瑞典学院致高行健的授奖辞（中英文对照版）

八和九生

感谢高行健吧吧主 x_zhang，中文是他翻译的。

Your Majesties, Your Royal Highnesses, Ladies and Gentlemen,

Gao Xingjian's literary output comprises eighteen plays, two great novels, and a number of stories, which all fit in one volume. Born in 1940, he began his career as a writer as early as the sixties. His production would certainly have been much larger had not the conditions of life during the Cultural Revolution forced him to burn all his manuscripts of the sixties and the seventies. He also made very important contributions to the theoretical debate concerning the structure and functions of drama and the novel in China during the eighties. His work as a breaker of new ground relates to the form and structure of a literary work as well as to its psychological foundations.

The novel called Soul Mountain (1990) stands out as one of the foremost works in twentieth-century Chinese literature. Among many other things Gao Xingjian deals in it with an existential dilemma: man's urge to find the absolute independence granted by solitude conflicts with a longing for the warmth and fellowship which can be given by "the other," be it he or she. At the same time, however, this enriching companionship threatens the individual's integrity and, without fail, ends in some kind of struggle for power.

The author's vivid sense of alienation in a politics-ridden society made him, in the early eighties, go in search for hidden-away parts of southwestern and southern China, where there still existed traces of primitive cultures, age-old shamanistic rites and Daoist notions. In his portrayal of these cultures, replete with fantastic cock-and-bull stories which bring to the reader's mind the repertoires of traditional storytellers, he also castigates strict Confucian orthodoxy as well as Marxist ideology and their respective demands for obedience and uniformity.

In the course of his pilgrimage to Soul Mountain, where he hopes to find the ultimate truth about the meaning of life and the human condition, the author's ego is stricken by loneliness and is forced into creating a you, a projection of itself, which, in turn, hit by the same loneliness, creates a she. The numerous he figures that make their appearance in the novel are likewise projections of the author's ego. With the help of these pronominal projections, the author manages to investigate a wide range of human relationships and their consequences for the individual.

The novel entitled One Man's Bible (1999), which Gao Xingjian himself looks upon as a companion novel to Soul Mountain, is a novel of confession in which he mercilessly lays bare the three different parts he played during the Cultural Revolution: as a leader of a rebel faction, as a victim and as a silent observer. Again he makes use of the pronouns you and he in order to distinguish between two different degrees of alienation: you stands for the exiled author here and now, he is the author there and then, in the China of the Cultural Revolution. The framing chapters, which describe episodes in the author's exiled existence, are as factual and personally revealing as those dealing with his different roles during the Cultural Revolution. It is these framing chapters that enable the author to give his view on the meaning of human existence, the nature of literature, the conditions of authorship and, first and foremost, on the importance of remembering and of imagination for the author's view of reality.

The foundation for Gao Xingjian's pioneering activity as a dramatist was laid in the first half of the nineteen-eighties when he worked as artistic advisor, director of plays and playwright at the People's Art Theatre in Peking, at that time considered to be the country's foremost stage. Gao Xingjian's plays are characterized by originality, in no way diminished by the fact that he has been influenced both by modern Western and traditional Chinese currents. His greatness as a dramatist lies in the manner in which he has succeeded in enriching these fundamentally different elements and making them coalesce to something entirely new.

Dear Gao Xingjian: You did not leave China empty-handed. You have come to look on the native language which you brought with you when you left China as your true and real country. It gives me great joy to offer you, on behalf of the Swedish Academy, our warmest congratulations. I will ask you now to receive, from the hands of His Majesty the King, this year's Nobel Prize for Literature.

八和九生

授 奖 辞
  
Professor Göran Malmqvist(马悦然)

  

尊敬的国王和王后陛下、殿下，女士们和先生们：

高行健的作品包括十八部戏剧，三部长篇小说，和其他数量可观的中短篇小说。他出生于1940年，早在六十年代，他就开始了他的作家生涯。他的作品本应更多，但在六七十年代文化大革命的情形下，他被迫烧毁了所有的手稿。八十年代，他对中国小说和戏剧的形成与影响的研究作了十分重要的贡献。正如当初为文学奠定了心理学基础一样，他的著作在关于文学形式与结构的方面，开创了一片新的天地。

小说《灵山》（1990）是二十世纪中国文学最杰出的代表之一。高行健为这部小说构建了一种存在主义的两难境地：出于人性本能的驱策，试图在同渴望他人（可能是他或她）施与温存与交情的欲念作着孤独的抗争中，保存一种绝对的独立。但尽管如此，这种日益增进的共同关系却仍然威胁到个体存在的完整性，除非破裂，否则，势必会以为某种权势的相争而告终。

对专制国家的强烈的疏离让作者在八十年代早期深入到中国南方及西南部地区。在那里，至今仍保存着原始文化与远古萨满教仪式的痕迹，以及道教的遗风。在对这些文化的描述中，往往又充实着他从传统说书人那听来的荒诞而又异想天开的故事。同时，因为反对因意识形态上的专制而导致思想的屈从与一元化，他对儒家正统以及马克思主义学说一直持猛烈批判的态度。

在通往灵山的朝圣路上，他希冀能够找到关于人生与人类境遇的终极真谛。因为不甘寂寞，作者不得不创造出一个“你”，一个自我的写照；但是，尽管如此，“你”与“我”依然未能摆脱寂寞的侵袭，于是“她”诞生了。这些众多的人物莫不都是作者自我的写照。藉由这些代词，作者成功地审视了人与人之间的一系列关系及其作为个体存在的最终结局。

小说《一个人的圣经》（1999）被高行健看作是《灵山》的姊妹篇，是作者对自己在文革期间扮演的三种不同类型角色的反思：一个造反派领袖、一个受迫害者以及一个冷静的审视者。他再一次运用代词“你”和“他”，以离间两种不同程度的疏远：“你”代表着流亡此地的作者，“他”意味着文革彼时的自我。在这些穿插着对作者现时流亡状态的叙述的篇章中，作者如实地袒露出他在文革中所呈现出不同身份的角色的种种亲历及其所作所为；正是这些篇章，才使得作者能够将他的视野置于人类存在的意义、文学的本质属性以及作品本身的状态之上——更为重要的是，纪实与虚构并重的手法使作者的这些观点变得更为令人信服。

高行健的先锋创举源自其以一名剧作者的身份，于八十年代上半期在当时被公认为全国最优秀的剧院——北京人艺担任艺术顾问、导演和编剧的时候。尽管高行健的戏剧以其独创性著称，但无疑地，他的戏剧受到来自西方现代主义与中国传统戏曲的影响，而他的成功之处正在于糅合了这些个原本迥异的戏剧手段，从而创造出一种全新的戏剧理念。

亲爱的高行健：

您未曾空着手离开中国。当您离开这个对您而言真正而又现实的国家的时候，随同您而来的母语业已深刻地影响了您。且让我代表瑞典学院，赠与您以无上的荣光，并向您致以最热烈的祝贺。现在，就请您从国王陛下手中接受本年度的诺贝尔文学奖。
  
——Translated by x_zhang

Godot

我读过一本高行健写的关于现代小说技巧的书。书中大量引用了西方现代主义文学的案例，这是他在80年代初写的，可见他的见识是多么超前啊！

八和九生

确实如此，高行健的一切告诉我们，小说（至少是小说）的确是西方的产物，一个优秀的作家，需要从西方文学当中吸取营养，然后再从东方文化当中寻找价值。这个说法很左派，很激进，很西化，但是却是实话

吉檀迦利

虽然政府不喜欢他，但是确实是一位好作家.....

一缕书香

俄国流亡的获奖作家的文学水平都很高，我认为诺贝尔文学奖评委会眼光不会差，中国以后会用平和的心态来研究高行健，而不会像现在官方一样彻底否定。