I wish to record my deep gratitude to Mrs. Masako Kobayashi for her help in reading the Japanese, and to Miss D. Guyver Britton for so kindly going through the English manuscript. 小林雅子女士帮助我阅读了日文，D. Guyver Britton 小姐友好地审阅了英文手稿，在此我深表谢意。
waltraud SUZUKI 华特罗德-铃木
Translator 翻译
PREFACE 前言
Talent is no accident of birth. 天赋不是天生的。
In today’s society a good many people seem to have the idea that if one is born without talent, there is nothing he can do about it; they simply resign themselves to what they consider to be their "fate."Consequently they go through life without living it to the full or ever knowing life’s true joy. That is man’s greatest tragedy. 在当今社会，很多人似乎都有这样的想法：如果一个人生来就没有天赋，那他就无能为力；他们只能顺从他们认为的 "命运"。这就是人类最大的悲剧。
We are born with natural ability to learn. A newborn child adjusts to his environment in order to live, and various abilities are acquired in the process. My thirty years’ experience has proved over and over again that this is true. Many children grow up in an environment that stunts and damages them, and it is assumed that they were born that way; they themselves believe it too. But they are wrong. 我们天生具有学习能力。刚出生的孩子要适应环境才能生存，在这个过程中会获得各种能力。我三十年的经验反复证明了这一点。很多孩子都是在这样的环境中长大的，这样的环境会阻碍和损害他们的成长，人们认为他们生来就是这样的，他们自己也是这样认为的。但他们错了。
An undesirable, disagreeable adult is one who was brought up wrong: so it is with a person unable to do good work. I believe that most readers will agree with me. So-called fate, of course, we cannot deny. We can do nothing about our being born into this world, nor about our having to die sooner or later. 一个不讨人喜欢、不讨人喜欢的成年人是一个被错误教育的人：一个无法做好工作的人也是如此。我相信大多数读者都会同意我的观点。所谓命运，我们当然无法否认。我们无法改变自己出生在这个世界上的命运，也无法改变自己迟早要死的命运。
Good or bad, however, once born we must live with ourselves until the day we die. There arises, then, the inevitable question of how to live. If our ability was not nurtured properly, we have to develop it ourselves. Instead of being defeated by misfortune, we have to make something good of our lives. There is no reason to give up in discouragement; it is possible for every person to improve himself. 然而，无论好坏，一旦出生，我们就必须与自己生活在一起，直到死亡的那一天。因此，不可避免地会出现如何生活的问题。如果我们的能力没有得到很好的培养，我们就必须自己培养。我们不能被不幸打败，而是要让我们的生活变得美好。我们没有理由灰心丧气，每个人都有可能提升自己。
That is why I wrote this book. 这就是我写这本书的原因。
In it I tell how to develop a person’s aptitude; how a mediocre child was turned into a noble human being and an excellent musician. Using examples, I explain how to change a person with stunted ability into a talented one, a mediocre person into an exceptional 在这本书中，我讲述了如何培养一个人的能力，如何将一个平庸的孩子培养成高尚的人和优秀的音乐家。我用实例说明了如何把一个能力低下的人变成一个才华横溢的人、把一个平庸的人变成一个卓越的人。
one. Questions are answered as to how the reader may relate this to himself. Theory is dispensed with and the emphasis is on how to put all this into practice. I relate happy examples and episodes from teaching violin the Talent Education way. 一。书中回答了读者如何将其与自身联系起来的问题。理论是多余的，重点是如何将所有这些付诸实践。我讲述了用才智教育方式教授小提琴的快乐事例和插曲。
A living tree brings forth buds; on each branch blooms lovely flowers. It is the splendid course of nature. Man, I believe, should follow Mother Nature and bring forth fruit. 一棵有生命的树会抽出新芽，每一根枝条上都会开出可爱的花朵。这是大自然的辉煌历程。我认为，人类也应效仿大自然母亲，结出丰硕的果实。
What is man’s ultimate direction in life? It is to look for love, truth, virtue, and beauty. That goes for you, for me, for everyone. If this book can be of help, even a little, I cannot say how happy it will make me. 人类生活的最终方向是什么？那就是追求爱、真、善、美。对你、对我、对每个人都是如此。如果这本书能对我有所帮助，哪怕是一点点，我也会非常高兴。
INTRODUCTION 引言
All Japanese children speak Japanese 所有日本儿童都会说日语
Oh-why, Japanese children can all speak Japanese! The thought suddenly struck me with amazement. In fact, all children throughout the world speak their native tongues with the utmost fluency. Any and every Japanese child-all speak Japanese without difficulty. Does that not show a startling talent? How, by what means, does this come about? I had to control an impulse to shout my joy over this discovery. 哦--为什么，日本孩子都会说日语！我突然惊奇地想到。事实上，全世界的孩子都能流利地说自己的母语。任何一个日本孩子，都能毫不费力地讲日语。这难道不是一种惊人的天赋吗？这是怎么做到的？我不得不控制住为这一发现而欢呼雀跃的冲动。
The children of Osaka speak the difficult Osaka dialect. We are unable to imitate the Tohoku dialect, but the Tohoku children speak it. Isn’t that something of an accomplishment? But no one else I mentioned it to seemed the slightest bit impressed. It was just taken for granted; people in general think that the ability children display is inborn. At my excitement, half of my listeners were startled, and others just thought me absurd. Nevertheless, my discovery actually had great significance; it made me realize that any child is able to display highly superior abilities if only the correct methods are used in training. This happened about thirty years ago, when I was thirtythree or thirty-four years old. Following up the thought that struck me so forcibly on that day, and trying to find a solution, soon became the basic purpose of my life. 大阪的孩子们说着难懂的大阪方言。我们无法模仿东北方言，但东北的孩子会说东北方言。这难道不是一项成就吗？但是，我向其他人提起这件事时，他们似乎都不以为然。人们普遍认为，孩子们的能力是与生俱来的。听我这么一说，一半的听众都惊呆了，还有一些人则认为我很荒唐。不过，我的发现其实意义重大，它让我意识到，只要采用正确的方法进行训练，任何孩子都能展现出超常的能力。这件事发生在大约三十年前，当时我三十三四岁。追踪那天给我带来强烈震撼的想法，并试图找到解决办法，很快就成了我生活的基本目的。
I think it was around 1931 or 1932, when I was teaching violin at the Imperial Conservatory to a class of mostly young men, that a father came to our home accompanied by his four-year-old son. The boy is now a world-famous musician: Toshiya Eto. 我想大约是在 1931 年或 1932 年，当时我在帝国音乐学院教小提琴，班上大多数是年轻人。这个孩子现在是世界著名的音乐家：江藤俊也。
How does this surprising fact come about? 这一令人惊讶的事实是如何产生的呢？
The father asked me to teach his son violin. At that time I didn’t know how to train such a small child, or what to teach him. I didn’t 这位父亲请我教他的儿子学小提琴。当时我不知道如何训练这么小的孩子，也不知道该教他什么。我没有
have such experience. What kind of violin training would be good for a four-year-old? I thought about it from morning to night. 有这样的经验。什么样的小提琴训练才适合一个四岁的孩子呢？我从早到晚都在思考这个问题。
The answer came from my discovery. 答案来自我的发现。
At that time three of my brothers and I had just formed the Suzuki Quartet. One day when we were practicing at the house of my younger brother, it hit me like a flash: all Japanese children speak Japanese! This thought struck me like a flash of light in a dark night. Since they all speak Japanese so easily and fluently, there must be a secret; and this must be training. Indeed, all children everywhere in the world are brought up by a perfect educational method: their mother tongue. Why not apply this method to other faculties? I felt I had made a tremendous discovery. If a child cannot do his arithmetic, it is said that his intelligence is below average. Yet he can speak the difficult Japanese language-or his own native language-very well. Isn’t this something to ponder and think about? In my opinion the child who cannot do arithmetic is not below average in intelligence; it is the educational system that is wrong. His ability or talent simply has not been developed properly. It is astonishing that no one discovered this before, although the situation clearly has existed throughout human history. 当时，我和我的三个兄弟刚刚组建了铃木四重奏。有一天，当我们在弟弟家练习时，我突然想到：所有的日本孩子都会说日语！这个想法就像黑夜中的一道光，让我恍然大悟。既然他们都能如此轻松流利地说日语，那么一定有什么秘诀；而这一定是训练的结果。事实上，世界各地的儿童都是通过一种完美的教育方法（母语）成长起来的。为什么不把这种方法应用到其他方面呢？我觉得自己有了重大发现。如果一个孩子不会算术，人们就会说他的智力低于平均水平。然而，他却能把难懂的日语或自己的母语说得很好。这难道不值得深思吗？在我看来，不会算术的孩子并不是智力低于平均水平，而是教育体制出了问题。他的能力或天赋根本没有得到适当的发展。令人吃惊的是，以前竟然没有人发现这一点，尽管这种情况显然在人类历史上一直存在。
Ability training is the secret 能力培训是秘诀
If the mother-tongue method of education were used in schools today, the results would far surpass those obtained by present methods. For instance, we often hear: “Here is a child who is not very bright; he was born with low intelligence.” But how do we account for the splendid capacity of children to speak Japanese? Do we search for a better method of training? Furthermore, a child is judged only from five or six years of age on. Nobody seems to care what happened before-what kind of education the child had from early infancy. 如果今天在学校里使用母语教育法，其效果将远远超过目前的教育方法。例如，我们经常听到"这个孩子不是很聪明，他天生智力低下"。但是，我们如何解释孩子们说日语的出色能力呢？难道要寻找更好的训练方法吗？此外，对一个孩子的判断只从五六岁开始。似乎没有人关心之前发生了什么--孩子从婴幼儿时期就接受了什么样的教育。
All children skillfully reared reach a high educational level but such rearing must start from the day of birth. Here, to my mind, lies the key to the fuller development of man’s potentials and abilities. 所有经过巧妙培养的孩子都能达到很高的教育水平，但这种培养必须从孩子出生之日起就开始。在我看来，人的潜能和能力能否得到更充分的发展，关键就在于此。
When I was asked to teach four-year-old Toshiya, I thoughtand kept thinking-How? Finally the mother-tongue method occurred to me and I felt that it contained all that was necessary. For thirty years now I have been pleading with people to believe that all children can be well educated, and not to turn away those who drop behind in learning. I named my method Talent Education, and began an educational movement in which children dropping behind or struggling to get along are not turned away. The day of my startling discovery became for me the starting point in my search for human potentials. And how did I fare? With glances back at the past and full of hope for the future, I should like to tell the story. 当我被要求教四岁的俊也时，我一直在想--怎么教？最后，我想到了母语教学法，我觉得它包含了所有必要的东西。三十年来，我一直在恳求人们相信，所有的孩子都能受到良好的教育，不要把学习落后的孩子拒之门外。我把我的方法命名为 "才能教育"，并开始了一场教育运动，在这场运动中，那些学习落后或学习困难的孩子不会被拒之门外。我的这一惊人发现成为我探索人类潜能的起点。我的收获如何呢？带着对过去的回顾和对未来的憧憬，我想把这个故事讲给大家听。
NURTURED BY LOVE 爱的滋养
Planting the seed of ability 播下能力的种子
A seed needs time and stimulation . . . 种子需要时间和刺激 . . .
In our Tokyo Shinagawa branch, headed by Mr. Miyazawa, was a little parakeet, the pet of tiny children who went there for their violin lessons. When Mr. and Mrs. Miyazawa bought the bird, the couple taught it to say in Japanese: 'I am Peeko Miyazawa, I am Peeko Miyazawa." The bird, in his high-pitched voice, later said to the children what it had happened to hear: “Peeko is a good little bird, Peeko is a good little bird.” According to Mr. Miyazawa, you must begin training a bird soon after birth. In the beginning you must have much perseverance, energy, and patience. In order to make the parakeet speak, and develop its ability, it is necessary to repeat the same word over and over again. Just when you think it is useless, despair, and want to give up, you are finally rewarded with some results. 在宫泽先生领导的东京品川分店，有一只小鹦鹉，是去那里上小提琴课的小朋友的宠物。宫泽先生和夫人买下这只鸟后，教它用日语说：'我是宫泽皮子，我是宫泽皮子'。后来，小鸟用它高亢的声音对孩子们说了它偶然听到的话："皮科是只好小鸟 皮科是只好小鸟"宫泽先生说，鸟儿出生后不久就必须开始训练。刚开始时，必须要有足够的毅力、精力和耐心。为了让小鹦鹉开口说话，培养它的能力，必须一遍又一遍地重复同一个词。就在您认为毫无用处、绝望并想要放弃的时候，您终于得到了一些成果。
At first the name Peeko was repeated to the bird about fifty times daily; that made three thousand times in two months. Then, at last, the little bird began to say “Peeko.” If this word had not been coached so assiduously every day, the bird would never have had the “talent” or “ability” to say it. By daily training the knowledge was implanted, then the ability had to be developed until the time was ripe. Preparation, time, and environment came together as stimulants. We don’t see the seed that is planted in the ground, but water, temperature, light and shade act daily as stimuli; little by little there is an unseen change, up to a certain day when the sprout appears. Aren’t the situations comparable? 起初，小鸟每天都要重复叫皮科这个名字五十次左右；两个月内就重复了三千次。最后，小鸟开始说 "皮科 "了。如果不是每天坚持不懈地训练，小鸟永远也不会有说出这个词的 "天赋 "或 "能力"。通过每天的训练，知识被植入，然后必须培养能力，直到时机成熟。准备工作、时间和环境共同起到了刺激作用。我们看不到种在地里的种子，但水、温度、光照和树荫每天都在起着刺激作用；一点一点地发生着看不见的变化，直到某一天新芽出现。这难道不具有可比性吗？
With patience and repetition, the seed blossoms 耐心重复，种子开花
Once a shoot comes out into the open, it grows faster and faster. After teaching the bird to say, by repeating it three thousand times, “Peeko,” “Miyazawa” was added. This time, after having heard “Peeko Miyazawa” daily for fifteen minutes, he could say it after only two hundred times. 笋一旦长到空地上，就会越长越快。在教小鸟说了三千遍 "Peeko "之后，又加上了 "Miyazawa"。这一次，在每天听 "Peeko Miyazawa "十五分钟后，它只说了两百次就会说了。
No doubt it is the same with a human being. Whatever he learns, #the beginning will be slow until the “bud of ability” takes hold. This procedure requires time, but gradually a high ability develops. Isn’t this true? To think it is hopeless or to give up because at first there are no visible results makes all the former training done with so much trouble a waste. The first “planted” ability will also wither away. It is therefore a matter of patience and repetition. If this is doneand we have watched the splendid training Peeko had-we can well understand that ability breeds ability. 毫无疑问，人也是如此。无论学习什么，#开始时都会很缓慢，直到 "能力之芽 "萌发。这个过程需要时间，但逐渐就会形成很高的能力。难道不是这样吗？如果认为没有希望，或者因为一开始没有明显的效果而放弃，那么之前费尽心机的训练就都白费了。最初 "种植 "的能力也会枯萎。因此，这需要耐心和重复。如果能做到这一点，而且我们也看到了皮科的出色训练，我们就能很好地理解能力孕育能力的道理。
Later Peeko learned various words by himself. When the children in the studio played the first tune in the Talent Education program, “Twinkle, Twinkle, Little Star,” Peeko learned to sing it in rhythm with his little voice. This shows that talent develops talent and that the planted seed of ability grows with ever increasing speed. Mr. Miyazawa related the following episode: “It was interesting when I coughed for some days due to a cold. Peeko would say his usual ‘I am Peeko Miyazawa’ and then cough. The cough, of course, nobody had taught him; he added it by himself.” 后来，皮科自己学会了各种单词。当演播室里的孩子们播放才艺教育节目的第一首曲子《一闪一闪小星星》时，皮科学会了用他的小嗓音有节奏地唱这首歌。这说明，天赋会发展天赋，能力的种子会以越来越快的速度成长。宫泽先生讲述了下面这个小插曲："我感冒咳嗽了好几天，这很有趣。Peeko 像往常一样说'我是宫泽 Peeko'，然后咳嗽起来。当然，咳嗽是没人教他的，是他自己加上去的"。
The coughing of the parakeet is evidence for my belief in the development of ability. Because Mr. Miyazawa could train a little bird like this, I have great respect for his ability to train and educate children. 小鹦鹉的咳嗽证明了我对能力培养的信念。因为宫泽先生能把一只小鸟训练成这样，所以我非常敬佩他训练和教育孩子的能力。
A tiny baby responds with joy to a familiar melody 小宝宝欢快地回应熟悉的旋律
The following incident happened fourteen or fifteen years ago one spring in Ueda City, Shinshu Province. 十四五年前的一个春天，信州上田市发生了下面这件事。
Members of Talent Education met at the house of an acquaintance for some pleasant conversation. The children of Mrs. Shimada and Mrs. Kiuchi came in holding their small violins. “Well, shall we have some music?” someone suggested, and, as always, the children happily began to play the various pieces in unison and gave us a concert. Just in front of me sat Mrs. Kiuchi, holding a baby in her arms. I inquired its age and was told that the infant, named Hiromi, was just five months old. Hiromi’s sister, Atsumi, six years old, was daily practicing at that time the Vivaldi A-minor concerto, as well as listening to the record every day. So Hiromi grew up hearing this music daily from the very beginning. I was anxious to know what effect this had on a five-month-old baby, so I announced that I would like to play something, and stood up with my violin. When everybody was quiet, I started playing a minuet by Bach. While I played, my eyes did not leave Hiromi’s face. The five-month-old already knew the sound of the violin well, and her eyes shone while she listened to this piece that she was hearing for the first time. A little while later I switched from the minuet to the Vivaldi A-minor concerto-music that was played and heard continuously in her home. I had no sooner started the piece when an amazing thing happened. 才艺教育小组的成员在一位熟人家里聚会，进行了愉快的交谈。Shimada 女士和 Kiuchi 女士的孩子们拿着小提琴走了进来。有人提议说："那我们来点音乐吧？"孩子们一如既往，高兴地开始齐声演奏各种乐曲，给我们带来了一场音乐会。就在我前面，坐着 Kiuchi 夫人，她怀里抱着一个婴儿。我询问了婴儿的年龄，她告诉我，婴儿名叫 Hiromi，只有五个月大。当时，广美六岁的姐姐敦美每天都在练习维瓦尔第 A 小调协奏曲，还每天听唱片。因此，广美从一开始就每天听着这些音乐长大。我很想知道这对 5 个月大的婴儿有什么影响，于是我宣布我也想演奏一下，并拿着小提琴站了起来。当大家都安静下来时，我开始演奏巴赫的小步舞曲。在我演奏的时候，我的眼睛一直盯着 Hiromi 的脸。这个五个月大的孩子对小提琴的声音已经很熟悉了，她听着这首第一次听到的曲子，眼睛闪闪发亮。过了一会儿，我把小步舞曲换成了维瓦尔第 A 小调协奏曲，这首曲子在她家里一直在演奏和聆听。我刚刚开始演奏这首曲子，令人惊奇的事情就发生了。
Hiromi’s expression suddenly changed. She smiled and laughed, and turned her happy face to her mother, who held her in her arms. “See-that’s my music,” she unmistakably wanted to tell her mother. Soon again, her face turned in my direction, and she moved her body up and down in rhythm. This baby, just five months old, had shown that she knew the melody of the Vivaldi A-minor concerto. In this way, inspiration and interest are acquired involuntarily by an infant from everything he sees and hears, like a seed that is planted. This is what molds-forms-the character. That, I thought, was clear from what I had seen. 广美的表情突然变了。她笑了笑，把开心的脸转向了抱着她的妈妈。"看，这就是我的音乐。"她明确无误地想告诉妈妈。不一会儿，她的脸又转向我的方向，身体随着节奏上下摆动。这个只有五个月大的婴儿已经知道维瓦尔第 A 小调协奏曲的旋律了。就这样，婴儿从所见所闻的一切中不由自主地获得了灵感和兴趣，就像播下了一粒种子。这就是塑造性格的过程。我想，我所看到的一切已经很清楚了。
It is a frightening fact. By no means only words or music, but everything, good or bad, is absorbed. 这是一个可怕的事实。吸收的不仅仅是文字或音乐，而是一切，无论好坏。
Four years later at a big concert in Matsumoto, there were 150 children on the stage with their small violins. They were playing the Vivaldi A-minor concerto. 四年后，在松本的一场大型音乐会上，150 名儿童带着他们的小提琴登上了舞台。他们演奏的是维瓦尔第 A 小调协奏曲。
“Who is that four- or five-year-old girl in the center of the front "前排中间那个四五岁的女孩是谁？
row?” I asked. This child was putting her whole heart and soul into her playing, and her posture was excellent as she happily swayed with the rhythm. 行吗？"我问道。这个孩子全身心地投入到演奏中，她的姿势非常优美，随着节奏快乐地摇摆着。
“That is Hiromi Kiuchi from Ueda.” "那是上田的木内博美"
It was the same child. Indeed, I remembered the five-month-old baby taking real pleasure in natural training, and there she was with her ability nicely developed. 还是那个孩子。的确，在我的记忆中，5 个月大的婴儿在自然训练中获得了真正的快乐，而她的能力也得到了很好的发展。
Such children are the fruit of training and environment 这样的孩子是训练和环境的成果
Ten years later I received a letter, with some music attached, from Hiromi, who was then a junior-high-school student: 'Dear Professor: I wrote this poem and composed the music of this song. There was a contest for all junior high schools throughout Japan in verse writing and composition. My song was accepted and won first place." 十年后，我收到了当时还是初中生的 Hiromi 写给我的一封信，信中附有一些乐谱：'亲爱的教授：这首诗是我写的，这首歌是我谱的曲。当时全日本的初中都在举行诗歌创作和作曲比赛。我的歌曲被选中并获得了第一名"。
It takes a great deal of artistic sense to write poetry and music. Remembering the baby held in its mother’s arms listening to my playing of the Vivaldi concerto and joyfully matching the rhythm with the movements of her body, I am convinced that this beautiful talent and admirable humanity were trained by the method the parents used for her education. 创作诗歌和音乐需要很强的艺术感。回想起婴儿被母亲抱在怀里，听着我演奏维瓦尔第协奏曲，欢快地配合着她身体的律动，我深信，这种美好的天赋和令人钦佩的人性，是父母用教育的方法培养出来的。
Atsumi and Hiromi, born ordinary children, were indeed fortunate to be reared like this. 笃实和广美，生来就是普通的孩子，能这样被抚养长大，确实是幸运的。
Every single human being’s personality-his ability, his way of thinking and feeling-is carved and chiseled by training and environment. It shows in each person’s face and eyes. His whole character becomes visible. The stamp of history changes day by day, matching the steps of man’s living. This is life’s delicate working. 每个人的个性--他的能力、他的思维和感受方式--都是经过训练和环境雕琢而成的。它表现在每个人的脸上和眼睛里。他的整个性格都会显现出来。历史的印记日新月异，与人的生活步调一致。这就是生活的精妙之处。
Later it will be explained whether one will or will not cope with the rising question of how and in what way to live. But now, for a little while, I will continue to speak on the matter of concern: how to grow up and how to bring up. 稍后，我们将解释一个人是否会应对如何生活和以何种方式生活这一日益突出的问题。但现在，我将继续谈谈大家关心的问题：如何成长，如何抚养。
Talent is not inherited 天赋不是遗传的
The first month in a nightingale’s life determines its fate… . . 夜莺生命中的第一个月决定了它的命运......。
I had always thought that a nightingale’s incomparable song was instinctive or inherited. But it is not so. Nightingales to be used as pets are taken as fledglings from nests of wild birds in the spring. As soon as they lose their fear and accept food, a “master bird” is borrowed that daily sings its lovely song, and the infant bird listens for a period of about a month. In this way the little wild bird is trained by the master bird. This method has been used in Japan since olden times. The best environment is furnished for training the birds. In short, it is the nightingale’s “talent education.” The master bird plays the role of teacher to the little bird. The pupil goes on to receive various other kinds of training, but it is most important to have a good teacher during the first month. Whether the wild bird will develop good or bad singing quality is indeed decided in the first month by the voice and tone of its teacher. It is not a matter of being born a good or a bad singer. Be it only the case of a nightingale, the life force has a wonderful power to adapt to environment. If it has a good teacher, the infant bird will, through physiological transformation, learn from experience to produce tones as beautiful as those of its teacher. But if a bird is brought to such a teacher after being raised by wild nightingales, there is always failure, as long experience has shown. This is the law of nature in shaping and forming life’s potential. Isn’t the example of the little nightingale a valuable hint for the development of human potential as well? 我一直以为，夜莺无与伦比的歌声是一种本能或遗传。但事实并非如此。用作宠物的夜莺都是春天从野鸟巢中叼来的雏鸟。一旦它们失去恐惧并接受食物，就会借来一只 "主人鸟"，每天唱着动听的歌，而幼鸟则要听上一个月左右。这样，小野鸟就接受了 "主人鸟 "的训练。日本自古以来就使用这种方法。日本为训练鸟儿提供了最好的环境。简而言之，这就是夜莺的 "天赋教育"。主人是小鸟的老师。学生还会接受其他各种训练，但最重要的是在第一个月里有一个好老师。野鸟的歌唱质量是好是坏，在第一个月里确实是由老师的声音和音调决定的。这不是天生的好歌手或坏歌手的问题。单就夜莺而言，其生命力就具有适应环境的神奇力量。如果它有一个好老师，幼鸟就会通过生理变化，从经验中学会发出和老师一样美妙的音调。但是，如果一只鸟是在野生夜莺的哺育下长大的，再把它带到这样的老师身边，那么它总是会失败，长期的经验已经证明了这一点。这就是大自然塑造和形成生命潜能的规律。小夜莺的例子不也是对人类潜能开发的宝贵提示吗？
I myself believe this very strongly. For the sake of our little ones, therefore, I stress as much as I can the need to provide the best influences in rearing children. 我本人对此深信不疑。因此，为了我们的孩子，我尽我所能强调，在养育孩子的过程中，我们需要提供最好的影响。
All the world's children could be brought up singing out of tune 全世界的孩子都可能唱着跑调的歌长大
The shaping of life’s capacity stems from the simple rule seen in the example of the nightingale. Now we will look at the forming 生命能力的形成源于夜莺例子中的简单规则。现在我们来看看塑造
of ability in a human being. Mothers often say to me, “I am tonedeaf,” to explain that their child is the same. They think it is hereditary and that there is nothing they can do about it. But just as nightingales are not born tone-deaf, neither are human infants. On the contrary, a baby absorbs perfectly any out-of-tune pitch of its mother’s lullabies. It has a marvelous ear. That’s why the child will later sing in the same way. Osaka children absorb the intricate Osaka dialect in exactly the same fashion. 的能力。母亲们经常对我说："我是音盲"，以此来解释她们的孩子也是音盲。她们认为这是遗传的，对此她们无能为力。但是，夜莺并不是天生的音盲，人类婴儿也不是。相反，婴儿能完美地吸收母亲摇篮曲中任何走调的音调。他的耳朵非常灵敏。这就是为什么孩子以后会用同样的方式唱歌。大阪儿童也以同样的方式吸收着复杂的大阪方言。
If a baby is brought up listening to a recording of a song out of tune, his ears will become accustomed to it, and it will be very hard for him to change later on. Thus, if we wanted to, we could make all children throughout the world tone-deaf. But it is clear that if we can do this, there is no such thing as intrinsic musical talent. This fact needs to be understood. We need to understand the importance of the ear. 如果一个婴儿从小就听着跑调的歌曲录音长大，他的耳朵就会习惯这种声音，以后就很难改变了。因此，如果我们愿意，我们可以让全世界所有的孩子都变成音盲。但很显然，如果我们能做到这一点，就不会有所谓的内在音乐天赋。我们需要了解这一事实。我们需要了解耳朵的重要性。
In short- 短期内
We must study how to develop talent through education. 我们必须研究如何通过教育培养人才。
We must realize that talent, not only in music but in other fields as well, is not inherited. 我们必须认识到，不仅在音乐领域，在其他领域，天赋也不是与生俱来的。
Two children brought up by a wolf 狼抚养的两个孩子
Man is born without talent. People are what they are as a result of their own specific environments. The life force adapts itself to fit the environment. This is brought out clearly in a valuable work by Dr. Fumio Kida, entitled Child Psychology. In it Dr. Kida tells the story of two little girls brought up by a wolf. 人天生没有才能。人之所以为人，是其自身特定环境的结果。生命力会自我调整，以适应环境。这一点在木田文雄博士（Dr. Fumio Kida）的一本名为《儿童心理学》（Child Psychology）的珍贵著作中得到了清晰的体现。在这本书中，木田博士讲述了两个由狼抚养长大的小女孩的故事。
In 1941 two professors from Denver and Yale universities received an account of a valuable piece of research. A priest in India had found two small children who had been raised by a wolf. One was about two years old and the other about seven. The younger one was named Amala, the other Kamala. The account covered nine years of observations after they were found, including photos by Father Singh. The discovery was made northwest of Calcutta in a jungle 1941 年，丹佛大学和耶鲁大学的两位教授收到了一份有价值的研究报告。印度的一位牧师发现了两个被狼抚养长大的小孩。一个大约两岁，另一个大约七岁。小的叫阿马拉，大的叫卡马拉。这篇报道涵盖了他们被发现后九年的观察情况，包括辛格神父拍摄的照片。发现地点位于加尔各答西北部的丛林中
zone. (It is said that among natives in India the practice of abandoning girl babies still prevails.) 区。(据说在印度当地人中，遗弃女婴的习俗仍然盛行）。
Head, breast and shoulders of both children were covered with thick hair. After it was cut, they looked like human beings. 两个孩子的头部、胸部和肩部都长满了浓密的头发。头发被剪掉后，他们看起来就像人一样。
In the wolf’s cave the infants crawled on all fours, their eyes seeing clearly in the dark. Their noses were extremely sensitive. They ran fast on all fours, like a dog, and people could not overtake them. Their shoulders were wide, their legs powerful, with bent thighs that would not stretch out straight. They grasped things with their mouths, not with their hands. Food and water were taken in a doglike manner. Kamala was particularly advanced in the way of a wolf. She was not only fond of raw meat but showed a strong predilection for rotten meat. She was immune to change in temperature and did not perspire. When it was hot, she would hang out her tongue and pant like a dog. Her skin had a glassy smoothness and did not become soiled. But the palms of her hands were callused. Her head with its long and matted hair was grotesquely large. At the slightest noise her ears stood up and she became tense. It she was angered, her ’ nostrils would flare and she would growl like a dog. If one tried to interfere while she was eating, she would bare her teeth and snarl. 在狼洞里，婴儿四肢着地，眼睛在黑暗中看得很清楚。他们的鼻子非常灵敏。他们四肢着地跑得很快，就像狗一样，人们无法超越他们。它们的肩膀宽阔，双腿有力，大腿弯曲，无法伸直。他们用嘴抓东西，而不是用手。食物和水都是以狗的方式摄取的。卡马拉的狼性尤为突出。它不仅喜欢吃生肉，还对腐肉情有独钟。它对温度变化免疫，不会出汗。热的时候，她会伸出舌头，像狗一样喘气。她的皮肤像玻璃一样光滑，不会弄脏。但她的手掌上却长满了老茧。她的头又长又乱，大得怪异。稍有动静，她的耳朵就会竖起来，变得紧张起来。如果她被激怒了，她的鼻孔就会张开，像狗一样咆哮。如果有人试图在它吃东西的时候打扰它，它就会龇牙咧嘴地咆哮。
During the day she slept, but as soon as the sun set her activity started. At night, just as she had done when she lived among wolves, she would howl three times at accurate intervals-at ten, one, and three o’clock. This habit had become second nature, because for years she had been howling regularly with the wolves together in a chorus. She did not stop howling during the nine years she was with human beings, but continued until she died, at the age of sixteen. Kamala’s voice had neither human nor animal characteristics. The sound was peculiar, indeterminable. 白天她在睡觉，但太阳一落山，她就开始活动。晚上，就像她在狼群中生活时一样，她会以准确的时间间隔嚎叫三声--十点钟、一点钟和三点钟。这个习惯已经成了它的第二天性，因为多年来它一直和狼群一起有规律地嚎叫。在与人类相处的九年里，她从未停止过嚎叫，一直持续到 16 岁死去。卡马拉的声音既没有人类的特征，也没有动物的特征。声音很特别，无法确定。
Could you call this inherited? 你能说这是遗传的吗？
A human child living among wolves and brought up by them took on their habits. To survive, man instinctively adapts himself to his surroundings. A tremendous and sublime life force works to grasp the components of our environment. I am filled with awe at the thought of this power. 生活在狼群中并由狼抚养长大的人类孩子，养成了狼的习性。为了生存，人类本能地使自己适应周围的环境。一种巨大而崇高的生命力在努力把握我们所处环境的各个组成部分。一想到这种力量，我就充满了敬畏。
The facts above show how important it is to guide children all through early life. We must give much thought as to how children 上述事实表明，引导儿童的早期生活是多么重要。我们必须深入思考儿童如何
should be reared and trained, how the development of their minds, sense, wisdom and conduct should be guided. Till now we have thought and believed that all this was inborn or inherited. I strongly recommend that we abandon such notions. What misery it was for Amala and Kamala to have been raised as they were! It came to an end when they were taken from the wolf’s cave and brought into human society, but their experience proves to us the power of the living soul. In spite of being human, they both adapted very well to their condition in life, that is, to the condition of a wolf. If this high degree of power had been allowed to work in them in a civilized community with good environment, there would have been splendid educational results. As it was, scientists judged them to be idiots. I don’t think they were, considering how well they adapted themselves to their surroundings. The point is it is not heredity that molds us but environment. Children live, see, and feel, and their ability develops to fit their surroundings. Of course, this hypothesis ignores heredity, which people stubbornly insist is so important. 应该如何培养和训练他们，应该如何引导他们的思想、感觉、智慧和行为的发展。迄今为止，我们一直认为并相信这一切都是与生俱来或先天遗传的。我强烈建议我们放弃这种想法。阿马拉和卡马拉的成长经历是何等的悲惨！但他们的经历向我们证明了活的灵魂的力量。尽管他们是人类，但他们都很好地适应了自己的生活条件，也就是狼的生活条件。如果让他们在一个环境良好的文明社会中发挥这种强大的力量，一定会取得辉煌的教育成果。然而，科学家们却把他们视为白痴。考虑到他们对周围环境的适应能力，我不认为他们是白痴。问题的关键在于，塑造我们的不是遗传，而是环境。孩子们生活、观察和感受，他们的能力发展与周围环境相适应。当然，这一假设忽略了人们固执地认为非常重要的遗传。
But consider these children running around on all fours, using their mouths like dogs to grasp things between their teeth instead of using their hands, and having a desire for raw meat and a fancy for rotten food. Moreover, they were young girls; yet their shoulders and breasts were covered with thick hair. Can anyone say that this is hereditary? 这些孩子四肢着地，像狗一样用嘴去咬东西，而不用手，还喜欢吃生肉和腐烂的食物。而且，她们都是年轻女孩，肩膀和胸部却长满了浓密的毛发。有谁能说这是遗传的吗？
Now, in our society we don’t actually throw our children to the wolves. But the poor environment some have to experience soon after birth hurts and damages their developing abilities to such an extent that it is almost as bad as having been raised among wolves. To look at a school-age child with stunted or damaged abilities and say that this is inherited is a grave mistake. The destiny of children lies in the hands of their parents. 现在，在我们的社会中，我们实际上并没有把孩子扔到狼群中。但是，有些孩子在出生后不久就不得不经历恶劣的环境，这对他们的能力发展造成了伤害和损害，其程度几乎不亚于在狼群中长大。如果看到学龄儿童能力发育不良或受损，就说这是遗传的，那就大错特错了。孩子的命运掌握在父母手中。
What does not exist in the environment cannot be developed 环境中不存在的东西是无法开发的
We have no way of knowing the qualities of a suckling. . . . 我们无从得知哺乳动物的品质。. . .
The faculty I know best is music. That is why I will talk about music-whether inherited gifts or qualities exist or not. It has been 我最了解的学科是音乐。这就是为什么我会谈论音乐--无论是否存在遗传的天赋或品质。一直以来
always thought that talent or superior qualities are inborn, or inherited. But can we test a suckling to find out whether or not such things are present? The problem is that children five or six years old and already trained are judged from there on as to their ability, superior or inferior. Yet it is the earliest stages of infancy that are critical. We should be doing research in the potential talents of suckling babes. If we are going to meet the challenges of the future, we should be fulfilling the basic needs of mankind. These are the things to study. I do the best I can, but that is not enough. 我们总是认为，天赋或优秀品质是与生俱来的，或者说是遗传的。但是，我们能通过测试一个乳臭未干的婴孩来发现是否存在这些东西吗？问题在于，五六岁的孩子已经受过训练，从那时起就可以判断他们的能力是优是劣。然而，婴儿的最初阶段才是至关重要的。我们应该对吃奶的婴儿的潜在才能进行研究。如果我们要迎接未来的挑战，就应该满足人类的基本需求。这些才是需要研究的东西。我尽我所能，但这还不够。
In the matter of disposition and heredity, I am convinced that it is only the body’s physiological functioning ability that can be measured as either superior or inferior at the time of birth. From then on, only psychological influences are received from the child’s environment. And it is the conditions of that environment that shape the core of his ability. 在性情和遗传的问题上，我深信，只有身体的生理功能能力才能衡量出生时的优劣。从那时起，孩子所处的环境只会对其产生心理影响。而正是这种环境条件塑造了他的核心能力。
Good environmental conditions produce superior abilities 良好的环境条件造就卓越的能力
We don’t have to look for specific innate abilities or talents. It is a superior environment that has the greatest effect in creating superior abilities. The cases of Hiromi Kiuchi and the nightingale and Peeko, the parakeet, all bear this out. There is no use in judging children’s abilities from the training they receive five or six years after birth. Abilities are born and developed by the working of the vital forces of the organism as it strives to live and to adapt to its environment right in the beginning. Therefore, the only superior quality a child can have at birth is the ability to adapt itself with more speed and sensitivity to its environment than others. 我们不必寻找与生俱来的特殊能力或天赋。优越的环境才是创造卓越能力的最大因素。木内博美、夜莺和鹦鹉皮科的事例都证明了这一点。从孩子出生五六年后接受的训练来判断他们的能力是没有用的。能力是在机体生命力的作用下产生和发展的，因为机体在一开始就努力生活和适应环境。因此，孩子在出生时所能具备的唯一优越品质，就是比其他人更快、更敏感地适应环境的能力。
A clever baby can become tone-deaf. It can even become a wolf. In fact, it can become just about anything, in accord with its specific environment. I firmly believe that cultural and musical aptitude does not come from within, and is not inherited, but occurs through suitable environmental conditions. It is only a question of sensitivity and adaptive speed. Therefore, to be born with excellent or 一个聪明的婴儿可能会变成音盲。它甚至可以变成狼。事实上，在特定的环境中，它可以变成任何东西。我坚信，文化和音乐天赋并不是由内而外产生的，也不是遗传的，而是通过适宜的环境条件产生的。这只是一个敏感度和适应速度的问题。因此，天生具有优秀或
superior qualities only means to be born with an ability to adapt more speedily and sensitively to one’s environment. For a human being to acquire a wolf’s sense and habits shows man’s ability to adapt to his environment, whatever it may be. If Einstein, Goethe, and Beethoven had been born during the Stone Age, wouldn’t they likewise have had only the cultural ability and education of men of the Stone Age? The converse is also true: if I were to receive a suckling babe of the Stone Age and educate him, before long he would be able to play a violin sonata by Beethoven as well as any young person of today. Again, if a child born today were to be brought up and educated in a society of five thousand years hence, he would adapt to the customs and habits of that society. 优越的品质只意味着生来就有能力更快、更敏感地适应环境。人类能够获得狼的感觉和习性，说明人类有能力适应环境，无论环境如何。如果爱因斯坦、歌德和贝多芬出生在石器时代，他们不同样只有石器时代人的文化能力和教育水平吗？反之亦然：如果我接收一个石器时代的襁褓婴儿并对他进行教育，用不了多久，他就能像今天的年轻人一样演奏贝多芬的小提琴奏鸣曲。同样，如果今天出生的孩子在五千年后的社会中成长和接受教育，他也会适应那个社会的风俗习惯。
What does not exist in the cultural environment will not develop in the child 文化环境中不存在的东西不会在孩子身上得到发展
Wherever they are born-in Western countries, in the Orient, or in different districts of Africa-children are brought up according to their own particular culture. Children have to adapt to manifold environments and are brought up in superior or inferior surroundings, depending on their parents. 无论出生在西方国家、东方还是非洲的不同地区，儿童都是按照自己的特殊文化成长起来的。儿童必须适应不同的环境，在优越或劣质的环境中成长，这取决于他们的父母。
There is no result without cause. Wrong education and upbringing produces ugly personalities, whereas a fine upbringing and good education will bring forth superior sense and feeling, as well as nobility and purity of mind. 没有无缘无故的结果。错误的教育和教养会造就丑陋的人格，而优良的教养和良好的教育则会带来超凡的理智和情感，以及高尚和纯洁的心灵。
All children adapt the vital forces of their organism to their respective environments. 所有儿童都会根据各自的环境调整其机体的生命力。
Professor N. H. Pronko of Wichita (Kansas) University came to visit me in Matsumoto several years ago. He had made experiments along these lines and found that babies brought up in different cultural environments during their first nine months adapted themselves to their respective environments. Qualities not required by any particular environment did not develop. He had published the results of his studies in America. 几年前，堪萨斯州威奇托大学的 N. H. Pronko 教授来松本看望我。他按照这个思路做了一些实验，发现在不同文化环境中长大的婴儿，在头九个月都能适应各自的环境。任何特定环境所不需要的品质都不会发展。他在美国发表了他的研究成果。
I cannot emphasize firmly enough and often enough how wrong it is to judge an already trained child and to say that its abilities are due to superiority or inferiority at birth. This kind of thinking 我再三强调，对一个已经受过训练的孩子妄加评论，说他的能力是由于出生时的优劣造成的，是多么错误。这种想法
should be abandoned. We must put an end to this misconception. There is no telling to what heights children can attain if we educate them properly right after birth. Should we not investigate the possibilities? Good environmental conditions and a fine education cannot help but contribute to children’s welfare and happiness, as well as promising light and hope for the future of mankind. 应该放弃。我们必须消除这种误解。如果我们能在孩子出生后对他们进行适当的教育，不知道他们能达到什么样的高度。我们难道不应该研究一下这些可能性吗？良好的环境条件和优良的教育，必然会给孩子们带来幸福和快乐，也会给人类的未来带来光明和希望。
'Will my boy amount to something?', an offensive question 我的孩子会有出息吗？"，一个令人不快的问题
The mother of one of my students came one day to inquire about her son. This student had good musical sense, practiced very well, and was a superior child. 有一天，我一个学生的母亲来询问她儿子的情况。这个学生乐感很好，练习也很认真，是个优秀的孩子。
“Sensei [Professor], will my boy amount to something?” the mother asked me, just like that. "老师（教授），我的孩子会有出息吗？"母亲就这样问我。
I answered laughingly, "No. He will not become ‘something.’ " 我笑着回答："不，他不会变成'什么'。"
It seems to be the tendency in modern times for parents to entertain thoughts of this kind. It is an undisguisedly cold and calculating educational attitude. When I hear things like this, I want to reply in a joking way. But the mother was alarmed and surprised by my answer. 在现代社会，家长们似乎都有这种想法。这是一种毫不掩饰的冷酷和斤斤计较的教育态度。听到这样的话，我想以开玩笑的方式回答。但我的回答却让这位母亲感到震惊和意外。
So I continued, “He will become a noble person through his violin playing. Isn’t that good enough? You should stop wanting your child to become a professional, a good money earner. This thought is concealed in your question and is offensive. A person with a fine and pure heart will find happiness. The only concern for parents should be to bring up their children as noble human beings. That is sufficient. If this is not their greatest hope, in the end the child may take 于是我继续说："他会通过拉小提琴成为一个高尚的人。这还不够好吗？你不应该再希望你的孩子成为专业人士，成为一个赚钱的好手。你的问题中隐藏着这种想法，令人不快。一个拥有美好纯洁心灵的人会找到幸福。父母唯一关心的应该是把孩子培养成高尚的人。这就足够了。如果这不是他们最大的希望，那么到头来，孩子可能会把
, a road contrary to their expectations. Your son plays the violin very well. We must try to make him splendid in mind and heart also.” 这与他们的期望背道而驰。您的儿子小提琴拉得很好。我们必须努力让他的思想和心灵也变得灿烂"。
The boy who received his first lessons from his father 从父亲那里接受第一课的男孩
That I had started a new educational movement in violin teaching became known to various parents. 我在小提琴教学领域掀起了一场新的教育运动，这一点已为众多家长所知。
“Will you please listen to my boy’s playing?” Mr. X of Nagoya City asked. He had taught his son himself. The boy was then eighteen years old and was studying the Mozart Concerto No. 5. "您能听听我儿子的演奏吗？"名古屋市的 X 先生问道。他的儿子是他亲自教的。男孩当时十八岁，正在学习莫扎特第五协奏曲。
“Gladly,” I said. “Please tell him to visit me any time.” "很乐意" 我说"请转告他随时来看我"
About a month later the young man came alone to see me. Seeing the youth for the first time, I was surprised at how much he resembled his father-the tone of his voice, his Nagoya dialect, his manner of speaking, even his greeting, the same habit of both hands in front of him, his laugh too-everything just like his father, so much so, I had the illusion of speaking to Mr. X. 大约一个月后，年轻人独自来找我。第一次见到这个年轻人，我惊讶于他和他父亲的相似之处--他的语调、他的名古屋方言、他的言谈举止，甚至他的问候语、双手放在身前的习惯、他的笑声--一切都和他父亲一模一样，以至于我有一种和 X 先生说话的错觉。
I asked the boy to begin playing. He took his violin out of the case, and, while tuning it, handled the bow with the same quickness and movements as his father. But that was not all. When he began to play, his posture, the movements of hands and bow, were absolutely the same as his father’s. But not only that-even the shortcomings in his performance and musical sense, sometimes linking musical intervals-his tone, and various small details-all resembled his father’s. 我请男孩开始演奏。他从琴盒中取出小提琴，一边调音，一边用和他父亲一样的速度和动作操作琴弓。但这还不是全部。当他开始演奏时，他的姿势、手和弓的动作都与父亲完全一样。不仅如此，就连他在演奏和乐感方面的缺点，有时音程的衔接，他的音色，以及各种小细节，都和他的父亲如出一辙。
Until then I had never been so vividly impressed with how much a child adapts to his environment. The fact that he had lived in this family for eighteen years showed distinctly in the young man’s behavior, sense, and feeling. 在此之前，我从未如此生动地感受到一个孩子对环境的适应能力有多强。他在这个家庭生活了十八年，这一点在这个年轻人的行为、意识和情感中表现得淋漓尽致。
About thirty years ago little four-year-old Toshiya Eto became my first small pupil. Then came another infant pupil, Koji Toyoda. When we moved from Nagoya to Tokyo, Koji’s father also moved to Tokyo. 大约三十年前，四岁的江藤俊也成为我的第一个小学生。后来，我又收了一个小徒弟--丰田浩二。我们从名古屋搬到东京时，浩二的父亲也搬到了东京。
Later, after hearing three-year-old Koji Toyoda play Dvorak’s “Humoresque” and seven-year-old Toshiya Eto play a concerto, a father visited me, bringing along his three-year-old son. He asked my opinion as to whether or not his son had musical talent. If the boy was talented, he would like him to study violin. 后来，在听完三岁的丰田浩二演奏德沃夏克的《胡莫斯克》和七岁的江藤俊也演奏协奏曲后，一位父亲带着他三岁的儿子来拜访我。他问我他儿子是否有音乐天赋。如果孩子有音乐天赋，他希望他学习小提琴。
Who can judge whether a three-year-old boy has musical talent and cultural aptitude? I told the father that talent is not inherited or inborn but has to be learned and developed, but he didn’t understand me. How many such parents there are in the world! 谁能判断一个三岁的孩子是否有音乐天赋和文化素养呢？我告诉这位父亲，天赋不是遗传的，也不是与生俱来的，而是需要学习和培养的，但他不理解我。世界上有多少这样的父母！
Reflecting on the young man who grew up to be the image of his father, I think, generally speaking, that we need only look at the parents to guess what the children will be like. 在反思这位成长为父亲形象的年轻人时，我想，一般来说，我们只需要看看父母，就能猜到孩子会是什么样子。
The remarkable life force 非凡的生命力
The bow flies away, the mother picks it up. . . . 蝴蝶结飞走了，妈妈把它捡起来.. .
There are branches of Talent Education throughout Japan. Any child can enter without any test, because our principle is based on the premise that talent is not inborn, that every child acquires ability through experience and repetition. 日本全国各地都有天才教育分校。任何孩子都可以免试入学，因为我们的原则是：天赋不是与生俱来的，每个孩子的能力都是通过经验和反复练习获得的。
For the sake of our children, let us educate them from the cradle to have a noble mind, a high sense of values, and splendid ability. At our institute we use violin playing to develop these qualities in children. 为了我们的孩子，让我们从摇篮起就教育他们拥有高尚的思想、崇高的价值观和出色的能力。在我们学院，我们通过小提琴演奏来培养孩子们的这些品质。
All teachers of our Talents Education branches follow this course. Together with parents they spare no effort in guiding children to becoming noble human beings. 我们人才教育分校的所有教师都遵循这一方针。他们与家长一起，不遗余力地引导孩子成为高尚的人。
The following episode took place at our Nakatsugawa City, Gifu Prefecture, branch. Among the many students there was a six-yearold girl who had had infantile paralysis; she was not able to control the right side of her body, and she had a squint in the right eye. When playing “Twinkle, Twinkle, Little Star,” just as she got to the last two notes of the first phrase, her right arm and hand would involuntarily give a violent twitch, sending the bow flying out of her hand. 下面这个小插曲发生在岐阜县中津川市分校。在众多学生中，有一位六岁的女孩，她曾患过小儿麻痹症，右侧身体无法控制，右眼斜视。在演奏 "一闪一闪小星星 "时，当她演奏到第一乐句的最后两个音符时，她的右臂和手会不由自主地剧烈抽搐，弓子从她手中飞出。
Mr. Yogo, the teacher, was very distressed and troubled. He told me about it and asked for advice. I simply gave the following answer: “Both teacher and parents should accept the fact and keep on.” The teacher patiently went on with lessons, and every day the mother picked up the bow innumerable times. It must have been very hard for her. But the great love and persistent endeavor of both mother and teacher won out. The time came when the child was finally able to hold the bow throughout the entire piece. 老师 Yogo 先生非常苦恼和不安。他把这件事告诉了我，并征求我的意见。我的回答如下"老师和家长都应该接受这个事实，并坚持下去"。老师耐心地继续上课，母亲每天都要无数次地拿起弓。她一定很辛苦。但是，母亲和老师伟大的爱和坚持不懈的努力赢得了胜利。最后，孩子终于能够握住整张弓了。
A half year of endeavor and persistent effort 半年的努力与坚持
In the relatively short time of about six months the girl was able to play “Twinkle, Twinkle, Little Star” all the way through. Thanks 在相对较短的六个月时间里，女孩就能完整地演奏《一闪一闪亮晶晶》了。谢谢
to the daily training, power came back to her right hand and her ability was established. 经过每天的训练，她的右手恢复了力量，能力也得到了巩固。
The mother and the teacher went through this half year’s ordeal together. What had looked like an impossibility became a possibility. If they had given up in despair, this ability would never have been born. An invisible, growing faculty helped to breed the new ability until finally it became visible to all. When I praised the mother for the hardships she had gone through, she said, 'I thought, if only she could learn to play a little! But she dropped the bow so often that I was discouraged, and thought it was no use. Thanks to you, she now can play the whole piece and can control her hand. The child is very happy." Fortunately the little girl kept on practicing, and her right eye, which had been crossed, gradually started moving to the correct position, while at the same time she began to gain control of her right side; gradually she could move normally. In this way she recovered from the effects of her infantile paralysis and found her way back to health. All this was achieved through the therapy of her efforts in playing just one piece of music, aided by the endeavors of her mother and her teacher. 母亲和老师一起经历了这半年的磨难。看似不可能的事情变成了可能。如果她们绝望地放弃，这种能力就永远不会诞生。一种无形的、不断成长的力量帮助孕育着这种新能力，直到最后让所有人都能看到。当我赞扬这位母亲所经历的艰辛时，她说：'我想，如果她能学会弹一点琴就好了！但她经常掉弓，我很灰心，觉得没用。多亏了你，她现在能拉整首曲子了，还能控制自己的手。孩子非常高兴"。幸运的是，小女孩坚持不懈地练习，她原本斜视的右眼逐渐开始移动到正确的位置，与此同时，她开始控制自己的右侧，渐渐地，她可以正常活动了。就这样，她从婴儿期瘫痪的影响中恢复过来，重新找回了健康。所有这一切，都是在母亲和老师的帮助下，她努力弹奏一首乐曲的治疗过程中实现的。
Natural ability is brought out by training 通过培训激发天赋能力
“Ability is life.” My belief was proved before my eyes by the young girl with infantile paralysis. "能力就是生命"。患有小儿麻痹症的小女孩在我眼前证明了我的信念。
Mankind is governed by the life force. The living soul, with a desire to go on living, displays great power in adapting itself to its environment. The human life force, by seeing and feeling its surroundings, trains itself and develops ability. This ability by further constant training overcomes difficulties and becomes a very high ability. This is the relationship between a human being and ability. The development of ability cannot be accomplished by mere thinking or theorizing, but must be accompanied by action and practice, as I shall show in another chapter. Only through action can the power of the life force be displayed. Ability develops through practice. An idle person will not develop ability. Suppose the parents of the little girl with infantile paralysis had been resigned to the fact of her ill- 人类受生命力支配。有生命的灵魂渴望继续活下去，在适应环境方面显示出巨大的力量。人类的生命力通过观察和感受周围的环境，训练自己，发展能力。这种能力通过进一步的不断训练，克服困难，成为一种非常高的能力。这就是人与能力之间的关系。能力的培养不能仅靠思考或理论，而必须伴随着行动和实践，这一点我将在下一章中说明。只有通过行动，才能展现生命力的力量。能力是通过实践培养出来的。一个无所事事的人是培养不出能力的。假设患有小儿麻痹症的小女孩的父母已经接受了她患病的事实，那么他们的孩子就不会再患有小儿麻痹症。
ness and had done nothing about it? She would have stayed crippled. Through violin playing and memorizing the music, her brain and body were stimulated. And it was this activity that made the child mentally and physically sound. 而她却无动于衷？她会一直残废下去。通过拉小提琴和记忆音乐，她的大脑和身体都得到了刺激。正是这种活动让孩子身心健康。
Koji
In 1962, autumn came early to the Shinshu region. The foliage was beginning to turn color, when this letter arrived: 1962 年，信州地区的秋天来得很早。这封信寄到的时候，红叶正开始变色：
Berlin, September 1962 柏林，1962 年 9 月
My honored and revered teacher: 我尊敬的老师
I have just come to Berlin. When you, Professor, were here, in which neighborhood did you live? I have always dreamed of seeing this place. All the new buildings in Berlin still seem somewhat cold. But the people differ from those of rural Cologne in elegance, refinement and politeness. Yesterday I was given an audition by the Berlin Symphony Orchestra, and appointed first concertmaster. The conductor-Fricsay-ranks at present in Germany with Karajan and Kubelick. The only worry I have now is whether I am really fit to take up the position of First Violinist in such a famed orchestra. 我刚到柏林。教授，您在这里的时候，住在哪个街区？我一直梦想着能来这里看看。柏林所有的新建筑仍然显得有些冰冷。但这里的人与科隆乡村的人不同，他们优雅、高贵、彬彬有礼。昨天，我参加了柏林交响乐团的试奏，并被任命为第一首席。指挥家弗里奇赛目前在德国与卡拉扬和库贝利克齐名。我现在唯一担心的是，我是否真的适合在这样一个著名的乐团中担任第一小提琴手。
With affection and most respectfully, 谨致最崇高的敬意
Кол
Koji wrote me this letter on arriving in Berlin, after leaving Cologne. Reading it, I was not only filled with emotion but with surprise, as well. 浩二在离开科隆抵达柏林时给我写了这封信。读完这封信，我不仅感慨万千，而且惊喜万分。
Koji earns the love and respect of the musical world 浩二赢得了音乐界的喜爱和尊重
It was the first time since Western music had come to Japan that a Japanese had won a position like this in Europe. It hardly seemed possible, for I know the high standing of the Berlin orchestra. To be this orchestra’s representative is a most important position. The chief concertmaster a Japanese-Koji . . . ! 这是自西方音乐传入日本以来，日本人第一次在欧洲赢得这样的地位。这似乎不太可能，因为我知道柏林交响乐团的崇高地位。担任柏林交响乐团的代表是一个非常重要的职位。首席小提琴手是日本人--小智.. . !
To be able to fill this position one must have three things: (1) high musical sense, (2) superior musical performance, (3) a fine character. One must be endowed with all three together. A true artist is a person with beautiful and fine feelings, thoughts, and actions. This is the message and entreaty I hand down to my students. Koji’s singleminded pursuit of art in accordance with these ideals had finally earned him the respect of his peers. 要胜任这一职位，必须具备三点：(1) 高度的音乐感，(2) 卓越的音乐表现力，(3) 优秀的品格。三者缺一不可。一个真正的艺术家是一个具有美好而精细的情感、思想和行为的人。这是我对学生的谆谆教诲和殷切期望。浩二按照这些理想一心一意地追求艺术，终于赢得了同龄人的尊重。
A recent letter from a member of this orchestra, Hiroko Yamada, shows the love and respect that Koji has earned in the musical world, and the importance of his position. 该乐团成员山田裕子最近写来的一封信显示了浩二在音乐界赢得的爱戴和尊重，以及他职位的重要性。
Koji, respected as he is by all its members, is probably the most modest and helpful person in the orchestra. I can say this because I know him well. 浩二受到乐团所有成员的尊敬，他可能是乐团中最谦虚、最乐于助人的人。我能这么说是因为我很了解他。
Koji first played on stage when my pupils gave a violin performance at the Nihon Seinenkan, in Tokyo. Toshiya Eto was then seven years old. That evening he played the Seitz Violin Concerto No. 3, accompanied by the Tokyo String Orchestra. Yoko Arimatsu, just five, also played very well. After she had finished, she shouldered her violin and ran happily off the stage. She was a charming little girl, and we all burst out laughing. And then, his 1//161 / 16-size violin in his hand, three-year-old Koji came to the stage. He played “Humoresque,” while his father accompanied him on the guitar. The following day there were big photos of Koji in the main newspapers, and articles with the headings “A Genius Appears,” “Brilliant,” “Wonderful,” and so on. Previous to the performance I had told journalists, “Talent is not inherited or inborn, but learned and trained. Genius is an honorific name given to those who are brought up and trained to high ability.” I had emphasized this point and repeated it; it is indeed regrettable and disappointing that they didn’t understand. 浩二第一次登台演奏，是我的学生在东京日本文化馆进行小提琴表演时。当时，江藤俊也只有 7 岁。当晚，他在东京弦乐团的伴奏下演奏了《塞茨第三小提琴协奏曲》。年仅五岁的有松阳子也演奏得非常出色。演奏结束后，她背起小提琴，高兴地跑下了舞台。她是个迷人的小女孩，我们都忍不住笑了起来。接着，三岁的 Koji 手里拿着一把 1//161 / 16 大小的小提琴上台了。他演奏了《Humoresque》，他的父亲用吉他为他伴奏。第二天，各大报纸都刊登了浩二的大幅照片，并以 "天才出场"、"才华横溢"、"精彩绝伦 "等为题发表了文章。在演出之前，我曾对记者说："天才不是遗传或天生的，而是后天学习和训练出来的。天才是对那些经过培养和训练而具有高能力的人的尊称"。我强调了这一点，并反复强调；他们不理解，确实令人遗憾和失望。
Well, this happened some thirty-five years ago. 这件事发生在三十五年前。
My invaluable friends 我宝贵的朋友们
When I undertook in Nagoya the task of teaching violin, Koji’s father lived in Hamamatsu. At the beginning of 1930 we moved to 我在名古屋承担小提琴教学任务时，浩二的父亲住在滨松。1930 年初，我们搬到了
Dr. Suzuki at work 铃木博士在工作
Dr. Suzuki with several of his young students 铃木博士与他的几位年轻学生
Dr. Suzuki and his wife, Waltraud 铃木博士和他的妻子瓦尔特罗德
The Classic Approach to Talent Education 人才教育的经典方法
Tokyo. Soon after, Mr. Toyoda also moved to Tokyo with his whole family, and little Koji studied attentively at our house. It was a result of circumstances that he played the violin. Whether he liked it or disliked it is not the question. Precisely as all Japanese children learn the Japanese language, and learn it by heart, to like or dislike it had no bearing at all. It was exactly the same. Koji was brought up listening to records every day. It was no strain for him to practice really well. Good practicing is bound to produce fine results; that is why three-year-old Koji played 'Humoresque" so well-not because he was a genius. 东京不久，丰田先生也带着全家搬到了东京，小浩二就在我们家认真学习。在这种情况下，他开始拉小提琴。至于他喜欢还是不喜欢，这不是问题。就像所有日本孩子都在学习日语，而且是死记硬背一样，喜欢或不喜欢都没有关系。这一点是完全一样的。浩二从小就天天听唱片。对他来说，真正练好日语并不难。好的练习必然会产生好的结果；这就是为什么三岁的浩二能把 "Humoresque "弹得那么好，而不是因为他是个天才。
More and more young students came to our house for lessons, and it was very lively. I took the greatest pleasure and delight in giving lessons to children, and all became my friends. 来我们家上课的小学生越来越多，非常热闹。给孩子们上课是我最大的乐趣，他们都成了我的朋友。
Before long, the war started. I went to distant Kiso-Fukushima to work in a wood factory. Later I settled in Matsumoto. 不久，战争开始了。我去了遥远的木曾福岛，在一家木材厂工作。后来我定居在松本。
My little friends become fine people 我的小伙伴们成为优秀的人
Close to thirty years have passed, and all my former studentfriends are today fine adults, which fills me with deep, profound joy. 近三十年过去了，我昔日的学生朋友如今都已长大成人，这让我深感欣慰。
After a lapse of so many years I cannot recollect the names of all the pupils of those old days, but I shall enumerate a few students who come to mind- 时隔多年，我已记不起当年所有学生的名字，但我还是要列举几个我印象深刻的学生--他们是
Toshiya Eto-Professor at Curtis Institute Toshiya Eto-柯蒂斯学院教授
Yoko Arimatsu-Member of Brussels Music Academy Orchestra Takeshi Kobayashi-Concertmaster in Czechoslovakia Yoko Arimatsu-布鲁塞尔音乐学院管弦乐团成员 Takeshi Kobayashi-捷克斯洛伐克音乐大师
Kenji Kobayashi-Member of Juilliard School Orchestra Kenji Kobayashi--茱莉亚音乐学院管弦乐队成员
Koji Toyoda-First concertmaster of Berlin Radio Symphony Orchestra. 丰田浩二-柏林广播交响乐团第一首席。
Hidetaro Suzuki-Concertmaster of Quebec Symphony Orchestra Nejiko Suwa-Member of Brussels Academy Orchestra 铃木秀太郎-魁北克交响乐团首席 Nejiko Suwa-布鲁塞尔学院管弦乐团成员
All these pupils (everyone else too) had been admitted to Talent Education entirely without any preliminary tests. 所有这些学生（还有其他人）都完全没有经过任何初步测试就被英才教育录取了。
Any child can be trained, and there is but one way 任何孩子都可以训练，方法只有一个
That is my assertion, and that it works is demonstrated by the brilliant achievements of the lively children of those early classes. Toshiya at eleven received the first prize of the Ministry of Education in a newspaper music contest. The requirement was Bach’s Aminor concerto. Little Koji, seven years old, could play this music beautifully. I wanted the judging committee to know that even a Japanese scarcely seven years old could reach this level too and pass the test. To make them understand clearly that I wanted them to let Koji play, I told them, 'Gentlemen, I beg you to listen to Koji Toyoda playing this concerto. You need not score him." 这是我的论断，而早期班级中活泼可爱的孩子们所取得的辉煌成就则证明了我的论断是正确的。11 岁的俊也在一次报纸音乐比赛中获得了教育部一等奖。参赛曲目是巴赫的《阿米诺尔》协奏曲。七岁的小浩二也能演奏这首曲子。我想让评审委员会知道，即使是一个不到七岁的日本人也能达到这个水平并通过考试。为了让他们清楚地了解我希望他们让浩二演奏，我对他们说：'先生们，我请求你们听听丰田浩二演奏这首协奏曲。你们不需要给他打分"。
Koji, at seven, had already been brought up and trained to reach this level. 小智七岁时就已经被培养和训练到了这个水平。
We leave Tokyo 我们离开东京
Alone to the factory in Kiso-Fukushima. . . . 独自前往木曾福岛的工厂。. . .
In 1943, I was forty-five years old. That year saw the German army defeated at Stalingrad and the turning point of the war in the Pacific Ocean. The Japanese army was forced to withdraw from Guadalcanal, and life became extremely hard and distressing. My father had converted the violin factory to make seaplane floats. But the supply of essential Japanese cypress wood did not come in; so even though we desperately wanted to work, we could not. Unless someone could go into the Kiso-Fukushima mountains for the cypress and bring it down, our work would come to a halt. I visited my father in Nagoya to tell him about the situation and to find out how to get permission to enter the forest. 1943 年，我四十五岁。这一年，德军在斯大林格勒战败，太平洋战争进入转折点。日军被迫撤出瓜达尔卡纳尔岛，生活变得异常艰苦和窘迫。父亲将小提琴厂改装成了水上飞机浮筒厂。但是，必需的日本柏木供应不上；因此，尽管我们迫切希望工作，却无法实现。除非有人能去木曾福岛山区寻找柏木并将其运下来，否则我们的工作就会停顿下来。我去名古屋拜访了父亲，向他讲述了情况，并想知道如何才能获得进入森林的许可。
As long as I stayed in Tokyo, most of my young students refused to be evacuated. Yet the air raids seemed to be getting worse, and the feeling was that it was the time to leave Tokyo. I was instructor at the Imperial Music School as well as at the Kunitachi Music 只要我还留在东京，我的大多数年轻学生都拒绝撤离。然而，空袭似乎愈演愈烈，大家都觉得是时候离开东京了。我在帝国音乐学校和国立音乐学校担任教师。
The Classic Approach to Talent Education 人才教育的经典方法
School, and told the authorities there my plans. The judges of the committee for contests of the Mainichi newspaper had also turned in their resignation. 《学校，并把我的计划告诉了那里的负责人。每日新闻》竞赛委员会的评委们也递交了辞呈。
As the bombing became more and more intense, my wife urged me to leave Tokyo and move to Hakone, where we had a small cottage near Lake Ashi that we used for fishing. She refused to leave me and go away alone, so I finally agreed to evacuate too. Circumstances, however, prevented us in the end from being evacuated together. 随着轰炸越来越猛烈，我的妻子催促我离开东京，搬到箱根，我们在那里的芦之湖附近有一间小别墅，用来钓鱼。她拒绝离开我独自离开，所以我最终也同意撤离。然而，由于种种原因，我们最终没能一起撤离。
In order to supervise the obtaining of lumber from the forests for our Nagoya factory, it became necessary for me to move to KisoFukushima. But for my wife, who was German, it was not feasible to join me there, in spite of her having lost her German citizenship when she married me and being, then, a Japanese subject by marriage. Nor did it matter that Germany was an ally of Japan. All foreigners were looked upon with suspicion, and life was made extremely difficult and unpleasant for them. During the war, the Germans in Japan were evacuated to the mountain resorts of Karuizawa and Hakone, and since we had a cottage at Hakone, the only expedience was for my wife to go there alone. Food was terribly scarce, but at Hakone she would at least be able to draw a special German ration (bread instead of rice, and so on). Reluctantly we decided to part for the duration of the war, hoping that it would not be for long. 为了监督名古屋工厂从森林中获取木材，我必须搬到木曾福岛。但是，我的妻子是德国人，尽管她在嫁给我时已经失去了德国国籍，而且当时通过婚姻成为了日本人，但要她去那里与我团聚是不可能的。德国是日本的盟国，这一点也不重要。所有外国人都受到怀疑，他们的生活极其艰难和不愉快。战争期间，在日本的德国人被疏散到轻井泽和箱根的山区度假胜地，由于我们在箱根有一间小屋，唯一的办法就是让我妻子一个人去那里。食物非常匮乏，但在箱根，她至少可以领到德国人的特殊配给（面包代替大米等）。无奈之下，我们决定在战争期间分开，希望不会太久。
She had almost no freedom of movement and could not leave the “German village” to come and see me, but I could visit her from time to time. On one such visit I still remember vividly the precious apple she had saved for me from her rations. But I felt it was even too precious for me to enjoy. I also saved it, without telling my wife, for the children in Kiso-Fukushima. 她几乎没有行动自由，不能离开 "德国村 "来看我，但我可以时不时地去看她。有一次，我还清楚地记得她从口粮中给我留了一个珍贵的苹果。但我觉得它太珍贵了，我不舍得吃。我还瞒着妻子，把它留给了木曾福岛的孩子们。
And so it was that I went alone to live among the mountains of Kiso-Fukushima and took over a geta (wooden clog) factory there, converting it into a lumberyard to supply our float factory in Nagoya. I knew almost nothing about the factory, but from the forest I was able to get first-class timber, which we sawed and sent off to Nagoya. This we did with remarkable speed. 就这样，我独自一人来到木曾福岛的山林间生活，并接管了那里的一家木屐工厂，将其改建成一个木材厂，为我们在名古屋的花车工厂供货。我对工厂几乎一无所知，但我能从森林里采到一流的木材，我们把这些木材锯成木条运往名古屋。我们以惊人的速度完成了这项工作。
Work went on smoothly. The manufacture of floats made good progress. I had always made it a rule to live as best I could, whatever 工作进展顺利。浮筒的制造进展顺利。我一直以来的原则是尽我所能地生活，无论
happened, whatever work I had to do, so I was able to throw myself into the work at hand and gain from it. In my youth, a Zen priest named Dogen had taught me this. The lumber-mill work was interesting, and we carried on cheerfully. 因此，我能够全身心地投入到手头的工作中，并从中有所收获。年轻时，一位名叫道元的禅师教过我这一点。木材厂的工作很有趣，我们兴高采烈地干着。
Eating river moss to ward off starvation 吃河苔抵御饥饿
The war, however, became worse and worse. Even the distribution of provisions came to a standstill. Kiso-Fukushima is a town in a valley on the upper reaches of the river Kiso. Surrounded as it is by mountains and small valleys, no food is produced. Close to the last stages of the war there was no more distribution of rations, but because ours was a war factory, there was a possibility of obtaining things on the black market. However, I positively did not want to buy on the black market. At that time, my younger sister, who had lost her husband, came with her two children to live with me. 然而，战争变得越来越糟糕。就连粮草的发放也陷入了停顿。木曾福岛是木曾河上游山谷中的一个小镇。由于被群山和小山谷包围，这里不产粮食。临近战争的最后阶段，已经不再分发口粮，但由于我们的工厂是战争工厂，所以有可能从黑市上买到东西。但是，我坚决不想在黑市上买东西。当时，失去丈夫的妹妹带着两个孩子来和我一起生活。
On factory holidays we all went into the heart of the mountains to look for warabi (bracken), but often there was nothing left to eat; other people had already picked it all. We then went along the mountain stream and found some water algae on a rock. It had a tinge of redness and a stalk. We stuffed our rucksacks to the brim with this and carried it home. We put it in a big pot with water, added a little salt, and let it boil. The pot seemed to overflow with the stuff, but after boiling there remained only half a rice bowl full. This, unlike mere drinking water, gave us some feeling that we had eaten gruel. In this manner we frequently kept off hunger. It must have been bitter for my sister, not being able to feed her children. But I will remember the kindness and goodness of the people in the Fukushima locality all my life. 工厂放假时，我们都到山中心去找蕨类植物（warabi），但往往没有什么可吃的，因为其他人已经把它们都采光了。后来，我们沿着山涧走，在一块石头上发现了一些水藻。它有一抹红色，还有一根茎。我们把它塞满了背包，然后把它带回了家。我们把它放进一个大锅里，加水、加盐，然后煮沸。锅里的水似乎要溢出来，但煮沸后只剩下半饭碗。这与单纯的饮用水不同，让我们有一些吃了稀饭的感觉。就这样，我们经常忍饥挨饿。对我姐姐来说，无法喂饱孩子们一定很痛苦。但是，福岛当地人的善良和仁慈我将终生铭记。
We stayed in a house with a family named Doke, which included an old man. They all helped us warmheartedly. If they managed to get some good things to eat, we always were called; after such a treat the household would come to life again. 我们住在一户名叫 Doke 的人家，其中还有一位老人。他们都热心地帮助我们。如果他们想办法弄到一些好吃的东西，我们总是会被叫去；经过这样的招待，家里又会热闹起来。
"Koji, I am in Kiso-Fukushima . . ." "浩二，我在木曾福岛......"
The war became harsher and crueler. Yet there were no air raids in Kiso-Fukushima, the small town in the mountains. I felt responsible for the factory workers; and since I could do nothing else, I played the violin for them every morning in the clear mountain air. Meals and living conditions were miserable. At the factory we all joined together and worked desperately hard every day. 战争变得更加残酷无情。然而，山区小镇木曾福岛却没有遭到空袭。我觉得自己有责任照顾工厂里的工人；因为我什么也做不了，所以每天早上我都在山间清澈的空气中为他们拉小提琴。伙食和生活条件都很艰苦。在工厂里，我们团结一致，每天拼命工作。
Then the war ended. 后来战争结束了。
At about that time we happened to hear that both of Koji’s parents had died, one after the other. Hurriedly I sent a letter of inquiry to their old address in Tokyo. Of course, there was no answer. Then I asked a friend in Tokyo where Koji Toyoda and his younger brother would most likely have moved. Koji’s father had moved to Tokyo because of me; what had become of the two very young boys now that both parents were gone? This I could not neglect. I asked the NHK (Nippon Broadcasting Station) to broadcast a message on their missing-persons program: 'Koji Toyoda, I am in Kiso-Fukushima. Please let me know where you are." About two months later a letter arrived from a man named Toyoda. It was Koji’s uncle; he had taken care of him. 就在那时，我们偶然听说浩二的父母相继去世。我急忙给他们在东京的老家寄了一封询问信。当然，没有回音。然后，我向东京的一位朋友打听丰田浩二和他的弟弟最有可能搬到哪里。丰田浩二的父亲是因为我才搬到东京的，现在父母都不在了，两个年幼的孩子会怎么样呢？这一点我不能忽视。我请 NHK（日本放送协会）在他们的寻人节目中播出一条消息：丰田浩二，我在木曾福岛。请告诉我你在哪里"。大约两个月后，一个叫丰田的人寄来了一封信。那是浩二的叔叔，他一直在照顾浩二。
Koji becomes a member of our family 浩二成为我们大家庭的一员
“We found Koji.” "我们找到浩二了"
“How lucky, how lucky, indeed!” "真幸运，真幸运！"
“Let’s ask him to come here.” "我们请他过来吧"
“Let’s write him at once. . . .” "我们马上给他写信. .. ."
I was filled with joy. Soon afterward, Koji, now eleven, came with his uncle to Kiso-Fukushima. He had grown, for it was three years since we had last seen him. My sister and her children were also glad when Koji came to live with us. In Hamamatsu the uncle ran a small sake (Japanese rice wine) drinking place. “Far from playing violin, he helped me daily in the shop,” the uncle said. He begged me to take care of Koji, then went home. From that day, Koji 我满心欢喜。不久，11 岁的浩二随叔叔来到木曾福岛。他已经长大了，因为我们已经有三年没见过他了。浩二来和我们一起生活时，我姐姐和她的孩子们也很高兴。在浜松，叔叔经营着一家小清酒（日本米酒）店。"叔叔说："他不仅不会拉小提琴，每天还在店里帮我干活。他恳求我照顾好浩二，然后就回家了。从那天起，浩二
became a member of our family. And when he was nineteen, I sent him to study abroad. My sister gave him a great deal of motherly love and brought him up together with her own children. Koji enjoyed life in Kiso-Fukushima. 成了我们家的一员。他十九岁那年，我送他出国留学。姐姐给了他无尽的母爱，把他和自己的孩子们一起带大。浩二很享受在木曾福岛的生活。
Our family now consisted of seven people. There were my aunt with her girl helper, three children, my sister, and I. Every night we did something pleasant, such as each making up a haiku (Japanese poem) and reading it. The poetry wasn’t very good, but the pastime was amusing, even hilarious. 我们家现在有七个人。每天晚上，我们都会做一些令人愉快的事情，比如每人编一首俳句（日本诗歌）并朗读。虽然诗写得不好，但这种消遣方式很有趣，甚至很搞笑。
We all did our best for the benefit of Koji 为了小智，我们都尽了全力
The three years Koji had spent helping his uncle in the environment of the sake bar had entirely altered his Tokyo form of education. We noticed in him an undesirable behavior and attitude. We began scolding and grumbling. What was there to do? But scolding does no good and should be avoided. 浩二在清酒酒吧的环境中帮助叔叔的三年，完全改变了他在东京接受教育的形式。我们注意到了他的不良行为和态度。我们开始责骂和埋怨。有什么办法呢？但责骂是没有用的，应该避免。
One day, while Koji was away at school, I told my sister, “For the last three years, Koji has not been aware of his coarse manners or his habit of leaving things in disorder or half done. But we all know that by scolding he will certainly fancy himself wronged and grow up with this kind of feeling. There has to be a better way.” Yasuo and Mitsuo, my sister’s children, were told too that the whole household would do no more grumbling but that we all would have to display better manners and conduct in our daily life. “If we create such an environment, Koji will, without noticing it, become a good child, and his life will not be harmfully distorted by scolding.” 有一天，浩二去上学了，我对姐姐说："这三年来，浩二一直没有意识到自己的粗鲁，也没有意识到自己有把事情弄得乱七八糟或做得半途而废的习惯。但我们都知道，打骂他肯定会让他觉得自己受了委屈，并在这种情绪中长大。一定有更好的办法"。姐姐的孩子安男和光夫也被告知，全家人都不能再发牢骚了，而是要在日常生活中表现出更好的礼仪和行为。"如果我们创造了这样的环境，浩二就会在不知不觉中成为一个好孩子，他的生活也不会因为打骂而受到伤害"。
I made this proposal to my aunt, my sister, and the girl helper, andthey agreed. The next day, we silently directed our daily life toward achieving a better attitude and good manners. For Koji’s sake we all worked together and were mutually inspired. It was for Koji’s sake, but it turned out to be for the sake of all of us, and good for our minds and conduct. 我向姑姑、姐姐和女佣提出了这个建议，她们都同意了。第二天，我们默默地把日常生活的重心放在了改善态度和礼仪上。为了浩二，我们齐心协力，相互激励。这虽然是为了浩二，但也是为了我们大家，对我们的思想和行为都有好处。
Two years passed. In the meantime Koji melted into our way of life. The bruises of three years left no traces, and he became a well brought up child. 两年过去了。在此期间，浩二融入了我们的生活方式。三年来的伤痕没有留下任何痕迹，他成了一个养尊处优的孩子。
The Talent Education movement begins 人才教育运动开始
The Talent Education movement started in 1945. It was the end of our three years’ life in Kiso-Fukushima. In Matsumoto, among the culture-minded, there was talk of founding a music school. By chance, Mrs. Tamiki Mori, a singer who had taught with me at the Imperial Music School, had been evacuated to Matsumoto. She was interested in the proposed school, and she sent a message to me in Kiso-Fukushima, asking me to come to Matsumoto and help. 人才教育运动始于 1945 年。那是我们在木曾福岛三年生活的尾声。在松本，有文化头脑的人都在谈论创办音乐学校的事。一个偶然的机会，曾与我一起在帝国音乐学校任教的歌唱家森田木女士被疏散到松本。她对拟建的学校很感兴趣，于是给在木曾福岛的我捎信，请我去松本帮忙。
I sent the following answer: “I am not very interested in doing ‘repair’ work on people who can play already. I did enough of that before in Tokyo. What I want to try is infant education. I have worked out a new method I want to teach to small children-not to turn out geniuses but through violin playing to extend the child’s ability. I have been doing this research for many years. That is why I want to put all my efforts into this kind of education in the future. If my idea finds approval, I will help with teaching along these lines.” 我给出了如下答复："我对给已经会演奏的人做'修理'工作不太感兴趣。我以前在东京就做得够多了。我想尝试的是幼儿教育。我已经研究出一种新的方法，我想教给小孩子--不是培养天才，而是通过小提琴演奏来扩展孩子的能力。这项研究我已经做了很多年。这就是为什么我想在未来把所有精力都投入到这种教育中。如果我的想法得到批准，我将帮助开展这方面的教学。
After a while the answer came from Matsumoto that they had consented to my terms and wanted help. Thus it was that I came to settle in Matsumoto. At first, I commuted once a week back and forth between the two cities. But before long, I found that wasn’t enough. Many people kindly urged me to move to Matsumoto, and we finally did. In this manner our Talent Education movement started at the Matsumoto Music School. 过了一段时间，松本方面答复说，他们同意我的条件，并希望得到帮助。就这样，我来到松本定居。起初，我每周往返两地一次。但没过多久，我发现这还不够。很多人好心劝我搬到松本，我们终于搬到了松本。就这样，我们的才艺教育运动在松本音乐学校拉开了序幕。
Koji always with God 浩二永远与神同在
As I have said, my sister Hina was like a mother to Koji and looked after him well. In Matsumoto, Koji made the acquaintance of a Catholic priest and went to church every Sunday. Before long he became a devout Catholic. My sister, close in heart to Koji, accompanied him to church on Sundays, and half a year later she became a Catholic too. She helped with work for the church, as well as helping me with my Talent Education movement. Later, though still a young boy, Koji went to the Paris Conservatory to study. 正如我所说的，我的姐姐希娜就像浩二的母亲一样，把他照顾得很好。在松本，浩二结识了一位天主教神父，每周日都去教堂。不久，他就成了一名虔诚的天主教徒。我的姐姐和浩二感情很好，每周日都陪他去教堂，半年后她也成了天主教徒。她帮教会做事，也帮我开展才艺教育运动。后来，还是个孩子的浩二去了巴黎音乐学院学习。
I had the following discussion with my sister: “Eventually Koji may want to take up studies to become a priest.” 我和姐姐讨论了以下问题"最终浩二可能会想学习成为一名牧师"
“Yes, it is possible. For Koji, art and religion are the same.” "是的，这是可能的。对浩二来说，艺术和宗教是一样的。"
“I was sure he would become a musician, but if by any chance he wants to enter a theological school it is all right; we will not hinder him.” "我确信他会成为一名音乐家，但如果他想进入神学院，我们也不会阻拦"。
Koji became an excellent musician. But we had had this conversation because of his strong religious feeling. 浩二成为了一名出色的音乐家。但我们之所以有这样的对话，是因为他强烈的宗教情怀。
Koji was then about fourteen. His violin tone was beautiful and admirable, his musical sense high. He had reached the point where he could give a fine performance. One day the following incident happened. 那时，浩二大约十四岁。他的小提琴音色优美，令人钦佩，音乐感很强。他已经达到了能演奏出美妙乐曲的程度。有一天，发生了下面这件事。
Association with fine people helps develop nobility and beauty of character 与优秀的人交往有助于培养高尚和美好的品格
After a lesson, I said to Koji, who played Bach’s Chaconne very well, “Today you should go to church and play there before Christ. If you play with all your heart and soul, He will listen.” 一堂课后，我对巴赫的《恰空舞曲》弹得很好的浩二说："今天你应该去教堂，在基督面前演奏。如果你全心全意地演奏，他就会聆听。"
“Yes, I will go,” said Koji, and he took his violin and went to church, just around the corner. "好的，我会去的。"浩二说，然后他拿着小提琴去了教堂，就在拐角处。
After an hour he came back. “I played the Chaconne in church.” 一小时后，他回来了"我在教堂演奏了恰空舞曲"
“Good. How was it?” "很好，怎么样？怎么样？"
“There was no one present; I felt very good.” "没有人在场，我感觉非常好"。
“That’s fine. Wherever and whenever you play, always think that Christ is listening to you. All right?” "没关系。无论你在何时何地演奏，都要想着基督在聆听你的演奏。好吗？"
Koji’s cheerful face became even brighter as he answered yes. Gentle, obedient Koji! 小智回答 "是 "时，脸上的笑容更加灿烂了。温顺听话的浩二
I think it is important for their personality development that young people come in contact with distinguished persons. From my experience, I strongly feel that they absorb something of the heart, feeling, and deeds of such persons. Because of this belief I selected teachers for Koji-Mitsuhiko Sekiya and his wife-whom I esteemed. Mr. Sekiya is now a professor at International Christian 我认为，年轻人接触杰出人士对他们的人格发展非常重要。根据我的经验，我强烈地感觉到，他们会吸收这些人的心灵、情感和行为的某些东西。基于这一信念，我为浩二挑选了关谷光彦和他的妻子--我非常尊敬他们。关谷先生现任国际基督教大学教授。
University, and formerly taught at Shinshu University in Matsumoto. I begged Mr. Sekiya to take Koji into his family and Mrs. Ayako Sekiya, his wife, to teach him English, so that Koji would be able to pass the test for going abroad to France to study. At the same time I hoped Mr. Sekiya would be kind enough to teach him French. For Koji to have been with this couple of wonderful characters for such a length of time is the most wonderful thing that could have happened to him. I too am grateful. 他曾在松本信州大学任教。我恳求关谷先生收留浩二，并恳求他的妻子关谷绫子女士教他英语，以便浩二能够通过去法国留学的考试。同时，我也希望关谷先生能好心教他法语。浩二能和这对好朋友在一起这么长时间，对他来说是最美好的事情。我也非常感激。
A test of training 培训测试
In another part of this book I asked, “What is talent, ability?” I reiterate, it does not exist at birth but has to be created. Here, in connection with Koji Toyoda, I want to relate the following incident. Koji, and Kenji (Kobayashi)-we called them Ko-chan and Ken-chan-were very good friends. Both were about fifteen years of age. Kenji lived in Tokyo. As soon as his school lessons were over, he took his violin and came to Matsumoto for recreation during vacations. What fun it was to idle the time away! One day a request came from the Matsumoto NHK broadcasting station for a radio performance. I thought this a good opportunity, and wanted them to play the Vivaldi concerto for two violins. They had never played it before. I decided to test the two boys to see how much they could remember. I gave the broadcasting station the name of the music, but did not tell Koji and Kenji until the morning of the preceding day. I called them from their room and gave them the music, telling them, “This music has to be played tomorrow at 1:00 P.M. at a radio broadcast. It is rather sudden, but it will be a good exercise for you. You’d better start practicing right away.” Both were surprised, saying, “This is awful,” and so on, but they took their respective music books and ran joyfully to their room. In a few moments I heard the tune of the concerto for two violins. When, after an hour and a half, I thought I would call their attention to certain points in the musical expression and went upstairs to their room, both of them played the first movement without looking at the notes. It was simply amazing. 在本书的另一部分，我问道："天赋、能力是什么？我重申，它不是与生俱来的，而是必须创造出来。在这里，关于丰田浩二，我想讲述下面这件事。浩二和健二（小林）--我们称他们为浩子和健子--是非常要好的朋友。两人都是 15 岁左右。健二住在东京。学校的课程一结束，他就带着小提琴，利用假期到松本来消遣。闲暇时光是多么有趣啊！有一天，松本 NHK 广播电台邀请他去电台表演。我觉得这是个好机会，就想让他们演奏维瓦尔第的双小提琴协奏曲。他们以前从未演奏过这首曲子。我决定考考这两个孩子，看他们能记住多少。我把乐曲的名字告诉了广播站，但直到前一天早上才告诉 Koji 和 Kenji。我把他们从房间里叫出来，把音乐交给他们，并告诉他们："这首音乐必须在明天下午 1 点的广播节目中播放。虽然比较突然，但对你们来说是个很好的练习。你们最好马上开始练习。"两个人都很惊讶，说："这太可怕了。"等等，但他们还是拿着各自的音乐书，兴高采烈地跑回了房间。不一会儿，我就听到了双小提琴协奏曲的曲调。一个半小时后，我想让他们注意音乐表现中的某些地方，于是上楼去他们的房间，结果他们俩看都没看音符就拉出了第一乐章。这简直太神奇了。
Off to the broadcasting station without any music 在没有任何音乐的情况下前往广播站
I left the two practicing, and went on an errand. When we all met at suppertime, I said, “Well, can you manage?” 我离开了练习的两人，去办了件事。晚饭时间大家碰面时，我说："你们能行吗？"
“Well, sir, you certainly startled us today. It’s lovely music, isn’t it?” "先生，您今天真是让我们大吃一惊。这音乐真好听，不是吗？"
Although they accused me of pulling a fast one on them, they seemed to enjoy it and there was no sign of anxiety or uneasiness. Before they went to the broadcasting station the next day, I wanted to hear their performance. Both handed over their music books, which I took and put on the table, and then I listened to their playing. (It has always been our custom for the children to give the music books to the teacher before playing.) After the two had finished, I said, “You played very well. Your tone and musical intepretation are indeed fine. Now, play there just as well. I will listen here.” They went out to the waiting car in high spirits. They had left the music books, of course, on the table. 虽然他们指责我对他们耍花招，但他们似乎乐在其中，没有任何焦虑或不安的迹象。第二天，在他们去广播站之前，我想听听他们的表演。两人都递上了乐谱，我接过来放在桌子上，然后听了他们的演奏。(我们的习惯是，孩子们在演奏前要把乐谱交给老师）。两人演奏完毕后，我说："你们演奏得很好。你们的音色和对音乐的理解确实很好。现在，你们在那里也演奏得很好。我在这里听。"他们兴致勃勃地走向等候的汽车。当然，他们把乐谱留在了桌子上。
As I point out at another place in this book, I put great store on memory training. My students must know the music by heart and not refer to written notes. Both these boys have been taught like this from childhood; it didn’t even occur to them to take the music along. 正如我在本书另一处指出的，我非常重视记忆训练。我的学生必须熟记乐谱，而不是参考书面笔记。这两个孩子从小就接受这样的教育，他们甚至没有想过要把乐谱带在身边。
The time comes to secure the best teacher for Koji 为浩二找到最好老师的时刻到了
Ability grows as it is trained. . . . 能力随着训练而增长。. . .
After the two had left, I reflected again on this: “It was only yesterday that I gave them the concerto. They did not know it, yet they played all movements today thoroughly memorized and with no sense of insecurity or apprehension.” My test was completed. 两人离开后，我再次回想起这件事："我昨天才给他们协奏曲。他们并不了解这首协奏曲，但他们今天却把所有乐章都背得滚瓜烂熟，丝毫没有不安全感或忧虑感"。我的测试完成了。
The broadcast was indeed a beautiful performance. All the family listened together, and we were filled with joyous emotion. Now those two are fine musicians. I wonder whether they still think of this episode. 广播确实是一场美妙的演出。全家人一起聆听，内心充满了喜悦的情感。现在，这两位都是优秀的音乐家。不知他们是否还会想起这段插曲。
Naturally, both had been accepted at Talent Education without any test, and then were trained. As I said before, I don’t consider 当然，两人都是未经任何考试就被英才教育录取，然后接受培训的。正如我之前所说，我不认为
great talent to be a possibility for exceptional persons only. Everyone brought up in this manner is trained to show talent and has the potential for it. Koji and Kenji are simply two examples. 只有出类拔萃的人才有可能成为伟大的人才。在这种教育方式下成长起来的每个人都会被培养出展现才华的能力和潜力。浩二和健二就是两个简单的例子。
Koji, a member of our family, turned nineteen. The time had come to select the best teacher for him and for his art. The one we selected was the Rumanian Georges Enesco (1881-1955), one of the twentieth century’s finest artists and most distinguished violinists. Koji 是我们家的一员，今年 19 岁。是时候为他和他的艺术选择一位最好的老师了。我们选择了罗马尼亚人乔治-埃内斯科（1881-1955 年），他是二十世纪最优秀的艺术家和最杰出的小提琴家之一。
'I am speechless", 我无言以对"、
Enesco was already at a considerable age, but I knew that he was still in Paris. I wanted Koji to go to Paris and study under this fine personality and supreme artist. In November, 1952, three years before Enesco died, I received a letter from Koji with the following news: “I passed the Paris Conservatory entry examination. Professor Benedetti is now my teacher. From a friend I heard that Professor Enesco is ill, and does not take on students.” Enesco 当时已经很老了，但我知道他还在巴黎。我希望 Koji 能去巴黎，师从这位杰出的艺术家。1952 年 11 月，也就是埃内斯科去世前三年，我收到了浩二的来信，信中写道："我通过了巴黎音乐学院的入学考试。贝内代蒂教授现在是我的老师。我从朋友那里听说埃内斯科教授病了，不收学生了。
“I am speechless,” I wrote by return mail. 'II really don’t know what to say. Didn’t I want you to go abroad to study in Paris under Enesco? To hear from a friend that Professor Enesco is ill and not to see for yourself, what kind of thing is that? You left Japan because I wanted you to study with this teacher. If you hold the teacher in high regard, then you will not just listen to hearsay but will investigate yourself, aside from the question of whether or not you will receive lessons. That is an entirely different matter." "我在回信中写道："我无言以对。我真的不知道该说什么。我不是希望你出国去巴黎师从埃内斯科吗？听朋友说埃内斯科教授病了，却不亲自去看看，这算什么事？你离开日本是因为我想让你跟这位老师学习。如果你很尊敬这位老师，那么除了是否接受授课的问题之外，你不会只听道听途说，而是会亲自调查。这完全是两码事"。
After a while a happy letter from Koji arrived. It had the following touching message: 'I received your letter and I think I really matured reading it. I looked up Professor Enesco’s address and at once went to see him. I did meet him. He is a great, wonderful person. Advanced in years, and despite the fact that he felt a little weak he said, ‘Go ahead and play.’ Professor Enesco was so kind as to listen to me play the Chaconne by Bach. After I finished, the maestro said, ‘It is fine if you study with me here. But now you are a pupil of Benedetti and I cannot be so impolite as to take his student away. When you have graduated from the Paris Conservatory, you will be welcome.’ Professor, I will make every possible effort to graduate as quickly as I can." 过了一会儿，一封来自 Koji 的喜信寄到了。信中写道我收到了你的来信，读了这封信，我觉得自己真的成熟了。我查了 Enesco 教授的地址，并立刻去见了他。我见到了他。他是一个伟大、了不起的人。他年事已高，尽管感到有些虚弱，但他还是说：'去吧，去玩吧。埃内斯科教授非常好心地听我演奏巴赫的《恰空舞曲》。我演奏完后，大师说：'你在这里跟我学习没问题。但你现在是贝内代蒂的学生，我不能无礼地把他的学生带走。等你从巴黎音乐学院毕业后，我们会欢迎你的。教授，我会尽一切努力尽快毕业。"
I sent Koji this answer: ''Dear Koji: Thank you for your letter . . . . Wasn’t it good that you visited Professor Enesco? You will one day realize that it is the greatest and best blessing on earth to come in contact with men of high humanism, who also through their art have a pure, noble soul. And whatever you can absorb of his greatness and beauty of character will determine your worth as a person. However, to perceive and grasp these qualities requires the humility and judgment that come only through sincerity, love, and knowledge. That you can be close to Professor Enesco makes me, above all, feel at ease, confident, and happy. It is greedy of me, but I would like one more person close to you: Dr. Schweitzer. This really would be most wonderful. But however wonderful the other person may be, it depends on us alone-whether we have the capacity to absorb their greatness. One has to educate oneself from within to benefit from the greatness of others. Only if one can do this can one fully realize the joy of being near someone who is great. Never lose your humility, for pride obscures the power to perceive truth and greatness. Please, by all means, don’t forget this." 我给浩二寄去了这样的回信：''亲爱的浩二：谢谢你的来信......。你去拜访埃内斯科教授不是很好吗？总有一天你会意识到，能与具有崇高人文精神的人接触是世上最大、最好的福分，他们通过艺术也拥有纯洁、高尚的灵魂。你能从他的伟大和美丽的品格中吸收到什么，就能决定你作为一个人的价值。然而，要感知和把握这些品质，需要谦逊和判断力，而这只有通过真诚、爱和知识才能实现。你们能亲近埃内斯科教授，首先让我感到安心、自信和幸福。虽然我很贪心，但我还是希望能有多一个人亲近您：史怀哲博士这真是再好不过了。但是，无论对方多么优秀，这都取决于我们自己--我们是否有能力吸收他们的伟大之处。一个人必须从内心教育自己，才能从他人的伟大中受益。只有做到这一点，才能充分体会到与伟大的人亲近的快乐。永远不要失去谦逊，因为骄傲会遮蔽感知真理和伟大的力量。无论如何，请不要忘记这一点"。
Koji graduates from the Paris Conservatory in half a year 小智半年后从巴黎音乐学院毕业
Half a year later there were graduation examinations at the Paris Conservatory. Koji graduated from the conservatory in the surprising time of a mere six months. Anybody would take great pleasure in graduating from such a famous school; in Koji’s case it was not so much the joy of receiving a diploma as being able to become a pupil of Professor Enesco, after that first meeting a half year before. During the following two years, until this great master passed away, he taught Koji. How many noble and valuable things Koji learned can only be imagined. 半年后，巴黎音乐学院举行了毕业考试。浩二竟然只用了六个月的时间就从音乐学院毕业了。从这样一所著名的学校毕业，任何人都会感到非常高兴；但对浩二来说，与其说是获得文凭的喜悦，不如说是在半年前的初次见面之后，能够成为埃内斯科教授的学生。在随后的两年里，直到这位大师去世，他一直在教导浩二。浩二学到了多少高尚而宝贵的东西，可想而知。
Koji had grown to be a young man when he lost Professor Enesco, and he therefore was able to single out a teacher for himself. His choice was Arthur Grumiaux, a teacher at the Royal Music School in Brussels, who also gave concerts and recitals, made record- 失去埃内斯科教授时，浩二已经长大成人，因此他可以为自己挑选一位老师。他选择了布鲁塞尔皇家音乐学校的教师阿瑟-格鲁妙（Arthur Grumiaux）。
dings and was perhaps the most distinguished violinist in Europe at that time. When Koji heard Grumiaux play at a concert, he decided that he wanted him as a teacher. 他可能是当时欧洲最杰出的小提琴家。浩二在一次音乐会上听到格鲁妙的演奏后，就决定要拜他为师。
Koji became Grumiaux’s number one pupil. There were two persons this teacher was most attached to, and both are Japanese. Both studied with me from infancy. One, needless to say, was Koji Toyoda; the other, who also became Grumiaux’s pupil, was Tomiko Shida, who won top prize at the International Music Contest in Munich in 1963. 浩二成了格鲁妙的头号学生。这位老师最喜欢的有两个人，他们都是日本人。这两个人都是日本人，从小就跟着我学习。一个不用说，就是丰田浩二；另一个也是格鲁妙的学生，就是志田富美子，她在 1963 年慕尼黑国际音乐比赛中获得了最高奖。
In 1964, when Grumiaux and his wife came to Japan at the invitation of the Osaka International Festival, he came to Matsumoto and there I saw and met for the first time my former pupils’ foreign teacher. His concert was wonderfully artistic. 1964 年，格鲁妙夫妇应大阪国际艺术节的邀请来到日本，他来到松本，在那里我第一次见到了我以前学生的外籍老师。他的音乐会极富艺术感染力。
To come in contact with such a personality is fortunate-a good, warmhearted person with noble spirit, human kindness, simplicity, and naturalness. For Koji and Tomiko, I was very happy, and I felt secure in knowing them to be under good tutelage. Tomiko Shida played beautifully before she went abroad, and I was glad that she found a teacher who would polish her ability even more. 能接触到这样的人是幸运的，他是一个善良、热心的人，具有高尚的精神、人性的善良、纯朴和自然。对于浩二和富美子，我感到非常高兴，我知道他们得到了很好的指导，这让我很放心。志田富子在出国前演奏得很好，我很高兴她找到了一位能进一步提高她演奏能力的老师。
To attain high art and musical sense a pure mind is absolutely indispensable. About 1960, the following happened with Tomiko Shida. 要想获得高超的艺术和音乐感，纯净的心灵是绝对不可或缺的。大约在 1960 年，志田富美子发生了以下事情。
Just play for the spirit of Chausson 为肖松精神而演奏
For the Talent Education summer school about a thousand people-pupils and their mothers-come from all districts of Japan to Matsumoto. Every night concerts are held. 为了参加人才教育暑期班，约有一千名学生和他们的母亲从日本各地来到松本。每天晚上都会举办音乐会。
Before going to Europe, Tomiko was scheduled to play “Poème” by Chausson (1865-1899). Shortly before the performance she told me , “Professor, it is so difficult I am afraid.” 在去欧洲之前，富子被安排演奏肖松（1865-1899 年）的《诗》。演出前不久，她对我说："教授，这太难了，我害怕。
I said, “What are you afraid of? You don’t play this beautiful piece for the audience. You are not showing off your ability to them. Stop thoughts like that. If you make a mistake, just go over the passage again. Tonight you play for the spirit of Chausson. This wonderful poetry, heart, inspiration-play it together with your own, 我说："你怕什么？你不是在为观众演奏这首优美的乐曲。你不是在向他们炫耀你的能力。别再这样想了。如果你弹错了，就再重弹一遍。今晚，你要为乔松的精神而演奏。这美妙的诗歌、心灵、灵感--与你自己的一起演奏、
then there is nothing to be afraid of. Just think, besides Chausson and you, there is nobody in the world.” 那就没什么好怕的了。想想看，除了你和乔松，世界上就没有别人了。"
That night she really played wonderfully. I was moved to tears when I went up to the stage to shake her hand. Later she became a proud pupil of Grumiaux’s. 那天晚上，她的演奏真的很精彩。当我上台与她握手时，我感动得热泪盈眶。后来，她成为了格鲁妙的得意门生。
To lament lack of talent is folly 感叹人才匮乏是愚蠢的
I spent most of my twenties abroad studying in Berlin. Arriving in Germany, I looked for the best violin teacher and found him in Professor Karl Klingler. The professor gave me some difficult music as homework. I practiced every day for five hours, but however hard I tried, it was as if a big wall prevented my advance. This continued many days, many months. I didn’t get ahead at all. A sad resignation settled over me. “It is hopeless, I have no talent.” 我二十多岁时大部分时间都在柏林留学。来到德国后，我一直在寻找最好的小提琴老师，最后在卡尔-克林勒教授那里找到了。教授给了我一些难度很大的乐曲作为家庭作业。我每天练习五个小时，但无论我多么努力，都好像有一堵大墙阻挡着我前进的步伐。这种情况持续了很多天，很多个月。我根本没有进步。一种悲哀的沮丧笼罩着我。"没希望了，我没有天赋"
Besides, I heard concerts of great musicians that only discouraged me more. To hear the famous Berlin Philharmonic Orchestra, filled with so many excellent players, affected me adversely and made me even more miserable and helpless. “What a pity! Without talent, trying so hard, every day-it’s not worth it,” I told myself. I felt that I had no ability, and wanted to die. This kind of feeling more or less afflicts every young person, especially those who want to embrace art closely. Seeing the great work and talent of predecessors and comparing it with his or her own ability, as well as being told that talent is inborn, can make a young person melancholy and filled with despair. 此外，我还听到了一些伟大音乐家的音乐会，这只会让我更加沮丧。柏林爱乐乐团有那么多优秀的演奏家，他们的演奏对我产生了负面影响，使我更加痛苦和无助。"真是遗憾！没有天赋，每天都这么努力--这不值得，"我对自己说。我觉得自己没有能力，想死的心都有了。这种感觉或多或少地困扰着每一个年轻人，尤其是那些想要紧紧拥抱艺术的年轻人。看到前人的优秀作品和才华，再与自己的能力进行比较，以及被告知才华是与生俱来的，都会让年轻人变得忧郁，充满绝望。
However little talent one thinks he/she has, one should at least try 无论一个人认为自己有多少才能，至少应该尝试一下
Many young people who doubt their talent may even entertain suicidal thoughts. But instead of being morose, without hope, they should begin by saying, “Talent is not inborn, it has to be created.” If one knows this, he or she can be buoyed up with hope even though the road is one of hardship and distress. Exertion is always beneficial as long as one is aware that it is goal oriented. 许多怀疑自己天赋的年轻人甚至会产生自杀的念头。但他们不应该消沉，不抱希望，而是应该先说："天赋不是天生的，而是后天创造的"。明白了这一点，即使前进的道路充满艰辛和困苦，也会充满希望。只要意识到目标导向，努力总是有益的。
From the time I left Japan it was not my objective to become a performer. Fascinated by music, I wanted to learn the secret of this man-made art. What is art? I wanted to know. Despairing and disillusioned by my lack of performing ability, I was spurred on by hurt pride in my quest for the secret of art. And it cured my despair. Even if I had no talent, and even if my progress was slow, I determined to plod on step by step toward my goal of becoming a whole, well-rounded human being. I did not hurry, but I did not rest either. 1 endeavored ceaselessly. And it gave me both peace of mind and something to live for. 从离开日本开始，我的目标就不是成为一名演奏家。我对音乐着迷，想了解这种人造艺术的秘密。什么是艺术？我想知道。由于缺乏表演能力，我感到绝望和幻灭，但受伤的自尊心促使我继续探索艺术的奥秘。它治愈了我的绝望。即使我没有天赋，即使我的进步缓慢，我也决心一步一步地朝着成为一个完整、全面的人的目标前进。我没有匆忙，但也没有休息。1 不懈地努力。这让我心安理得，也让我有了生活的目标。
I learn the foolishness of lamenting lack of talent 我明白了感叹天赋不足的愚蠢之处
My devotion to art helped me to develop and educate my own ability. "I have no talents-what sadness and despair are occasioned by this nonsensical belief! For years, people everywhere have succumbed to this false way of thinking, which is really only an excuse for avoiding work. After long studies over a period of time, I finally learned that man is the product of his environment. Had I known earlier that ability can be developed by training, I would have followed the right path much earlier. 我对艺术的执着帮助我发展和培养了自己的能力。"我没有才能--这种无稽之谈会带来怎样的悲伤和绝望！多年来，世界各地的人们都屈服于这种错误的思维方式，这实际上只是逃避工作的借口。经过一段时间的长期学习，我终于明白，人是环境的产物。如果我早些知道能力可以通过训练来培养，我就会更早地走上正确的道路。
Every child can be educated; it is only a matter of the method of education. Anyone can train himself; it is only a question of using the right kind of effort. 每个孩子都可以接受教育，问题只在于教育的方法。每个人都可以训练自己，问题只在于使用正确的努力方式。
To surrender to the thought of having no talent and give up the effort is cowardly 认为自己没有才能而放弃努力是懦弱的表现
Poor training produces poor ability. People should make every effort, even though it is difficult, to accumulate and build superior ability. This I want to impress on your minds. 训练不好，能力就差。人们应该尽一切努力，即使困难重重，也要积累和培养卓越的能力。这一点我想在你们心中留下深刻印象。
Well, then, what is the right and correct effort? I will discuss this later. Here I only want you to remember one thing-repetition. After one has learned a thing, it should be thoroughly mastered by repeating it again and again. 那么，怎样的努力才是正确的呢？我稍后会讨论这个问题。在这里，我只想让你们记住一件事--重复。当一个人学会了一件事之后，应该通过不断重复来彻底掌握它。
Science does not pretend to explain what it does not understand. So people who know anything at all about science should not voice opinions, such as “inborn talent,” with regard to human ability. What does science really know about human potential at birth? Superstitions about talent training should be discarded. To reason whether one has talent or not is to no avail. Abandon these thoughts, and use your own power to create talent. 科学不会妄图解释它所不了解的东西。因此，对科学有所了解的人不应该对人的能力发表诸如 "先天天赋 "之类的观点。科学对人类出生时的潜能到底了解多少？应该摒弃对人才培养的迷信。推论一个人是否有天赋是没有用的。摒弃这些想法，用自己的力量创造人才。
Look at the facts: Clumsiness is a result of wrong training 看看事实：笨拙是错误训练的结果
While I was teaching at the Imperial Music School, one of the girl students told me, “Professor, I am so clumsy, and my fingers won’t move quickly.” 我在帝国音乐学校任教时，一位女学生对我说："教授，我太笨拙了，我的手指不会快速移动"。
“Clumsy? Who decided that?” I asked. Then followed this dialogue. "笨拙？谁说的？"我问道。接下来是这样一段对话。
“I think so.” "我想是的"
“Then you misjudged yourself. You make a mistake in calling yourself clumsy. It’s the same as if you applied the brake on a car and then complained that it wouldn’t run properly.” "那你就错怪自己了。你说自己笨拙是个错误。这就像你踩了汽车的刹车，然后抱怨它无法正常行驶一样"。
“But my fingers don’t move fast enough.” "但我的手指动得不够快"
“Did you hurt them or have an injury?” "你弄伤他们了还是受伤了？"
“No.” "不"
“Just put your left hand on the table. All right. Now try together with me to move the first finger, as if we were playing piano. Whose finger moves faster?. . . There, didn’t it move fast? You see, there’s nothing wrong with your fingers. Your head and fingers are not working together, that’s all. If they don’t work in cooperation, your practice is no good. One can say that your manner of practicing has been very poor indeed.” "把你的左手放在桌子上好的现在试着和我一起移动第一个手指，就像我们在弹钢琴一样。谁的手指动得快？. .好了，是不是动得很快？你看，你的手指没有问题。你的头和手指没有配合好，就是这样。如果它们不合作，你的练习就没有用。可以说，你的练习方式确实很糟糕。"
“What can I do?” "我能做什么？"
“When I was your age, I also practiced vigorously in a mistaken, wrong manner. There was no one to tell me. Now, try this: from today on, place your fingers slowly and carefully in the positions you want to reach fast. Repeat over and over again for three days. On the fourth day do it a little faster and continue for two more days. On the sixth day you should be able to do it fast without difficulty.” "在我像你这么大的时候，我也曾以错误的方式刻苦练习。没有人告诉我。现在，试着这样做：从今天起，把你的手指慢慢地、小心翼翼地放在你想要快速达到的位置上。如此反复三天。第四天，速度稍微快一点，再坚持两天。到了第六天，你就可以毫无困难地快速完成了。
She practiced in the way I advised, and at the next lesson her fingers moved with speed and accuracy and there was no complaint. 她按照我的建议进行练习，在下一堂课上，她的手指移动得又快又准，没有任何抱怨。
The joy of thirty workers 三十名工人的喜悦
I was invited to a large factory to give an address to the workers. After the lecture, the director, following some pleasantries, said, “Our factory employs about thirty manual workers. Even though they try their best, work is proceeding very slowly. It seems they are born that way. Is there something Talent Education can do about it? We’re in the red.” 我应邀到一家大工厂给工人们做演讲。演讲结束后，厂长在一番寒暄之后说："我们工厂大约有 30 名体力劳动者。尽管他们尽了最大努力，但工作进展得非常缓慢。看来他们天生就是这样。人才教育部门有什么办法吗？我们现在处于亏损状态"。
I was thinking of the girl student with the slow-moving fingers. “You say their hands are slow. It is not their hands but their heads that are slow.” 我想到了那个手指行动迟缓的女学生。"你说她们的手很慢。慢的不是她们的手，而是她们的头。"
“Not the hands?” "不是手吗？"
I told the director to hire a good coach and let the workers play table tennis every day for an hour during working hours. “Then head and body have to work together, and I’m sure it will improve their efficiency in their working habits.” 我告诉主任，请一个好教练，让工人们每天在工作时间打一个小时的乒乓球。"这样一来，头脑和身体就必须协同工作，我相信这会提高他们工作习惯的效率"。
“This is an interesting proposal,” the director said. He tried it, and about half a year later I received a glowing letter: “Thanks to you the workers’ efficiency has unbelievably improved, just as you said. I am so very happy. Besides working so well now, they have table tennis for their recreation. I would like very much to show you how your advice worked.” "导演说："这是一个有趣的提议。他试了一下，大约半年后，我收到了一封赞誉信："多亏了你，工人们的工作效率提高得令人难以置信，就像你说的那样。我非常高兴。除了工作效率提高了，他们还有了乒乓球作为娱乐。我非常想让你看看你的建议是如何发挥作用的"。
Hiroko-Chan-extra slow in everything Hiroko-Chan - 做什么都特别慢
I started to learn violin playing when I was seventeen. My little finger was utterly incompetent, for, of course, during the previous seventeen years it had not been trained to play the violin. I wanted it to move efficiently, but it wouldn’t. In the case of the trill there was no expression and my incompetence was apparent. I wanted my litile finger to at least come close to the ability of the other fingers, and I practiced daily for many years. But even now, after more than 我 17 岁时开始学习拉小提琴。我的小手指完全不听使唤，因为在过去的十七年里，它当然没有受过拉小提琴的训练。我想让它有效地移动，但它不愿意。在演奏颤音时，没有任何表情，我的无能显而易见。我希望我的小指至少能接近其他手指的能力，多年来我每天都在练习。但即使是现在，在超过
forty years, it still hasn’t caught up with the expression and ability of the other fingers. What is not trained while we-are growing, brings pain and aches later. This becomes even clearer to me when I teach four- and five-year-old children. Their little fingers are trained from the beginning with the other fingers, and I envy them when I see how easily and skillfully those tiny fingers can be trained. Sense, feeling and ability, too, can be easily educated with time and practice. 四十年来，它的表现力和能力仍未赶上其他手指。在我们成长过程中没有得到训练的东西，日后会带来痛苦和疼痛。当我教四、五岁的孩子时，我更清楚地认识到这一点。他们的小手指从一开始就和其他手指一起接受训练，当我看到这些小手指可以如此轻松和熟练地接受训练时，我很羡慕他们。感官、感觉和能力也是一样，通过时间和练习可以很容易地培养出来。
Hiroko was a girl of six. Brought up in a remote part of Manchuria, she was repatriated after the war. Her grandmother heard one of my lectures and brought her to the Matsumoto Music School. This Hiroko, educated in the wilds of Manchuria, was indeed more than slow in all her movements. Whatever she did was slow and could stand no comparison with what other children did. I was anxious about it and tried this tactic: 博子是一个六岁的女孩。她在满洲的一个偏远地区长大，战后被遣送回国。她的祖母听了我的一次讲座后，把她带到了松本音乐学校。这位在满洲偏远地区接受教育的博子，动作确实比一般人要慢。她无论做什么都很慢，与其他孩子无法相比。我很着急，便想出了这一招：
On the second floor of the school I lined up Hiroko with children of her age group and gave everyone a number. Then, standing in front of them, I called out, “Attention, everybody. When I call one, two, three, put your right hand on top of your head as fast as you can-at the word three, remember, not before or after.” This training ability is necessary for fine violin playing. Children enjoy this game very much. Before a rehearsal I let them play it to loosen them up, and, without fail, they are besides themselves with pleasure, laughing and giggling. But Hiroko alone was very slow in putting her hand on her head. She really took her time, as if time were nonexistent. More than playing violin, I wanted her to change her pace of movement. I continued the game with all the children. Finally Hiroko could play violin well, and did her best to move with alacrity. The next twelve or thirteen years showed a surprising change. She became alert and active, and she acquired a large repertoire of music. Now Hiroko Yamada is the only Japanese girl member of the Berlin Radio Orchestra. 在学校二楼，我让博子和她同龄的孩子们排成一排，并给每个人发了一个号码。然后，我站在他们面前喊道："大家注意了。当我喊一、二、三的时候，用最快的速度把你的右手放在头顶上--在喊三的时候，记住，不是之前，也不是之后"。这种训练能力是拉好小提琴的必要条件。孩子们非常喜欢这个游戏。在排练前，我让他们玩这个游戏，让他们放松一下，他们总是乐得合不拢嘴，咯咯地笑个不停。但是，只有博子一个人在把手放在头上时非常缓慢。她真的很慢，好像时间不存在一样。比起拉小提琴，我更希望她能改变自己的动作节奏。我继续和所有的孩子玩这个游戏。最后，博子终于能拉好小提琴了，她也尽自己最大的努力快速移动。在接下来的十二三年里，她发生了惊人的变化。她变得活泼好动，掌握了大量的音乐曲目。现在，山田裕子是柏林广播交响乐团唯一的日本女团员。
Ten years'effort can change inferiority into superior talent 十年磨一剑，"劣 "变 "优
Shortcomings or weak points in children are usually blamed on “character” or “nature”’ and are left at that. But through training, 孩子们的缺点或弱点通常被归咎于 "性格 "或 "天性"，并就此搁置。但通过培训
The Classic Approach to Talent Education 人才教育的经典方法
the contrary-points of excellence-can be brought out in a ten-year program. If he or she really goes about it in earnest, anyone can cultivate ability in ten years, I believe. Even in one year, shortcomings can be changed into good points if only we set our aims high enough. Continuing for ten years, we can become outstanding indeed. Thus in our own life, we can show great vitality if training is properly carried out. 相反，卓越点可以在十年的计划中体现出来。如果真的认真去做，我相信任何人都能在十年内培养出能力。即使是一年，只要我们把目标定得足够高，缺点也能变成优点。坚持十年，我们的确可以变得优秀。因此，在我们自己的生活中，只要训练得当，就能展现出强大的生命力。
Everyone has shortcomings. The most common one is the tendency to say “I will do this, or that” and then not to do it right away. This habit of procrastination will influence a person’s fate throughout life. Developing ability depends on action and the directing of our attention to doing things. 每个人都有缺点。最常见的就是喜欢说 "我要做这个或那个"，然后又不马上去做。这种拖延的习惯会影响一个人一生的命运。能力的培养取决于行动，取决于我们把注意力集中到做事上。
By repeating an action for only three days or so, nothing whatsoever will happen-certainly not success. That’s why only to think that “I want to do this” and not to acquire the habit of doing it continuously accomplishes nothing much. 一个行动只重复三天左右，什么也不会发生，当然也不会成功。这就是为什么只有 "我想这样做 "的想法，而没有养成持续做这件事的习惯，是不会有什么结果的。
There is no limit to our shortcomings. Until we die, we should spare no time or effort in changing our weaknesses to merits. To do so can be pleasant and interesting. We can become like the horse that starts last and yet outruns the field, reaching the wire first; it is the same fun. 我们的缺点是无止境的。在我们死之前，我们应该不遗余力地把我们的缺点变成优点。这样做会让人感到愉快和有趣。我们可以像一匹最后起跑的马一样，超越全场，第一个到达终点；这是同样的乐趣。
The high-jumping ability of the Ninjutsu—a lesson to be learned 忍术的高空跳跃能力--值得学习的一课
I want to talk a little more about cultivating one’s ability. 我想再谈谈培养能力的问题。
A book I once read told how the Ninjutsu were taught to highjump: “Take a hemp seed and cultivate it, and every day leap over the plant” was one of the methods. The way to produce superior ability is to concentrate on something and devote oneself to doing it. 我曾经读过一本书，书中讲述了忍者是如何学习跳高的：其中一个方法是 "取一粒大麻种子并培育它，每天都要跳过大麻"。产生卓越能力的方法就是专注于某件事情，并全身心地投入去做。
Hemp grows fast. To a person watching it daily it doesn’t seem so, but the growth of the hemp goes on hourly without recess. By leaping over the hemp every day one’s leaping ability grows together with the hemp. After a month or two of one’s having not seen it for some time, the hemp will suddenly seem to have grown to a surprising height. If in the meantime one’s jumping ability has not been trained, and suddenly one wants to jump over the hemp, it will prove 大麻长得很快。对于每天观察它的人来说，似乎并不是这样，但大麻的生长每小时都在进行，没有间歇。每天在麻上跳跃，人的跳跃能力就会和麻一起增长。一两个月不见，麻就会突然长到一个惊人的高度。如果在此期间，一个人的跳跃能力没有得到训练，而他突然想跳过大麻，那就会证明
to be impossible. But if one has worked hard together with the growing hemp, it will seem natural to leap over it easily. 是不可能的。但是，如果一个人在种植大麻的过程中付出了艰辛的努力，那么轻松跨越它就显得很自然了。
The reason that we chatter freely in Japanese is that we use it daily; it is the same with jumping over the hemp every day from the time it appears. It is a matter of “Ease comes with training.” We simply have to train and educate our ability, that is to say, do the thing over and over again until it feels natural, simple, and easy. 我们之所以能用日语侃侃而谈，是因为我们每天都在使用日语；跳过麻线也是一样，从它出现的那一刻起，我们每天都在跳过麻线。这是一个 "训练出来的轻松 "的问题。我们只需训练和培养自己的能力，也就是说，反复做这件事，直到感觉自然、简单和轻松为止。
That is the secret. 这就是秘诀。
Look at your right hand 看看你的右手
Ability does not just come about without training. We have to educate it in ourselves. Everyone has to train his own self. Stop lamenting lack of talent and develop talent instead. 能力不是不经训练就能获得的。我们必须对自己进行教育。每个人都必须自我训练。不要再感叹自己没有才能，而是要培养自己的才能。
For righthanded people, the left hand is inferior to the right hand. That is only because the left hand has been relatively idle. The two hands would be the same if we habitually trained them equally from the beginning; otherwise they will seem different. It is the same with human ability. Not to try to educate your talent, thinking that by nature or birth you don’t have any, is your own folly. If you trained yourself every day to do a specific act, your energy would develop, your senses would become educated, your ability would expand. Look at your right hand. Your right hand excels over your left hand because you yourself brought this about. At birth your left hand was not inferior; the hands were evenly matched-and see how they have changed! Similarly, whatever ability we have we were not born with but have developed ourselves through training. Ability is something we produce ourselves. 对于右撇子来说，左手不如右手。这只是因为左手相对闲置。如果我们从一开始就习惯性地对两只手进行同样的训练，那么两只手就会是一样的，否则它们就会显得不同。人的能力也是如此。认为自己天生或后天没有才能，而不努力培养自己的才能，这是你自己的愚蠢。如果你每天都训练自己做一个特定的动作，你的能量就会发展，你的感官就会受到教育，你的能力就会扩大。看看你的右手。你的右手比左手出色，因为这是你自己造成的。刚出生时，你的左手并不逊色；两只手势均力敌--看看它们是如何变化的！同样，无论我们拥有什么能力，都不是与生俱来的，而是通过训练培养出来的。能力是我们自己培养出来的。
Your right hand knows this. Why has your right hand its extraordinary ability? Repetition. People too can develop superior talent through the same method-repetition. To stop training as soon as one can do something does not mean that it is truly absorbed. One must continue to practice until it is natural and easy. The more one practices, the better one becomes. Talent is born this way. Far from being inferior to the right hand, the left hand would display the same ability if we kept using it in the same way. 你的右手知道这一点。为什么你的右手具有非凡的能力？重复。人也可以通过同样的方法--重复--培养出卓越的才能。一个人一旦会做某件事情，就停止训练，这并不意味着他真正吸收了这件事。一个人必须继续练习，直到自然而然、得心应手。练得越多，就会变得越好。天才就是这样诞生的。如果我们坚持用同样的方法使用左手，左手非但不会比右手逊色，反而会展现出同样的能力。
The beauty of earnest repetition 认真重复之美
Expend effort on improving yourself. To think that you are born with an ability that develops by itself is a mistake. If some skill is easy for you, that is evidence that it has been developed through training to such an extent that it has become a part of you. “Become a part of you” is to say that your purpose has been achieved by work and repetition until the skill has firmly taken hold in your consciousness. 努力提高自己。认为自己与生俱来的能力会自行发展，这种想法是错误的。如果某种技能对你来说轻而易举，那就证明这种技能是通过训练发展起来的，已经成为你的一部分。"成为你的一部分 "是说，通过努力和重复，你已经达到了目的，直到这项技能在你的意识中牢牢扎根。
I learned that through self-discipline during my studying in Germany when, longing to do better and reach self-awakening, I had to face my own inability to perform. I think that to realize this is very important, not only for the young but also for older people. Now, too, I always try not to forget this. For instance, I recently wrote, “Tone has a living soul without form” on 1,500 shikishi (squares or oblongs of cardboard covered with silk), used for writing Japanese waka poems. I presented one to each little graduate at the annual March concert. Many people say this is a terrible task. I have to get up very early every morning to be able to do it besides my other work, but far from finding it terrible, I enjoy it, and want to write especially nice. I rub the sumi (China-ink stick) and write those words on every single leaf. Not a calligrapher, I nevertheless try to improve my writing with every shikishi, and self-confidence is added with each one. I work with vigor, and it becomes, although only in my way, splendid calligraphy. Yet one sheet is not like another. I cannot tell how much satisfaction I get out of this work and how wonderful the repetition feels. 我是在德国学习期间通过自律认识到这一点的，当时我渴望做得更好，实现自我觉醒，但又不得不面对自己的无能。我认为，认识到这一点非常重要，不仅对年轻人如此，对老年人也是如此。现在，我也总是努力不忘记这一点。例如，我最近在 1500 块写和歌诗的纸板上写下了 "没有形式的音调是有灵魂的"。在每年三月的音乐会上，我都会给每个小毕业生赠送一个。很多人说这是一项可怕的任务。但我不但不觉得可怕，反而乐在其中，想把它写得特别好。我搓着墨斗，在每一片叶子上写下这些字。虽然我不是书法家，但每写一个字，我都会努力提高自己的书写水平，每写一个字，我都会增加自信心。我干劲十足，虽然只是以我的方式，但也写出了精彩的书法。然而，一张与另一张不同。我无法形容我从这项工作中获得了多大的满足感，以及重复的感觉有多么美妙。
Develop excellence through repetition 在重复中发展卓越
My self-discipline has become, in other words, the Talent Education method. My own wrong training efforts of the past have been discarded. In their place is a correct and sound method. In most cases, if one is able to play a piece of music, there will follow in rapid succession other pieces-this one, that one too, and many 换句话说，我的自律已成为人才教育方法。我抛弃了自己过去错误的训练方法。取而代之的是一种正确而合理的方法。在大多数情况下，如果一个人能够演奏一首乐曲，那么接下来就会接二连三地演奏其他乐曲--这首、那首，以及许多其他乐曲。
others. But just ‘playing through’’ many pieces is not good training if there will be no one piece that is really played excellently. Just being able to say “I can play all these pieces” is in fact insufficient, for it results in not developing musical sense, fine interpretation and so on. 其他人。但是，如果没有一首乐曲真正演奏得非常出色，那么仅仅 "弹过 "许多乐曲并不是很好的训练。仅仅会说 "这些曲子我都会弹 "实际上是不够的，因为这样做的结果是无法培养乐感和精湛的演绎能力等。
This principle applies not only to music but to all other faculties. It is fundamental to develop the planted ability to the highest possible point. Learn one thing, then practice and polish it every day for perhaps three months. If you are learning to play an instrument during this time, listen continuously to the best performers in the world on records. Soon you will improve, playing more and more excellently, until a new, higher level is born. By this time it is no longer technique only but the possession of spirit and heart. 这一原则不仅适用于音乐，也适用于所有其他能力。最根本的是要将种植能力发展到尽可能高的水平。先学一样东西，然后每天练习和琢磨，大概持续三个月。如果在此期间你正在学习演奏一种乐器，那就不断聆听世界上最好的演奏家的唱片。很快，你就会进步，演奏得越来越出色，直至达到一个新的更高水平。此时，你所掌握的已不仅仅是技巧，而是精神和心灵。
While playing violin, finishing a phrase is the spiritual attitude in music; it is an important matter of time. Although the piece has ended, the music has not (for a certin instant). Bach, for instance, used to write Fermate in ink into his music textbooks of the eighteenth century. The tranquility during prayers, dropping silently to one’s knees, is like this important moment. A man who has reached this grade will attain a noble heart and mind in addition to artistic sense, and will rise above and be far ahead of others. 在拉小提琴时，完成一个乐句是音乐的精神态度；这是一个重要的时间问题。虽然乐曲已经结束，但音乐还没有结束（在某一瞬间）。例如，巴赫曾在十八世纪的音乐教科书中用墨水写下 "Fermate"。祈祷时的宁静，默默地跪下，就像这一重要时刻。达到这一境界的人，除了艺术感之外，还将拥有高尚的心灵和思想，并将超越他人，遥遥领先。
Don't rush, but don't rest; patience is an important faculty for achievement 不要着急，但也不要休息；耐心是取得成就的重要能力
Ability is one thing we have to produce (or work for) ourselves. That means to repeat and repeat an action until it becomes a part of ourselves. It is easy to say, but to have the energy to do it-there lies the problem. There are many people who resolve they will achieve this or that, but not all carry out their intentions. They start, perhaps, but they don’t really go on, and they don’t put enough strength into their efforts, leaving things half done. Indeed, isn’t this the experience of many, many people? There are only a few who go through with their purpose and accomplish things. Whatever work it may be, the way to success is, after all, to stick to one’s intentions to the very last. Everyone is able to do it; it depends only on one’s will. 能力是我们必须为自己创造（或努力）的一种东西。这意味着要不断重复一个动作，直到它成为我们自身的一部分。说起来容易，但要有精力去做，问题就在这里。有很多人下定决心要实现这个或那个目标，但并不是所有人都能实现自己的愿望。也许他们开始了，但并没有真正去做，也没有投入足够的力量去努力，导致事情半途而废。事实上，这不正是很多人的经历吗？只有少数人能够坚持自己的目标，完成自己的事情。无论做什么工作，成功之道归根结底都是坚持自己的初衷，直到最后。每个人都能做到，关键在于自己的意志。
Achievement is the product of energy and patience, which have to be trained like all other abilities. And we have to be brought up 成就是精力和耐心的产物，而精力和耐心与其他能力一样，都需要训练。我们必须从小
with this idea. How can we work well otherwise? We ourselves have to awaken to this fact. In the beginning, forbearance and patience decide one’s fate. Why? If we endure and continue to expend energy to achieve a goal, the necessary patience will develop; thus, our capacity to achieve will grow and grow. This attained ability will help us to work much easier, at the same time building up our energy and perseverance. 有了这个想法。否则，我们怎么能好好工作呢？我们自己必须清醒地认识到这一事实。一开始，忍耐和耐心决定一个人的命运。为什么呢？如果我们忍耐并继续为实现目标而耗费精力，就会培养出必要的耐心；因此，我们实现目标的能力就会不断增强。这种能力会让我们的工作变得更加轻松，同时也会增强我们的精力和毅力。
Natural growth 自然增长
If we cannot be patient but stop a project halfway throughthen later start again, drop it, start again, and so on-this kind of repetition will not bring good results. A person who works like that will never rise over difficulties; in the end, he or she will give up the effort as entirely useless and utterly hopeless. Many young people’s unhappiness is caused by such reasoning. Let’s think again of the example of a tree. A seed is planted in the earth. We don’t see when the germination begins. That is the doing of Mother Nature; it is the fundamental working principle. We have to wait patiently. We cannot dig up the seed to see whether it is really growing; to do so would be to destroy everything. 如果我们不能忍耐，而是半途而废，然后再开始，放弃，再开始，如此反复，是不会带来好结果的。这样工作的人永远不会克服困难，最终他或她会放弃努力，认为完全无用，毫无希望。很多年轻人的不快乐就是这样造成的。让我们再想一想树的例子。一粒种子被种在土里。我们看不到种子何时开始发芽。这是大自然母亲的工作；这是基本的工作原理。我们必须耐心等待。我们不能把种子挖出来看它是否真的在生长，这样做会毁掉一切。
Suddenly a bud appears. What a joy and pleasure to watch it grow! At the same time the root, unseen in the ground, is getting stronger and has the power to produce a big, sturdy tree. I think this is a good analogy for one’s ability. Once the “seed” ability is planted, it has to be carefully and patiently tended. Finally the “bud,” or talent, presents itself and has to be educated and brought up with perseverance until the “root,” or power, becomes very strong and is indissolubly tied to the personality. It can be said to be a treasure when a person can accomplish and carry through his or her work to the very last. 突然，一个花苞出现了。看着它成长，是一件多么快乐和幸福的事情！与此同时，在地里看不见的根也在不断地茁壮成长，并有能力长出一棵粗壮的大树。我认为这是对一个人能力的很好比喻。能力的 "种子 "一旦种下，就必须细心、耐心地呵护。最后，"芽"，也就是才能，就会显现出来，必须坚持不懈地教育和培养，直到 "根"，也就是能力，变得非常强大，与个性密不可分。当一个人能够完成自己的工作并将其进行到底时，他或她就可以说是一笔财富。
Without hurry, without rest 不匆忙，不休息
To make a resolution and act accordingly is to live with hope. Confronted with a high mountain, you cannot reach the summit in 下定决心并付诸行动，就是带着希望生活。面对一座高山，你不可能在
one stride, but must climb step by step to approach your goal. There may be difficulties and hardships, but not disappointment or despair if you follow the path steadily. Do not hurry. This is a fundamental rule. If you hurry and collapse or tumble down, nothing is achieved. Do not rest in your efforts; this is another fundamental rule. Without stopping, without haste, carefully taking a step at a time forward will surely get you there. To commit yourself to untiring patience and strong endurance, what we call kan-intuition or sixth senseis an absolute necessity in education. Without it, Dr. Hakushi Yukawa wouldn’t have discovered his mesotron theory. At least, so I believe. 要接近目标，必须一步一步地攀登。也许会有困难和艰辛，但只要坚定地走下去，就不会失望和绝望。不要急于求成。这是一条基本准则。如果急于求成，就会崩溃或倒下，就会一事无成。不要停止努力，这是另一条基本原则。不停歇，不匆忙，小心翼翼地一步一步向前走，就一定能到达目的地。不懈的耐心和强大的耐力，即我们所说的 "直觉 "或 "第六感"，在教育中是绝对必要的。没有第六感，汤川学博士就不会发现他的介子理论。至少我是这么认为的。
A dot of light for a child living in darkness 为生活在黑暗中的孩子点亮一盏明灯
One morning Mr. Tanaka, a painter in oils, visited me with a letter of introduction from a friend of mine. He was leading a little boy by the hand. The boy was blind. Mr. Tanaka said, “This is my son, Teiichi, five years old. As a baby he suffered from an eye disease, and since it was a matter of life or death, he had to be operated on and both eyes had to be extracted. My wife and I want to give our son a light in his darkness, a light that will shine throughout his life. We were thinking of music, and I came to ask you to accept him as one of your violin students.” 一天上午，油画家田中先生带着我一位朋友的介绍信来拜访我。他牵着一个小男孩的手。小男孩双目失明。田中先生说："这是我的儿子 Teiichi，今年 5 岁。他在婴儿时期就患上了眼疾，由于生死攸关，他不得不接受手术，双眼都被摘除。我和妻子希望在儿子的黑暗中给他一束光，一束照亮他一生的光。我们想到了音乐，我来请求您接受他成为您的小提琴学生之一。"
Looking at the innocent little boy who throughout his life would have to find his way around, feeling and groping with his hands, I couldn’t help the tears welling up in my eyes. I could not immediately say all right, but had to figure out a way to coach a totally blind child. 看着这个天真无邪的小男孩，他的一生都要靠双手摸索着找路，我的眼泪忍不住在眼眶里打转。我不能立即说 "好吧"，而是要想办法指导一个完全失明的孩子。
'Please wait one week," I answered. 'If I think I will be able to do it, and have enough self-confidence to teach this youngster, then I will see to it that it turns out to be a success." 我回答说："请再等一个星期。'如果我认为我能够做到，并且有足够的自信去教这个年轻人，那么我会确保它取得成功。"
That night in my quiet study room I thought about the difficult problem. How could I teach this blind child? I had no idea. After a while it suddenly occurred to me that first of all I should be in the same condition as a blind person. I rose from my chair and ex- 那天晚上，我在安静的书房里思考着这个难题。我怎样才能教好这个盲童呢？我毫无头绪。过了一会儿，我突然想到，首先我应该和盲人处于同样的状态。我从椅子上站起来，从
tinguished the light. In pitch darkness I sat down again. “Well, this is it. I have to find out what it is like to be in complete darkness; then I will understand better the dark world of the blind.” The room seemed to be a vacant space. I could not see my violin or bow (yet I knew they were right there). The four strings . . . their positions 在一片漆黑中，我又坐了下来。在一片漆黑中，我又坐了下来。"嗯，就是这样。我必须找到完全黑暗中的感觉，这样我才能更好地理解盲人的黑暗世界。房间里似乎空无一人。我看不见我的小提琴和琴弓（但我知道它们就在那里）。四根琴弦......它们的位置
just a little rising and falling to carry the bow over the other strings . . . the difficulty of violin playing-how to make the boy comprehend all that? In the complete darkness I felt my way around and took violin and bow out of the case and began to play. Apparently for me it is quite the same whether it is bright or dark, since 1 often play with my eyes closed. I was absolutely conscious of the tip of the bow, the strings, the bridge, the positions. I could “see” it all. I often closed my eyes while playing without particularly thinking about it. But now it dawned on me that we sometimes don’t rely on our eyes. By means of kan we receive the power of sensibility to play. ......小提琴演奏的难度--如何让孩子理解这一切？在一片漆黑中，我摸索着，从琴盒中取出小提琴和琴弓，开始演奏。显然，对我来说，无论天亮还是天黑都是一样的，因为我经常闭着眼睛拉琴。我对弓尖、琴弦、琴桥和位置都非常清楚。我可以 "看到 "这一切。我经常在演奏时闭目养神，并不特别去想它。但现在我恍然大悟，我们有时并不依赖眼睛。通过 "坎"，我们获得了演奏的感性力量。
Through repeated practice we acquire remarkable strength. Our life activity involuntarily works up a great power, namely the ability of kan, that enables us to overcome all difficulties. That’s why in this dark world (room) where I could not see anything left or right, I was still able to play. And then. . . 通过反复练习，我们获得了非凡的力量。我们的生命活动会不由自主地产生一种巨大的力量，即 "坎 "的能力，它使我们能够克服一切困难。这就是为什么在这个黑暗的世界（房间）里，我看不到任何东西的左右，但我仍然能够演奏。然后.. .
My spiritual eyes open; the promised week passes 我的心灵之眼睁开了；约定的一周过去了
“Yes, I will make little Teiichi see the violin, strings, and bow. He doesn’t need physical eyes if I can teach him to use his spiritual ones,” I told myself. My basic guiding principle was thus decided. Later I could think about the method. Again Mr. and Mrs. Tanaka showed up with Teiichi. I said, “Let’s cooperate and unite all our effort to open the spiritual eyes of the little boy.” I asked the parents to be prepared for long, strenuous endeavors and the devotion to carry through the resolution to the very last. Thus lessons began. Ilven considering that it was for their own child’s happiness, Mr. and Mrs. Tanaka cooperated admirably. The anxieties and hardships eannot be put into words, but their dearest wish came true; they put a dot of light in the heart of their son. "是的，我要让小帝一看到小提琴、琴弦和琴弓。如果我能教会他使用灵性的眼睛，他就不需要肉眼了，"我对自己说。我的基本指导原则就这样确定了。以后我就可以考虑方法了。田中夫妇又一次带着帝一出现了。我说："让我们合作，齐心协力，打开小男孩的心灵之眼。我要求家长们做好长期艰苦努力的准备，以及将决心进行到底的奉献精神。课程就这样开始了。考虑到这是为了自己孩子的幸福，田中夫妇非常配合。虽然其中的焦虑和艰辛难以言表，但他们最殷切的愿望终于实现了；他们为儿子的心灵点亮了一盏明灯。
The child could see neither up nor down, right nor left 孩子看不到上下左右
The first training consisted in making the boy see the bow. “This is called a bow.” I put the bow in the little hand, and let him feel from the frog of the bow to the tip, again and again, so that he was able to remember what a bow is like. Then I taught him how to hold the bow. “Try to move the bow up and down.” But his hand moved the bow obliquely. “Next, from right to left.” Again there was the slanting movement. His spiritual eyes didn’t yet see up or down, right or left. . . . All his movements were equally oblique. “This is your homework for this week, to move the bow up and down, right and left.” Of course, I doubted whether he would be able to do it in one week. But I thought that for him to hold the bow and move it as a game, and make the bow at the same time “visible,” would correspond with homework, which the parents could easily supervise. After a week he could do this exercise quite well, but still with a curve. The next aim and work was to produce the motion in a straight line, and gradually his homework increased. 第一项训练是让男孩看到弓。"这叫弓"我把弓放在他的小手里，让他从弓的箭杆一直摸到弓尖，一遍又一遍，这样他就能记住弓是什么样的了。然后，我教他如何握弓。"试着上下移动弓子"但他的手是斜着拉弓的。"接下来，从右向左"又是斜着移动他的灵眼还看不清上下左右. .. .他的所有动作都是斜的"这是你这周的功课，把弓从上到下，从右到左"当然，我怀疑他是否能在一周内做到。但我认为，让他把拿弓和移动弓当作一种游戏，同时让弓 "看得见"，这与家庭作业是相对应的，家长可以很容易地监督。一周后，他能很好地完成这项练习，但仍有一定的难度。接下来的目标和工作是做直线运动，他的家庭作业逐渐增加。
The little mouth says, "Yes, I see" 小嘴巴说："是的，我明白了"
"This time we will try to grasp the tip of the bow with the left hand. Here, take the bow in your right hand-you can see it, can’t "这一次，我们将尝试用左手抓住弓尖。来，用你的右手握住弓--你能看到它，不是吗？
“Yes,” he replied. "是的，"他回答道。
“'Then go ahead and grasp the tip way on top of the bow. Don’t feel your way up. Let’s see whether you can do it in one swift movement. Now seize it—” "'那就继续，抓住船头顶端的尖端。不要摸索着往上爬。看看你能不能一气呵成。现在抓住它......"
Teiichi was interested and enjoying it. But his left hand went way off. In his own playful way he tried it many, many times. There was failure as well as the bow’s being sometimes just within his reach. Teiichi 很感兴趣，并乐在其中。但他的左手却不听使唤。他用自己好玩的方式试了很多次。有失败过，也有过弓有时就在他触手可及的地方。
Mr. and Mrs. Tanaka gazed and stared, as in silent prayer. Then, finally, Teiichi was able to get hold of the bow tip with his left hand. “Good… Now do it five times without a single miss. This will be your homework until the next lesson.” 田中夫妇目不转睛地盯着，就像在默默祈祷。最后，帝一终于用左手握住了弓尖。"很好......现在做五次，不能有一次失误。这将是你下节课之前的家庭作业。"
For the blind child a very interesting hobby started. Despite continuous work, only four attempts out of five were successful. Even with only one miss, he had to do it over from the beginning. But while repeating it so often, Teiichi could be confident of his progress. To the question, “You can see the tip of the bow, can’t you?” the answer was always, “Yes, I see it.” To say “see” is in fact what? Sometimes tears welled in my eyes when Teiichi’s little mouth casually gave this answer-he, who didn’t know or see the world with his eyes. 对于盲童来说，一个非常有趣的爱好开始了。尽管不断努力，但五次尝试中只有四次成功。即使只有一次失败，他也不得不从头再来。但在不断重复的过程中，祯一对自己的进步充满信心。对于 "你能看到弓尖吧？"这个问题，回答总是 "是的，我看到了"。说 "看到 "其实是什么呢？当帝一的小嘴随口说出这个答案时，我的眼泪有时会在眼眶里打转。
Teiichi’s daily practice consisted only in getting hold of the bow at a certain point. To know, or “see,” the bow and tip with kanthis posed the most difficult and important problem. 帝一每天的练习只是在某一点上握住弓。如何认识，或者说 "看清 "弓和弓尖，是最困难也是最重要的问题。
Then followed the exercise of holding the bow horizontally in front of him and trying to touch the palm of his outstretched left hand with the bow tip. When I play in darkness, I can clearly feel how and where the tip of the bow moves. Teiichi had to acquire the same feeling. The foremost and greatest difficulty for him to overcome was to hold the bow horizontally. When he was able to do that, intuition would take over, I believed. 然后，他把弓子水平放在面前，试着用弓尖触碰他伸出的左手的手掌。当我在黑暗中演奏时，我能清楚地感觉到弓尖是如何移动以及移动的位置。帝一必须获得同样的感觉。他要克服的首要和最大的困难是水平持弓。我相信，当他能够做到这一点时，直觉就会占据上风。
To touch the palm of the left hand with the tip of the bow is difficult for a blind child. But Teiichi found this to be a splendid new game, and with the help of the family he worked patiently. During his lesson when he hit it off three times in a row and at the fourth time the bow tip would just drift in space, he would sigh, “Oh, dear.” But I would encourage him, saying cheerfully, “Well, that was a miss. Let’s start all over again, and now you will make it five times continuously.” There is no other way to teach kan, or any other ability, than through good, energetic practice. In the course of time Teiichi could do this exercise five and six times without failure. Afterward I assigned the following homework: raise the thumb from the outstretched left hand and touch it with the tip of the bow. I thought, “If he can do that, he will really have become a person who sees.” 对于盲童来说，用左手的手掌触摸弓尖是一件非常困难的事情。但 Teiichi 发现这是一个精彩的新游戏，在家人的帮助下，他耐心地练习。在上课时，当他连续三次都打偏了，第四次弓尖就在空中漂移时，他就会叹气说："天哪。但我会鼓励他，高兴地说："嗯，那是一次失误。让我们从头再来，现在你要连续做五次"。除了通过良好的、充满活力的练习，没有其他方法可以教授拳或任何其他能力。时间一长，帝一就能连续做五六遍了。之后，我布置了如下作业：从伸出的左手中竖起拇指，并用弓尖触碰拇指。我想，"如果他能做到这一点，那他就真的成为一个会看的人了"。
After one severe year-success 经过一年的严峻考验--成功
We may well imagine how grave it was at first from what Mr. Tanaka said: “This is really not easy to do, but very difficult.” That was the first week. In the second week the boy was able to do it twice or three times out of five without failure. “Now the Professor too will try once.” I thought I would have no trouble at all in doing it. I stared hard at the bow tip, then lifted my left hand, thumb up, aiming the tip of the bow to touch this small point; but it turned aside and missed. Once again a failure. When I finally succeeded, my heart was filled with sympathy for the little blind child, who after two weeks’ daily training could do what I had failed to do with open eyes. How often must he have repeated the exercise! But the parents’ and child’s energy and patience won, and kan had been beautifully trained. 从田中先生的话中，我们完全可以想象到最初的情况有多么严重："这真的不是一件容易的事，而是非常困难的"这是第一周的情况。第二周，这个孩子已经能在五次中做两到三次而不失败了。"现在教授也来试一试"我想我做起来一点也不难。我使劲盯着弓尖，然后抬起左手，拇指向上，瞄准弓尖，想让它碰到这个小点，但它转了个方向，没有碰到。又一次失败了。当我终于成功的时候，我的内心充满了对这个小盲童的同情，经过两个星期的日常训练，他已经可以做到我睁着眼睛都做不到的事情了。他得重复多少次这样的练习啊！但是，父母和孩子的精力和耐心赢得了胜利，"坎 "得到了很好的训练。
After the bow and tip became thus visible, violin practice began. Teiichi’s strenuous efforts were rewarded with success, and after one year he could play various pieces just like other children. 在琴弓和琴头变得清晰可见后，他开始练习小提琴。Teiichi 的努力得到了成功的回报，一年后，他就能像其他孩子一样演奏各种乐曲了。
When all my young little students-Yoko Arimatsu, Koji Toyoda, Takeshi Kobayashi, Kenji Kobayashi, and so on-gave a concert in Tokyo at Hibiya Hall, six-year-old Teiichi played the Seitz concerto. Watching the blind youngster performing on stage, many people wept. 当我所有的小学生--有松洋子、丰田浩二、小林武史、小林健二等人在东京日比谷音乐厅举行音乐会时，六岁的帝一演奏了《塞茨协奏曲》。看着这位盲童在舞台上表演，许多人都流下了眼泪。
Kan produces kan. 坎产生坎。
Fated meeting with Prince Yoshichika Tokugawa 与德川庆喜亲王的命运之约
Here follows a little episode of self-praise and kan. 下面是一个自我表扬和侃侃而谈的小插曲。
My father, the proprietor of the Suzuki Violin Factory, sent me to a commercial school because he wanted me to work in his factory in the future. During summer vacations I always worked there, and I got a general idea of violin production. After my graduation I entered the factory as a regular staff member in charge of the export section, packing and booking. I was very busy but happily engaged in this way. When, after two years, I would raise a slight 我的父亲是铃木小提琴厂的老板，他送我去商业学校，因为他希望我将来能在他的工厂工作。暑假期间，我总是在那里工作，对小提琴的生产有了大致的了解。毕业后，我进入工厂成为一名正式员工，负责出口部门、包装和预订工作。虽然工作很忙，但我乐在其中。两年后，当我稍稍提高了一点
fever every evening, the doctor bade me rest. In late autumn I stayed at an inn at Okitsu for three months to recuperate. There I got acquainted with a fellow lodger, Mr. Yanagida who came from Hokkaido. He was there with his wife and two small children. We soon became friends. Mr. Yanagida told me that he was at one time a schoolmate of Marquis Tokugawa’s at the Gakushuin. 每天晚上我都会发烧，医生让我休息。深秋时节，我在冲津的一家旅馆住了三个月以休养生息。在那里，我结识了一位来自北海道的房客柳田先生。他带着妻子和两个孩子。我们很快就成了朋友。柳田先生告诉我，他曾经是德川侯爵在学书院的同学。
After returning to Nagoya, I received an unexpected letter in the early summer from Mr. Yanagida, asking whether I would like to join an expedition for one month to Chishima for biological research, led by Marquis Tokugawa. I could participate in some sightseeing around the islands. The ship was scheduled to sail on the first of August. 回到名古屋后，我在初夏意外地收到了柳田先生的来信，问我是否愿意参加由德川侯爵率领的千岛生物研究考察队，为期一个月。我可以参加一些环岛观光活动。考察船定于 8 月 1 日启航。
When my father agreed to my accepting this invitation, I went to Tokyo to get Marquis Tokugawa’s approval of my inclusion. There I met Mr. Tokugawa for the first time, and this encounter decided my entire fate and led me in a new direction. I was then under strong influence of Tolstoy and beginning to have a new outlook on life. And then for forty years Mr. Tokugawa’s progressive ideas, philosophy, great personality, and thoughts of truth influenced me. How much effect all this had on my life it is hard to measure. 父亲同意我接受邀请后，我前往东京征得德川侯爵的同意。在那里，我第一次见到了德川先生，这次会面决定了我的整个命运，并将我引向了一个新的方向。当时我受到托尔斯泰的强烈影响，开始有了新的人生观。德川先生的进步思想、哲学、伟大的人格和对真理的思考影响了我四十年。这一切对我一生的影响有多大，难以估量。
It was in 1919. The ship-the 1,300-ton Chifu-Maru-carried the necessary equipment and material to northern Chishima. The expedition party on board numbered thirty, including Mr. Tokugawa, Mr. Yanagida, members of the Tokugawa Biological Research Institute, and as guests Mrs. Matsudaira, a sister of Mr. Tokugawa; her son; Miss Nobu Koda, a renowned pianist; and me. Miss Koda joined the party because Captain Taii (Gunjii Taii), a brother of hers and the famous writer Rohan Koda, was the first Japanese to set foot on the northern Chishima islands. Intending to be a frontiersman in the northern territory, he had formed an immigrant plan to Shumushu Isle, the northernmost end of Chishima. Miss Koda wanted to visit the place in memory of her brother and his achievements. 那是在 1919 年。这艘重达 1300 吨的千府丸号轮船将必要的设备和材料运往千岛北部。船上有 30 名考察队员，包括德川先生、柳田先生、德川生物研究所的成员，以及作为客人的德川先生的妹妹松平夫人、她的儿子、著名钢琴家幸田信小姐和我。幸田小姐之所以参加这次聚会，是因为她的哥哥、著名作家幸田罗汉（Rohan Koda）的弟弟大井船长（Gunjii Taii）是第一个踏上千岛群岛北部的日本人。他打算在北部领土开疆拓土，并制定了移民计划，前往千岛群岛最北端的岑树岛。甲田小姐想去那里缅怀她的哥哥和他的功绩。
Even in August it was chilly in northern Chishima. The sea was an unbelievable, deep blue, and the sky an azure blue conducive to carrying my soul farther away. The seals and a school of whales around Shumushu Bay, the shining beauty of the wildflowers, like a carpet on the lonely island under the sun-this scenery of Chishima 即使在八月，千岛北部也是寒风凛冽。海是令人难以置信的深蓝，天空是蔚蓝，让我的灵魂飞得更远。沼州湾周围的海豹和鲸鱼群，阳光下孤岛上如地毯般闪亮美丽的野花--这就是千岛的风景。
made a strong impression on all of us. The friendly contact among the people on board, the happiness and warm feeling, will remain forever in our hearts. 给我们所有人留下了深刻的印象。船上人员之间的友好接触，那种幸福和温暖的感觉，将永远留在我们的心中。
At that time I was inseparable from my violin; it had become a part of me. Since there was a piano in the cabin, I played the violin accompanied by Miss Koda. Young as I was, I didn’t think that, after all, Miss Koda was a piano teacher. I now feel rather awkward at recalling this. 那时，我与小提琴形影不离，它已成为我身体的一部分。因为小木屋里有钢琴，我就在甲田老师的伴奏下拉琴。年幼的我没想到，柯达老师竟是一位钢琴教师。现在回想起这件事，我还觉得挺尴尬的。
Our ship circled the islands and finally arrived at our destination, Shumushu. 我们的船绕着岛屿转了一圈，最终抵达目的地--岑树。
While we walked side by side on the beach of Cape Kokutan, the northern end of the island, we discovered a most unusual patch of moss of reddish-cobalt color growing high up a sheer cliff. 当我们并肩漫步在岛屿北端角丹角的海滩上时，我们发现在高高的峭壁上长着一片非常特别的钴红色苔藓。
“I very badly wish to have some of that moss,” said Professor Emoto of the Biological Institute, looking up anxiously. "生物研究所的江本教授抬起头，焦急地说："我非常想得到一些苔藓。
“I will get it for you from here-it is not necessary to climb up there,” I boasted, and borrowed a small scoop from a research member. 我夸口说："我从这里给你拿--没必要爬上去。"我从一位研究成员那里借来了一个小瓢。
In grade school I had been good at throwing stones to catch cicadas, and I once had been pitcher on the baseball team at our commercial school. Hence I had some confidence in myself. They urged me on, but of course thinking it would be impossible. When I looked up at the moss from the point right close to the cliff, it turned out to be situated much higher than expected. “Heavens!” I thought; but there was no turning back now. Gripping the scoop tightly and taking careful aim, I threw the scoop, under the scrutiny of the whole party. “Oh, wonderful, marvelous!” they cried. The scoop, luckily, had plunged right into the moss. It stuck there so firmly, however, that it did not fall down as I expected. Under these circumstances I would lose face and be a failure. Long ago I had thrown a stone at a sparrow perched in a tree, and to my horror it had fallen down, dead. Since then I had forbidden myself ever to throw a stone. But on this occasion I grasped a stone as large as my fist. “Watch out, the scoop will fall down when I hit the handle,” I called. Talking nonsense like that, I was filled with anxiety. But strangely enough, the stone did hit the handle of the scoop, which, together with the moss, fell down at our feet, to my great relief. As I listened to their applause, I vowed in my heart never again in my life to do such a foolish thing. 小学时，我擅长扔石头捉蝉，还曾是商业学校棒球队的投手。因此，我对自己有一定的信心。他们催促我，但我当然认为这是不可能的。当我从紧靠悬崖的地方抬头仰望苔藓时，发现它的位置比想象的要高得多。"天哪！"我想。我心想，但现在已经没有退路了。我紧紧地握着勺子，小心翼翼地瞄准目标，在大家的注视下，把勺子扔了出去。"哦，太好了，太棒了！"他们叫道。幸运的是，舀子正好插进了青苔里。不过，它牢牢地卡在那里，并没有像我预想的那样掉下来。在这种情况下，我既丢了面子，又失败了。很久以前，我曾向一只栖息在树上的麻雀扔过一块石头，结果它掉了下来，死了。从那以后，我再也不敢扔石头了。但这一次，我抓住了一块和我拳头一样大的石头。"我叫道："当心，我一打手柄，瓢就会掉下来。说着这样的胡话，我心里充满了不安。但奇怪的是，石头真的砸到了舀子的把手，舀子和青苔一起掉到了我们脚下，我这才松了一口气。听着他们的掌声，我在心里暗暗发誓，这辈子再也不做这样的傻事了。
Dr. Suzuki and Koji Toyor exchange pleasantries 铃木博士与丰尔康治寒暄
Dr. Suzuki at a workshop in the States 铃木博士在美国的一次研讨会上
Pablo Casals hugs Dr. Suzuki after hearing a performance of his young pupils in Tokyo 帕布罗-卡萨尔斯在东京聆听了铃木博士年轻学生的演出后与铃木博士拥抱
The Classic Approach to Talent Education 人才教育的经典方法
Kan too has to be trained 菅也必须接受培训
The practice of stone throwing in my childhood thus happened to prove its usefulness at Chishima. To my surprise kan worked by itself, spontaneously. Intuition is the reliability slumbering at the base of rational experiences, and it works in an instant when needed. Without training, intuition (just like other abilities) cannot grow. It is a popular but deceptive belief that an individual is born with intuition. If, however, one shows an unexpected display of intuition, or sixth sense, it means that whatever is displayed had been trained before, without being especially noticeable, except in cases of sudden need. To foster intuition-kan-there is no other way than training. There is a positive difference in the state of kan between a person trained from infancy and another not so trained. While one needs five hundred times of practice, the other needs five thousand times to get the same results. Observing this, people talk about the existence of inborn intuition, and think that some lack skill. We may be misled If we don’t go back to the very day of birth to investigate personal history-to consider the origin of present ability. Therefore the most important thing is, as I go back to the former theme, to place one in the best environment from the cradle, to train one in the right ways, and never to forget that a person who fails at five hundred times can succeed at five thousand times. 因此，我童年时的投石练习在千岛证明了它的作用。令我惊讶的是，"坎 "自己就能自发地发挥作用。直觉是沉睡在理性经验基础上的可靠性，它在需要的时候瞬间发挥作用。如果不经过训练，直觉（就像其他能力一样）是无法成长的。有一种流行但具有欺骗性的观点认为，一个人天生就具有直觉。但是，如果一个人出人意料地表现出直觉或第六感，这就意味着他所表现出来的东西都是经过训练的，除了在突然需要的情况下，不会特别明显。要培养直觉，除了训练别无他法。一个从婴儿时期就开始训练的人和另一个没有受过训练的人，在 "坎 "的状态上有着积极的区别。一个人需要练习五百次，而另一个人需要练习五千次才能取得同样的效果。看到这一点，人们就会谈论与生俱来的直觉，认为有些人缺乏技巧。如果我们不追溯到出生的那一天，调查个人的历史，思考当前能力的来源，我们就可能被误导。因此，最重要的是，正如我回到之前的主题一样，从摇篮起就把一个人置于最好的环境中，用正确的方法训练他，永远不要忘记，一个人失败五百次，也能成功五千次。
Kan will grow. I was not an expert in stone throwing by nature. I am now painting in my own way. Indeed, I practiced penmanship for sixty years. To write and paint is not only enjoyable for me but brings pleasure to others, Americans as well as many other people. It has become a resource of my Talent Education Movement, though my pictures are not very skillful. In addition, I am able to describe a performing person’s character, his good or bad posture, his handling of the bow, the height of his elbow-everything, just by listening to the sound of his playing. Every year, from December through February, tapes are sent to me from the fourteen or fifteen hundred students of our association. These tapes come from all over the country for the graduation concert. Listening to each one, I record my advice to them, including posture, fingering, bowing movements, and 菅会成长。我天生不是投石问路的专家。我现在用自己的方式作画。事实上，我练了六十年的毛笔字。写作和绘画不仅让我感到愉悦，也给其他人，包括美国人和许多其他人带来了快乐。尽管我的画技并不高超，但它已成为我的才艺教育运动的一种资源。此外，我还能通过聆听演奏者的声音来描述他的性格、姿势的好坏、运弓的方式、肘部的高度等一切。每年 12 月到次年 2 月，我们协会的一千四百或一千五百名学生都会给我寄来录音带。这些磁带来自全国各地，是为毕业音乐会准备的。听完每一盘磁带，我都会记录下我给他们的建议，包括姿势、指法、弓法动作以及
so on. People wonder how I can “see” all that. It is the result of thirty years of diligent training, the ability of kan. 等等。人们不禁要问，我是如何 "看 "到这些的？这是三十年勤学苦练的结果，是 "坎 "的能力。
Illness strikes 疾病侵袭
Close to the end of 1945, I decided to leave Kiso-Fukushima for Matsumoto to start Talent Education at the Matsumoto Music School. 1945 年末，我决定离开木曾福岛前往松本，在松本音乐学校开始才艺教育。
Although the war had finally come to an end, Japan was impoverished and everyone’s money was frozen. The amount people were allowed to draw was infinitesimal. When my wife could finally make her way to Matsumoto to see me, after a grueling nine hours of standing in a crowded, smoky train, she told me that she had been extremely fortunate: quite by chance she had been given a job with the American Red Cross in Yokohama, where the occupation forces had set up their headquarters. I did not like the idea of her working or of our continued separation, but under the circumstances it seemed inevitable. 虽然战争终于结束了，但日本一贫如洗，每个人的钱都被冻结了。人们可以提取的金额微乎其微。在拥挤不堪、烟雾缭绕的火车上站了九个小时之后，我妻子终于可以去松本看我了，她告诉我，她非常幸运：一个非常偶然的机会，她在横滨的美国红十字会得到了一份工作，占领军在那里设立了总部。我不喜欢她去工作，也不喜欢我们继续分离，但在这种情况下，这似乎是不可避免的。
I had had a weak stomach ever since I was twenty years old, and my condition at the end of the war was very unsatisfactory. To recuperate, I rented a room in Asama Spa, a suburb of Matsumoto, and went to live there by myself. Having to cook for myself was a bother and nuisance. Very soon I was neglecting my health even more. Even now, if there is no one to take care of my meals, I don’t eat a bit all day long, but fortunately my wife sees to it that I have proper nutrition. At that time, because she wasn’t able to be with me , I would simply make a potful of soup, put a rice dumpling ( oo moch ii ) in it to cook, and then eat it. I used what was left over to put another dumpling in, and just kept on in such a way for three meals every day, until my health became worse than ever. Finally, in desperation, I sent for my sister in Kiso-Fukushima. 我从 20 岁起就有胃病，战争结束时的状况非常不理想。为了养病，我在松本市郊的浅间温泉租了一间房，一个人住在那里。自己做饭既麻烦又麻烦。很快，我就更加忽视了自己的健康。即使是现在，如果没有人照顾我的饮食，我一天到晚也吃不下一点东西，幸好我的妻子能保证我的营养。那时候，因为她不能陪在我身边，我就煮一锅汤，放一个粽子（ oo moch ii ）进去煮，然后吃掉。我用剩下的粽子再包一个粽子，就这样坚持每天三餐，直到我的身体变得越来越差。最后，万般无奈之下，我去找我在木曾福岛的姐姐。
When my wife found me in this condition on her next visit, she was very distressed and wanted to give up her job immediately to be with me, but my sister promised to stay and look after me, and begged my wife to go on working for the Red Cross, else we would all starve to death, since Waltraud was the only one earning any money. Reluctantly she agreed, but she insisted on visiting whenever 当我妻子在下一次探望我时发现我的状况时，她非常难过，想立刻放弃工作来陪我，但我姐姐答应留下来照顾我，并恳求我妻子继续为红十字会工作，否则我们都会饿死，因为只有瓦尔特罗德一个人挣钱。她勉强同意了，但坚持无论何时都要来探望我。
possible, although the difficult journey sapped much of her energy and time. 虽然这段艰难的旅程耗费了她大量的精力和时间，但她还是有可能做到。
The doctor’s diagnosis was not cancer or ulcers but a bad case of atony of the stomach. The violent pain caused by my inactive digestion went together with loss of perception, both physically and mentally. 医生的诊断不是癌症或溃疡，而是严重的胃弛缓症。消化不良引起的剧烈疼痛伴随着身体和精神上的知觉丧失。
One day in the cold, frozen Shinshu winter, without knowing what I did, I crawled out of the Kotatsu (foot- and hand-warming brazier of charcoal set under a low table covered with a large quilt), went to a corner of the room, leaned my head against the wall, and just groaned. My sister was shocked to see me in this state and quite at a loss what to do. But at least I still had the strength to crawl. After that came a long period of confinement in bed; I couldn’t get up at all. 在信州寒冷冰冻的冬天，有一天，我不知道自己做了什么，从暖炉（放在铺着大棉被的矮桌下的暖手暖脚的炭炉）里爬出来，走到房间的一角，把头靠在墙上，呻吟着。姐姐看到我这副样子，吓了一跳，不知所措。但至少我还有力气爬行。之后，我在床上躺了很长一段时间，根本起不来。
One day Miss Misako Koike, a teacher of piano at the Matsumoto Music School, came to visit me. Completely taken aback at seeing my condition, she hastily summoned Mrs. Uehara, a doctor of Chinese medicine. “This weakness and extreme debility cannot continue,” Mrs. Uehara pronounced. “Ten more days and it would have been too late. However, it is only the stomach and intestines; otherwise there is nothing wrong with him. . . . All right, I will begin my treatment right away.” 一天，松本音乐学校的钢琴教师小池美佐子小姐来看我。看到我的情况，她大吃一惊，急忙叫来中医上原夫人。"上原夫人说："这种虚弱和极度衰弱的状况不能再持续下去了。"再过十天就来不及了。不过，这只是胃和肠道的问题，其他方面并无大碍........ .好吧，我马上开始治疗"。
Cured by an excellent herb doctor 被一位出色的草药医生治愈
Mrs. Uehara, contrary to the instructions of the doctor who wanted me to eat only rice gruel or Western-style soup, prescribed sicamed unpolished rice and pickled vegetables. Astonished though I was, I followed and believed in Mrs. Uehara’s rough treatment, since I was confronted with death anyway. To my great surprise this diet activated my stomach. A week later I could stand up; within no more than a month, I was able to walk very slowly outside. 医生希望我只吃米粥或西式汤，而上原夫人却一反医生的嘱咐，给我开了糙米饭和腌菜。尽管我很吃惊，但还是听从了上原夫人的建议，并相信了她的粗暴做法，因为无论如何我都要面对死亡。令我大吃一惊的是，这种饮食激活了我的胃。一周后，我就能站起来了；不到一个月，我就能在外面慢慢走路了。
So, when I was at death’s door, exhausted from mental fatigue, Miss Koike introduced this excellent physician, Mrs. Uehara; I became healthy and energetic, and I am alive today to tell the tale. 因此，当我因精神疲惫而濒临死亡时，小池小姐介绍了这位出色的医生上原女士；我变得健康而充满活力，并活到了今天。
Once before when I was convalescing, at Okitsu, I renewed my acquaintance with Marquis Tokugawa, which had resulted in the big change, in my life from a white-collar worker to the world of music. During this second period of convalescence I invented a new system of calculation, not only for multiplication but also for division, addition, and subtraction. I thought, “If I get well again, this will be something I can apply in my Talent Education plan,” The Hongo elementary school experimented with my system of arithmetic in the fifties, and it is now part of the curriculum of many elementary schools in Japan, including those in Aichi-Ken, after observation and approval by the Ministry of Education. 在冲津疗养期间，我再次结识了德川侯爵，这使我的生活发生了巨大的变化，从一名白领变成了一名音乐家。在第二次疗养期间，我发明了一种新的计算方法，不仅是乘法，还有除法、加法和减法。我想，"如果我的病好了，这将是我的人才教育计划中可以应用的东西。"50 年代，本乡小学尝试了我的算术体系，经过文部省的观察和批准，现在它已成为包括爱知县在内的日本许多小学的课程之一。
One day the principle of Talent Education, based on the way we learn our mother tongue, will certainly change the course of education. No one will be left behind; and based on love, it will foster truth, joy, and beauty as part of a child’s character. If nothing else, it will at least teach children during the nine-year compulsory school period to be warmhearted and to enjoy doing kindnesses to others. 有朝一日，以我们学习母语的方式为基础的才智教育原则必将改变教育的进程。在爱的基础上，它将培养孩子的真、乐、美品格。如果不出意外，它至少会让孩子们在九年义务教育期间学会热心肠，乐于与人为善。
In addition to having my life prolonged, many things came out of this second convalescence that can only be called fate. 除了我的生命得到了延长，第二次疗养期间还发生了许多只能称之为命运的事情。
My father, Masakichi Suzuki, and his violins 我的父亲铃木正吉和他的小提琴
I was born in Nagoya in 1898 in the house of Masakichi Suzuki, founder of the largest violin factory in the world. It is an unchangeable fact beyond our control, strictly in God’s hands, that no one can choose his parents. We cannot say, “I want to go over there; it is much more desirable, much better.” Here or there, we cannot do a thing about it. It is absolutely fate-nothing else. 1898 年，我出生在名古屋，世界上最大的小提琴工厂的创始人铃木正吉的家里。这是一个无法改变的事实，我们无法控制，只能听天由命，任何人都无法选择自己的父母。我们不能说："我想去那边，那里更理想，更好"。无论是在这里还是在那里，我们都无能为力。这绝对是命运的安排，别无他法。
From the days of my father’s grandfather, the Suzukis worked at home making Japanese samisens (three-stringed banjolike instruments). It was a side business for a poor samurai. My father, born in 1859 at the end of the Tokugawa era, eventually went to Edo (now Tokyo) to become an English-language teacher; but first he helped his family in making samisens. To have wanted to become an English teacher at the beginning of the Meiji period, he must have 从我父亲的祖父时代起，铃木一家就在家里制作日本三弦琴（类似于三弦班卓琴的乐器）。这是一个贫穷武士的副业。我父亲出生于德川时代末期的 1859 年，最终去了江户（现在的东京）成为一名英语教师，但他首先帮助家人制作三弦琴。在明治初期，要想成为一名英语教师，他必须具备以下条件
been a person with a considerably progressive spirit. In due time he became interested in Western musical instruments, beginning with a step-by-step research into the violin, which, he found, shared a common ancestor with the samisen. This was called a rabanostron. About five thousand years ago in ancient Egypt, when that country’s culture thrived, one of these stringed instruments was laid beside the king in his tomb inside one of the pyramids. About four hundred years ago a Christian missionary played a viol, the antecedent of the violin, before Prince Nobunaga Oda at Otsu, Lake Biwa. But after the persecution and oppression of Christians by the Tokugawas, the sound of the violin was not heard in Japan until the reign of Meiji, when people became fond of the violin, and soon it was used generally. Although I say generally, there was scarcely a person who possesed an instrument when my father was a young man in Nagoya. By chance he found a teacher, at a teachers’ college, who had one, and he begged, “Please let me examine your violin overnight while you are sleeping.” That night he made a drawing of the instrument. 他是一个具有相当进取精神的人。在适当的时候，他对西方乐器产生了兴趣，并从逐步研究小提琴开始，他发现小提琴与三味线有着共同的祖先。这就是所谓的拉巴诺琴。大约五千年前，在古埃及，当该国的文化蓬勃发展时，这种弦乐器中的一种就被安放在金字塔内国王的陵墓旁。大约四百年前，一位基督教传教士在琵琶湖大津市织田信长亲王面前演奏小提琴，这就是小提琴的前身。但在德川家迫害和压迫基督徒之后，日本就再也听不到小提琴的声音了，直到明治时期，人们才开始喜欢上小提琴，并很快普遍使用。虽然我说的是 "普遍"，但我父亲年轻时在名古屋几乎没有人拥有乐器。一个偶然的机会，他在一所师范学院找到了一位拥有小提琴的老师，于是他恳求道："请让我在您睡觉的时候连夜检查您的小提琴。当晚，他就把琴画了下来。
Ceaseless research 不间断的研究
Then, in 1888, after a succession of failures, he made his first violin. There followed the foundation of the factory specializing in the production of violins, with constant improvement in quality. When things went well, he could turn out 400 violins and 4,000 bows a day. The Suzuki Violin Factory employed 1,100 workers, compared with the largest in Germany in Markneukirchen, which had 200. My father had not studied mechanics formally, yet he turned out fine machine-made instruments. He kept on with his own studies, and gave up his research only when he died, at the age of eighty-six. He then was in possession of twenty-one patents. 1888 年，在经历了一系列失败之后，他制作了自己的第一把小提琴。随后，他建立了专门生产小提琴的工厂，并不断提高产品质量。进展顺利时，他每天可以生产 400 把小提琴和 4000 把琴弓。铃木小提琴厂雇用了 1100 名工人，而德国最大的小提琴厂马克纽基兴只有 200 名工人。我的父亲没有正式学过机械，但他却能制造出精美的机器乐器。他一直坚持自己的研究，直到八十六岁去世时才放弃研究。他当时拥有 21 项专利。
From childhood on, in our daily life, I learned countless things from my father, both morally and materially. Besides his ceaseless research and study, he taught me sincerity through his manner of living. Though his factory was very large, the business went into the red as a result of the world-wide depression of the twenties. Even now there are in Nagoya three streets in a row-Ume-machi, Uguisu- 从小到大，在日常生活中，我从父亲身上学到了无数的东西，无论是道德上的还是物质上的。除了不懈的研究和学习，他还用自己的生活方式教会了我真诚。虽然他的工厂规模很大，但由于二十年代的全球经济萧条，企业陷入了亏损。直到现在，名古屋仍有三条连在一起的街道--梅町、牛津
machi, and Hayashi-machi, with Suzuki-cho running through them in the center, leading to the Suzuki Violin Factory-that were all laid out by my father, which show that Suzuki Violin once owned much real estate and considerable property; but it all had to be sold piece by piece to meet financial difficulties. 这些都是我父亲布置的，从中可以看出，铃木小提琴曾拥有大量的不动产和相当可观的财产，但由于经济困难，不得不逐块出售。
Sacrifices for the workers' sake 为了工人而牺牲
'I will be responsible for everyone. After all, the company, my property too, was all built up through the efforts and cooperation of my workers. I will not dismiss a single person as long as there is anything left. I owe it to them." Thus my father spoke. Eventually we had to sell the mansion we lived in. And finally those workers for whose future my father could make some sort of provision had to be let go. With the working force thus decreased, the remaining ones moved into a smaller factory. '我会对每个人负责。毕竟，我的公司，我的财产，都是在工人们的努力和合作下建立起来的。只要还有人在，我就不会解雇一个人。这是我欠他们的。父亲如是说。最后，我们不得不卖掉了我们居住的豪宅。最后，那些我父亲能够为他们的未来做出某种安排的工人也不得不被解雇。随着劳动力的减少，剩下的工人搬进了一家更小的工厂。
To people who had known the factory of former times, its successor must have seemed very shabby and poor. But to my father the object of an enterprise was not only money: it was a way of putting his high principles of life into action. The fact that the factory flourished again after the war can be ascribed only to the heritage of honesty and sincerity left by my father. 对于了解昔日工厂的人来说，它的后继者一定显得非常寒酸和贫穷。但对我父亲来说，企业的目标不仅仅是金钱，更是将他崇高的人生准则付诸行动的一种方式。战后工厂再次兴旺发达，只能归功于父亲留下的诚实和真诚。
I liked fishing, and often used to go to the river to fish for fun, the crucian carp. But at the end of a day of pleasant fishing I would always return my fish to the water, as if to say, “Thank you for giving me such happiness.” I have never held the practical, materialistic view that there is little use in doing something if there are no immediate profits or results to show for it. My dreams are for the future of mankind. And I will keep on trying to fulfill them, plodding along patiently, earnestly, and with singleness of purpose. Almost anything is possible of achievement in this way. It was my father who planted the seed of this conviction in me. 我喜欢钓鱼，经常去河边钓鲫鱼玩。但一天愉快的垂钓结束后，我总会把鱼放回水中，好像在说："谢谢你给了我这样的快乐"。我从不抱着实用主义和唯物主义的观点，认为如果没有直接的收益或成果，做什么都没有用。我的梦想是为了人类的未来。我将继续努力实现这些梦想，耐心、认真、坚定地走下去。通过这种方式，几乎任何事情都有可能实现。是父亲在我心中种下了这颗信念的种子。
An unfair advantage leads to evil 不公平的优势导致邪恶
Whether a person is born into a rich family or a poor one is beyond his control. It is a matter of fate. From the time I went to 一个人出生在富裕家庭还是贫困家庭，是他无法控制的。这是命运的问题。从我上
The Classic Approach to Talent Education 人才教育的经典方法
primary school I used to play at the violin factory and listen to the conversation of the workmen; and when I was a junior-high-school student, my father always made me work at the factory during summer vacation. I shall never forget the joy of working there. 上小学时，我经常去提琴厂玩，听工人们聊天；上初中时，父亲总是让我在暑假去提琴厂干活。我永远不会忘记在那里工作的快乐。
However, I was brought up more or less ignorant of the value of money. Perhaps that is why even if I am down to my last farthing, I somehow do not feel poor. In later years there were times when we could scrape together only a few yen, but I would come home in a taxi and be scolded by my family. I was never bothered in the least by the big stain in my studio ceiling caused by a leak in the roof. Shabby surroundings could not make me feel poor. 不过，我从小就对金钱的价值多少有些无知。也许正因为如此，即使我穷困潦倒，也不觉得穷。后来，有几次我们只凑够了几日元，但我坐出租车回家时还是会遭到家人的责骂。我的工作室天花板上因屋顶漏水而留下的大块污渍也丝毫没有影响我的心情。寒酸的环境无法让我感到贫穷。
The post-World War I Germany in which I lived as a student was in the throes of the tremendous inflation that led to the rise of Hitler and World War II, and Berlin was filled with shady adventurers, both native and foreign. They would even accost a student like me: “There’s a five-story building for sale. You can have it for only 10,000 yen. . . .” I always refused, saying that I was not in Germany to make money. But one day an old lady offered me a Guarnerius for only 2,000 yen. What an opportunity! But such things are not good. To my mind, irrespective of time or place, an unfair advantage leads only to evil. 第一次世界大战后，我作为学生生活的德国正处于导致希特勒崛起和第二次世界大战的巨大通货膨胀的阵痛期，柏林充斥着本国和外国的黑心冒险家。他们甚至会和我这样的学生搭讪："有一栋五层楼房要出售。你只需花 1 万日元就能买到。. . ."我总是拒绝，说我来德国不是为了赚钱。但有一天，一位老太太以 2000 日元的价格向我提供了一辆瓜奈留斯（Guarnerius）跑车。真是个好机会！但这样的事情并不好。在我看来，无论何时何地，不公平的好处只会导致罪恶。
Give money, do not lend it 给钱，不要借钱
One day a university professor who had helped me find lodgings and such came to see me. He said, 'My wife and I have to take a trip home unexpectedly, and we haven’t enough money available. I hesitate to ask you, but. . ." At that time the passage by sea for two was 2,000 yen; with another 500 yen for incidental expenses, they would be able to travel in comfort. I said I would lend it to them, and asked them to reimburse my father in Nagoya. 有一天，一位曾帮我找过住处的大学教授来找我。他说：'我和我妻子突然要回国一趟，我们没有足够的钱。我很犹豫要不要请你帮忙，但是........"当时两个人的海运费是 2000 日元，再加上 500 日元的杂费，他们就可以舒舒服服地旅行了。我说我可以借给他们，请他们到名古屋向我父亲报销。
After the couple had sailed, I wrote to my father to explain what I had done and to get his approval. His reply took me aback: “… I sent you that money for your studies. I am shocked at your impertinence in lending it. In the future you are never to either lend or borrow money. . . if you have money enough to lend, it is betler to share it, and share your friends’ hardships too.” 这对夫妇出海后，我写信给父亲，解释我所做的一切，希望得到他的同意。他的回信让我大吃一惊："......那些钱是我寄给你读书的。我对你借钱的无礼行为感到震惊。以后你既不要借钱，也不要借钱。......如果你有足够的钱借给别人，最好还是和别人分享，分担朋友的困难"。
Lending the surplus money and considering that it would be all right if the money were returned to my father was juvenile thinking. On receiving my father’s admonition, I determined never to lend money again. From that time on I have lived according to a certain plan. I decide how much money I need each month to live, and set it aside so that it may not be used for any other purpose. What is left is for myself and my friends. Many complications arise over money. But my father’s injunction has saved me from them, and although my method may sound ridiculous, it has enabled me to get along without living beyond my means, without either taking advantage of friends or getting involved in unpleasant transactions with them. 把多余的钱借给了父亲，并认为只要把钱还给父亲就可以了，这是一种幼稚的想法。在父亲的告诫下，我下定决心再也不借钱了。从那时起，我就按照一定的计划生活。我决定每个月需要多少钱来维持生活，然后把钱存起来，不得挪作他用。剩下的钱就留给自己和朋友。在钱的问题上会出现很多麻烦。虽然我的方法可能听起来很荒谬，但它让我能够在不超出自己能力范围的情况下生活，既不占朋友的便宜，也不与他们发生不愉快的交易。
Another thing my father taught me was an attitude of sociability and eagerness to learn from others. In those days most overland travel was done by train, and Father taught me that one should delight in the contacts one makes on journeys, for the people we meet and those who sit next to us or opposite us on trains or planes have been placed there by destiny. Therefore, greet them. It may lead to a conversation. Learn to be a good listener. The other person lives a quite different kind of life from you, and knows something you don’t know, and you are bound to learn something. Rather than talking yourself, learn to draw the other person out, and above all listen. You will enjoy it. And the other person in turn will enjoy telling you about something he knows. Greetings, as I shall discuss later, are an important part of life; my father’s precept that one should always say “How do you do” to people we come face to face with, even if we do not know them, is what formed the basis of my own thoughts and conduct with regard to pleasant human relations, humanity, love, harmony, improvement of one’s fate, the grasping of opportunity, and so on. 父亲教给我的另一点是一种善于交际和乐于向他人学习的态度。父亲教导我，一个人应该为旅途中的接触感到高兴，因为我们在火车或飞机上遇到的人，坐在我们旁边或对面的人，都是命运安排的。因此，要向他们问好。这可能会引出一段对话。学会做一个好的倾听者。对方的生活与你截然不同，他知道一些你不知道的事情，而你也一定会学到一些东西。与其自己滔滔不绝，不如学会吸引对方，最重要的是学会倾听。你会乐在其中。反过来，对方也会喜欢向你讲述他知道的事情。正如我稍后将讨论的那样，问候是生活的重要组成部分；我父亲的戒律是，即使我们不认识的人，也应该对我们面对面的人说 "你好"，这是我自己在愉快的人际关系、人性、爱、和谐、改善命运、把握机会等方面的思想和行为的基础。
Express gratitude, but do not ask for favors 表达感激之情，但不要要求别人帮忙
One day a foreign priest I knew came to my house and said, “You should come to church and pray harder to enter the kingdom of heaven.” 有一天，我认识的一位外国牧师来到我家，他说："你应该来教堂，更加努力地祈祷，才能进入天国。"
“No, Father,” I replied, “I am no longer so presumptuous and irresponsible as to ask for the kingdom of heaven.” "不，父亲，"我回答道，"我不再那么冒昧和不负责任地要求天国了。"
I did not mean, of course, that I did not want to go to heaven. It is just that I felt, as the poet Issa did, that “everything is in your hands, now at the end-of-year.” It was through the music of Mozart that I learned to see it all so clearly. If I simply do my best, I cannot complain even if I am taken to hell. It is an extremely submissive attitude. I will help the church as much as I can, but I do not ask for anything in return. I can only say “Thank you” for everything I have received already. 当然，我并不是说我不想上天堂。我只是觉得，就像诗人伊萨所说的那样，"年终岁尾，一切都在你的掌握之中"。正是通过莫扎特的音乐，我学会了如此清晰地看待这一切。如果我只是尽力而为，即使被打入地狱，我也不会抱怨。这是一种极其顺从的态度。我会尽我所能帮助教会，但我不要求任何回报。对于已经得到的一切，我只能说 "谢谢"。
It was my father who taught me this way of thinking. 是父亲教会了我这种思维方式。
When I was at junior high school, there was a time when four of the neighborhood children and I used to visit our local shrine every evening. We talked about all sorts of things on our way to and fro. That is all there was to it, but it was a pleasant daily task. Then one day my father asked me, “What do you say when you visit the shrine?” I replied that I asked for protection for all of my family. But my father remonstrated, 'Stop being so selfish. When you go to the shrine each day, all you should say is ‘Thank you very much!’ '" Since then, whatever holy place I visit I only express gratitude, saying, “Thank you very much.” It is not right to offer a pittance in the way of alms and then ask for a great deal for oneself in return. I realized that what my father was trying to teach me was that although man is prone to always be waiting for something, that is wrong. I was seventeen at the time. Seventeen is a crucial time in a person’s life. In my own life, as I am about to write, it was a memorable time indeed. By the age of seventeen or so, our previous “fate,” or the things that have happened to us up to that time, have formed the basis on which our further fate begins to unfold. Of course, an accident or death or something unexpected may await us. One never knows what fate has in store. But I believe that it is managed from “over there,” and that we over here can gain nothing by fear and worry, and should always have hope and live our lives to the best of our ability. 在我上初中的时候，有一段时间，我和邻居的四个孩子每天晚上都会去当地的神社参拜。来来回回的路上，我们谈论着各种各样的事情。就这样，每天的任务都很愉快。有一天，父亲问我："你去神社时都说些什么？"我回答说，我请求保佑我们全家平安。但父亲责备我说：'别这么自私。你每天去神社的时候，只需要说'非常感谢！'"。'"'"从那以后，无论我去哪个圣地，我都只说 "非常感谢"，表达我的感激之情。提供微薄的施舍，却要求自己得到丰厚的回报，这是不对的。我意识到，父亲想教导我的是，虽然人容易总是在等待什么，但这是不对的。那时我 17 岁。17 岁是人一生中的关键时期。就我自己的人生而言，正如我将要写的那样，那确实是一段难忘的时光。到了十七岁左右，我们之前的 "命运"，或者说到那时为止发生在我们身上的事情，已经构成了我们未来命运开始展开的基础。当然，等待我们的可能是意外、死亡或其他意想不到的事情。我们永远不知道命运的安排。但我相信，命运是由 "那边 "管理的，我们这边的人不会因为恐惧和担忧而得到任何好处，我们应该始终抱有希望，尽我们最大的努力生活。
My introduction to Tolstoy 我对托尔斯泰的了解
I consider that seventeen was the age at which my foundations were laid. In a manner of speaking it was the year I was born, the year I emerged as a human being. It was the year before I graduated 我认为，17 岁是我奠定基础的年龄。可以说，那是我出生的一年，也是我崭露头角的一年。我毕业的前一年
from commercial school. About what happened to me I have told many people, and written many times, but if I leave it out now, I will not be able to explain my philosophy, so I shall repeat the story. 从商业学校毕业。关于我的遭遇，我已经告诉过很多人，也写过很多遍，但如果我现在不说，就无法解释我的哲学，所以我还是要重复一下这个故事。
One day, as usual, I set off for my father’s violin factory, where a thousand people were employed, and entered the office. I discovered an English typewriter, a novelty for me, and started punching the keys. Just then the chief of the export department came in and reprimanded me: ‘Master Shinichi, you mustn’t type without paper in the machine." 一天，我像往常一样来到父亲的小提琴厂，那里有一千名员工，我走进了办公室。我发现了一台对我来说很新奇的英文打字机，便开始敲打键盘。就在这时，出口部的主管走了进来，训斥我说：'新一师傅，机器里没有纸就不能打字'。
“Oh, but I’m not really pushing the keys down,” I promptly lied. "哦，但我并没有真的把钥匙按下去。"我赶紧撒了个谎。
“Oh, I see,” he replied simply, and went out. But he was hardly out of sight before I was filled with severe anger against myself, and contrition. “Coward,”’ I thought; “why did I dissemble and not just apologize meekly?”’ I couldn’t bear it any longer and went home. But I could not sit still. I went down to Hirokoji Street. I had to do something to get rid of my self-contempt. I went into a bookstore and looked around among some books on a shelf at random. After some time, fate led me to a copy of Tolstoy. "哦，我明白了，"他简单地回答了一句，然后走了出去。但他还没走远，我就对自己充满了强烈的愤怒和悔恨。"懦夫，"我想，"我为什么要装腔作势，而不是温顺地道歉呢？我忍无可忍，回家了。但我还是坐不住。我来到了广小路街。我必须做点什么来摆脱我的自责。我走进一家书店，在书架上随意翻阅。过了一会儿，命运让我找到了一本托尔斯泰的书。
"The voice of conscience is the voice of God" "良心的声音就是上帝的声音
It was the small Tolstoy’s Diary. I casually took it down from the shelf and opened it at random. My eyes fell on the following words: “To deceive oneself is worse than to deceive others.” These harsh words pierced me to the core. It was a tremendous shock. I began to tremble with fear and could scarcely control myself. I bought the little book and rushed home. I devoured its contents. I read and reread that book so much that in the end it fell apart. What a marvelous man Tolstoy must have been! My admiration for him led me to immerse myself in all his writings. Tolstoy provided the staff of life on which I nurtured my soul. His Diary was always at my side. Wherever I went I took it with me. Several years later when, at twenty-three, I went to Germany to study, the book went with me in my pocket. Tolstoy said that one should not deceive oneself and that the voice of conscience is the voice of God. I determined to live according to these ideas. 那是一本小的《托尔斯泰日记》。我随手从书架上取下，随意翻开。我的目光落在了下面的文字上"欺骗自己比欺骗别人更可怕"这句话刺痛了我的心。这是一次巨大的震撼。我开始害怕得发抖，几乎无法控制自己。我买了这本小书，匆匆赶回家。我吞下了书中的内容。那本书我读了又读，读了又读，以至于最后都散架了。托尔斯泰一定是个了不起的人！我对他的钦佩使我沉浸在他的所有著作中。托尔斯泰为我提供了孕育灵魂的生命之杖。他的《日记》一直陪伴着我。无论我走到哪里，我都带着它。几年后，当我 23 岁去德国留学时，这本书也被我放在口袋里。托尔斯泰说，人不应该欺骗自己，良心的声音就是上帝的声音。我决心按照这些观点生活。
Working, reading, and playing with children 与孩子们一起工作、阅读和玩耍
I got so that I did only enough schoolwork to prevent my failing the examinations. I was fascinated with works that searched for the meaning of life, such as Bacon’s essays and books on Western philosophy. And it probably was Tolstoy who started it all with me. I diligently studied the sayings of the priest Dogen entitled Shushogi, which begins: “It is the great Buddha Karma that illuminates life and lightens death. If the Buddha is in life and death, there is no life and death. . . .” I spent my time reading such books and working among the factory people until the sweat ran; my greatest joy was playing with the neighborhood children. 我的学习成绩一落千丈，只够应付考试。我对探寻人生意义的作品着迷，比如培根的散文和西方哲学书籍。可能是托尔斯泰开启了我的这一切。我孜孜不倦地研读道玄法师的《修行记》，书中开篇写道"伟大的佛业照亮了生，也照亮了死。若佛在生死，则无生死。. . ."我一边读着这些书，一边和工厂里的人一起劳动，直到汗流浃背；我最大的快乐就是和邻居的孩子们一起玩耍。
Later, I turned from the “conscience” of Tolstoy to follow the lead that Mozart provided in his music-the belief that it is the life force itself that is the whole basis of man’s being, but I feel that the foundation of this thinking was laid in my seventeenth year. The image of young, growing children, who are the very essence of life’s joy, took hold in my imagination then. That’s how it all happened. 后来，我放弃了托尔斯泰的 "良知"，转而追随莫扎特在音乐中提供的线索--相信生命力本身才是人存在的全部基础，但我觉得这种思想的基础是在我 17 岁那年打下的。那时，我的想象力中出现了正在成长的孩子们的形象，他们是生命欢乐的精髓。一切就是这样发生的。
The origin of Talent Education 人才教育的起源
I played with children a lot in those days. The neighborhood children came running the minute they saw me in the distance approaching home. We used to take hands and go to my house, where they all played happily together with my younger sisters and brothers. I just liked children, that was all. And besides that, I had been inflamed by Tolstoy; I had learned to realize how precious children of four and five were, and wanted to become as one of them. 那时候，我经常和孩子们一起玩。邻居家的孩子们一看到我从远处往家走，就会跑过来。我们经常牵着手去我家，在那里，他们和我的弟弟妹妹们一起快乐地玩耍。我就是喜欢孩子，仅此而已。除此之外，我还受到了托尔斯泰的影响；我认识到四五岁的孩子是多么珍贵，并希望成为他们中的一员。
They have no thought of self-deception. 他们没有自欺欺人的想法。
They trust people and do not doubt at all. 他们信任别人，从不怀疑。
They know only how to love and know not how to hate. 他们只知道爱，不知道恨。
They love justice and scrupulously keep the rules. 他们热爱正义，恪守规则。
They seek joy, live cheerfully, and are full of life. 他们追求快乐，活得开朗，充满生机。
They know no fear and live in security. 他们无所畏惧，生活在安全之中。
I played with children so that I could learn from them. I wanted always to have the meekness of a child. A revolution was taking place within me. This is when the seed was sown of the Talent Education movement that was to be my life work. 我和孩子们一起玩耍，以便向他们学习。我希望永远拥有孩子的温顺。我的内心正在发生一场革命。从那时起，人才教育运动的种子就播下了，这将是我毕生的事业。
Most of these beautiful children would eventually become adults filled with suspicion, treachery, dishonesty, injustice, hatred, misery, gloom. Why? Why couldn’t they be brought up to maintain the beauty of their souls? There must be something wrong with education. That was when I first began to think along these lines. 这些美丽的孩子中的大多数最终会成为充满猜疑、背叛、不诚实、不公正、仇恨、痛苦和阴郁的成年人。为什么？为什么不能培养他们保持灵魂的美丽？一定是教育出了问题。从那时起，我开始有了这样的想法。
A guiding principle 指导原则
The motto of my alma mater, Nagoya Commercial School, was A “First character, then ability.” These words were inscribed on a tablet that hung in the lecture hall. This principle has been a light to my path all my life and is written on my heart. Fine scholars, artists, businessmen, and politicians alike succeed in their fields only if they are fine men. In order to succeed one must first be a person of fine character. From my freshman year on, until I graduated, four years later, I was class president. As I said before, I did not study very hard and so my marks were not very good, but I loved and respected everyone in my class and they all liked me, and they probably elected me because they knew I was obliging and loved to do things for people. 我的母校名古屋商业学校的校训是 "先品后能"。这句话被刻在悬挂在报告厅的匾额上。这条原则照亮了我一生的道路，也写在了我的心上。无论是优秀的学者、艺术家、商人还是政治家，只有成为优秀的人，才能在各自的领域取得成功。要想成功，首先必须是一个品格高尚的人。从大一开始，直到四年后毕业，我一直担任班长。正如我之前说过的，我学习不是很用功，所以我的成绩不是很好，但我热爱并尊重班里的每一个人，他们也都喜欢我，他们之所以选我，可能是因为他们知道我乐于助人，喜欢为别人做事。
During the final examinations one of the students, whom I shall call A, was discovered by B to be cheating, and B announced the fact loudly to the teacher in charge. A was then sent out of the classroom, which was by then in an uproar. But when the examination was over and as soon as the students were out in the passage, another student, C, leaped upon informer B, a big boy, asking what kind of friend he thought he was, and hit him. The others joined in, and they all gave B a sound thrashing. I was still in the classroom. It all happened in the twinkling of an eye. Presently they sent for me, the class president, to come to the faculty room. “What is the meaning of this outrageous attack? Were you aware of it?” 在期末考试期间，B 发现其中一名学生（我称他为 A）作弊，于是 B 向带队老师大声宣布了这一事实。随后，A 被赶出了教室，教室里顿时一片哗然。但当考试结束，学生们刚走出通道，另一个学生 C 就跳到告密者 B（一个大男孩）面前，问他把自己当成了什么样的朋友，并打了他。其他同学也加入进来，一起把 B 打得鼻青脸肿。我当时还在教室里。这一切都发生在转眼之间。这时，他们把我这个班长叫到教研室。"这次无耻的攻击是什么意思？你知道吗？"
“I was. I struck him too.” "是我我也打了他
“What! Who are the students that struck him?” "什么！袭击他的学生是谁？"
“All the members of the class, sir.” "全班同学，先生"
“And you think you did right, do you?” "你认为你做得对，是吗？"
'I do not, sir. I think it was wrong to cheat, but it was extremely unfriendly to report him. Please punish us." 我不这么认为，先生。我认为欺骗是不对的，但举报他是极不友好的。请惩罚我们吧。"
The whole school goes on strike 全校罢课
I went back to the classroom and told the students what I had said to the teacher, and I made a rash request. "What we did we had to do out of friendship. If you all agree, I’d like to say that it was sanctioned by all of us. And this year I want everyone to fail the examination.’ 我回到教室，把我对老师说的话告诉了同学们，并贸然提出了一个要求。"我们所做的一切都是出于友谊。如果你们都同意，我想说，这是我们大家共同认可的。'今年我希望每个人都考不及格。
Even those who had not taken part in the assault raised their hands, and we all agreed to stay for a fifth year. Presently each class member in turn was called into the faculty room and interrogated, and next morning when we arrived at school, there was a notice on the board announcing that twenty students would be punished, with indefinite suspension for ten, of whom my name headed the list, and a reprimand for the other ten. Although it apparently had been discovered that I had not been party to the assault, I was class president, and so it could not be helped. The other nine were the habitual roughnecks of the class. 即使没有参与殴打的同学也举起了手，我们都同意留五年级。第二天早上，当我们赶到学校时，黑板上贴着一张通知，宣布对 20 名学生进行处罚，其中 10 人无限期停学，我的名字排在名单的首位，另外 10 人受到训斥。虽然显然已经发现我没有参与殴打，但我是班长，所以也没办法。其他九个人都是班里的惯犯。
Naturally some said this was unfair and that the punishment was unreasonable; others said they had taken part in the assault and why hadn’t they been suspended? Protests were even made to the faculty. Complaints against the way the school was run spread throughout the students, and next day not a single person came to school. It was a sympathy strike. 当然，有人说这不公平，处罚不合理；也有人说他们参与了袭击，为什么没有被停职？甚至有人向教师提出了抗议。对学校管理方式的不满在学生中蔓延开来，第二天没有一个人来上学。这是一场同情罢课。
The recess lasted for about a week, and then each student received a summons to appear at school. All the students, seventeen hundred strong, gathered in the auditorium, where the principal, Yoshiki Nishimura, the man who had created the motto “First character, then ability” and whom I admired beyond measure, spoke to us with tears in his eyes; he ended by saying that what had happened would all be forgotten and that the final examinations would be given again. 课间休息持续了大约一周，然后每个学生都收到了到校上课的传票。所有 1700 名学生聚集在礼堂，校长西村吉树（Yoshiki Nishimura），这位创造了 "先品格，后能力 "座右铭的人，也是我敬佩得五体投地的人，含着眼泪对我们讲话；他最后说，发生的一切都将被遗忘，期末考试将再次举行。
Normally there would have been two or three at least who failed, since it was not a particularly brilliant class, but as it was everybody passed and graduated. It seemed ironic. That was in 1916. 通常情况下，至少会有两三个人不及格，因为这并不是一个特别出色的班级，但结果却是每个人都及格毕业了。这似乎有点讽刺。那是在 1916 年。
Evil should be punished 邪恶应该受到惩罚
The night of the assault incident I told my father the whole story, and hanging my head, asked him to put me through school for another year, since I was about to fail. He smiled and simply said, “Well, it can’t be helped, can it?” What a noble smile it was! 袭击事件发生的那天晚上，我把事情的来龙去脉告诉了父亲，并垂头丧气地请求他让我再上一年学，因为我快要挂科了。他笑了笑，简单地说："没办法，不是吗？"那是多么高尚的微笑啊！
I believe the solution to the whole problem lay in my reply: I said that I recognized evil to be evil, explained my belief, and asked that we be punished. It must have been the seed of true friendship and love, as I had learned it from Tolstoy, taking root in my heart. I felt love for even the tiniest insect. On the path through the fields that I used on the way back from school to reach my house on the outskirts of Nagoya there were many ants, both large and small, busily going about their affairs. I remember being extremely careful not to step on any of them. When I thought that I could cause one of those tiny beings to lose its life forever, I could not walk carelessly. This is the sort of person I was as an early adolescent. It was not long after that I listened to records for the first time, and was amazed by Elman’s “Ava Maria” and quite carried away by the sound of the violin. 我相信整个问题的解决办法就在我的回答中：我说我承认邪恶就是邪恶，解释了我的信念，并请求对我们进行惩罚。这一定是我从托尔斯泰那里学到的真正的友谊和爱的种子在我心中生根发芽。即使是最微小的昆虫，我也能感受到爱。在我从学校返回名古屋郊外家的田间小路上，有许多大大小小的蚂蚁，它们忙忙碌碌地做着自己的事情。我记得当时我非常小心，生怕踩到任何一只蚂蚁。一想到自己可能会让其中一只小蚂蚁永远失去生命，我就不敢大意。这就是少年时代的我。不久之后，我第一次听唱片，埃尔曼的《阿瓦玛丽亚》让我惊叹不已，小提琴的声音也让我陶醉不已。
Elman's recording moves my soul 埃尔曼的录音打动了我的灵魂
I was brought up in the violin factory, and, at times, when I had a fight with my brothers and sisters, we would hit one another with violins. I then thought of the violin as a sort of toy. 我是在小提琴厂里长大的，有时和哥哥姐姐们吵架，我们就用小提琴互殴。于是，我就把小提琴当成了一种玩具。
When I was at primary school, work often went on at night in the handiwork department, as fifty or sixty workers polished the fronts and backs of violins. It was just about the time of the RussoJapanese war of 1904-5. Each worker had an oil lamp hanging from the ceiling that shed light on his work. Every night after supper I would go to this manual-work section and listen spellbound as some of the workmen, whose names I still remember and who were marvelous storytellers, told of the stirring exploits of such heroes as 我上小学时，手工部经常在晚上工作，五六十名工人在打磨小提琴的正面和背面。当时正值 1904-5 年日俄战争。每个工人的天花板上都挂着一盏油灯，照亮他们的工作。每天晚饭后，我都会来到这个手工作业区，痴痴地听着一些工人讲述他们的英雄事迹。
Iwami Jutaro and Kimura Shigenari. The picture of these workers spinning yarns as they worked with their hands under the light of the lamps, with a little boy raptly listening, is very nostalgic. Just as he would approach the climax, the storyteller would usually say, “Now, this is where a rice cake would taste good.” Fearing that he might lose the thread of his story, I would race to our house next door and grab some pieces of mochi from the big keg in the kitchen. The storyteller would toast the mochi over a brazier nearby, go on with his polishing, and take up the fascinating tale once more. 岩见朱太郎和木村重成。这些工人在灯下手忙脚乱地纺线，一个小男孩在一旁津津有味地听着，这样的画面非常令人怀念。讲故事的人在讲到高潮部分时，通常会说："现在，年糕的味道不错"。我怕他讲不下去，就飞快地跑到隔壁家，从厨房的大桶里拿了几块年糕。讲故事的人会把麻糍放在旁边的火炉上烤一烤，然后继续擦他的麻糍，并再次开始讲那个引人入胜的故事。
After I entered commercial school, I used to spend the long summer vacation working at the factory. I learned all about violin making, from the mechanical work, the manual work, and the varnishing to the finished product. I learned the joy of working to one’s utmost. 进入商学院后，我经常利用漫长的暑假在工厂工作。我学到了小提琴制作的所有知识，从机械作业、手工作业、上漆到成品。我体会到了全力以赴工作的乐趣。
'It must have been before I graduated from commercial college. Unexpectedly we got a gramophone. It was not electric, like the modern ones, but had to be wound by hand, and it had a horn as a loudspeaker. This horn was shaped like a morning glory and was big enough for a child to put its head inside. The first record I bought was Schubert’s “Ave Maria” played by Mischa Elman. The sweetness of the sound of Elman’s violin utterly enthralled me. His velvety tone as he played the melody was like something in a dream. It made a tremendous impression on me. To think that the violin, which I had considered a toy, could produce such beauty of tone! 应该是在我从商学院毕业之前。我们意外地得到了一台留声机。它不像现代的留声机那样是电动的，必须用手上发条，还有一个喇叭作为扬声器。喇叭的形状像牵牛花，大得足以让孩子把头伸进去。我买的第一张唱片是米沙-埃尔曼（Mischa Elman）演奏的舒伯特的《圣母颂》。埃尔曼的小提琴发出的甜美音色让我深深着迷。他拉出旋律时天鹅绒般的音色就像在梦中一样。这给我留下了深刻的印象。我曾把小提琴当作玩具，没想到它能发出如此美妙的音色！
Elman’s “Ave Maria” opened my eyes to music. I had no idea why my soul was so moved. But at least I had already developed the ability to appreciate this beauty. My profound emotion was the first step in my search for the true meaning of art. I brought a violin home from the factory and, listening to Elman playing a Haydn minuet, I tried to imitate him. I had no score, and simply moved the bow, trying to play what I heard. Day after day I did this, trying to master the piece. My complete self-taught technique was more a scraping than anything else, but somehow I finally got so I could play the piece. 埃尔曼的 "万福玛丽亚 "打开了我对音乐的眼界。我不知道自己的灵魂为何如此感动。但至少我已经具备了欣赏这种美的能力。我的深刻情感是我寻找艺术真谛的第一步。我从工厂带了一把小提琴回家，听着埃尔曼演奏海顿的小步舞曲，我试着模仿他。我没有乐谱，只是简单地移动琴弓，试着演奏我所听到的。就这样日复一日，我试图掌握这首曲子。我的技巧完全是自学的，与其说是自学，不如说是在刮擦，但不知怎的，我终于可以演奏这首曲子了。
Haydn’s minuet was thus my first “piece.” Eventually I got so I derived great comfort from playing the violin, and became very fond of the instrument as well as developing deep love for music. 海顿的小步舞曲是我的第一首 "作品"。最终，我从拉小提琴中获得了极大的满足感，变得非常喜欢这种乐器，并对音乐产生了深厚的感情。
Fifty years of rising at five 五十年的五岁崛起
At the violin factory the gates always opened at seven. From the point of view of the workers, not only my father but also we children were part of the management, and we weren’t expected to get there before nine. But my first day at the factory, I thought, “Why I’m the same as the other workers. Why should I have managerial privileges?” It did not seem right from a purely human standpoint. All the others start at seven, and I shall do the same, I decided. I may have gotten the idea from Tolstoy too. I got up every morning at five. Then I would wake my brothers and sisters and take them for a walk to Tsurumi Park. There was a pond in the park, and the carp would make ripples on the water as they swam around eagerly waiting for us to bring them something to eat. After that we would hurry home and have our breakfast, and then I would leave for the factory. From the new house to which we had moved, one could walk to the factory in seventeen minutes. Even today I wake up at five. The habit I acquired of waking at five each morning during the twenty years I worked at the factory has remained with me for the past fifty years. At five in the evening, when working hours ended, I would start for home. One or another of the neighborhood children would be waiting for me. Swinging on my arms and hugging my legs, they could hardly wait to get to our house to play. I loved the violin, I loved my work, I loved talking and playing with the children. Those were happy days indeed. Did I not experience any discontent at all, you ask? I think I can truthfully say that I had no complaints at all against the world around me. 小提琴厂的大门总是在七点钟打开。从工人的角度来看，不仅是我父亲，就连我们这些孩子也是管理层的一员，我们不应该在九点之前到达工厂。但我到工厂的第一天就想："为什么我和其他工人一样？"为什么我有管理特权？"从纯粹的人性角度来看，这似乎不对我决定，其他人都是七点上班，我也一样。我可能也是从托尔斯泰那里得到这个想法的。我每天早上五点起床。然后我会叫醒哥哥姐姐们，带他们去鹤见公园散步。公园里有一个池塘，鲤鱼在池塘里游来游去，荡起层层涟漪，等着我们给它们带吃的。之后，我们就匆匆回家吃早饭，然后我就去工厂了。从我们搬到的新家步行到工厂只需 17 分钟。即使是今天，我也是五点起床。在工厂工作的二十年里，我养成了每天早上五点起床的习惯，这个习惯伴随了我五十年。傍晚五点，工作时间结束后，我会开始回家。邻居家的孩子们或多或少都在等着我。他们摇着我的胳膊，抱着我的腿，迫不及待地想去我家玩。我喜欢小提琴，喜欢我的工作，喜欢和孩子们聊天、玩耍。那些日子真的很快乐。你要问，我就没有经历过任何不满吗？我想我可以实话实说，我对周围的世界毫无怨言。
But I was discontented with myself. I scolded myself continually, and was always aware of things about myself that I wanted to improve. I had not the slightest desire to complain about members of my family exercising their management privilege of arriving at the factory late. The laborers started work early in the morning; that was why I felt I too must do so. It was the voice of conscience"The voice of conscience is the voice of God." I wanted to put Tolstoy’s words into practice. Whether it was that I was following my conscience or that I felt a sense of completeness, I was very happy. That is why I was able to enjoy the trip to Chishima so much. 但我对自己很不满。我不断地责骂自己，而且总是意识到自己身上有一些需要改进的地方。我丝毫不想抱怨我的家人行使他们的管理特权，晚到工厂。工人们一大早就开始工作，所以我觉得我也必须这样做。这是良心的声音 "良心的声音就是上帝的声音"。我想把托尔斯泰的话付诸实践。无论是遵从良知，还是感到圆满，我都非常高兴。这就是我能够如此享受千岛之行的原因。
Toward the end of that trip, when Marquis Tokugawa said to me, “Why don’t you study music instead of working at the violin factory?” and Miss Koda agreed, saying, “Yes, why don’t you?” it didn’t seem that they were talking about me at all. I was working at the factory because my father wanted me to help him with administration, and I couldn’t expect him to change his plans. And anyway, I was happy with my work. 那次旅行快结束时，德川侯爵对我说："你为什么不在小提琴厂工作，而去学音乐呢？"幸田小姐也表示同意，说："是啊，为什么不呢？"他们似乎根本不是在谈论我。我在小提琴厂工作是因为父亲想让我帮他管理工厂，我不能指望他改变计划。总之，我对自己的工作很满意。
I wasn’t thinking of becoming a musician at all. I had been tremendously impressed by Elman, but I was interested only in discovering more about what art really is. It is only because I wanted to discover this that I played about with the violin. But. . . 我根本没想过要成为一名音乐家。艾尔曼给我留下了深刻的印象，但我只是想更多地了解艺术的真谛。正是因为我想发现这一点，所以我才拉起了小提琴。但是..
I stay in Marquis Tokugawa's mansion 我住在德川侯爵的宅邸里
The autumn after the summer cruise to northern Chishima, Marquis Tokugawa came to Nagoya one day to visit us. He asked my father what he thought about my studying music, saying that Miss Koda had said that I showed promise. I was sure my father would probably say: “He may like music, but he doesn’t need to work where he will be obliged to kowtow to a lot of people in order to get on. If he wants to listen to music, he can become a successful businessman and hire those kind of people to come and play for him.” That is the way my father used to think at one time. My father being like that, I was sure he wouldn’t agree. 夏天去千岛北部巡游后的秋天，德川侯爵有一天来名古屋看望我们。他问我父亲对我学习音乐的看法，说小田老师说我很有前途。我想父亲可能会说：他可能会说："他可能会喜欢音乐，但他不需要为了混口饭吃而去做那些必须向很多人磕头的工作。如果他想听音乐，他可以成为一个成功的商人，雇佣那些人来为他演奏。这就是我父亲曾经的想法。我父亲就是这样的人，我相信他不会同意的。
But since it was Marquis Tokugawa who asked him, he could not say no. As I said earlier, Marquis Tokugawa brought about the most unexpected change in my fate. The following spring, when I was twenty-one, I went to Tokyo and studied the rudiments of the violin with Ko Ando, the younger sister of Miss Koda. I was given a room in Marquis Tokugawa’s mansion in Fujimi-cho, Azabu. I had acturally intended to buy a house to live in, but the plan had failed and the Marquis kindly invited me to stay at his mansion, which was a stroke of good fortune and a golden opportunity. I became even closer to the Marquis, and since I had my meals with him, he told me a great many things. Also, almost every day at the Tokugawa mansion, there would be visits from scholars and friends, such as the physicist Torahiku Terada and the phoneticist Kotoji Sat- 但既然是德川侯爵向他提出请求，他就不能拒绝。如前所述，德川侯爵给我的命运带来了意想不到的变化。第二年春天，也就是我 21 岁的时候，我去了东京，跟随小田小姐的妹妹 Ko Ando 学习小提琴。我在麻布藤见町德川侯爵的宅邸里住了下来。我原本打算买一栋房子居住，但计划失败了，侯爵盛情邀请我住进他的宅邸，这真是一个幸运和千载难逢的机会。我和侯爵的关系更加亲密了，因为我和他一起吃饭，他告诉了我很多事情。此外，在德川府邸，几乎每天都会有学者和朋友来访，如物理学家寺田虎彦和语音学家佐藤琴治。
suda. I was in the midst of fine men such as these. I’m sure it was Marquis Tokugawa’s subtle way of seeing that my character was properly trained. 苏达我就在这样一群优秀的人中间。我相信，这是德川侯爵希望我的性格得到适当训练的微妙方式。
The graduation recital at Ueno Academy is a great disappointment 上野学院的毕业演奏会令人大失所望
I had a weekly violin lesson from Miss Ando. She suggested that I enroll the following year at the music academy in Ueno, for, as she said, I could study other things there too. I was already planning to take the entrance examination and was preparing myself for it. As the day of the examination approached, at Miss Ando’s suggestion I went to hear the graduation recital at Ueno. I was frightfully disappointed. I had gone with such great expectations. The next day I went to see Miss Ando; I told her, “I heard the graduation recital last night. If that’s the best I can do after studying at Ueno, I do not want to take the entrance examination. I would rather go on studying with you, if I may.” Hearing the graduation recital after having been listening only to the best performers of the world on records left me feeling quite disillusioned and despondent. I thought it far better not to enter the academy at all. Miss Ando smiled. “All right, if that’s what you prefer. But you’ll have to work hard.” So I started lessons with her again once a week. Unexpectedly, my not entering the Ueno Music Academy led to my going to Germany. 安藤老师每周都给我上小提琴课。她建议我第二年报考上野的音乐学院，因为正如她所说，我还可以在那里学习其他课程。我当时已经计划参加入学考试，并为此做着准备。临近考试那天，在安藤小姐的建议下，我去听了上野的毕业独奏会。我非常失望。我曾满怀期待地去听。第二天，我去找安藤小姐；我告诉她："我昨晚听了毕业独奏会。如果这就是我在上野学习后的最好成绩，我不想参加入学考试。如果可以的话，我宁愿和你一起继续学习"。在只听过世界上最好的演奏家的唱片之后，听到毕业演奏会，我感到非常失望和沮丧。我想，还不如不进音乐学院。安藤小姐笑了。"好吧，如果你愿意的话。但你必须努力学习。"于是，我又开始每周上一次她的课。出乎意料的是，我没有进入上野音乐学院 导致我去了德国。
My destiny beckons 我的命运在召唤
Besides my lessons with Miss Ando, I took private lessons in musical theory from Professor Ryutaro Hirota and in acoustics from Professor H. Tanabe. After I had been living in Tokyo for about a year and a half, Marquis Tokugawa began talking about taking a world tour. “Suzuki,” he said, “why don’t you come too? It will take about a year, but it will be fun.” I had just started studying the violin. I thought I was a bit too young to benefit from a world 除了安藤老师的课，我还向广田龙太郎教授学习音乐理论，向田边 H. 教授学习声学。我在东京生活了大约一年半之后，德川侯爵开始谈论进行世界巡演的事。"他说："铃木，你也来吧？"虽然要花上一年时间，但一定会很有趣"那时我刚开始学习小提琴我觉得自己还太年轻，无法从世界巡演中获益。
tour at this stage of my life, and I said so. So the matter was dropped, and it was agreed that I should work hard at my violin. But soon after that my summer vacation started, and one day, at home, 1 mentioned the proposed tour to my father. 在我人生的这个阶段，我不能参加巡回演出，我也是这么说的。于是这件事就不了了之，大家同意我努力学习小提琴。但不久之后，我的暑假开始了，有一天，我在家里向父亲提起了巡演的提议。
His reply was unexpected: 'Why, that’s an excellent idea." As I looked up he continued. “If you were with the Marquis, I shouldn’t worry about you at all. It would be a good idea for you to have a look at the world. You can probably go round the world for 150,000 yen. Go along and keep the Marquis company.” But even though my father thought it a good opportunity, I refused. I didn’t want to give up the studies I had only just begun. 他的回答出乎我的意料：'这真是个好主意。我抬起头，他继续说"如果你和侯爵在一起，我根本不用担心你。你应该去看看这个世界。花 15 万日元就可以环游世界了。去吧，陪陪侯爵。"尽管父亲认为这是个好机会，我还是拒绝了。我不想放弃刚刚开始的学业。
That September, after summer holidays were over, one evening at dinner I told Marquis Tokugawa what my father had said. Holding his chopsticks in midair, he looked at me with a twinkle in his eye. “Well done, Shinichi. You’d better grab that 150,000 yen. You can stop off in Germany and study violin. What a good idea! Next time 1 go to Nagoya I’ll have a word with your father.” 那年 9 月，暑假结束后的一天晚饭时，我把父亲的话告诉了德川侯爵。他把筷子举在半空中，眼睛闪闪发亮地看着我。"干得好，新一。你最好拿上那 15 万日元。你可以去德国学小提琴。真是个好主意！下次我去名古屋的时候 我会跟你父亲说的"
Marquis Tokugawa completely sold my father on his ingenious scheme. My father apparently said, “I am delighted to have you take my son with you, sir. By all means let him study in Germany with whatever money is left over.” It’s a cliché, I know, but one really has no idea what fate has in store for one. Though disappointed with the Ueno Music Academy in the spring, by autumn I was on board the luxury liner Hakone Maru en route to Marseilles. My father thought I was on a world tour, but I was really on my way to Germany to study. It was October, 1920, and I was twenty-two. 德川侯爵完全向我父亲推销了他的巧妙计划。我父亲显然说："先生，我很高兴您能带我儿子一起去。无论如何都要让他去德国学习 用剩下的钱"我知道这是老生常谈，但人真的不知道命运会为自己安排什么。虽然春天我对上野音乐学院感到失望，但到了秋天，我还是登上了前往马赛的豪华邮轮 "箱根丸 "号。父亲以为我是去环球旅行，其实我是去德国留学。那是 1920 年 10 月，我 22 岁。
There was tremendous inflation in Germany at the time, so my money went a long way. At first I was able to get 600 marks for 10 yen, and finally 100,000,000100,000,000 marks. It cost me, of course, more than 150,000 yen in the end, since I ended up spending eight years in Germany. 当时德国通货膨胀严重，所以我的钱花了不少。起初，我可以用 10 日元换到 600 马克，最后可以换到 100,000,000100,000,000 马克。当然，最后我还是花了 15 万多日元，因为我在德国待了八年。
It certainly was not I who opened the door of my destiny. I felt that something was always leading me. What led me then was Marquis Tokugawa’s great love. I always tried to follow like a child, and because of this he never failed to push me and give me the encouragement I needed. It was Tolstoy who taught me this meekness. So it was Tolstoy who opened up my destiny. 我的命运之门当然不是我自己打开的。我总觉得有什么东西在引领着我。引领我的是德川侯爵的大爱。我总是像个孩子一样努力去追随，正因为如此，他总是不厌其烦地鞭策我，给我所需要的鼓励。是托尔斯泰教会了我这种温顺。因此，是托尔斯泰开启了我的命运。
The soul of art: Klingler, the teacher I chose myself 艺术的灵魂克林勒，我自己选择的老师
Recently at Christmas a small parcel came from Germany to our house in Matsumoto. It was from Professor Klingler, who lived in Munich and who, at the ripe age of eighty, still composed and was active in music. It was a sonata he had written for unaccompanied violin. Recollecting my revered teacher of more than forty years before, I was carried back to my days as a student in Berlin and became lost in reverie. 最近圣诞节期间，我们在松本的家中收到了一个从德国寄来的小包裹。这是住在慕尼黑的克林格勒教授寄来的，他已经八十岁高龄，但仍然活跃在音乐创作的舞台上。这是他为无伴奏小提琴写的一首奏鸣曲。回想起四十多年前我尊敬的老师，我又回到了在柏林求学的日子，沉浸在遐想之中。
I had said good-bye to Marquis Tokugawa, who was going on a world tour, at his suite at Marseilles, and had gone straight to Berlin with Mr. Fiegel, a German engineer I had become friendly with on board the Hakone Maru. I then took a room at a hotel, and for three months I went to concerts every day. I had refused Professor Ando’s offer to provide me with an introduction to a teacher. I went to hear everybody, from famous performers to rising young artists, for I wanted to find someone of whom I could truly say, “This is the man I want for a teacher.” But at the end of three months I still had not found him. Just as I was on the point of moving to Vienna, I heard the Klingler Quartet. They were playing at the Sing Academy. It was Mrs. Kapel, a distant relative of Fiegel’s, who took me there. I can still vividly remember the sound of their performance that night. It was music of profound spirituality. It completely charmed my soul with its beauty, and it spoke to me gently. At the same time it had superb order and technique. Without any introduction and, in English, since as yet I could not write German, I wrote, “Please take me as your pupil.” 我在德川侯爵的马赛套房向他道别，他当时正在进行世界巡演，我和在 "箱根丸 "号上结识的德国工程师费格尔先生一起直奔柏林。之后，我在一家酒店开了一间房，三个月里我每天都去听音乐会。我拒绝了安藤教授为我介绍老师的好意。我去听了所有人的音乐会，从著名的演奏家到崭露头角的年轻艺术家，因为我想找到一个能让我真正说出 "这就是我想要的老师 "的人。但三个月过去了，我还是没有找到他。就在我准备搬到维也纳的时候，我听到了克林勒四重奏的演奏。他们当时正在歌唱学院演奏。是费格尔的远房亲戚卡佩尔夫人带我去的。我至今仍清楚地记得那晚他们演奏的声音。那是具有深邃灵性的音乐。它的美完全迷住了我的灵魂，温柔地与我对话。同时，它还具有高超的秩序和技巧。因为我还不会写德语，所以没有任何介绍，我用英语写道："请收我为徒"。
No sooner had I sent the letter than I heard discouraging predictions from Japanese musicians in Germany. They assured me that I had no chance, because Klingler didn’t take private pupils. The following Wednesday, however, I received an answer from Klingler saying, “Come.” My experience was exactly the same as that of Koji Toyoda many years later, who, at the age of nineteen, approached Enesco on his own and became his pupil. Asking the way to his house through the strange and unfamiliar streets of Berlin, I visited Klingler, 我刚寄出这封信，就听到了在德国的日本音乐家们令人沮丧的预言。他们向我保证，我没有机会，因为克林勒不收私人学生。然而，下个星期三，我收到了克林格勒的回信："来吧。我的经历与多年后丰田浩二的经历如出一辙，19 岁的丰田浩二独自找到埃内斯科，成为了他的学生。在柏林陌生的街道上，我问清了去他家的路，便去拜访了克林格勒、
and he asked me to play the Rode concerto. I made a mistake at one point and had to play the passage over again. “This is the end,” I thought hopelessly, but he said, “When can you come again?” 他让我演奏罗德协奏曲。有一次我弹错了，不得不重弹一遍。我绝望地想："这下完了"，但他说："你什么时候能再来？"
A courageous man of moral strength and truth 道德力量与真理的勇者
Thus it was that I began to study with a teacher of my own choosing. I was Professor Klingler’s only private pupil. Klingler was about forty, handsome, and a man one could become extremely fond of. What he taught me was not so much technique as the real essence of music. For instance, if we were working on a Handel sonata, he would earnestly explain to me what great religious feeling Handel must have been filled with when he wrote it, and then he would play it for me. He would look for the roots underlying a man and his art and lead me to them. To be led by a man of such high character was indeed a blessing for me. 就这样，我开始跟随自己选择的老师学习。我是克林勒教授唯一的私人学生。克林格勒四十岁左右，英俊潇洒，是一个非常讨人喜欢的人。他教我的与其说是技巧，不如说是音乐的真谛。例如，如果我们正在学习亨德尔的奏鸣曲，他会认真地向我解释亨德尔在创作这首曲子时一定充满了多么伟大的宗教感情，然后他会为我演奏这首曲子。他会寻找一个人和他的艺术的根源，并引导我找到它们。能得到一位品格如此高尚的人的引领，对我来说确实是一件幸事。
His friends were all wonderful people too. He often invited me to concerts at his home. It is impossible to evaluate how much these taught me. When the Nazis began to flourish and Hitler rose to power, I was back in Japan, and news came to me that vividly reminded me what a courageous man Klingler was. In front of the main entrance of the Berlin Music Academy was a statue of the great late-nineteenth-century German violinist Joseph Joachim, a Jew. Hitler ordered it removed. Klingler alone fearlessly defended this statue of the man who not only had been his teacher but had rendered such great services in the cause of art. “You shall not destroy it,” he declared. Professor Klingler was expelled from the music academy. His was the greatness of a true artist. From Klingler, who had courage such as this, I learned a great deal about moral strength. 他的朋友也都是很好的人。他经常邀请我去他家听音乐会。这些教会了我多少，无法估量。当纳粹开始猖獗、希特勒上台的时候，我回到了日本，一则消息让我想起了克林格勒是一个多么勇敢的人。柏林音乐学院正门前有一座十九世纪末德国伟大的小提琴家约瑟夫-约阿希姆（犹太人）的雕像。希特勒下令将其拆除。只有克林勒一个人无畏地捍卫了这座雕像，因为他不仅是这位雕像的老师，还为艺术事业做出了巨大贡献。"他宣称："你们不能毁掉它。克林格勒教授被音乐学院开除。他是真正伟大的艺术家。从克林格勒身上，我学到了很多关于道德力量的东西。
I learn what art really is 我了解到艺术的真谛
I would play the piece I had been given by Professor Klingler, and he would correct me. The lesson would usually last two hours. He would always assign several pieces at once, so that I gradually 我会演奏克林格勒教授给我的曲子，他会纠正我。课程通常持续两个小时。他总是会同时布置几首曲子，这样我就能逐渐
covered a great variety of material. I believe he used this diversified method of study in order to try to correct my faults. He never seemed to grudge the amount of time he spent on me. But to me, who tended to be rather lazy, it was always a tremendous ordeal just having to play through so many pieces. As I have said before, I had no illusions about my performing ability. But I did not know that my despair was brought about not because I had no talent but because I did not know how to develop it. I did not know that it was just a matter of repeating a piece hundreds of times in order to play it better, more nobly, and more beautifully. But I learned from Klingler the essence of what art truly is. My ultimate desire was not to become a performer but to understand art. And in that respect I learned a tremendous amount from Klingler. The first four years we studied concertos and sonatas, and the next four years chamber music. This was because I had gradually become extremely fond of chamber music, as well as that Professor Klingler was a great master of this medium. 涉及的材料种类繁多。我相信他采用这种多样化的学习方法是为了纠正我的缺点。他似乎从不吝惜花在我身上的时间。但对我这个比较懒惰的人来说，要弹奏这么多曲子总是一种巨大的折磨。正如我之前所说，我对自己的演奏能力不抱任何幻想。但我不知道，我之所以感到绝望，并不是因为我没有天赋，而是因为我不知道如何发挥自己的天赋。我不知道，要想把一首曲子演奏得更好、更高尚、更优美，只需重复演奏数百遍即可。但我从克林格勒那里学到了艺术的真谛。我的终极愿望不是成为一名演奏家，而是了解艺术。在这方面，我从克林格勒身上学到了很多。前四年我们学习协奏曲和奏鸣曲，后四年学习室内乐。这是因为我逐渐变得非常喜欢室内乐，而且克林格勒教授是室内乐的大师。
I was doing what I wanted to do. 我在做我想做的事。
Dr. Einstein becomes my guardian 爱因斯坦博士成为我的监护人
When I decided to stay in Berlin and study with Klingler, I took lodgings in the house of a gray-haired widow and her elderly maid. Both the landlady and the maid were hard of hearing, so they did not complain no matter how loudly I practiced the violin. Besides this stroke of luck, I had the good fortune of knowing Dr. Michaelis, a professor of medicine, and his family, who were very kind to me. When the professor was in Japan, he had often been invited to our house, and so he was especially kind to me. When he received an invitation to go to America to become dean of Johns Hopkins University, he said to me, “I shall no longer be able to look after you, and so I have asked a friend of mine to keep an eye on you.” The friend turned out to be Dr. Albert Einstein, who developed the theory of relativity. 当我决定留在柏林跟随克林格勒学习时，我住进了一位白发寡妇和她年迈女仆的家里。房东太太和女佣的听力都不好，所以无论我练琴的声音有多大，她们都毫无怨言。除了这份幸运，我还有幸认识了医学教授麦凯利斯博士和他的家人，他们对我非常好。教授在日本时，经常被邀请到我们家做客，因此对我特别好。当他收到去美国担任约翰-霍普金斯大学院长的邀请时，他对我说："我不能再照顾你了，所以我请我的一位朋友照看你。这位朋友就是提出相对论的爱因斯坦博士。
Thus, unexpectedly, I experienced the warm friendship of this world-famous scholar and the outstanding people of his circle. This was one of the most wonderful things that happened to me in my 因此，我意外地感受到了这位世界著名学者和他圈子里杰出人士的热情友谊。这是我一生中遇到的最美妙的事情之一。
whole life. It provided in later years the conviction and basic theory behind the driving force that enabled me to carry out without the slightest doubt my Talent Education movement for small children. My contact with the greatness of Dr. Einstein as a man began in the following way. 它是我一生的动力。它在后来的岁月里为我提供了信念和基本理论的动力，使我能够毫不怀疑地开展我的幼儿才智教育运动。我与伟大的爱因斯坦博士的接触是以如下方式开始的。
"People are all the same, madame" "人都是一样的，夫人"
Before Dr. Michaelis went to America, he gave a dinner party, after which there was some music. I was asked to play too. I was not very good, but they insisted, so I submitted and played a piece 1 liked-a Bruch concerto I was studying with Klingler at the time. When we were drinking tea afterward, there was a quiet conversation. 'I really can’t understand it," began an elderly lady of about seventy who was sitting right in front of Dr. Einstein. “Suzuki grew up in Japan in a completely different environment from ours. But in spite of that his performance clearly expressed to me the Germanness of Bruch. Tell me, is such a thing possible?” After a brief interval Dr. Einstein, young enough to be her son, said quietly, “People are all the same, madame.” I was tremendously moved. 在米凯利斯博士去美国之前，他举行了一次晚宴，会后还演奏了一些音乐。我也被邀请演奏。我弹得不是很好，但他们坚持要我弹，于是我就报了名，弹了一首我喜欢的曲子--当时我正在和克林格勒一起学习布鲁赫协奏曲。演奏结束后，我们喝茶聊天。坐在爱因斯坦博士前面的一位年约七旬的老太太说："我真的无法理解。"铃木在日本长大，环境与我们完全不同。但尽管如此，他的演奏还是让我清楚地感受到了布鲁赫的日耳曼风格。告诉我，这可能吗？"短暂的间歇之后，爱因斯坦博士，年轻得可以做她的儿子，轻声说道："人都是一样的，夫人。"我非常感动。
Men of science but virtuosos, too 既是科学工作者，也是演奏家
Often when there was a good concert, Dr. Einstein would telephone me and say, “I have tickets, so let’s go.” 经常有好的音乐会 爱因斯坦博士会打电话给我说 "我有票 我们去吧"
The violinist Busch (1891-1952) was a good friend of his, and Einstein spoke highly of him both as a person and as a performer. Before Busch’s concert Einstein telephoned to tell me what time to meet him at the bus stop. I was careful to get to the stop on time, but the eminent scholar was there before me. Even though I was a mere stripling, he had invited me as his guest and treated me accordingly. I just bowed, and did not know what to do. 小提琴家布施（1891-1952 年）是爱因斯坦的好朋友，爱因斯坦对他的为人和演奏都给予了很高的评价。在布施的音乐会之前，爱因斯坦打电话告诉我几点在公共汽车站等他。我小心翼翼地准时到达车站，但这位著名学者比我先到。尽管我只是个稚气未脱的孩子，他还是邀请我作为他的客人，并给予我相应的礼遇。我鞠了一躬，不知如何是好。
Dr. Michaelis was an accomplished pianist. He used to accompany his wife, who had studied singing at the Vienna Music Academy. Once, at a home concert, his wife whispered to him to please play half a tone lower because she had a bit of a cold. “Yes, 米凯利斯博士是一位出色的钢琴家。他经常为在维也纳音乐学院学习歌唱的妻子伴奏。有一次，在一次家庭音乐会上，他的妻子悄悄告诉他，因为她有点感冒，请把音调低半个音。他说："好的、
dear,” he replied and without a moment’s hesitation played the accompaniment a semitone lower. Moreover, it was a difficult song by Brahms, and he was playing without the music. I was really astonished. Like Dr… Schweitzer, who had difficulty choosing between being a professional musician or being a doctor, Dr. Michaelis had been torn between music and medicine. 亲爱的，"他回答道，并毫不犹豫地将伴奏音调低了半音。而且，这是一首勃拉姆斯的高难度歌曲，他是在没有乐谱的情况下演奏的。我真的很惊讶。就像史怀哲医生难以在专业音乐家和医生之间做出选择一样，米凯利斯博士也曾在音乐和医学之间徘徊。
Einstein was an acknowledged virtuoso on the violin. He never went anywhere without his violin. His specialties, such as the Bach Chaconne, were magnificent-his light, flowing finger movements, his beautifully delicate tone. In comparison with his playing, mine, though I tried to keep in mind that I must play effortlessly and with ease, seemed to me a constant struggle. 爱因斯坦是公认的小提琴大师。他走到哪里都离不开小提琴。他的拿手曲目，如巴赫的《恰空舞曲》，非常华丽--轻盈流畅的手指动作，优美细腻的音色。与他的演奏相比，我的演奏虽然努力铭记必须毫不费力、轻松自如地演奏，但对我来说却显得步履维艰。
Young Kaufmann's impromptus 年轻考夫曼的即兴曲
Although they did not tell it to me in so many words, Michaelis, the physician, and Einstein, the scientist, graphically brought home to me what the study of music can do for a person. But before I say anything more on this subject, I should like to tell of one more unforgettable experience. One evening at Einstein’s house there was music after dinner. At that time I had an eighteen-year-old friend who was studying composition at the music academy. (When I was eighteen, I had only just started teaching myself to play the violin.) 医生米凯利斯和科学家爱因斯坦虽然没有用那么多的语言来告诉我，但他们却生动地向我展示了音乐学习对一个人的作用。不过，在我就这个话题再说些什么之前，我还想再讲一段难忘的经历。一天晚上，在爱因斯坦家，晚饭后有音乐会。当时，我有一个十八岁的朋友正在音乐学院学习作曲。(十八岁那年，我刚刚开始自学小提琴）。
“Tonight we shall have some impromptu music by Kaufmann. Here-” Einstein played a short theme on the piano. "今晚我们将演奏考夫曼的即兴音乐这里......"爱因斯坦用钢琴弹奏了一段简短的主题曲。
Kaufmann stood up and said, “I will begin with an early composer. Here is a fugue in the style of Bach.” I was amazed. He improvised on Einstein’s theme with sureness and fluency, not only using Bach’s harmonies but in a style clearly reminiscent of Bach himself. 考夫曼站起来说："我将从一位早期作曲家开始。这是一首巴赫风格的赋格曲。"我大吃一惊。他对爱因斯坦的主题进行了即兴演奏，不仅准确流畅地使用了巴赫的和声，而且演奏风格明显让人联想到巴赫本人。
After the Bach-style fugue was over, someone said, “What about Chopin next?” 巴赫式赋格结束后，有人说："下一个肖邦怎么样？"
“All right; now I shall play in the style of Chopin,” he said, and began a nocturne of Einstein’s same theme. The theme became beautifully Chopinesque in an animated performance that flowed along like a stream of sadness. In the same way he went on to pro- "好吧，现在我要演奏肖邦的风格，"他说着，开始演奏爱因斯坦同一主题的夜曲。在生动的演奏中，主题变得优美而肖邦式，如悲伤的小溪般流淌。他还以同样的方式演奏了
The Classic Approach to Talent Education 人才教育的经典方法
duce beautiful music in the styles of Brahms, Beethoven, Johann Strauss, and Mahler. This sort of thing cannot be done unless one is thoroughly familiar with many composers and their styles. And the fact that he could improvise without the slightest hesitation showed what confidence and musicianship young Kaufmann had. 在勃拉姆斯、贝多芬、约翰-施特劳斯和马勒的风格中创作出优美的音乐。除非对许多作曲家和他们的风格了如指掌，否则是无法做到这一点的。而他能毫不犹豫地即兴演奏，则显示出年轻的考夫曼是多么自信和富有音乐天赋。
Whether Kaufmann’s amazing skill at improvising would lead to his becoming a great composer or not is beside the point. I was deeply impressed by his talent, and it struck me that this kind of skill could be developed. What a delight it would be! 考夫曼惊人的即兴演奏技巧是否会使他成为伟大的作曲家，这并不重要。他的才华给我留下了深刻的印象，我突然意识到，这种技巧是可以发展的。这将是一件多么令人愉快的事情！
Not only Einstein but all the members of his intimate circle were prominent people in their fields. They all loved art and were extremely modest and kind. Here I was, just a beginner of no particular talent, a mere struggling student, and never once did they make me feel foolish or treat me lightly, but they accepted me warmly and made sure I enjoyed myself. I was touched by the considerate way they took pains to include me in their conversation and to see that I was not bored. 不仅是爱因斯坦，他亲密圈子里的所有成员都是各自领域的杰出人物。他们都热爱艺术，非常谦虚和蔼。在这里，我只是一个没有特殊才能的初学者，一个仅仅在苦苦挣扎的学生，但他们从来没有让我觉得自己愚蠢或轻视我，而是热情地接纳我，并确保我享受其中。他们不厌其烦地让我参与他们的谈话，确保我不会感到无聊，这种体贴的方式令我感动。
Harmony-in order to achieve it, one person must gracefully give in to the other, and it is nobler to be the one who gives in than the one who forces the other to give in. Harmony cannot be achieved any other way. It was things like that that I learned from Einstein and the people who gathered at his house. 和谐--为了实现和谐，一方必须优雅地向另一方让步，而让步的一方比强迫另一方让步的一方更高尚。其他任何方式都无法实现和谐。我正是从爱因斯坦和聚集在他家的人们那里学到了这样的道理。
People who can get together and make music. . . . 能聚在一起创作音乐的人.. .
I want Japanese children to grow up to be people who have this pleasure in their lives and to be people of as high intellect and sensitivity as those people in Berlin. That is what I want. The purpose of Talent Education is to train children, not to be professional musicians but to be fine musicians and to show high ability in any other field they enter. Dr. Michaelis is a case in point. Somewhere I have heard the phrase, “The matchless beauty of Einstein’s mathemetics.” I am sure this beauty of conception was the outcome of pure musical skill. Einstein was only sixteen when he had the idea that was to bring about such a revolution in the science of physics, and he himself says, “It [the optics of motion] occurred to me by intuition. And music is the driving force behind this intuition. My parents had me study the violin from the time I was six. My new discovery is the result of musical perception.” 我希望日本的孩子们长大后也能成为生活中充满这种乐趣的人，成为像柏林的孩子们一样具有高度智慧和敏感性的人。这就是我的愿望。才艺教育的目的是培养孩子们，不是让他们成为专业音乐家，而是让他们成为优秀的音乐家，并在他们进入的任何其他领域表现出高超的能力。米凯利斯博士就是一个很好的例子。我曾在某处听到过这样一句话："爱因斯坦数学的无与伦比之美"。我确信，这种构思之美是纯音乐技巧的结晶。爱因斯坦在 16 岁时就萌生了为物理学带来革命性变革的想法，他自己也说："我是凭直觉想到的（运动光学）。音乐是这种直觉背后的驱动力。我的父母从我六岁起就让我学习小提琴。我的新发现就是音乐感知的结果"。
Thus my eight years in Berlin were happily spent in the company of people of high intellect, sensitivity, and good will. I also met my future wife at one of those home concerts, and we were married before the eight years I spent in Berlin were over… . . And while the great numbers of performances I listened to by European musicians filled me with despair as to my own performing ability, they gradually brought me nearer to an understanding of what art really is. 因此，我在柏林的八年是在与高智商、敏感和善良的人们为伴中快乐度过的。我还在一次家庭音乐会上遇到了我未来的妻子，在柏林度过的八年时光结束之前，我们就结婚了......。虽然我聆听的大量欧洲音乐家的演出让我对自己的表演能力感到绝望，但它们也逐渐让我更接近艺术的真谛。
The concerts I attended in Berlin are replete with memories. Each one is still vivid in my mind, and time only serves to distill and clarify the memories even further. Glazunov conducting his own composition with the Berlin Philharmonic. . . the lady violinist Cecila Hansen, who played the concerto. . .the beautifully grand way the great composer Richard Strauss used to conduct . . . the concert at which Mascagni conducted a chorus of one thousand Busoni’s piano playing that made one think of the sweet, lovely fragrance of white lilies in the garden at eventide; when Busoni played on it, the piano in Berlin Philharmonic Hall sounded like a different instrument, with a marvelously tender sound through which Beethoven would speak to us warmly out of his loneliness. . .the Sunday concert series in which dignified Schnabel played all the Beethoven sonatas. . . .Furtwängler, whom I went to hear so often-he was the regular conductor of the Berlin Philharmonic. . . . At a concert of the Contemporary Music Society, which used to introduce contemporary music from all over the world, I remember being intensely impressed by the modern musical expression of Schönberg’s symphonic poem “Pelleas and Melisande.” 我在柏林参加的音乐会充满了回忆。每一场音乐会都历历在目，而时间只会进一步提炼和澄清这些记忆。格拉祖诺夫与柏林爱乐乐团一起指挥自己的作品。.演奏协奏曲的女小提琴家塞西拉-汉森。.伟大的作曲家理查德-施特劳斯指挥时优美宏大的方式........马斯卡尼指挥的千人合唱音乐会，布索尼的钢琴演奏让人联想到黄昏时分花园里白百合甜美可爱的芬芳；当布索尼演奏时，柏林爱乐大厅里的钢琴听起来就像换了一种乐器，发出奇妙的温柔声音，贝多芬通过这种声音从他的孤独中温暖地向我们倾诉。... 在周日系列音乐会上，庄重的施纳贝尔演奏了贝多芬的所有奏鸣曲。. 我经常去听的富特文格勒--他是柏林爱乐乐团的常任指挥。. . ....... 在当代音乐协会的一场音乐会上，我记得自己被朔恩贝格的交响诗《佩利亚斯与梅丽桑德》的现代音乐表现形式深深打动。
But among all these what captivated me most was the performance of Mozart’s music one night at the Sing Academy by the Klingler Quartet. The whole program that evening was Mozart. And when it came to the Clarinet Quintet (A major, K.581), something happened to me that had never happened before. I felt as though I had lost the use of my arms. 但其中最让我着迷的是一天晚上克林勒四重奏在 Sing Academy 演奏的莫扎特音乐。当晚的全部曲目都是莫扎特的。当演奏到单簧管五重奏（A大调，K.581）时，我发生了前所未有的感觉。我感觉自己的双臂好像失去了知觉。
I am captivated by eternal love 我被永恒的爱所吸引
It was Mozart who taught me to know perfect love, truth, goodness, and beauty. And I now deeply feel as if I were under direct 是莫扎特教会我认识完美的爱、真、善、美。我现在深深地感到，我仿佛是在直接
orders from Mozart, and he left me a legacy; in his place I am to further the happiness of all children. What led to this revelation was the Klingler Quartet’s playing of Mozart’s Clarinet Quintet. 莫扎特给我下了命令，他给我留下了一笔遗产；我要代替他促进所有孩子的幸福。克林格勒四重奏演奏的莫扎特单簧管五重奏让我恍然大悟。
That evening I seemed to be gradually drawn into Mozart’s spirit, and, finally I was not conscious of anything else, not even of my own being, I became so immersed. Of course, I did not realize this until afterward. After the performance I tried to applaud. But there was no feeling from the shoulders down, and I could not move either hand. I don’t know when the clapping stopped. During the applause I just sat there in a trance. Finally I got my hands back, but even when the feeling came back, I still just stared into space. An indescribable, sublime, ecstatic joy had taken hold of my soul. I had been given a glimpse of Mozart’s high spiritual world. Through sound, for the first time in my life, I had been able to feel the highest pulsating beauty of the human spirit, and my blood burned within me. It was a moment of sublime eternity when I, a human being, had gone beyond the limits of this physical body. That night I couldn’t sleep at all. Mozart, the man, had shown me immortal light. 那天晚上，我似乎逐渐被莫扎特的精神所吸引，最后我什么都不知道了，甚至连自己的存在都不知道了，我沉浸其中。当然，我是事后才意识到这一点的。演出结束后，我试着鼓掌。但从肩膀往下没有任何感觉，我的两只手也无法动弹。我不知道掌声是什么时候停止的。在掌声中，我只是恍惚地坐在那里。最后，我的手恢复了知觉，但即使感觉恢复了，我仍然只是呆呆地望着太空。一种无法形容的、崇高的、欣喜若狂的喜悦占据了我的灵魂。我瞥见了莫扎特崇高的精神世界。通过声音，我有生以来第一次感受到了人类精神最高的脉动之美，我的热血在体内燃烧。那是一个崇高永恒的时刻，我，一个人，超越了肉体的极限。那天晚上，我彻夜难眠。莫扎特，这个人，让我看到了不朽的光芒。
Filled with the joy of love, I give up sadness 充满爱的喜悦，我放弃悲伤
It happened in Berlin when I was twenty-four. From that day until now I have received power and strength from Mozart. I am eternally a child on Mozart’s bosom. What I never cease to marvel at in Mozart’s music is his superhuman love. It is a great tenderness and love felt only by the soul. And this love takes cognizance of man’s deep sorrow. . birth and death. . .the evanescence and loneliness of life . . the all-pervasive sadness. This sadness Mozart expressed not only with the minor scale but with the major scale as well, in the midst of his deep love. For man both life and death are the inescapable business of nature. There is in Mozart’s music a clear vision of this inevitability. 这件事发生在柏林，那年我二十四岁。从那天起直到现在，我从莫扎特那里获得了力量。我永远是莫扎特怀抱中的孩子。在莫扎特的音乐中，我从未停止赞叹的是他超人的爱。这是一种只有灵魂才能感受到的伟大的温柔和爱。而这种爱，是对人类深切悲哀的认知。.生与死.......生命的消逝和孤独......无处不在的悲伤。莫扎特不仅用小调音阶，也用大调音阶来表达这种深爱中的悲伤。对于人类来说，生与死都是大自然不可避免的事情。在莫扎特的音乐中，我们可以清晰地看到这种不可避免性。
That piercing sadness pervades the major mode of the Clarinet Quintet. Let me give you the beginning of the second movement- 单簧管五重奏的大调中弥漫着刺骨的悲伤。让我为您介绍第二乐章的开头--
However, Mozart does not simply resign himself to this sad life that has no satisfactory solution. That is where his great love comes in. Although he is aware of sadness, Mozart answers life with a loving affirmative. That is why it is possible to go beyond despair, to envelop the situation in love and change it and bring about the joy of living. 然而，莫扎特并不甘心于这种没有令人满意的解决办法的悲惨生活。这正是他的大爱所在。虽然莫扎特意识到了悲哀，但他用爱的肯定回答了生活。正因为如此，我们才有可能超越绝望，用爱去改变现状，带来生活的喜悦。
When I listen to Mozart, he seems to envelop me in his great love. Mozart’s love for mankind is not merely a pious kind of love that points to hope in the next world through religious ecstasy: 'All right. Life is sad. But if there is love, see how beautiful life can be. The sad life that we all must live-let us go along together and comfort one another." 当我聆听莫扎特时，他似乎将我包裹在他的大爱之中。莫扎特对人类的爱不仅仅是通过宗教狂喜指向来世希望的虔诚之爱："好吧。生活是悲哀的。但如果有爱，生活会变得多么美好。我们都必须过的悲惨生活--让我们一起走下去，互相安慰"。
This is what Mozart says to us, and I affirm it with all my heart. 这是莫扎特对我们说的话，我全心全意地予以肯定。
Recently I have been studying the works of the Japanese poet Issa, and I understand the mind of Mozart even more clearly. Haiku such as these, which Issa wrote in his fifties, are pure Mozart: 最近，我研究了日本诗人伊沙的作品，对莫扎特的思想有了更清楚的认识。伊沙五十多岁时写的这些俳句，就是纯粹的莫扎特：
Be it as it may, 就这样吧、
All my life is in your hands, 我的一生都掌握在你手中
Now at the end-of-year. 现在到了年末。
Though I am aware 虽然我知道
Evening bells my curfew toll, 黄昏的钟声敲响了我的宵禁、
I enjoy the cool. 我喜欢凉爽。
“In your hands” expresses the great soul of Buddhism, I believe. It does not mean that if there is nothing to hope for in the afterlife, it matters not whether you work or not in this one. It means that no human being knows what his future life holds. It means that in spite of the sadness, love can make this life happy. 我认为，"在你手中 "表达了佛教的伟大灵魂。它的意思并不是说，如果来世没有什么希望，那么今生工作与否就不重要了。它的意思是，没有人知道自己未来的生活会怎样。这意味着，尽管有悲伤，但爱可以让今生幸福。
People who are optimistic, happy, and cheerful, even though they are only so on the surface, being always conscious of the ephemerality of life and how infinitesimal their existence must seem in relation to the universe-when people like that are asked what life really means, they must answer with Mozart: 'I live in the love of everyone. Only this life is worth living." 乐观、快乐、开朗的人，尽管他们只是表面上如此，但他们始终意识到生命的短暂，意识到自己的存在相对于宇宙而言是多么微不足道--当这样的人被问及生命的真正意义时，他们必须像莫扎特那样回答：'我活在每个人的爱中。'只有这样的生活才有价值"。
That we are born and that we finally die is the work of Mother Nature. It is not the responsibility of each one of us. Each human 我们的出生和死亡都是大自然母亲的杰作。这不是我们每个人的责任。每个人
being has only the responsibility for living. That is my view of life. And I pray that my life may be lived in the midst of love and joy. No one essentially seeks hatred and misery. Children are examples of life in its truest form, for they really try to live in pure love and joy. I cannot live without children. But I love grownups too because I feel a great sympathy for them-“After all, these people too must die.” Men’s lives should consist in loving one another, in comforting one another. Mozart teaches this, and I believe it. 人只有活着的责任。这就是我的人生观。我祈祷我的生命能在爱与欢乐中度过。没有人从本质上追求仇恨和痛苦。孩子们是最真实的生活典范，因为他们真的努力生活在纯粹的爱与欢乐之中。我不能没有孩子。但我也爱大人，因为我非常同情他们--"毕竟，这些人也必须死去"。人的一生应该是相互关爱，相互安慰。莫扎特是这样教导我们的，我也相信这一点。
It is in our power to educate all the children of the world to become a little better as people, a little happier. We have to work toward this. I ask no more than the love and happiness of mankind, and I believe that this is what everyone really wants. 我们有能力教育世界上所有的孩子，让他们变得更好一点，更幸福一点。我们必须为此而努力。我所要求的不过是人类的爱和幸福，我相信这才是每个人真正想要的。
Love can be had only by loving. Our life is worth living only If we love one another and comfort one another. I searched for the meaning of art in music, and it was through music that I found my work and my purpose in life. Once art to me was something far off, unfathomable and unattainable. But I discovered it was a tangible thing. Anybody who takes up an art is apt to think of the object of his ambition as something very far off, and I tried to search for the secret. But after my eight years in Germany, I found that it was not at all what I had imagined it to be. 只有爱，才能拥有爱。只有我们彼此相爱，彼此安慰，我们的生活才有价值。我在音乐中寻找艺术的意义，正是通过音乐，我找到了自己的工作和人生目标。曾经，艺术对我来说是遥不可及、深不可测的东西。但我发现它是实实在在的东西。任何从事一门艺术的人都会认为他的理想对象是非常遥远的东西，我也曾试图寻找其中的奥秘。但在德国生活了八年之后，我发现它与我的想象完全不同。
The real essence of art turned out to be not something high up and far off. It was right inside my ordinary daily self. The very way one greets people and expresses oneself is art. If a musician wants to become a fine artist, he must first become a finer person. If he does this, his worth will appear. It will appear in everything he does, even in what he writes. Art is not in some far-off place. A work of art is the expression of a man’s whole personality, sensibility, and ability. 艺术的真谛原来并非高高在上、遥不可及。它就在我平凡的日常生活中。与人打招呼、表达自己的方式就是艺术。如果一个音乐家想成为一个优秀的艺术家，他首先必须成为一个更优秀的人。如果他做到了这一点，他的价值就会显现出来。他的价值将体现在他所做的一切中，甚至体现在他所写的文章中。艺术不在遥远的地方。艺术作品是一个人的全部个性、情感和能力的体现。
As I have said, on one hand I listened constantly to fine works in fine performances, immersing myself in Mozart; on the other hand, I was exposed to the modesty, high intellectual sensibility, and humanity of Dr. Einstein and his group; and in this way I came to the end of my search and realized what art truly is. After I found out, the rest was up to me. It was up to me to polish and refine myself, that was all. Then why is one so moved by music? I will try to explain. 正如我所说的那样，一方面，我不断聆听精彩演出中的优秀作品，沉浸在莫扎特的音乐中；另一方面，我接触到爱因斯坦博士及其团队的谦逊、高尚的思想情操和人性；就这样，我的探索走到了尽头，认识到了什么才是真正的艺术。在我发现之后，剩下的就靠我自己了。我需要打磨和完善自己，仅此而已。那么，为什么一个人会被音乐深深打动呢？我试着解释一下。
If you think of doing something, do it 想到就去做
Of what use is knowledge by itself?. . . 知识本身有什么用？. .
One morning in 1953 a newspaperman telephoned me to say that Jacques Thibaud was dead. The plane in which he was riding had crashed in the Alps. I was so shocked that I was hardly able to coherently give the reporter the impression of the great man that he sought from me. I just stood there holding the receiver. It was like irreplaceably losing someone near and dear. After the first shock the following thoughts came to me as I quietly wept. I had never met Thibaud, but he had been living in my heart for some time. I loved his playing and admired him intensely. Having listened to his recordings for twenty-odd years, I could sense his personality, and had been studying his expression and way of playing. Music . . . through sound. Thibaud had come to life in my soul and fostered in me an ineradicable love and admiration. Music . . . sound, tone. What strange things they are, I realized at that moment. Man does not live in intellect. Man lives in the wonderful life force. “Sound has life and soul without form.” That is when I thought of the words that are now my motto. 1953 年的一个早晨，一位新闻记者打电话给我，说雅克-蒂博死了。他乘坐的飞机在阿尔卑斯山坠毁。我非常震惊，几乎无法连贯地向记者讲述他想从我这里得到的关于这位伟人的印象。我只是拿着听筒站在那里。这就像是无可替代地失去了一个至亲至爱的人。第一次震惊过后，我默默地流泪，脑海中浮现出以下想法。我从未见过蒂博，但他一直活在我的心中。我喜欢他的演奏，并深深地钦佩他。二十多年来，我一直在聆听他的录音，我能感受到他的个性，也一直在研究他的演奏方式。音乐......通过声音。音乐......通过声音。音乐......声音、音调。那一刻，我意识到它们是多么奇怪的东西。人不是生活在智力中。人生活在奇妙的生命力中。"声音没有形式却有生命和灵魂"就在那时，我想到了这句话，它现在成了我的座右铭。
Fifty years ago it was Tolstoy’s “Conscience is the voice of God,” and to live in conscience was my sacred creed. But now “conscience” has changed to “life.” 五十年前，托尔斯泰说 "良心是上帝的声音"，凭良心生活是我的神圣信条。但现在，"良知 "变成了 "生活"。
Music, the language of life 音乐，生命的语言
One must submit to the demands of life-but what exactly is life? The life we try to live is always a search for happiness. Very few people seek wisdom. Children in their simplicity seek what is true, what is good, what is beautiful, based on love. That, I believe, is “the true nature of man” as described by Gautama Buddha. Mozart, whose music taught me the simple love and joy that overcome misery, must have believed that too. And it was Thibaud who taught me that our life force is the greatest thing we have. 人必须服从生活的要求，但生活究竟是什么？我们努力过的生活总是在寻找幸福。很少有人追求智慧。纯真的孩子们在爱的基础上追求真、善、美。我相信，这就是释迦牟尼佛所描述的 "人的本性"。莫扎特的音乐教会了我战胜苦难的简单的爱和快乐，他一定也相信这一点。是蒂博教会我，我们的生命力是我们所拥有的最伟大的东西。
When the human race created the culture of speech and writing, it also produced the sublime culture called music. It is a language that goes beyond speech and letters-a living art that is almost mystical. This is where its emotional impact comes in. Bach, Mozart, Beethoven-without exception they live clearly and palpably in their music, and speak forcefully to us, purifying us, refining us, and awakening in us the highest joy and emotion. 人类在创造语言和文字文化的同时，也创造了被称为音乐的崇高文化。它是一种超越语言和文字的语言--一种近乎神秘的活的艺术。这就是音乐对情感的影响。巴赫、莫扎特、贝多芬--无一例外，他们在音乐中清晰而明显地活着，并有力地向我们诉说，净化我们，锤炼我们，唤醒我们内心最高的喜悦和情感。
He is young as a youth, yet wise as an old man. Never old-fashioned, never newfangled. Buried, yet all the more Sprightly and full of life. And his kindly smile 他年轻如少年，却睿智如老人。永不过时，永不新潮。虽已入土，却更显精神矍铄，充满生机。他慈祥的微笑
Shines on us and purifies us. 照耀我们，净化我们。
Never more so than now. 现在更是如此。
These words are part of a poem written by the pianist Busoni describing the personality and philosophy, the sadness, the love and noblemindedness of Mozart as communicated to us in his music. 这些文字是钢琴家布索尼所写诗歌的一部分，描述了莫扎特在音乐中向我们传达的个性、哲学、悲伤、爱和高尚情操。
Talent education is life education 人才教育就是生命教育
Mother Nature gives every one of us the potential to live this kind of life. But the life force is beyond human intellect. If people only realized what a marvelous thing it is, they would have greater respect for it, and appreciate it in children, in adults, in themselves. 大自然赋予我们每个人过这种生活的潜能。但是，生命力是超越人类智慧的。如果人们能够意识到生命力是多么奇妙的东西，他们就会更加尊重生命力，欣赏孩子、成人和他们自己的生命力。
Pablo Casals deeply moves us with his performances, and he in turn weeps with emotion at the performance of children that brings tears to so many eyes. The deep emotion in each case is caused by the great and beautiful symphony of life in its purest state. The human heart, feeling, intellect, behavior, even the activity of organs and nerves-all are but part of the life force. We must not forget that man is the embodiment of life force, and that it is the power of the life force that controls human seeking and finding. That is why Talent Education has to be an education that is directed to this life force. 巴勃罗-卡萨尔斯的演奏深深打动了我们，而他反过来也会为孩子们的表演感动落泪，让无数人热泪盈眶。每一种情况下的深情都是由最纯粹的伟大而美丽的生命交响乐引起的。人的心灵、情感、智力、行为，甚至器官和神经的活动，都不过是生命力的一部分。我们不能忘记，人是生命力的化身，是生命力的力量控制着人的追求和发现。这就是为什么人才教育必须是针对这种生命力的教育。
Education rather than instruction 教育而非指导
Why do all children possess the marvelous ability to speak their mother tongue quite effortlessly? Therein lies the secret of how to educate all human ability. Schools instruct and train as hard as they can, without good results. There must be something wrong in their method. My thirty years of experience makes me firmly believe this. With the emphasis put only on informing and instructing, the actual growing life of the child is ignored. There has been no thorough research into how ability is acquired. The word education implies two concepts: to educe, which means to “bring out, develop from latent or potential existence” (Concise Oxford Dictionary), as well as to instruct. But the emphasis in schools is only on the instruction aspect, and the real meaning of education is totally forgotten. 为什么所有的孩子都能毫不费力地说出自己的母语？这其中就蕴含着如何培养人的各种能力的秘密。学校尽其所能地进行指导和训练，却没有取得良好的效果。他们的方法一定有问题。我三十年的经验使我坚信这一点。由于只强调告知和指导，孩子的实际成长生活被忽视了。对于能力是如何获得的，没有进行过深入的研究。教育一词包含两个概念："教育"（educe），意为 "激发、发展潜在的或潜在的存在"（《简明牛津词典》），以及 "指导"（instruction）。但学校只强调指导，而完全忘记了教育的真正含义。
Even in primary school beginners are merely instructed, or informed of certain things, and then assailed by test after test to see how much they remember, and on the basis of their tests fateful pronouncements are made: “This child is superior,” 'This child needs admonishment," “This child was born with a poor brain.” 即使是在小学，初学者也只是被教导或告知某些事情，然后接受一次又一次的测试，看看他们记住了多少，并根据测试结果做出决定性的宣判："这个孩子是优等生""这个孩子需要训诫""这个孩子天生脑子不好使"。
Grading cannot be done by test. Tests can only determine how much the children have understood and whether there are any who have not understood. Should not the examination paper be used only as a means of finding out which questions the child does not understand and which problems the child cannot do? Actually, these results would show the teacher’s ability rather than the child’s. But unfortunately in today’s schools it is invariably the child who is graded on tests. 不能通过考试来评分。考试只能确定孩子们听懂了多少，有没有听不懂的。试卷难道不应该只是作为一种手段，用来发现孩子哪些问题不懂，哪些难题不会做吗？事实上，这些结果将显示出教师的能力，而不是孩子的能力。但遗憾的是，在今天的学校里，考试成绩的评定者总是孩子。
The object of sending a child to primary school should not be just the assessment of his ability by tests. Nevertheless, the aim of schools today seems to be only the assessment of mankind, of children, and the only thing that seems to be important is scholastic rank. I think this is quite wrong. 送孩子上小学的目的不应该仅仅是通过考试来评估他的能力。然而，今天学校的目标似乎只是对人、对儿童进行评估，唯一重要的似乎是学业排名。我认为这是大错特错的。
If it does nothing else, the nine years of compulsory education ought to instill at least one superior skill in each child. It needn’t be a school subject. For instance, if it were daily inculcated in a child to be kind to people in daily life, whether in school, in friendships, 如果不做其他事情，九年义务教育至少应该向每个孩子灌输一种卓越的技能。这不一定是学校的课程。例如，在日常生活中，无论是在学校还是在朋友圈里，如果每天都向孩子灌输与人为善的思想、
or at home, what a happy society could be created! But education today simply teaches the maxim, “Be kind.” The world is full of intellectuals who are very well aware that “one should be kind to people” but who are, in fact, unhappy egoists. Today’s society is the result of this sort of education. I want-if I can-to get education changed from mere instruction to education in the real sense of the word-education that inculcates, brings out, develops the human potential, based on the growing life of the child. That is why I am devoting all my efforts to furthering Talent Education; what a child becomes depends entirely on how he is educated. My prayer is that all children on this globe may become fine human beings, happy people of superior ability, and I am devoting all my energies to making this come about, for I am convinced that all children are born with this potential. 或在家里，就能创造一个多么幸福的社会！但是，今天的教育只是简单地传授 "与人为善 "的格言。世界上有很多知识分子，他们深知 "与人为善"，但实际上却是不快乐的利己主义者。当今社会就是这种教育的结果。我希望--如果可以的话--能让教育从单纯的教导转变为真正意义上的教育--以儿童成长的生命为基础，熏陶、激发、发展人的潜能的教育。这就是为什么我全力以赴推进才智教育的原因；一个孩子能成为什么样的人，完全取决于他是如何接受教育的。我的祈祷是，让世界上所有的孩子都能成为优秀的人，成为能力出众的快乐的人，我正在倾注我的全部精力来实现这一目标，因为我深信，所有的孩子生来就具有这种潜能。
To merely 'want" to do something is not enough 仅仅 "想 "做某事是不够的
Life was wretched in Japan right after the end of World War II. The winters in Matsumoto are severe, and there are days when the temperature falls to 13 or 18 degrees below zero centigrade. On one of those days my sister returned from an errand, and, as she shook off the snow, she said, 'In all this cold, there is a wounded soldier standing on the bridge down by Hon-machi, begging. He is standing there shivering in this driving snow, and nobody is putting any money in the box at his feet . . . I wanted to invite him in to sit in our kotatsu in our warm room and give him some tea." 二战刚结束时，日本的生活十分艰苦。松本的冬天非常严寒，有的时候气温会降到摄氏零下 13 度或 18 度。有一天，我姐姐办完事回来，一边抖着身上的雪一边说：'这么冷的天，本町的桥上站着一个受伤的士兵在乞讨。他站在大雪中瑟瑟发抖，没人往他脚下的箱子里放钱......。我想请他到我们温暖的小屋里坐坐 给他点茶喝"
I immediately replied, “You merely wanted to?” 我立即回答："你只是想这样做吗？"
She answered yes, and suddenly ran out into the street. I made the room warmer, stirred up the fire in the kotatsu, got out some cookies somebody had sent us as a gift, and waited. About thirty minutes later my sister came back with the white-clad, wounded soldier. “This lady insisted-” he began to explain. 她回答 "是"，然后突然跑到街上。我把房间弄暖和些，把炉子里的火烧旺，拿出一些别人送的饼干，等待着。大约 30 分钟后，我姐姐带着那个白衣伤兵回来了。"这位女士坚持要--"他开始解释。
“You are very welcome; do come in.” Koji and I urged him into the kotatsu with us, and we sat and talked about all sorts of things. "非常欢迎您，请进"。我和浩二催促他和我们一起进屋，我们坐在一起聊了很多。
Finally he asked me for the second time, “Why are you so kind to me?” 最后他第二次问我 "你为什么对我这么好？"
“My sister happened to see you,” I replied, “and insisted on inviting you in.” "我姐姐碰巧看到了你"，我回答道 "她坚持要请你进来"
“It’s the first time any one has . . . and today was so cold and miserable,” he said. "他说："这是第一次有人......而且今天如此寒冷和悲惨。
One must be able to put things into practice 必须能够付诸实践
He told us about his experience in the war, and how he was going from place to place collecting money for the wounded soldiers, and we talked and talked for three hours, until he got warm again. He then got up, saying he had to go to Nagano. At the front door, in spite of his protestations that I already had been far too kind, I put some money in his box, saying jokingly that it was just compensation for causing him to lose a half day’s business, and anyway it was not his own personal box and so he had no right to refuse. 他向我们讲述了他在战争中的经历，以及他如何挨家挨户为伤兵募捐，我们一直聊了三个小时，直到他身上暖和起来。然后他站起来，说他要去长野。在前门，尽管他抗议说我已经太客气了，我还是往他的箱子里放了一些钱，开玩笑地说，这只是对他损失了半天生意的补偿，而且这也不是他个人的箱子，所以他无权拒绝。
Afterward my sister said to me, “You taught me an excellent lesson.” Indeed, it was our first exercise in “If you want to do something, do it.” 事后，姐姐对我说："你给我上了很好的一课。"的确，这是我们第一次实践 "想做就去做"。
Plenty of people often think, “I’d like to do this, or that.” We all have the ability to think that. But it usually ends there, and people who put their thoughts into practice are very few indeed. I realized I was one of those people who just think of doing things, and I made a resolution: “There is no merit in just thinking about doing something. The result is exactly the same as not thinking about it. It is only doing the thing that counts. I shall acquire the habit of doing what I have in mind to do.” 很多人经常会想，"我想做这个，或者那个"。我们都有能力这么想。但通常也就到此为止了，能把想法付诸实践的人确实少之又少。我意识到自己就是那种只想着做事的人，于是我下了一个决心："光想不做没有任何好处。结果和不去想是一样的。只有去做才是最重要的。我一定要养成想做就做的习惯"。
Why is it that so many people think of doing things and do not do them? Why do they not have the power to put into practice the things they think of doing? If one just thinks about it, the chance slips by. From the time they are children, people are ordered about by their parents to do this, to do that. They develop resistance, and reluctantly do as they are told, or avoid doing it if possible. The resistance habit becomes subconscious, until they are unable to perform immediately even those things they think of doing themselves. They may think something is a good thing to do, but they have gotten so that they are unable to do it simply and naturally. People lose a great deal this way. 为什么很多人想做却做不到？为什么他们没有能力把想到的事情付诸实践？如果只是想想，机会就会溜走。人们从小就被父母命令做这做那。他们会产生抵触情绪，勉强照做，或者尽可能地逃避。这种抗拒的习惯会潜移默化，直到他们连自己想做的事情都无法立即完成。他们可能认为某件事是件好事，但却无法简单自然地去做。这样一来，人们就会失去很多东西。
The Classic Approach to Talent Education 人才教育的经典方法
“We should have done it. It was such a good chance, but we let it slip by.” Because they are incapable of putting thoughts into action straight away time after time, people’s destiny never develops. They close the stable door after the horse is gone. Chances come to everyone. Yes, chances come; but we don’t grasp them. By not claiming them we renounce them. "我们本该做到的这么好的机会，我们却让它溜走了"。因为无法一次又一次地将想法付诸行动，人们的命运从未得到发展。他们在马走后才关上马厩的门。每个人都会有机会。是的，机会来了，但我们没有抓住。不抓住机会，我们就放弃了机会。
“I should write a letter”-“I should reply to a letter.” If you think so, write immediately. You are not doing anything at the time but just think you will wait and do it later. Even small tasks should not be neglected, but completed right away. It is very important to be able to do this. People who get a lot done manage it because they have the ability to get each necessary thing done right there and then. If you put a task off until some other time, you will never get it done, because “some other time” has its own tasks. Consequently you end up doing nothing and become a person who keeps putting things off. Time doesn’t wait; but most people are so narigachi na no desu (not up to doing things). "我应该写信"--"我应该回信"。如果你这么想，那就马上写吧。你当时什么都没做，只是想着等一下再做。即使是小任务也不能忽视，而是要立即完成。能够做到这一点非常重要。那些能做很多事情的人之所以能做到这一点，是因为他们有能力当场完成每一件必要的事情。如果你把某项任务推迟到其他时间去做，你将永远无法完成它，因为 "其他时间 "也有自己的任务。结果，你最终会一事无成，成为一个不断拖延的人。时间是不等人的，但大多数人都不愿意做事。
The habit of action-this, I think, is the most important thing we must acquire. Life’s success or failure actually depends on this one thing. So what should we do? We should get so that it is second nature to put our thoughts into action. Start now, today. True, it is easier to say than to do, but the more you do it, the more of a habit it will become. It is an indispensable skill. To know something and not to put it into practice is a weak point, but knowledge is mere knowledge, and is not to be confused with ability and skill. Not until knowledge becomes an inseparable part of one is it an ability or skill. There are plenty of people who know a lot about baseball and can criticize a game; however, the spectator lacks the intuitive skill, judgment, and physical coordination of the experienced player. 我认为，行动的习惯是我们必须掌握的最重要的东西。人生的成败其实就取决于这一点。那么，我们应该怎么做呢？我们应该养成把想法付诸行动的习惯。从现在开始，从今天开始。诚然，说起来容易做起来难，但做得越多，就越会成为一种习惯。这是一项不可或缺的技能。知其然而不知其所以然是一种弱点，但知识仅仅是知识，不能与能力和技能混为一谈。只有当知识成为一个人不可分割的一部分时，它才是一种能力或技能。有很多人对棒球非常了解，也能对比赛提出批评；但是，观众缺乏经验球员的直觉技巧、判断力和身体协调能力。
A fine society is not built by people who just think about what is right to do. What we need is people with the ability of the experienced baseball player, people with various deeply inculcated skills. 一个优秀的社会不是靠那些只想着怎么做才是正确的人建立起来的。我们需要的是像经验丰富的棒球运动员那样有能力的人，需要的是拥有各种深入人心的技能的人。
How to develop new skills 如何发展新技能
Action cannot be separated from thought. People with fine judgment are people of ability. Reflective thought is part of judgment. 行动离不开思考。判断力强的人是有能力的人。反思是判断力的一部分。
Naturally, the finer the person, the greater his ability to think constructively. In training oneself, the road to improvement is closed if thoughtful self-examination is lacking. They say, “Happy are the thinkers.” But unfortunately, in most cases it is “Unhappy are thethinkers.” Why? Because thought is often just idle thought, and does not include self-correction. What is the use of pouring repentance on repentance? Too much thought makes thought meaningless, and finally we get so we reject thought altogether. Self-examination not accompanied by change is the same as not putting into action what we think of doing. Self-training is extremely difficult. If the ability is not developed, the power of self-examination, which should be a light to our feet, goes out altogether. We must cultivate thought, or rather self-correction. But how is it done? I have come to the following conclusions about self-correction as applied in music. Rather than theorizing, let me give you an example of how I trained a child who could not sing in tune-who, in other words, was tone-deaf-acquire an accurate ear. It is the key to how the change may be achieved. 当然，一个人越优秀，他的建设性思考能力就越强。在训练自己的过程中，如果缺乏深思熟虑的自我审视，那么提高自己的道路就会关闭。人们常说："善于思考的人是幸福的"。但不幸的是，在大多数情况下，却是 "思想者不快乐"。为什么呢？因为思考往往只是空想，并不包括自我纠正。悔恨有什么用呢？过多的思考让思考变得毫无意义，最后我们就会完全拒绝思考。没有改变的自我反省就等于没有把我们想到的付诸行动。自我训练是极其困难的。如果能力得不到发展，本应成为我们脚下明灯的自省能力就会完全熄灭。我们必须培养思考能力，或者说自我修正能力。但如何做到这一点呢？关于音乐中的自我修正，我得出了以下结论。与其理论化，不如让我举例说明，我是如何训练一个唱歌不准调的孩子--换句话说，他是音盲--获得准确的耳朵的。这是如何实现改变的关键。
Most tone-deaf children cannot produce the first four notes of the scale, do, re, mi, fa, without making the semitone interval, fa, a little too high. That is, they have already acquired the habit of making fa too high. This “pre-education” cannot be changed, as I found out. Then what does one do? I found that one has to teach them a new fa. If they have learned the wrong fa by hearing it five thousand times, one must make them listen to the right fa six thousand or seven thousand times. At first there are no results, but after hearing the right fa three thousand, then four thousand times, and when the number reaches five and six thousand times, the ability to produce the correct fa acquired by listening to it six thousand times begins to take precedence over the ability to produce the wrong fa that was acquired by listening only five thousand times. A new function has been developed. Success is now ours. Just as left-handed people find it easier to use their left hand than their right hand, one always prefers to do the thing one can do best. The right fa became easier and more natural for that child, so in the end he always produces it. The result is that he is no longer tone deaf. It takes six or seven months to achieve this with a child of six. 大多数音盲儿童在发出音阶的前四个音（do、re、mi、fa）时，都会把半音音程 fa 调得过高。也就是说，他们已经养成了把 fa 调得太高的习惯。我发现，这种 "前教育 "是无法改变的。那该怎么办呢？我发现必须教他们一个新的 fa。如果他们在听了五千遍之后学会了错误的 fa，那么就必须让他们听六千或七千遍正确的 fa。起初没有任何效果，但在听了三千遍、四千遍、五千遍和六千遍之后，听了六千遍所学的正确fa的能力开始高于只听了五千遍所学的错误fa的能力。一种新的功能已经形成。现在，成功属于我们。就像左撇子觉得用左手比用右手容易一样，人总是喜欢做自己最擅长的事情。对那个孩子来说，右拳变得更容易、更自然，所以最终他总是用右拳。结果，他不再是音盲了。一个六岁的孩子需要六七个月的时间才能做到这一点。
This is the way to replace a wrong skill with a right one. As I 这就是用正确的技能取代错误技能的方法。正如我
said before it is not a question of correction but a question of developing a new skill to take the place of the wrongly acquired one. 前面说过，这不是一个纠正的问题，而是一个发展新技能以取代错误技能的问题。
Speaking of such experiments, if you take a child of six away from his home, where he has been brought up speaking the Osaka dialect, and place him where Tokyo Japanese is spoken, then by the time he is sixteen-ten years later-he will have acquired a perfect Tokyo accent. It is the same as curing the tone-deaf child. The Osaka dialect has not been “corrected”; the child will just have acquired the new skill of speaking Tokyo Japanese, and it will be more deeply rooted in his consciousness than the Osaka dialect. 说到这样的实验，如果你把一个六岁的孩子从他说大阪方言长大的家里带走，把他放在说东京日语的地方，那么到他十六岁--也就是十年之后--他就会掌握完美的东京口音。这就像治愈音盲儿童一样。大阪方言并没有得到 "纠正"；孩子只是掌握了说东京日语的新技能，而且这种技能将比大阪方言在他的意识中根深蒂固。
Well, then, let us go back to the question of putting thought into action. I began by saying that self-correction is difficult even with self-examination, and then I went on to describe a case showing that one does not correct, but develops a new skill. As you have probably guessed, thought, to be profitable, must immediately be followed by correct action, in order to acquire a new habit better than the habit that one has already. Unless this is done, the self-examination gets no further than thought. No matter what, progress cannot be made without the acquiring of new skills. Unless accompanied by action, no amount of thought or self-examination will do any good. Therefore it is essential to acquire the habit of action, of putting things into practice. Any skill can be acquired by constant repetition. This golden rule can be applied right now. Anything you think of doing, however insignificant, should be done immediately. Spur yourself on and carry it through without becoming discouraged. If this becomes an ingrained habit, things you thought were impossible will become possible, and closed doors will open, as you will discover in many ways. 那么，让我们回到将思想付诸行动的问题上来。我一开始就说过，即使是自我检查，自我纠正也是很困难的，然后我接着描述了一个案例，表明一个人不是纠正，而是发展一种新的技能。你们可能已经猜到了，要想思想有所收获，就必须立即采取正确的行动，以便获得比已有习惯更好的新习惯。除非做到这一点，否则自我检查就只能停留在思考上。无论如何，如果不掌握新的技能，就不可能取得进步。除非付诸行动，否则再多的思考或自我审视也无济于事。因此，必须养成行动和实践的习惯。任何技能都可以通过不断重复来掌握。这条金科玉律现在就可以应用。你想到要做的任何事情，无论多么微不足道，都应立即去做。激励自己，坚持到底，不要气馁。如果这成为一种根深蒂固的习惯，你认为不可能的事情就会变成可能，紧闭的大门就会打开，你会在很多方面发现这一点。
The old saying, “If you try it, you can do it,” is not so simple as it sounds, but don’t dismiss it as something that does not concern you. It concerns us all. 俗话说："只要尝试，你就能做到。"这句话并不像听起来那么简单，但不要认为它与你无关。它关系到我们所有人。
Memory training—vital to talent education 记忆力训练--人才教育的关键
The curriculum at the Talent Education infant school differs from that of ordinary kindergartens. It aims at taking preschool children 才艺教育幼儿学校的课程与普通幼儿园不同。它旨在让学龄前儿童
and molding them into superior human beings. Basic skills are taught that will help them acquire other skills later. Teachers of high artistic sensibility and fine character teach them calligraphy, drawing, English conversation, and so on; it is my hope that the children will unconsciously acquire from being with these teachers some of their fine human qualities. 并将他们塑造成优秀的人。教授基本技能有助于他们日后掌握其他技能。我希望孩子们能在与这些老师的相处中不知不觉地学习到他们的一些优秀品质。
It is amazing what strong, beautiful calligraphy these preprimary school children produce with only a little training. An art exhibition is also part of the curriculum, and the pictures our children produce are remarkable. The numerals too are not ignored; there are only ten, but we have to use them all our lives, and we train the children to write them beautifully. It is marvelous what infants can do. Their English pronunciation is exactly like that of their American teacher. I listen to them enviously. But I have found that the most important thing is “memory talent education.” The ability to memorize is one of the most vital skills and must be deeply inculcated. 这些学前班的孩子只需稍加训练，就能写出苍劲有力的漂亮书法，令人惊叹。美术展览也是课程的一部分，孩子们创作的画作非常出色。数字也不容忽视；虽然只有十个数字，但我们终生都要使用它们，而且我们还训练孩子们写出漂亮的数字。婴儿的能力令人惊叹。他们的英语发音和美国老师一模一样。我听了羡慕不已。但我发现，最重要的是 "记忆天赋教育"。记忆能力是最重要的技能之一，必须深入灌输。
In Daisetsu Suzuki’s book What is Zen? he says: 'One of the characteristics of human life is experience. That is because he [man] remembers. Memory is an extremely precious thing, and the fact that he speculates and conceives ideas is due to his having memory as a basis. Only because he has memory is experience possible, and if experience is possible, how many ways of evolution are open to him… . . With memory as the basis, he has experiences, and because of experience, he can reason." 铃木大拙在《禅是什么》一书中说："人类生活的特征之一就是体验。这是因为他（人）会记忆。记忆是极其珍贵的东西，人之所以能够推测和构思，就是因为他有记忆作为基础。只有因为他有记忆，经验才有可能，而如果经验是可能的，那么他又有多少进化的途径......。有了记忆作为基础，他就有了经验，有了经验，他就能推理"。
So you see, memory is essential; depending on training, your ability to memorize gets better and better, and the time it takes to memorize gets shorter and shorter. You get so that you memorize immediately. And after you have learned something, you do not forget it. Memory skill can be acquired by anybody, if it is properly inculcated. 所以你看，记忆力是至关重要的；根据训练，你的记忆能力会越来越好，记忆时间也会越来越短。这样，你就能立刻记住。而且，在你学到东西之后，你不会忘记它。只要灌输得当，任何人都能掌握记忆技巧。
Children of high scholastic standing at school are simply ones whose memory skill is unusually well developed, and I believe that inferior students are merely ones who have not acquired memory skill. For essentially, all children have equal potential. In our infant school we train memory in the following way: they learn to recite haiku by Issa. 在学校里学习成绩好的孩子只是记忆力异常发达，而我认为成绩差的学生只是没有掌握记忆力。从本质上讲，所有的孩子都具有同等的潜力。在我们的幼儿学校，我们通过以下方式训练记忆力：他们学习背诵伊沙的俳句。
Since 1949, our Mrs. Yano has been working with new educational methods for developing ability, and every day she trains the infants of the school to memorize and recite Issa’s well-known haiku. 自 1949 年以来，我们的矢野女士一直致力于采用新的教育方法来培养能力，她每天都训练全校幼儿背诵伊沙的著名俳句。
The Classic Approach to Talent Education 人才教育的经典方法
Watching the results of this memory training over the past seventeen years, we have found that every one of the children had superior records at primary school. 在过去的十七年中，我们观察了这种记忆训练的成果，发现每个孩子在小学时都有优异的成绩。
Here is part of Mrs. Yano’s training record in connection with Issa’s haiku. 以下是矢野女士与 Issa 的俳句有关的部分培训记录。
First term. 53 haiku, such as- 第一学期53 首俳句，如
Melts the winter snow, 融化冬雪
Melts, and now the turtledove 融化，现在斑鸠
Sings upon a tree. 在树上歌唱
Melts the winter snow, 融化冬雪
And the village now is full, Full of children’s glee. 现在，村子里到处都是孩子们的欢声笑语。
Second term. 64 haiku, such as- 第二学期64 首俳句，如
Hear the coltsfoot leaf 听到款冬叶的声音
Splitting open with a pop. 啪的一声，裂开了。
Oh, how hot it is! 哦，真热啊
The little kitten, see, 小猫咪，看
Tries to catch between its paws A falling autumn leaf. 试图用爪子抓住秋天的落叶。
Third term. 45 haiku, such as- 第三学期45 首俳句，如
Crawling with a smile 微笑着爬行
Baby will be two years old From this morning on. 从今天早上开始，宝宝就两岁了。
Ah, my old home town. 啊，我的老家。
Dumplings that they used to make, Snow in springtime, too. 他们以前做的饺子，也是春天的雪。
Children who at first could not memorize one haiku after hearing it ten times were able to do so in the second term after only three of four hearings, and in the third term only one hearing. 一开始听十遍也背不出一首俳句的孩子，在第二学期听了四遍中的三遍就能背出，而在第三学期只听了一遍就能背出。
The haiku were selected for their interest, poetic charm, and observation of nature, as well as according to the season to make them easier to learn. At the end of the term all the students recite logether the haiku they have learned that term. After training them like this every day, the children get so that they spontaneously make up their own haiku, expressing things they have noticed. Here are if few that either I or their parents wrote down- 这些俳句是根据其趣味性、诗歌魅力和对大自然的观察而选择的，同时也是根据季节选择的，以便于学习。学期结束时，所有学生都会齐声朗诵本学期所学的俳句。每天这样训练之后，孩子们就会自发地创作俳句，表达他们所注意到的事物。以下是我或他们的父母写下的几首俳句
Nurtured by Love 爱的滋养
At morn when I woke, 早晨，当我醒来时
In the washhand basin there 洗手盆里有
Crawled a tiny snail. 爬出一只小蜗牛
Bicycling along, 骑自行车
With a pink and frothy load of 带着粉红色的泡沫
Cherry blossoms fair. 樱花集市
In the dark night sky, 在漆黑的夜空中
How they twinkle, how they shine 它们如何闪烁，如何闪亮
All the little stars. 所有的小星星
Wind-bells tinkling ring 风铃叮当作响
All the while my dear papa 我亲爱的爸爸
His siesta takes. 他的午睡时间
Jonquils growing fast, 琼花长得很快
Getting taller every day 一天天长高
Spring is born at last. 春天终于诞生了。
On the windowpane 窗玻璃上
In the bathroom, crawls along 在浴室里爬行
one small garden snail. 一只花园小蜗牛
When he wakes, each day, 每天醒来时
First he has to smoke his pipe, 首先，他得抽他的烟斗、
Dear old grandpapa. 亲爱的老爷爷
Dahlias, big and round, 大丽花，又大又圆、
Are they bigger than my face? 它们比我的脸还大吗？
No, they are not quite. 不，它们不完全是。
And, alas, I cannot go 唉，我不能去
out to romp and play. 出来嬉戏玩耍。
gaze in ecstasy. 陶醉地凝视着。
gains, 收益、
These children do not forget their poetic skill, and when they get to primary school their teachers tell me they often add little haiku to the pictures they draw, and so on. 这些孩子不会忘记他们的诗歌技能，当他们上小学时，他们的老师告诉我，他们经常在自己画的图画上加上小俳句，等等。
The Classic Approach to Talent Education 人才教育的经典方法
Well, I have given you some idea of the kind of training other than violin that we give to infants to develop their character. Now I shall tell you something about our violin training. 好了，我已经向你们介绍了除了小提琴之外，我们还为婴儿提供了哪些培养品格的训练。现在，我要向你们介绍一下我们的小提琴训练。
We encourage them to think of violin training as fun 我们鼓励他们将小提琴训练视为一种乐趣
Training the parent rather than the child. . . . 培训父母而不是孩子 .. .
Although we accept infants, at first we do not have them play the violin. First we teach the mother to play one piece so that she will be a good teacher at home. As for the child, we first have him simply listen at home to a record of the piece he will be learning. Children are really educated in the home, so in order that the child will have good posture and practice properly at home, it is necessary for the parent to have firsthand experience. The correct education of the child depends on this. Until the parent can play one piece, the child does not play at all. This principle is very important indeed, because although the parent may want him to do so, a threeor four-year-old child has no desire to learn the violin. The idea is to get the child to say, “I want to play too”; so the first piece is played every day on the gramophone, and in the classroom he just watches the other children (and his mother) having their lessons. The proper environment is created for the child. The mother, moreover, both at home and in the classroom, plays on a small violin more suited to the child. The child will naturally before long take the violin away from his mother, thinking, “I want to play too.” He knows the tune already. The other children are having fun; he wants to join in the fun. We have caused him to acquire this desire. 虽然我们接受婴儿，但一开始我们不会让他们拉小提琴。首先，我们会教母亲拉一首曲子，这样她就能在家里当个好老师。至于孩子，我们先让他在家里听一听他要学的曲子的录音。孩子真正的教育是在家庭中进行的，因此，为了让孩子在家里有良好的姿势和正确的练习，家长有必要掌握第一手的经验。孩子的正确教育有赖于此。在家长能够弹奏一曲之前，孩子根本不会弹奏。这个原则确实非常重要，因为尽管家长可能希望他这样做，但三、四岁的孩子根本不想学琴。我们的想法是让孩子说："我也想拉"；因此，每天用留声机拉第一首曲子，而在教室里，他只是看着其他孩子（和他的母亲）上课。这样就为孩子创造了适当的环境。此外，无论是在家里还是在教室里，母亲都用更适合孩子的小提琴演奏。过不了多久，孩子就会自然而然地从母亲手中夺过小提琴，心想 "我也要拉"。他已经知道曲调了。其他孩子玩得很开心，他也想加入其中。我们让他获得了这种愿望。
We encourage them to "play" with the violin 我们鼓励他们 "玩 "小提琴
This situation having been created, lessons are led up to in the following order. First the parent asks, “Would you like to play the violin too?” 在这种情况下，上课的顺序如下。首先，家长问："你也想拉小提琴吗？"
The answer is yes! 答案是肯定的！
“You will practice hard?” "你会努力练习吗？"
“Yes.” "是的"
“All right; let’s ask the teacher if you can join in next time.” "好吧，我们问问老师，你下次能不能参加"。
This always succeeds. What a thrill the first private lesson always is! 'I did it too," the child boasts. 'Now I can play with the other children." Parents who understand children make fine teachers. In the classroom there are private lessons and group lessons. Parents who do not understand children think they are paying for the private lessons and that the group lessons are just recreation periods. So although they make sure that their children attend the private lessons, they often fail to bring them to the group lessons. But the fact is that what the children enjoy most is the group playing. They play with children who are more advanced than they are; the influence is enormous and is marvelous for their training. This is the real talent education. 每次都能成功。第一堂私人课程总是那么令人兴奋！我也做到了，"孩子夸耀道。'现在我可以和其他孩子一起玩了。懂孩子的父母是好老师。课堂上有私人课程和集体课程。不了解孩子的家长认为他们花钱上的是私人课程，而集体课程只是娱乐时间。因此，尽管他们确保自己的孩子参加私人课程，却往往不带他们参加集体课程。但事实上，孩子们最喜欢的是集体游戏。他们与比自己水平更高的孩子们一起玩耍，这种影响是巨大的，对他们的训练也是极好的。这才是真正的才艺教育。
A game to begin with, the spirit of fun leads them on 游戏开始，快乐精神引领他们前进
‘My child doesn’t like to practice at home,’ complain quite a few parents. It is because they do not understand the mind of a child who thinks that the violin is fun. Parents of this sort resent paying good money just to have the child think it is a mere game. In other words, they are calculating about education, and their attitude discourages the children. Starting children off with the fun of playing a game, letting their spirit of fun lead them in the right direction, is the way all education of children should be started. 我的孩子不喜欢在家练琴"，很多家长都这样抱怨。这是因为他们不理解那些认为小提琴很有趣的孩子的想法。这类家长不愿意花大价钱却让孩子觉得这只是一场游戏。换句话说，他们对教育斤斤计较，他们的态度会打击孩子的积极性。让孩子从游戏的乐趣中开始，让他们的乐趣精神引领他们走向正确的方向，这才是所有儿童教育的起点。
Hitomi Kasuya was three and would play the violin for three hours every day. How could a three-year-old do that? Hitomi’s mother bought her a violin instead of a doll and played a record of the piece to be studied over and over again as a kind of background music. Hitomi played with the violin all day, as if it were a toy. Her mother would now and then show her the correct way to play, according to our instructions, letting Hitomi think she was playing a game with her. This is the art of education at its best. The thing that matters is the result: that the child acquires the skill. If you are formal and strict and have a “this-is-education” attitude, you will immediately warp the child. First you must educate the mind, 霞谷瞳三岁时，每天都要拉三个小时的小提琴。一个三岁的孩子怎么能做到这一点呢？瞳的妈妈给她买了一把小提琴，而不是一个洋娃娃，并反复播放要学习的乐曲的录音，作为一种背景音乐。小瞳整天都在玩小提琴，就像玩玩具一样。她的母亲时不时会根据我们的指导，告诉她正确的演奏方法，让小瞳以为她在和她玩游戏。这就是最好的教育艺术。重要的是结果：孩子掌握了技能。如果你流于形式，严格要求，抱着 "这就是教育 "的态度，那么你会立即扭曲孩子。首先要进行思想教育、
then inculcate the skill. This is a correct, natural method. Hitomi Kasuya developed rapidly with this method, and in 1964, when she was five, she took her little violin and went to America with us. 然后再灌输技能。这是一种正确、自然的方法。霞谷瞳就是用这种方法迅速成长起来的。1964 年，五岁的她带着她的小提琴和我们一起去了美国。
Five minutes every day versus three hours every day 每天五分钟对每天三小时
In contrast to children who do not like to practice at home there are plenty of examples of children to whom violin practice becomes a natural event of the day, because of the wise lead of their mothers. 与不喜欢在家练习的孩子相反，有很多孩子因为母亲的明智引导，练习小提琴成了他们一天中自然而然的事情。
One year at summer school I noticed a six-year-old playing the Vivaldi concerto with fine style and tone. I asked the mother how long the child had been playing. 有一年在暑期学校，我注意到一个六岁的孩子在演奏维瓦尔第协奏曲，风格和音色都很好。我问孩子的母亲，孩子弹了多久。
“One year and a half.” "一年半"
“How well she plays! How long does she practice every day?” "她弹得有多好！她每天练习多久？"
“About three hours.” "大约三小时"
That was what I had thought. A child who practices well shows it in his playing. You can tell immediately. Practicing according to the correct method and practicing as much as possible is the way to acquire ability. If one is faithful to the principle, superior skill develops without fail. If you compare a person who practices five minutes a day with one who practices three hours a day, the difference, even though they both practice daily, is enormous. Those who fail to practice sufficiently fail to acquire ability. Only the effort that is actually expended will bear results. There is no shortcut. If the five-minute-a-day person wants to accomplish what the three-hour-a-day person does, it will take him nine years. What one accomplishes in three months will take the other nine years. There is no reason why it should be otherwise. Hitomi Kasuya, Toshiya Eto, Koji Toyoda, and Kenji Kobayashi all practiced three hours a day and more. 我也是这么想的。练习得好的孩子会在演奏中表现出来。你一眼就能看出来。按照正确的方法练习，尽可能多地练习，是获得能力的途径。如果一个人忠实于这一原则，那么他的高超技艺就会源源不断地涌现出来。如果将一个每天练习五分钟的人与一个每天练习三小时的人相比较，即使他们都每天练习，差距也是巨大的。没有充分练习的人无法获得能力。只有真正付出的努力才会有结果。没有捷径可走。如果每天练习五分钟的人想要达到每天练习三小时的人的成就，他需要花费九年的时间。一个人三个月完成的工作，另一个人要花九年。没有理由不这样。霞谷仁美、江藤俊也、丰田浩二和小林健二都曾每天练习三个小时或更长时间。
The development of ability is through the right kind of practice 通过正确的实践培养能力
For someone to complain, “But I studied for five years,” means nothing. It all depends on how much he did each day. “I spent five 如果有人抱怨说 "但我读了五年书"，这毫无意义。这完全取决于他每天做了多少事。"我花了五年时间
years on it,” someone says. But five minutes a day for five years is only 150 hours. What that person should have said is, “I did it for 150 hours and I’m still no better.” That makes some sense. It is no wonder he got no better. To put your talent up on the shelf and then say you were born without any is utter nonsense. 有人说："我已经用了很多年了。但是，每天五分钟，坚持五年，也不过是 150 个小时。那个人应该说的是，"我做了 150 个小时，但我还是没有进步"。这才有意义。难怪他没有进步。把自己的天赋束之高阁，然后说自己生来就没有天赋，这完全是无稽之谈。
The development of ability is straightforward. This can be absolutely relied upon. People either become experts at doing the right thing, which is seen as a fine talent, or they become experts at doing something wrong and unacceptable, which is seen as lack of talent. So it behooves everyone to become expert in the right things, and the more training he or she receives the better. Depending on these two things-practice and practice of the right thingssuperior ability can be produced in anyone. For twenty years I have watched with my own eyes the education of thousands of children, as well as the effect on them of the superiority or inferiority of their parents and teachers, and I can say without any hesitation whatsoever that this is true. 能力的培养是直接的。这一点是绝对可靠的。人们要么成为做正确事情的专家，这被视为一种优秀的才能；要么成为做错误的、不可接受的事情的专家，这被视为缺乏才能。因此，每个人都应该成为做正确事情的专家，而且接受的培训越多越好。任何人都可以通过这两件事--练习和练习正确的事情--培养出卓越的能力。二十年来，我亲眼目睹了数以千计的孩子所受的教育，以及他们的父母和老师的优劣对他们的影响，我可以毫不犹豫地说，这是真的。
The first piece that the infants learn to play is “Variations on ‘Twinkle, Twinkle, Little Star.’” After having heard the record daily at home, they learn to play it themselves. The lessons are given with infinite care. As soon as they can play the piece, they are told, “Now we are going to learn how to do it beautifully.” This is a very important step and aims at the improvement of quality. It is the beginning of lessons designed to produce finer tone quality, more graceful movement, greater accuracy, and better musicianship. We educate their talent using this piece as the teaching material. And every child, without exception, learns to play it magnificently. Their tone gradually improves, their movements become free and graceful, and they become fine musicians. Talent has been inculcated in them. 幼儿学习演奏的第一首曲子是"'一闪一闪小星星'变奏曲"。每天在家里听过这张唱片后，他们就学会了自己弹奏。教学过程非常细致。一旦他们能演奏这首曲子，他们就会被告知："现在我们要学习如何演奏得优美动听"。这是非常重要的一步，目的是提高质量。这是课程的开端，旨在培养更精细的音质、更优美的动作、更高的准确度和更好的音乐素养。我们以这首曲子为教材，培养他们的天赋。每个孩子都能无一例外地学会演奏这首曲子。他们的音色逐渐改善，动作变得自由优美，成为优秀的音乐家。他们的天赋已经得到了培养。
I firmly believe that any child can become superior, and my confidence has never been shaken. I am determined that each and every child shall become superior, for if one does not I consider it a personal failure that I cannot condone. I test the children to find out how much they have so far acquired of the ability that is being inculcated in them. In order to do this I play games with them. 我坚信任何孩子都能成为优等生，我的信心从未动摇过。我决心让每一个孩子都成为优等生，因为如果一个孩子没有成为优等生，我认为这是我个人的失败，我不能容忍。我对孩子们进行测试，以了解他们目前掌握了多少正在向他们灌输的能力。为此，我和他们一起做游戏。
"How many legs have you?" "你有几条腿？"
When the children have learned how to play “Twinkle, Twinkle, Little Star” variations easily and freely, I ask them to play them, 当孩子们学会了如何轻松自如地演奏 "一闪一闪小星星 "的变奏曲后，我就请他们演奏、
and I say, 'Now let’s play a game. I want you to answer my questions while you go on playing. Answer in a loud voice, and don’t stop playing." Then, in a loud voice, I call out, “How many legs have you?” They think this is loads of fun, and answer all together at the top of their voices, “Two.” Now, if they can do this while playing correctly, it mean, that the skill has been properly inculcated and has become second nature. If, among them, there is a child for whom it is not yet second nature, he will be so intent on his playing that he does not reply. Or if he replies, he will stop playing. I ask many different questions and they answer while playing. Smiling sweetly, they have acquired the ability to play games with me while they go on playing the violin. Every single child, without fail, gets so he can do this. We are able to do all sorts of tasks while we are speaking in Japanese because it is second nature. It is exactly the same with the violin. 我说：'现在我们来玩个游戏。我要你一边玩一边回答我的问题。大声回答，不要停止游戏"。然后，我大声问："你们有几条腿？"他们觉得这很有趣，就一起大声回答："两条"。现在，如果他们能在正确演奏的同时做到这一点，那就意味着这项技能已经得到了正确的灌输，并已成为他们的第二天性。如果他们中间有一个孩子还没有成为第二天性，他就会专注于自己的演奏而不回答。或者即使回答了，他也会停止玩耍。我提出许多不同的问题，他们边玩边回答。他们甜甜地笑着，已经掌握了一边拉琴一边和我玩游戏的能力。每个孩子都能做到这一点。我们可以一边说日语，一边做各种各样的事情，因为这是我们的第二天性。拉小提琴也是如此。
There are several other test games, and I often try them to find out how much proficiency they have attained and how much their power of intuition has developed. I try these on ten or fifteen children at once, or, if there is enough space, forty or fifty. Another thing I do is to play the first part of a piece in mime only, with empty hands. I play it only once. Then I say, “Get set-go.” Having carefully watched my movements, they play the piece with one accord. This is the way we train them to be quick and alert and develop their intuitive power. 还有其他一些测试游戏，我经常尝试这些游戏，以了解他们的熟练程度和直觉能力的发展情况。我会同时在十个或十五个孩子身上尝试这些游戏，如果有足够的空间，也会在四十个或五十个孩子身上尝试。我做的另一件事是只用哑剧形式空手演奏乐曲的第一部分。我只演奏一次。然后我说："准备--开始"。在仔细观察了我的动作后，他们就会齐声演奏这首曲子。我们就是用这种方法训练他们的敏捷性和警觉性，培养他们的直觉能力。
As the children become more advanced, so do the test games. Those games are designed to test their developing powers of intuition as well as to educate their ability still further. If this real ability and the vital power of intuition is developed so that they become a power that is unrestricted and second nature, the child will eventually find that this helps him to acquire greater skill in any sphere of activity. 随着孩子们越来越懂事，测试游戏也越来越多。这些游戏的目的是测试他们正在发展的直觉能力，并进一步培养他们的能力。如果这种真正的能力和直觉的重要力量得到发展，使它们成为一种不受限制的、第二天性的力量，孩子们最终会发现，这有助于他在任何活动领域获得更高的技能。
We amaze the world 我们让世界惊叹
More than twenty years have passed since Violin Talent Education for infants was started. Now in Japan, children from the age of three or four, using tiny violins, develop high sensibility and noblemindedness through the music of Bach and Mozart. Over 200,000 婴儿小提琴才艺教育开始至今已有二十多年。现在，在日本，三四岁的孩子就可以使用小提琴，通过聆听巴赫和莫扎特的音乐，培养高尚的情操和品格。超过 20 万
children have already taken this course. Nowhere in the world can such a thing be equaled. Father Candeau, a Catholic priest, who died in 1953, was greatly moved by one of the mass concerts given by a thousand children at the Tokyo Gymnasium, and said, “A miracle has come to pass.” 孩子们已经上过这门课了。这是世界上任何地方都无法比拟的。1953 年去世的天主教神父 Candeau 神父在东京体育馆观看了由一千名儿童举办的群众音乐会后深受感动，他说："奇迹出现了"。
Today people throughout the world express great interest and amazement at this thing that is happening in Japan. 今天，全世界的人们都对日本发生的这件事表示出极大的兴趣和惊讶。
This is the true face of youth 这才是真正的青春
Georges Duhamel (1884-1966), was not only a poet but a dramatist, novelist, and critic, as well as one of France’s most representative men of letters. In 1953, eight years after the Talent Education movement started, he came to Japan and heard a violin performance by the children of the Nagoya branch, which is led by Professor Nishizaki. After hearing these children, Duhamel wrote an article entitled “Ideal Childhood,” whose gist is as follows: 乔治-杜哈梅尔（1884-1966 年）不仅是诗人，还是戏剧家、小说家和评论家，是法国最具代表性的文学家之一。1953 年，在天才教育运动开始 8 年后，他来到日本，聆听了由西崎教授领导的名古屋分部的孩子们的小提琴演奏。听完这些孩子的演奏后，杜哈梅尔写了一篇题为《理想的童年》的文章，其大意如下：
If I had to advise travellers to Japan and those who attempt to criticize Japan, the first thing I would say is: go to Nagoya. Why? Because I found something there that is quite astonishing. After a lunch in the restaurant of Nagoya’s Asahi Kaikan, I listened to about 30 children playing the violin all together. When I first saw these boys and girls aged 6 to 10 coming out with their tiny violins, I thought this must be some childish game. But, led by a young conductor, they proceeded to play a Vivaldi concerto. And what a really superb performance it was. I was not only moved, I was entranced. 如果要我向前往日本的旅行者和那些试图批评日本的人提出建议，我会说的第一件事就是：去名古屋吧。为什么呢？因为我在名古屋发现了一件令人惊讶的事情。在名古屋朝日会馆的餐厅用过午餐后，我聆听了大约 30 个孩子一起拉小提琴。当我第一次看到这些 6 至 10 岁的男孩和女孩拿着他们的小提琴出场时，我以为这一定是什么幼稚的游戏。但是，在一位年轻指挥的带领下，他们开始演奏维瓦尔第协奏曲。这真是一场精湛的演出。我不仅被感动了，还被深深地吸引了。
This, indeed, was the ideal manifestation of childhood. To tell you the truth, I have never seen children before in my life who have displayed such fine musical technique. 这的确是童年的理想体现。老实说，在我的一生中，还从未见过孩子们能展现出如此高超的音乐技巧。
The children played Bach with innocent expression on their faces, but their polyphony had all the required accuracy and refinement. It was a most difficult feat, but the children accomplished it splendidly. And then the best player among them, a tiny girl, played a piece by Mozart with artistic fervour and superb style. This piece is not an easy one even for experts, and she played it accurately and beautifully. Moreover, in the city of Nagoya alone, there are several hundred of these little violinists playing difficult polyphonic music. 孩子们演奏巴赫时，脸上带着天真无邪的表情，但他们的复调却准确而精致。这是最困难的壮举，但孩子们出色地完成了。然后，他们中演奏得最好的一个小姑娘以艺术的激情和高超的风格演奏了莫扎特的作品。这首曲子即使对专家来说也并不容易，而她却演奏得准确而优美。此外，仅在名古屋市，就有几百名这样的小提琴手在演奏高难度的复调音乐。
The Classic Approach to Talent Education 人才教育的经典方法
As a traveller from western Europe, I thought the almost too precocious display of talent by these small children was quite extraordinary, but at the same time I was reminded of the sense of tradition that lies at the heart of the Japanese people. In spite of their handicap of being oriental, and Japanese, these children have been trained to reach heights only attained by the most superior children in Europe. From my point of view Japan is the Far West, not the Far East. I unhesitatingly say, The Japanese, among the peoples of the Orient, are the most European race. 作为一名来自西欧的旅行者，我认为这些孩子几乎是早熟地展现出了非凡的天赋，但同时我也想到了日本人民的传统意识。尽管他们是东方人，是日本人，但这些孩子经过训练，达到了只有欧洲最优秀的孩子才能达到的高度。在我看来，日本是遥远的西方，而不是遥远的东方。我毫不犹豫地说，在东方民族中，日本人是最欧洲化的种族。
Casals wept 卡萨尔斯哭了
In 1961, eight years after Duhamel’s visit, on April 16 at ten o’clock, four hundred children aged five to twelve stood in neat rows on the stage of Tokyo’s Bunkyo Hall with small violins in their hands. The children were waiting for the arrival of one of the twentieth century’s greatest cellists, Pablo Casals. The great maestro’s car reached the entrance of the hall at two minutes to ten. And at ten o’clock sharp Maestro and Mrs. Casals came into the hall, to be greeted by the enthusiastic applause of the children’s parents as well as of teachers of the Talent Education movement. As soon as he came in, and saw the four hundred children lined up on the stage, he said, “Oh . . .oh,” greatly moved, and he and Mrs. Casals both waved their hands to the children and then sat down. They were no sooner seated when all the children on stage started playing “Twinkle, Twinkle, Little Star’ variations in unison. It was a lively performance by the four hundred children. “Oh. . .oh,” the old maestro said again, following the performance throughout with deep emotion. His excitement reached its peak when the children played the Vivaldi concerto and then the Bach concerto for two violins. The maestro was weeping. His eyes were filled with tears, and his mouth was twisted with emotion. And when fifteen or sixteen children, who had been taught the cello by Yoshio Sato, a pupil of Casals’, played SaintSaëns’ “Swan” and Bach’s 'Bourree,” the great teacher’s emotion knew no bounds. 1961 年，杜哈梅尔访华八年后，4 月 16 日上午 10 点，东京文京音乐厅的舞台上，四百名五到十二岁的儿童手持小提琴，整齐地站成一排。孩子们在等待二十世纪最伟大的大提琴家之一巴勃罗-卡萨尔斯的到来。十点差两分，这位伟大音乐大师的座驾抵达音乐厅入口。十点整，卡萨尔斯大师和夫人走进大厅，迎接他们的是孩子们的家长和天才教育运动的老师们热烈的掌声。他一进门，看到舞台上一字排开的四百名孩子，就激动地说："哦......哦...... "他和卡萨尔斯夫人都向孩子们挥了挥手，然后坐了下来。他们还没坐下，台上的所有孩子就开始齐声演奏 "一闪一闪小星星 "变奏曲。四百名孩子的表演非常生动。"哦..哦，"老大师又说了一遍，自始至终都在深情地关注着表演。当孩子们演奏维瓦尔第协奏曲和巴赫双小提琴协奏曲时，他的激动达到了顶点。大师流泪了。他的眼里噙满了泪水，嘴角因激动而扭曲。卡萨尔斯的学生佐藤义雄曾教过十五六个孩子大提琴，当他们演奏圣桑的《天鹅》和巴赫的《布里》时，这位伟大的教师激动得无以复加。
When the children’s performance was over, I went to Casals to thank him for having listened to them, but before I could finish, he threw both his arms around me and silently wept on my shoulder. 孩子们的表演结束后，我走到卡萨尔斯面前，感谢他聆听了孩子们的表演，但还没等我说完，他就用双手抱住了我，默默地趴在我的肩膀上流泪。
How often I myself had wept at this beautiful, innocent outpouring of the children’s inner life force! Now the great seventy-five-yearold maestro himself was speechless in this sublime moment before the sound of that life force. Mr. and Mrs. Casals then went up on the stage, patting the heads of the children as they moved to the center of the stage. Chairs had been put there for them. Holding the bouquet of flowers that the children had presented to them, they sat down. Surrounded by these sweet little Japanese children, and in a voice shaking with emotion, the maestro spoke into the microphone- 我自己曾多次为孩子们内在生命力的这种美丽、纯真的流露而流泪！现在，七十五岁的伟大音乐大师本人也在这崇高的时刻，在这生命之音面前哑口无言。随后，卡萨尔斯夫妇走上舞台，拍拍孩子们的头，让他们走到舞台中央。椅子已经为他们准备好了。他们捧着孩子们献给他们的花束，坐了下来。在这些可爱的日本小朋友的簇拥下，大师用激动得颤抖的声音对着麦克风说道
Ladies and gentlemen, I assist to one of the most moving scenes that one can see. What we are contemplating has much more importance than it seems. I don’t think that in any country in the world we could feel such spirit of fraternity or cordiality in its utmost. I feel in every moment that I have had the privilege of living in this country such proof of heart, of desire of a better world. And this is what has impressed me most in this country. The superlative desire of the highest things in life and how wonderful is to see that the grown-up people think of the smallest like this as to teach them to begin with the noble feelings, with the noble deeds. And one of this music. To train them to music to make them understand that music is not only sound to have to dance or to have small pleasure, but such a high thing in life that perhaps it is music that will save the world. 女士们，先生们，在我的协助下，我们将看到最动人的一幕。我们正在考虑的事情远比想象的要重要得多。我认为，在世界上任何一个国家，我们都无法感受到如此博爱或友好的精神。在我有幸生活在这个国家的每一刻，我都感受到了这样的胸怀，感受到了对更美好世界的向往。这就是这个国家给我留下的最深刻印象。对生活中最美好事物的极度渴望，以及看到成年人对最小的事物也有这样的想法，教导他们从高尚的情感和高尚的行为开始，这是多么美妙的事情。其中之一就是音乐。培养他们对音乐的兴趣，让他们明白，音乐不仅仅是跳舞或小愉悦的声音，而是生命中如此崇高的东西，也许正是音乐才能拯救世界。
Now, I not only congratulate you, the teachers, the grownup people, but I want to say: my whole admiration, my whole respect and my heartiest congratulations. And another thing that I am happy to say at this moment is that Japan is a great people, and Japan is not only great by its deeds in industrial, in science, in art, but Japan is, I would say, the heart of the heart, and this is what humanity needs first, first, first. 现在，我不仅要祝贺你们，祝贺各位老师，祝贺各位成年人，而且我还要说：我由衷的钦佩，我由衷的敬意，我最衷心的祝贺。此时此刻，我还要高兴地说，日本是一个伟大的民族，日本的伟大不仅在于它在工业、科学、艺术方面的成就，而且，我要说，日本是心灵的心灵，而这正是人类首先、首先、首先需要的。
In America, the expanding Talent Education Movement takes hold 在美国，人才教育运动不断扩大
Without my realizing it, the movement had become a sensation in America, where it now is being more and more widely accepted 不知不觉中，这项运动在美国引起了轰动，现在正被越来越多的人所接受
and on a greater scale than in Japan. Ten years before I heard about him, Mr. Mochizuki, who was the Japanese Consulate General in New York, had known about Talent Education, ever since he was at Oberlin (Ohio) College. He became determined to plant the seed in America and informed me so in a letter. Being successful in obtaining a copy of a seven-minute film that had once been taken at a Tokyo annual concert of the children playing Bach’s Double Violin Concerto, he showed this film, with the permission of Professor Cook, at Oberlin College. This was the spark that set the Talent Education movement going in America. The first people to take action were Professor Kendall of the music department of Muskingum College (Ohio) and Professor Clifford Cook of Oberlin. In 1959, Mr. Kendall came to Japan for an inspection and observation tour, and stayed in Matsumoto for a month, after which he returned home and published my violin method, as well as giving lectures all over America, spreading the Talent Education method. Later, Mr. Cook toured Japan and spent a long time in Matsumoto doing research. Now many young students are being successfully educated in the Oberlin College Talent Education Workshop. 而且规模比日本更大。在我听说他之前的十年，曾任日本驻纽约总领事馆总领事的望月先生在俄亥俄州欧柏林学院就读时就已经知道了人才教育。他决心在美国播下这颗种子，并在信中告诉了我。在得到库克教授的许可后，他在欧柏林学院放映了这部影片。库克教授曾在东京的年度音乐会上拍摄了一部七分钟的影片，当时孩子们正在演奏巴赫的《双小提琴协奏曲》。这就是美国人才教育运动的导火线。最先行动起来的是俄亥俄州马斯金纳姆学院音乐系的肯德尔教授和欧柏林学院的克利福德-库克教授。1959 年，肯德尔先生来日本考察，在松本住了一个月，回国后出版了我的小提琴教学法，并在全美各地举办讲座，传播天才教育法。后来，库克先生访问了日本，并在松本进行了长时间的研究。现在，许多年轻学生都在欧柏林学院才艺教育工作室接受了成功的教育。
In 1961, Mr. Mochizuki wrote to me, “Now I shall do my best to get you to come to America.” 1961 年，望月先生写信给我说："现在我将尽我所能让你来美国"。
Performances and lectures in sixteen cities 在 16 个城市举办演出和讲座
In America it was thought that children could not and would not study the violin until they were eight or nine years old. So you can imagine their astonishment when they saw with their own eyes eight hundred Japanese children, including some only three to five years old, playing Bach’s difficult Double Violin Concerto. By 1965 our annual All-Japan String Concert had been shown on European television. Koji Toyoda wrote from Berlin that people who saw the performance by eighteen hundred children on television “were astonished and could not believe it to be true.” 在美国，人们认为儿童在八九岁之前不能也不会学习小提琴。因此，当他们亲眼看到八百名日本儿童（包括一些只有三到五岁的儿童）演奏巴赫高难度的《双小提琴协奏曲》时，他们的惊讶之情可想而知。1965 年，我们一年一度的全日本弦乐音乐会在欧洲电视台播出。丰田浩二在柏林写道，在电视上看到 1800 名儿童演奏的人们 "感到非常惊讶，不敢相信这是真的"。
In 1964, we toured America with a party of nineteen, giving concerts and lectures. The ten students were aged five to thirteen. We had been invited by the American String Teachers Association. We spent two weeks in America and flew over the whole country, visiting 1964 年，我们一行十九人在美国巡演，举办音乐会和讲座。十名学生的年龄从五岁到十三岁不等。我们是应美国弦乐教师协会的邀请来的。我们在美国待了两周，飞越了整个国家，访问了
universities in sixteen cities and giving twenty-six concerts and lectures. We were constantly on the move. The children I took along came from Nagano and Aichi prefectures as well as Tokyo, and had been assembled with regard only to their ability to be away at that time and not musical consideration. I had intended to rehearse them en route, but there was no time for anything like that. As a result, children who had never seen one another before had to line up together on the stage without a single rehearsal. Every evening’s performance was televised. We caused a tremendous sensation in America. 在十六个城市的大学里举办了二十六场音乐会和讲座。我们一直在奔波。我带去的孩子们来自长野县、爱知县和东京都，他们的组合只考虑到了他们当时的外出能力，而没有考虑音乐因素。我本打算在途中为他们排练，但没有时间了。结果，从未见过面的孩子们不得不在舞台上排成一列，没有进行过一次排练。每天晚上的演出都有电视转播。我们在美国引起了巨大的轰动。
The first concert, at Washington University, was more like a rehearsal than anything else, but as concert followed concert the children began to perform spendidly. Soon after the beginning of each concert the audience would bring out handkerchiefs to mop their eyes. After the concert they would come backstage; even mothers with children had tears in their eyes. 在华盛顿大学举办的第一场音乐会更像是一次彩排，但随着音乐会一场接一场地举办，孩子们开始花式表演。每场音乐会开始后不久，观众都会拿出手帕擦眼睛。音乐会结束后，他们会来到后台；即使是带着孩子的母亲也会热泪盈眶。
"Fiddling legions" "摆弄军团"
Under this title Newsweek of March 25, 1964, wrote as follows about the concerts of the Japanese children in America: 1964 年 3 月 25 日的《新闻周刊》以此为题，对日本儿童在美国的音乐会作了如下报道：
Seven-year-old Asako Hata playfully dropped a chunk of ice down her neighbor’s back, and the long table of children at lunch one day last week burst into delighted giggles. Forty minutes later, Asako was standing on the stage of New York’s august Juilliard School of Music, bobbing her head shyly to acknowledge the thunderous clapping that greeted her performance of a complicated Veracini sonata. The solo climaxed a concert that was at once impressive and absurd, in which ten tiny Japanese children, ranging in age 5 to 14 played Bach and Vivaldi that drew bravos from a highly critical audience of Juilliard students and faculty. If their applause was tinged with sentimentality (when the children’s teacher, Professor Shinichi Suzuki, stepped on stage to tune a 5-year-old’s quarter-size violin, the audience sighed), it was nonetheless wholly deserved. “This is amazing,” said Juilliard violin Professor Ivan Galamian. “They show remarkable training, a wonderful feeling for the rhythm and flow of music.” 上周的一天午餐时，七岁的畑麻子（Asako Hata）俏皮地把一大块冰掉到邻居的背上，长长的餐桌上顿时响起孩子们欢快的笑声。40 分钟后，麻子站在纽约庄严的茱莉亚音乐学院的舞台上，腼腆地晃动着脑袋，回应着雷鸣般的掌声，她演奏的是一首复杂的维拉奇尼奏鸣曲。在这场既令人印象深刻又荒诞不经的音乐会上，十名年龄从 5 岁到 14 岁不等的日本小朋友演奏了巴赫和维瓦尔第的曲目，赢得了茱莉亚音乐学院师生观众的热烈掌声。如果说他们的掌声带有感伤的色彩（当孩子们的老师铃木伸一教授走上舞台，为一个 5 岁孩子的四分之一大的小提琴调音时，观众们发出了叹息），那也是实至名归。"茱莉亚音乐学院小提琴教授伊万-加拉米安（Ivan Galamian）说："这太了不起了。"他们表现出了非凡的训练，对音乐的节奏和流动有着绝妙的感觉"。
Playing without a conductor and using no scores, the youngsters were a living testimonial to the validity of Suzuki’s unorthodox teaching method. He starts his children about 3, but the first lessons are for the child’s mother. She comes once a week with her youngster, and after three months has normally progressed to “Twinkle, Twinkle, Little Star.” “By that time,” Suzuki explains in a mixture of German and English as expressive as his face, “the child has watched the mother play and wants to imitate her.” Only then is the pupil given a pint-size violin. Through exposure to classical recordings and constant repetition, the child is ready to tackle simple Bach gavottes within a year. The 150,000 children Suzuki’s system has trained in 30 years are far from robots. They combine virtuosity with feeling so successfully that when Pablo Casals heard a Suzuki recital in Tokyo, he rushed to the stage, shouting “bravo,” and hugged the children. 这些孩子在没有指挥和乐谱的情况下演奏，他们是铃木非正统教学法有效性的生动证明。他让孩子们在 3 岁左右开始学习，但第一节课是给孩子的母亲上的。她每周带着孩子来上一次课，三个月后，孩子通常已经学会了 "一闪一闪小星星"。"到那时，"铃木用德语和英语混合解释说，"孩子已经看过妈妈的演奏，并想模仿她"。只有到那时，学生才会得到一把小巧的小提琴。通过接触经典录音和不断重复，孩子在一年内就能演奏简单的巴赫加沃特小提琴曲。30 年来，铃木系统培养了 15 万名儿童，他们绝非机器人。他们成功地将精湛的技艺与情感结合在一起，以至于当巴勃罗-卡萨尔斯（Pablo Casals）在东京聆听一场铃木独奏音乐会时，他冲上舞台，高呼 "太棒了"，并拥抱了孩子们。
Sensitivity 敏感性
Although about 5 percent of Suzuki’s students make careers in music, the 65 -year-old professor insists: “I just want to make good citizens. If a child hears good music from the day of his birth, and learns to play it himself, he develops sensitivity, discipline and endurance. He gets a beautiful heart.” Suzuki thoughtfully crinkled a few of the paper-wrapped candies he carries for his musicians. “If nations cooperate in raising good children, perhaps there won’t be any war.” 虽然铃木的学生中约有 5% 从事音乐事业，但这位 65 岁的教授坚持认为："我只想培养好公民："我只想培养优秀的公民。如果一个孩子从出生那天起就听到好的音乐，并学会自己演奏，他就会培养出敏感、自律和耐力。他还会拥有一颗美丽的心灵"。铃木若有所思地揉皱了几颗他为音乐家们准备的纸包糖果。"如果各国合作培养好孩子，也许就不会有战争"。
Suzuki has done more than revolutionize violin teaching in Japan. Oberlin Professor Clifford Cook says: "What Suzuki has done for young children earns him a place among the benefactors of mankind, along with Schweitzer, Casals, and Tom Dooley. "* 在日本，铃木所做的不仅仅是一场小提琴教学的革命。欧柏林大学教授克利福德-库克（Clifford Cook）说："铃木为幼儿所做的一切，使他与史怀哲、卡萨尔斯和汤姆-杜利（Tom Dooley）一样，成为人类的恩人。"*
POSTSCRIPT 职位说明
My dream for the happiness of all people 我为所有人的幸福而梦想
I feel respect and friendly feelings for everyone. In particular I cannot help but feel respect and warm friendship for small children. And my heart brims over with a desire to help make all the children born upon this earth fine human beings, happy people, people of superior ability. My whole life and energies are devoted to this end. This is because of my discovery that every single child, without exception, is born with this possibility. 我对每个人都充满尊重和友好之情。尤其是对小孩子，我不由自主地产生了尊敬和温暖的友情。我的内心充满了帮助所有在这个世界上出生的孩子成为优秀的人、幸福的人、能力超群的人的愿望。为此，我倾注了毕生的精力。这是因为我发现，每一个孩子，无一例外，生来就具有这种可能性。
People say that I am trying to do the impossible, and expending my energies for nothing. But I know that what I conceive is possible, and I believe that one day the human race will create the kind of world in which everyone will realize that children have the potential. That is why at the United Nations, after Casals had spoken on world peace, I appealed to the representatives of the nations of the world to do something. What I am trying to do now is to apply my Talent Education to all areas of life. I am trying to get sympathetic primary-school principals to try out methods of education that will ensure that not even one student fails in school. I am also trying to get something done about mentally retarded children, and to persuade sympathetic politicians to clarify national policy with regard to children. 人们说我是在做不可能的事，是在白费力气。但我知道，我的构想是可能的，我相信总有一天人类会创造出这样一个世界，让每个人都认识到儿童的潜力。这就是为什么在联合国，在卡萨尔斯就世界和平问题发言之后，我呼吁世界各国的代表做些什么。我现在要做的就是将我的 "才智教育 "应用到生活的各个领域。我正试图让富有同情心的小学校长们尝试一些教育方法，以确保没有一个学生在学校里不及格。我还在努力为弱智儿童做些事情，并说服富有同情心的政治家们澄清有关儿童的国家政策。
To make my dream not just a dream but a reality is my earnest prayer 让我的梦想不仅仅是梦想，而是现实，这是我真诚的祈祷
If the world finally lives up to the Children’s Charter, which states that all children must be cared for, then my dream will not have 如果世界最终能践行《儿童宪章》，即所有儿童都必须得到关爱，那么我的梦想就不会是
The Classic Approach to Talent Education 人才教育的经典方法
been just a dream. This task is an extremely important one for all of us on this globe. 只是一个梦想。这项任务对我们地球上的所有人来说都极为重要。
A real children’s charter is needed that provides care and education for every single baby that is born. This was my earnest prayer as I started the Talent Education movement. Many babies who could have been educated failed to be educated on account of poverty. But there is also failure due to bad educational methods. It should be the responsibility of the state to see that this does not happen. 我们需要一个真正的儿童宪章，为每一个出生的婴儿提供关爱和教育。这是我在发起才智教育运动时真诚的祈祷。许多本可以接受教育的婴儿由于贫困而未能接受教育。但也有因教育方法不当而失败的。国家有责任确保这种情况不会发生。
Just as a policeman has his beat, which he is responsible for and patrols, probation officers for infants should be trained by the state, and should be stationed throughout Japan to be responsible for child training in each home. The state should spare no energy in seeing that children of preschool age develop along the right lines. 就像警察有自己负责和巡逻的区域一样，国家也应该培训幼儿监护官，并将其派驻到日本各地，负责每个家庭的儿童培训工作。国家应不遗余力地确保学龄前儿童沿着正确的方向发展。
I believe that those reading this book will have seen what superior human beings children can become, depending on their training as infants. To apply the old Japanese proverb “What he is at three he will be at a hundred” to a child whose character is already molded is merely irresponsible. A child of three-in other words, an infantis just at the stage when his personality is being formed and his abilities are being inculcated. Consequently, I believe that this is the crucial time, when a child’s character and abilities can easily be damaged and warped. It is precisely at this time that he must be educated with infinite care, and the state should realize what an important long-term project this is for the future of the country. 我相信，读过这本书的人都会看到，孩子们可以成为多么优秀的人，这取决于他们在婴幼儿时期所接受的训练。如果把日本的谚语 "三岁看大，百岁看老 "套用在性格已经成型的孩子身上，那是不负责任的。一个三岁的孩子，换句话说，一个婴儿，正处于人格形成和能力培养的阶段。因此，我认为这是一个关键时期，孩子的性格和能力很容易受到损害和扭曲。正是在这个时候，必须对他进行无微不至的教育，国家应该认识到这对国家的未来是一项多么重要的长期工程。
Not tomorrow but right now, today 不是明天，而是现在，今天
People today are like gardeners who look sadly at ruined saplings and shake their heads, saying the seeds must have been bad to start with, not realizing that the seed was all right, but that their method of cultivation was wrong. They go on in their mistaken way, ruining plant after plant. It is imperative that the human race escape from this vicious circle. The sooner people realize their mistake, the better. The more the situation is changed, the nearer the human race will come to happiness. 今天的人们就像园丁一样，看着被毁坏的树苗伤心地摇摇头，说种子一开始就一定不好，却不知道种子是好的，只是他们的栽培方法错了。他们继续用自己错误的方式，毁掉了一棵又一棵植物。人类必须摆脱这种恶性循环。人们越早认识到自己的错误越好。情况改变得越多，人类离幸福就越近。
I too am one of those people whose early life was damaged by the wrong kind of education. Most people could say the same. I have 我也是这样一个人，早年的生活受到了错误教育的损害。大多数人都可以这么说。我曾
tried to remedy this, and from the time I was young, I have been working hard trying to improve myself. 为了弥补这一缺憾，我从小就努力学习，不断完善自己。
I sincerely hope that readers of this book will realize from all I have said that there is no need for any of us to despair. We are all born with a high potential, and if we try hard we can all become superior human beings and acquire talent and ability. 我衷心希望这本书的读者能从我所说的一切中认识到，我们任何人都不必绝望。我们每个人生来都具有巨大的潜能，只要我们努力，都能成为优秀的人，都能获得天赋和能力。
If you have really understood my message, you will not put it off until tomorrow, but will put it into action right now, today. And your life will become happier as a result. That this may become true for everyone is my heartfelt dream. 如果你真正理解了我的信息，你就不会把它拖到明天，而是会在今天立即付诸行动。你的生活也会因此变得更加幸福。我衷心希望每个人都能如此。
*Copyright Newsweek, Inc., March 25, 1964. *1964年3月25日《新闻周刊》版权所有。
