Landor's Cottage

兰多的小屋

Edgar Allan Poe

爱伦·坡

作家简介

侦探小说(detective story)鼻祖、科幻小说(science fiction)先驱之一、恐怖小说(horror fiction)大师、短篇哥特小说巅峰、象征主义(symbolism)先驱之一，唯美主义(aestheticism)者。受到过爱伦·坡影响的主要人物有：柯南·道尔、波德莱尔、斯特芳·马拉美、儒勒·凡尔纳、罗伯特·路易斯·斯蒂文森、希区柯克、蒂姆·伯顿、江户川乱步等。爱伦·坡最著名的文艺理论是“效果论”。坡力图在自己的作品中先确立某种效果，再为追求这种效果而思考创作。他在《怪异故事集》序中称“自己的作品绝大部分都是深思熟虑的苦心经营”。

爱伦·坡、安布鲁斯·布尔斯(1842～1914?)和H.P.洛夫克拉夫特(1890～1937)并称为美国三大恐怖小说家。

During A pedestrian trip last summer, through one or two of the river counties of New York, I found myself, as the day declined, somewhat embarrassed about the road I was pursuing. The land undulated very remarkably¹; and my path, for the last hour, had wound about and about so confusedly, in its effort to keep in the valleys, that I no longer knew in what direction lay the sweet village of B–, where I had determined² to stop for the night. The sun had scarcely shone—strictly speaking—during the day, which nevertheless, had been unpleasantly warm. A smoky mist, resembling that of the Indian summer, enveloped³ all things, and of course, added to my uncertainty⁴. Not that I cared much about the matter. If I did not hit upon the village before sunset, or even before dark, it was more than possible that a little Dutch farmhouse⁵, or something of that kind, would soon make its appearance—although, in fact, the neighborhood (perhaps on account of being more picturesque⁶ than fertile) was very sparsely⁷ inhabited. At all events, with my knapsack for a pillow, and my hound as a sentry⁸, a bivouac in the open air was just the thing which would have amused me. I sauntered on, therefore, quite at ease—Ponto taking charge of my gun—until at length, just as I had begun to consider whether the numerous little glades⁹ that led hither and thither¹⁰, were intended to be paths at all, I was conducted by one of them into an unquestionable carriage track. There could be no mistaking it. The traces of light wheels were evident; and although the tall shrubberies and overgrown undergrowth met overhead, there was no obstruction¹¹ whatever below, even to the passage of a Virginian mountain wagon—the most aspiring¹² vehicle, I take it, of its kind. The road, however, except in being open through the wood—if wood be not too weighty a name for such an assemblage of light trees—and except in the particulars of evident wheel–tracks—bore no resemblance to any road I had before seen. The tracks of which I speak were but faintly perceptible—having been impressed upon the firm, yet pleasantly moist surface of—what looked more like green Genoese velvet¹³ than any thing else. It was grass, clearly—but grass such as we seldom see out of England—so short, so thick, so even, and so vivid in color. Not a single impediment lay in the wheel–route—not even a chip or dead twig¹⁴. The stones that once obstructed¹⁵ the way had been carefully placed—not thrown–along the sides of the lane, so as to define its boundaries at bottom with a kind of half–precise, half–negligent, and wholly picturesque definition. Clumps¹⁶ of wild flowers grew everywhere, luxuriantly, in the interspaces.

What to make of all this, of course I knew not. Here was art undoubtedly—that did not surprise me—all roads, in the ordinary sense, are works of art; nor can I say that there was much to wonder at in the mere¹⁷ excess of art manifested; all that seemed to have been done, might have been done here—with such natural "capabilities¹⁸" (as they have it in the books on Landscape Gardening)—with very little labor and expense. No; it was not the amount but the character of the art which caused me to take a seat on one of the blossomy stones and gaze up and down this fairy—like avenue for half an hour or more in bewildered admiration¹⁹. One thing became more and more evident the longer I gazed: an artist, and one with a most scrupulous²⁰ eye for form, had superintended all these arrangements. The greatest care had been taken to preserve a due medium between the neat and graceful²¹ on the one hand, and the pittoresque, in the true sense of the Italian term, on the other. There were few straight, and no long uninterrupted lines. The same effect of curvature or of color appeared twice, usually, but not oftener, at any one point of view. Everywhere was variety in uniformity. It was a piece of "composition," in which the most fastidiously critical taste could scarcely have suggested an emendation.

I had turned to the right as I entered this road, and now, arising, I continued in the same direction. The path was so serpentine²², that at no moment could I trace its course for more than two or three paces in advance. Its character did not undergo any material change.

Presently the murmur²³ of water fell gently upon my ear—and in a few moments afterward²⁴, as I turned with the road somewhat more abruptly²⁵ than hitherto, I became aware that a building of some kind lay at the foot of a gentle declivity²⁶ just before me. I could see nothing distinctly on account of the mist which occupied all the little valley below. A gentle breeze, however, now arose, as the sun was about descending²⁷; and while I remained standing²⁸ on the brow of the slope, the fog gradually became dissipated into wreaths, and so floated over the scene.