第19章 普緒克 The Psyche(第1/27 頁)

《普緒克》，1861

the psyche, 1861

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安徒生稱這個故事的靈感源於發生在羅馬的一件事：在為一位年輕修女挖掘墳墓時，一尊美麗的巴克斯雕像被挖掘出土。

Andersen reported that this story was inspired by an incident that took place in Rome: a beautiful statue of bacchus was unearthed when a grave was being dug for a young nun.

古典古代神話典故與關於罪惡和救贖的聖經故事的融合，也將安徒生的故事與德國浪漫主義者聯絡起來，特別是 E.t.A. 霍夫曼和約瑟夫?馮?艾興多夫，他們鍾情於義大利，並將其用作他們中篇小說的背景。

the blend of allusions to the myths of classical antiquity and the biblical stories of sin and redemption also connect Andersen’s story to the German Romantics, particularly E.t.A. hoffmann and Josef von Eichendorff, who were enamored of Italy and used it as the setting for their novellas.

成為僧侶的丹麥藝術家阿爾伯特?屈希勒可能是《普緒克》中雕塑家的原型。

Albert Kuchler, a danish artist who became a monk, may have been the model for the sculptor in “the psyche.”

《普緒克》與安徒生的《冰姑娘》同年出版，《冰姑娘》是一個關於來自北歐蛇蠍美人冰冷死亡之吻的恐怖故事。

“the psyche” was published the same year as Andersen’s “the Ice maiden,” a terrifying tale about an icy kiss of death from a Nordic femme fatale.

在斯特拉文斯基為芭蕾舞劇《仙女之吻》（1928 年）對該故事進行的音樂改編中，標題中的仙女是一位將英雄帶入藝術世界的繆斯。

In Stravinsky’s musical adaptation of that tale for the ballet Le baiser de la fée (1928), the fairy in the title is a muse who captures the hero for the world of art.

從一開始，安徒生的第一部小說《即興詩人》就因藝術的本質而困擾，藝術追求神聖但常常淪為惡魔。

From the start, with his first novel the Improvisatore, Andersen was troubled by the nature of art, which aspires to the divine but