《白雪皇后》的七个故事，1845年
the snow queen in seven stories, 1845
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《白雪皇后》，儿童文学伟大的探索叙事之一，描绘了两个孩子在走向世界尽头的旅程中历经奇观异景的道路。
“the snow queen,” one of the great quest narratives of children’s literature, traces the paths of two children through wonders and marvels as they journey to the ends of the earth
虽然凯（kai）和格尔达（gerda）不是亲兄妹，但他们情同兄妹。
although kai and gerda are not biological siblings, they are bonded as brother and sister
在他们的旅行过程中，他们从童年步入青春期再成为成年人 —— 内心依然童真的成年人。
in the course of their travels, they pass from childhood through adolescence to bee adults—adults who remain children at heart
他们充满磨难的旅程包含了童话故事的所有经典特征：
their trial - ridden journey contains all the classic features of a fairy tale:
一位保持着聪慧的勇敢女主人公，善与恶之间戏剧性的较量，在无辜女主人公的探索之旅中给予帮助的助手和捐赠者，拥有诱惑力量的反派，通向惊险冒险的危险旅程，以及内心纯真无邪者对邪恶的胜利。
a courageous heroine who maintains her wits, melodramatic contests between good and evil, helpers and donors who aid the innocent heroine in her quest, villains with seductive powers, perilous journeys that lead to breathtaking adventures, and the triumph of the innocent and pure in heart over evil
这个童话故事也被构建为成人的寓言，阐明了科学和理性的危险诱惑，并预言它们将被基督教救赎的生命力所击败。
the fairy tale has also been framed as an allegory for adults, illustrating the dangerous seductions of science and reason and predicting their defeat by the life - giving forces of christian salvation
《白雪皇后》在多个层面上发挥作用，其简单性掩盖了深度和复杂性，每次阅读都会产生新的意义。
“the snow queen” operates on multiple levels, its simplicity concealing depth and plexity that yield new meanings with each reading
尽管安徒生明确地推崇灵魂的纯洁以及格尔达身上所体现的信仰、希望和仁爱，但他还是忍不住一次又一次地暗示凯在白雪皇后的王国里的生活的吸引力。
much as andersen explicitly endorses purity of soul and the faith, hope, and charity embodied in gerda, he cannot but let slip one hint after another about the attractions of kai’s existence in the realm of the snow queen
如果我们相信这个故事，我们会发现白雪皇后的王国被构建成一个具有极致唯美纯净的世界 —— 纯洁又感性、简约却奢华、有序但不羁。
if we trust the tale, we find that the realm of the snow queen is constructed as a world of exquisite aesthetic purity—chaste and sensual, spare yet luxurious, and disciplined but undomesticated
最后，格尔达虔诚的基督教愿景并不总是能与凯所拥有的迷人的冰冷魅力相抗衡。
in the end, gerda’s pious christian vision cannot always pete with the enchanting icy attractions available to kai
一位评论家评论道：“当我们读到凯的灾难性困境时，白雪皇后本人似乎先于作者出现，似乎只有一种狂喜的感性才足以传达她那令人激动的极度寒冷。”
“when we read of kai’s catastrophic predicament, the snow queen herself seems to preempt the author, and only a rapturous sensuality seems adequate to convey her thrilling excesses of coldness,” one critic ments
“当凯现在站在坚实的地面上，不由自主地接受小格尔达健康有益的恢复性亲吻时，我们不禁要去倾听那归来雪橇的嗡嗡声，我们曾乘坐它在空中翱翔，接受白雪皇后令人晕眩且充满希望的亲吻”。
“and when kai, now on solid ground, submits without volition to little gerda’s wholesome and restorative kisses, we can’t help but listen for the thrum of the returning sled, in which we once soared through the air and submitted to the dizzying, promise - filled kisses of the snow queen”
凯可能没有能力再回到雪橇上，但我们每次翻开《白雪皇后》的书页时就仿佛回到了雪橇上。
kai may not have the power to get back on the sled, but we get back on every time we turn the pages of “the snow queen”
安徒生将《白雪皇后》的创作描述为 “纯粹的快乐”：
andersen described the writing of “the snow queen” as “sheer joy”:
“它完全占据了我的思绪，以至于它欢快地跃然纸上。”
“it occupied my mind so fully that it came out dancing across the page”
虽然这个故事是他作品中篇幅最长的之一，但只花了五天就写成了。
although the story is one of the longest among his works, it took only five days to write
它一路跳到了安徒生童话故事的榜首，被许多人视为他最伟大的成就。
it has danced its way to the top of the list of andersen’s fairy tales and is seen by many as his greatest acplishment
安徒生自己认为，他许多最优秀的故事是在 1841 年游历罗马、那不勒斯、君士坦丁堡和雅典之后写成的。
andersen himself believed that many of his finest stories were written after travels to rome, naples, constantinople, and athens in 1841
他回到哥本哈根时，因与 “东方” 的邂逅而充满活力，并开始创作自己的故事，而不是依赖自己文化中的民间传说。
he returned to copenhagen reinvigorated by the encounter with the “orient” and began inventing his own tales rather than relying on the folklore of his culture
安徒生认为他终于找到了自己真正的声音，《白雪皇后》即使没有与早期童话彻底决裂，也提供了一种更具反思性风格的证据，这种风格致力于打造新的神话而非制作轻松的娱乐作品。
andersen believed that he had finally found his true voice, and “the snow queen,” even if it does not mark a clean break with the earlier fairy tales, offers evidence of a more reflective style mitted to forging new mythologies rather than producing lighthearted entertainments
安徒生这个故事最早的电影改编版是《白雪皇后》（snezhnaya koroleva），1957 年在苏联上映，1959 年出口到美国，由桑德拉迪（sandra dee）和汤米柯克（tommy kirk）配音。
the earliest film adaptation of andersen’s tale was snezhnaya koroleva, released in the soviet union in 1957 and exported to america in 1959, with voices dubbed by sandra dee and tommy kirk
从那以后，又制作了四部电影，苏联两部，丹麦一部，美国一部，英国一部。
since then, four other films have been made, a second in the ussr, one in denmark, one in the united states, and one in the united kingdom
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第一个故事
story the first
镜子和碎镜片
a looking - glass and the broken fragments
你必须留意这个故事的开头，因为当我们读到结尾时，我们将会比现在更了解一个非常邪恶的小妖精；
you must attend to the mencement of this story, for when we get to the end we shall know more than we do now about a very wicked hobgoblin;
他是最邪恶的小妖精之一，因为他是一个真正的恶魔。
he was one of the very worst, for he was a real demon