《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。
thi tejor themes in anderking und exinxiety to nd social grief. it can be 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 originry entry of may 26, 1847, in which andersen described the incidentrt one,” then turned to the de beggar, an abject figure who arouthy and fear: “there was somebody knocking at the door. a dreadful tramp had managed to find my roowww. i gave him 24 pennies. ‘were you not born in the neighborhood of odensked. 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 contrar, the girl in “heartache” arouthy. nd at a distance, esure 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”。
detor’t the prelude iry, the ct needrts, with one introducing the narrator artless” figure who is unable to connect with the widow’son for ing to nd the other pretor artlebility to act to relieve the girl’che.”
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 himgent of art, relentlessly keeping himbove and emotionally beyond the heartachel.
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这个故事实际上由两部分组成。
thilly conrts.
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 giverticularre 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 ppened that the mabys.
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; pug dog with her, and came, she said, to direrd.
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。
pernd we advised her to put them in an envelope, and to write thereon the address of the proprietor of the el 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 littentively, seized the pen, paused, and begged ut 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 midl war-” st, nd m only a woman!” her puggie had seated itself on the ground while nd growled; for the dog had e with her for amund for the lth; 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。
hince was characterized by 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 doeid the lady; “he has no teeth. he is like one of the family, faithful and grumpy; but the latter indchildren’s fault, for they have teay at wedding, and want to give him the part of the bridet’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 arwww.
这是故事的第一部分，本来可以省略。
and thirt of the story which might have been left out.
哈巴狗死了！！这是第二部分。
puggie died!! that’rt.
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 partrtition of planklf were many skinw 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 wafterwards 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 waturry on a tannery, and it belonged to the widow. puggie had died in the morning, and was to be buried in third; the grandchildren of the widow (that inner’s widow, for puggie had never been married) filled up the grave, and it wave — 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 t the top they had beer bottle, with the neck upwardllegorical.
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 eldemong them, a practical youngrs, made the propot there n exhibition of puggie’ce for all who lived in the lane; the price of admi trouser button, for every boy would be ve one, and each might al little girl. thidopted by alamation.
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 ve, and the s 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, clonce, stood a little girl clothed in rags, very pretty to look at, with curly hair, and eyend clear that it wasure to look into thewww.
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 word, nor did ch time the little door wave 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。
button — that she knew right well, and therefore nding sorrowfully outll the others had nd had gone away; then she sat down, held her little brown hands before her eyes, and burrlone had not ve.
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 wat 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 bove; and looked at from above, how many a grief of our own and of otherke 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 ind whoever doend it may go and purchare in the tan-yard from the window.