評論
打印
n. 仁慈，好意
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，我作為一個現代的說書人，是隱藏在文本背后的，但從《檀香刑》這部小說開始，我終于從后臺跳到了前臺。如果說我早期的作品是自言自語，目無讀者，從這本書開始，我感覺到自己是站在一個廣場上，面對著許多聽眾，繪聲繪色地講述。這是世界小說的傳統，更是中國小說的傳統。我也曾積極地向西方的現代派小說學習，也曾經玩弄過形形色色的敘事花樣，但我最終回歸了傳統。當然，這種回歸，不是一成不變的回歸，《檀香刑》和之后的小說，是繼承了中國古典小說傳統又借鑒了西方小說技術的混合文本。小說領域的所謂創新，基本上都是這種混合的產物。不僅僅是本國文學傳統與外國小說技巧的混合，也是小說與其他的藝術門類的混合，就像《檀香刑》是與民間戲曲的混合，就像我早期的一些小說從美術、音樂、甚至雜技中汲取了營養一樣。
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，請允許我再講一下我的《生死疲勞》。這個書名來自佛教經典，據我所知，為翻譯這個書名，各國的翻譯家都很頭痛。我對佛教經典并沒有深入研究，對佛教的理解自然十分膚淺，之所以以此為題，是因為我覺得佛教的許多基本思想，是真正的宇宙意識，人世中許多紛爭，在佛家的眼里，是毫無意義的。這樣一種至高眼界下的人世，顯得十分可悲。當然，我沒有把這本書寫成布道詞，我寫的還是人的命運與人的情感，人的局限與人的寬容，以及人為追求幸福、堅持自己的信念所做出的努力與犧牲。小說中那位以一己之身與時代潮流對抗的藍臉，在我心目中是一位真正的英雄。這個人物的原型，是我們鄰村的一位農民，我童年時，經常看到他推著一輛吱吱作響的木輪車，從我家門前的道路上通過。給他拉車的，是一頭瘸腿的毛驢，為他牽驢的，是他小腳的妻子。這個奇怪的勞動組合，在當時的集體化社會里，顯得那么古怪和不合時宜，在我們這些孩子的眼里，也把他們看成是逆歷史潮流而動的小丑，以至于當他們從街上經過時，我們會充滿義憤地朝他們投擲石塊。事過多年，當我拿起筆來寫作時，這個人物，這個畫面，便浮現在我的腦海中。我知道，我總有一天會為他寫一本書，我遲早要把他的故事講給天下人聽，但一直到了2005年，當我在一座廟宇里看到“六道輪回”的壁畫時，才明白了講述這個故事的正確方法。
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.
我獲得諾貝爾文學獎后，引發了一些爭議。起初，我還以為大家爭議的對象是我，漸漸的，我感到這個被爭議的對象，是一個與我毫不相關的人。我如同一個看戲人，看著眾人的表演。我看到那個得獎人身上落滿了花朵，也被擲上了石塊、潑上了污水。我生怕他被打垮，但他微笑著從花朵和石塊中鉆出來，擦干凈身上的臟水，坦然地站在一邊，對著眾人說：
| 重點單詞 | 查看全部解釋 | |||
| kindness | ['kaindnis] |
想一想再看 |
聯想記憶 | |
| avenge | [ə'vendʒ] |
想一想再看 vt. 為 ... 報復，報仇 |
聯想記憶 | |
| fanciful | ['fænsifəl] |
想一想再看 adj. 奇怪的，稀奇的，想像的 |
||
| popular | ['pɔpjulə] |
想一想再看 adj. 流行的，大眾的，通俗的，受歡迎的 |
聯想記憶 | |
| unspoken | [,ʌn'spəukən] |
想一想再看 adj. 未說出口的；無言的；不言而喻的 |
||
| supreme | [sju:'pri:m] |
想一想再看 adj. 最高的，至上的，極度的 |
||
| uphold | [ʌp'həuld] |
想一想再看 v. 支撐，贊成，鼓勵 |
聯想記憶 | |
| crouch | [krautʃ] |
想一想再看 vi. 蹲伏，蜷伏；卑躬屈膝 vt. 低頭；屈膝 n. |
聯想記憶 | |
| limited | ['limitid] |
想一想再看 adj. 有限的，被限制的 |
||
| adequately | ['ædikwitli] |
想一想再看 adv. 足夠地，充分地，適當地 |
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