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还是好多年前,在《文汇读书周报》上读到鲲西先生的一篇书人茶话《书有书的命运》,才知道我们所熟知的《歌德对话录》(朱光潜译《歌德谈话录》)其实有两个译本,而通行的朱光潜先生的译本因为译者个人审美趣味的缘故,我们读到的文字已经丧失了原书轻松活泼的特质,使人无法感受到那种亲聆謦欬的愉悦气氛。我们知道,歌德的谈话和他的作品一样繁复,因为他总是“被伟大的理念所充满,话言丰多无尽地涌出。他的话往往和满开的春天的花园似的”。如果把马蒙德尔(Marmontel)说迪特罗(Diderot现译为狄德罗)的话,用在歌德身上也是极为妥帖的。马蒙德尔说:“只凭著述而理解迪特罗的人是一知半解的人,迪特罗在说话起劲的时候,却是无人可及,使人迷醉的。”可惜,谈话录不能为我们再现歌德或者迪特罗那“使人迷醉的”神态,但至少使我们感受到了他们作品之外的神采,我想这也就是谈话录之所以受人欢迎的缘故。
It was still many years ago that we read a book of calligraphies by Mr. Kunxi on the “Wenhui Reading Weekly Weekly”, “The Fate of Books,” before we know the “Goethe-Verbale Dialogue” (“ There are actually two versions of this book, but the passage of Mr. Zhu Guangqian’s translation has lost the original and lively qualities of the translator because of his personal aesthetic taste, making it impossible for people to feel the kind of pro- Cough pleasant atmosphere. We know that Goethe’s conversation is just as complicated as his work, for he is always ”filled with great ideas and words flowing endlessly, and his words often resemble a spring garden full of flowers.“ It would also be perfectly fitting to use Goethe if we put Marmontel’s Diderot into Diderot. Marmondel said: ”Only people who know and understand Dietro by the book are ill-informed people, and when they talk hard, they are unimaginable.“ Unfortunately, Reproducing the Goethe or the Detroit ”fascinating" demeanor for us, but at least makes us feel outside of their work, and I think this is the reason why Talks are so popular.