搬运源：https://www.deviantart.com/abigaillarson/gallery/23889284/edgar-allan-poe

Abigail Larson，插画家，获2016年雨果奖。作品灵感来自童话、民间传说和鬼故事。个人网站：https://abigaillarson.com/

搬运者的话：

网上冲浪的时候刷到过Abigail Larson老师的图好多遍了，搜了搜大概还没有人系统地搬运过，故搬之。无授权搬运，侵删。搬运者仅为业余爱好者，非专业人士，英语水平有限，如有错漏敬请指正。

简介文本来源维基百科。坡原作原文来自爱伦·坡博物馆官网（https://poemuseum.org/），中文译文主要参照《爱伦·坡的怪奇物语》（曹明伦 译），其余均来自互联网。

【并没有超链接仅做速览的目录】

爱伦·坡 Edgar Allan Poe

诗 Poem

• 乌鸦 The Raven

• 安娜贝尔·李 Annabel Lee

短篇小说Short Stories

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

• 红死病的假面具 The Masque of the Red Death

• 椭圆形画像 The Oval Portrait

• 泄密的心 The Tell-Tale Heart

• 黑猫 The Black Cat

• 一桶蒙蒂利亚白葡萄酒 The Cask of Amontillado

•  丽姬娅 Ligeia

• 贝蕾妮丝 Berenice

• 莫雷拉Morella

埃德加·爱伦·坡 Edgar Allan Poe

埃德加·爱伦·坡(Edgar Allan Poe, 1809-1849)是美国作家，诗人，编辑、文学评论家，以诗歌和短篇小说闻名，其神秘和恐怖小说尤为著名。他被广泛认为是美国浪漫主义的核心人物，对侦探小说、新兴科幻小说的发展有着重要贡献。

诗 Poem

乌鸦 The Raven

《乌鸦》是一首叙事诗，于1845年首次出版。它讲述一个心烦意乱的情人被一只会说话的乌鸦神秘拜访，追溯了这个男人慢慢陷入疯狂的过程。讲述者正在为失去他的爱人丽诺尔而哀叹。乌鸦坐在帕拉斯的半身像上，不断重复着 "Nevermore "这个词，似乎让他更加痛苦。

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

但那只独栖于肃穆的半身雕像上的乌鸦只说了

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

这一句话，仿佛它倾泻灵魂就用那一个字眼。

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

然后它便一声不吭——也不把它的羽毛拍动——

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

直到我几乎是喃喃自语“其他朋友早已消散——

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

明晨它也将离我而去——如同我的希望已消散。”

Quoth the raven, "Nevermore. "

这时那鸟说“永不复还。”

（曹明伦 译）

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

“先知！”我说，“凶兆！——仍是先知、不管是鸟是魔！

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

凭我们头顶的苍天起誓——凭我们都崇拜的上帝起誓——

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

告诉这充满悲伤的灵魂。它能否在遥远的仙境

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

拥抱被天使叫作丽诺尔的少女，她纤尘不染——

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

拥抱被天使叫作丽诺尔的少女，她美丽娇艳。”

Quoth the raven, "Nevermore. "

乌鸦说“永不复还。”

（曹明伦 译）

安娜贝尔·李 Annabel Lee

《安娜贝尔·李》写于1849，是坡创作的最后一首完整的诗。讲述者从小就爱上了安娜贝尔·李，对她的爱是如此强烈，连天使都羡慕不已。即使在她死后，他仍保留着对她的爱。

For the moon never beams without bringing me dreams

月亮的光辉总让我梦见

Of the beautiful Annabel Lee;

美丽的安娜贝尔·李；

And the stars never rise but I feel the bright eyes

繁星的升起让我感觉到她明亮的眼睛

Of the beautiful Annabel Lee;

那美丽的安娜贝尔·李；

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

就这样，每一次夜潮，我躺在我的爱人身旁

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

我心爱的人——我的心肝——我的新娘，

In her sepulchre there by the sea—

躺在她海边的坟墓旁——

In her tomb by the sounding sea.

临近涛声回响的海洋。

（陈绍鹏 译）

短篇小说 Short Stories

厄舍府之倒塌 The Fall of the House of Usher

《厄舍府之倒塌 》是1839年发表的短篇哥特小说，讲述了叙述者受朋友罗德里克·厄舍之邀至其府上的见闻。

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.

那年秋天一个晦暝、昏暗、廓落、云幕低垂的日子，我一整天都策马独行，穿越一片异常阴郁的旷野。当暮色开始降临时，愁云笼罩的厄舍府终于遥遥在望。不知为什么，一看见那座房舍，我心中便充满了一种不堪忍受的抑郁。

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.

这世上一定还没人像罗德里克·厄舍一样，在那么短的时间内发生那么可怕的变化！我好容易才确信眼前那个脸色苍白的人就是我童年时代的伙伴。不过他脸上的特征倒一直很突出。一副苍白憔悴的面容、一双又大又亮的清澈的眼睛、两片既薄又白但曲线绝美的嘴唇、一个轮廓优雅的希伯来式但又比希伯来人鼻孔稍大的鼻子、一张不甚凸出但模样好看并显出他意志薄弱的下巴、一头比游丝更细更软的头发，所有这些特征再加上他异常宽阔的额顶便构成了一副令人难忘的容貌。现在他容貌上的特征和惯常有的神情只是比过去稍稍显著一点，但却给他带来了那么大的变化，以至于我真怀疑自己在跟谁说话。而当时最令我吃惊甚至畏惧的莫过于他那白得像死尸一般的皮肤和亮得令人不可思议的眼睛。还有他那柔软的头发也被毫不在意地蓄得很长，当那细如游丝的头发不是耷拉而是飘拂在他眼前之时，我简直不能将那副奇异的表情与任何正常人的表情联系起来。

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.

我们在那可怕的地窖里把棺材安放在架子上之后，把尚未钉上的棺盖打开，瞻仰死者的遗容。他们兄妹俩容貌上的惊人相似第一次引起了我的注意；厄舍大概猜到了我的心思，用低沉的声音对我进行了一番解释，从他的解释中我得知，原来死者和他是孪生兄妹，他俩之间一直存在着一种几乎令人难以理解的生理上的感应。但我们的目光并没有在死者身上久留，因为我俩都不免感到畏惧。如同对所有强直性昏厥症患者一样，那种使她香消玉殆的疾病在她的胸上和脸上徒然留下一层淡淡的红晕，在她的嘴唇上留下了那种令人生疑、逗留不去、看起来那么可怕的微笑。我们重新盖上棺盖，钉上钉子，关好铁门，然后跌跌撞撞地回到了几乎与地窖一样阴沉的地面。

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.”

我发现他深深地陷在一种变态的恐怖之中。“我就要死了，”他对我说，“我肯定会在可悲的愚蠢中死去。就那样，就那样死去，不会有别的死法。我怕将要发生的事并非是怕事情本身，而是怕其后果。我一想到任何会影响我这脆弱敏感的灵魂的事，哪怕是最微不足道的事，就会浑身发抖。其实我并不讨厌危险，除非在它绝对的影响之中，在恐怖之中。在这种不安的心态下，在这种可怜的境地中，我就感到那个时刻迟早会到来，我定会在与恐惧这个可怕幻想的抗争中失去我的生命和理智。”

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.

似乎他那声具有超凡力量的呼叫真有一股魔力，随着他那声呼叫，他用手指看的那道又大又沉的黑檀木房门两扇古老的门扉竟慢慢张开。那是风的缘故，但是，门外果真站着身披衾衣的马德琳小姐凛然的身影。她那白色的衾衣上血迹斑斑，她消瘦的身子浑身上下都有挣扎过的痕迹。她颤颤巍魏、摇摇晃晃在门口站立了一会儿，然后随着一声低低的呻吟，她朝屋内一头栽倒在她哥哥身上，临死前那阵猛烈而痛苦的挣扎把她哥哥也一并拽倒在地，厄舍倒下时已成了一具尸体，成了他曾预言过的恐怖的牺牲品。

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.”

我心惊胆战地逃离了那个房间和那座府邸。当我惊魂未定地穿过那条古老的石铺大道之时，四下里依然是狂风大作。突然，顺着大道射来一道奇异的光，我不由得掉头去看那道光的来源，因为我知道身后只有那座府邸和它的阴影。原来那光发自一轮圆圆的、西沉的、血红色的月亮，现在那红色的月光清清楚楚地照亮了我前文说过的那道原来几乎看不见的、从正面房顶向下顺着墙壁弯弯曲曲延伸的裂缝。就在我凝望之际，那道裂缝急速变宽，随之一阵狂风卷来，那轮血红的月亮一下迸到我眼前。我头昏眼花地看见那座高大的府邸正在崩溃坍塌，接着是一阵久久不息的骚动声，听起来就像是万顷波涛在汹涌咆哮。我脚下那个幽深而阴沉的小湖，悄然无声地淹没了“厄舍府”的残砖碎瓦。

红死病的假面具 The Masque of the Red Death

《红死病的假面具 》首次发表于1842年。故事讲述了普洛斯佩罗亲王试图通过躲在他的城堡里来躲避一场危险的瘟疫，即“红死病”。他和贵族们在宫殿的七个房间里举办化装舞会。正当他们狂欢，一个化妆成红死病人的神秘人物进入并穿过每个房间。普洛斯佩罗亲王发现了这名不速之客，但在与这个陌生人对峙后死去。其他人才发现那裹尸布和僵尸般的面具下没有任何有形的实体。随后，狂欢者们都接连绝望地死去。

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.

这下红死病的到来终于被承认。它就像一个小偷趁黑夜溜了进来。狂欢者一个接一个倒在他们寻欢作乐的舞厅之血泊里，每个人死后都保持着他们倒下时的绝望姿势。随着最后的欢乐结束，那个巨大的黑钟也寿终正寝。三角支架上的火盆全部熄灭。黑暗、腐朽的红死病开始了对一切漫漫无期的统治。

椭圆形画像 The Oval Portrait

《椭圆形画像》是爱伦·坡最短的故事之一，于1842年首次出版。讲述城堡中一幅令人不安的画像的故事。

...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!

那画家神魂颠倒地在自己亲手画成的肖像前呆了一阵，但紧接着，就在他继续凝视之时，他开始浑身发抖，继而脸色苍白，目瞪口呆，最后大声惊呼：“这就是生命！”可当他蓦然回首看他心爱的人时，她已经死去了。

泄密的心 The Tell-Tale Heart

《泄密的心》首次发表于1843年，故事由一个不知名的叙述者讲述，他努力使读者相信他的理智，同时描述自己犯下的谋杀案。受害者是一位老人，叙述者称作案动机是因为老人有一双"兀鹰的眼睛"。叙述者强调了这起谋杀案的精心设计，试图完成完美的犯罪，包括在浴缸中肢解尸体并将其藏在地板下。但最终，叙述者因为难以忍受地板下传来的砰砰声而向警方自首，他称这是死者的心在跳动。

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.

现在已没法说清当初那个念头是怎样钻进我脑子的，但它一旦钻入，就日日夜夜纠缠着我。没有任何动机。没有任何欲望。我爱那个老人。他从不曾伤害过我。他从不曾侮辱过我。我也从不曾希图过他的钱财。我想是因为他的眼睛！对，正是如此！他有只眼睛，就像是兀鹰的眼睛，淡淡的蓝色，蒙着一层阴翳。每当那只眼睛落在我身上，我浑身的血液都会变冷。于是渐渐地，慢慢地，我终于拿定了主意要结果那老人的生命，从而永远摆脱他那只眼睛。

黑猫 The Black Cat

《黑猫》首次发表在1843年。故事中，讲述者原本珍爱宠物，最宠爱其名为普路托的黑猫。后因酗酒成癖开始虐待宠物。黑猫有一天晚上咬了他，为了惩罚，叙述者挖下了它的眼睛；后来一天又将它吊死在树上，就在当天晚上叙述者家里遭遇火灾。很快叙述者发现了另一只相似的黑猫，但他很快也对它产生了憎恨。他试图用斧头杀死这只猫，但他的妻子阻止了他，狂怒之下他杀死了妻子，并藏尸于地下室砖墙。警察很快就来了，在叙述者敲击墙壁的时候听到了一阵尖叫声。警察不仅发现了妻子的尸体，还发现了那只提醒他们的黑猫。

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，救我免遭恶魔的毒手！我敲击墙壁的回响余音刚落，壁墓里就传出一个回应我的声音！一个哭声，开始低沉压抑且断断续续，就像是一个小孩在抽噎，随之很快就变成了一声长长的、响亮的、而且持续不断的尖叫，其声怪异，非常人之声。那是一种狂笑，一种悲鸣，一半透出恐怖，一半显出得意，就像只有从地狱里才可能发出的那种声音，就像因被罚入地狱而痛苦的灵魂和因灵魂坠入地狱而欢呼的魔鬼共同从喉咙里发出的声音。

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!

现在要来说我的想法可真愚蠢。我当时昏头昏脑，踉踉跄跄地退到对面墙根。由于极度的惊恐和敬畏，台阶上那帮警察一时间呆若木鸡。其后十几条结实的胳膊帮着拆那面墙。墙被拆倒。那具已经腐烂并凝着血块的尸体赫然直立在那帮警探眼前。在尸体头上正坐着那个有一张血盆大口和一只炯炯独眼的可怕的畜生，是它狡猾诱使我杀害了妻子，又是它告密的声音把我送到了刽子手的手中。原来我把那可怕的家伙砌进了壁墓！

一桶蒙蒂利亚白葡萄酒 The Cask of Amontillado

《一桶蒙蒂利亚白葡萄酒 》发表于1846年。故事发生在不知名的意大利城市，在一个未知年份的狂欢节上，叙述者蒙特雷索以品尝他刚买的蒙蒂利亚白葡萄酒为由将福尔图纳托骗至家族墓穴，将其锁在墙上后砌墙活埋。

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!

可说完这话之后我怎么听也听不到回声。我渐渐沉不住气了，便大声喊道：

“福尔图纳托！”

没有回答。我再喊：

“福尔图纳托！”

还是没有回答。于是我将一支火把伸进那个尚未砌上的墙孔，并任其掉了下去。传出来的回声只是那些戏铃的一阵丁当。我开始感到恶心，由于地窖里潮湿的缘故。我赶紧干完我那份活儿，把最后一块石头塞进它的位置并抹好泥灰。靠着新砌的那堵石墙我重新竖起了原来那道尸骨组成的护壁。半个世纪以来没人再动过那些尸骨。愿亡灵安息！

丽姬娅 Ligeia

《丽姬娅》首次发表于1838年。叙述者的妻子丽姬娅是一位美丽动人且博学多识的、有着黑发黑眼的女人。她病死后，叙述者和一位名叫罗维娜的金发碧眼的小姐再婚。婚后罗维娜也疾病缠身，最后病逝。心烦意乱的叙述者和她的尸体呆了一夜，看着她渐渐复活——但她已经变成了丽姬娅。

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.

她身段颀长，略显纤弱，在她弥留之时，竟至形销骨立。要描绘出她的端庄、她的安详、她的风姿，或是她轻盈袅娜的步态，那我的任何努力都将是徒劳。她来去就像一个影子。我从来就觉察不到她进入我房门关闭的书房，除非她把纤纤玉手轻轻摁在我肩上，用低低的、甜甜的嗓音说出音乐般的话语。说到她美丽的脸庞，普天下没一个少女能与之相比。那种容光焕发只有在服用鸦片后的梦幻中才能见到，一种比翱翔在德洛斯岛的女儿们梦境中的幻象更圣洁神妙的空灵飘逸的幻影。

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.

但即使那种幻想在当时也不甚合乎情理，可当那缠着裹尸布的躯体翻身下床，像梦游者一样闭着眼睛，迈着纤弱的步子颤颤悠悠但却实实在在、明明白白地走在房间中央之时，我至少不能再怀疑了。

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!” 

她往后一缩，躲开了我的触碰，让那层裹尸布从她头顶滑脱，溢出一头长长的、浓密的、蓬松的秀发，飘拂在房间里流动的空气中；那头秀发的颜色比夜晚的翅膀还黑！紧接着，站在我面前的身影慢慢睁开了眼睛。“那么，至少，”我失声惊呼，“至少我不弄错，我绝不会弄错，这双圆圆的、乌黑的、目光热切的眼睛，属于我失去的爱人！属于她！属于丽姬娅！”

贝蕾妮丝 Berenice

《贝蕾妮丝》首次发表于1853年。故事讲述准备与表妹贝蕾妮丝结婚的埃加乌斯容易陷入恍惚。贝蕾妮丝身染的不明疾病恶化，只有牙齿还保持健康。埃加乌斯对她的牙齿十分着迷。贝蕾妮丝下葬时，他仍沉思于她的牙齿。有一天，他从恍惚的状态中醒来并感到不安，仆人报告说贝蕾妮丝的坟墓被打扰了，她还活着。而在埃加乌斯身边有一把铲子、一首关于 "探访我爱人的坟墓 "的诗和一个装有32颗牙齿的盒子。

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；那衣服上沾着淤泥凝了血污。他说不出话了，缓缓捉起我的手；那手上都是指甲的挠痕。他引着我看向墙边一个物件，我辨认了几分钟： 那是把铁锹。我尖声大叫扑到桌前，一把抓起桌上那只檀木箱子， 却根本无力打开。那匣子从我颤抖的手里滑落，瞬间摔得粉碎。 咣啷啷的响声中滚落出牙医的金属刀具，还有三十二颗小小的，象牙般洁白的泛光的东西，静静散落在地板。

（思泉 译）

莫雷拉Morella

《莫雷拉》首次发表于1835年。叙述者的妻子莫雷拉是一位学识渊博的女性。她的健康恶化，最终在分娩时死去，但女儿活了下来。随着女儿年龄增长，叙述者注意到她与母亲的惊人相似，他拒绝给孩子起名。直至她十岁时，叙述者决定让她接受洗礼，在牧师询问女儿名字时，叙述者回答说莫雷拉，女儿喊道“我在这里！”，然后死去。叙述者将她的尸体抬进坟墓的时候发现，第一个莫雷拉已经不见踪影。

问君何以对

2022/11/17