Lu Xun Complete Works/en/Panghuang
Wandering
From Lu Xun's collection Wandering (Panghuang), Section 1:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 【二 开始】 木罗式加遇见了美谛克，自己也以为奇的，是先前的怨恨和愤怒，都不再觉得了。所剩下的，只是这样的有害的人，何以又在路上出现的这一种疑心，以及他木罗式加，对他应该愤慨的一种无意识底的确信。但是这邂逅，也还是将他打动，使他要将这事即刻和谁去谈谈。 “刚才在横街上走，”他对图皤夫说。“刚要转弯，跑到我的鼻子尖前来了，——那个夏勒图巴的小伙子呵，我带来的，那个，记得么？”
From Lu Xun's collection Wandering (Panghuang), Section 2:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 往之言此事者，有达尔文《原人论》，赫胥黎《化中人位论》。黑格尔著《人类发生学》，则以古生物学个体发生学及形态学证人类之系统，知动物进化，与人类胎儿之发达同，凡脊椎动物之始为鱼类，见地质学上太古代之僦罗纪，继为迭逢纪之蛙鱼，为石墨纪之两栖，为二叠纪之爬虫，及中古代之哺乳动物，递近古代第三纪，乃见半猿，次生真猿，猿有狭鼻族，由其族生犬猿，次生人猿，人猿生猿人，不能言语，降而能语，是谓之人，此皆比较解剖
From Lu Xun's collection Wandering (Panghuang), Section 3:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 我看了样本，以为校勘有时稍迂，空格令人气闷，半农的士大夫气似乎还太多。至于书呢？那是，谈鬼物正像人间，用新典一如古典。三家村的达人穿了赤膊大衫向大成至圣先师拱手，甚而至于翻筋斗，吓得“子曰店”的老板昏厥过去；但到站直之后，究竟都还是长衫朋友。不过这一个筋斗，在那时，敢于翻的人的魄力，可总要算是极大的了。 成语和死古典又不同，多是现世相的神髓，随手拈掇，自然使文字分外精神，又即从成语中，另外抽出思绪
From Lu Xun's collection Wandering (Panghuang), Section 4:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 惠勃（C.C.Webb）是英国现代著名的艺术家，从一九二二年以来，都在毕明翰（Birmingham）中央学校教授美术。第一幅《高架桥》是圆满的大图画，用一种独创的方法所刻，几乎可以数出他雕刻的笔数来。统观全体，则是精美的发光的白色标记，在一方纯净的黑色地子上。《农家的后园》，刀法也多相同。《金鱼》更可以见惠勃的作风，新近在“Studio”上，曾大为George Sheringham所称许。 司提芬
From Lu Xun's collection Wandering (Panghuang), Section 5:
This section contains an art criticism text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 视为一个纯然的装饰艺术家，比亚兹莱是无匹的。他把世上一切不一致的事物聚在一堆，以他自己的模型来使他们织成一致。但比亚兹莱不是一个插画家。没有一本书的插画至于最好的地步——不是因为较伟大而是不相称，甚且不相干。他失败于插画者，因为他的艺术是抽象的装饰；它缺乏关系性底律动——恰如他自身缺乏在他前后十年间底关系性。他埋葬在他的时期里有如他的画吸收在它自己的坚定的线里。 比亚兹莱不是印象主义者，如Mane
From Lu Xun's collection Wandering (Panghuang), Section 6:
This section contains an art criticism text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 译文社同人公启。二十四年九月十六日 【绍介“海上述林”】 本卷所收，都是文艺论文，作者既系大家，译者又是名手，信而且达，并世无两。其中《写实主义文学论》与《高尔基论文选集》两种，尤为煌煌巨制。此外论说，亦无一不佳，足以益人，足以传世。全书六百七十余页，玻璃板插画九幅。仅印五百部，佳纸精装，内一百部皮脊麻布面，金顶，每本实价三元五角，四百部全绒面，蓝顶，每本实价二元五角，函购加邮费二角三分。好书易尽
From Lu Xun's collection Wandering (Panghuang), Section 7:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 嗟古贤原宪，弃背膏粱 各本作梁 朱颜，乐此屡空饥寒。形陋体逸心安，得志一世无患。 【重作六言诗十首代秋胡歌诗七首 旧校改为：重作四言诗七首。注云一作《秋胡行》。黄本程本汪本张溥本并同。惟张燮本作《秋胡行七首》。案：六言诗十首盖已逸，仅存其题。今所有者，《代秋胡行》也。旧校甚误 】 富贵尊荣，忧患谅独多 各本及《乐府诗集》引首二句皆重言下放此 。古人所惧，丰屋蔀家。人害其上，兽恶网罗。惟有贫贱，可以
From Lu Xun's collection Wandering (Panghuang), Section 8:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 羽化华岳，超游清霄。云盖习习，六龙飘飘。左佩椒桂，右缀兰苕。凌阳赞路，王子奉轺。婉娈名山，真人是要。齐物养生，与道逍遥。 微风轻 《诗纪》五臣本《文选》均作清 扇，云气四除。皦皦 各本作皎皎 朗 《文选》作亮 月，丽于高隅。兴命公子，携手同车。龙骥翼翼，扬镳踟蹰。肃肃宵征，造我友庐。光灯吐耀 各本作辉。《文选》同○五臣作曜 ，华幔长舒。鸾觞酌醴，神鼎烹鱼。弦 汪本作玄 超子野，叹过绵驹。流咏太素，
From Lu Xun's collection Wandering (Panghuang), Section 9:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 却说开明之欧土中，有技术秀出，学问渊深，大为欧、美人士所钦仰之国曰德意志。鸿儒硕士，蔚若牛毛。而中有一畸人焉，名亚蓠士，幼即居其叔父列曼家，研究矿山及测地之学。列曼为博物学士，甚有盛名，矿物、地质两科，尤为生平得意之学；故常屏绝家事，蛰居书斋，几上罗列着无数光怪陆离的金石，穷日比较研究，视为至乐。且年逾五十，体力不衰，骨格魁梧，精神矍铄，隆准班发，双眸炯炯有光。其明敏活泼的性质，便是青年，也不免要
From Lu Xun's collection Wandering (Panghuang), Section 10:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 这是温暖的畅快的春天。太阳从东到西，自由的旅行在很高的青空上，时时有美丽的云片，滑泽的在青色的空中轻轻地流走，宛然是通过那青葱平静的海上的桃色的船。云雀似乎想追上他，唱着什么高兴的歌，只是高，只是高，高到看不见的，屡次屡次的飞上去。造在街的尽头的病院是幽静了。病院的花园，看着花园里的花的病人，一切都幽静。在那病院里，进了特别室，等候着“死”的来访的，有一个富家的哥儿。为要使哥儿不冷静，那旁边，瞢腾
From Lu Xun's collection Wandering (Panghuang), Section 11:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: “我在年青时候，也如你们青年一般，最喜欢游戏。在纽约，都知道我是野球和蹴球的选手。赛船和长路竞走（Marathon race）的时节，我得到过许多回的金牌。跳舞不必说，便是溜雪和滑冰，也始终都说我是第一等。那时候，大家都以为我活着，我自己也觉得是象样的活着的。……” 他暂时沉默了。遮蔽在烟雾里的幽魂似的他，我极想给哥儿一看呢。……外人又接着说： “不但如此，我那时总以为生在带着温暖的光的明亮的世界
From Lu Xun's collection Wandering (Panghuang), Section 12:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 恰如日本往昔的派出“遣唐使”一样，中国也有了许多分赴欧、美、日本的留学生。现在文章里每看见“莎士比亚”四个字，大约便是远哉遥遥，从异域持来的罢。然而且吃大菜，勿谈政事，好在欧文、迭更司、德富芦花的著作，已有经林纾译出的了。做买卖军火的中人，充游历官的翻译，便自有摩托车垫输入臀下，这文化确乎是迩来新到的。 他们的遣唐使似乎稍不同，别择得颇有些和我们异趣。所以日本虽然采取了许多中国文明，刑法上却不用凌
From Lu Xun's collection Wandering (Panghuang), Section 13:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 风萧萧地刮着，在坟地上，在黑的十字架之间咆哮。空中渐渐绷上了沉重的阴云，用冷露来润湿死人的狭隘的住宅。界内的可怜的群树呻吟着，将精光的枝柯伸向沉默的云中，枝柯摩抚着十字架。于是在全界内，都听到了隐忍的悲泣，和按住似的呻吟——听到了阴惨的沉闷的交响乐。 恶魔吹着口笛，这样地想了—— “倘知道这样天气的日子，死是觉得怎样，倒也是有趣的。死人总浸透着湿气……即使死于痛风之后，得了魔力，……一定总是不舒服
From Lu Xun's collection Wandering (Panghuang), Section 14:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 创作的年代，我不知道；中国有一篇戈理基的《创作年表》，上面大约也未必有罢。但从本文推想起来，当在二十世纪初头，自然是社会主义信者了，而尼采色还很浓厚的时候。至于寓意之所在，则首尾两段上，作者自己就说得很明白的。 这回是枝叶之谈了——译完这篇，觉得俄国人真无怪被人比之为“熊”，连著作家死了也还是笨鬼。倘如我们这里的有些著作家那样，自开书店，自印著作，自办流行杂志，自做流行杂志贩卖人，商人抱着著作家的
From Lu Xun's collection Wandering (Panghuang), Section 15:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 早上，葬式开始了。然而寺院的钟，不复撞出悲音，母亲们也并不因战死者而啼哭，也没有看见黑色的丧章的旗。一切全是红的，辉煌，活泼，有美丽的花圈，听到雄赳赳的革命歌。孩子们，男女工人和兵士们，整然地排了队伍进行，在年青的女人的手中，灿烂着红纸或红带造成的华丽的花束。队伍前面，则有一群女子，运着一个花圈，上系红色飘带，题着这样的句子： “死于获得自由的斗争的勇士万岁。” 从普罗呵罗夫斯卡耶工厂，运出三具红
From Lu Xun's collection Wandering (Panghuang), Section 16:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: “所谓‘同路人’们的文学，和这（无产者文学），是成就了另一条路了。他们是从文学向生活去的，从那有自立底的价值的技术出发。他们首先第一，将革命看作艺术作品的题材。他们明明白白，宣言自己是一切倾向性的敌人，并且想定了与这倾向之如何并无关系的作家们的自由的共和国。其实，这些‘纯粹’的文学主义者们，是终于也不能不拉进在一切战线上，沸腾着的斗争里面去了的，于是就参加了斗争。到了最初的十年之将终，从革命底实生
From Lu Xun's collection Wandering (Panghuang), Section 17:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 一看见从密林里回来得有这么快的木罗式加，（传令使是大摆着两手，沉重地，愤怒地，动着身子走了去了，）美谛克便——凭着似乎毫无什么实据，然而绝不容一点疑问的那意识下的确信——知道木罗式加和华理亚之间的“没有事”，而那原因，则是——他，美谛克了。一种不安宁的高兴和说不出的犯罪感，在他里面无端蠢动起来。于是一遇到木罗式加的毁灭一切似的眼光，就开始觉得有些可怕了。 行榻的近旁，木罗式加的粗毛的马在吃草，索索
From Lu Xun's collection Wandering (Panghuang), Section 18:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 美谛克的话，好象在他心里唤起许多无用的回忆来了。美谛克用了突然的热心，开始来说明巴克拉诺夫的不进高中学校，并不算坏事情，倒是好。他在无意中，想使巴克拉诺夫相信自己虽然无教育，却是怎样一个善良，能干的人，但巴克拉诺夫却不能在自己的无教育之中，看见这样的价值，美谛克的更加复杂的判断，也就全然不能为他所领会了。他们之间，于是并不发生心心相印的交谈。两人策了马，在长久的沉默中开快步前进。 路上时时遇见斥候
From Lu Xun's collection Wandering (Panghuang), Section 19:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: “离这里十五威尔斯忒的处所，有一个沿河的小村，那里还留着千年前以来的迷信。闺女们跑出了自己的土地，用了自己的身体和纯洁来厌禳，那是在彼得·桑者符洛忒周间内举行的。谁想出来的呢，说是什么桑者符洛忒！……比起发掘之类来，有趣得多哩。此刻岂不是半夜么，那些闺女们恐怕正在厌禳我们罢。那是闺女的秘密呵。” 从平原上，又吹来了飒飒的风。在无限的天空中，星在流走，——七月的流星期已经来到了。络纬发出干燥闷热的声
From Lu Xun's collection Wandering (Panghuang), Section 20:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 一个男人坐在包迪克的面前，点上了烟卷，摩着袒露的毛茸茸的胸膛，一面慢慢地说： “喂，动手罢，弗罗理支老板，……用马，就好了，密哈尔小子，得敲他起来，那畜生，死了似的钻在土里面。” 一到傍晚，络纬叫起来了。那泰理亚挑着大桶，到菜圃去给苗床浇水。额上流着汗，身子为了桶的重量，紧张得说不出，甜津津地作痛。溅在赤脚上的水点，来了凉爽的心情。一到了傍晚，野雀便在樱桃树的茂密中叫了起来，令人想到七月，于是立刻
From Lu Xun's collection Wandering (Panghuang), Section 21:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 我已经说过，战争，是当了义勇兵去的。在莱那投了军，编在本地的军队里，过了两个月，就被送到德国的战线上去了。也曾参加了那有名的珊索诺夫斯基攻击，也曾在普鲁士的地下室里喝酒，用枪刺刺死了小猪、鸡、鸭之类，大嚼一通。后来还用鹤嘴锄掘倒了华沙的体面的墙壁。——可是关于战争的情形，是谁也早已听厌了的，也不必再对你讲了。——但在我，是终于耐不住了三个月住在堑壕里，大家的互相杀人。于是到第四个月，我的有名誉的爱
From Lu Xun's collection Wandering (Panghuang), Section 22:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: “那里，她是非常执拗地爱了我的哩。尤其是在战事的时候……”他笑着，接下去说道，“这之后，我就暂时住在卢开利亚·彼得罗夫娜的家里，好容易这才逃到市里来的……很冒了些困难，才得走出。开初是恐吓我，说是布尔塞维克正在图谋造反，有不合伙的，就要活活地埋在坟里，或者抛到涅伐河里去……总之，是费了非常的苦心，才能从她那里逃出，待到走近了彼得堡，这总算可以安稳了……” 他拿起杯子来喝茶，我劝他换一点热的喝。 “
From Lu Xun's collection Wandering (Panghuang), Section 23:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: 然而我们的主角是已经到了中年，且有一种冷静，镇定，切实的性格的。他也曾沉思了一番，还想到过许多事，但他的思想却是更加着实的东西：他的思想决不如此胡涂，倒是很清楚，很有根据。“一个出色的姑娘！”他说，其时就打开他的鼻烟壶，嗅了一下。“但在她那里，最好的是什么呢……她那最好的是，她好象刚刚从学堂或者女塾毕业，还没有特别的女形女势，这相貌，只使全体显得难看。她现在还是一个孩子，什么都朴实，单纯；想到了就
From Lu Xun's collection Wandering (Panghuang), Section 24:
This section contains a classical Chinese text or commentary from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: “这有什么要紧呢，宝贝？”梭巴开维支说。“如果我自己也是这样子呢，然而我爽爽快快的告诉你：这样的脏东西，我可是不吃的。青蛙，即使是糖煮的，我不吃，蛎黄也一样；蛎黄看起来好象什么，我明白得很。请您再用一块烧羊肉，”他向着乞乞科夫，接续说。“这是羊后身加粥，不是斯文的绅士们喜欢吃的，用市场上躺了四天的羊肉做出来的肉饼子。那都是德国呀、法国呀的医生先生们想出来的计策；因此我真想统统绞死掉他们。节食法——
From Lu Xun's collection Wandering (Panghuang), Section 25:
This section contains a literary or essayistic text from Lu Xun's second major collection. The collection Panghuang (Wandering/Hesitation), published in 1926, reflects Lu Xun's struggle with modernity. Wavering between hope and despair, between engagement and retreat, Lu Xun created texts of penetrating intensity. The thematic range extends from social criticism to art contemplation to engagement with the literary traditions of China and Europe. The original text reads: “瞧罢，瞧罢，他就在想这样，这地痞！”乞乞科夫想，但他的主意并没有乱，一面用了最大的冷静，声明道：“您料的全不错；我到您这里来买这废物，倒并不是拿去做什么用，不过为了一种兴趣，由于我自己生成的脾气的。如果两卢布半您还觉得太少，那么，我们不谈罢。再见！” “放他不得！他不大肯添了，”梭巴开维支想。“好罢，上帝保佑您，您每个给三十卢布，就统统归您了。” “不成，我看起来，您是并不想卖的；再见再见。”