【作者簡介】Alice Meynell Summer七月之美（艾麗斯·梅內(nèi)爾）描寫夏日的文字優(yōu)美超脫楼誓，有物我合一的塵外之韻。尤其是對色彩的觀察和感受师坎，令人難出其右厌杜。想象那郁郁蔥蔥的樹木，或秀逸或森然霹崎，滿眼是濃濃淡淡深深淺淺的綠珊搀，再添上如絕句般生命之歌的蟬聲，夏之韻尾菇，則體現(xiàn)得淋漓盡致了境析。而其中她對季節(jié)更替囚枪，人生從激情絢爛轉(zhuǎn)至平淡寧靜、回歸本色的體味簿晓，更讓人回味悠長眶拉。

One has the leisure of July for perceiving all the differences of the green of leaves. It is no longer a difference in degrees of maturity, for all the trees have darkened to their final tone, and stand in their differences of character and not of mere date. Almost all the green is grave, not sad and not dull. It has a darkened and a daily colour, in majestic but not obvious harmony with dark grey skies, and might look, to inconstant eyes, as prosaic after spring as eleven o'clock looks after the dawn.

七月間，人們有余暇觀察樹葉綠翠的千差萬別憔儿。這不再是成熟上的差異忆植，因?yàn)樗械臉淠荆蜣D(zhuǎn)蒼翠谒臼，或呈墨綠朝刊，色調(diào)均已固著定格，從而展現(xiàn)出來的蜈缤，并非時(shí)節(jié)上的不同拾氓，而是各自品格上的差異。幾乎各種綠色底哥，品味凝重咙鞍，既不流于悒郁，也不先之沉悶趾徽。它具有一種深沉续滋、日常的色澤，與灰暗的蒼穹渾然一體孵奶，構(gòu)成莊重卻非一眼可見的和諧疲酌，故而在瀏覽掃掠的目光看來，可能會(huì)有陽春繁景過后的平淡之感了袁，一如黎明之后十一時(shí)的光景朗恳。

Gravity is the word — not solemnity as towards evening, nor menace as at night. The daylight trees of July are signs of common beauty, common freshness, and a mystery familiar and abiding as night and day. In childhood we all have a more exalted sense of dawn and summer sunrise than we ever fully retain or quite recover; and also a far higher sensibility for April and April evenings? a heartache for them, which in riper years is gradually and irretrievably consoled.

凝重，乃是最貼切的字眼——不是時(shí)近黃昏的陰沉载绿，亦非黑夜之中的森然粥诫。七月白晝的蔥都樹木，體現(xiàn)出普通的美崭庸，常見的清新臀脏，是一種如同黑夜白晝般慣常而又永恒不變的不解之謎。童年時(shí)代冀自，我們看到黎明和夏時(shí)日出的盛景揉稚，會(huì)油然生出一股日后無法充分保留、也難以完全恢復(fù)的奮激狂喜熬粗；同時(shí)搀玖，對四月和四月的日暮黃昏，還產(chǎn)生一種陶然忘情的欣賞共鳴——一種為之怦然心動(dòng)的神馳向往驻呐，進(jìn)入壯年之后灌诅，又無可挽回地逐漸淡化平息芳来。

The poetry of mere day and of late summer becomes perceptive to mature eyes that have long ceased to be sated, have taken leave of weariness, and cannot now find anything in nature too familiar; eyes which have, indeed, lost sight of the further awe of midsummer day break, and no longer see so much of the past in April twilight as they saw when they had no past; but which look freshly at the dailiness of green summer, of early afternoon, of every sky of any form that comes to pass, and of the darkened elms.

只有閱歷豐富的慧眼，才能感受到白晝本身和夏末時(shí)令固有的詩意——這雙慧眼已久未獲滿足矣猜拾，同時(shí)也擺脫了厭倦感即舌，此刻發(fā)現(xiàn)在自然界，即使最常見的景物也另有一番情趣挎袜；誠然顽聂，面對仲夏紅日的噴薄欲出，已不再萌發(fā)敬畏之情盯仪；凝望四月的蒼茫暮色紊搪，也不會(huì)比一無閱歷的童年，引發(fā)更多的聯(lián)想全景；然而耀石，對司空見慣的日常景象——樹木蔥蘢的盛夏，日過中天的午后爸黄，來而復(fù)去滞伟、變幻不定的每一片云天，還有幽暗的榆樹——反倒會(huì)投以新的目光炕贵。