原文來自：《50 GREAT SHORT STORIES》 P118

When we were children, our tiny garden, which you could go from end to end of in twenty strides, seemed to us a vast universe, made up of joys and terrors," said Monsieur Bergeret. “當(dāng)我們還是小孩子的時候，我們的小花園——在二十步之內(nèi)你就可以從一端走到另一端，對我們來說就是一個巨大的宇宙，充斥著快樂與恐懼。”MB說。 "Do you remember Putois, Lucien?" asked Zoe, smiling as was her wont, with lips compressed and her nose over her needlework. “Lucien，你還記得Putois嗎？”Zoe問到，她慣常般微笑著，嘴唇緊閉，鼻子蓋在她的針線活上。 "Do I remember Putois!...Why, of all the figures which pass before my childhood's eyes, that of Putois remains the clearest in my memory. Not a single feature of his face or his character have I forgotten. He had a long head..’’ “我記得Putois！為什么，在我童年的記憶中，Putois在我印象里最清楚。他的臉或者他這個人的特征我一點都沒忘。他有一個長腦袋……” P119

"A low forehead," added Mademoiselle Zoé. “低低的額頭。”MZ補充到。 Then, antiphonally, in a monotonous voice, with mock gravity, the brother and sister recited the following points of a kind of police description: 然后，兄妹二人用單調(diào)的聲音，假裝嚴(yán)肅地異口同聲地用警方描述的方式，一一列舉了以下幾點。 "A low forehead." “低低的額頭?！?"Wall-eyed." “眼睛斜視” "Furtive looking." “看起來偷偷摸摸的” "A crow's foot on his temple." “他的太陽穴有魚尾紋?！?"High cheek-bones, red and shiny." “高顴骨，紅潤有光澤?！?"His ears were ragged." “他的耳朵很粗糙?！?"His face was blank and expressionless." “他面無表情?！?"It was only by his hands, which were constantly moving, that you divined his thoughts." “只有通過他不斷動的手你才能明白他的想法?！?"Thin, rather bent, weak in appearance." “瘦，相當(dāng)?shù)鸟劚?，外表看起來很虛弱?！?"In reality of unusual strength." “實際上有不同尋常的力氣。” "He could easily bend a five-franc piece between his thumb and forefinger." “他能夠用他的大拇指和食指，輕松地掰彎一個五法郎的硬幣” "His thumb was huge." “他的大拇指很大?！?"He spoke with a drawl." “他說話拖拖拉拉?！?"His tone was unctuous." “他語氣油腔滑調(diào)的?！?Suddenly Monsieur Bergeret cried eagerly: "Zoe! We have forgotten his yellow hair and his scant beard. We must begin again." 突然，MB著急地大叫：“Zoe！我們忘記了他黃色的頭發(fā)和他稀疏的胡子。我們必須重新開始?！?Pauline had been listening with astonishment to this strange recital. She asked her father and her aunt how they had come to learn this prose passage by heart, and why they recited it like a Litany. Pauline 一直驚訝地聽著這段奇怪的贅述。她問她的爸爸和她的姑姑他們是如何把這段背下來的，以及為什么他們會把它背得像禱文。 Monsieur Bergeret replied gravely: "Pauline, what you have just heard is the sacred text, I may say the liturgy of the Bergeret family. It is right that it should be transmitted to you in order that it may not perish with your aunt and me. Your grandfather, my child, your grandfather, Eloi Bergeret, who was not one to be amused with trifles, set a high value on this passage, principally on account of its origin. He entitled it 'The Anatomy of Putois.' And he was accustomed to say that in certain respects he set the anatomy of Putois above the anatomy of Quaresmeprenant. 'If the description written by Zenomanes,' he said, 'is more learned and richer in rare and precious terms, the description of Putois greatly excels it in the lucidity of its ideas and the clearness of its style.' Such was his opinion, for in those days Doctor Ledouble, of Tours, had not yet expounded chapters thirty, thirty-one and thirty-two of the fourth book of Rabelais.” MB嚴(yán)肅地說：“Pauline，你剛才聽到的確實是神圣的經(jīng)文，可以說是Bergeret家族的禱文。它應(yīng)該傳給你，這樣它就不會和你的姑姑還有我一起滅亡。你的爺爺，我的孩子，你爺爺Eloi Bergeret——一個不以小事為樂的人——非常重視這段話，主要是因為它的起源。他將其命名為‘Putois解剖”。他習(xí)慣于說，在某些方面，他將‘Putois解剖’置于‘Quarespresent解剖’之上?！绻@段描述由Zenomanes寫’，他說，‘（Zenomanes）在罕見和珍貴的術(shù)語上更具學(xué)術(shù)性和豐富性，那么對Putois的描述在思想和風(fēng)格的清晰方面都非常出色?！@就是他的觀點，因為那時候，圖爾的Ledouble醫(yī)生還沒有寫Rabelais第四本書的第30、31和32章。” 編者補充：

此處的“解剖”是指“解剖式描述”。在《巨人傳》第四部中，對封齋教主（Quaresmeprenant）有解剖式描述。

《巨人傳》作者：Francois Rabelais。

Tours，圖爾（

Tours

），法國中西部城市。