Zen and the Art of Motorcycle Maintenance
禅与摩托车维修艺术

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Zen and the Art of Motorcycle Maintenance: An Inquiry into Values
《禅与摩托车保养的艺术》：价值观探究

First edition 第一版
Author 作者	Robert M. Pirsig 罗伯特-M-皮尔希
Language 语言	English 英语
Genre 类型	Philosophical fiction, Autobiographical novel[1] 哲理小说, 自传体小说1
Published 已出版	1974 (William Morrow and Company)
Publication place 出版地点	United States 美国
Media type 媒体类型	Print (hardcover and paperback) 印刷（精装本和平装本
Pages 页面	418 pp 418 页
ISBN	0-688-00230-7
OCLC	673595
Dewey Decimal 杜威十进制	917.3/04/920924 B
LC Class LC 级	CT275.P648 A3 1974
Followed by 随后是	Lila: An Inquiry into Morals 莱拉道德探究

Zen and the Art of Motorcycle Maintenance: An Inquiry into Values is a book by Robert M. Pirsig first published in 1974. It is a work of fictionalized autobiography and the first of Pirsig's texts in which he discusses his concept of Quality.^[2]
《禅与摩托车保养的艺术》：Robert M. Pirsig于 1974 年首次出版。这是一部虚构的自传作品，也是皮尔希讨论其质量概念的第一部作品。

The title is an apparent play on the title of the 1948 book Zen in the Art of Archery by Eugen Herrigel. In its introduction, Pirsig explains that, despite its title, "it should in no way be associated with that great body of factual information relating to orthodox Zen Buddhist practice. It's not very factual on motorcycles, either."
书名显然是对 1948 年 Eugen Herrigel所著Zen in the Art of Archery一书书名的戏仿。皮尔希格在序言中解释说，尽管书名如此，"但它绝不应与有关正统禅宗修行的大量事实信息联系在一起。关于摩托车，它也不太符合事实"。

Pirsig received 121 rejections before an editor finally accepted the book for publication—and he did so thinking it would never generate a profit. 50,000 copies sold in the first three months, and more than 5 million in the decades since.^[3]
在编辑最终接受该书出版之前，皮尔希格收到了 121 份退稿，而且他认为这本书永远不会盈利。头三个月就卖出了 5 万册，此后几十年里卖出了 500 多万册。

The book is a fictionalized autobiography of a 17-day journey that Pirsig made with his Honda CB77 motorcycle from Minnesota to Northern California along with his son Chris in 1968.^[1] The story of this journey is recounted in a first-person narrative, although the author is not identified. Father and son are also accompanied, for the first nine days of the journey, by close friends John and Sylvia Sutherland, with whom they part ways in Montana.
该书是一本虚构的自传，讲述了 1968 年皮尔希格骑着他的本田 CB77 摩托车，从明尼苏达州到加利福尼亚州北部的 17 天旅程。1 这段旅程的故事以第一人称叙述，但未指明作者。在旅程的前九天，父子俩还有好友约翰-萨瑟兰（John Sutherland）和西尔维娅-萨瑟兰（Sylvia Sutherland）陪伴，后来在蒙大拿州与他们分手。

The journey is punctuated by numerous philosophical discussions, referred to as Chautauquas by the author, on topics including epistemology, the history of philosophy, and the philosophy of science.
旅途中还穿插了许多哲学讨论，作者称之为Chautauquas，主题包括认识论、哲学史和科学哲学。

Many of these discussions are accompanied by information concerning the narrator's own past self, who is referred to in the third person as Phaedrus (after Plato's dialogue). Phaedrus, a teacher of creative and technical writing at Montana State College, became engrossed in the question of what defines good writing, and what in general defines good, or "Quality", which he understands similar to Tao. Phaedrus's philosophical investigations eventually caused him to become insane, and he was subjected to electroconvulsive therapy, which permanently changed his personality.
在这些讨论中，有许多是关于叙述者自己过去的信息，他以第三人称被称为菲德鲁斯（Phaedrus）（源自柏拉图的对话）。费德鲁斯是蒙大拿州立学院（Montana State College）的一名创意和技术写作教师，他醉心于研究如何定义好的写作，以及一般意义上的 "好 "或 "质量"，他对 "质量 "的理解类似于道。费德鲁斯的哲学研究最终导致他精神失常，他接受了电休克疗法，这永久性地改变了他的人格。

Towards the end of the book, Phaedrus's strong and unorthodox personality, presented as dangerous to the narrator, becomes more apparent and the narrator is reconciled with his past.
在书的结尾，费德鲁斯强烈而非正统的个性变得更加明显，这对叙述者来说是危险的，而叙述者也与他的过去和解了。

Pirsig wrote most of the book while living above a shoe store in south Minneapolis, while working as a tech writer for Honeywell.^[4] In a 1974 interview with National Public Radio, Pirsig stated that the book took him four years to write. During two of these years, Pirsig continued working at his job of writing computer manuals. This caused him to adopt an unorthodox schedule, awakening very early and writing Zen from 2 a.m. until 6 a.m., then eating and going to his day job. He would sleep during his lunch break and then go to bed around 6 in the evening. Pirsig joked that his co-workers noticed that he was "a lot less perky" than everyone else.^[5]
4 1974 年，皮尔希在接受国家公共电台采访时表示，这本书花了他四年的时间才写成。在其中的两年里，皮尔希继续从事编写计算机手册的工作。这使他采用了一种非正统的作息时间，每天很早就起床，从凌晨 2 点开始写 Zen 一直写到早上 6 点，然后吃完饭去上班。他会在午休时间睡觉，然后在傍晚 6 点左右上床睡觉。皮尔希格开玩笑说，他的同事发现他比其他人 "少了很多活力"。

In the book, the narrator describes the "romantic" consideration of life of his friend, John Sutherland, who chooses not to learn how to maintain his expensive new motorcycle. John simply hopes for the best with his bike, and when problems do occur he often becomes frustrated and is forced to rely on professional mechanics to repair it. In contrast, the "classical" narrator has an older motorcycle which he is usually able to diagnose and repair himself through the use of rational problem-solving skills. For example, when the narrator and his friends come into Miles City, Montana he notices the engine running roughly, a possible indication that the fuel/air mixture is too rich. The next day he notes that both spark plugs are black, confirming a rich mixture. He recognizes that the higher elevation is causing the engine to run rich. The narrator rectifies this by installing new jets and adjusting the valves, and the engine runs well again.^{[citation needed]}
在书中，叙述者描述了他的朋友约翰-萨瑟兰对生活的 "浪漫 "考虑，他选择不学习如何保养他昂贵的新摩托车。约翰对自己的摩托车只是抱着最好的希望，一旦出现问题，他往往会感到沮丧，不得不依靠专业技师来修理。相比之下，"经典 "叙事者拥有一辆旧摩托车，他通常能够通过使用合理的解决问题技巧来诊断并自行维修。例如，当叙述者和他的朋友们来到蒙大拿州迈尔斯城时，他注意到发动机运转不稳，这可能表明燃油/空气混合气过浓。第二天，他注意到两个火花塞都变黑了，证实混合气过浓。他意识到是较高的海拔导致发动机运转不充分。叙述者通过安装新的喷嘴和调整气门来纠正这一问题，发动机重新运转良好。^{[需要引用]}。

The narrator examines the modern pursuit of "Pure Truths", claiming it derives from the work of early Greek philosophers who were establishing the concept of truth in opposition to the force of "The Good". He argues that although rational thought may find a truth (or The Truth) it may never be applicable completely and universally to every individual's experience; therefore what is needed is a method of thought that is more inclusive and has a wider range of application. He makes a case that originally the Greeks did not distinguish between "Quality" and "Truth"—they were one and the same, arete—and that the divorce was, in fact, artificial (though needed at the time) and is now a source of much frustration and unhappiness in the world, particularly overall dissatisfaction with modern life.^{[citation needed]}
叙述者审视了现代人对 "纯粹真理 "的追求，认为这种追求源于早期希腊哲学家的工作，他们建立了真理的概念，与"善"的力量相对立。他认为，尽管理性思维可以找到真理（或 "真理"），但它可能永远无法完全、普遍地适用于每个人的经验；因此，我们需要的是一种更具包容性、适用范围更广的思维方法。他提出的理由是，希腊人最初并不区分 "质量 "和 "真理"--它们是同一回事，arete 而且，这种分离实际上是人为的（尽管在当时是需要的），现在却成为世界上许多挫折和不快的根源，尤其是对现代生活的整体不满。^{[ 需要引用]}。

The narrator explains that he seeks a perception of the world that embraces both the rational and the romantic, and that he seeks to demonstrate that rationality and Zen-like "being in the moment" can harmoniously coexist. He suggests such a combination of rationality and romanticism can potentially result in a greater quality of life.^{[citation needed]}
叙述者解释说，他寻求一种既理性又浪漫的世界观，他试图证明理性和禅宗式的 "当下 "可以和谐共存。他认为，理性与浪漫主义的结合有可能带来更高的生活质量。^{[ 需要引用]}。

It has been noted that Pirsig's romantic/classical dichotomy resembles Nietzsche's Dionysian/Apollonian dichotomy as described in The Birth of Tragedy. For example, in his book The Person of the Therapist, Edward Smith writes, "In his popular novel ... Pirsig also addressed the Apollonian and Dionysian worldviews, naming them respectively classical understanding and romantic understanding."^[6]
例如，爱德华-史密斯在其著作《治疗师的人格》中写道："在他的通俗小说......中......。皮尔希格还谈到了阿波罗式和狄俄尼式世界观，分别将其命名为古典理解和浪漫理解 "6。

Beverly Gross (1984) writes that Pirsig is seeking a synthesis of "the normal, everyday, functioning self with the person given to extremes, excesses, dizzying heights, obsessions—our crazy self with our sane self, the greatness in us with our ordinariness". The exceptional in the narrator is represented by Phaedrus, who, despite the narrator's attempt to keep him in the past, becomes a major item of his thought toward the book's end, threatening the narrator's stability and relationship with his son. However, the narrator's difficulties with his son during the journey also question whether surrendering parts of himself in exchange for "sanity" has even helped this relationship. Gross writes, "He relates to mechanical things, not to people. There is beauty in his recognition that personality inheres in motorcycles, riding gloves; there is sadness and sickness in his removal from the personality of people, his own most notably". The Chautauquas, which emphasize the narrator's tendency toward solitary thought and over-analysis, may reflect his avoidance of the problems before him: his relationships and the resurrection of Phaedrus. To the extent that the narrator denies Phaedrus, the Chautauquas are practical, but when he decides that he will admit himself to hospital again, he realizes the undeniable presence of Phaedrus in him, and the Chautauquas are given over to those more abstruse topics.^[7]
贝弗利-格罗斯（Beverly Gross，1984 年）写道，皮尔希格正在寻求一种 "正常、日常、正常的自我与极端、过激、眩晕、痴迷的自我--疯狂的自我与理智的自我，伟大的自我与平凡的自我 "的综合。费德鲁斯代表了叙事者身上的特殊性，尽管叙事者试图将他留在过去，但在书的结尾，他还是成为了叙事者思考的主要内容，威胁着叙事者的稳定和与儿子的关系。然而，叙述者在旅途中与儿子相处的困难也让人怀疑，为了换取 "理智 "而交出自己的一部分，是否对这种关系有所帮助。格罗斯写道："他与机械事物而非人建立了关系。他认识到摩托车和骑行手套中蕴含的个性是一种美；而他脱离了人的个性，尤其是他自己的个性，则是一种悲哀和病态"。乔托夸斯》强调了叙述者的孤独思考和过度分析倾向，这可能反映了他对眼前问题的回避：他的人际关系和斐德鲁斯的复活。就叙述者否认斐德鲁斯而言，《肖托夸集》是实用的，但当他决定再次住院时，他意识到斐德鲁斯不可否认地存在于他体内，于是《肖托夸集》开始讨论那些更为深奥的话题7。

According to the author, a gumption trap is an event or mindset that can cause a person to lose enthusiasm and become discouraged from starting or continuing a project. The word "gumption" denotes a combination of common sense, shrewdness, and a sense of initiative.^[8] Although the last of these traits is the primary victim of the "gumption trap," the first two suffer indirectly in that a reduction in initiative results in a reduction in constructive activity and therefore inhibits one's development of the first two traits. Pirsig goes on to inform his readers that the "trap" portion of the term refers to the positive feedback loop that the event or mindset creates: the reduction in the person's enthusiasm and initiative decreases both the person's likelihood of success in that project and the degree of success likely, thus doubly affecting the expected outcome of the person's efforts. The usual result further discourages the person, whether it be a mere lack of success or a bigger outright failure complete with embarrassment and loss of the resources initially invested.^{[citation needed]}
作者认为，"魄力陷阱"是一种事件或心态，会使人失去热情，对开始或继续某个项目望而却步。8虽然 "魄力陷阱 "的主要受害者是最后一种特质，但前两种特质也会间接受害，因为主动性的降低会导致建设性活动的减少，从而抑制前两种特质的发展。皮尔希格接着告诉他的读者，"陷阱 "一词的 "陷阱 "部分指的是事件或心态所造成的正反馈循环：一个人的热情和主动性降低，既降低了他在该项目中取得成功的可能性，也降低了成功的可能性，从而双重影响了他努力的预期结果。^{[需要引用]}。

The specific term "gumption trap" was invented by Pirsig, and the associated concept plays an important part in the practical application of his Metaphysics of Quality.^{[citation needed]
[ 需要引用]}。

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Pirsig refers to two types of gumption traps: setbacks, which arise from external/"exogenous" events, and hang-ups, which are the product of internal/"endogenous" factors such as a poor fit between one's psychological state and the requirements of a project.
Pirsig 提到了两种魄力陷阱：挫折源于外部/"外生 "事件，而困难则是内部/"内生 "因素的产物，例如个人心理状态与项目要求之间的不匹配。

The nature of setbacks can vary considerably. For example, a minor setback might result from a minor injury. Worse setbacks include the lack of knowledge that a certain procedural action or condition is necessary for a project's success: If one attempts to keep working despite the lack of knowledge that this obstacle exists (let alone how to deal with it), one's lack of progress may prompt one to take long breaks from the project, to focus one's attention on other endeavors, or even to lose interest in the project altogether. Pirsig suggests preventing these kinds of gumption traps by being slow and meticulous, taking notes that might help later, and troubleshooting in advance (e.g., by laying out the requirements for one's project in logical and/or conceptual order and looking for procedural problems ranging from unaccounted-for prerequisites to gaps in one's instructions or plans).
挫折的性质可能大不相同。例如，轻微的挫折可能是一次轻伤。更严重的挫折包括不知道某项程序行动或条件是项目成功的必要条件：如果一个人尽管不知道这个障碍的存在（更不知道如何应对它），但仍试图继续工作，那么缺乏进展可能会促使他从项目中长期脱离，将注意力集中到其他工作上，甚至完全失去对项目的兴趣。皮尔希格建议，要防止这类 "魄力陷阱"，就必须做到缓慢而细致，做一些日后可能会有所帮助的笔记，并提前排除故障（例如，按照逻辑和/或概念顺序列出项目要求，并查找程序问题，包括未考虑的先决条件、指示或计划中的漏洞等）。

Hang-ups stem from internal factors that can get in the way of starting or completing a project. Examples of such hang-ups include anxiety, boredom, impatience, and the failure (often borne of excessive egotism) to realize that a) one might not have all the information necessary to succeed and/or b) certain aspects of the problem might be more or less important than one believes. Dealing with hang-ups can be as simple as reducing hyperfocus on a specific aspect of a problem by taking a short break from working on the problem or that specific aspect of it.
障碍源于阻碍项目开始或完成的内部因素。这些障碍的例子包括焦虑、无聊、不耐烦，以及没有意识到a）自己可能并不掌握成功所需的所有信息和/或b）问题的某些方面可能比自己认为的更重要或不那么重要（通常是由于过度自负造成的）。要解决疑虑，可以很简单，只需稍事休息，不再处理问题或问题的某个特定方面，从而减少对问题某个特定方面的过度关注。

Pirsig notes several aspects of hang-ups.
皮尔希格指出了挂念的几个方面。

• Affective (i.e. receptive or dynamic) understanding or "value traps": these can be described generally as an inability or reluctance to re-evaluate notions due to a commitment to previous values. On the whole these types of issues can be addressed by (1) rediscovering facts as they arise; (2) recognizing that the facts are available and apparent; (3) deliberately slowing down to allow unstructured processing of information; and (4) reassessing the weight attached to the current knowledge.
  情感（即接受或动态）理解或"价值陷阱"：这可以笼统地描述为由于对以前的价值观的承诺而无法或不愿重新评估概念。总体而言，这类问题可以通过以下方式解决：(1) 重新发现出现的事实；(2) 认识到事实是可用的、显而易见的；(3) 故意放慢速度，允许对信息进行非结构化处理；(4) 重新评估对现有知识的重视程度。

• Egotism may encourage one to believe misleading information or disbelieve a potentially inconvenient fact. Appropriate recourses include humility, modesty, attentiveness and skepticism.
  利己主义可能会鼓励人们相信误导性信息或不相信潜在的不方便的事实。适当的办法包括谦虚、谦逊、细心和怀疑。
• Anxiety may preclude the confidence necessary to begin a project or the self-assurance needed to patiently work through a project systematically. Appropriate recourses include research, study and preparation prior to beginning the project; detailing the anticipated steps required to accomplish the task; and understanding the personhood and fallibility of professionals.
  焦虑可能会使人丧失开始一个项目所需的信心，或丧失耐心、系统地完成一个项目所需的自信心。适当的方法包括：在开始项目之前进行调查、学习和准备；详细说明完成任务所需的预期步骤；了解专业人员的人格和易错之处。
• Boredom may cause sloppy work and inattention to detail. Appropriate recourses include taking a break to allow interest in the project to rebuild or ritualizing common practices. Pirsig notes that at the first sign of boredom, it is important to stop work immediately.
  厌倦可能会导致工作马虎和不注意细节。适当的解决方法包括休息一下，让人们重新对项目产生兴趣，或者将常见的做法仪式化。Pirsig 指出，一旦出现厌倦的迹象，就必须立即停止工作。
• Impatience, like boredom, may cause sloppy work and inattention to detail. Appropriate recourses include allowing indefinite time for the project and value flexibility to rediscover aspects of the project.
  不耐烦和无聊一样，可能会导致工作马虎和不注意细节。适当的补救措施包括为项目留出无限期的时间，并重视重新发现项目各个方面的灵活性。

• Cognitive understanding or "truth traps": these can be described as misunderstanding the feedback of a given action.
  认知理解或"真相陷阱"：这些可以被描述为对特定行为反馈的误解。

• Reliance on yes-no duality may cause misinterpretation of results. Pirsig notes the concept of mu and suggests the answer to a particular question may indicate that the question does not match the situation. An appropriate recourse may be to reconsider the context of the inquiry.
  依赖 "是 "与 "否 "的二元性可能会造成对结果的误读。皮尔希格指出了 "缪 "的概念，并建议对某个问题的回答可能表明该问题与实际情况不符。适当的办法可能是重新考虑调查的背景。

• Psychomotor behavior or "muscle traps": these concern the interaction of the environment, machinist and machine.
  心理运动行为或"肌肉陷阱"：这涉及环境、机械师和机器之间的相互作用。

• Inadequate tools may result in a feeling of frustration. Appropriate recourses include proper equipment acquisition.
  工具不足可能导致挫败感。适当的手段包括购置适当的设备。
• Environmental factors may result in frustration including inadequate lighting, temperature extremes and physically uncomfortable positions.
  环境因素可能导致挫折感，包括照明不足、温度过高和身体不舒服的姿势。
• Muscular insensitivity or lack of proprioception may cause a disproportionate amount of force to be applied to a material that results in frustration. Misunderstanding of different tolerances of various materials may result in broken parts or inadequate tension.
  肌肉不敏感或缺乏 roprioception 可能会对材料施加不成比例的力，从而导致挫败感。对各种材料不同公差的误解可能会导致零件破损或张力不足。

At the time of its publication, Christopher Lehmann-Haupt, in his book review for The New York Times, wrote,
Christopher Lehmann-Haupt 在《纽约时报》 的书评中写道、

I now regret that I lack the expertise in philosophy to put Mr. Pirsig's ideas to a proper test, for this book may very well be a profoundly important one—a great one even—full of insights into our most perplexing contemporary dilemmas. I just don't know. But whatever its true philosophical worth, it is intellectual entertainment of the highest order.^[9]
我现在感到遗憾的是，我缺乏哲学方面的专业知识，无法对皮尔希格先生的观点进行适当的检验，因为这本书很可能是一本非常重要的书，甚至是一本伟大的书，充满了对我们当代最令人困惑的困境的洞察力。我只是不知道。但无论其真正的哲学价值如何，它都是最高级别的智力娱乐。

Since then, Zen and the Art of Motorcycle Maintenance has become the best-selling philosophy book of all time.^[10]
此后，《禅与摩托车维修的艺术》成为有史以来最畅销的哲学书籍。

Pirsig's 1966 Honda CB77 Super Hawk, on which the 1968 ride with his son Chris which inspired the book was taken, was acquired by the Smithsonian's National Museum of American History, along with the book's original manuscript, a signed first edition, and tools and clothing from the ride. In April 2024 the motorcycle went on public display for the first time, in the museum's largest exhibition "America on the Move", along with Pirsig's manual typewriter and an Apple II computer to which he made upgrades. The exhibition celebrates the book's continued popularity, a half-century after its release, and how its tale of 'Taking to the road' is "a recurring theme in the nation’s mythology and a demonstration of rugged American individualism."^[11]
皮尔希格 1966 年的本田 CB77 超级鹰，1968 年他和儿子克里斯骑着这辆摩托车骑行，激发了这本书的灵感，这辆摩托车被史密森尼博物馆美国国家历史博物馆收购，同时收购的还有这本书的原稿、签名初版本以及骑行时使用的工具和衣物。2024 年 4 月，这辆摩托车与皮尔希格的手动打字机和他升级过的Apple II电脑一起，在博物馆最大的展览 "前进中的美国 "中首次公开展出。该展览是为了庆祝这本书在发行半个世纪后仍然广受欢迎，以及书中关于 "上路 "的故事是如何 "成为美国神话中反复出现的主题，并展示了粗犷的美国个人主义 "11。

It is referenced in the 2019 video game Days Gone.
2019 年的电子游戏《消失的日子》中提到了它。

In May 2024, the book was the subject of BBC Radio 4's series Archive on 4, to mark the fiftieth anniversary of its publication.^[12]
2024 年 5 月，该书成为 英国广播公司第四电台系列Archive on 4的主题，以纪念该书出版 50 周年。

• Audio: 1992 NPR Interview with Pirsig
  音频1992 年美国国家公共广播电台对皮尔希的采访
• Guardian interview from 2006: Short version and Long version
  Guardian 2006 年访谈：简版和长版