The greatest stranger to Mozart was Mozart himself. The greatest gifts he made were given to those who never helped him. More than any other light in music he needed a true friend; he never found one. His heart overflowed with the most tender and ideal love that imagination can create, but it never was appreciated as long as it burned.
莫扎特最陌生的人就是他自己。他将最伟大的礼物赠与给那些从未帮助过他的人。比起在音乐方面的成就，他真正需要的是一个了解他的朋友，尽管他从未找到。他内心的想象力创出了无比细腻、理想化的爱，但这份爱却没有得到欣赏。
When a boy of five or six he astounded Europe by his magnificent concert-playing; thirty years later his coffin was piled upon others in a potter’s-field trench. Such, in brief, is the history of Wolfgang Mozart.
一个五、六岁大的男孩，用他华丽的音乐会征服了整个欧洲；而三十年后，他的棺木堆积在无人认领的公墓中。这就是沃尔夫冈·莫扎特的故事。
Of Mozart’s early boyhood little is known beyond the traditionary folk-lore that lurks about the early history of most of the great musicians of a century and more ago.
除了那些一个多世纪以前，记录大多数伟大音乐家早期历史的传统民间传说之外，关于莫扎特的童年，我们知之甚少。
His most prominent characteristics were his best, and, for that matter, he never had any bad traits. He showed early that his delicate sensitiveness was second only to a generous, unaffected and kind disposition. All through life he was thus. It might be said that he was born a gentleman.
莫扎特最突出的特点就是他的完美。他很小就表现出慷慨、朴实、和善、敏感的特质。莫扎特的一生都保留着这样的性格特征，他是一个天生的绅士。
He was an extremely affectionate child, and was deferential to his mates and to his elders. So classically pure was his mind and so instinctively ideal were his likes that he could not see the imperfect nor bear to view pain or distress without experiencing an emotion so physically active as to reflect in counterpart the pain or distress that he noticed。
他是个充满爱心的孩子，对伙伴和长辈都很恭敬。除非受到外部强烈的情感刺激，因为他的理想主义，他既看不得不完美、也不忍心看到痛苦或悲伤。
Such a supersensitiveness naturally reacted unfavorably, and thus it came that, because his mind was so superior to his body, his body suffered and was easy prey to the subsequent life of irregularity, exposure, and deprivation.
这种超乎常人的敏感对莫扎特很不利，随之而来的是，由于他的思想凌驾于他的身体之上，他饱受痛苦的身体成为之后无常、颠沛流离人生中的牺牲品。
莫扎特《第四小提琴协奏曲》 独奏：文格洛夫
None the less, Mozart was a boy in the fullest sense of the word. Though he romped and spun somersaults in laces and velvet, he was just as boyish and whole-souled about it as Wagner in his madcap pranks with butchers’ boys, or Schubert in his beduck pond village. As a boy Mozart was full of humor.
尽管如此，童年时期的莫扎特仍然是一个完全意义上的男孩。虽然穿着考究，但莫扎特就像瓦格纳和他的小伙伴们一样，一起胡闹、恶作剧或像舒伯特在他的村庄里一样，充满童真和孩子气。
He liked a good joke hugely and never failed to perpetrate one on others when chance offered. In this, however, he was never boisterous or untimely.
小时候的莫扎特很有幽默感。他非常喜欢好笑的笑话，只要有机会，他总会给别人讲笑话。
His humor, like his music, was the outgrowth of an irrepressible love for the beautiful and joyous.
但是他并不聒噪，一直很得体。他的幽默，就像他的音乐一样，是因为对美和欢乐的热爱而产生的。
Mozart’s incomprehensible precocity is elsewhere dilated upon. At the age of three years he had composed a minuet so perfect in its simplicity that one is in despair for words of comment. At six he was traveling with his father, giving concerts all over Europe and composing almost constantly.
莫扎特的早熟也体现在其他方面。他三岁的时候，他谱写了一首《小步舞曲》，它的简洁性如此完美，让人们拍案叫绝。他六岁时，随父亲一起在欧洲各地举行音乐会，同时不停地作曲。
At that age his piano-playing was marvelous, besides which he was an excellent violinist. He was petted by the highest in lands and courts into which his fame preceded him. Far from being the inscrutable genius one would think, Mozart was fresh, naïve, unspoiled, and full of life and spring.
在那个年龄，他的钢琴演奏非常出色，除此之外，他还是一位出色的小提琴家。在莫扎特成名前，他就已经受到了宫廷的追捧，莫扎特远不是人们想象中的高深莫测的天才，他清新、天真、完美无缺，充满了生机和活力。
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