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The walls are stripped of their furniture—paintings, prints, and looking-glasses lie huddled in heaps about the floors;
墻壁四周的家具給挪開了——地板上堆滿了裝飾畫，印刷品和鏡子；
the curtains are torn from their testers, the beds crammed into windows, chairs and tables, bedsteads and cradles, crowd the yard,
窗簾盒扣住的窗簾給扯了下來，床都推到了窗跟前，院子里到處都是椅子、桌子、床架和搖籃。
and the garden fence bends beneath the weight of carpets, blankets, cloth cloaks, old coats, under petticoats, and ragged breeches.
花園的柵欄被上面搭著的地毯、毛毯，大衣、舊衣服、襯裙和馬褲壓得都彎了。
Here may be seen the lumber of the kitchen, forming a dark and confused mass for the foreground of the picture;
在這里也許能見到廚房里的雜物，共同組成了一幅圖畫黑魆魆和亂成一團的前景。
gridirons and frying pans, rusty shovels and broken tongs, joint stools, and the fractured remains of rush-bottomed chairs.
烤架和煎鍋，生銹的鏟子和折了的火鉗、折凳，還有殘破不堪的燈心草椅墊。
There a closet has disgorged its bowels—riveted plates and dishes, halves of china bowls, cracked tumblers, broken wineglasses,
碗櫥里的碗碟——用鉚釘固定住的盤子和碟子，碎成兩半的瓷碗，裂了縫的玻璃酒杯，碎了的葡萄酒杯，
phials of forgotten physic, papers of unknown powders, seeds and dried herbs, tops of teapots, and stoppers of departed decanters,
被遺忘的藥用小玻璃瓶，用紙包著的不曉得名稱的粉狀物質，種子和干草，茶壺蓋和老式玻璃水瓶瓶塞，
from the rag hole in the garret, to the rat hole in the cellar, no place escapes unrummaged.
從閣樓里的破布頭，到地窖里的老鼠洞，沒有一個地方能逃過這場大搜尋。
It would seem as if the day of general doom had come, and the utensils of the house were dragged forth to judgment.
仿佛白天的劫數注定會到來，這幢房子里的物什都會被拖出來接受審判。
In this tempest, the words of King Lear unavoidably present themselves, and might, with little alteration, be made strictly applicable.
在這場暴風雨中，李爾王的獨白不可避免地表現出他們的心跡，也許有稍許改變，但再適當不過。
