尾聲 Epilogue

Epilogue

尾声

In the little town of Hulan, my grandfather once lived; now my grandfather lies buried there.

呼兰河这小城里边,以前住著我的祖父,现在埋著我的祖父。

When I was born, Grandfather was already over sixty; by the time I was four or five, he was nearly seventy.Before I had even reached twenty, Grandfather was already in his late seventies.Once Grandfather passed eighty, he died.

我生的时候,祖父已经六十多岁了,我长到四五岁,祖父就快七十了。我还没有长到二十岁,祖父就七八十岁了。祖父一过了八十,祖父就死了。

The master of the back garden in former days is now gone.The old master died, and the young mistress fled from famine.

从前那后花园的主人,而今不见了。老主人死了,小主人逃荒去了。

The butterflies, grasshoppers, and dragonflies in that garden may still return year after year as before—or perhaps it is utterly desolate now.

那园里的蝴蝶,蚂蚱,蜻蜓,也许还是年年仍旧,也许现在完全荒凉了。

Perhaps cucumbers and great yellow squashes are still planted there every year—or perhaps there are none at all now.

小黄瓜,大倭瓜,也许还是年年地种著,也许现在根本没有了。

Does the morning dew still fall upon the flowerpot stand? Does the noonday sun still shine upon that great sunflower? Do the crimson clouds at dusk still change, now into a horse and, a moment later, into a dog, shifting so from shape to shape?

那早晨的露珠是不是还落在花盆架上,那午间的太阳是不是还照著那大向日葵,那黄昏时候的红霞是不是还会一会工夫会变出来一匹马来,一会工夫会变出来一匹狗来,那么变著。

None of this can be imagined now.

这一些不能想像了。

I heard that Second Uncle You has died.

听说有二伯死了。

Even if the old cook is still alive, he must be well advanced in years.

老厨子就是活著年纪也不小了。

西Nor do I know what has become of any of the neighbors, east or west.

东邻西舍也都不知怎样了。

As for the miller at the mill, I know nothing at all of what has ultimately become of him.

至于那磨房里的磨官,至今究竟如何,则完全不晓得了。

滿There is no particularly beautiful or enchanting story in what I have written above; I have recorded these things here only because they fill my childhood memories and cannot be forgotten—are too hard to forget.

以上我所写的并没有什么幽美的故事,只因他们充满我幼年的记忆,忘却不了,难以忘却,就记在这里了。

稿Manuscript completed in Hong Kong, December 20, 1940.

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What it’s about

Epilogue closes Tales of Hulan River by returning its people and places to the distance from which the narrator has summoned them. The back garden is no longer a present kingdom, grandfather is dead, and the figures from the rear courtyard have scattered, aged or disappeared. Instead of tying their stories into a conventional ending, Xiao Hong offers fragmentary reports and admissions of not knowing. Hulan continues beyond the narrator's sight, but the particular world shared with her grandfather cannot continue for her.

The final movement makes memory both powerful and insufficient. Writing has restored winter streets, festival lights, insects in the garden and voices from neglected rooms with extraordinary vividness, yet it cannot discover every fate or reverse a single death. The plain statement that the garden's owner is gone drains the earlier abundance of colour without declaring those happy scenes false. This mixture of survival and loss is the book's true conclusion: places persist, seasons repeat and stories circulate, while individual lives vanish from knowledge. The narrator's backward glance preserves Hulan neither as a charming hometown nor as a catalogue of oppression alone, but as the irreducibly beautiful and cruel world that formed her.

When it was written 背景

The epilogue belongs to a novel written under extreme displacement. Xiao Hong completed it in Hong Kong in December 1940 as war separated her from the northeastern home occupied by Japan since 1931; the book appeared in 1941, and she died in the besieged city the following January. Those circumstances make the closing uncertainty especially resonant, though the prose does not turn into political explanation. This short section is best read immediately after chapter seven and then beside the garden chapter. Its repeated names and places are easy linguistically, but their emotional force depends on recognition. Notice how phrases of absence—dead, gone, unknown, no longer—answer the earlier language of free growth and endless summer without erasing it.

Words in this chapter 生词