Reminiscences of Bygone Days

 　　"Love Letter" is adapted from the novel of the same name by Shunji Iwai. The protagonist, Hiroko Watanabe, unexpectedly receives a reply from someone with the same name after writing a love letter to her deceased fiancé, Fujii Itsuki. Through their continued correspondence, Hiroko uncovers a long-buried, pure unrequited love. The film, through the exchange of letters between the two women, tenderly portrays two precious love stories. Hiroko's lingering affection for Fujii Itsuki, and the ambiguous feelings between the two Fujii Itsukis, do not wither despite Fujii Itsuki's unexpected death; instead, they are vividly depicted through delicate and moving imagery, deeply resonating with every viewer.

　　Shunji Iwai is undoubtedly an outstanding director of coming-of-age films. Whether it's the brutally cruel youth depicted in "Lily Chou-Chou," or the passionately burning youth amidst absurdity, as in "Picnic," Iwai's films bring them to life vividly. "Love Letter" is an early work by Shunji Iwai, a portrayal of youth and love intertwined with personal memories. It possesses a uniquely Japanese elegance and subtlety that creates a breathtaking beauty. Iwai believes that memories are a major driving force behind his life. Most people think the past is the past and the present is the present, unrelated to each other. However, at a certain point, recalling past events naturally reveals connections between the past and present, influencing one's present self. "Love Letter," like the title of Proust's novel, reminisces about fleeting years. Past love and youth gradually become clear and revived through the protagonist's memories.

　　Student-era romances are always beautiful, pure, transparent, untainted, as pure as snow, and as profound as the sky. Without delving deeper, perhaps we will never know so clearly what place we held in someone else's heart. The atmosphere created by the middle section, depicting the small events that happened between the two Fujii Itsuki at school, is the highlight of the entire film. The two are called upon, and after answering simultaneously, they exchange glances; the boy's face is full of disdain, while the girl's expression is shy. During the class meeting for the election of class officers, the boy's silence, anger, and rage contrast with the girl's timid tears. In the school library, the boy silently leans against the white curtains reading, while the girl's bangs are blown across her forehead at her desk. Riding bicycles side-by-side on the way home from school, and the occasional prank, the girl's pouting lips and the smile in her eyes as she watches the boy's retreating figure after his success; in the bicycle shed after dark, the girl struggles to pedal for light, while the boy deliberately and seemingly nonchalantly delays. This is clearly how we were in our youth, beginning with love and ending in ambiguity.

　　Similarly, the deeply ingrained "death worship" culture of the Japanese people is also reflected in the film. Watanabe Hiroko, driven by intense longing, searches for memories of her deceased lover's youth; the director consistently uses dark tones for her shots, contrasting with the warm tones of the female Fujii Itsuki, vividly revealing a sense of compassion. From the opening snow-covered memorial service to the subdued, restrained close-ups of Hiroko Watanabe's face, the entire story is shrouded in the shadow of death. Iwai mentioned in his writing that Haruki Murakami's *Norwegian Wood* was the inspiration for this film, but the ingenious plot and the female protagonist imbue the film with a simpler, more romantic sentiment. Iwai doesn't pursue the traditional Japanese fascination with the fleeting beauty of cherry blossoms, but rather focuses on encouraging the living, urging them to live strong and steadfastly amidst the relentless march of time. The deaths of male Fujii Itsuki and female Fujii Itsuki's father are downplayed, reduced to a sense of sorrow and remembrance. Hiroko Watanabe, in her remembrance and longing for her lover, finally resolves to embrace her love amidst the autumn leaves, moving beyond the shadows of her past; the depiction of female Fujii Itsuki's critical illness and her rescue further affirms the continuation of life. The life journey of female Fujii Itsuki is intertwined with her understanding of life and death. Her hallucinations in the hospital, reminiscing about her father's death, reveal a deep-seated fear of death. The nurse's calls remind her of a boy with the same name from her childhood. Upon learning of the boy's passing, her first thought is of her father's departure. At this moment, the narrative is enveloped in sorrow, a sorrow tempered with Japanese-style comfort and release—the backdrop of a snowy landscape. This is the place where her father is buried, and also where the boy left. Life ends in nature, seemingly ending in eternity, and at this moment, viewing sorrow as beauty is undoubtedly the best solace. Exploring life and death may not be the film's main theme, but youth is not merely a linear progression of growth; it carries our most fundamental perceptions of life.

　　It is female Fujii Itsuki's memories that finally allow Hiroko to emerge from the abyss of her own emotions. Greeting her departed lover at sunrise on the snowy mountain, Hiroko finally breaks free from her endless cycle of despair and accepts Mr. Akiba, beginning her new life. It was Hiroko who helped Fujii Itsuki understand a part of herself she had never explored before. After recovering from a high fever, she finally resolved the knot in her heart from her youth. Although Hiroko and Fujii Itsuki never met, they encouraged and illuminated each other's lives, becoming one, a symbol of love and memory.

In Memory of Chen Zhongshi

 　　In the days following Zhongshi's passing, overwhelmed with grief and the pressure of his funeral arrangements, I was writing a memorial couplet when someone published the accompanying annotations—the short essay you see here. In that essay, I quoted two ancient sayings: "Water flows to the sea, the moon sets but never leaves the sky." Zhongshi truly embodies this; great souls are like that, like the moon, falling but still remaining in the heavens. On his 100th day memorial, a group of friends commemorated him with a poetry recitation, which I participated in. Today, we gather again, in the name of friends, in the name of readers, and in the name of literature, to remember him.

　　We should commemorate all those who have made great contributions to the country, the nation, and the people, and we should build a temple in their honor. Although Zhongshi's temple, though not yet fully constructed, is already built in our hearts.

　　In modern Chinese history, Guanzhong produced many sages, such as Li Yizhi, Yu Youren, Yang Hucheng, Shi Lu, and Liu Qing—all pillars of the nation and elites of the people. Zhongshi's emergence ensured the continuation of this pure stream; his seventy-four years were glorious and honorable.

　　Zhongshi was a quintessential traditional Chinese intellectual, emphasizing both moral integrity and literary achievement. His moral integrity lay in his profound political aspirations: patriotism, love for the people, a global perspective, unwavering faith, dedication to poverty alleviation and public service, resolute conduct, critical thinking, and a strong sense of responsibility. Whenever I read Zhang Zai's words, "To establish a heart for heaven and earth, to establish a destiny for the people, to continue the lost learning of the past sages, and to usher in an era of peace for all generations," I think of Zhongshi. This wasn't said after Zhongshi's death; I said it while he was alive. Both Zhang Zai and Zhongshi were from Guanzhong, and they deserve the title of upright figures. His literary achievement lay in his lifelong dedication to promoting and disseminating Chinese culture; his novel *White Deer Plain* is a magnificent cultural masterpiece. It will undoubtedly leave a significant mark on the history of contemporary Chinese literature. It is precisely because of his moral integrity and literary achievement that the times will not forget him, society will not forget him, and the charm of his personality and writing will endure.

　　How was his faithful moral character established? How was his faithful writing realized? These are questions we should ask ourselves and ponder deeply as we remember him, hoping they will offer us enlightenment. Reflecting on the decades we spent with him, he possessed "a steadfast and resolute character, and a bright and outstanding talent." On all major issues concerning the Party and the country, he was always clear-headed, conscious, and outspoken, taking a clear stand. I deeply admired his political acumen, his broad perspective, and his courage to take responsibility. In social welfare activities and in supporting amateur writers, he was a kind and patient elder, always tireless and warm-hearted—a quality that made me feel inferior. From the time we co-founded the Qunshu Literary Society to the later Shaanxi Army's Eastern Expedition, working together in the Writers' Association, I personally witnessed his esteemed view of literature and his diligent and earnest approach to writing. Reading his creative notes for *White Deer Plain*, I was deeply moved by the immense effort he poured into literature, the hardships and loneliness he endured, and the sheer amount of hard work he put in. It made me realize my own shortcomings. There is so much we can learn from his character and writing; he was a friend, an elder, and our eternal role model.

　　He has passed away, leaving behind a tremendous legacy. Our remembrance and commemoration of him means carrying on and expanding this immense legacy of character and writing, promoting the development of literature in Shaanxi, and enhancing our own creative endeavors.

What is filial piety?

 　　What is filial piety? Filial piety is rushing home on Lunar New Year's Eve, no matter how far away, to reunite with one's parents.

　　What is filial piety? Filial piety is the silver bracelet a daughter-in-law puts on her mother-in-law's wrist, the new clothes she buys for her, and the soft leather shoes the mother-in-law wears, swaying gracefully with every step.

　　What is filial piety? Filial piety is when sons and daughters-in-law return home, and parents can put down their work: "We're old, come and visit us!" Filial piety is when a daughter-in-law, having traveled a long way, changes out of her short skirt, stockings, and high heels, puts on an apron and cotton trousers, and becomes a housewife, washing dishes, cooking, and preparing meals, then serving them to the elderly.

　　What is filial piety? Filial piety is on New Year's Eve, parents sitting on the kang (heated brick bed), watching their son roll out dough, their daughter-in-law make dumplings, and their grandson use his phone, the whole family gathered together in harmony and joy.

　　What is filial piety? Filial piety is a daughter leaving her father, who is celebrating his birthday on New Year's Eve, behind to go back to

　　her husband's family home for the Spring Festival, and then, through a warm "Happy Birthday," she sheds tears. What is filial piety? Filial piety is a son-in-law taking the initiative to accompany his father-in-law to medical appointments in distant places every week, carrying the burden himself no matter how busy or tired he is.

　　What is filial piety? Filial piety is a daughter's soft hands massaging her parents' backs and shoulders, letting calluses form on her hands, massaging their feet and patting their spines every day, just so she can call out "Dad, Mom!" when she gets home.

　　What is filial piety? Grandpa said: Filial piety is when you eat sweet potatoes, and I get a piece of bread; filial piety is when you eat bread, and I get a bite of steamed bun! Grandma said: Filial piety is the grain of rice left at the bottom of Dad's thin soup! Filial piety is a bowl of salty soup, a bowl of noodles, and a bowl of dumplings served by a daughter-in-law!

　　What is filial piety? Filial piety is the children's hearts always rooted in home, no matter how far away they are! Filial piety is the children's deep concern for their parents; filial piety is the warm sunshine on the parents' faces! Filial piety is a flowing emotion from the heart, not a deliberate pretense displayed on the face.

　　Filial piety is a song, passed down from generation to generation; it is a Chinese virtue, flowing in our blood, vast and unstoppable!

　　---- This article is from the internet; more beautiful articles can be found on this website!

Haruki Murakami's classic quotes

 　　1. What does freedom truly mean? Is it simply escaping one cage only to find oneself in an even larger one? Aren't we all like caged birds, unable to escape the enveloping society and environment no matter how we fly? Freedom is merely a figment of our imagination; we will ultimately never find it. And without society, we have no freedom. —Haruki Murakami, *1Q84*

　　2. I must become a composed adult. No emotional outbursts, no secret longings, no looking back. I always thought people aged gradually, but it's not true; people age in an instant. —Haruki Murakami, *Dance Dance Dance*

　　3. In short, life is long, but worth the wait.
　　—Haruki Murakami, *If Our Language Was Whiskey*

　　4. In youth, even penniless and destitute, we enjoy life. When there were no trains, she, the cat, and I lay on the tracks, so quiet it felt like sitting at the bottom of a lake. We were young, newly married, and the sunshine was free.
　　—Haruki Murakami, *Meeting the Perfect Girl*

　　5. In our youth, we pursue passion; in maturity, we become enamored with mediocrity. After searching, hurting, and betraying, to still believe in love as always—that takes courage. Everyone has their own forest; those who are lost remain lost, and those destined to meet will meet again. —Haruki Murakami, *Norwegian Wood*


　　6. The beautiful fantasies held by those who have lost their minds are utterly nonexistent in the real world.
　　—Haruki Murakami, *What I Talk About When I Talk About Running*

　　7. "I am an empty shell." "Truly an empty shell, utterly devoid of anything." "—Haruki Murakami, *All God's Children Dance*

　　8. I just wanted to build a comfortable room there where I could feel at peace—to save myself. At the same time, I hoped it could also become a comfortable place for others to live in, where they could feel at peace. —Haruki Murakami, *Hear the Wind Sing*

　　9. I gradually came to understand that profundity is not the same as approaching the truth. —Haruki Murakami, *Norwegian Wood*

　　10. I am no longer a teenager; I feel the responsibility on my shoulders. Hey, Kizuki, I am no longer the person I was when I was with you; I am twenty years old! I must pay a corresponding price for my continued existence! —Haruki Murakami, *Norwegian Wood*

　　11. Hearts are not only united through harmony, but also through pain, which allows them to merge more deeply. Pain and pain, vulnerability and vulnerability, connect hearts. In every tranquility, there lies a cry of sorrow; behind every forgiveness, blood is spilled; every acceptance is accompanied by painful loss. This is what true harmony resides in. —Haruki Murakami, *Colorless Tsukuru Tazaki and His Years of Pilgrimage*

　　12. Don't pity yourself; pity yourself is the act of a despicable coward. —Haruki Murakami, *Norwegian Wood*

　　13. Where there is hope, there is hardship. —Haruki Murakami, *1Q84*

　　14. "What will not be forgotten will never be forgotten, and what will be forgotten is useless to keep!" —Haruki Murakami, *Norwegian Wood*

　　15. There is no such thing as a perfect article, just as there is no such thing as utter despair. —Haruki Murakami, *Hear the Wind Sing*

　　16. When it's time to climb, aim for the highest tower and reach the top; when it's time to descend, find the deepest well and go to the bottom.
　　—Haruki Murakami, *The Wind-Up Bird Chronicle*

　　17. Jealousy is the most despairing prison in the world. Because it's a prison where the prisoner confines himself, not by force, but by walking in himself, locking the door from the inside, and throwing the key out the bars. And no one in the world knows he's imprisoned there. Of course, if he decides to leave, he can leave. Because that prison is in his heart. But he can't make that decision. His heart becomes as hard as stone. That's the essence of jealousy. —Haruki Murakami, *Colorless Tsukuru Tazaki and His Years of Pilgrimage*

　　18. Humans are born destined to lose everything, to disappear, to completely disappear into nothingness, entering through the entrance and leaving through the exit. If this process is long, who wouldn't yearn for a warm passage? —Haruki Murakami, *Dance Dance Dance*

　　19. Just right, seeing your happiness, I am happy for your happiness. —Haruki Murakami

　　20. Everyone has their own forest; those who are lost remain lost, and those destined to meet will meet again.

　　21. For lovers, the other's heart is the best home.

　　22. Death is not the opposite of life, but exists eternally as part of life. —Haruki Murakami, *Norwegian Wood*

　　23. In most cases, what attracts people's attention is less about physical appearance in a static state and more about the elegance and naturalness of a spirited expression. —Haruki Murakami, *1Q84*
　　24. A gentleman is one who does not do what he wants to do, but what he ought to do. —Haruki Murakami, *Norwegian Wood*

　　25. "Like in *The Brothers Karamazov*, there's a story of the devil and Christ," said Aomame. "Christ was undergoing rigorous training in the wilderness, and the devil demanded that he perform a miracle, that he turn stones into bread. But Christ refused. Because miracles are the devil's temptation." "——Haruki Murakami, 1Q84"

　　26. "Our normality lies in our understanding of our own abnormality." —Haruki Murakami, *Norwegian Wood*

　　27. Thus we learned how cruel the world can be, and at the same time, how gentle and beautiful it can be. —Haruki Murakami, *Kafka on the Shore*

　　30. I may be defeated, I may lose myself, I may never reach anywhere, I may have lost everything, and no matter how I struggle, I can only cry out in vain, I may just be futilely gathering a handful of ashes from ruins, and I alone am kept in the dark, perhaps no one here has placed their bets on me. It doesn't matter. One thing is clear: at least I have something worth waiting for, something worth seeking. —Haruki Murakami, *The Wind-Up Bird Chronicle*

　　31. If we only suffer attacks without fighting back, we can only stagnate. A chronic sense of powerlessness is corrosive. —Haruki Murakami, *1Q84*

　　32. I am who I am, not someone else, and this is an important asset to me. The wounds to the soul are the price we have to pay to the world for this self-reliance. —Haruki Murakami, *What I Talk About When I Talk About Running*

　　33. Between great sorrow and great joy, after laughter and tears, I experienced unprecedented pain and happiness. Life lured me deeper into its embrace with an unprecedented happiness and beauty.

　　34. Although the world has such vast space, the space to accommodate you—though only a tiny bit—is nowhere to be found.

　　Reflections: Holding a beautiful feeling for people may be somewhat melancholic, but it was the starting point of my literary journey. Later, I understood that this feeling could only be kept in my heart; for ordinary people, expressing love is a luxury. Life is not mathematics, requiring symbols, abstraction, logic, deduction, reasoning… Life is literature. What exactly is the ability to appreciate language? What is talent? In the end, it all boils down to emotion. In my view, a person without emotion is not qualified to discuss literature, nor is a person who only understands worldly affairs and vulgar emotions. Those who love literature often love cats, because their hearts overflow with this beautiful tenderness. Murakami is someone who deeply loves music and cats.

Mo Yan's classic quotes

 　　1. The most taboo thing in the world is perfection. Look at the moon in the sky; once it's full, it immediately begins to wane. The fruit on the tree, once ripe, immediately falls. Everything must have a slight imperfection to endure.

　　—Mo Yan, *Sandalwood Death*
　　2. In life, we are destined to suffer many grievances. The more successful a person is, the more grievances they will endure. To make your life valuable and vibrant, you cannot care too much about grievances; you cannot let them tighten your heart or disrupt your life. You must learn to laugh them off, to transcend them, and to transform potential energy. The wise understand forbearance, forgive those around them, and grow stronger through tolerance.
　　3. Compared to science, literature is indeed not very useful, but perhaps its greatest use is precisely its lack of use. Education is the same. So-called grades, degrees, and even knowledge are not the essence of education. The essence of education is: one tree shaking another tree, one cloud pushing another cloud, one soul awakening another soul.
　　—Mo Yan, "The Nobel Prize in Literature Award Ceremony"
　　4. A person who is not easily moved, once moved, will cause the earth to split and mountains to crumble, burning himself to ashes. The person he loves will also be burned to the point of unbearable pain by this raging fire.
　　—"Our Jing Ke"
　　5. So-called love is actually a serious illness. My illness is about to be cured.
　　—Mo Yan, "Frog"
　　6. If there were no fine wine in the world, what would be the point of a man's life? If men did not love beauty, what would be the point of a woman's hope? If marriage was only for procreation, what would be the point of living? If men and women were both well-behaved, what would be the point of writers' work? If literature did not depict wine and women, what would be the point of reading it? If men were not obsessed with wine and women, who would be willing to suffer? If neither wine nor women could move one's heart, wouldn't life come to an end? —Mo Yan, "Ode to Wine and Women"
　　7. This is how everything in the world is: small evils and monsters are hated, while great evils and monsters are revered.
　　—Mo Yan, *Life and Death Are Wearing Me Out*
　　8. A person sheds tears because of pain; a person feels pain because they care; a person cares because they have feelings; a person has feelings simply because they are human! Therefore, if you have feelings, care, have felt pain, and have shed tears, it means you are a complete person.
　　9. People in the 1950s were relatively pure, people in the 1960s were extremely fanatical, people in the 1970s were quite timid, people in the 1980s were observant, and people in the 1990s were extremely wicked.
　　—Mo Yan, *Life and Death Are Wearing Me Out
　　* 10. When everyone is crying, some people should be allowed not to cry; when crying becomes a performance, some people should be allowed not to cry even more.
　　11. This concept of kinship sounds sacred, but upon closer inspection, so-called kinship is all based on the relationship of men and women sleeping together. —Mo Yan, *Big Breasts and Wide Hips*
　　12. Extremely exaggerated language is a reflection of an extremely hypocritical society, and violent language is the precursor to social atrocities.
　　—Mo Yan
　　, *Life and Death Are Wearing Me Out* 13. Child, in this world, many grand and glorious things are done in the dark.
　　—Mo Yan, *Big Breasts and Wide Hips*
　　14. Eagles are also interested in corpses; they are also scavengers, but they do not mingle with crows, maintaining a hypocritical and arrogant attitude. —Mo Yan, *Big Breasts and Wide Hips*
　　15. A guilty person cannot and has no right to die. He must live, endure torment and suffering, like frying a fish over and over, like simmering medicine, to atone for his sins. Only after atonement can he die with a light heart. —Mo Yan, *Frog*
　　16. "Why do flowers smell of blood? Because the earth is soaked in human blood." Where is this society? This is an endless, dark jungle. Where is happiness? Only a fleeting, illusory pleasure amidst the thorns of suffering.
　　—Mo Yan, *Big Breasts and Wide Hips*
　　17. Back then, Lu Xun used his pen to expose the "spectator" mentality. Some say this is a deep-seated flaw in the Chinese character, but in fact, it's not unique to the Chinese; it's a flaw in all of humanity.
　　18. But that's history. History is about seeing the results, not the means. Just as people only see the Great Wall of China, the pyramids of Egypt, and many other magnificent structures, but not the countless bones beneath them. In the past twenty years, the Chinese people have finally controlled the population explosion through an extreme method.
　　—Mo Yan, *Frog*
　　19. A great work doesn't need to fawn over the nobility like a pet, nor bark like a pack of hyenas. It should be like a whale, swimming alone in the deep sea, breathing loudly and heavily.
　　20. Procreation and reproduction—how solemn yet how mundane, how serious yet how absurd.
　　—Mo Yan, *Frog*
　　21. One shouldn't underestimate oneself; this is a lesson my father learned in his later years. —From *Frog*
　　22. Over the years, I've learned a valuable lesson: the best way to solve thorny problems is to observe the situation calmly and go with the flow. —Li Shou said.
　　23. I am responsible for two kinds of people: those who gave me life, and those I gave life to. I cherish two kinds of people: my loving partner and my loyal friends. I refuse two kinds of people: those who act unethically and those who lack sincerity. I treasure two kinds of people: those who lend me money and those who care about me! I stay away from two kinds of people: those who reach out for good things and those who shirk responsibility in times of difficulty.
　　25. Many things that once seemed sacred enough to cost you your life seem like utter nonsense today! —From *Frog*
　　26. People aren't afraid of making mistakes. If they can learn from and reflect on their mistakes, they become lessons. I think every young person longs for success, but success must begin with confidence, perhaps starting with a casual encouragement from family or teachers!
　　27. Put yourself on the dissection table, under the microscope.
　　—Mo Yan, *Frog*
　　28. Every ordinary life contains a treasure. If you're willing to dig, following even the slightest hint of merit, you'll unearth a treasure that will surprise you.
　　29. Arrogance and humility are two contradictory yet interdependent attitudes towards life; it's hard to say which is better or worse. In fact, those who seem arrogant are actually very humble, and those who seem humble are arrogant at heart. Some people are extremely arrogant in certain aspects and at certain times, and extremely humble in other aspects and at certain times. Absolute arrogance and eternal humility probably don't exist.
　　—Mo Yan, *The Republic of Wine*
　　29. A person isn't stupid, but he gets the title of a fool; that's because he's gained immense freedom.
　　—Mo Yan, *Frog*
　　30. So-called emotions are actually a kind of disease. They come quickly and go quickly; they come slowly and go slowly. But whether fast or fierce, slow or slow, once you're on this pirate ship, you'll either be badly injured or completely defeated. If you still don't understand, think of those frogs in love in the pond in spring. They croak tirelessly, neither eating nor drinking, neither sleeping nor resting, tormented by love until they are like withered branches and fallen leaves. Once they have mated, they immediately lie on their backs and die. But those frogs that are not in love can swim freely in the pond, from spring to midsummer, from midsummer to autumn, and then begin another blissful hibernation.
　　Jing Ke: I'd rather be a frog in love, singing my heart out, and dying joyfully, than a long-lived toad.
　　—Mo Yan, *Our Jing Ke*
　　31. Ultimately, I still believe that a writer must speak through their works, because the writer's profession dictates that writing is their most sacred duty. If someone only has the title of writer, but no novels, poems, or other literary works, then what kind of writer are they? What is a writer? Because they have written works; what is a famous writer? Because they have written works that have a huge impact; what is a great writer? Because they have written great works that can influence all of humanity. Therefore, a writer's title is built on the foundation of their works. Without works, your identity as a writer is highly questionable. Of course, I think no one is entirely thorough, and neither am I.
　　32. If they were beating a fiercely resisting bull, they would feel at ease, but they were beating a submissive bull, which aroused doubt in their hearts, and many ancient moral principles and many legends of gods and ghosts stirred within them. Is this still a cow? Perhaps it's a god, perhaps a Buddha. Is it enduring this suffering to enlighten those who have strayed from the right path, to awaken them?
　　—Mo Yan, *Life and Death Are Wearing Me Out*
　　33. I glanced secretly at that mercury glass mirror, and inside was a beautiful, alluring woman. I myself loved her, let alone those men. Although I was heartbroken because of my father's affair, my godfather said that the more pain I felt inside, the happier I had to appear on the surface, and I couldn't show my pathetic self to others. Okay, okay, okay, okay, look, look, look! Today, I'm going to have a good competition with the women of Gaomi City. What are the daughters of noble families, what are the daughters of Hanlin scholars? They can't compare to even a toe of mine.
　　—Mo Yan, *Sandalwood Death*
　　34. In some places, cannons roared and corpses littered the fields; in other places, singing and dancing filled the air, and the lights were dazzling. This is the world we all live in.
　　—Mo Yan, *Frog*
　　35. Don't think that everyone in the world cares about your affairs. Do you think everyone is watching you? Actually, everyone has their own troubles, and nobody cares about yours.
　　—Mo Yan, *Frog*
　　36. A person who believes they have committed a crime will always try to comfort themselves, just like Xianglin's wife in Lu Xun's well-known novel *The New Year's Sacrifice*, who donated the threshold. A sane person shouldn't expose her delusion, but give her a glimmer of hope, let her find relief, let her stop having nightmares, let her live like someone without guilt. I conformed to them, even trying to believe that what they believed was the right choice. Although I know that those with scientific minds will laugh at me, those standing on moral high ground will criticize me, and even some enlightened individuals will accuse me to the relevant authorities, I don't want to change. For this child, for my aunt and Little Lion, two women who have worked in special professions, I'd rather remain ignorant like this.
　　—Mo Yan, *Frog*
　　37. Feigning madness is a bright red fig leaf; cover your face, and all the shameful things are hidden away.
　　—Mo Yan, *Life and Death Are Wearing Me Out
　　* 38. The word "rose" itself carries a bloody connotation. It can only bloom magnificently for one season, so on its path to achieving its "hidden purpose of desire," it must wreak havoc.
　　—Mo Yan, *Rose Torture*
　　39. Actually, she said, frogs aren't scary at all; humans and frogs share the same ancestor. She said: Tadpoles and human sperm are quite similar in shape, and human eggs are no different from frog eggs; besides, have you ever seen a specimen of a three-month-old baby? Dragging a long tail, it's almost identical to a frog in its metamorphosis stage.
　　40. She carried her wine glass into a cluttered room, opened a closet door, and saw bundles of RMB neatly stacked on one shelf, a nauseating stench wafting out. She closed the closet, took a sip of wine, and muttered to herself, "Money is the dirtiest thing in the world. No wonder important people don't touch money. Actually, I can stop touching money too. In the past ten years, have I bought anything with money? No, nothing." — Mo Yan, *Big Breasts and Wide Hips*
　　41. The enormous moon, the color of an apricot, sat atop the trees, making the drooping branches droop even lower. A half-mad militiaman actually fired a shot at the moon. The moon trembled, unharmed, and emitted even softer light, conveying ancient messages to me.
　　— Mo Yan, *Life and Death Are Wearing Me Out*
　　42. I loved you, skilled in swords and horses, knowledgeable in poetry and literature, a young and valiant warrior. I followed you, venturing into the world, enduring wind and rain, sleeping under the open sky, and experiencing all kinds of hardships.
　　—Mo Yan, *Transparent Red Radish*
　　43. Any dream can be born from reading, and realizing a dream also requires reading.
　　44. Such a life is a pity in peacetime. If he had been born a few decades earlier, he would have become a hero no matter which group he joined; if he had become a bandit, he would have been a murderous monster. But now it's peacetime, and his ruthlessness, his decisiveness, his incorruptibility seem to have little use.
　　—Mo Yan
　　, *Life and Death Are Wearing Me Out* 45. A belly full of knowledge is a donkey's skill. It easily leads to procrastination and delay.
　　46. A person can change the tone of their voice, but they cannot change the sound of an unconscious sneeze. A person can change their single eyelids to double eyelids, but no matter how skillful the surgery, it cannot change their eyes.
　　—Mo Yan, *Frog*
　　47. Ease and contentment are the elements that constitute happiness.
　　48. Under normal circumstances, a strong moral force will compel wild beasts living among humans to cover their bristling fur with beautiful clothes. A stable and peaceful society is a training ground for humanity, just as tigers, leopards, and wolves, when caged for a long time, will also acquire some human qualities.
　　—Mo Yan, *Red Sorghum*
　　49. "Godfather, in this world, there isn't just one right principle. As an official, you have your grand principles; as a commoner, I have my small principles."
　　—Mo Yan, *Red Sorghum*
　　50. For humans and demons to survive, they must break free from a series of shackles; sorrow and pessimism are humanity's most fundamental enemies.
　　—Mo Yan, *The Herbivore Family*
　　51. Sometimes I have a sudden thought that the degeneration of the human race is related to increasingly affluent and comfortable living conditions. However, the pursuit of affluent and comfortable living conditions is both a goal that humanity strives for and an inevitable goal, which inevitably creates a profound and chilling contradiction. Humanity is using its own efforts to eliminate some of its excellent qualities. —Mo Yan, *Red Sorghum*
　　52. The ease of obtaining sex makes people lose the ability to fall in love.
　　—Mo Yan, *Humanity's Good Days Are Numbered*
　　53. Alas, this is truly a meticulously planned masterpiece! Heroic spirit, beautiful women…it lacks no element, it's done, it's done, it's become famous… —Mo Yan, *Our Jing Ke*
　　54. Yesterday, my mother, carrying the child left behind by Bird Han and Shangguan Laidi, saw me off at the village entrance. She said, “Golden Boy, it's the same old saying: the more bitter the situation, the more you must grit your teeth and live on. Pastor Maloya said that the thick Bible talks about this over and over again. Don't worry about me; I'm like an earthworm, I can live as long as there's soil.”
　　—Mo Yan, *Big Breasts and Wide Hips*
　　55. As long as your heart is pure, no amount of filth can stick to you. —Mo Yan, *Mangrove Forest*
　　56. Fear arose involuntarily, yet a warm smile was forced from beneath my skin.
　　—Mo Yan, *The Herbivore*
　　57. Yan Ji, let me take one last look at your beautiful face while this auspicious time continues. Let me kiss your delicate cherry lips one more time, let me inhale the fragrance of your hair one more time. Tomorrow, I will have a practical demonstration before the Crown Prince, and the day after tomorrow, I will embark on my long journey. Yan Ji, at this moment, I am neither that cold-blooded assassin nor that aloof knight-errant. At this moment, I am a person of flesh and blood, a man experiencing physical intimacy for the first time in my life. For three months, you gave a brilliant performance on the first day, and then you became taciturn. During the day, you would occasionally utter a few inscrutable, sarcastic words, but at night, you became a clay puppet with only flesh and no soul. When I kiss you, it is like kissing a block of ice; even my tongue and lips become stiff. When I hold you, it is like holding a block of iron, so stiff, so heavy; making my arms numb and sore. You seem to obey me in everything, but your heart is like a stone in a burrow; your soul wanders in a faraway place; like a kite that is difficult to catch.
　　—Mo Yan, *Our Jing Ke*
　　58. The process of love is the process of turning blood into tar-colored excrement; the expression of love is two bloodied and mangled people lying together; the ending of love is two popsicles with wide-open gray-white eyes.
　　—Mo Yan, *Red Sorghum Family*
　　59. In this city, I'm either a hedgehog or a tortoise; if I'm neither a hedgehog nor a tortoise, I'm especially afraid of people laughing at me.
　　—Mo Yan, *The Herbivorous Family*

Classic quotes from The Three-Body Problem

 　　1. Give life to time, and civilization to the years.

　　—Liu Cixin, *The Three-Body Problem*
　　2. In China, any transcendent and soaring thought will crash to the ground—the gravity of reality is simply too heavy.
　　—Liu Cixin
　　, *The Three-Body Problem* 3. We are all worms in the gutter, but someone still has to look up at the stars.
　　4. Death is an eternal lighthouse; no matter where you sail, you will eventually turn towards it. Everything will pass away, only death is eternal.
　　5. It's ridiculous to think that your mistake destroyed the solar system; it's incredibly arrogant, like doing a handstand on the ground and thinking you've lifted the Earth.
　　6. The best way to escape reality is to engage with it.
　　7. The "shooter" hypothesis: A sharpshooter fires a hole every ten centimeters on a target. Imagine a two-dimensional intelligent life form living on the surface of this target. Their scientists, after observing their own universe, discovered a great law: "Every ten centimeters, there is a hole in the universe." They see this sharpshooter's impulsive act as an ironclad rule of their universe.
　　8. It's not your fault for not having the ability to save the world, but giving it hope and then shattering it is an unforgivable sin.
　　9. Memory is a dried-up river, leaving only scattered pebbles in its lifeless riverbed.

　　13. The key to a wonderful life lies in what you can become obsessed with.

　　14. Emptiness is not nothingness; emptiness is a kind of existence, and you must fill yourself with this existence of emptiness.

　　15. The entire history of humankind is also accidental. From the Stone Age to today, there haven't been any major changes—how lucky! But since it's luck, it will eventually end; now I'm telling you, it's over. Be prepared. 16.

　　"Don't answer! Don't answer! Don't answer!"

　　17. I didn't make her laugh! But that smile is already etched in my memory, like water stains on ice, forever indelible.

　　18. At this moment, the Milky Way's starry sea silently withdrew its light, a grand "Man and God united as one, proudly standing alone in the universe."

　　19. The more transparent something is, the more mysterious it becomes. The universe itself is transparent; as long as your eyes can see, you can see as far as you want, but the more you look, the more mysterious it becomes.


　　17. "Mom, I will become a firefly."
　　— This is a Kamikaze pilot's last letter to his mother before his mission. Taylor, while carrying out his Wallfacer plan—which would destroy the Earth fleet itself—constantly echoed this sentence in his mind.

　　18. "I am becoming death, the destroyer of the world."
　　— Oppenheimer's words upon witnessing the first nuclear explosion, quoting the Indian epic *Bhagavad Gita*. When Allen, the designer of the stellar-class nuclear bomb, quoted it again, Radjaz thought someone had seen through his strategy.

　　19. "I thank you, Mr. Radjaz, because from now on, we are no longer sons of bitches."
　　— This was the sentiment expressed by those involved when humanity was able to create a sun using its own mathematical models; science gave their work a sacred meaning.

　　20. "Hatred."
　　— When Taylor asked the terrorist leader what they truly needed and attempted to rebuild a suicide squad, the old man's answer silenced Taylor.

　　21. "Ignoring is the greatest contempt."
　　— When Taylor saw the Trisolaran world's reaction to his strategy, all his efforts were futile. Later, Luo Ji quoted this again in his confrontation with the Trisolaran world. His words contained dignity.

　　22. "Within the cone of light lies destiny."
　　— Information about countless major events in the universe is flying towards us at the speed of light; some may have traveled for hundreds of millions of years, yet we remain outside the cone of light of these events. General Fitzroy aptly summarized the fact that sophons are spying on everything on Earth with this metaphor.

　　23. "Give me your despair, your confusion, your fearful wanderings yearning for the light of victory / Send to me those whose spirits are lost, whose souls are adrift: by this golden gate of faith, I will raise the lamp for them."
　　—This is the inscription on the pedestal of the miniature Statue of Liberty in front of the "Center of Faith" proposed by Hines. The original poem on the pedestal of the Statue of Liberty in New York is: "Give me your weary, your poor, your huddled masses yearning for the air of freedom / Send to me those who are homeless, those who have weathered storms / by this golden gate, I will raise the lamp for them.

　　" 24. "Give civilization to the years, not years to civilization."
　　—At the Great Depression Memorial, the society of the crisis era proposed the fundamental principle of prioritizing humanism over the continuation of civilization. This quote borrows from Pascal: "Give life to time, not time to life."

　　25. "Men always remember love because of romance only."
　　— This is the password for the "Natural Selection" ship set by the Eastern Continuation, and its abbreviation is Marlboro (the world's best-selling cigarette brand). "Men remember love because of romance" is the meaning of Marlboro.

　　26. "Genghis Khan's cavalry had an attack speed comparable to 20th-century armored forces; the Northern Song Dynasty's crossbows had a range of 1,500 meters, similar to 20th-century sniper rifles; but these were still merely ancient cavalry and crossbows, incapable of contending with modern power. Basic theory determines everything, and the Future Historians clearly saw this. But you, blinded by the last gasps of rudimentary technology, lie complacent in the comfort of modern civilization, completely unprepared for the impending final battle that will determine the fate of humanity."
　　— Zhang Beihai calmly stated the Future Historians' analysis of the war situation in a conversation with the commander of the Asian Fleet. He used collective wisdom as the source of his unwavering conviction.

　　27. "As fellow soldiers, do you know the biggest difference between us? You decide your actions based on the possible outcomes; but we, regardless of the result, must fulfill our responsibilities. This is the only chance, so I did it."
　　— Despite knowing the plan "couldn't succeed," Zhang Beihai's naval nature compelled him to complete his mission. This is also the biggest difference between soldiers before a crisis and soldiers during a crisis.

　　28. "I love you, what does it have to do with you?"
　　— Ding Yi believed in Goethe's concept of love. Ding Yi wouldn't bother the girls he loved. This could also serve as our belief in love…

　　29. "Black, fucking black."
　　— The last words of the captain of the "Ultimate Law" before his suicide; perhaps he had already seen through the dark forest of the universe. Later, when Luo Ji led Da Shi to deduce this picture, Da Shi uttered the same words at the moment of understanding.

　　30. "It's okay, it's all the same."
　　— In a month-long dark standoff, Zhang Beihai was only a few seconds slower than his opponent. But he uttered these words in his final moments. The birth of a new kind of human being is the same regardless of who stays or who leaves.

　　31. "It's not your fault if you don't have the ability to save the world, but it is an unforgivable sin to give the world hope and then shatter it."
　　—I remember Red saying in *The Shawshank Redemption*, "Hope is a terrible thing. Drive a mansane. It's got no place here. Better get used to the idea." I've always felt Red's advice was very realistic, even though I also believe in hope. So, if you don't want to, don't give others hope. Don't give someone hope and then shatter it.

　　32. "Is nature really natural?"
　　—After seeing Green Glasses demonstrate how life affects the earth, this question lingered in Yang Dong's mind. Perhaps she already knew then that her current universe was being influenced by life...the universe was dying.

　　33. "Okay, if you want me to die, I'll die."
　　—In one of Kafka's stories, the protagonist argues with his father, who casually says, "Go die," to which the son immediately replies, "Okay, I'll die." When Yun Tianming learns that his sister wants him to have a peaceful life, he finally understands Kafka.

　　34. "Would you sell your mother to a brothel?"
　　—In *Pia*, Wade's first question to Cheng Xin. Vadim explained to her: Only their industry on Earth is centered on deception and betrayal.

　　35. "Forward! Forward!! Forward by any means necessary!!!"
　　— This was Wade's consistent belief, running through the entire human struggle; Wade was the most masculine of men.

　　36. "This game is really interesting, isn't it?"
　　— Wade and Cheng Xin exchanged glances about Yun Tianming's decision not to swear an oath. At that moment, Yun Tianming seemed to have also taken on the mission of a Wallfacer, because there were things he cherished on Earth.

　　37. "If there really is someone to judge merits and demerits throughout history, we can now send someone to explain the misunderstandings caused by time."
　　— This sentence seems to echo the line in the first book, "Merits and demerits throughout history, can really be judged?" Cheng Xin was sent to the future, hoping that the Staircase Project would not be forgotten or misunderstood by the future.

　　38. "That child by the embers of the campfire, from being outgoing and optimistic, became withdrawn and introverted."
　　— This is how the Dark Forest theory is described in <Beyond Time> (excerpt) regarding its profound impact on human civilization.

　　39. "Five minutes."
　　— An American high school teacher experimented with a miniature Nazi society in his classroom, and this teaching experiment, which began as a game, nearly spiraled out of control. The teacher wrote a book titled *Totalitarianism in Five Days*. When humanity truly finds itself adrift in space, totalitarianism will only take five minutes.

　　40. "Those who truly enter space are no longer human. So, people, when you intend to fly into outer space and never return, please be very careful; the price you will pay is far greater than you imagine."
　　— Captain Scott's final statement in court for the USS Bronze Age.

　　41. "Don't return! This is not home!"
　　— Snyder, with the last breath of his life, hoarsely shouted a warning to the Blue Space. The two spaceships crossed humanity's bottom line, but no one should be held responsible, because the darkness of space embraces a new kind of humanity.

　　42. "In my eyes, the universe has transformed from a vessel of all beauty and faith into an bloated corpse..."
　　— Guan Yifan, after experiencing four-dimensional space, reflected on the impossibility of light traveling from one end of the universe to the other, expressing a sense of hopelessness.

　　43. "As simple as a tomb."
　　— Luo Ji's requirement for the Deterrence Control Center. Here, Luo Ji's gaze held only the sword of Damocles that determined the life and death of two worlds.

　　44. "Because the universe is not a fairy tale."
　　— Cheng Xin murmured, asking Zhi Zi why the droplet destroyed the gravitational wave antenna. Zhi Zi told her that in Cheng Xin's subconscious, the universe and humanity were a fairy tale. Her biggest mistake was not truly seeing things from the enemy's perspective.

　　45. "Why did we choose you in the first place?"
　　— The approach of the Trisolaran fleet and the beginning of global migration once again tested humanity's survival limits. Cheng Xin read this question in an officer's eyes... but this question was directed at all of humanity, not at Cheng Xin. Just as Zhi Zi said, Cheng Xin shouldn't blame herself. People chose her, and thus chose this ending. Among all of humanity, only Cheng Xin is innocent.

　　46. "Food? Isn't this all food? Everyone, look around you, it's all food, living food."
　　—The Trisolaran world changed their extinction plan and took an even more horrific action: they wanted to turn humanity into something inhuman. At the moment Zhi Zi finished speaking, who had the courage to look around, or rather, who was more rational enough to consider becoming inhuman?

　　47. "There is a distant star, a faint point of light in the night sky. Everyone who glances at it says that star is safe."
　　—A descriptive explanation of the cosmic safety statement

　　. 48. "The universe is vast, life is even greater. Perhaps we will meet again someday."
　　—The Trisolaran world and Zhi Zi bid farewell to human society. At the moment of parting, Zhi Zi said this to Cheng Xin and Luo Ji. Beyond time, in our universe, they truly met again.

　　49. "Okay, on our stars."
　　— Yun Tianming and Cheng Xin, gazing at each other across light-years, agreed on a meeting place.

　　50. "Death is the only lighthouse that shines forever. No matter where you sail, you will eventually turn towards its direction. Everything will pass away, only death is eternal."
　　— Jason, an old man on Merck Island, gazed at the lighthouse's light at sea and realized this profound truth. This is the theme of *Death's End*.

　　51. "Because only in this choice is man truly great."
　　— Wade asked Cheng Xin why she chose the light-speed spaceship instead of the bunker or the Dark Domain Project. Cheng Xin bravely met his gaze.

　　52. "This bastard, demon, murderer, ambitious manipulator, political rogue, tech fanatic… He can do it. He has the mental strength and ability to do it. Let him do it. This is hell, let him jump in."
　　— AA's evaluation of Wade, who embodies almost all the best qualities of a man.

　　53. "Losing humanity means losing a lot; losing animality means losing everything."
　　— Wade helplessly begged Cheng Xin to make the final decision. When Cheng Xin still chose humanity… Wade's eyes dimmed, something was extinguished forever.

　　54. "Hide yourself well, clean up well."
　　— The survival principle followed by advanced cosmic civilizations with hiding and cleaning genes.

　　55. "If the mountains won't go to Muhammad, Muhammad can go to the mountains."
　　— Inspired by a story from the Quran, Bai Ice directed the "Revelation" ship to the note for research.

　　56. "Fool. You think we can escape? Escape velocity, why don't you calculate escape velocity? Did you read with your butt? Hehehehe…"
　　— Ding Yi laughed strangely, foreshadowing the escape velocity of breaking free from duality.

　　57. "Weakness and ignorance are not obstacles to survival, arrogance is."
　　—Every civilization and every individual develops from ignorance and weakness, but without reverence, one will only pay the price for their folly. The water droplet was, the note was… After that, the universe gave humanity no more chances.

　　58. “Carve words on stone.”
　　—The oldest way is also the longest-lasting way to preserve information.

　　59. “I didn’t know you were here; if I had, I would have come to see you often.”
　　—When Luo Ji faced the Mona Lisa again, he looked into the depths of time, whispering to his lover, tears welling in his deep-set eyes.

　　60. "But no one knows if the truth is darker than speculation... One thing is certain: the universe is dying."
　　— Guan Yifan and Cheng Xin speculate on a grander picture of the universe, one more terrifying than the Dark Forest.

　　61. "I know your experience as the Swordholder, but I just want to say that you did not do anything wrong. The human world chose you, which means choosing to treat life and everything with love, even at a great cost. You fulfilled that world's wishes, fulfilled its values, fulfilled their choices, and you truly did not do anything wrong."
　　— Guan Yifan's comfort to Cheng Xin reminds us of Luo Ji's speech, that humanity's failure to see through the Dark Forest state of the universe is not due to immature civilizational evolution or a lack of cosmic consciousness. Although they naively chose Cheng Xin as the Swordholder, Cheng Xin did not do anything wrong, nor did humanity. The value of Earth's civilization lies in treating life and everything with love.