名人英语励志演讲3篇

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名人英语励志演讲3：莫言诺贝尔文学奖演讲

尊敬的瑞典学院各位院士，女士们、先生们：

Distinguished members of the Swedish Academy, Ladies and Gentlemen:

通过电视或网络，我想在座的各位对遥远的高密东北乡，已经有了或多或少的了解。你们也许看到了我的九十岁的老父亲，看到了我的哥哥姐姐、我的妻子女儿，和我的一岁零四个月的外孙子。但是有一个此刻我最想念的人，我的母亲，你们永远无法看到了。我获奖后，很多人分享了我的光荣，但我的母亲却无法分享了。

Through the mediums of television and the Internet, I imagine that everyone here has at least a nodding acquaintance with far-off Northeast Gaomi Township. You may have seen my ninety-year-old father, as well as my brothers, my sister, my wife and my daughter, even my granddaughter, now a year and four months old. But the person who is most on my mind at this moment, my mother, is someone you will never see. Many people have shared in the honor of winning this prize, everyone but her.

我母亲生于1922年，卒于1994年。她的骨灰，埋葬在村庄东边的桃园里。去年，一条铁路要从那儿穿过，我们不得不将她的坟墓迁移到距离村子更远的地方。掘开坟墓后，我们看到，棺木已经腐朽，母亲的骨殖，已经与泥土混为一体。我们只好象征性地挖起一些泥土，移到新的墓穴里。也就是从那一时刻起，我感到，我的母亲是大地的一部分，我站在大地上的诉说，就是对母亲的诉说。

My mother was born in 1922 and died in 1994. We buried her in a peach orchard east of the village. Last year we were forced to move her grave farther away from the village in order to make room for a proposed rail line. When we dug up the grave, we saw that the coffin had rotted away and that her body had merged with the damp earth around it. So we dug up some of that soil, a symbolic act, and took it to the new gravesite. That was when I grasped the knowledge that my mother had become part of the earth, and that when I spoke to mother earth, I was really speaking to my mother.

我是我母亲最小的孩子。

I was my mother’s youngest child.

我记忆中最早的一件事，是提着家里唯一的一把热水壶去公共食堂打开水。因为饥饿无力，失手将热水瓶打碎，我吓得要命，钻进草垛，一天没敢出来。傍晚的时候我听到母亲呼唤我的乳名，我从草垛里钻出来，以为会受到打骂，但母亲没有打我也没有骂我，只是抚摸着我的头，口中发出长长的叹息。

My earliest memory was of taking our only vacuum bottle to the public canteen for drinking water. Weakened by hunger, I dropped the bottle and broke it. Scared witless, I hid all that day in a haystack. Toward evening, I heard my mother calling my childhood name, so I crawled out of my hiding place, prepared to receive a beating or a scolding. But Mother didn’t hit me, didn’t even scold me. She just rubbed my head and heaved a sigh.

我记忆中最痛苦的一件事，就是跟着母亲去集体的地理拣麦穗，看守麦田的人来了，拣麦穗的人纷纷逃跑，我母亲是小脚，跑不快，被捉住，那个身材高大的看守人煽了她一个耳光，她摇晃着身体跌倒在地，看守人没收了我们拣到的麦穗，吹着口哨扬长而去。我母亲嘴角流血，坐在地上，脸上那种绝望的神情深我终生难忘。多年之后，当那个看守麦田的人成为一个白发苍苍的老人，在集市上与我相逢，我冲上去想找他报仇，母亲拉住了我，平静的对我说：“儿子，那个打我的人，与这个老人，并不是一个人。”

My most painful memory involved going out in the collective’s field with Mother to glean ears of wheat. The gleaners scattered when they spotted the watchman. But Mother, who had bound feet, could not run; she was caught and slapped so hard by the watchman, a hulk of a man, that she fell to the ground. The watchman confiscated the wheat we’d gleaned and walked off whistling. As she sat on the ground, her lip bleeding, Mother wore a look of hopelessness I’ll never forget. Years later, when I encountered the watchman, now a gray-haired old man, in the marketplace, Mother had to stop me from going up to avenge her.“Son,” she said evenly, “the man who hit me and this man are not the same person.”

我记得最深刻的一件事是一个中秋节的中午，我们家难得的包了一顿饺子，每人只有一碗。正当我们吃饺子时，一个乞讨的老人来到了我们家门口，我端起半碗红薯干打发他，他却愤愤不平地说：“我是一个老人，你们吃饺子，却让我吃红薯干。你们的心是怎么长的?”我气急败坏的说：“我们一年也吃不了几次饺子，一人一小碗，连半饱都吃不了!给你红薯干就不错了，你要就要，不要就滚!”母亲训斥了我，然后端起她那半碗饺子，倒进了老人碗里。

My clearest memory is of a Moon Festival day, at noontime, one of those rare occasions when we ate jiaozi at home, one bowl apiece. An aging beggar came to our door while we were at the table, and when I tried to send him away with half a bowlful of dried sweet potatoes, he reacted angrily: “I’m an old man,” he said. “You people are eating jiaozi, but want to feed me sweet potatoes. How heartless can you be?” I reacted just as angrily: “We’re lucky if we eat jiaozi a couple of times a year, one small bowlful apiece, barely enough to get a taste! You should be thankful we’re giving you sweet potatoes, and if you don’t want them, you can get the hell out of here!” After (dressing me down) reprimanding me, Mother dumped her half bowlful of jiaozi into the old man’s bowl.

我最后悔的一件事，就是跟着母亲去卖白菜，有意无意的多算了一位买白菜的老人一毛钱。算完钱我就去了学校。当我放学回家时，看到很少流泪的母亲泪流满面。母亲并没有骂我，只是轻轻的说：“儿子，你让娘丢了脸。”

My most remorseful memory involves helping Mother sell cabbages at market, and me overcharging an old villager one jiao – intentionally or not, I can’t recall – before heading off to school. When I came home that afternoon, I saw that Mother was crying, something she rarely did. Instead of scolding me, she merely said softly, “Son, you embarrassed your mother today.”

我十几岁时，母亲患了严重的肺病，饥饿，病痛，劳累，使我们这个家庭陷入了困境，看不到光明和希望。我产生了一种强烈的不祥之兆，以为母亲随时都会自己寻短见。每当我劳动归来，一进大门就高喊母亲，听到她的回应，心中才感到一块石头落了地。如果一时听不到她的回应，我就心惊胆战，跑到厨房和磨坊里寻找。有一次找遍了所有的房间也没有见到母亲的身影，我便坐在了院子里大哭。这时母亲背着一捆柴草从外面走进来。她对我的哭很不满，但我又不能对她说出我的担忧。母亲看到我的心思，她说：“孩子你放心，尽管我活着没有一点乐趣，但只要阎王爷不叫我，我是不会去的。”

Mother contracted a serious lung disease when I was still in my teens. Hunger, disease, and too much work made things extremely hard on our family. The road ahead looked especially bleak, and I had a bad feeling about the future, worried that Mother might take her own life. Every day, the first thing I did when I walked in the door after a day of hard labor was call out for Mother. Hearing her voice was like giving my heart a new lease on life. But not hearing her threw me into a panic. I’d go looking for her in the side building and in the mill. One day, after searching everywhere and not finding her, I sat down in the yard and cried like a baby. That is how she found me when she walked into the yard carrying a bundle of firewood on her back. She was very unhappy with me, but I could not tell her what I was afraid of. She knew anyway. “Son,” she said, “don’t worry, there may be no joy in my life, but I won’t leave you till the God of the Underworld calls me.”

我生来相貌丑陋，村子里很多人当面嘲笑我，学校里有几个性格霸蛮的同学甚至为此打我。我回家痛苦，母亲对我说：“儿子，你不丑，你不缺鼻子不缺眼，四肢健全，丑在哪里?而且只要你心存善良，多做好事，即便是丑也能变美。”后来我进入城市，有一些很有文化的人依然在背后甚至当面嘲弄我的相貌，我想起了母亲的话，便心平气和地向他们道歉。

I was born ugly. Villagers often laughed in my face, and school bullies sometimes beat me up because of it. I’d run home crying, where my mother would say, “You’re not ugly, Son. You’ve got a nose and two eyes, and there’s nothing wrong with your arms and legs, so how could you be ugly? If you have a good heart and always do the right thing, what is considered ugly becomes beautiful.” Later on, when I moved to the city, there were educated people who laughed at me behind my back, some even to my face; but when I recalled what Mother had said, I just calmly offered my apologies.

我母亲不识字，但对识字的人十分敬重。我们家生活困难，经常吃了上顿没下顿。但只要我对她提出买书买文具的要求，她总是会满足我。她是个勤劳的人，讨厌懒惰的孩子，但只要是我因为看书耽误了干活，她从来没批评过我。

My illiterate mother held people who could read in high regard. We were so poor we often did not know where our next meal was coming from, yet she never denied my request to buy a book or something to write with. By nature hard working, she had no use for lazy children, yet I could skip my chores as long as I had my nose in a book.

有一段时间，集市上来了一个说书人。我偷偷地跑去听书，忘记了她分配给我的活儿。为此，母亲批评了我，晚上当她就着一盏小油灯为家人赶制棉衣时，我忍不住把白天从说书人听来的故事复述给她听，起初她有些不耐烦，因为在她心目中说书人都是油嘴滑舌，不务正业的人，从他们嘴里冒不出好话来。但我复述的故事渐渐的吸引了她，以后每逢集日她便不再给我排活，默许我去集上听书。为了报答母亲的恩情，也为了向她炫耀我的记忆力，我会把白天听到的故事，绘声绘色地讲给她听。

A storyteller once came to the marketplace, and I sneaked off to listen to him. She was unhappy with me for forgetting my chores. But that night, while she was stitching padded clothes for us under the weak light of a kerosene lamp, I couldn’t keep from retelling stories I’d heard that day. She listened impatiently at first, since in her eyes professional storytellers were smooth-talking men in a dubious profession. Nothing good ever came out of their mouths. But slowly she was dragged into my retold stories, and from that day on, she never gave me chores on market day, unspoken permission to go to the marketplace and listen to new stories. As repayment for Mother’s kindness and a way to demonstrate my memory, I’d retell the stories for her in vivid detail.

很快的，我就不满足复述说书人讲的故事了，我在复述的过程中不断的添油加醋，我会投我母亲所好，编造一些情节，有时候甚至改变故事的结局。我的听众也不仅仅是我的母亲，连我的姐姐，我的婶婶，我的奶奶都成为我的听众。我母亲在听完我的故事后，有时会忧心忡忡地，像是对我说，又像是自言自语：“儿啊，你长大后会成为一个什么人呢?难道要靠耍贫嘴吃饭吗?”

It did not take long to find retelling someone else’s stories unsatisfying, so I began embellishing my narration. I’d say things I knew would please Mother, even changed the ending once in a while. And she wasn’t the only member of my audience, which later included my older sisters, my aunts, even my maternal grandmother. Sometimes, after my mother had listened to one of my stories, she’d ask in a care-laden voice, almost as if to herself: “What will you be like when you grow up, son? Might you wind up prattling for a living one day?”

我理解母亲的担忧，因为在村子里，一个贫嘴的孩子，是招人厌烦的，有时候还会给自己和家庭带来麻烦。我在小说《牛》里所写的那个因为话多被村子里厌恶的孩子，就有我童年时的影子。我母亲经常提醒我少说话，她希望我能做一个沉默寡言、安稳大方的孩子。但在我身上，却显露出极强的说话能力和极大的说话欲望，这无疑是极大的危险，但我说的故事的能力，又带给了她愉悦，这使他陷入深深的矛盾之中。

I knew why she was worried. Talkative kids are not well thought of in our village, for they can bring trouble to themselves and to their families. There is a bit of a young me in the talkative boy who falls afoul of villagers in my story “Bulls.” Mother habitually cautioned me not to talk so much, wanting me to be a taciturn, smooth and steady youngster. Instead I was possessed of a dangerous combination – remarkable speaking skills and the powerful desire that went with them. My ability to tell stories brought her joy, but that created a dilemma for her.

俗话说“江山易改、本性难移”，尽管我有父母亲的谆谆教导，但我并没有改掉我喜欢说话的天性，这使得我的名字“莫言”，很像对自己的讽刺。

A popular saying goes “It is easier to change the course of a river than a person’s nature.” Despite my parents’ tireless guidance, my natural desire to talk never went away, and that is what makes my name – Mo Yan, or “don’t speak” – an ironic expression of self-mockery.

我小学未毕业即辍学，因为年幼体弱，干不了重活，只好到荒草滩上去放牧牛羊。当我牵着牛羊从学校门前路过，看到昔日的同学在校园里打打闹闹，我心中充满悲凉，深深地体会到一个人，哪怕是一个孩子，离开群体后的痛苦。

After dropping out of elementary school, I was too small for heavy labor, so I became a cattle- and sheep-herder on a nearby grassy riverbank. The sight of my former schoolmates playing in the schoolyard when I drove my animals past the gate always saddened me and made me aware of how tough it is for anyone – even a child – to leave the group.

到了荒滩上，我把牛羊放开，让它们自己吃草。蓝天如海，草地一望无际，周围看不到一个人影，没有人的声音，只有鸟儿在天上鸣叫。我感到很孤独，很寂寞，心里空空荡荡。有时候，我躺在草地上，望着天上懒洋洋地飘动着的白云，脑海里便浮现出许多莫名其妙的幻象。我们那地方流传着许多狐狸变成美女的故事，我幻想着能有一个狐狸变成美女与我来作伴放牛，但她始终没有出现。但有一次，一只火红色的狐狸从我面前的草丛中跳出来时，我被吓得一屁股蹲在地上。狐狸跑没了踪影，我还在那里颤抖。有时候我会蹲在牛的身旁，看着湛蓝的牛眼和牛眼中的我的倒影。有时候我会模仿着鸟儿的叫声试图与天上的鸟儿对话，有时候我会对一棵树诉说心声。但鸟儿不理我，树也不理我。许多年后，当我成为一个小说家，当年的许多幻想，都被我写进了小说。很多人夸我想象力丰富，有一些文学爱好者，希望我能告诉他们培养想象力的秘诀，对此，我只能报以苦笑。

I turned the animals loose on the riverbank to graze beneath a sky as blue as the ocean and grass-carpeted land as far as the eye could see – not another person in sight, no human sounds, nothing but bird calls above me. I was all by myself and terribly lonely; my heartfelt empty. Sometimes I lay in the grass and watched clouds float lazily by, which gave rise to all sorts of fanciful images. That part of the country is known for its tales of foxes in the form of beautiful young women, and I would fantasize a fox-turned-beautiful girl coming to tend animals with me. She never did come. Once, however, a fiery red fox bounded out of the brush in front of me, scaring my legs right out from under me. I was still sitting there trembling long after the fox had vanished. Sometimes I’d crouch down beside the cows and gaze into their deep blue eyes, eyes that captured my reflection. At times I’d have a dialogue with birds in the sky, mimicking their cries, while at other times I’d divulge my hopes and desires to a tree. But the birds ignored me, and so did the trees. Years later, after I’d become a novelist, I wrote some of those fantasies into my novels and stories. People frequently bombard me with compliments on my vivid imagination, and lovers of literature often ask me to divulge my secret to developing a rich imagination. My only response is a wan smile.

就像中国的先贤老子所说的那样：“福兮祸之所伏，福祸福所倚”，我童年辍学，饱受饥饿、孤独、无书可读之苦，但我因此也像我们的前辈作家沈从文那样，及早地开始阅读社会人生这本大书。前面所提到的到集市上去听说数人说书，仅仅是这本大书中的一页。

Our Taoist master Laozi said it best: “Fortune depends on misfortune. Misfortune is hidden in fortune.” I left school as a child, often went hungry, was constantly lonely, and had no books to read. But for those reasons, like the writer of a previous generation, Shen Congwen, I had an early start on reading the great book of life. My experience of going to the marketplace to listen to a storyteller was but one page of that book.

辍学之后，我混迹于成人之中，开始了“用耳朵阅读”的漫长生涯。二百多年前，我的故乡曾出了一个讲故事的伟大天才蒲松龄，我们村里的许多人，包括我，都是他的传人。我在集体劳动的田间地头，在生产队的牛棚马厩，在我爷爷奶奶的热炕头上，甚至在摇摇晃晃地进行着的牛车社，聆听了许许多多神鬼故事，历史传奇，逸闻趣事，这些故事都与当地的自然环境，家庭历史紧密联系在一起，使我产生了强烈的现实感。

After leaving school, I was thrown uncomfortably into the world of adults, where I embarked on the long journey of learning through listening. Two hundred years ago, one of the great storytellers of all time – Pu Songling – lived near where I grew up, and where many people, me included, carried on the tradition he had perfected. Wherever I happened to be – working the fields with the collective, in production team cowsheds or stables, on my grandparents’ heated kang, even on oxcarts bouncing and swaying down the road, my ears filled with tales of the supernatural, historical romances, and strange and captivating stories, all tied to the natural environment and clan histories, and all of which created a powerful reality in my mind.

我做梦也想不到有朝一日这些东西会成为我的写作素材，我当时只是一个迷恋故事的孩子，醉心地聆听着人们的讲述。那时我是一个绝对的有神论者，我相信万物都有灵性，我见到一棵大树会肃然起敬。我看到一只鸟会感到它随时会变化成人，我遇到一个陌生人，也会怀疑他是一个动物变化而成。每当夜晚我从生产队的记工房回家时，无边的恐惧便包围了我，为了壮胆，我一边奔跑一边大声歌唱。那时我正处在变声期，嗓音嘶哑，声调难听，我的歌唱，是对我的乡亲们的一种折磨。

Even in my wildest dreams, I could not have envisioned a day when all this would be the stuff of my own fiction, for I was just a boy who loved stories, who was infatuated with the tales people around me were telling. Back then I was, without a doubt, a theist, believing that all living creatures were endowed with souls. I’d stop and pay my respects to a towering old tree; if I saw a bird, I was sure it could become human any time it wanted; and I suspected every stranger I met of being a transformed beast. At night, terrible fears accompanied me on my way home after my work points were tallied, so I’d sing at the top of my lungs as I ran to build up a bit of courage. My voice, which was changing at the time, produced scratchy, squeaky songs that grated on the ears of any villager who heard me.

我在故乡生活了二十一年，期间离家最远的是乘火车去了一次青岛，还差点迷失在木材厂的巨大木材之间，以至于我母亲问我去青岛看到了什么风景时，我沮丧地告诉她：什么都没看到，只看到了一堆堆的木头。但也就是这次青岛之行，使我产生了想离开故乡到外边去看世界的强烈愿望。

I spent my first twenty-one years in that village, never traveling farther from home than to Qingdao, by train, where I nearly got lost amid the giant stacks of wood in a lumber mill. When my mother asked me what I’d seen in Qingdao, I reported sadly that all I’d seen were stacks of lumber. But that trip to Qingdao planted in me a powerful desire to leave my village and see the world.

1976 年2 月，我应征入伍，背着我母亲卖掉结婚时的首饰帮我购买的四本《中国通史简编》，走出了高密东北乡这个既让我爱又让我恨的地方，开始了我人生的重要时期。我必须承认，如果没有30 多年来中国社会的巨大发展与进步，如果没有改革开放，也不会有我这样一个作家。

In February 1976 I was recruited into the army and walked out of the Northeast Gaomi Township village I both loved and hated, entering a critical phase of my life, carrying in my backpack the four-volume Brief History of China my mother had bought by selling her wedding jewelry. Thus began the most important period of my life. I must admit that were it not for the thirty-odd years of tremendous development and progress in Chinese society, and the subsequent national reform and opening of her doors to the outside, I would not be a writer today.

在军营的枯燥生活中，我迎来了八十年代的思想解放和文学热潮，我从一个用耳朵聆听故事，用嘴巴讲述故事的孩子，开始尝试用笔来讲述故事。起初的道路并不平坦，我那时并没有意识到我二十多年的农村生活经验是文学的富矿，那时我以为文学就是写好人好事，就是写英雄模范，所以，尽管也发表了几篇作品，但文学价值很低。

In the midst of mind-numbing military life, I welcomed the ideological emancipation and literary fervor of the nineteen-eighties, and evolved from a boy who listened to stories and passed them on by word of mouth into someone who experimented with writing them down. It was a rocky road at first, a time when I had not yet discovered how rich a source of literary material my two decades of village life could be. I thought that literature was all about good people doing good things, stories of heroic deeds and model citizens, so that the few pieces of mine that were published had little literary value.

1984年秋，我考入解放军艺术学院文学系。在我的恩师著名作家徐怀中的启发指导下，我写出了《秋水》、《枯河》、《透明的红萝卜》、《红高粱》等一批中短篇小说。在《秋水》这篇小说里，第一次出现了“高密东北乡”这个字眼，从此，就如同一个四处游荡的农民有了一片土地，我这样一个文学的流浪汉，终于有了一个可以安身立命的场所。我必须承认，在创建我的文学领地“高密东北乡”的过程中，美国的威廉·福克纳和哥伦比亚的加西亚·马尔克斯给了我重要启发。我对他们的阅读并不认真，但他们开天辟地的豪迈精神激励了我，使我明白了一个作家必须要有一块属于自己的地方。一个人在日常生活中应该谦卑退让，但在文学创作中，必须颐指气使，独断专行。我追随在这两位大师身后两年，即意识到，必须尽快地逃离他们，我在一篇文章中写道：他们是两座灼热的火炉，而我是冰块，如果离他们太近，会被他们蒸发掉。根据我的体会，一个作家之所以会受到某一位作家的影响，其根本是因为影响者和被影响者灵魂深处的相似之处。正所谓“心有灵犀一点通”。所以，尽管我没有很好地去读他们的书，但只读过几页，我就明白了他们干了什么，也明白了他们是怎样干的，随即我也就明白了我该干什么和我该怎样干。

In the fall of 1984 I was accepted into the Literature Department of the PLA Art Academy, where, under the guidance of my revered mentor, the renowned writer Xu Huaizhong, I wrote a series of stories and novellas, including: “Autumn Floods,” “Dry River,” “The TranSPArent Carrot,” and “Red Sorghum.” Northeast Gaomi Township made its first appearance in “Autumn Floods,” and from that moment on, like a wandering peasant who finds his own piece of land, this literary vagabond found a place he could call his own. I must say that in the course of creating my literary domain, Northeast Gaomi Township, I was greatly inspired by the American novelist William Faulkner and the Columbian Gabriel García Márquez. I had not read either of them extensively, but was encouraged by the bold, unrestrained way they created new territory in writing, and learned from them that a writer must have a place that belongs to him alone. Humility and compromise are ideal in one’s daily life, but in literary creation, supreme self-confidence and the need to follow one’s own instincts are essential. For two years I followed in the footsteps of these two masters before realizing that I had to escape their influence; this is how I characterized that decision in an essay: They were a pair of blazing furnaces, I was a block of ice. If I got too close to them, I would dissolve into a cloud of steam. In my understanding, one writer influences another when they enjoy a profound spiritual kinship, what is often referred to as “hearts beating in unison.” That explains why, though I had read little of their work, a few pages were sufficient for me to comprehend what they were doing and how they were doing it, which led to my understanding of what I should do and how I should do it.

我该干的事情其实很简单，那就是用自己的方式，讲自己的故事。我的方式，就是我所熟知的集市说书人的方式，就是我的爷爷奶奶、村里的老人们讲故事的方式。坦率地说，讲述的时候，我没有想到谁会是我的听众，也许我的听众就是那些如我母亲一样的人，也许我的听众就是我自己，我自己的故事，起初就是我的亲身经历，譬如《枯河》中那个遭受痛打的孩子，譬如《透明的红萝卜》中那个自始至终一言不发的孩子。我的确曾因为干过一件错事而受到过父亲的痛打，我也的确曾在桥梁工地上为铁匠师傅拉过风箱。当然，个人的经历无论多么奇特也不可能原封不动地写进小说，小说必须虚构，必须想象。很多朋友说《透明的红萝卜》是我最好的小说，对此我不反驳，也不认同，但我认为《透明的红萝卜》是我的作品中最有象征性、最意味深长的一部。那个浑身漆黑、具有超人的忍受痛苦的能力和超人的感受能力的孩子，是我全部小说的灵魂，尽管在后来的小说里，我写了很多的人物，但没有一个人物，比他更贴近我的灵魂。或者可以说，一个作家所塑造的若干人物中，总有一个领头的，这个沉默的孩子就是一个领头的，他一言不发，但却有力地领导着形形色色的人物，在高密东北乡这个舞台上，尽情地表演。

What I should do was simplicity itself: Write my own stories in my own way. My way was that of the marketplace storyteller, with which I was so familiar, the way my grandfather and my grandmother and other village old-timers told stories. In all candor, I never gave a thought to audience when I was telling my stories; perhaps my audience was made up of people like my mother, and perhaps it was only me. The early stories were narrations of my personal experience: the boy who received a whipping in “Dry River,” for instance, or the boy who never spoke in “The Transparent Carrot.” I had actually done something bad enough to receive a whipping from my father, and I had actually worked the bellows for a blacksmith on a bridge site. Naturally, personal experience cannot be turned into fiction exactly as it happened, no matter how unique that might be. Fiction has to be fictional, has to be imaginative. To many of my friends, “The Transparent Carrot” is my very best story; I have no opinion one way or the other. What I can say is, “The Transparent Carrot” is more symbolic and more profoundly meaningful than any other story I’ve written. That dark-skinned boy with the superhuman ability to suffer and a superhuman degree of sensitivity represents the soul of my entire fictional output. Not one of all the fictional characters I’ve created since then is as close to my soul as he is. Or put a different way, among all the characters a writer creates, there is always one that stands above all the others. For me, that laconic boy is the one. Though he says nothing, he leads the way for all the others, in all their variety, performing freely on the Northeast Gaomi Township stage.

自己的故事总是有限的，讲完了自己的故事，就必须讲他人的故事。于是，我的亲人们的故事，我的村人们的故事，以及我从老人们口中听到过的祖先们的故事，就像听到集合令的士兵一样，从我的记忆深处涌出来。他们用期盼的目光看着我，等待着我去写他们。我的爷爷、奶奶、父亲、母亲、哥哥、姐姐、姑姑、叔叔、妻子、女儿，都在我的作品里出现过，还有很多的我们高密东北乡的乡亲，也都在我的小说里露过面。当然，我对他们，都进行了文学化的处理，使他们超越了他们自身，成为文学中的人物。

A person can experience only so much, and once you have exhausted your own stories, you must tell the stories of others. And so, out of the depths of my memories, like conscripted soldiers, rose stories of family members, of fellow villagers, and of long-dead ancestors I learned of from the mouths of old-timers. They waited expectantly for me to tell their stories. My grandfather and grandmother, my father and mother, my brothers and sisters, my aunts and uncles, my wife and my daughter have all appeared in my stories. Even unrelated residents of Northeast Gaomi Township have made cameo appearances. Of course they have undergone literary modification to transform them into larger-than-life fictional characters.

我最新的小说《蛙》中，就出现了我姑姑的形象。因为我获得诺贝尔奖，许多记者到她家采访，起初她还很耐心地回答提问，但很快便不胜其烦，跑到县城里她儿子家躲起来了。姑姑确实是我写《蛙》时的模特，但小说中的姑姑，与现实生活中的姑姑有着天壤之别。小说中的姑姑专横跋扈，有时简直像个女匪，现实中的姑姑和善开朗，是一个标准的贤妻良母。现实中的姑姑晚年生活幸福美满，小说中的姑姑到了晚年却因为心灵的巨大痛苦患上了失眠症，身披黑袍，像个幽灵一样在暗夜中游荡。我感谢姑姑的宽容，她没有因为我在小说中把她写成那样而生气;我也十分敬佩我姑姑的明智，她正确地理解了小说中人物与现实中人物的复杂关系。

An aunt of mine is the central character of my latest novel, Frogs. The announcement of the Nobel Prize sent journalists swarming to her home with interview requests. At first, she was patiently accommodating, but she soon had to escape their attentions by fleeing to her son’s home in the provincial capital. I don’t deny that she was my model in writing Frogs, but the differences between her and the fictional aunt are extensive. The fictional aunt is arrogant and domineering, in places virtually thuggish, while my real aunt is kind and gentle, the classic caring wife and loving mother. My real aunt’s golden years have been happy and fulfilling; her fictional counterpart suffers insomnia in her late years as a result of spiritual torment, and walks the nights like a specter, wearing a dark robe. I am grateful to my real aunt for not being angry with me for how I changed her in the novel. I also greatly respect her wisdom in comprehending the complex relationship between fictional characters and real people.

母亲去世后，我悲痛万分，决定写一部书献给她。这就是那本《丰乳肥臀》。因为胸有成竹，因为情感充盈，仅用了83 天，我便写出了这部长达50 万字的小说的初稿。

After my mother died, in the midst of almost crippling grief, I decided to write a novel for her. Big Breasts and Wide Hips is that novel. Once my plan took shape, I was burning with such emotion that I completed a draft of half a million words in only eighty-three days.

在《丰乳肥臀》这本书里，我肆无忌惮地使用了与我母亲的亲身经历有关的素材，但书中的母亲情感方面的经历，则是虚构或取材于高密东北乡诸多母亲的经历。在这本书的卷前语上，我写下了“献给母亲在天之灵”的话，但这本书，实际上是献给天下母亲的，这是我狂妄的野心，就像我希望把小小的“高密东北乡”写成中国乃至世界的缩影一样。

In Big Breasts and Wide Hips I shamelessly used material associated with my mother’s actual experience, but the fictional mother’s emotional state is either a total fabrication or a composite of many of Northeast Gaomi Township’s mothers. Though I wrote “To the spirit of my mother” on the dedication page, the novel was really written for all mothers everywhere, evidence, perhaps, of my overweening ambition, in much the same way as I hope to make tiny Northeast Gaomi Township a microcosm of China, even of the whole world.

作家的创作过程各有特色，我每本书的构思与灵感触发也都不尽相同。有的小说起源于梦境，譬如《透明的红萝卜》，有的小说则发端于现实生活中发生的事件譬如《天堂蒜薹之歌》。但无论是起源于梦境还是发端于现实，最后都必须和个人的经验相结合，才有可能变成一部具有鲜明个性的，用无数生动细节塑造出了典型人物的、语言丰富多彩、结构匠心独运的文学作品。有必要特别提及的是，在《天堂蒜薹之歌》中，我让一个真正的说书人登场，并在书中扮演了十分重要的角色。我十分抱歉地使用了这个说书人真实姓名，当然，他在书中的所有行为都是虚构。在我的写作中，出现过多次这样的现象，写作之初，我使用他们的真实姓名，希望能借此获得一种亲近感，但作品完成之后，我想为他们改换姓名时却感到已经不可能了，因此也发生过与我小说中人物同名者找到我父亲发泄不满的事情，我父亲替我向他们道歉，但同时又开导他们不要当真。我父亲说：“他在《红高粱》中，第一句就说‘我父亲这个土匪种’，我都不在意你们还在意什么?”

The process of creation is unique to every writer. Each of my novels differs from the others in terms of plot and guiding inspiration. Some, such as “The Transparent Carrot,” were born in dreams, while others, like The Garlic Ballads have their origin in actual events. Whether the source of a work is a dream or real life, only if it is integrated with individual experience can it be imbued with individuality, be populated with typical characters molded by lively detail, employ richly evocative language, and boast a well crafted structure. Here I must point out that in The Garlic Ballads I introduced a real-life storyteller and singer in one of the novel’s most important roles. I wish I hadn’t used his real name, though his words and actions were made up. This is a recurring phenomenon with me. I’ll start out using characters’ real names in order to achieve a sense of intimacy, and after the work is finished, it will seem too late to change those names. This has led to people who see their names in my novels going to my father to vent their displeasure. He always apologizes in my place, but then urges them not to take such things so seriously. He’ll say: “The first sentence in Red Sorghum, ‘My father, a bandit’s offspring,’ didn’t upset me, so why should you be unhappy?”

我在写作《天堂蒜薹之歌》这类逼近社会现实的小说时，面对着的最大问题，其实不是我敢不敢对社会上的黑暗现象进行批评，而是这燃烧的激情和愤怒会让政治压倒文学，使这部小说变成一个社会事件的纪实报告。小说家是社会中人，他自然有自己的立场和观点，但小说家在写作时，必须站在人的立场上，把所有的人都当作人来写。只有这样，文学才能发端事件但超越事件，关心政治但大于政治。

My greatest challenges come with writing novels that deal with social realities, such as The Garlic Ballads, not because I’m afraid of being openly critical of the darker aspects of society, but because heated emotions and anger allow politiCSto suppress literature and transform a novel into reportage of a social event. As a member of society, a novelist is entitled to his own stance and viewpoint; but when he is writing he must take a humanistic stance, and write accordingly. Only then can literature not just originate in events, but transcend them, not just show concern for politics but be greater than politics.

可能是因为我经历过长期的艰难生活，使我对人性有较为深刻的了解。我知道真正的勇敢是什么，也明白真正的悲悯是什么。我知道，每个人心中都有一片难用是非善恶准确定性的朦胧地带，而这片地带，正是文学家施展才华的广阔天地。只要是准确地、生动地描写了这个充满矛盾的朦胧地带的作品，也就必然地超越了政治并具备了优秀文学的品质。

Possibly because I’ve lived so much of my life in difficult circumstances, I think I have a more profound understanding of life. I know what real courage is, and I understand true compassion. I know that nebulous terrain exists in the hearts and minds of every person, terrain that cannot be adequately characterized in simple terms of right and wrong or good and bad, and this vast territory is where a writer gives free rein to his talent. So long as the work correctly and vividly describes this nebulous, massively contradictory terrain, it will inevitably transcend politics and be endowed with literary excellence.

喋喋不休地讲述自己的作品是令人厌烦的，但我的人生是与我的作品紧密相连的，不讲作品，我感到无从下嘴，所以还得请各位原谅。

Prattling on and on about my own work must be annoying, but my life and works are inextricably linked, so if I don’t talk about my work, I don’t know what else to say. I hope you are in a forgiving mood.

在我的早期作品中，我作为一个现代的说书人，是隐藏在文本背后的，但从《檀香刑》这部小说开始，我终于从后台跳到了前台。如果说我早期的作品是自言自语，目无读者，从这本书开始，我感觉到自己是站在一个广场上，面对着许多听众，绘声绘色地讲述。这是世界小说的传统，更是中国小说的传统。我也曾积极地向西方的现代派小说学习，也曾经玩弄过形形色色的叙事花样，但我最终回归了传统。当然，这种回归，不是一成不变的回归，《檀香刑》和之后的小说，是继承了中国古典小说传统又借鉴了西方小说技术的混合文本。小说领域的所谓创新，基本上都是这种混合的产物。不仅仅是本国文学传统与外国小说技巧的混合，也是小说与其他的艺术门类的混合，就像《檀香刑》是与民间戏曲的混合，就像我早期的一些小说从美术、音乐、甚至杂技中汲取了营养一样。

I was a modern-day storyteller who hid in the background of his early work; but with the novel Sandalwood Death I jumped out of the shadows. My early work can be characterized as a series of soliloquies, with no reader in mind; starting with this novel, however, I visualized myself standing in a public square spiritedly telling my story to a crowd of listeners. This tradition is a worldwide phenomenon in fiction, but is especially so in China. At one time, I was a diligent student of Western modernist fiction, and I experimented with all sorts of narrative styles. But in the end I came back to my traditions. To be sure, this return was not without its modifications. Sandalwood Death and the novels that followed are inheritors of the Chinese classical novel tradition but enhanced by Western literary techniques. What is known as innovative fiction is, for the most part, a result of this mixture, which is not limited to domestic traditions with foreign techniques, but can include mixing fiction with art from other realms. Sandalwood Death, for instance, mixes fiction with local opera, while some of my early work was partly nurtured by fine art, music, even acrobatics.

最后，请允许我再讲一下我的《生死疲劳》。这个书名来自佛教经典，据我所知，为翻译这个书名，各国的翻译家都很头痛。我对佛教经典并没有深入研究，对佛教的理解自然十分肤浅，之所以以此为题，是因为我觉得佛教的许多基本思想，是真正的宇宙意识，人世中许多纷争，在佛家的眼里，是毫无意义的。这样一种至高眼界下的人世，显得十分可悲。当然，我没有把这本书写成布道词，我写的还是人的命运与人的情感，人的局限与人的宽容，以及人为追求幸福、坚持自己的信念所做出的努力与牺牲。小说中那位以一己之身与时代潮流对抗的蓝脸，在我心目中是一位真正的英雄。这个人物的原型，是我们邻村的一位农民，我童年时，经常看到他推着一辆吱吱作响的木轮车，从我家门前的道路上通过。给他拉车的，是一头瘸腿的毛驴，为他牵驴的，是他小脚的妻子。这个奇怪的劳动组合，在当时的集体化社会里，显得那么古怪和不合时宜，在我们这些孩子的眼里，也把他们看成是逆历史潮流而动的小丑，以至于当他们从街上经过时，我们会充满义愤地朝他们投掷石块。事过多年，当我拿起笔来写作时，这个人物，这个画面，便浮现在我的脑海中。我知道，我总有一天会为他写一本书，我迟早要把他的故事讲给天下人听，但一直到了2005年，当我在一座庙宇里看到“六道轮回”的壁画时，才明白了讲述这个故事的正确方法。

Finally, I ask your indulgence to talk about my novel Life and Death Are Wearing Me Out. The Chinese title comes from Buddhist scripture, and I’ve been told that my translators have had fits trying to render it into their languages. I am not especially well versed in Buddhist scripture and have but a superficial understanding of the religion. I chose this title because I believe that the basic tenets of the Buddhist faith represent universal knowledge, and that mankind’s many disputes are utterly without meaning in the Buddhist realm. In that lofty view of the universe, the world of man is to be pitied. My novel is not a religious tract; in it I wrote of man’s fate and human emotions, of man’s limitations and human generosity, and of people’s search for happiness and the lengths to which they will go, the sacrifices they will make, to uphold their beliefs. Lan Lian, a character who takes a stand against contemporary trends, is, in my view, a true hero. A peasant in a neighboring village was the model for this character. As a youngster I often saw him pass by our door pushing a creaky, wooden-wheeled cart, with a lame donkey up front, led by his bound-foot wife. Given the collective nature of society back then, this strange labor group presented a bizarre sight that kept them out of step with the times. In the eyes of us children, they were clowns marching against historical trends, provoking in us such indignation that we threw stones at them as they passed us on the street. Years later, after I had begun writing, that peasant and the tableau he presented floated into my mind, and I knew that one day I would write a novel about him, that sooner or later I would tell his story to the world. But it wasn’t until the year 2005, when I viewed the Buddhist mural “The Six Stages of Samsara” on a temple wall that I knew exactly how to go about telling his story.

我获得诺贝尔文学奖后，引发了一些争议。起初，我还以为大家争议的对象是我，渐渐的，我感到这个被争议的对象，是一个与我毫不相关的人。我如同一个看戏人，看着众人的表演。我看到那个得奖人身上落满了花朵，也被掷上了石块、泼上了污水。我生怕他被打垮，但他微笑着从花朵和石块中钻出来，擦干净身上的脏水，坦然地站在一边，对着众人说：

The announcement of my Nobel Prize has led to controversy. At first I thought I was the target of the disputes, but over time I’ve come to realize that the real target was a person who had nothing to do with me. Like someone watching a play in a theater, I observed the performances around me. I saw the winner of the prize both garlanded with flowers and besieged by stone-throwers and mudslingers. I was afraid he would succumb to the assault, but he emerged from the garlands of flowers and the stones, a smile on his face; he wiped away mud and grime, stood calmly off to the side, and said to the crowd:

对一个作家来说，最好的说话方式是写作。我该说的话都写进了我的作品里。用嘴说出的话随风而散，用笔写出的话永不磨灭。我希望你们能耐心地读一下我的书，当然，我没有资格强迫你们读我的书。即便你们读了我的书，我也不期望你们能改变对我的看法，世界上还没有一个作家，能让所有的读者都喜欢他。在当今这样的时代里，更是如此。

For a writer, the best way to speak is by writing. You will find everything I need to say in my works. Speech is carried off by the wind; the written word can never be obliterated. I would like you to find the patience to read my books. I cannot force you to do that, and even if you do, I do not expect your opinion of me to change. No writer has yet appeared, anywhere in the world, who is liked by all his readers; that is especially true during times like these.

尽管我什么都不想说，但在今天这样的场合我必须说话，那我就简单地再说几句。

Even though I would prefer to say nothing, since it is something I must do on this occasion, let me just say this:

我是一个讲故事的人，我还是要给你们讲故事。

I am a storyteller, so I am going to tell you some stories.

上世纪六十年代，我上小学三年级的时候，学校里组织我们去参观一个苦难展览，我们在老师的引领下放声大哭。为了能让老师看到我的表现，我舍不得擦去脸上的泪水。我看到有几位同学悄悄地将唾沫抹到脸上冒充泪水。我还看到在一片真哭假哭的同学之间，有一位同学，脸上没有一滴泪，嘴巴里没有一点声音，也没有用手掩面。他睁着大眼看着我们，眼睛里流露出惊讶或者是困惑的神情。事后，我向老师报告了这位同学的行为。为此，学校给了这位同学一个警告处分。多年之后，当我因自己的告密向老师忏悔时，老师说，那天来找他说这件事的，有十几个同学。这位同学十几年前就已去世，每当想起他，我就深感歉疚。这件事让我悟到一个道理，那就是：当众人都哭时，应该允许有的人不哭。当哭成为一种表演时，更应该允许有的人不哭。

When I was a third-grade student in the 1960s, my school organized a field trip to an exhibit of suffering, where, under the direction of our teacher, we cried bitter tears. I let my tears stay on my cheeks for the benefit of our teacher, and watched as some of my classmates spat in their hands and rubbed it on their faces as pretend tears. I saw one student among all those wailing children – some real, some phony – whose face was dry and who remained silent without covering his face with his hands. He just looked at us, eyes wide open in an expression of surprise or confusion. After the visit I reported him to the teacher, and he was given a disciplinary warning. Years later, when I expressed my remorse over informing on the boy, the teacher said that at least ten students had done what I did. The boy himself had died a decade or more earlier, and my conscience was deeply troubled when I thought of him. But I learned something important from this incident, and that is: When everyone around you is crying, you deserve to be allowed not to cry, and when the tears are all for show, your right not to cry is greater still.

我再讲一个故事：三十多年前，我还在部队工作。有一天晚上，我在办公室看书，有一位老长官推门进来，看了一眼我对面的位置，自言自语道：“噢，没有人?”我随即站起来，高声说：“难道我不是人吗?”那位老长官被我顶得面红耳赤，尴尬而退。为此事，我洋洋得意了许久，以为自己是个英勇的斗士，但事过多年后，我却为此深感内疚。

Here is another story: More than thirty years ago, when I was in the army, I was in my office reading one evening when an elderly officer opened the door and came in. He glanced down at the seat in front of me and muttered, “Hm, where is everyone?” I stood up and said in a loud voice, “Are you saying I’m no one?” The old fellow’s ears turned red from embarrassment, and he walked out. For a long time after that I was proud about what I consider a gutsy performance. Years later, that pride turned to intense qualms of conscience.

请允许我讲最后一个故事，这是许多年前我爷爷讲给我听过的：有八个外出打工的泥瓦匠，为避一场暴风雨，躲进了一座破庙。外边的雷声一阵紧似一阵，一个个的火球，在庙门外滚来滚去，空中似乎还有吱吱的龙叫声。众人都胆战心惊，面如土色。有一个人说：“我们八个人中，必定一个人干过伤天害理的坏事，谁干过坏事，就自己走出庙接受惩罚吧，免得让好人受到牵连。”自然没有人愿意出去。又有人提议道：“既然大家都不想出去，那我们就将自己的草帽往外抛吧，谁的草帽被刮出庙门，就说明谁干了坏事，那就请他出去接受惩罚。”于是大家就将自己的草帽往庙门外抛，七个人的草帽被刮回了庙内，只有一个人的草帽被卷了出去。大家就催这个人出去受罚，他自然不愿出去，众人便将他抬起来扔出了庙门。故事的结局我估计大家都猜到了那个人刚被扔出庙门，那座破庙轰然坍塌。

Bear with me, please, for one last story, one my grandfather told me many years ago: A group of eight out-of-town bricklayers took refuge from a storm in a rundown temple. Thunder rumbled outside, sending fireballs their way. They even heard what sounded like dragon shrieks. The men were terrified, their faces ashen. “Among the eight of us,” one of them said, “is someone who must have offended the heavens with a terrible deed. The guilty person ought to volunteer to step outside to accept his punishment and spare the innocent from suffering. Naturally, there were no volunteers. So one of the others came up with a proposal: Since no one is willing to go outside, let’s all fling our straw hats toward the door. Whoever’s hat flies out through the temple door is the guilty party, and we’ll ask him to go out and accept his punishment.” So they flung their hats toward the door. Seven hats were blown back inside; one went out the door. They pressured the eighth man to go out and accept his punishment, and when he balked, they picked him up and flung him out the door. I’ll bet you all know how the story ends: They had no sooner flung him out the door than the temple collapsed around them.

我是一个讲故事的人。

I am a storyteller.

因为讲故事我获得了诺贝尔文学奖。

Telling stories earned me the Nobel Prize for Literature.

我获奖后发生了很多精彩的故事，这些故事，让我坚信真理和正义是存在的。

Many interesting things have happened to me in the wake of winning the prize, and they have convinced me that truth and justice are alive and well.

今后的岁月里，我将继续讲我的故事。

So I will continue telling my stories in the days to come.

谢谢大家!

Thank you all.

看过“名人英语励志演讲”

名人英语励志演讲1：比尔盖茨在哈佛大学毕业典礼上的演讲

President Bok, former President Rudenstine, incoming President Faust, members of the Harvard Corporation and the Board of Overseers, members of the faculty, parents, and especially, the graduates: I've been waiting more than 30 years to say this: “Dad, I always told you I’d come back and get my degree.”

尊敬的博克校长，前校长鲁登斯坦，即将上任的佛斯特校长，哈佛集团和监察理事会的各位成员。各位老师，各位家长，各位同学：有句话我憋了30年，今天终于能一吐为快了：““爸 我没骗你吧，文凭到手了!”

I want to thank Harvard for this timely honor. I’ll be changing my job next year … and it will be nice to finally have a college degree on my résumé.

我由衷地感谢哈佛这个时候给我这个荣誉。明年我要换工作(退休)。 我终于能在简历里注明自己有大学学历了。

I applaud the graduates today for taking a much more direct route to your degrees. For my part, I’m just happy that the Crimson has called me “Harvard’s most successful dropout.” I guess that makes me valedictorian of my own special class … I did the best of everyone who failed.

我要恭喜今年的毕业生们，因为你们毕业比我顺利多了。其实我倒是很乐意克莱姆森把我唤作“哈佛大学最成功的辍学生”。这大概是我脱颖而出的法宝……我是辍学生中的领头羊。

But I also want to be recognized as the guy who got Steve Ballmer to drop out of business school. I’m a bad influence. That’s why I was invited to speak at your graduation. If I had spoken at your orientation, fewer of you might be here today.

我还要检讨一下史蒂夫-鲍尔默也是受我蛊惑从商学院退学。我劣迹斑斑。这就是为什么我会受邀参加毕业演讲。如果是开学典礼，恐怕今天的人会少很多。

Harvard was just a phenomenal experience for me. Academic life was fascinating. I used to sit in on lots of classes I hadn’t even signed up for. And dorm life was terrific. I lived up at Radcliffe, in Currier House. There were always lots of people in my dorm room late at night discussing things, because everyone knew I didn’t worry about getting up in the morning. That’s how I came to be the leader of the antisocial group. We clung to each other as a way of validating our rejection of all those social people.

哈佛是我生命里的一段非凡经历。校园生活格外充实，我旁听过很多没有选过的课程。住宿的日子也很爽我当时住在拉德克利夫的柯里尔宿舍，总是很多人在我的寝室讨论到深夜。 大家知道我属于夜行动物。就这样，我成为了这堆人的头目。我们粘在一起，摆出拒绝社交的姿态。

Radcliffe was a great place to live. There were more women up there, and most of the guys were science-math types. That combination offered me the best odds, if you know what I mean. This is where I learned the sad lesson that improving your odds doesn’t guarantee success.

拉德克利夫是个好地方。那里的女生比男生多，男生们大多都是科学怪人。所以我的机会来了，你懂的。可同时我也明白了一个道理——机会大也不能保证成功。

One of my biggest memories of Harvard came in January 1975, When I made a call from Currier House to a company in Albuquerque that had begun making the world’s first personal computers. I offered to sell them software.

1975年1月在哈佛打出的一通电话让我毕生难忘。我打给位于阿尔伯克基的一个公司，那家公司当时着手制造世界上第一台个人电脑。我说我想出售软件给他们。

I worried that they would realize I was just a student in a dorm and hang up on me. Instead they said: “We’re not quite ready, come see us in a month,” which was a good thing, because we hadn’t written the software yet. From that moment, I worked day and night on this little extra credit project that marked the end of my college education and the beginning of a remarkable journey with Microsoft.

我担心他们会因为我学生身份而挂掉电话。但他们只是说：“现在还没有准备好 请一个月后再联系我们。”我长舒一口气，压根我们就没开工。从那时起 我不分昼夜地赶工 它是我大学生活结束的标志，也是微软伟大旅程的开始。

What I remember above all about Harvard was being in the midst of so much energy and intelligence. It could be exhilarating, intimidating, sometimes even discouraging, but always challenging. It was an amazing privilege and though I left early, I was transformed by my years at Harvard, the friendships I made, and the ideas I worked on.

哈佛的独特氛围让我充满精力和智慧。这里的日子可能振奋快乐、也可能令人退缩沮丧，但永远充满了挑战，神奇的体验!虽然我提前离开了这里，但是这段经历对我影响重大。

But taking a serious look back … I do have one big regret.

不过说心里话……我确实有一点遗憾。

I left Harvard with no real awareness of the awful inequities in the world - the appalling disparities of health, and wealth, and opportunity that condemn millions of people to lives of despair.

我离开哈佛时，根本没有意识到这个世界是多么地不平等。健康、财富、机遇差异悬殊，数以百万计的人生活在绝望之中。

I learned a lot here at Harvard about new ideas in economics and politics. I got great exposure to the advances being made in the sciences.

我在哈佛触摸着经济政治中的新思想，探索科学技术的未知前沿。

But humanity’s greatest advances are not in its discoveries – but in how those discoveries are applied to reduce inequity. Whether through democracy, strong public education, quality health care, or broad economic opportunity – reducing inequity is the highest human achievement.

但是，人类的进步不在于这些新发现，而在于如何运用这些发现减少社会不公。不管是通过民主政策、健全的公共教育、高质量的医疗保健还是广泛的商机，消除不平等始终是人类最大的目标。

I left campus knowing little about the millions of young people cheated out of educational opportunities here in this country. And I knew nothing about the millions of people living in unspeakable poverty and disease in developing countries. It took me decades to find out.

离开校园的时候，根本不知道在美国上百万年轻人没有接受教育的机会。也对发展中国家被贫困和病痛折磨的人们一无所知。我花了几十年才明白这些事情。

You graduates came to Harvard at a different time. You know more about the world’s inequities than the classes that came before. In your years here, I hope you’ve had a chance to think about how – in this age of accelerating technology – we can finally take on these inequities, and we can solve them.

如今，在座的各位应该比我更了解世界上的这些不平等现象。在你们的求学之路上我希望你们已经思考过这个问题——如何在这个高速发展的时代解决不平等现象。

Imagine, just for the sake of discussion, that you had a few hours a week and a few dollars a month to donate to a cause and you wanted to spend that time and money where it would have the greatest impact in saving and improving lives. Where would you spend it?

试想一下如果你每周捐出几个小时，几块钱，来参与一项能够拯救生命和提高生活品质的项目，你会如何选择?

For Melinda and for me, the challenge is the same: how can we do the most good for the greatest number with the resources we have.

我和妻子梅琳达就面临着这样一个问题：怎样才能充分利用我们拥有的资源。

During our discussions on this question, Melinda and I read an article about the millions of children who were dying every year in poor countries from diseases that we had long ago made harmless in this country. Measles, malaria, pneumonia, hepatitis B, yellow fever. One disease I had never even heard of, rotavirus, was killing half a million kids each year- none of them in the United States.

举棋不定时我们读到一篇文章，文章里说在贫困的国家里，每年有数百万，儿童死于于美国早已战胜的疾病——麻疹、疟疾、肺炎、乙肝、黄热病，还有一种从未听说的轮状病毒每年会夺走五十万儿童的生命，而在美国没有一例死亡病例。

We were shocked. We had just assumed that if millions of children were dying and they could be saved, the world would make it a priority to discover and deliver the medicines to save them. But it did not. For under a dollar, there were interventions that could save lives that just weren’t being delivered.

当时我们就震惊了。我以为全世界会不遗余力地拯救这些在死亡线上挣扎的儿童们，然而这些不值钱的救命药却没有送到他们手中。

If you believe that every life has equal value, it’s revolting to learn that some lives are seen as worth saving and others are not. We said to ourselves: “This can’t be true. But if it is true, it deserves to be the priority of our giving.”

如果你坚信人生而平等，把生命分等级的做法简直令人发指。我们对自己说：“这绝不可能。但万一这是真的，那么这将成为我们慈善事业的首要任务。

So we began our work in the same way anyone here would begin it. We asked: “How could the world let these children die?”

于是我们开始行动了 我相信这也会是你们的选择。我们疑惑：“这个世界怎么可以眼睁睁看着这些孩子死去?”

The answer is simple, and harsh. The market did not reward saving the lives of these children, and governments did not subsidize it. So the children died because their mothers and their fathers had no power in the market and no voice in the system. But you and I have both. We can make market forces work better for the poor if we can develop a more creative capitalism.

答案简单却残酷。市场经济中，拯救儿童没有利润，政府也不会给予补贴。父母无财无权 孩子们就死了。我们不一样，我们可以让市场更好地为穷人服务，如果我们可以改进现有资本主义制度。

If we can stretch the reach of market forces so that more people can make a profit, or at least make a living, serving people who are suffering from the worst inequities. We also can press governments around the world to spend taxpayer money in ways that better reflect the values of the people who pay the taxes.

改善市场环境，让更多的人赚到钱、维持生计，缓解苦难。给世界各地的政府施压 让他们把纳税人的钱花到最值得的地方。采取一些既满足满足穷人的需求，又能带来商业利润并为政治家带来选票的措施。

If we can find approaches that meet the needs of the poor in ways that generate profits for business and votes for politicians, we will have found a sustainable way to reduce inequity in the world.This task is open-ended. It can never be finished. But a conscious effort to answer this challenge will change the world.

采取一些既满足满足穷人的需求，又能带来商业利润并为政治家带来选票的措施，我们就摸索到了减少世界不平等的可持续发展道路。然而这项任务并没有终点，我们也许无法彻底解决。但只要不懈努力，就可以改变世界。

I am optimistic that we can do this, but I talk to skeptics who claim there is no hope. They say: “Inequity has been with us since the beginning, and will be with us till the end – because people just … don’t … care.” I completely disagree.

我始终保持乐观。但也听到过消极的言论。他们认为：“这种不平等现象会伴随我们一生，因为人们漠视这一切。”但我不苟同。

I believe we have more caring than we know what to do with. All of us here in this Yard, at one time or another, have seen human tragedies that broke our hearts, and yet we did nothing, not because we didn’t care, but because we didn’t know what to do. If we had known how to help, we would have acted.

虽然我们不知道该如何帮助他们，但我们绝对有这份心。我们都有过这样的经历，看到令人心碎的悲剧，却没有伸出援手。不是因为冷漠 而是我们不知道该怎么做。如果我们知道如何去帮，就一定会采取行动。

The barrier to change is not too little caring; it is too much complexity. To turn caring into action, we need to see a problem, see a solution, and see the impact. But complexity blocks all three steps.

阻碍援助步伐的并非冷漠，而是世界太复杂。要把爱心转变为行动，我们首先要发掘问题，然后寻找解决方案，并且监测效果。然而世界的复杂性阻碍着这些步骤的实施。

Even with the advent of the Internet and 24-hour news, it is still a complex enterprise to get people to truly see the problems. When an airplane crashes, officials immediately call a press conference. They promise to investigate, determine the cause, and prevent similar crashes in the future.

即使有了互联网和24小时不间断的新闻，人们仍然很难看到真正的问题。一架飞机发生坠毁事故，官员们会立刻召开新闻发布会，承诺调查起因，以避免今后发生类似的事故。

But if the officials were brutally honest, they would say: “Of all the people in the world who died today from preventable causes, one half of one percent of them were on this plane. We’re determined to do everything possible to solve the problem that took the lives of the one half of one percent.” The bigger problem is not the plane crash, but the millions of preventable deaths.

但如果那些官员敢讲真话，他们会说：“全世界每天会有好多人含恨而终，这起空难只是冰山一角。我们会不惜一切代价解决削平这一角冰山，此外的问题我们无力解决。” 可是与空难相比，那些夺走数百万生命的问题则更为严重。

We don’t read much about these deaths. The media covers what’s new – and millions of people dying is nothing new. So it stays in the background, where it’s easier to ignore. But even when we do see it or read about it, it’s difficult to keep our eyes on the problem. It’s hard to look at suffering if the situation is so complex that we don’t know how to help. And so we look away.

事实上那些人的死轻如鸿毛，司空见惯，连媒体都不屑于报道。更无法吸引我们的注意。即使我们知道了 它也很难刺痛我们的神经。世间最痛苦的事莫过于看着他人经受苦难的却无能为力，于是我们选择了逃避。

If we can really see a problem, which is the first step, we come to the second step: cutting through the complexity to find a solution.

发现问题，只是迈出了第一步，接下来我们还要：寻找解决方案。

Finding solutions is essential if we want to make the most of our caring. If we have clear and proven answers anytime an organization or individual asks “How can I help?,” then we can get action – and we can make sure that none of the caring in the world is wasted. But complexity makes it hard to mark a path of action for everyone who cares — and that makes it hard for their caring to matter.

如果不想让爱心变成空谈，就必须找到问题的解决方案。如果有清晰可靠的方案，那么政府或个人组织就能立刻采取行动，将爱心落实。但是世界的复杂性使找寻方案的过程无比艰难 于是爱心才沦为空谈。

Cutting through complexity to find a solution runs through four predictable stages: determine a goal, find the highest-leverage approach, discover the ideal technology for that approach, and in the meantime, make the smartest application of the technology that you already have whether it’s something sophisticated, like a drug, or something simpler, like a bednet.

打破复杂性需要四个步骤：确定目标、找到最有效的途径、寻找最理想的技术，并合理利用现有技术。无论是制作复杂的药物，还是利用简单的蚊帐，都行。

The AIDS epidemic offers an example. The broad goal, of course, is to end the disease. The highest-leverage approach is prevention. The ideal technology would be a vaccine that gives lifetime immunity with a single dose. So governments, drug companies, and foundations fund vaccine research. But their work is likely to take more than a decade, so in the meantime, we have to work with what we have in hand – and the best prevention approach we have now is getting people to avoid risky behavior.

以艾滋病为例。我们的目标是消灭它。最有效的途径是预防，最理想的技术是注射一剂疫苗实现终身免疫。所以现在政府、制药公司、基金会都在资助疫苗的研究。但可能要十几年才能研究出来，所以目前的最好的预防措施就是避开那些可能传播艾滋病的行为。

Pursuing that goal starts the four-step cycle again. This is the pattern. The crucial thing is to never stop thinking and working – and never do what we did with malaria and tuberculosis in the 20th century – which is to surrender to complexity and quit.

四步循环直达目标。记住永远不要停止思考和行动——永远不要像人们在20世纪对待疟疾和肺结核那样，向疾病投降。

The final step – after seeing the problem and finding an approach – is to measure the impact of your work and share your successes and failures so that others learn from your efforts.

在发现问题并找到解决方法后，还需监测结果，并与他人分享成功的经验和失败的教训，让别人也能从中受益。

You have to have the statistics, of course. You have to be able to show that a program is vaccinating millions more children. You have to be able to show a decline in the number of children dying from these diseases. This is essential not just to improve the program, but also to help draw more investment from business and government.

当然，你还得有统计数据。用来证明你的项目为上百万儿童接种了疫苗，证明这些孩子的死亡率降低了。这不仅有利于项目的改进，也有助于吸引更多的企业和政府投资。

But if you want to inspire people to participate, you have to show more than numbers. You have to convey the human impact of the work – so people can feel what saving a life means to the families affected.

但如果想吸引更多的人参与进来，光靠数字还远远不够。你需要展示出项目承载的价值，让他们明白挽救一个生命对其家庭的意义。

Remember going to Davos some years back and sitting on a global health panel that was discussing ways to save millions of lives. Millions! Think of the thrill of saving just one person’s life – then multiply that by millions. Yet this was the most boring panel I’ve ever been on – ever. So boring even I couldn’t bear it.

我记得几年前去达沃斯参加全球健康讨论会，关于如何挽救数百万人的生命。数百万人!只要想想挽救一条生命带来的震撼，再把这种震撼乘上几百万倍是什么感觉!然而，那是我见过的最无聊的讨论会。

What made that experience especially striking was that I had just come from an event where we were introducing version 13 of some piece of software, and we had people jumping and shouting with excitement. I love getting people excited about software – but why can’t we generate even more excitement for saving lives?

之所以铭记在心是因为我最近参加的一款软件发布会的现场氛围异常火爆。人们激动地欢呼雀跃。看到人们因为软件兴奋，我也很开心——但我们为什么无法对挽救生命更感兴趣呢?

You can’t get people excited unless you can help them see and feel the impact. And how you do that – is a complex question.

除非人们能感知到行动的影响力，否则人们就不会动心。如何做到这一点并不简单。

Still, I’m optimistic. Yes, inequity has been with us forever, but the new tools we have to cut through complexity have not been with us forever. They are new – they can help us make the most of our caring – and that’s why the future can be different from the past.

尽管如此，我还是很乐观。是的，不平等现象一直存在，但我们总会想出新的解决办法。新技术可以帮助我们传播爱心，我对未来充满信心。

The defining and ongoing innovations of this age – biotechnology, the computer, the Internet--give us a chance we’ve never had before to end extreme poverty and end death from preventable disease.

创新技术不断涌现，比如生物技术、计算机、互联网。让我们有机会终结救极度贫困和非恶性死亡。

Sixty years ago, George Marshall came to this commencement and announced a plan to assist the nations of post-war Europe. He said: “I think one difficulty is that the problem is one of such enormous complexity that the very mass of facts presented to the public by press and radio make it exceedingly difficult for the man in the street to reach a clear appraisement of the situation. It is virtually impossible at this distance to grasp at all the real significance of the situation.”

六十年前，乔治-马歇尔在哈佛的毕业典礼上宣布了一项协助战后欧洲的计划。他说：“我认为推动这项计划的困难在于，报纸和广播源源不断地提供各种事实，使得公众难以清晰地判断形势。事实上，经过层层传播，想要真正地把握形势，是根本不可能的。

Thirty years after Marshall made his address, as my class graduated without me, technology was emerging that would make the world smaller, more open, more visible, less distant.

马歇尔发表演讲三十年后，我的同学毕业了，科技开始发展，这个世界变得更小、更开放、更透明、人们之间的关系拉得更近。

The emergence of low-cost personal computers gave rise to a powerful network that has transformed opportunities for learning and communicating.

低成本个人电脑和互联网为人们提供了更多学习和交流的机会。

The magical thing about this network is not just that it collapses distance and makes everyone your neighbor. It also dramatically increases the number of brilliant minds we can have working together on the same problem and that scales up the rate of innovation to a staggering degree.

神奇的是，网络不仅缩短了人与人之间的距离，也增加了精英们集思广益共同解决难题的机会。加快了创新的规模和速度。

At the same time, for every person in the world who has access to this technology, five people don’t. That means many creative minds are left out of this discussion smart people with practical intelligence and relevant experience who don’t have the technology to hone their talents or contribute their ideas to the world.

然而世界上只有六分之一的人能够接触互联网，很多精英不能参与我们的讨论，很多人无法把它们解决问题的智慧和经验分享出 来。

We need as many people as possible to have access to this technology, because these advances are triggering a revolution in what human beings can do for one another.They are making it possible not just for national governments, but for universities, corporations, smaller organizations, and even individualsto see problems, see approaches, and measure the impact of their efforts to address the hunger, poverty, and desperation George Marshall spoke of 60 years ago.

如今，新技术将引发一场革命，让尽可能多的人与世界接轨，科技不仅为政府，也为大学、企业、小团体甚至个人带来了机会，而今这些机构和个人能够运用科技找到有效的解决60年前乔治•马歇尔谈到的饥荒、贫困和绝望。

Members of the Harvard Family: Here in the Yard is one of the great collections of intellectual talent in the world. What for?

各位哈佛大家庭的成员，你们是世界上少有的精英。我们为什么要上哈佛?

There is no question that the faculty, the alumni, the students, and the benefactors of Harvard have used their power to improve the lives of people here and around the world. But can we do more? Can Harvard dedicate its intellect to improving the lives of people who will never even hear its name?

毫无疑问，我们的教员、学生、校友都曾尽其所能改善全球人类的生活。我们还能更进一步吗?哈佛能够为不知道哈佛名气的陌生人奉献智慧，伸出援助之手吗?

Let me make a request of the deans and the professors the intellectual leaders here at Harvard: As you hire new faculty, award tenure, review curriculum, and determine degree requirements, please ask yourselves: Should our best minds be dedicated to solving our biggest problems?

请院长和教授接受我的不情之请，各位哈佛大学的精英领导者们，在你们雇用新教员、授予教授终身教职、评估课程安排和决定学位要求时，请问自己一个问题：最优秀的人才是否应该致力于解决人类的困境?

Should Harvard encourage its faculty to take on the world’s worst inequities? Should Harvard students learn about the depth of global poverty … the prevalence of world hunger … the scarcity of clean water …the girls kept out of school the children who die from diseases we can cure?

哈佛是否应该鼓励教授解决世界上存在的严重不平等?哈佛的学生是不是应该多关注一些全球贫富不均、粮食短缺、水资源稀缺、女童辍学的问题?以及那些因无法接受有效治疗而死亡的孩子?

Should the world’s most privileged people learn about the lives of the world’s least privileged?

世界上最衣食无忧的人是否应该了解那些挣扎在死亡边缘的人们的生活?

These are not rhetorical questions – you will answer with your policies.

这并非言语修辞，这些问题只能用行动回答。

My mother, who was filled with pride the day I was admitted here – never stopped pressing me to do more for others. A few days before my wedding, she hosted a bridal event, at which she read aloud a letter about marriage that she had written to Melinda. My mother was very ill with cancer at the time, but she saw one more opportunity to deliver her message, and at the close of the letter she said: “From those to whom much is given, much is expected.”

我的母亲一直为我考上哈佛而自豪，也一直督促我回报社会。我结婚的前几天的仪式上，她高声朗读自己写给我妻子的信。当时我母亲已经是癌症晚期，但她坚持要用这个机会表达自己的观点。信的最后 她念道：“获益越多，责任越大。”

When you consider what those of us here in this Yard have been given – in talent, privilege, and opportunity – there is almost no limit to what the world has a right to expect from us.

想想我们获得了什么——天赋，特权，机遇——世界寄予殷切的期望。

In line with the promise of this age, I want to exhort each of the graduates here to take on an issue –a complex problem, a deep inequity, and become a specialist on it.If you make it the focus of your career, that would be phenomenal.But you don’t have to do that to make an impact. For a few hours every week, you can use the growing power of the Internet to get informed, find others with the same interests, see the barriers, and find ways to cut through them.

我希望每位毕业生承担起这样一种责任—— 参与解决人类不平等的问题，如果你献身这项事业，你的影响力将会是惊人的。既便不打算以此为业，你一样可以有所作为。每周只需要花几个小时，就可以利用互联网获取信息、找到志同道合的朋友、设法解决一两个问题。

Don't let complexity stop you. Be activists. Take on the big inequities. It will be one of the great experiences of your lives.

不要畏难，尽管放手去做。它将是你生命中最宝贵经历。

You graduates are coming of age in an amazing time.As you leave Harvard, you have technology that members of my class never had. You have awareness of global inequity, which we did not have. And with that awareness, you likely also have an informed conscience that will torment you if you abandon these people whose lives you could change with very little effort. You have more than we had; you must start sooner, and carry on longer.

这是一个神奇的时代。今天的科技是我年轻时不曾体验的。你们对不平等现象的认识远远超过我们这代人。面对这种不平等，你们更容易受良心的谴责。行动起来，时不我待。

And I hope you will come back here to Harvard 30 years from now and reflect on what you have done with your talent and your energy. I hope you will judge yourselves not on your professional accomplishments alone, but also on how well you have addressed the world’s deepest inequities … on how well you treated people a world away who have nothing in common with you but their humanity.

30年后当你再次回到哈佛的时候，我希望看到你用自己的天赋和精力做了哪些事。不仅用专业成就来衡量成功，还要看你是如何解决人类根深蒂固的不平等问题。你是怎样对待那些与你相隔万里、迥然不同的人的。

Good luck.

同学们，祝你们好运!

名人英语励志演讲2：奥斯卡最佳剧作家索尔金雪城大学毕业演讲

Thank you very much.

谢谢，谢谢大家。

Madam Chancellor, members of the Board of Trustees, members of the faculty and administration, parents and friends, honored guests and graduates, thank you for inviting me to speak today at this magnificent Commencement ceremony.

校长、校董会委员、所有教职员、各位家长和朋友、各位来宾和毕业生，感谢你们今天邀请我在这个盛大的毕业典礼上演讲。

There's a story about a man and a woman who have been married for 40 years. One evening at dinner the woman turns to her husband and says, "You know, 40 years ago on our wedding day you told me that you loved me and you haven't said those words since." They sit in silence for a long moment before the husband says "If I change my mind, I'll let you know."

我先说个关于一对结婚40年夫妻的故事。某天晚餐时，妻子转头对丈夫说，“你知道吗?40年前，我们结婚那天，你对我说你爱我，之后就不曾再说过这句话。”沉默了许久后，丈夫终于开口，“如果我改变了主意，会让你知道。”

Well, it's been a long time since I sat where you sit, and I can remember looking up at my teachers with great admiration, with fondness, with gratitude and with love. Some of the teachers who were there that day are here this day and I wanted to let them know that I haven't changed my mind.

好了，我像你们这样坐在台下是很久以前的事了，我还记得自己满怀敬佩、感激与喜爱之情看着台上的老师，当时有些老师今天也在场。我想让他们知道，我对他们的感激之情不曾改变。

There's another story. Two newborn babies are lying side by side in the hospital and they glance at each other. Ninety years later, through a remarkable coincidence, the two are back in the same hospital lying side by side in the same hospital room. They look at each other and one of them says, "So what'd you think?"

再说另一个故事。两位新生儿并肩躺在医院的育儿室里，彼此对看了一眼。90年后，在一个不可思议地巧合下，两人并肩躺在同一家医院的病房里。他们看着对方，其中一位说，“好吧，你感觉如何?”

It's going to be a very long time before you have to answer that question, but time shifts gears right now and starts to gain speed. Just ask your parents whose heads, I promise you, are exploding right now. They think they took you home from the maternity ward last month. They think you learned how to walk last week. They don't understand how you could possibly be getting a degree in something today. They listened to "Cats in the Cradle" the whole car ride here.

你们很久以后才需要回答这个问题。但物换星移，时间飞快流逝，只要问你们的父母就知道。我向你们保证，现在他们的思绪必定乱成一团。在他们记忆里，彷佛上个月才将你从产房带回家，彷佛你上星期才学会走路，他们不明白你们怎么可能今天就取得某个学位。他们一路听着“摇篮里的猫”前来这里。

I'd like to say to the parents that I realized something while I was writing this speech: the last teacher your kids will have in college will be me. And that thought scared the hell out of me. Frankly, you should feel exactly the same way. But I am the father of an 11-year-old daughter, so I do know how proud you are today, how proud your daughters and your sons make you every day, and that they did just learn how to walk last week, that you'll never not be there for them, that you love them more than they'll ever know and that it doesn’t matter how many degrees get put in their hand, they will always be dumber than you are.

我想告诉各位家长，我在写这篇演讲稿时领悟到的一件事：你们孩子大学里最后一位老师将会是我。这个念头令我胆颤心惊。老实说，你们也应该有相同感觉。但我是一位11岁女儿的父亲，所以我确实了解你们今天是多么骄傲;你们的儿女时时刻刻让你们 感到多么自豪;他们确实上星期才学会走路;你永远不需要为了参加他们的毕业典礼而来到这里;他们永远不知道你有多么爱他;无论他们拿到多少个学位，他们永远比你笨。

And make no mistake about it, you are dumb. You're a group of incredibly well-educated dumb people. I was there. We all were there. You're barely functional. There are some screw-ups headed your way. I wish I could tell you that there was a trick to avoiding the screw-ups, but the screw-ups, they're a-coming for ya. It's a combination of life being unpredictable, and you being super dumb.

这是无庸置疑地，你们确实是傻子。你们是一群受过良好教育的傻子。我经历过这个阶段，我们全都经历过这个阶段。你们几乎做不成什么大事。总会有一些愚蠢的想法牵引着你的决定，我希望我能告诉你们避开这些愚蠢想法的诀窍，但你依然逃不开这些愚蠢的想法，这就是导致生命变得无法预知、让你显得超级愚蠢的罪魁祸首。

Today is May 13th and today you graduate. Growing up, I looked at my future as a timeline of graduations in which every few years, I'd be given more freedom and reward as I passed each milestone of childhood. When I get my driver's license, my life will be like this; when I'm a senior, my life will be like that; when I go off to college, my life will be like this; when I move out of the dorms, my life will be like that; and then finally, graduation. And on graduation day, I had only one goal left, and that was to be part of professional theater. We have this in common, you and I—we want to be able to earn a living doing what we love. Whether you're a writer, mathematician, engineer, architect, butcher, baker or candlestick maker, you want an invitation to the show.

今天是5月13日，你们毕业的日子。成长过程中，每隔几年，毕业就成了标记我未来人生进程的时间轴。每当我走过一个童年的里程碑，就得到更多的自由和奖励。当我拿到驾照时，生活会像这样;当我升上高中时，生活会像那样;当我念大学时，生活会像这样;当我搬出宿舍时，生活会像那样;然后我终于毕业。毕业那天，我只剩下一个目标，就是成为专业剧团的一员。这是你们和我的共同点，我们都希望从事自己感兴趣的工作，无论是作家、数学家、工程师、建筑师、屠夫、面包师傅或烛台制造商，你们都希望登上属于自己的舞台。

Today is May 13th, and today you graduate, and today you already know what I know: to get where you're going, you have to be good, and to be good where you're going, you have to be damned good. Every once in a while, you'll succeed. Most of the time you'll fail, and most of the time the circumstances will be well beyond your control.

今天是5月13日，你们毕业的日子，我明白的道理你们也都明白。想达成目标，你必须有好的表现;希望能有所成就，你必须拿出超乎寻常的好表现。偶尔你能侥幸成功，大多时候则难免经历失败;大多时候，情况并非你所能掌控。

When we were casting my first movie, "A Few Good Men," we saw an actor just 10 months removed from the theater training program at UCLA. We liked him very much and we cast him in a small, but featured role as an endearingly dimwitted Marine corporal. The actor had been working as a Domino's Pizza delivery boy for 10 months, so the news that he'd just landed his first professional job and that it was in a new movie that Rob Reiner was directing, starring Tom Cruise and Jack Nicholson, was met with happiness. But as is often the case in show business, success begets success before you've even done anything, and a week later the actor's agent called. The actor had been offered the lead role in a new, as-yet-untitled Milos Forman film. He was beside himself. He felt loyalty to the first offer, but Forman after all was offering him the lead. We said we understood, no problem, good luck, we'll go with our second choice. Which, we did. And two weeks later, the Milos Forman film was scrapped. Our second choice, who was also making his professional debut, was an actor named Noah Wyle. Noah would go on to become one of the stars of the television series "ER" and hasn't stopped working since. I don't know what the first actor is doing, and I can't remember his name. Sometimes, just when you think you have the ball safely in the end zone, you're back to delivering pizzas for Domino's. Welcome to the NFL.

当我第一部电影《军官与魔鬼》开拍时，剧组里有位十个月前才修完加州大学洛杉矶分校戏剧表演课程的演员。他很讨人喜欢，我们让他担任一个不是很重要、但十分显眼的角色-一位傻气而讨喜的海军下士。这位演员在Domino披萨担任了10个月的外送员，所以首次获得参与一部新电影演出的机会令他十分兴奋。这部电影由Rob Reiner导演，汤姆.克鲁斯和杰克.尼克逊主演。但如同演艺圈经常发生的情形：在你还来不及完成任何事之前，成功的机会便接踵而来。一 星期后，这位演员的经纪人致电给剧组：米洛斯·福尔曼一部尚未命名的电影邀请这位演员担任主角。他欣喜若狂，虽然他认为应该对第一个机会展现忠诚，但毕竟福尔曼让他担任主角。我们回复说，我们了解，没问题，祝你好运，我们将采用第二顺位的角色选择，我们确实这么做了。两星期后，米洛斯·福尔曼这部影片停拍，我们的第二选择——也是一位职业生涯中首次获得演出机会的演员，这位演员名叫Noah Wyle。Noah之后成为电视影集《急诊室的春天》主角之一，至今仍在演艺圈大放异彩。我不知道第一位演员现况如何，甚至想不起他的名字。有时候，就在你以为自己安全达阵时，却得回到Domino送披萨。欢迎来到野蛮世界。

In the summer of 1983, after I graduated, I moved to New York to begin my life as a struggling writer. I got a series of survival jobs that included bartending, ticket-taking, telemarketing, limo driving, and dressing up as a moose to pass out leaflets in a mall. I ran into a woman who'd been a senior here when I was a freshman. I asked her how it was going and how she felt Syracuse had prepared her for the early stages of her career. She said, "Well, the thing is, after three years you start to forget everything they taught you in college. But once you've done that, you'll be fine." I laughed because I thought it was funny and also because I wanted to ask her out, but I also think she was wrong.

1983年毕业后那个夏天，我搬到纽约，开始艰苦的写作生涯。我做过许多赖以糊口的工作，包括酒保、收票员、电话推销员、豪华轿车司机、穿着麋鹿装在商场里发传单。我曾遇见一位雪城大学的学姐，我问她近况如何，她认为雪城大学对她早期职业生涯提供了什么帮助。她说，“嗯，事实上，毕业三年后，你就会开始把学校所教的全都忘光;但一旦到了这个阶段，你就会开始渐入佳境。”我忍不住大笑，因为我觉得这十分荒谬，也有部分原因是我想约她出去。但我还是认为她的想法并不正确。

As a freshman drama student—and this story is now becoming famous—I had a play analysis class—it was part of my requirement. The professor was Gerardine Clark. If anybody was wondering, the drama students are sitting over there. The play analysis class met for 90 minutes twice a week. We read two plays a week and we took a 20-question true or false quiz at the beginning of the session that tested little more than whether or not we'd read the play. The problem was that the class was at 8:30 in the morning, it met all the way down on East Genesee, I lived all the way up at Brewster/Boland, and I don't know if you've noticed, but from time to time the city of Syracuse experiences inclement weather. All this going to class and reading and walking through snow, wind chill that's apparently powered by jet engines, was having a negative effect on my social life in general and my sleeping in particular. At one point, being quizzed on "Death of a Salesman," a play I had not read, I gave an answer that indicated that I wasn't aware that at the end of the play the salesman dies. And I failed the class. I had to repeat it my sophomore year; it was depressing, frustrating and deeply embarrassing. And it was without a doubt the single most significant event that occurred in my evolution as a writer. I showed up my sophomore year and I went to class, and I paid attention, and we read plays and I paid attention, and we discussed structure and tempo and intention and obstacle, possible improbabilities, improbable impossibilities, and I paid attention, and by God when I got my grades at the end of the year, I'd turned that F into a D. I'm joking: it was pass/fail.

当我身为戏剧系大一新生时-这个故事已越来越出名-我修了一堂戏剧分析课-这是必修课程之一，指导教授是 Gerardine Clark。如果有人想知道这些欢呼是怎么回事，戏剧系学生坐在那里。戏剧分析课每周上两次，每次九十分钟，每星期得研读两部剧本，每堂课开始时，会举行一场二十题是非题的小考，测验我们是否预习了剧本。问题是，这是早上八点三十分的课，上课地点在East Genesee街尾，我住在Brewster/Boland街 头。不知道你们是否注意到，雪城市的气候经常十分恶劣，我总是得在风雪交加中前往学校上课， 刺骨的寒风简直像从喷射机引擎中喷出似的，这对我的社交生活产生不少负面影响，尤其是睡眠质量。某次小考的内容是关于《推销员之死》，我并未事先预习这出 戏剧，我写出的答案显示，我不知道剧终时那位推销员是不是死了。这门课没有及格。我不得不在大二时重修，这令我十分沮丧、深感羞愧。毫无疑问地，这是我迈向作家之路过程中最刻骨铭心的事。大二时，我孜孜不倦地参与这门课程，用心研读剧本，讨论每一部剧本的架构、节奏、寓意及转折点，反复地 思考探索。我投注了全副心力，确实，当我在期末收到成绩单时，成绩从F进步到D。开个玩笑;这堂课只有过与不过的分别。

But I stood at the back of the Eisenhower Theater at the Kennedy Center in Washington watching a pre-Broadway tryout of my plays, knowing that when the curtain came down, I could go back to my hotel room and fix the problem in the second act with the tools that Gerry Clark gave me. Eight years ago, I was introduced to Arthur Miller at a Dramatists Guild function and we spent a good part of the evening talking. A few weeks later when he came down with the flu he called and asked if I could fill in for him as a guest lecturer at NYU. The subject was "Death of a Salesman." You made a good decision coming to school here.

但当我站在华盛顿肯尼迪表演艺术中心的Eisenhower剧场，观看我的剧作在进驻百老汇之前举行的试演时，心里想着，落幕之后，我就能回酒店房间，使用从Gerry Clark(其著作曾改编成著名戏剧)作品学到的技巧，修改第二幕的瑕疵。八年前，阿瑟.米勒(美国传奇剧作家)将我引介给美京剧作家协会，当晚我们相谈 甚欢。几星期后，他罹患流行感冒，打电话问我是否能代替他出席纽约大学的客座演讲，演讲主题正是《推销员之死》。来雪城大学念书确实是明智的选择。

I've made some bad decisions. I lost a decade of my life to cocaine addiction. You know how I got addicted to cocaine? I tried it. The problem with drugs is that they work, right up until the moment that they decimate your life. Try cocaine, and you'll become addicted to it. Become addicted to cocaine, and you will either be dead, or you will wish you were dead, but it will only be one or the other. My big fear was that I wasn't going to be able to write without it. There was no way I was going to be able to write without it. Last year I celebrated my 11-year anniversary of not using coke. Thank you. In that 11 years, I've written three television series, three movies, a Broadway play, won the Academy Award and taught my daughter all the lyrics to "Pirates of Penzance." I have good friends.

我曾误入歧途。因为古柯碱成瘾，浪费了生命中宝贵的十年。你们知道我怎么会染上古柯碱毒瘾吗?我只是试了一口。毒品最大的问题在于它们确实有用，直到摧毁你人生那一刻。只要试一 口，你就万劫不复。一旦染上毒瘾，你不是吸毒而死，就是生不如死，但总是逃不出这两 种悲惨的命运。我最大的恐惧是，没有它我会失去写作灵感，没有它我根本无法写作。上个月我庆祝了戒毒11周年。谢谢。这11年来，我写了三部电视系列影集、三部电影、一出百老汇戏剧、荣获奥斯卡奖，并教会我女儿整出《彭赞斯的海盗》(音乐剧)的歌词。我有许多好朋友。

You'll meet a lot of people who, to put it simply, don't know what they're talking about. In 1970 a CBS executive famously said that there were four things that we would never, ever see on television: a divorced person, a Jewish person, a person living in New York City and a man with a moustache. By 1980, every show on television was about a divorced Jew who lives in New York City and goes on a blind date with Tom Selleck.

你会遇见许多人，简单来说，总是满口胡言。1970年代，CBS将一句名言奉为圭臬：有四种角色绝不可能出现 在电视屏幕上-离婚的人、犹太人、纽约居民和蓄胡男子。到了1980年代，每部电视节目的内容都是描写住在纽约市的离婚犹太人，并和汤姆·谢立克(知名演员，蓄胡)进行盲目约会。

Develop your own compass, and trust it. Take risks, dare to fail, remember the first person through the wall always gets hurt. My junior and senior years at Syracuse, I shared a five-bedroom apartment at the top of East Adams with four roommates, one of whom was a fellow theater major named Chris. Chris was a sweet guy with a sly sense of humor and a sunny stage presence. He was born out of his time, and would have felt most at home playing Mickey Rooney's sidekick in "Babes on Broadway." I had subscriptions back then to Time and Newsweek. Chris used to enjoy making fun of what he felt was an odd interest in world events that had nothing to do with the arts. I lost touch with Chris after we graduated and so I'm not quite certain when he died. But I remember about a year and a half after the last time I saw him, I read an article in Newsweek about a virus that was burning its way across the country. The Centers for Disease Control was calling it "Acquired Immune Deficiency Syndrome" or AIDS for short. And they were asking the White House for $35 million for research, care and cure. The White House felt that $35 million was way too much money to spend on a disease that was only affecting homosexuals, and they passed. Which I'm sure they wouldn't have done if they'd known that $35 million was a steal compared to the $2 billion it would cost only 10 years later.Am I saying that Chris would be alive today if only he'd read Newsweek? Of course not. But it seems to me that more and more we've come to expect less and less of each other, and that's got to change. Your friends, your family, this school expect more of you than vocational success.

掌握自己的指南针，并相信它;勇于冒险、不怕失败;记住，第一位冲破高墙的人总不免受伤。我大三和大四时，在 East Adams街尽头和四位室友分租一栋五间卧室的公寓，其中一位名叫Chris的室友主修戏剧。Chris是个可爱的家伙，有着狡黠幽默感，总是在舞台上扮阳光男孩角色。他生不逢时，最擅长扮演《百老汇的小鬼》中Mickey Rooney伙伴那种角色。当时我订阅了《时代杂志》和《新闻周刊》;Chris感兴趣的是一些千奇百怪、跟艺术无关的事物。毕业后，我与Chris失去联络，所以不确定Chris是何时过世的。但我记得，大约在最后一次见到他一年半之后，我在《新闻周刊》上读到一篇文章，关于某种病毒正在全国蔓延的报导，疾病控制与预防中心称它为“获得性免疫缺陷综合症”，简称艾滋病。他们向白宫申请3500万美元的研究、照护和治疗经费，白宫认为，将3500万美元花 在某种只会感染同性恋的疾病上太过昂贵，拒绝了这项申请。我敢肯定，如果他们知道，比起10年后花在治疗上的20亿美元，3500万美元不过是九牛一毛， 当初就不会拒绝。我的意思是，只要Chris阅读《新闻周刊》，今天就能好好活着吗?当然不是。但在我看来，当我们期待越多，了解的就越少，这是必须改变 的现象。你的朋友、你的家人、这所学校对你的期待，不仅是职场上的成就。

Today is May 13th and today you graduate and the rules are about to change, and one of them is this: Decisions are made by those who show up. Don't ever forget that you're a citizen of this world. Don't ever forget that you're a citizen of this world, and there are things you can do to lift the human spirit, things that are easy, things that are free, things that you can do every day. Civility, respect, kindness, character. You're too good for schadenfreude, you're too good for gossip and snark, you're too good for intolerance—and since you're walking into the middle of a presidential election, it's worth mentioning that you're too good to think people who disagree with you are your enemy. Unless they went to Georgetown, in which case, they can go to hell.

今天是5月13日， 你们毕业的日子，代表你必须做出某些改变，其中一个原则如下：挺身而出者才有机会做出改变，别忘了你是这个世界的公民。别忘了你是这个世界的公民，你可以做些提升人类心灵层面的事，这些事并不困难，不过是举手之劳，随时随地都能进行。文明、尊重、善良、品格;你们不会幸灾乐祸;你们不会散播谣言、危言耸听;你们不会心胸狭窄、缺乏宽容。既然你们都可能迈向竞选总统之途，这句话值得 一提：你们不会视反对者为敌人，除非是来自乔治敦大学的人(雪城大学的死对头)。若碰上这种情况，就叫他们下地狱吧!

Don't ever forget that a small group of thoughtful people can change the world. It's the only thing that ever has. Rehearsal's over. You're going out there now, you're going to do this thing. How you live matters. You're going to fall down, but the world doesn't care how many times you fall down, as long as it's one fewer than the number of times you get back up.

别忘了，一群深思熟虑的人可以改变世界，这是唯一的真理。人生的排练已经结束，你们即将走出校门，开创真实人生，重要的是，你如何经营自己的人生。失败在所难免，但这个世界并不在乎你曾经失败过多少次，只要你能一次又一次地重新站起来。

For the class of 2012, I wish you joy. I wish you health and happiness and success, I wish you a roof, four walls, a floor and someone in your life that you care about more than you care about yourself. Someone who makes you start saying "we" where before you used to say "I" and "us" where you used to say "me." I wish you the quality of friends I have and the quality of colleagues I work with. Baseball players say they don't have to look to see if they hit a home run, they can feel it. So I wish for you a moment—a moment soon—when you really put the bat on the ball, when you really get a hold of one and drive it into the upper deck, when you feel it. When you aim high and hit your target, when just for a moment all else disappears, and you soar with wings as eagles. The moment will end as quickly as it came, and so you'll have to have it back, and so you'll get it back no matter what the obstacles. A lofty prediction, to be sure, but I flat out guarantee it.

2012年毕业生，祝福你们常怀喜悦，祝福你们健康、幸福、成功，祝福你们拥有幸福美满的家庭，拥有某个你在 乎他胜过自己的人，某个能与你共享生活中一切喜怒哀乐的人，希望你们拥有跟我朋友和同事一样优秀的伙伴。棒球选手说，他们不需要紧盯着球，就能感觉自己击出了全垒打。我期待有那么一天-在不久的将来-你们真正击中那颗球。掌握这个机会，更上一层楼，真正拥有这份感受。当你拥有崇高目标，并尽力达成时，在一刻，一切艰辛都将烟消云散，你将如鹰般展翅翱翔。这个瞬间稍纵即逝，所以你必须继续往目标迈进，你必须继续往目标迈进，不论途中遭遇多少阻碍。这确实是个崇高的目标，但只要付出努力，必定能够达成。