too easily to deception.

孩子的聲音使人們的注意力從故事中被描述為 “美麗的”、“可愛的”、“迷人的”、“無價的”、“精緻的”、“非凡的”、“驚人的”、“極好的”、“壯麗的”、“卓越的” 和 “精美的” 東西上轉移開了。

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.”

雖然 “可愛的” 是安徒生最喜歡的詞之一，並且被他反覆使用，但在一個不到兩千字的故事中發現這個詞及其變體被如此頻繁地使用，還是有點令人驚訝。

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.

更令人驚訝的是，這些形容詞都描述了看不見的東西，一種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.

正如故事的最後幾句話告訴我們的那樣，皇帝的拖裾，就像他的衣服一樣，“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.

這個集子中的第一個故事充分說明了安徒生的藝術。

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

安徒生僅僅用文字就誘使美好的事物產生，他創造出會唱歌的夜鶯、自己跳舞的鞋子、充滿生命力的大理石雕像、掛滿金色果實而閃閃發光的水下花園 —— 甚至還有一塊 “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