第20章 影子 The Shadow， (第1/27页)

《影子》，1847 年

the Shadow, 1847

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安徒生 1846 年在那不勒斯时写了《影子》的大部分内容。

Andersen wrote much of “the Shadow” in 1846 when he was in Naples.

在 6 月 8 日的一篇日记中，他抱怨道：“天气酷热难耐。我几乎不敢出门。”

In a diary entry of June 8, he plained: “the heat is pouring down. I hardly dare go outside.”

第二天，他宣称：“晚上，我开始写我的影子的故事。”

the following day, he announced: “In the evening, began writing the story of my shadow.”

注意所有格代词的使用，安徒生将自己塑造成来自 “寒冷地区” 的 “有学问的人”，这样《影子》就成了作者本人的一种反映 —— 或者说影子。

Note the use of the possessive pronoun, with Andersen cast as the “learned man” from “cold lands” so that “the Shadow” bees a reflection—or shadow—of its author.

这个故事标志着安徒生文学创作的一个真正转折点，因为它确立了他作为一个作品充满艺术与存在危机主题的作家的地位。

the tale marks a real turning point in Andersen’s literary production, for it establishes him as an author whose work is animated by the theme of artistic and existential crisis.

像他同时代的英国、欧洲和美国的作家一样，他对替身、影子、肖像和雕像着迷，在其中找到了探索分裂自我的隐喻。

Like his british, European, and American contemporaries, he became fascinated with doubles, shadows, portraits, and statues, finding in them metaphors for exploring the divided self.

自主的影子出现在许多 19 世纪的文学作品中，最着名的是阿德尔伯特?沙米索的《彼得?施莱米尔的奇妙故事》（1814 年），该书出版后不久就被译成多种语言。

the autonomous shadow has appeared in many nineteenth - century literary works, most notably Adelbert chamisso’s the marvelous Story of peter Schlemihl (1814), which was translated into many languages shortly after its publicat