She did not know that Clare had followed her round, and that he sat under his cow watching her. The stillness of her head and features was remarkable: she might have been in a trance, her eyes open, yet unseeing. Nothing in the picture moved but Old Pretty's tail and Tess's pink hands, the latter so gently as to be a rhythmic pulsation only, as if they were obeying a reflex stimulus, like a beating heart.
她不知道克萊爾隨后也來到了她的附近，也不知道他正坐在奶牛下面觀察她。很明顯，她的頭和她的面目安詳沉靜：她似乎在那兒發(fā)怔出神，眼睛睜得大大的，但是卻看不見。在這幅圖畫里，一切都是靜止的，只有老美人的尾巴和苔絲粉紅色的雙手在活動著，那雙手的活動是那樣地輕柔，所以就變成了一種韻律的搏動，它們也仿佛正在按照反射的刺激活動，就像一顆跳動的心臟一樣。

How very lovable her face was to him. Yet there was nothing ethereal about it; all was real vitality, real warmth, real incarnation. And it was in her mouth that this culminated. Eyes almost as deep and speaking he had seen before, and cheeks perhaps as fair; brows as arched, a chin and throat almost as shapely; her mouth he had seen nothing to equal on the face of the earth. To a young man with the least fire in him that little upward lift in the middle of her red top lip was distracting, infatuating, maddening. He had never before seen a woman's lips and teeth which forced upon his mind with such persistent iteration the old Elizabethan simile of roses filled with snow. Perfect, he, as a lover, might have called them off-hand. But no - they were not perfect. And it was the touch of the imperfect upon the would-be perfect that gave the sweetness, because it was that which gave the humanity.
在他看來，她的臉非?？蓯邸５牵菑埬樕嫌譀]有超凡入圣的神情，全部都是真正的青春活力，真正的溫暖，真正的血肉之軀。而這一切又全都集中到了她的嘴上。她的一雙眼睛和他過去看見的一樣，一直是那樣深沉，似乎能夠說話，她的面頰，也許還是像他從前見過的那樣美麗；她的眉毛還是像從前見過的那樣彎彎如弓，她的下巴還是像從前見過的那樣棱角分明，她的脖頸也還是像從前見過的那樣端正；然而她的那張嘴從前卻沒有見到過，不知道天底下有沒有能同它相比的。她的中部微微向上掀起的紅色上唇，就連最沒有激情的青年男子見了，也要神魂顛倒，癡迷如醉，為之瘋狂。他從前從來沒有看見過一個女人的嘴唇和牙齒如此美妙，讓他在心中不斷地想起玫瑰含雪②這個古老的伊麗莎白時代的比喻。在他用一個情人的眼光看來，她的嘴和牙齒簡直是完美無缺了。但又個是完美無缺——它們并不是完美無缺的。也正是在似乎完美無缺中顯露出來的一點兒不完美，這才生出甜蜜來，正因為有了這一點不完美，也才符合人之常情。

②玫瑰含雪（roses filled with snow），出自托瑪斯·坎皮恩的詩《櫻桃熟了》：“看上去它們就像含雪的玫瑰蓓蕾?！?/span>