第26章 巨大的悲痛 A Great Grief（1 / 2）

《巨大的悲痛》，1853 年

A Great Grief (heartache), 1853

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这个故事的瑰宝囊括了安徒生作品中的许多主要主题，带我们从死亡和存在焦虑走向苦难和社会悲痛。它可以被看作是诗歌的缩影。

this ge of a story encapsutes any of the ajor thes Andersen’s works, takg fro death aential ao sufferg and social grief. It be seen as a poeti a nutshell.

它的起源是 1847 年 5 月 26 日的一篇日记，在其中安徒生描述了 “第一部分” 的事件，然后转向描述一个乞丐，一个可怜的人物，既引起同情又引起恐惧：“有人在敲门。一个可怕的流浪汉设法找到了我的房间。我给了他 24 便士。‘你不是在欧登塞附近出生的吗？’他问。我把他弄出去了，但担心他可能会躲起来，在深夜回来偷窃。”

Its s lie a diary entry of ay 26, 1847, whidersen described the is of “part ohen turo the description of a beggar, an abject figure who aroes both epathy and fear: “there was sobody knog at the door. A dreadful trap had ao fd y roo. I gave hi 24 pennies. ‘were you not born the neighborhood of odense?’ he asked. I got hi out but feared he ight hide aurn the dead of night to steal”.

与乞丐相反，《巨大的悲痛》中的女孩引起了同情。从上方和远处看，她通过结合美丽、年轻、贫穷和苦难引起了审美愉悦。

In trast to the beggar, the girl iache” aroes epathy. Seen fro above and at a distance, she elicits aesthetic pleasure by biy, youth, poverty, and sufferg.

尽管叙述者坚持认为前奏是不必要的，但这个故事实际上需要两个部分，一个部分将叙述者呈现为一个 “无情” 的人物，无法与寡妇来卖她的股份的更深层原因产生联系，另一个部分将叙述者呈现为同样 “无情”，因为他无法采取行动缓解女孩的 “心痛”。

despite the narrator’s sistehat the prede is unnecessary, the story faeeds both parts, with the narrator as a “heartless” figure who is uo ect with the widow’s deeper reason f to sell her shares and the other presentg the narrator as equally “heartless” his ability to act to relieve the girl’s “heartache.”

作者在这些遭遇中只看到了讲故事的机会，将自己定位为艺术的代理人，无情地在空间上保持在上方，在情感上远离现实的心痛。

the author sees these enters nothg ore than an opportunity for tellg tales, for positiong hiself as a of art, relentlessly keepg hiself spatially above aionally beyond the heartaches of the real.

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这个故事实际上由两部分组成。

this story really sists of o parts.

第一部分可能可以省略，但它给了我们一些细节，这些细节是有用的。

the first part ight be left out, but it gives a few particurs, and these are eful.

我们当时住在乡下一位绅士的庄园里，碰巧主人离开了几天。

we were stayg the try at a gentlean’s seat, where it happehat the aster was absent for a few days.

与此同时，从邻近的城镇来了一位女士；她带着一只哈巴狗，她说她来是为了出售她制革厂的股份。

In the ahere arrived fro the own a dy; she had a pug dog with her, and ca, she said, to dispose of shares ian-yard.

她带着她的文件，我们建议她把文件放在一个信封里，并在上面写上庄园主人的地址，“军需官将军骑士” 等等。

She had her papers with her, and we advised her to put the an envelope, and to write thereon the address of the proprietor of the estate, “General war-issary Knight,” &c.

她专心地听我们说，拿起笔，停顿了一下，请求我们慢慢地重复那个地址。

She listeo attentively, seized the pen, paed, and begged to repeat the dire slowly.

我们照做了，她写了下来；但在写到 “军需官将军” 中间时，她停了下来，深深地叹了口气，说：“我只是一个女人！” 她写的时候，她的哈巴狗坐在地上，吼叫着；因为这只狗是为了娱乐和它的健康才和她一起来的；而且不应该让客人站在光秃秃的地板上。

we plied, and she wrote; but the idst of the “General war-” she struck fast, sighed deeply, and said, “I a only a woan!” her puggie had seated itself on the ground while she wrote, and growled; for the dog had e with her for aent and for the sake of its health; and then the bare flht not to be offered to a visitor.

它的外表特点是一个塌鼻子和一个非常胖的后背。

his ouard appearance was characterized by a snub nose and a very fat back.

“它不咬人，” 女士说，“它没有牙齿。它就像家庭的一员，忠诚而脾气暴躁；但后者是我的孙子们的错，因为他们逗弄它；他们玩婚礼游戏，想让它扮演伴娘的角色，这对它来说太过分了，可怜的老家伙。”

“he doesn’t bite,” said the dy; “he has h. he is like one of the faily, faithful and grupy; but the tter is y grandchildren’s fault, for they have teased hi; they py at weddg, and want to give hi the part of the bridesaid, and that’s too uch for hi, poor old fellow.”