The bedroom which she shared with some of the children formed her retreat more continually than ever. Here, under her few square yards of thatch, she watched winds, and snows, and rains, gorgeous sunsets, and successive moons at their full. So close kept she that at length almost everybody thought she had gone away.
同過(guò)去相比，她和幾個(gè)弟妹們一起共用的寢室，就成了她常常避難的地方了。就在這間寢室里，就在茅屋再下幾平方英尺的地方，她看見(jiàn)窗外沒(méi)有盡頭的凄風(fēng)、苦雨、飛雪，看見(jiàn)無(wú)數(shù)的燦爛夕陽(yáng)，看見(jiàn)一個(gè)又一個(gè)圓月。她就這樣把自己禁錮在寢室里，到了后來(lái)，差不多所有的人都以為她已經(jīng)離開這里了。

The only exercise that Tess took at this time was after dark; and it was then, when out in the woods, that she seemed least solitary. She knew how to hit to a hair's-breadth that moment of evening when the light and the darkness are so evenly balanced that the constraint of day and the suspense of night neutralize each other, leaving absolute mental liberty. It is then that the plight of being alive becomes attenuated to its least possible dimensions. She had no fear of the shadows; her sole idea seemed to be to shun mankind - or rather that cold accretion called the world, which, so terrible in the mass, is so unformidable, even pitiable, in its units.
在這期間，苔絲唯一的活動(dòng)是在天色黃昏以后；她走出屋外，來(lái)到樹林里，那時(shí)候她似乎才不感到孤獨(dú)。她知道怎樣抓住傍晚時(shí)分極短的那個(gè)時(shí)刻，那時(shí)候，光明和黑暗恰到好處地得到平衡，白晝的拘束和黑夜的緊張相互得到中和，留下來(lái)的只是心靈上的絕對(duì)自由。只是在那個(gè)時(shí)候，活著的苦惱才被減少到最小的可能程度。她并不害怕黑夜；她唯一的念頭就是避開人類——或者不如說(shuō)是被稱作世界的冷酷的生命群體，它作為整體是如此令人可怕，而作為個(gè)體卻又不那樣令人害怕，甚至是可憐的。

On these lonely hills and dales her quiescent glide was of a piece with the element she moved in. Her flexuous and stealthy figure became an integral part of the scene. At times her whimsical fancy would intensify natural processes around her till they seemed a part of her own story. Rather they became a part of it; for the world is only a psychological phenomenon, and what they seemed they were. The midnight airs and gusts, moaning amongst the tightly-wrapped buds and bark of the winter twigs, were formulae of bitter reproach. A wet day was the expression of irremediable grief at her weakness in the mind of some vague ethical being whom she could not class definitely as the God of her childhood, and could not comprehend as any other.
她在這些孤寂的山上和小谷里悄悄走著，每走到一地，她就同周圍的環(huán)境融為了一體。她那躲躲閃閃的柔弱身體，也變成了那片景物中不可分割的一個(gè)部分。有時(shí)候，她的離奇幻想會(huì)強(qiáng)化周圍的自然程序，直到它們似乎變成她的歷史中的一部分。它們豈止是變成了她的歷史的一部分，簡(jiǎn)直就是她自己的歷史；因?yàn)槭澜缰皇且环N心理現(xiàn)象，表面看起來(lái)像什么，它實(shí)際上就是什么。午夜的冷風(fēng)和寒氣，在冬天樹枝上還緊緊包裹著的苞芽和樹皮中間嗚咽著，變成了苦苦責(zé)備苔絲的言語(yǔ)。下雨的天氣，就是她心靈中模糊的道德神靈對(duì)她的軟弱所表達(dá)的不可挽救的悲傷，對(duì)于這個(gè)道德神靈，她既不能明確地把它歸入她在童年時(shí)代信仰的上帝那一類里去，也弄不清楚它是其它的什么東西。

But this encompassment of her own characterization, based on shreds of convention, peopled by phantoms and voices antipathetic to her, was a sorry and mistaken creation of Tess's fancy - a cloud of moral hobgoblins by which she was terrified without reason. It was they that were out of harmony with the actual world, not she. Walking among the sleeping birds in the hedges, watching the skipping rabbits on a moonlit warren, or standing under a pheasant-laden bough, she looked upon herself as a figure of Guilt intruding into the haunts of Innocence. But all the while she was making a distinction where there was no difference. Feeling herself in antagonism she was quite in accord. She had been made to break an accepted social law, but no law known to the environment in which she fancied herself such an anomaly.
苔絲在一堆混亂不堪的傳統(tǒng)習(xí)俗上建立起自己的性格，頭腦里充滿了對(duì)她毫不同情的形體和聲音，把自己緊緊包圍起來(lái)，但是，這只不過(guò)是她幻想中的可憐的錯(cuò)誤的創(chuàng)造而已——是她無(wú)故感到害怕的道德魔怪的迷霧。和實(shí)際世界格格不入的正是這些道德魔怪，不是苔絲自己。她在鳥兒熟睡的樹籬中漫游的時(shí)候，看見(jiàn)野兔在月光下的草地上蹦來(lái)跳去，或者，她在野雞棲息的樹枝下站著的時(shí)候，她都把自己看成是一個(gè)罪惡的化身，被人侵犯了清白的領(lǐng)域。所有的時(shí)候，她一直要在沒(méi)有不同的地方區(qū)分出不同來(lái)。她自己感到矛盾的地方，其實(shí)十分和諧。她被動(dòng)地破壞了的只是一條已經(jīng)被人接受了的社會(huì)律條，而不是為環(huán)境所認(rèn)同的社會(huì)律條，可是她卻把自己想象成這個(gè)環(huán)境中的一個(gè)不倫不類的人。