《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 gem of a story encapsulates many of the major themes in Andersen’s works, taking us from death and existential anxiety to suffering and social grief. It can be seen as a poetics in 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 origins lie in a diary entry of may 26, 1847, in which Andersen described the incidents of “part one,” then turned to the description of a beggar, an abject figure who arouses both empathy and fear: “there was somebody knocking at the door. A dreadful tramp had managed to find my room. I gave him 24 pennies. ‘were you not born in the neighborhood of odense?’ he asked. I got him out but feared he might hide and return in 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 contrast to the beggar, the girl in “heartache” arouses empathy. Seen from above and at a distance, she elicits aesthetic pleasure by bining beauty, youth, poverty, and suffering.
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 insistence that the prelude is unnecessary, the story in fact needs both parts, with one introducing the narrator as a “heartless” figure who is unable to connect with the widow’s deeper reason for ing to sell her shares and the other presenting the narrator as equally “heartless” in his inability 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 in these encounters nothing more than an opportunity for telling tales, for positioning himself as an agent of art, relentlessly keeping himself spatially above and emotionally 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 consists of two 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 might be left out, but it gives us a few particulars, and these are useful.
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 staying in the country at a gentleman’s seat, where it happened that the master 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 meantime, there arrived from the next town a lady; she had a pug dog with her, and came, she said, to dispose of shares in her tan-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 them in an envelope, and to write thereon the address of the proprietor of the estate, “General war-missary 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 listened to us attentively, seized the pen, paused, and begged us to repeat the direction 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 in the midst of the “General war-” she struck fast, sighed deeply, and said, “I am only a woman!” her puggie had seated itself on the ground while she wrote, and growled; for the dog had e with her for amusement and for the sake of its health; and then the bare floor ought 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 outward 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 lady; “he has no teeth. he is like one of the family, faithful and grumpy; but the latter is my grandchildren’s fault, for they have teased him; they play at wedding, and want to give him the part of the bridesmaid, and that’s too much for him, poor old fellow.”