Liang Yuchun's "Spring Rain"

About the writer:

Liang Yuchun (1906-1932), a native of Minhou, Fujian, entered the English Department of Peking University in 1924. After graduating in the autumn of 1928, he taught at Jinan University in Shanghai. The next year, he returned to work in the Peking University Library. Later, he died suddenly due to acute scarlet fever. Literary activities began during his university studies, mainly translating Western literary works and writing prose. In 1926, he began to publish essays in "Yu Si", "Running Current", "Camel Grass", "Modern Literature", "New Moon" and other publications, and later most of them were collected in "Spring Mash Collection" and "Tears and Laughter".

Bibliography of works:

"Spring Awakening Collection" (prose collection)

1930, Beixin

"Tears and Laughter" (prose collection) Collection)

1934, Enlightenment

"Selected Prose of Liang Yuchun"

1983, Hundred Flowers

Translation bibliography:

"Modern Forum" (Essay) by Dickinson in England, 1929, Shanghai Chunchao Book Company

"Selected British Poems"

1931, Beijing New Area

"Prairie" "Part 1" (novel) by Gorky of the Soviet Union, 1931, Beixin

"Autobiography of a Slut" (novel) by Defoe, the United Kingdom, 1931, reprinted by Beixin under the name "Moore Flanders",

1982, humanities

"Red Flower" (novel) written by Russian Garson, 1931, Beixin

"Lord Jim" (novel) written by Polish Conrad, 1934 , Business

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Duras information

HUPI @ 2006-01-28 21:05

Margaret· Marguerite Duras (Marguerite Duras, translated as Marguerite Duras in Taiwan, Hong Kong and Macao, April 4, 1914 - March 3, 1996), French writer.

Marguerite Donadieu was born in Jiading, Indochina, in 1914. Her father is a mathematics teacher and her mother is a local primary school teacher. She has two brothers. Her childhood and adolescence in Indochina became a source of inspiration for her work. In 1943, she changed her last name to Duras, named after a creek in her father's hometown.

Duras studied mathematics, law and political science in college. After graduation, he worked as a secretary in the French Government's Colonial Department from 1935 to 1941. Later, he participated in the resistance movement and joined the Communist Party; he was expelled from the Communist Party in 1955.

Her most famous work is the autobiographical novel "The Barrier Against the Pacific" (1950). Her later works often feature stories of characters trying to escape loneliness. Her early works were relatively classical in form, but her later works broke the traditional narrative method and gave new connotations to psychological analysis, bringing innovation to novel writing. She is often considered a representative writer of the New Novel School, but she was criticized by the author herself. negation. In 1984, her "Lover" won the Prix Goncourt.

Duras's literary works include more than 40 novels and more than 10 screenplays, which have been adapted into movies many times, such as "Hiroshima Mon Amour" (1959) and "The Lover" (1992). At the same time, she also made several films herself, including "Song of India" and "Children".

Duras's life is a novel, and it is this novel that she keeps creating. This story is filled with heat, storms, alcohol and restlessness, dialogue and aphasia, lightning-fast love, and more. It’s hard to describe Duras, gentle or violent? Genius or narcissist? (See "Marguerite Duras", Raul Adelair's biography of Duras) First of all, we should believe what she wrote: "I am a writer. Forget everything else." In her work, she describes the need, difficulty and terror of "speaking".

In order to live in this world, we must forget the troubles that entangle us. But writing can both conceal and reveal. So Duras was testing, repeating, looking for the right words, "trying" to write, just like "trying" to love, knowing in his heart that he would never achieve it. Impossible love and the pursuit of love is a very important theme in Duras's works.

Her novels often revolve around an explosive center, usually set in motion by a momentary scene of violence. Hiroshima is a symbolic blend of love, death and sensuality.

"Destruction," she said. This language is combined with music - this is a kind of music like the sea, with endless changes around a theme, pouring out and celebrating, controlling and losing control...

Marguerite Du Lars died on March 3, 1996 and was buried in Montparnasse Cemetery.

The works of Duras

"The Shameless Man" 1943/Novel Bron Press, reprinted by Gallimard Press in 1992

"Calm" "Life" 1944/Novel Gallimard Press

"The Dam Against the Pacific" 1950/Novel Gallimard

"The Sailor of Gibraltar" 1952/Novel Galli Ma

"The Pony of Tajinia" 1953/novel Gallimard

"The Years in the Trees" 1954/short story collection Gallimard, including " "Python", "Madame Dodan", "Construction Site"

"The Garden in the Street" 1955/Novel Gallimard

"Adagio Cantabile" 1958/Novel Midnight Publishing House

"The Viaduct of Seine-Oise" 1959/Drama Gallimard

"Ten-thirty on a summer night" 1960/Novel Gallimard

"Hiroshima Mon Amour" 1960/Film script Gallimard

"Such a Long Absence" 1961/Film script in collaboration with Gérard Jarreau, Gallimard

< p>"The Afternoon of Mr. Andmas" 1962/Short Story Gallimard

"The Enchantment of Raoul V. Stein" 1964/Novel Gallimard

"Drama - Volume 1" 1965/Drama Gallimard

"Vice Consul" 1965/Novel Gallimard

"Music" 1966/Film and Paul ·Co-directed by Serbon

"The English Lover" 1967/Novel Gallimard

"The English Lover" 1968/Drama Gallimard

"Drama ——Volume 2" 1968, Gallimard

"Destruction, She Said" Midnight, 1969

"Destruction, She Said" Film Benoit Jago

"Abang Sabana and David" Gallimard 1970

"Love" 1971/Novel Gallimard

"Yellow Sun" 1971/ Film Gallimard

"Nathalie Grande" 1972/Film Gallimard

"Song of India" 1973/Drama, film Gallimard

"The Girl from the Ganges" 1973/film released by Benoit Jago

"Nathalie Grande" 1973 Gallimard

" "The Talker" 1974/Conversation with Xavier Gaultier at Midnight

"Baxterre, Gela Baxterer" 1976/Film Gallimard

"Her name was Venice in the desert of Calcutta" 1976/released by the film Benoit Jago

"The Years in the Trees" released by the film Benoit Jago

"Truck" 1977/movie

"Truck" 1977/script released at midnight with conversation with Michel Poulter

"Margo" "The Territory of Rite Duras" 1977 Midnight with Michel Porte

"Eden Cinema" 1977/Drama Merchant Publishing House

"Dark Night" "Steamship" 1978/movie

"Cesare" 1979/movie

"Melbourne Aurelia Steiner" 1979/movie

"Vancouver Aurelia Steiner" 1979/Film

"Vera Baxter or Atlantic Beach" 1980 Albatross Publishing House

"Sitting "Man in the Corridor" 1980/Short Story Midnight

"Summer of 1980" Midnight 1980

"Green Eyes and Black Hair" 1980 "Movie Diary"

"Agada" Midnight, 1981

"Agada or Infinite Reading" 1981/movie

"The Outside World - Volume 1" 1981 Alban ·Michel Publishing House

"Young Girl and Child" 1981/Audio tape Jan Andrea adapted from "The Summer of 1980", read by Marguerite Duras

p>"Dialogues in Rome" 1982/movie

"Atlantic" 1981/movie

"Atlantic" 1982/short story Midnight

《 Savannah Bay" first edition 1982, extended edition 1983 Midnight

"The Disease of Death" 1982/Short Story Gallimard

"Drama - Volume 3 1984 /Drama Gallimard

"The Lover" 1984/Novel Midnight

"Pain" 1985 P. O． L. Publisher

"Music 2" 1985 Gallimard

"The Seagull of Chekhov" 1985 Gallimard

"Children" 1985 Year/Film Co-produced with Jean Mascoro and Jean-Marc Tourina

"Blue Eyes, Black Hair" 1986/Novel Midnight

"The Coast of Normandy" Prostitute" Midnight, 1986

"Material Life" 1987 P. O． L. Publisher

"Emily L. "1987/Novel Midnight

"Xia Yu" 1990/Novel P． O． L. Publisher

"The Lover from Northern China" 1991/Novel Midnight

"Jan Andrea Steiner" 1992 P. O． L. Publisher

"Writing" 1993 Gallimard

"The End of Everything" 1995 P. O． L. Publisher

"Novel, Film, Drama, 1943-1993 Review" Gallimard 1997

ool.net/tianyige/foreign/plst/zyssnh.htm

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Liang Yuchun information

HUPI @ 2006-01-28 16:02

Liang Yuchun is from China He is a neglected character in the history of modern literature. In his short life of 27 years, he only left us 37 short essays and 20 or 30 translations. However, just like the fire kisser he wrote in his eulogy to Xu Zhimo, what Liang Yuchun left to future generations is the image of a willful fire walker. He has a special complex towards fire, because his own life is just like a dancing flame. Even though all that is left in the end is just a little bit of ashes, he still throws himself into the flames regardless of his own life and dances calmly. . He said in "Watching Fire": "Our life should be as unrestrained as a flame, running wildly according to our own will, so that it can be alive and interesting. Our spirit should really be as erratic as a flame, only affected by The command of the heat inside breaks down the barriers of customs, prejudices, and morals. Only when you continue to let go and let your emotions fly will sparks burst out and beautiful flames of five colors appear. "Liang Yuchun's writing is just like his person, even if he is watching. Fire is also a perspective that burns oneself into. He already knew that the flame of life would eventually be extinguished and turned into a pile of ashes, so this investment had a tragic color and already contained the most profound despair and helplessness. Liang Yuchun's prose creation throughout his life, just as he said in "Talking about "Tramps"", "wrote into the frenzy of life", was frank and spontaneous, short-lived, and when we read his prose today, we will still be reminded of it. Surprised and excited by the wisdom, agility and strong tension.

1. "Tramp" Prose

Among Liang Yuchun's essays, "Talking about "Tramp"" is the longer one, and it is also my personal preference. In this article, Liang Yuchun made no secret of his praise and yearning for the homeless spirit. It was exciting to read. His attitude and style in writing were just like the homeless people mentioned in this article. They were unrestrained. , enthusiastic and spontaneous. Liang Yuchun said in this essay: "The real tramp will not arouse people's disgust because he has reached a situation where no one has anyone and no self. The impulse of that moment is his only guide. He loves to laugh, and he also loves to laugh. He likes to see other people's smiles and doesn't care about anything else." He also said: "Wandering refers to the mood of wandering." This homeless temperament of "no one and no self" is also a major feature of Liang Yuchun's prose.

1. "Clown" aesthetic identification tendency

The German receptionist aesthetics scholar Yauss explained aesthetic experience in his "Aesthetic Experience and Literary Hermeneutics". There is an important concept "role distance". This inner distance originates from the aesthetic attitude of the game. It is the ability to use personal free will to deal with things that originally had to be handled seriously. The aesthetic experience of games teaches us to "put another life close to us, and put another world close to our world." In the case of Masquerade, it will lead to a preference for three types of characters : Knight, Shepherd and Jester. "Some of our guests are looking for something that seems to be above or below society, others are looking for something that is outside society." Three important types of literary traditions are rooted in three different tendencies of aesthetic identity: Heroic, pastoral and picaresque. Liang Yuchun's picaresque prose is based on the "clown" aesthetic identification tendency. Of course, Yaos's hermeneutic theory was produced in a Western cultural environment and is different from the overall cultural perspective of modern Chinese prose writers. However, Liang Yuchun's creation was obviously influenced by Western prose. Liang Yuchun's professional teacher Ye Gongchao wrote on New Year's Eve in 1933 When writing the postscript to his posthumous book "Tears and Laughter", he commented on this student: "In this collection we can also see that he was indeed influenced by Lamb and Hazlitt, especially Lamb's tragic humor. ”, coupled with Liang Yuchun’s background in the English Department at university, it is possible and reasonable to use Western aesthetic experience theory to discuss Liang Yuchun’s works. The clown-like aesthetic identity shows a certain desire of readers to find something free from society. Compared with many other prose writers at the same time, Liang Yuchun is obviously more personal and emotional, and there are more in his works. Reflecting a kind of care for one's own heart and humanity, there are few traces of events and specific social background. He once said, "Even if we write off any country or nation, we still hope to live an interesting life." ( "Talking about "Tramps"") This is in line with the clown's way of life of entertaining himself or herself with personal performances to a certain extent, which makes his prose carve out a new path of its own.

2. Innate sense of tragedy

Liang Yuchun’s prose creation can be said to be a kind of spontaneous youth writing. “Youth writing” is a vague, defined The unclear classification here not only refers to the youth of the writer, but also refers to the unique exploration stage of immature style and complicated and chaotic thoughts in the creative process. Xin Qiji said that teenagers "force themselves to express sorrow in order to write new words." Confusion and sentimentality are the colors of most youth writing, but the sense of tragedy in Liang Yuchun's prose is innate, and the kind of perspective on life His unique perspective and doubts about all things in the universe have gone beyond ordinary emotional catharsis. This can be clearly seen from his articles such as "View on Life and Death", "Tears and Laughter", "Breaking of Dawn", "Darkness", and "Spring Rain". Perception, it can be said that Liang Yuchun's humor is based on a kind of sadness in his bones.

(1) The image of "fire"

Liang Yuchun had a unique fascination with "fire". The title of his eulogy to Xu Zhimo was "Kiss Fire". He himself often sat alone by the fire, staring quietly at the ever-changing flames in front of him. He hopes that he can be a Persian in the next life, because "they are really wise men and they know how to worship fire." Even if he has no money to buy cigarettes, he will take a box of matches and burn them one by one to "solve the problem." This Fire Addiction" ("Watching Fire") shows his obsession with fire.

Fire has a contradictory nature. On the one hand, it is gorgeous and charming; on the other hand, it is short-lived and dangerous. People who like fire are destined to have such a beautiful and dangerous dual factor in their character. The tragedy contained in fire is that it is destined to be extinguished, so its burning has a tragic color of being born toward death. There is a worry of disillusionment deep in Liang Yuchun's prose, especially in his second collection of essays, Tears and Laughter. And the idealistic persistence that must be burned without mercy will usually make people struggling in reality fall into deep helplessness and despair, and Liang Yuchun is no exception. He believes that people are fire-fighters sent to the world by God, because everyone born in the world has the responsibility to save people.

"I believe that life is a piece of stubborn iron. Unless it is heated red in the furnace of sympathy, and the disasters of the world are used as hammers to make sparks burst out of it, it will always be so cold, dead, and wandering in despair. On the road of life, we go through extremely severe numbness every day - a kind of pain that cannot even be sympathized with by ourselves." And the helplessness in facing the reality makes this writer who is eager to "put out the fire" unable to do anything but blame himself. "We dare not go to the dance hall of life to dance carnivally with our companions, but we hide behind the curtain and sob. This is exactly the attitude of weak people like us." ("Fire Fighter") The fascination and helplessness of "fire" is a prose by Liang Yuchun A great manifestation of tragedy.

(2) Injury to Spring

Spring, full of vitality, has always been the object of praise by literati. However, in Liang Yuchun’s case, “spring” is full of sentimentality. "The description always contains a kind of worry that "the prosperity is easy to perish", which is not unrelated to the melancholy accumulated in his character. In "Another Year of Green Grass in Spring", he begins by saying: "There are four seasons in the year, but what I fear most is spring." Then he goes on to say: "As soon as I see the green grass in front of the steps and the red flowers outside the window, I feel the uneasiness of the universe. Harmony is like hearing the clear laughter of a girl beside the bedside of a dying patient, no, it is almost like hearing the mournful death knell at a wedding. "It is rare to associate spring with death knells, perhaps Daiyu burying flowers in "A Dream of Red Mansions". There is some such emotion, because Lin Daiyu is also a person who has an innate tragic mentality towards her own destiny and worldly affairs.

(3) Affirmation of "tears"

Liang Yuchun never believed that crying was something to be ashamed of. He had a warm sympathy for those who cried bitterly, because he could It's much better to feel pain than to be completely numb. He said: "Tears are a sign of affirmation of life... Every time I see people crying, whether it is the sting of a lost love or the sadness of bereavement, I always feel that the world is really worth living." ("Laughter and Laughter" "Tears") takes "tears" as a reflection of grief as a sign of affirmation of life, which fully shows the innate sense of tragedy in Liang Yuchun's character.

2. Writing of "laughing with tears"

The overall tone of Liang Yuchun's prose can be summarized as "laughing with tears". Ye Gongchao commented that he has "Lamb's kind of tragic humor" ." He said in "The Grass is Green Again" that he is "a person who always smiles, even though he is mostly sad." This tearful singing attitude has a lot to do with his views on the universe and life. .

1. World view

Liang Yuchun believes that contradiction is the fundamental principle of the universe, and infinite binary opposition constitutes the entire world of human life and all things in the universe. "Spring flowers bloom beside the tomb every year, and the universe is always dualistic. The two are intertwined to form this chaotic and inferior world." ("Spring is Green Again") and "Humor comes from seeing things happen. "Contradiction", so the binary opposition of "tears" and "laughter" appears in Liang Yuchun's prose. "People who laugh often are sympathetic to life. He sees the common weaknesses of human beings, facts and ideals." He laughed out loud." ("Drunken Sleep Talk (1)") This is consistent with the clown's attitude of crying for laughter.

2. Outlook on life

Liang Yuchun can be said to have an extremely deep love for life. Although he keeps talking about his "view on life and death", he loves beauty so much that he cannot bear to face and bear reality. dark. Just as existentialism advocates: "All resistance and despair are for love." Liang Yuchun has a "put yourself to death and survive" attitude toward life. In "Letter to a Lovelorn Person (1)", he once made it clear: "In this short life, our greatest need and purpose is love." With this attitude, he said more in his article What you focus on and express is your own heart and the contradictions, fragility and sensitivity of human nature. He hopes to appreciate more of the flavor of life and strongly opposes the cynical lifestyle of being numb, mediocre, and just getting by, so he will have a special fascination with the wanton burning of fire, and will also have a deep understanding and compassion for tears.

3. The tone of the article

(1) "Laugh with tears, cry with laughter"

Liang Yuchun said in "The Second Youth" : "When they climb up the stairs and look at Yunshan beyond Yunshan, their tears flow into the vortex of laughter. This is their life." Perhaps it can be seen as his own attitude towards life.

Weeping is because we see the embarrassment and helplessness of life, and laughter is a kind of affirmation of life after seeing through life; weeping is also because we are completely thrown into the flame of life and get burned, and a tearful smile is more like a kind of transcendence. The painful broad-mindedness is an oath of unwillingness to be numb. "The world is still full of darkness, and darkness can be said to be the core of life; the attitude towards life is to care about how to deal with this darkness. ...Only people who know the darkness deeply will enthusiastically praise the light." ("Darkness") Liang Yuchun The prose is constantly praising the light in the darkness. In "Talking in Drunk Sleep (Part 2)", he quoted the French playwright Beaumarchais as saying: "I have to laugh wildly all the time. What I'm afraid of is that when the laughter stops, I will start crying." Maybe you can also read it. The composition is a certain portrayal of his own attitude towards writing.

(2) Innocence shaped by experience

Liang Yuchun’s youthful energy, courage to think and enthusiasm left a deep impression on people. In the article "Give Me Back My Head" and Others, he keenly pointed out the current situation of people following what they say: "Their attitudes and observations are always the same - almost the same." He advocated using his own Think independently, overthrow the so-called "authentic" and should not be superstitious about authority. He even ridiculed his mentor at the time, Liang Qichao, "Mr. Liang Qichao issued a book list, and that method was completely the executioner's behavior of killing people in the street in broad daylight." He also mocked Hu Shi's self-righteousness without saying anything: "Mr. Hu Shi once said in "Modern Review" His method of conducting the history of philosophy is to follow a unique path, and anyone who is different from him will fail... (I) intend to follow Mr. Hu's high road, but I can't help but find another narrow path." His tone and wording can be described as frank and straightforward, naive and without the air of a city official. But this kind of innocence is different from the "ignorant innocence" that does not know the world. Liang Yuchun's prose style has its own talent. He cited widely, but he can also create his own elegance, making the article seem friendly and interesting, and present It shows natural elegance and interest, making the work clear and profound to read, and full of vitality. He believes that children's innocence is not worthy of praise, it is "ignorant innocence", which is no different from the innocence of a table. What people should pursue is "transcendent innocence". He said, "The innocence that has been molded by experience is the innocence that sees beautiful women but does not want to sleep on the mat." ("Innocence and Experience") This can also be seen from his attitude towards prostitutes, "So the most chaste and noble women in the world are prostitutes. They have been ridiculed by people, experienced the bleak situations in the world, and tasted all the bitterness. If their hearts are still independent, then their hearts must be full of sympathy. and compassion." ("Darkness") It can be seen that the frankness and innocence revealed in Liang Yuchun's prose are innocence based on profound accumulation and understanding, which makes it even more valuable.

3. Acting spontaneously

Being spontaneous can be used to describe Liang Yuchun’s writing attitude. This vagabond-like and carefree writing style stems from his way of life. His basic attitude, described by a famous rock lyric, is "If you are destined to wither, you will simply burn without emotion." According to his point of view, if you want to write a good article, you must be loyal to your own heart, and that will happen in the first place. The essence of the article is the thoughts or inspirations that move you, make you excited and happy. His friend Feng Zhi said in the preface to his collection of essays "Tears and Laughter": "His writings are like stars in the sky, shining everywhere, but there is no clue, and they are fleeting. He cannot be the same as a mirror. Collect everything.” You can see the improvisational nature of his writing. Improvisation often brings about a brand-new creation, so Liang Yuchun's prose can not fall into the mold. Zhou Guoping once commented on his originality in the preface of "Tears and Laughter": "He is not influenced by any predecessors." Opinion dictates that he beg for help, and he himself is "Xiangwang". "In Liang Yuchun's prose, we can indeed feel the kind of temperament that "no one has no self, neither anger nor vitality" mentioned in "Talking about "Tramps"".

1. A clever hand accidentally obtained it

Most of Liang Yuchun's prose works are "a clever hand came by chance". He wrote a special article titled "Using Strength" to describe his views on writing. He felt that Hu Shizhi's statement that "writing requires effort" was too righteous to be evil. If the effort is just for pretentiousness to cater to Readers, it is better to jot down a diary to be more authentic and natural. "It can be seen that sometimes what comes out of the mouth is better than what is painstakingly constructed.

" However, the spontaneous writing advocated by Liang Yuchun does not mean talking nonsense without thinking. What he admires is a state of ease after mastering the skills. "The ideal purpose of working hard is to make others unable to see the traces of working hard. "This means that you need a "good hand" before you can turn the occasional burst of inspiration into exquisite works. The spontaneity of Liang Yuchun's writing can also be found in many of his essays. For example, when he talked about the power of writing articles, he quoted a For the British author who can't remember his name, just put it in brackets and say: "I can't remember the name." I quote a paragraph of English, and put a bracket after it and say: "I can't remember the sentence either. That's probably it. ", there is no intention to check the source of the quotation in order to make the article more complete; in the fourth article of "Drunken Dream Talk (2)", it is simply written as "This article is written casually, so it has no title." The title shows his straightforward writing attitude, although it seems a little less rigorous, but it shows Liang Yuchun's true personality.

2. Contradictory remarks are sincere.

Since Liang Yuchun believes that contradiction is the fundamental principle of the universe, he naturally will not hide all the contradictory and confusing thoughts in his article. He talks about why people do what they do in "A Smile That Breaks the Heart". "My heart is broken", he talked about his many difficulties with the world. "As for myself, I am not indifferent enough to be a leisurely spectator, watching the fire from across the river, but I cannot coax myself into throwing myself inside to make a fool of myself. Sitting next to the two boats, I am tired of myself and life. How can this be good? ", he compares putting on airs to life, "For example, some people put on airs, some people put on airs that they have airs on, some people put on airs that don't bother to care whether they have airs or not, some people put on airs of innocence, some people put on airs that are so sophisticated, why not do it yourself? The airs of sophistication, many of them put together, make the great void of life into an eight-story platform. Some of us walk on it with trepidation, and some of us walk with our heads held high, but eventually we inevitably fall down, and another person comes to take the place. That's a shelf. "This kind of insight into destiny and life contains more or less helplessness, but it does not prevent Liang Yuchun from continuing to risk falling and working hard to build his own eight-story platform, because he cannot convince himself to withdraw from everything. Just like himself As he said: “Only contradictory statements in the world are sincere, lively, and can be said to be consistent. Contradiction is consistency. People who can appreciate this contradiction will be able to understand all contradictions in the world. ”

Reading Liang Yuchun’s prose, whether it is the early youthful impulse and youthful spirit, or the later heaviness and vicissitudes of life, people will not feel as plain as water. He is a person on the journey of life. The homeless man raised his glass to the moon and danced into the fire. As for the shortcomings in his prose, a Taiwanese literati commented: "The author is young and has not been deeply involved in the world, so his life experience has not reached the level of profound practice." So far, the performance of the article is not perfect. However, we can read between the lines and get a glimpse of his profound and humorous attempts to manage life. We can appreciate the works of such a talented author with a more tolerant eye. "Indeed, in his short life, the energy and heat emitted by this fire walker are enough to make us sweat.

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Not just a joke

HUPI @ 2006-01-28 15:54

Who knows, maybe I am unlucky, there are only ten! Yes; you're lucky, there are twenty more.

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Not Just a Joke

HUPI @ 2006-01-28 15:24

Translate "..."

"The world is so vast that the person you give birth to may not be your own son"

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December 2006