the Snow queen” operates on multiple levels, its simplicity concealing depth and plexity that yield new meanings with each reading.

儘管安徒生明確地推崇靈魂的純潔以及格爾達身上所體現的信仰、希望和仁愛，但他還是忍不住一次又一次地暗示凱在白雪皇后的王國裡的生活的吸引力。

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.

如果我們相信這個故事，我們會發現白雪皇后的王國被構建成一個具有極致唯美純淨的世界 —— 純潔又感性、簡約卻奢華、有序但不羈。

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.

最後，格爾達虔誠的基督教願景並不總是能與凱所擁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.

一位評論家評論道：“當我們讀到凱的災難性困境時，白雪皇后本人似乎先於作者出現，似乎只有一種狂喜的感性才足以傳達她那令人激動的極度寒冷。”

“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.

“當凱現在站在堅實的地面上，不由自主地接受小格爾達健康有益的恢復性親吻時，我們不禁要去傾聽那歸來雪橇的嗡嗡聲，我們曾乘坐它在空中翱翔，接受白雪皇后令人暈眩且充滿希望的親吻”。

“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 submi