Dickens was an immensely popular author in Denmark from the early years of his career, with Sketches by Boz already available in English in a public reading room in Copenhagen in April 1837, and the first complete novels in Danish translation, The Pickwick Papers and Oliver Twist, appearing in 1840. A few years later, Danish interest in Dickens was reinforced through the latter’s friendship (doomed to end unhappily) with Hans Christian Andersen (1805–75).1 It is therefore not particularly surprising that a thoughtful Dane born in the second half of the nineteenth century should have had a deep affection for the English author. What is less predictable and more interesting, however, is that a particular Dane, Christian Kongstad Petersen (1862–1940), developed a life-long and allpervasive fascination with quite specific aspects of Dickens’s fictional world, channelled this fascination into his own creative work as a visual artist, and produced a series of images which, despite being little known even in Denmark, must surely be considered as among the most remarkable Dickensinspired art that we have: images, moreover, that transcend the normal ambitions of “illustration” and constitute a skewed but deeply perceptive and sophisticated reading of aspects of Dickens that would not be properly explored in critical prose until many years later. Christian Kongstad Petersen was born on Boxing Day, 1862. To place him in Danish political history, he was one year old when Denmark was dramatically reduced in size, undergoing the most significant of its regular military setbacks, “the definitive national trauma” of the loss of the southern region of Schleswig-Holstein to Prussia (Jespersen 22). To place him in Danish cultural history, he was a close contemporary of the composer Carl Nielsen (1865–1931). Like both Nielsen and Hans Christian Andersen, Kongstad Petersen was born on Fyn, the large island in the middle of

中文翻译：

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狄更斯幻灭：克里斯蒂安·康斯塔德·彼得森的画

狄更斯在其职业生涯的早期就是一位非常受欢迎的丹麦作家，1837 年 4 月在哥本哈根的一个公共阅览室中已经有博兹的英文草图，以及丹麦语翻译的第一部完整小说，匹克威克论文和奥利弗·特威斯特，出现在 1840 年。几年后，由于狄更斯与汉斯·克里斯蒂安·安徒生（Hans Christian Andersen，1805–75 年）的友谊（注定以不幸结束），丹麦人对狄更斯的兴趣得到了加强。十九世纪下半叶对英国作家应该有很深的感情。然而，更难以预测但更有趣的是，一个特定的丹麦人 Christian Kongstad Petersen (1862-1940)，对狄更斯虚构世界的特定方面产生了终生且无孔不入的迷恋，将这种迷恋引导到他作为视觉艺术家的自己的创作中，并制作了一系列图像，尽管即使在丹麦也鲜为人知，但肯定会被考虑作为我们拥有的最杰出的狄更斯风格的艺术之一：此外，图像超越了“插图”的正常野心，构成了对狄更斯各个方面的歪曲但深刻的洞察力和复杂的阅读，直到许多年才能在批判性散文中得到适当的探索之后。克里斯蒂安·孔斯塔德·彼得森 (Christian Kongstad Petersen) 出生于 1862 年的节礼日。 为了将他置于丹麦政治史上，他一岁那年丹麦的规模急剧缩小，经历了最严重的常规军事挫折，石勒苏益格-荷尔斯泰因南部地区被普鲁士占领的“最终民族创伤”（Jespersen 22）。为了将他置于丹麦文化史上，他与作曲家卡尔尼尔森 (1865-1931) 是近代。与尼尔森和汉斯·克里斯蒂安·安徒生一样，康斯塔德·彼得森出生在中部的大岛芬岛。