对生活的评注 2-48

THE ROAD CURVED in and out through the low hills, mile after endless mile. The burning rays of the afternoon sun lay on the golden hills, and there were deep shadows under the scattered trees, which spoke of their solitary existence. For miles around there was no habitation of any kind; here and there were a few lonely cattle, and only occasionally another car would appear on the smooth, well-kept road. The sky was very blue to the north and glare to the west. The country was strangely alive, though barren and isolated, and far away from human joy and pain. There were no birds, and you saw no wild animals apart from the few ground squirrels that scurried across the road. No water was visible except in one or two places where the cattle were. With the rains the hills would turn green, soft and welcoming, but now they were harsh, austere, with the beauty of great stillness.

这条路蜿蜒着穿过低矮的山丘，一英里又一英里。午后，太阳炙热的光芒照耀在金色的山丘上，散落的树林，倒映出厚重的影子，诉说着它们寂寥的存在。周围几英里内，都没有人居住。这里和那里有几头孤独的牛，偶尔有另一辆车出现在平坦的、维护良好的路上。天空的北面很蓝，西面非常刺眼。这个乡村有奇特的生机，尽管贫瘠和僻静，远离了人类的欢乐和痛苦。这里没有鸟，除了在马路对面匆匆赶来的几只地松鼠之外，你没有看到野生动物。也没见到水，除了牛所在的一两个地方外。随着雨水的滋润，山丘会变成绿色，柔软而友好，但现在，它们很艰辛、简朴，带着巨大的寂静之美。

It was a strange evening, full and intense, but as the road wove in and out among the rolling hills, time had come to an end. The sign said it was eighteen miles to the main road leading north. It would take half an hour or so to get there: time and distance. Yet at that moment, looking at that sign on the roadside, time and distance had ceased. It was not a measurable moment, it had no beginning and no end. The blue sky and the rolling, golden hills were there, vast and everlasting, but they were part of this timelessness. The eyes and the mind were watchful of the road; the dark and lonely trees were vivid and intense, and each separate blade of hay on the curving hills stood out, simple and clear. The light of that late afternoon was very still around the trees and among the hills, and the only moving thing was the car, going so fast. The silence between words was of that measureless stillness. This road would come to an end joining another, and that too would peter out somewhere; those still, dark trees would fall and their dust would be scattered and lost; tender green grass would come up with the rains, and it too would wither away.

这是一个奇怪的夜晚，充实而强烈，但随着路在连绵起伏的山丘中进进出出，时间已经结束。标志上写着，它距离通往北方的主干道有十八英里。到达那里需要半个小时左右的时间：时间和距离。然而，在那一刻，看着路边的那个标志，时间和距离已经停下了。它不是一个可衡量的时刻，它没有开始，也没有结束。蔚蓝的天空和连绵起伏的金色山丘在那里，无垠而永恒，但它们是这种永恒的一部分。眼睛和头脑都注视着道路。黑暗而孤独的树，生动而强烈，起伏的山丘上，每一片单独的干草叶都脱颖而出，简单而清晰。那天的夕阳照在树的周围和山丘之间，唯一在动的是汽车，它跑得那么地快。言语之间的寂静是那种无法衡量的寂静。这条路将结束，加入另一条道路，那条路也将在某个地方逐渐消失。那些寂静的，黑暗的树木会凋落，它们的灰尘会散落和消失；温柔的绿草会随着雨水而生长，它也会枯萎。

Life and death are inseparable, and in their separation lies everlasting fear. Separation is the beginning of time; the fear of an end gives birth to the pain of a beginning. In this wheel the mind is caught and spins out the web of time. Thought is the process and the result of time, and thought cannot cultivate love.

生命与死亡是密不可分的，它们的离别，蕴藏着永久的恐惧。离别，是时间的开端；对结束的恐惧，催生出痛苦的苗头。在这轮回中，头脑被时间的网罟所捕获和缠缚。思想是时间的流转和成品，思想无法培养爱。

He was an actor of some repute who was making a name for himself, but he was still young enough to inquire and suffer. "Why does one act?" he asked. "To some the stage is merely a means of livelihood, to others it offers a means for the expression of their own vanity, and to still others, playing various roles is a great stimulations. The stage also offers a marvellous escape from the realities of life. I act for all these reasons, and perhaps also because - I say this with hesitancy - I hope to do some good through the stage."

他是一位享有盛誉的演员，正在为自己扬名，但他还足够年轻，可以去调查和遭受。 “为什么一个人会演戏？” 他问。 “对一些人来说，舞台只是一种谋生手段，对另一些人来说，它提供了一种表达自己虚荣心的手段，而对另一些人来说，扮演各种角色是一种巨大的刺激。舞台还提供了一个奇妙的逃离生活现实的机会。我这样做是出于所有这些原因，也许也是因为 —— 我犹豫地说 —— 我希望通过舞台做一些好事。”

Does not acting give strength to the self, to the ego? We pose, we put on masks, and gradually the pose, the mask becomes the daily habit, covering the many selves of contradiction, greed, hate, and so on. The ideal is a pose, a mask covering the fact, the actual. Can one do good through the stage? "Do you mean that one cannot?"

难道表演没有给自我带来力量吗？我们摆姿势，我们戴上各种面具，渐渐地，这种姿势，这张面具变成了日常习惯，掩盖了大量的自我的矛盾、贪婪、仇恨，等等。理想是一个姿势，一个遮盖事实、掩盖真实的面具。一个人能通过舞台做好事吗？ “你是说一个人不能吗？”

No, it is a question, not a judgment. In writing a play the author has certain ideas and intentions which he wants to put across; the actor is the medium, the mask, and the public is entertained or educated. Is this education doing good? Or is it merely conditioning the mind to a pattern, good or bad, intelligent or stupid, devised by the author?

不，这是一个问题，而不是一个判断。在写剧本时，作者有一些他想表达的观念和意图；演员是一个媒介，一个面具，公众则被娱乐或被教育。这种教育有好处吗？或者它只是在限制头脑把它困在作者设计的一种模式里，无论这个模式是好是坏，是聪明还是愚蠢？

"Good Lord, I never thought about all this. You see, I can become a fairly successful actor, and before I get lost in it completely, I am asking myself if acting is to be my way of life. It has a curious fascination of its own, sometimes very destructive, and at other times very pleasant. You can take acting seriously, but in itself it is not very serious. As I am inclined to be rather serious, I have wondered if I should make the stage my career.

“天啊！我从来没想过这一切。你看，我可以成为一个相当成功的演员，在我完全迷失在其中之前，我问我自己，表演是不是我的生活方式。它拥有一种奇怪的魅力，有时非常具有破坏性，有时非常令人愉快。你可以严肃对待演戏，但就其本身而言，它并不是很严肃。由于我倾向于相当严肃，我想知道我是否应该把这个舞台作为我的职业生涯。

There is something in me that rebels against the absurd superficiality of it all, and yet I am greatly attracted to it; so I am disturbed, to put it mildly. Through all this runs the thread of seriousness.

在我的内心有一些东西，它反抗这一切的荒谬的肤浅性，而我却被它深深地吸引。所以我感到不安，委婉地说。透过这一切，运转着严肃的线程。

Can another decide what should be one's way of life? "No, but in talking the matter over with another, things sometimes become clear."

别人能决定一个人的生活方式吗？ “不能，但是在与别人谈论这件事时，事情有时会变得清晰。”

If one may point out, any activity that gives emphasis to the self, to the ego, is destructive; it brings sorrow. This is the principal issue, is it not? You said earlier that you wanted to do good; but surely the good is not possible when, consciously or unconsciously, the self is being nourished and sustained through any career or activity.

如果有人可以指出，任何强调自己、自我的活动，都具有破坏性；带来了悲伤。这是主要的问题，不是吗？你刚才说，你想做好事；但是，当有意识或无意识地通过任何职业或活动去滋养和维持自我时，肯定不可能做好事。

"Is not all action based on the survival of the self?"

“不是所有的行动都是基于自我的生存吗？”

Perhaps not always. Outwardly it may appear that an action is self-protective, but inwardly it may not be at all. What others say or think in this regard is not of great importance, but one should not deceive oneself. And self-deception is very easy in psychological matters. "It seems to me that if I am really concerned with the abnegation of the self, I shall have to withdraw into a monastery or lead a hermit's life."

也许并非总是如此。从表面上看，某个行为可能是在保护自身，但从内在上看，它可能根本不是。别人在这方面说什么或想什么并不重要，但不应该欺骗自己。在心理层面上，自我欺骗是相当容易的。 “在我看来，如果我真的关心自我的放弃，我将不得不退缩到修道院或过着隐士的生活。”

Is it necessary to lead a hermit's life in order to abnegate the self? You see, we have a concept of the selfless life, and it is this concept which prevents the understanding of a life in which the self is not. The concept is another form of the self. Without escaping to monasteries and so on, is it not possible to be passively alert to the activities of the self? This awareness may bring about a totally different activity which does not breed sorrow and misery. "Then there are certain professions that are obviously detrimental to a sane life, and I include mine among them. I am still quite young. I can give up the stage, and after going into all this, I am pretty sure I will; but then what am I to do? I have certain talents which may ripen and be useful."

为了放弃自我，有必要过一个隐士的生活吗？你看，我们有一个‘无私地生活’的概念，正是这个概念阻止了对没有自我的生活的理解。这个概念是自我的另一种形式。如果不逃避到寺院等地方，难道不能被动地警觉自我的活动吗？这种意识可能会带来一种完全不同的活动 —— 不会滋生出悲伤和痛苦。 “那么，有些职业显然对理智的生活有害，我把我的职业也包括在内。我还很年轻。我可以放弃舞台，在经历这一切之后，我很确定我会的；但是我该怎么办呢？我有一些天赋，可能会成熟和有用。”

Talent may become a curse. The self may use and entrench itself in capacities, and then talent becomes the way and the glory of the self. The gifted man may offer his gifts to God, knowing the danger of them; but he is conscious of his gifts, otherwise he would not offer them, and it is this consciousness of being or having something, that must be understood. The offering up of what one is or has in order to be humble, is vanities.

天赋可能成为一种诅咒。自我可能使用和巩固它的能力，然后天赋成为自我的前途和荣耀。当有天赋的人知道了它们的危险，可能把他的天赋献给上帝。但是他得意识到自己的天赋，否则他无法献出，这种拥有或具备某种天赋的意识，必须被理解。为了谦卑而献出一个人拥有或具备的东西，就是虚荣。