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Literature 中国人的幸福观
Posted on 2010-04-28
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每一种幸福的形式——不管是个人幸福还是集体幸福——根本上都是难以描绘的。它就像我们呼吸的空气那样无影无形,只有保持一段距离、当它披上色彩时才能辨识出来。如果想要忠实地描绘幸福是什么,那么情形总是如此:要么因太近而被蒙蔽,要么——更为常见的——因太远而模糊不清,只能感受到隐隐约约的一些轮廓。因此,在所有文化中,我们都能找到许多对荒凉之地和他世地狱的描写,它们被恐怖地呈现出来,在可感知的残酷中威胁着人类,人类于痛苦中是如此熟悉这些地方。但是一旦来到天堂,只有那入口是用清晰的笔调写就。所有的天堂都是已失落的天堂,存在于遥远的过去或遥远的将来,存在于另一片国土、另一个星球、另一抹苍穹中。
当然,这就是为什么人类创造的所有关于幸福之国的图像是那么不真实、那么带有鬼魅色彩的原因,“使我们本来辉煌之心志变得黯然无光,像个病夫”“Sicklied over by the pale cast of thought”,此为莎翁名剧《哈姆雷特》第三幕第一景中哈姆雷特王子那段著名独白中的一句话。这里采用的是朱生豪先生的译文(人民文学出版社,1977)。—译者注。这些图像违背了一条很难表述的法则,根据这条法则,真正的幸福导致时空不存,只有在动态而不是在沉思中才能捕获住它。由此,所有依靠直觉建立的理想世界,都带着一种尴尬的厌倦、一缕天真、一丝虚伪,因为它们只能非直接地体验到:在它们出现时升腾着的快乐中,在它们消失时沉落着的悲哀中。 更让人惊讶的,是那幻象之永恒、巨大的力量,以及它们影响人类和国家的决定之深度。不是天堂的真实,恰是它们的虚幻引发了无敌的魔力。因为在一个看来不快乐、不公平的世界里,幸福只存在于对现实的颠覆中。如此情况下只能提供一个暗淡的天堂,一个无彩的理想世界,一种华而不实的生动图像。但即便天堂一无所有,不管怎么说,它都是逃脱的门洞,是摆脱困境的出口,是从恶魔底下脱身的地方,而这个恶魔的直接现实存在,自发地、带有巨大能量地用自己的灼热弥漫至它的对立面。
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