1. 当我画一个男人，我就要画出他滔滔的一生。

1. When I draw a man, I have to depict his entire life, flowing and continuous.

2. 一人绝不可以让自己心灵里的火熄灭掉，而要让它始终不断的燃烧。

2. One must never let the flame within their soul be extinguished, but should keep it burning ceaselessly.

3. 我不知道世间有什么是确定不变的，我只知道，只要一看到星星，我就会开始做梦。

3. I don't know what in this world is unchangeable and certain, but I know that whenever I see the stars, I start dreaming.

4. Talent is always began to hinder the artist. I will never allow the resistance had guided me to the wrong way.

4. Talent has always been a hindrance to the artist. I will never let resistance guide me down the wrong path.

5. Normal state is like a paved road: walk comfortable， but don't grow flowers.

5. The normal state is like a paved road: walk comfortably, but don't grow flowers.

6. 正常状态好比一条铺好的路：走起来舒服，但长不出花。

6. The normal state is like a paved road: it's comfortable to walk on, but no flowers can grow.

7. 没有什么不朽的，包括艺术本身。唯一不朽的，是艺术所传递出来的对人和世界的理解。

7. Nothing is eternal, including art itself. The only thing that is eternal is the understanding of humans and the world that art conveys.

8. I want to draw a touch the hearts of the sketch， I want to through the characters or expressed by the scenery， is not sentimental melancholy， but sincere sorrow.

8. I want to touch the hearts with the sketch, I want to convey, through the characters or expressed by the scenery, not sentimental melancholy, but sincere sorrow.

9. 在历史的角度来讲，梵高的确是非常超前的画家。

9. From a historical perspective, Van Gogh was indeed a very avant-garde painter.

10. I have a natural， art and poetry， I still have what not satisfied？

10. I have nature, art, and poetry; what more is there that is not satisfying to me?

11. 让我沿着我自己的道路奋斗吧，千万不要丧失勇气，不要松劲。

11. Let me strive along my own path, never lose courage, and never slacken.

12. 夜里仰望星星，会使我陷入如同看地图梦异乡那样的梦幻，不知何故，我总觉得，天空中的光点，好象法国地图上表示城镇的黑点一样，使人觉得难以接近，我想只要坐上火车，变可到达塔拉斯根或鲁安的话，我们在死后也应该可以到达星星上面。在这些五里雾中的推理里面，有一件不容怀疑的事——“我们在生前无法登天如同在死后不能再乘之道理。”所以我认为，使世上人类永眠的各种疾病是到达天堂的一种交通手段。我们老朽以后，悄然死去，这是我们徒步登天的机会。

12. Gazing at the stars at night leads me into a dreamlike state akin to looking at a map of a foreign land. For some reason, I always feel that the twinkling lights in the sky are like the black dots on a French map that represent cities, making them seem unapproachable. I think if we could just hop on a train and reach Tarrascon or Rouen, then why not reach the stars after death as well. Amidst these foggy speculations, there is one thing that is beyond doubt - "We cannot ascend to the heavens in life as we cannot ride them in death." Therefore, I believe that the various diseases that lead to eternal sleep in the world are a means of transportation to heaven. When we are old and die in silence, that is our chance to walk up to the heavens.

13. 我觉得死比生容易。死虽然痛苦，但生比死更痛苦。

13. I think death is easier than life. Although death is painful, life is even more painful than death.

14. When they are alive， they suffer from the struggle for survival of obstacles and difficulties of oppression.

14. When they are alive, they suffer from the struggle for survival of obstacles and the difficulties of oppression.

15. I take my enthusiasm， my apathy， my rage， my gentle， and there's no reason to believe in love， and go all out of breath.

15. I take my enthusiasm, my apathy, my rage, my gentleness, and there's no reason to believe in love; and I go out of breath.

16. 我在人群中，看到了他的火，然后快步走过去。

16. Amid the crowd, I saw his fire and hurried over to him.

17. 我的作品就是我的**和灵魂，为了它我甘愿冒失去生命和理智的危险。

17. My works are my body and soul; for them, I am willing to risk losing life and reason.

18. I think this is a great character through the tragedy. They tend to work again is admitted by the work before he died.

18. I think this is a great character despite the tragedy. They tend to be recognized for their work through the achievements they made before they died.

19. 每个人的心里都有一团火，路过的人只看到烟。

19. Everyone has a fire in their hearts, but only those who pass by see the smoke.

20. 实际上我们穿越大地，我们只是经历生活。

20. In fact, we are just crossing the earth; we are merely experiencing life.

21. 人们必须真正地爱他的同类，我要尽可能地使自己具有这样的心。

21. People must truly love their fellow humans, and I want to make myself as capable of such a heart as possible.

22. 是一念之差吗，还是蓄谋已久他把仇恨的锋芒指向自身，指向一只无辜的耳朵——也许在那一瞬间，他与世界达成了和解，却加倍地憎厌自己，憎厌镜中的那个丑陋且变形的男人。于是，他的手势就像一列失去控制的火车冲出轨道，伴随着一阵疼痛般的快感抑或快感般的疼痛，那只鲜血淋漓的耳朵，成为他自己的牺牲品。莫非在凡高心目中，耳朵已是今生的一团赘肉——它只能听见世界的喧嚣，却对内心的狂潮置若罔闻抑或，他太害怕日夜倾听自己的呻吟——那简直比外界的雷鸣闪电还要刺目，还要刻骨铭心否则，他的刀锋不会随便选择发泄的对象——哪怕是针对一只微不足道的耳朵，也是有目的的。在冰流的铁器与滚烫的肉体的最初接触中，凡高对自己以及整个世界充满了破坏欲，必须通过打碎点什么才能获得平衡。这就叫做可怕：

22. Is it a mere moment of impulse, or had he been plotting it for a long time? He turned the sharp edge of his hatred upon himself, upon an innocent ear – perhaps in that instant, he reached a truce with the world, but he doubled his loathing for himself, for the ugly and distorted man he saw in the mirror. Then, his gestures were like a train out of control careening off the tracks, accompanied by a pain-filled pleasure or pleasure-filled pain, as that gory ear became his own sacrifice. Perhaps in Van Gogh's mind, the ear had become a赘肉 of this life – it could only hear the din of the world, but ignored the inner tidal wave, or maybe he was too afraid to listen to his own moans night and day – they were far more blinding, far more etched into the soul than the roar of thunder or the flash of lightning. Otherwise, his blade would not have randomly chosen an outlet for its vent – even if it was directed at a trivial ear, there was a purpose behind it. In the initial contact between the ice-flowing iron tools and the searing flesh, Van Gogh was filled with a desire to destroy himself and the entire world, and had to shatter something to achieve balance. This is what is called可怕的.

23. 梵高全部杰出的、富有独创性的作品，都是在他生命最后的六年中完成的。他最初的作品，情调常是低沉的，可是后来，他大量的作品即一变低沉而为响亮和明朗，好象要用欢快的歌声来慰藉人世的苦难，以表达他强烈的理想和希望。一位英国评论家说：“他用全部精力追求了一件世界上最简单、最普通的东西，这就是太阳。”他的画面上不单充满了阳光下的鲜艳色彩，而且不止一次地下面去描绘令人逼视的太阳本身，并且多次描绘向日葵。为了纪念他去世的表兄莫夫，他画了一幅阳光下《盛开的桃花》，并题写诗句说：“只要活人还活着，死去的人总还是活着。”

23. All of Van Gogh's outstanding and innovative works were completed in the last six years of his life. His early works often had a melancholic tone, but later, a large number of his works shifted from melancholy to brightness and clarity, as if to use joyful songs to comfort the sufferings of humanity, and to express his strong ideals and hopes. A British critic said, "He pursued the simplest and most common thing in the world with all his energy, and that is the sun." His paintings are not only filled with vibrant colors under the sun, but also repeatedly depict the sun itself with an intense gaze, and he has also painted sunflowers multiple times. To commemorate his deceased cousin-in-arms, Mov, he painted a "Blossoming Peach Blossom" under the sun and wrote a poem: "As long as there are living people, the deceased will always be alive."

24. 只要活着的人还活着，死去的人就不会死去。

24. As long as there are people still alive, those who have died will not truly be dead.

25. 只要活人还活着，死去的人总还是活着。

25. As long as the living are alive, the dead are still alive.

26. There was a fire in the heart of every man， pass by people only see the smoke.

26. There was a fire in the heart of every man; only passersby see the smoke.

27. 世界把自己的癫狂最先传染给人类的画师——就像曾经给他的笔端注入魔力。我们惊讶地注视着凡高扭曲的面孔、恐怖的眼神和颤抖的手势：他仿佛在代替整个人类受刑，成为痛苦的化身。想到这里，也就能理解凡高作品中挣扎的线条与狂舞的色块：倾泄的颜料里调和着他的血，而画布，不过是他包扎伤口的绷带。这是一位生活在伤口里的大师，他习惯用伤口对世界发言。这是一个疼痛的收割者，他的镰刀最终收获了自己的耳朵。

27. The world first infected the painter with its madness, as it once infused his pen with magic. We marvel at Van Gogh's twisted face, terrifying eyes, and trembling gestures: as if he were suffering in place of all humanity, becoming the embodiment of pain. Upon reflecting on this, one can understand the struggling lines and dancing color blocks in Van Gogh's works: the pouring paint mixed with his blood, while the canvas is merely the bandage that wraps his wounds. This is a master who lives within his wounds, accustomed to speaking to the world through them. He is a harvester of pain, whose scythe eventually reaped his own ears.

28. There were some things in my body， what is that？

28. There were some things in my body; what is that?

29. 凡是诚实地过日子，并且遭遇到许多麻烦与失败而不气馁的人，要比那种一帆风顺，只知道安逸的人来得有价值，一个人永远不要相信天下会有毫无困难的事。

29. A person who lives an honest life and who encounters many troubles and failures without becoming discouraged is more valuable than one who has an easy journey through life and knows only comfort. One should never believe that there is anything in the world that can be achieved without difficulty.

30. 它是我的生命创造的力量。

30. It is the power that creates my life.

31. 没有比爱人更为真确的艺术。

31. There is no art more true than that of the beloved.

32. I think this is the tragedy of great man experience... They tend to work again is admitted by the work before he died.

32. I believe this is the tragedy of the great man's experience... They tend to have their work recognized again only after they have passed away.

33. I， in the crowd saw his fire， and then a brisk walk in the past.

33. I saw his fire in the crowd, and then briskly walked past.

34. I dream of painting， I painted with my dream.

34. I dream of painting; I painted with my dream.

35. 我刚刚用水彩画好的田园中的古塔，今天已经被人拆毁，这不是诸行无常的一端吗我常想表现农人们个个老朽以后，怎样地安息在他们千古的园地上，我常想向大家说明，人的死和葬礼，多么像秋天落叶那么简单的事——死者只要五尺之地，然而在这些土堆上只要一个十字架一插便了事。我还想说出，农人们的生与死是何等的永恒不变，那正如在墓地上生长的花草一样，春来萌芽，秋来凋谢，因循着天地不变的规律。现在我们的所见所闻不知是否为人生的全体，在我们死后，从彼岸往回看时，是否只能看到一个半球这不是永恒的谜题吗不管怎样，我总认为一个画家即使死后也能借着自己的作品向后来的新时代谈论自己的见解。画家的使命是否只限于此，还是有其他更高的意义我无法作答。我想画家的一生当中，死还不能算是最苦的事，但对于死，我实在一点都不懂。

35. The ancient pagoda in the countryside that I painted with watercolors has been demolished today; isn't this the very aspect of impermanence? I often think about how the old farmers would rest on their ancient lands after their demise. I often wish to explain to everyone that the death of a person and their funeral are as simple as the falling leaves of autumn – the deceased needs only five feet of land, and just by planting a cross, the matter is settled. I also want to express that the life and death of farmers are incredibly eternal and unchanging, just like the flowers and grasses growing on the graves – they sprout in spring and wither in autumn, adhering to the unchanging laws of the universe. Now, we do not know if what we see and hear is the whole of life. After we die, looking back from the other shore, will we only see half of it? Isn't this an eternal mystery? Regardless, I always believe that a painter, even after death, can discuss their views with the new era through their works. Whether the mission of a painter is limited to this, or if there is a higher significance, I cannot answer. I think that in the life of a painter, death cannot be considered the most bitter thing, but for death, I truly have no understanding at all.

36. Even if I constantly suffer setbacks， don't lose heart; Even if I exhaustion of body and mind， even if it is on the brink of collapse， also want to face up to life.

36. Even if I constantly suffer setbacks, don't lose heart; even if I am exhausted both physically and mentally, even if I am on the brink of collapse, I still want to face up to life.

37. Afraid to slowly he would be "swamped" in the years of dust.

37. Afraid that he would slowly be "swamped" by the years of dust.

38. 不少画家害怕空白画布，但空白画布也害怕敢帽风险的、真正热情的画家。

38. Many painters are afraid of a blank canvas, but the blank canvas is also afraid of the brave and truly passionate painters who are willing to take risks.

39. 在我的生活与绘画中，我可以不要上帝，但是像我这样的笨人，却不能没有比我伟大的某种东西。

39. In my life and in my painting, I can do without God, but for someone as clumsy as me, I cannot do without something that is greater than myself.

40. 我梦想着绘画，我画着我的梦想。

40. I dream of painting, and I paint my dreams.

41. 这些就是他的经典语录了 对于神的信念我们一生之中有个时期，会觉得自己的所作所为好象都是错误，而且对于所有的事物都不感兴趣。所谓万念俱灰，情思枯槁。我觉得这好像具有几分真理，你以为这分感情应该早日扬弃吗？我怀疑这也许是，叫我们深信在心中，而很快地等着好结果的一种“对于神的憧憬”心理。一个人很合群地夹杂在庸俗的人群中时，往往会觉得自己跟大家并无两样，但终于有一日，他会达到牢固的自我谛念的境地。他能很成功地培养自己的信念，那信念又会适当地支配他，使他能向更高更善的境地继续进步。我看耶稣也是这样。 对于人生的信念我们的人生是一种可怕的现象，然而我们又不停在被不知情的东西驱使着。一切的事物都不能改变他的存在式样。任我们将它解释为或明或暗，终究无法改变它的性质。这个谜题使我夜里在床上不眠不休地思考，在比斯山暴风雨中，或在黄昏忧郁的微光中，也曾做过深长的冥想。三十岁这把年纪，对活动中的人是属于一种安定初期，也是充满活力的青春时期。同时也可以说是过了人生的一段时间，开始感觉逝者不复回的愁意的时候。我觉得这种寂寞感，绝不是无谓的感伤。我不再期望明知在这一生中无法获得的各种幸福。我愈加深的理解：这一生不过是一种播种时期，收获是要在下一次人生作的。这种见解大概是使我对于世上的俗念漠不关心的原因。我曾经想过自己能否成为思想家，最近已经很明白这不是自己的天职。我常抱着一种谬见——觉得对什么事情都要以哲学式想法去考虑的人，并非普通实际的人，而是一种无用的梦想家，（然而这种谬见在社会上常受很深的尊敬）这个谬见常害我无法把握事情的要领，焦急得自敲脑袋。但是以后我才了解，思想和行动并非互相排斥的东西。我坦白说，假如我能够一边思想一边绘画的话，那当然是求之不得的事，但我办不到，何况我的人生的目的在于尽可能的多画这一点上。我希望自己走到人生的终点时，以最深的爱和静静的留恋，回味自己的人生，还带着“啊！我还想画那样的画！”的一番离情别绪，永别人世。 艺术家的命运人跟自然的格斗不是简单的事情。我虽然无法知道自己未来的成败，但唯一确实的就是有人成功，也有人失败。你也许想说我不会成功，我不在乎，不管成功或者失败，一个人总是在感情和行为之中生活着，无法脱离。我还认为这成功和失败，事实上非常近似，几乎似人难以辨别。假如空白的画布，笑你没有精神的时候，跑上去提起笔大胆地画下去。空白的画布好象会对着画家说：你什么都不懂。你们不知道那空白画布多么会使人失去斗志，许多画家很怕空白的画布，可是一方面空白的画布是怕毅然面对画布的真热情的画家的。艺术家都知道自己好比是被绑在旧马车的马，他们在心里羡慕那些能在太阳下的牧场里大吃青草，也能到河里喝水洗澡逍遥自在的马，这是艺术家的心病。不知是谁将如此的生活形容成“被死与不死不断威胁的状态”。我所拉的马车一定会帮助我所不认识的人们，因此我们相信将来的新艺术以及新艺术家的出现，大概不至于使我们失望吧。 对于死的看法我刚刚用水彩画好的田园中的古塔，今天已经被人拆毁，这不是诸行无常的一端吗？我常想表现农人们个个老朽以后，怎样地安息在他们千古的园地上，我常想向大家说明，人的死和葬礼，多么像秋天落叶那么简单的事——死者只要五尺之地，然而在这些土堆上只要一个十字架一插便了事。我还想说出，农人们的生与死是何等的永恒不变，那正如在墓地上生长的花草一样，春来萌芽，秋来凋谢，因循着天地不变的规律。现在我们的所见所闻不知是否为人生的全体，在我们死后，从彼岸往回看时，是否只能看到一个半球？这不是永恒的谜题吗？不管怎样，我总认为一个画家即使死后也能借着自己的作品向后来的新时代谈论自己的见解。画家的使命是否只限于此，还是有其他更高的意义？我无法作答。我想画家的一生当中，死还不能算是最苦的事，但对于死，我实在一点都不懂。夜里仰望星星，会使我陷入如同看地图梦异乡那样的梦幻，不知何故，我总觉得，天空中的光点，好象法国地图上表示城镇的黑点一样，使人觉得难以接近，我想只要坐上火车，便可到达塔拉斯根或鲁安的话，我们在死后也应该可以到达星星上面。在这些五里雾中的推理里面，有一件不容怀疑的事——“我们在生前无法登天如同在死后不能再乘之道理。”所以我认为，使世上人类永眠的各种疾病是到达天堂的一种交通手段。我们老朽以后，悄然死去，这是我们徒步登天的机会。

41. These are his classic sayings: There is a period in our lives when, regarding our belief in God, we may feel that everything we do seems to be wrong, and we lose interest in all things. It's as if all hope is lost and all passions are withered. I feel that there is some truth in this. Do you think this feeling should be abandoned early on? I suspect it may be, a kind of "longing for God" that makes us deeply believe in our hearts and eagerly await good results. When a person is very integrated into the crowd of the common people, they often feel that they are no different from everyone else, but eventually, they will reach a solid state of self-awareness. They can successfully cultivate their beliefs, and those beliefs will appropriately govern them, allowing them to continue to progress towards higher and better states. I think Jesus was like this too. Regarding the belief in life, our lives are a terrible phenomenon, yet we are constantly driven by things we are unaware of. Nothing can change the way our existence is shaped. Whether we interpret it as bright or dark, we cannot change its nature. This puzzle keeps me awake at night, pondering, or in deep meditation in the stormy weather of Mount Bischof or in the melancholic twilight. At the age of thirty, one is in the early stable period of activities, also a period of vigorous youth. At the same time, it can also be said that one has passed a certain period of life, and it is the time to start feeling the sorrow of the irretrievable past. I feel this loneliness is not just a senseless melancholy. I no longer expect the various kinds of happiness that I know I can never obtain in this life. I increasingly understand that this life is just a period of sowing, and the harvest will be in the next life. This view may be the reason why I am indifferent to the trivial desires of the world. I have thought about whether I could become a thinker, and now I am very clear that this is not my calling. I often hold a misconception—that those who think about everything philosophically are not ordinary practical people but useless dreamers (however, this misconception is often deeply respected in society). This misconception often prevents me from grasping the essence of things, and I become anxious, beating my head in frustration. But later, I realized that thoughts and actions are not mutually exclusive. Frankly, if I could think and paint at the same time, that would be wonderful, but I cannot, and my life's purpose is to paint as much as possible. I hope that when I reach the end of my life, I can回味 my life with the deepest love and quiet nostalgia, and leave the world with a touch of parting sentiment, saying, "Ah! I still want to paint like that!" The destiny of artists The struggle between man and nature is not a simple matter. Although I cannot know whether I will succeed or fail in the future, the only certainty is that some people will succeed and some will fail. Maybe you think I won't succeed, and I don't care. No matter whether one succeeds or fails, a person always lives in feelings and actions and cannot be separated from them. I also think that success and failure are actually very similar, almost indistinguishable. If an empty canvas laughs at your lack of spirit, go ahead and pick up a pen and boldly start painting. The empty canvas seems to be saying to the painter: You don't know anything. You don't know how much the blank canvas can make people lose their morale. Many painters are afraid of the blank canvas, but on the other hand, the blank canvas is afraid of the passionate painters who dare to face it. Artists all know that they are like horses tied to old carts. In their hearts, they envy those horses that can eat fresh grass under the sun and drink water and bathe in the river with ease. This is the illness in the hearts of artists. Who knows who described such a life as "a state constantly threatened by death and lifelessness." The carriage I pull will definitely help people I don't know, so we believe that the emergence of new art and new artists in the future will not disappoint us. Regarding the view of death The ancient tower in the countryside that I just painted with watercolor has already been demolished today. Isn't this a manifestation of the impermanence of all things? I often think about how the old farmers will rest on their ancient land after their lives, and I often want to explain to everyone that the death and funeral of humans are as simple as the falling leaves in autumn—they only need five feet of land, and as long as a cross is inserted on these mounds, it is done. I also want to say that the birth and death of farmers are so eternal and unchanging, just like the flowers and grass growing on the cemetery—they sprout in the spring and wither in the autumn, following the unchanging laws of nature. Now, whether what we see and hear is the whole of life, and when we look back from the other side after we die, will we only see one hemisphere? Isn't this an eternal mystery? No matter how it is, I always think that a painter can still express his views to the new era through his works even after he dies. Is the mission of a painter limited to this, or does it have a higher meaning? I cannot answer this. I think that death is not the most painful thing in a painter's life, but I really don't understand death. Looking at the stars at night makes me fall into a dream like looking at a map of a foreign land, and for some reason, I always feel that the light points in the sky are like black dots representing towns on a French map, making them feel inaccessible. I think if we could ride a train to Tarascon or Rouen, we should also be able to reach the stars after we die. Among these foggy speculations, there is one thing that is beyond doubt—that "we cannot ascend to heaven before we die just as we cannot ride there after we die." Therefore, I believe that the various diseases that cause human beings to fall into eternal sleep are a means of transportation to heaven. When we become old and die quietly, this is our chance to walk to heaven.

42. It is my life - the power of creation.

42. It is my life - the power of creation.

43. In my life and painting， I can not to god， but fools like me， but we cannot do without something great than me.

43. In my life and painting, I cannot become god, but fools like me, but we cannot do without something greater than myself.

44. 荷兰画家梵高，后期印象画派代表人物，是19世纪人类最杰出的艺术家之一。他热爱生活，但在生活中屡遭挫折，艰辛倍尝。他献身艺术，大胆创新，在广泛学习前辈画家伦勃朗等人的基础上，吸收印象派画家在色彩方面的经验，并受到东方艺术，特别是日本版画的影响，形成了自己独特的艺术风格，创作出许多洋溢着生活激情、富于人道主义精神的作品，表现了他心中的苦闷、哀伤、同情和希望，至今饮誉世界。

44. Vincent van Gogh, a Dutch painter and a representative figure of the late Impressionist movement, is one of the most outstanding artists of the 19th century. He loved life, but faced numerous setbacks and suffered greatly in life. He dedicated himself to art, dared to innovate, and on the basis of extensively studying the works of predecessors such as Rembrandt, absorbed the experience of Impressionist painters in terms of color, and was influenced by Eastern art, especially Japanese woodblock prints, thus forming his unique artistic style. He created many works brimming with life passion and rich in humanitarian spirit, which expressed his inner turmoil, sadness, sympathy, and hope. His reputation has spread throughout the world to this day.

45. 绝不要以为故去的人永远逝去，只要有人活着，故去的人就永远活着，永远活着。

45. Never think that the departed are forever gone. As long as there is life, the departed live on, and they will live on forever.

46. I always try my best to draw， because I'm hungry， biggest wish is to create beautiful works.

46. I always try my best to draw because I'm hungry, and my biggest wish is to create beautiful works.

47. 我认为这是伟大人物经历中的一幕悲剧。他们往往再作品被工作所承认之前便死了。

47. I believe this is a tragic scene in the experience of great individuals. They often die before their works are recognized by the world.

48. As long as the living alive， the dead will not die.

48. As long as the living are alive, the dead will not die.

49. Life is a tour of the journey. Person's life how much suffering. We in this life in the sea， however， through the angel of god， an angel of love the solace. But don't forget that god through those ordinary things in life， teach you something more advanced.

49. Life is a journey through the tour. A person's life is filled with much suffering. We are in this life at sea, however, through the angel of God, an angel of love, we find solace. But don't forget that God uses those ordinary things in life to teach you something more advanced.

50. I think death than life easy. Death， although painful， more painful than death.

50. I think death is easier than life. Death, although painful, is more painful than life.

51. 今天早上，天还没亮，我在窗口看了很久，窗外什么都没有，唯有一颗金星，好大的一颗星。夜，比白天还要活，还要热烈。

51. This morning, before the day had dawned, I stood by the window and watched for a long time. Outside the window, there was nothing but a bright Venus, a very large star. The night is more lively and more passionate than the day.

52. In fact we through the land， we're just going through life.

52. In fact, we're just traversing the land; we're going through life.

53. Let me along the road to my own struggle， don't lose courage， don't slacken off.

53. Let me accompany you on the road to my own struggle; don't lose courage, don't slacken off.

54. More and more， I believe， to create the good price is: hard work， disappointment， and perseverance. The first is pain， and then the joy.

54. More and more, I believe, the key to creating the right price is: hard work, disappointment, and perseverance. The first is pain, followed by joy.

55. More and more， I believe that the cost of creating a better is to try and disappointment， and perseverance. The first is pain then joy.

55. More and more, I believe that the cost of creating a better is to try and face disappointment, and perseverance. The first is pain, then joy.

56. 我拥有自然，艺术和诗歌，我还有什么不满足呢？

56. I possess nature, art, and poetry; what more could I desire to be satisfied?

57. 生命只是一个播种的季节，收获是不在这里的。

57. Life is merely a season of sowing, where there is no reaping.

58. 心理的疯狂已演变为生理的反应，甚至表现为某种嗜血的倾向。在一声陌生的惨叫中，凡高本人获得了双重身份：既是刽子手，又是受害者。理智的天平倾斜了：他对自己的残忍超过了对自己的体恤。第一滴血，意味着他对自身犯下的第一桩罪行。

58. The madness of the mind has evolved into a physiological response, even manifesting as a certain bloodthirsty tendency. Amidst a strange,惨叫, Vincent van Gogh himself acquired a dual identity: both executioner and victim. The scales of reason were tilted: his cruelty towards himself surpassed his compassion. The first drop of blood signified the first crime he committed against himself.

59. 我越来越相信创造美好的代价是努力失望以及毅力。首先是疼痛然后才是欢乐。

59. I am increasingly convinced that the price of creating something beautiful is effort, disappointment, and perseverance. First comes pain, then comes joy.

60. 如果有位画家看到的色彩和别人不同，其他画家会说他是疯子。

60. If a painter sees colors differently from others, the other painters might say he is crazy.

61. 世界没能挽救这个垂危的病人。梵高放下滴血的剃须刀片——不久，又拾起一把左轮手枪。他似乎越来越把自己当作假想的敌人，不断挑选着攻击的武器。最终的结果自然是毁灭性的：在法国阿尔的一块麦田里，他用那只拿惯了画笔的手，对自己扣动了扳机。每当欣赏着一个多世纪前梵高的遗作(哪怕是印刷品)，不知为什么，我总能隐约闻见一股硝烟的气息——或者说，死亡的气息。但是跟他的死亡相比，他的疯狂似乎更为恐怖。一只被阉割的耳朵，要比一具中弹的尸体更令人触目惊心。梵高死了，却留下了一只的耳朵——这最后的遗物似乎并没有失去听觉，收集着后人的议论。这只在故事中存在的失血的耳朵，至今仍像埋设在我们生活中的听诊器，刺探着我们的良心。凡高死了，耳朵还活着，还拥有记忆。为什么不在他呻吟与崩溃的时候，扶持他一把——世界，你听见了吗你的耳朵长在何处

61. The world failed to save this critically ill patient. Van Gogh put down the blood-stained razor blade - and soon picked up a revolver. It seemed he was increasingly treating himself as an imaginary enemy, constantly selecting weapons for attack. The ultimate outcome was naturally devastating: in a wheat field in Arles, France, he pulled the trigger on himself with the hand that was accustomed to holding a paintbrush. Whenever I admire Van Gogh's works from over a century ago (even prints), for some reason, I can always faintly smell the scent of smoke - or, the scent of death. But compared to his death, his madness seems even more terrifying. A castrated ear is more shocking than a bullet-riddled body. Van Gogh is dead, but he left behind an ear - this last relic seems to have retained its hearing, collecting the opinions of posterity. This bleeding ear that exists only in the story is still like a stethoscope buried in our lives, probing our conscience. Van Gogh is dead, but his ear lives on, retaining memories. Why didn't someone support him when he was moaning and collapsing - World, did you hear? Where are your ears?

62. 一切我所向着自然创作的，是栗子，从火中取出来的。啊，那些不信仰太阳的人是背弃了神的人。

62. All that I have created towards nature is chestnuts, taken out from the fire. Ah, those who do not believe in the sun have betrayed God.

63. We can't expect of we clearly know can't get out of life. Life is just a season of sowing， harvesting is not here.

63. We can't expect what we clearly know we can't get out of life. Life is just a season of sowing; harvesting is not here yet.

64. This morning， the day is not bright， I see for a long time in the window， the window is nothing， only a Venus， good big of a star. Night than during the day to live， but also warm.

64. This morning, the day is not bright; I gaze out the window for a long time, and the window is nothing, only a Venus, a very bright star. At night, life is more vibrant than during the day, but also warm.

65. Through a star to express the hope that， through a sunset over the rosy clouds to express the desire of the mind.

65. Through a star to express the hope that, through a sunset over the rosy clouds to express the desire of the mind.

66. Sadness will always retained.

66. Sadness will always be retained.

67. 一个人很合群地夹杂在庸俗的人群中时，往往会觉得自己跟大家并无两样，但终于有一日，他会达到牢固的自我谛念的境地。他能很成功地培养自己的信念，那信念又会适当地支配他，使他能向更高更善的境地继续进步。我看耶酥也是这样。

67. When a person blends in with the common crowd, they often feel that they are no different from everyone else, but eventually, they will reach a firm state of self-awareness. They are able to successfully cultivate their beliefs, which then appropriately govern them, enabling them to continue progressing towards higher and better states. I believe Jesus was the same way.

68. 梵高在精神接近崩溃的时候，曾经用剃须刀片割下了自己的一只耳朵。他是试图用这个举动唤醒自己，制止内心愈演愈烈的疯狂

68. Van Gogh cut off one of his own ears with a razor when he was near a mental breakdown. He was attempting to wake himself up and stop the growing madness within his mind.

69. 人生是一趟巡礼的旅程。人的一生有多么苦难。然而，我们在这人生的大海里，藉神的使者、爱的天使获得慰藉。但可别忘记，神透过人生那些平凡的事物，教你更高深的事物。

69. Life is a pilgrimage journey. How much suffering a person's life entails. However, in this vast ocean of life, we find comfort through the messengers of God, the angels of love. But do not forget that God teaches us profounder things through the ordinary things of life.

70. Is everything I have towards natural creation， chestnuts， to withdraw from the fire. Ah， those who do not believe in the sun is betrayed the people of god.

70. Is all that I have towards the natural creation, chestnuts, to withdraw from the fire. Ah, those who do not believe in the sun are betrayed by the people of God.

71. 每个人心中都有一团火，路过的人只看到烟。

71. Everyone has a fire burning within them, but passersby only see the smoke.

72. 梵高年轻时在画店里当店员，这算是他最早受的“艺术教育”。后来到巴黎，和印象派画家相交，在色彩方面受到启发和熏陶。以此，人们称他为“后印象派”。梵高生性善良，同情穷人，早年为了“抚慰世上一切不幸的人”，他曾自费到一个矿区里去当过教士，跟矿工一样吃最差的伙食，一起睡在地板上。矿坑爆炸时，他曾冒死救出一个重伤的矿工。他的这种过分认真的牺牲精神引起了教会的不安，终于把他撤了职。这样，他才又回到绘画事业上来，受到他的表兄以及当时荷兰一些画家短时间的指导，并与巴黎新起的画家建立了友谊。

72. Van Gogh worked as a shop assistant in a painting store in his youth, which can be considered his earliest "art education." Later, in Paris, he associated with Impressionist painters and was inspired and influenced by their use of color. For this reason, he was referred to as the "Post-Impressionist." Van Gogh was naturally kind-hearted and sympathetic to the poor. In his early years, to "comfort all the unfortunate people in the world," he volunteered to become a priest in a mining area at his own expense, eating the worst food and sleeping on the floor with the miners. When a mine cave-in occurred, he bravely saved a severely injured miner. His overly serious and sacrificing spirit caused concern within the church, which eventually led to his dismissal. It was then that he returned to the art of painting, receiving brief guidance from his cousin and some Dutch painters of the time, and also establishing friendships with the emerging painters in Paris.

73. My work is my body and soul， to which I willing to take the risk of loss of life and reason.

73. My work is my body and soul; to it, I am willing to take the risk of losing life and reason.