下面是范文網(wǎng)小編分享的鮑勃范文3篇，供大家賞析。

鮑勃范文1

　　鮑勃·迪倫詩選（中英文對照）

　　鮑勃·迪倫詩選【美】鮑勃·迪倫周公度譯《時光慢慢流逝》山中的時光靜寂緩慢，我們坐在橋畔，在泉水邊散步，追尋野生的魚群，在溪水上漂浮，當你置身塵外，時光靜寂流逝。我曾有個心上人，她嬌小、美麗，我們坐在她家的廚房里，她媽媽做著糕點，窗外的星辰閃爍高懸，時光靜寂流逝，當你找到你的心愛。不是沒有理由搭一輛貨車去小鎮(zhèn)，不是沒有理由再去那集市。也不是沒有理由再來來回回，不是沒有理由去每個地方。白日的時光靜寂緩慢，我們注視著前方，努力不使之偏向，就像夏日的紅玫瑰逐日盛開，時光靜寂流逝，永不復(fù)返。Time Passes Slowly Time passes slowly up here in the mountains,We sit beside bridges and walk beside fountains,Catch the wild fishes that float through the stream,Time passes slowly when you're lost in a I had a sweetheart, she was fine and good-lookin',We sat in her kitchen while her mama was cookin',Stared out the window to the stars high above,Time passes slowly when you're searchin' for 't no reason to go in a wagon to town,Ain't no reason to go to the 't no reason to go up, ain't no reason to go down,Ain't no reason to go passes slowly up here in the daylight,We stare straight ahead and try so hard to stay right,Like the red rose of summer that blooms in the day,Time passes slowly and fades away.《溪谷下游》你的氣息是甜蜜的眼睛像天空中的兩顆寶石。你的背影筆直，頭發(fā)柔順光滑當你躺下，靠著枕頭。但我卻沒有心動沒有感激或者愛意你并不是為我忠誠而是對天上的星辰。上路之前，再來一杯咖啡，再來一杯咖啡我就走去那溪谷的下游。你的爸爸是一個亡命之徒一個職業(yè)流浪者他將教給你怎樣挑選和決定怎樣投擲飛刀。他俯瞰著他的王國沒有陌生人能夠闖入他的嗓音顫抖，當他大聲咆哮為了一碟子食物。上路之前，再來一杯咖啡，再來一杯咖啡我就走去那溪谷的下游。你妹妹感覺到她的未來會像你的媽媽和你自己。你從不學(xué)習(xí)閱讀或?qū)懽鲿苌弦矝]有一本書。你的希望沒有極限你的聲音像一只草地鷚但你的心像海洋神秘而幽深。上路之前，再來一杯咖啡，再來一杯咖啡我就走去那溪谷的下游。Valley BelowYour breath is sweetYour eyes are like two jewels in the back is straight, your hair is smoothOn the pillow where you I don't sense affectionNo gratitude or loveYour loyalty is not to meBut to the stars more cup of coffee for the road,One more cup of coffee 'fore I goTo the valley daddy he's an outlawAnd a wanderer by tradeHe'll teach you how to pick and chooseAnd how to throw the oversees his kingdomSo no stranger does intrudeHis voice it trembles as he calls outFor another plate of more cup of coffee for the road,One more cup of coffee 'fore I goTo the valley sister sees the futureLike your mama and 've never learned to read or writeThere's no books upon your your pleasure knows no limitsYour voice is like a meadowlarkBut your heart is like an oceanMysterious and more cup of coffee for the road,One more cup of coffee 'fore I goTo the valley below.譯自《Desire》1976《吉普賽人》去看那吉普賽人，他落腳在一家大旅館內(nèi)。當他看到我，他微笑著，說，哦，好，好。他的房間黑暗、擁擠，電燈低垂，燈光黯淡。你好？他對我說，我也如此向他問詢。我來到旅館大廳，打了一個短暫的電話。那兒有一個漂亮的跳舞的女孩，她大聲說著話，“去看吉普賽人。他可以在你身后消失，驅(qū)逐掉你的恐懼，帶你穿過鏡子。他曾在拉斯維加斯表演，現(xiàn)在他將在這兒演出?！甭灭^外面燈光閃爍河流如淚水的薄彩，我遠遠地觀看著它們音樂響起在我的耳邊。我回去看那吉普人，節(jié)目即將開始。吉普賽人的房門大開但是那吉普賽人已經(jīng)離去，還有那個漂亮的跳舞的女孩，從此難覓她的芳蹤。我看到太陽已經(jīng)升起在明尼蘇達州的小鎮(zhèn)上空。Went To See The Gypsy Went to see the gypsy,Stayin' in a big smiled when he saw me coming,And he said, Well, well, room was dark and crowded,Lights were low and are you? he said to me,I said it back to went down to the lobbyTo make a small call pretty dancing girl was there,And she began to shout,Go on back to see the can move you from the rear,Drive you from your fear,Bring you through the did it in Las Vegas,And he can do it the lights were shiningOn the river of tears,I watched them from the distanceWith music in my went back to see the gypsy,It was nearly early gypsy's door was open wideBut the gypsy was gone,And that pretty dancing girl,She could not be I watched that sun come risingFrom that little Minnesota town.以上譯自《New morning》1970《漫游者》我來到那漫游者的墓穴，長久佇立在它的邊上，我聽到一個低低的聲音說：孤身睡眠在這里多么愜意。風(fēng)雨連綿，雷聲不絕仿佛團聚一樣喧囂但我的情感平靜，靈魂靜憩，把眼睛上的淚水全部擦去。主人的召喚迫使我離開家，從此一無牽掛，后來我患上疾病，沉入墳?zāi)梗业撵`魂飛翔在房屋之上。請告訴我的朋友與我最愛的小孩不要為我的離去哭泣。同樣的手領(lǐng)我穿過最深的海洋親切地幫助我回到家。Lone Pilgrim I came to the place where the lone pilgrim lay,And patiently stood by his tomb,When in a low whisper I heard something say:How sweetly I sleep here tempest may howl and the loud thunder roarAnd gathering storms may arise,But calm is my feeling, at rest is my soul,The tears are all wiped from my call of my master compelled me from home,No kindred or relative nigh.，I met the contagion and sank to the tomb,My soul flew to mansions on tell my companion and children most dearTo weep not for me now I'm same hand that led me through seas most severeHas kindly assisted me home.譯自《World Gone Wrong》（1993）in 1970孤獨朝圣者鮑勃·迪倫/詩秋子樹/譯來到孤獨朝圣者歇息的地方，我靜靜地站在他的墳旁，聽到有人低聲細語：多愜意啊我獨自享有如此寬廣的床。暴風(fēng)雨怒號雷霆咆哮風(fēng)暴即起，臨空呼嘯，而我的心境平靜，靈魂安詳，所有的眼淚被一掃而光。主人的召喚迫使我離家出走，沒了遠親近鄰，我煢然一身。一場傳染病致使我黃泉命喪，而我的魂仍在宅邸上空翱翔。告訴我的好伙伴，我最可愛的孩子們別為我的逝去而哭泣流淚。那只領(lǐng)我穿過狂風(fēng)惡浪的手溫和地指給了我回家的路。Lone Pilgrim I came to the place where the lone pilgrim lay,And patiently stood by his tomb,When in a low whisper I heard something say:How sweetly I sleep here tempest may howl and the loud thunder roarAnd gathering storms may arise,But calm is my feeling, at rest is my soul,The tears are all wiped from my call of my master compelled me from home,No kindred or relative met the contagion and sank to the tomb,My soul flew to mansions on tell my companion and children most dearTo weep not for me now I'm same hand that led me through seas most severeHas kindly assisted me home.作者簡介：鮑勃·迪倫（1941年5月24日——）20世紀最有影響力的美國民謠歌手，詩人。曾于1997—2002年連續(xù)六年和2008年獲諾貝爾文學(xué)獎提名。2016年諾貝爾文學(xué)獎獲得者。

鮑勃范文2

　　英語演講：鮑勃?迪倫諾貝爾獲獎發(fā)言

　　Good evening, extend my warmest greetings to the members of the Swedish Academy and to all of the other distinguished guests in attendance tonight.各位晚上好。我向瑞典學(xué)院的成員和今晚所有出席宴會的尊貴來賓致以最熱烈的問候。

　　I'm sorry I can't be with you in person, but please know that I am most definitely with you in spirit and honored to be receiving such a prestigious awarded the Nobel Prize for Literature is something I never could have imagined or seen coming.很抱歉我沒能到現(xiàn)場與諸位共享此刻，但請相信，在精神上，我絕對與你們同在，我深感榮幸能獲得如此聲望卓著的獎項。被授予諾貝爾文學(xué)獎，是我從未想象過也沒有預(yù)見到的事情。

　　From an early age, I've been familiar with and reading and absorbing the works of those who were deemed worthy of such a distinction: Kipling, Shaw, Thomas Mann, Pearl Buck, Albert Camus, giants of literature whose works are taught in the schoolroom, housed in libraries around the world and spoken of in reverent tones have always made a deep I now join the names on such a list is truly beyond words.從小，我就熟悉、閱讀并充分汲取那些被認為值得獲得該項殊榮的人的作品，如吉卜林、蕭伯納、托馬斯?曼、賽珍珠、加繆、海明威。這些文學(xué)巨匠的著作在學(xué)堂上被講授、在世界各地圖書館中陳列、被被人們虔誠地談?wù)撝?，它們給我留下了深刻的印象。如今能加入這樣的名列，我的心情無以言表。

　　I don't know if these men and women ever thought of the Nobel honor for themselves, but I suppose that anyone writing a book, or a poem, or a play anywhere in the world might harbor that secret dream deep down 's probably buried so deep that they don't even know it's there.我不知道，這些作家是否想過自己能獲得諾獎，但我猜想世界上任何一個著書寫詩、或創(chuàng)作戲劇的人，內(nèi)心深處都懷揣著這個秘密的夢想。這夢想埋藏得如此之深以至于他們自己都沒意識到它的存在。

　　If someone had ever told me that I had the slightest chance of winning the Nobel Prize, I would have to think that I'd have about the same odds as standing on the fact, during the year I was born and for a few years after, there wasn't anyone in the world who was considered good enough to win this Nobel , I recognize that I am in very rare company, to say the least.如果有人告訴我，我有那么一絲希望能獲得諾獎，那我會認為這跟我能站在月球上的概率差不多。事實上，我出生的那一年和隨后的那些年，世界上幾乎沒有人是完全值得諾貝爾獎的，所以，我想，至少可以說我現(xiàn)在屬于一個非常少數(shù)的群體。

　　I was out on the road when I received this surprising news, and it took me more than a few minutes to properly process began to think about William Shakespeare, the great literary would reckon he thought of himself as a thought that he was writing literature couldn't have entered his words were written for the to be spoken not read.我是在世界巡演的過程中得知這一令人驚訝的消息的，我花了好一會兒去消化它。然后，我聯(lián)想到了莎士比亞這位文學(xué)偉人。我想他是把自己當一個寫劇本的來看待的，他怎么也不會想到自己是在創(chuàng)作文學(xué)。他的文字是為舞臺而生的，是為了言說而不是閱讀。

　　When he was writing Hamlet, I'm sure he was thinking about a lot of different things: “Who're the right actors for these roles?” “How should this be staged?” “Do I really want to set this in Denmark?” His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with.“Is the financing in place?” “Are there enough good seats for my patrons?” “Where am I going to get a human skull?” I would bet that the farthest thing from Shakespeare's mind was the question “Is this literature?”

　　在寫《哈姆雷特》的時候，他一定在想這些問題，“誰適合演這些角色？”“這段要怎么在舞臺上展現(xiàn)出來？”“故事背景真的要設(shè)在丹麥嗎？”他富于創(chuàng)造的想象與野心毫無疑問是他思維最活躍的部分，但也有很多世俗瑣事要考慮和處理?！百Y金到位了嗎？”“贊助人都能安排到好座位嗎？”“到哪里能弄到人的頭骨??？”我打賭莎士比亞最不可能思考的問題就是：“這是文學(xué)嗎？”

　　When I started writing songs as a teenager, and even as I started to achieve some renown for my abilities, my aspirations for these songs only went so thought they could be heard in coffee houses or bars, maybe later in places like Carnegie Hall, the London I was really dreaming big, maybe I could imagine getting to make a record and then hearing my songs on the was really the big prize in my records and hearing your songs on the radio meant that you were reaching a big audience and that you might get to keep doing what you had set out to do.我少年時代開始寫歌時，甚至當我因自己的才能而小有知名度時，我對這些歌曲的期待都十分很有限。我希望它們能在咖啡廳或酒吧被人聽到，或者將來能在卡內(nèi)基音樂廳，倫敦帕拉斯劇院這些地方被演唱。如果夢做得再大膽些，我希望我的音樂能被制作成唱片在電臺播放，這真是我心目中最好的獎賞了。錄唱片在電臺播放意味著你能接觸到更龐大的聽眾群體，而你也能按照自己的理想繼續(xù)走下去。

　　Well, I've been doing what I set out to do for a long time, 've made dozens of records and played thousands of concerts all around the it's my songs that are at the vital center of almost everything I seemed to have found a place in the lives of many people throughout many different cultures and I'm grateful for that.現(xiàn)在，我已經(jīng)朝著自己規(guī)劃的路走了很久了。我發(fā)行了幾十張唱片，在全球舉辦了上千場演唱會。但我的歌曲才是我所做一切的核心，它們似乎在不同文化的各類人群中產(chǎn)生了影響，對此我無限感激。

　　But there's one thing I must a performer I've played for 50,000 people and I've played for 50 people and I can tell you that it is harder to play for 50 ,000 people have a singular persona, not so with person has an individual, separate identity, a world unto can perceive things more honesty and how it relates to the depth of your talent is fact that the Nobel committee is so small is not lost on me.但有件事我必須要說，作為一個表演者，我為5萬人演唱過，也為50人演唱過，而為50個人表演難度更高。因為5萬人會融成單一人格，但50人不會。他們每個人都是一個鮮明的個體，不同的身份，自成一體。他們能更加清晰地感知事物。你的真誠以及它如何反應(yīng)出你的才華和深度，都在經(jīng)受考驗。諾獎評委會的人數(shù)之少，我是清楚的。

　　But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life's mundane matters.“Who are the best musicians for these songs?” “Am I recording in the right studio?” “Is this song in the right key?” Some things never change, even in 400 years.然而，與莎士比亞一樣，我常常被音樂創(chuàng)作和日常雜事占據(jù)了大部分時間精力，“誰最適合演唱這些歌？”“這個錄音室錄音效果好嗎？”“這首歌的調(diào)子定對了嗎？”就算過了

　　400年，有些事也不會變的。

　　Not once have I ever had the time to ask myself, “Are my songs literature?”

　　但我從來沒有時間問過自己：“我的歌算文學(xué)嗎？”

　　So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.所以，我真的要感謝瑞典文學(xué)院，不僅花時間思考這個問題，還最終給出了一個精彩的回答。

　　My best wishes to you all，致以最好的祝福，Bob Dylan

　　鮑勃?迪倫

　　迪倫沒時間考慮自己的創(chuàng)作是否算是文學(xué)，所以只能由諾貝爾官方來為他辯護了。

　　在頒獎詞中，諾貝爾皇家學(xué)院的Horace Engdahl教授用一篇充滿力量、極盡贊譽的演講回擊了那些批評質(zhì)疑的聲音。

　　不愧是諾貝爾文學(xué)獎的頒獎詞！這篇演講稿文采斐然，如詩一般的語言，讀來極有韻味，值得細品。

　　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.什么會帶來文學(xué)世界的巨變？通常，是一種簡單、被人忽視，從更高意義來說被貶低為技藝的一種形式被某個人所掌握，并令其蛻變的時候。

　　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 time this occurs, our idea of literature changes.于是，當代小說從奇聞軼事與日常通信脫穎而出，戲劇從站在市集木桶板上表演的雜耍發(fā)軔，拉丁詩文漸被方言歌謠取代，同樣地，拉?方丹將動物寓言、安徒生把童話，從育嬰室升華到高蹈派詩歌的高度。每一次變化的出現(xiàn)，我們對于文學(xué)的看法就隨之發(fā)生改變。

　　In itself, it ought not to be a sensation that a singer/songwriter now stands recipient of the literary Nobel a distant past, all poetry was sung or tunefully recited, poets were rhapsodes, bards, troubadours;'lyrics' comes from 'lyre'.本來，一位歌手或作曲家成為諾貝爾文學(xué)獎得主并不應(yīng)該成為一個聳人聽聞的事件。在久遠的過去，所有的詩都是唱出來或是帶著音調(diào)起伏誦讀出來的。史詩吟誦者、游吟詩人、行吟詩人，他們就是詩人；而“歌詞”一詞就來源于“里爾琴”。

　　But what Bob Dylan did was not to return to the Greeks or the Proven?, 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 listened

　　day and night, testing the stuff on his instruments, trying to 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。相反，他全身心地投入于20世紀的美國流行音樂中，這些都是為普通人創(chuàng)作的音樂，不分人種，它們在廣播電臺和留聲機唱片中播放：抗議歌曲、鄉(xiāng)村音樂、藍調(diào)、早期搖滾樂、福音音樂和主流音樂??他日夜聆聽，用樂器彈奏，試著學(xué)習(xí)創(chuàng)作。當他開始寫出類似的歌曲時，它們呈現(xiàn)出來的卻是另一片天地。

　　In his hands, the material 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，這些素材發(fā)生了變化。從別人的傳家寶與廢棄之物中、從陳腐的韻律與機靈妙語中、從邪惡的詛咒和虔誠的禱告中、從甜言蜜語和粗鄙玩笑中，他淘出了詩歌的黃金。是有心還是無意，都無關(guān)緊要。所有的創(chuàng)作都始于模仿。

　　Even after fifty years of uninterrupted exposure, we are yet to absorb music's equivalent of the fable's Flying makes good rhymes, said a critic, explaining it is rhyming is an alchemical substance that dissolves contexts to create new ones, scarcely containable by the human brain.即使在50年的不斷聆聽之后，我們還未能完全領(lǐng)悟迪倫那些在音樂領(lǐng)域能與《漂泊的荷蘭人》相媲美的歌曲?！八男衫世噬峡?，”一位評論家如是解釋他的偉大。沒錯。他的韻律就像是一劑煉金秘方，溶解現(xiàn)有的語境創(chuàng)造出人類大腦所難以容納的新內(nèi)容。

　　It was a 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。當大眾在期待著流行民謠的時候，一個年輕人手持吉他站在那兒，把街頭俗語與圣經(jīng)語言熔在一起，讓世界末日看起來都像是多余的再現(xiàn)。

　　At the same time, he sang of love with a power of conviction everyone wants to 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 , people stopped comparing him to Woody Guthrie and Hank Williams and turned instead to Blake, Rimbaud, Whitman, Shakespeare.與此同時，他以一種人人想擁有的、令人信服的力量來歌頌愛。突然間，世間那些書面的詩詞變得如此蒼白無力，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時了的火器。很快，人們不再把他與伍迪?格思里和漢克?威廉姆斯這些音樂人相比，而是將他與威廉?布萊克（英國浪漫主義詩人）、阿蒂爾?蘭波（法國象征主義詩人）、沃爾特?惠特曼（美國世人）和莎士比亞相提并論。

　　In the most unlikely setting of allhe gave back to the language of poetry its elevated style, lost since the to sing of eternities, but to speak of what was happening around 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，他重新賦予詩歌語言以高昂的姿態(tài)，這是自浪漫主義時代之后便已失掉的風(fēng)格。不為歌頌永恒，只在敘述我們的日常，好似德爾斐的神諭正向我們播報著晚間新聞。

　　Recognising that revolution by awarding Bob Dylan the Nobel Prize was a decision that seemed daring only beforehand and already seems does he get the

　　prize for upsetting the system of literature? Not 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.通過授予鮑勃?迪倫諾獎來認可這一革命，初時似乎會覺得過于大膽，但現(xiàn)在已然覺得理所應(yīng)當。但他獲得文學(xué)獎是因為顛覆了文學(xué)系統(tǒng)嗎？并不是。還有個更簡單的解釋，這個解釋所有看過迪倫演出的觀眾都懂，他們都懷著一顆跳動的心站在迪倫那永不停歇的巡演舞臺前，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 genresis nullified.“What matter the rank of a work when its beauty is of the highest rank?" he 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.法國劇作家尚福爾評論說，當諸如拉?方丹這類文學(xué)巨擘誕生時，文學(xué)類型的等級——對文學(xué)高低貴賤的價值估量——便再無約束力。他曾寫到：“當一部作品自身的美達到了巔峰時，等級還有什么意義呢？”這也是對鮑勃?迪倫如何屬于文學(xué)范疇這一問題最直白的解答：他的音樂之美已達到最崇高的地位。

　　By means of his oeuvre, Bob Dylan has changed our idea of what poetry can be and how it can 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 people in the literary world groan, one must remind them that the gods don't write, they dance and they good wishes of the Swedish Academy follow on his way to coming bandstands.迪倫的畢生作品已經(jīng)改變了我們對詩的認知——詩是什么，該如何創(chuàng)作。鮑勃?迪倫作為一名歌手，值得與希臘聲樂家、古羅馬的奧維德、浪漫主義空想家、藍調(diào)歌王歌后、和以及諸多以高標準來衡量而被遺忘的大師共享盛名。如果文學(xué)界的人對此不滿，那他應(yīng)該記得：神并不寫作，他們只歌唱舞蹈。瑞典學(xué)院的美好祝愿將一路跟隨迪倫先生的音樂之路前行。

鮑勃范文3

　　詩人歌手鮑勃.迪倫的《隨風(fēng)而逝blowing in the

　　Wind》

　　作者:雨軒 瀏覽次數(shù):390 發(fā)表于:2009/7/15 20:05 [大 中 小] 讓我們來聽聽詩人歌手鮑勃.迪倫的《隨風(fēng)而逝blowing in the wind》：

　　How many roads must a man walk down 一個人究竟要經(jīng)歷多長的旅途

　　Before they call him a man 才能成為真正的男人

　　How many seas must a white dove sail 鴿子要飛躍幾重大海

　　Before she sleeps in the sand 才能在沙灘上安眠

　　How many times must the cannon balls fly 要多少炮火

　　Before they're forever banned 才能換來和平

　　The answer, my friend, is blowing in the wind 那答案，我的朋友，飄零在風(fēng)中

　　The answer is blowing in the wind 答案隨風(fēng)飄逝

　　How many years must a mountain exist 山峰要屹立多久

　　Before it is washed to the sea 才是滄海桑田

　　How many years can some people exist 人們要等待多久

　　Before they're allowed to be free 才能得到自由

　　How many times can a man turn his head 一個人要幾度回首

　　And pretend that he just doesn't see 才能視而不見

　　The answer, my friend, is blowing in the wind 那答案，我的朋友，在風(fēng)中飄零

　　The answer is blowing in the wind 答案隨風(fēng)而逝

　　How many times must a man look up 一個人要仰望多少次

　　Before he can see the sky 才能見蒼穹 How many ears must one man have 一個人要多么善聽

　　Before he can hear people cry 才能聽見他人的吶喊

　　How many deaths will it take 多少生命要隕落

'Till he knows that too many people have died 才知道那已故的眾生

　　The answer, my friend, is blowing in the wind 答案，我的朋友，在風(fēng)中飄零

　　The answer is blowing in the wind答案隨風(fēng)而逝

　　鮑勃·迪倫 為什么不吸毒? 發(fā)布時間： 2009年05月27日 16:25 來源：《南方人物周刊》雜志 【字體：大 中 小】

　　老迪倫依然受歡迎，滿文軍卻吸毒被捕，值得讓我們思考一個問題：在目前中國的語境下，我們是否真的在鼓勵真正的原創(chuàng)和獨立精神

　　程西泠

“我走進另一間房，這間房子沒有窗，只有一扇漆過的門——簡直就是個從地板到房頂都是書的黑暗的大洞穴。我擰開燈。這地方太強有力地把文學(xué)呈現(xiàn)在你面前?！薄八鼈冏屨麄€房間都有力地震動起來，讓人暈眩?！毙尬舻椎拢髻?，奧維德，果戈理，巴爾扎克，雨果，狄更斯，馬基雅維里，但丁，盧梭，拜倫，愛倫·坡，普希金，?？思{……

　　這是鮑勃·迪倫在自傳《像一塊滾石》里對自己書房的描述。在不唱歌的時候，他花很多時間呆在這里，接受一個和外面世界完全不同的教育。這個大學(xué)一年級就輟學(xué)的人，本來和精英文化沾不上邊的。但是，憑借自己的歌詞和詩歌，他獲得了諾貝爾文學(xué)獎的提名。

　　整日沉浸在偉大作家和作品之中，似乎和我們通常所理解的“60年代”，和反叛、反體制，打破一切規(guī)則的青年亞文化和流行音樂文化距離很遠。這里充斥的不是濫交、毒品、游蕩、夜店……有的是嚴肅的讀書、思考、創(chuàng)作、經(jīng)年累月的巡回演唱。他也很幸運，有那么多的音樂傳統(tǒng)可以學(xué)習(xí)、模仿、超越：民謠、鄉(xiāng)村音樂、布魯斯、爵士、搖滾。他找到了自己的獨有的表達方式。雖然直到現(xiàn)在，還有人說：看這個破鑼嗓子。

　　這個5月，老迪倫有兩件值得慶祝的事情：68歲生日，以及在時隔38年之后，新專輯《一起經(jīng)歷生活》(Together Through Life)登上了英國專輯榜冠軍。這個紀錄，在一兩代人里，應(yīng)該不會有人能打破了。

“毫無疑問，鮑勃·迪倫是我們最偉大的文化符號。就像50年前一樣，他的聲音和音樂依然是那么有力。迪倫依舊維系著時代精神，新一代的年輕人依舊視他為偶像和不老的音樂傳奇?！彼且粋€精神符號，代表著一代人在一個失去根基的時代里，對時代精神的追尋、懷疑、顛覆和再確認。就像那首《答案在風(fēng)中飄蕩》，早已超出了最初的反戰(zhàn)意味，而變成一個能喚起普遍共鳴的聲音。當然，很多人也都同意，迪倫和中國大陸流行音樂的關(guān)系并不深。

　　奇跡這個詞，有時候會代表人類理解力的無能，抑或不能理解某些事物，只好將之歸因于人力不能把握的神秘領(lǐng)域。其實，了解到鮑勃·迪倫在聚光燈背后所付出的那些努力和汗水，我們或許就能明白這個不老的音樂傳奇。

　　人難免喜歡有參照。就在迪倫續(xù)寫傳奇的同時，傳來了著名歌手滿文軍涉嫌聚眾吸毒被抓的新聞。音樂和毒品，一直都是個剪不斷理還亂的話題。

　　滿文軍作為一個流行歌手，當然是不能和鮑勃·迪倫相比的，我無意于做高下之分，更多的是想說中國音樂的現(xiàn)狀。我們是否真的在鼓勵真正的原創(chuàng)和獨立精神?這是韓紅、滿文軍們的天下，也是超女們的天下。大眾決定了一切，而媒體也不做獨立思考，他們涉及到娛樂的范疇，依然是膚淺的，甚至是扭曲的。而流行歌手們呢?你是否能指出他們的空虛所在?不只是自我修為的問題，還有社會的問題，我們所呼吁的人文教育，十幾年來，僅僅是一個空洞的口號。我們每個人的心里空空蕩蕩。可能，在明星們成名的背后，更多的不是充實，而是空虛和厭倦。所以需要精神撫慰，需要毒品的刺激。

　　為什么迪倫不需要更多的刺激?是因為他有一個驚人的個人圖書館嗎?是因為他有著對這個社會真正的感受力，從來不曾抗議詩人的敏感嗎?也許這真的就是部分的答案。而且，基于各種原因，內(nèi)地還沒有形成一條合理通暢的音樂審美路徑，現(xiàn)在的這條路徑，充斥著斷裂、岔道、陷阱、高音喇叭和傳送帶，真正做創(chuàng)作的人是被忽視和埋沒的。媒體偶爾提及的幾個音樂人，只是基于來自某類社會話語的需求。真正的音樂是無比寂寞的。而這樣的寂寞，是不為人知的，在當下中國的情境之下，甚至是不能被體恤的。

　　所以，我們沒有像鮑勃·迪倫這樣，可以幾十年如一日地唱歌、巡演、出唱片的音樂家，更別提唱的全是歌頌自我和悲觀主義之歌。當今市面上，沒有年過50依舊沒消失、沒混沒賴、沒怨沒哀，依舊渾身是勁、真誠歌唱的華語老歌手。一個都沒有。

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