不能承受的生命之轻

5年前我居然读过这本书，居然一点印象都没有！！！

第三部 不解之词PART THREE Words Misunderstood*日内瓦 Geneva*连大学都掩映在绿树之中。Even the university is hidden among trees.*近几个月来他迷恋上这个女人，十分珍视这份爱情，因此煞费苦心，为她在自己的生活中创造出一片供她自由支配的空间，一处纯净的世外佳境。The love he bore this woman, with whom he had fallen in love several months before, was so precious to him that he tired to create an independent space for her in his life, a restricted zone of purity.*我只能作出这样的解释：对他而言，爱情并不是社会生活的延续，而正与之相反。对他来说，爱情是一种甘心屈从于对方的意愿和控制的热望。委身于对方就如同投降的士兵一样，必须首先缴械。The only explanation I can suggest is that for Franz, love was not an extension of public life but its antithesis. It meant a longing to put himself at the mercy of his partner. He who gives himself up like a prisoner of war must give up his weapons as well. And deprived in advance of defense against a possible blow, he cannot help wondering when the blow will fall. That is why I can say that for Franz, love mean the constant expectation of low.*他感觉胸口一下如释重负。“我更喜欢日内瓦”这几个字并不意味着她不愿与他做爱，恰恰相反，在异国城市匆匆逗留，两人独处的时光实在有限，她有些受不了。Immediately he felt relieved and slightly ridiculous, quite the contrary, it meant she was tired of limiting their lovemaking to foreign cities.*时值春末，天气热了，所有的窗子都拉上了条纹帘子。弗兰茨走到一处公园，远处的上空，浮现出东正教教堂的一片圆顶，宛若几只金球，在坠落之前被一股无形的力量托住，悬在空中。It was late spring and hot. All the windows were shake with striped awnings. Franz walked to the park. At its far end, the golden cupolas of the Orthodox church rose up like two gilded cannonballs kept from collapse and suspended in the air by some imminent invisible power.*圆礼帽：the bowler hat*她看见自己，双腿裸露，一条薄薄的三角裤下边透现出私部。内衣突显出她女性的诱人曲线，而那顶男士毡帽否定了她，凌辱了她，使她变得滑稽可笑。托马斯在她身旁，衣冠楚楚，由此可知，他们所看到的，本质上不是戏弄（不然，他自己也该只穿内衣，头戴圆顶礼帽），而是侮辱。然而，她并没有反抗这种侮辱，反而以撩拨挑逗的骄傲姿态对它加以炫耀，仿佛她心甘情愿让人当众施暴一般，最终，她再也忍耐不住，将托马斯扑倒。圆礼帽滚落到桌子底下；两人的身体在镜子旁的地毯上纠缠起来。*She saw her bare legs and thin panties with her pubic triangle showing through. The lingerie enhanced the charm of her femimity, while the hard masculine hat denied it, violated and ridiculed it. The fact essence of what they both saw was far from good clean fun lift it had been fun he was after he, too, would have had to strip and don a bowler hat, it was humiliation. She pulled Tomas down to the floor. The bowler hat rolled under the table and they began thrashing about in the rug at the foot of the mirror.*其三，这是她与托马斯性爱游戏中的小道具。Third, it was a prop for her love games with Tomas.*其五，在异国，这顶圆礼帽成了感情寄托。Fifth, now that she was abroad, the hat was a sentimental object.*他们像往常一样做爱：再也没有了淫荡嬉闹的位置，因为他们的相逢，不是为了像从前那样在性爱游戏的延续中玩出什么新的鬼花招，而是对往昔时光的回顾，对他们共同经历的过去的记忆所作的赞颂，对一个淹没于久远处的并不伤感的故事的感伤回望。They made love as they never had before.This was no occasion for obscene games. For this meeting was not a continuation of their erotic rendezvous, each of which had been an opportunity to think up some new little vice; it was a recapitulation of time, a hymn to their common past, a sentimental summary of an unsentimental story that was disappearing in the distance.*假若人还年轻，他们的生命乐章不过刚刚开始，那他们可以一同创作旋律，交换动机（像托马斯和萨比娜便交换产生了圆顶礼帽这一动机），但是，当他们在比较成熟的年纪相遇，各自的生命乐章已经差不多完成，那么，在每个人的乐曲中，每个词，每件物所指的意思便各不相同。While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and exchange motifs ( the way Tomas and Sabina exchanged the motif of the bowler hat), but if the meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them.不解之词简编（第一部分）A Short Dictionary of Misunderstood Words女人WOMAN忠诚与背叛FIDELITY AND BETRAYAL*他爱母亲，从童年一直到将她送入墓地的那一刻，并且仍在回忆里爱着她。因此他坚持这样一个信念：忠诚是第一美德，它使我们的生命完整统一。若没有忠诚，人生就会分散成千万个转瞬即逝的印迹。That is what made him feel that fidelity deserved pride of place among the virtues: fidelity gave a unity to lives that would otherwise splinter into thousands of split-second impressions.*背叛。打从孩提时代起，爸爸和小学老师就反复向我们灌输，说这是世上可以想得到的最可恨的事。可到底什么是背叛？背叛，就是脱离自己的位置。背叛，就是摆脱原位，投向未知。萨比娜觉得再没有比投身未知更美妙的了。Betrayal. From tender youth we are told by father and teacher that betrayal is the most heinous offense imaginable. But what is betrayal? Betrayal means breaking ranks and going off into the unknown. Sabrina knew of nothing more magnificent than going off into the unknown.*第一次的背叛是不可挽回的。它引起更多的背叛，如同连锁反应，一次次地使我们离最初的背叛越来越远。The first betrayal is irreparable. It calls forth a chain reaction of further betrayals, each of which takes us farther and farther away from the point of our original betrayal.音乐MUSIC*对他来说，音乐是救星：它将他从孤独、幽闭和图书管理的灰尘之中解救出来，它在他的身躯上打开了多扇门，使灵魂得以释放，与他人相亲相爱。He considered music a liberating force: it liberated him from loneliness, introversion, the dust of the library; it opened the door of his body and allowed his soul to step out into the world to make friends.*噪声有一个好处，让人听不清词语。Noise has one advantage, It downs out words.*他渴望与萨比娜永久地拥抱在一起，不要说话，一句话也不要说，就让快感同音乐的狂乱喧嚣融合在一起。He yearned for one long embrace with Sabina, yearned neverto say another sentence, another word, to let his orgasm fuse with the orgiastic thunder of music.光明与黑暗LIGHT AND DARKNESS*他被光明吸引，同样也被黑暗所吸引。如今，关灯做爱，在世人看来委实可笑。对此他也明白，所以让床上方亮着一盏小灯。但在进入萨比娜身体的那一瞬，他还是闭上了双眼。吞噬着他的极度快感企求的是黑暗。那黑暗是彻底的，绝对的，没有形象也没有幻影，无穷无尽，无边无际。那黑暗是我们每个人内心所在的无限。（是的，凡寻求无限者，只需闭上双眼！）Darkness attracted him as much as light. He knew that these days turning out the light before making love was considered laughable, and so he always left a small lamp burning over the bed.At the moment he penetrated Sabina, however, he closed his eyes. The pleasure suffusing his body called for darkness. That darkness was pure, perfect, thoughtless, visionless; that darkness was without end, with borders; that darkness was the infinite we each carry within us. (Yes, if you’re looking for infinity, just close your eyes). And at the moment he felt pleasure suffusing his body, Franz himself disintegrated and dissolved into the infinity of his darkness, himself becoming infinite.不解之词简编（续）A Short Dictionary of Misunderstood Words (Continued)游行 PARADES纽约之美THE BEAUTY OF NEW YORK*弗兰茨说：“在欧洲，美总是带有刻意的特点，总是先有唯美的构想或长久的计划，比如一座哥特式大教堂或一座文艺复兴式的城市，得按计划，花几个漫长的世纪才能建成。纽约的美则完全来自于另一种源头。这是一种非常刻意的美。它无需经过人的预先谋划，就像钟乳石溶洞一样自然天成。有些形态，本身很丑，未经任何筹划，可碰巧处在一个看似不可思议的环境中，突然之间便散发出一种魔力般的诗意来。”Franz said, Beauty in the European sense has always had a premeditated quality to it. We’ve always had on aesthetic intention and a long range plan. That’s what enabled western man to spend decades building a Gothic cathedral or a Renaissance pizza. The beauty of New York rests on a completely different base. It’s unintentional. It rose independent of human design, like a stalagmitic cavern.Forms which are in themselves quite ugly turn up fortuitously. Without design, in such incredible surroundings that they sparkle with a sudden wondrous poetry.萨比娜的祖国SABINA’S COUNTRY不解之词简编（终）A Short Dictionary of Misunderstood Words (Conclued)阿姆斯特丹古教堂THE OLD CHURCH IN AMSTERDAM＊在妓女的世界与上帝的世界之间，弥漫着一股刺鼻的尿骚味儿，如同分隔两个王国的一道河流。Between the whore’s world and God’s world, like a river diving two empires, stretches an intense smell of urine.力量STRENGTH活在真实里LIVING IN TRUTH＊萨比娜认为，失去私密的人失去了一切，而心甘情愿放弃私密的人则是怪物。A man who loses his privacy loses everything, Sabina thought. And a man who gives it up of his own free will is a monster.＊至于弗兰茨，他肯定地认为，一切谎言的根源来自于私人生活领域与社会生活的分界：私底下是一个人，公众场合又是另一个人。Franz, on the other hand, was certain that the division of life into private and public spheres is the source of all lies: a person is one thing in private and something quite different in public.＊爱情一旦公之于众会变得沉重，成为负担。一想到这儿，她就已经直不起腰来。Once her love had been publicized, it would gain weight, become a burden. Sabina cringed at the very thought of it.＊他们不必躲到世界各地的旅馆里去，他可以在自己的房间，在自己床上与她做爱，面对他的书籍和床头柜上摆着的那个烟灰缸。He did not need to squire her through the world from hotel to hotel; he could make love to her in his own flat, in his own bed, with his own books and ashtray on the bedside table!她长得既不难看也不漂亮，可毕竟比他年纪小那么多！而且她仰慕弗兰茨，一如当弗兰茨仰慕萨比娜那样。这并不让人讨厌。也许，他会觉得这个戴眼镜的女学生当作萨比娜的替身略微逊色，但他的仁爱之心要求他欢欢喜喜地接纳她，并向她倾注一种他从来未能如愿伏虎过的父爱，因为女儿玛丽-安娜举手投足从不像个女儿，反倒像另一个玛丽-克洛德。She was a modest girl and not particularly pretty, but she admired Franz in the way Franz had only recently admired Sabina. He did not find it unpleasant. And if he did perhaps feel that trading Sabina for a student with glasses was something for a comedown, his innate goodness saw to it that he cared for her and lavished on her the paternal love that had never had a true outlet before, given that Marie-Anne had always behaved less like his daughter than like a copy of Marie-Claude.＊人生的悲剧总可以用沉重来比喻。人常说重担落在我们的肩上。我们背负着这个重担，承受得起或是承受不起。我们与之反抗，不是输就是赢。可说到底，萨比娜身上发生过什么事？什么也没发生。她离开了一个男人，因为她想离开他。在那之后，他有没有再追她？有没有试图报复？没有。她的悲剧不是因为重，而是在于轻。压倒她的不是重，而是不能承受的生命之轻。When we want to give expression to a dramatic situation in our lives, we tend to use metaphors of heaviness. We say that something has become a great burden to us. We either bear the burden or fail and go down with it, we struggle with it, win or lose. And Sabina—what had come over her? Nothing. She had left a man because she felt like leaving him. Had he persecuted her? Had he tried to take revenge on her? No. Her drama was a drama not of heaviness but of lightness. What fell to her lot was not the burden but the unbearable lightness of being. ＊ 萨比娜感觉自己周围一片虚空。这虚空是否就是一切背叛的终极？Sabina felt emptiness all around her. What if that emptiness was the goal of all her betrayals?＊假如他们相处的时间更长一些，也许他们就会渐渐地开始理解彼此说的话。他们的言语会像非常腼腆的情人一样，羞涩地慢慢互相靠近，而他们的乐章会开始于对方的融为一体。可为时已晚。Perhaps if they had stayed together longer, Sabina and Franz would have begun to understand the words they used. Gradually, timorously, their vocabularies would have come together, like bashful lovers, and the music of one would have begun to intersect with the music of the other. But it was too late now.＊因为生怕暴露，他从未向萨比娜要过油画或是素描，甚至连张证件照也没有。就这样，她从他的生活里彻底消失，不留一丝痕迹。他与她在一起度过了一生中最美好的岁月，却没有遗存任何触摸得到的证据。因此，他更乐意对她保持忠诚。Because Franz was so afraid of being found out, he had never asked for any of Sabina's paintings or drawings or even a snapshot of her. As a result, she disappeared from his life without a trace. There was not a scrap of tangible evidence to show that he had spent the most wonderful year of his life with her.Which only increased his desire to remain faithful to her.

第七部 卡列宁的微笑PART SEVEN KARENIN’S SMILE＊窗户朝向一个山坡，坡上长满树干弯曲的苹果树。山坡的上方，果树林环抱着天际，只见山丘蜿蜒伸向远方。傍晚，灰白的天空先出一轮明月，特蕾莎总是在这个时候出门。天色还灰蒙蒙的，月亮挂在上面，就像是死人房间的一盏灯，早上忘了熄灭整天都在亮着。The window looked out on a slope overgrown with the crooked bodies of apple trees. The woods cut off the view above the slope, and a crooked line of hills stretched into the distance. When, towards evening, a while moon made its way into the pale sky, Tereza would go and stand on the threshold. The sphere hanging in the not yet darkened sky seemed like a lamp they had forgotten to turn off in the morning, a lamp that had burned day in the room of the dead.第六部 伟大的进军PART SIX The Grand March＊没有人比政治家更深谙这一点。只要附近有一架照相机，一见到孩子，他们就会跑过去把他抱在怀中，亲他的脸蛋儿。媚俗，就是所有政治家，所有政治运动的美学理想。And no one knows this better than politicians. Whenever a camera is in the offing, they immediately run to the nearest child, lift it in the air, kiss it on the cheek. Kitsch is the aesthetic ideal of all politicians and all political parties and movements.第五部 轻与重PART FIVE Lightness and Weight＊凡认为中欧共产主义制度是专门制造罪人的，那他们至少没有看清一个根本性的事实：罪恶的制度并非由罪人建立，而恰恰由那些确信已经找到了通往天堂的唯一道路的积极分子所建立。他们大无畏地捍卫这条道路，并因此而夺去了许多人的生命。但若干时间以后，事情变得无比清晰明了，原来天堂并不存在，而那些积极分子也就成了杀人凶手。Anyone who thinks that the Communist regimes of Central Europe are exclusively the work of criminals is overlooking a basic truth: the criminal regimes were made not by criminals but by enthusiasts convinced they had discovered the only road to paradise. They defended that road so valiantly that they were forced to execute many people. Later it became clear that there was no paradise, that the enthusiasts were therefore murderers.＊一个人一旦选择投身政界，必然十分乐意把公众视作自己的判官，并一厢情愿而又天真地认为可以以此获得人心。而民众要是抱有敌对情绪，那反而会刺激他们更加投入，要求自己做得更好。A man who chooses to be a politician, say, voluntarily makes the public his judge, with the naive assurance that he will gain its favor. And if the crowd does express its disapproval, it merely goads him on to bigger and better things, much in the way Tomas was spurred on by the difficulty of a diagnosis.＊大家都会他这么感兴趣，这叫他十分不舒服，那感觉就好像面对人群的挤压，又像是在噩梦中遇到一帮家伙要剥我们的衣衫。The interest they showed in him was as unpleasant as an elbowing crowd or the pawings of the people who tear our clothes off in nightmares.＊面对一位友善、礼帽又对自己十分恭敬的人，很难时刻提醒自己对方的话没有一句是真的，没有一句是诚的。要做到不去相信（而且是持续地、执拗地、毫不犹豫地），不仅要作巨大的努力，还得经过特别训练，比如经常接受警察审讯什么的。When you sit face to face with someone who is pleasant, respectful, and polite, you have a hard time reminding yourself that nothing he says is true, that nothing is sincere. Maintaining nonbelief (constantly, systematically, without the slightest vacillation)requires a tremendous effort and the proper training—in other words, frequent police interrogations.＊要是能有什么方法把人分成不同类别的话，那么最佳的分类尺度莫过于个人内心深处的渴望，将人们引入不同的职业并终身从事。每个法国人都不同。但全世界的演员都是类似的—无论在巴黎、布拉格或是自己乡下最不起眼的小剧院。演员就是从小便资源在不相识的公众面前展示自己的人。这根本性的自愿与天赋无涉，是比天赋更深刻的东西，少了它，就不可能成为演员。同样，意思就是那些无论发生什么，都愿意终身照料人类身体的人。正是这根本的自愿（而不是天赋或灵巧性）使得托马斯进入解剖室开始了第一年的医科学习，并于六年后成为一名医生。Insofar as it is possible to divide people into categories, the surest criterion is the deep- seated desires that orient them to one or another lifelong activity. Every Frenchman is different. But all actors the world over are similar—in Paris, Prague, or the back of beyond. An actor is someone who in early childhood consents to exhibit himself for the rest of his life to an anonymous public. Without that basic consent, which has nothing to do with talent, which goes deeper than talent, no one can become an actor. Similarly, a doctor is someone who consents to spend his life involved with human bodies and all that they entail. That basic consent (and not talent or skill) enables him to enter the dissecting room during the first year of medical school and persevere for the requisite number of years.＊追逐众多女性的男人很容易被归回两类。一类人在所有女人身上寻找他们自己的梦，他们对于女性的主管一年。另一类人则被余年所驱使，想占有客观女性世界的无尽的多样性。Men who pursue a multitude of women fit neatly into two categories. Some seek their own subjective and unchanging dream of a woman in all women. Others are prompted by a desire to possess the endless variety of the objective female world.＊前者的迷恋是浪漫型的迷恋：他们在女人身上寻找的是他们自己，是他们的理想。他们总之不断地失望，因为，正如我们所知，理想从来都是不可能找到的。失望把他们从一个女人推向另一个女人，赋予他们的善变一种感伤的借口，因此，许多多愁善感的女人为他们顽强的纠缠所感动。The obsession of the former is lyrical: what they seek in women is themselves, their ideal, and since an ideal is by definition something that can never be found, they are disappointed again and again. The disappointment that propels them from woman to woman gives their inconstancy a kind of romantic excuse, so that many sentimental women are touched by their unbridled philandering.＊后者的迷恋是放荡型的迷恋，女人在其中看不到丝毫感人之处：由于男人没有在女性身上寄托一个主观的思想，他们对于所有女人都感兴趣，没有谁会另他们失望。的确，就是这从不失望本身带有某种可耻的成分。在世人眼中，放浪之徒的迷恋是不可宽恕的（因为从不失望而补赎）。The obsession of the latter is epic, and women see nothing the least bit touching in it: the man projects no subjective ideal on women, and since everything interests him, nothing can disappoint him. This inability to be disappointed has something scandalous about it. The obsession of the epic womanizer strikes people as lacking in redemption (redemption by disappointment).＊由于浪漫型的情场老手总是追求同一类型女子，人们甚至觉察不到他们又换了情人；朋友们看不出这些女子之间的区别，总是用一个名字来称呼所有情人，从而不断地引起误会。Because the lyrical womanizer always runs after the same type of woman, we even fail to notice when he exchanges one mistress for another. His friends perpetually cause misunderstandings by mixing up his lovers and calling them by the same name.＊看来，大脑中有一个专门的区域，我们可称之为诗化记忆，它记录的，是让我们陶醉，令我们感动，赋予我们的生活以美丽的一切。The brain appears to possess a special area which we might call poetic memory and which records everything that charms or touches us, that makes our lives beautiful.＊特蕾莎像暴君般独霸他的诗化记忆，将其他女人留下的痕迹一扫而光。Tereza occupied his poetic memory like a despot and exterminated all trace of other women.＊爱情故事只发生在做爱之后：她发烧了，他不能像对其他女人那样送她回家。他跪在床头边，冒出一个念头：她是被别人放在篮子里，顺水漂流送到他身边的。我已经说过，隐喻是危险的。爱由隐喻而起。换言之：爱开始于一个女人以某句话印在我们诗化记忆中的那一刻。Their love story did not begin until afterward: she fell ill and he was unable to send her home as he had the others. Kneeling by her as she lay sleeping in his bed, he realized that someone had sent her downstream in a bulrush basket. I have said before that metaphors are dangerous. Love begins with a metaphor. Which is to say, love begins at the point when a woman enters her first word into our poetic memory.＊人只能活一回，我们无法验证决定的对错，因为，在任何情况下，我们只能做一个决定。上天不会富裕我们第二次、第三次、第四次生命以供比较不同的决定。Human life occurs only once, and the reason we cannot determine which of our decisions are good and which bad is that in a given situation we can make only one decision; we are not granted a second, third, or fourth life in which to compare various decisions.＊他们就这样开着车，一路上，谁也没有开口。Neither of them said a word the whole way. 一到家，他们又在沉默中吃了晚饭。When they got home, they had dinner in silence. 沉默如不幸一般横在他们中间，一分钟一分钟地在家中。为了摆脱尴尬，他们很快就在床上睡觉了。夜里，他吧特蕾莎从啜泣声中叫醒。Silence lay between them like an agony. It grew heavier by the minute. To escape it they went straight to bed. He woke her in the middle of the night. She was crying.＊绝望镬住了整个国家，控制并压垮了一个个肉体，一直渗透到了灵魂。一些人拼命地在逃避当权者的宠幸，当权者想以荣誉困住他们，强迫他们在公开场合露面，不离新当权者的左右。the hopelessness pervading the entire country penetrated the soul to the body, shattering the latter. Some ran desperately from the favor of a regime that wanted to endow them with the honor of displaying them side by side with its new leaders.

9“我”的独特性恰恰隐藏在人类无法想象的那一部分。我们能够想象的，仅仅是众人身上一致、相同之处。个别的“我”，区别于普遍，因此预先猜不出，估不了，需要在他者身上揭示它，发掘它，征服它。如果能用数据来表示，他们之间有百万分之一的不同，百万分之九十九万九千九百九十九的相同。发现那百万分之一，并征服它，托马斯执迷于这一欲念。在他看来，迷恋女性的意义即在于此。他迷恋的不是女人，而是每个女人身上无法想象的部分，换句话说，就是使一个女人在有别于他者的百万分之一的不同之处。只有在性上，那百万分之一的不同才显珍贵，因为不是公开就能了解的，而需要去征服。被征服对象的价值与征服她们的时间成正比。甚至在今天，尽管征服的时间大大缩短，性仍旧像一个保险箱，女性之“我”的所有奥秘都藏在里头。所以，促使托马斯追逐女性的不是感官享乐（感官享受像是额外所得的一笔奖赏），而是征服世界的这一欲念（用解剖刀划开世界这横陈的躯体）。12大脑中有一个专门的区域，我们可称之为诗化记忆，它记录的，是让我们陶醉，令我们感动，赋予我们的生活以美丽的一切。爱开始于一个女人以某句话印在我们诗化记忆中的那一刻。15人只能活一回，我们无法验证决定的对错，因为，在任何情况下，我们只能做一个决定。上天不会赋予我们第二次、第三次、第四次生命以供比较不同的决定。历史如同个人生命。捷克人仅有一部历史，它和托马斯的生命一样，将终结于某一天，无法上演第二回。一六一八年，波西米亚贵族鼓起勇气，决定捍卫自己的宗教自由（？）。处于对坐在维也纳御座上的皇帝的激愤，他们把皇帝的两个代表阁下从赫拉得兹城堡的窗户扔了出去。三十年战争由此而开始，它几乎令整个捷克民族毁灭。较之勇气，捷克人是否需要更多的谨慎？答案看似简单，却并不简单。三百二十年过去了，到一九三八年，即慕尼黑会议之后（？），整个世界决定将捷克人的国家牺牲给希特勒。他们是否该奋起反抗，和数量是他们八倍的敌人孤身奋战？与一六一八年的所作所为相反，较之勇气，他们表现出更多的谨慎。他们的投降标志着第二次世界大战的开始，结果是彻底丧失了作为一个民族的自由，几十年甚至几百年。较之谨慎，他们是否更需要勇气？到底该怎么做？加入捷克历史可以重演，每一回都尝试另一种可能性，比较不同的结果，这肯定是有益的。缺了这样的经验，所有的推测都只是假设的游戏。Einmal ist keinmal.一次不算数。一次就是从来没有。波西米亚的历史不会重演，欧洲的历史也不会重演。波西米亚和欧洲的历史是两张草图，出自命中注定无法拥有生死经验的人类之笔。历史和个人生命一样轻，不能承受地轻，轻若鸿毛，轻若飞扬的尘埃，轻若明日即将消失的东西。第六部28 在墓碑上，他叫人在父亲的名字上方，刻下了这样一句碑文：他要尘世间的上帝之国。