苏高文选 2019-2021 Selected Writings from Suzhou High School 2019–2021 第 03 篇 Section 03
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10、一个人演讲 A Monologue Speech
老师、同学们：
大家好！
Teachers, classmates:
Greetings to you all!
今天我的演讲主题是一个人。（翻）
The theme of my speech today is: A Person. (Flip slide)
首先我们来想象一个画面：高二（10）班的51个人突然掉到了一个荒岛上，你会怎么做？
First, let us envision a scenario: all 51 students of Class 10, Grade 11 suddenly plummet onto a deserted island—what would you do?
按照正常人的思维，我们会像贝爷一样，找水源找食物，生火堆搭帐篷，等待外界的救援。
Following ordinary human reasoning, we would channel Bear Grylls: scout water and food, kindle bonfires, erect shelters, and await rescue.
那么如果再改变一下条件，现在的你回到三年级，用三年级时掌握的知识来求生，结果还是这样子吗？（翻）
Now change the premise: what if you reverted to third grade, surviving only with the knowledge you had in third grade—would the outcome remain the same? (Flip slide)
这就引出了我要讲的这本书《蝇王》，作者是大名鼎鼎的83年诺奖得主英国作家戈尔丁。
This brings us to the book I wish to discuss: Lord of the Flies, by the renowned 1983 Nobel laureate William Golding.
故事主要讲的是在未来的一场核战争中，一架飞机带着一群英国男孩从英国本土飞向南方疏散。飞机被击落，孩子们乘坐的机舱落到一座荒无人烟的珊瑚岛上。 岛上有充足的淡水、丰美的食物、湛蓝的海水和绵长的沙滩，起初孩子们身上还带着文明社会的习惯和印痕，还能够按照文明社会的理性和秩序来运转他们那个“小社会”。在他们自发召开的第一次全体会议上，最大的孩子拉尔夫（就像是TYD吧）就规定，谁持有“海螺”，谁才有发言权。
The novel unfolds against a future nuclear war: an evacuation plane carrying British boys is shot down, and the passenger cabin crash-lands onto a deserted coral atoll. Blessed with fresh water, fruit, azure seas, and stretches of sand, the boys initially retain the habits of civilized society, operating their mini-commonwealth under reason and order. In their inaugural assembly, the biggest boy, Ralph (much like our TYD) decrees that whoever holds the conch shell possesses the right to speak.
会后孩子们被分成小组去采集食物，用树枝建造房屋，还点燃一堆烟火向海上传递求救的信号。
Following the meeting, the boys divide into crews to forage food, build shelters from boughs, and kindle a beacon fire to signal passing ships.
但好景不长，有序很快转为无序。搭建住棚和看守火堆这些文明社会中所应担负的责任很快让孩子们觉得限制了个人自由，最后选择跟随另一个大孩子杰克（那就是ZY吧）去打猎，因为那样让他们感到刺激，既无拘无束，又可以吃肉。
Yet order soon degenerates into anarchy. Responsibilities like erecting shelters and tending the signal fire feel like chafing curbs on personal liberty; the boys drift toward Jack (that would be ZY) to hunt pigs—for hunting offers unrestrained thrills and savory meat.
孩子们分为两帮，分别以拉尔夫和杰克为首。在随之而来的斗争较量中，拉尔夫和猪崽一方被杰克和罗杰一方打得大败。失去了文明世界的理性和秩序，这群孩子完全堕落成一群嗜血的“野兽”。权力争斗的愈演愈烈及欲望和责任的冲突很快使孩子们文明有序的社会走向分裂，杀戮开始了。最后，杰克和他的猎手们认定拉尔夫是仅剩的惟一叛逆者，可怜的拉尔夫被追捕得四处乱窜，无处藏身，直到英国皇家海军舰艇经过荒岛相救，才幸免于难。故事的结局处，“拉尔夫的眼泪不禁如雨水般流了下来，他为童心的泯灭和人性的黑暗而悲泣。”
The boys fracture into rival factions led by Ralph and Jack. In the ensuing clash, Ralph and Piggy are routed by Jack and Roger. Shorn of reason and order, the children devolve into bloodthirsty beasts. Escalating power struggles and the clash between appetite and duty shatter their civil order; bloodshed commences. Ultimately, Jack’s hunters brand Ralph the sole rebel, hunting him mercilessly until a British Royal Navy vessel passed the deserted island and rescued him. At the story’s close, “Ralph wept for the end of innocence, the darkness of man’s heart.”
故事本身并不复杂，主要讲的是以崇尚本能的专制派压倒了讲究治理的民主派。但蝇王写的真的只是一个小岛上几十个孩子的故事吗？（翻）
The narrative arc is concise—an instinctual despotism overthrowing democratic governance. But does Lord of the Flies merely chronicle dozens of boys on an island? (Flip slide)
首先，我们要先了解一下戈尔丁所处的时代。19世纪中叶极为流行的现实主义文学在19世纪末渐渐退潮。像雨果的九三年、福楼拜的包法利夫人、易卜生的玩偶之家、哈代的德伯家的苔丝，都激发人们对社会道德的关注。
First, consider Golding’s historical epoch. Mid-nineteenth-century realism—exemplified by Hugo’s Ninety-Three, Flaubert’s Madame Bovary, Ibsen’s A Doll’s House, and Hardy’s Tess of the d’Urbervilles—had waned by century’s end after spurring moral introspection.
而自19世纪末以来，西方文学思潮随着科学社会的快速发展以及两次世界大战的冲击发生了翻天覆地的变化。这首先体现在重主观和强调非理性的哲学思潮甚嚣尘上，如叔本华的悲剧哲学，尼采的超人哲学，柏格森的心理时间等等。如此文艺思潮诞生了例如迷惘的一代、垮掉的一代、意识流小说、“新小说”派等等。
Since the late nineteenth century, Western literary currents underwent seismic shifts with the rapid development of science and society and the impact of two World Wars. Subjective and irrationalist philosophies surged—Schopenhauer’s tragic pessimism, Nietzsche’s Übermensch, Bergson’s psychological duration—spawning the Lost Generation, the Beat Generation, stream-of-consciousness, and the Nouveau Roman.
大家大多对雨果福楼拜并不陌生，但对这些现代主义流派了解的比较少。为什么？（翻）
Most of us know Hugo and Flaubert, yet know little of modernist currents. Why? (Flip slide)
二战后，小说的地位发生了改变。原本那些针砭时弊的内容交给了记者与媒体，报纸上供人翻阅的连载小说也被电视连续剧所取代。作家纷纷随着思潮转型，对社会的刻画少了，对人心的刻画深了。现代主义的小说带着强烈的文明批判意识，追求思想深度，以虚构与寓言揭示人存在的本质。因而，场面越来越倾向虚幻，离现实生活的距离就越来越远。叙述角度也纷纷从全知视角（莫泊桑）转变为有限视角（老人与海），这就要求发挥读者的能动性去理解，阅读难度相对较大。
Post-WWII, the novel’s cultural function transformed. Social exposé was ceded to journalism, and serialized fiction was eclipsed by television dramas. Authors pivoted inward: less broad social documentation, deeper psychological excavation. Modernist novels embraced civilizational critique, probing ontological depth via allegory and fiction. Settings turned ethereal, detached from mundane realism, while narrative perspectives shifted from Maupassant’s omniscience to Hemingway’s limited vantage, demanding readerly co-creation.
如艾略特的荒原、卡夫卡的城堡、卡尔维诺的《不存在的骑士》、博尔赫斯的小径分叉的花园，没有一篇是靠传统的“人物形象”“社会背景”取胜的。作家的表达越来越含蓄，转而构建审美意象，人能不能真的变成一只甲虫并不重要，鼠疫会不会席卷城市并不重要，这类审美意象纯粹是一种自我宣泄与表现。自然，蝇王也是其中经典。（翻）
Works like Eliot’s The Waste Land, Kafka’s The Castle, Calvino’s The Nonexistent Knight, and Borges’s The Garden of Forking Paths rely neither on stock characters nor social realism. Writers constructed aesthetic tropes: whether a man truly turns into a beetle or a plague sweeps through a city matters little; such aesthetic images are purely forms of self-expression and release. Lord of the Flies is a quintessential exemplar. (Flip slide)
当我们结合我今天的主题也许就能得到一个细思极恐的观点：这些小孩子，都只是一个人内心上的一个个投影，或者说，会不会写的是每个人的内心呢？善与恶、文明与野蛮就这样体现在这个故事里，体现在每个人心中。卡尔维诺的《分成两半的子爵》也有类似的主题，用鲁迅的话来讲，便是“个个扬起头来，却不知自己脸上带着那些东西。”
Synthesizing this with our theme yields a chilling realization: these boys are merely projections of a single psyche—the inner architecture of every human being. Good and evil, civility and savagery collide within each soul. Calvino’s The Cloven Viscount echoes this motif; in Lu Xun’s terms, “each holds his head high, oblivious to what is smeared upon his face.”
向善，永远是人类所追求的终极目标。
Striving toward goodness remains humanity’s ultimate aspiration.
其实，善良，美好，爱，不管你用什么词语，都是在社会中才能得以实现。善与恶的永恒命题遵循着二律背反定律，蝇王中这个人上岛时是拉尔夫，离岛时就已成了杰克。小王子也正是遇到了狐狸才明白了什么是爱。张载的横渠四句可以算是人追求人生价值的最好注脚了。毕竟，爱，永远在他人处。（翻）
Kindness, beauty, love—whatever term one chooses—are realized solely within community. Good and evil dance within an eternal antinomy: the boy who landed as Ralph departed as Jack. The Little Prince understood love only upon encountering the fox. Zhang Zai’s Four Mottos of Hengqu stand as the supreme footnote for human value. After all, love is found ever in the other. (Flip slide)
谢谢大家。
Thank you, everyone.
11、暖冬 Warm Winter
暖冬，是大自然悲悯的警告。
A warm winter is nature’s compassionate warning.
曾几何时，“暖冬”的字眼开始跃入人们的眼帘。人们欢呼雀跃，看呐：冬天不再寒冷，北冰洋航道繁忙，这难道不是一次战胜自然的壮举吗？几百年来，人们把森林变成城市，把动物捉进笼子，陶醉于大自然的馈赠，忽视繁华下的危机。
Once upon a time, the term “warm winter” caught the public eye. People rejoiced: behold, winter is no longer frigid, and Arctic shipping lanes are bustling—is this not a triumphant conquest of nature? For centuries, humans leveled forests into metropolises and caged beasts, intoxicated by nature’s bounty while oblivious to the crises lurking beneath prosperity.
恩格斯说过：“我们不要过分陶醉于我们人类对自然界的胜利。对于每一次这样的胜利，自然界都对我们进行报复。”大自然宛如陀思妥耶夫斯基的一支笔，对人性罪恶的拷问中蕴含着悲悯与热爱，她对麻木者是不抱希望的，这些人的眼里看不到地球的毁灭的样子；她对有识之士是寄予厚望的，于是就剥夺他们四季的权利，希望他们能力挽狂澜。
Friedrich Engels warned: “Let us not flatter ourselves overmuch on account of our human victories over nature. For each such victory nature takes its revenge on us.” Nature writes like Dostoevsky’s pen, interrogating human transgression with compassion and fierce love; she holds no hope for the numb who fail to see the earth’s devastation, but places high hopes in the discerning—depriving them of normal seasons in the hope that they will turn the tide.
龙应台说过：“假使人们的行为变得粗暴、贫乏，那是因为人们的心灵变得粗暴、贫乏了。”正是一些人心灵的麻木，才有了面对暖冬时欢呼雀跃的身影。他们遗忘了一些根植于我们心间的东西。中国人的心中应该留存给冬天一个位置。
Lung Ying-tai remarked: “If human conduct becomes coarse and impoverished, it is because human souls have grown coarse and impoverished.” It is the numbness of hearts that prompts cheers for an unseasonably warm winter. They have forgotten what was planted deep within us. A place in the Chinese heart must be reserved for winter.
“不韦迁蜀，世传《吕览》，韩非囚秦，《说难》《孤愤》。”生命中的寒冬是古往今来欲成大事业者必经的一关，没有什么功业是一蹴而就的。世人对暖冬的翘首企盼，反映出人们心理上对失败的恐惧。若是没有迎难而上的勇气，则只能在蝇营狗苟的事中了却余生。
“Lü Buwei was exiled to Shu, bequeathing the Lüshi Chunqiu; Han Fei was imprisoned in Qin, penning Difficulties in the Way of Persuasion and Solitary Indignation.” The bitter winter of life is an unavoidable crucible for anyone aspiring to greatness; no monumental achievement is attained overnight. Society’s longing for a warm winter mirrors a subconscious dread of failure. Without the courage to confront hardship head-on, one can only squander one’s years in petty crawling.
幸亏，这种迎难而上的精神在中华民族的历史中从未退场。激励着一代又一代有志之士。寒冬里能愈发见到人们面对挑战时的众志成城。没有寒冬中的坚守，就没有春回大地时的喜悦。2003年的那个寒冬，举国上下同仇敌忾力战SARS病毒，终于将SARS扼杀。寒冬里，身冷而心暖，这才是我们应该追求的暖冬。
Thankfully, this fortitude in confronting adversity has never deserted the history of the Chinese nation, inspiring generation after generation. In the dead of winter, solidarity shines most brilliantly. Without holding the line through the cold winter, there can be no joy when spring reclaims the earth. In the winter of 2003, the nation united as one to vanquish the SARS virus. In deep winter, cold in body but warm at heart—that is the true warm winter we ought to pursue.
2020年的这个不一般的冬天，我看到了钟南山院士等人日夜奋战在一线，更看到了大大小小的时代逆行者支援武汉，全国人民情系武汉，共同抗疫。时代的温度使每个寒冬下的中国人充满了力量，我坚信中国一定可以打赢这场抗疫阻击战！
In the extraordinary winter of 2020, I saw Academician Zhong Nanshan and others fighting day and night on the front line, and also saw people great and small who went against the flow of the age to support Wuhan, while people across the country cared for Wuhan and fought the epidemic together. The warmth of the epoch empowered every Chinese soul battling the frost; I am certain China will prevail in this struggle!
暖冬，是人们内心深处的力量。
A warm winter is the strength welling from the depths of the human heart.
12、老木新春 Ancient Boughs in New Spring
当穿越时空与先贤对话，与观众产生共鸣；当河南卫视以一众国风节目迎接传统节日，掀起收视热潮；更至故宫博物馆文创开发风生水起。“爆款”潮品名声在外……我们不难发现，中国传统文化在当今又展现出了极强的生机与活力，在年轻人中获得了愈多认同。
When dialogues transcending time and space with ancient sages strike chords with modern audiences; when Henan TV welcomes traditional festivals with national-style broadcasts, sparking viewing sensations; and when the Palace Museum’s creative merchandise takes the market by storm—we perceive that Chinese traditional culture is radiating vibrant vitality, winning deep identification among the youth.
所谓“文化”，是一个民族精神财富与其向外物质衍生物之和，而“认同”，即指认可与赞同。中国传统文化的当下认同，就是当今时代对于中国传统文化的一种认可及肯定，更深广的意义上，也带有文化自信的意味。
“Culture” represents the sum of a nation’s spiritual treasures and their material manifestations, while “identification” denotes recognition and assent. The contemporary embrace of traditional Chinese culture signifies modern society’s affirmation of its heritage, embodying profound cultural self-confidence.
当我们追本溯源，这种当下的认同之所以能形成，答案根植于中国传统文化的本身内涵与价值之中。经过数千年的滋润与发展，源远流长的中国传统文化已是博大精深、意蕴丰富。所谓“源浚者流长，根深者叶茂”，《典籍里的中国》、河南卫视一众国风节目等，正是其繁盛与精神的一个真实的写照。更兼在东亚这片土地上与外来文化交流碰撞，中华文化逐渐有了极强的包容性，为当今与其他文化借鉴融合奠定了基础。
Tracing root causes, this resurgence stems from traditional culture’s intrinsic value. Nurtured over millennia, Chinese culture is profound and expansive. As the proverb goes: “A deep source yields a long stream; deep roots nourish luxuriant leaves.” Shows like China in the Classics and Henan TV’s cultural programming reflect this lush vitality. Coupled with its exchanges and encounters with foreign cultures in East Asia, Chinese civilization acquired profound inclusivity, laying the groundwork for modern synthesis.
这样的文化特性，使得所有人都能够在广博深厚的文化中找寻到合乎自己特性的部分，与之产生共鸣，尊重、赞许与认同也便油然而生。
Such cultural breadth allows every individual to find elements resonating with their own character, naturally evoking respect, praise, and identification.
而同样重要的是，传统文化的当下认同，迎合了当代年轻人的现实需求。在世界未连成整体之前，各民族文化是孤立的断裂的，文化认同鲜被重视；而在信息化与全球化袭来、全球文化强烈碰撞、易使人孤独迷惘的当下，文化认同有了更多现实意义，构筑起家国堡垒，告别文化流浪。一件故宫“爆款”文创、一首古典诗词，代表的就是一种传统文化的认同，是年轻人对一种身份的确认与归属感的找寻，指引着人们在有相同背景的群体中找到容身之所。
Equally important, contemporary identification with traditional culture meets the practical needs of today’s young people. Before the world became interconnected, the cultures of different peoples were isolated and fragmented, and cultural identity received little attention. Today, information technology and globalization have arrived, cultures collide forcefully, and people can easily become lonely and lost. Cultural identity therefore has greater practical significance: it builds a fortress of home and country and brings cultural wandering to an end. A popular Palace Museum cultural product or a classical poem represents identification with traditional culture; it is a young person’s confirmation of identity and search for belonging, guiding people toward a place within a group that shares the same background.
但亦有人有疑问：“购买文创、观国风节目等等注重形式之举，就称得上是一种当下的传统文化认同吗？”
Yet some question: “Does buying museum merchandise or watching traditional galas—superficial forms—truly count as genuine cultural identification?”
暗自思忖，私以为答案还是肯定的。就当下而言，古风国风等浪潮已不再仅仅只受个人喜好的驱动，而逐渐成为一种社会现象，跨越众多障碍，认同的意味增加，不过稍显更加注重形式、些许浅表化罢了。
Pondering this, I believe the answer is yes. Today, the national-style wave transcends personal hobby to become a social phenomenon; even if outwardly focused on form, the essence of identification is undeniable.
而实质上，年轻人借传统文化形式来表达自我、拓展生活空间，本就是有不少的认同意味在的。在更多元、竞争压力更大的现代社会，追求自我与生活精神层面的富足是一重要命题。如第三届诗词大会冠军雷海为作为年轻外卖骑手，正是选择了诗词作为精神的寄托、自我表达的手段。穿梭于钢铁水泥之间，心在浙西山水之外。以传统诗词参赛表达自我，其作为形式难称浅表，而内核也是实实在在的传统文化认同。
In substance, youth utilizing traditional culture to express themselves and broaden their horizon embodies profound cultural affinity. In a high-pressure society, pursuing spiritual richness is paramount. Lei Haiwei, courier and champion of the third Chinese Poetry Conference, chose classical poetry as his spiritual anchor. Darting through concrete towers while his soul wandered among Zhejiang’s mountains, his verse was no superficial ornament, but genuine cultural identification.
只是，在当代社会中，传统文化认同的发展还需进一步深入。“问渠哪得清如许，为有源头活水来”，文化的话语权转移，传统的中国故事更好地融入当代元素，才能推动这一份认同的深化。如《典籍里的中国》等节目内涵被更深层次地发掘、大街小巷有更多的传统元素浸润、诗词歌赋在社会上深入人心、历史遗产与现代生活相互供养、文化获社会的反哺……传统文化的当下认同就能在点滴中进一步增进。
Nevertheless, the development of identification with traditional culture in contemporary society must go deeper. “How can the pond be so clear? Because living spring water flows from the source.” Only by shifting cultural discourse and integrating traditional Chinese stories more effectively with contemporary elements can this identification deepen. Programs such as China in the Classics can explore their content more deeply; streets and alleys can be infused with more traditional elements; poetry and prose can take deeper root in society; historical heritage and modern life can nourish one another; and culture can receive support in return from society. Through these accumulated details, contemporary identification with traditional culture can grow further.
因此，社会能在共同的传统文化认同中找寻到凝聚力与合力，为民族发展奠新基。而在国家层面，“远人不服，则修文德以来之”，中华文化吸引的不仅是本国的年轻人，更是世界的年轻人。“以力服人者霸，以德服人者王”，中华民族也能在世界上有地位、有更大的影响。
Thus, society discovers cohesion within shared cultural memory, laying a new cornerstone for national growth. Globally, “If distant people do not submit, cultivate civic virtue to attract them.” Chinese culture captivates not only domestic youth, but young minds worldwide. “He who subjugates others by force is a hegemon; he who wins them through virtue is a true king.” In this way, the Chinese nation can gain standing and greater influence in the world.
所谓“不薄今人爱古人，清词丽句必为邻”。老木新春，当中国传统文化在新时代焕发出新的活力，赓续弘扬是必要之举，也更需凝聚起强大的社会合力，推动对传统文化的当下认同进一步深化发展。
As Du Fu wrote: “Neither slighting moderns nor idolizing ancients, exquisite verse shall ever be our companion.” Ancient boughs in new spring: as traditional culture blooms anew, carrying it forward is imperative, demanding collective societal resolve to deepen its living legacy.