这是小说快结束的时候作者通过Hobie讲出我们为什么爱一件艺术品。“if a painting really works down in your heart and changes the way you see, and think, and feel, you don't think, 'oh, I love this picture because it's universal.' 'I love this painting because it speaks to all mankind.' That's not he reason anyone loves a piece of art. It's a scret whisper from an alleyway. Psst, you. Hey kids. Yes you." It'll never strike anybody the same way and the great majority of people it'll never strike in any deep way at all. But a really great painting is fluid enought to work its way into the mind and heart through all kinds of different angles, in ways that are unique and very particular. " “....those images that strike the heart and set it blooming like a flower, images that open up some much, much larger beauty that you can spend your whole life looking for" 我在第二篇笔记里记录了我自己听到的那一声呼唤，那个“secret whisper from an alleyway", 那幅"让我的心开出了花朵”的画。
"in this stauch little portrait, it's hard not to see the human in the finch. Dignified, vulnerable. One prisoner looking at another. The bird looks out at us. It's not idealized or humanized. it's very much a bird. Watchful, resigned. There's no moral or story. There's no resolution. Yet even a child can see its dignity: thimble of bravery, all fluff and brittle bone. Not timid, or even hopeless, but steady and holding its place. Refusing to pull back from the world.
这完全代表了Theo的人生态度："No one will ever, ever be able to persuade me that life is some awesome, rewarding treat. Because, here's the truth: life is catastrophe. （对于妈妈被恐袭夺走的Theo来说，这个结论是可以理解的吧）Life is short. Fate is cruel but maybe not be random. Nature (meaning Death) always wins but that doesn't mean we have to bow and grovel to it. 接下来的这几句对于怀疑人生意义的人也许格外有用，因为Theo也曾经差点自我了断。“Maybe even if we're not always so glad to be here, it's our task to immerse ourselves anyway: wade straight through it, right through the cresspool, while keeping eyes and hearts open. And in the midst of our dying, it is a glory and a privilege to love what Death doesn't touch.
长长的一个故事讲到结尾，虽然种种黑暗，我们终于看清楚，《金翅雀》的幸存靠的是人与人之间的爱（母子兄弟甚至陌生人之间），靠的是保护美不被破坏的信念，也让Theo一个人的故事即刻有了历史感。这让我想起《三体》在结束时人类的努力之一也是把人类文明长河中的艺术结晶保存下来。美与爱在Theo的结束语中完美地结合在一起：“If disaster and oblivion have followed this painting down through time--so too has love. Insofar as it is immortal (and it is) I have a small, bright, immutable part in that immortality. It exists; and it keeps on exsisting. And I add my own love to the history of people who have loved beautiful things, and looked out for them, and pulled them from the fire, and sought them when they were lost, and tried to preserve them and save them while passing them along literally from hand to hand, singing out brilliantly from the wreck of time to the next generation of lovers, and the next."
我感谢画了The Goldfinch的画家Carel Fabritius，我感谢写了《金翅雀》的作家Donna Tartt，我感谢那位不知名的画了大提琴女子的画家，我感谢所有艺术文学作品的创造者和守护者，谢谢他们/她们埋下的美与爱的种子，让我们的心得以开出喜悦的生命之花来。