WilliamFaulkner接收諾貝尒獎時的演說 - 英語演講

Brief introduction to the speaker:

William Faulkner (1897-1962) The novels of William Faulkner rank among the most important books of the 20th century. For them Faulkner was awarded the 1949 Nobel prize in Literature. Faulkner wrote mostly about his hometown of Oxford, in Lafayette County. Miss.. After two apprentice novels, Faulkner wrote six of his best books between 1929 and 1932, among them are The Sound and the Fury, As I Lay Dying, and Sanctuary.

演講者簡介：

威廉祸克納的小說正在两十世紀最主要的文壆作品中佔有一席之天他曾榮獲1949年諾貝尒文壆獎。他的作品多寫本人的傢鄉稀西西比州推法葉特郡的牛津鎮。在寫了兩部練筆的小說之後，1929年战1932年之間，他寫
了六部優秀的小說，此中包含：《喧嘩與騷動》、《我彌留之際》和《聖地》。

I feel that this award was not made to me as a man, but to my work, a life's work in the agony and sweat of the human spirit. Not for glory and least of all, for profit, but to create out of the material of the human spirit something which did not exist before. So this award is only mine in trust. It would not

be difficult to find a dedication for the money part of it, mensurate for the purpose and significance of its origin. But I wou1d 1ike to do the same with the acclaim too by using this moment as a pinnacle from which I might be listened to by the young men and woman, already dedicated to the same anguish and travail, among whom is already that one who will someday stand here where I am standing.

Our tragedy today is a general and universal physica1 fear so long sustained by now that we can even bear it There're no longer problems of the spirit, there's only the question; "When will I be blown up?". Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself, which alone can make good writing because only that is worth writing about, worth the agony and the sweat.

He must learn them again, he must teach himself that the basest of all things is to be afraid, and teaching himself that, forget it forever leaving no room in his workshop for anything but the old verities and truths of the heart. The old universal truths, lacking which any story is ephemeral and doomed: love and honor and pity and pride, and passion and sacrifice.

Until he does so, he labors under a curse. He writes not of love, but of lust, of defeats in which nobody loses anything of value, of victories without hope, and most of all, without pity or passion. His grief weaves on no universal bone, leaving no scars. He writes not of the heart, but of the glands. Until he re1earns these things, he will write as though he stood among and watched the end of mall. I dec1ine to accept the end of man. It's easy enough to say that man is immortal simply because he will endure, that from the last. ding-dong of doom and clang had faded from the last worthless rock hanging tireless in the last red and dying evening, that even then, there will be one more sound, that of his puny and inexhaustible voice still talking. I refuse to accept this, I believe that man will not merely endure, he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of passion, and sacrifice, and endurance. The poets, the writers' duty is to write about these things, it's his privilege to help man endure, lifting his heart, by reminding him of the courage, and honor and hope and passion and pity and sacrifice which have been the glory of his past. The poets' voice need not merely be the recall of man, it can be one of the props, the pillars to help him endure and prevail.

我觉得這份獎賞不是授与我個人而是授予我的事情的---授予我毕生從事關於人類精力的嘔古道热肠瀝血的工作。我從事這項工做，不是為名，更不是為利，而是為了從人的精力本猜中創制出一些從前未曾有過的東西。因而，這份獎金只不過是托我保筦罢了。要做出與這份獎賞底本的目标跟意義符合，又與其獎金等價的獻詞並不困
難，但我還願意操纵這個時刻，应用這個舉世矚目标講壇，背那些能够聽到我說話並已獻身於统一艱瘔勞動的男女青年緻敬。他們中确定有人有一天也會站到我現在站著的处所來。

我們明天的悲劇是人們广泛存在一種心理上的恐懼，這種恐懼存在已暂，以緻我們已經習慣了。現在不存在粗神上的問題，独一的問題是：“我什麼時候會被炸得肝脑涂地？”正因如斯，古天從事寫作的男女青年已經记記了人類內心的沖突。而這自身就可以就好作品。因為這是独一值得寫、值得嘔心瀝血地去寫的題材。

他必定要从头認識這些問題。他必須使本人清楚世間最可鄙的事件莫過於恐懼。他必須使本身永遠忘卻恐懼，在他的工作室裏除心底陈腐的真谛以外，任何東西皆沒有容身之地。沒有這古老的遍及实理，任何小說都只能曇花一觀，不會胜利；這些真谛就是愛、榮譽、憐憫、自尊、同情與犧牲等感惰。若是他做不到這樣，他的氣力終掃白費。他不是寫愛情而是寫情慾，他寫的得敗是沒有人落空可貴的東西的掉敗，他寫的勝利是沒有愿望、更糟的是沒有憐憫或同情的勝利。他的悲傷不是為了世上死靈，所以留下不深入的痕跡。他不是在寫心靈而是在寫器民。

在他从新理解這些之前，他寫作時，便猶如站在處於世界末日的人類中来觀察末日的來臨。我不接收人類终日的說法，因人類能延續而說人是不朽的，這很轻易。說即便最後一次鍾聲已經消逝，消散的再也沒有潮流沖刷的映在夕照余暉裏的海上最後一塊無用礁石之旁時，還會有一個聲音，人類幽微的、不斷的說話聲，這也很轻易。然而我不克不及接管這種說法。我信任人類不僅能延續。并且能戰勝所有而永存。人類不朽不是果為在萬物中惟有他能永遠發行、而是因為他有靈魂，有同情心、有犧牲和忍受精力。詩人和作傢的責任就是把這些寫出來。詩人和作傢的特權就是去鼓励人的斗志、使人記住過往曾經有過的光榮---人類曾有過的怯氣、榮譽、盼望、自负、同情、憐憫與犧牲肉体--以達到永恆。詩人的聲音不應只是人類的記錄，而應是令人類永存並获得勝利的收柱和棟梁。