如果上帝不存在，基里洛夫就是神明。
于是，基里洛夫牺牲了自己。
基里洛夫之死解放了他们。
因此出于对人性的爱，基里洛夫必须自戕。
Consequently, Kirilov must kill himself out of love for humanity.
这样，基里洛夫、斯塔夫罗金和伊万失败了。
了解基里洛夫本人有助于我们深入理解这个问题。
基里洛夫说，“我花了三年的时间寻找我的神格，我发现了它。”
"For three years," says Kirilov, "I sought the attribute of my divinity and I have found it."
索福克勒斯的俄狄浦斯与陀思妥耶夫斯基的基里洛夫都提出了荒谬的胜利的法则。
Sophocles' Edipus, like Dostoevsky's Kirilov, thus gives the recipe for the absurd victory.
基里洛夫因此成为了一个荒谬的角色——然而本质上，他又有所保留：他杀死了自己。
Kirilov is consequently an absurd character — yet with this essential reservation: he kills himself.
在继续我们的论证之前，我们只须注意，基里洛夫又化作过其他人物，这些人物再次使得荒谬的主题运转起来。
Let us merely note before going on that Kirilov reappears in other characters who themselves set in motion additional absurd themes.
然而，众所周知，同样的主题出现在了《群魔》的主人公基里洛夫身上，他同样支持逻辑的自杀——不过这个角色具有更加广泛的概括性。
It is known, however, that the same theme is embodied, but with the most wonderful generality, in Kirilov of the Possessed, likewise an advocate of logical suicide.
波兰导演克日什托夫·基耶斯洛夫斯基被公认为20世纪最后20年里最为独特而成熟的电影作者。
Polish director Krzysztof Kieslowski is recognized as the most unique and ripe movie author in the last 20 years of the 20th century.
波兰导演克日什托夫·基耶斯洛夫斯基被公认为20世纪最后20年里最为独特而成熟的电影作者。
Polish director Krzysztof Kieslowski is recognized as the most unique and ripe movie author in the last 20 years of the 20th century.
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