shǒuyè>> wénxué>> 作家评传>> máo William Somerset Maugham   yīng guó United Kingdom   wēn suō wáng cháo   (1874niányuányuè25rì1965niánshíèryuè16rì)
rén xìng de jiā suǒ Of Human Bondage
  máo de zuò pǐn róng , měi yīháng wén dōuwú qīng . chuàng , shàn zào shì què lěng bàng guān de tiān cái . chéng wéi dào lǐng xiù huò yán zhuān jiā , jǐn wéi gōng gāo shàng de zhí zuò jiā . rén xìng de jiā suǒ guān zhào qīng nián de méng , rén shēng de tàn xún , zuò zhě cǎi zìzhuàn xíng shì , yòu xiě zhè běn shū zuò wéi xīn líng jiù shú de shì , yīn xíng wén jiān yíng zhù zuò zhě néng de qíng . shí fēn shàn de xíng xiàng fēn zhí zài juésè shàng , huà zuò běn rén de jīng shén liàng huà shēn . dàn zài rén shēng de zhuī qiú shàng , shǐ zhōng bǎo chí zhù jiān zhēn de tǒng , rén xìng de ruò diǎn cái méi yòu xíng chéng tài de 'ài . hái yòu xìng zhǐ : shì jīn qián , shì huá , bìng chún zhì zhì gāo shàng . shì zhí de hǎo shū .
   fěi huàn yòu xiān tiān xìng , gèng xìng de shì zài jiǔ suì de shí hòu xiāng shì , shǐ zhǐ hǎo dào jiā zhù , zhè xiē zāinàn qíng de duó zǒu liǎo xiǎng shòu zhèng cháng shēng huó de quán . yóu xiān tiān xìng de jiǎo , shǐ cóng xiǎo jiù bèi zhōu zāo de péng yǒu cháo xiào , pái chì , zhǐ hǎo zài shēn huò bàng biān méi yòu rén de shí hòu . dàn shì 'ǒu 'ěr de wēn cún dùn shǐ jué xiē xiāng gān de wài jiè hái yòu xiē mèi , zài duān de tòng wēi ruò de guāng máng jiān chóu chú . shì qián chéng de xiàng shàng dǎo , zhēn zhì de dǎo gào , què méi yòu dào rèn de bāng zhù , shì jué dìng fàng xìn yǎng . yóu qīn de zǎo shì , shǐ zhōng quē guān 'ài , yōu shǐ biàn de mǐn gǎn , chén , zhōng yīn 'àn de jiǎo luò wéi bàn , shèn zhì jué wàng dào jué shēng mìng shì háo de . hòu lái , zhōng dào shàn liáng rén de jiù zhù , xīn cái huò rán yòu liǎo xiàn guāng míng , de qià hǎo bìng shǐ suǒ dāng rán de chéng liǎo cái chǎn . zài shēng mìng niǎn zhuǎn zhì sān shí suì de shí hòu , fěi zǒu chū liǎo . wēn róu de xīn tài duì dài měi rén , lùn shì bìng rén huò shì rén , tādōu chū guān huái , shèn zhì shì méi lěi , tiáo jiàn de yáo wěi lián , bēi gōng , zuì hòu , zài duì yòu suǒ liàn , bǎi tuō kān de qián chén wǎng shì . shì de zuì hòu , jiàn liǎo jiàn kāng , rán , chén jìng de hái héng héng suō , bìng tài , qiǎn de méi lěi yòu zhù qiáng liè de duì , suī rán shì fěi de zuì 'ài , què wèi fěi cháng jiǔ lái shòu shāng de xīn líng .
   fěi de zài shū zhōng jiào juésè shàng de bàn yǎn , shí shì yòu suǒ quē shī de , yóu shì zài zōng jiào guān niàn shàng , zuì hòu jìng dǎo zhì fěi duì shàng de xìn rèn , duì zōng jiào de qián chéng .
   fěi de xué shàng , yīn wéi zhī cán zhàng dǎo zhì nèi xīn bēi , zhè yàng shū de hái , yīnggāi yào duō gěi 'ài guān huái , ér shì qiáo huò xīn cún fěng . shí men gēn bān de hái yàng , yào bié rén de guān huái , men fáng zhēn chéng tǎn rán miàn duì , gèng bāo róng de 'ài xīn bāng zhù shēn xīn zhàng 'ài de 'ér tóng zǒu rén qún .
   fěi de 'ài qíng shì wèihé fēng ? xiǎng zài xún qiú fèn 'ài , fèn wèi jiè gǎn . chū chǎng 'ài qíng de fěi shì de máo dùn 'ān , zhè zhǒng de xīn jìng , jiě shì , zhí dào tuō méi lěi , wǎn zhèng tuō suǒ liàn bān yóu . rén lèi yóu xiān tiān chuán de tóng , zài jiā shàng hòu tiān shēng huó jiào huán jìng de chā , xíng chéng zhǒng zhǒng tóng de xìng . suǒ wèi rén xìng de tóng , miàn , yán lái shuō , méi yòu liǎng rén de xìng shì wán quán yàng de , nán guān biǎo xiàn gèng wéi shēn , ài de guò chéng zhōng , wǎng wǎng huì shǐ rén máng mùdì tàng shàng jiā suǒ 'ér zhī , rén dàn wéi , fǎn 'ér rèn wéi shì zhǒng kuài . nán guài yòu rén shuō :「 ài qíng shì máng mùdì」 ,「 ài huì ràng 」 !
  
   fěi zài zhì , miàn duì shēng mìng de cún zài mèn , tàn suǒrén shēng de wèihéshí , yòu hěn de shì , shū zhōng de duàn huà :「 guǒ méi yòu fán nǎo , rén shēng huó zhù jiù méi yòu .」 rén shí shí yào fǎnxǐng , tàn xún xīn zhōng gāo céng de chéngzhǎng , jiè dòng rén xìng de zhǒng máng diǎn ruò diǎn , bìng yīn liǎo jiě 'ér xǐng , cóng chōng mǎn cuò jué huàn xiàng de rén xìng jiā suǒ zhōng zhèng tuō chū lái , shēn xìn měi rén jiāng zhǎo dào shǔ de tiān xiǎng .
  
   xiàn máo de shū tán dào liǎo rén xìng de jiā suǒ , chéng hūn yīn yòu rén xiǎng jìn yòu rén xiǎng chū lái , jiā suǒ de jìn chū zhǐ yòu suǒ liǎo . suǒ :「 yǎng bǎi yàng rén , zhī cǎo diǎn .」 shí měi rén běn shàng zhù guān de duō . wéi shì jiè zhǐ yòu rén lèi , ér wàng liǎo rén lèi gòng cún de , yòu shù zhǒng de shēng . men zhèng rén lèi jìng zhēng shēng cún . rén huó zhù jiù yòu jìng zhēng , jiù yòu wèn . rén wéi shí huó zhù , 'àn hěn jiǎn dān , jiù shì tàn suǒ wèi zhī . rén shì jiān yòu cāng hǎi sāng tián , hǎi shí làn de nuò yán , què méi yòu rén děng dào tiān .
   rén de shēng zhōng , wǎng wǎng shēn duō de jiā suǒ , lùn shì jīng shén shàng , shēng shàng huò xīn líng shàng . cóng chū shēng , chéngzhǎng , móu shēng , liàn 'ài , bìng děng , mendōu yòu suǒ xiǎng tòu , kàn kāi de shì , zāo duō duō yuàn de shì , yòu shí shèn zhì shēn xiàn tòng de shēn yuān , wèile xún qiú tiáo jiě tuō de jìng , yòu de rén xuǎn qīng shēng , yòu de rén duò luò , yòu rén què cóng zhōng dào chéngzhǎng . zǒng shì dào liǎo báifà cāng cāng shí , cái xiàn guò zhǒng zhǒng jiān chí shì duō de wèi jīng liǎo fēng huā xuě yuè zhī hòu , cái huǎng rán , qiēdōu shì huàn kōng , cái liǎo jiě cāng hǎi sāng tián de dào .
   rén yīnggāi dāng xià , jiān chí de biāo , suǒ xiǎng yào de cuǐ càn rén shēng . dàn dìng yào héng liàng qīng chǔ , zěn yàng de rén shēng cái shì suǒ zhuī qiú de . guǒ dǒng fàng xià , dǒng zhēn , qiē nán huì dùn mèng huàn pào yǐng , guò yǎn yún yān . tòng de dāng xià , dǒng liǎo huàn , xué huì liǎo jué , chū liǎo rén shēng de zhēn , xué zuò , biàn néng ràng zhú jiàn cóng tòng zhōng jiě kāi jiā suǒ shù , men cái néng huò zhēn zhèng de kuài . zhè yàng shuō , tīng lái hěn róng , yào shí xíng què yòu dìng de kùn nán , jìng shì měi réndōu néng zhǎng de rén shēng , bǎi tuō qiē de jiā suǒ xiǎn , gèng yào bèi yǒng wǎng zhí qián , mào xiǎn fàn nán de liàng .


  Of Human Bondage (1915) is a novel by W. Somerset Maugham. It is generally agreed to be his masterpiece and to be strongly autobiographical in nature, although Maugham stated, "This is a novel, not an autobiography, though much in it is autobiographical, more is pure invention." Maugham, who had originally planned to call his novel Beauty from Ashes, finally settled on a title taken from Spinoza's Ethics.
  
  Plot summary
  
  The book begins with the death of the mother of the nine-year-old protagonist, Philip Carey. Philip's father had already died a few months before, and the orphan Philip is sent to live with his aunt and uncle. His uncle is vicar of Blackstable, a small village in East Anglia. Philip inherits a small fortune but the money is held in custody by his uncle until he is twenty-one, giving his uncle a great deal of power over him until he reaches his maturity.
  
  Early chapters relate Philip's experience at the vicarage. His aunt tries to be a mother to Philip, but she is herself childless and unsure of how to behave, whereas his uncle takes a cold disposition towards him. Philip's uncle has an eclectic collection of books, and in reading Philip finds a way to escape his mundane existence and experience fascinating worlds of fiction.
  
  Less than a year later, Philip is sent to a boarding school. His uncle and aunt would like for him to eventually go to Oxford to study to become a clergyman. Philip's shyness and his club foot make it difficult for him to fit in with the boys at the school, and he does not make many friends. Philip goes through an episode of deep religious belief, and believes that through true faith he can get God to heal his club foot; but as this does not happen, his belief falters. He becomes close friends with one boy; but the friendship breaks up, and he becomes miserable. Philip shows considerable academic talent and could have gotten himself a scholarship for Oxford, but instead he wishes to leave the school and go to Germany. Philip's uncle and the school's headmaster oppose Philip's desire to go to Germany, but eventually they give in and they allow him to go to Heidelberg for a year.
  
  In Heidelberg, Philip lives at a boarding house with other foreigners and studies German, among other subjects. Philip enjoys his stay in Germany. At the boarding house he acquaints a fellow Englishman, Hayward, who has an interest in literature and who considers himself a poet. Philip also meets an unorthodox American named Weeks, who has a mutual dislike for Hayward and who thinks the man is superficial. Philip is intrigued by his long discourses with Hayward and Weeks and eventually becomes convinced that he need not believe in the Church of England. This is a heretofore unheard of idea to him as he has been brought up with staunch Christian values.
  
  Philip returns to his uncle's house and meets a middle-aged family friend of his aunt and uncle named Miss Wilkinson, who is very flirtatious toward Philip. He is not particularly attracted to her and is uncomfortable about her age; but he likes the idea of having an affair with someone, so he pursues her. She says that she is in love with Philip and becomes very attached to him, and he pretends to be passionate about her; but he is relieved when she must return to Berlin. Miss Wilkinson writes letters to Philip from Berlin, to which he eventually stops responding.
  
  Philip's guardians decide to take his matters into their own hands and convince him to move to London and take up an apprenticeship to become a chartered accountant. He does not fare well there as his coworkers resent him because they believe he is above them and is a "gentleman." Philip is desperately lonely in London and is humiliated by his lack of aptitude for the work. He begins thinking about studying art in Paris. He goes on a business trip with one of his managers to Paris and is inspired by this trip. Miss Wilkinson convinces Philip that he draws well enough to become a professional, and he moves to Paris to study art.
  
  In Paris Philip attends art classes, makes a few friends among fellow art students and meets Miss Price, a poor talentless art student who does not get along well with people. Miss Price falls in love with Philip, but he does not return her feelings. After her funds run out, she commits suicide, leaving Philip to tend after her affairs.
  Davis and Howard in the 1934 film version
  
  Philip realizes that he will never be more than a mediocre artist; at the same time, he receives word that his aunt has died. He returns to his uncle's house, and eventually decides to go to London to pursue medicine, his late father's field. He struggles at medical school and comes across Mildred, a tawdry waitress at a local café. He falls desperately in love with her, although she does not show any emotion for him. Mildred tells Philip she is getting married, leaving him heartbroken; he subsequently enters into an affair with Norah Nesbitt, a kind and sensitive author of penny romance novels. Later, Mildred returns, pregnant, and confesses that the man for whom she had abandoned Philip had never married her. Philip breaks off his relationship with Norah and supports Mildred financially though he can ill afford to do so, but later she falls in love with a friend of Philip's and disappears.
  
  Philip runs into Mildred again when she is so poor she has resorted to prostitution and, feeling sympathy for her, takes her in to do his housework, though he no longer loves her. When he rejects her advances, she becomes angry at him, leaves, and destroys his possessions, causing Philip to abandon that residence and move into cheaper housing. When Philip meets Mildred next, she is ill and prostituting herself again, and the baby has died.
  
  While working at the hospital, Philip befriends family man Thorpe Athelny and is invited to his house every Sunday. Meanwhile, a stockbroker acquaintance of Philip advises him to invest in South African mines, and Philip is left with no money when the stock market crashes due to the vicissitudes of the Boer War. He wanders the streets aimlessly for a few days before the Athelnys take him in and find him a job at a retail store, which he hates. Eventually, his uncle's death leaves him enough money to go back to medical school, and he finishes his studies and becomes qualified. He takes on a temporary placement at a Dorsetshire fishing village with Dr South, an old, rancorous physician whose wife is dead and whose daughter has broken off contact with him. However, he takes a shine to Philip's humour and personableness, eventually making him an outstanding offer of a stake in his medical practice. Although flattered, Philip refuses as he is still eager to travel and returns to London.
  
  He soon goes on a small summer vacation with the Athelnys at a village in the Kent countryside. There he finds that one of Athelny's daughters, Sally, likes him. They have an affair, and when she thinks she is pregnant, Philip decides to give up his long-cherished plans to travel to exotic lands, to accept Dr South's offer, and to propose to Sally instead. On learning that it was a false alarm, Philip is disappointed but proposes to her anyway; she accepts. Philip puts aside his lofty, complex artistic and philosophical ideals, coming to the conclusion that "the simplest pattern, that in which a man was born, worked, married, had children, and died, was likewise the most perfect".
  Film versions
  
   * Of Human Bondage (1934) – Leslie Howard as Philip, and Bette Davis as Mildred, the role that established her as a star.
   * Of Human Bondage (1946) – Directed by Edmund Goulding, with Paul Henreid and Eleanor Parker in the lead roles.
   * Of Human Bondage (1964) – Laurence Harvey and Kim Novak in the lead roles.
zhāng
  tiān liàng liǎotiān yīn chén chén detóng yún chuíhán fēng yǎn kàn yào fēi xuě huā liǎo shuì zhe hái míng zǒu liǎo jìn lái kāi chuāng lián cháo duì miàn de fáng yīzhuàng zhèng mén qián zhù yòu zhù láng de huī fáng shí wàng liǎo yǎnrán hòu zǒu dào hái chuáng biān
   xǐng xǐngfěi shuō
   xiān kāi bèi bào hái dài xià liǎo lóuhái dehái wèi xǐng tòu
  “ yào li,” shuō
   lái dào xià miàn céng lóutuī kāi jiān de fáng ménjiāng xiǎo hái bào dào chuáng qiánchuáng shàng tǎng zhe wèi rénshì hái de qīn zhāng kāi shuāng ràng hái wēi zài shēn biānhái méi wèn wèishénme yào zài zhè shí hòu jiāng huàn xǐng rén wěn wěn hái de yǎn jīngbìng yòng shuāng xiān ruò de xiǎo shǒu zhe hái de bái lán róng shuì wēn nuǎn de shēn ràng hái tiē jǐn de shēn
  “ hái kùn bǎo bèi?” shuō
   de shēng yīn qīng qīng yōu yōufǎng shì cóng yuǎn chù piāo láihái méi yòu yìng shēngzhǐ shì qiè wēi wēi xiàotǎng zài zhè zhāng nuǎnhuo de chuáng shàngyòu bèi wēn róu de shuāng lǒu zhegǎn dào yòu zhǒng shuō chū de kuài hái jǐn wēi zhe qīnquán shēn xiǎng ràng suō gèng xiǎo xiē shuì méng lóng wěn zhe qīn huì shàng yǎn hān rán mèng liǎo shēng zǒu guò láizhàn zài chuáng qián
  “ ōbié xiàn zài jiù bào zǒu,” rén bēi shuō
   shēng shén qíng yán wàng zhe méi yòu huà rén xīn míng bái shēng huì ràng hái zài shēn biān dāi duō jiǔ de yòu qīn qīn hái zhe hái de shēn shǒu zhǐ qīng qīng xià chízuì hòu chù dào hái de xià zhī yòu jiǎo niē zài shǒu nòng zhe xiǎo jiǎo zhǐjiē zhe yòu màn màn shǒu shēn dào zuǒ jiǎo shàng chōu liǎo shēng
  “ zěn me ?” shēng shuō,“ lěi liǎo。”
   yáo yáo tóugěngyè zhe shuō chū huà láiyǎn lèi yán zhe shuāng jiá lái 'ér xià shēng wān
  “ ràng lái bào 。”
   xīn jiāo cuì wéi 'ào shēng de yuànzhǐ rèn bào zǒu liǎo hái shēng hái jiāo hái gěi bǎo
  “ zuì hǎo hái shì hái sòng huí de chuáng shàng 。”
  “ hǎo dexiān shēng。”
   réng zài shú shuì de hái bèi bào kāi liǎozuò qīn de zhè shí wàn jiàn zuàn xīn shēng wūyè lái
  “ lián de hái zhī jiāng lái huì zěn me yàng ?”
   shì hòu chǎn de kānhù zài bàng hǎo yán quàn wèixiǎng ràng píng jìng xià lái liǎo huì yóu jīng jié 'ér tíng zhǐ liǎo shēng zǒu dào fáng jiān lìng de zhāng zhuō gēn qiánzhuō shàng yòu yīngyòng máo jīn méng zhe jiē kāi máo jīn kàn liǎo kànsuī rán shēng de shēn bèi píng fēng zhē zhùdàn chuáng shàng de chǎn hái shì cāizháo liǎo zài gànshénme
  “ shì de hái shì nán de?” shēng wèn kānhù
  “ yòu shì nán hái。”
   rén méi yòu zài kēng shēng huìhái de bǎo huí lái liǎo zǒu dào chuáng tóu qián
  “ fěi shàoye shuìde hěn xiāng,” shuō
   zhèn chén shēng yòu gěi bìng rén mài
  “ xiǎng zhè huì 'ér méi de shì liǎo,” shuō。“ zǎo fàn hòu zài lái。”
  “ ràng lǐng nín chū ,” hái de bǎo shuō
   men rán xià lóu dào liǎo mén tīng shēng shōu zhù jiǎo
  “ men pài rén qǐng kǎi tài tài de liǎoshì ?”
  “ shì dexiān shēng。”
  “ zhī dào shénme shí hòu néng dào zhè 'ér?”
  “ zhī dàoxiān shēng zhèng zài děng diàn bào。”
  “ xiǎo hái zěn me bàn jué zuì hǎo lǐng kāi 。”
  “ jīn xiǎo jiě shuō yuàn zhào kàn hái xiān shēng。”
  “ zhè wèi xiǎo jiě shì shuí?”
  “ shì hái de jiào xiān shēngnín rèn wéi kǎi tài tài de bìng hái néng hǎo xiān shēng?”
   shēng yáo yáo tóu


  The day broke gray and dull. The clouds hung heavily, and there was a rawness in the air that suggested snow. A woman servant came into a room in which a child was sleeping and drew the curtains. She glanced mechanically at the house opposite, a stucco house with a portico, and went to the child's bed.
   "Wake up, Philip, " she said.
   She pulled down the bed-clothes, took him in her arms, and carried him downstairs. He was only half awake.
   "Your mother wants you, " she said.
   She opened the door of a room on the floor below and took the child over to a bed in which a woman was lying. It was his mother. She stretched out her arms, and the child nestled by her side. He did not ask why he had been awakened. The woman kissed his eyes, and with thin, small hands felt the warm body through his white flannel nightgown. She pressed him closer to herself.
   "Are you sleepy, darling?" she said.
   Her voice was so weak that it seemed to come already from a great distance. The child did not answer, but smiled comfortably. He was very happy in the large, warm bed, with those soft arms about him. He tried to make himself smaller still as he cuddled up against his mother, and he kissed her sleepily. In a moment he closed his eyes and was fast asleep. The doctor came forwards and stood by the bed-side.
   "Oh, don't take him away yet, " she moaned.
   The doctor, without answering, looked at her gravely. Knowing she would not be allowed to keep the child much longer, the woman kissed him again; and she passed her hand down his body till she came to his feet; she held the right foot in her hand and felt the five small toes; and then slowly passed her hand over the left one. She gave a sob.
   "What's the matter?" said the doctor. "You're tired. "
   She shook her head, unable to speak, and the tears rolled down her cheeks. The doctor bent down.
   "Let me take him. "
   She was too weak to resist his wish, and she gave the child up. The doctor handed him back to his nurse.
   "You'd better put him back in his own bed. "
   "Very well, sir. " The little boy, still sleeping, was taken away. His mother sobbed now broken-heartedly.
   "What will happen to him, poor child?"
   The monthly nurse tried to quiet her, and presently, from exhaustion, the crying ceased. The doctor walked to a table on the other side of the room, upon which, under a towel, lay the body of a still-born child. He lifted the towel and looked. He was hidden from the bed by a screen, but the woman guessed what he was doing.
   "Was it a girl or a boy?" she whispered to the nurse.
   "Another boy. "
   The woman did not answer. In a moment the child's nurse came back. She approached the bed.
   "Master Philip never woke up, " she said. There was a pause. Then the doctor felt his patient's pulse once more.
   "I don't think there's anything I can do just now, " he said. "I'll call again after breakfast. "
   "I'll show you out, sir, " said the child's nurse.
   They walked downstairs in silence. In the hall the doctor stopped.
   "You've sent for Mrs. Carey's brother-in-law, haven't you?"
   "Yes, sir. "
   "D'you know at what time he'll be here?"
   "No, sir, I'm expecting a telegram. "
   "What about the little boy? I should think he'd be better out of the way. "
   "Miss Watkin said she'd take him, sir. "
   "Who's she?"
   "She's his godmother, sir. D'you think Mrs. Carey will get over it, sir?"
   The doctor shook his head.
'èr zhāng
   xīng zhī hòuwēng luò huā yuán jiē shàng de jīn xiǎo jiě gōng guǎnfěi zhèng zuò zài tīng de bǎn shàng méi yòu xiōng jiě mèi guàn 'ér wán shuǎ tīng bǎi mǎn liǎo hòu shí de jiā měi zhāng cháng shā shàng dōuyòu sān zhǐ kào diànměi zhāng 'ān shàng fàng zhe zhǐ diànfěi zhè xiē ruǎn diàn quán guò láiyòu jiè zhù zhāng qīng qiǎo 'ér nuó dòng de jīn diāo huā kào bèi shàfèi xīn chéng dòng xué cáng shēn zài zhè 'érjiù duǒ kāi xiē qián zài wéi màn hòu miàn de yìn 'ān rénfěi 'ěr duǒ tiē jìn bǎn tīng niú qún zài cǎo yuán shàng kuáng bēn chí huì 'ér tīng jiàn mén kāi liǎogǎn jǐn xiāo shēng liǎn shēng bèi rén xiàndàn shì zhǐ yòu de shǒu měng tuō kāi kào bèi ruǎn diàn fēn fēn diē luò zài
  “ táo guǐ yào jīn xiǎo jiě shēng 。”
  “ hǎo 'āāi ?” shuō
   bǎo wān xià yāo wěn liǎo wěn rán hòu jiāng ruǎn diàn dǒu dǒu gān jìng zhǐ zhǐ fàng huí yuán chù
  “ gāi huí jiā liǎoshì ?” wèn dào
  “ shì lái lǐng de。”
  “ chuān liǎo jiàn xīn qún li。”
   zhè shì nián shēn shàng chuān jiàn hēi tiān 'é róng qún páoyāo chèn zhe qún chēngzhǎi xiù xuē jiānqún shàng xiāng liǎo sān tiáo kuān biāntóu shàng dài dǐng yòu tiān 'é róng shì dài de hēi biān mào yóu lái yuán wéi hái jiàn miàn dìng huì chū wèn jiēguǒ gēn 'ér méi zhè lái xiān zhǔn bèi hǎo de huí jiù cóng chū kǒu liǎo
  “ xiǎng wèn wèn shēn hǎo ?” zuì hòu zhǐ hǎo zhè me shuō liǎo
  “ ō wàng liǎo shēn hǎo ?”
   āi zhè huì 'ér xiōng yòu chéng zhú
  “ shēn hěn hǎo hěn kuài huó。”
  “ ò zhēn gāo xīng。”
  “ jīng liǎo zài jiàn zhe liǎo。”
   fěi méi tīng dǒng de
  “ wèishénme jiàn zhe liǎo?”
  “ zài tiān guó liǎo。”
   āi shī shēng tòng fěi suī wán quán míng bái shì zěn me huí shìdàn gēn zhe hào láiāi shì gāo shēn cáikuān jià de rén tóu jīn tóucháng méi yǎn shì wén jùn rénjìn guǎn zài lún dūn bāng yōng duō niánquè shǐ zhōng xiāng yīn wèi gǎi zhè me zhēn dòng liǎo gǎn qíngnán jìn jiāng hái jǐn lǒu zài huái xīn tóu yǐn yǐn shēng chū lián mǐn zhī qíngzhè lián de hái bèi duó liǎo zài rén shì jiān wéi de 'ài zhǒng zhì jīn chún shǔ de 'àiyǎn kàn zhe fēi jiāo dào shēng rén shǒu zhēn yòu diǎn jiào rén xīn hánguò liǎo duō huì 'ér jiàn jiàn píng jìng xià lái
  “ wēi lián zhèng děng zhe jiàn ,” shuō,“ duì jīn xiǎo jiě shuō shēng zài jiàn men yào huí jiā liǎo。”
  “ xiǎng shuō shí me zài jiàn,” huí shuōchū běn néng xiǎng ràng rén kàn dào zài
  “ hǎo jiù kuài shàng lóu mào 。”
   fěi liǎo mào huí dào lóu xiàāi zhèng zài mén tīng děng zhefěi tīng dào cān shì hòu miàn de shū fáng yòu rén zài shuō huà zhàn dìng shēn míng bái shì jīn xiǎo jiě jiě jiě zài tóng péng yǒu tán xīn zhè jiǔ suì de hái gǎn dàoyào shì zhè shí hòu chuǎng jìn shuō dìng men huì wèitā shāng xīn nán guò de
  “ xiǎng hái shì yīnggāi duì jīn xiǎo jiě shuō shēng zài jiàn。”
  “ xiǎng shì shuō shēng de hǎo,” āi shuō
  “ jiù jìn tōng bào shuō lái liǎo,” shuō
   fěi wàng néng chōng fēn yòng zhè huìāi qiāo qiāo ménzǒu liǎo jìn tīng jiàn shuō
  “ xiǎo jiěfěi shàoye xiàng nín gào bié lái liǎo。”
   tán huà shēng jiá rán 'ér zhǐfěi qué guǎi zǒu liǎo jìn láihēng 'āi jīn shì shēn cái dūn shí de liǎn hóng rùntóu shì rǎn guò dezài nián tóurǎn zhāo jiào gāng tóu rǎn liǎo de zhèn fěi zài jiā jiù tīng dào guò shǎo xián huà jīn xiǎo jiě jiě jiě zhù zài zhè wèi jiě jiě tiān zhī mìng suàn jiù 'ān xīn yǎng lǎo liǎoyòu liǎng wèi fěi rèn shí de tài tài zhèng zài zhè 'ér zuò men yòng hàoqí de yǎn guāng dǎliang zhe fěi
  “ lián de hái 。” jīn xiǎo jiě shuō zhe zhāng kāi liǎo shuāng
   liǎo láifěi zhè huì 'ér míng bái guò lái wèishénme gāng cái méi zài jiā chī fànwèishénme jīn tiān yào chuān shēn hēi jīn xiǎo jiě wūyè zhe shuō chū huà lái
  “ huí jiā liǎo,” fěi zuì hòu zhè me shuō
   fěi cóng jīn xiǎo jiě huái tuō chū shēn lái yòu lái liǎo qīn zhè hái rán hòufěi zǒu dào jiào de jiě jiě gēn qián duì shuō liǎo shēng zài jiàn shēng tài tài zhōng de wèi wèn fěi shì fǒu ràng wěn xiàfěi běn zhèng jīng biǎo shì suī shuō zài zhù liú yǎn lèidàn shì duì yǎn qián zhè zhǒng yóu yǐn de shāng gǎn chǎng miàndǎo jué tǐng dài jìn de hěn zài zài zhè 'ér duō dāi huìràng men zài shēn shàng lín jìn zhì xiè tōng guò yòu gǎn dào men kuài diǎn zǒu kāi shì biàn tuī shuō 'āi zhèng zài děng jìng zǒu chū liǎo shū fángāi dào xià shì tóng de yǒu jiā cháng liǎofěi jiù shǒu zài lóu píng tái chù děng néng tīng dào hēng 'āi · jīn de shuō huà shēng yīn
  “ qīn shì zuì yào hǎo de péng yǒuxiǎng dào jìng zhè me liǎoxīn zhēn shòu liǎo。”
  “ běn lái jiù gāi cān jiā zàng hēng 'āi ,” jiě jiě shuō,“ zhī dào liǎo huì nán guò de。”
   wèi jiē kǒu liǎo
  “ lián de xiǎo jiā huǒjiù zhè me líng dīng huó zài rén shì shàngxiǎng xiǎng jiàn zǒu tuǐ hái yòu diǎn qué !”
  “ shì shēng xià lái zhǐ jiǎo jiù shì xíng deyīn wéi zhè qīn shēng qián shāng xīn li。”
   zhè shíāi huí lái liǎo men jiào liǎo liàng chēāi jiāng chù gào liǎo chē


  It was a week later. Philip was sitting on the floor in the drawing-room at Miss Watkin's house in Onslow gardens. He was an only child and used to amusing himself. The room was filled with massive furniture, and on each of the sofas were three big cushions. There was a cushion too in each arm-chair. All these he had taken and, with the help of the gilt rout chairs, light and easy to move, had made an elaborate cave in which he could hide himself from the Red Indians who were lurking behind the curtains. He put his ear to the floor and listened to the herd of buffaloes that raced across the prairie. Presently, hearing the door open, he held his breath so that he might not be discovered; but a violent hand piled away a chair and the cushions fell down.
   "You naughty boy, Miss Watkin WILL be cross with you. "
   "Hulloa, Emma!" he said.
   The nurse bent down and kissed him, then began to shake out the cushions, and put them back in their places.
   "Am I to come home?" he asked.
   "Yes, I've come to fetch you. "
   "You've got a new dress on. "
   It was in eighteen-eighty-five, and she wore a bustle. Her gown was of black velvet, with tight sleeves and sloping shoulders, and the skirt had three large flounces. She wore a black bonnet with velvet strings. She hesitated. The question she had expected did not come, and so she could not give the answer she had prepared.
   "Aren't you going to ask how your mamma is?" she said at length.
   "Oh, I forgot. How is mamma?"
   Now she was ready.
   "Your mamma is quite well and happy. "
   "Oh, I am glad. "
   "Your mamma's gone away. You won't ever see her any more. " Philip did not know what she meant.
   "Why not?"
   "Your mamma's in heaven. "
   She began to cry, and Philip, though he did not quite understand, cried too. Emma was a tall, big-boned woman, with fair hair and large features. She came from Devonshire and, notwithstanding her many years of service in London, had never lost the breadth of her accent. Her tears increased her emotion, and she pressed the little boy to her heart. She felt vaguely the pity of that child deprived of the only love in the world that is quite unselfish. It seemed dreadful that he must be handed over to strangers. But in a little while she pulled herself together.
   "Your Uncle William is waiting in to see you, " she said. "Go and say good-bye to Miss Watkin, and we'll go home. "
   "I don't want to say good-bye, " he answered, instinctively anxious to hide his tears.
   "Very well, run upstairs and get your hat. "
   He fetched it, and when he came down Emma was waiting for him in the hall. He heard the sound of voices in the study behind the dining-room. He paused. He knew that Miss Watkin and her sister were talking to friends, and it seemed to him--he was nine years old--that if he went in they would be sorry for him.
   "I think I'll go and say good-bye to Miss Watkin. "
   "I think you'd better, " said Emma.
   "Go in and tell them I'm coming, " he said.
   He wished to make the most of his opportunity. Emma knocked at the door and walked in. He heard her speak.
   "Master Philip wants to say good-bye to you, miss. "
   There was a sudden hush of the conversation, and Philip limped in. Henrietta Watkin was a stout woman, with a red face and dyed hair. In those days to dye the hair excited comment, and Philip had heard much gossip at home when his godmother's changed colour. She lived with an elder sister, who had resigned herself contentedly to old age. Two ladies, whom Philip did not know, were calling, and they looked at him curiously.
   "My poor child, " said Miss Watkin, opening her arms.
   She began to cry. Philip understood now why she had not been in to luncheon and why she wore a black dress. She could not speak.
   "I've got to go home, " said Philip, at last.
   He disengaged himself from Miss Watkin's arms, and she kissed him again. Then he went to her sister and bade her good-bye too. One of the strange ladies asked if she might kiss him, and he gravely gave her permission. Though crying, he keenly enjoyed the sensation he was causing; he would have been glad to stay a little longer to be made much of, but felt they expected him to go, so he said that Emma was waiting for him. He went out of the room. Emma had gone downstairs to speak with a friend in the basement, and he waited for her on the landing. He heard Henrietta Watkin's voice.
   "His mother was my greatest friend. I can't bear to think that she's dead. "
   "You oughtn't to have gone to the funeral, Henrietta, " said her sister. "I knew it would upset you. "
   Then one of the strangers spoke.
   "Poor little boy, it's dreadful to think of him quite alone in the world. I see he limps. "
   "Yes, he's got a club-foot. It was such a grief to his mother. "
   Then Emma came back. They called a hansom, and she told the driver where to go.
shǒuyè>> wénxué>> 作家评传>> máo William Somerset Maugham   yīng guó United Kingdom   wēn suō wáng cháo   (1874niányuányuè25rì1965niánshíèryuè16rì)