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。 他將最偉大的禮物贈與給那些從未幫助過他的人。比起在音樂方面的成就，他真正需要的是一個瞭解他的朋友，儘管他從未找到。他內心的想象力創出了無比細膩、理想化的愛，但這份愛卻沒有得到欣賞。
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.
一個五、六歲大的男孩，用他華麗的音樂會征服了整個歐洲；而三十年後，他的棺木堆積在無人認領的公墓中。這就是沃爾夫岡·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.
除了那些一個多世紀以前，記錄大多數偉大音樂家早期歷史的傳統民間傳說之外，關於莫扎特的童年，我們知之甚少。
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.
莫扎特最突出的特點就是他的完美。他很小就表現出慷慨、樸實、和善、敏感的特質。莫扎特的一生都保留著這樣的性格特徵，他是一個天生的紳士。
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。
他是個充滿愛心的孩子，對夥伴和長輩都很恭敬。除非受到外部強烈的情感刺激，因為他的理想主義，他既看不得不完美、也不忍心看到痛苦或悲傷。
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.
這種超乎常人的敏感對莫扎特很不利，隨之而來的是，由於他的思想凌駕於他的身體之上，他飽受痛苦的身體成為之後無常、顛沛流離人生中的犧牲品。
莫扎特《第四小提琴協奏曲》 獨奏：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.
儘管如此，童年時期的莫扎特仍然是一個完全意義上的男孩。雖然穿著考究，但
莫扎特就像瓦格納和他的小夥伴們一樣，一起胡鬧、惡作劇或像舒伯特在他的村莊裡一樣，充滿童真和孩子氣。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.
小時候的莫扎特很有幽默感。他非常喜歡好笑的笑話，只要有機會，他總會給別人講笑話。
His humor, like his music, was the outgrowth of an irrepressible love for the beautiful and joyous.
但是他並不聒噪，一直很得體。他的幽默，就像他的音樂一樣，是因為對美和歡樂的熱愛而產生的。
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.
莫扎特的早熟也體現在其他方面。他三歲的時候，他譜寫了一首《小步舞曲》，它的簡潔性如此完美，讓人們拍案叫絕。他六歲時，隨父親一起在歐洲各地舉行音樂會，同時不停地作曲。
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.
在那個年齡，他的鋼琴演奏非常出色，除此之外，他還是一位出色的小提琴家。在莫扎特成名前，他就已經受到了宮廷的追捧，莫扎特遠不是人們想象中的高深莫測的天才，他清新、天真、完美無缺，充滿了生機和活力。
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