第20章 影子 The Shadow，(第1/27 頁)

《影子》，1847 年

the Shadow, 1847

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安徒生 1846 年在那不勒斯時寫了《影子》的大部分內容。

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

在 6 月 8 日的一篇日記中，他抱怨道：“天氣酷熱難耐。我幾乎不敢出門。”

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

第二天，他宣稱：“晚上，我開始寫我的影子的故事。”

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

注意所有格代詞的使用，安徒生將自己塑造成來自 “寒冷地區” 的 “有學問的人”，這樣《影子》就成了作者本人的一種反映 —— 或者說影子。

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.

這個故事標誌著安徒生文學創作的一個真正轉折點，因為它確立了他作為一個作品充滿藝術與存在危機主題的作家的地位。

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.

像他同時代的英國、歐洲和美國的作家一樣，他對替身、影子、肖像和雕像著迷，在其中找到了探索分裂自我的隱喻。

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.

自主的影子出現在許多 19 世紀的文學作品中，最著名的是阿德爾伯特?沙米索的《彼得?施萊米爾的奇妙故事》（1814 年），該書出版後不久就被譯成多種語言。

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