《 jú wài rén》 zhè běn shū kě yǐ shuō shì cún zài zhù yì wén xué de dài biǎo zuò pǐn， tóng shí， tā yě shì yī běn dāng dài qīng nián bù kě bù dú de jīng diǎn míng zhù。
《 jú wài rén》 yǐ “ jīn tiān， mā mā sǐ liǎo， yě xǔ shì zuó tiān， wǒ bù zhī dào ” kāi shǐ， yǐ“ wǒ hái xī wàng chǔjué wǒ de nà yī tiān yòu hěn duō rén lái kàn， duì wǒ fā chū chóu hèn de hǎn jiào shēng” jié shù。 xiǎo shuō yǐ zhè zhǒng bù dòng shēng sè 'ér yòu yùn hán nèi zài lì liàng de píng jìng yǔ diào wèiwǒ men sù zào liǎo yī gè jīng shì hài sú de“ huāng miù de rén”： duì yī qiēdōu mò rán zhì zhī de mò 'ěr suǒ。
quán shū fēn wéi liǎng gè bù fēn， dì yī bù fēn cóng mò 'ěr suǒ de mǔ qīn qù shì kāi shǐ， dào tā zài hǎi tān shàng shā sǐ 'ā lā bó rén wéi zhǐ， shì 'àn shí jiān shùn xù xù shù de gù shì。
mò 'ěr suǒ bù jǐn zài jiē dào tōng zhī mǔ qīn qù shì de diàn bào shí méi yòu kū， ér qiě zài mǔ qīn xià zàng shí yě méi yòu kū， tā méi yòu yào qiú dǎ kāi guān cái zài kàn mǔ qīn zuì hòu yī yǎn， fǎn 'ér zài mǔ qīn de guān cái miàn qián chōu yān、 hē kā fēi， rén men bù jìn yào fèn rán liǎo： yī gè rén zài mǔ qīn xià zàng shí bù kū， tā hái suàn dé shì rén má？ gèng yòu shèn zhě， tā jìng zài cǐ hòu de dì 'èr tiān， jiù qù hǎi bīn yóu yǒng， hé nǚ yǒu yī qǐ qù kàn huá jī yǐngpiān， bìng qiě hé tā yī qǐ huí dào zì jǐ de zhù chù。 mò 'ěr suǒ de xíng wéi yuè lái yuè ràng rén jīng yà 'ě rán， míng shēng bù hǎo de lín jū yào chéng fá zì jǐ de qíng fù， qiú tā bāng zhù xiě yī fēng xìn， tā jìng dāyìng liǎo， jué dé“ méi yòu lǐ yóu bù ràng tā mǎn yì”。 lǎo bǎn jiàn yì tā qù bā lí kāi shè yī gè bàn shì chù， tā jìng méi yòu biǎo shì shénme rè qíng， suī rán tā“ bìng bù yuàn yì shǐ tā bù kuài”。 duì yú rén rén xiàng wǎng de bā lí， tā jìng yòu zhè yàng de píng jià：“ hěn zàng。 yòu gē zǐ， yòu hēi hū hū de yuàn zǐ。” mǎ lì yào gēn tā jié hūn， tā shuō suí biàn zěn me yàng dū xíng。 mǎ lì jiān chí wèn mò 'ěr suǒ shì fǒu zhēn de 'ài tā， tā yuán lái zhǐ wàng tīng dào kěn dìng de huí dá， kě shì tā jìng shuō“ dà gài shì bù 'ài tā”。
《 jú wài rén》 yuǎn tiào kǎi xuán mén
zhè zhǒng xù shù háo wú shū qíng de yì wèi， ér zhǐ shì mò 'ěr suǒ nèi xīn zì fā yì shí de liú lù， yīn 'ér tā xù shù de jiē 'èr lián sān de shì jiàn、 duì huà、 zī shì hé gǎn jué zhī jiān sì hū méi yòu bì rán de lián xì， gěi rén yǐ yī zhǒng bù lián guàn de huāng miù zhī gǎn， yīn wéi bié rén de zī shì hé yǔ yán zài tā kàn láidōu shì méi yòu yì yì de， shì bù kě lǐ jiě de。 wéi yī què shí de cún zài biàn shì dà hǎi、 yáng guāng， ér dà zì rán què yā dǎo liǎo tā， shǐ tā mò míng qí miào dì shā liǎo rén：“ wǒ zhǐ jué dé náo bó shìde tài yáng kòu zài wǒ de tóu shàng wǒ gǎn dào tiān xuán dì zhuǎn。 hǎi shàng fàn qǐ yī zhèn mèn rè de kuáng fēng， wǒ jué dé tiān mén dòng kāi， xiàng xià qīng xiè dà huǒ。 wǒ quán shēn dū bēng jǐn liǎo， shǒu jǐn jǐn wò zhù qiāng。 qiāng jī bān dòng liǎo”
zài dì 'èr bù fēn lǐ， láo fáng dài tì liǎo dà hǎi， shè huì de yì shí dài tì liǎo mò 'ěr suǒ zì fā de yì shí。 sī fǎ jī gòu yǐ qí gù yòu de luó ji， lì yòng bèi gào guò qù 'ǒu rán fā shēng de yī xiē shì jiàn bǎ bèi gào xū gòu chéng yī zhǒng tā zì jǐ dū rèn bù chū lái de xíng xiàng： jí bǎ shǐ zhōng rèn wéi zì jǐ wú zuì、 duì yī qiēdōu háo bù zài hū de mò 'ěr suǒ yìng shuō chéng yī gè lěng kù wú qíng、 xù yì shā rén de mó guǐ。 yīn wéi shěn xùn jīhū cóng bù diào chá shā rén 'àn jiàn， ér shì qiān fāng bǎi jì bǎ shā rén hé tā mǔ qīn zhī sǐ jí tā hé mǎ lì de guān xì lián xì zài yī qǐ。
《 jú wài rén》 kā fēi guǎn
mí mí hú hú dì shā liǎo rén de mò 'ěr suǒ， duì fǎ tíng shàng de biàn lùn mò rán zhì zhī， què fēi cháng yòu xīng qù duàn dìng zì jǐ biàn hù lǜ shī de cái huá dà dà bù rú jiǎn chá guān。 jiù zài lín xíng de qián yè， tā jué xǐng liǎo：“ miàn duì zhe chōng mǎn xìn xī hé xīng dǒu de yè”， tā“ dì yī cì xiàng zhè gè shì jiè de dòng rén de lěng mò chǎng kāi liǎo xīn fēi”。 tā jū rán gǎn dào tā“ guò qù céng jīng shì xìng fú de”，“ xiàn zài réng rán shì xìng fú de”。 tā sì hū hái xián rén men jīng yà dé bù gòu， jiē zhe yòu shuō：“ wèile shǐ wǒ gǎn dào bù nà me gū dú， wǒ hái xī wàng chǔjué wǒ de nà yī tiān yòu hěn duō rén lái guān kàn， xī wàng tā men duì wǒ bào yǐ chóu hèn de hǎn jiào shēng。”
mò 'ěr suǒ yīn wéi gǎn shòu dào zhè gè xiàn dài shè huì rén jì guān xì de lěng mò， ér háo bù chí yí dì yuǎn lí shè huì、 pāo qì shè huì， kě shì shè huì yě pāo qì liǎo tā， tā zuì zhōng chéng wéi liǎo yī gè pái chú yú shēng huó zhōng xīn de jú wài rén。
《 jú wài rén》 - zhuān jiā diǎn píng
《 jú wài rén》 ā 'ěr bó tè · jiā miù
jiā miù céng jīng bǎ《 jú wài rén》 de zhù tí gài kuò wéi yī jù huà：“ zài wǒ men de shè huì lǐ， rèn hé zài mǔ qīn xià zàng shí bù kū de réndōu yòu bèi pàn sǐ xíng de wēi xiǎn。” zhè zhǒng jìn hū kě xiào de shuō fǎ yǐn cáng zhe yī gè shí fēn yán kù de luó ji： rèn hé wéi fǎn shè huì de jī běn fǎ zé de rén bì jiāng shòu dào shè huì de chéng fá。 zhè gè shè huì xū yào hé tā yī zhì de rén， bèi qì tā huò fǎn kàng tā de réndōu zài chéng chù zhī liè， dōuyòu kě néng ràng jiǎn chá guān xiān shēng shuō：“ wǒ xiàng nǐ men yào zhè gè rén de nǎo dài。” mò 'ěr suǒ de nǎo dài yǐ jīng bèi jiǎn chá guān yǐ shè huì de míng yì yào liǎo qù。 shè huì pāo qì liǎo mò 'ěr suǒ， rán 'ér， mò 'ěr suǒ xuān bù：“ wǒ guò qù céng jīng shì xìng fú de， wǒ xiàn zài réng rán shì xìng fú de。” shuí yě bù huì xiǎng dào mò 'ěr suǒ huì yòu zhè yàng de xuān gào， tā tōng guò zì jǐ de xuān gào yě pāo qì liǎo shè huì。 rán 'ér zhè zhèng shì tā de jué xǐng， tā rèn shí dào liǎo rén yǔ shì jiè de fēn liè， tā wán chéng liǎo huāng dàn de lǚ chéng de dì yī jiē duàn。
tán《 jú wài rén》 ér bù tán huāng dàn， jiù rú tóng tán sà tè de《 ěxīn》 ér bù tán cún zài zhù yì。 jiā miù zài zhè běn shū zhōng liè jǔ liǎo huāng dàn de zhǒng zhǒng biǎo xiàn， lì rú： rén hé shēng huó de fēn lí； yǎn yuán hé bù jǐng de fēn lí； huái yòu xī wàng de jīng shén hé shǐ zhī shī wàng de shì jiè zhī jiān de fēn liè； ròu tǐ de xū yào duì yú shǐ zhī qū yú sǐ wáng de shí jiān de fǎn kàng； shì jiè běn shēn suǒ jù yòu de、 shǐ rén de lǐ jiě chéng wéi bù kě néng de nà zhǒng hòu dù hé mò shēng xìng； rén duì rén běn shēn suǒ sàn fā chū de fēi rén xìng gǎn dào de bù shì jí qí duò luò， děng děng。 yóu yú fā xiàn liǎo“ huāng dàn”， mò 'ěr suǒ de xiāo jí、 lěng mò、 wú dòng yú zhōng、 zhí zhù yú shùn jiān de rén shēng děng děng dùn shí jù yòu liǎo yī zhǒng xiàng zhēng de yì yì， xiǎo shuō yú shì cóng zhé xué shàng dé dào liǎo chǎn míng。 yīn wéi rén hé shì jiè de fēn lí， shì jiè yú rén shì huāng dàn de， rén duì shì jiè wú néng wéi lì， yīn cǐ bù bào rèn hé xī wàng， duì yī qiē shì wù dōuwú dòng yú zhōng。 jiā miù zhǐ chū：“ huāng dàn， jiù shì què rèn zì jǐ de jiè xiàn de qīng xǐng de lǐ xìng。”“ huāng dàn de rén” jiù shì“ nà gè bù fǒu rèn yǒng héng、 dàn yě bùwèi yǒng héng zuò rèn hé shì qíng de rén”。 yóu qí shì dāng jiā miù zhǐ chū“ yī gè néng yòng wāi lǐ lái jiě shì de shì jiè， hái shì yī gè shú xī de shì jiè， dàn shì zài yī gè tū rán bèi bō duó liǎo huàn jué hé guāng míng de yǔ zhòu zhōng， rén jiù gǎn dào zì jǐ shì gè jú wài rén” de shí hòu， wǒ men gèng huì yī xià zǐ xiǎng dào mò 'ěr suǒ de。“ huāng dàn de rén” jiù shì“ jú wài rén”，“ jú wài rén” jiù shì jù yòu“ qīng xǐng de lǐ xìng de rén”。
《 jú wài rén》 ā 'ěr bó tè · jiā miù
xiǎo shuō jiā jiā miù tóng shí hái yòu lìng yīchóng shēn fèn， nà jiù shì zuò wéi cún zài zhù yì dài biǎo rén wù zhī yī de zhé xué jiā jiā miù。 cóng mǒu zhǒng yì yì shàng lái shuō， zhè liǎng zhǒng shēn fèn de hùn xiáo wǎng wǎng róng yì zài xiǎo shuō chuàng zuò zhōng dài lái zhè yàng yī gè wèn tí， nà jiù shì sī xiǎng dà yú xíng xiàng。 cóng lìng yī gè jiǎo dù lái shuō， duì yú zhè lèi xiǎo shuō píng jià wǎng wǎng zhuózhòng yú qí sī xiǎng xìng。 tōng sú dì shuō， nà jiù shì jiā miù de xiǎo shuō，《 jú wài rén》 yě hǎo，《 shǔ yì》 yě hǎo， chéng bài yǔ fǒu yóu qí zhōng xīn sī xiǎng jué dìng。《 niǔ yuē shí bào shū píng》 duì《 jú wài rén》 sī xiǎng yǔ xíng shì de guān xì shì zhè yàng fēn xī de：“ zhōng xīn sī xiǎng bìng bù shì chuàng zào xìng yì shù de zuì gāo xíng shì， dàn shì， tā què yòu kě néng zhòng yào dào zhè gè dì bù： rú guǒ wèile yì shù pī pàn de yuán gù 'ér pāo qì tā zé jiāng huì xiè dòu rén lèi jīng shén。” yuè dú zhè bù xiǎo shuō jiù kě yǐ ràng rén míng bái，《 jú wài rén》 bìng bù shì yī gè zhé xué guān niàn de jiǎn dān tú jiě， ér shì yī bù chéng gōng de xiǎo shuō。 tā yǐ qí tè 'ér yòu xīn yíng de bǐ diào sù zào liǎo yī gè xiǎn rán yǔ zhòng bù tóng de rén wù， bù xiǎng hé bié rén yòu rèn hé lián xì、 zhǐ xiǎng bǎo chí zì jǐ gè xìng bù shòu gān rǎo de rén wù。《 jú wài rén》 de dú zhě kě yǐ bù zhī dào mò 'ěr suǒ shénme múyàng， shì gāo hái shì 'ǎi， shì pàng hái shì shòu， dàn tā men bù kě néng bù jì zhù tā， bù kě néng bù zài xǔ duō chǎng hé xiǎng dào tā。 xiǎo shuō yǐ zì shēn de dú lì de cún zài zhǎn shì liǎo rén yǔ shì jiè de guān xì。 tā pò shǐ wǒ men xiàng zì jǐ tí chū zhè yàng de wèn tí： shì jiè shì huì sè de， hái shì qīng xī de？ shì hé hū lǐ xìng de， hái shì bù kě lǐ yù de？ rén zài zhè gè shì jiè shàng shì xìng fú de， hái shì tòng kǔ de？ rén yǔ zhè gè shì jiè de guān xì shì hé xié yī zhì de， hái shì fēn liè máo dùn de？
jiā miù de xiǎo shuō fēng gé jiè yú chuán tǒng xiǎo shuō hé xīn xiǎo shuō zhī jiān。 yī fāng miàn， cún zài zhù yì wén xué shì fǎn chuán tǒng de， zuò zhě cóng bù jiè rù xiǎo shuō， cóng bù gān yù zhù rén gōng de mìng yùn， cóng lái bù fā biǎo zì jǐ de yì lùn； lìng yī fāng miàn， xiǎo shuō de yǔ yán yòu jí qí jiǎn dān míng xī， kě yǐ shuō jù yòu gǔ diǎn zhù yì de sǎnwén fēng gé， jù yòu jí qiáng de biǎo xiàn lì hé gǎn rǎn lì。《 jú wài rén》 chéng wéi yī běn yú píng dàn zhōng jiàn shēn dù、 cóng kū sè zhōng chū zhé lǐ de hěn bù píng cháng de shū。
《 jú wài rén》 ā 'ěr bó tè · jiā miù
jiā miù hái xiě guò yǐ lùn huāng dàn wéi zhù zhǐ de cháng piān zhé xué suí bǐ《 xī xī fú shén huà》。 shì shí shàng， rén men díquè shì cháng cháng yòng《 xī xī fú shén huà》 lái jiě shì《 jú wài rén》， ér kāi cǐ xiān lì de zhèng shì sà tè。 tā zuì zǎo bǎ zhè liǎng běn shū lián xì zài yī qǐ， rèn dìng《 jú wài rén》 shì“ huāng dàn de zhèng míng”， shì yī běn“ guān yú huāng dàn hé fǎn duì huāng dàn de shū”。 yě kě yǐ shuō《 xī xī fú shén huà》 zhèng shì《 jú wài rén》 de zhù jiǎo。 jiā miù zài 1941 nián 2 yuè 21 rì de yī zé shǒu jì zhōng xiě dào：“ wán chéng《 shén huà》。 sān gè ‘ huāng dàn ’ dào cǐ jié shù。” zhè sān gè“ huāng dàn” zhǐ de jiù shì： zhé xué suí bǐ《 xī xī fú shén huà》， xiǎo shuō《 jú wài rén》 hé jù běn《 kǎ lì gǔ lā》。
dāng jiā miù yīn chē huò qù shì hòu，《 niǔ yuē shí bào》 zhè yàng gài kuò tā de sī xiǎng：“ jiā miù zài huāng dàn de chē huò zhōng sàng shēn， shí shǔ xīn là de zhé xué fěng cì。 yīn wéi tā sī xiǎng de zhōng xīn shì rú hé duì rén lèi chǔjìng zuò chū yī gè sī xiǎng shēn kè rén shì de zhèng què huí dá， rén men háo bù gǎn dào yì wài， wǒ men de shí dài jiē shòu liǎo jiā miù de guān diǎn。 xuè xīng de 'èr cì shì jiè dà zhàn， kě pà de qīng dàn wēi xié， zhè yī qiē shǐ xiàn dài shè huì néng gòu jiē shòu jiā miù yán sù de zhé xué， bìng shǐ zhī cháng cún yú rén men de xīn zhōng。”
rú jīn 40 duō nián guò qù liǎo， rén men méi yòu wàng jì tā， rén men yě bù huì wàng jì tā， yuè lái yuè duō de rén zài yán jiū tā de zhù zuò yǔ sī xiǎng。《 jú wài rén》 yě yī zài chóngbǎn， yìn shù tū pò qiān wàn cè。 jiā miù zài shì de shí hòu yóu yú shì yī gè zài pín qióng、 pǔ tōng de jiā tíng lǐ zhǎngdà de hái zǐ， yīn 'ér cháng bèi tòng hèn tā de rén biǎn dī， gū dú zhī shí tā zǒng duì tā de yī gè zhī jǐ shuō：“ dàn yuàn tā men liǎo jiě zhēn zhèng de wǒ。”
tā shì yǔ wén xué shā lóng、 wén xué míng rén、 róng yù、 xūn zhāng bǎo chí jù lí de“ jú wài rén”， dàn tā de sī kǎo què shēn rù dào liǎo xiàn dài shè huì de fù dì。
《 jú wài rén》 - miào yǔ jiā jù
dà jiādōu hěn xìng yùn， zhè gè shì jiè shàng zhǐ yòu xìng yùn de rén。
zài suǒ yòu zhì lì jiàn quán de réndōu huò duō huò shǎo qī wàng tā men suǒ 'ài de rén sǐ qù。
《 jú wài rén》 yǐ “ jīn tiān， mā mā sǐ liǎo， yě xǔ shì zuó tiān， wǒ bù zhī dào ” kāi shǐ， yǐ“ wǒ hái xī wàng chǔjué wǒ de nà yī tiān yòu hěn duō rén lái kàn， duì wǒ fā chū chóu hèn de hǎn jiào shēng” jié shù。 xiǎo shuō yǐ zhè zhǒng bù dòng shēng sè 'ér yòu yùn hán nèi zài lì liàng de píng jìng yǔ diào wèiwǒ men sù zào liǎo yī gè jīng shì hài sú de“ huāng miù de rén”： duì yī qiēdōu mò rán zhì zhī de mò 'ěr suǒ。
quán shū fēn wéi liǎng gè bù fēn， dì yī bù fēn cóng mò 'ěr suǒ de mǔ qīn qù shì kāi shǐ， dào tā zài hǎi tān shàng shā sǐ 'ā lā bó rén wéi zhǐ， shì 'àn shí jiān shùn xù xù shù de gù shì。
mò 'ěr suǒ bù jǐn zài jiē dào tōng zhī mǔ qīn qù shì de diàn bào shí méi yòu kū， ér qiě zài mǔ qīn xià zàng shí yě méi yòu kū， tā méi yòu yào qiú dǎ kāi guān cái zài kàn mǔ qīn zuì hòu yī yǎn， fǎn 'ér zài mǔ qīn de guān cái miàn qián chōu yān、 hē kā fēi， rén men bù jìn yào fèn rán liǎo： yī gè rén zài mǔ qīn xià zàng shí bù kū， tā hái suàn dé shì rén má？ gèng yòu shèn zhě， tā jìng zài cǐ hòu de dì 'èr tiān， jiù qù hǎi bīn yóu yǒng， hé nǚ yǒu yī qǐ qù kàn huá jī yǐngpiān， bìng qiě hé tā yī qǐ huí dào zì jǐ de zhù chù。 mò 'ěr suǒ de xíng wéi yuè lái yuè ràng rén jīng yà 'ě rán， míng shēng bù hǎo de lín jū yào chéng fá zì jǐ de qíng fù， qiú tā bāng zhù xiě yī fēng xìn， tā jìng dāyìng liǎo， jué dé“ méi yòu lǐ yóu bù ràng tā mǎn yì”。 lǎo bǎn jiàn yì tā qù bā lí kāi shè yī gè bàn shì chù， tā jìng méi yòu biǎo shì shénme rè qíng， suī rán tā“ bìng bù yuàn yì shǐ tā bù kuài”。 duì yú rén rén xiàng wǎng de bā lí， tā jìng yòu zhè yàng de píng jià：“ hěn zàng。 yòu gē zǐ， yòu hēi hū hū de yuàn zǐ。” mǎ lì yào gēn tā jié hūn， tā shuō suí biàn zěn me yàng dū xíng。 mǎ lì jiān chí wèn mò 'ěr suǒ shì fǒu zhēn de 'ài tā， tā yuán lái zhǐ wàng tīng dào kěn dìng de huí dá， kě shì tā jìng shuō“ dà gài shì bù 'ài tā”。
《 jú wài rén》 yuǎn tiào kǎi xuán mén
zhè zhǒng xù shù háo wú shū qíng de yì wèi， ér zhǐ shì mò 'ěr suǒ nèi xīn zì fā yì shí de liú lù， yīn 'ér tā xù shù de jiē 'èr lián sān de shì jiàn、 duì huà、 zī shì hé gǎn jué zhī jiān sì hū méi yòu bì rán de lián xì， gěi rén yǐ yī zhǒng bù lián guàn de huāng miù zhī gǎn， yīn wéi bié rén de zī shì hé yǔ yán zài tā kàn láidōu shì méi yòu yì yì de， shì bù kě lǐ jiě de。 wéi yī què shí de cún zài biàn shì dà hǎi、 yáng guāng， ér dà zì rán què yā dǎo liǎo tā， shǐ tā mò míng qí miào dì shā liǎo rén：“ wǒ zhǐ jué dé náo bó shìde tài yáng kòu zài wǒ de tóu shàng wǒ gǎn dào tiān xuán dì zhuǎn。 hǎi shàng fàn qǐ yī zhèn mèn rè de kuáng fēng， wǒ jué dé tiān mén dòng kāi， xiàng xià qīng xiè dà huǒ。 wǒ quán shēn dū bēng jǐn liǎo， shǒu jǐn jǐn wò zhù qiāng。 qiāng jī bān dòng liǎo”
zài dì 'èr bù fēn lǐ， láo fáng dài tì liǎo dà hǎi， shè huì de yì shí dài tì liǎo mò 'ěr suǒ zì fā de yì shí。 sī fǎ jī gòu yǐ qí gù yòu de luó ji， lì yòng bèi gào guò qù 'ǒu rán fā shēng de yī xiē shì jiàn bǎ bèi gào xū gòu chéng yī zhǒng tā zì jǐ dū rèn bù chū lái de xíng xiàng： jí bǎ shǐ zhōng rèn wéi zì jǐ wú zuì、 duì yī qiēdōu háo bù zài hū de mò 'ěr suǒ yìng shuō chéng yī gè lěng kù wú qíng、 xù yì shā rén de mó guǐ。 yīn wéi shěn xùn jīhū cóng bù diào chá shā rén 'àn jiàn， ér shì qiān fāng bǎi jì bǎ shā rén hé tā mǔ qīn zhī sǐ jí tā hé mǎ lì de guān xì lián xì zài yī qǐ。
《 jú wài rén》 kā fēi guǎn
mí mí hú hú dì shā liǎo rén de mò 'ěr suǒ， duì fǎ tíng shàng de biàn lùn mò rán zhì zhī， què fēi cháng yòu xīng qù duàn dìng zì jǐ biàn hù lǜ shī de cái huá dà dà bù rú jiǎn chá guān。 jiù zài lín xíng de qián yè， tā jué xǐng liǎo：“ miàn duì zhe chōng mǎn xìn xī hé xīng dǒu de yè”， tā“ dì yī cì xiàng zhè gè shì jiè de dòng rén de lěng mò chǎng kāi liǎo xīn fēi”。 tā jū rán gǎn dào tā“ guò qù céng jīng shì xìng fú de”，“ xiàn zài réng rán shì xìng fú de”。 tā sì hū hái xián rén men jīng yà dé bù gòu， jiē zhe yòu shuō：“ wèile shǐ wǒ gǎn dào bù nà me gū dú， wǒ hái xī wàng chǔjué wǒ de nà yī tiān yòu hěn duō rén lái guān kàn， xī wàng tā men duì wǒ bào yǐ chóu hèn de hǎn jiào shēng。”
mò 'ěr suǒ yīn wéi gǎn shòu dào zhè gè xiàn dài shè huì rén jì guān xì de lěng mò， ér háo bù chí yí dì yuǎn lí shè huì、 pāo qì shè huì， kě shì shè huì yě pāo qì liǎo tā， tā zuì zhōng chéng wéi liǎo yī gè pái chú yú shēng huó zhōng xīn de jú wài rén。
《 jú wài rén》 - zhuān jiā diǎn píng
《 jú wài rén》 ā 'ěr bó tè · jiā miù
jiā miù céng jīng bǎ《 jú wài rén》 de zhù tí gài kuò wéi yī jù huà：“ zài wǒ men de shè huì lǐ， rèn hé zài mǔ qīn xià zàng shí bù kū de réndōu yòu bèi pàn sǐ xíng de wēi xiǎn。” zhè zhǒng jìn hū kě xiào de shuō fǎ yǐn cáng zhe yī gè shí fēn yán kù de luó ji： rèn hé wéi fǎn shè huì de jī běn fǎ zé de rén bì jiāng shòu dào shè huì de chéng fá。 zhè gè shè huì xū yào hé tā yī zhì de rén， bèi qì tā huò fǎn kàng tā de réndōu zài chéng chù zhī liè， dōuyòu kě néng ràng jiǎn chá guān xiān shēng shuō：“ wǒ xiàng nǐ men yào zhè gè rén de nǎo dài。” mò 'ěr suǒ de nǎo dài yǐ jīng bèi jiǎn chá guān yǐ shè huì de míng yì yào liǎo qù。 shè huì pāo qì liǎo mò 'ěr suǒ， rán 'ér， mò 'ěr suǒ xuān bù：“ wǒ guò qù céng jīng shì xìng fú de， wǒ xiàn zài réng rán shì xìng fú de。” shuí yě bù huì xiǎng dào mò 'ěr suǒ huì yòu zhè yàng de xuān gào， tā tōng guò zì jǐ de xuān gào yě pāo qì liǎo shè huì。 rán 'ér zhè zhèng shì tā de jué xǐng， tā rèn shí dào liǎo rén yǔ shì jiè de fēn liè， tā wán chéng liǎo huāng dàn de lǚ chéng de dì yī jiē duàn。
tán《 jú wài rén》 ér bù tán huāng dàn， jiù rú tóng tán sà tè de《 ěxīn》 ér bù tán cún zài zhù yì。 jiā miù zài zhè běn shū zhōng liè jǔ liǎo huāng dàn de zhǒng zhǒng biǎo xiàn， lì rú： rén hé shēng huó de fēn lí； yǎn yuán hé bù jǐng de fēn lí； huái yòu xī wàng de jīng shén hé shǐ zhī shī wàng de shì jiè zhī jiān de fēn liè； ròu tǐ de xū yào duì yú shǐ zhī qū yú sǐ wáng de shí jiān de fǎn kàng； shì jiè běn shēn suǒ jù yòu de、 shǐ rén de lǐ jiě chéng wéi bù kě néng de nà zhǒng hòu dù hé mò shēng xìng； rén duì rén běn shēn suǒ sàn fā chū de fēi rén xìng gǎn dào de bù shì jí qí duò luò， děng děng。 yóu yú fā xiàn liǎo“ huāng dàn”， mò 'ěr suǒ de xiāo jí、 lěng mò、 wú dòng yú zhōng、 zhí zhù yú shùn jiān de rén shēng děng děng dùn shí jù yòu liǎo yī zhǒng xiàng zhēng de yì yì， xiǎo shuō yú shì cóng zhé xué shàng dé dào liǎo chǎn míng。 yīn wéi rén hé shì jiè de fēn lí， shì jiè yú rén shì huāng dàn de， rén duì shì jiè wú néng wéi lì， yīn cǐ bù bào rèn hé xī wàng， duì yī qiē shì wù dōuwú dòng yú zhōng。 jiā miù zhǐ chū：“ huāng dàn， jiù shì què rèn zì jǐ de jiè xiàn de qīng xǐng de lǐ xìng。”“ huāng dàn de rén” jiù shì“ nà gè bù fǒu rèn yǒng héng、 dàn yě bùwèi yǒng héng zuò rèn hé shì qíng de rén”。 yóu qí shì dāng jiā miù zhǐ chū“ yī gè néng yòng wāi lǐ lái jiě shì de shì jiè， hái shì yī gè shú xī de shì jiè， dàn shì zài yī gè tū rán bèi bō duó liǎo huàn jué hé guāng míng de yǔ zhòu zhōng， rén jiù gǎn dào zì jǐ shì gè jú wài rén” de shí hòu， wǒ men gèng huì yī xià zǐ xiǎng dào mò 'ěr suǒ de。“ huāng dàn de rén” jiù shì“ jú wài rén”，“ jú wài rén” jiù shì jù yòu“ qīng xǐng de lǐ xìng de rén”。
《 jú wài rén》 ā 'ěr bó tè · jiā miù
xiǎo shuō jiā jiā miù tóng shí hái yòu lìng yīchóng shēn fèn， nà jiù shì zuò wéi cún zài zhù yì dài biǎo rén wù zhī yī de zhé xué jiā jiā miù。 cóng mǒu zhǒng yì yì shàng lái shuō， zhè liǎng zhǒng shēn fèn de hùn xiáo wǎng wǎng róng yì zài xiǎo shuō chuàng zuò zhōng dài lái zhè yàng yī gè wèn tí， nà jiù shì sī xiǎng dà yú xíng xiàng。 cóng lìng yī gè jiǎo dù lái shuō， duì yú zhè lèi xiǎo shuō píng jià wǎng wǎng zhuózhòng yú qí sī xiǎng xìng。 tōng sú dì shuō， nà jiù shì jiā miù de xiǎo shuō，《 jú wài rén》 yě hǎo，《 shǔ yì》 yě hǎo， chéng bài yǔ fǒu yóu qí zhōng xīn sī xiǎng jué dìng。《 niǔ yuē shí bào shū píng》 duì《 jú wài rén》 sī xiǎng yǔ xíng shì de guān xì shì zhè yàng fēn xī de：“ zhōng xīn sī xiǎng bìng bù shì chuàng zào xìng yì shù de zuì gāo xíng shì， dàn shì， tā què yòu kě néng zhòng yào dào zhè gè dì bù： rú guǒ wèile yì shù pī pàn de yuán gù 'ér pāo qì tā zé jiāng huì xiè dòu rén lèi jīng shén。” yuè dú zhè bù xiǎo shuō jiù kě yǐ ràng rén míng bái，《 jú wài rén》 bìng bù shì yī gè zhé xué guān niàn de jiǎn dān tú jiě， ér shì yī bù chéng gōng de xiǎo shuō。 tā yǐ qí tè 'ér yòu xīn yíng de bǐ diào sù zào liǎo yī gè xiǎn rán yǔ zhòng bù tóng de rén wù， bù xiǎng hé bié rén yòu rèn hé lián xì、 zhǐ xiǎng bǎo chí zì jǐ gè xìng bù shòu gān rǎo de rén wù。《 jú wài rén》 de dú zhě kě yǐ bù zhī dào mò 'ěr suǒ shénme múyàng， shì gāo hái shì 'ǎi， shì pàng hái shì shòu， dàn tā men bù kě néng bù jì zhù tā， bù kě néng bù zài xǔ duō chǎng hé xiǎng dào tā。 xiǎo shuō yǐ zì shēn de dú lì de cún zài zhǎn shì liǎo rén yǔ shì jiè de guān xì。 tā pò shǐ wǒ men xiàng zì jǐ tí chū zhè yàng de wèn tí： shì jiè shì huì sè de， hái shì qīng xī de？ shì hé hū lǐ xìng de， hái shì bù kě lǐ yù de？ rén zài zhè gè shì jiè shàng shì xìng fú de， hái shì tòng kǔ de？ rén yǔ zhè gè shì jiè de guān xì shì hé xié yī zhì de， hái shì fēn liè máo dùn de？
jiā miù de xiǎo shuō fēng gé jiè yú chuán tǒng xiǎo shuō hé xīn xiǎo shuō zhī jiān。 yī fāng miàn， cún zài zhù yì wén xué shì fǎn chuán tǒng de， zuò zhě cóng bù jiè rù xiǎo shuō， cóng bù gān yù zhù rén gōng de mìng yùn， cóng lái bù fā biǎo zì jǐ de yì lùn； lìng yī fāng miàn， xiǎo shuō de yǔ yán yòu jí qí jiǎn dān míng xī， kě yǐ shuō jù yòu gǔ diǎn zhù yì de sǎnwén fēng gé， jù yòu jí qiáng de biǎo xiàn lì hé gǎn rǎn lì。《 jú wài rén》 chéng wéi yī běn yú píng dàn zhōng jiàn shēn dù、 cóng kū sè zhōng chū zhé lǐ de hěn bù píng cháng de shū。
《 jú wài rén》 ā 'ěr bó tè · jiā miù
jiā miù hái xiě guò yǐ lùn huāng dàn wéi zhù zhǐ de cháng piān zhé xué suí bǐ《 xī xī fú shén huà》。 shì shí shàng， rén men díquè shì cháng cháng yòng《 xī xī fú shén huà》 lái jiě shì《 jú wài rén》， ér kāi cǐ xiān lì de zhèng shì sà tè。 tā zuì zǎo bǎ zhè liǎng běn shū lián xì zài yī qǐ， rèn dìng《 jú wài rén》 shì“ huāng dàn de zhèng míng”， shì yī běn“ guān yú huāng dàn hé fǎn duì huāng dàn de shū”。 yě kě yǐ shuō《 xī xī fú shén huà》 zhèng shì《 jú wài rén》 de zhù jiǎo。 jiā miù zài 1941 nián 2 yuè 21 rì de yī zé shǒu jì zhōng xiě dào：“ wán chéng《 shén huà》。 sān gè ‘ huāng dàn ’ dào cǐ jié shù。” zhè sān gè“ huāng dàn” zhǐ de jiù shì： zhé xué suí bǐ《 xī xī fú shén huà》， xiǎo shuō《 jú wài rén》 hé jù běn《 kǎ lì gǔ lā》。
dāng jiā miù yīn chē huò qù shì hòu，《 niǔ yuē shí bào》 zhè yàng gài kuò tā de sī xiǎng：“ jiā miù zài huāng dàn de chē huò zhōng sàng shēn， shí shǔ xīn là de zhé xué fěng cì。 yīn wéi tā sī xiǎng de zhōng xīn shì rú hé duì rén lèi chǔjìng zuò chū yī gè sī xiǎng shēn kè rén shì de zhèng què huí dá， rén men háo bù gǎn dào yì wài， wǒ men de shí dài jiē shòu liǎo jiā miù de guān diǎn。 xuè xīng de 'èr cì shì jiè dà zhàn， kě pà de qīng dàn wēi xié， zhè yī qiē shǐ xiàn dài shè huì néng gòu jiē shòu jiā miù yán sù de zhé xué， bìng shǐ zhī cháng cún yú rén men de xīn zhōng。”
rú jīn 40 duō nián guò qù liǎo， rén men méi yòu wàng jì tā， rén men yě bù huì wàng jì tā， yuè lái yuè duō de rén zài yán jiū tā de zhù zuò yǔ sī xiǎng。《 jú wài rén》 yě yī zài chóngbǎn， yìn shù tū pò qiān wàn cè。 jiā miù zài shì de shí hòu yóu yú shì yī gè zài pín qióng、 pǔ tōng de jiā tíng lǐ zhǎngdà de hái zǐ， yīn 'ér cháng bèi tòng hèn tā de rén biǎn dī， gū dú zhī shí tā zǒng duì tā de yī gè zhī jǐ shuō：“ dàn yuàn tā men liǎo jiě zhēn zhèng de wǒ。”
tā shì yǔ wén xué shā lóng、 wén xué míng rén、 róng yù、 xūn zhāng bǎo chí jù lí de“ jú wài rén”， dàn tā de sī kǎo què shēn rù dào liǎo xiàn dài shè huì de fù dì。
《 jú wài rén》 - miào yǔ jiā jù
dà jiādōu hěn xìng yùn， zhè gè shì jiè shàng zhǐ yòu xìng yùn de rén。
zài suǒ yòu zhì lì jiàn quán de réndōu huò duō huò shǎo qī wàng tā men suǒ 'ài de rén sǐ qù。
西西弗的神话hé mǎ shuō， xī xī fú shì zuì zhōng yào sǐ de rén zhōng zuì cōng míng zuì jǐn shèn de rén。 dàn lìng yòu chuán shuō shuō tā qū cóng yú qiáng dào shēng yá。 wǒ kàn bù chū qí zhōng yòu shénme máo dùn。 gè zhǒng shuō fǎ de fēn qí zài yú shì fǒu yào fù yú zhè dì yù zhōng de wú xiào láo dòng zhě de xíng wéi dòng jī yǐ jià zhí。 rén men shǒu xiān shì yǐ mǒu zhǒng qīng shuài de tài dù bǎ tā yǔ zhū shén fàng zài yī qǐ jìn xíng qiǎn zé， bìng lìshǔ tā men de yǐn sī。 ā suǒ bō sī de nǚ 'ér 'āi guǐ nà bèi zhū bì tè jié zǒu。 fù qīn duì nǚ 'ér de shī zōng dà wéi zhèn jīng bìng qiě guài zuì yú xī xī fú， shēn zhī nèi qíng de xī xī fú duì 'ā suǒ bō sī shuō， tā kě yǐ gào sù tā nǚ 'ér de xiāo xī， dàn bì xū yǐ gěi kē lán tè chéng bǎo gōng shuǐ wéi tiáo jiàn， tā nìngyuàn dé dào shuǐ de shèng yù， ér bù shì tiān huǒ léi diàn。 tā yīn cǐ bèi fá xià dì yù， hé mǎ gào sù wǒ men xī xī fú céng jīng 'ě wǎng guò sǐ shén de hóu lóng。 pǔ luò tuō rěn shòu bù liǎo dì yù wáng guó de huāng liáng jì mò， tā cuī cù zhàn shén bǎ sǐ shén cóng qí zhàn shèng zhě shǒu zhōng jiě fàng chū lái。
hái yòu rén shuō， xī xī fú zài lín sǐ qián mào shī dì yào jiǎn yàn tā qī zǐ duì tā de 'ài qíng。 tā mìng lìng tā bǎ tā de shī tǐ rēng zài guǎng chǎng zhōng yāng。 bù jǔ xíng rèn hé yí shì。 yú shì xī xī fú zhòng duò dì yù。 tā zài dì yù lǐ duì nà zì yì jiàn tà rén lèi zhī 'ài de xíng jìng shí fēn fèn kǎi。 tā huò dé pǔ luò tuō de yǔn nuò chóngfǎn rén jiān yǐ chéng fá tā de qī zǐ。 dàn dāng tā yòu yī cì kàn dào zhè dà dì de miàn mào， chóngxīn lǐng lüè liú shuǐ、 yáng guāng de fǔ 'ài， chóngxīn chù mō nà huǒ rè de shí tóu、 kuān kuò de dà hǎi de shí hòu， tā jiù zài yě bù yuàn huí dào yīn sēn de dì yù zhōng qù liǎo。 míng wáng de zhào lìng、 qì fèn hé jǐng gào dōuwú jì yú shì。 tā yòu zài dì qiú shàng shēng huó liǎo duō nián， miàn duì qǐ fú de shān luán， bēn téng de dà hǎi hé dà dì de wēi xiào tā yòu shēng huó liǎo duō nián。 zhū shén yú shì jìn xíng gān shè。 mò qiū lì páo lái jiū zhù zhè mào fàn zhě de lǐng zǐ， bǎ tā cóng huān lè de shēng huó zhōng lā liǎo chū lái， qiáng xíng bǎ tā chóngxīn tóu rù dì yù， zài nà lǐ， wéi chéng fá tā 'ér shè de jù shí yǐ zhǔn bèi jiù xù。
wǒ men yǐ jīng míng bái： xī xī fú shì gè huāng miù de yīng xióng。 tā zhī suǒ yǐ shì huāng miù de yīng xióng， hái yīn wéi tā de hé tā suǒ jīng shòu de mó nán。 tā miǎo shì shén míng， chóu hèn sǐ wáng， duì shēng huó chōng mǎn， zhè bì rán shǐ tā shòu dào nán yǐ yòng yán yǔ jìn shù de fēi rén zhé mó： tā yǐ zì jǐ de zhěng gè shēn xīn zhì lì yú yī zhǒng méi yòu xiào guǒ de shì yè。 ér zhè shì wèile duì dà dì de wú xiàn rè 'ài bì xū fù chū de dài jià。 rén men bìng méi yòu tán dào xī xī fú zài dì yù lǐ de qíng kuàng。 chuàng zào zhè xiē shén huà shì wéi liǎo ràng rén de xiǎng xiàng shǐ xī xī fú de xíng xiàng xǔ xǔ rú shēng。 zài xī xī fú shēn shàng， wǒ men zhǐ néng kàn dào zhè yàng yī fú tú huà： yī gè jǐn zhāng de shēn tǐ qiān bǎi cì dì zhòng fù yī gè dòng zuò： bān dòng jù shí， gǔn dòng tā bìng bǎ tā tuī zhì shān dǐng； wǒ men kàn dào de shì yī zhāng tòng kǔ niǔ qū de liǎn， kàn dào de shì jǐn tiē zài jù shí shàng de miàn jiá， nà luò mǎn ní shì、 dǒu dòng de jiān bǎng， zhān mǎn ní shì de shuāng jiǎo， wán quán jiāng zhí de gēbo， yǐ jí nà jiān shí de mǎn shì ní shì de rén de shuāng shǒu。 jīng guò bèi miǎo miǎo kōng jiān hé yǒng héng de shí jiān zhe de nǔ lì zhī hòu， mùdì jiù dá dào liǎo。 xī xī fú yú shì kàn dào jù shí zài jǐ miǎo zhōng nèi yòu xiàng zhe xià miàn de shì jiè gǔn xià， ér tā zé bì xū bǎ zhè jù shí chóngxīn tuī xiàng shān dǐng。 tā yú shì yòu xiàng shān xià zǒu qù。
zhèng shì yīn wéi zhè zhǒng huí fù、 tíng xiē， wǒ duì xī xī fú chǎn shēng liǎo xīng qù。 zhè yī zhāng bǎo jīng mó nán jìn sì shí tóu bān jiān yìng de miàn kǒng yǐ jīng zì jǐ huà chéng liǎo shí tóu！ wǒ kàn dào zhè gè rén yǐ chén zhòng 'ér jūn yún de jiǎo bù zǒu xiàng nà wú jìn de kǔ nán。 zhè gè shí kè jiù xiàng yī cì hū xī nà yàng duǎn cù， tā de dào lái yǔ xī xī fú de bù xìng yī yàng shì què dìng wú yí de， zhè gè shí kè jiù shì yì shí de shí kè。 zài měi yī gè zhè yàng de shí kè zhōng， tā lí kāi shān dǐng bìng qiě zhú jiàn dì shēn rù dào zhū shén de cháo xué zhōng qù， tā chāo chū liǎo tā zì jǐ de mìng yùn。 tā bǐ tā bān dòng de jù shí hái yào jiān yìng。
rú guǒ shuō， zhè gè shén huà shì bēi jù de， nà shì yīn wéi tā de zhù rén gōng shì yòu yì shí de。 ruò tā xíng de měi yī bù dū yǐ kào chéng gōng de xī wàng suǒ zhī chí， nà tā de tòng kǔ shí jì shàng yòu zài nà lǐ ní？ jīn tiān de gōng rén zhōng shēng dōuzài láo dòng， zhōng rì wán chéng de shì tóng yàng de gōng zuò， zhè yàng de mìng yùn bìng fēi bù bǐ xī xī fú de mìng yùn huāng miù。 dàn shì， zhè zhǒng mìng yùn zhǐ yòu zài gōng rén biàn dé yòu yì shí de 'ǒu rán shí kè cái shì bēi jù xìng de。 xī xī fú， zhè zhū shén zhōng de wú chǎn zhě， zhè jìn xíng wú xiào láo yì 'ér yòu jìn xíng fǎn pàn de wú chǎn zhě， tā wán quán qīng chǔ zì jǐ suǒ chù de bēi cǎn jìng dì： zài tā xià shān shí， tā xiǎng dào de zhèng shì zhè bēi cǎn de jìng dì。 zào chéng xī xī fú tòng kǔ de qīng xǐng yì shí tóng shí yě jiù zào jiù liǎo tā de shèng lì。 bù cún zài bù tōng guò miè shì 'ér zì wǒ chāo yuè de mìng yùn。
rú guǒ xī xī fú xià shān tuī shí zài mǒu xiē tiān lǐ shì tòng kǔ dì jìn xíng zhe de， nà me zhè gè gōng zuò yě kě yǐ zài huān lè zhōng jìn xíng。 zhè bìng bù shì yán guò qí shí。 wǒ hái xiǎng xiàng xī xī fú yòu huí tóu zǒu xiàng tā de jù shí， tòng kǔ yòu chóngxīn kāi shǐ。 dāng duì dà dì de xiǎng xiàng guò yú zhuózhòng yú huí yì， dāng duì xìng fú de chōng jǐng guò yú jíqiè， nà tòng kǔ jiù zài rén de xīn líng shēn chù shēng qǐ： zhè jiù shì jù shí de shèng lì， zhè jiù shì jù shí běn shēn。 jù dà de bēi tòng shì nán yǐ chéng dān de zhòng fù。 zhè jiù shì wǒ men de kè xī mǎ ní zhī yè。 dàn shì， xióng biàn de zhēn lǐ yī dàn bèi rèn shí jiù huì shuāi jié。 yīn cǐ， é dí pǔ sī bù zhī bù jué shǒu xiān qū cóng mìng yùn。 ér yī dàn tā míng bái liǎo yī qiē， tā de bēi jù jiù kāi shǐ liǎo。 yǔ cǐ tóng shí， liǎng yǎn shī míng 'ér yòu sàng shī xī wàng de 'é dí pǔ sī rèn shí dào， tā yǔ shì jiè zhī jiān de wéi yī lián xì jiù shì yī gè nián qīng gū niàn xiān rùn de shǒu。 tā yú shì háo wú gù jì dì fā chū zhè yàng zhèn hàn rén xīn de shēng yīn：“ jìn guǎn wǒ lì jìn jiān nán kùn kǔ， dàn wǒ nián yú bù huò， wǒ de líng hún shēn suì wěi dà， yīn 'ér wǒ rèn wéi wǒ shì xìng fú de。” suǒ fú kè lè sī de 'é dí pǔ sī yǔ tuó sī tuǒ yé fū sī jī de jī lǐ luò fū dū tí chū liǎo huāng miù shèng lì de fǎ zé。 xiān xián de zhì huì yǔ xiàn dài yīng xióng zhù yì huì hé liǎo。
rén men yào fā xiàn huāng miù， jiù bù néng bù xiǎng dào yào xiě mǒu zhǒng yòu guān xìng fú de jiào cái。“ āi， shénme！ jiù píng zhè xiē rú cǐ xiá zhǎi de dào lù ……？” dàn shì， shì jiè zhǐ yòu yī gè。 xìng fú yǔ huāng miù shì tóng yī dà dì de liǎng gè chǎn 'ér。 ruò shuō xìng fú yī dìng shì cóng huāng miù de fā xiàn zhōng chǎn shēng de， nà kě néng shì cuò wù de。 yīn wéi huāng miù de gǎn qíng hái hěn kě néng chǎn shēng yú xìng fú。“ wǒ rèn wéi wǒ shì xìng fú de”， é dí pǔ sī shuō， ér zhè zhǒng shuō fǎ shì shén shèng de。 tā huí xiǎng zài rén de fēng kuáng 'ér yòu yòu xiàn de shì jiè zhī zhōng。 tā gào jiè rén men yī qiēdōu hái méi yòu yě cóng méi yòu bèi qióng jìn guò。 tā bǎ yī gè shàng dì cóng shì jiè zhōng qū zhú chū qù， zhè gè shàng dì shì huái zhe bù mǎn zú de xīn lǐ yǐ jí duì wú xiào tòng kǔ de piān hǎo 'ér jìn rù rén jiān de。 tā hái bǎ mìng yùn gǎi zào chéng wéi yī jiàn yīnggāi zài rén men zhī zhōng dé dào 'ān pái de rén de shì qíng。
xī xī fú wú shēng de quán bù kuài lè jiù zài yú cǐ。 tā de mìng yùn shì shǔ yú tā de。 tā de yán shí shì tā de shì qíng。 tóng yàng， dāng huāng miù de rén shēn sī tā de tòng kǔ shí， tā jiù shǐ yī qiē 'ǒu xiàng yǎ rán shī shēng。 zài zhè tū rán zhòng yòu chén mò de shì jiè zhōng， dà dì shēng qǐ qiān wàn gè měi miào xì xiǎo de shēng yīn。 wú yì shí de、 mì mì de zhào huàn， yī qiē miàn mào tí chū de yào qiú， zhè xiē dōushì shèng lì bì bù kě shǎo de duì lì miàn hèyìng fù de dài jià。 bù cún zài wú yīn yǐng de tài yáng， ér qiě bì xū rèn shí hēi yè。 huāng miù de rén shuō“ shì”， dàn tā de nǔ lì yǒng bù tíng xī。 rú guǒ yòu yī zhǒng gè rén de mìng yùn， jiù bù huì yòu gèng gāo de mìng yùn， huò zhì shǎo kě yǐ shuō， zhǐ yòu yī zhǒng bèi rén kàn zuò shì sù mìng de hèyìng shòu dào miè shì de mìng yùn。 cǐ wài， huāng miù de rén zhī dào， tā shì zì jǐ shēng huó de zhù rén。 zài zhè wēi miào de shí kè， rén huí guī dào zì jǐ de shēng huó zhī zhōng， xī xī fú huí shēn zǒu xiàng jù shí， tā jìng guān zhè yī xì liè méi yòu guān lián 'ér yòu biàn chéng tā zì jǐ mìng yùn de xíng dòng， tā de mìng yùn shì tā zì jǐ chuàng zào de， shì zài tā de jì yì de zhù shì xià jù hé 'ér yòu mǎ shàng huì bèi tā de sǐ wáng gù dìng de mìng yùn。 yīn cǐ， máng rén cóng yī kāi shǐ jiù jiān xìn yī qiē rén de dōng xī dū yuán yú rén dào zhù yì， jiù xiàng máng rén kě wàng kàn jiàn 'ér yòu zhī dào hēi yè shì wú qióng jìn de yī yàng， xī xī fú yǒng yuǎn xíng jìn。 ér jù shí réng zài gǔn dòng zhe。
wǒ bǎ xī xī fú liú zài shān jiǎo xià！ wǒ men zǒng shì kàn dào tā shēn shàng de zhòng fù。 ér xī xī fú gào sù wǒ men， zuì gāo de qián chéng shì fǒu rèn zhū shén bìng qiě bān diào shí tóu。 tā yě rèn wéi zì jǐ shì xìng fú de。 zhè gè cóng cǐ méi yòu zhù zǎi de shì jiè duì tā lái jiǎng jì bù shì huāng mò， yě bù shì wò shì。 zhè kuài jù shí shàng de měi yī kē lì， zhè hēi yǒu yǒu de gāo shān shàng de měi yī kē kuàng shā wéi yòu duì xī xī fú cái xíng chéng yī gè shì jiè。 tā pá shàng shān dǐng suǒ yào jìn xíng de dǒu zhēng běn shēn jiù zú yǐ shǐ yī gè rén xīn lǐ gǎn dào chōng shí。 yīnggāi rèn wéi， xī xī fú shì xìng fú de。
In the essay, Camus introduces his philosophy of the absurd: man's futile search for meaning, unity and clarity in the face of an unintelligible world devoid of God and eternal truths or values. Does the realization of the absurd require suicide? Camus answers: "No. It requires revolt." He then outlines several approaches to the absurd life. The final chapter compares the absurdity of man's life with the situation of Sisyphus, a figure of Greek mythology who was condemned to repeat forever the same meaningless task of pushing a boulder up a mountain, only to see it roll down again. The essay concludes, "The struggle itself...is enough to fill a man's heart. One must imagine Sisyphus happy."
The work can be seen in relation to other works by Camus: the novel The Stranger (1942), the play Caligula (1945), and especially the essay The Rebel (1951).
Summary
The essay is dedicated to Pascal Pia and is organized in three chapters and one appendix.
Chapter 1: An Absurd Reasoning
Camus undertakes to answer what he considers to be the only question of philosophy that matters: Does the realization of the meaninglessness and absurdity of life necessarily require suicide?
He begins by describing the absurd condition: much of our life is built on the hope for tomorrow yet tomorrow brings us closer to death and is the ultimate enemy; people live as if they didn't know about the certainty of death; once stripped of its common romanticisms, the world is a foreign, strange and inhuman place; true knowledge is impossible and rationality and science cannot explain the world: their stories ultimately end in meaningless abstractions, in metaphors. "From the moment absurdity is recognized, it becomes a passion, the most harrowing of all."
It is not the world that is absurd, nor human thought: the absurd arises when the human need to understand meets the unreasonableness of the world, when "my appetite for the absolute and for unity" meets "the impossibility of reducing this world to a rational and reasonable principle."
He then characterizes a number of philosophies that describe and attempt to deal with this feeling of the absurd, by Heidegger, Jaspers, Shestov, Kierkegaard and Husserl. All of these, he claims, commit "philosophical suicide" by reaching conclusions that contradict the original absurd position, either by abandoning reason and turning to God, as in the case of Kierkegaard and Shestov, or by elevating reason and ultimately arriving at ubiquitous Platonic forms and an abstract god, as in the case of Husserl.
For Camus, who sets out to take the absurd seriously and follow it to its final conclusions, these "leaps" cannot convince. Taking the absurd seriously means acknowledging the contradiction between the desire of human reason and the unreasonable world. Suicide, then, also must be rejected: without man, the absurd cannot exist. The contradiction must be lived; reason and its limits must be acknowledged, without false hope. However, the absurd can never be accepted: it requires constant confrontation, constant revolt.
While the question of human freedom in the metaphysical sense loses interest to the absurd man, he gains freedom in a very concrete sense: no longer bound by hope for a better future or eternity, without a need to pursue life's purpose or to create meaning, "he enjoys a freedom with regard to common rules".
To embrace the absurd implies embracing all that the unreasonable world has to offer. Without a meaning in life, there is no scale of values. "What counts is not the best living but the most living."
Thus, Camus arrives at three consequences from the full acknowledging of the absurd: revolt, freedom and passion.
Chapter 2: The Absurd Man
How should the absurd man live? Clearly, no ethical rules apply, as they are all based on higher powers or on justification. "Integrity has no need of rules." 'Everything is permitted' "is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact."
Camus then goes on to present examples of the absurd life. He begins with Don Juan, the serial seducer who lives the passionate life to the fullest. "There is no noble love but that which recognizes itself to be both short-lived and exceptional."
The next example is the actor, who depicts ephemeral lives for ephemeral fame. "He demonstrates to what degree appearing creates being." "In those three hours he travels the whole course of the dead-end path that the man in the audience takes a lifetime to cover."
Camus' third example of the absurd man is the conqueror, the warrior who forgoes all promises of eternity to affect and engage fully in human history. He chooses action over contemplation, aware of the fact that nothing can last and no victory is final.
Chapter 3: The Myth of Sisyphus
In the last chapter, Camus outlines the legend of Sisyphus who defied the gods and put Death in chains so that no human needed to die. When Death was eventually liberated and it came time for Sisyphus himself to die, he concocted a deceit which let him escape from the underworld. Finally captured, the gods decided on his punishment: for all eternity, he would have to push a rock up a mountain; on the top, the rock rolls down again and Sisyphus has to start over. Camus sees Sisyphus as the absurd hero who lives life to the fullest, hates death and is condemned to a meaningless task.
Camus presents Sisyphus's ceaseless and pointless toil as a metaphor for modern lives spent working at futile jobs in factories and offices. "The workman of today works every day in his life at the same tasks, and this fate is no less absurd. But it is tragic only at the rare moments when it becomes conscious."
Camus is interested in Sisyphus' thoughts when marching down the mountain, to start anew. This is the truly tragic moment, when the hero becomes conscious of his wretched condition. He does not have hope, but "[t]here is no fate that cannot be surmounted by scorn." Acknowledging the truth will conquer it; Sisyphus, just like the absurd man, keeps pushing. Camus claims that when Sisyphus acknowledges the futility of his task and the certainty of his fate, he is freed to realize the absurdity of his situation and to reach a state of contented acceptance. With a nod to the similarly cursed Greek hero Oedipus, Camus concludes that "all is well," indeed, that "One must imagine Sisyphus happy."
Appendix
The essay contains an appendix titled "Hope and the Absurd in the work of Franz Kafka". While Camus acknowledges that Kafka's work represents an exquisite description of the absurd condition, he maintains that Kafka fails as an absurd writer because his work retains a glimmer of hope.
cháng piān xiǎo shuō《 shǔ yì》 de zuò zhě 'ā 'ěr bèi · jiā miù shì fǎ guó xiàn dài zhù míng cún zài zhù yì wén xué jiā， 1957 nián nuò bèi 'ěr wén xué jiǎng jīn de huò dé zhě。 tā zài 1913 nián chū shēng yú 'ā 'ěr jí lì yà de méng duō wéi。 tā de fù qīn shēng yú 'ā 'ěr sà sī， cóng xiǎo shī qù fù mǔ， céng duō cì táo lí jì yǎng de gū 'ér yuàn， zhǎngdà hòu zài 'ā 'ěr jí lì yà dāng nóng yè gōng rén， dì yī cì shì jiè dà zhàn kāi shǐ hòu bù jiǔ， zài duì dé zuò zhàn zhōng shòu shāng shēn wáng， dāng shí jiā miù hái bù mǎn yī suì。 jiā miù jì《 shǔ yì》 zhī hòu， céng jìhuà zài lìng yī bù cháng piān xiǎo shuō《 dì yī rén》 zhōng miáo xiě tā de fù qīn de yī shēng。 tā de mǔ qīn shì zǔ dài yí jū 'ā 'ěr jí lì yà de xī bān yá rén hòu yì； zài tā de fú yǎng xià， jiā miù zài pín kùn de 'ā lā bó jū mín zhōng jiān
zhǎngdà， duì tā men de chǔjìng shǐ zhōng huái yòu shēnqiè de tóng qíng。 jiā miù zài 'ā 'ěr jí 'ěr dà xué zhé xué xì gōng dú shí， yīn huàn fèi bìng 'ér zhōng tú chuò xué。 hòu lái tā hé yī xiē qīng nián zǔ zhì liǎo yī gè“ láo dòng jù tuán”， hòu yīn zhǔn bèi shàng yǎn yī chū yǐ xī bān yá kuàng gōng bà gōng zāo dào zhèn yā wéi zhù tí de xì jù， bèi zhí mín dāng jú jìn yǎn， jù tuán yě yīn 'ér jiě sàn。 nà shí jiā miù kāi shǐ wéi dāng dì bào zhǐ xiě wén zhāng， hòu lái zài 'ā 'ěr jí lì yà de 'ào lán zhèng shì cóng shì xīn wén gōng zuò。 1934 nián tā cān jiā liǎo 'ā 'ěr jí lì yà de fǎ guó gòng chǎn dǎng zhī bù， yì nián tuō dǎng。 dì 'èr cì shì jiè dà zhàn qī jiān， tā suī rán yòu yī duàn shí jiān fèi bìng fù fā， dàn réng cān jiā liǎo fǎ guó dǐ kàng yùn dòng， jì xù wéi fǎn duì fǎ xī sī zhuàn xiě wén zhāng。 1944 nián bā lí jiě fàng yǐ hòu， jiā miù dān rèn dài gāo lè pài de《 zhàn dǒu bào》 zhù biān， 1947 nián《 shǔ yì》 chū bǎn qián yī xīng qī， jiā miù zhèng shì xuān gào tuō lí zhè fèn bào zhǐ。 hòu lái tā chú liǎo cóng shì shēng píng xiàng wǎng de xì jù huó dòng hé xiě zuò wài， cháng qī wéi bā lí dà chū bǎn shāng mǐ xiē 'ěr · gā lǐ mǎ tiǎo xuǎn wén yì zuò pǐn。 zhàn hòu chū qī， tā yǔ dāng shí zài xī fāng sī xiǎng jiè hé wén xué jiè yǐng xiǎng jí dà de cún zài zhù yì zuò jiā ràng · bǎo luó · sà tè céng yī dù guò cóng shèn mì， dàn jiā miù shǐ zhōng fǒu rèn zì jǐ shǔ yú zhè yī pài， rèn wéi tā duì yī qiē wèn tí yòu zì jǐ dú lì de jiàn jiě， bù shǔ yú rèn hé pài bié tǐ xì。 1946 nián tā fā biǎo liǎo lùn zhù《 fǎn kàng zhě》 yǐ hòu， shòu dào sà tè de pī píng， liǎng rén zhī jiān zhǎn kāi liǎo yīcháng lùn zhàn， céng hōng dòng yī shí。 1960 nián chūn， jiā miù chéng zuò gā lǐ mǎ jià shǐ de qì chē chū yóu shí， fān chē shēn wáng， shí nián sì shí qī suì。
《 shǔ yì》 zhè bù yǐ xiàng zhēng shǒu fǎ xiě chū de zhé lǐ xiǎo shuō， yǔ zuò zhě de dì yī bù zhōng piān xiǎo shuō《 jú wài rén》（ 1942 nián fā biǎo） wèn shì jiā miù zuì zhòng yào de dài biǎo zuò， jūn bèi liè wéi xiàn dài shì jiè wén xué míng zhù。《 shǔ yì》 chuàng zuò sī xiǎng kāi shǐ yùn niàng de shí qī， shì zài 1940 nián bā lí bèi dé guó fǎ xī sī zhàn lǐng yǐ hòu。 jiā miù dāng shí yǐ dǎ suàn yòng yù yán de xíng shì， kè huá chū fǎ xī sī xiàng shǔ yì bìng jūn nà yàng tūn shì zhe qiān wàn rén shēng mìng de“ kǒng bù shí dài”， xiàng shí jiǔ shì jì měi guó zuò jiā mài 'ěr wéi 'ěr de xiǎo shuō《 bái jīng》 nà yàng， tōng guò yī tiáo dà jīng yú de xiōng 'è， xiě chū shí dài de zāinàn。 1942 nián jiā miù yīn fèi bìng fù fā， cóng yán rè de 'ào lán zhuǎn yí dào fǎ guó nán bù shān qū pà nà lǐ 'āi（ hòu lái zuò zhě zài shǔ yì》 zhōng yǐ pà nà lú zuò wéi yī wèi tiān zhù jiào shén fǔ de xìng míng） liáo yǎng， bù jiǔ yīng měi méng jūn zài 'ā 'ěr jí lì yà dēng lù， dé jūn jìn zhàn fǎ guó nán fāng， jiā miù yī shí yǔ jiā rén yīn xùn duàn jué， jiāo lǜ bù 'ān， gū dān jì mò， zhè zhǒng qièshēn de tǐ huì shǐ tā zài《 shǔ yì》 zhōng miáo xiě xīn wén jì zhě lǎng bèi 'ěr de chǔjìng shí， tè bié bī zhēn dòng rén。 zài jiā miù kàn lái， dāng shí chǔyú fǎ xī sī zhuān zhì qiáng quán tǒng zhì xià de fǎ guó rén mín -- chú liǎo yī bù fēn cóng shì dǐ kàng yùn dòng zhě wài -- jiù xiàng 'ōu zhōu zhōng shì jì shǔ yì liú xíng qī jiān yī yàng， cháng qī guò zhe yǔ wài jiè gé jué de qiú jìn shēng huó； tā men zài“ shǔ yì” chéng zhōng， bù dàn suí shí miàn lín sǐ shén de wēi xié， ér qiě rì yè rěn shòu zhe shēng lí sǐ bié tòng kǔ bù kān de zhé mó。 jiā miù zài 1942 nián 11 yuè 11 rì de rì jì zhōng， céng bǎ dāng shí héng xíng wú jì de dé jūn bǐ wéi“ xiàng lǎo shǔ yī yàng”； zài lìng yī piān rì jì zhōng， tā zhè yàng jì xià dāng shí de qíng kuàng：“ quán guó rén mín zài rěn shòu zhe yī zhǒng chǔyú jué wàng zhī zhōng de chén mò de shēng huó， kě shì réng rán zài qī dài……” zhí dé zhù yì de shì， jiā miù zài xiǎo shuō zhōng yòng xì zhì de bǐ chù xiě chū liǎo tā de tóng dài rén zài miàn lín yīcháng dà tú shā shí de kǒng jù、 jiāo lǜ、 tòng kǔ、 zhēngzhá hé dǒu zhēng zhī jì， tè bié shì kè huá liǎo fǎ guó zī chǎn jiē jí zài jīng lì dì 'èr cì shì jiè dà zhàn zhè chǎng hào jié de guò chéng zhōng， zài sī xiǎng shàng hé gǎn qíng shàng fā shēng de jù dà 'ér shēnqiè de zhèn hàn。 jìn guǎn jiā
miù 'àn zhào xí guàn， bì miǎn zhí jiē miáo xiě fǎ guó shè huì， jiǎ jiè běi fēi dì zhōng hǎi bīn hǎi chéng shì 'ào lán zuò wéi fā shēng shǔ yì de dì diǎn， dàn wǒ men cóng zhè zuò shāng yè chāng shèng， wù zhì wén míng fā dá， dàn shì mín jīng shén kōng xū， yǐ xún huān zuò lè lái xiāo mó rén shēng de chéng shì， bù nán kàn chū zhè shì fǎ guó shè huì de yī gè suō yǐng。
cóng《 jú wài rén》 dào《 shǔ yì》， jiā miù biǎo xiàn liǎo yī xiē cún zài zhù yì zhé xué de jī běn guān diǎn： shì jiè shì huāng miù de， xiàn shí běn shēn shì bù kě rèn shí de， rén de cún zài quē fá lǐ xìng， rén shēng gū dú， huó zhe méi yòu yì yì。 yīn cǐ， jiā miù suī rán zài sān fǒu rèn zì jǐ shì cún zài zhù yì zhě， xī fāng wén xué shǐ jiā réng rán bǎ tā liè wéi zhè yī liú pài de zuò jiā。 jiā miù zì jǐ céng zhè yàng shuō：“《 jú wài rén》 xiě de shì rén zài huāng miù de shì jiè zhōng gū lì wú yuán， shēn bù yóu yǐ；《 shǔ yì》 xiě de shì miàn lín tóng yàng de huāng táng de shēng cún shí， jìn guǎn měi gè rén de guān diǎn bù tóng， dàn cóng shēn chù kàn lái， què yòu děng tóng de dì fāng。” zài《 shǔ yì》 zhè bù hòu qī dài biǎo zuò zhōng， biǎo xiàn liǎo zuò zhě de sī xiǎng yòu yī dìng de gǎi biàn。《 jú wài rén》 de zhù rén gōng mò 'ěr suǒ hé《 shǔ yì》 zhōng de zhù rén gōng lǐ 'è yī shēng miàn duì zhe tóng yàng huāng miù de shì jiè shí， tài dù jiù wán quán bù tóng： mò 'ěr suǒ lěng dàn mò rán， má mù bù rén， lián duì mǔ qīn de shì shì yǐ zhì zì shēn de sǐ wáng dū bào zhe jú wài rén de tài dù； lǐ 'è yī shēng zài lì bó nà bù zhī cóng hé 'ér lái de wēn yì shí， suī rán yòu shí gǎn dào gū dān jué wàng， dàn tā qīng xī dì rèn shí dào zì jǐ de zé rèn jiù shì gēn nà tūn shì qiān wàn wú gū zhě de dú jūn zuò dǒu zhēng， ér qiě zài jiān kǔ de bó dǒu zhōng， tā kàn dào 'ài qíng、 yǒu yì hé mǔ 'ài gěi rén shēng dài lái xìng fú。 lǐ 'è yī shēng bù shì gū jūn zuò zhàn， tā zuì hòu rèn shí dào zhǐ yòu tōng guò yī xiē dào dé gāo shàng、 fù yú zì wǒ xī shēng jīng shén de rén gòng tóng nǔ lì， cái néng fǎn kàng sì wú jì dá de wēn shén， rén lèi shè huì cái yòu yī xiàn xī wàng。
jiā miù jiān chí gè rén zhù yì de lì chǎng， rèn wéi gè rén yìng zhì yú yī qiē de shǒu wèi； dàn zài fā xiàn qiáng diào“ gè rén jué duì zì yóu” de cún zài zhù yì bìng bù néng jiě jué zī chǎn jiē jí shè huì shēng cún de máo dùn shí， jiā miù zhōng yú huí dào chuán tǒng de zī chǎn jiē jí rén dào zhù yì zhōng qù xún qiú jiě dá tā yī zhí zài kǔ sī míng xiǎng de“ rén lèi de chū lù zài hé chù” de wèn tí。 《 shǔ yì》 xíng xiàng dì fǎn yìng tā nà gè shí dài de rén yī xiē shēn kè de máo dùn。 zhè bù xiǎo shuō zài yì shù fēng gé shàng yě yòu dú dào zhī chù， ér qiě quán piān jié gòu yán jǐn， shēng huó qì xī nóng yù， rén wù xìng gé xiān míng，
duì bù tóng chǔjìng zhōng rén wù xīn lǐ hé gǎn qíng de biàn huà kè huá dé shēn rù xì zhì； xiǎo shuō zhōng guàn chuānzhuó rén yǔ wēn shén bó dǒu de shǐ shī bān de piān zhāng、 shēng lí sǐ bié de dòng rén 'āi gē、 yǒu yì yǔ 'ài qíng de měi lì shī piān、 dì zhōng hǎi hǎi bīn sè cǎi qí huàn de huà miàn， shǐ zhè bù zuò pǐn jù yòu qiáng liè de yì shù mèi lì。
The novel is believed to be based on the cholera epidemic that killed a large percentage of Oran's population in 1849 following French colonization, but the novel is placed in the 1940s.[1] Oran and its environs were struck by disease multiple times before Camus published this novel. According to a research report by the Centers for Disease Control and Prevention, Oran was decimated by the plague in 1556 and 1678, but outbreaks after European colonization, in 1921 (185 cases), 1931 (76 cases), and 1944 (95 cases), were very far from the scale of the epidemic described in the novel.
The Plague is considered an existentialist classic despite Camus' objection to the label.[2][3] The narrative tone is similar to Kafka's, especially in The Trial, where individual sentences potentially have multiple meanings, the material often pointedly resonating as stark allegory of phenomenal consciousness and the human condition. Camus included a dim-witted character misreading The Trial as a mystery novel as an oblique homage. The novel has been read as a metaphorical treatment of the French resistance to Nazi occupation during World War II.
Although Camus's approach in the book is severe, his narrator emphasizes the ideas that we ultimately have no control, irrationality of life is inevitable, and he further illustrates the human reaction towards the ‘absurd’. The Plague represents how the world deals with the philosophical notion of the Absurd, a theory which Camus himself helped to define.
zhǎngdà， duì tā men de chǔjìng shǐ zhōng huái yòu shēnqiè de tóng qíng。 jiā miù zài 'ā 'ěr jí 'ěr dà xué zhé xué xì gōng dú shí， yīn huàn fèi bìng 'ér zhōng tú chuò xué。 hòu lái tā hé yī xiē qīng nián zǔ zhì liǎo yī gè“ láo dòng jù tuán”， hòu yīn zhǔn bèi shàng yǎn yī chū yǐ xī bān yá kuàng gōng bà gōng zāo dào zhèn yā wéi zhù tí de xì jù， bèi zhí mín dāng jú jìn yǎn， jù tuán yě yīn 'ér jiě sàn。 nà shí jiā miù kāi shǐ wéi dāng dì bào zhǐ xiě wén zhāng， hòu lái zài 'ā 'ěr jí lì yà de 'ào lán zhèng shì cóng shì xīn wén gōng zuò。 1934 nián tā cān jiā liǎo 'ā 'ěr jí lì yà de fǎ guó gòng chǎn dǎng zhī bù， yì nián tuō dǎng。 dì 'èr cì shì jiè dà zhàn qī jiān， tā suī rán yòu yī duàn shí jiān fèi bìng fù fā， dàn réng cān jiā liǎo fǎ guó dǐ kàng yùn dòng， jì xù wéi fǎn duì fǎ xī sī zhuàn xiě wén zhāng。 1944 nián bā lí jiě fàng yǐ hòu， jiā miù dān rèn dài gāo lè pài de《 zhàn dǒu bào》 zhù biān， 1947 nián《 shǔ yì》 chū bǎn qián yī xīng qī， jiā miù zhèng shì xuān gào tuō lí zhè fèn bào zhǐ。 hòu lái tā chú liǎo cóng shì shēng píng xiàng wǎng de xì jù huó dòng hé xiě zuò wài， cháng qī wéi bā lí dà chū bǎn shāng mǐ xiē 'ěr · gā lǐ mǎ tiǎo xuǎn wén yì zuò pǐn。 zhàn hòu chū qī， tā yǔ dāng shí zài xī fāng sī xiǎng jiè hé wén xué jiè yǐng xiǎng jí dà de cún zài zhù yì zuò jiā ràng · bǎo luó · sà tè céng yī dù guò cóng shèn mì， dàn jiā miù shǐ zhōng fǒu rèn zì jǐ shǔ yú zhè yī pài， rèn wéi tā duì yī qiē wèn tí yòu zì jǐ dú lì de jiàn jiě， bù shǔ yú rèn hé pài bié tǐ xì。 1946 nián tā fā biǎo liǎo lùn zhù《 fǎn kàng zhě》 yǐ hòu， shòu dào sà tè de pī píng， liǎng rén zhī jiān zhǎn kāi liǎo yīcháng lùn zhàn， céng hōng dòng yī shí。 1960 nián chūn， jiā miù chéng zuò gā lǐ mǎ jià shǐ de qì chē chū yóu shí， fān chē shēn wáng， shí nián sì shí qī suì。
《 shǔ yì》 zhè bù yǐ xiàng zhēng shǒu fǎ xiě chū de zhé lǐ xiǎo shuō， yǔ zuò zhě de dì yī bù zhōng piān xiǎo shuō《 jú wài rén》（ 1942 nián fā biǎo） wèn shì jiā miù zuì zhòng yào de dài biǎo zuò， jūn bèi liè wéi xiàn dài shì jiè wén xué míng zhù。《 shǔ yì》 chuàng zuò sī xiǎng kāi shǐ yùn niàng de shí qī， shì zài 1940 nián bā lí bèi dé guó fǎ xī sī zhàn lǐng yǐ hòu。 jiā miù dāng shí yǐ dǎ suàn yòng yù yán de xíng shì， kè huá chū fǎ xī sī xiàng shǔ yì bìng jūn nà yàng tūn shì zhe qiān wàn rén shēng mìng de“ kǒng bù shí dài”， xiàng shí jiǔ shì jì měi guó zuò jiā mài 'ěr wéi 'ěr de xiǎo shuō《 bái jīng》 nà yàng， tōng guò yī tiáo dà jīng yú de xiōng 'è， xiě chū shí dài de zāinàn。 1942 nián jiā miù yīn fèi bìng fù fā， cóng yán rè de 'ào lán zhuǎn yí dào fǎ guó nán bù shān qū pà nà lǐ 'āi（ hòu lái zuò zhě zài shǔ yì》 zhōng yǐ pà nà lú zuò wéi yī wèi tiān zhù jiào shén fǔ de xìng míng） liáo yǎng， bù jiǔ yīng měi méng jūn zài 'ā 'ěr jí lì yà dēng lù， dé jūn jìn zhàn fǎ guó nán fāng， jiā miù yī shí yǔ jiā rén yīn xùn duàn jué， jiāo lǜ bù 'ān， gū dān jì mò， zhè zhǒng qièshēn de tǐ huì shǐ tā zài《 shǔ yì》 zhōng miáo xiě xīn wén jì zhě lǎng bèi 'ěr de chǔjìng shí， tè bié bī zhēn dòng rén。 zài jiā miù kàn lái， dāng shí chǔyú fǎ xī sī zhuān zhì qiáng quán tǒng zhì xià de fǎ guó rén mín -- chú liǎo yī bù fēn cóng shì dǐ kàng yùn dòng zhě wài -- jiù xiàng 'ōu zhōu zhōng shì jì shǔ yì liú xíng qī jiān yī yàng， cháng qī guò zhe yǔ wài jiè gé jué de qiú jìn shēng huó； tā men zài“ shǔ yì” chéng zhōng， bù dàn suí shí miàn lín sǐ shén de wēi xié， ér qiě rì yè rěn shòu zhe shēng lí sǐ bié tòng kǔ bù kān de zhé mó。 jiā miù zài 1942 nián 11 yuè 11 rì de rì jì zhōng， céng bǎ dāng shí héng xíng wú jì de dé jūn bǐ wéi“ xiàng lǎo shǔ yī yàng”； zài lìng yī piān rì jì zhōng， tā zhè yàng jì xià dāng shí de qíng kuàng：“ quán guó rén mín zài rěn shòu zhe yī zhǒng chǔyú jué wàng zhī zhōng de chén mò de shēng huó， kě shì réng rán zài qī dài……” zhí dé zhù yì de shì， jiā miù zài xiǎo shuō zhōng yòng xì zhì de bǐ chù xiě chū liǎo tā de tóng dài rén zài miàn lín yīcháng dà tú shā shí de kǒng jù、 jiāo lǜ、 tòng kǔ、 zhēngzhá hé dǒu zhēng zhī jì， tè bié shì kè huá liǎo fǎ guó zī chǎn jiē jí zài jīng lì dì 'èr cì shì jiè dà zhàn zhè chǎng hào jié de guò chéng zhōng， zài sī xiǎng shàng hé gǎn qíng shàng fā shēng de jù dà 'ér shēnqiè de zhèn hàn。 jìn guǎn jiā
miù 'àn zhào xí guàn， bì miǎn zhí jiē miáo xiě fǎ guó shè huì， jiǎ jiè běi fēi dì zhōng hǎi bīn hǎi chéng shì 'ào lán zuò wéi fā shēng shǔ yì de dì diǎn， dàn wǒ men cóng zhè zuò shāng yè chāng shèng， wù zhì wén míng fā dá， dàn shì mín jīng shén kōng xū， yǐ xún huān zuò lè lái xiāo mó rén shēng de chéng shì， bù nán kàn chū zhè shì fǎ guó shè huì de yī gè suō yǐng。
cóng《 jú wài rén》 dào《 shǔ yì》， jiā miù biǎo xiàn liǎo yī xiē cún zài zhù yì zhé xué de jī běn guān diǎn： shì jiè shì huāng miù de， xiàn shí běn shēn shì bù kě rèn shí de， rén de cún zài quē fá lǐ xìng， rén shēng gū dú， huó zhe méi yòu yì yì。 yīn cǐ， jiā miù suī rán zài sān fǒu rèn zì jǐ shì cún zài zhù yì zhě， xī fāng wén xué shǐ jiā réng rán bǎ tā liè wéi zhè yī liú pài de zuò jiā。 jiā miù zì jǐ céng zhè yàng shuō：“《 jú wài rén》 xiě de shì rén zài huāng miù de shì jiè zhōng gū lì wú yuán， shēn bù yóu yǐ；《 shǔ yì》 xiě de shì miàn lín tóng yàng de huāng táng de shēng cún shí， jìn guǎn měi gè rén de guān diǎn bù tóng， dàn cóng shēn chù kàn lái， què yòu děng tóng de dì fāng。” zài《 shǔ yì》 zhè bù hòu qī dài biǎo zuò zhōng， biǎo xiàn liǎo zuò zhě de sī xiǎng yòu yī dìng de gǎi biàn。《 jú wài rén》 de zhù rén gōng mò 'ěr suǒ hé《 shǔ yì》 zhōng de zhù rén gōng lǐ 'è yī shēng miàn duì zhe tóng yàng huāng miù de shì jiè shí， tài dù jiù wán quán bù tóng： mò 'ěr suǒ lěng dàn mò rán， má mù bù rén， lián duì mǔ qīn de shì shì yǐ zhì zì shēn de sǐ wáng dū bào zhe jú wài rén de tài dù； lǐ 'è yī shēng zài lì bó nà bù zhī cóng hé 'ér lái de wēn yì shí， suī rán yòu shí gǎn dào gū dān jué wàng， dàn tā qīng xī dì rèn shí dào zì jǐ de zé rèn jiù shì gēn nà tūn shì qiān wàn wú gū zhě de dú jūn zuò dǒu zhēng， ér qiě zài jiān kǔ de bó dǒu zhōng， tā kàn dào 'ài qíng、 yǒu yì hé mǔ 'ài gěi rén shēng dài lái xìng fú。 lǐ 'è yī shēng bù shì gū jūn zuò zhàn， tā zuì hòu rèn shí dào zhǐ yòu tōng guò yī xiē dào dé gāo shàng、 fù yú zì wǒ xī shēng jīng shén de rén gòng tóng nǔ lì， cái néng fǎn kàng sì wú jì dá de wēn shén， rén lèi shè huì cái yòu yī xiàn xī wàng。
jiā miù jiān chí gè rén zhù yì de lì chǎng， rèn wéi gè rén yìng zhì yú yī qiē de shǒu wèi； dàn zài fā xiàn qiáng diào“ gè rén jué duì zì yóu” de cún zài zhù yì bìng bù néng jiě jué zī chǎn jiē jí shè huì shēng cún de máo dùn shí， jiā miù zhōng yú huí dào chuán tǒng de zī chǎn jiē jí rén dào zhù yì zhōng qù xún qiú jiě dá tā yī zhí zài kǔ sī míng xiǎng de“ rén lèi de chū lù zài hé chù” de wèn tí。 《 shǔ yì》 xíng xiàng dì fǎn yìng tā nà gè shí dài de rén yī xiē shēn kè de máo dùn。 zhè bù xiǎo shuō zài yì shù fēng gé shàng yě yòu dú dào zhī chù， ér qiě quán piān jié gòu yán jǐn， shēng huó qì xī nóng yù， rén wù xìng gé xiān míng，
duì bù tóng chǔjìng zhōng rén wù xīn lǐ hé gǎn qíng de biàn huà kè huá dé shēn rù xì zhì； xiǎo shuō zhōng guàn chuānzhuó rén yǔ wēn shén bó dǒu de shǐ shī bān de piān zhāng、 shēng lí sǐ bié de dòng rén 'āi gē、 yǒu yì yǔ 'ài qíng de měi lì shī piān、 dì zhōng hǎi hǎi bīn sè cǎi qí huàn de huà miàn， shǐ zhè bù zuò pǐn jù yòu qiáng liè de yì shù mèi lì。
The novel is believed to be based on the cholera epidemic that killed a large percentage of Oran's population in 1849 following French colonization, but the novel is placed in the 1940s.[1] Oran and its environs were struck by disease multiple times before Camus published this novel. According to a research report by the Centers for Disease Control and Prevention, Oran was decimated by the plague in 1556 and 1678, but outbreaks after European colonization, in 1921 (185 cases), 1931 (76 cases), and 1944 (95 cases), were very far from the scale of the epidemic described in the novel.
The Plague is considered an existentialist classic despite Camus' objection to the label.[2][3] The narrative tone is similar to Kafka's, especially in The Trial, where individual sentences potentially have multiple meanings, the material often pointedly resonating as stark allegory of phenomenal consciousness and the human condition. Camus included a dim-witted character misreading The Trial as a mystery novel as an oblique homage. The novel has been read as a metaphorical treatment of the French resistance to Nazi occupation during World War II.
Although Camus's approach in the book is severe, his narrator emphasizes the ideas that we ultimately have no control, irrationality of life is inevitable, and he further illustrates the human reaction towards the ‘absurd’. The Plague represents how the world deals with the philosophical notion of the Absurd, a theory which Camus himself helped to define.
《 fǎ guó zhōng wèi de nǚ rén》 shì yīng guó zuò jiā yuē hàn · fú 'ěr sī zuì jù yǐng xiǎng lì de yī bù xiǎo shuō。 zhè bù xiǎo shuō shì nuò bèi 'ěr wén xué jiǎng hòu xuǎn rén、 dāng dài yīng guó wén tán chāo zhòng liàng jí dà shī fú 'ěr sī de jīng diǎn dài biǎo zuò zhī yī， bèi xuǎn wéi 'èr shí shì jì bǎi dà yīng wén xiǎo shuō jīng diǎn， yě shì yīng měi gè dà xué yīng yǔ xì 'èr shí shì jì yīng guó xiǎo shuō kè chéng de bì dú zuò pǐn。 shēn shòu cún zài zhù yì zhé xué yǐng xiǎng bìng qiě duì zhī qíng yòu dú zhōng de fú 'ěr sī zài zhè bù xiǎo shuō zhōng wéi cún zài zhù yì zhé xué tí gōng liǎo yī gè de xíng xiàng huà de tú jiě。
jiǎng shù de shì fā shēng zài 19 shì jì yīng guó de 'ài qíng gù shì。 yī gè bēi shāng、 shén mì de wéi duō lì yà shí dài de nǚ rén， míng míng shì gè chǔnǚ què xuān chēng zì jǐ yǐ wěi shēn yú fǎ guó zhōng wèi， bèi shì wéi zuì 'è、 yín dàng de nǚ rén 'ér bèi tuò qì。 ér tā de shén mì、 dú tè、 dà dǎn、 shēn chén、 yōu yù de měi yǐ jí yě xìng de rè qíng， huàn qǐ nán rén de tóng qíng hé 'ài mù。 tā yǔ chá 'ěr sī chǎn shēng liǎo chì rè de 'ài qíng， què zài tā jiě chú liǎo hé bié rén de hūn yuē hòu jù jué tā de qiú hūn， qiǎo rán lí kāi。
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - gù shì gěng gài
gù shì fā shēng zài fú 'ěr sī zài 'èr shí shì jì liù shí nián dài jū zhù guò de yī gè yīng guó xiǎo zhèn： lāi mǔ · lǐ jī sī， shí jiān shì yīng guó“ wéi duō lì yà huáng jīn shí dài”（ zhǐ 1850 ～ 1875 nián） zhōng de 1867 nián。 xiǎo shuō yī kāi juàn， dú zhě jiù huì bèi nóng liè de làng màn、 shén mì qì fēn suǒ xī yǐn： 1867 nián 3 yuè de yī gè zǎo chén， hǎi biān gǔ lǎo de bì lěi kuáng fēng hū xiào， chá 'ěr sī hé tā de wèi hūn qī 'ōu léi sī dì nà zhèng zài zhè lǐ sàn bù。 tā men kàn jiàn yī gè chuānzhuó hēi sè yī fú de nǚ rén zài hǎi jiǎ de yī tóu gū dú dì zhàn zhe， tiào wàng dà hǎi。 fēng yuè guā yuè dà， dāng tā men zǒu jìn zhè gè hēi yī nǚ rén shí， fā xiàn tā jiù shì nà gè zhèn shàng jū mín rén rén jiē zhī de“ fǎ guó zhōng wèi de nǚ rén”。 rén men shuō， tā bèi yī gè fǎ guó zhōng wèi yǐn yòu shī shēn， ér dāng shí de fǎ guó zài jí dù qīng xīn guǎ yù de wéi duō lì yà shí dài de yīng guó rén kàn lái， shì yī gè“ wù rù qí tú de guó jiā”。 fǎ guó zhōng wèi huí guó hòu pāo qì liǎo tā， ér tā jīhū měi tiān dào hǎi biān lái， jiù shì děng dài fǎ guó zhōng wèi huí dào tā de shēn biān。
zhè wèi hēi yī nǚ láng， tā yīn chén、 dài yòu bēi jù xìng de miàn kǒng suī wú jué dài jiā lì de zī sè， yě wú dāng shí wéi duō lì yà nǚ xìng yīngyǒu de xián jìng、 shùn cóng hé xiū sè， què yǐ qí shén mì、 shēn chén、 nán yǐ zhuō mō de yǔ zhòng bù tóng 'ér lìng jù mèi lì， shì sú zhě tuò qì tā zhè yàng de lí jīng pàn dào zhě， dàn shū zhōng de chá 'ěr sī yǐ jí 'èr shí shì jì de rén men kàn dài tā de zé shì lìng wài yī zhǒng mù guāng。
chá 'ěr sī shí nián sān shí 'èr suì， shì yī gè fù jiā zǐ dì， méi yòu zhí yè， dàn shì duì gǔ shēng wù xué hé dì zhì xué pō yòu xīng qù， tā shòu dá 'ěr wén xué shuō de yǐng xiǎng hěn shēn， kàn dào liǎo wéi duō lì yà shí dài de bǎo shǒu hé xū wěi。
hēi yī nǚ zǐ sà lā shì yī gè chū shēng yú pín kǔ gù nóng jiā tíng de dú shēng nǚ， tā de zǔ xiān chū shēn gāo guì， dào tā fù qīn zhè yī dài cái shuāi luò xià lái。 fù qīn sòng nǚ 'ér dào jì sù xué xiào jiē shòu liáng hǎo de jiào yù， tā shí bā suì xué chéng guī jiā bù jiǔ， fù qīn jiù qù shì liǎo， zài tā dāng jiā tíng jiào shī móu shēng qī jiān， yī sōu fǎ guó lún chuán chénmò， xìng cún de fǎ guó zhōng wèi zài dǒng fǎ yǔ de sà lā de zhào gù xià kāng fù， bìng yǔ tā hǎi shì shān méng， dāyìng hěn kuài cóng fǎ guó fǎn huí jiē tā； chuán wén tā yǔ zhōng wèi fā shēng liǎo guān xì， dàn zhōng wèi bìng méi yòu lǚ xíng nuò yán， ér shì pāo qì liǎo tā。 yòu guān tā de liú yán fěi yǔ chuán biàn liǎo lāi mǔ zhèn， tā chéng wéi shēng míng lángjí de“ fǎ guó zhōng wèi de nǚ rén”。
ér chá 'ěr sī de wèi hūn qī 'ōu léi sī dì nà shì yī gè diǎn xíng de wéi duō lì yà nǚ xìng， yī gè fù shāng de nǚ 'ér。 tā nián qīng、 piào liàng、 wén yǎ。 dàn shì， tā de jià zhí guān hé gǎn qíng shì fū qiǎn de。 chá 'ěr sī de shū fù luó bó tè jué dìng hé yī gè hái zài shēng yù nián líng de nǚ rén jié hūn， yī dàn tā shēng xià nán hái， chá 'ěr sī jiù jiāng sàng shī duì shū fù de cái chǎn hé nán jué jué wèi de jì chéng quán。 ōu léi sī dì nà duì luó bó tè de jié hūn jué dìng fǎn yìng qiáng liè， yǔ chá 'ěr sī chéng xiān míng duì bǐ。 dì nà dài zhe shí dài de miàn shā， yǎn shì zì jǐ duì ròu yù de kě wàng， dú zì yī rén zài wò shì lǐ tuō diào yī fú xīn shǎng zì jǐ de ròu tǐ měi， qī dài zhe chá 'ěr sī de 'ài fǔ。 tā jiān chí měi tiān xiě de rì jì shì wéi liǎo jiāng lái de yī tiān chá 'ěr sī bī zhe tā ná chū lái gěi tā kàn， suǒ yǐ， rì jì zhōng yě shì dài zhe miàn shā de。 yǔ sà lā xiāng bǐ， tā shì yī gè kě yǐ yī yǎn kàn tòu de dān diào nǚ zǐ héng héng yī gè nián qīng、 měi lì， què rú yī fāng qīng chè jiàn dǐ， bǎi dòng shēn qū shù shí xià jiù kě yǐ yóu dào jìn tóu de xiǎo chí， sà lā zé shēn shì cāng sāng， rú shēn bù kě cè de dà hǎi， hào hàn wú biān。
sà lā yǔ dì nà shì liǎng gè duì bǐ xiān míng de nǚ xìng。 sà lā chù chù yǔ wéi duō lì yà de shí dài chéng guī bèi dào 'ér chí， tā míng míng shì chǔnǚ， què yào shuō zì jǐ yǐ wěi shēn yú fǎ guó zhōng wèi， lāi mǔ zhèn de suǒ yòu réndōu zài bèi hòu mà tā shì gè fàng dàng de nǚ rén，“ fǎ guó zhōng wèi de biǎo zǐ”， tā què zhì zhī dù wài。 gù yòng tā de bō 'ěr tè ní tài tài shì wéi duō lì yà shí dài de diǎn xíng de xū wěi de wèi dào zhě， sà lā fǎn kàng bō 'ěr tè ní tài tài duì tā de bù xǔ dú zì qù lín jiān sàn bù de jìn lìng， ér tā de shén mì、 dú tè、 dà dǎn、 shēn chén、 yōu yù de měi yǐ jí yě xìng de rè qíng， shì huàn qǐ nán rén tóng qíng hé 'ài mù de yuán quán， shū zhōng duō cì tí dào， sà lā yóu rú yī tóu“ yě shòu”， tā bù shì yī gè shòu nán rén tǒng zhì de wéi duō lì yà nǚ xìng。 jí shǐ tā de róng mào bù rú 'ōu léi sī dì nà de měi lì， mén dì zhī gāo guì yě bù rú nián qīng de dì nà， zhēn shí de chá 'ěr sī hái shì bèi sà lā de shén mì hé zhēn shí de yě xìng shēn shēn xī yǐn， bìng tí chū bāng zhù sà lā lí kāi lāi mǔ zhèn， dào 'āi sài tè qù zhòng xīn kāi shǐ shēng huó。
chá 'ěr sī zài qù lún dūn de fǎn chéng zhōng zài 'āi sài tè tíng liú， jiē dào liǎo sà lā de biàn tiáo， gǎn dào tā jū zhù de lǚ guǎn。 cháng qī jī xù de gǎn qíng zài tā jiē chù dào shòu liǎo shāng de sà lā shēn tǐ de shí hòu yī chù jí fā， chán mián zhī hòu， tā fā xiàn sà lā bìng méi yòu shòu shāng， ér qiě tā de wěi shēn yú fǎ guó zhōng wèi de gù shì shì tā zì jǐ biān zhì de huǎng yán héng héng tā wèishénme yào sǎ huǎng？ wèishénme yào yòng huài míng shēng zāo tā zì jǐ？
lí kāi sà lā de fáng jiān hòu， chá 'ěr sī jué dìng yǔ dì nà jiě chú hūn yuē， tā pài pú rén shān mǔ gěi sà lā sòng qù yī fēng xìn hé yī méi xiōng zhēn， kě shān mǔ wéi chá 'ěr sī bèi pàn dì nà 'ér fèn nù， bìng méi yòu bǎ dōng xī sòng qù。
chá 'ěr sī fù chū liǎo hěn dà de dài jià lái jiě chú hūn yuē， dāng tā gǎn huí 'āi sài tè shí， què fā xiàn sà lā yǐ jīng bù gào 'ér bié。 shuāngchóng dǎ jī lǒngzhào liǎo tā： dì nà de fù qīn bī pò tā zài sī huǐ hūn yuē de wén jiàn shàng qiān zì， tā yǐ jīng shēn bài míng liè。 dàn shì ràng tā gèng shāng xīn de zé shì sà lā de lí qù。 tā wèishénme zài yǐn yòu liǎo tā zhī hòu yòu qiǎo rán 'ér qù ní？
chá 'ěr sī jí tā gù yòng de zhēn tàn zài gè dì sōu xún sà lā， què yī wú suǒ huò。 chá 'ěr sī jué dìng qù guó wài lǚ xíng， dào měi guó hòu， tā kàn dào yī gè xīn xīng guó jiā de xīn de sī wéi hé xīn de shì jiè， yuǎn yuǎn chāo guò liǎo cǐ shí bǎo shǒu、 xū wěi de yīng guó。 tā rèn wéi sà lā jiù shì zhè gè xīn shì jiè lǐ de rén。 cǐ shí， tā de lǜ shī pāi lái diàn bào， gào sù tā：“ zhǎo dào tā liǎo。” tā lì kè dìng liǎo piào gǎn huí lún dūn。 cǐ shí de sà lā yǔ yǐ qián pàn ruò liǎng rén， tā zhù zài yī gè qián qī lā fěi 'ěr pài huà jiā de jiā lǐ， yī zhe rù shí， yí tài gāo yǎ。
shū zhōng biǎo xiàn liǎo zì yóu de zhù tí， ér kāi fàng shì de jié wěi zài zhè bù hòu xiàn dài zhù yì de xiǎo shuō zhōng xiǎn dé tè yì。 dì yī gè jié wěi zài shū de dì sì shí sì zhāng， chá 'ěr sī cóng lún dūn de fǎn chéng zhōng lù guò 'āi sài tè， què méi yòu tíng liú， ér shì fǎn huí lāi mǔ， hé dì nà jié hūn bìng shēng liǎo qī gè 'ér nǚ， guò zhe měi mǎn de shēng huó：“ gù shì jiù cǐ jié shù。 sà lā ní？ wǒ bù zhī dào。 bù guǎn tā jiū jìng rú hé， tā zài yě méi yòu qù má fán chá 'ěr sī……” zhè zhǒng chuán tǒng shì de jié jú xiǎn rán shì wéi zuò zhě suǒ cháo nòng de。
dì 'èr gè jié jú zài shū de mò wěi， chá 'ěr sī jiàn dào jū zhù zài huà jiā jiā lǐ bìng chéng wéi tā de zhù shǒu de sà lā， fā xiàn sà lā gěi tā shēng liǎo gè nǚ 'ér， yòu qíng rén zhōng chéng juàn shǔ。
dì sān gè jié jú shì bù què dìng de， chá 'ěr sī jiàn dào sà lā hòu qǐng qiú yǔ tā jié hé， què zāo dào jù jué， tā shuō， tā jué xīn zhōng shēn bù jià， yīn wéi hūn yīn jiāng bō duó tā de zì yóu， shǐ tā shī qù zì jǐ de dú lì hé gū dú。 chá 'ěr sī de xīn suì liǎo， jué dé gǎn qíng bèi wán nòng、 bèi qī piàn， tā duì sà lā shuō：“ nǐ bù jǐn bǎ bǐ shǒu tǒng jìn wǒ de xiōng táng， nǐ hái yǐ niǔ dòng tā wéi lè。”“ zǒng yòu yī tiān， nǐ huì yīn duì wǒ de suǒ zuò suǒ wéi dé dào bào yìng。 rú guǒ cāng tiān yòu yǎn， nǐ wàn shì yě nán shú qīng nǐ de zuì guò。”
ér sà lā shì zhè yàng shuō de：“ nǐ bù lǐ jiě wǒ wèishénme bù yuàn yì tóng nǐ jié hūn。 zhè bù shì nǐ de guò cuò。 nǐ shì gè hěn shàn liáng de rén。 shuí yě bù kě néng lǐ jiě wǒ。”
“ wǒ nà yàng shuō， shì yào rén míng bái lián wǒ zì jǐ yě bù lǐ jiě zì jǐ。 wǒ shuō bù qīng chǔ zhè shì wèishénme。 dàn wǒ shēn xìn wǒ de xìng fú zhèng zài yú wǒ duì zì jǐ yě bù lǐ jiě。”
“ wǒ jù jué nǐ， rú tóng wǒ jù jué qí tā nán rén。 nǐ bù néng lǐ jiě de shì， duì wǒ lái shuō， zhè bìng bù huāng táng。” chá 'ěr sī lí kāi sà lā， dú zì yī rén zǒu xiàng jiē tóu shí， tā yòu yī zhǒng cóng bèi qiú jìn de gǎn qíng zhōng dé dào jiě tuō de gǎn jué， tā fā xiàn“ tā běn shēn jù yòu yī xiē xìn niàn、 yī zhǒng zhēn zhèng de yǔ zhòng bù tóng zhī chù， zhè shì tā qián jìn de jī chǔ”。 ér sà lā shì gè cháng rén bù néng lǐ jiě de nǚ rén， tā yǐ cháng rén bù néng lǐ jiě de fāng shì xún qiú zì jǐ de dú lì、 jiě fàng hé zì yóu。
zhè bù xiǎo shuō zhōng jí fù hòu xiàn dài qì xī de lìng yī mù shì， shí kōng bèi jiāo cuò， shū de zuò zhě chū xiàn zài shū zhōng yī bǎi nián qián de wéi duō lì yà shí dài。 yī gè dà hú zǐ（ zuò zhě） zǒu jìn chá 'ěr sī suǒ zài de chē xiāng， tū rán méng fā liǎo yī gè niàn tóu：“ zài cǐ shí cǐ dì jié shù chá 'ěr sī de yī shēng， ràng tā yǒng yuǎn chǔyú zǒu wǎng lún dūn de lù shàng。”
xiǎo shuō de qián shí 'èr zhāng zài xiàn liǎo wéi duō lì yà shí dài de chǎng jǐng， bǎ sà lā kè huà dé rú zài yǎn qián， dàn zài dì shí 'èr zhāng jié wěi， bǐ fēng yī zhuǎn， bǎ gù shì de xù shù shāzhù， tí chū liǎo yī gè guài wèn tí：“ sà lā shì shuí？ tā shì cóng nǎ gè yǐn bì de jiǎo luò zuàn chū lái de？”
dāng dú zhě yǐ jīng xiàn rù xiǎo shuō zhōng kè huà de chǎng jǐng shí， zuò zhě què tū rán bǎ dú zhě cóng shū zhōng lā chū lái， duì tā dà hǒu yī shēng：“ bié shàngdàng， zhè quán shì jiǎ de， quán shì xū gòu， shì huǎng yán！”
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - zuò pǐn yóu lái
zài“ yī bù wèi wán gǎo de xiǎo shuō bǐ jì” zhōng， fú 'ěr sī xiáng xì jì shù liǎo《 fǎ guó zhōng wèi de nǚ rén》 de chuàng zuò yuán yīn： 1966 nián qiū tiān de yī gè zǎo chén， zài bàn shuì bàn xǐng de fú 'ěr sī de dà nǎo zhōng chí xù bù duàn dì fú xiàn chū yī gè gū dú nǚ zǐ de xíng xiàng。 tā jiǔ jiǔ dì zhù lì zài kōng dàng dàng de mǎ tóu shàng， yuǎn tiào zhe dà hǎi。“ wǒ xiǎng tā shì wéi duō lì yà shí dài shòu qiǎn zé zhě de xíng xiàng， shì yī gè bèi yí qì zhě de xíng xiàng。 wǒ bù zhī dào tā fàn liǎo shénme cuò……” zhè yī shén mì 'ér gū dú de xíng xiàng qiáng liè dì xī yǐn zhe fú 'ěr sī， yǐ zhì yú tā zhōng zhǐ liǎo zhèng zài jìn xíng zhōng de xiǎo shuō chuàng zuò 'ér zhuànxiàng《 fǎ guó zhōng wèi de nǚ rén》 de xiě zuò。 xiǎo shuō kāi piān yǐ hā dài de“ mí” wéi yǐn yán， diàn dìng liǎo sà lā shén mì de jī diào。 xiǎo shuō zhōng de sà lā shì zhè yàng chū chǎng de：“ zài hūn 'àn、 wān qū de fáng bō dī shàng hái yòu lìng yī gè rén de shēn yǐng…… nà rén zhàn zài lín hǎi de fáng bō dī wài cè，…… quán shēn shàng xià zhe hēi zhuāng， fēng chuī chù， yī fú piāo dòng， dàn shì rén què wén sī bù dòng， miàn xiàng dà hǎi níng shì zhe shénme， hěn xiàng shì nì shuǐ zhě de yī zuò huó jì niàn bēi， yī gè shén huà zhōng de rén wù， bù xiàng shì wēi bù zú dào de xiāng yě shēng huó lǐ de zhèng cháng jǐng guān”。 zhè yàng de yī gè chū chǎng liàng xiāng tū chū liǎo sà lā de jī běn tè zhēng： gū dú 'ér shén mì。 xù shù zhě gào sù wǒ men， yóu yú tā fù qīn qiáng liè de“ míng mén chū shēn qíng jié”， tā bèi fù qīn qiǎngpò“ lí kāi zì jǐ yuán lái de jiē jí”， kě tā fù qīn“ què méi yòu néng lì bǎ tā tí shēng dào gèng gāo de yī gè jiē jí”， yú shì，“ zài tā yǐ jīng lí kāi de nà gè jiē jí zhōng de nán qīng nián yǎn lǐ， tā biàn dé guò yú tiǎo tī 'ér bù kě qǔ， ér tā kě wàng jìn rù de nà gè jiē jí de qīng nián nán zǐ zé rèn wéi tā réng rán guò yú píng yōng”。 yīn cǐ，“ tā chéng liǎo děng jí shè huì de dì dào shòu hài zhě”。 zài tā fù qīn sǐ hòu， zǎo yǐ guò liǎo dāng jià nián líng 'ér chéng wéi“ lǎo chǔnǚ” de tā biàn dé wú jiā kě guī。
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - zuò pǐn jiě xī
zhè bù xiǎo shuō shì nuò bèi 'ěr wén xué jiǎng hòu xuǎn rén、 dāng dài yīng guó wén tán chāo zhòng liàng jí dà shī fú 'ěr sī de jīng diǎn dài biǎo zuò zhī yī， bèi xuǎn wéi 'èr shí shì jì bǎi dà yīng wén xiǎo shuō jīng diǎn， yě shì yīng měi gè dà xué yīng yǔ xì 'èr shí shì jì yīng guó xiǎo shuō kè chéng de bì dú zuò pǐn。
fú 'ěr sī bǐ xià de sà lā biàn shì zhè yàng yī gè zuò wéi“ shén mì 'ér gū lì de shí zài” ér cún zài de rén wù xíng xiàng。 cóng sà lā“ dàn shēng” zài fú 'ěr sī de nǎo hǎi zhōng de nà yī kè qǐ， tā biàn shì shén mì 'ér gū dú de。 xiǎo shuō kāi piān yǐ hā dài de“ mí” wéi yǐn yán， diàn dìng liǎo sà lā shén mì de jī diào。 xiǎo shuō zhōng de sà lā shì zhè yàng chū chǎng de：“ zài hūn 'àn、 wān qū de fáng bō dī shàng hái yòu lìng yī gè rén de shēn yǐng…… nà rén zhàn zài lín hǎi de fáng bō dī wài cè，…… quán shēn shàng xià zhe hēi zhuāng， fēng chuī chù， yī fú piāo dòng， dàn shì rén què wén sī bù dòng， miàn xiàng dà hǎi níng shì zhe shénme， hěn xiàng shì nì shuǐ zhě de yī zuò huó jì niàn bēi， yī gè shén huà zhōng de rén wù， bù xiàng shì wēi bù zú dào de xiāng yě shēng huó lǐ de zhèng cháng jǐng guān”。 zhè yàng de yī gè chū chǎng liàng xiāng tū chū liǎo sà lā de jī běn tè zhēng： gū dú 'ér shén mì。 xù shù zhě gào sù wǒ men， yóu yú tā fù qīn qiáng liè de“ míng mén chū shēn qíng jié”， tā bèi fù qīn qiǎngpò“ lí kāi zì jǐ yuán lái de jiē jí”， kě tā fù qīn“ què méi yòu néng lì bǎ tā tí shēng dào gèng gāo de yī gè jiē jí”， yú shì，“ zài tā yǐ jīng lí kāi de nà gè jiē jí zhōng de nán qīng nián yǎn lǐ， tā biàn dé guò yú tiǎo tī 'ér bù kě qǔ， ér tā kě wàng jìn rù de nà gè jiē jí de qīng nián nán zǐ zé rèn wéi tā réng rán guò yú píng yōng”。 yīn cǐ，“ tā chéng liǎo děng jí shè huì de dì dào shòu hài zhě”。 zài tā fù qīn sǐ hòu， zǎo yǐ guò liǎo dāng jià nián líng 'ér chéng wéi“ lǎo chǔnǚ” de tā biàn dé wú jiā kě guī。 suí zhe gù shì de fā zhǎn， qíng jié de zhǎn kāi， zhǎn xiàn zài dú zhě miàn qián de sà lā jīhū shì jiāng zì jǐ yǔ zhōu wéi shì jiè gé lí kāi de yī gè“ duō yú de rén”， shì zài lāi mǔ zhèn jū mín de lěng yǎn hé bǐ shì zhōng shēng huó de yī gè gū dú de“ jú wài rén”， rén men“ bù xiǎng zǒu jìn tā”， pà huài liǎo zì jǐ de míng shēng。 ér tā zì jǐ sì hū yě zài“ xiǎng shòu” zhe zhè zhǒng gū dú， wǒ xíng wǒ sù， dú lái dú wǎng， yóu lí yú lāi mǔ zhèn de fán chén suǒ shì。 tā zì jǐ jiù céng shuō guò：“ wǒ yī zhí guò zhe gū jì de shēng huó，…… mìng yùn sì hū zhù dìng wǒ yǒng yuǎn bù néng hé tóng děng de rén jiàn lì yǒu yì， yǒng yuǎn bù néng zhù zài zì jǐ de jiā lǐ， yǒng yuǎn jué dé zì jǐ bèi pái chú zài zhù tǐ shì jiè zhī wài”。
gèng wéi zhòng yào de shì， sà lā de xíng xiàng sì hū shì cóng pò suì de jìng piàn zhōng fǎn yìng chū lái de。 gù shì měi tuī jìn yī bù， suì piàn jiù zēng jiā yī kuài， qí zhěng tǐ xíng xiàng zì shǐ zhì zhōng wú fǎ cóng zhè nán yuán de pò jìng zhōng lù chū“ lú shān zhēn miàn mù”， yī zhí lǒngzhào zài shén mì de fēn wéi zhōng。 bàng rén shuō tā shì“ fǎ guó zhōng wèi de nǚ rén”， shì“ biǎo zǐ”， ér tā zì jǐ yě bù fǒu rèn， shuō zì jǐ“ lóu yǐ bù rú， jīhū bù zài shì rén…… shì fǎ guó zhōng wèi de jì nǚ”。 dàn suí zhe tā yǔ chá 'ěr sī guān xì de fā zhǎn， chá 'ěr sī fā xiàn suǒ wèi“ fǎ guó zhōng wèi de nǚ rén” zhī chēng chún shǔ biān zào， shèn zhì wán quán shì tā běn rén bǎ zì jǐ jiǎ xiǎng wéi yī gè“ shòu qiǎn zé zhě” hé“ bèi yí qì zhě” de“ yòu zuì nǚ rén” de xíng xiàng。 sà lā sì hū zhǐ yòu zài jiǎ miàn zhī xià cái néng zhēn shí dì 'ān zhì zì shēn。 qíng jié de fā zhǎn shǐ tā de shén mì xìng yù fā tū xiàn chū lái。 tā sì hū shì tóng xìng liàn zhě， dàn sì hū yòu bù shì； tā sì hū shì jīng shén bìng huàn zhě， dàn sì hū yòu bù shì； tā sì hū shì chá 'ěr sī de zhěng jiù zhě， yòu sì hū shì tā de xiàn hài zhě； tā sì hū shì zhēn nǚ， yòu sì hū shì dàng fù。 fú 'ěr sī bù duàn dì zài jiàn gòu sà lā de xíng xiàng， dàn yòu tóng shí zài xiāo jiě zhè xiē xíng xiàng。 tā yī zhí lǒngzhào zài shén mì de qì fēn zhī zhōng， bìng qiě zhè zhǒng shén mì xìng suí zhe tā de shī zōng yǐ jí duō zhòng jié wěi 'ér gèng jiā qiáng huà。
《 fǎ guó zhōng wèi de nǚ rén》 duì wéi duō lì yà shí dài de lì shǐ、 xiǎo shuō de fēng gé yǐ jí wèn tí de mó fǎng shì duì zhè yī shí dài yǐ jí shí dài de zhōng chǎn jiē jí hé shàng liú shè huì de bǎo shǒu xìng hé xū wěi xìng jìn xíng xīn là de fěng cì hé pēng jī。 sà lā zuò wéi yī gè jiù shí dài de pàn nì zhě chū xiàn， zuò wéi yī gè zài sī xiǎng guān niàn hé dào dé qíng cāo yǐ bù rù 'èr shí shì jì de xīn xíng nǚ xìng bèi gē sòng。 tā cù shǐ chá 'ěr sī de sī xiǎng zhuǎn huà， zài yī fān tòng kǔ de jīng lì hòu， chá 'ěr sī fā xiàn zì jǐ bǎi tuō liǎo tā de shí dài， tā zài hé sà lā fā shēng guān xì hòu qù jiào táng chàn huǐ：“ tā zhàn zài nà lǐ， jué dé zì jǐ fǎng fó kàn dào liǎo zhěng gè shí dài， kàn dào liǎo zhè gè shí dài sāo dòng bù 'ān de shēng mìng hé tā nà yìng rú gāng tiě de jiè lǜ jiè guī， tā yā yì de qíng gǎn hé huá jī de yōu mò， tā yán jǐn de kē xué hé bù yán jǐn de zōng jiào， tā fǔ bài de zhèng zhì hé yī chéng bù biàn de jiē jí guān niàn。 zhè yī qiēdōu shì tā suǒ qī wàng de zuì dà de yǐn bì dí rén。 tā céng jīng shòu méng bì。 zhè gè shí dài wán quán méi yòu 'ài hé zì yóu…… ér qiě， méi yòu sī xiǎng， méi yòu mùdì， méi yòu 'è yì， yīn wéi qī piàn jiù shì tā de běn zhì。 tā méi yòu rén xìng， zhǐ shì yī tái jī qì。 zhè jiù shì kùn rǎo tā de 'è xìng xún huán。” hòu xiàn dài zhù yì zuò jiā de zhè zhǒng xíng wéi， mù de shì jiē chuān chuán tǒng zuò jiā de quán zhī quán néng de jiǎ miàn jù， duì xiǎo shuō de chéng guī、 fǎ zé yǐ jí zuò zhě de quán wēi tí chū zhì yí。
《 fǎ guó zhōng wèi de nǚ rén》 zì yī jiǔ liù jiǔ nián wèn shì yǐ hòu， zài xī fāng guǎng dà dú zhě hé píng lùn jiè zhōng yǐn qǐ liǎo qiáng liè de fǎn xiǎng。 rén men duì qí zhù tí、 rén wù、 yì shù jì qiǎo děng fāng miàn jìn xíng liǎo guǎng fàn、 shēn rù de tàn tǎo。 yòu rén rèn wéi， zhè shì yī bù“ wèn tí tàn suǒ xiǎo shuō”， ér qiě“ zài zhè zhǒng yòng wèn tí tàn suǒ shǒu fǎ xiě chéng de xiǎo shuō zhōng， yì shù shuǐ zhǔn zuì gāo de dāng tuī yuē hàn fú 'ěr sī de《 fǎ guó zhōng wèi de nǚ rén》”； yě yòu rén rèn wéi， zhè shì yī bù yù yán xiǎo shuō， shuō xiàng fú 'ěr sī zhè lèi“ zuò jiā bù jǐn tōng guò yù yán de fāng shì lái biǎo dá tā men de zhé xué sī xiǎng， ér qiě zài chuàng zuò jì qiǎo shàng yě zài móu qiú xīn de tú jìng， píng lùn jiā men bǎ tā men chēng wéi‘ zhé xué pài’ huò‘ yù yán biān zhuàn jiā’”； yě yòu rén rèn wéi zhè shì yī bù“ sǎnwén tǐ bǐ jiào xiǎo shuō”，“ tā jiāng xiǎo shuō yǐn rù liǎo wén huà shǐ hé shè huì xué de bǐ jiào lǐng yù”。 zhè zhēn kě wèi jiàn rén jiàn zhì， mò zhōng yī shì。
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - xiě zuò yì shù
cháng bèi rén chēng wéi“ zhé xué xiǎo shuō jiā” de fú 'ěr sī yú 1947 nián zhì 1950 nián jiù dú yú niú jīn dà xué shí， shēn shòu dāng shí mí màn yú dà xué xiào yuán de cún zài zhù yì de qì xī de yǐng xiǎng。 zài tā kàn lái， cún zài zhù yì bù shì gào sù rén men gāi zuò shénme bù gāi zuò shénme de yī tào jiāng sǐ de zhé xué， ér shì yī zhǒng gōng jù， yī zhǒng shí yòng de zhé xué， tā bāng zhù rén men zài tè dìng de chǔjìng zhōng shēng cún。 fú 'ěr sī céng yú 1965 nián zhè yàng chēng sòng guò cún zài zhù yì： cún zài zhù yì hěn hǎo de yī gè fāng miàn jiù shì gěi rén men tí gōng liǎo yī zhǒng tú jìng。 tā shǐ dé rén men yǐ zì jǐ de lì liàng zài zì jǐ tè dìng de huán jìng zhōng chuàng zào xìng dì xíng dòng， shì yī zhǒng zuì hǎo de gè rén zhù yì de zhé xué。 tā shì 20 shì jì de gè tǐ duì lái zì gè fāng miàn de yā lì de yī zhǒng huí yìng。 cún zài zhù yì guān yú jī jí xíng dòng yǐ jí zài xíng dòng zhōng fā xiàn xiàn shí de lǐ lùn duì fú 'ěr sī yòu hěn dà yǐng xiǎng。“ yīn cǐ， fú 'ěr sī de xiǎo shuō guān zhù liǎng gè zhòng yào shí kè， jí rén men zuò chū zhòng dà jué dìng de shí kè hé suí zhī cǎi qǔ xíng dòng de shí kè。 tā men zhuólì yú jǐyǔ dú zhě qiáng liè de cún zài zhèn hàn， zhè zhǒng zhèn hàn duì yú wǒ men wán quán rèn shí dào zài zhè zhǒng yì shí de jī chǔ shàng jìn xíng xuǎn zé hé xíng dòng de bì yào”。 fú 'ěr sī de cún zài zhù yì sī xiǎng míng xiǎn dì fǎn yìng zài《 fǎ guó zhōng wèi de nǚ rén》 zhè bù xiǎo shuō dāng zhōng。 jǐn cóng wén zì biǎo miàn shàng kàn， zuò zhě zài wén běn zhōng jiù duō cì tí dào cún zài zhù yì， rú，“ wǒ men xiàn zài yōng yòu de zhī shí bǐ tā nà shí duō dé duō， ér qiě hái yòu cún zài zhù yì zhé xué sī xiǎng kě gōng wǒ men shǐ yòng”；“ tā men bù zàn chéng cún zài zhù yì de huán jié， tā men zàn chéng de shì yīn guǒ guān xì liàn， shì jīng guò rèn zhēn yán jiū bìng fǎn fù yìng yòng de、 néng jiě shì yī qiē de zhèng miàn lǐ lùn”；“ cún zài zhù yì de kǒng jù zài cì duì tā fā qǐ liǎo gōng jī， yě xǔ tā zǎo yǐ liào dào huì rú cǐ……” rú guǒ shuō xiǎo shuō shì xíng xiàng huà de zhé xué， nà me，《 fǎ guó zhōng wèi de nǚ rén》 jiù shì duì cún zài zhù yì zhé xué de xíng xiàng tú jiě。 zuò jiā gào sù wǒ men， rén yào shí xiàn gè tǐ de zì yóu yì zhì， yào guò yī zhǒng zì yóu zì zhù de shēng huó。
1、 gū dú 'ér shén mì de gè tǐ
suī rán cún zài zhù yì sī xiǎng jiā men zài guān diǎn hé sī xiǎng qīng xiàng shàng bù jìn xiāng tóng， shèn zhì hái cún zài zhe jiào dà de fēn qí， dàn bù róng zhì yí de shì， cún zài zhù yì suǒ guān zhù de hé xīn wèn tí shì rén de shēng cún wèn tí。 ér zhè lǐ de“ rén” bù shì zhǐ“ qún tǐ”， ér shì zhǐ“ gè tǐ” héng héng zuò wéi lún lǐ zhù tǐ de gè rén。 cún zài zhù yì zhé xué de shǐ zǔ kè 'ěr kǎi guō 'ěr shǒu cì bǎ gè rén“ cún zài” zuò wéi zhé xué de zhōng xīn wèn tí， ér qiě jiāng“ gū dú de gè tǐ” zhì yú yán jiū de zhōng xīn dì wèi。 hǎi dé gé 'ěr yě rèn wéi， dāng rén bèi pāo yú shì 'ér yǔ tā rén gòng zài shí， tā zǒng shì gǎn dào tā rén hé shì jiè duì tā shì mò shēng de、 shū yuǎn de， gǎn dào zì jǐ chǔyú yī zhǒng gū dú de、 wú jiā kě guī de zhuàng tài。 cún zài zhù yì jí dà chéng zhě sà tè rèn wéi“ měi gè rén shì zuò wéi yī zhǒng shén mì 'ér gū lì de shí zài”。
fú 'ěr sī bǐ xià de sà lā biàn shì zhè yàng yī gè zuò wéi“ shén mì 'ér gū lì de shí zài” ér cún zài de rén wù xíng xiàng。 cóng sà lā“ dàn shēng” zài fú 'ěr sī de nǎo hǎi zhōng de nà yī kè qǐ， tā biàn shì shén mì 'ér gū dú de。 xiǎo shuō kāi piān yǐ hā dài de“ mí” wéi yǐn yán， diàn dìng liǎo sà lā shén mì de jī diào。 xiǎo shuō zhōng de sà lā shì zhè yàng chū chǎng de：“ zài hūn 'àn、 wān qū de fáng bō dī shàng hái yòu lìng yī gè rén de shēn yǐng…… nà rén zhàn zài lín hǎi de fáng bō dī wài cè，…… quán shēn shàng xià zhe hēi zhuāng， fēng chuī chù， yī fú piāo dòng， dàn shì rén què wén sī bù dòng， miàn xiàng dà hǎi níng shì zhe shénme， hěn xiàng shì nì shuǐ zhě de yī zuò huó jì niàn bēi， yī gè shén huà zhōng de rén wù， bù xiàng shì wēi bù zú dào de xiāng yě shēng huó lǐ de zhèng cháng jǐng guān”。 zhè yàng de yī gè chū chǎng liàng xiāng tū chū liǎo sà lā de jī běn tè zhēng： gū dú 'ér shén mì。 xù shù zhě gào sù wǒ men， yóu yú tā fù qīn qiáng liè de“ míng mén chū shēn qíng jié”， tā bèi fù qīn qiǎngpò“ lí kāi zì jǐ yuán lái de jiē jí”， kě tā fù qīn“ què méi yòu néng lì bǎ tā tí shēng dào gèng gāo de yī gè jiē jí”， yú shì，“ zài tā yǐ jīng lí kāi de nà gè jiē jí zhōng de nán qīng nián yǎn lǐ， tā biàn dé guò yú tiǎo tī 'ér bù kě qǔ， ér tā kě wàng jìn rù de nà gè jiē jí de qīng nián nán zǐ zé rèn wéi tā réng rán guò yú píng yōng”。 yīn cǐ，“ tā chéng liǎo děng jí shè huì de dì dào shòu hài zhě”。 zài tā fù qīn sǐ hòu， zǎo yǐ guò liǎo dāng jià nián líng 'ér chéng wéi“ lǎo chǔnǚ” de tā biàn dé wú jiā kě guī。 suí zhe gù shì de fā zhǎn， qíng jié de zhǎn kāi， zhǎn xiàn zài dú zhě miàn qián de sà lā jīhū shì jiāng zì jǐ yǔ zhōu wéi shì jiè gé lí kāi de yī gè“ duō yú de rén”， shì zài lāi mǔ zhèn jū mín de lěng yǎn hé bǐ shì zhōng shēng huó de yī gè gū dú de“ jú wài rén”， rén men“ bù xiǎng zǒu jìn tā”， pà huài liǎo zì jǐ de míng shēng。 ér tā zì jǐ sì hū yě zài“ xiǎng shòu” zhe zhè zhǒng gū dú， wǒ xíng wǒ sù， dú lái dú wǎng， yóu lí yú lāi mǔ zhèn de fán chén suǒ shì。 tā zì jǐ jiù céng shuō guò :“ wǒ yī zhí guò zhe gū jì de shēng huó，…… mìng yùn sì hū zhù dìng wǒ yǒng yuǎn bù néng hé tóng děng de rén jiàn lì yǒu yì， yǒng yuǎn bù néng zhù zài zì jǐ de jiā lǐ， yǒng yuǎn jué dé zì jǐ bèi pái chú zài zhù tǐ shì jiè zhī wài”。
gèng wéi zhòng yào de shì， sà lā de xíng xiàng sì hū shì cóng pò suì de jìng piàn zhōng fǎn yìng chū lái de。 gù shì měi tuī jìn yī bù， suì piàn jiù zēng jiā yī kuài， qí zhěng tǐ xíng xiàng zì shǐ zhì zhōng wú fǎ cóng zhè nán yuán de pò jìng zhōng lù chū“ lú shān zhēn miàn mù”， yī zhí lǒngzhào zài shén mì de fēn wéi zhōng。 bàng rén shuō tā shì“ fǎ guó zhōng wèi de nǚ rén”， shì“ biǎo zǐ”， ér tā zì jǐ yě bù fǒu rèn， shuō zì jǐ“ lóu yǐ bù rú， jīhū bù zài shì rén…… shì fǎ guó zhōng wèi de jì nǚ”。 dàn suí zhe tā yǔ chá 'ěr sī guān xì de fā zhǎn， chá 'ěr sī fā xiàn suǒ wèi“ fǎ guó zhōng wèi de nǚ rén” zhī chēng chún shǔ biān zào， shèn zhì wán quán shì tā běn rén bǎ zì jǐ jiǎ xiǎng wéi yī gè“ shòu qiǎn zé zhě” hé“ bèi yí qì zhě” de“ yòu zuì nǚ rén” de xíng xiàng。 sà lā sì hū zhǐ yòu zài jiǎ miàn zhī xià cái néng zhēn shí dì 'ān zhì zì shēn。 qíng jié de fā zhǎn shǐ tā de shén mì xìng yù fā tū xiàn chū lái。 tā sì hū shì tóng xìng liàn zhě， dàn sì hū yòu bù shì ; tā sì hū shì jīng shén bìng huàn zhě， dàn sì hū yòu bù shì ; tā sì hū shì chá 'ěr sī de zhěng jiù zhě， yòu sì hū shì tā de xiàn hài zhě ; tā sì hū shì zhēn nǚ， yòu sì hū shì dàng fù。 fú 'ěr sī bù duàn dì zài jiàn gòu sà lā de xíng xiàng， dàn yòu tóng shí zài xiāo jiě zhè xiē xíng xiàng。 tā yī zhí lǒngzhào zài shén mì de qì fēn zhī zhōng， bìng qiě zhè zhǒng shén mì xìng suí zhe tā de shī zōng yǐ jí duō zhòng jié wěi 'ér gèng jiā qiáng huà。
cún zài zhù yì zhé xué cóng běn zhì shàng jiǎng“ shì yī zhǒng gè rén zhù yì zhé xué， zhè zhǒng gè rén zhù yì tóng chuán tǒng de gè rén zhù yì bù tóng de dì fāng…… shì bǎ gū dú de gè rén kàn zuò shì zì jǐ de chū fā diǎn”。 ér gū dú fēng bì de zì wǒ suǒ dǎo zhì de shén mì xìng nǎi shì cún zài zhù yì huī zhī bù qù de sè cǎi。 sà lā zhèng shì zhè yàng yī gè xíng xiàng de tǐ xiàn。
2、 gè tǐ yǔ tā zhě
guān yú gè tǐ yǔ tā rén jí wài wù de guān xì， cóng kè 'ěr kǎi guō 'ěr dào hǎi dé gé 'ěr hé sà tè dōuyòu zhe xiāng shìde kàn fǎ。 kè 'ěr kǎi guō 'ěr shuō， zì wǒ“ bù jǐn shì gè rén yī jǐ de zì wǒ， ér shì shè huì de、 gōng mín de zì wǒ”。 hǎi dé gé 'ěr rèn wéi， zuò wéi cǐ zài de rén de cún zài bìng bù shì yī zhǒng gū lì de、 dān dú de cún zài， tā zǒng shì chǔyú bù duàn dì yǔ wài wù、 tā rén fā shēng gè zhǒng guān xì de guò chéng zhōng。 àn zhào hǎi dé gé 'ěr de guān diǎn， cǐ zài de jī běn cún zài zhuàng tài shì zài shì， ér zài shì de jī běn jié gòu huò zhě shuō yǔ wài wù、 tā rén fā shēng gè zhǒng guān xì de guò chéng jiù shì“ fán”， jiāo lǜ、 fán nǎo。 tā zài《 cún zài yǔ shí jiān》 zhǐ chū：“ zhǐ yào cǐ zài shì‘ zài shì de zài’， tā jiù chè tóu chè wěi dì bèi fán suǒ zhī pèi，‘ zài shì’ dǎ shàng liǎo fán de yìn zhāng， zhè fán yǔ cǐ zài shì yī 'ér 'èr 'èr 'ér yī de”。 sà tè rèn wéi， měi yī gè réndōu shì cóng zì jǐ de zhù guān xìng chū fā lái kàn dài tā rén de， zǒng shì bǎ zì jǐ dāng zuò zhù tǐ， bǎ tā rén dāng zuò zì jǐ de duì xiàng。 tā jìn 'ér jiāng rén yǔ rén zhī jiān de guān xì shì wéi yī zhǒng“ zhù nú guān xì”， jí měi gè réndōu lì tú wéi chí zì jǐ de zhù tǐ xìng， dū hù xiāng bǎ bié rén duì xiàng huà wéi“ shēn tǐ” ér zhàn yòu。 tā zài《 jìn bì》 yī jù zhōngjiàng tā zài《 cún zài yǔ xū wú》 zhōng suǒ chǎn shù de rén yǔ rén de guān xì yòng wén xué yǔ yán gài kuò wéi“ tā rén jiù shì dì yù”， jí tā zhě zǒng shì yī gè rén zài shí xiàn zhēn shí de zì wǒ guò chéng zhōng yǔ zhī fā shēng chōng tū bìng qiě bì xū kè fú de zhàng 'ài。 yǐ shàng zhè xiē lùn shù， dū biǎo míng liǎo cún zài zhù yì zhé xué jiā duì gè tǐ hé tā zhě zhī jiān guān xì de gòng tóng sī kǎo， jí liǎng zhě jì xiāng hù yǐ lài， yòu hù wéi duì lì hé chōng tū。
huí dào xiǎo shuō zhōng， sà lā yǔ tā rén de guān xì biàn shì“ dì yù” de xíng xiàng biǎo xiàn。 yī gè 'ǒu rán de jī huì ràng tā jié shí liǎo yī wèi fǎ guó shuǐ shǒu， bìng zì yǐ wéi yóu cǐ zǒu jìn liǎo tā qíng gǎn shēng huó de lǜ zhōu， dàn shí jì shàng què xiàn rù liǎo zhè wèi shuǐ shǒu wéi tā yíng zào de“ dì yù”。 shuǐ shǒu běn yòu qī shì， féng chǎng zuò xì de tā zài tuǐ shāng quán yù hòu yī qù bù fù fǎn， yīn cǐ sà lā de 'ài yě jiù zǒu shàng liǎo yī tiáo bù guī zhī lù。 cóng cǐ yǐ hòu tā jiù yī zhí shēng huó zài bù míng jiù lǐ de lāi mǔ zhèn rén de lěng yǎn hé zhòu mà zhōng。 yóu yú shēng huó suǒ pò， tā shòu gù bāng yōng yú bō 'ěr tǎn ní tài tài jiā zhōng。 zhè wèi bō 'ěr tǎn ní tài tài“ zì rèn wèishì yì lì zài bō tāo xiōng yǒng de tiān zhù jiào hǎi yáng zhōng yī zuò chún jìng de pà tè mò sī dǎo”， zhuān héng bà dào、 zì yǐ wéi shì， bǎ sà lā kàn chéng shì yī zhǐ“ mí tú de gāo yáng”， bìng xī wàng tīng dào tā de chàn huǐ。 sà lā yǔ bō 'ěr tǎn ní tài tài xiāng chù de guò chéng shí jì shàng yī zhí shì kàng zhēng yǔ yā zhì de guò chéng， zuì hòu zhōng yú yóu“ lěng zhàn” fā zhǎn dào liǎo bái rè huà de chéng dù。 bō 'ěr tǎn ní tài tài xiāng xìn yòu dì yù de cún zài， bìng hài pà zì jǐ zhuì rù qí zhōng， dàn què wéi sà lā shè zhì liǎo yī gè rén jiān dì yù。
zài lāi mǔ zhèn， sà lā jǐn jǐn dé dào liǎo“ zài dāng shí dāng dì suàn dé shàng shì gè kāi míng de rén wù” de gé luó gēn dà fū de tóng qíng。 rán 'ér， gé luò gēn dà fū gēn jù zì jǐ de fēn xī， rèn wéi sà lā huàn yòu yán zhòng de yì yù zhèng， bìng jiàn yì chá 'ěr sī jiāng qí sòng rù jīng shén bìng yī yuàn。 zài 'ōu zhōu， rén men zuì zǎo shì jiè jiàn duì fù má fēng bìng rén de fāng fǎ lái duì dài jīng shén bìng rén， jí cǎi qǔ gé lí de fāng shì。 zhè xiē fēng rén yǔ qióng rén、 shī yè zhě hé qiú fàn guān zài yī qǐ， shèn zhì bèi dài shàng liào kào。 suī rán dào liǎo 19 shì jì， yóu yú zāo dào jīng shén bìng xué jiā de měng liè pēng jī， fēng zǐ zhú jiàn hé qí tā bèi qiú jìn zhě fēn lí kāi lái。 dàn shì， zài fēng rén yuàn lǐ， zuì yòu dài biǎo xìng de zhì liáo shǒu duàn réng rán shì jiān mò、 jìng xiàng rèn shí hé bù duàn de shěn pàn。 tōng guò jiān mò de fāng shì shǐ dé bǎi tuō liǎo liào kào de fēng rén zhēn zhèng chéng wéi zì jǐ de qiú fàn ; tōng guò guān kàn hé zì wǒ guān kàn， jīng shén bìng huàn zhě zuì zhōng fā xiàn zì jǐ shì fēng zǐ ; tōng guò bù duàn de shěn pàn，“ bǎ yī xué biàn chéng sī fǎ， bǎ zhì liáo biàn chéng zhèn yā”。 zhè yàng de zhì liáo huán jìng hé fāng shì， duì yú jié 'ào bù xùn、 wǒ xíng wǒ sù de sà lā lái shuō wú yí jiāng huì yě shì yī gè“ dì yù”。 kàn lái， zuò jiā fú 'ěr sī běn rén duì rén yǔ rén zhī jiān de tóng qíng、 lǐ jiě bìng bù bào xī wàng。
sà lā yǔ chá 'ěr sī de wèi hūn qī 'ōu nèi sī dì nà suī wèi céng yòu guò jiāo wǎng， dàn tā men bǐ cǐ què yī zhí chù zài duì lì zhuàng tài。 zài 'ōu nèi sī dì nà yǎn lǐ， jiù xiàng zài lāi mǔ zhèn qí tā rén de yǎn lǐ yī yàng， sà lā shì yī gè yòu hěn duō bù yǎ chuò hào de nǚ rén， ér qiě hái yòu diǎn fēng， yīn cǐ“ bù xiǎng zǒu jìn tā”。 dàn jiù shì zhè yàng yī gè chū shēn dī wēi、 shēn míng láng jí de nǚ rén què zài bù zhī bù jué zhōng bǎ tā de wèi hūn fū qiǎng duó guò qù， rán hòu yòu qì zhī 'ér qù。 ér zài sà lā běn shēn jiù chōng mǎn zhe duì guì zú、 fù rén de jí dù yǔ zēng hèn， zài tā de xīn líng shēn chù“ yòu shénme zài rán shāo， tài qí yì， tài zào dòng， yòu nà yàng bù xùn fú”。 yú shì， tā yǐ zì jǐ de fāng shì xiàng shí dài tiǎo zhàn。 xì jù xìng de jiēguǒ shì， chá 'ěr sī bèi shàng liǎo yǔ fǎ guó shuǐ shǒu tóng yàng de mà míng， ér 'ōu nèi sī dì nà huò xǔ cóng cǐ yǐ hòu yě jiāng chéng wéi yī gè xiàng sà lā nà yàng míng shēng bù jié de nǚ rén。 zài zhè gè yì yì shàng， sà lā yě chéng liǎo chá 'ěr sī hé 'ōu nèi sī dì nà gòng tóng de“ dì yù”。
tóng shí， chá 'ěr sī yǔ sà lā de xiè hòu， gèng shì cún zài zhù yì gè tǐ hé tā zhě guān xì de zhí jiē xiě zhào。 sà lā nà zhāng dài zhe yōu shāng de“ bēi jù xìng de liǎn” shǐ dé chá 'ěr sī nán yǐ wàng huái。 tā xiān ràng chá 'ěr sī xiāng xìn liǎo tā de“ shǐ luàn 'ér zhōng qì” de bù xìng zāo yù， huàn qǐ liǎo chá 'ěr sī de tóng qíng xīn， bìng yóu rèn yòu yú dì kòng zhì zhù liǎo chá 'ěr sī。 yú shì，“ yī gè chū lèi bá cuì de rén wù xiàn rù liǎo kùn jìng， yī gè bài lún bèi xùn fú liǎo。 tā de sī xiǎng yòu huí dào sà lā shēn shàng， huí dào shì jué xíng xiàng shàng。 tā nǔ lì huí yì qǐ nà zhāng liǎn， nà zhāng zuǐ， nà zhāng dà zuǐ bā。 tā…… wú yí huàn qǐ liǎo tā de mǒu zhǒng huí yì，…… tā shí shí yíng rào zài tā xīn tóu， shǐ tā xīn xù bù níng ; tā kāi shǐ zhù yì dào mǒu zhǒng yǐn bì de zì wǒ， tā yǐ qián jīhū bù zhī dào tā de cún zài。 tā duì zì jǐ shuō : zhè shí zài shì zuì yú chǔn de shì qíng， kě shì nà gū niàn díquè xī yǐn wǒ”。 chá 'ěr sī yì wú fǎn gù dì yǔ wèi hūn qī jiě chú liǎo hūn yuē， shī qù liǎo tuò shǒu kě dé de jīn qián hé dì wèi， cóng yī gè xiǎng yòu liáng hǎo shēng yù de guì zú qīng nián chéng wéi shòu rén gòu mà de“ hòu yán wú chǐ”、“ bèi xìn qì yì” de“ dà huài dàn”。 dàn shì， tā fā xiàn liǎo zhēn shí de zì wǒ。 kě jiù zài zhè shí， sà lā què shén mì dì shī zōng。 zài tā shēn hòu wéi chá 'ěr sī liú xià liǎo yī chuàn bù jiě zhī mí hé wú jìn de tòng kǔ。 lìng wài， xiǎo shuō zhōng qí tā xiāng duì cì yào de rén wù guān xì， bǐ rú， chá 'ěr sī yǔ tā de pú rén sà mǔ、 chá 'ěr sī yǔ tā de bó fù， děng děng， wú bù tǐ xiàn liǎo cún zài zhù yì zhé xué duì gè tǐ yǔ tā zhě de bēi guān 'ér shēn kè de sī suǒ。
3、 gè tǐ de cún zài hé zì yóu
zì yóu shì sà tè cún zài zhù yì zhé xué de jī běn gài niàn。 sà tè céng shuō cún zài zhù yì shì yī zhǒng“ guān yú zì yóu de xué shuō”， cún zài jí zì yóu。 dāng rán， zhè lǐ de“ zì yóu” shì yī gè zhé xué gài niàn， tā zhǐ de shì yǐ zhù guān xìng hé chāo yuè xìng wéi tè zhēng de chún cuì yì shí huó dòng， tā suǒ tǐ xiàn de shì rén gé de zūn yán hé dú lì de sī kǎo。 sà tè zài《 cún zài yǔ xū wú》 zhōngjiàng cún zài fēn wéi liǎng zhǒng jī běn de xíng shì， jí“ zì zài de cún zài” (being-in-itself) hé“ zì wéi de cún zài” (being-for-itself)。 qián zhě shì yī zhǒng wú yì shí de cún zài， shì wù zhì de cún zài ; hòu zhě shì gè tǐ zài shì jiè shàng 'àn zhào zì jǐ de yù wàng lái sù zào zì jǐ shí suǒ huò dé de yī zhǒng cún zài。 àn zhào zì jǐ de yù wàng lái sù zào zì jǐ， shí jì shàng jiù shì zì yóu xuǎn zé、 jī jí xíng dòng、 zhuī qiú zhēn shí de zì wǒ。 rén zhù dìng shì zì yóu de， zhù dìng liǎo bì xū zì yóu xuǎn zé。 sà tè de cún zài zhù yì sī xiǎng hái yòu yī gè jī běn guān diǎn， jiù shì cún zài xiān yú běn zhì。 zhè yì wèi zhe rén de zì yóu xiān yú rén de běn zhì bìng qiě shǐ rén de běn zhì chéng wéi kě néng ; rén de cún zài de běn zhì xuán zhì zài rén de zì yóu zhī zhōng。 yě jiù shì shuō， rén de zì yóu xiān yú rén de běn zhì， shì zì yóu、 tōng guò zì yóu xuǎn zé què dìng rén de běn zhì， rén de yì yì tǐ xiàn yú rén de zì yóu zhī zhōng。 sà tè hái jìn yī bù jiāng zhè yī guān diǎn zài qí xì jù《 cāng yíng》 zhōng jiè 'é ruì sī tè sī zhī kǒu biǎo shù wéi“ wǒ jiù shì wǒ de zì yóu”。
zì yóu yě shì fú 'ěr sī yī shēng de zhuī qiú。 tā tè bié qiáng diào gè tǐ dú lì de tè xìng， zhè zài qí fēi xiǎo shuō zhù zuò《 zhì zhě： sī xiǎng shàng de zì huà xiàng》 zhōng chōng fēn dì dé dào fǎn yìng。 fú 'ěr sī de suǒ wèi“ zhì zhě” lái zì yú gǔ xī là zhé xué jiā hè lā kè lǐ tè de guān diǎn， jí nà xiē jù yòu dú lì de sī kǎo hé pàn duàn néng lì yǐ jí zhuī qiú nèi zài zhì huì hé zhī shí de rén， tā men néng gòu“ zài wú rén yǐn dǎo huò bèi cuò wù yǐn dǎo de qún tǐ zhōng bǎo chí zì jǐ dú lì de tè xìng， qǔ dé yī dìng chéng dù de zì wǒ shí xiàn……” (Olshen3) tā zài gāi shū zhōng suǒ chàng dǎo de wéi hù gè tǐ cún zài de zì yóu， bǎo chí dú lì de tè xìng， fǎn kàng qiáng jiā yú gè tǐ shǐ zhī fú fú tiē tiē、 wéi wéi nuò nuò、 xún guī dǎo jǔ de zhǒng zhǒng yā lì de sī xiǎng shǐ zhōng guàn chuān yú tā de wén xué chuàng zuò zhōng。
dāng sà lā shēng huó zài lāi mǔ zhèn de shí hòu， tā bù duàn shòu dào bié rén de wǔ rǔ hé zhòu mà， dàn tā jiù xiàng jiā miù bǐ xià de mò 'ěr suǒ yī yàng， gēn běn bù kǎo lǜ bié rén duì zì jǐ de píng jià。 tā yǐ kào gū dú lái huàn xǐng zì jǐ de zì yóu yì shí， tā zài duì gū dú de tǐ yàn zhōng lái tǐ yàn zì yóu。 zhè zhèng rú sà tè suǒ rèn wéi de， dāng yī gè rén róu lìn lìng yī gè rén shí， bìng bù shì、 yě bù néng bō duó bié rén de zì yóu， fǎn 'ér wéi bié rén tí gōng liǎo yī zhǒng zì yóu xuǎn zé de jìng yù， cù shǐ bié rén duì zì jǐ miàn lín de gè zhǒng kě néng xìng jìn xíng xuǎn zé。 sà lā cóng“ fǎ guó zhōng wèi de nǚ rén” dào“ chá 'ěr sī de qíng rén”， zài zì wǒ fàng zhú， dū wán quán shì 'àn zhào zì jǐ de yì yuàn wéi zì jǐ de rén shēng dìng wèi， wéi shēng huó fù yú gè rén de yì yì。
sà tè guān yú zì yóu de gài niàn bāo hán zhe duì xiàn cún zhì xù hé chuán tǒng guān niàn de fǒu dìng。 zhè yě fǎn yìng zài sà lā de zōng jiào guān niàn shàng。 xiǎo shuō zhōng suǒ miáo huì de wéi duō lì yà shí dài shì dá 'ěr wén de《 wù zhǒng qǐ yuán》 gāng gāng wèn shì， bìng qiě duì xiàng chá 'ěr sī zhè yàng de qīng nián yǐ jīng chǎn shēng liǎo yī dìng de yǐng xiǎng de shí qī。 dàn yě zhèng shì zài cǐ shí， yīng guó xiān qǐ liǎo yīcháng zōng jiào fù xīng yùn dòng。“ nà shí hòu xīng jiàn qǐ lái de jiào táng bǐ zài nà zhī qián lì shǐ shàng suǒ zào de zǒng hé hái duō”。 rán 'ér， sà lā què“ bìng bù xìn shén”，“ zhèng rú tā kàn chuān liǎo suǒ yòu de rén yī yàng， tā yě kàn chuān liǎo wéi duō lì yà shí dài jiào huì de gè zhǒng huāng táng xíng wéi， kàn chuān liǎo nà gè shí dài jiào táng wū huì de bō lí， yě kàn chuān liǎo jiào huì duì yú《 shèng jīng》 de xiá 'ài de 'àn zì miàn de jiě shì”。 dāng bō 'ěr tǎn ní tài tài wēi xié tā yào duì zì jǐ suǒ shuō de huà fù zé rèn shí， sà lā miè shì dì huí jìng dào :“ shì zài shàng dì miàn qián má ? nǐ nà me kěn dìng dào liǎo lái shì shàng dì hái néng tīng jiàn nǐ shuō huà má ?” yǐ sà tè wéi dài biǎo de wú shén lùn cún zài zhù yì， jiù shì jiāng shàng dì de guān niàn cóng rén de cún zài huán jìng zhōng qū gǎn liǎo chū qù， ér kěn dìng yì zhì zì yóu shì rén lèi de zhì shàn。
sà lā duì chá 'ěr sī de kòng zhì jí zuì zhōng lí tā 'ér qù， yě shì duì wéi duō lì yà shí dài liǎng xìng guān xì hé dào dé guān niàn de yī zhǒng diān fù。“ wéi duō lì yà shí dài suǒ guī dìng de nán xìng shì yù wàng zhù tǐ， nǚ xìng shì yù wàng kè tǐ， nán xìng shì zhěng jiù zhě， nǚ xìng shì děng dài jiù shú de duì xiàng de 'èr yuán duì lì”。 zài sà lā yǔ chá 'ěr sī de guān xì zhōng， sà lā yī zhí mào sì shì xū yào chá 'ěr sī tóng qíng、 bāng zhù de duì xiàng， shí jì shàng què yī zhí kòng zhì zhe yǔ chá 'ěr sī guān xì de fā zhǎn， bāo kuò yǔ tā jiàn miàn de shí jiān、 dì diǎn、 qíng gǎn gāo fēng yǐ jí zì jǐ lí kāi lāi mǔ zhèn de shí jī xuǎn zé， wán quán jiāng tā men de“ chǔjìng diān dǎo guò lái liǎo”。 suī rán 'àn zhào sà tè de guān diǎn， rén men zài zì jǐ de yǎn zhōng dū bǎ tā rén hù xiāng shì wéi kè tǐ， dàn zài dú zhě yǎn zhōng， sà lā wán quán shì xíng dòng de zhù tǐ， chá 'ěr sī què shì chǔyú bèi dòng dì wèi de kè tǐ。 zài zhè gè yì yì shàng， sà lā yǎn rán shì chōng fēn tǐ yàn yì zhì zì yóu de cún zài zhù yì de yīng xióng。
zài xiǎo shuō de yī gè jié wěi zhōng， chá 'ěr sī zhǎo dào liǎo sà lā， dàn sà lā què jù jué liǎo chá 'ěr sī hūn yīn de yào qiú。 tā shuō :“ wǒ fā xiàn wǒ hěn zhēn xī zhè zhǒng shēng huó。 wǒ bù xiǎng yǔ tā rén fēn xiǎng。 wǒ xǐ huān bǎo chí wǒ mù qián de zhuàng kuàng， ér bù shì yī gè zhàng fū héng héng wú lùn tā dài wǒ duō me hǎo， duō me nì 'ài wǒ héng héng bì dìng huì qī dài wǒ biǎo xiàn dé xiàng yī gè qī zǐ yīnggāi biǎo xiàn dé nà yàng”。 tā jìn 'ér shuō：“ wǒ hěn qīng chǔ， yī jìn rù 'ài qíng lǐng yù， jiù méi yòu shénme shén shèng bù kě qīn fàn de dōng xī kě yán liǎo”。 zhè biǎo míng， sà lā duì xiàn zhuàng hěn mǎn yì， tā xī wàng néng gòu běn zhēn dì shēng huó xià qù， ér bù shì 'àn zhào bié rén de yì yuàn lái shēng huó， jí biàn shì yīn wéi 'ài qíng。 zhè lǐ， wǒ men sì hū tīng dào liǎo sà tè zài《 cún zài zhù yì shì yī zhǒng rén dào zhù yì》 yī shū zhōng suǒ shuō de：“…… rén jiù yào duì zì jǐ shì zěn yàng de rén fù zé…… bìng qiě bǎ zì jǐ de cún zài de zé rèn wán quán yóu zì jǐ dān fù qǐ lái”。 ér sà lā duì chá 'ěr sī de jù jué， jì shǐ dé tā zì jǐ yíng dé liǎo zì yóu， yě gěi liǎo chá 'ěr sī zì yóu。 zhèng rú sà tè suǒ shuō：“ wǒ men zài yào qiú zì yóu de shí hòu， fā xiàn zì yóu wán quán yǐ lài tā rén de zì yóu， ér tā rén de zì yóu， yòu yǐ lài yú wǒ men de zì yóu”。 yīn cǐ，“ wǒ jiù bù dé bù zài yào qiú wǒ zì jǐ de zì yóu de shí hòu， tóng shí yě yào qiú tā rén de zì yóu”。
zhěng tǐ lái kàn， fú 'ěr sī de chuàng zuò sī xiǎng wú zá， dàn qí cún zài zhù yì sè cǎi fēi cháng nóng zhòng。 bù jǐn shì《 fǎ guó zhōng wèi de nǚ rén》， tā de qí tā xiǎo shuō， rú《 shōu cáng jiā》（ 1963 nián）、《 mó shù shī》（ 1966 nián） děng， dōushì zuò zhě chuán dá cún zài zhù yì zhé xué sī kǎo de yòu xiào xíng shì。
During 1981, director Karel Reisz and writer Harold Pinter adapted the novel as an eponymous film; During 2006, it was adapted for the stage, by Mark Healy, in a version which toured the UK that year. In 2005, the novel was chosen by TIME magazine as one of the one hundred best English-language novels from 1923 to present.
Plot summary
The novel's protagonist is Sarah Woodruff, the title Woman, also known by the nickname of “Tragedy”, and by the unfortunate nickname “The French Lieutenant’s Whore”. She lives in the coastal town of Lyme Regis, as a disgraced woman, supposedly abandoned by a French naval officer named Varguennes--married, unknown to her, to another woman-- with whom she had supposedly had an affair and who had returned to France.
Sarah is portrayed ambiguously: is she a genuine, ill-used woman? Is she a sly, manipulative character using her own self-pity to get Charles to succumb to her? Is she merely a victim of the notion of gender as perceived by upper-middle-class people of the 19th century?
She spends her limited time-off at the Cobb [sea wall], staring at the sea. One day, she is seen there by the gentleman Charles Smithson and his fiancée, Ernestina Freeman, the shallow-minded daughter of a wealthy tradesman. Ernestina tells Charles something of Sarah’s story, and he develops a strong curiosity about her. Eventually, he and she meet clandestinely, during which times Sarah tells Charles her history, and asks for his support, mostly emotional. Despite trying to remain objective, Charles eventually sends Sarah to Exeter, where he, during a journey, cannot resist stopping in to visit and see her. At the time she has suffered an ankle injury; he visits her alone and after they have made love he realised that she is, contrary to the rumours, a virgin. Simultaneously, he learns that his prospective inheritance from an elder uncle is in jeopardy; the uncle is engaged to a woman young enough to bear him an heir.
From there, the novelist offers three different endings for The French Lieutenant’s Woman.
* First ending: Charles marries Ernestina, and their marriage is unhappy; Sarah’s fate is unknown. Charles tells Ernestina about an encounter with whom he implies is the “French Lieutenant’s Whore”, but elides the sordid details, and the matter is ended. This ending, however, might be dismissed as a daydream, before the alternative events of the subsequent meeting with Ernestina are described.
Before the second- and third endings, the narrator — whom the novelist wants the reader to believe is John Fowles, himself — appears as a minor character sharing a train carriage with Charles. He flips a coin to determine the order in which he will portray the two, other possible endings, emphasising their equal plausibility.
* Second ending: Charles and Sarah become intimate; he ends his engagement to Ernestina, with unpleasant consequences. He is disgraced, and his uncle marries, then produces an heir. Sarah flees to London without telling the enamoured Charles, who searches for her for years, before finding her living with several artists (likely the Rossettis), enjoying an artistic, creative life. He then sees he has fathered a child with her; as a family, their future is open, with possible reunion implied.
* Third ending: the narrator re-appears, standing outside the house where the second ending occurred; at the aftermath. He turns back his pocket watch by fifteen minutes, before leaving in his carriage. Events are the same as in the second-ending version, but, when Charles finds Sarah again, in London, their reunion is sour. It is possible that their union was childless; Sarah does not tell Charles about one, and does not express interest for continuing the relationship. He leaves the house, deciding to return to America, and sees the carriage, in which the narrator was thought gone. Raising the question: is Sarah a manipulating, lying woman of few morals, exploiting Charles’s obvious love to get what she wants?
En route, Fowles the novelist discourses upon the difficulties of controlling the characters, and offers analyses of differences in 19th-century customs and class, the theories of Charles Darwin, the poetry of Matthew Arnold, Lord Tennyson, and the literature of Thomas Hardy. He questions the role of the author — when speaking of how the Charles character “disobeys” his orders; the characters have discrete lives of their own in the novel. Philosophically, Existentialism is mentioned several times during the story, and in particular detail at the end, after the portrayals of the two, apparent, equally possible endings.
jiǎng shù de shì fā shēng zài 19 shì jì yīng guó de 'ài qíng gù shì。 yī gè bēi shāng、 shén mì de wéi duō lì yà shí dài de nǚ rén， míng míng shì gè chǔnǚ què xuān chēng zì jǐ yǐ wěi shēn yú fǎ guó zhōng wèi， bèi shì wéi zuì 'è、 yín dàng de nǚ rén 'ér bèi tuò qì。 ér tā de shén mì、 dú tè、 dà dǎn、 shēn chén、 yōu yù de měi yǐ jí yě xìng de rè qíng， huàn qǐ nán rén de tóng qíng hé 'ài mù。 tā yǔ chá 'ěr sī chǎn shēng liǎo chì rè de 'ài qíng， què zài tā jiě chú liǎo hé bié rén de hūn yuē hòu jù jué tā de qiú hūn， qiǎo rán lí kāi。
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - gù shì gěng gài
gù shì fā shēng zài fú 'ěr sī zài 'èr shí shì jì liù shí nián dài jū zhù guò de yī gè yīng guó xiǎo zhèn： lāi mǔ · lǐ jī sī， shí jiān shì yīng guó“ wéi duō lì yà huáng jīn shí dài”（ zhǐ 1850 ～ 1875 nián） zhōng de 1867 nián。 xiǎo shuō yī kāi juàn， dú zhě jiù huì bèi nóng liè de làng màn、 shén mì qì fēn suǒ xī yǐn： 1867 nián 3 yuè de yī gè zǎo chén， hǎi biān gǔ lǎo de bì lěi kuáng fēng hū xiào， chá 'ěr sī hé tā de wèi hūn qī 'ōu léi sī dì nà zhèng zài zhè lǐ sàn bù。 tā men kàn jiàn yī gè chuānzhuó hēi sè yī fú de nǚ rén zài hǎi jiǎ de yī tóu gū dú dì zhàn zhe， tiào wàng dà hǎi。 fēng yuè guā yuè dà， dāng tā men zǒu jìn zhè gè hēi yī nǚ rén shí， fā xiàn tā jiù shì nà gè zhèn shàng jū mín rén rén jiē zhī de“ fǎ guó zhōng wèi de nǚ rén”。 rén men shuō， tā bèi yī gè fǎ guó zhōng wèi yǐn yòu shī shēn， ér dāng shí de fǎ guó zài jí dù qīng xīn guǎ yù de wéi duō lì yà shí dài de yīng guó rén kàn lái， shì yī gè“ wù rù qí tú de guó jiā”。 fǎ guó zhōng wèi huí guó hòu pāo qì liǎo tā， ér tā jīhū měi tiān dào hǎi biān lái， jiù shì děng dài fǎ guó zhōng wèi huí dào tā de shēn biān。
zhè wèi hēi yī nǚ láng， tā yīn chén、 dài yòu bēi jù xìng de miàn kǒng suī wú jué dài jiā lì de zī sè， yě wú dāng shí wéi duō lì yà nǚ xìng yīngyǒu de xián jìng、 shùn cóng hé xiū sè， què yǐ qí shén mì、 shēn chén、 nán yǐ zhuō mō de yǔ zhòng bù tóng 'ér lìng jù mèi lì， shì sú zhě tuò qì tā zhè yàng de lí jīng pàn dào zhě， dàn shū zhōng de chá 'ěr sī yǐ jí 'èr shí shì jì de rén men kàn dài tā de zé shì lìng wài yī zhǒng mù guāng。
chá 'ěr sī shí nián sān shí 'èr suì， shì yī gè fù jiā zǐ dì， méi yòu zhí yè， dàn shì duì gǔ shēng wù xué hé dì zhì xué pō yòu xīng qù， tā shòu dá 'ěr wén xué shuō de yǐng xiǎng hěn shēn， kàn dào liǎo wéi duō lì yà shí dài de bǎo shǒu hé xū wěi。
hēi yī nǚ zǐ sà lā shì yī gè chū shēng yú pín kǔ gù nóng jiā tíng de dú shēng nǚ， tā de zǔ xiān chū shēn gāo guì， dào tā fù qīn zhè yī dài cái shuāi luò xià lái。 fù qīn sòng nǚ 'ér dào jì sù xué xiào jiē shòu liáng hǎo de jiào yù， tā shí bā suì xué chéng guī jiā bù jiǔ， fù qīn jiù qù shì liǎo， zài tā dāng jiā tíng jiào shī móu shēng qī jiān， yī sōu fǎ guó lún chuán chénmò， xìng cún de fǎ guó zhōng wèi zài dǒng fǎ yǔ de sà lā de zhào gù xià kāng fù， bìng yǔ tā hǎi shì shān méng， dāyìng hěn kuài cóng fǎ guó fǎn huí jiē tā； chuán wén tā yǔ zhōng wèi fā shēng liǎo guān xì， dàn zhōng wèi bìng méi yòu lǚ xíng nuò yán， ér shì pāo qì liǎo tā。 yòu guān tā de liú yán fěi yǔ chuán biàn liǎo lāi mǔ zhèn， tā chéng wéi shēng míng lángjí de“ fǎ guó zhōng wèi de nǚ rén”。
ér chá 'ěr sī de wèi hūn qī 'ōu léi sī dì nà shì yī gè diǎn xíng de wéi duō lì yà nǚ xìng， yī gè fù shāng de nǚ 'ér。 tā nián qīng、 piào liàng、 wén yǎ。 dàn shì， tā de jià zhí guān hé gǎn qíng shì fū qiǎn de。 chá 'ěr sī de shū fù luó bó tè jué dìng hé yī gè hái zài shēng yù nián líng de nǚ rén jié hūn， yī dàn tā shēng xià nán hái， chá 'ěr sī jiù jiāng sàng shī duì shū fù de cái chǎn hé nán jué jué wèi de jì chéng quán。 ōu léi sī dì nà duì luó bó tè de jié hūn jué dìng fǎn yìng qiáng liè， yǔ chá 'ěr sī chéng xiān míng duì bǐ。 dì nà dài zhe shí dài de miàn shā， yǎn shì zì jǐ duì ròu yù de kě wàng， dú zì yī rén zài wò shì lǐ tuō diào yī fú xīn shǎng zì jǐ de ròu tǐ měi， qī dài zhe chá 'ěr sī de 'ài fǔ。 tā jiān chí měi tiān xiě de rì jì shì wéi liǎo jiāng lái de yī tiān chá 'ěr sī bī zhe tā ná chū lái gěi tā kàn， suǒ yǐ， rì jì zhōng yě shì dài zhe miàn shā de。 yǔ sà lā xiāng bǐ， tā shì yī gè kě yǐ yī yǎn kàn tòu de dān diào nǚ zǐ héng héng yī gè nián qīng、 měi lì， què rú yī fāng qīng chè jiàn dǐ， bǎi dòng shēn qū shù shí xià jiù kě yǐ yóu dào jìn tóu de xiǎo chí， sà lā zé shēn shì cāng sāng， rú shēn bù kě cè de dà hǎi， hào hàn wú biān。
sà lā yǔ dì nà shì liǎng gè duì bǐ xiān míng de nǚ xìng。 sà lā chù chù yǔ wéi duō lì yà de shí dài chéng guī bèi dào 'ér chí， tā míng míng shì chǔnǚ， què yào shuō zì jǐ yǐ wěi shēn yú fǎ guó zhōng wèi， lāi mǔ zhèn de suǒ yòu réndōu zài bèi hòu mà tā shì gè fàng dàng de nǚ rén，“ fǎ guó zhōng wèi de biǎo zǐ”， tā què zhì zhī dù wài。 gù yòng tā de bō 'ěr tè ní tài tài shì wéi duō lì yà shí dài de diǎn xíng de xū wěi de wèi dào zhě， sà lā fǎn kàng bō 'ěr tè ní tài tài duì tā de bù xǔ dú zì qù lín jiān sàn bù de jìn lìng， ér tā de shén mì、 dú tè、 dà dǎn、 shēn chén、 yōu yù de měi yǐ jí yě xìng de rè qíng， shì huàn qǐ nán rén tóng qíng hé 'ài mù de yuán quán， shū zhōng duō cì tí dào， sà lā yóu rú yī tóu“ yě shòu”， tā bù shì yī gè shòu nán rén tǒng zhì de wéi duō lì yà nǚ xìng。 jí shǐ tā de róng mào bù rú 'ōu léi sī dì nà de měi lì， mén dì zhī gāo guì yě bù rú nián qīng de dì nà， zhēn shí de chá 'ěr sī hái shì bèi sà lā de shén mì hé zhēn shí de yě xìng shēn shēn xī yǐn， bìng tí chū bāng zhù sà lā lí kāi lāi mǔ zhèn， dào 'āi sài tè qù zhòng xīn kāi shǐ shēng huó。
chá 'ěr sī zài qù lún dūn de fǎn chéng zhōng zài 'āi sài tè tíng liú， jiē dào liǎo sà lā de biàn tiáo， gǎn dào tā jū zhù de lǚ guǎn。 cháng qī jī xù de gǎn qíng zài tā jiē chù dào shòu liǎo shāng de sà lā shēn tǐ de shí hòu yī chù jí fā， chán mián zhī hòu， tā fā xiàn sà lā bìng méi yòu shòu shāng， ér qiě tā de wěi shēn yú fǎ guó zhōng wèi de gù shì shì tā zì jǐ biān zhì de huǎng yán héng héng tā wèishénme yào sǎ huǎng？ wèishénme yào yòng huài míng shēng zāo tā zì jǐ？
lí kāi sà lā de fáng jiān hòu， chá 'ěr sī jué dìng yǔ dì nà jiě chú hūn yuē， tā pài pú rén shān mǔ gěi sà lā sòng qù yī fēng xìn hé yī méi xiōng zhēn， kě shān mǔ wéi chá 'ěr sī bèi pàn dì nà 'ér fèn nù， bìng méi yòu bǎ dōng xī sòng qù。
chá 'ěr sī fù chū liǎo hěn dà de dài jià lái jiě chú hūn yuē， dāng tā gǎn huí 'āi sài tè shí， què fā xiàn sà lā yǐ jīng bù gào 'ér bié。 shuāngchóng dǎ jī lǒngzhào liǎo tā： dì nà de fù qīn bī pò tā zài sī huǐ hūn yuē de wén jiàn shàng qiān zì， tā yǐ jīng shēn bài míng liè。 dàn shì ràng tā gèng shāng xīn de zé shì sà lā de lí qù。 tā wèishénme zài yǐn yòu liǎo tā zhī hòu yòu qiǎo rán 'ér qù ní？
chá 'ěr sī jí tā gù yòng de zhēn tàn zài gè dì sōu xún sà lā， què yī wú suǒ huò。 chá 'ěr sī jué dìng qù guó wài lǚ xíng， dào měi guó hòu， tā kàn dào yī gè xīn xīng guó jiā de xīn de sī wéi hé xīn de shì jiè， yuǎn yuǎn chāo guò liǎo cǐ shí bǎo shǒu、 xū wěi de yīng guó。 tā rèn wéi sà lā jiù shì zhè gè xīn shì jiè lǐ de rén。 cǐ shí， tā de lǜ shī pāi lái diàn bào， gào sù tā：“ zhǎo dào tā liǎo。” tā lì kè dìng liǎo piào gǎn huí lún dūn。 cǐ shí de sà lā yǔ yǐ qián pàn ruò liǎng rén， tā zhù zài yī gè qián qī lā fěi 'ěr pài huà jiā de jiā lǐ， yī zhe rù shí， yí tài gāo yǎ。
shū zhōng biǎo xiàn liǎo zì yóu de zhù tí， ér kāi fàng shì de jié wěi zài zhè bù hòu xiàn dài zhù yì de xiǎo shuō zhōng xiǎn dé tè yì。 dì yī gè jié wěi zài shū de dì sì shí sì zhāng， chá 'ěr sī cóng lún dūn de fǎn chéng zhōng lù guò 'āi sài tè， què méi yòu tíng liú， ér shì fǎn huí lāi mǔ， hé dì nà jié hūn bìng shēng liǎo qī gè 'ér nǚ， guò zhe měi mǎn de shēng huó：“ gù shì jiù cǐ jié shù。 sà lā ní？ wǒ bù zhī dào。 bù guǎn tā jiū jìng rú hé， tā zài yě méi yòu qù má fán chá 'ěr sī……” zhè zhǒng chuán tǒng shì de jié jú xiǎn rán shì wéi zuò zhě suǒ cháo nòng de。
dì 'èr gè jié jú zài shū de mò wěi， chá 'ěr sī jiàn dào jū zhù zài huà jiā jiā lǐ bìng chéng wéi tā de zhù shǒu de sà lā， fā xiàn sà lā gěi tā shēng liǎo gè nǚ 'ér， yòu qíng rén zhōng chéng juàn shǔ。
dì sān gè jié jú shì bù què dìng de， chá 'ěr sī jiàn dào sà lā hòu qǐng qiú yǔ tā jié hé， què zāo dào jù jué， tā shuō， tā jué xīn zhōng shēn bù jià， yīn wéi hūn yīn jiāng bō duó tā de zì yóu， shǐ tā shī qù zì jǐ de dú lì hé gū dú。 chá 'ěr sī de xīn suì liǎo， jué dé gǎn qíng bèi wán nòng、 bèi qī piàn， tā duì sà lā shuō：“ nǐ bù jǐn bǎ bǐ shǒu tǒng jìn wǒ de xiōng táng， nǐ hái yǐ niǔ dòng tā wéi lè。”“ zǒng yòu yī tiān， nǐ huì yīn duì wǒ de suǒ zuò suǒ wéi dé dào bào yìng。 rú guǒ cāng tiān yòu yǎn， nǐ wàn shì yě nán shú qīng nǐ de zuì guò。”
ér sà lā shì zhè yàng shuō de：“ nǐ bù lǐ jiě wǒ wèishénme bù yuàn yì tóng nǐ jié hūn。 zhè bù shì nǐ de guò cuò。 nǐ shì gè hěn shàn liáng de rén。 shuí yě bù kě néng lǐ jiě wǒ。”
“ wǒ nà yàng shuō， shì yào rén míng bái lián wǒ zì jǐ yě bù lǐ jiě zì jǐ。 wǒ shuō bù qīng chǔ zhè shì wèishénme。 dàn wǒ shēn xìn wǒ de xìng fú zhèng zài yú wǒ duì zì jǐ yě bù lǐ jiě。”
“ wǒ jù jué nǐ， rú tóng wǒ jù jué qí tā nán rén。 nǐ bù néng lǐ jiě de shì， duì wǒ lái shuō， zhè bìng bù huāng táng。” chá 'ěr sī lí kāi sà lā， dú zì yī rén zǒu xiàng jiē tóu shí， tā yòu yī zhǒng cóng bèi qiú jìn de gǎn qíng zhōng dé dào jiě tuō de gǎn jué， tā fā xiàn“ tā běn shēn jù yòu yī xiē xìn niàn、 yī zhǒng zhēn zhèng de yǔ zhòng bù tóng zhī chù， zhè shì tā qián jìn de jī chǔ”。 ér sà lā shì gè cháng rén bù néng lǐ jiě de nǚ rén， tā yǐ cháng rén bù néng lǐ jiě de fāng shì xún qiú zì jǐ de dú lì、 jiě fàng hé zì yóu。
zhè bù xiǎo shuō zhōng jí fù hòu xiàn dài qì xī de lìng yī mù shì， shí kōng bèi jiāo cuò， shū de zuò zhě chū xiàn zài shū zhōng yī bǎi nián qián de wéi duō lì yà shí dài。 yī gè dà hú zǐ（ zuò zhě） zǒu jìn chá 'ěr sī suǒ zài de chē xiāng， tū rán méng fā liǎo yī gè niàn tóu：“ zài cǐ shí cǐ dì jié shù chá 'ěr sī de yī shēng， ràng tā yǒng yuǎn chǔyú zǒu wǎng lún dūn de lù shàng。”
xiǎo shuō de qián shí 'èr zhāng zài xiàn liǎo wéi duō lì yà shí dài de chǎng jǐng， bǎ sà lā kè huà dé rú zài yǎn qián， dàn zài dì shí 'èr zhāng jié wěi， bǐ fēng yī zhuǎn， bǎ gù shì de xù shù shāzhù， tí chū liǎo yī gè guài wèn tí：“ sà lā shì shuí？ tā shì cóng nǎ gè yǐn bì de jiǎo luò zuàn chū lái de？”
dāng dú zhě yǐ jīng xiàn rù xiǎo shuō zhōng kè huà de chǎng jǐng shí， zuò zhě què tū rán bǎ dú zhě cóng shū zhōng lā chū lái， duì tā dà hǒu yī shēng：“ bié shàngdàng， zhè quán shì jiǎ de， quán shì xū gòu， shì huǎng yán！”
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - zuò pǐn yóu lái
zài“ yī bù wèi wán gǎo de xiǎo shuō bǐ jì” zhōng， fú 'ěr sī xiáng xì jì shù liǎo《 fǎ guó zhōng wèi de nǚ rén》 de chuàng zuò yuán yīn： 1966 nián qiū tiān de yī gè zǎo chén， zài bàn shuì bàn xǐng de fú 'ěr sī de dà nǎo zhōng chí xù bù duàn dì fú xiàn chū yī gè gū dú nǚ zǐ de xíng xiàng。 tā jiǔ jiǔ dì zhù lì zài kōng dàng dàng de mǎ tóu shàng， yuǎn tiào zhe dà hǎi。“ wǒ xiǎng tā shì wéi duō lì yà shí dài shòu qiǎn zé zhě de xíng xiàng， shì yī gè bèi yí qì zhě de xíng xiàng。 wǒ bù zhī dào tā fàn liǎo shénme cuò……” zhè yī shén mì 'ér gū dú de xíng xiàng qiáng liè dì xī yǐn zhe fú 'ěr sī， yǐ zhì yú tā zhōng zhǐ liǎo zhèng zài jìn xíng zhōng de xiǎo shuō chuàng zuò 'ér zhuànxiàng《 fǎ guó zhōng wèi de nǚ rén》 de xiě zuò。 xiǎo shuō kāi piān yǐ hā dài de“ mí” wéi yǐn yán， diàn dìng liǎo sà lā shén mì de jī diào。 xiǎo shuō zhōng de sà lā shì zhè yàng chū chǎng de：“ zài hūn 'àn、 wān qū de fáng bō dī shàng hái yòu lìng yī gè rén de shēn yǐng…… nà rén zhàn zài lín hǎi de fáng bō dī wài cè，…… quán shēn shàng xià zhe hēi zhuāng， fēng chuī chù， yī fú piāo dòng， dàn shì rén què wén sī bù dòng， miàn xiàng dà hǎi níng shì zhe shénme， hěn xiàng shì nì shuǐ zhě de yī zuò huó jì niàn bēi， yī gè shén huà zhōng de rén wù， bù xiàng shì wēi bù zú dào de xiāng yě shēng huó lǐ de zhèng cháng jǐng guān”。 zhè yàng de yī gè chū chǎng liàng xiāng tū chū liǎo sà lā de jī běn tè zhēng： gū dú 'ér shén mì。 xù shù zhě gào sù wǒ men， yóu yú tā fù qīn qiáng liè de“ míng mén chū shēn qíng jié”， tā bèi fù qīn qiǎngpò“ lí kāi zì jǐ yuán lái de jiē jí”， kě tā fù qīn“ què méi yòu néng lì bǎ tā tí shēng dào gèng gāo de yī gè jiē jí”， yú shì，“ zài tā yǐ jīng lí kāi de nà gè jiē jí zhōng de nán qīng nián yǎn lǐ， tā biàn dé guò yú tiǎo tī 'ér bù kě qǔ， ér tā kě wàng jìn rù de nà gè jiē jí de qīng nián nán zǐ zé rèn wéi tā réng rán guò yú píng yōng”。 yīn cǐ，“ tā chéng liǎo děng jí shè huì de dì dào shòu hài zhě”。 zài tā fù qīn sǐ hòu， zǎo yǐ guò liǎo dāng jià nián líng 'ér chéng wéi“ lǎo chǔnǚ” de tā biàn dé wú jiā kě guī。
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - zuò pǐn jiě xī
zhè bù xiǎo shuō shì nuò bèi 'ěr wén xué jiǎng hòu xuǎn rén、 dāng dài yīng guó wén tán chāo zhòng liàng jí dà shī fú 'ěr sī de jīng diǎn dài biǎo zuò zhī yī， bèi xuǎn wéi 'èr shí shì jì bǎi dà yīng wén xiǎo shuō jīng diǎn， yě shì yīng měi gè dà xué yīng yǔ xì 'èr shí shì jì yīng guó xiǎo shuō kè chéng de bì dú zuò pǐn。
fú 'ěr sī bǐ xià de sà lā biàn shì zhè yàng yī gè zuò wéi“ shén mì 'ér gū lì de shí zài” ér cún zài de rén wù xíng xiàng。 cóng sà lā“ dàn shēng” zài fú 'ěr sī de nǎo hǎi zhōng de nà yī kè qǐ， tā biàn shì shén mì 'ér gū dú de。 xiǎo shuō kāi piān yǐ hā dài de“ mí” wéi yǐn yán， diàn dìng liǎo sà lā shén mì de jī diào。 xiǎo shuō zhōng de sà lā shì zhè yàng chū chǎng de：“ zài hūn 'àn、 wān qū de fáng bō dī shàng hái yòu lìng yī gè rén de shēn yǐng…… nà rén zhàn zài lín hǎi de fáng bō dī wài cè，…… quán shēn shàng xià zhe hēi zhuāng， fēng chuī chù， yī fú piāo dòng， dàn shì rén què wén sī bù dòng， miàn xiàng dà hǎi níng shì zhe shénme， hěn xiàng shì nì shuǐ zhě de yī zuò huó jì niàn bēi， yī gè shén huà zhōng de rén wù， bù xiàng shì wēi bù zú dào de xiāng yě shēng huó lǐ de zhèng cháng jǐng guān”。 zhè yàng de yī gè chū chǎng liàng xiāng tū chū liǎo sà lā de jī běn tè zhēng： gū dú 'ér shén mì。 xù shù zhě gào sù wǒ men， yóu yú tā fù qīn qiáng liè de“ míng mén chū shēn qíng jié”， tā bèi fù qīn qiǎngpò“ lí kāi zì jǐ yuán lái de jiē jí”， kě tā fù qīn“ què méi yòu néng lì bǎ tā tí shēng dào gèng gāo de yī gè jiē jí”， yú shì，“ zài tā yǐ jīng lí kāi de nà gè jiē jí zhōng de nán qīng nián yǎn lǐ， tā biàn dé guò yú tiǎo tī 'ér bù kě qǔ， ér tā kě wàng jìn rù de nà gè jiē jí de qīng nián nán zǐ zé rèn wéi tā réng rán guò yú píng yōng”。 yīn cǐ，“ tā chéng liǎo děng jí shè huì de dì dào shòu hài zhě”。 zài tā fù qīn sǐ hòu， zǎo yǐ guò liǎo dāng jià nián líng 'ér chéng wéi“ lǎo chǔnǚ” de tā biàn dé wú jiā kě guī。 suí zhe gù shì de fā zhǎn， qíng jié de zhǎn kāi， zhǎn xiàn zài dú zhě miàn qián de sà lā jīhū shì jiāng zì jǐ yǔ zhōu wéi shì jiè gé lí kāi de yī gè“ duō yú de rén”， shì zài lāi mǔ zhèn jū mín de lěng yǎn hé bǐ shì zhōng shēng huó de yī gè gū dú de“ jú wài rén”， rén men“ bù xiǎng zǒu jìn tā”， pà huài liǎo zì jǐ de míng shēng。 ér tā zì jǐ sì hū yě zài“ xiǎng shòu” zhe zhè zhǒng gū dú， wǒ xíng wǒ sù， dú lái dú wǎng， yóu lí yú lāi mǔ zhèn de fán chén suǒ shì。 tā zì jǐ jiù céng shuō guò：“ wǒ yī zhí guò zhe gū jì de shēng huó，…… mìng yùn sì hū zhù dìng wǒ yǒng yuǎn bù néng hé tóng děng de rén jiàn lì yǒu yì， yǒng yuǎn bù néng zhù zài zì jǐ de jiā lǐ， yǒng yuǎn jué dé zì jǐ bèi pái chú zài zhù tǐ shì jiè zhī wài”。
gèng wéi zhòng yào de shì， sà lā de xíng xiàng sì hū shì cóng pò suì de jìng piàn zhōng fǎn yìng chū lái de。 gù shì měi tuī jìn yī bù， suì piàn jiù zēng jiā yī kuài， qí zhěng tǐ xíng xiàng zì shǐ zhì zhōng wú fǎ cóng zhè nán yuán de pò jìng zhōng lù chū“ lú shān zhēn miàn mù”， yī zhí lǒngzhào zài shén mì de fēn wéi zhōng。 bàng rén shuō tā shì“ fǎ guó zhōng wèi de nǚ rén”， shì“ biǎo zǐ”， ér tā zì jǐ yě bù fǒu rèn， shuō zì jǐ“ lóu yǐ bù rú， jīhū bù zài shì rén…… shì fǎ guó zhōng wèi de jì nǚ”。 dàn suí zhe tā yǔ chá 'ěr sī guān xì de fā zhǎn， chá 'ěr sī fā xiàn suǒ wèi“ fǎ guó zhōng wèi de nǚ rén” zhī chēng chún shǔ biān zào， shèn zhì wán quán shì tā běn rén bǎ zì jǐ jiǎ xiǎng wéi yī gè“ shòu qiǎn zé zhě” hé“ bèi yí qì zhě” de“ yòu zuì nǚ rén” de xíng xiàng。 sà lā sì hū zhǐ yòu zài jiǎ miàn zhī xià cái néng zhēn shí dì 'ān zhì zì shēn。 qíng jié de fā zhǎn shǐ tā de shén mì xìng yù fā tū xiàn chū lái。 tā sì hū shì tóng xìng liàn zhě， dàn sì hū yòu bù shì； tā sì hū shì jīng shén bìng huàn zhě， dàn sì hū yòu bù shì； tā sì hū shì chá 'ěr sī de zhěng jiù zhě， yòu sì hū shì tā de xiàn hài zhě； tā sì hū shì zhēn nǚ， yòu sì hū shì dàng fù。 fú 'ěr sī bù duàn dì zài jiàn gòu sà lā de xíng xiàng， dàn yòu tóng shí zài xiāo jiě zhè xiē xíng xiàng。 tā yī zhí lǒngzhào zài shén mì de qì fēn zhī zhōng， bìng qiě zhè zhǒng shén mì xìng suí zhe tā de shī zōng yǐ jí duō zhòng jié wěi 'ér gèng jiā qiáng huà。
《 fǎ guó zhōng wèi de nǚ rén》 duì wéi duō lì yà shí dài de lì shǐ、 xiǎo shuō de fēng gé yǐ jí wèn tí de mó fǎng shì duì zhè yī shí dài yǐ jí shí dài de zhōng chǎn jiē jí hé shàng liú shè huì de bǎo shǒu xìng hé xū wěi xìng jìn xíng xīn là de fěng cì hé pēng jī。 sà lā zuò wéi yī gè jiù shí dài de pàn nì zhě chū xiàn， zuò wéi yī gè zài sī xiǎng guān niàn hé dào dé qíng cāo yǐ bù rù 'èr shí shì jì de xīn xíng nǚ xìng bèi gē sòng。 tā cù shǐ chá 'ěr sī de sī xiǎng zhuǎn huà， zài yī fān tòng kǔ de jīng lì hòu， chá 'ěr sī fā xiàn zì jǐ bǎi tuō liǎo tā de shí dài， tā zài hé sà lā fā shēng guān xì hòu qù jiào táng chàn huǐ：“ tā zhàn zài nà lǐ， jué dé zì jǐ fǎng fó kàn dào liǎo zhěng gè shí dài， kàn dào liǎo zhè gè shí dài sāo dòng bù 'ān de shēng mìng hé tā nà yìng rú gāng tiě de jiè lǜ jiè guī， tā yā yì de qíng gǎn hé huá jī de yōu mò， tā yán jǐn de kē xué hé bù yán jǐn de zōng jiào， tā fǔ bài de zhèng zhì hé yī chéng bù biàn de jiē jí guān niàn。 zhè yī qiēdōu shì tā suǒ qī wàng de zuì dà de yǐn bì dí rén。 tā céng jīng shòu méng bì。 zhè gè shí dài wán quán méi yòu 'ài hé zì yóu…… ér qiě， méi yòu sī xiǎng， méi yòu mùdì， méi yòu 'è yì， yīn wéi qī piàn jiù shì tā de běn zhì。 tā méi yòu rén xìng， zhǐ shì yī tái jī qì。 zhè jiù shì kùn rǎo tā de 'è xìng xún huán。” hòu xiàn dài zhù yì zuò jiā de zhè zhǒng xíng wéi， mù de shì jiē chuān chuán tǒng zuò jiā de quán zhī quán néng de jiǎ miàn jù， duì xiǎo shuō de chéng guī、 fǎ zé yǐ jí zuò zhě de quán wēi tí chū zhì yí。
《 fǎ guó zhōng wèi de nǚ rén》 zì yī jiǔ liù jiǔ nián wèn shì yǐ hòu， zài xī fāng guǎng dà dú zhě hé píng lùn jiè zhōng yǐn qǐ liǎo qiáng liè de fǎn xiǎng。 rén men duì qí zhù tí、 rén wù、 yì shù jì qiǎo děng fāng miàn jìn xíng liǎo guǎng fàn、 shēn rù de tàn tǎo。 yòu rén rèn wéi， zhè shì yī bù“ wèn tí tàn suǒ xiǎo shuō”， ér qiě“ zài zhè zhǒng yòng wèn tí tàn suǒ shǒu fǎ xiě chéng de xiǎo shuō zhōng， yì shù shuǐ zhǔn zuì gāo de dāng tuī yuē hàn fú 'ěr sī de《 fǎ guó zhōng wèi de nǚ rén》”； yě yòu rén rèn wéi， zhè shì yī bù yù yán xiǎo shuō， shuō xiàng fú 'ěr sī zhè lèi“ zuò jiā bù jǐn tōng guò yù yán de fāng shì lái biǎo dá tā men de zhé xué sī xiǎng， ér qiě zài chuàng zuò jì qiǎo shàng yě zài móu qiú xīn de tú jìng， píng lùn jiā men bǎ tā men chēng wéi‘ zhé xué pài’ huò‘ yù yán biān zhuàn jiā’”； yě yòu rén rèn wéi zhè shì yī bù“ sǎnwén tǐ bǐ jiào xiǎo shuō”，“ tā jiāng xiǎo shuō yǐn rù liǎo wén huà shǐ hé shè huì xué de bǐ jiào lǐng yù”。 zhè zhēn kě wèi jiàn rén jiàn zhì， mò zhōng yī shì。
xiǎo shuō《 fǎ guó zhōng wèi de nǚ rén》 - xiě zuò yì shù
cháng bèi rén chēng wéi“ zhé xué xiǎo shuō jiā” de fú 'ěr sī yú 1947 nián zhì 1950 nián jiù dú yú niú jīn dà xué shí， shēn shòu dāng shí mí màn yú dà xué xiào yuán de cún zài zhù yì de qì xī de yǐng xiǎng。 zài tā kàn lái， cún zài zhù yì bù shì gào sù rén men gāi zuò shénme bù gāi zuò shénme de yī tào jiāng sǐ de zhé xué， ér shì yī zhǒng gōng jù， yī zhǒng shí yòng de zhé xué， tā bāng zhù rén men zài tè dìng de chǔjìng zhōng shēng cún。 fú 'ěr sī céng yú 1965 nián zhè yàng chēng sòng guò cún zài zhù yì： cún zài zhù yì hěn hǎo de yī gè fāng miàn jiù shì gěi rén men tí gōng liǎo yī zhǒng tú jìng。 tā shǐ dé rén men yǐ zì jǐ de lì liàng zài zì jǐ tè dìng de huán jìng zhōng chuàng zào xìng dì xíng dòng， shì yī zhǒng zuì hǎo de gè rén zhù yì de zhé xué。 tā shì 20 shì jì de gè tǐ duì lái zì gè fāng miàn de yā lì de yī zhǒng huí yìng。 cún zài zhù yì guān yú jī jí xíng dòng yǐ jí zài xíng dòng zhōng fā xiàn xiàn shí de lǐ lùn duì fú 'ěr sī yòu hěn dà yǐng xiǎng。“ yīn cǐ， fú 'ěr sī de xiǎo shuō guān zhù liǎng gè zhòng yào shí kè， jí rén men zuò chū zhòng dà jué dìng de shí kè hé suí zhī cǎi qǔ xíng dòng de shí kè。 tā men zhuólì yú jǐyǔ dú zhě qiáng liè de cún zài zhèn hàn， zhè zhǒng zhèn hàn duì yú wǒ men wán quán rèn shí dào zài zhè zhǒng yì shí de jī chǔ shàng jìn xíng xuǎn zé hé xíng dòng de bì yào”。 fú 'ěr sī de cún zài zhù yì sī xiǎng míng xiǎn dì fǎn yìng zài《 fǎ guó zhōng wèi de nǚ rén》 zhè bù xiǎo shuō dāng zhōng。 jǐn cóng wén zì biǎo miàn shàng kàn， zuò zhě zài wén běn zhōng jiù duō cì tí dào cún zài zhù yì， rú，“ wǒ men xiàn zài yōng yòu de zhī shí bǐ tā nà shí duō dé duō， ér qiě hái yòu cún zài zhù yì zhé xué sī xiǎng kě gōng wǒ men shǐ yòng”；“ tā men bù zàn chéng cún zài zhù yì de huán jié， tā men zàn chéng de shì yīn guǒ guān xì liàn， shì jīng guò rèn zhēn yán jiū bìng fǎn fù yìng yòng de、 néng jiě shì yī qiē de zhèng miàn lǐ lùn”；“ cún zài zhù yì de kǒng jù zài cì duì tā fā qǐ liǎo gōng jī， yě xǔ tā zǎo yǐ liào dào huì rú cǐ……” rú guǒ shuō xiǎo shuō shì xíng xiàng huà de zhé xué， nà me，《 fǎ guó zhōng wèi de nǚ rén》 jiù shì duì cún zài zhù yì zhé xué de xíng xiàng tú jiě。 zuò jiā gào sù wǒ men， rén yào shí xiàn gè tǐ de zì yóu yì zhì， yào guò yī zhǒng zì yóu zì zhù de shēng huó。
1、 gū dú 'ér shén mì de gè tǐ
suī rán cún zài zhù yì sī xiǎng jiā men zài guān diǎn hé sī xiǎng qīng xiàng shàng bù jìn xiāng tóng， shèn zhì hái cún zài zhe jiào dà de fēn qí， dàn bù róng zhì yí de shì， cún zài zhù yì suǒ guān zhù de hé xīn wèn tí shì rén de shēng cún wèn tí。 ér zhè lǐ de“ rén” bù shì zhǐ“ qún tǐ”， ér shì zhǐ“ gè tǐ” héng héng zuò wéi lún lǐ zhù tǐ de gè rén。 cún zài zhù yì zhé xué de shǐ zǔ kè 'ěr kǎi guō 'ěr shǒu cì bǎ gè rén“ cún zài” zuò wéi zhé xué de zhōng xīn wèn tí， ér qiě jiāng“ gū dú de gè tǐ” zhì yú yán jiū de zhōng xīn dì wèi。 hǎi dé gé 'ěr yě rèn wéi， dāng rén bèi pāo yú shì 'ér yǔ tā rén gòng zài shí， tā zǒng shì gǎn dào tā rén hé shì jiè duì tā shì mò shēng de、 shū yuǎn de， gǎn dào zì jǐ chǔyú yī zhǒng gū dú de、 wú jiā kě guī de zhuàng tài。 cún zài zhù yì jí dà chéng zhě sà tè rèn wéi“ měi gè rén shì zuò wéi yī zhǒng shén mì 'ér gū lì de shí zài”。
fú 'ěr sī bǐ xià de sà lā biàn shì zhè yàng yī gè zuò wéi“ shén mì 'ér gū lì de shí zài” ér cún zài de rén wù xíng xiàng。 cóng sà lā“ dàn shēng” zài fú 'ěr sī de nǎo hǎi zhōng de nà yī kè qǐ， tā biàn shì shén mì 'ér gū dú de。 xiǎo shuō kāi piān yǐ hā dài de“ mí” wéi yǐn yán， diàn dìng liǎo sà lā shén mì de jī diào。 xiǎo shuō zhōng de sà lā shì zhè yàng chū chǎng de：“ zài hūn 'àn、 wān qū de fáng bō dī shàng hái yòu lìng yī gè rén de shēn yǐng…… nà rén zhàn zài lín hǎi de fáng bō dī wài cè，…… quán shēn shàng xià zhe hēi zhuāng， fēng chuī chù， yī fú piāo dòng， dàn shì rén què wén sī bù dòng， miàn xiàng dà hǎi níng shì zhe shénme， hěn xiàng shì nì shuǐ zhě de yī zuò huó jì niàn bēi， yī gè shén huà zhōng de rén wù， bù xiàng shì wēi bù zú dào de xiāng yě shēng huó lǐ de zhèng cháng jǐng guān”。 zhè yàng de yī gè chū chǎng liàng xiāng tū chū liǎo sà lā de jī běn tè zhēng： gū dú 'ér shén mì。 xù shù zhě gào sù wǒ men， yóu yú tā fù qīn qiáng liè de“ míng mén chū shēn qíng jié”， tā bèi fù qīn qiǎngpò“ lí kāi zì jǐ yuán lái de jiē jí”， kě tā fù qīn“ què méi yòu néng lì bǎ tā tí shēng dào gèng gāo de yī gè jiē jí”， yú shì，“ zài tā yǐ jīng lí kāi de nà gè jiē jí zhōng de nán qīng nián yǎn lǐ， tā biàn dé guò yú tiǎo tī 'ér bù kě qǔ， ér tā kě wàng jìn rù de nà gè jiē jí de qīng nián nán zǐ zé rèn wéi tā réng rán guò yú píng yōng”。 yīn cǐ，“ tā chéng liǎo děng jí shè huì de dì dào shòu hài zhě”。 zài tā fù qīn sǐ hòu， zǎo yǐ guò liǎo dāng jià nián líng 'ér chéng wéi“ lǎo chǔnǚ” de tā biàn dé wú jiā kě guī。 suí zhe gù shì de fā zhǎn， qíng jié de zhǎn kāi， zhǎn xiàn zài dú zhě miàn qián de sà lā jīhū shì jiāng zì jǐ yǔ zhōu wéi shì jiè gé lí kāi de yī gè“ duō yú de rén”， shì zài lāi mǔ zhèn jū mín de lěng yǎn hé bǐ shì zhōng shēng huó de yī gè gū dú de“ jú wài rén”， rén men“ bù xiǎng zǒu jìn tā”， pà huài liǎo zì jǐ de míng shēng。 ér tā zì jǐ sì hū yě zài“ xiǎng shòu” zhe zhè zhǒng gū dú， wǒ xíng wǒ sù， dú lái dú wǎng， yóu lí yú lāi mǔ zhèn de fán chén suǒ shì。 tā zì jǐ jiù céng shuō guò :“ wǒ yī zhí guò zhe gū jì de shēng huó，…… mìng yùn sì hū zhù dìng wǒ yǒng yuǎn bù néng hé tóng děng de rén jiàn lì yǒu yì， yǒng yuǎn bù néng zhù zài zì jǐ de jiā lǐ， yǒng yuǎn jué dé zì jǐ bèi pái chú zài zhù tǐ shì jiè zhī wài”。
gèng wéi zhòng yào de shì， sà lā de xíng xiàng sì hū shì cóng pò suì de jìng piàn zhōng fǎn yìng chū lái de。 gù shì měi tuī jìn yī bù， suì piàn jiù zēng jiā yī kuài， qí zhěng tǐ xíng xiàng zì shǐ zhì zhōng wú fǎ cóng zhè nán yuán de pò jìng zhōng lù chū“ lú shān zhēn miàn mù”， yī zhí lǒngzhào zài shén mì de fēn wéi zhōng。 bàng rén shuō tā shì“ fǎ guó zhōng wèi de nǚ rén”， shì“ biǎo zǐ”， ér tā zì jǐ yě bù fǒu rèn， shuō zì jǐ“ lóu yǐ bù rú， jīhū bù zài shì rén…… shì fǎ guó zhōng wèi de jì nǚ”。 dàn suí zhe tā yǔ chá 'ěr sī guān xì de fā zhǎn， chá 'ěr sī fā xiàn suǒ wèi“ fǎ guó zhōng wèi de nǚ rén” zhī chēng chún shǔ biān zào， shèn zhì wán quán shì tā běn rén bǎ zì jǐ jiǎ xiǎng wéi yī gè“ shòu qiǎn zé zhě” hé“ bèi yí qì zhě” de“ yòu zuì nǚ rén” de xíng xiàng。 sà lā sì hū zhǐ yòu zài jiǎ miàn zhī xià cái néng zhēn shí dì 'ān zhì zì shēn。 qíng jié de fā zhǎn shǐ tā de shén mì xìng yù fā tū xiàn chū lái。 tā sì hū shì tóng xìng liàn zhě， dàn sì hū yòu bù shì ; tā sì hū shì jīng shén bìng huàn zhě， dàn sì hū yòu bù shì ; tā sì hū shì chá 'ěr sī de zhěng jiù zhě， yòu sì hū shì tā de xiàn hài zhě ; tā sì hū shì zhēn nǚ， yòu sì hū shì dàng fù。 fú 'ěr sī bù duàn dì zài jiàn gòu sà lā de xíng xiàng， dàn yòu tóng shí zài xiāo jiě zhè xiē xíng xiàng。 tā yī zhí lǒngzhào zài shén mì de qì fēn zhī zhōng， bìng qiě zhè zhǒng shén mì xìng suí zhe tā de shī zōng yǐ jí duō zhòng jié wěi 'ér gèng jiā qiáng huà。
cún zài zhù yì zhé xué cóng běn zhì shàng jiǎng“ shì yī zhǒng gè rén zhù yì zhé xué， zhè zhǒng gè rén zhù yì tóng chuán tǒng de gè rén zhù yì bù tóng de dì fāng…… shì bǎ gū dú de gè rén kàn zuò shì zì jǐ de chū fā diǎn”。 ér gū dú fēng bì de zì wǒ suǒ dǎo zhì de shén mì xìng nǎi shì cún zài zhù yì huī zhī bù qù de sè cǎi。 sà lā zhèng shì zhè yàng yī gè xíng xiàng de tǐ xiàn。
2、 gè tǐ yǔ tā zhě
guān yú gè tǐ yǔ tā rén jí wài wù de guān xì， cóng kè 'ěr kǎi guō 'ěr dào hǎi dé gé 'ěr hé sà tè dōuyòu zhe xiāng shìde kàn fǎ。 kè 'ěr kǎi guō 'ěr shuō， zì wǒ“ bù jǐn shì gè rén yī jǐ de zì wǒ， ér shì shè huì de、 gōng mín de zì wǒ”。 hǎi dé gé 'ěr rèn wéi， zuò wéi cǐ zài de rén de cún zài bìng bù shì yī zhǒng gū lì de、 dān dú de cún zài， tā zǒng shì chǔyú bù duàn dì yǔ wài wù、 tā rén fā shēng gè zhǒng guān xì de guò chéng zhōng。 àn zhào hǎi dé gé 'ěr de guān diǎn， cǐ zài de jī běn cún zài zhuàng tài shì zài shì， ér zài shì de jī běn jié gòu huò zhě shuō yǔ wài wù、 tā rén fā shēng gè zhǒng guān xì de guò chéng jiù shì“ fán”， jiāo lǜ、 fán nǎo。 tā zài《 cún zài yǔ shí jiān》 zhǐ chū：“ zhǐ yào cǐ zài shì‘ zài shì de zài’， tā jiù chè tóu chè wěi dì bèi fán suǒ zhī pèi，‘ zài shì’ dǎ shàng liǎo fán de yìn zhāng， zhè fán yǔ cǐ zài shì yī 'ér 'èr 'èr 'ér yī de”。 sà tè rèn wéi， měi yī gè réndōu shì cóng zì jǐ de zhù guān xìng chū fā lái kàn dài tā rén de， zǒng shì bǎ zì jǐ dāng zuò zhù tǐ， bǎ tā rén dāng zuò zì jǐ de duì xiàng。 tā jìn 'ér jiāng rén yǔ rén zhī jiān de guān xì shì wéi yī zhǒng“ zhù nú guān xì”， jí měi gè réndōu lì tú wéi chí zì jǐ de zhù tǐ xìng， dū hù xiāng bǎ bié rén duì xiàng huà wéi“ shēn tǐ” ér zhàn yòu。 tā zài《 jìn bì》 yī jù zhōngjiàng tā zài《 cún zài yǔ xū wú》 zhōng suǒ chǎn shù de rén yǔ rén de guān xì yòng wén xué yǔ yán gài kuò wéi“ tā rén jiù shì dì yù”， jí tā zhě zǒng shì yī gè rén zài shí xiàn zhēn shí de zì wǒ guò chéng zhōng yǔ zhī fā shēng chōng tū bìng qiě bì xū kè fú de zhàng 'ài。 yǐ shàng zhè xiē lùn shù， dū biǎo míng liǎo cún zài zhù yì zhé xué jiā duì gè tǐ hé tā zhě zhī jiān guān xì de gòng tóng sī kǎo， jí liǎng zhě jì xiāng hù yǐ lài， yòu hù wéi duì lì hé chōng tū。
huí dào xiǎo shuō zhōng， sà lā yǔ tā rén de guān xì biàn shì“ dì yù” de xíng xiàng biǎo xiàn。 yī gè 'ǒu rán de jī huì ràng tā jié shí liǎo yī wèi fǎ guó shuǐ shǒu， bìng zì yǐ wéi yóu cǐ zǒu jìn liǎo tā qíng gǎn shēng huó de lǜ zhōu， dàn shí jì shàng què xiàn rù liǎo zhè wèi shuǐ shǒu wéi tā yíng zào de“ dì yù”。 shuǐ shǒu běn yòu qī shì， féng chǎng zuò xì de tā zài tuǐ shāng quán yù hòu yī qù bù fù fǎn， yīn cǐ sà lā de 'ài yě jiù zǒu shàng liǎo yī tiáo bù guī zhī lù。 cóng cǐ yǐ hòu tā jiù yī zhí shēng huó zài bù míng jiù lǐ de lāi mǔ zhèn rén de lěng yǎn hé zhòu mà zhōng。 yóu yú shēng huó suǒ pò， tā shòu gù bāng yōng yú bō 'ěr tǎn ní tài tài jiā zhōng。 zhè wèi bō 'ěr tǎn ní tài tài“ zì rèn wèishì yì lì zài bō tāo xiōng yǒng de tiān zhù jiào hǎi yáng zhōng yī zuò chún jìng de pà tè mò sī dǎo”， zhuān héng bà dào、 zì yǐ wéi shì， bǎ sà lā kàn chéng shì yī zhǐ“ mí tú de gāo yáng”， bìng xī wàng tīng dào tā de chàn huǐ。 sà lā yǔ bō 'ěr tǎn ní tài tài xiāng chù de guò chéng shí jì shàng yī zhí shì kàng zhēng yǔ yā zhì de guò chéng， zuì hòu zhōng yú yóu“ lěng zhàn” fā zhǎn dào liǎo bái rè huà de chéng dù。 bō 'ěr tǎn ní tài tài xiāng xìn yòu dì yù de cún zài， bìng hài pà zì jǐ zhuì rù qí zhōng， dàn què wéi sà lā shè zhì liǎo yī gè rén jiān dì yù。
zài lāi mǔ zhèn， sà lā jǐn jǐn dé dào liǎo“ zài dāng shí dāng dì suàn dé shàng shì gè kāi míng de rén wù” de gé luó gēn dà fū de tóng qíng。 rán 'ér， gé luò gēn dà fū gēn jù zì jǐ de fēn xī， rèn wéi sà lā huàn yòu yán zhòng de yì yù zhèng， bìng jiàn yì chá 'ěr sī jiāng qí sòng rù jīng shén bìng yī yuàn。 zài 'ōu zhōu， rén men zuì zǎo shì jiè jiàn duì fù má fēng bìng rén de fāng fǎ lái duì dài jīng shén bìng rén， jí cǎi qǔ gé lí de fāng shì。 zhè xiē fēng rén yǔ qióng rén、 shī yè zhě hé qiú fàn guān zài yī qǐ， shèn zhì bèi dài shàng liào kào。 suī rán dào liǎo 19 shì jì， yóu yú zāo dào jīng shén bìng xué jiā de měng liè pēng jī， fēng zǐ zhú jiàn hé qí tā bèi qiú jìn zhě fēn lí kāi lái。 dàn shì， zài fēng rén yuàn lǐ， zuì yòu dài biǎo xìng de zhì liáo shǒu duàn réng rán shì jiān mò、 jìng xiàng rèn shí hé bù duàn de shěn pàn。 tōng guò jiān mò de fāng shì shǐ dé bǎi tuō liǎo liào kào de fēng rén zhēn zhèng chéng wéi zì jǐ de qiú fàn ; tōng guò guān kàn hé zì wǒ guān kàn， jīng shén bìng huàn zhě zuì zhōng fā xiàn zì jǐ shì fēng zǐ ; tōng guò bù duàn de shěn pàn，“ bǎ yī xué biàn chéng sī fǎ， bǎ zhì liáo biàn chéng zhèn yā”。 zhè yàng de zhì liáo huán jìng hé fāng shì， duì yú jié 'ào bù xùn、 wǒ xíng wǒ sù de sà lā lái shuō wú yí jiāng huì yě shì yī gè“ dì yù”。 kàn lái， zuò jiā fú 'ěr sī běn rén duì rén yǔ rén zhī jiān de tóng qíng、 lǐ jiě bìng bù bào xī wàng。
sà lā yǔ chá 'ěr sī de wèi hūn qī 'ōu nèi sī dì nà suī wèi céng yòu guò jiāo wǎng， dàn tā men bǐ cǐ què yī zhí chù zài duì lì zhuàng tài。 zài 'ōu nèi sī dì nà yǎn lǐ， jiù xiàng zài lāi mǔ zhèn qí tā rén de yǎn lǐ yī yàng， sà lā shì yī gè yòu hěn duō bù yǎ chuò hào de nǚ rén， ér qiě hái yòu diǎn fēng， yīn cǐ“ bù xiǎng zǒu jìn tā”。 dàn jiù shì zhè yàng yī gè chū shēn dī wēi、 shēn míng láng jí de nǚ rén què zài bù zhī bù jué zhōng bǎ tā de wèi hūn fū qiǎng duó guò qù， rán hòu yòu qì zhī 'ér qù。 ér zài sà lā běn shēn jiù chōng mǎn zhe duì guì zú、 fù rén de jí dù yǔ zēng hèn， zài tā de xīn líng shēn chù“ yòu shénme zài rán shāo， tài qí yì， tài zào dòng， yòu nà yàng bù xùn fú”。 yú shì， tā yǐ zì jǐ de fāng shì xiàng shí dài tiǎo zhàn。 xì jù xìng de jiēguǒ shì， chá 'ěr sī bèi shàng liǎo yǔ fǎ guó shuǐ shǒu tóng yàng de mà míng， ér 'ōu nèi sī dì nà huò xǔ cóng cǐ yǐ hòu yě jiāng chéng wéi yī gè xiàng sà lā nà yàng míng shēng bù jié de nǚ rén。 zài zhè gè yì yì shàng， sà lā yě chéng liǎo chá 'ěr sī hé 'ōu nèi sī dì nà gòng tóng de“ dì yù”。
tóng shí， chá 'ěr sī yǔ sà lā de xiè hòu， gèng shì cún zài zhù yì gè tǐ hé tā zhě guān xì de zhí jiē xiě zhào。 sà lā nà zhāng dài zhe yōu shāng de“ bēi jù xìng de liǎn” shǐ dé chá 'ěr sī nán yǐ wàng huái。 tā xiān ràng chá 'ěr sī xiāng xìn liǎo tā de“ shǐ luàn 'ér zhōng qì” de bù xìng zāo yù， huàn qǐ liǎo chá 'ěr sī de tóng qíng xīn， bìng yóu rèn yòu yú dì kòng zhì zhù liǎo chá 'ěr sī。 yú shì，“ yī gè chū lèi bá cuì de rén wù xiàn rù liǎo kùn jìng， yī gè bài lún bèi xùn fú liǎo。 tā de sī xiǎng yòu huí dào sà lā shēn shàng， huí dào shì jué xíng xiàng shàng。 tā nǔ lì huí yì qǐ nà zhāng liǎn， nà zhāng zuǐ， nà zhāng dà zuǐ bā。 tā…… wú yí huàn qǐ liǎo tā de mǒu zhǒng huí yì，…… tā shí shí yíng rào zài tā xīn tóu， shǐ tā xīn xù bù níng ; tā kāi shǐ zhù yì dào mǒu zhǒng yǐn bì de zì wǒ， tā yǐ qián jīhū bù zhī dào tā de cún zài。 tā duì zì jǐ shuō : zhè shí zài shì zuì yú chǔn de shì qíng， kě shì nà gū niàn díquè xī yǐn wǒ”。 chá 'ěr sī yì wú fǎn gù dì yǔ wèi hūn qī jiě chú liǎo hūn yuē， shī qù liǎo tuò shǒu kě dé de jīn qián hé dì wèi， cóng yī gè xiǎng yòu liáng hǎo shēng yù de guì zú qīng nián chéng wéi shòu rén gòu mà de“ hòu yán wú chǐ”、“ bèi xìn qì yì” de“ dà huài dàn”。 dàn shì， tā fā xiàn liǎo zhēn shí de zì wǒ。 kě jiù zài zhè shí， sà lā què shén mì dì shī zōng。 zài tā shēn hòu wéi chá 'ěr sī liú xià liǎo yī chuàn bù jiě zhī mí hé wú jìn de tòng kǔ。 lìng wài， xiǎo shuō zhōng qí tā xiāng duì cì yào de rén wù guān xì， bǐ rú， chá 'ěr sī yǔ tā de pú rén sà mǔ、 chá 'ěr sī yǔ tā de bó fù， děng děng， wú bù tǐ xiàn liǎo cún zài zhù yì zhé xué duì gè tǐ yǔ tā zhě de bēi guān 'ér shēn kè de sī suǒ。
3、 gè tǐ de cún zài hé zì yóu
zì yóu shì sà tè cún zài zhù yì zhé xué de jī běn gài niàn。 sà tè céng shuō cún zài zhù yì shì yī zhǒng“ guān yú zì yóu de xué shuō”， cún zài jí zì yóu。 dāng rán， zhè lǐ de“ zì yóu” shì yī gè zhé xué gài niàn， tā zhǐ de shì yǐ zhù guān xìng hé chāo yuè xìng wéi tè zhēng de chún cuì yì shí huó dòng， tā suǒ tǐ xiàn de shì rén gé de zūn yán hé dú lì de sī kǎo。 sà tè zài《 cún zài yǔ xū wú》 zhōngjiàng cún zài fēn wéi liǎng zhǒng jī běn de xíng shì， jí“ zì zài de cún zài” (being-in-itself) hé“ zì wéi de cún zài” (being-for-itself)。 qián zhě shì yī zhǒng wú yì shí de cún zài， shì wù zhì de cún zài ; hòu zhě shì gè tǐ zài shì jiè shàng 'àn zhào zì jǐ de yù wàng lái sù zào zì jǐ shí suǒ huò dé de yī zhǒng cún zài。 àn zhào zì jǐ de yù wàng lái sù zào zì jǐ， shí jì shàng jiù shì zì yóu xuǎn zé、 jī jí xíng dòng、 zhuī qiú zhēn shí de zì wǒ。 rén zhù dìng shì zì yóu de， zhù dìng liǎo bì xū zì yóu xuǎn zé。 sà tè de cún zài zhù yì sī xiǎng hái yòu yī gè jī běn guān diǎn， jiù shì cún zài xiān yú běn zhì。 zhè yì wèi zhe rén de zì yóu xiān yú rén de běn zhì bìng qiě shǐ rén de běn zhì chéng wéi kě néng ; rén de cún zài de běn zhì xuán zhì zài rén de zì yóu zhī zhōng。 yě jiù shì shuō， rén de zì yóu xiān yú rén de běn zhì， shì zì yóu、 tōng guò zì yóu xuǎn zé què dìng rén de běn zhì， rén de yì yì tǐ xiàn yú rén de zì yóu zhī zhōng。 sà tè hái jìn yī bù jiāng zhè yī guān diǎn zài qí xì jù《 cāng yíng》 zhōng jiè 'é ruì sī tè sī zhī kǒu biǎo shù wéi“ wǒ jiù shì wǒ de zì yóu”。
zì yóu yě shì fú 'ěr sī yī shēng de zhuī qiú。 tā tè bié qiáng diào gè tǐ dú lì de tè xìng， zhè zài qí fēi xiǎo shuō zhù zuò《 zhì zhě： sī xiǎng shàng de zì huà xiàng》 zhōng chōng fēn dì dé dào fǎn yìng。 fú 'ěr sī de suǒ wèi“ zhì zhě” lái zì yú gǔ xī là zhé xué jiā hè lā kè lǐ tè de guān diǎn， jí nà xiē jù yòu dú lì de sī kǎo hé pàn duàn néng lì yǐ jí zhuī qiú nèi zài zhì huì hé zhī shí de rén， tā men néng gòu“ zài wú rén yǐn dǎo huò bèi cuò wù yǐn dǎo de qún tǐ zhōng bǎo chí zì jǐ dú lì de tè xìng， qǔ dé yī dìng chéng dù de zì wǒ shí xiàn……” (Olshen3) tā zài gāi shū zhōng suǒ chàng dǎo de wéi hù gè tǐ cún zài de zì yóu， bǎo chí dú lì de tè xìng， fǎn kàng qiáng jiā yú gè tǐ shǐ zhī fú fú tiē tiē、 wéi wéi nuò nuò、 xún guī dǎo jǔ de zhǒng zhǒng yā lì de sī xiǎng shǐ zhōng guàn chuān yú tā de wén xué chuàng zuò zhōng。
dāng sà lā shēng huó zài lāi mǔ zhèn de shí hòu， tā bù duàn shòu dào bié rén de wǔ rǔ hé zhòu mà， dàn tā jiù xiàng jiā miù bǐ xià de mò 'ěr suǒ yī yàng， gēn běn bù kǎo lǜ bié rén duì zì jǐ de píng jià。 tā yǐ kào gū dú lái huàn xǐng zì jǐ de zì yóu yì shí， tā zài duì gū dú de tǐ yàn zhōng lái tǐ yàn zì yóu。 zhè zhèng rú sà tè suǒ rèn wéi de， dāng yī gè rén róu lìn lìng yī gè rén shí， bìng bù shì、 yě bù néng bō duó bié rén de zì yóu， fǎn 'ér wéi bié rén tí gōng liǎo yī zhǒng zì yóu xuǎn zé de jìng yù， cù shǐ bié rén duì zì jǐ miàn lín de gè zhǒng kě néng xìng jìn xíng xuǎn zé。 sà lā cóng“ fǎ guó zhōng wèi de nǚ rén” dào“ chá 'ěr sī de qíng rén”， zài zì wǒ fàng zhú， dū wán quán shì 'àn zhào zì jǐ de yì yuàn wéi zì jǐ de rén shēng dìng wèi， wéi shēng huó fù yú gè rén de yì yì。
sà tè guān yú zì yóu de gài niàn bāo hán zhe duì xiàn cún zhì xù hé chuán tǒng guān niàn de fǒu dìng。 zhè yě fǎn yìng zài sà lā de zōng jiào guān niàn shàng。 xiǎo shuō zhōng suǒ miáo huì de wéi duō lì yà shí dài shì dá 'ěr wén de《 wù zhǒng qǐ yuán》 gāng gāng wèn shì， bìng qiě duì xiàng chá 'ěr sī zhè yàng de qīng nián yǐ jīng chǎn shēng liǎo yī dìng de yǐng xiǎng de shí qī。 dàn yě zhèng shì zài cǐ shí， yīng guó xiān qǐ liǎo yīcháng zōng jiào fù xīng yùn dòng。“ nà shí hòu xīng jiàn qǐ lái de jiào táng bǐ zài nà zhī qián lì shǐ shàng suǒ zào de zǒng hé hái duō”。 rán 'ér， sà lā què“ bìng bù xìn shén”，“ zhèng rú tā kàn chuān liǎo suǒ yòu de rén yī yàng， tā yě kàn chuān liǎo wéi duō lì yà shí dài jiào huì de gè zhǒng huāng táng xíng wéi， kàn chuān liǎo nà gè shí dài jiào táng wū huì de bō lí， yě kàn chuān liǎo jiào huì duì yú《 shèng jīng》 de xiá 'ài de 'àn zì miàn de jiě shì”。 dāng bō 'ěr tǎn ní tài tài wēi xié tā yào duì zì jǐ suǒ shuō de huà fù zé rèn shí， sà lā miè shì dì huí jìng dào :“ shì zài shàng dì miàn qián má ? nǐ nà me kěn dìng dào liǎo lái shì shàng dì hái néng tīng jiàn nǐ shuō huà má ?” yǐ sà tè wéi dài biǎo de wú shén lùn cún zài zhù yì， jiù shì jiāng shàng dì de guān niàn cóng rén de cún zài huán jìng zhōng qū gǎn liǎo chū qù， ér kěn dìng yì zhì zì yóu shì rén lèi de zhì shàn。
sà lā duì chá 'ěr sī de kòng zhì jí zuì zhōng lí tā 'ér qù， yě shì duì wéi duō lì yà shí dài liǎng xìng guān xì hé dào dé guān niàn de yī zhǒng diān fù。“ wéi duō lì yà shí dài suǒ guī dìng de nán xìng shì yù wàng zhù tǐ， nǚ xìng shì yù wàng kè tǐ， nán xìng shì zhěng jiù zhě， nǚ xìng shì děng dài jiù shú de duì xiàng de 'èr yuán duì lì”。 zài sà lā yǔ chá 'ěr sī de guān xì zhōng， sà lā yī zhí mào sì shì xū yào chá 'ěr sī tóng qíng、 bāng zhù de duì xiàng， shí jì shàng què yī zhí kòng zhì zhe yǔ chá 'ěr sī guān xì de fā zhǎn， bāo kuò yǔ tā jiàn miàn de shí jiān、 dì diǎn、 qíng gǎn gāo fēng yǐ jí zì jǐ lí kāi lāi mǔ zhèn de shí jī xuǎn zé， wán quán jiāng tā men de“ chǔjìng diān dǎo guò lái liǎo”。 suī rán 'àn zhào sà tè de guān diǎn， rén men zài zì jǐ de yǎn zhōng dū bǎ tā rén hù xiāng shì wéi kè tǐ， dàn zài dú zhě yǎn zhōng， sà lā wán quán shì xíng dòng de zhù tǐ， chá 'ěr sī què shì chǔyú bèi dòng dì wèi de kè tǐ。 zài zhè gè yì yì shàng， sà lā yǎn rán shì chōng fēn tǐ yàn yì zhì zì yóu de cún zài zhù yì de yīng xióng。
zài xiǎo shuō de yī gè jié wěi zhōng， chá 'ěr sī zhǎo dào liǎo sà lā， dàn sà lā què jù jué liǎo chá 'ěr sī hūn yīn de yào qiú。 tā shuō :“ wǒ fā xiàn wǒ hěn zhēn xī zhè zhǒng shēng huó。 wǒ bù xiǎng yǔ tā rén fēn xiǎng。 wǒ xǐ huān bǎo chí wǒ mù qián de zhuàng kuàng， ér bù shì yī gè zhàng fū héng héng wú lùn tā dài wǒ duō me hǎo， duō me nì 'ài wǒ héng héng bì dìng huì qī dài wǒ biǎo xiàn dé xiàng yī gè qī zǐ yīnggāi biǎo xiàn dé nà yàng”。 tā jìn 'ér shuō：“ wǒ hěn qīng chǔ， yī jìn rù 'ài qíng lǐng yù， jiù méi yòu shénme shén shèng bù kě qīn fàn de dōng xī kě yán liǎo”。 zhè biǎo míng， sà lā duì xiàn zhuàng hěn mǎn yì， tā xī wàng néng gòu běn zhēn dì shēng huó xià qù， ér bù shì 'àn zhào bié rén de yì yuàn lái shēng huó， jí biàn shì yīn wéi 'ài qíng。 zhè lǐ， wǒ men sì hū tīng dào liǎo sà tè zài《 cún zài zhù yì shì yī zhǒng rén dào zhù yì》 yī shū zhōng suǒ shuō de：“…… rén jiù yào duì zì jǐ shì zěn yàng de rén fù zé…… bìng qiě bǎ zì jǐ de cún zài de zé rèn wán quán yóu zì jǐ dān fù qǐ lái”。 ér sà lā duì chá 'ěr sī de jù jué， jì shǐ dé tā zì jǐ yíng dé liǎo zì yóu， yě gěi liǎo chá 'ěr sī zì yóu。 zhèng rú sà tè suǒ shuō：“ wǒ men zài yào qiú zì yóu de shí hòu， fā xiàn zì yóu wán quán yǐ lài tā rén de zì yóu， ér tā rén de zì yóu， yòu yǐ lài yú wǒ men de zì yóu”。 yīn cǐ，“ wǒ jiù bù dé bù zài yào qiú wǒ zì jǐ de zì yóu de shí hòu， tóng shí yě yào qiú tā rén de zì yóu”。
zhěng tǐ lái kàn， fú 'ěr sī de chuàng zuò sī xiǎng wú zá， dàn qí cún zài zhù yì sè cǎi fēi cháng nóng zhòng。 bù jǐn shì《 fǎ guó zhōng wèi de nǚ rén》， tā de qí tā xiǎo shuō， rú《 shōu cáng jiā》（ 1963 nián）、《 mó shù shī》（ 1966 nián） děng， dōushì zuò zhě chuán dá cún zài zhù yì zhé xué sī kǎo de yòu xiào xíng shì。
During 1981, director Karel Reisz and writer Harold Pinter adapted the novel as an eponymous film; During 2006, it was adapted for the stage, by Mark Healy, in a version which toured the UK that year. In 2005, the novel was chosen by TIME magazine as one of the one hundred best English-language novels from 1923 to present.
Plot summary
The novel's protagonist is Sarah Woodruff, the title Woman, also known by the nickname of “Tragedy”, and by the unfortunate nickname “The French Lieutenant’s Whore”. She lives in the coastal town of Lyme Regis, as a disgraced woman, supposedly abandoned by a French naval officer named Varguennes--married, unknown to her, to another woman-- with whom she had supposedly had an affair and who had returned to France.
Sarah is portrayed ambiguously: is she a genuine, ill-used woman? Is she a sly, manipulative character using her own self-pity to get Charles to succumb to her? Is she merely a victim of the notion of gender as perceived by upper-middle-class people of the 19th century?
She spends her limited time-off at the Cobb [sea wall], staring at the sea. One day, she is seen there by the gentleman Charles Smithson and his fiancée, Ernestina Freeman, the shallow-minded daughter of a wealthy tradesman. Ernestina tells Charles something of Sarah’s story, and he develops a strong curiosity about her. Eventually, he and she meet clandestinely, during which times Sarah tells Charles her history, and asks for his support, mostly emotional. Despite trying to remain objective, Charles eventually sends Sarah to Exeter, where he, during a journey, cannot resist stopping in to visit and see her. At the time she has suffered an ankle injury; he visits her alone and after they have made love he realised that she is, contrary to the rumours, a virgin. Simultaneously, he learns that his prospective inheritance from an elder uncle is in jeopardy; the uncle is engaged to a woman young enough to bear him an heir.
From there, the novelist offers three different endings for The French Lieutenant’s Woman.
* First ending: Charles marries Ernestina, and their marriage is unhappy; Sarah’s fate is unknown. Charles tells Ernestina about an encounter with whom he implies is the “French Lieutenant’s Whore”, but elides the sordid details, and the matter is ended. This ending, however, might be dismissed as a daydream, before the alternative events of the subsequent meeting with Ernestina are described.
Before the second- and third endings, the narrator — whom the novelist wants the reader to believe is John Fowles, himself — appears as a minor character sharing a train carriage with Charles. He flips a coin to determine the order in which he will portray the two, other possible endings, emphasising their equal plausibility.
* Second ending: Charles and Sarah become intimate; he ends his engagement to Ernestina, with unpleasant consequences. He is disgraced, and his uncle marries, then produces an heir. Sarah flees to London without telling the enamoured Charles, who searches for her for years, before finding her living with several artists (likely the Rossettis), enjoying an artistic, creative life. He then sees he has fathered a child with her; as a family, their future is open, with possible reunion implied.
* Third ending: the narrator re-appears, standing outside the house where the second ending occurred; at the aftermath. He turns back his pocket watch by fifteen minutes, before leaving in his carriage. Events are the same as in the second-ending version, but, when Charles finds Sarah again, in London, their reunion is sour. It is possible that their union was childless; Sarah does not tell Charles about one, and does not express interest for continuing the relationship. He leaves the house, deciding to return to America, and sees the carriage, in which the narrator was thought gone. Raising the question: is Sarah a manipulating, lying woman of few morals, exploiting Charles’s obvious love to get what she wants?
En route, Fowles the novelist discourses upon the difficulties of controlling the characters, and offers analyses of differences in 19th-century customs and class, the theories of Charles Darwin, the poetry of Matthew Arnold, Lord Tennyson, and the literature of Thomas Hardy. He questions the role of the author — when speaking of how the Charles character “disobeys” his orders; the characters have discrete lives of their own in the novel. Philosophically, Existentialism is mentioned several times during the story, and in particular detail at the end, after the portrayals of the two, apparent, equally possible endings.
zhè shì yī běn guān yú zhé xué shǐ de xiǎo shuō， ２ ０ shì jì bǎi bù jīng diǎn zhù zuò zhī yī， １ ９９ ４ nián huò " dé guó qīng shàonián wén xué jiǎng " yǔ " zuì yōu xiù zuò pǐn jiǎng "。
gāi shū zì１９９１ nián chū bǎn fā xíng zhī hòu， cháng qī xióng jù gè guó chàng xiāo shū páiháng bǎng dì yī míng， shì jiè shàng yǐ yòu ３ ５ gè guó jiā gòu mǎi liǎo gāi shū de bǎn quán。 jié zhǐ dào１９９５ nián５ yuè， gāi shū dé wén bǎn de xiāo shòu yǐ dá１２０ wàn cè de tiān wén shù zì。 yī bù《 sū fěi de shì jiè》 jiù shì yī bù shēn rù qiǎn chū de rén lèi zhé xué shǐ。 tā bù jǐn néng huàn xǐng rén men nèi xīn shēn chù duì shēng mìng de jìng yǎng yǔ zàn tàn、 duì rén shēng yì yì de guān xīn yǔ hàoqí， ér qiě yě wéi měi yī gè rén de chéngzhǎng héng héng shǐ shēng mìng cóng hùn dùn zǒu xiàng zhì huì、 yóu kùn huò 'ér jìn rù jué wù zhī jìng， guà qǐ liǎo yī zhǎn zhǎn míng liàng de wéi dēng……
《 sū fěi de shì jiè》 yǐ xiǎo shuō sū fěi de shì jiè ( diàn yǐng ) de xíng shì， tōng guò yī míng zhé xué dǎo shī xiàng yī gè jiào sū fěi de nǚ hái chuán shòu zhé xué zhī shí de jīng guò， jiē shì liǎo xī fāng zhé xué shǐ fā zhǎn de lì chéng。 yóu qián sū gé lā dǐ shí dài dào sà tè， yǐ jí yà lǐ shì duō dé、 dí kǎ 'ér、 hēi gé 'ěr děng rén de sī xiǎng dū tōng guò zuò zhě shēng dòng de bǐ chù yuè rán zhǐ shàng， bìng pèi yǐ dāng shí de lì shǐ bèi jǐng jiā yǐ jiě shì， yǐn rén rù shèng。 píng lùn jiā rèn wéi， duì yú nà xiē cóng wèi dú guò zhé xué kè chéng de rén 'ér yán， cǐ shū shì zuì wéi hé shì de rù mén shū， ér duì yú nà xiē yǐ wǎng dú guò yī xiē zhé xué 'ér yǐ wàng dé yī gān 'èr jìng de rén shì， yě kě qǐ dào wēn gù zhī xīn de zuò yòng。
《 sū fěi de shì jiè》 [ shū jí ]- gài shù
gāi shū zì 1991 nián chū bǎn fā xíng zhī hòu， cháng qī xióng jù gè guó chàng xiāo shū páiháng bǎng dì yī míng， shì jiè shàng yǐ yòu 35 gè guó jiā gòu mǎi liǎo gāi shū de bǎn quán。 jié zhǐ dào 1995 nián 5 yuè， gāi shū dé wén bǎn de xiāo shòu yǐ dá 120 wàn cè de tiān wén shù zì。 yī bù《 sū fěi de shì jiè》 jiù shì yī bù shēn rù qiǎn chū de rén lèi zhé xué shǐ。 tā bù jǐn néng huàn xǐng rén men nèi xīn shēn chù duì shēng mìng de jìng yǎng yǔ zàn tàn、 duì rén shēng yì yì de guān xīn yǔ hàoqí， ér qiě yě wéi měi yī gè rén de chéngzhǎng -- shǐ shēng mìng cóng hùn dùn zǒu xiàng zhì huì、 yóu kùn huò 'ér jìn rù jué wù zhī jìng， guà qǐ liǎo yī zhǎn zhǎn míng liàng de wéi dēng……
《 sū fěi de shì jiè》 [ shū jí ]- gù shì gěng gài
14 suì de shàonǚ sū fěi mǒu tiān fàng xué huí jiā， shōu dào liǎo shén mì de yī fēng xìn héng héng“ nǐ shì shuí？ shì jiè cóng nǎ lǐ lái？” cóng zhè yī tiān kāi shǐ， sū fěi bù duàn jiē dào yī xiē jí bù xún cháng de lái xìn， shì jiè xiàng mí tuán yī bān zài tā yǎn dǐ zhǎn kāi。 zài yī wèi shén mì dǎo shī de zhǐ dǎo yǐn xià， sū fěi kāi shǐ sī suǒ cóng gǔ xī là dào kāng dé， cóng qí kè guǒ dào fó luò yī dé děng gè wèi dà shī suǒ sī kǎo de gēn běn wèn tí。 tā yùn yòng shàonǚ tiān shēng de wù xìng yǔ hòu tiān zhī shí， qǐ tú jiě kāi zhè xiē mí tuán。 rán 'ér， shì shí zhēn xiāng yuǎn bǐ tā suǒ xiǎng de gèng guài yì、 gèng lí qí……
《 sū fěi de shì jiè》， jí shì zhì huì de shì jiè， mèng de shì jiè。 tā jiāng huì huàn xǐng měi gè rén nèi xīn shēn chù duì shēng mìng de zàn tàn yǔ duì rén shēng zhōng jí yì yì de guān huái hé hàoqí。
《 sū fěi de shì jiè》 [ shū jí ]- zhāi yào
nǐ shì shuí？
tā zěn me huì zhī dào？ bù yòng shuō， tā de míng zì jiào sū fěi， dàn nà gè jiào zuò sū fěi de rén yòu shì shuí ní？ tā hái méi xiǎng chū lái。
rú guǒ tā qǔ liǎo lìng wài yī gè míng zì ní？ bǐ rú shuō， rú guǒ tā jiào zuò 'ān nī de huà， tā huì bù huì biàn chéng bié rén？
zhè shǐ tā xiǎng qǐ bà bà yuán běn yào jiāng tā qǔ míng wéi lì lì。 tā shì zhe xiǎng xiàng zì jǐ yǔ bié rén wò shǒu， bìng qiě jiè shào zì jǐ míng jiào lì lì de qíng jǐng， dàn jué dé hǎo xiàng hěn bù duì jìn， xiàng shì bié rén zài zì wǒ jiè shào yī bān。
tā tiào qǐ lái， zǒu jìn yù shì， shǒu lǐ ná zhe nà fēng qí guài de xìn。 tā zhàn zài jìng zǐ qián miàn， níng shì zhe zì jǐ de yǎn jīng。“ wǒ de míng zì jiào lì lì。” tā shuō。
jìng zhōng de nǚ hái què lián yǎn jīng yě bù zhǎ yī xià。 wú lùn sū fěi zuò shí me， tā dū yǐ yàng huà hú lú。 sū fěi fēi kuài dì zuò liǎo yī gè dòng zuò， xiǎng shǐ jìng zhōng de yǐng xiàng zhuī gǎn bù jí， dàn nà gè nǚ hái què hé tā yī bān de mǐn jié。
“ nǐ shì shuí？” sū fěi wèn。
jìng zhōng de rén yě bù huí dá。 yòu yī chà nà， tā jué dé mí huò， nòng bù qīng chǔ gāng cái wèn wèn tí de dào dǐ shì tā， hái shì jìng zhōng de yǐng xiàng。
sū fěi yòng shí zhǐ diǎn zhe jìng zhōng de bí zǐ， shuō：“ nǐ shì wǒ。”
duì fāng yǐ jiù méi yòu fǎn yìng。 yú shì tā jiāng jù zǐ diān dǎo guò lái， shuō：“ wǒ shì nǐ。”
《 sū fěi de shì jiè》 [ shū jí ]- shū píng
jiǎ dé zhè běn guān yú zhé xué shǐ de xiǎo shuō kě wèi shì kōng qián de， tā zài cì yòng shì shí zhèng míng liǎo zhé xué bìng bù shì tuō lí xiàn shí de xué yuàn rén shì zài xiàng yá tǎ lǐ suǒ xiě de dōng xī。 --《 dé yì zhì xīng qī rì huì bào》
gāi shū shì yī gè jiāng xué shù zuò pǐn tōng sú huà de jié chū fàn lì， wèi céng xiū xí zhé xué gài lùn de rén， kě yǐ bǎ tā zuò wéi yī běn zuì jiā de rù mén dú wù， ér xué xí guò cǐ mén kè chéng dàn yǐ wàng què dà bàn de rén， běn shū zé shì wēn gù 'ér zhī xīn de dé lì zhī zuò。 -- měi guó《 xīn wén zhōu kān》
nuó wēi zuò jiā qiáo sī tǎn · jiǎ dé bù jǐn wén bǐ zhuó 'ěr bù qún， tóng shí yòu duō nián dān rèn zhé xué jiào shī de jīng lì，《 sū fěi de shì jiè》 yī shū yòu zhù yú shǐ dú zhě yǐ yuè dú zhēn tàn xiǎo shuō bān de xīn qíng yóu lǎn cóng bólātú yǐ qián yī zhí dào２０ shì jì de shì jiè zhé xué shǐ， ér sī háo bù chǎn shēng rèn hé kū zào yàn fán de gǎn jué。 -- zhù míng zuò jiā yǔ píng lùn jiā mǎ dé lán · lán gé 'ěr
zhé xué bù shì wàn líng dān， dàn shì cóng lái bù qù liú yì“ àihào zhì huì” de zhòng yào yǔ qián rén de xīn dé， nà me zhù dìng huì xiàn yú xīn líng fēng bì yǔ zhōng jié。 zhè huò xǔ shì běn shū guǎng shòu huān yíng de yuán yīn bā wèile shǐ rén cóng kùn huò dào jué wù， běn shū tí gōng liǎo yī zhǎn míng dēng。 -- zhé xué jiào shòu fù pèi zhū
《 sū fěi de shì jiè》 kě yǐ dàngzuò zhé xué qǐ méng shū lái yuè dú。 tā de xiǎo shuō bù fēn， sū fěi de zhù tǐ zì jué guò chéng zé pō xiàng zhēn tàn gù shì jiā shàng xiàn dài bǎn de héng héng héng héng《 ài lì sī mèng yóu xiān jìng》， zhé xué jiā zhēn tàn， jiā huàn xiǎng， zài jiā shàng yǔ zhòu guān， tā ràng rén gèng jiā xīn xiōng kāi kuò， zhè bù zhèng shì zhé xué“ ài zhì” zuì gǔ diǎn de yào yì má zhī míng zuò jiā nán fāng shuò
zhè běn shū de liú xíng yòu qí zhòng yào xìng， wǒ men kě yǐ cóng hǎo jǐ fāng miàn lái kàn。 quán shū suī fēi xué shù xìng zhù zuò， dàn tā shì yī běn hàn wèi zhé xué de shū， zhèng yīn wéi qí dà zhòng huà， tā yě jiù dài biǎo liǎo“ dà duō shù rén de kàn fǎ”。 zhè běn shū bù shì zài tàn tǎo zhé xué shàng de mǒu yī tè bié sī cháo huò lì shǐ， ér shì cháng shì duì měi yī pài bié zuò gài lùn shì de jiè shào， bìng shuō míng tā zài jīn rì de dì wèi。 kě yǐ shuō shì yī běn jí“ xué shù jiè yī bān kàn fǎ de zhāi yào lù”。 yīn cǐ， zhè běn shū biǎo dá liǎo dāng jīn zhī shí fènzǐ de lì chǎng。
jiǎ rú《 sū fěi de shì jiè》 dài biǎo zhe zhù liú zhī shí fènzǐ de zhé xué guān diǎn， tā suǒ biǎo dá de yě jí yǐn rén zhù mù。 zhè běn shū duì zhēn shí de zhé xué jǐyǔ jí chóng gāo de píng jià： pī pàn de、 lǐ xìng de hé gōng zhèng de píng lùn； qù chú piān jiàn、 mí xìn hé guàn lì； bù zuò cāng cù hé qīng shuài de pàn duàn， yī yì zhuī qiú zhēn lǐ、 zhī shí、 měi shàn hé dào dé。
Mostly consisting of dialogues between Sophie Amundsen and a mysterious man named Alberto Knox, interwoven with an increasingly bizarre and mysterious plot, Sophie's World acts as both a novel and a basic guide to philosophy.
Plot summary
Sophie Amundsen is fourteen years old when the book begins. She begins a strange correspondence course in philosophy. Every day, a letter comes to her mailbox that contains a few questions and then later in the day a package comes with some typed pages describing the ideas of a philosopher who dealt with the issues raised by the questions. Although at first she does not know, later on Sophie learns that Alberto Knox is the name of the philosopher who is teaching her. He sends her packages via his dog Hermes. Alberto first tells Sophie that philosophy is extremely relevant to life and that if we do not question and ponder our very existence we are not really living. Then he proceeds to go through the history of western philosophy. Alberto teaches Sophie about the ancient myths that people had in the days before they tried to come up with natural explanations for the processes in the world. Then she learns about the natural philosophers who were concerned with change. Next Alberto describes Democritus and the theory of indivisible atoms underlying all of nature as well as the concept of fate.
At the same time as she takes the philosophy course, Sophie receives a strange postcard sent to Hilde Møller Knag, care of Sophie. The postcard is from Hilde's father and wishes Hilde happy birthday. Sophie is confused, and more so when she finds a scarf with Hilde's name on it. She does not know what is happening but she is sure that Hilde and the philosophy course must somehow be connected. She learns about Socrates, who was wise enough to know that he knew nothing. Then Alberto sends her a video that shows him in present day Athens and somehow he seems to go back in time to ancient Athens. She learns about Plato and his world of ideas and then about Aristotle, who critiqued Plato, classified much of the natural world, and founded logic and our theory of concepts.
Then, as Sophie's education continues, the Hilde situation begins to get more complicated. She finds many more postcards to Hilde, and some of them are even dated on June 15, the day Sophie will turn 15. The problem is that June 15 is still over a month away. She discovers some of this with her best friend Joanna, and one of the postcards tells Hilde that one day she will meet Sophie and also mentions Joanna. Strange things are happening that the girls cannot figure out. Sophie's relationship with her mother becomes somewhat strained as she tries both to cover up the correspondence with Alberto and to practice her philosophical thinking on her mom. Meanwhile, Alberto teaches Sophie about Jesus and the meeting of Indo-European and Semitic culture. She learns about St. Augustine, St. Aquinas, and the christianization of Greek philosophy that occurred in the Middle Ages. By this time, Sophie has met Alberto and he begins hinting that the philosophy is about to get extremely relevant to the strange things that are happening to her.
Sophie learns about the focus on humanity in the Renaissance and the extremes of the Baroque and then Alberto focuses on some key philosophers. Urgently, he teaches her about Descartes, who doubted, and by doing so knew at least that he could doubt. They move on to Spinoza as it becomes clear that Hilde's father has some awesome power over them. Then Sophie learns about the empiricists. Locke believed in natural rights and that everything we know is gained from experience. Hume, an important influence on Kant, showed that our actions are guided by feelings and warned against making laws based upon our experiences. But Berkeley is most important to Sophie because he suggested that perhaps our entire lives were inside the mind of God. And Alberto says that their lives are inside the mind of Albert Knag, Hilde's father.
At this point the story switches to Hilde's point of view. On June 15, the day she turns fifteen, Hilde receives a birthday gift from her father entitled Sophie's World. She begins to read and is enthralled. We follow the rest of Sophie's story from Hilde's perspective. Hilde becomes certain that Sophie exists, that she is not just a character in a book. Alberto has a plan to escape Albert Knag's mind, and they must finish the philosophy course before that can happen. He teaches Sophie about the Enlightenment and its humane values and about Kant and his unification of empiricist and rationalist thought. Things in Sophie's life have become completely insane but she and Alberto know they must figure out a way to do something. It will have to occur on the night of June 15, when Hilde's father returns home. They learn about the world spirit of Romanticism, Hegel's dialectical view of history, and Kierkegaard's belief that the individual's existence is primary. Meanwhile, Hilde plans a surprise for her father on his return home. They rush through Marx, Darwin, Freud, and Sartre, desperate to come up with a plan to escape even though everything they do is known by Hilde's father. Then at the end of Sophie's World, the book that Hilde is reading, while at a party for Sophie on June 15, Alberto and Sophie disappear. Hilde's father comes home and they talk about the book, and Hilde is sure that Sophie exists somewhere. Meanwhile, Sophie and Alberto have a new existence as spirit. They have escaped from Albert Knag's mind but they are invisible to other people and can walk right through them. Sophie wants to try to interfere in the world of Hilde and her father, and at the end of the book she is learning how to do so.
gāi shū zì１９９１ nián chū bǎn fā xíng zhī hòu， cháng qī xióng jù gè guó chàng xiāo shū páiháng bǎng dì yī míng， shì jiè shàng yǐ yòu ３ ５ gè guó jiā gòu mǎi liǎo gāi shū de bǎn quán。 jié zhǐ dào１９９５ nián５ yuè， gāi shū dé wén bǎn de xiāo shòu yǐ dá１２０ wàn cè de tiān wén shù zì。 yī bù《 sū fěi de shì jiè》 jiù shì yī bù shēn rù qiǎn chū de rén lèi zhé xué shǐ。 tā bù jǐn néng huàn xǐng rén men nèi xīn shēn chù duì shēng mìng de jìng yǎng yǔ zàn tàn、 duì rén shēng yì yì de guān xīn yǔ hàoqí， ér qiě yě wéi měi yī gè rén de chéngzhǎng héng héng shǐ shēng mìng cóng hùn dùn zǒu xiàng zhì huì、 yóu kùn huò 'ér jìn rù jué wù zhī jìng， guà qǐ liǎo yī zhǎn zhǎn míng liàng de wéi dēng……
《 sū fěi de shì jiè》 yǐ xiǎo shuō sū fěi de shì jiè ( diàn yǐng ) de xíng shì， tōng guò yī míng zhé xué dǎo shī xiàng yī gè jiào sū fěi de nǚ hái chuán shòu zhé xué zhī shí de jīng guò， jiē shì liǎo xī fāng zhé xué shǐ fā zhǎn de lì chéng。 yóu qián sū gé lā dǐ shí dài dào sà tè， yǐ jí yà lǐ shì duō dé、 dí kǎ 'ér、 hēi gé 'ěr děng rén de sī xiǎng dū tōng guò zuò zhě shēng dòng de bǐ chù yuè rán zhǐ shàng， bìng pèi yǐ dāng shí de lì shǐ bèi jǐng jiā yǐ jiě shì， yǐn rén rù shèng。 píng lùn jiā rèn wéi， duì yú nà xiē cóng wèi dú guò zhé xué kè chéng de rén 'ér yán， cǐ shū shì zuì wéi hé shì de rù mén shū， ér duì yú nà xiē yǐ wǎng dú guò yī xiē zhé xué 'ér yǐ wàng dé yī gān 'èr jìng de rén shì， yě kě qǐ dào wēn gù zhī xīn de zuò yòng。
《 sū fěi de shì jiè》 [ shū jí ]- gài shù
gāi shū zì 1991 nián chū bǎn fā xíng zhī hòu， cháng qī xióng jù gè guó chàng xiāo shū páiháng bǎng dì yī míng， shì jiè shàng yǐ yòu 35 gè guó jiā gòu mǎi liǎo gāi shū de bǎn quán。 jié zhǐ dào 1995 nián 5 yuè， gāi shū dé wén bǎn de xiāo shòu yǐ dá 120 wàn cè de tiān wén shù zì。 yī bù《 sū fěi de shì jiè》 jiù shì yī bù shēn rù qiǎn chū de rén lèi zhé xué shǐ。 tā bù jǐn néng huàn xǐng rén men nèi xīn shēn chù duì shēng mìng de jìng yǎng yǔ zàn tàn、 duì rén shēng yì yì de guān xīn yǔ hàoqí， ér qiě yě wéi měi yī gè rén de chéngzhǎng -- shǐ shēng mìng cóng hùn dùn zǒu xiàng zhì huì、 yóu kùn huò 'ér jìn rù jué wù zhī jìng， guà qǐ liǎo yī zhǎn zhǎn míng liàng de wéi dēng……
《 sū fěi de shì jiè》 [ shū jí ]- gù shì gěng gài
14 suì de shàonǚ sū fěi mǒu tiān fàng xué huí jiā， shōu dào liǎo shén mì de yī fēng xìn héng héng“ nǐ shì shuí？ shì jiè cóng nǎ lǐ lái？” cóng zhè yī tiān kāi shǐ， sū fěi bù duàn jiē dào yī xiē jí bù xún cháng de lái xìn， shì jiè xiàng mí tuán yī bān zài tā yǎn dǐ zhǎn kāi。 zài yī wèi shén mì dǎo shī de zhǐ dǎo yǐn xià， sū fěi kāi shǐ sī suǒ cóng gǔ xī là dào kāng dé， cóng qí kè guǒ dào fó luò yī dé děng gè wèi dà shī suǒ sī kǎo de gēn běn wèn tí。 tā yùn yòng shàonǚ tiān shēng de wù xìng yǔ hòu tiān zhī shí， qǐ tú jiě kāi zhè xiē mí tuán。 rán 'ér， shì shí zhēn xiāng yuǎn bǐ tā suǒ xiǎng de gèng guài yì、 gèng lí qí……
《 sū fěi de shì jiè》， jí shì zhì huì de shì jiè， mèng de shì jiè。 tā jiāng huì huàn xǐng měi gè rén nèi xīn shēn chù duì shēng mìng de zàn tàn yǔ duì rén shēng zhōng jí yì yì de guān huái hé hàoqí。
《 sū fěi de shì jiè》 [ shū jí ]- zhāi yào
nǐ shì shuí？
tā zěn me huì zhī dào？ bù yòng shuō， tā de míng zì jiào sū fěi， dàn nà gè jiào zuò sū fěi de rén yòu shì shuí ní？ tā hái méi xiǎng chū lái。
rú guǒ tā qǔ liǎo lìng wài yī gè míng zì ní？ bǐ rú shuō， rú guǒ tā jiào zuò 'ān nī de huà， tā huì bù huì biàn chéng bié rén？
zhè shǐ tā xiǎng qǐ bà bà yuán běn yào jiāng tā qǔ míng wéi lì lì。 tā shì zhe xiǎng xiàng zì jǐ yǔ bié rén wò shǒu， bìng qiě jiè shào zì jǐ míng jiào lì lì de qíng jǐng， dàn jué dé hǎo xiàng hěn bù duì jìn， xiàng shì bié rén zài zì wǒ jiè shào yī bān。
tā tiào qǐ lái， zǒu jìn yù shì， shǒu lǐ ná zhe nà fēng qí guài de xìn。 tā zhàn zài jìng zǐ qián miàn， níng shì zhe zì jǐ de yǎn jīng。“ wǒ de míng zì jiào lì lì。” tā shuō。
jìng zhōng de nǚ hái què lián yǎn jīng yě bù zhǎ yī xià。 wú lùn sū fěi zuò shí me， tā dū yǐ yàng huà hú lú。 sū fěi fēi kuài dì zuò liǎo yī gè dòng zuò， xiǎng shǐ jìng zhōng de yǐng xiàng zhuī gǎn bù jí， dàn nà gè nǚ hái què hé tā yī bān de mǐn jié。
“ nǐ shì shuí？” sū fěi wèn。
jìng zhōng de rén yě bù huí dá。 yòu yī chà nà， tā jué dé mí huò， nòng bù qīng chǔ gāng cái wèn wèn tí de dào dǐ shì tā， hái shì jìng zhōng de yǐng xiàng。
sū fěi yòng shí zhǐ diǎn zhe jìng zhōng de bí zǐ， shuō：“ nǐ shì wǒ。”
duì fāng yǐ jiù méi yòu fǎn yìng。 yú shì tā jiāng jù zǐ diān dǎo guò lái， shuō：“ wǒ shì nǐ。”
《 sū fěi de shì jiè》 [ shū jí ]- shū píng
jiǎ dé zhè běn guān yú zhé xué shǐ de xiǎo shuō kě wèi shì kōng qián de， tā zài cì yòng shì shí zhèng míng liǎo zhé xué bìng bù shì tuō lí xiàn shí de xué yuàn rén shì zài xiàng yá tǎ lǐ suǒ xiě de dōng xī。 --《 dé yì zhì xīng qī rì huì bào》
gāi shū shì yī gè jiāng xué shù zuò pǐn tōng sú huà de jié chū fàn lì， wèi céng xiū xí zhé xué gài lùn de rén， kě yǐ bǎ tā zuò wéi yī běn zuì jiā de rù mén dú wù， ér xué xí guò cǐ mén kè chéng dàn yǐ wàng què dà bàn de rén， běn shū zé shì wēn gù 'ér zhī xīn de dé lì zhī zuò。 -- měi guó《 xīn wén zhōu kān》
nuó wēi zuò jiā qiáo sī tǎn · jiǎ dé bù jǐn wén bǐ zhuó 'ěr bù qún， tóng shí yòu duō nián dān rèn zhé xué jiào shī de jīng lì，《 sū fěi de shì jiè》 yī shū yòu zhù yú shǐ dú zhě yǐ yuè dú zhēn tàn xiǎo shuō bān de xīn qíng yóu lǎn cóng bólātú yǐ qián yī zhí dào２０ shì jì de shì jiè zhé xué shǐ， ér sī háo bù chǎn shēng rèn hé kū zào yàn fán de gǎn jué。 -- zhù míng zuò jiā yǔ píng lùn jiā mǎ dé lán · lán gé 'ěr
zhé xué bù shì wàn líng dān， dàn shì cóng lái bù qù liú yì“ àihào zhì huì” de zhòng yào yǔ qián rén de xīn dé， nà me zhù dìng huì xiàn yú xīn líng fēng bì yǔ zhōng jié。 zhè huò xǔ shì běn shū guǎng shòu huān yíng de yuán yīn bā wèile shǐ rén cóng kùn huò dào jué wù， běn shū tí gōng liǎo yī zhǎn míng dēng。 -- zhé xué jiào shòu fù pèi zhū
《 sū fěi de shì jiè》 kě yǐ dàngzuò zhé xué qǐ méng shū lái yuè dú。 tā de xiǎo shuō bù fēn， sū fěi de zhù tǐ zì jué guò chéng zé pō xiàng zhēn tàn gù shì jiā shàng xiàn dài bǎn de héng héng héng héng《 ài lì sī mèng yóu xiān jìng》， zhé xué jiā zhēn tàn， jiā huàn xiǎng， zài jiā shàng yǔ zhòu guān， tā ràng rén gèng jiā xīn xiōng kāi kuò， zhè bù zhèng shì zhé xué“ ài zhì” zuì gǔ diǎn de yào yì má zhī míng zuò jiā nán fāng shuò
zhè běn shū de liú xíng yòu qí zhòng yào xìng， wǒ men kě yǐ cóng hǎo jǐ fāng miàn lái kàn。 quán shū suī fēi xué shù xìng zhù zuò， dàn tā shì yī běn hàn wèi zhé xué de shū， zhèng yīn wéi qí dà zhòng huà， tā yě jiù dài biǎo liǎo“ dà duō shù rén de kàn fǎ”。 zhè běn shū bù shì zài tàn tǎo zhé xué shàng de mǒu yī tè bié sī cháo huò lì shǐ， ér shì cháng shì duì měi yī pài bié zuò gài lùn shì de jiè shào， bìng shuō míng tā zài jīn rì de dì wèi。 kě yǐ shuō shì yī běn jí“ xué shù jiè yī bān kàn fǎ de zhāi yào lù”。 yīn cǐ， zhè běn shū biǎo dá liǎo dāng jīn zhī shí fènzǐ de lì chǎng。
jiǎ rú《 sū fěi de shì jiè》 dài biǎo zhe zhù liú zhī shí fènzǐ de zhé xué guān diǎn， tā suǒ biǎo dá de yě jí yǐn rén zhù mù。 zhè běn shū duì zhēn shí de zhé xué jǐyǔ jí chóng gāo de píng jià： pī pàn de、 lǐ xìng de hé gōng zhèng de píng lùn； qù chú piān jiàn、 mí xìn hé guàn lì； bù zuò cāng cù hé qīng shuài de pàn duàn， yī yì zhuī qiú zhēn lǐ、 zhī shí、 měi shàn hé dào dé。
Mostly consisting of dialogues between Sophie Amundsen and a mysterious man named Alberto Knox, interwoven with an increasingly bizarre and mysterious plot, Sophie's World acts as both a novel and a basic guide to philosophy.
Plot summary
Sophie Amundsen is fourteen years old when the book begins. She begins a strange correspondence course in philosophy. Every day, a letter comes to her mailbox that contains a few questions and then later in the day a package comes with some typed pages describing the ideas of a philosopher who dealt with the issues raised by the questions. Although at first she does not know, later on Sophie learns that Alberto Knox is the name of the philosopher who is teaching her. He sends her packages via his dog Hermes. Alberto first tells Sophie that philosophy is extremely relevant to life and that if we do not question and ponder our very existence we are not really living. Then he proceeds to go through the history of western philosophy. Alberto teaches Sophie about the ancient myths that people had in the days before they tried to come up with natural explanations for the processes in the world. Then she learns about the natural philosophers who were concerned with change. Next Alberto describes Democritus and the theory of indivisible atoms underlying all of nature as well as the concept of fate.
At the same time as she takes the philosophy course, Sophie receives a strange postcard sent to Hilde Møller Knag, care of Sophie. The postcard is from Hilde's father and wishes Hilde happy birthday. Sophie is confused, and more so when she finds a scarf with Hilde's name on it. She does not know what is happening but she is sure that Hilde and the philosophy course must somehow be connected. She learns about Socrates, who was wise enough to know that he knew nothing. Then Alberto sends her a video that shows him in present day Athens and somehow he seems to go back in time to ancient Athens. She learns about Plato and his world of ideas and then about Aristotle, who critiqued Plato, classified much of the natural world, and founded logic and our theory of concepts.
Then, as Sophie's education continues, the Hilde situation begins to get more complicated. She finds many more postcards to Hilde, and some of them are even dated on June 15, the day Sophie will turn 15. The problem is that June 15 is still over a month away. She discovers some of this with her best friend Joanna, and one of the postcards tells Hilde that one day she will meet Sophie and also mentions Joanna. Strange things are happening that the girls cannot figure out. Sophie's relationship with her mother becomes somewhat strained as she tries both to cover up the correspondence with Alberto and to practice her philosophical thinking on her mom. Meanwhile, Alberto teaches Sophie about Jesus and the meeting of Indo-European and Semitic culture. She learns about St. Augustine, St. Aquinas, and the christianization of Greek philosophy that occurred in the Middle Ages. By this time, Sophie has met Alberto and he begins hinting that the philosophy is about to get extremely relevant to the strange things that are happening to her.
Sophie learns about the focus on humanity in the Renaissance and the extremes of the Baroque and then Alberto focuses on some key philosophers. Urgently, he teaches her about Descartes, who doubted, and by doing so knew at least that he could doubt. They move on to Spinoza as it becomes clear that Hilde's father has some awesome power over them. Then Sophie learns about the empiricists. Locke believed in natural rights and that everything we know is gained from experience. Hume, an important influence on Kant, showed that our actions are guided by feelings and warned against making laws based upon our experiences. But Berkeley is most important to Sophie because he suggested that perhaps our entire lives were inside the mind of God. And Alberto says that their lives are inside the mind of Albert Knag, Hilde's father.
At this point the story switches to Hilde's point of view. On June 15, the day she turns fifteen, Hilde receives a birthday gift from her father entitled Sophie's World. She begins to read and is enthralled. We follow the rest of Sophie's story from Hilde's perspective. Hilde becomes certain that Sophie exists, that she is not just a character in a book. Alberto has a plan to escape Albert Knag's mind, and they must finish the philosophy course before that can happen. He teaches Sophie about the Enlightenment and its humane values and about Kant and his unification of empiricist and rationalist thought. Things in Sophie's life have become completely insane but she and Alberto know they must figure out a way to do something. It will have to occur on the night of June 15, when Hilde's father returns home. They learn about the world spirit of Romanticism, Hegel's dialectical view of history, and Kierkegaard's belief that the individual's existence is primary. Meanwhile, Hilde plans a surprise for her father on his return home. They rush through Marx, Darwin, Freud, and Sartre, desperate to come up with a plan to escape even though everything they do is known by Hilde's father. Then at the end of Sophie's World, the book that Hilde is reading, while at a party for Sophie on June 15, Alberto and Sophie disappear. Hilde's father comes home and they talk about the book, and Hilde is sure that Sophie exists somewhere. Meanwhile, Sophie and Alberto have a new existence as spirit. They have escaped from Albert Knag's mind but they are invisible to other people and can walk right through them. Sophie wants to try to interfere in the world of Hilde and her father, and at the end of the book she is learning how to do so.
《 biàn xíng jì》（ dé yǔ DieVerwandlung， yīng yǔ TheMetamorphosis） shì kǎ fū kǎ de duǎn piān xiǎo shuō dài biǎo zuò zhī yī , shì kǎ shì yì shù shàng de zuì gāo chéng jiù， bèi rèn wéi shì 20 shì jì zuì wěi dà de xiǎo shuō zuò pǐn zhī yī。 zài xī fāng xiàn dài xiǎo shuō shǐ shàng zhàn yòu zhòng yào dì wèi . xiǎo shuō xiě rén biàn chéng dòng wù , gù shì shén mì lí qí。《 biàn xíng jì》 zuò wéi xī fāng xiàn dài pài wén xué de diàn jī zhī zuò， yě shì kǎ fū kǎ yě bèi gōng rèn wéi xiàn dài pài de bí zǔ de zhòng yào zuò pǐn zhī yī， duì hòu lái de xiàn dài zhù yì fā zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng， kě yǐ shuō 'èr zhàn hòu de 'ōu zhōu xīng qǐ de“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” hé měi guó de“ hēi sè yōu mò” xiǎo shuō dū shòu dào liǎo kǎ fū kǎ de qǐ fā。 zhù rén gōng gé lǐ gāo 'ěr shì gè xiǎo rén wù。 fù qīn pò chǎn， mǔ qīn shēng bìng， mèi mèi shàng xué。 chén zhòng de jiā tíng fù dān hé fù qīn de zhài wù， yā dé gé lǐ gāo 'ěr chuǎn bù guò qì lái。 tā pīn mìng gànhuó， mù de shì hái qīng fù zhài， gǎi shàn jiā tíng shēng huó。 zài gōng sī， tā shòu lǎo bǎn de qì， zhǐ wàng hái qīng fù zhài hòu cí zhí。 kě yǐ shuō， duì fù mǔ tā shì gè xiào zǐ， duì mèi mèi tā shì gè hǎo gē gē， duì gōng sī tā shì gè hǎo zhí yuán。 biàn chéng jiá chóng， shēn tǐ yuè lái yuè chā， tā hái wéi hái qīng fù zhài dān yōu， hái juàn liàn jiā rén， shèn zhì wéi tǎo fù qīn huān xīn， zì jǐ jiān nán dì guāi guāi pá huí wò shì。 zhè yàng shàn liáng、 zhōng hòu 'ér yòu fù yòu zé rèn gǎn de rén， zuì zhōng bèi qīn rén pāo qì。 gé lǐ gāo 'ěr de bēi jù shì lìng rén xīn suān de， jù yòu fēng fù de shè huì nèi hán。
《 biàn xíng jì》 - zuò zhě jiǎn jiè
fú lán cí · kǎ fū kǎ fú lán cí · kǎ fū kǎ
fú lán cí · kǎ fū kǎ（ FranzKafka， 1883 nián 7 yuè 3 rì héng 1924 nián 6 yuè 3 rì）， ào dì lì xiǎo shuō jiā， 20 shì jì dé yǔ xiǎo shuō jiā。 wén bǐ míng jìng 'ér xiǎng xiàng qí guǐ， cháng cǎi yòng yù yán tǐ , bèi hòu de yù yì rén yán rén shū， zàn wú（ huò yǒng wú） dìng lùn。
kǎ fū kǎ tā shì yī wèi yòng dé yǔ xiě zuò de yè yú zuò jiā， tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè， ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 kǎ fū kǎ shēng qián mò mò wú wén， gū dú dì fèn dǒu， suí zhe shí jiān de liú shì， tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí， zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng， bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè， jīng jiǔ bù shuāi。
hòu shì de pī píng jiā， wǎng wǎng guòfèn qiáng diào kǎ fū kǎ zuò pǐn yīn 'àn de yī miàn， hū shì qí míng lǎng、 fēng qù de dì fāng， mǐ lán · kūn dé lā zài《 bèi bèi pàn de yí zhǔ》（ Lestestamentstrahis） zhòngshì tú jiū zhèng zhè yī diǎn。 qí shí jù bù láo dé de huí yì， kǎ fū kǎ xǐ huān zài péng yǒu miàn qián lǎng dú zì jǐ de zuò pǐn， dú dào dé yì de duàn luò shí huì rěn jùn bù jìn， zì jǐ dà xiào qǐ lái。
kǎ fū kǎ yī shēng de zuò pǐn bìng bù duō， dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 měi guó shī rén 'ào dēng rèn wéi：“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng， gè rén shì de、 yōu yù de、 gū dú de qíng xù， yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 sān sì shí nián dài de chāo xiàn shí zhù yì yú dǎng shì zhī wéi tóng rén， sì wǔ shí nián dài de huāng dàn pài yǐ zhī wéi xiān qū， liù shí nián dài de měi guó” hēi sè yōu mò“ fèng zhī wéi diǎn fàn。
kǎ fū kǎ 1909 nián kāi shǐ fā biǎo zuò pǐn， 1915 nián yīn duǎn piān xiǎo shuō《 sī lú gōng》 huò féng tǎ nà dé guó wén xué jiǎng jīn。 kǎ fū kǎ chuàng zuò qín fèn， dàn bìng bù yǐ fā biǎo、 chéng míng wéi mùdì。 gōng zuò zhī yú de chuàng zuò shì tā jì tuō sī xiǎng gǎn qíng hé pái qiǎn yōu yù kǔ mèn de shǒu duàn。 xǔ duō zuò pǐn suí yì xiě lái， bìng wú jié wěi， tā duì zì jǐ de zuò pǐn yě duō wéi bù mǎn， lín zhōng qián ràng zhì yǒu bù luò dé quán bù shāo huǐ qí zuò pǐn。 bù luò dé chū yú yǒu yì yǔ chóng jìng zhī qíng， wéi bèi liǎo kǎ fū kǎ yí yuàn， zhěng lǐ chū bǎn liǎo《 kǎ fū kǎ quán jí》（ 1950 héng 1980） gòng jiǔ juàn。 qí zhōng bā juàn zhōng de zuò pǐn shì shǒu cì kān chū， yǐn qǐ wén tán hōng dòng。
《 biàn xíng jì》 - nèi róng jiǎn jiè
bèi jǐng
1914 nián zhì 1918 nián de dì yī cì shì jiè dà zhàn， shǐ xǔ duō zī běn zhù yì guó jiā jīng jì xiāo tiáo， shè huì dòng dàng， rén mín shēng huó zài shuǐ shēn huǒ rè zhī zhōng。 hēi 'àn de xiàn shí， tòng kǔ de shēng huó， shǐ dé rén men duì zī běn zhù yì shè huì shī qù xìn xīn， yī fāng miàn xún qiú chū lù， ruì yì gǎi gé， yī fāng miàn yòu xiàn yú gū dú、 tuí fèi、 jué wàng zhī zhōng。 19 shì jì mò zhì 20 shì jì chū， yī xiē sī xiǎng mǐn ruì de yì shù jiā rèn wéi shì jiè shì hùn luàn de、 huāng dàn de， tā men zhù shū lì shuō， pī pàn zī běn zhù yì de rén jì guān xì， pī pàn cuī cán rén xìng de shè huì zhì dù。 dì yī cì shì jiè dà zhàn qián hòu hé dì 'èr cì shì jiè dà zhàn qián hòu， xiàn dài zhù yì wén xué yìng yùn 'ér shēng。 xiàn dài zhù yì wén xué zuò pǐn fǎn yìng liǎo zī běn zhù yì shè huì de hēi 'àn， rén hé rén zhī jiān guān xì de lěng kù， rén duì shè huì de jué wàng。 yì shù shàng qiáng diào shǐ yòng jí dù kuā zhāng yǐ zhì guài dàn lí qí de biǎo xiàn shǒu fǎ， miáo huì niǔ qū de rén xìng， biǎo xiàn rén de běn néng hé wú yì shí de zhù guān gǎn shòu， kāi jué gè rén de zhí jué、 běn néng、 wú yì shí、 mèng huàn、 biàn tài xīn lǐ yǐ zhì bàn fēng kuáng、 fēng kuáng de yán xíng、 xīn lǐ。 xiàn dài zhù yì de yōu xiù wén xué zuò pǐn tàn suǒ rén de xīn líng， wéi jiē shì rén de nèi xīn shì jiè tí gōng liǎo xīn de yì shù shǒu fǎ。
nèi róng
xiǎo shuō xiě rén biàn chéng dòng wù , gù shì shén mì lí qí： zài《 biàn xíng jì》 zhōng， zhí yè wéi tuī xiāo yuán de zhù rén wēng yī jué xǐng lái， fā xiàn zì jǐ biàn chéng liǎo yī zhǐ jù dà de tiào zǎo。
yī tiān zǎo chén , gé lǐ gāo 'ěr cóng mèng zhōng xǐng lái shí fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng , quán shēn cháng chū liǎo xǔ duō zhǐ xì dé kě lián de xiǎo tuǐ , jiān yìng dé xiàng tiě jiá yī yàng de bèi tiē zhe chuáng 'ér yǎng wò zhe , bù néng fān shēn , yě xià bù liǎo chuáng . dàn tā bì xū qǐ lái。 tā yào jìng qiǎo qiǎo bù shòu dǎ rǎo dì qǐ chuáng , chuān qǐ yī fú , zuì yào jǐn de shì chī bǎo zǎo fàn , zài kǎo lǜ xià yī bù gāi zěn me bàn , yīn wéi tā fēi cháng míng bái , duǒ zài chuáng shàng xiā xiǎng yī qì shì xiǎng bù chū shénme míng táng de . tā hái jì dé guò qù yě shì yīn wéi shuì jué zī shì bù hǎo , tǎng zài chuáng shàng shí wǎng wǎng huì jué dé zhè 'ér nà 'ér yǐn yǐn zuò tòng , jí zhì qǐ lái , jiù zhī dào chún shǔ xīn lǐ zuò yòng , suǒ yǐ tā yīn qiē dì pàn wàng jīn tiān zǎo chén de huàn jué huì zhú jiàn xiāo shì。 gé lǐ gāo 'ěr , suī rán rén jǐ ' wù huà ' wéi chóng zǐ , dàn tā hái cún zài rén de sī wéi , hái yào xiàng zhèng cháng rén yī yàng shēng huó hé sī kǎo . yóu yú dān xīn gǎn bù shàng wǔ diǎn zhōng de huǒ chē . gé lǐ gāo 'ěr xīn qíng jì jiāo jí yòu kǒng huāng , yòu shēng pà gōng sī lái rén , zì jǐ zhè zhǒng miàn mù rú hé jiàn rén ! tā jié lì zhēngzhá。 gé lǐ gāo 'ěr màn màn dì bǎ yǐ zǐ tuī xiàng mén biān , jiē zhe biàn fàng kāi yǐ zǐ , zhuā zhù mén lái zhī chēng zì jǐ héng héng tā nà xiē xì tuǐ de jiǎo dǐ shàng dǎo shì pō yòu nián xìng de。 tā zài mén shàng kào liǎo yī huì 'ér , chuǎn guò yī kǒu qì lái . jiē zhe tā shǐ yòng zuǐ bā zhuàndòng chā zài suǒ kǒng lǐ de yàoshì . bù xìng de shì , tā bìng méi shénme yá chǐ。 tā dé yòng shénme lái yǎo zhù yàoshì ní？ yàoshì xū yào zhuàndòng shí , tā biàn yòng zuǐ bā xián zhù tā , zì jǐ yě rào zhe suǒ kǒng zhuǎn liǎo yī juàn , hǎo bǎ yàoshì niǔ guò qù , huò zhě bù rú shuō , shǐ yòng quán shēn de zhòng liàng shǐ tā zhuàndòng . zhōng yú qū fú de suǒ fā chū liǎo xiǎng liàng de kǎ tǎ yī shēng , shǐ gé lǐ gāo 'ěr dà wéi gāo xīng ······
《 biàn xíng jì》 - qíng jié hé zhù tí
《 biàn xíng jì》 chuàng zuò yú 1912 nián， fā biǎo yú 1915 nián。 xiǎo shuō fēn chéng sān bù fēn， yòng yī、 èr、 sān biāo míng。 kè wén jié xuǎn liǎo yuán xiǎo shuō de yī bàn nèi róng。
dì yī bù fēn
gé lǐ gāo 'ěr fā xiàn zì jǐ biàn chéng“ jù dà de jiá chóng”， jīng huāng 'ér yòu yōu yù。 fù qīn fā xiàn hòu dà nù， bǎ tā gǎn huí zì jǐ de wò shì。
dì 'èr bù fēn
gé lǐ gāo 'ěr biàn liǎo， yǎng chéng liǎo jiá chóng de shēng huó xí xìng， què bǎo liú liǎo rén de yì shí。 tā shī yè liǎo， réng jiù guān xīn zěn yàng hái qīng fù qīn qiàn de zhài wù， sòng mèi mèi shàng yīnyuè xué yuàn。 kě shì， yī gè yuè hòu， tā chéng liǎo quán jiā de léizhuì。 fù qīn、 mǔ qīn、 mèi mèi duì tā gǎi biàn liǎo tài dù。
dì sān bù fēn
wèile shēng cún， jiā rén zhǐ dé dǎ gōng zhèng qián， rěn shòu bù liǎo gé lǐ gāo 'ěr zhè gè fù dān。 mèi mèi zhōng yú tí chū bǎ gē gē nòng zǒu。 gé lǐ gāo 'ěr yòu 'è yòu bìng， xiàn rù jué wàng，“ tā huái zhe shēn qíng hé 'ài yì xiǎng tā de yī jiā rén”，“ rán hòu tā de tóu jiù zì jǐ chuí dǎo zài dì bǎn shàng， tā de bí kǒng hū chū liǎo zuì hòu yī sī qì xī”， sǐ liǎo。 fù qīn、 mǔ qīn hé mèi mèi kāi shǐ guò zhe zì jǐ yǎng huó zì jǐ de xīn shēng huó。
qíng jié de fā zhǎn yóu liǎng tiáo xiàn suǒ jiāo hù zhǎn kāi：
gé lǐ gāo 'ěr： biàn chéng jiá chóng héng héng chéng wéi léizhuì héng héng jué wàng 'ér sǐ
jiā lǐ qīn rén： jīng huāng、 tóng qíng héng héng zhú jiàn zēng hèn héng héng“ bǎ tā nòng zǒu”
gé lǐ gāo 'ěr zì shǐ zhì zhōng guān xīn jiā tíng、 huái liàn qīn rén， kě shì qīn rén zuì zhōng pāo qì liǎo tā， duì tā de sǐ wú dòng yú zhōng， ér qiě jué dìng qù jiāo yóu。
zuò zhě miáo xiě zhè zhǒng rén qíng fǎn chā， jiē shì liǎo dāng shí shè huì shēng huó duì rén de yì huà， zhì shǐ qīn qíng dàn bó， rén xìng niǔ qū。《 biàn xíng jì》 de zhù tí jù yòu qiáng liè de pī pàn xìng。 kǎ fū kǎ chuàng zuò de wén xué zuò pǐn de zhù tí， bù tóng de dú zhě cóng bù tóng de jiǎo dù， huì yòu bù tóng de tǐ yàn hé lǐ jiě。 yòu rén rèn wéi《 biàn xíng jì》 de zhù tí shì： biǎo xiàn rén duì zì jǐ mìng yùn de wú néng wéi lì， rén shī qù zì wǒ jiù chǔyú jué jìng。 yě yòu rén rèn wéi， gé lǐ gāo 'ěr biàn chéng jiá chóng， wú lì yú rén， zì xíng sǐ wáng； yī jiā rén chóngxīn gōng zuò， zǒu xiàng xīn shēng huó； cún zài jiù shì hé lǐ， shēng huó guī lǜ shì wú qíng de。
《 biàn xíng jì》 - rén wù hé xīn lǐ miáo xiě
zhù rén gōng gé lǐ gāo 'ěr shì gè xiǎo rén wù。 fù qīn pò chǎn， mǔ qīn shēng bìng， mèi mèi shàng xué。 chén zhòng de jiā tíng
《 biàn xíng jì》《 biàn xíng jì》
fù dān hé fù qīn de zhài wù， yā dé gé lǐ gāo 'ěr chuǎn bù guò qì lái。 tā pīn mìng gànhuó， mù de shì hái qīng fù zhài， gǎi shàn jiā tíng shēng huó。 zài gōng sī， tā shòu lǎo bǎn de qì， zhǐ wàng hái qīng fù zhài hòu cí zhí。 kě yǐ shuō， duì fù mǔ tā shì gè xiào zǐ， duì mèi mèi tā shì gè hǎo gē gē， duì gōng sī tā shì gè hǎo zhí yuán。 biàn chéng jiá chóng， shēn tǐ yuè lái yuè chā， tā hái wéi hái qīng fù zhài dān yōu， hái juàn liàn jiā rén， shèn zhì wéi tǎo fù qīn huān xīn， zì jǐ jiān nán dì guāi guāi pá huí wò shì。 zhè yàng shàn liáng、 zhōng hòu 'ér yòu fù yòu zé rèn gǎn de rén， zuì zhōng bèi qīn rén pāo qì。 gé lǐ gāo 'ěr de bēi jù shì lìng rén xīn suān de， jù yòu fēng fù de shè huì nèi hán。
xiǎo shuō yòng xīn lǐ miáo xiě de fāng fǎ kè huà gé lǐ gāo 'ěr zhè gè rén wù。 gé lǐ gāo 'ěr guò qù de shēng huó、 biàn jiá chóng hòu de sī xiǎng gǎn qíng hé gè xìng tè diǎn， dōushì tōng guò xīn lǐ miáo xiě biǎo xiàn chū lái de。
xiǎo shuō yòng xǔ duō bǐ mò xiě liǎo biàn xíng hòu gé lǐ gāo 'ěr bēi 'āi qī kǔ de nèi xīn shì jiè， gé lǐ gāo 'ěr suī rán biàn chéng liǎo jiá chóng， dàn tā de xīn lǐ shǐ zhōng bǎo chí zhe rén de zhuàng tài， tā tū rán fā xiàn zì jǐ biàn chéng dà jiá chóng shí de jīng huāng、 yōu yù， tā kǎo lǜ jiā tíng jīng jì zhuàng kuàng shí de jiāo lǜ、 zì zé， tā zāo qīn rén yàn qì hòu de jué wàng、 tòng kǔ， wú bù zhǎn shì liǎo yī gè shàn liáng、 zhōng hòu、 fù yòu zé rèn gǎn de xiǎo rén wù kě wàng rén de lǐ jiě hé jiē shòu de xīn lǐ。 zhǐ shì zhè zhǒng yuàn wàng zhōng yú bèi chè dǐ de jué wàng suǒ dài tì， mí màn zài rén wù xīn tóu de shì wú biān de gū dú、 lěng mò yǔ bēi liáng。 yīnggāi shuō，《 biàn xíng jì》 de nèi zài zhù xiàn jiù shì gé lǐ gāo 'ěr biàn chéng jiá chóng hòu de xīn lǐ héng qíng gǎn liú dòng de guò chéng， zhù rén gōng biàn chéng jiá chóng hòu de nèi xīn gǎn shòu hé xīn lǐ huó dòng shì xiǎo shuō de zhù tǐ。 xiǎo shuō yòng nèi xīn dú bái、 huí yì、 lián xiǎng、 huàn xiǎng děng shǒu fǎ， qù biǎo xiàn rén wù de xīn lǐ huó dòng。 tā bù duàn dì huí yì、 lián xiǎng guò qù hé jīn hòu de shì qíng， bù shí yóu yú kǒng jù jiāo lǜ、 tòng kǔ hé jué wàng 'ér chǎn shēng huàn xiǎng、 huàn jué， bìng qiě zài zì yóu lián xiǎng zhōng jīng cháng chū xiàn shí kōng dǎo cuò、 luó ji hùn luàn、 sī wéi tiào yuè děng， jù yòu yī dìng de yì shí liú tè zhēng。
《 biàn xíng jì》 - píng jià
biǎo xiàn zhù yì
kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”， jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù， ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de， ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn， bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ， yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí， cóng 'ér yǐn qǐ nǐ de jīng yì， pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”， zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí（ huò“ mò shēng huà”） jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè， nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì； zhī suǒ yǐ qīn qīn rè rè， yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe， yī dàn gē duàn zhè zhǒng guān xì， zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de：“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài， ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。
dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng， měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu， tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。 dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng， shī qù liǎo gōng sī lǐ de zhí wù， yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu， tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng， shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。 tā biàn chéng“ fēi rén”， tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán， rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén， tā yòu kǒu huì shuō huà， yòu yǎn jīng huì kàn rén， nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn， huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng， jì bù huì shuō huà， yě méi yòu biǎo qíng， tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo héng héng yǐ shàng shì cóng shè huì xué guān diǎn qù kàn de。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn， zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng， kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de， dàn yǔ mǔ qīn guān xì shì zhèng cháng de， yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō：“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men： jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē， dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng， jiǔ 'ér jiǔ zhī， tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ， kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng， yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu， rén de xí xìng jiàn jiàn xiāo shī， ér“ chóng xìng” rì yì zēng jiā， fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu， dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
zài rén yǔ rén zhī jiān hái méi yòu qǔ dé hé xié guān xì de shì jiè lǐ， rén de biàn xíng yě shì yī zhǒng xiàng zhēng， yī qiē dǎo méi rén de xiàng zhēng： rén yī dàn zāo yù bù xìng（ sàng shī gōng zuò néng lì de jí bìng、 shāng cán、 zhèng zhì xí jī děng）， tā jiù bù zài bèi shè huì chéng rèn， cóng 'ér shī qù zuò wéi rén de jià zhí de“ zì wǒ”， chéng wéi wú yì yú dī děng dòng wù de“ fēi rén”。
zài xiàn dài yì shù chuàng zuò zhōng， biàn xíng shì yī zhǒng guài dàn de biǎo xiàn shǒu duàn， shì yī zhǒng chuàng zào“ jù lí” huò“ mò shēng huà” de jì qiǎo。 àn zhào měi guó měi xué jiā sāng tǎ nà nà de shuō fǎ， guài dàn yě shì yī zhǒng chuàng zào； tā wéi bèi kè guān shì wù de biǎo miàn zhēn shí， què bìng bù wéi bèi kè guān shì wù de nèi zài luó ji， yīn cǐ tā yǐ jìn rù xiàn dài měi xué de fàn chóu， chéng wéi biǎo xiàn zhù yì wén xué yì shù piān 'ài de yī zhǒng shǒu fǎ。 biǎo xiàn zhù yì wén xué chuàng zuò qiáng diào cóng zhù guān de nèi xīn gǎn shòu chū fā， zuò pǐn wǎng wǎng jù yòu yī zhǒng gè rén de zhēn shí xìng， zhè zài kǎ fū kǎ bǐ xià chéng xiàn wéi zìzhuàn sè cǎi。 bù jǐn zhù rén gōng de shēn fèn（ gōng sī gù yuán） hé xīn lǐ（ zuò wéi zhǎngzǐ bì xū jìn jiā tíng yì wù） yǔ zuò zhě jìn sì， qí tā rén wù rú fù qīn、 mǔ qīn hé mèi mèi jīhū dōukě yǐ yǔ kǎ fū kǎ de jiā tíng chéng yuán jìn xíng bǐ jiào。
nèi hán
《 biàn xíng jì》 zhè gè gù shì biǎo miàn kàn lái huāng dàn bù jīng， shí zé yùn hán liǎo fēng fù 'ér shēn kè de nèi róng， zhù yào bāo kuò yǐ xià fāng miàn：
1、 shǒu xiān， tā zhēn shí dì biǎo xiàn liǎo xī fāng xiàn dài zī běn zhù yì shè huì lǐ rén de yì huà . zài xī fāng xiàn dài zī běn zhù yì shè huì rén ( lì rú jīn qián , jī qì , chǎn pǐn , shēng chǎn fāng shì děng ) suǒ qū shǐ， suǒ xié pò， suǒ tǒng zhì 'ér bù néng zì zhù , chéng wéi wù de nú lì， jìn 'ér shī qù rén de běn xìng， biàn wéi fēi rén .。《 biàn xíng jì》 zhù rén gōng lǐ gāo 'ěr de gù shì zhèng shì rén yì huà wéi fēi rén zhè yī zhé xué shēng cún xiàn zhuàng .。
2、 qí cì， zuò pǐn hái biǎo xiàn liǎo zài xiàn dài shè huì lǐ rén de yī zhǒng shēng cún kǒng jù。 rén biàn jiá chóng， zài zhè lǐ xiàng zhēng zhe mò míng qí miào de jù dà zāinàn de jiàng lín， zhè zhǒng rén bù néng zhǎng wò zì jǐ mìng yùn de gǎn jué biǎo xiàn liǎo xiàn dài xī fāng rén de mǒu zhǒng jīng shén zhuàng tài， yóu qí shì jìn rù 20 shì jì yǐ hòu， liǎng cì shì jiè dà zhàn de zāinàn， zhōu qī xìng de jīng jì wēi jī， chāo jí dà guó de jūn bèi jìng sài， hé zhàn zhēng de wēi xié， huán jìng wū rǎn hé zì rán jiè shēng tài píng héng de pò huài， zhè yī qiē shǐ rén men duì wèi lái de mìng yùn chǔyú yī zhǒng bù kě zhī de kǒng jù zhuàng tài zhī zhōng。《 biàn xíng jì》 zhōng gé lǐ gāo 'ěr de mìng yùn zhèng fǎn yìng liǎo zhè zhǒng jīng shén zhuàng tài běn zhì de dōng xī。
3、 zài cì，《 biàn xíng jì》 hái biǎo xiàn liǎo xiàn dài shè huì zhōng rén yǔ rén zhī jiān de lěng mò guān xì。 xiǎo shuō xiáng xì de miáo xiě liǎo jiā rén duì tā cóng guān xīn dào yàn 'è dào bì yù zhì qí yú sǐ dì de guò chéng， zhè yī guò chéng shí jì shàng shì xī wàng tā huī fù zuàn qián de néng lì dào chè dǐ jué wàng de guò chéng。 zhè shì yī gè wèijiā tíng fèng xiàn liǎo yī qiē， què yóu yú shī qù liǎo yuán yòu de jià zhí 'ér bèi jiā tíng pāo qì de xiǎo rén wù de bēi jù， zhè lèi bēi jù zài rén qíng lěng mò de xiàn dài shè huì lǐ bìng bù hǎn jiàn。
zuò pǐn chuàng zào de yì shù shì jiè， hán gài sī xiǎng nèi róng hé yì shù xíng shì liǎng gè fāng miàn， shì nèi róng hé xíng shì de yòu jī tǒng yī。 jiù sī xiǎng 'ér yán， jiào wéi qū zhé dì fǎn yìng liǎo zī běn zhù yì shè huì de zhǒng zhǒng bì duān， jiāng huāng táng、 rén xìng yì huà kàn zhe tè dìng lì shǐ tiáo jiàn xià rén lèi shè huì bù kě bì miǎn de xiàn xiàng， fù yú zuò pǐn yǐ nóng hòu de xū wú zhù yì hé bēi guān zhù yì qíng diào ; jiù yì shù 'ér yán , shàn yú yùn yòng guài dàn hé xiàng zhēng de biǎo xiàn shǒu fǎ， tè bié shì yòng fù yòu biǎo xiàn lì de shǒu fǎ qù biǎo xiàn chōu xiàng de sī xiǎng gǎn qíng。
shòu cún zài zhù yì xué shuō de yǐng xiǎng， zuò pǐn shēn kè fǎn yìng liǎo shì jì mò qíng xù， biǎo xiàn liǎo rén de gū dú yǔ kǒng jù， zhǎn shì zài rén men miàn qián de shì huāng dàn de shì jiè hé yì huà de zhù tí , xíng chéng liǎo dú chí de“ kǎ fū kǎ shì” yì shù fēng gé hé sī xiǎng nèi róng。 tè bié shì kǎ fū kǎ duì biǎo xiàn zhù yì shǒu fǎ yùn yòng zì rú , dá dào dēng fēng zào jí zhī jìng jiè。 qí zuò pǐn wǎng wǎng yù huāng dàn yú zhēn shí zhī zhōng， róng huàn xiǎng hé guài dàn yú yī tǐ， huò miáo xiě rén yǔ“ fēi rén” de rén yòu jī pèng zhuàng ; huò zhí zhù yú jīng shén céng miàn de bù kě yú yuè， zhēn lǐ de bù kě xún qiú， huò jì yù xiàng zhēng xíng xiàng de sù zào lái zhǎn xiàn rén wù de tòng kǔ hé kùn huò děng děng， gòu jiàn liǎo“ kǎ fū kǎ shì” yì shù fēng gé de měi xué gài niàn。
《 biàn xíng jì》 - shì rén xīn zhōng díkǎ fū kǎ yǔ《 biàn xíng jì》
kǎ fū kǎ shì xiàn dài zhù yì wén xué de kāi shān zǔ shī，《 biàn xíng jì》 shì tā de dài biǎo zuò pǐn zhī yī。 rú guǒ nǐ xiǎng liǎo jiě xiàn dài zhù yì wén xué， zuì hǎo de bàn fǎ jiù shì cóng fǎn fù yuè dú《 biàn xíng jì》 kāi shǐ。
zài běn shū zhōng kǎ fū kǎ miáo shù liǎo xiǎo zhí yuán gé lǐ gāo 'ěr · sà mǔ shā tū rán biàn chéng yī zhǐ shǐ jiā réndōu yàn 'è de dà jiá chóng de huāng dàn qíng jié， jiè yǐ jiē shì rén yǔ rén zhī jiān -- bāo kuò lún cháng zhī jiān -- biǎo miàn shàng qīn qīn rè rè， nèi xīn lǐ què jí wéi gū dú hé mò shēng de shí zhì， shēng dòng 'ér shēn kè dì zài xiàn liǎo zī běn zhù yì shè huì zhōng rén yǔ rén zhī jiān de lěng mò。 zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì " rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié "， zhè zhèng shì zhù míng xiǎo shuō jiā kǎ fū kǎ de tiān fù zhī suǒ zài。
yuè dú《 biàn xíng jì》， yòu yī zhǒng sī wéi de lè qù， yòu yī zhǒng ruì zhì de gǎn jué， sī xiǎng shàng de suǒ dé xiǎn rán duō yú xīn líng de shōu huò， néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 běn shū bǐ jiào wán zhěng dì dài biǎo liǎo kǎ fū kǎ de sī xiǎng shēn dù yǔ chuàng zào tè diǎn， shì xī fāng xiàn dài zhù yì wén xué de jīng diǎn zuò pǐn zhī yī。
kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè， ér qí shí， nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng， zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn， chū jiàn zhī xià， cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
zài miáo xiě rén bèi wù huà de zuò pǐn zhōng， ào dì lì zhù míng de " xiàn dài yì shù de tàn xiǎn zhě " kǎ fū kǎ１９１２ nián wán chéng de zhōng piān xiǎo shuō《 biàn xíng jì》， shì xī fāng xiàn dài pài wén xué zhōng miáo xiě rén bèi yì huà de jié zuò。
《 yǐng xiǎng lì shǐ jìn chéng de yī bǎi běn shū》：
xī fāng wén tán tuī chóng " kǎ fū kǎ shì běn shì jì zuì jiā zuò jiā zhī yī "， bìng shuō " rú guǒ yào jǔ chū yī gè zuò jiā， tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì， nà me， kǎ fū kǎ shì shǒu xiān huì xiǎng dào de míng zì "。 jìn guǎn zhè xiē zàn cí wèi miǎn yòu guò shèn qí cí zhī xián， dàn yǐ《 biàn xíng jì》 wéi dài biǎo díkǎ fū kǎ de zuò pǐn， díquè duì xī fāng xiàn dài pài wén xué chǎn shēng liǎo hěn shēn de yǐng xiǎng， yǐ zhì xíng chéng liǎo yī mén zhuān mén yán jiū hé tǎo lùn qí zuò pǐn de " kǎ fū kǎ xué "。
《 kǎ fū kǎ chuán》：
rú guǒ nǐ dú shū shì wéi liǎo zhǎo lè gǎn shí máo， kǎ fū kǎ de《 biàn xíng jì》 jué duì bù shì hé nǐ， bù shì hé nǐ měi jiǔ jiā kā fēi de làng màn。 shū zhōng huāng dàn de tòng kǔ， huì jiāng nǐ gāng gāng jǔ qǐ de jiǔ bēi qīng yì jī suì。 rú guǒ nǐ bù shì yī gè máng mùdì lè guān zhù yì zhě， cǐ shū kě wèi jīng cǎi zhì jí， kě fǎn fù yuè dú、 xì xì pǐn wèi。
mò shēng díkǎ fū kǎ
shénme shì hǎo xiǎo shuō zhè shì gè yǒng yuǎn kě yǐ tán lùn què yòu yǒng yuǎn nán yǐ qiú jiě de wèn tí。 dàn hǎo xiǎo shuō bù yī dìng shì hǎo kàn de xiǎo shuō， bù yī dìng shì hé dà zhòng dú zhě de yuè dú kǒu wèi， yīn wéi hǎo xiǎo shuō dōushì xīn xiān de、 dú tè de。 tā zài yǔ chuán tǒng yuè dú xí guàn " duì kàng " guò chéng zhōng tí gōng liǎo xīn de yì shù yīn sù， shǐ xí guàn yú chuán tǒng yuè dú de dú zhě bù dé bù xiàn rù nán jiě zhī mí de shēn yuān， suǒ yǐ yě wǎng wǎng gěi rén men liú xià liǎo bù zěn me hǎo kàn de yìn xiàng。 yuè dú kǎ fū kǎ de《 biàn xíng jì》， duì dú zhě shì yī zhòngzhì lì、 qíng gǎn shàng de tiǎo zhàn， yīn wéi tā de zuò pǐn shì wén xué shàng de yī gè biàn shù， hěn mò shēng， yòng chuán tǒng de yuè dú fāng fǎ hěn nán jiě dú。
《 biàn xíng jì》 chāo yuè shí kōng de xiàn zhì， duì shì jiàn de jiāo dài jí qí mó hú， bù zhǐ míng jù tǐ de shí jiān、 dì diǎn hé bèi jǐng。 shèn zhì mǐn miè liǎo huàn xiàng hé rì cháng shēng huó zhī jiān de jiè xiàn， xū huàn yǔ xiàn shí nán jiě nán fēn dì jié hé chéng yī gè zhěng tǐ liǎo。 kàn lái， kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè， ér qí shí， nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng， zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn， chū jiàn zhī xià， cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
jié kè zuò jiā mǐ lán · kūn dé lā zài《 xiǎo shuō de yì shù》 zhōng chēng xiǎo shuō jiā wéi " cún zài de kān tàn zhě "， ér bǎ xiǎo shuō de shǐ mìng què dìng wéi " tōng guò xiǎng xiàng de rén wù duì cún zài jìn xíng shēn sī "， " jiē shì cún zài bùwèi rén zhī de fāng miàn "。 kǎ fū kǎ de《 biàn xíng jì》 jiù shì tàn jiū cún zài zhī mí de， dàn tā suǒ guān zhù de zhòng diǎn shì " bù kě shì de nèi xīn shēng huó "-- rén de nèi xīn tóng yàng zuò wéi xiàn shí de yī bù fēn 'ér cún zài。 tā de《 biàn xíng jì》 jiù shì yǐ shēn suì de yù yì tǐ xiàn rén lèi de mǒu zhǒng cháng cháng bèi yí wàng de cún zài zhuàng tài。
kǎ fū kǎ de xiǎo shuō shì " mèng yǔ zhēn shí de jué miào hùn hé。 jì yòu duì xiàn dài shì jiè zuì qīng xǐng de shěn shì， yòu yòu zuì fēng kuáng de xiǎng xiàng "。 suǒ yǐ rú guǒ wǒ men lián xiǎng yī xià xiàn shí shēng huó zhōng lèi shìde shì qíng， dāng wǒ men zì shēn de cún zài bèi yī xiē shuí yě wú fǎ yù liào、 wú fǎ táo bì de jìng kuàng suǒ jué dìng shí， shēng huó de huāng dàn yǔ zhè gè gù shì de huāng dàn jiù yòu liǎo yī zhǒng bǐ nǐ de lián xì， nà me bǎi zài wǒ men miàn qián de wèn tí jiù jiān ruì liǎo： dāng wǒ men tū rán wú fǎ dòng dàn， zài wán quán wú néng wéi lì， sàng shī liǎo rén de yī qiē zì zhù xìng de qíng kuàng xià， wǒ men yīnggāi zěn me bàn kǎ fū kǎ de xiǎo shuō dài chū liǎo wǒ men shēn shēn de yí wèn。 xiǎn rán， zài rú cǐ huāng dàn de tū biàn zhōng， kǎ fū kǎ mǐn ruì dì jué chá dào xiàn shí shēng huó mǒu xiē dài běn zhì xìng de wèn tí， cái yòng zhè zhǒng xiàng zhēng、 kuā zhāng shèn zhì huāng dàn de shǒu fǎ jiā yǐ biǎo xiàn。
kǎ fū kǎ lěng jùn de yǎn guāng jù jiāo de shì " zhēn "。 zài tā kàn lái， " zhēn " ruò yào tǐ xiàn， jiù bì xū jiè zhù yú " chǒu "。 yú shì《 biàn xíng jì》 zhōng chū xiàn liǎo dà liàng de chǒu lòu de yì xiàng， kǎ fū kǎ háo bù kè qì dì fàng zhú liǎo wén xué de shěn měi jià zhí， sì hū tā jué dé chǒu jiù shì chǒu， shèn zhì gēn běn méi bì yào yòng měi zuò wéi xiǎo shuō jié shù zhī qián de yī diǎn 'ān wèi。 suǒ yǐ， yī zhí dào xiǎo shuō de jié wěi， kǎ fū kǎ yě méi yòu ràng zhè xiē chǒu lòu de yì xiàng cóng bèi miàn fā chū yī diǎn měi de guāng máng。
zuì hòu yǐn yòng yī jù wáng xiǎo bō de huà lái jié shù běn wén， tā shuō： " wǒ zhèng děng dài zhe yòu yī tiān， zì jǐ néng gòu dǎ kāi yī běn shū bù zài qī dài tā yòu qù， zhǐ qī dài zì jǐ néng shòu dào jiào yù。 "《 biàn xíng jì》 jiù shì yī běn zhè yàng de hǎo shū。
zài xī fāng wén xué zhōng wǒ xué dào liǎo kǎ fū kǎ zhè wèi zuò jiā jí tā de zuò pǐn， duì yú kǎ fū kǎ， wǒ bù shì hěn shú xī， dàn tā zhū duō chéng guǒ zhōng de yī bù《 biàn xíng jì》 què ràng wǒ nán yǐ wàng huái。
《 biàn xíng jì》 wéi xiàn dài zhù yì wén xué de diàn jī zhī zuò， kǎ fū kǎ shì xiàn dài zhù yì wén xué de xiān qū， duì hòu lái xiàn dài zhù yì wén xué de fā zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng。 kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。 1998 nián， yīng guó BBC guǎng bō diàn tái zuò liǎo yī gè xì liè jié mù， huí gù 20 shì jì de yì shù jīng diǎn， jiè shào 100 bù 20 shì jì zuì yòu yǐng xiǎng de yì shù zuò pǐn， dì yī jí jiù shì guān yú kǎ fū kǎ de《 biàn xíng jì》。 biàn xíng sì hū yī zhí shì rén lèi de yī zhǒng lǐ xiǎng， yě shì wén xué、 yǐng shì zuò pǐn zhōng de jīng diǎn tí cái， wǒ xiǎo shí biàn xiàn mù sūn wù kōng de qī shí 'èr biàn， jīn tiān de hái zǐ yě kàn zhe biàn xíng jīn gāng yī lèi de dòng huàpiān zhōng wēi fēng lǐn lǐn de biàn xíng dòng zuò xīng fèn bù yǐ， ér qiě bǎi kàn bù yàn。 biàn xíng sì hū shì tóng huà de zhuān lì。 dàn kǎ fū kǎ de《 biàn xíng jì》 què shì jí wéi dú tè de， gé lǐ gāo 'ěr yě biàn xíng liǎo， dàn tā sì hū biàn dé bìng bù qīng sōng， ràng wǒ men dú qǐ lái yě bìng bù jué dé xīng fèn， kǎ fū kǎ jiū jìng xiǎng yào gào sù wǒ men shénme？
“ yī tiān zǎo chén， gé lǐ gāo 'ěr。 sà mǔ shā cóng bù 'ān de shuì mèng zhōng xǐng lái， fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng。”（ xuǎn zì běi jīng yàn shān chū bǎn shè zhōng piān xiǎo shuō jí《 biàn xíng jì》 zhōng dì 86 yè） zhè biàn shì gù shì de kāi piān， wǒ běn yǐ wéi shì kē huàn xiǎo shuō， shuí zhī dào bù shì。 kǎ fū kǎ yòng yī zhǒng jiè hū yú shēn lín qí jìng de dú bái， píng jìng de biǎo xù zhe zhè gè jí jìn huāng dàn de gù shì。 dàn zài tā de bǐ xià， bù huì yòu huāng dàn， yòu de zhǐ shì zhēn shí， ràng rén gǎn jué kǒng huāng de zhēn shí。 yī zhǒng xīn de xiě fǎ de dàn shēng， ràng hòu shì bù shǎo rén wéi zhī jīng chà，“ yuán lái wén xué yě kě yǐ zhè me xiě！”。 yòu yī wèi dà shī jiù zhè yàng héng kōng chū shì liǎo。 jì dé měi guó zuò jiā 'ào dēng shuō guò： jiù zuò jiā yǔ qí chù de shí dài de guān xì 'ér lùn， dāng dài néng yǔ dàn dīng、 suō shì bǐ yà hègē dé xiāng tí bìng lùn de dì yī rén shì kǎ fū kǎ。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”， jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù， ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de， ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn， bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ， yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí， cóng 'ér yǐn qǐ nǐ de jīng yì， pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”， zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí（ huò“ mò shēng huà”） jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè， nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì； zhī suǒ yǐ qīn qīn rè rè， yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe， yī dàn gē duàn zhè zhǒng guān xì， zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de：“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài， ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。 nǐ kàn， dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng， měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu， tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。
dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng， shī qù liǎo gōng sī lǐ de zhí wù， yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu， tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng， shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。
tā biàn chéng“ fēi rén”， tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán， rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén， tā yòu kǒu huì shuō huà， yòu yǎn jīng huì kàn rén， nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn， huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng， jì bù huì shuō huà， yě méi yòu biǎo qíng， tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn， zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng， kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de， dàn yǔ mǔ qīn guān xì shì zhèng cháng de， yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō：“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men： jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē， dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng， jiǔ 'ér jiǔ zhī， tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ， kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng， yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu， rén de xí xìng jiàn jiàn xiāo shī， ér“ chóng xìng”
rì yì zēng jiā， fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu， dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
“ gé lǐ gāo 'ěr de yǎn jīng jiē zhe yòu cháo chuāng kǒu wàng qù， tiān kōng hěn yīn 'àn héng héng kě yǐ tīng dào yǔ dǎ diǎn dǎ zài chuāng jiàn shàng de shēng yīn héng héng tā de xīn qíng yě biàn de hěn yōu yù liǎo。”
“ zhè shí hòu tiān gèng liàng liǎo， kě yǐ qīng qīng chǔ chǔ dì kàn dào jiē duì miàn yīzhuàng cháng dé méi yòu jìn tóu de shēn huī sè de jiàn zhù héng héng zhè shì yī suǒ yī yuàn héng héng shàng miàn rě yǎn dì kāi zhe yī pái pái dāi bǎn de chuāng zǐ； yǔ hái zài xià， bù guò yǐ chéng wéi yī dī dī kàn dé qīng de dà kē lì liǎo。”（ yǐ shàng jūn jié xuǎn zì《 biàn xíng jì》）。
shàng miàn de liǎng duàn dōushì duì chuāng wài jǐng wù de miáo xiě， kǎ fū kǎ zài qīng yì zhī jiān biàn bǎ qì fēn xuàn rǎn de rú cǐ nóng zhòng。 wéi zhù xuán lǜ de xù shù yòu zēng jiā de wán zhěng de jié pāi。 fǎng fó gè gè fāng miàn de tè zhēng dōushì wèile zhù tí de hōng tuō， ér zhù tí yòu háo wú hén jì de chéng xiàn chū gè gè fāng miàn de tè zhēng。 zhè zhǒng wán měi tǒng yī de lián guàn， shǐ dé wén zhāng ràng rén jué dé rú cǐ de hān chàng lín lí， gù shì hǎo xiàng jiù zài zì jǐ de shēn biān fā shēng， ràng rén yù bà bù néng。
1911 nián chū xiàn de《 biàn xíng jì》 shì huì sè de， shēn 'ào de， jí shǐ zài jìn yī bǎi nián hòu de jīn tiān， zhè gè wěi dà de yù yán yī yàng de xiǎo shuō wén běn yě bìng bù shì nà me róng yì lǐ jiě。 jí shǐ dú dǒng liǎo zhè gè yù yán bān de xiǎo shuō， yòu rú hé gǎn zhī kǎ fū kǎ zhī suǒ yǐ bēi 'āi ní？ kuàng qiě hái yòu bǐ bēi 'āi gèng wéi shēn yuǎn de dōng xī bāo guǒ zài qí hòu。
Plot summary
Gregor Samsa awakes one morning to find himself inexplicably transformed from a human into a monstrous insect. Rather than lament his transformation, Gregor worries about how he will get to his job as a traveling salesman; Gregor is the sole financial provider for his parents and sister, Grete, and their comfort is dependent on his ability to work. When Gregor's supervisor arrives at the house and demands Gregor come out of his room, Gregor manages to roll out of bed and unlock his door. His appearance horrifies his family and supervisor; his supervisor flees and Gregor attempts to chase after him, but his family shoos him back into his room. Grete attempts to care for her brother by providing him with milk and the stale, rotten food he now prefers. Gregor also develops the fears of an insect, being effectively shooed away by hissing voices and stamping feet. However, Gregor remains a devoted and loving son, and takes to hiding beneath a sofa whenever someone enters his room in order to shield them from his insect form. When alone, he amuses himself by looking out of his window and crawling up the walls and on the ceiling.
No longer able to rely on Gregor's income, the other family members are forced to take on jobs and Grete's caretaking deteriorates. One day, when Gregor emerges from his room, his father chases him around the dining room table and pelts him with apples. One of the apples becomes embedded in his back, causing an infection. Due to his infection and his hunger, Gregor is soon barely able to move at all. Later, his parents take in lodgers and use Gregor's room as a dumping area for unwanted objects. Gregor becomes dirty, covered in dust and old bits of rotten food. One day, Gregor hears Grete playing her violin to entertain the lodgers. Gregor is attracted to the music, and slowly walks into the dining room despite himself, entertaining a fantasy of getting his beloved sister to join him in his room and play her violin for him. The lodgers see him and give notice, refusing to pay the rent they owe, even threatening to sue the family for harboring him while they stayed there. Grete determines that the monstrous insect is no longer Gregor, since Gregor would have left them out of love and taken their burden away, and claims that they must get rid of it. Gregor retreats to his room and collapses, finally succumbing to his wound.
The point of view shifts as, upon discovery of his corpse, the family feels an enormous burden has been lifted from them, and start planning for the future again. The family discovers that they aren't doing financially bad at all, especially since, following Gregor's demise, they can take a smaller flat. The brief process of forgetting Gregor and shutting him from their lives is quickly completed. The tale concludes with the mother and father taking note of Grete's new womanhood and growth.
Characters
Gregor Samsa
Gregor is the protagonist of the story. He works hard as a travelling salesman to provide for his sister and parents. He wakes up one morning as a monstrous insect. After the transformation, Gregor was unable to work, causing his father to work at a bank to provide for the family and pay owed debts.
Grete Samsa
Grete is Gregor's younger sister, who becomes his caretaker after the metamorphosis. At the beginning Grete and Gregor have a strong relationship but this relationship fades with time. While Grete originally volunteers to feed him and clean his room, throughout the story she grows more and more impatient with the task to the point of deliberately leaving messes in his room out of spite. She plays the violin and dreams of going to the conservatorium, a dream that Gregor was going to make come true. He was going to announce this on Christmas Eve. To help provide an income for the family after Gregor's transformation she starts working as a salesgirl in a shop.
Mr Samsa
Gregor's father owes a large debt to Gregor's boss, which is why Gregor can't quit his hated job. He is lazy and elderly, while Gregor works, but when, after the metamorphosis, Gregor is unable to provide for the family, he is shown to be an able-bodied worker. He also attempts to kill Gregor when he is discovered in his monstrous state.
Mrs Samsa
Mrs Samsa is the mother of Grete and Gregor. She is initially shocked at Gregor's transformation, however eventually decides she wants to enter his room. This seems too much for her to handle, and Gregor hides away from her in an attempt to protect her. Mrs Samsa is conflicted in her maternal concern and sympathy for Gregor, and her inherent fear of his new monstrous form.
Chief Clerk
The Chief Clerk is Gregor's boss and the person to whom Mr Samsa is in debt. He pressures Gregor to prepare for his workday with a urgency pertaining to the precarious position of his job.
Tenants
Three tenants are invited to live with the Samsas to supplement their income. The family shows great deference to these tenants throughout the length of their stay. They are fussy and cannot stand dirtiness, eventually leading to the point when they discover Gregor and threaten the family with a lawsuit, apparently believing he's just an extraordinarily large insect.
Lost in translation
The opening sentence of the novella is famous in English:
"When Gregor Samsa woke up one morning from uneasy dreams, he found himself changed in his bed into a monstrous insect."
"Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt."
Kafka's sentences often deliver an unexpected impact just before the full stop—that being the finalizing meaning and focus. This is achieved due to the construction of sentences in German that require that the participle be positioned at the end of the sentence; in the above sentence, the equivalent of 'changed' is the final word, 'verwandelt'. Such constructions are not replicable in English, so it is up to the translator to provide the reader with the same effect found in the original text.
English translators have often sought to render the word Ungeziefer as "insect", but this is not strictly accurate. In Middle German, Ungeziefer literally means "unclean animal not suitable for sacrifice" and is sometimes used colloquially to mean "bug" – a very general term, unlike the scientific sounding "insect". Kafka had no intention of labeling Gregor as any specific thing, but instead wanted to convey Gregor's disgust at his transformation. The phrasing used in the David Wyllie translation and Joachim Neugroschel is "transformed in his bed into a monstrous vermin".
However, "vermin" denotes in English many animals (particularly mice, rats and foxes) and in Kafka's letter to his publisher of 25 October 1915, in which he discusses his concern about the cover illustration for the first edition, he uses the term "Insekt", saying "The insect itself is not to be drawn. It is not even to be seen from a distance." While this shows his concern not to give precise information about the type of creature Gregor becomes, the use of the general term "insect" can therefore be defended on the part of translators wishing to improve the readability of the end text.
Ungeziefer has sometimes been translated as "cockroach", "dung beetle", "beetle", and other highly specific terms. The term "dung beetle" or Mistkäfer is in fact used in the novella by the cleaning lady near the end of the story, but it is not used in the narration. Ungeziefer also denotes a sense of separation between him and his environment: he is unclean and must therefore be excluded.
Vladimir Nabokov, who was a lepidopterist as well as writer and literary critic, insisted that Gregor was not a cockroach, but a beetle with wings under his shell, and capable of flight — if only he had known it. Nabokov left a sketch annotated "just over three feet long" on the opening page of his (heavily corrected) English teaching copy. In his accompanying lecture notes, Nabokov discusses the type of vermin Gregor has been transformed into, concluding that Gregor "is not, technically, a dung beetle. He is merely a big beetle. (I must add that neither Gregor nor Kafka saw that beetle any too clearly.)"
Adaptations to other media
There are several film versions, including:
* Metamorphosis (1987) at the Internet Movie Database
* Die Verwandlung (1975) at the Internet Movie Database
* Förvandlingen (1976/I) at the Internet Movie Database
* The Metamorphosis of Mr. Samsa (1977) at the Internet Movie Database by Caroline Leaf
* The Metamorphosis of Franz Kafka (1993) by Carlos Atanes.
* Prevrashcheniye (2002) at the Internet Movie Database
* Franz Kafka's Metamorphosis acoustical liberation from LibriVox.
* Metamorfosis (2004) at the Internet Movie Database
* A Metamorfose (2007) at the Internet Movie Database
* Immersive Kafka: The Metamorphosis / Atvaltozas (2010) by Sandor Kardos, Barnabas Takacs.
A stage adaptation was performed by Steven Berkoff in 1969. Berkoff's text was also used for the libretto to Brian Howard's 1983 opera Metamorphosis. Another stage adaptation was performed in 2006 by the Icelandic company Vesturport, showing at the Lyric Hammersmith, London. That adaptation is set to be performed in the Icelandic theater fall of 2008. Another stage adaptation was performed in Dhaka, Bangladesh in 2005 by the Centre for Asian Theatre. That performance is still continuing in Bangladesh. The Lyric Theatre Company toured the UK in 2006 with its stage adaptation of Metamorphosis, accompanied by a unique soundtrack performed by Nick Cave and Warren Ellis. American comic artist Peter Kuper illustrated a graphic-novel version, first published by the Crown Publishing Group in 2003. Megan Rees is currently working on a new stage adaptation that should be published by 2010.
Allusions/references from other works
Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (February 2008)
Stage
* Philip Glass composed incidental music for two separate theater productions of the story. These two themes, along with two themes from the Errol Morris film The Thin Blue Line, were incorporated into a five-part piece of music for solo piano entitled Metamorphosis.
Literature
Jacob M. Appel's H. E. Francis Award-winning story, "The Vermin Episode," retells The Metamorphosis from the point-of-view of the Samsas' neighbors.
Film
* The 2005 film The Producers includes a scene where the two protagonists are searching for a sure flop. The opening for the play of Metamorphosis is read and rejected for being too good.
* The 2008 film The Reader features Ralph Fiennes reading aloud from Franz Kafka's The Metamorphosis.
* In 2002 a Russian version titled Prevrashchenie was directed by Valery Fokin with Yevgeny Mironov as Gregor.
* In 1995, the actor Peter Capaldi won an Oscar for his short-film Franz Kafka's It's a Wonderful Life. The plot of the film has the author (played by Richard E. Grant) trying to write the opening line of Metamorphosis and experimenting with various things that Gregor might turn into, such as a banana or a kangaroo. The film is also notable for a number of Kafkaesque moments.
* In 1993 Carlos Atanes directed The Metamorphosis of Franz Kafka, a controversial adaptation based on The Metamorphosis as well on biographical details from Kafka's family.
* in Noah Baumbach's Squid and the Whale, Jeff Daniels and Jesse Eisenberg make several references to The Metamorphosis
Animation
* In The Venture Bros. episode "Mid-Life Chrysalis", Dr. Venture's transformation into a caterpillar slightly mirrors that of Gregor Samsa's transformation.
* A reference appears in the 2006 Aardman Animations feature film Flushed Away when a refrigerator falls through the floor of the protagonist Rita's home and a giant cockroach appears reading a copy of The Metamorphosis.
* In the short-lived TV animated series Extreme Ghostbusters, season 1, episode 11 ("The Crawler"), the bug monster (that resembles a giant insect) calls himself Gregor Samsa when trying to seduce Janine to be his queen in his human form.
* Jack Feldstein created a tribute to Gregor Samsa and The Metamorphosis in his stream-of-consciousness neon animation "Shmetamorphosis" about a bug who hysterically bursts into therapist Bertold Krasenstein's office, begging to be saved.
* In the first season of the anime Sayonara, Zetsubou-Sensei there is an episode titled "One Morning, When Gregor Samsa Awoke, He was Carrying a Mikoshi", an obvious parody of the first line of The Metamorphosis.
Comics
* American cartoonist Robert Crumb drew an illustrated adaptation of the novella which appears in the book Introducing Kafka.
* In the comic book Johnny the Homicidal Maniac by Jhonen Vasquez, the eponymous Johnny is plagued by a roach that keeps appearing in his house no matter how many times he kills it (whether or not this roach is immortal or simply many different roaches is up to interpretation) and is affectionately named "Mr. Samsa".
* In The Simpsons book Treehouse of Horror Spook-tacular, Matt Groening did a spoof on the metamorphosis, entitling it Metamorphosimpsons. In addition, in one of the episodes, Lisa attends a place called "Cafe Kafka", which is shown to be a popular place for college students, and features several posters of cockroaches in Bohemian-like poses.
* Peter Kuper (illustrator of Kafka's Give It Up!) also adapted Kafka's Metamorphosis.
Television
* In the TV series Supernatural, the 4th episode of season 4 is named "Metamorphosis."
* The TV series Smallville, which is a retelling of Superman's early years as a teenager, alludes to Kafka's story in the season one, episode "Metamorphosis" where the 'Freak of the Week' is transformed into a being with insect-like abilities after suffering from exposure to meteor-infected insects (Kryptonite-induced).
* In the TV series Home Movies there is an entire episode based on Franz Kafka's Metamorphosis as a Rock Opera.
* In the TV series The Venture Bros., in the 8th episode of season 1, Dr. Venture undergoes a metamorphosis and alludes to the story.
* In the TV series The Ricky Gervais Show, in the 11th episode of season 1, named "Beetles," the characters discuss the potential of Karl Pilkingtons's metamorphosis.
Music
* Gregor Samsa is the name of an American post-rock band.
* The Rolling Stones' 1975 album Metamorphosis features cover art of the band members with insect heads.
* Showbread has a song named "Sampsa Meets Kafka". The misspelling of Samsa is intentional. Josh Dies the lead singer also lists Kafka as one of his biggest influences.
* The name of the German darkwave/metal/neoclassical band Samsas Traum is inspired by the story.
Video games
* Bad Mojo is a 1996 computer game, the storyline of which is loosely based on The Metamorphosis.
* Spore: Galactic Adventures made an adventure version of The Metamorphosis.
* In the 2001 Wizardry 8, the first boss is a gigantic cockroach named "Gregor".
《 biàn xíng jì》 - zuò zhě jiǎn jiè
fú lán cí · kǎ fū kǎ fú lán cí · kǎ fū kǎ
fú lán cí · kǎ fū kǎ（ FranzKafka， 1883 nián 7 yuè 3 rì héng 1924 nián 6 yuè 3 rì）， ào dì lì xiǎo shuō jiā， 20 shì jì dé yǔ xiǎo shuō jiā。 wén bǐ míng jìng 'ér xiǎng xiàng qí guǐ， cháng cǎi yòng yù yán tǐ , bèi hòu de yù yì rén yán rén shū， zàn wú（ huò yǒng wú） dìng lùn。
kǎ fū kǎ tā shì yī wèi yòng dé yǔ xiě zuò de yè yú zuò jiā， tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè， ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 kǎ fū kǎ shēng qián mò mò wú wén， gū dú dì fèn dǒu， suí zhe shí jiān de liú shì， tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí， zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng， bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè， jīng jiǔ bù shuāi。
hòu shì de pī píng jiā， wǎng wǎng guòfèn qiáng diào kǎ fū kǎ zuò pǐn yīn 'àn de yī miàn， hū shì qí míng lǎng、 fēng qù de dì fāng， mǐ lán · kūn dé lā zài《 bèi bèi pàn de yí zhǔ》（ Lestestamentstrahis） zhòngshì tú jiū zhèng zhè yī diǎn。 qí shí jù bù láo dé de huí yì， kǎ fū kǎ xǐ huān zài péng yǒu miàn qián lǎng dú zì jǐ de zuò pǐn， dú dào dé yì de duàn luò shí huì rěn jùn bù jìn， zì jǐ dà xiào qǐ lái。
kǎ fū kǎ yī shēng de zuò pǐn bìng bù duō， dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 měi guó shī rén 'ào dēng rèn wéi：“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng， gè rén shì de、 yōu yù de、 gū dú de qíng xù， yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 sān sì shí nián dài de chāo xiàn shí zhù yì yú dǎng shì zhī wéi tóng rén， sì wǔ shí nián dài de huāng dàn pài yǐ zhī wéi xiān qū， liù shí nián dài de měi guó” hēi sè yōu mò“ fèng zhī wéi diǎn fàn。
kǎ fū kǎ 1909 nián kāi shǐ fā biǎo zuò pǐn， 1915 nián yīn duǎn piān xiǎo shuō《 sī lú gōng》 huò féng tǎ nà dé guó wén xué jiǎng jīn。 kǎ fū kǎ chuàng zuò qín fèn， dàn bìng bù yǐ fā biǎo、 chéng míng wéi mùdì。 gōng zuò zhī yú de chuàng zuò shì tā jì tuō sī xiǎng gǎn qíng hé pái qiǎn yōu yù kǔ mèn de shǒu duàn。 xǔ duō zuò pǐn suí yì xiě lái， bìng wú jié wěi， tā duì zì jǐ de zuò pǐn yě duō wéi bù mǎn， lín zhōng qián ràng zhì yǒu bù luò dé quán bù shāo huǐ qí zuò pǐn。 bù luò dé chū yú yǒu yì yǔ chóng jìng zhī qíng， wéi bèi liǎo kǎ fū kǎ yí yuàn， zhěng lǐ chū bǎn liǎo《 kǎ fū kǎ quán jí》（ 1950 héng 1980） gòng jiǔ juàn。 qí zhōng bā juàn zhōng de zuò pǐn shì shǒu cì kān chū， yǐn qǐ wén tán hōng dòng。
《 biàn xíng jì》 - nèi róng jiǎn jiè
bèi jǐng
1914 nián zhì 1918 nián de dì yī cì shì jiè dà zhàn， shǐ xǔ duō zī běn zhù yì guó jiā jīng jì xiāo tiáo， shè huì dòng dàng， rén mín shēng huó zài shuǐ shēn huǒ rè zhī zhōng。 hēi 'àn de xiàn shí， tòng kǔ de shēng huó， shǐ dé rén men duì zī běn zhù yì shè huì shī qù xìn xīn， yī fāng miàn xún qiú chū lù， ruì yì gǎi gé， yī fāng miàn yòu xiàn yú gū dú、 tuí fèi、 jué wàng zhī zhōng。 19 shì jì mò zhì 20 shì jì chū， yī xiē sī xiǎng mǐn ruì de yì shù jiā rèn wéi shì jiè shì hùn luàn de、 huāng dàn de， tā men zhù shū lì shuō， pī pàn zī běn zhù yì de rén jì guān xì， pī pàn cuī cán rén xìng de shè huì zhì dù。 dì yī cì shì jiè dà zhàn qián hòu hé dì 'èr cì shì jiè dà zhàn qián hòu， xiàn dài zhù yì wén xué yìng yùn 'ér shēng。 xiàn dài zhù yì wén xué zuò pǐn fǎn yìng liǎo zī běn zhù yì shè huì de hēi 'àn， rén hé rén zhī jiān guān xì de lěng kù， rén duì shè huì de jué wàng。 yì shù shàng qiáng diào shǐ yòng jí dù kuā zhāng yǐ zhì guài dàn lí qí de biǎo xiàn shǒu fǎ， miáo huì niǔ qū de rén xìng， biǎo xiàn rén de běn néng hé wú yì shí de zhù guān gǎn shòu， kāi jué gè rén de zhí jué、 běn néng、 wú yì shí、 mèng huàn、 biàn tài xīn lǐ yǐ zhì bàn fēng kuáng、 fēng kuáng de yán xíng、 xīn lǐ。 xiàn dài zhù yì de yōu xiù wén xué zuò pǐn tàn suǒ rén de xīn líng， wéi jiē shì rén de nèi xīn shì jiè tí gōng liǎo xīn de yì shù shǒu fǎ。
nèi róng
xiǎo shuō xiě rén biàn chéng dòng wù , gù shì shén mì lí qí： zài《 biàn xíng jì》 zhōng， zhí yè wéi tuī xiāo yuán de zhù rén wēng yī jué xǐng lái， fā xiàn zì jǐ biàn chéng liǎo yī zhǐ jù dà de tiào zǎo。
yī tiān zǎo chén , gé lǐ gāo 'ěr cóng mèng zhōng xǐng lái shí fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng , quán shēn cháng chū liǎo xǔ duō zhǐ xì dé kě lián de xiǎo tuǐ , jiān yìng dé xiàng tiě jiá yī yàng de bèi tiē zhe chuáng 'ér yǎng wò zhe , bù néng fān shēn , yě xià bù liǎo chuáng . dàn tā bì xū qǐ lái。 tā yào jìng qiǎo qiǎo bù shòu dǎ rǎo dì qǐ chuáng , chuān qǐ yī fú , zuì yào jǐn de shì chī bǎo zǎo fàn , zài kǎo lǜ xià yī bù gāi zěn me bàn , yīn wéi tā fēi cháng míng bái , duǒ zài chuáng shàng xiā xiǎng yī qì shì xiǎng bù chū shénme míng táng de . tā hái jì dé guò qù yě shì yīn wéi shuì jué zī shì bù hǎo , tǎng zài chuáng shàng shí wǎng wǎng huì jué dé zhè 'ér nà 'ér yǐn yǐn zuò tòng , jí zhì qǐ lái , jiù zhī dào chún shǔ xīn lǐ zuò yòng , suǒ yǐ tā yīn qiē dì pàn wàng jīn tiān zǎo chén de huàn jué huì zhú jiàn xiāo shì。 gé lǐ gāo 'ěr , suī rán rén jǐ ' wù huà ' wéi chóng zǐ , dàn tā hái cún zài rén de sī wéi , hái yào xiàng zhèng cháng rén yī yàng shēng huó hé sī kǎo . yóu yú dān xīn gǎn bù shàng wǔ diǎn zhōng de huǒ chē . gé lǐ gāo 'ěr xīn qíng jì jiāo jí yòu kǒng huāng , yòu shēng pà gōng sī lái rén , zì jǐ zhè zhǒng miàn mù rú hé jiàn rén ! tā jié lì zhēngzhá。 gé lǐ gāo 'ěr màn màn dì bǎ yǐ zǐ tuī xiàng mén biān , jiē zhe biàn fàng kāi yǐ zǐ , zhuā zhù mén lái zhī chēng zì jǐ héng héng tā nà xiē xì tuǐ de jiǎo dǐ shàng dǎo shì pō yòu nián xìng de。 tā zài mén shàng kào liǎo yī huì 'ér , chuǎn guò yī kǒu qì lái . jiē zhe tā shǐ yòng zuǐ bā zhuàndòng chā zài suǒ kǒng lǐ de yàoshì . bù xìng de shì , tā bìng méi shénme yá chǐ。 tā dé yòng shénme lái yǎo zhù yàoshì ní？ yàoshì xū yào zhuàndòng shí , tā biàn yòng zuǐ bā xián zhù tā , zì jǐ yě rào zhe suǒ kǒng zhuǎn liǎo yī juàn , hǎo bǎ yàoshì niǔ guò qù , huò zhě bù rú shuō , shǐ yòng quán shēn de zhòng liàng shǐ tā zhuàndòng . zhōng yú qū fú de suǒ fā chū liǎo xiǎng liàng de kǎ tǎ yī shēng , shǐ gé lǐ gāo 'ěr dà wéi gāo xīng ······
《 biàn xíng jì》 - qíng jié hé zhù tí
《 biàn xíng jì》 chuàng zuò yú 1912 nián， fā biǎo yú 1915 nián。 xiǎo shuō fēn chéng sān bù fēn， yòng yī、 èr、 sān biāo míng。 kè wén jié xuǎn liǎo yuán xiǎo shuō de yī bàn nèi róng。
dì yī bù fēn
gé lǐ gāo 'ěr fā xiàn zì jǐ biàn chéng“ jù dà de jiá chóng”， jīng huāng 'ér yòu yōu yù。 fù qīn fā xiàn hòu dà nù， bǎ tā gǎn huí zì jǐ de wò shì。
dì 'èr bù fēn
gé lǐ gāo 'ěr biàn liǎo， yǎng chéng liǎo jiá chóng de shēng huó xí xìng， què bǎo liú liǎo rén de yì shí。 tā shī yè liǎo， réng jiù guān xīn zěn yàng hái qīng fù qīn qiàn de zhài wù， sòng mèi mèi shàng yīnyuè xué yuàn。 kě shì， yī gè yuè hòu， tā chéng liǎo quán jiā de léizhuì。 fù qīn、 mǔ qīn、 mèi mèi duì tā gǎi biàn liǎo tài dù。
dì sān bù fēn
wèile shēng cún， jiā rén zhǐ dé dǎ gōng zhèng qián， rěn shòu bù liǎo gé lǐ gāo 'ěr zhè gè fù dān。 mèi mèi zhōng yú tí chū bǎ gē gē nòng zǒu。 gé lǐ gāo 'ěr yòu 'è yòu bìng， xiàn rù jué wàng，“ tā huái zhe shēn qíng hé 'ài yì xiǎng tā de yī jiā rén”，“ rán hòu tā de tóu jiù zì jǐ chuí dǎo zài dì bǎn shàng， tā de bí kǒng hū chū liǎo zuì hòu yī sī qì xī”， sǐ liǎo。 fù qīn、 mǔ qīn hé mèi mèi kāi shǐ guò zhe zì jǐ yǎng huó zì jǐ de xīn shēng huó。
qíng jié de fā zhǎn yóu liǎng tiáo xiàn suǒ jiāo hù zhǎn kāi：
gé lǐ gāo 'ěr： biàn chéng jiá chóng héng héng chéng wéi léizhuì héng héng jué wàng 'ér sǐ
jiā lǐ qīn rén： jīng huāng、 tóng qíng héng héng zhú jiàn zēng hèn héng héng“ bǎ tā nòng zǒu”
gé lǐ gāo 'ěr zì shǐ zhì zhōng guān xīn jiā tíng、 huái liàn qīn rén， kě shì qīn rén zuì zhōng pāo qì liǎo tā， duì tā de sǐ wú dòng yú zhōng， ér qiě jué dìng qù jiāo yóu。
zuò zhě miáo xiě zhè zhǒng rén qíng fǎn chā， jiē shì liǎo dāng shí shè huì shēng huó duì rén de yì huà， zhì shǐ qīn qíng dàn bó， rén xìng niǔ qū。《 biàn xíng jì》 de zhù tí jù yòu qiáng liè de pī pàn xìng。 kǎ fū kǎ chuàng zuò de wén xué zuò pǐn de zhù tí， bù tóng de dú zhě cóng bù tóng de jiǎo dù， huì yòu bù tóng de tǐ yàn hé lǐ jiě。 yòu rén rèn wéi《 biàn xíng jì》 de zhù tí shì： biǎo xiàn rén duì zì jǐ mìng yùn de wú néng wéi lì， rén shī qù zì wǒ jiù chǔyú jué jìng。 yě yòu rén rèn wéi， gé lǐ gāo 'ěr biàn chéng jiá chóng， wú lì yú rén， zì xíng sǐ wáng； yī jiā rén chóngxīn gōng zuò， zǒu xiàng xīn shēng huó； cún zài jiù shì hé lǐ， shēng huó guī lǜ shì wú qíng de。
《 biàn xíng jì》 - rén wù hé xīn lǐ miáo xiě
zhù rén gōng gé lǐ gāo 'ěr shì gè xiǎo rén wù。 fù qīn pò chǎn， mǔ qīn shēng bìng， mèi mèi shàng xué。 chén zhòng de jiā tíng
《 biàn xíng jì》《 biàn xíng jì》
fù dān hé fù qīn de zhài wù， yā dé gé lǐ gāo 'ěr chuǎn bù guò qì lái。 tā pīn mìng gànhuó， mù de shì hái qīng fù zhài， gǎi shàn jiā tíng shēng huó。 zài gōng sī， tā shòu lǎo bǎn de qì， zhǐ wàng hái qīng fù zhài hòu cí zhí。 kě yǐ shuō， duì fù mǔ tā shì gè xiào zǐ， duì mèi mèi tā shì gè hǎo gē gē， duì gōng sī tā shì gè hǎo zhí yuán。 biàn chéng jiá chóng， shēn tǐ yuè lái yuè chā， tā hái wéi hái qīng fù zhài dān yōu， hái juàn liàn jiā rén， shèn zhì wéi tǎo fù qīn huān xīn， zì jǐ jiān nán dì guāi guāi pá huí wò shì。 zhè yàng shàn liáng、 zhōng hòu 'ér yòu fù yòu zé rèn gǎn de rén， zuì zhōng bèi qīn rén pāo qì。 gé lǐ gāo 'ěr de bēi jù shì lìng rén xīn suān de， jù yòu fēng fù de shè huì nèi hán。
xiǎo shuō yòng xīn lǐ miáo xiě de fāng fǎ kè huà gé lǐ gāo 'ěr zhè gè rén wù。 gé lǐ gāo 'ěr guò qù de shēng huó、 biàn jiá chóng hòu de sī xiǎng gǎn qíng hé gè xìng tè diǎn， dōushì tōng guò xīn lǐ miáo xiě biǎo xiàn chū lái de。
xiǎo shuō yòng xǔ duō bǐ mò xiě liǎo biàn xíng hòu gé lǐ gāo 'ěr bēi 'āi qī kǔ de nèi xīn shì jiè， gé lǐ gāo 'ěr suī rán biàn chéng liǎo jiá chóng， dàn tā de xīn lǐ shǐ zhōng bǎo chí zhe rén de zhuàng tài， tā tū rán fā xiàn zì jǐ biàn chéng dà jiá chóng shí de jīng huāng、 yōu yù， tā kǎo lǜ jiā tíng jīng jì zhuàng kuàng shí de jiāo lǜ、 zì zé， tā zāo qīn rén yàn qì hòu de jué wàng、 tòng kǔ， wú bù zhǎn shì liǎo yī gè shàn liáng、 zhōng hòu、 fù yòu zé rèn gǎn de xiǎo rén wù kě wàng rén de lǐ jiě hé jiē shòu de xīn lǐ。 zhǐ shì zhè zhǒng yuàn wàng zhōng yú bèi chè dǐ de jué wàng suǒ dài tì， mí màn zài rén wù xīn tóu de shì wú biān de gū dú、 lěng mò yǔ bēi liáng。 yīnggāi shuō，《 biàn xíng jì》 de nèi zài zhù xiàn jiù shì gé lǐ gāo 'ěr biàn chéng jiá chóng hòu de xīn lǐ héng qíng gǎn liú dòng de guò chéng， zhù rén gōng biàn chéng jiá chóng hòu de nèi xīn gǎn shòu hé xīn lǐ huó dòng shì xiǎo shuō de zhù tǐ。 xiǎo shuō yòng nèi xīn dú bái、 huí yì、 lián xiǎng、 huàn xiǎng děng shǒu fǎ， qù biǎo xiàn rén wù de xīn lǐ huó dòng。 tā bù duàn dì huí yì、 lián xiǎng guò qù hé jīn hòu de shì qíng， bù shí yóu yú kǒng jù jiāo lǜ、 tòng kǔ hé jué wàng 'ér chǎn shēng huàn xiǎng、 huàn jué， bìng qiě zài zì yóu lián xiǎng zhōng jīng cháng chū xiàn shí kōng dǎo cuò、 luó ji hùn luàn、 sī wéi tiào yuè děng， jù yòu yī dìng de yì shí liú tè zhēng。
《 biàn xíng jì》 - píng jià
biǎo xiàn zhù yì
kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”， jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù， ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de， ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn， bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ， yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí， cóng 'ér yǐn qǐ nǐ de jīng yì， pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”， zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí（ huò“ mò shēng huà”） jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè， nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì； zhī suǒ yǐ qīn qīn rè rè， yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe， yī dàn gē duàn zhè zhǒng guān xì， zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de：“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài， ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。
dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng， měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu， tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。 dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng， shī qù liǎo gōng sī lǐ de zhí wù， yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu， tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng， shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。 tā biàn chéng“ fēi rén”， tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán， rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén， tā yòu kǒu huì shuō huà， yòu yǎn jīng huì kàn rén， nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn， huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng， jì bù huì shuō huà， yě méi yòu biǎo qíng， tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo héng héng yǐ shàng shì cóng shè huì xué guān diǎn qù kàn de。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn， zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng， kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de， dàn yǔ mǔ qīn guān xì shì zhèng cháng de， yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō：“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men： jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē， dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng， jiǔ 'ér jiǔ zhī， tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ， kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng， yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu， rén de xí xìng jiàn jiàn xiāo shī， ér“ chóng xìng” rì yì zēng jiā， fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu， dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
zài rén yǔ rén zhī jiān hái méi yòu qǔ dé hé xié guān xì de shì jiè lǐ， rén de biàn xíng yě shì yī zhǒng xiàng zhēng， yī qiē dǎo méi rén de xiàng zhēng： rén yī dàn zāo yù bù xìng（ sàng shī gōng zuò néng lì de jí bìng、 shāng cán、 zhèng zhì xí jī děng）， tā jiù bù zài bèi shè huì chéng rèn， cóng 'ér shī qù zuò wéi rén de jià zhí de“ zì wǒ”， chéng wéi wú yì yú dī děng dòng wù de“ fēi rén”。
zài xiàn dài yì shù chuàng zuò zhōng， biàn xíng shì yī zhǒng guài dàn de biǎo xiàn shǒu duàn， shì yī zhǒng chuàng zào“ jù lí” huò“ mò shēng huà” de jì qiǎo。 àn zhào měi guó měi xué jiā sāng tǎ nà nà de shuō fǎ， guài dàn yě shì yī zhǒng chuàng zào； tā wéi bèi kè guān shì wù de biǎo miàn zhēn shí， què bìng bù wéi bèi kè guān shì wù de nèi zài luó ji， yīn cǐ tā yǐ jìn rù xiàn dài měi xué de fàn chóu， chéng wéi biǎo xiàn zhù yì wén xué yì shù piān 'ài de yī zhǒng shǒu fǎ。 biǎo xiàn zhù yì wén xué chuàng zuò qiáng diào cóng zhù guān de nèi xīn gǎn shòu chū fā， zuò pǐn wǎng wǎng jù yòu yī zhǒng gè rén de zhēn shí xìng， zhè zài kǎ fū kǎ bǐ xià chéng xiàn wéi zìzhuàn sè cǎi。 bù jǐn zhù rén gōng de shēn fèn（ gōng sī gù yuán） hé xīn lǐ（ zuò wéi zhǎngzǐ bì xū jìn jiā tíng yì wù） yǔ zuò zhě jìn sì， qí tā rén wù rú fù qīn、 mǔ qīn hé mèi mèi jīhū dōukě yǐ yǔ kǎ fū kǎ de jiā tíng chéng yuán jìn xíng bǐ jiào。
nèi hán
《 biàn xíng jì》 zhè gè gù shì biǎo miàn kàn lái huāng dàn bù jīng， shí zé yùn hán liǎo fēng fù 'ér shēn kè de nèi róng， zhù yào bāo kuò yǐ xià fāng miàn：
1、 shǒu xiān， tā zhēn shí dì biǎo xiàn liǎo xī fāng xiàn dài zī běn zhù yì shè huì lǐ rén de yì huà . zài xī fāng xiàn dài zī běn zhù yì shè huì rén ( lì rú jīn qián , jī qì , chǎn pǐn , shēng chǎn fāng shì děng ) suǒ qū shǐ， suǒ xié pò， suǒ tǒng zhì 'ér bù néng zì zhù , chéng wéi wù de nú lì， jìn 'ér shī qù rén de běn xìng， biàn wéi fēi rén .。《 biàn xíng jì》 zhù rén gōng lǐ gāo 'ěr de gù shì zhèng shì rén yì huà wéi fēi rén zhè yī zhé xué shēng cún xiàn zhuàng .。
2、 qí cì， zuò pǐn hái biǎo xiàn liǎo zài xiàn dài shè huì lǐ rén de yī zhǒng shēng cún kǒng jù。 rén biàn jiá chóng， zài zhè lǐ xiàng zhēng zhe mò míng qí miào de jù dà zāinàn de jiàng lín， zhè zhǒng rén bù néng zhǎng wò zì jǐ mìng yùn de gǎn jué biǎo xiàn liǎo xiàn dài xī fāng rén de mǒu zhǒng jīng shén zhuàng tài， yóu qí shì jìn rù 20 shì jì yǐ hòu， liǎng cì shì jiè dà zhàn de zāinàn， zhōu qī xìng de jīng jì wēi jī， chāo jí dà guó de jūn bèi jìng sài， hé zhàn zhēng de wēi xié， huán jìng wū rǎn hé zì rán jiè shēng tài píng héng de pò huài， zhè yī qiē shǐ rén men duì wèi lái de mìng yùn chǔyú yī zhǒng bù kě zhī de kǒng jù zhuàng tài zhī zhōng。《 biàn xíng jì》 zhōng gé lǐ gāo 'ěr de mìng yùn zhèng fǎn yìng liǎo zhè zhǒng jīng shén zhuàng tài běn zhì de dōng xī。
3、 zài cì，《 biàn xíng jì》 hái biǎo xiàn liǎo xiàn dài shè huì zhōng rén yǔ rén zhī jiān de lěng mò guān xì。 xiǎo shuō xiáng xì de miáo xiě liǎo jiā rén duì tā cóng guān xīn dào yàn 'è dào bì yù zhì qí yú sǐ dì de guò chéng， zhè yī guò chéng shí jì shàng shì xī wàng tā huī fù zuàn qián de néng lì dào chè dǐ jué wàng de guò chéng。 zhè shì yī gè wèijiā tíng fèng xiàn liǎo yī qiē， què yóu yú shī qù liǎo yuán yòu de jià zhí 'ér bèi jiā tíng pāo qì de xiǎo rén wù de bēi jù， zhè lèi bēi jù zài rén qíng lěng mò de xiàn dài shè huì lǐ bìng bù hǎn jiàn。
zuò pǐn chuàng zào de yì shù shì jiè， hán gài sī xiǎng nèi róng hé yì shù xíng shì liǎng gè fāng miàn， shì nèi róng hé xíng shì de yòu jī tǒng yī。 jiù sī xiǎng 'ér yán， jiào wéi qū zhé dì fǎn yìng liǎo zī běn zhù yì shè huì de zhǒng zhǒng bì duān， jiāng huāng táng、 rén xìng yì huà kàn zhe tè dìng lì shǐ tiáo jiàn xià rén lèi shè huì bù kě bì miǎn de xiàn xiàng， fù yú zuò pǐn yǐ nóng hòu de xū wú zhù yì hé bēi guān zhù yì qíng diào ; jiù yì shù 'ér yán , shàn yú yùn yòng guài dàn hé xiàng zhēng de biǎo xiàn shǒu fǎ， tè bié shì yòng fù yòu biǎo xiàn lì de shǒu fǎ qù biǎo xiàn chōu xiàng de sī xiǎng gǎn qíng。
shòu cún zài zhù yì xué shuō de yǐng xiǎng， zuò pǐn shēn kè fǎn yìng liǎo shì jì mò qíng xù， biǎo xiàn liǎo rén de gū dú yǔ kǒng jù， zhǎn shì zài rén men miàn qián de shì huāng dàn de shì jiè hé yì huà de zhù tí , xíng chéng liǎo dú chí de“ kǎ fū kǎ shì” yì shù fēng gé hé sī xiǎng nèi róng。 tè bié shì kǎ fū kǎ duì biǎo xiàn zhù yì shǒu fǎ yùn yòng zì rú , dá dào dēng fēng zào jí zhī jìng jiè。 qí zuò pǐn wǎng wǎng yù huāng dàn yú zhēn shí zhī zhōng， róng huàn xiǎng hé guài dàn yú yī tǐ， huò miáo xiě rén yǔ“ fēi rén” de rén yòu jī pèng zhuàng ; huò zhí zhù yú jīng shén céng miàn de bù kě yú yuè， zhēn lǐ de bù kě xún qiú， huò jì yù xiàng zhēng xíng xiàng de sù zào lái zhǎn xiàn rén wù de tòng kǔ hé kùn huò děng děng， gòu jiàn liǎo“ kǎ fū kǎ shì” yì shù fēng gé de měi xué gài niàn。
《 biàn xíng jì》 - shì rén xīn zhōng díkǎ fū kǎ yǔ《 biàn xíng jì》
kǎ fū kǎ shì xiàn dài zhù yì wén xué de kāi shān zǔ shī，《 biàn xíng jì》 shì tā de dài biǎo zuò pǐn zhī yī。 rú guǒ nǐ xiǎng liǎo jiě xiàn dài zhù yì wén xué， zuì hǎo de bàn fǎ jiù shì cóng fǎn fù yuè dú《 biàn xíng jì》 kāi shǐ。
zài běn shū zhōng kǎ fū kǎ miáo shù liǎo xiǎo zhí yuán gé lǐ gāo 'ěr · sà mǔ shā tū rán biàn chéng yī zhǐ shǐ jiā réndōu yàn 'è de dà jiá chóng de huāng dàn qíng jié， jiè yǐ jiē shì rén yǔ rén zhī jiān -- bāo kuò lún cháng zhī jiān -- biǎo miàn shàng qīn qīn rè rè， nèi xīn lǐ què jí wéi gū dú hé mò shēng de shí zhì， shēng dòng 'ér shēn kè dì zài xiàn liǎo zī běn zhù yì shè huì zhōng rén yǔ rén zhī jiān de lěng mò。 zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì " rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié "， zhè zhèng shì zhù míng xiǎo shuō jiā kǎ fū kǎ de tiān fù zhī suǒ zài。
yuè dú《 biàn xíng jì》， yòu yī zhǒng sī wéi de lè qù， yòu yī zhǒng ruì zhì de gǎn jué， sī xiǎng shàng de suǒ dé xiǎn rán duō yú xīn líng de shōu huò， néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 běn shū bǐ jiào wán zhěng dì dài biǎo liǎo kǎ fū kǎ de sī xiǎng shēn dù yǔ chuàng zào tè diǎn， shì xī fāng xiàn dài zhù yì wén xué de jīng diǎn zuò pǐn zhī yī。
kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè， ér qí shí， nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng， zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn， chū jiàn zhī xià， cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
zài miáo xiě rén bèi wù huà de zuò pǐn zhōng， ào dì lì zhù míng de " xiàn dài yì shù de tàn xiǎn zhě " kǎ fū kǎ１９１２ nián wán chéng de zhōng piān xiǎo shuō《 biàn xíng jì》， shì xī fāng xiàn dài pài wén xué zhōng miáo xiě rén bèi yì huà de jié zuò。
《 yǐng xiǎng lì shǐ jìn chéng de yī bǎi běn shū》：
xī fāng wén tán tuī chóng " kǎ fū kǎ shì běn shì jì zuì jiā zuò jiā zhī yī "， bìng shuō " rú guǒ yào jǔ chū yī gè zuò jiā， tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì， nà me， kǎ fū kǎ shì shǒu xiān huì xiǎng dào de míng zì "。 jìn guǎn zhè xiē zàn cí wèi miǎn yòu guò shèn qí cí zhī xián， dàn yǐ《 biàn xíng jì》 wéi dài biǎo díkǎ fū kǎ de zuò pǐn， díquè duì xī fāng xiàn dài pài wén xué chǎn shēng liǎo hěn shēn de yǐng xiǎng， yǐ zhì xíng chéng liǎo yī mén zhuān mén yán jiū hé tǎo lùn qí zuò pǐn de " kǎ fū kǎ xué "。
《 kǎ fū kǎ chuán》：
rú guǒ nǐ dú shū shì wéi liǎo zhǎo lè gǎn shí máo， kǎ fū kǎ de《 biàn xíng jì》 jué duì bù shì hé nǐ， bù shì hé nǐ měi jiǔ jiā kā fēi de làng màn。 shū zhōng huāng dàn de tòng kǔ， huì jiāng nǐ gāng gāng jǔ qǐ de jiǔ bēi qīng yì jī suì。 rú guǒ nǐ bù shì yī gè máng mùdì lè guān zhù yì zhě， cǐ shū kě wèi jīng cǎi zhì jí， kě fǎn fù yuè dú、 xì xì pǐn wèi。
mò shēng díkǎ fū kǎ
shénme shì hǎo xiǎo shuō zhè shì gè yǒng yuǎn kě yǐ tán lùn què yòu yǒng yuǎn nán yǐ qiú jiě de wèn tí。 dàn hǎo xiǎo shuō bù yī dìng shì hǎo kàn de xiǎo shuō， bù yī dìng shì hé dà zhòng dú zhě de yuè dú kǒu wèi， yīn wéi hǎo xiǎo shuō dōushì xīn xiān de、 dú tè de。 tā zài yǔ chuán tǒng yuè dú xí guàn " duì kàng " guò chéng zhōng tí gōng liǎo xīn de yì shù yīn sù， shǐ xí guàn yú chuán tǒng yuè dú de dú zhě bù dé bù xiàn rù nán jiě zhī mí de shēn yuān， suǒ yǐ yě wǎng wǎng gěi rén men liú xià liǎo bù zěn me hǎo kàn de yìn xiàng。 yuè dú kǎ fū kǎ de《 biàn xíng jì》， duì dú zhě shì yī zhòngzhì lì、 qíng gǎn shàng de tiǎo zhàn， yīn wéi tā de zuò pǐn shì wén xué shàng de yī gè biàn shù， hěn mò shēng， yòng chuán tǒng de yuè dú fāng fǎ hěn nán jiě dú。
《 biàn xíng jì》 chāo yuè shí kōng de xiàn zhì， duì shì jiàn de jiāo dài jí qí mó hú， bù zhǐ míng jù tǐ de shí jiān、 dì diǎn hé bèi jǐng。 shèn zhì mǐn miè liǎo huàn xiàng hé rì cháng shēng huó zhī jiān de jiè xiàn， xū huàn yǔ xiàn shí nán jiě nán fēn dì jié hé chéng yī gè zhěng tǐ liǎo。 kàn lái， kǎ fū kǎ de《 biàn xíng jì》 bǎ wǒ men dài wǎng bù shú xī de lìng yī shì jiè， ér qí shí， nà lìng yī shì jiè yuán běn shǔ yú wǒ men de rén xìng zhī bāng， zhǐ shì kǎ fū kǎ shì tú yòng lìng yī tào xù shù fāng shì yǔ jì qiǎo lái zhǎn shì wǒ men rén xìng nèi bù de hēi 'àn wáng guó。 yīn wéi wǒ men píng shí bù cháo tā kàn shàng yī yǎn， chū jiàn zhī xià， cái huì gǎn dào tā shì rú cǐ de mò shēng、 guài yì hé nán yǐ lǐ jiě。
jié kè zuò jiā mǐ lán · kūn dé lā zài《 xiǎo shuō de yì shù》 zhōng chēng xiǎo shuō jiā wéi " cún zài de kān tàn zhě "， ér bǎ xiǎo shuō de shǐ mìng què dìng wéi " tōng guò xiǎng xiàng de rén wù duì cún zài jìn xíng shēn sī "， " jiē shì cún zài bùwèi rén zhī de fāng miàn "。 kǎ fū kǎ de《 biàn xíng jì》 jiù shì tàn jiū cún zài zhī mí de， dàn tā suǒ guān zhù de zhòng diǎn shì " bù kě shì de nèi xīn shēng huó "-- rén de nèi xīn tóng yàng zuò wéi xiàn shí de yī bù fēn 'ér cún zài。 tā de《 biàn xíng jì》 jiù shì yǐ shēn suì de yù yì tǐ xiàn rén lèi de mǒu zhǒng cháng cháng bèi yí wàng de cún zài zhuàng tài。
kǎ fū kǎ de xiǎo shuō shì " mèng yǔ zhēn shí de jué miào hùn hé。 jì yòu duì xiàn dài shì jiè zuì qīng xǐng de shěn shì， yòu yòu zuì fēng kuáng de xiǎng xiàng "。 suǒ yǐ rú guǒ wǒ men lián xiǎng yī xià xiàn shí shēng huó zhōng lèi shìde shì qíng， dāng wǒ men zì shēn de cún zài bèi yī xiē shuí yě wú fǎ yù liào、 wú fǎ táo bì de jìng kuàng suǒ jué dìng shí， shēng huó de huāng dàn yǔ zhè gè gù shì de huāng dàn jiù yòu liǎo yī zhǒng bǐ nǐ de lián xì， nà me bǎi zài wǒ men miàn qián de wèn tí jiù jiān ruì liǎo： dāng wǒ men tū rán wú fǎ dòng dàn， zài wán quán wú néng wéi lì， sàng shī liǎo rén de yī qiē zì zhù xìng de qíng kuàng xià， wǒ men yīnggāi zěn me bàn kǎ fū kǎ de xiǎo shuō dài chū liǎo wǒ men shēn shēn de yí wèn。 xiǎn rán， zài rú cǐ huāng dàn de tū biàn zhōng， kǎ fū kǎ mǐn ruì dì jué chá dào xiàn shí shēng huó mǒu xiē dài běn zhì xìng de wèn tí， cái yòng zhè zhǒng xiàng zhēng、 kuā zhāng shèn zhì huāng dàn de shǒu fǎ jiā yǐ biǎo xiàn。
kǎ fū kǎ lěng jùn de yǎn guāng jù jiāo de shì " zhēn "。 zài tā kàn lái， " zhēn " ruò yào tǐ xiàn， jiù bì xū jiè zhù yú " chǒu "。 yú shì《 biàn xíng jì》 zhōng chū xiàn liǎo dà liàng de chǒu lòu de yì xiàng， kǎ fū kǎ háo bù kè qì dì fàng zhú liǎo wén xué de shěn měi jià zhí， sì hū tā jué dé chǒu jiù shì chǒu， shèn zhì gēn běn méi bì yào yòng měi zuò wéi xiǎo shuō jié shù zhī qián de yī diǎn 'ān wèi。 suǒ yǐ， yī zhí dào xiǎo shuō de jié wěi， kǎ fū kǎ yě méi yòu ràng zhè xiē chǒu lòu de yì xiàng cóng bèi miàn fā chū yī diǎn měi de guāng máng。
zuì hòu yǐn yòng yī jù wáng xiǎo bō de huà lái jié shù běn wén， tā shuō： " wǒ zhèng děng dài zhe yòu yī tiān， zì jǐ néng gòu dǎ kāi yī běn shū bù zài qī dài tā yòu qù， zhǐ qī dài zì jǐ néng shòu dào jiào yù。 "《 biàn xíng jì》 jiù shì yī běn zhè yàng de hǎo shū。
zài xī fāng wén xué zhōng wǒ xué dào liǎo kǎ fū kǎ zhè wèi zuò jiā jí tā de zuò pǐn， duì yú kǎ fū kǎ， wǒ bù shì hěn shú xī， dàn tā zhū duō chéng guǒ zhōng de yī bù《 biàn xíng jì》 què ràng wǒ nán yǐ wàng huái。
《 biàn xíng jì》 wéi xiàn dài zhù yì wén xué de diàn jī zhī zuò， kǎ fū kǎ shì xiàn dài zhù yì wén xué de xiān qū， duì hòu lái xiàn dài zhù yì wén xué de fā zhǎn chǎn shēng liǎo shēn yuǎn de yǐng xiǎng。 kǎ fū kǎ de chuàng zuò wàng shèng qī zhèng zhí dé guó biǎo xiàn zhù yì wén xué yùn dòng de gāo cháo shí qī。 tā de duǎn piān xiǎo shuō《 biàn xíng jì》 kě yǐ shuō shì biǎo xiàn zhù yì de diǎn xíng zhī zuò。 1998 nián， yīng guó BBC guǎng bō diàn tái zuò liǎo yī gè xì liè jié mù， huí gù 20 shì jì de yì shù jīng diǎn， jiè shào 100 bù 20 shì jì zuì yòu yǐng xiǎng de yì shù zuò pǐn， dì yī jí jiù shì guān yú kǎ fū kǎ de《 biàn xíng jì》。 biàn xíng sì hū yī zhí shì rén lèi de yī zhǒng lǐ xiǎng， yě shì wén xué、 yǐng shì zuò pǐn zhōng de jīng diǎn tí cái， wǒ xiǎo shí biàn xiàn mù sūn wù kōng de qī shí 'èr biàn， jīn tiān de hái zǐ yě kàn zhe biàn xíng jīn gāng yī lèi de dòng huàpiān zhōng wēi fēng lǐn lǐn de biàn xíng dòng zuò xīng fèn bù yǐ， ér qiě bǎi kàn bù yàn。 biàn xíng sì hū shì tóng huà de zhuān lì。 dàn kǎ fū kǎ de《 biàn xíng jì》 què shì jí wéi dú tè de， gé lǐ gāo 'ěr yě biàn xíng liǎo， dàn tā sì hū biàn dé bìng bù qīng sōng， ràng wǒ men dú qǐ lái yě bìng bù jué dé xīng fèn， kǎ fū kǎ jiū jìng xiǎng yào gào sù wǒ men shénme？
“ yī tiān zǎo chén， gé lǐ gāo 'ěr。 sà mǔ shā cóng bù 'ān de shuì mèng zhōng xǐng lái， fā xiàn zì jǐ tǎng zài chuáng shàng biàn chéng liǎo yī zhǐ jù dà de jiá chóng。”（ xuǎn zì běi jīng yàn shān chū bǎn shè zhōng piān xiǎo shuō jí《 biàn xíng jì》 zhōng dì 86 yè） zhè biàn shì gù shì de kāi piān， wǒ běn yǐ wéi shì kē huàn xiǎo shuō， shuí zhī dào bù shì。 kǎ fū kǎ yòng yī zhǒng jiè hū yú shēn lín qí jìng de dú bái， píng jìng de biǎo xù zhe zhè gè jí jìn huāng dàn de gù shì。 dàn zài tā de bǐ xià， bù huì yòu huāng dàn， yòu de zhǐ shì zhēn shí， ràng rén gǎn jué kǒng huāng de zhēn shí。 yī zhǒng xīn de xiě fǎ de dàn shēng， ràng hòu shì bù shǎo rén wéi zhī jīng chà，“ yuán lái wén xué yě kě yǐ zhè me xiě！”。 yòu yī wèi dà shī jiù zhè yàng héng kōng chū shì liǎo。 jì dé měi guó zuò jiā 'ào dēng shuō guò： jiù zuò jiā yǔ qí chù de shí dài de guān xì 'ér lùn， dāng dài néng yǔ dàn dīng、 suō shì bǐ yà hègē dé xiāng tí bìng lùn de dì yī rén shì kǎ fū kǎ。
biǎo xiàn zhù yì de chuàng zuò zhù zhāng shì zūn xún“ biǎo xiàn lùn” měi xué yuán zé 'ér yǔ chuán tǒng xiàn shí zhù yì de“ mó fǎng lùn” yuán zé xiāng duì lì de。 tā fǎn duì“ fù zhì shì jiè”， jí bù bǎ kè guān shì wù de biǎo miàn xiàn xiàng zuò wéi zhēn shí de yǐ jù， ér zhù zhāng píng rèn zhēn“ guān chá” hé chóngxīn sī kǎo qù fā xiàn huò dòng chá bèi xí sú guān niàn yǎn gài zhe de， ér wéi yī bān rén suǒ bù zhù yì de zhēn shí。 wèicǐ jiù xū yào yī zhǒng tè shū de yì shù shǒu duàn， bǎ miáo xiě de kè guān duì xiàng jiā yǐ“ mò shēng huà” de chǔlǐ， yǐ zào chéng shěn měi zhù tǐ yǔ bèi miáo xiě de kè tǐ zhī jiān de jù lí， cóng 'ér yǐn qǐ nǐ de jīng yì， pò shǐ nǐ cóng lìng yī gè jiǎo dù qù tàn xī tóng yī gè shì wù de běn zhì。 zhè zhǒng yì shù shǒu duàn tōng chēng“ jiān lí fǎ”， zài bù lāi xī tè nà lǐ jiào zuò“ mò shēng huà xiào guǒ”。《 biàn xíng jì》 de biàn xíng jí shì yī zhǒng jiān lí（ huò“ mò shēng huà”） jì qiǎo。 zuò zhě xiǎng jiè yǐ jiē shì rén yǔ rén zhī jiān héng héng bāo kuò lún cháng zhī jiān héng héng biǎo miàn qīn qīn rè rè， nèi xīn lǐ què shì jí wéi gū dú hé mò shēng de shí zhì； zhī suǒ yǐ qīn qīn rè rè， yīn wéi hù xiāng yòu gòng tóng de lì hài guān xì wéi xì zhe， yī dàn gē duàn zhè zhǒng guān xì， zé nà zhǒng qīn rè de wài guān mǎ shàng jiù xiāo shī 'ér bào lù chū lěng kù hé lěng mò de zhēn xiāng。 zhèng rú 'ēn gé sī zài《 yīng guó gōng rén jiē jí zhuàng kuàng》 yī wén zhōng suǒ jiē shì de：“ wéi xì jiā tíng de niǔ dài bìng bù shì jiā tíng de 'ài， ér shì yǐn cáng zài cái chǎn gòng yòu guān xì zhī hòu de sī rén lì yì。” kě wèi yī zhēn jiàn xuè。 nǐ kàn， dāng gé lǐ gāo 'ěr shēn tǐ jiàn kāng， měi yuè néng ná huí gōng zī gòngyǎng quán jiā de shí hòu， tā shì zhè gè jiā tíng lǐ yī míng táng táng zhèng zhèng de 'ér qiě shòu rén zūn jìng de zhǎngzǐ。
dàn dāng tā yī dàn huàn liǎo bù zhì zhī zhèng， shī qù liǎo gōng sī lǐ de zhí wù， yīn 'ér wú fǎ yǔ jiā tíng bǎo chí zhè zhǒng jīng jì lián xì de shí hòu， tā zài jiā tíng lǐ de yī qiē zūn yán hěn kuài bèi bō duó gān jìng， shèn zhì lián wéi chí shēng mìng de zhèng cháng yǐn shí dōuwú rén guò wèn。
tā biàn chéng“ fēi rén”， tā de chǔjìng wú yì yú dòng wù。 dāng rán yě kě yǐ ràng zhù rén gōng dé yī zhǒng zhì mìng de zhòng bìng huò zāo yù yī cì sàng shī láo dòng lì de zhòng cán， rán hòu xiě tā bèi jiā rén yàn qì de guò chéng。 dàn zhè yàng de gòu sī qí yì shù xiào guǒ bù rú biàn xíng nà yàng qiáng liè。 yīn wéi zuò wéi bìng rén， tā yòu kǒu huì shuō huà， yòu yǎn jīng huì kàn rén， nǐ bù néng dāng zhe tā de miàn biǎo xiàn chū duì tā de yàn juàn， huò bù gěi tā sòng fàn chī。 ér yī zhǐ jiá chóng， jì bù huì shuō huà， yě méi yòu biǎo qíng， tā de gū dú gǎn jiù gèng jiā lìng rén gǎn dào qī rán liǎo。
rú guǒ cóng xī fāng liú xíng de“ yì huà” guān niàn qù kàn， zhè piān xiǎo shuō yě shì xiě rén yǔ rén zhī jiān、 rén yǔ zì wǒ zhī jiān guān xì de yī piān jié zuò。 zài shí jì shēng huó zhōng， kǎ fū kǎ zài jiā tíng lǐ yǔ fù qīn de guān xì què shí shì bù hé xié de， dàn yǔ mǔ qīn guān xì shì zhèng cháng de， yǔ tā dì sān gè mèi mèi tè bié yào hǎo。 dàn kǎ fū kǎ què zài yī fēng xìn zhōng shuō：“ wǒ zài zì jǐ de jiā lǐ bǐ mò shēng rén hái yào mò shēng。” xiàn zài kǎ fū kǎ tōng guò《 biàn xíng jì》 àn shì wǒ men： jí shǐ xiàng tā de mèi mèi nà yàng 'ài zhe gē gē， dàn yī dàn zhè wèi gē gē dé liǎo yī zhǒng zhì mìng de jué zhèng， jiǔ 'ér jiǔ zhī， tā yě huì xiàng xiǎo shuō zhōng de nà wèi nǚ láng nà yàng yàn qì tā de。 zhè lǐ， kǎ fū kǎ xiě de shì yī zhǒng pǔ biàn de rén lèi shēng cún zhuàng kuàng。 rén de biàn xíng， yě shì zì wǒ“ yì huà” de yī zhǒng xiě zhào。 yóu qí shì zhù rén gōng biàn chéng jiá chóng yǐ hòu， rén de xí xìng jiàn jiàn xiāo shī， ér“ chóng xìng”
rì yì zēng jiā， fǎng fó gé lǐ gāo 'ěr yì huà chū rén de shì jiè yǐ hòu， dǎo shì zài dòng wù de shì jiè lǐ zhǎo dào“ chóng” de zì wǒ liǎo。 zhè yàng de xiě fǎ shì jué miào de。
“ gé lǐ gāo 'ěr de yǎn jīng jiē zhe yòu cháo chuāng kǒu wàng qù， tiān kōng hěn yīn 'àn héng héng kě yǐ tīng dào yǔ dǎ diǎn dǎ zài chuāng jiàn shàng de shēng yīn héng héng tā de xīn qíng yě biàn de hěn yōu yù liǎo。”
“ zhè shí hòu tiān gèng liàng liǎo， kě yǐ qīng qīng chǔ chǔ dì kàn dào jiē duì miàn yīzhuàng cháng dé méi yòu jìn tóu de shēn huī sè de jiàn zhù héng héng zhè shì yī suǒ yī yuàn héng héng shàng miàn rě yǎn dì kāi zhe yī pái pái dāi bǎn de chuāng zǐ； yǔ hái zài xià， bù guò yǐ chéng wéi yī dī dī kàn dé qīng de dà kē lì liǎo。”（ yǐ shàng jūn jié xuǎn zì《 biàn xíng jì》）。
shàng miàn de liǎng duàn dōushì duì chuāng wài jǐng wù de miáo xiě， kǎ fū kǎ zài qīng yì zhī jiān biàn bǎ qì fēn xuàn rǎn de rú cǐ nóng zhòng。 wéi zhù xuán lǜ de xù shù yòu zēng jiā de wán zhěng de jié pāi。 fǎng fó gè gè fāng miàn de tè zhēng dōushì wèile zhù tí de hōng tuō， ér zhù tí yòu háo wú hén jì de chéng xiàn chū gè gè fāng miàn de tè zhēng。 zhè zhǒng wán měi tǒng yī de lián guàn， shǐ dé wén zhāng ràng rén jué dé rú cǐ de hān chàng lín lí， gù shì hǎo xiàng jiù zài zì jǐ de shēn biān fā shēng， ràng rén yù bà bù néng。
1911 nián chū xiàn de《 biàn xíng jì》 shì huì sè de， shēn 'ào de， jí shǐ zài jìn yī bǎi nián hòu de jīn tiān， zhè gè wěi dà de yù yán yī yàng de xiǎo shuō wén běn yě bìng bù shì nà me róng yì lǐ jiě。 jí shǐ dú dǒng liǎo zhè gè yù yán bān de xiǎo shuō， yòu rú hé gǎn zhī kǎ fū kǎ zhī suǒ yǐ bēi 'āi ní？ kuàng qiě hái yòu bǐ bēi 'āi gèng wéi shēn yuǎn de dōng xī bāo guǒ zài qí hòu。
Plot summary
Gregor Samsa awakes one morning to find himself inexplicably transformed from a human into a monstrous insect. Rather than lament his transformation, Gregor worries about how he will get to his job as a traveling salesman; Gregor is the sole financial provider for his parents and sister, Grete, and their comfort is dependent on his ability to work. When Gregor's supervisor arrives at the house and demands Gregor come out of his room, Gregor manages to roll out of bed and unlock his door. His appearance horrifies his family and supervisor; his supervisor flees and Gregor attempts to chase after him, but his family shoos him back into his room. Grete attempts to care for her brother by providing him with milk and the stale, rotten food he now prefers. Gregor also develops the fears of an insect, being effectively shooed away by hissing voices and stamping feet. However, Gregor remains a devoted and loving son, and takes to hiding beneath a sofa whenever someone enters his room in order to shield them from his insect form. When alone, he amuses himself by looking out of his window and crawling up the walls and on the ceiling.
No longer able to rely on Gregor's income, the other family members are forced to take on jobs and Grete's caretaking deteriorates. One day, when Gregor emerges from his room, his father chases him around the dining room table and pelts him with apples. One of the apples becomes embedded in his back, causing an infection. Due to his infection and his hunger, Gregor is soon barely able to move at all. Later, his parents take in lodgers and use Gregor's room as a dumping area for unwanted objects. Gregor becomes dirty, covered in dust and old bits of rotten food. One day, Gregor hears Grete playing her violin to entertain the lodgers. Gregor is attracted to the music, and slowly walks into the dining room despite himself, entertaining a fantasy of getting his beloved sister to join him in his room and play her violin for him. The lodgers see him and give notice, refusing to pay the rent they owe, even threatening to sue the family for harboring him while they stayed there. Grete determines that the monstrous insect is no longer Gregor, since Gregor would have left them out of love and taken their burden away, and claims that they must get rid of it. Gregor retreats to his room and collapses, finally succumbing to his wound.
The point of view shifts as, upon discovery of his corpse, the family feels an enormous burden has been lifted from them, and start planning for the future again. The family discovers that they aren't doing financially bad at all, especially since, following Gregor's demise, they can take a smaller flat. The brief process of forgetting Gregor and shutting him from their lives is quickly completed. The tale concludes with the mother and father taking note of Grete's new womanhood and growth.
Characters
Gregor Samsa
Gregor is the protagonist of the story. He works hard as a travelling salesman to provide for his sister and parents. He wakes up one morning as a monstrous insect. After the transformation, Gregor was unable to work, causing his father to work at a bank to provide for the family and pay owed debts.
Grete Samsa
Grete is Gregor's younger sister, who becomes his caretaker after the metamorphosis. At the beginning Grete and Gregor have a strong relationship but this relationship fades with time. While Grete originally volunteers to feed him and clean his room, throughout the story she grows more and more impatient with the task to the point of deliberately leaving messes in his room out of spite. She plays the violin and dreams of going to the conservatorium, a dream that Gregor was going to make come true. He was going to announce this on Christmas Eve. To help provide an income for the family after Gregor's transformation she starts working as a salesgirl in a shop.
Mr Samsa
Gregor's father owes a large debt to Gregor's boss, which is why Gregor can't quit his hated job. He is lazy and elderly, while Gregor works, but when, after the metamorphosis, Gregor is unable to provide for the family, he is shown to be an able-bodied worker. He also attempts to kill Gregor when he is discovered in his monstrous state.
Mrs Samsa
Mrs Samsa is the mother of Grete and Gregor. She is initially shocked at Gregor's transformation, however eventually decides she wants to enter his room. This seems too much for her to handle, and Gregor hides away from her in an attempt to protect her. Mrs Samsa is conflicted in her maternal concern and sympathy for Gregor, and her inherent fear of his new monstrous form.
Chief Clerk
The Chief Clerk is Gregor's boss and the person to whom Mr Samsa is in debt. He pressures Gregor to prepare for his workday with a urgency pertaining to the precarious position of his job.
Tenants
Three tenants are invited to live with the Samsas to supplement their income. The family shows great deference to these tenants throughout the length of their stay. They are fussy and cannot stand dirtiness, eventually leading to the point when they discover Gregor and threaten the family with a lawsuit, apparently believing he's just an extraordinarily large insect.
Lost in translation
The opening sentence of the novella is famous in English:
"When Gregor Samsa woke up one morning from uneasy dreams, he found himself changed in his bed into a monstrous insect."
"Als Gregor Samsa eines Morgens aus unruhigen Träumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt."
Kafka's sentences often deliver an unexpected impact just before the full stop—that being the finalizing meaning and focus. This is achieved due to the construction of sentences in German that require that the participle be positioned at the end of the sentence; in the above sentence, the equivalent of 'changed' is the final word, 'verwandelt'. Such constructions are not replicable in English, so it is up to the translator to provide the reader with the same effect found in the original text.
English translators have often sought to render the word Ungeziefer as "insect", but this is not strictly accurate. In Middle German, Ungeziefer literally means "unclean animal not suitable for sacrifice" and is sometimes used colloquially to mean "bug" – a very general term, unlike the scientific sounding "insect". Kafka had no intention of labeling Gregor as any specific thing, but instead wanted to convey Gregor's disgust at his transformation. The phrasing used in the David Wyllie translation and Joachim Neugroschel is "transformed in his bed into a monstrous vermin".
However, "vermin" denotes in English many animals (particularly mice, rats and foxes) and in Kafka's letter to his publisher of 25 October 1915, in which he discusses his concern about the cover illustration for the first edition, he uses the term "Insekt", saying "The insect itself is not to be drawn. It is not even to be seen from a distance." While this shows his concern not to give precise information about the type of creature Gregor becomes, the use of the general term "insect" can therefore be defended on the part of translators wishing to improve the readability of the end text.
Ungeziefer has sometimes been translated as "cockroach", "dung beetle", "beetle", and other highly specific terms. The term "dung beetle" or Mistkäfer is in fact used in the novella by the cleaning lady near the end of the story, but it is not used in the narration. Ungeziefer also denotes a sense of separation between him and his environment: he is unclean and must therefore be excluded.
Vladimir Nabokov, who was a lepidopterist as well as writer and literary critic, insisted that Gregor was not a cockroach, but a beetle with wings under his shell, and capable of flight — if only he had known it. Nabokov left a sketch annotated "just over three feet long" on the opening page of his (heavily corrected) English teaching copy. In his accompanying lecture notes, Nabokov discusses the type of vermin Gregor has been transformed into, concluding that Gregor "is not, technically, a dung beetle. He is merely a big beetle. (I must add that neither Gregor nor Kafka saw that beetle any too clearly.)"
Adaptations to other media
There are several film versions, including:
* Metamorphosis (1987) at the Internet Movie Database
* Die Verwandlung (1975) at the Internet Movie Database
* Förvandlingen (1976/I) at the Internet Movie Database
* The Metamorphosis of Mr. Samsa (1977) at the Internet Movie Database by Caroline Leaf
* The Metamorphosis of Franz Kafka (1993) by Carlos Atanes.
* Prevrashcheniye (2002) at the Internet Movie Database
* Franz Kafka's Metamorphosis acoustical liberation from LibriVox.
* Metamorfosis (2004) at the Internet Movie Database
* A Metamorfose (2007) at the Internet Movie Database
* Immersive Kafka: The Metamorphosis / Atvaltozas (2010) by Sandor Kardos, Barnabas Takacs.
A stage adaptation was performed by Steven Berkoff in 1969. Berkoff's text was also used for the libretto to Brian Howard's 1983 opera Metamorphosis. Another stage adaptation was performed in 2006 by the Icelandic company Vesturport, showing at the Lyric Hammersmith, London. That adaptation is set to be performed in the Icelandic theater fall of 2008. Another stage adaptation was performed in Dhaka, Bangladesh in 2005 by the Centre for Asian Theatre. That performance is still continuing in Bangladesh. The Lyric Theatre Company toured the UK in 2006 with its stage adaptation of Metamorphosis, accompanied by a unique soundtrack performed by Nick Cave and Warren Ellis. American comic artist Peter Kuper illustrated a graphic-novel version, first published by the Crown Publishing Group in 2003. Megan Rees is currently working on a new stage adaptation that should be published by 2010.
Allusions/references from other works
Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (February 2008)
Stage
* Philip Glass composed incidental music for two separate theater productions of the story. These two themes, along with two themes from the Errol Morris film The Thin Blue Line, were incorporated into a five-part piece of music for solo piano entitled Metamorphosis.
Literature
Jacob M. Appel's H. E. Francis Award-winning story, "The Vermin Episode," retells The Metamorphosis from the point-of-view of the Samsas' neighbors.
Film
* The 2005 film The Producers includes a scene where the two protagonists are searching for a sure flop. The opening for the play of Metamorphosis is read and rejected for being too good.
* The 2008 film The Reader features Ralph Fiennes reading aloud from Franz Kafka's The Metamorphosis.
* In 2002 a Russian version titled Prevrashchenie was directed by Valery Fokin with Yevgeny Mironov as Gregor.
* In 1995, the actor Peter Capaldi won an Oscar for his short-film Franz Kafka's It's a Wonderful Life. The plot of the film has the author (played by Richard E. Grant) trying to write the opening line of Metamorphosis and experimenting with various things that Gregor might turn into, such as a banana or a kangaroo. The film is also notable for a number of Kafkaesque moments.
* In 1993 Carlos Atanes directed The Metamorphosis of Franz Kafka, a controversial adaptation based on The Metamorphosis as well on biographical details from Kafka's family.
* in Noah Baumbach's Squid and the Whale, Jeff Daniels and Jesse Eisenberg make several references to The Metamorphosis
Animation
* In The Venture Bros. episode "Mid-Life Chrysalis", Dr. Venture's transformation into a caterpillar slightly mirrors that of Gregor Samsa's transformation.
* A reference appears in the 2006 Aardman Animations feature film Flushed Away when a refrigerator falls through the floor of the protagonist Rita's home and a giant cockroach appears reading a copy of The Metamorphosis.
* In the short-lived TV animated series Extreme Ghostbusters, season 1, episode 11 ("The Crawler"), the bug monster (that resembles a giant insect) calls himself Gregor Samsa when trying to seduce Janine to be his queen in his human form.
* Jack Feldstein created a tribute to Gregor Samsa and The Metamorphosis in his stream-of-consciousness neon animation "Shmetamorphosis" about a bug who hysterically bursts into therapist Bertold Krasenstein's office, begging to be saved.
* In the first season of the anime Sayonara, Zetsubou-Sensei there is an episode titled "One Morning, When Gregor Samsa Awoke, He was Carrying a Mikoshi", an obvious parody of the first line of The Metamorphosis.
Comics
* American cartoonist Robert Crumb drew an illustrated adaptation of the novella which appears in the book Introducing Kafka.
* In the comic book Johnny the Homicidal Maniac by Jhonen Vasquez, the eponymous Johnny is plagued by a roach that keeps appearing in his house no matter how many times he kills it (whether or not this roach is immortal or simply many different roaches is up to interpretation) and is affectionately named "Mr. Samsa".
* In The Simpsons book Treehouse of Horror Spook-tacular, Matt Groening did a spoof on the metamorphosis, entitling it Metamorphosimpsons. In addition, in one of the episodes, Lisa attends a place called "Cafe Kafka", which is shown to be a popular place for college students, and features several posters of cockroaches in Bohemian-like poses.
* Peter Kuper (illustrator of Kafka's Give It Up!) also adapted Kafka's Metamorphosis.
Television
* In the TV series Supernatural, the 4th episode of season 4 is named "Metamorphosis."
* The TV series Smallville, which is a retelling of Superman's early years as a teenager, alludes to Kafka's story in the season one, episode "Metamorphosis" where the 'Freak of the Week' is transformed into a being with insect-like abilities after suffering from exposure to meteor-infected insects (Kryptonite-induced).
* In the TV series Home Movies there is an entire episode based on Franz Kafka's Metamorphosis as a Rock Opera.
* In the TV series The Venture Bros., in the 8th episode of season 1, Dr. Venture undergoes a metamorphosis and alludes to the story.
* In the TV series The Ricky Gervais Show, in the 11th episode of season 1, named "Beetles," the characters discuss the potential of Karl Pilkingtons's metamorphosis.
Music
* Gregor Samsa is the name of an American post-rock band.
* The Rolling Stones' 1975 album Metamorphosis features cover art of the band members with insect heads.
* Showbread has a song named "Sampsa Meets Kafka". The misspelling of Samsa is intentional. Josh Dies the lead singer also lists Kafka as one of his biggest influences.
* The name of the German darkwave/metal/neoclassical band Samsas Traum is inspired by the story.
Video games
* Bad Mojo is a 1996 computer game, the storyline of which is loosely based on The Metamorphosis.
* Spore: Galactic Adventures made an adventure version of The Metamorphosis.
* In the 2001 Wizardry 8, the first boss is a gigantic cockroach named "Gregor".
kǎ fū kǎ chū shēng zài bù lā gé de yī gè yóu tài shāng rén jiā tíng， yán xí liǎo chún zhǒng yóu tài rén cōng míng de xuè tǒng。 fù qīn shì yī gè bàn xíng qǐ de tú fū de 'ér zǐ， bái shǒu qǐ jiā， zài jiā zhōng zhuān héng rú bào jūn， rèn yì nüè dài qī 'ér， tā duì kǎ fū kǎ de xué xí、 shēng huó bù wén bù wèn， zhǐ shì 'ǒu 'ěr zhǐ shǒu huà jiǎo dì xùn chì yī tōng héng héng héng tā xiǎng bà'ér zǐ péi yǎng chéng wéi xìng gé jiān qiáng 'ér yòu néng gān de nián qīng rén， dàn jiēguǒ shì shì dé qí fǎn。 kǎ fū kǎ nèi xīn zhōng yī zhí duì fù qīn cún yòu wú fǎ xiāo chú de wèi jù xīn lǐ， zì xiǎo xīn lǐ chōng mǎn kǒng jù， mǐn gǎn chéng xìng。 jiā shàng tā zuò wéi bù lā gé jiǎng dé yǔ de shǎo shù rén de yī fēn zǐ， gèng zào jiù liǎo tā wú biān wú jì de gū dú。
pò yú fù qīn de yā lì， tā xué xí fǎ lǜ， hòu rù yī jiā sī rén bǎo xiǎn gōng sī rèn dī xīn zhí yuán， yī zhí yān méi zài rén qún zhī zhōng。 tā yī shēng sān cì dìng hūn， yòu sān cì jiě chú hūn yuē， qí zhōng yuán yīn zhī yī jiù shì pà jié hūn huì pò huài tā yǐ jīng xí guàn de gū dú shēng huó。 hòu lái tā huàn shàng fèi jié hé bìng， gèng shǐ tā yuǎn lí rè nào de chén shì shēng huó， chén jìn zài zì jǐ gū dú de nèi xīn shì jiè zhōng。
zhè gè gū pì de xiǎo zhí yuán de zuì dà 'àihào jiù shì xiě zuò， tā nà mǐn gǎn、 qiè nuò de xìng gé hé gū pì、 yōu yù de qì zhì què shí shì hé zuò yī gè zuò jiā。 kǎ fū kǎ yè yú chuàng zuò de dà bù fēn zuò pǐn zài tā shēng qián yī zhí suǒ zài chōu tì lǐ， shǎo liàng miàn shì de duǎn piān xiǎo shuō hái bù zú ràng tā yī míng jīng rén， ér qiě duì tā de tóng shí dài rén lái shuō， tā de xiǎo shuō tài chāo qián liǎo， dāng shí de rén men yuǎn wèi yòu néng lì tǐ yàn kǎ fū kǎ dú tè 'ér qí guài de huāng miù gǎn。 tā bìng shì hòu yí liú xià dà liàng shǒu gǎo。
èr zhàn zhī hòu， shì jiè zài fèi xū shàng zhòng jiàn， zhàn zhēng suǒ dài lái de rén lèi xīn líng shēn zhòng de yīn yǐng， shǐ rén men bù yuē 'ér tóng dì bǎ mù guāng zhuànxiàng liǎo 30 nián qián sǐ qù de wú míng zuò jiā kǎ fū kǎ， tā jí qí zuò pǐn zài xī fāng shì jiè xiān qǐ liǎo yī gǔ rè cháo， rén men xiàng tóu piào xuǎn jǔ zhèng jiè yào yuán yī yàng bǎ tā liè wéi xiàn dài pài xiǎo shuō jiā de dì yī hòu xuǎn rén。
tuī jiàn yuè dú bǎn běn： tānɡ yǒng kuān yì， wǔ hàn dà xué chū bǎn shè chū bǎn。
《 chéng bǎo》 - nèi róng jīng yào
yī gè hán lěng de dōng tiān de yè wǎn， tǔ dì cèliáng yuán K lái dào liǎo yī gè cūn zǐ， tā de mùdì shì yào qián wǎng cūn zǐ fù jìn de nà zuò chéng bǎo qù zhí xíng gōng wù。 dāng K zài cūn kǒu yáo wàng chéng bǎo shí， tā gǎn dào lǒngzhào zài yè sè zhī zhōng de chéng bǎo， rú tóng yī piàn kōng dòng xū wú de huàn jǐng， zhè yàng de gǎn jué sì hū yù shì zhe tā de rèn wù bù shì nà me róng yì wán chéng de。
tā qián wǎng kè diàn tóu sù， kě shì kè diàn lǎo bǎn duì tā de dào lái yòu diǎn bù zhī suǒ cuò。 tā gào sù K yǐ jīng kè mǎn liǎo， zhǐ hǎo bǎ K miǎnqiǎng 'ān dùn xià lái。 kè diàn lǐ de rén dé zhī K yào qù chéng bǎo， dū yòng tè bié de yǎn shén kàn tā。 yī wèi nián qīng rén gào sù K， měi gè jìn rù chéng bǎo de réndōu bì xū dé yòu yī zhāng xǔ kě zhèng， ér yào xiǎng dé dào xǔ kě zhèng， jiù bì xū qù zhǎo chéng bǎo lǐ de bó jué。
dì 'èr tiān， K zǒu xiàng chéng bǎo， kě shì hào fèi liǎo yī zhěng tiān de shí jiān tā yě wú fǎ kào jìn chéng bǎo yī bù。 tiān sè 'àn xià lái， tā zhǐ hǎo xiān qù zhǎo qī shēn zhī chù。 zhǎo lái zhǎo qù， yòu huí dào liǎo zuó tiān wǎn shàng de nà jiā kè diàn。 zài dā xuě qiāo qián wǎng kè diàn de tú zhōng， tā yù dào liǎo liǎng gè zì chēng shì tā de zhù shǒu de rén。 tā men fēi cháng rè qíng dì bāng zhù K， bìng qiě yòng diàn huà lián luò chéng bǎo lǐ de bàn shì jī gòu， xún wèn jù tǐ hé shí néng shàng chéng bǎo qù， duì fāng huí dá：“ rèn hé shí hòu dōubù néng lái。”
zhè shí， lái liǎo yī wèi jiào bā nà bā sī de rén， tā shì chéng bǎo de xìn shǐ， K duì tā de lái dào shí fēn xīng fèn， rèn wéi tā kě yǐ chéng wéi zì jǐ hé chéng bǎo lián xì de zhōng jiān rén。 bā nà bā sī gěi tā dài lái liǎo chéng bǎo de xìn， xìn lǐ jì méi yòu duì K de dào lái biǎo shì huān yíng， yě méi yòu 'àn shì tā gǎn kuài lí kāi。 shì qíng yǐ jiù háo wú zhuǎn jī。 K hé xìn shǐ yī dào qù liǎo tā jiā， xìn shǐ de mèi mèi yòu biǎo shì tā kě yǐ bāng zhù K， yú shì bǎ K sòng jìn liǎo yī jiā lǚ guǎn， tā gào sù K， chéng bǎo de tóu miàn rén wù kè lā mǔ zhù zài nà lǐ， kě yǐ jiè jī zhǎo kè lā mǔ dǎ tōng guān jié。
zài lǚ guǎn de jiǔ bā lǐ， K rèn shí liǎo kè lā mǔ de qíng fù fú lì dá， K dùn shí shǐ chū hún shēn xièshù shì tú kào jìn fú lì dá， rán 'ér lǚ guǎn lǐ de rén bù tíng dì tiān luàn， zhù shǒu men yě zài yī biān tiān luàn， shǐ tā wú fǎ hé fú lì dá qīn mì dì tán yī tán guān yú kè lā mǔ。 tā shèn zhì yòng yǔ fú lì dá jié hūn de xǔ nuò xiǎng huàn dé gēn kè lā mǔ tán yī cì huà de jī huì。 dàn K zuì zhōng fā xiàn fú lì dá zhè tiáo lù shì zǒu bù tōng de， yīn wéi tā hé xìn shǐ yī yàng， shì gè wú guān jǐn yào de xiǎo rén wù， tā zǎo yǐ shī chǒng。
K qù jiàn cūn cháng， cūn cháng gào sù tā， K lái dào cūn zǐ wán quán shì gè cuò wù， yīn wéi zhè lǐ gēn běn yòng bù zhe tǔ dì cèliáng yuán。 chéng bǎo lǐ bù tóng bù mén bǐ cǐ fēng bì， zào chéng liǎo yī xiē chā cuò， suǒ yǐ K cái huì shōu dào gōng wén， rán 'ér zhè fèn gōng wén shì zǎo yǐ wú xiào de。 cūn cháng chéng rèn tā zài jǐ nián qián shōu dào yī gè zhāo pìn yī wèi tǔ dì cèliáng yuán de gōng wén， rán 'ér tā wú lùn rú hé zhǎo bù dào nà zhāng kě yǐ zhèng míng K hé fǎ shēn fèn de báozhǐ piàn。 cūn cháng biǎo dá liǎo zì jǐ duì zhè jiàn shì qíng de kàn fǎ， tā jué dé K shōu dào de gōng wén qí shí shì yī fēng mǒu gè zhù guǎn， bǐ rú kè lā mǔ， duì tā biǎo shì sī rén guān xīn de de xìn， bù néng dài biǎo chéng bǎo de yì jiàn， yīn cǐ K yīngdāng chèn zǎo huí qù。
K gǎn dào shòu piàn shàng dāng liǎo， dàn tā jiān chí yào qiú dé dào tā yìng dé de quán lì， nà jiù shì zhǎo yī gè zhù chù， ān dùn tā hé fú lì dá de xīn jiā。 kè zhàn lǎo bǎn yī xīn xiǎng gǎn zǒu K， K lín zǒu qián， yòu cóng lǎo bǎn niàn nà lǐ tīng dào liǎo guān yú tā hé kè lā mǔ jiù qíng de huí yì， zhè shǐ K gǎn dào hěn bù shū fú， yīn wéi tā bù yóu zì zhù dì xiǎng dào liǎo zì jǐ de wèi hūn qī。
zhè shí cūn lǐ xué xiào de jiào shī fèng cūn cháng zhī mìng qián lái， yǔn xǔ K dài jiā juàn zhù jìn xué xiào rèn kānmén rén， tóng shí tā yě qiáng diào， xué xiào qí shí bìng bù xū yào yī gè kānmén rén， tā wán quán zūn cóng cūn cháng de mìng lìng。 K gǎn dào shòu dào liǎo wǔ rǔ， tā jù jué liǎo zhè fèn gōng zuò。 kě fú lì dá jiān chí K jiē shòu tā， tā shuō rú guǒ K bù jiē shòu， lián gè 'ān shēn zhī chù dōuméi yòu， nà me zhè duì K duì tā zì jǐ dōushì shí fēn xiū kuì de shì qíng。
K duì yú jìn rù chéng bǎo réng rán bào zhe zuì hòu de xī wàng， zhè yǐ jīng bù dān chún shì zhí xíng gōng wù， ér shì yòu guān gè rén zūn yán de wèn tí。 tā mào xuě lái dào kè lā mǔ de lǚ guǎn， nǚ zhāo dài shuō zhè huì 'ér kè lā mǔ zhèng zhǔn bèi lí kāi lǚ guǎn， xuě qiāo yǐ zài yuàn zǐ lǐ děng zhe tā， K 'èr huà méi huà， shǒu dào xuě qiāo biān， hē zhe bái lán dì děng kè lā mǔ chū lái。 hé yǐ qián yī yàng， kè lā mǔ běn rén yǒng yuǎn bù huì chū xiàn， tā de mì shū mó mài sī chū lái gào sù K：“ bù guǎn nǐ gēn wǒ zǒu huò zhě liú zài zhè lǐ， nǐ dū bù huì jiàn dào tā。” K fǎn 'ér xiàn rù liǎo jìn tuì liǎng nán de dì bù， rú guǒ tā lí kāi， zhōu wéi rén de shén sè jǔ zhǐ lǐ jiù biǎo míng kè lā mǔ jiù cǐ tuō shēn liǎo； rú guǒ tā jiān chí děng xià qù， xiǎn rán yě shì méi yòu jiēguǒ de。 mì shū ná chū yī fèn huì tán jì lù， xiàng K zhǐ chū zhè shì yǐn K zǒu xiàng kè lā mǔ de wéi yī dào lù， dàn shǒu xiān K bì xū jiē shòu yī fān kē kè de shěn chá， K jué dé bù kě rěn shòu， yú shì tā men liǎng rén dà xiào zhe fēn bié liǎo。
《 chéng bǎo》 zuò jiā kǎ fū kǎ
xìn shǐ bā nà bā sī yòu dài lái liǎo kè lā mǔ de yī fēng xìn， kè lā mǔ zàn shǎng liǎo K jí qí zhù shǒu de cèliáng gōng zuò， zhè shǐ K kùn huò bù yǐ， tā zhì jīn wéi zhǐ cóng wèi gànshénme cèliáng gōng zuò， měi tiān zuò de shì qíng jiù shì zài děng dài zhēng qǔ chéng bǎo de xǔ kě。 K kāi shǐ huái yí xìn shǐ de kě kào， dàn tā réng tuō bā nà bā sī dài qù yī gè huí yīn， shēn sù zì jǐ jiāo zhuó dì kě pàn jiàn dào kè lā mǔ yī miàn de xīn qíng。
zhī hòu K huí dào tā hé fú lì dá de xīn jiā， nà shì xué xiào lǐ de yī jiān dà jiào shì， kě shì K hé fú lì dá de shēng huó bìng bù 'ān níng。 liǎng gè zhù shǒu bù tíng dì táo qì， zhēng shí wù， chǒu zhǔn jī huì shuì dào wéi yī de dào cǎo diàn zǐ shàng qù。 dì 'èr tiān， xué xiào de nǚ jiào shī lái liǎo， tā shí fēn chī jīng， jì 'ér bù duàn dì zé mà K， K jīhū xiàng gè liè děng dòng wù yī yàng bèi qī rǔ， kě tā jué bù jiē shòu xiào fāng de jiě zhí tōng zhī。 tā qiān nù yú liǎng wèi wú yòng de zhù shǒu， xuān bù cí tuì tā men， zhù shǒu men shī chū hún shēn qì lì 'āi qiú K。 fú lì dá fǎn duì K de jué dìng， tā shuō yī dàn cí tuì zhù shǒu， K jiù yǒng yuǎn méi yòu jī huì jiàn dào kè lā mǔ liǎo。 fú lì dá gǔ lì K bù yào sàng shī xìn xīn。
K lái dào xìn shǐ jiā děng dài huí yīn， xìn shǐ de jiě mèi 'ào 'ěr gā hé 'ā mǎ lì yà zǒng xiàng K 'àn shì tā men de qīng mù zhī qíng， bìng qiě zài xián liáo zhōng， àn shì K， tā men de gē gē bā nà bā sī kě néng cóng wèi jiàn guò kè lā mǔ， tā zǒng shì gěi K dài lái nà xiē dān wù liǎo hěn jiǔ， shī qù shí xiào de xìn。 jiù lián kè lā mǔ běn rén， yě shì kě yí de， guān yú kè lā mǔ de zhǒng zhǒng qíng kuàng， hěn dà chéng dù shàng shì cūn lǐ rén xiǎng xiàng chū lái de。 ào 'ěr gā yòu gào sù K， chéng bǎo lǐ de guān yuán rú tóng bào jūn， tā men kě yǐ suí shí qiáo shàng cūn lǐ de rèn hé gū niàn， gěi tā men xiě xià liú wú bǐ de xìn。 tā men de tán huà lí zhèng tí yuè lái yuè yuǎn， ào 'ěr gā jiǎng qǐ liǎo 'ā mǎ lì yà yīn wéi jù jué chéng bǎo lǐ lìng yī wèi dà guān yuán suǒ 'ěr dì ní de qiú 'ài 'ér zāo shòu de bù xìng， tā men quán jiādōu bèi pò jiē shòu liǎo yī zhǒng jīhū zhěng tiān wú suǒ shì shì de xíng fá， chéng bǎo qiáng zhì tā men tuì chū shè huì shēng huó。 ào 'ěr gā tí xǐng K， bù yào zhǐ wàng rèn hé yī wèi yòu tóng qíng xīn de guān yuán wèitā shuō huà。 bā nà bā sī wéi K sòng xìn， qí shí bù guò shì xiǎng ràng zì jǐ yī jiā rén bù lù hén jì dì zài shòu 'ēn chǒng， duì yú K lái shuō， méi yòu rèn hé yì yì。 zhè chǎng fán rǒng 'ér tuī xīn zhì fù de tán huà bèi K de yī wèi zhù shǒu dǎ duàn liǎo， K hěn kuài yì shí dào fú lì dá hé lìng yī wèi zhù shǒu dāi zài jiā lǐ， tā gǎn jǐn huí jiā liǎo。
dào jiā lǐ， K fā xiàn fú lì dá bù jiàn liǎo。 yuán lái tā yǐ wéi K páo qù gòu dā bā nà bā sī de jiě mèi， yú shì hé lìng yī gè zhù shǒu dá chéng xié yì， bèi pàn K。 zhè shí， bā nà bā sī yòu páo lái zhǎo K， xīng chōng chōng dì tōng zhī tā， kè lā mǔ de zhù yào mì shū zhī yī 'ài lǎng gé yào hé K dāng miàn tán yī tán。 K hé yī qún rén děng hòu zài qī hēi de lǚ guǎn mén kǒu， K bèi zuì xiān lǐng liǎo jìn qù， dàn 'ài lǎng gé què shuì zhe liǎo， K zhǐ hǎo děng zhe。 zài děng dài de shí hòu， tā yòu chóngxīn jiàn dào liǎo fú lì dá， tā men jī liè zhēng lùn liǎo zhōng shí yǔ bù zhōng shí de wèn tí。 fú lì dá tǎn rán dì gào sù K， tā yǐ jīng hé nà wèi zhù shǒu tóng jū liǎo。 K zé shí fēn píng jìng dì huí jìng tā： zì cóng nǐ xiāng jì shī qù liǎo kè lā mǔ de qíng fù yǐ jí wǒ de wèi hūn qī zhè liǎng zhǒng shēn fèn zhī hòu， nǐ zǎo yǐ jīng méi yòu liǎo mèi lì。 tīng wán cǐ huà hòu， fú lì dá sì hū bèi chù dòng liǎo。 dàn shì tā yòu jiàn dào zhù shǒu shí， mǎ shàng jiù gǎi biàn zhù yì。 tā shuō： tā zài yě bù xiǎng huí dào K shēn biān jiē shòu tā de zhé mó。
xiǎo shuō jiù zài cǐ chù jiá rán 'ér zhǐ， kǎ fū kǎ wèi xiě wán tā， tā yuán lái dǎ suàn de jié wěi shì K jiāng jīng pí lì jié 'ér sǐ。 hòu shì jí yán jiū zhě yù jì de jié jú shì： K mí liú zhī jì， chéng bǎo zhōng yú lái liǎo tōng zhī， yǔn xǔ K liú zài cūn zǐ lǐ， dàn bù xǔ jìn rù chéng bǎo， K yǒng yuǎn bù kě néng dào dá nà lǐ， yī zhí dào sǐ。
《 chéng bǎo》 - zhuān jiā diǎn píng
dāng yī gè zuò jiā bù néng bèi tā tóng shí dài de rén suǒ lǐ jiě shí， tā huì zěn yàng chǔlǐ zì jǐ de zuò pǐn。 kǎ fū kǎ xuǎn zé de shì huǐ miè。 tā zài yí shū zhōng wěi tuō hǎo yǒu bù luó dé jiāng qí suǒ yòu zuò pǐn“ háo wú bǎo liú dì， dú yě bù bì dú jiù tǒng tǒng yú yǐ fén huǐ”。 wàn xìng bù luó dé zì zuò zhù zhāng jiāng kǎ fū kǎ de yí gǎo bǎo cún xià lái， zhěng lǐ chū bǎn， zhè yī cì míng zhì de“ bèi xìn qì yì” shǐ wǒ men jīn tiān yǐ jiù néng yī dǔ kǎ fū kǎ zhè wèi wén xué dà shī yī shēng qín fèn de chéng guǒ。
rén men tí dào kǎ fū kǎ， zǒng shì huì tí qǐ tā de《 biàn xíng jì》， lǐ miàn de xiǎo gōng wù yuán yī zǎo qǐ lái fā xiàn zì jǐ biàn chéng liǎo yī gè dà jiá chóng。 xī fāng wén xué zhōng cháng cháng yòng《 biàn xíng jì》 lái zhǐ dài xiàn dài huà wén míng zhōng rén de yì huà。 rán 'ér zài zhè lǐ suǒ tuī jiàn de《 chéng bǎo》， yīn qí duō yì xìng gèng fù yú yuè dú de kuài lè。 zhōng piān xiǎo shuō《 chéng bǎo》 yǔ《 shěn pàn》 jí《 měi guó》 hé chēng“ kǎ fū kǎ sān bù qū”， tā mendōu jù yòu kǎ fū kǎ xiǎo shuō yī guàn de huāng dàn bù jīng fēng gé： yì huà xiàn xiàng， nán yǐ pái qiǎn de gū dú hé wēi jī gǎn， wú fǎ kè fú de huāng dàn hé kǒng jù。 kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng， gè rén shì de、 yōu yù de、 gū dú de qíng xù， yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 qí zhōng《 chéng bǎo》 gèng fù yú“ kǎ fū kǎ shì” de gòu sī hé yǔ yán fēng gé。
hé kǎ fū kǎ de qí tā xiǎo shuō yī yàng，《 chéng bǎo》 méi yòu wéi yī zhèng què de jiě shì， jiě shì quán shòu yú liǎo měi gè yuè dú zhě， zhè lái yuán yú zhè bù zuò pǐn de duō yì xìng。 biǎo miàn shàng， zhè zuò pǐn de gù shì zài jiǎn dān bù guò liǎo， yī gè tǔ dì cèliáng yuán K lái dào yī gè cūn zhuāng， xiǎng jìn rù guǎn xiá fù jìn dì qū de bó jué jū zhù de chéng bǎo， tā fèi liǎo jiǔ niú 'èr hǔ zhī lì， tān shàng yī qiē yě méi néng dá dào mùdì。《 chéng bǎo》 suǒ jù yòu de huāng miù、 xū nǐ， wú míng què de shí dài dì lǐ bèi jǐng de tè zhēng shǐ tā mǒ shàng hěn nóng de yù yán sè cǎi， wú lùn píng lùn jiā hái shì pǔ tōng dú zhě dōunéng gòu huò dé bù tóng de jié lùn，《 chéng bǎo》 jiū jìng biǎo dá liǎo zěn yàng de zhù tí， zhè zhōng liǎo hái shì yī gè nán jiě zhī mí， yòu rén shuō tā biǎo xiàn de shì“ rén shì tú jìn rù tiān guó 'ér bù dé de tòng kǔ”； yòu rén zé rèn wéi tā jí zhōng fǎn yìng liǎo kǎ fū kǎ běn rén de jīng shén shì jiè de huāng dàn、 gū dú yǔ kǒng jù； yòu rén zé jié hé xiě zuò nián dài bèi jǐng， shuō míng chéng bǎo shí jì shàng fǎn yìng liǎo 'ào xiōng dì guó guān liáo tǐ zhì yǔ dà zhòng de hóng gōu， gèng yòu lùn zhě yǐ wéi，《 chéng bǎo》 hé《 shěn pàn》、《 měi guó》 de zhù tí xiāng tóng， jí“ rén men suǒ zhuī qiú de zhēn lǐ， bù guǎn shì zì yóu、 ān dìng， hái shì fǎ lǜ， dōushì cún zài de， dàn zhè gè huāng dàn de shì jiè gěi rén men shè zhì liǎo zhǒng zhǒng zhàng 'ài， wú lùn nǐ zěn me nǔ lì， zǒng shì zhuī qiú bù dào， zuì hòu zhǐ néng yǐ shī bài gào zhōng。” zài《 chéng bǎo》 zhōng，“ chéng bǎo” shì zuì dà de mí tuán， tā yǔ zhù rén gōng K de mù biāo zǒng shì ruò jí ruò lí， yě zhèng yīn cǐ， néng gòu jī qǐ rén men xiāng dāng de yuè dú xīng qù， qí zhōng de rén wù rú CC bó jué， yǐ zhì yú kè lā mǔ bù cháng děngdōu shén mì mò cè， zú yǐ jiàn kǎ fū kǎ zhè wèi xiǎo shuō jiā de tiān cái de zhì huì。
《 chéng bǎo》 xiǎo shuō jiā kǎ fū kǎ
yuè dú kǎ fū kǎ de xiǎo shuō， duì měi yī gè dú zhě lái shuō dōushì tiǎo zhàn。 tā xǐ huān cháng jù zǐ， zì lǐ xíng jiān chōng mǎn liǎo dà liàng de 'àn yù， tā yòng wén zì duī qǐ liǎo yī gè gè mí gōng。 dú zhě huì zài chuān xíng wén zì shí yù dào jí dà de zǔ lì。 rán 'ér dāng nǐ xí guàn tā de wén zì fēng gé hòu， nǐ huì fā xiàn， yuán xiān de zǔ lì biàn chéng liǎo dòng lì， dài gěi nǐ yuè dú de kuài gǎn。
1913 nián 8 yuè 15 rì， kǎ fū kǎ zài zì jǐ de rì jì lǐ xiě dào：“ wǒ jiāng bù gù yī qiē dì yǔ suǒ yòu rén gé jué， yǔ suǒ yòu rén dí duì， bù tóng rèn hé rén jiǎng huà。” 6 tiān hòu tā yòu zhè yàng xiě dào：“ xiàn zài wǒ zài wǒ de jiā tíng lǐ， zài nà xiē zuì hǎo de、 zuì qīn 'ài de rén men zhōng jiān， bǐ yī gè mò shēng rén hái yào mò shēng。 jìn nián lái wǒ hé wǒ de mǔ qīn píng jūn měi tiān shuō bù shàng 20 jù huà； hé wǒ de fù qīn chú liǎo yòu shí bǐ cǐ hán xuān jǐ jù jīhū jiù méi yòu gèng duō de huà kě shuō； hé wǒ de yǐ hūn de mèi mèi hé mèi fū men chú liǎo gēn tā men shēng qì wǒ yā gēn 'ér jiù bù shuō huà。 lǐ yóu hěn jiǎn dān： wǒ hé tā men méi yòu rèn hé yī dīng diǎn 'ér de shì qíng yào shuō。 yī qiē bù shì wén xué de shì qíng dū shǐ wǒ wú liáo， jiào wǒ zēng hèn” sān nián zhī hòu， zhè gè bù jǐn hé zhěng gè shì jiè gé gé bù rù， ér qiě yě hé zì jǐ gé gé bù rù de yóu tài rén， suī rán shàng wèi jìn rù wán quán yǔ shì gé jué de chéng bǎo， què zhōng yú cóng jiā tíng lǐ táo chū， wéi zì jǐ zhǎo dào liǎo yī tiáo zhǎi dé xiàng xī fú xiù zǐ yī yàng de yōu shēn de sǐ xiàng。 zhè jiù shì rú jīn zài bù lā gé pō wéi zhī míng de huáng jīn xiàng、 yòu yì wéi“ liàn jīn shù shì xiàng”。 huáng jīn xiàng 22 hào de lián dòng wū zhōng jiān， yòu zuò jiàn yú 16 shì jì de、 zhǐ yòu yī gè fáng jiān hé yī jiān xiǎo gé lóu de xiǎo xiǎo lán wū， qiáng bì hěnbáo， fáng shè dī 'ǎi dé shēn shǒu biàn kě chù jí tiān huā bǎn。 zhè shì bèi tā de hǎo yǒu mǎ kè sī · bù luó dé chēng zhī wéi“ yī gè zhēn zhèng de zuò jiā de xiū dào shì bān de mì shì” de chù suǒ。 kǎ fū kǎ zài zhè lǐ jì xù yòng mí yī bān de wén zì gòu zhù zhe zì jǐ líng hún de chéng bǎo。
《 chéng bǎo》 kǎ fū kǎ jí jiā rén
zài kǎ fū kǎ de shì jiè lǐ， è mèng yǒng yuǎn méi yòu xǐng lái de shí hòu， zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì“ rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié”， zhè zhèng shì zuò wéi xiǎo shuō jiā díkǎ fū kǎ de tiān fù suǒ zài， dāng wǒ men dú dào《 biàn xíng jì》、《 chéng bǎo》、《 shěn pàn》 děng zuò pǐn shí， jiǎn zhí jiù xiàng miàn duì zhe yī zūn zūn chōng mǎn lì liàng de diāo sù， nǐ néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 duì yú kǎ fū kǎ zì jǐ lái shuō， shēng cún jiù shì yīcháng bì xū“ qiàdàng yùn yòng zì jǐ de lì liàng（ yīn wéi wǒ men de lì liàng yǒng yuǎn shì yòu xiàn de）” de kàng zhēng。 suī rán qián tú 'àn dàn， dàn qián tú bì jìng zhōng huì dào lái。 tōng guò xiě zuò zhè yī xíng shì kǎ fū kǎ wéi zì jǐ de kàng zhēng zhǎo dào liǎo cún zài de xíng xiàng。 cóng kǎ fū kǎ zì jǐ de shū xìn yǔ rì jì， wǒ men yě xǔ néng lǐng huì dào nà wú qióng wú jìn de lì liàng yuán quán， tā zhè yàng xiě dào：“ bù yào jué wàng， shèn zhì duì nǐ bìng bù gǎn dào jué wàng zhè yī diǎn yě bù yào jué wàng。 qià qià zài sì hū yī qiēdōu wán liǎo de shí hòu， xīn de lì liàng bì jìng lái lín， gěi nǐ yǐ bāng zhù， ér zhè zhèng biǎo míng nǐ shì huó zhe de。”“ yīcháng qīng pén dà yǔ。 zhàn lì zhe miàn duì zhè chǎng dà yǔ bā！ ràng tā de gāng tiě bān de guāng máng cì chuān nǐ。 nǐ zài nà xiǎng bǎ nǐ chōng zǒu de yǔ shuǐ zhōng piāo fú， dàn nǐ hái shì yào jiān chí， áng shǒu yì lì， děng dài nà jí jiāng lái lín de wú qióng wú jìn de yáng guāng de zhào yào。” lìng rén chī jīng de shì， tā men jìng rán dài zhe zhè yàng yī xiē zī tài： yōu shāng、 lǐ jiě、 tòng kǔ、 qiān bēi， kǎ fū kǎ yóu cǐ zǒu xiàng liǎo wú xiàn shēn yuān。 zuì zhōng tā wán chéng liǎo duì zì jǐ de sù zào： tā chéng wéi wú xiàn shēn yuān zhōng wéi yī luǒ xíng de sī xiǎng zhě。 kǎ fū kǎ de dào lù shì duì kàng zhī lù， tā yǔ cún zài yú tā shēn biān de shì jiè hé zhì xù yī zhí shì kàng zhēng zhe de， yì shù huò zhě shuō wén xué xiě zuò shì tā duì kàng wài bù huāng dàn shì jiè de wéi yī wǔ qì， tā bié wú xuǎn zé。 suī rán zài cǐ qī jiān， tā jí dù kě wàng shí xiàn yì shù yǔ xiàn shí de tǒng yī， shèn zhì tā gè rén yǔ wài bù shì jiè yòu guò duǎn zàn de tǒng yī， dàn zhè zhǒng tǒng yī yě shì yī shùn jí shì de， biǎo miàn hé xíng shì shàng de。 tā yě kě wàng yòu zì jǐ de jiā tíng， dàn tā hài pà jiā tíng sǔn hài tā de xiě zuò； tā yě xiàng fán fū sú zǐ yī yàng， kě wàng yòu zì jǐ de hái zǐ， zuò yī míng hǎo fù qīn， dàn zhí dào tā yòu yī gè yǐ cháng dào 7 suì cái yāo zhé de hái zǐ。
kǎ fū kǎ shēng qián mò mò wú wén， gū dú dì fèn dǒu， suí zhe shí jiān de liú shì， tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí， zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng， bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè， jīng jiǔ bù shuāi。 tā yī shēng de zuò pǐn bìng bù duō， dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè、 ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 měi guó shī rén 'ào dēng rèn wéi：“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” hòu shì de xǔ duō xiàn dài zhù yì wén xué liú pài rú“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” děng dū bǎ kǎ fū kǎ fèng wéi zì jǐ de bí zǔ。
guān yú kǎ fū kǎ， wǒ men hái kě yǐ shuō shàng hěn duō hěn duō。 jù shuō zài xiàn dài wén xué de yán jiū zhōng， guān yú kǎ fū kǎ de lùn wén shù liàng zhī dà， jǐn jǐn dǎ yìn tí mù jiù xū yào jǐ shí yè。 dàn shì， lǐ jiě kǎ fū kǎ zuì hǎo de fāng fǎ， jiù shì jìn rù tā de wén zì shì jiè， ān jìng dì qīng tīng tā tōng guò yǔ yán biǎo dá de nèi xīn。 zhè bù zhèng shì wǒ men xiàn zài zhè gè fú zào de xiàn dài wén míng suǒ quē shǎo de má？
《 chéng bǎo》 - miào yǔ jiā jù
tā zhēn yào yǐ wéi wài miàn shì huī sè de tiān kōng yǔ huī sè de tǔ dì hún rán yī tǐ de huāng mò shì jiè liǎo。
kě shì rú guǒ zhè yī qiē de píng jìng、 shū shì yǔ mǎn zú dōuyào xiǎng kǒng bù dì gào yī duàn luò， nà gāi zěn me bàn ní？
History of the novel
Kafka began writing The Castle on the evening of January 27, 1922, the day he arrived at the mountain resort of Spindlermühle (now in the Czech Republic). A picture taken of him upon his arrival shows him by a horse-drawn sleigh in the snow in a setting reminiscent of The Castle. Hence, the significance that the first few chapters of the handwritten manuscript were written in first person and at some point later changed by Kafka to a third person narrator, 'K.'
Max Brod
Kafka died prior to finishing The Castle and it is questionable whether Kafka intended on finishing it if he had survived his tuberculosis. On separate occasions he told his friend Max Brod of two different conditions: K., the book's protagonist, would continue to reside and die in the village; the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there" , but then on September 11, 1922 in a letter to Max Brod, he said he was giving up on the book and would never return to it. As it is, the book ends mid-sentence.
Although Brod was instructed by Kafka to destroy all his works on his death, he did not and set about publishing Kafka's writings. The Castle was originally published in German in 1926 by the publisher Kurt Wolff Verlag of Munich. This edition sold far less than the 1500 copies that were printed. It was republished in 1935 by Schocken Verlag in Berlin, and in 1946 by Schocken Books of New York.
Brod had to heavily edit the work to ready it for publication. His goal was to gain acceptance of the work and the author, not to maintain the structure of Kafka's writing. This would play heavily in the future of the translations and continues to be the center of discussion on the text. Brod donated the manuscript to Oxford University.
Brod placed a strong religious significance to the symbolism of the castle. This is one possible interpretation of the work based on numerous Judeo-Christian references as noted by many including Arnold Heidsieck.
Malcolm Pasley
The publisher, Salmen Schocken, soon realized the translations were "bad" and in 1940 desired a "completely different approach". In 1961 Malcolm Pasley got access to all of Kafka's works, except The Trial, and deposited them in Oxford's Bodleian library. Pasley and a team of scholars (Gerhard Neumann, Malcolm Pasley, Jost Schillemeit, and Jürgen Born) started publishing the works in 1982 through S. Fischer Verlag. Das Schloß was published that year as a two volume set — the novel in the first volume, and the fragments, deletions and editor's notes in a second volume. This team restored the original German text to its full, and incomplete state, including the unique Kafka punctuation considered critical to the style.
Stroemfeld/Roter Stern
Interpretations of Kafka's intent for the manuscript are ongoing. Stroemfeld/Roter Stern Verlag is working for the rights to publish another critical edition with manuscript and transcription side-by-side. But they have met with resistance from the Kafka heirs and Pasley. This edition is not yet available.
Major editions
* 1930 Translators: Willa and Edwin Muir. Based on the First German edition, by Max Brod. Published By Secker & Warburg in England and Alfred A. Knopf in the United States.
* 1941 Translators: Willa and Edwin Muir. Edition include an Homage by Thomas Mann.
* 1954 Translators: Willa and Edwin Muir additional sections translated by Eithne Wilkins and Ernst Kaiser. "Definitive edition". Based on the Schocken 1951 Definitive edition .
* 1994 Translators: Muir, et al. Preface by Irving Howe.
* 1997 Translator: J. A. Underwood, Introduction: Idris Parry. Based on Pasley Critical German Text.
* 1998 Translator: Mark Harman Based on Pasley Critical German Text.
The title
The title, Das Schloß, may be translated as "the castle" or "the lock". It is also similar to Der Schluß (close or end). The castle is locked and closed to K and the townspeople; neither can gain access.
Plot
The narrator, K. arrives in the village, governed by the castle. When seeking shelter at the town inn, he gives himself out to be a land surveyor summoned by the castle authorities. He is quickly notified that his castle contact is an official named Klamm, who, in the introductory note, informs K. he will report to the Council Chairman.
The Council Chairman informs K. that, through a mix up in communication between the castle and the village, he was erroneously requested but, trying to accommodate K., the Council Chairman offers him a position in the service of the school teacher as a janitor. Meanwhile, K., unfamiliar with the customs, bureaucracy and processes of the village, continues to attempt to reach the official Klamm, who is not accessible.
The villagers hold the officials and the castle in the highest regard, justifying, quite elaborately at times, the actions of the officials, even though they do not appear to know what officials do or why they do it; they simply defend it. The number of assumptions and justifications about the functions of the officials and their dealings are enumerated through lengthy monologues of the villagers. Everyone appears to have an explanation for the official's actions that appear to be founded on assumptions and gossip. One of the more obvious contradictions between the "official word" and the village conception is the dissertation by the secretary Erlanger on Frieda's required return to service as a barmaid. K. is the only villager that knows that the request is being forced by the castle (even though Frieda may be the genesis), with no regard for anyone in the village, only Klamm. Pepi and Jeremiah quickly come to their conclusions and do not hesitate to state them.
The castle is the ultimate bureaucracy with copious paperwork that the bureaucracy maintains is "flawless". This flawlessness is of course a lie; it is a flaw in the paperwork that has brought K. to the village. There are other failures of the system which are occasionally referred to. K. witnesses a flagrant misprocessing after his nighttime interrogation by Erlanger as a servant destroys paperwork when he cannot determine who the recipient should be.
The castle's occupants appear to be all adult men and there is little reference to the castle other than to its bureaucratic functions. The two notable instances are the reference to a fire brigade and that Otto Brunswick's wife is self declared as from the castle. The latter builds the importance of Hans (Otto's son) in K's eyes, as a way to gain access to the castle officials.
The functions of the officials are never mentioned. The officials that are discussed have one or more secretaries that do their work in their village. Although the officials come to the village they do not interact with the villagers unless they need female companionship, implied to be sexual.
Characters
Note: The Muir translations refer to the Herrenhof Inn where the Harman translations translate this to the Gentleman's Inn. Below all references to the inn where the officials stay in the village is the Herrenhof Inn since this was the first, and potentially more widely read, translation.
Character Description
K., the Land-Surveyor The protagonist of the story, recognized as a land surveyor, employed as the school janitor, and a stranger to the townspeople. He spends most of the novel trying to overcome the bureaucracy of the village and to contact the castle official Klamm.
Frieda A former barmaid at the Herrenhof, who is K.'s fiancée for most of the novel. She often finds herself torn between her duty to K. and her fears regarding his over-zealousness. She eventually leaves K. and ends up in the arms of his former assistant, Jeremiah (who has since become a waitperson at the Herrenhof).
Hans, landlord
(Bridge Inn) Nephew of the original owner of the inn. According to his wife, Gardena, he is lazy and overly nice to K.
Gardena, landlady
(Bridge Inn) The self proclaimed firebrand of the Bridge Inn she is a former short-term mistress to Klamm and very distrustful of K.'s motives. She remains infatuated with Klamm.
Barnabas, a messenger A messenger of the castle assigned to K. He is new to the service. K. is instructed to use him to communicate with the official Klamm. He is very immature and sensitive.
Arthur and Jeremiah, K's assistants
(Artur and Jeremias in Harman edition) Shortly after his arrival in the village, K. is given two assistants to help him with his various needs. They are a continual source of frustration for him, however, and he eventually drives them from his service through his brutal treatment. They have been assigned to K., to make him happy, by the official Galater who was deputizing for Klamm at the time.
Mayor/Superintendent
(Village Council Chairman in Harman edition) Assigned by Klamm to give K. his assignment and hence is his superior. He explains to K why he is not needed as a land surveyor. He offers K. the job of school janitor to the dismay of the Teacher.
Mizzi, the mayor's wife The wife and assistant of the Mayor, Gardena refers to her as the one who does the work.
Klamm An elusive castle official who is K.'s Castle Authority. Like the other Castle officials in the book, his actual area of expertise is never mentioned. K. spends a large portion of the novel trying to secure a meeting with Klamm. K., it seems, fixes many of his hopes for a successful resolution to his problems upon this meeting with Klamm. He has at least two secretaries—Erlanger (First Secretary) and Momus.
In Czech (and Kafka was able to speak and read/write Czech) "klam" means "illusion."
Momus, Klamm's secretary Handles all written work for and receives all petitions to Klamm. He is also secretary for Vallabne, who is not mentioned again in the novel.
Erlanger, Klamm's secretary The First Secretary of Klamm who is sent to "interrogate" K, but only gives him a short message.
Olga, Barnabas' sister The older sister of Amalia and Barnabas. She helps K. on his quest, partly by telling him the story of why her family is considered outcasts and by teaching him some of the village customs.
Amalia, Barnabas' sister Younger sister of Barnabas and Olga. She was disgraced in the village after rudely turning down a summons from the castle official Sortini for sexual favors.
Barnabas' Father The father of Olga, Amalia and Barnabas. Past village cobbler and notable fireman. After Amalia's disgraceful interactions with Sortini's messenger, his business is ruined and he is stripped of his fire credentials
Barnabas' Mother The mother of Olga, Amalia and Barnabas.
Otto Brunswick, son-in-law of Lasemann
(brother-in-law of Lasemann in Harman edition) Hans Brunswick's father. Opportunistically takes over Barnabas' father's customers as the Barnabas family falls into disrepute from Amalia's rude treatment of Sortini's Messenger. According to the Mayor, Brunswick was the only person in the village that desired that a land surveyor be hired. No reason for this is given.
Frau Brunswick Hans Brunswick's Mother. She refers to herself as "from the castle" and is the only reference to a female at the castle.
Hans, a sympathetic Student A student at the school where K is a janitor. Offers to help K and K uses him to attempt to find ways to get to the castle through his mother.
Herrenhof Landlord Landlord of the Herrenhof Inn.
Herrenhof Landlady Well dressed landlady at the Herrenhof Inn. Seems to be the matriarch of the Inn (as is Gardena at the Bridge Inn). Is distrustful of K.
Galater He is the castle official that assigned the assistants to K. He was also "rescued" by Barnabas' father in a minor fire at the Herrenhof Inn.
Brügel
(Bürgel in Harman edition) A Secretary of a castle official, Friedrich. Friedrich is not mentioned again in the book, but in deleted text is referred to as an official who is falling out of favor. Brügel is a long winded secretary who muses about Castle interrogations with K, when the latter errantly enters his room at the Herrenhof Inn.
Sordini Castle secretary who exhaustively manages any transactions at the castle for his department and is suspicious of any potential error.
Sortini Castle official associated with the village fire brigade who solicits Amalia with a sexually explicit and rude request to come to his room at the Herrenhof.
Teacher When K. becomes the janitor at the school, the teacher becomes K.'s de facto superior. He does not approve of K. working at the school, but does not appear to have the authority to terminate K's appointment.
Miss Gisa, the school mistress The assistant school teacher who is courted by Schwarzer and also dislikes K.
Schwarzer An under-castellan's son who appears to have given up living in the castle to court Miss Gisa and become her student teacher.
Pepi A former chamber maid who is promoted to Frieda's barmaid position when the latter leaves her position at the Herrenhoff to live with K. She was a chambermaid with Emilie and Hennriette
Lasemann, a tanner, father-in-law of Otto Brunswick
(brother-in-law of Otto Brunswick in Harman edition) The village tanner that offers a few hours shelter to K. during on his first full day in the village.
Gerstacker, a Coachman Initially suspicious of K. but gives him a free sleigh back to the Bridge Inn after refusing to provide a ride to the castle. At the end of the book attempts to befriend K. since he believes K. has clout with Erlanger.
Seemann, the Fire Company chief The fire chief that strips Barnabas' father of his fireman diploma after Barnabas' family falls into shame from Amalia's rude treatment of Sortini's Messenger.
Major themes
Theological
It is well documented that Brod's original construction was based on religious themes and this was furthered by the Muirs in their translations. But it has not ended with the Critical Editions. Numerous interpretations have been made with a variety of theological angles.
One interpretation of K.'s struggle to contact the castle is that it represents a man's search for salvation. According to Mark Harman, translator of a recent edition of The Castle, this was the interpretation favored by the original translators Willa and Edwin Muir, who produced the first English volume in 1925. Harman feels he has removed the bias in the translations toward this view, but many still feel this is the point of the book.
Fueling the biblical interpretations of the novel are the various names and situations. For example, the official Galater (the German word for Galatians), one of the initial regions to develop a strong Christian following from the work of Apostle Paul and his assistant Barnabas. The name of the messenger, Barnabas, for the same reason. Even the Critical Editions naming of the beginning chapter, "Arrival", among other things liken K. to an Old Testament messiah.
Abuse of power
While in talking to Olga in (Chapter XVII, "Amalia's Secret") K. himself ridicules the officials, in general, based on Sortini's "abuse of power" in requesting Amalia to come to the Gentleman's Inn. K. caught, once again, in not understanding the customs of the village is shocked at the behavior of Sortini. Olga expresses the "heroic" actions of Amalia, but appears too understanding of the community's acceptance of the status quo when it comes to the solicitations by the officials.
Bureaucracy
The obvious thread throughout The Castle is bureaucracy. The extreme degree is nearly comical and the village residents' justifications of it are amazing. Hence it is no surprise that many feel that the work is a direct result of the political situation of the era in which it was written, which was shot through with anti-Semitism, remnants of the Habsburg bureaucracy, etc.
But even in these analyses, the veiled references to more sensitive issues are pointed out. For instance, the treatment of the Barnabas family, with their requirement to first prove guilt before they could request a pardon from it and the way their fellow villagers desert them have been pointed out as a direct reference to the anti-Semitic climate at the time.
Allusions to other works
Critics often talk of The Castle and The Trial in concert, highlighting the struggle of the protagonist against a bureaucratic system and standing before the law's door unable to enter as in the parable of the priest in The Trial.
In spite of motifs common with other works of Kafka, The Castle is quite different from The Trial. While K., the main hero of The Castle, faces similar uncertainty and difficulty in grasping the reality that suddenly surrounds him; Josef K., the protagonist of The Trial, seems to be more experienced and emotionally stronger. On the other hand, while Josef K.'s surroundings stay familiar even when strange events befall him, K. finds himself in a new world whose laws and rules are unfamiliar to him.
Publication history
Harman translation
In 1926 Max Brod persuaded Kurt Wolff Verlag to publish the first German edition of The Castle. Due to its unfinished nature and his desire to get Kafka's work published, Max Brod took some editorial freedom.
In 1961 Malcolm Pasley was able to gain control of the manuscript, along with most of the other Kafka writings (save The Trial) and had it placed in the Oxford's Bodleian library. There, Pasley headed a team of scholars and recompiled Kafka's works into the Critical Edition. The Castle Critical Edition, in German, consists of two volumes—the novel in one volume and the fragments, deletions and editor's notes in a second volume. They were published by S. Fischer Verlag in 1982, hence occasionally referred to as the "Fischer Editions".
Mark Harman used the first volume of this set to create the 1998 edition of The Castle, often refer to as based on the "Restored Text" or the "English Critical Edition".
The lack of the fragments and missing text would have little meaning to most readers if the Muir translation did not let one know that there was more to read. The casual reader may not find the additional text of value, which Harman mentions that he has not included the text. According to the Publisher's Note:
"We decided to omit the variants and passages deleted by Kafka that are included in Pasley's second volume, even though variants can indeed shed light on the genesis of literary texts. The chief objective of this new edition, which is intended for the general public, is to present the text in a form that is as close as possible to the state in which the author left the manuscript."
Harman has received general acceptance of his translation as being technically accurate and true to the original German. He has, though, received criticism for, at times not creating the prosaic form of Kafka. Some of this is due, as with Muir's translations, on accusations that Pasley compilations are also inaccurate, although better than Brod's.
As noted in the Table of Contents above, Harman includes an eleven page discussion on his philosophy behind the translation. This section provides significant information about the method he used and his thought process. There are numerous examples of passages from Pasley, Muir's translation and his translation to provide the reader with a better feel for the work. As referenced above, some feel that his (and the publisher's) praise for his work and his "patronizing" of the Muirs goes a little too far.
Muir translation
In 1930 Willa and Edwin Muir translated the First German edition of The Castle as it was compiled by Max Brod. It was published by Secker & Warburg in England and Alfred A. Knopf in the United States. 1941 edition was the edition that fed the Kafka post-war craze. The 1941 edition included a homage by Thomas Mann.
In 1954 the "Definitive" edition was published and included additional sections Brod had added to the Schocken Definitive German edition. The new sections were translated by Eithne Wilkins and Ernst Kaiser. Some edits were made in the Muir text namely the changes were "Town Council" to "Village Council", "Superintendent" to "Mayor", "Clients" to "Applicants" .
The 1994 edition, the current publication, contains a preface by Irving Howe.
The Muir translations make use of wording that is often considered "spiritual" in nature. In one notable example, the Muirs translate the description of the castle as "soaring unfalteringly" where Harman uses "tapered decisively". Furthermore, the word "illusory" is used from the opening paragraph forward. Some critics note this as further evidence of the bias in the translation leaning toward a mystical interpretation.
Underwood translation
A translation by J. A. Underwood was published in 1997 and 2000 (ISBN 0-14-018504-6) by Penguin in the UK.
Adaptations
The book was adapted by German director Rudolf Noelte into a film released in 1968. It was also filmed by Austrian director Michael Haneke in 1997 under the original German title Das Schloß, starring Ulrich Mühe as K. There is a 1994 Russian movie adaptation, The Castle, directed by Aleksei Balabanov. Another less-well-known adaptation was also made in Russia in 1994, called The Land Surveyor (Землемер). It was a 46-minute-long animation created at Diogen Studio and directed by Dmitriy Naumov and Valentin Telegin. . A 120-minute-long French radio adaptation, written by Stephane Michaka and directed by Cedric Aussir, was aired by France Culture in 2010.
Allusions to The Castle in other works
A story similar to that of The Castle is told in the British television series The Prisoner. In the late 1970s, an unlicensed computer game spin-off of The Prisoner took things one step further by incorporating elements of The Castle into the game play.
The novel Oficina Número 1 (Office Number 1) by Venezuelan writer Miguel Otero Silva has one character reading The Castle, and although never referred to by name, describes several parts of it.
The Castle is also referred to in Lawrence Thornton's Imagining Argentina. A professor is arrested under suspicion of subversive activities. He tells the authorities he has been meeting Dostoevsky, Koestler and Camus at a place called "the Castle". The main character's cat is also named Kafka.
Although not expressly stated as such, the Steven Soderbergh film Kafka from 1991, starring Jeremy Irons, incorporates the basic thematic elements of The Castle as well as allusions to Kafka's own life as a writer and his collected works. The title character, "Kafka", an insurance company clerk by day and a writer by night, lives and works in the shadow of the mysterious Castle, which rules over the life and death of the local citizenry through a seemingly incomprehensibly complex conspiracy of bureaucracy and cover-ups.
Iain Banks's novel Walking on Glass has characters who find themselves in a situation similar to K.'s: trapped in a castle, subject to arbitrary and bizarre rules which they must obey in order to find a way of leaving, and surrounded by "servants" who comply entirely with the rules by which the castle is run. The allusion is made specific in one of the final chapters, where reading The Castle (along with The Trial and Titus Groan) is hinted at as a key to the characters' escape from their own castle.
K., the protagonist of J.M. Coetzee's The Life and Times of Michael K, attempts to live simply outside the governing system of war torn South Africa.[citation needed]
African-American author Richard Wright references The Castle in his autobiography Black Boy.
Japanese game designer Suda51, creator of No More Heroes, is planning to make a game based on The Castle, titled Kuriyami
A world in the children's Nintendo DS game Drawn to Life: The Next Chapter, the Galactic Jungle, presents the player with a stubborn bureaucracy not unlike the one portrayed in the novel.
Gene Wolfe's novel There Are Doors contains numerous references to The Castle throughout, including a high-placed official known as Klamm, several characters referred to as "Herr K.," and an actual copy of Das Schloss found nailed to a table within a dream.
Argentinian writer Ernesto Sabato is said to be influenced by Kafka's existentialism. The main character in his novelle, "The Tunnel", is named Castel, presumably after Kafka's story title.
pò yú fù qīn de yā lì， tā xué xí fǎ lǜ， hòu rù yī jiā sī rén bǎo xiǎn gōng sī rèn dī xīn zhí yuán， yī zhí yān méi zài rén qún zhī zhōng。 tā yī shēng sān cì dìng hūn， yòu sān cì jiě chú hūn yuē， qí zhōng yuán yīn zhī yī jiù shì pà jié hūn huì pò huài tā yǐ jīng xí guàn de gū dú shēng huó。 hòu lái tā huàn shàng fèi jié hé bìng， gèng shǐ tā yuǎn lí rè nào de chén shì shēng huó， chén jìn zài zì jǐ gū dú de nèi xīn shì jiè zhōng。
zhè gè gū pì de xiǎo zhí yuán de zuì dà 'àihào jiù shì xiě zuò， tā nà mǐn gǎn、 qiè nuò de xìng gé hé gū pì、 yōu yù de qì zhì què shí shì hé zuò yī gè zuò jiā。 kǎ fū kǎ yè yú chuàng zuò de dà bù fēn zuò pǐn zài tā shēng qián yī zhí suǒ zài chōu tì lǐ， shǎo liàng miàn shì de duǎn piān xiǎo shuō hái bù zú ràng tā yī míng jīng rén， ér qiě duì tā de tóng shí dài rén lái shuō， tā de xiǎo shuō tài chāo qián liǎo， dāng shí de rén men yuǎn wèi yòu néng lì tǐ yàn kǎ fū kǎ dú tè 'ér qí guài de huāng miù gǎn。 tā bìng shì hòu yí liú xià dà liàng shǒu gǎo。
èr zhàn zhī hòu， shì jiè zài fèi xū shàng zhòng jiàn， zhàn zhēng suǒ dài lái de rén lèi xīn líng shēn zhòng de yīn yǐng， shǐ rén men bù yuē 'ér tóng dì bǎ mù guāng zhuànxiàng liǎo 30 nián qián sǐ qù de wú míng zuò jiā kǎ fū kǎ， tā jí qí zuò pǐn zài xī fāng shì jiè xiān qǐ liǎo yī gǔ rè cháo， rén men xiàng tóu piào xuǎn jǔ zhèng jiè yào yuán yī yàng bǎ tā liè wéi xiàn dài pài xiǎo shuō jiā de dì yī hòu xuǎn rén。
tuī jiàn yuè dú bǎn běn： tānɡ yǒng kuān yì， wǔ hàn dà xué chū bǎn shè chū bǎn。
《 chéng bǎo》 - nèi róng jīng yào
yī gè hán lěng de dōng tiān de yè wǎn， tǔ dì cèliáng yuán K lái dào liǎo yī gè cūn zǐ， tā de mùdì shì yào qián wǎng cūn zǐ fù jìn de nà zuò chéng bǎo qù zhí xíng gōng wù。 dāng K zài cūn kǒu yáo wàng chéng bǎo shí， tā gǎn dào lǒngzhào zài yè sè zhī zhōng de chéng bǎo， rú tóng yī piàn kōng dòng xū wú de huàn jǐng， zhè yàng de gǎn jué sì hū yù shì zhe tā de rèn wù bù shì nà me róng yì wán chéng de。
tā qián wǎng kè diàn tóu sù， kě shì kè diàn lǎo bǎn duì tā de dào lái yòu diǎn bù zhī suǒ cuò。 tā gào sù K yǐ jīng kè mǎn liǎo， zhǐ hǎo bǎ K miǎnqiǎng 'ān dùn xià lái。 kè diàn lǐ de rén dé zhī K yào qù chéng bǎo， dū yòng tè bié de yǎn shén kàn tā。 yī wèi nián qīng rén gào sù K， měi gè jìn rù chéng bǎo de réndōu bì xū dé yòu yī zhāng xǔ kě zhèng， ér yào xiǎng dé dào xǔ kě zhèng， jiù bì xū qù zhǎo chéng bǎo lǐ de bó jué。
dì 'èr tiān， K zǒu xiàng chéng bǎo， kě shì hào fèi liǎo yī zhěng tiān de shí jiān tā yě wú fǎ kào jìn chéng bǎo yī bù。 tiān sè 'àn xià lái， tā zhǐ hǎo xiān qù zhǎo qī shēn zhī chù。 zhǎo lái zhǎo qù， yòu huí dào liǎo zuó tiān wǎn shàng de nà jiā kè diàn。 zài dā xuě qiāo qián wǎng kè diàn de tú zhōng， tā yù dào liǎo liǎng gè zì chēng shì tā de zhù shǒu de rén。 tā men fēi cháng rè qíng dì bāng zhù K， bìng qiě yòng diàn huà lián luò chéng bǎo lǐ de bàn shì jī gòu， xún wèn jù tǐ hé shí néng shàng chéng bǎo qù， duì fāng huí dá：“ rèn hé shí hòu dōubù néng lái。”
zhè shí， lái liǎo yī wèi jiào bā nà bā sī de rén， tā shì chéng bǎo de xìn shǐ， K duì tā de lái dào shí fēn xīng fèn， rèn wéi tā kě yǐ chéng wéi zì jǐ hé chéng bǎo lián xì de zhōng jiān rén。 bā nà bā sī gěi tā dài lái liǎo chéng bǎo de xìn， xìn lǐ jì méi yòu duì K de dào lái biǎo shì huān yíng， yě méi yòu 'àn shì tā gǎn kuài lí kāi。 shì qíng yǐ jiù háo wú zhuǎn jī。 K hé xìn shǐ yī dào qù liǎo tā jiā， xìn shǐ de mèi mèi yòu biǎo shì tā kě yǐ bāng zhù K， yú shì bǎ K sòng jìn liǎo yī jiā lǚ guǎn， tā gào sù K， chéng bǎo de tóu miàn rén wù kè lā mǔ zhù zài nà lǐ， kě yǐ jiè jī zhǎo kè lā mǔ dǎ tōng guān jié。
zài lǚ guǎn de jiǔ bā lǐ， K rèn shí liǎo kè lā mǔ de qíng fù fú lì dá， K dùn shí shǐ chū hún shēn xièshù shì tú kào jìn fú lì dá， rán 'ér lǚ guǎn lǐ de rén bù tíng dì tiān luàn， zhù shǒu men yě zài yī biān tiān luàn， shǐ tā wú fǎ hé fú lì dá qīn mì dì tán yī tán guān yú kè lā mǔ。 tā shèn zhì yòng yǔ fú lì dá jié hūn de xǔ nuò xiǎng huàn dé gēn kè lā mǔ tán yī cì huà de jī huì。 dàn K zuì zhōng fā xiàn fú lì dá zhè tiáo lù shì zǒu bù tōng de， yīn wéi tā hé xìn shǐ yī yàng， shì gè wú guān jǐn yào de xiǎo rén wù， tā zǎo yǐ shī chǒng。
K qù jiàn cūn cháng， cūn cháng gào sù tā， K lái dào cūn zǐ wán quán shì gè cuò wù， yīn wéi zhè lǐ gēn běn yòng bù zhe tǔ dì cèliáng yuán。 chéng bǎo lǐ bù tóng bù mén bǐ cǐ fēng bì， zào chéng liǎo yī xiē chā cuò， suǒ yǐ K cái huì shōu dào gōng wén， rán 'ér zhè fèn gōng wén shì zǎo yǐ wú xiào de。 cūn cháng chéng rèn tā zài jǐ nián qián shōu dào yī gè zhāo pìn yī wèi tǔ dì cèliáng yuán de gōng wén， rán 'ér tā wú lùn rú hé zhǎo bù dào nà zhāng kě yǐ zhèng míng K hé fǎ shēn fèn de báozhǐ piàn。 cūn cháng biǎo dá liǎo zì jǐ duì zhè jiàn shì qíng de kàn fǎ， tā jué dé K shōu dào de gōng wén qí shí shì yī fēng mǒu gè zhù guǎn， bǐ rú kè lā mǔ， duì tā biǎo shì sī rén guān xīn de de xìn， bù néng dài biǎo chéng bǎo de yì jiàn， yīn cǐ K yīngdāng chèn zǎo huí qù。
K gǎn dào shòu piàn shàng dāng liǎo， dàn tā jiān chí yào qiú dé dào tā yìng dé de quán lì， nà jiù shì zhǎo yī gè zhù chù， ān dùn tā hé fú lì dá de xīn jiā。 kè zhàn lǎo bǎn yī xīn xiǎng gǎn zǒu K， K lín zǒu qián， yòu cóng lǎo bǎn niàn nà lǐ tīng dào liǎo guān yú tā hé kè lā mǔ jiù qíng de huí yì， zhè shǐ K gǎn dào hěn bù shū fú， yīn wéi tā bù yóu zì zhù dì xiǎng dào liǎo zì jǐ de wèi hūn qī。
zhè shí cūn lǐ xué xiào de jiào shī fèng cūn cháng zhī mìng qián lái， yǔn xǔ K dài jiā juàn zhù jìn xué xiào rèn kānmén rén， tóng shí tā yě qiáng diào， xué xiào qí shí bìng bù xū yào yī gè kānmén rén， tā wán quán zūn cóng cūn cháng de mìng lìng。 K gǎn dào shòu dào liǎo wǔ rǔ， tā jù jué liǎo zhè fèn gōng zuò。 kě fú lì dá jiān chí K jiē shòu tā， tā shuō rú guǒ K bù jiē shòu， lián gè 'ān shēn zhī chù dōuméi yòu， nà me zhè duì K duì tā zì jǐ dōushì shí fēn xiū kuì de shì qíng。
K duì yú jìn rù chéng bǎo réng rán bào zhe zuì hòu de xī wàng， zhè yǐ jīng bù dān chún shì zhí xíng gōng wù， ér shì yòu guān gè rén zūn yán de wèn tí。 tā mào xuě lái dào kè lā mǔ de lǚ guǎn， nǚ zhāo dài shuō zhè huì 'ér kè lā mǔ zhèng zhǔn bèi lí kāi lǚ guǎn， xuě qiāo yǐ zài yuàn zǐ lǐ děng zhe tā， K 'èr huà méi huà， shǒu dào xuě qiāo biān， hē zhe bái lán dì děng kè lā mǔ chū lái。 hé yǐ qián yī yàng， kè lā mǔ běn rén yǒng yuǎn bù huì chū xiàn， tā de mì shū mó mài sī chū lái gào sù K：“ bù guǎn nǐ gēn wǒ zǒu huò zhě liú zài zhè lǐ， nǐ dū bù huì jiàn dào tā。” K fǎn 'ér xiàn rù liǎo jìn tuì liǎng nán de dì bù， rú guǒ tā lí kāi， zhōu wéi rén de shén sè jǔ zhǐ lǐ jiù biǎo míng kè lā mǔ jiù cǐ tuō shēn liǎo； rú guǒ tā jiān chí děng xià qù， xiǎn rán yě shì méi yòu jiēguǒ de。 mì shū ná chū yī fèn huì tán jì lù， xiàng K zhǐ chū zhè shì yǐn K zǒu xiàng kè lā mǔ de wéi yī dào lù， dàn shǒu xiān K bì xū jiē shòu yī fān kē kè de shěn chá， K jué dé bù kě rěn shòu， yú shì tā men liǎng rén dà xiào zhe fēn bié liǎo。
《 chéng bǎo》 zuò jiā kǎ fū kǎ
xìn shǐ bā nà bā sī yòu dài lái liǎo kè lā mǔ de yī fēng xìn， kè lā mǔ zàn shǎng liǎo K jí qí zhù shǒu de cèliáng gōng zuò， zhè shǐ K kùn huò bù yǐ， tā zhì jīn wéi zhǐ cóng wèi gànshénme cèliáng gōng zuò， měi tiān zuò de shì qíng jiù shì zài děng dài zhēng qǔ chéng bǎo de xǔ kě。 K kāi shǐ huái yí xìn shǐ de kě kào， dàn tā réng tuō bā nà bā sī dài qù yī gè huí yīn， shēn sù zì jǐ jiāo zhuó dì kě pàn jiàn dào kè lā mǔ yī miàn de xīn qíng。
zhī hòu K huí dào tā hé fú lì dá de xīn jiā， nà shì xué xiào lǐ de yī jiān dà jiào shì， kě shì K hé fú lì dá de shēng huó bìng bù 'ān níng。 liǎng gè zhù shǒu bù tíng dì táo qì， zhēng shí wù， chǒu zhǔn jī huì shuì dào wéi yī de dào cǎo diàn zǐ shàng qù。 dì 'èr tiān， xué xiào de nǚ jiào shī lái liǎo， tā shí fēn chī jīng， jì 'ér bù duàn dì zé mà K， K jīhū xiàng gè liè děng dòng wù yī yàng bèi qī rǔ， kě tā jué bù jiē shòu xiào fāng de jiě zhí tōng zhī。 tā qiān nù yú liǎng wèi wú yòng de zhù shǒu， xuān bù cí tuì tā men， zhù shǒu men shī chū hún shēn qì lì 'āi qiú K。 fú lì dá fǎn duì K de jué dìng， tā shuō yī dàn cí tuì zhù shǒu， K jiù yǒng yuǎn méi yòu jī huì jiàn dào kè lā mǔ liǎo。 fú lì dá gǔ lì K bù yào sàng shī xìn xīn。
K lái dào xìn shǐ jiā děng dài huí yīn， xìn shǐ de jiě mèi 'ào 'ěr gā hé 'ā mǎ lì yà zǒng xiàng K 'àn shì tā men de qīng mù zhī qíng， bìng qiě zài xián liáo zhōng， àn shì K， tā men de gē gē bā nà bā sī kě néng cóng wèi jiàn guò kè lā mǔ， tā zǒng shì gěi K dài lái nà xiē dān wù liǎo hěn jiǔ， shī qù shí xiào de xìn。 jiù lián kè lā mǔ běn rén， yě shì kě yí de， guān yú kè lā mǔ de zhǒng zhǒng qíng kuàng， hěn dà chéng dù shàng shì cūn lǐ rén xiǎng xiàng chū lái de。 ào 'ěr gā yòu gào sù K， chéng bǎo lǐ de guān yuán rú tóng bào jūn， tā men kě yǐ suí shí qiáo shàng cūn lǐ de rèn hé gū niàn， gěi tā men xiě xià liú wú bǐ de xìn。 tā men de tán huà lí zhèng tí yuè lái yuè yuǎn， ào 'ěr gā jiǎng qǐ liǎo 'ā mǎ lì yà yīn wéi jù jué chéng bǎo lǐ lìng yī wèi dà guān yuán suǒ 'ěr dì ní de qiú 'ài 'ér zāo shòu de bù xìng， tā men quán jiādōu bèi pò jiē shòu liǎo yī zhǒng jīhū zhěng tiān wú suǒ shì shì de xíng fá， chéng bǎo qiáng zhì tā men tuì chū shè huì shēng huó。 ào 'ěr gā tí xǐng K， bù yào zhǐ wàng rèn hé yī wèi yòu tóng qíng xīn de guān yuán wèitā shuō huà。 bā nà bā sī wéi K sòng xìn， qí shí bù guò shì xiǎng ràng zì jǐ yī jiā rén bù lù hén jì dì zài shòu 'ēn chǒng， duì yú K lái shuō， méi yòu rèn hé yì yì。 zhè chǎng fán rǒng 'ér tuī xīn zhì fù de tán huà bèi K de yī wèi zhù shǒu dǎ duàn liǎo， K hěn kuài yì shí dào fú lì dá hé lìng yī wèi zhù shǒu dāi zài jiā lǐ， tā gǎn jǐn huí jiā liǎo。
dào jiā lǐ， K fā xiàn fú lì dá bù jiàn liǎo。 yuán lái tā yǐ wéi K páo qù gòu dā bā nà bā sī de jiě mèi， yú shì hé lìng yī gè zhù shǒu dá chéng xié yì， bèi pàn K。 zhè shí， bā nà bā sī yòu páo lái zhǎo K， xīng chōng chōng dì tōng zhī tā， kè lā mǔ de zhù yào mì shū zhī yī 'ài lǎng gé yào hé K dāng miàn tán yī tán。 K hé yī qún rén děng hòu zài qī hēi de lǚ guǎn mén kǒu， K bèi zuì xiān lǐng liǎo jìn qù， dàn 'ài lǎng gé què shuì zhe liǎo， K zhǐ hǎo děng zhe。 zài děng dài de shí hòu， tā yòu chóngxīn jiàn dào liǎo fú lì dá， tā men jī liè zhēng lùn liǎo zhōng shí yǔ bù zhōng shí de wèn tí。 fú lì dá tǎn rán dì gào sù K， tā yǐ jīng hé nà wèi zhù shǒu tóng jū liǎo。 K zé shí fēn píng jìng dì huí jìng tā： zì cóng nǐ xiāng jì shī qù liǎo kè lā mǔ de qíng fù yǐ jí wǒ de wèi hūn qī zhè liǎng zhǒng shēn fèn zhī hòu， nǐ zǎo yǐ jīng méi yòu liǎo mèi lì。 tīng wán cǐ huà hòu， fú lì dá sì hū bèi chù dòng liǎo。 dàn shì tā yòu jiàn dào zhù shǒu shí， mǎ shàng jiù gǎi biàn zhù yì。 tā shuō： tā zài yě bù xiǎng huí dào K shēn biān jiē shòu tā de zhé mó。
xiǎo shuō jiù zài cǐ chù jiá rán 'ér zhǐ， kǎ fū kǎ wèi xiě wán tā， tā yuán lái dǎ suàn de jié wěi shì K jiāng jīng pí lì jié 'ér sǐ。 hòu shì jí yán jiū zhě yù jì de jié jú shì： K mí liú zhī jì， chéng bǎo zhōng yú lái liǎo tōng zhī， yǔn xǔ K liú zài cūn zǐ lǐ， dàn bù xǔ jìn rù chéng bǎo， K yǒng yuǎn bù kě néng dào dá nà lǐ， yī zhí dào sǐ。
《 chéng bǎo》 - zhuān jiā diǎn píng
dāng yī gè zuò jiā bù néng bèi tā tóng shí dài de rén suǒ lǐ jiě shí， tā huì zěn yàng chǔlǐ zì jǐ de zuò pǐn。 kǎ fū kǎ xuǎn zé de shì huǐ miè。 tā zài yí shū zhōng wěi tuō hǎo yǒu bù luó dé jiāng qí suǒ yòu zuò pǐn“ háo wú bǎo liú dì， dú yě bù bì dú jiù tǒng tǒng yú yǐ fén huǐ”。 wàn xìng bù luó dé zì zuò zhù zhāng jiāng kǎ fū kǎ de yí gǎo bǎo cún xià lái， zhěng lǐ chū bǎn， zhè yī cì míng zhì de“ bèi xìn qì yì” shǐ wǒ men jīn tiān yǐ jiù néng yī dǔ kǎ fū kǎ zhè wèi wén xué dà shī yī shēng qín fèn de chéng guǒ。
rén men tí dào kǎ fū kǎ， zǒng shì huì tí qǐ tā de《 biàn xíng jì》， lǐ miàn de xiǎo gōng wù yuán yī zǎo qǐ lái fā xiàn zì jǐ biàn chéng liǎo yī gè dà jiá chóng。 xī fāng wén xué zhōng cháng cháng yòng《 biàn xíng jì》 lái zhǐ dài xiàn dài huà wén míng zhōng rén de yì huà。 rán 'ér zài zhè lǐ suǒ tuī jiàn de《 chéng bǎo》， yīn qí duō yì xìng gèng fù yú yuè dú de kuài lè。 zhōng piān xiǎo shuō《 chéng bǎo》 yǔ《 shěn pàn》 jí《 měi guó》 hé chēng“ kǎ fū kǎ sān bù qū”， tā mendōu jù yòu kǎ fū kǎ xiǎo shuō yī guàn de huāng dàn bù jīng fēng gé： yì huà xiàn xiàng， nán yǐ pái qiǎn de gū dú hé wēi jī gǎn， wú fǎ kè fú de huāng dàn hé kǒng jù。 kǎ fū kǎ de xiǎo shuō jiē shì liǎo yī zhǒng huāng dàn de chōng mǎn fēi lǐ xìng sè cǎi de jǐng xiàng， gè rén shì de、 yōu yù de、 gū dú de qíng xù， yùn yòng de shì xiàng zhēng shì de shǒu fǎ。 qí zhōng《 chéng bǎo》 gèng fù yú“ kǎ fū kǎ shì” de gòu sī hé yǔ yán fēng gé。
hé kǎ fū kǎ de qí tā xiǎo shuō yī yàng，《 chéng bǎo》 méi yòu wéi yī zhèng què de jiě shì， jiě shì quán shòu yú liǎo měi gè yuè dú zhě， zhè lái yuán yú zhè bù zuò pǐn de duō yì xìng。 biǎo miàn shàng， zhè zuò pǐn de gù shì zài jiǎn dān bù guò liǎo， yī gè tǔ dì cèliáng yuán K lái dào yī gè cūn zhuāng， xiǎng jìn rù guǎn xiá fù jìn dì qū de bó jué jū zhù de chéng bǎo， tā fèi liǎo jiǔ niú 'èr hǔ zhī lì， tān shàng yī qiē yě méi néng dá dào mùdì。《 chéng bǎo》 suǒ jù yòu de huāng miù、 xū nǐ， wú míng què de shí dài dì lǐ bèi jǐng de tè zhēng shǐ tā mǒ shàng hěn nóng de yù yán sè cǎi， wú lùn píng lùn jiā hái shì pǔ tōng dú zhě dōunéng gòu huò dé bù tóng de jié lùn，《 chéng bǎo》 jiū jìng biǎo dá liǎo zěn yàng de zhù tí， zhè zhōng liǎo hái shì yī gè nán jiě zhī mí， yòu rén shuō tā biǎo xiàn de shì“ rén shì tú jìn rù tiān guó 'ér bù dé de tòng kǔ”； yòu rén zé rèn wéi tā jí zhōng fǎn yìng liǎo kǎ fū kǎ běn rén de jīng shén shì jiè de huāng dàn、 gū dú yǔ kǒng jù； yòu rén zé jié hé xiě zuò nián dài bèi jǐng， shuō míng chéng bǎo shí jì shàng fǎn yìng liǎo 'ào xiōng dì guó guān liáo tǐ zhì yǔ dà zhòng de hóng gōu， gèng yòu lùn zhě yǐ wéi，《 chéng bǎo》 hé《 shěn pàn》、《 měi guó》 de zhù tí xiāng tóng， jí“ rén men suǒ zhuī qiú de zhēn lǐ， bù guǎn shì zì yóu、 ān dìng， hái shì fǎ lǜ， dōushì cún zài de， dàn zhè gè huāng dàn de shì jiè gěi rén men shè zhì liǎo zhǒng zhǒng zhàng 'ài， wú lùn nǐ zěn me nǔ lì， zǒng shì zhuī qiú bù dào， zuì hòu zhǐ néng yǐ shī bài gào zhōng。” zài《 chéng bǎo》 zhōng，“ chéng bǎo” shì zuì dà de mí tuán， tā yǔ zhù rén gōng K de mù biāo zǒng shì ruò jí ruò lí， yě zhèng yīn cǐ， néng gòu jī qǐ rén men xiāng dāng de yuè dú xīng qù， qí zhōng de rén wù rú CC bó jué， yǐ zhì yú kè lā mǔ bù cháng děngdōu shén mì mò cè， zú yǐ jiàn kǎ fū kǎ zhè wèi xiǎo shuō jiā de tiān cái de zhì huì。
《 chéng bǎo》 xiǎo shuō jiā kǎ fū kǎ
yuè dú kǎ fū kǎ de xiǎo shuō， duì měi yī gè dú zhě lái shuō dōushì tiǎo zhàn。 tā xǐ huān cháng jù zǐ， zì lǐ xíng jiān chōng mǎn liǎo dà liàng de 'àn yù， tā yòng wén zì duī qǐ liǎo yī gè gè mí gōng。 dú zhě huì zài chuān xíng wén zì shí yù dào jí dà de zǔ lì。 rán 'ér dāng nǐ xí guàn tā de wén zì fēng gé hòu， nǐ huì fā xiàn， yuán xiān de zǔ lì biàn chéng liǎo dòng lì， dài gěi nǐ yuè dú de kuài gǎn。
1913 nián 8 yuè 15 rì， kǎ fū kǎ zài zì jǐ de rì jì lǐ xiě dào：“ wǒ jiāng bù gù yī qiē dì yǔ suǒ yòu rén gé jué， yǔ suǒ yòu rén dí duì， bù tóng rèn hé rén jiǎng huà。” 6 tiān hòu tā yòu zhè yàng xiě dào：“ xiàn zài wǒ zài wǒ de jiā tíng lǐ， zài nà xiē zuì hǎo de、 zuì qīn 'ài de rén men zhōng jiān， bǐ yī gè mò shēng rén hái yào mò shēng。 jìn nián lái wǒ hé wǒ de mǔ qīn píng jūn měi tiān shuō bù shàng 20 jù huà； hé wǒ de fù qīn chú liǎo yòu shí bǐ cǐ hán xuān jǐ jù jīhū jiù méi yòu gèng duō de huà kě shuō； hé wǒ de yǐ hūn de mèi mèi hé mèi fū men chú liǎo gēn tā men shēng qì wǒ yā gēn 'ér jiù bù shuō huà。 lǐ yóu hěn jiǎn dān： wǒ hé tā men méi yòu rèn hé yī dīng diǎn 'ér de shì qíng yào shuō。 yī qiē bù shì wén xué de shì qíng dū shǐ wǒ wú liáo， jiào wǒ zēng hèn” sān nián zhī hòu， zhè gè bù jǐn hé zhěng gè shì jiè gé gé bù rù， ér qiě yě hé zì jǐ gé gé bù rù de yóu tài rén， suī rán shàng wèi jìn rù wán quán yǔ shì gé jué de chéng bǎo， què zhōng yú cóng jiā tíng lǐ táo chū， wéi zì jǐ zhǎo dào liǎo yī tiáo zhǎi dé xiàng xī fú xiù zǐ yī yàng de yōu shēn de sǐ xiàng。 zhè jiù shì rú jīn zài bù lā gé pō wéi zhī míng de huáng jīn xiàng、 yòu yì wéi“ liàn jīn shù shì xiàng”。 huáng jīn xiàng 22 hào de lián dòng wū zhōng jiān， yòu zuò jiàn yú 16 shì jì de、 zhǐ yòu yī gè fáng jiān hé yī jiān xiǎo gé lóu de xiǎo xiǎo lán wū， qiáng bì hěnbáo， fáng shè dī 'ǎi dé shēn shǒu biàn kě chù jí tiān huā bǎn。 zhè shì bèi tā de hǎo yǒu mǎ kè sī · bù luó dé chēng zhī wéi“ yī gè zhēn zhèng de zuò jiā de xiū dào shì bān de mì shì” de chù suǒ。 kǎ fū kǎ zài zhè lǐ jì xù yòng mí yī bān de wén zì gòu zhù zhe zì jǐ líng hún de chéng bǎo。
《 chéng bǎo》 kǎ fū kǎ jí jiā rén
zài kǎ fū kǎ de shì jiè lǐ， è mèng yǒng yuǎn méi yòu xǐng lái de shí hòu， zài huāng dàn de、 bù hé luó ji de shì jiè lǐ miáo huì“ rén lèi shēng huó de yī qiē huó dòng jí qí bī zhēn de xì jié”， zhè zhèng shì zuò wéi xiǎo shuō jiā díkǎ fū kǎ de tiān fù suǒ zài， dāng wǒ men dú dào《 biàn xíng jì》、《 chéng bǎo》、《 shěn pàn》 děng zuò pǐn shí， jiǎn zhí jiù xiàng miàn duì zhe yī zūn zūn chōng mǎn lì liàng de diāo sù， nǐ néng cóng nà jí dù de biàn xíng yǔ kuā zhāng lǐ tǐ huì dào shēng mìng de jì dòng yǔ chōng tū。 duì yú kǎ fū kǎ zì jǐ lái shuō， shēng cún jiù shì yīcháng bì xū“ qiàdàng yùn yòng zì jǐ de lì liàng（ yīn wéi wǒ men de lì liàng yǒng yuǎn shì yòu xiàn de）” de kàng zhēng。 suī rán qián tú 'àn dàn， dàn qián tú bì jìng zhōng huì dào lái。 tōng guò xiě zuò zhè yī xíng shì kǎ fū kǎ wéi zì jǐ de kàng zhēng zhǎo dào liǎo cún zài de xíng xiàng。 cóng kǎ fū kǎ zì jǐ de shū xìn yǔ rì jì， wǒ men yě xǔ néng lǐng huì dào nà wú qióng wú jìn de lì liàng yuán quán， tā zhè yàng xiě dào：“ bù yào jué wàng， shèn zhì duì nǐ bìng bù gǎn dào jué wàng zhè yī diǎn yě bù yào jué wàng。 qià qià zài sì hū yī qiēdōu wán liǎo de shí hòu， xīn de lì liàng bì jìng lái lín， gěi nǐ yǐ bāng zhù， ér zhè zhèng biǎo míng nǐ shì huó zhe de。”“ yīcháng qīng pén dà yǔ。 zhàn lì zhe miàn duì zhè chǎng dà yǔ bā！ ràng tā de gāng tiě bān de guāng máng cì chuān nǐ。 nǐ zài nà xiǎng bǎ nǐ chōng zǒu de yǔ shuǐ zhōng piāo fú， dàn nǐ hái shì yào jiān chí， áng shǒu yì lì， děng dài nà jí jiāng lái lín de wú qióng wú jìn de yáng guāng de zhào yào。” lìng rén chī jīng de shì， tā men jìng rán dài zhe zhè yàng yī xiē zī tài： yōu shāng、 lǐ jiě、 tòng kǔ、 qiān bēi， kǎ fū kǎ yóu cǐ zǒu xiàng liǎo wú xiàn shēn yuān。 zuì zhōng tā wán chéng liǎo duì zì jǐ de sù zào： tā chéng wéi wú xiàn shēn yuān zhōng wéi yī luǒ xíng de sī xiǎng zhě。 kǎ fū kǎ de dào lù shì duì kàng zhī lù， tā yǔ cún zài yú tā shēn biān de shì jiè hé zhì xù yī zhí shì kàng zhēng zhe de， yì shù huò zhě shuō wén xué xiě zuò shì tā duì kàng wài bù huāng dàn shì jiè de wéi yī wǔ qì， tā bié wú xuǎn zé。 suī rán zài cǐ qī jiān， tā jí dù kě wàng shí xiàn yì shù yǔ xiàn shí de tǒng yī， shèn zhì tā gè rén yǔ wài bù shì jiè yòu guò duǎn zàn de tǒng yī， dàn zhè zhǒng tǒng yī yě shì yī shùn jí shì de， biǎo miàn hé xíng shì shàng de。 tā yě kě wàng yòu zì jǐ de jiā tíng， dàn tā hài pà jiā tíng sǔn hài tā de xiě zuò； tā yě xiàng fán fū sú zǐ yī yàng， kě wàng yòu zì jǐ de hái zǐ， zuò yī míng hǎo fù qīn， dàn zhí dào tā yòu yī gè yǐ cháng dào 7 suì cái yāo zhé de hái zǐ。
kǎ fū kǎ shēng qián mò mò wú wén， gū dú dì fèn dǒu， suí zhe shí jiān de liú shì， tā de jià zhí cái zhú jiàn wéi rén men suǒ rèn shí， zuò pǐn yǐn qǐ liǎo shì jiè de zhèn dòng， bìng zài shì jiè fàn wéi nèi xíng chéng yī gǔ“ kǎ fū kǎ” rè， jīng jiǔ bù shuāi。 tā yī shēng de zuò pǐn bìng bù duō， dàn duì hòu shì wén xué de yǐng xiǎng què shì jí wéi shēn yuǎn de。 tā yǔ fǎ guó zuò jiā mǎ sài 'ěr · pǔ lǔ sī tè、 ài 'ěr lán zuò jiā zhān mǔ sī · qiáo yī sī bìng chēng wéi xī fāng xiàn dài zhù yì wén xué de xiān qū hé dà shī。 měi guó shī rén 'ào dēng rèn wéi：“ tā yǔ wǒ men shí dài de guān xì zuì jìn sì dàn dīng、 suō shì bǐ yà、 gē dé yǔ tā men shí dài de guān xì。” hòu shì de xǔ duō xiàn dài zhù yì wén xué liú pài rú“ huāng dàn pài xì jù”、 fǎ guó de“ xīn xiǎo shuō” děng dū bǎ kǎ fū kǎ fèng wéi zì jǐ de bí zǔ。
guān yú kǎ fū kǎ， wǒ men hái kě yǐ shuō shàng hěn duō hěn duō。 jù shuō zài xiàn dài wén xué de yán jiū zhōng， guān yú kǎ fū kǎ de lùn wén shù liàng zhī dà， jǐn jǐn dǎ yìn tí mù jiù xū yào jǐ shí yè。 dàn shì， lǐ jiě kǎ fū kǎ zuì hǎo de fāng fǎ， jiù shì jìn rù tā de wén zì shì jiè， ān jìng dì qīng tīng tā tōng guò yǔ yán biǎo dá de nèi xīn。 zhè bù zhèng shì wǒ men xiàn zài zhè gè fú zào de xiàn dài wén míng suǒ quē shǎo de má？
《 chéng bǎo》 - miào yǔ jiā jù
tā zhēn yào yǐ wéi wài miàn shì huī sè de tiān kōng yǔ huī sè de tǔ dì hún rán yī tǐ de huāng mò shì jiè liǎo。
kě shì rú guǒ zhè yī qiē de píng jìng、 shū shì yǔ mǎn zú dōuyào xiǎng kǒng bù dì gào yī duàn luò， nà gāi zěn me bàn ní？
History of the novel
Kafka began writing The Castle on the evening of January 27, 1922, the day he arrived at the mountain resort of Spindlermühle (now in the Czech Republic). A picture taken of him upon his arrival shows him by a horse-drawn sleigh in the snow in a setting reminiscent of The Castle. Hence, the significance that the first few chapters of the handwritten manuscript were written in first person and at some point later changed by Kafka to a third person narrator, 'K.'
Max Brod
Kafka died prior to finishing The Castle and it is questionable whether Kafka intended on finishing it if he had survived his tuberculosis. On separate occasions he told his friend Max Brod of two different conditions: K., the book's protagonist, would continue to reside and die in the village; the castle notifying him on his death bed that his "legal claim to live in the village was not valid, yet, taking certain auxiliary circumstances into account, he was permitted to live and work there" , but then on September 11, 1922 in a letter to Max Brod, he said he was giving up on the book and would never return to it. As it is, the book ends mid-sentence.
Although Brod was instructed by Kafka to destroy all his works on his death, he did not and set about publishing Kafka's writings. The Castle was originally published in German in 1926 by the publisher Kurt Wolff Verlag of Munich. This edition sold far less than the 1500 copies that were printed. It was republished in 1935 by Schocken Verlag in Berlin, and in 1946 by Schocken Books of New York.
Brod had to heavily edit the work to ready it for publication. His goal was to gain acceptance of the work and the author, not to maintain the structure of Kafka's writing. This would play heavily in the future of the translations and continues to be the center of discussion on the text. Brod donated the manuscript to Oxford University.
Brod placed a strong religious significance to the symbolism of the castle. This is one possible interpretation of the work based on numerous Judeo-Christian references as noted by many including Arnold Heidsieck.
Malcolm Pasley
The publisher, Salmen Schocken, soon realized the translations were "bad" and in 1940 desired a "completely different approach". In 1961 Malcolm Pasley got access to all of Kafka's works, except The Trial, and deposited them in Oxford's Bodleian library. Pasley and a team of scholars (Gerhard Neumann, Malcolm Pasley, Jost Schillemeit, and Jürgen Born) started publishing the works in 1982 through S. Fischer Verlag. Das Schloß was published that year as a two volume set — the novel in the first volume, and the fragments, deletions and editor's notes in a second volume. This team restored the original German text to its full, and incomplete state, including the unique Kafka punctuation considered critical to the style.
Stroemfeld/Roter Stern
Interpretations of Kafka's intent for the manuscript are ongoing. Stroemfeld/Roter Stern Verlag is working for the rights to publish another critical edition with manuscript and transcription side-by-side. But they have met with resistance from the Kafka heirs and Pasley. This edition is not yet available.
Major editions
* 1930 Translators: Willa and Edwin Muir. Based on the First German edition, by Max Brod. Published By Secker & Warburg in England and Alfred A. Knopf in the United States.
* 1941 Translators: Willa and Edwin Muir. Edition include an Homage by Thomas Mann.
* 1954 Translators: Willa and Edwin Muir additional sections translated by Eithne Wilkins and Ernst Kaiser. "Definitive edition". Based on the Schocken 1951 Definitive edition .
* 1994 Translators: Muir, et al. Preface by Irving Howe.
* 1997 Translator: J. A. Underwood, Introduction: Idris Parry. Based on Pasley Critical German Text.
* 1998 Translator: Mark Harman Based on Pasley Critical German Text.
The title
The title, Das Schloß, may be translated as "the castle" or "the lock". It is also similar to Der Schluß (close or end). The castle is locked and closed to K and the townspeople; neither can gain access.
Plot
The narrator, K. arrives in the village, governed by the castle. When seeking shelter at the town inn, he gives himself out to be a land surveyor summoned by the castle authorities. He is quickly notified that his castle contact is an official named Klamm, who, in the introductory note, informs K. he will report to the Council Chairman.
The Council Chairman informs K. that, through a mix up in communication between the castle and the village, he was erroneously requested but, trying to accommodate K., the Council Chairman offers him a position in the service of the school teacher as a janitor. Meanwhile, K., unfamiliar with the customs, bureaucracy and processes of the village, continues to attempt to reach the official Klamm, who is not accessible.
The villagers hold the officials and the castle in the highest regard, justifying, quite elaborately at times, the actions of the officials, even though they do not appear to know what officials do or why they do it; they simply defend it. The number of assumptions and justifications about the functions of the officials and their dealings are enumerated through lengthy monologues of the villagers. Everyone appears to have an explanation for the official's actions that appear to be founded on assumptions and gossip. One of the more obvious contradictions between the "official word" and the village conception is the dissertation by the secretary Erlanger on Frieda's required return to service as a barmaid. K. is the only villager that knows that the request is being forced by the castle (even though Frieda may be the genesis), with no regard for anyone in the village, only Klamm. Pepi and Jeremiah quickly come to their conclusions and do not hesitate to state them.
The castle is the ultimate bureaucracy with copious paperwork that the bureaucracy maintains is "flawless". This flawlessness is of course a lie; it is a flaw in the paperwork that has brought K. to the village. There are other failures of the system which are occasionally referred to. K. witnesses a flagrant misprocessing after his nighttime interrogation by Erlanger as a servant destroys paperwork when he cannot determine who the recipient should be.
The castle's occupants appear to be all adult men and there is little reference to the castle other than to its bureaucratic functions. The two notable instances are the reference to a fire brigade and that Otto Brunswick's wife is self declared as from the castle. The latter builds the importance of Hans (Otto's son) in K's eyes, as a way to gain access to the castle officials.
The functions of the officials are never mentioned. The officials that are discussed have one or more secretaries that do their work in their village. Although the officials come to the village they do not interact with the villagers unless they need female companionship, implied to be sexual.
Characters
Note: The Muir translations refer to the Herrenhof Inn where the Harman translations translate this to the Gentleman's Inn. Below all references to the inn where the officials stay in the village is the Herrenhof Inn since this was the first, and potentially more widely read, translation.
Character Description
K., the Land-Surveyor The protagonist of the story, recognized as a land surveyor, employed as the school janitor, and a stranger to the townspeople. He spends most of the novel trying to overcome the bureaucracy of the village and to contact the castle official Klamm.
Frieda A former barmaid at the Herrenhof, who is K.'s fiancée for most of the novel. She often finds herself torn between her duty to K. and her fears regarding his over-zealousness. She eventually leaves K. and ends up in the arms of his former assistant, Jeremiah (who has since become a waitperson at the Herrenhof).
Hans, landlord
(Bridge Inn) Nephew of the original owner of the inn. According to his wife, Gardena, he is lazy and overly nice to K.
Gardena, landlady
(Bridge Inn) The self proclaimed firebrand of the Bridge Inn she is a former short-term mistress to Klamm and very distrustful of K.'s motives. She remains infatuated with Klamm.
Barnabas, a messenger A messenger of the castle assigned to K. He is new to the service. K. is instructed to use him to communicate with the official Klamm. He is very immature and sensitive.
Arthur and Jeremiah, K's assistants
(Artur and Jeremias in Harman edition) Shortly after his arrival in the village, K. is given two assistants to help him with his various needs. They are a continual source of frustration for him, however, and he eventually drives them from his service through his brutal treatment. They have been assigned to K., to make him happy, by the official Galater who was deputizing for Klamm at the time.
Mayor/Superintendent
(Village Council Chairman in Harman edition) Assigned by Klamm to give K. his assignment and hence is his superior. He explains to K why he is not needed as a land surveyor. He offers K. the job of school janitor to the dismay of the Teacher.
Mizzi, the mayor's wife The wife and assistant of the Mayor, Gardena refers to her as the one who does the work.
Klamm An elusive castle official who is K.'s Castle Authority. Like the other Castle officials in the book, his actual area of expertise is never mentioned. K. spends a large portion of the novel trying to secure a meeting with Klamm. K., it seems, fixes many of his hopes for a successful resolution to his problems upon this meeting with Klamm. He has at least two secretaries—Erlanger (First Secretary) and Momus.
In Czech (and Kafka was able to speak and read/write Czech) "klam" means "illusion."
Momus, Klamm's secretary Handles all written work for and receives all petitions to Klamm. He is also secretary for Vallabne, who is not mentioned again in the novel.
Erlanger, Klamm's secretary The First Secretary of Klamm who is sent to "interrogate" K, but only gives him a short message.
Olga, Barnabas' sister The older sister of Amalia and Barnabas. She helps K. on his quest, partly by telling him the story of why her family is considered outcasts and by teaching him some of the village customs.
Amalia, Barnabas' sister Younger sister of Barnabas and Olga. She was disgraced in the village after rudely turning down a summons from the castle official Sortini for sexual favors.
Barnabas' Father The father of Olga, Amalia and Barnabas. Past village cobbler and notable fireman. After Amalia's disgraceful interactions with Sortini's messenger, his business is ruined and he is stripped of his fire credentials
Barnabas' Mother The mother of Olga, Amalia and Barnabas.
Otto Brunswick, son-in-law of Lasemann
(brother-in-law of Lasemann in Harman edition) Hans Brunswick's father. Opportunistically takes over Barnabas' father's customers as the Barnabas family falls into disrepute from Amalia's rude treatment of Sortini's Messenger. According to the Mayor, Brunswick was the only person in the village that desired that a land surveyor be hired. No reason for this is given.
Frau Brunswick Hans Brunswick's Mother. She refers to herself as "from the castle" and is the only reference to a female at the castle.
Hans, a sympathetic Student A student at the school where K is a janitor. Offers to help K and K uses him to attempt to find ways to get to the castle through his mother.
Herrenhof Landlord Landlord of the Herrenhof Inn.
Herrenhof Landlady Well dressed landlady at the Herrenhof Inn. Seems to be the matriarch of the Inn (as is Gardena at the Bridge Inn). Is distrustful of K.
Galater He is the castle official that assigned the assistants to K. He was also "rescued" by Barnabas' father in a minor fire at the Herrenhof Inn.
Brügel
(Bürgel in Harman edition) A Secretary of a castle official, Friedrich. Friedrich is not mentioned again in the book, but in deleted text is referred to as an official who is falling out of favor. Brügel is a long winded secretary who muses about Castle interrogations with K, when the latter errantly enters his room at the Herrenhof Inn.
Sordini Castle secretary who exhaustively manages any transactions at the castle for his department and is suspicious of any potential error.
Sortini Castle official associated with the village fire brigade who solicits Amalia with a sexually explicit and rude request to come to his room at the Herrenhof.
Teacher When K. becomes the janitor at the school, the teacher becomes K.'s de facto superior. He does not approve of K. working at the school, but does not appear to have the authority to terminate K's appointment.
Miss Gisa, the school mistress The assistant school teacher who is courted by Schwarzer and also dislikes K.
Schwarzer An under-castellan's son who appears to have given up living in the castle to court Miss Gisa and become her student teacher.
Pepi A former chamber maid who is promoted to Frieda's barmaid position when the latter leaves her position at the Herrenhoff to live with K. She was a chambermaid with Emilie and Hennriette
Lasemann, a tanner, father-in-law of Otto Brunswick
(brother-in-law of Otto Brunswick in Harman edition) The village tanner that offers a few hours shelter to K. during on his first full day in the village.
Gerstacker, a Coachman Initially suspicious of K. but gives him a free sleigh back to the Bridge Inn after refusing to provide a ride to the castle. At the end of the book attempts to befriend K. since he believes K. has clout with Erlanger.
Seemann, the Fire Company chief The fire chief that strips Barnabas' father of his fireman diploma after Barnabas' family falls into shame from Amalia's rude treatment of Sortini's Messenger.
Major themes
Theological
It is well documented that Brod's original construction was based on religious themes and this was furthered by the Muirs in their translations. But it has not ended with the Critical Editions. Numerous interpretations have been made with a variety of theological angles.
One interpretation of K.'s struggle to contact the castle is that it represents a man's search for salvation. According to Mark Harman, translator of a recent edition of The Castle, this was the interpretation favored by the original translators Willa and Edwin Muir, who produced the first English volume in 1925. Harman feels he has removed the bias in the translations toward this view, but many still feel this is the point of the book.
Fueling the biblical interpretations of the novel are the various names and situations. For example, the official Galater (the German word for Galatians), one of the initial regions to develop a strong Christian following from the work of Apostle Paul and his assistant Barnabas. The name of the messenger, Barnabas, for the same reason. Even the Critical Editions naming of the beginning chapter, "Arrival", among other things liken K. to an Old Testament messiah.
Abuse of power
While in talking to Olga in (Chapter XVII, "Amalia's Secret") K. himself ridicules the officials, in general, based on Sortini's "abuse of power" in requesting Amalia to come to the Gentleman's Inn. K. caught, once again, in not understanding the customs of the village is shocked at the behavior of Sortini. Olga expresses the "heroic" actions of Amalia, but appears too understanding of the community's acceptance of the status quo when it comes to the solicitations by the officials.
Bureaucracy
The obvious thread throughout The Castle is bureaucracy. The extreme degree is nearly comical and the village residents' justifications of it are amazing. Hence it is no surprise that many feel that the work is a direct result of the political situation of the era in which it was written, which was shot through with anti-Semitism, remnants of the Habsburg bureaucracy, etc.
But even in these analyses, the veiled references to more sensitive issues are pointed out. For instance, the treatment of the Barnabas family, with their requirement to first prove guilt before they could request a pardon from it and the way their fellow villagers desert them have been pointed out as a direct reference to the anti-Semitic climate at the time.
Allusions to other works
Critics often talk of The Castle and The Trial in concert, highlighting the struggle of the protagonist against a bureaucratic system and standing before the law's door unable to enter as in the parable of the priest in The Trial.
In spite of motifs common with other works of Kafka, The Castle is quite different from The Trial. While K., the main hero of The Castle, faces similar uncertainty and difficulty in grasping the reality that suddenly surrounds him; Josef K., the protagonist of The Trial, seems to be more experienced and emotionally stronger. On the other hand, while Josef K.'s surroundings stay familiar even when strange events befall him, K. finds himself in a new world whose laws and rules are unfamiliar to him.
Publication history
Harman translation
In 1926 Max Brod persuaded Kurt Wolff Verlag to publish the first German edition of The Castle. Due to its unfinished nature and his desire to get Kafka's work published, Max Brod took some editorial freedom.
In 1961 Malcolm Pasley was able to gain control of the manuscript, along with most of the other Kafka writings (save The Trial) and had it placed in the Oxford's Bodleian library. There, Pasley headed a team of scholars and recompiled Kafka's works into the Critical Edition. The Castle Critical Edition, in German, consists of two volumes—the novel in one volume and the fragments, deletions and editor's notes in a second volume. They were published by S. Fischer Verlag in 1982, hence occasionally referred to as the "Fischer Editions".
Mark Harman used the first volume of this set to create the 1998 edition of The Castle, often refer to as based on the "Restored Text" or the "English Critical Edition".
The lack of the fragments and missing text would have little meaning to most readers if the Muir translation did not let one know that there was more to read. The casual reader may not find the additional text of value, which Harman mentions that he has not included the text. According to the Publisher's Note:
"We decided to omit the variants and passages deleted by Kafka that are included in Pasley's second volume, even though variants can indeed shed light on the genesis of literary texts. The chief objective of this new edition, which is intended for the general public, is to present the text in a form that is as close as possible to the state in which the author left the manuscript."
Harman has received general acceptance of his translation as being technically accurate and true to the original German. He has, though, received criticism for, at times not creating the prosaic form of Kafka. Some of this is due, as with Muir's translations, on accusations that Pasley compilations are also inaccurate, although better than Brod's.
As noted in the Table of Contents above, Harman includes an eleven page discussion on his philosophy behind the translation. This section provides significant information about the method he used and his thought process. There are numerous examples of passages from Pasley, Muir's translation and his translation to provide the reader with a better feel for the work. As referenced above, some feel that his (and the publisher's) praise for his work and his "patronizing" of the Muirs goes a little too far.
Muir translation
In 1930 Willa and Edwin Muir translated the First German edition of The Castle as it was compiled by Max Brod. It was published by Secker & Warburg in England and Alfred A. Knopf in the United States. 1941 edition was the edition that fed the Kafka post-war craze. The 1941 edition included a homage by Thomas Mann.
In 1954 the "Definitive" edition was published and included additional sections Brod had added to the Schocken Definitive German edition. The new sections were translated by Eithne Wilkins and Ernst Kaiser. Some edits were made in the Muir text namely the changes were "Town Council" to "Village Council", "Superintendent" to "Mayor", "Clients" to "Applicants" .
The 1994 edition, the current publication, contains a preface by Irving Howe.
The Muir translations make use of wording that is often considered "spiritual" in nature. In one notable example, the Muirs translate the description of the castle as "soaring unfalteringly" where Harman uses "tapered decisively". Furthermore, the word "illusory" is used from the opening paragraph forward. Some critics note this as further evidence of the bias in the translation leaning toward a mystical interpretation.
Underwood translation
A translation by J. A. Underwood was published in 1997 and 2000 (ISBN 0-14-018504-6) by Penguin in the UK.
Adaptations
The book was adapted by German director Rudolf Noelte into a film released in 1968. It was also filmed by Austrian director Michael Haneke in 1997 under the original German title Das Schloß, starring Ulrich Mühe as K. There is a 1994 Russian movie adaptation, The Castle, directed by Aleksei Balabanov. Another less-well-known adaptation was also made in Russia in 1994, called The Land Surveyor (Землемер). It was a 46-minute-long animation created at Diogen Studio and directed by Dmitriy Naumov and Valentin Telegin. . A 120-minute-long French radio adaptation, written by Stephane Michaka and directed by Cedric Aussir, was aired by France Culture in 2010.
Allusions to The Castle in other works
A story similar to that of The Castle is told in the British television series The Prisoner. In the late 1970s, an unlicensed computer game spin-off of The Prisoner took things one step further by incorporating elements of The Castle into the game play.
The novel Oficina Número 1 (Office Number 1) by Venezuelan writer Miguel Otero Silva has one character reading The Castle, and although never referred to by name, describes several parts of it.
The Castle is also referred to in Lawrence Thornton's Imagining Argentina. A professor is arrested under suspicion of subversive activities. He tells the authorities he has been meeting Dostoevsky, Koestler and Camus at a place called "the Castle". The main character's cat is also named Kafka.
Although not expressly stated as such, the Steven Soderbergh film Kafka from 1991, starring Jeremy Irons, incorporates the basic thematic elements of The Castle as well as allusions to Kafka's own life as a writer and his collected works. The title character, "Kafka", an insurance company clerk by day and a writer by night, lives and works in the shadow of the mysterious Castle, which rules over the life and death of the local citizenry through a seemingly incomprehensibly complex conspiracy of bureaucracy and cover-ups.
Iain Banks's novel Walking on Glass has characters who find themselves in a situation similar to K.'s: trapped in a castle, subject to arbitrary and bizarre rules which they must obey in order to find a way of leaving, and surrounded by "servants" who comply entirely with the rules by which the castle is run. The allusion is made specific in one of the final chapters, where reading The Castle (along with The Trial and Titus Groan) is hinted at as a key to the characters' escape from their own castle.
K., the protagonist of J.M. Coetzee's The Life and Times of Michael K, attempts to live simply outside the governing system of war torn South Africa.[citation needed]
African-American author Richard Wright references The Castle in his autobiography Black Boy.
Japanese game designer Suda51, creator of No More Heroes, is planning to make a game based on The Castle, titled Kuriyami
A world in the children's Nintendo DS game Drawn to Life: The Next Chapter, the Galactic Jungle, presents the player with a stubborn bureaucracy not unlike the one portrayed in the novel.
Gene Wolfe's novel There Are Doors contains numerous references to The Castle throughout, including a high-placed official known as Klamm, several characters referred to as "Herr K.," and an actual copy of Das Schloss found nailed to a table within a dream.
Argentinian writer Ernesto Sabato is said to be influenced by Kafka's existentialism. The main character in his novelle, "The Tunnel", is named Castel, presumably after Kafka's story title.
《 pàn jué》（ 1912） shì kǎ fū kǎ zuì xǐ 'ài de zuò pǐn， biǎo xiàn liǎo fù zǐ liǎng dài rén de chōng tū。 zhù rén gōng gé 'ào 'ěr gé · běn dé màn shì gè shāng rén， zì cóng jǐ nián qián mǔ qīn qù shì hòu jiù hé fù qīn yī qǐ shēng huó， xiàn zài shēng yì xīng lóng。 tā zài fáng jiān lǐ gěi yī wèi duō nián qián qiān jū 'é guó de péng yǒu xiě xìn， gào sù tā zì jǐ dìng hūn de xiāo xī。 xiě wán xìn lái dào fù qīn de fáng jiān， yì wài de shì fù qīn duì tā tài dù fēi cháng bù hǎo， huái yí tā gēn běn jiù méi yòu qiān jū dào 'é guó de péng yǒu， zhǐ zé tā bēizhe zì jǐ zuò shēng yì， hái pàn zhe zì jǐ zǎo sǐ。 tū rán， fù qīn yòu zhuǎn liǎo huà tí， cháo xiào gé 'ào 'ěr gé zài qī piàn tā péng yǒu， ér fù qīn zì jǐ dǎo shì yī zhí gēn nà wèi péng yǒu tōng xìn， bìng zǎo yǐ bǎ gé 'ào 'ěr gé dìng hūn de xiāo xī gào sù tā liǎo。 gé 'ào 'ěr gé rěn bù zhù dǐng zhuàng liǎo fù qīn yī jù， fù qīn biàn pàn dú shēng zǐ qù tóu hé zì jìn。 yú shì dú shēng zǐ zhēn de tóu hé sǐ liǎo。 zuò pǐn suǒ miáo xiě de zài fù zǐ liǎng rén de kǒu jiǎo guò chéng zhōng， qīng bái shàn liáng de 'ér zǐ jìng bèi fù qīn shì wéi yòu zuì hé zhíniù cán bào， zài fù qīn de yín wēi zhī xià， dú shēng zǐ hài pà、 kǒng jù dào liǎo sàng shī lǐ zhì， yǐ zhì zì jìn。 fù qīn gāo dà qiáng zhuàng 'ér háo wú lǐ xìng， jù yòu yī qiē bào jūn de tè zhēng。 zhè gè mào sì huāng dàn de gù shì shì kǎ fū kǎ fù zuì xīn tài de shēng dòng miáo shù， fù qīn de pàn jué yě shì kǎ fū kǎ duì zì jǐ de pàn jué。 zhù rén gōng lín sǐ qián de dī shēng biàn bái héng héng“ qīn 'ài de fù mǔ qīn， wǒ kě shì yī zhí 'ài nǐ men de”， zé shì kǎ fū kǎ zuì yǐn mì xīn qū de tù lù。 zhè zhǒng gù shì de kuàng jià shì diǎn xíng díkǎ fū kǎ shì de， shì tā nèi xīn shēn chù de fù zuì gǎn jù xiàng huà zhī hòu de chǎn wù。 rán 'ér zuò pǐn de nèi hán xiǎn rán bù zài yú jǐn jǐn biǎo xiàn fù zǐ chōng tū， gèng zài yú zài pǔ biàn yì yì shàng jiē shì chū rén lèi shēng cún zài zěn yàng yī zhǒng quán wēi hé líng rǔ zhī xià。 lìng yī fāng miàn yòu zhǎn xiàn rén wù wéi zhàn shèng fù qīn jìn xíng de yī xì liè kàng zhēng。 ér zǐ bǎ kàn lái shuāi lǎo de fù qīn rú tóng hái zǐ bān fàng dào chuáng shàng hòu， zhēn de bǎ tā“ gài liǎo qǐ lái”。 cóng biǎo miàn shàng kàn， tā zhè yàng zuò shì chū yú xiào xīn； zài shēn céng hán yì shàng tā shì xiǎng mái zàng fù qīn， yǐ què lì zì jǐ zuò wéi xīn de yī jiā zhī zhù de dì wèi。 xiǎo shuō zài tǐ xiàn liǎo kǎ fū kǎ dú tè de“ shěn fù” yì shí de tóng shí， yě biǎo xiàn liǎo duì jiāzhǎng shì de 'ào xiōng dì guó tǒng zhì zhě de bù mǎn。 yǔ cǐ tóng shí kǎ fū kǎ hái tōng guò zhè gè dú tè de gù shì jiē shì liǎo xī fāng shè huì zhōng xiàn shí shēng huó de huāng miù xìng hé fēi lǐ xìng。
Like Kafka's other novels, The Trial was never completed, although it does include a chapter which brings the story to an end. After his death in 1924, Kafka's friend and literary executor Max Brod edited the text for publication.
The Trial was filmed and released in 1962 by director Orson Welles, starring Anthony Perkins (as Josef K.) and Romy Schneider. A more recent remake was released in 1993 and featured Kyle MacLachlan in the star role. In 1999, it was adapted for comics by Italian artist Guido Crepax.
Plot summary
(As the novel was never completed, certain inconsistencies exist within the novel, such as disparities in timing in addition to other flaws in narration.)
On his thirtieth birthday, a senior bank clerk, Josef K., who lives in lodgings, is unexpectedly arrested by two unidentified agents for an unspecified crime. The agents do not name the authority for which they are acting. He is not taken away, however, but left at home to await instructions from the Committee of Affairs.
K. goes to visit the magistrate, but instead is forced to have a meeting with an attendant's wife. Looking at the Magistrate's books, he discovers a cache of pornography.
K. returns home to find Fräulein Montag, a lodger from another room, moving in with Fräulein Bürstner. He suspects that this is to prevent him from pursuing his affair with the latter woman. Yet another lodger, Captain Lanz, appears to be in league with Montag.
Later, in a store room at his own bank, K. discovers the two agents who arrested him being whipped by a flogger for asking K. for bribes, as a result of complaints K. previously made about them to the Magistrate. K. tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the store room and is shocked to find everything as he had found it the day before, including the Whipper and the two agents.
K. is visited by his uncle, who is a friend of a lawyer. The lawyer was with the Clerk of the Court. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes concerned K. is underestimating the seriousness of the case. The uncle introduces K. to an advocate, who is attended by Leni, a nurse, who K.'s uncle suspects is the advocate's mistress. K. has a sexual encounter with Leni, whilst his uncle is talking with the Advocate and the Chief Clerk of the Court, much to his uncle's anger, and to the detriment of his case.
K. visits the advocate and finds him to be a capricious and unhelpful character. K. returns to his bank but finds that his colleagues are trying to undermine him.
K. is advised by one of his bank clients to visit Titorelli, a court painter, for advice. Titorelli has no official connections, yet seems to have a deep understanding of the process. K. learns that, to Titorelli's knowledge, not a single defendant has ever been acquitted. He sets out what K.'s options are, but the consequences of all of them are unpleasant: they consist of different delay tactics to stretch out his case as long as possible before the inevitable "Guilty" verdict. Titorelli instructs K. that there's not much he can do since he doesn't know of what crime he has been accused.
K. decides to take control of his own life and visits his advocate with the intention of dismissing him. At the advocate's office he meets a downtrodden individual, Block, a client who offers K. some insight from a client's perspective. Block's case has continued for five years and he appears to have been virtually enslaved by his dependence on the advocate's meaningless and circular advice. The advocate mocks Block in front of K. for his dog-like subservience. This experience further poisons K.'s opinion of his advocate, and K is bemused as to why his advocate would think that seeing such a client, in such a state, could change his mind. (This chapter was left unfinished by the author.)
K. is asked to tour an Italian client around local places of cultural interest, but the Italian client short of time asks K. to tour him around only the cathedral, setting a time to meet there. When the client doesn't show up, K. explores the cathedral which is empty except for an old woman and a church official. K. decides to leave as a priest K. notices seems to be preparing to give a sermon from a small second pulpit, lest it begin and K. be compelled to stay for its entirety. Instead of giving a sermon, the priest calls out K.'s name, although K. has never known the priest. The priest works for the court, and tells K. a fable, (which has been published separately as Before the Law) that is meant to explain his situation, but instead causes confusion, and implies that K.'s fate is hopeless. Before the Law begins as a parable, then continues with several pages of interpretation between the Priest and K. The gravity of the priest's words prepares the reader for an unpleasant ending.
On the last day of K.'s thirtieth year, two men arrive to execute him. He offers little resistance, suggesting that he has realised this as being inevitable for some time. They lead him to a quarry where he is expected to kill himself, but he cannot. The two men then execute him. His last words describe his own death: "Like a dog!"
Characters
Others
Fräulein Bürstner - A boarder in the same house as Josef K. She lets him kiss her one night, but then rebuffs his advances. She makes a brief reappearance in the novel's final pages.
Fräulein Montag - Friend of Fräulein Bürstner, she talks to K. about ending his relationship with Fräulein Bürstner after his arrest. She claims she can bring him insight, because she is an objective third party.
Frau Grubach - The proprietress of the lodging house in which K. lives. She holds K. in high esteem, despite his arrest.
Uncle Karl - K.'s impetuous uncle from the country, formerly his guardian. Upon learning about the trial, Karl insists that K. hire Herr Huld, the lawyer.
Herr Huld, the Lawyer - K.'s pompous and pretentious advocate who provides precious little in the way of action and far too much in the way of anecdote.
Leni - Herr Huld's nurse, she has feelings for Josef K. and soon becomes his lover. She shows him her webbed hand, yet another reference to the motif of the hand throughout the book. Apparently, she finds accused men extremely attractive—the fact of their indictment makes them irresistible to her.
Vice-President - K.'s unctuous rival at the Bank, only too willing to catch K. in a compromising situation. He repeatedly takes advantage of K.'s preoccupation with the trial to advance his own ambitions.
President - Manager of the Bank. A sickly figure, whose position the Vice-President is trying to assume. Gets on well with K., inviting him to various engagements.
Rudi Block, the Merchant - Block is another accused man and client of Huld. His case is five years old, and he is but a shadow of the prosperous grain dealer he once was. All his time, energy, and resources are now devoted to his case, to the point of detriment to his own life. Although he has hired five additional lawyers on the side, he is completely and pathetically subservient to Huld.
Titorelli, the Painter - Titorelli inherited the position of Court Painter from his father. He knows a great deal about the comings and goings of the Court's lowest level. He offers to help K., and manages to unload a few identical landscape paintings on the accused man.
Style
Parable
(Taken directly from Novels for Students: The Trial.)
Kafka intentionally set out to write parables, not just novels, about the human condition. The Trial is a parable that includes the smaller parable Before the Law. There is clearly a relationship between the two but the exact meaning of either parable is left up to the individual reader. K. and the Priest discuss the many possible readings. Both the short parable and their discussion seem to indicate that the reader is much like the man at the gate; there is a meaning in the story for everyone just as there is one gate to the Law for each person.
The parable within Kafka's masterpiece highlights perfectly the essence of his philosophy. Assigned unique roles in life, individuals must search deep within the apparent absurdity of existence to achieve spiritual self-realisation. The old man, therefore, is the symbol of this universal search inherent to mankind. 'The Trial' is not simply a novel about the potential disaster of over-bureaucratisation in society; it is an exploration of the personal and, particularly, spiritual, needs of human beings.
Legality
In a recent study based on Kafka’s office writings, Reza Banakar points out that many of Kafka’s descriptions of law and legality are often treated as metaphors for things other than law, but also are worthy of examination as a particular concept of law and legality which operates paradoxically as an integral part of the human condition under modernity. Joseph K. and his inexplicable experience of the law in The Trial were, for example, born out of an actual legal case in which Kafka was involved.
Film portrayals
* In the 1962 Orson Welles movie adaptation of The Trial, Josef K. is played by Anthony Perkins. Kyle MacLachlan portrays him in the 1993 version.
* Martin Scorsese's 1985 film After Hours is a re-imagining of the Trial.
Theatre adaptions
* The writer and director Steven Berkoff adapted several of Kafka's novels into plays and directed them for stage. His version of The Trial was first performed in 1970 in London and published in 1981.
Selected publication history
* Oxford World's Classics, 4 October 2009, Translation: Mike Mitchell, ISBN 9780199238293
* Dover Thrift Editions, 22 July 2009, Translation: David Wyllie, ISBN 9780486470610
* Penguin Modern Classics, 29 June 2000, Translation: Idris Parry, ISBN 9780141182902
* Schocken Books, 25 May 1999, Translation: Breon Mitchell, ISBN 9780805209990
* Everyman's Library, 30 June 1992, Translation: Willa and Edwin Muir, ISBN 9780679409946
Like Kafka's other novels, The Trial was never completed, although it does include a chapter which brings the story to an end. After his death in 1924, Kafka's friend and literary executor Max Brod edited the text for publication.
The Trial was filmed and released in 1962 by director Orson Welles, starring Anthony Perkins (as Josef K.) and Romy Schneider. A more recent remake was released in 1993 and featured Kyle MacLachlan in the star role. In 1999, it was adapted for comics by Italian artist Guido Crepax.
Plot summary
(As the novel was never completed, certain inconsistencies exist within the novel, such as disparities in timing in addition to other flaws in narration.)
On his thirtieth birthday, a senior bank clerk, Josef K., who lives in lodgings, is unexpectedly arrested by two unidentified agents for an unspecified crime. The agents do not name the authority for which they are acting. He is not taken away, however, but left at home to await instructions from the Committee of Affairs.
K. goes to visit the magistrate, but instead is forced to have a meeting with an attendant's wife. Looking at the Magistrate's books, he discovers a cache of pornography.
K. returns home to find Fräulein Montag, a lodger from another room, moving in with Fräulein Bürstner. He suspects that this is to prevent him from pursuing his affair with the latter woman. Yet another lodger, Captain Lanz, appears to be in league with Montag.
Later, in a store room at his own bank, K. discovers the two agents who arrested him being whipped by a flogger for asking K. for bribes, as a result of complaints K. previously made about them to the Magistrate. K. tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the store room and is shocked to find everything as he had found it the day before, including the Whipper and the two agents.
K. is visited by his uncle, who is a friend of a lawyer. The lawyer was with the Clerk of the Court. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes concerned K. is underestimating the seriousness of the case. The uncle introduces K. to an advocate, who is attended by Leni, a nurse, who K.'s uncle suspects is the advocate's mistress. K. has a sexual encounter with Leni, whilst his uncle is talking with the Advocate and the Chief Clerk of the Court, much to his uncle's anger, and to the detriment of his case.
K. visits the advocate and finds him to be a capricious and unhelpful character. K. returns to his bank but finds that his colleagues are trying to undermine him.
K. is advised by one of his bank clients to visit Titorelli, a court painter, for advice. Titorelli has no official connections, yet seems to have a deep understanding of the process. K. learns that, to Titorelli's knowledge, not a single defendant has ever been acquitted. He sets out what K.'s options are, but the consequences of all of them are unpleasant: they consist of different delay tactics to stretch out his case as long as possible before the inevitable "Guilty" verdict. Titorelli instructs K. that there's not much he can do since he doesn't know of what crime he has been accused.
K. decides to take control of his own life and visits his advocate with the intention of dismissing him. At the advocate's office he meets a downtrodden individual, Block, a client who offers K. some insight from a client's perspective. Block's case has continued for five years and he appears to have been virtually enslaved by his dependence on the advocate's meaningless and circular advice. The advocate mocks Block in front of K. for his dog-like subservience. This experience further poisons K.'s opinion of his advocate, and K is bemused as to why his advocate would think that seeing such a client, in such a state, could change his mind. (This chapter was left unfinished by the author.)
K. is asked to tour an Italian client around local places of cultural interest, but the Italian client short of time asks K. to tour him around only the cathedral, setting a time to meet there. When the client doesn't show up, K. explores the cathedral which is empty except for an old woman and a church official. K. decides to leave as a priest K. notices seems to be preparing to give a sermon from a small second pulpit, lest it begin and K. be compelled to stay for its entirety. Instead of giving a sermon, the priest calls out K.'s name, although K. has never known the priest. The priest works for the court, and tells K. a fable, (which has been published separately as Before the Law) that is meant to explain his situation, but instead causes confusion, and implies that K.'s fate is hopeless. Before the Law begins as a parable, then continues with several pages of interpretation between the Priest and K. The gravity of the priest's words prepares the reader for an unpleasant ending.
On the last day of K.'s thirtieth year, two men arrive to execute him. He offers little resistance, suggesting that he has realised this as being inevitable for some time. They lead him to a quarry where he is expected to kill himself, but he cannot. The two men then execute him. His last words describe his own death: "Like a dog!"
Characters
Others
Fräulein Bürstner - A boarder in the same house as Josef K. She lets him kiss her one night, but then rebuffs his advances. She makes a brief reappearance in the novel's final pages.
Fräulein Montag - Friend of Fräulein Bürstner, she talks to K. about ending his relationship with Fräulein Bürstner after his arrest. She claims she can bring him insight, because she is an objective third party.
Frau Grubach - The proprietress of the lodging house in which K. lives. She holds K. in high esteem, despite his arrest.
Uncle Karl - K.'s impetuous uncle from the country, formerly his guardian. Upon learning about the trial, Karl insists that K. hire Herr Huld, the lawyer.
Herr Huld, the Lawyer - K.'s pompous and pretentious advocate who provides precious little in the way of action and far too much in the way of anecdote.
Leni - Herr Huld's nurse, she has feelings for Josef K. and soon becomes his lover. She shows him her webbed hand, yet another reference to the motif of the hand throughout the book. Apparently, she finds accused men extremely attractive—the fact of their indictment makes them irresistible to her.
Vice-President - K.'s unctuous rival at the Bank, only too willing to catch K. in a compromising situation. He repeatedly takes advantage of K.'s preoccupation with the trial to advance his own ambitions.
President - Manager of the Bank. A sickly figure, whose position the Vice-President is trying to assume. Gets on well with K., inviting him to various engagements.
Rudi Block, the Merchant - Block is another accused man and client of Huld. His case is five years old, and he is but a shadow of the prosperous grain dealer he once was. All his time, energy, and resources are now devoted to his case, to the point of detriment to his own life. Although he has hired five additional lawyers on the side, he is completely and pathetically subservient to Huld.
Titorelli, the Painter - Titorelli inherited the position of Court Painter from his father. He knows a great deal about the comings and goings of the Court's lowest level. He offers to help K., and manages to unload a few identical landscape paintings on the accused man.
Style
Parable
(Taken directly from Novels for Students: The Trial.)
Kafka intentionally set out to write parables, not just novels, about the human condition. The Trial is a parable that includes the smaller parable Before the Law. There is clearly a relationship between the two but the exact meaning of either parable is left up to the individual reader. K. and the Priest discuss the many possible readings. Both the short parable and their discussion seem to indicate that the reader is much like the man at the gate; there is a meaning in the story for everyone just as there is one gate to the Law for each person.
The parable within Kafka's masterpiece highlights perfectly the essence of his philosophy. Assigned unique roles in life, individuals must search deep within the apparent absurdity of existence to achieve spiritual self-realisation. The old man, therefore, is the symbol of this universal search inherent to mankind. 'The Trial' is not simply a novel about the potential disaster of over-bureaucratisation in society; it is an exploration of the personal and, particularly, spiritual, needs of human beings.
Legality
In a recent study based on Kafka’s office writings, Reza Banakar points out that many of Kafka’s descriptions of law and legality are often treated as metaphors for things other than law, but also are worthy of examination as a particular concept of law and legality which operates paradoxically as an integral part of the human condition under modernity. Joseph K. and his inexplicable experience of the law in The Trial were, for example, born out of an actual legal case in which Kafka was involved.
Film portrayals
* In the 1962 Orson Welles movie adaptation of The Trial, Josef K. is played by Anthony Perkins. Kyle MacLachlan portrays him in the 1993 version.
* Martin Scorsese's 1985 film After Hours is a re-imagining of the Trial.
Theatre adaptions
* The writer and director Steven Berkoff adapted several of Kafka's novels into plays and directed them for stage. His version of The Trial was first performed in 1970 in London and published in 1981.
Selected publication history
* Oxford World's Classics, 4 October 2009, Translation: Mike Mitchell, ISBN 9780199238293
* Dover Thrift Editions, 22 July 2009, Translation: David Wyllie, ISBN 9780486470610
* Penguin Modern Classics, 29 June 2000, Translation: Idris Parry, ISBN 9780141182902
* Schocken Books, 25 May 1999, Translation: Breon Mitchell, ISBN 9780805209990
* Everyman's Library, 30 June 1992, Translation: Willa and Edwin Muir, ISBN 9780679409946
měi guó《 huá shèng dùn yóu bào》 zhè yàng píng jià mǐ lán · kūn dé lā：“ kūn dé lā shì 'ōu měi zuì jié chū hé shǐ zhōng zuì wéi yòu qù de xiǎo shuō jiā zhī yī。”《 xīn wén zhōu kān》 yě shuō：“ kūn dé lā bǎ zhé lǐ xiǎo shuō tí shēng dào liǎo mèng tài shū qíng hé gǎn qíng nóng liè de yī gè xīn shuǐ píng。”《 huá shèng dùn shí bào》 hái shuō：“《 shēng cún zhōng bù néng chéng shòu zhī qīng》 shì 20 shì jì zuì wěi dà de xiǎo shuō zhī yī， kūn dé lā jiè cǐ diàn dìng liǎo tā shì jiè shàng zuì wěi dà de zài shì zuò jiā de dì wèi。”
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - míng shū jiǎn jiè
zuò zhě：（ jié kè） mǐ lán · kūn dé lā
lèi xíng： xiǎo shuō
chéng shū shí jiān： 1984 nián
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - bèi jǐng sōu suǒ
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 mǐ lán · kūn dé lā
mǐ lán · kūn dé lā， 1929 nián shēng yú jié kè bù 'ěr nuò shì。 fù qīn wéi gāng qín jiā、 yīnyuè yì shù xué yuàn de jiào shòu， shòu jiā tíng xūn táo， tóng nián shí dài biàn xué zuòqǔ； shàonián shí kāi shǐ guǎng fàn yuè dú shì jiè míng zhù； qīng nián shí cóng shì xiě zuò、 huà huà、 yīnyuè、 diàn yǐng。 sān shí suì zuǒ yòu fā biǎo dì yī piān duǎn piān xiǎo shuō， jué dìng zǒu wén xué chuàng zuò zhī lù。
1967 nián， tā de dì yī bù cháng piān xiǎo shuō《 wán xiào》 zài jié kè chū bǎn， huò dé jù dà chéng gōng， diàn dìng liǎo tā zài wén tán shàng de dì wèi。 1968 nián， sū lián rù qīn jié kè hòu，《 wán xiào》 bù dàn bèi liè wéi jìn shū 'ér qiě kūn dé lā de gōng zuò yě shī qù liǎo。 1975 nián yǔ jiā rén lí kāi jié kè， lái dào fǎ guó。
yí jū fǎ guó hòu， kūn dé lā xùn sù zǒu hóng， chéng wéi fǎ guó dú zhě zuì xǐ 'ài de wài guó zuò jiā zhī yī。 tā de jué dà duō shù zuò pǐn， rú《 xiào wàng lù》、《 shēng mìng zhōng bù néng chéng shòu zhī qīng》、《 bù xiǔ》 děngdōu shì shǒu xiān zài fǎ guó zǒu hóng， rán hòu cái yǐn qǐ shì jiè wén tán de zhǔ mù。 tā céng duō cì huò dé guó jì wén xué jiǎng， bìng duō cì bèi tí míng wéi nuò bèi 'ěr wén xué jiǎng de hòu xuǎn rén。
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - nèi róng jīng yào
jié kè shǒu dū bù lā gé de yī wèi wài kē yī shēng tuō mǎ sī shì gè gù zhí dì jù jué“ mèi sú” de rén， tā bèi pàn fù mǔ de yì yuàn lí liǎo hūn， yòu zhe zhòng duō de qíng rén， qí zhōng zuì wéi qīn mì de qíng rén shì huà jiā sà bīn nà。 yòu yī cì tā dào jiāo wài de yī gè xiǎo zhèn shàng chū zhěn， rèn shí liǎo nà lǐ de nǚ zhāo dài tè lì suō。 pǔ sù 'ér měi lì de tè lì suō ràng tuō mǎ sī yī jiàn zhōng qíng， ér tè lì suō duì fēng dù piān piān de tuō mǎ sī yě pō yòu hǎo gǎn。
bù jiǔ tè lì suō dào chéng lǐ zhǎo tuō mǎ sī， tā men tóng jū zài yī qǐ。 zài sà bīn nà de bāng zhù xià， àihào shè yǐng de tè lì suō zài mǒu zá zhì shè móu dào yī fèn gōng zuò。 tuō mǎ sī suī rán 'ài tè lì suō， dàn shì què bù yuàn zuò jiā tíng zé rèn de fù yōng， gèng bù yuàn xiàng bié rén nà yàng gān yú píng dàn dì shēng huó， réng rán yǔ bié de nǚ rén hú hùn。 tè lì suō suī rán chū shēn xià céng， dàn tā nèi xīn kě wàng gāo shàng de jīng shén shēng huó。 tè lì suō shēn 'ài zhe tuō mǎ sī què bù néng jiē shòu tā zhè zhǒng shēng huó fāng shì， rán 'ér yòu bù néng zuǒ yòu tā， zhǐ yòu tòng kǔ dì yǔ tā wéi hù zhe yī gè jiā tíng de wàiqiào。
1968 nián 8 yuè， qián sū lián lǐng dǎo rén suǒ zhǐ huī de tǎn kè， zài“ zhù quán yòu xiàn lùn” děng děng qí hào xià， yǐ tū rán xí jī de fāng shì， yī yè zhī jiān gōng zhàn liǎo bù lā gé， kòu yā liǎo jié kè dǎng zhèng lǐng dǎo rén。“ bù lā gé zhī chūn” qiáng liè dì zhèn dòng liǎo zhè gè jiā tíng， tè lì suō lì kè zhǎo dào liǎo zì jǐ de yì yì， tā rè xīn dì chōng dāng zhe yī gè 'ài guó jì zhě de juésè， pāi xià liǎo dà liàng sū jūn rù qīn de zhào piàn。 yǔ tè lì suō bù tóng， bù yuàn mèi sú de tuō mǎ sī suī rán zēng hèn rù qīn zhě， tóng qíng fǎn kàng zhě， què bù yuàn yòng xíng dòng zhī chí tā men， bù yuàn wèitā men qiān míng， yě bù yuàn qiān míng bāng zhù zhèng fǔ， tuō mǎ sī rèn wéi， wéi shuí qiān míng dōushì yī zhǒng mèi sú xíng wéi， tā bù yuàn tì bié rén chōng dāng zhì zào shēng shì de gōng jù。
hòu lái， tuō mǎ sī hé tè lì suō wèile táo bì dāng jú de pò hài qù liǎo zhōng lì guó ruì shì。 lìng tè lì suō méi yòu xiǎng dào de shì sà bīn nà yě liú wáng dào cǐ， qiě yǔ tuō mǎ sī chóngxiū jiù hǎo。 tè lì suō wú fǎ jì xù rěn shòu xià qù， fèn rán fǎn huí liǎo bù lā gé。 zài lí kāi tè lì suō zuì chū de jǐ tiān， tuō mǎ sī què shí gǎn dào liǎo zì yóu， dàn hěn kuài zhè zhǒng qīng piāo piāo de shī luò gǎn yòu ràng tā nán yǐ rěn shòu， yú shì tā yě zhòng huí bù lā gé xún zhǎo tè lì suō。 zài bù lā gé， tuō mǎ sī yīn yī piān wén zhāng dé zuì yòu guān dāng jú， bìng jù jué zài shōu huí zì jǐ wén zhāng de shēng míng shàng qiān zì 'ér shòu dào pò hài。 zuì hòu tuō mǎ sī yǔ tè lì suō 'èr rén yí jū xiāng xià， bù xìng zài yī cì chē huò zhōng shuāng shuāng yì wài shēn wáng。
hé tuō mǎ sī yī yàng， sà bīn nà yě shì yī gè jiān jué de fǎn“ mèi sú” zhě， bù guò tā què cóng rén men de“ mèi sú” zhōng dé dào liǎo hǎo chù。 zài ruì shì， rén men yóu yú tóng qíng tā de zǔ guó 'ér yuàn yì tāo qián mǎi tā de huà， zhè ràng tā fā liǎo yī dà bǐ cái。 zài yī cì yàn huì shàng， sà bīn nà hé ruì shì de yī míng dà xué jiào shī fú lán cí xiāng liàn。 fú lán cí shì yī gè xiàngmào yīng jùn de nán shì， shì yè yòu chéng， suǒ yòu zhè xiē chéng gōng yǐ hòu de gǎn jué ràng tā jué dé“ qīng”。 tā kě wàng fǎn kàng， kě wàng jī qíng， yú shì tā jiā rù liǎo shēng yuán jié kè rén mín de yóu xíng shì wēi dà jūn。 hòu lái zài yuè nán rù qīn jiǎn bù zhài qī jiān jiā rù fù jiǎn yī liáo duì， dàn tā zhè zhǒng táng jí hē dé shì de xíng dòng bìng méi yòu chǎn shēng rèn hé shí jì chéng guǒ， hòu lái shòu dào dǎi tú de xí jī 'ér sàng shēng。
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - zhuān jiā diǎn píng
mǐ lán · kūn dé lā shuō guò， shēngzhǎng yú yī gè xiǎo guó zài tā kàn lái shí zài shì yī zhǒng yōu shì， yīn wéi shēn chù xiǎo guó， yào me zuò yī gè kě lián de、 yǎn guāng xiá zhǎi de rén， yào me chéng wéi yī gè guǎng wén bó shí de shì jiè xìng de rén。 kūn dé lā jiù shì yī gè shì jiè xìng de rén， tā shuō：“ rú guǒ yī gè zuò jiā xiě de dōng xī zhǐ néng lìng běn guó de rén liǎo jiě， zé tā bù dàn duì bù qǐ shì jiè shàng suǒ yòu de rén， gèng duì bù qǐ tā de tóng bāo， yīn wéi tā de tóng bāo dú liǎo tā de zuò pǐn， zhǐ néng biàn dé mù guāng duǎn qiǎn。”《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 yǐ yī shēng tuō mǎ sī、 shè yǐng 'àihào zhě tè lì suō、 huà jiā sà bīn nà、 dà xué jiào shī fú lán cí děng rén de shēng huó wéi xiàn suǒ， tōng guò tā men zhī jiān de gǎn qíng jiū gé， sǎnwén huà dì zhǎn xiàn liǎo sū jūn rù qīn hòu， jié kè gè jiē céng rén mín de shēng huó hé qíng xù， fù yú zhé lǐ dì tàn tǎo liǎo rén lèi tiān xìng zhōng de“ mèi sú” běn zhì， cóng 'ér jù bèi liǎo cóng yī gè mín zú zǒu xiàng quán rén lèi de shēn guǎng nèi hán。
mǐ lán · kūn dé lā zài zhè bù xiǎo shuō zhōng， wéi rào jǐ gè rén wù de bù tóng jīng lì， jīng tā men duì shēng mìng de xuǎn zé jiāng xiǎo shuō yǐn rù zhé xué céng miàn， duì zhū rú huí guī、 mèi sú、 yí wàng、 shí jiān 'ǒu rán xìng yǔ bì rán xìng děng duō gè fàn chóu jìn xíng liǎo sī kǎo。 zhè shì yī bù zhé lǐ xiǎo shuō， yǔ chuán tǒng de xiǎo shuō bù tóng， tā bù zài tōng guò gù shì qíng jìng běn shēn xī yǐn dú zhě， ér shì yòng jiāng dú zhě yǐn rù zhé lǐ de sī kǎo zhī zhōng， tōng guò shēng huó zhōng jù tǐ de shì jiàn yǐn qǐ dú zhě xíng 'ér shàng de shēn céng sī kǎo。 mǐ lán · kūn dé lā zhèng shì yóu yú néng gòu jiāng xiǎo shuō yì shù yǔ xiàn dài xī fāng zhé xué jié hé qǐ lái， gù 'ér chéng wéi dāng jīn shì jiè wén tán shàng zuì wéi yǐn rén zhù mùdì zuò jiā。
mǐ lán · kūn dé lā de sī xiǎng dài yòu qiáng liè de cún zài zhù yì de qīng xiàng， yīn cǐ， zài《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 zhōng， zuò zhě duì rén shēng de mìng yùn yǔ jià zhí de guān zhù shì gāi shū zhù tí。 shēng mìng de cún zài yǔ jià zhí de wèn tí shì rèn hé yī gè rén yě wú fǎ táo bì de wèn tí， shēng mìng zhǐ shì yī gè guò chéng 'ér yǐ。 zài mǐ lán · kūn dé lā kàn lái， rén shēng shì yī zhǒng tòng kǔ， zhè zhǒng tòng kǔ lái zì yú wǒ men duì shēng huó mù biāo de cuò wù xuǎn zé， duì shēng mìng jià zhí de cuò wù pàn duàn， shì réndōu zài wéi zì jǐ de mùdì 'ér zī zī zhuī qiú， shū bù zhī， mù biāo běn shēn jiù shì yī zhǒng kōng xū。 shēng mìng yīn“ zhuī qiú” ér biàn dé yōng sú， rén lèi chéng liǎo bèi“ zhuī qiú” suǒ yì shǐ de nú lì， zài“ zhuī qiú” de míng yì xià， wǒ men bù lùn shì fàng làng xíng hái， hái shì xún guī dǎo jǔ， zuì zhōng zhǐ shì wú xiū zhǐ dì zhòng fù qián rén。 yīn cǐ， rén lèi de lì shǐ zuì zhōng jiāng zhǐ shèng xià liǎng gè zì héng héng héng“ mèi sú”。
mèi sú yī cí yuán yú dé yǔ de Kitsch， bèi mǐ lán · kūn dé lā zài duō cì yǎn jiǎng zhōng yǐn yòng。 kūn dé lā rèn wéi， mèi sú shì yǐ zuò zuò de tài dù qǔ yuè dà zhòng de xíng wéi， zhè zhǒng xíng wéi qīn shí rén lèi zuì chū měi hǎo de xīn líng， shì yī zhǒng wén míng bìng。 tā shèn zhì zhǐ chū yì shù zhōng de xiàn dài zhù yì zài yǎn xià jīhū yě biàn chéng liǎo yī zhǒng xīn de shí máo， xīn de Kitsch， shī diào liǎo zuì kāi shǐ nà zhǒng jiě fàng gè xìng de chū zhōng。 mèi sú bù jǐn shì wǒ men de dí rén yě shì wǒ men zì jǐ。 zài《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 zhōng， kūn dé lā jiè sà bīn nà de sī suǒ biǎo dá liǎo tā de kàn fǎ， zhǐ yào yòu gōng zhòng cún zài， zhǐ yào liú xīn gōng zhòng cún zài， ér bù shì 'àn zì jǐ de yì yuàn xíng shì， jiù miǎn bù liǎo mèi sú。 bù guǎn wǒ men chéng rèn yǔ fǒu， mèi sú shì rén lèi jìng kuàng de yī gè zǔ chéng bù fēn， hěn shǎo yòu rén néng tuō sú。 mèi sú bù jǐn jǐn shì mǒu xiē rén huò mǒu xiē guó jiā de wèn tí， ér shì zhěng gè rén lèi de wèn tí。 yóu yú mèi sú， rén men wǎng wǎng huì yòng yì zhì dài tì gè rén zhuī qiú， yóu yú mèi sú， rén men wǎng wǎng huì niǔ qū zì wǒ de jià zhí pàn duàn yǐ yíng hé zhěng tǐ de jià zhí qǔ xiàng。 dāng zhěng gè jià zhí pàn duàn tǐ xì wán quán shī zhòng， měi yǔ chǒu、 shàn yǔ 'è、 hǎo yǔ huài wú cóng pàn bié， shèn zhì xíng chéng yī tǐ shí， shēng mìng zài wài jiè hé nèi xīn de chén zhòng kàng jī zhī xià yě jiù biàn dé wú suǒ shì cóng， biàn chéng liǎo bù néng chéng shòu zhī qīng。
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - miào yǔ jiā jù
rén cóng lái jiù xiǎng zhòng xiě zì jǐ de zhuànjì， gǎi biàn guò qù， mǒ qù hén jì， mǒ qù zì jǐ de， yě mǒ qù bié rén de， xiǎng yí wàng yuǎn bù shì nà me jiǎn dān。
Synopsis
The Unbearable Lightness of Being takes place in Prague in 1968. It explores the artistic and intellectual life of Czech society during the Communist period, from the Prague Spring to the Soviet Union’s August 1968 invasion and its aftermath. The characters are Tomáš, a successful surgeon; his wife Tereza, a photographer anguished by her husband's infidelities; Tomáš’s lover Sabina, a free-spirited artist; and the secondary characters Franz, the Swiss university professor and lover of Sabina; and Simon, Tomáš’s estranged son from an earlier marriage.
Challenging Friedrich Nietzsche’s concept of eternal recurrence (the universe and its events have already occurred and will recur ad infinitum), the story’s thematic meditations posit the alternative that each person has only one life to live, and that which occurs in that life, occurs only once and shall never occur again — thus the “lightness” of being; whereas eternal recurrence imposes a “heaviness” on our lives and on the decisions we make (it gives them weight, to borrow from Nietzsche's metaphor), a heaviness that Nietzsche thought could be either a tremendous burden or great benefit depending on one's perspective.
The German expression Einmal ist keinmal encapsulates “lightness” so: “what happens but once, might as well not have happened at all. If we have only one life to live, we might as well not have lived at all”; if concluded logically, life ultimately is insignificant. Hence, because decisions do not matter, they are rendered light, because they do not cause personal suffering. Yet, simultaneously, the insignificance of decisions — our being — causes us great suffering, perceived as the unbearable lightness of being consequent to one’s awareness of life occurring once and never again; thus no one person’s actions are universally significant. This insignificance is existentially unbearable when it is considered that people want their lives to have transcendent meaning. As literary art, The Unbearable Lightness of Being is considered a modernist humanist novel and a post-modern novel of high narrative craft.[citation needed]
Publication
The Unbearable Lightness of Being (1984) was not published in the original Czech until 1985, as Czech: Nesnesitelná lehkost bytí, by the exile publishing house 68 Publishers (Toronto, Canada). The second Czech edition was published in October 2006, in Brno (Czech Republic), some eighteen years after the Velvet Revolution, because Kundera did not approve it earlier. The first English translation by Michael Henry Heim was published in hardback in 1984 by Harper & Row in the US and Faber and Faber in the UK and in paperback in 1985. The US paperback was reprinted in New York City by Perennial in 1999 with ISBN 0-06-093213-9.
Characters
* Tomáš - The story's protagonist: a Czech surgeon and intellectual. Tomáš is a light-hearted womanizer who lives for his work. He considers sex and love to be distinct entities: he copulates with many women but loves only his wife, Tereza. He sees no contradiction between these two activities. He explains womanizing as an imperative to explore the idiosyncrasies of people (women, in this case) only expressed during sex. At first he views his wife as a burden he is obligated to take care of, but this changes when he abandons his twin obsessions of work and womanizing and moves to the country with Tereza. There, he communicates with his son after having to deal with the consequences of a letter to the editor in which he likens the Czech Communists to Oedipus (although this was unintentional). Later, his son Simon tells Sabina that Tomáš and Tereza died in a car crash. His epitaph is He wanted the Kingdom of God on Earth.
* Tereza - Young wife of Tomáš. A gentle, intellectual photographer, she delves into dangerous and dissident photojournalism during the Soviet occupation of Prague. Tereza does not condemn Tomáš for his infidelities, instead characterising herself as weaker than he is. She is mostly defined by the division she places between soul and body due to her mother's flagrant embrace of all the body's grotesque functions which has led Tereza to view her body as disgusting and shameful. Throughout the book she expresses a fear of simply being another body in Tomáš's array of women. Once Tomáš and Tereza move to the countryside she devotes herself to taking care of cattle and reading. During this time she becomes fond of animals, reaching the conclusion that they were the last link to the paradise abandoned by Adam and Eve, and becomes alienated from other humans.
* Sabina - Tomáš's favorite mistress and closest friend. Sabina lives her life as an extreme example of lightness, finding profound satisfaction in the act of betrayal. She declares war on kitsch and struggles against the constraints imposed by her puritan ancestry and the communist party. This struggle is shown through her paintings. She occasionally expresses excitement at humiliation, shown through the use of her grandfather's bowler hat, a symbol that is born during one sexual encounter between her and Tomáš, before it eventually changes meaning and becomes a relic of the past. Later in the novel she begins to correspond with Simon while living under the roof of some older Americans who admire her artistic skill. She expresses her desire to be cremated and thrown to the winds after death - the last symbol of eternal lightness.
* Franz - Sabina's lover and a Geneva professor and idealist. Franz falls in love with Sabina whom he (erroneously) considers a liberal and romantically tragic Czech dissident. Sabina considers both of those identities kitsch. He is a kind and compassionate man. As one of the dreamers of the novel, he bases his actions on loyalty to the memories of his mother and of Sabina. His life revolves completely around books and academia eventually to the extent that he seeks lightness and ecstasy by participating in marches and protests, the last of which is a march in Thailand to the Cambodian border. While in Bangkok, after the march he is mortally wounded during a mugging. Ironically, he always sought to escape the kitsch of his wife, Marie-Claude, but dies in her presence allowing Marie-Claude to claim he always loved her. The inscription on his grave was: "A return after long wanderings."
* Karenin - The dog of Tomáš and Tereza. Although physically a female, the name given always alludes to masculinity, and is a reference to the husband of Anna in Anna Karenina. Karenin lives his life according to routine and displays extreme dislike of change. Once the married couple moves to the country, Karenin becomes more content than ever as he is able to enjoy more the attention of his owners. He also quickly befriends a pig named Mefisto. During this time Tomáš discovers that Karenin has cancer and even after removing a tumor it is clear that Karenin is going to die. On his deathbed he unites Tereza and Tomáš through his "smile" at their attempts to improve his health. When he dies, Tereza expresses a wish to place an inscription over his grave: "Here lies Karenin. He gave birth to two rolls and a bee" in reference to a dream she had shortly before his death.
Film
Main article: The Unbearable Lightness of Being (film)
In 1988, an American-made film adaptation of the novel was released starring Daniel Day-Lewis, Lena Olin, and Juliette Binoche.
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - míng shū jiǎn jiè
zuò zhě：（ jié kè） mǐ lán · kūn dé lā
lèi xíng： xiǎo shuō
chéng shū shí jiān： 1984 nián
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - bèi jǐng sōu suǒ
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 mǐ lán · kūn dé lā
mǐ lán · kūn dé lā， 1929 nián shēng yú jié kè bù 'ěr nuò shì。 fù qīn wéi gāng qín jiā、 yīnyuè yì shù xué yuàn de jiào shòu， shòu jiā tíng xūn táo， tóng nián shí dài biàn xué zuòqǔ； shàonián shí kāi shǐ guǎng fàn yuè dú shì jiè míng zhù； qīng nián shí cóng shì xiě zuò、 huà huà、 yīnyuè、 diàn yǐng。 sān shí suì zuǒ yòu fā biǎo dì yī piān duǎn piān xiǎo shuō， jué dìng zǒu wén xué chuàng zuò zhī lù。
1967 nián， tā de dì yī bù cháng piān xiǎo shuō《 wán xiào》 zài jié kè chū bǎn， huò dé jù dà chéng gōng， diàn dìng liǎo tā zài wén tán shàng de dì wèi。 1968 nián， sū lián rù qīn jié kè hòu，《 wán xiào》 bù dàn bèi liè wéi jìn shū 'ér qiě kūn dé lā de gōng zuò yě shī qù liǎo。 1975 nián yǔ jiā rén lí kāi jié kè， lái dào fǎ guó。
yí jū fǎ guó hòu， kūn dé lā xùn sù zǒu hóng， chéng wéi fǎ guó dú zhě zuì xǐ 'ài de wài guó zuò jiā zhī yī。 tā de jué dà duō shù zuò pǐn， rú《 xiào wàng lù》、《 shēng mìng zhōng bù néng chéng shòu zhī qīng》、《 bù xiǔ》 děngdōu shì shǒu xiān zài fǎ guó zǒu hóng， rán hòu cái yǐn qǐ shì jiè wén tán de zhǔ mù。 tā céng duō cì huò dé guó jì wén xué jiǎng， bìng duō cì bèi tí míng wéi nuò bèi 'ěr wén xué jiǎng de hòu xuǎn rén。
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - nèi róng jīng yào
jié kè shǒu dū bù lā gé de yī wèi wài kē yī shēng tuō mǎ sī shì gè gù zhí dì jù jué“ mèi sú” de rén， tā bèi pàn fù mǔ de yì yuàn lí liǎo hūn， yòu zhe zhòng duō de qíng rén， qí zhōng zuì wéi qīn mì de qíng rén shì huà jiā sà bīn nà。 yòu yī cì tā dào jiāo wài de yī gè xiǎo zhèn shàng chū zhěn， rèn shí liǎo nà lǐ de nǚ zhāo dài tè lì suō。 pǔ sù 'ér měi lì de tè lì suō ràng tuō mǎ sī yī jiàn zhōng qíng， ér tè lì suō duì fēng dù piān piān de tuō mǎ sī yě pō yòu hǎo gǎn。
bù jiǔ tè lì suō dào chéng lǐ zhǎo tuō mǎ sī， tā men tóng jū zài yī qǐ。 zài sà bīn nà de bāng zhù xià， àihào shè yǐng de tè lì suō zài mǒu zá zhì shè móu dào yī fèn gōng zuò。 tuō mǎ sī suī rán 'ài tè lì suō， dàn shì què bù yuàn zuò jiā tíng zé rèn de fù yōng， gèng bù yuàn xiàng bié rén nà yàng gān yú píng dàn dì shēng huó， réng rán yǔ bié de nǚ rén hú hùn。 tè lì suō suī rán chū shēn xià céng， dàn tā nèi xīn kě wàng gāo shàng de jīng shén shēng huó。 tè lì suō shēn 'ài zhe tuō mǎ sī què bù néng jiē shòu tā zhè zhǒng shēng huó fāng shì， rán 'ér yòu bù néng zuǒ yòu tā， zhǐ yòu tòng kǔ dì yǔ tā wéi hù zhe yī gè jiā tíng de wàiqiào。
1968 nián 8 yuè， qián sū lián lǐng dǎo rén suǒ zhǐ huī de tǎn kè， zài“ zhù quán yòu xiàn lùn” děng děng qí hào xià， yǐ tū rán xí jī de fāng shì， yī yè zhī jiān gōng zhàn liǎo bù lā gé， kòu yā liǎo jié kè dǎng zhèng lǐng dǎo rén。“ bù lā gé zhī chūn” qiáng liè dì zhèn dòng liǎo zhè gè jiā tíng， tè lì suō lì kè zhǎo dào liǎo zì jǐ de yì yì， tā rè xīn dì chōng dāng zhe yī gè 'ài guó jì zhě de juésè， pāi xià liǎo dà liàng sū jūn rù qīn de zhào piàn。 yǔ tè lì suō bù tóng， bù yuàn mèi sú de tuō mǎ sī suī rán zēng hèn rù qīn zhě， tóng qíng fǎn kàng zhě， què bù yuàn yòng xíng dòng zhī chí tā men， bù yuàn wèitā men qiān míng， yě bù yuàn qiān míng bāng zhù zhèng fǔ， tuō mǎ sī rèn wéi， wéi shuí qiān míng dōushì yī zhǒng mèi sú xíng wéi， tā bù yuàn tì bié rén chōng dāng zhì zào shēng shì de gōng jù。
hòu lái， tuō mǎ sī hé tè lì suō wèile táo bì dāng jú de pò hài qù liǎo zhōng lì guó ruì shì。 lìng tè lì suō méi yòu xiǎng dào de shì sà bīn nà yě liú wáng dào cǐ， qiě yǔ tuō mǎ sī chóngxiū jiù hǎo。 tè lì suō wú fǎ jì xù rěn shòu xià qù， fèn rán fǎn huí liǎo bù lā gé。 zài lí kāi tè lì suō zuì chū de jǐ tiān， tuō mǎ sī què shí gǎn dào liǎo zì yóu， dàn hěn kuài zhè zhǒng qīng piāo piāo de shī luò gǎn yòu ràng tā nán yǐ rěn shòu， yú shì tā yě zhòng huí bù lā gé xún zhǎo tè lì suō。 zài bù lā gé， tuō mǎ sī yīn yī piān wén zhāng dé zuì yòu guān dāng jú， bìng jù jué zài shōu huí zì jǐ wén zhāng de shēng míng shàng qiān zì 'ér shòu dào pò hài。 zuì hòu tuō mǎ sī yǔ tè lì suō 'èr rén yí jū xiāng xià， bù xìng zài yī cì chē huò zhōng shuāng shuāng yì wài shēn wáng。
hé tuō mǎ sī yī yàng， sà bīn nà yě shì yī gè jiān jué de fǎn“ mèi sú” zhě， bù guò tā què cóng rén men de“ mèi sú” zhōng dé dào liǎo hǎo chù。 zài ruì shì， rén men yóu yú tóng qíng tā de zǔ guó 'ér yuàn yì tāo qián mǎi tā de huà， zhè ràng tā fā liǎo yī dà bǐ cái。 zài yī cì yàn huì shàng， sà bīn nà hé ruì shì de yī míng dà xué jiào shī fú lán cí xiāng liàn。 fú lán cí shì yī gè xiàngmào yīng jùn de nán shì， shì yè yòu chéng， suǒ yòu zhè xiē chéng gōng yǐ hòu de gǎn jué ràng tā jué dé“ qīng”。 tā kě wàng fǎn kàng， kě wàng jī qíng， yú shì tā jiā rù liǎo shēng yuán jié kè rén mín de yóu xíng shì wēi dà jūn。 hòu lái zài yuè nán rù qīn jiǎn bù zhài qī jiān jiā rù fù jiǎn yī liáo duì， dàn tā zhè zhǒng táng jí hē dé shì de xíng dòng bìng méi yòu chǎn shēng rèn hé shí jì chéng guǒ， hòu lái shòu dào dǎi tú de xí jī 'ér sàng shēng。
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - zhuān jiā diǎn píng
mǐ lán · kūn dé lā shuō guò， shēngzhǎng yú yī gè xiǎo guó zài tā kàn lái shí zài shì yī zhǒng yōu shì， yīn wéi shēn chù xiǎo guó， yào me zuò yī gè kě lián de、 yǎn guāng xiá zhǎi de rén， yào me chéng wéi yī gè guǎng wén bó shí de shì jiè xìng de rén。 kūn dé lā jiù shì yī gè shì jiè xìng de rén， tā shuō：“ rú guǒ yī gè zuò jiā xiě de dōng xī zhǐ néng lìng běn guó de rén liǎo jiě， zé tā bù dàn duì bù qǐ shì jiè shàng suǒ yòu de rén， gèng duì bù qǐ tā de tóng bāo， yīn wéi tā de tóng bāo dú liǎo tā de zuò pǐn， zhǐ néng biàn dé mù guāng duǎn qiǎn。”《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 yǐ yī shēng tuō mǎ sī、 shè yǐng 'àihào zhě tè lì suō、 huà jiā sà bīn nà、 dà xué jiào shī fú lán cí děng rén de shēng huó wéi xiàn suǒ， tōng guò tā men zhī jiān de gǎn qíng jiū gé， sǎnwén huà dì zhǎn xiàn liǎo sū jūn rù qīn hòu， jié kè gè jiē céng rén mín de shēng huó hé qíng xù， fù yú zhé lǐ dì tàn tǎo liǎo rén lèi tiān xìng zhōng de“ mèi sú” běn zhì， cóng 'ér jù bèi liǎo cóng yī gè mín zú zǒu xiàng quán rén lèi de shēn guǎng nèi hán。
mǐ lán · kūn dé lā zài zhè bù xiǎo shuō zhōng， wéi rào jǐ gè rén wù de bù tóng jīng lì， jīng tā men duì shēng mìng de xuǎn zé jiāng xiǎo shuō yǐn rù zhé xué céng miàn， duì zhū rú huí guī、 mèi sú、 yí wàng、 shí jiān 'ǒu rán xìng yǔ bì rán xìng děng duō gè fàn chóu jìn xíng liǎo sī kǎo。 zhè shì yī bù zhé lǐ xiǎo shuō， yǔ chuán tǒng de xiǎo shuō bù tóng， tā bù zài tōng guò gù shì qíng jìng běn shēn xī yǐn dú zhě， ér shì yòng jiāng dú zhě yǐn rù zhé lǐ de sī kǎo zhī zhōng， tōng guò shēng huó zhōng jù tǐ de shì jiàn yǐn qǐ dú zhě xíng 'ér shàng de shēn céng sī kǎo。 mǐ lán · kūn dé lā zhèng shì yóu yú néng gòu jiāng xiǎo shuō yì shù yǔ xiàn dài xī fāng zhé xué jié hé qǐ lái， gù 'ér chéng wéi dāng jīn shì jiè wén tán shàng zuì wéi yǐn rén zhù mùdì zuò jiā。
mǐ lán · kūn dé lā de sī xiǎng dài yòu qiáng liè de cún zài zhù yì de qīng xiàng， yīn cǐ， zài《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 zhōng， zuò zhě duì rén shēng de mìng yùn yǔ jià zhí de guān zhù shì gāi shū zhù tí。 shēng mìng de cún zài yǔ jià zhí de wèn tí shì rèn hé yī gè rén yě wú fǎ táo bì de wèn tí， shēng mìng zhǐ shì yī gè guò chéng 'ér yǐ。 zài mǐ lán · kūn dé lā kàn lái， rén shēng shì yī zhǒng tòng kǔ， zhè zhǒng tòng kǔ lái zì yú wǒ men duì shēng huó mù biāo de cuò wù xuǎn zé， duì shēng mìng jià zhí de cuò wù pàn duàn， shì réndōu zài wéi zì jǐ de mùdì 'ér zī zī zhuī qiú， shū bù zhī， mù biāo běn shēn jiù shì yī zhǒng kōng xū。 shēng mìng yīn“ zhuī qiú” ér biàn dé yōng sú， rén lèi chéng liǎo bèi“ zhuī qiú” suǒ yì shǐ de nú lì， zài“ zhuī qiú” de míng yì xià， wǒ men bù lùn shì fàng làng xíng hái， hái shì xún guī dǎo jǔ， zuì zhōng zhǐ shì wú xiū zhǐ dì zhòng fù qián rén。 yīn cǐ， rén lèi de lì shǐ zuì zhōng jiāng zhǐ shèng xià liǎng gè zì héng héng héng“ mèi sú”。
mèi sú yī cí yuán yú dé yǔ de Kitsch， bèi mǐ lán · kūn dé lā zài duō cì yǎn jiǎng zhōng yǐn yòng。 kūn dé lā rèn wéi， mèi sú shì yǐ zuò zuò de tài dù qǔ yuè dà zhòng de xíng wéi， zhè zhǒng xíng wéi qīn shí rén lèi zuì chū měi hǎo de xīn líng， shì yī zhǒng wén míng bìng。 tā shèn zhì zhǐ chū yì shù zhōng de xiàn dài zhù yì zài yǎn xià jīhū yě biàn chéng liǎo yī zhǒng xīn de shí máo， xīn de Kitsch， shī diào liǎo zuì kāi shǐ nà zhǒng jiě fàng gè xìng de chū zhōng。 mèi sú bù jǐn shì wǒ men de dí rén yě shì wǒ men zì jǐ。 zài《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 zhōng， kūn dé lā jiè sà bīn nà de sī suǒ biǎo dá liǎo tā de kàn fǎ， zhǐ yào yòu gōng zhòng cún zài， zhǐ yào liú xīn gōng zhòng cún zài， ér bù shì 'àn zì jǐ de yì yuàn xíng shì， jiù miǎn bù liǎo mèi sú。 bù guǎn wǒ men chéng rèn yǔ fǒu， mèi sú shì rén lèi jìng kuàng de yī gè zǔ chéng bù fēn， hěn shǎo yòu rén néng tuō sú。 mèi sú bù jǐn jǐn shì mǒu xiē rén huò mǒu xiē guó jiā de wèn tí， ér shì zhěng gè rén lèi de wèn tí。 yóu yú mèi sú， rén men wǎng wǎng huì yòng yì zhì dài tì gè rén zhuī qiú， yóu yú mèi sú， rén men wǎng wǎng huì niǔ qū zì wǒ de jià zhí pàn duàn yǐ yíng hé zhěng tǐ de jià zhí qǔ xiàng。 dāng zhěng gè jià zhí pàn duàn tǐ xì wán quán shī zhòng， měi yǔ chǒu、 shàn yǔ 'è、 hǎo yǔ huài wú cóng pàn bié， shèn zhì xíng chéng yī tǐ shí， shēng mìng zài wài jiè hé nèi xīn de chén zhòng kàng jī zhī xià yě jiù biàn dé wú suǒ shì cóng， biàn chéng liǎo bù néng chéng shòu zhī qīng。
《 shēng mìng zhōng bù néng chéng shòu zhī qīng》 - miào yǔ jiā jù
rén cóng lái jiù xiǎng zhòng xiě zì jǐ de zhuànjì， gǎi biàn guò qù， mǒ qù hén jì， mǒ qù zì jǐ de， yě mǒ qù bié rén de， xiǎng yí wàng yuǎn bù shì nà me jiǎn dān。
Synopsis
The Unbearable Lightness of Being takes place in Prague in 1968. It explores the artistic and intellectual life of Czech society during the Communist period, from the Prague Spring to the Soviet Union’s August 1968 invasion and its aftermath. The characters are Tomáš, a successful surgeon; his wife Tereza, a photographer anguished by her husband's infidelities; Tomáš’s lover Sabina, a free-spirited artist; and the secondary characters Franz, the Swiss university professor and lover of Sabina; and Simon, Tomáš’s estranged son from an earlier marriage.
Challenging Friedrich Nietzsche’s concept of eternal recurrence (the universe and its events have already occurred and will recur ad infinitum), the story’s thematic meditations posit the alternative that each person has only one life to live, and that which occurs in that life, occurs only once and shall never occur again — thus the “lightness” of being; whereas eternal recurrence imposes a “heaviness” on our lives and on the decisions we make (it gives them weight, to borrow from Nietzsche's metaphor), a heaviness that Nietzsche thought could be either a tremendous burden or great benefit depending on one's perspective.
The German expression Einmal ist keinmal encapsulates “lightness” so: “what happens but once, might as well not have happened at all. If we have only one life to live, we might as well not have lived at all”; if concluded logically, life ultimately is insignificant. Hence, because decisions do not matter, they are rendered light, because they do not cause personal suffering. Yet, simultaneously, the insignificance of decisions — our being — causes us great suffering, perceived as the unbearable lightness of being consequent to one’s awareness of life occurring once and never again; thus no one person’s actions are universally significant. This insignificance is existentially unbearable when it is considered that people want their lives to have transcendent meaning. As literary art, The Unbearable Lightness of Being is considered a modernist humanist novel and a post-modern novel of high narrative craft.[citation needed]
Publication
The Unbearable Lightness of Being (1984) was not published in the original Czech until 1985, as Czech: Nesnesitelná lehkost bytí, by the exile publishing house 68 Publishers (Toronto, Canada). The second Czech edition was published in October 2006, in Brno (Czech Republic), some eighteen years after the Velvet Revolution, because Kundera did not approve it earlier. The first English translation by Michael Henry Heim was published in hardback in 1984 by Harper & Row in the US and Faber and Faber in the UK and in paperback in 1985. The US paperback was reprinted in New York City by Perennial in 1999 with ISBN 0-06-093213-9.
Characters
* Tomáš - The story's protagonist: a Czech surgeon and intellectual. Tomáš is a light-hearted womanizer who lives for his work. He considers sex and love to be distinct entities: he copulates with many women but loves only his wife, Tereza. He sees no contradiction between these two activities. He explains womanizing as an imperative to explore the idiosyncrasies of people (women, in this case) only expressed during sex. At first he views his wife as a burden he is obligated to take care of, but this changes when he abandons his twin obsessions of work and womanizing and moves to the country with Tereza. There, he communicates with his son after having to deal with the consequences of a letter to the editor in which he likens the Czech Communists to Oedipus (although this was unintentional). Later, his son Simon tells Sabina that Tomáš and Tereza died in a car crash. His epitaph is He wanted the Kingdom of God on Earth.
* Tereza - Young wife of Tomáš. A gentle, intellectual photographer, she delves into dangerous and dissident photojournalism during the Soviet occupation of Prague. Tereza does not condemn Tomáš for his infidelities, instead characterising herself as weaker than he is. She is mostly defined by the division she places between soul and body due to her mother's flagrant embrace of all the body's grotesque functions which has led Tereza to view her body as disgusting and shameful. Throughout the book she expresses a fear of simply being another body in Tomáš's array of women. Once Tomáš and Tereza move to the countryside she devotes herself to taking care of cattle and reading. During this time she becomes fond of animals, reaching the conclusion that they were the last link to the paradise abandoned by Adam and Eve, and becomes alienated from other humans.
* Sabina - Tomáš's favorite mistress and closest friend. Sabina lives her life as an extreme example of lightness, finding profound satisfaction in the act of betrayal. She declares war on kitsch and struggles against the constraints imposed by her puritan ancestry and the communist party. This struggle is shown through her paintings. She occasionally expresses excitement at humiliation, shown through the use of her grandfather's bowler hat, a symbol that is born during one sexual encounter between her and Tomáš, before it eventually changes meaning and becomes a relic of the past. Later in the novel she begins to correspond with Simon while living under the roof of some older Americans who admire her artistic skill. She expresses her desire to be cremated and thrown to the winds after death - the last symbol of eternal lightness.
* Franz - Sabina's lover and a Geneva professor and idealist. Franz falls in love with Sabina whom he (erroneously) considers a liberal and romantically tragic Czech dissident. Sabina considers both of those identities kitsch. He is a kind and compassionate man. As one of the dreamers of the novel, he bases his actions on loyalty to the memories of his mother and of Sabina. His life revolves completely around books and academia eventually to the extent that he seeks lightness and ecstasy by participating in marches and protests, the last of which is a march in Thailand to the Cambodian border. While in Bangkok, after the march he is mortally wounded during a mugging. Ironically, he always sought to escape the kitsch of his wife, Marie-Claude, but dies in her presence allowing Marie-Claude to claim he always loved her. The inscription on his grave was: "A return after long wanderings."
* Karenin - The dog of Tomáš and Tereza. Although physically a female, the name given always alludes to masculinity, and is a reference to the husband of Anna in Anna Karenina. Karenin lives his life according to routine and displays extreme dislike of change. Once the married couple moves to the country, Karenin becomes more content than ever as he is able to enjoy more the attention of his owners. He also quickly befriends a pig named Mefisto. During this time Tomáš discovers that Karenin has cancer and even after removing a tumor it is clear that Karenin is going to die. On his deathbed he unites Tereza and Tomáš through his "smile" at their attempts to improve his health. When he dies, Tereza expresses a wish to place an inscription over his grave: "Here lies Karenin. He gave birth to two rolls and a bee" in reference to a dream she had shortly before his death.
Film
Main article: The Unbearable Lightness of Being (film)
In 1988, an American-made film adaptation of the novel was released starring Daniel Day-Lewis, Lena Olin, and Juliette Binoche.