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 thesAndersen’s works, takgfro death aential ao sufferg and social grief. Itbe 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 liea 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 bornthe neighborhood of odense?’ he asked. I got hi out but feared he ight hide aurnthe 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 storyfaeeds both parts, withthe 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 seesthese 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 givesa 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 staygthe 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 thean 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 listeoattentively, seized the pen, paed, and beggedto 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; butthe 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.”
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