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The literature purporting to describe the state of mankind after death, whether as Hades, Intermediate State, Purgatory, Hell, or Heaven, has mostly erred in the direction of too great detail. On the one hand, we have had those who with Swedenborg declare "that after death a man is so little changed that he even does not know but he is living in the present world; that the resemblances between the two worlds are so great, that in the spiritual world there are cities, with palaces and houses, and also writings and books, employments and merchandises." On the other hand, we have the picture drawn by the writer of "Letters from Hell," of imaginary houses and scenes, of seeming actions, of semblances of men compelled to appear to be doing after death the very things they did in life, despair all the while gnawing at their hearts. Archdeacon Farrar, in Chapter IV. of his "Mercy and Judgment," has given a varied and horrifying series of extracts from ancient and modern divines describing their detailed conceptions about the future of the wicked. As to the future of the beatified, no one needs reminding of the multitude of word-pictures, often mutually contradictory, in which their existence has been depicted. Thus we see that the human mind cannot choose but speculate in some fashion on the future state, while no man has the right to claim that he had said the last word on the subject. It may therefore be confidently anticipated that the remarkable narrative here presented, of which considerable portions have already appeared, serially, in the English edition of "Lippincott's Monthly Magazine," will find a very large number of interested readers, who will be glad to peruse it in the connected and completed form, in which it is best calculated to express the author's full meaning and experiences. It will not by its length or excess of detail overburden the reader, nor does it claim to be more than a narrative of experience which may be left to convey its own lessons. The writer, who prefers to remain anonymous, is one whose essays and stories have been received with high appreciation on both sides of the Atlantic. His narrative is put forth as his actual experience during a lengthened absence from the body, during which he was believed to be dead. Of course no other living person can confirm or deny his experiences, though many may deem them incredible, fictitious, or the imaginings or visions of a trancelike state. I do not pretend to decide to what category they belong, nor do I feel called upon to condemn or approve any of the assertions or opinions thus put forward. If any one holds theological convictions which appear to conflict with them, I would remark that the publishers, in letting the "Dead Man" speak for himself, do not hold themselves responsible for his opinions, merely having assured themselves of the serious spirit in which they are narrated.
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This English and Chinese bilingual edition of a "A Madman's Diary" was first published in 1918 by Lu Xun, one of the greatest writers in 20th-century Chinese literature. This short story is one of the first and most influential modern works written in vernacular Chinese and would become a cornerstone of the New Culture Movement. The story was often referred to as "China's first modern short story". This book is selected as one of The 100 Best Books of All Time. The diary form was inspired by Nikolai Gogol's short story "Diary of a Madman, " as was the idea of the madman who sees reality more clearly than those around him. The "madman" sees "cannibalism" both in his family and the village around him, and he then finds cannibalism in the Confucian classics which had long been credited with a humanistic concern for the mutual obligations of society, and thus for the superiority of Confucian civilization. The story was read as an ironic attack on traditional Chinese culture and a call for a New Culture.