从颁奖辞看诺贝尔奖

目前，对于莫言作品的争论，越来越激烈。据说，还要打官司了。

我看，如果他的作品确实诋毁了特定的英雄人物，那么英雄人物本人或家属是可以提起诉讼的。

不过，我也看过几部莫言的作品，确实发现作品中存在一些对于八路军官兵的描写，存在丑化和不敬的问题。但是，并没有涉及到真实的英雄人物。所以，还很难说是否触犯了有关法律。

但是，从诺贝尔文学奖的颁奖辞看，却存在利用莫言小说对毛泽东主席和中国经济崛起的不当评价。

以下是颁奖辞的英文版：

“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.

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.

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.

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.

In his novel Republic of Wine （《酒国》：“最美味的佳肴是烤三岁童子肉，男童成为很难享受到的食品”。）, 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 （《蛙》：“这本书就是讽刺中国的计划生育政策，女婴被流产达到了天文数字。女孩不够好，没有人吃，莫言为此写了一部完整的小说”。）, about this.

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.

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.

In his most remarkable novel, Big Breasts and Wide Hips （《丰乳肥臀》：“莫言描写了大跃进和1960年代的大饥荒，小说以90年代的新资本主义和倒卖化妆品致富的结果收尾”。）, 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.

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.

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. “意识形态和改革运动来来去去，但是人类的自私和贪婪却永存。所以莫言作为个体反抗所有的不公，无论是日本占领，还是毛主义的恐怖，以及今天的狂热生产至上。”

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.

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.”

在颁奖辞中，提到了莫言的三部小说。另外，还提及所谓“毛主义恐怖”和所谓“今天的狂热生产”。大概是指改革开放中国的经济崛起吧？（已用红字标明）。

诺贝尔奖的评委大概比较年轻，缺乏历史知识。他们粗心地以为，莫言也参加了中国的“抗日战争”，却不清楚“抗日战争”是第二次世界大战的一部分。其实，莫言出生时，“抗日战争”已经结束十年了。不过，这不妨碍评委们把莫言当作“抗日”勇士来评价。

既然颁奖辞里特别提到了莫言的三部小说，恰好我也看过这三部作品，那我就简单谈谈为什么评委们会对其大加赞赏吧：

我们可以分别看看得奖的原因:

（1）《酒国》: 因为这部小说让诺奖评委得到了新中国还存在“吃男婴”的证据。

（2）《蛙》: 这部作品揭露了新中国的计划生育政策残酷地杀害了许多孕妇和胎儿，反映出社会主义中国没有人权和生存权。

（3）《丰乳肥臀》: 该书从一个瑞典传教士在中国的私生子的视野，看到了中国从抗日战争，解放战争，建国后镇压反革命，土改和文革等各个历史时期，中共领导的抗日军队以及军政人员的腐败，贪婪，性变态，草菅人命，没有人性。还不如日本鬼子好！

不用我多说，只要是有良心的中国人，您都会看出诺奖文学奖评委们为什么会为莫言颁奖了吧？被他们褒奖的《酒国》和《蛙》，其实是姊妹篇。两本书描绘出了这样的一幅场景：“在中国，无数婴儿被杀害；女婴被抛弃，男婴则被烹制成权贵们桌上的美味佳肴”。最终，《丰乳肥臀》中的瑞典神父（说不定诺奖评委中的某一位就是“神父”私生子的原型或亲属）告诉全世界：“社会主义中国是个食人的地狱，中国人生活在“毛主义”的恐怕之下，猪狗不如”！

诺贝尔文学奖是由瑞典文学院颁发的。颁奖评委当然是从西方人的价值观来评审获奖作品的（屠呦呦获得的生物学和医学奖则不同，是要看试验数据和疗效说话的。而文学奖的数据和疗效在哪里？瑞典的评委们调查过所谓“吃男婴”和“弄死孕妇胎儿”的真实性吗？有多少个案例？）。利用虚构的小说，制造反华的炮弹诋毁中国。这就是诺贝尔文学奖的目的所在。

过去，瑞典是个中立国家，现在已经加入了北约，就不那么“中立”了。从以上的颁奖辞可以看出，其实他们从来也不是“中立”的，他们一直把新中国视为敌人。所以，我们还是不要被它的光环所迷惑吧！

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