Bob Dylan諾貝爾獎晚宴謝辭全文中譯
※Bob Dylan諾貝爾獎晚宴謝辭全文中譯
「我的歌是文學嗎？」( “Are my songs literature?” － Bob Dylan )
美國駐瑞典大使阿茲塔 拉吉(Azita Raji)代Bob Dylan 致諾貝爾獎晚宴謝辭全文
高塔翻譯 2016
謝辭全文
諸位晚安。在此謹向瑞典學院成員和今晚與會的每一位貴賓，致上最熱忱的祝福。
很抱歉，我今晚無法親臨，和你們共聚一堂，但是當知，我肯定在精神上與你們同在，並且對獲頒這座崇譽獎項，感到無比殊榮。獲頒諾貝爾文學獎是我從不曾想像或預料的事。從小我就耳熟能詳，閱讀並沉浸於許多被認為名實與此獎項相符的作家們的作品：吉卜林、蕭伯納、湯瑪斯曼、賽珍珠、卡繆、海明威。這些文學巨擘的作品被教授於課堂，典藏於全世界圖書館，以景仰的語調傳誦，無不留下深刻的印象，如今我竟也入列，實在難以言表。
我不知道這些男或女作家可曾想過諾貝爾獎的榮耀將加諸自身，但我揣測全世界每一個地方，任何寫書、寫詩、寫劇本的人，都可能在內心深處秘藏這麼一個夢。它可能埋得太深，以致於不覺有它的存在。
如果有人曾告訴我，我有獲頒諾貝爾獎的一絲絲機會，我會認為，這幾乎等同於我站在月球上的機率。事實上，在我出生那年，以及此後幾年間，舉世無人被認為好到夠資格獲得這項諾貝爾獎。所以我承認：至少我可以說是加入一個非常希罕的小團體。(按：迪倫生於1941，1940-1943年間，諾貝爾文學獎從缺。)
當我接到這個驚人消息時，正在客途，我花上不只幾分鐘的時間來處理它。我開始想到莎士比亞，這位偉大的文學家。我猜想他自認為劇作家。「他正在創作文學作品」的念頭不可能曾經進入他的腦子。他的詞句為舞台而寫，用來唸出聲，而非閱讀。當他寫《哈姆雷特》時，我敢確定，他想的儘是些各異其趣的事：「誰是最適合這些角色的演員？」、「舞台該怎麼設計？」、「我真的要把場景設在丹麥嗎？」他的創意洞見和野心無疑地在他的腦海裡，但他還有更多俗務要考慮和處理：「資金到位了嗎？」、「留給我的贊助者的好座位夠嗎？」、「我該到哪兒去弄一顆骷顱頭？」，我敢打賭，莎士比亞最沒在想的就是：「這是文學嗎？」
當我十幾歲開始寫歌時，甚至在我因自己的能力而搏得若干名聲之後，我對這些歌的殷盼不過爾爾。我想它們可能會在咖啡廳或者酒吧被聽見，或許之後還會來到像卡內基音樂廳、倫敦帕拉丁劇院的場所。假如我真的作大夢，或許我可能想像自己錄一張唱片，然後在收音機聽到我的歌。在我心中，那就是最大的大獎了。錄唱片並在收音機聽到你的歌，表示你觸及廣大的群眾，也表示你或許可以繼續做你著手做的事。
這麼說吧，我已經做我著手做的事很長的時間了，現在我已經錄了好幾十張唱片，走遍世界，唱過幾千場演唱會。但我的歌是我做的幾乎每件事情的重要核心。那些歌似乎遍及許多不同的文化，在許多人的生命中佔有一席之地，對此，我心存感激。
不過有一件事我必須說。作為一個表演者，我曾為五萬人表演，也曾為五十人表演，我可以說：為五十人比為五萬人表演還難。五萬人只有單一的人格，五十人則不然。每個人都有各自獨立、彼此有別的身份，一人一世界。他們能夠更清楚感知一切。你的真誠，以及它與才華深度的關聯，都會受到試煉。我不會因諾貝爾委員會人數這麼少而迷惘。
不過，像莎士比亞，我也經常竭盡全力創作，並為人生俗務疲於奔命：「誰是這些歌的最佳樂手？」、「我在正確的錄音室錄音嗎？」、「這首歌的曲調對嗎？」有的事永遠不變，即使已過四百年。
所以，我非常感謝瑞典學院，一謝他們花時間思考這個問題，並且最後，再謝提供這個美妙的答案。
謹祝福各位。
Speech full text
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.
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. 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.
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.
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.
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. 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?”
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.
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.
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.
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.
Not once have I ever had the time to ask myself, “Are my songs literature?”
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.
My best wishes to you all,
Bob Dylan
Banquet speech by Bob Dylan, Nobel Laureate in Literature 2016, presented at the Nobel Banquet by the United States Ambassador to Sweden Azita Raji.
Nobel-prize-award-overview
「我的歌是文學嗎？」( “Are my songs literature?” － Bob Dylan )
美國駐瑞典大使阿茲塔 拉吉(Azita Raji)代Bob Dylan 致諾貝爾獎晚宴謝辭全文
高塔翻譯 2016
謝辭全文
諸位晚安。在此謹向瑞典學院成員和今晚與會的每一位貴賓，致上最熱忱的祝福。
很抱歉，我今晚無法親臨，和你們共聚一堂，但是當知，我肯定在精神上與你們同在，並且對獲頒這座崇譽獎項，感到無比殊榮。獲頒諾貝爾文學獎是我從不曾想像或預料的事。從小我就耳熟能詳，閱讀並沉浸於許多被認為名實與此獎項相符的作家們的作品：吉卜林、蕭伯納、湯瑪斯曼、賽珍珠、卡繆、海明威。這些文學巨擘的作品被教授於課堂，典藏於全世界圖書館，以景仰的語調傳誦，無不留下深刻的印象，如今我竟也入列，實在難以言表。
我不知道這些男或女作家可曾想過諾貝爾獎的榮耀將加諸自身，但我揣測全世界每一個地方，任何寫書、寫詩、寫劇本的人，都可能在內心深處秘藏這麼一個夢。它可能埋得太深，以致於不覺有它的存在。
如果有人曾告訴我，我有獲頒諾貝爾獎的一絲絲機會，我會認為，這幾乎等同於我站在月球上的機率。事實上，在我出生那年，以及此後幾年間，舉世無人被認為好到夠資格獲得這項諾貝爾獎。所以我承認：至少我可以說是加入一個非常希罕的小團體。(按：迪倫生於1941，1940-1943年間，諾貝爾文學獎從缺。)
當我接到這個驚人消息時，正在客途，我花上不只幾分鐘的時間來處理它。我開始想到莎士比亞，這位偉大的文學家。我猜想他自認為劇作家。「他正在創作文學作品」的念頭不可能曾經進入他的腦子。他的詞句為舞台而寫，用來唸出聲，而非閱讀。當他寫《哈姆雷特》時，我敢確定，他想的儘是些各異其趣的事：「誰是最適合這些角色的演員？」、「舞台該怎麼設計？」、「我真的要把場景設在丹麥嗎？」他的創意洞見和野心無疑地在他的腦海裡，但他還有更多俗務要考慮和處理：「資金到位了嗎？」、「留給我的贊助者的好座位夠嗎？」、「我該到哪兒去弄一顆骷顱頭？」，我敢打賭，莎士比亞最沒在想的就是：「這是文學嗎？」
當我十幾歲開始寫歌時，甚至在我因自己的能力而搏得若干名聲之後，我對這些歌的殷盼不過爾爾。我想它們可能會在咖啡廳或者酒吧被聽見，或許之後還會來到像卡內基音樂廳、倫敦帕拉丁劇院的場所。假如我真的作大夢，或許我可能想像自己錄一張唱片，然後在收音機聽到我的歌。在我心中，那就是最大的大獎了。錄唱片並在收音機聽到你的歌，表示你觸及廣大的群眾，也表示你或許可以繼續做你著手做的事。
這麼說吧，我已經做我著手做的事很長的時間了，現在我已經錄了好幾十張唱片，走遍世界，唱過幾千場演唱會。但我的歌是我做的幾乎每件事情的重要核心。那些歌似乎遍及許多不同的文化，在許多人的生命中佔有一席之地，對此，我心存感激。
不過有一件事我必須說。作為一個表演者，我曾為五萬人表演，也曾為五十人表演，我可以說：為五十人比為五萬人表演還難。五萬人只有單一的人格，五十人則不然。每個人都有各自獨立、彼此有別的身份，一人一世界。他們能夠更清楚感知一切。你的真誠，以及它與才華深度的關聯，都會受到試煉。我不會因諾貝爾委員會人數這麼少而迷惘。
不過，像莎士比亞，我也經常竭盡全力創作，並為人生俗務疲於奔命：「誰是這些歌的最佳樂手？」、「我在正確的錄音室錄音嗎？」、「這首歌的曲調對嗎？」有的事永遠不變，即使已過四百年。
所以，我非常感謝瑞典學院，一謝他們花時間思考這個問題，並且最後，再謝提供這個美妙的答案。
謹祝福各位。
Speech full text
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.
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. 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.
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.
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.
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. 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?”
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.
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.
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.
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.
Not once have I ever had the time to ask myself, “Are my songs literature?”
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.
My best wishes to you all,
Bob Dylan
Banquet speech by Bob Dylan, Nobel Laureate in Literature 2016, presented at the Nobel Banquet by the United States Ambassador to Sweden Azita Raji.
Nobel-prize-award-overview
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