名著阅读

But while Govinda with astonishment, and yet drawn by great love and expectation, obeyed his words, bent down closely to him and touched his forehead with his lips, something miraculous happened to him. While his thoughts were still dwelling on Siddhartha's wondrous words, while he was still struggling in vain and with reluctance to think away time, to imagine Nirvana and Sansara as one, while even a certain contempt for the words of his friend was fighting in him against an immense love and veneration, this happened to him:
He no longer saw the face of his friend Siddhartha, instead he saw other faces, many, a long sequence, a flowing river of faces, of hundreds, of thousands, which all came and disappeared, and yet all seemed to be there simultaneously, which all constantly changed and renewed themselves, and which were still all Siddhartha. He saw the face of a fish, a carp, with an infinitely painfully opened mouth, the face of a dying fish, with fading eyes--he saw the face of a new-born child, red and full of wrinkles, distorted from crying--he saw the face of a murderer, he saw him plunging a knife into the body of another person--he saw, in the same second, this criminal in bondage, kneeling and his head being chopped off by the executioner with one blow of his sword--he saw the bodies of men and women, naked in positions and cramps of frenzied love--he saw corpses stretched out, motionless, cold, void-- he saw the heads of animals, of boars, of crocodiles, of elephants, of bulls, of birds--he saw gods, saw Krishna, saw Agni--he saw all of these figures and faces in a thousand relationships with one another, each one helping the other, loving it, hating it, destroying it, giving re-birth to it, each one was a will to die, a passionately painful confession of transitoriness, and yet none of them died, each one only transformed, was always re-born, received evermore a new face, without any time having passed between the one and the other face--and all of these figures and faces rested, flowed, generated themselves, floated along and merged with each other, and they were all constantly covered by something thin, without individuality of its own, but yet existing, like a thin glass or ice, like a transparent skin, a shell or mold or mask of water, and this mask was smiling, and this mask was Siddhartha's smiling face, which he, Govinda, in this very same moment touched with his lips. And, Govinda saw it like this, this smile of the mask, this smile of oneness above the flowing forms, this smile of simultaneousness above the thousand births and deaths, this smile of Siddhartha was precisely the same, was precisely of the same kind as the quiet, delicate, impenetrable, perhaps benevolent, perhaps mocking, wise, thousand-fold smile of Gotama, the Buddha, as he had seen it himself with great respect a hundred times. Like this, Govinda knew, the perfected ones are smiling.
Not knowing any more whether time existed, whether the vision had lasted a second or a hundred years, not knowing any more whether there existed a Siddhartha, a Gotama, a me and a you, feeling in his innermost self as if he had been wounded by a divine arrow, the injury of which tasted sweet, being enchanted and dissolved in his innermost self, Govinda still stood for a little while bent over Siddhartha's quiet face, which he had just kissed, which had just been the scene of all manifestations, all transformations, all existence. The face was unchanged, after under its surface the depth of the thousandfoldness had closed up again, he smiled silently, smiled quietly and softly, perhaps very benevolently, perhaps very mockingly, precisely as he used to smile, the exalted one.
Deeply, Govinda bowed; tears he knew nothing of, ran down his old face; like a fire burnt the feeling of the most intimate love, the humblest veneration in his heart. Deeply, he bowed, touching the ground, before him who was sitting motionlessly, whose smile reminded him of everything he had ever loved in his life, what had ever been valuable and holy to him in his life.
戈文达很吃惊，但还是出于爱慕之情听从了席特哈尔塔的吩咐，弯腰凑近他，用嘴唇亲了亲他的额头，这时，忽然发生了不可思议的事。当他的思想还在琢磨席特哈尔塔的奇怪言论，他还在徒劳无益地极力抛开时间观念，把涅槃和轮回想象为一体，甚至心里对朋友的话怀着某种轻蔑，因而与一种深深的爱慕和敬重发生了冲突时，却发生了这样的事：
他看不见他的朋友席特哈尔塔的脸了，却见到了别人的脸，许许多多，长长的一串，就像一条奔流不息的河，成百上千张脸，全都来了又去了，又似乎同时出现，全都在不停地变化和更新，然而又全都是席特哈尔塔。他看到一条鱼的脸，一条鲤鱼的脸，极其痛苦地咧开嘴，是一条垂死的鱼，眼睛已经翻白——他看到一个新生婴儿的脸，红红的，满是皱褶，哭得变了形——他看到一个杀人凶手的脸，看见他将一把刀捅进了一个人的身体——就在这同一瞬间，他又看到这个罪犯被捆绑着跪在地上，他的头被刽子手一刀砍了下来——他看到男男女女都光着身子，作出疯狂作爱的姿势——他看到直挺挺的尸体，无声、冰冷和空虚——他看到动物的头，有公猪的、鳄鱼的、大象的、公牛的、鸟儿的——他看到神灵，看到克利什那神，看到阿耆尼神——他看到所有这些形体和脸庞，以上千种方式联系在一起，每一个都帮助另一个，爱它恨它，消灭它又让它新生，每一个都是一种死的愿望，是一种对短暂性的热烈而痛苦的忏悔，可是又没一个死去，每一个都只是变样了，不断地新生，不断地得到一张新脸，而在一张脸与另一张脸之间并没有时间差距——所有这些形态和脸庞都静止、流动、产生、模糊和相互融合，上面始终笼罩着某种薄薄的、没有实体可是又确实存在的东西，就好像蒙了一层薄玻璃或薄冰，就好像一层透明的皮肤，一个由水形成的外壳、模型或面具，这面具微笑着，这面具正是席特哈尔塔含笑的脸，正是戈文达刚才用嘴唇亲吻过的那张脸。戈文达看到，面具的这种笑，超越了涌现出来的形象的这种统一性的笑，超越了千千万万生老与死者的这种同时性的笑，席特哈尔塔的这种笑，正是戈塔马的那种平静的、文雅的、令人捉摸不透的、也许善意也许嘲讽的、聪明的、千变万化的笑，就像他满怀崇敬地千百次目睹过的那样。戈文达知道，这正是完人的笑容。
戈文达不再知道是否有时间，这情景到底是持续了一秒钟还是一百年，不再知道是否有一个席特哈尔塔，是否有一个戈塔马，是否有我和你，内心深处好像被一支神箭射中了，而伤处却是甜甜的味道，内心深处感到像着了魔似的，六神无主。他又站了一会儿，俯身望着那张他刚才亲吻过的席特哈尔塔的平静的脸，那张刚才还是一切形象、一切未来、一切存在的活动舞台的脸。这张脸没有变化，在外表下面深处的千变万化已重新封闭之后，他平静地笑着，轻柔地笑着，也许是好意，也许是讽刺挖苦，跟活佛的笑一模一样。
戈文达深鞠一躬，泪水情不自禁地淌下他那苍老的脸庞，而他却浑然不知，就像有一把火在他心中点燃了最亲密之爱与最谦恭之敬的情感。他深深地鞠躬，一躬到地，向端坐不动的席特哈尔塔敬礼，席特哈尔塔的笑容让他忆起了自己一生中曾经爱过的一切，忆起了自己一生中认为宝贵和神圣的一切。
背景阅读

本书简介：
古印度贵族青年悉达多英俊聪慧，拥有人们羡慕的一切。为了追求心灵的安宁，他孤身一人展开了求道之旅。他在舍卫城聆听佛陀乔答摩宣讲教义，在繁华的大城中结识了名妓伽摩拉，并成为一名富商。心灵与肉体的享受达到顶峰，却让他对自己厌倦、鄙弃到极点。在与伽摩拉最后一次欢爱之后，他抛弃了自己所有世俗的一切，来到那河边，想结束自己的生命。在那最绝望的一刹那，他突然听到了生命之河永恒的声音……经过几乎一生的追求，悉达多终于体验到万事万物的圆融统一，所有生命的不可摧毁的本性，并最终将自我融入了瞬间的永恒之中。

作者简介：
赫尔曼·黑塞（Hermann Hesse，1877.7.2-1962.8.9）德国作家。1923年46岁入瑞士籍。1946年获诺贝尔文学奖。1962年于瑞士家中去世。爱好音乐与绘画，是一位漂泊、孤独、隐逸的诗人。黑塞的诗有很多充满了浪漫气息，从他的最初诗集《浪漫之歌》的书名，也可以看出他深受德国浪漫主义诗人的影响，以致后来被人称为“德国浪漫派最后的一个骑士”。主要作品有《彼得·卡门青》、《荒原狼》、《东方之行》、《玻璃球游戏》等。

豆瓣热门书评：席特哈尔塔与乔达摩悉达多

来自: 宠物跳蚤
不算评论，只是想谈一个简单的问题。
因为这种情况在我读杨玉功翻译的《悉达多》的时候也发生过。最初总是在“悉达多就是佛教的创始人”这个语境中，直到悉达多去拜访佛陀，也就是乔达摩的时候，我开始困惑不已。
在这个方面，不能不说译者杨玉功应该负主要责任。他的那篇颇有些自鸣得意的序我印象很深刻，一种少年得意之情充斥其中：二十多岁就把全书译完，现在再看觉得还是没有什么不妥的地方；对旧翻译书名音译（即《席特哈尔塔》）有所不满，更指出了一处错误“潜入水中”，他说应翻译为“在水面行走”。恰恰是他得意的书名《悉达多》，误导了很多人，认为这是佛教创始人的一篇西方作家所做的传记，甚至连一些我国出的西方文学史（特别是一部五卷本的德国文学史）谈到此书时也作是评。
实际上如此吗？
当然不！下面从几个方面来说明。
为了区分，《悉达多》一书的主人公悉达多，我们用旧翻译，即音译，席特哈尔塔。
从现实的层面讲，乔达摩悉达多，也就是佛教的创始人应当为其全名，而悉达多仅仅是名而已。书中写的婆罗门贵族青年席特哈尔塔仅仅和佛祖重名（作者是否有意另作讨论），就像张伟，刘伟，王伟一样，怎么能就此认为是佛教创始人呢？而且佛祖乔达摩悉达多出身为印度四大种姓的另一个：刹帝利。
从书中的内容讲，席特哈尔塔曾经拜访了已经尊为佛祖的乔达摩悉达多，作者分明把两人区别开来，怎么可以再将两者混淆？佛祖的传道首先是在鹿野苑，而席特哈尔塔也就是本书的主人公拜访并师从之后，认为乔达摩悉达多是位伟人，但其学说或者体悟并不能满足自己的心灵——这一点很重要，下面马上提到，希望大家注意。
再从思想的深度来讲，《悉达多》（《席特哈尔塔》）之所以会风靡全世界，假如它只是一本佛祖的西方传记，恐怕根本达不到那种动人心魄的效果，事实上，从作者自身思想发展来看，他虽然对印度的哲学很有兴趣，并非真的信服，反而越到后来越是靠近中国的古代哲学，比如老子。
纵观黑塞一生的创作历程，会发现作者不断地在探讨的并非是某一种宗教或者学说让书中的主人公乃至书后的黑塞本人信服，而是这些东西或启发，或阻碍主人公作为一个“人”对自身心灵在现实世界中的探寻。黑塞本人在现实生活中也是这么做的，他没有埋头在书房里冥思苦想，而是走了很多地方，在最接近大自然的地方独自居住，经历了三次婚姻，遭遇无数的误解，他不但写小说，写诗歌，而且还画画。从《盖特路德》《罗斯哈尔德》到《席特哈尔塔》到《纳尔齐斯和歌尔德蒙》，哪一个主人公不是在现实生活中不断地追寻？不断经历生活？如果将《席特哈尔塔》理解为佛祖的传记，真是把黑塞的视野极大的狭隘化了。
我们再重温一下席特哈尔塔所经历过的吧：沙门，静修，物质之富，欲望之淫，亲情之痛，自然之歌。这些是佛教所能概括的吗，难道他最后皈依的是佛教吗？不，他最后皈依的是自然，连皈依佛教静修多年的旧友侨文达也崇敬地望着他，难以理解席特哈尔塔如何达到这样的境界。
“他深深地鞠躬，一躬到地，向端坐不动的席特哈尔塔敬礼，席特哈尔塔的笑容让他忆起了自己一生中曾经爱过的一切，忆起了自己一生中认为宝贵和神圣的一切。”
我们不禁想到歌尔德蒙弥留中追问纳尔齐斯：“可你将来想怎么死呢，纳尔齐斯，你没有母亲？人没有母亲就不能爱，没有母亲也不能死啊！”
这并非无欲无求的佛心，而是不可言传的大道。
附：黑塞与道的关系需另论，此文目的在于辨明乔达摩悉达多和席特哈尔塔绝非一人，并且此书绝非佛祖传记。