(p. 3) 换一种神秘点的说法, 消除奇点的定理, 就是搞清物体的本身和其影子之间的关系.

(p. 5) 这就是现实的社会. 由于在人们心中隐藏着烦恼, 因此, 就会生出各种无理的要求, 迫使人间满足这些要求. 那么, 天堂是怎样的呢? 在天堂里, 不存在任何烦恼. 而且, 从天堂看人间, 所有不合理的现象并不被看作不合理, 只不过是符合一条因果律的一种现象而已. 佛的世界的影子是现实世界. 物体的影子中的奇点, 不正和人间的无数的烦恼一样吗? 夸张一点说, 奇点解消, 就同消除烦恼到达天间, 寻找支配影子的因果律是一样的. 对这个抽象的例子, 年轻的读者可能会有些难以理解的地方. 我们可以姑且不去管它, 但我当时确实是把这个数学问题认真地看成上述佛教问题加以考虑的.

(p. 6) 最近, 我在同青年人谈话时, 每次都要说这句话: “只有有所创造的人生, 才是最有意义的人生.” 那么, 什么是创造? 创造中最重要的是什么? 创造是从哪里产生的? 创造有什么乐趣? 这些问题, 如同 “恋爱的乐趣是什么?” 一样, 是难以回答的. 但是, 我想 创造的乐趣之一, 就是唤醒沉睡在自身之中, 完全没有被注意到的才能与天赋, 也就是重新发现自己, 最后对自己有一更加深刻的理解.

(p. 8) 对一个未成年的人来说, 自己身边最具体的成人的模型就是双亲. 比较尊敬父母的人谁也不能否定这个事实. 我认为: 对孩子们来说, 双亲可大致分为两种类型. 一种是想成为受孩子尊敬的双亲, 而不看到自己的缺点, 只看到自己的优点. 另一种是没有任何做作的双亲, 这种类型的双亲在孩子们面前, 对自己的长处和短处不加任何掩饰, 痛苦的时候就流露出痛苦的表情, 有什么苦恼也对孩子们讲明, 疲劳的时候, 就显出一副邋遢的样子. 那么, 哪一种是孩子们人生的楷模呢? 至少我认为应该是后者. 也就是说, 只有在孩子们面前没有任何做作, 才能教给孩子更多的东西. 我的双亲属于后者, 现在回想起来, 我才发现我从双亲那里学到了许多其它东西不能代替的、支撑我的人生的重要东西.

(p. 10) 任何人的一生中, 随时都会发生这类威胁生存的事件. 这类事件中既有象我父亲所遭遇的那样, 在吃饭问题上遇到困难的情形, 也有在精神上受到严重打击的情形. 不管哪一种情形, 逆境多是突然降临, 使人毫无准备. 但是, 一个人的真正的价值只有在这种时候才能显示出来. 换句话说, 看他怎样渡过这道难关.古往今来, 从东到西, 凡是有才干、 有气度的人, 可以说都有过一段不平凡的经历, 大都经历过凄风苦雨的时期, 迎接过雨过天晴的境界, 最后到达阳光灿烂的世界. 那时, 父亲正处于这种逆境之中.

(p. 15) 母亲总是以这种方式对待孩子. 即使是学习成绩不好, 但只要上学就行; 即使是没有什么作为, 但只要不伤害他人, 不败坏自己的家风就行. 总之采取的是一种只是能避免最坏的情形就行的教育方法. $\dots\dots$ 我从母亲身上还学到另一种思想. 思考问题时, 思考本身也很有意义, 很有价值. $\dots\dots$ 除此之外我还问过许多问题, 然而母亲基本上一个也答不上来. 但是母亲也不说 “不知道.” 总是不厌其烦地说: “这种事情也没有什么了不起的, 好好想想.” 有时母亲歪着头说: “是呀! 为什么会这样呢?” 每当这种时候我便又问: “怎样才能知道呢?” 于是母亲就说: “长大后好好学习就会知道啦.” 说着也和我一起陷入沉思. 可是不管怎么思考, 从来也没得出过答案. 于是母亲就领我到附近神社主家里或者到比较亲密的医生家里去询问.

(p. 16) 在当时的乡下小镇上, 神主和医生就是为数不多的知识分子. 母亲低着头对他们说: 这个孩子提出这样的问题, 请给他解释一下吧. 虽然我不十分明白, 但总算能得到答案了. 就在这样不断重复的过程中, 我幼小的心灵里懂得了思考问题时思考本身是很有意义的. 母亲亲身教给了我思考的欢乐. 这不光对我如何作一个学者, 就是对我如何作一个人, 都是任何东西也难以代替的精神财富. 我母亲就是这样一个普通的女性. 甚至在学识上不得不承认连一般的母亲都比不上. 她不是一个能教给孩子们精神食粮的人, 而是一个不得不采取放任自流主义立场的人. 她的放任自流就是只要在某一范围内, 不管干什么, 不管干的怎么样都可以. 即使是从这样的母亲身上, 只要你想学的话, 就能学到很多重要的东西.

I think I love ideas. I like a story that’s got some concrete you know structure but also holds abstractions. Life is filled with abstractions and the way we make heads tails of it is through intuition. And so people get used to film that pretty much explains itself a hundred percent. And they kind of turn off that you know beautiful thing of intuition when they’re looking at a film that has some abstractions. And some people on the other hand love these abstractions. And it gives them room to dream.

我想我钟爱的是理念本身. 我喜欢那种既有具象结构又蕴含抽象思维的故事. 生活本就充满抽象, 而我们理解它的方式就是通过直觉. 人们已经习惯了那些将一切解释得明明白白的电影, 当看到带有抽象元素的影片时, 他们往往会关闭那种美妙的直觉感知. 而另一些人却恰恰痴迷这种抽象, 因为这给了他们造梦的空间.

A abstractions to me is a thing that cinema can say. And it’ so beautiful for me anyway to think about these pictures and some sounds flowing along together in the time in a sequence making a thing that can only really be said in cinema. It’s not words. It’s not just music. It’s the whole bunch of things coming together and making a thing that didn’t exist before. And that’s what i really love about it.

对我而言, 抽象正是电影独有的表达方式. 当画面与声音在流动的时间中交织, 形成唯有电影才能言说的意境 — 这不是文字能描述的, 也不仅是音乐能呈现的, 而是所有元素共同创造出前所未有的存在 — 这种构想本身就已美得令人心醉.

And then to answer your question a little further. It’s up to the people you know to you know find their own your know interpretation. It’s doesn’t really matter what I think. It’s all every screening no matter what even if all the frames of the film are exactly the same. But there no two screenings that are exactly the same. It’s the viwer and the picture and the sound and it makes a circle and it just goes like that. And so you just feel it and think it. That’s kind of intuition emotion and thinking together and come up make it have a sense to you.

进一步回答你的问题: 观众完全可以根据自己的理解来诠释作品. 我的想法其实无关紧要. 每一次放映都是独特的相遇, 即便胶片帧数分毫不差, 但银幕光影与观者感受却不可重现. 这种循环生生不息, 你只需去感受, 去思考, 让直觉情感与理性交融, 最终形成属于你自己的体验.

中译版很烂, 所以引的是原文.

The preface to the 1957 edition of Jorge Luis Borges’ collection of essays The Book of Imaginary Beings (幻兽辞典) contains the comment that “monsters will always stalk mythic stories because real animals are a deeply important part of human experience and because monstrous beings are combinations of the real and the imagined, the stuff of nightmares and dreams”. The Classical mythic centaur, which melds the forms of man and horse, has its Celtic counterpart in the Welsh horse-woman, Rhiannon. The Cretan Minotaur (米诺陶洛斯), a hideous blend of bull and human, can perhaps be seen transmuted in Irish mythology to become the great fighting bulls of Ulster and Connacht, which had human speech and understanding, or, in Wales, the enchanted boar Twrch Trwyth (图鲁夫图鲁维斯). Borges even goes so far as to argue that monsters are ‘necessary’ for human society. In our own day, fascinated by space and the possibility of worlds beyond, we conjure up fantastic images of galactic monsters, nowhere more clearly presented than in the Star Wars cantina, in which Skywalker and Solo encounter a collection of weird and wonderful beings from all over the Universe. Such are our modern mythic creations. (p. 26)

A persistent feature of both Irish and Welsh mythology is the theme of the magical cauldron, a vessel capable of raising the dead and of providing ever-replenishing supplies of food. The Irish god Daghdha, (‘the Good God’), possessed a huge inexhaustible cauldron. The central focus of the Irish Otherworld feast was the cauldron, which never ran out of food. One Irish cauldron-myth was associated with sacral kingship, where the new king of Ulster had to bathe in one, while consuming the meat and broth of a white mare he had ritually ‘married’. (p. 29)

§ Ceridwen’s Cauldron: A Welsh mythic tale, preserved in a 13th-century text, The Book of Taliesin (塔列辛之书), contains a rich story of an enchanted cauldron, whose contents endowed those who ate or drank from it with knowledge and inspiration. The cauldron’s keeper was Ceridwen. She bore two children, Crearwy (‘the light or beautiful one’) and Afagddu (‘black’ or ‘ugly’). Wanting to compensate her son for his ill-favoured appearance, his mother mixed a special brew in the cauldron, designed to give him absolute wisdom. Because the potion needed to boil for a year, Ceridwen appointed a young boy, Gwion, to watch over it. As he was tending the cauldron, three drops of scalding liquid splashed onto his hand and, without thinking, he licked his fingers, thus inadvertently acquiring the wisdom intended for Afagddu. Gwion’s flight and pursuit by the angry Ceridwen eventually caused Gwion’s rebirth as the great visionary poet Taliesin. (p. 30)

Words are powerful things, the more so if they are spoken aloud, so that sound and meaning blend into a single powerful message that can be shared simultaneously by many people. Keepers of oral tradition had to have prodigiously long and accurate memories and the ability to learn long tales by heart, while adding embellishments along the way. Listeners, too, would remember stories they had heard all their lives, and would not have hesitated to point out errors or inconsistencies. (p. 43)