福克纳诺贝尔奖致辞William Faulkner Nobel Prize Acceptance Speech

福克纳的获奖感言威廉·福克纳（William Faulkner 1897-1962）美国著名小说家，诺贝尔文学奖获得者，1897年9月25日出生于美国南方的名门望族，曾祖父威廉·克拉科·福克纳老上校既是种植园主又是军人、作家、政治家，还是经营铁路的企业家，父亲却被普遍认为是一个不肖子孙，工作换了一个又一个却永远找不到自己的安身立命之地，母亲则意志坚定、自尊心强，与父亲势不两立。

福克纳童年就以曾祖父为自豪，9岁就立志“我要像曾祖爷爷那样当个作家”，一次大战时在加拿大空军服役，1926年开始出版小说，从1929年的第三部小说《沙多里斯》起形成自己独特的主题、题材与风格，一生写有19部长篇小说与近百篇短篇小说，1949年“因为对当代美国小说所做的强有力的和艺术上无与伦比的贡献”，作品《我弥留之际》被授予诺贝尔文学奖，并捐献了自己获得的奖金，建立了国际笔会——福克纳小说奖，1957年起担任弗吉尼亚大学的驻校作家，直到1962年7月6日去世，在西方文坛上被看作“现代的经典作家”。

主要作品有《喧哗与骚动》（1929）、《我弥留之际》（1930）、《八月之光》（1932）、《斯诺普斯三部曲》（1940-1959）等。

1949年福克纳在斯德哥尔摩接受诺贝尔奖时发表的获奖感言：我感到这份奖赏不是授予我个人而是授予我的工作的，——授予我一生从事关于人类精神的呕心沥血的工作。

我从事这项工作，不是为名，更不是为利，而是为了从人的精神原料中创造出一些从前不曾有过的东西。

因此，这份奖金只不过是托我保管而已。

作出符合这份奖赏的原意与目的，与其奖金部分有相等价值的献词并不难，但我还愿意利用这个时刻，利用这个举世瞩目的讲坛，向那些可能听到我说话并已献身于同一艰苦劳动的男、女青年致敬。

他们中肯定有人有一天也会站到我现在站着的地方来的。

我们今天的悲剧是人们普遍存在一种生理上的恐惧，这种恐惧存在已久，以致我们已经习惯了。

威廉·福克纳获诺贝尔文学奖受奖演说威廉·福克纳获诺贝尔文学奖受奖演说英语演讲稿威廉·福克纳（WilliamFaulkner，1897-1962）美国作家，生于美国密西西比州新奥尔巴尼的一个庄园主家，南北战争后家道中落。

第一次世界大战期间，福克纳在空军服过役。

战后入大学，其后从事过各种职业并开始写作。

《士兵的报酬》（1926）发表后，福克纳被列入”迷惘的一代”，但很快与他们分道扬镖。

《萨拉里斯》（1929）问世之后，福克纳的创作进入高峰斯。

他发现”家乡那块邮票般大小的地方倒也值得一写，只怕一辈子也写不完”。

怀着这样的信念，他把19篇长篇和70多篇短篇小说纺织在”约克纳帕塌法世系”里，通过南方贵族世家的兴衰，反映了美国独立战争前夕到第二次世界大战之间的社会现实，创伤了20世纪的”人间喜剧”。

长篇小说《喧哗与骚动》和《我弥留之际》（1930）、《圣殿》（1931）、《八月之光》（1932）、《押沙龙，押沙龙》（1936）等现代文第1文秘版权所有学的经典之作。

福克纳后期的主要作品有《村子》（1940）、《闯入者》（1948）、《寓言》（1954）、《小镇》（1957）和《大宅》（1959）等。

此外还有短篇小说、剧本和诗歌。

福克纳虽是南方重要作家，但他的作品当时并不受重视，直到1946年美国著名的文学批评家马尔科姆·考莱编选了《袖珍本福克纳文集》，又写了一篇有名的序言之后，福克纳才在文坛上引起重视。

特别是萨特、马尔洛等人的赏识，使福克纳名声大噪。

在艺术上，福克纳受弗洛伊德影响，大胆地大胆地进行实验，采用意识流手法、对位结构以及象征隐喻等手段表现暴力、凶杀、性变态心理等，他的作品风格千姿百态、扑朔迷离，读者须下大功夫才能感受其特有的审美情趣。

1949年，”因为他对当代美国小说作出了强有力的和艺术上无与伦比的贡献”，福克纳获诺贝尔文学奖。

Ifeelthatthisawardwasnotmadetomeasaman,buttomywork --life’sworkintheagonyandsweatofthehumanirit,notforglo。

福克納諾貝爾得獎感言Truths of the HeartSpeech Accepting the Nobel Prize in Literature心靈的真諦威廉.福克納生於密西西比州，在氣息濃厚的美國南方長大。

他的作品大都以密西西比河畔為背景，故事內容描繪生動而深刻。

他是美國南方文學派的創始人，也是最具影響力的現代派小說家之一，代表作有《喧嘩與騷動》（The Sound and the Fury）、《八月之光》（Light in August）等。

福克納也寫推理小說，出版過一系列的犯罪小說《馬棄兵》（Knight's Gambit）。

他後來搬到好萊塢，成了電影編劇，作品有《夜長夢多》（The Big Sleep）和《猶有似無》（To Have and Have Not）等。

1949年，福克納獲得了諾貝爾文學獎。

在這篇膾炙人口的簡短謝辭中，福克納把寫作的志業和人類的本質及命運連結了起來。

William Faulkner(photo by Carl van Vechten)獲獎後，他捐出獎金，成立了「國際筆會／福克納基金會」（PEN/Faulkner Foundation），每年頒發「國際筆會／福克納小說獎」（PEN/Faulkner Award for Fiction），以鼓勵文學新人。

此篇得獎感言為經過修潤後收錄在《The Faulkner Reader》一書中的版本，特此註明。

此篇得獎感言原音重現 (部分)Ladies and gentlemen,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.各位先生女士：我感到這個獎項並不是授予我個人，而是授予我的這份工作的——我這份職志的工作，是在人類內心極大痛苦與焦慮中進行的，不是為了名，不是為了利，而是為了從人類的靈魂中汲取素材，創造出一些東西來。

双语演讲稿：福克纳诺贝尔奖致辞预览说明:预览图片所展示的格式为文档的源格式展示,下载源文件没有水印,内容可编辑和复制双语演讲稿：福克纳诺贝尔奖致辞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.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 old universal truths lacking which any story is ephemeral and doomed -- loveand 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 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.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.我认为这个奖项不是授给我个人而是授给我的工作---------一项艰辛而痛苦的毕生投入的人类精神的工作,既不为名也不土利,而是要从人类的精神原材料中创造一些前所未有的东西。

On Accepting Nobel PrizeI 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.我感到这份奖金不是授予我个人而是授予我的工作的,授予我一生从事关于人类精神的呕心沥血工作.我从事这项工作,不是为名,更不是为利,而是为了从人的精神原料中创造出一些从前不曾有过的东西.因此,这份奖金只不过是托我保管而已.为这份奖金的钱找到与奖金原来的目的和意义相称的用途并不难,但我还想为奖金的荣誉找到承受者.我愿意利用这个时刻,利用这个举世瞩目的讲坛,向那些听到我说话并已献身同一艰苦劳动的男女青年致敬.他们中肯定有人有一天也会站到我现在站着的地方.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.我们今天的悲剧是人们普遍存在一种生理上的恐惧,这种恐惧存在已久,以致我们能够忍受下去了.现在再没有精神上的问题了.唯一的问题是：我什么时候会被炸得粉身碎骨?正因为如此,今天从事写作的男女青年已经忘记了人类内心的冲突.然而,只有接触到这种内心冲突才能产生出好作品,因为这是唯一值得写,值得呕心沥血地去写的.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.他一定要重新认识这些问题.他必须使自己明白世间最可鄙的事情莫过于恐惧.他必须使自己永远忘却恐惧,在他的工作室里除了心底古老的真理之外,不允许任何别的东西有容身之地.缺了这古老的普遍真理,任何小说都只能昙花一现,注定要失败;这些真理就是爱情,荣誉,怜悯,自尊,同情,牺牲等感情.若是他做不到这样,他的力气终归白费.他不是写爱情而是写情欲,他写的失败是没有人感到失去可贵东西的失败,他写的胜利是没有希望,甚至没有怜悯或同情的胜利.他不是为有普遍意义的死亡而悲伤,所以留不下深刻的痕迹.他不是在写心灵而是在写器官.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.在他重新懂得这些之前,他写作时,就犹如站在人类末日中去观察末日的来临.我不接受人类末日的手法.因为人能传种接代而说人是不朽的,这很容易.因为即使最后一次钟声已经消失,消失在再也没有潮水冲刷,映在落日的余晖里,海上最后一块无用的礁石之旁时,还会有一个声音,那就是人类微弱的,不断的说话声,这样说也很容易.但是我不能接受这种说法.我相信人类不仅能传种接代,而且能战胜一切.人之不朽不是因为在动物中唯独他能永远发出声音,而是因为他有灵魂,有同情心,有牺牲和忍耐精神.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.诗人和作家的责任就是把这些写出来.诗人和作家的特殊光荣就是去鼓舞人的斗志,使人记住过去曾经有过的光荣他曾有过的勇气,荣誉,希望,自尊,同情,怜悯与牺牲精神以达到不朽.诗人的声音不应只是人类的纪录,而应是帮助人类永存并得到胜利的支柱和栋梁.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美国总统林肯葛底斯堡演讲词八十七年前，我们的先辈们在这个大陆上创立了一个新国家，它孕育于自由之中，奉行一切人生来平等的原则。

【推荐下载】威廉.福克纳获诺贝尔文学奖英语演讲稿-范文模板本文部分内容来自网络整理，本司不为其真实性负责，如有异议或侵权请及时联系，本司将立即删除！== 本文为word格式，下载后可方便编辑和修改！ ==威廉.福克纳获诺贝尔文学奖英语演讲稿I feel that this award was not made to me as a man, but to mywork -- life's work in the agony and sweat of the human spirit, notfor 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 finda dedication for the money part of it commensurate with the purposeand 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 Imight 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 solong 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 itselfwhich 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 basestof 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 andpride and compassion and sacrifice. Until he does so, he labors undera curse. He writes not of love but of lust, of defeats in whichnobody loses anything of value, of victories without hope and, worstof 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。

福克纳：诗人、作家的责任——书写人类内心深处的自我斗争威廉·福克纳（William Faulkner 1897年9月25日－1962年7月6日），美国文学史上最具影响力的作家之一，意识流文学在美国的代表人物，1949年“因为他对当代美国小说做出了强有力的和艺术上无与伦比的贡献”而获得诺贝尔文学奖。

其最主要代表作为《喧哗与骚动》。

本文为其获得诺贝尔奖时演讲。

我感到这份奖励不是授予我个人，而是授予我的工作——一生用辛劳和汗水为人类精神所做的工作，不是为了名，更不是为了利，而是为了用人类精神的原材料创造一些原先不存在的东西。

所以这份奖励只是暂时给我保管。

为这笔奖金发表一篇与它的本来目的和象征相符合的演说辞并不困难，但我更愿意在欢呼声中做另一件事情，把这个激动人心的时刻献给那些可能正在聆听我讲话的、同样献身于艰苦的文学事业的年轻男女们，在这些人当中肯定有人将来会站在我现在站着的地方。

我们今天的悲剧是一种肉体上的恐惧，它已经持续了那么久，以至于我们几乎都能忍受它了。

现在已经没有任何关于灵魂的话题，有的只是一个问题：“我什么时候会被炸的粉身碎骨？”正因为如此，今天从事写作的年轻人已经忘记了关于人类内心深处的自我斗争的题材，只有这个题材能写出好的文章，因为只有它是值得去写的，是值得付出辛劳和汗水的。

人们必须重新回忆它，必须告诉自己，世界上最可卑的事情就是恐惧；并且告诉自己，永远忘记它，在自己的工作室里不给任何东西留下位置，除了那些古老的真理和心灵的真实。

缺少了这些普遍的真理，任何故事都是短命的、注定要被忘记的——这些真理就是爱与荣誉，怜悯与自尊，同情与牺牲。

如果人们不注意这些真理，他们的工作就是无用的。

他们不是在写爱情而是在写情欲，在他们描写的失败中没有任何人失去任何有价值的东西；在他们描写的胜利中找不到希望，更糟糕的是找不到怜悯和同情。

他们的悲剧没有建立在普遍的基础上，不能留下任何伤痕；他们不是在写心灵，而是在写器官。

英语演讲稿经典名人英语演讲稿59：肩负起作为一名作家的责任（威廉.福克纳诺贝尔文学奖演讲词）mp359. Shoulder the Responsibility of Being a Writer59. 肩负起作为一名作家的责任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 women 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.当今人们普遍存在着一种生理上的恐惧，这种恐惧由来已久，以致我们都已经习惯了。

现在不存在精神上的问题，惟一的问题是——我什么时候会爆炸？正因如此，今天从事写作的男女青年已经忘记了人类内心的冲突，而这种冲突恰恰是创作的源泉，因为这是惟一值得写、值得呕心沥血地去写的题材。

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 grieves grieve on no universal bones, leaving no scars. He writes the glands.创作者必须重新学会这一切；必须教会自己认识到一切事物的本质是恐惧；教会自己学会忘记一切恐惧；在自己的创作空间里不给其他东西留任何空间，惟一拥有的是心灵的真谛。

诺贝尔文学奖授奖答谢辞两则诺贝尔文学奖授奖答谢辞两则人不只是要生存下去选自《历史上最伟大的演说辞》（天津社会科学院出版社2001年版）。

福克纳（1897—1962），美国著名作家，美国“南方文学”的主要代表人物。

代表作有《喧哗与骚动》《当我垂死的时候》。

福克纳我以为这个奖不是颁给我个人，而是给我的作品──一本既不为名，更不为利，而是用我毕生心血去创造以前没有的东西的结晶；因此我只是受托来接受这份奖品，要把这笔奖金贡献在能够符合诺贝尔奖始创用意的有意义的事业上。

其实并不难，而我也会这样做；但同时，我还要利用这个机会，向已经献身于写作事业的先生们、女士们──这些人中有人将会像我一样站在这里受奖──说几句我的感受。

我们目前的悲剧是，每个人都只惧怕肉体的痛苦，但时间久了，对此惧怕也习以为常，而全然不考虑到精神问题，只是老想着：我什么时候会被炸？由于这点，现今的男女写作时，就完全忘了惟有描写人类内心的自我冲突才能成为上乘之作，也惟有那种主题才值得花心力去写。

所以每位作家都应该了解，世界上最怯懦的事情就是害怕；应该忘了恐惧感，而把全部心力放在属于人类情感的真理上，如爱、荣誉感、同情心、自尊心，以及牺牲的精神。

如果作品里缺乏这些世界性的真理，则将无法留传久远，并且会遭人责骂。

因为作者写的不是爱而是欲；所谓挫败也不是指某人丢失了任何极具价值之物；胜利却不带有任何希望；更糟的是，根本就没有怜悯在内，为不值得悲伤的事情哭泣，其哀伤之情只是短暂而虚假的罢了，因此他写的东西并非发乎至情。

如果他能先认清那些真理，才能俨然以万古不朽之躯来创作。

我是不以为人类会灭亡的，因为你只要想想人可以世世代代不停地繁衍下去，就这点我们即可说人类是不朽的。

但是我觉得这样还不够，人不仅要生存下去，而且更要出众，人类之不朽并非只因他在万物之中有着无穷尽的声音，主要的是因为他有心灵、有同情、牺牲以及忍耐的精神；而诗人、作家的责任就在于写这些事情，他们有权利帮助人类升华精神世界，提醒人们过去有的光荣，如勇气、荣誉、希望、自尊、同情及牺牲精神，诗人的作品不只是人类的记录，也可以说是帮助人类生存及超越一切的支柱。

威廉福克纳诺奖致辞读后感
今天老师给我们讲了威廉福克纳得诺贝尔奖时的致辞，我听了之后心里嘀咕嘀咕的，觉得好像懂了一点儿，又好像没懂。

福克纳说，写作要写人心里的那些东西，不是写表面上看到的那些事儿。

哎呀，我想了想，好像是哦，有时候大人们说的话也不一定全是实话，心里想的和说的可能不一样呢。

福克纳还说，他希望人们能永远有希望，哪怕是世界上有好多坏事。

嗯，我觉得他好像是想告诉我们，不管遇到多大的困难，都不要放弃，要勇敢地活下去。

呃，虽然我不太懂他到底想说啥，但是我知道，福克纳肯定是个很了不起的人。

读完他的致辞，我觉得要勇敢做自己，不管外面多吵多乱，心里要有自己的坚守。

唔，真是挺有意思的一个故事，我以后也要像他一样，写下我心里的话！
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