（2014年10月偶然接触到莫言获得诺贝尔文学奖颁奖词的英文版，当时出于好奇翻译了一下，今天在查找其他东西的时候，偶然又翻到了。说实话，莫言的作品，只看过红高粱电影，书没读过，只是通过评论、介绍等间接了解了一点皮毛。暂时也没有阅读计划，一是兴趣问题，二是工作比较忙。）
Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy. Playfully and with ill-disguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic weight. 莫言是一个诗人，一个撕毁了刻板的宣传海报，把芸芸众生中的个体推到前台的诗人。他调侃和嘲讽历史及其伪装、剥夺（后的贫瘠），以及…的虚伪。他戏谑地，带着不加掩饰的快感，揭露人类生活中的最阴暗之处，漫不经心地展示着具有强烈象征意义的形象。（莫言“发现了xx形象”，潜台词是“展示给读者”？）
North-eastern Gaomi county embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions. 高密东北乡是中国民间传说和历史的“缩影”。能有多少真实的旅程避开这里，而进入一个驴嘶猪闹淹没了“人民委员”声音的王国，一个爱与恶呈现出超自然比例的王国？
Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature; he knows virtually all there is to know about hunger, and the brutality of China’s 20th century has probably never been described so nakedly, with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers. He shows us a world without truth, common sense or compassion, a world where people are reckless, helpless and absurd. 莫言用翱翔的想象俯瞰着整个人类生活。他是自然的精彩描绘者；他几乎熟知关于饥饿的一切；他笔下的英雄、爱侣、施虐者、土匪，尤其是坚忍而不屈不挠的母亲的故事，也许就是从来没有被如此赤裸裸地描绘过的20世纪中国的残酷现实。他给我们展示了一个没有真理、常识，也没有同情心的世界，在那个世界里，人们鲁莽、无助、荒诞。
Proof of this misery is the cannibalism that recurs in China’s history. In Mo Yan, it stands for unrestrained consumption, excess, rubbish, carnal pleasures and the indescribable desires that only he can attempt to elucidate beyond all tabooed limitations. 中国历史中反复发生着人吃人的现象，就是这个悲惨世界的证明。莫言的世界里，它还代表着毫无节制消费、放肆、痴人呓语、声色犬马，以及莫名的欲望，也只有他能试图冲破一切禁忌将这些描述出来。
In his novel Republic of Wine, the most exquisite of delicacies is a roasted three-year-old. Boys have become exclusive foodstuff. The girls, neglected, survive. The irony is directed at China’s family policy, because of which female foetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this. 莫言的《酒国》中，最精致美味的肴馔是烘焙的三岁童子。男童是高级食材。女童则因被鄙弃而得以生存。这是直刺中国…的讽喻，拜其所赐，天文数字的女婴被堕胎：她们不是什么好东西，甚至不能吃。莫言为此写了一部完整的故事——小说《蛙》。
Mo Yan’s stories have mythical and allegorical pretensions and turn all values on their heads. We never meet that ideal citizen who was a standard feature in Mao’s China. Mo Yan’s characters bubble with vitality and take even the most amoral steps and measures to fulfil their lives and burst the cages they have been confined in by fate and politics.莫言的故事披着神话和寓言的外衣，却颠覆了它们所有的价值观。我们无法在m的中国遇到符合标准范式的理想的公民。莫言笔下的角色有着沸腾的生命力，用甚至是最不道德的方式来满足生命所需，来打破囚禁他们的命运和…的牢笼。
Instead of communism’s poster-happy history, Mo Yan describes a past that, with his exaggerations, parodies and derivations from myths and folk tales, is a convincing and scathing revision of fifty years of propaganda.莫言的“过去”不是…宣传海报式的幸福历史，而是用从神话和民间故事中脱胎而出的夸张谐谑，对五十年宣传做出的可信而尖刻的修订。
In his most remarkable novel, Big Breasts and Wide Hips, where a female perspective dominates, Mo Yan describes the Great Leap Forward and the Great Famine of 1960 in stinging detail. He mocks the revolutionary pseudo-science that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as right-wing elements. The novel ends with the new capitalism of the ‘90s with fraudsters becoming rich on beauty products and trying to produce a Phoenix through cross-fertilisation. 莫言最引人注目的一部小说《丰乳肥臀》，是一个女性视角为主的世界，他以锥心之痛的细节描述了大跃进和1960年的饥荒。莫言嘲弄揶揄着那个年代，那个年代里，用公兔子给母羊配种是“…的科学”，敢于对此怀疑者都会被打为…。小说最后以90年代的新资本主义结尾，会忽悠的人靠卖美容用品而发家，又想着通过杂交培育凤凰。
In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapours, startlingly merciless but tinged by joyful selflessness. Never a dull moment. The author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditch-digging, animal husbandry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen. 莫言给我们展示的世界，是一个被遗忘的农民世界，鲜活而有灵性，即使在痛苦的升华中也耽于声色，残忍得令人震撼，又浸润着一丝愉悦的无私。晦涩吗，不！因为莫言知道一切，描述一切——各种手工艺、铁匠活、盖房、挖沟、牧畜，以及土匪的花招——似乎把人世间的一切都注入了他的笔尖。
He is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of García Marquez. His spice blend is a peppery one. On his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping maidens. But he paints life in a pigsty in such a way that we feel we have been there far too long. Ideologies and reform movements may come and go but human egoism and greed remain. So Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production frenzy. 拉伯雷、斯威夫特之后，还有我们这个时代的马尔克斯之后，很少有人能像莫言那样妙趣横生又惊世骇俗。他混合着各种香料，最后却成了胡椒（的辛辣）。在他所织就的中国几百年历史的宏大绣帷中，既没有舞动的麒麟，也没有雀跃的少女。他描绘着猪圈的生活，我们感到久在其中。意识形态和改革的运动此起彼伏，绵延不绝，但是人类的私欲和贪婪本性还是得以保留。所以莫言抗拒一切针对卑微个体的不公，无论是日本的占领，还是 的恐怖，以及今天生产（至上）的狂热。
For those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure awaits. Has ever such an epic spring flood engulfed China and the rest of the world? In Mo Yan’s work, world literature speaks with a voice that drowns out most contemporaries. 丰裕的美德一直与卑鄙的残忍交战，这就是莫言的家乡，那些希望窥视其中的人，面临的将会是一次踉跄的文学冒险。这史诗般的春潮，曾经吞噬了中国和剩余的世界吗？莫言的作品中，世界文学发出了淹没当代众生的声音。
The Swedish Academy congratulates you. I call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King.
瑞典文学院祝贺你，请你从国王陛下手中接过2012年诺贝尔文学奖。
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