er her death.

這個在新年前夜凍死的瘦弱流浪兒已經成為一種文化偶像。

the frail waif who freezes to death on New Year’s Eve has bee something of a cultural icon.

她是一個殘忍的父親（比童話故事中的食人魔還要殘忍得多）和一個無情的社會的受害者；

She is the victim of a brutal father (far more cruel than the ogres of fairy tales) and of a heartless social world;

甚至大自然也背棄了她，既不提供庇護也不給予食物。

even nature turns its back on her, offering neither shelter nor sustenance.

童話故事中的魔法消失了，救援僅僅以神的干預這種形式到來。

the fairy - tale magic is absent, and rescue es only in the form of divine intervention.

講述賣火柴小女孩故事的敘述者把我們帶入女主人公的精神世界，讓我們在氣溫下降、寒風呼嘯時感受到她的痛苦。

the narrator of the match girl’s story takes us into the heroine’s mental world, allowing us to feel her pain as the temperature drops and the wind howls.

我們也能體會到她的幻想，首先是溫暖，接著是食物、美麗，最後是人間的喜愛和同情。

we also share her visions, first of warmth, then of nourishment, beauty, and finally human affection and passion.

如果故事的最後畫面呈現給我們的是一具凍僵的屍體，這個賣火柴的小女孩的死亡仍然是一種 “美麗的死亡”，是閃耀著靈性和超凡意義的所在。

If the final image of the story gives us a frozen corpse, the little match girl’s death is still a “beautiful death,” the site of radiant spirituality and transcendent meaning.

無論我們將她的苦難解讀為 “偽裝成虔誠的折磨”（就像 p.L. 特拉弗斯所做的那樣），還是認為她的悲慘境遇是升入更高境界的先決條件，這個故事仍然是童年最令人難忘的故事之一，並且縈繞在我們的文化想象之中。

whether we read her sufferings as “tortures, disguised as pieties” (as did p.L.travers) or consider her wretchedness as the precondition for translation into a higher spher