tten about the poetry of dental pain, yoking suffering and art and also taking advantage of what has been called the nexus of “potency, beauty, and pain” associated with teeth.

正如《無事生非》中的萊昂納多所說：“因為從來沒有一個哲學家 \/ 能夠耐心地忍受牙疼。”

As Leonato puts it in much Ado about Nothing, “For there was never yet philosopher \/that could endure the toothache patiently”.

《牙疼姨媽》更像是怪誕的短篇小說而非童話故事。

“Auntie toothache” is more in the mode of the uncanny short story than the fairy tale.

它代表了一位成熟詩人的創作，這位詩人在致力於創造 “不朽” 藝術作品的一生中努力尋找意義，即使他正在經歷死亡的痛苦。

It represents the writing of a mature poet who is struggling to find meaning in a life dedicated to creating “immortal” works of art even as he is experiencing the pains of mortality.

安徒生在完成這個故事後不久就開始感覺到他最終死於其中的肝癌的最初症狀，這是他的最後一個故事。

Andersen began to feel the first symptoms of the liver cancer from which he died shortly after finishing this story, which is his last tale.

《牙疼姨媽》代表了他最偉大的成就之一，但它很少被收錄在他的作品選集中，很大程度上是因為它以一種野蠻的虛無主義方式探討了存在性問題。

“Auntie toothache” represents one of his greatest achievements, yet it is rarely included in anthologies of his work, in large part because it takes up existential questions in a savagely nihilistic manner.

牙疼姨媽表達了困擾詩人生命最後一年的病態焦慮，但這些焦慮也困擾著我們對藝術力量的信念，即藝術創造的效果能否與一次簡單的牙疼相媲美（或彌補牙疼）。

Auntie toothache gives voice to morbid anxieties that haunted the poet in the final year of his life but that also trouble our faith in the power of art to create effects that r