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Benjamin Zander激情演讲:古典音乐和闪光的眼睛(视频)

分享一个今天我看到的一个很棒很棒的视频,美国波士顿爱乐乐团指挥Benjamin Zander在TED Talk上关于古典音乐和闪光的眼睛的激情演讲,有视频,也有中英文对照的全文。免费关注微信公众号 jiarenorg ,就能天天收到佳人精彩文章了,咱们微信里见!

听后觉得以后一定经常要去听古典音乐啊,这个演讲的效果太成功了!因为他真的是用生命在演讲,自己本身就是一个激情无限的音乐牛人,演讲的时候谈吐自如,讲的就是他内心的声音,自然会感染听众。

benjaminzander

他还现场使用半个屁股演奏法演奏了肖邦的一段序曲,即使你不懂音乐,也基本上能听懂他在讲什么。对了,听完之后请在文后留言,你的眼睛闪光了吗?

Benjamin Zander的TED演讲视频:《Classical Music and Shining Eyes》

Benjamin Zander演讲中英文对照全文如下:(有些小错误,但不影响理解)

Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes. And they wrote telegrams back to Manchester. And one of them wrote: “Situation hopeless. Stop. They don’t wear shoes.” And the other one wrote: “Glorious opportunity. They don’t have any shoes yet.” (Laughter) 相信很多人都听过两个推销员的故事,他们在20世纪去往非洲调研当地是否有卖鞋的商机。不久,电报就派回了曼切斯特其中一人写道:“情况堪忧,中止计划。非洲人不穿鞋。” 另一个人写道:“天赐良机!他们都还没有鞋呢!” (笑声)

Now, there’s a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain’t seen nothing yet. And rather than go into statistics and trends and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight — an experiment. Actually, it’s not really an experiment because I know the outcome. 其实,古典音乐的殿堂正面临相同的处境。有人觉得古典音乐正在消亡。而另一群人觉得这不过是刚刚开始。我不准备给你们看什么统计数据和趋势,也不打算说那些业已解散的管弦乐队的故事、或歇业的唱片公司。今晚,我想做个实验,一个实验。其实我已经知道结果,所以这并不算是个实验。

But it’s like an experiment. Now, before we — (Laughter) — before we start I need to do two things. One, is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this. (Piano) I see some of you recognize this child. Now, if he practices for a year and takes lessons, he’s now eight and he sounds like this. (Piano) Then he practices for another year and takes lessons; now he’s nine. (Piano) Then he practices for another and takes lessons; now he’s ten. (Piano) At that point they usually give up. (Laughter) (Applause) Now, if you’d waited, if you’d waited for one more year, you would have heard this: (Piano) 但它毕竟是个实验。好,在– (笑声) –在开始前,我想先做两件事。第一,我想你想象一下,一个7岁的小孩子弹出的琴声。你家里可能就有这么一个小孩。他听起来像这样。(钢琴声)我知道有些人认识这个小孩。好,如果他练习一年,上些课,他八岁了,他听起来像这样。(钢琴声)他再练上一年,上些课;现在他九岁了。(钢琴声)然后他再练习,上课,他十岁了。(钢琴声)这时候他们一般就放弃了。(笑声)(掌声)其实,如果你在等等,再等上一年,你会听到这个:(钢琴声)

Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time he was playing with an impulse on every note. (Piano) And the second with an impulse every other note. (Piano) You can see it by looking at my head. (Laughter) The nine-year-old, the nine-year-old put an impulse on every four notes. (Piano) And the ten-year-old on every eight notes. (Piano) And the 11-year-old, one impulse on the whole phrase. (Piano) 其实,发生的情况和人想像的并不一样,那个孩子并没有突然变得很热爱,投入,找了新老师,或者突然开窍。其实是当中的停顿减少了。看,第一次他弹的时候每弹一个音符就要停顿一次。(钢琴声)现在是两个音符停顿一次。(钢琴声)看我的头你就能看出来。(笑声)现在是9岁的小孩,9岁 4个音符。(钢琴声)十岁的时候,8个。(钢琴声)。到了11岁,整个段落只有一处停顿。(钢琴声)

I know — I don’t know how we got into this position. (Laughter) I didn’t say I’m going to move my shoulder over, move my body. No, the music pushed me over, which is why I call it one-buttock playing. (Piano) It can be the other buttock. (Piano) You know, a gentleman was once watching a presentation I was doing when I was working with a young pianist. He was the president of a corporation in Ohio. And I was working with this young pianist and I said, “The trouble with you is you’re a two-buttock player. You should be a one-buttock player.” And I moved his body like that while he was playing. And suddenly the music took off. It took flight. There was a gasp in the audience when they heard the difference. And then I got a letter from this gentleman. He said, “I was so moved. I went back and I transformed my entire company into a one-buttock company.” (Laughter) 我不知道我的姿势怎么突然成了这样,(笑声)我脑子里没有想过要把肩膀移到这里,身体移到那里。没有,是音乐在推动我,我管这叫做半个屁股的演奏。(钢琴声)也可能是另外半个屁股。(钢琴声)一位男士曾经观看我与一个青年钢琴家合作。他是俄亥俄州一间公司的老板。我和那个青年钢琴家说, “你的问题在于,你只会‘整个屁股的演奏’。你应该坐半个屁股来演奏。” 当他演奏的时候我就这样移动了他的身体。然后突然之间音乐就像乘着翅膀飞了起来。观众听到这个改变都吃了一大惊。后来我收到了这个公司老板的一封信。他说,“我当时感触很深,于是我回去后,把我整间公司都变成了‘半个屁股公司’。” (笑声)

Now the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. And you have CDs in your car, and you go to the symphony. And your children are playing instruments. You can’t imagine your life without classical music. That’s the first group; it’s quite a small group. Then there’s another group, bigger group. These are the people who don’t mind classical music. (Laughter) You know, you’ve come home from a long day and you take a glass of wine and you put your feet up. A little Vivaldi in the background doesn’t do any harm. (Laughter) That’s the second group. Now comes the third group. These are the people who never listen to classical music. It’s just simply not part of your life. You might hear it like second-hand smoke at the airport, but — (Laughter) — and maybe a little bit of a march from Aida when you come into the hall. But otherwise you never hear it. That’s probably the largest group of all. 好,另外一件我想告诉你们的事是,这里大概有1600人。我猜其中大概有45个人左右是深深热爱古典音乐的。你痴迷于古典音乐。收音机永远都调在古典音乐的频道上。车里放的是古典音乐的CD, 听交响音乐会。孩子们也会弹些乐器。你不能想象没有古典音乐的生活是怎么样的。这是第一种人,为数不多。另一种人,大多数的,是不讨厌古典音乐的人。(笑声)你结束了一天的辛苦工作回到家里,为自己倒了杯红酒,坐下把脚翘起来。来一点威尔第的音乐。真好。(笑声)这是第二种人。第三种人,他们从不接触古典音乐。古典音乐根本就不是他们生活的一部分。你听它,就像在机场里吸二手烟一样稀松平常。(笑声)或者当你走进某大楼时,耳边刮到一点《阿依达》的进行曲除此之外与古典乐再没有交集。这大概就是为数最多的一群人。

And then there’s a very small group. These are the people who think they’re tone deaf. Amazing number of people think they’re tone deaf. Actually, I hear a lot, “My husband is tone deaf.” (Laughter) Actually, you cannot be tone deaf. Nobody is tone deaf. If you were tone deaf, you couldn’t change the gears on your car, in a stick-shift car. You couldn’t tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says “Hello,” you not only know who it is, you know what mood she’s in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone deaf. 最后,还有为数不多的一群人。这些人认为自己是音盲。真神奇,很多人都认为自己是音盲。事实上我听到过很多,“我老公是个音盲。” (笑声) 你不可能是音盲。没有人是音盲。如果你音盲,你根本无法给汽车换档,如果你开的是手档车话。你听不出来德克萨斯州和罗马来的两个人讲话有什么区别。还有电话。如果你妈妈打电话给你,她用悲伤的语调说,“你好,” 你不仅知道她是谁,还知道她心情的好坏。你有双神奇的耳朵。每个人都有双神奇的耳朵。所以没有人是音盲。

But I tell you what. It doesn’t work for me to go on with this thing with such a wide gulf between those who understand, love and passionate about classical music, and those who have no relationship to it at all. The tone deaf people, they’re no longer here. But even between those three categories, it’s too wide a gulf. So I’m not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that’s what we’re going to do. 但是,让我来告诉你,如果我要继续我的事业,这些种种将对我不起作用人们对古典音乐的认知存在巨大差异。有人痴迷,有人无视。即便“音盲”是不存在的,但是剩下三组人的差距还是很大。所以,我不会继续下去,直到这屋子里的每个人,楼上楼下,每个人都来试图理解和热爱古典音乐。这就是我们今天要做的事情。

Now, you notice that there is not the slightest doubt in my mind that this is going to work if you look at my face, right? It’s one of the characteristics of a leader that he not doubt for one moment the capacity of the people he’s leading to realize whatever he’s dreaming. Imagine if Martin Luther King had said, “I have a dream. Of course, I’m not sure they’ll be up to it.” (Laughter) 你有没有发现,我对我的想法没有一丝的怀疑。你看我的脸,就知道我认为这一定能成功,是不是?这是一个坚定不移的领导者的特质,他让他所领导的人民深信他的能力,逐步实现梦想。想想看,如果马丁路德金说,“我有一个梦想!但是,我不确定你们是不是乐意追跟我。” (笑声)

All right. So I’m going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it. (Music) Do you know what I think probably happened in this room? When I started, you thought, “How beautiful that sounds.” (Music) “I don’t think we should go to the same place for our summer holidays next year.” (Laughter) It’s funny, isn’t it? It’s funny how those thoughts kind of waft into your head. And of course — (Applause) — and of course, if the piece is long and you’ve had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, “Wake up! It’s culture!” And then you feel even worse. 好,我要弹一首肖邦。这是一首优美的序曲。有人应该听过。(钢琴声)你猜我觉得刚刚屋里发生了什么?我开始的时候,你脑子里在想,”多优美的曲子啊。“ (钢琴声) “明年夏天再也不要去同一个地方度假了。“ (笑声)有趣吧?这些想法不知怎么的就飘到你脑海中去了。当然– (掌声)当然,如果这首曲子很长,而且你很累,你可能会不知不觉睡着了。你旁边的同伴就会戳戳你,说,”醒醒!这是文化!“你会感到更郁闷。

But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, “Why is he using so many impulses?” If I’d done this with my head you certainly would have thought it. (Music) And for the rest of your life, every time you hear classical music you’ll always be able to know if you hear those impulses. 但是你有没有想过,你之所以在听古典音乐的时候会觉得困,不是因为你,而是因为我们?在我演奏的时候,有没有人想: “为什么他用了这么多的停顿?” 如果我动了我的脑袋的话,你肯定想的到。(钢琴声)在你未来的人生中,每当你听到古典音乐你都会意识到自己是否听到了这些停顿。

So let’s see what’s really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn’t it? (Laughter) Composers know that. If they want sad music they just play those two notes. (Music) But basically it’s just a B, with four sads. (Laughter) Now, it goes down to A. Now to G, and then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next? Oh, that might have been a fluke. Let’s try it again. Ooh, the TED choir. (Laughter) And you notice nobody is tone deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China. Everybody knows: da, da, da, da — da. Everybody knows who’s expecting that E. 好,让我们来看看这到底是怎么回事。这是个B, 它旁边的这个是C. C的任务就是让B听起来很哀伤。它做到了,是不是?(笑声)作曲家知道这个秘诀,所以如果他们想要创作悲伤的音乐,他们就不停的用这两个音符。(钢琴声)其实就是一个B,和4个悲伤而已。(笑声)现在,我们下降到A,到G,最后到F。好,我们有,B A G F,如果我们有 B A G F,接下来你将期待什么?哦,好像事有凑巧。再试一次。哈, TED合唱团。(笑声)你有没有发现,没有人是音盲,对不对?没有人。每一个孟加拉国的小镇,每一个中国的村庄,每个人,都知道:嗒,嗒,嗒,嗒 – 嗒。每个人都知道下一个是E。

Now, Chopin didn’t want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember Hamlet? Act 1, Scene 3: he finds out that his uncle killed his father. You remember he keeps on going up to his uncle and almost killing him. And then he backs away and he goes up to him again and almost kills him. And the critics, all of whom are sitting in the back row there, they have to have an opinion, so they say, “Hamlet is a procrastinator.” (Laughter) Or they say, “Hamlet has an Oedipus complex.” No, otherwise the play would be over, stupid. That’s why Shakespeare puts all that stuff in Hamlet. You know, Ophelia going mad and the play within the play, and Yorick’s skull, and the grave diggers. That’s in order to delay — until Act 5 he can kill him.不过,Chopin还不想到E。不然会怎么样?曲子就结束了,就像《哈姆雷特》。记不记得《哈姆雷特》?第一幕,第三场:他发现他的叔叔杀了他的父亲。你记不记得他靠近他的叔叔差点杀了他。但是他又走开了。他又靠过去,差点杀了他。所有的评论家都坐在后排那里,他们必须要批评点什么,于是他们说,“哈姆雷特优柔寡断,拖泥带水。” (笑声)或者,“哈姆雷特有恋母情结。” 不是的,不然这演出就结束了,傻瓜。所以莎士比亚才把这些东西放进去。 Ophelia在戏中发疯, Yorick的头盖骨,还有盗墓人。这一切都是为了推迟——直到在第五幕他杀掉他叔叔

It’s the same with the Chopin. He’s just about to reach the E, and he says, “Oops, better go back up and do it again.” So he does it again. Now he gets excited — that’s excitement, you don’t have to worry about it. Now he gets to F sharp and finally he goes down to E, but it’s the wrong chord. Because the chord he’s looking for is this one, and instead he does … now, we call that a deceptive cadence because it deceives us. I always tell my students, “If you have a deceptive cadence be sure to raise your eyebrows then everybody will know.” (Laughter) (Applause) Right. So he gets to E, but it’s the wrong chord. Now, he tries E again. That chord doesn’t work. Now, he tries the E again. That chord doesn’t work. Now, he tries E again, and that doesn’t work. And then finally …. There was a gentleman in the front row who went, “Mmm.” It’s the same gesture he makes when he comes home after a long day, turns off the key in his car and says, “Aah, I’m home.” Because we all know where home is. Chopin也是一样的。他马上就要到E了,他说,“不行,反复一遍会更好。” 于是他又来一遍。这里他变的很激昂,这部分你不用管。这他到了升半音的的F, 终于到了E。但是这是不对的和弦。他想要的和弦是这个,但是他用了。我们管这个叫假终止,因为它是为了欺骗我们用的。我总是告诉学生,“如果你要弹到假终止,把你的眉毛抬起来大家就知道了。” (笑声)(掌声)好,他到了E,但是是错的和弦。他再次试E,这个和弦也不好。他再试,这个也不行。他再试,还是不行。终于。。坐在第一排的这位男士刚刚,“啊。。”放松了。这与他回到家的时候做的是同样的姿势。经过一天辛苦的工作,他拧钥匙熄灭了他的车,说, “啊,我到家了。”因为我们都知道家是哪。

So this is a piece which goes from away to home. And I’m going to play it all the way through and you’re going to follow. B, C, B, C, B, C, B — down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B. He gets very excited. Goes to F sharp. Goes to E. It’s the wrong chord. It’s the wrong chord. It’s the wrong chord. And finally goes to E, and it’s home. And what you’re going to see is-one buttock playing. (Laughter) Because for me, to join the B to the E, I have to stop thinking about every single note along the way and start thinking about the long, long line from B to E. 所以,这就是从远方回家的曲子。我这就来把它从头到尾的演奏一遍。你会跟随这琴声,B, C, B, C, B, C, B– 到A,到G,到F 马上就要到E了,可是曲子那样会结束。于是他回到B,这里变的很激动,到F声调,到E。可是是错的和弦,错的和弦,错的和弦。终于它弹到了E,那里是家。而且你马上要看到的是“半个屁股演奏法”。(笑声)因为,如果我想要把B和E链接起来的话,我要停止去想中间的每一个音符,而是开始想这从B到E流下来的一条线。

You know, we were just in South Africa, and you can’t go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. That’s what kept — this is about vision; this is about the long line. Like the bird who flies over the field and doesn’t care about the fences underneath, all right? So now you’re going to follow the line all the way from B to E. And I’ve one last request before I play this piece all the way through. Would you think of somebody who you adore, who’s no longer there? A beloved grandmother, a lover, somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time follow the line all the way from B to E, and you’ll hear everything that Chopin had to say. (Music) (Applause) 我们刚刚说到南非,如果你不去想曼德拉在铁窗中的27年,你是不能理解南非的。他当时在想些什么?午饭么?不是,他在想南非的将来,人类的将来。这是关于将来的一曲,关于这条长长的线。就好象鸟儿从天空中飞过田地,不会去管地上的栅栏一样,不是吗?所以,请你跟随我从B到E,连成一线。在我开始演奏之前,我还有一个请求。请你想起一个你爱的人,但是他/她已经不在了。比如关爱你的奶奶,或者以前的爱人。一个在你生命中,让你用尽全心去爱的人,但是他/她已经不在了。把他/她放在你的脑海中,同时,跟随着我,从B到E。你会听到一切肖邦想说的话语。(钢琴声)(掌声)

Now, you may be wondering, you may be wondering why I’m clapping. Well, I did this at a school in Boston with about 70 seventh-graders — 12-year-olds. And I did exactly what I did with you, and I told them and explained them and the whole thing. And at the end they went crazy, clapping. They were clapping. I was clapping. They were clapping. Finally, I said, “Why am I clapping?” And one of the little kids said, “Because we were listening.” (Laughter) Think of it. 1,600 people, busy people, involved in all sorts of different things. Listening, understanding and being moved by a piece by Chopin. Now that is something. Now, am I sure that every single person followed that, understood it, was moved by it. Of course I can’t be sure. But I tell you what happened to me. 你可能在想,你可能在想为什么我在鼓掌。因为,我在波士顿作这个演奏受众是七十个7年纪的学生们,12岁。我做了同样的事情,我告诉他们,给他们解释了一切。曲子结束的时候,他们都狂呼了起来,鼓掌。他们在鼓掌,我也在鼓掌。他们在鼓掌。我问,“为什么我也在鼓掌?” 一个小孩叫到,“因为我们在听。” (笑声)想象一下。1600个人,忙碌的人。每个人都有这不同的职业。每个人都认真聆听,理解,而且被这首肖邦感动。这也算是成功了吧。我是不是能确定屋子里的每一个人都跟随着理解了,而且被感动了呢?我不确定。但是我要给你讲一个故事。

I was in Ireland during the Troubles 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them. A risky thing to do because they were street kids. And one of them came to me the next morning and he said, “You know, I’ve never listened to classical music in my life, but when you played that shopping piece….” (Laughter) He said, “My brother was shot last year and I didn’t cry for him. But last night when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And you know, it felt really good to cry for my brother.” So I made up my mind at that moment that classical music is for everybody. Everybody. 10年前的爱尔兰正值动乱,我正好在那里。我去那里帮助一些天主教徒和新基督教徒的孩子解决一些矛盾问题。我也表演了刚才那一段。这是一件冒险的事。因为他们都是些在街头流浪的孩子。可第二天早晨,其中一个小孩找到我,他说, “我从来没有听过古典音乐,但是你弹的那个‘购物单’……“(肖邦在英文中音近购物)(笑声)他说,”我的哥哥去年被枪杀了,我没有为他掉一滴眼泪。但是昨晚你弹到那曲的时候,我在想我的哥哥。我感到了自己的眼泪顺着脸颊淌下来。你知道吗,为哥哥哭的这种感觉很好。“ 在那一刻起,我就坚信,古典音乐可以打动每一个人,每一个人。

Now, how would you walk — because you know, my profession, the music profession doesn’t see it that way. They say 3 percent of the population likes classical music. If only we could move it to 4 percent our problems would be over. I say, “How would you walk? How would you talk? How would you be if you thought 3 percent of the population likes classical music? If only we could move it to 4 percent. How would you walk? How would you talk? How would you be if you thought everybody loves classical music — they just haven’t found out about it yet.” (Laughter) See, these are totally different worlds. 你怎么走路?你知道,我的行业,音乐行业不这么想。他们说,3%的人喜欢古典音乐。如果要是有4%,我们的世界就不会有那么多的问题了。我说,”你怎么走路?怎么说话?如果你只认为 3%的人喜欢古典音乐, 如果有4%就好了,你怎么走路?怎么说话?如果你知道每一个人都热爱古典音乐,只是他们不知道罢了。“ (笑声)看,这将是一个大不同的世界。

Now, I had an amazing experience. I was 45 years old, I’d been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn’t make a sound. My picture appears on the front of the CD — (Laughter) — but the conductor doesn’t make a sound. He depends for his power on his ability to make other people powerful. And that changed everything for me. It was totally life-changing. People in my orchestra came up to me and said, “Ben, what happened?” That’s what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. And you know how you find out? You look at their eyes. If their eyes are shining, you know you’re doing it. You could light up a village with this guy’s eyes. (Laughter) Right. So if the eyes are shining, you know you’re doing it. If the eyes are not shining, you get to ask a question. And this is the question: Who am I being that my players’ eyes are not shining? We can do that with our children too. Who am I being that my children’s eyes are not shining? That’s a totally different world.我45岁的时候有个特别的经历。我在我指挥乐队20年以后,突然有一天意识到,乐团指挥自己完全不出一声。我的照片会跑到CD的封面上去– (笑声)但是其实指挥一声也不出。他的能量在于发挥别人的力量。这个观点改变了我的一切。那是一个对整个生活态度的改变。我的管弦乐队里的人跟我说, ”本, 怎么回事?“就是这么回事。我意识到了,我的任务就是发觉别人的潜力。当然,我想知道我有没有做到这点。你知道我怎么发现吗?我看他们的眼睛。如果他们的眼睛闪光,你就知道你做到了。这个小伙子的眼睛可以照亮一个小镇。(笑声)所以,如果你看到了闪光的眼睛,你就知道你做到了。如果他们的眼睛没有闪光,你就要问一个问题。这样一个问题:如果我的队员们的眼睛没有闪光,我的存在是为了什么?这也可以用在我们的孩子身上。如果我的孩子们的眼睛没有闪光,我的存在是为了什么?这是一个大为不同的世界。

Now, we’re all about to end this magical, on-the-mountain week, and we’re going back into the world. And I say, it’s appropriate for us to ask the question: Who are we being as we go back out into the world? And you know, I have a definition of success. For me it’s very simple. It’s not about wealth and fame and power. It’s about how many shining eyes I have around me. 我们马上就要结束这个神奇的,山顶上的一周了,我们马上就要回到现实世界里。我想,我们应该问自己一个问题:我们回到现实世界中能做一些什么?我有一个成功的定义。这个定义很简单。它不是财富,名誉,权利。是在我身边有多少双闪光的眼睛。

So now I have one last thought, which is that it really makes a difference what we say. The words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old, and her brother was eight, and the parents were lost. And she told me this, she said, “We were in the train going to Auschwitz and I looked down and saw my brother’s shoes were missing. And I said, “Why are you so stupid, can’t you keep your things together for goodness’ sake?” — the way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, “I walked out of Auschwitz into life and I made a vow. And the vow was, I will never say anything that couldn’t stand as the last thing I ever say.” Now, can we do that? No. And we’ll make ourselves wrong and others wrong. But it is a possibility to live into. Thank you. (Applause) Shining eyes, shining eyes. Thank you, thank you. (Music)我有最后一个想跟大家分享的想法,就是我们的话语造成的不同。我们嘴里说出来的话有没有造成不同。我从一个在奥斯威辛集中营活下来的女士那里学到了这个。她是少数的幸存者之一。她在15岁的时候被关进了奥斯威辛集中营。那时她的弟弟8岁,他们的父母都被杀害了。她告诉了我这个,她说, “我们在去奥斯威辛的火车上,我低头的时候发现我弟弟的鞋不见了。我很生气,说,”你怎么这么笨,看在上帝的份上,你就不能看好你自己的东西吗?”——用一种大姐会和弟弟说话的方式。不幸的是,这是她对她弟弟说的最后一句话。她再也没有见过她弟弟。他没有幸存下来。当她从奥斯威辛活下来后,她发了个誓。她说,”我活着从奥斯威辛走了出来,我发了个誓。这誓言就是,我再也不会说任何一句话如果那句话不能当做我死前的最后一句。“ 我们能做到这点么?不能。我们都会犯错。但是这是一个我们可能去努力达到的生活态度。谢谢。(掌声)闪光的眼睛,闪光的眼睛。谢谢,谢谢。(音乐)和弦



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4 个评论 火速盖楼»

  1. “我再也不会说任何一句话如果那句话不能当做我死前的最后一句”没看懂这句话……求解

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    • 那句话是有语境的啊,因为她给弟弟生前说的最后一句话让她后悔,她觉得每个人都可能随时离开自己,所以就发誓,不会再说那种伤人的话了,而是每句话都把它当作生前的最后一句话,就像把每天当作生命中的最后一天一样珍惜。

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  2. Nicely hey eveyone, already been utilizing this site and had excellent replies but only just noticed this item!!!!!!!.!Nevertheless as they say greater to become late than not at all !!!!!!!!

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  3. 【环球网综合报道】近日,泰国代孕母亲指责澳夫妇抛弃残障儿童一事引发热议,同时也让人们关注到代孕母亲是否合理合法的问题。据台湾“中央社”8月13日报道,泰国代理孕母争议升温,军政府发言人帕塔玛蓬8月13日表示,军方已批准代孕法草案,将以刑事法惩处牵涉商业代孕的人士。 xboter 2014

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