密教模拟器·文献
Cultist Simulator
Books
诗集 A Collection of Poetry
诗人有意无限地，长久地搅乱自身的所有感官，获得预见世事的能力……可喜的是，这与智慧背道而驰。
'The poet makes himself a seer by an immense, long, deliberate derangement of all the senses...' The opposite of wisdom, thankfully.
"我要让想象力燃得更旺。迸发灵感—— "
I'll stoke the fires of my imagination. Glimpses -
文集 A Collection of Essays
头脑如刀，此书如砥。
If the mind is a blade, this is a whetstone.
"锻炼智力。计算概率——"
Exercise for the intellect. Possibilities -
库纳尔与格特 Kühner and Gerth
库纳尔与格特的《希腊语详尽语法"希腊语语法详解"》，是与这门颇具挑战性的语言短兵相接时的必备武器。
Kühner and Gerth's 'Ausführliche Grammatik der griechischen Sprache' - a Greek grammar. An essential weapon for a ferocious struggle with a challenging language.
诚然，我已学会了希腊语的皮毛。但我需要的不止是皮毛。
Of course I have a little Greek already. But I'll need more than a little.
这是一种果断而独特的语言，但我已经掌握了学习方法。
A determined and distinctive tongue. But I have the measure of it.
1802~1878年，德国古典学者。出生于哥达，著有《西塞罗的塔斯库拉尼之争》。他的巨作《希腊语详尽语法》在第三版印刷时由弗里德里希·威廉·布拉斯和伯恩哈德·格特增订为四卷。此外，他还出版过《拉丁语详尽语法》，由弗里德里希·霍尔兹维希(Friedrich Holzweissig)和卡尔·斯特格曼(Carl Stegmann)增订为两卷。
弗里德里希·伯恩哈德·格斯（Friedrich Bernhard Gerth）
1844~1911年。德国古典语言学家。莱比锡大学博士时期的学位论文为希腊悲剧方言研究。与弗里德里希·布拉斯(Friedrich Blass)一起出版了拉斐尔·库纳尔的第三版《希腊语扩展语法》，格特以巧妙地改写了与语法有关的部分而著称。1873年，他还编辑出版了格奥尔格·柯蒂斯的《希腊学校语法》。
吉尔德斯利夫的拉丁语语法 Gildersleeve's Latin Grammar
恰好适合用于复习拉丁语知识。
Just what you need to refresh your knowledge of Latin.
我能回想起不少学生时代的所学，不过我需要复习。开启记忆宫殿之门。
I recall a certain amount from my school-days, but I need to brush up.The doors of the palace of memory are opened.
吉尔德斯利夫 (Basil Lanneau Gildersleeve)
1831~1924年。美国古典学者。生于南卡罗来纳州的查尔斯顿，父亲是长老会(Presbyterianism)的福音传道者。他毕业于普林斯顿大学，曾在弗吉尼亚大学担任希腊语和拉丁语教授。1867年，他与冈萨雷斯 · B· 洛奇合作修订了《拉丁语法》，这本书至今仍是拉丁语译者重要的参考资料。此外，他还致力于基督教希腊语的研究，著有《殉道者贾斯汀的道歉》，《平达尔的奥林匹亚和皮提亚颂歌 》。
加特赛德的梵语读本 Gartside's Sanskrit Reader
本书思路清晰，为学习这门浩如烟海，错综复杂的语言指出了一条明路。
A lucid book which outlines a careful path through the thickets of a vast and complex language.
这种语言的名字意为"精炼的语言"。词汇太多，时间太少。我会在手边常备资料以供参考。
The name has been translated as 'the refined language'. So many words, such little time.
I will keep my reference works close at hand.
术士冯·布兰特的独家信实手记——记至高真圣域之真语言
THE MAGUS VON BRANDT'S AUTHENTIC AND UNIQUE ACCOUNT OF THE TRUE TONGUE OF THE TRUE HOLY LAND OF THE HIGHMOST
由某位绅士凭借一种超验主义的热情，亢奋地草草写成，无论如何，本书都是一本趁手的亚兰语入门指导。
Written excitably and in some haste by a gentleman in the grip of a Transcendentalist enthusiasm, but nevertheless a useful guide to Aramaic.
自然，“亚兰语”不只单一一种，不过我会尽我所能学习。我已经对其有了基本了解。
There is, of course, no single 'Aramaic', but I will learn what I can. I have achieved a basic understanding.
马克西米利安·奥古斯特·西皮奥·冯·勃兰特（Maximilian August Scipio von Brandt)
1835~1920年，十九世纪后期德国外交官。在1861年为缔结中普友好通商条约，随艾林波伯爵率领的普鲁士东亚外交使团访华，自1862年起担任驻日公使，1875-1893年为驻华公使。东亚细亚研究学者，黄祸论的提倡者之一。
亚兰语又称阿拉姆语，与希伯来语和阿拉伯语同属于闪米特语族。这个称呼来自挪亚之孙、闪的儿子，亚兰。它是书写旧约中以斯拉记、以及但以理书的语言，并被认为是耶稣时代犹太人的日常用语。
亚历山德罗·拉克罗切的手记 The Journal of Alessandro LaCroce
亚历山德罗·拉克罗切亲王耗费多年时间暗中钻研从意大利中部富奇诺沼泽获得的碑文。他的研究成果能助你解读富奇诺语文献。但它以简单的拉丁暗文所书写，你得先破译它。
Prince Alessandro LaCroce spent years in secret study of the tablets taken from the Fucine Marshes in central Italy. His work will allow you to read Fucine texts... but it's written in a simple Latin cipher. You'll need to decipher it first.
它像是某种拉丁语有共通之处，也像是某种发狂老鼠的爪痕。有些地方，它与我掌握的那些语言一致。但在另一些方面…好吧，我明白他们为什么称它为“女巫的语言”了。不过，现在我对它已有足够理解。
It has something in common with Latin and something else in common with the scratchings of maddened rats. In places it overlaps with languages I know. In other places... well, I can see why they call it 'the tongue of witches'. But I can understand it well enough, now.
拉克罗克家族的早期起源
拉克罗克的姓氏这个最早发现于维琴察(Vicenza)，古称维塞蒂亚(Vicetia)。它于1405年被威尼斯人征服，只有神职人员·城市官员·军官·艺术家·地主才会留下在这个时期的记录，因此拉克罗克家族至少有一位高贵的祖先。拉克罗克的姓氏后来演化出多种变体。最著名的莫属于威尼斯的克鲁斯家族。
富奇诺湖(the Fucine Lake)
位于阿布鲁佐大区西部的一个大型内流湖，曾是意大利第三大湖泊。维吉尔在《埃涅阿斯纪》第7卷中提到，富奇诺湖为了在战斗中不幸牺牲的治疗牧师布里翁而哭泣(产生于泪水?)。克劳狄乌斯皇帝曾试图挖一条隧道来控制湖泊水位，但随着帝国沦陷以及5世纪的蛮族入侵，这条运河被彻底堵塞了。1854年，罗马银行家托洛尼亚修建了新运河将此湖彻底排干。
维尔朔恩铭文 The Velshorn Inscriptions
从墙上抄来的数百行希腊语和弗里吉亚语的诗歌。与在哈利卡纳索斯发现的卡尔·维尔肖恩铭文相似，或相同。一部史诗，同时也是十足的艳诗，讲述了一个“鲁莽的乐手“和“赤红母亲”交合，最终被后者剥皮的故事。由勇敢的卡尔·维尔朔恩在哈利卡纳苏斯某座神庙墙上发现，然而同样的铭文在它处亦有出现，且数目惊人。
Hundreds of matching lines in Greek and Phrygian poetry, copied from a wall. Similar - or identical - to the inscriptions Cal Velshorn discovered in Halicarnassus.An epic and notably erotic poem describing a rash musician's couplings with, and eventual flaying by, the Red Mother. The intrepid Cal Velshorn found these inscriptions on a temple wall in Halicarnassus, but the same inscription has turned up in a surprising number of other places.
弗里吉亚语，即迈达斯王、忒克墨萨公主、库柏勒的祭司所讲的语言。这种语言里的某种东西让人热血奔涌。也许现今已无人记得这种失落的语音是一件幸事。
Phrygian, the language of Midas, of Tecmessa, of the priests of Cybele. Something about this language stirs the blood. Perhaps it is fortunate that none now remembers its lost sounds.
迈达斯 (Midas)
希腊神话中的弗里吉亚国王，国王戈耳狄俄斯与女神库柏勒之子。当弥达斯还是婴儿之时，蚂蚁向他嘴里搬运食物，预示了他将来必然成为巨富。此外，他也是"国王有着驴耳朵"故事中的国王。据传西勒诺斯醉酒后走失，被迈达斯送回狄俄倪索斯处，酒神为报答此事，回应了迈达斯想要点石成金的希望，但这个能力把他碰触的食物和人都变成了黄金，为了解除能力，迈达斯按照神谕去帕克托罗斯河洗澡，从此河流产生了砂金，故而点石成金也被称为"弥达斯的触摸(The Midas touch)"。
佛律癸亚国王忒琉塔斯之女。希腊军从特洛亚返乡时、掠夺了佛律癸亚。公主忒克墨萨成为了大埃阿斯的俘虏，为他生下了一个儿子，名为欧律萨刻斯。在大埃阿斯因未得到阿客琉斯的盔甲时，她用忧伤的眼泪感动了他，打消了他自杀的念头、
乌伊鲁斯 The Uyrus
一尊复杂到难以置信的象牙雕塑。表面交错盘绕着梵语与对应的伐诃语铭文。
An elaborate ivory sculpture of impossible intricacy. Around and across its surfaces, Sanskrit inscriptions spiral against matching lines of Vak.
司辰会说话吗？如果会，这或许便是祂们的语言。据说伐诃语是人类无法学会的，更别提理解了。怎么说呢，她与我现在更加熟稔了一点。
Do the Hours speak? If they do, this may be the language they use. It has been said that one does not learn Vak, so much as come to know her. Well, now she and I are a little better acquainted.
伐诃语诞生于比人类更早的时代。众神尚未从血中复活、猿类尚未直立行走之前，从太阳宫中听到的语言。属于曼苏斯语。其名来自梵语单词"Vāc(言语)"。也是孔雀门之化身、语言女神瓦克的名字。
夜游漫记·卷一 Travelling at Night(Vol. 1)
一套带注解的克里斯托弗·伊利奥波里的梦境手记，有时也被称为"唯一能读懂的密教典籍"：文笔精妙，富有趣味，扑朔迷离。"林地生长于漫宿墙外。每一个研习诸史的人都知道，漫宿无墙"。
The annotated dream-journals of Christopher Illopoly, sometimes called 'the only readable occultist': literate, entertaining, bewildering..'The Wood lies outside the walls of the Mansus. As any student of Histories knows, the Mansus has no walls.'
伊利奥波里在书中描述了他如何通过他口中的银色梦境反复造访梦中的林地。"通过遐想到达林地"，他解释道，"如同遐想坠入爱河一般。不过我的确找到了有所裨助的秘密"。
Illopoly describes how he came to make repeated visits to a dream-Wood via what he calls silver dreams. 'Trying to think your way to the Wood,' he explains, 'is like thinking your way to being in love. But I did find a Secret that helped.'
夜游漫记·卷二 Travelling at Night(Vol. 2)
丛书第二卷。书中对伊利奥波里自身的梦境与皇帝埃拉伽巴路斯的梦境，两者间的相似处进行了大篇幅的讨论。伊利奥波里认为埃拉伽巴路斯是残阳的傀儡或化身。"纯白在世界以西"，伊利奥波里评论道，"且冬不永待"。
This is the second volume. There is an extensive discussion of the similarities between Illopoly's own dreams and those of the Emperor Elagabalus, who Illopoly regards as a dupe or avatar of theSun-in-Rags. 'The White is west of the world,' Illopoly remarks, 'and Winter does not wait forever.'
"谢天谢地，埃拉伽巴路斯最终寻见了纯白之门。话语无法穿过纯白之门，而且说实话，埃拉伽巴路斯讲不出什么有趣的话。我曾经尝试追随他的脚步，但终究对`纯白`领会不足。大概我也幸而如此吧。但我确实知道…"
'Elagabalus found his way to the White Door at last, thankfully. Speech can't pass the White Door, and honestly, Elagabalus never had anything very interesting to say. I tried to follow in his footsteps, but I never learnt enough of the White. I suppose I'm thankful for that, too. But here's what I do know...'
夜游漫记·卷三 Travelling at Night(Vol. 3)
丛书第三卷。伊利奥波里在讨论火焰和不焚之神的论文中插入了数段致"巴尔多梅姬"的香艳诗文。
This is the third volume. Illopoly's disquisitions on fire and the Unburnt God are interrupted by passages of distractingly erotic poetry addressed to 'Baldomera'.'
"要去至牡鹿之门，我认为只需对某物足够强烈的欲念。可是我从未奢求如此之多，除了巴尔多梅姬。这恐怕就是死结所在: 巴尔多梅姬想要牡鹿之门。不过，下文是我在波斯学到的一些东西。或许能教会你想要何物"。
To reach the Stag Door, I believe that all you really need is to want something enough. But I've never wanted anything that much, except of course Baldomera, and I'm very much afraid that the knot in the story is this: what Baldomera wants is the Stag Door. But here's something I learnt in Persia. Perhaps it'll teach you what you want.'
日落日记 Sunset Diaries
局子最近又推进了一轮预算削减，它确实砍了，它甚至有很多年没有被称作‘局子’了，只是一个子部门的子部门吧。但它现在看起来是一个私营企业了，即使不算一个商业企业。一定是李。岁月只能让她变得更坚定，我猜也更富有了。他们没有提到她的名字，但楼下有一个轮椅，我想其他人都没活下来活到现在。他们也许可以，他们可以喝下淋巴或者花蜜……但世界对他们这类人并不友善，而漫索更加冷酷。他们也没有说具体要找什么东西，但从他们问的问题来看，只有可能是那把钥匙。如果是五十年前，我会告诉他们我知道的一切，并相信李小姐会做正确的事情，但我现在对她的安排再不确定了。岁月会影响凡人的信念，就像影响凡人的身躯一样。
The Bureau went in the last round of budget cuts - of course it did. It hadn't even been called 'the Bureau' for years. A sub-department of a sub-department, I suppose... but it seems to be a private enterprise now, if not precisely a commercial one. It must be Lee. The years have only made her more determined. And richer, I suspect. They didn't mention her name, but there was a wheelchair downstairs, and I don't think any of the others are even still alive. They could be, I suppose. They could have been sipping lymph or nectar... but the world is not kind to their sort, and the Mansus is less kind still. They didn't mention what they were looking for, either, but from the questions they asked, it can only be the Key. Fifty years ago, I would have told them everything I know, and trusted Lee to do the right thing. But I can't be sure of her agenda, not any more. What the years do to mortal flesh, they do to mortal ideals also.
我会写信给科赛利，他也不会知道该怎么办，但这样比较礼貌。—— 伊利奥波里，《日落日记》，1974年3月
"I'll write to Coseley. He won't know what to do either. But it's only polite." —— Illopoly, 'Sunset Diaries', March 1974
司辰志·卷一 De Horis (Book 1)
拉丁语文献，写于四世纪，翻译于十四世纪，重印于十九世纪。一套偶尔连贯的隐秘诸神名册。这是其中一卷的英译，其中记述了林地诸位存在。本卷主要讲述了林地司辰中飞蛾、漆黑亚麻和环杉的故事。
In Latin. A nineteenth-century reprint of a fourteenth-century Latin translation of a fourth-century work. An occasionally coherent catalogue of the secret gods. This is an English translation of a volume dealing with the powers of the Wood. This volume deals mostly with the Hours of the Wood: the Moth, the Black-Flax, the Ring-Yew, among others.
"辉光是一个疑问，飞蛾总以肯定作答。漆黑亚麻以否定作答，从来如此"。
'The Glory is a question, and the Moth always answers Yes. The Black-Flax's answer is No, and that is always its answer.'
司辰志·卷二 De Horis (Book 2)
拉丁语文献，写于四世纪，翻译于十四世纪，重印于十九世纪。一套偶尔连贯的隐秘诸神名册。这是其中一卷的英译本，记述了“狮子匠”和“伤疤护民官”的敌对关系。
In Latin. A nineteenth-century reprint of a fourteenth-century Latin translation of a fourth-century work. An occasionally coherent catalogue of the secret gods. This is an English translation of a volume describing the enmity between the Lionsmith and the Tribune of Scars.
“狮子匠造出怪物意图击败伤疤护民官，然而护民官身上的每一道伤疤都是武器。”
'The Lionsmith makes monsters to defeat the Tribune; but the scars of the Tribune are each a weapon.'
锁匠的梦境：穿过锁孔之光
The Locksmith's Dream: a Light through the Keyhole
特蕾莎·加尔米耶在书中考察了匠人们所经历的神秘梦境中的相似之处。丛书第一卷。木匠、泥瓦匠和其他工匠所经历的神秘梦境互有相似之处，他们自以为揭露出的世界之建构亦然。本书时而辛辣，时而逗趣。没人解释得清加尔米耶为何热衷于对工匠的梦展开这种异想天开的探索。
The first volume of Teresa Galmier's examination of parallels in the mystic dreams of artisans.The parallels in mystic dreams experienced by carpenters, masons and other artisans, and what they purport to reveal about the architecture of the world. Sometimes mordant, sometimes funny. No-one has ever explained why Galmier devoted herself to this quixotic exploration of artisan's dreams.
"我们一次次听说‘林地’，从世界的基盘升起的地方。一切树木向光生长，而'林地'之树向何生长？此光和彼'光'有何区别？我认为通往林地梦境的钥匙或在答案当中——在不完全真实的那个答案中"。
'Time and again we hear of the Wood, which rises from the world's foundation. All trees reach for light. What does the Wood reach for? Is there a difference between light and Light? I think the key to dreams of the Wood might be one of these - the one that isn't exactly real.'
锁匠的梦境：构成和大小
The Locksmith's Dream: Portions and Proportions
特蕾莎·加尔米耶在书中考察了匠人们所经历的神秘梦境中的相似之处。丛书第二卷。扉页已被人拿剃刀划烂。
The second volume of Teresa Galmier's examination of parallels in the mystic dreams of artisans. The frontispiece has been slashed with a razor.
加尔米耶在本书中记录了几个梦境，进一步阐释了自己周详的理论。"我们反复看到这样一句话：有上才有下。最杰出的工匠最后都梦到了纯白之门。我只是名学者，而非工匠。我觉得一定存在一个所有工匠都知晓的秘密，不过我也觉得，这个秘密只是其中的一半"。
In this volume, Galmier records fewer dreams, and explicates more of her own elaborate theories. 'We see this again and again: what is below can't escape what is above. The finest artisans all dream of the White Door in the end. I'm no artisan, only a scholar. I think there's a Secret that all these artisans know, but I think that Secret is only half the story.'
锁匠的梦境：罪行 The Locksmith's Dream: Trespasses
特蕾莎·加尔米耶在书中考察了匠人们所经历的神秘梦境中的相似之处。丛书第三卷。
The third volume of Teresa Galmier's examination of parallels in the mystic dreams of artisans.
众所周知，加尔米耶的文字从此卷开始语不成章，让人弄不清哪些梦境其实是她本人的。
In this volume, notoriously, Galmier's prose begins to disintegrate, and it is not clear which dreams are in fact her own.
"身着沙色长袍的女人告诉我：漫宿的阶梯一直朝上延伸。死亡则朝下。蚁母用她的两个头颅分别卫戍上下两方，若要通行，必须通过创口。我觉得纯白之门或许就是创口。这即是亡者有时从此门通过的一个原因。我觉得我找到另一半秘密了，我希望本书的读者能够将两半秘密拼合完整"。
'The woman in the sand-coloured robe has told me: the stairways of the Mansus go ever up. Death is down. The Mother of Ants guards both directions with each of her heads, and so the passage must always be through a wound. I think the White Door might be a wound. That's one reason the Dead sometimes pass it. I think I have the other half of the Secret now, and I hope my reader can put both halves together.'
锁匠的梦境：神侵 The Locksmith's Dream: Incursus
特蕾莎·加尔米耶所著且未著的作品——法则追溯至石神：钥匙不能被持有，也不能被拥有。我认为，这导致了一个意想不到的结果，也就是法外之人可以持有和拥有。但即使是她们也无法保留它们。当然，钥匙和灵魂一样，并不是物质的，但灵魂可以被保存在身体里，我也曾亲手触摸过一把钥匙。
"我们必须回答的下一个问题是：什么是真实的？如果你问我——"
The Law goes back all the way to Stone: the Keys cannot be held or owned. This had, I believe, the unexpected consequence that those outside the law may hold and own them. But even they cannot keep them. And of course a Key is no more physical than a spirit. But a spirit may be housed in a body, and I have touched a Key with my own hands.
"The next question we must answer: what is real? If you ask me - "
"巴尔多梅姬。那是我的隐秘名字，它不是真实的。名字和灵魂与语言一样，不是真实的。身体是真实的，世界是真实的，司辰们是真实的。你的秘密名字莫随意告诉他人。
Baldomera，That was my secret name.It's not real. Names aren't, any more than souls, ore words.Bpdies are real, the world is real, and the Hours are real.Your secret name is ■■■■. Be careful whom you tell.
维也纳未解之谜 The Viennese Conundra
妮可·梵·德里尔描述了维也纳发生的怪事——儿童消失、寄生虫大肆传染、动物被切掉肢体、关于蠕虫的噩梦、一个为穷人提供丧葬费，名为"新生丽姬亚"的慈善组织。她指出了这些现象间怪异的联系。
Nico Van Driel describes odd events in Vienna - the disappearance of children; epidemics of parasite activity; animal mutilations; nightmares of worms; the activities of a charitable organisation, the New Ligeians, that funds the burial of the poor. She proposes peculiar connections between these activities.
"K氏参加会议时，黑犬们被献祭并分为四块。M氏出席时，黑牝马们遭到割喉。我的意见是这些献祭是不必要的，但我们的丽姬亚朋友或许认为它们是'恰当的'。下图是肢解的示意图——"
'When the individual K. attends the meetings, black dogs are sacrificed and quartered. When the individual M. is in attendance, black mares are found with their throats slashed. I propose that these sacrifices are not necessary, but that our Ligeian friends may consider them 'fitting'. Herewith diagrams of the mutilations -'
"就说美杜莎的谜语吧，我选择译成'何物不得见?' 还有一道谜语，我听到的译文是'何物会失去?' 要回答此问，我会复述一些历史上著名上的作答——这些作答本身，某种意义上也是，祭品——"
'Medusa's Riddle, then, I choose to render as 'What is Not Seen?' There is another riddle, one I have heard rendered as 'What may be Lost?' I will delineate some historic attempts to answer it- these are in themselves, in some sense, sacrifices - '
"That time - I remember that the matter of Vienna came up, and young M. was incivil to K. - she made an oblique joke about feathers; she called her 'Pandora'. K. left early. We tried to draw a line and move on to discuss our responsibilities, but there was a great deal of - shall we say - beastliness."
那一次——我记得是维也纳出了事，年轻的M.对K.很不文明，她讲了一个关于羽毛的下流笑话，她把她叫做“潘多拉”，K提前离开了。我们试图划下界线并继续讨论我们的责任，但还是出现了许多——可以说是——野兽本性。
马提亚斯与紫晶成虫:失去 On Matthias and the Amethyst Imago: Loss
这些跨越几个世纪的图表和插绘是优雅的，催眠的，甚至偶尔是色情的。亚兰语文献。一本对密教爱情的记录。一个名叫“亚伦之子帕拉”的人宣称他在一昼一夜间写出了本书，作为加入“遗忘家族”大马士革分部的投名状的一部分——该教团戒律森严，由抛弃前尘后事的不死者组成。
The diagrams and illustrations, even across the centuries, are elegant, hypnotic, occasionally erotic. In Aramaic. An account of an occult romance. A certain Para, son of Aaron, claims to have written this in a single day and a single night as part of his initiation into the Damascene branch of the House of Lethe - that tight-disciplined order of immortals who reject their past and future.
“居屋的法则禁止马提亚斯去爱，而林地的习俗也禁止那只成虫停留。所以在她亮出阿拉卡之城的剪刀时，他最后一次将她唤来；她使他忍痛减去她背后的翅膀，这样她就能留下；而他使她忍痛剪去他存放男性种籽的部位，这样他们就能远离“罪恶行径”。这便是满含血与欢乐的爱情。我们已将马提亚斯逐出居屋。”
'The laws of the House forbade Matthias to love. The customs of the Wood forbade the Imago to remain. So he conjured her a final time, when she had uncovered the Shears of Alakapura; and she suffered him to cut the wings from her back, so that she might remain; and he suffered her to cut the parts which hold man's seed, to keep them from the Detestable Act. This was love in all its blood and joy. We have cast out Matthias from the House.'
“地图之疆仪式是浪游旅人给与我们的。它即当年马提亚斯用于召唤紫晶成虫的仪式，不过它也和其他许多召唤仪式一样，可以用于唤来几乎所有的存在——只要借助适当的工具，施加适当的影响。请温柔地使用这个仪式，不要忘记那些为互相结合而承受过极度痛苦的具名者和长生者。”
'The Rite of the Map's Edge was given to us by the Vagabond. It is the rite that Matthias used to summon the Amethyst Imago, but like many summoning rites, it could be used to conjure almost any entity - given the appropriate tool, and the appropriate influence. Use it gently, in memory of the Name and the Long who suffered these agonies that they might be joined.'
亚伦(Aaron)
摩西的兄长，属利未支派。他是古以色列人的第一位大祭司，亦为亚伯拉罕诸教(犹太教·基督宗教·回教)共同的先知。当摩西向埃及法老王请求释放以色列人时，他代表摩西与埃及法老打交道。他曾带领以色列人拜金牛犊，但仍得到神的谅解。在建造约柜和圣所之后，耶和华晓谕摩西，使亚伦和他的儿子们用水洗身子，给他们穿上圣衣，并使他们世世代代凡受膏者，永远当祭司的职任。
阿拉卡之城(Alakapura)
印度卡纳塔克邦南部的一个村子，同时这里也是一个"潘恰雅特村落(gram panchayat)"，印度独特的一种基层自治制度。
马提亚斯与紫晶成虫:追寻 On Matthias and the Amethyst Imago: Pursuit
这些跨越几个世纪的图表和插绘是优雅的，催眠的，甚至偶尔是色情的。亚兰语文献。一本对密教爱情的记录。一个名叫“梅克”的人宣称他在一夜间写出了本书，作为加入“遗忘家族”底比斯分部的投名状的一部分——该教团由以水的功用掩盖自己行迹的不死者组成。
The diagrams and illustrations, even across the centuries, are elegant, hypnotic, occasionally erotic. In Aramaic. An account of an occult romance. A certain Mek claims to have written this in a single night as part of his initiation into the Theban branch of the House of Lethe - that order of immortals who used the arts of water to conceal themselves.
“马提亚斯给我们下了一道挑战，要我们在林地里猎捕飞蛾麾下的具名者，用以丰富他的飞虫标本。紫晶成虫原先在与双生巫女玩耍，却又重回林地去寻求飞蛾的原谅。而飞蛾，不知出于一时兴起还是出于忏悔，派她离开林地去将那名长生者诱入泥沼般的噩梦。”
'Matthias defied us to hunt the Names of the Moth in the Wood, to populate his pinned collection. The Amethyst Imago had dallied with the Witch-and-Sister, but she'd returned to the Wood to plead the Moth's pardon. The Moth, as a whim or a penance, sent her out to lure the Long to a slough of nightmares.'
“马提亚斯爱着成虫。(真的吗?长生者能够恋爱?还是他们的灵魂中的那个器官已干瘪到无法挽回?) 成虫爱着马提亚斯。(真的吗?还是她只是一时兴起?) 他追寻着她穿过林地，但她在最后绕开了噩梦泥沼，而后他们一起躺在逐渐变亮的边境。于是他们学会了杯之欢愉，这是他们为自己赢得的密传。”
'Matthias loved the Imago. (Did he? Can Long love, or has that organ of their soul dessicated beyond repair?)
The Imago loved Matthias. (Did she? Or did she only enact a whim?)
He pursued her through the Wood, but at the last she turned aside from the nightmare-slough, and they lay together where the Bounds grow bright. So they learnt the Grail's pleasures, and this is the lore they won.'
梅克(Makk/mak/mek/meek)
苏丹曾用的一种头衔，意为 "统治者 "或 "国王"。它可能源自阿拉伯语的国王(malik)；也可能是梅洛特语-mk的后裔，意为 "上帝"，适合苏丹实行的神权；或者来自Ge'ez መከሐ(mkḥ)，意为 "光荣"，埃塞俄比亚的舶来品[5]。
马提亚斯与紫晶成虫:嬗变 On Matthias and the Amethyst Imago: Transformation
这些跨越几个世纪的图表和插绘是优雅的，催眠的，甚至偶尔是色情的。亚兰语文献。一本对密教爱情的记录。一个名叫“伊亚沃苟斯”的人宣称他在一夜间写出了本书，作为加入“遗忘家族”阿勒颇分部的投名状的一部分——该教团由不献身于任何司辰的不死者组成。
The diagrams and illustrations, even across the centuries, are elegant, hypnotic, occasionally erotic. In Aramaic. An account of an occult romance. A certain Iyavogos claims to have written this in a single night as part of his initiation into the Aleppine branch of the House of Lethe - that order of immortals who would not pledge themselves to any Hour.
“我们已逐出马提亚斯，也对紫晶成虫施加了诅咒，但我们在梦中看着他们。我们看到他们将己身献与铸炉，誓要改变自己，飞升，获得新生。他们向火而飞。” “这是马提亚斯和成虫所采取的行动的第一步，开启了他们飞升成神的道路。他们升出了我们的视野之外，但他们的火焰或许仍在锤炼场燃烧。”
'We cast Matthias out, and we pronounced a curse upon the Amethyst Imago, but we watched them in dreams. We saw them pledge themselves to the Forge, to change themselves and ascend anew. Into the fire they fly.' This is the first of the practices that the Imago and Matthias used, to begin their ascent to power. They have risen beyond our sight, but their flames may yet burn in the Malleary.'
双生姝丽 The Geminiad
一本脆弱易破的手抄书，里面最引人瞩目的是一对同体孪生、光彩照人的忧郁美人，和完整月相的图例。本书或能追溯到七世纪，而书中用语——富奇诺语——则更加古老。书封面饰有珊瑚，书页十分锋利，足以割破咽喉。
A fragile manuscript, illuminated with twinned shapes of sad and luminous beauty, and with all the phases of the moon. It might be as old as the seventh century, but the language - Fucine - is much older. Coral decorates its cover, and its page-edges are sharp enough to slash a throat.
本书描绘了一位司辰的性质与其教义，那是一位令静止之物结合，位于水之缘、月之底的司辰：双生巫女。书中的语言缠结，诗意，任性。我需要花些时间解开它。
These pages outline the nature, and the doctrines, of an Hour that demands the union of what is at rest, an Hour that is sought at the water's edge and beneath the moon: the Witch-and-Sister. The language is knotty, poetic, wilful. It'll take some untangling.
《双生姝丽》提醒我们：众所周知，双生巫女常以双生女巫的形象现身——当其一面餍足，另一侧面依旧饥饿。这暗示了双生巫女和林地司辰间的联系，特别是与守密者丝毧——双生巫女自己是否算作林地司辰则依旧不明。且书中用大量笔墨描绘了二位一体的悲哀，即自她们仍为血肉之躯时便留存下来的悲哀。The Geminiad reminds us that the Witch-and-Sister has been known to manifest as the Sister-and-Witch - and that this face may heal, while the other face is always hungry. It implies connections between the Witch-and-Sister and the Hours of the Wood - especially the secret-keeper called the Velvet - but it is ambiguous on whether the Witch-and-Sister is a Wood-hour proper. And it speaks at length about the sadness of the two-who-are-one, the sadness that remains from their time as flesh.
面具之书 The Book of Masks
雅典娜·凡娜对被名为浪游旅人的流浪司辰的研究手记；此司辰还有“笑鸫”、“蜈蚣”、“巡礼者”等许多别称——或依凡纳的说法，“面具”。
Athena Vana's work on the rogue Hour called the Vagabond, who is also known as the Laughingthrush, the Centipede, the Pilgrim, and by many other names - or as Vana has it, 'masks'.
笑鸫的面具，据雅典娜·凡纳说，与漫宿的至尊之司辰骄阳(如今已分裂消逝)交情甚笃。景象窃贼的面具在漫宿画下河流。浪游旅人的面具在漫宿是为禁忌，原因不是她已做过的事，而是她会引发的事……
The Mask of the Laughingthrush, says Athena Vana, had a great friendship with the Sun-in-Splendour, the highmost Hour of the Mansus (now divided and departed). The Mask of the Sight-Thief painted the river in the Mansus. The Mask of the Vagabond was forbidden the Mansus, not for what she had done, but for what would occur...
蜈蚣的面具代表了她的生身地——弥阿城，曾因她爬进神殿域而对她降下刑罚。这副面具诅咒弥阿只能饮啜沙尘，在风中消逝无闻——“她并不'因隐于面具之后而饶恕仇敌，蜈蚣的饥渴总有一天要得到满足。”
The Mask of the Centipede recalled her birth-place, Miah, which had punished her for creeping into the temple precinct. This Mask cursed Miah to drink only dust and to be remembered only by the wind - 'for not beneath any Mask does she forgive, and the Centipede's hunger is not to be forgotten.'
伊纳姆,卡皮吉吉努皮尔,加尔基,克雷皮斯
Inaam, Kapigiginlupir, Garkie, Cryppys
书中的四个神秘人物讲述了他们多年来在“栖木”——鸟型司辰的集会地——听到的故事。
In which four enigmatic figures tell the stories they've heard over the years at the Roost, the secret location where the aviform Hours congregate.
伊纳姆：拾滩鸦没有分享他的宝藏吗？
加尔基：没有分享最稀有的。他把最珍贵的留给自己了，号称那些是他找到的，不是偷来的。
The Beach-Crow, Kapigiginlupir suggests, is not only a thief, but also a spy and even a voyeur. He has hidden the memory of secret couplings among the Hours and their Names in the corners of the House, as treasures to gloat over. There is particularly fevered speculation on a liaison between the Ring-Yew, that fervent hour of the Wood, and the Mare-in-the-Tree, who sometimes has been the Witch's Sister.
卡皮吉吉努皮尔认为拾滩鸦不仅是盗贼，同时也是探子，甚至喜欢窥淫。他把司辰和祂们的具名者间秘密交合的记忆藏在居屋的角落，作为暗中夸耀的宝藏。还有一个很火的猜测：热情如火的林地司辰环杉，和有时与女巫做姐妹的树中牝马，这两者间有私情。
The Beach-Crow, Kapigiginlupir suggests, is not only a thief, but also a spy and even a voyeur. He has hidden the memory of secret couplings among the Hours and their Names in the corners of the House, as treasures to gloat over. There is particularly fevered speculation on a liaison between the Ring-Yew, that fervent hour of the Wood, and the Mare-in-the-Tree, who sometimes has been the Witch's Sister.
论困于银镜之物 On What Is Contained By Silver
一部可怕的动物寓言集，讲述了现于镜面的恐怖。由三世纪署名“牧人者”所著，这本是近年新出的版本。
A dire bestiary of the horrors to be found in mirrors. This is a recent edition of a third century text by 'Poemander'.
“镜中处女/少女偏好兰花，而[镜后之人?]则偏爱杜鹃花。两种花在剪下后都不该放在抛亮的青铜器前。”附录中记有一个或能召唤这些存在的仪式，虽然其用途的细节尚不明确。
'The virgins/maidens of the mirror favour orchids. The [behindlings?] favour the rhododendron. Cut flowers of either nature should not be placed before polished bronze.' An appendix contains a rite which might be used to summon some of these entities, although the details of its use are not made clear.
兰花变容·卷一：筵宴 The Orchid Transfigurations, Vol 1: a Feast
一部蔷薇十字会式寓言的合集，推测为罗伯特·福路德所著，丛书第一卷。本书为后来的英译本。
A sixteenth-century alchemical fever-dream, attributed to Robert Fludd, frequently banned for the disturbing allure of its illustrations. This is in the original Latin. The first volume of a compilation of quasi-Rosicrucian allegories, supposedly by Robert Fludd. This is a later English translation.
本书的插图的确夺人眼球；使人面色潮红，合上书后仍在眼底印照不去。“人必先噬人，而后人噬之。为人噬者不可逆，如人之诞世不可逆。”
The illustrations are certainly striking. They flush the skin and glow beneath the eyelids after the book is closed. 'We must devour to be devoured. We cannot be undevoured, as we cannot be unborn.'
罗伯特·弗拉德 (Robert Fludd)
1574~1637年、拥有牛津大学学士、硕士、医学博士学位，最终在伦敦成为成功的医生。其父是英王伊丽莎白一世的高级官员。除了本职的医学事业，还涉猎了占星术、数学、记忆开发术、宇宙学、神秘学、炼金术等等…在一些文章里，显示他有着神断的记录。
变容(transfiguration)
In a religious context, transfiguration, from Latin transfiguratio, is the experience of momentary divine radiance.In Christian teachings, the transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place of the temporal and the eternal, with Jesus himself as the connecting point, acting as the bridge between heaven and earth.Moreover, Christians consider the transfiguration to fulfill an Old Testament messianic prophecy that Elijah would return again after his ascension (Malachi 4:5–6). Gardner (2015, p. 218) states
兰花变容·卷二：生诞 The Orchid Transfigurations, Vol 2: a Birth
一个16世纪炼金术的狂热之梦，推测为罗伯特·福路德所著，因为插图有着令人不安的诱惑而被禁止阅读。原著为拉丁文。玫瑰十字会寓言合集的第二卷。这是后来的英文译本。
A sixteenth-century alchemical fever-dream, attributed to Robert Fludd, frequently banned for the disturbing allure of its illustrations. This is in the original Latin. The second volume of a compilation of quasi-Rosicrucian allegories, supposedly by Robert Fludd. This is a later English translation.
福路德，或假冒的福路德，以松树骑士寻找朱砂杯的故事暗示了炼金术传统的“红化法”与更古老的圣杯传承间的对应关系。Fludd, or pseudo-Fludd, suggests alignments between the alchemical tradition of rubedo and the older Grail traditions, through the Pine-Knight's quest for the Cinnabar Cup.
“于产床中寻觅朱砂杯”，这是交给松树骑士的任务。令他惊奇的是，产床旁的助产士竟是山峦之母。带着敬畏之情，他阉割了自己，并将自己的皮剥下。警醒风暴欢乐地从他的残躯中冲出。”
‘Seek the Cup in the birthing-bed,' the Pine-Knight is told. The Midwife at the birthing-bed, to his amazement, is the Mountain-Mother. In a fit of awe, he both gelds and flays himself. The Vigilant Storm bursts joyfully from the remains.'
兰花变容·卷三：午时 The Orchid Transfigurations, Vol 3: Noon
一个16世纪炼金术的狂热之梦，推测为罗伯特·福路德所著，因为插图有着令人不安的诱惑而被禁止阅读。原著为拉丁文。玫瑰十字会寓言合集的第三卷。这是后来的英文译本。
A sixteenth-century alchemical fever-dream, attributed to Robert Fludd, frequently banned for the disturbing allure of its illustrations. This is in the original Latin. This is a later English translation.
一段山峦之母与警醒风暴间的长对话描述了山峦与风暴的下场，也描述了他们如何规避此类下场。
A long dialogue between the Mountain-Mother and the Vigilant Storm describes the ways in which both mountains and storms end, and the protections they use against those ends.
“然而我们须用刀、”以狮背为王座者说：“绞索、火焰、唤醒之语对抗穿过三膜之门者。令无人可从此处通过：这是我们的法则，也是太阳的法则。”
But we must use the knife,' said the Lion-Throned One, 'the noose, the flame, the Waking Word, against those who have passed the Three-Valved Door. And so none may pass: that is our Law, and the Law of the Sun.'
希帕提娅宝训集 The Rose of Hypatia
绳结姐妹会以神秘的沉思秩序三角符号为标志，本书为希腊语。集结成册的绳结姐妹会教喻；该秘传默观修会存在于每一重历史，且在某些重历史中拥有莫大力量。本书由署名“希帕提亚”者编集，是致圣宁法的献礼。
Marked with the tripled sign of the arcane-contemplative order known as the Sisterhood of the Knot. In Greek. A volume of collected teachings of the Sisterhood of the Knot, that arcane-contemplative order that existed in all histories, but in some was very powerful indeed. This was recorded by 'Hypatia', and dedicated to St Nympha.
本书称圣宁法“并非由人生下，而是栽培而成”。“希帕提娅”指出，成为圣徒的这缕智识寄居在一名罪人的尸体上，为得是使这名罪人得蒙赦罪。“亡者并非都通过冬之门进入漫宿。亡者并非都能够进入漫宿。”
St Nympha is described as 'not born, but cultivated'. The sentience that became the saint, 'Hypatia' indicates, inhabited a sinner's corpse in order to enable that sinner's redemption.'Not all the Dead enter the Mansus by the Winter Door. Not all the Dead enter the Mansus at all.'
希帕提娅(Hypatia)
希腊化古埃及的新柏拉图主义学者，著名哲学家·数学家·天文学家·占星学家·教师，曾对丢番图的《算术(Arithmetica)》、阿波罗尼奥斯的《圆锥曲线论(Conics)》以及托勒密的作品做评，但均未留存。索克拉蒂斯在《教会史》中描写了她的死亡「以礼拜朗诵士彼得(Peter)为首的人埋伏在希帕提娅返家的路上，将她拖出马车，带到西赛隆(Caesarion)教堂中杀死并分尸。四肢则被带到了辛那隆(Cinaron)焚烧。」公元七世纪的尼奇乌主教约翰则称这是对异教徒和女巫的惩罚。神学家索丹与赫比(Soldan and Heppe)则曾提出论证，认为希帕提娅可能是第一个受到基督教会势力迫害的"女巫"。希帕提娅"以铁钩将骨肉扯离"的死法，似乎符合君士坦丁二世对巫术明正典刑的方式。
努列尔宝训集 The Rose of Nuriel
绳结姐妹会以神秘的沉思秩序三角符号为标志，本书为希腊语。集结成册的绳结姐妹会教喻；该秘传默观修会存在于每一重历史，且在某些重历史中拥有莫大力量。本书由署名“努列尔”者编集，是致圣特里丰的献礼。
Marked with the tripled sign of the arcane-contemplative order known as the Sisterhood of the Knot. In Greek. A volume of collected teachings of the Sisterhood of the Knot, that arcane-contemplative order that existed in all histories, but in some was very powerful indeed. This was recorded by 'Nuriel', and dedicated to St Tryphon.
努列尔解释说，圣特里丰以“流血与出产的她”和“开启的她”之名展现了隐秘的奇迹。圣特里丰于是开启了通往太阳居屋的道路；圣特里丰于是经由“伟大生诞”，飞升成为不死之人。
St Tryphon, Nuriel explains, performed secret miracles in the name of 'She who Bleeds and Bears' and 'She who Opens'. Thus St Tryphon opened the way to the House of the Sun; thus St Tryphon underwent the Great Birth, an ascension to immortality.
圣特里丰的飞升始于穿越“双角之门”。他随后学习了“酩酊祷文”——此文因极度神圣而未被录于此书。且努列尔严厉解释说，为获得“伟大生诞”的七道印记，圣特里丰摄食了“不仅有灵魂已逝之人，还有灵魂犹存之人。”
St Tryphon began his ascension by passing the 'Horned Door'. He continued it by learning the 'Invocation Thiatic' - which Nuriel does not here record, on account of its extreme holiness. And, Nuriel explains grimly, to achieve the Seven Marks of the Great Birth, St Tryphon consumed 'both those whose soul had left them, and even those in whom the soul remained.'
瓦兹内宝训集 The Rose of Waznei
绳结姐妹会以神秘的沉思秩序三角符号为标志…但被加上了第四片叶子，标志被弄得面目全非。本书为希腊语。绳结姐妹会一个遭人唾弃支派的异端教喻；该秘传默观修会存在于每一重历史中。本书由署名“瓦兹内”者编集，是致圣勒庇爵的献礼。Marked with the tripled sign of the arcane-contemplative order known as the Sisterhood of the Knot... but a fourth leaf has been added, disfiguring the sign. In Greek. The heretical teachings of a disgraced offshoot of the Sisterhood of the Knot, that arcane-contemplative order that existed in all histories. This was recorded by 'Waznei', and dedicated to St Respicius.
瓦兹内偏好的支派--“真实姐妹会”--一直在追随圣勒庇爵，以无情的光之司辰，瞳中扉的名义寻求飞升。圣勒庇爵失败了，这或许是因为他被规模更大的姐妹会抓获并勒毙在了仪式中，不过瓦兹内为寻求成功者指明了方法。“于梦境寻觅，于漫宿寻觅。唯有穿过牡鹿之门者才能获得第三印记。此人必须穿过林地。此人必须攀至纯白之门。在格里比的视线中，牡鹿之门等待着负光者前来。”The offshoot favoured by Waznei - 'the True Sisterhood' - followed St Respicius in pursuing ascension in the name of the Door-in-the-Eye, the merciless Hour of light. St Respicius failed, perhaps because the larger Sisterhood tracked him down and ritually strangled him, but Waznei outlines steps for those who hope to succeed. 'Seek in dreams; seek the Mansus. The Third Mark can be achieved only when one has passed the Stag Door. One must pass the Wood. One must rise to the White Door. The Stag Door awaits the light-bearer, in the sight of Ghirbi.'
圣宁法·圣特里丰·圣勒庇爵(Saints Nympha , Tryphon , Respicius)
特里丰出生于弗里吉亚地区的兰普萨科村。他的名字来源于希腊语τρψφη，意为“柔软、精致”。相传他年幼就能医治病人和病畜。曾驱除过附在罗马皇帝格迪安之女，格迪安娜身上的邪灵。德西乌斯加冕后开始迫害基督徒，圣特里丰遭受了严刑拷打。但所有的刑罚在他的身上都没有任何伤痕，最后刽子手们于公元250 年将他斩首。他在东正教中备受尊崇，是园丁和酿酒师的守护灵。东方皇帝利奥六世（Leo VI the Wise）于公元912年发表了纪念特里丰的悼词。在俄罗斯圣人像中，他经常手持一只猎鹰，他所作的祷告是用来对付啮齿动物和蝗虫的侵袭的；一个这样的祷告出现在伟大的欧几里安( the Great Euchologion)。
传说在1800年代末，一名来自蒙特罗(Montrone)的水手被困在亚得里亚海的一场可怕风暴中，船员向上帝祈祷之后，商船个签到了卡塔罗(Cattaro)镇附近的黑山海岸上。海员急忙去当地的教堂感谢上帝的救恩，在这里他发现了以大教堂命名的圣徒的遗骸，然后带回蒙特罗内，当时正因应瘟疫爆发，镇民向圣特里丰祈祷之后，瘟疫便奇迹般地消失了。因此，他变成了是黑山科托尔镇的守护神。
五大创造论 Five creations
游学者肖黑在本书中讨论了五种人类可能的起源，并佐以一个蒙面的，他称之为“拾滩鸦”的形象。肖黑之后又称这些描述已全部被证伪，但无论如何，讨论本身还是被记录了下来。
The itinerant scholar Shohei debated five possible origins for humanity with a hooded figure since claimed to be the Beach-Crow. Shohei later claimed that all these accounts had proven false, but the debate was, nevertheless, recorded.
“介壳源：我们诞自甲壳，如同黄蜂的孩子从蜘蛛体内钻出。辉源：我们生命的微粒降自“光”。受污之源：我们出世时浑身赤裸，身上沾着林地根部的淤泥……” THE CARAPACE ORIGIN: we were born from shell, like the children of the wasp from the spider. THE GLORIOUS ORIGIN: our life-motes descended from Light. THE ORIGIN BEFOULED: we were found naked and smeared with muck in the roots of the Wood...'
肖黑偏爱的理论是：我们是直立行走的猿猴的子孙，尽管他说及此论时语带讥讽；又或者我们不仅摄食了我们的父母，“此行并非天孽”，也摄食了我们的起源，所以我们来自虚界。
Shohei's preferred theories are that we are the children of apes who walked upright, although his tone here is satirical; or that we consumed not only our parents, 'which is not the Crime of the Sky', but also our origin, so that we came from Nowhere.
黑林地的静谧 The Serenity of the Black Wood
关于“遗忘家族”的寓言式史书，暗示该组织受到蜈蚣启发。如今，“静谧黑林”一直是对密教的别称。
An allegorical history of the House of Lethe, who it is here implied were inspired by the Centipede. 'Sereno Blackwood' is an occult alias to this day.
“众所周知的行踪自在之人”将一座林中的旅行者聚集起来，带领他们穿行其中，却在途中将他们抛弃。他们则发觉自己陷入了“光辉怪物”的围攻。旅行者们发现闭上双眼便能活命(他们选择紧闭之眼作作为标记)，饮用清澈冰冷的溪水便能悄悄离开。他们从未忘记“众所周知的行踪自在之人，又称蜈蚣”，但他们也从未原谅她。
The 'Proverbial Footloose' gathers travellers in a wood, and leads them through, but abandons them part-way. They find themselves beset by 'glorious monsters'. The travellers discover they can survive if they close their eyes (they adopt a closed eye as their sign) and that they can go unnoticed if they drink from the clear cold streams. They never forget 'that proverbial footloose, the Centipede', but they never forgive her either.
司辰的起源 The Origins of Hours
一个可能包含关于秘密神的各种起源的流言蜚语的伐诃语作品。漫宿的常客，睿智而又痴狂的索哈姆宣称自己曾与拾滩鸦当面对谈，他随后坚决要求自己死后执行天葬。
A Vak work that may contain gossip about the various origins of the secret gods. The sage and ecstatic Soham, a frequent visitor to the Mansus, claimed to have discoursed with the Beachcrow in person. Soham later insisted on a sky-burial.
索哈姆的文字由抒情转为自白。他将神分为肉源（原为凡人）、血源（经献祭升为）、光源（从辉光而来）和石源（早于他所知）的。他强调飞蛾为首位血源神，后却又自相矛盾地称赤杯才是首位。
Soham's writings veer from poetry to confession. He identifies gods from flesh (those who were mortal), from blood (those who arose from sacrifice), from Light (entry from the Glory) and from stone (those who arose before his knowledge.) He insists that the Moth was the first god-who-was-blood, but later contradicts himself and claims it was the Red Grail.
“第一位神明自光中到来时，漫宿并非现在的模样，但无需怀疑彼时它既已存在。”
'The Mansus was different before the first god came from Light, but never doubt it existed, even then.'
Soham是一个印度教的咒语，在梵语中意为“我即是TA”。14世纪萨亚纳(Sayana)对《吠陀经》的注释声称，这句话也可以解释为“我自己就是天鹅”，而天鹅象征着真我(Ātman,阿特曼) 。在吠陀哲学中，它意味着将自己与宇宙或终极现实相结合。比如《伊莎奥义书(the Isha Upanishad)》中就写到:“光是祂最美丽的形式，我看到了祂。我即是祂。”
拉奎伯斯写本 The Larquebine Codex
克里斯托弗·拉奎伯斯声称从马尔马拉海岸边一个女巫家庭买到了两份手稿，手稿上使用的语言据说已经灭绝。第三本“献给了大海”。
Christoph Larquebus claimed to have purchased two hand-written copies of the Codex, in the supposedly-extinct Phrygian tongue, from a family of witches on the shores of the Sea of Marmara. A third was 'given to the Sea'.
双生女巫来自西方，诞自两个子宫，一为公主，一为怪物。她们自出生便彼此相爱，并暗中相会“寻求结合”。
The Sister-and-Witch came from the West, where they were born in two wombs, one a princess, one a monster. Nevertheless they loved each other from birth, and met in secret 'to seek union'.
当大旱降临时，统御那片土地的诸王试图献祭公主与女巫，于是她们横渡大海。当被绝望攫住时，她们纵身跳入深不见底的海水……并发现了画中之河，于彼处凭借赤杯的提携进入漫宿。然而本书以谴责赤杯结束……
When the great drought came, the kings of that land tried to sacrifice the princess and the witch, so they sailed across the Sea. When despair took them, they flung themselves into the drowning waters... and so found the Painted River, where they entered the Mansus through the offices of the Red Grail. Nevertheless, the Codex ends with a condemnation of the Grail.
关于维持一切事物存续的教令
Commandments For the Preservation of All That Exists
大马士革绳结姐妹会的头领“黑色”艾丽遭到了皇帝狄第乌斯·尤利安努斯囚禁。据记载，她曾命人将这些秘密教义记录成书，以保其免于遗失，永远存续。遗憾的是，据说皇帝命人将本作随她葬入了一个没有标记的墓室。
Black Elie, Damascene Matriarch of the Sisterhood of the Knot, was imprisoned by the emperor Didius Julianus. She reportedly instructed that these secret doctrines be recorded in writing to preserve against their loss. Regrettably, the story goes, Didius Julianus ordered that the work be entombed with her in an unmarked sepulcher.
艾丽在本书中描述了能用于各种情况的强大保护咒。“重要的是，这些保护咒需每四年补修一次，以抵御蠕虫进入以及‘水波’和‘创口’的热盼。”至少在现今历史中，过去一千年内没有迹象表明有人定期施放过这些保护咒。
Elie describes powerful protective incantations to be used in a variety of circumstances. 'It is essential that these Protections be completed every fourth year, to defend against the entry of the Worms and against the avidity of the Wave and the Wound.' In the current History at least, there is no indication that these Protections have been performed regularly for at least the last thousand years.’
尤利安努斯(Marcus Didius Severus Julianus)
193年3月28日，罗马皇帝佩蒂纳克斯被叛乱的禁卫军所杀，皇位被拍卖。元老尤利安努斯来到军营的城堡下，开价六千两百五十迪纳厄斯，士兵立刻拥立尤利安努斯登基。 结果各地军队纷纷起事。塞普蒂米乌斯·塞维鲁指挥罗马帝国驻扎在潘诺尼亚的军团，以替佩蒂纳克斯复仇为名挺进意大利。 就在尤利安努斯组织禁卫军想进行反抗之时，塞维鲁向禁卫军承诺，只要交出尤利安努斯和谋害佩蒂纳克斯的罪犯，就可以免于流血冲突，结果禁卫军马上接受了条件，宣布尤利安努斯退位，然后于193年6月1日将其斩首。 尤利安努斯在位仅66天。根据当代罗马历史学家卡修斯·迪奥(Cassius Dio)的说法，朱利安努斯的遗言是：“但是我做犯了什么罪过？我杀了谁？”
奥古斯特石 The August Stone
硕大的碗状物，尺寸与锣相当，由黑色的玄武岩雕刻而成，碗身铭有对抗恶魔用的渊深曼达安语咒文。碗底则铭有同一咒文的亚兰语版本。
A tremendous bowl, big as a gong, carved from black basalt, bearing an incantation against demons in Deep Mandaic. The underside bears the same incantation in Aramaic.
曼达安语是位于波斯最偏远地区的诺斯替派教徒所用的语言。渊深曼达安语只流传于该教派里的一个支派，但讲这种语言的学徒也一度出现过。它的发音与亚兰语正好有相似之处，足够让我以此入手；但这并非易事。
Mandaic is the language of a Gnostic sect in the remotest part of Persia. Deep Mandaic remains the language of a sect within that sect, but once it was spoken by adepts. This tongue has just enough in common with Aramaic to make my studies possible; but not to make them easy.
骷髅歌 The Journal of Alessandro LaCroce
咏颂贪婪享乐的诗集，作者是传闻中从女继承人成为贵妇又成为诗人的阿拉贝拉·达斯克，该名很可能是伪名。
Poems of greedy delight composed by the possibly pseudonymous Arabella Dusk, the rumoured heiress-turned-madam-turned-poetess.
阿拉贝拉在引言中解释说，她这本书本应有插图，但防剿局不会允许。她暗示插图仍存于某处。本书是致“寻找赤杯的帕西瓦尔爵士”的献礼。二十六颗悦人的果实，七种责罚，九座花园，四桩悔事。
In Arabella's introduction, she explains that the book was to be illustrated, but that the Suppression Bureau would not permit it. She hints that the illustrations still exist somewhere. The book is dedicated to 'Sir Parsival of the Red Cup'. The Twenty-Six Delightful Fruits; the Seven Chastisements; the Nine Gardens; the Four Regrets.
圣杯骑士帕西瓦尔(Marcus Didius Severus Julianus)
威尔士文本《罗纳比之梦》中出现的角色“拿大矛的佩雷督(PeredurPaladr Hir)”被认为是他在传说中的最早名称。在《佩雷督，埃弗劳克之子》中，帕西瓦尔是其父的第七个孩子，其父与兄长都在战争中丧失了性命；于是他的母亲独自在森林中抚养他，避免让孩子接触骑士道；但在欧文骑士的启发下，他最终前往亚瑟王的宫廷，在那里被一位侏儒弄臣预言为世上最伟大的骑士。他经历了许多神奇的历险，从三座城堡中各取得“三分之一”的力量；与少女金手安格蕾德(Angharad Law Eurawc)喜结连理；在亚瑟骑士的帮助下打倒了格洛斯特的九位女巫，继承了舅父的奇迹堡。《迪多特·帕西瓦尔》记叙帕西瓦尔在亚瑟王的宫廷中坐上了被禁止的第十三个座位“危险座”，由此引出梅林对圣杯骑士的预言。他参加了对神奇白鹿的狩猎；与“坟墓骑士”进行决斗；与梅林相遇，最终成功地继承了圣杯与舅父“渔夫王”的城堡。埃申巴赫的沃尔夫拉姆在长篇叙事诗《帕齐伐尔》中讲述他本已在亚瑟的宫廷中取得了荣誉、娶康薇拉慕为妻，但由于圣杯的使者孔德莉的警告，又重新踏上旅途，在舅父隐士崔佛列森的帮助下了解圣杯王家族的历史、最终治愈了舅父安福塔斯，加冕为新一任的圣杯王。在法语的散文传说集《兰斯洛特与圣杯(Lanclot-Grail/Vulgate Cycle)》中，帕西瓦尔作为命定圣杯骑士的地位逐渐被加拉哈德取代。但他仍然与鲍斯同为世间仅有的三位圣杯骑士之一。 《亚瑟王之死》继承了这些说法，声称他在追寻圣杯的旅途中见到了狮子与毒蛇搏斗的异象，刺穿自己大腿克服魔鬼的诱惑，帮助了狮子。最终在加拉哈德被接引升天后，接任为圣杯国王，不久后死去。
不眠者 Those Who Do Not Sleep
一本属于神秘学家布罗德纳克斯的岩藻色文本，本书讨论了双生女巫和轰雷之皮的起源。
A Fucine text attributed to the mystic, Brodnax, discussed the origins of the Sister-and-Witch, and of the Thunderskin.
“双生女巫分别降生自海洋两岸的两个子宫，一个贫穷，一个富有。巫女强于心相，以保她二者存活于世；女巫强于杯相，故而她二者欲壑难填……” 'The Sister-and-Witch were born in two wombs, one poor one rich, across the sea. The Sister was stronger in the aspect of Heart, and so their survival was assured; the Witch was stronger in the aspect of Grail, and so they were not satisfied...'
“双生女巫自西而来时，赤杯允许她们飞升，随后却对力量产生了妒忌。于是赤杯引诱来一位伟大的乐手，将他作为具名者纳入麾下，使他从血中重生为心之司辰，借此掌握了心之领域的权柄。但赤杯并非常胜不败。”
'When the Sister and Witch came from the West, the Red Grail permitted their ascension, but then grew jealous of their power. It lured a great musician into the ranks of its Names, and caused him to be reborn from blood as a Heart-hour, so that the Grail might maintain dominion there also. But its victory is not assured.'
真实准确的无影众王史 A True and Accurate History of the Shadowless Kings
《真实准确的无影众王史，卡斯的艾萨克著》。艾萨克在本书中描写了无影帝国持续千年的霸权。
Isaac of Karth's history of the Shadowless Empire. 'A True and Accurate History of the Shadowless Kings, by Isaac of Karth.' Isaac describes the thousand-year ascendancy of the Shadowless Empire.
本书描述了“第一重亦最伟大的历史”。波斯帝国——又称“阿契美尼斯的子嗣”、“无影众王”、“最辉煌帝国”——挺过了亚历山大大帝的强攻，繁荣昌盛直至第五世纪。
The first and greatest history' is described herein. The Persian Empire - 'the sons of Achaemenes', 'the Shadowless Kings', 'the most Glorious Empire' - survives the assaults of Alexander the Great and flourishes as late as the fifth century.
罗马陷落后，无影帝国将拜占庭置于自己的荫蔽下，并东进攻取大河流域。作者艾萨克的叙述以对抗“由扁颈蛇组成的无肤之师”的侵略战争开始，却又唐突地以一系列他称能令无影帝国存续的祷文收尾。
After the fall of Rome, the Shadowless Empire takes Byzantium under its wing, and moves East against the Land of the Great River. Isaac begins to recount the invasion struggling against 'the unskinned armies of the hooded serpents', but ends abruptly with a series of incantations that he claims allowed the Shadowless Empire to persist.
美国弗吉尼亚州不伦瑞克县和梅克伦堡县的一个城镇。
阿契美尼斯被认为是波斯诸部落中之一的帕萨尔加德的首领。波斯皇家铭文认为他是大流士大帝的五世祖，大约生活于公元前700年左右。古希腊史学作家称他是“由一只鹰抚养长大的”。柏拉图在写波斯人时，认定阿契美尼斯和希腊神话中波斯人的祖先珀耳塞斯是同一人，是希腊英雄珀耳修斯和埃塞俄比亚公主安德洛墨达之子、宙斯之孙。之后的作家则认为珀耳塞斯是阿契美尼斯的祖先。《贝希斯敦铭文》提到了铁伊斯佩斯是阿契美尼斯的儿子[，铁伊斯佩斯的曾孙居鲁士大帝建立了波斯帝国。
老成仔猫与鼹鼠的坟墓(及其他故事)
Kitling Ripe and the Moldywarp's Grave (and Other Stories)
一本插图华美的大书，内含数篇关联松散的童话，由N·K·菲尔德收集成册：里面没几个故事适合儿童阅读。
A lusciously illustrated tome of loosely connected children's stories, collected by one N.K. Field. Few of them are remotely suitable for children.
本书主角，一只名为老成仔猫的无言猫形生物施行了一系列复杂的仪式来拯救她族中的亲属。在故事最后一幕，她复活了她的“另一位祖母”——鼹鼠。
The protagonist, a speechless cat-thing called Kitling Ripe, performs a series of elaborate rites to rescue members of her extended family, culminating in the resurrection of her 'other grandmother', Moldywarp.
“蛇女巫杀死牡鹿时，仔猫抠出了它一只眼睛。干涸女巫杀死牝猪时，仔猫偷去了它一杯血液。随后她带着这些东西到埋葬鼹鼠的地方，散开自己的头发，开始舞蹈……”
'When the Snake-Witch killed the stag, Kitling snatched one of its eyes. When the Dry-Witch killed the sow, Kitling stole a cup of its blood. Then she took them to the place Moldywarp lay buried, and she shook out her hair, and she began to dance...'
阿波罗与马西亚斯 Apollo and Marsyas
某部失传歌剧的唱本，题材为阿波罗和马西亚斯之间的比试及此事的悲剧结局。唱词作者只留下了首字母缩写：“RKNJL”。The libretto of a lost opera concerning the contest between Apollo and Marsyas, and its tragic outcome. The librettist is identified only by their initials: RKNJL.
在神话原文中，马西亚斯因比试音乐败给了阿波罗而被剥皮，阿波罗事后亦为此后悔。在这个版本中，马西亚斯的皮有着更深层的历史……
In the original myth, Marsyas lost a musical contest and was flayed by Apollo, who later regretted it. In this version, Marsyas' skin has a further history...
马西亚斯的皮拥有给予神谕之力，后被偷运至弗里吉亚，让库柏勒的女祭司作成了鼓面。在歌剧的高潮，这面鼓的震响将想要侵犯女祭司之人逼疯至自杀。歌剧在最年幼的女祭司赞颂山松之美的忧愁歌声中收尾.
The Skin of Marsyas gives oracles, and is later smuggled to Phrygia, where the priestesses of Cybele use it for a drumhead. At the opera's climax, the pounding of the drum drives would-be violators of the priestess to suicidal madness. The opera ends with a wistful hymn from the youngest priestess on the beauty of mountain pines.
梅洛斯的双簧管诗人梅拉尼皮德斯在《酒神赞歌马西亚斯(dithyramb Marsyas)》中写到，据说女神雅典娜发明了阿夫洛斯管(Aulos)，但因吹奏的形象很丑被众神嘲笑，于是她扔掉笛子，并诅咒无论谁捡起它都会遭遇可怕的死亡。马西亚斯是库柏勒(Cybele)女神的随从，同时也是萨提尔(satyr) ，一种半人半羊的森林之神。他拾到了笛子，那笛子刚放到唇边便自动奏起了美妙的音乐，许多人都被他悠扬的笛声打动，并声称阿波罗的竖琴都难以奏出如此美妙的音乐。阿波罗邀请马西亚斯与他对决，缪斯(宁芙)女神们作为比赛的裁判，宣称赢家可以用任何方式惩罚对方。玛西亚斯吹起笛子时，听众都开始疯狂地跳舞。阿波罗弹奏竖琴时，每个人都一动不动，眼里噙满了泪水。比赛总是达成平局，于是阿波罗向女神们提议倒着使用乐器，而且边演奏边唱歌。但吹奏笛子的马西亚斯无法做到，因而输掉了比赛。作为惩罚，他在西利尼(Celaenae)附近的一个山洞里被活剥了皮，此地位于弗里吉亚、即土耳其大门德雷斯河(Meander)的源头。阿波罗把马西亚斯的皮钉在了奥罗克雷尼湖(Aulocrene)附近的一棵松树上，湖边因此长满了可以用来做管弦乐器的芦苇。狄奥多鲁斯·西库卢斯觉得阿波罗一定后悔了这种“过分”的行为，并说他暂时放下了竖琴。但卡尔·凯伦伊声称，马西亚斯被剥皮仅仅是卸下了他的动物伪装，而古希腊人不了解萨满教的含意，因此会把这个行为视为死亡的悲剧。根据奥维德的《变形记》，森林众神为马西亚斯之死举起，他们的的眼泪是变成了玛西亚斯河的源头。现代比较神话学指出，阿波罗战胜玛西亚斯是奥林匹亚众神取代早期“皮拉斯基(Pelasgian)”宗教，即克托尼俄斯(heroic)的英雄祖先和自然信仰的再现。在罗马人中，玛西亚斯被塑造成占卜的发明者，以及言论自由(哲学概念"帕里斯西亚"παρρησία)、“对权力说真话”的倡导者。
源于小亚细亚的簧管乐器，一种芦管制成的竖笛。吹奏时将V字型双管的哨片同时置于口内，双手各持一管演奏。是在崇拜酒神的仪式中，酒神合唱，雅典悲剧合唱中重要的乐器。在西方现代文化观念中，里拉琴和崇拜阿波罗的音乐象征平静节制、阿夫洛斯和崇拜酒神的音乐狂喜放纵。
Marsyas served as a minister for Dionysus or Bacchus, who was identified by the Romans with their Father Liber, one of three deities in the Aventine Triad, along with Ceres and Libera (identified with Persephone). These gods were regarded as concerning themselves specially with the welfare of the plebs. The freedom that the ecstasies of Dionysian worship represented took on a political meaning in Rome as the libertas that distinguished the free from the enslaved. The Liberalia, celebrated March 17 in honor of Liber, was a time of speaking freely, as the poet and playwright Gnaeus Naevius declared: "At the Liberalia games we enjoy free speech." Naevius, however, was arrested for his invectives against the powerful.
玛西亚斯曾担任狄俄尼索斯或巴克斯的牧师，罗马人将其与父亲利伯（Aventine Triad中的三位神之一）以及谷神星（Ceres）和利伯拉（Libera）（与珀尔塞福涅（Persephone））一起被罗马人认定为狄俄尼索斯（Dionysus）或巴克斯（Bacchus）的牧师。这些神被认为特别关心平民的福利。酒神崇拜的狂喜所代表的自由在罗马具有政治意义，是区分自由和奴隶的自由。3月17日，为纪念自由而庆祝的自由女神节，正如诗人和剧作家涅乌斯·奈维乌斯所说：“在自由女神运动会上，我们享受言论自由。”然而，纳维因谩骂权贵而被捕。
Denarius minted at Rome in 82 BC by L. Censorinus, with the head of Apollo and the figure of Marsyas holding a wineskin, based on the statue in the forum. Marsyas was sometimes considered a king and contemporary of Faunus, portrayed by Vergil as a native Italian ruler at the time of Aeneas. Servius, in his commentary on the Aeneid, says that Marsyas sent Faunus envoys who showed techniques of augury to the Italians. The plebeian gens of the Marcii claimed that they were descended from Marsyas. Gaius Marcius Rutilus, who rose to power from the plebs, is credited with having dedicated the statue that stood in the Roman forum, most likely in 294 BC, when he became the first plebeian censor and added the cognomen Censorinus to the family name. Marcius Rutilus was also among the first plebeian augurs, co-opted into their college in 300, and so the mythical teacher of augury was an apt figure to represent him.
公元前82年由L.Censorinus在罗马铸造的第纳尔，上面有阿波罗的头像和拿着酒皮的玛西亚斯（Marsyas）雕像，这是根据广场上的雕像铸造的。玛西亚斯有时被认为是福努斯的国王和同时代的人，维吉尔把他描绘成埃涅阿斯时代意大利本土的统治者。塞维乌斯在对《埃涅阿斯》的评论中说，玛西亚斯派了福努斯使者，他们向意大利人展示了占卜的技巧。马尔西人的平民一族声称他们是玛西的后裔。盖乌斯·马西乌斯·鲁蒂鲁斯从平民手中掌权，他被认为是在公元前294年，他成为第一个平民审查员，并在姓氏中加上了“香奈努斯”这一称号，他将这尊雕像奉献给了罗马论坛，很可能是在公元前294年。马修斯·鲁蒂鲁斯也是第一批平民占卜师之一，他于300年被选入他们的学院，因此这位神秘的占卜老师是一个合适的代表人物。
In 213 BC, two years after suffering one of the worst military defeats in its history at the Battle of Cannae, Rome was in the grip of a reactionary fear that led to excessive religiosity. The senate, alarmed that its authority was being undermined by "prophets and sacrificers" in the forum, began a program of suppression. Among the literature confiscated was an "authentic" prophecy calling for the institution of games in the Greek manner for Apollo, which the senate and elected officials would control. The prophecy was attributed to Gnaeus Marcius, reputed to be a descendant of Marsyas. The games were duly carried out, but the Romans failed to bring the continuing wars with the Carthaginians to a victorious conclusion until they heeded a second prophecy and imported the worship of the Phrygian Great Mother, whose song Marsyas was said to have composed; the song had further relevance in that it was also credited by the Phrygians with protecting them from invaders. The power relations between Marsyas and Apollo reflected the continuing Struggle of the Orders between the elite and the common people, expressed in political terms by optimates and populares. The arrest of Naevius for exercising free speech also took place during this period.
公元前213年，在经历了历史上最严重的军事失败之一的卡纳战役两年后，罗马陷入了反动的恐惧之中，导致了过度的宗教信仰。参议院对其权威被论坛上的“先知和亵渎者”削弱感到震惊，开始了一项镇压计划。在被没收的文献中，有一篇“真实的”预言，呼吁以希腊的方式为阿波罗组织游戏，而阿波罗将由参议院和民选官员控制。这个预言被认为是马西亚斯的后裔，涅乌斯·马修斯。他们一直在为第二个胜利女神祈祷，但他们并没有像之前所说的那样，为胜利女神祈祷；这首歌还有更重要的意义，因为它也被弗里吉人认为是保护他们免受侵略者的侵害。马西亚斯与阿波罗之间的权力关系反映了精英与平民之间秩序的持续斗争，表现为精英和平民的政治话语。纳维乌斯因行使言论自由而被捕的事件也发生在这一时期。
During the Principate, Marsyas became a subversive symbol in opposition to Augustus, whose propaganda systematically associated him with the silens’ torturer Apollo. Augustus's daughter Julia held nocturnal assemblies at the statue, and crowned it to defy her father. The poet Ovid, who was ultimately exiled by Augustus, twice tells the story of Marsyas's flaying by Apollo, in his epic Metamorphoses and in the Fasti, the calendrical poem left unfinished at his death. Ovid himself says that a "poem and transgression" were contributing factors; his poetry tests the boundaries of permissible free speech during Rome's transition from republic to imperial monarchy.
在君主国时期，马西亚斯成为了反对奥古斯都的颠覆性象征，奥古斯都的宣传系统地将他与西伦的折磨者阿波罗联系在一起。奥古斯都的女儿茱莉亚在雕像前举行了夜间集会，并为它加冕以反抗她的父亲。最终被奥古斯都放逐的诗人奥维德，在他的史诗《变形记》和《禁食》中，两次讲述了阿波罗对玛西亚斯剥皮的故事，以及他死后未完成的历法诗。奥维德自己说，“诗歌和违法行为”是促成因素；他的诗歌测试了罗马从共和国向帝王制过渡期间允许的言论自由的界限。
为王着迷 Rapt in the King
詹姆斯·科林·墨菲在本书中详细记录了他在南欧、埃及和安纳托利亚的坟场与墓地中看到的秘密欢宴和迷醉之舞。作者其人坦白了自己是食尸鬼，啃食土中尸体的生物：他称他在大快朵颐时见到了书中的舞蹈。
Detailed accounts by James Colin Murphy of secret bacchanals and ecstatic dances observed in necropolises and graveyards in Southern Europe, in Egypt and in Anatolia. The author is a self-confessed ghoul, an eater of buried flesh: he claims to have witnessed the dances while at his feasting.
这套舞蹈源自祭奉女神伊西斯与库柏勒的密教所传承的奥秘，不仅含有象征和实际意义上的剥皮行为，而且永远以人类心脏为仪式的主轴。作者着重圈点了他对自己被打断的宴席的令人作呕的感官描写。
The dances draw from the traditions of the Mysteries, of the cults of Isis and of Cybele, but include both symbolic and literal flayings, and the human heart is always central in the rites. The author punctuates his accounts with queasily sensuous descriptions of his own interrupted feasts.„ ~ Study start text
“在那些盛大宴席間，總有一頭黑豬在經受屠宰前被加冕為王。每逢此時，它的心髒會經天平與一片羽毛互較輕重，而它的皮會成為主祭的披風。它的血肉被留給烏鴉，但我必須坦白我意不在其屍骸，而在於女帽制造者新入土的噴了香水的肉體。”
“'At these greater Feasts a Black Pig is always crowned as King before its Slaying. On this Occasion, its Heart was weighed in the Balance against a Knot of Feathers, and its Skin became a Cape for the Officiant. Its Flesh was left for the Crows, but I must confess my Interest was not in its Carcass but in the Perfumed Flesh of the Milliner laid fresh in the Earth.'
对居屋根基的阿斯克利庇之谜真实而完整的记述
A True and Complete Accounting of the Asclepian Mysteries of the Roots of the House
由“李利·格里斯”从一个更古老的文本抄写而来，希腊语。记述了“阿斯克利庇之谜”，一部——据推测——更古老的文献抄本，署者名为“李利·格里斯”。书的内容不太可信，然而序言明确提及了“无墙居屋及其所伴林地”。
Reproduced by one 'Rylee Grese' from - supposedly - a much older text. In Greek. Descriptions of the 'Asclepian Mysteries', reproduced by one 'Rylee Grese' from - supposedly - a much older text. It's unlikely to be genuine, but it makes a reference to 'The House without Walls and its Wood', right there in the prologue.
本书很显然并非古卷，顶多称得上十分破旧。但书中记录了大量有意思的素材，特别是这样一个很有说服力的对比：将无墙无门的居屋与拥有七窍的人体相比较。
This is very obviously not an antique text. At the very least, it has been badly mutilated. But it contains substantial intriguing material: especially, a persuasive comparison of the House without Walls, without doors to the human body, with its many portals.
“死亡朝下，”书中这样解释，“孔雀之门被认为是一种裂缝，或是一处磨损。但从其他角度看，它更像是一张嘴——或者说是一种更珍贵的入口。”对门扉讨论中包括一种通过这些门召唤生物的仪式，虽然缺失了关键祷词。
The direction of Death is down,' the book explains. 'The Peacock Door has been considered a rent, or an abrasion, but in some respects is more like a mouth - if not a more treasured point of entry.' Discussions of the Doors include a rite which may conjure creatures through those doors, although key incantations are missing.
在《伊利亚特》中，阿斯克勒庇俄斯是特洛伊中为士兵疗伤的医生，因为不分阶级和社会地位为人治疗而被崇敬。希波克拉底时代，他已经被神化为阿波罗与凡人科罗尼斯(Coronis)的后裔。阿波罗教会了半人马奇隆有关治疗的艺术，而阿斯克勒庇俄斯师从奇隆，学会了如何使用外科手术使人起死回生。但这引起了冥王哈迪斯的忌惮，于是哈迪斯请求宙斯夺走他的灵魂。但阿斯克莱庇俄斯留下了许多继承其衣钵的子嗣，包括Machaon, Podalirius, Hygeia, 以及 Panacea。古代神话学家一般认为他出生于希腊塞萨利的特里卡(Trikka，现代的特里卡拉)。位于希腊伯罗奔尼撒东部的阿戈利德平原上的埃皮达鲁斯(Epidaurus)在公元前5世纪就将其奉为医神。那里建造有治疗圣殿(Asclepeion)，为那些身患重病之人提供了朝圣场地和避难所。阿斯克勒庇俄斯派医学强调通过自然环境进行治疗。病人向圣殿献上祭品或金钱后、往往要首先接受洗浴、节食、参与创作艺术等净化的仪式，聆听牧师则用于放松情绪的祷告。之后进入神殿内通常被称为“Abaton”或“Enkoimeterion”的宿舍。在这里，他们会服用迷幻剂进入催眠的状态，二医神会化身为狗，公鸡，蛇拜访患者的梦境，告知他们疾病的发展。醒来后，牧师会根据患者的梦开出治疗方案。因此圣殿的医生和牧师通常都是大师级的解梦专家。
降天祛孽之梦 Gartside's Sanskrit Reader
由名声扫地的神谕者达马翁·阿谮那滕筛选收集而成，素材源自戈尔迪翁的佩涅罗佩所写的天方夜谭，宫廷诗人凯勒的作品，还有学徒阿雷特雷兹著作中遭禁的片段。
The disgraced oracle Damaon Azenaten sifts through the tall tales of Penelope of Gordion, the work of the court poet Kalle and the forbidden fragments of the work of the adept Arrettrez, identifying common themes.
达马翁坚称司辰也屈从于自己的激情——屈从于憎恨，甚至爱，其程度远超凡人。“年景的好坏，地球的转动，熔炉的转变——所有这些仅仅只是司辰的激情中较弱的那些成就的结果。”
Damaon insists that the Hours, far more than mortals, are subject to their passions - to hatred, and even to love. 'The seasons of famine and plenty, the turn of the Earth, the transformations of the furnace - all these are only the results of the enactment of the lesser passions of the Hours.'
达马翁认为众司辰已然收敛对立，以免在太阳的居屋引发战争。他发觉司辰不去追求其他激情的原因是“惧怕天孽”。他推断司辰存在可怕的、吸血阿卢卡化的可能性。“那样的话他们会吞噬什么呢？”
Damaon suggests that the Hours have constrained their rivalry to avoid a war within the House of the Sun. He identifies the 'Fear of the Crime of the Sky' as the reason that Hours do not satisfy other passions. He speculates on the horrifying possibility of Hours turned alukite. 'What then would they devour?'
未知快感概览 A Catalogue of Uncharted Pleasures
“黑暗绅士”是这本抄本众多的书唯一被认出的，且认出时相当大张旗鼓的作者。
'The Dark Gentleman' is the only, and rather grandiosely, identified author of this often-copied work.
“有些快感，”有销魂法术为证，“如此强烈，足以瓦解现实世界的规律”。这篇文献列出了一些例证。分娩发生于欢愉与苦痛结合之时。因而铸炉的第一条禁忌行径诞下欢欣的火花，于辉光或虚界生根发芽：谁又能肯定在哪呢？因而制花人的种子埋下，尽管在很长的年月里他只是一处无法满足的期盼。
Some pleasures,' the Formulae Voluptuous attest, 'are so intense they can corrupt the laws of the physical world'. This text catalogues some of those instances. Birth occurs at the conjunction of pleasure and torment. So the first Forbidden Acts of the Forge birthed sparks of delight which took root in the Glory or in Nowhere: who can say? So the seeds of the Flowermaker were planted, though for long years he was nothing but an unfulfilled ache.
须知六函 The Six Letters on Necessity
本书记载了对修习无形之术所付出代价的警告和忏悔，乃十七世纪的术士(据传亦是永生不死者)朱利安·科赛利馈赠学生之物。Warnings and confessions about the cost of the invisible arts, addressed to a student by the seventeenth-century magus (and reputed immortal) Julian Coseley.
科赛利语气急迫——仿佛自疑时日无多。“即便是冭阳也能被分裂，尽管它要求由㿟日铸炉动手。”
Coseley's tone is urgent - as if he suspected he might have little time left. 'Even the Sunne can be divided, though it require the Forge of Dayes for its division.'
焚烧不焚之神 The Burning of the Unburnt God
由波斯乡间的民间口传编集而成，编者为杰·维苟财·詹森。
Compiled by Jay Wigglesworth Jensen from oral traditions in rural Persia.
詹森提出假说称，存在一位先于祆教的火神，祂的仪式即铁匠的仪式。詹森最后不情愿地得出结论，这位神祇是位女神。他认为性别或是其受到压制的原因。书中描述的仪式通常是阴森，甚至是可怖的。
Jensen hypothesises a pre-Zoroastrian fire deity, whose rites were the rites of smiths. Jensen ultimately concludes, with apparent reluctance, that the deity was a goddess. He suggests that its gender may have been the cause of its suppression. The rites described are often eerie, sometimes grisly.
融解之书 The Book of Dissolution
亚历山大·普罗布斯特承袭霍斯特·塔斯曼的基础性工作，修复了本书存于波斯某山中寺庙的一份抄本。本书在别处也时有发现，通常是烙刻在石头上。
Alexander Probst, following the foundational work of Hosty Tasmane, recovered a copy of this work from a mountain-temple in Persia. Other copies surface now and then, usually seared on rock.
这本书主要记载了向不焚之神，消耗与重造之神，即白日铸炉的祈祷。该书认为铸炉之力部分源于其性质，部分源于其工具。书中描写了早期的，有着和现在不尽相同的门扉与通路的太阳之居屋。它颂扬了白日铸炉开启通往居屋道路的事迹，赞美了她将过往转化为现今的作为，尽管这伴随着石头的惨叫……
The Book consists mostly of prayers to the Unburnt God, the Forge of Days which consumes and transforms. It suggests the Forge's power arises partly from its nature, and partly from its tools. The Book describes an earlier House of the Sun, whose doors and ways were different. It praises the Forge of Days for opening the ways into the house, and for transforming that which was to that which is, despite the screams of stone...
高贵之举社团… The Irreproachable Traditions...
《高贵之举社团那无可指摘的传承》，拉丁语。高贵之举社团的成员一经入团便继承了高贵的名字：“帕西瓦尔”、“罗兰”、“莪相”。他们的灵感源自受控之火，在某些重历史中，不列颠蒙后者恩赐获得了超乎想象的力量。一个名叫萨缪尔·帕特里吉记录下了他们的事迹。
The Irreproachable Traditions of the Society of the Noble Endeavour. In Latin. The members of the Society of the Noble Endeavour adopted noble names at their initiation: 'Parsival', 'Roland', 'Oisín'. They drew their inspiration from the Leashed Flame, which gave the island of Britain such appalling power in some histories. One Samuel Partridge has chronicled their efforts.
他们的“举动”倒可称高贵——放一场神秘的，能将他们变成超越人类之物的大火。但这种转换罕有成功，大部分情况下他们会变成一堆难称高贵的灰烬。
Their 'Endeavour' was no less noble - a furious arcane conflagration which would refine them into something more than human. But such transformations are rare, and they often ended, less nobly, in ashes.
帕特里奇声称他在成功飞升者身上发现了一个规律：他们都穿过牡鹿之门，获得了通晓者之位。在飞升开始时，他们全都吟诵了巧匠祷文，又或是比那还厉害的祷词。而且他们都很富有。
Partridge claims to have identified consistent features among those who ascended. All of them had passed the Stag Door, and were accounted Know. All of them spoke the Callidate Invocation, or a greater rite, at the start of their ascension. And all of them were rich.
即奥伊辛，他是凯尔特神话中的古爱尔兰著名的英雄以及诗人。其子为”战场绞肉机“奥斯卡(Oscar) ，其父为芬尼亚勇士(Fianna)之领袖芬恩·麦克库尔(Fionn Mac Cumhaill)。传说中，他的母亲萨布(Sadb)被德鲁伊教徒变成了一只鹿，自己则被海神马纳南(Manannan)带到海外的青春仙岛，娶了海神的女儿为妻，度过了三百年的快乐时光 。 莪相在回爱尔兰前，他的妻子曾警告他一旦下马就永远无法再回到仙境。莪相回家发现人们变得比以前要矮小，仿佛侏儒，自己的部族早已成了神话里的影子，这时他看见三个人合力也无法移动一块石碑，于是莪相上前准备展示一下自己的力量，但是他随即从马鞍上滑落，跌落凡尘，瞬间刻从一个英俊青年变成了双目失明，头发灰白的枯槁老人。后来他遇到在爱尔兰传教的圣帕特里克，圣徒将他那些绮丽的故事并将之记录下来，并在莪相临死前劝他归依基督教，但遭到了拒绝。莪相生成世间没有可以与神仙岛媲美的地方，不能享受逐欢求爱的天堂毫无乐趣 。1762年，苏格兰诗人麦克菲森(James Macpherson)声称“发现”了莪相的诗，他从3世纪凯尔特语的原文翻译了《芬戈尔》和《帖木拉》两部史诗，对早期浪漫主义运动产生重要影响。但学术界通常认为，被浪漫化了的史诗《莪相集》是麦克菲森的创作，而于16世纪前期整理出版的《莪相民谣集》才是真正的爱尔兰盖尔语民谣。
文赞特铭文 The Vinzant Inscriptions
埃弗莱特·文赞特从安纳托利亚的一处悬崖誊下了这份弗吉尼亚铭文，他因在那里被闪电击中后幸存而闻名遐迩。他死于七年后的同一天。传说称，在他死后，他的骨头仍然触手火热。
Everett Vinzant transcribed these from a cliff in Anatolia, where he famously survived a lightning-strike. He died seven years later to the day. His bones, the legend has it, were hot to the touch.
很久以前，据绳结姐妹会的描述，铸炉爱上了名为骄阳的司辰。赤杯早就期待他们的结合，且杯之女祭司也预言了此事……文献的其余部分是杯之女祭司幸灾乐祸地评论将要到来的塑形，夹杂着来自侍奉环杉，尤其是侍奉双角利斧的众姐妹会的警告与哀叹。即便如此，文中仍附有一个至铸炉的祷文。
Long ago, the Sisterhood of the Knot recounted, the Forge loved the Hour called the Sun-in-Splendour. The Red Grail long anticipated their union, and the Grail-priestesses prophesied it... The remainder of the text consists of gloating remarks by the Grail-priestesses of the Shaping that will come, interpolated with warnings and laments from those of the Sisterhood who serve the Ring-Yew and especially the Horned Axe. Nevertheless, an invocation to the Forge is included as part of an attempt to urge it onwards.
铁之书 The Iron Book
利米亚教团的指南书。该教团由类不死者组成，占据了罗马帝国的伊比利亚行省，加利西亚，一块位于利米亚河源头的隐秘飞地。本指南的编者署名梅莱雷·伊夫尼，声称自己从“水域十字路”前来投奔教团。
IA manual of the Ordo Limiae, an order of quasi-immortals who maintained a secret enclave at the source of the river Limia, in the Roman province of Hispania Gallaecia. This manual was compiled by one Melerai Yivni, who claims to have travelled to join the Ordo from 'the Crossroads of the Waters'.
教团成员必须许下名为“铁之锁链”的誓言，保证永远避世。这本指南书记有据推测早已废弃的地址和暗语，大概原为联络伊里亚镇上的教团联系人所用。Members of the Ordo took an oath, the Iron Chain, that required them to remain hidden from the world. This manual includes presumably long-obsolete addresses and pass-phrases that could have been used to find the Ordo's contact in the town of Iria.
指南的最后部分描述了怎样处罚违背了隐世誓言的教团成员。其中包括一个用来召唤名为“坩埚王”的灵体，并令其代己复仇的祷文。伊芙妮提醒说这很可能是对付违背誓言之人的最后手段，仅当其他手段无法施展时才会使用：召唤坩埚王甚至可能引来白日铸炉本人的注意。
The final part of the manual describes the punishments for Ordo members who break their oath of secrecy. This includes an invocation used to summon the spirit called King Crucible as an agent of vengeance. Yivni cautions that this must be a last resort when the oathbreaker would otherwise go unpunished: summoning King Crucible might draw the personal attention of the Forge of Days.
即西斯班尼亚·加拉埃西亚(Hispania Gallaecia)，伊比利亚半岛的罗马名，位于如今西班牙西北部的加利西亚地区。这里自6世纪起成为西哥特人殖民地。9世纪时阿斯图里亚人从摩尔人手中夺得该地区。11世纪后期沦为卡斯蒂尔的附属国。加利西亚省的首府，圣地亚哥德孔波斯特拉是著名朝圣之路、圣詹姆斯之路的终点。加利西亚境内多山谷，利米亚河穿过这里的边境进入葡萄牙，在维亚纳多卡斯特罗汇入大西洋。罗马人常将利米亚河与神话中的“忘川(Lethe)”联系在一起，一些塞尔提比里亚的地理学家则习惯称之为“伯利安(Belion)”。
加利西亚这个名字与居住在杜罗河以北的一个古凯尔特部族有关，罗马人称他们为Gallaeci，即凯尔特语的"水边居民"。对于罗马人来说，此地位于极西，因此这里也被称为天涯海角(Finisterre)。七世纪时，塞维利亚的伊西多尔(Isidore of Seville)把加利西亚这个词与希腊语中的牛奶联系起来，因而写到"加西利亚人之所以这样称呼，是因为他们和高路人一样皮肤白皙"。在21世纪，一些学者认为这个词来自于源氏印欧语系
由于加利西亚的历史神话传说，此地还被称为女巫之地(Terra Meiga)。
伊里亚
位于加利西亚地区的一座古城，在伊里亚城遗址上建立起来的现代城市是帕德龙Padrón。 最初为凯尔特人部落的定居地，约在公元1世纪被罗马人改名为伊里亚，以赞美罗马皇帝韦斯巴芗(以Pecunia non olet一彦闻名后世)，约在12世纪之后覆灭。
燃烧的女人 The Burning Woman
一部译为弗里吉亚语的戏剧抄本，带评注，署名为“胜利者”米南德，此人可能是这个剧本的剧作家。
A transcription of the play by Menander the Victor, possibly the dramatist of that name, into Phrygian, with commentaries.
这部戏剧描述了铁匠和学徒们追寻燃烧之女足迹的巡礼之旅；此女出现在他们的梦中，给予每人一处伤口、一个言辞。铁匠和学徒们放弃了找寻燃烧的女人，决心建立自己的王国，“在此处，我们的力量足以粉碎世界。”
The play describes a pilgrimage of smiths and adepts following the trail of the Burning Woman, who has appeared in all their dreams and given each a Wound and a Word. The smiths and adepts give up on finding the Burning Woman, and resolve to build their own kingdom, 'where our strength will be sufficient to shatter the world.'
白骨之书 The Ivory Book
利米亚教团的指南书。该教团由类不死者组成，占据了罗马行省西斯班尼亚·加拉埃西亚，利米亚河源头一块隐秘的飞地。本指南的编者署名红，声称自己逃离了“菊花朝廷的暴政”，漂洋过海前来投奔教团。
A manual of the Ordo Limiae, an order of quasi-immortals who maintained a secret enclave at the source of the river Limia, in the Roman province of Hispania Gallaecia. This manual was compiled by one Kurenai, who claims to have fled 'the tyranny of the Chrysanthemum Throne' to cross the world and join the Ordo.
教团成员必须许下名为“白骨锁链”的誓言，保证不与司辰做交易。对一名学徒来说，要一字一句遵守这个誓言几乎是不可能的，因此指南书中收录了不计其数的解释、例外和赦罪办法。Members of the Ordo took an oath, the Ivory Chain, not to have commerce with the Hours. Followed literally, this would be almost impossible for an adept, so the manual contains numerous clarifications, exceptions and processes of indulgence.
作者红描述了教团的葬礼仪式，其中包括能够——理论上——确保不将逝去长生者的灵魂交给司辰的咒语。此类仪式会隐秘地向回忆与纪念之神——名为骨白鸽的司辰致以祈求，“因我们与那位司辰达成了共识。”
Kurenai describes the Order's burial rites, which include spells to ensure - in theory - that the souls of dead Long are not given to the Hours. The Hour called the Ivory Dove, who memorialises and commemorates, is to be invoked, in secret, in these rites, 'for with that Hour we have made an understanding'.
“信雕之城” city of messenger eagles
【人质国王的帝国，特诺奇蒂特兰城，1520:】若无世界隔膜中置闰撕裂的伤口，这位太阳的追随者可能又会统治百年之久。但于诸史的枢纽之处，长生者们如狼群般在他们背后聚集。神鸟盘旋于主心城的上空。剩下了什么？他名讳中的甜蜜。 ——虫鸟解密
尽管雕(eagle)和鹰(hawk)并不是同一种鸟类，但 “信雕”可以理解为传递太阳神信息和旨意的使者。据传说，阿兹特克人最初居住在西北方的阿兹特兰(Aztlān)。按照太阳与战争之神慧兹罗波西特利 (Huitzilopochtli) 的预言，他们离开故土另寻新居，并将自称改为“墨西卡人”( Mēxihcah)。迁徙路上，威齐洛波奇特利一度将墨西卡人交给自己的妹妹，蛇蝎毒虫的掌管者玛琳娜尔绍奇特尔(Malīnalxōchitl)照看。但是这位热衷邪恶巫术的女神为墨西卡人所嫌恶，他们又唤回了威齐洛波奇特利，并趁玛琳娜尔绍奇特尔睡着时逃跑了。醒来的玛琳娜尔绍奇特尔怒不可遏，她的儿子科皮尔( Cōpil)奉命前去堵截，却反遭威齐洛波奇特利杀害。科皮尔的心脏被剜出，投向了远方。威齐洛波奇特利告诉墨西卡人，心脏落地之处就是他们永恒的家园，这片“应许之地”将由异象标记出来。许多年后，数度寄人篱下又屡次遭到驱逐的墨西卡人来到了特斯科科湖畔，终于看到了神灵许诺的景象：就在一个湖中小岛上，一只雄鹰昂然立于仙人掌丛中。于是他们在这个岛上逐步建立起了城市，这就是特诺奇提兰。也许信雕之城就是"虫鸟解密"中提到的特诺奇蒂特兰城。
银之书
Those Indignities Perpetrated By the Deceitful Fraternity of Obliviates
利米亚教团的指南书。该教团由类不死者组成，占据了罗马行省西斯班尼亚·加拉埃西亚，利米亚河源头一块隐秘的飞地。本指南的编者署名布兹加什，声称自己放弃了侍奉骨白鸽，从“信雕之城”前来投奔教团。
A manual of the Ordo Limiae, an order of quasi-immortals who maintained a secret enclave at the source of the river Limia, in the Roman province of Hispania Gallaecia.
教团成员必须许下名为“银之锁链”的誓言，保证男性成员不与女性，女性成员不与男性交媾：“因为将降临的虽并不必然是天孽，但仍是严重的危险。”看样子，男性与男性、女性与女性间的交媾是允许的——实际上，布兹格哈什建议对此予以鼓励，以助人远离其他诱惑。
Members of the Ordo took an oath, the Silver Chain, that forbade men to lie with woman, or women with men: 'for what may come is not always the Crime of the Sky, yet that is a furious danger.' It was apparently permissible for men to lie with men, and women with women - in fact, Burzghash suggests that should be encouraged, to distract from other temptations.
指南书规定了几种针对受到诱惑，可能违背誓言的成员的预防措施：戴面具、毁容、听严厉的，诗歌般的训诫。已违背誓言者会被处死，而进行了某些行为却没实际性交者则会被处以较轻的处罚。指南中给出了一个用来将此类处罚和召唤仪式结合在一起的祷文。
The manual prescribes potential countermeasures to protect those who might be tempted to go against the oath: masks, disfigurement, severe poetic disciplines. Those who do break it are to be punished with death, although there are lesser punishments prescribed for various acts that don't involve actual coitus. An invocation is included which was used to incorporate these punishments into summoning rites.
炼金术师保命之法 The Manner in which the Alchemist was Spared
1782年，阿纳尔·维迪尔以本书为据在巴黎科学院进行了宣讲。他于次日清晨被不经审判直接处决。
A quasi-alchemical text, in Vak. In 1782, Anaël Verdier used this text as the basis for a presentation to the Academy of Sciences in Paris. He was executed in secret the following morning without trial.
在介壳种时代，人类生活在黑暗里，跪着吃东西；那时的人类可以像寄生虫一样进入漫宿。有一人学会了燧石的技法，即塑形与再造的技法……
In the days of the Carapace Cross, when humanity lived in the dark and ate on its knees, humans could enter the Mansus like vermin. One learnt the arts of Flint, the arts of shaping and remaking...
“经过黑,黄,红，这名愚蠢的凡人升入逆孵之卵的阴影，并加入侍奉他的行列。他或许时至今日仍在那里。”
'Through the Black, the Yellow, the Red, the Unwise Mortal ascended to the shadow of the Egg Unhatching, and remained in his service. He may be there to this day.'
我的事迹、我的力量、我的成就……
My Deeds, My Powers, My Achievements...
《我的事迹、我的力量、我的成就和我所面临的不公》。波辛德的霍科博尔德——被有些人称为“遗忘家族”的不死者教团的前成员——在本书中反击了该教团。
'My Deeds, My Powers, My Achievements and the Injustices Perpetrated Against Me'. Hokobald of Pocsind, formerly of the order of immortals called by some the House of Lethe, settles scores.
霍科博尔德吹嘘自己的皇室血统，并坚称铸炉的魔法在由血统高贵之人施行时更有效。波辛德埋怨利米亚教团给他定罪。他承认在“达成那种特定的愉悦”后，他“有所改变”，但他坚称此类改变既是高雅，也是必然的。“究竟谁是火，谁是燃料？”他诘问道。
Hokobald boasts of his royal descent, and insists that the magics of the Forge are more effective when practised by those of noble blood. Pocsind complains of his condemnation by the Ordo Limiae. He acknowledges that he has 'undergone alterations' after the 'consummation of that particular delight', but insists that these changes are both elegant and inevitable. 'Who is the fire, and who the fuel?' he asks rhetorically.
绅士笑话集 The Humours of a Gentleman
萨缪尔·萨维奇所著的讽刺喜剧，主要角色包括身体抱恙然却狡诈多端的约翰·泰扬，他的情妇琅优，琅优的情人施梓，还有暴发户乌亚。
Samuel Savage's satirical comedy, on the intrigues of the ailing, but cunning John Sonne, his mistress Maevelin, her lover Leo, and the upstart Corvino.
在第一幕结尾，琅优向施梓透露居屋的墙上有秘门，而乌亚则开始惯于进食蠕虫。这部戏剧即粗俗间或又令人捧腹。戏中角色相互对立而又反复无常。其中多句更加意有所指的台词或可用于施展强力的法术，尽管它们藏于平平无奇的场景之中。
By the end of the first act, Maevelin has revealed a secret door in the walls of the House to Leo, and Corvino has taken to consuming Worms. The play is scabrous and occasionally hilarious. The characters are contrary and capricious. Many of the more resonant lines might well be formulae of power, disguised in plain sight.
富兰克林·班克罗夫特勋爵1750-1790年间日记
Lord Franklin Bancroft: Diaries, 1750-1790
一本臭名昭著的绅士日记，用拉丁文写成，毫无疑问是为了安全。富兰克林·班克罗夫特勋爵通过“玫瑰女巫”菲奥娜·艾尔郡接触了制花人之术。从此他青云直上，以为上流社会提供密教法事和秘密享乐为生，直到在1790年突然音讯全无为止。
The notorious journal of a notorious gentleman, written in Latin, no doubt for the sake of safety. Lord Franklin Bancroft was initiated into the arts of the Flowermaker by the 'rose-witch' Fionna Ayrshire. He rose to become a Society provider of occult services and secret pleasures, before his abrupt disappearance in 1790.
班克罗夫特是个极有天赋的学徒，但他把自己的精力投在一些徒劳无益且异想天开的计划：为漫宿的灵体举办“摘葡萄大赛”，教擂击者玩杂耍，还有为玫瑰女巫艾尔郡变出想象中的鲜花风暴，后者甚至连与他交合都坚决拒绝。班克罗夫特花了二十页篇幅哀叹此事。
Bancroft seems to have been a talented adept, but devoted his energies to frustratingly whimsical projects: arranging 'grape-fetching races' between Mansus-spirits, teaching Percussigants to juggle, and conjuring storms of imaginary blossoms for the rose-witch Ayrshire, who resolutely refused ever to couple with him. Bancroft spends twenty pages bemoaning this last.
本书记载的梵咒既高等又艰深，这种魔法可以让一个人将其灵魂献给守夜人，开启飞升至居屋之路。班克罗夫特一喝高就会夸耀自己能背诵这一梵咒。他还给它谱上曲，在沃克斯豪尔花园的烟火大会上表演。
The Mantra here recorded is a high and exacting magic which can be used to pledge one's spirit to the Watchman, beginning an ascent to the House. Bancroft boasts of his ability to recite it when in his cups. He also had it set to music for a performance with fireworks at Vauxhall Gardens.
聚点日记 The Concursum Diaries
探险家及杀人犯拉尔斯·韦斯特格伦的日记。不巧的是，他为了防人耳目将其翻译成了弗里吉亚语。
The diaries of the explorer and murderer Lars Westergren. He's unhelpfully translated them into Phrygian, for privacy.
“世界上存在地图，存在传说，存在蕴含传说的地图，与有关地图的传说。漫宿的面相存于所有这些之中，如同水存于沼泽、杯盏与天空中。”
There are map-legends, there are maps of legends, and there are legends of maps. Aspects of the Mansus subsist in all of these, in much the same way that you find water in a swamp and in a cup and in the sky.'
韦斯特格伦描述了一系列漫宿内的探险。他着重于冒险经历的种种细节——色彩，景色，质感——而不是实际行为。他的确警告说漫宿每年都在变化，不过也像读者了保证门扉一直不变。“那些门也许会关合，但永远不会消失。起码有凡人留在漫宿时如此。我们在这儿就像老鼠。”
Westergren describes a series of expeditions into the Mansus. He focuses on the details of the experience - the colours, the vistas, the textures - rather than the practicalities. He does warn that the Mansus changes each year, although he assures the reader that the Doors have been the same. 'Doors may close, but they never disappear. At least not while there have been mortals in the Mansus. We're like mice.'
吾太阳神教核心厅室之极密
The High Mysteries of the Innermost Chamber of our Church Solar
《吾太阳神教核心厅室之极密》。本书记载了无敌太阳教会的秘密仪式，该教至少在两重历史上掌握过权势。
'The High Mysteries of the Innermost Chamber of our Church Solar'. Secret rites of the Church of the Unconquered Sun, which held power in at least two Histories.
该教派崇拜的主要对象是骄阳，即原初的，未分裂的太阳；但本书也记载了如何祀奉骄阳的其他面相：祀奉冷冽的冬季黎明、消逝的夕阳、还有弧月，即太阳的“夜间自我”。该教派的祭司均为男性，但书中也记载了令女人转性而具备男人特质的仪式。
The Church chiefly worshipped the Sun-in-Splendour, the original undivided sun; but this text also includes the devotions of its aspects as the chilly winter dawn and the departing sunset, as well as the Meniscate, the Sun's 'night-self'. Priests of the Church were all male, but rites are also included which allowed women to cross ceremonially to manhood.
该教派将最重要的仪式放在聚点举行；聚点是位于漫宿核心的厅室，已知的司辰行经之处。此类仪式包含致敬与太阳无关的司辰——圣杯、环杉、双角利斧、轰雷之皮——的环节。
The Church's highest rites were performed in the Concursum, the chamber at the Mansus' heart where the Hours were known to pass. These rites include salutations to non-solar Hours: the Grail, the Ring-Yew, the Horned Axe and the Thunderskin.
魂归苍穹 The Sky, the Soul
凯勒的鸿篇巨制，一首写于无影众王宫廷的禁欲主义诗歌。
The grand labour of Kalle, an ascetic poet writing at the court of the Shadowless Kings.
凯勒的诗简短晦涩，还常充斥着暴力意象。“星是针戳的洞，太阳却是创口。” “人总是可以再多死一分的，”凯勒说。“之前守夜人去了；其后或有且只有七位能去。”“然而我等生来注定追求辉光，一如火花向上飞舞。”
Kalle's verses are brief, obscure, and often dominated by images of violence. 'A star is a pin-prick, but the Sun is a wound.' 'It's always possible to be deader,' Kalle states. 'The Watchman goes before; none but seven may go after.' 'Yet surely we are born to the Glory as the sparks fly upwards.'
分裂之时 The Time of Division
阿米拉·扎拉在本书中预言了后人称为“置闰”的事件：名为骄阳的司辰被分裂。In which Amira Zahra prophesies the events later known as the Intercalate, when the Hour called Sun-in-Splendour will be divided.
太阳将遭分裂，故它许不能再生产子嗣。即便如此，其子嗣之数应为四再其子嗣之数应为七再其子嗣之数更应不可计数。不可计数者将为七者打开道路，七者将摄食四者…… The Sun will be divided that it might not sire children. Still its children shall be Four in number and its children shall be Seven in number and its children shall also be Numberless. The Numberless shall open the way for the Seven, and the Seven shall consume the Four...'
阿米拉预卜了“第二拂晓”前，即骄阳再度升起前的四场大战。她提醒道：“日出为血，我于此预言骄阳将从血中升起，却既无鲜血的颜色，亦非夜晚的时辰。”她给出了她推测第二拂晓所需的一个仪式。
Amira prophesies four great wars before the Second Dawn, when the Sun-in-Splendour shall rise again. She cautions: 'Sunrise is blood, and I foretell now that the Sun shall rise from blood, yet not the colour of the blood, nor the hour of Night.' She includes a rite that she speculates will be necessary for the Second Dawn.
琥珀之光 The Focus of Amber
奥马尔，又名“炽焰”，为了清偿自己熄灭圣焰的罪过，在推罗看了七年灯塔。而在这场苦役最后，他对火焰产生了莫大的恐惧，甚至无法与烛焰共处一室。写这本书是他苦修的一部分。Omar, the Blaze, spent seven years manning a lighthouse in Tyre, in atonement for the extinguishing of a sacred flame. By the end of his stint, he was so terrified of fire that he could not stand to share a room with a candle. This work was written in partial penance.
奥马尔声称名为守夜人的司辰既是肉源神——原为凡人的司辰——也是光源神——降自辉光的司辰——但在最后又补充说，守夜人有三重来源，即是说“实质上，他是琥珀神”。Omar claims that the Hour called Watchman is both a god-who-was-flesh - an Hour who was mortal - and also a god-from-Light - an Hour who descended from the Glory - but adds, finally, that the Watchman's origin is triple, and that 'in essence, he is Amber.'
守夜人，据奥马尔称，原先完全是另外一位司辰，因其他司辰欲将其赶进虚界而逃入辉光，升入其间。奥马尔讲到这点时可能渗入了他自己的偏见：可想而知，此处的行文变得不那么连贯。书的最后一部分致力于证明眼瞳，卵和太阳在某种意义上是一体的。
The Watchman, according to Omar, was once another Hour entirely, who ascended into the Glory to escape efforts by other Hours to send him to Nowhere. It may be that Omar's sense of persecution creeps into the narrative at this point: certainly it grows less coherent, and the last part is devoted to attempts to prove that eyes, eggs and the Sun are all in some sense conjunct.
“苏尔”本意为岩石，《圣经》中译为“推罗”。 位于地中海东部沿岸，在以色列阿卡北方23英里，西顿城南20英里处，为古代海洋贸易的中心，今属黎巴嫩。根据希腊神话，苏尔国王的女儿欧罗巴被宙斯诱拐到克里特岛，生了米诺斯、拉达曼迪斯和萨耳珀冬三个儿子。苏尔国王命令自己的儿子们若找不到公主就不要回国。他的儿子们因此滞留他乡，其中，卡德摩斯(Cadmus)把腓尼基字母带到了希腊。希罗多德在《历史》中提到，苏尔建城时间远在约公元前2700年。拜比罗司的菲罗在提到最初定居在该地的人叫海普苏拉尼乌司时，引述了古物权威桑邱尼亚松的著作。 他的著作据传是献给贝力图斯之王阿比巴鲁斯，后者可能就是苏尔的国王。苏尔城因为生产一种稀有的紫染称为苏尔紫而特别着名。在远古许多文明中，这种颜色专供皇室或是贵族们所独享。苏尔在十九世纪的英国有时被比喻为强权兴衰的典范：比如约翰·拉斯金的剧作《威尼斯之石》跟吉普林的《退席圣诗》。
奥莱尔的斐宁舜之远航记 The Victory of Crowns
“一名腓尼基时代晚期的船长不可思议的旅行记。本书自有记录的历史以来一直遭到封锁：据说读过的人会失踪。”据《奥莱尔的斐宁舜之远航记》的描述，斐宁舜船长所处的时代是腓尼基晚期，约是公元前933年至公元前800年之间。历史上，腓尼基的历史可大致划分为三个时期：第一阶段称埃及时代，约公元前2800年—公元前1200年；第二阶段是腓尼基的兴盛时期，公元前1200年—公元前800年；第三阶段是腓尼基的衰亡期，公元前800—公元前332年。传统意义上来讲，“腓尼基时期”是指腓尼基的兴盛时期。在它的前一时期，腓尼基主要在政治上受埃及的控制。后一时期，腓尼基开始衰败，沦为外国的附庸，其商业优势也逐渐的颓废了。而希腊城邦此时已经开始逐渐的强盛起来，夺取腓尼基人在海上的殖民地和市场。公元前500年左右，希腊人在东地中海占据了上风。公元前332年，推罗城陷落，腓尼基人的名字不再见诸史书。
《奥莱尔的斐宁舜之远航记》记载了斐宁舜船长不可思议的旅行：“斐宁舜显然在沿画中之河航行时拜访过漫宿。他还称他横渡过沙滩最细腻的海域，挑战过太阳表面的热浪，也曾下潜到由墨玉照亮的地底之海”。“由墨玉照亮的地底之海”指虚界。在肉石之战中，铸炉击碎了燧石，并将后者投入虚界，“墨玉”即是燧石被铸炉击碎的残躯。且在铸使徒飞升的文本中有提到虚界被“墨玉制成的灯盏照亮”，灯光应是燧石的残余释放出的光芒。倘若斐宁舜所言非虚，他应是去到过虚界并从那里返回的两个人之一。另一人是如今的司辰浪游旅人。
“挑战过太阳表面的热浪”，或许表明斐宁舜接近过骄阳。在他的时代，置闰尚未发生，全盛时期的太阳位于漫宿顶端。这一事迹有另一种可能的解释：斐宁舜在醒时世界的航行中来到过炎热的、太阳炙烤的地域。
“沙滩最细腻的海域”也许指印度洋。目前，全球公认沙滩最细腻的海岛有许多都在印度洋，如马尔代夫、长滩岛等。历史上，古腓尼基人也曾航行至印度洋开辟贸易航线。当然，一些热带海域也有这个可能性，如加勒比海。但给出的信息太少，仍难以推断。另外，斐宁舜船长身上所表现出的某些特质与古代腓尼基人的特点较为符合，如擅长航行、涉足远方等。他很有可能就是腓尼基人。
斐宁舜显然经由画中之河进入过漫宿。据《拉奎伯斯写本》和双生子获得擢升的经历，我们可得知醒时世界的某片海域与画中之河相连通（据考证，可能是爱琴海或亚德亚里海，但具体的海区已不可考，详见吧友刃艳完成的帖子）。作为联通漫宿的水道，时至今日仍有人在此航行。当教主进入漫宿的画中之河时，可以看到航行的船只、船长和水手，证明这条道路在今日仍然适用。
尽管古腓尼基人航海技术高超，斐宁舜到达虚界的途径仍值得商榷。他在作品中提到“地底之海”，说明虚界是水体，或者至少大部分是水体。那么在醒时世界中是否也有一片海域与虚界联通？我们不得而知。且他到达虚界的方式是“下潜”，符合日记作者在信件中提到的内容，“死亡是向下的”。在游戏中，虚界包含了“死界”这一含义，肉石之战中毁灭的石源神、于置闰中被分裂的骄阳以及铸使徒都进入到了虚界。特蕾莎也曾说过，“并非所有亡者都会穿过纯白之门”，他们中的一部分会去到虚界。我们有理由相信，虚界位于漫宿基层的下方，也就是林地之下。此外，于虫鸟解密中提及的第七位丽姬娅，“倾城佳人”“王国毁灭者”罗威娜握有牝马之钥，可开启通往虚界的大门，她有时会将自己的钥匙借出去。那么斐宁舜获得了来自外界，尤其是来自丽姬娅的帮助吗？我们仍未知晓。“在最后一次远航中，斐宁舜跨越了薄暮的海面，到一座平静的岛屿上安度余生。他认为那里有一眼能保证他的安全的泉水。‘人们会忘记我，’他宣告说，’而这本书是我留下的唯一痕迹。‘”
在最后一次远航中，斐宁舜跨越了薄暮的海面，在一座安静的小岛上定居，那里有一眼“确保他安全的泉水”。结合午港文本中提到的“臭名昭著的泉水”，以及读完这本书获得的密传，不难看出斐宁舜去到了薄暮群岛的午港（现实世界中对应加勒比海地区的维尔京群岛）。一个有意思的问题是：他为何要确保安全，让世人遗忘他？《奥莱尔的斐宁舜之远航记》是作者留下的唯一痕迹。此书显示，斐宁舜的旅程非凡，在漫宿在醒时世界都是，他也到达过虚界，因此他很可能不是一名凡人。秘史Wiki则将奥莱尔的斐宁舜归类到“长生者—未知原则提升—遗忘家族、利米亚教团、忘却会成员”的条目下。（这个说法的真实性存疑，尽管斐宁舜船长去到了午港，但目前没有任何证据表明他和这些组织间有联系。而且该理论最大的疑点在于斐宁舜的时代与忘却会的时代有明显间隔，且居住在午港的长生者成分混杂，他不一定是这些密教团体的成员。他可能是一名长生者，仅仅是可能。）这样一来，斐宁舜归隐的目的就得到了解释。研习无形之术一向是高危的行为，秘术研习者和实践者会面对愚昧的凡人、固执的当权者、司辰介入的防剿局（或其他类似机构）。如1782年，在巴黎科学院宣讲《炼金术士保命之法》的阿纳尔·维迪尔于次日清晨被不经审判直接处决。我们不难理解斐宁舜的初衷：躲避来自醒时世界的麻烦和司辰间的争斗。因此，他来到午港，并在这里度过余生。
日落殊途 Sunset Passages
本书网罗了无敌太阳教会——即第三和第四史中的飞升者——的典礼中的各种祷文，仪式和赞歌。该教派在置闰——即太阳遭到分裂时——发生分裂，留存下来的部分不再具有不可小觑的势力。
A miscellany of the funerary prayers, ceremonies and hymns of the Church of the Unconquered Sun, which was ascendant in the Third and Fourth Histories. It schismed during the Intercalate, when the Sun was divided, and has not survived as a significant force.
教会在骄阳分裂前就尊崇它——但在骄阳尚完整时，它日后的复数个自我就已经被认为是它的具名者了。而昕旦执掌的自然是死亡和进入居屋的道路。
The Church revered the Sun-in-Splendour before it was divided -but even while it was still whole, its later selves were recognised as its Names. The Madrugad, of course, presided over death and the passage into the House.
“纯白之礼”据称是纪念司辰昕旦的仪式，在黎明前冷冽之时的葬礼中施行。这份文献提醒道，在念诵仪式祝词时，所有的刀刃都不能出鞘，“否则尸体将不再沉默。
The White Ceremony was spoken to honour the Madrugad, at funerals held in the chilly space before dawn. The text cautions that all blades should remain sheathed while the Ceremony is spoken, 'lest the corpse be not quiet.'
噤声！ STUMM!
一盘硝酸盐胶片，标签上写着“噤声!”——意为“沉默”，或“哑”。旁边颤抖写着导演的姓名:“杰尼克·克罗塞”。
A can of nitrate film labelled STUMM! - 'Silent' or, perhaps, 'Mute'. The director's name, 'Jernik Krosse', is shakily appended.
放映机嘎吱作响，静静地将画面投在墙上。影片讲述了一名研究禁忌科学的愚蠢学生的故事，他招募了一名舞者来诱使亡者通过世界表皮上的破绽重返世界。这是一个虚构的故事，但片中的标题字幕却写着“落日行动”……
The film rattles through the projector, glows silently on the wall. It is the story of a foolish student of forbidden sciences, who recruits a dancer to entice the Dead back into the world through a flaw in its skin. It's a fiction, but here on a title card is laid out the Operation of the Declining Sun...
仪式的描述极为详尽，令人毛骨悚然。先是世界的破绽，一种在流光溢彩的涂料中闪闪发光的影响。然后是舞者怎样跳出令人无法抗拒的节拍。然后是学者复述行动步骤；而此刻，烟雾般的亡者正盘旋着穿过破绽处来吞吃他！影片最后定格在舞者警觉的双眼。她从一开始就打算这么做吗？
The Rite is depicted in chilling detail. Here is the flaw in the world, an Influence shimmering in luminous paint. Here is the dancer establishing an irresistible rhythm. Here the scholar recites the Operation; and now the misty dead whirls through the flaw to consume him! The film closes on the dancer's watchful eyes. Had she intended it all from the start?
惯于欺瞒的忘却互助会造成的种种侮辱伤害
Those Indignities Perpetrated By the Deceitful Fraternity of Obliviates
本书的作者只留下姓名首字母“C.R.O.D”，不清楚他是否为由不死者学徒组成的“忘却教团”的新成员。本书成书于十六世纪，在该教团——如果相信作者的说法——的权势从巅峰跌落之后。
This book is as famous for the near-incoherent fury of its tone, as for the knowledge it contains. In Latin. It's not clear whether 'C.R.O.D', who is identified only by his initials, was in fact an initiate of the Obliviate order of immortal adepts. He wrote in the sixteenth century, after the order - if he is to be believed - had passed the height of its power.
“第·五·十·八·条。他们既声称继承了遗忘家族的传统，却又在不·方·便执行时便将家族最为美丽亦最为神圣的典礼摒 弃 不 用。第·五·十·九·条…” “在此我向大家披露互助会用于召唤灵体“汽灵”的仪式。他们严·重·背·叛家族传统，不献上冬之新晋者和蛮横锤骨与启之密传，而·是献上启之新晋者和锤骨与冬之密传！这不能忍——”
'FIFTY-EIGHT. That they did claim inheritance of the traditions of the House of Lethe, but that they have DISREGARDED both its most sacred and its most beautiful ceremonies where they are not found CONVENIENT. FIFTY-NINE...' 'Now I share the Rite that the Order used to summon a Caligine spirit. In CLEAR DEFIANCE of the Lethean tradition they did not offer Knock-Lore with a Winter Initiate and a Malleus Imperative, BUT RATHER Winter-Lore with a Knock Initiate and the Malleus!! It is not to be borne -'
世界从不落泪 The World Does Not Weep
“棕色” 约书亚在哈马城中的一口井里找到了本书。有不可信的传说称本书为亚历山大从伊苏斯撤退时所弃。
'Brown' Joshua found this in a well in Hamath. There's an unlikely story that it was abandoned by Alexander during his retreat from Issus.
一名不知名的学徒写下下述宣言：世界会遗忘，但骨白鸽不会。为保证某些做法能被人铭记，书中列出了一连串旧习做法，包括一种需要以特别骇人听闻的方式献祭的仪式……
The unknown adept who wrote this proclaims: the world forgets, but the Ivory Dove does not. The text contains a number of prescriptions for ensuring that certain acts are remembered, including a rite which requires a sacrifice in a particularly monstrous mode...
众司辰企图埋葬有关转轮、燧石、浪潮及七蟠之遭遇的回忆，但白鸽不容许这样做。他也不容许最初之卵的遭遇为人遗忘，尽管这或许是守夜人唯一能恕之事……
The Hours tried to bury the memory of what happened to the Wheel, the Flint, the Tide, and the Seven-Coiled, but the Dove won't permit it. Nor will he permit what happened to the First Egg to be forgotten, although it is perhaps the one thing that the Watchman might ever forgive..
缅怀诸神 In Memory of Gods
作者是一个无名的高卢人学徒“坟茔之子”，属于名为利米亚教团的组织。此人带着遗憾之情讲述了先于人类的司辰——石源诸神的毁灭。
'The Barrowchild', a nameless Gaulish adept who joined an organisation identified as the Ordo Limiae, writes regretfully of the destruction of the gods-who-were-stone - the Hours who preceded humanity.
坟茔之子在书中着重点名谴责了伤疤护民官、赤杯、铸炉和飞蛾，因他们谋杀了最初的诸神。“我们活在他们罪行的阴影下，”她写到，“我们若不留心避免，必将重蹈覆辙。”
The Barrowchild singles out the Scarred Tribune, the Red Grail, the Forge and the Moth for especial condemnation as murderers of the first gods. 'We live in the shadow of their crime', she writes, 'and we must evade it or repeat it.'
坟茔之子描述了赤杯如何饮干名为浪潮的司辰，飞蛾如何“从内部篡夺转轮”，盗走了它的皮肤，以及铸炉如何先盖过燧石的光芒而后粉碎之。“也许这些行为可说是光辉的，”她评论到，“然而辉光不可说是仁慈的。”
The Barrowchild describes how the Grail drained the Hour called Tide, how the Moth 'usurped the Wheel from within', stealing its skin, and how the Forge first eclipsed then shattered Flint. 'Perhaps these are glories,' she observes, 'but then it cannot be that Glory is merciful.'
第二辉光 A Second Glory
祭司尤赛在本书中对先于人类的司辰，石源诸神的灭绝大加庆贺。
A work by Juceh, the priest and hermit scholar. The priest Juceh celebrates the extirpation of the Gods-who-were-stone, those Hours who preceded humanity.
尤赛为毁灭司辰之事进行辩解：他们老了、他们懦弱、他们卑劣、他们的时代已经过去，而通过辉煌的战斗夺取居屋正是人类耀眼的天命。
Juceh engages in an apologia for the destruction of the Hours: they were old, they were cowardly, they were vile, their time had passed, and it was the shining destiny of humankind to seize the House through glorious battle.
尤赛诉说了名为七蟠的司辰如何在战斗中被上校斩杀，名为浪潮的司辰如何遭圣杯吞噬，以及逆孵之卵如何“像懦夫一样逃走”。他对逆孵之卵肆言詈辱，并悲观地警告说它将回归。
Juceh recounts how the Hour called Seven-Coils was slain in battle by the Colonel, how the Grail devoured the Hour called Tide, and how the Egg Unhatching 'fled like a coward'. He's quite vituperative about the Egg Unhatching. He warns darkly against its return.
寂灭之心 The Book of the Extinguished Heart
在无影众王时代，恩尼斯·拉扎里因预言太阳的分裂而被处以极刑。若抓捕他的人日后长成了长生者，现在大概会感到惭愧。
A book of melancholy prophecy. In the days of the Shadowless Kings, Ennis Lazali was executed for prophesying the Division of the Sun. If any of his captors grew Long, they probably feel rather abashed now.
拉扎里称太阳将在锤炼场被白日铸炉分裂，后者的凶器是心中的爱。“导致太阳之死的不会是爱，而是妒忌。导致太阳之死的不会是妒忌，而是渴求。导致太阳之死必不是渴求，而是好奇。置他于死地的必不是好奇，终究还是爱。”
Lazali indicates that the Sun will be divided in the Malleary, by the Forge of Days, armed with the love in her heart. 'Love will not be the cause of the Sun's death, but rather envy. Envy will not be the cause of the Sun's death, but rather thirst. Thirst shall not be the cause of his death, but curiosity. Curiosity shall not be his end; rather will it be love.'
天宇的伤疤 The Scar in the Sky
作者宁在写下本书后追悔不迭。
Nyn wrote this, and came to regret it.
这本书每一页只写有一个词，但每翻过一页，便有一个知识潜入脑中。最后一页写得满满当当。书的每个读者都会在此处记下同一个词。现在轮到我了。
Each page of this book contains one word only, but as each page is turned, a knowledge creeps in. The final page is crowded. Each reader of the book records the same word. Now it is my turn.
下层论 The Treatise on Underplaces
由十七世纪的神秘主义者兼古董商人克劳德·海索所著，本书描述了梦境界域上的“边境”或称“下层”概念。此人也警告说，这些概念随时间变化。
Herein, the seventeenth-century mystic and antiquarian Claude Hersault describes the 'Bounds' or 'Underplaces' on the borders of dream. He warns that they shift over time.
“漫宿之墙浩如星光”，海索如是开篇。他的许多指点都无用得如出一辙，不过也确能体现出某些共通的关系。本书以浪荡汉冒险小说的文风记录了一场穿越梦魇的旅途，夹杂着或为对仪式片段的描述。“第十八次上升为结苞。第三十六次为绽蕊。”
'The walls of the Mansus,' Hersault begins, 'are the size of starlight.' Many of his directions are equally unhelpful, but common relationships do emerge. A picaresque account of a journey through nightmare, interspersed with what might be partial rites. 'On the eighteenth Ascent is the bud. On the thirty-sixth Ascent, the blossom.'
撒该福音 The Gospel of Zacchaeus
一本关于弥赛亚拿撒勒和他事迹的极其异端的记录，描述了他通过洞开肉体飞升入漫宿的故事。
A lost early Christian text? It's in Greek. An extremely heterodox account of the Nazarene Messiah and his works, describing his ascension to the Mansus through the opening of his body.
“他身上的伤口其数为七，居屋之门其数为七，司辰的次级性相其数为七，性相启凌驾于上，正因蚁母乃是救恩之母。” 这本书描述了一个仪式，可将一具尸体转为半死，“以纪念为林地流血的他。”这个仪式需要一具尸体和足够的法力，作者建议使用冬之密传中的祷文，以及一名被林地之力触碰过的助手。
'Seven were the wounds of His body, seven the doors of the House. Seven the lesser aspects of the Hours, and Knock the aspect above all, for the Mother of Ants is the Mother of Salvation.' The book includes a description of a Rite which can be used to raise a corpse to half-life, 'in memory of He who bled for the Wood'. It requires a corpse and sufficient power - the author suggests an invocation of Winter-lore, and an assistant touched by the powers of the Wood.
王冠的胜利 The Victory of Crowns
一本怪书，作者署名“阿伦”。记载了某些不为人知的教团派出暗杀者，追猎和进食据称永生不死的人们的经过。出版于十九世纪后期。Erratic accounts, by one 'Arun', of the hunting and consumption of supposed immortals, by shadowy cults of assassins. Published in the late nineteenth century.
据“阿伦”称，这些暗杀者是一位名为“尚校”的神灵的使者，是“隶属于诸位秘密大师的士兵”。此类说法一直可上溯至罗马时代。阿伦的学识令人存疑，但是他(她?)的文笔简洁有力，在记述突发且暴力的死亡事件时穿插着警句：“司辰无梦，长生者力图无梦。”
The assassins are, according to 'Arun', the agents of a power called the Coronel, a 'soldier of the Secret Masters'. The accounts go all the way back to Roman times. Arun's scholarship is dubious, but he (she?) writes pithily. Incidents of sudden and violent death are interspersed with aphorisms: 'Hours don't dream. Long try not to.'
墙垣之战 De Bellis Murorum
一部十八世纪拉丁语史诗，作者托名为“索利浦西斯托斯”。
In Latin. An eighteenth-century epic poem by the pseudonymous 'Solipsistos'.
此诗概括写出野兽、天气、神秘概念的三者之战。战术部分写得很具体。“二一相合，角者得彰。于是得血。”
The poem elliptically describes a war between beasts, weather phenomena, and arcane concepts. It's quite specific about their tactics. 'The Two-One joined, and the Horned distinguished. Consequently, blood.'
其躔如日 As The Sun His Course
退休士兵，时而以收费员为职业的“桥上的”乔伊写下了这首史诗，内容是亚历山大在与阿契美尼德王朝交战时，于伊苏斯做出无法解释的撤退决定，随后回师马其顿的故事。
Joel of the Bridge, a retired soldier and sometime tollkeeper, wrote this epic poem about Alexander's famously inexplicable decision at Issus to withdraw from the war with the Achaemenids, and his subsequent return to Macedonia.
亚历山大与万王之王大流士在伊苏斯会见了三日三夜。第一日，两人互相威胁；第二日，互予承诺；第三日，互换秘密。大流士向亚历山大道出了某些惊人之语，令后者不得不退回帐中思考“力量之事与支配之事”。
Alexander meets at Issus with Darius, King of Kings, for three days and three nights. On the first day, the two men trade threats; on the second, promises; on the third, secrets. Darius tells Alexander something so shattering that he retires to his tent to consider 'matters of strength and matters of mastery'.
第四日黎明，亚历山大宣布：“日之躔回归其始，吾之躔亦如是。”他回师马其顿，并将质疑此决定的两名将领处以极刑。他带回了“目盲之神的数个名字”和“神圣背叛仪式”：对此约珥以为，若无背叛，战争本会结束。
At dawn on the fourth day, Alexander announces: 'the Sun has his course, upon which he returns; and so do I'. He returns to Macedonia, executing two of his captains when they dispute his decision. He brings with him the 'names of a blind God', and a 'rite of sacred betrayal': for, Joel opines, without betrayal there would be an end to war.
七步斩七蟠 The Sevenfold Slaying of the Seven-Coiled
记录了远古司辰——一位石源神的毁灭。
An account of the destruction of a primaeval Hour, a god-who-was-Stone.
共十二节。在第一节，一位飞生而来，称为伤疤者的司辰为他消灭七蟠而辩解，列举了种种理由：七蟠的口腹之欲，它的不断成长，它对人类的敌意。在第二节，一名女祭司熄灭了他的眼，并在他皮肤上刻下伤疤，以此保护他免受七蟠魔法的伤害。在接下来的七节，他每一节消灭七蟠的一个面相……
There are twelve verses. In the first, an ascendant Hour identified as the Scarred One enumerates his justifications for destroying the Seven-Coiled: its appetites, its growth, its enmity to humanity. In the second, a priestess puts out his eyes and scars his skin to protect him against the Seven-Coiled's magics. In each of the next seven verses, he destroys one aspect of the Seven-Coiled...
在第十节，伤疤者将七蟠的鲜血洒遍庇护他的女祭司全身，以此借给她神力。在第十一节，他们向“隐于世后的庙宇”发动袭击，强行进入其内。在第十二节，他们许下三重誓言，将其先祖、其后裔、其自身保护起来。
In the tenth verse, the Scarred One bathes his priestess-patron in the blood of the Seven-Coiled, to lend her power. In the eleventh, they assault the 'temple behind the world', entering it by force. In the twelfth, they swear a tripartite oath to protect their ancestors, their descendants, and themselves.
真血之书 Book of True Blood
圣多默派教徒卡西乌斯在本书中揭示了无尽军团——一支保卫罗马，抵抗无影帝国的秘密军队——的事迹。
Cassius the Thoman reveals the deeds of the Unnumbered Legion, the secret army that protected Rome against the Shadowless Empire.
军团使节直接受命于名为伤疤护民官的司辰，并得到若亡于战斗则获不死之身的允诺……在书的最后，卡西乌斯承认了自己的前使节身份。他叙述了自己对护民官的惊惧之情，并吐露了有关黄金将军，即无影帝国的捍卫者，护民官之敌的秘密传承，希冀护民官终有一日会被扳倒。
The Legion's Legate answered directly to the Hour called the Tribune of Scars, and was promised immortality if he died in battle... In the final part, Cassius confesses to being a former Legate. He recounts his terror of the Tribune, and divulges the secret lore of the Golden General, the champion of the Shadowless Empire, the enemy of the Tribune, in the hope that the Tribune will some day be undone.
终结如何开始 How the End will Begin
关于路权战争的凄惨预言，记录于兜颈贵胄还未出现时的次大陆。
A bleak prophecy of the Wars of the Roads, recorded in the Subcontinent in the days before the Great Hooded Princes.
在预言所述的战争中，受控之火的子女向大陆上的城邦进军，但“太阳法的制定者”和“三倍姐妹会”联合起来击退了他们……在付出巨大代价后。“在不灭军团与受控之火的战斗中，军团将灭亡而火将解除控制。”
In the foretold war, the Children of the Leashed Flame march on the cities of the Continent, but the 'Enactors of Solar Law' and the 'Triple Sisterhood' join forces to hold them back... at tremendous cost. 'In that battle between the Imperishable Legions and the Leashed Flame, the Legions will perish and the Flame will be unleashed.'
论纯白 On the White
所罗门·赫舍著，书的内容也许能解读为关于冬季的寓言，以及它与太阳漫长的，缓缓迎来毁灭的罗曼史。本书的引言是“午时日落”。
Solomon Husher writes, perhaps allegorically, of Winter, and its long slow doomed romance with the Sun. The epigraph is 'Sunset at Noon'.
若仔细研究本书，可以发现其内容似乎是一种美学理论，又或者是对绘画之危险的一系列警告。赫舍在书中心烦意乱地写下他对颜色的愤恨和对死亡的渴求。他还略微提及他正在构思，或已开始实践的那件大作——“淡白至极的绘画”将令世界为之着迷。他一遍遍重复着某几句引人注目的话，他称之为“冬之密文”。
On closer investigation, the work seems be a theory of aesthetics, or perhaps a set of warnings about the dangers of painting. Husher writes distractedly of his hatred of colours and his yearning for death. He hints at a Great Work he has envisaged, or begun, where the 'palest of paintings' will enthral the world. He returns again and again to certain compelling phrases which he claims are the 'secret words of Winter'.
喀俄涅在阿拜多斯城 Chione at Abydos
一部以白雪女神在色雷斯的阿拜多斯城逗留九年为题材的戏剧，作者署名“阿波罗·织火者”。本剧的1892年版本在伦敦大获成功，该版本——似乎——是在那一年从更加古老的希腊语文本转译而来的。
A play dealing with the nine-year sojourn of a snow-goddess in the Thracian city of Abydos, by 'Apollo Fireweaver'. It enjoyed success in London in its 1892 edition, when it was republished from - apparently - an older Greek text.
一个名为“喀俄涅”的存在于暴风雪中降临，要求紧闭城门。随着阿拜多斯城陷落于她的咒语，死者苏生回归，却闭口不言……八年间，这座城市充斥着缓慢的死亡、霜冻的迷醉与沉默的美。但到了第九年，一场“呐喊谋反”发起，意在颠覆喀俄涅所要求的静寂。谋反者打开城门，放一个身负伤疤的男人前来拽住喀俄涅的头发将她拖出城外。炎夏复又回返，而谋反者们却死于悔恨。
The entity called 'Chione' arrives in a blizzard and demands the city gates are barred. As Abydos falls under her spell, the dead return, but do not speak...For eight years the city is a place of slow death, frosty ecstasy and silent beauty, but in the ninth year a Conspiracy of Shouts is mounted against the quiet that Chione demands. The conspirators open the city gates, and a scarred man comes to drag Chione out by the hair. Summer returns, but the conspirators die of remorse.
美杜莎的哀叹 Sunset Passages
描写了名为七蟠的司辰，又称“母亲之父”的死亡。
On the death of the Hour called Seven-Coils, 'the Father of the Mother'.
诗的第一部分描述了七蟠遭遇一名战士的伏击，此人“全身上下都是那些背信弃义的神留下的伤疤，连双目上都是，所以他不会因目睹虬结的蟠身而毁灭。” 激战一直持续至七蟠溺毙在自己的鲜血中，诗风由此转向神秘而委婉。拥有七项头衔的女神从七蟠的血沫中升起：她是披坚执锐的女王，是蛇的女儿，是钥匙，是治疗者，是杀人者，是神谕祭司，但她的第七头衔隐而不宣。
The first part of the poem describes the ambush of the Seven-Coils by a warrior 'scarred all over by the traitor gods, scarred even unto his eyes, so that the sight of the great coils would not destroy him'. The battle rages on until the Seven-Coils drowns in its own blood, at which point the narrative turns mystical and allusive. A seven-titled goddess arises from the foam of its blood: she is an armoured queen, a serpent-daughter, a key, a healer, a murderess, an oracle, but her seventh title is not to be revealed.
蛇族事迹考察 On the Matter and the Deeds of Serpents
本书大概是翻成英语的“那迦大蛇的预言”，其插图由“威廉·米德奈特”在1880年代绘制于巴黎；但本书与该预言又显出多处不同。以伐诃语文献的标准来看，本书的年代显然是很近的。
This was probably the 'Prophecies of the Naga' rendered into English, and illustrated, by 'William Midnight' in Paris in the 1880s; but it shows a number of divergences from that text. It's certainly quite recent by the standards of Vak texts.
名为“兜颈贵胄”的蛇人一族了解到了“遗忘家族”教团的存在，并与之展开了跨越千里的战争。它们与蚁母结盟，因“它们原是她的子女”……
The serpent-folk called the Great Hooded Princes came to know the order called the House of Lethe, and warred across the miles with them. They made an alliance with the Mother of Ants, 'whose children they had been'...
文中描述了兜颈贵胄如何从第五史逃离（或将要逃离），而第五史也是它们死去（或注定要死去）的地方。兜颈贵胄参与到一场针对“大河流域”的秘密征服中——该流域在某些历史中叫做印度——确保了除己之外对此地的征服均无理可依。
The text describes how the Great Hooded Princes escaped (or will escape) from the Fifth History, where they had died (or were doomed to die). They engaged in a secret conquest of 'the land of the Great River', called India in some histories, and have ensured that all other conquests of that land are false conquests.
介壳种之歌 The Songs of the Carapace Cross
米卡·席，有时也称“石英术士”，用酸液将本作蚀刻在了石头上。本作后被多次复制，不过复制品往往散佚于山体滑坡。
Micah Xi, sometimes called the Magus of Quartz, etched this work in acid on stone. It has been reproduced many times since, but the reproductions are often lost to landslides.
作者席描述了人类文明存在之前，“介壳种”所施行的最初的司辰——石源诸神的仪式。他称这些信息是最后一名存活的介壳种告诉他的。
Xi describes the rites of the gods-who-were-stone, the first Hours, as practiced before the existence of human civilisation by the 'Carapace Cross'. He claims a final survivor of the Cross shared the information with him.
这些仪式现已大半遭到淘汰。至少在过去的一千年里，其中绝大多数都没显出任何作用。不过，席确认了至少一个拥有某种法力的祷文。他警告说此祷文须得谨慎使用，以免石源神找到从虚界返回的道路。
The rites are largely obsolete now. Few have been observed, in the last thousand years at least, to have any effect at all. Nevertheless, Xi identifies at least one invocation of particular power. He warns that it should be used with caution, lest the gods-who-were-stone might find their way back from Nowhere.
脱身手册 A Manual for Departure
作者自称杰卡杜，为圣河流域的兜颈贵胄之一。文风并不正式，甚至可说像闲聊。
The author, who identifies itself as the Jekadu, claims to be one of the Great Hooded Princes of the Land of the River. The style is informal, even chatty.
不，不应该记录这些门，但如果那时，我们在被迫离开第五史前做了记录，我们现在的景况会好得多。所以我现在将其付诸笔端，如果你不喜欢，你可以制裁我。
No, these doors shouldn't be recorded, but if we had only recorded things before we'd had to leave the Fifth History, we would be in a much better state. So here I am writing it down, and if you don't like it you can sanction me.'
《脱身手册》列举了若干——密教上，军事上和政治上的——快速脱逃策略。其中许多是可有可无，过时落后或高深难懂的，但这本手册的确给出了若干强力的开启门洞的技术。
The 'Manual for Departure' lists a number of strategies - occult, martial and political - for quick escapes. Many are irrelevant, obsolete or enigmatic, but the Manual does include a number of powerful techniques for opening portals.
饰壁史话 The Wainscot Histories
副标题为“发生在墙壁背后的故事”：非常规历史之杂录，威廉·戈尔编纂。书中记有数个不广为人知的战役和从未载于地图的国家，文风戏谑，明显带有虚构成分。
Subtitled 'Stories from Behind the Walls': a miscellany of non-traditional histories compiled by William Gore, including battles not generally acknowledged and countries which appear on no map, told in a playful, apparently fictional manner.
戈尔并未直接提及漫宿，但其通篇拐弯抹角的比喻，从“在岁月阶梯上攀升”，到“睡梦之门”，再到“蓝色晓光”都透露出他触碰到了不可见的世界。
Gore does not mention the Mansus directly, but constant coy metaphorical references to 'Ascending the Staircase of Years', to 'the Doors of Sleep', and to 'the Blue Light of Dawn' suggest he had commerce with the unseen world.
“在那个时代，谈论太阳的分裂是件平常事；当时者便是由此了解蛮族势力连带他们粗鄙的诸神的入侵的。”
'It was common in that time to speak of the Division of the Sun; by which Contemporaries understood, the irruption of Barbarian Forces, and of their uncouth Gods.'
河川诸女王 The Queens of the Rivers
一部超现实风格的当代戏剧，作者是名为莫妮卡·麦地那的神秘人物。剧中的诸位河川女王一一为人所杀。
A surreal contemporary play by the enigmatic Monica Medina, in which the Queens of the Rivers are murdered, one by one.
维斯瓦河女王被毒死。第聂伯河女王被鱼钩呛死。塔霍河女王被活活烧死……真相大白，杀人真凶正是台下的观众。剧本要求存活的女王处死所有未逃走的观众。一段清醒到令人意外的收场白提示说，河川之名与历史事件间的对应关系实为一种线索，可供探究我们所在的历史背后的隐秘历史
The Queen of the Vistula is poisoned. The Queen of the Dnieper chokes on a fish-hook. The Queen of the Tagus is burnt alive...The culprit, it transpires, is the audience. The surviving Queens are directed to execute whatever audience members do not escape. A surprisingly lucid epilogue suggests that the correspondence of river-names with historical events does provide clues to secret histories behind our own.
诸史导论 An Introduction to Histories
由十七世纪的神秘主义者兼古董商人克劳德·海索所著，描述了五大历史中的分歧事件。
The seventeenth-century mystic and antiquarian Claude Hersault describes divergent incidents in five major Histories.
书的序言用长篇笔墨警告人们一个名为朱利安·科赛利的人的罪恶行径，海索将这位前同僚尖刻地描述成“蠕虫中的蠕虫”。海索貌似在本书创作早期得到过科赛利的建议，后又对其起疑。海索认定各历史的中轴分别为血、银、设计和蠕虫，并称所谓的第二史才是真正的历史。
The prologue warns at length of the iniquities of one Julian Coseley, a former colleague who Hersault now describes darkly as 'a Worm of Worms'. It seems Coseley advised Hersault early in the writing of the book, but Hersault later became suspicious. Hersault identifies Blood, Silver, Design and the Worms as the central axes of each of the Histories, and claims that the so-called Second History is the true one.
她去到过何地？ Where Has She Gone?
“斯佩斯”——或许是某个学徒，或许是某个学者结社——根据有限的证据推测出了一些秘密事件，其准确度颇为可信。
A discussion in Vak of the Vagabond's travels. 'The Speeth' - perhaps a single adept, perhaps a council of scholars - hypothesises secret events from limited evidence with persuasive accuracy.
据记载，浪游旅人不仅旅经漫宿和林地，游遍全部九个大陆，还去过那些禁止其他司辰踏足的地方……通过司辰间的闲话和无形的密传，斯佩斯推断浪游旅人造访过虚界，但不会再去。他还宣称她尚未造访过辉光，但或早或晚，她必然会去。
The Vagabond is recorded to have travelled not only the Mansus and the Wood, not only all nine continents, but also places forbidden to other Hours...From Hour-gossip and invisible lore, Speeth deduces that the Vagabond has visited Nowhere, but that she will not return. He also asserts that she has yet to visit the Glory, but that inevitably, this must be her goal.
王座之书 The Book of Thrones
一本无影帝国的传奇故事，由亚历山大·彼得汉斯誊自安纳托利亚一个隐秘神庙的年鉴。
A legend of the Shadowless Empire, transcribed by Alexander Peterhans from annals at a secret shrine in Anatolia.
在“第一重亦最伟大的历史”中，一名波斯无影帝国的臣民向西而行，去往珀耳修斯后裔王国。他在那里拜入珀耳修斯后裔守护神，“居于黑暗的伤疤人”门下。七年后他学成归来，用其所学为无影帝国效力，成为了帝国的黄金将军……
In 'the first and greatest history', a subject of the Shadowless Empire of Persia travels to the West, to the kingdom of the Perseids. There he becomes a protégé of the tutelary Perseid deity, the Scarred Man who lives in the dark. He returns after seven years to put his skills at the service of the Shadowless Empire, becoming their Golden General...
多年的和平过后，珀耳修斯后裔王国的继承者开始进击无影帝国与众王之王。黄金将军本不愿与自己导师的血亲操戈相向，直到众王之王向他耳语一个“关于背叛的巨大秘密”。他折断佩剑，将自己与帝国与伤疤人的誓约一并舍弃，然后抛下之前的人生，进入了“隐于世后的庙宇”。
After many years of peace, the heirs of the Perseids move against the King of Kings and the Shadowless Empire. The Golden General will not take arms against the blood of his mentor, until the King of Kings whispers 'a great secret of betrayal' in his ear. He breaks his sword, forswears his oath to both the Empire and the Scarred Man, and enters 'the Temple behind the World', leaving his life behind.
山中亦如平川… In The Mountains...
《山中亦如平川，许无前人未达之途》。拉格什的宁娜伽勒在本书中描述了山中有待发现的秘密。
'In The Mountains As Upon The Plain There May Not Be A Path Where None Has Passed'. Ninegala of Lagash describes the secrets to be found in mountains.
作者宁娜伽勒在书中讲述了几个热闹的故事，有关于说谜语的食人魔的，也有关于山中部落间的战争的，但在讲述空手猎人传说时，故事基调转向忧郁：圣杯有一位情人，他想要符合她的胃口，成为与她并肩的司辰，最终却撕开并吞吃了自身，将名字留给了他曾漫游过的山脉。
Ninegala tells a number of lively stories about riddling ogres and wars between mountain tribes, but turns sombre in the tale of the Empty-Handed Hunter: a lover of the Grail who sought to match her appetites and join her as an Hour, but in the end rent and devoured himself, giving his name to the mountains he had once roamed.
宁娜伽勒称那些有时以鸟型显现的司辰——笑鸫、骨白鸽、拾滩鸦和双生巫女——会在山顶的秘密地点会面，交换同僚没听过的闲话。时不时会有凡人不巧听见他们。这样的人总会被抹消，会面的地点也总在变化。
Ninegala claims that the Hours who sometimes manifest as birds - the Laughingthrush, the Ivory Dove, the Beachcrow and the Witch-and-Sister - meet at a secret location on a mountaintop to exchange gossip unheard by their peers. Now and then a mortal overhears them. The mortal is always obliterated, and the meeting-place always changed.
墨菲写本 The Morphy Codex
绳结姐妹会的一位女祭司在本书中宣称自己领悟了轰雷之皮降生的真意。
A text of the Sisterhood of the Knot, unearthed by Evan Morphy. In which a priestess of the Sisterhood of the Knot claims to have discerned the true meaning of the Thunderskin's birth.
本书作者为圣杯、环杉与双角斧——姐妹会所崇敬的神灵——记了一功，称祂们同意在众位居屋之司辰与被前者取代的司辰间缔结的最终条约：轰雷之皮爱着环杉，而圣杯将他摧毁，作为双角斧的手足遭到屠戮的补偿。
The writer credits the Red Grail, the Ring-Yew and the Horned-Axe - the powers the Sisterhood reveres - with agreeing a final treaty between the Hours of the House and the Hours they'd displaced: the Thunderskin loved the Yew, and the Grail destroyed him, as restitution for the slaying of the Horned-Axe's sisters and brothers.
轰雷之皮由孔雀之门进入漫宿，“这是双生巫女从未获得过的特权：不过那时她们的功绩也小得多。”作者承认由孔雀之门进入不太行得通，但坚称在那种情况下别无他法。
The Thunderskin entered the Mansus through the Peacock Door, 'a privilege never given to the Witch-and-Sister: but then their merit was much less'. The writer admits that entry through the Peacock Door is unseemly, but insists that under the circumstances, there was no other way.
对绳结姐妹会… Against the Sisterhood of the Knot and...
《对绳结姐妹会与其堕落习俗之批判》。“伪寻爱绮梦式”耶罗尼米斯写下这篇狂怒的长篇大论，抨击姐妹会对他所属的“无敌太阳教会”的邪恶影响。
'Against the Sisterhood of the Knot and the Foulness of their Depraved Customs'. Hieronymus Pseudo-Hypnerotomachus wrote this furious screed about the sinister influence of the Sisterhood on his own Church of the Unconquered Sun.
耶罗尼米斯宣称，绳结姐妹会所侍奉的诸神灵做了如下安排：轰雷之皮爱着环衫，而圣杯将他摧毁，作为利斧的至亲遭到摧毁的补偿。耶罗尼米斯的文字在此处因激怒而变得语无伦次。
Hieronymus claims that the powers served by the Sisterhood of the Knot made an arrangement: the Thunderskin loved the Yew, and the Grail destroyed him, as restitution for the destruction of the Axe's loved ones. Hieronymus' writing becomes incoherent with rage at this point.
最终，耶罗尼米斯恢复了镇静，开始描述轰雷之皮如何由孔雀之门进入漫宿。这一点，耶罗尼米斯坚称，是“最最可厌的，虽说最可厌的那扇门向来可厌”。
Hieronymus recovers his composure, eventually, to describe how the Thunderskin entered the Mansus through the Peacock Door. This, Hieronymus insists, is 'abomination upon abomination: but then that most abominable of Doors has always been an abomination.'
蜈蚣之书 The Book of the Centipede
1860年代中期，某位“伊女士”曾展示过一种娱乐方式，她称其源头来自本书。
In the mid 1860s one 'Madam Yi' presented an entertainment based, she claimed, on this book.
“蜈蚣总能找到进入黑暗的方法。当她因此受罚时，她的反应很难受，在漫宿在弥阿都是。” “大河在沙地流淌，从神话流入传说。画中之河则向另一个方向流淌。其中之一已对蜈蚣关闭，但她有时仍能找到方法进入。”
'The Centipede always found her way into the dark places. When she was punished for it, she reacted badly, in the Mansus as in Miah.' 'The River runs through the sands out of myth and into legend. The Painted River runs the other way. One is barred to the Centipede now, but she finds ways back in, sometimes.'
路权战争:1450-1580 规制版
The War of the Roads, 1450-1580, CENSORED EDITION
威利斯福特在书中详尽描述了“路权战争”——一桩发生在非我们所在的历史中的事件。然而本书被去掉了大量书页；出版者的名字遭人涂黑；封面上还钉着一张语意不祥的纸条告知读者，威利斯福特已被“抹除”。
Willis-Ford describes the War of the Roads, an event in a History other than our own, in detail. But numerous pages have been removed; the name of the publisher is blacked out; and an ominous slip stapled to the cover explains that Willis-Ford has been 'excised'.
“在这重历史的过往中，长生者们取得过至少一次成功。他们促成了与白日铸炉的和平协定，其期限之长，足以让英格兰走完从早先四处征服到最终毁灭的路途。铸炉自己则吞噬了他们中的最伟大者。”
'In this past, a score or more of Longs were made. They brokered peace with the Forge of Days, long enough to set England on a path of early conquest and eventual destruction. The Forge itself devoured the greatest among them.'
威利斯福特称，英格兰王室成为了受控之火的君王，将他们的敌人或是消灭或是转化，从而征服欧洲，为圣斯帕克建立了宏伟的大教堂。与铸炉之盟也开始让他们付出代价。本书的最后几章完全缺失。
The royalty of England, according to Willis-Ford, became the Sovereigns of the Leashed Flame, destroying or transforming their enemies, conquering Europe, establishing grand cathedrals to St Spark. The alliance with the Forge begins to take its toll. The last few chapters are missing entirely.
奥莱尔的斐宁舜之远航记 The Voyages of Ferninshun of Oreol
一本类似游记的书。
The impossible travels of a sea-captain of the late Phoenician era. Suppressed throughout recorded history: those who read it were said to disappear. A travelogue of sorts.
斐宁舜显然在沿画中之河航行时拜访过漫宿。他还称他横渡过沙滩最细腻的海域，挑战过太阳表面的热浪，也曾下潜到由墨玉照亮的地底之海……
Ferninshun clearly visited the Mansus, sailing the length of the Painted River. He also claims to have traversed a sea of finest sand, to have dared the blazing waves of the Sun's surface, and to have descended to an underworld ocean lit by lamps of black nephrite...
在最后一次远航中，斐宁舜跨越了薄暮的海面，到一座平静的岛屿上安度余生。他认为那里有一眼能保证他的安全的泉水。“人们会忘记我，”他宣告说，“而这本书是我留下的唯一痕迹。”
Ferninshun's final voyage is to retirement on a peaceful island across an evening sea, where he identifies a spring whose waters will keep him safe. 'I will be forgotten,' he declares, 'and this work my only trace.'
二十六种诱惑与七类苦痛 Twenty-Six Enticements, Seven Torments
画家尼尔斯·弗雷德里克·马斯凯尔曾做过一件臭名昭著之事：试图以这些苦痛为题作画。画到第五类苦痛时，画作的欲求增长得过于急切，使得他因失血而死。所幸书中的图解没有那么详细。
The painter Niels Frederik Malskær, notoriously, attempted a series of paintings based on the Torments. By the Fifth Torment, the demands of the painting had grown so dire that he died of blood loss. The diagrams in this text are thankfully less detailed.
“聖杯的誘惑之數多於其苦痛，但苦痛才是它的真本性。生誕是第一苦痛，干渴是第七苦痛。”要列举杯的诱惑与苦痛，离不开“干涸之地两女巫”哀伤的历史：降生于两个子宫的煎熬，摆脱杯的挣扎与对杯的乞求，对结合为一的共同渴盼。
'The Enticements of the Grail outnumber its Torments, but its Torments are its final nature. Birth is the First Torment, and Thirst the Seventh'. Through the enumeration of the Grail's enticements and torments winds the sorrowful history of the Witches of the Dry Land: the ordeal of birth from two wombs, their struggle from and supplication of the Grail, the yearning for union which drives them all.
剃度密续 The Shaven Lock Tantra
又称《剃发之人》。据说连善于变形的瓦纳拉猴族都拒绝承认这篇密传。该密续大谈特谈那些准备抛弃旧我，寻求更高超新我的人。它警告说，一旦转变真正开始——即“越过第三印记”——回归旧我将变得危险而痛苦。
Also known as 'The One Who Has Shaven His Hair'. This, the story goes, is the lore that even the shapechanging Vanaras rejected. The Tantra speaks glowingly of those who are prepared to abandon their old self to seek a new and higher self. It warns that once the change has truly begun - 'past the Third Mark' - a return to the old self is dangerous and painful.
“向大地低声吐露你的秘密，用火将它们烧毁，弃至海中。即便如此，它们依然会紧抓你的头发”，密续如此提醒道。它给出了一个密教谜语，称其有时能解答猎手之门的谜语。
'Whisper your secrets into the earth, burn them in fire, scatter them in the sea. Still they will cling to your hair,' the Tantra cautions. It provides an occult riddle that it claims is sometimes the answer to the Riddle of the Hunter's Gate.
狮子密续 The Leonine Tantra
在《狮子密续》最为臭名昭著的译本中，阿什利·菲利普斯被列为翻译者，但书的序言明确否定译者的存在。这种令人困惑之处正是提及兜颈贵胄的书籍的特征。
In the most notorious translation of the Leonine Tantra, Ashley Phillips is listed as the translator, but their existence is explicitly denied in the prologue. This confusion is characteristic of books which mention the Great Hooded Princes.
本文隐晦地描述了兜颈贵胄怎样用数不胜数的方法对大河流域抵抗外族侵略者的战争施加影响，“虽然从某种意义上来说，它们也是侵略者”。 “狮子是可以创造的，有别于创造孩童，亦有别于创造文字，而是如同创造武器。兜颈贵胄通过偷窥司辰的事务掌握了创造狮子的方法，且并非所有的狮子现都在侍奉黄金将军。”
The Tantra describes, elliptically, the Great Hooded Princes and the multitudinous ways in which they influenced wars against foreign invaders of the Land of the Great River, 'although in a sense they were also invaders'. 'Lions can be created, not as children are created, nor as words are created, but as weapons are created. The Great Hooded Princes learnt to create lions from their spyings on the affairs of the Hours, and not all lions now serve the Golden General.'
警夜密续 The Watchful Tantra
因导致达菲德·琼斯和梅雷迪斯·布莱恩之死而臭名昭著；这两位早年间的物理学家都称自己拥有该书的唯一抄本，最终于1840年进行了一场决斗。
Notorious for its involvement in the deaths of Dafyd Jones and Meredith Blaine, two early physicists who each claimed to have the only copy and who ultimately fought a duel over it in 1840.
该密续描述了几种洞明密教启示的过程，包含一个或能为从“猎手之门”到达“巨蛇之门”指路的法术——后者在西方通常称作蜘蛛之门。 “太阳素常在指定的时刻穿过居屋。自太阳分裂后，这一时间变得无法确定。”The Tantra describes processes of occult illumination, including a formula which may show the way from the 'Hunter's Gate' to the 'Serpent Gate' - which in the West is usually called the Spider's Door. 'The Sun passes through the House at the appointed time. Since the Sun's division, the time has become uncertain.'
昧知密续 The Known-Unknown Tantra
作者卡洛斯·加西亚·绍里，比利牛斯山中痴狂的神秘主义者，以会用三种语言背诵本文而闻名，尽管他从未造访过那片次大陆。
Carlos Garcia Sauri, the ecstatic mystic of the Pyrenees, was known to recite this in three languages, though he had never visited the Subcontinent.
《昧知密续》讲述了一场前往漫宿“纯白之门”的旅行，话语在那扇门后终止。它给出了一个只要用于正确的时间和地点，便能抵达那扇门的梵咒。 “灯发出的光只能揭示林中树影的间隙。”
The Known-Unknown Tantra describes a journey to the White Door of the Mansus, beyond which speech ceases. It describes a mantra which can be used, at the right place and time, to achieve that door. 'The light of a lantern can only ever reveal the space between the forest shadows.'
无休密续 The Ceaseless Tantra
先锋派编舞家尼古拉斯·凯尔创作的气势汹汹的芭蕾舞中据说编入了此密续。
The avant-garde choreographer Nicholas Keirle supposedly incorporated this Tantra into his menacing ballets.
《无休密续》旨在警告人们一种名为“擂击者”的生物，却又在最后给出了召唤该生物的咒语。据其所述，擂击者可以学会任何一种舞蹈，但它们只喜欢学那一种。“不休止他物者，自身亦无休止。”
The Ceaseless Tantra is devoted mostly to warnings about the lively creatures called Percussigants, but concludes with a chant which can be used to summon them. It observes that Percussigants can be taught any dance, but they prefer only one. 'That which does not cease, is not ceased.'''
剥皮密续 The Flayed Tantra
据记载，该密续由一个人称“褪皮”的神秘人物口述而来，介绍了神话中那伽大蛇的很多习性。《剥皮密续》在亚历山大·斯派鹭那本充满被害妄想的小册子里占很大比重。
This Tantra is recorded as being spoken by an enigmatic individual identified as 'Peel', with many of the qualities of the mythological naga. The Flayed Tantra played a notable part in Alexander Sparrow's paranoid pamphleteering.
“褪皮”曾为兜颈贵胄的一员，但它与同胞兄弟决裂，转而跟随轰雷之皮作无尽的舞蹈。当“褪皮”褪掉自己的皮后，它便得到了书写密续所需的墨汁。它不得不面对同族的愤怒。下文是它抵挡同族用的祷文。
'Peel' was numbered among the Great Hooded Princes, but it breaks with its brethren and followed the Thunderskin in the endless dance. Once Peel had peeled itself, it had the ink it needed to write the Tantra. It had to face the wrath of its fellows. Here is the invocation it used to fend them off.
旋火密续 The Fire-Circle Tantra
西欧已知现存的唯一一份抄本在1892年于大英图书馆失盗。一个叫做哈维·哈丁顿的人承认这是自己的犯行，并称已在无法控制的奇异冲动下，就着黄油和大蒜吃掉了本书。
The one known extant copy of this in Western Europe was stolen from the British Library in 1892. One Harvey Hattington confessed to the crime and claimed to have eaten it, with butter and garlic, in a moment of ungovernable whimsy.
文中的兜颈贵胄乞求林地能奋起吞噬前来进犯的帖木儿军队。“斑纹王”、“蜂蜜树”与“海之孪生子”都拒绝了它们，直到它们向一个穴居于地洞的守秘者寻求帮助……
Herein the Great Hooded Princes are shown beseeching the Wood to rise and devour an invading Timurid army. The 'Dapple-King', the 'Honey-Tree' and the 'Sea-Twins' all deny their request, until they enlist the help of a burrowing secret-keeper...
携带着“穴居于地洞的守秘者”给与的勒索材料，兜颈贵胄们第二次向林地诸神灵请愿，并获得成功。帖木儿的军队四分之一为蜜蜂所噬，四分之一投水而亡，四分之一“解甲脱衣，蜕至无物。”——
Armed with blackmail material from the 'burrowing secret-keeper', the Great Hooded Princes petition the powers of the Wood for a second time, and are successful. One quarter of the Timurid army is devoured by bees, one quarter drowns themselves, and one quarter 'disrobe themselves until nothing remains.'
干渴密续 The Thirsting Tantra
禁酒活动家C·G·布里尔在宣传小册子里刊登了该密续的部分内容；当这本小册子变得过于流行时，人们不得不将其回收销毁。
C.G. Burial, the temperance campaigner, published elements of this in a pamphlet, which had to be withdrawn and destroyed after it became too popular.
一篇对干渴的诸多种类、用途及效果的专题研究。该密续描述了解除干渴如何能令凡人升为干渴之神的侍奉者，但也警告了为解除普通的干渴而拒绝更稀有干渴的后果。“一个口中干渴的人，多么强大的人啊，他的心智与世间的动态紧紧相连，将会从彼处回归这个动态的世间。”
A disquisition on the many varieties of thirst, their uses and their effects. The tantra describes how the satisfaction of thirsts may allow a mortal to rise into the service of the Thirsting Power, but warns of the consequences of rejecting those rarer thirsts for common ones. 'A man who thirsts, O Mighty One, whose mind clings to actions in this world, will return to this world of action from that other place.'
贪食密续 The Devoured Tantra
外交官兼教士斯坦尼斯拉夫·约翰·沙勒从某位赤红长生者的藏书中誊来了此文。不过，他这篇手抄稿现在成了凯尔伊苏姆某人的私藏。
The diplomat-priest Stanislav John Schaller transcribed this from the library of a Red Long, but his manuscript remains in a private collection in Kerisham.
《贪食密续》警告了食欲的用途和危险性，却将大段篇幅用于描写那些“拥有星形肢体的引发饥饿者”，行文间透出明显的喜爱之情。“先由形态不一的众口啖饮，再用胃中的无尽烈火吞食。”
The Devoured Tantra warns of the uses and dangers of appetite, but devotes an entire passage to the 'star-limbed hunger-bringers', who it describes with obvious affection. 'A million blazing fires in the belly engulf what has been swallowed by the multiform mouths.'
炽热密续 The Incandescent Tantra
为人古怪的钢铁大亨迈克尔·布洛克利喜欢引用该密续的语句。此人死于工厂火灾。
Michael Blockley, the eccentric iron magnate, was fond of quoting from this tantra. Blockley died in a factory fire.
记载了与某个名叫“坩埚公”的存在的对话。此公警告说自己的主人——燃烧的女王胃口巨大，且她与骄阳分享的赤裸欲望也极为危险。即便如此，他依然口称对女王忠心耿耿。“改变的仪式必然是毁灭的仪式，而若想催生巨变，野蛮的破坏必不可少。”
Dialogues with an entity called the Crucible Prince. The Prince warns about the appetites of his mistress, the Burning Queen, and the peril of the naked desire she shares with the Sun, but professes his loyalty nevertheless. 'A rite which changes is necessarily a rite which destroys. But a great change requires a destruction of savage extent.'
狂怒密续 The Furious Tantra
通说原文是由雷电在橡树树皮上烧灼而成，后被灵媒兼烟火技师雅各布·奥利弗·贵玛玽斯通发现并誊写下来。
As later transcribed by the medium and pyrotechnician Jacob Oliver Topp-Mugglestone. Tradition has it that he found it seared in the bark of an oak by lightning.
该密续讲述了怒气的用途和危险性。它提醒说，怒气并不总能捱得过转化。“满月显现，百兽复生，一条蜥蜴也不可屠戮，因为它可能是你。”
This tantra describes the uses and dangers of anger. It cautions that anger does not always survive transformations. 'A full moon appears, creatures are reborn and even a lizard should not be slain, for it could be you.'
狮子密续 The Leonine Tantra
在《狮子密续》最为臭名昭著的译本中，阿什利·菲利普斯被列为翻译者，但书的序言明确否定译者的存在。这种令人困惑之处正是提及兜颈贵胄的书籍的特征。
In the most notorious translation of the Leonine Tantra, Ashley Phillips is listed as the translator, but their existence is explicitly denied in the prologue. This confusion is characteristic of books which mention the Great Hooded Princes.
本文隐晦地描述了兜颈贵胄怎样用数不胜数的方法对大河流域抵抗外族侵略者的战争施加影响，“虽然从某种意义上来说，它们也是侵略者”。 “狮子是可以创造的，有别于创造孩童，亦有别于创造文字，而是如同创造武器。兜颈贵胄通过偷窥司辰的事务掌握了创造狮子的方法，且并非所有的狮子现都在侍奉黄金将军。”
The Tantra describes, elliptically, the Great Hooded Princes and the multitudinous ways in which they influenced wars against foreign invaders of the Land of the Great River, 'although in a sense they were also invaders'. 'Lions can be created, not as children are created, nor as words are created, but as weapons are created. The Great Hooded Princes learnt to create lions from their spyings on the affairs of the Hours, and not all lions now serve the Golden General.'
警夜密续 The Watchful Tantra
因导致达菲德·琼斯和梅雷迪斯·布莱恩之死而臭名昭著；这两位早年间的物理学家都称自己拥有该书的唯一抄本，最终于1840年进行了一场决斗。
Notorious for its involvement in the deaths of Dafyd Jones and Meredith Blaine, two early physicists who each claimed to have the only copy and who ultimately fought a duel over it in 1840.
该密续描述了几种洞明密教启示的过程，包含一个或能为从“猎手之门”到达“巨蛇之门”指路的法术——后者在西方通常称作蜘蛛之门。 “太阳素常在指定的时刻穿过居屋。自太阳分裂后，这一时间变得无法确定。”
The Tantra describes processes of occult illumination, including a formula which may show the way from the 'Hunter's Gate' to the 'Serpent Gate' - which in the West is usually called the Spider's Door. 'The Sun passes through the House at the appointed time. Since the Sun's division, the time has become uncertain.'
昧知密续 The Known-Unknown Tantra
作者卡洛斯·加西亚·绍里，比利牛斯山中痴狂的神秘主义者，以会用三种语言背诵本文而闻名，尽管他从未造访过那片次大陆。
Carlos Garcia Sauri, the ecstatic mystic of the Pyrenees, was known to recite this in three languages, though he had never visited the Subcontinent.
《昧知密续》讲述了一场前往漫宿“纯白之门”的旅行，话语在那扇门后终止。它给出了一个只要用于正确的时间和地点，便能抵达那扇门的梵咒。 “灯发出的光只能揭示林中树影的间隙。”
The Known-Unknown Tantra describes a journey to the White Door of the Mansus, beyond which speech ceases. It describes a mantra which can be used, at the right place and time, to achieve that door. 'The light of a lantern can only ever reveal the space between the forest shadows.'
孪蛇密续 The Twin-Serpent Tantra
就在大战打响前夕，“亚历山大·斯派鹭”——基本确定为假名——出版了宣称“蛇身贵族”影响了国际关系的传单。名为《孪蛇密续》的文章是其主要灵感来源。
A tantra shrouded in particular obscurity. Just before the outbreak of the Great War, 'Alexander Sparrow' - almost certainly a pseudonym - published leaflets claiming the influence of 'Snake Princes' on world affairs. The text called the Twin-Serpent Tantra was his primary inspiration.
《孪蛇密续》描述了兜颈贵胄——一门起源不明的世家望族——如何参与祷告，献祭并作诗祝颂钥匙巨蛇、十字路孪生子和镜子女王。“那迦盘绕，那迦现身于创口，那迦饶过已被伤害者。”
The Tantra describes the Great Hooded Princes - a dynasty of princes of unclear origin - engaging in prayers, sacrifices and poetry in honour of the Key-Serpent, the Crossroads-Twins and the Mirror-Queen. 'Nagi encircles; Nagi arises from wounds; Nagi spares those who are already harmed.'
文献将兜颈贵胄描写为“从其死亡的历史逃入其未死的历史”，声称它们现有一百零八名，然而——作为许多双生异象中的一例——它们在跨出其死亡的史传前，只有五十四名。
The Great Hooded Princes are described as having 'escaped from the history of their death to a history where they yet live'. The text claims that there are now one hundred and eight of them, but - in one of many instances of twinnedness - before they crossed from their death chronicle, there were only fifty-four.
盘绕密续 The Encircling Tantra
探险家兼企业家T·埃弗莱特·杜普兰提斯曾经试图劫掠这篇经文所在的寺庙。他的命运被记在了附录里。
The explorer and entrepreneur T. Everett Duplantis once attempted to plunder the temple where this text was held. His fate is recorded in an appendix.
《盘绕密续》提及了“巨蛇之门”，即那扇有时也称作蜘蛛之门的饥饿门户、蚁母的神圣之门、兜颈贵胄穿过的门。该密续记载了一篇祷文，却也不忘提醒，它的法力不足以从猎手之门到达巨蛇之门。“路若无终点，其本身即终点”，文中不忘补充道。
The Encircling Tantra speaks of the Serpent Gate, that hungry portal sometimes known as the Spider's Door, which is sacred to the Mother of Ants, through which the Great Hooded Princes pass. The tantra includes an invocation but cautions, helpfully, that the invocation is of insufficient power to reach the Serpent Gate from the Hunter's Gate. 'A road which has no destination is itself a destination,' it adds helpfully.
蠕虫密续 The Tantra of Worms
昆虫学家朱莉安娜·萨斯托斯基最终坚称本书为寄居在人类体内的昆虫所作。她从来没为她的说法提供过证据。
The entomologist Juliana Zawistowski eventually came to insist that this text was written by insects inhabiting a human skin. She never presented evidence for her claim.
该密续里罗列了多种不怎么实用的对策以对付蠕虫，即“非蛇之蛇”。蛾与冬与它们最为接近，所以了解它们的弱点，但两者又各具危险。狮子匠可以击溃蠕虫，但此法不建议凡人使用。
The Tantra explains various less than practical countermeasures against the Worms, the 'Serpents Which Are Not Serpents'. Moth and Winter are closest to them, and so understand their weaknesses, but both have their own perils. The Lionsmith crushes them, but that's not recommended for mortals.
“蠕虫总是迫不及待地要宿在我们身上。下列做法可令我们的身体不适宜它们居住。”文中自带图解。那些图解不但令人不忍卒看，而且里面描绘的任何一种做法都会要了受术者的性命。
The Worms have always been eager to inhabit us. Here are the practices which make us inhospitable to them.' There are diagrams. The diagrams are not good to look upon, and none of the practices they depict would allow the subject to survive.
白猫之书 Gartside's Sanskrit Reader
由一只瞎眼白猫传递给戈尔迪翁的佩涅罗佩的故事。
Stories brought to Penelope of Gordion by a blind white cat.
已知鸟型司辰——乌鸦、笑鸫、白鸽、孪鸢——会在戈尔迪翁北部山中的栖木会面，互聊闲话。佩涅罗佩称直接听到他们话语的凡人会被抹消掉，但她的猫不被神查知地回到她身边，告诉了她从司辰集会听来的传闻。
The aviform Hours - the Crow, the Laughingthrush, the Dove, and the twin Kites - have been known to meet in the mountains north of Gordion, at a place called the Roost, to exchange gossip. Penelope indicates that mortals who hear their words directly are obliterated, but claims that her cat goes unnoticed and returns to her with rumours from the Hours' meetings.
佩内洛普所述的司辰闲话既零碎又混乱：有以希望、恐惧与无影帝国为棋子相互竞夺的经过，有来自不为人知的历史的关于残迹与铭记的纲领。最有趣的是她担心众司辰会发现她打探神机，所以在结尾收录了保护祷文。
The stories that Penelope claims as Hour-gossip are fragmentary and confusing: accounts of contests where Hope and Dread and the Shadowless Empire are used as game-pieces, agendas of ruin and remembrance from no known history. The most interesting element is the protective incantation she records at the end of the book, after she worries that the Hours might in fact learn of her spying.
古希腊英雄奥德修斯之妻。在《奥德赛》中， 奥德修斯参加特洛伊战争后失踪，象征着女性智慧与婚姻忠贞。在词源学上，佩涅洛佩的名字中的péne指“纺织的纱”或“梭子线轴”。传说中她为了拒绝求婚者，借口为公爹准备好殓衣后才可以改嫁。而后昼织夜拆，往返重复，拖延时间，坚守了10年未嫁。此外也有学者认为她的名字起源于古希腊语，是语法学家赫西基奥斯(Hesychius of Alexandria)提及的“某种鸟类”，如今一般被认为是赤颈鸭(Mareca penelope)。有趣的是，佩涅洛佩提到她20只鹅被山上飞来的一只巨鹰啄杀，成群倒毙于厅堂的梦。并且留下了那句著名的"须知无法挽留的梦幻拥有两座门，一座门由牛角制作，一座门由象牙制成。经由雕琢光亮的象牙前来的梦幻常常骗人，送来不可实现的话语;经由磨光的牛角门外进来的梦幻提供真实，不管由哪个凡人梦见"的诗句。
伤疤上尉事迹录 The Deeds of the Scarred Captain
由靠做雇佣兵，也有时靠家里汇钱过活的帕维尔·舒加在希腊生活时煞费苦心地收集成书。
Painstakingly assembled by the soldier of fortune and sometime remittance man, Pavel Shulga, during his years in Greece.
身负伤疤的上尉斩杀七怪，平定地面后建立迈锡尼的经过。上尉每消灭一怪，血的洪潮就升得更高，直至最后使一名女祭司溺死其中并重生为蛇神。她祝福上尉，上尉则在血潮退却后离开迈锡尼，去向“林地之上的居屋”，成为至高的主宰。An account of the founding of Mycenae by a 'Scarred Captain' who first slew seven monsters to make the land safe. As the Captain destroys each monster, a flood of blood rises higher, until at last a priestess drowns and is reborn as a serpent-goddess. She blesses the Captain, and he departs for the 'House above the Forest', leaving Mycenae to reign supreme after the flood of blood subsides.
迦腻色伽在蜘蛛之门前的经过 The Account of Kanishk at the Spider's Door
这份记录的作者是洛克·卡胡利，受迦腻色伽所害者兼其情人，也许是在死后写下。
Lok Kahuli, Kanishk's victim and lover, wrote this account, perhaps posthumously.
迦腻色伽欲成为具名者。为达成这一目标，他将洛克·卡胡利变成承载他食欲的容器，承诺与其一同飞升。在蜘蛛之门前，他背叛了他的情人……千夫长耳听此背叛之言，于是强迫迦腻色伽侍奉自己。千夫长不容违抗。洛克·卡胡利则留下撰写本书，描述那些关于抗争与竞夺的公开的魔法。
Kanishk sought to become a Name. In pursuit of that end, he made Lok Kahuli the vessel of his appetites, promising Lok that they would ascend together. At the Spider's Door, he betrayed his lover... The Chiliarch listened to the betrayal, and then forced Kanishk into his service. The Chiliarch cannot be denied. Lok Kahuli remained to write this work, and to describe the outer magics of struggle and contest.
王中之王,贵霜迦腻色伽(King of Kings Kanishka Kushan)。他是公元2世纪贵霜帝国的君主。他有着降服兴都库什山中恶龙的传说，也曾在克什米尔召集众多僧侣主持集会。迦腻色伽在位时，王庭成为文人高僧汇萃之地。名僧龙树、马鸣、僧伽罗刹等都曾为其座上贵客，使大乘佛教产生雏型。但他实行宗教宽容政策，当时铸造的钱币有希腊太阳神赫里俄斯的金币和铜币，太阳神一手叉腰握剑柄，另一手做祝福状，头后为太阳光环。在迦腻色伽一世时期的铸币中，繁殖之神娜娜是早年中均为希腊神祇的情况下唯一列入的两河流域之神(埃兰女神)。但也有学者认为，早期制钱中的神像其实是希腊之神那奈亚，亦或者是波斯拜火教女神阿娜希塔的演化而来。此外，还有两河丰收女神阿尔多克修的金币，女神向右站立双手持有代表丰收的麦穗。两河流域之火神阿施狩，火神一手叉腰，另一手托举着王冠。祂是锻造之神，铁匠之神，也是希腊神话中的赫菲斯托斯在伊朗等地的转换。
迦腻色伽一世金币上的佛陀像是目前已知最早的佛陀像。佛陀(Boddo)着通肩式佛衣，正面而立，右手施无畏印，左手拖拽佛衣一角。
伊朗守护动物健康的鲁斯(Lrooaspo)，鲁斯泼面右立于马旁，手持王冠。伊朗知识之神玛诺巴格(Manaobago)，祂是阿维斯陀语拜火教中的思想之神，智慧之神”Vohu Mano”，面右坐于王位之上，背新月，显四臂。
伊朗月亮之神毛(MAO)；两河流域一带的风神欧多(oesho),巴克特里亚语中又叫威狩(Wesho)；
密特拉希腊化后译为米特里达梯，这是一个波斯名字，意思是被太阳神（拜火教太阳神弥若）赐予的。在安息国内上到贵族王室下到平民士兵都爱起这个名字，而在西亚一些国家则是贵族的专属。
贵霜帝国巅峰时期，国境面积从伊朗覆盖到印度。各地所信仰的神灵也能在此时此地方能演化结合。
两河流域之战神奥拉格诺。金币上战神面右站立，一手持矛，另一手扶着剑柄，头戴鸟冠。一般认为是由波斯拜火教战神Verethraghna演化而来，为战斗胜利的象征。祂通常以半人半鸟的形态示人。发展至贵霜迦腻色伽一世时期，已变成鸟冠形象。而此形象也极大的影响了佛教、汉传佛教等护法金刚，天王形象甚至普通人俑形象。在中国敦煌、云冈以及各地的出土文物中，时常可以看到头戴鸟冠的金刚。
两河流域之火神阿施狩，太阳神面左站立，一手伸出做祝福状，另一手扶握剑柄，背后显现射出万丈光芒的太阳。
迦腻色伽一世制币的发展历程：希腊神→希腊神风格的本土神祇→完全贵霜化的本土神祇。
幸运之神法罗，太阳神面右站立，一手持碗，另一手持矛。法罗是伊朗的幸运之神，财富之神，在贵霜时期逐渐发展为皇族荣耀的象征。