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“费金，他明天恐怕还是不要穿这一身漂亮衣服，是吗？”查理·贝兹问。 'Certainly not,' replied the Jew, reciprocating the grin with which Charley put the question. “当然不穿喽。”老犹太亮出和查理提问时相同的那种龇牙咧嘴的笑容，回答道。 Master Bates, apparently much delighted with his commission, took the cleft stick: and led Oliver into an adjacent kitchen, where there were two or three of the beds on which he had slept before; and here, with many uncontrollable bursts of laughter, he produced the identical old suit of clothes which Oliver had so much congratulated himself upon leaving off at Mr. Brownlow's; and the accidental display of which, to Fagin, by the Jew who purchased them, had been the very first clue received, of his whereabout. 贝兹少爷显然很乐意接受这一任务。他拿起那根破棍子，领着奥立弗来到隔壁厨房，里边放着两三个铺位，奥立弗以前就是在这里睡觉。查理情不自禁一连打了好多个哈哈，才把奥立弗在布朗罗先生家里千恩万谢丢掉的那一套破衣服拿了出来，买走这套衣服的那个犹太人碰巧拿给费金看过，费金这才得到了关于他的行踪的第一条线索。 'Put off the smart ones,' said Charley, 'and I'll give 'em to Fagin to take care of. What fun it is!' “把这套漂亮衣服脱下来，”查理说道，“我去交给费金保管。真有趣。” Poor Oliver unwillingly complied. Master Bates rolling up the new clothes under his arm, departed from the room, leaving Oliver in the dark, and locking the door behind him. 苦命的奥立弗很不情愿地照办了，贝兹少爷把新衣裳卷起来夹在胳膊下边，随手锁上房门，离去了，把奥立弗一个人丢在黑暗之中。 
隔壁传来查理喧闹的笑声以及蓓特小姐的声音。她来得正巧，她的好朋友正需要浇点凉水，做一些男士不宜的事情，促使她苏醒过来。随便换一个比奥立弗所处的地方舒适一些的环境，查理的笑声、蓓特的话声也会使许多人睡不着的，然而他心力交困，不多一会儿就呼呼地睡着了。 It is the custom on the stage, in all good murderous melodramas, to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger, drawing forth her dagger to preserve the one at the cost of the other; and just as our expectations are wrought up to the highest pitch, a whistle is heard, and we are straightway transported to the great hall of the castle; where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places, from church vaults to palaces, and roam about in company, carolling perpetually. 在一切优秀的凶杀剧目中，总是交替出现悲哀的和滑稽的场面，就跟一段段肥瘦相间，熏制得法的五花肉一样，这已经成为舞台上的一种惯例了。男主人公为镣铐与不幸所累，栽倒在柴草褥子上。接下来的一场，他那位不开窍的忠实随从却用一首滑稽小调来逗观众开心。我们揣着一颗卜卜跳动的心，看到女主人公落入一位傲慢粗鲁的男爵的怀抱，她的贞操和性命都发发可危。她拔出匕首，准备以牺牲性命的代价来保全贞操。正当我们的暇想被上调到最高限度的当儿，只听一声号角，我们又径直被转移到城堡的大厅里，在那个地方，一个白发总管正领唱一支滑稽可笑的歌曲，参与合唱的是一群更加滑稽可笑的家奴，他们从各种各样的地方跑出来，从教堂的拱顶到宫殿城阙，正结伴邀游四方，永无休止地欢唱。 Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning-weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on, which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous. 这样的变化显得有些荒诞，然而它们并不像粗看上去那样不近情理。实际生活中，从摆满珍肴美撰的餐桌到临终时的灵床，从吊丧的孝服到节日的盛装，这种变迁的惊人之处也毫不逊色，只不过我们就是其中匆匆来去的演员，而不是袖手旁观的看客罢了，这一点是有着天壤之别的。以在剧院里模拟作戏为生的演员对于感情或知觉的剧烈转换与骤然刺激已经麻木、可这些一旦展现在观众的眼前就被贬为荒谬绝伦，颠三倒四了。 As sudden shiftings of the scene, and rapid changes of time and place, are not only sanctioned in books by long usage, but are by many considered as the great art of authorship: an author's skill in his craft being, by such critics, chiefly estimated with relation to the dilemmas in which he leaves his characters at the end of every chapter: this brief introduction to the present one may perhaps be deemed unnecessary. If so, let it be considered a delicate intimation on the part of the historian that he is going back to the town in which Oliver Twist was born; the reader taking it for granted that there are good and substantial reasons for making the journey, or he would not be invited to proceed upon such an expedition. 鉴于场景的急转直下，时间、地点的迅速变换，长期以来不仅在书本中沿用，有许多人还认为这属于大手笔--这一类评论家衡量作者的高下，主要是依据他在每章末尾处将人物置于怎样的困境之中--读者也许认为这一段简短的导言是不必要的。如果是这样，就请把这段话当作是本书作者的一个微妙的暗示吧，作者要照直回到奥立弗·退斯特诞生的那座小城去了，读者都应当考虑到，这一趟远行是有充分而紧迫的理由的，否则无论如何也不会邀请他们作这样一次远行。 Mr. Bumble emerged at early morning from the workhouse-gate, and walked with portly carriage and commanding steps, up the High Street. He was in the full bloom and pride of beadlehood; his cocked hat and coat were dazzling in the morning sun; he clutched his cane with the vigorous tenacity of health and power. Mr. Bumble always carried his head high; but this morning it was higher than usual. There was an abstraction in his eye, an elevation in his air, which might have warned an observant stranger that thoughts were passing in the beadle's mind, too great for utterance. 这天一大早，邦布尔先生就走出了济贫院大门口。他一副气宇不凡的派头，步履生风地走上大街。他神采飞扬，充满教区干事的自豪感：三角帽和大衣在朝阳下闪着耀眼的光芒，他紧握手杖，精神饱满，浑身是劲。邦布尔先生的头向来就抬得很高，今天早上比平时抬得还要高。他目光有些出神，表情愉悦，这副神气兴许已经向细心的的陌生人发出了警告，这位干事心目中匆匆来去的念头真有说不出的伟大。 
他径自朝前走去，几位小店掌柜什么的恭恭敬敬和他搭话，向他敬礼，但他顾不得停下来说两句，只是扬扬手算是回礼。他始终保持着这副高贵的步态，直到他走进麦恩太太的寄养所。这位太太本着教区特有的爱心，负责在寄养所里照看那班贫儿。 'Drat that beadle!' said Mrs. Mann, hearing the well-known shaking at the garden-gate. 'If it isn't him at this time in the morning! Lauk, Mr. Bumble, only think of its being you! Well, dear me, it IS a pleasure, this is! Come into the parlour, sir, please.' “该死的差人。”麦恩太太一听那熟悉的摇撼花园门的声音就烦。“老大清早，不是他才怪。啊，邦布尔先生，我就知道是你。嗨。天啦，真是太高兴了，是啊。先生，请到客厅里边来。” The first sentence was addressed to Susan; and the exclamations of delight were uttered to Mr. Bumble: as the good lady unlocked the garden-gate: and showed him, with great attention and respect, into the house. 开头的一句是对苏珊说的，后边的一番愉快的寒暄才是说给邦布尔先生听的。那位贤慧的太太打开园门，十分殷勤而又礼貌周全地领着他走进屋子。 'Mrs. Mann,' said Mr. Bumble; not sitting upon, or dropping himself into a seat, as any common jackanapes would: but letting himself gradually and slowly down into a chair; 'Mrs. Mann, ma'am, good morning.' “麦恩太太，”他没有像一般不懂礼数的粗人那样一屁股坐下来，或者说不自觉地让身体掉进座位里，而是缓缓地、慢慢地在一把椅子上坐下来。“麦恩太太，夫人，早安。” 'Well, and good morning to YOU, sir,' replied Mrs. Mann, with many smiles; 'and hoping you find yourself well, sir!' “哟，也问你早，先生，”麦恩大太回答时满脸堆笑。“想来这一阵你身体不错，先生。” 
“马马虎虎，麦恩太太，”干事回答，“教区的生活可不是满园玫瑰花，麦恩太太。” 'Ah, that it isn't indeed, Mr. Bumble,' rejoined the lady. And all the infant paupers might have chorussed the rejoinder with great propriety, if they had heard it. “啊，的确不是，邦布尔先生。”麦恩太太答道。要是寄养所的全体儿童也都听见了，肯定会彬彬有礼地齐声唱出这句答话的。 'A porochial life, ma'am,' continued Mr. Bumble, striking the table with his cane, 'is a life of worrit, and vexation, and hardihood; but all public characters, as I may say, must suffer prosecution.' “在教区做事，夫人，”邦布尔先生用手杖敲着桌子继续说，“就得操心，生烦恼，还得勇敢。所有的公众人物，我可以说，绝对躲不开对簿公堂。” Mrs. Mann, not very well knowing what the beadle meant, raised her hands with a look of sympathy, and sighed. 麦恩太太没有完全听懂教区干事说的话，但还是带着同情的神色抬起双手，叹了一口气。 'Ah! You may well sigh, Mrs. Mann!' said the beadle. “啊，麦恩太太，确实可叹啊。”干事说道。 
麦恩太太见自己做对了，便又叹了一口气，显然存心讨好这位公众人物，而他正神色庄重地望着三角帽，竭力掩饰脸上得意的微笑，说道： 'Mrs. Mann, I am going to London.' “麦恩太太，我要去一趟伦敦。” 'Lauk, Mr. Bumble!' cried Mrs. Mann, starting back. “呃，邦布尔先生。”麦恩太太大叫一声，往后退去。 'To London, ma'am,' resumed the inflexible beadle, 'by coach. I and two paupers, Mrs. Mann! A legal action is a coming on, about a settlement; and the board has appointed me--me, Mrs. Mann--to dispose to the matter before the quarter-sessions at Clerkinwell.And I very much question,' added Mr. Bumble, drawing himself up, 'whether the Clerkinwell Sessions will not find themselves in the wrong box before they have done with me.' “去伦敦，夫人，”倔头倔脑的干事继续说道，“坐公共马车去，我，还有两个穷小子，麦恩太太。有一桩关于居住权的案子，就要开庭审理了，理事会指定我--我，麦恩太太--去每年开庭四次的克拉肯韦尔季审法庭证明这件事。我真怀疑，”邦布尔先生挺了挺胸，补充说，“在跟我说清楚之前，克拉肯韦尔法庭是不是能看出他们自个儿搞错了。”
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