Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes, and they wrote telegrams back to Manchester. And one of them wrote, "Situation hopeless. Stop. They don't wear shoes." And the other one wrote, "Glorious opportunity. They don't have any shoes yet."
很多人可能聽過關於二個銷售員的故事, 他們在1900年代南下非洲。 他們被派遣去調查那裡 是否有賣鞋子商機。 在他們發回曼徹斯特的電報中, 一個人寫著:"毫無商機,停止計畫。 他們不穿鞋子。" 另一個人寫著:"大好商機! 他們都沒穿鞋子!"
(Laughter)
(笑聲)
Now, there's a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain't seen nothing yet. And rather than go into statistics and trends, and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight. Actually, it's not really an experiment, because I know the outcome.
在古典音樂的世界也有類似的情況, 因為有人認為 古典音樂正在消逝。 有些人則認為最好的還沒出現呢。 我不想引用統計數字、趨勢圖 來告訴你們哪些交響樂團將要結束, 還有哪些唱片公司快要關閉。 今晚我們要來做個實驗,一個實驗。 事實上,也不算是個實驗,因為我已知道結果。
(Laughter)
But it's like an experiment. Now, before we start --
但像是個實驗。在我們開始之前-- (笑聲)
(Laughter)
Before we start, I need to do two things. One is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this.
-- 在我們開始之前,讓我們先做兩件事情。 第一,請回想一位七歲小孩 在彈鋼琴時的樣子。 你家的小孩可能會像這樣。 就像這樣彈鋼琴。
(Music)
(鋼琴聲)
(Music ends)
有人看過這樣子彈琴的小孩。
I see some of you recognize this child. Now, if he practices for a year and takes lessons, he's now eight and he sounds like this.
如果他練習了一年,繼續上鋼琴課,現在他八歲了, 他會像我這樣彈鋼琴。
(Music)
(鋼琴聲)
(Music ends)
然後又練習一年,繼續上課,現在他九歲了。
He practices for another year and takes lessons -- he's nine.
(Music)
(鋼琴聲)
(Music ends)
然後他再練習一年,繼續上課,現在他十歲了。
Then he practices for another year and takes lessons -- now he's 10.
(鋼琴聲)
(Music)
(Music ends)
At that point, they usually give up.
然後他們就不練了。
(Laughter)
(笑聲)
(Applause)
(掌聲)
Now, if you'd waited for one more year, you would have heard this.
如果你再等等,再等一年。
(Music)
你會聽到這樣的鋼琴聲:
(Music ends)
(鋼琴聲)
Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time, he was playing with an impulse on every note.
你可能想不到他會彈出這樣的音樂, 突然間他變得有熱情、陶醉、 投入、有個新老師、步入青春期、或其他的各種可能。 事實上只有減少律動的次數。 你看,他第一次彈鋼琴時, 每個音符動一下。
(Music)
(鋼琴聲)
And the second, with an impulse every other note.
每二個音符動一下。
(Music)
(鋼琴聲)
You can see it by looking at my head.
看著我的頭就知道了。
(Laughter)
(笑聲)
The nine-year-old put an impulse on every four notes.
九歲的小孩,九歲的小孩 每四個音符動一下。
(Music)
(鋼琴課)
The 10-year-old, on every eight notes.
十歲的孩子,每八個音符動一下。
(Music)
(鋼琴聲)
And the 11-year-old, one impulse on the whole phrase.
十一歲的孩子,整個樂句動一下。
(Music)
(鋼琴聲)
I don't know how we got into this position.
我也不知道我怎麼會變成這個姿勢。
(Laughter)
(笑聲)
I didn't say, "I'm going to move my shoulder over, move my body." No, the music pushed me over, which is why I call it one-buttock playing.
我也沒想到要去移動我的肩膀,移動我的身體。 不是我,是音樂推著我移動。 所以我叫它為半個屁股的演奏。
(Music)
(鋼琴聲)
It can be the other buttock.
另一個半個屁股的演奏。
(Music)
(鋼琴聲)
You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. I was working with this young pianist, and said, "The trouble with you is you're a two-buttock player. You should be a one-buttock player." I moved his body while he was playing. And suddenly, the music took off. It took flight. The audience gasped when they heard the difference. Then I got a letter from this gentleman. He said, "I was so moved. I went back and I transformed my entire company into a one-buttock company."
有一位男士曾看過我的演講 當時我正在指導一位年青的鋼琴家。 他是俄亥俄州一家公司的董事長。 當時我正在指導一位年青的鋼琴家 我告訴他,"你的問題在於你彈鋼琴時穩穩的坐在屁股上。 你應該當個半個屁股的演奏家。" 當他演奏時我這樣地移動他的身體。 突然間音樂飛了起來。音樂飛了起來。 當觀眾聽出變化時都非常驚呀。 接著我就收到這位男士的來信。 他說,"我深受感動。 我一回去就把整個公司 變成半個屁股的公司。
(Laughter)
(笑聲)
Now, the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. You have CDs in your car, and you go to the symphony, your children are playing instruments. You can't imagine your life without classical music. That's the first group, quite small. Then there's another bigger group. The people who don't mind classical music.
我還要說另一件與你們有關的事。 這裡大約有1,600人。 我預估其中大概有45位 是非常熱愛古典樂。 你極為喜愛古典樂。你的收音機總是調到古典音樂頻道。 你車上放的是古典樂CD,你會去聽音樂會。 你的孩子也會演奏樂器。 你無法想像沒有古典樂的日子。 這是第一種類型;人數相當少的一種類型。 還有另一種類型,人數較多的一種類型。 他們"不排斥"古典音樂。
(Laughter)
(笑聲)
You know, you've come home from a long day, and you take a glass of wine, and you put your feet up. A little Vivaldi in the background doesn't do any harm. That's the second group. Now comes the third group: people who never listen to classical music. It's just simply not part of your life. You might hear it like second-hand smoke at the airport ...
在你忙了一天回到家時 倒一杯紅酒,翹起腿。 來點韋瓦弟當做背景音樂也無妨。 (笑聲) 這是第二種類型。 再來是第三種類型。 這些人從來不聽古典音樂。 古典音樂從來不是你們生活的一部份。 你們可能像在機場吸二手煙一樣從別處聽到,但是--
(Laughter)
(笑聲)
-- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it. That's probably the largest group.
--可能聽到一些歌劇阿伊達中的進行曲 在你進入機場大廳時候。除此之外你就沒聽過古典樂。 這一種類型人數應該最多。 最後人數非常少的一種類型。
And then there's a very small group. These are the people who think they're tone-deaf. Amazing number of people think they're tone-deaf. Actually, I hear a lot, "My husband is tone-deaf."
他們自認是音痴。 相當多的人自認是音痴。 事實上我聽過很多人說,"我的先生是個音痴。" (笑聲)
(Laughter)
其實你不可能是音痴。没有人是音痴。
Actually, you cannot be tone-deaf. Nobody is tone-deaf. If you were tone-deaf, you couldn't change the gears on your car, in a stick shift car. You couldn't tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says, "Hello," you not only know who it is, you know what mood she's in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone-deaf.
如果你是音痴,你就無法換檔開車, 如果你開的是一台手排車。 你就無法分辦 那人是德州來的還是羅馬來的 在你聽電話時。聽電話時。所以當你媽媽打電話給你時 透過那老舊的話筒,當她說"哈囉"時, 你不僅知道她是誰,你還知道她當時的心情如何。 你有神奇的耳。每個人都有神奇的耳朵。 沒有人是音癡。
But I tell you what. It doesn't work for me to go on with this thing, with such a wide gulf between those who understand, love and are passionate about classical music, and those who have no relationship to it at all. The tone-deaf people, they're no longer here. But even between those three categories, it's too wide a gulf. So I'm not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that's what we're going to do.
但我要告訴你。我無法再忍受下去 竟然有如此巨大的差距介於 熱愛古典音樂的人, 以及與古典音樂毫無關係的人之間。 被當成音痴的人,現在起再也不是音痴。 即使這三種類型之間的差距是這麼的大。 我絶不罷手,除非在這個房間的每個人, 樓下的每個人,Aspen的每個人,以及其他所有正在觀看的人, 都能熱愛古典音樂並懂得古典音樂。 這就是我們想達成的目標。
Now, you notice that there is not the slightest doubt in my mind that this is going to work, if you look at my face, right? It's one of the characteristics of a leader that he not doubt for one moment the capacity of the people he's leading to realize whatever he's dreaming. Imagine if Martin Luther King had said, "I have a dream. Of course, I'm not sure they'll be up to it."
你們可以感受到在我心中没有絲毫的懷疑, 你們可以從我的臉上看出我確信這一定會成功。 領導者的特質之一 是他永遠確信他所帶領的人 有能力去實行他的理想。 試想馬丁路德說,"我有一個夢。 不過,我懷疑他們做得到。"
(Laughter)
(笑聲)
All right. So I'm going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it.
我要彈一首蕭邦的曲子。 這是一首蕭邦美麗的序曲。應該有人聽過。
(Music)
(鋼琴聲)
Do you know what I think probably happened here? When I started, you thought, "How beautiful that sounds."
猜猜接下來會發生甚麼事? 當我剛開始彈時,你們心想,"這音樂多美啊。"
(Music)
(鋼琴聲)
"I don't think we should go to the same place for our summer holidays next year."
明年夏天我不想 再到相同的地點渡假。"
(Laughter)
(笑聲)
It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course --
很好玩,是不是?看看這些思緒是如何 飄進你的腦袋。 當然-- (掌聲)
(Applause)
--當然,首子如果太長而你又忙了一天,
Of course, if the piece is long and you've had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, "Wake up! It's culture!" And then you feel even worse.
你可能會真的睡著了。 你的同伴會戳你 說,"起來!有點文化修養!"這會使你覺得更糟。
(Laughter)
但你有没有想過聽古典音樂會讓你想睡的原因
But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, "Why is he using so many impulses?" If I'd done this with my head you certainly would have thought it.
不在於你,而在於我們? 當我在演奏時,有沒有人在想, "為什麼他要一直動來動去?" 如果演奏時動著我的頭,你肯定會理解。
(Music)
(鋼琴聲)
(Music ends)
從此以後,你每次聽到古典音樂
And for the rest of your life, every time you hear classical music, you'll always be able to know if you hear those impulses.
就能知道是否有聽到那些顫動。 讓我們來看看這到底是怎麼回事。
So let's see what's really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn't it?
我彈的是B。這是個B。下一個音符是C。 C的任務就是讓B聽起來悲傷。C做到了,不是嗎? (笑聲)
(Laughter)
作曲家都知道這個。如果想要作首悲傷的曲子
Composers know that. If they want sad music, they just play those two notes.
他們只需彈奏這兩個音符。
(Music)
(鋼琴聲)
But basically, it's just a B, with four sads.
基本上就是只是一個B,和四個悲傷的音符。
(Laughter)
(笑聲)
Now, it goes down to A. Now to G. And then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next?
降到A。降到G,再降到F。 我彈了B, A, G, F。如果我彈了B, A, G, F, 你猜下一個音符是什麼?可能只是僥倖猜到。
(Music)
That might have been a fluke. Let's try it again.
再試一下。哇,TED合唱圑。
(Music)
Oh, the TED choir.
(笑聲)
(Laughter)
你有沒有注意到沒有人是音痴,對不對?沒有人是音痴。
And you notice nobody is tone-deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China -- everybody knows: da, da, da, da -- da. Everybody knows, who's expecting that E.
孟加拉的每個村莊, 以及中國的每個小村子。每個人都知道: 嗒,嗒,嗒,嗒-嗒。每個人都知道接下來是E。 可是蕭邦還不想彈到E,
Chopin didn't want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember? Act One, scene three, he finds out his uncle killed his father. He keeps on going up to his uncle and almost killing him. And then he backs away, he goes up to him again, almost kills him. The critics sitting in the back row there, they have to have an opinion, so they say, "Hamlet is a procrastinator." Or they say, "Hamlet has an Oedipus complex." No, otherwise the play would be over, stupid.
接下來會如何?曲子就會結束,就像哈姆雷特一樣。 你記不記得哈姆雷特的劇情?在第一幕,第三場: 他發現是他的叔父殺了他的父親。 你記得他一而再三的走近他的叔父 幾乎就要殺了他。然後他又退卻 再走近他,幾乎要殺了他。 坐在後排的所有劇評家, 他們的一致評論,"哈姆雷特是個猶豫不決的人" (笑聲) 或者評論,"哈姆雷特有戀母情結。" 笨蛋,要不這樣寫戲劇馬上就會結束。
(Laughter)
這就是為什麼莎士比亞要在哈姆雷特劇中放入這些情節。
That's why Shakespeare puts all that stuff in Hamlet -- Ophelia going mad, the play within the play, and Yorick's skull, and the gravediggers. That's in order to delay -- until Act Five, he can kill him.
像是奧菲莉亞的發瘋,劇中劇, 約力克的頭髏,以及盜墓者。 都是為了拖延--直到第五幕哈姆雷特才可以殺了他的叔父。 蕭邦利用同樣的方法。他快要彈到E,
It's the same with the Chopin. He's just about to reach the E, and he says, "Oops, better go back up and do it again." So he does it again. Now, he gets excited.
他說,"喔,最好退回去再來一遍。" 於是他再來一遍。 他開始變得激昂--這是激昂的段落,
(Music)
That's excitement, don't worry about it. Now, he gets to F-sharp, and finally he goes down to E, but it's the wrong chord -- because the chord he's looking for is this one, and instead he does ... Now, we call that a deceptive cadence, because it deceives us. I tell my students, "If you have a deceptive cadence, raise your eyebrows, and everybody will know."
不用擔心。 他來到升F,最後降到E, 但和弦不對。因為他所要的和弦 是這個和弦,可是他卻用了... 我們稱它為騙人曲調因為它欺騙了我們。 我總是告訴我的學生,"如果你彈到騙人曲調 抬高你的眉毛讓大家知道。" (笑聲)
(Laughter)
(掌聲)
(Applause)
Right. He gets to E, but it's the wrong chord. Now, he tries E again. That chord doesn't work. Now, he tries the E again. That chord doesn't work. Now, he tries E again, and that doesn't work. And then finally ... There was a gentleman in the front row who went, "Mmm."
好的。他彈到E,但是個錯的和弦。 這次他試著再彈到E。這個和弦也不行。 這次他試著再彈到E。這個和弦也不行。 這次他試著再彈到E,這個和弦也不行。 終於... 前排有位男士發出"嗯"的聲音。
(Laughter)
這是當他回到家時所做相同的動作
It's the same gesture he makes when he comes home after a long day, turns off the key in his car and says, "Aah, I'm home." Because we all know where home is.
在他忙了一天之後,車子熄好火, "啊,我到家了。"因為我們都知道那裡是家。 這是一首把你從遠遠的地方帶回家的曲子。
So this is a piece which goes from away to home. I'm going to play it all the way through and you're going to follow. B, C, B, C, B, C, B -- down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B, he gets very excited. Goes to F-sharp. Goes to E. It's the wrong chord. It's the wrong chord. And finally goes to E, and it's home. And what you're going to see is one-buttock playing.
我要整首演奏一遍 你跟著琴聲。B,C,B,C,B,C,B-- 降到A,降到G,降到F。 快要到E,可是這樣曲子就結束了。 他回升到B。音樂變得很激昂。來到升F。來到E。 和弦不對。和弦不對。和弦不對。 終於彈到E,到家了。 你看到的是半個屁股的演奏。 (笑聲)
(Laughter)
Because for me, to join the B to the E, I have to stop thinking about every single note along the way, and start thinking about the long, long line from B to E.
因為對我來說,要從B連到E, 我不能去想中間的每一個音符 而是去想從B到E那長長的一條線。
You know, we were just in South Africa, and you can't go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. This is about vision. This is about the long line. Like the bird who flies over the field and doesn't care about the fences underneath, all right? So now, you're going to follow the line all the way from B to E. And I've one last request before I play this piece all the way through. Would you think of somebody who you adore, who's no longer there? A beloved grandmother, a lover -- somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time, follow the line all the way from B to E, and you'll hear everything that Chopin had to say.
我們剛到過南非,你到南非 一定會想到被關在牢裡27年的曼德拉。 他在想什麼?午餐? 不是的,他想的是南非的願景 以及人類的願景。大家會記得的是-- 願景;那長長的一條線。 就像鳥兒飛越草原 不會去在乎下面的籬芭,對不對? 你跟著這條線從B到E。 在我彈完整首曲子之前,我有最後一個要求。 請你回想一位你曾深愛,卻已永遠不在的人... 你心愛的祖母,你的愛人, 在你此生中真心喜愛的人, 但這個人已永遠不在你身邊。 把他帶入你的心中,同時 一直跟著這條線從B到E, 你會聽到蕭邦所要表達的。
(Music)
(鋼琴聲)
(Music ends)
(Applause)
(掌聲)
Now, you may be wondering --
你可能會覺得奇怪,
(Applause)
你可能會覺得奇怪為什麼我要拍手。
(Applause ends)
You may be wondering why I'm clapping. Well, I did this at a school in Boston with about 70 seventh graders, 12-year-olds. I did exactly what I did with you, and I explained the whole thing. At the end, they went crazy, clapping. I was clapping. They were clapping. Finally, I said, "Why am I clapping?" And one of them said, "Because we were listening."
我在波士頓的一所學校也這麼做 大約有70位七年級的學生--12歲。 我們做的事和今天在這裡做的一模一樣,我告訴他們 向他們解釋所有的事情。 最後,他們變得瘋狂,拍手。他們一直拍手。 我拍手。他們也拍手。 最後,我說,"為什麼我要拍手?" 有一位小孩回答,"因為我們有專心聽。"
(Laughter)
(笑聲)
Think of it. 1,600 people, busy people, involved in all sorts of different things, listening, understanding and being moved by a piece by Chopin. Now, that is something. Am I sure that every single person followed that, understood it, was moved by it? Of course, I can't be sure.
試想。1,600個人,1,600個忙碌的人, 從事各行各業。 同時聽蕭邦的曲子,同時理解蕭邦的曲子,同時被蕭邦的曲子所感動。 這就了不起。 我能不能確定每一個人都能聽的懂, 能理解這首曲子,被這首曲子所感動?我當然無法確定。 但是我要告訴你我的親身經歷。
But I'll tell you what happened to me in Ireland during the Troubles, 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them -- a risky thing to do, because they were street kids. And one of them came to me the next morning and he said, "You know, I've never listened to classical music in my life, but when you played that shopping piece ..."
10年以前正值北愛爾蘭衝突期間我人在愛爾蘭, 我與一些天主教及新教徒的小孩在一起 試著消除雙方的衝突。我和他們也和現在所做的一樣。 這樣做有點危險因為他們是在街頭混的小孩。 隔天早上其中有個小孩來找, 他說,"我這輩子從來沒聽過古典音樂, 但當你彈那首瞎拼曲子..." (笑聲)
(Laughter)
他說,"我哥哥去年被射殺而我並沒有為他哭泣。
He said, "My brother was shot last year and I didn't cry for him. But last night, when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And it felt really good to cry for my brother." So I made up my mind at that moment that classical music is for everybody. Everybody.
但昨晚當你彈奏那首曲子時, 我想到了他。 淚水從我的臉上流下。 可以為我哥哥哭的感覺真好。" 當時我下定決心 音樂是為每一個人。每一個人。
Now, how would you walk -- my profession, the music profession doesn't see it that way. They say three percent of the population likes classical music. If only we could move it to four percent, our problems would be over.
該如何邁出我的專業, 從事音樂這個行業的人不會這麼想。 他們認為有百分之三的人口喜歡古典音樂。 如果我們可以提高到百分之四的人口我們的問題就可以解決。
(Laughter)
我說,"你會怎麼走?你會怎麼說?你會怎麼做?
How would you walk? How would you talk? How would you be? If you thought, "Three percent of the population likes classical music, if only we could move it to four percent." How would you walk or talk? How would you be? If you thought, "Everybody loves classical music -- they just haven't found out about it yet." See, these are totally different worlds.
如果你想有百分之三的人喜愛古典音樂? 如果你可以提高到百分之四。你會怎麼走? 你會怎麼說?你會怎麼做? 如果你認為每個人都喜愛古典音樂, 他們只是尚未發現這一點。" (笑聲) 這會是完全不同的世界。
Now, I had an amazing experience. I was 45 years old, I'd been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn't make a sound. My picture appears on the front of the CD --
我有個非常棒的經驗。在我45歲時, 在我指揮了20年之後,我突然有了領悟。 交響樂團的指揮並沒有發出任何聲音。 我的照片出現在CD封面--
(Laughter)
(笑聲)
But the conductor doesn't make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life-changing. People in my orchestra said, "Ben, what happened?" That's what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. How do you find out? You look at their eyes. If their eyes are shining, you know you're doing it. You could light up a village with this guy's eyes.
-- 但是指揮並沒有發出任何聲音。 他的影響力來自於激發別人潛能的能力。 這改變了我的一切。這是我人生的轉戾點。 樂團的人來找找,問我, "Ben,你怎麼了?"我告訴你怎麼了。 我體認到我的工作是去激發別人的潛能。 當然, 我要知道我是否可以做得到。 你猜我發現什麼? 只要看著他們的眼睛。 當你看到發亮的眼睛,你就可以知道你做到了。 你們看,他的眼睛可以點亮整個村莊。
(Laughter)
(笑聲)
Right. So if the eyes are shining, you know you're doing it. If the eyes are not shining, you get to ask a question. And this is the question: who am I being that my players' eyes are not shining? We can do that with our children, too. Who am I being, that my children's eyes are not shining? That's a totally different world.
是的。當你看到發亮的眼睛,你就知道你做到了。 如果你沒有看到發亮的眼睛,你必須要問自己一個問題。 你要問自己: 我怎麼了? 為什麼團員的眼睛沒有發亮? 對我們的孩子我們也可以這樣做。 我怎麼了? 為什麼孩子的眼睛沒有發亮? 那會是一個完全不一樣的世界。
Now, we're all about to end this magical, on-the-mountain week, we're going back into the world. And I say, it's appropriate for us to ask the question, who are we being as we go back out into the world? And you know, I have a definition of success. For me, it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.
我們將要結束這神奇的一週, 我們將要回到現實世界。 我們應該要問自己這個問題: 當我們回到現實時我們會扮演怎樣的角色 我對成功的定義。 對我來說相當簡單。不是在於財富、名聲以及權力。 而是在我的周圍有多少隻發亮的眼睛。
So now, I have one last thought, which is that it really makes a difference what we say -- the words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old. And ... And her brother was eight, and the parents were lost. And she told me this, she said, "We were in the train going to Auschwitz, and I looked down and saw my brother's shoes were missing. I said, 'Why are you so stupid, can't you keep your things together for goodness' sake?'" The way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him, because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, "I walked out of Auschwitz into life and I made a vow. And the vow was, "I will never say anything that couldn't stand as the last thing I ever say." Now, can we do that? No. And we'll make ourselves wrong and others wrong. But it is a possibility to live into.
最後要和大家分享的是, 我們所說的話會造成完全不同的後果。 從我們嘴吧所說出來的話。 我是從一位自德國集中營Auschwitz存活下來的女士學到的, 她是極少數倖存者之一。 她在15歲時被送進Auschwitz集中營, 當時她的弟弟8歲,她的父母已行蹤不明。 她告訴我,她說, "我正在前往Asuchwitz營中集的火車上,我低頭看 發現我弟弟的鞋子不見了。" 我對他說,"你怎麼這麼笨,你就不能看好你的東西嗎? 拜託你好不好?" 用姐姐對弟弟說話的口氣。 不幸的是,這是她對她的弟弟說的最後一句話。 因為她再也沒有看到她的弟弟。他沒有存活下來。 當她從Auschwitz集中營出來時,她發了誓。 她告訴我。她說,"我從Auschwitz集中營存活出來 我發了誓。我發誓絕不說出 會讓我後悔對人說的最後一句話。" 我們做的到嗎?做不到。我們都會讓自己犯錯, 也會讓別人犯錯。或許也是生活中可努力的方向。謝謝!
Thank you.
(Applause)
(掌聲)
Shining eyes.
發亮的眼睛,發亮的眼睛。
(Applause)
Shining eyes.
(Applause)
Thank you, thank you.
謝謝,謝謝。