“Jean-Christophe” is the history of the development of a musician of genius. —
“Jean-Christophe” 是一个音乐天才的成长历史。 —

The present volume comprises the first four volumes of the original French, viz.: —
本卷包括了原始法文中的前四卷，即： —

“L’Aube,” “Le Matin,” “L’Adolescent,” and “La Révó —
“黎明”,“早晨”,“青少年”,“启示” —

lte,” which are designated in the translation as Part I—The Dawn; Part II—Morning; —
第一部分——黎明；第二部分——早晨； —

Part III—Youth; Part IV—Revolt. Parts I and II carry Jean-Christophe from the moment of his birth to the day when, after his first encounter with Woman, at the age of fifteen, he falls back upon a Puritan creed. —
第一部分和第二部分描述了让-克里斯托夫从出生时起到15岁与女性初次相遇后退回清教信条的经历。 —

Parts III and IV describe the succeeding five years of his life, when, at the age of twenty, his sincerity, integrity, and unswerving honesty have made existence impossible for him in the little Rhine town of his birth. —
第三部分和第四部分描述了他接下来的五年生活，20岁时，他在出生地的莱茵小镇因真诚、正直和坚定的诚实而无法生存。 —

An act of open revolt against German militarism compels him to cross the frontier and take refuge in Paris, and the remainder of this vast book is devoted to the adventures of Jean-Christophe in France.
对德国军国主义的公开反抗行为迫使他跨越边界，并在巴黎寻求庇护，这本巨著的其余部分描绘了让-克里斯托夫在法国的冒险经历。

His creator has said that he has always conceived and thought of the life of his hero and of the book as a river. —
他的创作者一直将他的主人公和书看作一条河流。 —

So far as the book has a plan, that is its plan. It has no literary artifice, no “plot.” —
就书的计划而言，这就是它的计划。它没有文学艺术手法，没有“情节”。 —

The words of it hang together in defiance of syntax, just as the thoughts of it follow one on the other in defiance of every system of philosophy. —
其中的字句违背语法，思想则违背任何哲学系统。 —

Every phase of the book is pregnant with the next phase. —
书的每个阶段都孕育着下一个阶段。 —

It is as direct and simple as life itself, for life is simple when the truth of it is known, as it was known instinctively by Jean-Christophe. —
它和生活本身一样直接简单，因为当真相被认识时，生活就简单了，正如让-克里斯托夫本能地认识到的那样。 —

The river is explored as though it were absolutely uncharted. —
这条河像是一条完全未被探索的河流。 —

Nothing that has ever been said or thought of life is accepted without being brought to the test of Jean-Christophe’s own life. —
任何对生活的说法或想法，都必须经过让-克里斯托夫自己的生活来验证。 —

What is not true for him does not exist; —
对他不真实的东西对他而言就不存在； —

and, as there are very few of the processes of human growth or decay which are not analysed, there is disclosed to the reader the most comprehensive survey of modern life which has appeared in literature in this century.
由于对人类成长或衰退的过程的分析极少遗漏，读者可以看到文学史上本世纪出现过的最全面的现代生活概况。

To leave M. Rolland’s simile of the river, and to take another, the book has seemed to me like a, mighty bridge leading from the world of ideas of the nineteenth century to the world of ideas of the twentieth. —
离开罗兰先生的比喻，采用另一个比喻，这本书对我来说就像一座伟大的桥，连接着十九世纪的思想世界和二十世纪的思想世界。 —

The whole thought of the nineteenth century seems to be gathered together to make the starting-point for Jean-Christophe’s leap into the future. —
整个十九世纪的思想似乎都聚集在一起，为让-克里斯托夫跳向未来而铺路。 —

All that was most religious in that thought seems to be concentrated in Jean-Christophe, and when the history of the book is traced, it appears that M. Rolland has it by direct inheritance.
那种最虔诚的思想似乎都凝聚在让·克里斯托夫身上，当追溯这本书的历史时，可以发现罗兰先生直接继承了这种思想。

M. Rolland was born in 1866 at Clamecy, in the center of France, of a French family of pure descent, and educated in Paris and Rome. At Rome, in 1890, he met Malwida von Meysenburg, a German lady who had taken refuge in England after the Revolution of 1848, and there knew Kossuth, Mazzini, Herzen, Ledin, Rollin, and Louis Blanc. Later, in Italy, she counted among her friends Wagner, Liszt, Lenbach, Nietzsche, Garibaldi, and Ibsen. She died in 1908. —
罗兰先生1866年出生在法国的克拉穆西，来自一个纯粹的法国血统家族，在巴黎和罗马接受教育。 —

Rolland came to her impregnated with Tolstoyan ideas, and with her wide knowledge of men and movements she helped him to discover his own ideas. —
在1890年的罗马，他遇到了玛尔维达·冯·迈森堡，一位在1848年革命后逃往英国的德国贵妇，她熟悉科苏斯、马兹尼、赫尔岑、勒当和路易·布朗。 —

In her “Mémoires d’une Idéaliste” she wrote of him: —
她在《理想主义者回忆录》中写道: —

“In this young Frenchman I discovered the same idealism, the same lofty aspiration, the same profound grasp of every great intellectual manifestation that I had already found in the greatest men of other nationalities.”
“在这位年轻的法国人身上，我发现了同其他国家最伟大的人物身上一样的理想主义、高尚志向和对每一次重大思想表现的深刻把握。”

The germ of “Jean-Christophe” was conceived during this period—the “Wanderjahre”—of M. Rolland’s life. —
《让·克里斯托夫》的种子就在这一时期—罗兰先生生命中的“流浪年”。 —

On his return to Paris he became associated with a movement towards the renascence of the theater as a social machine, and wrote several plays. —
在回到巴黎后，他参与了一个旨在复兴戏剧作为社会机器的运动，并写了几部剧本。 —

He has since been a musical critic and a lecturer on music and art at the Sorbonne. —
他后来成为索邦大学的音乐和艺术讲师。 —

He has written Lives of Beethoven, Michael Angelo, and Hugo Wolf. Always his endeavor has been the pursuit of the heroic. —
他写了贝多芬、米开朗基罗和雨果·沃尔夫的传记。他一直在追求英雄主义。 —

To him the great men are the men of absolute truth. —
对他来说，伟大的人就是那些追求绝对真理的人。 —

Jean-Christophe must have the truth and tell the truth, at all costs, in despite of circumstance, in despite of himself, in despite even of life. —
让·克里斯托夫必须有真理并说出真理，不惜一切代价，不顾环境，不顾自己，甚至不惜生命。 —

It is his law. It is M. Rolland’s law. The struggle all through the book is between the pure life of Jean-Christophe and the common acceptance of the second-rate and the second-hand by the substitution of civic or social morality, which is only a compromise, for individual morality, which demands that every man should be delivered up to the unswerving judgment of his own soul. —
这是他的法则，也是罗兰先生的法则。整本书中的斗争都在于让·克里斯托夫生命中的纯洁与普通接受第二流和二手物品，以公民或社会道德取代个人道德，要求每个人将自己交付给他自己灵魂的坚定判断。 —

Everywhere Jean-Christophe is hurled against compromise and untruth, individual and national. —
到处都是让·克里斯托夫对抗妥协和虚伪，无论是个体还是国家层面。 —

He discovers the German lie very quickly; —
他很快就揭穿了德国的谎言; —

the French lie grimaces at him as soon as he sets foot in Paris.
当他踏足巴黎时，法国的谎言立即对他做鬼脸。

The book itself breaks down the frontier between France and Germany. —
这本书本身打破了法国和德国之间的界线。 —

If one frontier is broken, all are broken. —
如果一个界线被打破，所有的界线都会被打破。 —

The truth about anything is universal truth, and the experiences of Jean-Christophe, the adventures of his soul (there are no other adventures), are in a greater or less degree those of every human being who passes through this life from the tyranny of the past to the service of the future.
任何事实的真理都是普遍的真理，Jean-Christophe的经历，他灵魂的冒险（没有其他的冒险），更多或更少地与每个经历从过去的暴政到未来的奉献的人类一样。

The book contains a host of characters who become as friends, or, at least, as interesting neighbors, to the reader. —
这本书包含了一大批人物，他们会变成读者的朋友，或者至少变成有趣的邻居。 —

Jean-Christophe gathers people in his progress, and as they are all brought to the test of his genius, they appear clearly for what they are. —
Jean-Christophe在他的进程中聚集了人们，当他们都接受他天赋的考验时，他们清晰地展现出自己的本质。 —

Even the most unpleasant of them is human, and demands sympathy.
即使是最令人不愉快的人，也是人类，也需要同情。

The recognition of Jean-Christophe as a book which marks a stage in progress was instantaneous in France. —
《让-克里斯托夫》这本书在法国立即被认可为标志着进步的一部作品。 —

It is hardly possible yet to judge it. It is impossible to deny its vitality. It exists. —
至今几乎不可能对它评判。它的生命力是无法否认的。它存在着。 —

Christophe is as real as the gentlemen whose portraits are posted outside the Queen’s Hall, and much more real than many of them. —
与放在女王音乐厅外面的绅士们一样真实，甚至比他们中的许多人更为真实。 —

The book clears the air. An open mind coming to it cannot fail to be refreshed and strengthened by its voyage down the river of a man’s life, and if the book is followed to its end, the voyager will discover with Christophe that there is joy beneath sorrow, joy through sorrow (“Durch Leiden Freude”).
这本书净化了空气。一个怀着开放心态的人来到这本书时，一定会被这部沿着一个人生河流的旅程所刷新和加强，如果读者将这本书读到底，他们会与克里斯托夫一起发现，在悲哀之下有快乐，在悲哀中有快乐（“Durch Leiden Freude”）。

Those are the last words of M. Rolland’s life of Beethoven; —
这是M. Rolland写贝多芬传记的最后一句话； —

they are words of Beethoven himself: “La devise de tout âme héroïque.”
这是贝多芬自己的话：“La devise de tout âme héroïque.”

In his preface, “To the Friends of Christophe,” which precedes the seventh volume, “Dans la Maison,” M. Rolland writes:
在第七卷“Dans la Maison”之前的序言“给克里斯托夫的朋友们”中，M. Rolland写道：

“I was isolated: like so many others in France I was stifling in a world morally inimical to me: —
“我曾经孤立无援：像法国的很多人一样，我在一个对我有害的道德世界中感到窒息： —

I wanted air: I wanted to react against an unhealthy civilization, against ideas corrupted by a sham élite: —
我渴望空气：我想反击一个有害的文明，反对被虚伪精英腐蚀的思想： —

I wanted to say to them: ‘You lie! You do not represent France!’ —
我想对他们说：“你们撒谎！你们不代表法国！”。 —

To do so I needed a hero with a pure heart and unclouded vision, whose soul would be stainless enough for him to have the right to speak; —
为了做到这一点，我需要一个纯洁心灵和清澈视野的英雄，他的灵魂必须是无瑕的，以便他有权利说话； —

one whose voice would be loud enough for him to gain a hearing, I have patiently begotten this hero. —
我耐心地培养出了这位能发出足够响亮声音的英雄。 —

The work was in conception for many years before I set myself to write a word of it. —
这部作品在我开始动笔之前酝酿了很多年。 —

Christophe only set out on his journey when I had been able to see the end of it for him.”
克里斯托夫只有当我已经能够看到他的旅程的终点时，才开始了他的旅程。

If M. Rolland’s act of faith in writing Jean-Christophe were only concerned with France, if the polemic of it were not directed against a universal evil, there would be no reason for translation. —
如果罗兰在写作《让-克里斯托夫》时的信仰行为仅仅与法国有关，如果其中的论点并非针对普遍的罪恶，那么就没有翻译的必要。 —

But, like Zarathustra, it is a book for all and none. —
但像查拉图斯特拉一样，这是一本为所有人而写、却也适合任何人的书籍。 —

M. Rolland has written what he believes to be the truth, and as Dr. Johnson observed: —
罗兰先生写下了他认为是真理，正如约翰逊博士所观察的： —

“Every man has a right to utter what he thinks truth, and every other man has a right to knock him down for it….”
“每个人都有权说出自己认为是真理的话，而其他每个人也有权轻蔑他为之摔倒……”

By its truth and its absolute integrity—since Tolstoy I know of no writing so crystal clear—”Jean-Christophe” is the first great book of the twentieth century. —
凭借其真理和绝对的正直——自托尔斯泰以来，我没见过如此清晰的著作——《让·克里斯朵夫》是二十世纪第一部伟大的著作。 —

In a sense it begins the twentieth century. It bridges transition, and shows us where we stand. —
从某种意义上说，它开启了二十世纪。它跨越了过渡期，并向我们展示了我们所处的位置。 —

It reveals the past and the present, and leaves the future open to us….
它揭示了过去和现在，并将未来留给我们去开拓。