最近，熱播劇《人世間》頻頻引爆網絡，引上億網友熱議。
從春節假期到現在，開年大劇《人世間》(A Lifelong Journey)一經播出，就把3.1億觀衆整破防了。
在追劇的這群人中，不乏許多年輕高學曆人群，甚至還有不少00後的足迹。
無疑，這是繼《覺醒年代》、《山海情》後的又一部佳作。
果然，央視出品，必屬精品。
《人世間》改編自曾榮獲第十屆“茅盾文學獎”的梁曉聲同名小說《人世間》，電視劇将小說的精華——作者對于世事百态的所思所想全然展現了出來：
無論做什麼事，都不要走捷徑，因為捷徑的盡頭，是陷阱，是無底深淵。
無論資質如何，隻要努力勤勞善良，世間的每個人都能尋找到自己的位置，發揮自己的才能。
電視劇從周家三代人的視角，描繪了他們近五十年時間内所經曆的生活變遷，進而折射出中國翻天覆地的社會大變遷。
在這将近50年的時代浪潮中，三線建設、上山下鄉、工農兵大學生、知青返城、恢複聯考、出國潮、下海經商、明星走穴、企業轉型、失業下崗、個體經營、棚戶區改造、反腐倡廉等不同時期的社會熱點現象也在劇中跟随人物命運一一得以梳理展現。
最近的劇集中，周家的兩位老人相依相伴走過一生，最後離開也是挽手同行，雙雙離世。
這一幕讓不少人破防。
網友們紛紛表示要哭麻了，一時間相關話題也迅速上了熱搜。
《人世間》的英文名也很有感覺，A Lifelong Journey，一場終身的旅行，一場在人間的旅行。
lifelong adj.終身的
Her lifelong dream was to be a famous writer.
她的畢生願望就是成為名作家。
相關短語
Lifelong learning: 終身學習；終生進修；終身教育；以倡導和促進終身學習
A Lifelong Career: 終身職業；一生的事業；學習一生的事業；一個終身職業
Lifelong sport: 終身體育
lifelong memories: 畢生的記憶；終生的記憶
lifelong learners: 終生學習者；終身學習者
Lifelong Education: 終身教育；終身學習；平生教育系；終身
become lifelong learners: 成為終身學習者
A LIFELONG PROCESS: 一輩子的事
Lifelong Learning Plan: 終生學習計劃
journey n.旅行
近義詞辨析
journey: 最普通用詞，側重指時間較長、距離較遠的單程陸上旅行，也指水上或空中的旅行。
tour: 指最後反回出發地，旅途中有停留遊覽點，距離可長可短，目的各異的周遊或巡行。
travel: 泛指旅行的行為而不指某次具體的旅行，多指到遠方作長期旅行，不強調直接目的地，單、複數均可用。
trip: 普通用詞，口語多用，常指為公務或遊玩作的較短暫的旅行。
voyage: 指在水上旅行，尤指海上旅行，也可指空中旅行。
excursion: 較正式用詞，常指不超過一天的短時期娛樂性遊玩，也可指乘火車或輪船往返特定景點的遠足旅遊。
expedition: 指有特定目的遠征或探險。
cruise: 主要指乘船的遊覽并在多處停靠。
《人世間》中所呈現的時空縱深和價值高度，也許會鑄造出有史詩氣質的作品，成就梁曉聲“描述生命進化的願望”，即在生命進化的曆程當中，時代也在發生着巨變。
梁曉聲：關注他者命運 影響世道人心
Liang Xiaosheng: Show Compassion for Others and Appeal to Human Conscience
作者：陳耀輝
來源：吉林日報
Source: Jilin Daily Date: 2020-06-20
譯文轉自：國務院參事室、中央文史研究館
他與共和國同齡，他首開知青文學創作的先河，為曆史做文化補償，為時代樹精神豐碑。以沁潤廣原厚土的筆墨，雕琢那些具體而微無名又無姓的角色，為天地解說人性，為大衆探索命運。眼光冷峻，觀照人世。筆端火熱，描繪家國。
Liang was born in the same year when the People’s Republic of China was founded. A pioneer in writing about the life of “sent-down youths”, he recounts history in literary works and celebrates the legacy of the bygone days. His stories cut out clear contours of the life of nobodies in the vastness of the plains in northeast China. He explains what connects us all as human beings and ponders on every turn life makes. The insight is sharp and the compassion is real.
1949年9月，梁曉聲出生在哈爾濱一個建築勞工家庭。在那個生活逼仄、知識還不是很受重視的時代，母親卻為他打造并維護了一座堡壘，守護了他的精神原鄉。梁曉聲說，在讀書這件事上，母親對他們是“絕對的好”，就像那篇被選入中國小國文課本的小說《母親》的片段《慈母情深》一樣，對于讓他去買家用後剩下的幾分錢，母親總是說“你留着吧！”于是，梁曉聲就拿着錢去小人書鋪看書了。一次，他想買一本法捷耶夫的《青年近衛軍》，下了很大的決心才鼓起勇氣去找母親要錢。母親在一家工廠做紡織工，天氣悶熱，棉絮飛舞，他第一次知道原來母親在這樣惡劣的條件下工作，一時難以啟齒。母親說：“什麼事說吧，我還要幹活。”“我想買書！”母親的工友聽到，紛紛勸她不能這樣慣孩子，能供他讀書就已經很好了。但母親邊掏錢邊說“讀書反正不是什麼壞事。”拿到錢的他心裡愧疚也沉重，就拿這筆錢給母親買了罐頭。沒想到母親看到他買的罐頭反而生氣了，然後又給了錢讓他去買書。
In September 1949, Liang was born to the family of a construction worker in the city of Harbin. Circumstances were tough and knowledge was valued. But Liang was sheltered by his mother in a different world, where he was always encouraged to spend the remaining pennies left from purchasing daily necessities on books. Her mother was like the heroine described in an excerpt from the novel Mother in the Chinese language textbook for elementary and secondary schools. One day, the young Liang had his eyes on The Young Guards by Alexander Alexandrovich Fadeyev and mustered his courage to go to his mother for the money. He found her working in suffocating heat with cotton fibers flying all about in a spinning factory. Struck by the poor working conditions, which he only found out at that time, the young Liang could not make his request. She said to him, “Don’t hold your tongue. Just say it and let me get on with my work.” “I was hoping to buy a book.” Hearing this, the co-workers of his mother all advised her not to spoil the child. They said keeping him in school was already good enough. But Liang’s mother reached into her pocket and replied, “It’s not a bad thing for him to like books.” With a heavy heart, Liang didn’t spend the money on the book but instead bought his mother canned food. Little did he expect that his mother was angry to see the canned food and gave him a few pennies again for the book he wanted.
文字是輕的，思想是重的，除了這些有字的書，還有人生這本無字書。有些人即使是文盲，但也會懂得很多為人處世的基本道理，這就是源于家庭的影響。父母是最樸素的人文，一個人所經受的那種直接而感性的生活教育，淳樸的家風、民風和世風，對後期的長成也大有裨益。
What truly shapes people is not the words in a book, but the philosophy behind them, which is found not only in books, but also in real life. That is why some understand very well the truths about life yet remain illiterate. They learn from their family, from the way they were brought up by their parents. And this could be a lasting source of inspiration throughout one’s lifetime.
古人雲：“一家仁，一國興仁；一家讓，一國興讓。”梁曉聲說起他的家庭教育，在那個并無豐厚文化底蘊的家庭裡，真正意義上白紙黑字的家風家訓無從談起。但父母卻以身率先，用樸素的行動，潛移默化地影響着他的一生。
According to ancient Chinese wisdom, benevolence and humility must start from families before it can reach the whole nation. Recalling his upbringing, Liang said his parents, though not much of a man and woman of letters themselves, set the tone for his life with their own examples.
梁曉聲的父親是個剛強的山東漢子，十幾歲闖關東落戶在東北，兼具了山東人的豪爽和東北黑土地的粗犷。從給地主家放牛、擺攤，到給日本人做苦工，再成為新中國的第一代建築勞工，支援大三線建設，黨和國家是父親的信仰和赤誠之心的寄托。他帶着光榮感和自豪感，恪盡職守，一絲不苟地砌牆建房。1957年反右派鬥争，一位女大學生被打成“右派”配置設定到父親所在的工地搬磚，有的勞工故意在她挑的擔子裡放很多的磚，明知道挑不動還故意為難她，看到她哭，勞工們就笑。作為班長的父親勃然大怒，對勞工們進行斥責，但後來父親卻受到批評，因為别人認為父親的政治态度和立場有問題。父親回家後告誡梁曉聲：“你以後敢那樣，我就不認你這個兒子！”這件事對梁曉聲的影響很大，他感受到父親的善良，他知道這樣做是不對的，是以父親才那樣的生氣。時至今日，他想起這段故事，也發出這樣的箴言，從文明的角度我們需要關注的就是人性的善，從人性本善、向善，到人性應善、必善。
Liang’s father was a man of strong-character from China’s Shandong Province. In his teenage years, he left Shandong for the northeast to make a life of his own. In him, one finds both the straightforwardness of a Shandong local and the toughness of a northeasterner. He herded cows for landlords, worked as a street vendor, sold hard labor to the Japanese, and when the New China was founded, he became one of China’s earliest construction workers. He was firm in his belief in the Party and the country, laying bricks and building houses with pride and a sense of great honor and duty.
在梁曉聲的小說《父親》裡面，一開頭就寫着這樣一句話：“父親的生活原則——萬事不求人。”這不僅是父親的原則，同時也成為了梁曉聲的生活信條。父親就是這樣一個硬邦邦的存在，不抱怨也不向生活妥協，愛惜清譽不追逐名利。1963年，梁曉聲的哥哥考上大學，他也就讀國中，用母親的話說，全家天天都在“吃”父親，一個三級抹灰工的汗水顯然無法支撐一個大家庭的開銷。父親機關工會的上司主動到家裡探望，建議父親打報告申請工會的補助，以緩解家中的困難，但父親都把機會留給了别人。
Liang’s novel Father opened with this line, “Never ask for favors--this is a golden rule in my father’ life.” Liang himself inherited this principle. To him, his father was a source of strength: he does not complain about or bow to the pressure of life; he jealously protects his reputation and would not go after fame and wealth. In 1963, when Liang’s brother was admitted into university and Liang himself was a secondary school student, expenditures increased and his father, a plasterer, was the only source of income. He was taking on more than he could support. Union leaders at his company would visit their family and encourage him to seek special allowances from the union. But Liang’s father always saved the opportunity for his co-workers.
父親的言傳身教，似乎化作基因也“遺傳”給了梁曉聲，是以他從沒有為自己的事情向任何人和機關張口要求過什麼，哈爾濱的弟弟妹妹下崗，别人建議梁曉聲去找同學戰友談談，但是他回絕了，他可以為正義為幫助普通人去争取、去呐喊，幫助他們走出困頓，但卻不可以為自己謀私。
Liang is his father’s son. He never asked for favors for himself. When his little brother and sister lost their jobs, he was advised by a friend to pull some strings with his former schoolmates and comrades in the military. But he refused. For Liang, it is his duty to fight and speak for the voiceless and help them battle the difficulties in life; but it is a no-no to seek his personal gains.
“積善之家必有餘慶。”母親就像家裡的一盞明燈，而燈芯便是良善，照亮了孩子們的天地。當年為了補貼家用，家裡曾養過兔子，但是野貓經常會把兔子吃掉，是以父親就下了一個鋼絲套子捉野貓。一天，正吃飯的時候，一隻大野貓被套住吊在了木圍欄上。野貓拼命地掙紮，把木栅欄都撓爛了。母親動了恻隐之心去解救它。在劇烈的掙紮下，野貓不僅抓爛了母親的衣服，也在母親的胸前撓出了一條條血道子。那時沒有别的藥品，隻能去别人家借一點兒紫藥水抹一抹。母親毫無怨言，為救下了一條生命而欣慰。善心如水，母親曾幫助過許多人，鄰居家的小女孩、哥哥的國中同學，亦或是不相識的讨飯老人……這些善行也傳遞給了梁曉聲——一輩子做一個心地善良的人。
A family must be kind to be happy. Liang’s mother was the lamp that lit the house and kindness was her wick. To put food on the table in the tough days, the family raised rabbits but was troubled by a stray cat that always preyed on the furry creatures. Liang’s father made a steel-wired trap. One day when they were eating at the table, a big cat was caught. It fought desperately and made a mess of the wood fences. Liang’s mother was very sympathetic and tried to free the cat. Her shirt was torn and her chest was scratched by the cat when she was helping it out of the trap. Without any medicine at home, they had to ask for some gentian violet from a neighbor. But she was happy for saving a life. All those years, seeing her mother giving a helping hand to neighbors, classmates of his siblings, and even strangers begging for food, Liang was determined to be a kind person himself.
“根植于内心的修養，無需提醒的自覺，以限制為前提的自由，為别人着想的善良。”這是梁曉聲對“文化”的了解。
Patience from the bottom of the heart, self-awareness without warnings from others, freedom within boundaries, and a heart for others--this is how Liang defines a cultured man.
20世紀80年代，梁曉聲長期的文學積澱迎來了爆發期，《這是一片神奇的土地》《今夜有暴風雪》《雪城》接二連三，多次獲獎，并被陸續拍成電影和電視劇。《今夜有暴風雪》更是成為了“知青小說”裡程碑式的作品。回到曆史的端點，展現一段真實的歲月，照見逝去的時代，也照見不會逝去的情感，他的筆墨刻畫了濃濃的英雄情結和時代擔當，影響并感動了整整一代人。
The 1980s was a prolific time for him. His works, This is a Magical Land, Snowstorm is Coming Tonight, Snow City, came out one after another, winning awards and being adapted into movies and TV series. Snowstorm is Coming Tonight was regarded as a milestone piece in the literary works about “sent-down youths”. Liang ventured back into the passing days to present a real and rich picture of the life, emotions, heroism and sense of mission that characterized the special period in China’s history, opening the heart of a whole generation.
對于這一階段的文學創作，梁曉聲的評價就是“值得”。“文革”結束後，原本穩固的兵團架構突然解體，知青返城成為一個重大的社會問題。從城市到鄉村，再從鄉村傳回城市，知青們用青春親吻着土地和人民，他們挑戰着命運，也思索着時代。“為知青代言”，成了梁曉聲寫作的初衷。知青返城就需要找工作，但是城裡并沒有那麼多的崗位安頓下這麼多的知青。并且當時很多人對知青有着不同的看法，對接收他們并不熱心。梁曉聲用作品為他們發聲。他用文字呐喊的影響達到了目的，當時很多機關在招聘的時候都說，“隻要是兵團的我都要！”因為兵團的知青們曆經了磨砺和錘煉，是以心理成熟，并且富有強烈的責任感。事實證明梁曉聲是正确的。在他看來，文學對影響世道人心的使命，具有責無旁貸的義務，一個作家能實作這樣的價值是遠遠超過其作品在文學史上獲得什麼樣的評價和成就的。
He said his hard work “was worthwhile”. As the cultural revolution was brought to an end, the army formations that defined the youths began to disband. Young men and women left the villages for their home cities; many social issues emerged. From cities to the countryside and now back home, the young people gave their youthful energy to farming life and the people. They challenged their destiny and were reflecting on the times. Becoming a spokesperson for “sent-down youths” was what first prompted Liang to pick up the pen and write. These young people needed jobs in the cities; but opportunities were scarce and prejudice was prevalent. Liang spoke on their behalf and his voice reached those making employment decisions. Many employers embraced former members of military formations because they were believed to be more mature and responsible as a result of their tough life. Liang was proven right. He sees it as an inherent mission of literature to appeal to the kindness and justice in human nature. Fulfilling this mission is far more important for writers than a few literary awards and some favorable critiques.
在創作了大量的知青題材作品後，梁曉聲将筆觸聚焦在了平民階層，去發現那些困難群體的艱辛和善意。他在自己的許多作品中表達了對社會問題同步的關注和思考，“關注現實、反映現實，這是一種使命和責任，這種使命和責任簡單來說就是關注他者的命運”，對于梁曉聲來說，這種理念也貫穿他的文字始終，立足平凡，直指人心，有道義有擔當，有筋骨有溫度。
Liang later turned his attention to the wider population, writing about the challenges and good nature of the ordinary Chinese. In many works, he conveyed his concern for social issues and shared his reflections. It is his mission and duty to focus on and present reality. Simply put, it is a concern for others. This is the underlying philosophy of his writing: to look at the unremarkable, to look into human hearts, to be moral and responsible, to be strong and caring.
“我覺得這是一種責任。”以35歲為界，梁曉聲在其後的創作中将目光轉向“他者”，從《龍年1988》《九三斷想》到《凝視九七》，再到1997年的《中國社會各階層分析》，梁曉聲帶着廣博的悲憫情懷和強烈的社會關懷意識，用筆觸參與社會時評，用良知為時代谏言。
“I think this is my duty.” At the age of 35, Liang diverted his pen to write about “others”. In a string of works, Dragon Year 1988, Reflections on 1993, Gaze at 1997, and Analysis of China’s Social Classes in 1997, he commented on the social life and made appeals with compassion and care.
2019年8月，承載着“五十年中國百姓生活史”的長篇小說《人世間》榮獲第十屆茅盾文學獎。70歲的梁曉聲，重新回到一個原點上，以最大的純粹性，去實作一個文學夙願，去記錄時代變遷中的人們，去發現每一扇門後面的故事。梁曉聲一直在倡導現實主義題材創作，他給自己的定位就是“拾遺補缺”，以文字的形式，使當代的年輕人跨越時間去發現那些被傳記遺漏的曆史。在“上山下鄉”的年代知青多是長子長女，哥哥姐姐都下鄉了，弟弟妹妹們留城，但在文學畫廊中卻很少有人描摹這樣一部分在城市中生活的群體，他們也有經曆和反思，這是一種“缺”；像父親這樣的大三線勞工、20世紀80年代擺脫“左”的束縛後反思的幹部和知識分子、打破壁壘各階級的人互相接觸的現象等等，這都是一種“缺”；文學史上寫農村題材的比較多，但純粹寫城市、寫勞工、寫普通人的題材相對較少，關注不同群體的經曆，去補全中國迢遞走來的路徑，這也是他拾遺補缺的想法。把那些人和事從沉寂的時間中打撈出來，對樸素的記憶重新整合提煉，形成對世界的另一種解釋，使人看到曆史更多元的側面。
In August 2019, his novel In The World, hailed as a brilliant record of the ordinary Chinese life over the past 50 years, won the 10th Mao Dun Literary Award. The 70-year old Liang drew up a picture of ordinary Chinese living with the changing times and looked behind doors for the real stories. Returning to ground zero, he set out to realize his literary ideals with the utmost honesty. Realistic writing is his calling. He sees his works as filling in the gaps of history uncovered by chronicles, to inform today’s younger generation about the past. In those days when youths were sent to the countryside, it was always the oldest child of a family who left while the younger ones stayed. Literature makes little mention of these younger brothers and sisters. Their experience and reflections is a gap. There are others: the workers like Liang’s father, the government workers and intellectuals who were freed from the tethers of a leftist movement, interactions between people from different social strata. There have been many works about life in the countryside, but few about the cities, workers, and ordinary people. Liang wishes to look deeper into the experience of different groups to complete an account of how the whole of China has traveled its journey. He digs out personal stories from forgotten times, distills information from crude memories and arranges it in way that makes sense of the world and our history in its various facets.
《人世間》通過對一個勞工家庭的三個子女，周秉昆、周蓉、周秉義及其周圍朋友四五十年的人生曆程的展示，在坎坷人世間所建構出的溫暖次元，來透視50年來中國社會的發展變遷，這其中既有中國社會發展的“光榮與夢想”，也直面了改革開放程序的艱難和複雜。總體而言，這是一部充滿理想主義的小說，也是一部向現實主義緻敬的作品，同時也在向20世紀80年代的文學緻敬。文學應擔負起人道主義的教育，這是梁曉聲一直以來思索的問題，鋪陳人性,叩問人心。
In the World tells the story over 50 years of three siblings from a worker’s family, Zhou Bingkun, Zhou Rong, and Zhou Bingyi, and their friends. The life they built for themselves crystallizes the social changes in China in the past five decades. One finds in it the difficulties and complicated realities as well as the glory and dreams. It is full of idealism, and yet a nod to realism and the style of literary writing in the 1980s. To Liang, the most important question for literature is humanity education, revealing and bringing humans back to what lies deep in their heart.
《人世間》就是平凡中國人的人間事，透過它，我們得以看到平民百姓在寬廣溫厚的中國大地上，火一樣地愛着、拼搏着、随着萬物生長的堅強模樣。