běn shū shì bǎi yáng wéi yī yī bù yǐ 'ér tóng wén xué xíng shì chū xiàn de zuò pǐn， gòng yóu 15 gè duǎn piān zǔ chéng， suī gè zì dú lì， yòu huán huán xiāng kòu， yǐ xī là luó mǎ shén huà、 mín jiān gù shì、 shèng jīng gù shì wéi zhùgàn， jiā shàng zuò zhě fēng fù de xiǎng xiàng lì， gòu chéng liǎo fù yòu shén huàn sè cǎi de《 tiān yá gù shì》。 zài tiān dì zhū bì tè gōng pò tiān gōng jié shù yuán běn yóu tài tǎn yī zú tǒng zhì de hóng dà chǎng miàn xià， 15 gè duǎn piān xiāng jì zhǎn kāi， jì kě yǐ kàn dào wéi rén lèi dài lái guāng míng de shǐ zhě héng héng pǔ luó mǐ xiū sī， yòu néng tǐ yàn dào xiǎo 'ài shén qiū bǐ tè de 'ài qíng zhī lǚ， yǐ jí nà gǔ lǎo 'ér shén mì de 'ài qín wén míng ……

　　zuò zhě： yú péi xiá tuō yà
　　 zhè shì yī fèn sòng gěi zhōng yāng diàn shì tái shǎo 'ér pín dào 3 suì shēng rì de lǐ wù。 zhè yě shì 3 suì de shǎo 'ér pín dào xiàn gěi quán guó xiǎo péng yǒu、 xiǎo guān zhòng hé yī qiē guān 'ài tā de rén de lǐ wù。 yīn wéi yòu liǎo xiān tiān yùn yù de bǎo mǎn、 liáng hǎo kuān sōng de shēngzhǎng huán jìng、 wú shù rén de jìn xīn hē hù yǔ yǎng yù， shǎo 'ér pín dào shēn xīn jiàn kāng dì zhǎngdà liǎo。 3 nián lái， tā zǒu guò de jiǎo bù yòu kuài yòu wěn。 suī rán liú zài bèi hòu de xiǎo zú yìn hái bù gòu qīng xī， dàn yī gè gè què shēn shēn lào zài rè 'ài tā de diàn shì guān zhòng xīn lǐ。

　　běn shū jiāng wǒ men rì cháng shēng huó zhōng yī dìng yào zhī dào de jī běn jīng jì yuán lǐ biān chéng tóng huà gù shì， yòng shēng dòng yòu qù de yǔ yán gěi xiǎo péng yǒu men jiǎng shù jīng jì gài niàn。 lìng wài wèile jiǎn qīng fù mǔ hé lǎo shī men gěi hái zǐ jìn xíng jīng jì jiào yù de fù dān， wǒ men hái yù bèi ná chū yī tào shēn rù qiǎn chū dì jiǎng jiě jīng jì yuán lǐ de fāng 'àn。 cóng xiǎo jiù yòu jīng jì gài niàn de hái zǐ huì yǔ zhòng bù tóng， tā men mù biāo yì shí qiáng， guān chá shè huì de shì yě kāi kuò， shēng huó tài dù yě jī jí jiàn kāng， xiàn zài kāi shǐ， ràng zán men yī qǐ lái tōng guò tóng huà xué xí jīng jì yuán lǐ bā。

　　《 xié tóng zhèng shǐ》 shì yǐ “ xié tóng ” de yǎn guāng， lái wāi jiě yī gè gè zhōng guó lì shǐ xiǎo gù shì， suī méi yòu shénme wēi yán dà yì， dàn zhèng yóu yú méi yòu shénme fù dān， cái shǐ jiǎng fāng zhōu de lì shǐ gù shì xiěde gé wài“ táo qì” hé tǎo rén huān xīn， nǐ jué duì néng bèi tā dòu dé hěn gāo xīng。

　　běn shū shì jiàn qiáo dà xué bó shì kǎ luò lín ào sī tīng zhuān mén wéi zì jǐ de sān gè hái zǐ biān xiě de lì zhì gù shì jí。 zhè xiē gù shì huó pō yòu qù， shè jí de fàn wéi pō guǎng， yòu zuò rén， yòu zuò shì， yòu mèng xiǎng， yòu chéngzhǎng， yòu cuò zhé， hái yòu 'ài hé gǎn 'ēn。 měi yī gè gù shìdōu jù yòu fēng fù de jiào yù yì yì， dū yùn hán zhe shēn shēn de mǔ 'ài， fǎng fó yī zhǒng shén qí de lì liàng， zài bù zhī bù jué zhōng jī lì hái zǐ fèn fā xiàng shàng， cù jìn hái zǐ duì shēng huó de fāng fāng miàn miàn jìn xíng gēngshēn céng cì de sī kǎo， cóng 'ér huò dé gèng duō de zhì huì、 yǒng qì hé xìn xīn； hái kě yǐ bāng zhù tā men wā jué qián néng， kāi fā qíng shāng， yī tiān tiān wán shàn zì wǒ， yī bù bù zǒu xiàng chéng gōng。 zhè běn shū jué bù jǐn jǐn shì yī běn pǔ tōng de jiào zǐ dú běn， fù mǔ wán quán kě yǐ hé hái zǐ yī qǐ yuè dú， yī qǐ sī kǎo， yī qǐ chéngzhǎng。

　　zhè shì yī gè“ huó bǎo bān”， dà gài hé nǐ men bān chàbù duō。 lǎo shī men yī shuō dào zhè gè bān， tóu fā gēn 'ér dū fā má， zhí dào bàng bàng lǎo shī de dào lái。 yú shì， zì rán kè bèi bàng bàng lǎo shī bān dào liǎo yuè liàng shàng； dà hé chàng de shí hòu tóng xué men de shēng yīn táo páo liǎo； qiāo luó dǎ gǔ de dà lǎo shǔ jīng xiàn jiào shì， gěi dà jiā sòng lái liǎo jǐn qí； yòu rén jiāng yào bèi jī qì rén tī chū“ wù kōng hào” fēi chuán； yī bāo“ xiāo shī fěn” rě liǎo dà huò…… píng dàn wú qí de xiào yuán shēng huó， hū rán chōng mǎn liǎo qí miào huàn xiǎng， hěn duō shì qíng dōuzài qiāoqiāo gǎi biàn。 tóng xué men fēng kuáng dì 'ài shàng liǎo xué xiào， ài shàng liǎo zhè gè bàng bàng lǎo shī。 bàng bàng lǎo shī？ tā dào dǐ shì hé xǔ rén wù， néng ràng xué shēng rú cǐ zháomí？ jīng cǎi gù shì yī diǎn diǎn de dài nǐ qù jiē mì

　　kē yún lù de《 tóng huà rén gé》 shì yī bù biān yuán xìng de zhù zuò。 tā duì shì jiè shàng yī xiē zuì zhù míng de tóng huà、 shén huà gù shì jìn xíng liǎo dú tè de jiě xī， shǐ wǒ men tū wù dì kàn dào liǎo yī xiē wǒ men yuán běn kě néng bìng bù jué chá de zhòng dà de jué dìng rén gé de qíng jié， zhū rú：“ jiǎ bǎo yù qíng jié”、“ tuō 'ěr sī tài qíng jié”、“ xīn bā qíng jié”、 hái yòu“ bái xuě gōng zhù qíng jié”、“ mó jìng wáng hòu qíng jié”、“ huī gū niàn qíng jié”、“ hǎi de nǚ 'ér qíng jié”、“ chǒu xiǎo yā qíng jié” děng děng。 nǐ céng bèi nǎ xiē qíng jié suǒ kùn rǎo？ běn shū zhōng kē yún lù jiāng hé nǐ yī qǐ tàn tǎo zhè xiē wèn tí。

　　měi guó zhù míng gē xīng mài dāng nà zuì xīn tóng shū xì liè， yǐ shǐ wú qián lì de 40 duō zhǒng yǔ yán、 quán qiú 100 duō gè guó jiā hé dì qū tóng shí chū bǎn fā xíng， kān chēng chū bǎn shǐ shàng de qí jì。 zhè shì yī bù chàng xiāo quán shì jiè、 shēn shòu gè guó 'ér tóng hé jiāzhǎng qīng lái de、 guān zhù xīn líng chéngzhǎng de tóng shū。

　　nà lǐ miàn de zhù rén gōng“ xiǎo yīng xióng”， shì yī gè hǎn jiàn de míng lǎng yǔ hé xié de xíng xiàng， yě zhǐ yòu zhè yī piān zuò pǐn chōng mǎn liǎo yì hū xún cháng de lè guān zhù yì。

　　《 xià luò de wǎng》 zhè bù zuò pǐn chū bǎn yú 1952 nián， zhì 2009 nián yǐ yòu 20 duō zhǒng yì wén， fā xíng jìn qiān wàn cè。 suī rán zuò zhě shū xiě de shì yī gè tóng huà gù shì， dàn tā gěi rén yǐ wú xiàn wēn qíng、 gǎn dòng hé chōng jǐng， shì yī bù gěi dà rén yuè dú de tóng huà。 zuò zhě huái tè yòng róu rèn wú bǐ de zhī zhū sī biān zhì liǎo yī zhāng lǐ xiǎng de、 wēn nuǎn de、 měi lì de、 ài de dà wǎng， gǎn dòng zhe shì jiè wú shù de dú zhě。 zhè shì yī gè shàn liáng de ruò zhě zhī jiān xiāng hù fú chí de gù shì， chú liǎo 'ài、 yǒu yì zhī wài， zhè piān jí shū qíng de tóng huà lǐ， hái yòu yī fēn duì shēng mìng běn shēn de zàn měi yǔ juàn liàn。
　　
　　 zhōng wén shū míng：《 xià luò de wǎng》
　　 zuò zhě :E ・ B・ huái tè（ měi）
　　 yì zhě : rèn róng róng
　　ISBN:9787532733415
　　 yè shù :181
　　 zhuāng zhēn : píng zhuāng
　　 chū bǎn nián :2004-05
　　 suǒ shǔ lèi xíng： shǎo 'ér / ér tóng wén xué / tóng huà /
　　 shì hé yuè dú nián líng： 6 suì yǐ shàng
　　 chū bǎn shè : shàng hǎi yì wén chū bǎn shè
　　
　　 yī zhǐ míng jiào wēi 'ěr bó de xiǎo zhū hé yī zhǐ jiào xià luò de zhī zhū chéng wéi péng yǒu。 xiǎo zhū wèi lái de mìng yùn shì chéng wéi shèng dàn jié shí de pán zhōng dà cān， zhè gè bēi liáng de jiēguǒ ràng wēi 'ěr bó xīn jīng dǎn hán。 tā yě céng cháng shì guò táo páo， dàn tā bì jìng shì yī zhǐ zhū。 kàn sì miǎo xiǎo de xià luò què shuō：“ ràng wǒ lái bāng nǐ。” yú shì xià luò yòng tā de wǎng zài zhū péng zhōng zhì chū“ wáng pái zhū”、“ zhū kè màn de míng zhū” děng zì yàng， nà xiē bèi rén lèi shì wéi qí jì de zì ràng wēi 'ěr bó de mìng yùn zhěng gè nì zhuǎn， zhōng yú dé dào liǎo bǐ sài de tè bié jiǎng hé yī gè 'ān xiǎng tiān mìng de wèi lái。 dàn jiù zài zhè shí， zhī zhū xià luò de shēng mìng què zǒu dào liǎo jìn tóu……
　　 zhè shì yī gè shàn liáng de ruò zhě zhī jiān xiāng hù fú chí de gù shì， chú liǎo 'ài、 yǒu yì zhī wài， zhè piān jí shū qíng de tóng huà lǐ， hái yòu yī fēn duì shēng mìng běn shēn de zàn měi yǔ juàn liàn。
　　《 xià luò de wǎng》 - zhù yào mù lù
　　
　　 mù lù：
　　1） zǎo fàn qián 2） xiǎo zhū wēi 'ěr bó 3） táo zǒu 4) gū dú 5) xià luò 6) xià rì 7) huài xiāo xī 8) jiā lǐ de tán huà 9) wēi 'ěr bó shuō dà huà 10) chòu dàn bào zhà 11) qí jì 12) huì yì 13） jìn zhǎn shùn lì 14） duō lǐ 'ān yī shēng 15） xī shuài
　　 guān xì biǎo：
　　 yuē hàn · ā lā bù 'ěr xiān shēng， ā lā bù 'ěr tài tài， duō lǐ 'ān yī shēng
　　 ài fú lǐ héng héng 'ā lā bù 'ěr fū fù de 'ér zǐ， shí suì fú 'ēn héng héng 'ā lā bù 'ěr fū fù de nǚ 'ér， bā suì huò mò ·L· zhū kè màn xiān shēng héng héng fú 'ēn de jiù jiù yī dí sī · zhū kè màn tài tài héng héng fú 'ēn de jiù mā lè wéi héng héng zhū kè màn fū fù de gù gōng wēi 'ěr bó héng héng xiǎo zhū xià luò · ā · kǎ wǎ dì kǎ héng héng zhī zhū tǎn pǔ 'ěr dùn héng héng lǎo shǔ
　　《 xià luò de wǎng》 - shū jí zuò zhě
　　
　　E.B. huái tè (1899-1985) shēng yú niǔ yuē méng tè fú nóng， bì yè yú kāng nài 'ěr dà xué。 duō nián lái tā wéi《 niǔ yuē rén》 zá zhì dān rèn zhuān zhí zhuàn gǎo rén。 huái tè shì yī wèi pō yòu zào yì de sǎnwén jiā、 yōu mò zuò jiā、 shī rén hé fěng cì zuò jiā。 duì yú jǐ dài měi guó 'ér tóng lái shuō， tā zhī suǒ yǐ chū míng shì yīn wéi xiě dì yī liú de 'ér tóng dú wù《 xiǎo sī tú yà tè》 (1945 nián ) hé《 xià luò tè de wǎng》 (1952 nián )。 yī dài yòu yī dài xué shēng hé zuò zhě shú xī tā， yīn wéi tā shì《 fēng gé de yào sù》 zhè běn shū de hé zhù zhě ( jiān xiū dìng zhě )。 gāi shū shì guān yú zuò wén hé guàn yòng fǎ de hěn yòu jià zhí de xiǎo cè zǐ， zuì chū yóu zài kāng nài 'ěr dà xué jiào guò huái tè yīng yǔ de xiǎo wēi lián ． sī tè lǎng kè jiào shòu zhuàn xiě。 sǎnwén《 zì yóu》 yú 1940 nián 7 yuè shǒu xiān yóu《 hā pō sī》 zá zhì fā biǎo。 dāng shí měi guó shàng wèi jiā rù fǎn duì nà cuì de zhàn zhēng， shì jiè zhèng chù yú nà cuì ── sū lián tiáo yuē de shí qī， wú lùn zuǒ pài huò yòu pài dū hū lüè liǎo jí quán zhù yì duì mín zhù de wēi xié。 zhè piān sǎnwén shōu rù huái tè de wén jí《 yī gè rén de ròu shí》 (1942 nián )。
　　《 xià luò de wǎng》 - chū bǎn huā xù
　　
　　 měi guó zuò jiā E.B. huái tè 1952 nián de zuò pǐn《 xià luò de wǎng》 1979 nián céng chū bǎn guò， dàn xiàn zài yǐ jīng hěn nán jiàn dào liǎo。“ zhè xiē nián lái zǒng shì zhǎo bù dào huó zhe de gǎn jué， kàn liǎo《 xià luò de wǎng》， cái zhī dào shēng huó shì shénme。” wǎng luò yì běn de fān yì zhě xiào máo jiù wèile zhè yàng de gǎn shòu， zì jǐ fān yì bìng zài wǎng luò shàng fā bù liǎo zhè gè jīng diǎn tóng huà， yě dài dòng qǐ liǎo yī dà pī de“ xià luò mí”。 xiàn zài， zhè běn bèi yù wéi“ bǎo shū” de《 xià luò de wǎng》 jīng guò cháng dá wǔ nián de bǎn quán tán pàn， yóu zhù míng 'ér tóng wén xué zuò jiā rèn róng róng、 zhōng yú shàng hǎi yì wén chū bǎn shè chū bǎn。
　　《 xià luò de wǎng》 - chéng jì
　　
　　《 xià luò de wǎng》， yī shǒu guān yú shēng mìng， yǒu qíng， ài yǔ zhōng chéng de zàn gē。 yī bù 'ào jū“ měi guó zuì wěi dà de shí bù 'ér tóng wén xué míng zhù” shǒu wèi de tóng huà。 fēng xíng shì jiè wǔ shí nián， fā xíng qiān wàn cè。
　　《 xià luò de wǎng》 - xiāng guān píng jià
　　
　　 yī） jīng guò màn cháng de děng dài， shì jiè jīng diǎn tóng huà《 xià luò de wǎng》 zhōng yú zài 2004 nián 5 yuè yóu shàng hǎi yì wén chū bǎn shè yǐn jìn chū bǎn， xīn bǎn de yì zhě shì dé gāo wàng zhòng de 'ér tóng wén xué fān yì jiā rèn róng róng xiān shēng。 zuò wéi yī běn 'ér tóng wén xué míng zhù， rèn róng róng xiān shēng de yì běn xiǎn rán bǐ jiù yì gèng jiā tiē jìn 'ér tóng， dàn xīn yì běn néng fǒu wán quán qǔ dài jiù yì zài dú zhě xīn zhōng de dì wèi， hái xū yào dú zhě lái zuò chū pàn duàn。
　　 bù guò wú lùn rú hé， zhōng yú néng gòu dú dào《 xià luò de wǎng》， duì dú zhě lái shuō què shí shì yī jiàn xìng yùn de shì qíng。“ zhè shí zài shì yī běn bǎo shū。 wǒ jué dé zài yī gè lǐ xiǎng de shì jiè lǐ， yīnggāi zhǐ yòu liǎng zhǒng rén cún zài， yī zhǒng shì dú guò《 xià luò de wǎng》 de rén， lìng yī zhǒng shì jiāng yào dú《 xià luò de wǎng》 de rén。 yòu shí hòu， bàn yè lǐ xǐng guò lái， mō mō xiōng kǒu hái zài tiào， jiù huì hěn gāo xīng， yīn wéi huó zhe jiù yì wèi zhe hái néng zài bǎ《 xià luò de wǎng》 dú yī biàn， ér dú《 xià luò de wǎng》 jiù yì wèi zhe hái huó zhe。…… cóng wǒ dì yī cì dú《 xià luò de wǎng》 dào xiàn zài， jīhū yǐ jīng yòu 20 nián guò qù liǎo， wǒ yī zhí dōuméi néng gǎo míng bái， zhè bù ‘ ér tóng wén xué ’ hé yǐ néng gòu rú cǐ cháng jiǔ dì lìng wǒ zháomí。” héng héng fù dàn dà xué zhōng wén xì fù jiào shòu yán fēng
　　
　　 èr） zhè shì yī bù fēi cháng yōu xiù de tóng huà， tā de zhù tí jiù shì dòng wù zhī jiān de yǒu yì。 huái tè yī shēng xiě guò 3 bù tóng huà， zhè 3 bù tóng huà wǒdōu fān yì guò， xiāng bǐ 'ér yán，《 xià luò de wǎng》 shì qí zhōng zuì róng yì dǒng de， tā de lìng wài liǎng bù tóng huà hán yì yào gēngshēn yī xiē。 tè bié shì《 xiǎo lǎo shǔ sī tú 'ěr tè》， dāng gù shì zuì hòu xiǎo lǎo shǔ shàng lù qù xún zhǎo de shí hòu， nà zhǒng qì fēn shì fēi cháng yōu shāng de， huái tè zuì zhōng yě méi yòu gào sù dú zhě sī tú 'ěr tè zuì hòu de xún zhǎo shì bù shì yòu shénme jiēguǒ， zhè shì yī zhǒng hěn diǎn xíng de“ zài lù shàng” de gǎn jué， ér《 xià luò de wǎng》 jiù yào míng liàng dé duō， tā de jié wěi shì měi hǎo de， zhěng gè gù shì yě fēi cháng qīng xī。 héng héng guó nèi zhù míng de 'ér tóng wén fān yì jiā zhī yī rèn róng róng

　　Charlotte's Web is an award-winning children's novel by acclaimed American author E. B. White, about a pig named Wilbur who is saved from being slaughtered by an intelligent spider named Charlotte. The book was first published in 1952, with illustrations by Garth Williams.
　　
　　The novel tells the story of a pig named Wilbur and his friendship with a barn spider named Charlotte. When Wilbur is in danger of being slaughtered by the farmer, Charlotte writes messages praising Wilbur (such as "Some Pig") in her web in order to persuade the farmer to let him live.
　　
　　Written in White's dry, low-key manner, Charlotte's Web is considered a classic of children's literature, enjoyable to adults as well as children. The description of the experience of swinging on a rope swing at the farm is an often cited example of rhythm in writing, as the pace of the sentences reflects the motion of the swing. Publishers Weekly listed the book as the best-selling children's paperback of all time as of 2000.
　　
　　Charlotte's Web was made into an animated feature by Hanna-Barbera Productions and Paramount Pictures in 1973. Paramount released a direct-to-video sequel, Charlotte's Web 2: Wilbur's Great Adventure, in the US in 2003 (Universal released the film internationally). A live-action film version of E. B. White's original story was released on December 15, 2006. A video game based on this adaption was also released on December 12.
　　
　　Plot summary
　　
　　The book begins when John Arable's sow gives birth to a litter of piglets, and Mr. Arable discovers one of them is a runt and decides to kill it. However, his eight year old daughter Fern begs him to let it live. Therefore her father gives it to Fern as a pet, and she names the piglet Wilbur. Wilbur is hyperactive and always exploring new things. He lives with Fern for a few weeks and then is sold to her uncle, Homer Zuckerman. Although Fern visits him at the Zuckermans' farm as often as she can, Wilbur gets lonelier day after day. Eventually, a warm and soothing voice tells him that she is going to be his friend. The next day, he wakes up and meets his new friend: Charlotte, the grey spider.
　　
　　Wilbur soon becomes a member of the community of animals who live in the cellar of Zuckerman's barn. When the old sheep in the barn cellar tells Wilbur that he is going to be killed and eaten at Christmas, he turns to Charlotte for help. Charlotte has the idea of writing words in her web extolling Wilbur's excellence ("some pig", "terrific", "radiant", and eventually "humble"), reasoning that if she can make Wilbur sufficiently famous, he will not be killed. Thanks to Charlotte's efforts, and with the assistance of the gluttonous rat Templeton, Wilbur not only lives, but goes to the county fair with Charlotte and wins a prize. Having reached the end of her natural lifespan, Charlotte dies at the fair. Wilbur repays Charlotte by bringing home with him the sac of eggs (her "magnum opus") she had laid at the fair before dying. When Charlotte's eggs hatch at Zuckerman's farm, most of them leave to make their own lives elsewhere, except for three: Joy, Aranea, and Nellie, who remain there as friends to Wilbur.
　　Characters
　　
　　 * Wilbur is a rambunctious pig, the runt of his litter, who loves life, even that of Zuckerman’s barn. He sometimes feels lonely or fearful.
　　
　　 * Charlotte A. Cavatica , or simply Charlotte, is a spider who befriends Wilbur, who at first seems bloodthirsty due to her method of catching food.
　　
　　 * Fern Arable, daughter of John Arable and Mrs. Arable, is the courageous eight-year-old girl who saves Wilbur in the beginning of the novel.
　　
　　 * Templeton is a gluttonous rat who helps Charlotte and Wilbur only when offered food. He serves as a somewhat caustic, self-serving comic relief to the plot.
　　
　　 * Avery Arable is the brother of Fern. He appears briefly throughout the novel.
　　
　　 * Homer Zuckerman is Fern’s uncle who keeps Wilbur in his barn. He has a wife, Edith, and a hired man named Lurvy who helps out around the barn.
　　
　　 * Other animals living in Zuckerman’s barn with whom Wilbur converses are a disdainful lamb, a goose who is constantly sitting on her eggs, and an old sheep.
　　
　　 * Henry Fussy is a boy Fern’s age whom Fern becomes very fond of.
　　
　　 * Uncle is Wilbur’s rival at the fair, a large pig whom Charlotte doesn’t consider to be particularly refined.
　　
　　History
　　
　　White's editor Ursula Nordstrom said that one day, in 1952, E.B. White handed her a new manuscript out of the blue, the only version of Charlotte's Web then in existence, which she read soon after and was hugely impressed with. Charlotte's Web was published three years after White began writing it.
　　
　　Since E. B. White published Death of a Pig in 1948, an account of how he failed to save a sick pig (which had been bought in order to be fattened up and butchered), Charlotte’s Web can be seen as White attempting "to save his pig in retrospect."
　　
　　When White met the spider who originally inspired Charlotte, he called her Charlotte Epeira (after Epeira sclopetaria, the Grey Cross spider, now known as Aranea sericata), later discovering that the more modern name for that genus was Aranea. In the novel, Charlotte gives her full name as "Charlotte A. Cavatica", revealing her as a barn spider, an orb-weaver with the scientific name Araneus cavaticus.
　　
　　The anatomical terms (such as those mentioned in the beginning of chapter nine) and other information that White used came mostly from American Spiders by Willis J. Gertsch and The Spider Book by John Henry Comstock, both of which combine a sense of poetry with scientific fact. White incorporated details from Comstock's accounts of baby spiders, most notably the "flight" of the young spiders and also the way one of them climbs to the top of a fence before launching itself into the air. White sent Gertsch’s book to Illustrator Garth Williams. Williams’ initial drawings depicted a spider with a woman’s face, and White suggested that he simply draw a realistic spider instead.
　　
　　White originally opened the novel with an introduction of Wilbur and the barnyard (which later became the third chapter), but then decided to begin the novel from a human perspective by introducing Fern and her family on the very first page. White’s publishers were at one point concerned with the book’s ending and tried to get White to change it.
　　
　　The author’s granddaughter, Martha White, thinks many children don’t necessarily see the book as set in Maine. Charlotte's Web has become White's most famous book. However, White treasured his privacy and the integrity of the farmyard and barn that helped inspire the novel, which have been kept off limits to the public according to his wishes.
　　Reception
　　
　　Charlotte's Web was generally well-reviewed when it was released. In The New York Times, Eudora Welty wrote, "As a piece of work it is just about perfect, and just about magical in the way it is done." Aside from its paperback sales, Charlotte's Web is 78th on the all-time bestselling hardback book list. According to publicity for the 2006 film adaptation (see below), the book has sold more than 45 million copies and been translated into 23 languages. It was a Newbery Honors book for 1953, losing to Secret of the Andes by Ann Nolan Clark for the medal. In 1970, White won the Laura Ingalls Wilder Medal, a major prize in the field of children's literature, for Charlotte's Web, along with his first children's book, Stuart Little, published in 1945.
　　
　　Maria Nikolajeva (in her book The Rhetoric of Character in Children's Literature) calls the opening of the novel a failure because of White's begun and then abandoned human dimension involving Fern, which, she says, obscures any allegory to humanity, if one were to view the animals' story as such. Seth Lerer, in his book Children’s Literature, finds that Charlotte represents female authorship and creativity, and compares her to other female characters in children’s literature such as Jo March in Little Women and Mary Lennox in The Secret Garden. Nancy Larrick brings to attention the "startling note of realism" in the opening line, "Where's Papa going with that Ax?"
　　
　　Illustrator Henry Cole expressed his deep childhood appreciation of the characters and story, and calls Garth Williams' illustrations full of “sensitivity, warmth, humor, and intelligence.” Illustrator Diana Cain Blutenthal states that Williams' illustrations inspired and influenced her.
　　
　　There is an unabridged audio book read by White himself which reappeared decades after it had originally been recorded. Newsweek writes that White reads the story “without artifice and with a mellow charm,” and that “White also has a plangency that will make you weep, so don’t listen (at least, not to the sad parts) while driving.” Joe Berk, president of Pathway Sound, had recorded Charlotte’s Web with White in White’s neighbor's house in Maine (which Berk describes as an especially memorable experience) and released the book in LP. Bantam released Charlotte’s Web alongside Stuart Little on CD in 1991, digitally remastered, having acquired the two of them for rather a large amount.
　　
　　In 2005, a school teacher in California conceived of a project for her class in which they would send out hundreds of drawings of spiders (each representing Charlotte’s child Aranea going out into the world so that she can return and tell Wilbur of what she has seen) with accompanying letters; they ended up visiting a large number of parks, monuments and museums, and were hosted by and/or prompted responses from celebrities and politicians such as John Travolta and then First Lady Laura Bush.
　　
　　Maggie Kneen created full-color illustrations for a couple sections of the novel, which were published in picture book format as Wilbur's Adventure and Some Pig.
　　Awards and nominations
　　
　　 * Massachusetts Children's Book Award (1984)
　　 * Newbery Honor Book (1953)
　　 * Laura Ingalls Wilder Medal (1970)
　　 * Horn Book Fanfare
　　
　　Film adaptations
　　1973 version
　　Main article: Charlotte's Web (1973 film)
　　
　　The book was adapted into an animated feature by Hanna-Barbera Productions and Sagittarius Productions in 1973 with a song score by the Sherman Brothers.
　　2003 sequel
　　
　　This is the sequel to the 1973 film, released direct-to-video by Paramount Pictures.
　　2006 version
　　
　　Paramount Pictures, with Walden Media, Kerner Entertainment Company, and Nickelodeon Movies, produced a live-action/animated film starring Dakota Fanning as Fern and the voice of Julia Roberts as Charlotte, released on December 15, 2006.
　　Video game
　　
　　A video game of the 2006 film was developed by Backbone Entertainment and published by THQ and Sega, and released on December 12, 2006 for the Game Boy Advance, Nintendo DS, PlayStation 2 and PC.

　　gé lín tóng huà xuǎn nèi róng jiǎn jiè
　　 kàn zhe yè kōng zhōng de xīng xīng， nǐ huì bù huì diàn jì zhe xiǎo hóng mào shì fǒu 'ān quán tuō xiǎn、 wáng zǐ néng bù néng jiǎn dào huī gū niàn de xiǎo jīng xié、 hěn dú de jì mǔ shì bù shì bǎ bái xuě gōng zhù shā sǐ liǎo…… yú shì wǒ men jì zhù liǎo gé lín xiōng dì de míng zì， jì zhù liǎo tā men gěi hái zǐ men dài lái de yǒng yuǎn de kuài lè。
　　 gé lín tóng huà xuǎn běn shū mù lù
　　 yī、 xiǎo hóng mào
　　 èr、 māo hé lǎo shǔ zuò péng yǒu
　　 sān、 yǒng gǎn de xiǎo cái féng
　　 sì、 bái xuě gōng zhù
　　 wǔ、 qīng wā wáng zǐ
　　 liù、 láng hé qī zhǐ xiǎo shān yáng
　　 qī、 dà mǔ zhǐ
　　 bā、 lǎo zǔ fù hé sūn zǐ
　　 jiǔ、 jīn 'é
　　 shí、 huó mìng de shuǐ
　　 shí yī、 sān zhǐ xiǎo niǎo
　　 shí 'èr、 huī gū niàn
　　 shí sān、 yú fū hé tā de qī zǐ
　　 shí sì、 wū yā
　　 shí wǔ、 méi guī gōng zhù
　　 shí liù、 liù rén zǒu biàn tiān xià， wàn shì rú yì
　　 shí qī、 xióng pí rén
　　 shí bā、 mù tóng
　　 shí jiǔ、 xìng fú de hǎn sī
　　 èr shí、 hǎi tù
　　 èr shí yī、 lán sè de dēng
　　 èr shí 'èr、 huì chàng gē de gǔ tóu
　　 èr shí sān、 shí 'èr gè liè rén

　　Children's and Household Tales (German: Kinder- und Hausmärchen) is a collection of German origin fairy tales first published in 1812 by Jacob and Wilhelm Grimm, the Brothers Grimm. The collection is commonly known today as Grimm's Fairy Tales (German: Grimms Märchen). It popularised fairy tales which had in part been taken from the Italian fairy tale writers Giambattista Basile and Giovanni Francesco Straparola.
　　
　　Composition
　　
　　In 1803, the Grimms met the Romantics Clemens Brentano and Ludwig Achim von Arnim at the University of Marburg. These two men stirred in the brothers an interest in ancient fairy tales. In Kassel they started to collect and write down tales that they alleged had been handed down for generations. Among their sources were Dorothea Viehmann, and two Huguenot families, Hassenpflug and Wild, who introduced them to several tales of French origin. The most important sources were the works of the Italian fairy tale writers Giovanni Francesco Straparola and Giambattista Basile, on which most the fairy tales were based. The Brothers Grimm praised Giambattista Basile as the first writer to have collected fairy tales into a book only for fairy tales.
　　
　　On December 20, 1812 they published the first volume of the first edition, containing 86 stories; the second volume of 70 stories followed in 1814. For the second edition, two volumes were issued in 1819 and a third in 1822, totalling 170 tales. The third edition appeared in 1837; fourth edition, 1840; fifth edition, 1843; sixth edition, 1850; seventh edition, 1857. Stories were added, and also subtracted, from one edition to the next, until the seventh held 211 tales.
　　
　　The first volumes were much criticized because, although they were called "Children's Tales", they were not regarded as suitable for children, both for the scholarly information included and the subject matter. Many changes through the editions – such as turning the wicked mother of the first edition in Snow White and Hansel and Gretel to a stepmother, were probably made with an eye to such suitability. They removed sexual references, such as Rapunzel's innocently asking why her dress was getting tight around her belly, and thus naively revealing her pregnancy and the prince's visits to her step mother, but, in many respects, violence, particularly when punishing villains, was increased.
　　
　　In 1825 the Brothers published their Kleine Ausgabe or "small edition," a selection of 50 tales designed for child readers. This children's version went through ten editions between 1825 and 1858.
　　Influence of the book
　　
　　The influence of these books was widespread. W. H. Auden praised it, during World War II, as one of the founding works of Western culture. The tales themselves have been put to many uses. The Nazis praised them as folkish tales showing children with sound racial instincts seeking racially pure marriage partners, and so strongly that the Allied forces warned against them. Writers about the Holocaust have combined the tales with their memoirs, as Jane Yolen in her Briar Rose..
　　
　　The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe, in a spirit of romantic nationalism, that the fairy tales of a country were particularly representative of it, to the neglect of cross-cultural influence. Among those influenced were the Russian Alexander Afanasyev, the Norwegians Peter Christen Asbjørnsen and Jørgen Moe, the English Joseph Jacobs, and Jeremiah Curtin, an American who collected Irish tales. There was not always a pleased reaction to their collection. Joseph Jacobs was in part inspired by his complaint that English children did not read English fairy tales; in his own words, "What Perrault began, the Grimms completed".
　　
　　Three individual works of Wilhelm Grimm include Altdänische Heldenlieder, Balladen und Märchen (Old Danish Heroic Lays, Ballads, and Folktales) in 1811 Über deutsche Runen (On German Runes) in 1821. Die deutsche Heldensage (The German Heroic Legend) in 1829.
　　List of fairy tales
　　
　　The code "KHM" stands for Kinder- und Hausmärchen, the original title. All editions from 1812 until 1857 split the stories into two volumes.
　　Volume 1
　　Frontispiece used for the first volume of the 1840 4th edition
　　
　　 * KHM 1: The Frog King, or Iron Heinrich (Der Froschkönig oder der eiserne Heinrich)
　　 * KHM 2: Cat and Mouse in Partnership (Katze und Maus in Gesellschaft)
　　 * KHM 3: Mary's Child (Marienkind)
　　 * KHM 4: The Story of the Youth Who Went Forth to Learn What Fear Was (Märchen von einem, der auszog das Fürchten zu lernen)
　　 * KHM 5: The Wolf and the Seven Young Kids (Der Wolf und die sieben jungen Geißlein)
　　 * KHM 6: Trusty John or Faithful John (Der treue Johannes)
　　 * KHM 7: The Good Bargain (Der gute Handel)
　　 * KHM 8: The Wonderful Musician or The Strange Musician (Der wunderliche Spielmann)
　　 * KHM 9: The Twelve Brothers (Die zwölf Brüder)
　　 * KHM 10: The Pack of Ragamuffins (Das Lumpengesindel)
　　 * KHM 11: Brother and Sister (Brüderchen und Schwesterchen)
　　 * KHM 12: Rapunzel
　　 * KHM 13: The Three Little Men in the Wood (Die drei Männlein im Walde)
　　 * KHM 14: The Three Spinners (Die drei Spinnerinnen)
　　 * KHM 15: Hansel and Gretel (Hänsel und Gretel)
　　 * KHM 16: The Three Snake-Leaves (Die drei Schlangenblätter)
　　 * KHM 17: The White Snake (Die weiße Schlange)
　　 * KHM 18: The Straw, the Coal, and the Bean (Strohhalm, Kohle und Bohne)
　　 * KHM 19: The Fisherman and His Wife (Von dem Fischer und seiner Frau)
　　 * KHM 20: The Valiant Little Tailor (Das tapfere Schneiderlein)
　　 * KHM 21: Cinderella (Aschenputtel)
　　 * KHM 22: The Riddle (Das Rätsel)
　　 * KHM 23: The Mouse, the Bird, and the Sausage (Von dem Mäuschen, Vögelchen und der Bratwurst)
　　 * KHM 24: Mother Hulda (Frau Holle)
　　 * KHM 25: The Seven Ravens (Die sieben Raben)
　　 * KHM 26: Little Red Riding Hood or Little Red-Cap (Rotkäppchen)
　　 * KHM 27: Town Musicians of Bremen (Die Bremer Stadtmusikanten)
　　 * KHM 28: The Singing Bone (Der singende Knochen)
　　 * KHM 29: The Devil With the Three Golden Hairs (Der Teufel mit den drei goldenen Haaren)
　　 * KHM 30: The Louse and the Flea (Läuschen und Flöhchen)
　　 * KHM 31: The Girl Without Hands (Das Mädchen ohne Hände)
　　 * KHM 32: Clever Hans (Der gescheite Hans)
　　 * KHM 33: The Three Languages (Die drei Sprachen)
　　 * KHM 34: Clever Elsie (Die kluge Else)
　　 * KHM 35: The Tailor in Heaven (Der Schneider im Himmel)
　　 * KHM 36: The Wishing-Table, the Gold-Ass, and the Cudgel in the Sack ("Tischchen deck dich, Goldesel und Knüppel aus dem Sack" also known as "Tischlein, deck dich!")
　　 * KHM 37: Thumbling (Daumling) (see also Tom Thumb)
　　 * KHM 38: The Wedding of Mrs. Fox (Die Hochzeit der Frau Füchsin)
　　 * KHM 39: The Elves (Die Wichtelmänner)
　　 o The Elves and the Shoemaker (Erstes Märchen)
　　 o Second Story (Zweites Märchen)
　　 o Third Story (Drittes Märchen)
　　 * KHM 40: The Robber Bridegroom (Der Räuberbräutigam)
　　 * KHM 41: Herr Korbes
　　 * KHM 42: The Godfather (Der Herr Gevatter)
　　 * KHM 43: Frau Trude
　　 * KHM 44: Godfather Death (Der Gevatter Tod)
　　 * KHM 45: Thumbling's Travels (see also Tom Thumb) (Daumerlings Wanderschaft)
　　 * KHM 46: Fitcher's Bird (Fitchers Vogel)
　　 * KHM 47: The Juniper Tree (Von dem Machandelboom)
　　 * KHM 48: Old Sultan (Der alte Sultan)
　　 * KHM 49: The Six Swans (Die sechs Schwäne)
　　 * KHM 50: Sleeping Beauty or Little Briar-Rose (Dornröschen)
　　 * KHM 51: Foundling-Bird (Fundevogel)
　　 * KHM 52: King Thrushbeard (König Drosselbart)
　　 * KHM 53: Little Snow White (Schneewittchen)
　　 * KHM 54: The Knapsack, the Hat, and the Horn (Der Ranzen, das Hütlein und das Hörnlein)
　　 * KHM 55: Rumpelstiltskin (Rumpelstilzchen)
　　 * KHM 56: Sweetheart Roland (Liebster Roland)
　　 * KHM 57: The Golden Bird (Der goldene Vogel)
　　 * KHM 58: The Dog and the Sparrow (Der Hund und der Sperling)
　　 * KHM 59: Frederick and Catherine (Der Frieder und das Katherlieschen)
　　 * KHM 60: The Two Brothers (Die zwei Brüder)
　　 * KHM 61: The Little Peasant (Das Bürle)
　　 * KHM 62: The Queen Bee (Die Bienenkönigin)
　　 * KHM 63: The Three Feathers (Die drei Federn)
　　 * KHM 64: Golden Goose (Die goldene Gans)
　　 * KHM 65: All-Kinds-of-Fur (Allerleirauh)
　　 * KHM 66: The Hare's Bride (Häschenbraut)
　　 * KHM 67: The Twelve Huntsmen (Die zwölf Jäger)
　　 * KHM 68: The Thief and His Master (De Gaudeif un sien Meester)
　　 * KHM 69: Jorinde and Joringel (Jorinde und Joringel)
　　 * KHM 70: The Three Sons of Fortune (Die drei Glückskinder)
　　 * KHM 71: How Six Men got on in the World (Sechse kommen durch die ganze Welt)
　　 * KHM 72: The Wolf and the Man (Der Wolf und der Mensch)
　　 * KHM 73: The Wolf and the Fox (Der Wolf und der Fuchs)
　　 * KHM 74: Gossip Wolf and the Fox (Der Fuchs und die Frau Gevatterin)
　　 * KHM 75: The Fox and the Cat (Der Fuchs und die Katze)
　　 * KHM 76: The Pink (Die Nelke)
　　 * KHM 77: Clever Gretel (Die kluge Gretel)
　　 * KHM 78: The Old Man and his Grandson (Der alte Großvater und der Enkel)
　　 * KHM 79: The Water Nixie (Die Wassernixe)
　　 * KHM 80: The Death of the Little Hen (Von dem Tode des Hühnchens)
　　 * KHM 81: Brother Lustig (Bruder Lustig)
　　 * KHM 82: Gambling Hansel (De Spielhansl)
　　 * KHM 83: Hans in Luck (Hans im Glück)
　　 * KHM 84: Hans Married (Hans heiratet)
　　 * KHM 85: The Gold-Children (Die Goldkinder)
　　 * KHM 86: The Fox and the Geese (Der Fuchs und die Gänse)
　　
　　Volume 2
　　Frontispiece used for the second volume of the 1840 4th edition
　　
　　 * KHM 87: The Poor Man and the Rich Man (Der Arme und der Reiche)
　　 * KHM 88: The Singing, Springing Lark (Das singende springende Löweneckerchen)
　　 * KHM 89: The Goose Girl (Die Gänsemagd)
　　 * KHM 90: The Young Giant (Der junge Riese)
　　 * KHM 91: The Gnome (Dat Erdmänneken)
　　 * KHM 92: The King of the Gold Mountain (Der König vom goldenen Berg)
　　 * KHM 93: The Raven (Die Rabe)
　　 * KHM 94: The Peasant's Wise Daughter (Die kluge Bauerntochter)
　　 * KHM 95: Old Hildrebrand (Der alte Hildebrand)
　　 * KHM 96: The Three Little Birds (De drei Vügelkens)
　　 * KHM 97: The Water of Life (Das Wasser des Lebens)
　　 * KHM 98: Doctor Know-all (Doktor Allwissend)
　　 * KHM 99: The Spirit in the Bottle (Der Geist im Glas)
　　 * KHM 100: The Devil's Sooty Brother (Des Teufels rußiger Bruder)
　　 * KHM 101: Bearskin (Bärenhäuter)
　　 * KHM 102: The Willow-Wren and the Bear (Der Zaunkönig und der Bär)
　　 * KHM 103: Sweet Porridge (Der süße Brei)
　　 * KHM 104: Wise Folks (Die klugen Leute)
　　 * KHM 105: Tales of the Paddock (Märchen von der Unke)
　　 * KHM 106: The Poor Miller's Boy and the Cat (Der arme Müllersbursch und das Kätzchen)
　　 * KHM 107: The Two Travelers (Die beiden Wanderer)
　　 * KHM 108: Hans My Hedgehog (Hans mein Igel)
　　 * KHM 109: The Shroud (Das Totenhemdchen)
　　 * KHM 110: The Jew Among Thorns (Der Jude im Dorn)
　　 * KHM 111: The Skillful Hunstman (Der gelernte Jäger)
　　 * KHM 112: The Flail from Heaven (Der Dreschflegel vom Himmel)
　　 * KHM 113: The Two Kings' Children (De beiden Künigeskinner)
　　 * KHM 114: The Clever Little Tailor (vom klugen Schneiderlein)
　　 * KHM 115: The Bright Sun Brings it to Light (Die klare Sonne bringt's an den Tag)
　　 * KHM 116: The Blue Light (Das blaue Licht)
　　 * KHM 117: The Willful Child (Das eigensinnige Kind)
　　 * KHM 118: The Three Army Surgeons (Die drei Feldscherer)
　　 * KHM 119: The Seven Swabians (Die sieben Schwaben)
　　 * KHM 120: The Three Apprentices (Die drei Handwerksburschen)
　　 * KHM 121: The King's Son Who Feared Nothing (Der Königssohn, der sich vor nichts fürchtete)
　　 * KHM 122: Donkey Cabbages (Der Krautesel)
　　 * KHM 123: The Old Woman in the Wood (Die alte im Wald)
　　 * KHM 124: The Three Brothers (Die drei Brüder)
　　 * KHM 125: The Devil and His Grandmother (Der Teufel und seine Großmutter)
　　 * KHM 126: Ferdinand the Faithful and Ferdinand the Unfaithful (Ferenand getrü und Ferenand ungetrü)
　　 * KHM 127: The Iron Stove (Der Eisenofen)
　　 * KHM 128: The Lazy Spinner (Die faule Spinnerin)
　　 * KHM 129: The Four Skillful Brothers (Die vier kunstreichen Brüder)
　　 * KHM 130: One-Eye, Two-Eyes, and Three-Eyes (Einäuglein, Zweiäuglein und Dreiäuglein)
　　 * KHM 131: Fair Katrinelje and Pif-Paf-Poltrie (Die schöne Katrinelje und Pif Paf Poltrie)
　　 * KHM 132: The Fox and the Horse (Der Fuchs und das Pferd)
　　 * KHM 133: The Shoes that were Danced to Pieces (Die zertanzten Schuhe)
　　 * KHM 134: The Six Servants (Die sechs Diener)
　　 * KHM 135: The White and the Black Bride (Die weiße und die schwarze Braut)
　　 * KHM 136: Iron John (Eisenhans)
　　 * KHM 137: The Three Black Princesses (De drei schwatten Prinzessinnen)
　　 * KHM 138: Knoist and his Three Sons (Knoist un sine dre Sühne)
　　 * KHM 139: The Maid of Brakel (Dat Mäken von Brakel)
　　 * KHM 140: My Household (Das Hausgesinde)
　　 * KHM 141: The Lambkin and the Little Fish (Das Lämmchen und das Fischchen)
　　 * KHM 142: Simeli Mountain (Simeliberg)
　　 * KHM 143: Going a Traveling (Up Reisen gohn) appeared in the 1819 edition
　　 o KHM 143 in the 1812/1815 edition was Die Kinder in Hungersnot (the starving children)
　　 * KHM 144: The Donkey (Das Eselein)
　　 * KHM 145: The Ungrateful Son (Der undankbare Sohn)
　　 * KHM 146: The Turnip (Die Rübe)
　　 * KHM 147: The Old Man Made Young Again (Das junggeglühte Männlein)
　　 * KHM 148: The Lord's Animals and the Devil's (Des Herrn und des Teufels Getier)
　　 * KHM 149: The Beam (Der Hahnenbalken)
　　 * KHM 150: The Old Beggar-Woman (Die alte Bettelfrau)
　　 * KHM 151: The Twelve Idle Servants (Die drei Faulen)
　　 * KHM 151: The Three Sluggards (Die zwölf faulen Knechte)
　　 * KHM 152: The Shepherd Boy (Das Hirtenbüblein)
　　 * KHM 153: The Star Money (Die Sterntaler)
　　 * KHM 154: The Stolen Farthings (Der gestohlene Heller)
　　 * KHM 155: Looking for a Bride (Die Brautschau)
　　 * KHM 156: The Hurds (Die Schlickerlinge)
　　 * KHM 157: The Sparrow and his Four Children (Der Sperling und seine vier Kinder)
　　 * KHM 158: The Story of Schlauraffen Land (Das Märchen vom Schlaraffenland)
　　 * KHM 159: The Ditmars Tale of Wonders (Das dietmarsische Lügenmärchen)
　　 * KHM 160: A Riddling Tale (Rätselmärchen)
　　 * KHM 161: Snow-White and Rose-Red (Schneeweißchen und Rosenrot)
　　 * KHM 162: The Wise Servant (Der kluge Knecht)
　　 * KHM 163: The Glass Coffin (Der gläserne Sarg)
　　 * KHM 164: Lazy Henry (Der faule Heinz)
　　 * KHM 165: The Griffin (Der Vogel Greif)
　　 * KHM 166: Strong Hans (Der starke Hans)
　　 * KHM 167: The Peasant in Heaven (Das Bürli im Himmel)
　　 * KHM 168: Lean Lisa (Die hagere Liese)
　　 * KHM 169: The Hut in the Forest (Das Waldhaus)
　　 * KHM 170: Sharing Joy and Sorrow (Lieb und Leid teilen)
　　 * KHM 171: The Willow-Worn (Der Zaunkönig)
　　 * KHM 172: The Sole (Die Scholle)
　　 * KHM 173: The Bittern and the Hoopoe (Rohrdommel und Wiedehopf)
　　 * KHM 174: The Owl (Die Eule)
　　 * KHM 175: The Moon (Der Mond)
　　 * KHM 176: The Duration of life (Die Lebenszeit)
　　 * KHM 177: Death's Messengers (Die Boten des Todes)
　　 * KHM 178: Master Pfreim (Meister Pfriem)
　　 * KHM 179: The Goose-Girl at the Well (Die Gänsehirtin am Brunnen)
　　 * KHM 180: Eve's Various Children (Die ungleichen Kinder Evas)
　　 * KHM 181: The Nixie of the Mill-Pond (Die Nixe im Teich)
　　 * KHM 182: The Little Folk's Presents (Die Geschenke des kleinen Volkes)
　　 * KHM 183: The Giant and the Tailor (Der Riese und der Schneider)
　　 * KHM 184: The Nail (Der Nagel)
　　 * KHM 185: The Poor Boy in the Grave (Der arme Junge im Grab)
　　 * KHM 186: The True Bride (Die wahre Braut)
　　 * KHM 187: The Hare and the Hedgehog (Der Hase und der Igel)
　　 * KHM 188: Spindle, Shuttle, and Needle (Spindel, Weberschiffchen und Nadel)
　　 * KHM 189: The Peasant and the Devil (Der Bauer und der Teufel)
　　 * KHM 190: The Crumbs on the Table (Die Brosamen auf dem Tisch)
　　 * KHM 191: The Sea-Hare (Das Meerhäschen)
　　 * KHM 192: The Master Thief (Der Meisterdieb)
　　 * KHM 193: The Drummer (Der Trommler)
　　 * KHM 194: The Ear of Corn (Die Kornähre)
　　 * KHM 195: The Grave-Mound (Der Grabhügel)
　　 * KHM 196: Old Rinkrank (Oll Rinkrank)
　　 * KHM 197: The Crystal Ball (Die Kristallkugel)
　　 * KHM 198: Maid Maleen (Jungfrau Maleen)
　　 * KHM 199: The Boots of Buffalo Leather (Der Stiefel von Büffelleder)
　　 * KHM 200: The Golden Key (Der goldene Schlüssel)
　　
　　The children's legends (Kinder-legende) first appeared in the G. Reimer 1819 edition at the end of volume 2).
　　
　　 * KHM 201: Saint Joseph in the Forest (Der heilige Joseph im Walde)
　　 * KHM 202: The Twelve Apostles (Die zwölf Apostel)
　　 * KHM 203: The Rose (Die Rose)
　　 * KHM 204: Poverty and Humility Lead to Heaven (Armut und Demut führen zum Himmel)
　　 * KHM 205: God's Food (Gottes Speise)
　　 * KHM 206: The Three Green Twigs (Die drei grünen Zweige)
　　 * KHM 207: The Blessed Virgin's Little Glass (Muttergottesgläschen) or Our Lady's Little Glass
　　 * KHM 208: The Little Old Lady (Das alte Mütterchen) or The Aged Mother
　　 * KHM 209: The Heavenly Marriage (Die himmlische Hochzeit) or The Heavenly Wedding
　　 * KHM 210: The Hazel Branch (Die Haselrute)
　　
　　Later additions
　　
　　 * Von der Nachtigall und der Blindschleiche
　　 * Die Hand mit dem Messer
　　 * Wie Kinder Schlachtens miteinander gespielt haben
　　 * Der Tod und der Gänsehirt
　　 * Der gestiefelte Kater
　　 * Von der Serviette, dem Tornister, dem Kanonenhütlein und dem Horn
　　 * Die wunderliche Gasterei
　　 * Hans Dumm
　　 * Blaubart
　　 * Hurleburlebutz
　　 * Der Okerlo
　　 * Prinzessin Mäusehaut
　　 * Das Birnli will nit fallen
　　 * Das Mordschloß
　　 * Vom Schreiner und Drechsler
　　 * Die drei Schwestern
　　 * Schneeblume (Fragment)
　　 * Vom Prinz Johannes (Fragment)
　　 * Der gute Lappen (Fragment)
　　 * Die treuen Tiere
　　 * Die Krähen
　　 * Der Faule und der Fleißige
　　 * Der Löwe und der Frosch
　　 * Der Soldat und der Schreiner
　　 * De wilde Mann
　　 * Die heilige Frau Kummernis
　　 * Das Unglück
　　 * Die Erbsenprobe
　　 * Der Räuber und seine Söhne

　　ān tú shēng de tóng huà gù shì tǐ xiàn liǎo dān mài wén xué zhōng de mín zhù chuán tǒng hé xiàn shí zhù yì qīng xiàng。 tā de zuì hǎo de tóng huà kuài zhì rén kǒu， dào jīn tiān hái wéi shì jiè shàng zhòng duō de chéng nián rén hé 'ér tóng suǒ chuán sòng。 yòu xiē tóng huà rú《 mài huǒ chái de xiǎo nǚ hái》（ TheLittleMatchGirl）、《 chǒu xiǎo yā》（ TheUglyDuckling）《 kānmén rén de 'ér zǐ》 děng， jì zhēn shí dì miáo huì liǎo qióng kǔ rén de bēi cǎn shēng huó， yòu shèn tòu zhe làng màn zhù yì de qíng tiáohé huàn xiǎng。 yóu yú zuò zhě chū shēn pín hán， duì yú shè huì shàng pín fù bù jūn、 ruò ròu qiáng shí de xiàn xiàng gǎn shòu jí shēn， yīn cǐ tā yī fāng miàn yǐ zhēn zhì de bǐ chù rè liè gē sòng láo dòng rén mín， tóng qíng bù xìng de qióng rén， zàn měi tā men de shàn liáng、 chún jié děng gāo shàng pǐn zhì； lìng yī fāng miàn yòu fèn nù dì biān tà liǎo cán bào、 tān lán、 xū ruò、 yú chǔn de fǎn dòng tǒng zhì jiē jí hé bō xuē zhě， jiē lù liǎo jiào huì sēng lǚ de chǒu xíng hé rén men de zhǒng zhǒng lòu xí， bù yí yú lì dì pī pàn liǎo shè huì zuì 'è。《 huáng dì de xīn zhuāng》（ TheEmperor'sNewClothes） xīn là dì fěng cì liǎo huáng dì de hūn yōng wú néng hé cháo chén men 'ēyú féng yíng de chǒu tài；《 yè yīng》（ TheNightingale） hé《 wān dòu shàng de gōng zhù》（ ThePrincessandthePea） cháo xiào liǎo guì zú de wú zhī hé cuì ruò。 tā zài zuì hòu yī bù zuò pǐn《 yuán dīng hé zhù rén》 zhōng， hái zhuólì sù zào liǎo yī gè zhēn zhèng de 'ài guó zhě de xíng xiàng， fǎn yìng liǎo zuò zhě běn rén shǐ zhōng bù yú de 'ài guó zhù yì jīng shén。
　　
　　 ān tú shēng de yī xiē tóng huà gù shì， tè bié shì wǎn qī de mǒu xiē zuò pǐn， yě xiǎn shì chū tā sī xiǎng shàng de jú xiàn xìng。 tā suī rán bǎ mǎn qiāng tóng qíng qīng zhù zài qióng kǔ rén shēn shàng， dàn yīn zhǎo bù dào bǎi tuō bù xìng de dào lù， yòu yǐ shāng gǎn de yǎn guāng kàn dài shì jiè， liú lù chū xiāo jí qíng xù。 tā rèn wéi shàng dì shì zhēn、 shàn、 měi de huà shēn， kě yǐ yǐn dǎo rén men zǒu xiàng“ xìng fú”。 tā zài zuò pǐn zhōng yòu shí yě jìn xíng dào dé shuō jiào， xuān yáng jī dū jiào de bó 'ài sī xiǎng， tí chàng róng rěn yǔ hé jiě de jīng shén。
　　
　　 ān tú shēng de tóng huà tóng mín jiān wén xué yòu zhe xuè yuán guān xì， jì chéng bìng fā yáng liǎo mín jiān wén xué de pǔ sù qīng xīn de gé diào。 tā zǎo qī de zuò pǐn dà duō shù qǔ cái yú mín jiān gù shì， hòu qī chuàng zuò zhōng yě yǐn yòng liǎo hěn duō mín jiān gē yáo hé chuán shuō。
　　
　　 zài tǐ cái hé xiě zuò shǒu fǎ shàng， ān tú shēng de zuò pǐn shì duō yàng huà de， yòu tóng huà gù shì， yě yòu duǎn piān xiǎo shuō； yòu yù yán， yě yòu shī gē； jì shì hé yú 'ér tóng yuè dú， yě shì hé yú chéng nián rén jiàn shǎng。 tā chuàng zào de yì shù xíng xiàng， rú： méi yòu chuān yī fú de huáng dì、 jiān dìng de xī bīng、 mǔ zhǐ gū niàn、 chǒu xiǎo yā、 hóng xié děng， yǐ chéng wéi 'ōu zhōu yǔ yán zhōng de diǎn gù。
　　
　　 zài yǔ yán fēng gé shàng， ān tú shēng shì yī gè yòu gāo dù chuàng zào xìng de zuò jiā， zài zuò pǐn zhōng dà liàng yùn yòng dān mài xià céng rén mín de rì cháng kǒu yǔ hé mín jiān gù shì de jié gòu xíng shì。 yǔ yán shēng dòng、 zì rán、 liú chàng、 yōu měi、 chōng mǎn nóng yù de xiāng tǔ qì xī。

　　Hans Christian Andersen (Danish pronunciation: [ˈhanˀs ˈkʰʁæʂd̥jan ˈɑnɐsn̩], in Denmark he is referred to using the initials: H. C. Andersen) (April 2, 1805 – August 4, 1875) was a Danish author and poet noted for his children's stories. These include "The Steadfast Tin Soldier", "The Snow Queen", "The Little Mermaid", "Thumbelina", "The Little Match Girl", and "The Ugly Duckling".
　　
　　During his lifetime he was acclaimed for having delighted children worldwide, and was feted by royalty. His poetry and stories have been translated into more than 150 languages. They have inspired motion pictures, plays, ballets, and animated films.

　　《 gé liè fó yóu jì》 - zuò pǐn jiǎn jiè
　　
　　 zuò zhě：（ yīng） qiáo nà sēn · sī wēi fū tè
　　
　　 chéng shū shí jiān： 1726 nián
　　 tè sè zhī chù： zhǐ zài pēng jī dāng shí yīng guó de yì huì zhèng zhì hé fǎn dòng zōng jiào shì lì de huàn xiǎng yóu jì tǐ fěng cì xiǎo shuō
　　《 gé liè fó yóu jì》 - zuò zhě jiǎn jiè
　　
　　《 gé liè fó yóu jì》 qiáo nà sēn · sī wēi fū tè
　　 qiáo nà sēn · sī wēi fū tè（ 1667 ～ 1745）， yǐ fěng cì zuò jiā míng chuí qīng shǐ。 tā shì yī míng mù shī， yī wèi zhèng zhì zhuàn gǎo rén， yī gè cái zǐ。 tā chū shēng yú 'ài 'ěr lán shǒu fǔ dū bólín， liù suì shàng xué， zài jī 'ěr kǎi ní xué xiào dú liǎo bā nián。 1682 nián jìn dū bólín zhù míng de sān yī xué yuàn xué xí， tā chú liǎo duì lì shǐ hèshī gē yòu xīng qù wài， bié de yī gài bù xǐ huān。 hái shì xué xiào“ tè bié tōng róng” cái ná dào xué wèi。 zhī hòu， tā zài sān yī xué yuàn jì xù dú shuò shì， yī zhí dào yī liù bā liù nián。 1688 nián， ài 'ěr lán miàn lín yīng guó jūn duì de rù qīn， tā qián wǎng yīng guó xún zhǎo chū lù。
　　 jiē xià lái de shí nián shì duì sī wēi fū tè yī shēng zhōng jù yòu zhòng yào yǐng xiǎng de guān jiàn shí qī。 tā tōng guò qīn qī de guān xì， zài mù 'ěr zhuāng yuán dāng sī rén mì shū。 mù 'ěr zhuāng yuán de zhù rén tǎn pǔ 'ěr shì yī wèi jīng yàn fēng fù de zhèng zhì jiā， yě shì wèi zhé xué jiā， xiū yǎng jí hǎo， zhè wú yí gěi sī wēi fū tè qǐ liǎo jī jí de， shèn zhì shì dǎo shī xìng zhì de zuò yòng。 zhè cóng zhèng zhì huò zhě qí tā jiào shí jì de jiǎo dù kàn， duì sī wēi fū tè kě néng shì yī zhǒng shī wàng， dàn jiù yī gè fěng cì zuò jiā lái shuō， jìn shí nián de shí jiān què shǐ tā dé dào liǎo chōng fēn de xué xí。 tā zǎo qī de liǎng bù fěng cì jié zuò《 tǒng de gù shì》 hé《 shì jì zhàn zhēng》 zhèng shì zài zhè lǐ xiě chéng de。
　　 lí kāi mù 'ěr zhuāng yuán hòu， sī wēi fū tè huí dào 'ài 'ěr lán jì xù zuò tā de mù shī。 wèile jiào huì， tā tóu rù dào zhèng zhì huó dòng zhōng qù。 tā zài hòu bàn shēng xiě liǎo wú shù de zhèng zhì xiǎo cè zǐ， huò dé liǎo xiāng dāng de shēng yù。 suī rán tā yī shí jiān míng wén xiá 'ěr， kě tā de nèi xīn shì gū dú de。 tā shèn zhì yī bù bù zǒu dào liǎo jué wàng de biān yuán。 tā jīng lì liǎo yī qiē， yě kàn tòu liǎo yī qiē， yú shì， tā xiě liǎo《 gé liè fó yóu jì》。
　　《 gé liè fó yóu jì》《 gé liè fó yóu jì》
　　1745 nián 10 yuè 19 rì， sī wēi fū tè zài hēi 'àn hé gū kǔ zhōng gào bié liǎo rén shì， zhōng nián 78 suì。
　　《 gé liè fó yóu jì》 shì yī bù qí shū， tā bù shì dān chún de shǎo 'ér dú wù， ér shì bǎo yù fěng cì hé pī pàn de wén xué jié zuò， yīng guó zhù míng zuò jiā qiáo zhì · ào wēi 'ěr yī shēng zhōng dú liǎo bù xià liù cì， tā shuō：“ rú guǒ yào wǒ kāi yī fèn shū mù， liè chū nǎ pà qí tā shū dū bèi huǐ huài shí yě yào bǎo liú de liù běn shū， wǒ yī dìng huì bǎ《 gé liè fó yóu jì》 liè rù qí zhōng。” zài zhè běn shū zhōng， sī wēi fū tè de xù shì jì qiǎo hé fěng cì cái néng dé dào liǎo lín lí jìn zhì de fǎn yìng。
　　 zuò pǐn de zhù rén gōng lǐ méi 'ěr · gé liè fó shì gè yīng guó wài kē yī shēng， hòu shēng rèn chuán cháng； tā shòu guò liáng hǎo jiào yù， wéi zǔ guó 'ér zì háo， zài zhí yè hé zhèng zhì liǎng fāng miàn sì hū dū pō yòu jiàn shí， kě shì tā běn zhì shàng què shì yī gè píng yōng de rén， ér sī wēi fū tè zhèng shì lì yòng liǎo zhù rén gōng de zhè zhǒng jú xiàn dá dào liǎo zuì chōng fēn de fěng cì xiào guǒ。 quán shū yóu sì juàn zǔ chéng， zài měi yī juàn zhōng gé liè fó dōuyào miàn lín cháng rén nán yǐ xiǎng xiàng de tè shū qíng kuàng。
　　《 gé liè fó yóu jì》 - gù shì gěng gài
　　
　　 xiǎo shuō yǐ wài kē yī shēng gé liè fó de sì cì chū hǎi háng xíng mào xiǎn de jīng lì wéi xiàn suǒ， yī gòng yóu sì bù fēn zǔ chéng。
　　 dì yī juàn： lì lì pǔ tè（ xiǎo rén guó） yóu jì。 xù shù gé liè fó zài xiǎo rén guó de yóu lì jiàn wén。 zhè lǐ de rén， shēn cháng bù mǎn liù yīng cùn， tā zhì shēn qí zhōng， jiù xiàng wēi wēi de dà shān yī bān。 xiǎo cháo tíng lǐ chōng chì yīn móu guǐ jì、 qīngyà fēn zhēng。 chuān gāo gēn xié de yī pài yǔ chuān dī gēn xié de yī pài hù xiāng gōng jī， shì bù liǎng lì。
　　
　　 dì 'èr juàn： bù luó bǔ dīng nài gé（ dà rén guó） yóu jì。 gé liè fó zài lì lì pǔ tè rén de xīn mù zhōng shì gè chǒng rán dà wù， dàn yī dào bù luó bǔ dīng nài gé， tā jiù xiàng tián jiān de yòu shǔ yī bān xiǎo liǎo。 gé liè fó bèi dāng zuò xiǎo wán yì zhuāng rù shǒu tí xiāng lǐ， dài dào gè chéng zhèn biǎo yǎn zhǎn lǎn。 hòu lái， guó wáng zhào jiàn tā， tā kāng kǎi chén cí， kuā yào zì jǐ de zǔ guó de wěi dà， zhèng zhì de xián míng， fǎ lǜ de gōng zhèng， rán 'ér jūn yī yī zāo dào guó wáng de pēng jī yǔ bó chì。
　　
　　 dì sān juàn： lè pí tā、 bā 'ěr ní bā bǐ、 lā gé nài gé、 gé lè dà zhuī、 rì běn yóu jì。 zhù yào miáo shù gé liè fó zài lè pí tā（ fēi dǎo） hé gé lè dà zhuī（ wū rén dǎo） de yóu lì。 fēi dǎo shàng de rén cháng dé jī xíng guài zhuàng， zhěng tiān dān yōu tiān tǐ huì fā shēng tū biàn， dì qiú huì bèi huì xīng zhuàng jī dé fěn suì， yīn 'ér huáng huáng bù kě zhōng rì。 zài kē xué yuàn lǐ， shè jì jiā men zhèng zài cóng shì yán jiū rú hé cóng huáng guā zhōng tí qǔ yáng guāng qǔ nuǎn， bǎ fèn biàn hái yuán wéi shí wù， fán zhí wú máo de mián yáng， ruǎn huà dà lǐ shí děng kè tí。 zài wū rén dǎo shàng， dǎo zhù jīng tōng wū shù， shàn cháng zhāo hún， tā men bó lǎn gǔ jīn， fā xiàn lì shǐ zhēn xiāng bèi quán guì wāi qū， chāng jì bān de zuò jiā zài hǒngpiàn rén shì。
　　
　　 dì sì juàn： huì yīn guó yóu jì。 xù shù gé liè fó zài zhì mǎ guó de yóu lì。 zài zhè gè guó dù lǐ， jū zhù zǎi dì wèi de shì yòu lǐ xìng de gōng zhèng 'ér chéng shí de zhì mǎ， gōng zhì mǎ qū shǐ de shì yī zhǒng lèi sì rén xíng de chù lèi yé hú， hòu zhě shēng xìng yín dàng、 tān lán、 hàodòu。
　　《 gé liè fó yóu jì》 - zhù tí sī xiǎng
　　
　　 xiǎo shuō dì yī juàn zhōng suǒ miáo huì de xiǎo rén guó de qíng jǐng nǎi shì dà yīng dì guó de suō yǐng。 yīng guó guó nèi tuō lì dǎng hé huī gé dǎng cháng nián bù xī de dǒu zhēng hé duì wài de zhàn zhēng， shí zhì shàng zhǐ shì zhèng kè men zài yī xiē yǔ guó jì mín shēng háo bù xiāng gān de xiǎo jié shàng gòu xīn dǒu jiǎo。
　　
　　 xiǎo shuō de dì 'èr juàn zé tōng guò dà rén guó guó wáng duì gé liè fó yǐn yǐ wéi róng de yīng guó xuǎn jǔ zhì dù、 yì huì zhì dù yǐ jí zhǒng zhǒng zhèng jiào cuò shī suǒ jìn xíng de jiān ruì de pēng jī， duì yīng guó gè zhǒng zhì dù jí zhèng jiào cuò shī biǎo shì liǎo huái yí hé fǒu dìng。
　　
　　 xiǎo shuō de dì sān juàn， zuò zhě bǎ fěng cì de fēng máng zhǐ xiàng liǎo dāng dài yīng guó zhé xué jiā， tuō lí shí jì、 chén nì yú huàn xiǎng de kē xué jiā， huāng dàn bù jīng de fā míng jiā hé diān dǎo hēi bái de píng lùn jiā hé lì shǐ jiā děng。
　　
　　 xiǎo shuō dì sì juàn， zuò zhě lì yòng gé liè fó huí dá yī lián chuàn wèn tí 'ér jiē lù liǎo zhàn zhēng de shí zhì、 fǎ lǜ de xū wěi hé bù zé shǒu duàn yǐ huò dé guān jué de kě chǐ xíng wéi děng。
　　
　　 zōng guān xiǎo shuō de quán bù qíng jié，《 gé liè fó yóu jì》 zhèng zhì qīng xiàng xiān míng。 tā de pī pàn fēng máng， jí zhōng zài pēng jī dāng shí yīng guó de yì huì zhèng zhì hé fǎn dòng de zōng jiào shì lì。
　　《 gé liè fó yóu jì》 - zhù yào rén wù xíng xiàng fēn xī
　　
　　 gé liè fó： shì shí bā shì jì yīng guó de pǔ tōng rén， tā rè 'ài láo dòng， gāng yì yǒng gǎn， xīn dì shàn liáng。 tā zài yóu lì zhī zhōng， dòng chá dào shè huì xiàn shí de rì qū duò luò， dé chū yīng guó shè huì bìng bù wén míng de jié lùn。 gé liè fó de xíng xiàng， shì zuò zhě sī xiǎng de tǐ xiàn zhě。 zuò zhě jiāng zì jǐ de zhǒng zhǒng měi dé fù yú bǐ xià de rén wù， gé liè fó bù jì jiào gè rén de dé shī， ér duì bié rén guān huái bèi zhì。 gé liè fó shì gè zhèng miàn de lǐ xiǎng de rén wù。 tā zǒng shì tǎn shuài dì xù shù zì jǐ de ruò diǎn hé cuò wù， ér duì zì jǐ de yōu diǎn zé zhǐ zì bù tí。 tā qiān xùn hàoxué， nǔ lì yòng xīn yǎn guāng qù rèn shí xīn de xiàn shí。 tā cóng bù zì bào zì qì， zòng shǐ jiāng tā dāng zuò wán wù dào gè dì gōng rén guān shǎng， réng tài rán zì ruò， bǎo chí zì shēn de zūn yán， yǐ píng děng de zī tài yǔ dà rén guó de guó wáng jiāo tán。 tā yǒng yú bāng zhù xiǎo rén guó dǐ kàng wài zú rù qīn， dàn duàn rán jù jué wéi xiǎo rén guó guó wáng de qīn lüè kuò zhāng zhèng cè xiào láo。
　　《 gé liè fó yóu jì》 - wén xué yì shù tè diǎn
　　
　　《 gé liè fó yóu jì》 de yì shù tè sè zhù yào tǐ xiàn zài fěng cì shǒu fǎ de yùn yòng shàng， jiān ruì shēn suì de fěng cì shì zhè bù zuò pǐn de líng hún。
　　 dāng shí de yīng guó shì zuò zhě pēng jī hé wā kǔ de duì xiàng。 gé liè fó lì xiǎn de dì yī dì shì xiǎo rén guó。 zài zhè gè suō wēi de guó dù lǐ， dǎng pài zhī zhēng shì bù liǎng lì， lín bāng zhī jiān bù dàn xiǎng zhàn shèng 'ér qiě yào nú yì duì fāng。 xiǎo rén guó de guó wáng yòng bǐ sài shéng jì de fāng fǎ xuǎn bá guān yuán， wéi huò dé guó wáng shǎng gěi de jǐ gēn cǎi sè sī xiàn， guān yuán bù xī xiǎo chǒu sì dì zuò zhe kě xiào de biǎo yǎn。 zhè gè xiǎo cháo tíng shì dāng shí yīng guó de suō yǐng， lián lì lì pǔ tè de cháo zhèng fēng xí hé diǎn zhāng zhì dù yě tóng dāng shí de yīng guó zhèng jú yī mó yī yàng； zài dì 'èr juàn lǐ， zuò zhě gèng shì zhǐ míng dào xìng dì pī pēng yīng guó。 gé liè fó cháng piān dà lùn dì xiàng dà rén guó guó wáng jiè shào yīng guó de lì shǐ、 zhì dù hé xiàn zhuàng， yǐ jí zhǒng zhǒng wèiguó jiā wéi zì jǐ biàn jiě de shì， kě shì cóng dà rén guó de yǎn guāng kàn lái， yīng guó de lì shǐ chōng chì zhe“ tān lán、 jìng zhēng、 cán bào、 wěi shàn、 yín yù、 yīn xiǎn hé yě xīn” chǎn shēng de 'è guǒ。 zuò zhě jiè guó wáng de huà，“ nà yàng yī gè bēi wēi wú néng de xiǎo chóng” shì“ zì rán jiè zhōng pá xíng yú dì miàn de xiǎo dú chóng zuì yòu hài de yī lèi”， fěng cì liǎo yīng guó shè huì de fāng fāng miàn miàn； zài dì sān juàn lǐ， tōng guò duì lā gé duō kē xué yuàn rén shì suǒ cóng shì de wú liáo 'ér huāng táng de kē xué yán jiū， fěng cì liǎo yīng guó dāng shí de wěi kē xué； yòu guān lè pí tā dǎo de miáo huì zé pī píng liǎo yīng guó duì 'ài 'ěr lán de bō xuē yā pò。
　　
　　
　　 xiǎo shuō bù dàn pēng jī liǎo shè huì xiàn zhuàng， hái zài gēngshēn de céng miàn shàng， zhí jiē fěng cì liǎo rén xìng běn shēn。 zài dì sì juàn lǐ， guān yú“ qián” de nà duàn yì lùn jiù shì rú cǐ。 gé liè fó lái dào méi yòu jīn qián， méi yòu jūn duì jǐng chá de huì yīn（ mǎ） guó， xiàng tā de mǎ zhù rén jiě shì shuō：“ wǒ men nà lǐ de yě hú rèn wéi， bù guǎn shì yòng hái shì cuán， qián dōushì yuè duō yuè hǎo， méi yòu gè gòu de shí hòu。 yīn wéi tā men tiān xìng rú cǐ， bù shì shē chǐ làng fèi jiù shì tān dé wú yàn。 fù rén xiǎng shòu zhe qióng rén de láo dòng chéng guǒ， ér qióng rén hé fù rén zài shù liàng shàng de bǐ lì shì yī qiān bǐ yī。 yīn cǐ wǒ men de rén mín dà duō shù bèi pò guò zhe bēi cǎn de shēng huó……”。 zuò zhě zhù yì dào zī běn zhù yì shè huì rén yǔ rén zhī jiān de chún cuì de jīn qián guān xì。 bìng yóu cǐ duì rén xìng chǎn shēng liǎo yí wèn。
　　 zuò zhě zài duì dāng shí yīng guó de yì huì zhèng zhì hé fǎn dòng de zōng jiào shì lì jìn xíng wú qíng、 xīn là de fěng cì、 pēng jī shí， yòu de zhí yán xiāng jī， yòu de lì yòng yì bāng rén de chún shé， yòu de yǐn yù wā kǔ， yòu de yǐ shòu jī fěng rén， fán cǐ zhǒng zhǒng， fēng qù huá jī， shén qíng jiē bèi。
　　
　　 qíng jié de huàn xiǎng xìng yǔ xiàn shí de zhēn shí xìng yòu jī jié hé， yě gěi xiǎo shuō zēng tiān liǎo dú tè de yì shù mèi lì。 suī rán zuò zhě zhǎn xiàn de shì yī gè xū gòu de tóng huà bān de shén qí shì jiè， dàn tā shì yǐ dāng shí yīng guó shè huì shēng huó de zhēn shí wéi jī chǔ de。 yóu yú zuò zhě jīng què、 xì nì、 tiē qiē de miáo shù， shǐ rén gǎn jué bù dào tā shì xū gòu de huàn jǐng， sì hū yī qiēdōu shì zhēn qíng shí shì。 lì rú， zài miáo shù xiǎo rén yǔ dà rén、 rén yǔ wù de bǐ lì guān xì shí， yī gài 'àn yī yǔ shí 'èr zhī bǐ suō xiǎo huò fàng dà。 xiǎo rén guó lǐ de xiǎo rén bǐ gé liè fó xiǎo shí 'èr bèi； dà rén guó de dà rén yòu bǐ gé liè fó dà shí 'èr bèi。 gé liè fó de yī kuài qū qū shǒu pà， kě yǐ gěi xiǎo rén guó huáng gōng dāng dì tǎn； dà rén guó nóng fù de nà kuài shǒu pà， gài zài gé liè fó shēn shàng， jiù biàn chéng yī chuáng bèi dān liǎo。 zài miáo shù fēi dǎo de yùn xíng， gōng diàn de jiàn zhù， chéng zhèn de jié gòu shí， zuò zhě hái yòu yì yùn yòng liǎo shù xué、 wù lǐ、 huà xué、 tiān wén、 yī yào zhū fāng miàn de zhī shí yǔ shù jù。 zhè yàng， jiù shǐ rén wù jú bù xì jié de zhēn shí、 hé xié、 yúnchèn， zhuǎn huà wéi zhěng gè huà miàn、 chǎng jǐng de zhēn shí、 hé xié、 tǒng yī， jí dà dì zēng qiáng liǎo zuò pǐn de zhēn shí gǎn hé gǎn rǎn lì。
　　
　　
　　 zuò zhě de wén bǐ pǔ sù 'ér jiǎn liàn。 lì rú wén zhōng xiě dào gé liè fó zài xiǎo rén guó chāo lù liǎo yī duàn guān fāng wén gào， tā zàn sòng guó wáng shì“ jǔ shì yōng dài” de“ wàn wáng zhī wáng”，“ jiǎo tà dì xīn、 tóu dǐng tài yáng”， děng děng。 gé liè fó hái zài kuò hào lǐ bù dòng shēng sè dì jiě shì dào：“ zhōu jiè yuē shí 'èr yīng lǐ”。 suí zhe zhè jù jiě shì， nà“ zhí dǐ dì qiú sì jí” de wú biān lǐng tǔ dǒu rán suō wéi zhōu biān bù guò shí yú lǐ de dàn wán zhī dì。 zhè zhǒng fǎn chā lìng rén pěng fù。 kuò hào lǐ de huà xiǎn shì chū zuò zhě pǔ sù yòu shí shì qiú shì de xù shù fēng gé， tā sì hū wú yì duì cǐ píng lùn， zhǐ shì zài kè guān zhōng shí dì wèiwǒ men jiě shì lì lì pǔ tè de chǐ dù。 tā céng jīng shēng míng：“ wǒ nìngyuàn yòng zuì jiǎn dān pǔ sù de wén bǐ bǎ píng fán de shì shí xù shù chū lái， yīn wéi wǒ xiě zhè běn shū zhù yào shì xiàng nǐ bào dào， ér bù shì gōng nǐ xiāo qiǎn。” jìn guǎn xiǎo rén guó、 dà rén guó、 huì yīn guó de qíng jǐng gè yì， zhù rén gōng de jìng yù yě bù xiāng tóng， dàn zhěng bù xiǎo shuō de bù jú、 fēng gé qián hòu yī zhì， gé liè fó měi cì chū hǎi de qián yīn hòu guǒ dōuyòu xiáng jìn de jiāo dài， fù zá fēn fán de qíng jié jūn 'àn shí jiān、 kōng jiān shùn xù yǐ cì miáo shù， wén zì jiǎn jié shēng dòng， gù shì xìng qiáng， yīn 'ér shù bǎi nián lái，《 gé liè fó yóu jì》 zài 'ōu zhōu gè guó yǎ sú gòng shǎng， fù rú jiē zhī。
　　
　　 zuò zhě kě fān yì wéi yuē ná dàn · sī wēi fū tè、 qiáo nà sēn · sī wēi fū tè、 jiāng nài shēng · sī wēi fū tè， lìng wài yǐ yòu《 xīn gé liè fó yóu jì》 chū bǎn
　　《 gé liè fó yóu jì》 - míng jiā diǎn píng
　　
　　 sī wēi fū tè yǐ yōu mò fēng fù liǎo zuò pǐn de dào dé hán yì， yǐ fěng cì jiē lù huāng dàn， bìng tōng guò rén wù xìng gé hé xù shù kuàng jià shǐ rén nán yǐ zhì xìn de shì jiàn chéng wéi xiàn shí， jí shǐ《 lǔ bīn xùn piào liú jì》 yě nán yǐ zài xù shù de kè bó xìng hé duō yàng xìng fāng miàn yǔ qí pì měi。 héng héng（ yīng） sī gè tè
　　
　　《 gé liè fó yóu jì》 shì yī bù dú jù tè sè de xiǎo shuō jié zuò。 tā hé 18 shì jì 'ōu zhōu zhòng duō xiǎo shuō yī yàng， jì chéng liǎo liú làng hàn xiǎo shuō de jié gòu fāng fǎ， xí yòng liǎo dāng shí liú xíng de miáo xiě lǚ xíng jiàn wén de xiǎo shuō， yóu qí shì háng hǎi mào xiǎn xiǎo shuō de mó shì， xù shù zhù rén gōng gé liè fó zài hǎi shàng piào liú de yī xì liè qí yù。 tā wú yí zài xiāng dāng chéng dù shàng shòu dào dí fú《 lǔ bīn xùn piào liú jì》 hé qí tā yī xiē yóu jì tǐ mào xiǎn xiǎo shuō de yǐng xiǎng。 rán 'ér，《 gé liè fó yóu jì》 hé tā men suī rán xíng shì xiāng sì， xìng zhì què jié rán bù tóng。 tā shì《 tǒng de gù shì》 hé《 shū jí zhī zhàn》 nà lèi gù shì de jìn yī bù fā zhǎn， jù yòu yǔ shí bā shì jì kāi shǐ xīng qǐ de xiě shí zhù yì xiǎo shuō bù tóng de ruò gān dú tè xìng zhì。 héng héng wú hòu kǎi《 jiǎn lùn fěng yù tǐ xiǎo shuō《 gé liè fó yóu jì》 jí qí wén xué dì wèi》
　　
　　 wén xué shǐ duì《 gé liè fó yóu jì》 de píng jià： zuò pǐn jiǎ tuō zhù rén gōng gé liè fó yī shēng zì shù tā shù cì háng hǎi yù xiān， piào liú dào xiǎo rén guó， dà rén guó， fēi dǎo guó hé zhì mǎ guó jǐ gè tóng huà shì guó jiā de zāo yù hé jiàn wén， quán miàn fěng cì， nuó yú liǎo yīng guó de shè huì xiàn shí． qí zhōng“ dà rén guó” hé“ zhì mǎ guó” shè huì suǒ shè huì lǐ xiǎng suī rán bǎo cún liǎo zōng fǎ shè huì de yuán shǐ tè diǎn， dàn què bāo hán zhe qǐ méng zhù yì de shè huì yuán zé hé jià zhí guān． zuò zhě bǎ fěng cì duì xiàng kuā zhāng biàn xíng dào cán kù shèn zhì huāng dàn de dì bù， yǔ xiàn dài de“ hēi sè yōu mò” yòu xiāng tōng zhī chù．

　　Gulliver's Travels (1726, amended 1735), officially Travels into Several Remote Nations of the World, in Four Parts. By Lemuel Gulliver, First a Surgeon, and then a Captain of several Ships, is a novel by Irish writer and clergyman Jonathan Swift that is both a satire on human nature and a parody of the "travellers' tales" literary sub-genre. It is Swift's best known full-length work, and a classic of English literature.
　　
　　The book became tremendously popular as soon as it was published (John Gay said in a 1726 letter to Swift that "it is universally read, from the cabinet council to the nursery"); since then, it has never been out of print.
　　
　　Plot summary
　　
　　The book presents itself as a simple traveller's narrative with the disingenuous title Travels into Several Remote Nations of the World, its authorship assigned only to "Lemuel Gulliver, first a surgeon, then a captain of several ships". Different editions contain different versions of the prefatory material which are basically the same as forewords in modern books. The book proper then is divided into four parts, which are as follows.
　　Part I: A Voyage to Lilliput
　　Mural depicting Gulliver surrounded by citizens of Lilliput.
　　
　　May 4, 1699 — April 13, 1702
　　
　　The book begins with a short preamble in which Gulliver, in the style of books of the time, gives a brief outline of his life and history prior to his voyages. He enjoys traveling, although it is that love of travel that is his downfall.
　　
　　On his first voyage, Gulliver is washed ashore after a shipwreck and awakes to find himself a prisoner of a race of people one-twelfth the size of normal human beings, less than 6 inches high/15 cm high, who are inhabitants of the neighbouring and rival countries of Lilliput and Blefuscu. After giving assurances of his good behaviour, he is given a residence in Lilliput and becomes a favourite of the court. From there, the book follows Gulliver's observations on the Court of Lilliput, which is intended to satirise the court of George I (King of England at the time of the writing of the Travels). Gulliver assists the Lilliputians to subdue their neighbours the Blefuscudians by stealing their fleet. However, he refuses to reduce the country to a province of Lilliput, displeasing the King and the court. Gulliver is charged with treason and sentenced to be blinded. With the assistance of a kind friend, Gulliver escapes to Blefuscu, where he spots and retrieves an abandoned boat and sails out to be rescued by a passing ship which safely takes him back home. The Building of residence that Gulliver is given in Lilliput is of note, as in this section he describes it as a temple in which there had some years ago been a murder and the building had been abandoned. Swift in this section, is revealing himself as a member of the Freemasons; this being an allusion to the murder of the grand master of the Freemasons, Hiram Abiff.
　　Part II: A Voyage to Brobdingnag
　　Gulliver Exhibited to the Brobdingnag Farmer by Richard Redgrave
　　
　　June 20, 1702 — June 3, 1706
　　
　　When the sailing ship Adventure is steered off course by storms and forced to go in to land for want of fresh water, Gulliver is abandoned by his companions and found by a farmer who is 72 feet (22 m) tall (the scale of Lilliput is approximately 1:12; of Brobdingnag 12:1, judging from Gulliver estimating a man's step being 10 yards (9.1 m)). He brings Gulliver home and his daughter cares for Gulliver. The farmer treats him as a curiosity and exhibits him for money. The word gets out and the Queen of Brobdingnag wants to see the show. She loves Gulliver and he is then bought by her and kept as a favourite at court.
　　
　　Since Gulliver is too small to use their huge chairs, beds, knives and forks, the queen commissions a small house to be built for Gulliver so that he can be carried around in it. This box is referred to as his travelling box. In between small adventures such as fighting giant wasps and being carried to the roof by a monkey, he discusses the state of Europe with the King. The King is not impressed with Gulliver's accounts of Europe, especially upon learning of the usage of guns and cannons. On a trip to the seaside, his "travelling box" is seized by a giant eagle which drops Gulliver and his box right into the sea where he is picked up by some sailors, who return him to England.
　　Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib, and Japan
　　
　　August 5, 1706 — April 16, 1710
　　
　　After Gulliver's ship is attacked by pirates, he is marooned near a desolate rocky island, near India. Fortunately he is rescued by the flying island of Laputa, a kingdom devoted to the arts of music and mathematics but utterly unable to use these for practical ends.
　　
　　Laputa's method of throwing rocks at rebellious surface cities also seems the first time that aerial bombardment was conceived as a method of warfare. While there, he tours the country as the guest of a low-ranking courtier and sees the ruin brought about by blind pursuit of science without practical results in a satire on the Royal Society and its experiments.
　　
　　While waiting for passage Gulliver takes a short side-trip to the island of Glubbdubdrib, where he visits a magician's dwelling and discusses history with the ghosts of historical figures, the most obvious restatement of the "ancients versus moderns" theme in the book. He also encounters the struldbrugs, unfortunates who are immortal, but not forever young, but rather forever old, complete with the infirmities of old age. Gulliver is then taken to Balnibarbi to await a Dutch trader who can take him on to Japan. While there, Gulliver asks the Emperor "to excuse my performing the ceremony imposed upon my countrymen of trampling upon the crucifix", which the Emperor grants. Gulliver returns home, determined to stay there for the rest of his days.
　　Part IV: A Voyage to the Country of the Houyhnhnms
　　
　　September 7, 1710 – July 2, 1715
　　
　　Despite his earlier intention of remaining at home, Gulliver returns to sea as the captain of a 35ton merchant man as he is bored of his employment as a surgeon. On this voyage he is forced to find new additions to his crew who he believes to have turned the rest of the crew against him. His pirates then mutiny and after keeping him contained for some time resolve to leave him on the first piece of land they come across and continue on as pirates. He is abandoned in a landing boat and comes first upon a race of (apparently) hideous deformed creatures to which he conceives a violent antipathy. Shortly thereafter he meets a horse and comes to understand that the horses (in their language Houyhnhnm or "the perfection of nature") are the rulers and the deformed creatures ("Yahoos") are human beings in their base form. Gulliver becomes a member of the horse's household, and comes to both admire and emulate the Houyhnhnms and their lifestyle, rejecting humans as merely Yahoos endowed with some semblance of reason which they only use to exacerbate and add to the vices Nature gave them. However, an Assembly of the Houyhnhnms rules that Gulliver, a Yahoo with some semblance of reason, is a danger to their civilization and he is expelled. He is then rescued, against his will, by a Portuguese ship, and is surprised to see that Captain Pedro de Mendez, a Yahoo, is a wise, courteous and generous person. He returns to his home in England. However, he is unable to reconcile himself to living among Yahoos; he becomes a recluse, remaining in his house, largely avoiding his family and his wife, and spending several hours a day speaking with the horses in his stables.
　　Composition and history
　　
　　It is uncertain exactly when Swift started writing Gulliver's Travels, but some sources suggest as early as 1713 when Swift, Gay, Pope, Arbuthnot and others formed the Scriblerus Club, with the aim of satirising then-popular literary genres. Swift, runs the theory, was charged with writing the memoirs of the club's imaginary author, Martinus Scriblerus. It is known from Swift's correspondence that the composition proper began in 1720 with the mirror-themed parts I and II written first, Part IV next in 1723 and Part III written in 1724, but amendments were made even while Swift was writing Drapier's Letters. By August 1725 the book was completed, and as Gulliver's Travels was a transparently anti-Whig satire it is likely that Swift had the manuscript copied so his handwriting could not be used as evidence if a prosecution should arise (as had happened in the case of some of his Irish pamphlets). In March 1726 Swift travelled to London to have his work published; the manuscript was secretly delivered to the publisher Benjamin Motte, who used five printing houses to speed production and avoid piracy. Motte, recognising a bestseller but fearing prosecution, simply cut or altered the worst offending passages (such as the descriptions of the court contests in Lilliput or the rebellion of Lindalino), added some material in defence of Queen Anne to book II, and published it anyway. The first edition was released in two volumes on October 26, 1726, priced 8s. 6d. The book was an instant sensation and sold out its first run in less than a week.
　　
　　Motte published Gulliver's Travels anonymously and, as was often the way with fashionable works, several follow-ups (Memoirs of the Court of Lilliput), parodies (Two Lilliputian Odes, The first on the Famous Engine With Which Captain Gulliver extinguish'd the Palace Fire...) and "keys" (Gulliver Decipher'd and Lemuel Gulliver's Travels into Several Remote Regions of the World Compendiously Methodiz'd, the second by Edmund Curll who had similarly written a "key" to Swift's Tale of a Tub in 1705) were produced over the next few years. These were mostly printed anonymously (or occasionally pseudonymously) and were quickly forgotten. Swift had nothing to do with any of these and specifically disavowed them in Faulkner's edition of 1735. However, Swift's friend Alexander Pope wrote a set of five Verses on Gulliver's Travels which Swift liked so much that he added them to the second edition of the book, though they are not nowadays generally included.
　　Faulkner's 1735 edition
　　
　　In 1735 an Irish publisher, George Faulkner, printed a complete set of Swift's works to date, Volume III of which was Gulliver's Travels. As revealed in Faulkner's "Advertisement to the Reader", Faulkner had access to an annotated copy of Motte's work by "a friend of the author" (generally believed to be Swift's friend Charles Ford) which reproduced most of the manuscript free of Motte's amendments, the original manuscript having been destroyed. It is also believed that Swift at least reviewed proofs of Faulkner's edition before printing but this cannot be proven. Generally, this is regarded as the editio princeps of Gulliver's Travels with one small exception, discussed below.
　　
　　This edition had an added piece by Swift, A letter from Capt. Gulliver to his Cousin Sympson which complained of Motte's alterations to the original text, saying he had so much altered it that "I do hardly know mine own work" and repudiating all of Motte's changes as well as all the keys, libels, parodies, second parts and continuations that had appeared in the intervening years. This letter now forms part of many standard texts.
　　Lindalino
　　
　　The short (five paragraph) episode in Part III, telling of the rebellion of the surface city of Lindalino against the flying island of Laputa, was an obvious allegory to the affair of Drapier's Letters of which Swift was proud. Lindalino represented Dublin and the impositions of Laputa represented the British imposition of William Wood's poor-quality copper currency. Faulkner had omitted this passage, either because of political sensitivities raised by being an Irish publisher printing an anti-British satire or possibly because the text he worked from didn't include the passage. It wasn't until 1899 that the passage was finally included in a new edition of the Collected Works. Modern editions thus derive from the Faulkner edition with the inclusion of this 1899 addendum.
　　
　　Isaac Asimov notes in The Annotated Gulliver that Lindalino is composed of double lins; hence, Dublin.
　　Major themes
　　
　　Gulliver's Travels has been the recipient of several designations: from Menippean satire to a children's story, from proto-Science Fiction to a forerunner of the modern novel.
　　
　　Published seven years after Daniel Defoe's wildly successful Robinson Crusoe, Gulliver's Travels may be read as a systematic rebuttal of Defoe's optimistic account of human capability. In The Unthinkable Swift: The Spontaneous Philosophy of a Church of England Man Warren Montag argues that Swift was concerned to refute the notion that the individual precedes society, as Defoe's novel seems to suggest. Swift regarded such thought as a dangerous endorsement of Thomas Hobbes' radical political philosophy and for this reason Gulliver repeatedly encounters established societies rather than desolate islands. The captain who invites Gulliver to serve as a surgeon aboard his ship on the disastrous third voyage is named Robinson.
　　
　　Possibly one of the reasons for the book's classic status is that it can be seen as many things to many different people. Broadly, the book has three themes:
　　
　　 * a satirical view of the state of European government, and of petty differences between religions.
　　 * an inquiry into whether men are inherently corrupt or whether they become corrupted.
　　 * a restatement of the older "ancients versus moderns" controversy previously addressed by Swift in The Battle of the Books.
　　
　　In terms of storytelling and construction the parts follow a pattern:
　　
　　 * The causes of Gulliver's misadventures become more malignant as time goes on - he is first shipwrecked, then abandoned, then attacked by strangers, then attacked by his own crew.
　　 * Gulliver's attitude hardens as the book progresses — he is genuinely surprised by the viciousness and politicking of the Lilliputians but finds the behaviour of the Yahoos in the fourth part reflective of the behaviour of people.
　　 * Each part is the reverse of the preceding part — Gulliver is big/small/sensible/ignorant, the countries are complex/simple/scientific/natural, forms of Government are worse/better/worse/better than England's.
　　 * Gulliver's view between parts contrasts with its other coinciding part — Gulliver sees the tiny Lilliputians as being vicious and unscrupulous, and then the king of Brobdingnag sees Europe in exactly the same light. Gulliver sees the Laputians as unreasonable, and Gulliver's Houyhnhnm master sees humanity as equally so.
　　 * No form of government is ideal — the simplistic Brobdingnagians enjoy public executions and have streets infested with beggars, the honest and upright Houyhnhnms who have no word for lying are happy to suppress the true nature of Gulliver as a Yahoo and are equally unconcerned about his reaction to being expelled.
　　 * Specific individuals may be good even where the race is bad — Gulliver finds a friend in each of his travels and, despite Gulliver's rejection and horror toward all Yahoos, is treated very well by the Portuguese captain, Don Pedro, who returns him to England at the novel's end.
　　
　　Of equal interest is the character of Gulliver himself — he progresses from a cheery optimist at the start of the first part to the pompous misanthrope of the book's conclusion and we may well have to filter our understanding of the work if we are to believe the final misanthrope wrote the whole work. In this sense Gulliver's Travels is a very modern and complex novel. There are subtle shifts throughout the book, such as when Gulliver begins to see all humans, not just those in Houyhnhnm-land, as Yahoos.
　　
　　Despite the depth and subtlety of the book, it is often classified as a children's story because of the popularity of the Lilliput section (frequently bowdlerised) as a book for children. It is still possible to buy books entitled Gulliver's Travels which contain only parts of the Lilliput voyage.
　　Cultural influences
　　
　　From 1738 to 1746, Edward Cave published in occasional issues of The Gentleman's Magazine semi-fictionalized accounts of contemporary debates in the two Houses of Parliament under the title of Debates in the Senate of Lilliput. The names of the speakers in the debates, other individuals mentioned, politicians and monarchs present and past, and most other countries and cities of Europe ("Degulia") and America ("Columbia") were thinly disguised under a variety of Swiftian pseudonyms. The disguised names, and the pretence that the accounts were really translations of speeches by Lilliputian politicians, were a reaction to a Parliamentary act forbidding the publication of accounts of its debates. Cave employed several writers on this series: William Guthrie (June 1738-Nov. 1740), Samuel Johnson (Nov. 1740-Feb. 1743), and John Hawkesworth (Feb. 1743-Dec. 1746).
　　
　　The popularity of Gulliver is such that the term "Lilliputian" has entered many languages as an adjective meaning "small and delicate". There is even a brand of cigar called Lilliput which is (not surprisingly) small. In addition to this there are a series of collectible model-houses known as "Lilliput Lane". The smallest light bulb fitting (5mm diameter) in the Edison screw series is called the "Lilliput Edison screw". In Dutch, the word "Lilliputter" is used for adults shorter than 1.30 meters. Conversely, "Brobdingnagian" appears in the Oxford English Dictionary as a synonym for "very large" or "gigantic".
　　
　　In like vein, the term "yahoo" is often encountered as a synonym for "ruffian" or "thug".
　　
　　In the discipline of computer architecture, the terms big-endian and little-endian are used to describe two possible ways of laying out bytes in memory; see Endianness. One of the satirical conflicts in the book is between two religious sects of Lilliputians, some of whom who prefer cracking open their soft-boiled eggs from the little end, while others prefer the big end.