杜拉斯情人经典语录英文
杜拉斯经典语录英文版
杜拉斯经典语录英文版导读：1、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。
My life is like a fruit, I carelessly bit a few bites, but did not taste, nor pay attention to their own eating.2、泪水既安慰了过去，也安慰了未来。
Tears comforted the past and comforted the future.3、我在孤独深处嗅出了开放而零落、如今已被尘封的往事最久远的气息。
In the depths of solitude, I smell the most distant past, which is now open and scattered.4、今天这份悲哀，我认为它是与生俱来来，我几乎可以把我的名字转给它，因为它和我那么相像，那么难解难分。
Today's sadness, I think it is born, I can almost pass my name to it, because it is so similar to me, so inextricable.5、身在洞里，在洞底，处于几乎绝对的孤独中而发现只有写作能救你。
没有书的任何主题、没有书的任何思路，这就是一而再地面对书。
无边的空白。
可能的书。
面对空无。
In the cave, at the bottom of the cave, in almost absolute solitude, only writing can save you. There are no books, no ideas, no books, this is the ground to the book. Boundlessblanks. Possible books. Facing empty space.6、那时候，你还很年轻，人人都说你美。
杜拉斯情人经典语录摘抄
杜拉斯情人经典语录摘抄导语：杜拉斯情人中有很多的语录，那么有哪些是经典的呢？以下是小编为大家搜集的文章，欢迎大家阅读与借鉴！杜拉斯情人经典语录（一）1、当生活中没有了"沙漠"，不用去考虑那些生活和生存的问题，或者说吧这些都搁置在不是太重要的位置的时候，生活也可以很愉快，但这样难免也说得太过无奈。
2、当你不能控制别人，就要控制你自己，赛车和做人一样，有时要停，有时要冲。
3、后来他不知再和她说什么了。
后来，他把这意思也对她讲了。
他对她说，和过去一样，他依然爱她，他根本不能不爱她，他说他爱她将一直爱到他死。
4、多少春秋风雨改，多少崎岖不变爱，多少唏嘘的你在人海。
5、性格决定了他们的命运，然而又是什么决定了他们的性格。
我们无法改变所有人的环境，无法保证所有人都是处在那样一个能培养出良好性格的环境，所以，请不要轻易地去评论每一个人的好坏。
6、我发现，要他违抗父命而爱我娶我、把我带走，他没有这个力量。
他找不到战胜恐惧去取得爱的力量，因此他总是哭。
他的英雄气概，那就是我。
他的奴性，那就是他的父亲的金钱。
7、在利益的斗争中，坚持是一件极为痛苦的事，你得时刻紧绷自己的神经，时刻准备着想即将上战场的士兵一样，这样的事无论是于身体还是心灵都是极为痛苦的事，所以，或许退出才是最好的选择。
8、人们身上似乎都沾染了某种古怪的特征，我们也是那样，我母亲身上那种疏懒迟钝，在我们身上也出现了。
在这个地方，人们什么都不知道，只是张望着森林，空空等待，哭泣。
9、我的生命的历史并不存在。
10、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，我是特意来告诉你，对我来说，我觉得现在你，比年轻时候的你更美，与你那时的容貌相比，我更爱你现在备受摧残的面容。
11、恨之所在，是沉默据以开始的门槛。
12、那时候你还年轻，人人都说你美丽。
13、在我很年轻时，一切已经太迟。
14、泪水既安慰了过去，也安慰了未来。
杜拉斯的情人经典句子
杜拉斯的情人经典句子
《杜拉斯的情人》是美国著名作家杜拉斯的代表作，曾获得1983年普利策文学奖。
该小说以爱情为中心，描绘了一段深沉而又瞬息万变的人性之爱。
在这部作品中，书中有许多经典句子，给读者留下了深刻印象。
一，“最美丽的爱情不是拥抱时的宁静，而是在吵架时仍然相互依偎的力量。
”这句话描绘出爱情的真谛，即真爱是在吵架中仍然无私的对待对方的力量，而不是仅仅拥抱时的宁静。
第二，“永远不要依靠一个人，因为即使是最亲密的朋友也会离去。
”这句话提醒人们不要太过依赖任何一个人，因为人生中没有真正永恒的东西，就算是最亲近的朋友，有一天也会离开你。
第三，“懂得爱人的人，必须牢记，在爱的一方总有一天就会失去一份爱的感觉。
”这句话警示人们，爱情是没有永恒的，爱情的一方总有一天会失去一份爱的感觉。
因此，人们要学会珍惜并传承爱的感情，否则爱的美好就会消失。
第四，“真正的爱情不需要相同，只需要拥有足够的爱去互相接纳和包容”。
这句话说明，真正的爱情并不需要情人总是完全同意对方的观点，只要两个人能够拥有充足的爱，就可以互相接纳和包容，这样才能长久地维持爱情。
第五，“爱人，只需要放开爱就够了。
”这句话说明，只要愿意放开心中的爱，就可以去爱一个人，无需太多的条件，爱情本身就是一件让人感到快乐的事情，所以只要去放开心中的爱，就可以找到快乐。
以上，就是《杜拉斯的情人》中的一些经典句子，它们深刻描述了爱情的真谛，激励着我们去珍惜爱情，学会接纳和包容，以及去放开自己的爱。
最后，希望我们能够从中找到爱情带给我们的美好，有天真而又充满活力的爱情，也能够有真挚而又深切的爱情。
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, Frenc h 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 lo ve 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.。
杜拉斯情人经典语录_语录
杜拉斯情人经典语录玛格丽特·杜拉斯，(1914-1996)法国当代最著名的女小说家、剧作家和电影艺术家。
籍贯：法国一个堪称当代法国文化骄傲的作家，一个引导世界文学时尚的作家，一个坦荡走入通俗读者群体的严肃作家，一个与昆德拉、村上春树和张爱玲并列小资读者时尚标志的女作家，一个富有传奇人生经历、惊世骇俗叛逆性格、五色斑斓爱情的艺术家。
1984年，她的《情人》获得龚古尔文学奖。
杜拉斯在写作《情人》时，已是七十高龄。
她18岁离开出生地越南，奔赴巴黎读书。
念的是法学、数学与政治学，但她却迷恋上了文学，并且走上终生从事职业写作的道路。
《情人》可以说是一部自传体小说，至少具有浓郁的自传色彩。
小说以一个年仅十六岁的法国少女，在渡江时与一个中国富家少爷邂逅开始，沿着这条叙述线索，渲染出一幕疯狂而绝望的爱情悲剧。
经典语录：1、夫妻之间最真实的东西是背叛;任何一对夫妻，哪怕是最美满的夫妻，都不可能在感情中相互激励;在通奸中，女生因害怕和偷偷摸摸而兴奋，男生则从中看到一个更能激起情欲的目标。
2、当我越写，我就越不存在。
我不能走出来，我迷失在文里。
3、衰老的过程是冷酷无情的。
我眼看着衰老在我颜面上步步紧1 / 3逼，一点点侵蚀，我的面容各有关部位也发生了变化……我倒并没有被这一切吓倒，相反，我注意看那衰老如何在我的颜面上肆虐践踏，就好象我很有兴趣读一本书一样……我知道衰老有一天也会减缓下来，按它通常的步伐徐徐前进。
4、我写女生是为了写我，写那个贯穿在多少世纪中的我自我。
5、如果一个女生一辈子只同一个男生爱，那她就不是真的钟爱。
6、我爱男生，我只爱男生。
我能够一次有个男生。
7、钟爱只写过一部小说的作家。
钟爱的作家和作品有：《圣经》米什莱夏多布里昂卢梭帕斯卡尔勒南的《耶稣传》《克莱芙王妃》拉辛波德莱尔，觉得萨特和波伏瓦都不是作家。
8、写作是走向死亡，身处死亡之中。
9、干吗要说作家呢?他们的书就已足够。
10、杀人的欲望是我的生活中的一个常数。
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。
杜拉斯情人经典语录好句摘抄
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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。
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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。
——玛格丽特·杜拉斯《情人》14、当初，您很美，但如今，我更爱您饱经风霜的容颜。
——玛格丽特·杜拉斯《情人》15、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。
——杜拉斯《直布罗陀水手》 16、从我一见到他，我便明白我会再一次失去他。
——杜拉斯《直布罗陀水手》17、如果爱，请深爱，爱到不能再爱的那一天。
——杜拉斯《情人》18、玛格丽特·杜拉斯在她的【情人】里写道：我变老了，我突然发现我老了。
他也看到这一点，他说，你累了——玛格丽特·杜拉斯《情人》19、我处在生与死的爱情之中。
我在丢失的感情中发现了你的优点，你令我欣赏的优点。
我自认为我是那个唯一的情系你生命的人。
然而你在我身边生活的那段时间却使我感到无所谓。
它没有使我对你有任何了解。
它只是使我更接近死亡，更容易接受死亡，更期盼死亡的到来。
你就是这样在一片温柔之情里，在一种永恒的、无辜的而无法接近的诱-惑之中站在我的面前的。
而你对这一切却一无所知。
——玛格丽特·杜拉斯《大西洋的男人》20、的确孩子们是扰人的，有孩子时你既不能睡又不能读也不能说，孩子们几乎和生活一样可怕。
——玛格丽特·杜拉斯《80年的夏天·3》21、再过几年，等我忘记了你，等习惯的力量使我又有了其他的相同经历，我会想起你，就像想起遗忘的爱情一样。
我会回忆这段经历，如同回忆可怕的遗忘一样。
我现在就知道我会那样做的。
——杜拉斯《广岛之恋》22、你仿佛集千名女子于一身——玛格丽特·杜拉斯《广岛之恋》23、“压抑的感情总会让人有扭曲的快感” ——玛格丽特·杜拉斯《中国北方的情人》24、大家说盛夏开始了，这可能。
我不知道。
我不知道公园里面的玫瑰花已经开了。
我不知道在它们盛开时没有人看见，而它们就那样花香四溢开了好几天以后就凋谢了。
这些花从来没有让那个忘性大的女人看过，我还根本没见到它们时，它们就凋零了。
——玛格丽特·杜拉斯《大西洋的男人》25、爱之于我，不是一蔬一饭，不是肌肤之亲，是疲惫生活的英雄梦想——杜拉斯26、我常常忆起这个只有我自己还能回想起而从未向别人谈及的形象。
它一直在那里，在那昔日的寂静之中，令我赞叹不止。
这是所有形象中最使我惬意、也是我最熟悉、最为之心荡神驰的一个形象。
——杜拉斯27、我老了。
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，我永远记得你。
那时候，你还很年轻，人人都说你很美。
现在，我是特地来告诉你，对我来说，我觉得你比年轻时还要美，我爱你如今凋残的容貌胜过你夕日的红颜。
——杜拉斯《情人》28、我希望心里的夏季和身外的夏季一样完美，让我忘记终年终日的等待。
可是心灵没有夏季。
我望着夏季走过，自己却留在了冬季。
必须走出这个焦躁难耐的季节，在欲望的阳光下老去。
——玛格丽特·杜拉斯29、正是这样，他们喜欢你是因为你是你。
——杜拉斯30、他说他爱她直到他死——杜拉斯《情人》31、他们很小的时候，母亲有时候会带他们去看旱季的黑夜。
她要他们好好看这天空。
它在黑夜与白天一样碧蓝，看这明晃晃的大地，一直看到它的尽头。
还要他们仔细聆听黑夜的响声，人们的呼唤，他们的歌声笑语，以及同受死亡困扰的犬类哀怨的吠声，还要倾听所有这些呼喊，它们同时诉说难以承受的孤独，和诉说这分孤独的歌声的瑰丽。
她说，人们通常对孩子隐瞒的东西，相反应该告诉他们，如劳动，战争，离别，不公正，孤独，死亡。
是的，生活的另一面，既苦难深重又无从补救，也应该让孩子们知道，就像应该教会他们仰望天空，欣赏黑夜世界的壮美一样。
孩子们常要求母亲解释，她这么说是什么意思。
母亲总是回答孩子们说，她不知道，谁也不知道。
而且你们必须知道这一点。
首先知道这一点：我们一无所知。
——玛格丽特·杜拉斯《中国北方的情人》32、我长得太矮，太平庸了，大街上再也没人看我了。
——杜拉斯33、她再次转向窗外，对窗外的雨水微笑。
——杜拉斯《直布罗陀水手》34、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。
——杜拉斯《情人》35、比起你年轻的美貌，我更爱你那饱受岁月摧残的容颜——杜拉斯《情人》36、爱情之于我。
不是一蔬一饭。
不是肌肤之亲。
而是一种不死的欲望。
疲惫生活中的英雄梦想。
( 闪点情话网)——杜拉斯37、我们可以改善一种行为，可以给残疾人接上一只木腿，我们却不能为缺少敏感的人安置一种人为的敏感，在这空茫里什么也没有，这空茫掉出来了，它什么也抓不住，这空茫与任何东西都不相连的时候，很自然的，我们会说：它远离智慧——玛格丽特·杜拉斯《外面的世界》38、有谁知道我生命的真-相。
——杜拉斯39、与你年轻时的面貌相比，我更爱你现在备受摧残的容颜。
——杜拉斯《情人》40、不久后，太阳升起来了。
一只小鸟飞过平台沿着房屋的墙壁逝去。
它以为屋子是空的，它离屋子很近，碰到了一只玫瑰，一只被我称作凡尔赛宫的玫瑰。
它迅速抖动了一下。
这是花园里唯一一朵被余光照亮的花。
我听到玫瑰被小鸟飞翔时柔美的羽毛碰撞时发出的哀怨，我看着那朵花。
开始它像是充满生机地颤抖着，渐渐地又恢复到平常的样子。
——玛格丽特·杜拉斯《大西洋的男人》41、太阳消失在山丘后面，河谷折射着阿尔诺河的光芒。
这是一条小河，水面闪亮而平静，河湾多而舒缓，河水是绿色的，这一切给它一种睡意朦胧的野兽的姿态。
它慵懒地卧在陡峭的河岸，快乐地流淌着。
——杜拉斯《直布罗陀水手》42、我们到了圣罗马诺，天色呈赤褐色。
路上已经不见太阳，但有一会儿山丘顶上还能见到。
从山脚到山顶，种满了橄榄树。
房屋跟土地一色，很好看。
没有一户的边上不矗立着柏树，这是一种甜美得腻人的景色。
——杜拉斯《直布罗陀水手》43、他说他知道她此时的感受，这种绝望，这种难受。
他说这不奇怪，有时候，在夜里某一时刻，人会感到慌乱不安，说他知道人那时没着没落的。
——玛格丽特·杜拉斯《中国北方的情人》44、他对她说，和过去一样，他依然爱她，至死不渝。
——杜拉斯《情人》45、她相信，她知道在哪里，在这场外景里，由于他们对于彼此的欲望灵犀相对，他们才变成情人。
——玛格丽特·杜拉斯《中国北方的情人》46、她辛辛苦苦游了回来，在浩瀚的海水中她更加瘦小了，她的面孔朝着他，微笑，一种精疲力劲有所哀求的微笑——从这种哀求引起了以后的故事。
他也向她微笑，他们相互交换的这种微笑，可以让人相信这两个人在那么短暂的时刻——只要真的发生这样的事——是能够为爱情去死的。
——玛格丽特·杜拉斯《萨瓦纳湾》47、那个孤独的孩子穿着白色泳衣，瘦弱，是的，可以清楚看见他的身体，他太高了，仿佛是玻璃制成的。
已经可以想见这身体将会变成什么样，完美的比例，连接点，纤长的肌肉，每个关节令人惊叹的脆弱，脖颈，双腿，双手上的褶痕，还有那保持得如精确的出射点一般的头，一盏指路明灯，一朵花的果。
——玛格丽特·杜拉斯《80年的夏天·2》48、“我们永远不再见面了，永远？” “永远。
” “除非···” “别说了。
” “我们会忘掉的。
” “不。
” “我们会跟别人做-爱。
” “是的。
” 泪水。
他们低声哭泣。
“然后有一天，我们会爱上别人。
” “会的。
” 沉默。
他们哭泣。
“然后有一天，我们会说起我们自己，是跟新的人说，我们会讲述事情的经过。
” “然后，另一天，再晚些时候，很久以后，我们会把故事写出来。
” “我不知道。
” 他们哭泣。
“有一天我们会死的。
” “是的。
棺材里将有爱情和尸体。
” “是的，棺材外面要放着书。
” “也许吧。
我们还不可能知道一切。
” ——玛格丽特·杜拉斯《中国北方的情人》49、他们将要分手。
她记得，当时开口有多难，多残忍。
他们的欲念太强烈，找不到话来表达。
他们已经不再相视。
他们避免用手和目光接触。
是他不想说话。
她说过，光是这沉默本身，以及由于沉默而没有说出来的话，乃至其顿挫，其不经意，还有这个躲躲闪闪的游戏，这番幼稚的欲言又止和她的眼泪，这一切本应该使人想到，这就是爱情。
——玛格丽特·杜拉斯《中国北方的情人》50、我从未想到中国人会死去，他的身体、肌肤、阳-具、双手都会死亡。
整整一年，我又回到昔年乘坐渡船会湄公河的时光。
这一次，在叙述过程中，清的面容以炫目的光辉突然显示——还有小哥哥，那个与众不同的孩子。
我与这些人一起，只和他们一起停留在故事里。
——玛格丽特·杜拉斯《中国北方的情人》51、后来她经历了战争、饥饿、亲人死亡、集中营、结婚、别离、离婚、写书、政治运动、共-产主义运动，又过了几年之后，他打来一个电话。