生命本质：活着即是存在

The Essence of Life: To live is to exist.

1. 生命的本质就是一个人活着。落在我们一生当中的雪，我们不能够全部看见，每个人都在自己的生命里孤独的过冬。不要对别人有着心存幻想的期待，更不要指望别人可以给你提供帮助，或者帮你度过寂寞时光，世间皆苦，悲喜自度，到了一定的年纪就会发现，曾经的伙伴会渐行渐远，茫茫世界，只剩下你一个人，笑，是你一个人的，哭，也是你一个人的。

1. The essence of life is to live. The snow that falls throughout our lives, we cannot see it all; each person goes through the winter alone in their own life. Do not have unrealistic expectations of others, nor rely on others to offer help or accompany you through lonely times. In this world, all things are suffering, joy and sorrow are self-soothed. When you reach a certain age, you will find that former companions will gradually drift apart, and in this vast world, there will only be you left, laughing by yourself, crying by yourself.

2. 余华早期作品中的人物就如同一具具行尸走肉，他们极端、麻木、暴力、缺少人性。比如在其早期作品《现实一种》中描写的山峰、山岗两兄弟，他们灵魂的麻木、感情的缺失、头脑的弱智，在小说开头的叙述中，我们就能得知，“在山岗和山峰兄弟俩的印象中，晴天十分遥远，仿佛远在他们的童年里。”而在《世事如烟》中，余华用阿拉伯数字为人物命名，试图抹掉人物的个性，而这些人物也都是些亡命之徒，生活在暴力与血腥之中。

2. The characters in Yu Hua's early works are like walking dead, extreme, numb, violent, and lacking in humanity. For example, in his early work "A Kind of Reality," the depiction of the two brothers, the mountain peak and the hill, their numbness of soul, lack of emotion, and mental retardation are known in the narrative at the beginning of the novel, "In the impression of the brothers, the hill and the mountain peak, fair weather seems very distant, as if it is far in their childhood." In "The World as a Cloud," Yu Hua names the characters with Arabic numerals, trying to erase their individuality, and these characters are all desperadoes, living in a world of violence and bloodshed.

3. 物质需求是人之存在的基础,它是实现人生目的的手段，而绝不是目的本身。人生的目的是生活，生活是为了生存和发展而进行的各种活动。生活不同于生存，它需要精神的关怀，需要以发展、进步作为目标，需要激情，需要实现人生价值，是自我实现的过程。

3. Material needs are the foundation of human existence, serving as the means to achieve life's purpose rather than the purpose itself. The purpose of life is to live, and life involves all kinds of activities carried out for survival and development. Life is different from mere existence; it requires spiritual care, aims at development and progress, needs passion, seeks to realize the value of life, and is a process of self-realization.

4. 在余华对自己童年的描述中，我们也能发现，在医院长大的余华，从童年起就已经看到了生与死的交替。在他的小说中，他也时时刻刻地通过一个个鲜活的生命，向我们展示这种“生”和“死”的交替。比如在小说《活着》中，主人公福贵的身边就时刻地在上演着这种生与死：因为自己赌博输光家产，自己的爹被气死；儿子有庆的出生；母亲病死；难友老全的意外而死；儿子血被抽干而死；女儿因生产大出血而死；外孙苦根的出生；妻子家珍病死；女婿二喜因工而死；苦根吃豆撑死。福贵这一生经历了太多的死亡，面对亲人的离去，福贵是悲伤的，但悲伤过后，也只能接受。就像余华自己说的，“写作过程让我明白，人是为活着本身而活着的，而不是为活着之外的任何事物所活着”2。

4. In Yu Hua's description of his childhood, we can also find that, having grown up in a hospital, Yu Hua has seen the alternation of life and death since his childhood. In his novels, he also constantly shows this alternation of "life" and "death" through the vivid portrayal of various lives. For example, in the novel "To Live", the protagonist Fugui constantly experiences this alternation of life and death: his father died of anger because he lost all his property through gambling; his son Youqing was born; his mother died of illness; his friend Lao Quan died unexpectedly; his son was killed when his blood was drained dry; his daughter died due to excessive bleeding during childbirth; his grandson Kugu was born; his wife, Jiazhen, died of illness; his son-in-law Erxi died in an industrial accident; and Kugu died of overeating beans. Fugui has experienced too many deaths in his life, and he is sad to face the departure of his relatives, but he can only accept it after his sadness. As Yu Hua himself said, "The writing process has made me realize that people live for the sake of living itself, not for anything beyond living." [2]

5. “自为的存在”和“自在的存在”相反，它主要是指人的意识的存在。自为的存在只能作为虚无、超越性、否定性而存在，意味着它不能作为现成已有的东西而存在，换言之，它“是其所不是且不是其所是”1。自为作为存在的缺乏总是追求、趋向存在，这种不断地追求和趋向使人不断地超越、否定自己和世界，不断地使自己和世界获得新的价值和意义。在读余华的作品时，往往会有这种感觉：人活在世界上仅仅是一种存在；而与生对应的死，其实也是一种存在。古罗马哲学家就说过，从诞生的那一时刻起，自然就挽着我们的手一步步地向死亡走去。生和死同样都是不可抗拒的。对于《活着》，在相当长的一段时间内，被主流文学评论为余华将主人公福贵最终的活着类比为一种牲畜式的生存，并予以唾弃。但我们看到，随着时间的流逝，大家对《活着》开始有了新的评价，认为《活着》是繁花落尽一片萧瑟中对生命意义的终极关怀；福贵的命运昭示着人类苦苦追寻一切，不过虚妄而已，结尾那个与福贵同行的老牛暗示一个令高贵的人难以接受的事实：其实人真的只是一种存在，它和万物一样并无意义。

5. "Self-existent" is the opposite of "in-itself-existent," mainly referring to the existence of human consciousness. Self-existent can only exist as nothingness, transcendence, and negativity, meaning it cannot exist as something that is already present. In other words, it "is what it is not and is not what it is." 1 The lack of self-existence as existence always seeks and tends towards existence, this continuous seeking and tendency makes people constantly transcend and negate themselves and the world, constantly bestowing new value and meaning on themselves and the world. When reading Yu Hua's works, one often has this feeling: to live in the world is merely a form of existence; and the death corresponding to birth is also a form of existence. The Roman philosopher once said that from the moment of birth, nature has been leading us by the hand, step by step, towards death. Both life and death are irresistible. For "To Live," for a long time, mainstream literary criticism portrayed the protagonist, Fugui, as being compared to a kind of animal-like existence by Yu Hua, and was condemned. However, we see that as time passes, people's evaluation of "To Live" has begun to change, considering it as a ultimate concern for the meaning of life amidst the desolation after the blossoms have fallen; Fugui's destiny signifies that all that humans desperately seek is merely illusionary. The old ox walking with Fugui at the end suggests a fact that is difficult for the noble to accept: in fact, humans are just a form of existence, which, like all things, has no meaning.

6. 其实吃喝拉撒睡都是一种幸福，都是值得感恩的，我想说的就是，以感恩的心去开启每一天的生活，能够每天都带给身边的人以幸福，能够去拥有，去营造，去珍惜我们身边平凡的幸福。

6. In fact, eating, drinking, defecating, urinating, and sleeping are all forms of happiness, all worthy of gratitude. What I want to say is, to start each day of life with a grateful heart, to be able to bring happiness to those around you every day, and to be able to possess, create, and cherish the ordinary happiness around us.

7. 我无法理解为什么活着的意义是需要解释的，活着即存在，存在即合理，每一个努力活着的人就是值得庆祝的，何需附加的条件才配得起生命本身。人人倡导自由平等，却亲自把人划为三五九等。我看到的是大雨磅礴一个个局促低头道歉只求不要给差评的外卖人员，我也看到过迎面走过一个扫地阿姨四处投去的嫌弃的目光，我更是无法理解是谁赋予的权利划分“好学生”和“坏学生”的人是自然的产物，来自自然也将归于自然，生是上天赐予的礼物，而死是它像人们保证的结果。本是如此神圣的事情，却硬生生被世人曲解成大型炼狱场，如一人无法功成名就，他就是个失败的，一个人没有一段幸福美好的婚姻，他就是失败的，学生时期没有取得优异的成绩，他也是失败的……

7. I cannot understand why the meaning of living needs to be explained; to live is to exist, and to exist is to be reasonable. Every person who struggles to live is worthy of celebration, and what additional conditions could possibly be fitting enough for the very essence of life. Everyone preaches freedom and equality, yet they personally divide people into categories of three, five, or nine. What I see is a heavy downpour, with delivery personnel hunched over in embarrassment, asking for no bad reviews. I've also seen a cleaning woman cast disdainful glances as she walked past. It is beyond my comprehension who has the authority to label some as "good students" and others as "bad students," as if these are natural classifications. We are all natural products of nature and will return to nature. Birth is a gift bestowed by heaven, and death is the result guaranteed by it. Such a sacred matter is brutally misunderstood by the world as a large inferno, where if one fails to achieve success and recognition, they are deemed a failure; if one does not have a happy and beautiful marriage, they are a failure; if one does not achieve excellent grades during their student years, they are a failure...

8. 内容提要：生即降生、产生，事物的开端，意为“存在”，生容易；活即活着，指生命有机体的现实状态，跟“死”相对，与生存是同一层次的概念，活也很容易。但生活不容易。在余华的小说中，他通过一个个鲜活的生命，向我们展示了“生”和“死”的交替，貌似对“活着”的状态很无奈、很悲观，其实是向我们诠释了“生活”的真正内涵———精神关怀。

8. Content Summary: "Life" means to be born, to arise, the beginning of things, meaning "existence," and it is easy. "Living" refers to the actual state of life organisms, in contrast to "death," and is a concept at the same level as survival, and it is also easy. However, life is not easy. In Yu Hua's novels, he shows us the alternation of "birth" and "death" through vivid lives, seemingly expressing a sense of helplessness and pessimism about the state of "living," but in fact, he interprets the true connotation of "life" - spiritual care.

9. 当我们解读婚姻时发现，没有爱情的婚姻是生存，有爱情的婚姻才是生活，其中主要的差别在于，是否是有质量、有目的的行为，是否充满了爱的精神关怀。生存式的婚姻使人变得麻木，婚姻已经演绎成了一种纯粹的繁衍后代的行为和责任；而爱情式的婚姻是两个人心与心的碰撞，它以爱为基础，可以产生出巨大的激情和能量，去创造出一个美好的世界，使生命更有价值和意义。我们能从余华后期的作品中，读出这种爱。比如《活着》中福贵对家珍的爱、二喜对凤霞的爱，《兄弟》中宋凡平和李兰的爱、林红和宋钢的爱，这些人对生活、对爱情都在默默付出、不求回报。

9. When we interpret marriage, we find that a marriage without love is mere existence, while a marriage with love is true life. The main difference lies in whether it is a quality and purposeful behavior, and whether it is filled with the spirit of loving care. A marriage of mere existence numbs people, turning the institution into a purely reproductive act and responsibility. On the other hand, a love-based marriage is a collision of hearts between two people. It is based on love and can generate immense passion and energy to create a beautiful world, making life more valuable and meaningful. We can read this kind of love in the later works of Yu Hua. For example, in "To Live," the love between Fugui and Jiazhen, and between Erxi and Fengxia; in "Brothers," the love between Song Fanping and Li Lan, and between Lin Hong and Song Gang. These people默默付出，不求回报 in their lives and in love.

10. 人不仅追求感官的物质享受，而且要追求各种精神上的享受，追求道德上的合理性，知道自己行动的价值。现代人在社会所提供的一切可能条件下力求高尚、理想人格的现实化、完善化、平衡化。对于精神健康的人来说，以自主性、积极性、独立性和创造性的形式来追求自我发展、自我实现。这就是生活！（作者系沈阳工业大学教师）

10. People not only pursue sensory material enjoyment but also seek various spiritual satisfactions, strive for moral rationality, and know the value of their actions. Modern people strive for the realization, perfection, and balance of noble and ideal personalities under all possible conditions provided by society. For those with mental health, they pursue self-development and self-realization in the form of autonomy, positivity, independence, and creativity. This is life! (The author is a teacher at Shenyang University of Technology)

11. 生即降生、产生，事物的开端，意为“存在”。都说万事开头难，其实生很容易。对于世间万物，在必然性中一次偶然就促使了其产生，有时它的存在并不是以人的有目的、有意识的活动所引导的。存在只是一种状态，存在主义者用存在这个概念把世界的统一性归结为存在。他们认为，人们所认识的任何事物，不管怎样千差万别，在“存在”这一点上总是相通的，它们都是存在者。但人和物的存在是不同的，物是自在的存在，而人是自为的存在。

11. "生" means "to be born" or "to generate," the beginning of things, meaning "existence." It is often said that the beginning is the hardest part, but in fact, being born is quite easy. For all things in the world, a single event of chance within necessity can prompt their generation. Sometimes, their existence is not guided by the purposeful, conscious actions of humans. Existence is just a state, and existentialists use the concept of existence to attribute the unity of the world to existence. They believe that any thing that people recognize, no matter how different it may be, is always connected in the aspect of "existence," and they are all existents. However, the existence of humans and things is different; things are self-existing, while humans are self-conscious existents.

12. 在余华的小说中，他通过一个个鲜活的生命，向我们展示了“生”和“死”的交替，貌似对“活着”的状态很无奈、很悲观，其实那里透露着他对生活的渴望：人要活得像个人样，不能等同于行尸走肉，人除了物质的需求更需要精神的关怀，需要自我的实现。

12. In Yu Hua's novels, he shows us the alternation between "life" and "death" through a series of vivid lives, seemingly expressing a sense of helplessness and pessimism towards the state of "being alive." In fact, it reveals his longing for life: people should live like human beings, not be like mere walking dead. People not only need material needs but also spiritual care, and the need for self-realization.

13. 在余华前期的小说中，我们很少能看到对这种“生活”的描写；但在他的后期作品中，这种“生活”的真正内涵随处可见。他在小说里向我们展示了个人渴望得到家庭、团体、朋友、同事的关怀爱护理解，对友情、信任、温暖、爱情的需要。兄弟情、父子情、爱情陆陆续续地出现在其作品里，向我们诠释了“生活”的真谛。

13. In Yu Hua's early novels, we rarely see descriptions of this kind of "life"; but in his later works, the true connotation of this "life" is omnipresent. In his novels, he shows us the individual's yearning for the care, love, and understanding from families, groups, friends, and colleagues, and the need for friendship, trust, warmth, and love. The bonds of brotherhood, fatherhood, and love gradually appear in his works, interpreting the true essence of "life" to us.

14. 其次，我们来解析余华作品体现出的归属感的需要。由于社会生活的动荡，特别是由于社会环境产生巨大冲击而威胁人的生存时，人们越发具有强烈的归属感。正如埃里奇·弗罗姆所注意到的，人们总有一种逃避一个人站着时的那种孤独感的愿望，个人常常愿意放弃自我而从属于团体，而这正是工业化发展的一种必然结果。在小生产的自由经济时期，人们凭个人奋斗就能取得成功；但随着社会大生产时期的到来，人们开始以新的目光审视传统的价值，发现自己的命运是以一种不受理性和公正支配的方式同别人的命运交织在一起。因此，随着时间的推移，人们不再相信有关冒险、奋斗、成功的老公式，而把眼光转向并不具有冒险性但却相对安全的职业。这正如宾克莱所描述的：“许多人通过对组织的忠诚，对团体思想的忠诚，或者通过认为组织是保佑人平安渡过难关的地上天父，或者通过根据自己在组织中的地位而遵从那里要求的社会习俗，或者通过允许甚至欢迎组织接管个人生活中的许多职能，因而，他们发现了一种新的世俗宗教，或者至少发现一种新机构，他们在那里边能找到一种稳妥踏实之感。”5这并不是一种宗教信徒式的热忱，人们贬低物质上的渴望，投入集体中，是因为他们认为世界可以通过归属而得救，人可以通过把自己融合于某种更大的实体中而重新发现自己，正所谓集体中个人价值才能获得真正的实现。

14. Secondly, let's analyze the need for a sense of belonging reflected in Yu Hua's works. Due to the turbulence of social life, especially when the social environment produces a huge impact and threatens people's survival, people have an increasingly strong need for a sense of belonging. As Erich Fromm noted, people always have a desire to escape the loneliness of standing alone; individuals often prefer to give up themselves and belong to a group, which is an inevitable result of the development of industrialization. During the period of free economy of small-scale production, success could be achieved through individual efforts; but with the arrival of the era of large-scale production, people began to examine traditional values with new eyes and found that their destiny was intertwined with others' in a way not governed by reason and justice. Therefore, as time went by, people no longer believed in the old formulas of adventure, struggle, and success, and turned their gaze to relatively safe professions that did not have much adventure. This is what Binkley describes: "Many people find a new secular religion, or at least a new institution, where they can find a sense of security and stability, by being loyal to the organization, to the group's ideas, or by considering the organization as the heavenly father on earth who protects them through tough times, or by adhering to the social customs required in the organization based on their position, or by allowing or welcoming the organization to take over many functions in their personal lives." This is not a fervent enthusiasm like that of religious believers; people sacrifice their material desires and join the collective because they believe that the world can be saved through belonging, and individuals can rediscover themselves by integrating themselves into a larger entity, as it is only in the collective that the true value of individuals can be realized.

15. 关键词：生活生存 价值

15. Keywords: Life survival, value

16. 首先，我们来解析余华作品体现出的人的最基本的需要：生理和安全的需要。生理需要最重要当属吃饭问题，这在余华的小说中随处可见。小说中的主人公经常因为吃饭问题而烦恼，《活着》中凤霞因为一块地瓜被人抢去，而向对方挥起了锄头。而在人们饿得只能靠喝水充饥的时候，家珍却从开米行的父亲处，得到了一小袋米，“粥熬成后，我们一家四口人坐在桌前，喝起了热腾腾的米粥。这辈子我再没像那次吃得那么香了，那味道让我想起来就要流口水。有庆喝得急，第一个喝完，张着嘴大口大口地吸气，他嘴嫩，烫出了很多小泡，后来疼了好几天。”4小说《活着》中对一家四口回到家煮粥、喝粥的场景描写，让读者深深体会到饥饿的感觉，人只有在满足了吃饭这样的生理需要的基础上，才能从事其他活动。同样在《许三观卖血记》中，也有对饥饿场景的描写：许三观给喝了一个月玉米粥的家人做了一顿红烧肉，只是这顿红烧肉是许三观用嘴做的，几个孩子听完后“心满意足，酣然入睡”。

16. First, let's analyze the most basic human needs reflected in Yu Hua's works: physiological and safety needs. Among physiological needs, the issue of food is the most important, which can be seen everywhere in Yu Hua's novels. The protagonists in the novels often worry about food, as in "To Live," where Fengxia, the protagonist, raised a hoe in anger after her sweet potato was stolen. And when people are so hungry that they can only survive by drinking water, Jia Zhen got a small bag of rice from her father who worked at a rice shop. "After the congee was cooked, we four sat at the table and started to drink the hot, steaming rice porridge. I have never eaten so well in my life as I did that time, and the taste made me salivate just thinking about it. Guangai drank so quickly that he was the first to finish, with his mouth wide open and breathing in great gulps. His tender lips got a lot of blisters from the heat, and it hurt him for several days later." The description of the family of four cooking and eating congee in the novel "To Live" deeply moves the readers, making them understand the feeling of hunger. People can only engage in other activities after satisfying their basic physiological needs such as eating. Similarly, in "Xu Guanxian's Blood Selling," there are also descriptions of scenes of hunger: Xu Guanxian made a dish of braised pork belly for his family, who had been eating corn porridge for a month, but this braised pork belly was made by Xu Guanxian with his mouth. After hearing this, the children felt "satisfied" and fell asleep soundly.

17. 活即活着，指生命有机体的现实状态，跟“死”相对，与生存是同一层次的概念。要想活着其实很容易，只要生物有机体还维持着生命，就意味着活着，没有死。它可以是没有目的、没有意识的行为，形同行尸走肉，与死并无根本的差别。

17. "Living" refers to the actual state of a living organism, which is in contrast to "death" and is a concept on the same level as existence. In fact, it is quite easy to be alive, as long as the biological organism maintains life, it means that it is alive and not dead. It can be behavior without purpose or consciousness, resembling a zombie, and there is no fundamental difference from death.

18. 生活在快节奏中的人们，由于生活的紧张、工作的压力、挫折的烦恼、责任感的重负，非理性受到极大的压抑，他们需要感情的宣泄、情感的寄托，有爱和被爱的要求，有与人交往的愿望。这就使人性中心理层面的需求上升到显著的位置，同时使人格显得更为重要。他们关心在交往中自己的地位，别人如何看待自己，需要把他们看成是团体中的一员，是团体不可缺少的部分。他们要求得到尊重，维护个人品德和自尊心。耶鲁大学教授阿吉里斯认为：“越来越多的心理学家相信自我尊重、自我接受和心理成功是构成我们社会中个人精神健康的主要因素。”3日本经济的发展就受益于对人情感的信任、尊重、自我价值的发挥。

18. People living in a fast-paced life are greatly suppressed by the tension of life, the pressure of work, the烦恼 of setbacks, and the heavy burden of responsibility. They need to vent their emotions, find emotional refuge, have the desire for love and to be loved, and have the wish to interact with others. This has elevated the psychological needs in the human nature to a prominent position, making personality even more significant. They are concerned about their status in interactions, how others perceive them, and need to be seen as a member of the group, an indispensable part of it. They demand respect and the maintenance of their personal character and self-esteem. Professor Chris Argyris of Yale University believes: "An increasing number of psychologists believe that self-respect, self-acceptance, and psychological success are the main factors构成构成 our society's individual mental health." The development of Japan's economy has benefited from the trust, respect, and realization of self-worth in human emotions.

19. 这个世界上每天和你擦肩而过的人，成千上万，当真正和你心心相印，灵魂共鸣的人寥寥无几。很多人看似朋友很多，其实狐朋狗友而已。所谓：有茶有酒多兄弟，急难何曾见一人。

19. In this world, there are thousands upon thousands of people who pass you by every day, but there are very few who truly resonate with you in heart and soul. Many people seem to have many friends, but in reality, they are just a crowd of idle companions. As the saying goes: "With tea and wine, there are many brothers, but when in dire need, not a single one can be seen."

20. 有人说，人生得一知己足矣。

20. Some say, "To have one close friend in life is enough."

21. 《兄弟》中的父亲宋凡平对家庭付出无私的爱。余华说“：这是我心中理想的父亲，在我少年时期所处的那个时代，的确有很多这样的父亲，他们承受的压力比现在大多了。我记得我一个同班同学的父亲，跳井自杀前一天，我还看见他拉着儿子在大街上说话，样子笑嘻嘻的。‘文革’的世界有特别丑恶的一面，也有特别美好的一面。宋凡平这样的父亲，代表了中国传统家庭中的典型父亲，他们没有办法在外面实现个人价值，便把所有美好的人性都在家庭中释放出来了。我的父亲靠边站后，最颓废也就是躺在床上一声不吭，不给我们一点气受。相反，我们现在做父母的，反而没有这样的心理承受力。”7

21. In the novel "Brothers," the father Song Fanping dedicates his selfless love to the family. Yu Hua says, "This is the ideal father in my heart. In the era I was in during my adolescence, there were indeed many such fathers, who faced much more pressure than we do now. I remember the father of a classmate of mine, the day before he jumped into the well and committed suicide, I still saw him talking to his son on the street, looking cheerful. The world of the 'Cultural Revolution' had both particularly ugly and particularly beautiful aspects. Fathers like Song Fanping represent the typical father in traditional Chinese families; they could not realize their personal value outside, so they released all the beauty of human nature within the family. After my father was marginalized, the most decadent thing he did was to lie in bed silently, not giving us any trouble. In contrast, we, as parents now, lack such psychological resilience." 7

22. 每个人对家庭都有一种归属感，希望在一个安定、稳定的环境中生活，有家人的陪伴与关怀。《活着》中，福贵在进城给娘找大夫的时候，被国民党军队抓去拉大炮，每天在枪林弹雨中生活，这个时候福贵想的只有家和亲人，在险境中生活的福贵每天想的都是什么时候能回家，过安生的日子。而福贵自从赌博输掉家产“重新做人”之后，对自己的家庭也有了一种从未有过的责任感，他意识到从今以后他要赚钱养活家人，对于他来说只能去种地，于是他低着头向龙二租了五亩地，通过自己的劳动来养活自己的家人，这样的生活跟过去有着天壤之别，但相信这个时候的福贵是充实的、幸福的。

22. Everyone has a sense of belonging to their family, hoping to live in a stable and secure environment with the company and care of their loved ones. In the novel "To Live," when Fugui goes to the city to find a doctor for his mother, he is captured by the Nationalist army to pull cannons, living amidst gunfire and shelling every day. At this time, all Fugui can think of is his family and his loved ones; living in danger, Fugui is constantly thinking about when he can return home and lead a peaceful life. After Fugui lost his family's fortune through gambling and "started anew," he also developed a previously unknown sense of responsibility towards his family. He realized that from now on, he had to earn money to support his family, and for him, that meant farming. So he bowed his head and rented five acres of land from Long Er, relying on his own labor to support his family. This life was vastly different from the past, but one believes that Fugui was full and happy at this time.

23. 余华的小说大部分都是悲剧，包括人物的悲剧性，作品中悲观的情绪等，这在其前期创作中尤为明显。后期的作品中依然存在悲剧，但我们却能从悲剧中读出希望，生活不再只有阴冷、残酷、毫无希望，而是逐渐变得美好。余华说：“作家的使命不是发泄，不是控诉或者揭露，他应该向人们展示高尚。这里所说的高尚不是那种单纯的美好，而是对一切事物理解后的超然，对善与恶一视同仁，用同情的目光看待世界。”9

23. Yu Hua's novels are mostly tragic, including the tragic nature of characters and the pessimistic mood in the works, which is particularly evident in his early creations. In his later works, tragedy still exists, but we can read hope from it; life is no longer only cold, cruel, and without hope, but gradually becomes beautiful. Yu Hua said, "The mission of a writer is not to vent, not to accuse or expose, but to show people nobility. The nobility here spoken of is not that simple beauty, but a transcendence after understanding all things, treating good and evil alike, and looking at the world with a sympathetic gaze." 9

24. 余华在《活着》中写道：“人是为活着本身而活着的，而不是为活着之外的任何事物所活着。”诚然如此。活着，就要一心一意地折腾。生活可能不如你想象的那么美好，却也没有你想象的那么糟糕。

24. Yu Hua wrote in "To Live": "People live for the act of living itself, not for anything beyond living." Indeed, that is true. To live, one must be fully committed to the hustle and bustle. Life may not be as beautiful as you imagine, but it's also not as terrible as you imagine.

25. 再次，让我们解读一下余华关于“爱”的生活描述。典型的如《许三观卖血记》中的许三观。许三观深爱着他的妻子许玉兰，即使许三观曾经疑心许玉兰和何小勇有过偷情行为，当许玉兰在文革中被批斗时，“看到许玉兰这个样子，许三观眼泪都快出来了”6。许三观也痛惜着他的大儿子许一乐，即使这个儿子看起来“长的像他老婆的旧相好”，许三观仍然在闹饥荒的年代，带着许一乐到胜利饭店吃面条。许三观卖过很多次血，每次我们都可以把它理解成因为爱，直到他老了，血没人要了。

25. Again, let's decode Yu Hua's life description about "love," as exemplified in "Xu Guanzhang Sells Blood," where Xu Guanzhang deeply loves his wife, Xu Yulan. Even though Xu Guanzhang once suspected Xu Yulan of having an affair with He Xiaoyong, when Xu Yulan was persecuted during the Cultural Revolution, "seeing Xu Yulan in that state almost brought tears to Xu Guanzhang's eyes"6. Xu Guanzhang also mourns his eldest son, Xu Yile, even though this son "looked like his wife's old flame." Yet, in the years of饥荒, Xu Guanzhang still took Xu Yile to the Victory Restaurant to eat noodles. Xu Guanzhang had sold his blood many times, and each time we can understand it as an act of love, until he grew old and his blood was no longer in demand.

26. 当我们还是一个胚胎的时候，就被家人所期待降生，我们的出生给家庭带来了无限活力。

26. Even when we were still an embryo, we were eagerly awaited by our family for birth, and our arrival brought boundless vitality to the household.

27. 我们的眼睛能看见色彩，我们的耳朵能听到美妙的声音，我们的皮肤能感受到轻柔的风，暖暖的阳光，我们的鼻子能呼吸到新鲜的空气，美味的食物，清新的花香，哪一种不是幸福呢？

27. Our eyes can see colors, our ears can hear beautiful sounds, our skin can feel the gentle breeze, the warm sunshine, our nose can breathe in fresh air, delicious food, and the fragrance of fresh flowers. Isn't each of these a form of happiness?

28. 生活在集体中，人性中各种本能的欲望,非理性的情感越发明显地展示出来。人作为一种社会存在物，有理智,但同时更有意志和情感。“霍桑试验”证明，经济动机并不是人们唯一的主要动机,主导人们行为的，也不仅仅是追求个人利益最大化的逻辑理性；人性中还有情感、情绪等非理性的内容，有被理解、被关怀的情感的需要，支配人们行为的更多的不是理性而是情感因素。因此，人不仅仅是自然的存在物，更主要的是社会的存在物。作为社会的人他们不仅要求在社会上寻求收入的源泉，凭借理性追求个人利益，而且还有情感，要求得到友谊、安定和有所归属，同时得到尊重，这些都属于精神关怀。

28. Living in a collective, various instinctual desires and irrational emotions in human nature become increasingly evident. As a social being, humans possess reason, but they also have will and emotions. The "Hawthorne Experiment" proves that economic motivation is not the only primary motivation for people; the logic of pursuing personal benefits to the maximum is not the sole factor guiding human behavior. Human nature also includes emotional and irrational elements, with a need for understanding and care. More often than not, it is emotional factors rather than reason that dominate people's actions. Therefore, humans are not only natural beings but primarily social beings. As social individuals, they not only seek sources of income in society and pursue personal interests through reason, but also have emotional needs for friendship, stability, and a sense of belonging. They also require respect, all of which fall under the category of spiritual care.

29. 与其在虚伪的人情世故里周旋，不如勇敢的走进孤独的世界，一个人散步，一个人旅行，一个人读书，一个人看花，丰盈自己的精神世界，活出一个人的精彩。

29. It is better to bravely step into the world of solitude than to engage in the fake social niceties. Take solitary walks, travel alone, read alone, appreciate flowers alone, enrich your spiritual world, and live out the wonders of a solitary life.

30. 自在的存在是纯粹地、绝对地存在的，不以人的意识是否显现它为转移。在余华的作品中，任何一个故事都是在一定的环境下产生的，而这种环境，并不是余华或者是任何人所刻意造就的。余华的小说《兄弟》创作于2005年，对于《兄弟》的问世，余华就直言不讳地表示是纯属偶然。他本来要计划写一部100万字的家族小说，没想到写了20多万字时便无法进行下去。无奈之中，他暂停了这部长篇的写作，到美国浪迹了7个月，之后又回到北京准备写一部较短的长篇。正在此时一则电视新闻吸引了他，说的是一名农民工讨薪不成，爬上高高的塔楼要自尽，塔下人群乱哄哄，忙着寻求解救农民工的方案。他突然感觉这是一个不错的小说素材，就有了表达的欲望。可写着写着，这个故事竟不由自主地向另一个故事偏移，发展到最后便给我们呈现了小说《兄弟》。

30. The existence of freedom is purely and absolutely, not depending on whether human consciousness manifests it. In Yu Hua's works, any story is produced in a certain environment, and this environment is not deliberately created by Yu Hua or anyone else. Yu Hua's novel "Brothers" was written in 2005, and Yu Hua openly admitted that the publication of "Brothers" was purely coincidental. He originally planned to write a family novel of one million words, but when he had written over 200,000 words, he was unable to proceed. In despair, he suspended the writing of this long novel and traveled to the United States for 7 months. After returning to Beijing, he prepared to write a shorter long novel. Just at this time, a TV news report caught his attention, which told the story of a migrant worker who, unable to collect his wages, climbed a tall skyscraper to commit suicide. The crowd below was in a turmoil, trying to find a way to save the migrant worker. Suddenly, he felt that this was a good material for a novel and felt the urge to express it. However, as he wrote, the story inevitably shifted to another story, and eventually presented us with the novel "Brothers."