杜拉斯经典语录英文版

杜拉斯经典语录英文导读：本文是关于杜拉斯经典语录英文，如果觉得很不错，欢迎点评和分享！1、他的微笑不带一丝惭愧，而且没有任何悲伤，只带着一份难以抑制的纯真。

He smiled without a trace of shame, and without any sorrow, with only an unrestraining innocence.2、他们彼此封锁起来，沉陷在恐惧之中，随后，恐惧消散，他们在泪水、失望、幸福中屈服于恐惧。

They sealed off each other, sank in fear, and then the fear dissipated. They yielded to fear in tears, disappointment, and happiness.3、风已经停了，树下的雨丝发出奇幻的闪光。

The wind had stopped, and the rain wire under the tree made a strange flash.4、如果那个男人爱你，他的眼睛里就有疼惜。

如果不爱就只有欲望。

If the man loves you, he has pity in his eyes. If there is no love, there is only desire.5、他给她打来电话。

是我。

她一听那声音，就听出是他。

他说：我仅仅想听听你的声音。

她说：是我，你好。

He called her. It's me. When she heard the voice, she recognized him. He said, "I just want to hear your voice." She said, "Hello, I am."6、当初，您很美，但如今，我更爱您饱经风霜的容颜。

At first, you were beautiful, but now I love your weathered face even more.7、泪水既安慰了过去，也安慰了未来。

杜拉斯英文名言导读：1、我们是情人。

我们不能停止不爱。

We are lovers. We can't stop loving.2、如果你愿意，我们可以一起走，我也不想要什么。

If you like, we can go together, and I don't want anything.3、她笑得多么好，像黄金一样，死去的人也能被唤醒，谁能听懂小孩的笑语，就能用笑唤醒谁。

She laughs so well that, like gold, dead people can be awakened. Whoever understands a child's laughter can wake up with laughter.4、我在世界上最爱的是你。

胜过一切。

胜过我所见过的一切。

胜过我所读过的一切。

胜过我所有的一切。

胜过一切。

I love you most in the world. More than anything else. It's better than anything I've ever seen. It's better than what I've read. It's better than all I have. More than anything else.5、我认识你，永远记得你。

那时候你还年轻，人人都说你美。

现在我是特地来告诉你，和你那时的面貌相比，我更爱你现在倍受摧残的容颜。

I know you, I will always remember you. When you were young, everyone said you were beautiful. Now I'm here to tell you that I love you more than your face at that time.6、**遥遥无期，我的青春也漫无止境。

杜拉斯情人经典语录英文2、爱之于我，不是肌肤之亲，不是一蔬一饭，它是一种不死的欲望，是颓败生活中的英雄梦想。

——杜拉斯3、我的生活像一只果子，我漫不经心地咬了几口，但没有品尝味道，也没有注意自己在吃。

活到这个年纪，长成这个模样，不是我的责任。

这个模样得到认可，它就是我的模样。

我欣然接受，也别无选择。

我就是这个女孩，一经确定永不改变。

——杜拉斯《平静的生活》4、我遇见你，我记得你，这座城市天生就适合恋爱，你天生就适合我的灵魂——杜拉斯5、我已经老了，有一天，在一处公共场所的大厅里，有一个男人向我走来。

他主动介绍自己，他对我说：“我认识你，永远记得你。

那时候，你还很年轻，人人都说你美，现在，我是特为来告诉你，对我来说，我觉得现在你比年轻的时候更美，那时你是年轻女人，与你那时的面貌相比，我更爱你现在备受摧残的面容。

——杜拉斯《情人》6、每一本打开的书，都是漫漫长夜。

——杜拉斯7、经历过孤独的日子，我终于喜欢上自己的无知，与它们相处我感到惬意，如同那是一炉旺火。

这时就该听任火焰缓缓燃烧，不说一句话，不评论任何事。

必须在无知中自我更新。

——玛格丽特·杜拉斯8、若我不写小说，不是作家，那么我应该是一个妓-女。

——杜拉斯《情人》9、我在世界上最爱的是你。

胜过一切。

胜过我所见过的一切。

胜过我所读过的一切。

胜过我所有的一切。

胜过一切。

——玛格丽特·杜拉斯《萨瓦纳湾》10、恨之所在，是沉默据以开始的门槛。

——玛格丽特·杜拉斯《情人》11、你无时无刻不是我身边的那个完整的你。

无论你在做什么，无论是离我遥远还是在我近旁，你都是我的希望。

——玛格丽特·杜拉斯《大西洋的男人》12、与你年轻的时候相比，我更喜欢你现在备受摧残的容颜——杜拉斯《情人》13、后来，她哭了，因为她想到堤岸的那个男人，因为她一时之间无法确定她是不是曾经爱过他，是不是用她所未曾见过的爱情去爱他，因为，他已经消失于历史，就像水消失在沙中一样，因为，只是在现在，此时此刻，从投向大海的乐声中，她才发现他，找到他。

【名人名言】杜拉斯名言摘录,杜拉斯语录大全1、那时候，你还很年轻，人人都说你美。

现在，我是特意来告诉你，对我来说，我觉得现在你比年轻的时候更美。

与你那时的面貌相比，我更爱你现在备受摧残的面容。

――玛格丽特?杜拉斯《情人》2、爱之于我，不是肌肤之亲，不是一蔬一饭，它是一种不死的欲望，是颓败生活中的英雄梦想。

――杜拉斯3、我遇见你，我记得你，这座城市天生就适合恋爱，你天生就适合我的灵魂――杜拉斯4、我的生活像一只果子，我漫不经心地咬了几口，但没有品尝味道，也没有注意自己在吃。

活到这个年纪，长成这个模样，不是我的责任。

这个模样得到认可，它就是我的模样。

我欣然接受，也别无选择。

我就是这个女孩，一经确定永不改变。

――杜拉斯《平静的生活》5、我已经老了，有一天，在一处公共场所的大厅里，有一个男人向我走来。

他主动介绍自己，他对我说：“我认识你，永远记得你。

那时候，你还很年轻，人人都说你美，现在，我是特为来告诉你，对我来说，我觉得现在你比年轻的时候更美，那时你是年轻女人，与你那时的面貌相比，我更爱你现在备受摧残的面容。

――杜拉斯《情人》6、每一本打开的书，都是漫漫长夜。

――杜拉斯7、经历过孤独的日子，我终于喜欢上自己的无知，与它们相处我感到惬意，如同那是一炉旺火。

这时就该听任火焰缓缓燃烧，不说一句话，不评论任何事。

必须在无知中自我更新。

――玛格丽特?杜拉斯8、恨之所在，是沉默据以开始的门槛。

――玛格丽特?杜拉斯《情人》9、与你年轻的时候相比，我更喜欢你现在备受摧残的容颜――杜拉斯《情人》10、若我不写小说，不是作家，那么我应该是一个妓女。

――杜拉斯《情人》11、我在世界上最爱的是你。

胜过一切。

胜过我所见过的一切。

胜过我所读过的一切。

胜过我所有的一切。

胜过一切。

――玛格丽特?杜拉斯《萨瓦纳湾》、后来，她哭了，因为她想到堤岸的那个男人，因为她一时之间无法确定她是不是曾经爱过他，是不是用她所未曾见过的爱情去爱他，因为，他已经消失于历史，就像水消失在沙中一样，因为，只是在现在，此时此刻，从投向大海的乐声中，她才发现他，找到他。

THE LOVERPart IONE DAY, I was already old, inthe entrance of a public place a man came up to me. He introduced himself and said:'I've known yo u for years. Everyone says you were beautiful when you were young,but I want to tell you I think you're more beautiful now than then. Rather than your face as a young woman, I perfer your face as it is now.Ravaged.'I often think of the image only I can see now, and of which I've never spoken. It's always there, in the same silence, amazing. It's the only image of myself I like, the only one in which I recognize my self, in which I delight.Very early in my life it was too late. It was already too late when I was eighteen. Between eighteen and twenty-five my face took off in a new direction. I grew old at eighteen. I don't know if it's the same for everyone. I've never asked. But I believeI've heard of the way time can suddenly accelerate on people when they're going through even the most youthful and highly esteemed stages of life. My ageing was very sudden. I saw it spread over my features one by one, changing the relationshipbetween them, making the eyes larger, the expression sadder, the mouth more final, leavinggreat creases in the forehead. But instead of beingdismayed I watched this process with the same sort of interest i might have taken in the reading of a book. And I knew I was right, that one day it would slow down and take its normal course. The people who knew me at seventeen, when I went to France, were surprised when they saw me again two years later, at nineteen. And I've kept it eversince, the new face I had then. It has been my face. It's got older still, of course, but less, comparati vely, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face hasn't collapsed, as some with fine features have done. It's kept the same contours, butits substance has been laid waste. I have a face laid waste.THE LOVERPart IISo, I'm fifteen and a half. It's on a ferry crossing the Mekong river. The image lasts all the way acro ss. I'm fifteen and a half, there are no seasons in that part of the world, we have just one season, ho t, monotonous, we're in the long hot girdle of the earth, with no spring, no renewal.I'm at a state boarding school in Saigon. I eat and sleep there, but I go to classes at the French high school. My mother's a teacher and wants her girlto have a secondary education. 'You have to go tohigh school.' What was enough for her is notenough for her daughter. High school and then agood degree in mathematics. That was what hadbeen dinned into me ever since I started school. It never crossed my mind I might escape the mathe- matics degree, I was glad to give her that hope.Every day I saw her planning her own and her children's future. There came a time when shecouldn't plan anything very grand for her sonsany more, so she planned other futures, makeshift ones, but they too served their purpose, theyblocked in the time that lay ahead. I remember my younger brother's courses in book-keeping. Fromthe Universal Correspondence School - everyyear, every level. You have to catch up, my mother used to say. It would last for three days, never four. Never. We'd drop the Universal School whenevermy mother was posted to another place. And begin again in the next. My mother kept it up for ten years. It wasn't any good. My younger brother became an accountant's clerk in Saigon. There wasno technical school in colonies; we owed myelder brother's departure for France to that. Hestayed in France for several years to study at the technical school. But he didn't keep it up. Mymother must have known. But she had no choice,he had to be got away from the other two children.For several years he was no longer part of the family. It was while he was away that my mother bought the land, the concession. A terrible business, but for us, the children who were left, not so ter-rible as the presence of the killer who would have been, the child-killer of the night, of the night of the hunter.The Lover-DurasThe Lover (French title: L'Amant) is an autobiographical novel by Marguerite Duras, published in 1984 by Les Éditions de Minuit. It has been translated to 43 languages. It was awarded the 1984 Prix Goncourt. The Lover is also a 1992 movie based on this novel, directed by Jean-Jacques Annaud and starring Jane March and Tony Leung Ka Fai. The cast also included Lisa Faulkner. The film was nominated for the Academy Award for Best Cinematography.Summary of the movieSet against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl (Jane March), from a financially strapped French family and an older, wealthy Chinese man (Tony Leung Ka-Fai). The story is narrated by Jeanne Moreau, portraying a writer looking back on her youth. In 1929, a 15 year old nameless girl is traveling by ferry across the Mekong Delta, returning from a holiday at her family home in the village of Sadec, to her boarding school in Saigon. She attracts the attention of a 32 year old son of a Chinese business magnate, a young man of wealth and heir to a tidy fortune. He strikes up a conversation with the girl; she accepts a ride back to town in his chauffeured limousine. Compelled by the circumstances of her upbringing, this girl, the daughter of a bankrupt, manic-depressive widow, is newly awakened to the impending and all-too-real task of making her way alone in the world. Thus, she becomes his lover, until he bows to the disapproval of his father and breaks off the affair. For her lover, there is no question of the depth and sincerity of his love, but it isn't until much later that the girl acknowledges to herself her true feelings. Duras' real-life Chinese lover was named Lee. The last she heard of him, he became a born again Christian and loved his family very much. He died and was buried in the same city in Vietnam where Duras first met him. Duras was only 15 at the time of her love affair, which is the age of the heroine in the novel.Marguerite Donnadieu, better known as Marguerite Duras (French IPA: [maʀgə'ʀit dy'ʀas]) (April 4, 1914 – March 3, 1996) was a French writer and film director. She was born in Saigon, French Indochina (now Vietnam), her father died,her mother raised her with her two brother , they were very poor,the mother went practicly mad, she ( the mother) use to beat her children and even made marguerite a sort of prostitute.when she got 18 she went to France, her parents' native country, to study law, but became a writer instead. She changed her name in 1943 for Duras, the name of a village in the Lot-et-Garonne département, where her father's house was located. She is the author of a great many novels, plays, films and short narratives, including her best-selling, ostensibly autobiographical work L'Amant (1984), translated into English as The Lover. Following the making of a film of the same name(s) (1992, L'Amant, The Lover) based on her work, Duras then published a slightly different work, L'Amant de la Chine du Nord. Other major works include Moderato Cantabile, also made into a film of the same name, Le Ravissement de Lol V. Stein, and her film India Song. She was also the screenwriter of the 1959 French film Hiroshima mon amour, which was directed by Alain Resnais. Duras's early novels were fairly conventional in form (theirCantabile she became more experimental, paring down her texts to give ever-increasing importance to what was not said. She was associated with the Nouveau roman French literary movement. Her films are also experimental in form, most eschewing synch sound, using voice over to allude to, rather than tell, a story over images whose relation to what is said may be more-or-less tangential. She died at 81 from throat cancer and is interred in the Cimetière du Montparnasse.In The Lover and The North China Lover, Marguerite Duras writes about first love. Both novels are autobiographical, reflecting Duras’ adolescent experience in the then French colony of Vietnam where she was born in 1914. Her father died in 1918, leaving her mother, a teacher occupying one of the lowliest positions in the colonial hierarchy, to tend for Duras and her two brothers.Both of these novels paint a poignant picture of Duras’ miserable upbringing. Her family was pitted into dire poverty after her mother was lured by the corrupt colonial administration into putting all her savi ngs into the purchase of a worthless plot of land, subject to flooding by the sea. ‘It’s here we are at the heart of our common fate, the fact that all three of us are our mother’s children, the children of a candid creature murdered by society’, Duras writes, ‘We’re on the side of the society which has reduced her to despair. Because of what’s been done to our mother, so amiable, so trusting, we hate life, we hate ourselves’. Feelings of shame and anger towards one another and the outside world, enveloped in the fear of not having enough to survive on economically, thereafter tarnished the lives of Duras and her siblings.It is within this context that ‘the girl’, i.e. Duras herself at age fifteen and a half, lounging on the ferry crossing the Mekong river, ‘wearing a man’s flat brimmed hat, a brownish-pink fedora with a black ribbon’, attracts the interest of the very elegant rich Chinese man inside the big black limousine. ‘... how important it was to be in my life, that event, the crossing of the river’, she relates. The sudden attraction is mutually shared and they instantly become lovers. ‘He’s a man who must make love a lot’, Duras reveals, ‘I’m very lucky, obviously, it’s as if it were his profession, as if unwittingly he knew exactly what to do and wh at to say’. Day in day out, his formidable chauffeur diligently comes to fetch her from the boarding school. But the love story that develops is much more complex than what one might guess to be an older man’s fetishistic attraction for a ‘little white gir l’ or an ‘impoverished white lay-about’s scheme to exploit a Chinese millionaire. His bachelor’s quarters not only represent the locus of their boundless intimacy but also a safe haven which enables them to escape from their respective predicaments.In The Lover, Duras’ Goncourt Prize (the Goncourt is the best-known French literary award) novel, one senses a strain of resentment in the author’s tone. It is as if she is telling the love story (her love story) without really wanting to, as though she felt compelled to write as an attempt to stop this experience from recurring in her mind. ‘I often think of the image only I can see now, and of which I’ve never spoken’, Duras relates at the outset, ‘It’s always there, in the same silence, amazing. It’s the only image of myself I like, the only one in which I recognize myself, in which I delight’. But she holds back from delving into the emotional breadth of their love story, choosing instead to depict it in a minimalist way: ‘Because of his ignorance she suddenly knows: she was attracted to him already on the ferry. She was attracted to him. It depended on her alone’.him for the money, that I can’t love him’, she asserts, ‘it’s impossible, that he could take any sort of treatment from me and still go on living. This is because he’s a Chinese, because he’s not a white man’. When he takes her famished family out to dinner, for example, they all behave as though th ey have granted him a favour in accepting his invitation and treat him as though he were an inferior person, showing contempt for his envied wealth.In The Lover, Duras resists from overtly acknowledging the strength of her great love. She abstains from revealing her emotions to her lover and sharing them with her readers. When, in tremendous desperation, he confronts her about the impossibility of their love as being against the marital arrangements set out for him by his family, she resists coming to grips with the grievous situation and simply says to him that ‘I agreed with his father. That I refused to stay with him. I didn’t give any reasons’. In this version ‘the girl’ tastes and lives out the fruits of first love while tacitly accepting its annihilation. But at the end, as she bids farewell to the big black limousine majestically ‘gazing’ at her (with the lover inside) on the steam boat departing for France, she realizes how much she has withheld: ‘She’d wept without letting anyone see her tears, beca use he was Chinese and one oughtn’t weep for that kind of lover’.And it is with the realization that The Lover simply scraped the surface of things that Duras resolved to do justice to the true colours of their love story in The North China Lover. Upon di scovery of his death, Duras explains in the prelude ‘I stopped the work I was doing. I wrote the story of the North China lover and the child: it wasn’t quite there in The Lover, I hadn’t given them enough time. This book is a novel containing many features of a screenplay, such as the meticulous visual descriptions of possible settings, since Duras hoped that it would ultimately be recaptured on film (which it was in 1992 by director Jean Jacques Annaud).Still written in her typical disjointed style (for this is not an author for smooth transitions), in this version Duras handles their love story with great care and tenderness. Instead of objectifying her protagonists as ‘the girl’ and ‘the Chinese man’, Duras calls them ‘the child’ and ‘the North China lo ver’, identities that inevitably suggest the youth and innocence, the care and protectiveness enveloped in their intimacy. She comes to grips with her sorrow throughout the course of the novel and takes great pains to transcribe into words an ecstasy of love reduced to the harsh process of separation.The North China Lover effusively articulates the emotional breadth of ‘the wild happiness of first love and the unrelieved, incurable pain of having lost it’. Realizing that ‘the two are merged in the pain of love’, the child ‘talks to him, she tells him she will always love him. She thinks she will love him all her life. It will be the same for him too. They have both ruined themselves forever’. It is no surprise, then, that at the moment of her departure, the child already mourns the sense of lifelong loss, ‘the strange tragedy of betraying the destiny they realize was theirs’. And when he does telephone her years later, this time she is brave enough to include her own reaction: ‘He heard her crying on the telephone. And then from further off, probably from her room —she hadn’t hung up —he could still hear her crying’.Both of these novels are essential works of contemporary French literature; neither is necessarilytrajectory for the personal catharsis that awaits Marguerite Duras in the second when she tries to come to grips with the depth of her emotions.。

法国作家经典语录法国文学作为世界文学的瑰宝，产生了许多伟大的作家和经典的作品。

他们的语录展现了他们对人生、文学和艺术的独特见解和思考。

在下面的文章中，我将为您呈现一些法国经典作家的语录，希望能够给您带来启发和思考。

1. 维克多·雨果（Victor Hugo）- “生命就是一个充满生机和美好的灾难。

”- “生活的真理在于行动。

”- “音乐是言语中最高的形式。

”- “学会垂直地行走，就不再害怕失去平衡。

”2. 玛格丽特·杜拉斯（Marguerite Duras）- “爱是一种失控的疯狂。

”- “在时间的尽头，我们仍然是孩子。

”- “用文字为眼泪建造一座桥梁。

”3. 马塞尔·普鲁斯特（Marcel Proust）- “真正的旅行者只是用目光穿越现实。

”- “时间不是从我们身边流逝，而是通过我们的身体流过。

”- “记忆，就是让过去活以色彩的一种方式。

”4. 阿尔贝·加缪（Albert Camus）- “人生的意义是要创造自己的价值观。

”- “你永远不会发现没有原因的乡愁。

”- “在世界的黑暗中，有朝阳仍旧是一个美丽的景色。

”5. 伏尔泰（Voltaire）- “爱好自由的人总是孤独的。

”- “感激是记忆的一部分。

”- “我们必须种植我们的花园。

”6. 亨利·米歇尔（Henri Michaux）- “一个人的真实只存在于他独特的不真实之中。

”- “艺术不仅仅是揭示事物，而是使我们的感知置于一个全新的层次。

”- “我们需要把自己置于自己的掌控之下。

”以上是一些法国经典作家的语录，它们反映了他们对人生、艺术和文学的深刻洞察和思考。

这些语录可以给我们带来启发和思索，让我们思考自己的人生和世界。

无论是对艺术、文学还是人性的思考，这些语录都给予了我们重要的指导和观点。

THE LOVERPart IONE DAY, I was already old, inthe entrance of a public place a man came up to me. He introduced himself and said:'I've known yo u for years. Everyone says you were beautiful when you were young,but I want to tell you I think you're more beautiful now than then. Rather than your face as a young woman, I perfer your face as it is now. Ravaged.'I often think of the image only I can see now, and of which I've never spoken. It's always there, in the same silence, amazing. It's the only image of myself I like, the only one in which I recognize my self, in which I delight.Very early in my life it was too late. It was already too late when I was eighteen. Between eighteen and twenty-five my face took off in a new direction. I grew old at eighteen. I don't know if it's the same for everyone. I've never asked. But I believeI've heard of the way time can suddenly accelerate on people when they're going through even the most youthful and highly esteemed stages of life. My ageing was very sudden. I saw it spread over my features one by one, changing the relationshipbetween them, making the eyes larger, the expression sadder, the mouth more final, leavinggreat creases in the forehead. But instead of beingdismayed I watched this process with the same sort of interest i might have taken in the reading of a book. And I knew I was right, that one day it would slow down and take its normal course. The people who knew me at seventeen, when I went to France, were surprised when they saw me again two years later, at nineteen. And I've kept it eversince, the new face I had then. It has been my face. It's got older still, of course, but less, comparati vely, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face hasn't collapsed, as some with fine features have done. It's kept the same contours, butits substance has been laid waste. I have a face laid waste.THE LOVERPart IISo, I'm fifteen and a half. It's on a ferry crossing the Mekong river. The image lasts all the way acro ss. I'm fifteen and a half, there are no seasons in that part of the world, we have just one season, ho t, monotonous, we're in the long hot girdle of the earth, with no spring, no renewal.I'm at a state boarding school in Saigon. I eat and sleep there, but I go to classes at the French high school. My mother's a teacher and wants her girlto have a secondary education. 'You have to go tohigh school.' What was enough for her is notenough for her daughter. High school and then agood degree in mathematics. That was what hadbeen dinned into me ever since I started school. It never crossed my mind I might escape the mathe- matics degree, I was glad to give her that hope.Every day I saw her planning her own and her children's future. There came a time when shecouldn't plan anything very grand for her sonsany more, so she planned other futures, makeshift ones, but they too served their purpose, theyblocked in the time that lay ahead. I remember my younger brother's courses in book-keeping. Fromthe Universal Correspondence School - everyyear, every level. You have to catch up, my mother used to say. It would last for three days, never four. Never. We'd drop the Universal School whenevermy mother was posted to another place. And begin again in the next. My mother kept it up for ten years. It wasn't any good. My younger brother became an accountant's clerk in Saigon. There wasno technical school in colonies; we owed myelder brother's departure for France to that. Hestayed in France for several years to study at the technical school. But he didn't keep it up. Mymother must have known. But she had no choice,he had to be got away from the other two children.For several years he was no longer part of the family. It was while he was away that my mother bought the land, the concession. A terrible business, but for us, the children who were left, not so ter-rible as the presence of the killer who would have been, the child-killer of the night, of the night of the hunter.The Lover-DurasThe Lover (French title: L'Amant) is an autobiographical novel by Marguerite Duras, published in 1984 by Les Éditions de Minuit. It has been translated to 43 languages. It was awarded the 1984 Prix Goncourt. The Lover is also a 1992 movie based on this novel, directed by Jean-Jacques Annaud and starring Jane March and Tony Leung Ka Fai. The cast also included Lisa Faulkner. The film was nominated for the Academy Award for Best Cinematography.Summary of the movieSet against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl (Jane March), from a financially strapped French family and an older, wealthy Chinese man (Tony Leung Ka-Fai). The story is narrated by Jeanne Moreau, portraying a writer looking back on her youth. In 1929, a 15 year old nameless girl is traveling by ferry across the Mekong Delta, returning from a holiday at her family home in the village of Sadec, to her boarding school in Saigon. She attracts the attention of a 32 year old son of a Chinese business magnate, a young man of wealth and heir to a tidy fortune. He strikes up a conversation with the girl; she accepts a ride back to town in his chauffeured limousine. Compelled by the circumstances of her upbringing, this girl, the daughter of a bankrupt, manic-depressive widow, is newly awakened to the impending and all-too-real task of making her way alone in the world. Thus, she becomes his lover, until he bows to the disapproval of his father and breaks off the affair. For her lover, there is no question of the depth and sincerity of his love, but it isn't until much later that the girl acknowledges to herself her true feelings. Duras' real-life Chinese lover was named Lee. The last she heard of him, he became a born again Christian and loved his family very much. He died and was buried in the same city in Vietnam where Duras first met him. Duras was only 15 at the time of her love affair, which is the age of the heroine in the novel.Marguerite Donnadieu, better known as Marguerite Duras (French IPA: [maʀgə'ʀit dy'ʀas]) (April 4, 1914 – March 3, 1996) was a French writer and film director. She was born in Saigon, French Indochina (now Vietnam), her father died,her mother raised her with her two brother , they were very poor,the mother went practicly mad, she ( the mother) use to beat her children and even made marguerite a sort of prostitute.when she got 18 she went to France, her parents' native country, to study law, but became a writer instead. She changed her name in 1943 for Duras, the name of a village in the Lot-et-Garonne département, where her father's house was located. She is the author of a great many novels, plays, films and short narratives, including her best-selling, ostensibly autobiographical work L'Amant (1984), translated into English as The Lover. Following the making of a film of the same name(s) (1992, L'Amant, The Lover) based on her work, Duras then published a slightly different work, L'Amant de la Chine du Nord. Other major works include Moderato Cantabile, also made into a film of the same name, Le Ravissement de Lol V. Stein, and her film India Song. She was also the screenwriter of the 1959 French film Hiroshima mon amour, which was directed by Alain Resnais. Duras's early novels were fairly conventional in form (theirCantabile she became more experimental, paring down her texts to give ever-increasing importance to what was not said. She was associated with the Nouveau roman French literary movement. Her films are also experimental in form, most eschewing synch sound, using voice over to allude to, rather than tell, a story over images whose relation to what is said may be more-or-less tangential. She died at 81 from throat cancer and is interred in the Cimetière du Montparnasse.In The Lover and The North China Lover, Marguerite Duras writes about first love. Both novels are autobiographical, reflecting Duras’ adolescent experience in the then French colony of Vietnam where she was born in 1914. Her father died in 1918, leaving her mother, a teacher occupying one of the lowliest positions in the colonial hierarchy, to tend for Duras and her two brothers.Both of these novels paint a poignant picture of Duras’ miserable upbringing. Her family was pitted into dire poverty after her mother was lured by the corrupt colonial administration into putting all her savi ngs into the purchase of a worthless plot of land, subject to flooding by the sea. ‘It’s here we are at the heart of our common fate, the fact that all three of us are our mother’s children, the children of a candid creature murdered by society’, Duras writes, ‘We’re on the side of the society which has reduced her to despair. Because of what’s been done to our mother, so amiable, so trusting, we hate life, we hate ourselves’. Feelings of shame and anger towards one another and the outside world, enveloped in the fear of not having enough to survive on economically, thereafter tarnished the lives of Duras and her siblings.It is within this context that ‘the girl’, i.e. Duras herself at age fifteen and a half, lounging on the ferry crossing the Mekong river, ‘wearing a man’s flat brimmed hat, a brownish-pink fedora with a black ribbon’, attracts the interest of the very elegant rich Chinese man inside the big black limousine. ‘... how important it was to be in my life, that event, the crossing of the river’, she relates. The sudden attraction is mutually shared and they instantly become lovers. ‘He’s a man who must make love a lot’, Duras reveals, ‘I’m very lucky, obviously, it’s as if it were his profession, as if unwittingly he knew exactly what to do and wh at to say’. Day in day out, his formidable chauffeur diligently comes to fetch her from the boarding school. But the love story that develops is much more complex than what one might guess to be an older man’s fetishistic attraction for a ‘little white gir l’ or an ‘impoverished white lay-about’s scheme to exploit a Chinese millionaire. His bachelor’s quarters not only represent the locus of their boundless intimacy but also a safe haven which enables them to escape from their respective predicaments.In The Lover, Duras’ Goncourt Prize (the Goncourt is the best-known French literary award) novel, one senses a strain of resentment in the author’s tone. It is as if she is telling the love story (her love story) without really wanting to, as though she felt compelled to write as an attempt to stop this experience from recurring in her mind. ‘I often think of the image only I can see now, and of which I’ve never spoken’, Duras relates at the outset, ‘It’s always there, in the same silence, amazing. It’s the only image of myself I like, the only one in which I recognize myself, in which I delight’. But she holds back from delving into the emotional breadth of their love story, choosing instead to depict it in a minimalist way: ‘Because of his ignorance she suddenly knows: she was attracted to him already on the ferry. She was attracted to him. It depended on her alone’.him for the money, that I can’t love him’, she asserts, ‘it’s impossible, that he could take any sort of treatment from me and still go on living. This is because he’s a Chinese, because he’s not a white man’. When he takes her famished family out to dinner, for example, they all behave as though th ey have granted him a favour in accepting his invitation and treat him as though he were an inferior person, showing contempt for his envied wealth.In The Lover, Duras resists from overtly acknowledging the strength of her great love. She abstains from revealing her emotions to her lover and sharing them with her readers. When, in tremendous desperation, he confronts her about the impossibility of their love as being against the marital arrangements set out for him by his family, she resists coming to grips with the grievous situation and simply says to him that ‘I agreed with his father. That I refused to stay with him. I didn’t give any reasons’. In this version ‘the girl’ tastes and lives out the fruits of first love while tacitly accepting its annihilation. But at the end, as she bids farewell to the big black limousine majestically ‘gazing’ at her (with the lover inside) on the steam boat departing for France, she realizes how much she has withheld: ‘She’d wept without letting anyone see her tears, beca use he was Chinese and one oughtn’t weep for that kind of lover’.And it is with the realization that The Lover simply scraped the surface of things that Duras resolved to do justice to the true colours of their love story in The North China Lover. Upon di scovery of his death, Duras explains in the prelude ‘I stopped the work I was doing. I wrote the story of the North China lover and the child: it wasn’t quite there in The Lover, I hadn’t given them enough time. This book is a novel containing many features of a screenplay, such as the meticulous visual descriptions of possible settings, since Duras hoped that it would ultimately be recaptured on film (which it was in 1992 by director Jean Jacques Annaud).Still written in her typical disjointed style (for this is not an author for smooth transitions), in this version Duras handles their love story with great care and tenderness. Instead of objectifying her protagonists as ‘the girl’ and ‘the Chinese man’, Duras calls them ‘the child’ and ‘the North China lo ver’, identities that inevitably suggest the youth and innocence, the care and protectiveness enveloped in their intimacy. She comes to grips with her sorrow throughout the course of the novel and takes great pains to transcribe into words an ecstasy of love reduced to the harsh process of separation.The North China Lover effusively articulates the emotional breadth of ‘the wild happiness of first love and the unrelieved, incurable pain of having lost it’. Realizing that ‘the two are merged in the pain of love’, the child ‘talks to him, she tells him she will always love him. She thinks she will love him all her life. It will be the same for him too. They have both ruined themselves forever’. It is no surprise, then, that at the moment of her departure, the child already mourns the sense of lifelong loss, ‘the strange tragedy of betraying the destiny they realize was theirs’. And when he does telephone her years later, this time she is brave enough to include her own reaction: ‘He heard her crying on the telephone. And then from further off, probably from her room —she hadn’t hung up —he could still hear her crying’.Both of these novels are essential works of contemporary French literature; neither is necessarilytrajectory for the personal catharsis that awaits Marguerite Duras in the second when she tries to come to grips with the depth of her emotions.。

杜拉斯经典语录杜拉斯经典语录1、当我越写，我就越不存在。

我不能走出来，我迷失在文里。

2、如果我不是一个作家，会是个妓女3、喜欢只写过一部小说的作家。

喜欢的作家和作品有《圣经》、米什莱、夏多布里昂、卢梭、帕斯卡尔、勒南的《耶稣传》、《克莱芙王妃》、拉辛、波德莱尔，觉得萨特和波伏瓦都不是作家。

4、干吗要介绍作家呢？他们的书就已足够。

5、确实没有必要把美丽的衣装罩在自己的身上，因为我在写作。

6、我在想，人们总是在写世界的死尸，同样，总是在写爱情的死尸。

7、写作是走向死亡，身处死亡之中。

8、我写女人是为了写我，写那个贯穿在多少世纪中的我自己。

9、作家是难以忍受的，他杀人、做坏事。

写作是自杀性的，是可怕的，可人们仍在写。

10、我生活的故事是不存在的。

它是不存在的。

它没有中心，没有路，没有线。

有大片地方，大家都以为那里有个什么人，其实什么人也没有。

11、现在，我看我在很年轻的时候，在十八岁，十五岁，就已经有了以后我中年时期因饮酒过度而有的那副面孔的先兆了。

12、饮酒使孤独发出声响，最后就让人除了酗酒之外别无所好。

饮酒也不一定就是想死，不是。

但没有想到自杀也就不可能去喝酒。

经典语录靠酗酒活下去，那就是死亡近在咫尺地活着狂饮之时，自戕也就防止了，因为有这样一个意念，人死了也就喝不成了醉酒于是用来承受世界的虚空，行星的平衡，行星在空间不可移动的运行，对你来说，还有那痛苦挣扎所在地专有的那种默无声息的冷漠。

13、对付男人的方法是必须非常非常爱他们，否则他们会变得令人难以忍受。

我爱男人，我只爱男人。

我可以一次有50个男人。

爱情并不存在，男女之间有的只是激情，在爱情中寻找安逸是绝对不合适的，甚至是可怜的，但她又认为，如果活着没有爱，心中没有的位置，没有期待的位置，那是无法想象的。

14、夫妻之间最真实的东西是背叛；任何一对夫妻，哪怕是最美满的夫妻，都不可能在爱情中相互激励；在通奸中，女人因害怕和偷偷摸摸而兴奋，男人则从中看到一个更能激起情欲的目标。

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文档下载后可定制修改，请根据实际需要进行调整和使用，谢谢!并且，本店铺为大家提供各种类型的经典范文，如爱情语录、搞笑语录、心情语录、励志语录、伤感语录、友情语录、经典语录、名人语录、情感语录、哲理语录等等，想了解不同范文格式和写法，敬请关注!Download tips: This document is carefully compiled by this editor.I hope that after you download it, it can help you solve practical problems. The document can be customized and modified after downloading, please adjust and use it according to actual needs, thank you!In addition, this shop provides you with various types of classic sample essays, such as love quotes, funny quotes, mood quotes, inspirational quotes, sad quotes, friendship quotes, classic quotes, celebrity quotes, emotional quotes, philosophical quotes, etc. I want to know the difference Please pay attention to the format and writing of the sample essay!杜拉斯经典语录大全1、爱之于我，不是肌肤之亲，不是一蔬一饭，它是一种不死的欲望，是疲惫生活中的英雄梦想。

《情人》杜拉斯经典句子1. “人最能相信自己的应该等到出生时才庄严而深沉地说出的一句话。

”2. “爱一个人是很远很远，很温暖很温暖的。

”3. “如果听起来像是爱，那就是爱。

”4. “在巨大的虚无之中，它们感到浑浊和温暖，仿佛被幸福掠夺过。

”5. “是宽容或是厌恶，都把一切吹入黑夜。

”6. “我完全不过是为了你才呼吸的。

”7. “他让我完全失去了独立。

”8. “爱是失去自己，流离失所。

”9. “两个人的宽容之路是从对方的床上开始的。

”10. “爱就像潮水，早晚会退去。

”11. “我们必须面对自己令人讨厌的事实。

”12. “我思念你的嘴唇，思念你的气息。

”13. “我不再是我，我是你的一部分。

”14. “他试图用魔法彻底颠覆我。

”15. “也许我们就应该录取每一次恶语相向。

”16. “爱你是一种不合时宜的感觉。

”17. “爱是一种亏空。

”18. “爱的真理就是我们不再孤单。

”19. “在他的呼吸中我才能找到我自己。

”20. “爱总是让人背叛。

”21. “爱情是个巨大的坟墓。

”22. “在爱中，厌恶往往是多于喜欢的。

”23. “爱其实并不需要温和。

”24. “爱是孤单化和痛苦的境地。

”25. “我们的爱总能超越时间。

”26. “只有在破坏的时候，我们才真正接近爱。

”。

杜拉斯经典语录1、当我们的生活中没有了“沙漠”，我们就不需要去思考生活和生存的问题，或者把它们放在不那么重要的位置，生活也可以很幸福，但这不可避免的走得太远。

2、当你不能控制别人的时候，你必须控制你自己。

赛车就像人一样。

有时他们停下来，有时他们冲。

3、后来，他不知道该对她说什么。

后来，他把自己的意思告诉了她。

他告诉她，和过去一样，他仍然爱着她。

他情不自禁地爱上了她。

他说他会爱她到死。

4、多少春秋风雨变幻，多少坎坷不变的爱情，多少尖叫你在人群中。

5、性格决定命运，但什么决定性格。

我们不能改变每个人的环境，我们不能保证每个人都在这样一个可以培养良好性格的环境中，所以请不要轻易评论每个人的好或坏。

6。

我发现他没有权力违抗他父亲的命令，爱我，娶我，把我带走。

他找不到克服恐惧获得爱的力量，所以他总是哭。

他的英雄主义是我。

他的奴性是他父亲的钱。

7。

在争取利益的斗争中，坚持是一件很痛苦的事情。

你必须时刻绷紧神经，时刻准备着去考虑战士们的战斗。

这样的事情在身体上和精神上都是极其痛苦的。

因此，也许退出是最好的选择。

8。

人们似乎被一些奇怪的特征所污染，我们也一样。

我母亲的懒惰和惰性也出现在我们身上。

在这个地方，人们什么都不知道，只是看着森林，等着空，哭。

9。

我生命的历史并不存在。

10。

我认识你，永远记得你。

那时，你很年轻，每个人都说你很漂亮。

现在，我在这里要告诉你，对我来说，我认为你现在比年轻时更美丽，我比那时更爱你。

11、仇恨是沉默开始的门槛。

12、当你年轻的时候，每个人都说你很漂亮。

13、当我很小的时候，一切都太晚了。

14、眼泪安慰着过去和未来。

15、尽管她对生活中幸福有着强烈的渴望，但却不可能完全驱散她的绝望。

16。

这是一个15岁孩子的想法吗什么样的生活能让她变得如此不讲理，以至于她诅咒她的兄弟和母亲，想要杀死他们17。

如果那个男人爱你，他的眼里会充满遗憾。

如果你不爱，就只有欲望。

18。

也许爱情在那个时候并不存在。

玛格丽特·杜拉斯经典语录“孤独总是以疯狂为伴。

这我知道。

人们看不见疯狂。

仅仅有时能预感到它。

”关于玛格丽特·杜拉斯还有不少，下面为大家搜集了一些，以供赏析!爱之于我，不是肌肤之亲，不是一蔬一饭，它是一种不死的欲望，是疲惫生活中的英雄梦想。

写作的孤独是这样一种孤独，缺了它写作就无法进行，或者它散成碎屑，苍白无力地去寻找还有什么可写。

它失血，连作者也认不出它来。

写作是充满我生活的唯一的事，它使我的生活无比喜悦。

我写作。

写作从未离开我。

你找不到孤独，你创造它。

孤独是自生自长的。

我创造了它。

孤独也意味着：或是死亡，或是书籍。

但它首先意味着酒精。

意味着威士忌。

我在屋子里写作时，一切都在写作。

处处都是文字。

写作可以走得很远……直至最后的了结。

有时你难以忍受。

突然之间一切都具有了与写作的关系，真叫人发疯。

作家是很奇怪的，是矛盾也是荒谬。

写作，这也是不说话。

是沉默。

是无声的喊叫。

打开的书也是黑夜。

我不知为什么，我刚才的这些话使我流泪。

仍然写作，不理睬绝望。

不，怀着绝望。

怎样的绝望，我不知道它的名字。

与尚未写成的书单独相处，就是仍然处在人类的最初睡眠中。

就是这样。

也是与仍然荒芜的写作单独相处。

试图不因此而死。

写作永远没有参照，不然它就……它仿佛刚出世。

粗野。

独特。

孤独总是以疯狂为伴。

这我知道。

人们看不见疯狂。

仅仅有时能预感到它。

在城市，在村镇，在各处，作家是孤独的人。

他们无时无处不是孤独的。

在全世界，光线的终结就是劳动的终结。

写作像风一样吹过来，赤裸裸的，它是墨水，是笔头的东西，她和生活中的其他东西不一样，仅此而已，除了生活以外。

如果我不是一个作家，会是个妓女。

当我越写，我就越不存在。

我不能走出来，我迷失在文字里。

我在想，人们总是在写世界的死尸，同样，总是在写爱情的死尸。

任何一个女人都比男人神秘，比男人聪明、生动、清新，从来也不想做男人。

我更喜欢与很不爱我的人在一起，而不喜欢与太爱我的人在一起。

玛格丽特杜拉斯经典语录•在现实生活或工作学习中，大家肯定对各类语录都很熟悉吧，语录是指一个人的说话记录。

其实很多朋友都不太清楚什么样的语录才是好的语录，下面是小编收集整理的玛格丽特杜拉斯经典语录，欢迎大家分享。

1、你不必非得是作家才能评判一部作品。

我需要一种方式来代表时间的流逝。

2、你知道，我希望我从来没有爱上过你，但是我从来没有。

爱上你是世界上最自然的事情。

对我来说，这就像被一块木头绊倒。

绊倒人一次，再绊倒人。

3、有时候，我们说了一些不真实的事情，却暗地里希望它们会是真实的。

4、我将散步，读书，休息和恢复。

它是无聊的，是的。

但令人惊奇的是，无聊和快乐之间几乎没有区别。

5、我喜欢求婚的一切：买戒指，单膝跪地，问问题，感觉自己是勇敢而愚蠢的人的伟大传统的一部分。

6、我觉得我们这辈子都在想念彼此。

7、爱一个女人一生意味着爱一个女孩，一个年轻的女人，一个忙碌的中年女人和一个唠叨的老太太。

8、只有当你需要它的时候，你才会意识到它已经不见了。

9、只有那些一直深爱着自己女儿的人，无论她有多大，才是真正值得托付一生的人。

10、在这一生中，我始终无法分辨什么是一时的心血来潮，什么是我应该终生奉献的。

11、关于玛格丽特去了哪里，在那三年里她发生了什么事，我们只字不提。

我们从未讨论过她为什么回来。

我很想知道，在接下来的日子里，我变得更加成熟和理性。

我爱她胜过我的'好奇心。

为了她，我愿意承受这次的损失。

12、每一个地方在你第一次到达时都渴望取悦你，但当你离开时却很难感到孤独。

有时候当你离开一个地方，你甚至不知道你离开了。

13、如果你知道我的一切，我们的爱情可能会走到尽头。

14、我觉得我们这辈子都在想念彼此。

想到这件事她很难过，但她喜欢这种难过。

15、相爱的两个人必须了解对方的一切，这是一个谎言。

爱情必须时时保持一定的距离。

16、我很高兴知道我仍然可以这么爱一个人。

爱一个你知道不可能的人本身就是一种乐趣。

17、命运，是坏运气，是好运气。

杜拉斯语录杜拉斯语录杜拉斯语录篇一《杜拉斯经典语录》 1..当我越写，我就越不存在。

我不能走出来，我迷失在文里。

2 如果我不是一个作家，会是个妓女. 3 喜欢只写过一部小说的作家。

喜欢的作家和作品有：《圣经》、米什莱、夏多布里昂、卢梭、帕斯卡尔、勒南的《耶稣传》、《克莱芙王妃》、拉辛、波德莱尔，觉得萨特和波伏瓦都不是作家。

干吗要介绍作家呢？他们的书就已足够。

4 确实没有必要把美丽的衣装罩在自己的身上，因为我在写作。

5 我在想，人们总是在写世界的死尸，同样，总是在写爱情的死尸。

6 写作是走向死亡，身处死亡之中。

7 我写女人是为了写我，写那个贯穿在多少世纪中的我自己。

8 作家是难以忍受的，他杀人、做坏事。

9 写作是自杀性的，是可怕的，可人们仍在写。

10 我生活的故事是不存在的。

它是不存在的。

它没有中心，没有路，没有线。

有大片地方，大家都以为那里有个什么人，其实什么人也没有。

11 关于酒, 在酗酒之前我就有了这样一副酗酒的面孔。

现在，我看我在很年轻的时候，在十八岁，十五岁，就已经有了以后我中年时期因饮酒过度而有的那副面孔的先兆了。

饮酒使孤独发出声响，最后就让人除了酗酒之外别无所好。

饮酒也不一定就是想死，不是。

但没有想到自杀也就不可能去喝酒。

靠酗酒活下去，那就是死亡近在咫尺地活着。

狂饮之时，自戕也就防止了，因为有这样一个意念，人死了也就喝不成了.醉酒于是用来承受世界的虚空，行星的平衡，行星在空间不可移动的运行，对你来说，还有那痛苦挣扎所在地专有的那种默无声息的冷漠。

关于爱对付男人的方法是必须非常非常爱他们，否则他们会变得令人难以忍受。

我爱男人，我只爱男人。

我可以一次有50个男人。

爱情并不存在，男女之间有的只是激情，在爱情中寻找安逸是绝对不合适的，甚至是可怜的，但她又认为，如果活着没有爱，心中没有的位置，没有期待的位置，那是无法想象的。

夫妻之间最真实的东西是背叛；任何一对夫妻，哪怕是最美满的夫妻，都不可能在爱情中相互激励；在通奸中，女人因害怕和偷偷摸摸而兴奋，男人则从中看到一个更能激起情欲的目标。

《情人》经典语录《情人》经典语录《情人》（L'Amant）——法国当代最著名的女小说家玛格丽特·杜拉斯代表作之一，属于带有自传性质的小说，获一九八四年法国龚古尔文学奖。

全书以法国殖民者在越南的生活为背景，描写贫穷的法国女孩与富有的中国少爷之间深沉而无望的爱情。

这里将其中部分比较经典的语句摘抄出来，以供大家欣赏。

Un jour, j'étais gée déjà,dans le hall d'un lieu public, un homme est venu vers moi. Il s'est fait connatre et il m'a dit: Je vous connais depuis toujours.我已经老了。

一天，在一间公共场所的大厅里，一个男人朝我走来。

他做过自我介绍后说：我很早就认识你了。

Tout le monde dit que vous étiez belle lorsque vous étiez jeune, je suis venu pour vous dire que pour moi je vous trouve plus belle maintenant que lorsque vous étiez jeune.我来这是为了告诉你，大家都说你年轻时候美丽，我却觉得现在的你比年轻时更美。

J'aimais moins votre visage de jeune femme que celui que vous avez maintenant,dévasté.与年轻时候的你相比，我更爱你现在这会饱经沧桑的.容颜。

Très vite dans ma vie il a été trop tard. A dix-huit ans il était déjà trop tard.生命不停地流逝，瞬息之间一切就都太晚了。

杜拉斯的语录39条杜拉斯的语录39条当我不爱你的时候，就什么都不爱了；什么都不爱……你除外。

下面是店铺为大家推荐的杜拉斯的语录39条,欢迎阅读，希望大家能够喜欢。

1、我写女人是为了写我，写那个贯穿在多少世纪中的我自己。

2、我变老了，我突然发现我老了。

他也看到这一点，他说，你累了。

3、孤独也意味着；或是死亡，或是书籍。

但它首先意味着酒精。

意味着威士忌。

4、我发现，要他违抗父命而爱我娶我、把我带走，他没有这个力量。

他找不到战胜恐惧去取得爱的力量，因此他总是哭。

他的英雄气概，那就是我。

他的奴性，那就是他的父亲的金钱。

5、再过几年，等我忘记了你，等习惯的力量使我又有了其他的相同经历，我会想起你，就像想起遗忘的爱情一样。

我会回忆这段经历，如同回忆可怕的遗忘一样。

我现在就知道我会那样做的。

6、恨之所在，是沉默据以开始的门槛。

7、正是这样，他们喜欢你是因为你是你。

8、我没有迷茫，只是大风吹落了目光。

9、孤独总是以疯狂为伴。

这我知道。

人们看不见疯狂。

仅仅有时能预感到它。

我想它不会是别的样子。

当你倾泻一切，整整一本书时，你肯定处于某种孤独的特殊状态，无法与任何人分享。

你什么也不能与人分享。

你必须独自阅读你写的书，被封闭在你的书里。

10、每当我有了欲望，就有了感情。

11、写作是走向死亡，身处死亡之中。

12、一个人如果连灵魂也没有，只是任凭一副驱壳游荡在这个人世，那么他真是什么事都可以做得出来，这样的人，谁也不知道他的灵魂去了哪里。

是被自己抛弃？还是被生活剥离？我们对此无从而知，但这样的人，我们在对他痛恨之余，我想更应该可怜一下他。

13、你永远无法忍受一个男人，除非你很爱很爱他。

14、我生活的故事是不存在的。

它是不存在的。

它没有中心，没有路，没有线。

有大片地方，大家都以为那里有个什么人，其实什么人也没有。

15、比起你年轻的美貌，我更爱你那饱受岁月摧残的容颜。

——杜拉斯《情人》16、不久后，太阳升起来了。

一只小鸟飞过平台沿着房屋的墙壁逝去。