搬運源：https://www.deviantart.com/abigaillarson/gallery/23889284/edgar-allan-poe

Abigail Larson，插畫家，獲2016年雨果獎。作品靈感來自童話、民間傳說和鬼故事。個人網(wǎng)站：https://abigaillarson.com/

搬運者的話：

網(wǎng)上沖浪的時候刷到過Abigail Larson老師的圖好多遍了，搜了搜大概還沒有人系統(tǒng)地搬運過，故搬之。無授權搬運，侵刪。搬運者僅為業(yè)余愛好者，非專業(yè)人士，英語水平有限，如有錯漏敬請指正。

簡介文本來源維基百科。坡原作原文來自愛倫·坡博物館官網(wǎng)（https://poemuseum.org/），中文譯文主要參照《愛倫·坡的怪奇物語》（曹明倫 譯），其余均來自互聯(lián)網(wǎng)。

【并沒有超鏈接僅做速覽的目錄】

愛倫·坡 Edgar Allan Poe

詩 Poem

• 烏鴉 The Raven

• 安娜貝爾·李 Annabel Lee

短篇小說Short Stories

• 厄舍府之倒塌 The Fall of the House of Usher

• 紅死病的假面具 The Masque of the Red Death

• 橢圓形畫像 The Oval Portrait

• 泄密的心 The Tell-Tale Heart

• 黑貓 The Black Cat

• 一桶蒙蒂利亞白葡萄酒 The Cask of Amontillado

• ?麗姬婭 Ligeia

• 貝蕾妮絲 Berenice

• 莫雷拉Morella

埃德加·愛倫·坡 Edgar Allan Poe

埃德加·愛倫·坡(Edgar Allan Poe, 1809-1849)是美國作家，詩人，編輯、文學評論家，以詩歌和短篇小說聞名，其神秘和恐怖小說尤為著名。他被廣泛認為是美國浪漫主義的核心人物，對偵探小說、新興科幻小說的發(fā)展有著重要貢獻。

詩 Poem

烏鴉 The Raven

《烏鴉》是一首敘事詩，于1845年首次出版。它講述一個心煩意亂的情人被一只會說話的烏鴉神秘拜訪，追溯了這個男人慢慢陷入瘋狂的過程。講述者正在為失去他的愛人麗諾爾而哀嘆。烏鴉坐在帕拉斯的半身像上，不斷重復著 "Nevermore "這個詞，似乎讓他更加痛苦。

But the raven, sitting lonely on the placid bust, spoke only

但那只獨棲于肅穆的半身雕像上的烏鴉只說了

That one word, as if his soul in that ill~ word he did outpour.

這一句話，仿佛它傾瀉靈魂就用那一個字眼。

Nothing farther then he uttered-not a feather then he fluttered-

然后它便一聲不吭——也不把它的羽毛拍動——

Till I scarcely more than muttered,? "Other friends have flown before-

直到我?guī)缀跏青哉Z“其他朋友早已消散——

On the morrow he will leave me, as my hopes have flown before. "

明晨它也將離我而去——如同我的希望已消散。”

Quoth the raven, "Nevermore. "

這時那鳥說“永不復還?！?/p>

（曹明倫 譯）

"Prophet!" said I, "thing of evil! -prophet still, if bird or devil!

“先知！”我說，“兇兆！——仍是先知、不管是鳥是魔！

By that Heaven that bends above us-by that God we both adore-

憑我們頭頂?shù)纳n天起誓——憑我們都崇拜的上帝起誓——

Tell this soul with sorrow laden if, within the distant Aidenn,

告訴這充滿悲傷的靈魂。它能否在遙遠的仙境

It shall clasp a sainted maiden whom the angels name Lenore-

擁抱被天使叫作麗諾爾的少女，她纖塵不染——

Clasp a rare and radiant maiden whom the angels name Lenore.

擁抱被天使叫作麗諾爾的少女，她美麗嬌艷?！?/p>

Quoth the raven, "Nevermore. "

烏鴉說“永不復還?！?/p>

（曹明倫 譯）

安娜貝爾·李 Annabel Lee

《安娜貝爾·李》寫于1849，是坡創(chuàng)作的最后一首完整的詩。講述者從小就愛上了安娜貝爾·李，對她的愛是如此強烈，連天使都羨慕不已。即使在她死后，他仍保留著對她的愛。

For the moon never beams without bringing me dreams

月亮的光輝總讓我夢見

Of the beautiful Annabel Lee;

美麗的安娜貝爾·李；

And the stars never rise but I feel the bright eyes

繁星的升起讓我感覺到她明亮的眼睛

Of the beautiful Annabel Lee;

那美麗的安娜貝爾·李；

And so, all the night tide, I lie down by the side

就這樣，每一次夜潮，我躺在我的愛人身旁

Of my darling—my darling—my life and my bride,

我心愛的人——我的心肝——我的新娘，

In her sepulchre there by the sea—

躺在她海邊的墳墓旁——

In her tomb by the sounding sea.

臨近濤聲回響的海洋。

（陳紹鵬 譯）

短篇小說 Short Stories

厄舍府之倒塌 The Fall of the House of Usher

《厄舍府之倒塌 》是1839年發(fā)表的短篇哥特小說，講述了敘述者受朋友羅德里克·厄舍之邀至其府上的見聞。

During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was — but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit.

那年秋天一個晦暝、昏暗、廓落、云幕低垂的日子，我一整天都策馬獨行，穿越一片異常陰郁的曠野。當暮色開始降臨時，愁云籠罩的厄舍府終于遙遙在望。不知為什么，一看見那座房舍，我心中便充滿了一種不堪忍受的抑郁。

Surely, man had never before so terribly altered, in so brief a period, as had Roderick Usher! It was with difficulty that I could bring myself to admit the identity of the wan being before me with the companion of my early boyhood. Yet the character of his face had been at all times remarkable. A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid, but of a surpassingly beautiful curve; a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a finely moulded chin, speaking, in its want of prominence, of a want of moral energy; hair of a more than web-like softness and tenuity; these features, with an inordinate expansion above the regions of the temple, made up altogether a countenance not easily to be forgotten. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and the now miraculous lustre of the eye, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its Arabesque expression with any idea of simple humanity.

這世上一定還沒人像羅德里克·厄舍一樣，在那么短的時間內(nèi)發(fā)生那么可怕的變化！我好容易才確信眼前那個臉色蒼白的人就是我童年時代的伙伴。不過他臉上的特征倒一直很突出。一副蒼白憔悴的面容、一雙又大又亮的清澈的眼睛、兩片既薄又白但曲線絕美的嘴唇、一個輪廓優(yōu)雅的希伯來式但又比希伯來人鼻孔稍大的鼻子、一張不甚凸出但模樣好看并顯出他意志薄弱的下巴、一頭比游絲更細更軟的頭發(fā)，所有這些特征再加上他異常寬闊的額頂便構成了一副令人難忘的容貌?，F(xiàn)在他容貌上的特征和慣常有的神情只是比過去稍稍顯著一點，但卻給他帶來了那么大的變化，以至于我真懷疑自己在跟誰說話。而當時最令我吃驚甚至畏懼的莫過于他那白得像死尸一般的皮膚和亮得令人不可思議的眼睛。還有他那柔軟的頭發(fā)也被毫不在意地蓄得很長，當那細如游絲的頭發(fā)不是耷拉而是飄拂在他眼前之時，我簡直不能將那副奇異的表情與任何正常人的表情聯(lián)系起來。

Having deposited our mournful burden upon tressels within this region of horror, we partially turned aside the yet unscrewed lid of the coffin, and looked upon the face of the tenant. A striking similitude between the brother and sister now first arrested my attention; and Usher, divining, perhaps, my thoughts, murmured out some few words from which I learned that the deceased and himself had been twins, and that sympathies of a scarcely intelligible nature had always existed between them. Our glances, however, rested not long upon the dead — for we could not regard her unawed. The disease which had thus entombed the lady in the maturity of youth, had left, as usual in all maladies of a strictly cataleptical character, the mockery of a faint blush upon the bosom and the face, and that suspiciously lingering smile upon the lip which is so terrible in death. We replaced and screwed down the lid, and, having secured the door of iron, made our way, with toil, into the scarcely less gloomy apartments of the upper portion of the house.

我們在那可怕的地窖里把棺材安放在架子上之后，把尚未釘上的棺蓋打開，瞻仰死者的遺容。他們兄妹倆容貌上的驚人相似第一次引起了我的注意；厄舍大概猜到了我的心思，用低沉的聲音對我進行了一番解釋，從他的解釋中我得知，原來死者和他是孿生兄妹，他倆之間一直存在著一種幾乎令人難以理解的生理上的感應。但我們的目光并沒有在死者身上久留，因為我倆都不免感到畏懼。如同對所有強直性昏厥癥患者一樣，那種使她香消玉殆的疾病在她的胸上和臉上徒然留下一層淡淡的紅暈，在她的嘴唇上留下了那種令人生疑、逗留不去、看起來那么可怕的微笑。我們重新蓋上棺蓋，釘上釘子，關好鐵門，然后跌跌撞撞地回到了幾乎與地窖一樣陰沉的地面。

To an anomalous species of terror I found him a bounden slave. “I shall perish,” said he, “I must perish in this deplorable folly. Thus, thus, and not otherwise, shall I be lost. I dread the events of the future, not in themselves, but in their results. I shudder at the thought of any, even the most trivial, incident, which may operate upon this intolerable agitation of soul. I have, indeed, no abhorrence of danger, except in its absolute effect — in terror. In this unnerved — in this pitiable condition — I feel that the period will sooner or later arrive when I must abandon life and reason together, in some struggle with the grim phantasm, FEAR.”

我發(fā)現(xiàn)他深深地陷在一種變態(tài)的恐怖之中?！拔揖鸵懒耍彼麑ξ艺f，“我肯定會在可悲的愚蠢中死去。就那樣，就那樣死去，不會有別的死法。我怕將要發(fā)生的事并非是怕事情本身，而是怕其后果。我一想到任何會影響我這脆弱敏感的靈魂的事，哪怕是最微不足道的事，就會渾身發(fā)抖。其實我并不討厭危險，除非在它絕對的影響之中，在恐怖之中。在這種不安的心態(tài)下，在這種可憐的境地中，我就感到那個時刻遲早會到來，我定會在與恐懼這個可怕幻想的抗爭中失去我的生命和理智?！?/p>

As if in the superhuman energy of his utterance there had been found the potency of a spell — the huge antique pannels to which the speaker pointed, threw slowly back, upon the instant, their ponderous and ebony jaws. It was the work of the rushing gust — but then without those doors there did stand the lofty and enshrouded figure of the lady Madeline of Usher. There was blood upon her white robes, and the evidence of some bitter struggle upon every portion of her emaciated frame. For a moment she remained trembling and reeling to and fro upon the threshold — then, with a low moaning cry, fell heavily inward upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated.

似乎他那聲具有超凡力量的呼叫真有一股魔力，隨著他那聲呼叫，他用手指看的那道又大又沉的黑檀木房門兩扇古老的門扉竟慢慢張開。那是風的緣故，但是，門外果真站著身披衾衣的馬德琳小姐凜然的身影。她那白色的衾衣上血跡斑斑，她消瘦的身子渾身上下都有掙扎過的痕跡。她顫顫巍魏、搖搖晃晃在門口站立了一會兒，然后隨著一聲低低的呻吟，她朝屋內(nèi)一頭栽倒在她哥哥身上，臨死前那陣猛烈而痛苦的掙扎把她哥哥也一并拽倒在地，厄舍倒下時已成了一具尸體，成了他曾預言過的恐怖的犧牲品。

From that chamber, and from that mansion, I fled aghast. The storm was still abroad in all its wrath as I found myself crossing the old causeway. Suddenly there shot along the path a wild light, and I turned to see whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. The radiance was that of the full, setting, and blood-red moon, which now shone vividly through that once barely-discernible fissure, of which I have before spoken as extending from the roof of the building, in a zigzag direction, to the base. While I gazed, this fissure rapidly widened — there came a fierce breath of the whirlwind — the entire orb of the satellite burst at once upon my sight — my brain reeled as I saw the mighty walls rushing asunder — there was a long tumultuous shouting sound like the voice of a thousand waters — and the deep and dank tarn at my feet closed sullenly and silently over the fragments of the “House of Usher.”

我心驚膽戰(zhàn)地逃離了那個房間和那座府邸。當我驚魂未定地穿過那條古老的石鋪大道之時，四下里依然是狂風大作。突然，順著大道射來一道奇異的光，我不由得掉頭去看那道光的來源，因為我知道身后只有那座府邸和它的陰影。原來那光發(fā)自一輪圓圓的、西沉的、血紅色的月亮，現(xiàn)在那紅色的月光清清楚楚地照亮了我前文說過的那道原來幾乎看不見的、從正面房頂向下順著墻壁彎彎曲曲延伸的裂縫。就在我凝望之際，那道裂縫急速變寬，隨之一陣狂風卷來，那輪血紅的月亮一下迸到我眼前。我頭昏眼花地看見那座高大的府邸正在崩潰坍塌，接著是一陣久久不息的騷動聲，聽起來就像是萬頃波濤在洶涌咆哮。我腳下那個幽深而陰沉的小湖，悄然無聲地淹沒了“厄舍府”的殘磚碎瓦。

紅死病的假面具 The Masque of the Red Death

《紅死病的假面具 》首次發(fā)表于1842年。故事講述了普洛斯佩羅親王試圖通過躲在他的城堡里來躲避一場危險的瘟疫，即“紅死病”。他和貴族們在宮殿的七個房間里舉辦化裝舞會。正當他們狂歡，一個化妝成紅死病人的神秘人物進入并穿過每個房間。普洛斯佩羅親王發(fā)現(xiàn)了這名不速之客，但在與這個陌生人對峙后死去。其他人才發(fā)現(xiàn)那裹尸布和僵尸般的面具下沒有任何有形的實體。隨后，狂歡者們都接連絕望地死去。

And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.

這下紅死病的到來終于被承認。它就像一個小偷趁黑夜溜了進來?？駳g者一個接一個倒在他們尋歡作樂的舞廳之血泊里，每個人死后都保持著他們倒下時的絕望姿勢。隨著最后的歡樂結束，那個巨大的黑鐘也壽終正寢。三角支架上的火盆全部熄滅。黑暗、腐朽的紅死病開始了對一切漫漫無期的統(tǒng)治。

橢圓形畫像 The Oval Portrait

《橢圓形畫像》是愛倫·坡最短的故事之一，于1842年首次出版。講述城堡中一幅令人不安的畫像的故事。

...and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice, ‘This is indeed Life itself!’ turned suddenly to regard his beloved: — She was dead!

那畫家神魂顛倒地在自己親手畫成的肖像前呆了一陣，但緊接著，就在他繼續(xù)凝視之時，他開始渾身發(fā)抖，繼而臉色蒼白，目瞪口呆，最后大聲驚呼：“這就是生命！”可當他驀然回首看他心愛的人時，她已經(jīng)死去了。

泄密的心 The Tell-Tale Heart

《泄密的心》首次發(fā)表于1843年，故事由一個不知名的敘述者講述，他努力使讀者相信他的理智，同時描述自己犯下的謀殺案。受害者是一位老人，敘述者稱作案動機是因為老人有一雙"兀鷹的眼睛"。敘述者強調(diào)了這起謀殺案的精心設計，試圖完成完美的犯罪，包括在浴缸中肢解尸體并將其藏在地板下。但最終，敘述者因為難以忍受地板下傳來的砰砰聲而向警方自首，他稱這是死者的心在跳動。

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! One of his eyes resembled that of a vulture — a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees — very gradually — I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

現(xiàn)在已沒法說清當初那個念頭是怎樣鉆進我腦子的，但它一旦鉆入，就日日夜夜糾纏著我。沒有任何動機。沒有任何欲望。我愛那個老人。他從不曾傷害過我。他從不曾侮辱過我。我也從不曾希圖過他的錢財。我想是因為他的眼睛！對，正是如此！他有只眼睛，就像是兀鷹的眼睛，淡淡的藍色，蒙著一層陰翳。每當那只眼睛落在我身上，我渾身的血液都會變冷。于是漸漸地，慢慢地，我終于拿定了主意要結果那老人的生命，從而永遠擺脫他那只眼睛。

黑貓 The Black Cat

《黑貓》首次發(fā)表在1843年。故事中，講述者原本珍愛寵物，最寵愛其名為普路托的黑貓。后因酗酒成癖開始虐待寵物。黑貓有一天晚上咬了他，為了懲罰，敘述者挖下了它的眼睛；后來一天又將它吊死在樹上，就在當天晚上敘述者家里遭遇火災。很快敘述者發(fā)現(xiàn)了另一只相似的黑貓，但他很快也對它產(chǎn)生了憎恨。他試圖用斧頭殺死這只貓，但他的妻子阻止了他，狂怒之下他殺死了妻子，并藏尸于地下室磚墻。警察很快就來了，在敘述者敲擊墻壁的時候聽到了一陣尖叫聲。警察不僅發(fā)現(xiàn)了妻子的尸體，還發(fā)現(xiàn)了那只提醒他們的黑貓。

But may God shield and deliver me from the fangs of the Arch-Fiend! No sooner had the reverberation of my blows sunk into silence, than I was answered by a voice from within the tomb! — by a cry, at first muffled and broken, like the sobbing of a child, and then quickly swelling into one long, loud, and continuous scream, utterly anomalous and inhuman — a howl — a wailing shriek, half of horror and half of triumph, such as might have arisen only out of hell, conjointly from the throats of the damned in their agony and of the demons that exult in the damnation!

但愿上帝保佑，救我免遭惡魔的毒手！我敲擊墻壁的回響余音剛落，壁墓里就傳出一個回應我的聲音！一個哭聲，開始低沉壓抑且斷斷續(xù)續(xù)，就像是一個小孩在抽噎，隨之很快就變成了一聲長長的、響亮的、而且持續(xù)不斷的尖叫，其聲怪異，非常人之聲。那是一種狂笑，一種悲鳴，一半透出恐怖，一半顯出得意，就像只有從地獄里才可能發(fā)出的那種聲音，就像因被罰入地獄而痛苦的靈魂和因靈魂墜入地獄而歡呼的魔鬼共同從喉嚨里發(fā)出的聲音。

Of my own thoughts it is folly to speak. Swooning, I staggered to the opposite wall. For one instant the party upon the stairs remained motionless, through extremity of terror and of awe. In the next, a dozen stout arms were toiling at the wall. It fell bodily. The corpse, already greatly decayed and clotted with gore, stood erect before the eyes of the spectators. Upon its head, with red extended mouth and solitary eye of fire, sat the hideous beast whose craft had seduced me into murder, and whose informing voice had consigned me to the hangman. I had walled the monster up within the tomb!

現(xiàn)在要來說我的想法可真愚蠢。我當時昏頭昏腦，踉踉蹌蹌地退到對面墻根。由于極度的驚恐和敬畏，臺階上那幫警察一時間呆若木雞。其后十幾條結實的胳膊幫著拆那面墻。墻被拆倒。那具已經(jīng)腐爛并凝著血塊的尸體赫然直立在那幫警探眼前。在尸體頭上正坐著那個有一張血盆大口和一只炯炯獨眼的可怕的畜生，是它狡猾誘使我殺害了妻子，又是它告密的聲音把我送到了劊子手的手中。原來我把那可怕的家伙砌進了壁墓！

一桶蒙蒂利亞白葡萄酒 The Cask of Amontillado

《一桶蒙蒂利亞白葡萄酒 》發(fā)表于1846年。故事發(fā)生在不知名的意大利城市，在一個未知年份的狂歡節(jié)上，敘述者蒙特雷索以品嘗他剛買的蒙蒂利亞白葡萄酒為由將福爾圖納托騙至家族墓穴，將其鎖在墻上后砌墻活埋。

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud —

“Fortunato!”

No answer. I called again —

“Fortunato!”?

No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick — on account of the dampness of the catacombs. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!

可說完這話之后我怎么聽也聽不到回聲。我漸漸沉不住氣了，便大聲喊道：

“福爾圖納托！”

沒有回答。我再喊：

“福爾圖納托！”

還是沒有回答。于是我將一支火把伸進那個尚未砌上的墻孔，并任其掉了下去。傳出來的回聲只是那些戲鈴的一陣丁當。我開始感到惡心，由于地窖里潮濕的緣故。我趕緊干完我那份活兒，把最后一塊石頭塞進它的位置并抹好泥灰?？恐缕龅哪嵌率瘔ξ抑匦仑Q起了原來那道尸骨組成的護壁。半個世紀以來沒人再動過那些尸骨。愿亡靈安息！

麗姬婭 Ligeia

《麗姬婭》首次發(fā)表于1838年。敘述者的妻子麗姬婭是一位美麗動人且博學多識的、有著黑發(fā)黑眼的女人。她病死后，敘述者和一位名叫羅維娜的金發(fā)碧眼的小姐再婚?；楹罅_維娜也疾病纏身，最后病逝。心煩意亂的敘述者和她的尸體呆了一夜，看著她漸漸復活——但她已經(jīng)變成了麗姬婭。

In stature she was tall, somewhat slender, and, in her latter days, even emaciated. I would in vain attempt to portray the majesty, the quiet ease, of her demeanor, or the incomprehensible lightness and elasticity of her footfall. She came and departed as a shadow. I was never made aware of her entrance into my closed study save by the dear music of her low sweet voice, as she placed her marble hand upon my shoulder. In beauty of face no maiden ever equalled her. It was the radiance of an opium dream — an airy and spirit-lifting vision more wildly divine than the phantasies which hovered about the slumbering souls of the daughters of Delos.

她身段頎長，略顯纖弱，在她彌留之時，竟至形銷骨立。要描繪出她的端莊、她的安詳、她的風姿，或是她輕盈裊娜的步態(tài)，那我的任何努力都將是徒勞。她來去就像一個影子。我從來就覺察不到她進入我房門關閉的書房，除非她把纖纖玉手輕輕摁在我肩上，用低低的、甜甜的嗓音說出音樂般的話語。說到她美麗的臉龐，普天下沒一個少女能與之相比。那種容光煥發(fā)只有在服用鴉片后的夢幻中才能見到，一種比翱翔在德洛斯島的女兒們夢境中的幻象更圣潔神妙的空靈飄逸的幻影。

But if this idea was not, even then, altogether adopted, I could at least doubt no longer, when, arising from the bed, tottering, with feeble steps, with closed eyes, and with the manner of one bewildered in a dream, the thing that was enshrouded advanced bodily and palpably into the middle of the apartment.

但即使那種幻想在當時也不甚合乎情理，可當那纏著裹尸布的軀體翻身下床，像夢游者一樣閉著眼睛，邁著纖弱的步子顫顫悠悠但卻實實在在、明明白白地走在房間中央之時，我至少不能再懷疑了。

Shrinking from my touch, she let fall from her head, unloosened, the ghastly cerements which had confined it, and there streamed forth, into the rushing atmosphere of the chamber, huge masses of long and dishevelled hair; it was blacker than the raven wings of the midnight! And now slowly opened the eyes of the figure which stood before me. “Here then, at least,” I shrieked aloud, “can I never — can I never be mistaken — these are the full, and the black, and the wild eyes of my lost love — of the lady — of the Lady LIGEIA!”?

她往后一縮，躲開了我的觸碰，讓那層裹尸布從她頭頂滑脫，溢出一頭長長的、濃密的、蓬松的秀發(fā)，飄拂在房間里流動的空氣中；那頭秀發(fā)的顏色比夜晚的翅膀還黑！緊接著，站在我面前的身影慢慢睜開了眼睛?！澳敲矗辽?，”我失聲驚呼，“至少我不弄錯，我絕不會弄錯，這雙圓圓的、烏黑的、目光熱切的眼睛，屬于我失去的愛人！屬于她！屬于麗姬婭！”

貝蕾妮絲 Berenice

《貝蕾妮絲》首次發(fā)表于1853年。故事講述準備與表妹貝蕾妮絲結婚的埃加烏斯容易陷入恍惚。貝蕾妮絲身染的不明疾病惡化，只有牙齒還保持健康。埃加烏斯對她的牙齒十分著迷。貝蕾妮絲下葬時，他仍沉思于她的牙齒。有一天，他從恍惚的狀態(tài)中醒來并感到不安，仆人報告說貝蕾妮絲的墳墓被打擾了，她還活著。而在埃加烏斯身邊有一把鏟子、一首關于 "探訪我愛人的墳墓 "的詩和一個裝有32顆牙齒的盒子。

He pointed to my garments — they were muddy and clotted with gore. I spoke not, and he took me gently by the hand — but it was indented with the impress of human nails. He directed my attention to some object against the wall — I looked at it for some minutes — it was a spade. With a shriek I bounded to the table, and grasped the ebony box that lay upon it. But I could not force it open, and in my tremor it slipped from out my hands, and fell heavily, and burst into pieces, and from it, with a rattling sound, there rolled out some instruments of dental surgery, intermingled with many white and glistening substances that were scattered to and fro about the floor.

那仆人突然看向我的衣服；那衣服上沾著淤泥凝了血污。他說不出話了，緩緩捉起我的手；那手上都是指甲的撓痕。他引著我看向墻邊一個物件，我辨認了幾分鐘： 那是把鐵鍬。我尖聲大叫撲到桌前，一把抓起桌上那只檀木箱子， 卻根本無力打開。那匣子從我顫抖的手里滑落，瞬間摔得粉碎。 咣啷啷的響聲中滾落出牙醫(yī)的金屬刀具，還有三十二顆小小的，象牙般潔白的泛光的東西，靜靜散落在地板。

（思泉 譯）

莫雷拉Morella

《莫雷拉》首次發(fā)表于1835年。敘述者的妻子莫雷拉是一位學識淵博的女性。她的健康惡化，最終在分娩時死去，但女兒活了下來。隨著女兒年齡增長，敘述者注意到她與母親的驚人相似，他拒絕給孩子起名。直至她十歲時，敘述者決定讓她接受洗禮，在牧師詢問女兒名字時，敘述者回答說莫雷拉，女兒喊道“我在這里！”，然后死去。敘述者將她的尸體抬進墳墓的時候發(fā)現(xiàn)，第一個莫雷拉已經(jīng)不見蹤影。

問君何以對

2022/11/17