在今年諾貝爾文學(xué)獎(jiǎng)的頒獎(jiǎng)詞中，諾貝爾皇家學(xué)院的Horace Engdahl教授用一篇充滿力量对湃、極盡贊譽(yù)的演講回?fù)袅四切┡u(píng)質(zhì)疑的聲音梯嗽。 不愧是諾貝爾文學(xué)獎(jiǎng)的頒獎(jiǎng)詞匕得！這篇演講稿文采斐然杯矩，如詩(shī)一般的語(yǔ)言栈虚，讀來(lái)極有韻味，值得細(xì)品史隆。
Horace Engdahl教授頒獎(jiǎng)詞全文
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)世界的巨變魂务？通常，是一種簡(jiǎn)單泌射、被人忽視粘姜，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)候熔酷。
discounted：已打折的
mutate：變化孤紧，改變，突變
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.
于是拒秘，當(dāng)代小說(shuō)從奇聞?shì)W事與日常通信脫穎而出号显，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躺酒，同樣地押蚤，拉·方丹將動(dòng)物寓言、安徒生把童話羹应，從育嬰室升華到高蹈派詩(shī)歌的高度揽碘。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)生改變园匹。
anecdote：奇聞?shì)W事
plank：木板雳刺，支架
vernacular：本地話，方言偎肃，用本地語(yǔ)言寫(xiě)成的
fable：寓言
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)煞烫，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(tīng)聞的事件。在久遠(yuǎn)的過(guò)去累颂，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)的滞详。史詩(shī)吟誦者、游吟詩(shī)人紊馏、行吟詩(shī)人料饥，他們就是詩(shī)人；而“歌詞”一詞就來(lái)源于“里爾琴”朱监。
rhapsodes：游唱詩(shī)人岸啡，吟誦史詩(shī)的人
bards：吟游詩(shī)人
troubadours： 行吟詩(shī)人
lyre：里爾琴；抒情詩(shī)
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赫编。相反巡蘸，他全身心地投入于20世紀(jì)的美國(guó)流行音樂(lè)中奋隶，這些都是為普通人創(chuàng)作的音樂(lè)，不分人種悦荒，它們?cè)趶V播電臺(tái)和留聲機(jī)唱片中播放：抗議歌曲唯欣、鄉(xiāng)村音樂(lè)、藍(lán)調(diào)搬味、早期搖滾樂(lè)境氢、福音音樂(lè)和主流音樂(lè)……他日夜聆聽(tīng)，用樂(lè)器彈奏碰纬，試著學(xué)習(xí)創(chuàng)作萍聊。當(dāng)他開(kāi)始寫(xiě)出類似的歌曲時(shí)，它們呈現(xiàn)出來(lái)的卻是另一片天地悦析。
gramophone：留聲機(jī)
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.
在他的手中寿桨，這些素材發(fā)生了變化。從別人的傳家寶與廢棄之物中她按、從陳腐的韻律與機(jī)靈妙語(yǔ)中牛隅、從邪惡的詛咒和虔誠(chéng)的禱告中、從甜言蜜語(yǔ)和粗鄙玩笑中酌泰，他淘出了詩(shī)歌的黃金。是有心還是無(wú)意匕累，都無(wú)關(guān)緊要陵刹。所有的創(chuàng)作都始于模仿。
heirloom：傳家寶
scrap：碎片欢嘿；殘余物
banal：陳腐的衰琐；平庸的；老一套的
pan：淘金
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(tīng)之后炼蹦，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》相媲美的歌曲羡宙。“他的旋律朗朗上口掐隐，”一位評(píng)論家如是解釋他的偉大狗热。沒(méi)錯(cuò)。他的韻律就像是一劑煉金秘方虑省，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)容匿刮。
alchemical：煉金術(shù)的
rhyming：押韻
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)候探颈，一個(gè)年輕人手持吉他站在那兒熟丸，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)伪节。
compound：化合物光羞；混合物绩鸣；復(fù)合詞
superfluous：多余的；不必要的纱兑；奢侈的
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)全闷，他以一種人人想擁有的、令人信服的力量來(lái)歌頌愛(ài)萍启。突然間总珠，世間那些書(shū)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)了的火器勘纯。很快局服，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）驳遵、阿蒂爾·蘭波（法國(guó)象征主義詩(shī)人）淫奔、沃爾特·惠特曼（美國(guó)世人）和莎士比亞相提并論。
conviction：確信堤结，深信
bookish：書(shū)本上的唆迁，書(shū)呆子氣的
anaemic：無(wú)活力的，貧血的
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竞穷，他重新賦予詩(shī)歌語(yǔ)言以高昂的姿態(tài)唐责，這是自浪漫主義時(shí)代之后便已失掉的風(fēng)格。不為歌頌永恒瘾带，只在敘述我們的日常鼠哥，好似德?tīng)栰车纳裰I正向我們播報(bào)著晚間新聞。
oracle：神諭
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)可這一革命看政，初時(shí)似乎會(huì)覺(jué)得過(guò)于大膽朴恳，但現(xiàn)在已然覺(jué)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)嗎允蚣？并不是于颖。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嚷兔，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)前森渐，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 ified. “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)谴垫，當(dāng)諸如拉·方丹這類文學(xué)巨擘誕生時(shí)章母，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(xiě)到：“當(dāng)一部作品自身的美達(dá)到了巔峰時(shí)翩剪，等級(jí)還有什么意義呢乳怎？”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)作蚪缀。鮑勃·迪倫作為一名歌手秫逝，值得與希臘聲樂(lè)家、古羅馬的奧維德询枚、浪漫主義空想家违帆、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金蜀。如果文學(xué)界的人對(duì)此不滿刷后，那他應(yīng)該記得：神并不寫(xiě)作，他們只歌唱舞蹈渊抄。瑞典學(xué)院的美好祝愿將一路跟隨迪倫先生的音樂(lè)之路前行尝胆。
oeuvre：畢生之作
