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關于阿蘭·德波頓的名人名言哲理格言警句語錄 - 每日文摘
阿蘭·德波頓 英國作家

阿蘭·德波頓（Alain de Botton），英國作家，1969年出生于瑞士蘇黎世，畢業于英國劍橋大學。著有小說《愛情筆記》、《愛上浪漫》、《親吻與訴說》及散文作品《擁抱逝水年華》、《哲學的慰藉》、《旅行的藝術》、《身份的焦慮》等。

The nightmare thought is that frightening people is the best way to get work out of them, and that somehow the crueler the environment, the more people will rise to the challenge. You want to think, who would you like as your ideal dad? And your ideal dad is somebody who is tough but gentle. And it's a very hard line to make. We need fathers, as it were, the exemplary father figures in society, avoiding the two extremes, which is the authoritarian disciplinarian on the one hand, and on the other, the lax, no-rules option.
夢魘是相信恐嚇人們是刺激他們發奮的最好辦法，或是環境越殘酷，就會有越多人接受挑戰。你必須想，你的理想父親是怎樣的？你的理想父親往往是嚴厲又溫和的，雖然這界限很難畫定，我們社會需要的模范性人物是像一個理想父親，不要走極端，不要完全集權、純粹紀律，也不要模糊馬虎，亂無規章。
I think it's merely the randomness of the winning and losing process that I want to stress, because the emphasis nowadays is so much on the justice of everything, and politicians always talk about justice. Now I'm a firm believer in justice, I just think that it's impossible. So we should do everything we can to pursue it, but we should always remember that whoever is facing us, whatever has happened in their lives, there will be a strong element of the haphazard. That's what I'm trying to leave room for; otherwise, it can get quite claustrophobic.
在輸贏的過程中有太多偶然，今日我們太講求所有事情的正義和公平，政治人物總是在談論正義，我非常支持正義，我只是覺得那不可能，我們應該盡力，盡力去追求正義，但我們也應該記得，我們所面對的，無論在他們人生中發生過什么，偶然總是一個強烈的因素，我希望大家留一點空間這么想，不然真令人有一種幽閉恐怖癥的感覺。
So, I'm going to end it there. But what I really want to stress is: by all means, success, yes. But let's accept the strangeness of some of our ideas. Let's probe away at our notions of success. Let's make sure our ideas of success are truly our own.
我必須在這里做個總結，但我真正想說的是，成功是必要的，但請接受自己怪異的想法，朝著自己對成功的定義出發，確定我們對成功的定義都是出于自己的真心。
So what I want to argue for is not that we should give up on our ideas of success, but we should make sure that they are our own. We should focus in on our ideas, and make sure that we own them; that we are truly the authors of our own ambitions. Because it's bad enough not getting what you want, but it's even worse to have an idea of what it is you want, and find out, at the end of the journey, that it isn't, in fact, what you wanted all along.
我想說的是，我們不該放棄，我們對成功的想象，但必須確定那些都是我們自己想要的，我們應該專注于我們自己的目標，確定這目標是我們真正想要的，確定這個夢想藍圖出自自己筆下。因為得不到自己想要的已經夠糟糕了，更糟糕的是，在人生旅程的終點，發覺你所追求的從來就不是你真正想要的。
And we also suck in messages from everything from the television, to advertising, to marketing, etc. These are hugely powerful forces that define what we want and how we view ourselves. When we're told that banking is a very respectable profession, a lot of us want to go into banking. When banking is no longer so respectable, we lose interest in banking. We are highly open to suggestion.
我們也會從電視、廣告，各樣的市場宣傳中得到我們對成功的想象。這些東西影響了我們，對我們自己的看法、我們想要什么。當我們聽說銀行業是個受人尊敬的行業，許多人便加入銀行業，當銀行業不再受人尊敬，我們便對銀行業失去興趣，我們很能接受建議。
And the thing about a successful life is that a lot of the time, our ideas of what it would mean to live successfully are not our own. They're sucked in from other people; chiefly, if you're a man, your father, and if you're a woman, your mother. Psychoanalysis has been drumming home this message for about 80 years. No one's quite listening hard enough, but I very much believe it's true.
常常，我們對一個成功人生的想象，不是來自我們自己，而是來自他人。如果你是個男人，你會以父親做榜樣，如果你是個女人，你會以母親做榜樣，精神分析已經重復說了80年，但很少有人真正聽進去。但我的確相信這件事。
Here's an insight that I've had about success: You can't be successful at everything. We hear a lot of talk about work-life balance. Nonsense. You can't have it all. You can't. So any vision of success has to admit what it's losing out on, where the element of loss is. And I think any wise life will accept, as I say, that there is going to be an element where we're not succeeding.
我對成功有一些觀察，你不可能在所有事情上成功。我們常聽到有關工作和休閑的平衡，鬼話。你不可能全部擁有。你就是不能。所有對成功的想象，必須承認他們同時也失去了一些東西，放棄了一些東西。我想一個智者能接受，如我所說，總是有什么是我們得不到的。
What I think I've been talking about really is success and failure. And one of the interesting things about success is that we think we know what it means. If I said that there's somebody behind the screen who's very successful, certain ideas would immediately come to mind. You'd think that person might have made a lot of money, achieved renown in some field. My own theory of success -- I'm somebody who's very interested in success, I really want to be successful, always thinking, how can I be more successful? But as I get older, I'm also very nuanced about what that word "success" might mean.
我一直在談論成功和失敗。成功的有趣之處是，我們時常以為我們知道成功是什么，如果我現在說，這個屏幕后面站著一個非常成功的人，你心里馬上就會產生一些想法。你會想，這個人可能很有錢，在某些領域赫赫有名，我對成功的理解是。首先，我是一個對成功非常有興趣的人，我想要成功，我總是想著“要怎樣我才能更成功？”，但當我漸漸長大，我越來越疑惑，究竟什么是“成功”的真正意義。
Not for the sake of our health, though it's often presented that way, but because it's an escape from the human anthill. It's an escape from our own competition, and our own dramas. And that's why ween joy looking at glaciers and oceans, and contemplating the Earth from outside its perimeters, etc. We like to feel in contact with something that is non-human, and that is so deeply important to us.
雖然我們時常顯示是為了健康，但我不這么認為，我認為是為了逃避人群的蟻丘，逃避人們的瘋狂競爭，我們的戲劇化，這便是為什么我們如此喜歡看海、觀賞冰山，從外太空觀賞地球等等，我們希望重新和那些“非人類”的事物有所連接，那對我們來說很重要。
Our heroes are human heroes. That's a very new situation. Most other societies have had, right at their center, the worship of something transcendent: a god, a spirit, a natural force, the universe, whatever it is -- something else that is being worshiped. We've slightly lost the habit of doing that, which is, I think, why we're particularly drawn to nature.
我們的英雄是人類，這是一個嶄新的情況。歷史中大部分的社會重心都是敬拜一位人類以外的靈體，神，自然力、宇宙，總之是人類以外的什么。我們逐漸失去了這種習慣，我想這也是我們越來越被大自然吸引的原因。
The other thing about modern society and why it causes this anxiety, is that we have nothing at its center that is non-human. We are the first society to be living in a world where we don't worship anything other than ourselves. We think very highly of ourselves, and so we should; we've put people on the Moon, done all sorts of extraordinary things. And so we tend to worship ourselves.
現代社會讓我們焦慮的另一個緣故是，我們除了人類以外沒有其它重心。我們是從古至今的第一個無神社會，除了我們自己以外，我們不膜拜任何事物，我們對自己評價極高，為什么不呢，我們把人送上月球，達成了許多不可思議的事，我們習慣崇拜自己。
In a way, if you like, at one end of the spectrum of sympathy, you've got the tabloid newspaper. At the other end of the spectrum, you've got tragedy and tragic art. And I suppose I'm arguing that we should learn a little bit about what's happening in tragic art. It would be insane to call Hamlet a loser. He is not a loser, though he has lost. And I think that is the message of tragedy to us, and why it's so very, very important, I think.
如果同情心的一個極端，是這些八卦小報。另一個極端便是悲劇和悲劇藝術，我想說的是或許我們該從悲劇藝術中學習，你不會說漢姆雷特是個失敗者，雖然他失敗了，他卻不是一個失敗者。我想這就是悲劇所要告訴我們的，也是我認為非常重要的一點。
And I went to talk to them about certain of the great tragedies of Western art. I wanted to see how they would seize the bare bones of certain stories, if they came in as a news item at the news desk on a Saturday afternoon.
我去找他們聊聊，西方藝術中最偉大的幾個悲劇故事，我想知道他們會如何露骨地以新聞的方式，在周日下午的新聞臺上，呈現這些經典悲劇故事。
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