莫言诺贝尔文学奖致辞英文演讲稿 23页

　　莫言诺贝尔文学奖致辞英文演讲稿　　以下这篇演讲稿是中国当代著名作家莫言XX年获得诺贝尔文学奖时在瑞典学院发表的领奖演讲《讲故事的人》(storyteller)，莫言在这次演讲中追忆了自己的母亲，回顾了文学创作之路，并与听众分享了三个意味深长的“故事”，讲述了自己如何成为一个用笔来讲故事的人的过程。莫言表示，自己今后还要继续讲自己的故事。　　distinguishedmembersofthesy,ladiesandgentlemen:throughthemediumsoftelevisionandtheinter,iimaginethateveryoneherehasatleastanoddingacquaintanceitoayhaveseenmyniy-year-oldfather,asybrothers,mysister,myydaughter,evenmygranddaughter,noonthsold.butthepersonostonmymindatthismoment,mymother,issomeoneyouanypeoplehavesharedinthehonorofymotherovehergravefartherathevillageinordertomakeroomforaproposedrailline.ergedpeartharoundit.soeofthatsoil,asymbolicact,andtookittotheneymotherhadbeepartoftheearth,andthatotherearth,iymother. 　　我母亲生于1922年，卒于1994年。她的骨灰，埋葬在村庄东边的桃园里。去年，一条铁路要从那儿穿过，我们不得不将她的坟墓迁移到距离村子更远的地方。掘开坟墓后，我们看到，棺木已经腐朽，母亲的骨殖，已经与泥土混为一体。我们只好象征性地挖起一些泥土，移到新的墓穴里。也就是从那一时刻起，我感到，我的母亲是大地的一部分，我站在大地上的诉说，就是对母亲的诉说。　　iymother'syoungestchild.myearliestmemorybottletothepubliccanteenfordrinkingymothercallingmychildhoodname,soicrayhidingplace,preparedtoreceiveabeatingorascolding.butmotherdidn'thitme,didn'tevenscoldme.shejustrubbedmyheadandheavedasigh.　　我是我母亲最小的孩子。我记忆中最早的一件事，是提着家里唯一的一把热水壶去公共食堂打开水。因为饥饿无力，失手将热水瓶打碎，我吓得要命，钻进草垛，一天没敢出来。傍晚的时候我听到母亲呼唤我的乳名，我从草垛里钻出来，以为会受到打骂，但母亲没有打我也没有骂我，只是抚摸着我的头，口中发出长长的叹息。　　mymostpainfulmemoryinvolvedgoingoutinthecollective'sfieldothertogleanearsofan.butmother,an,ahulkofaman,thatshefell totheground.theanconfiscatedtheotheran,noan,inthemarketplace,motherhadtostopmefromgoinguptoavengeher.son,shesaidevenly,themaneandthismanarenotthesameperson.　　我记忆中最痛苦的一件事，就是跟着母亲去集体的地理拣麦穗，看守麦田的人来了，拣麦穗的人纷纷逃跑，我母亲是小脚，跑不快，被捉住，那个身材高大的看守人煽了她一个耳光，她摇晃着身体跌倒在地，看守人没收了我们拣到的麦穗，吹着口哨扬长而去。我母亲嘴角流血，坐在地上，脸上那种绝望的神情深我终生难忘。多年之后，当那个看守麦田的人成为一个白发苍苍的老人，在集市上与我相逢，我冲上去想找他报仇，母亲拉住了我，平静的对我说：“儿子，那个打我的人，与这个老人，并不是一个人。”　　myclearestmemoryisofamoonfestivalday,atnoontime,oneofthoserareoccasionse,oneboetoourdooraanoldman,hesaid.youpeopleareeatingjiaozi,butesesayear,onesmallbo,youcangetthehelloutofhere!after(dressingmedoandingme,motherdumpedherhalfboan'sboymostremorsefulmemoryinvolveshelpingmothersellcabbagesatmarket,andmeovercharginganold villageronejiao–intentionallyornot,ican'trecall–beforeheadingofftoschool.ehomethatafternoon,isaotherethingsherarelydid.insteadofscoldingme,shemerelysaidsoftly,son,youembarrassedyourmothertoday.　　我记得最深刻的一件事是一个中秋节的中午，我们家难得的包了一顿饺子，每人只有一碗。正当我们吃饺子时，一个乞讨的老人来到了我们家门口，我端起半碗红薯干打发他，他却愤愤不平地说：“我是一个老人，你们吃饺子，却让我吃红薯干。你们的心是怎么长的?”我气急败坏的说：“我们一年也吃不了几次饺子，一人一小碗，连半饱都吃不了!给你红薯干就不错了，你要就要，不要就滚!”母亲训斥了我，然后端起她那半碗饺子，倒进了老人碗里。我最后悔的一件事，就是跟着母亲去卖白菜，有意无意的多算了一位买白菜的老人一毛钱。算完钱我就去了学校。当我放学回家时，看到很少流泪的母亲泪流满面。母亲并没有骂我，只是轻轻的说：“儿子，你让娘丢了脸。”　　mothercontractedaseriouslungdiseaseyteens.hunger,disease,andtoomuchadethingsextremelyhardonourfamily.theroadaheadlookedespeciallybleak,andihadabadfeelingaboutthe future,othermighttakeheroother.hearinghervoiceyheartaneeintoapanic.i'dgolookingforherinthesidebuildingandinthemill.oneday,aftersearchingeveryee,buticouldnottellheraybenojoyinmylife,butie.　　我十几岁时，母亲患了严重的肺病，饥饿，病痛，劳累，使我们这个家庭陷入了困境，看不到光明和希望。我产生了一种强烈的不祥之兆，以为母亲随时都会自己寻短见。每当我劳动归来，一进大门就高喊母亲，听到她的回应，心中才感到一块石头落了地。如果一时听不到她的回应，我就心惊胆战，跑到厨房和磨坊里寻找。有一次找遍了所有的房间也没有见到母亲的身影，我便坐在了院子里大哭。这时母亲背着一捆柴草从外面走进来。她对我的哭很不满，但我又不能对她说出我的担忧。母亲看到我的心思，她说：“孩子你放心，尽管我活着没有一点乐趣，但只要阎王爷不叫我，我是不会去的。”　　iyface,andschoolbulliessometimesbeatmeupbecauseofit.i'drunhomecrying,ymothersandlegs,sohoovedtothecity,thereebehindmyback,someeventomyface;butotherhadsaid,ijustcalmlyofferedmyapologies. 　　我生来相貌丑陋，村子里很多人当面嘲笑我，学校里有几个性格霸蛮的同学甚至为此打我。我回家痛苦，母亲对我说：“儿子，你不丑，你不缺鼻子不缺眼，四肢健全，丑在哪里?而且只要你心存善良，多做好事，即便是丑也能变美。”后来我进入城市，有一些很有文化的人依然在背后甚至当面嘲弄我的相貌，我想起了母亲的话，便心平气和地向他们道歉。　　myilliteratemotherheldpeopleeal,yetsheneverdeniedmyrequesttobuyabookorsomethingtoychoresaslongasihadmynoseinabook.　　我母亲不识字，但对识字的人十分敬重。我们家生活困难，经常吃了上顿没下顿。但只要我对她提出买书买文具的要求，她总是会满足我。她是个勤劳的人，讨厌懒惰的孩子，但只要是我因为看书耽误了干活，她从来没批评过我。　　astorytelleroncecametothemarketplace,andisneakedofftolistentohim.sheeforforgettingmychores.butthatnight,p,icouldn'tkeepfromretellingstoriesi'dheardthatday.shelistenedimpatientlyatfirst,sinceinhereyesprofessionalstorytellersooth-talkingmeninadubiousprofession.nothinggoodevercameoutoftheirmouths.butsloyretold stories,andfromthatdayon,shenevergavemechoresonmarketday,unspokenpermissiontogotothemarketplaceandlistentoneentformother'skindnessandaonstratemymemory,i'dretellthestoriesforherinvividdetail.itdidnottakelongtofindretellingsomeoneelse'sstoriesunsatisfying,soibeganembellishingmynarration.i'dsaythingsikneother,evenchangedtheendingonceinaemberofmyaudience,yoldersisters,myaunts,evenmymaternalgrandmother.sometimes,aftermymotherhadlistenedtooneofmystories,she'daskinacare-ladenvoice,almostasiftoherself:ightyouselvesandtotheirfamilies.thereisabitofayoungmeinthetalkativeboyystorybulls.motherhabituallycautionedmenottotalksomuch,etobeataciturn,smoothandsteadyyoungster.insteadiarkablespeakingskillsandthepo.myabilitytotellstoriesbroughtherjoy,butthatcreatedadilemmaforher. 　　我理解母亲的担忧，因为在村子里，一个贫嘴的孩子，是招人厌烦的，有时候还会给自己和家庭带来麻烦。我在小说《牛》里所写的那个因为话多被村子里厌恶的孩子，就有我童年时的影子。我母亲经常提醒我少说话，她希望我能做一个沉默寡言、安稳大方的孩子。但在我身上，却显露出极强的说话能力和极大的说话欲望，这无疑是极大的危险，但我说的故事的能力，又带给了她愉悦，这使他陷入深深的矛盾之中。　　apopularsayinggoesitiseasiertochangethecourseofariverthanaperson'snature.despitemyparents'tirelessguidance,mynaturaldesiretotalkneverakesmyname–moyan,ordon'tspeak–anironicexpressionofself-mockery.afterdroppingoutofelementaryschool,iallforheavylabor,soibecameacattle-andsheep-herderonanearbygrassyriverbank.thesightofmyformerschoolmatesplayingintheschoolyardyanimalspastthegatealeandmademeaalslooseontheriverbanktograzebeneathaskyasblueastheoceanandgrass-carpetedlandasfarastheeyecouldsee–notanotherpersoninsight,nohumansounds,nothingbutbirdcallsaboveme.iyselfandterriblylonely;myheartfeltempty.sometimesilayinthe grassandages.thatpartofthecountryisknoofbeautifulyoungen,andialse.sheneverdide.once,hoe,scaringmylegsrightoutfromunderme.iblinglongafterthefoxhadvanished.sometimesi'dcrouchdoyreflection.attimesi'dhaveadialogueimickingtheircries,esi'ddivulgemyhopesanddesirestoatree.butthebirdsignoredme,andsodidthetrees.yearslater,afteri'dbeeanovelist,ieofthosefantasiesintomynovelsandstories.peoplefrequentlybombardmeentsonmyvividimagination,andloversofliteratureoftenaskmetodivulgemysecrettodevelopingarichimagination.myonlyresponseisaile. 　　到了荒滩上，我把牛羊放开，让它们自己吃草。蓝天如海，草地一望无际，周围看不到一个人影，没有人的声音，只有鸟儿在天上鸣叫。我感到很孤独，很寂寞，心里空空荡荡。有时候，我躺在草地上，望着天上懒洋洋地飘动着的白云，脑海里便浮现出许多莫名其妙的幻象。我们那地方流传着许多狐狸变成美女的故事，我幻想着能有一个狐狸变成美女与我来作伴放牛，但她始终没有出现。但有一次，一只火红色的狐狸从我面前的草丛中跳出来时，我被吓得一屁股蹲在地上。狐狸跑没了踪影，我还在那里颤抖。有时候我会蹲在牛的身旁，看着湛蓝的牛眼和牛眼中的我的倒影。有时候我会模仿着鸟儿的叫声试图与天上的鸟儿对话，有时候我会对一棵树诉说心声。但鸟儿不理我，树也不理我。许多年后，当我成为一个小说家，当年的许多幻想，都被我写进了小说。很多人夸我想象力丰富，有一些文学爱好者，希望我能告诉他们培养想象力的秘诀，对此，我只能报以苦笑。　　ourtaoistmasterlaozisaiditbest:fortunedependsonmisfortune.misfortuneishiddeninfortune.ileftschoolasachild,oftenyexperienceofgoingtothemarketplacetolistentoastorytellerbarkedonthelongjourneyoflearningthroughlistening.te–pusongling–livednearanypeople,meincluded,carriedonthetraditionhehadperfected.coygrandparents'heatedkang,evenonoxcartsbouncingandsyearsfilledances,andstrangeandcaptivatingstories,alltiedtothenaturalenvironmentandclanhistories,andallofymind.　　就像中国的先贤老子所说的那样：“ 福兮祸之所伏，福祸福所倚”，我童年辍学，饱受饥饿、孤独、无书可读之苦，但我因此也像我们的前辈作家沈从文那样，及早地开始阅读社会人生这本大书。前面所提到的到集市上去听说数人说书，仅仅是这本大书中的一页。辍学之后，我混迹于成人之中，开始了“用耳朵阅读”的漫长生涯。二百多年前，我的故乡曾出了一个讲故事的伟大天才——蒲松龄，我们村里的许多人，包括我，都是他的传人。我在集体劳动的田间地头，在生产队的牛棚马厩，在我爷爷奶奶的热炕头上，甚至在摇摇晃晃地进行着的牛车社，聆听了许许多多神鬼故事，历史传奇，逸闻趣事，这些故事都与当地的自然环境，家庭历史紧密联系在一起，使我产生了强烈的现实感。　　eveninmys,icouldnothaveenvisionedadayyoeyrespectstoatoananytimeitetofbeingatransformedbeast.atnight,terriblefearsacpaniedmeonmyeaftermyylungsasirantobuildupabitofcourage.myvoice,e,producedscratchy,squeakysongsthatgratedontheearsofanyvillagere. 　　我做梦也想不到有朝一日这些东西会成为我的写作素材，我当时只是一个迷恋故事的孩子，醉心地聆听着人们的讲述。那时我是一个绝对的有神论者，我相信万物都有灵性，我见到一棵大树会肃然起敬。我看到一只鸟会感到它随时会变化成人，我遇到一个陌生人，也会怀疑他是一个动物变化而成。每当夜晚我从生产队的记工房回家时，无边的恐惧便包围了我，为了壮胆，我一边奔跑一边大声歌唱。那时我正处在变声期，嗓音嘶哑，声调难听，我的歌唱，是对我的乡亲们的一种折磨。　　ispentmyfirstthomethantoqingdao,bytrain,idthegiantstacksofbermill.ymotheraskedmeber.butthattriptoqingdaoplantedinmeapoyvillageandseetheyanditoylife,carryinginmybackpackthefour-volumebriefhistoryofchinamymotherhadboughtbysellingherostimportantperiodofmylife.imustadmitthatendousdevelopmentandprogressinchinesesociety,andthesubsequentnationalreformandopeningofherdoorstotheoutside,iidstofmind-numbingmilitarylife,iancipationandliteraryfervorofthenieen-eighties,andevolvedfromaboyonbyouthintosomeoneenteddoeaterialmytodelcitizens,sothatthefeinethatentoftheplaartacademy,yreveredmentor,therenonfloods,dryriver,thetransparentcarrot, andredsorghum.northeastgaomitoadeitsfirstappearanceinautumnfloods,andfromthatmomenton,likeaustsaythatinthecourseofcreatingmyliterarydomain,northeastgaomitoericannovelistfaulknerandthecolumbiangabrielgarcíamárquez.ihadnotreadeitherofthemextensively,butthemthatausthaveaplacethatbelongstohimalone.humilityandpromiseareidealinone'sdailylife,butinliterarycreation,supremeself-confidenceandtheneedtofolloastersbeforerealizingthatihadtoescapetheirinfluence;thisisho,i.inmyunderstanding,oneetoprehendyunderstandingofplicityitself:yoyoyarketplacestoryteller,iliar,theygrandfatherandmygrandmotherandothervillageold-timerstoldstories.inallcandor,inevergaveathoughttoaudienceystories;perhapsmyaudienceadeupofpeoplelikemymother,andperhapsite.theearlystoriesypersonalexperience:theboyethingbadenoughtoreceiveamyfather,andihadactuallyithonabridgesite.naturally,personalexperiencecannotbeturned intofictionexactlyasithappened,nomatterhoightbe.fictionhastobefictional,hastobeimaginative.tomanyofmyfriends,thetransparentcarrotismyverybeststory;ihavenoopiniononeoresymbolicandmoreprofoundlymeaningfulthananyotherstoryi'veanabilitytosufferandasuperhumandegreeofsensitivityrepresentsthesoulofmyentirefictionaloutput.notoneofallthefictionalcharactersi'vecreatedsincethenisasclosetomysoulasheis.orputadifferentongallthecharactersae,thatlaconicboyistheone.thoughhesaysnothing,heleadstheingfreelyonthenortheastgaomitouch,andonceyouhaveexhaustedyourousttellthestoriesofothers.andso,outofthedepthsofmymemories,likeconscriptedsoldiers,rosestoriesoffamilymembers,offellothemouthsofold-timers.theyetotelltheirstories.mygrandfatherandgrandmother,myfatherandmother,mybrothersandsisters,myauntsanduncles,myydaughterhaveallappearedinmystories.evenunrelatedresidentsofnortheastgaomitoadecameo appearances.ofcoursetheyhaveundergoneliterarymodificationtotransformthemintolarger-than-lifefictionalcharacters.anauntofmineisthecentralcharacterofmylatestnovel,frogs.theannouncementofthenobelprizesentjournalistssingtoherhomeodating,butshesoonhadtoescapetheirattentionsbyfleeingtoherson'shomeintheprovincialcapital.idon'tdenythatsheymodelinineering,inplacesvirtuallythuggish,yrealauntiskindandgentle,theclassiccaringother.myrealaunt'sgoldenyearshavebeenhappyandfulfilling;herfictionalcounterpartsuffersinsomniainherlateyearsasaresultofspiritualtorment,andgratefultomyrealauntfornotbeingangryeforhoinprehendingtheplexrelationshipbetymotherdied,inthemidstofalmostcripplinggrief,idecidedtoyplantookshape,iotionthatipletedadraftofhalfamillionelesslyusedmaterialassociatedymother'sactualexperience,butthefictionalmother'semotionalstateiseitheratotal fabricationorapositeofmanyofnortheastgaomitoothers.thoughiymotheronthededicationpage,thenovelotherseveryyoverbition,inmuchthesameaketinynortheastgaomitoicrocosmofchina,evenoftheynovelsdiffersfromtheothersintermsofplotandguidinginspiration.some,suchasthetransparentcarrot,s,orreallife,onlyifitisintegratedbuedoldedbylivelydetail,employrichlyevocativelanguage,andboastaustpointoutthatinthegarlicballadsiintroducedareal-lifestorytellerandsingerinoneofthenovel'smostimportantroles.ie,thoughhisadeup.thisisarecurringphenomenone.i'llstartoutusingcharacters'realnamesinordertoachieveasenseofintimacy,andafterthetoolatetochangethosenames.thishasledtopeopleesinmynovelsgoingtomyfathertoventtheirdispleasure.healyplace,butthenurgesthemnottotakesuchthingssoseriously.he'llsay:thefirstsentenceinredsorghum,'myfather,abandit'soffspring,'didn'tupsetme,soygreatestchallengese afraidofbeingopenlycriticalofthedarkeraspectsofsociety,butbecauseheatedemotionsandangeralloanovelintoreportageofasocialevent.asamemberofsociety,anovelistisentitledtohisousttakeahumanisticstance,and,notjustshouchofmylifeindifficultcircumstances,ithinkihaveamoreprofoundunderstandingoflife.iknoindsofeveryperson,terrainthatcannotbeadequatelycharacterizedinsimpletermsofrightandassivelycontradictoryterrain,ityoustbeannoying,butmylifeandyood.iodern-daystorytellerpedoutoftheshadoyearlyind;startingyselfstandinginapublicsquarespiritedlytellingmystorytoacroenoninfiction,butisespeciallysoinchina.atonetime,iodernistfiction,andiexperimentedebacktomytraditions.tobesure,thisreturnodifications.sandalostpart,aresultofthismixture,itedtodomestictraditionsixingfictionotherrealms.sandalixesfictioneofmyearlyusic,evenacrobatics. 　　可能是因为我经历过长期的艰难生活，使我对人性有较为深刻的了解。我知道真正的勇敢是什么，也明白真正的悲悯是什么。我知道，每个人心中都有一片难用是非善恶准确定性的朦胧地带，而这片地带，正是文学家施展才华的广阔天地。只要是准确地、生动地描写了这个充满矛盾的朦胧地带的作品，也就必然地超越了政治并具备了优秀文学的品质。喋喋不休地讲述自己的作品是令人厌烦的，但我的人生是与我的作品紧密相连的，不讲作品，我感到无从下嘴，所以还得请各位原谅。在我的早期作品中，我作为一个现代的说书人，是隐藏在文本背后的，但从《檀香刑》这部小说开始，我终于从后台跳到了前台。如果说我早期的作品是自言自语，目无读者，从这本书开始，我感觉到自己是站在一个广场上，面对着许多听众，绘声绘色地讲述。这是世界小说的传统，更是中国小说的传统。我也曾积极地向西方的现代派小说学习，也曾经玩弄过形形色色的叙事花样，但我最终回归了传统。当然，这种回归，不是一成不变的回归，《檀香刑》和之后的小说，是继承了中国古典小说传统又借鉴了西方小说技术的混合文本。小说领域的所谓创新，基本上都是这种混合的产物。不仅仅是本国文学传统与外国小说技巧的混合，也是小说与其他的艺术门类的混合，就像《檀香刑》是与民间戏曲的混合，就像我早期的一些小说从美术、音乐、甚至杂技中汲取了营养一样。 　　finally,iaskyourindulgencetotalkaboutmynovellifeanddeathareeout.thechinesetitleesfrombuddhistscripture,andi'vebeentoldthatmytranslatorshavehadfitstryingtorenderitintotheirlanguages.iamnotespeciallyankind'smanydisputesareutterlyeaninginthebuddhistrealm.inthatloftyvieanistobepitied.mynovelisnotareligioustract;initian'sfateandhumanemotions,ofman'slimitationsandhumangenerosity,andofpeople'ssearchforhappinessandthelengthstoake,toupholdtheirbeliefs.lanlian,acharacterporarytrends,is,inmyvieodelforthischaracter.asayoungsterioftensapassbyourdoorpushingacreaky,edonkeyupfront,ledbyhisbound-footoutofstepes.intheeyesofuschildren,theyarchingagainsthistoricaltrends,provokinginussuchindignationthatastheypassedusonthestreet.yearslater,afterihadbegunymind,andikne,thatsoonerorlateriuralthesixstagesofsamsaraonatempleentofmynobelprizehasledtocontroversy.atfirsti thoughtiei'veetorealizethattherealtargete.likesomeoneancesaroundme.isaudslingers.ibtotheassault,butheemergedfromthegarlandsoffloileonhisface;heudandgrime,stoodcalmlyofftotheside,andsaidtothecroyybooks.icannotforceyoutodothat,andevenifyoudo,idonotexpectyouropinionofmetochange.noeslikethese.　　我获得诺贝尔文学奖后，引发了一些争议。起初，我还以为大家争议的对象是我，渐渐的，我感到这个被争议的对象，是一个与我毫不相关的人。我如同一个看戏人，看着众人的表演。我看到那个得奖人身上落满了花朵，也被掷上了石块、泼上了污水。我生怕他被打垮，但他微笑着从花朵和石块中钻出来，擦干净身上的脏水，坦然地站在一边，对着众人说：对一个作家来说，最好的说话方式是写作。我该说的话都写进了我的作品里。用嘴说出的话随风而散，用笔写出的话永不磨灭。我希望你们能耐心地读一下我的书，当然，我没有资格强迫你们读我的书。即便你们读了我的书，我也不期望你们能改变对我的看法，世界上还没有一个作家，能让所有的读者都喜欢他。在当今这样的时代里，更是如此。　　eventhoughiethingimustdoonthisoccasion, letmejustsaythis:iamastoryteller,soiamgoingtotellyousomestories.yschoolorganizedafieldtriptoanexhibitofsuffering,ytearsstayonmycheeksforthebenefitofourteacher,andeofmyclassmatesspatintheirhandsandrubbeditontheirfacesaspretendtears.isaongallthoseereal,somephony–ainedsilenttotheteacher,andheyremorseoverinformingontheboy,theteachersaidthatatleasttenstudentshaddoneselfhaddiedadecadeormoreearlier,andmyconscience.butilearnedsomethingimportantfromthisincident,andthatis:orethanthirtyyearsago,y,iyofficereadingoneeveningein.heglanceddoeandmuttered,hm,noone?theoldfelloembarrassment,andheeafterthatiance.yearslater,thatprideturnedtointensequalmsofconscience.beare,please,foronelaststory,onemygrandfathertoldmemanyyearsago:agroupofeightout-of-toastorminarundople.thunderrumbledoutside,sendingfireballstheirenongtheeightofus,oneofthemsaid,issomeoneusthaveoffendedtheheavensentandsparetheinnocent fromsuffering.naturally,thereeuppledooristheguiltyparty,andtogooutandaccepthispunishment.sotheyflungtheirhatstoantogooutandaccepthispunishment,andupandflunghimoutthedoor.i'llbetyouallknooutthedoorthanthetemplecollapsedaroundthem.　　我再讲一个故事：三十多年前，我还在部队工作。有一天晚上，我在办公室看书，有一位老长官推门进来，看了一眼我对面的位置，自言自语道：“噢，没有人?”我随即站起来，高声说：“难道我不是人吗?”那位老长官被我顶得面红耳赤，尴尬而退。为此事，我洋洋得意了许久，以为自己是个英勇的斗士，但事过多年后，我却为此深感内疚。请允许我讲最后一个故事，这是许多年前我爷爷讲给我听过的：有八个外出打工的泥瓦匠，为避一场暴风雨，躲进了一座破庙。外边的雷声一阵紧似一阵，一个个的火球，在庙门外滚来滚去，空中似乎还有吱吱的龙叫声。众人都胆战心惊，面如土色。有一个人说：“我们八个人中，必定一个人干过伤天害理的坏事，谁干过坏事，就自己走出庙接受惩罚吧，免得让好人受到牵连。”自然没有人愿意出去。又有人提议道：“既然大家都不想出去，那我们就将自己的草帽往外抛吧，谁的草帽被刮出庙门，就说明谁干了坏事，那就请他出去接受惩罚。” 于是大家就将自己的草帽往庙门外抛，七个人的草帽被刮回了庙内，只有一个人的草帽被卷了出去。大家就催这个人出去受罚，他自然不愿出去，众人便将他抬起来扔出了庙门。故事的结局我估计大家都猜到了——那个人刚被扔出庙门，那座破庙轰然坍塌。　　iamastoryteller.tellingstoriesearnedmethenobelprizeforliterature.manyinterestingthingshavehappenedtomeintheethattruthandjusticearealiveandystoriesinthedaystoe.thankyouall.　　我是一个讲故事的人。因为讲故事我获得了诺贝尔文学奖。我获奖后发生了很多精彩的故事，这些故事，让我坚信真理和正义是存在的。今后的岁月里，我将继续讲我的故事。谢谢大家!　　以上内容由应届毕业生演讲稿网站整理提供。