The youthful perspective on the future, the present perspective on the future and the future, mature perspective on the future -- I'd like to try and bring all those three tenses together in one identity tonight. And you could say that the poet, in many ways, looks at what I call "the conversational nature of reality." And you ask yourself: What is the conversational nature of reality? The conversational nature of reality is the fact that whatever you desire of the world -- whatever you desire of your partner in a marriage or a love relationship, whatever you desire of your children, whatever you desire of the people who work for you or with you, or your world -- will not happen exactly as you would like it to happen.
對於未來的年輕觀點, 對於未來的當前觀點, 以及未來,對於未來的成熟觀點—— 今晚,我想要試著把 這三種時態結合在一起, 成為一個身份。 你可以說,在許多方面, 詩人所看的是我所謂的 「現實的交談本質」。 你問自己: 現實的交談本質是什麼? 現實的交談本質是以下這個事實: 不論你對這個世界有什麼渴望—— 不論你對婚姻或戀愛關係中的 另一半有什麼渴望, 不論你對孩子有什麼渴望, 不論你對同事或下屬有什麼渴望, 或你的世界—— 都不會準確地 以你所想要的方式發生。
But equally, whatever the world desires of us -- whatever our partner, our child, our colleague, our industry, our future demands of us, will also not happen. And what actually happens is this frontier between what you think is you and what you think is not you. And this frontier of actual meeting between what we call a self and what we call the world is the only place, actually, where things are real.
但很平等地, 不論世界對我們有什麼渴望—— 不論我們的另一半、孩子、同事、 產業、 未來對我們有什麼渴望, 也不會發生。 真正發生的是 「你認為是的你」跟 「你認為不是你的你」 之間的邊界。 我們所謂的自我、所謂的世界, 這兩者間實際相碰的邊界, 唯有在這裡,事物東西才真實。
But it's quite astonishing, how little time we spend at this conversational frontier, and not abstracted away from it in one strategy or another. I was coming through immigration, which is quite a dramatic border at the moment, into the US last year, and, you know, you get off an international flight across the Atlantic, and you're not in the best place; you're not at your most spiritually mature. You're quite impatient with the rest of humanity, in fact. So when you get up to immigration with your shirt collar out and a day's growth of beard, and you have very little patience, and the immigration officer looked at my passport and said, "What do you do, Mr. Whyte?" I said, "I work with the conversational nature of reality."
但,非常驚人的是, 我們花非常少的時間 在這個交談邊界上, 沒以任何策略來抽取些什麼。 我經過海關的移民局, 那時是個相當戲劇性的邊境, 我去年進入美國, 下了國際航班, 越過了大西洋, 你不在最佳的地點, 你不處於靈性最成熟的狀況, 事實上,你對其他的人很沒耐心。 當你起身進到移民局時 上衣領子是外翻的, 一天沒刮鬍子, 你很沒耐心, 而移民官看了我的護照, 說:「懷特先生,你是做什麼的?」 我說:「我處理 『現實的交談本質』。」
(Laughter)
(笑聲)
And he leaned forward over his podium and he said, "I needed you last night."
他向前傾到他的矮牆上, 他說:「我昨晚需要你。」
(Laughter)
(笑聲)
(Applause)
(掌聲)
And I said, "I'm sorry, my powers as a poet and philosopher only go so far. I'm not sure I can --" But before we knew it, we were into a conversation about his marriage. Here he was in his uniform, and the interesting thing was, he was looking up and down the row of officers to make sure his supervisor didn't see that we was having a real conversation. But all of us live at this conversational frontier with the future.
我說:「很抱歉, 身為詩人和哲學家, 我的力量只到這裡。 不確定我能——」 很快地, 我們就在交談了,談他的結婚。 他穿著他的制服, 有趣的是, 他不時看向著整排的人員, 確定他的主管沒有發現 我們在做真正的交談。 但我們所有人都生活在 這個與未來的交談邊界上。
I'd like to put you in the shoes of my Irish niece, Marlene McCormack, standing on a cliff edge on the western coast of Spain, overlooking the broad Atlantic. Twenty-three years old, she's just walked 500 miles from Saint Jean Pied de Port on the French side of the Pyrenees, all the way across Northern Spain, on this very famous, old and contemporary pilgrimage called the Camino de Santiago de Compostela -- the Path to Santiago of Compostela. And when you get to Santiago, actually, it can be something of an anticlimax, because there are 100,000 people living there who are not necessarily applauding you as you're coming into town.
我想請各位站在我的 愛爾蘭姪女的立場想想, 她叫瑪琳馬可麥克, 站在西班牙西岸的懸崖邊緣, 眺望著廣大的大西洋。 她 23 歲,剛走過了 500 英哩, 從位在庇里牛斯山 法國那一面的聖讓皮耶德波爾, 一路走到西班牙北部, 這是一趟非常著名、 古老、當代的朝聖之旅, 西班牙文叫「Camino de Santiago de Compostela」, 「通往康波斯特拉的聖雅各之路」, 當你到了聖雅各, 其實是有點掃興的, 因為有十萬人住在那裡, 他們不見得會鼓掌歡迎你到鎮上。
(Laughter)
(笑聲)
And 10,000 of them are trying to sell you a memento of your journey. But you do have the possibility of going on for three more days to this place where Marlene stood, called, in Spanish, Finisterre, in English, Finisterre, from the Latin, meaning "the ends of the earth," the place where ground turns to ocean; the place where your present turns into the future. And Marlene had walked this way -- she just graduated as a 23-year-old from the University of Sligo with a degree in Irish drama. And she said to me, "I don't think the major corporations of the world will be knocking on my door." I said, "Listen, I've worked in corporations all over the world for decades; a degree in drama is what would most prepare you for the adult --
他們當中會有一萬人試著 賣這趟旅程的紀念品給你。 但,你確有可能可以再花三天時間 走到瑪琳站的這個地方, 西班牙文叫「Finisterre」, 英文發音是「菲尼斯特雷」, 來自拉丁文,意思是「地球的盡頭」, 陸地轉變為海洋的地方, 你的現在轉變為未來的地方。 而瑪琳走過了這段路—— 23 歲的她剛從斯萊戈大學畢業, 取得愛爾蘭戲劇學位。 她對我說:「我不認為 世界上的主要企業 會找上我的門來。」 我說:「聽著,數十年來 我為世界各地的企業工作; 戲劇學位最能讓你 準備好進入成人的——
(Laughter)
(笑聲)
corporate world."
企業世界。」
(Applause)
(掌聲)
But she said, "I'm not interested in that, anyway. I don't want to teach drama, I want to become a dramatist. I want to write plays. So I walked the Camino in order to give myself some courage, in order to walk into my future." And I said, "What was the most powerful moment you had on the whole Camino, the very most powerful moment?" She said, "I had many powerful moments, but you know, the most powerful moment was post-Camino, was the three days you go on from Santiago and come to this cliff edge. And you go through three rituals. The first ritual is to eat a tapas plate of scallops" -- or if you're vegetarian, to contemplate the scallop shell.
但她說:「反正我對那也沒有興趣。 我不想要教戲劇, 我想要成為劇作家。 我想要寫劇本。 所以我踏上聖雅各之路 想給自己一些勇氣, 才能走入我的未來。」 我說:「在聖雅各之路上, 你經歷到最強大的時刻是什麼?」 她說:「有許多強大的時刻, 但,最強大的時刻是在 走完聖雅各之路後, 是從聖雅各到那懸崖邊緣的那三天。 你要經過三個儀式。 第一個儀式是要吃一小盤扇貝肉」; 如果你吃素, 凝視著扇貝殼就好。
(Laughter)
(笑聲)
Because the scallop shell has been the icon and badge of your walk, and every arrow that you have seen along that way has been pointing underneath a scallop shell. So really, this first ritual is saying: How did you get to this place? How did you follow the path to get here? How do you hold the conversation of life when you feel unbesieged, when you're unbullied, when you're left to yourself? How do you hold the conversation of life that brings you to this place? And the second ritual is that you burn something that you've brought. I said, "What did you burn, Marlene?" She said, "I burned a letter and two postcards." I said, "Astonishing. Twenty-three years old and you have paper. I can't believe it."
因為扇貝殼是你 這段步行的象徵和標記, 而你一路上所見到的每一個箭頭, 都指向一個扇貝殼的下方。 所以,其實第一個儀式在說的是: 你怎麼到達這個地方的? 你怎麼循著路到達這裡的? 當你沒被圍困、沒被欺負, 獨自一人時, 你如何進行人生的談話? 你如何進行帶你到此地的人生談話? 而第二個儀式,是你要把 你帶來的某樣東西燒掉。 我問:「瑪琳,你燒掉了什麼?」 她說:「我燒掉了 一封信和兩張明信片。」 我說:「好驚人。 23 歲的人會有紙。 我無法置信。」
(Laughter)
(笑聲)
I'm sure there's a Camino app where you can just delete a traumatic text, you know?
我相信一定有聖雅各之路 app, 讓你可以刪除創傷性文字,是吧?
(Laughter)
(笑聲)
It will engage the flashlight, imbue it with color and disappear in a firework of flames. But you either bring a letter or you write one there, and you burn it. And of course we know intuitively what is on those letters and postcards. It's a form of affection and love that is now no longer extant, yeah?
它會搭配閃光, 充滿了顏色, 在火焰的煙火當中消失。 但你若沒有帶信到那裡, 你可以在那裡寫一封, 然後燒掉它。 當然,我們憑直覺都知道 信上和明信片上寫的是什麼。 是一種現已不復存在的 愛與感情形式,對吧?
And then the third ritual: between all these fires are large piles of clothes. And you leave an item of clothing that has helped you to get to this place. And I said to Marlene, "What did you leave at the cliff edge?" She said, "I left my boots -- the very things that I walked in, actually. They were beautiful boots, I loved those boots, but they were finished after seven weeks of walking. So I walked away in my trainers, but I left my boots there."
接著,第三個儀式: 在這些火當中的是大堆大堆的衣物。 你留下一個協助你到達 這個地方的衣著物品。 我對瑪琳說:「你在 懸崖邊緣留下了什麼?」 她說:「我留下了我的靴子– 就是我穿著走到那裡的靴子。 那雙靴子很漂亮,我很喜愛, 但經過七週的行走之後已經完了。 所以我穿著運動鞋離開, 把靴子留在那裡。」
She said, "It was really incredible. The most powerful moment was, the sun was going down, but the full moon was coming up behind me. And the full moon was illuminated by the dying sun in such a powerful way that even after the sun had dropped below the horizon, the moon could still see that sun. And I had a moon shadow, and I was looking at my moon shadow walking across the Atlantic, across this ocean. And I thought, 'Oh! That's my new self going into the future.' But suddenly I realized the sun was falling further. The moon was losing its reflection, and my shadow was disappearing. The most powerful moment I had on the whole Camino was when I realized I myself had to walk across that unknown sea into my future."
她說:「那真的很難以置信。 最強大的時刻是太陽西下, 但滿月卻從我後面升起。 而滿月被落日 用一種很強大的方式照亮, 即使太陽已經落到地平線之下, 月亮仍然能夠看見太陽。 而我有個月影, 我看著這個被月亮 照出的影子走過大西洋, 走過這海洋。 我心想: 『喔!那就是我的 新自我,走入未來。』 但,我突然發現太陽更下沈了。 月亮失去了它的反射, 我的影子消失了。 這整段路上我經歷的最強大時刻, 就是了解到我必須 自己走過那未知的海洋, 走入我的未來。」
Well, I was so taken by this story, I wrote this piece for her. We were driving at the time; we got home, I sat on the couch, I wrote until two in the morning -- everyone had gone to bed -- and I gave it to Marlene at breakfast time. It's called, "Finisterre," for Marlene McCormack.
我對這個故事非常著迷, 我為她寫了這小品。 當時我們在開車, 回到家,我坐在沙發上, 一直寫到半夜兩點—— 每個人都入睡了—— 我在早餐的時候把它給了瑪琳。 它叫做《菲尼斯特雷》, 獻給瑪琳馬可麥克。
"The road in the end
「道路到了最終,
the road in the end taking the path the sun had taken
道路到了最終, 走上太陽走過的途徑,
the road in the end taking the path the sun had taken into the western sea
道路到了最終, 走上太陽走過的途徑, 進入西方的海洋,
the road in the end taking the path the sun had taken into the western sea
道路到了最終, 走上太陽走過的途徑, 進入西方的海洋,
and the moon
而月亮,
the moon rising behind you as you stood where ground turned to ocean:
月亮從你身後升起, 當你站在陸地轉為海洋之處:
no way to your future now
現在沒有通往你未來的路,
no way to your future now except the way your shadow could take, walking before you across water, going where shadows go,
現在沒有通往你未來的路, 除了你的影子能走上的路, 走在你前面,跨越水面, 去到影子所去之處,
no way to make sense of a world that wouldn't let you pass except to call an end to the way you had come, to take out each letter you had brought and light their illumined corners; and to read them as they drifted on the late western light;
沒辦法將一個不讓你 通過的世界給合理化, 除了宣稱你所走過的路到了盡頭, 拿出你帶來的所有信件, 點亮它們的照亮角落; 閱讀漂流在夜晚西方光線中的它們;
to empty your bags
清空你的袋子,
to empty your bags; to sort this and to leave that
清空你的袋子; 分類這,留下那,
to sort this and to leave that; to promise what you needed to promise all along
分類這,留下那; 承諾你打從開始就就需要承諾的,
to promise what you needed to promise all along, and to abandon the shoes that brought you here right at the water's edge,
承諾你打從開始就就需要承諾的; 丟棄帶你來這裡的鞋子, 棄在水邊,
not because you had given up
不是因為你已經放棄,
not because you had given up but because now, you would find a different way to tread, and because, through it all, part of you would still walk on, no matter how, over the waves."
不是因為你已經放棄, 而是因為現在, 你會找到一條不同的路來走, 也因為,透過它, 你的一部份將會繼續走下去, 不論如何, 走過波浪。」
"Finisterre." For Marlene McCormack --
《菲尼斯特雷》 獻給瑪琳馬可麥克——
(Applause)
(掌聲)
who has already had her third play performed in off-off-off-off-Broadway -- in Dublin.
她已經有第三齣劇被演出, 在外外外外百老匯的劇界, 在都柏林。
(Laughter)
(笑聲)
But she's on her way.
但她在向前進了。
This is the last piece. This is about the supposed arrival at the sum of all of our endeavors. In Santiago itself -- it could be Santiago, it could be Mecca, it could be Varanasi, it could be Kyoto, it could be that threshold you've set for yourself, the disturbing approach to the consummation of all your goals.
這是最後一件作品, 說的是在我們努力的頂點 應當的抵達。 在聖雅各本身—— 可以是聖雅各, 可以是麥加, 可以是瓦拉納西, 可以是京都, 可以是你為自己設定的門檻, 讓人不安的方法, 用來完成你所有目標。
And one of the difficulties about walking into your life, about coming into this body, into this world fully, is you start to realize that you have manufactured three abiding illusions that the rest of humanity has shared with you since the beginning of time.
要走入你的人生,要來到這身體內, 完全進入這世界, 困難點之一就是 你開始了解到 你已經製造出了三個持久的幻覺, 打從一開始,其他的人類 就與你共享這些幻覺。
And the first illusion is that you can somehow construct a life in which you are not vulnerable. You can somehow be immune to all of the difficulties and ill health and losses that humanity has been subject to since the beginning of time. If we look out at the natural world, there's no part of that world that doesn't go through cycles of, first, incipience, or hiddenness, but then growth, fullness, but then a beautiful, to begin with, disappearance, and then a very austere, full disappearance. We look at that, we say, "That's beautiful, but can I just have the first half of the equation, please? And when the disappearance is happening, I'll close my eyes and wait for the new cycle to come around." Which means most human beings are at war with reality 50 percent of the time. The mature identity is able to live in the full cycle.
第一個幻覺就是你可以 以某種方式建立一個人生, 且你身在其中不會脆弱。 你可以對所有的困難、 不健康、失去, 通通免疫, 那些人類從一開始就遭受的。 如果你向外看看自然世界, 那個世界的每一部份 都會要經過循環, 從最初的發端或隱蔽, 接著成長、完全, 如何是美好消失的開始, 然後是非常樸素、完整的消失。 我們看著它,我們說:「那好美, 但能不能只給我等式的前半部呢? 當消失發生時, 我會閉上眼睛 等待新循環再次開始。」 這意味著,大部份人 半數時間和現實交戰。 成熟的個性, 能走過完整的循環。
The second illusion is, I can construct a life in which I will not have my heart broken. Romance is the first place we start to do it. When you're at the beginning of a new romance or a new marriage, you say, "I have found the person who will not break my heart." I'm sorry; you have chosen them out unconsciously for that exact core competency.
第二個幻覺是, 我可以建立一個 身在其中不會心碎人生,。 我們的起始之地是戀愛。 你在一段新戀情或新婚的開始, 說:「我找到不會讓我心碎的人了。」 很抱歉; 你已無意識地選了他們 以獲得那確切的核心。
(Laughter)
(笑聲)
They will break your heart. Why? Because you care about them. You look at parenting, yeah? Parenting: "I will be the perfect mother and father." Your children will break your heart. And they don't even have to do anything spectacular or dramatic. But usually, they do do something spectacular or dramatic --
他們會讓你心碎。 為什麼? 因為你在乎他們。 看看養育子女,好吧? 養育子女:「我會是完美的父母。」 你的孩子會讓你心碎。 甚至不必壯觀或戲劇性地 做些什麼就辦得到。 但,通常他們會做些 壯觀或戲劇性的事——
(Laughter)
(笑聲)
to break your heart. And then they live with you as spies and saboteurs for years, watching your every psychological move, and spotting your every weakness. And one day, when they're about 14 years old, with your back turned to them, in the kitchen, while you're making something for them --
來讓你心碎。 接著,他們會以間諜 和蓄意破壞者的身分與你同住數年, 監看你每一心理動向, 發現你每一弱點。 有一天, 當他們大約 14 歲時, 當你背對他們時, 在廚房中, 當你在為他們煮食時——
(Laughter)
(笑聲)
the psychological stiletto goes in.
心理的短劍就會插進來。
(Laughter)
(笑聲)
(Applause)
(掌聲)
And you say, "How did you know exactly where to place it?"
你問:「你怎麼知道 刺下劍的確切地點?」
(Laughter)
(笑聲)
And they say, "I've been watching you for --
他們說: 「我一直在看著你,已經——
(Laughter)
(笑聲)
a good few years."
好多年了。」
And then we hope that our armored, professional personalities will prevent us from having our heart broken in work. But if you're sincere about your work, it should break your heart. You should get to thresholds where you do not know how to proceed. You do not know how to get from here to there. What does that do? It puts you into a proper relationship with reality. Why? Because you have to ask for help.
接著,我們希望武裝起來的專業特性 能讓我們避免在工作時心碎。 但如果你對工作是真誠的, 它應該會讓你心碎。 你應該會達到你 不知該怎麼進行下去的那門檻。 你不知道要如何從這裡到那裡。 那會有什麼影響? 它會讓你與現實有個適當的關係。 為什麼? 因為你得要求助。
Heartbreak. We don't have a choice about heartbreak, we only have a choice of having our hearts broken over people and things and projects that we deeply care about.
心碎。 心碎不是我們能選擇要不要的。 我們只能夠選擇要為了 深刻在乎的人、事物、專案而心碎。
And the last illusion is, I can somehow plan enough and arrange things that I will be able to see the path to the end right from where I'm standing, right to the horizon. But when you think about it, the only environment in which that would be true would be a flat desert, empty of any other life. But even in a flat desert, the curvature of the earth would take the path away from you. So, no; you see the path, and then you don't and then you see it again.
最後一個幻覺是 我能夠做足夠的計畫與安排, 讓我能夠看見從我現在所在, 一路通往終點的路, 一路到達地平線。 但當你仔細想想, 這個說法只在一個環境會成立, 那就是平坦的沙漠, 沒有其他生命的空曠之地。 但即使在平坦的沙漠, 地球的曲度也會讓你看不見路。 所以,不; 你會看見路, 接著又看不見, 然後又會再看見。
So this is "Santiago," the supposed arrival, which is a kind of return to the beginning all at the same time. We have this experience of the journey, which is in all of our great spiritual traditions, of pilgrimage. But just by actually standing in the ground of your life fully, not trying to abstract yourself into a strategic future that's actually just an escape from present heartbreak; the ability to stand in the ground of your life and to look at the horizon that is pulling you -- in that moment, you are the whole journey. You are the whole conversation.
所以,這是《聖雅各》, 應當的抵達, 有點像是同時返回到最初。 我們有旅程的經歷, 在所有我們偉大的朝聖靈性 傳統當中。 但實際完全地堅守你人生的陣地, 不試圖將你自己 抽象化成策略性的未來, 那其實是種逃避當前心碎的方式; 堅守你人生陣地的能力, 看向在拉著你的地平線的能力—— 在那一刻, 你就是整個旅程。 你就是整個交談。
"Santiago."
《聖雅各》
"The road seen, then not seen
「看見的道路,接著看不見了,
the road seen, then not seen
看見的道路,接著看不見了,
the hillside hiding then revealing the way you should take
山坡隱藏了你應該走的路, 接著又揭示了它,
the road seen, then not seen
看見的道路,接著看不見了,
the hillside hiding then revealing the way you should take, the road dropping away from you as if leaving you to walk on thin air, then catching you, catching you, holding you up, when you thought you would fall,
山坡隱藏了你應該走的路, 接著又揭示了它, 道路離開了你, 彷彿讓你獨自在走在稀薄的空氣上, 然後接住你, 接住你, 在你以為你會落下的時候,扶住你,
catching you, holding you up, when you thought you would fall,
接住你, 在你以為你會落下的時候,扶住你,
and the way forward
而向前的路,
the way forward always in the end the way that you came,
向前的路 最後總是你來的路,
the way forward always in the end the way that you came, the way that you followed, the way that carried you into your future, that brought you to this place,
向前的路 最後總是你來的路, 你遵循的路,帶你進入未來的路, 帶你來到這個地方的路,
that brought you to this place, no matter that it sometimes had to take your promise from you, no matter that it always had to break your heart along the way:
帶你來到這個地方的路, 不論它有時必須要奪去你的承諾, 不論它總是必須要 在過程中讓你心碎;
the sense the sense of having walked from deep inside yourself out into the revelation, to have risked yourself for something that seemed to stand both inside you and far beyond you, and that called you back in the end to the only road you could follow, walking as you did, in your rags of love
這感覺, 這已經走過自己內在深處, 走出到啟示的感覺, 已經自己冒過險, 為了某樣東西冒險,它似乎同時 在你內在以及遠在你之外, 最終呼喚你回來 到你可以遵循的唯一道路, 像你之前那樣行走, 穿著愛的襤褸衣衫,
walking as you did, in your rags of love and speaking in the voice that by night became a prayer for safe arrival, so that one day
像你之前那樣行走, 穿著愛的襤褸衣衫, 說話的聲音在晚上 變成安全抵達的祈禱, 所以,有一天,
one day you realized that what you wanted had actually already happened
有一天你了解到 你所想要的其實已經發生了,
one day you realized that what you wanted had actually already happened and long ago and in the dwelling place in which you lived before you began, and that
有一天你了解到 你所想要的其實已經發生了, 很早就發生了, 在你開始之前所居住的地方, 以及
and that every step along the way, every step along the way, you had carried the heart and the mind and the promise that first set you off and then drew you on, and that
以及路上的每一步, 路上的每一步, 你都可以帶著 那心、那精神、那承諾, 最初是它們讓你啟程的, 吸引你靠近的, 而且
and that you were more marvelous in your simple wish to find a way
你想要找到一條路的簡單願望 讓更你是非凡,
you were more marvelous in your simple wish to find a way than the gilded roofs of any destination you could reach
你想要找到一條路的簡單願望 讓更你是非凡, 比你能企及的任何目的地之 鍍金屋頂還要更非凡,
you were more marvelous in that simple wish to find a way than the gilded roofs of any destination you could reach: as if, all along, you had thought the end point might be a city with golden domes, and cheering crowds, and turning the corner at what you thought was the end of the road, you found just a simple reflection, and a clear revelation beneath the face looking back and beneath it another invitation, all in one glimpse
你想要找到一條路的簡單願望 讓更你是非凡, 比你能企及的任何目的地之 鍍金屋頂還要更非凡, 彷彿,自始至終, 你認為終點可能是個有著黃金圓屋頂 以及歡呼群眾的城市, 就在你認為是 道路盡頭的地方,轉過轉角, 你發現的只是一個簡單的映影, 以及那回望的面孔底下的清楚啟示, 在它底下有著另一項邀請, 全都在一瞥之間,
all in one glimpse: like a person
全都在一瞥之間: 就像一個人,
like a person or a place you had sought forever
就像你永遠在尋找的 一個人或一個地方,
like a person or a place you had sought forever, like a bold field of freedom that beckoned you beyond; like another life
就像你永遠在尋找的 一個人或一個地方, 就像一個英勇的原野, 在更遠處召喚著你; 就像另一個人生,
like another life, and the road the road still stretching on."
就像另一個人生, 而道路, 道路仍延展下去。」
(Applause)
(掌聲)
Thank you.
謝謝。
(Applause)
(掌聲)
Thank you.
謝謝。
(Applause)
(掌聲)
Thank you very much. Thank you.
非常謝謝,謝謝。
You're very kind. Thank you.
你們真好,謝謝。
(Applause)
(掌聲)