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伊丽莎白·芭蕾特致罗伯特·勃朗宁（2）
For the rest you draw me on with your kindness。 It is difficult to get rid of people when you once have given them too much pleasure— that is a fact； and we will not stop for the moral of it。 What I was going to say—after a little natural hesitation—is； that if ever you emerge without inconvenient effort from your ‘passive state'； and will tell me of such faults as rise to the surface and strike you as important in my poems； （for of course； I do not think of troubling you with criticism in detail） you will confer a lasting obligation on me； and on which I shall value so much； that I covet it at a distance。
I do not pretend to any extraordinary meekness under criticism and it is possible enough that I might not be altogether obedient to yours。 But with my high respect for your power in your Art and for your experience as an artist； it would be quite impossible for me to hear a general observation of yours on what appear to you my masterfaults without being the better for it hereafter in some way； I ask for only a sentence or two of general observation—and I do not ask even for that； so as to tease you—but in the humble low voice； which is so excellent a thing in women—particularly when they go a begging！
The most frequent general criticism I receive； is； I think； upon the style；—“if I would but change my style！” But that is an objection （isn't it？） to the writer bodily？ Buffon says； and every sincere writer must feel； that “Le style c'est l'homme”；a fact； however； scarcely calculated to lessen the objection with certain critics。
Is it indeed true that I was so near to the pleasure and honor of making your acquaintance？ and can it be true that you look back upon the lost opportunity with any regret？ But—you know—if you had entered the “crypt；” you might have caught cold； or been tired to death； and wished yourself “a thousand miles off”， which would have been worse than traveling them。 It is not my interest； however； to put such thoughts in your head about its being “all for the best”； and I would rather hope （as I do） that what I lost by one chance I may recover by some future one。 Winters shut me up as they do dormouse's eyes； in the spring； we shall see； and I am so much better than I seem turning round to the outward world again。 And in the meantime I have learnt to know your voice； not merely from the poetry but from the kindness in it。 Mr。 Kenyon often speaks of you—dear Mr。 Kenyon！—who most unspeakably； or only speakably with tears in my eyes；—has been my friend and helper； and my book's friend and helper！ critic and sympathiser； true friend of all hours！ You know him well enough； I think； to understand that I must be grateful to him。
I am writing too much；—and not withstanding that I am writing too much； I will write of one thing more。 I will say that I am your debtor； not only for this cordial letter and for all the pleasure which came with it； but in other ways； and those the highest： and I will say that while I live to follow this divine art of poetry； in proportion to my love for it and my devotion to it； I must be a devout admirer and student of your works。 This is in my heart to say to you—and I say it。
And for the rest； I am proud to remain；
Your obliged and faithful
Elizabeth B。 Barrett
莎拉·伯恩哈特致萨杜
莎拉·伯恩哈特（1844—1923），法国戏剧演员、导演，有“女神莎拉”的美誉，以优美的容貌、出色的演技和嗓音成为历史上著名的舞台剧演员，也被誉为“当代最伟大的演员”。
奇 男：
今晚你去哪儿了？你的信一小时前才到——痛苦的一小时——我原希望你能和我在这里共度时光。
没有你，巴黎成了一座太平间。我认识你之前，巴黎就是巴黎，我把它当做天堂；然而现在，它变成了一片荒芜孤寂的沙漠，它像一个没有指针的钟面。
认识你之后，我记忆中的所有画面都黯然失色，取而代之的是我俩共度的美好时光。
现在，离开你，我就活不下去——你说的话，即使是痛恨的话——也能为我驱散世间所有的烦恼，让我快乐；你的话升华了我的艺术，像一个柔软的摇篮轻轻地摇着它；对我而言，你的话就像阳光和空气一样不可缺少。
我渴望听到你说话，就像饥饿的人需要食物，口渴难忍的人需要喝水。你的话就是我的食物，你的气息就是我的美酒。你就是我的一切。
你的莎拉
（无日期）
Sarah Bernhardt
To
（undated）
Wonderful Boy；
Where are you tonight？ Your letter came only an hour ago—cruel hour—I had hoped you would spend it with me here。
Paris is a morgue without you。 Before I knew you； it was Paris； and I thought it heaven； but now it is a vast desert of desolation and loneliness。 It is like the face of a clock； bereft of its hands。
All the pictures that hung in my memory before I knew you have faded and given place to our radiant moments together。
Now I cannot live apart from you—your words； even though bitterdispel all the cares of the world and make me happy； my art has been suckled by them and softly rocked in their tender cradle； they are as necessary to me now as sunlight and air。
I am as hungry for them as for food； I am thirsty for them； and my thirst is overwhelming。 Your words are my food； your breath my wine。 You are everything to me。
Your Sarah
卡尔·马克思致燕妮·马克思（1）
卡尔·马克思（1818—1883），德国著名的思想家、社会活动家、马克思主义的创始人、第一国际的组织者和领导者、全世界无产阶级和劳动人民的伟大导师；著有《资本论》等巨著。1843年5月，在莱茵省的小镇克罗茨纳赫，他与童年时代的女友燕妮·冯·威斯特华伦结婚。从此，她成了马克思志同道合、患难与共的亲密伴侣和战友。
我最亲爱的：
我再一次写信给你，因为我感到孤独，感到难过——我总是在心里和你交谈，但你对此一无所知，既听不到又不能给我回答。你的照片虽然照得不是太好，但对我却极为有用。现在，我才明白为什么“阴郁的圣母”，最丑陋的圣母像却拥有狂热的崇拜者，甚至比一些优美的画像拥有更多的崇拜者。无论如何，这些阴郁的圣母像被吻的次数都没有像你这张照片那么多，也没有像你的照片这样被如此深情地注视，并受到如此的崇拜；你这张照片即使说不上忧郁，至少也是郁闷的，它并不能反映你那可爱、甜蜜、诱人的温柔脸庞。但是，我把被阳光晒坏的地方修好了，并且发现我的眼睛虽然被灯光和烟草的烟雾损坏了，但仍能描绘你的形象——不管是在睡梦之中，还是在清醒时分。你好像真的就在我面前站着，我拥抱着你，从头至脚地吻你，跪倒在你的面前，情不自禁地呻吟着：“我爱您，夫人！”我真的爱你，我对你的爱情远胜过威尼斯摩尔人的爱情。事实上，虚伪和空虚的世界对人的看法也是虚伪而表面化的。那些诽谤我、侮蔑我的敌人中，有哪位曾骂过我适合在某个二流剧院扮演一流情人的角色呢！但事实上，我正是如此。要是那些坏蛋稍稍聪明一点的话，他们会在一边画上“生产关系和交换关系”的图画，另一边画上我匍匐在你脚前的形象。请看看这幅画，再看看那幅画——他们会在下面写上这么一句。但那些坏蛋都是蠢货，而且将永远那么愚蠢。
短暂的别离对人们是有好处的，因为经常接触会让人乏味，从而使事物间的差别消失。经常性的接近甚至会让宝塔变得矮小，日常生活中的琐事，如果接触多了便会变得过分庞杂。小小的恶习通常会引起身体上的愤怒或精神上的反感，但只要对象在视野中消失，它也就不复存在。巨大的热情通过与它的对象的亲近会表现为日常的习惯，但在别离的魔术般的影响下会壮大起来，并重新拥有它自身的魔力。我的爱情就是这样。一旦我们被空间隔离，甚至只在梦中，我就会马上明白，时间之于我的爱情正如阳光雨露之于植物，能让其茁壮成长。只要你离开我，我对你的爱就会显出它本来的面目，如同巨人一般的面目。爱情集中�