The transformative power of classical music | Benjamin Zander | TED

譯者: Beatrice Lee 審譯者: Po-Chih Tsai

Probably a lot of you know the story of the two salesmen

很多人可能聽過關於二個銷售員的故事，

who went down to Africa in the 1900s.

他們在1900年代南下非洲。

They were sent down to find if there was any opportunity

他們被派遣去調查那裡

是否有賣鞋子商機。

for selling shoes,

and they wrote telegrams back to Manchester.

在他們發回曼徹斯特的電報中，

And one of them wrote,

一個人寫著：＂毫無商機，停止計畫。

"Situation hopeless. Stop. They don't wear shoes."

他們不穿鞋子。＂

And the other one wrote,

另一個人寫著：＂大好商機！

"Glorious opportunity. They don't have any shoes yet."

他們都沒穿鞋子！＂

(Laughter)

（笑聲）

Now, there's a similar situation in the classical music world,

在古典音樂的世界也有類似的情況，

because there are some people who think that classical music is dying.

因為有人認為

古典音樂正在消逝。

And there are some of us who think you ain't seen nothing yet.

有些人則認為最好的還沒出現呢。

And rather than go into statistics and trends,

我不想引用統計數字、趨勢圖

and tell you about all the orchestras that are closing,

來告訴你們哪些交響樂團將要結束，

and the record companies that are folding,

還有哪些唱片公司快要關閉。

I thought we should do an experiment tonight.

今晚我們要來做個實驗，一個實驗。

Actually, it's not really an experiment, because I know the outcome.

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.

但像是個實驗。在我們開始之前--

Now, before we start --

（笑聲）

(Laughter)

Before we start, I need to do two things.

-- 在我們開始之前，讓我們先做兩件事情。

One is I want to remind you of what a seven-year-old child

第一，請回想一位七歲小孩

sounds like when he plays the piano.

在彈鋼琴時的樣子。

Maybe you have this child at home.

你家的小孩可能會像這樣。

He sounds something like this.

就像這樣彈鋼琴。

(Music)

(鋼琴聲)

(Music ends)

I see some of you recognize this child.

有人看過這樣子彈琴的小孩。

如果他練習了一年，繼續上鋼琴課，現在他八歲了，

Now, if he practices for a year and takes lessons, he's now eight

and he sounds like this.

(Music)

他會像我這樣彈鋼琴。

(鋼琴聲)

(Music ends)

He practices for another year and takes lessons -- he's nine.

然後又練習一年，繼續上課，現在他九歲了。

(Music)

(鋼琴聲)

(Music ends)

Then he practices for another year and takes lessons -- now he's 10.

然後他再練習一年，繼續上課，現在他十歲了。

(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。

你會聽到這樣的鋼琴聲：

(Music)

(鋼琴聲)

(Music ends)

Now, what happened was not maybe what you thought,

你可能想不到他會彈出這樣的音樂，

which is, he suddenly became passionate, engaged,

突然間他變得有熱情、陶醉、

involved, got a new teacher, he hit puberty, or whatever it is.

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。

What actually happened was the impulses were reduced.

You see, the first time, he was playing with an impulse on every note.

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。

(鋼琴課)

(Music)

The 10-year-old, on every eight notes.

十歲的孩子，每八個音符動一下。

(鋼琴聲)

(Music)

And the 11-year-old, one impulse on the whole phrase.

十一歲的孩子，整個樂句動一下。

(鋼琴聲)

(Music)

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."

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。

No, the music pushed me over,

which is why I call it one-buttock playing.

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。

(鋼琴聲)

(Music)

You know, a gentleman was once watching a presentation I was doing,

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。

when I was working with a young pianist.

他是俄亥俄州一家公司的董事長。

He was the president of a corporation in Ohio.

當時我正在指導一位年青的鋼琴家

I was working with this young pianist, and said,

"The trouble with you is you're a two-buttock player.

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。＂

You should be a one-buttock player."

I moved his body while he was playing.

當他演奏時我這樣地移動他的身體。

And suddenly, the music took off. It took flight.

突然間音樂飛了起來。音樂飛了起來。

The audience gasped when they heard the difference.

當觀眾聽出變化時都非常驚呀。

Then I got a letter from this gentleman.

接著我就收到這位男士的來信。

He said, "I was so moved.

他說，＂我深受感動。

我一回去就把整個公司

I went back and I transformed my entire company

into a one-buttock company."

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.

我還要說另一件與你們有關的事。

這裡大約有1,600人。

There are 1,600 people, I believe.

My estimation is that probably 45 of you

我預估其中大概有45位

are absolutely passionate about classical music.

是非常熱愛古典樂。

You adore classical music. Your FM is always on that classical dial.

你極為喜愛古典樂。你的收音機總是調到古典音樂頻道。

You have CDs in your car, and you go to the symphony,

你車上放的是古典樂ＣＤ，你會去聽音樂會。

your children are playing instruments.

你的孩子也會演奏樂器。

你無法想像沒有古典樂的日子。

You can't imagine your life without classical music.

That's the first group, quite small.

這是第一種類型；人數相當少的一種類型。

Then there's another bigger group.

還有另一種類型，人數較多的一種類型。

The people who don't mind classical music.

他們"不排斥"古典音樂。

(Laughter)

(笑聲)

You know, you've come home from a long day,

在你忙了一天回到家時

and you take a glass of wine, and you put your feet up.

倒一杯紅酒，翹起腿。

A little Vivaldi in the background doesn't do any harm.

來點韋瓦弟當做背景音樂也無妨。

(笑聲)

That's the second group.

這是第二種類型。

Now comes the third group:

再來是第三種類型。

people who never listen to classical music.

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。

It's just simply not part of your life.

You might hear it like second-hand smoke at the airport ...

你們可能像在機場吸二手煙一樣從別處聽到，但是--

(笑聲)

(Laughter)

-- and maybe a little bit of a march from "Aida"

--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。

when you come into the hall.

But otherwise, you never hear it.

That's probably the largest group.

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.

他們自認是音痴。

相當多的人自認是音痴。

Amazing number of people think they're tone-deaf.

Actually, I hear a lot, "My husband is tone-deaf."

事實上我聽過很多人說，＂我的先生是個音痴。＂

(Laughter)

(笑聲)

Actually, you cannot be tone-deaf.

其實你不可能是音痴。没有人是音痴。

Nobody is tone-deaf.

如果你是音痴，你就無法換檔開車，

If you were tone-deaf, you couldn't change the gears

on your car, in a stick shift car.

如果你開的是一台手排車。

You couldn't tell the difference between

你就無法分辦

somebody from Texas and somebody from Rome.

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

And the telephone. The telephone.

If your mother calls

on the miserable telephone, she calls and says, "Hello,"

透過那老舊的話筒，當她說＂哈囉＂時，

you not only know who it is, you know what mood she's in.

你不僅知道她是誰，你還知道她當時的心情如何。

You have a fantastic ear. Everybody has a fantastic ear.

你有神奇的耳。每個人都有神奇的耳朵。

So nobody is tone-deaf.

沒有人是音癡。

But I tell you what.

但我要告訴你。我無法再忍受下去

It doesn't work for me to go on with this thing,

with such a wide gulf between those who understand,

竟然有如此巨大的差距介於

love and are passionate about classical music,

熱愛古典音樂的人，

以及與古典音樂毫無關係的人之間。

and those who have no relationship to it at all.

The tone-deaf people, they're no longer here.

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。

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,

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，

downstairs and in Aspen, and everybody else looking,

will come to love and understand classical music.

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。

So that's what we're going to do.

Now, you notice that there is not the slightest doubt in my mind

你們可以感受到在我心中没有絲毫的懷疑，

that this is going to work, if you look at my face, right?

你們可以從我的臉上看出我確信這一定會成功。

It's one of the characteristics of a leader that he not doubt

領導者的特質之一

for one moment the capacity of the people he's leading

是他永遠確信他所帶領的人

to realize whatever he's dreaming.

有能力去實行他的理想。

試想馬丁路德說，＂我有一個夢。

Imagine if Martin Luther King had said, "I have a dream.

Of course, I'm not sure they'll be up to it."

不過，我懷疑他們做得到。＂

(笑聲)

(Laughter)

All right. So I'm going to take a piece of Chopin.

我要彈一首蕭邦的曲子。

This is a beautiful prelude by Chopin.

這是一首蕭邦美麗的序曲。應該有人聽過。

Some of you will know it.

(Music)

(鋼琴聲)

猜猜接下來會發生甚麼事?

Do you know what I think probably happened here?

When I started, you thought, "How beautiful that sounds."

當我剛開始彈時，你們心想，＂這音樂多美啊。＂

(鋼琴聲)

(Music)

"I don't think we should go to the same place

明年夏天我不想

再到相同的地點渡假。＂

for our summer holidays next year."

(笑聲)

(Laughter)

It's funny, isn't it?

很好玩，是不是?看看這些思緒是如何

It's funny how those thoughts kind of waft into your head.

飄進你的腦袋。

當然--

And of course --

(掌聲)

(Applause)

Of course, if the piece is long and you've had a long day,

--當然，首子如果太長而你又忙了一天，

you might actually drift off.

你可能會真的睡著了。

Then your companion will dig you in the ribs

你的同伴會戳你

and say, "Wake up! It's culture!" And then you feel even worse.

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?

不在於你，而在於我們？

Did anybody think while I was playing,

當我在演奏時，有沒有人在想，

"Why is he using so many impulses?"

＂為什麼他要一直動來動去？＂

If I'd done this with my head you certainly would have thought it.

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,

就能知道是否有聽到那些顫動。

you'll always be able to know if you hear those impulses.

讓我們來看看這到底是怎麼回事。

So let's see what's really going on here.

我彈的是Ｂ。這是個Ｂ。下一個音符是Ｃ。

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.

Ｃ的任務就是讓Ｂ聽起來悲傷。Ｃ做到了，不是嗎？

And it does, doesn't it?

(笑聲)

(Laughter)

Composers know that.

作曲家都知道這個。如果想要作首悲傷的曲子

If they want sad music, they just play those two notes.

他們只需彈奏這兩個音符。

(鋼琴聲)

(Music)

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.

降到Ａ。降到Ｇ，再降到Ｆ。

Now to G.

And then to F.

So we have B, A, G, F.

我彈了B, A, G, F。如果我彈了B, A, G, F,

And if we have B, A, G, F,

what do we expect next?

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.

(Laughter)

(笑聲)

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.

孟加拉的每個村莊，

You know, every village in Bangladesh

以及中國的每個小村子。每個人都知道：

and every hamlet in China -- everybody knows:

da, da, da, da -- da.

嗒，嗒，嗒，嗒－嗒。每個人都知道接下來是E。

Everybody knows, who's expecting that 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?

接下來會如何？曲子就會結束，就像哈姆雷特一樣。

It will be over, like Hamlet. Do you remember?

你記不記得哈姆雷特的劇情？在第一幕，第三場：

Act One, scene three,

he finds out his uncle killed his father.

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

He keeps on going up to his uncle and almost killing him.

幾乎就要殺了他。然後他又退卻

再走近他，幾乎要殺了他。

And then he backs away, he goes up to him again, almost kills him.

坐在後排的所有劇評家，

The critics sitting in the back row there,

他們的一致評論，"哈姆雷特是個猶豫不決的人"

they have to have an opinion, so they say, "Hamlet is a procrastinator."

(笑聲)

或者評論，"哈姆雷特有戀母情結。"

Or they say, "Hamlet has an Oedipus complex."

No, otherwise the play would be over, stupid.

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,

像是奧菲莉亞的發瘋，劇中劇，

and Yorick's skull, and the gravediggers.

約力克的頭髏，以及盜墓者。

That's in order to delay --

都是為了拖延--直到第五幕哈姆雷特才可以殺了他的叔父。

until Act Five, he can kill him.

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."

他說，"喔，最好退回去再來一遍。"

於是他再來一遍。

So he does it again.

Now, he gets excited.

(Music)

他開始變得激昂--這是激昂的段落，

That's excitement, don't worry about it.

不用擔心。

Now, he gets to F-sharp, and finally he goes down to E,

他來到升F，最後降到E，

但和弦不對。因為他所要的和弦

but it's the wrong chord --

because the chord he's looking for is this one,

是這個和弦，可是他卻用了...

and instead he does ...

我們稱它為騙人曲調因為它欺騙了我們。

Now, we call that a deceptive cadence,

because it deceives us.

I tell my students, "If you have a deceptive cadence,

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。"

raise your eyebrows, and everybody will know."

(笑聲)

(Laughter)

(Applause)

(掌聲)

Right.

好的。他彈到E，但是個錯的和弦。

He gets to E, but it's the wrong chord.

這次他試著再彈到E。這個和弦也不行。

Now, he tries E again.

That chord doesn't work.

這次他試著再彈到E。這個和弦也不行。

Now, he tries the E again. That chord doesn't work.

Now, he tries E again, and that doesn't work.

這次他試著再彈到E，這個和弦也不行。

And then finally ...

終於...

前排有位男士發出"嗯"的聲音。

There was a gentleman in the front row who went, "Mmm."

(Laughter)

It's the same gesture he makes when he comes home

這是當他回到家時所做相同的動作

在他忙了一天之後，車子熄好火，

after a long day, turns off the key in his car and says,

"Aah, I'm home."

"啊，我到家了。"因為我們都知道那裡是家。

Because we all know where home is.

So this is a piece which goes from away to home.

這是一首把你從遠遠的地方帶回家的曲子。

I'm going to play it all the way through and you're going to follow.

我要整首演奏一遍

你跟著琴聲。B,C,B,C,B,C,B--

B, C, B, C, B, C, B --

down to A, down to G, down to F.

降到A，降到G，降到F。

Almost goes to E, but otherwise the play would be over.

快要到E，可是這樣曲子就結束了。

He goes back up to B, he gets very excited.

他回升到B。音樂變得很激昂。來到升F。來到E。

Goes to F-sharp. Goes to E.

和弦不對。和弦不對。和弦不對。

It's the wrong chord. It's the wrong chord.

And finally goes to E, and it's home.

終於彈到E，到家了。

And what you're going to see is one-buttock playing.

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,

因為對我來說，要從B連到E，

I have to stop thinking about every single note along the way,

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。

and start thinking about the long, long line from B to E.

You know, we were just in South Africa, and you can't go to South Africa

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。

without thinking of Mandela in jail for 27 years.

What was he thinking about? Lunch?

他在想什麼?午餐?

No, he was thinking about the vision for South Africa

不是的，他想的是南非的願景

and for human beings.

以及人類的願景。大家會記得的是--

This is about vision. This is about the long line.

願景；那長長的一條線。

Like the bird who flies over the field

就像鳥兒飛越草原

and doesn't care about the fences underneath, all right?

不會去在乎下面的籬芭，對不對?

So now, you're going to follow the line all the way from B to E.

你跟著這條線從B到E。

And I've one last request before I play this piece all the way through.

在我彈完整首曲子之前，我有最後一個要求。

Would you think of somebody who you adore,

請你回想一位你曾深愛，卻已永遠不在的人...

who's no longer there?

你心愛的祖母，你的愛人，

A beloved grandmother, a lover --

somebody in your life who you love with all your heart,

在你此生中真心喜愛的人，

但這個人已永遠不在你身邊。

but that person is no longer with you.

Bring that person into your mind,

把他帶入你的心中，同時

and at the same time,

一直跟著這條線從B到E，

follow the line all the way from B to E,

and you'll hear everything that Chopin had to say.

你會聽到蕭邦所要表達的。

(鋼琴聲)

(Music)

(Music ends)

(Applause)

(掌聲)

你可能會覺得奇怪，

Now, you may be wondering --

(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

我在波士頓的一所學校也這麼做

with about 70 seventh graders, 12-year-olds.

大約有70位七年級的學生--12歲。

I did exactly what I did with you,

我們做的事和今天在這裡做的一模一樣，我告訴他們

and I explained the whole thing.

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。

At the end, they went crazy, clapping.

I was clapping. They were clapping.

我拍手。他們也拍手。

Finally, I said, "Why am I clapping?"

最後，我說，"為什麼我要拍手?"

And one of them said, "Because we were listening."

有一位小孩回答，"因為我們有專心聽。"

(笑聲)

(Laughter)

Think of it. 1,600 people, busy people,

試想。1,600個人，1,600個忙碌的人，

從事各行各業。

involved in all sorts of different things,

listening, understanding and being moved

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。

by a piece by Chopin.

Now, that is something.

這就了不起。

Am I sure that every single person followed that,

我能不能確定每一個人都能聽的懂，

understood it, was moved by it?

能理解這首曲子，被這首曲子所感動?我當然無法確定。

Of course, I can't be sure.

But I'll tell you what happened to me in Ireland

但是我要告訴你我的親身經歷。

10年以前正值北愛爾蘭衝突期間我人在愛爾蘭，

during the Troubles, 10 years ago,

and I was working with some Catholic and Protestant kids

我與一些天主教及新教徒的小孩在一起

on conflict resolution.

試著消除雙方的衝突。我和他們也和現在所做的一樣。

And I did this with them --

a risky thing to do, because they were street kids.

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，

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,

他說，"我這輩子從來沒聽過古典音樂，

but when you played that shopping piece ..."

但當你彈那首瞎拼曲子..."

(笑聲)

(Laughter)

He said, "My brother was shot last year and I didn't cry for him.

他說，"我哥哥去年被射殺而我並沒有為他哭泣。

But last night, when you played that piece,

但昨晚當你彈奏那首曲子時，

he was the one I was thinking about.

我想到了他。

And I felt the tears streaming down my face.

淚水從我的臉上流下。

And it felt really good to cry for my brother."

可以為我哥哥哭的感覺真好。"

So I made up my mind at that moment

當時我下定決心

音樂是為每一個人。每一個人。

that classical music is for everybody.

Everybody.

Now, how would you walk --

該如何邁出我的專業，

my profession, the music profession doesn't see it that way.

從事音樂這個行業的人不會這麼想。

They say three percent of the population likes classical music.

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。

If only we could move it to four percent, our problems would be over.

(Laughter)

How would you walk? How would you talk? How would you be?

我說，"你會怎麼走?你會怎麼說?你會怎麼做?

如果你想有百分之三的人喜愛古典音樂?

If you thought, "Three percent of the population likes classical music,

if only we could move it to four percent."

如果你可以提高到百分之四。你會怎麼走?

How would you walk or talk? How would you be?

你會怎麼說?你會怎麼做?

If you thought, "Everybody loves classical music --

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。"

they just haven't found out about it yet."

(笑聲)

See, these are totally different worlds.

這會是完全不同的世界。

Now, I had an amazing experience.

我有個非常棒的經驗。在我45歲時，

I was 45 years old,

在我指揮了20年之後，我突然有了領悟。

I'd been conducting for 20 years,

and I suddenly had a realization.

The conductor of an orchestra doesn't make a sound.

交響樂團的指揮並沒有發出任何聲音。

My picture appears on the front of the CD --

我的照片出現在CD封面--

(笑聲)

(Laughter)

But the conductor doesn't make a sound.

-- 但是指揮並沒有發出任何聲音。

He depends, for his power,

他的影響力來自於激發別人潛能的能力。

on his ability to make other people powerful.

這改變了我的一切。這是我人生的轉戾點。

And that changed everything for me.

It was totally life-changing.

People in my orchestra said,

樂團的人來找找，問我，

"Ben, what happened?" That's what happened.

"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。

I realized my job was to awaken possibility in other people.

當然， 我要知道我是否可以做得到。

And of course, I wanted to know whether I was doing that.

你猜我發現什麼? 只要看著他們的眼睛。

How do you find out?

You look at their eyes.

當你看到發亮的眼睛，你就可以知道你做到了。

If their eyes are shining, you know you're doing it.

You could light up a village with this guy's eyes.

你們看，他的眼睛可以點亮整個村莊。

(笑聲)

(Laughter)

Right. So if the eyes are shining, you know you're doing it.

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。

If the eyes are not shining, you get to ask a question.

你要問自己:

And this is the question:

我怎麼了? 為什麼團員的眼睛沒有發亮?

who am I being

that my players' eyes are not shining?

We can do that with our children, too.

對我們的孩子我們也可以這樣做。

Who am I being,

我怎麼了? 為什麼孩子的眼睛沒有發亮?

that my children's eyes are not shining?

That's a totally different world.

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,

我們將要結束這神奇的一週，

we're going back into the world.

我們將要回到現實世界。

And I say, it's appropriate for us to ask the question,

我們應該要問自己這個問題：

who are we being as we go back out into the world?

當我們回到現實時我們會扮演怎樣的角色

And you know, I have a definition of success.

我對成功的定義。

For me, it's very simple.

對我來說相當簡單。不是在於財富、名聲以及權力。

It's not about wealth and fame and power.

而是在我的周圍有多少隻發亮的眼睛。

It's about how many shining eyes I have around me.

So now, I have one last thought,

最後要和大家分享的是，

which is that it really makes a difference what we say --

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。

the words that come out of our mouth.

我是從一位自德國集中營Auschwitz存活下來的女士學到的，

I learned this from a woman who survived Auschwitz,

one of the rare survivors.

她是極少數倖存者之一。

She went to Auschwitz when she was 15 years old.

她在15歲時被送進Auschwitz集中營，

And ...

當時她的弟弟8歲，她的父母已行蹤不明。

And her brother was eight,

and the parents were lost.

And she told me this, she said,

她告訴我，她說，

"We were in the train going to Auschwitz,

"我正在前往Asuchwitz營中集的火車上，我低頭看

and I looked down and saw my brother's shoes were missing.

發現我弟弟的鞋子不見了。"

I said, 'Why are you so stupid, can't you keep your things together

我對他說，"你怎麼這麼笨，你就不能看好你的東西嗎?

for goodness' sake?'"

拜託你好不好?"

The way an elder sister might speak to a younger brother.

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。

Unfortunately, it was the last thing she ever said to him,

因為她再也沒有看到她的弟弟。他沒有存活下來。

because she never saw him again.

He did not survive.

And so when she came out of Auschwitz, she made a vow.

當她從Auschwitz集中營出來時，她發了誓。

She told me this.

她告訴我。她說，"我從Auschwitz集中營存活出來

She said, "I walked out of Auschwitz into life

我發了誓。我發誓絕不說出

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."

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，

Now, can we do that? No.

And we'll make ourselves wrong and others wrong.

也會讓別人犯錯。或許也是生活中可努力的方向。謝謝!

But it is a possibility to live into.

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。

(音樂)