经典话语2009.0

经典话语2009.0（精选6篇）

1.经典话语2009.0 篇一

早安励志经典话语，早安正能量阳光一句话语录

1、不去追逐，永远不会拥有。不往前走，永远原地停留。知道自己目的地的人，才是旅行得最远的人。 2、其实生活看似残忍，却有时又是公平的，在同样的机遇，同样的时间，同样的24小时，别人的.成功，可能不完全是聪明，但是他一定比你更努力。 3、人不能自卑，自卑把自己看得太低，什么事都做不成。人不能自傲，自傲把自己看太高，最后没有人能看得起你。人最重要的是别太关注别人的眼光，不断和自己比，和自己较劲，让自己成熟和进步，取得自己的天地。在别人眼中活自己，永远是别人眼光的附庸，在自己眼中活自己，就是自己的主人。 4、我们所未能达成的目标不一定是负担，反而会在无形中化为一股力量，在我们想偷懒、想放弃的时候激励我们继续前行。 5、想要变优秀，顺其自然是不可能的，你需要做很多，花很多时间，忍耐并且坚持。

6、人生五件东西不能丢： 1。追求：没有目标，你就失去了精神的信仰，奔跑的方向; 2。尊严：它能支撑你的脊梁，让你高傲地活着; 3。自信：千钧压顶何须叹，披荆斩棘向前看; 4。坚韧：成败皆在毫厘之间，只要是你选择的，再苦再难dou要挺住; 5。知识：千金易散尽，善学是财富，唯有知识能够创造一切。 7、人贵有三品：沉得住气，弯得下腰，抬得起头。做事要沉得住气，才能成大器。弯得下腰，懂得退让，是一种人生智慧。抬得起头，是一个人内心自信的表现，也能更好看清事实和未来，抬的起头象征着乐观豁达。你优秀了，别人会主动靠过来的，沉得住气，弯得下腰，抬得起头，与君共勉! 8、只要你可以保住本心，看得出对错，辩得出真假，又有什么难关是熬不过去的。就像雪越下越大，越下越猛，可终究是会停的。 9、假如我不能，我一定要;假如我一定要，我就一定能。如果一个人不知道他要驶向哪个码头，那么任何风都不会是顺风。 10、人品是一个人最好的护身符。它让小人对你无计可施，让君子对你欣赏有加，无论遇到什么困难，都会有人在背后默默的支持和帮助。人品好的人，自带光芒，无论走到哪里，总会熠熠生辉。人品，做事对得起良心，做人不失本质!早安，梦想!

2.经典话语2009.0 篇二

关键词：《红楼梦》,话语建构,文本,话语实践,社会实践

1 Introduction

It has been more than 200 years since A Dream of Red Mansions was born.Now, people both at home and abroad hail it as one of the greatest literary works in the history of Chinese literature and its important role in literature and even in other disciplines is widely acknowledged.People are so enthusiastic about the studies of A Dream of Red Mansions that a new subject emerged at the early days of Guang Xv’s period of Qing dynasty, which is called nowadays“Red-ology”.However, when the work was firstly born, it received serious criticism and even was forbidden from publication and reading by the government then.The criticism was mainly from the feudal ruling class and some scholars maintaining the traditional feudal orders stubbornly, who attacked A Dream of Red Mansions as curiosa and attached immoral values to it.In spite of the banishment of the government, the book found its popularity among ordinary mass people and they read and handed it down under the table, running the risk of being punished by the ruling class.It is said that a young lady of that time was so addicted to the book that she lost her life because of it.The tale goes like this:the young lady got the book from her elder brother and was deeply moved, losing her appetite for food and desire of sleeping.Realizing this, her parents took the book away and threw it into fire.The young lady was so heart-broken and depressed that she got sick and finally lost her life[1].This is a tragedy, which is hard to confirm, and yet it shows, in a sense, how popular A Dream of Red Mansions was among common people at that time, though they may not understand the true meanings and significance of it and may just be attracted by the love tragedy between Pao-yu and Tai-yu.Despite all this, the dominant upper classes at that time didn’t give their favor to the book.Things are different now.The book gains its reputation as one of the greatest literary works in Chinese literature and even in the world literature, and many scholars devote all their life to the studies of it.What is it that makes the dominant power changed their attitudes towards the book?How the classical position of A Dream of Red Mansions is constructed in the course of history?This is what the essay aims at exploring.

With the popularity of the research into western literary theories, discourse analysis is attracting more and more academic attention of scholars both at home and abroad.And what is discourse?Discourse is a way for humans to express their ideas and thinking.Usually it is of a general and ambiguous quality.The famous French philosopher Michel Foucault, a pioneering figure of western post-modernism, focuses his attention on the fragments of history and culture, that is, the quality of discontinuity of history and culture.He tries to see more between the lines of those fragmentary records and build his own concept of“Archaeology of Knowledge”.He says in his book titled The Archaeology of Knowledge that“the use of concepts of discontinuity, rupture, threshold, limit, series, and transformation present all historical analysis not only with questions of procedure, but with theoretical problems”[2].In this way, Foucault gifts discourse a more general meaning, ranging from groups of statements as a whole to individual utterance.A Dream of Red Mansions is by any standard a kind of discourse, so do those critical essays and works about A Dream of Red Mansions in the course of recent history.In academic field both at home and abroad, the study of discourse is often associated with society, culture, cognition and so forth.Wolfgang Teubert, a professor of corpus linguistics at the University of Birmingham, in his book Meaning, Discourse and Society, investigates the construction of reality within discourse, putting discourse in social settings.Also, he mentions the cognitive turn in academic field and connects discourse with mind.Similarly, in Sociolinguistics and Social Theory, edited by Nikolas Coupland, Srikant Sarangi and Christopher N.Candlin, language and discourse are regarded as social practice and ideology is also a concept related to discourse analysis.Chinese scholar Chang Zonglin states in his work Comparative Studies in Language&Culture that language and culture interplay with each other, that is to say, “language study cannot be separated from culture studies and vice versa”[3].Especially, English linguist Norman Fairclough expresses in his famous book Discourse and Social Change that he aims at“bringing together linguistically-oriented discourse analysis and social and political thought relevant to discourse and language, in the form of a framework which will be suitable for use in social scientific research, and specifically in the study of social change”[4].He puts forward a three-dimensional framework of discourse analysis, that is, text, discursive practice and social practice, relating discursive change with that in the fields of society and culture.Besides academic books, there are many papers dealing with the relationship between discourse and sociology or discourse and culture.

A Dream of Red Mansions, since born in the later period of China’s Qing dynasty, has been thrown into the big melting pot of society and culture, exposed to the public’s criticism and whose position in literature is thus built in this process.Regarded as a kind of discourse, it, of course, can be interpreted from the perspectives of ideology, sociology, culture and so on.The process of its discursive change explains how it shifts from a so-called curiosa criticized by authorities to the top rank of the pyramid of literature.This essay will employ the three-dimensional framework of discourse analysis put forward by Norman Fairclough to interpret the discursive change of A Dream of Red Mansions.Actually, apart from ideology, society and culture, influence may also happen among discourses themselves, that is to say, a dominant discourse can exert an impact on a disadvantaged discourse which becomes weaker and weaker and finally may be wiped out.These factors combine to make a discursive change possible.

2 The Discursive Change of A Dream of Red Mansions

As has been mentioned above, the journey of A Dream of Red Mansions’s gaining its world-famous reputation is full of ups and downs.Shortly after its birth, the dominant voice towards it is overwhelmed with sharp criticism and malicious curses.Nevertheless, in today’s world, it is safe to say that the book has won every reader’s heart and no one will cast cursing words to it.An increasing number of readers join in the group of studying Red-ology, which in turn expanding the scope of its influence.The following will focus on three factors related to the discursive change of A Dream of Red Mansions, resorting to the framework of Fairclough’s three dimensions.

2.1 Text:Encyclopedia+Mysteries

In terms of content, in the beginning, A Dream of Red Mansions was conceived as a kind of curiosa and accused of immorality.As is known, the main background setting of the book is Chia Mansion, further divided into Jung Mansion and Ning Mansion.The Chia Mansion belongs to the upper class of that time and can even be called a small kingdom.The story focuses mainly on the love between Pao-yu and Tai-yu as well as Pao-chai and some other beautiful girls, which is where the criticism towards it lies.Also, Pao-yu, as a central character in this book, is different from other people of his time both in mind and behaviors.He says that“Girls are made of water, men of mud and I feel clean and refreshed when I’m with girls but find men dirty and stinking”[5], which is seen as a subversion of the dominant attitude towards women at that time.What’s more, Pao-yu holds a natural hatred for imperial examination system of that time and loathes those people who urge him to walk into official career, which is also seen as a crime threatening their dominant position in society by the ruling class of that time.But, actually, A Dream of Red Mansions tells more than that.

2.1.1 An Encyclopedia of the Society of that Time

As a product of that time, the book is inevitably tinted with the color of that time.In fact, the book is so inclusive that it is called an encyclopedia of that society.It covers the people from all social strata, ranging from feudal aristocracy to the lower class people, though more ink is poured on the life of upper class.More importantly, A Dream of Red Mansions is a good window for us to peep into the folk culture of that time.For example, in the 13th chapter, Ko-ching’s mortuary cult is described in very detail, observing the ritual custom then.The book boasts a distinct Chinese feature because of the use of Beijing dialect and a large amount of Chinese ancient poetry, which provide a good source for scholars to research.Besides, almost all kinds of cultures and arts are mentioned in this book, such as the culture of food, of finery, of architecture, of medicine, of drama, of tea ceremony, of landscape garden and so on, making the life of those characters vividly presented before readers’eyes, gifting the book a strong color of realism, though it resorts to fantastic means sometimes.

2.1.2 Mysteries that are Open to Interpret

Another attractive point of this book is that it is permeated with mysteries, which mainly come from the blank space between the lines.It is generally known that the book was left unfinished by Cao Xueqin and the later 40 chapters were continued by Gao Er, whose writing skills are considered less exquisite than Cao Xueqin and who is condemned by some scholars for twisting Cao’s original meanings that are basically hidden behind the judging poems in the beginning.Therefore, many scholars devote themselves to the study of the fates of many main characters and making speculations as to the ending of the book, with some scholars even rewriting it, for example, Liu Xingwu.This is one mystery, which I call“the mystery of ending”.Another one is“the mystery of identity”, saying that many characters’identity is uncertain, with a wide room of making inferences.These mysteries exist, sometimes because of the use of a writing technique which purposely uses very precise words to express rich meanings and readers are asked to read between lines in order to take the hints, and sometimes because of the author’s modification to the plot in the process of writing.Anyway, it is because of these mysteries and uncertainty that A Dream of Red Mansions attracts the attention and interest of generations after generations.

2.1.3 How to Do Text Analysis

Western literary theories are disputable about how to do text analysis.New criticism stresses the importance of close reading and tries to integrate meaning and form together;Russian formalism pays more attention than new criticism to form and sees text as a special use of language;Marxism does not separate text from the society where it is generated and strives to find the interrelationship between text and society.It is in Marxism that Fairclough finds a common voice.Fairclough says in his Discourse and Social Change that“discourse analysis is in fact a multidisciplinary activity, and one can no more assume a detailed linguistic background from its practitioners than one can assume detailed backgrounds in sociology, psychology or politics”[4].That is to say, text analysis should be done from many perspectives, assuming a multidisciplinary eye.The all-embracing quality of A Dream of Red Mansions as a text makes it possible for scholars to interpret it in many ways, which, in a sense, accounts for why the book can keep refreshing all the time and does not fall into the obscurity of history.To sum up, the encyclopedic and mysterious features of A Dream of Red Mansions lead to the possibility of multi-interpretation and finally promote the book to the top rank of the pyramid of literature.

2.2 Discursive Practice:Author+Readers+Ideology

Another dimension of discourse analysis is, according to Fairclough, discursive practice, which means in his words“involves processes of text production, distribution and consumption, and the nature of these processes varies between different types of discourse according to social factors”[4].Text is not isolated.Before it is born, it is conceived in the mind of its author;after its birth, it will inevitably exercise an influence on the mind of its readers and in turn, the changes in readers’mind and ideology will certainly affect their evaluation and interpretation of the text.In Fairclough’s words, “Texts are consumed differently in different social contexts”[4].Different social contexts lead to the changes in people’s ideology.Therefore, the two subjective factors—author and readers—will influence the processes of production and consumption of a text with their ideology.If their ideology changes, the texts they produce will surely change accordingly.

2.2.1 A Theoretical Explanation of the Relation between Text and Ideology

Ideology is closely related to people’s psychology, mind or cognition.Text, as a product of ideology, can be regarded as a bridge between people’s inner mind and outside world, or a transition from inner activities to outside products, so the study of people’s inner mind is of great significance to text analysis.

A cognitive turn characterized the second half of the 20thcentury and scholars began to turn their attention to the research of people’s cognition in order to make sense of how meanings are produced.They wanted to set up models of language that can reflect what is known about the human mind, and further explain people’s behaviors under the influence of their mind and cognition.They held that language is the externalization of thought.Mc Ginn insists that“It is far more plausible to suppose that our language is caused by our thoughts—that we can only introduce words for which we already have concepts”, “Words express concepts;they don’t create them”[9].Meanwhile, in the field of psycholinguistics, scholars also hold that“thought provides the basis for speech comprehension, which in turn provides the basis for speech production”[10].That is to say, oral speech or written text is closely connected with its author’s mind or ideology and reflect his/her intention at that time.For example, when creating A Dream of Red Mansions, Cao Xueqin must have in his mind a purpose or be overwhelmed with a kind of feeling he wanted to impart to his readers.Similarly, readers of different social classes or different times may have different ideologies in their mind and therefore give various responses and interpretations to the book.What plays an important role in determining people’s ideologies is social status and social change.

2.2.2 An Illustration of the Cognitive Change to A Dream of Red Mansions

A Dream of Red Mansions, in its early stage, evoked different reactions among different social classes.Many people of lower strata liked it very much, even though they may not really grasp the underlying meaning behind the words and may only be moved by the pure love story between Pao-yu and Tai-yu.Another group of people who give their favor to the book are those men of letters, praising highly the refined poems in it and, to some extent, realizing the significance of its revolutionary and rebellious spirit.Nonetheless, these agreeable voices could not gain an upper hand in the struggle against the dominant authority of that time.The feudal ruling class was so sensitive to the climate of the society that they were quick to catch up what kind of influence this book would exert on the mass people.Also, they were quick in their action.Shortly after the book’s circulation among mass people, the government gave an order to ban the book from publication and circulation and people were not allowed to read and discuss it.The ruling class of that time had good reasons to do this, claiming that the book, which was called The Story of the Stone at first, was detrimental to public morality and should be burn as curiosa.The mass people, though like the book very much, dare not read it in broad daylight, on the one hand, because of the pressure and prohibition of the authority, and on the other hand, because of their inner acknowledgement of the heterodox position of the book, for most of them were deeply influenced by Chinese traditional Confucianism.

With the development of society and the transition of era, people’s ideology changed, so did the ideology of society as a whole.In the transition from feudalism to socialism, people sometimes jumped out of the fetters of ideology and observed it in an objective way.In this way, they found a new world in A Dream of Red Mansions.Formerly, the study of the book could be classified into two schools, the one was the group of criticizing (评点派) , and the other was the school of searching for hidden meanings (索隐派) , which either put emphasis on the comments of the plot or characters, or strive to find the hidden social realities the book was based on.The one who makes great contributions to the solid position of A Dream of Red Mansions in literature is Lu Xun (1881-1936) .Although he did not write some monograph discussing A Dream of Red Mansions exclusively, he did write it into his work A Brief History of Chinese Fiction, and put forward many brilliant ideas.He sees more than love stories in it and regards it as a realistic tragedy, meanwhile digging the social meaning and advanced ideas within it.According to Lu Xun, this novel breaks the traditional schema that good people are pure good while bad people are completely bad[8], and instead, all the characters in it are somewhat imperfect.Besides, he holds that the tragedy of these characters actually reveals the essence of feudal society and can be seen as an exposure of the cruelty of feudalism[8].Nowadays, it is generally admitted that Pao-yu is a new-age person conceived in the embryo of feudal society and A Dream of Red Mansions is an encyclopedic book that provides scholars with a window to peep into Chinese traditional culture and that can be related to many other disciplines which makes multi-interpretations become possible.In a word, the questions as to how this novel was produced and how it was consumed by readers are all connected with ideology, and the change of ideology leads to different understanding and interpretations towards the book, which contributes to the discursive change of A Dream of Red Mansions.

2.3 Social Practice:Society+Culture+Power

Discourse does not come into being from nowhere.In a sense, it is deeply rooted in the climate of society.In this connection, Fairclough thinks highly of Marxism, saying that Marxism“provides a rich framework for investigating discourse as a form of social practice”[4].“People are social beings”[9], and there is surely interpersonal bound between them, for“What makes up society is not the people themselves but their interactions”[9].Interactions include those within a community and those happening between a community and other communities, with the latter maybe exerting a more significant influence by changing people’s ideas, the culture of a society and the shifting of power relationship.

2.3.1 The Influence of Western Literary Theories on the Study of Red-ology

In the later period of Qing dynasty, China woke from the policy of seclusion and began to learn from western countries in order to strengthen itself.In this way, some western literary theories found their way to China and did feel an echo among Chinese scholars.Since after, some Chinese scholars employed western theories to interpret Chinese literary works and made great contributions to academic studies.

Wang Guowei (1877-1927) , born in the later period of Qing dynasty, is a very great scholar in literature, aesthetics, historiography, philosophy, Sinology and so on.After coming into contact with Schopenhauer’s philosophy, he spent more than two years studying it and finally applied it into the interpretations of A Dream of Red Mansions.According to him, A Dream of Red Mansions is a book recording the pains and tragedies in life, and is the first work so far in China which is permeated with a real sense of pessimism[1].Though Wang’s ideas are still remain to be discussed as to its correctness, he does play a pioneering role in introducing western literary theories into the interpretations of literary works in China.

After Wang Guowei, there were several other scholars turning their attention to western theories in their study of Red-ology, such as Wu Mi’s A New Comment on A Dream of Red Mansions (《红楼梦新谈》) and Pei Zhi’s A New Discussion of A Dream of Red Mansions (《红楼梦新评》) .These essays or monographs are the results of an exchange between Chinese and western ideas.

2.3.2 Red-ology as Political Weapons in the New Culture Movement

The interaction between China and western countries leads to the dialogue between Chinese and western cultures.In the period of the 19thcentury, a group of young men of letters and patriots in China launched the New Culture Movement, paying great effort to advocate the spirit of democracy and science, with the purpose of transforming China’s cultural and political system.This trend also extended its influence to the study of Red-ology.A Dream of Red Mansions was reinterpreted to work for the political purpose of patriotic intellectuals.

As has been mentioned above, in early days, the study of A Dream of Red Mansions mainly included two schools—the group of criticizing and the school of searching for hidden meanings, which are now collectively called“old Red-ology” (旧红学) .In 1921, Hu Shi (1891-1962) published a famous essay titled A Research on A Dream of Red Mansions (《红楼梦考证》) , marking the birth of new Red-ology (新红学) .Hu Shi’s study of Red-ology was of clear political intentions.At that time, he realized that the talking of“-ism”had a quite wide market among people while the need of actual action was largely ignored, so he put forward that“we should focus our attentions more on the actual problems instead of the empty talking of‘-ism’”, and he further suggested that we should“make suppositions boldly and draw confirmations carefully” (大胆地假设, 小心地求证) .His study of A Dream of Red Mansions was to impart the kind of scientific attitude and pragmatic spirit to the public.When it came to the age of Mao Zedong, Hu Shi’s philosophy of idealism and advocating of pragmatism were severely criticized and the new generation of proletarian revolutionists held that the research of Red-ology, like other academic fields, should also adopt the ideas and methods of Marxism to work for the career of proletariats[8].It is easy to draw from above that at the transitional period of ages, literary research is tinted with a strong color of politics and has already become a political weapon for revolutionists to fight for their power in society.

Fairclough says that“discursive practices are ideologically invested in so far as they incorporate significations which contribute to sustaining or restructuring power relations”“Relations of power may in principle be affected”[4].In a sense, this is to say, the encounter of different ideologies changes people’s way of thinking and may lead the mass people to take actions and finally lead to the shift of power relations.“What we feel, what we do and find we cannot do, will determine what we make of the utterances we hear from other members”[9].People’s understanding and interpretations for a text are somewhat related to their inner mind and purpose which are certainly, to some extent, molded by the climate of outside society.Therefore, in a way, the discursive change of a text happens along with the change of society and the shifting of power relationships.

3 The Influence Exerted by Strong Discourse on Weak Discourse

When doing discourse analysis, apart from diachronic factors, we should also take into account the interaction existing between different kinds of discourse.There is a world within discourse, where things interplay with each other and vicissitudes take place.From the perspective of influence, discourse can be categorized into the powerful one and the weak one.To some extent, whether a kind of discourse is powerful or weak, it mainly depends on the group of people who speak it.If a community is very powerful and influential, the voice they utter would somehow be paid more attention to and accordingly, would be more influential among different communities.This is the so-called powerful discourse.On the contrary, if some people are of marginalized position in society, the words they say may be also marginalized and even ignored by the mainstream society.This is the so-called weak or disadvantaged discourse.“Powerful communities in society can exert an influence on comparatively weaker communities by discourse.”[10]In other words, the powerful discourse would threaten and even erode the weak discourse.However, whether a kind of discourse is strong or weak, this is not a fixed thing.During a period, this kind of discourse is dominant;later, another kind of discourse may gain an upper hand, with the result of breaking the original balance within discourse and set up a new balance.This can be called the inner change of discourse.

In the early days after A Dream of Red Mansions’s publication, the opponent voice from feudal ruling class was the powerful discourse while the favor from mass people was somewhat marginalized.The government, guarding for the interests of upper ruling class, rejected the novel stubbornly in the name of morality and social civility.Under the pressure of so-called“orthodox”, those people who gave their vote to this novel did not dare to put it on the table, and had to copy and discuss it secretly.Yet, with the development of society and culture, people changed their ways of thinking and began to appreciate it in a quite new way.The laudatory words gradually prevail and become powerful discourse which silences the opponent voice.During the process of balance-breaking and balance-rebuilding between strong discourse and weak discourse, A Dream of Red Mansions walks from the periphery of literature to the very center of it, and embraces its classical position indisputably.

4 Conclusion

Discourse has its own journey of development, which is the so-called discursive change.In a general sense, two factors contribute to the change-external cause and internal cause.The former includes society, culture, ideology and so on, whose change leads to the transformation in people’s-or more specifically, readers’way of thinking, and makes readers adopt a new way to elucidate the discourse which thus is able to keep rejuvenated and diversified and acquires new meaning.As to the inner cause, it refers to the interplaying impact within discourse.Strong discourse gradually expands its domain and eats up that of weak discourse, finally gaining the very dominant position.In this way, the thing that the powerful discourse refers to would accordingly achieves a solid position in society.Of course, it is certainly impossible to separate external factors and internal factors from each other.Actually, they are complementary to each other, with the former being a stimulus to the latter and coming into effect through the latter.Fairclough put forward three dimensions of discourse analysis, which are text, discursive practice and social practice.The three dimensions reflect three points of view in discourse analysis-text, readers and society, through which external causes and internal causes interweave with each other.

The process of A Dream of Red Mansions’s achieving its classical position in literature is actually the process of its discursive change.As a kind of discourse, this novel itself is all-embracing and can be called an encyclopedia of that time, which makes it possible to do multi-interpretations.More importantly, it is caught in the wide net of society and culture as well as ideology, swaying along with the tide of society.When the affirmative voice towards A Dream of Red Mansions becomes strong and presides over readers and critics, the discursive construction of the novel is finally accomplished.

参考文献

[1]郭豫适.红楼研究小史稿 (kolistan推荐书系, 红楼梦原著论著系列) [M].上海:上海文艺出版社, 1980:8, 165.

[2]Michel Foucault.The Archaeology of Knowledge[M].London:Routledge, 2002.

[3]常宗林.英汉语言文化学[M].青岛:中国海洋大学出版社, 2004:25.

[4]Norman Fairclough.Discourse and Social Change[M].Cambridge:Polity Press in association with Blackwell Publishing Ltd., 1992:62, 74, 78, 79, 86, 91.

[5]Yang Xianyi&Yang Gladys, Trans.A Dream of Red Mansions[M].Beijing:Foreign Languages Press, 1978:26.

[6]C.Mc Ginn.“How you think”, New York Review of Books[J].2007.9.

[7]Danny D.Steinberg&Hiroshi Nagata&David P.Aline.Psycholinguistics:Language, Mind and World, second edition[M].England:Pearson Education Limited, 2001:36.

[8]郭豫适.红楼研究小史续稿 (kolistan推荐书系, 红楼梦原著论著系列) [M].上海:上海文艺出版社, 1981:92, 94-95, 316.

[9]Wolfgang Teubert, Meaning, Discourse and Society[M].New York:Cambridge University Press, 2010:114, 122, 115.

3.经典话语2009.0 篇三

电视小品是一种独特的电视艺术形式。它选材新颖，立意深刻，人物个性突出，故事情节鲜明，其中幽默诙谐的语言更是小品的闪光之处，透过喜剧的效果反映社会民情和人生哲理，娱乐和教育意义并存，令人久久难忘，深受广大电视观众的青睐。从某种程度上讲，幽默的语言就如小品的血液，失去它，小品就没有了自身的特质和魅力，也就没有了活力。在中国的电视小品中，赵本山出演的小品最受观众欢迎且影响最为广泛。尤其是每年春节晚会上的小品更是经典之作，笑料不断，百看不厌，而其中的经典台词更是家喻户晓，给人们的生活增添了不少快乐。本文用Grice的合作原则来分析赵氏小品的幽默话语，从语言学角度研究小品幽默效果的产生。

二、理论回顾

十九世纪六十年代末，美国哲学家兼逻辑学家Herbert Paul Grice首次提出了合作原则。他指出为了保证交流的成功且为达到此目标，在说话者与听话者之间总存在着一种相互的理解和合作。因此。人们似乎遵循着一些原则，“使你所说的话，在其所发生的阶段，符合你所参与的交谈的公认目标或方向”(胡，2002：197)，这叫做合作原则(CP)，它包括四个准则，分别是数量准则，质量准则，关系准则和方式准则。理论上讲，交谈双方应该遵守合作原则，提供充足、真实、相关和简明的信息以便交谈可以顺利的进行。然而在现实中，为了表达一些隐含的意思，讲话者在很多时候会故意违反合作原则。

数量准则的违反：说话者提供较少或过多的信息。

质量准则的违反：说话人说虚假的或缺乏证据的话。Grice指出说话者通过反语、隐喻、曲言法等修辞手法的应用来故意违反质量准则。(Grice，1975：312)

关系准则的违反：回答毫不相关的内容。

方式准则的违反：说话者说晦涩的，模棱两可的，冗繁的或无序的话。

三、赵氏小品中合作原则的违反和幽默效果的产生

(一)数量准则的违反

1.数量准则第一条的违反

例1白云：俺们村人可喜欢你了，

崔永元：真的啊?

白云：都夸你呢，说你主持那节目可好了，

崔永元：这么说的呀!

白云：就是人长的坷碜点(赵本山宋丹丹崔永元《昨天今天明天》)

例2黑土：你好!你得得瑟瑟还上精神病院给人讲演去了。

白云：嗯。

黑土：讲一天一宿!

白云：怎么的，精神病都出院了!

崔永元：有效果!

黑土：大夫疯了!(赵本山宋丹丹崔永元《说事儿》)

例3黑土：你大妈已经不是你六年前那大妈了，你大爷永远是你大爷。

崔永元：怎么听着那么别扭?(赵本山宋丹丹崔永元《说事儿》)

例4小沈阳：我的中文名字叫做小沈阳

毕福剑：你还有外国名字?

小沈阳：我的英文名字叫xiao～shen～yang～(赵本山毕福剑小沈阳毛毛《不差钱》)

例1中来自东北农村的老太太白云接受节目主持人崔永元的采访，主持人想知道村里人对他的印象如何，她没有一次将所有所需的信息说完，前半句把主持人听的心花怒放，后半句却着实给他以沉重的打击。例2中自云只回答了她演讲后病人的状况，观众还以为她的演讲确实凑效。当黑土补充完所需信息后，观众立刻意识到隐含的意思：白云的演讲太枯燥乏味，以至于病人和医生都无法忍受。毫无疑问，同例1一样，这种惊奇和失望的鲜明对比，前后的大转折促成了强烈的幽默效果。例3是极端违反数量准则第一条的例子。划线部分从表面上将毫无意义可言，但在深层次上它却包含十足的信息：自从白云接受央视节目主持人崔永元的采访后，她变得骄傲，爱慕虚荣；而黑土还是以前那样的质朴诚实。例9中小沈阳的英文名让观众印象深刻。大家都能体会到它的含义：虽然他不是什么大人物，但也追求时尚，也懂英文。只是英文水平有限，英文名也只好是中式发音加英式腔调，叫人忍俊不禁。

2.数量准则第二条的违反

例5赵本山：我叫赵英俊，男，今年35岁(实际年龄跟长相有误差，不细看问题不大，这属于表面老化)，现有住房一套(7点8平米)，存款1760元(让前妻拐跑了)，所以我要找一人勤劳朴实爱我爱家(不能三天两头就张罗着上这上那，一天连人影都看不着，做饭都没人给做)，(赵本山黄晓娟《我想有个家》)

例6崔永元：我刚才看了您这书啊，第一章，就叫《回家》。说的就是上次做完节目回铁岭的时候，那场面，特别壮观PE?

白云：那怎么叫“特别”壮观呢?那是“相当”壮观哪!那家伙，那场面大的，那真是：锣鼓喧天，鞭炮齐鸣，红旗招展，人山人海，那……(赵本山宋丹丹崔永元《说事儿》)

例7毕福剑：爹……不是……那个……我找您儿子。

赵本山：他在乡里等你，哎呀，乡里布置得老隆重啦，乡长书记都在那排队等你哩。布一个大厅，完事，弄一个大房间，给你弄一个大照片，挂在中间啦，周围全是花呀!(赵本山毕福剑小沈阳毛毛《不差钱》)

例8范伟：阿～这歌词我倒是想起来了—可是你还是没想起来。

高秀敏：也难怪你想不起来，你说你上中学走那年那，我30多岁，今年我50。

赵本山：我56。

高秀敏：谁问你了?

赵本山：你问不问我也56，属鸡的?(赵范伟高秀敏《拜年》)

例5中赵英俊每说一句话都以括弧的形式补充了额外的信息，他隐含的信息很清楚：第一，请不要误会“我”的年龄，虽然和长相有点出入；第二，“我”很诚实，该说的不该说的我都说了；第三，我有明确的择偶目标。这些信息不仅增加了小品的笑料，同时还反映出赵英俊的性格特征—诚实、有责任心。例6中，白云的前半句已经足以回答崔永元的问题，然而她急忙描述当时壮观的场面，为的是显示她受访中央电视台后荣归家乡，父老乡亲对她相当热情的欢迎。而正是对数量准则的违反产生了最佳的幽默效果，观众每每欣赏到此，都会捧腹大笑。例7中赵大叔的回答同样提供了过多的信息，隐含的意思是乡里热烈而隆重的欢迎毕老师的到来。由于找大叔本人教育背景的局限性，过多的描述反倒与他的本意相差甚远，让毕老师越听越不是味，幽默效果油然而生。而例8中赵老蔫不必要的补充更是这段的笑点所在，同时也体现了老蔫憨厚老实的性格特征。

(二)质量准则的违反

例9白云：小崔，我恳请你们中央电视台封杀我，走了，不录了。

崔永元：哎，大妈怎么又走了?(赵本山宋丹丹崔永元《说事儿》)

例10刘流：请问：茶叶的茶英语怎么说?

宋：(抢先说)Tea!

刘：绿茶?

赵：绿tea!

(赵本山宋丹丹刘流《火炬手》)

例11黑土：这么不会审美呢，

白云：怎地?

黑土：这叫鞋拔子脸那?这是正宗的猪腰子脸!

(赵本山宋丹丹崔永元《昨天今天明天》)

例12赵本山这老婆子嘴咋跟棉裤腰似的!

宋丹丹：怎么了?

赵本山：那么松呢!

(赵本山宋丹丹牛群《策划》)

例9中，白云，一个东北乡下老太太，却用与自己身份不

太符合的“封杀”这个词，暗含着她已经自认为成名人了。而例10中，黑土的答案“绿tea”显然是缺乏证据的虚假错误答案，但他之所以违反质量准则，言下之意是尽管他的英语不好，但在争取奥运火炬手的竞争中不能落后自云。而例11，12中，对话采用比喻的修辞手法。“猪腰子脸”，“棉裤腰”等生动形象，幽默诙谐，把人物的个性展现的淋漓尽致，且笑料十足。

(三)关联准则的违反

例13白云：(白云摘下黑土戴着的耳机)那你扣它干啥啊?

黑土：胃疼。(赵本山宋丹丹崔永元《说事儿》)

例14毕福剑：那就这样吧，照我们的规矩来，自报家门

赵本山：朝前来，别紧张

毛毛：我是来自大城市铁岭莲花乡赤水沟子，我名字叫丫蛋，今天心情非常的冲动，今夜阳光明媚，今夜多云转晴。

(赵本山毕福剑小沈阳毛毛《不差钱》)

例13中，黑土的回答与白云的问题全无任何关联，但所有的观众都会体会到他隐含意思：黑土宁可戴着耳机听音乐也不想忍受白云爱慕虚荣、自夸自大的话语。简短且不相关的回答却是这段对话中不折不扣的笑点。例14中，毛毛作自我介绍时报起了天气预报，表现出一个农村小姑娘当时紧张的心情，准则的违反意味笑料的产生。

(四)方式准则的违反

例15高秀敏：啊，拐了噢，拐啦，拐了噢!拐啦，拐啦!拐啦!

范伟：我说你瞎指挥啥呀你啊?你知道我要上哪你就让我拐呀你啊?

赵本山：喊卖。

高秀敏：卖噢!卖，

赵本山：卖啥呀?

高秀敏：拐赵本山：连上。

高秀敏：拐卖了噢!拐卖了!

范伟：恩?怎么回事儿?谁要拐卖你呀?(赵本山范伟高秀敏《卖拐》)

例16宋丹丹：你呀，你只定是瞅着人家老太太长得漂亮，是吧。

赵本山：拉倒吧。漂亮我挨顿揍还值，还漂亮?

宋丹丹：嗯?

赵本山：那老太太长的比你还难看呢；阿不是，我说她没有你难看；你呀，比她难看。大妹子，我老伤你自尊你说。(赵本山宋丹丹《钟点工》)

例17崔永元：今天的话题是“昨天，今天。明天”。我看咱改改规矩，这回大叔先说。

黑土：昨天，在家准备一宿；今天，上这儿来了；明天，回去，谢谢!(赵本山宋丹丹崔永元《昨天今天明天》)

方式准则的违反是赵氏小品的特点之一。模棱两可或含混不清的句子最能吸引引起观众的注意。例15中，两个有歧义的词语对该小品幽默效果的产生做出了重大的贡献。首先，范伟误解了高秀敏“拐了”的意思，顺着她喊的方向就把自行车转了弯，闹了笑话，而实际上高的意思是“这有对拐要买!”。然后，高继续喊“拐卖了”，还是“有拐要卖”。而范继续误解，以为有人要拐卖高，急忙上前问情况。两次误解产生了强烈的喜剧效果，令人开怀大笑。例16中赵大叔意识到自己的话伤到了钟点工，便想安慰她，缓解一下紧张的局面。可他越解释越伤人，同样意思的话翻来覆去的说，啰嗦冗长，毫无简练可谈。而正是这一准则的违反制造了大量的笑料，博得了观众阵阵笑声。例17中采访的主题“昨天今天明天”确实难为了两老人。主持人的本意只想让他们回忆过去，畅谈现在，展望未来，而老两口只解释了它的字面意思，并一五一十的汇报给主持人，闹出了笑话。

四、结语

4.经典话语 篇四

如果、我挂科，请别为我悲伤。因为我不是挂在了考场上，我是挂在了老师的阳谋上。

如果、我挂科，请别为我悲伤。别为我祭奠，因为我被挂的碎石万段，我被挂的荡然无存，凡世找不到我的一丝风情，留不下我的一点余韵，挂的彻彻底底，干干净净。

如果、我挂科，请请别为我悲伤。我不是“自挂东南枝”的焦仲卿，我是举身赴考场，然后自挂无数科，没有“刘兰芝”的陪挂，只有我自己孤零零的挂在那里！每当风吹过的时候，乌鸦在树枝上兴奋的鸣叫，跳着欢喜的舞蹈，就像老师过去在课堂上的张牙舞爪。

如果、我挂科，请别我悲伤。请让我挂的坚决些，不要给我希望，我只要悲壮，请给我零分，让我心底的浩壮彻底的激荡，不要给我59这样的高分，不要给我看似希望的绝望，不要让我像阿Q一样在挂之前还那么的欢畅，也许我的“圆圈”画的很好，只是因为老师的眼光，让我挂的那么性感而又漂亮！

如果、我挂科，请别为我悲伤。山岳不用动怒，河海不用恣肆汪洋，树木不用枯萎腐朽，蓝天不必乌云密布，因为我轻轻地走了，正如我轻轻的来，不带有一片云彩，不带走一个姑娘！

如果、我挂科，请别为我悲伤。请为我放最激烈的摇滚，因为那是

我听过的最好的安魂曲，儿时，我就有过那样的梦想。

如果、我挂科，请别为我悲伤。请你们记着继续奋斗，五星红旗是用鲜血染红的，考试总需要牺牲，前行的道路上祝你们一路顺风。

如果、我挂科，请别为我悲伤。当你们翻开那些被画的满目疮痍的所谓重点，你们自会明白我自横天向“刀”笑，去留肝胆两昆仑的豪爽！你们会明白死的其所，壮哉壮哉！

如果、我挂科，请别为我悲伤。因为枪杆子里出政权，笔杆子里出挂科！这是很久以前的定律，这是颠扑不破的真理，经过了历史的考验和实践的验证！

如果、我挂科，请别为我悲伤。因为曾经课堂上的美梦和嬉戏给我留下了无数欢快的时光，在酷暑盛夏，炎热的天气里回想那段时光还是那么那么的爽，就像运动过后刚喝了冰冻雪碧或者可乐一样！

如果、我挂科，请别为我悲伤。因为背或者不背，挂科就在那里，不退不让！写或者不写，分数就在那里，不增不减。

如果、我挂科，请别为我悲伤。因为我不是奥特曼，我不是孙悟空，我不会七十二变，我没有超人的能力，我就是我，一个平凡挂科者。

如果、我挂科，请别为我悲伤。我只想看一眼遥远的故乡！天苍苍，野茫茫，游子心，有思殇！

释迦牟尼说，我不挂科，谁挂科？

上帝说，有人打你的左脸，右脸也伸过去让他打；有人要你的外衣，内衣也给他；有人要你挂科，你就全挂给他看。

在万千的人群中，遇到低调的人，恍若在幽静的巷子里，听到一段静心的天籁，在苍凉的荒漠绝地，欣遇一脉淙淙的泉流。

那是一种言说不尽的愉悦和舒爽。

赏心只有三两枝。低调的人虽寥寥，却是这个世界一祯难得的风景，养眼，怡耳，悦心。也只有在低调者的身上，你才能在喧嚣的尘世里，寻觅到一丝清雅的内敛，一点高贵的平和，一份优美的沉静。

低调的底色是谦逊，而谦逊源于通透。在低调的人看来，人生没有什么值得炫耀，也没有什么可以一辈子仗恃，唯有平和，平淡，平静，才能抵达生命的至美之境。于是，他们放低自己，与这个世界恬淡地交流。

张扬，张狂，张牙舞爪，到头来，不过是一场浮华的热闹，当绚丽散去，当喧嚣沉寂，生命要迎接的，是落落寡欢，是形影相吊，是门前冷落，是登高必跌重的惨淡，是树倒猢狲散的冷清，是说不尽的凄婉和苍凉。

真正有大智慧和大才华的人，必定是低调的人。才华和智慧像悬在精神深处的皎洁明月，早已照彻了他们的心性。他们行走在尘世间，眼神是慈祥的，脸色是和蔼的，腰身是谦恭的，心底是平和的，灵魂是宁静的。正所谓，大智慧大智若愚，大才华朴实无华。

高声叫嚷的，是内心虚弱的人；招摇显摆的，是骄矜浅薄的人；上窜下跳的，是奸邪阴险的人。他们急切地想掩饰什么，急迫地想夸耀什么，急躁地想拥有什么，于是，这个世界因他们而咋咋呼呼，而纷纷扰扰。这些虚荣狂傲之辈，浅陋无知之徒，像风中止不住的幡，像水里摁不下的葫芦，他们是不容易沉静下来的。

摘自《今晚报》

一花一世界。一草一天堂。一叶一如来。一砂一极乐。一方一净土。一笑一尘缘。一念一清净。

执地远望银杏树亭亭玉立，与绵绵无绝期的凛冽寒冬久久对峙。叶似团团蒲扇，煽动囤积心房的晦暗，留守欲溢眼眸的温暖。日光倾城，树影婆娑，渐渐明晰生命脆弱而坚韧的理由。红尘百态皆为空，繁华凋零，归于平淡。人生苦短，并无别事。回味年华里一个个历历在目关于成长的故事，细微而动人。像一幅浓墨重彩的工笔画，拥有别具一格的景致。心无旁骛描摹琐屑美好的无邪天真。一意孤行跌入空洞幻觉的桀骜不驯。猝不及防窥见斑驳冷暖的仓皇无助。小心翼翼收藏梦寐温情的安分守己。这些残存的烙印深深遗留在骨骼与血液中。至今，依然，炙热而艳烈。一节节柔软时光，治愈一道道幽暗伤口，取缔一片片浓重阴影。日影远去，温暖还在，因爱而宽宏，每一天都是弥足珍贵的感恩季。岁月不动声色地流逝，我并非一无所有。

读禅阅世，心似一朵莲开，默然，欢喜。

从今天开始，做一个明媚的女子，不倾城，不倾国，倾尽所有去爱。

停止灵魂四处颠沛流浪，我将拥有细水长流的安稳生活。

当一切冲动归于平淡，理想回归现实。

当一切抱负归于悠然，憧憬尘封心间。

当沉默只是淡然，而不是爆发。

当平静只是安宁，而不是无奈。

不知不觉间已是人到中年。

——枯木

流水有声，岁月无痕。又一季的秋就这样悄然的从指缝间流走，空留下一季的怅然，在初冬的寒露薄雾里领悟岁月的沉静与孤独，没有失落也没有感叹。正如我这个中年的男人。

凭栏而坐，心平静得像一汪湖水，沐浴在午后暖暖的阳光里，宁静的望着高远碧天，用思绪放飞青春的风筝，在岁月的苍穹里自在的飞。偶尔掠过一抹熟悉的身影，已激不起涟漪，所有的铭心刻骨，都在眼角微微的笑意里得到了诠释。

天空里没有雁的影子，还未曾来得及挥手，它已去了遥远的南方。还有几片顽皮的黄叶在枝头摇曳，舍不得离去，像是羽翼未丰的鸟儿颤颤微微的害怕飞翔，突然一阵唧唧喳喳的声音撕破里这悠然的宁静，原来是觅食而回的麻雀在歌唱一日的收获，那么毫无顾及的欢愉着。

茶渐渐凉了，忽然很想听一听老歌，才知道青春的酸甜苦辣已在

不经意的瞬间，随昨日的歌声一起飘远了，所有的心酸无奈烟雨楼台都在一口冷茶的苦涩里淡然喝下，随着嘴角浅浅的一笑飘逝在微凉的风里。回首昨日，蓦然发现自己已经从那个懵懂少年走到了不惑之年，没有不甘，只有点恍然。站在岁月的镜子面前，青春不在，看着流年的痕迹悄悄爬上沧桑的脸，流逝了童年的稚嫩快乐，远走了青少年血气冲动，平静的脸上是心智的成熟和坦然。即便是面对一些不合理的事情，不再那么愤慨，即使无法释怀，也依然会坦然处之超然物外，或许是自嘲见怪不怪！

看夕阳西沉，红尘落幕，想起曾经那黄昏里的约会，樱花下的浪漫，终于明白生活不仅仅是爱情，片刻的绚丽灿烂成就不了辉煌，那一场场风花雪月的浪漫，似乎已经是很遥远的往事了。一杯清茶，一缕阳光，静静地享受着这宁静的时光，不再渴望什么惊天动地，更不会为爱死去活来，看着那厨房里来来去去的妻的身影，孩子脸上洋溢的欢乐，父母身体的健康，这就是莫大的幸福了。

不进入秋末的土地，你就不知道什么叫生活。行走在阡陌小径间，这时的田野是那种佛恩般的安静。地头畔垴苍老已逝的玉米秸秆，尽管季节从它们身上洗去了铅华，即使变成干柴火的样子，也要把泥土敬拜。

西边的晚霞璀璨着无以言述的轮回，涂抹在大地上时，把夜归的鸟儿的叫声晕染出一世仰视的苍茫。顺着一片羽毛的飞落，点化着蹁

跹的认定。

桔黄色仿佛就是一个季度终末时恩情的色彩。时间悄悄地带走季节的忠诚，圆说了光阴一种流离的秩序。人可以从水泥钢筋坚硬的圈起中冲出来，让自己挣脱灯红酒绿尘世的迷醉，也是对生命的一种责任。我很欣赏海灵格的一句话，说，人有一点点自由。就是改变自己的自由而已。现实生活，绑在我们身上的东西太多，红尘很深，而缘太浅。搁不住城池里追撵锦囊的脚步。或许是钢筋水泥的冰冷和坚硬熏凉了人情的温暖，以致城里的人，门对门住着却谁不认识了谁。

急匆匆的步履旋舞着时光的叹息，目光逮住尘世的繁华咬紧牙关紧抓忙扒。自由在生命中能迈开多长的步子。生活是姿态，同时也是谟礼。指尖捞住的往往是孤独，而人却把迷茫兴当觉悟。贪婪的步伐，你歇一歇，让灵魂跟上来！古时先贤把衷言苦心修行成经书，示意今人，楼房高耸，矮化的是人的当初。

直冲云端的琼阁把佛龛敬到最高处，也够不着佛祖的脚趾。因为，佛臣服的是鞠躬的土地。

眼下的田野把青春的疼痛收割给了人家的烟火，金黄色的喜悦挂满了庄户人家的房前屋后。新翻的土地泛起明晃晃的褐色虔诚，犁铧将泥土无数次轮回的念想点醒。新一轮撒下的麦种，正在又一茬转世 的土层里幸福地梦想着，痛苦地挣扎着。

土地把自己的生活挂起，让爱情吞咽一世的缱绻，承载着种子向往的恩情。一派肃然的担待静默了全部的禅花悄放，把麦粒的企望来反刍。

踽踽地游动在野地里，闻着新泥土的清香腥味，像嗅出了自己前世亲人的体香。我的双脚很轻，很慢，唯恐踏痛了土地洪恩的梦。

付出的心跳孕育着恭敬，季节的眷恋是一枚撒入的种子，却改变不了土壤的怀揣。

几千年前的秋季之暮色一路走来，呈现在今日的模样没有变幻，土地的颜色也永恒着一种情绪，而人，当前的梦想已换了新装，变得光怪陆离了。泥土用自己的骨头做一把骨琴，递到人的怀里，也一样弹奏不出晨钟的惊醒，暮鼓的辽阔。

黄昏以它弓腰的敬畏抚慰着土地潮湿的命运。搂抱是信仰的高贵，土壤把种子绿色的轮回孵化。芽苞在黑暗中已认定了自己今生的福祉，安静着来年的期待。

土地不断改变着自己，但它却遵循着太古的念想，发芽是它的贵

气持久。泥土不会跟人一样，锦衣而不还乡。

不能魂归故里，是人性变异的可怜。远离了初始的根部，人就是穿着貂皮，吃着血燕，驾着跑车，反而被尘世的华彩抹得妖妖魔魔，让空中飞过的鸟儿惊诧，圆溜溜的眼里倒映浮生鬼怪般的模样。不怪俯瞰的视角，只怨官宦、富商低劣的品性。

时间刺伤人生命的喉咙，却把土地的坚守恩赐。土壤在一条长长的心路上苦行，匍匐着一生的经典。仰望，是一种境界，是生活的尊重，也是土地默然，坦然，安然，释然的大智慧。

人扑着抓着，握在凡尘手心里的是输了自己的流年，攥紧的是乱了的浮生。

晚霞收尽，大地一派苍茫。有纱帐似的薄雾从土层深处袅娜而起，缥缈了一地的典藏。

我扭身往回返时，身心披着土地的袈衣。我看到岁月正双手合十，在人类企及不到的地方打坐

一滴水，乌云里氤氲，茫茫苍苍中穿行。在山间、原野、江河，无声失落，生命的长空闪过一道弧线的轨迹。没有流星的璀璨，没有烟花的绚丽。起止一瞬即逝，微乎其微。

一滴水，从不忘乎所以。着意去张扬太阳的光彩，惹来炫目的注视，来扮靓自己。它深深懂得，缤纷的繁华，只会尽快消失在自己导演的戏里。静静地，踏着有条不紊的节奏，心无旁骛，默默前行。淡淡而去，正如淡淡而来。

纯朴至无色无味，简单到一眼望穿的透明。倏尔，融入大地，你就再也寻不着它。无需刻意追逐大海的壮阔，掀起惊人的滔天波澜。不必费心迎合溪水潺潺，一路泉水叮咚的得意鸣唱。无声无息，从容的走自己的路，何必在乎路边鸟儿，指手画脚的窃窃私语。其实，人生需要执着，但更重要的是随缘。

落入干涸的沙漠，晕染肥沃的土地，嵌进冰冷的崖角岩缝。或许是绿叶上一颗明净的玻璃心，或许沾染尽花儿的盈盈粉泪，或许被裹进寒风，刹那演绎永恒。如一粒种子，最终飘落何方，只不过是生命中偶然的必然。冥冥中，有一部分是宿命的注定。放下负累，一身轻装，简单的活着，简洁的前行。因为宁静而豁然，因为简单而快乐，生命赋予每粒种子都有不可复制的美丽。

平凡并不代表平庸，单纯并不是无知，微小更不是低贱。渺小是形式的，表面的，像一滴水。宽广是自由的，美丽的，如一滴水闪耀出灿烂的光辉。最近的是脚下每一步，最真的是能握在手中的。不奢

求，珍惜拥有。有了生命的乐观，一滴小小的晶莹，呈现出晨光般的笑容，蕴容滴水藏海的气度。轻柔如它，温婉如它，和悦如它，开一朵小花的清丽。

世上没有两片完全相同的叶脉，一水一世界，一花一菩提。一滴水虽小，却是万物之源，一滴水虽淡，却是生命本色。自此生命才盎然勃发，生生不息。

我们仰望苍穹的广袤与崇高，吟咏太阳的神圣无私，崇拜一切高山仰止的美好。你是否看到了我们脚下平凡的土地，有小草在招手，叶尖上一滴露珠在微笑。生命不论以何种姿态，何种方式呈现，总有它自己的舞台，总有舞台上一场属于自己精彩。即便，没有一个观众，一朵鲜花，一声喝彩。这并不妨碍它的快乐绽放，平凡与伟大，其实就没有界限。

不是吗，一滴水可以折射出一个太阳，一朵花可以绽放一个春天。

有时候，有些人不需要说再见，就已经离开了。

有时候，有些路不走也会变长。

熟悉的，安静了，离开的，陌生了，消失的，陌路了。

在意太多的朋友，变得没了自我，最后总是把自己丢弃在无人的荒岛上，自己疗伤。不愿流露太多的悲，于是安静。

也许是我的安静让我们陌生了，也许是我的沉默让我们不再经常联系，可我却是个倔强的孩子，喜欢念旧。你们的离开，只会让我更沉默，只会让我想要哭泣，只会让我责备自己。在无联系的日子里，一个人，慢慢地，学会淡然。

文字，依旧，那么苍白，那么无力。依旧，把心事寄托在文字里。依旧，习惯了悲伤。依旧，一个人游离于夜晚的星辰。

谁见？一世相思难画成春来，风正萧萧，雨正萧萧。

倦眠一冬的思念，如花般层层剥落，泠泠初绽那年相见时那低眼佯行时的一抹娇柔，无语且依依。又仿如回廊凭栏处那个曾经的素妆净面的女子，笑整香云时那不经意的一丝怯羞，不胜娇媚的款款，随风，盈盈绽放自己所有的美丽。

哦，又是一年桃花开！

凝望，十里长亭外，天清云淡，燕子双飞来飞去，唧唧呢呢，同醉红窗。可谁见？红颜薄衫掩清愁？不忍回眸，不忍相望，泪如雨，一半因风吹去，一半沾衣落香。掬一把清香，把思念空寄，无奈，相思不相亲，两处消魂，徒添新愁。

远古，千里古道，一记轻骑叱咤而来的，可是你急盼如渴的脚步，踏踏叩响我犹作流浪的心？云湛湛，水悠悠，一声横笛锁清愁，烟波翠，笑脸依，桃花娇艳点红妆，今生今世，我只与你共剪春风，共画相思！

亲爱，你可知？

“想你！”恍如远古早已熟悉的问候，涉千重水，隔万座山，飘然而至，暖暖的温润我寂寞的心田，任你握住我的手，任所有的深情从彼此的指间缓缓流出，任你款款地揽我入怀，感受你深切的情意。相逢不语，天上人间，心已醉，美梦当须留。

不敢轻言想问，你是否依旧？是否也如我这般情思？只怕这一问，淡淡的愉悦便会滑入洁净温润的月夜里，醉一身的芳香，无计难消除。

三千里桃花，正亭亭，我为之心仪。

无边的烟雨中，独步，撑一把素洁的伞，手拈鲜花，款款而行，朝思暮想着你的容颜，却画不出你悄然而归的岁月，唉！怪东风多事，吹落满腹相思，零零落落，难收一季春愁，只好只好，把那颗想你的心尘封在深处，做永久的停留。

清愁瘦尽，相思难画，不敢与你说，此情与天长，此情与地久。只怕这一说，淡淡的惆怅便会湮没这纷扬如雨的桃花，佳人更憔悴，东风却不解愁啊！

一春一春的思念，难书！

一冬一冬的守望，谁见！

一世一世的相思，难画！！

不惧岁月的轮回，不堪沧海的变幻，令我疼痛至今的，依旧是你容颜，你说你会一直在我曾经的海角彼岸，日日驻守，夜夜守望，怕错过我霜侵风蚀的一面。尽管风冷雨凄，也许已踏上归程，水深千尺，难挡你如箭般的迫切，万丈红尘中，惟有我能够读懂你此刻的无言。

心不痛，怎知甜？等一场花开花落的爱情，而浅浅的微笑中，泪已满面。

水在湖中停留在那结识了一条淡水鱼。

鱼说：你好美，我想我喜欢上你了。

水说：傻瓜，那仅仅是好感而已。

鱼说：真的，我不骗你。

水说：我不相信一见钟情。

日子一天天过去，鱼对水的感情也日渐加深。

鱼说：我喜欢和你在一起。

水说：那是因为你早已适应了我。

鱼说：我喜欢你的味道。

水说：那是因为你已习惯了我的存在。

几天后，水要继续远行。

鱼说：我已离不开你。

水说：过几天你就会忘了我的。

鱼说：不，我不会爱上除你以外的人。

水说：那是因为你还没遇到除我以外的人。

鱼说：你是我的全部。

水说：你却不是我的唯一。

鱼说：你到底在追寻什么？

水说：只有海温暖的胸怀才是我的唯一。

鱼说：你难道不能为我而停留吗？

水说：不，一旦驻足，我就成了死水了，就永远无法看到海的样子了。

鱼说：那我们能否并架齐驱？

水说：你永远无法追上我的脚步。

鱼说：你能否为我稍微等待？

水说：我只喜欢奔腾不息。

鱼说：无论如何，我都要陪你游向大海。

水说：你别傻了，你是一条淡水鱼。

鱼说：我不想让你一个人面对风浪。

水说：我不会因此而感激你。

鱼说：我不想博得你的感激，我只想和你在一起。

水说：这样只会害了你自己。

水和鱼经过了一条大河，鱼只剩下半条命。

鱼说：我不知道还能陪你多远。

水说：回去吧，这样的日子不适合你。

鱼说：不，就算到了最后一秒，我都不会放弃。

水说；你傻得迷失了自己。

鱼说：那你能否试着接受一个傻瓜的爱呢？

水说：你明知道我的心早已被海占据。

鱼说：为什么？你总不能试着爱上我？

水说：我只相信，海才是我的唯一。

鱼和水经过了一条大江，鱼的生命只剩下四分之一。

鱼说：如果有一天我不在了，你会怎样？

水说：我会伤心，也会惋惜。

鱼说：那如果海不在了呢？

水说：我会心碎，也会随着他死去。

鱼说：难道我们的朝夕相处还比不过一个幻影吗？

水说：没有感情的相处只是多余的记忆。

鱼说：那海呢，你确信他会爱上你》

水说：他是我一生的梦，我不会放弃。

鱼无语，默默地陪水走完了剩下的距离，终于，他们到了海边。

水看到了她的海，但她却不是海的唯一，是啊，海有博大的胸怀，博大到可以容纳百川在他怀里嬉戏，却无暇顾及水的存在。

水不愿作海身边众多佳丽之一，她决定离去，这时，她想起了鱼。而鱼早已奄奄一息。

鱼说：我看到海了他是那么英俊帅气，只有他才配得上你。

水说：但我却觉得他扑朔迷离。

鱼说：别担心，总有一天，海会发现你并爱上你。

水说：也许我真的错了。

鱼说：不会的，你那么爱海。

水说：曾经，也有一个人那么爱我，可我忽略了，你说，你说呀，说你爱我，说你要和我生生世世在一起。

鱼说：我不想给你一个兑现不了的承诺。

水说：你为什么不能自私一点？

鱼说：别这样，爱你是我的权利，爱我却不是你的义务。

水说：为什么我总是那么自私，那么固执？为什么我没有早点爱上你？

鱼说：别这样说，那样我会走的不安。

水说：为什么你总那么好，好到让我感到无地自容。

鱼说：忘了我吧，再去找一个值得你爱的人。

水说：你难道不是最值得我爱的人吗？

鱼说；别傻了，以后的日子，我不能陪你。

水说：我已错过太多的日子，我不能再错过你。

鱼说：别这样。

水说：我真的爱上你了。

鱼说：我都流泪了，你看见我幸福的泪了么？哦，我忘了，我是在水里。

水说：不，我感受到了，因为现在，你在我心里。

鱼幸福地闭上了眼睛，在水的怀里。

一个女孩子。并不需要成为别人口中传颂的班花级花校花。一旦达到那样的层面，除非真的拥有惊为天人的美貌，或是早早的就练就了一份不为人所动摇的心态。各种流言蜚语和质疑，各种心态的不平稳和摇摆时刻都会左右成长的步调。

一个女孩子。如果你美的刚刚好，长相是清秀或者甜美，偶尔有人夸你有气质漂亮。身材匀称，不用过分担心体重，看到喜欢的衣服总能找到适合自己的尺码。

一个女孩子。家庭条件不用太好，娇生惯养难免性格上会存在与众不合的地方。喜欢一样东西的时候能自己买下，不用因为经济上的问题做些自己不愿意的事情。这样刚刚好。

学习成绩不一定要排名前茅，但总不至于落在人后太多。有自己的理想，能独立思考，遇到困难乐观向上。对朋友对家人对爱情一直是认真的态度。

了解自己身上的不足，也善于发挥自己的闪光点。自信但不自傲。

你总是羡慕别人身上的光环，总是嘟嚷着自己生活的不尽如意，总是觉得别人的男朋友是不是更好，所以总是和幸福擦肩。

你感叹那些漂亮的无与伦比的女孩子是多么的幸运，生活是何等的精致。

但是你没有看到她们卸妆后日复一日的给自己这副皮囊投入了多少心血。

你没有看到在一次又一次和陌生人的切磋对垒中她也存在的疲惫。你没有看到她需要维持所谓的形象而遮蔽自己太多本性掩饰自己的情绪。

你羡慕那些身材一级棒可以穿上最精致礼服的模特。

但是你没有看到她们为了成为传说中的衣架拼命的减肥饿的天昏地暗。

你没有看到当她们和同行相比哪怕只胖了一点点都如临大敌。你没有看到那些因为行业里的明争暗斗潜流暗涌而牺牲的青春和活力。

你佩服那些成绩总是名列前茅好像又不用花什么心力的才女 但是你没有看到当你在游戏在恋爱的时候她花了多少时间来充实自己。

你没有看到她房间里的灯是什么时候才熄灭又是什么时候就早早亮

起。

你没有看到她有一个怎么样的家庭又曾给予过她什么样的压力。1．如果以后你会不经意地想起我，请别忘记我曾那样深深地爱过你：偷偷地看你，偷偷地想你，偷偷地爱你——

最后，偷偷地哭了！2．只要你能记住我，哪怕用恨的方式也好.而当我试着恨你，却想起你的笑容。

3．当爱不能完美，我宁愿选择无悔，不管来生多么美丽，我不愿失去今生对你的记忆，我不求天长地久的美景，我只要生生世世的轮回里有你！

4．当你眼泪忍不住要流出来的时候，睁大眼睛，千万别眨眼！你会看到世界由清晰变模糊的全过程，心会在你

泪水落下的那一刻变得清澈明晰。盐。注定要融化的，也许是用眼泪的方式。

5．原来,寂寞时是自己的手指数脚指；原来，思念时是连呼吸也会心痛；原来，一个人就是一辈子

6．哭，并不代表我屈服；退一步，并不象征我认输；放手，并不表示我放弃；微笑，并不意味我快乐!7．在爱情没开始以前，你永远想象不出会那样地爱一个人；在爱情没结束以前，你永远想象不出那样的爱也会消失；在爱情被忘却以前，你永远想象不出那样刻骨铭心的爱也会只留淡淡痕迹；在爱情重新开始以前，你永远想象不出还能再一次找到那样的爱情

8．你看得见我打在屏幕上的字，却看不到我掉在键盘上的泪„„ 9．痛过，才知道如何保护自己；哭过，才知道心痛是什么感觉，傻

过，才知道适时的坚持与放弃，爱过，才知道自己其实很脆弱。10．有些事，我们明知道是错的，也要去坚持，因为不甘心；有些人，我们明知道是爱的，也要去放弃，因为没结局；有时候，我们明知道没路了，却还在前行，因为习惯了

11.你不知道我在想你，是因为你不爱我，我明明知道你不想我，却还爱你，是因为我太傻。也许有时候，逃避不是因为害怕去面对什么，而是在等待什么。

12.天空没有翅膀的痕迹，但鸟儿已经飞过；心里没有被刀子割过，但疼痛却那么清晰。这些胸口里最柔软的地方，被爱人伤害过的伤口，远比那些肢体所受的伤害来得犀利，而且只有时间，才能够治愈。13．很多人，因为寂寞而错爱了一人，但更多的人，因为错爱一人，而寂寞一生。我们可以彼此相爱，却注定了无法相守。不是我不够爱你，只是我不敢肯定，这爱，是不是最正确的。人最大的困难是认识自己，最容易的也是认识自己。很多时候，我们认不清自己，只因为我们把自己放在了一个错误的位置，给了自己一个错觉。所以，不怕前路坎坷，只怕从一开始就走错了方向。

14．我放弃你的时候也放弃了自己，没有你我的心也死了。并非别无选择，只是不想一错再错。

15．有些事不管经过多久都不会淡化，虽然总是用冷漠去对待，可是他却是我心中永远痛，一旦稍稍触及便痛不欲生

静谧的夜，我独坐书房，灯影处，思绪在奔走，今夜，绵短的细雨滴醒了我心底的离哀。什么时候你每次的离去，抽空了我的灵魂，独留

我在人世间飘荡。看尽细雨散落，看完枫叶红透，看遍浅秋的青紫。却不敢去看花好月圆。

在歌声里放逐自己的思恋，毫不吝啬的释放自己的情感。恒久的回忆是亘古的美好，涔涔流淌在我每一寸血液里，在久违的温存里长长相会，离别后的每个日夜，那份柔情一直在我骨髓里起伏，每时每刻，清清细细、绵而不绝。无法忘却的那份温柔，在孤单午夜缓缓而来。

你的离去带走了一份心酸，一份留恋。在你心底深留的是无尽的牵挂，踏上那无奈的归程，留下那颗琉璃纯净的心，带上我深深眷恋的心。一直，我们在相聚和离别之间游走，在等待和愿望之间承受。最后，在每个梦里描述心中天堂的样子，谁会先一步，在那里殷殷的翘首以待。是你，还是我？梦醒时分，是你在惆怅，还是我在哀叹？

午夜念想如蓝，思念似海。都知海水深，海水再深却有底，远不及我对你的一半思念深。都知海宽无际，海再宽广，却总有岸。我对你的思念永不着边，相思无岸。

回忆里，凉凉的海泥，曾经一起在我们脚下滑过几多回。回忆里，我们一起把双脚埋在海沙里，默看海水带走沙子那刻的情趣。回忆里，烈日暴晒下，我来来回回，酸透了脖子，只想找一个漂亮的贝壳，送

给你。回忆里，当又一次潮水退去的时候，你捡到了一个有着貌似梅花斑点的石子，你放到我手里，轻轻的说送给我。如今这块石子一直在我桌上，我时常会用水冲湿，紧紧的捏在手里。回忆里，我用贝壳在海滩上无比认真的写下了一直不变的话：我爱你生生世世。当风把沙吹散，或者下一回的潮水带走。却带不走我们的爱，爱已在心里深深的埋藏，爱已在心里深深的封印。

什么时候，我歌月徘徊，我浅行我深思。什么时候，你举首望月，你淡思你深念。什么时候，我用相思熬了一壶清酒，我轻移步，递上你心间。什么时候，你会淡淡抿嘴，你会柔柔的一饮而尽。却能让我感到畅汗淋漓，清泉入心怀。

无可奈何花落去，牵动了多少世人感叹，既然奈何不了，何必伤怀，当花落去时，就落去吧。就算忍不住滴上了伤情的泪，就当只为了过去的美好，或许过去的伤痕。泪滴落后，就会明白，只有当花落去了，树上才会挂满丰硕的果子。

5.经典情感话语集锦 篇五

3、在最悲伤的时候不能失去信念，在最幸福的时候不能忘记挫折。

4、在争辩的时候，最难驳倒的观点就是沉默。

5、有的家庭，几根面条就能撑起热腾腾的日子；有的家庭，一堆金币反而把日子折腾得七颠八倒。

6、要成功就不能有借口，有借口就不会成功。

7、小时候，幸福是很简单的事；长大了，简单是很幸福的事！

8、希望和失望都折磨人，但希望折磨人的时间更长。

9、我这命老和他们算的不一样，不知道是他们没算对，还是我活错了。

10、我们把心给了别人，就收不回来了；别人又给了别人，爱便流通于世。

11、通往成功的路，总是在施工中。

12、所谓永恒的爱，是从花开一直到花落，从红颜一直爱到白发。

13、生活在希望中的人，没有音乐照样跳舞。

14、生活的美来源于你对生活的热爱，友情的纯真来源于你对朋友真诚的相待。

15、少年的时光就是晃，用大把时间彷徨，只用几个瞬间来成长。

16、如果你不总在想自己是否幸福的时候，你就幸福了。

17、人生没有如果，只有后果和结果。

18、人生就八个字，喜怒哀乐忧愁烦恼，八个字里头喜和乐只占两个，看透就好了。

19、人们常常慨叹生活中缺少美，那是因为他们缺少一双发现美的眼睛。

20、逆风的方向更适合飞翔，不怕万人阻挡，只怕自己投降。

21、每一个生命都是美丽的，再小的花也不会拒绝。

22、没有人富有得可以不要别人的帮助，也没有人穷得不能在某方面给他人帮助。

23、蓝天下便是阳光；艰苦后便是甘甜；失败了就当经验；成功时便是灿烂。

24、咖啡苦与甜不在于怎么搅拌，而在于是否放糖；一段伤痛不在于怎么忘记，而是在于是否有勇气重新开始。

25、过去的一页不要再翻，翻落了灰尘会迷了双眼。

26、成功的人不是赢在起点，而是赢在转折点。

27、不要活在别人的嘴里，不要活在别人的眼里，而是把命运握在自己手里。

28、不经巨大的困难，不会有伟大的事业。

29、不敢说真话是个人的耻辱，不能说真话是时代的耻辱。

6.悲伤的经典话语 篇六

3、在错的时间遇上对的人是一场伤，在对的时间遇上错的人是一声叹息，在对的时间遇上对的人是一生的幸福，你是幸福的吗？

4、深情是担不起的重担，情话只是偶然兑现的谎言。

5、窗外的笛声，更吹动浓愁，心事惚渺，愁眸尽殇。烛影摇红，凝眸处，那渐行渐远的倩影已不在梦中……

6、飘渺的影子，只能仰望，眺望着终局，明知结果，却还是要去傻的坚持。

7、时光静待，柔柔捡起凄落的寂寥；思念静默，轻轻呼唤与你相牵的距离！

8、有一种伤叫悲伤，是睫毛再也承受不住泪球的重，轻轻碰到就会滴落。

9、我没必要委屈自己去讨好任何人、况且我也没这么伟大。

10、曾经爱过你的人，前世一定和你有缘，不要语言虐待。如果他今生真的负你了，那是因为你前生负他，红尘轮回，无需计较。

11、人不能总在追逐不存在的未来或不复存在的过去。与其怀念，不如遗忘。

12、你给我的只是一个起点，而我却走向了孤独的旅程，看不到完美的结局，更觅不到漂泊的归期。

13、你还欠我一句对不起、可我不会再说没关系了…

14、喜欢是浅浅的爱，爱是深深的喜欢，如果我得不到全部，我宁可一无所有。

15、我们的心灵依旧稚嫩，但也学会了敏感体贴，就是这样笨拙而迷糊的青春，有过张扬洒脱，有过不羁狂放，也有过伤痛脆弱。

16、烟雨旅途，匆匆的脚步走不出那一份执念，不眠夜的箴言素笔，诉不完满腹的唐风宋雨，已经发黄的书笺写满了对你的惦记。

17、时光，无比柔软，见证着我们经历的过往。岁月，沧桑依旧，沉淀着生命中的那些悲欢离合。

18、一切唯美的事物，到头来都是一个虚假的景像

19、时间会静止、生命会静止、但是我知道、关于你的一切、都不会静止…

20、有没有一个像太阳一样温暖的人，可以晒干所有悲伤。

21、想一个人却是那么的撕心裂肺，总以为自己很伟大，把一切都看得开，看得很淡，可每一次想念都觉得心好痛，好痛。

22、我倔强的不愿屈服，换来的却也只是伤痕累累。从此我的世界不再有你。心碎了无痕，我感动天感动地就是感动不了你。

23、用感情生活的人，生命是悲剧；用思想生活的人，生命是喜剧。

24、一个是华丽短暂的梦，一个是残酷漫长的现实。

25、我以为我的温柔，能给你整个宇宙。我以为我能全力填满你感情的缺口。

26、只是一天离开了你，你就狼狈得像是一个只需要我安慰的孩子。

27、有时候，顺其自然，你才会知道那些事是否值得拥有。

28、有些话，只能珍藏，不要说，不必说，不想说；有些事，只能珍惜，不能想，不必想，不想想；有些情怀，只能体味，不去看，不要看，不能看。

29、唯美的爱情是那镜中花、水中月，完美而易碎，只需一碰，便会化作漫天的烟尘，无踪无迹？

30、也许，人世间所有的相逢都不是偶然，该是前世的恩怨，是久别重逢的因果，是忘川河里执着的沉浮，是三生石上那慈悲一念。

31、叶的凋零，花的谢幕，仿佛是对这个凄凉的季节，最柔情的告别。

32、自己走着，走着，只有没落的影子，伴随着。死寂死寂的，影子还在坚持着，我又怎么可以找理由，逃避这一切的一切。

33、我放弃你的时候也放弃了自己，没有你我的心也死了。

34、为什么要知道对方的秘密呢？世上最黑暗的地方，是一个人的心底。

35、听着歌，回忆总在寂静中上演着，那一幕幕好似发生在昨天里。

36、无数次徘徊在孤单中，深思光阴的浅痕，心灵的守候已让等待变得空虚，悲伤。

37、至今我都没打算要放弃，心决定坚持多久，自己到底又能坚持多久，我真的不知道．

38、是谁在扬手间拂落了惆怅，泪花镶嵌进了痛的记忆。

39、独倚夜门栏，眺望遥远的彼岸，残梦润无声，似雪一般飘落心头，流光里缱绻是满怀的衰伤……

40、人生似梦的年轮，在老去的故事里演绎一场场悲欢离合，衍灭了了多少回忆，微凉了多少时光不在荏苒。

41、离别的钟声即将敲响，所有的碎念涌上心扉，不再澎湃，不再惆怅，哀婉在所有的曲音下重唱。今

42、也许，很多人都是孤单的罢，习惯一个人看忧伤蔓延。用笑容掩饰悲伤，其实所有快乐只不过是伪装，因为被伤害过，才懂得，卸下伪装，终究会受伤。因为害怕别人给的那份温度会逝去，就让心一直冷下去。

43、有时候，并不是别人刻意地冷落了你，而是你自己把自己遗弃在了黑暗的角落里，自顾自孤单。

44、你永远也看不见我最爱你的时候，因为我只有在看不见你的时候，才最爱你。

45、我等你，直到我不再爱你，我想你，直到我不再伤心。

46、如果我从没遇见你，如果我从没爱上你，如果我一开始没坚信，也许我就不会是现在的这个自己。

47、一个人要是舍得让你伤心，就根本不会在乎你是否流泪。所以赶紧收起你那卑微的泪水。洗洗脸刷刷牙，该干嘛就干嘛去吧。。

48、我放下了尊严，放下了个性，放下了固执，都只是因为放不下你。

49、不再去天真的幻想你能回来，不再去傻傻的期盼你若有若无的微笑，不再去痴痴地回忆我们一同留下的残迹。

50、怀念和你相遇的日子，那些篆刻在心底的记忆，瘦尽一生也无法磨灭，也许我们无缘再见，也许那一段情感只能成为过去，但你却是我最感动的牵念。

51、那些跌落在流年里的青春，圈揽不住记忆的忧伤，于午夜里，揉碎满怀轻愁，想拾起那些发酵已久的往事永存下来，又想捂住夜的寂寥，化作月色的惆怅。

52、当爱已逝时，再怎样美好的回忆，均是一场空；而曾经是再怎样惊天动地的令人艳羡的爱，亦成了痛彻心肺的不堪回首的往事。

53、红尘中会遇到很多人，但又有几人能够篆刻在灵魂上，而与你的相遇，却深入了我的骨髓。

54、抖落一肩烟尘往事，静锁人去花落两不归的心痛画面，眉转千回的心事，此刻也伴随着一曲千古凄凉。

55、如果有一天，当你想起有谁爱过你，那其中一定有我一个，如果有一天，没有人爱你了，那一定是我死了。

56、如果石头也会流泪的话，我想做一颗顽石靠在你心里哭泣，至少，还可以感受到你的温度。

57、一曲悲歌，唱出相思几何，嘈杂的世界，闭上眼睛，一切，用音乐替代。只是寂寞，并非堕落。

58、不论是谁，都逃不过时间的洗礼，在记忆中缓缓地淡忘着与被淡忘着，一点点地从最靠近心底的人变成熟悉的陌生人。

59、我们之间的沟壑，变得无法逾越，两个人的世界，没有交界处，远隔天地，怎得触及？

60、因为爱过，所以不会成为敌人，因为伤过，所以不会做朋友。

61、年年岁岁花相似，过往总是勾起一道道伤痕，或深或浅，昏昏沉沉，醉看一纸回忆，淡漠寻寻觅觅的思绪，被涤荡的心，被谁勾起，像浅笑却饱有深意，烟柳细云，蕴含着多少藏着泪的眼神。

62、你永远也看不见我最落寞的时候，因为我只有在你看不见我的时候，我才最落寞。

63、久违的记忆，一波波推开层浪，所有的明媚，所有的哀怨，尽在嫣然一笑里走失天涯。

64、一个人的旅途，一片叶子乱舞出的单调，没有准确的节奏，乐章依旧循环着，泯灭着模糊又清晰的记忆。

65、在完美的彼岸刚刚上演了一场悲剧，所有的血与泪在枯萎的荆棘蕴育出一个花蕾，它将经历轮回的七场雷雨，然后绽放在潮湿的空气中……

66、如今的你，心里还有没有我点滴的记忆，落寞的时候还会不会把我想起。

67、把阑珊的心事零落成曲，浅唱那些往事烟云，缠绵流连成细瘦的忧伤，徘徊在流年的渡口，飘洒着连绵不绝的落寂。

68、人生不过一场旅行，你路过我，我路过你，分别离去，各自修行，各自向前。

69、我听到了花开的声音，风吹花落，一个转身却葬尽了芳华，残落一地的花瓣痛了又痛，淡淡的雨雾倒影着满襟的衰愁，憔悴的容颜上有了脆弱的泪光。

70、回首凝望，爱已成殇。我愿化作崖草边的红菡萏，让长长的雨把整颗心沁得透湿。今后，我只能，在千里烟波的心海中，一篙独去。

71、有时候，放弃一些东西才能得到一些什么，得到了以后又想再得到放弃的那些。

72、我练习着微笑，去掩饰那悄然滑落的泪水。

73、痴痴地爱一个不能在一起的人，宽容他所犯下的所有的错，天真的相信他给的所有承诺，这种女人是幸福的，也是让人怜悯的。

74、忘记一个人，想她的不好，想她的缺点，时间久了，就会忘掉她。