諾貝爾獎(jiǎng)?lì)C獎(jiǎng)典禮上，文學(xué)委員會(huì)主席帕瓦斯特伯格介紹了莫言的作品，闡述了授予他諾貝爾文學(xué)獎(jiǎng)的原因。瓦斯特伯格的頒獎(jiǎng)辭全文如下：

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.

莫言是一個(gè)撕下程序化宣傳海報(bào)，將凡夫俗子一個(gè)個(gè)推上臺(tái)面的詩(shī)人。他以冷嘲熱諷的筆致抨擊歷史及其作偽，以及剝奪的行為和政治偽裝。他戲謔地揭示了人生境遇中最陰暗的方面，漫不經(jīng)心地摸索出極富象征力的形象。

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.

高密縣東北鄉(xiāng)體現(xiàn)了中國(guó)的民間故事和歷史，不通過(guò)此類故事，你幾乎很難腳踏實(shí)地地進(jìn)入一個(gè)驢吼豬叫淹沒(méi)了聲音的國(guó)度，在那里，愛和惡的呈現(xiàn)已達(dá)到超自然的程度。

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.

莫言的想象飛掠整個(gè)的人生境遇。他是描繪自然的能手；有關(guān)饑餓的方方面面，他幾乎全都熟知。中國(guó)在20世紀(jì)中的暴虐，也許還從未如此直白地被他描寫在他那些英雄、戀人、施虐者、強(qiáng)盜，特別是堅(jiān)強(qiáng)無(wú)畏的母親的故事之中。他向我們呈現(xiàn)了一個(gè)缺乏常識(shí)或同情心的世界，其中的人群都顯得魯莽、無(wú)助而荒誕。

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.

歷代反復(fù)出現(xiàn)的人相食現(xiàn)象就是這一悲慘世界的證據(jù)。在莫言的筆下，它還呈現(xiàn)為毫無(wú)節(jié)制的消費(fèi)，大肆鋪張，胡說(shuō)八道，食色之樂(lè)，以及種種難以言說(shuō)的欲望，唯獨(dú)莫言能夠沖破所有的禁忌限制，試圖將那一切闡述出來(lái)。

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.

在他的小說(shuō)《酒國(guó)》中，最精致的美味是三歲孩童肉燒烤。男童肉成為高級(jí)食品，而女童，則因被鄙棄不顧而得以幸存。這一反諷直刺了中國(guó)的獨(dú) 生子女政策，正是這一政 策導(dǎo)致女胎被大量墮掉，墮掉的女胎多不勝數(shù)，以致多到了不配食用的地步?！锻堋愤@部小說(shuō)從頭到尾所寫的就是這樣的事情。

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 fulfill their lives and burst the cages they have been confined in by fate and politics

莫言的故事富有神話和諷喻的旨趣，所有的價(jià)值在這些故事中都全然改觀。在莫言的筆下，中國(guó)眾生相絕非那種常見的模式化理想人物，他們?nèi)硷@得生氣勃勃，為充分發(fā)揮他們的生命力和打破那囚禁他們的命運(yùn)和牢籠，他們的行事甚至采取了非道德的步驟和方式。

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.

莫言所描寫的過(guò)去年代與所發(fā)行的那些宣傳畫中的歷史有所不同，他使用夸張和戲仿的筆法，以及取材神話和民間故事的內(nèi)容，對(duì)以往那五十年的宣 傳作出了可信而嚴(yán)苛的修正。

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.

《豐乳肥臀》是最引人注目的一部小說(shuō)，書中整個(gè)地貫串了女性視角，對(duì)大躍進(jìn)和1960年的大 饑荒作出了令人錐心的細(xì)節(jié)描述。他揶揄妄圖拿公兔給母羊配種的革命派偽科學(xué)試驗(yàn)，而在當(dāng)時(shí)，凡對(duì)此類事情表示懷疑的人都會(huì)被打成右派。小說(shuō)以新資本主義勃興的90年代作結(jié)，那時(shí)候某些靠出售美容品發(fā)了大財(cái)?shù)尿_子們?nèi)酝龍D通過(guò)雜交的方法養(yǎng)出鳳凰。

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.

莫言大筆淋漓，勾繪出一個(gè)被遺忘的農(nóng)民世界，其中的一切都被寫得活靈活現(xiàn)，即便它的氛圍烏煙瘴氣，也彌漫有肉欲的氣息，其中雖充斥驚人的殘忍，卻仍浸潤(rùn)著歡快的無(wú)私；讀起來(lái)從不讓人感到枯燥乏味。各種手工藝，鐵匠活，蓋房，挖渠，養(yǎng)殖，土匪伎倆——所有這一切他無(wú)所不知，無(wú)所不寫，人世間的一切幾乎都被他羅列到筆下。

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.

繼拉伯雷和斯威夫特以及當(dāng)今的加西亞馬爾克斯之后，還很少有人能像莫言這樣寫得妙趣橫生，驚世駭俗。他那辛辣的文筆是麻辣味的。他勾繪了近百年中國(guó)的歷史長(zhǎng)卷，其中既無(wú)麒麟呈祥的景象，也無(wú)少女歡躍的幸福。但那里面的豬圈生活卻讓他描繪到令人難以忍受，卻又欲罷不休的地步。意識(shí)形態(tài)和改革運(yùn)動(dòng)盡管搞來(lái)搞去，人們的唯我意識(shí)和貪心始終都革除不掉。莫言要為保護(hù)藐小的個(gè)人而抗拒一切不公正的行為——從日本侵華直到今日大搞生產(chǎn)的狂熱。

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.

在莫言的家鄉(xiāng)，富饒的德行一直都在與最邪惡的殘忍交戰(zhàn)，對(duì)那些有勇氣闖進(jìn)去一窺其究竟的人士來(lái)說(shuō)，所面臨的將是一次步履艱難的文學(xué)冒險(xiǎn)之行。中國(guó)，乃至世界的其他地方，何曾經(jīng)受過(guò)這樣一種春潮的波瀾沖擊？在莫言的作品中，“世界文學(xué)”發(fā)出了讓眾多的當(dāng)代人傾倒折服的聲音。

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.

瑞典文學(xué)院祝賀你。懇請(qǐng)你從國(guó)王手中接過(guò)2012年諾貝爾文學(xué)獎(jiǎng)。