it one day, and clear it all. And the grotesque furniture interested her.

在这间储藏室里，几幅埃德温·兰西尔爵士（注：1802-1873，英国画家，以动物画著称。）的画作堪称败笔，几张威廉·亨利·亨特（注：1790-1864，英国水彩画家，擅长表现水果、花木、飞禽、鸟巢等题材，是拉斐尔前派的代表人物之一。）的鸟巢也算不得佳作，还有其他不少出自皇家艺术学会名家的作品，已足够让身为会员之女的她咋舌不已。她决定找一天，将这里清查一遍，收拾停当。那些奇形怪状的家具引起了她的兴趣。

Wrapped up carefully to preserve it from damage and dry-rot was the old family cradle, of rosewood. She had to unwrap it, to look at it. It had a certain charm: she looked at it a longtime.

她找到家传的红木摇篮，包裹得严严实实，以防损坏或干腐。她只得层层拆开来看。摇篮有某种独特的魔力，让她注视良久。

"It's thousand pities it won't be called for," sighed Mrs. Bolton, who was helping. "Though cradles like that are out of date nowadays." "It might be called for. I might have a child," said Connie casually, as if saying she might have a new hat.

“它派不上用场，实在太可惜了，”在旁帮忙的博尔顿太太叹道，“不过，这种摇篮已经过时了。”“或许会用得着。或许我会生个孩子。”康妮轻描淡写地说，似乎在宣布自己要买顶新帽子。

"You mean if anything happened to Sir Clifford!" stammered Mrs. Bolton.

“您是说如果克利福德爵士能康复？”博尔顿太太结结巴巴地说。

"No