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鮑勃?迪倫諾貝爾獲獎(jiǎng)感言
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2016/12/29 12:29:09

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鮑勃?迪倫諾貝爾獲獎(jiǎng)感言

2016年諾貝爾獎(jiǎng)?lì)C獎(jiǎng)儀式10日在瑞典首都斯德哥爾摩（Stockholm, Sweden）舉行。

令人遺憾的是，萬(wàn)眾期待的文學(xué)獎(jiǎng)得主鮑勃?迪倫上臺(tái)領(lǐng)獎(jiǎng)發(fā)表感言的畫面并沒(méi)有出現(xiàn)。

雖然缺席典禮，但他親筆寫了一篇演講稿，由美國(guó)駐瑞典大使（US ambassador to Sweden）代為朗讀。

今年10月，瑞典皇家學(xué)院宣布鮑勃?迪倫獲得諾貝爾文學(xué)獎(jiǎng)，引來(lái)一片喝彩聲和質(zhì)疑聲，很多人都問(wèn)：

"Is Bob Dylan literature?"
“鮑勃?迪倫寫的東西算文學(xué)嗎？”

在獲獎(jiǎng)感言中，冷靜的迪倫直面了這個(gè)質(zhì)疑，以同樣為舞臺(tái)寫作（writing for the stage）的莎士比亞為例，做了類比：

When he was writing Hamlet, I’m sure he was thinking about a lot of different things: ‘Who’re the right actors for these roles? How should this be staged? Do I really want to set this in Denmark?’ ... I would bet that the farthest thing from Shakespeare’s mind was the question: ‘Is this literature?’
當(dāng)他在寫《哈姆雷特》時(shí)候，他一定在想這些問(wèn)題，“誰(shuí)適合演這些角色？”“這段要怎么在舞臺(tái)上展現(xiàn)出來(lái)？”“故事背景真的應(yīng)該設(shè)在丹麥嗎？”……我打賭莎士比亞最不可能思考的問(wèn)題就是：“這是文學(xué)嗎？”

鮑勃?迪倫獲獎(jiǎng)感言全文，來(lái)感受一下。

Good evening, everyone. I extend my warmest greetings to the members of the Swedish Academy and to all of the other distinguished guests in attendance tonight.
各位晚上好。我向瑞典學(xué)院的成員和今晚所有出席宴會(huì)的尊貴來(lái)賓致以最熱烈的問(wèn)候。

I'm sorry I can't be with you in person, but please know that I am most definitely with you in spirit and honored to be receiving such a prestigious prize. Being awarded the Nobel Prize for Literature is something I never could have imagined or seen coming.
很抱歉我沒(méi)能到現(xiàn)場(chǎng)與諸位共享此刻，但請(qǐng)相信，在精神上，我絕對(duì)與你們同在，我深感榮幸能獲得如此聲望卓著的獎(jiǎng)項(xiàng)。被授予諾貝爾文學(xué)獎(jiǎng)，是我從未想象過(guò)也沒(méi)有預(yù)見到的事情。

From an early age, I've been familiar with and reading and absorbing the works of those who were deemed worthy of such a distinction: Kipling, Shaw, Thomas Mann, Pearl Buck, Albert Camus, Hemingway. These giants of literature whose works are taught in the schoolroom, housed in libraries around the world and spoken of in reverent tones have always made a deep impression. That I now join the names on such a list is truly beyond words.
從小，我就熟悉、閱讀并充分汲取那些被認(rèn)為值得獲得該項(xiàng)殊榮的人的作品，如吉卜林、蕭伯納、托馬斯?曼、賽珍珠、加繆、海明威。這些文學(xué)巨匠的著作在學(xué)堂上被講授、在世界各地圖書館中陳列、被被人們虔誠(chéng)地談?wù)撝?，它們給我留下了深刻的印象。如今能加入這樣的名列，我的心情無(wú)以言表。

I don't know if these men and women ever thought of the Nobel honor for themselves, but I suppose that anyone writing a book, or a poem, or a play anywhere in the world might harbor that secret dream deep down inside. It's probably buried so deep that they don't even know it's there.
我不知道，這些作家是否想過(guò)自己能獲得諾獎(jiǎng)，但我猜想世界上任何一個(gè)著書寫詩(shī)、或創(chuàng)作戲劇的人，內(nèi)心深處都懷揣著這個(gè)秘密的夢(mèng)想。這夢(mèng)想埋藏得如此之深以至于他們自己都沒(méi)意識(shí)到它的存在。

If someone had ever told me that I had the slightest chance of winning the Nobel Prize, I would have to think that I'd have about the same odds as standing on the moon. In fact, during the year I was born and for a few years after, there wasn't anyone in the world who was considered good enough to win this Nobel Prize. So, I recognize that I am in very rare company, to say the least.
如果有人告訴我，我有那么一絲希望能獲得諾獎(jiǎng)，那我會(huì)認(rèn)為這跟我能站在月球上的概率差不多。事實(shí)上，我出生的那一年和隨后的那些年，世界上幾乎沒(méi)有人是完全值得諾貝爾獎(jiǎng)的，所以，我想，至少可以說(shuō)我現(xiàn)在屬于一個(gè)非常少數(shù)的群體。

I was out on the road when I received this surprising news, and it took me more than a few minutes to properly process it. I began to think about William Shakespeare, the great literary figure. I would reckon he thought of himself as a dramatist. The thought that he was writing literature couldn't have entered his head. His words were written for the stage. Meant to be spoken not read.
我是在世界巡演的過(guò)程中得知這一令人驚訝的消息的，我花了好一會(huì)兒去消化它。然后，我聯(lián)想到了莎士比亞這位文學(xué)偉人。我想他是把自己當(dāng)一個(gè)寫劇本的來(lái)看待的，他怎么也不會(huì)想到自己是在創(chuàng)作文學(xué)。他的文字是為舞臺(tái)而生的，是為了言說(shuō)而不是閱讀。

When he was writing Hamlet, I'm sure he was thinking about a lot of different things: "Who're the right actors for these roles?" "How should this be staged?" "Do I really want to set this in Denmark?" His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with. "Is the financing in place?" "Are there enough good seats for my patrons?" "Where am I going to get a human skull?" I would bet that the farthest thing from Shakespeare's mind was the question "Is this literature?"
在寫《哈姆雷特》的時(shí)候，他一定在想這些問(wèn)題，“誰(shuí)適合演這些角色？”“這段要怎么在舞臺(tái)上展現(xiàn)出來(lái)？”“故事背景真的要設(shè)在丹麥嗎？”他富于創(chuàng)造的想象與野心毫無(wú)疑問(wèn)是他思維最活躍的部分，但也有很多世俗瑣事要考慮和處理。 “資金到位了嗎？”“贊助人都能安排到好座位嗎？”“到哪里能弄到人的頭骨??？”我打賭莎士比亞最不可能思考的問(wèn)題就是：“這是文學(xué)嗎？”

When I started writing songs as a teenager, and even as I started to achieve some renown for my abilities, my aspirations for these songs only went so far. I thought they could be heard in coffee houses or bars, maybe later in places like Carnegie Hall, the London Palladium. If I was really dreaming big, maybe I could imagine getting to make a record and then hearing my songs on the radio. That was really the big prize in my mind. Making records and hearing your songs on the radio meant that you were reaching a big audience and that you might get to keep doing what you had set out to do.
我少年時(shí)代開始寫歌時(shí)，甚至當(dāng)我因自己的才能而小有知名度時(shí)，我對(duì)這些歌曲的期待都十分很有限。我希望它們能在咖啡廳或酒吧被人聽到，或者將來(lái)能在卡內(nèi)基音樂(lè)廳，倫敦帕拉斯劇院這些地方被演唱。如果夢(mèng)做得再大膽些，我希望我的音樂(lè)能被制作成唱片在電臺(tái)播放，這真是我心目中最好的獎(jiǎng)賞了。錄唱片在電臺(tái)播放意味著你能接觸到更龐大的聽眾群體，而你也能按照自己的理想繼續(xù)走下去。

Well, I've been doing what I set out to do for a long time, now. I've made dozens of records and played thousands of concerts all around the world. But it's my songs that are at the vital center of almost everything I do. They seemed to have found a place in the lives of many people throughout many different cultures and I'm grateful for that.
現(xiàn)在，我已經(jīng)朝著自己規(guī)劃的路走了很久了。我發(fā)行了幾十張唱片，在全球舉辦了上千場(chǎng)演唱會(huì)。但我的歌曲才是我所做一切的核心，它們似乎在不同文化的各類人群中產(chǎn)生了影響，對(duì)此我無(wú)限感激。

But there's one thing I must say. As a performer I've played for 50,000 people and I've played for 50 people and I can tell you that it is harder to play for 50 people. 50,000 people have a singular persona, not so with 50. Each person has an individual, separate identity, a world unto themselves. They can perceive things more clearly. Your honesty and how it relates to the depth of your talent is tried. The fact that the Nobel committee is so small is not lost on me.
但有件事我必須要說(shuō)，作為一個(gè)表演者，我為5萬(wàn)人演唱過(guò)，也為50人演唱過(guò)，而為50個(gè)人表演難度更高。因?yàn)?萬(wàn)人會(huì)融成單一人格，但50人不會(huì)。他們每個(gè)人都是一個(gè)鮮明的個(gè)體，不同的身份，自成一體。他們能更加清晰地感知事物。你的真誠(chéng)以及它如何反應(yīng)出你的才華和深度，都在經(jīng)受考驗(yàn)。諾獎(jiǎng)評(píng)委會(huì)的人數(shù)之少，我是清楚的。

But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life's mundane matters. "Who are the best musicians for these songs?" "Am I recording in the right studio?" "Is this song in the right key?" Some things never change, even in 400 years.
然而，與莎士比亞一樣，我常常被音樂(lè)創(chuàng)作和日常雜事占據(jù)了大部分時(shí)間精力，“誰(shuí)最適合演唱這些歌？”“這個(gè)錄音室錄音效果好嗎？”“這首歌的調(diào)子定對(duì)了嗎？”就算過(guò)了400年，有些事也不會(huì)變的。

Not once have I ever had the time to ask myself, "Are my songs literature?"
但我從來(lái)沒(méi)有時(shí)間問(wèn)過(guò)自己：“我的歌算文學(xué)嗎？”

So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.
所以，我真的要感謝瑞典文學(xué)院，不僅花時(shí)間思考這個(gè)問(wèn)題，還最終給出了一個(gè)精彩的回答。

My best wishes to you all,
致以最好的祝福，

Bob Dylan
鮑勃?迪倫

迪倫沒(méi)時(shí)間考慮自己的創(chuàng)作是否算是文學(xué)，所以只能由諾貝爾官方來(lái)為他辯護(hù)了。

在頒獎(jiǎng)詞中，諾貝爾皇家學(xué)院的Horace Engdahl教授用一篇充滿力量、極盡贊譽(yù)的演講回?fù)袅四切┡u(píng)質(zhì)疑的聲音。

不愧是諾貝爾文學(xué)獎(jiǎng)的頒獎(jiǎng)詞！這篇演講稿文采斐然，如詩(shī)一般的語(yǔ)言，讀來(lái)極有韻味，值得細(xì)品。

What brings about the great shifts in the world of literature? Often it is when someone seizes upon a simple, overlooked form, discounted as art in the higher sense, and makes it mutate.
什么會(huì)帶來(lái)文學(xué)世界的巨變？通常，是一種簡(jiǎn)單、被人忽視，從更高意義來(lái)說(shuō)被貶低為技藝的一種形式被某個(gè)人所掌握，并令其蛻變的時(shí)候。

Thus, at one point, emerged the modern novel from anecdote and letter, thus arose drama in a new age from high jinx on planks placed on barrels in a marketplace, thus songs in the vernacular dethroned learned Latin poetry, thus too did La Fontaine take animal fables and Hans Christian Andersen fairy tales from the nursery to Parnassian heights. Each time this occurs, our idea of literature changes.
于是，當(dāng)代小說(shuō)從奇聞?shì)W事與日常通信脫穎而出，戲劇從站在市集木桶板上表演的雜耍發(fā)軔，拉丁詩(shī)文漸被方言歌謠取代，同樣地，拉?方丹將動(dòng)物寓言、安徒生把童話，從育嬰室升華到高蹈派詩(shī)歌的高度。每一次變化的出現(xiàn)，我們對(duì)于文學(xué)的看法就隨之發(fā)生改變。

In itself, it ought not to be a sensation that a singer/songwriter now stands recipient of the literary Nobel Prize. In a distant past, all poetry was sung or tunefully recited, poets were rhapsodes, bards, troubadours; 'lyrics' comes from 'lyre'.
本來(lái)，一位歌手或作曲家成為諾貝爾文學(xué)獎(jiǎng)得主并不應(yīng)該成為一個(gè)聳人聽聞的事件。在久遠(yuǎn)的過(guò)去，所有的詩(shī)都是唱出來(lái)或是帶著音調(diào)起伏誦讀出來(lái)的。史詩(shī)吟誦者、游吟詩(shī)人、行吟詩(shī)人，他們就是詩(shī)人；而“歌詞”一詞就來(lái)源于“里爾琴”。

But what Bob Dylan did was not to return to the Greeks or the Proven?als. Instead, he dedicated himself body and soul to 20th century American popular music, the kind played on radio stations and gramophone records for ordinary people, white and black: protest songs, country, blues, early rock, gospel, mainstream music. He listened day and night, testing the stuff on his instruments, trying to learn. But when he started to write similar songs, they came out differently.
但鮑勃?迪倫所做的并非要回到古希臘或中古的普羅旺斯。相反，他全身心地投入于20世紀(jì)的美國(guó)流行音樂(lè)中，這些都是為普通人創(chuàng)作的音樂(lè)，不分人種，它們?cè)趶V播電臺(tái)和留聲機(jī)唱片中播放：抗議歌曲、鄉(xiāng)村音樂(lè)、藍(lán)調(diào)、早期搖滾樂(lè)、福音音樂(lè)和主流音樂(lè)……他日夜聆聽，用樂(lè)器彈奏，試著學(xué)習(xí)創(chuàng)作。當(dāng)他開始寫出類似的歌曲時(shí)，它們呈現(xiàn)出來(lái)的卻是另一片天地。

In his hands, the material changed. From what he discovered in heirloom and scrap, in banal rhyme and quick wit, in curses and pious prayers, sweet nothings and crude jokes, he panned poetry gold, whether on purpose or by accident is irrelevant; all creativity begins in imitation.
在他的手中，這些素材發(fā)生了變化。從別人的傳家寶與廢棄之物中、從陳腐的韻律與機(jī)靈妙語(yǔ)中、從邪惡的詛咒和虔誠(chéng)的禱告中、從甜言蜜語(yǔ)和粗鄙玩笑中，他淘出了詩(shī)歌的黃金。是有心還是無(wú)意，都無(wú)關(guān)緊要。所有的創(chuàng)作都始于模仿。

Even after fifty years of uninterrupted exposure, we are yet to absorb music's equivalent of the fable's Flying Dutchman. He makes good rhymes, said a critic, explaining greatness. And it is true. His rhyming is an alchemical substance that dissolves contexts to create new ones, scarcely containable by the human brain.
即使在50年的不斷聆聽之后，我們還未能完全領(lǐng)悟迪倫那些在音樂(lè)領(lǐng)域能與《漂泊的荷蘭人》相媲美的歌曲?！八男衫世噬峡?，”一位評(píng)論家如是解釋他的偉大。沒(méi)錯(cuò)。他的韻律就像是一劑煉金秘方，溶解現(xiàn)有的語(yǔ)境創(chuàng)造出人類大腦所難以容納的新內(nèi)容。

It was a shock. With the public expecting poppy folk songs, there stood a young man with a guitar, fusing the languages of the street and the bible into a compound that would have made the end of the world seem a superfluous replay.
多么震撼。當(dāng)大眾在期待著流行民謠的時(shí)候，一個(gè)年輕人手持吉他站在那兒，把街頭俗語(yǔ)與圣經(jīng)語(yǔ)言熔在一起，讓世界末日看起來(lái)都像是多余的再現(xiàn)。

At the same time, he sang of love with a power of conviction everyone wants to own. All of a sudden, much of the bookish poetry in our world felt anaemic, and the routine song lyrics his colleagues continued to write were like old-fashioned gunpowder following the invention of dynamite. Soon, people stopped comparing him to Woody Guthrie and Hank Williams and turned instead to Blake, Rimbaud, Whitman, Shakespeare.
與此同時(shí)，他以一種人人想擁有的、令人信服的力量來(lái)歌頌愛。突然間，世間那些書面的詩(shī)詞變得如此蒼白無(wú)力，而他的同行們那些按部就班創(chuàng)作的詞曲也仿佛成了隨著炸藥誕生而過(guò)時(shí)了的火器。很快，人們不再把他與伍迪?格思里和漢克?威廉姆斯這些音樂(lè)人相比，而是將他與威廉?布萊克（英國(guó)浪漫主義詩(shī)人）、阿蒂爾?蘭波（法國(guó)象征主義詩(shī)人）、沃爾特?惠特曼（美國(guó)世人）和莎士比亞相提并論。

In the most unlikely setting of all - the commercial gramophone record - he gave back to the language of poetry its elevated style, lost since the Romantics. Not to sing of eternities, but to speak of what was happening around us. As if the oracle of Delphi were reading the evening news.
在商業(yè)化的黑膠唱片這一最不可能的條件中，他重新賦予詩(shī)歌語(yǔ)言以高昂的姿態(tài)，這是自浪漫主義時(shí)代之后便已失掉的風(fēng)格。不為歌頌永恒，只在敘述我們的日常，好似德爾斐的神諭正向我們播報(bào)著晚間新聞。

Recognising that revolution by awarding Bob Dylan the Nobel Prize was a decision that seemed daring only beforehand and already seems obvious. But does he get the prize for upsetting the system of literature? Not really. There is a simpler explanation, one that we share with all those who stand with beating hearts in front of the stage at one of the venues on his never-ending tour, waiting for that magical voice.
通過(guò)授予鮑勃?迪倫諾獎(jiǎng)來(lái)認(rèn)可這一革命，初時(shí)似乎會(huì)覺得過(guò)于大膽，但現(xiàn)在已然覺得理所應(yīng)當(dāng)。但他獲得文學(xué)獎(jiǎng)是因?yàn)轭嵏擦宋膶W(xué)系統(tǒng)嗎？并不是。還有個(gè)更簡(jiǎn)單的解釋，這個(gè)解釋所有看過(guò)迪倫演出的觀眾都懂，他們都懷著一顆跳動(dòng)的心站在迪倫那永不停歇的巡演舞臺(tái)前，等待著那魔力般的聲音響起。

Chamfort made the observation that when a master such as La Fontaine appears, the hierarchy of genres - the estimation of what is great and small, high and low in literature - is nullified. “What matter the rank of a work when its beauty is of the highest rank?" he wrote. That is the straight answer to the question of how Bob Dylan belongs in literature: as the beauty of his songs is of the highest rank.
法國(guó)劇作家尚福爾評(píng)論說(shuō)，當(dāng)諸如拉?方丹這類文學(xué)巨擘誕生時(shí)，文學(xué)類型的等級(jí)——對(duì)文學(xué)高低貴賤的價(jià)值估量——便再無(wú)約束力。他曾寫到：“當(dāng)一部作品自身的美達(dá)到了巔峰時(shí)，等級(jí)還有什么意義呢？”這也是對(duì)鮑勃?迪倫如何屬于文學(xué)范疇這一問(wèn)題最直白的解答：他的音樂(lè)之美已達(dá)到最崇高的地位。

By means of his oeuvre, Bob Dylan has changed our idea of what poetry can be and how it can work. He is a singer worthy of a place beside the Greeks' ?οιδ?ι, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the Blues, beside the forgotten masters of brilliant standards. If people in the literary world groan, one must remind them that the gods don't write, they dance and they sing. The good wishes of the Swedish Academy follow Mr. Dylan on his way to coming bandstands.
迪倫的畢生作品已經(jīng)改變了我們對(duì)詩(shī)的認(rèn)知——詩(shī)是什么，該如何創(chuàng)作。鮑勃?迪倫作為一名歌手，值得與希臘聲樂(lè)家、古羅馬的奧維德、浪漫主義空想家、藍(lán)調(diào)歌王歌后、和以及諸多以高標(biāo)準(zhǔn)來(lái)衡量而被遺忘的大師共享盛名。如果文學(xué)界的人對(duì)此不滿，那他應(yīng)該記得：神并不寫作，他們只歌唱舞蹈。瑞典學(xué)院的美好祝愿將一路跟隨迪倫先生的音樂(lè)之路前行。

［eging4 于 2016-12-29 12:33:25 編輯過(guò)］ 1111