求一个有趣的英语童话故事
发布网友
发布时间：2022-05-05 02:41
共3个回答
热心网友
时间：2022-06-28 17:03
Once upon a time there was a prince who wanted to marry a princess; but she would have to be a real princess. He travelled all over the world to find one, but nowhere could he get what he wanted. There were princesses enough, but it was difficult to find out whether they were real ones. There was always something about them that was not as it should be. So he came home again and was sad, for he would have liked very much to have a real princess.
One evening a terrible storm came on; there was thunder and lightning, and the rain poured down in torrents. Suddenly a knocking was heard at the city gate, and the old king went to open it.
It was a princess standing out there in front of the gate. But, good gracious! what a sight the rain and the wind had made her look. The water ran down from her hair and clothes; it ran down into the toes of her shoes and out again at the heels. And yet she said that she was a real princess.
“Well, we'll soon find that out,” thought the old queen. But she said nothing, went into the bed-room, took all the bedding off the bedstead, and laid a pea on the bottom; then she took twenty mattresses and laid them on the pea, and then twenty eider-down beds on top of the mattresses.
On this the princess had to lie all night.
In the morning she was asked how she had slept.
“Oh, very badly!” said she. “I have scarcely closed my eyes all night. Heaven only knows what was in the bed, but I was lying on something hard, so that I am black and blue all over my body. It's horrible!”
Now they knew that she was a real princess because she had felt the pea right through the twenty mattresses and the twenty eider-down beds. Nobody but a real princess could be as sensitive as that.
So the prince took her for his wife, for now he knew that he had a real princess; and the pea was put in the museum, where it may still be seen, if no one has stolen it.
There, that is a true story.
豌豆公主
从前有一位王子，他想找一位公主结婚，但她必须是一位真正的公主。
他走遍了全世界，想要寻到这样的一位公主。可是无论他到什么地方，他总是碰到一些障碍。公主倒有的是，不过他没有办法断定她们究竟是不是真正的公主。她们总是有些地方不大对头。
结果，他只好回家来，心中很不快活，因为他是那么渴望着得到一位真正的公主。
有一天晚上，忽然起了一阵可怕的暴风雨。天空在掣电，在打雷，在下着大雨。这真有点使人害怕！
这时，有人在敲门，老国王就走过去开门。
站在城外的是一位公主。可是，天哪！经过了风吹雨打之后，她的样子是多么难看啊！水沿着她的头发和衣服向下面流，流进鞋尖，又从脚跟流出来。
她说她是一个真正的公主。
“是的，这点我们马上就可以考查出来。”老皇后心里想，可是她什么也没说。她走进卧房，把所有的被褥都搬开，在床榻上放了一粒豌豆。于是她取出二十床垫子，把它们压在豌豆上。随后，她又在这些垫子上放了二十床鸭绒被。
这位公主夜里就睡在这些东西上面。
早晨大家问她昨晚睡得怎样。
“啊，不舒服极了！”公主说，“我差不多整夜没合上眼！天晓得我床上有件什么东西？我睡到一块很硬的东西上面，弄得我全身发青发紫，这真怕人！”
现在大家就看出来了。她是一位真正的公主，因为压在这二十床垫子和二十床鸭绒被下面的一粒豌豆，她居然还能感觉得出来。除了真正的公主以外，任何人都不会有这么嫩的皮肤的。
因此那位王子就选她为妻子了，因为现在他知道他得到了一位真正的公主。这粒豌豆因此也就被送进了博物馆，如果没有人把它拿走的话，人们现在还可以在那儿看到它呢。
请注意，这是一个真的故事。
热心网友
时间：2022-06-28 17:04
After the stealing of fire,Zeus became increasingly unkind to men.One day he ordered his son Hephaestus tobuild an image of a beautiful maiden out of clay.He then asked the gods and goddesses to award her with different kinds of gifts.Among others,Athena clothed her in an attractive coat and Hermes gave her the power of telling lies.A charming young lady,she was the first woman that ever lived.Zeus called her Pandora.Because she had received from each of the gods and goddesses a gift.The gift was harmful to men.
Zeus decided to send her down to men as a present.So Hermes them essenger brought her to Epimetheus,brother of Prometheus.The greatness of her beauty touched the hearts of all who looked upon her,and Epimetheus happily received her into his house.He had quite forgotten Pometheus' warning:never to accept anything from Zeus.The couple lived a happy life for some time.Then trouble came on to the human world.
When he was busy with teaching men the art of living,Prometheus had left a bigcask in the care of Epimetheus.He had warned his brother not to open the lid.Pandora was a curious woman.She had been feeling very disappointed that her husband did not allow her to take a look at the contents of the cask.One day,when Epimetheus was out,she lifted the lid and out itcame unrest and war,Plague and sickness,theft and violence, grief sorrow,and all the other evils.The human world was hence to experience these evils.Only hope stayed within the mouth of the jar and never flew out.So men always have hope within their hearts.
潘多拉
偷窃天火之后,宙斯对人类的敌意与日俱增。一天,他令儿子赫菲斯托斯用泥塑一美女像,并请众神赠予她不同的礼物。其中,雅典娜饰之以华丽的衣裳,赫耳墨斯赠之以说谎的能力。世上的第一个女人是位迷人女郎,因为她从每位神灵那里得到了一样对男人有害的礼物,因此宙斯称她为潘多拉(pander:意为煽动)。
宙斯决定把她作为礼物送给世间的男子。于是信使赫耳墨斯将她带给普罗米修斯的弟弟厄庇墨透斯。她姿容绝美,见者无不为之倾心。厄庇墨透斯兴高采烈地把她迎入屋内。普罗米修斯警告过他不得接受宙斯的任何馈赠,而他已将之忘于脑后。这一对夫妻有过一段幸福的生活,但不久灾难却降临人间。
当普罗米修斯忙于教授人们生存之道的时候,他把一个桶托付给厄庇墨透斯。他警告过他的弟弟不要打开桶盖。潘多拉好奇心强。她的丈夫不允许她看桶中之物,这使她感到十分懊恼。一天乘厄庇墨透斯出门在外,她打开桶盖,从桶里跑出的是不和与战争,瘟疫与疾病,偷窃与暴力,悲哀与忧虑,以及其他一些人类从此要遭受的不幸。只有希望被关在桶口,永远飞不出来,因此人们常常把希望藏于心中。
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热心网友
时间：2022-06-28 17:04
Themes are the fundamental and often universal ideas explored in a literary work.
The Failure of Charity
Much of the first part of Oliver Twist challenges the organizations of charity run by the church and the government in Dickens’s time. The system Dickens describes was put into place by the Poor Law of 1834, which stipulated that the poor could only receive government assistance if they moved into government workhouses. Residents of those workhouses were essentially inmates whose rights were severely curtailed by a host of onerous regulations. Labor was required, families were almost always separated, and rations of food and clothing were meager. The workhouses operated on the principle that poverty was the consequence of laziness and that the dreadful conditions in the workhouse would inspire the poor to better their own circumstances. Yet the economic dislocation of the Instrial Revolution made it impossible for many to do so, and the workhouses did not provide any means for social or economic betterment. Furthermore, as Dickens points out, the officials who ran the workhouses blatantly violated the values they preached to the poor. Dickens describes with great sarcasm the greed, laziness, and arrogance of charitable workers like Mr. Bumble and Mrs. Mann. In general, charitable institutions only reproced the awful conditions in which the poor would live anyway. As Dickens puts it, the poor choose between “being starved by a graal process in the house, or by a quick one out of it.”
The Folly of Indivialism
With the rise of capitalism ring the Instrial Revolution, indivialism was very much in vogue as a philosophy. Victorian capitalists believed that society would run most smoothly if indivials looked out for their own interests. Ironically, the clearest pronunciation of this philosophy comes not from a legitimate businessman but from Fagin, who operates in the illicit businesses of theft and prostitution. He tells Noah Claypole that “a regard for number one holds us all together, and must do so, unless we would all go to pieces in company.” In other words, the group’s interests are best maintained if every indivial looks out for “number one,” or himself. The folly of this philosophy is demonstrated at the end of the novel, when Nancy turns against Monks, Charley Bates turns against Sikes, and Monks turns against Mrs. Corney. Fagin’s unstable family, held together only by the self-interest of its members, is juxtaposed to the little society formed by Oliver, Brownlow, Rose Maylie, and their many friends. This second group is bound together not by concerns of self-interest but by “strong affection and humanity of heart,” the selfless devotion to each other that Dickens sees as the prerequisite for “perfect happiness.”
Purity in a Corrupt City
Throughout the novel, Dickens confronts the question of whether the terrible environments he depicts have the power to “blacken [the soul] and change its hue for ever.” By examining the fates of most of the characters, we can assume that his answer is that they do not. Certainly, characters like Sikes and Fagin seem to have sustained permanent damage to their moral sensibilities. Yet even Sikes has a conscience, which manifests itself in the apparition of Nancy’s eyes that haunts him after he murders her. Charley Bates maintains enough of a sense of decency to try to capture Sikes. Of course, Oliver is above any corruption, though the novel removes him from unhealthy environments relatively early in his life. Most telling of all is Nancy, who, though she considers herself “lost almost beyond redemption,” ends up making the ultimate sacrifice for a child she hardly knows. In contrast, Monks, perhaps the novel’s most inhuman villain, was brought up amid wealth and comfort.
The Countryside Idealized
All the injustices and privations suffered by the poor in Oliver Twist occur in cities—either the great city of London or the provincial city where Oliver is born. When the Maylies take Oliver to the countryside, he discovers a “new existence.” Dickens asserts that even people who have spent their entire lives in “close and noisy places” are likely, in the last moments of their lives, to find comfort in half--imagined memories “of sky, and hill and plain.” Moreover, country scenes have the potential to “purify our thoughts” and erase some of the vices that develop in the city. Hence, in the country, “the poor people [are] so neat and clean,” living a life that is free of the squalor that torments their urban counterparts. Oliver and his new family settle in a small village at the novel’s end, as if a happy ending would not be possible in the city. Dickens’s portrait of rural life in Oliver Twist is more approving yet far less realistic than his portrait of urban life. This fact does not contradict, but rather supports, the general estimation of Dickens as a great urban writer. It is precisely Dickens’s distance from the countryside that allows him to idealize it.
Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Disguised or Mistaken Identities
The plot of Oliver Twist revolves around the various false identities that other characters impose upon Oliver, often for the sake of advancing their own interests. Mr. Bumble and the other workhouse officials insist on portraying Oliver as something he is not—an ungrateful, immoral pauper. Monks does his best to conceal Oliver’s real identity so that Monks himself can claim Oliver’s rightful inheritance. Characters also disguise their own identities when it serves them well to do so. Nancy pretends to be Oliver’s middle-class sister in order to get him back to Fagin, while Monks changes his name and poses as a common criminal rather than the heir he really is. Scenes depicting the manipulation of clothing indicate how it plays an important part in the construction of various characters’ identities. Nancy dons new clothing to pass as a middle-class girl, and Fagin strips Oliver of all his upper-class credibility when he takes from him the suit of clothes purchased by Brownlow. The novel’s resolution revolves around the revelation of the real identities of Oliver, Rose, and Monks. Only when every character’s identity is known with certainty does the story achieve real closure.
Hidden Family Relationships
The revelation of Oliver’s familial ties is among the novel’s most unlikely plot turns: Oliver is related to Brownlow, who was married to his father’s sister; to Rose, who is his aunt; and to Monks, who is his half-brother. The coincidences involved in these facts are quite unbelievable and represent the novel’s rejection of realism in favor of fantasy. Oliver is at first believed to be an orphan without parents or relatives, a position that would, in that time and place, almost certainly seal his doom. Yet, by the end of the novel, it is revealed that he has more relatives than just about anyone else in the novel. This reversal of his fortunes strongly resembles the fulfillment of a naïve child’s wish. It also suggests the mystical binding power of family relationships. Brownlow and Rose take to Oliver immediately, even though he is implicated in an attempted robbery of Rose’s house, while Monks recognizes Oliver the instant he sees him on the street. The influence of blood ties, it seems, can be felt even before anyone knows those ties exist.
Surrogate Families
Before Oliver finds his real family, a number of indivials serve him as substitue parents, mostly with very limited success. Mrs. Mann and Mr. Bumble are surrogate parents, albeit horribly negligent ones, for the vast numbers of orphans under their care. Mr. Sowerberry and his wife, while far from ideal, are much more serviceable parent figures to Oliver, and one can even imagine that Oliver might have grown up to be a proctive citizen under their care. Interestingly, it is the mention of his real mother that leads to Oliver’s voluntary abandonment of the Sowerberrys. The most provocative of the novel’s mock family structures is the unit formed by Fagin and his young charges. Fagin provides for and trains his wards nearly as well as a father might, and he inspires enough loyalty in them that they stick around even after they are grown. But these quasi-familial relationships are built primarily around exploitation and not out of true concern or selfless interest. Oddly enough, the only satisfactory surrogate parents Oliver finds are Brownlow and Rose, both of whom turn out to be actual relatives.
Oliver’s Face
Oliver’s face is singled out for special attention at multiple points in the novel. Mr. Sowerberry, Charley Bates, and Toby Crackit all comment on its particular appeal, and its resemblance to the portrait of Agnes Fleming provides the first clue to Oliver’s identity. The power of Oliver’s physiognomy, combined with the facts that Fagin is hideous and Rose is beautiful, suggests that in the world of the novel, external appearance usually gives a fair impression of a person’s inner character.
Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Characters’ Names
The names of characters represent personal qualities. Oliver Twist himself is the most obvious example. The name “Twist,” though given by accident, alludes to the outrageous reversals of fortune that he will experience. Rose Maylie’s name echoes her association with flowers and springtime, youth and beauty. Toby Crackit’s name is a lighthearted reference to his chosen profession of breaking into houses. Mr. Bumble’s name connotes his bumbling arrogance; Mrs. Mann’s, her lack of maternal instinct; and Mr. Grimwig’s, his superficial grimness that can be removed as easily as a wig.
Bull’s-eye
Bill Sikes’s dog, Bull’s-eye, has “faults of temper in common with his owner” and is a symbolic emblem of his owner’s character. The dog’s viciousness reflects and represents Sikes’s own animal-like brutality. After Sikes murders Nancy, Bull’s-eye comes to represent Sikes’s guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog’s presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull’s-eye, who arrives at the house of Sikes’s demise before Sikes himself does. Bull’s-eye’s name also conjures up the image of Nancy’s eyes, which haunts Sikes until the bitter end and eventually causes him to hang himself accidentally.
London Bridge
Nancy’s decision to meet Brownlow and Rose on London Bridge reveals the symbolic aspect of this bridge in Oliver Twist. Bridges exist to link two places that would otherwise be separated by an uncrossable chasm. The meeting on London Bridge represents the collision of two worlds unlikely ever to come into contact—the idyllic world of Brownlow and Rose, and the atmosphere of degradation in which Nancy lives. On the bridge, Nancy is given the chance to cross over to the better way of life that the others represent, but she rejects that opportunity, and by the time the three have all left the bridge, that possibility has vanished forever
