評論
打印
The wall we faced now was different from the others. Instead of bookshelves, this wall was crowded with framed pictures of all sizes, some in vibrant colors, others dull monochromes. I searched for some logic, some binding motif the collection had in common, but I found nothing in my hasty examination.
現在我們正對著的這面墻和別的墻都不一樣。這面墻上沒有書架，卻掛滿了各種尺寸的鑲著相框的照片。有些是模糊生硬的彩色照片，另一些則是黯淡的黑白照片。我試圖找出某種邏輯，某個這些收藏品所共有的主題，但在我匆忙的審視中，我沒有任何發現。
Edward pulled me toward the far left side, standing me in front of a small square oil painting in a plain wooden frame. This one did not stand out among the bigger and brighter pieces; painted in varying tones of sepia, it depicted a miniature city full of steeply slanted roofs, with thin spires atop a few scattered towers. A wide river filled the foreground, crossed by a bridge covered with structures that looked like tiny cathedrals.
愛德華把我拉到了最左邊，讓我站到了一張裝裱在一個簡樸的木框里的小小的方形油畫前。這幅油畫在眾多尺寸更大，顏色更鮮亮的油畫里并不顯眼，它是用各種色調的深褐色畫成的。它描繪了一個微縮的城市，那里到處是陡峭的斜屋頂，散落在各處的幾座高塔露出窄窄的塔尖。一條寬廣的河流填滿了遠景，河上橫跨著一座橋梁，橋上布滿了看上去像是小巧的教堂的建筑。
"London in the sixteen-fifties," Edward said.
“十七世紀五十年代的倫敦。”愛德華說道。
"The London of my youth," Carlisle added, from a few feet behind us. I flinched; I hadn't heard him approach. Edward squeezed my hand.
“我年少時的倫敦。”卡萊爾補充道，他站在離我們只有幾英尺遠的地方。我畏縮了一下，我根本沒聽到他走近的聲音。愛德華緊握住我的手。
"Will you tell the story?" Edward asked. I twisted a little to see Carlisle's reaction.
“你愿意講這個故事嗎？”愛德華問道。我稍微轉過頭，想看看卡萊爾的反應。
He met my glance and smiled. "I would," he replied. "But I'm actually running a bit late. The hospital called this morning — Dr. Snow is taking a sick day. Besides, you know the stories as well as I do," he added, grinning at Edward now.
他對上了我的目光，笑了起來。“我很樂意。”他回答道。“但我確實有點趕時間。醫院今天早上給我打了電話——斯諾醫生請了一天病假。另外，你對這個故事的熟悉程度不亞于我。”他補充道，瞥了一眼愛德華。
It was a strange combination to absorb — the everyday concerns of the town doctor stuck in the middle of a discussion of his early days in seventeenth-century London.
這實在是個奇怪的難于理解的混合體——那位每天關心著鎮上事務的醫生正陷于關于他早年在十七世紀的倫敦的經歷的討論之中。
《暮光之城》
與圖書題目相得益彰的是，“暮光之城”系列別具匠心的封面設計則很好地傳達出了每本書內在的深遠寓意。斯蒂芬妮·梅爾指出《暮色》封面上的蘋果代表“創世紀” 內善惡樹上的禁果。象征貝拉和愛德華之間人類與吸血鬼禁忌的愛戀。在書的開頭引用了“創世紀”217頁的內容：“只是分別善惡樹上的果子，你不可吃，因為你吃的日子必定死。”這同時也代表了貝拉如何分辨善惡——選擇是否吃下那顆禁忌的果實，這比喻了選擇跟愛德華在一起或遠離他。
