Interview with the Vampire夜访吸血鬼 英文原版 [平装] pdf epub mobi txt 电子书 下载 2025

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☆☆☆☆☆

Anne Rice（安妮·赖斯） 著

图书标签:

• Gothic Fiction
• Vampire Fiction
• Horror
• Classic Literature
• Anne Rice
• Supernatural
• Fiction
• Novel
• Dark Fantasy
• Literary Fiction

出版社： Random House

ISBN：9780345337665

版次：1

商品编码：19015478

包装：平装

出版时间：1991-09-13

用纸：胶版纸

页数：352

正文语种：英文

商品尺寸：17.27x10.67x2.54cm;0.18kg

编辑推荐

　　In the now-classic novel Interview with the Vampire Anne Rice refreshed the archetypal vampire myth for a late-20th-century audience. The story is ostensibly a simple one: having suffered a tremendous personal loss an 18th-century Louisiana plantation owner named Louis Pointe du Lac descends into an alcoholic stupor. At his emotional nadir he is confronted by Lestat a charismatic and powerful vampire who chooses Louis to be his fledgling. The two prey on innocents give their "dark gift" to a young girl and seek out others of their kind (notably the ancient vampire Armand) in Paris. But a summary of this story bypasses the central attractions of the novel. First and foremost the method Rice chose to tell her tale——with Louis' first-person confession to a skeptical boy——transformed the vampire from a hideous predator into a highly sympathetic seductive and all-too-human figure. Second by entering the experience of an immortal character one raised with a deep Catholic faith Rice was able to explore profound philosophical concerns——the nature of evil the reality of death and the limits of human perception——in ways not possible from the perspective of a more finite narrator.

内容简介

Here are the confessions of a vampire. Hypnotic, shocking, and chillingly erotic, this is a novel of mesmerizing beauty and astonishing force–a story of danger and flight, of love and loss, of suspense and resolution, and of the extraordinary power of the senses. It is a novel only Anne Rice could write.

作者简介

Anne Rice is the author of twenty-seven books. She lives in Rancho Mirage, California.

精彩书评

While Rice has continued to investigate history, faith, and philosophy in subsequent Vampire novels (including The Vampire Lestat, The Queen of the Damned, The Tale of the Body Thief, Memnoch the Devil, and The Vampire Armand), Interview remains a treasured masterpiece. It is that rare work that blends a childlike fascination for the supernatural with a profound vision of the human condition.
——Patrick O'Kelley

Rice turned the vampire genre on its ear with this first novel (LJ 5/1/76), which evolved into one of the most popular series in recent history. Though the quality of the books has declined, this nonetheless is a marvelous, innovative, and literate tale of the longing for love and the search for redemption. This 20th-anniversary edition offers a trade-size paperback for a good price.
——Library Journal

"A magnificent, compulsively readable thriller...Rice begins where Bram Stoker and the Hollywood versions leave off and penetrates directly to the true fascination of the myth–the education of the vampire."
——Chicago Tribune

"Unrelentingly erotic...sometimes beautiful, and always unforgettable."
——Washington Post

"If you surrender and go with her...you have surrendered to enchantment, as in a voluptuous dream."
——Boston Globe

"A chilling, thought-provoking tale, beautifully frightening, sensuous, and utterly unnerving."
——Hartford Courant

精彩书摘

"I see--" said the vampire thoughtfully, and slowly he walked across the room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his briefcase on the table and waited.

"But how much tape do you have with you?" asked the vampire, turning now so the boy could see his profile. "Enough for the story of a life?"

"Sure, if it's a good life. Sometimes I interview as many as three or four good people a night if I'm lucky. But it has to be a good story. That's only fair, isn't it?"

"Admirably fair," the vampire answered. "I would like to tell you the story of my life, then. I would like to do that very much."

"Great," said the boy. And quickly he removed a small tape recorder from his brief case, making a check of the cassette and batteries. "I'm really anxious to hear why you believe this, why you--"

"No," said the vampire abruptly. "We can't begin that way. Is your equipment ready?"

"Yes," said the boy.

"Then sit down. I'm going to turn on the overhead light."

"But I thought vampires didn't like the light," said the boy. "If you think the dark adds atmosphere--" But then he stopped. The vampire was watching him with his back to the window. The boy could make out nothing of his face now, and something about the still figure there distracted him. He started to say something again but he said nothing. And then he sighed with relief when the vampire moved towards the table and reached for the overhead cord.

At once the room was flooded with a harsh yellow light. And the boy, staring up at the vampire, could not repress a gasp. His fingers danced backwards on the table to grasp the edge. "Dear God!" he whispered, and then he gazed, speechless, at the vampire.

The vampire was utterly white and smooth, as if he were sculpted from bleached bone, and his face was as seemingly inanimate as a statue, except for two brilliant green eyes that looked down at the boy intently like flames in a skull. But then the vampire smiled almost wistfully, and the smooth white substance of his face moved with the infinitely flexible but minimal lines of a cartoon. "Do you see?" he asked softly?

The boy shuddered, lifting his hand as if to shield himself from a powerful light. His eyes moved slowly over the finely tailored black coat he'd only glimpsed in the bar, the long folds of the cape, the black silk tie knotted at the throat, and the gleam of the white collar that was as white as the vampire's flesh. He stared at the vampire's full black hair, the waves that were combed back over the tips of the ears, the curls that barely touched the edge of the white collar.

"Now, do you still want the interview?" the vampire asked.

The boy's mouth was open before the sound came out. He was nodding. Then he said, "Yes."

The vampire sat down slowly opposite him and, leaning forward, said gently, confidentially, "Don't be afraid. Just start the tape."

And then he reached out over the length of the table. The boy recoiled, sweat running down the sides of his face. The vampire clamped a hand on the boy's shoulder and said, "Believe me, I won't hurt you. I want this opportunity. It's more important to me than you can realize now. I want you to begin." And he withdrew his hand and sat collected, waiting.

It took a moment for the boy to wipe his forehead and his lips with a handkerchief, to stammer that the microphone was in the machine, to press the button, to say that the machine was on.

"You weren't always a vampire, were you?" he began.

"No," answered the vampire. "I was a twenty-five-year-old man when I became a vampire, and the year was seventeen ninety-one."

The boy was startled by the preciseness of the date and he repeated it before he asked, "How did it come about?"

"There's a simple answer to that. I don't believe I want to give simple answers," said the vampire. "I think I want to tell the real story--."

"Yes," the boy said quickly. He was folding his handkerchief over and over and wiping his lips now with it again.

"There was a tragedy--" the vampire started. "It was my younger brother--. He died." And then he stopped, so that the boy could clear his throat and wipe at his face again before stuffing the handkerchief almost impatiently into his pocket.

"It's not painful, is it?" he asked timidly.

"Does it seem so?" asked the vampire. "No." He shook his head. "It's simply that I've only told this story to one other person. And that was so long ago. No, it's not painful--.

"We were living in Louisiana then. We'd received a land grant and settled two indigo plantations on the Mississippi very near New Orleans--."

"Ah, that's the accent--" the boy said softly.

For a moment the vampire stared blankly. "I have an accent?" He began to laugh.

And the boy, flustered, answered quickly. "I noticed it in the bar when I asked you what you did for a living. It's just a slight sharpness to the consonants, that's all. I never guessed it was French."

"It's all right," the vampire assured him. "I'm not as shocked as I pretend to be. It's only that I forget it from time to time. But let me go on--."

"Please--" said the boy.

"I was talking about the plantations. They had a great deal to do with it, really, my becoming a vampire. But I'll come to that. Our life there was both luxurious and primitive. And we ourselves found it extremely attractive. You see, we lived far better there than we could have ever lived in France. Perhaps the sheer wilderness of Louisiana only made it seem so, but seeming so, it was. I remember the imported furniture that cluttered the house." The vampire smiled. "And the harpsichord; that was lovely. My sister used to play it. On summer evenings, she would sit at the keys with her back to the open French windows. And I can still remember that thin, rapid music and the vision of the swamp rising beyond her, the moss-hung cypresses floating against the sky. And there were the sounds of the swamp, a chorus of creatures, the cry of the birds. I think we loved it. It made the rosewood furniture all the more precious, the music more delicate and desirable. Even when the wisteria tore the shutters off the attic windows and worked its tendrils right into the whitewashed brick in less that a year-- Yes, we loved it. All except my brother. I don't think I ever heard him complain of anything, but I knew how he felt. My father was dead then, and I was head of the family and I had to defend him constantly from my mother and sister. They wanted to take him visiting, and to New Orleans for parties, but he hated these things. I think he stopped going altogether before he was twelve. Prayer was what mattered to him, prayer and his leatherbound lives of the saints.

"Finally, I built him an oratory removed from the house, and he began to spend most of every day there and often the early evening. It was ironic, really. He was so different from us, so different from everyone, and I was so regular! There was nothing extraordinary about me whatsoever." The vampire smiled.

"Sometimes in the evening I would go out to him and find him in the garden near the oratory, sitting absolutely composed on a stone bench there, and I'd tell him my troubles, the difficulties I had with the slaves, how I distrusted the overseer or the weather or my brokers-- all the problems that made up the length and breadth of my existence. And he would always listen, making only a few comments, always sympathetic, so that when I left him I had the distinct impression he had solved everything for me. I didn't think I could deny him anything, and I vowed that no matter how it would break my heart to lose him, he could enter the priesthood when the time came. Of course, I was wrong." The vampire stopped.

For a moment the boy only gazed at him and then he started as if awakened from a deep thought, and he floundered, as if he could not find the right words. "Ah-- he didn't want to be a priest?" the boy asked. The vampire studied him as if trying to discern to meaning of his expression. Then he said:

"I meant that I was wrong about myself, about my not denying him anything." His eyes moved over the far wall and fixed on the panes of the window. "He began to see visions."

"Real visions?" the boy asked, but again there was hesitation, as if he were thinking of something else.

"I don't think so," the vampire answered. "It happened when he was fifteen. He was very handsome then. He had the smoothest skin and the largest blue eyes. He was robust, not thin as I am now and was then-- but his eyes-- it was as if when I looked into his eyes I was standing alone on the edge of the world-- on a windswept ocean beach. There was nothing but the soft roar of the waves.

Well," he said, his eyes still fixed on the window panes, "he began to see visions. He only hinted at this at first, and he stopped taking his meals altogether. He lived in the oratory. At any hour of day or night, I could find him on the bare flagstones kneeling before the altar. And the oratory itself was neglected. He stopped tending the candle or changing the altar clothes or even sweeping out the leaves. One night I became really alarmed when I stood in the rose arbor watching him for one solid hour, during which he never moved from his knees and never once lowered his arms, which he held outstretched i...

《德古拉》（Dracula） 作者： 布莱姆·斯托克 (Bram Stoker) 出版年份： 1897年 类型： 哥特式小说、恐怖小说、吸血鬼文学的奠基之作 --- 内容提要： 《德古拉》并非仅仅是一部关于吸血鬼的恐怖故事，它是一部深刻探讨维多利亚时代末期道德、科学与迷信之间冲突的里程碑式作品。这部小说以日记、信件、报纸剪报和航海日志等多种形式交织而成，构建了一个错综复杂且极具说服力的叙事结构，带领读者深入一个被古老邪恶渗透的现代世界。 故事的核心围绕着一位名叫乔纳森·哈克（Jonathan Harker）的英国律师展开。为了完成一桩重要的房产交易，哈克远赴特兰西瓦尼亚的喀尔巴阡山脉深处，拜访神秘的德古拉伯爵（Count Dracula）。德古拉城堡的氛围阴森、古老，弥漫着挥之不去的死亡气息。起初，伯爵表现出贵族式的优雅与热情，但随着哈克停留时间的增加，他逐渐察觉到城堡中隐藏着令人毛骨悚然的秘密。他目睹了德古拉不自然的举止，尤其是在夜晚的活动，以及城堡内那些令人不安的“新娘”们。哈克最终发现，他已沦为这座城堡的囚徒，而德古拉并非凡人，而是一个古老的、以鲜血为生的不死生物。 在哈克绝望地尝试逃脱并向外界发出警报的同时，在遥远的英国，德古拉的计划正在一步步实现。他购买了伦敦的房产，准备将吸血鬼的瘟疫散播到这座现代化的都市。德古拉的到来，对英国的社会结构和纯洁的女性构成了直接的威胁。 故事的第二条线索聚焦于德古拉在英国的受害者——露西·韦斯特拉（Lucy Westenra）。露西是一位美丽、开朗且拥有多位追求者的年轻女子。在德古拉的侵扰下，她开始出现怪异的病症，脸色苍白，精神萎靡，如同被某种无形的力量吸取生命。她的未婚夫亚瑟·霍尔沃德（Arthur Holmwood）和其他爱慕者束手无策，现代医学的知识和理论在面对这种超自然病症时显得苍白无力。 随着露西的状况急剧恶化，一位名叫亚伯拉罕·范·海尔辛教授（Professor Abraham Van Helsing）的荷兰医学家和形而上学专家被请来协助。范·海尔辛教授是一位知识渊博、思维开阔的人物，他迅速判断出露西所遭受的并非普通疾病，而是吸血鬼的诅咒。他试图用大蒜、十字架和输血等“科学”与“迷信”相结合的方法来拯救她，但为时已晚。露西最终“死亡”并复活成为一个嗜血的吸血鬼。 在确认了威胁的性质后，范·海尔辛教授集结了一支由爱国者、科学家和信仰者组成的“同盟”（The Crew of Light）。这支队伍包括露西的未婚夫亚瑟、她的朋友兼追求者昆西·莫里斯（Quincey Morris）、医生约翰·塞华德（Dr. John Seward，他也是一名精神病学家，负责记录米娜·哈克——乔纳森的未婚妻——的日记）以及一位可靠的贵族亨利·雷纳菲尔德（Lord Renfield，塞华德医生的病人，他沉迷于捕捉和吞食生命，是德古拉的早期仆从）。 这支队伍必须将现代的理性、科技（如电报、留声机）与古老的民间传说和宗教知识相结合，才能对抗德古拉这位来自黑暗时代的古老邪恶。他们追踪德古拉，发现他通过控制雷纳菲尔德获取情报，并利用血液的纽带控制了米娜，使她成为吸血鬼的“精神伴侣”。 故事的高潮在于对德古拉及其棺椁的追逐。在德古拉试图逃回特兰西瓦尼亚以躲避黎明和圣物的追捕时，同盟成员分头行动，企图在他返回城堡之前将其彻底消灭。这场追逐跨越了欧洲大陆，充满了危险和与时间赛跑的紧张感。最终，在特兰西瓦尼亚的边境，同盟成员们成功地用现代与传统相结合的方法——用木桩刺穿了沉睡中的德古拉的心脏，并将其斩首，并用大蒜和圣物净化了他的安息之地。 主题探讨： 《德古拉》深入探讨了多个核心主题： 1. 现代性与古老迷信的冲突： 故事的精髓在于维多利亚时代的新兴科学、理性主义（以塞华德医生的实验记录为代表）与根深蒂固的民间迷信和宗教信仰（以范·海尔辛教授的知识为代表）之间的激烈对抗。吸血鬼的存在迫使科学界承认其知识体系的局限性。 2. 性压抑与恐惧： 德古拉被视为一种腐蚀性的、异国情调的、不受约束的性力量的象征。他对处女（露西和米娜）的侵犯，表现了维多利亚社会对女性性自主和“失控”欲望的集体恐惧。露西的“堕落”是社会规范被打破的直接体现。 3. 异域性与帝国焦虑： 德古拉从遥远的、未被完全“文明化”的东方（特兰西瓦尼亚）来到伦敦，象征着对帝国边界可能被外部威胁渗透的焦虑。他代表着一种原始、野蛮的力量，企图颠覆英国的秩序和纯洁。 4. 女性角色： 小说中的女性角色复杂多变。露西从纯洁的典范堕落为吸血鬼，象征着危险的诱惑；而米娜·哈克则展示了韧性。她既是爱国者团队中不可或缺的智力支柱（她整理了所有零散的记录），同时也最接近被邪恶完全吞噬的边缘，体现了在传统与现代需求中挣扎的女性形象。 艺术特色： 斯托克采用了“文书体小说”（Epistolary Novel）的叙事手法，通过不同角色的日记、信件和日记的交织，使得读者能够从多个角度、多重视角来拼凑真相，极大地增强了故事的真实感和紧迫性。这种碎片化的叙事方式使得读者如同在参与一场侦探工作，不断地辨别信息的真伪和动机。小说语言充满了哥特式的阴郁气氛和对环境的细致描绘，特别是对德古拉城堡的刻画，奠定了后世所有吸血鬼故事的视觉和心理基调。 --- 为何阅读《德古拉》： 《德古拉》是所有现代恐怖文学、奇幻和哥特小说爱好者绕不开的源头。它不仅塑造了吸血鬼这一形象的经典原型——披着贵族外衣、拥有超凡魅力和无尽邪恶的生物——更深刻地反映了那个时代人们对科学边界、性别角色和外部威胁的集体焦虑。阅读它，如同穿越回那个煤气灯闪烁的时代，亲身体验理性如何面对最深沉的黑暗，以及一群普通人如何为了捍卫文明的灯火而拿起圣物与利木。它是一部永恒的、令人心悸的杰作。

评分☆☆☆☆☆

哇，这本《夜访吸血鬼》的平装版，简直是让我重新认识了“吸血鬼”这个概念。我之前看过的那些描写，总觉得是些刻板印象的集合，不是披着华丽外衣的恶棍，就是只会躲在阴影里低语的怪物。但安妮·赖斯笔下的吸血鬼，完全颠覆了我的想象。它不像那些快餐式的恐怖故事，只是为了吓人而吓人。相反，这是一种深刻的、带着哲学思辨的剖析。我一边读，一边忍不住思考，如果真的存在这样一种生物，他们的永生是如何塑造他们的？他们会在漫长的生命中积累怎样的智慧，又会承受怎样的孤独？书中的路易，他不再是那个我们熟悉的、面目模糊的恶魔，他有着人类的情感，有着道德的挣扎，有着对自身存在意义的追问。他的痛苦，他的悔恨，甚至他偶尔流露出的温柔，都让我感到一种前所未有的共鸣。这种对非人生命的细腻刻画，真的让我拍案叫绝。它不是在描绘一个简单的善恶二元对立的故事，而是将我们置于一个模糊的地带，让我们去审视欲望、道德、以及生命本身的重量。这本书的文字有一种魔力，能将你一点点拉进那个暗影重重的世界，让你感同身受，甚至让你开始怀疑，我们对“人性”的定义是否太过狭隘。

评分☆☆☆☆☆

拿到这本《夜访吸血鬼》的平装版，我本来以为会是一场简单的吸血鬼冒险，没想到却是一场关于人性、道德和存在的深刻对话。安妮·赖斯笔下的吸血鬼，不是那种扁平化的符号，而是有着复杂内心世界的个体。她没有回避吸血鬼的黑暗面，但更侧重于展现他们作为“非人”的视角，以及这种视角如何影响他们对世界的认知。故事通过一位吸血鬼的回忆展开，他讲述了自己如何被转化，以及在漫长的生命中，他所经历的孤独、迷失和对“成为人类”的渴望。我特别喜欢她对吸血鬼社会内部规则和生存方式的细致描绘，那种隐秘而又自成一体的体系，充满了神秘感。更让我着迷的是，她提出的“吸血鬼”其实可以被看作是一种象征，一种对生命、死亡、以及人类自身欲望的隐喻。读这本书，我不仅是在阅读一个关于吸血鬼的故事，更是在审视我们自己，审视我们所处的社会，以及我们对“生命”的定义。这种深度和广度，是许多同类作品难以企及的，也正是它让我爱不释手的原因。

评分☆☆☆☆☆

这本《夜访吸血鬼》的平装版本，给我的阅读体验，与其说是“读”更像是一种“沉浸”。安妮·赖斯创造了一个如此真实、如此有血有肉的吸血鬼世界，让我仿佛置身其中，与那些长生不老的生物一同呼吸、一同感受。她对人物心理的刻画，简直是入木三分。那个讲述者，他对自己的经历充满了回忆，也充满了痛苦和迷茫。他既享受着吸血鬼的强大力量，又为自己失去了作为人类的一切而感到深深的失落。这种矛盾的心理，让她笔下的吸血鬼不再是冷血的怪物，而是活生生、有着复杂情感的个体。我被他对于“永生”的看法深深吸引，他所经历的漫长岁月，积累的知识和阅历，却无法填补他内心的空虚。这本书让我思考，如果拥有了永恒的生命，我们是否会更加珍惜短暂的存在？我们又会如何面对无尽的孤独？安妮·赖斯用一种近乎诗意的语言，将这些深邃的问题呈现在我们面前，让我久久不能平静。这不仅仅是一个故事，更是一次关于生命意义的探索。

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这本《夜访吸血鬼》的平装版本，给我带来的感觉，简直就像是打开了一扇通往古老、阴郁而又极具魅力的世界的大门。安妮·赖斯并没有选择直接抛出惊悚的情节来抓住读者，而是用一种极其舒缓、却又暗流涌动的笔触，慢慢地揭开了这个吸血鬼的世界的面纱。她对环境的描写，尤其是那些欧洲古老城市的夜景，那种哥特式的、带着历史沉淀的颓败感，被描绘得淋漓尽致。我感觉我能闻到空气中弥漫的湿气，听到远处传来的马蹄声，甚至能感受到那些古老建筑墙壁上传来的冰冷触感。故事的叙述者，那个吸血鬼，他并不是一个高高在上、俯视众生的神祇，反而是一个充满了矛盾和痛苦的存在。他对自己永生的生命充满了迷茫，对人类的短暂生命既感到蔑视又流露出一种奇异的眷恋。他所经历的一切，那种跨越世纪的情感纠葛，以及他对“成为吸血鬼”的挣扎，都让我陷入了深深的沉思。这本书不像那些简单追求感官刺激的作品，它更像是一首长诗，一幅缓缓展开的画卷，让你在细细品味中，感受到那种深刻的、关于存在、关于孤独、关于永恒的咏叹调。

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初次捧起这本《夜访吸血鬼》的平装版，我并没有预设任何的期待，但随后的阅读过程，却彻底颠覆了我对吸血鬼文学的认知。安妮·赖斯用一种极其大胆、却又充满艺术性的方式，将我们带入了一个非现实的领域，但她笔下的角色，却有着比许多现实人物更复杂、更深刻的内心世界。她没有选择将吸血鬼描绘成简单的邪恶符号，而是深入探索了他们的情感、他们的欲望、以及他们对于“生命”本身的理解。特别是故事的叙述者，他的回忆录，不仅仅是关于他成为吸血鬼的过程，更是他漫长生命中，对存在、对道德、对孤独的深刻反思。我惊叹于她能够将如此黑暗的主题，用一种如此优美、如此引人入胜的笔触来展现。那些关于复仇、关于爱、关于永恒的纠葛，都随着故事的展开，层层剥落，让我沉醉其中。这本书让我看到了吸血鬼故事的另一种可能性，它不仅仅是关于恐怖，更是关于人性，关于那些隐藏在黑暗中的、我们无法忽视的哲学命题。

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女儿买的，有些像盗版

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买的比较满意，是我想要的，谢谢！

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虽然纸质是再生纸，但是经典还是值得收藏

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接受既成事实，这是克服随之而来的任何不幸的第一步。 能接受最坏的情况，就能在心理上让你发挥出新的能力。 忧虑最大的坏处就是摧毁我们集中精神的能力，一旦忧虑产生，我们的思想就会到处乱转，从而丧失做出决定的能力。 如果你有担忧的问题，做到下面三件事： 1。问你自己：可能发生的最坏的情况是什么？ 2。如果你必须接受的话，就准备接受它。 3。然后镇定地想办法改善最坏的情况。成熟的人会适度地忍耐自己，正如他适度地忍耐别人一样。他不会因自己的一些弱点而感到活得很痛苦。 不喜欢自己的人，表现在外的症状之一便是过度自我挑剔。 独处对我们的心灵运动十分有益，就好像新鲜空气对我们的身体极有帮助一样。 适当程度的自爱对每一个正常人来说，都是健康的表现。为了从事工作或达到某种目标，适度关心自己是绝对必要的。 成熟的人可能有时会批评自己的表现，或觉察到自己的过错和效率不彰，每个人的生活遭遇都是独一无二的。尽管构成人体的基本因素相同，但我们每个人的生命都很奇妙地自成一格，绝不与人雷同。 心灵的成熟过程，是持续不断的自我发现、自我探寻的过程。除非我们先了解自己，否则我们很难去了解别人。 兴奋的品质是我们工作能否成功的极重要因素，因为情绪的动力是促成我们向前进的力量。 三点建议： 1 每天抽出时间独处，以进一步认识自己； 2 要打破习惯的束缚/努力破除束缚自我的种种.. 我们必须信仰某些事物。但是，假如我们没有就此信仰去采取行动，一切仍然无用。只有信心而没有作为，是无济于事的。 人不是因为没有信心而跌倒，而是因为不能把信念化成行动，并且不顾一切地坚持到底。 当然，仅有信仰并不足以使我们成熟。信仰的好处是能增强勇气，使我们在接受考验的时候，不至于临阵退却。除非我们以信仰做基础，然后付诸行动，否则任何道理原则都没有什么用处。 只有行为才算数。如果我们不能遵行，则要想摆脱不幸的阴影，最好的一种方法便是提升我们自己去帮助别人。 不幸遭遇并非就是世界末日。有时候，它还是促使我们采取行动的催化剂，对改善状况大有必要。 生命并不是一帆风顺的幸福之旅，而是时时摆动在幸与不幸、沉与浮、光明与黑暗之间的模式里。我们不能像鸵鸟一样把头埋在沙堆里面，拒绝面对各种困难，而麻烦也不会因此获得解决。苦难是人类生活的一部分，只有实实在在地去面对，才是成熟的表现。 不成熟的人常... 对喜欢规避责任的人来说，困难则成了最好的挡箭牌。 假如每个人成天都认为环境不好，当然就会把自己的过失诿诸“缺陷”或种种其他原因。 具有成熟心灵的人，他们不会陷于自己的困难当中，而是勇敢地去面对它、接受它，然后想办法加以克服、解决。他们不会去乞怜，不会绝望，也不会去找借口逃避。 不成熟的人随时可以把自己与众不同的地方看成是缺陷、是障碍，然后期望自己能受到特别的待遇。成熟的人则不然，他先认清自己... 要想当好听众，首先要注意听讲。眼睛不要四处张望，或显出烦躁不安的样子

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.,,..!,,,.

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【21岁】 因患绝症，长期由药物维持生命，身体濒临极限，不得已提前与弟弟佐助约战，在生命的最后时刻帮助佐助解除了咒印枷锁，赋予了佐助万花筒写轮眼新的力量，并且见证了佐助的成长，最后微笑着牺牲。

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女儿买的，有些像盗版

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,....,------..

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【性味】平，甘、酸。