第一篇：?？思{獲諾貝爾演講

威廉·?？思{（William Faulkner，1897-1962）美國作家，生于美國密西西比州新奧爾巴尼的一個莊園主家，南北戰(zhàn)爭后家道中落。第一次世界大戰(zhàn)期間，福克納在空軍服過役。戰(zhàn)后入大學，其后從事過各種職業(yè)并開始寫作?！妒勘膱蟪辍罚?926）發(fā)表后，?？思{被列入“迷惘的一代”，但很快與他們分道揚鏢?！端_拉里斯》（1929）問世之后，?？思{的創(chuàng)作進入高峰斯。他發(fā)現(xiàn)“家鄉(xiāng)那塊郵票般大小的地方倒也值得一寫，只怕一輩子也寫不完”。懷著這樣的信念，他把19篇長篇和70多篇短篇小說紡織在“約克納帕塌法世系”里，通過南方貴族世家的興衰，反映了美國獨立戰(zhàn)爭前夕到第二次世界大戰(zhàn)之間的社會現(xiàn)實，創(chuàng)傷了20世紀的“人間喜劇”。長篇小說《喧嘩與騷動》和《我彌留之際》（1930）、《圣殿》（1931）、《八月之光》（1932）、《押沙龍，押沙龍》（1936）等現(xiàn)代文學的經(jīng)典之作。福克納后期的主要作品有《村子》（1940）、《闖入者》（1948）、《寓言》（1954）、《小鎮(zhèn)》（1957）和《大宅》（1959）等。此外還有短篇小說、劇本和詩歌。福克納雖是南方重要作家，但他的作品當時并不受重視，直到1946年美國著名的文學批評家馬爾科姆·考萊編選了《袖珍本?？思{文集》，又寫了一篇有名的序言之后，?？思{才在文壇上引起重視。特別是薩特、馬爾洛等人的賞識，使?？思{名聲大噪。在藝術(shù)上，?？思{受弗洛伊德影響，大膽地大膽地進行實驗，采用意識流手法、對位結(jié)構(gòu)以及象征隱喻等手段表現(xiàn)暴力、兇殺、性變態(tài)心理等，他的作品風格千姿百態(tài)、撲朔迷離，讀者須下大功夫才能感受其特有的審美情趣。1949年，“因為他對當代美國小說作出了強有力的和藝術(shù)上無與倫比的貢獻”，?？思{獲諾貝爾文學獎。

Nobel Acceptance Speech by William Faulkner I feel that this award was not made to me as a man, but to my work--life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before.So this award is only mine in trust.It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin.But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it.There are no longer problems of the spirit.There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.He must learn them again.He must teach himself that the basest of all things is to be afraid;and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice.Until he does so, he labors under a curse.He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion.His griefs grieve on no universal bones, leaving no scars.He writes not of the heart but of the glands.Until he learns these things, he will write as though he stood among and watched the end of man.I decline to accept the end of man.It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.I refuse to accept this.I believe that man will not merely endure: he will prevail.He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance.The poet’s, the writer's, duty is to write about these things.It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past.The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.我感到這份獎賞不是授予我個人而是授予我的工作的---授予我一生從事關(guān)于人類精神的嘔心瀝血的工作。我從事這項工作，不是為名，更不是為利，而是為了從人的精神原料中創(chuàng)造出一些從前不曾有過的東西。因此，這份獎金只不過是托我保管而已。要做出與這份獎賞原本的目的和意義相符，又與其獎金等價的獻詞并不困難，但我還愿意利用這個時刻，利用這個舉世矚目的講壇，向那些可能聽到我說話并已獻身于同一艱苦勞動的男女青年致敬。他們中肯定有人有一天也會站到我現(xiàn)在站著的地方來。

我們今天的悲劇是人們普遍存在一種生理上的恐懼，這種恐懼存在已久，以致我們已經(jīng)習慣了?，F(xiàn)在不存在精神上的問題，唯一的問題是：“我什么時候會被炸得粉身碎骨？”正因如此，今天從事寫作的男女青年已經(jīng)忘記了人類內(nèi)心的沖突。而這本身就能就好作品。因為這是唯一值得寫、值得嘔心瀝血地去寫的題材。

他一定要重新認識這些問題。他必須使自己明白世間最可鄙的事情莫過于恐懼。他必須使自己永遠忘卻恐懼，在他的工作室里除了心底古老的真理之外，任何東西都沒有容身之地。沒有這古老的普遍真理，任何小說都只能曇花一觀，不會成功；這些真理就是愛、榮譽、憐憫、自尊、同情與犧牲等感惰。若是他做不到這樣，他的氣力終歸白費。他不是寫愛情而是寫情欲，他寫的失敗是沒有人失去可貴的東西的失敗，他寫的勝利是沒有希望、更糟的是沒有憐憫或同情的勝利。他的悲傷不是為了世上生靈，所以留下不深刻的痕跡。他不是在寫心靈而是在寫器官。

在他重新懂得這些之前，他寫作時，就猶如站在處于世界末日的人類中去觀察末日的來臨。我不接受人類末日的說法，因人類能延續(xù)而說人是不朽的，這很容易。說即使最后一次鐘聲已經(jīng)消失，消失的再也沒有潮水沖刷的映在落日余暉里的海上最后一塊無用礁石之旁時，還會有一個聲音，人類微弱的、不斷的說話聲，這也很容易。但是我不能接受這種說法。我相信人類不僅能延續(xù)。而且能戰(zhàn)勝一切而永存。人類不朽不是因為在萬物中唯有他能永遠發(fā)言、而是因為他有靈魂，有同情心、有犧牲和忍耐精神。詩人和作家的責任就是把這些寫出來。詩人和作家的特權(quán)就是去鼓舞人的斗志、使人記住過去曾經(jīng)有過的光榮---人類曾有過的勇氣、榮譽、希望、自尊、同情、憐憫與犧牲精神--以達到永恒。詩人的聲音不應只是人類的記錄，而應是使人類永存并得到勝利的支柱和棟梁。

第二篇：威廉?？思{獲諾貝爾講演講稿

威廉·福克納（William Faulkner，1897-1962）美國作家，生于美國密西西比州新奧爾巴尼的一個莊園主家，南北戰(zhàn)爭后家道中落。

第一次世界大戰(zhàn)期間，?？思{在空軍服過役。戰(zhàn)后入大學，其后從事過各種職業(yè)并開始寫作?！妒勘膱蟪辍罚?926）發(fā)表后，?？思{被列入“迷惘的一代”，但很快與他們分道揚鏢?！端_拉里斯》（1929）問世之后，?？思{的創(chuàng)作進入高峰斯。他發(fā)現(xiàn)“家鄉(xiāng)那塊郵票般大小的地方倒也值得一寫，只怕一輩子也寫不完”。懷著這樣的信念，他把19篇長篇和70多篇短篇小說紡織在“約克納帕塌法世系”里，通過南方貴族世家的興衰，反映了美國獨立戰(zhàn)爭前夕到第二次世界大戰(zhàn)之間的社會現(xiàn)實，創(chuàng)傷了20世紀的“人間喜劇”。長篇小說《喧嘩與騷動》和《我彌留之際》（1930）、《圣殿》（1931）、《八月之光》（1932）、《押沙龍，押沙龍》（1936）等現(xiàn)代文學的經(jīng)典之作。

?？思{后期的主要作品有《村子》（1940）、《闖入者》（1948）、《寓言》（1954）、《小鎮(zhèn)》（1957）和《大宅》（1959）等。此外還有短篇小說、劇本和詩歌。

?？思{雖是南方重要作家，但他的作品當時并不受重視，直到1946年美國著名的文學批評家馬爾科姆·考萊編選了《袖珍本?？思{文集》，又寫了一篇有名的序言之后，?？思{才在文壇上引起重視。特別是薩特、馬爾洛等人的賞識，使?？思{名聲大噪。

在藝術(shù)上，?？思{受弗洛伊德影響，大膽地大膽地進行實驗，采用意識流手法、對位結(jié)構(gòu)以及象征隱喻等手段表現(xiàn)暴力、兇殺、性變態(tài)心理等，他的作品風格千姿百態(tài)、撲朔迷離，讀者須下大功夫才能感受其特有的審美情趣。

1949年，“因為他對當代美國小說作出了強有力的和藝術(shù)上無與倫比的貢獻”，?？思{獲諾貝爾文學獎。

I feel that this award was not made to me as a man, but to my work--life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before.So this award is only mine in trust.It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin.But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it.There are no longer problems of the spirit.There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.He must learn them again.He must teach himself that the basest of all things is to be afraid;and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice.Until he does so, he labors under a curse.He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion.His griefs grieve on no universal bones, leaving no scars.He writes not of the heart but of the glands.Until he learns these things, he will write as though he stood among and watched the end of man.I decline to accept the end of man.It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.I refuse to accept this.I believe that man will not merely endure: he will prevail.He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance.The poet’s, the writer's, duty is to write about these things.It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past.The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

第三篇：威廉·?？思{獲諾貝爾文學獎受獎演說

威廉·福克納獲諾貝爾文學獎受獎演說

I feel that this award was not made to me as a man, but to my work--life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before.So this award is only mine in trust.It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin.But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand where I am standing.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it.There are no longer problems of the spirit.There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.He must learn them again.He must teach himself that the basest of all things is to be afraid;and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice.Until he does so, he labors under a curse.He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion.His griefs grieve on no universal bones, leaving no scars.He writes not of the heart but of the glands.Until he learns these things, he will write as though he stood among and watched the end of man.I decline to accept the end of man.It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.I refuse to accept this.I believe that man will not merely endure: he will prevail.He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance.The poet’s, the writer's, duty is to write about these things.It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past.The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

第四篇：?？思{諾貝爾獲獎致辭

On Accepting Nobel Prize

I feel that this award was not made to me as a man, but to my work--a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before.So this award is only mine in trust.It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin.But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.我感到這份獎金不是授予我個人而是授予我的工作的,授予我一生從事關(guān)于人類精神的嘔心瀝血工作.我從事這項工作,不是為名,更不是為利,而是為了從人的精神原料中創(chuàng)造出一些從前不曾有過的東西.因此,這份獎金只不過是托我保管而已.為這份獎金的錢找到與獎金原來的目的和意義相稱的用途并不難,但我還想為獎金的榮譽找到承受者.我愿意利用這個時刻,利用這個舉世矚目的講壇,向那些聽到我說話并已獻身同一艱苦勞動的男女青年致敬.他們中肯定有人有一天也會站到我現(xiàn)在站著的地方.Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it.There are no longer problems of the spirit.There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.我們今天的悲劇是人們普遍存在一種生理上的恐懼,這種恐懼存在已久,以致我們能夠忍受下去了.現(xiàn)在再沒有精神上的問題了.唯一的問題是：我什么時候會被炸得粉身碎骨?正因為如此,今天從事寫作的男女青年已經(jīng)忘記了人類內(nèi)心的沖突.然而,只有接觸到這種內(nèi)心沖突才能產(chǎn)生出好作品,因為這是唯一值得寫,值得嘔心瀝血地去寫的.He must learn them again.He must teach himself that the basest of all things is to be afraid;and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed--love and honor and pity and pride and compassion and sacrifice.Until he does so, he labors under a curse.He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion.His griefs grieve on no universal bones, leaving no scars.He writes not of the heart but of the glands.他一定要重新認識這些問題.他必須使自己明白世間最可鄙的事情莫過于恐懼.他必須使自己永遠忘卻恐懼,在他的工作室里除了心底古老的真理之外,不允許任何別的東西有容身之地.缺了這古老的普遍真理,任何小說都只能曇花一現(xiàn),注定要失敗;這些真理就是愛情,榮譽,憐憫,自尊,同情,犧牲等感情.若是他做不到這樣,他的力氣終歸白費.他不是寫愛情而是寫情欲,他寫的失敗是沒有人感到失去可貴東西的失敗,他寫的勝利是沒有希望,甚至沒有憐憫或同情的勝利.他不是為有普遍意義的死亡而悲傷,所以留不下深刻的痕跡.他不是在寫心靈而是在寫器官.Until he relearns these things, he will write as though he stood among and watched the end of man.I decline to accept the end of man.It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking.I refuse to accept this.I believe that man will not merely endure: he will prevail.He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance.在他重新懂得這些之前,他寫作時,就猶如站在人類末日中去觀察末日的來臨.我不接受人類末日的手法.因為人能傳種接代而說人是不朽的,這很容易.因為即使最后一次鐘聲已經(jīng)消失,消失在再也沒有潮水沖刷,映在落日的余暉里,海上最后一塊無用的礁石之旁時,還會有一個聲音,那就是人類微弱的,不斷的說話聲,這樣說也很容易.但是我不能接受這種說法.我相信人類不僅能傳種接代,而且能戰(zhàn)勝一切.人之不朽不是因為在動物中唯獨他能永遠發(fā)出聲音,而是因為他有靈魂,有同情心,有犧牲和忍耐精神.The poet’s, the writer's, duty is to write about these things.It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past.The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.詩人和作家的責任就是把這些寫出來.詩人和作家的特殊光榮就是去鼓舞人的斗志,使人記住過去曾經(jīng)有過的光榮他曾有過的勇氣,榮譽,希望,自尊,同情,憐憫與犧牲精神以達到不朽.詩人的聲音不應只是人類的紀錄,而應是幫助人類永存并得到勝利的支柱和棟梁.Gettysburg Address

(1)Four score and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal.Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure.We are met on a great battlefield of that war.We have come to dedicate a portion of that field, as a final resting place for those who here gave their lives that that nation might live.It is altogether fitting and proper that we should do this.But in a larger sense, we cannot dedicate — we cannot consecrate — we cannot hallow — this ground.The brave men, living and dead, who struggled here, have consecrated it, far above our poor power to add or detract.The world will little note, nor long remember, what we say here, but it can never forget what they did here.It is for us the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced.It is rather for us to be here dedicated to the great task remaining before us — that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain — that this nation, under God, shall have a new birth of freedom — and that government of the people, by the people, for the people, shall not perish from the earth.By Abraham Lincoln

美國總統(tǒng)林肯葛底斯堡演講詞

八十七年前，我們的先輩們在這個大陸上創(chuàng)立了一個新國家，它孕育于自由之中，奉行一切人生來平等的原則?，F(xiàn)在我們正從事一場偉大的內(nèi)戰(zhàn)，以考驗這個國家，或者說以考驗任何一個孕育于自由而奉行上述原則的國家是否能夠長久存在下去。我們在這場戰(zhàn)爭中的一個偉大戰(zhàn)場上集會。烈士們?yōu)槭惯@個國家能夠生存下去而獻出了自己的生命，我們在此集會是為了把這個戰(zhàn)場的一部分奉獻給他們作為最后安息之所。我們這樣做是完全應該而且非常恰當?shù)?但是，從更廣泛的意義上來說，這塊土地我們不能夠奉獻，我們不能夠圣化，我們不能夠神化。曾經(jīng)在這里戰(zhàn)斗過的勇士們，活著的和去世的，已經(jīng)把這塊土地神圣 化了，這遠不是我們微薄的力量所能增減的。全世界將很少注意到，也不會長期地記起我們今天在這里所說的話，但全世界永遠不會忘記勇士們在這里做過的事。勿 寧說，倒是我們這些還活著的人，應該在這里把自己奉獻于勇士們已經(jīng)如此崇高地向前推進但尚未完成的事業(yè)。倒是我們應該在這里把自己奉獻于仍然留在我們面前 的偉大任務，以便使我們從這些光榮的死者身上汲取更多的奉獻精神，來完成他們已經(jīng)完全徹底為之獻身的事業(yè)；以便使我們在這里下定最大的決心，不讓這些死者 們白白犧牲；以便使國家在上帝幅佑下得到自由的新生，并且使這個民有、民治、民享的政府永世長存。

第五篇：威廉·?？思{獲諾貝爾文學獎受獎演說

威廉·福克納獲諾貝爾文學獎受獎演說

英語演講稿

威廉·?？思{（WilliamFaulkner，1897-1962）美國作家，生于美國密西西比州新奧爾巴尼的一個莊園主家，南北戰(zhàn)爭后家道中落。

第一次世界大戰(zhàn)期間，福克納在空軍服過役。戰(zhàn)后入大學，其后從事過各種職業(yè)并開始寫作?！妒勘膱蟪辍罚?926）發(fā)表后，?？思{被列入“迷惘的一代”，但很快與他們分道揚鏢?！端_拉里斯》（1929）問世之后，?？思{的創(chuàng)作進入高峰斯。他發(fā)現(xiàn)“家鄉(xiāng)那塊郵票般大小的地方倒也值得一寫，只怕一輩子也寫不完”。懷著這樣的信念，他把19篇長篇和70多篇短篇小說紡織在“約克納帕塌法世系”里，通過南方貴族世家的興衰，反映了美國獨立戰(zhàn)爭前夕到第二次世界大戰(zhàn)之間的社會現(xiàn)實，創(chuàng)傷了20世紀的“人間喜劇”。長篇小說《喧嘩與騷動》和《我彌留之際》（1930）、《圣殿》（1931）、《八月之光》（1932）、《押沙龍，押沙龍》（1936）等現(xiàn)代文好范文版權(quán)所有學的經(jīng)典之作。

?？思{后期的主要作品有《村子》（1940）、《闖入者》（1948）、《寓言》（1954）、《小鎮(zhèn)》（1957）和《大宅》（1959）等。此外還有短篇小說、劇本和詩歌。

?？思{雖是南方重要作家，但他的作品當時并不受重視，直到1946年美國著名的文學批評家馬爾科姆·考萊編選了《袖珍本?？思{文集》，又寫了一篇有名的序言之后，?？思{才在文壇上引起重視。特別是薩特、馬爾洛等人的賞識，使?？思{名聲大噪。

在藝術(shù)上，?？思{受弗洛伊德影響，大膽地大膽地進行實驗，采用意識流手法、對位結(jié)構(gòu)以及象征隱喻等手段表現(xiàn)暴力、兇殺、性變態(tài)心理等，他的作品風格千姿百態(tài)、撲朔迷離，讀者須下大功夫才能感受其特有的審美情趣。

1949年，“因為他對當代美國小說作出了強有力的和藝術(shù)上無與倫比的貢獻”，?？思{獲諾貝爾文學獎。

Ifeelthatthisawardwasnotmadetomeasaman,buttomywork--life'sworkintheagonyandsweatofthehumanirit,notforgloryandleastofallforprofit,buttocreateoutofthematerialsofthehumaniritsomethingwhichdidnotexistbefore.Sothisawardisonlymineintrust.Itwillnotbedifficulttofindadedicationforthemoneypartofitcommeuratewiththepurposeandsignificanceofitsorigin.ButIwouldliketodothesamewiththeacclaimtoo,byusingthismomentasapiaclefromwhichImightbelistenedtobytheyoungmenandwomenalreadydedicatedtothesameanguishandtravail,amongwhomisalreadythatonewhowillsomedaystandwhereIamstanding.Ourtragedytodayisageneralanduniversalphysicalfearsolongsustainedbynowthatwecanevenbearit.Therearenolongerproblemsoftheirit.Thereisonlythequestion:WhenwillIbeblownup?Becauseofthis,theyoungmanorwomanwritingtodayhasforgottentheproblemsofthehumanheartinconflictwithitselfwhichalonecanmakegoodwritingbecauseonlythatisworthwritingabout,worththeagonyandthesweat.Hemustlearnthemagain.Hemustteachhimselfthatthebasestofallthingsistobeafraid;and,teachinghimselfthat,forgetitforever,leavingnoroominhisworkshopforanythingbuttheoldveritiesandtruthsoftheheart,theuniversaltruthslackingwhichanystoryisephemeralanddoomed--love