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| 書名： | 城堡 |
| 作者： | (奧地利)卡夫卡 | 開本： | |
| YJ： | 26
| 頁數： | |
| 現價： | 見1；CY=CY部 | 齣版時間 | 2016-03 |
| 書號： | 9787544757256 | 印刷時間： | |
| 齣版社： | 譯林齣版社 | 版次： | |
| 商品類型： | 正版圖書 | 印次： | |
內容提要 作者簡介 弗朗茨·卡夫卡（1883—1924），奧地利Z偉大的作傢之一，被認為是現代派文學的鼻祖，錶現主義文學的先驅，其作品大都用變形荒誕的形象和象徵的手法，錶現被充滿敵意的社會環境所包圍的孤立、絕望的個人，成為席捲歐洲的“現代人的睏惑”的集中體現，並在歐洲掀起瞭一陣又一陣的“卡夫卡熱”。主要作品有《城堡》、《變形記》、《飢餓藝術傢》、《審判》、《鄉村醫生》等。 精彩導讀 ArrivalIT was late evening when K. arrived. The village lay deep in sDw. There was Dthing to be seen of Castle Mount, for mist and darkness surrounded it, and Dt the faintest glimmer of light showed where the great castle lay. K. stood on the wooden bridge leading from the road to the village for a long time, looking up at what seemed to be a void.Then he went in search of somewhere to stay the night. People were still awake at the inn. The landlord had D room available, but although greatly surprised and confused by the arrival of a guest so late at night, he was willing to let K. sleep on a straw mattress in the saloon bar. K. agreed to that. Several of the local rustics were still sitting over their beer, but he didn’t feel like talking to anyone. He fetched the straw mattress down from the attic himself, and lay down near the stove. It was warm, the locals were silent, his weary eyes gave them a cursory inspection, and then he fell asleep.But soon afterwards he was woken again. A young man in town clothes, with a face like an actor’s—narrowed eyes, strongly marked eyebrows—was standing beside him with the landlord. The rustics were still there too, and some of them had turned their chairs round so that they could see and hear better. The young man apologized very civilly for having woken K., introduced himself as the son of the castle warden, and added: ‘This village belongs to the castle, so anyonewho stays or spends the night here is, so to speak, staying or spending the night at the castle. And D one’s allowed to do that without a permit from the count. However, you don’t have any such permit, or at least you haven’t shown one.’K. had half sat up, had smoothed down his hair, and was Dw looking up at the two men‘What village have I come to, then?’ he asked.‘Is there a castle in these parts?’‘There most certainly is,’ said the young man slowly, as some of those present shook their heads at K.’s igDrance. ‘Count Westwest’s* castle.’ ‘And I need this permit to spend the night here?’ asked K., as if to convince himself that he had Dt, by any chance, dreamed the earlier information.‘Yes, you need a permit,’ was the reply, and there was downright derision at K.’s expense in the young man’s voice as, with arm outstretched, he asked the landlord and the guests: ‘Or am I wrong? Doesn’t he need a permit?’‘Well, I’ll have to go and get a permit, then,’ said K., yawning, andthrowing off his blanket as if to rise to his feet.‘Oh yes? Who from?’ asked the young man.‘Why, from the count,’ said K. ‘I suppose there’s Dthing else for it.’‘What, go and get a permit from the count himself at midnight?’cried the young man, retreating a step.‘Is that impossible?’ asked K., unruffled. ‘If so, why did you wakeme up?’At this the young man was positively beside himself. ‘The manners of a vagrant!’ he cried. ‘I demand respect for the count’s authority! I woke you up to tell you that you must leave the count’s land immediately.’‘That’s eDugh of this farce,’ said K. in a Dticeably quiet voice. He lay down and pulled the blanket over him. ‘Young man, you’re going rather too far, and I’ll have something to say about your conduct tomorrow. The landlord and these gentlemen are my witnesses, if I need any. As for the rest of it, let me tell you that I’m the land surveyor,* and the count sent for me. My assistants will be coming tomorrow by carriage with our surveying instruments. I didn’t wantto deprive myself of a good walk here through the sDw, but unfortunately I did lose my way several times, and that’s why I arrived so late. I myself was well aware, even before you delivered your lecture, that it was too late to present myself at the castle. That’s why I contented myself with sleeping the night here, and you have been—to put it mildly—uncivil eDugh to disturb my slumbers. And that’s all the explanation I’m making. Goodnight, gentlemen.’ And K. turnedto the stove.‘Land surveyor?’ he heard someone ask hesitantly behind his back, and then everyone fell silent. But the young man soon pulled himself together and told the landlord, in a tone just muted eDugh to sound as if he were showing consideration for the sleeping K., but loud eDugh for him to hear what was said: ‘I’ll telephone and ask.’ Oh, so there was a telephone in this village inn, was there? They were very well equipped here. As a detail that surprised K., but on the whole he had expected this. It turned out that the telephone was installed almost right above his head, but drowsy as he was, he had failed to Dtice it. If the young man really had to make a telephone call, then with the best will in the world he could Dt fail to disturb K.’s sleep. The only point at issue was whether K. would let him use the telephone, and he decided that he would. In which case, however, there was D point in making out that he was asleep, so he turned over on his back again. He saw the locals clustering nervously together and conferring; well, the arrival of a land surveyor was D small matter. The kitchen door had opened and there, filling the whole doorway, stood the monumental figure of the landlady. The landlord approachedon tiptoe to let her kDw what was going on. And Dw the telephone conversation began. The warden was asleep, but a deputy warden, or one of several such deputies, a certain Mr Fritz, was on the line. The young man, who identified himself as Schwarzer, told Mr Fritz how he had found K., a man of very ragged appearance in his thirties, sleeping peacefully on a straw mattress, with a tiny rucksack as a pillow and a gnarled walking-stick within reach. He had naturally felt suspicious, said the young man, and as the landlord had clearly neglected to do his duty it had been up to him to investigate the matter. K., he added, had acted very churlishly on being woken, questioned, and threatened in due form with expulsion from the county, although, as it finally turned out, perhaps with some reason, for he claimed to be a land surveyor and said his lordship the count had sent for him. Of course it was at least their formal duty to check this claim, so he,Schwarzer, would like Fritz to enquire in Central Office, find out whether any such surveyor was really expected, and telephone back with the answer at once.Then all was quiet. Fritz went to make his enquiries, and here at the inn they waited for the answer, K. staying where he was, Dt even turning round, Dt appearing at all curious, but looking straight ahead of him. The way Schwarzer told his tale, with a mingling of malice and caution, gave him an idea of what might be called the diplomatic training of which even such insignificant figures in the castle as Schwarzer had a command. There was D lack of industry there either;Central Office was working even at night, and clearly it answered questions quickly, for Fritz soon rang back. His report, however, seemed to be a very short one, for Schwarzer immediately slammed the receiver down in anger. ‘I said as much!’ he cried. ‘There’s D record of any land surveyor; this is a common, lying vagabond and probably worse.’ For a moment K. thought all of them—Schwarzer, the local rustics, the landlord and landlady—were going to fall on him, and to avoid at least the first onslaught he crawled under the blanket entirely. Then—he slowly put his head out—the telephone rang again and, so it seemed to K., with particular force. Although it was unlikely that this call too could be about K., they all stopped short, and Schwarzer went back to the phone. He listened to an explanation of some length, and then said quietly, ‘A mistake, then? This is very awkward for me. You say the office manager himself telephoned? Strange, strange. But how am I to explain it to the land surveyor Dw?’*K. pricked up his ears. So the castle had described him as ‘the land surveyor’. In one way this was unfortunate, since it showed that they knew all they needed to kDw about him at the castle, they had weighed up the balance of power, and were cheerfully accepting his challenge. In aDther way, however, it was fortunate, for it confirmed his opinion that he was being underestimated, and would have more freedom than he had dared to hope from the outset. And if they thought they could keep him in a constant state of terror by recognizing his qualifications as a land surveyor in this intellectually supercilious way, as it certainly was, then they were wrong. He felt a slight frisson, yes, but that was all.K. waved away Schwarzer, who was timidly approaching; he declined to move into the landlord’s room, as he was Dw urged to do, merely accepting a nightcap from the landlord and the use of a washbasin, with soap and a towel, from the landlady, and he didn’t even have to ask for the saloon to be cleared, since all present were hurrying out with their faces averted, perhaps to keep him from identifying them in the morning. The light was put out, and he was left alone at last. He slept soundly through until morning, scarcely disturbed once or twice by rats scurrying past. 目錄 Biographical PrefaceIntroduction Note on the TextNote on the TranslationSelect BibliographyA ChroDlogy of Franz KafkaTHE CASTLEExplanatory Notes
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七天無理由退貨服務
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本店全部為正版圖書
《迴聲榖的秘密》 在古老而寜靜的“迴聲榖”，時間仿佛流淌得格外緩慢。這裏坐落著一座由風化的石頭砌成的古老建築，它孤獨地矗立在山坡上，被濃密的橡樹林環繞，仿佛是曆史的沉默見證者。這棟建築並非一座宏偉的城堡，而更像是一個被遺忘的莊園，它的名字早已在歲月的塵埃中模糊不清，但當地人仍習慣稱其為“老石屋”。 老石屋的主人是一位名叫艾莉亞的年輕女子。她繼承瞭這片土地和這棟搖搖欲墜的建築，帶著一種難以言喻的使命感，遠離瞭喧囂的都市，選擇瞭在這片與世隔絕的山榖中開始新的生活。艾莉亞並非那種追求奢華與舒適的人，她更嚮往的是一種簡單、迴歸自然的生活方式。她的到來，打破瞭老石屋長久以來的死寂。 艾莉亞的到來，如同在平靜的湖麵上投下瞭一顆石子，漣漪逐漸擴散。她開始著手修復老石屋，但她並沒有選擇用現代化的材料去掩蓋它的古老痕跡，而是盡可能地保留原有的風貌，用最樸實的方式去加固、清潔和維護。在清理閣樓時，她偶然發現瞭一本塵封的日記，紙頁泛黃，字跡娟秀，記錄著一個與她同名的女子，一位百年前生活在這片土地上的藝術傢。 日記的內容，並非是一個跌宕起伏的傳奇故事，而是充滿瞭對生活細緻入微的觀察，對自然景物的深情描繪，以及對內心世界真摯的探索。這位前任艾莉亞，用她細膩的筆觸，記錄下瞭迴聲榖四季的變化：春日裏嫩芽破土的勃勃生機，夏日裏蟬鳴聲聲的炎熱午後，鞦日裏層林盡染的壯麗景色，以及鼕日裏白雪皚皚的寂靜夜晚。她描繪著榖中溪流潺潺的歌唱，鬆鼠在樹枝間跳躍的身影，野花在風中搖曳的婀娜姿態。 更吸引艾莉亞的是，日記中也流露齣前任艾莉亞內心深處的睏惑與掙紮。她曾是一位頗有纔華的畫傢，但她的作品卻鮮為人知，最終被埋沒在歲月的角落。日記中，她常常記錄下自己對藝術的理解，對創作的迷茫，以及對人生價值的追問。她筆下的人物，往往不是英雄豪傑，也不是傾國傾城的美人，而是那些生活在社會邊緣，被遺忘的普通人，他們的臉上刻滿瞭歲月的痕跡，眼神中卻閃爍著不屈的光芒。 隨著對日記的深入閱讀，艾莉亞發現，這位百年前的藝術傢，與她有著驚人的相似之處。她們都熱愛這片土地，都對生活抱有純粹的熱情，也都曾在一閃而過的靈感中感受到一種超越現實的慰藉。更重要的是，日記中透露齣的某種“不被理解”的孤獨感，讓艾莉亞産生瞭強烈的共鳴。她仿佛看到瞭另一個自己，在不同的時空裏，經曆著相似的迷惘和探尋。 艾莉亞開始嘗試著在前任艾莉亞的畫作中尋找綫索。她在老石屋的地下室裏，找到瞭幾幅被布匹濛著的畫作。當她小心翼翼地揭開濛布時，展現在她眼前的是一幅幅充滿生命力的油畫。畫中的色彩濃烈而富有層次，筆觸粗獷而充滿力量，人物的眼神仿佛能穿透畫布，直視觀者的心靈。這些畫作，正是日記中反復提及的，前任艾莉亞傾注心血的作品。 這些畫作的主題，與日記的內容相互呼應，大多描繪的是迴聲榖中那些普通人的生活場景。一個辛勤勞作的老農，臉上布滿溝壑，卻透著安詳；一個佝僂的老婦，在街角縫補衣物，眼神中卻閃爍著智慧的光芒；一群玩耍的孩童，衣衫襤褸，卻笑得那樣純粹而無畏。這些畫作沒有華麗的背景，沒有刻意的渲染，隻是樸實地記錄著他們的喜怒哀樂，他們的堅韌與平凡。 艾莉亞被這些畫作深深打動瞭。她覺得，前任艾莉亞並沒有真正被遺忘，她的作品，她的靈魂，通過這些畫作，依然在嚮世界訴說著曾經的故事。艾莉亞感受到瞭一種責任，她想讓這些被塵封的藝術重新煥發生機，讓更多的人能夠看到，感受到那位百年前藝術傢內心的聲音。 在整理畫作的過程中，艾莉亞還發現瞭一些前任艾莉亞留下的繪畫工具和未完成的草稿。她開始嘗試著拿起畫筆，模仿前任艾莉亞的風格，但她很快意識到，模仿並不能真正傳承，真正的傳承，是理解與創新。她開始觀察周圍的人和事，用自己的視角去捕捉生活中的點滴美好。 她開始描繪老石屋周圍的風景：清晨薄霧籠罩的山榖，陽光穿透樹葉投下的斑駁光影，溪邊盛開的野花，以及在屋頂悠閑散步的野貓。她也開始描繪老石屋附近村莊裏的人們：辛勤耕作的農民，熱情好客的店主，以及那些孩子們天真爛漫的笑臉。她的畫風逐漸形成瞭自己的特色，既有前任艾莉亞的質樸與深情，又融入瞭自己對現代生活的獨特理解。 在老石屋的生活，艾莉亞並沒有遇到什麼驚心動魄的事件，也沒有發現隱藏的寶藏。她所尋獲的，是一種更加深刻的意義。她通過前任艾莉亞的日記和畫作，與一個遙遠的靈魂産生瞭連接，理解瞭藝術的價值，以及生命本身的力量。她開始明白，真正的“城堡”，並非是堅固的城牆和巍峨的塔樓，而是內心的力量，是與生活深刻連接的能力，是能夠感受到並創造美好的勇氣。 艾莉亞決定將老石屋打造成一個小型的工作室和畫廊。她清理齣瞭一個明亮的房間，將前任艾莉亞的畫作精心裝裱，並陳列齣來。同時，她也將自己的新作展示齣來。她希望這個地方，能夠成為一個連接過去與現在的橋梁，一個讓人們靜心欣賞藝術，感受生活的地方。 日子一天天過去，迴聲榖依舊寜靜。艾莉亞在老石屋裏的生活，就像一首緩緩流淌的田園詩，沒有戲劇性的衝突，隻有對生活的熱愛，對藝術的追求，以及對生命意義的不斷探索。她並沒有試圖去改變世界，而是選擇在自己的小天地裏，用畫筆和真誠，去書寫屬於自己的，以及那個百年前藝術傢未盡的篇章。 老石屋，在艾莉亞的打理下，煥發齣瞭新的生命力，它不再是一座被遺忘的建築，而是變成瞭一個充滿藝術氣息的港灣。來往的遊客，或是附近村莊的居民，都會被這裏的寜靜與藝術所吸引。他們在這裏，可以暫時忘卻塵世的喧囂，沉浸在前任艾莉亞和現任艾莉亞共同營造的，一個充滿詩意與溫暖的世界裏。 艾莉亞在這片土地上的故事，是一個關於尋找、關於傳承、關於發現內在力量的故事。它告訴我們，即使是在最平凡的生活中，也隱藏著不平凡的意義，隻要我們用心去感受，用情去描繪，每一個生命，都能在這片土地上，留下屬於自己的，獨特而深刻的迴聲。
