1. 咱俩的感情像人民币一样坚挺。

1. Our relationship is as robust as the Chinese Yuan.

2. 黑夜给了我黑色的眼睛，它却让我爱上黑夜给我的疼痛。

2. The night gave me black eyes, yet it made me fall in love with the pain it brought.

3. 我想和林岚结婚的时候我已经长大了，不再是现在这样一个自闭而不爱说话的大孩子，我会穿整齐的白色西装，开着最好的汽车去接她，在她家门口我要让所有的人都看到她的幸福。

3. When I wanted to marry Lin Lan, I had already grown up and was no longer such an introverted and quiet big kid. I would wear a neatly pressed white suit, drive the best car to pick her up, and at her doorstep, I would want everyone to see her happiness.

4. 永远这样的字眼，好像永远也没出现过。

4. The phrase "forever" seems to have never appeared before.

5. 喜欢站在爱一片山崖上，看着匍匐在自己脚下的一幅一幅奢侈明亮的青春，泪流满面。

5. Enjoy standing on the edge of a cliff in love, looking at a series of luxurious and bright youth sprawling at one's feet, tears streaming down one's face.

6. 梦里很多摇晃的绿色光晕，后来渐渐看清楚了，那是一整片巨大而安静的树。树影晃动成海洋，朝大地的尽头倾斜着。滚滚而去的绿色巨浪。

6. In the dream, there were many swaying green halos, which later gradually became clear as an entire vast and quiet forest. The shadows swayed like an ocean, tilting towards the horizon of the earth. Rolling away were waves of green giants.

7. 出去并不可怕，就怕是出去了不知道什么时候才回来。

7. It's not the going out that's scary, it's the fear of not knowing when you'll come back.

8. 凡世的喧嚣和明亮，世俗的快乐和幸福，如同清亮的溪涧，在风里，在我眼前，汨汨而过，温暖如同泉水一样涌出来，我没有奢望，我只要你快乐，不要哀伤……

8. The hustle and bustle of the world, the brightness, the secular joy and happiness, are like clear streams, flowing past in the wind, before my eyes, gurgling, their warmth surging out like springs. I have no ambitions, I only wish for your happiness, not sadness...

9. 我们站在时光的外面，他们平躺在河流的下面，而我们的青春，埋藏在洞穴的最里面。我听不到他们的声音看不到他们的脸，只看到他们寂寞的背影，像在说再见。

9. We stand outside the realm of time, they lie flat beneath the river, while our youth is buried deep within the cave. I can't hear their voices, can't see their faces; I only see their lonely silhouettes, as if they're saying goodbye.

10. 对于列车中的那些人来说，我们这些躺在铁轨边的站台上的孩子只是一窗一窗呼啸而过的风景中很普通的一幅画面，可是他们却不知道，那些躺着仰望天空的孩子，偷偷地哭过多少回。

10. To those people on the train, we, the children lying on the platform beside the tracks, are just a very ordinary scene in the whirlwind of scenery that passes by window by window, but they don't know that those children lying and gazing at the sky have cried in secret countless times.

11. 每一天都有无数的人涌入这个飞快旋转的城市带着他们的宏伟蓝图，或者肥皂泡的白日梦想；每一天，也有无数的人离开这个生硬冷漠的城市的摩天大楼组成的森林留下他们的眼泪。

11. Every day, countless people flood into this rapidly spinning city, carrying their grand plans or the daydreams of soap bubbles; every day, an equal number of people leave the cold, unfeeling city, leaving behind a forest of skyscrapers with their tears.

12. 人生其实更像一座钟，总是在受到打击之时，才释放出自己美丽的新生，那悠扬的声音，一声比一声悦耳，一声比一声从容。

12. Life is actually more like a clock, which only reveals its beautiful rebirth at times of being struck, with a melodious sound that becomes more pleasant and composed with each chime.

13. 一个人总要走陌生的路，看陌生的风景，听陌生的歌，然后在某个不经意的瞬间，你会发现，原本费尽心机，想要忘记的事情真的就这么忘记了。

13. One must always walk through unfamiliar paths, see unfamiliar landscapes, and listen to unfamiliar songs. Then, at some moment of不经意的瞬间 (unintentional moment), you will find that the things you have been striving hard to forget are truly forgotten.

14. 你讲一个笑话，我要笑上好几天但是看见你哭了一次，我就一直难过好几年。

14. You tell me a joke, and I laugh for several days, but when I see you cry once, I'm sad for several years.

15. 阅读题一定要找到每句的关键词，每段的关键句。弄清每段的中心意思。做起题来会顺很多。“一怕文言文，二怕周树人”，这两种题就得靠功底了，记一下文言文里常用字的用法。鲁迅的文章要结合写作背景来做。多了解一下这些。

15. When reading comprehension questions, you must find the key words in each sentence and the key sentences in each paragraph. Understand the main idea of each paragraph. This will make the questions easier to answer. "I am afraid of classical Chinese literature and I am afraid of Zhou Shuren," these types of questions rely on your foundation. Remember the usage of commonly used characters in classical Chinese. When reading Lu Xun's articles, combine them with the writing background. Learn more about these aspects.

16. 又是这样漫长而灰蒙蒙的冬季我们的爱，恨，感动，伤怀。我们的过去，我们的现在，我们无限遥远的未来。我们呼朋引伴的草绿时代，我们促膝长谈的漫漫长夜。

16. Once again, it's this long and gloomy winter where our love, hate,感动, and sorrow reside. Our past, our present, and our infinitely distant future. The era of green grass where we gather friends, and the long nights of heartfelt conversations.

17. 巨大的月亮像是一个精美的布景，整个上海都被笼罩在这个布景下面。

17. The gigantic moon resembles a delicate set, with the entire city of Shanghai enveloped beneath this backdrop.

18. 我想知道这些仓皇南飞的大雁究竟带走了谁的思念。

18. I wonder whose thoughts these panic-stricken southbound geese carried away with them.

19. 之三——郭敬明与韩寒笔下人物心理活动的描写方法 作为人物描写的细节之一，心理活动描写在郭敬明的《夏至未至》和韩寒的《三重门》当中同样有着不可或缺的地位。有人说，《夏至未至》是一幅画；也有人说《夏至未至》是一首诗，我觉得这些说法都不够全面。郭敬明是一个细腻的写手，人物的心理活动在郭敬明细腻、新鲜的笔法下显露无疑。下面，我们一起去透视郭敬明笔下人物的内心世界。 在《夏至未至》当中，郭敬明以一个旁观者的身份向读者述说了一个个感人至深的故事，因此小说中人物的心理活动描写也就以第三人称为主。 现在，我们先进入主角之一的傅小司的内心世界： 只是一瞬间心里有一些悲哀穿堂而过。男生的感情应该就是如此隐忍吧，再多的痛苦都不带任何表情地承受，顶着一动不动声色的侧脸就可以承担所有的尖锐的角和锋利的刃。 ——《夏至未至》 短短的一句话，就道出了傅小司当时内心的无比复杂。掺杂着些许的埋怨，丝丝的无奈，淡淡的坚韧，似乎还有一点的愤怒。这就是郭敬明，他就是有这样一种能力将好几种情绪融合在一起，他所利用的正是各种情绪之间一种内在的联系。 加之，郭敬明本人特有的写作语言使普通的人物心理显得更加细腻，更有意思。 例如语段中的“再多的痛苦都不带任何表情地承受”，从整个语段的内容上看，它是主谓结构。假如我们以一种常规的思维去写作，那么相同的意思，就很容易被写成“面不改色地去承受一切痛苦”，这与原文的句子比起来，的确逊色不少，这一个简单的动宾结构，完全给不到读者耳目一新的感觉，反而使文章变得更加枯燥无味。但是郭敬明运用了这种独特的主谓结构，形成了与众不同的文字风格，给读者带来了难得的新鲜感。 对于这段心理描写，看得懂的人都知道它所要比喻的是“对自己不利的评论和困难”。然而郭敬明却不喜欢直白，他喜欢“拐弯抹角”，他正是用“再多的痛苦都不带任何表情地承受”这样一句具有特殊结构的句子去描写人物的心理活动的，他就是要追求一种虚幻的阅读感觉。 比起郭敬明的虚幻与唯美，韩寒的文字显得更加的朴实无华。下面，我们看一段主人翁林雨翔的心理活动： 一想到要训练，雨翔不由为自己的前途担忧，宽慰自己道：雨翔别怕，十个里有五个是假的，你一定能跑过他们！这番自我暗示作用极大，雨翔刹那间感到自己天下无敌。 ——《三重门》 作为一个细心的读者，我们不难看出，这一段话与鲁迅先生的《阿Q正传》有着异曲同工之妙。文字中所反映出来的正是我们耳熟能详的“阿Q精神”（即“精神胜利法”），具有这种精神的大都有心理缺陷：自卑、自闭，这些在阿Q和林雨翔身上都体现得淋漓尽致。而作者韩寒也用他所擅长的“直白”写法，将人性懦弱的一面表达得淋漓尽致。 这不免让我们想到了韩寒那“惨不忍睹”的童年，读《尚书》、《论语》，童年的阴影油然而生，心理也免不了有了变异。这十多年来，韩寒就是这样走过的。 笔法细腻的郭敬明，直接朴实的韩寒，形成了鲜明的对比，造就了两个人迥然不同的作品。

19. The Third - The Description of Characters' Psychological Activities in Guo Jingming and Han Han's Works As one of the details of character description, the portrayal of psychological activities plays an indispensable role in Guo Jingming's "Summer Solstice Not Yet Arrived" and Han Han's "Three Doors". Some say "Summer Solstice Not Yet Arrived" is like a painting; some say it is like a poem, but I think these descriptions are not comprehensive enough. Guo Jingming is a delicate writer, and the psychological activities of the characters are undoubtedly revealed under his delicate and fresh writing style. Let's take a look at the inner world of the characters depicted by Guo Jingming together. In "Summer Solstice Not Yet Arrived", Guo Jingming tells a moving story from the perspective of an onlooker, so the description of the characters' psychological activities in the novel mainly uses the third person. Now, let's enter the inner world of Fu Xiaosi, one of the main characters: Just for a moment, a bit of sadness passed through my mind. The feelings of a boy should be so repressed, shouldering all the pain without any expression on his face, just like his motionless and expressionless side face can bear all the sharp angles and sharp edges. ——《Summer Solstice Not Yet Arrived》 In just one sentence, it reveals the extremely complex feelings of Fu Xiaosi at that moment. Mixed with a bit of resentment, a hint of helplessness, a touch of perseverance, and perhaps a bit of anger. This is Guo Jingming, who has the ability to blend several emotions together. He uses the inherent connection between various emotions to achieve this. Furthermore, Guo Jingming's unique writing style makes the ordinary psychological activities of characters more delicate and interesting. For example, the phrase "shouldering all the pain without any expression on his face" in the passage is a main-verb structure. If we were to write it in a conventional way, the same meaning might be expressed as "enduring all the pain without changing expression," which is indeed less impressive compared to the original sentence. This simple verb-object structure fails to provide readers with a sense of novelty, and instead makes the article more monotonous. However, Guo Jingming uses this unique main-verb structure to create a distinctive literary style, bringing a sense of freshness to the readers. For this psychological description, those who understand it know that it metaphorically refers to "comments and difficulties that are unfavorable to oneself." However, Guo Jingming does not like to be straightforward; he prefers to "beat around the bush." He uses the sentence "shouldering all the pain without any expression on his face" with a special structure to describe the character's psychological activities, aiming to create a kind of illusory reading experience. Compared to Guo Jingming's illusion and beauty, Han Han's writing is more straightforward and simple. Let's take a look at the psychological activities of the protagonist Lin Yuxiang: When thinking about the training, Yuxiang couldn't help but worry about his future, comforting himself: "Yuxiang, don't be afraid. Out of ten, five are fake, and you can definitely run faster than them!" This self-encouragement has a great effect, and Yuxiang felt invincible in an instant. ——《Three Doors》 As a careful reader, we can easily see that this passage has a similar effect to Lu Xun's "The True Story of Ah Q." The text reflects the well-known "Ah Q spirit" (i.e., "the spirit of victory"), which is characterized by psychological defects such as inferiority complex and自闭症 (autism) in both Ah Q and Lin Yuxiang. And the author Han Han also uses his preferred "straightforward" style to express the fragile and weak side of human nature. This inevitably reminds us of Han Han's "terrible" childhood, reading the "Book of History" and the "Analects of Confucius," the shadows of his childhood naturally arise, and his psychology also inevitably undergoes changes. Over the past ten years, Han Han has been walking this way. The delicate Guo Jingming and the straightforward Han Han form a stark contrast, creating two works that are vastly different from each other.

20. 时间是一列永不停息的列车，我们都是赶车的人。

20. Time is a train that never stops, and we are all the drivers of the carriage.

21. 我们仅仅只是这个庞大时代的小小碎片，无论有多么起伏的剧情在身上上演。我们彼此聚拢旋转切割重合然后组成一个光芒四射的巨大玻璃球。

21. We are merely small fragments of this vast era, no matter how起伏dramas unfold on us. We gather, rotate, cut, overlap, and then form a radiant, colossal glass sphere.

22. 一个人读哪些书，这些书必然对其产生某些影响。文学作品总能让人在里面发现自己，然后得到提示或是慰藉。语言风格的形成实在不是朝夕间的事，但我们依然可从其作品中挖掘出一些端倪。

22. The books one reads inevitably have some impact on them. Literary works always allow one to find oneself within them, offering either guidance or comfort. The formation of a language style is not something that happens overnight, but we can still uncover some clues from their works.

23. 每当我看天的时候我就不喜欢再说话，每当我说话的时候却不敢再看天。

23. Whenever I look up at the sky, I don't feel like talking anymore, and whenever I speak, I dare not look up at the sky.

24. 人生的苦闷有二，一是欲望没有被满足。二是它得到了满足。——萧伯纳

24. There are two sources of human苦闷: one is unfulfilled desires, and the other is the satisfaction of them. – George Bernard Shaw

25. 总有一天我会从你身边默默地走开，不带任何声响，我错过了很多，我总是一个人难过。

25. Someday, I will silently slip away from you without making any noise. I have missed so much, and I am always sad alone.

26. 寂寞的人总是会用心地记住在他生命中出现过的每一个人，所以我总是意犹未尽地想起你在每个星光坠落的晚上，一遍一遍，数我的寂寞。

26. Lonely people always remember with all their hearts everyone who has appeared in their lives, so I can't help but remember you on every night when the stars fall, over and over again, counting my loneliness.

27. 真话如同咳嗽，多在压抑不住时喷涌而出。假话如同台词，常常要背熟了再说。

27. Truth is like a cough, often bursting out uncontrollably. Lies are like lines in a script, often needing to be memorized before they are spoken.

28. 作为现今风头最劲的一位青春作家，郭敬明可谓是一夜成名。但正如郭敬明本人所言，他清醒地认识到自己始终是一个孩子，所以他仍处在忧伤而漫长的青春期。比如尽管郭敬明的文章写得超凡脱俗，但其实他也有对物质生活向往的一面。在《关于<生活在别处>的生活》中，他毫不掩饰自己对于钱的热爱，对于“繁华而苍凉”的上海的热爱。而给予了郭敬明高度的评价的曹文轩在给郭敬明《幻城》所写的序中也说郭敬明是个“小人儿”。所以作为同处于青春期的中学生，郭敬明是值得我们借鉴及研究的。

28. As one of the most popular young writers today, Guo Jingming has gained fame overnight. However, as Guo Jingming himself said, he is acutely aware that he is still a child at heart, and thus he remains in a long and melancholic adolescence. For instance, although Guo Jingming's articles are written in a way that seems extraordinary and beyond the ordinary, he also has a yearning for material life. In "Life in the Other Place," he does not hide his love for money and his affection for "prosperous yet desolate" Shanghai. Cao Wenxuan, who has given Guo Jingming high praise, also said in the preface he wrote for Guo Jingming's "The City of Dreams" that Guo Jingming is a "little person." Therefore, as middle school students who are also in the same stage of adolescence, Guo Jingming is someone worth learning from and studying.

29. 最不好玩的游戏是——轮到你上场时，却改变了规则——人生往往如此

29. The least fun game is when the rules change when it's your turn to play - life often works that way.

30. 那些以前说着永不分离的人，早已经散落在天涯了。

30. Those who used to say they would never part have long since scattered to the four winds.

31. 我站在天堂向你伏身凝望，就像你凝望我一样略带忧伤。

31. I stand in heaven, gazing at you with a slight sadness, just as you gaze at me.

32. 之一——郭敬明与韩寒的写景风格 纵观郭敬明的《夏至未至》与韩寒的《三重门》，从中不难发现，两位作者在环境描写的手法上，是两种迥然不同的风格。 在《夏至未至》中的多处体现了郭敬明的写景风格。我们选取其中一处他对上海的描写： 上海，怎么听怎么没有真实感。那完全就是一个和自己格格不入的世界。弥漫着霓虹灯和飞扬的裙角。倒是想看一看那些老旧的弄堂，正午的日光从各个角度切割着世界的明暗，斑驳而潮湿的弄堂墙壁，打着铃喧嚣而过的三轮车，黄昏的时候有鸽子从老旧的屋顶上腾空而起。这一切所散发出来的甜腻的世俗生活的香味曾经出现在梦境里，像是微微发热的刚刚出炉的糖果。——Chapter05

32. One of Them – the Landscape Writing Styles of Guo Jingming and Han Han Overall, the works "Summer Solstice Has Not Arrived" by Guo Jingming and "Three Doors" by Han Han reveal that the two authors have two distinctly different styles in terms of environmental description. In "Summer Solstice Has Not Arrived," there are many instances that reflect Guo Jingming's landscape writing style. We choose one of his descriptions of Shanghai: Shanghai, no matter how you listen to it, it doesn't feel real. It's a world that doesn't fit in with itself at all. It's filled with neon lights and fluttering hemlines. I'd like to see those old alleys, where the midday sun slices through the world from various angles, cutting the light and darkness, the patchy and damp walls of the alleyways, the noisy tricycles ringing through, and at dusk, pigeons soaring from the old rooftops. All of this emits a cloying scent of secular life that has appeared in dreams, like freshly baked candy that's just slightly warm. ——Chapter 05

33. 最好的事情就是经常和你在一起。

33. The best thing is to be with you often.

34. 我像是个孤单的木偶，失去了和我形影不离的另一个木偶，从此不会表演不会动，被人遗弃在角落里落满灰尘，在孤单中绝望，在绝望中悲伤，然后继续不停地想念你。

34. I feel like a lonely puppet, having lost the other puppet that was inseparable from me. From then on, I cannot perform or move, left abandoned in a corner covered in dust. In solitude, I am desperate, and in desperation, I am sad. Yet, I continue to endlessly miss you.

35. 沧月的作品大气恢宏，华丽张扬，清冷绝世，她笔下的人物性格特点鲜明，坚韧决绝，许多作品都隐约透出宿命的味道，大多是悲剧，让人看了落泪，武侠与玄幻相结合，爱，恨，得到，失去，放弃这些主题交织在一起，仿佛是一个个唯美而心碎的梦！

35. Cang Yue's works are grand and magnificent, luxurious and exuberant, cool and unparalleled. The characters she portrays have distinct personalities, resilient and resolute. Many of her works subtly convey a sense of destiny, most of which are tragedies that can bring tears to the audience. The combination of martial arts and fantasy, themes such as love, hate, gain, loss, and giving up are intertwined, as if they were beautiful yet heart-wrenching dreams!

36. 歌声形成的空间，任凭年华来去自由，所以依然保护着的人的容颜不曾改和一场庞大而没有落幕的恨。

36. The space formed by the songs, where time comes and goes freely, thus still preserves the unchanged appearance of the people and an enduring, endless hate.

37. 郭敬明的文风不太适合作文。不过华丽是不错的。多用修辞，写物就用拟人手法。比喻尽量优美，加上排比。多用长句。多看看写景的散文对你很有帮助。

37. Guo Jingming's style is not very suitable for essay writing. However, being ornate is quite nice. He often uses rhetorical devices, employing personification when describing objects. Metaphors should be as beautiful as possible, combined with parallelism. Using long sentences is also a common practice. Reading more landscape prose will be very helpful for you.

38. 如果有光，如果有萤火，如果有星光突然渺茫的从云层中出没，如果这些光都从他的发梢飞过，就可以看到，他那一张悲伤的，悲伤的脸。

38. If there is light, if there are fireflies, if starlight suddenly fades and emerges from the clouds, if all these lights sweep past the tips of his hair, then you can see, the sad, sad face that he has.

39. 记忆像腐烂的叶子，那些清新那些嫩绿早已埋葬在时间刻度的前段，惟有铺天盖地的腐烂气味留在时间刻度的尾部。

39. Memory is like rotten leaves; the fresh and tender greens have long been buried at the beginning of the time scale, only the overwhelming stench of rot remains at the end.

40. 其实有些音符从来没被歌唱过，其实有些火把从来没被点燃过，可是世界有了声响有了光。

40. In fact, there are some notes that have never been sung, and there are some torches that have never been lit, yet the world has sound and light.

41. 红莲即将绽放，双星终会汇聚，命运的转轮已经开始，请您耐心地等待。

41. The lotus is about to bloom, the double stars will eventually converge, the wheel of fate has already begun to turn, please wait patiently.

42. 立夏：如果早知道有一天我会离开你，我会准备很大很大的箱子把曾经那些属于我的回忆全部带走。

42. Start of Summer: If I had known that one day I would leave you, I would have prepared a very, very large box to take away all those memories that once belonged to me.

43. 我会回来，带回满身木棉和紫荆的清香，然后告诉你，我已找到天堂。

43. I will return, bringing with me the fragrance of kapok and red bean flowers, and then tell you that I have found paradise.

44. 飞机场的骚乱一会儿就停止了，这里的人都是有着自己的方向的，匆匆地起飞，匆匆地下降，带走别人的故事，留下自己的回忆。

44. The riot at the airport soon subsided; people here all have their own destinations, hurrying to take off and land, carrying others' stories away and leaving behind their own memories.

45. 我们都忘记了，以后的岁月还有那麽漫长，漫长到我可以重新喜欢上一个人，就像当初喜欢伱一样。可是，眞的可以像喜欢伱一样地去喜欢他么？我吥相信呢。

45. We all forget that there are still so many years ahead, so long that I can fall in love with someone again, just like I did with you at first. But can I really love him the same way I loved you? I don't believe I can.

46. 小司，有时候总想，即使待在你的周围，哪怕帮不上什么忙，但是能告诉你你不寂寞，那也是好的。

46. Xiao Si, sometimes I always think that even if I'm around you, and can't help much, just being able to tell you that you're not alone is also good.

47. 窗外浓厚的夜色被寂静衬托得格外沉重，像是一池无风天里的湖水。黄色的路灯下，偶尔会走过一对相互依偎的约会男女。他们的影子被拉的很长很长，像是大写的幸福二字。

47. The thick night outside is particularly heavy against the silence, like a lake on a windless day. Under the yellow street lamps, an occasional couple, holding each other close, would pass by. Their shadows stretch out very long, like the uppercase letters of the word "happiness."

48. 我没哭，只是眼泪流下来了。

48. I didn't cry, but tears came down.

49. 遇见，拉着你的手，无论是在哪里，我都感觉像是朝天堂奔跑，你相信么？

49. Meeting you, holding your hand, I feel as if I'm running towards heaven, do you believe that?

50. 你永远都看不到我最寂寞时候的样子，因为你不在的时候，我才最寂寞。

50. You will never see me at my loneliest because it's when you're not around that I feel the loneliest.

51. 平时作文可以尝试一下，大考就不用了，除非你已经很熟练了。

51. You can try writing essays in your daily practice, but not for major exams, unless you are already very proficient.

52. 那个名字像种不安分的神谕，黑暗中闪着模糊的光。

52. The name was like an unquiet oracle, flickering with a dim light in the dark.

53. 没有我为您掌灯，您在回家的路上，会觉得难过吗？

53. Would you feel sad on your way home without me lighting the way for you?

54. 没有物质的爱情只是虚弱的幌子，被风一吹，甚至不用风吹，缓慢走动几步就是一盘散沙。

54. Love without substance is just a fragile disguise, which, even without the wind, can be scattered to the four winds with just a few steps of slow movement.

55. 不过，当我们决定了孤独地上路，一切的诅咒一切的背叛都丢在身后，我们可以倔强地微笑，难过地哭泣，可是依然把脚步继续铿锵。

55. However, when we have decided to set off alone, leaving all curses and betrayals behind, we can stubbornly smile, sorrowfully cry, yet still continue our steps with resolute steps.

56. 无论你觉得这些话语多么矫情，多么的煽风点火，无论你认为我多么的幼稚，多么的可笑，但我还是诚恳的请你相信，我写下它们时，有最认真的表情。

56. No matter how insincere or incendiary you may think these words are, no matter how immature or laughable you may consider me, I still sincerely ask you to believe that I wrote them with the utmost seriousness.

57. 天空悬着一轮巨大的月亮，冷漠的光辉把人间照的得像一出悲惨的话剧。明明只是过去了短短的一天，却像是漫长的一个世纪。

57. A gigantic moon hangs in the sky, casting a cold glow that illuminates the world like a tragic drama. Although just a brief day has passed, it feels like an endless century.

58. 如其本人的很多方面，他的语言也很极端化，《幻城》和《梦里花落知多少》的风格完全不像是一个人的，而这也从一方面反映了郭敬明的才华。在一篇又一篇的文章中，郭敬明或是直舒胸臆或是含沙射影或是欲说还休地表示了悔恨和忧伤。但他明白他的命运终究无法改变，他只有在独木桥上越走越远，进退两难。

58. Like many aspects of himself, his language is also extreme. The styles of "Huan Cheng" and "How Many Flowers Have Fallen in My Dreams" are completely unlike those of a single person, which also reflects one aspect of Guo Jingming's talent. In one article after another, Guo Jingming either expresses his regret and sorrow directly, or subtly hints at them, or expresses them with hesitation. But he knows that his fate cannot be changed in the end; he can only walk further and further along the solitary bridge, trapped between two difficult choices.

59. 我总是告诉自己，就算有一天我们不在一起了，也要像在一起一样。

59. I always tell myself that even if one day we are not together, we should be as if we were.

60. 曾经以为念念不忘的东西，总有一天会变得面目全非。

60. Once thought to be unforgettable, there will come a day when those things will change beyond recognition.

61. 我就像现在一样看着你微笑，沉默，得意，失落，于是我跟着你开心也跟着你难过，只是我一直站在现在而你却永远停留过去。

61. I watch you smile, silent, triumphant, and disappointed just like I am now, so I am happy with you and sad with you as well. But while I am always standing in the present, you are forever staying in the past.

62. 你永远也看不到我最寂寞时候的样子，因为只有你不在我身边的时候，我才最寂寞。

62. You will never see the most lonely version of me, because it is only when you are not by my side that I feel the most lonely.

63. 无限温柔里的漫长时光，无限漫长时光里的温柔。

63. Endless times of infinite gentleness, infinite times of gentleness within endless times.

64. 我知道你们都消失了。可是如果有一天，我是说如果。如果有一天我伤心难过了你们会回来看我吗？

64. I know all of you have disappeared. But if one day, I mean if. If one day I am heartbroken and sad, will you come back to see me?

65. 这个忧伤而明媚的三月，从我单薄的青春里打马而过，穿过紫堇，穿过木棉、穿过时隐时现的悲喜和无常。

65. This sorrowful yet brilliant March galloped past my slender youth, through delphiniums, through kapok trees, through the intermittent joys and sorrows, and the ever-changing fate.

66. 当我的灵气变的无比强大时，我想要保护的人已经不在了。

66. When my spiritual energy becomes overwhelmingly powerful, the person I want to protect is no longer there.

67. 2郭敬明曾表示“凡是跟文学沾边的孩子都不会快乐”，因为他跟文学很沾边，所以大概可以推出他很不快乐的结论。文学作品确实能带给人很多思考。而像安妮宝贝等有如刀一般的文字会把每个读者的心都划上狠狠一刀，却反而有得到安慰般的快感。像郭敬明所说的：“我需要安妮以尖锐的姿态在适当的时候用适当的力度对我的灵魂进行必要的穿刺，好证明我并不麻木，证明我是个好孩子”。

67.2 Guo Jingming once said, "Any child who is related to literature will not be happy," because he is very closely related to literature, so it can be roughly concluded that he is very unhappy. Literary works indeed bring people a lot of thinking. And words like those of Anni Bao, as sharp as a knife, can stab the hearts of each reader with a heavy blow, yet they bring a kind of comforting pleasure. As Guo Jingming said, "I need Anni to pierce my soul with a sharp attitude and appropriate force at the right time, to prove that I am not numb, to prove that I am a good child."

68. 毕业就像一窗玻璃，我们要撞碎它，然后擦着锋利的碎片走过去，血肉模糊后开始一个完全不同的人生。

68. Graduation is like a pane of glass; we need to smash it and then walk through it, cutting ourselves on the sharp fragments, and only after a bloodied and torn journey can we start a completely different life.

69. 我总是这样凝望那些日升月沉无家可归的忧伤。

69. I always gaze upon those homesick forlornness of those who are without a home, as they witness the sunrise and the moonset.

70. 真正的关怀，是一杯清茶就足以温暖一颗封冻的心，是一根小火柴足以点亮一片黯淡的心空。

70. True care is enough to warm a frozen heart with a cup of clear tea, and enough to light up a dimly lit heart with a single matchstick.

71. 初读郭敬明首先被其有如汤汤大水般的语言震撼，曹文轩评价说郭敬明对“把握语言充满自信，滔滔不绝、左右逢源，无论在描物状态方面还是在剖析灵魂方面抑或是哲理性的解说方面，都无搜索语言的捉襟见肘。意象新颖，对话有古典话剧之对白一样的讲究，长短句相得益彰”“在语言的王国，语词的千军万马，无边无际地簇拥在他的麾下。他将调动他的语词大军当成了写作的最大的快意。他更多的时候是喜欢语词大军的漫山遍野，看到洪流般的气势。”（《幻城》序）

71. On first reading, Guo Jingming's language is so powerful and flowing that it is awe-inspiring. Cao Wenhuan commented that Guo Jingming is "confident in his grasp of language, eloquent and versatile, whether in describing objects, analyzing souls, or providing philosophical explanations, he never shows any awkwardness in searching for language. The imagery is innovative, and the dialogue is as carefully crafted as in classical dramatic dialogues, with long and short sentences complementing each other." "In the realm of language, the myriad of words are endlessly gathered under his banner. He treats the mobilization of his word army as the greatest joy in writing. More often than not, he enjoys the vast, overwhelming presence of the word army, seeing the momentum like a flood." (Preface to "City of Illusions")

72. 我匍匐了一百年，我微笑着****了一百年，只为等待着与你灰飞烟灭的相逢，因为你的快乐，是我今生全部的信仰。

72. I have crawled for a hundred years, smiling and **** for a hundred years, just waiting for the moment when we meet in a whirl of dust and smoke, for your happiness is the entire faith of my life.