【摘要】 1928年法文版本《我的母亲》在巴黎问世。1935年由作者盛成自译的中文版本在上海出版。中文版本增加了章太炎的手书题词、徐悲鸿所作的素描《盛母像》,还有马相伯、陈伯严、欧阳竟无等五位名人的“像赞”。“像赞”这一文体,在我国古代就出现了,《辞海》解释为“画像上的题辞”。细读全书,可以发现,“像赞”在世界文学名著《我的母亲》一书中,从版本和写作的角度看,其作用是独特的,主要可以看做是全书的导读,又是内容的浓缩、概括。它应是全书的有机组成部分,如果贸然去掉(可惜已出现这样的中文版本),会产生版本残缺的遗憾。仅从这个意义上判断,《我的母亲》中文版比外文版可以说还略高一筹。更多还原

【Abstract】 In 1928,the French edition of Ma Mère was published in Paris,and the Chinese edition,translated by Shengcheng himself,came into being in Shanghai in 1935.This edition contains Zhang Taiyan’s inscriptions,Xu Beihong’s stetch A Portrait of Chengcheng’s Mother,and the inscriptions to the pictures by Ma Xiangbai,Chen Baiyan,Ouyang Jingwu and other celebrities.This kind of inscriptions originated in ancient China,which Cihai defines as inscriptions to the pictures.Reading through the book,we can find that inscriptions to the pictures in the world masterpiece Ma Mère,from the angle of edition and writing skill,have an unique role.These inscriptions can be regarded as the introduction as well as the abbreviation and generalization of the whole book.They are an organic composite,which,if deleted,won’t be complete in edition.Judging from this sense,the paper holds that the Chinese edition of Ma Mère is superior to the foreign edition.更多还原