杜拉斯经典语录英文版

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杜拉斯经典语录英文

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

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

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

【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。

――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。

杜拉斯的情人(英文_)

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。

杜拉斯的情人(英文 )

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.。

杜拉斯经典语录英文版