在纷繁复杂的世界中，快乐如同指尖的流沙，稍纵即逝。为何欢笑如此难寻？探寻不幸福的深层原因，或许能揭开心灵深处的那一抹阴霾。

In the complex and chaotic world, happiness is like the flowing sand on one's fingertips, easily slipping away. Why is it so hard to find laughter? Exploring the deep reasons for unhappiness might help to lift the shadow in the depths of the soul.

1. 沈从文的小说艺术成就显然也得益于对“忧郁美”的表现。正如美国学者金介甫教授所认为，倘若早期的“沈从文可能从郁达夫的小说中模仿了描写苦恼的陈词，但是截然不同的个性仍然在他情调忧郁的自传体作品中顽强地表现出来”。金介甫，沈从文笔下的中国社会与文化，上海：华东师范大学出版社1994，64。迄今来看，以《边城》为代表的沈从文作品之所以能在现代中国小说史上脱颖而出，无疑就在于它们将作者早有认识的“美丽总是愁人的”沈从文，沈从文散文选第77页，长沙湖南文艺出版社1981年版。这一道理，作了十分成功的表现。对于这一点，已故著名**明星格丽泰·嘉宝的魅力同样能够说明问题。曾几何时这位来自瑞典的女性技压群芳，成为那个时代最伟大的影幕皇后。诚如许多**研究评论家已指出的，嘉宝的演技虽不错，但“她的名望却是靠她的美貌取得的”。然而正像作为**美学开创者的匈牙利学者巴拉兹所说，只有美貌不可能对世界上成千上万的人都产生这样大的影响，世界上有许多绝色佳人，嘉宝自身的条件并不能使她登上这样一个绝顶的位置。在他看来，“嘉宝的美不只是一种线条的匀称，不只是一种装饰性的美。她的美还包含一种非常明确地表现了她的内心状态的外形美，这种美表现了某种特殊的、足以攫取人类心灵的东西”。这究竟是什么东西？忧郁！巴拉兹指出：“嘉宝是忧伤的。她不只是在某种情况下为了某种原因才愁容满面。嘉宝的美是受难的美，这种忧伤的性质是很明确的：这是孤寂的忧伤，这是一个不苟言笑的贞女内心的高贵的忧伤。即使在她扮演水性杨花的女人时也是如此：她从远处投来忧郁的目光，注视着无尽的远方。”所以，人们之所以如此这般地赞颂嘉宝的美，只是因为“她所有的是美中之冠”；虽然世上美人无数，但“在我们的感觉里，嘉宝的美是一种更优雅、更高贵的美，这恰恰是因为它带有忧伤和孤独的痕迹”。巴拉兹，**美学，北京：中国**出版社1979，306—307。

1. The artistic achievements of Shen Congwen's novels are obviously also due to his portrayal of the "melancholic beauty." As Professor Jin Jiapu of the United States believes, "Although it is possible that the early Shen Congwen might have imitated the hackneyed descriptions of distress from Yu Dafu's novels, the distinctly different personality still resolutely manifests itself in his melancholic autobiographical works." Jin Jiapu, Chinese Society and Culture in the Eyes of Shen Congwen, Shanghai: East China Normal University Press, 1994, 64. Looking back so far, the reason why Shen Congwen's works represented by "The Border Town" have stood out in the history of modern Chinese novels is undoubtedly because they have successfully expressed the idea that "beauty is always melancholic," as mentioned by Shen Congwen himself in his prose collection on page 77, published by Hunan Literature and Art Press, Changsha, 1981. This principle has been made manifest with great success. On this point, the charm of the late famous actress Greta Garbo can also illustrate the issue. Once upon a time, this woman from Sweden dominated the silver screen and became the greatest film queen of her era. As many researchers and critics have pointed out, although Garbo's acting was commendable, "her fame was achieved through her beauty." However, as the Hungarian scholar Balázs, the pioneer of aesthetics, said, beauty alone cannot have such a profound impact on millions of people in the world; there are many beautiful women in the world, and Garbo's own conditions were not enough to place her at such a peak position. In his view, "Garbo's beauty is not just about symmetry of lines, not just decorative beauty. Her beauty also includes a very clear manifestation of her inner state, which is a special kind of beauty that can captivate human hearts." What is it? Melancholy! Balázs pointed out: "Garbo is melancholic. She is not just sad in certain situations for some reason. Garbo's beauty is a suffering beauty, and the nature of this melancholy is very clear: it is the melancholy of solitude, the noble melancholy of a chaste woman who does not smile easily. Even when she plays the role of a flirtatious woman, she casts a melancholic gaze from a distance, gazing endlessly into the distance." Therefore, the reason why people praise Garbo's beauty in such a way is simply because "she possesses the most beautiful of all"; although there are countless beautiful women in the world, "in our perception, Garbo's beauty is a more elegant and noble beauty, precisely because it carries the traces of melancholy and solitude." Balázs, Aesthetics, Beijing: China Publishing House, 1979, 306-307.

2. 心理学家说：我们担心的事情，90%都不会发生。

2. Psychologists say: 90% of the things we worry about will never happen.

3. 我的一个朋友，随时都是愁眉苦脸，焦虑不安。

3. One of my friends is always frowning and anxious, restless.

4. 过去的事情，就让它过去吧！与其为过去做无意义的纠结，不如放下，全心全意开启崭新的生活。

4. Let bygones be bygones! It's better to let go and wholeheartedly embark on a new life than to be unnecessarily entangled in the past.

5. 西门闹不甘心，但阎王那里申诉，阎王吵得不耐烦，就把他打入畜牲道。

5.西门闹不甘心， but when he appealed to King Yama, King Yama grew impatient with the吵闹 and sent him to the畜牲道.

6. 心上装的事情太多，操心太多，各种各样的痛苦就会接踵而至，让你不得安宁。而放下心中万事，清心寡欲，顺其自然，随遇而安，接受发生的一切，人生自然自由自在。

6. Having too many things on one's mind and being overly concerned, various kinds of sufferings will follow one after another, causing one to be unable to find peace. However, by letting go of all matters in one's heart, maintaining a calm and moderate nature, going with the flow, adapting to whatever comes along, and accepting everything that happens, life will naturally be free and easy.

7. 后来，西门闹幡然悔悟：怨恨是一种毒药，纠缠越深，受到的伤害就越大。

7. Later, Ximen Nao suddenly realized: resentment is a poison; the deeper the entanglement, the greater the harm it causes.

8. 短暂是我们人类与地上一切的共同点，以自我意识渴望永恒而个体生命难以持久的冲突所引起的“存在之哀”，便构成了人类生命最为基本的生命体验。布德尔说得好：“作为一个人无论你是谁，你的生命存在都是稍纵即逝的。为了这短暂的存在你终日都在疲于奔命，在你周围大自然的一切都在摇摆动荡、更迭替变。宇宙间的万物都在进行着令人眼花缭乱的旋转。相比之下，你的一生充其量不过是刮过的一阵旋风而已。”布德尔，艺术家眼中的世界，沈阳：辽宁美术出版社1990，20—94。在这一点上，艺术家的敏感让古今中外的诗人们殊途同归：正如屈原在《离骚》有言：“汨余若将不及兮／恐年岁之不吾与／朝搴陛之木兰兮／夕揽洲之宿莽／日月忽其不淹兮／春与秋其代序／惟草木之零落兮／恐美人之迟暮。”拉马丁在其《巴亚湾》一诗里也感叹：“什么都变化，什么都过去／同样地我们也会过去／也不留下半点痕迹／就像我们这只小船滑行在海上／大海会把它的一切痕迹抹去。”由此可见，如果说喜剧感意味着为胜利所陶醉，悲剧性意味着对失败的正视，那么悲剧的美学品质通常会超过那些一般性的喜剧，而那些杰出的喜剧作品则都离不开悲剧的赞助。就像歌德所说：莫里哀是伟大的，他的喜剧作品跨到了悲剧界限边上。他的《悭吝人》使利欲消灭了父子之间的恩爱，是特别伟大的，带有高度悲剧性。

8. Briefness is the commonality between us humans and all things on the earth. The "existential sorrow" caused by the conflict between the desire for eternity through self-awareness and the difficulty of individual life to endure constitutes the most fundamental life experience of human life. As Baudelaire aptly said, "As a human being, no matter who you are, your life is fleeting. You are busy running around all day long for this fleeting existence, while everything around you in nature is fluctuating, changing, and replacing each other. All things in the universe are undergoing dazzling rotations. Compared to this, your entire life is no more than a whirlwind passing by." Baudelaire, The World in the Eyes of an Artist, Shenyang: Liaoning Fine Arts Publishing House, 1990, 20-94. On this point, the sensitivity of artists leads poets from all times and places to converge: as Qu Yuan said in his poem "Liu Xiang," "I fear that I will not catch up with time / I am afraid that the years will not wait for me / In the morning, I pick the magnolia at the steps / In the evening, I embrace the wild grass on the island / The sun and the moon suddenly do not sink / Spring and autumn follow each other / Only the falling of the grass and trees / I am afraid that the beauty of the fair will fade." In his poem "Bay of Bae," Lamartine also sighed, "Everything changes, everything passes / Similarly, we will also pass / And leave no trace / Just like this little boat gliding on the sea / The sea will erase all its traces." From this, if we say that humor means being drunk with victory, and tragedy means facing failure, then the aesthetic quality of tragedy usually surpasses that of general humor, while outstanding comedic works are inseparable from the sponsorship of tragedy. As Goethe said, Molière is great, his comedic works have crossed the boundary of tragedy. His "The Miser" shows how greed destroys the love between father and son, which is particularly great and highly tragic.

9. 卡耐基讲过他的朋友伊丽莎白的故事。

9. Carnegie has told the story of his friend Elizabeth.

10. 所以，真正的忧郁性总是与幽默感形成某种同盟关系，无非“忧郁是添加了轻松感的悲哀，而幽默则是失去了实体重量感的喜剧”。卡尔维诺，未来千年文学备忘录，沈阳：辽宁教育出版社1997，5—14。真正的忧郁意识与通常那些大量的感伤哀怨情绪的实质性区别在于：后者是取自于生活的原汁原味的缠绵绯恻和不堪忍受的现实之痛，前者则正如普希金所说，是一种具有“暖色调”的“明亮的哀愁”，因而不仅因体现了较通常那种哀怨之情以更多的人性的温暖而让人能够承受，而且也因此而具有真正的审美品位。显然，如果说忧郁中的“哀愁”意味在于其对于美的毁灭的心理拒绝，那么其所具有的“明亮”色调则表现出它的这种拒绝的矛盾性，换言之，也即在作为否定的拒绝之中仍有某种作为肯定的认同。(

10. Therefore, true melancholy always forms some kind of alliance with humor, simply put, "Melancholy is sorrow with a touch of ease, while humor is comedy that has lost the tangible weight of reality." Calvino, The Memoirs of the Literature of the Future Millennium, Shenyang: Liaoning Education Press, 1997, 5-14. The essential difference between true melancholic awareness and the usual abundant sentiments of sorrow and grief is that the latter is derived from the poignant and unbearable pain of reality, while the former, as Pushkin said, is a "bright sorrow" with a "warm hue." Therefore, it is not only bearable because it embodies more human warmth than the usual grief, but it also possesses genuine aesthetic taste. Clearly, if the meaning of "sorrow" in melancholy lies in the psychological refusal of the destruction of beauty, then the "bright" hue it possesses shows the contradiction of this refusal. In other words, there is still something of an affirmative recognition within the negative refusal.

11. 有一次求职面试，他一个劲地和我说：参加面试的人那么多，一定有一些厉害角色，我该怎么办呀。如果我失去工作机会，就挣不到钱，买不了房，就找不到老婆，那么晚年会很惨，卧病在床也没人照顾。并且，我的父母也会很伤心，现在我都能想到父母因为我的面试失败而唉声叹气的样子。

11. During a job interview, he kept on telling me, "There are so many people interviewing for this position, and there must be some formidable competitors. What should I do? If I miss out on this job opportunity, I won't be able to earn money, buy a house, and then I won't be able to find a wife. My old age would be incredibly difficult, lying on the bed with no one to take care of me. Moreover, my parents would be very upset. I can already imagine the sighs of regret my parents would have because of my interview failure.

12. 在《生命中不能承受之轻》里，托马斯之所以能为萨宾娜和特丽莎这两位出色女人如此地爱，是由于他拥有活跃的生命力，这让他无法专注于其中的任何一位。萨宾娜认可了这个“美是一个叛逆世界”的原则，但她没意识到这个原则既能带给她快乐也能给予她伤害的两面性。特丽莎不认可这个原则，渴望与托马斯终生相伴，为此她甚至愿意成为托马斯“一夫多妻生活中的另一个自我”；但她明白这一愿望实现之日也是其破灭之时，因为真正甜蜜的爱情与平庸的幸福从来不能两全。所以当这一切随着一场意外车祸而结束，虽显得如此残酷但又是那么的幸福，我们为如此美好的缘份只有死神方能为其祝福而深感震憾。爱情如此，生命亦然。对人类的永生渴望，上帝从不理会这有其人类学道理。比如在小说《人都是要死的》里，作者波伏娃借因喝下了神秘之水而能够长生不老的男主角雷蒙·福斯卡的遭遇让我们看到，这一道教徒们的终极理想不仅并非真正的幸事，反而是让生命失去价值的蠢事。

12. In "The Unbearable Lightness of Being," Thomas is able to love both Sabina and Tereza, these two outstanding women, so deeply because of his vibrant vitality, which prevents him from focusing on any one of them. Sabina acknowledges the principle that "beauty is a rebellious world," but she is unaware of the duality of this principle, which can bring her both joy and pain. Tereza does not acknowledge this principle and yearns to be with Thomas for life, even willing to become "another self" in Thomas's polygamous life; but she understands that the day her wish is fulfilled is also the day it is shattered, because true love and average happiness can never coexist. So when everything comes to an end with a tragic car accident, which seems so cruel yet so happy, we are deeply moved by the fact that only death can bless such a beautiful destiny. Love is like this, and so is life. God never heeds the human desire for immortality, which has anthropological reasons. For example, in the novel "All Men Are Mortal," the author Simone de Beauvoir uses the character Raymond Folcard, who can live forever after drinking a mysterious elixir, to show us that the ultimate ideal of Taoists is not a true blessing but a foolish act that robs life of its value.

13. 世上本无事，庸人自扰之。

13. There is no trouble in the world, but the fool makes trouble for himself.

14. “无论我在哪里，无论我们相隔多远，我都会记得你教我要做个男子汉，不管发生什么，都勇敢接受。”

14. "No matter where I am, no matter how far apart we may be, I will always remember the lessons you taught me to be a manly person, to bravely face whatever comes."

15. 哲学家冯友兰说：“人自然会走对的路，原不需你操心打量的。遇事便随感而应，这随感而应，通常是对的。”

15. The philosopher Feng Youlan said, "People will naturally take the right path, and there is no need for you to worry or take notice of it. When faced with matters, one should respond intuitively, and such intuitive responses are usually correct."

16. 他先后变成猪狗猴等动物，不管在哪一世轮回，都牢记自己的仇恨，然而每一次纠缠，都受到更深的伤害。

16. He successively transformed into animals such as pigs, dogs, and monkeys, and regardless of which life cycle he was in, he always remembered his hatred. However, with each entanglement, he suffered even deeper wounds.

17. 所以雪莱说道：“最甜美的诗歌就是那些诉说最忧伤的思想的，最美妙的曲调总不免带有一些忧郁。”雪莱，为诗辩护，十九世纪英国诗人论诗，北京：人民文学出版社1984，150。这道出了审美活动中所存在的这一生命悖论：一方面美的现象不属于“完美”，因为“各方面皆完美的事物既是完全的终止，又无任何不足，从而它对于欲望什么也没有留下”。马利坦，艺术与诗中的创造性直觉，北京：三联书店1991，140。但另一方面，这并不能阻止人们仍为实现完美的理想而努力，就像别尔嘉耶夫所说：“人的确不能不追求完美，即不能不向往上帝之国。”别尔嘉耶夫，人的奴役与自由，贵阳：贵州人民出版社1994，182。因而依托绝望坚守信念这便是忧郁的力量与深刻，忧郁借此带给我们关于

17. Thus Shelley said, "The sweetest poetry is that which expresses the most sorrowful thoughts, and the most wonderful melodies always carry some trace of melancholy." Shelley, in Defense of Poetry, a discussion on poetry by a 19th-century British poet, Beijing: People's Literature Publishing House, 1984, p. 150. This points out the life paradox that exists in the aesthetic activity: on the one hand, the phenomenon of beauty does not belong to "perfection" because "a thing that is perfect in all respects is both a complete end and has nothing lacking, thus it leaves nothing for desire." Maritain, Creative Intuition in Art and Poetry, Beijing: Sanlian Bookstore, 1991, p. 140. On the other hand, this does not prevent people from striving for the ideal of perfection, as Beliyayev said: "People cannot help but pursue perfection, that is, cannot help but yearn for the Kingdom of God." Beliyayev, Slavery and Freedom of Man, Guiyang: Guizhou People's Publishing House, 1994, p. 182. Therefore, relying on despair and holding on to beliefs is the power and profundity of melancholy, which brings us about...

18. 不管遇到什么事，他都会念念叨叨，焦虑痛苦，仿佛那一件事失败了，他的整个命运都会完蛋。

18. No matter what happens, he will keep on complaining and feeling anxious and distressed, as if the failure of that one thing would doom his entire destiny.

19. 人活着，就是图个高兴。余生，愿我们放下一些事情，不多操心，取悦自己，愉快生活。

19. Life is about seeking happiness. In the remaining years, may we let go of some things, not worry too much, please ourselves, and live a joyful life.

20. 对于未来的事情，焦虑毫无意义。兵来将挡，水来土掩，见招拆招，如此而已。

20. Worrying about future matters is meaningless. As the saying goes, "When the enemy comes, meet them; when the water comes, cover it with earth; deal with whatever comes up as it comes." That's all there is to it.

21. 从自然与生命的角度讲，事物的存在状况总是趋于有序性减少与组织化程度降低的方向。生命现象更是有其由盛至衰的发展周期，越是高级的组织结构越是要消耗更多的能量，因而维持下去的困难也就相应地更大。唯其如此，著名未来学家托夫勒指出：“第二定律指向一个逐渐均匀的未来，从人的观点来看，这是一个悲观的未来。”托夫勒，科学的变化，普里戈金，从混沌到有序，前言，上海：译文出版社1987，16。这突出地表现于个体生命的有限性上。雅斯贝尔斯说得好：“生命会腐朽。意识到这件事本身就是悲剧：每一次毁灭及导致毁灭的痛苦都来自一个统摄的基本实在。”雅斯贝尔斯，悲剧的超越，北京：工人出版社1988，101。著名波兰人文学者柯拉柯夫斯基也曾提出：“死即一切。人类个体不可避免的消亡在我们看来是生存的终极失败。”柯拉柯夫斯基，宗教：如果没有上帝，北京：三联书店1997，147。由此而言，生命意识同样也是一种死亡意识，也即对生命的短暂性的悲伤，以及由此而来的种种人生体验。英国散文家赫兹列曾对此作过一番很好的表达，如同他所说：“我们阅读历史，眼前王朝倾覆、朝代更迭；我们感叹世事沧桑，往事如烟；我们思索着我们所生活的此时此地，我们既是人生舞台的看客，又是演员；眼见四季更迭，春去秋来，寒来暑往；我们亲历世态炎凉，快乐悲伤，美丽丑陋，是非短长；我们感受着大自然的风风雨雨，体念着这光怪陆离世界的离合悲欢；我们倾听着密林中野鸽的吟唱，游览高山大谷的风光；我们聆听子夜的神圣歌声，造访灯火通明的厅室或幽暗的教室；我们还置身拥挤的剧院，观看生活本身受到摹仿；我们钻研艺术作品，使自己的美感升华到顶峰；我们崇拜名誉，梦想不朽；我们眺望梵蒂冈，阅读莎士比亚；我们凝聚了古人的智慧思索着未来的时光；我们观看战争的骄子，听他们发出胜利的呼喊；我们穷究历史，考察人心的动向；我们追求真理，为人道的事业辩护；我们傲视当世，似乎时间与自然已把所有财富都堆在我们脚前。我们活着，经历着这一切，但是转眼之间，我们变得一无所有。”赫兹列，赫兹列散文精选，北京：人民日报出版社1999，65。

21. From the perspective of nature and life, the state of existence of things always tends towards a decrease in order and a reduction in the degree of organization. Life phenomena also have their development cycle from prosperity to decline, and the more advanced the organizational structure, the more energy is consumed, and the more difficult it is to maintain. It is for this reason that the famous futurist Alvin Toffler pointed out: "The second law points to a future that is increasingly uniform, and from a human perspective, this is a pessimistic future." Alvin Toffler, The Shift of the Paradox, Shanghai: Translation Press, 1987, 16. This is particularly evident in the finitude of individual life. As Jaspers said, "Life decays. The realization of this fact itself is a tragedy: every destruction and the pain leading to destruction comes from a fundamental reality that encompasses all." Jaspers, The Transcendence of Tragedy, Beijing: Workers Press, 1988, 101. The famous Polish humanist Kolarczyk also once proposed: "Death is everything. The inevitable extinction of the individual human being appears to us as the ultimate failure of existence." Kolarczyk, Religion: If There Is No God, Beijing: Sanlian Press, 1997, 147. In this regard, life consciousness is also a death consciousness, that is, the sadness of the brevity of life, and the various experiences of life that arise from it. The British essayist Hazlitt once made a very good expression of this, as he said, "We read history, with the fall of dynasties and the change of eras before our eyes; we sigh at the vicissitudes of life, and the past like smoke; we ponder the time and place we live in, and we are both spectators and actors on the stage of life; we witness the change of seasons, spring to autumn, cold to summer; we experience the vicissitudes of life, happiness and sadness, beauty and ugliness, right and wrong; we feel the wind and rain of nature, experiencing the joys and sorrows of this strange world; we listen to the cooing of wild pigeons in the dense forest, and enjoy the scenery of high mountains and deep valleys; we listen to the sacred songs of midnight, visit the brightly lit rooms or dark classrooms; we are also in crowded theaters, watching life itself being imitated; we study works of art, raising our aesthetic appreciation to the peak; we worship fame, dreaming of immortality; we gaze at the Vatican, reading Shakespeare; we condense the wisdom of the ancients and think about the future; we watch the heroes of war, hearing their victory shouts; we study history, examining the trends of human hearts; we pursue truth, defending the cause of humanity; we look down on the world, as if time and nature have piled all wealth at our feet. We live, experiencing all this, but in a moment, we become nothing." Hazlitt, The Best of Hazlitt, Beijing: People's Daily Press, 1999, 65.

22. 当她整理行装，在衣橱里发现侄子曾经写给自己的一封信：

22. As she packed her belongings, she found a letter that her nephew had once written to her in the closet.

23. 在某种意义上，艺术之道也就在于如何将忧郁体验成功地转化成审美的形式。事实表明，忧郁美向来是那些不同凡响之作的共同特征，置身于这些艺术杰作之中，我们到处都能感受到里尔克所说的那种“美得令人耳目一新的忧愁”。里尔克，里尔克如是说，北京：中国友谊出版公司1993，19。比如中国古代首部诗集《诗经》。在某种意义上，正是忧郁意识构成了这部诗集的美学特色，所谓“心之忧矣，我歌且谣”(《诗经·魏风·园有桃》)。比如《诗经·王风》里的“黍离”：“彼黍离离／彼稷之苗／行迈靡靡／中心摇摇／知我者／谓我心忧／不知我者／谓我何求／悠悠苍天／此何人哉？”众所周知，按照权威的《毛诗序》里的解释，这是一位东周大夫凭吊西周故国遗址时所发的一番感叹，诗中流露的那种鲜明的忧郁意识在我国的诗性文化中开了“忧郁美”的风气之先。虽然也有学者为诗中并无明显的凭吊之意，而对此传统之说不以为然。程俊英，诗经译注，上海：上海古籍出版社1985，122。但有一点无可置疑：此诗的成功之处就在于突出“心忧”这一行为本身，虚化具体的忧之内容。换言之，这其实是一首“忧郁咏叹调”，故而从某种意义上讲，此诗的成功就意味着对忧郁美的独特意义的一种肯定。日本作家川端康成小说的魅力也可以“忧郁美”来一网打尽。一位中国读者曾形容道：“他的作品中有一缕缕氤氲首尾的凄凉，构成了含蓄的悲剧美。”叶渭渠，川端文学的意义和价值，雪国·古都·千只鹤，序，上海：译林出版社1996。这无疑是中肯之见。读着那些优美的文字，品味其所反复表现的美的毁灭故事，你会明白伟大的卡夫卡的这段话的贴切与深刻：如果说艺术在其最基本的层次上就是对逝水流年的一种追忆，那么“美好的回忆掺进忧伤味道更好”。雅努施，卡夫卡对我说，长春：时代文艺术出版社1991，154。迄今已成为20世纪最佳小说之一的米兰·昆德拉的代表作《生命中不能承受之轻》，更是一部以忧郁美取胜的作品。就像小说尾声部分所叙述的：当善良美丽的女主人公特丽莎历经艰辛终于如愿以偿地，在一座乡村酒吧里把头靠在了她心爱的托马斯的肩膀上时，“她体验到奇异的快乐和同样奇异的悲凉。悲凉意味着：我们处在最后一站。快乐意味着：我们在一起”。

23. In a certain sense, the way of art also lies in how to successfully transform the experience of melancholy into an aesthetic form. The fact is that melancholic beauty has always been a common feature of extraordinary works. Among these artistic masterpieces, we can everywhere feel the "refreshing melancholy" that Rilke speaks of. Rilke, as he said, Beijing: China Friendship Publishing House, 1993, 19. For example, the "Book of Songs," the first collection of poems in ancient China. In a certain sense, it is the consciousness of melancholy that constitutes the aesthetic characteristics of this collection of poems, as in "My heart is worried, I sing and chant" (Book of Songs · Wind of Wei · Peach Garden). For example, the "Millet" in the Book of Songs · King's Wind: "The millet is scattered / The millet seedlings are scattered / Walking slowly, the heart is fluttering / Those who know me say that my heart is worried / Those who do not know me say what I seek / The vast sky, who is this person?" As is well known, according to the authoritative "Mao's Preface to the Book of Songs," this is a sigh of a minister of the Eastern Zhou Dynasty mourning the ruins of the Western Zhou capital. The distinctive consciousness of melancholy in the poem opened the precedent of the style of "melancholic beauty" in our poetic culture. Although some scholars believe that there is no obvious mourning in the poem and do not agree with this traditional interpretation. Cheng Junying, Annotations of the Book of Songs, Shanghai: Shanghai Ancient Books Publishing House, 1985, 122. But one thing is beyond doubt: the success of this poem lies in highlighting the act of "being worried" itself, and weakening the specific content of worry. In other words, this is actually a "melancholic song," so in a certain sense, the success of this poem means a unique affirmation of the significance of melancholic beauty. The charm of the Japanese writer Kawabata's novel can also be summed up in "melancholic beauty." A Chinese reader once described it: "His works have a melancholic atmosphere from beginning to end, forming a reserved tragic beauty." Ye Weiqu, The Significance and Value of Kawabata's Literature, Snow Country · Ancient Capital · Thousand Cranes, Preface, Shanghai: Yilin Publishing House, 1996. This is indeed a fair assessment. Reading those beautiful words, appreciating the repeated representation of the story of the destruction of beauty, you will understand the appropriateness and profundity of this great Kafka's words: "If art, at its most basic level, is a nostalgia for the passing years, then 'good memories mixed with a taste of sadness are better'." Janusch, Kafka tells me, Changchun: Times Literature and Art Publishing House, 1991, 154. So far, Milan Kundera's representative work "The Unbearable Lightness of Being," which has become one of the best novels of the 20th century, is also a work that triumphs with melancholic beauty. Just as the ending of the novel describes: when the kind and beautiful female protagonist, Tereza, after going through hardships, finally fulfills her wish and leans her head on the shoulder of her beloved Tomas in a country bar, "she experiences a strange joy and an equally strange melancholy. Melancholy means: we are at the last station. Joy means: we are together."

24. 是啊，无论发生什么事，都勇敢接受。伊丽莎白恍然大悟，走出了丧失侄子的阴影。

24. Yes, be brave and accept whatever happens. Elizabeth suddenly realized and walked out of the shadow of losing her nephew.

25. 作为一种审美现象的悲剧形态必须能给人以美的体验，为此，如何让受众能够承受住悲情与哀思是关键所在。一切让人走向相对主义和怀疑主义的思想都并非真正的思想，而只是以思想的形式出现的伪思想；任何不能给人以希望的情感都是对生命的压抑，因而也都不具有真正的审美品质。唯其如此，正如鲁迅当年写作《药》的结尾时，在烈士“夏瑜”的坟墓上“凭空添上去一个花圈”，某种形式的乌托邦情景对于审美世界而言是一种不可缺少的因素。因为事情正是这样：无论科学主义世界观作何判决，都不能改变这一事实：“我们不会使自己顺服于如下的观念：终有一天我们都将消失。”这一人类学立场既是我们生命价值的根据地，同样也是人类审美事业的大本营。因为唯有这种乌托邦追求方能给予我们真正人性的温暖，使本无所谓“意义”的生命过程变得相对充实。所以乌纳穆诺指出：“美得自于同情。”乌纳穆诺，生命的悲剧意识，哈尔滨：北方文艺出版社1987，147—149。而最大的同情无疑莫过于给人以生存的勇气，所以审美体验不能是对现实生活的消极逃避，但却必须是对实际存在中的那种消极力量作出积极的超越。如果说一般的悲剧作品所采取的是“否定之否定”的形式，也即通过激发起我们的生命力来增强相应的承受力，以获取一种阳刚美的体验；那么忧郁美的产生则是通过减轻而非消解痛苦的方法来让受众便于承受悲情，以获得一种刚柔相济的美感。这也就是卡尔维诺所说的“轻”之审美价值，只不过这种轻如同象征派诗人瓦莱里所说，并非如羽毛般的没有真正值得一提的重量，而是指像飞鸟般地具有一种生命的自由轻快。

25. The form of tragedy as an aesthetic phenomenon must be able to provide people with an aesthetic experience. For this reason, how to enable the audience to bear the sorrow and grief is the key. Any thought that leads people to relativism and skepticism is not true thought but pseudo-thoughts in the form of thought; any emotion that does not give people hope is an oppression of life, and therefore does not possess true aesthetic qualities. Only in this way, as Lu Xun added a wreath to the grave of the martyred "Xia Yu" when he wrote the ending of his work "The Drug," a certain form of utopian scenario is an indispensable factor in the aesthetic world. Because the fact is: no matter what judgment the scientific worldview makes, it cannot change the fact: "We will not submit to the idea that we will all disappear one day." This anthropological stance is both the foundation of our life value and the headquarters of the human aesthetic endeavor. Because only this utopian pursuit can give us the warmth of true humanity, making the life process that is inherently meaningless relatively rich. Therefore, Unamuno points out: "Beauty comes from sympathy." Unamuno, The Tragic Consciousness of Life, Harbin: Northern Literature and Art Press, 1987, 147-149. And the greatest sympathy is undoubtedly to give people the courage to live. Therefore, aesthetic experience cannot be a negative escape from real life, but it must be a positive transcendence of the negative forces in actual existence. If we say that the general form of tragic works is "the negation of negation," that is, by stimulating our vitality to enhance the corresponding endurance, in order to obtain a sense of yang beauty; then the generation of melancholic beauty is through reducing rather than dissolving pain, making it easier for the audience to bear the sorrow and obtain a sense of beauty that combines gentleness and strength. This is what Calvino refers to as the aesthetic value of "lightness," but this lightness, as the Symbolist poet Valéry said, is not as weightless as feathers but refers to a kind of freedom and lightness of life like a flying bird.

26. 伊丽莎白最宠爱的侄子在战争中去世，她肝肠寸断，丧失了继续生活下去的勇气。她辞掉工作，打算寻找一个与世隔绝的地方，了却残生。

26. Elizabeth's most favored nephew died in the war, and she was heartbroken, losing the courage to continue living. She quit her job, intending to find a secluded place to spend the remainder of her life.

27. 在人类的审美实践中，忧郁体验曾经十分引人注目。尤其在十九世纪，争芳斗艳的浪漫主义运动正是在忧郁这面旗帜下列队聚集，形成了一种声势浩大的审美主潮。时至今日，那些多愁善感的故事迄今早已成为如烟往事。一个轻歌曼舞的世纪已来临，一种前所未有的快乐哲学日益深入人心。但那曾经是如此地感人至深的忧郁体验，是否已离我们而去？“许多年过去了，曾经逗我们那样欢笑，自己也如此欢笑过的朋友们都逝去了”。诺安，笑的历史，北京：三联书店1987，5。当我们在阅读中同这些既熟悉又陌生的声音不期而遇，便会发现那种莫可名状的体验仍在身旁。忧郁意识从未、也不会彻底离我们而去，如何对“忧郁”与美的关系进行真正深入的研究，这也仍是现代美学所必须面对的一个问题。

27. In the aesthetic practice of humans, the experience of melancholy has once been very prominent. Especially in the 19th century, the flourishing Romantic movement gathered under the banner of melancholy, forming a powerful aesthetic mainstream. Today, those melancholic stories have long become a distant memory. An era of light songs and graceful dances has arrived, and a new philosophy of happiness, unprecedented in history, is gaining popularity. But has the once deeply moving experience of melancholy left us? "Many years have passed, and the friends who once amused us with laughter, and ourselves laughed so much, have all passed away." Nuoan, The History of Laughter, Beijing: Sanlian Press, 1987, p. 5. When we encounter these familiar yet unfamiliar voices in our reading, we find that the inexplicable experience is still present. The consciousness of melancholy has never and will never completely leave us. How to truly and deeply study the relationship between "melancholy" and beauty remains an issue that modern aesthetics must face.

28. 既然无处可逃，不如喜悦。既然没有净土，不如净心。既然没能如愿，不如释怀。

28. Since there is nowhere to escape, might as well be joyful. Since there is no pure land, might as well purify one's heart. Since one cannot fulfill one's wishes, might as well let go and release.

29. 忧郁意识曾经是人类诗性文化的源头，是造就艺术伟人所不可或缺的精神养分。俄国文学家契柯夫曾表示：“我的忧伤是一个人在观察真正的美的时候所产生的一种特殊的感觉。”转引自叶尔米洛夫，论契柯夫的戏剧创作，北京：中国戏剧出版社1985，179。有“幽默大师”之誉的俄国作家左琴科写道：“我一回想起我的青年时代就感到惊讶，我那时怎么会那么忧伤。一切到了我手里就黯然失色，忧郁寸步不离地跟踪着我。自当了作家之后我的生活发生了巨变，然而忧郁却一如既往。不尽如此，它光顾我的次数越来越频繁了。”左琴科，日出之前，天津：百花文艺出版社1997，7—11。在法国诗人克洛代尔看来，“创造行为”是一种“包含着真福与痛苦的混合物”。他在一篇散文里说：“为了让你懂得它，朋友，在一个阴郁的季节即将来临的时候，我将对你解说水的哀愁。”克洛代尔，认识东方，天津：百花文艺出版社1997，86。在现代雕塑大师布德尔的身上，这种似乎是没来由的忧郁感更为强烈，他曾直率地承认，“我感到徐徐吹来的微风，弥漫着温柔和忧郁的情感”，而在这微风中，“美在弥漫飘逸，美在展拓扩散，美也在忧伤惆怅”。布德尔，艺术家眼中的世界，沈阳：辽宁美术出版社1990，19—94。但忧郁意识既能造就诗人也会毁灭诗人。据说历史上最后一位行吟诗人于1294年在西班牙的阿方索王宫去逝，他留下的临终之言是：“诗歌应该表现欢乐，但我在内心的忧郁压抑下唱不起来了。”房龙，人类的艺术上，北京：中国和平出版社1996，228。中国词人辛弃疾也说过：“少年不识愁滋味／爱上层楼／爱上层楼／为赋新词强说愁‖而今识尽愁滋味／欲说还休／欲说还休／却道天凉好个秋。”(《丑奴儿》)

29. The sense of melancholy once served as the source of human poetic culture and was an indispensable spiritual nourishment for the creation of artistic geniuses. The Russian writer Chekhov once said, "My sadness is a special feeling that arises in a person when observing true beauty." Quoted from Yermilov, On Chekhov's Dramatic Works, Beijing: China Drama Press, 1985, p. 179. The Russian writer Zoshchenko, who was known as the "Master of Humor," wrote, "I am surprised whenever I recall my youth; how could I have been so melancholic at that time? Everything seemed to lose its luster in my hands, and melancholy followed me everywhere. After becoming a writer, my life underwent a dramatic change, but melancholy remained the same. Not only that, but it visited me more and more frequently." Zoshchenko, Before the Dawn, Tianjin: Baihua Literature Press, 1997, pp. 7-11. In the view of the French poet Claudel, "the act of creation" is a "mixture of bliss and suffering." In an essay, he said, "To make you understand it, my friend, as the season of gloom is about to arrive, I will explain to you the sorrow of water." Claudel, Understanding the East, Tianjin: Baihua Literature Press, 1997, p. 86. On the modern sculptor Bourdelle, this seemingly groundless sense of melancholy was even stronger. He frankly admitted, "I feel the gentle breeze blowing slowly, filled with tenderness and melancholy," and in this breeze, "beauty is diffused and flutters, beauty expands and spreads, and beauty is also in sorrow and melancholy." Bourdelle, The World as Seen by Artists, Shenyang: Liaoning Fine Arts Press, 1990, pp. 19-94. However, the sense of melancholy can not only create poets but also destroy them. It is said that the last wandering minstrel in history died in 1294 at the Palace of King Alfonso in Spain, leaving his last words: "Poetry should express joy, but I cannot sing it under the inner oppression of melancholy." Van Loon, The Art of Man, Beijing: China Peace Publishing House, 1996, p. 228. The Chinese poet Xin Qiji also said: "In my youth, I did not know the taste of sorrow / In love, I climbed the upper stories / In love, I climbed the upper stories / To write new verses, I forced myself to express sorrow / But now, I have experienced all the taste of sorrow / Want to speak, but cannot stop / Want to speak, but cannot stop / And only say that autumn is good with the cool weather." (Shou Nu'er)

30. 莫言的《生死疲劳》里，有一个叫西门闹的地主，处处与人为善，却被人陷害，蒙冤而死。

30. In Mo Yan's novel "Life and Death Are Wearing Me Out," there is a landlord named Ximen Bao who is always kind to others but is betrayed and framed, ultimately dying in冤.

31. 事来顺应，事去不念。若无闲事在心头，自是人间好时节。一个人不快乐，主要是因为操心太多。烦心事多了，清除不出去，人生就会在痛苦里沉沦。

31. Adapting to what comes and not thinking of what has passed. If there are no trivial matters in the heart, it is naturally a good season in the world. A person's unhappiness mainly stems from too much worry. With too many烦恼 matters, if they cannot be cleared away, life will sink into suffering.

32. 但这只是对悲痛的一种沉湎于其中的品味，没有作出任何形式的超越：无论是对于大自然的伤春悲秋之绪，还是对于人世间的悲欢离合之情，诗人们所表达的主要也只是一种单纯的惋惜与难过之意。如同《传》所说：“春，女悲，秋，士悲；感其物化也。”如“试细听莺啼莺语／分明共人愁绪／怕春去”(袁去华《剑器近》)，和“自在飞花轻似梦／无边丝雨细如愁”(秦观)。以及“多情自古伤别离／更那堪，冷落清秋节／今宵酒醒何处／杨柳岸，晓风残月”(柳永《雨霖铃》)，“多少蓬莱旧事／空回首，烟霭纷纷”(秦观《满庭芳》)，和“日暮孤帆泊何处／天涯一望断人肠”(孟浩然《送杜十四之江南》)。作为其情感背景的，是对天长地久般好事长盛不衰好福长享不尽好命长生不老的超人仙境的渴望。这种与天地之道的无理性对抗毫无疑问是一条穷途末路，故而让人无比压抑；其所具有的哀怨、悲凄、伤心、愁苦之情虽能给人以一定的阴柔之美，但经受过久体验过多会让人难以承受，所以不仅需要作出某种消解而且也能够被消解。这便是彻底清除情感世界，让自己的生命毫无任何牵挂。就像唐代诗人王维所说：“一生几许伤心事／不向空门何处销”(《叹白发》)。但问题是，如同真正的悲剧美在于对不幸的从容面对而非逃避，真正的悲剧享受在于对痛苦的承受而非消解。所以，当那种无奈之悲让我们从痛不欲生走向视生如死，审美意味也随着我们的痛苦情感的彻底退潮而名存实亡。这种矛盾对于具有诗人气质的生命主体是无法调和的，就像曾几何时，一边自慰着“死生无可无不可／达哉达哉白乐天”的白居易，一边又在坦白“外容闲暇中心苦／似是而非谁得知”。诗人所身临的这种生存困境事实上已向我们揭示出，千百年来一直为中国古人们所承袭传唱的那种悲伤哀怨之曲，内在地蕴有一种反美学的东西。它充其量也只是悲剧美形态里的下品。

32. But this is merely a kind of indulgence in grief, without any form of transcendence: whether it is the sentiment of spring and autumn sadness in nature, or the feelings of joy and sorrow in the world of humanity, what poets mainly express is only a simple sense of regret and sorrow. As the Book of History says: "In spring, women are sad, and in autumn, scholars are sad; they are moved by the transformation of things." Such as "Try to listen to the oriole's cry and language / Clearly sharing people's worries / Afraid of the spring going" (Yuan Qihua's "Jianqi Jin"), and "Flying flowers effortlessly like dreams / Endless silk rain fine as sorrow" (Qin Guan). And "Since ancient times, the sentiment of love has been hurt by separation / More so, the cold and quiet autumn / Where will I be when I wake up from this night's wine? / Willow banks, the remaining breeze and moon" (Liu Yong's "Yulinling"), "How many memories of Penglai / In vain to turn back, smoke and misty" (Qin Guan's "Man Ting Fang"), and "Where will the lonely sail moor at dusk / A distant look breaks one's heart" (Meng Haoran's "Sending Du Shi Four to the South of the Yangtze River"). The desire for an immortal realm where good things last forever, and happiness and longevity are endless, serves as the emotional background. This irrational confrontation with the way of heaven and earth is undoubtedly a dead-end, hence the immense pressure it brings; the feelings of resentment, sadness, heartache, and sorrow it possesses may give people a certain beauty of gentleness, but after experiencing it for a long time, it becomes hard to bear, so it not only needs to be resolved but can also be resolved. This is to thoroughly cleanse the emotional world and let one's life be free of any attachments. As the Tang Dynasty poet Wang Wei said: "How many heart-wrenching things in a lifetime / Where can they be resolved without turning to emptiness" ("Bai Fa")? But the problem is, just as the true beauty of tragedy lies not in escaping from misfortune but in facing it calmly, the true enjoyment of tragedy lies not in resolving pain but in enduring it. Therefore, when this无奈之悲 leads us from the point of despair to treating life as death, the aesthetic meaning also dies out with the complete ebb of our emotional pain. This contradiction is unresolvable for a life subject with a poetic temperament, just as Bai Juyi, who at one time comforted himself with "Life and death are all in vain / How great is the great Dabai," and at the same time confessed "The exterior seems leisurely, but the heart is bitter / Who knows what is true and what is false?" The kind of survival predicament that poets face in fact reveals to us that the sad and melancholic songs inherited and sung by ancient Chinese people for thousands of years inherently contain something anti-aesthetic. At most, it is only a low-grade form of tragic beauty.

33. 对于无法改变的事情，一切情绪都只是消耗自己。遵从天意，接受命运的安排，活好当下的自己，才是最重要的事情。

33. For things that cannot be changed, all emotions are just a waste of oneself. Yielding to the will of heaven and accepting the arrangement of fate, living well in the present moment is the most important thing.

34. 放下过去，其实是解放自己。

34. Letting go of the past is actually liberating oneself.