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Unit 16 The Role of Science Fiction The year 1972 was marked by this publication of a controversial book. The Limits to Growth. This study of the worlds future, done by a team of MIT scientists with the aid of computer “models” of the future of our society, forecast a planetwide disaster unless humankind sharply 大幅；严肃地;明确地;锋利地;忽然地;limits its population growth and consumption of natural resources.1972年为世人所瞩目的一件事就是出版了一本颇有争议的书增长的极限。这一有关世界前景的研究，是由麻省理工学院一组科学家借助模拟将来社会的电脑“模型”进行的，预言了人类若不大幅度限制人口增长和自然资源消耗，就会浮现全球性的劫难。Most people were caught by surprise when the book came out. Many refused to believe that disaster is possible, probable, inevitable-if we dont change our mode of running Spaceship Earth. But science fiction people were neither surprised nor outraged虐待、侵害、触犯；引起的义愤，激怒( outrage的过去式和过去分词 );. The study was really old news to them. Theyd been making their own “models” of tomorrow and testing them all their lives.该书问世时大多数人吃了一惊。许多人回绝相信存在发生劫难的也许性、盖然性、必然性倘使我们不变化对“地球飞船”的管理方式的话。但科幻故事家及其读者却既不惊讶，也不愤慨。事实上，这项研究对她们来说已不是什么新鲜事了。她们毕生都在制作自己的将来世界“模型”，并付诸实验。For what the scientists attempted with their computer model is very much like the thing that science fiction writers and readers have been doing for decades. Instead of using a computer to “model” a future world society, science fiction writers have used their human imaginations. This gives the writers some enormous advantages.由于科学家们试图用电脑模型实现的事与科幻故事作家及其读者数十年来所做的非常相象。科幻故事作家并不依托电脑来“模拟”一种将来世界，而是凭借人类的想象力。这给了作家某些极为有利的条件。One of the advantages is flexibility.有利条件之一就是灵活性。Science fiction writers are not in the business of predicting the future. They do something much more important. They try to show the many possible futures that lie open to不设防的、易于；乐意接受；开放的、公开的 us.科幻故事作家的职责不在预言将来，她们做的比这重要得多。她们试图呈现许多也许出目前我们面前的前景。For there is not simply a future, a time to come thats inevitable. Our future is built, bit by bit, minute by minute, by the actions of human beings. One vital role of science fiction is to show what kinds of future might result from certain kinds of human actions. 由于并非只有一种前程，一种时代会不可避免地来临人间。我们的将来世界是由人类用自身的行动一点一滴地、一分一秒地发明起来的。科幻故事的一种重要作用，便是揭示人类某几种行为的成果会形成哪几种将来世界。To communicate the ideas, the fears and feel of all infinite 无限的，无穷的;无数的possible futures, science fiction writers lean heavily on another of their advantages: the art of fiction.为了展示对也许浮现的无穷多的将来世界的种种设想、恐惊和但愿、形式和感受，科幻故事作家在很大限度上依赖她们另一种有利条件：虚构艺术。For while a scientists job has largely ended when hes reduced his date to tabular 制成表的or graph 直线图、曲线图、坐标图form, the work of a science fiction writer is just beginning. His task is to convey the human story: the scientific basis for the possible future of his story is merely the background. Perhaps “merely” is too limiting a word. Much of science fiction consists of precious 非常little except the background, the basic idea, the gimmick骗人的玩意，花招；噱头. But the best of science fiction, the stories that make a lasting impact of generations of readers, are stories about people. The people may be nonhuman. They may be robots or other types of machines. But they will be people, in the sense that human readers can feel for them, share their joys and sorrows, their dangers and their ultimate successes.科学家把资料用表格或图表形式体现出来时，她的工作几乎算完毕了，而对科幻故事作家来说，她的工作则刚刚开了个头。她的任务是要讲述与人有关的故事：充当她故事中也许浮现的那个将来的科学根据，仅仅是个背景资料。也许“仅仅”这个词的局限性还太大了。许多科幻故事除了背景状况，重要设想和新颖的玩意儿外几乎空无她物。但科幻故事中的上乘之作，即能对几代读者产生持久影响的作品，都是写人的故事。书中人物也许不是人类，也许是机器人或者其她类型的机械装置。但作为人的读者会同情它们，分享它们的喜怒哀乐，为它们遭遇危险而担忧，为它们终于成功而庆幸。从这个意义上说，它们应当算是人。The art of fiction has not changed much since prehistoric times. The formula for telling a powerful story has remained the same: create a strong character, a person of great strengths, capable of deep emotions and decisive action. Give him weakness. Set him in conflict with another powerful characteror perhaps with nature. Let his exterior conflict be the mirror of the protagonists 主人公、主角own interior conflict, the clash of his desires, his own strength against his own weakness. And there you have a story. Whether its Abraham offering his only son to God, or Paris bringing ruin to Troy over a women, or Hamlet and Claudius playing their deadly game, Faust seeking the worlds knowledge and powerthe stories that stand out显眼、醒目；杰出、突出 in the minds of the readers are those whose characters are unforgettable.自史前以来，编故事的艺术并无多大变化。讲个引人入胜的故事仍然沿用老一套：塑造一种性格坚强的人物，一种勇猛无比、感情丰富、行为坚决的人物。给她配上一种弱点，使她与另一名强者或与自然发生冲突。让主人公的外部冲突反映出自己的内心冲突，反映出她的多种欲望之间的冲突，自身长处与弱点之间的冲突。这样你的故事就编好了。不管故事说的是亚伯拉罕把独生子献给上帝，或帕里斯因一女子而使特洛伊遭受灭顶之灾，还是讲哈姆雷特与克劳狄斯图谋置对方于死地，浮士德对人世间的知识和权力的不断追求但凡深印在读者脑际的故事都塑造了使人难以忘怀的人物。To show other worlds, to describe possible future societies and the problems lurking 存在而不为人知、隐藏ahead, is not enough. The writer of science fiction must show these worlds and these futures affect human beings. And something much more important: he must show how human beings can and do literally create these future worlds. For our future is largely in our own hands. It doesnt come blindly rolling out（大量）制造、生产 of the heavens; it is the joint product of the actions of billions of human bings. This is a point thats easily forgotten in the rush 突进、忽然猛冲；急需、急欲；匆促、匆匆of headlines and the hectic 兴奋的、紧张的；乱哄哄的、繁忙的badgering 烦扰of everyday life. But its a point that science fiction makes constantly: the future belongs to uswhatever if is . We make it, our actions shape tomorrow. We have the brains and guts 勇气、决心to build paradise ( or at least try). Tragedy is when we fail, and the greatest crime of all is when we fail even to try.只展示别的世界，描述也许形成的将来社会和潜在的问题是不够的。科幻故事作家必须指出这些社会、这些前景如何影响人类。比这项工作还重要得多的是，她必须揭示人类可以并且的确在发明这些将来世界。由于我们的前程重要掌握在我们自己手里。前程不是凭空从天上掉下来的，它是亿万人的行动共同造就的产物。在匆忙浏览报纸大标题时，在忙得焦头烂额的平常生活中，这一点是很容易被遗忘的。但这是科幻故事坚持试图阐明的问题：将来属于我们不管它是什么样子。我们发明将来，我们的行动塑造明天。我们有才智有勇气去建造天堂(至少可以试试)。如果我们失败了，那将是一场悲剧；然而倘若我们连试也不试一下，那就是最大的悲哀了。Thus science fiction stands as a bridge between science and art, between the engineers of technology and the poets of humanity. Never has such a bridge been more desperately 迫切地needed.因此，科幻故事是沟通科学和艺术的桥梁，是连接精通工艺的工程师与深谙人性的诗人的桥梁。过去从未像目前这样迫切地需要这样一座桥梁。Writing is the British Journal New Scientist, the famed poet and historian Robert Graves said in 1972,” Technology is now warring make /wage war against(on/upon/against)与开战、进犯；与战斗openly against the crafts, and science covertly 暗地里、秘密地against poetry.”出名诗人与历史学家罗伯特格雷夫斯于1972年在英国新科学家杂志上撰文说：“如今工业技术和手工在明争，科学则与诗歌在暗斗。”What Graves is expressing is the fear that many people have: technology has already allowed machines to replace human muscle power; now it seems that machines such as electronic computers might replace human brainpower. And he goes even further, criticizing science on the grounds 根据、理由that truly human endeavors such as poetry have a power that scientists cant recognize.格雷夫斯的话道出了不少人都怀有的恐惊心理：工业技术已使机器替代了人的体力；目前诸如电子计算机之类的机器似乎可以取代人的智力了。她甚至走得更远，竟批判起科学来，其根据是，真正的人类活动诸如诗歌创作等具有科学家无法结识的威力。Apparently Graves sees scientists as a sober审慎的、严肃的、庄严的、冷静的、稳重的, plodding 缓步或重步（尤指很困难及很吃力地走）phalanx 一批（群）人、团队、集团of soulless thinking machines, never making a step that hasnt been carefully thought out in advance. 显而易见，格雷夫斯把科学家视为外表严肃、动作缓慢、没有灵魂的思维机器，未经事先深思熟虑从不迈出一步。But as a historian, Graves should be aware that James Clerk Maxwells brilliant insight about electromagnetism电磁（学）the guess that visible light is only one small slice of the spectrum of electromagnetic energy, a guess that forms the basis for electronics technologywas an intuitive leap into the unknown. Maxwell had precious little evidence to back up his guess. The evidence came later. The list of wild jumps of intuition made by these supposedly stolid无动于衷的、不为所动的、感情麻木的、迟钝的, humorless scientists is long indeed.但作为历史学家，格雷夫斯应当懂得，詹姆斯克拉克麦克斯韦尔有关电磁的独到见解即可见光仅是电磁能光谱的一小部分这一猜想，该猜想为电子技术打下了基本是凭直觉进一步未知世界的。麦克斯韦尔几乎没有丝毫根据来证明她的猜想。证据是后来找到的。那些被觉得感觉迟钝、不苟言笑的科学家凭着直觉闯入了未知世界，这样的例子真可谓不胜枚举。Scientists are human bings! They are just as human, intuitive, and emotional as anyone else. But most people dont realize this. They dont know scientists, any more than they know much about science.科学家也是人! 她们与别人完全同样，也有人性，也有直觉，也有感情。但大多数人并没故意识到这一点。她们不理解科学家，对科学也知之甚少。Today most people still tend to hold scientists in awen敬畏；v使敬畏；. After all, scientists have brought us nuclear weapons, modern medicines, space flight, and underarm 腋窝deodorants防臭剂. Yet at the same time, we see scientists derided 讥笑、愚弄as fuzzybrained不苏醒的、笨的 eggheads书呆子 or as coldly ruthless, emotionless makers of monsters. Scientists are a minority group, and like most minorities theyd largely hidden from the publics sight, tucked away in ghettos某些阶层、集体的聚居区、少数人居住地、贫民区laboratories, campuses, field sites out in the desert or on pacific atolls珊瑚岛.今天，大多数人对科学家仍然敬而远之。然而，科学家毕竟给我们带来了核武器、现代医学、宇宙航行以及除臭剂。但与此同步，我们看到科学家被讥为头脑混乱的书呆子，或被嘲为冷酷无情的怪物制造家。科学家是一种少数群体，与大多数少数群体同样，她们往往避开公众视线，藏身于她们自己的聚居区内实验室、校园、沙漠中或太平洋珊瑚岛上的野外工作场地。Before the public can understand and appreciate what science can and cannot do, the people must get to see and understand the scientists themselves. Get to know their work, their aims, their dreams, and their fears.人们先得观测、理解科学家自身，然后才会懂得什么是科学能办到的，什么是科学无法办到的。要理解科学家的工作和目的、她们的梦想、她们的忧虑。Science fiction can help to explain what science and scientists are all about to the nonscientists. It is no accident that several hundred universities and public schools are now offering science fiction courses and discovering that these classes are a meeting ground for the scientistengineers and the humanists. Science and fiction. Reason and emotion.科幻故事有助于向不从事科学工作的人解释科学是怎么一回事，科学家是干什么的。几百所大学和公立中学都开设了科幻故事课程。发现这些课是科学家、工程师和人文主义者约会的场合，浮现这种状况决非偶尔。科学和故事可以打通，理智和感情可以交融。The essence of the scientific attitude is that the human mind can succeed in understanding the universe. By taking thought, men can move mountainsand have. In this sense, science is an utterly humanistic pursuit, the glorification of human intellect over the puzzling, chaotic, and often frighting darkness of ignorance.科学态度实质上就是觉得人脑可以结识宇宙，人动脑筋、想措施便能移山倒海事实上人类已经这样做了。从这个意义上说，科学是纯正人文主义的追求，是颂扬人类智力战胜由于愚昧无知而导致的迷惘、混乱和恐惊。Much of science fiction celebrates 颂扬、称颂、表扬this spirit. Very few science fiction stories picture humanity as a passive species, allowing the tidal forces of nature to flow unperturbed. The heroes of science fiction storiesthe gods of the new mythologystruggle manfully 勇敢地、坚定地against the darkness, whether its geological doom for the whole planet or the evil of grasping 贪婪的、贪心的politicians. They may not always win. But they always try.许多种幻故事歌颂这种精神。很少有科幻故事把人类描绘成悲观被动的物种，听任自然力像潮水般肆意流动而不加限制。科幻故事的主人公们新神话故事中的众神无论面对全球性山崩地裂的厄运，还是面对贪得无厌的政客的罪恶行径，都挺身而出，勇敢地与黑暗势力作斗争。她们不一定总会成功，但她们总是竭力而为。Perhaps, however, the most important aspect of science fictions role in the modern world is best summed up in a single word: change.然而，科幻故事在现代社会所起作用最重要的方面，也许可以用一种词来贴切地加以概括：变化。After all, science fiction is the literature of change. Each and every story preaches from the same gospel教训、教义；信奉、信条: tomorrow will be different from today, violently different perhaps.说究竟，科幻故事是描写变化的文学作品。每篇故事都宣扬同一种信条：明天与今天不同样，也许大不同样。Science fiction very clearly shows that changeswhether good or badare an inherent part of the universe. Resistance to change is an archaic, and nowadays dangerous, habit of thought. The world will change. It is changing constantly. Humanitys most fruitful course of action is to determine how to shape these changes, how to influence them and produce an environment where the changes that occur are those we want.科幻故事极其明确地揭示，变化无论变好还是变糟是宇宙的一条内在规律。抵制变化是墨守成规，如今则更是危险的了。世界总是要变的。她在不断地变。人类最有成效的行为莫过于拟定如何形成这些变化，如何影响这些变化，从而发明一种所发生的变化符合我们需要的自然环境。 Perhaps this is the ultimate role of science fiction: to act as an interpreter of science to humanity. This is a twoedged weapon, of course. It is necessary to warn as well as evangelize宣讲福音、传教. Science can kill as well as create; technology can deaden 除去、消除、使失去、隔绝the human spirit of lift it to the farthermost corners of our imaginations. Only knowledgeable people can wisely decide how to use science and technology for humankinds benefit. In the end, this is the ultimate role of all art: to show ourselves to ourselves, to help us to understand our own humanity. 也许这就是科幻故事最主线的作用：向人类解释科学。固然，这是一件双刃武器，不仅要宣传讲福音，还要予以警告。科学不仅可以发明，并且可以消灭；技术可以把人的精神提到想象所及的最高境界，也可以使人麻木不仁。只有具有真知灼见的人士能明智地决定如何运用科学技术造福人类。归根究竟，这是一切艺术作品的最主线的作用：让我们自己看清自己，协助我们结识自己身上的人性。
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