第5章 公主和豌豆 The Princess and the Pea（1/2）
《公主和豌豆》，1835 年
the prcess and the pea, 1835
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安徒生声称小时候就听过这个故事，他很可能受到了类似于瑞典的《躺在七颗豌豆上的公主》这个版本的启发。
Andersen cid to have heard this story as a child, and it is likely that he ired by a version ak to the Swedish “prcess who Lay on Seven peas.”
那个故事的女主人公是个孤儿，她带着宠物猫或狗踏入社会，并且自称是公主。
the heroe of that tale is an orphaned child who sets out to the world aied by a pet catand who presents herself as a prcess.
受到多疑的王后的质疑，女孩的王室血统在夜间接受考验，当时一个小物件（一粒豆子、一颗豌豆或者一根稻草）被悄悄塞到她的床垫下。
challenged by a spicio queen, the girl’s royal ary is put to the test at night, when a sall object (a bean, a pea, or a straw) is slipped under her attress.
在猫或狗告知她这个物件后，女孩抱怨自己无法入睡，于是被宣告拥有王室血统。
Inford by the cat or the dog about the object, the girl ps about her ability to sleep and is decred to be of royal blood.
民间故事中的女主人公用欺骗手段来提升自己的社会地位，但安徒生笔下的公主是 “真正的” 公主，不必歪曲自己的敏感。
the folktale heroe es deceit to raise her social rank, but Andersen’s prcess is the “real” thg and does not have to isrepresent her sensitivity.
对安徒生来说，一个表明 “真正的” 高贵在于敏感而非出身的故事具有一定的吸引力。
For Andersen, a story de that “true” nobility resides iivity rather than birth had a certa appeal.
他的许多恩人以及朋友和评论家不断提醒他低微的社会出身，安徒生通过创作故事来弥补这一点，这些故事表明那些出生在谷仓场院（丑小鸭）或者不知从哪里出现在王室门口（公主）的人可能是真正的贵族。
stantly reded of his lowly social s by his any beors as well as by friends and critics, Anderseed by developg narratives de that those who are bornbarnyards (the ugly dug) or those ear out of nowhere at the doorstep of royals (the prcess) ay turn out to be the real thg.
作为一名诗人，他渴望成为丹麦在欧洲作家和思想家精英中的代表。
As a poet, he aspired to bee denark’s representative aong a Europeae of writers and thkers.
在《夜莺》中，安徒生再次提到了真品和拙劣模仿者之间的区别。
In “the Nightgale,” Andersen once aga took up the dist beeen the real thg and sorry iitators.
1959 年的音乐剧《豌豆公主》，由卡罗尔?伯内特饰演难以抑制的可怜公主温妮弗雷德，这部剧在百老汇多年来大获成功，1997 年又由莎拉?杰西卡?帕克主演复排。
the 1959 ical once Upon a attress, starrg carol bur as the irrepressible prcess he woebegone, enjoyed suess on broadway for any years and was revived1997 with Sarah Jessica parkerthe lead role.
有过无数的电影改编版本，这个故事还被乔恩?谢斯卡创造性地重写为《公主和保龄球》。
there have been nuro eatic adaptations, and the story has beeteively by Jon Scieszka as “the prcess and the bowlg ball.”
《公主和豌豆》仍然是安徒生童话中最受欢迎的故事之一，公主本人也成为了极其细腻情感的象征。
“the prcess and the pea” reas a favorite aong Andersen tales, and the prcess herself has bee an eble of suprely delicate sensibilities.
那种随意、对话式的口吻和幽默的笔触起到了滑稽模仿的作用，弥补了许多可能冒犯现代情感的特征。
the casual, versational tone and huoro touches, which operate to produce parody, redee aures that ight offend odern sensibilities.
王子坚持要找到一位 “真正的” 公主，并且将敏感视为贵族独有的特权，这挑战了我们自己关于品格和社会价值的文化价值观。
the prce’s sisten fdg a “true” prcess and the characterization of sensitivity as the excsive privilege of nobility challenge our own cultural vaes about character and social worth.
然而，公主的敏感也可以从隐喻层面解读为她情感和同情心深度的一种衡量。
Ahe sensitivity of the prcessalso be read on a taphorical level as a asure of the depth of her feelg and passion.
安徒生还为我们塑造了一位充满活力的女主人公，她不惧恶劣天气，出现在王子的家门口，而且是她自己成功找到王子的。
Andersen also givesa feisty heroe, one who defies the elents and shows up on the doorstep of a prce, who she has sueededtrag down on her own.
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从前有一位王子，他想娶一位公主；
once upon a ti there rce who wao arry a prcess;
但她必须是一位真正的公主。
but she would have to be a real prcess.
他走遍世界去寻找一位（真正的公主），但无论到哪里都找不到他想要的。
he travelled all over the world to fd one, but nowhere uld he get what he wanted.
公主有很多，但很难弄清楚她们是否是真正的公主。
there were prcesses enough, but it was difficult to fd out whether they were real ones.
她们身上总是有一些不太对劲的地方。
there was always sothg about the that was not as it should be.
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