《巨大的悲痛》，1853 年
A Great Grief (heartache), 1853
---
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.
---
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.”
然后她交出了她的文件，把哈巴狗抱在怀里。
And she delivered her papers, and took puggie upon her arm.
这是故事的第一部分，本来可以省略。
And this is the first part of the story which might have been left out.
哈巴狗死了！！这是第二部分。
pUGGIE dIEd!! that’s the second part.
大约一周后，我们来到了镇上，住进了旅馆。
our windows looked into the tan-yard, which was divided into two parts by a partition of planks; in one half were many skins and hides, raw and tanned.
我们的窗户对着制革厂，制革厂被一块木板隔成两部分；在其中一部分里有许多生皮和鞣制过的皮。
It was about a week afterwards we arrived in the town, and put up at the inn.
这里有经营制革厂所需的所有设备，它属于那个寡妇。哈巴狗在早上死了，要被埋葬在院子的这一部分；寡妇的孙子们（也就是制革匠寡妇的孙子们，因为哈巴狗从未结过婚）填满了坟墓，这是一个美丽的坟墓 —— 躺在那里一定很惬意。
here was all the apparatus necessary to carry on a tannery, and it belonged to the widow. puggie had died in the morning, and was to be buried in this part of the yard; the grandchildren of the widow (that is, of the tanner’s widow, for puggie had never been married) filled up the grave, and it was a beautiful grave — it must have been quite pleasant to lie there.
坟墓周围用花盆碎片围着，上面撒满了沙子；在最上面，他们插了一个啤酒瓶的一半，瓶颈朝上，这一点也不具有象征意义。
the grave was bordered with pieces of flower-pots and strewn over with sand; quite at the top they had stuck up half a beer bottle, with the neck upwards, and that was not at all allegorical.
孩子们围着坟墓跳舞，其中最大的男孩，一个七岁的实际的小家伙，提议为住在这条巷子里的所有人展示哈巴狗的墓地；入场费是一个裤子纽扣，因为每个男孩肯定都有一个，而且每个人也可以为一个小女孩交一个。这个提议被一致通过。
the children danced round the grave, and the eldest of the boys among them, a practical youngster of seven years, made the proposition that there should be an exhibition of puggie’s burial-place for all who lived in the lane; the price of admission was to be a trouser button, for every boy would be sure to have one, and each might also give one for a little girl. this proposal was adopted by acclamation.
巷子里所有的孩子 —— 是的，甚至是后面那条小巷里的孩子 —— 都涌向了这个地方，每个人都交了一个纽扣。
And all the children out of the lane — yes, even out of the little lane at the back — flocked to the place, and each gave a button.
许多人在那个下午被注意到只系着一条背带；但他们已经看到了哈巴狗的坟墓，这景象价值大得多。
many were noticed to go about on that afternoon with only one suspender; but then they had seen puggie’s grave, and the sight was worth much more.
但是在制革厂前面，靠近入口处，站着一个衣衫褴褛的小女孩，非常好看，有着卷曲的头发和如此湛蓝清澈的眼睛，让人看着很愉快。
but in front of the tan-yard, close to the entrance, stood a little girl clothed in rags, very pretty to look at, with curly hair, and eyes so blue and clear that it was a pleasure to look into them.
这个孩子一句话也没说，也没有哭；但每次小门打开时，她都会久久地望向院子里。
the child said not a word, nor did she cry; but each time the little door was opened she gave a long, long look into the yard.
她没有一个纽扣 —— 她很清楚这一点，所以她悲伤地一直站在外面，直到所有其他人都看过了坟墓并离开了；然后她坐下来，用她棕色的小手捂住眼睛，大哭起来；只有这个女孩没有看到哈巴狗的坟墓。
She had not a button — that she knew right well, and therefore she remained standing sorrowfully outside, till all the others had seen the grave and had gone away; then she sat down, held her little brown hands before her eyes, and burst into tears; this girl alone had not seen puggie’s grave.
这对她来说是一种和任何成年人所能经历的一样巨大的悲痛。
It was a grief as great to her as any grown person can experience.
我们从上面看到了这一切；从上面看，我们自己和他人的多少悲痛能让我们微笑！
we saw this from above; and looked at from above, how many a grief of our own and of others can make us smile!
这就是故事，谁要是不理解，可以去从窗户那里购买制革厂的一份股份。
that is the story, and whoever does not understand it may go and purchase a share in the tan-yard from the window.
喜欢一句一译的安徒生童话请大家收藏：(m.qishishuwu.com)一句一译的安徒生童话骑士书屋更新速度全网最快。