第1章 皇帝的新装 The Emperor’s New Suit (第2/12页)

too easily to deception.

孩子的声音使人们的注意力从故事中被描述为 “美丽的”、“可爱的”、“迷人的”、“无价的”、“精致的”、“非凡的”、“惊人的”、“极好的”、“壮丽的”、“卓越的” 和 “精美的” 东西上转移开了。

the voice of the child has diverted significant attention from something in the tale that is described as “beautiful,” “lovely,” “enchanting,” “priceless,” “exquisite,” “extraordinary,” “amazing,” “magnifique,” “splendid,” “superb,” and “delicate.”

虽然 “可爱的” 是安徒生最喜欢的词之一，并且被他反复使用，但在一个不到两千字的故事中发现这个词及其变体被如此频繁地使用，还是有点令人惊讶。

Although “lovely” was one of Andersen’s favorite words and was used by him repeatedly, it still es as something of a surprise to find that term and its variants used so often in a story with less than two thousand words.

更令人惊讶的是，这些形容词都描述了看不见的东西，一种不存在的布料和衣服。

And it is even more astonishing that those adjectives all describe something invisible, a cloth and clothing that do not exist.

正如故事的最后几句话告诉我们的那样，皇帝的拖裾，就像他的衣服一样，“根本不存在”。

the Emperor’s train, like his clothing, are “not there at all,” as the last words of the tale tell us.

这个集子中的第一个故事充分说明了安徒生的艺术。

the first story in this collection speaks volumes about Andersen’s art.

安徒生仅仅用文字就诱使美好的事物产生，他创造出会唱歌的夜莺、自己跳舞的鞋子、充满生命力的大理石雕像、挂满金色果实而闪闪发光的水下花园 —— 甚至还有一块 “根本不存在” 的布。

Using nothing but words to lure objects of beauty into being, Andersen creates nightingales that sing, shoes that dance on their own, marble statues that pulse with life, underwater gardens that glitter with golden fruit—and even a cloth that is “not there