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德国文学巨匠歌德为中国学者所了解始于晚清。外交官李凤苞和学者辜鸿铭、王国维、赵必振、鲁迅等人最早写下了有关歌德的介绍。但歌德并非从一开始就以文豪的形象出现在国人视野中,李凤苞日记中的政治家“果次”、辜鸿铭译著中的“名哲俄特”、王国维论文中振兴国运的诗人形象先后出现在中国学人视野中。直至1903年赵必振从日文翻译出《德意志文豪六大家列传》,才使读者对歌德生平及作品有了全面了解,作为“全才”的歌德形象也开始为鲁迅等人所接受。本文通过盘点歌德在中国的早期接受史,对各具特色的“歌德形象”的产生进行了分析,揭示了形象建构背后的深层社会历史原因,同时也指出了以往研究中的一些误区。
Goethe, the master of German literature, understood Chinese scholars as beginning in the late Qing Dynasty. Diplomat Li Feng-bao and scholar Gu Hongming, Wang Guowei, Zhao Bizhen, Lu Xun and others wrote the first introduction about Goethe. However, Goethe did not appear from the very beginning as the literary image of the Chinese people. The politician in Li Fengbao’s diary, Guo Guotu, Ku Hongming’s translation, The poet image has appeared in the perspective of Chinese scholars. Until 1903, Zhao Bianzheng translated “The Biography of the Six Generations of German Writers” from Japanese, which gave the readers a comprehensive understanding of Goethe’s life and works. The image of Goethe, as the “All-you-can-see”, began to be accepted by Lu Xun and others. By analyzing the early history of Goethe’s reception in China, this essay analyzes the emergence of distinctive “Goethe Images”, reveals the deep social and historical reasons behind the image construction, and points out some misunderstandings in the past research.