At moments, in spite of thought, she would reply to their inquiries with a manner of superiority, as if recognizing that her experiences in the field of courtship had, indeed, been slightly enviable. But so far was she from being, in the words of Robert South, 'in love with her own ruin', that the illusion was transient as lightning; cold reason came back to mock her spasmodic weakness; the ghastliness of her momentary pride would convict her, and recall her to reserved listlessness again.
有時候,盡管她滿腹心事,但是她回答她們的問題時也會帶上一種高人一等的神氣,好像承認她在情場上的經(jīng)驗,的確是有些讓人羨慕的。不過同羅伯特·騷斯①說的“同她自己的毀滅戀愛”這句話比起來,她還相差得很遠,因此她的幻想也只是像一道閃電,一閃就消失了;冷靜的理智恢復(fù)了,嘲笑她一陣陣出現(xiàn)的弱點;在她暫時出現(xiàn)的驕傲里,有一種可怕的東西譴責(zé)了她,于是她又變得沒精打采起來。

And the despondency of the next morning's dawn, when it was no longer Sunday, but Monday; and no best clothes; and the laughing visitors were gone, and she awoke alone in her old bed, the innocent younger children breathing softly around her. In place of the excitement of her return, and the interest it had inspired, she saw before her a long and stony highway which she had to tread, without aid, and with little sympathy. Her depression was then terrible, and she could have hidden herself in a tomb.
第二天早晨的黎明是令人沮喪的,它已經(jīng)不是禮拜天了,而是禮拜一了;漂亮的衣眼已經(jīng)收藏起來,歡笑的客人已經(jīng)離去,苔絲醒了,孤單地躺在她過去睡覺的床上,比她更年輕的幾個天真的小孩子,躺在她的周圍,輕輕地呼吸著。她回家?guī)淼募雍鸵鸬呐d趣已經(jīng)不見了,她只是看見她的面前有一條漫長的冷酷的大道,她在大道上獨自跋涉,沒有人幫助,也沒有人同情。緊接著她的情緒就可怕地低落下來,恨不得讓自己躲避到墳?zāi)估锶ァ?/div>

In the course of a few weeks Tess revived sufficiently to show herself so far as was necessary to get to church one Sunday morning. She liked to hear the chanting - such as it was - and the old Psalms, and to join in the Morning Hymn. That innate love of melody, which she had inherited from her ballad-singing mother, gave the simplest music a power over her which could well-nigh drag her heart out of her bosom at times.
過了幾個星期苔絲才恢復(fù)過來,有勇氣拋頭露面,敢在一個禮拜天早晨到教堂里去。她喜歡聽唱圣歌——而且是過去的那種圣歌——還喜歡聽那些古老的圣詩,喜歡跟著一起唱晨禱的頌歌。她生來就喜愛音樂,那是她那位喜歡唱民歌的母親遺傳給她的,她這種愛好使最簡單的音樂也具有了一種力量,有時候差不多能把她的心從胸膛里給掏出來。

To be as much out of observation as possible for reasons of her own, and to escape the gallantries of the young men, she set out before the chiming began, and took a back seat under the gallery, close to the lumber, where only old men and women came, and where the bier stood on end among the churchyard tools.
為了自己的緣故,她既要盡可能地避免引起別人的注意,也要避免年輕的男子向她獻殷勤,所以她一直到了教堂的鐘聲開始敲響的時候才動身,并且在走廊下面找了一個后排座位坐下,那兒靠近雜物間,只有老頭兒老太婆才在那兒坐,那兒還放有一堆挖掘墳?zāi)沟墓ぞ?,里面還豎有一個棺材架子。

Parishioners dropped in by twos and threes, deposited themselves in rows before her, rested three-quarters of a minute on their foreheads as if they were praying, though they were not; then sat up, and looked around. When the chants came on one of her favourites happened to be chosen among the rest - the old double chant 'Langdon' - but she did not know what it was called, though she would much have liked to know. She thought, without exactly wording the thought, how strange and godlike was a composer's power, who from the grave could lead through sequences of emotion, which he alone had felt at first, a girl like her who had never heard of his name, and never would have a clue to his personality.
教區(qū)居民三三兩兩地走進教堂,一排排坐在她的前面,他們低著頭在那兒坐了一刻鐘的時間,似乎是在祈禱,但是他們并沒有祈禱;后來他們又坐直了,四處張望起來。唱圣歌的時候,選的恰巧是她喜愛的一首——古老的“朗敦”二部合唱②——不過她不知道那首圣歌叫什么名字,雖然她心里很想知道。她心里想,雖然她無法用語言把心里想法準確地表達出來,但是覺得一個作曲家的力量有多么地神奇,像她這樣一個姑娘,從來沒有聽到過他的名字,一點兒也不知道他的性格,而他被埋在墳?zāi)怪?,卻能夠帶領(lǐng)她在一組充滿感情的圣歌里,體會到最初只有他自己才體會到的感情。

The people who had turned their heads turned them again as the service proceeded; and at last observing her they whispered to each other. She knew what their whispers were about, grew sick at heart, and felt that she could come to church no more.
在禮拜進行的過程中,先前扭頭張望的那些人又把頭扭了過來;后來他們看見她在那兒,就互相竊竊私語起來。她知道他們低聲談?wù)摰氖鞘裁?,就開始傷心起來,覺得她再也不能到教堂里來了。

①羅伯特·騷斯(Robert South,1634-1716),英國神學(xué)家。

②古老的“朗敦”二部合唱(the old double chat“Longdon”),理查德·朗敦(1730-1803)是英國風(fēng)琴家和作曲家,曾為《舊約·詩篇》作曲。