When the people of Hamelin, Germany had a problem with rats, they called the Pied Piper. With his bewitching pipe and enchanting music, he lured the rats away from the city and into a watery grave. But when the people of Hamelin refused to pay the Pied Piper what they had promised, he turned his entrancing music on their children, leading them away to never be seen again. This key moment in a familiar fairy tale carries many insights. It is, at once, a commentary on social values, a vivid example of family tragedy, and a bit of personal psychology. Folklore is compacted wisdom-literature that yields more information with each reading.
当德国哈默尔恩的人们遇上鼠疫的难题,他们请来了一个花衣魔笛手。借助其魔笛的迷人乐声,他把老鼠引出城,引进水里淹死。但当哈默尔恩的人们拒绝兑现承诺——向魔笛手支付报酬时,魔笛手转而向他们的孩子们奏起迷乐,引孩子们出走,不再出现。在这个耳熟能详的童话故事里,这一关键的情节隐含着很多深层的东西。它既反映出社会价值观,又鲜活地展现了某种家庭悲剧,还呈现了一点个人心理。民间故事是一种浓缩的智慧文学,每看一次都能获取更多信息。
There is much we can learn by reflecting on the stories heard in childhood. Magical characters are likely to remain in the imagination for a lifetime. Fairytale is a sub-genre of folktale, something that is handed down from person to person for generations; one of the most important identifying features of a folktale is that it belongs to an entire culture, rather than to an individual. That is why folktales give us many insights into the cultures from which they spring.
通过回想童年里听过的故事,我们可以从中学到很多东西。种种奇幻人物角色很可能会一辈子留在我们的想象空间里。童话故事是民间故事下面的一个分支流派,口耳相传,代代流传。民间故事最重要的特征之一是它是某种文化共有的,而非属于个人。这就是民间故事能让我们深入了解其文化渊源的原因所在。
My own first hearing of many of the old stories was in the places where they originated. Throughout my childhood our family would travel abroad for several months every few years. There were six children. My parents came up with an ingenious and life-changing idea: have us study the local tales. When we were in Denmark, we visited the home of Hans Christian Andersen, and discussed his stories, such as The Little Mermaid. In Germany, we went to the village of Hamelin, where the tale of the Pied Piper takes place. In Baghdad, it was Arabian Nights. In the temples of India and Japan, the tales of Asia came to life. Seeing how the adventures reflected their settings and how the stories are still alive in those places was a powerful experience.
我初次接触到那些源远流长的童话故事,很多都是在故事的起源地。在我的整个童年时期里,我们一家隔几年就会出国旅行好几个月。家里有六个孩子。我们的父母想到了一个巧妙的主意,而这也影响了我们的一生,那就是让我们学习当地传说。当我们在丹麦时,我们参观了汉斯?克里斯蒂安?安徒生的故居,还对他写的童话进行了一番讨论,比如《小美人鱼》;在德国,我们去了哈默尔恩村——花衣魔笛手那个童话的起源地;在巴格达,我们研究童话《一千零一夜》;而在印度及日本的寺庙里,亚洲的童话故事跃然眼前。看着那段段冒险如何反映其文化背景及那些童话如何依然在其起源地经久不衰,那是种令人震撼的体验。
Various people can imagine the tales quite differently. I had heard the stories before and had pictures in my mind about what the places looked like. When I saw, for example, the spot in Germany where the Pied Piper supposedly led the children away, it didn’t look exactly the same as I had imagined. In a way, noticing that difference made me aware of how our creativity works. It shaped my sense of the world.
不同的人对童话的想象是千差万别的。我之前对那些故事早就有所听闻,并在脑海里想象了一番故事发生地的景象。比如,当我在德国看到那个按推测应该是魔笛手引孩子出走的地方,它看上去和我之前想象的并非完全一致。在某种程度上,发现这种差异使我知道了我们的创造力是如何发挥作用的。它塑造了我对这世界的观感。
I later learned how these stories portray life issues in miniature. These tales are psychological mirrors that can become more complex as we mature. Bedtime stories have enormous influence over our identities. People identify with certain characters in the stories they heard in childhood. To some degree, many live out these stories, largely unaware of how much the old tales may be shaping our lives.
我后来认识到,这些故事其实就是生活的缩影。这些童话就是反映心理的镜子,随着我们成长成熟,故事寓意变得愈发复杂。睡前故事对于我们的个性塑造影响巨大。人们认同自己童年里听到的故事中的某些人物。在某种程度上,很多人会按着这些故事的发展轨迹来生活,却没有意识到这些源远流长的故事可能对我们人生的塑造起着如此大的作用。
The story of the Pied Piper reminds us that every parent has to deal with letting go of their children and every former child has to cope with feelings about what it means to leave home. If we take the tale as a reflection of the inner landscape, we see that all the characters can represent aspects of our own personalities. The village leaders may symbolize a practical, thrifty side that does not sufficiently appreciate our magical qualities or artistic abilities. If we cheat the imagination of appropriate time and resources, things may go badly. Creativity and play engage the childlike energies that can leave us in a state of depression if they depart.
花衣魔笛手的故事提醒我们,每个父母都得面对放手让孩子高飞的情况,而每个孩子都得品尝到离家独立的滋味。如果我们视童话为对内心境况的映照,我们会看到所有的角色都代表着我们个性中的方方面面。村中的领导干部也许象征着我们现实而节俭的一面,这一面不会很欣赏我们那些不可思议的特性或艺术才能。如果我们“欺骗”了想象力,不予其适当的时间和资源来发展,事情可能会变糟。创造力和游戏玩耍这些活动包含人们那孩童般旺盛的活力于其中,而如果这种活力消失,我们可能会陷入消沉状态。
Mythic stories make up a kind of collective dream that we all have together. If we want to understand our dreams, in many respects, we can look at these stories and study them. A talking animal in a story is often the voice of nature. Among other messages, we are being reminded that we are also animals. We are walking around in animal flesh. We sometimes forget this in our excessively mental, all too industrial culture. We are, first of all, animal creatures. We are not just visitors to nature, or merely caretakers of nature. We are nature. Guiding animals are crucial in mythic stories. Psychologically, this might well represent the wisdom of the body. Meanwhile, sinister or wicked characters may represent aspects of ourselves that have been neglected or rejected.
虚构的故事拼凑出的是一种我们所有人共有的梦想。如果我们想理解我们的梦想,从许多方面来讲,我们可以看看这些故事,好好研究一下。故事里会说话的动物所发出的通常就是自然的.声音。在其传达的其他信息当中,它们提醒着我们,人类也同样是动物。我们以一副“皮囊”行走于世。置身于过度强调“精神世界”,全盘工业化的文化当中,我们有时会忘记这一点——我们首先是动物。我们不仅仅是偶尔走到自然里参观游玩或对其照料看管。我们属于自然。在虚构的故事中,起引导作用的动物是关键角色。在心理学上,这也许很好地表现了肉身存在的智慧(编者注:这里意指会说话的动物其实为人类的化身。因为人类过分关注其“社会性”而忽视了自身的“动物性”,而这些会说话的动物提醒了人们其“动物性”,因此我们不能忽视其智慧)。同时,邪恶或不道德的角色可能代表的是我们自身那些被忽略或被抹杀掉的方面。
The ancient tales have their own lives, each with unique, eccentric qualities. Part of the richness is that the same story will have different lessons for each listener. Stories can speak to us in several ways: The practical aspects of our personalities appreciate the assistance provided in prudent decision-making. Our playful energies find the stories to be great fun. The quiet, spiritual side is grateful to have some time invested in reflection. The effects of what we learn might last for a lifetime.
那些古老的故事有其各自的生命力,每个故事都有着独特而怪异的特性。其丰富内涵部分表现于同一个故事对于每个听众来说意味着不同的经验教训。故事能通过好几种途径把信息传达给我们:我们个性中现实的一面会感激在谨慎抉择过程中来自别人的协助。我们顽皮的一面会感觉那些故事乐趣无穷。而我们安静、灵性的一面则会因为投入时间反思而收获感动。我们从童话故事里学到的东西其影响可能持续一生。
安徒生童话的题材很广，也是世界著名的童话，那么我们怎样用英文来介绍这部童话比较合适呢?
一、4月2日是安徒生诞辰202年的日子.现在,我给大家简单的介绍一下安徒生.汉斯•克里斯蒂安•安徒生(1805~1875),诞生于丹麦富恩岛奥登塞小镇,是十九世纪的世界童话大师.小时候,他孤僻自卑,生性敏感,长得其貌不扬,没有人缘.《丑小鸭》被认为是他自传体作品.早年他的际遇不佳,父亲是个穷鞋匠,母亲是个洗衣匠,一字不识.他从小家境贫寒,没受过正规教育,但他对文学有一颗赤诚和执著的心,正是这样不懈的努力,安徒生终于获得了成功.
翻译：
The 2 April is the day of Andersen's 202th birthday .Right now I would like to give you a brief introduction about Mr.Andersen.Born under extremely poor conditions in the Danish town Odense (the Island of Funen), Hans Christian Andersen (1805-1875) was a master of the fairy tales in the 19th century.As a child he was highly dissociable,self-contemptuous, and emotional.All these characters and his unattractive appearance made him very unpopular.The Ugly Duckling was considered his autobiographical work.His early years were full of misadventures.His father was a shoemaker and his mother worked as a washerwoman. Andersen received little early education because of poor family circumstances.But it was his devotion and dedication to literature that finally contributed to his great success.
二、安徒生不仅是个童话作家,也是个诗人、剧作家、旅行家,他还擅长剪纸.因为小时候家境贫寒,没有学习的机会,所以他强烈地感到：最需要阅读的人,莫过于穷苦的孩子.“为了争取未来的一代”,安徒生决定给孩子写童话,出版了《讲给孩子们听的故事》.此后数年,每年圣诞节都出版一本这样的.童话集.其后又不断发表新作,直到1872年因患癌症才逐渐搁笔.他在近40年间,共计写了童话168篇.安徒生童话具有独特的艺术风格：即诗意的美和喜剧性的幽默.前者为主导风格,多体现在歌颂性的童话中,后者多体现在讽刺性的童话中.
翻译：
Andersen was not only a fairy tale writer but a poet, a playwright and a traveler.And he was also good at paper cutting.Poor family background in his childhood and no opportunities to learn made him keenly feel that there was nobody who was in want of reading more than poor children .In order to strive for the next generation Andersen made up his mind to write fairy tales for kids,and published his book named The Story Told to The Children .In the following years the same type of fairy tales were published at each christmas.He had continued producing his new works until he was cancered.There were total 168 fairy tales written by Andersen in his nearly 40 years.His works were characterized by their unique style: the poetic beauty and the bouffe humor.The former was predominant style that embodied itself in the chantable stories while the latter in the sarcastic ones.
三、安徒生第一集童话出版之后,当时以诗人厄楞士雷革(1779～1850)为首的“浪漫主义”运动正在丹麦进行.安徒生和当时的浪漫主义者不同,他那种富于想象的活泼文体丝毫没有华而不实的味道,而是充满浓厚的乡土气息.他的代表作品：《拇指姑娘》、《国王的新衣》、《海的女儿》、《野天鹅》、《卖火柴的小女孩》、《丑小鸭》等.安徒生对孩子们的影响巨大,他的文学形象：美人鱼至今还屹立在丹麦哥本哈根港口的海边,成为丹麦的标志.
翻译：
After the publication of Andersen's first fairy tales, "Romantic" movement initiated by poet (厄楞士雷革)(1779～1850)was on the march in Denmark.Different from the style of those romanticists,his style,filled with strong and rustic features, was imaginative ,vivid and not specious at all.Andersen's representative works contained "Thumbelina","The Emperor's New Clothes","The Little Mermaid","The Wild Swans", "The Little Match-seller",and "The Ugly Duckling" etc.His works influenced the children so stong that his literary figure,the Mermaid's statue,still stands by the sea at Copenhagen port as the symbol of Denmark.
小美人鱼英文简介
The Little Mermaid lives at the sea bottom with her father the Sea King, her grandmother, and her five older sisters, born one year apart. When a mermaid turns 15, she may swim to the surface to watch the world above, and as the sisters become old enough one of them visits the surface every year. As each of them returns the Little Mermaid listens longingly to their descriptions of the surface and human beings.
When the Little Mermaid turns 15 she ventures to the surface. She sees a ship with a handsome prince, and falls in love with him. There comes a great storm, and the prince almost drowns, but the Little Mermaid saves him and she delivers him unconscious to the shore near a temple. Here she waits until he is found by a young girl from the temple. But the prince never sees the Little Mermaid.
The Little Mermaid asks her grandmother whether humans can live forever if they do not drown. She is told that no, humans have an even shorter lifespan than mermaids. Mermaids live for 300 years, but when they die they turn to sea foam and cease to exist. Humans, on the other hand, have a short lifespan on earth, but they have an eternal soul that lives on in heaven even after they die. The Little Mermaid spends her days longing for the prince and for an eternal soul. At last she goes to the Sea Witch, who sells her a potion that gives her legs, in exchange for her tongue, because the Little Mermaid has the prettiest voice in the world. But drinking the potion will feel like a sword being passed through her, and walking on her feet will feel like walking on knives. And she will only get a soul if the prince loves her and marries her, for then a part of his soul will flow into her. Otherwise, at dawn on the first day after he marries another woman, the Little Mermaid will die broken-hearted and turn to sea foam.
The Little Mermaid drinks the potion and meets the prince, who is attracted to her beauty and grace even though she is mute. Most of all he likes to see her dance and she dances for him even though it feels like dancing on knives. The prince loves her like one loves a child.
The time comes when the king decides that the prince is to marry the neighboring king's daughter. The prince tells the Little Mermaid that he will not marry the princess because he does not love her. He can only love the young girl who once saved his life, the girl who unfortunately belongs to the temple. He also tells the Little Mermaid that she is beginning to take the temple girl's place in his heart. However, it turns out that the princess is the temple girl; she had only been sent to the temple to be educated. The prince loves her and the wedding is announced.
The prince and princess are married and the Little Mermaid's heart breaks. She thinks of all that she has given up in order to be with the prince and to gain an eternal soul - her beautiful voice, her wonderful home, her loving family, her life - and of all the pain that she has suffered; all without the prince ever having a thought thereof. She despairs, but before dawn her sisters come to her and give her a knife that the Sea Witch has given them in exchange for their hair. If the Little Mermaid slays the prince with the knife she will become a mermaid again and be able to live out her full life under the sea.
But the Little Mermaid cannot bring herself to kill the sleeping prince lying with his bride and, as dawn breaks, throws herself into the sea. Here her body dissolves into sea foam, but instead of ceasing to exist, she feels the warmth of the sun; She has turned into a spirit, a daughter of the air. The other daughters of the air tell her that she has become like them because she, like them, strove with all her heart to gain an eternal soul. As a mermaid her gaining a soul was dependent on another, the prince, but as a daughter of the air she will earn her own soul by doing good deeds. When 300 years have passed she will have earned her soul and will rise into the kingdom of God. This time can be shortened for you see, with each good child she finds she subtracts a year, while she adds a day for each tear she must shed over a wicked child.
Many critics considered the last episode with its happy end to be rather "stuck on", with the tale's natural dramatic ending being the moment of supreme tragic renunciation when the Mermaid chooses to die irrevocably rather than kill her beloved prince. Debate on this point has been a continuous topic in Andersen scholarship more or less since such scholarship existed, and is likely to continue.
安徒生的文笔诙谐而又柔和，灵动轻巧而又饱含浓重的忧伤和哀挽。他的许多技巧精致而不矫饰、主题深刻而不刻板。他能让文学传统中那些浪漫、古老、深情和微弱的成份，与那些现代、飞速、冷漠和随意的情绪发生联系和产生磁场!
安徒生童话读后感篇一
读了《安徒生童话》，我不禁感叹道：好书!
童话是幻想，它不是神话故事，也不是民间传说。它立足于现实生活，在现实生活的基础上又充满了人类美好人性的现象和愿望，这些作品以其异乎寻常的艺术魅力震撼了世界论坛，揭开了世界文学史上童话创作的新篇章。
我印象最深的是《海的女儿》这篇童话，《海的女儿》是安徒生童话宝库的珠玑，文章中的那种势不可挡的精彩令人难以忘怀，也使人回味无穷。
《安徒生童话》也是一本很有意义的书。其实我们都知道，书中的上帝，就是“爱”与“正义”的化身，但事实上这种“希望”在当时的现实生活是不可能实现的，相反只会加深苦恼。
安徒生在他的作品中所表现出的特有气质、天真朴素的激情和富裕沉思的哲学脾性，与中国的文化传统不无相通之处，像许多古今中外优秀的文学作品一样。
《安徒生童话》真是一本好书!
(一)
I didn't read fairy tales of children For a long time, when drop "Anderson fairy tale, so surprised himself unexpectedly so fascinating finished reading the book. Although books have lay quietly on the desktop, can with them or cute, or cunning man has in my mind flick scattered not go. The deepest impression, some too "the daughter of the sea", "a beautiful mermaid, fell in love with a prince, for him, put aside the sea at the freedom of living, throw away love her sisters, I lost my voice, and become a normal person. But unfortunately the prince had love princess, mermaid helpless into foam disappeared. The mermaid although pitiful, but his mind was precious to the prince, that copy of pure heart, who is now a rare. Regardless of the outcome, no matter face what happened, everyone should have simple sincere heart, and effort, bravely pursuit, learning or life, only the effort man can succeed. Fairy tale, while just false, but it's better to tell us, everything is possible, let us like the daughter of the sea is same, unremitting struggle, eventually can obtain brilliant.
安徒生童话读后感篇二
读了《安徒生童话》，我不禁感叹道：好书!
童话是幻想，它不是神话故事，也不是民间传说。它立足于现实生活，在现实生活的基础上又充满多人类美好人性的现象和愿望，这些作品以其异乎寻常的艺术魅力震撼了世界论坛，揭开了世界文学史上童话创作的新篇章。
我印象最深的事《海的女儿》这篇童话，《海的`女儿》是安徒生童话宝库的珠玑，文章中的那种势不可挡的精彩令人难以忘怀，也是人回味无穷。
《安徒生童话》也是一本很有意义的书。其实我们都知道，书中的上帝，就是“爱”与“正义”的化身，但事实上这种“希望”在当时的现实生活是不可能实现的，相反只会加深苦恼。
安徒生在他的作品中所表现出的特有气质、天真朴素的激情和富裕沉思的哲学脾性，与中国的文化传统不无相通之处，像许多古今中外优秀的文学作品一样。书中的天堂是那么“美”。是每个人都向往的地方，《安徒生童话》犹如一朵鲜花绽放在每个人的心理。
安徒生童话读后感篇三
哈、哈、哈……”一阵笑声从一个小女孩儿的嘴里传了出来，她就是我，你们知道这是为什么吗?我给你们说一本书，你就知道了。它就是我的好伙伴——《安徒生童话》。你别看它是小小的本书，其实里面记录了“喜、怒、哀、乐”各种情感和美好。
这本书里面我印象最深的就数“海的女儿”了。这个故事里的小美人鱼，为了王子和公主的幸福，不惜自己变成美丽的泡沫，去了天国。虽然她是那么爱王子，为了王子她却把美妙的嗓音都失去了，可她还是无怨无悔。这本书不止这一个故事，还有可爱的白雪公主、勤劳善良的灰姑娘、英俊的王子、慈祥的老爷爷、老奶奶……
《安徒生童话》是一本好书，一本美好的好书，一本美好又具有教育意义的好书。我希望我们不要白读书，要读的精彩读的出色!
