克服青春迷茫演讲稿（精选12篇）

1819年的某一天，距智利海岸3000英里之遥，在一个太平洋上最偏远的水域，20名美国船员看着他们的船被海水浸没。他们的船被一条抹香鲸撞了，船上有一个毁灭性的洞。当他们的船开始在大浪中沉没时，人们挤进了三条小捕鲸船。

这些人离家一万英里，离最近的陆地一千多英里。在他们的船上，他们只带了简单的导航设备和有限的食物和水。他们就是捕鲸船es***号上的船员，他们的故事后来成为了名著《白鲸记》的一部分。

即使在现代，他们的处境也很糟糕，更不用说在他们这个年龄有多糟糕了。岸上没有人知道这样的事故。没有救援队来寻找这些人。

因而我们中的大多数人都没有经历过这些船员所遭遇到的这般令人恐惧的情境，但我们都知道害怕是怎么样的。我们知道恐惧的感觉，但我不确定我们是否花了足够的时间去思考恐惧的含义。 在我们成长的过程中，我们常被鼓励把恐惧看作是弱点，只是一种像乳牙或轮滑鞋一样该被抛弃的幼稚东西。

而我认为我们这样想并非偶然。神经科学家的研究表明，人类天生究实乐观主义者。这也许可以解释为什么我们有时会把恐惧看作是一种暗是危险的东西，或者它本身就是危险的。

“别担心。”我们喜欢对别人说。“别慌张。

”英语中，恐惧是我们要征服的东西，是我们要对抗的东西，是我们要克服的东西。但是如果我们用一种新的方式看待恐惧呢？如果我们把恐惧看作是想象力的一种惊人表达，一种像讲故事一样深刻而有见地的东西呢？

it's easiest to see this link between fear and the imagination in young children, whose fears are often extraordinarily vivid. when i was a child, i lived in california, which is, you know, mostly a very nice place to live, but for me as a child, california could also be a little scary. i remember how frightening it was to see the chandelier that hung above our dining table swing back and forth during every minor earthquake, and i sometimes couldn't sleep at night, terrified that the big one might strike while we were sleeping.

and what we say about kids who have fears like that is that they have a vivid imagination. but at a certain point, most of us learn to leave these kinds of visions behind and grow up. we learn that there are no monsters hiding under the bed, and not every earthquake brings buildings down.

but maybe it's no coincidence that some of our most creative minds fail to leave these kinds of fears behind as adults. the same incredible imaginations that produced "the origin of species," "jane eyre" and "the remembrance of things past," also generated intense worries that haunted the adult lives of charles darwin, charlotte bronte and marcel proust. so the question is, what can the rest of us learn about fear from visionaries and young children?

我们最有可能在孩子身上看到恐惧和想象之间的联系，他们的恐惧往往非常生动。我小时候住在加利福尼亚，你们知道，它是一个非常适合居住的地方，但对于我这样一个小孩，加利福尼亚也会有点吓人。我还记得每次有轻微的喷发时，看着吊灯在餐桌上来回晃来晃去是多么可怕。

我有时彻夜未眠，怕我们睡着时大姑娘突然来。我们会说，有这种恐惧感的孩子是有想象力的。但在某个特定的时间点上，我们大多数人学会了放手，长大。

我们知道床底下没有怪物，也不是每次**导致房子倒塌。但是我们当中的最具创造力的一些人却无法像其它成年人一样把这类恐惧抛诸脑后，或许这并不是巧合。这样的惊人想象力创造出了《物种起源》《简·爱》和《追忆似水年华》，也造成了强烈的忧虑，一直困扰着查尔斯·达尔文、夏洛特·勃朗特和马塞尔·普罗斯特的成年生活。

所以问题是，我们其他人能从这些幻想家和孩子的恐惧中学到什么？

well, let's return to the year 1819 for a moment, to the situation facing the crew of the whaleship es***. let's take a look at the fears that their imaginations were generating as they drifted in the middle of the pacific. 24 hours had now passed since the capsizing of the ship.

the time had ***e for the men to make a plan, but they had very few options. in his fascinating account of the disaster, nathaniel philbrick wrote that these men were just about as far from land as it was possible to be anywhere on earth. the men knew that the nearest islands they could reach were the marquesas islands, 1,200 miles away.

but they'd heard some frightening rumors. they'd been told that these islands, and several others nearby, were populated by cannibals. so the men pictured ***ing ashore only to be murdered and eaten for dinner.

another possible destination was hawaii, but given the season, the captain was afraid they'd be struck by severe storms. now the last option was the longest, and the most difficult: to sail 1,500 miles due south in hopes of reaching a certain band of winds that could eventually push them toward the coast of south america.

but they knew that the sheer length of this journey would stretch their supplies of food and water. to be eaten by cannibals, to be battered by storms, to starve to death before reaching land. these were the fears that danced in the imaginations of these poor men, and as it turned out, the fear they chose to listen to would govern whether they lived or died.

让我们回到1819年，回到es***号捕鲸船的水手们所面临的情况。让我们看看他们在横渡太平洋时对想象力的恐惧。那是捕鲸船倾覆前的24小时。

现在是这些人制定计划的时候了，但他们没有太多选择。纳撒尼尔·菲尔布里克（nathaniel philbrick）在其令人着迷的灾难叙述中写到：这些人大概可以说是在地球上的一个离任何陆地都最远的地方。

这些人知道他们所能到达的最近的岛屿是1200英里以外的马克萨斯群岛（marquesas islands）。但他们听到了一些可怕的谣言。他们听说这些岛屿和附近的一些岛屿上住着食人族。

所以这些人想象着上岸，只会被杀，然后做成一盘中国菜。另一个可能的目的地是夏威夷，但考虑到这个季节，船长担心他们会受到猛烈风暴的袭击。现在，最后一个选择是最远和最困难的：

向南航行1500英里，希望进入季风区，最终被吹到南美海岸。但他们也知道，这样的距离将使他们的食物和水短缺。被食人族吃掉，被暴风雨袭击，或在着陆前饿死。

这些恐惧活跃在这些穷人的想象中。事实证明，他们选择倾听的恐惧将决定他们的生死。

now we might just as easily call these fears by a different name. what if instead of calling them fears, we called them stories? because that's really what fear is, if you think about it.

it's a kind of unintentional storytelling that we are all born knowing how to do. and fears and storytelling have the same ***ponents. they have the same architecture.

like all stories, fears have characters. in our fears, the characters are us. fears also have plots.

they have beginnings and middles and ends. you board the plane. the plane takes off.

the engine fails. our fears also tend to contain imagery that can be every bit as vivid as what you might find in the pages of a novel. picture a cannibal, human teeth sinking into human skin, human flesh roasting over a fire.

fears also have suspense. if i've done my job as a storyteller today, you should be wondering what happened to the men of the whaleship es***. our fears provoke in us a very similar form of suspense.

just like all great stories, our fears focus our attention on a question that is as important in life as it is in literature: what will happen next? in other words, our fears make us think about the future.

and humans, by the way, are the only creatures capable of thinking about the future in this way, of projecting ourselves forward in time, and this mental time travel is just one more thing that fears have in ***mon with storytelling.

事实上，我们可以用不同的名字来称呼这些恐惧。如果我们称之为故事，而不是恐惧呢？因为那才是恐惧的真正含义。如果你仔细想想，你就会知道。

这是一种无意识的讲述我们与生俱来的故事的方式。恐惧与讲故事具有相同的元素。它们具有相同的结构。

就像所有的故事一样，恐惧也有作用。在我们的恐惧中，角色是我们自己。恐惧也有情节。

它们有开头、中间和结尾。你登上飞机。飞机起飞。

引擎失灵。我们的恐惧也会包含像**中描述的那样生动的图像。想象一下食人族，人类牙齿咬人，人肉着火。

恐惧也有悬念。如果我今天像说书人一样留个悬念就不说了，你们也许会很想知道es***号捕鲸船上的人们到底怎么了。我们的恐惧在我们心中制造了一个非常相似的悬念。

就如同所有伟大的故事一样，我们的恐惧让我们把注意力集中到一个无论是在生活中还是在文学中都很重要的问题上：“接下来会发生什么？”换句话说，我们的恐惧让我们思考未来。

顺便一提，人类是唯一能够以这种方式来思考未来、能够提前**自己状况的生物，而这种心理上的时间旅行也是恐惧与讲故事的另一个共同点。

as a writer, i can tell you that a big part of writing fiction is learning to predict how one event in a story will affect all the other events, and fear works in that same way. in fear, just like in fiction, one thing always leads to another. when i was writing my first novel, "the age of miracles," i spent months trying to figure out what would happen if the rotation of the earth suddenly began to slow down.

what would happen to our days? what would happen to our crops? what would happen to our minds?

and then it was only later that i realized how very similar these questions were to the ones i used to ask myself as a child frightened in the night. if an earthquake strikes tonight, i used to worry, what will happen to our house? what will happen to my family?

and the answer to those questions always took the form of a story. so if we think of our fears as more than just fears but as stories, we should think of ourselves as the authors of those stories. but just as importantly, we need to think of ourselves as the readers of our fears, and how we choose to read our fears can have a profound effect on our lives.

now, some of us naturally read our fears more closely than others. i read about a study recently of successful entrepreneurs, and the author found that these people shared a habit that he called "productive paranoia," which meant that these people, instead of di**issing their fears, these people read them closely, they studied them, and then they translated that fear into preparation and action. so that way, if their worst fears came true, their businesses were ready.

作为一个作家，我可以告诉你们，写**很大一部分是学习去**故事中的一个事件会怎样影响所有的其它事件，而恐惧也是这样运作的。在恐惧中，就像在**中，一件事总是导致另一件事。当我在写我第一部**《奇迹时代》时，我花了几个月的时间试图去弄清楚如果地球的旋转突然开始慢下来的话，会发生什么事情。

我们的日子会过得怎样？我们的庄稼会变成怎样？我们的心智会发生怎样的变化？

不久我就意识到这些问题和我小时候晚上问自己的问题很像。如果今晚发生，我经常担心，我的房子会怎么样？我的家人会怎么样？

这些问题的答案通常以故事的形式呈现。所以，如果我们把自己的恐惧不仅仅当作恐惧，而是当作故事，我们就应该把自己当作那些故事的作者。但同样重要的是，我们还要把自己当作是我们的恐惧的读者，而我们选择如何去解读我们的恐惧将对我们的生活产生深远的影响。

现在，我们中的一些人生来就比其他人更深刻地理解我们的恐惧。我最近读了一篇关于成功企业家的研究报告。作者发现这些人有一种共同的习惯，而这种习惯被他称作“productive paranoia”，意思是这些人并不回避自己的恐惧，而是更深入地去研读恐惧。

他们研究恐惧并将其转化为准备和行动。这样，如果他们担心的最坏情况发生，他们的生意就准备好了。

sometimes, of course, our worst fears do ***e true. that's one of the things that is so extraordinary about fear. once in a while, our fears can 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 es*** offers an illuminating, if tragic, example.

after much deliberation, the men finally made a decision. terrified of cannibals, they decided to f***o 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 cannibali**. 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 es*** 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 be***es a story about reading.

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