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The Hated Son-Part1_Honore de Balzac(1799-1850)_Translated Works(翻译文学)-第2页

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furrows, produced by the emotions of a warrior life, gave it a vague



resemblance to the vermiculated stone which we see in the buildings of

that period; his hair, like the whitish lichen of old oaks, gray



before its time, surrounded without grace a cruel brow, where

religious intolerance showed its passionate" target="_blank" title="a.易动情的；易怒的">passionate brutality. The shape of



the aquiline nose, which resembled the beak of a bird of prey, the

black and crinkled lids of the yellow eyes, the prominent bones of a



hollow face, the rigidity of the wrinkles, the disdain expressed in

the lower lip, were all expressive of ambition, despotism, and power,



the more to be feared because the narrowness of the skull betrayed an

almost total absence of intelligence, and a mere brute courage devoid



of generosity. The face was horribly disfigured by a large transversal

scar which had the appearance of a second mouth on the right cheek.



At the age of thirty-three the count, anxious to distinguish himself

in that unhappy religious war the signal for which was given on Saint-



Bartholomew's day, had been grievously wounded at the siege of

Rochelle. The misfortune of this wound increased his hatred against



the partisans of what the language of that day called "the Religion,"

but, by a not unnatural turn of mind, he included in that antipathy



all handsome men. Before the catastrophe, however, he was so

repulsively ugly that no lady had ever been willing to receive him as



a suitor. The only passion of his youth was for a celebrated woman

called La Belle Romaine. The distrust resulting from this new



misfortune made him suspicious to the point of not believing himself

capable of inspiring a true passion; and his character became so



savage that when he did have some successes in gallantry he owed them

to the terror inspired by his cruelty. The left hand of this terrible



Catholic, which lay on the outside of the bed, will complete this

sketch of his character. Stretched out as if to guard the countess, as



a miser guards his hoard, that enormous hand was covered with hair so

thick, it presented such a network of veins and projecting muscles,



that it gave the idea of a branch of birch clasped with a growth of

yellowing ivy.



Children looking at the count's face would have thought him an ogre,

terrible tales of whom they knew by heart. It was enough to see the



width and length of the space occupied by the count in the bed, to

imagine his gigantic proportions. When awake, his gray eyebrows hid



his eyelids in a way to heighten the light of his eye, which glittered

with the luminousferocity of a wolf skulking on the watch in a



forest. Under his lion nose, with its flaring nostrils, a large and

ill-kept moustache (for he despised all toilet niceties) completely



concealed the upper lip. Happily for the countess, her husband's wide

mouth was silent at this moment, for the softest sounds of that harsh



voice made her tremble. Though the Comte d'Herouville was barely fifty

years of age, he appeared at first sight to be sixty, so much had the



toils of war, without injuring his robustconstitution, dilapidated

him physically.



The countess, who was now in her nineteenth year, made a painful

contrast to that large, repulsive figure. She was fair and slim. Her



chestnut locks, threaded with gold, played upon her neck like russet

shadows, and defined a face such as Carlo Dolce has painted for his



ivory-toned madonnas,--a face which now seemed ready to expire under

the increasing attacks of physical pain. You might have thought her



the apparition of an angel sent from heaven to soften the iron will of

the terrible count.






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