shǒuyè>> wénxué>> 现实百态>> Ethel Lilian Voynich   yīng guó United Kingdom     (1864niánwǔyuè11rì1960niánqīyuè27rì)
niú méng The Gadfly
  shàng 'ér
   héng héngniú méng hòu gǎn
   guǎn huó zhe
   hái shì
   wǒdōu shì zhǐ niú méng
   kuài fēi lái fēi
   zhè shǒu xiǎo shīshì niú méng zuì hòu de xiě wán jiù shàng liǎo xíng xíng chǎngrán hòu liǎo
   sǐde hěn jiān nányīn wéi gěi xíng xíng díshì bīngdōushì me 'ài dài men qiāng de shǒu zài chàn dǒu men de lèi zài liǎn shàng tǎng men hái shì shā shì gōng zuòzài shù dàn shēng hòuniú méng hái shì liǎoquán shēn zhōng liǎo dàn shì sǐde me jiān qiáng me càn làn
   méng tài kàn zhe de 'ér shì qīn shǒu shā liǎo shì zài shàng 'ér zhī jiān rán xuǎn liǎo jiǎ de bēi de shàng ér fàng liǎo me lián yòu me yào 'ài de 'ér zhù dìng wéi de xuǎn 'ér hòu huǐ zhù dìng bèi fēngzuì hòuwěi de hóng zhù jiào hái shì fēng liǎohái shì liǎoshàng shì bēi deshàng méi yòu yīn wèitā de zhōng chéng 'ér duì zhōng chéng
   shì lián deqióng de zhǎng cóng dào liǎo nán měiduō shǎo nián de nán quán rěn liǎo xià láizhōng yòu huí dào liǎo yòu jiàn dào liǎo qióng men xiāng 'àiquè dào yǒng yuǎn liǎo liǎo tòng de suǒ yòu shí jiān tòng zheér zhèng dāng zhī dào hái huó zhe shì rán jiàn jiàn wàng céng jīng de cuò shí yòu huó shēng shēng zài liǎo de miàn qián
   zài 17 suì shímíng bái liǎo shàng zhǐ guò shì zūn yòng láng tóu jiù qiāo làn de zuì qīn 'ài de Padre piàn liǎo shàng shì bēi derén néng kào dezhǐ yòu zài nán zhōng chéng liǎo chè de shén lùn zhě zēng hèn xiē wěi de dǎo gàozēng hèn suǒ yòu de shén shì zhī dào lùn hái shì 'ài Padre, hèn zhǐ yào Padre néng gòu zài shēng hǎohǎo 'ài jiù huì mǎn jiù huì dào xìng shì méng tài méi yòu zhè yàng zuò liǎo hěn shāng xīn shì de xuǎn rán shì shàng zhǐ yòu shàng
   zuò wéi wěi de hóng zhù jiàoxuǎn shàng shì suǒ dāng rán de bèi dīng zài shí jià shàng zhù dìng shì bēi de zhù dìng jiē shòu suǒ yòu rén de chàn huǐér néng zuò de jǐn jǐn shì jiē shòu chàn huǐ 'ér bìng néng wéi rén men zuò shí me néng jiù liǎo méng tài gèng jiù liǎo shì méng tài dǒng zhí dōubù dǒng zhè yàng duì dài de 'ér shì duō me gōng píng shì què liǎo jiě bèi shàng suǒ huò de xīn zhǐ yòu kōng dòng de shàng
   ér dāng méng tài zhōng xǐng ér zhēn de miàn duì tiān táng huò de shàng shí yòu huì shuō shénme hái 'ài shàng hái jiān chí de xìn yǎng huì hòu huǐ dìng huì huì míng báibìng shàng chéng suì piàn huì shàng cóng xīn rēng diào zhēn xīn 'ài deshì de 'ér shì zhè qiē jīng wǎn liǎotiān táng shì xiàn gāo de shì shēn de yǒng yuǎn zhǎo dào xīn 'ài de 'ér liǎo……
   zài chàn huǐ
   shì ……


  The Gadfly is a novel by Ethel Lilian Voynich, published in 1897 (United States, June; Great Britain, September of the same year), set in 1840s Italy under the dominance of Austria, a time of tumultuous revolt and uprisings. The story centers on the life of the protagonist, Arthur Burton, as a member of the Youth movement, and his antagonist, Padre Montanelli. A thread of a tragic relationship between Arthur and his love Gemma simultaneously runs through the story. It is a story of faith, disillusionment, revolution, romance, and heroism.
  
  Themes
  
  The book is primarily concerned with the culture of revolution and revolutionaries. Arthur, the Gadfly, is an embodiment of the tragic Romantic hero, who comes of age and returns from abandonment to discover his true state in the world and fight against the injustices of the current one. Gemma, his lover, and Padre Montanelli, his Priest, show various forms of love via their tragic relations with the focal character of Arthur: religious, romantic, and family. These emotions are compared with those which Arthur finds and shows as a revolutionary. The relationship between religious and revolutionary feelings is particularly drawn on. This is made particularly explicit at the climax of the book where sacred descriptions intertwine with reflections on the Gadfly's fate. It is debatable to what extent an allegorical comparison can be drawn between the Gadfly and Jesus.
  
  The landscape of Italy, in particular the Alps, is a pervading focus of the book, with its often lush descriptions of scenery conveying the thoughts and moods of characters.
  Background
  
  According to historian Robin Bruce Lockhart, Sidney Reilly — a Russian-born adventurer and secret agent employed by the British Secret Intelligence Service — met Ethel Voynich in London in 1895. Ethel Voynich was a significant figure not only on the late Victorian literary scene but also in Russian émigré circles. Lockhart claims that Reilly and Voynich had a sexual liaison and voyaged to Italy together. During this scenic tarriance, Reilly apparently "bared his soul to his mistress," and revealed to her the story of his strange youth in Russia. After their brief affair had concluded, Voynich published in 1897 her critically acclaimed novel, The Gadfly, the central character of which, Arthur Burton, was allegedly based on Sidney Reilly's own early life. However, Andrew Cook, a noted biographer of Reilly, disputes Lockhart's romanticized version of such events to be doubtful and counters instead that Reilly was perhaps informing on Voynich's radical, pro-émigré activities to William Melville of the Metropolitan Police Special Branch.
  Popularity
  
  With the central theme of the book being the nature of a true revolutionary, the reflections on religion and rebellion proved to be ideologically suitable and successful. The Gadfly was exceptionally popular in the Soviet Union and the People's Republic of China exerting a large cultural influence. In the Soviet Union The Gadfly was compulsory reading and the top best seller, indeed by the time of Voynich's death The Gadfly is estimated to have sold 2,500,000 copies in the Soviet Union alone.
  
  The Russian composer Mikhail Zhukov turned the book into an opera "The Gadfly" ("Овод" 1928). In 1955, the Soviet director Aleksandr Fajntsimmer adapted the novel into a film of the same title (Russian: Ovod). Composer Dmitri Shostakovich wrote the score (see The Gadfly Suite). The Romance, a segment from this composition, along with some other excerpts, has since become very popular. Shostakovich's Gadfly theme was also used in the eighties, in the BBC TV series Reilly, Ace of Spies.
  Film adaptations
  
   * 1928. Soviet Georgian film (Krazana) directed by Kote Mardjanishvili.
   * 1955. The Soviet director Aleksandr Fajntsimmer adapted the book into a film of the same name (Russian: Овод, Ovod). Dmitri Shostakovich composed the score, known as The Gadfly Suite. The Romance section of this score has since become popular, and was used as the theme music for the series Reilly, Ace of Spies about master spy Sidney Reilly.
   * 1980. Film of Nikolai Mashchenko with Andrei Kharitonov, Sergei Bondarchuk and Anastasiya Vertinskaya.
zhù yào rén biǎo
  niú méng héng héng shàonián shí dài de míng jiào dùnzài 'èrsān juàn zhōnghuà míng fèi léi niú méng shì de chuò hào
   qióng huá lún héng héng huá lún shēng de 'ér shàonián shí dài de péng yǒuhòu qiáo wàn jié hūn
   láo lún zuǒméng tài héng héng jiào shì zhēn zhèng de shēng hòu shēng wéi hóng zhù jiào
   héng héng de qīnlǎo dùn de hòu méng tài de qíng réntiān zhù jiào
   jié dùn héng héng míng shàng de cháng xiōng dùn lún chuán gōng de zhù rén
   zhū héng héng jié dùn de
   tuō dùn héng héng míng shàng de xiōng
   héng héng dùn jiā de guǎn jiā
   'ān héng héng dùn jiā de chē
   ēn héng héng lāi hēng jiān kānshǒu cháng
   kǎi  héng héng qióng de ?
   'ān héng héng niú méng zài luó lún de
   lāi héng héng sài láng
   'ěr héng héng qīng nián dǎng luó lún zhī de dǎng yuán qióng de péng yǒuwén xué wěi yuán huì chéng yuán
   héng héng xué jiào shòuwén xué wěi yuán huì chéng yuán
   héng héng de shīwén xué wěi yuán huì de chéng yuán
   lāi  jiā héng héng wén xué wěi yuán huì chéng yuán
   jiā  héng héng qīng nián dǎng luó lún zhī de dǎng yuánwén xué wěi yuán huì de chéng yuán
   'ěr duō héng héng shēngqīng nián dǎng luó lún zhī de dǎng yuánwén xué wěi yuán huì de chéng yuán
   héng héng wén xué wěi yuán huì chéng yuán
   xiē 'ěr héng héng hóng dài huì huì yuán píng níng shān de fàn
   duō nuò héng héng hóng dài huì rén zhī píng níng shān de fàn
   'ěr héng héng hóng dài huì huì yuán píng níng shān de fàn
     shuài héng héng liè gài chéng bǎo zhōng de wèi bīng
   'ěr héng héng shén xué yuàn xīn yuàn cháng tàn
   fèi héng héng liè gài de tǒng lǐngshàng xiào


  "What have we to do with Thee, Thou Jesus of Nazareth?"
   AUTHOR'S PREFACE.
   MY most cordial thanks are due to the many persons who helped me to collect, in Italy, the materials for this story. I am especially indebted to the officials of the Marucelliana Library of Florence, and of the State Archives and Civic Museum of Bologna, for their courtesy and kindness.
zhāng
   zuò zài shén xué yuàn de shū guǎn liú lǎn zhe duī dào shǒu gǎo
   zhè shì liù yuè de yán de wǎn shàngchuāng quándōu sàn kāibǎi chuāng què shì bàn yǎn zhewéi de shì yòu xiē liáng shén xué yuàn yuàn cháng méng tài shén tíng xià lái xiáng wàng zhe mái zài shǒu gǎo de tóu hēi
   Carino qīn 'ài de zhǎo dào méi guān de jié jiù zhòng xiě biàn néng shì bèi diào liǎoràng bái máng liǎo zhè me cháng de shí jiān
   méng tài de shēng yīn chén 'ér hún hòuyuè 'ěr de yīn gěi de huà zēng tiān liǎo zhǒng shū de mèi wèi tiān shēng de yǎn shuō jiā cái huì bèi zhè zhǒng yáng dùn cuò de shēng yīn zài gēn shuō huà shí diào zhōng zǒng shì hán zhe zhǒng 'ài
  “ , Padre[ shén tiān zhù jiào duì jiào shì de chēng zhè zhǐ qīn zhí chēng méng tài wéi“ Padre”, jiàn duì méng tài huái yòu hěn shēn de gǎn qíng。], dìng yào zhǎo dào gǎn kěn dìng nín shì fàng zài zhè dezài xiě biàn néng qián de yàng。”
   méng tài 'àn gōng zuò zhǐ hūn hūn shuì de jīn guī tíng zài chuāng wàizhèng zài jīng cǎi míng jiào。“ cǎo méicǎo méi!” shuǐ guǒ xiǎo fàn de jiào mài shēng cóng jiē dào tóu chuán láiyōu cháng 'ér yòu liáng
  “《 fēng bìng rén de zhì liáo》, jiù zài zhè 。” cóng fáng jiān biān zǒu guò lái qīng yíng de zǒng ràng de jiā rén gǎn dào nǎo huǒ cháng yòu shòu yòu xiǎo xiàng shì sān shí nián dài de wèi yīng guó zhōng chǎn jiē qīng niángèng xiàng shì shí liù shì xiào xiàng huà zhōng de wèi réncóng cháng cháng de méi máomǐn gǎn de zuǐ chún dào xiǎo qiǎo de shǒu jiǎo shēn shàng de měi wèi xiǎn guò jīng zhìtài ruò jìn fēng liǎoyào shì 'ān jìng zuò zài bié rén huì wéi shì shēn zhe nán zhuāng de háicháng chǔ chǔ dòng réndàn shì zài zǒu dòng de shí hòu qīng yíng 'ér yòu mǐn jié de tài shǐ rén xiǎng dào zhǐ xùn de bào jīng méi yòu liǎo zhǎo
  “ zhēn de zhǎo dào liǎo méi yòu liǎo gāi zěn me bàn kěn dìng huì lǎo shì diūsānlàsì desuàn liǎo xiàn zài jiù xiě liǎodào huā yuán lái bāng wēn gōng xiǎo fāng yòu shénme dǒng de?”
   men zǒu jìn xiū dào yuàn de huā yuánzhè hěn yōu jìng shù chéng yìnshén xué yuàn suǒ zhàn de jiàn zhù céng shì duō míng huì de zuò xiū dào yuànliǎng bǎi duō nián qiánzhè fāng fāng de yuàn luò céng bèi shōu shí zhěng zhěng zhí de huáng yáng shù zhī jiān cháng zhe cóng cóng de dié xiāng xūn cǎobèi jiǎn duǎn duǎn dexiàn zài xiē céng jīng zāi zhǒng guò men de bái páo xiū shì quándōu wéi 'ānméi yòu rén zài xiǎng mendàn shì yōu xiāng de yào cǎo réng zài jìng de zhòng xià wǎn kāi huā yànjìn guǎn zài méi yòu rén cǎi huā ruǐ páozhì cǎo yào liǎocóng shēng de lán qín lóu dǒu cài tián mǎn liǎo shí bǎn de lièfèngyuàn zhōng yāng de shuǐ jǐng jīng ràng wèi gěi liǎo yáng chǐ zòng héng jiāo cuò de jǐng tiān cǎoméi guī huā péng péngfēn de gēn shēn chū tiáo màn yuè guò liǎo xiǎo jìnghuáng yáng shù shǎn yào zhe shuò de hóng méi huāgāo gāo de máo huáng zài cǎo de shàng miàn chuí xià liǎo tóu rén zhào kàn de lǎo táo téng jiēguǒténg tiáo cóng wéi rén men wàng de gǒu shù zhī shàng chuí guà xià láiyáo huàng zhe mào de zhī tóumàn yōu yōu dequè tíng xià láidài zhe zhǒng 'āi yuàn
   xià kāi huā de lán shù tǐng zài yuàn luò de jiǎogāo de shùgàn xiàng shì zuò yóu mào de shù duī chéng de xià tàn chū bái de huā duǒ
   zhǐ zuò gōng cāo de dèng 'āi zhe shùgànméng tài jiù zuò zài shàng miàn zài xué zhù xiū zhé xuéyīn wéi zài shū shàng dào liǎo dào nán suǒ jiù lái zhǎo de“ Padre” jiě huò bìng shì shén xué yuàn de xué shēngdàn shì méng tài duì lái shuō què shì běn bǎi quán shū
  “ zhè huì 'ér gāi zǒu liǎo。” děng zhāng jié jiǎng jiě wán liǎo hòu shuō dào,“ yào shì méi yòu bié de shì qíng jiù zǒu liǎo。”
  “ xiǎng jiē zhe gōng zuòdàn shì guǒ yòu shí jiān de huà wàng néng dài shàng huì 'ér。”
  “ hǎo!” kào zài shùgàn shàngtái tóu tòu guò yǐng yǐng chuò chuò de shù yáo wàng jìng de tiān kōng 'àn dàn de xīng xīng jīng zài shǎn shuòhēi de jié máo xià miàn cháng zhe shuāng shēn lán de yǎn jīngmèng huàn bān shén zhè shuāng yǎn jīng chuán wèi chū shēng kāng 'ěr jùn de qīnméng tài zhuǎn guò tóu miǎn kàn jiàn shuāng yǎn jīng
  “ kàn shàng tǐng lěi, Carino。” méng tài shuō dào
  “ méi bàn 。” de shēng yīn dài zhe juàn , Padre jiù zhù dào liǎo
  “ yīnggāi zhè me zǎo jiù shàng xué huì 'ér zhào liào bìng rén zhěng shuì liǎo juéshēn gěi tuō kuǎ liǎo zài kāi zhī qián yīnggāi jiān chí ràng hǎohǎo xiū duàn shí jiān。”
  “ , Padre, yòu shénme yòng qīn shì hòu guǐ jiā jiù dài xià liǎozhū huì fēng de!”
   zhū shì tóng xiōng cháng de duì lái shuō shì gēn
  “ yīnggāi ràng jiā rén zhù zài ,” méng tài qīng shēng shuō dào,“ qīng chǔ yàng duì diǎn hǎo chù dōuméi yòudàn shì wàng néng jiē shòu wèi zuò shēng de yīng guó péng yǒu de yāo qǐng guǒ zài jiā zhù shàng yuèhuí tóu zài shàng xué de shēn huì hǎo duō。”
  “ , Padre, gāi yàng zuò 'āhuá lún jiā réndōu fēi cháng hǎo hěndàn shì men jiù shì míng báiér qiě men hái jué lián cóng men de liǎn shàng néng gòu kàn chū lái men huì shè 'ān wèi tán qīnqióng dāng rán huì yàng zǒng shì zhī dào gāi shuō xiē shénmeshèn zhì zài men hěn xiǎo de shí hòu jiù zhè yàngdàn shì de rén huì shuō dehái yòu héng héng
  “ hái yòu shénme de hái ?”
   cóng gēn chuí de máo huáng zhī tiáo shàng luō xià liǎo duǒ huā láishén jīng zhì yòng shǒu róu suì men
  “ xiǎo zhèn dài xià liǎo。” zài piàn zhī hòu shuō dào
  “ de jiā diàn zài xiǎo shí cháng gěi mǎi wán yán de dào zài bìng zhòng qián cháng sàn guǎn zǒu dào zǒng shì ràng chù jǐng shēng qíngměi wèi mài huā de niàn huì xiàng zǒu láishǒu pěng zhe xiān huā héng héng hǎo xiàng xiàn zài hái yào men shìdehái yòu jiào táng héng héng kāi kàn jiàn fāng jiù ràng shāng xīn héng héng
   zhù liǎo huà tóuzuò xià lái máo huáng chéng liǎo suì piànyōu cháng 'ér yòu shēn chén de jìng zhì tái tóu lái mèn shén wèishénme shuō huà lán shù xiàtiān jiàn jiàn 'àn liǎo xià lái qiēdōu xiǎn ruò yǐn ruò xiàndàn shì hái yòu guāng kàn jiàn méng tài liǎn shàbáiguài xià rén de zhèng zhe tóuyòu shǒu jǐn jǐn zhuā zhù dèng de biān jiǎo zhuǎn guò tóu xīn zhōng yóu rán chǎn shēng zhǒng jìng wèi zhī qíngjīng 'ě fǎng shì zài zhī jiān shàng liǎo shèng
  “ de shàng !” xiǎng,“ zài shēn biān xiǎn duō me miǎo xiǎoduō me shǐ shì dào liǎo zhè yàng de xìng néng jué gèng jiā shāng gǎn。”
   méng tài suí tái tóu lái xià kàn liǎo kàn
  “ huì qiǎngpò huí dào xiàn zài lùn wǒdōu huì me zuò,” mǎn hán shēn qíng shuō dào,“ dàn shì dāyìng tiáojīn nián fàng shǔ jiǎ shí hǎohǎo xiū xià kàn zuì hǎo hái shì yuǎn néng yǎn kàn zhe de shēn kuǎ xià 。”
  “ Padre, nín zài shén xué yuàn fàng jiǎ shí dào 'ér ?”
  “ huì dài zhe xué shēng jìn shānjiù xiàng wǎng yàngzhào kàn men zài 'ān dùn xià lái shì dào liǎo yuè zhōng xún yuàn cháng xiū wán jiǎ hòu jiù huì huí lái shí jiù huì 'ā 'ěr bēi shān sǎnsǎn xīn huì gēn dài dào shān zuò cháng xíngér qiě huì yuàn yán jiū xià 'ā 'ěr bēi shān de tái xiǎn shìzhǐ yòu rén zài shēn biān huì jué shí fēn wèi ?”
  “ Padre!” pāi shǒu láizhū shuō zhè zhǒng dòng zuò bào chūdiǎn xíng de wài guó pài tóu”。“ néng nín jiào gànshénme wǒdōu yuàn zhǐ shì héng héng zhī dào héng héng zhù liǎo huà tóu
  “ rèn wéi dùn xiān shēng huì tóng ?”
  “ dāng rán huì dedàn shì hǎo duì héng jiā gān shè liǎo xiàn zài dōuyǐ shí suì liǎoxiǎng gànshénme jiù néng gànshénmehuà yòu shuō huí lái zhǐ shì de tóng xiōng cháng kàn chū jiù gāi duì shǒu tiē 'ěr duì qīn zǒng shì hǎo。”
  “ dàn shì guǒ dàngzhēn fǎn duì kàn zuì hǎo jiù yào wéi bèi de yuàn rán de huà huì xiàn zài jiā de chǔjìng huì gèng nán héng héng
  “ diǎn huì gèng nán!” xíng duàn liǎo de huà。“ men zǒng shì hèn guò hèn jiāng lái hái huì hèn héng héng zhè zuò shénme méi yòu guān wài shì tóng níntóng de chàn huǐ shén dào wài chūjié hái zěn me néng dàngzhēn fǎn duì ?”
  “ shì yào zhù shì wèi xīn jiào hái shì gěi xiě fēng xìn men fáng děng děngkàn zěn me shuōdàn shì yào cāo zhī guò de hái guǎn rén jiā shì hèn hái shì 'ài dōuyào jiǎn diǎn de suǒ zuò suǒ wéi。”
   wěi wǎn dào chū bèi de huà lái diǎn huì ràng tīng liǎo liǎn hóng
  “ shì de zhī dào。” dàobìng qiě tàn liǎo shēng。“ zhè tài nán liǎo héng héng
  “ xīng 'èr wǎn shàng méi néng guò láidāng shí jué hěn hàn。” méng tài shuō dào rán zhī jiān huàn liǎo huà ,“ ā léi zuǒ zhù jiào dào zhè 'ér lái liǎo shì xiǎng ràng jiàn jiàn 。”
  “ dāyìng liǎo xué shēngyào de zhù chù kāi huìdāng shí men zài 'ér děng 。”
  “ shénme huì?”
   tīng dào liǎo zhè wèn hǎo xiàng yòu xiē jiǒng 。“ shì zhèngzhèng cháng de huì ,” shuō dàoyīn wéi jǐn zhāng 'ér yòu diǎn kǒu chī。“ yòu xué shēng cóng lái liǎo gěi men zuò liǎo yánsuàn shìshì héng héng jiǎng yǎn 。”
  “ jiǎng liǎo xiē shénme?”
   yòu xiē yóu 。“ Padre, nín yào wèn de míng hǎo yīn wéi dāyìng guò héng héng
  “ huì wèn shénmeér qiě guǒ jīng dāyìng guò bǎo dāng rán jiù gāi gào dàn shì dào liǎo xiàn zài xiǎng gāi xìn rèn liǎo 。”
  “ Padre, dāng rán xìn rèn jiǎng dào liǎo héng héng men men duì rén mín de rèn héng héng hái yòuduì men de rènhái jiǎng dào liǎo héng héng men zuò xiē shénme biàn bāng zhù héng héng
  “ bāng zhù shuí?”
  “ bāng zhù nóng mín héng héng héng héng
  “ shénme?”
  “ 。”
   zhèn cháng jiǔ de chén
  “ gào ,” méng tài shuō zhuǎn shēn kàn zhe diào fēi cháng zhuāng zhòng。“ zhè shì kǎo liǎo duō cháng shí jiān?”
  “ cóng héng héng nián dōng tiān。”
  “ shì zài qīn shì zhī qián zhī dào zhè shì ?”
  “ zhī dào shí duì bìng guān xīn。”
  “ me xiàn zài héng héng guān xīn zhè shì ?”
   yòu jiū xià liǎo máo huáng huā guān
  “ shì zhè yàng deshén ,” kāi kǒu shuō dàoyǎn jīng kàn zhe shàng。“ zài nián zhǔn bèi xué kǎo shì shí jié shí liǎo duō xué shēng hái eyòu xiē xué shēng kāi shǐ duì tán lùn héng héng suǒ yòu zhè xiē shì qíngbìng qiě jiè shū gěi kàn
   dàn shì duì zhè shì guān xīndāng shí zhǐ xiǎng zǎo diǎn huí jiā kàn qīn zhī dào dezài suǒ láo bān de fáng men tóu jiàn tái tóu jiàn shí fēn dānzhū zhāng zuǐ néng gěi hòu lái dào liǎo dōng tiān bìng fēi cháng hài jiù xiē xué shēng men xiē shū quán gěi wàng liǎohòu lái zhī dào de jiù gēn běn dào lái liǎo guǒ xiǎng dào liǎo zhè shì dāng shí kěn dìng huì gēn qīn shuō dedàn shì jiù shì méi yòu xiǎng láihòu lái xiàn yào liǎo héng héng zhī dào de jīhū shì zhí péi zhe zhí dào jīng cháng zhěng shuìqióng · huá lún bái tiān huì lái huàn shuì juéejiù shì zài xiē màn màn cháng zhè cái xiǎng liǎo xiē shū lái xiē xué shēng suǒ shuō de huà héng héng bìng qiě kǎo men shuō de duì duì men de zhù duì zhè shì huì zěn me shuō。”
  “ wèn guò ?” méng tài de shēng yīn bìng shí fēn píng jìng
  “ wèn guò, Padre。 yòu shí xiàng dǎoqiú gào gāi zuò xiē shénmehuò zhě qiú ràng tóng qīn dàn shì dào rèn de 。”
  “ méi yòu gēn guò wàng dāng shí néng xìn rèn 。”
  “ Padre, nín zhī dào xìn rèn níndàn shì yòu xiē shì qíng nín néng suí biàn shuō héng héng zài kàn lái shí méi rén néng gòu bāng héng héng shèn zhì lián nín qīn bāng shàng cóng shàng zhí jiē dào de nín zhī dào dezhè guān dào de shēng zhěng de líng hún。”
   méng tài zhuǎn guò shēn níng shì zhe zhī fán mào de lán shùzài 'àn dàn de zhī zhōng de shēn xíng biàn láijiù xiàng shì hēi 'àn de guǐ húnqián zài yán gèng 'àn de shù zhī zhī jiān
  “ hòu lái ?” màn shēng tóng dào
  “ hòu lái héng héng jiù liǎonín zhī dào dezuì hòu de sān tiān wǎn shàng zhí péi zhe héng héng
   shuō xià liǎotíng dùn liǎo piàn dàn shì méng tài dòng dòng
  “ zài men 'ān zàng zhī qián de liǎng tiān ,” shuō dàoshēng yīn fàng gèng ,“ shénme shì qíng dōubù néng xiǎnghòu lái zài zàng hòu jiù bìng dǎo liǎonín zǒng wǒdōu néng lái zuò chàn huǐ。”
  “ shì de 。”
  “ e tiān shēn shēn zǒu jìn qīn de fáng jiān miàn kōng dàng dàng dezhǐ yòu shén shí de shí jià hái zài xīn xiǎng shàng huì gěi bāng zhù guì liǎo xià láiděng zhe héng héng děng liǎo zhěng dào liǎo zǎo chén xǐng liǎo guò lái héng héng Padre, méi yòu yòng de jiě shì qīng gào nín kàn jiàn liǎo shénme héng héng diǎn 'ér dōubù zhī dàodàn shì zhī dào shàng jīng huí liǎo ér qiě gǎn wéi kàng de yuàn。”
   men zuò shēngzài hēi 'àn zhī zhōng zuò liǎo huì 'érméng tài suí hòu zhuǎn guò shēn lái shǒu fàng zài de jiān shàng
  “ de hái ,” shuō,“ shàng shuō méi yòu gēn jiǎng guò huà
   dàn shì zhù zài shēng zhè jiàn shì de shí hòu de chǔjìng yào bēi tòng huò zhě huàn bìng suǒ chǎn shēng de huàn xiǎng dāng zuò shì xiàng chū liǎo zhuāng yán de gǎn zhào guǒ de què shì tōng guò wáng de yīn yǐng duì zuò chū liǎo me qiān wàn yào jiě de de xīn dào zài xiǎng xiē shénme ?”
   zhàn shēn lái dùn zuò liǎo huí hǎo xiàng shì zài bèi sòng duàn jiào wèn
  “ xiàn shēn bāng zhe cóng nán zhōng jiě jiù chū láibìng qiě zhú 'ào rénshǐ chéng wéi gòng guóméi yòu guó wángzhǐ yòu。”
  “ xiǎng xiǎng zài shuō xiē shénme shèn zhì dōubù shì rén 'ā。”
  “ zhè méi yòu shénme bié shì rán jīng dào liǎo shàng de shì jiù yào wéi 'ér xiàn shēn。”
   yòu shì zhèn chén
  “ gāng cái jiǎng de jiù shì yào shuō de huà héng héngméng tài màn tiáo shuō dàodàn shì duàn liǎo de huà
  “ shuō fán wèiwǒ 'ér xiàn shēn de réndōu jiāng huò xīn shēng
   méng tài zhǐ gēbo chēng zhe gēn shù zhīlìng zhǐ shǒu zhē zhù shuāng yǎn
  “ zuò huì 'ér de hái ,” zuì zhōng shuō dào
   zuò liǎo xià lái, Padre, jǐn jǐn zhù shuāng shǒu
  “ jīn wǎn shàng néng gēn zhǎn kāi biàn lùn,” shuō,“ zhè jiàn shì duì lái shuō tài rán liǎo héng héng méi yòu xiǎng guò héng héng 'ān pái shí jiān zǎi kǎo xiàrán hòu men zài què qiē tán tándàn shì xiàn zài yào zhù jiàn shì
   guǒ zài zhè jiàn shì shàng dào liǎo fán guǒ héng héng liǎo huì ràng xīn suì de。”
  “ Padre héng héng
  “ ràng huà shuō wányòu gào guò zài zhè shì shàng chú liǎo zhī wài méi yòu rén bìng rèn wéi wán quán jiě zhè huà de
   rén zài nián qīng de shí hòu hěn nán jiě zhè huà de guǒ xiàng zhè me jiě liǎo jiù xiàng de héng héng jiù xiàng de héng héng de 'ér dǒng shì yǎn de guāng míng shì xīn zhōng de wàngwèile ràng zǒu cuò huǐ liǎo de shēng qíng yuàn dàn shì néng wéi yào qiú duì zuò chū shénme chéng nuò zhǐ yào qiú zhù zhè diǎnbìng qiě shì shì xiǎo xīnzài rán jué rán zǒu chū zhè shí hǎohǎo xiǎng xiǎng guǒ bùwèi liǎo zài tiān de qīn wèile xiǎng xiǎng。”
  “ huì de héng héng 'ér qiě héng héng shén wèiwǒ dǎo wéi dǎo 。”
   guì liǎo xià láiméng tài shǒu fàng zài chuí xià de tóu shàngguò liǎo huì 'ér tái tóu láiqīn wěn liǎo xià zhǐ shǒurán hòu zhe zhān mǎn shuǐ de cǎo qīng qīng méng tài zuò zài lán shù xiàzhí lèng lèng wàng zhuóyǎn qián de hēi 'àn
  “ shàng jīng jiàng zuì liǎo,” xiǎng,“ jiù xiàng jiàng zuì wèi yàng jīng diàn liǎo de shèng suǒbìng yòng 'āng zàng de shǒu xiè dòu liǎo shèng héng héng duì zhí dōuhěn yòu nài xīnxiàn zài zhōng jiàng zuì 。‘ zài 'àn zhōng xíng zhè shì què yào zài liè zhòng rén miàn qián guāng zhī xià bào yìng suǒ de hái dìng yào 。’[ yǐn shèng jīngzhī 'ěr xià》]”
  ( · zhāng wán


  Arthur sat in the library of the theological seminary at Pisa, looking through a pile of manuscript sermons. It was a hot evening in June, and the windows stood wide open, with the shutters half closed for coolness. The Father Director, Canon Montanelli, paused a moment in his writing to glance lovingly at the black head bent over the papers.
   "Can't you find it, carino? Never mind; I must rewrite the passage. Possibly it has got torn up, and I have kept you all this time for nothing."
   Montanelli's voice was rather low, but full and resonant, with a silvery purity of tone that gave to his speech a peculiar charm. It was the voice of a born orator, rich in possible modulations. When he spoke to Arthur its note was always that of a caress.
   "No, Padre, I must find it; I'm sure you put it here. You will never make it the same by rewriting."
   Montanelli went on with his work. A sleepy cockchafer hummed drowsily outside the window, and the long, melancholy call of a fruitseller echoed down the street: "Fragola! fragola!"
   "'On the Healing of the Leper'; here it is." Arthur came across the room with the velvet tread that always exasperated the good folk at home. He was a slender little creature, more like an Italian in a sixteenth-century portrait than a middle-class English lad of the thirties. From the long eyebrows and sensitive mouth to the small hands and feet, everything about him was too much chiseled, overdelicate. Sitting still, he might have been taken for a very pretty girl masquerading in male attire; but when he moved, his lithe agility suggested a tame panther without the claws.
   "Is that really it? What should I do without you, Arthur? I should always be losing my things. No, I am not going to write any more now. Come out into the garden, and I will help you with your work. What is the bit you couldn't understand?"
   They went out into the still, shadowy cloister garden. The seminary occupied the buildings of an old Dominican monastery, and two hundred years ago the square courtyard had been stiff and trim, and the rosemary and lavender had grown in close-cut bushes between the straight box edgings. Now the white-robed monks who had tended them were laid away and forgotten; but the scented herbs flowered still in the gracious mid-summer evening, though no man gathered their blossoms for simples any more. Tufts of wild parsley and columbine filled the cracks between the flagged footways, and the well in the middle of the courtyard was given up to ferns and matted stone-crop. The roses had run wild, and their straggling suckers trailed across the paths; in the box borders flared great red poppies; tall foxgloves drooped above the tangled grasses; and the old vine, untrained and barren of fruit, swayed from the branches of the neglected medlar-tree, shaking a leafy head with slow and sad persistence.
   In one corner stood a huge summer-flowering magnolia, a tower of dark foliage, splashed here and there with milk-white blossoms. A rough wooden bench had been placed against the trunk; and on this Montanelli sat down. Arthur was studying philosophy at the university; and, coming to a difficulty with a book, had applied to "the Padre" for an explanation of the point. Montanelli was a universal encyclopaedia to him, though he had never been a pupil of the seminary.
   "I had better go now," he said when the passage had been cleared up; "unless you want me for anything."
   "I don't want to work any more, but I should like you to stay a bit if you have time."
   "Oh, yes!" He leaned back against the tree-trunk and looked up through the dusky branches at the first faint stars glimmering in a quiet sky. The dreamy, mystical eyes, deep blue under black lashes, were an inheritance from his Cornish mother, and Montanelli turned his head away, that he might not see them.
   "You are looking tired, carino," he said.
   "I can't help it." There was a weary sound in Arthur's voice, and the Padre noticed it at once.
   "You should not have gone up to college so soon; you were tired out with sick-nursing and being up at night. I ought to have insisted on your taking a thorough rest before you left Leghorn."
   "Oh, Padre, what's the use of that? I couldn't stop in that miserable house after mother died. Julia would have driven me mad!"
   Julia was his eldest step-brother's wife, and a thorn in his side.
   "I should not have wished you to stay with your relatives," Montanelli answered gently. "I am sure it would have been the worst possible thing for you. But I wish you could have accepted the invitation of your English doctor friend; if you had spent a month in his house you would have been more fit to study."
   "No, Padre, I shouldn't indeed! The Warrens are very good and kind, but they don't understand; and then they are sorry for me,--I can see it in all their faces,--and they would try to console me, and talk about mother. Gemma wouldn't, of course; she always knew what not to say, even when we were babies; but the others would. And it isn't only that----"
   "What is it then, my son?"
   Arthur pulled off some blossoms from a drooping foxglove stem and crushed them nervously in his hand.
   "I can't bear the town," he began after a moment's pause. "There are the shops where she used to buy me toys when I was a little thing, and the walk along the shore where I used to take her until she got too ill. Wherever I go it's the same thing; every market-girl comes up to me with bunches of flowers--as if I wanted them now! And there's the church-yard--I had to get away; it made me sick to see the place----"
   He broke off and sat tearing the foxglove bells to pieces. The silence was so long and deep that he looked up, wondering why the Padre did not speak. It was growing dark under the branches of the magnolia, and everything seemed dim and indistinct; but there was light enough to show the ghastly paleness of Montanelli's face. He was bending his head down, his right hand tightly clenched upon the edge of the bench. Arthur looked away with a sense of awe-struck wonder. It was as though he had stepped unwittingly on to holy ground.
   "My God!" he thought; "how small and selfish I am beside him! If my trouble were his own he couldn't feel it more."
   Presently Montanelli raised his head and looked round. "I won't press you to go back there; at all events, just now," he said in his most caressing tone; "but you must promise me to take a thorough rest when your vacation begins this summer. I think you had better get a holiday right away from the neighborhood of Leghorn. I can't have you breaking down in health."
   "Where shall you go when the seminary closes, Padre?"
   "I shall have to take the pupils into the hills, as usual, and see them settled there. But by the middle of August the subdirector will be back from his holiday. I shall try to get up into the Alps for a little change. Will you come with me? I could take you for some long mountain rambles, and you would like to study the Alpine mosses and lichens. But perhaps it would be rather dull for you alone with me?"
   "Padre!" Arthur clasped his hands in what Julia called his "demonstrative foreign way." "I would give anything on earth to go away with you. Only--I am not sure----" He stopped.
   "You don't think Mr. Burton would allow it?"
   "He wouldn't like it, of course, but he could hardly interfere. I am eighteen now and can do what I choose. After all, he's only my step-brother; I don't see that I owe him obedience. He was always unkind to mother."
   "But if he seriously objects, I think you had better not defy his wishes; you may find your position at home made much harder if----"
   "Not a bit harder!" Arthur broke in passionately. "They always did hate me and always will--it doesn't matter what I do. Besides, how can James seriously object to my going away with you--with my father confessor?"
   "He is a Protestant, remember. However, you had better write to him, and we will wait to hear what he thinks. But you must not be impatient, my son; it matters just as much what you do, whether people hate you or love you."
   The rebuke was so gently given that Arthur hardly coloured under it. "Yes, I know," he answered, sighing; "but it is so difficult----"
   "I was sorry you could not come to me on Tuesday evening," Montanelli said, abruptly introducing a new subject. "The Bishop of Arezzo was here, and I should have liked you to meet him."
   "I had promised one of the students to go to a meeting at his lodgings, and they would have been expecting me."
   "What sort of meeting?"
   Arthur seemed embarrassed by the question. "It--it was n-not a r-regular meeting," he said with a nervous little stammer. "A student had come from Genoa, and he made a speech to us-- a-a sort of--lecture."
   "What did he lecture about?"
   Arthur hesitated. "You won't ask me his name, Padre, will you? Because I promised----"
   "I will ask you no questions at all, and if you have promised secrecy of course you must not tell me; but I think you can almost trust me by this time."
   "Padre, of course I can. He spoke about--us and our duty to the people--and to--our own selves; and about--what we might do to help----"
   "To help whom?"
   "The contadini--and----"
   "And?"
   "Italy."
   There was a long silence.
   "Tell me, Arthur," said Montanelli, turning to him and speaking very gravely, "how long have you been thinking about this?"
   "Since--last winter."
   "Before your mother's death? And did she know of it?"
   "N-no. I--I didn't care about it then."
   "And now you--care about it?"
   Arthur pulled another handful of bells off the foxglove.
   "It was this way, Padre," he began, with his eyes on the ground. "When I was preparing for the entrance examination last autumn, I got to know a good many of the students; you remember? Well, some of them began to talk to me about--all these things, and lent me books. But I didn't care much about it; I always wanted to get home quick to mother. You see, she was quite alone among them all in that dungeon of a house; and Julia's tongue was enough to kill her. Then, in the winter, when she got so ill, I forgot all about the students and their books; and then, you know, I left off coming to Pisa altogether. I should have talked to mother if I had thought of it; but it went right out of my head. Then I found out that she was going to die----You know, I was almost constantly with her towards the end; often I would sit up the night, and Gemma Warren would come in the day to let me get to sleep. Well, it was in those long nights; I got thinking about the books and about what the students had said--and wondering-- whether they were right and--what-- Our Lord would have said about it all."
   "Did you ask Him?" Montanelli's voice was not quite steady.
   "Often, Padre. Sometimes I have prayed to Him to tell me what I must do, or to let me die with mother. But I couldn't find any answer."
   "And you never said a word to me. Arthur, I hoped you could have trusted me."
   "Padre, you know I trust you! But there are some things you can't talk about to anyone. I--it seemed to me that no one could help me--not even you or mother; I must have my own answer straight from God. You see, it is for all my life and all my soul."
   Montanelli turned away and stared into the dusky gloom of the magnolia branches. The twilight was so dim that his figure had a shadowy look, like a dark ghost among the darker boughs.
   "And then?" he asked slowly.
   "And then--she died. You know, I had been up the last three nights with her----"
   He broke off and paused a moment, but Montanelli did not move.
   "All those two days before they buried her," Arthur went on in a lower voice, "I couldn't think about anything. Then, after the funeral, I was ill; you remember, I couldn't come to confession."
   "Yes; I remember."
   "Well, in the night I got up and went into mother's room. It was all empty; there was only the great crucifix in the alcove. And I thought perhaps God would help me. I knelt down and waited--all night. And in the morning when I came to my senses--Padre, it isn't any use; I can't explain. I can't tell you what I saw--I hardly know myself. But I know that God has answered me, and that I dare not disobey Him."
   For a moment they sat quite silent in the darkness. Then Montanelli turned and laid his hand on Arthur's shoulder.
   "My son," he said, "God forbid that I should say He has not spoken to your soul. But remember your condition when this thing happened, and do not take the fancies of grief or illness for His solemn call. And if, indeed, it has been His will to answer you out of the shadow of death, be sure that you put no false construction on His word. What is this thing you have it in your heart to do?"
   Arthur stood up and answered slowly, as though repeating a catechism:
   "To give up my life to Italy, to help in freeing her from all this slavery and wretchedness, and in driving out the Austrians, that she may be a free republic, with no king but Christ."
   "Arthur, think a moment what you are saying! You are not even an Italian."
   "That makes no difference; I am myself. I have seen this thing, and I belong to it."
   There was silence again.
   "You spoke just now of what Christ would have said----" Montanelli began slowly; but Arthur interrupted him:
   "Christ said: 'He that loseth his life for my sake shall find it.'"
   Montanelli leaned his arm against a branch, and shaded his eyes with one hand.
   "Sit down a moment, my son," he said at last.
   Arthur sat down, and the Padre took both his hands in a strong and steady clasp.
   "I cannot argue with you to-night," he said; "this has come upon me so suddenly--I had not thought--I must have time to think it over. Later on we will talk more definitely. But, for just now, I want you to remember one thing. If you get into trouble over this, if you--die, you will break my heart."
   "Padre----"
   "No; let me finish what I have to say. I told you once that I have no one in the world but you. I think you do not fully understand what that means. It is difficult when one is so young; at your age I should not have understood. Arthur, you are as my--as my--own son to me. Do you see? You are the light of my eyes and the desire of my heart. I would die to keep you from making a false step and ruining your life. But there is nothing I can do. I don't ask you to make any promises to me; I only ask you to remember this, and to be careful. Think well before you take an irrevocable step, for my sake, if not for the sake of your mother in heaven."
   "I will think--and--Padre, pray for me, and for Italy."
   He knelt down in silence, and in silence Montanelli laid his hand on the bent head. A moment later Arthur rose, kissed the hand, and went softly away across the dewy grass. Montanelli sat alone under the magnolia tree, looking straight before him into the blackness.
   "It is the vengeance of God that has fallen upon me," he thought, "as it fell upon David. I, that have defiled His sanctuary, and taken the Body of the Lord into polluted hands,--He has been very patient with me, and now it is come. 'For thou didst it secretly, but I will do this thing before all Israel, and before the sun; THE CHILD THAT IS BORN UNTO THEE SHALL SURELY DIE.'"
shǒuyè>> wénxué>> 现实百态>> Ethel Lilian Voynich   yīng guó United Kingdom     (1864niánwǔyuè11rì1960niánqīyuè27rì)