再见了，宫崎骏！

何航

As a director, he is said to be the Akira Kurosawa of animation. As an animator, he is Japan’s Walt Disney.
作为一位导演，他被称为动画界的黑泽明。作为一位动画大师，他被称为日本的沃尔特•迪斯尼。
Hayao Miyazaki, the Japanese master of fantasy animation, announced his retirement on Sept 6, after the recent release of his new film The Wind Rises.
9月6日，日本奇幻动画大师宫崎骏发布新作《起风了》，之后便宣布退休。
Having come to prominence in the 1970s with his animation work for TV, the 72-year-old is now one of the most respected animation directors in the world.
上世纪70年代，宫崎骏凭借一系列电视动画片而声名大噪，现年72岁的他是当今全球最受尊敬的动画导演之一。
Miyazaki’s vision has remained unique throughout his many films over the years. The worlds he creates — the teeming post-apocalyptic jungle world of Nausicaa of the Valley of the Wind, the strange 19th-century science fiction of Laputa: Castle in the Sky — are as peculiar as they are captivating.
多年来，宫崎骏一直在诸多电影作品中发挥着他那别具一格的想象力。从《风之谷》中广袤的后末日丛林到《天空之城》中的19世纪科幻怪谈，他所创造出的世界光怪陆离，令人着迷。
Here, by explaining the styles, themes and influences of Miyazaki’s films, we hope to take you — especially if you’re unfamiliar with his work — into his magical world and say goodbye to this living legend.
我们希望能够通过剖析宫崎骏电影的风格、主题和影响力，将读者（尤其是不熟悉他作品的读者）带进他的魔幻世界，从而向这位健在的传奇人物道别。
Themes of virtue
美德主题
Though his films have quite a wide range in their settings, tones and target audience, a number of recurring themes run through Miyazaki’s films.
尽管他的影片背景与基调各异，目标群体也是十分广泛，但这些作品中总是反复出现一些主题。
Good and evil
善与恶
Miyazaki rarely traffics in simple good and evil. The worlds he creates tend to be complex and ambiguous. For example, even the ominous witch-like figures in Spirited Away and Howl’s Moving Castle don’t seem so bad once you get to know them.
宫崎骏很少描写简单的善与恶。他所创造的世界错综复杂，模棱两可。例如，即便是《千与千寻》和《哈尔的移动城堡》中那些“来者不善”的巫师角色，一旦你了解他们，就会发现他们似乎并不坏。
Miyazaki has explained that the lack of clearly defined good and evil is because he sees the 21st century as a complex time, in which old norms are no longer true and need to be re-examined. Simple stereotypes cannot be used, even in children’s films.
宫崎骏曾解释道：故事之所以缺少善恶分明，是因为他眼中的21世纪是个复杂的时代，过去陈旧的准则将不再奏效，需要重新被审视。即便是在儿童电影中，简单老套的模式也不再可取。
Environmentalism
环保主义
Miyazaki’s films often emphasize the Earth’s fragility, especially in the context of critiquing development and pollution. In My Neighbor Totoro, a great tree tops a hillside on which magical creatures reside, and the family worships the tree. This ecological consciousness is echoed in Princess Mononoke with a giant primordial forest, trees, flowers and wolves.
宫崎骏的电影经常会强调地球的脆弱，在批判发展与污染问题时尤其如此。在《龙猫》中，山顶的大树上居住着许多奇幻生物，片中的家庭成员对这棵大树崇敬有加。在《幽灵公主》一片中，广袤无垠的原始森林、树木、花朵以及狼群无不呼应着这一生态意识。
Pacifism
和平主义
Though his work can be violent, Miyazaki’s pacifism and opposition to violence go more than surface deep. Conflict and violence are usually seen as misguided and destructive, and Miyazaki’s heroes are often peacemakers. For example, in Howl’s Moving Castle, Howl’s negative view of the war is clear and he refuses to join the fight in any official capacity.
尽管他的作品有时充满暴力，但是宫崎骏的和平主义与反暴力情结却蕴涵于故事表面之下。冲突与暴力通常被人们看作是错误和破坏性的象征，宫崎骏作品里的英雄经常是和平的缔造者。例如，在《哈尔的移动城堡》中，哈尔的厌战情绪显而易见，他拒绝加入任何一方的斗争之中。
Moral formation
德行修养
A significant theme of moral formation runs through Miyazaki’s work. Respect for elders, responsibility, courtesy, generosity, maturity, courage, understanding and hard work are all common virtues exhibited by or acquired in the moral formation of Miyazaki’s young protagonists.
德行修养这个重要主题贯穿了宫崎骏作品始终。敬老、责任、礼貌、慷慨、成熟、勇气、理解以及努力，这些都是宫崎骏作品中年轻的主角们身上的共同美德。
Recurring features
反复出现的特征
Besides their progressive themes, in Miyazaki’s films, viewers frequently encounter the following elements:
宫崎骏作品当中除了一些进步主义题材之外，观众经常会看到以下一些元素：
Children
儿童
Miyazaki’s protagonists are usually children or teens, more often young girls. For example, My Neighbor Totoro features two young girls who, unlike adults, can see the spirit world, and in Ponyo on the Cliff by the Sea a boy befriends a magic creature from the sea. Both Kiki’s Delivery Service and Spirited Away deal with growing up.
宫崎骏作品中的主角通常是儿童或青少年，大多数情况下是是小女孩。例如，《龙猫》中，两个小女孩拥有异于成人的能力——她们可以看到精灵世界。又如，在《悬崖上的金鱼公主》当中，一个男孩与海中精灵成了朋友。《魔女宅急便》和《千与千寻》讲述的都是成长的故事。
Sky and water
天空与水
Two of Miyazaki’s great loves are sky and water, and he uses them in related ways. Flight is a ubiquitous theme — Miyazaki has never done a film that doesn’t involve flying of some kind, whether with gliders, magic brooms, World War I biplanes or with no visible means at all. His imagination seems to constantly soar and leave the pull of gravity behind.
宫崎骏大爱的两个元素是天空与水，并将这两者结合在一起。飞行这个主题无处不在——宫崎骏的作品从不缺乏飞行这个主题，不论是滑翔机、魔法扫帚、一战时期的双翼机，或是一些隐形的飞行元素。他的想象力似乎总是天马行空，把地心引力抛诸脑后。
Water is another way for Miyazaki to defy gravity. In his films he likes to unexpectedly flood spaces with crystal-clear water, and objects floating on the surface or drifting through the depths seem to be suspended by magic.
水是宫崎骏用来摆脱地心引力的又一方式。他在作品中总是喜欢出人意料地让画面充满晶莹剔透的水元素，漂浮在水面或水下的物体似乎被施了魔法一般，悬浮不动。