Mr. Maumbry had over-exerted himself in the relief of the suffering poor, and fell a victim—one of the last—to the pestilence which had carried off so many. Two days later he lay in his coffin.
Laura was in the room below. A servant brought in some letters, and she glanced them over. One was the note from herself to Maumbry, informing him that she was unable to endure life with him any longer and was about to elope with Vannicock. Having read the letter she took it upstairs to where the dead man was, and slipped it into his coffin. The next day she buried him.
She was now free.
She shut up his house at Durnover Cross and returned to her lodgings at Creston. Soon she had a letter from Vannicock, and six weeks after her husband's death her lover came to see her.
“I forgot to give you back this—that night,” he said presently, handing her the little bag she had taken as her whole luggage when leaving.
Laura received it and absently shook it out. There fell upon the carpet her brush, comb, slippers, night-dress, and other simple necessaries for a journey. They had an intolerably ghastly look now, and she tried to cover them.
“I can now,” he said, “ask you to belong to me legally—when a proper interval has gone—instead of as we meant.”
There was languor in his utterance, hinting at a possibility that it was perfunctorily made. Laura picked up her articles, answering that he certainly could so ask her—she was free. Yet not her expression either could be called an ardent response. Then she blinked more and more quickly and put her handkerchief to her face. She was weeping violently.
He did not move or try to comfort her in any way. What had come between them? No living person. They had been lovers. There was now no material obstacle whatever to their union. But there was the insistent shadow of that unconscious one; the thin figure of him, moving to and fro in front of the ghastly furnace in the gloom of Durnover Moor.
Yet Vannicock called upon Laura when he was in the neighbourhood, which was not often; but in two years, as if on purpose to further the marriage which everybody was expecting, the—st Foot returned to Budmouth Regis.
Thereupon the two could not help encountering each other at times. But whether because the obstacle had been the source of the love, or from a sense of error, and because Mrs. Maumbry bore a less attractive look as a widow than before, their feelings seemed to decline from their former incandescence to a mere tepid civility. What domestic issues supervened in Vannicock's further story the man in the oriel never knew; but Mrs. Maumbry lived and died a widow.
1900
蒙布里先生在救助受苦受難的窮苦民眾時操勞過度,最終成了奪走無數(shù)生命的病魔的犧牲品——也是最后一批之一。兩天以后他就躺在了棺中。
蘿拉就在樓下的房間里。仆人送來了一些信件,她大致瀏覽了一下。其中一封就是她自己寫給蒙布里的,告訴他她無法忍受跟他一起生活,打算跟范尼科克私奔。讀完后她把信帶上樓,塞進(jìn)了死者的木棺中。第二天她便將他下葬了。
她現(xiàn)在自由了。
她封了他在鄧諾威十字路口的房子,回到了克雷斯頓的住處。很快她收到了范尼科克的來信。她丈夫去世六周之后,她的情人過來看她了。
“我忘了把這個還給你——那天晚上?!彼S即說到,把她私奔時裝著她全部行李的小包遞給她。
蘿拉接過來,漫不經(jīng)心地把包抖開。掉落在地板上的是她的牙刷、梳子、拖鞋、睡衣和其他旅行用品。它們現(xiàn)在看上去丑惡不堪、令人討厭,她試圖把它們蓋起來。
“現(xiàn)在我可以,”他說,“合法地向你求婚了——再等上一段時間——不用像我們當(dāng)初打算的那樣私奔了。”
他說這話時顯得無精打采,似乎在暗示說者有些言不由衷。蘿拉把地上的東西撿起來,回答說他自然可以向她求婚——反正她已經(jīng)自由了。但是她的表情同樣完全看不出一絲熱忱。然后她的眼睛眨得越來越快,只得用手帕掩住了臉。一時間她泣不成聲。
他沒有動,也沒有試圖安慰她。是什么介入了兩人之間呢?沒有任何活人。他們曾是戀人,現(xiàn)在也沒有任何實質(zhì)性障礙阻止他們結(jié)合了。然而那個故去的人的影子卻揮之不去:他消瘦的身形,在陰暗的鄧諾威荒原上,在那可怕的熔爐前來來回回走動著。
不過范尼科克如果到附近來的話,還是會去看看蘿拉,雖然次數(shù)不多;但兩年后,似乎是故意要促成這樁人人都認(rèn)定了的婚事,第Y步兵團(tuán)又回到了巴德茅斯-里吉斯駐扎。
這樣一來兩人就不得不經(jīng)常碰面了。但是或許是因為障礙才是愛情之源,又或許是因為心懷負(fù)罪感,也可能是因為做了寡婦的蒙布里太太美貌大不如前,他們對彼此的熱情已然消退,從以前的如火如荼變成現(xiàn)在的不溫不火。后來范尼科克是否成家,飄窗后的朋友不得而知。但蒙布里太太終其一生都是寡婦,不曾再婚。
一九〇〇年
* * *
[1]Triolet是西方文學(xué)中的一種詩歌體裁形式,一般為八行,有兩個韻腳,因此漢語中譯為“八行雙韻體”。十九世紀(jì)英國詩歌在使用八行雙韻體時,一般習(xí)慣采用ABaAabAB格律,即一、三、四、五、七行均押a韻(本文中為-est韻),但一、四、七行重復(fù)同一個單詞(本文中為blest);二、六、八行押b韻(本文中為-ire韻),但二、八行重復(fù)(本文中為desire)。同時,每一行詩句均為四步抑揚(yáng)格,即含有四個音步,每個音步有兩個元音,前一個弱讀后一個重讀,稱為抑揚(yáng)格。如“If hours/be years/the twain/are blest”,就是典型的四步抑揚(yáng)格詩句。譯文韻腳也對應(yīng)使用了英文的格律模式(a韻為-u,b韻為-an)。
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