǎi biàn。…… tā men méi yòu rèn hé zǔ guó， bù lùn shì zhēn shí de hái shì yì zào chū lái de。 dàn shì， nǐ zhī dào tā men shēn shàng yòu yǒng qì， yě yòu nù qì。 tā men de shēng huó shòu dào sǔn hài， tā men de jiē dào yòu hēi yòu 'àn， tā men de jiā pò làn bù kān， tā men cóng xiǎo jiù xué huì wū yán huì yǔ， zǒng duì rén shǐ huài。 zhǐ yào yòu yī gè mò míng qí miào de yuán yīn， zhǐ yào zǒu cuò yī bù huò xīn xuè lái cháo， jiù huì shǐ tā men zǒu dào lìng wài yī fāng qù……”， dàn shì zài wēi jī shí kè de yī zhǒng rén lèi zì jiù yǔ hù zhù de chōng dòng shì tā men zǒu dào liǎo yī qǐ， shǐ tā men chéng wéi tuī dòng lì shǐ de dòng lì。 hái lì shǐ yǐ yī zhǒng běn lái de miàn mù， huò zhě shuō shì chāo yuè liǎo zhèng zhì xuān chuán huà yǔ díkǎ 'ěr wéi nuò yǎn xià de lì shǐ。 ràng nà xiē bèi xuān chuán gōng jù yānmò shēng yīn huómiàn kǒng zǒu dào liǎo qián tái lái。 jiē xià lái shì xiǎo shuō de chǎng jǐng hé dào jù， tā xuǎn zé de chǎng jǐng shì zì jǐ jì yì zhōng de gù xiāng， méi yòu dà zhàn zhēng chǎng jǐng de huī hóng， bì kāi liǎo fēng huǒ rán shāo de cūn zhuāng yuán yě， zhǐ shì lì gǔ lì yà yán hǎi xiǎo chéng de fēng jǐng， tā yě bì kāi liǎo hǎi tān， yē shù děng guān guāng jǐng zhì， ér shì cóng shèng léi mò jiù chéng de yōu 'àn gǒng mén kāi zhǎn， yī lù yán shēn dào sēn lín， jǐ hé xíng zhuàng de kāng nǎi xīn huā chuáng， pú táo yuán wéi qiáng de gǔ lǎo gān kū、 jǐ yù tuí pǐ de gǎn lǎn shù lín， tái cǎo màn màn de shān qiū luó jìng xī shù shōu yú bǐ xià。 gù shì zài zhè yàng yī zhǒng níng jìng gǔ pǔ de fēn wéi zhōng zhǎn kāi xiǎn dé bié yàng de jīng zhì， dàn què tǐ xiàn chū liǎo dì yù de tè zhēng， tóng shí zhè fèn fēng jǐng yě fù dān qǐ liǎo yī bù fēn de lì shǐ。 zhàn hòu，“ dāng shí de bié shù dōuyǐ jīng bèi zhēng shōu、 gǎi jiàn wéi jìn bì shì hé jiān yù…… kāng nǎi xīn de huā tián zǎo yǐ shì wú rén guǎn lǐ de fèi dì， wú fǎ héng yuè……”。 zài zhàn hòu yuè dú dào zhè yàng de fēng jǐng， měi gè rén dū huì yóu rán 'ér shēng yī zhǒng zhàn zhēng chuāngshāng de huí yì。 xiǎo shuō de dào jù shì bǎ shǒu qiāng， shì pí 'ēn tōu de， cóng tā zuò jì nǚ de jiě jiě jiē dài de dé guó jūn guān nà lǐ， mùdì zhǐ shì xiǎng róng rù chéng rén de shì jiè， yīn wéi jiǔ bā lǐ chéng rén men zhèng zài yì lùn zǔ jiàn yóu jī duì， dà rén men wán xiào dì yòng yōng yòu yī bǎ qiāng zuò wéi jiā rù tiáo jiàn lái cháo xiào pí 'ēn bìng qǐ tú bǎ tā pái chì zài chéng rén de shì jiè zhī wài。 shǒu qiāng zuò wéi wǔ qì， shì yī zhǒng bào lì de xiàng zhēng， dàn shì zài xiǎo shuō lǐ， kǎ 'ěr wéi nuò bǎ shǒu qiāng zuò wéi xiàn suǒ de tóng shí， yě jiǎn qīng liǎo tā de lì qì， pí 'ēn tōu dào shǒu qiāng zhī hòu bǎ tā cáng zài zì jǐ cháng qù wán de sēn lín zhōng hé biān de zhī zhū cháo zhōng， dàn shì tā què cóng lái méi yòu shǐ yòng guò tā， chú liǎo gāng tōu dào qiāng hòu zài zhī zhū cháo qián xīng fèn dì dǎ liǎo yī qiāng， jiēguǒ yǐn lái liǎo dé jūn de zhuī bǔ， duì yú tā 'ér yán“ wǔ qì” shì fēi cháng yáo yuǎn de dōng xī， tā zhǐ shì xiǎng jiè cǐ jìn rù chéng rén shì jiè， cóng 'ér bèi rèn kě。 duì yú kǎ 'ěr wéi nuò 'ér yán， xuǎn zé ná qǐ qiāng lái jìn rù zhàn zhēng yě shì zài méi yòu zhǔn bèi de qíng kuàng xià pò bù dé yǐ de xíng wéi。 zhī zhū cháo， zé shì pí 'ēn de jīng shén jiā yuán， shì tā xīn lǐ de mì mì suǒ zài， shì tā néng hé péng yǒu gòng tóng fēn xiǎng de shì jiè。 xiǎo shuō de qíng jié de shè zhì yě lā kāi liǎo yǔ zhàn zhēng de jù lí， fǎng fó zhǐ shì yī gè bù yuǎn zhī chù zhèng zài fā shēng zhàn zhēng de tóng huà shì jiè。 yīn wéi guò qù shì rú cǐ suī rán bìng bù yáo yuǎn， dàn shì lì shǐ de chén zhòng kě néng huì pò huài jì yì huò zhě xù shù de zhēn shí xìng， kǎ 'ěr wéi nuò zài《 yī cì zhàn dǒu de jì yì》（ MemoriesofaBattle） zhōng xiě dào：“ wǒ xiàn zài hài pà dāng jì yì bèi zǔ zhì qǐ lái hòu jiāng huì mǎ shàng shǐ zhī xiàn yú chū cuò wù de dǎo xiàng， shì bèi jiáo shì guò de， xiàng qīng nián yǔ zhàn zhēng zǒng shì shān qíng de nà yàng， lún wéi zài shí dài de fēng gé xià yī gè xù shì， zhǐ néng zhǎn xiàn wǒ men zì rèn wéi zhè jiù shì wǒ men kàn dào hé shuō de shì jiàn， ér bù shì zhēn zhèng de shì shí”。 suǒ yǐ zài qíng jié de shè zhì shàng， kǎ 'ěr wéi nuò yě jìn liàng jiǎn qīng tā de lì shǐ chén zhòng gǎn， ràng tā yóu lí zài lì shǐ jìn xíng shí de biān yuán。 pí 'ēn tōu dào qiāng zhī hòu jiǔ guǎn lǐ bìng méi rén xiāng xìn tā， dǎo shì dé jūn duì tā de“ xìn rèn” shǐ tā gǎn dào xīn wèi， zhǐ shì zhè cì tōu qiāng shǐ pí 'ēn chéng liǎo zhèng zhì fàn， yě shǐ tā zài láo lǐ rèn shí liǎo yóu jī duì de chuán qí rén wù hóng láng， tā hé hóng láng yī qǐ yuè yù。 zhī hòu hóng láng què zhǎo liǎo gè jiè kǒu shuǎi kāi liǎo pí 'ēn， pí 'ēn zài sēn lín lǐ yù dào liǎo yóu jī duì yuán“ biǎo xiōng”，“ biǎo xiōng” bǎ tā lǐng dào liǎo yóu jī duì de zhù dì， dàn shì yóu jī duì lǐ de rén zhǐ bǎ tā dāng xiǎo hái kàn， shuí yě bù xìn tā yòu yī bǎ p38 shì de dé zhì shǒu qiāng。 zhǐ shì ràng tā zài yíng dì lǐ xuē tǔ dòu pí， pí 'ēn hái shì méi yòu zhǎo dào zì jǐ de zhī xīn péng yǒu， wú fǎ róng rù nà gè chéng rén de shì jiè。 kǎ 'ěr wéi nuò yě méi yòu tōng guò pí 'ēn de yǎn lái kàn yīcháng yóu jī zhàn， tā dǎo shì ràng pí 'ēn mù dǔ liǎo lián cháng shì rú hé yǔ chú zǐ de qī zǐ zài dù juān cóng zhōng zuò 'ài de， yǐ jí qí tā de yī xiē hùn luàn。 yán sù de lì shǐ zài zhè lǐ bèi kǎ 'ěr wéi nuò sī kāi liǎo yī gè huōkǒu， lù chū qí zhōng de huāng dàn de zhēn shí。 zài zuì hòu hái shì“ biǎo xiōng” biǎo xiàn chū liǎo duì pí 'ēn de xìn rèn， pí 'ēn dài tā qù kàn liǎo zhī zhū cháo， fēn xiǎng zì jǐ de mì mì， jié wěi lüè dài guāng míng“ tā men jì xù zǒu zhe， dà rén hé hái zǐ， zài hēi yè zhōng， zài yíng huǒ chóng fēi wǔ zhōng， shǒu lā zhuóshǒu”， qí zhōng què bāo hán liǎo yī zhǒng yōu yù， pí 'ēn de yōu yù。 pí 'ēn xiǎng yào jìn rù qún tǐ， dàn shì tā zì shēn de tiān zhēn zhuàng tài hé qún tǐ de duì tā de bù xìn rèn bù duàn dì zǔ náo zhe tā， jiù suàn tā yǐ jīng chù zài nà gè jí tǐ zhōng， shí jì de tā réng shì bèi pái chú huò zì pái chú yú jí tǐ zhī wài de， tā kàn dào de nà gè jí tǐ de hùn luàn bù kān， nà dōubù shì tā céng yù liào huò qī dài de； zhè shì shǔ yú kǎ 'ěr wéi nuò de yōu yù， yī zhǒng xiǎng yào róng rù dào shí dài zhōng， què bù duàn dì bèi tuī chí de yōu yù， zhè zhǒng tuī chí yǔ qí shuō lái zì yú shí dài， wú níng shuō shì kǎ 'ěr wéi nuò zì shēn de nà zhǒng duì liǎng zhǒng píng héng de zhuī qiú hé zhī shí fènzǐ xiān tiān de huái yí yǎn guāng zào chéng de。 tōng guò yī gè tóng huà shìde gù shì， kǎ 'ěr wéi nuò nǔ lì jiǎn qīng zhe lì shǐ yǔ zhèng zhì de shí de yīn sù， zuì hòu lì shǐ de yōu yù gǎn què zài yī zhǒng lè guān de jié wěi zhōng tū xiàn， zhè bù néng bù shuō shì tā xuǎn zé“ qīng” de chéng gōng。 yě zhèng shì yǐ zhè zhǒng“ qīng” shǐ tā méi yòu lún wéi yī gè“ zhǐ lìng wén xué” zuò jiā， chéng gōng dì chāo yuè liǎo xiá 'ài de zhèng zhì xuān chuán， tū xiàn chū zì jǐ de xiě zuò gè xìng。
The book follows the antihero Pin, an orphaned cobbler's apprentice in a town on the Ligurian coast, where he lives with his sister, a prostitute. After stealing a pistol from a Nazi sailor, Pin searches for an identity with a partisan group. All the while, the people he meets mock him without his knowing. The title refers to Pin's secret hiding place, directions to which he touts as a prize to any adults who win his trust.
Some critics view the work as unexceptional, on the grounds that it fails to address the issues other than from a very naive perspective; others credit it with being skillfully written and make a virtue of its portrayal of the complex emotions and politics of adults, as seen through the eyes of a child. However one passage about prisoners-of-war being made to dig their own grave before being shot is universally regarded as impressive.
The book follows the antihero Pin, an orphaned cobbler's apprentice in a town on the Ligurian coast, where he lives with his sister, a prostitute. After stealing a pistol from a Nazi sailor, Pin searches for an identity with a partisan group. All the while, the people he meets mock him without his knowing. The title refers to Pin's secret hiding place, directions to which he touts as a prize to any adults who win his trust.
Some critics view the work as unexceptional, on the grounds that it fails to address the issues other than from a very naive perspective; others credit it with being skillfully written and make a virtue of its portrayal of the complex emotions and politics of adults, as seen through the eyes of a child. However one passage about prisoners-of-war being made to dig their own grave before being shot is universally regarded as impressive.
世界尽头与冷酷仙境Plot summary
The story is split between parallel narratives. The odd-numbered chapters take place in 'Hard-Boiled Wonderland', although the phrase is not used anywhere in the text, only in page headers. The narrator is a "Calcutec," a human data processor/encryption system who has been trained to use his subconscious as an encryption key. The Calcutecs work for the quasi-governmental System, as opposed to the criminal "Semiotecs" who work for the Factory and who are generally fallen Calcutecs. The relationship between the two groups is simple: the System protects data while the Semiotecs steal it, although it is suggested that one man might be behind both. The narrator completes an assignment for a mysterious scientist, who is exploring "sound reduction". He works in a laboratory hidden within an anachronistic version of Tokyo's sewer system.
The even-numbered chapters deal with a newcomer to 'the End of the World', a strange, isolated walled Town depicted in the frontispiece map as being surrounded by a perfect and impenetrable wall. The narrator is in the process of being accepted into the Town. His shadow has been "cut off" and this shadow lives in the "shadow grounds" where he is not expected to survive the winter. Residents of the town are not allowed to have a shadow, and, it transpires, do not have a mind. Or is it only suppressed? The narrator is assigned quarters and a job as the current "dreamreader": a process intended to remove the traces of mind from the Town. He goes to the Library every evening where, assisted by the Librarian, he learns to read dreams from the skulls of unicorns. These "beasts" passively accept their role, sent out of the Town at night, to their enclosure where many die of cold during the winter.
The two storylines converge, exploring concepts of consciousness, the subconscious and identity.
In the original Japanese, the narrator uses the more formal first-person pronoun watashi to refer to himself in the 'Hard-Boiled Wonderland' narrative and the more intimate boku in the 'End of the World'. Translator Alfred Birnbaum achieved a similar effect in English by putting the 'End of the World' sections in the present tense.
Characters
In both narratives, none of the characters are named. Each is instead referred to by occupation or a general description, such as "the librarian" or "the big guy."
Hard-boiled wonderland
* The narrator - a Calcutec in his mid-thirties (35) who, aside from his unusual profession, lives the life of a typical Tokyo yuppie. Although very observant, he gives little thought to the strangeness of the world around him.
* The old man/the scientist - considered a great yet absent-minded scientist who hires the narrator to process information. He is researching "sound reduction". He has developed a way of reading the subconscious and actually recording it as comprehensible, if unrelated images. He had the inspiration of then editing these images to embed a fictional story into the subconscious of his subjects, one of whom is of course the narrator. He did this by working with the System due to the attractiveness of its facilities, though he disliked working for anyone. He later goes to Finland as said by his granddaughter to escape.
* The granddaughter in pink - the old man’s seventeen year old assistant, caretaker and granddaughter, described as chubby but attractive, invariably dressed in all pink. She did not go to any school as her grandfather tells her it is useless and rather teaches her all she needs to know in life; and thus she knows a couple of languages, how to handle a gun, among other things. In the beginning of the novel, the old man "reduces" her sound, leaving her unable to speak. She tries, without any trace of subtlety, to convince the narrator to sleep with her.
* The librarian - the always-hungry girl who helps the narrator research unicorns and becomes his 48-hour girlfriend.
* Junior and Big Boy - two thugs who, on unknown orders, harass the narrator.
* INKlings - sewer-dwelling people described as "Kappa" who have developed their own culture. They are so dangerous the scientist lives in their realm, protected by a repelling device, to keep away from those who want to steal his data. It is said that they worship a fish (and leeches). They also do not eat fresh flesh; rather, once they catch a human, they submerge him in water and wait for him to rot in a few days before eating him.
End of the world
* The narrator - a newcomer to 'the End of the World'. As an initiation into the village, his shadow is cut off and his eyes pierced to make him averse to daylight and give him the ability to "read dreams", his allotted task. He cannot remember his former life nor understand what has happened to him.
* The narrator's shadow - apparently human in form. He retains the narrator's memory of their former life together, but he is doomed to die, separated as he is, and is harshly (but not cruelly) treated by his custodian, the gatekeeper. Upon his death, the narrator would then cease to have a 'mind'.
* The gatekeeper - the guardian and maintenance foreman of 'the End of the World.' He instructs the narrator in his duties, and keeps the narrator’s shadow effectively a prisoner, putting him to work - disposing of dead beasts who die during winter.
* The librarian - the Town’s librarian who keeps the unicorn skulls in which the "dreams" reside. She assists the narrator in his work. She has no “mind” but her mother did, and the narrator becomes increasingly convinced that her mind is in fact only hidden, not irretrievably lost. The connection between this librarian and the other, in Hard Boiled Wonderland, is never made explicit.
* The colonel - an old man, the narrator's neighbour provides advice and support, and nurses him when he falls sick.
* The caretaker - a young man who tends the power station. An outsider who provides a miniature accordion, a possible key in the narrator's efforts to recover his mind and memories.
Influences
Murakami has often referred to his love of Western literature and particular admiration for hard-boiled pioneer Raymond Chandler. 'Hard-Boiled Wonderland' owes much to American "hard-boiled" detective fiction, as well as to science fiction and cyberpunk, but the book does not belong in any of those categories.
The 'end of the world' has much in common with The Castle by Franz Kafka. Both deal with newcomers to strange villages who are both intrigued and horrified by the behavior of the villagers. The image of losing one's shadow when approaching the end of the world is found in Knut Hamsun's 1898 novel Victoria. The same idea appeared earlier, in the 1814 story of "Peter Schlemihls wundersame Geschichte" ("Peter Schlemihl's Remarkable Story") by Adelbert von Chamisso. The theme of the human brain storing encrypted data is found in William Gibson's short story Johnny Mnemonic, but in interviews Murakami says this was not an influence.
Critical acclaim
Jay Rubin, who has translated many of Murakami's later works into English, said that Hard-Boiled Wonderland and the End of the World is his favorite Murakami novel and that it "is just a shock after reading the black and white, autobiographical fiction that is such the norm in Japan."
Hard-Boiled Wonderland and the End of the World was awarded the prestigious Tanizaki Prize in 1985.
Book information
Hard-Boiled Wonderland and the End of the World (English edition) by Haruki Murakami; translated by Alfred Birnbaum.
* Hardcover ISBN 4-7700-1544-5, published in September 1991 by Kodansha International
* Paperback ISBN 0-679-74346-4, published on March 2, 1993 by Vintage Press
běn shū shì zuò zhě piān fú zuì dà de xiǎo shuō sān bù qū。 shī yè zhě gāng tián hēng de qī zǐ jiǔ měi zǐ zài qí xiōng cháng、 zhòng yì yuán， hēi 'àn shì lì dài biǎo rén wù mián gǔ shēng de xié pò xià shī zōng liǎo。 gāng tián shēn biān lái liǎo xǔ duō guài rén： nǚ wū shī、“ yì shí chāng fù”、 shī shǒu shǐ nán yǒu chē huò sǐ wáng de shàonǚ、 jiù jūn rén děng。 tóng shí yě fā shēng liǎo xǔ duō guài shì。 gāng tián dào yī kǒu shēn jǐng lǐ míng sī kǔ xiǎng hòu， chū lái zài qí guài de mǔ zǐ“ ròu dòu kòu”、“ ròu guì” de bāng zhù xià xiàng mián gǔ shēng tiǎo zhàn， zài xū huàn zhōng jiāng qí jī shāng， jiǔ měi zǐ yòu zài xiàn shí zhōng jiāng qí shā sǐ。 běn shū sè cǎi guǐ yì， guī mó hóng dà， xū shí jiāo chā， bèi chēng wéi dāng dài de“ yī qiān líng yī yè”。 běn shū zài 1997 nián céng yóu yì lín chū bǎn， zài dú zhě zhōng yǐ jù yòu yī dìng yǐng xiǎng。
Two chapters were originally published in The New Yorker under the titles The Zoo Attack on July 31, 1995, and Another Way to Die on January 20, 1997. A slightly different version of the first chapter translated by Alfred Birnbaum was published in the collection The Elephant Vanishes under the title The Wind-up Bird and Tuesday's Women. In addition, the character name Noboru Wataya is used in Family Affair of The Elephant Vanishes, while having a similar personality and background, the character is not related to the one in The Wind-Up Bird Chronicle of the same name. Noboru Wataya is also used in Jay Rubin's translation of The Elephant Vanishes in The Elephant Vanishes.
The original Japanese edition was released in three parts, which make up the three "books" of the single volume English language version.
1. Dorobō kasasagi hen (泥棒かささぎ編?)
2. Yogen suru tori hen (予言する鳥編?)
3. Torisashi otoko hen (鳥刺し男編?)
For this novel, Murakami received the Yomiuri Literary Award, which was awarded to him by one of his harshest former critics, Oe Kenzaburo.
Plot summary
The novel is about a low-key unemployed man, Toru Okada, whose cat runs away. A chain of events follow that prove that his seemingly mundane boring life is much more complicated than it appears.
Main characters
While this book has many major and minor characters, these are among the most important:
* Toru Okada: The narrator and protagonist, Toru is a passive and often apathetic young man living in suburban Japan. He is Kumiko's husband and continually follows the orders or wishes of others. Currently unemployed, he is the embodiment of passivity.
* Kumiko Okada: Kumiko is Toru's wife and, as the breadwinner of the couple, is the more autonomous of the two. She works in the publishing business.
* Noboru Wataya: Noboru is Kumiko's older brother. He is presented as a mediagenic figure; the public loves him, but Toru cannot stand him. Noboru appears as an academic in the beginning, becomes a politician in the story, and has no apparent personal life. He is said to be hidden behind a façade — all style, and no substance. ("Noboru Wataya" is also the name Toru and Kumiko gave to their pet cat, whom Toru later renames Mackerel, like the fish; the character name also appeared in Family Affair, translated by Jay Rubin, of The Elephant Vanishes collection.)
* May Kasahara: May is a middleteen girl who should be in school, but, by choice, is not. Toru and May carry on a fairly constant exchange throughout a good deal of the novel; when May is not present, she writes to him (though the reader can peruse them, her letters never reach him). Their conversations in person are often bizarre and revolve around death and the deterioration of human life. Even more bizarre is the cheerful and decidedly non-serious air with which these conversations take place.
* Lieutenant Mamiya: Mamiya was an officer during the Japanese military efforts in Manchukuo, and meets Toru while carrying out the particulars of Mr. Honda's will. He has been emotionally scarred by witnessing the flaying of a superior officer and several nights spent in a dried-up well. He tells Toru his story both in person and in letters.
* Malta Kano: Malta Kano is a medium of sorts who changed her name to "Malta" after performing some kind of "austerities" on the island of Malta for some time. She is enlisted by Kumiko to help the Okadas find their missing cat.
* Creta Kano: Malta's younger sister and apprentice of sorts, she describes herself as a "prostitute of the mind." Disturbingly, for Toru, Creta has a nearly identical face and figure to Kumiko.
* Nutmeg Akasaka: Nutmeg first meets Toru as he sits on a bench watching people's faces every day in Shinjuku. The second time they meet she is attracted to the blue-black mark on his right cheek. She and Toru share a few strange coincidences: the wind-up bird in Toru's yard and the blue-black cheek mark appear in Nutmeg's World War II-related stories, and also Nutmeg's father and Lieutenant Mamiya (an acquaintance of Toru's) are linked by World War II. "Nutmeg Akasaka" is a pseudonym she chose for herself after insisting to Toru that her "real" name is irrelevant. Her real name is never mentioned in the novel.
* Cinnamon Akasaka: Cinnamon is Nutmeg's adult son who hasn't spoken since age 6. He communicates through a system of hand movements and mouthed words. Somehow, people who've just met him (who presumably have never lipread or used sign language) find him perfectly comprehensible. "Cinnamon," too, is a pseudonym created by Nutmeg.
Missing chapters
Two chapters from the third volume of the original three-volume Japanese paperback edition were not included in the English translation. In addition, one of the chapters near the excluded two was moved ahead of another chapter, taking it out of the context of the original order.
The two missing chapters elaborate on the relationship between Toru Okada and Creta Kano, and a "hearing" of the wind-up bird as Toru burns a box of Kumiko's belongings.
Translation
The English translation of the novel was carried out by Jay Rubin.
It must also be noted that in addition to very notable differences between the Japanese and English versions, there are also differences between the original Japanese hardcover and paperback editions.
Further differences exist between the American and British editions, but these are much more superficial.
The German translation by Giovanni and Ditte Bandini is based on the English translation, not on the Japanese original.
Book information
* Murakami, Haruki. The Wind-Up Bird Chronicle. translated by Jay Rubin. ISBN 0-679-77543-9.
* Murakami, Haruki. The Wind-Up Bird Chronicle. translated by Jay Rubin. ISBN 1-86046-581-1.
Two chapters were originally published in The New Yorker under the titles The Zoo Attack on July 31, 1995, and Another Way to Die on January 20, 1997. A slightly different version of the first chapter translated by Alfred Birnbaum was published in the collection The Elephant Vanishes under the title The Wind-up Bird and Tuesday's Women. In addition, the character name Noboru Wataya is used in Family Affair of The Elephant Vanishes, while having a similar personality and background, the character is not related to the one in The Wind-Up Bird Chronicle of the same name. Noboru Wataya is also used in Jay Rubin's translation of The Elephant Vanishes in The Elephant Vanishes.
The original Japanese edition was released in three parts, which make up the three "books" of the single volume English language version.
1. Dorobō kasasagi hen (泥棒かささぎ編?)
2. Yogen suru tori hen (予言する鳥編?)
3. Torisashi otoko hen (鳥刺し男編?)
For this novel, Murakami received the Yomiuri Literary Award, which was awarded to him by one of his harshest former critics, Oe Kenzaburo.
Plot summary
The novel is about a low-key unemployed man, Toru Okada, whose cat runs away. A chain of events follow that prove that his seemingly mundane boring life is much more complicated than it appears.
Main characters
While this book has many major and minor characters, these are among the most important:
* Toru Okada: The narrator and protagonist, Toru is a passive and often apathetic young man living in suburban Japan. He is Kumiko's husband and continually follows the orders or wishes of others. Currently unemployed, he is the embodiment of passivity.
* Kumiko Okada: Kumiko is Toru's wife and, as the breadwinner of the couple, is the more autonomous of the two. She works in the publishing business.
* Noboru Wataya: Noboru is Kumiko's older brother. He is presented as a mediagenic figure; the public loves him, but Toru cannot stand him. Noboru appears as an academic in the beginning, becomes a politician in the story, and has no apparent personal life. He is said to be hidden behind a façade — all style, and no substance. ("Noboru Wataya" is also the name Toru and Kumiko gave to their pet cat, whom Toru later renames Mackerel, like the fish; the character name also appeared in Family Affair, translated by Jay Rubin, of The Elephant Vanishes collection.)
* May Kasahara: May is a middleteen girl who should be in school, but, by choice, is not. Toru and May carry on a fairly constant exchange throughout a good deal of the novel; when May is not present, she writes to him (though the reader can peruse them, her letters never reach him). Their conversations in person are often bizarre and revolve around death and the deterioration of human life. Even more bizarre is the cheerful and decidedly non-serious air with which these conversations take place.
* Lieutenant Mamiya: Mamiya was an officer during the Japanese military efforts in Manchukuo, and meets Toru while carrying out the particulars of Mr. Honda's will. He has been emotionally scarred by witnessing the flaying of a superior officer and several nights spent in a dried-up well. He tells Toru his story both in person and in letters.
* Malta Kano: Malta Kano is a medium of sorts who changed her name to "Malta" after performing some kind of "austerities" on the island of Malta for some time. She is enlisted by Kumiko to help the Okadas find their missing cat.
* Creta Kano: Malta's younger sister and apprentice of sorts, she describes herself as a "prostitute of the mind." Disturbingly, for Toru, Creta has a nearly identical face and figure to Kumiko.
* Nutmeg Akasaka: Nutmeg first meets Toru as he sits on a bench watching people's faces every day in Shinjuku. The second time they meet she is attracted to the blue-black mark on his right cheek. She and Toru share a few strange coincidences: the wind-up bird in Toru's yard and the blue-black cheek mark appear in Nutmeg's World War II-related stories, and also Nutmeg's father and Lieutenant Mamiya (an acquaintance of Toru's) are linked by World War II. "Nutmeg Akasaka" is a pseudonym she chose for herself after insisting to Toru that her "real" name is irrelevant. Her real name is never mentioned in the novel.
* Cinnamon Akasaka: Cinnamon is Nutmeg's adult son who hasn't spoken since age 6. He communicates through a system of hand movements and mouthed words. Somehow, people who've just met him (who presumably have never lipread or used sign language) find him perfectly comprehensible. "Cinnamon," too, is a pseudonym created by Nutmeg.
Missing chapters
Two chapters from the third volume of the original three-volume Japanese paperback edition were not included in the English translation. In addition, one of the chapters near the excluded two was moved ahead of another chapter, taking it out of the context of the original order.
The two missing chapters elaborate on the relationship between Toru Okada and Creta Kano, and a "hearing" of the wind-up bird as Toru burns a box of Kumiko's belongings.
Translation
The English translation of the novel was carried out by Jay Rubin.
It must also be noted that in addition to very notable differences between the Japanese and English versions, there are also differences between the original Japanese hardcover and paperback editions.
Further differences exist between the American and British editions, but these are much more superficial.
The German translation by Giovanni and Ditte Bandini is based on the English translation, not on the Japanese original.
Book information
* Murakami, Haruki. The Wind-Up Bird Chronicle. translated by Jay Rubin. ISBN 0-679-77543-9.
* Murakami, Haruki. The Wind-Up Bird Chronicle. translated by Jay Rubin. ISBN 1-86046-581-1.
yī tóu kòng zhì quán rì běn de chāo néng lì yáng shī zōng liǎo， tā de sù zhù、 hēi shè huì tóu zǐ mìng zài dàn xī。 liáo dǎo de dōng jīng qīng nián zhí yuán wú yì zhōng dé dào yáng de zhào piàn， bù liào jiù cǐ chéng liǎo hēi shè huì de xié pò duì xiàng， xié zhe nǚ yǒu tà shàng liǎo xún yáng mào xiǎn zhī lǚ。 zài běi hǎi dào de xuě shān jué dì， tā zhōng yú dào liǎo zhào piàn de pāi shè zhě héng héng bù， nà zhǐ shì qí yīn hún， yīn wéi zhè wèi chuò hào“ shǔ” de péng yǒu， yǐ jīng yǔ nà zuì 'è zhī yuán tóng guī yú jìn liǎo。
《 xún yáng mào xiǎn jì》 shì cūn shàng chūn shù jì chǔnǚ zuò《 qiě tīng fēng yín》、《 1973 nián de dàn zhū yóu xì》 hòu de dì sān bù xiǎo shuō， yǔ shàng shù liǎng bù zuò pǐn gòu chéng“ wǒ yǔ shǔ” xì liè sān bù qū。《 xún yáng mào xiǎn jì》 shì dì sān bù， yòng xiàn shí yǔ xū huàn jiāo zhì de qí tè zhī bǐ， dǎ kāi liǎo rì běn de xīn wén xué zhī mén。 xiǎo shuō jí fù yù yán xìng yǔ shén huà sè cǎi， zuò zhě rèn wéi gāi xiǎo shuō de chuàng zuò“ shùn lì dào zuì hòu， zài qià dào huǒ hòu chù zhǐ bǐ”。《 xún yáng mào xiǎn jì》 shì cūn shàng de dì yī bù gòu guī mó de cháng piān， cūn shàng yīn cǐ huò dé liǎo yě jiān wén yì xīn rén shǎng。
In A Wild Sheep Chase, Murakami blends elements of American and English literature with Japanese contexts, exploring post-WWII Japanese cultural identity. The book is part mystery and part fantasy with a postmodern twist.
Plot summary
This mock-detective tale follows an unnamed Japanese man through Tokyo and Hokkaidō in 1978. The passive, chain-smoking main character gets swept away on an adventure that leads him on a hunt for a sheep that hasn’t been seen for years. The apathetic protagonist meets a woman with magically seductive ears and a strange man who dresses as a sheep and talks in slurs; in this way there are elements of Japanese animism or Shinto. The manipulation of the narrator into the hunt and repeated references to The Adventures of Sherlock Holmes raise connections to "The Red-Headed League."
Sequel
Murakami wrote a sequel to this book, entitled Dance Dance Dance, which also follows the adventures of the unnamed protagonist and the Sheep Man. However, its plot, tone and the majority of the characters are sufficiently different that Dance Dance Dance can be seen as separate from the "Trilogy of the Rat."
Awards
* Noma Literary Newcomer's Prize
《 xún yáng mào xiǎn jì》 shì cūn shàng chūn shù jì chǔnǚ zuò《 qiě tīng fēng yín》、《 1973 nián de dàn zhū yóu xì》 hòu de dì sān bù xiǎo shuō， yǔ shàng shù liǎng bù zuò pǐn gòu chéng“ wǒ yǔ shǔ” xì liè sān bù qū。《 xún yáng mào xiǎn jì》 shì dì sān bù， yòng xiàn shí yǔ xū huàn jiāo zhì de qí tè zhī bǐ， dǎ kāi liǎo rì běn de xīn wén xué zhī mén。 xiǎo shuō jí fù yù yán xìng yǔ shén huà sè cǎi， zuò zhě rèn wéi gāi xiǎo shuō de chuàng zuò“ shùn lì dào zuì hòu， zài qià dào huǒ hòu chù zhǐ bǐ”。《 xún yáng mào xiǎn jì》 shì cūn shàng de dì yī bù gòu guī mó de cháng piān， cūn shàng yīn cǐ huò dé liǎo yě jiān wén yì xīn rén shǎng。
In A Wild Sheep Chase, Murakami blends elements of American and English literature with Japanese contexts, exploring post-WWII Japanese cultural identity. The book is part mystery and part fantasy with a postmodern twist.
Plot summary
This mock-detective tale follows an unnamed Japanese man through Tokyo and Hokkaidō in 1978. The passive, chain-smoking main character gets swept away on an adventure that leads him on a hunt for a sheep that hasn’t been seen for years. The apathetic protagonist meets a woman with magically seductive ears and a strange man who dresses as a sheep and talks in slurs; in this way there are elements of Japanese animism or Shinto. The manipulation of the narrator into the hunt and repeated references to The Adventures of Sherlock Holmes raise connections to "The Red-Headed League."
Sequel
Murakami wrote a sequel to this book, entitled Dance Dance Dance, which also follows the adventures of the unnamed protagonist and the Sheep Man. However, its plot, tone and the majority of the characters are sufficiently different that Dance Dance Dance can be seen as separate from the "Trilogy of the Rat."
Awards
* Noma Literary Newcomer's Prize
《 hǎi biān díkǎ fū kǎ》 de zhù rén gōng shì yī wèi zì chēng míng jiào tián cūn kǎ fū kǎ héng héng xiǎo shuō shǐ zhōng wèi jiāo dài qí zhēn míng héng héng de shàonián。 tā zài shí wǔ suì shēng rì qián yè dú zì lí jiā chū zǒu， chéng zuò yè xíng cháng tú bā shì yuǎn fù sì guó。 chū zǒu de yuán yīn shì wèile táo bì fù qīn suǒ zuò de bǐ 'é dǐ pǔ sī wáng hái yào kě pà de yù yán： ěr jiāng shì fù， jiāng yǔ 'ěr mǔ、 ěr jiě jiāo hé。 kǎ fū kǎ sì suì shí， mǔ qīn tū rán shī zōng， dài zǒu liǎo bǐ kǎ fū kǎ nián cháng sì suì、 qí shí shì tián cūn jiā yǎng nǚ de jiě jiě， bù zhī hé gù què jiāng qīn shēng 'ér zǐ pāo qì。 tā cóng wèi jiàn guò mǔ qīn de zhào piàn， shèn zhì lián míng zì yě bù zhī dào。 fǎng fó shì yùn mìng zài míng míng zhī zhōng yǐn dǎo， tā 'ǒu rán lái dào mǒu sī lì tú shū guǎn， suì qī shēn yú cǐ。 guǎn cháng zuǒ bó nǚ shì shì wèi sì shí duō suì qì zhì gāo yǎ de měi fù， yòu zhe bō lán qū zhé de shén mì shēn shì。 kǎ fū kǎ yí xīn tā shì zì jǐ de shēng mǔ， zuǒ bó què duì cǐ bù zhì kě fǒu。 kǎ fū kǎ liàn shàng liǎo zuǒ bó， bìng yǔ zhī fā shēng ròu tǐ guān xì。 xiǎo shuō hái lìng shè yī tiáo fù xiàn， fù xiàn de zhùjué shì lǎo rén zhōng tián， tā zài 'èr zhàn qī jiān dú xiǎo xué shí， jīng lì guò yī cì shén mì de hūn mí shì jiàn， cóng cǐ sàng shī liǎo jì yì， jiāng xué guò de zhī shí wán quán wàng jì， shèn zhì bù huì rèn zì jì shù， què huò dé liǎo yǔ māo duì huà de shén mì néng lì。 zhōng tián zài shén zhì shī kòng de qíng kuàng xià shā sǐ liǎo yī gè zì chēng jiāo ní · wò kǎ（ JohnnyWalker）、 dǎ bàn dé kù sì nà zhù míng wēi shì jì jiǔ shāng biāo shàng suǒ huà de yīng guó shēn shì de kuáng rén， yī lù dā chē yě lái dào cǐ dì。 xiǎo shuō gòng fēn 49 zhāng， jīshù zhāng jī běn shàng yòng xiě shí shǒu fǎ jiǎng shù kǎ fū kǎ de gù shì， ǒu shù zhāng zé yòng mó huàn shǒu fǎ zhǎn xiàn zhōng tián de qí yù。 liǎng zhǒng shǒu fǎ jiāo hù shǐ yòng， biān zhì chū jí fù qiáng liè xū gòu sè cǎi de、 qí huàn guǐ jié de xiàn dài yù yán。 zuǒ bó shì jiāng zhè liǎng gè gù shì lián jié wéi yī tǐ de jié hé diǎn， ér shì fù de yù yán sì hū zuì zhōng yě wèi néng bì miǎn， yīn wéi kuáng rén jiāo ní · wò kǎ jū rán shì kǎ fū kǎ shēng fù qiáo zhuāng gǎi bàn de， zhēn zhèng de xiōng shǒu yě bìng fēi zhōng tián……
Plot summary
Comprising two distinct but interrelated plots, the narrative runs back and forth between the two, taking up each plotline in alternating chapters.
The odd chapters tell the 15 year old Kafka's story as he runs away from his father's house to escape an Oedipal curse and to embark upon a quest to find his mother and sister. After a series of adventures, he finds shelter in a quiet, private library in Takamatsu, run by the distant and aloof Miss Saeki and the androgynous Oshima. There he spends his days reading the unabridged Richard Francis Burton translation of A Thousand and One Nights and the collected works of Natsume Sōseki until the police begin inquiring after him in connection with a brutal murder.
The even chapters tell Nakata's story. Due to his uncanny abilities, he has found part-time work in his old age as a finder of lost cats (a clear reference to The Wind-Up Bird Chronicle). The case of one particular lost cat puts him on a path that ultimately takes him far away from his home, ending up on the road for the first time in his life. He befriends a truck-driver named Hoshino. Hoshino takes him on as a passenger in his truck and soon becomes very attached to the old man.
Nakata and Kafka are on a collision course throughout the novel, but their convergence takes place as much on a metaphysical plane as it does in reality and, in fact, that can be said of the novel itself. Due to the Oedipal theme running through much of the novel, Kafka on the Shore has been called a modern Greek tragedy.
Major themes
Kafka on the Shore demonstrates Murakami's typical blend of popular culture, quotidian detail, magical realism, suspense, humor, an involved and at times confusing plot, and potent sexuality. It also features an increased emphasis on Japanese religious traditions, particularly Shinto. The main characters are significant departures from the typical protagonist of a Murakami novel, such as Toru Watanabe of Norwegian Wood and Toru Okada of The Wind-Up Bird Chronicle, who are typically in their 20s or 30s and have rather humdrum personalities. However, many of the same themes re-occur in Kafka on the Shore as were first developed in these and other previous novels.
The power and beauty of music as a communicative medium is a central theme of the novel—the very title comes from a pop song Kafka is given on a record in the library. The music of Beethoven, specifically the Archduke Trio is also used as a redemptive metaphor. Among other prominent themes are: the virtues of self-sufficiency and efficiency, the relation of dreams and reality, the specter of the heritage of World War II, the threat of fate, the uncertain grip of prophecy, and the power of nature.
G. W. F. Hegel has an influence on the book and is referenced directly at one point. Dialectics (Thesis, antithesis, synthesis) in particular play a role.
Characters
Humans
* Kafka Tamura: Clearly named in honor of the Czech writer Franz Kafka, Kafka is a "cool, tall, fifteen-year-old boy lugging a backpack and a bunch of obsessions" and the son of the famous sculptor Koichi Tamura. His mother and sister left the family almost before he became conscious of them. He occasionally interacts with a hectoring, exhortative alter ego "The boy named Crow" (as told in the story, although jackdaw is closer to Czech meaning). Crow tells himself throughout the novel that he must be "the toughest fifteen-year-old in the world."
* Satoru Nakata: Nakata lost many of his mental faculties when, as one of sixteen schoolchildren out on a mushroom-gathering field-trip toward the end of World War II, he was rendered unconscious following a mysterious flash of light in the sky . Unlike the other children, who lost consciousness briefly, Nakata remained unconscious for many weeks, and, upon finally awakening, found that his memory and his ability to read had disappeared, as well as his higher intellectual functions. In their place, Nakata found he was able to communicate with cats. Nakata and Kafka may also be different parts of the same person.
* Oshima: A 21-year-old, gay female-to-male transsexual. He is a librarian and an owner of a mountain retreat who becomes close to Kafka throughout the course of the novel; also a haemophiliac.
* Hoshino: A truck driver in his mid-twenties. He befriends Nakata, due to his resemblance to his own grandfather, and transports and assists Nakata towards his uncertain goal.
* Miss Saeki: The manager of a private library, where Oshima works and where Kafka lives through much of the novel. She was previously a singer, and performed the song "Kafka on the Shore", which unites many of the novel's themes and gives it its title. She may also be Kafka's mother.
* Sakura: A young woman Kafka meets on the bus who helps him later on. She may be his sister.
* Johnnie Walker: A cat killer who plans to make a flute out of cats' souls. He may also be Kafka's father, the renowned sculptor Koichi Tamura. His name is taken from Johnnie Walker, a brand of Scotch whisky, and he dresses to appear like the man featured in the brand's logo.
* Colonel Sanders: A "concept" who takes the form of a pimp or hustler. He is named after, and appears similar to, Harland Sanders, the founder and face of Kentucky Fried Chicken.
Cats
* Goma: A lost cat owned by Mrs. Koizumi.
* Kawamura: A cat who was addled after being hit by a bicycle. Though they can communicate, Nakata is unable to understand Kawamura's repetitive and strange sentences.
* Mimi: An intelligent Siamese cat.
* Okawa: A tabby cat.
* Toro: A black cat.
Understanding the novel
After the novel's release, Murakami's Japanese publisher set up a website allowing readers to submit questions regarding the meaning of the book. 8,000 questions were received and Murakami responded personally to about 1,200 of them. In an interview posted on his English language website, Murakami states that the secret to understanding the novel lies in reading it multiple times: "Kafka on the Shore contains several riddles, but there aren't any solutions provided. Instead, several of these riddles combine, and through their interaction the possibility of a solution takes shape. And the form this solution takes will be different for each reader. To put it another way, the riddles function as part of the solution. It's hard to explain, but that's the kind of novel I set out to write".
Plot summary
Comprising two distinct but interrelated plots, the narrative runs back and forth between the two, taking up each plotline in alternating chapters.
The odd chapters tell the 15 year old Kafka's story as he runs away from his father's house to escape an Oedipal curse and to embark upon a quest to find his mother and sister. After a series of adventures, he finds shelter in a quiet, private library in Takamatsu, run by the distant and aloof Miss Saeki and the androgynous Oshima. There he spends his days reading the unabridged Richard Francis Burton translation of A Thousand and One Nights and the collected works of Natsume Sōseki until the police begin inquiring after him in connection with a brutal murder.
The even chapters tell Nakata's story. Due to his uncanny abilities, he has found part-time work in his old age as a finder of lost cats (a clear reference to The Wind-Up Bird Chronicle). The case of one particular lost cat puts him on a path that ultimately takes him far away from his home, ending up on the road for the first time in his life. He befriends a truck-driver named Hoshino. Hoshino takes him on as a passenger in his truck and soon becomes very attached to the old man.
Nakata and Kafka are on a collision course throughout the novel, but their convergence takes place as much on a metaphysical plane as it does in reality and, in fact, that can be said of the novel itself. Due to the Oedipal theme running through much of the novel, Kafka on the Shore has been called a modern Greek tragedy.
Major themes
Kafka on the Shore demonstrates Murakami's typical blend of popular culture, quotidian detail, magical realism, suspense, humor, an involved and at times confusing plot, and potent sexuality. It also features an increased emphasis on Japanese religious traditions, particularly Shinto. The main characters are significant departures from the typical protagonist of a Murakami novel, such as Toru Watanabe of Norwegian Wood and Toru Okada of The Wind-Up Bird Chronicle, who are typically in their 20s or 30s and have rather humdrum personalities. However, many of the same themes re-occur in Kafka on the Shore as were first developed in these and other previous novels.
The power and beauty of music as a communicative medium is a central theme of the novel—the very title comes from a pop song Kafka is given on a record in the library. The music of Beethoven, specifically the Archduke Trio is also used as a redemptive metaphor. Among other prominent themes are: the virtues of self-sufficiency and efficiency, the relation of dreams and reality, the specter of the heritage of World War II, the threat of fate, the uncertain grip of prophecy, and the power of nature.
G. W. F. Hegel has an influence on the book and is referenced directly at one point. Dialectics (Thesis, antithesis, synthesis) in particular play a role.
Characters
Humans
* Kafka Tamura: Clearly named in honor of the Czech writer Franz Kafka, Kafka is a "cool, tall, fifteen-year-old boy lugging a backpack and a bunch of obsessions" and the son of the famous sculptor Koichi Tamura. His mother and sister left the family almost before he became conscious of them. He occasionally interacts with a hectoring, exhortative alter ego "The boy named Crow" (as told in the story, although jackdaw is closer to Czech meaning). Crow tells himself throughout the novel that he must be "the toughest fifteen-year-old in the world."
* Satoru Nakata: Nakata lost many of his mental faculties when, as one of sixteen schoolchildren out on a mushroom-gathering field-trip toward the end of World War II, he was rendered unconscious following a mysterious flash of light in the sky . Unlike the other children, who lost consciousness briefly, Nakata remained unconscious for many weeks, and, upon finally awakening, found that his memory and his ability to read had disappeared, as well as his higher intellectual functions. In their place, Nakata found he was able to communicate with cats. Nakata and Kafka may also be different parts of the same person.
* Oshima: A 21-year-old, gay female-to-male transsexual. He is a librarian and an owner of a mountain retreat who becomes close to Kafka throughout the course of the novel; also a haemophiliac.
* Hoshino: A truck driver in his mid-twenties. He befriends Nakata, due to his resemblance to his own grandfather, and transports and assists Nakata towards his uncertain goal.
* Miss Saeki: The manager of a private library, where Oshima works and where Kafka lives through much of the novel. She was previously a singer, and performed the song "Kafka on the Shore", which unites many of the novel's themes and gives it its title. She may also be Kafka's mother.
* Sakura: A young woman Kafka meets on the bus who helps him later on. She may be his sister.
* Johnnie Walker: A cat killer who plans to make a flute out of cats' souls. He may also be Kafka's father, the renowned sculptor Koichi Tamura. His name is taken from Johnnie Walker, a brand of Scotch whisky, and he dresses to appear like the man featured in the brand's logo.
* Colonel Sanders: A "concept" who takes the form of a pimp or hustler. He is named after, and appears similar to, Harland Sanders, the founder and face of Kentucky Fried Chicken.
Cats
* Goma: A lost cat owned by Mrs. Koizumi.
* Kawamura: A cat who was addled after being hit by a bicycle. Though they can communicate, Nakata is unable to understand Kawamura's repetitive and strange sentences.
* Mimi: An intelligent Siamese cat.
* Okawa: A tabby cat.
* Toro: A black cat.
Understanding the novel
After the novel's release, Murakami's Japanese publisher set up a website allowing readers to submit questions regarding the meaning of the book. 8,000 questions were received and Murakami responded personally to about 1,200 of them. In an interview posted on his English language website, Murakami states that the secret to understanding the novel lies in reading it multiple times: "Kafka on the Shore contains several riddles, but there aren't any solutions provided. Instead, several of these riddles combine, and through their interaction the possibility of a solution takes shape. And the form this solution takes will be different for each reader. To put it another way, the riddles function as part of the solution. It's hard to explain, but that's the kind of novel I set out to write".
běn shū shì cūn shàng chūn shù jǐn jiē yú《 nuó wēi de sēn lín》 zhī hòu fā biǎo de yòu yī bù zhòng yào cháng piān xiǎo shuō。 qí nèi róng yǔ《 xún yáng mào xiǎn jì》 xiāng xián jiē， zhù rén gōng“ wǒ” yǔ《 xún yáng mào xiǎn jì》 zhōng de zhù rén gōng shì tóng yī gè rén。 xiǎo shuō fēn liǎng tiáo xiàn suǒ， yī tiáo shì“ wǒ” yǔ lǎo tóng xué、 diàn yǐng míng xīng wǔ fǎn tián jié shí liǎo liǎng míng yìng zhào nǚ láng， wǔ fǎn tián chū yú xīn lǐ niǔ qū shā sǐ liǎo tā men， zì jǐ yě tóu hǎi zì shā。 lìng yī tiáo shì“ wǒ” jié shí liǎo gū dān de nǚ hái“ xuě”、 tā de shè yǐng jiā mǔ qīn“ yǔ” yǔ“ yǔ” de nán yǒu dí kè， dàn shàn liáng de dí kè què sǐ yú chē huò。“ wǒ” zài sǐ wáng yīn yǐng xià guò liǎo yī duàn jīng hún de rì zǐ， zuì hòu yǔ yī gè bīn guǎn nǚ fú wù yuán xiāng liàn bìng huò dé liǎo 'ān quán gǎn。
xiǎo shuō jiē shì liǎo zī běn zhù yì shè huì de bù hé lǐ xìng duì rén de xīn líng de niǔ qū yǐ jí zhè zhǒng shè huì xià rén de jīng shén gū dú hé shēng mìng de cuì ruò， zài shǒu fǎ shàng xiàn shí yǔ xū huàn jiāo zhì， yì shù shuǐ zhǔn gāo chāo。
Dance Dance Dance (ダンス・ダンス・ダンス, Dansu dansu dansu?) is the sixth novel by Japanese writer Haruki Murakami. First published in 1988, the English translation by Alfred Birnbaum was released in 1994. The book is a sequel to Murakami's novel A Wild Sheep Chase, although the plot lines are not entirely contiguous. In 2001, Murakami said that writing Dance Dance Dance had been a healing act after his unexpected fame following the publication of Norwegian Wood and that, because of this, he had enjoyed writing Dance more than any other novel.
Plot summary
The novel follows the surreal misadventures of an unnamed protagonist who makes a living as a commercial writer. The protagonist is compelled to return to the Dolphin Hotel, a seedy establishment where he once spent the night with a woman he loved, despite the fact he never even knew her real name. She has since disappeared without a trace, the Dolphin Hotel has been purchased by a large corporation and converted into a slick, fashionable, western-style hotel.
The protagonist begins experiencing dreams in which this woman and the Sheep Man — a strange individual dressed in an old sheep skin who speaks in a monotonous rush — appear to him and lead him to uncover two mysteries. The first is metaphysical in nature, viz. how to survive the unsurvivable. The second is the murder of a call-girl in which an old school friend of the protagonist, now a famous film actor, is a prime suspect. Along the way, the protagonist meets a clairvoyant and troubled 13-year-old girl, her equally troubled parents, a one-armed poet, and a sympathetic receptionist.
Major themes
Several of the novel's themes are hallmarks of Murakami's writing. Dance Dance Dance deals with themes of loss and abandonment, as do many of Murakami's other novels. Often, the male protagonist in a Murakami novel will lose a mother, spouse, or girlfriend. Other common Murakami themes this novel includes are alienation, absurdity and the ultimate discovery of a human connection.
There is a character in the story named Hiraku Makimura, which is an anagram of "Haruki Murakami." Makimura of the novel is also a best selling author.
Differences in English Translation
The supernatural character known as the Sheep Man speaks differently between the two versions. The character speaks normal Japanese in the original work, but in the English translations, his speech is written without any spaces between words.
xiǎo shuō jiē shì liǎo zī běn zhù yì shè huì de bù hé lǐ xìng duì rén de xīn líng de niǔ qū yǐ jí zhè zhǒng shè huì xià rén de jīng shén gū dú hé shēng mìng de cuì ruò， zài shǒu fǎ shàng xiàn shí yǔ xū huàn jiāo zhì， yì shù shuǐ zhǔn gāo chāo。
Dance Dance Dance (ダンス・ダンス・ダンス, Dansu dansu dansu?) is the sixth novel by Japanese writer Haruki Murakami. First published in 1988, the English translation by Alfred Birnbaum was released in 1994. The book is a sequel to Murakami's novel A Wild Sheep Chase, although the plot lines are not entirely contiguous. In 2001, Murakami said that writing Dance Dance Dance had been a healing act after his unexpected fame following the publication of Norwegian Wood and that, because of this, he had enjoyed writing Dance more than any other novel.
Plot summary
The novel follows the surreal misadventures of an unnamed protagonist who makes a living as a commercial writer. The protagonist is compelled to return to the Dolphin Hotel, a seedy establishment where he once spent the night with a woman he loved, despite the fact he never even knew her real name. She has since disappeared without a trace, the Dolphin Hotel has been purchased by a large corporation and converted into a slick, fashionable, western-style hotel.
The protagonist begins experiencing dreams in which this woman and the Sheep Man — a strange individual dressed in an old sheep skin who speaks in a monotonous rush — appear to him and lead him to uncover two mysteries. The first is metaphysical in nature, viz. how to survive the unsurvivable. The second is the murder of a call-girl in which an old school friend of the protagonist, now a famous film actor, is a prime suspect. Along the way, the protagonist meets a clairvoyant and troubled 13-year-old girl, her equally troubled parents, a one-armed poet, and a sympathetic receptionist.
Major themes
Several of the novel's themes are hallmarks of Murakami's writing. Dance Dance Dance deals with themes of loss and abandonment, as do many of Murakami's other novels. Often, the male protagonist in a Murakami novel will lose a mother, spouse, or girlfriend. Other common Murakami themes this novel includes are alienation, absurdity and the ultimate discovery of a human connection.
There is a character in the story named Hiraku Makimura, which is an anagram of "Haruki Murakami." Makimura of the novel is also a best selling author.
Differences in English Translation
The supernatural character known as the Sheep Man speaks differently between the two versions. The character speaks normal Japanese in the original work, but in the English translations, his speech is written without any spaces between words.
dà jiāng jiàn sān láng yú 1979 nián fā biǎo liǎo cháng piān xiǎo shuō《 tóng shí dài de yóu xì》， xiāng jiào yú zhōng guó chuán tǒng wén huà zhōng duì táo huā yuán de nà zhǒng táo bì xiàn shí de lǐ xiǎng zhī dì， zhè bù zuò pǐn zhōng de wū tuō bāng zé míng xiǎn cè zhòng yú tōng guò xiàn shì de gé mìng hé jiàn shè dá dào lǐ xiǎng zhī jìng。 cóng zhè gè wén běn de yǐn jié gòu zhōng kě yǐ fā xiàn， dà jiāng jiàn sān láng zài gòu jiàn sēn lín zhōng zhè gè wū tuō bāng de guò chéng zhōng， bù shí yǐ zhōng guó gé mìng hé jiàn shè wéi cān zhào xì， shì tú cóng zhōng tàn suǒ chū yī tiáo yóu cǐ tōng wǎng lǐ xiǎng guó de jù yòu pǔ biàn yì yì de tōng tú。 dāng rán， dà jiāng jiàn sān láng zài zì jǐ de wén xué shì jiè lǐ jiàn lì gēn jù dì de cháng shì，《 tóng shí dài de yóu xì》 xiǎn rán bù shì dì yī cì， yě bù huì shì zuì hòu yī cì。 dà jiāng jiàn sān láng shuō， tā wén xué zuò pǐn zhōng gòu jiàn de gēn jù dì ( wū tuō bāng ) shí jì shàng shì yuán yú máo zé dōng de gēn jù dì。
dà jiāng jiàn sān láng zuì zǎo jiē chù de gēn jù dì fāng miàn de wén zhāng shì《 zhōng guó de hóng sè zhèng quán wèishénme néng gòu cún zài？》， zài nà piān wén zhāng lǐ， máo zé dōng wéi rào gēn jù dì de jiàn lì hé fā zhǎn zuò liǎo hěn hǎo de chǎn shù。 hòu lái zài dà xué lǐ xué xí liǎo máo zé dōng zhù zuò hòu， dà jiāng jiàn sān láng biàn yì shí dào， tā de gù xiāng de nóng mín yě céng jǔ xíng guò jǐ cì bào dòng， zuì zhōng què méi néng jiān chí xià lái， guī gēn jié dǐ， jiù shì méi néng xiàng máo zé dōng nà yàng jiàn lì wěn gù de gēn jù dì。 rì běn de bào dòng zhě wèishénme bù zài shān qū jiàn lì gēn jù dì ní？ rú guǒ jiàn lì liǎo gēn jù dì， qíng kuàng yòu jiāng rú hé？ zhè shì dà jiāng jiàn sān láng yī zhí zài sī kǎo de wèn tí， bìng qiě zài zuò pǐn zhōng biǎo xiàn liǎo chū lái。
The Game of Contemporaneity was originally inspired on Diego Rivera’s mural 'Dream on a Sunday Afternoon in the Central Alameda'. Oe’s approach to history and story-telling, like in the mural, exposes the themes of simultaneity, ambiguity and thus complexity. The story centres itself around the alternative world of the dissident samurai, as opposed to that of the Emperor. The samurai turn into demons after having being chased into the forest. The story of the village serves as a microcosmic representation of the history of the nation as a whole. It has its own creation myth and fertility goddess, as well as having a composite healer/trickster called: The One Who Destroys. Although the novel exposes the themes of marginalisation and outsiderhood, it also provides hope for a new beginning. This emphasizes the central theme of the novel: simultaneous ambiguity, in the amalgamation of past and present, fact and dream, as well as history and myth. Oe uses satire, parody and black humour to describe the many deeds and events of the samurai. This culminates in the Fifty-Day War, in which the samurai and the imperial army battle one another, with The One Who Destroys leading the battle against the The No-Name Captain of the imperial guard. It ends in the samurai surrendering to avoid the destruction of the forest (mori). The word 'mori' in itself is ambivalent in that in Japanese it conjures an image of regeneration or rebirth and in Latin that of death.
This novel has been considered as a main example of the current of Magic Realism in Japanese Literature. Other Japanese authors with considerable literary contributions to this genre are: Abe Kobo, Yasunari Kawabata and Yasushi Inoue.
dà jiāng jiàn sān láng zuì zǎo jiē chù de gēn jù dì fāng miàn de wén zhāng shì《 zhōng guó de hóng sè zhèng quán wèishénme néng gòu cún zài？》， zài nà piān wén zhāng lǐ， máo zé dōng wéi rào gēn jù dì de jiàn lì hé fā zhǎn zuò liǎo hěn hǎo de chǎn shù。 hòu lái zài dà xué lǐ xué xí liǎo máo zé dōng zhù zuò hòu， dà jiāng jiàn sān láng biàn yì shí dào， tā de gù xiāng de nóng mín yě céng jǔ xíng guò jǐ cì bào dòng， zuì zhōng què méi néng jiān chí xià lái， guī gēn jié dǐ， jiù shì méi néng xiàng máo zé dōng nà yàng jiàn lì wěn gù de gēn jù dì。 rì běn de bào dòng zhě wèishénme bù zài shān qū jiàn lì gēn jù dì ní？ rú guǒ jiàn lì liǎo gēn jù dì， qíng kuàng yòu jiāng rú hé？ zhè shì dà jiāng jiàn sān láng yī zhí zài sī kǎo de wèn tí， bìng qiě zài zuò pǐn zhōng biǎo xiàn liǎo chū lái。
The Game of Contemporaneity was originally inspired on Diego Rivera’s mural 'Dream on a Sunday Afternoon in the Central Alameda'. Oe’s approach to history and story-telling, like in the mural, exposes the themes of simultaneity, ambiguity and thus complexity. The story centres itself around the alternative world of the dissident samurai, as opposed to that of the Emperor. The samurai turn into demons after having being chased into the forest. The story of the village serves as a microcosmic representation of the history of the nation as a whole. It has its own creation myth and fertility goddess, as well as having a composite healer/trickster called: The One Who Destroys. Although the novel exposes the themes of marginalisation and outsiderhood, it also provides hope for a new beginning. This emphasizes the central theme of the novel: simultaneous ambiguity, in the amalgamation of past and present, fact and dream, as well as history and myth. Oe uses satire, parody and black humour to describe the many deeds and events of the samurai. This culminates in the Fifty-Day War, in which the samurai and the imperial army battle one another, with The One Who Destroys leading the battle against the The No-Name Captain of the imperial guard. It ends in the samurai surrendering to avoid the destruction of the forest (mori). The word 'mori' in itself is ambivalent in that in Japanese it conjures an image of regeneration or rebirth and in Latin that of death.
This novel has been considered as a main example of the current of Magic Realism in Japanese Literature. Other Japanese authors with considerable literary contributions to this genre are: Abe Kobo, Yasunari Kawabata and Yasushi Inoue.
zuò zhě shì xīn lǐ miáo xiě de zhuān jiā， zuì xīn yú bìng tài de xīn lǐ miáo xiě， bù jǐn xiě xíng wéi de jiēguǒ， ér qiě zhuózhòng miáo shù xíng wéi fā shēng de xīn lǐ huó dòng guò chéng， tè bié shì nà xiē zì jué bù zì jué de fǎn cháng xíng wéi、 jìn hū hūn mí yǔ fēng kuáng de fǎn cháng zhuàng tài。 ér rén wù de sī xiǎng xíng wéi fǎn cháng， qià qià yòu shì tā zuò pǐn de tè diǎn。《 pǔ luó hā 'ěr qīn xiān shēng》 zhōng de pǔ luó hā 'ěr qīn，《 cuì ruò de xīn》 zhōng de shū mǔ kē fū，《 huāng táng rén de mèng》、《 zhuō liè de xiào huà》、《 xìng gé wēn hé de nǚ rén》 yǐ jí《 bái yè》 zhōng de zhù rén gōng， dōushì“ fǎn cháng” de guài rén。 zuò zhě sì hū xiǎng tōng guò rén wù de guāi zhāng xíng wéi、 huàn xiǎng、 zuò mèng、 hūn mí、 fā fēng děng děng lái fǎn yìng xiàn shí， zào chéng bié jù yī gé de zhēn shí， yīn wéi tā rèn wéi“ àn zhào xiàn shí de běn lái miàn mù lái biǎo xiàn xiàn shí shì bù kě néng de”。 yě xǔ， zhè yī diǎn zhèng shì zuò zhě yì shù de dú tè chù。
zuò zhě bǐ xià de rén wù， suī rán dì wèi dī wēi， xíng wéi fǎn cháng， huāng táng kě xiào， dàn nèi xīn lǐ què huò duō huò shǎo dì bǎo liú zhe mǒu xiē gāo shàng de pǐn zhì， bǐ rú《 bō 'ěr tǎn kē fū》 zhōng de zhù rén gōng bō 'ěr tǎn kē fū suī rán shì yī gè“ huò zhēn jià shí de shòu kǔ shòu nán zhě”， dàn què“ xīn dì shàn liáng”， shì“ shì jiè shàng zuì zuì chéng shí、 zuì zuì gāo shàng de yī gè，”“ shèn zhì gǎn yú shějǐ jiù rén”，“ yòu shí tā hái gān mào fēng xiǎn， bù xī xī shēng zì jǐ de yī qiē， jīhū yòu diǎn yīng xióng qì gài”。 jiù shì“ ài cái rú mìng” de pǔ luó hā 'ěr qīn xiān shēng“ suī rán bù shì chū shēn míng mén wàng zú， wéi rén què zhōng shí kě kào”， ér qiě hái shì yī gè“ xìng gé wēn hé de hǎo rén”。 zuò zhě suī rán xiě liǎo tā men bù shǎo huāng táng kě xiào de xíng wéi， dàn què méi yòu jiāng tā men chǒu huà， suǒ yǐ zhè xiē kǔ mìng rén de xíng xiàng zài dú zhě xīn zhōng jī qǐ de bù shì duì tā men de miè shì， ér shì shēn shēn de tóng qíng。 duì tā men huāng táng kě xiào de xíng wéi， wǒ men kě néng jìn bù zhù fā xiào， dàn xiào hòu yī xiǎng， yòu wǎng wǎng jué dé xiǎng kū， shèn zhì qíng bù zì jìn dì sǎ xià tóng qíng zhī lèi。 wǒ yǐ wéi zhè shì zuò zhě yì shù biǎo xiàn lì de gāo míng chù。
zuò zhě bǐ xià de rén wù， suī rán dì wèi dī wēi， xíng wéi fǎn cháng， huāng táng kě xiào， dàn nèi xīn lǐ què huò duō huò shǎo dì bǎo liú zhe mǒu xiē gāo shàng de pǐn zhì， bǐ rú《 bō 'ěr tǎn kē fū》 zhōng de zhù rén gōng bō 'ěr tǎn kē fū suī rán shì yī gè“ huò zhēn jià shí de shòu kǔ shòu nán zhě”， dàn què“ xīn dì shàn liáng”， shì“ shì jiè shàng zuì zuì chéng shí、 zuì zuì gāo shàng de yī gè，”“ shèn zhì gǎn yú shějǐ jiù rén”，“ yòu shí tā hái gān mào fēng xiǎn， bù xī xī shēng zì jǐ de yī qiē， jīhū yòu diǎn yīng xióng qì gài”。 jiù shì“ ài cái rú mìng” de pǔ luó hā 'ěr qīn xiān shēng“ suī rán bù shì chū shēn míng mén wàng zú， wéi rén què zhōng shí kě kào”， ér qiě hái shì yī gè“ xìng gé wēn hé de hǎo rén”。 zuò zhě suī rán xiě liǎo tā men bù shǎo huāng táng kě xiào de xíng wéi， dàn què méi yòu jiāng tā men chǒu huà， suǒ yǐ zhè xiē kǔ mìng rén de xíng xiàng zài dú zhě xīn zhōng jī qǐ de bù shì duì tā men de miè shì， ér shì shēn shēn de tóng qíng。 duì tā men huāng táng kě xiào de xíng wéi， wǒ men kě néng jìn bù zhù fā xiào， dàn xiào hòu yī xiǎng， yòu wǎng wǎng jué dé xiǎng kū， shèn zhì qíng bù zì jìn dì sǎ xià tóng qíng zhī lèi。 wǒ yǐ wéi zhè shì zuò zhě yì shù biǎo xiàn lì de gāo míng chù。
qián bù jiǔ wǒ mǎi dé yī chù fáng wū。 suǒ zài dì diǎn shí fēn jiā měi。 ràng rén jué dé jiù xiàng shì zài xī là yī yàng。 fáng wū sì zhōu de shù mù yědōu guī shǔ yú wǒ。 qí zhōng yòu yī zhū shù jù dà wú bǐ， zài xià tiān， lǜ yīn rú gài， wǒ bù huì yǐ rù shǔ wéi kǔ liǎo。 wǒ yào zhǎo rén xiū zhù yī zuò lù tiān píng tái。 huáng hūn shí fēn， zài píng tái shàng， wǒ jiāng tiào wàng xī là xī zhào……
zài zhè lǐ， zài mǒu xiē shí kè， yáng guāng shì chún yī 'ér jué duì de， bǎ yī qiēdōu zhào dé tōng tǐ fēn míng， shì duō zhòng xìng de， tóng shí yòu shì zhǔn què wú wù de， měng liè dì shè xiàng nà wéi yī de yī gè mù biāo……
héng héng yī jiǔ liù nián xià rì tīng dào de tán huà
zài zhè lǐ， zài mǒu xiē shí kè， yáng guāng shì chún yī 'ér jué duì de， bǎ yī qiēdōu zhào dé tōng tǐ fēn míng， shì duō zhòng xìng de， tóng shí yòu shì zhǔn què wú wù de， měng liè dì shè xiàng nà wéi yī de yī gè mù biāo……
héng héng yī jiǔ liù nián xià rì tīng dào de tán huà
huāng yuán láng shì gè nián jìn 50 de rén， míng jiào hā lì · hā lè。 jǐ nián qián， tā zū xià liǎo wǒ gū mā jiā de gé lóu， zài zhè lǐ zhù liǎo bù dào yī nián de shí jiān。 tā chén mò guǎ yán， bù 'ài jiāo jì， què shí xiàng tā zì chēng de nà yàng， shì yī zhǐ láng， yī gè mò shēng de、 yě xìng 'ér yòu dǎn qiè de、 lái zì lìng yī gè shì jiè de dòng wù。 tā de liǎn chōng mǎn zhì huì， biǎo qíng wēn róu， dàn nèi xīn shì jiè dòng dàng bù 'ān。 tā xiǎng de bǐ bié rén duō， zhì lì shàng jù yòu nà zhǒng jìn hū lěng jìng de kè guān xìng。 zhè zhǒng rén méi yòu xū róng xīn， tā men cóng bù xī wàng shǎn guāng， cóng bù gù zhí jǐ jiàn。
wǒ yī kāi shǐ jiù zhù yì dào tā yǔ zhòng bù tóng， wǒ jué dé zhè gè rén yòu mǒu zhǒng jīng shén bìng huò yōu yù zhèng。 yòu yī tiān， tā zài fù qīng yī qiē qiàn kuǎn hòu， qiǎo wú shēng xī dì lí kāi liǎo wǒ men de chéng shì， cóng cǐ yǐ hòu jiù yǎo wú yīn xìn liǎo。 tā bǎ tā de yī fèn shǒu gǎo liú gěi liǎo wǒ。 tōng guò yuè dú tā de shǒu jì wǒ cái rèn shí dào， tā de jīng shén bìng bìng bù shì shénme gè rén de qí sī guài xiǎng， ér shì zhè gè shí dài de tōng bìng。 xià miàn shì tā de shǒu jì：
zhè yī tiān yòu xiàng wǎng cháng nà yàng guò qù liǎo： yī zhǒng jì wú tè shū tòng kǔ yòu wú tè shū yōu lǜ， jì wú zhēn zhèng kǔ nǎo yě wú jué wàng de rì zǐ。 zài dà duō shù rén kàn lái， zhè shì yī jiàn měi shì。 yí hàn de shì wǒ shòu bù liǎo zhè zhǒng píng jìng de shēng huó， wǒ zǒng shì rán qǐ duì qiáng liè gǎn qíng de kě wàng。 yè mù jiàng lín， wǒ lái dào shí fēn 'ān jìng de lǎo chéng qū， tū rán cóng yī tiáo qī hēi de hú tóng lǐ cuàn chū yī gè rén， káng zhe guǎng gào pái， shàng miàn xiě zhe“ wú zhèng fǔ zhù yì de wǎn huì ! mó shù jù héng héng xiàn zhì rù……”。 wǒ xiǎng mǎi piào jìn rù， dàn shì tā diū gěi wǒ yī běn shū zhī hòu， zhuǎn yǎn zhī jiān jiù bù jiàn liǎo。
huí jiā hòu， wǒ cóng dà yī zhōng tāo chū nà běn shū， shū míng shì《 lùn huāng yuán láng héng héng jǐn gōng kuáng rén yuè dú》。 zhè běn xiǎo cè zǐ háo wú yǎn shì dì gòu huà chū wǒ yù yù guǎ huān de rén shēng， ér qiě shū de zhù rén gōng jìng rán yě jiào hā lì。
yòu yī tiān wǒ zài chéng jiāo yù dào yī gè bìn zàng duì， fā xiàn yòu gè rén hěn miàn shú， hǎo xiàng jiù shì nà gè káng guǎng gào pái de rén。 tā gào sù wǒ， rú guǒ xū yào xiāo qiǎn jiù dào hēi yīng jiǔ diàn qù。 dào liǎo nà 'ér zhī hòu， wǒ yù dào liǎo yī gè hěn piào liàng de gū niàn， wǒ men yǒu hǎo dì tán liǎo qǐ lái。 zhè gè gū niàn hěn liǎo jiě wǒ， quàn wǒ bù yào qīng shēng， hái jiào wǒ tiào wǔ。 wǒ men yuē hǎo xià cì jiàn miàn。
zhè wèi gū niàn míng jiào hè 'ěr mǐ lā， tā shǐ wǒ duì shēng huó chǎn shēng liǎo xīn de xīng qù。 wǒ men zài yī jiā jiǔ diàn jiàn miàn， hè 'ěr mǐ lā gěi wǒ jiè shào liǎo yī wèi jiào mǎ lì yà de gū niàn。 tā shuō yào ràng wǒ xué huì liàn 'ài。 yī zhǒng xīn de、 kě pà de、 wǎ jiě yī qiē de dōng xī zhèng cóng sì miàn bā fāng yǒng lái。 jǐ tiān hòu， wǒ hé tā men yī qǐ cān jiā yī gè huà zhuāng wǔ huì。 wǔ huì zhī hòu， yòu rén gào sù wǒ hè 'ěr mǐ lā zài“ dì yù” lǐ děng wǒ。 wǒ jìn rù dì xià shì， kàn dào hěn duō fáng jiān， měi gè fáng jiān dū dài biǎo zhe rén lèi líng hún gè gè shén mì de cè miàn。 zài zuì hòu yī gè fáng jiān nèi， wǒ kàn dào hè 'ěr mǐ lā hé yī gè nán rén chì shēn luǒ tǐ de tǎng zài yī qǐ。 kuáng nù zhī xià， wǒ cì sǐ liǎo hè 'ěr mǐ lā。
zài yī gè guāng tū tū de yuàn zǐ lǐ， fǎ guān pàn wǒ yǒng shēng， hái fá wǒ bèi chǐ xiào yī cì。 yīn wéi wǒ yòng jìng zǐ lǐ de dāo shā sǐ liǎo jìng zǐ lǐ de gū niàn， qǐ tú bǎ mó shù jù dàngzuò zì shā de gōng jù。 nà gè hé hè 'ěr mǐ lā zài yī qǐ de nán rén， bǎ suō chéng yī gè qí zǐ dà xiǎo de hè 'ěr mǐ lā zhuāng jìn liǎo kǒu dài。
wǒ cāi dào liǎo zhè jiàn shì de yì yì， wǒ huì bǎ yóu xì wán dé gèng hǎo。
huāng yuán láng - xīn shǎng dǎo háng
《 huāng yuán láng》 shì yī bù chōng mǎn liǎo kuáng bào huàn xiǎng、 jù yòu biǎo xiàn zhù yì sè cǎi de xiǎo shuō。 xiǎo shuō xiān shì xū nǐ liǎo yī gè chū bǎn zhě duì hā lè de shǒu jì de dì yī rén chēng xù shù， miáo shù liǎo hā lè zhè gè rén wù de xíng xiàng hé xíng wéi tè zhēng。 rán hòu yòu gēn jù hā lè liú xià de shǒu jì， tōng guò lìng yī gè de dì yī rén chēng xù shù zhǎn kāi hòu miàn de qíng jié。 hēi sài zài xiǎo shuō zhōng dà liàng yùn yòng liǎo mèng huàn xíng shì， bǎ dì yī cì shì jiè dà zhàn zhī hòu de yī gè zhōng nián 'ōu zhōu zhī shí fènzǐ de nèi xīn shì jiè lín lí jìn zhì dì zhǎn shì chū lái， shǐ qí chéng wéi 20 shì jì xī fāng xiǎo shuō de jīng diǎn zhī zuò。
zuò pǐn zhù rén gōng hā lè shì cái zhì zhī shì， yòu zhe fēng fù xì nì de nèi xīn shì jiè。 tā hěn gū dú， hěn shǎo xiàng bié rén chǎng kāi xīn fēi。 tā hǎo xiàng shì lái zì lìng wài yī gè xīng qiú， duì rén shì jiān de xū róng、 zuò zuò、 zhuī míng zhú lì hé zì sī qiǎn bó jí qí yàn 'è。 dàn yǔ cǐ tóng shí tā yòu fā xiàn， zì jǐ de zhè zhǒng yàn 'è gǎn gèng duō de shì zhǐ xiàng zì jǐ。 zhèng yīn wéi rú cǐ， hā lè shí shí kè kè chǔyú yī zhǒng jù dà de fēn liè hé tòng kǔ zhī zhōng， yòng tā de huà lái shuō， jiù shì tā shēn shàng yòu liǎng zhǒng jié rán xiāng fǎn de dōng xī zài dǒu zhēng zhe： láng xìng hé rén xìng。 rén xìng hé láng xìng hù bù xié diào， dāng rén xìng chén shuì 'ér láng xìng sū xǐng de shí hòu， hā lè jiù zǒu xiàng duò luò； dāng rén xìng sū xǐng 'ér láng xìng chén shuì de shí hòu， hā lè jiù huì duì zì jǐ de duò luò hé zuì 'è chōng mǎn yàn 'è。 zhèng shì rén xìng hé láng xìng de yán zhòng dí duì， shǐ hā lè chǎn shēng liǎo gū dú gǎn hé zì shā qīng xiàng。
nà me zhěng jiù zhī lù zài nǎ lǐ ? yī kāi shǐ， hā lè qǐ tú yòng shēn shàng de rén xìng qù yā zhì láng xìng， dàn jiēguǒ què shì bù duàn xiàn rù gèng dà de kǔ mèn zhī zhōng。 rán hòu tā yòng láng xìng lái qǔ dài rén xìng， zé gèng xíng bù tōng。 zhè qí shí shuō míng， hā lè jiāng rén de běn xìng jiǎn dān dì kàn chéng láng xìng hé rén xìng de 'èr yuán duì lì shì cuò wù de， shì yī zhǒng“ háo wú xī wàng de 'ér xì”，“ shì duì xiàn shí de qiáng jiān”。 rèn shí wǔ nǚ hè 'ěr mǐ lā zhī hòu， hā lè zhú jiàn rèn shí dào liǎo zhè gè cuò wù。 jīng hè 'ěr mǐ lā jiè shào， hā lè xiān hòu rèn shí liǎo wǔ nǚ mǎ lì yà hé hè 'ěr mǐ lā de nán yǒu、 yīnyuè shī bā bó luó。 zài tā men de xūn táo zhī xià， hā lè zhú jiàn jiē shòu liǎo xǔ duō zì jǐ yuán xiān gēn běn bù néng jiē shòu de dōng xī。 tā rèn shí dào， rén de běn xìng jí qí fù zá， bù shì yóu liǎng zhǒng 'ér shì yóu shàng bǎi zhǒng、 shàng qiān zhǒng běn zhì gòu chéng， bù shì zài liǎng jí zhī jiān yáo bǎi， ér shì zài wú shù duì jí xìng zhī jiān yáo bǎi。
zài xiǎo shuō zuì hòu de“ mó shù jù” zhōng， hā lè zhōng yú zhǎo dào liǎo zhēn zhèng de jiě jiù zhī dào。 zhèng yīn wéi shì jiè hé zì wǒdōu shì duō yuán de 'ér bù shì 'èr yuán de， suǒ yǐ wú lùn shì huí guī rén xìng hái shì huí guī láng xìng dōushì wǎng rán。“ huí tóu gēn běn méi yòu lù， jì huí bù dào láng nà lǐ， yě huí bù dào 'ér tóng shí dài”。 miàn duì zhè gè shì jiè suǒ yòu de bèi miù hé huāng dàn， zhǐ yòu yòng xiào hé yōu mò lái duì fù。 xiǎo shuō de zuì hòu， hā lè zhōng yú jiāng shēng huó xì jù de suǒ yòu“ shí wàn” gè qí zǐ zhuāng jìn kǒu dài， ér qiě jué dìng fǎn fù qù tǐ huì shēng cún de tòng kǔ， jiāng yóu xì wán dé gèng hǎo xiē，“ zǒng yòu yī tiān huì xué huì xiào”。
Background and publication history
In 1924 Hermann Hesse remarried wedding singer Ruth Wenger. After several weeks however, he left Basel, only returning near the end of the year. Upon his return he rented a separate apartment, adding to his isolation. After a short trip to Germany with Wenger, Hesse stopped seeing her almost completely. The resulting feeling of isolation and inability to make lasting contact with the outside world, led to increasing despair and thoughts of suicide.
Hesse began writing Steppenwolf in Basel, and finished it in Zürich. In 1926, a precursor to the book, a collection of poems titled The Crisis. From Hermann Hesse's Diary was published. The novel was later released in 1927. The first English edition was published in 1929 by Martin Secker in the United Kingdom and by Henry Holt and Company in the United States. This version was translated by Basil Creighton.
Plot summary
The book is presented as a manuscript by its protagonist, a middle-aged man named Harry Haller, who leaves it to a chance acquaintance, the nephew of his landlady. The acquaintance adds a short preface of his own and then has the manuscript published. The title of this "real" book-in-the-book is Harry Haller's Records (For Madmen Only).
As it begins, the hero is beset by reflections on his being ill-suited for the world of everyday regular people, specifically for frivolous bourgeois society. In his aimless wanderings about the city he encounters a person carrying an advertisement for a magic theatre who gives him a small book, Treatise on the Steppenwolf. This treatise, cited in full in the novel's text as Harry reads it, addresses Harry by name and strikes him as describing himself uncannily. It is a discourse of a man who believes himself to be of two natures: one high, the spiritual nature of man; while the other is low, animalistic; a "wolf of the steppes". This man is entangled in an irresolvable struggle, never content with either nature because he cannot see beyond this self-made concept. The pamphlet gives an explanation of the multifaceted and indefinable nature of every man's soul, which Harry is either unable or unwilling to recognize. It also discusses his suicidal intentions, describing him as one of the "suicides"; people who, deep down, knew they would take their own life one day. But to counter this it hails his potential to be great, to be one of the "Immortals".
The next day Harry meets a former academic friend with whom he had often discussed Indian mythology, and who invites Harry to his home. While there, Harry is disgusted by the nationalistic mentality of his friend, who inadvertently criticizes a column written by Harry, and offends the man and his wife by criticizing his wife's picture of Goethe, which Harry feels is too thickly sentimental and insulting to Goethe's true brilliance, reassuring the proposition that Harry is, and will always be a stranger to his society.
Trying to postpone returning home (to where he has planned suicide), Harry walks aimlessly around the town for most of the night, finally stopping to rest at a dance hall where he happens on a young woman, Hermine, who quickly recognizes his desperation. They talk at length; Hermine alternately mocks Harry's self-pity and indulges him in his explanations regarding his view of life, to his astonished relief. Hermine promises a second meeting, and provides Harry with a reason to live (or at least a substantial excuse that justifies his decision to continue living) that he eagerly embraces.
During the next few weeks, Hermine introduces Harry to the indulgences of what he calls the "bourgeois". She teaches Harry to dance, introduces him to the casual use of drugs, finds him a lover (Maria), and more importantly, forces him to accept these as legitimate and worthy aspects of a full life.
The Magic Theatre
Hermine also introduces Harry to a mysterious saxophonist named Pablo, who appears to be the very opposite of what Harry considers a serious, thoughtful man. After attending a lavish masquerade ball, Pablo brings Harry to his metaphorical "magic theatre", where concerns and notions that plagued his soul disintegrate while he participates with the ethereal and phantasmal. The Magic Theatre is a place where he experiences the fantasies that exist in his mind. They are described as a long horseshoe-shaped corridor that is a mirror on one side and a great many doors on the other. Then, Harry enters five of these labeled doors, each of which symbolizes a fraction of his life.
Major characters
* Harry Haller – the protagonist, a middle-aged man
* Pablo – a saxophonist
* Hermine – a young woman Haller meets at a dance
* Maria – Hermine's friend
Character relationship diagram
Critical analysis
In the preface to the novel's 1960 edition, Hesse wrote that Steppenwolf was "more often and more violently misunderstood" than any of his other books. Hesse felt that his readers focused only on the suffering and despair that are depicted in Harry Haller's life, thereby missing the possibility of transcendence and healing. This could be due to the fact that at that time Western readers were not familiar with Buddhist philosophy, and therefore missed the point when reading it, because the notion of a human being consisting of a myriad of fragments of different souls is in complete contradiction of Judeo-Christian theologies. Also in the novel, Pablo instructs Harry Haller to relinquish his personality at one point, or at least for the duration of his journey through the corridors of the Magic Theater. In order to do so Harry must learn to use laughter to overcome the tight grip of his personality, to literally laugh at his personality until it shatters into so many small pieces. This concept also ran counter to the egocentric Western culture.
Hermann Hesse in 1926
Hesse is a master at blurring the distinction between reality and fantasy. In the moment of climax, it's debatable whether Haller actually kills Hermine or whether the "murder" is just another hallucination in the Magic Theater. It is argued that Hesse does not define reality based on what occurs in physical time and space; rather, reality is merely a function of metaphysical cause and effect. What matters is not whether the murder actually occurred, but rather that at that moment it was Haller's intention to kill Hermine. In that sense, Haller's various states of mind are of more significance than his actions.
It is also notable that the very existence of Hermine in the novel is never confirmed; the manuscript left in Harry Haller's room reflects a story that completely revolves around his personal experiences. In fact when Harry asks Hermine what her name is, she turns the question around. When he is challenged to guess her name, he tells her that she reminds him of a childhood friend named Hermann, and therefore he concludes, her name must be Hermine. Metaphorically, Harry creates Hermine as if a fragment of his own soul has broken off to form a female counterpart.
The underlying theme of transcendence is shown within group interaction and dynamics. Throughout the novel Harry concerns himself with being different, with separating himself from those he is around. Harry believes that he is better than his surroundings and fails to understand why he cannot be recognized as such, which raises the idea that in order to rise above a group one must first become one with a part of it.
The multilayered soul of human nature is the major theme in the novel and its two main characters, Harry Haller and Hermine, illustrate this. Harry illustrates through an inner conflict and an outer conflict. Inwardly, he believes two opposing natures battle over possession of him, a man and a wolf, high and low, spirit and animal. While he actually longs to live as a wolf free of social convention, he lives as a bourgeois bachelor, but his opposing wolfish nature isolates him from others until he meets Hermine.
Hermine represents the duality of human nature through an outer conflict. Hermine is a socialite, a foil to the isolated bachelor, and she coerces Harry to agree to subject himself to society, learning from her, in exchange for her murder. As Harry struggles through social interaction his isolation diminishes and he and Hermine grow closer to one another as the moment of her death approaches. The climax of the dualistic struggle culminates in the Magic Theater where Harry, seeing himself as a wolf, murders Hermine the socialite.
Critical reception
Later German Edition
From the very beginning, reception was harsh. American novelist Jack Kerouac dismissed it in Big Sur (1962) and it has had a long history of mixed critical reception and opinion at large. Already upset with Hesse's novel Siddhartha, political activists and patriots railed against him, and against the book, seeing an opportunity to discredit Hesse. Even close friends and longtime readers criticized the novel for its perceived lack of morality in its open depiction of sex and drug use, a criticism that indeed remained the primary rebuff of the novel for many years. However as society changed and formerly taboo topics such as sex and drugs became more openly discussed, critics came to attack the book for other reasons; mainly that it was too pessimistic, and that it was a journey in the footsteps of a psychotic and showed humanity through his warped and unstable viewpoint, a fact that Hesse did not dispute, although he did respond to critics by noting the novel ends on a theme of new hope.
Popular interest in the novel was renewed in the 1960s, primarily because it was seen as a counterculture book and because of its depiction of free love and frank drug usage. It was also introduced in many new colleges for study and interest in the book and in Hermann Hesse was feted in America for more than a decade afterwards.
"Treatise on the Steppenwolf"
The "Treatise on the Steppenwolf" is a booklet given to Harry Haller which describes himself. It is a literary mirror and, from the outset, describes what Harry had not learned, namely "to find contentment in himself and his own life." The cause of his discontent was the perceived dualistic nature of a human and a wolf within Harry. The treatise describes, as earmarks of his life, a threefold manifestation of his discontent: one, isolation from others, two, suicidal tendencies, and three, relation to the bourgeois. Harry isolates himself from others socially and professionally, frequently resists the temptation to take his life, and experiences feelings of benevolence and malevolence for bourgeois notions. The booklet predicts Harry may come to terms with his state in the dawning light of humor.
References in popular culture
Hesse's 1928 short story "Harry, the Steppenwolf" forms a companion piece to the novel. It is about a wolf named Harry who is kept in a zoo, and who entertains crowds by destroying images of German cultural icons like Goethe and Mozart.
The name Steppenwolf has become notable in popular culture for various organizations and establishments. In 1967, the band Steppenwolf, headed by German-born singer John Kay, took their name from the novel. The Belgian band DAAU (die Anarchistische Abendunterhaltung) is named after one of the advertising slogans of the novel's magical theatre. The Steppenwolf Theatre Company in Chicago, which was founded in 1974 by actor Gary Sinise, also took its name from the novel. The 'lengthy track "Steppenwolf" appears on English rock band Hawkwind's album Astounding Sounds, Amazing Music and is directly inspired by the novel, including references to the magic theatre and the dual nature of the wolfman-manwolf (lutocost). Robert Calvert had initially written and performed the lyrics on 'Distances Between Us' by Adrian Wagner in 1974. The song also appears on later, live Hawkwind CD's and DVDs.
````
Film, TV or theatrical adaptations
The novel was adapted into a film of the same name in 1974. Starring Max Von Sydow and Dominique Sanda, it was directed by Fred Haines.
wǒ yī kāi shǐ jiù zhù yì dào tā yǔ zhòng bù tóng， wǒ jué dé zhè gè rén yòu mǒu zhǒng jīng shén bìng huò yōu yù zhèng。 yòu yī tiān， tā zài fù qīng yī qiē qiàn kuǎn hòu， qiǎo wú shēng xī dì lí kāi liǎo wǒ men de chéng shì， cóng cǐ yǐ hòu jiù yǎo wú yīn xìn liǎo。 tā bǎ tā de yī fèn shǒu gǎo liú gěi liǎo wǒ。 tōng guò yuè dú tā de shǒu jì wǒ cái rèn shí dào， tā de jīng shén bìng bìng bù shì shénme gè rén de qí sī guài xiǎng， ér shì zhè gè shí dài de tōng bìng。 xià miàn shì tā de shǒu jì：
zhè yī tiān yòu xiàng wǎng cháng nà yàng guò qù liǎo： yī zhǒng jì wú tè shū tòng kǔ yòu wú tè shū yōu lǜ， jì wú zhēn zhèng kǔ nǎo yě wú jué wàng de rì zǐ。 zài dà duō shù rén kàn lái， zhè shì yī jiàn měi shì。 yí hàn de shì wǒ shòu bù liǎo zhè zhǒng píng jìng de shēng huó， wǒ zǒng shì rán qǐ duì qiáng liè gǎn qíng de kě wàng。 yè mù jiàng lín， wǒ lái dào shí fēn 'ān jìng de lǎo chéng qū， tū rán cóng yī tiáo qī hēi de hú tóng lǐ cuàn chū yī gè rén， káng zhe guǎng gào pái， shàng miàn xiě zhe“ wú zhèng fǔ zhù yì de wǎn huì ! mó shù jù héng héng xiàn zhì rù……”。 wǒ xiǎng mǎi piào jìn rù， dàn shì tā diū gěi wǒ yī běn shū zhī hòu， zhuǎn yǎn zhī jiān jiù bù jiàn liǎo。
huí jiā hòu， wǒ cóng dà yī zhōng tāo chū nà běn shū， shū míng shì《 lùn huāng yuán láng héng héng jǐn gōng kuáng rén yuè dú》。 zhè běn xiǎo cè zǐ háo wú yǎn shì dì gòu huà chū wǒ yù yù guǎ huān de rén shēng， ér qiě shū de zhù rén gōng jìng rán yě jiào hā lì。
yòu yī tiān wǒ zài chéng jiāo yù dào yī gè bìn zàng duì， fā xiàn yòu gè rén hěn miàn shú， hǎo xiàng jiù shì nà gè káng guǎng gào pái de rén。 tā gào sù wǒ， rú guǒ xū yào xiāo qiǎn jiù dào hēi yīng jiǔ diàn qù。 dào liǎo nà 'ér zhī hòu， wǒ yù dào liǎo yī gè hěn piào liàng de gū niàn， wǒ men yǒu hǎo dì tán liǎo qǐ lái。 zhè gè gū niàn hěn liǎo jiě wǒ， quàn wǒ bù yào qīng shēng， hái jiào wǒ tiào wǔ。 wǒ men yuē hǎo xià cì jiàn miàn。
zhè wèi gū niàn míng jiào hè 'ěr mǐ lā， tā shǐ wǒ duì shēng huó chǎn shēng liǎo xīn de xīng qù。 wǒ men zài yī jiā jiǔ diàn jiàn miàn， hè 'ěr mǐ lā gěi wǒ jiè shào liǎo yī wèi jiào mǎ lì yà de gū niàn。 tā shuō yào ràng wǒ xué huì liàn 'ài。 yī zhǒng xīn de、 kě pà de、 wǎ jiě yī qiē de dōng xī zhèng cóng sì miàn bā fāng yǒng lái。 jǐ tiān hòu， wǒ hé tā men yī qǐ cān jiā yī gè huà zhuāng wǔ huì。 wǔ huì zhī hòu， yòu rén gào sù wǒ hè 'ěr mǐ lā zài“ dì yù” lǐ děng wǒ。 wǒ jìn rù dì xià shì， kàn dào hěn duō fáng jiān， měi gè fáng jiān dū dài biǎo zhe rén lèi líng hún gè gè shén mì de cè miàn。 zài zuì hòu yī gè fáng jiān nèi， wǒ kàn dào hè 'ěr mǐ lā hé yī gè nán rén chì shēn luǒ tǐ de tǎng zài yī qǐ。 kuáng nù zhī xià， wǒ cì sǐ liǎo hè 'ěr mǐ lā。
zài yī gè guāng tū tū de yuàn zǐ lǐ， fǎ guān pàn wǒ yǒng shēng， hái fá wǒ bèi chǐ xiào yī cì。 yīn wéi wǒ yòng jìng zǐ lǐ de dāo shā sǐ liǎo jìng zǐ lǐ de gū niàn， qǐ tú bǎ mó shù jù dàngzuò zì shā de gōng jù。 nà gè hé hè 'ěr mǐ lā zài yī qǐ de nán rén， bǎ suō chéng yī gè qí zǐ dà xiǎo de hè 'ěr mǐ lā zhuāng jìn liǎo kǒu dài。
wǒ cāi dào liǎo zhè jiàn shì de yì yì， wǒ huì bǎ yóu xì wán dé gèng hǎo。
huāng yuán láng - xīn shǎng dǎo háng
《 huāng yuán láng》 shì yī bù chōng mǎn liǎo kuáng bào huàn xiǎng、 jù yòu biǎo xiàn zhù yì sè cǎi de xiǎo shuō。 xiǎo shuō xiān shì xū nǐ liǎo yī gè chū bǎn zhě duì hā lè de shǒu jì de dì yī rén chēng xù shù， miáo shù liǎo hā lè zhè gè rén wù de xíng xiàng hé xíng wéi tè zhēng。 rán hòu yòu gēn jù hā lè liú xià de shǒu jì， tōng guò lìng yī gè de dì yī rén chēng xù shù zhǎn kāi hòu miàn de qíng jié。 hēi sài zài xiǎo shuō zhōng dà liàng yùn yòng liǎo mèng huàn xíng shì， bǎ dì yī cì shì jiè dà zhàn zhī hòu de yī gè zhōng nián 'ōu zhōu zhī shí fènzǐ de nèi xīn shì jiè lín lí jìn zhì dì zhǎn shì chū lái， shǐ qí chéng wéi 20 shì jì xī fāng xiǎo shuō de jīng diǎn zhī zuò。
zuò pǐn zhù rén gōng hā lè shì cái zhì zhī shì， yòu zhe fēng fù xì nì de nèi xīn shì jiè。 tā hěn gū dú， hěn shǎo xiàng bié rén chǎng kāi xīn fēi。 tā hǎo xiàng shì lái zì lìng wài yī gè xīng qiú， duì rén shì jiān de xū róng、 zuò zuò、 zhuī míng zhú lì hé zì sī qiǎn bó jí qí yàn 'è。 dàn yǔ cǐ tóng shí tā yòu fā xiàn， zì jǐ de zhè zhǒng yàn 'è gǎn gèng duō de shì zhǐ xiàng zì jǐ。 zhèng yīn wéi rú cǐ， hā lè shí shí kè kè chǔyú yī zhǒng jù dà de fēn liè hé tòng kǔ zhī zhōng， yòng tā de huà lái shuō， jiù shì tā shēn shàng yòu liǎng zhǒng jié rán xiāng fǎn de dōng xī zài dǒu zhēng zhe： láng xìng hé rén xìng。 rén xìng hé láng xìng hù bù xié diào， dāng rén xìng chén shuì 'ér láng xìng sū xǐng de shí hòu， hā lè jiù zǒu xiàng duò luò； dāng rén xìng sū xǐng 'ér láng xìng chén shuì de shí hòu， hā lè jiù huì duì zì jǐ de duò luò hé zuì 'è chōng mǎn yàn 'è。 zhèng shì rén xìng hé láng xìng de yán zhòng dí duì， shǐ hā lè chǎn shēng liǎo gū dú gǎn hé zì shā qīng xiàng。
nà me zhěng jiù zhī lù zài nǎ lǐ ? yī kāi shǐ， hā lè qǐ tú yòng shēn shàng de rén xìng qù yā zhì láng xìng， dàn jiēguǒ què shì bù duàn xiàn rù gèng dà de kǔ mèn zhī zhōng。 rán hòu tā yòng láng xìng lái qǔ dài rén xìng， zé gèng xíng bù tōng。 zhè qí shí shuō míng， hā lè jiāng rén de běn xìng jiǎn dān dì kàn chéng láng xìng hé rén xìng de 'èr yuán duì lì shì cuò wù de， shì yī zhǒng“ háo wú xī wàng de 'ér xì”，“ shì duì xiàn shí de qiáng jiān”。 rèn shí wǔ nǚ hè 'ěr mǐ lā zhī hòu， hā lè zhú jiàn rèn shí dào liǎo zhè gè cuò wù。 jīng hè 'ěr mǐ lā jiè shào， hā lè xiān hòu rèn shí liǎo wǔ nǚ mǎ lì yà hé hè 'ěr mǐ lā de nán yǒu、 yīnyuè shī bā bó luó。 zài tā men de xūn táo zhī xià， hā lè zhú jiàn jiē shòu liǎo xǔ duō zì jǐ yuán xiān gēn běn bù néng jiē shòu de dōng xī。 tā rèn shí dào， rén de běn xìng jí qí fù zá， bù shì yóu liǎng zhǒng 'ér shì yóu shàng bǎi zhǒng、 shàng qiān zhǒng běn zhì gòu chéng， bù shì zài liǎng jí zhī jiān yáo bǎi， ér shì zài wú shù duì jí xìng zhī jiān yáo bǎi。
zài xiǎo shuō zuì hòu de“ mó shù jù” zhōng， hā lè zhōng yú zhǎo dào liǎo zhēn zhèng de jiě jiù zhī dào。 zhèng yīn wéi shì jiè hé zì wǒdōu shì duō yuán de 'ér bù shì 'èr yuán de， suǒ yǐ wú lùn shì huí guī rén xìng hái shì huí guī láng xìng dōushì wǎng rán。“ huí tóu gēn běn méi yòu lù， jì huí bù dào láng nà lǐ， yě huí bù dào 'ér tóng shí dài”。 miàn duì zhè gè shì jiè suǒ yòu de bèi miù hé huāng dàn， zhǐ yòu yòng xiào hé yōu mò lái duì fù。 xiǎo shuō de zuì hòu， hā lè zhōng yú jiāng shēng huó xì jù de suǒ yòu“ shí wàn” gè qí zǐ zhuāng jìn kǒu dài， ér qiě jué dìng fǎn fù qù tǐ huì shēng cún de tòng kǔ， jiāng yóu xì wán dé gèng hǎo xiē，“ zǒng yòu yī tiān huì xué huì xiào”。
Background and publication history
In 1924 Hermann Hesse remarried wedding singer Ruth Wenger. After several weeks however, he left Basel, only returning near the end of the year. Upon his return he rented a separate apartment, adding to his isolation. After a short trip to Germany with Wenger, Hesse stopped seeing her almost completely. The resulting feeling of isolation and inability to make lasting contact with the outside world, led to increasing despair and thoughts of suicide.
Hesse began writing Steppenwolf in Basel, and finished it in Zürich. In 1926, a precursor to the book, a collection of poems titled The Crisis. From Hermann Hesse's Diary was published. The novel was later released in 1927. The first English edition was published in 1929 by Martin Secker in the United Kingdom and by Henry Holt and Company in the United States. This version was translated by Basil Creighton.
Plot summary
The book is presented as a manuscript by its protagonist, a middle-aged man named Harry Haller, who leaves it to a chance acquaintance, the nephew of his landlady. The acquaintance adds a short preface of his own and then has the manuscript published. The title of this "real" book-in-the-book is Harry Haller's Records (For Madmen Only).
As it begins, the hero is beset by reflections on his being ill-suited for the world of everyday regular people, specifically for frivolous bourgeois society. In his aimless wanderings about the city he encounters a person carrying an advertisement for a magic theatre who gives him a small book, Treatise on the Steppenwolf. This treatise, cited in full in the novel's text as Harry reads it, addresses Harry by name and strikes him as describing himself uncannily. It is a discourse of a man who believes himself to be of two natures: one high, the spiritual nature of man; while the other is low, animalistic; a "wolf of the steppes". This man is entangled in an irresolvable struggle, never content with either nature because he cannot see beyond this self-made concept. The pamphlet gives an explanation of the multifaceted and indefinable nature of every man's soul, which Harry is either unable or unwilling to recognize. It also discusses his suicidal intentions, describing him as one of the "suicides"; people who, deep down, knew they would take their own life one day. But to counter this it hails his potential to be great, to be one of the "Immortals".
The next day Harry meets a former academic friend with whom he had often discussed Indian mythology, and who invites Harry to his home. While there, Harry is disgusted by the nationalistic mentality of his friend, who inadvertently criticizes a column written by Harry, and offends the man and his wife by criticizing his wife's picture of Goethe, which Harry feels is too thickly sentimental and insulting to Goethe's true brilliance, reassuring the proposition that Harry is, and will always be a stranger to his society.
Trying to postpone returning home (to where he has planned suicide), Harry walks aimlessly around the town for most of the night, finally stopping to rest at a dance hall where he happens on a young woman, Hermine, who quickly recognizes his desperation. They talk at length; Hermine alternately mocks Harry's self-pity and indulges him in his explanations regarding his view of life, to his astonished relief. Hermine promises a second meeting, and provides Harry with a reason to live (or at least a substantial excuse that justifies his decision to continue living) that he eagerly embraces.
During the next few weeks, Hermine introduces Harry to the indulgences of what he calls the "bourgeois". She teaches Harry to dance, introduces him to the casual use of drugs, finds him a lover (Maria), and more importantly, forces him to accept these as legitimate and worthy aspects of a full life.
The Magic Theatre
Hermine also introduces Harry to a mysterious saxophonist named Pablo, who appears to be the very opposite of what Harry considers a serious, thoughtful man. After attending a lavish masquerade ball, Pablo brings Harry to his metaphorical "magic theatre", where concerns and notions that plagued his soul disintegrate while he participates with the ethereal and phantasmal. The Magic Theatre is a place where he experiences the fantasies that exist in his mind. They are described as a long horseshoe-shaped corridor that is a mirror on one side and a great many doors on the other. Then, Harry enters five of these labeled doors, each of which symbolizes a fraction of his life.
Major characters
* Harry Haller – the protagonist, a middle-aged man
* Pablo – a saxophonist
* Hermine – a young woman Haller meets at a dance
* Maria – Hermine's friend
Character relationship diagram
Critical analysis
In the preface to the novel's 1960 edition, Hesse wrote that Steppenwolf was "more often and more violently misunderstood" than any of his other books. Hesse felt that his readers focused only on the suffering and despair that are depicted in Harry Haller's life, thereby missing the possibility of transcendence and healing. This could be due to the fact that at that time Western readers were not familiar with Buddhist philosophy, and therefore missed the point when reading it, because the notion of a human being consisting of a myriad of fragments of different souls is in complete contradiction of Judeo-Christian theologies. Also in the novel, Pablo instructs Harry Haller to relinquish his personality at one point, or at least for the duration of his journey through the corridors of the Magic Theater. In order to do so Harry must learn to use laughter to overcome the tight grip of his personality, to literally laugh at his personality until it shatters into so many small pieces. This concept also ran counter to the egocentric Western culture.
Hermann Hesse in 1926
Hesse is a master at blurring the distinction between reality and fantasy. In the moment of climax, it's debatable whether Haller actually kills Hermine or whether the "murder" is just another hallucination in the Magic Theater. It is argued that Hesse does not define reality based on what occurs in physical time and space; rather, reality is merely a function of metaphysical cause and effect. What matters is not whether the murder actually occurred, but rather that at that moment it was Haller's intention to kill Hermine. In that sense, Haller's various states of mind are of more significance than his actions.
It is also notable that the very existence of Hermine in the novel is never confirmed; the manuscript left in Harry Haller's room reflects a story that completely revolves around his personal experiences. In fact when Harry asks Hermine what her name is, she turns the question around. When he is challenged to guess her name, he tells her that she reminds him of a childhood friend named Hermann, and therefore he concludes, her name must be Hermine. Metaphorically, Harry creates Hermine as if a fragment of his own soul has broken off to form a female counterpart.
The underlying theme of transcendence is shown within group interaction and dynamics. Throughout the novel Harry concerns himself with being different, with separating himself from those he is around. Harry believes that he is better than his surroundings and fails to understand why he cannot be recognized as such, which raises the idea that in order to rise above a group one must first become one with a part of it.
The multilayered soul of human nature is the major theme in the novel and its two main characters, Harry Haller and Hermine, illustrate this. Harry illustrates through an inner conflict and an outer conflict. Inwardly, he believes two opposing natures battle over possession of him, a man and a wolf, high and low, spirit and animal. While he actually longs to live as a wolf free of social convention, he lives as a bourgeois bachelor, but his opposing wolfish nature isolates him from others until he meets Hermine.
Hermine represents the duality of human nature through an outer conflict. Hermine is a socialite, a foil to the isolated bachelor, and she coerces Harry to agree to subject himself to society, learning from her, in exchange for her murder. As Harry struggles through social interaction his isolation diminishes and he and Hermine grow closer to one another as the moment of her death approaches. The climax of the dualistic struggle culminates in the Magic Theater where Harry, seeing himself as a wolf, murders Hermine the socialite.
Critical reception
Later German Edition
From the very beginning, reception was harsh. American novelist Jack Kerouac dismissed it in Big Sur (1962) and it has had a long history of mixed critical reception and opinion at large. Already upset with Hesse's novel Siddhartha, political activists and patriots railed against him, and against the book, seeing an opportunity to discredit Hesse. Even close friends and longtime readers criticized the novel for its perceived lack of morality in its open depiction of sex and drug use, a criticism that indeed remained the primary rebuff of the novel for many years. However as society changed and formerly taboo topics such as sex and drugs became more openly discussed, critics came to attack the book for other reasons; mainly that it was too pessimistic, and that it was a journey in the footsteps of a psychotic and showed humanity through his warped and unstable viewpoint, a fact that Hesse did not dispute, although he did respond to critics by noting the novel ends on a theme of new hope.
Popular interest in the novel was renewed in the 1960s, primarily because it was seen as a counterculture book and because of its depiction of free love and frank drug usage. It was also introduced in many new colleges for study and interest in the book and in Hermann Hesse was feted in America for more than a decade afterwards.
"Treatise on the Steppenwolf"
The "Treatise on the Steppenwolf" is a booklet given to Harry Haller which describes himself. It is a literary mirror and, from the outset, describes what Harry had not learned, namely "to find contentment in himself and his own life." The cause of his discontent was the perceived dualistic nature of a human and a wolf within Harry. The treatise describes, as earmarks of his life, a threefold manifestation of his discontent: one, isolation from others, two, suicidal tendencies, and three, relation to the bourgeois. Harry isolates himself from others socially and professionally, frequently resists the temptation to take his life, and experiences feelings of benevolence and malevolence for bourgeois notions. The booklet predicts Harry may come to terms with his state in the dawning light of humor.
References in popular culture
Hesse's 1928 short story "Harry, the Steppenwolf" forms a companion piece to the novel. It is about a wolf named Harry who is kept in a zoo, and who entertains crowds by destroying images of German cultural icons like Goethe and Mozart.
The name Steppenwolf has become notable in popular culture for various organizations and establishments. In 1967, the band Steppenwolf, headed by German-born singer John Kay, took their name from the novel. The Belgian band DAAU (die Anarchistische Abendunterhaltung) is named after one of the advertising slogans of the novel's magical theatre. The Steppenwolf Theatre Company in Chicago, which was founded in 1974 by actor Gary Sinise, also took its name from the novel. The 'lengthy track "Steppenwolf" appears on English rock band Hawkwind's album Astounding Sounds, Amazing Music and is directly inspired by the novel, including references to the magic theatre and the dual nature of the wolfman-manwolf (lutocost). Robert Calvert had initially written and performed the lyrics on 'Distances Between Us' by Adrian Wagner in 1974. The song also appears on later, live Hawkwind CD's and DVDs.
````
Film, TV or theatrical adaptations
The novel was adapted into a film of the same name in 1974. Starring Max Von Sydow and Dominique Sanda, it was directed by Fred Haines.
mǐ lán · kūn dé lā 1975 nián liú wáng fǎ guó hòu chuàng zuò liǎo《 shēng huó zài bié chù》 zhè bù chōng mǎn liǎo xiàn dài zhù yì sè cǎi de jié zuò， zài zuò pǐn zhōng tā bǎ zhù rén gōng héng héng yī gè mǐn gǎn de nián qīng shī rén yǎ luó mǐ 'ěr de nèi xīn shì jiè kè huà de xì zhì rù wēi， zài miáo xiě shǒu fǎ shàng yě dú jù gè xìng， yóu qí shì yī gè mèng jìng tào zhe yī gè mèng jìng de chāo xiàn shí zhù yì shǒu fǎ shǐ wǒ men zài cì lǐng lüè liǎo xiàn dài pài xiǎo shuō de jīng suǐ。 qí zhōng hái dà liàng shè jí liǎo xiàng zhēng zhù yì shī gē， suī rán wǒ men wèi céng jiē chù dào tā de xiān fēng diàn yǐng， dàn cóng tā zuò pǐn zhōng， wǒ men wú shí bù kè gǎn dào rú tóng shè yǐng jī bān bǔ zhuō zhe shì jiàn de yùn dòng gǎn。
jiǎn jiè ······
《 shēng huó zài bié chù》 shì yī gè nián qīng yì shù jiā de xiào xiàng huà。 kūn dé lā yǐ qí dú dào de bǐ chù sù zào chū yǎ luó mǐ 'ěr zhè yàng yī gè xíng xiàng， miáo huì liǎo zhè gè nián qīng shī rén chōng mǎn jī qíng 'ér yòu duǎn zàn de yī shēng， jù yòu“ fā zhǎn xiǎo shuō” de xǔ duō tè diǎn。 jiù qí tí cái 'ér yán， biǎo xiàn yī gè yì shù jiā（ huò zhī shí fènzǐ） shì běn shì jì wén xué de yī gè zhòng yào lǐng yù， yīn wéi zhǎn shì wǒ men zhè gè fù zá de shí dài yě zhǐ yòu fù zá de rén wù cái néng chéng dān。 zài zhè bù zuò pǐn zhōng， zuò zhě duì shī rén chuàng zuò guò chéng de fēn xī shì wēi miào 'ér jīng xì de。 chuàng zuò guò chéng dāng rán bù jǐn zhǐ xià bǐ xiě zuò de guò chéng， ér qiě gèng guǎng yì dì zhǐ yī gè shī rén de quán bù chéngzhǎng guò chéng。 yòng zuò zhě zì jǐ de huà shuō， zhè bù xiǎo shuō shì“ duì wǒ suǒ chēng zhī wéi shū qíng tài dù de yī gè fēn xī。” zhèng shì zài zhè yàng de chuàng zuò yì tú xià， zhè bù shū zuì chū céng bèi tí míng wéi《 shū qíng shí dài》。 zuò zhě suǒ yào biǎo xiàn hé suǒ yào tàn jiū de shì， rén de xīn líng suǒ jù yòu de jī qíng， tā de chǎn shēng hé tā de jiēguǒ。 yīn 'ér zhè běn shū yòu shì yī běn xiàn dài xīn lǐ xiǎo shuō， biǎo xiàn liǎo yī gè shī rén de yì shù gǎn jué de chéngzhǎng。 shū zhōng měi yī zhāng jié de míng chēng dū zhǎn shì liǎo shī rén shēng mìng lì chéng de yī gè jiē duàn。 tā de tóng nián、 shàonián hé qīng nián shí dài， tā zěn yàng dú shū， zěn yàng liàn 'ài， yǐ jí zěn yàng zuò mèng děng děng。 guān yú shí dài de quán mào hé tā rén de huó dòng dū chí dào liǎo yuǎn chù， yī qiē guān chá de jiāo diǎn dū jí zhōng zài zhù rén gōng shēn shàng， bìng qiě yǔ tā de nèi xīn huó dòng yòu guān。 yòu rú jī qíng de jiàn shuǐ， zài shí jiān de luàn shān suì shí zhōng liú guò， liǎng 'àn de jǐng zhì bìng bù zhòng yào， zhòng yào de shì xī liú jiāng liú xiàng wò yě hái shì shā mò。 huàn jù huà shuō， zuò zhě zài zhè lǐ suǒ guān xīn de shì shī rén xīn lǐ hé jīng shén shàng de fā yù。 wèile qián rù dào rén wù yì shí zhōng zuì yǐn mì de jiǎo luò， zuò zhě cǎi yòng liǎo yī zhǒng wǒ men kě yǐ chēng zhī wéi kè guān yì shí liú de xù shù fāng shì： shí jiān yǔ kōng jiān jiāo zhì（ bù tóng shí qī bù tóng dì diǎn suǒ fā shēng de shì cháng cháng chū xiàn zài tóng yī duàn xù shù zhōng）， xiàn shí yǔ mèng huàn jiāo zhì（ dì 'èr zhāng 《 zé wéi 'ěr》 wán quán shì yī gè mèng tào yī gè mèng）， qíng jié de tiào hóng， sī kǎo de cù rán yǔ bù lián guàn， gù yì mó hú zhù yǔ de chén shù， zhè xiē dū shǐ cǐ shū gèng jiē jìn yú shī gē 'ér bù shì xiǎo shuō。 jiǎ rú wǒ men bǎ shū zhōng zhè xiē shū qíng xìng de yīn sù qù diào， zhè bù zuò pǐn de nèi róng jiù shèng bù xià shénme liǎo。 zhè zhǒng xíng shì shǐ wǒ men gèng néng qièjìn shī rén de nèi xīn huó dòng， gǎn chù dào shī rén de jī qíng shì zěn yàng chǎn shēng hé rán shāo de。
jiǎn jiè ······
《 shēng huó zài bié chù》 shì yī gè nián qīng yì shù jiā de xiào xiàng huà。 kūn dé lā yǐ qí dú dào de bǐ chù sù zào chū yǎ luó mǐ 'ěr zhè yàng yī gè xíng xiàng， miáo huì liǎo zhè gè nián qīng shī rén chōng mǎn jī qíng 'ér yòu duǎn zàn de yī shēng， jù yòu“ fā zhǎn xiǎo shuō” de xǔ duō tè diǎn。 jiù qí tí cái 'ér yán， biǎo xiàn yī gè yì shù jiā（ huò zhī shí fènzǐ） shì běn shì jì wén xué de yī gè zhòng yào lǐng yù， yīn wéi zhǎn shì wǒ men zhè gè fù zá de shí dài yě zhǐ yòu fù zá de rén wù cái néng chéng dān。 zài zhè bù zuò pǐn zhōng， zuò zhě duì shī rén chuàng zuò guò chéng de fēn xī shì wēi miào 'ér jīng xì de。 chuàng zuò guò chéng dāng rán bù jǐn zhǐ xià bǐ xiě zuò de guò chéng， ér qiě gèng guǎng yì dì zhǐ yī gè shī rén de quán bù chéngzhǎng guò chéng。 yòng zuò zhě zì jǐ de huà shuō， zhè bù xiǎo shuō shì“ duì wǒ suǒ chēng zhī wéi shū qíng tài dù de yī gè fēn xī。” zhèng shì zài zhè yàng de chuàng zuò yì tú xià， zhè bù shū zuì chū céng bèi tí míng wéi《 shū qíng shí dài》。 zuò zhě suǒ yào biǎo xiàn hé suǒ yào tàn jiū de shì， rén de xīn líng suǒ jù yòu de jī qíng， tā de chǎn shēng hé tā de jiēguǒ。 yīn 'ér zhè běn shū yòu shì yī běn xiàn dài xīn lǐ xiǎo shuō， biǎo xiàn liǎo yī gè shī rén de yì shù gǎn jué de chéngzhǎng。 shū zhōng měi yī zhāng jié de míng chēng dū zhǎn shì liǎo shī rén shēng mìng lì chéng de yī gè jiē duàn。 tā de tóng nián、 shàonián hé qīng nián shí dài， tā zěn yàng dú shū， zěn yàng liàn 'ài， yǐ jí zěn yàng zuò mèng děng děng。 guān yú shí dài de quán mào hé tā rén de huó dòng dū chí dào liǎo yuǎn chù， yī qiē guān chá de jiāo diǎn dū jí zhōng zài zhù rén gōng shēn shàng， bìng qiě yǔ tā de nèi xīn huó dòng yòu guān。 yòu rú jī qíng de jiàn shuǐ， zài shí jiān de luàn shān suì shí zhōng liú guò， liǎng 'àn de jǐng zhì bìng bù zhòng yào， zhòng yào de shì xī liú jiāng liú xiàng wò yě hái shì shā mò。 huàn jù huà shuō， zuò zhě zài zhè lǐ suǒ guān xīn de shì shī rén xīn lǐ hé jīng shén shàng de fā yù。 wèile qián rù dào rén wù yì shí zhōng zuì yǐn mì de jiǎo luò， zuò zhě cǎi yòng liǎo yī zhǒng wǒ men kě yǐ chēng zhī wéi kè guān yì shí liú de xù shù fāng shì： shí jiān yǔ kōng jiān jiāo zhì（ bù tóng shí qī bù tóng dì diǎn suǒ fā shēng de shì cháng cháng chū xiàn zài tóng yī duàn xù shù zhōng）， xiàn shí yǔ mèng huàn jiāo zhì（ dì 'èr zhāng 《 zé wéi 'ěr》 wán quán shì yī gè mèng tào yī gè mèng）， qíng jié de tiào hóng， sī kǎo de cù rán yǔ bù lián guàn， gù yì mó hú zhù yǔ de chén shù， zhè xiē dū shǐ cǐ shū gèng jiē jìn yú shī gē 'ér bù shì xiǎo shuō。 jiǎ rú wǒ men bǎ shū zhōng zhè xiē shū qíng xìng de yīn sù qù diào， zhè bù zuò pǐn de nèi róng jiù shèng bù xià shénme liǎo。 zhè zhǒng xíng shì shǐ wǒ men gèng néng qièjìn shī rén de nèi xīn huó dòng， gǎn chù dào shī rén de jī qíng shì zěn yàng chǎn shēng hé rán shāo de。
wáng 'ěr dé de wéi měi zhù yì yì shù guān zài tā de xiǎo shuō《 dào lín . gé léi de huà xiàng》 zhōng yòu chōng fēn de tǐ xiàn , zhù yào bāo kuò yì shù yǔ xíng shì , yì shù yǔ shēng huó , yì shù yǔ dào dé sān gè fāng miàn yǔ qí yì shù guān xiāng duì yìng de wáng 'ěr dé de rén shēng guān , zài qí rù yù qián hòu fā shēng liǎo míng xiǎn de gǎi biàn。 yì shù yǔ rén shēng de chōng tū hé róng hé yě jiù shì wáng 'ěr dé de yì shù mèi lì suǒ zài。
The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and becomes infatuated with him, believing his beauty is responsible for a new mode in his art. Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enthralled by Lord Henry's world view. Espousing a new hedonism, Lord Henry suggests the only things worth pursuing in life are beauty and fulfillment of the senses. Realizing that one day his beauty will fade, Dorian expresses his desire to sell his soul to ensure the portrait Basil has painted would age rather than himself. Dorian's wish is fulfilled, plunging him into debauched acts. The portrait serves as a reminder of the effect each act has upon his soul, with each sin displayed as a disfigurement of his form, or through a sign of aging.
The Picture of Dorian Gray is considered a work of classic gothic horror fiction with a strong Faustian theme.
The novel tells of a young man named Dorian Gray, the subject of a painting by artist Basil Hallward. Basil is impressed by Dorian's beauty and becomes infatuated with him, believing his beauty is responsible for a new mode in his art. Dorian meets Lord Henry Wotton, a friend of Basil's, and becomes enthralled by Lord Henry's world view. Espousing a new hedonism, Lord Henry suggests the only things worth pursuing in life are beauty and fulfillment of the senses. Realizing that one day his beauty will fade, Dorian expresses his desire to sell his soul to ensure the portrait Basil has painted would age rather than himself. Dorian's wish is fulfilled, plunging him into debauched acts. The portrait serves as a reminder of the effect each act has upon his soul, with each sin displayed as a disfigurement of his form, or through a sign of aging.
The Picture of Dorian Gray is considered a work of classic gothic horror fiction with a strong Faustian theme.
fú jí ní yà · wǔ 'ěr fū shì 'èr shí shì jì shàng bàn yè xī fāng xiàn dài zhù yì wén xué de dài biǎo rén wù。 tā jì shì“ yì shí liú” xiǎo shuō lǐ lùn de chǎn shù zhě， yòu shì“ shī huà xiǎo shuō” de chàng dǎo zhě。 tā yī shēng dū lì qiú tū pò chuán tǒng， zài xī fāng wén xué fā zhǎn shǐ shàng shù lì liǎo yī zuò xīn de lǐ chéng bēi， chéng wéi hào hàn de wén xué xīng kōng zhōng yī kē yì yì shǎn guāng de míng xīng。 běn wén shǒu xiān kǎo chá fú jí ní yà · wǔ 'ěr fū duì yú“ shī huà xiǎo shuō” de lǐ lùn jiàn gòu。 shí dài biàn huà liǎo， rén men de shēng huó yě biàn huà liǎo，“ ér rén yǔ rén zhī jiān de guān xì yī dàn fā shēng liǎo biàn huà， xìn yǎng、 xíng wéi、 zhèng zhì hé wén xué yě suí zhī 'ér fā shēng biàn huà”。 yīn cǐ， fú jí ní yà · wǔ 'ěr fū jiāng xiǎo shuō de zhòng xīn zhuànxiàng rén de nèi xīn shì jiè， zhè shì lì shǐ de zhuǎn biàn zài wén xué shàng de fǎn yìng。 fú jí ní yà · wǔ 'ěr fū tí chū liǎo“ zhù guān zhēn shí lùn”。 tā rèn wéi， xiǎo shuō yīnggāi gèng zhòng shì de shì rén de nèi xīn shì jiè， yào qiú yóu zhòng shì wài bù zhēn shí zhuànxiàng biǎo xiàn rén wù de nèi xīn zhēn shí， dù jué dāng shí yīng guó wén tán nà xiē“ wù zhì zhù yì zh씓 zhǐ guān xīn qū tǐ 'ér bù guān xīn rén de líng hún”， yǐ cǐ lái zhěng jiù yīng guó xiǎo shuō。 zuì hòu， fú jí ní yà · wǔ 'ěr fū tí chū liǎo“ shī huà xiǎo shuō lùn”。 tā de xiǎo shuō yǔ chuán tǒng yì yì shàng de xiǎo shuō shì jié rán bù tóng de， tā de“ shī huà xiǎo shuō” yùn yòng shī de jì qiǎo， shī de yǔ yán， gòu zào shī de yì jìng， tā shì yòng sǎnwén xiě chéng de， dàn nà shì yī zhǒng jù yòu xǔ duō shī gē tè zhēng de sǎnwén。 fú jí ní yà · wǔ 'ěr fū bù jǐn zài lǐ lùn shàng jiàn gòu liǎo zì jǐ de“ shī huà xiǎo shuō”， bìng jiāng zhè zhǒng wén xué lǐ xiǎng yìng yòng dào wén xué chuàng zuò zhōng qù。 zǎo qī de“ yì shí liú” xiǎo shuō《 qiáng shàng de bān diǎn》、《 yǎ gè bù de fáng jiān》， wéi tā shí yàn zì jǐ de“ shī huà xiǎo shuō” diàn dìng liǎo jī chǔ， tóng shí yě shǐ tā kàn dào liǎo“ shī huà xiǎo shuō” de xī wàng zhī guāng。 fú jí ní yà · wǔ 'ěr fū suí hòu chuàng zuò liǎo《 dá luò wèi fū rén》、《 dào dēng tǎ qù》、《 hǎi làng》 děng cháng piān xiǎo shuō， chéng liǎo tā“ shī huà xiǎo shuō” de chéng gōng dài biǎo。 shǒu xiān， zài《 dá luò wèi fū rén》 zhōng， fú jí ní yà · wǔ 'ěr fū de“ shī huà xiǎo shuō” bù xiàng chuán tǒng xiǎo shuō nà yàng zhuóyǎn yú rén wù de kè huà， tā bìng bù jú xiàn yú xù shù gù shì， biǎo xiàn rén wù de bēi huān lí hé， ér shì jù yòu shī gē de mǒu xiē shǔ xìng。 tā kāi shǐ biǎo xiàn rén yǔ zì rán、 rén yǔ mìng yùn zhī jiān de guān xì， gèng zhù yào de shì cǎi yòng nà gè bù xié diào yīn sù de qí yì de hùn hé tǐ héng héng xiàn dài xīn líng héng héng de mó shì。 qí cì， zài《 dào dēng tǎ qù》 zhōng， fú jí ní yà · wǔ 'ěr fū zài zuò pǐn zhōng dà liàng yùn yòng xiàng zhēng， zhěng bù xiǎo shuō dōushì yī gè xiàng zhēng tǐ， shǐ xiǎo shuō gèng jù yòu shī de yì yùn。 zuì hòu，《 hǎi làng》 shì fú jí ní yà · wǔ 'ěr fū de“ shī huà xiǎo shuō” de jí dà chéng zhī zuò。 tā duì rén wù bù zuò kè guān zhēn shí de miáo huì， shǐ rén wù biàn chéng liǎo chōu xiàng de mó shì hé méi yòu qūqiào de líng hún。 chún shī yī bān de dú bái piàn duàn， xiàng shēng shēng bù xī de hǎi làng yī yàng zì yóu zì zài dì shēng chéng。 tōng guò duì zhè sān bù zuò pǐn de fēn xī， wǒ men duì fú jí ní yà · wǔ 'ěr fū de“ shī huà xiǎo shuō” de tè diǎn kě yǐ huò dé shēn kè de rèn shí。 zuì hòu， běn wén duì fú jí ní yà · wǔ 'ěr fū de“ shī huà xiǎo shuō” suǒ yǐn fā de zhēng lùn， zuò liǎo yī gè zōng shù。 shǒu xiān， miàn duì chuán tǒng de xiàn shí zhù yì xiǎo shuō duì“ kè guān zhēn shí” de zhòng shì， tā tí chū de“ zhù guān zhēn shí” yǐn qǐ liǎo zhēng lùn。 fú jí ní yà · wǔ 'ěr fū bù xiě“ zhuān míng” shì de diǎn xíng rén wù， cóng duì wài bù shì jiè de guān zhào、 mó xiě， zhuànxiàng duì rén de běn xìng hé qíng gǎn shì jiè de shěn měi biǎo shù， xiǎo shuō sī wéi míng xiǎn dì chéng xiàn liǎo“ xiàng nèi zhuǎn” de shěn měi yì xiàng。 zhè chéng wéi tā wéi zhèng tuō chuán tǒng de fān lí 'ér kuà chū de dì yī bù。 qí cì， fú jí ní yà · wǔ 'ěr fū xiǎo shuō de“ shī huà” tè zhēng yě yǐn qǐ liǎo wén xué jiè de zhēng lùn。 tā de xiǎo shuō jù yòu hěn qiáng de shī yì tè zhēng， zuò pǐn zhōng chōng mǎn liǎo zì yóu lián xiǎng、 yì xiàng、 yǐn yù、 xiàng zhēng、 shū qíng děng shī gē yīn sù。 tā jiāng shī gē de jì qiǎo yùn yòng zài xiǎo shuō zhōng， gěi chuán tǒng xiǎo shuō de dú zhě zào chéng liǎo yuè dú kùn nán； yě zhè xiē yīn sù shǐ dé xǔ duō píng lùn jiā bù néng jiē shòu tā de zuò pǐn。 rán 'ér， tā de chuàng xīn wéi wén tán zhù rù liǎo xīn xiān de xuè yè， zhè zhèng shì píng lùn jiā men suǒ zàn yù de。 zòng guān gǔ xī là dào shí jiǔ shì jì mò de xī fāng wén tán， fú jí ní yà · wǔ 'ěr fū de“ shī huà xiǎo shuō” de chū xiàn bìng bù shì yī gè 'ǒu rán de xiàn xiàng， tā shì xī fāng wén yì sī cháo fā zhǎn dào yī dìng jiē duàn de bì rán jiēguǒ。“ shī huà xiǎo shuō” wéi xiàn dài xiǎo shuō dài lái xīn de miàn mào， xīn de qì xī， tā biāo zhì zhe xiǎo shuō chuàng zuò zài shěn měi de dào lù shàng dà dà kuà jìn liǎo yī bù， wéi xiǎo shuō de yì shù chuàng xīn zuò chū liǎo zhòng dà gòng xiàn。
The novel centres, in a very ambiguous way, around the life story of the protagonist Jacob Flanders, and is presented entirely by the impressions other characters have of Jacob [except for those times when we do indeed get Jacob's perspective]. Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed as a void in place of the central character, if indeed the novel can be said to have a 'protagonist' in conventional terms. Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgamation of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations.
Plot summary
Set in pre-war England, the novel begins in Jacob's childhood and follows him through college at Cambridge, and then into adulthood. The story is told mainly through the perspectives of the women in Jacob's life, including the repressed upper-middle-class Clara Durrant and the uninhibited young art student Florinda, with whom he has an affair. His time in London forms a large part of the story, though towards the end of the novel he travels to Italy, then Greece. Jacob eventually dies in the war and in lieu of a description of the death scene, Woolf describes the empty room that he leaves behind.
Literary significance
The novel is a departure from Woolf's earlier two novels, The Voyage Out (1915) and Night and Day (1919), which are more conventional in form. The work is seen as an important modernist text; its experimental form is viewed as a progression of the innovative writing style Woolf presented in her earlier collection of short fiction titled Monday or Tuesday (1919).
The novel centres, in a very ambiguous way, around the life story of the protagonist Jacob Flanders, and is presented entirely by the impressions other characters have of Jacob [except for those times when we do indeed get Jacob's perspective]. Thus, although it could be said that the book is primarily a character study and has little in the way of plot or background, the narrative is constructed as a void in place of the central character, if indeed the novel can be said to have a 'protagonist' in conventional terms. Motifs of emptiness and absence haunt the novel and establish its elegiac feel. Jacob is described to us, but in such indirect terms that it would seem better to view him as an amalgamation of the different perceptions of the characters and narrator. He does not exist as a concrete reality, but rather as a collection of memories and sensations.
Plot summary
Set in pre-war England, the novel begins in Jacob's childhood and follows him through college at Cambridge, and then into adulthood. The story is told mainly through the perspectives of the women in Jacob's life, including the repressed upper-middle-class Clara Durrant and the uninhibited young art student Florinda, with whom he has an affair. His time in London forms a large part of the story, though towards the end of the novel he travels to Italy, then Greece. Jacob eventually dies in the war and in lieu of a description of the death scene, Woolf describes the empty room that he leaves behind.
Literary significance
The novel is a departure from Woolf's earlier two novels, The Voyage Out (1915) and Night and Day (1919), which are more conventional in form. The work is seen as an important modernist text; its experimental form is viewed as a progression of the innovative writing style Woolf presented in her earlier collection of short fiction titled Monday or Tuesday (1919).
rú guǒ zài dōng yè， yī gè lǚ rén
zuò zhě : tǎ luò · kǎ 'ěr wéi nuò
dì 1 zhāng
dì 2 zhāng
dì 3 zhāng
dì 4 zhāng
dì 5 zhāng
dì 6 zhāng
dì 7 zhāng
dì 8 zhāng
dì 9 zhāng
dì 10 zhāng
dì 11 zhāng
dì 12 zhāng
zuò zhě : tǎ luò · kǎ 'ěr wéi nuò
dì 1 zhāng
dì 2 zhāng
dì 3 zhāng
dì 4 zhāng
dì 5 zhāng
dì 6 zhāng
dì 7 zhāng
dì 8 zhāng
dì 9 zhāng
dì 10 zhāng
dì 11 zhāng
dì 12 zhāng
bólātú， rú tóng tā nà gè shí dài de xǔ duō wěi dà de rén， shì gè mèng xiǎng jiā。 zài tā de huàn jiè zhī zhōng， rén běn yīngshì cí
xióng tóng tǐ de； zhǐ shì wèile rén suǒ fàn xià de zuì， rén jiù bèi fēn chéng liǎo liǎng bù fēn， yú shì jiù yòu liǎo nán rén hé nǚ rén de fēn bié。
bólātú hái zhèng míng liǎo： wán měi de shì jiè bù néng duō yú wǔ gè， yīn wéi zhèng zé de shù xué tǐ xì zhǐ yòu wǔ zhǒng。 bólātú de
“ lǐ xiǎng guó” shì tā de zuì jǐn yào de mèng huàn de tǐ xiàn。 zài bólātú de huàn jìng lǐ， rén xiān shì shuì jué， rán hòu xǐng lái zhāng zhe yǎn
sì xià guān kàn， rán hòu yòu shì shuì jué； rén yě bù yīnggāi bǎ liǎo ròu yǎn qù kàn rì shí， yào nòng tǒng shuǐ lái kàn shuǐ zhōng de dàoyǐng， bù rán
huì biàn chéng xiā zǐ de。 mèng huàn， zài bólātú de shí dài， hái yòu jí hǎo de míng yù。
jīn tiān， wǒ yào jiǎng de jiù shì bólātú de yī gè mèng， zhè gè mèng kě bù shì yī diǎn qù wèi yě méi yòu de nà zhǒng。 zài bólātú
de zhè gè mèng lǐ， wěi dà de dì mǐ gǔ sī， nà wèi liú fāng wàn shì de jǐ hé jiā， nà wèi zài tài kōng zhì zào liǎo wú shù yuán qiú bìng zài měi
kē qiú shàng fàng liǎo xǔ xǔ duō rén de， yào kàn kàn yāo guài men dào dǐ cóng tā nà xué liǎo duō shǎo dōng xī。 yú shì， dì mǐ gǔ sī gěi liǎo měi yī
wèi yāo guài yī xiē wù zhì qù fā huī tā men de xiǎng xiàng， yào shì méi rén jiè yì， dǎ gè bǐ fāng bā， nà jiù xiàng fěi dǐ 'ā sī hé zhòu kē xī
sī jiào tā men de mén tú nà yàng： gěi gè xiàng， ràng tā men zhào zhe huà。
mó wáng lǐng liǎo tā nà kuài wù zhì， jiù shì wǒ men xiàn zài chēng wéi dì qiú de。 yī zhèn máng lù zhī hòu， mó wáng bǎ dì qiú nòng chéng liǎo xiàn
zài de zhè gè yàng zǐ。 mó wáng gāo xīng jí liǎo， tā jué zhe zhè shì yī jiàn kě yǐ bèi chēng wéi jié zuò de shàng shàng pǐn。 mó wáng jué zhe tā yǐ chéng
gōng dì ràng dù jì zhī shén dū bì shàng liǎo tā de zuǐ， tā pán suàn zhe gāi rú hé xīn shǎng jí kè kě zhì de qí tā yāo guài de sòng cí。 shǐ mó wáng
dà huò bù jiě de shì： xiōng dì men sòng gěi tā de zhǐ shì yī zhèn bù xiè de shī shēng。
xiōng dì zhōng nà gè zuì hǎo wā kǔ rén de jiā huǒ hái còu shàng qián lái shuō liǎo zhè yàng de huà：
“ kě bù shì má， nǐ dǎo zhēn dì gān liǎo jiàn liǎo bù qǐ de shì ní！ nǐ bǎ nǐ nà shì jiè fēn chéng liǎo liǎng bù fēn； yòu wéi liǎo zǔ duàn
liǎng biān de lái wǎng， hái nà me xiǎo xīn dì nòng liǎo nà me xiē shuǐ zài liǎng gè bàn qiú zhī jiān。 yào shì yòu shuí dǎn gǎn kào jìn nǐ zuò de nà liǎng gè
jí dì， shuí jiù dé gěi dòng jiāng； shuí dǎn gǎn kào jìn chì dào， shuí jiù dé gěi kǎo jiāo liǎo。 nǐ yòu shì nà yàng shēn móu yuǎn lǜ， zào liǎo nà me
dà piàn de shā mò， rèn hé shì tú chuān yuè tā de bù shì dé gěi 'è bì jiù shì dé gěi kě sǐ。 wǒ dǎo shì méi cóng nǐ zào de nà xiē niú、
yáng、 gōng jī、 mǔ jī shēn shàng zhǎo chū shénme máo bìng lái； kě wǒ jué zhe méi fǎ lǐ jiě nǐ wèishénme yào nòng chū nà me xiē dú shé hé zhī
zhū。 nǐ nà xiē yáng cōng、 yáng jì shì hǎo dōng xī， kě nǐ gān má yòu nòng nà me lǎo xiē dú cǎo zhǒng dé dào chù dōushì？ chú fēi nǐ xiǎng zhe qù
dú yī dú nà xiē nǐ zào de rén men。 ér qiě， wǒ méi shù cuò de huà， nǐ dà yuē zào liǎo sān shí jǐ zhǒng hóu zǐ， hái yòu gèng duō zhǒng lèi de
gǒu， kě nǐ zhǐ zào liǎo sì zhǒng huò shì wǔ zhǒng rén。 nǐ yòu gěi liǎo zhè hòu yī zhǒng dòng wù yī zhǒng běn néng， jiù shì nǐ huàn tā zuò tuī lǐ de；
kě shí jì shàng， nà gè shénme tuī lǐ bù guò shì yī zhǒng kě xiào de wán yì 'ér， lí nà gè nǐ huàn tā zuò yú chǔn de bù huì yuǎn yú yī cùn。
chú liǎo shàng biān tí dào de， nǐ hái yī diǎn yě bù zūn zhòng nǐ zào de nà xiē liǎng tiáo tuǐ de péng yǒu men， nǐ zhǐ gěi liǎo tā men shǎo dé kě lián de
yī diǎn zì wèi； nǐ bǎ tā men diū zài nà yàng yī zhǒng hùn dùn zhī zhōng， zhǐ gěi tā men nà me xīng diǎn bǔ cháng； nǐ yòu gěi liǎo tā men nà me duō
qíng gǎn、 nà yàng shǎo de yòng lái dǐ yù gǎn qíng de zhì huì yǔ jǐn shèn。 nǐ yī zhǔn zǎo jiù méi xiǎng yào zhè gè qiú miàn shàng zài rèn hé shí jiān yòu xǔ
duō de rén kě yǐ shēng cún； nǐ yòu nòng liǎo nà tiān huā qù rì fù yī rì dì zhé mó tā men， zhěng dé tā men de shù mù měi gé jǐ nián jiù yào shǎo
qù shí fēn zhī yī， hái gěi nà yú xià de shí fēn zhī jiǔ yǐ jí bìng； nǐ hái xián zhè xiē hái bù gòu， yòu ràng nà xìng cún de rén men bù shì duì
bù gōng táng jiù shì zì xiāng cán shā。
“ wèile nǐ zhè suǒ wèi de jié zuò， rén men hái yào duì nǐ zhōng shēng dǐng lǐ mó bài。”
tīng dào zhè， mó wáng de liǎn hóng liǎo。 mó wáng jué chá chū zhè lǐ miàn dǎo yě shì shè jí liǎo bù dàn yòu shí zài de 'ér qiě yòu jīng shén shàng de
xié 'è； kě tā hái shì jiān chēng： tā nà jié zuò lǐ biān， jī běn shàng jiǎng， shì shàn duō yú 'è de。
“ tīng zhe， hǎo xīn cháng de huǒ jì， méi yòu bǐ dào chù qù tiǎo máo bìng gèng róng yì de liǎo，” mó wáng shuō，“ nǐ bù xiǎng xiǎng， zào
yī zhǒng dòng wù， gěi liǎo tā men tuī lǐ de běn néng bù suàn， hái dā shàng zì yóu yì zhì， yòu yào xiǎng fǎ bù shǐ tā men làn yòng tā men nà zì
yóu， róng yì má？ yě bù xiǎng xiǎng， yǎng chū yī wàn zhòngzhí wù， chū diǎn yòu dú de suàn shénme？ nǐ yǐ wéi， nà me duō de shuǐ、 shā
zǐ、 tǔ， nǐ jiù néng zào chū gè yòu méi hǎi yòu méi shā mò de qiú lái？
“ kàn kàn nǐ zì jǐ bā， wǒ de zhuān chū lěng yán lěng yǔ de péng yǒu， nǐ bù shì gāng zào wán nà gè mù xīng má， yě ràng zán lái kàn kàn
nǐ zuòde nà tiáo dà dài zǐ、 nà cháng yè、 nà sì kē yuè liàng。 kàn kàn， nǐ zào de nà gè shì jiè， shì bù shì shàng miàn de jū mín jì bù
shēng bìng yě bù yú chǔn。”
yòu páode kuài de yāo guài lì kè qù liǎo tàng mù xīng， huí lái hé gē jǐ gè shuō liǎo shuō， yú shì， dà huǒ yòu yī kuài qù xiào nà gāng gāng
hái zài měng tiǎo cì de zhù 'ér。 gē jǐ gè lǐ zuò shì zuì rèn zhēn de nà yāo guài， zhè huí tā zào dé tǔ xīng， kě jí shǐ shì tā yě méi néng miǎn
shòu cháo fěng。 qí tā zào liǎo huǒ xīng、 shuǐ xīng、 jīn xīng de yědōu gěi zhǎo chū liǎo hǎo xiē tè diū miàn zǐ de cuò wù。
hòu lái， hǎo jǐ dà běn shū、 wú shù xiǎo cè zǐ bèi zhì zào liǎo chū lái jì shù zhè zào tài yáng xì jì； tiān dǐ xià xiǎng dé chū lái de huā
yán qiǎo yǔ wú suǒ bù yòng； lǎo huà shuō dé hǎo： yán duō yòu shī。 fèi liǎo nà me duō zhǐ xiě xià nà me duō zì， nòng chū lǎo xiē gè zì xiāng máo
dùn chù。
hòu lái， wěi dà de dì mǐ gǔ sī duì nà jǐ gè yāo guài shuō：
“ nǐ men jǐ gè zuò de nà jǐ gè qiú gè yòu hǎo de yī miàn hé bù hǎo de lìng yī miàn， jīng guò rè liè de tǎo lùn， dà huǒ dōuyòu liǎo
bù tóng chéng dù de gèng jìn yī bù de lǐ jiě。 nǐ men jǐ gè lí wán měi hái yòu hǎo xiē jù lí。 zhè yàng bā， nǐ men de zuò pǐn jiù liú zài zhè
yī yì nián hǎo liǎo。 zài guò yī yì nián， nǐ men dū huì zhī dào gèng duō， zuò qǐ shì lái jiù huì hǎo xǔ duō liǎo de。 bù yào duì nǐ men zì jǐ
yào qiú guò gāo， yào zhī dào， zhè gè yǔ zhòu lǐ， zhǐ yòu wǒ cái néng zhì zào wán měi yǔ yǒng héng。”
zhè jiù shì bólātú chuán gěi tā de mén tú de jiào tiáo。 bólātú gāng wán chéng tā de gāo tán kuò lùn， yòu wèi mén tú gāo jiào dào，
“ nín xǐng liǎo má？”
xióng tóng tǐ de； zhǐ shì wèile rén suǒ fàn xià de zuì， rén jiù bèi fēn chéng liǎo liǎng bù fēn， yú shì jiù yòu liǎo nán rén hé nǚ rén de fēn bié。
bólātú hái zhèng míng liǎo： wán měi de shì jiè bù néng duō yú wǔ gè， yīn wéi zhèng zé de shù xué tǐ xì zhǐ yòu wǔ zhǒng。 bólātú de
“ lǐ xiǎng guó” shì tā de zuì jǐn yào de mèng huàn de tǐ xiàn。 zài bólātú de huàn jìng lǐ， rén xiān shì shuì jué， rán hòu xǐng lái zhāng zhe yǎn
sì xià guān kàn， rán hòu yòu shì shuì jué； rén yě bù yīnggāi bǎ liǎo ròu yǎn qù kàn rì shí， yào nòng tǒng shuǐ lái kàn shuǐ zhōng de dàoyǐng， bù rán
huì biàn chéng xiā zǐ de。 mèng huàn， zài bólātú de shí dài， hái yòu jí hǎo de míng yù。
jīn tiān， wǒ yào jiǎng de jiù shì bólātú de yī gè mèng， zhè gè mèng kě bù shì yī diǎn qù wèi yě méi yòu de nà zhǒng。 zài bólātú
de zhè gè mèng lǐ， wěi dà de dì mǐ gǔ sī， nà wèi liú fāng wàn shì de jǐ hé jiā， nà wèi zài tài kōng zhì zào liǎo wú shù yuán qiú bìng zài měi
kē qiú shàng fàng liǎo xǔ xǔ duō rén de， yào kàn kàn yāo guài men dào dǐ cóng tā nà xué liǎo duō shǎo dōng xī。 yú shì， dì mǐ gǔ sī gěi liǎo měi yī
wèi yāo guài yī xiē wù zhì qù fā huī tā men de xiǎng xiàng， yào shì méi rén jiè yì， dǎ gè bǐ fāng bā， nà jiù xiàng fěi dǐ 'ā sī hé zhòu kē xī
sī jiào tā men de mén tú nà yàng： gěi gè xiàng， ràng tā men zhào zhe huà。
mó wáng lǐng liǎo tā nà kuài wù zhì， jiù shì wǒ men xiàn zài chēng wéi dì qiú de。 yī zhèn máng lù zhī hòu， mó wáng bǎ dì qiú nòng chéng liǎo xiàn
zài de zhè gè yàng zǐ。 mó wáng gāo xīng jí liǎo， tā jué zhe zhè shì yī jiàn kě yǐ bèi chēng wéi jié zuò de shàng shàng pǐn。 mó wáng jué zhe tā yǐ chéng
gōng dì ràng dù jì zhī shén dū bì shàng liǎo tā de zuǐ， tā pán suàn zhe gāi rú hé xīn shǎng jí kè kě zhì de qí tā yāo guài de sòng cí。 shǐ mó wáng
dà huò bù jiě de shì： xiōng dì men sòng gěi tā de zhǐ shì yī zhèn bù xiè de shī shēng。
xiōng dì zhōng nà gè zuì hǎo wā kǔ rén de jiā huǒ hái còu shàng qián lái shuō liǎo zhè yàng de huà：
“ kě bù shì má， nǐ dǎo zhēn dì gān liǎo jiàn liǎo bù qǐ de shì ní！ nǐ bǎ nǐ nà shì jiè fēn chéng liǎo liǎng bù fēn； yòu wéi liǎo zǔ duàn
liǎng biān de lái wǎng， hái nà me xiǎo xīn dì nòng liǎo nà me xiē shuǐ zài liǎng gè bàn qiú zhī jiān。 yào shì yòu shuí dǎn gǎn kào jìn nǐ zuò de nà liǎng gè
jí dì， shuí jiù dé gěi dòng jiāng； shuí dǎn gǎn kào jìn chì dào， shuí jiù dé gěi kǎo jiāo liǎo。 nǐ yòu shì nà yàng shēn móu yuǎn lǜ， zào liǎo nà me
dà piàn de shā mò， rèn hé shì tú chuān yuè tā de bù shì dé gěi 'è bì jiù shì dé gěi kě sǐ。 wǒ dǎo shì méi cóng nǐ zào de nà xiē niú、
yáng、 gōng jī、 mǔ jī shēn shàng zhǎo chū shénme máo bìng lái； kě wǒ jué zhe méi fǎ lǐ jiě nǐ wèishénme yào nòng chū nà me xiē dú shé hé zhī
zhū。 nǐ nà xiē yáng cōng、 yáng jì shì hǎo dōng xī， kě nǐ gān má yòu nòng nà me lǎo xiē dú cǎo zhǒng dé dào chù dōushì？ chú fēi nǐ xiǎng zhe qù
dú yī dú nà xiē nǐ zào de rén men。 ér qiě， wǒ méi shù cuò de huà， nǐ dà yuē zào liǎo sān shí jǐ zhǒng hóu zǐ， hái yòu gèng duō zhǒng lèi de
gǒu， kě nǐ zhǐ zào liǎo sì zhǒng huò shì wǔ zhǒng rén。 nǐ yòu gěi liǎo zhè hòu yī zhǒng dòng wù yī zhǒng běn néng， jiù shì nǐ huàn tā zuò tuī lǐ de；
kě shí jì shàng， nà gè shénme tuī lǐ bù guò shì yī zhǒng kě xiào de wán yì 'ér， lí nà gè nǐ huàn tā zuò yú chǔn de bù huì yuǎn yú yī cùn。
chú liǎo shàng biān tí dào de， nǐ hái yī diǎn yě bù zūn zhòng nǐ zào de nà xiē liǎng tiáo tuǐ de péng yǒu men， nǐ zhǐ gěi liǎo tā men shǎo dé kě lián de
yī diǎn zì wèi； nǐ bǎ tā men diū zài nà yàng yī zhǒng hùn dùn zhī zhōng， zhǐ gěi tā men nà me xīng diǎn bǔ cháng； nǐ yòu gěi liǎo tā men nà me duō
qíng gǎn、 nà yàng shǎo de yòng lái dǐ yù gǎn qíng de zhì huì yǔ jǐn shèn。 nǐ yī zhǔn zǎo jiù méi xiǎng yào zhè gè qiú miàn shàng zài rèn hé shí jiān yòu xǔ
duō de rén kě yǐ shēng cún； nǐ yòu nòng liǎo nà tiān huā qù rì fù yī rì dì zhé mó tā men， zhěng dé tā men de shù mù měi gé jǐ nián jiù yào shǎo
qù shí fēn zhī yī， hái gěi nà yú xià de shí fēn zhī jiǔ yǐ jí bìng； nǐ hái xián zhè xiē hái bù gòu， yòu ràng nà xìng cún de rén men bù shì duì
bù gōng táng jiù shì zì xiāng cán shā。
“ wèile nǐ zhè suǒ wèi de jié zuò， rén men hái yào duì nǐ zhōng shēng dǐng lǐ mó bài。”
tīng dào zhè， mó wáng de liǎn hóng liǎo。 mó wáng jué chá chū zhè lǐ miàn dǎo yě shì shè jí liǎo bù dàn yòu shí zài de 'ér qiě yòu jīng shén shàng de
xié 'è； kě tā hái shì jiān chēng： tā nà jié zuò lǐ biān， jī běn shàng jiǎng， shì shàn duō yú 'è de。
“ tīng zhe， hǎo xīn cháng de huǒ jì， méi yòu bǐ dào chù qù tiǎo máo bìng gèng róng yì de liǎo，” mó wáng shuō，“ nǐ bù xiǎng xiǎng， zào
yī zhǒng dòng wù， gěi liǎo tā men tuī lǐ de běn néng bù suàn， hái dā shàng zì yóu yì zhì， yòu yào xiǎng fǎ bù shǐ tā men làn yòng tā men nà zì
yóu， róng yì má？ yě bù xiǎng xiǎng， yǎng chū yī wàn zhòngzhí wù， chū diǎn yòu dú de suàn shénme？ nǐ yǐ wéi， nà me duō de shuǐ、 shā
zǐ、 tǔ， nǐ jiù néng zào chū gè yòu méi hǎi yòu méi shā mò de qiú lái？
“ kàn kàn nǐ zì jǐ bā， wǒ de zhuān chū lěng yán lěng yǔ de péng yǒu， nǐ bù shì gāng zào wán nà gè mù xīng má， yě ràng zán lái kàn kàn
nǐ zuòde nà tiáo dà dài zǐ、 nà cháng yè、 nà sì kē yuè liàng。 kàn kàn， nǐ zào de nà gè shì jiè， shì bù shì shàng miàn de jū mín jì bù
shēng bìng yě bù yú chǔn。”
yòu páode kuài de yāo guài lì kè qù liǎo tàng mù xīng， huí lái hé gē jǐ gè shuō liǎo shuō， yú shì， dà huǒ yòu yī kuài qù xiào nà gāng gāng
hái zài měng tiǎo cì de zhù 'ér。 gē jǐ gè lǐ zuò shì zuì rèn zhēn de nà yāo guài， zhè huí tā zào dé tǔ xīng， kě jí shǐ shì tā yě méi néng miǎn
shòu cháo fěng。 qí tā zào liǎo huǒ xīng、 shuǐ xīng、 jīn xīng de yědōu gěi zhǎo chū liǎo hǎo xiē tè diū miàn zǐ de cuò wù。
hòu lái， hǎo jǐ dà běn shū、 wú shù xiǎo cè zǐ bèi zhì zào liǎo chū lái jì shù zhè zào tài yáng xì jì； tiān dǐ xià xiǎng dé chū lái de huā
yán qiǎo yǔ wú suǒ bù yòng； lǎo huà shuō dé hǎo： yán duō yòu shī。 fèi liǎo nà me duō zhǐ xiě xià nà me duō zì， nòng chū lǎo xiē gè zì xiāng máo
dùn chù。
hòu lái， wěi dà de dì mǐ gǔ sī duì nà jǐ gè yāo guài shuō：
“ nǐ men jǐ gè zuò de nà jǐ gè qiú gè yòu hǎo de yī miàn hé bù hǎo de lìng yī miàn， jīng guò rè liè de tǎo lùn， dà huǒ dōuyòu liǎo
bù tóng chéng dù de gèng jìn yī bù de lǐ jiě。 nǐ men jǐ gè lí wán měi hái yòu hǎo xiē jù lí。 zhè yàng bā， nǐ men de zuò pǐn jiù liú zài zhè
yī yì nián hǎo liǎo。 zài guò yī yì nián， nǐ men dū huì zhī dào gèng duō， zuò qǐ shì lái jiù huì hǎo xǔ duō liǎo de。 bù yào duì nǐ men zì jǐ
yào qiú guò gāo， yào zhī dào， zhè gè yǔ zhòu lǐ， zhǐ yòu wǒ cái néng zhì zào wán měi yǔ yǒng héng。”
zhè jiù shì bólātú chuán gěi tā de mén tú de jiào tiáo。 bólātú gāng wán chéng tā de gāo tán kuò lùn， yòu wèi mén tú gāo jiào dào，
“ nín xǐng liǎo má？”
（ yì） mǎ lāi bā shěn 'ě méi / liú xī róng yì
yī zhǐ pà duō wǎ zhǒng de mǔ jī， zài kào jìn pà 'ěr mǎ chéng de yī suǒ nóng zhuāng lǐ chū shēngzhǎng dà， tā yòu gè máo bìng： shēng chū de jī dàn de dàn ké hěn róng yì suì。 yuán yīn zài yú qí tā de mǔ jī dū chī xiǎo shí zǐ hé shí huī wēi lì， suǒ yǐ： tā men shēng xià de jī dàn ké dū jié shí； ér tā zhǐ chī xiǎo mài、 gāo liáng hé yù mǐ lì， huò zhě chī xiǎo chóng zǐ， tā chī de chóng zǐ yòu méi guī sè de、 hēi sè de hé qí tā gè zhǒng yán sè de， tā cóng lái bù chī xiǎo shí zǐ hé shí huī wēi lì， yīn wéi tā xiāo huà bù liǎo。 yào shì 'ǒu rán chī xià qù yī kē shí zǐ， nà shí zǐ jiù zhěng tiān dāi zài tā de wèi lǐ liǎo， ér qiě shǐ tā zhěng yè hé bù shàng yǎn， suǒ yǐ， tā shēng de jī dàn ké hěn róng yì pò suì。
yī tiān pà duō wǎ mǔ jī tīng dào yī wèi mài jī dàn de shāng rén duì nóng zhuāng de nǚ zhù rén bào yuàn shuō， yòu yī zhǐ mǔ jī shēng de dàn tài róng yì pò liǎo， měi cì yùn shū tú zhōng dū dé suì。 mǔ jī tīng liǎo shí fēn dān xīn， yīn wéi tā zhī dào， yī dàn nǚ zhù rén fā xiàn liǎo nà xiē dàn ké yì pò suì de jī dàn dōushì tā shēng de huà， nà me hěn kě néng jiù huì bǎ tā zǎi liǎo。 nóng zhuāng fù jìn yòu yī jiā dà lǐ shí jiàng pū。 yī yāo， mǔ jī shì zhe qù cháng dà lǐ shí fěn mò。 shí fěn jì bù hàochī yě bù nán chī， dàn gēn xiǎo shí zǐ hé shí huī wēi lì yī yàng nán xiāo huà。 dì 'èr tiān， tā shēng xià de jī dàn dàn ké chéng dà lǐ shí de yán sè， wài biǎo shí fēn hǎo kàn， dàn hái shì hěn róng yì dǎ suì。 lìng yòu yī tiān mǔ jī cóng shí jiàng pū miàn qián zǒu guò shí， kàn dào yòu yī tǒng guàn zǐ dǎ kāi zhe， shàng miàn xiě yòu“ yìng huà jì” de zì yàng。“ dàn yuàn zhè dōng xī méi yòu dú。” kě lián de mǔ jī zì yán zì yǔ dào。 mǔ jī zài nà bái sè de hú zhuàng wù shàng zhuó liǎo liǎng sān xià， yuán lái nà shì shí jiàng yòng lái nián dà lǐ shí de nián jiāo。 tā suí hòu páo huí dào jī shè qù， yīn wéi yào shì chī liǎo nà dōng xī yào sǐ de huà。 tā qíng yuàn sǐ zài zì jǐ de wō lǐ yě bù néng sǐ zài mǎ lù shàng。 tā jiǔ jiǔ dì zhēng zhe yǎn jīng děng zhe dù zǐ zuò téng， zuì hòu tā shuì zhe liǎo， tā yī yè shuì dào dà tiān liàng。 lí míng shí tā shēng liǎo dàn。
tā bù xiàng wǎng cháng nà yàng tí jiào yǐ tōng zhī nǚ zhù rén lái qǔ dàn， tā ná liǎo jī dàn dào yī piàn shù cóng hòu miàn qù。 mǔ jī xiān yòng zuǐ zhuó， rán hòu ná yī kuài shí zǐ qiāo： zhè yī huí， tā shēng de dàn kě zhēn yìng， yú shì， tā jiù bǎ jī dàn fàng huí jī shè qù。
pà duō wǎ mǔ jī shēng xià de dàn zài yùn shū tú zhōng méi yòu pò suì， tā bèi fàng zài shì chǎng de huò tān shàng， ràng yī wèi gōng rén de qī zǐ jiān jī dàn chī。 nǚ rén huí dào jiā， bǎ suǒ yòu jī dàn dōuzài wǎn biān， tā ná qǐ pà duō wǎ mǔ jī shēng de zhè gè jī dàn zài wǎn biān yī qiāo。 dàn jī mí yòu dǎ suì， wǎn què dǎ suì liǎo。“ yí， zhēn guài！” nǚ rén zì yán zì yǔ， tā ná qǐ jī dàn， zài dà lǐ shí zuò de zhuō zǐ jiǎo shàng qiāo。 dà lǐ shí bèi qiāo diào liǎo yī jiǎo。 tā ná lái liǎo chuí zǐ， shì zhe yòng chuí zǐ qiāo jī dàn。 hái shì qiāo bù suì， yú shì tā bǎ nà zhǐ dàn fàng zài yī biān， yīn wéi tā bù hǎo yì sī duì zhàng fū hé 'ér zǐ shuō zì jǐ lián yī zhǐ jī dàn yě qiāo bù suì。
zhàng fū yǔ 'ér zǐ chī liǎo yòng sān zhǐ jī dàn jiān de dàn， ér bù shì sì zhǐ。 qī zǐ shuō rén jiā mài gěi tā yī zhǐ bù xīn xiān de jī dàn， yě xǔ yǐ jīng huài liǎo， suǒ yǐ tā gù yì méi jiān jìn qù。
dì 'èr tiān， tā nà gè dà xué shēng 'ér zǐ bǎ jǐ yín làn xī hóng shì hé nà zhǐ jī dàn fàng jìn bāo lǐ， yīn wéi nà tiān yòu bù cháng lái cān guān。 nà gè bù cháng guǐ jì duō duān， tā xiǎng yǔ dà xué shēng men jiàn miàn， ràng tā men gǔ zhǎng huān yíng。 dà xué shēng men shāng yì hǎo jǐyǔ tā yīngyǒu de huān yíng。 dāng nà wèi bù cháng yī chū xiàn zài xué xiào mén kǒu shí， làn xī hóng shì hé chòu jī dàn cháo tā pī tóu gài nǎo dì rēng guò qù， nà gè gōng rén de 'ér zǐ miáo zhǔn liǎo bù cháng， bǎ nà zhǐ qiāo bù suì de jī dàn cháo tā de qián 'é rēng guò qù。 zhǐ tīng jiàn“ pā”， xiàng shì dǎ guò qù yī kuài shí tóu shìde， bù cháng yìng shēng dǎo dì。 dà jiā bǎ tā tái chū qù， yòng bīng shuǐ dài fū zài tā de 'é tóu shàng， yīn wéi bù cháng de qián 'é zhèng zhōng cháng chū yī gè dà gǔ bāo。 jìn guǎn yòng bīng shuǐ fū， tā nà gè zhǒng bāo yuè lái yuè dà， huó xiàng xī niú de jiǎo。
dǎ cóng nà tiān yǐ hòu， bù cháng zài yě bù jiē jiàn dà xué shēng liǎo， yě bù zài qù cān guān shénme kāi mù shì liǎo， yīn wéi bù guǎn zěn me lěng fū hé zhì liáo， bù cháng 'é tóu shàng de nà kuài bāo zěn me yě xiāo bù xià qù liǎo。
yī zhǐ pà duō wǎ zhǒng de mǔ jī， zài kào jìn pà 'ěr mǎ chéng de yī suǒ nóng zhuāng lǐ chū shēngzhǎng dà， tā yòu gè máo bìng： shēng chū de jī dàn de dàn ké hěn róng yì suì。 yuán yīn zài yú qí tā de mǔ jī dū chī xiǎo shí zǐ hé shí huī wēi lì， suǒ yǐ： tā men shēng xià de jī dàn ké dū jié shí； ér tā zhǐ chī xiǎo mài、 gāo liáng hé yù mǐ lì， huò zhě chī xiǎo chóng zǐ， tā chī de chóng zǐ yòu méi guī sè de、 hēi sè de hé qí tā gè zhǒng yán sè de， tā cóng lái bù chī xiǎo shí zǐ hé shí huī wēi lì， yīn wéi tā xiāo huà bù liǎo。 yào shì 'ǒu rán chī xià qù yī kē shí zǐ， nà shí zǐ jiù zhěng tiān dāi zài tā de wèi lǐ liǎo， ér qiě shǐ tā zhěng yè hé bù shàng yǎn， suǒ yǐ， tā shēng de jī dàn ké hěn róng yì pò suì。
yī tiān pà duō wǎ mǔ jī tīng dào yī wèi mài jī dàn de shāng rén duì nóng zhuāng de nǚ zhù rén bào yuàn shuō， yòu yī zhǐ mǔ jī shēng de dàn tài róng yì pò liǎo， měi cì yùn shū tú zhōng dū dé suì。 mǔ jī tīng liǎo shí fēn dān xīn， yīn wéi tā zhī dào， yī dàn nǚ zhù rén fā xiàn liǎo nà xiē dàn ké yì pò suì de jī dàn dōushì tā shēng de huà， nà me hěn kě néng jiù huì bǎ tā zǎi liǎo。 nóng zhuāng fù jìn yòu yī jiā dà lǐ shí jiàng pū。 yī yāo， mǔ jī shì zhe qù cháng dà lǐ shí fěn mò。 shí fěn jì bù hàochī yě bù nán chī， dàn gēn xiǎo shí zǐ hé shí huī wēi lì yī yàng nán xiāo huà。 dì 'èr tiān， tā shēng xià de jī dàn dàn ké chéng dà lǐ shí de yán sè， wài biǎo shí fēn hǎo kàn， dàn hái shì hěn róng yì dǎ suì。 lìng yòu yī tiān mǔ jī cóng shí jiàng pū miàn qián zǒu guò shí， kàn dào yòu yī tǒng guàn zǐ dǎ kāi zhe， shàng miàn xiě yòu“ yìng huà jì” de zì yàng。“ dàn yuàn zhè dōng xī méi yòu dú。” kě lián de mǔ jī zì yán zì yǔ dào。 mǔ jī zài nà bái sè de hú zhuàng wù shàng zhuó liǎo liǎng sān xià， yuán lái nà shì shí jiàng yòng lái nián dà lǐ shí de nián jiāo。 tā suí hòu páo huí dào jī shè qù， yīn wéi yào shì chī liǎo nà dōng xī yào sǐ de huà。 tā qíng yuàn sǐ zài zì jǐ de wō lǐ yě bù néng sǐ zài mǎ lù shàng。 tā jiǔ jiǔ dì zhēng zhe yǎn jīng děng zhe dù zǐ zuò téng， zuì hòu tā shuì zhe liǎo， tā yī yè shuì dào dà tiān liàng。 lí míng shí tā shēng liǎo dàn。
tā bù xiàng wǎng cháng nà yàng tí jiào yǐ tōng zhī nǚ zhù rén lái qǔ dàn， tā ná liǎo jī dàn dào yī piàn shù cóng hòu miàn qù。 mǔ jī xiān yòng zuǐ zhuó， rán hòu ná yī kuài shí zǐ qiāo： zhè yī huí， tā shēng de dàn kě zhēn yìng， yú shì， tā jiù bǎ jī dàn fàng huí jī shè qù。
pà duō wǎ mǔ jī shēng xià de dàn zài yùn shū tú zhōng méi yòu pò suì， tā bèi fàng zài shì chǎng de huò tān shàng， ràng yī wèi gōng rén de qī zǐ jiān jī dàn chī。 nǚ rén huí dào jiā， bǎ suǒ yòu jī dàn dōuzài wǎn biān， tā ná qǐ pà duō wǎ mǔ jī shēng de zhè gè jī dàn zài wǎn biān yī qiāo。 dàn jī mí yòu dǎ suì， wǎn què dǎ suì liǎo。“ yí， zhēn guài！” nǚ rén zì yán zì yǔ， tā ná qǐ jī dàn， zài dà lǐ shí zuò de zhuō zǐ jiǎo shàng qiāo。 dà lǐ shí bèi qiāo diào liǎo yī jiǎo。 tā ná lái liǎo chuí zǐ， shì zhe yòng chuí zǐ qiāo jī dàn。 hái shì qiāo bù suì， yú shì tā bǎ nà zhǐ dàn fàng zài yī biān， yīn wéi tā bù hǎo yì sī duì zhàng fū hé 'ér zǐ shuō zì jǐ lián yī zhǐ jī dàn yě qiāo bù suì。
zhàng fū yǔ 'ér zǐ chī liǎo yòng sān zhǐ jī dàn jiān de dàn， ér bù shì sì zhǐ。 qī zǐ shuō rén jiā mài gěi tā yī zhǐ bù xīn xiān de jī dàn， yě xǔ yǐ jīng huài liǎo， suǒ yǐ tā gù yì méi jiān jìn qù。
dì 'èr tiān， tā nà gè dà xué shēng 'ér zǐ bǎ jǐ yín làn xī hóng shì hé nà zhǐ jī dàn fàng jìn bāo lǐ， yīn wéi nà tiān yòu bù cháng lái cān guān。 nà gè bù cháng guǐ jì duō duān， tā xiǎng yǔ dà xué shēng men jiàn miàn， ràng tā men gǔ zhǎng huān yíng。 dà xué shēng men shāng yì hǎo jǐyǔ tā yīngyǒu de huān yíng。 dāng nà wèi bù cháng yī chū xiàn zài xué xiào mén kǒu shí， làn xī hóng shì hé chòu jī dàn cháo tā pī tóu gài nǎo dì rēng guò qù， nà gè gōng rén de 'ér zǐ miáo zhǔn liǎo bù cháng， bǎ nà zhǐ qiāo bù suì de jī dàn cháo tā de qián 'é rēng guò qù。 zhǐ tīng jiàn“ pā”， xiàng shì dǎ guò qù yī kuài shí tóu shìde， bù cháng yìng shēng dǎo dì。 dà jiā bǎ tā tái chū qù， yòng bīng shuǐ dài fū zài tā de 'é tóu shàng， yīn wéi bù cháng de qián 'é zhèng zhōng cháng chū yī gè dà gǔ bāo。 jìn guǎn yòng bīng shuǐ fū， tā nà gè zhǒng bāo yuè lái yuè dà， huó xiàng xī niú de jiǎo。
dǎ cóng nà tiān yǐ hòu， bù cháng zài yě bù jiē jiàn dà xué shēng liǎo， yě bù zài qù cān guān shénme kāi mù shì liǎo， yīn wéi bù guǎn zěn me lěng fū hé zhì liáo， bù cháng 'é tóu shàng de nà kuài bāo zěn me yě xiāo bù xià qù liǎo。
wǒ tǎng zài chuáng shàng， kàn zhe chuāng wài nà xī yáng zhào yào xià de yáng shù， shù shàng de yè zǐ hū rán cóng jīn huáng biàn chéng huǒ hóng， tiān kōng yě biàn chéng liǎo mò shuǐ shìde 'àn lán sè。 wǒ de xīn qíng biàn dé hǎo qǐ lái。 wǒ cóng chuáng shàng pá qǐ lái， dào wài biān qù。 nà kē yáng shù de yè zǐ dū biàn chéng liǎo hóng chóu zǐ shìde huǒ yàn， zài shù zhī shàng qīng yíng dì piāo dòng。 cóng tài yáng shàng liú chū hěn duō jīn sè de hé liú， zài 'àn 'àn de tiān dǐng shàng liú dòng。 dà jiē shàng de dēng hū rán quán liàng liǎo， yī chuàn chuàn fā guāng de qì qiú fú zài kōng zhōng。 wǒ xīn qíng yú kuài， qí shàng zì xíng chē dào lì jiāo qiáo xià qù zhǎo wǒ de nǚ péng yǒu。
tā zhàn zài nà 'ér děng wǒ， chuānzhuó yī jiàn fā zǐ guāng de lián yī qún， tóu shàng yòu yī tuán wēi wēi fā hóng de yuè bái sè guāng huī。 nà yī diǎn hóng sè shì zháojí de yán sè。 wǒ tiào xià zì xíng chē shuō：“ nǐ yòu diǎn zháojí liǎo bā， qí shí shí hòu hái bù dào。”
tā méi shuō huà， tóu shàng de guāng yòu yòu diǎn fā lǜ。 wǒ shuō：“ wèishénme bù hǎo yì sī？ zhè 'ér hěn hēi， bié rén kàn bù dào wǒ men。”
tā tóu shàng de guāng piāo hū bù dìng qǐ lái。 wǒ shuō：“ shénme shì shǐ nǐ bù nài fán liǎo ní？”
tā zhǎn dīng jié tiě dì shuō：“ nǐ！ nǐ shénme dōuzhī dào， xiàng shàng dì yī yàng， zhēn tǎo yàn！”
wǒ bù shuō huà liǎo， zhuǎn guò tóu qù kàn nà xiē qí chē de rén。 tā men yú guàn chuān guò qiáo xià hēi yǐng， tuō zhe wǔ yán liù sè de guāng wěi bā， hǎo xiàng yú gāng lǐ de rè dài yú zài yóu dòng。 hū rán tā yòu lái tǒng wǒ， shuō：“ zán men dào wài miàn zǒu zǒu bā， nǐ bǎ jiàn dào de shì qíng shuō gěi wǒ tīng。” wǒ men jiù yī qǐ dào qiáo shàng qù。 yīn wéi gāng cái wǒ shuō tā bù hǎo yì sī， zhè shí tā jiù wǎn zhe wǒ de gēbo， qí shí sào dé cóng tóu dào jiǎo dū zhào zài lǜ guāng lǐ。 wǒ shuō：“ nǐ zhēn hǎo kàn， xiàng fěi cuì diāo chéng de yī yàng。”
tā dà chī yī jīng：“ zěn me lā？”
“ nǐ hài xiū ní？”
tā yī bǎ shuāi kāi wǒ de gēbo shuō：“ gēn nǐ zài yī qǐ lián hài xiū dū hài bù chéng， zhēn yào mìng。 nǐ kàn， nà gè rén zhēn kě pà！”
duì miàn zǒu guò yī gè rén， liǎn sāi shàng yī biān dūn liǎo yī zhǐ jīng yíng bì lǜ de dà là há má。 wǒ wèn tā nà rén zěn me lā， tā shuō tā mǎn liǎn dōushì dà gē dá。 wǒ shuō bù shì gē dá， shì yī duì há má zài shàng miàn 'ān xī。 tā shuō zhēn yòu yì sī。 hòu lái yī gè dà pàng zǐ qí chē zǒu guò， dù zǐ hǎo xiàng kāi liǎo guō shìde luàn xiǎng， zhè shì yīn wéi tā tiān tiān dū hé lǎo pó chǎo jià。 guò liǎo yī huì， kāi guò yī liàng hóng qí chē， lǐ miàn zuò liǎo yī gè nán bàn nǚ zhuāng de lǎo chǔnǚ， wēi yán dé xiàng gè jiāng jūn， zhòu wén xiàng dì zhèn hòu de liè wén， dà tuǐ xiàng kuài zǐ， yīn máo yòu cū yòu cháng， xiàng gāng jiàn yī yàng shǎn shǎn fā guāng。 wǒ bǎ jiàn guò de shì qíng gào sù tā， bù guò méi gào sù tā wǒ zài shǒu cháng de xiǎo dù zǐ shàng kàn jiàn yī háo zhū。 tā xiào gè bù tíng， hái shuō yào wǒ bǎ zhè xiē shì xiě dào wǒ de shī jí lǐ qù。
wǒ yòu yī běn shī jí， xiě dedōu shì wǒ zài zhè zhǒng shí kè de suǒ jiàn suǒ wén。 chú liǎo tā， wǒ méi gǎn gěi rèn hé rén kàn， shēng pà bèi sòng dào jīng shén bìng yuàn lǐ qù， dàn shì tā kàn liǎo yǐ hòu jiù 'ài shàng liǎo wǒ。 wǒ men zǎo jiù zài bàn shì chù dēng jì jié hūn liǎo， kě shì hái bǎo chí zhe chún jié de guān xì。 wǒ lǎo xiǎng bǎ tā dài dào wǒ nà 'ér qù， nà tiān wǒ yě shuō：“ wǎn shàng dào wǒ nà 'ér bā！”
“ bù， wǒ jīn tiān bù xǐ huān。”
“ kě shì nǐ shénme shí hòu xǐ huān ní！”
tā hū rán lā zhù wǒ de shǒu， bǎ liǎn còu guò lái shuō：“ nǐ zhēn de zhèmezhāo máng má？” wǒ wěn liǎo tā yī xià， chà shí jiān tiān hūn dì 'àn， hǎo xiàng zhěng gè shì jiè dū dǎo liǎo gè 'ér， yuán lái zài zuǒ biān de quán huàn dào yòu biān qù liǎo。 wǒ qián biān zhàn liǎo yī gè nán rén， wǒ zì jǐ dǎo chuān qǐ liǎo lián yī qún， hòu jiǎo gēn xià hǎo xiàng cháng liǎo yī duì zhū tí， ér qiě tóu zhòng jiǎo qīng dé zhí yào wǎng qián zāi dǎo。 wǒ jīng jiào yī shēng， shēng qì qīng wēi。
děng wǒ jīng hún shāo dìng， jiù duì zì jǐ hěn bù mǎn yì。 wǒ de jiān bǎng hún yuán， xiōng qián féi dū dū de， shēn cái yòu biàn dé nà me 'ǎi xiǎo， yóu qí shì jiǎo xià hǎo xiàng cǎi zhe gāo qiāo， jiǎn zhí yào bǎ jiǎo jīn bēng duàn。 yú shì wǒ jiān shēng jiān qì dì jiào qǐ lái：“ zhè shì zěn me liǎo？”
nà gè nán rén shuō：“ wǒ yě bù zhī dào， bù zhī zěn me jiù huàn guò lái liǎo。 hēi， zhè kě zhēn yòu yì sī。”
yuán lái nà gè nán rén qián shí miǎo zhōng hái shì wǒ ní， xiàn zài jiù chéng liǎo tā liǎo。 wǒ shuō：“ yòu shénme yì sī！ zhè kě zāo tòu liǎo！ hái néng huàn guò lái má？”
tā de shēng yīn chōng mǎn liǎo xìng zāi lè huò：“ nǐ wèn wǒ， wǒ wèn shuí qù？”
wǒ qì jí bài huài dì shuō：“ zhè tài kě pà liǎo！ zhè zhǒng qíng kuàng yào chí xù hěn jiǔ má？”
“ shuí zhī dào ní？ yě xǔ huì zhè me yī zhí chí xù xià qù， wǒ dāng gè lǎo tóu zhōng cǐ yī shēng ní。 wǒ jué dé zhè yě bù yào jǐn， nǐ wǒ fǎn zhèng yě dào liǎo zhè gè chéng dù liǎo， hái fēn shénme bǐ cǐ ní！”
wǒ jí dé zhí duǒ jiǎo， gāo gēn xié fā chū tí zǐ bān de shēng yīn。 wǒ shuō：“ wǒ kě bù gān！ wǒ bù gān！ zhè jiào shénme shì yā！”
“ xiǎo shēng diǎn！ nǐ rǎng rǎng shénme yā。 zhè shì yòu bù shì wǒ zuò zhù。 zhè 'ér bù hǎo shuō huà， zán men dào nǐ jiā qù bā。”
wǒ bù zǒu， fēi yào bǎ shì qíng nòng míng bái bù kě：“ bù xíng， zán liǎ dé shuō qīng chǔ liǎo。 yào shì zàn shí de， wǒ hái kě yǐ tì nǐ zhī chēng zhe， jiǔ liǎo wǒ kě bù gān。”
“ zhè zhǒng shì qíng shuí néng shuō dé zhǔn ní。 nǐ de yī fú quán shì yī gǔ guài wèi， pí xié hái jiā jiǎo ní。 wǒ yě tǎo yàn dāng gè nán rén， dāng liǎng tiān xīn xiān xīn xiān hái kě yǐ。 zán men huí jiā bā。”
wǒ hé tā yī qǐ wǎng huí zǒu， tā tuī zhe zì xíng chē。 wǒ zǒu qǐ lù lái hěn fèi jìn， bù guāng gāo gēn xié bié niǔ， qún zǐ hái bàn tuǐ。 shēn tǐ yě bù dà tīng wǒ shǐ huàn， zǒu liǎo yī bǎi duō bù， zǒu chū wǒ yī tóu dàhán lái。 wǒ yī pì gǔ zuò zài mǎ lù yá zǐ shàng xiǎng chuǎn chuǎn qì， tā jiù guài shēng guài qì dì shuō：“ nǐ jiù zhè me wǎng dì xià zuò yā！”
“ wǒ lěi liǎo！”
“ yō， wǒ de qún zǐ kě shì quán xīn de， ní lóng zhēn zhì de ní！ kuài qǐ lái， hǎohǎo dǎn dǎn tǔ！”
wǒ miǎnqiǎng zhàn qǐ lái， mǎn huái chóu hèn dì dèng liǎo tā yī yǎn。 wèile biǎo shì duì tā de miè shì， wǒ méi yòu dǎn tǔ， yòu wǎng qián zǒu liǎo。 zǒu liǎo jǐ bù， gāo gēn xié chuānzhuó tài biē qì， jiù bǎ tā tuō xià lái tí zài shǒu lǐ。 zǒu liǎo yī duàn， wǒ hái shì bù néng mǎn yì， jiù shuō：“ nǐ zěn me cháng zhè me xiǎo de jiǎo！ suī shuō gè 'ér xiǎo， zhè jiǎo yě xiǎo dé bù chéng bǐ lì。 nǐ jiù yòng zhè zhǒng tí zǐ zǒu lù má？”
tā hēng liǎo yī shēng：“ bù yào yuàn tiān yóu rén， ná chū diǎn nán zǐ qì gài lái！”
nán zǐ qì gài cóng nà 'ér lái ní， wǒ tóu shàng cháng mǎn liǎo cháng tóu fā， zhēn shì qì mèn fēi cháng， hún shēn shàng xià dōubù dé jìn。 wǒ men mō zhe hēi zǒu jìn wǒ de fáng zǐ， zuò zài wǒ wéi jié hūn mǎi lái de shuāng rén chuáng shàng， hǎo bàn tiān méi yòu kāi dēng。 hòu lái tā shuō：“ nǐ de jiǎo zhēn chòu！ wǒ yào qù xǐ yī xǐ。”
wǒ shuō：“ nǐ qù bā！”
tā zǒu dào nà jiàncè suǒ jiān xǐ zǎo jiān lǐ qù liǎo， zài nà 'ér huá lā huá lā de jiàn liǎo bàn tiān shuǐ。 wǒ tǎng zài chuáng shàng zhí fā shǎ。 hòu lái tā huí lái liǎo， guāng zhe bǎng zǐ， xiǎo shēng shuō：“ zhēn bǎ wǒ xià huài liǎo， hēi hēi， nǐ zài wài biān xiǎn dé xiàng gè hǎo rén shìde， tuō xià yī fú yī kàn， yī fù qiáng dào xiāng。 nǐ yě qù xǐ xǐ bā， liáng kuài。”
wǒ dào xǐ zǎo jiān lǐ zhào zhào jìng zǐ， zhēn bù chéng gè tǐ tǒng。 tuō xià yī fú yī zhào jìng zǐ， wǒ chā yī diǎn hūn sǐ guò qù。 guāi guāi， tā cháng dé zhēn shì piào liàng， kě xī bù huì gěi wǒ dài lái shénme hǎo chù。 wǒ xǐ liǎo xǐ， bǎ yī fú yòu dū chuān shàng， bǎ dēng guān shàng， yòu dào chuáng shàng qù。 tā zài hēi dì lǐ mō dào wǒ， shuō：“ zěn me yàng， hái mǎn yì bā， zán cháng dé bǐ nǐ shuài duō liǎo。”
wǒ dài zhe kū qiāng shuō：“ shuài， shuài。 tā mā de， dàn yuàn jīn tiān wǎn shàng néng huàn huí lái， yào bù míng tiān zěn me jiàn rén。”
“ hēi， wǒ jué dé hái tǐng dài jìn。 míng tiān qù dǎ gè diàn huà， shuō zán men xiē sān tiān hūn jiǎ。”
zhè dǎo shì gè hǎo zhù yì。“ kě shì sān tiān yǐ hòu ní？”
“ zhè dǎo yòu diǎn tǎo yàn。 zhè yàng bā， wǒ shàng nǐ de bān， nǐ shàng wǒ de bān， zěn me yàng？ wǒ tǎo yàn shàng nán cè suǒ， bù guò shì dào lín tóu yě zhǐ hǎo zhè me bàn liǎo。”
wǒ fǎn duì zhè yàng。 wǒ zhù zhāng shàng gōng 'ān jú tóu chéng， huò zhě shàng fǎ yuàn zì shǒu， qǐng zhèng fǔ lái jiě jué zhè gè wèn tí。 tā hā hā dà xiào：“ shuí guǎn nǐ zhè shì 'ér！ qù liǎo wú fēi shì jiào rén kàn gè xiào huà。”
tā zhè huà yě bù wú dào lǐ。 wǒ xiǎng liǎo yòu xiǎng， shénme hǎo bàn fǎ yě xiǎng bù chū lái。 kě shì tā xīn mǎn yì zú dì tǎng xià liǎo， hái shuō：“ yòu wèn tí míng rì zài shuō， jīn tiān xiān shuì jué。”
wǒ yě kùn dé yào mìng， dàn shì bù xǐ huān hé tā shuì yī gè chuáng。 wǒ shuō：“ zán men kě shuō hǎo liǎo， tǎng xià shuí yě bié hú lái。” tā shuō：“ zěn me jiào hú lái， wǒ hái bù huì ní。” yú shì wǒ jiù fàng xīn hé tā bìng tóu shuì qù。
dì 'èr tiān zǎo shàng， wǒ jiào tā gěi liǎng gè gōng zuò dān wèi dǎ diàn huà， jiào wǒ men xiē hūn jiǎ。 tā huí lái hòu shuō：“ qǐng jiǎ zhào zhǔn liǎo。 jīn tiān zán men gànshénme？ ào， nǐ qù dào wǒ sù shè bǎ wǒ de xiāng zǐ ná lái。”
wǒ shuō：“ nǐ de dōng xī， nǐ qù ná。”
“ xiā shuō！ wǒ zhè gè yàng zǐ néng ná dé chū lái má？ nǐ 'ài qù bù qù， fǎn zhèng ná lái shì nǐ yòng。”
wǒ zuò zài chuáng shàng， hū rán bí zǐ yī suān， kū liǎo qǐ lái。 tā zǒu guò lái， pāi wǒ de jiān bǎng shuō：“ zhè cái xiàng gè nǚ rén。 kàn nǐ zhè yàng zǐ wǒdōu xǐ huān liǎo。 nǐ qù bā， méi shì 'ér。”
wǒ bèi bī wú nài， zhǐ hǎo wǒ qù ná dōng xī。 zǒu dào jiē shàng， wǒ pà lù liǎo mǎ jiǎo， zhǐ hǎo zuò chū nǚ rén yàng， niǔ niǔ niē niē de zǒu lù。 lù shàng de nán rén dū zhù qū xiàn bì lù de lián yī qún tài zāo gāo， zhēn bù rú zuò jiàn dà jīn guà zǐ， zài bǎ tóu fā pán dé hé lǎo tài tài yī yàng。
tā sù shè lǐ méi rén， wǒ xiàng zéi yī yàng liù jìn qù， bǎ xiāng zǐ tí liǎo chū lái。 huí dào jiā lǐ， zhǐ jiàn tā hái bǐ shǒu huá jiǎo de ná bǎo xiǎn dāo guā hú zǐ， hú zǐ méi tì xià lái， dǎo bǎ méi máo guā xià lái bù shǎo。 wǒ dàhè yī shēng：“ bié zāo jiàn wǒ de méi máo！ nǐ yīnggāi zhè yàng guā”……。 tā xué huì zhī hòu hěn gāo xīng， jiù dǎ kāi xiāng zǐ， chuán shòu wǒ nà xiē pò làn de yòng fǎ， zhēn shì jiào rén 'ěxīn dào jí diǎn。
biàn chéng nǚ rén zhī hòu， wǒ biàn dé qiān diāo wàn 'è， shàng wǔ yī xiǎo shí jiù hé tā chǎo liǎo shí yī jià。 wǒ jué dé wū lǐ bù zhì dé bù hǎo， ràng tā yí dòng yī xià， tā bù lè yì， wǒ jiù dū nóng gè bù tíng。 hòu lái yòu qù zuò wǔ fàn， tā mǎi de cài， wǒ xián guì xián lǎo。 tā mǎi liǎo yī píng sì kuài qián de pú táo jiǔ， wǒ yī tīng jià qián jiù shēng sī lì jié dì guài jiào qǐ lái， tā zhǐ hǎo yòng liǎng gè zhěn tóu bǎ 'ěr duǒ wǔ zhù。 wǒ duì yī qiēdōu gǎn dào bù mǎn， zài chú fáng lǐ shuāi shuāi dǎ dǎ， dǎ suì liǎo liǎng sān gè dié zǐ。 tā kāi tóu jí lì rěn shòu， hòu lái rěn wú kě rěn， jiù lì shēng hèchì wǒ。 wǒ lì kè huǒ mào sān zhàng， xiǎng chōng chū qù bǎ tā jiū fān， shuí zhī lì bù cóng xīn， fǎn bèi tā 'àn dǎo zài shā fā shàng。
tā bù huái hǎo yì dì lěng xiào zhe shuō：“ nǐ bié hú nào liǎo， fǒu zé wǒ jiù dǎ nǐ de pì gǔ！”
wǒ yǎo yá qièchǐ dì shuō：“ fàng wǒ qǐ lái！”
tā zài wǒ pì gǔ shàng qīng qīng dǎ liǎo yī xià， wǒ lì kè jiān jiào qǐ lái：“ jiù mìng yā！ dǎ rén liǎo！” tā mǎ shàng sōng liǎo shǒu， ná dào yī biān qù， liǎn shàng mǎn shì bù xiè zhī sè：“ zhì yú de má？ jiù dǎ liǎo nà me yī xià。” wǒ zuò qǐ lái， háo kū zhe shuō：“ hǎo wā！ cái jié hūn dì yī tiān jiù dǎ rén， zhè rì zǐ kě zěn me guò……” wǒ yòu dū nóng liǎo yī zhèn， kě shì tā bù lǐ wǒ， wǒ yě jiù bù shuō shénme liǎo。
chī guò wǎn fàn， tā tí yì chū qù zǒu zǒu。 kě wǒ nìngyuàn dài zài jiā lǐ。 wǒ men kàn liǎo huì diàn shì， rán hòu wǒ jiù qù xǐ zǎo， zhǔn bèi shuì jué。 bù zhī wèishénme， wǒ jué dé tā de shēn tǐ shí fēn tǎo yàn。 zài nà 'ē'nuó duō zī de qū xiàn lǐ bāo hán zhe yī zhǒng lìng rén zuò 'ǒu de wèi dào， fēng mǎn de rǔ fáng hé xiū cháng de dà tuǐ dōuhěn shǐ wǒ fǎn gǎn。 cháng zhe zhè yàng de dōng xī zhǐ néng yǐn qǐ hàosè zhī tú de bēi bǐ gǎn qíng， suǒ yǐ wǒ yīnggāi jìn kě néng shǎo chū mén。
yào dāng yī gè nǚ rén， yīnggāi yuǎn lí yín huì。 wǒ xī wàng liǎn shàng pá mǎn zhòu wén， rǔ fáng xià chuí， dù zǐ shàng de ròu dā lā xià lái， zhè cái shì xīn zhōng guó fù nǚ yīngyǒu de xíng xiàng。 zhāo yǐn nán rén de yǎn mùdì， yī dìng shì gè biǎo zǐ。 wǒ jué dé wǒ xiàn zài zhè gè xíng xiàng hé biǎo zǐ jiù chā bù duō。
dāng wǒ men liǎng gè yī qǐ tǎng zài chuáng shàng shí， tā gào sù wǒ：“ nǐ jīn tiān de biǎo xiàn bǐ jiào xiàng gè nǚ rén liǎo。 zhào zhè yàng xià qù， sān sì tiān hòu nǐ jiù néng shì yìng nǚ rén shēng huó， kě yǐ qù shàng bān， bù zhì yú lòumǎjiǎo liǎo。”
wǒ tīng liǎo yǐ hòu hěn gāo xīng， kě shì tā yòu shuō：“ nǐ de qíng xù kě hé wǒ guò qù bù yī yàng， xiǎn dé xiàng gè lǎo tài tài。 bù guò zài fù lián gōng zuò zhè yàng hěn hé shì。”
wǒ gào sù tā， tā de biǎo xiàn hěn xiàng gè nán rén。 wǒ men liǎ tán dé tóu jī qǐ lái。 tā tuī xīn zhì fù dì gào sù wǒ： tā hěn xiǎng“ hú lái” yī xià。 wǒ jiān jué jù jué liǎo。 kě shì guò liǎo yī huì， wǒ yòu xiǎng dào tā kě néng huì qǐ yì dào wài biān yě qù hú lái， zhè jiù tài zāo gāo liǎo。 wǒ jiù gào sù tā， kě yǐ hé wǒ“ hú lái”， dàn shì bù zhǔn hé bié de nǚ rén luàn gǎo， tā dāyìng liǎo。 wǒ gào sù tā“ hú lái” de fāng fǎ， tā jiù pá dào wǒ shēn shàng lái， mō mō suǒ suǒ dì hěn ràng rén tǎo yàn。 hū rán wǒ jué dé qí tòng nán rěn， jiù shā zhū yě sì de 'āiháo yī shēng， bǎ tā xià dé lián dòng dōubù gǎn dòng， guò liǎo hǎo bàn tiān cái shuō：“ wǒ xià lái liǎo。” kě wǒ zài hēi dì lǐ kū liǎo hǎo jiǔ， xiǎng zhe bù bào tā nòng shāng wǒ zhī chóu shì bù wéi rén。
dì 'èr tiān zǎo shàng， wǒ xǐng lái shí fā xiàn zì jǐ yòu biàn chéng liǎo yuán lái de xíng xiàng。 tā tǎng zài wǒ shēn biān， dèng dà yǎn jīng， xiǎn rán yǐ jīng xǐng liǎo hěn jiǔ liǎo。 tā hái shì nà gè piào liàng nǚ rén， cóng rèn hé fāng miàn lái shuō dōushì yī gè hǎo qī zǐ。 wǒ shēn shǒu qù mō tā de jiān bǎng， tā duō suo liǎo yī xià， rán hòu shuō：“ wǒ bù shì zài zuò mèng bā？”
“ zuò shí me mèng？”
“ wǒ zuó tiān hǎo xiàng shì gè nán rén。”
wǒ rèn wéi tā shuō dé duì， dàn shì zhè bù néng gǎi biàn xiàn zhuàng。 wǒ shēn shǒu bǎ tā bào zài huái lǐ， tā xiū dé mǎn liǎn tōng hóng， dàn shì biǎo xiàn dé hái suàn lǎo shí。 hòu lái tā qǐ liǎo chuáng， zhàn zài chuáng qián shuō：“ zhè me biàn lái biàn qù kě shòu bù liǎo， xiàn zài wǒ zhēn bù zhī gāi zhàn zài nán rén de lì chǎng shàng hái shì gāi zhàn zài nǚ rén de lì chǎng shàng liǎo。”
zhè huà shuō dé bù cuò。 nán rén hé nǚ rén zhī jiān tiān rán bù hé， tā men 'ǒu 'ěr yuàn yì hé nán rén zài yī qǐ， ér hòu jiù kāi shǐ zhēténg qǐ lái， xiàng nán rén fā xiè chóu hèn。 dào xiàn zài wéi zhǐ， wǒ men fū qī hé mù， kě wǒ shǐ zhōng fáng zhe tā yī shǒu。
zhù： yuán gǎo wú tí， biāo tí xì biān zhě suǒ
tā zhàn zài nà 'ér děng wǒ， chuānzhuó yī jiàn fā zǐ guāng de lián yī qún， tóu shàng yòu yī tuán wēi wēi fā hóng de yuè bái sè guāng huī。 nà yī diǎn hóng sè shì zháojí de yán sè。 wǒ tiào xià zì xíng chē shuō：“ nǐ yòu diǎn zháojí liǎo bā， qí shí shí hòu hái bù dào。”
tā méi shuō huà， tóu shàng de guāng yòu yòu diǎn fā lǜ。 wǒ shuō：“ wèishénme bù hǎo yì sī？ zhè 'ér hěn hēi， bié rén kàn bù dào wǒ men。”
tā tóu shàng de guāng piāo hū bù dìng qǐ lái。 wǒ shuō：“ shénme shì shǐ nǐ bù nài fán liǎo ní？”
tā zhǎn dīng jié tiě dì shuō：“ nǐ！ nǐ shénme dōuzhī dào， xiàng shàng dì yī yàng， zhēn tǎo yàn！”
wǒ bù shuō huà liǎo， zhuǎn guò tóu qù kàn nà xiē qí chē de rén。 tā men yú guàn chuān guò qiáo xià hēi yǐng， tuō zhe wǔ yán liù sè de guāng wěi bā， hǎo xiàng yú gāng lǐ de rè dài yú zài yóu dòng。 hū rán tā yòu lái tǒng wǒ， shuō：“ zán men dào wài miàn zǒu zǒu bā， nǐ bǎ jiàn dào de shì qíng shuō gěi wǒ tīng。” wǒ men jiù yī qǐ dào qiáo shàng qù。 yīn wéi gāng cái wǒ shuō tā bù hǎo yì sī， zhè shí tā jiù wǎn zhe wǒ de gēbo， qí shí sào dé cóng tóu dào jiǎo dū zhào zài lǜ guāng lǐ。 wǒ shuō：“ nǐ zhēn hǎo kàn， xiàng fěi cuì diāo chéng de yī yàng。”
tā dà chī yī jīng：“ zěn me lā？”
“ nǐ hài xiū ní？”
tā yī bǎ shuāi kāi wǒ de gēbo shuō：“ gēn nǐ zài yī qǐ lián hài xiū dū hài bù chéng， zhēn yào mìng。 nǐ kàn， nà gè rén zhēn kě pà！”
duì miàn zǒu guò yī gè rén， liǎn sāi shàng yī biān dūn liǎo yī zhǐ jīng yíng bì lǜ de dà là há má。 wǒ wèn tā nà rén zěn me lā， tā shuō tā mǎn liǎn dōushì dà gē dá。 wǒ shuō bù shì gē dá， shì yī duì há má zài shàng miàn 'ān xī。 tā shuō zhēn yòu yì sī。 hòu lái yī gè dà pàng zǐ qí chē zǒu guò， dù zǐ hǎo xiàng kāi liǎo guō shìde luàn xiǎng， zhè shì yīn wéi tā tiān tiān dū hé lǎo pó chǎo jià。 guò liǎo yī huì， kāi guò yī liàng hóng qí chē， lǐ miàn zuò liǎo yī gè nán bàn nǚ zhuāng de lǎo chǔnǚ， wēi yán dé xiàng gè jiāng jūn， zhòu wén xiàng dì zhèn hòu de liè wén， dà tuǐ xiàng kuài zǐ， yīn máo yòu cū yòu cháng， xiàng gāng jiàn yī yàng shǎn shǎn fā guāng。 wǒ bǎ jiàn guò de shì qíng gào sù tā， bù guò méi gào sù tā wǒ zài shǒu cháng de xiǎo dù zǐ shàng kàn jiàn yī háo zhū。 tā xiào gè bù tíng， hái shuō yào wǒ bǎ zhè xiē shì xiě dào wǒ de shī jí lǐ qù。
wǒ yòu yī běn shī jí， xiě dedōu shì wǒ zài zhè zhǒng shí kè de suǒ jiàn suǒ wén。 chú liǎo tā， wǒ méi gǎn gěi rèn hé rén kàn， shēng pà bèi sòng dào jīng shén bìng yuàn lǐ qù， dàn shì tā kàn liǎo yǐ hòu jiù 'ài shàng liǎo wǒ。 wǒ men zǎo jiù zài bàn shì chù dēng jì jié hūn liǎo， kě shì hái bǎo chí zhe chún jié de guān xì。 wǒ lǎo xiǎng bǎ tā dài dào wǒ nà 'ér qù， nà tiān wǒ yě shuō：“ wǎn shàng dào wǒ nà 'ér bā！”
“ bù， wǒ jīn tiān bù xǐ huān。”
“ kě shì nǐ shénme shí hòu xǐ huān ní！”
tā hū rán lā zhù wǒ de shǒu， bǎ liǎn còu guò lái shuō：“ nǐ zhēn de zhèmezhāo máng má？” wǒ wěn liǎo tā yī xià， chà shí jiān tiān hūn dì 'àn， hǎo xiàng zhěng gè shì jiè dū dǎo liǎo gè 'ér， yuán lái zài zuǒ biān de quán huàn dào yòu biān qù liǎo。 wǒ qián biān zhàn liǎo yī gè nán rén， wǒ zì jǐ dǎo chuān qǐ liǎo lián yī qún， hòu jiǎo gēn xià hǎo xiàng cháng liǎo yī duì zhū tí， ér qiě tóu zhòng jiǎo qīng dé zhí yào wǎng qián zāi dǎo。 wǒ jīng jiào yī shēng， shēng qì qīng wēi。
děng wǒ jīng hún shāo dìng， jiù duì zì jǐ hěn bù mǎn yì。 wǒ de jiān bǎng hún yuán， xiōng qián féi dū dū de， shēn cái yòu biàn dé nà me 'ǎi xiǎo， yóu qí shì jiǎo xià hǎo xiàng cǎi zhe gāo qiāo， jiǎn zhí yào bǎ jiǎo jīn bēng duàn。 yú shì wǒ jiān shēng jiān qì dì jiào qǐ lái：“ zhè shì zěn me liǎo？”
nà gè nán rén shuō：“ wǒ yě bù zhī dào， bù zhī zěn me jiù huàn guò lái liǎo。 hēi， zhè kě zhēn yòu yì sī。”
yuán lái nà gè nán rén qián shí miǎo zhōng hái shì wǒ ní， xiàn zài jiù chéng liǎo tā liǎo。 wǒ shuō：“ yòu shénme yì sī！ zhè kě zāo tòu liǎo！ hái néng huàn guò lái má？”
tā de shēng yīn chōng mǎn liǎo xìng zāi lè huò：“ nǐ wèn wǒ， wǒ wèn shuí qù？”
wǒ qì jí bài huài dì shuō：“ zhè tài kě pà liǎo！ zhè zhǒng qíng kuàng yào chí xù hěn jiǔ má？”
“ shuí zhī dào ní？ yě xǔ huì zhè me yī zhí chí xù xià qù， wǒ dāng gè lǎo tóu zhōng cǐ yī shēng ní。 wǒ jué dé zhè yě bù yào jǐn， nǐ wǒ fǎn zhèng yě dào liǎo zhè gè chéng dù liǎo， hái fēn shénme bǐ cǐ ní！”
wǒ jí dé zhí duǒ jiǎo， gāo gēn xié fā chū tí zǐ bān de shēng yīn。 wǒ shuō：“ wǒ kě bù gān！ wǒ bù gān！ zhè jiào shénme shì yā！”
“ xiǎo shēng diǎn！ nǐ rǎng rǎng shénme yā。 zhè shì yòu bù shì wǒ zuò zhù。 zhè 'ér bù hǎo shuō huà， zán men dào nǐ jiā qù bā。”
wǒ bù zǒu， fēi yào bǎ shì qíng nòng míng bái bù kě：“ bù xíng， zán liǎ dé shuō qīng chǔ liǎo。 yào shì zàn shí de， wǒ hái kě yǐ tì nǐ zhī chēng zhe， jiǔ liǎo wǒ kě bù gān。”
“ zhè zhǒng shì qíng shuí néng shuō dé zhǔn ní。 nǐ de yī fú quán shì yī gǔ guài wèi， pí xié hái jiā jiǎo ní。 wǒ yě tǎo yàn dāng gè nán rén， dāng liǎng tiān xīn xiān xīn xiān hái kě yǐ。 zán men huí jiā bā。”
wǒ hé tā yī qǐ wǎng huí zǒu， tā tuī zhe zì xíng chē。 wǒ zǒu qǐ lù lái hěn fèi jìn， bù guāng gāo gēn xié bié niǔ， qún zǐ hái bàn tuǐ。 shēn tǐ yě bù dà tīng wǒ shǐ huàn， zǒu liǎo yī bǎi duō bù， zǒu chū wǒ yī tóu dàhán lái。 wǒ yī pì gǔ zuò zài mǎ lù yá zǐ shàng xiǎng chuǎn chuǎn qì， tā jiù guài shēng guài qì dì shuō：“ nǐ jiù zhè me wǎng dì xià zuò yā！”
“ wǒ lěi liǎo！”
“ yō， wǒ de qún zǐ kě shì quán xīn de， ní lóng zhēn zhì de ní！ kuài qǐ lái， hǎohǎo dǎn dǎn tǔ！”
wǒ miǎnqiǎng zhàn qǐ lái， mǎn huái chóu hèn dì dèng liǎo tā yī yǎn。 wèile biǎo shì duì tā de miè shì， wǒ méi yòu dǎn tǔ， yòu wǎng qián zǒu liǎo。 zǒu liǎo jǐ bù， gāo gēn xié chuānzhuó tài biē qì， jiù bǎ tā tuō xià lái tí zài shǒu lǐ。 zǒu liǎo yī duàn， wǒ hái shì bù néng mǎn yì， jiù shuō：“ nǐ zěn me cháng zhè me xiǎo de jiǎo！ suī shuō gè 'ér xiǎo， zhè jiǎo yě xiǎo dé bù chéng bǐ lì。 nǐ jiù yòng zhè zhǒng tí zǐ zǒu lù má？”
tā hēng liǎo yī shēng：“ bù yào yuàn tiān yóu rén， ná chū diǎn nán zǐ qì gài lái！”
nán zǐ qì gài cóng nà 'ér lái ní， wǒ tóu shàng cháng mǎn liǎo cháng tóu fā， zhēn shì qì mèn fēi cháng， hún shēn shàng xià dōubù dé jìn。 wǒ men mō zhe hēi zǒu jìn wǒ de fáng zǐ， zuò zài wǒ wéi jié hūn mǎi lái de shuāng rén chuáng shàng， hǎo bàn tiān méi yòu kāi dēng。 hòu lái tā shuō：“ nǐ de jiǎo zhēn chòu！ wǒ yào qù xǐ yī xǐ。”
wǒ shuō：“ nǐ qù bā！”
tā zǒu dào nà jiàncè suǒ jiān xǐ zǎo jiān lǐ qù liǎo， zài nà 'ér huá lā huá lā de jiàn liǎo bàn tiān shuǐ。 wǒ tǎng zài chuáng shàng zhí fā shǎ。 hòu lái tā huí lái liǎo， guāng zhe bǎng zǐ， xiǎo shēng shuō：“ zhēn bǎ wǒ xià huài liǎo， hēi hēi， nǐ zài wài biān xiǎn dé xiàng gè hǎo rén shìde， tuō xià yī fú yī kàn， yī fù qiáng dào xiāng。 nǐ yě qù xǐ xǐ bā， liáng kuài。”
wǒ dào xǐ zǎo jiān lǐ zhào zhào jìng zǐ， zhēn bù chéng gè tǐ tǒng。 tuō xià yī fú yī zhào jìng zǐ， wǒ chā yī diǎn hūn sǐ guò qù。 guāi guāi， tā cháng dé zhēn shì piào liàng， kě xī bù huì gěi wǒ dài lái shénme hǎo chù。 wǒ xǐ liǎo xǐ， bǎ yī fú yòu dū chuān shàng， bǎ dēng guān shàng， yòu dào chuáng shàng qù。 tā zài hēi dì lǐ mō dào wǒ， shuō：“ zěn me yàng， hái mǎn yì bā， zán cháng dé bǐ nǐ shuài duō liǎo。”
wǒ dài zhe kū qiāng shuō：“ shuài， shuài。 tā mā de， dàn yuàn jīn tiān wǎn shàng néng huàn huí lái， yào bù míng tiān zěn me jiàn rén。”
“ hēi， wǒ jué dé hái tǐng dài jìn。 míng tiān qù dǎ gè diàn huà， shuō zán men xiē sān tiān hūn jiǎ。”
zhè dǎo shì gè hǎo zhù yì。“ kě shì sān tiān yǐ hòu ní？”
“ zhè dǎo yòu diǎn tǎo yàn。 zhè yàng bā， wǒ shàng nǐ de bān， nǐ shàng wǒ de bān， zěn me yàng？ wǒ tǎo yàn shàng nán cè suǒ， bù guò shì dào lín tóu yě zhǐ hǎo zhè me bàn liǎo。”
wǒ fǎn duì zhè yàng。 wǒ zhù zhāng shàng gōng 'ān jú tóu chéng， huò zhě shàng fǎ yuàn zì shǒu， qǐng zhèng fǔ lái jiě jué zhè gè wèn tí。 tā hā hā dà xiào：“ shuí guǎn nǐ zhè shì 'ér！ qù liǎo wú fēi shì jiào rén kàn gè xiào huà。”
tā zhè huà yě bù wú dào lǐ。 wǒ xiǎng liǎo yòu xiǎng， shénme hǎo bàn fǎ yě xiǎng bù chū lái。 kě shì tā xīn mǎn yì zú dì tǎng xià liǎo， hái shuō：“ yòu wèn tí míng rì zài shuō， jīn tiān xiān shuì jué。”
wǒ yě kùn dé yào mìng， dàn shì bù xǐ huān hé tā shuì yī gè chuáng。 wǒ shuō：“ zán men kě shuō hǎo liǎo， tǎng xià shuí yě bié hú lái。” tā shuō：“ zěn me jiào hú lái， wǒ hái bù huì ní。” yú shì wǒ jiù fàng xīn hé tā bìng tóu shuì qù。
dì 'èr tiān zǎo shàng， wǒ jiào tā gěi liǎng gè gōng zuò dān wèi dǎ diàn huà， jiào wǒ men xiē hūn jiǎ。 tā huí lái hòu shuō：“ qǐng jiǎ zhào zhǔn liǎo。 jīn tiān zán men gànshénme？ ào， nǐ qù dào wǒ sù shè bǎ wǒ de xiāng zǐ ná lái。”
wǒ shuō：“ nǐ de dōng xī， nǐ qù ná。”
“ xiā shuō！ wǒ zhè gè yàng zǐ néng ná dé chū lái má？ nǐ 'ài qù bù qù， fǎn zhèng ná lái shì nǐ yòng。”
wǒ zuò zài chuáng shàng， hū rán bí zǐ yī suān， kū liǎo qǐ lái。 tā zǒu guò lái， pāi wǒ de jiān bǎng shuō：“ zhè cái xiàng gè nǚ rén。 kàn nǐ zhè yàng zǐ wǒdōu xǐ huān liǎo。 nǐ qù bā， méi shì 'ér。”
wǒ bèi bī wú nài， zhǐ hǎo wǒ qù ná dōng xī。 zǒu dào jiē shàng， wǒ pà lù liǎo mǎ jiǎo， zhǐ hǎo zuò chū nǚ rén yàng， niǔ niǔ niē niē de zǒu lù。 lù shàng de nán rén dū zhù qū xiàn bì lù de lián yī qún tài zāo gāo， zhēn bù rú zuò jiàn dà jīn guà zǐ， zài bǎ tóu fā pán dé hé lǎo tài tài yī yàng。
tā sù shè lǐ méi rén， wǒ xiàng zéi yī yàng liù jìn qù， bǎ xiāng zǐ tí liǎo chū lái。 huí dào jiā lǐ， zhǐ jiàn tā hái bǐ shǒu huá jiǎo de ná bǎo xiǎn dāo guā hú zǐ， hú zǐ méi tì xià lái， dǎo bǎ méi máo guā xià lái bù shǎo。 wǒ dàhè yī shēng：“ bié zāo jiàn wǒ de méi máo！ nǐ yīnggāi zhè yàng guā”……。 tā xué huì zhī hòu hěn gāo xīng， jiù dǎ kāi xiāng zǐ， chuán shòu wǒ nà xiē pò làn de yòng fǎ， zhēn shì jiào rén 'ěxīn dào jí diǎn。
biàn chéng nǚ rén zhī hòu， wǒ biàn dé qiān diāo wàn 'è， shàng wǔ yī xiǎo shí jiù hé tā chǎo liǎo shí yī jià。 wǒ jué dé wū lǐ bù zhì dé bù hǎo， ràng tā yí dòng yī xià， tā bù lè yì， wǒ jiù dū nóng gè bù tíng。 hòu lái yòu qù zuò wǔ fàn， tā mǎi de cài， wǒ xián guì xián lǎo。 tā mǎi liǎo yī píng sì kuài qián de pú táo jiǔ， wǒ yī tīng jià qián jiù shēng sī lì jié dì guài jiào qǐ lái， tā zhǐ hǎo yòng liǎng gè zhěn tóu bǎ 'ěr duǒ wǔ zhù。 wǒ duì yī qiēdōu gǎn dào bù mǎn， zài chú fáng lǐ shuāi shuāi dǎ dǎ， dǎ suì liǎo liǎng sān gè dié zǐ。 tā kāi tóu jí lì rěn shòu， hòu lái rěn wú kě rěn， jiù lì shēng hèchì wǒ。 wǒ lì kè huǒ mào sān zhàng， xiǎng chōng chū qù bǎ tā jiū fān， shuí zhī lì bù cóng xīn， fǎn bèi tā 'àn dǎo zài shā fā shàng。
tā bù huái hǎo yì dì lěng xiào zhe shuō：“ nǐ bié hú nào liǎo， fǒu zé wǒ jiù dǎ nǐ de pì gǔ！”
wǒ yǎo yá qièchǐ dì shuō：“ fàng wǒ qǐ lái！”
tā zài wǒ pì gǔ shàng qīng qīng dǎ liǎo yī xià， wǒ lì kè jiān jiào qǐ lái：“ jiù mìng yā！ dǎ rén liǎo！” tā mǎ shàng sōng liǎo shǒu， ná dào yī biān qù， liǎn shàng mǎn shì bù xiè zhī sè：“ zhì yú de má？ jiù dǎ liǎo nà me yī xià。” wǒ zuò qǐ lái， háo kū zhe shuō：“ hǎo wā！ cái jié hūn dì yī tiān jiù dǎ rén， zhè rì zǐ kě zěn me guò……” wǒ yòu dū nóng liǎo yī zhèn， kě shì tā bù lǐ wǒ， wǒ yě jiù bù shuō shénme liǎo。
chī guò wǎn fàn， tā tí yì chū qù zǒu zǒu。 kě wǒ nìngyuàn dài zài jiā lǐ。 wǒ men kàn liǎo huì diàn shì， rán hòu wǒ jiù qù xǐ zǎo， zhǔn bèi shuì jué。 bù zhī wèishénme， wǒ jué dé tā de shēn tǐ shí fēn tǎo yàn。 zài nà 'ē'nuó duō zī de qū xiàn lǐ bāo hán zhe yī zhǒng lìng rén zuò 'ǒu de wèi dào， fēng mǎn de rǔ fáng hé xiū cháng de dà tuǐ dōuhěn shǐ wǒ fǎn gǎn。 cháng zhe zhè yàng de dōng xī zhǐ néng yǐn qǐ hàosè zhī tú de bēi bǐ gǎn qíng， suǒ yǐ wǒ yīnggāi jìn kě néng shǎo chū mén。
yào dāng yī gè nǚ rén， yīnggāi yuǎn lí yín huì。 wǒ xī wàng liǎn shàng pá mǎn zhòu wén， rǔ fáng xià chuí， dù zǐ shàng de ròu dā lā xià lái， zhè cái shì xīn zhōng guó fù nǚ yīngyǒu de xíng xiàng。 zhāo yǐn nán rén de yǎn mùdì， yī dìng shì gè biǎo zǐ。 wǒ jué dé wǒ xiàn zài zhè gè xíng xiàng hé biǎo zǐ jiù chā bù duō。
dāng wǒ men liǎng gè yī qǐ tǎng zài chuáng shàng shí， tā gào sù wǒ：“ nǐ jīn tiān de biǎo xiàn bǐ jiào xiàng gè nǚ rén liǎo。 zhào zhè yàng xià qù， sān sì tiān hòu nǐ jiù néng shì yìng nǚ rén shēng huó， kě yǐ qù shàng bān， bù zhì yú lòumǎjiǎo liǎo。”
wǒ tīng liǎo yǐ hòu hěn gāo xīng， kě shì tā yòu shuō：“ nǐ de qíng xù kě hé wǒ guò qù bù yī yàng， xiǎn dé xiàng gè lǎo tài tài。 bù guò zài fù lián gōng zuò zhè yàng hěn hé shì。”
wǒ gào sù tā， tā de biǎo xiàn hěn xiàng gè nán rén。 wǒ men liǎ tán dé tóu jī qǐ lái。 tā tuī xīn zhì fù dì gào sù wǒ： tā hěn xiǎng“ hú lái” yī xià。 wǒ jiān jué jù jué liǎo。 kě shì guò liǎo yī huì， wǒ yòu xiǎng dào tā kě néng huì qǐ yì dào wài biān yě qù hú lái， zhè jiù tài zāo gāo liǎo。 wǒ jiù gào sù tā， kě yǐ hé wǒ“ hú lái”， dàn shì bù zhǔn hé bié de nǚ rén luàn gǎo， tā dāyìng liǎo。 wǒ gào sù tā“ hú lái” de fāng fǎ， tā jiù pá dào wǒ shēn shàng lái， mō mō suǒ suǒ dì hěn ràng rén tǎo yàn。 hū rán wǒ jué dé qí tòng nán rěn， jiù shā zhū yě sì de 'āiháo yī shēng， bǎ tā xià dé lián dòng dōubù gǎn dòng， guò liǎo hǎo bàn tiān cái shuō：“ wǒ xià lái liǎo。” kě wǒ zài hēi dì lǐ kū liǎo hǎo jiǔ， xiǎng zhe bù bào tā nòng shāng wǒ zhī chóu shì bù wéi rén。
dì 'èr tiān zǎo shàng， wǒ xǐng lái shí fā xiàn zì jǐ yòu biàn chéng liǎo yuán lái de xíng xiàng。 tā tǎng zài wǒ shēn biān， dèng dà yǎn jīng， xiǎn rán yǐ jīng xǐng liǎo hěn jiǔ liǎo。 tā hái shì nà gè piào liàng nǚ rén， cóng rèn hé fāng miàn lái shuō dōushì yī gè hǎo qī zǐ。 wǒ shēn shǒu qù mō tā de jiān bǎng， tā duō suo liǎo yī xià， rán hòu shuō：“ wǒ bù shì zài zuò mèng bā？”
“ zuò shí me mèng？”
“ wǒ zuó tiān hǎo xiàng shì gè nán rén。”
wǒ rèn wéi tā shuō dé duì， dàn shì zhè bù néng gǎi biàn xiàn zhuàng。 wǒ shēn shǒu bǎ tā bào zài huái lǐ， tā xiū dé mǎn liǎn tōng hóng， dàn shì biǎo xiàn dé hái suàn lǎo shí。 hòu lái tā qǐ liǎo chuáng， zhàn zài chuáng qián shuō：“ zhè me biàn lái biàn qù kě shòu bù liǎo， xiàn zài wǒ zhēn bù zhī gāi zhàn zài nán rén de lì chǎng shàng hái shì gāi zhàn zài nǚ rén de lì chǎng shàng liǎo。”
zhè huà shuō dé bù cuò。 nán rén hé nǚ rén zhī jiān tiān rán bù hé， tā men 'ǒu 'ěr yuàn yì hé nán rén zài yī qǐ， ér hòu jiù kāi shǐ zhēténg qǐ lái， xiàng nán rén fā xiè chóu hèn。 dào xiàn zài wéi zhǐ， wǒ men fū qī hé mù， kě wǒ shǐ zhōng fáng zhe tā yī shǒu。
zhù： yuán gǎo wú tí， biāo tí xì biān zhě suǒ
《 māo chéng jì》 shì lǎo shè de xǐ jù zuò pǐn zhōng bǐ jiào yòu tè sè de yī piān zuò pǐn。 tā bù tóng yú lǎo shè de qí tā yōu mò zuò pǐn， tā de tè sè shì yǐn rén fā xiào， dàn shì gěi rén chén zhòng， jiǎn 'ér gài zhī， jí“ bēi yù de yōu mò”。 tā yǐ sǎnluàn de bǐ fǎ， xiàng wǒ men chǎn shù liǎo yī gè jiāng yào miè wáng de guó jiā jí qí shēng huó zài qí zhōng de guó mín men； yǐ dī chén de biǎo dá fāng shì zǔ zhì liǎo quán piān de wén zì， xíng chéng liǎo yī gè huī sè de wén běn； yǐ“ huǐ miè de shǒu zhǐ” wéi líng hún tǒng lǐng quán wén。
《 shí sān bù》 shì mò yán zài 1988 nián yùn yòng huāng dàn yì shù shǒu fǎ miáo xiě zhī shí fènzǐ hé xiàn shí shēng huó de yī bù lì zuò。 zhōng xué wù lǐ jiào shī fāng fù guì lèisǐ hòu， yóu yú dé gěi wáng fù shì cháng ràng lù zhěng róng， bèi sài jìn bīng guì， jū rán yòu huāng dàn lí qí dì fù huó liǎo。 dàn yǐ wéi tā yǐ sǐ de qī zǐ tú xiǎo yīng què jù jué tā zài jìn jiā mén。 bìn yí guǎn tè jí měi róng shī lǐ yù chán bǎ sǐ 'ér fù huó de fāng fù guì gǎi róng chéng zì jǐ de zhàng fū zhāng chì qiú， ràng tā dài tì zì jǐ de hé fǎ zhàng fū dēng jiǎng tái gěi xué shēng shàng kè， ér ràng zhēn zhèng de zhāng chì qiú qù zuò shēng yì zuàn qián。 zhēn zhèng de zhāng chì qiú zé xiàng yī gè gū hún yě guǐ， biàn dé wú jiā kě guī héng héng xiàn shí shēng huó zhōng yuán yòu de zhì xù yǐ bù fù cún zài。