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.




  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 heights. Each time this occurs, our idea of literature changes.






  In itself, it ought not to be a sensation that a singer/songwriter now stands recipient of the literary Nobel Prize. In a distant past, all poetry was sung or tunefully recited, poets were rhapsodes, bards, troubadours; ‘lyrics’ comes from ‘lyre’.




  troubadours: 行吟诗人


  But what Bob Dylan did was not to return to the Greeks or the Provençals. Instead, 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 music. He listened day and night, testing the stuff on his instruments, trying to learn. But when he started to write similar songs, they came out differently.



  In his hands, the material changed. From what he discovered in heirloom andscrap, 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.






  Even after fifty years of uninterrupted exposure, we are yet to absorb music’s equivalent of the fable’s Flying Dutchman. He makes good rhymes, said a critic, explaining greatness. And it is true. His rhyming is an alchemical substance that dissolves contexts to create new ones, scarcely containable by the human brain.




  It was a shock. With the public expecting poppy folk songs, there stood a young man with a guitar, fusing the languages of the street and the bible into acompound that would have made the end of the world seem a superfluous replay.




  At the same time, he sang of love with a power of conviction everyone wants to own. All 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 dynamite. Soon, people stopped comparing him to Woody Guthrie and Hank Williams and turned instead to Blake, Rimbaud, Whitman, Shakespeare.





  In the most unlikely setting of all – the commercial gramophone record – he gave back to the language of poetry its elevated style, lost since the Romantics. Not to sing of eternities, but to speak of what was happening around us. As if the oracleof Delphi were reading the evening news.



  Recognising that revolution by awarding Bob Dylan the Nobel Prize was a decision that seemed daring only beforehand and already seems obvious. But does he get the prize for upsetting the system of literature? Not really. There 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.


  Chamfort made the observation that when a master such as La Fontaine appears, the hierarchy of genres – the estimation of what is great and small, high and low in literature – is nullified. “What matter the rank of a work when its beauty is of the highest rank?” he wrote. That 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.


  By means of his oeuvre, Bob Dylan has changed our idea of what poetry can be and how it can work. He is a singer worthy of a place beside the Greeks’ ἀοιδόι, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the Blues, beside the forgotten masters of brilliant standards. If people in the literary world groan, one must remind them that the gods don’t write, they dance and they sing. The good wishes of the Swedish Academy follow Mr. Dylan on his way to coming bandstands.



  I have a dream that one day this nation will rise up and live out the true meaning of its creed-we hold theses truths to be self-Oevident, that all men are created equal. I have a dream that one day on the red hills of Georgia, sons of former slaves and sons of former slave owners will be able to sit together at the table of brotherhood. I have a dream my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. i have a dream today! When we allow freedom to ring, when we let it ring from every village and hamlet, from every state and city, we will be able to speed up that day when all of God’s children-black men and white men , jews and Gentiles, Catholics and Protestants-will be able to join hands and to sing in the words of the old Negro spiritual, “free at least ,free at last . Thank God Almighty, we are free at last.”

  我有一个梦:有一天,这个国家将站起来,并实现他的信条的真正含义:我们将捍卫这些不言而喻的真理,即所有人生来平等。我有一个梦:有一天在乔治亚洲红色的山丘上,从前的奴隶的子孙们能和奴隶主的子孙们像兄弟一样坐在同一张桌旁;我有一个梦我的四个孩子有一天将生活在这样一个国度,在那里,人们不以肤色,而是以品格来评价他们。当自由的钟声响起的时候,当我们让它从每一个村庄,每一个州,每一个城市响起的时候 ,我们将能够加速这一天的到来。那是,上帝所有的孩子,无论黑人白人还是犹太人,异教徒。天主教徒,还是新教徒,他们都能够手挽手歌唱那古老的黑人圣歌:“终于自由了,终于自由了,感谢上帝,我们终于自由了!”


  I am honoured to have been made CASH Ambassador. Music is a very important part in any culture and I am sure all of us here will agree that we must keep our culture alive and driving. This is particularly important for a place like Hong Kong, where most people are busy working for money and fame, culture will help us maintain a balance of lives.


  Because of this belief, I, who have not been properly trained in music, have for years been trying my best to promote music, not just by singing and performing, but also by creating tunes and writing lyrics for songs. I enjoy doing this and I think that, in a small way, I am contributing to the music and the culture of Hong Kong. I also believe that it is important for artist to be creative and so I have been working hard to create new ways of entertaining and even setting new trends.


  Last but not the least, music is our profession and our livelihood and the works we have created should be protected from piracy. Unfortunately, advanced information technology has helped aggregate this situation, causing many problems and threatening the livelihood of many artists. I wish to use this opportunity to call upon all the artists to unite in a campaign against piracy. In fact, I consider this one of the most important missions for the CASH Ambassador and I will dedicate my effort to this.


  Thank you very much!


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