Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.
二十年后，让你觉得更失望的不是你做过的事，而是你没有做过的事。所以，解开帆索，从安全的港湾里扬帆出行吧。乘着信风，去探索，去梦想，去发现！
Put your heart, mind, and soul into even your smallest act. This is the secret of success.
即使是再微小不过的事情，你也要投入思想和灵魂用心去做。这就是成功的秘密。
Andrew Carnegie: The Road to Success 卡耐基：成功之路
演讲者：安德鲁·卡耐基
地点：科里商学院
时间：1885年
【演讲者简介】
安德鲁·卡耐基（Andrew Carnegie,1835.11.25—1919.08.11），美国最大钢铁制造商，作为“钢铁大王”与“汽车大王”福特、“石油大王”洛克菲勒等名垂美国工业史。功成名就后，他又几乎将全副身家奉献社会，数额足以与死后设立诺贝尔奖金的瑞典科学家、实业家诺贝尔相媲美，由此成为美国人心目中的英雄和个人奋斗的楷模。
It is well that young men should begin at the beginning and occupy the most subordinate positions. Many of the leading businessmen of Pittsburgh had a serious responsibility thrust upon them at the very threshold of their career. They were introduced to the broom, and spent the first hours of their business lives sweeping out the office. I notice we have janitors and jam tresses now in offices, and our young men unfortunately miss that salutary branch of a business education. But if by chance the professional sweeper is absent any morning, the boy who has the genius of the future partner in him will not hesitate to try his hand at the broom. The other day a fond fashionable mother in Michigan asked a young man whether he had even seen a young lady sweep in a room so grandly as her Priscilla. He said so, he never had, and the mother was gratified beyond measure, but then said he, after a pause, “What I should like to see her do is sweep out a room.” It does not hurt the newest comer to sweep out the office if necessary. I was one of those sweepers myself.
Assuming that you have all obtained employment and are fairly started, my advice to you is “aim high”.I would not give a fig for the young man who has not already seen himself the partner or the head of an important firm. Do not rest content for a moment in your thoughts as head clerk, or foreman, or general manager in any concern, no matter how extensive. Say to yourself,“My place is at the top.” Be king in your dreams.
And here is the prime condition of success, the great secret: concentrate your energy, thought, and capital exclusively upon the business in which you are engaged. Having begun in one line, resolve to fight it out on that line, to lead in it, adopt every improvement, have the best machinery, and know the most about it.
The concerns which fail are those which have scattered their capital, which means that they have scattered their brains also. They have investments in this, or that, or the other, here, there, and everywhere. “Don't put all your eggs in one basket” is all wrong. I tell you“put all your eggs in one basket, and then watch that basket”. Look round you and take notice; men who do that do not often fail. It is easy to watch and carry the one basket. It is trying to carry too many baskets, that breaks most eggs in this country. He who carries three baskets must put one on his head, which is apt to tumble and trip him up. One fault of the American businessman is lack of concentration.
To summarize what I have said: Aim for the highest, never enter a bar room; do not touch liquor, or if at all only at meals; never speculate; never indorse beyond your surplus cash fund; make the firm's interest yours;break orders always to save owners; concentrate; put all your eggs in one basket, and watch that basket;expenditure always within revenue; lastly be not impatient, for, as Emerson says, “no one can cheat you out of ultimate success but yourselves.”
其实，年轻人就应该从头做起、从最底层做起。匹兹堡很多商业巨头在创业之初都曾身负“重任”。他们与扫帚相伴，将商业生涯最初的时光消耗在了打扫办公室上。我发现现在办公室里都有保洁员，我们的年轻人也由此而不幸错过了商业教育中有益的一门课。但如果碰巧哪天早上专职保洁员没来，那个具有未来合伙人潜质的小伙子便会毫不犹豫地拿起扫帚。又有一天在密歇根，一位人见人爱的时尚母亲问一个年轻人，是否看见一位扫地扫得十分开心的小姐，也就是她的女儿普里西拉。他说他看见了，其实他并没有看见。这位母亲听后却十分高兴，但过了一会儿他又说：“我是想看见她扫地的。”必要时让新来的员工扫扫地也无妨，也不会有什么损失。我自己就曾经扫过地。
假如你已经被录用，也已经开始工作了，我对你的建议是：要“志存高远”。如果一个年轻人自己都不把自己看作大公司的合伙人或老总，我对他也会不屑一顾。无论你做了总管、领班还是总经理，就算这个职位再高，也不要有任何的满足。告诉你自己：“我注定是巅峰人物。”做你梦中的王者。
现在说一下成功的首要条件，同时也是最大秘诀：将你的精力、思想和资本全部投入到你所从事的事业中。一旦开始一项事业，就是要将这项事业做出一个结果，要做这一行的领军人物，应用所有优化措施，采用顶级硬件设备，透彻钻研专业知识。
一些公司之所以会失败，主要是因为他们分散了资本，这也就意味着他们的精力分散了。他们投资这个项目，又投资那个项目，还投资别的项目；在这里投资，又在那里投资，简直是到处投资。“不要把所有的鸡蛋都放在一个篮子里”这个说法是完全错误的。我要告诉你：“把所有的鸡蛋放在一个篮子里，然后看好这个篮子。”环顾四周，你会注意到：这么做的人其实很少失败。照看、携带一个篮子总归是容易的。反而是尝试一次携带多个篮子——美国的大部分鸡蛋就是这么被打破的。携带三个篮子的人，必须把一个篮子顶在头上，而这个篮子就很容易掉下来，把他自己绊倒。美国商人的一个缺点就是缺乏专注力。
总结一下我讲的内容：要志存高远，不要出入酒吧；要滴酒不沾，喝也只在用餐时喝少许；不要投机；不要寅吃卯粮；要把公司的利益当作自己的利益；永远只为挽救货主才取消订单；要专注；要把所有的鸡蛋放在一个篮子里，然后看好篮子；要量入为出；最后，要有耐心，就像爱默生所说：“能阻止你最终获得成功的没有别人，只有你自己。”
James Cameron: Before Avatar…a Curious Boy 卡梅隆：《阿凡达》之前那个好奇的小男孩
演讲者：詹姆斯·卡梅隆
地点：美国加州长滩
时间：2010年2月
【演讲者简介】
詹姆斯·卡梅隆（James Cameron,1954.08.16— ），加拿大著名电影导演，兼任编剧、制作和剪辑，擅长拍摄动作片及科幻电影。1984年推出自编自导的科幻片《魔鬼终结者》后一夜成名。他曾执导目前电影史上最卖座的两部电影：《泰坦尼克号》和《阿凡达》。2012年3月29日，詹姆斯·卡梅隆首次单人下潜至马里亚纳海沟最深处进行探险，并透露潜水器因海底巨大压力缩短了7厘米。
I grew up on a steady diet of science fiction. In high school I took a bus to school an hour each way every day. And I was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that I had.
And an interesting thing happened; the Jacques Cousteau shows actually got me very excited about the fact that there was an alien world right here on Earth. I might not really go to an alien world on a spaceship someday. That seemed pretty darn unlikely. But that was a world I could really go to, right here on Earth, that was as rich and exotic as anything that I had imagined from reading these books.
So, I decided I was going to become a scuba diver at the age of 15. And the only problem with that was that I lived in a little village in Canada, 600 miles from the nearest ocean. But I didn't let that daunt me. I pestered my father until he finally found a scuba class in Buffalo, New York, right across the border from where we live. And I actually got certified in a pool in a YMCA in the dead of winter in Buffalo, New York. And I didn't see the ocean, a real ocean, for another two years, until we moved to California.
Since then, in the intervening 40 years, I've spent about 3,000 hours underwater, And 500 hours of that was in submersibles. And I've learned that that deep ocean environment, and even the shallow oceans, are so rich with amazing life that really is beyond our imagination. Nature's imagination is so boundless compared to our own meager human imagination. I still, to this day, stand in absolute awe of what I see when I make these dives. And my love affair with the ocean is ongoing, and just as strong as it ever was.
But, when I chose a career, as an adult, it was film making. And that seemed to be the best way to reconcile this urge I had to tell stories, with my urges to create images.
Now, that blew my mind. And it took a lot of preparation, we had to build cameras and lights and all kinds of things. But, it struck me how much this dive, these deep dives was like a space mission. You know, where it was highly technical, and it required enormous planning. You get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can't get back by yourself. And I thought like, “Wow. I am like living in a science fiction movie. This is really cool.”
And so, I really got bitten by the bug of deep ocean exploration. Of course, the curiosity, the science component of it. It was everything. It was adventure. It was curiosity. It was imagination. And it was an experience that Hollywood couldn't give me. Because, you know, I could imagine a creature and we could create a visual effect for it. But I couldn't imagine what I was seeing out that window. As we did some of our subsequent expeditions I was seeing creatures at hydrothermal vents and sometimes things that I had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them. So, I was completely smitten by this, and had to do more.
And so, I actually made a kind of curious decision. After the success of “Titanic”, I said, “Okay, I'm going to park my day job as a Hollywood movie maker, and I'm going to be a full time explorer for a while.” And so, we started planning these expeditions. And you know, along the way in this journey of discovery, I learned a lot. I learned a lot about science. But I also learned a lot about leadership. Now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.
I didn't really learn about leadership until I did these expeditions. Because we would do these things with 10-12 people working for years at a time. Sometimes at sea for 2-3 months at a time. And in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you've done a task that you can't explain to someone else. When you come back to the shore and you say, “We had to do this, and the fiber optic, and the attentuation, and this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can't explain it to people. It's that thing that maybe cops have, or people in combat that have gone through something together and they know they can never explain it. Creates a bond, creates a bond of respect.
So, when I came back to make my next movie, which was “Avatar”, I tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return. And it really changed the dynamic. So, here I was again with a small team, in uncharted territory doing “ Avatar ”, coming up with new technology that didn't exist before. Tremendously exciting. Tremendously challenging. And we became a family, over a four and half year period. And it completely changed how I do movies. So, people have commented on how, well, you know, you brought back the ocean organisms and put them on the planet of Pandora. To me it was more of a fundamental way of doing business, the process itself, that changed as a result of that.
So, what can we synthesize out of all this? You know, what are the lessons learned? Well, I think number one is curiosity. It's the most powerful thing you own. Imagination is a force that can actually manifest a reality. And the respect of your team is more important than all the laurels in the world. I have young film makers come up to me and say, “Give me some advice for doing this.”And I say, “Don't put limitations on yourself. Other people will do that for you, don't do it to yourself, don't bet against yourself. And take risks.”
NASA has this phrase that they like: “Failure is not an option.” But failure has to be an option in art and in exploration, because it's a leap of faith. And no important endeavor that required innovation was done without risk. You have to be willing to take those risks. So, that's the thought I would leave you with, is that in whatever you're doing, failure is an option, but fear is not. Thank you.
我是看科幻小说长大的。高中时，就连每天搭车上学放学的那1个小时，我都用来看书了，就是那些科幻小说。这些书将我的思维带入各种不同的世界，就在这些故事里，我永无止境的好奇心得到了极大的满足。
然后发生了一件有趣的事情。我从著名潜水摄影家雅克·库斯托的摄影展上了解到一个事实——就在地球上，存在着一个异世界，这令我兴奋极了。我可能永远不会坐上宇宙飞船去往一个异世界。那也太不现实了。但这是一个我可以真正前往的世界，就在地球上，那儿有我以前读科幻小说时想象过的各种异域事物。
所以15岁时，我决定成为一名潜水员。而当时实现梦想的唯一问题是我住在加拿大的一个小村庄，离最近的海就有600英里。但我并没有因此而放弃。我一再央求父亲，终于，他在我们家所在的边境对岸、美国纽约布法罗，为我找到一个潜水班。就在纽约布法罗最寂静寒冷的冬季，我在基督教青年会（YMCA）的游泳池里取得了潜水资格证。直到两年后，我们全家搬到加利福尼亚，我才看到真正的大海。
从那之后的40年里，我花在海底的时间总共有3000小时，其中有500小时都在潜水艇里。我对深海环境和浅海环境都有所了解，生活其中的奇妙生物丰富得超乎我们的想象。跟我们人类这种贫乏的想象力相比，自然界的想象力可谓是无边无界。直到今天，潜水时面对这些眼前所见，我仍然满心敬畏。我对海洋的热爱一直延续至今，而且强烈不减当年。
但是成年后，我还是选择了导演作为职业。我喜欢讲故事、画图画，而这个职业似乎很好地兼顾了这两者。
（《泰坦尼克号》的拍摄工作）简直让我神魂颠倒。同时也需要做大量的前期准备工作，我们需要架设摄影机、照明灯等很多设备。但是，这种深海潜水拍摄就像一次太空任务，十分震撼。你们知道，越是技术含量高的工作，需要准备的就越多。你进入潜水舱、沉入漆黑的危险环境，如果你不能靠自己的力量返回，就连获救的希望都没有。然后我想：“哇哦，我仿佛置身于一部科幻电影之中，太酷了。”
就这样，我深深地为深海考察而着迷。当然，考察中科学的成分是好奇。考察是一切、是探险、是好奇、是想象。这是好莱坞所不能给我的体验。因为，你们知道，我能想象一个生物，同时还能为它创造一个视觉效果。但我不能想象透过潜艇窗看到的那些生物。当我们进行接下来的一些探险时，我在深海热泉看到了生物，有时还会看到一些我没有见过的东西，有时甚至是没人见过的东西，那是些在我们看到或者拍到时还没有被科学描述过的东西。所以，我彻底被震撼了，我必须做得更多。
因此，实际上我做了一个奇怪的决定。在《泰坦尼克号》成功后，我说：“好了，我要暂停自己的主业——好莱坞导演，我要去做一段时间的全职探索家。”就这样，我们开始策划一些探险。你们都知道，在整个探索之旅的途中，我学到了很多。我不仅学到了很多科学知识，还学到了领导力的相关知识。你们会认为，是导演，就一定是领导者，诸如船长之类的各种领导者。
直到我开始探险，我才学会如何做领导者。因为这么多年来，我们都是10到12人一起工作。有时在海里要一起工作2到3个月。在这样一种关系里，你会发现最重要的事就是你对他们的尊重以及他们对你的尊重，每个人需要完成的任务都是无法向他人解释的。当你回到海滨你会说：“我们必须做这个，做光纤、衰减，还有这个、那个，所有的技术，还有困难，人类能在海里进行的各种活动，你无法向人解释。做过这些事情的可能是警察，也可能是一些在战斗中有过共同经历的人，他们知道他们永远无法解释这一切。我们必须建立起一种关系，一种彼此尊重的关系。”
所以，当我回来开始拍下一部电影，也就是《阿凡达》时，我尝试将这种领导力原则——你尊重你的团队，你的团队也会尊重你——应用到电影拍摄中。很快情况就有所改变了。因此，我又和我的小团队一起在未知的领土上开始拍摄《阿凡达》，创造一些前所未有的新技术。这太有意思了，太有挑战性了。四年半后，我们成了一家人。这完全改变了我以前拍电影的方式。因此，有评论文章说，呐，你们知道，说我不过就是把这些海洋生物带回来放到了潘多拉星球上。而对我来说，这是基本的处事方法，过程本身就能改变由此造成的结果。
因此，我们能总结出什么呢？比如，我获得了什么经验教训？第一：好奇心，这是你拥有的最有力量的东西；第二：想象力是创造现实的力量；第三：对团队的尊重比世界上所有的荣誉都要重要。有年轻的导演来对我说：“给我些建议吧。”我就会说：“不要为自己设限。其他人会为你设限，但你不要为自己设限，不要轻易否定自己。要敢于冒险。”
美国国家航空和宇宙航行局（NASA）流行这样一句话：“失败不是一个选项。”但失败必须是艺术和探索上的一个选项，因为这是一种信念的飞跃。没有哪次重要的尝试，是不需要创新、是没有风险的。你必须愿意去承担这些风险。那么，这就是我想跟你们说的话，就是无论你在做什么，失败是一种选择，但畏惧不是。谢谢大家。
Dana Gioia: Trade Easy Pleasures for More Complex and Challenging Ones 乔伊亚：以简单的愉悦换取更复杂、更有挑战性的快乐
演讲者：德纳·乔伊亚
地点：斯坦福大学
时间：2007年6月17日
【演讲者简介】
德纳·乔伊亚（Dana Gioia,1950.12.24— ），美国著名诗人、作家、评论家及商人。本科毕业于斯坦福大学，硕士毕业于哈佛大学。最初在通用食品公司任销售主管，1992年辞职专职写作。2003年至2009年，任职美国国家艺术基金会主席及美国政府艺术处处长。2005年，发起了一项“大阅读”（Big Read）活动，鼓励美国人阅读严肃文学，最终成为联邦政府史上最盛大的文学活动。2008年，乔治·布什总统授予乔伊亚“总统公民奖章”。2011年，乔伊亚成为南加州大学诗歌和公共文化学系威德尼教授。
We need to create a new national consensus. The purpose of arts education is not to produce more artists, though that is a byproduct. The real purpose of arts education is to create complete human beings capable of leading successful and productive lives in a free society.
This is not happening now in American schools. Even if you forget the larger catastrophe that only 70 percent of American kids now graduate from high school, what are we to make of a public education system whose highest goal seems to be producing minimally competent entry-level workers?
The situation is a cultural and educational disaster, but it also has huge and alarming economic consequences. If the United States is to compete effectively with the rest of the world in the new global marketplace, it is not going to succeed through cheap labor or cheap raw materials, nor even the free flow of capital or a streamlined industrial base. To compete successfully, this country needs continued creativity, ingenuity, and innovation.
It is hard to see those qualities thriving in a nation whose educational system ranks at the bottom of the developed world and has mostly eliminated the arts from the curriculum.
I have seen firsthand the enormous transformative power of the arts—in the lives of individuals, in communities, and even society at large.
Marcus Aurelius believed that the course of wisdom consisted of learning to trade easy pleasures for more complex and challenging ones. I worry about a culture that bit by bit trades off the challenging pleasures of art for the easy comforts of entertainment. And that is exactly what is happening—not just in the media, but in our schools and civic life.
Entertainment promises us a predictable pleasure—humor, thrills, emotional titillation, or even the odd delight of being vicariously terrified. It exploits and manipulates who we are rather than challenges us with a vision of who we might become. A child who spends a month mastering Halo or NBA Live on Xbox has not been awakened and transformed the way that child would be spending the time rehearsing a play or learning to draw.
If you don't believe me, you should read the statistical studies that are now coming out about American civic participation. Our country is dividing into two distinct behavioral groups. One group spends most of its free time sitting at home as passive consumers of electronic entertainment. Even family communication is breaking down as members increasingly spend their time alone, staring at their individual screens.
The other group also uses and enjoys the new technology, but these individuals balance it with a broader range of activities. They go out—to exercise, play sports, volunteer and do charity work at about three times the level of the first group. By every measure they are vastly more active and socially engaged than the first group.
What is the defining difference between passive and active citizens? Curiously, it isn't income, geography, or even education. It depends on whether or not they read for pleasure and participate in the arts. These cultural activities seem to awaken a heightened sense of individual awareness and social responsibility.
Why do these issues matter to you? This is the culture you are about to enter. For the last few years you have had the privilege of being at one of the world's greatest universities—not only studying, but being a part of a community that takes arts and ideas seriously. Even if you spent most of your free time watching Grey's Anatomy, playing Guitar Hero, or Facebooking your friends, those important endeavors were balanced by courses and conversations about literature, politics, technology, and ideas.
Distinguished graduates, your support system is about to end. And you now face the choice of whether you want to be a passive consumer or an active citizen. Do you want to watch the world on a screen or live in it so meaningfully that you change it?
That's no easy task, so don't forget what the arts provide.
Art is an irreplaceable way of understanding and expressing the world—equal to but distinct from scientific and conceptual methods. Art addresses us in the fullness of our being—simultaneously speaking to our intellect, emotions, intuition, imagination, memory, and physical senses. There are some truths about life that can be expressed only as stories, or songs, or images.
Art delights, instructs, consoles. It educates our emotions. And it remembers. As Robert Frost once said about poetry, “It is a way of remembering that which it would impoverish us to forget.” Art awakens, enlarges, refines, and restores our humanity. You don't outgrow art. The same work can mean something different at each stage of your life. A good book changes as you change.
My own art is poetry, though my current daily life sometimes makes me forget that. So let me end my remarks with a short poem appropriate to the occasion.
[PRAISE TO THE RITUALS THAT CELEBRATE CHANGE]
Praise to the rituals that celebrate change,
old robes worn for new beginnings,
solemn protocol where the mutable soul,
surrounded by ancient experience, grows
young in the imagination's white dress.
Because it is not the rituals we honor
but our trust in what they signify, these rites
that honor us as witnesses—whether to watch
lovers swear loyalty in a careless world
or a newborn washed with water and oil.
So praise to innocence—impulsive and evergreen—and let the old be touched by youth's
wayward astonishment at learning something new, and dream of a future so fitting and so just
that our desire will bring it into being.
Congratulations to the Class of 2007.
我们需要确定一个新的国民共识。艺术教育的目的不是培养更多的艺术家，这最多只是一个副产品。艺术教育的真正目的是培养完整的人，能在自由社会中拥有成功、丰富人生的人。
但在美国的学校里，完全不是这么回事。即使你忘了还有更大的灾难，就是只有70%的美国孩子能高中毕业，如果一个公共教育系统的最高目标就是培养能力刚达标的工人，我们还有什么好期待的？
这种情形就是文化和教育的灾难，但它也有着巨大的令人警醒的经济后果。如果美国要有效地与世界其他国家在新的全球化市场中竞争，它就不会靠廉价劳动力或低价原材料取胜，也不会靠资本的自由流动或增产节能型工业基地。为了竞争成功，这个国家需要持久的创造能力、创新思维和创意产品。
对于一个教育系统在发达国家中垫底的国家，这些品质很难幸存，就连艺术课，大部分也都从课表上去掉了。
我曾亲眼见证艺术巨大的改变力量——在个体、团体甚至是整个社会的生命中。
马库斯·奥里利乌斯认为，智慧之课包含学习用简单的愉悦交换更复杂、更富有挑战性的快乐。我担心文化会逐渐丧失艺术富有挑战性的愉悦，而只剩下娱乐的简单舒适。现在的情况就是这样——不仅在媒体，在我们的学校和老百姓的生活中都是这样。
娱乐承诺给我一个可预见的快乐——幽默、激动、情感骚动，或者间接被恐吓的诡异高兴。它利用并操纵我们本身，而不是用我们可能实现的愿景来挑战我们自己。一个花一个月才在Xbox上练熟Halo（一种游戏，中文名为“光环”）或NBA在线游戏的孩子，是不会突然醒悟并改变习惯，并把时间用到排演戏剧或学习画画上的。
如果你们不相信我，你们应该看一下最新发布的美国公民参与活动的统计研究报告。我国分为行为迥异的两个群体。其中一群人将大部分业余时间用来宅在家里，成为电子娱乐产品的被动消费者。就连家人间的交流，也随着家庭成员独自对着各自的电脑所度过时间的增加而几乎不复存在。
另一群人也使用、也享受新科技，但他们会将之与更广泛的各项活动相平衡。他们走出去——活动、锻炼、做志愿者以及参与慈善工作，次数大约是第一群人的三倍。无论如何，他们都比第一群人更活跃、更多地融入社会中。
被动民众和主动民众在定义上有何区别呢？奇怪的是，区别不在收入、地域或教育，而在于他们是否为愉悦而阅读并参与到艺术活动中。看起来，这些文化活动唤醒了一定高度的个人意识和社会责任感。
这些事情为什么对你们很重要呢？因为这是你们要涉足的文化领域。过去的几年里，你们有幸进入世界顶尖学府——不仅是来学习的，还是来成为团体成员之一的，要认真对待艺术和思想。即使你们会花掉大部分业余时间看《实习医生格蕾》，玩“吉他英雄”游戏，或者在“脸谱网”上交友，但你们要把握好这些重要活动与文学、政治、科技、思想相关课程和对话之间的平衡。
优秀的毕业生们，你们的支持系统即将瓦解。你们现在面临的选择是，做一个被动的消费者还是主动的民众。你们想要在电脑屏幕上走世界，还是进入这个世界过有意义的人生并改变这个世界？
那不是容易的事情，所以不要忘记艺术所能给我们的一切。
艺术是了解并表达这个世界所不可替代的方式——和科学的、概念的方式相当又有所不同。在我们全然的生命里，艺术与我们对话——同时也是与我们的智力、情感、直觉、想象、记忆和生理感觉说话。有些生命的真相，仅能用故事、歌曲和图像来表达。
艺术能愉悦人、指导人前进的方向，还能给人以慰藉。艺术教导我们的情感。艺术拥有记忆。诚如罗伯特·弗罗斯特曾作的关于诗歌的评论：“这是让我们记住那些迫使我们忘记的事物的方法。”艺术唤醒、放大、提炼、还原我们的人性。你不可过分夸大艺术。同样的艺术品在生命的不同阶段，其意味也不同。一本好书能随你的改变而改变。
我自己从事的艺术是诗歌，尽管目前每天的日常生活有时会让我忘了这个本职。因此请允许我用一首应景的短诗来结束自己的演讲。
【颂庆祝改变之典礼】
颂庆祝改变之典礼，
身着旧服迎新，
郑重协议中，
摇摆灵魂
被古老经验环绕，
在想象的白衣中不老。
因为这不是我们敬重的仪式，
而是我们对仪式含义的信任，
这些庆祝我们成为证人的仪式——
无论是旁观爱人发誓在危险的世界里保持忠贞，还是用水和油为新生儿沐浴。
因此，歌颂那些无辜者——冲动且永远年轻的——学习新事物时，
用青春碰撞陈暮任性的惊讶，
寻一个梦想，合情合理，
来实现我们的愿望。
祝贺2007届毕业生。
Audrey Hepburn: As Unicef Goodwill Ambassador 赫本：作为联合国儿童基金会亲善大使的演讲
演讲者：奥黛丽·赫本
地点：瑞士西南部城市日内瓦
时间：1989年6月13日
【演讲者简介】
奥黛丽·赫本（Audrey Hepburn,1929.05.04—1993.01.20），英国著名影星，奥斯卡影后，被世人敬仰为“人间天使”。1991年，美国林肯中心电影协会向赫本授予Gala荣誉奖，该项奖自1972年起每年向全世界最资深望重的艺术大师颁发，获奖者先后有卓别林、劳伦斯·奥立弗、伊丽莎白·泰勒等影界巨星。1999年，被美国电影学会选为百年来最伟大的女演员第3名。晚年投身于慈善事业，成为联合国儿童基金会亲善大使的代表，1992年被授予“总统自由勋章”。1993年因结肠癌病逝，为表彰她为全世界不幸儿童所做的努力，美国电影艺术和科学学院授予她1993年度奥斯卡人道主义奖，由其子代领该奖。
The World Bank now forecasts that by the early 1990s the world should reach the historic turning point at which the annual increase in global population begins to decline. It is also true that in no country has the birth rate declined before infant deaths have declined. In other words, parents can plan to have two children if they know they will survive, rather than having six in the hopes that two will survive. That is why UNICEF is also so dedicated to educating and informing mothers in child care. For it is the mother who is still the best “caretaker”of her child, and UNICEF supports any amount of educational projects for women in the developing countries that relate directly to health and nutrition, sanitation and hygiene, education and literacy.
So today I speak for those children who cannot speak for themselves: children who are going blind through lack of vitamins; children who are slowly being mutilated by polio; children who are wasting away in so many ways through lack of water; for the estimated 100 million street children in this world who have no choice but to leave home in order to survive, who have absolutely nothing but their courage and their smiles and their dreams; for children who have no enemies yet are invariably the first tiny victims of war—wars that are no longer confined to the battlefield but which are being waged through terror and intimidation and massacre—children who are therefore growing up surrounded by the horrors of violence for the hundreds of thousands of children who are refugees. The task that lies ahead for UNICEF is ever greater, whether it be repatriating millions of children in Afghanistan or teaching children how to play who have only learned how to kill. Charles Dickens wrote, “In their little world, in which children have their existence, nothing is so finely perceived and so finely felt as injustice.” Injustice which we can avoid by giving more of ourselves, yet we often hesitate in the face of such apocalyptic tragedy. Why, when the way and the low-cost means are there to safeguard and protect these children? It is for leaders, parents, and young people—young people, who have the purity of heart which age sometimes tends to obscure—to remember their own childhood and come to the rescue of those who start life against such heavy odds.
Children are our most vital resource, our hope for the future. Until they not only can be assured of physically surviving the first fragile years of life, but are free of emotional, social and physical abuse, it is impossible to envisage a world that is free of tension and violence. But it is up to us to make it possible.
UNICEF is a humanitarian institution, not a charitable organization. It deals in development, not in welfare, giving handouts to those waiting with their hands outstretched. On my travels to Ethiopia, Venezuela, Ecuador, Central America, Mexico, and the Sudan, I have seen no out-stretched hands, only a silent dignity and a longing to help themselves, given the chance.
UNICEF's mandate is to protect every child against famine, thirst, sickness, abuse, and death. But today we are dealing with an even more ominous threat, “man's inhumanity to man;” with the dark side of humanity that is polluting our skies and our oceans, destroying our forests and extinguishing thousands of beautiful animals. Are our children next?
That is what we are up against. For it is no longer enough to vaccinate our children, to give them food and water, and only cure the symptoms of man's tendency to destroy—to destroy everything we hold dear, everything life depends on, the very air we breathe, the earth that sustains us, and the most precious of all, our children. Whether it be famine in Ethiopia, excruciating poverty in Guatemala and Honduras, civil strife in El Salvador, or ethnic massacre in the Sudan, I saw but one glaring truth. These are not natural disasters, but man-made tragedies, for which there is only one man-made solution—peace.
Even if this mammoth Operation Life-Line Sudan were only to achieve half its goal, due to the countless odds it is up against—in a vast country with no infrastructure, few roads to speak of, no communication system—it will have succeeded. For not only will it have saved thousands of lives, but it will also have given the Sudan hope. The United Nations will have shown the world that only through corridors of tranquillity can children be saved, that only through peace can man survive, and only through development will they survive, with dignity and a future. A future in which we can say we have fulfilled our human obligation.
Your 1 Percent is an example of 100 percent but all together a beautiful example to us of love and caring. Together there is nothing we cannot do.
世界银行预测，世界将在20世纪90年代初迎来历史性转折点，由此，全球人口年增长数开始下降。还有一个事实就是，没有任何一个国家能在婴儿死亡率降低前实现出生率的降低。换句话说，父母应该在准备生两个孩子的同时，保证这两个都能存活下来，而不是生六个，只希望其中两个存活下来。这就是联合国儿童基金会（UNICEF）同时致力于向母亲进行育儿教育和宣传工作的原因。因为，母亲始终是孩子最好的“照顾者”，联合国儿童基金会支助发展中国家的一切与妇女的健康营养、环境卫生、教育扫盲直接相关的教育计划。
因此，今天我要代那些无法开口自辩的儿童发言：那些因缺乏维生素而失明的儿童；那些因小儿麻痹症而逐渐残废的儿童；那些因缺乏饮用水而不断消瘦的儿童；世界上那1亿流浪儿童，他们为了生存不得不离家出走，他们除了勇气、微笑和梦想以外一无所有；那些在战争中受到伤害的儿童，他们还没有任何敌人，却在战火中最先受到伤害，战争也不仅限于战场，暴力、恐怖和屠杀正在四处蔓延，就因为如此，成千上万的儿童成了难民，然后在充满暴力恐怖的环境中长大。现在摆在联合国儿童基金会面前的任务，无论是遣返数百万阿富汗儿童，还是教会那些只见过杀人的孩子玩游戏，都是史无前例的艰巨。查尔斯·狄更斯曾写过，“在儿童自我存在的小世界里，没有什么比不公正更容易被他们细微地感知和察觉到。”我们可以用更多的付出来避免不公平，但我们总是在面对这种骇人听闻的悲剧时犹豫不决。为什么保护儿童的都是些廉价的方式和手段呢，又是何时开始的呢？领导人、父母和年轻人——拥有尚未被岁月模糊掉的纯净心灵的年轻人——应该记住自己的童年，同时去拯救那些生下来就背负重重困难的儿童。
儿童是我们最重要的资源，是我们对未来的希望。我们不仅应该保证这些儿童在生命最初那些脆弱的年岁里存活下来，还应该使他们免遭情感、社会和身体虐待，只有这样，才有可能设想一个没有不安和暴力的世界。但实现这个设想，就要靠我们了。
联合国儿童基金会是一个人道主义组织，而不是一个慈善组织。它的工作是处理发展问题，而不是处理福利问题，向那些伸出双手求助的人们分发救济。我去埃塞俄比亚、委内瑞拉、厄瓜多尔、中美、墨西哥、苏丹等国家，在这些地方，我没有看到伸出的双手，只看到了沉默的自尊和求救的渴望，如果有这种机会的话。
联合国儿童基金会的职责是保护儿童，使他们远离饥饿、干渴、疾病、虐待和死亡。但是今天，我们处理的是一个更为不祥的威胁——“人类对自身的不人道”，人性的黑暗面就体现在污染我们的天空和海洋，破坏我们的森林，以及令上千种美丽的动物绝种上。难道下一个就是儿童吗？
那就是我们需要奋起抗争的。仅仅给我们的儿童注射疫苗，或者给他们食物和水已经不足以保护他们了，唯有消灭人类的破坏欲望——对我们珍惜的一切的破坏、对我们生命赖以生存的一切的破坏、对我们呼吸的空气的破坏、对支撑我们的土地的破坏，以及对我们最宝贵的儿童的破坏，才能真正保护他们。无论是埃塞俄比亚的饥荒、危地马拉和洪都拉斯可怕的贫困、萨尔瓦多的内乱，还是苏丹的种族屠杀，我只看到了一个残酷而显然的真相。这些不是自然灾害，而是人为悲剧，对此人类的解决方法也只有一个，就是和平。
尽管这个庞大的“苏丹生命线”计划只完成了一半的目标，若不是因为面临的困难——苏丹是一个辽阔的国家，缺乏基础设施，也没有真正意义上的交通网络、通讯系统——实在太多，应该是可以成功的。这个计划不仅拯救了几千条生命，还给苏丹带来了希望。联合国会向全世界昭示，只有安定，才能拯救儿童；只有和平，才能让人们生存；只有发展，才能让人们生存得有尊严、有希望。有一天，我们可以宣布我们已履行人类职责时，才是真正的未来。
你们“百分之一”基金是百分之百的榜样，但总体而言，对我们就是爱和关怀的美丽榜样。只要我们在一起，一切就皆有可能。
William Faulkner: Speech Accepting the Nobel Prize in Literature 福克纳：诺贝尔文学奖获奖演说
演讲者：威廉·福克纳
地点：瑞典首都斯德哥尔摩
时间：1949年12月10日
【演讲者简介】
威廉·福克纳（William Faulkner,1897—1962），美国作家，生于美国密西西比州的一个庄园主家，南北战争后家道中落。第一次世界大战期间，福克纳在空军服役。战后入大学，其后从事过各种职业并开始写作。后期主要作品有《村子》、《闯入者》、《寓言》、《小镇》和《大宅》等，此外还有短篇小说、剧本和诗歌。在艺术上，福克纳受弗洛伊德影响，大胆地采用意识流手法、对位结构以及象征隐喻等手段，作品风格千姿百态、扑朔迷离。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 to my 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 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 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 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, lexdying no scars. He writes not of the heart but of the glands.
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 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 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.
我觉得这份奖赏不是授予我个人的，而是授予我的工作的——我一生所从事的关于人类灵魂的呕心沥血的工作，我从事这项工作不是为名，更不是为利，而是以人类灵魂为材料创造不曾有过的东西。因此，我不过是托管这份奖金而已。要做出与这份奖赏的原本目的和意义相符、同时又与其奖金等价的献词并不困难，但我还愿意利用这个时刻，利用这个举世瞩目的讲坛，向那些可能听到我演讲，并已献身于同一艰苦劳动的男女青年致敬，在他们当中，肯定有人有一天会站到我今天的位置上。
我们今天的悲剧是人们普遍存在的一种生理上的恐惧，这种恐惧存在如此之久，我们甚至已经习以为常。现在早已不存在精神上的问题了。唯一的问题是：我什么时候会怒火难平？正因为此，今天从事写作的年轻男女已经忘记了人类内心的冲突，而单是这种冲突，就能写出好作品，因为这是唯一值得写、值得呕心沥血去写的题材。
他一定要重新认识这些问题。他必须让自己明白，世间最可鄙的就是恐惧，他还必须让自己永远忘记恐惧，在他的工作室里，除了古老的真理和内心的真实外，别无其他，若没有这普遍性真理——爱、荣耀、怜悯、自尊、同情和牺牲等感情，任何小说都注定是昙花一现，是不会成功的。做不到这一点，他付出的努力就得不到认可。他写的不是爱而是欲，他写的失败是毫发无损的失败，他写的胜利不仅没有希望，最糟的是，连怜悯和同情都没有。他的悲痛不为世上生灵而动容，因此也无法留下深刻的痕迹。他书写的不是心灵，而是器官。
直到他重新认识到这些，他才会在写作时，有种仿佛站在人群中眼观人类末日来临的感觉。我不接受人类末日的说法。如果说人类能够延续而判定人类不朽，这样的不朽未免太过简单：当最后的钟声铿锵有力地响起，后又随着最后一块无用礁石不再有潮水冲刷，黯淡地映在末日余晖下而消失，即使这样，还会有另一个声音：人类微弱却不断的说话声。我不接受这种说法。我相信人类除了延续——还能战胜一切而永存。人类不朽不是因为只有他能在万物中永远发言，而是因为他有灵魂，一个可以同情、牺牲和忍耐感情的灵魂。
诗人、作家的职责就是把这些写出来。诗人和作家的特权就是鼓舞人的斗志，提醒他记住过去曾有的荣光——勇气、荣誉、希望、自尊、同情、怜悯和牺牲，以此让其可以恒久忍耐。诗人的声音不仅是人类的记录，它还是帮助人类忍耐至取胜的精神支柱。