英语演讲原文：威廉福克纳获诺贝尔文学奖演说
福克纳诺贝尔奖致辞(William Faulkne, Nobel Prize Acceptance Speech)
不管在什么地方，只要谈到美国文学，人们都认为威廉·福克纳是二十世纪最伟大的作家之一。
他是美国“南方文学”派的创始人，也是整个西方最有影响的现代派小说家之一。
他的代表作品有《喧哗与骚动》、《八月之光》等等。
福克纳从小生长在美国南方，年轻时曾在当地邮政局做过一阵不太负责任的局长，后因玩忽职守而被辞退。
他游历过许多地方，但最终依然回到美国南方，并且所有的作品都以南方为背景。
1949年，因为“他对当代美国小说作出了强有力的和艺术上无与伦比的贡献”，福克纳获诺贝尔文学奖。
本片演讲的内容，是福克纳在一九四九年度诺贝尔文学奖获奖时所作的答辞。
这是一篇脍炙人口的演讲词。
然而，由于福克纳本人对语言运用的独特性和精深性。
对初学者来说，这篇美文也许颇有些难度。
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 materials of the human spirit something which did not exist before.我感觉，这个奖不是授予我这个人，而是授予我的工作，它是对我呕心沥血、毕生从事的人类精神探索的工作的肯定。
我的这项工作不为名，更不图利，而是要从人类精神的原始素材里创造出前所未有的东西。
演讲全文：Nobel Prize Acceptance Speech / William FaulknerI 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 materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like 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 women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is 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 compassion 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, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortalsimply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny 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 compassion and sacrifice and endurance.The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.。
威廉.福克纳获诺贝尔文学奖受奖英语演讲稿
威廉.福克纳获诺贝尔文学奖受奖英语演讲稿Ladies and gentlemen,I stand before you today with a sense of profound gratitude and humility because of the honor that has been bestowed upon me. To be recognized by the Nobel committee with this prestigious award is something that I never imagined in my life. I cannot help but feel a sense of gratitude to the people who have supported me in my journey as a writer.Writing has always been a passion for me and I have dedicated my life to the pursuit of writing. From a young age, I have been drawn to storytelling, to the power of words to convey the complexity of human experience. For me, writing has always been a way to understand the world around me, to explore the depths of human emotion and to give voice to the voiceless.I have been fortunate to live at a time when literature has had a profound impact on the world. From the work of Cervantes and Shakespeare to the great 19th century novelists such as Tolstoy and Dickens, literature has long been a force for change in the world. It has the power to move us, to inspire us, to make us think deeply about the world we live in. It is an honor to be recognized alongside so many great writers who have received this award before me.As someone who has spent his life writing about the American South, I am acutely aware of the history of oppression and injustice that has shaped this region. The legacy of slavery and segregation has left deep wounds that continue to affect us today. I have triedto explore the complexity of this history in my work, to give voice to those who have been silenced and to challenge the dominant narratives that continue to shape our understanding of the world.I believe that the role of the writer is to bear witness to the world around us, to tell the stories that need to be told, and to challenge us to be better people. Writing is not just a solitary pursuit, but a communal one. It is a conversation between the writer and the reader, a way to connect with others, to share our experiences and to understand each other more deeply.As I stand before you today, I am reminded of the words of Ralph Waldo Emerson, who said that "the highest compliment that can be paid to a writer is to say that he made you see the world differently." I hope that my work has achieved this, that it has challenged you to see the world in a new light, that it has opened up new possibilities and new avenues of understanding.In conclusion, I once again express my deep gratitude to the Nobel committee for this honor. I hope that it will inspire others to pursue their passions, to dedicate themselves to the pursuit of knowledge and to the exploration of the human experience. I hope that it will remind us all of the power of literature and the importance of storytelling in our lives. Thank you.。
威廉·福克纳获诺贝尔文学奖受奖演说
威廉·福克纳获诺贝尔文学奖受奖演说威廉·福克纳获诺贝尔文学奖受奖演说英语演讲稿威廉·福克纳（WilliamFaulkner，1897-1962）美国作家，生于美国密西西比州新奥尔巴尼的一个庄园主家，南北战争后家道中落。
第一次世界大战期间，福克纳在空军服过役。
战后入大学，其后从事过各种职业并开始写作。
《士兵的报酬》（1926）发表后，福克纳被列入”迷惘的一代”，但很快与他们分道扬镖。
《萨拉里斯》（1929）问世之后，福克纳的创作进入高峰斯。
他发现”家乡那块邮票般大小的地方倒也值得一写，只怕一辈子也写不完”。
怀着这样的信念，他把19篇长篇和70多篇短篇小说纺织在”约克纳帕塌法世系”里，通过南方贵族世家的兴衰，反映了美国独立战争前夕到第二次世界大战之间的社会现实，创伤了20世纪的”人间喜剧”。
长篇小说《喧哗与骚动》和《我弥留之际》（1930）、《圣殿》（1931）、《八月之光》（1932）、《押沙龙，押沙龙》（1936）等现代文第1文秘版权所有学的经典之作。
福克纳后期的主要作品有《村子》（1940）、《闯入者》（1948）、《寓言》（1954）、《小镇》（1957）和《大宅》（1959）等。
此外还有短篇小说、剧本和诗歌。
福克纳虽是南方重要作家，但他的作品当时并不受重视，直到1946年美国著名的文学批评家马尔科姆·考莱编选了《袖珍本福克纳文集》，又写了一篇有名的序言之后，福克纳才在文坛上引起重视。
特别是萨特、马尔洛等人的赏识，使福克纳名声大噪。
在艺术上，福克纳受弗洛伊德影响，大胆地大胆地进行实验，采用意识流手法、对位结构以及象征隐喻等手段表现暴力、凶杀、性变态心理等，他的作品风格千姿百态、扑朔迷离，读者须下大功夫才能感受其特有的审美情趣。
1949年，”因为他对当代美国小说作出了强有力的和艺术上无与伦比的贡献”，福克纳获诺贝尔文学奖。
Ifeelthatthisawardwasnotmadetomeasaman,buttomywork --life’sworkintheagonyandsweatofthehumanirit,notforglo。
英语演讲稿-经典名人英语演讲稿59：肩负起作为一名作家的责任(威廉.福克纳诺贝尔文学奖演讲词)mp3
英语演讲稿经典名人英语演讲稿59：肩负起作为一名作家的责任（威廉.福克纳诺贝尔文学奖演讲词）mp359. Shoulder the Responsibility of Being a Writer59. 肩负起作为一名作家的责任Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or women 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.当今人们普遍存在着一种生理上的恐惧，这种恐惧由来已久，以致我们都已经习惯了。
现在不存在精神上的问题，惟一的问题是——我什么时候会爆炸？正因如此，今天从事写作的男女青年已经忘记了人类内心的冲突，而这种冲突恰恰是创作的源泉，因为这是惟一值得写、值得呕心沥血地去写的题材。
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 compassion 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, worst of all, without pity or compassion. His grieves grieve on no universal bones, leaving no scars. He writes the glands.创作者必须重新学会这一切；必须教会自己认识到一切事物的本质是恐惧；教会自己学会忘记一切恐惧；在自己的创作空间里不给其他东西留任何空间，惟一拥有的是心灵的真谛。
双语演讲稿：福克纳诺贝尔奖致辞
双语演讲稿：福克纳诺贝尔奖致辞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 materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like 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 women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is 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 compassion 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, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny 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 compassion and sacrifice and endurance.The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory ofhis past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.我认为这个奖项不是授给我个人而是授给我的工作---------一项艰辛而痛苦的毕生投入的人类精神的工作,既不为名也不土利,而是要从人类的精神原材料中创造一些前所未有的东西。
5 William Faulkner(威廉福克纳)Nobel Prize Acceptance Speech诺贝尔奖获奖演说 Nicholas Krippendorf
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 compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail. Laຫໍສະໝຸດ ies and gentlemen,
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 materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like 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 women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.
威廉·福克纳获诺贝尔文学奖受奖演说
威廉·福克纳获诺贝尔文学奖受奖演说威廉·福克纳获诺贝尔文学奖受奖演说英语演讲稿威廉·福克纳（WilliamFaulkner，1897-19XX）美国作家，生于美国密西西比州新奥尔巴尼的一个庄园主家，南北战争后家道中落。
第一次世界大战期间，福克纳在空军服过役。
战后入大学，其后从事过各种职业并开始写作。
《士兵的报酬》（19XX）发表后，福克纳被列入"迷惘的一代"，但很快与他们分道扬镖。
《萨拉里斯》（19XX）问世之后，福克纳的创作进入高峰斯。
他发现"家乡那块邮票般大小的地方倒也值得一写，只怕一辈子也写不完"。
怀着这样的信念，他把XXX篇长篇和70多篇短篇小说纺织在"约克纳帕塌法世系"里，通过南方贵族世家的兴衰，反映了美国独立战争前夕到第二次世界大战之间的社会现实，创伤了20世纪的"人间喜剧"。
长篇小说《喧哗与骚动》和《我弥留之际》（19XX）、《圣殿》（19XX）、《八月之光》（19XX）、《押沙龙，押沙龙》（19XX）等现代文版权所有学的经典之作。
福克纳后期的主要作品有《村子》（19XX）、《闯入者》（19XX）、《寓言》（19XX）、《小镇》（19XX）和《大宅》（19XX）等。
此外还有短篇小说、剧本和诗歌。
福克纳虽是南方重要作家，但他的作品当时并不受重视，直到19XX年美国著名的文学批评家马尔科姆·考莱编选了《袖珍本福克纳文集》，又写了一篇有名的序言之后，福克纳才在文坛上引起重视。
特别是萨特、马尔洛等人的赏识，使福克纳名声大噪。
在艺术上，福克纳受弗洛伊德影响，大胆地大胆地进行实验，采用意识流手法、对位结构以及象征隐喻等手段表现暴力、凶杀、性变态心理等，他的作品风格千姿百态、扑朔迷离，读者须下大功夫才能感受其特有的审美情趣。
19XX年，"因为他对当代美国小说作出了强有力的和艺术上无与伦比的贡献"，福克纳获诺贝尔文学奖。
福克纳诺贝尔奖获奖演说（精选五篇）
福克纳诺贝尔奖获奖演说（精选五篇）第一篇：福克纳诺贝尔奖获奖演说我感觉，这个奖不是授予我这个人，而是授予我的工作，它是对我呕心沥血、毕生从事的人类精神探索的工作的肯定。
我的这项工作不为名，更不图利，而是要从人类精神的原始素材里创造出前所未有的东西。
我感到这份奖励不是授予我个人，而是授予我的工作——一生用辛劳和汗水为人类精神所做的工作，不是为了名，更不是为了利，而是为了用人类精神的原材料创造一些原先不存在的东西。
所以这份奖励只是暂时给我保管。
为这笔奖金发表一篇与它的本来目的和象征相符合的演说辞并不困难，但我更愿意在欢呼声中做另一件事情，把这个激动人心的时刻献给那些可能正在聆听我讲话的、同样献身于艰苦的文学事业的年轻男女们，在这些人当中肯定有人将来会站在我现在站着的地方。
我们今天的悲剧是一种肉体上的恐惧，它已经持续了那么久，以至于我们几乎都能忍受它了。
现在已经没有任何关于灵魂的话题，有的只是一个问题：“我什么时候会被炸的粉身碎骨？”正因为如此，今天从事写作的年轻人已经忘记了关于人类内心深处的自我斗争的题材，只有这个题材能写出好的文章，因为只有它是值得去写的，是值得付出辛劳和汗水的。
人们必须重新回忆它，必须告诉自己，世界上最可卑的事情就是恐惧；并且告诉自己，永远忘记它，在自己的工作室里不给任何东西留下位置，除了那些古老的真理和心灵的真实。
缺少了这些普遍的真理，任何故事都是短命的、注定要被忘记的——这些真理就是爱与荣誉，怜悯与自尊，同情与牺牲。
如果人们不注意这些真理，他们的工作就是无用的。
他们不是在写爱情而是在写情欲，在他们描写的失败中没有任何人失去任何有价值的东西；在他们描写的胜利中找不到希望，更糟糕的是找不到怜悯和同情。
他们的悲剧没有建立在普遍的基础上，不能留下任何伤痕；他们不是在写心灵，而是在写器官。
在人们学到这些真理以前，他们在写作中会认为自己已经高高在上，并且看见了人类的末日。
我拒绝接受关于人类末日的说法。
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威廉福克纳获诺贝尔文学奖演说威廉福克纳（William Faulkner，1897-1962）美国作家，生于美国密西西比州新奥尔巴尼的一个庄园主家，南北战争后家道中落。
第一次世界大战期间，福克纳在空军服过役。
战后入大学，其后从事过各种职业并开始写作。
《士兵的报酬》（1926）发表后，福克纳被列入"迷惘的一代"，但很快与他们分道扬镖。
《萨拉里斯》（1929）问世之后，福克纳的创作进入高峰斯。
他发现"家乡那块邮票般大小的地方倒也值得一写，只怕一辈子也写不完"。
怀着这样的信念，他把19篇长篇和70多篇短篇小说纺织在"约克纳帕塌法世系"里，通过南方贵族世家的兴衰，反映了美国独立战争前夕到第二次世界大战之间的社会现实，创伤了20世纪的"人间喜剧"。
长篇小说《喧哗与骚动》和《我弥留之际》（1930）、《圣殿》（1931）、《八月之光》（1932）、《押沙龙，押沙龙》（1936）等现代文学的经典之作。
福克纳后期的主要作品有《村子》（1940）、《闯入者》（1948）、《寓言》（1954）、《小镇》（1957）和《大宅》（1959）等。
此外还有短篇小说、剧本和诗歌。
福克纳虽是南方重要作家，但他的作品当时并不受重视，直到1946年美国著名的文学批评家马尔科姆考莱编选了《袖珍本福克纳文集》，又写了一篇有名的序言之后，福克纳才在文坛上引起重视。
特别是萨特、马尔洛等人的赏识，使福克纳名声大噪。
在艺术上，福克纳受弗洛伊德影响，大胆地大胆地进行实验，采用意识流手法、对位结构以及象征隐喻等手段表现暴力、凶杀、性变态心理等，他的作品风格千姿百态、扑朔迷离，读者须下大功夫才能感受其特有的审美情趣。
1949年，"因为他对当代美国小说作出了强有力的和艺术上无与伦比的贡献"，福克纳获诺贝尔文学奖。
I feel that this award was not made to me as a man, but tomy work -- 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 materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication 1 for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim 2 too, by using this moment as a pinnacle 3 from which I might be listened to by the young men and women already dedicated 4 to the same anguish 5 and travail 6 , among whom is already that one who will some day stand where I am standing 7 .Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is 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 foranything but the old verities 8 and truths of the heart, the universal truths lacking which any story is ephemeral and doomed 10 -- love and honor and pity and pride and compassion 11 and sacrifice. Until he does so, he labors 12 under a curse. He writes not of love but of lust 13 , of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands 14 .Until he learns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal 15 simply because he will endure: that when the last ding-dong of doom 9 has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny 16 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 compassion and sacrifice and endurance.The poet’s, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, byreminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props 17 , the pillars to help him endure and prevail.■文章重点单词注释：1dedicationn.奉献，献身，致力，题献，献辞参考例句：We admire her courage,compassion and dedication.我们钦佩她的勇气、爱心和奉献精神。
Her dedication to her work was admirable.她对工作的奉献精神可钦可佩。
2acclaimv.向…欢呼，公认；n.欢呼，喝彩，称赞参考例句：He was welcomed with great acclaim.他受到十分热烈的欢迎。
His achievements earned him the acclaim of the scientific community.他的成就赢得了科学界的赞誉。
3pinnaclen.尖塔，尖顶，山峰；(喻)顶峰参考例句：Now he is at the very pinnacle of his career.现在他正值事业中的顶峰时期。
It represents the pinnacle of intellectual capability.它代表了智能的顶峰。
4dedicatedadj.一心一意的；献身的；热诚的参考例句：He dedicated his life to the cause of education.他献身于教育事业。
His whole energies are dedicated to improve the design.他的全部精力都放在改进这项设计上了。