ted演講稿戰勝恐懼

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ted演講稿戰勝恐懼

eca;rmorethantwo;當然，有時候，我們所擔心的最壞的事情的確發生了;ThenovelistVladimirNabok;combinationoftwoverydiff;dreaderha;complicatethereader';dreame

predict the future. But we can't possibly prepare for all of the fears that our imaginations concoct. So how can we tell the difference between the fears worth listening to and all the others? I think the end of the story of the whaleship Essex offers an illuminating, if tragic, example. After much deliberation, the men finally made a decision. Terrified of cannibals, they decided to forgo the closest islands and instead embarked on the longer and much more difficult route to South

America. After more than two months at sea, the men ran out of food as they knew they might, and they were still quite far from land. When the last of the survivors were finally picked up by two passing ships, less than half of the men were left alive, and some of them had resorted to their own form of cannibalism. Herman Melville, who used this story as research for "Moby Dick," wrote years later, and from dry land, quote, "All the sufferings of these miserable men of the Essex might in all human probability have been avoided had they, immediately after leaving the wreck, steered straight for Tahiti. But," as Melville put it, "they dreaded cannibals." So the question is, why did these men dread cannibals so much more than the extreme likelihood of starvation? Why were they swayed by one story so much more than the other? Looked at from this angle, theirs becomes a story about reading.

當然，有時候，我們所擔心的最壞的事情的確發生了。這就是恐懼本身如此特別的一點。偶爾，我們的恐懼可以預測未來。但我們不可能為我們想象力編造出來的所有恐懼都作好準備。那麼，我們如何辨別出值得聽的恐懼和其餘不值聽的呢?我認為捕鯨船Essex號的故事結局提供了一個富有啟發性的例子，儘管是個悲劇結局。經過再三斟酌後，這些人最終作出了一個決定。由於害怕食人族，他們決定放棄航行到最近的島嶼，而選擇了更長、更艱難的去往南美洲的航線。在海上待了兩個多月後，他們的食物如先前預料地消耗殆盡，而他們離陸地依然很遠。當最後的倖存者最終被兩艘路過的船隻救起來時，只有不到一半的人還活着，而其中一些人也選擇了吃人肉的做法。赫爾曼·梅爾維爾(Herman Melville)在多年之後寫《白鯨記》前，研究了這個故事，身處陸地，他引述道：“Essex號上的這些可憐的船員所遭受的苦難或許是可以完全避免的'，倘若他們能夠在離開沉船後立刻向塔希提島(Tahiti)航行。但是，”正如梅爾維爾所説，“他們害怕食人族。”所以問題來了，為什麼這些人對食人族的恐懼如此之深，甚至都超過了極有可能發生的飢餓威脅呢?為什麼他們被一個故事影響的程度遠勝於另一個故事呢?從這個角度來看，他們的故事變成了一個關於解讀的故事。

The novelist Vladimir Nabokov said that the best reader has a

combination of two very different temperaments, the artistic and the

scientific. A good reader has an artist's passion, a willingness to get caught up in the story, but just as importantly, the reader also needs the coolness of judgment of a scientist, which acts to temper and

complicate the reader's intuitive reactions to the story. As we've seen, the men of the Essex had no trouble with the artistic part. They

dreamed up a variety of horrifying scenarios. The problem was that they listened to the wrong story. Of all the narratives their fears wrote, they responded only to the most lurid, the most vivid, the one that was easiest for their imaginations to picture: cannibals. But perhaps if they'd been able to read their fears more like a scientist, with more coolness of judgment, they would have listened instead to the less

violent but the more likely tale, the story of starvation, and headed for Tahiti, just as Melville's sad commentary suggests. And maybe if we all tried to read our fears, we too would be less often swayed by the most salacious among them. Maybe then we'd spend less time worrying about serial killers and plane crashes, and more time concerned with the subtler and slower disasters we face: the silent buildup of plaque in our arteries, the gradual changes in our climate. Just as the most nuanced stories in literature are often the richest, so too might our subtlest fears be the truest. Read in the right way, our fears are an amazing gift of the imagination, a kind of everyday clairvoyance, a way of glimpsing what might be the future when there's still time to

influence how that future will play out. Properly read, our fears can offer us something as precious as our favorite works of literature: a little wisdom, a bit of insight and a version of that most elusive thing -- the truth.

小説家弗拉基米爾·納博科夫(Vladimir Nabokov)説最好的讀者能把兩種截然不同的性格結合起來，一個是藝術氣質，一個是科學精神。好的讀者有藝術家的熱情，願意融入故事當中，但是同樣重要的是，這些讀者還要有科學家的冷靜判斷，這能幫助他們穩定情緒並分析其對故事的直覺反應。我們可以看出來，ESSEX上的人在藝術部分一點問題都沒有。他們夢想到一系列恐怖的場景。問題在於他們聽從了一個錯誤的故事。所有他們恐懼中他們只對其中最聳人聽聞，最生動的故事，也是他們想象中最早出現的場景：食人族。也許，如果他們能像科學家那樣稍微冷靜一點解讀這個故事，如果他們能聽從不太驚悚但是更可能發生的半路餓死的故事，他們可能就會直奔塔西提羣島，如梅爾維爾充滿惋惜的評論所建議的那樣。 也許如果我們都試着解讀自己的恐懼，我們就能少被其中的一些幻象所迷惑。我們也就能少花一點時間在為系列殺手或者飛機失事方面的擔憂，而是更多的關

心那些悄然而至的災難：動脈血小板的逐漸堆積，氣候的逐漸變遷。如同文學中最精妙的故事通常是最豐富的故事，我們最細微的恐懼才是最真實的恐懼。用正確的方法的解讀，我們的恐懼就是我們想象力賜給我們的禮物，藉此一雙慧眼，讓我們能管窺未來甚至影響未來。如果能得到正確的解讀，我們的恐懼能和我們最喜歡的文學作品一樣給我們珍貴的東西：一點點智慧，一點點洞悉以及對最玄妙東西——真相的詮釋。